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The Chameleons / The Membranes – Liquid Rooms, Edinburgh

12th February 2022

The resurgence of punk and post punk bands continues with a major UK tour by The Chameleons. Originally formed in 1981, it’s a significant anniversary to tour to celebrate 40 years of being a band but in this case, The Chameleons had chosen to tour their 1985 album “What Does Anything Mean? Basically”. Like many of their peers, the band have had their ups and downs and a long hiatus of inactivity, but Mark Burgess had never been busier in the past few years. Apart from the obvious recent lockdown, Mark managed to tour USA, China, Australia and most of Europe. The UK tour features The Membranes, another seminal post punk band fronted by the ever-present John Robb and it’s a great fit. The spectrum of music produced in the 80’s was wide and varied and these two bands are very representative of what was then and now. It was a dreary night in Edinburgh, but the Liquid Rooms gave the respite to the eager fans who had turned out in good numbers to catch both bands. Not quite a sell out like some of the other dates on the tour but a great turn out.

You can never second guess The Membranes. The one main stay is of course John Robb, and he was joined by his long-standing guitarist Peter Byrchmore. Mike Simkins continued his stint on drums and the wonderful, inspired addition of Amelia Chain brought a different vibe to the band. Their music might be austere and dark at times but delivered with such focus and reverence. The set opener was the opening track from their 2015 “Dark Energy / Dark Matter” album. “The Universes explodes…..” demonstrated the dynamic the band create during their performance. It is dark, heavy and explores the “big bang” of how the universe was created with some sex and death mixed in. What else would you kick off with! Amelia Chain provided uplifting backing vocals which went some way to alleviating the sombreness and sheer intensity of the song. Simii’s powerful drumming underpinned Robb’s edgy bass. Byrchmore’s guitar work is searing and urgent and it grabbed you from the first chord. After a 25yr gap in studio releases, the band released two mammoth albums in 2015 and 2019. These albums provided the bulk of tunes on offer. Robb’s stage energy was somewhat curtailed as the limited space meant he was stuck, blocked in by stage monitors and he was limited to his side of the stage, but made the most of it. Never being one for resting on his laurels, he continually jumped and postured when he wasn’t behind the mic. In stark contrast, Amelia was almost trapped behind her keyboard whilst Byrchmore threw moody looking guitar poses with some cheeky grins thrown in. There was a powerful cohesiveness to The Membranes but somehow, they retained a precariousness in their performance. “Do the Supernova” and “In the Graveyard” are almost polar opposites with the latter providing such emotive heart wrenching guitarwork ever heard within its genre. Amelia’s vocal prowess was on show again for the into to “Black is The Colour” before Robbwrestled the attention back as he chanted the song title to the crowd who had braved the dark night. Every night, Robb explains the origins of the song “Snow Monkey” from their latest studio offering “What Nature Gives, Nature Takes Away”. He relay’s the story of the Japanese Monkeys that live by hot pools but had learned to throw snowballs at each other. Whilst it may sound endearing, Robb has used it as a metaphor for the state of the UK. After a thundering version of “Deep in the Forest Where the Memories Linger”, the set came to a close with “Myths and Legends”, a throwback to their early days but revamped and delivered with the bands trademark dark energy.

The last time The Chameleons shared a stage with The Membranes (out with the current tour) was back in 1984 at Manchester’s legendary Free Trade Hall, that itself had witnessed many iconic performances. Liquid Rooms might not quite be as legendary but it’s the performances that make the memories and The Chameleons have certainly been on a mission to re-create and better their past. With the return of Reg Smithies on guitar, the seminal sound the band developed in their formative years had reassuringly returned. As Mark Burgess opened dialogue with the audience, he warned them not to shout out any requests as they would fall on deaf ears as he announced the intention to play though the bands 2^ndalbum “What Does Anything Mean? Basically”. Regarded by many, it’s the band finest moment and to any of their hardcore following, a mouth-watering offering to be played faithfully in its entirety. After the brief instrumental “Silence Sea & Sky”, the band fire into life with an inspired version of “Perfumed Garden”. It’s no mistake that nothing had been left to chance as the immaculate delivery of the songs was matched by the live sound which was mixed by Martin Newton. The songs were indeed faithfully reproduced as they were on the album. Burgess took the opportunity to ad-lib (Ian McCulloch style) lines from The Clash in an early set highlight “Singing Rule Britannia”, Burgess sung “White Riot, I wanna riot” before a snarling attack on the government as he growled, “get out, get out of Number 10… Bojo”. The next highlight for me was a resounding version of “Where the Heart Is”. The keys may have been tucked away at the side, but Danny made them come to the fore for this song. Again, the sound production on the night elevated the songs as they came over the PA larger than life and the resurrection of the album was impressive. Burgess reminded the crowd that “like life, most albums are short, so make the most of them”. Very fitting as the band may have slipped out of the memories of many but for one night at least for some, there was the chance to re-ignite the appreciation of the forgotten classic. “PS Goodbye” rounded off the main set. Sticking to the format, the band included the additional tracks that were included in the CD release of the album. The packed audience relished the opportunity to let the atmospheric album wash over them as the layered guitars created an ambience throughout the night. After a brief spell, the band returned nonchalantly to the stage and Burgess playfully spouted, “We play what we want, crazy scotch bloke, we play what we want” right before the band continued their assured performance with “Caution” from their 1986 album, “Strange Times”. Burgess continued his ad-lib by slipping in“Sweet Dreams are made of this” just before the bandsubtly slipped into “Swamp Thing”. The crowd were visibly animated asthe penultimate “Down the Up Escalator” built up slowly with the pounding toms almost drowning out the picked guitar intro. Leading into the final song, Burgess made a heartfelt dedication to one of the fans, Gaz, who couldn’t be at the gig after getting some bad news, but his friends were there to make sure they carried the torch. “Second Skin” closed out a memorable performance as Burgess managed to ad-lib for a final time as he handed over bass duties to Danny Ashberry (keys) and sang “The tide is turning”. An ironic reference from Roger Water’s album “Radio Kaos” and perhaps a nod that the chaos we have recently lived through which just might be coming to an end. If The Chameleons supply the soundtrack for the end of lockdown party, then it’ll bring a lot of joy to many people.

Find out more about the Membranes via the bands Website or Facebook

Find out more about the Chameleons via the bands Website or Facebook

Tickets for the bands tour are available here

The Red Eyes – Falling Thru the Cracks

5th February 2022

Formed in the late 90’s, The Red Eyes have marked their 25^th Anniversary with an album release. The irony of the title will not be lost on you when you get the chance to hear it. “Falling Thru the Cracks”, if you hadn’t heard of them then you’ll realise how apt the title is.

The epitome of punk rock was always to record and release your own material on your own terms and The Red Eyes have done just that. Perhaps not so groundbreaking as it once was but to do it in your own studio and record and produce such a high-quality release is testament to the integrity and determination of the band, in particular Alan Bishop. They drafted in Gordon McNeil of Stellasound to Mix and Master and he has done a stellar job!

The 5th full album from The Red Eyes follows on from their “Man and Boy” album which was nearly 5 yrs ago. How time flies and without stating the obvious, the last two years may have impacted the time between releases. The new album has seen the band move up a gear both in song writing and execution. Right from the off, “Judge, Jury, Executioner” demonstrates how far they have come. Alan’s lyrics efficiently gets the message across of the world we live in where “toxic accusations lead to separation”. Tempered anger but well delivered. The raw production of their earlier work has been ironed out but there’s enough left to inspire. Alan certainly knows how to engage and does so sublimely with “The Rude Boys are Staring Back”. The obvious inspiration of the song is in the title and will resonate with anyone who’s familiar with The Ruts. The guitar work through-out the album is richly layered and in this second track on the album pay homage to Paul Fox as well as Malcolm Owen. There’s even a Dave Ruffy drum fill near the end. Very slick and passes the old grey whistle test. To appreciate “In Your Head”, the stereo imaging is best heard with headphones as the edgy guitars swap from ear to ear. Alan’s vocal delivery is upfront in the mix and the harmonies work well. The lead guitar breaks from Alex fit perfectly into what is a very busy song sonically. In stark contrast, “When the Last Note Died” brings a very different fell to the album. After three banging tunes, the haunting piano intro resets the perception. The song kicks in and true to form, Alan continues his narrative styled lyrics to tell the story of The Miami Showband Massacre in Ireland. A tragic tale but worthy of recounting if only to celebrate their memory. The band use their music craft to elevate, and the clever chorus does that immaculately.

The story telling continues with “Spend, Spend, Spend”. A tale of monetary madness that could still be as true in 2022 as it was in 1961 when Viv Nicholson famously told a reporter of her intention to blow her winnings from the football pools. The lyric, “Forever planted on the National Psyche…. No Regrets as the fall was mighty” resonates as it ultimately describes the femme fatale whose image is best known adorning the cover of The Smith’s single, “Heaven Knows I’m Miserable Now”. It’s not miserable but there’s some real melancholy with “Dead in the Water”. The song uses acoustic guitars and orchestration to deliver its message. A solemn reminder that we’re often unable to surface from the dark times in life. Another soul-searching song “Welcome to My World” explores the alienation and futility of the day-to-day world of its subject. It’s not all doom and gloom but “You could be the 1,2,3,4” sings of unrequited love. “Never Ending Love Affair” is not as it seems, as the love is not what you might think. The haunting melody and harmonies provide an uneasy feeling as you realise what the subject matter is about. It’s such a well-crafted song and the minor chords and subtlety demonstrate the astuteness of the song. The uneasy feeling from the last three songs is released with “Power, Glory and Greed”, another perfect example of how far the band have come since their inception. The slick guitar work is a perfect platform for the lyrics. The self-explanatory title describes the world we live in. “The Girl Next Door to the Girl Next Door”, is a pure self-indulgent pop punk song of teenage angst and the apprehension of young love. The nostalgia continues with “We Were Gonna’ Make It Last Forever” as the song signs off a near perfect album.

If the imposed lockdown gave the band the opportunity to work on this album, then perhaps the 2yr imposition was worth it but don’t take my word for it, do yourself a favour and discover this album for yourself. It has an instant feel-good factor as it stirs emotions inside that you forgot you had. The musical influences might be familiar but more than just a tribute to days gone by but inspiration if you’re looking for it.

Follow The Red Eyes:

https://www.facebook.com/The-Red-Eyes

The Stranglers in Scotland

1st February 2022

Two long years and the inevitable re-scheduling of gigs may have resulted in a few fans falling by the wayside but there’s still a demand to see this iconic band. The Stranglers have always courted controversy throughout their long career and at times they have been challenged to their very core and with the tragic loss of Dave Greenfield, they took the tough decision to continue when many other bands may have called it a day. Having already had several changes in line up in their 48 years, Dave was probably the hardest member to replace as his signature style and incredible musicianship would be hard to match. With the new keyboard player recruited, a short tour of France got the band back up to speed and gave them the appetite to take on a final full UK tour. In memory of Dave. The Stranglers have had many wide and varied support bands join them throughout the years but possibly the best of those were signed up for the 2022 Dark Matters Tour. Ruts DC are a headline band in their own right and with a long and rich history with the band, they were the perfect choice. As many fans would appreciate, two amazing bands for the price of one!

No strangers to loss, Ruts DC were formed after the death of their singer Malcolm Owen only a few years after their inception. It may have been a long time ago, but he burned bright and left a lasting memory. Original guitarist Paul Fox also passed away in 2007 and this led to Leigh Heggarty joining. He was clearly the best fit for the three piece as he was not only a friend but an incredible guitarist. Fox had such an iconic sound, but Heggarty not only faithfully reproduced but added his live flair. Both bands have an incredible back-catalogue to draw from and Ruts DC never disappoint. Regular visitors to Scotland, the band have made many friends and fans throughout the years and judging by the packed venues at the Music Hall in Aberdeen and O2 Academy in Glasgow, they had turned out in droves. The customary half empty room for the support band did not apply for RutsDC. Testament to their popularity, they rewarded the early onlookers with “Something That I Said” to kick off their sets. Bassist Seg’s Jennings engaged with the crowds in Aberdeen and Glasgow to relay the bands joy at being back playing live. Dave Ruffy looked like he was in a playful mood sporting a T shirt in Aberdeen using the Public Image Ltd log but spelt “iLL” instead of “PiL”. Not as dapper as his band members who still rock suits jackets, shirts and Trilby hats. There’s promise of a new album this year to follow on from their critically acclaimed album, “Music Must Destroy”, the highlights of which are regularly played and although the title track was not, “Kill the Pain” went someway to easing the last 2 years of pain having no gigs to attend. Other seminary songs in the setlist included “Suss” and “In A Rut”. A new song from the imminent album preceded “Jah War” and received promising feedback.

In A Rut

No Ruts performance would be the same without “West One” and “It was Cold” as the guitar work from Leigh is a personal highlight. The crowds in Aberdeen and Glasgow showed their appreciation by turning out in droves and giving the band a rousing reception as they played their two chart singles “Staring at the Rude Boys” and “Babylon’s Burning” but it was “Psychic Attack” that brought the evenings to a close. With a UK tour planned for later in 2022 and a few festivals on the horizon before then, the band will be busy recording and releasing their new album before then. Judging by their relish still to perform, there’s plenty life left in the band.

Follow RutsDC:

https://www.facebook.com/theruts

https://rutsdc.com/

The lights went out and “Waltzinblack” signified the imminent appearance of the Meninblack. There’s always an electrifying anticipation of what The Stranglers will open with and set the tone of the evening. Jean Jacques Burnel’s growling bass opened their sets as he ripped into “Toiler on The Sea” with attitude. “Baz Warne’s” cutting chords weren’t far behind before the solid drumming of Jim Macauley. Toiler gave the audience its first opportunity to hear new keyboard player Toby Hounsham and draw comparison to the legendary Dave Greenfield. There was a massive expectation from the hungry crowd, and they were instantly gratified every evening as Toby launched into each song like he was on a mission. With such a huge back catalogue of songs, and the fact that it had only been a few months since Toby had joined the band, the fears of the crowd were easily put to rest as Toby’s professionalism and ability put any concern to rest immediately. The fact that he had played in a tribute band many years ago probably went a great way to helping him fit in.

Water

With a new album to share live, it didn’t take long into each set for the first song to be played. “Water” has been in the set for nearly 4 years as it was one of the first songs written for the new album and been part of their main set for some time. The Stranglers do switch their setlist around every night and “The Raven” was met with a huge cheer in Aberdeen. The Stranglers fourth album featured a few songs throughout the set and is a favourite for many of the fans. The hard-core still call on those early albums to be aired and of course, they were not disappointed. “Sometimes” is the first track off their debut album “Rattus Norvegicus” and featured early every night. Any memory of the early line up was a memory as the four current band members showed they not only replicate the sound but all but match the attitude as Baz snarls and JJ still kicks out and prowls the stage. The real belligerent antagonism may have gone, but you wouldn’t want to argue with either of the front men! There’s irony in “I’ve Been Wild” but the Meninblack still carry some menace. Baz does like to ad-lib at times during the songs and this was true during “Peaches” as he found a new subjects each night to either malign or make fun of after he sung the line “I can think of a lot worse places to be…” In Aberdeen, he joked about “Being on the end of Toby’s skewer”, but Glasgow got references to “Number 10” and “The Ukrainian Border”.

The Stranglers have a diverse history and the hits they had in the 80’s demonstrate this. After the early opening energy, “Nice N Sleazy” signature grove made way to a rarely performed “Don’t Bring Harry”. The predominance of the keyboards continued with “Strange Little Girl” as the early/mid 80’s songs were celebrated with the addition of “Always The Sun” and “Golden Brown”. These songs are often lamented by the hard-core, but the riotous applause would demonstrate they’re the guilty pleasure of many. Laughed off as a bathroom break for many, the harpsichord haven has the four heroes being sung at by the massive sell out crowd. JJ quietly started the intro to “Baroque Bordello” and the buzz from the crowd grew as they realised what was being played. The band were at their height in 1979 and although the dulcet tones of Dave were missing from the song, Toby gave a reminiscent haunting vocal to top off the song. The next song showed the band were far from done and have plenty more to offer. With a nod to the electronic 80’s, there’s almost a “New Order” influence to “White Stallion”.

White Stallion

The heavy electronic pounding bass / synth backlines filled the venue. If The Stranglers were to every write a bond theme, this wouldn’t be far off it. JJ seemed to get lost in the moment at times as he spread his arms wide as if to hug the entire crowd. From the headiness and elation of stallion, the band brought the halcyon days back with a bang with “Curfew”, JJ sung the lyric “Go to Scotland, no obligation” as the entire audience shouted it back to him and proved the band will never be obligated to come back. Baz Warne’s influence on the band is demonstrated with “Relentless” as the signature Stranglers sound benefits from his take on it and expanded. His vocal delivery is also an important part of the band’s sound and based on the three nights in Scotland, he’s grown as a singer. The back catalogue was again well served as the run out to the main set had some blistering performances of “Nuclear Device” and “Straighten Out”. The crowd always love an excuse to bounce along but the melodic interludes are always welcomed as well to give the aging audience time to recover. “Walk on by” of course gives the crowd some respite and enables them to stand back and marvel at the individual brilliance of the four members of the band. Heavy bias on the keyboards, it gave the crowd the reminder that Toby is a considerable talent, but the bass runs, and sublime guitar solos soared throughout. The main set was ended with Baz adorning an interesting looking Burns guitar to audition “The Last Men on the Moon” to most of the crowd. One of the highlights from “Dark Matter”, the keyboards faded into the ether and darkness once again fell upon the venue.

There was movement on the stage and two stools could be seen awaiting their counterparts. After a few dark moments, JJ and Baz adorned the stools, JJ was armed with an Acoustic guitar, and he picked throughout the opening chords to “Lines”. It’s a stripped back song lamenting the reasons for the lines upon the face for the subject. The melancholy continued as JJ took the opportunity to say a few words about the lamentable past two years and the toll it’s taken on everyone present and of course the band. The poignant “And If You Should See Dave” was respectfully received by the entire crowd as they took a few precious moments to remember the fallen phenomenon that was Dave Greenfield.

Each night brought a chance for the crowd to cheer for a choice of encore. Aberdeen gave a huge cheer for “Grip” and in Glasgow, they were treated to an incendiary version of “Tank” on the first night and both songs on the second night. Of course, what song could the four heroes end with, yes, the signature bass intro from JJ brought the loudest cheer each night as “No More Heroes” ended the 2-hour show. Baz thanked Aberdeen and Glasgow for all their support throughout the years and we wonder what the future will hold for the band but meantime, they will continue to tour the UK for the duration of February to a great number of sold out shows. If the band continues at their current pace, the hard core and newfound fans are in for a treat.

Follow The Stranglers:

https://www.facebook.com/thestranglers

https://thestranglers.co.uk/

Enter Shikari sell out Edinburgh

13th December 2021

Enter Shikari played the Usher Hall, Edinburgh 13.12.2021 to a sell out crowd.

Enter Shikari returned to Scotland after their recent visit where they played in Glasgow during COP26. The band are passionate and, on a mission, to educate and inspire but on your own terms. Like life itself, there’s politics embedded in their lyrics but it’s just as important that you enjoy the immersive experience their live shows bring. The tour finally got under way after a long delay and having already done 7 dates prior to Edinburgh, the band were up to speed. Luckily, Chris Batten (Bass) had seen out his isolation due to testing +ve for Covid and the band were once again complete.

Bassist Georgia South and singer/guitarist Amy Love are Nova Twins. Their blistering, incendiary style of music has given them a platform to speak their minds and they do this unashamedly. The deadly duo’s set contained songs from their album “Who are the girls” and if you didn’t know them before the gig, it would be an eye opener. Having already done some major live dates around the country, they are used to blowing away their audiences both visually and aurally. Opening song “Devils Face” set the bar high and they maintained the ferocity and intensity with every song. When the bass kicked in on “Play Fair”, the entire building shook with the overdriven distorted bass frequencies. They hit so hard, it felt like you’d been hit by a Juggernaut.

The songs are carefully structured to give you a few moments of relief between the onslaught of the pounding drums and bass. Amy’s voice hypnotically embeds in your head and the slick delivery matches the heavy rhythms. Considering their live sound is derived purely from their instruments, with no samples or synthesisers is impressive. Not conforming to any specific genre, they have cleverly crafted a sound that is as addictive as it is unique. Probably best heard live so you can feel the music physically not just emotively. New single “Antagonist”supplemented the album material and confirmed the girls are here to stay and continue to produce hard hitting anthems.

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Follow Nova Twins;

https://www.facebook.com/NovaTwinsMusic

The was a time that going to a “grunge” gig would’ve meant a severe aural bashing from the crushing bass and heavy drumming. Dinosaur Pile Up were almost light relief after Nova Twins. That’s no dis-service to Dinosaur Pile Up, they are from a different era and appeal to a whole different audience. Like the previous band, they are also a three piece but more traditional in that their sound is recognisable as guitar based. Their sound is still crushingly heavy at times but interspersed with light dry guitar breaks to bring a dynamic well used in heavy alternative rock. The band put together a well-crafted set and certainly didn’t come across as limited as regular drummer Mike was unfortunately side lined with Covid. Thankfully, a call to Blake, who was in Belgium at the time, resulted in him jumping on a flight within an hour of the call and successfully learning the set. You’d never of know he wasn’t their go to guy as he literally smashed it to the point of nearly wrecking his snare during the second song!

The band ramped up their set throughout, beginning with “Arizona Waiting”, the opening track from their 2013 album “Nature Nurture”. The band drew heavily from their last album with “Celebrity Mansions” up next followed by “Round the Bend” reflective of where the band have evolved from their early material. “Thrash Metal Cassette” is a belter of a track and reminded me of “White Limo” by the Foo Fighters. The band saved the best till last with “Back Foot”. Dinosaur Pile Up were not the most obvious support slot for Enter Shakiri, but defiantlya worthy inclusion to the entire night’s entertainment.

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Follow Dinosaur Pile Up;

https://www.facebook.com/dinosaurpileup

https://www.dinosaurpileup.com

There was a robotic voice came over the PA to provide updates when Enter Shikari would be on stage… 20mins, 10mins, 2 mins…. 1min… Very cleverly building the anticipation yet reassuring the crowd their favourites would be there soon. It did serve to build the hype and when the countdown materialised, the lights dimmed, and the intro music had the audience screaming. First song, “The Great Unknown” Rou Reynolds sings “Is this a new beginning, or are we close to the end?” very apt considering the times were live in right now. As the confetti was blasted into the air above the audience, it could’ve been a party for the end of the universe. The crowd were oblivious to the world outside because for the next 100mins, they just wanted to let go. Up next, the thought provoking “Destabilise” is a mantra to shake up the establishment. The set consisted of songs from the bands entire back catalogue and the PA has probably never been tested so thoroughly as the meticulous sound produced by the four musicians was at earth shaking volumes.

The sub frequencies in “Sssnakepit” were further proof the band have some real venom in their music at times, and “Juggernaut” offered no let up as the BPM went ballistic. The latest album “Nothing is true, and everything is possible” was showcased brilliantly with “modern living”. Rou has coined the word “apocohlics” and it resonates throughout society. One of the highlights of the night was the highly critical “Anaesthetist”, the full rage against the medical machine was evident. “Satellites” and “The pressure’s on” almost had a pop feel in comparison with the earlier songs played as the new album continued to be shared live with the audience. The vitriol in “Ghandi Mate, Ghandi” resonated in the crowd as the circle pit had the participants mouth the words to each other as they punched the air with purpose before they continued the carnage. The main set ended with “Solidarity” and was a perfect description of how the crowd had come together to celebrate in unison.

After a few minutes of respite, Rou returned to the stage and performed an emotive version of “Constellations” supported by the attentive on-lookers at the chorus. “Dreamers Hotel” was the perfect penultimate banging tune as it draws on all the essential elements of Enter Shikari. 2017’s album “The Spark” provided the last song of the evening as it provided a prophetic vision of how many must be feeling in 2021. “Live Outside” gave the sold out crowd the chance to savour what might be their last gig as another lockdown looms.

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GUN Rock Glasgow!!!

12th December 2021

Barrowland Ballroom, Glasgow 11.12.2021

“I belong to Glasgow, dear old Glasgow town”, they certainly do, and Glasgow belongs to them! The famous Barrowland Ballroom has seen GUN play many times and will again as the band announced they have released tickets for 2022 already. GUN have always had a “swagger” and they back that up by playing sell out shows. Dante and Jools continue to rock beyond their 30^th Anniversary in 2019 and continue to go from strength to strength.

From bars to barras, Gin Annie may have started as a ‘covers’ band but they have cemented themselves as a rock-solid original outfit. In true rock fashion, the guitars were out front and, in your face, underpinned by hard hitting drums and solid pumping bass. No stranger to a big stage, having recently played WInterstorm, Gin Annie relished playing the Barrowland Ballroom, some way from the heart of the Black Country where they hail from. The band’s visual look is split, with David Foster (Vocals), Byron ‘Beej’ Garbett (Guitar) and Lewis ‘The Kid’ Turner (Drums) all with a clean-cut short hair look and Brian Green (Guitar) and Phil ‘Hammer’ Burrows (Bass) rocking the more traditional NWOBHM look. Their music is hard hitting, melodic and punchy. Their opener “Love ain’t here” is also the opening track from their 2019 album 100% Proof. The album would feature five songs, a short set but 25 minutes of essential rock. The closing number “Born to rock ‘n’ roll”, is a mission statement for the band, although, the set list was titled “The Schwarma King is King Show” which may allude to other interests and at the bottom it read “if she loves the haggis… You know where the shag is” proves their love off food and more! Tongue in cheek and good old rock ‘n roll. What more could you ask for?

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The Virginmarys are one of the must-see bands of 2021. They may have dropped to a 2 piece but still maintained the energy and drive. Ally Dickaty and Danny Dollan’s compact set up on the big stage at the Barrowland Ballroom palled into insignificance as their huge sound more than compensated for their lack of numbers. There were six new songs for the discerning fan, and they were bolstered with four killer set essentials. “Portrait of Red” and “Dead Man’s Shoes” from the band’s first album were preceded by a new track “Meds” and there was no sign that the new material wouldn’t match the seminal songs of that 2013 album. “Lies Lies Lies” another hammering new track, saw Danny continue to kick the shit out of his kit to the point of having the crew push some monitors in front of the kick drum to stop it trying to escape the sever kicking! Ally’s vocal deliver almost sounds painful as his vocal intensity is like Kurt Cobain on steroids. It’s almost an instrument of destruction. “NYC” and “Devil Keeps Coming” start off with the tell-tale Guitar/Bass simulation that is inherent where one instrument replicates both. Yes, it has been all done before but Ally has mastered it and proven it can be an incredible method of delivery.

“Just A Ride” is a timeless classic, its subject matter resonates with us all. One of the standout songs of the night was “Where are you now”, another heart wrenching guttural cry from the heart which almost compliments the previous song. The last new song of the night “Killer” rounded off the new material and demonstrated sometimes less is more!

The dynamic duo closed out with “Bang Bang Bang” it was a powerful performance and the new tracks will hopefully see the light of day soon, possibly in the form of a few E.P’s. If you get the chance, check these guys out.

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The stage was stripped bare after The Virginmarys departed. A strange sight for a “rock show”, as the familiar amplifier stacks were missing and only the drum kit was on stage, and a huge LED screen at the back. The aforementioned famous song from Andy Stewart was played over the PA and GUN nonchalantly strolled on stage, no “swagger” but that was no indicator that the band had not lost it.

The band kicked off their set with the two opening tracks of their last album “Favourite Pleasures”. “She Knows” is a perfect opener, upbeat and tight, it engaged the crowd straight away. Dante Gizzi has grown into his lead role with the band, having moved from Bass to vocals what seems like a lifetime ago. “Jools” Gizzi is right on the edge of the stage from the start, strutting his stuff and launching his guitar, like a gun! The clean-cut modern rock sound of the band is indicative of the times. The Yamaha guitars employed by Gizzi and Tommy Gentry suit the high energy being demanded. The entire show had a backdrop LED screen and amusingly, there was a compilation of Scottish world cup football highlights of a by gone era. The fabulous sight of Archie Gemmill’s goal against the Dutch, where it looked like he was “Taking on the world”. Rather fittingly, the first track from that iconic first album “Taking on the World” was the soundtrack to the visuals and the crowd lapped it up as they mouthed the words back to the band. “Something to believe in” dropped the pace but brought the familiarity with the long-standing fans. The trip down memory lane continued with “Money” which still has that late 80’s/90’s rock feel. Moving on from that first album, “Welcome to the real world” was up next. The lyric’s almost have a poignant meaning in today’s world. The guitar mastery of Tommy was on show for the first time as he showed he is more than a “hired gun”. Gentry and Gizzi swap solos like a pair of “gunslingers” before Dante brings it back. The nostalgia was parked as the title track of their last album showed they had not stood still musically and had evolved their sound but still retained some classic guitar licks. The hit’s kept coming and “Word Up” was one of the highlights of the set, one of the bands biggest hits and saw the crowd bouncing in unison to the beat. Synchronised arm waving showed the crowd did care contrary to the lyric “Raise your hands in the air like you just don’t care”, they do! It was a bold to song cover back in the day, but GUN own almost own it. The band slipped back into full on rock mode with “Don’t say it’s over” as the crowd filled in at the chorus. Another killer solo from Tommy and great work from Paul McManus on drums. Dante utters, “We’re warming up” and that was probably more of a reference to the crowd as the were now almost in full flow. “Inside Out” proved they were as the fist pumping and chorus singing was at its height. The band closed out their main set with “Steal your fire” as the crowd were in full voice right to the back of the room.

The band were off stage for literally one minute as Dante returned and said they were easily persuaded to return as it was the barrowlands. Dante explained that during the lockdown, when he was struggling for inspiration to write new material, he and Jools decided to re-work the iconic song “Better Days”. Admittedly, having heard it recently, apart from being slowed down slightly, it’s faithfully reproduced. Live, it sounds almost like the original, but I doubt the crowd even noticed as they were too engrossed in the moment. Such an apt song as we all hope for better days. GUN turn back the clock with their encore and Andy Carr’s bass was pumping as “Shame on you” signalled the final GUN song of the night. The entire building was rocking and the band amped it up with their final song, “Fight for your right” the classic Beastie Boys song and they nailed it. Dante adorned a baseball cap for the song, and he could’ve easily passed himself off as one of the NY rappers. The crowd partied and after a final selfie with the entire audience, they slipped off stage. No fills, no drama, no swagger but still gallus.

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Media Wh*res shine bright

11th December 2021

Media Whores

Album Launch – Voodoo Rooms, Edinburgh 12.11.21

It may have taken sometime to get the album released but it was worth the wait. The world has been in a dark place for a long time and we needed to know there is light at the end of the tunnel, no matter where it comes from and this latest offering from The Media Whores does exactly what it says in the title. But, it’s only light if you have your eyes open. There lies the twist, you will only find salvation if you’re looking for it or you are open to change. When “punk” raised its head against the establishment, there were a number of bands that either stuck two fingers up or used their music as a soap box. Thankfully, The Media Whores are the later. Nihilism is a tired and ineffective method of anarchy so how can you be constructive you may ask? Read a book, educate yourself, do your homework but above all, think for yourself and have an opinion. The Media Whores tick all these boxes and more and certainly have used the medium of music to get their opinion across. If you like your music with an intelligent attitude, then look no further.

Voodoo Rooms in Edinburgh was a great venue for an album launch. The room, intimate and welcoming, exactly the same as the crowd. The Media Whores do have a passionate and loyal following so the band were playing to a great number of friendly faces.

Subjects like the Cold War, Fascism, Consumerism, Big Pharma were all on the agenda for the evening. Some rather serious subjects, but the music goes some way to make these heavy issues palatable. The band have a knack of almost implanting their message in each song subliminally as you singalong. The penny just might drop if you listen long enough. No stranger to a good buzzword, the album is full of some serious sound bites. My only criticism being, there’s a few too many woah ho’s on the album for me but live, I get it. For those who hadn’t yet grabbed a copy of the album, there were a couple of live songs that would be familiar having previously appeared on the last album. The band were on a mission and even though one of the guitar amps kept overheating, they ploughed on. The album track listing was faithfully followed so nothing was left unaired. The full spectrum was on offer. Definitely one to check out if you haven’t already and it’s reassuring that a band can reproduce live what they record. No tricks, no gimmicks, no apologies. What you hear is what you get, what you do with it is up to you.

The night didn’t end there. The band played a second set from their back catalogue much to the delight of the crowd who had been shouting out song titles all night. The Media Whores leave no stone unturned when it comes to political and social commentary. Look forward to seeing them again so which shouldn’t be too long.

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Album Review – Jim Lindberg: Songs from the Elkhorn Trail

26th November 2021

One mantra to live by in life is to “Never judge a book by its cover”, so glad I did with this one as I’ve never really been a fan when it comes to cartoon style album covers. Cartoon might be harsh, more hand drawn but you get my point. Luckily for me, beauty is more than skin deep and if first impressions are to go by, then Jim Linberg’s first song shows he’s on solid ground with this solo album “Songs from the Elkhorn Trail”.

The opener, “Palm of your hand”, is very accessible coming from any pre-conception you have of American punk or it’s disseminated offshoots. There’s a lighter feel, stripped back almost but has a feel good factor about it. An atypical chorus endears you to the song and draws you in. Music aside, Jim has some real gravity in his lyrics and once you scratch the surface, it’s easy to identify with what he is relating throughout the album.

As the acoustic guitar rips in at the start of “I feel like the sun”, this is more reflective of what my preconception was. The album may have been inspired by the passing of his father and spurred Jim onto make an album to express himself. “You’re not alone”, an upbeat song musically and has an uplifting message of hope for those people living in compromising lives but decide to break out from oppression. The delivery of the songs on the album is testament to the artists involved, namely, David Hidalgo Jr. (Social Distortion) on drums, Joe Gittleman (The Mighty, Mighty BossToneS) on bass, and Marc Orrell (The Dropkick Murphy’s, The Walker Roaders) on guitar. The album was produced and mixed by Tedd Hutt (Gaslight Anthem, Lucero, Dropkick Murphy’s) so the production is another highlight for the overall experience. As Jim swings between vitriol and introspection, there’s something for everyone in this album. “Not one of them” certainly leaves you in no doubt that Jim has his opinion of fake friends. Whether he draws inspiration from his life experiences or it’s pure social commentary, Jim has a way of getting a direct message across with no lack of transparency. It’s not all forthright observations and the reflective songs are almost heartbreaking at times. “Don’t lay me down” brings a melancholy feel to the album and in a similar way, “It’s only” is delivered in the same vain. The mix of songs and the track arrangement almost reflect how life is a rollercoaster of up and downs. There is a campfire feel to some of the songs and the odd rebel rouser but for the most part, the songs are empathic and the final track “Long way to go” leaves you feeling good about the whole album. There’s nothing ground breaking but it’s a great mission statement and a milestone for Jim Linberg to add to his record of achievements, of which, I’m sure his father would be proud of.

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New Model Army storm Glasgow with their 40th Anniversary show

25th November 2021

New Model Army – The Garage Glasgow 24.11.2021

The 40^th Anniversary tour of any band is an achievement in itself. The ups and downs experienced by New Model Army must have tested their resolve but they carry on and celebrate their 40+ years making music. With Justin Sullivan at the helm, the legacy was never in doubt. New Model Army have always been more than just about one man, although the line up has changed over the years, it has been a main stay for so many hard core fans. Once, the fans were a militia, menacing and foreboding at concerts, they would invade and conquer any venue in great numbers, but now it is a “family” atmosphere. Not a literal one, but one of inclusivity. New Model Army were once referred to as the “ugliest band in rock n roll” by a presenter on the Channel 4 music show, The Tube, but thankfully, beauty is in the eye and ears of the beholder. With three hours before an enforced curfew of 10pm, the band would take their family through four decades of nostalgic indulgence as they trawled their back catalogue. The band may have graced many large stages in their rich history but, The Garage in Glasgow was an apt venue to be large enough to satisfy demand yet small enough to still feel intimate.

The band played two sets and an encore. They crammed over 30 songs in the time available with a short interval between the main sets. The crowd bounced along all night and the sight of heavily tattooed bare chested men was seen on a few occasions as the brave would stand on the shoulders of others as they motioned their ritual arm movements like they did back in those clog wearing militia days. Ironically, the band opened with “Christian Militia” after Justin took the stage and relayed to the audience it was good to be here after 40yrs and a bit. The first 5 albums would dominate the first set with a few songs that had not been heard live in many years. Apart from those early songs, the set had a good number of two of New Model Army’s seminal albums, “Ghost of Cain” and “Thunder and Consolation”. Closing out the first set, “Before I get old” merged into “Vanity” and the crowd were left wanting more.

The crowd turn back the years and replicate the hey days

The second set saw Justin adorn the acoustic guitar for the most part. “Family Life” had the crowd singalong with Justin right from the start. As the band slipped on stage one by one, you could feel the songs built up until the acoustic songs made way for the crowd pleaser, “Whitecoats”. Up next, the band were at their absolute peak with “Vengence”. You could feel the frustration of the past 18 months in the voices of everyone in the building. If you thought the night couldn’t get any better, a face from the past, Ed Alleyne Johnson, long term friend and former member, joined the band for the rest of the evening and made an incredible impact as “Innocence” maintained the intensity. Long standing member, Marshall Gill was “missing” due to “personal reasons” but Ed’s fiddle playing gave some real credibility to the remaining songs as he had been involved with the band in late 80’s for 6 yrs. Justin did comment that the band were “not match fit” but he joked, neither were the crowd. The band could do no wrong in the eyes of the audience as they were engrossed in the performance as time slipped by.

Forty years gone in the bat of an eye and an immersive three hours of indulgence with the final song “Green and Grey”perhaps predictable, but much welcomed by the partisan crowd. With the remainder of the gigs sold out, there’s still a hunger for New Model Army and Justin Sullivan’s insatiable song writing will make sure they are catered for. More gigs and tours planned for 2022 to keep those vested in the band happy.

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Frank Carter and the Rattlesnakes get Sticky in Glasgow

22nd November 2021

BARROWLAND BALLROOM – GLASGOW 22nd NOVEMBER 2021

Frank Carter returned to Glasgow’s famous Barrowland Ballroom, after 18 months, to another packed venue. He had relished the gig upon his first visit and even more so this time after being in lockdown since early last year. With a new album just released, he and his co-conspirator Dean Richardson had been kept busy during this time. Frank drafted in a few guest artists for the new album “Sticky” and two of them were part of the show.

Cassyette has a striking look. Her long blonde locks, spiked on top, were complemented with a goth/punk look. Her other two band members certainly had a Rockstar look about them as well. The electro-infused pup punk/metal kicked off a high energy night in Glasgow. Cass has released a number of singles throughout the lockdown in 2020/21 and they tested the Soundsystem to its limits. The heavy low sub-bass frequencies had the entire building reverberating. The live drums and edgy metal guitar brought the heavy electro backing tracks alive and Cass used the music platform to sing of personal loss and society’s brainwashing and alienation of anyone wanting to express themselves. Highlights of the night were “Dark Goth”, “Petrichor” and the huge dramatic sounding “Prison Purse”.

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Lynks, electro/EDM drag pop with some real self-deprecating humour. In your face, challenging, smart and funny. With some wacky choreography from what looked like rag doll dancers, it was nearly 30 minutes of pure entertainment. Lynks commented that he thought he looked like a character from the computer game “Little Big Planet”. There’s been a different mask every performance and knitwear seemed to be the theme. Lockdown has seen a lot of singles and EP’s being released from DIY artists and Lynks has followed the trend. But that’s where any trend following finishes as the music is very different from the mainstream. The tongue in cheek look at life, “How to be successful” kicked off the night. Taken from an EP “Smash Hit’s vol:1” it certainly amused the busy room. The crowd had filled the venue in preparation for the main act but certainly got more than they bargained for. Lynks has polarised opinions at some venues but not Glasgow. The welcome was warm and the non-stop visuals from the provocative dancing was eye-opening at times. Lynks engaged with the crowd to the point of staring at one young man on the barrier and jokingly inviting him backstage, much to the amusement of the crowd. It of course was done “In the best possible taste” to quote Kenny Everett’s outlandish old TV comedy character. With songs like “Everyone’s hot and I’m not” and “Str8 Acting”, Lynks wants to challenge but be himself. The mask allows him to freely express himself and that he did, in raptures.

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The massive stage in Glasgow suited Frank Carter’s performance as he could mark every inch of his territory with ease. Unfortunately, the chaos had to be controlled as Frank came on sporting a sling on his left arm. An injury picked up on tour a few days previous but he would soldier on. The crowd were already suitably loosened up for him arriving and just as well as he opened with “My Town” from the new album “Sticky”. No Joe Talbot (IDLES)who duets on the album but Frank carried it off on his own. The crowd had the famous bouncy floor of the ballroom in full use right from the start. The new album would feature heavily throughout the night but there were of course some essential favourites slotted into the set. “Wild Flowers” and “Tyrant Lizard King” were up next as the early album essential songs had been replaced with the more accessible singalong tunes.

There was still enough for the hard-core fans and the new album certainly goes some way to retain them. There are some great new songs on the latest album and “Cupids Arrow” is one of them. Cassyette made a welcome reappearance for “Off with his head” as she joined Frank on stage to sing their duet live. Of course, it’s not all about Frank, as the Rattlesnakes are part of his DNA and non-more so than Dean Richardson, who almost commands as much attention as Frank as he wields his Fender Telecaster-like a weapon. Both Dean and Frank ventured over the barrier on separate occasions but it was almost one-way traffic as the constant crowd surfing over the barrier tested the security to the max. Franks customary stand-up surf of the crowd, saw him orchestrate proceedings right in the heart of the mosh pit. There were some hilarious moments as he would rip into some of the audience for either grabbing at him or getting a bit too boisterous.

Frank demands a safe space for his fans and he watched over them like a hawk. One lad, Calum, held up a sign berating Frank and it was enough to earn him a song on the stage. To be fair, he murdered “Devil Inside” but the crowd loved the banter. Thankfully, Frank took ownership of the mic and Calum launched himself from the stage and back into the pit, a fair achievement as Frank commented his days of attempting to fly that gap are over! Another duet and this time it was Lynks who returned to the stage, resplendent in a red sparkling figure-hugging sequined bodysuit, complete with a devil mask and horns. He stole the show with “Go get a Tattoo”, another new song from the “Sticky” album. Frank took a few moments to recall the last time he was in Glasgow and how up to that point, he was on a high but during that period, his personal life altered and ultimately took him to the edge of his sanity. He wrote the song “Take It to The Brink” based on this testing time. The main set was closed out with “I Hate You”, as Frank intimated, he couldn’t leave it out of the set as he had done during the tour, but being in Scotland, he wanted to hear the crowd in full voice singing it back at him and they didn’t disappoint.

It took a few minutes for the band to return and Frank laughed at the crowd for singing “one more song” as he told them to sing “three more songs!!!” and not short sell themselves. So, three more it was and the Glasgow crowd showed why so many bands never miss out the barrowlands. The crowd loved “Crowbar” and they made the most of the extended set. The night closed out with “Original Sin”, the final song from “Sticky” and another song that has a duet but unfortunately, Bobby Gillespie (Primal Scream) was not in attendance. A local son of Glasgow but the crowd more than made up for his absence.

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Pillow Queens reign in Edinburgh

15th November 2021

The rise and rise of Pillow Queens was somewhat put on hold due to Covid but they are back with a bang. Sold out gigs up and down the country bodes well for the future and with a new album on the horizon, it won’t be long before they’re back out on the road. Edinburgh was the third last date of their current run of dates and sold out not long after tickets went on sale. The Voodoo Rooms was a fantastic setting for their first gig on the capital.

Teose are an indie three piece from Glasgow formed in late 2019. The band is made up of Melissa Brisbane (guitar/vocals), Sean Mason (bass) and Jordan Thomson (drums). With a raft of singles and a debut album released in 2019, the band grabbed the opportunity to share their edgy, melodic melancholy, dreamy indie music. The album, “I feel so insecure” certainly didn’t reflect the performance as the band relished the opportunity to play to a sell out crowd.

https://www.facebook.com/teose.band/

Pillow Queens took the stage to a packed out room. It’s a year of firsts for the band and if an Edinburgh gig wasn’t on their bucket list, it certainly should go down as memorable! The set list gave the audience the chance to hear all the tracks from their album “In Waiting” played live and showed what strength in depth they have. As the crowd faithfully mouthed the words to almost every song, the band were in good company. From the opener “Holy Show” right through to “Liffey” the band were effervescent. There was a heart felt cheer as every song was announced and the delight on the faces of the crowd was magnified by the band. The band suggested the crowd slow dance or do whatever at the beginning of “Harvey” and the lush dreamy vocals were complimented beautifully by the transcendent chords.

Delightful anecdotes between songs also brought about some riotous laughter as stories of blown out tyres and broken trouser zips educated the audience of what life on the road is really like. The band did say they were feeling slightly jaded as the tour was nearing an end but they must be living vicariously from the crowds energy. “How Do I Look” had the room bouncing mid-set and the band maintained the vibe even though the tempo dipped for “Gay Girls” and “Donaghmede”. James Corden was blown away by the band earlier this year and up and down the country, the feeling is mutual as Pillow Queens lived up to the hype in Edinburgh.

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