Riskee and the Ridicule : New Single

15th July 2020

Riskee and The Ridicule honour New York singer-songwriter Lana Del Rey with their own unique take on her hit ‘Young And Beautiful’

New album ‘Body Bag Your Scene’ out now via Bomber Music

“A bombshell of challenging themes.” Kerrang!

“A sound that belongs entirely to them.” Clash

Not a band you can second guess, unpredictable Kent punks Riskee and The Ridicule follow-up their first lockdown release in May, the seething anger of the Brexit-baiting single ‘Blue Jacket’, with their own respectful take on New York pop singer-songwriter Lana Del Rey’s award-winning 2013 smash-hit, ‘Young And Beautiful’. This, however, is no guilty pleasure for the band, who are longtime fans of Lana’s work.

“Lana Del Rey is one of pop music’s best storytellers,” states frontman Scott Picking. “There’s something about her music that is so intense and descriptive that it’s movie-like and in these times of being locked down, that type of escapism has been a personal paradise. In choosing this song, I knew I could bring something different vocally and musically, we were excited about changing the song dynamically while staying true to the emotiveness of the original.”

Despite being isolated from each other at the time, Riskee and The Ridicule were able to create a video for ‘Young And Beautiful’ by recording their individual parts at home, allowing their former bassist David Thomas to collate them together with footage from one of the bands early hometown gigs.

“The video feels like a nod to both our early days as a band, just us and our own motivation, as well as where we are all at in this unique moment, one that we’re not likely to be in again any time soon (hopefully). ‘Young And Beautiful’ is a song I’ve wanted to do for a long time,” confesses Scott.

Watch the video for ‘Young And Beautiful’ HERE:

2019 was an amazing year for the band and saw the highly anticipated release of their third album ‘Body Bag Your Scene’ well received by both fans and critics alike, with their sets at Rebellion and Boomtown proving to be real highlights of 2019

Body Bag Your Scene was written and recorded at breakneck speed, a reflection of its reactionary nature to the daily uncertainty projected upon us. Taking aim at the powers that be (“Our Time”), sexual exploitation (“Sex”) and the barrage of contradictory news (“Black, White & Grey”) it’s a record that holds a mirror to the world with simultaneously acerbic and humorous analysis.

Growing up in Kent, Riskee and The Ridicule have always been a staple of the UK DIY scene, but their fervent attitude and unique “Grime-Punk” rallied troops of dedicated fans across the world. Musically, the band meld their genre-spanning influences with their intent to challenge preconceptions. On the surface they may appear easy to read, when in fact Scott Picking (Vocals), Jimbo Aglony (Guitars, Vocals), Jordan Mann (Guitars, Vocals) and Matt Verrell (Drums, Vocals) are a gang of progressive punks who form a powerhouse of change. Full of fierce energy, the Kent quartet have motives resting among The Clash with relentless streams of wit, literacy, and observational accuracy akin to The Smiths and a background in the UK Grime scene.

There is much more to come. You can be sure that Riskee and The Ridicule will be back onstage as soon as the world allows.

Find Riskee and The Ridicule online at:

INSTAGRAM / FACEBOOK

Pauline Murray – New Album and Single

23rd June 2020

PAULINE MURRAY ANNOUNCES NEW SOLO ALBUM

‘ELEMENTAL’ RELEASED 25^thSEPTEMBER VIA POLESTAR RECORDS

NEW SINGLE ‘SECRETS’ OUT TODAY!

PRE-ORDER ‘ELEMENTAL’ – PRE-ORDER : ELEMENTAL

Pauline Murray, singer, songwriter and performer with iconic first-wave punks Penetrationand 80s pop ensemble the Invisible Girlswith infamous Mancunian producer MartinHannett, releases her third solo album ‘Elemental’ on 25^thSeptember.

Recorded in France during October 2016 and completed at their own Polestar Studios, Newcastle-Upon-Tyne in 2019, the album continues her long-term partnership with Robert Blamire. Additional musicians, including Penetration’s Paul Harvey, Steve Wallace and Ken Goodinson are augmented by the keyboards of Steve Hopkins from the Invisible Girls and RoxyMusic’s Paul Thompson on drums.

The ten songs on ‘Elemental’, all in minor keys were written by Pauline Murray, originated on acoustic guitar and electronically, with full production by Robert Blamire. Their subject matter includes topics such as the power of nature, emotional ties, reflections, depression, missing persons and ancestors.

Pauline Murray’s distinctive vocals, lyrics and melodies are matched musically to create an original work of high quality and you can hear the first results today on the new single ‘Secrets’. Originally written and recorded on a 4 track Teac tape machine in the late 1980’s, the only version that existed was a copy on cassette as the original tape was long lost.

“It was mixed to a cassette and left in a box for years,” explains Pauline. “When we were recording the new album, we remembered this track, found the cassette but couldn’t find the original master tape. All the parts were there, and it sounded really good, but the recording was unusable. We decided to re-record it and tried to replicate the original arrangements, keyboard parts and sounds whilst maintaining the original atmosphere. It’s amazing that something hidden away for so long can assert itself fully into the here and now. Like a secret being revealed.”

“Lyrically, it’s about the pressure to conform to social perceptions and expectations,” she continues. “having to rely on body language and energy exchange to see what’s really going on.”

“The idea for the video ties in with my four paintings featured on the album sleeve. It reflects the lyrics – I’m putting on a face to hide. A single camera was set up in a dark room lit only with a make-up mirror. I mixed the paints beforehand and did the face painting in a single take. The Volvo footage was shot around the same time that the song was written. We only found it recently whilst digitising some old VHS tapes. The performance video was shot earlier this year at Polestar Studios. Rob (Blamire) edited it all together.”

‘Secrets’ perfectly sets the scene for the classic synth-led pop displayed on ‘Elemental’, yet tracks like ‘Dark Clouds’, ‘When We Were Young’ and ‘Unbroken Line’ reflect a much gentler side. A shift away from the guitar driven Penetration sound, this new set of songs is more in tune with Pauline’s Invisible Girls album and working with Steve Hopkins again on keyboards, adds continuity to the project. ‘Elemental’ also features the renowned rhythmic talents of Roxy Music drummer Paul Thompson.

“As a 15-year-old, I was a big Roxy Music fan,” enthuses Pauline. “I would never have thought that their drummer Paul Thompson who played on all those fantastic records would be playing on my album all those years later. As a 15-year-old fan, I wouldn’t even have envisaged making music myself! Paul came into our studios with Lindisfarne and we plucked up the courage to ask him to play on some of the tracks. It was really exciting when he agreed and an absolute buzz to hear him playing on the songs.”

‘Elemental’ is released 25^thSeptember via Polestar Records.

WEBSITE / FACEBOOK

CRASS REMIX – FEEDING 5,000 PROJECT

8th June 2020

CRASS – THE FEEDING OF THE FIVE THOUSAND REMIX PROJECT

‘NORMAL NEVER WAS’ – GLASSER AND rLr (RICHARD RUSSELL) REMIXES 12” EP TO BE RELEASED JULY 24^thVIA CRASS RECORDS

ALL PROCEEDS WILL GO TO REFUGE – WWW.REFUGE.ORG.UK

FURTHER REMIXES TO FOLLOW

Watch the video for ‘Bomb’ – the rLr remix HERE:

Late last year, anarchist punk icons Crass took the step of making the original separate track stems of their seminal debut album ‘The Feeding of the Five Thousand’ available as a free download on One Little Indian Records. With a call to take the original sixteen track recording in its pre-mix state, the intent was for people to create their own remixes and interpretations and breathe fresh life and ideas into this revolutionary music.

First released in 1978, ‘The Feeding of the Five Thousand’ pre-empted rap and grime in its hard-on-the-beat, fast fire, uncompromising lyrics and the iconic sounds and messages are ripe for reinterpretation. Crass encouraged people to rip apart the sound and ideas and create something new, then send the files to Crass Records for future releases and charitable projects. The message is DIY like it never was before. “Yours for the taking, yours for the making,” Crass said. “You do it, we’ll stew it. Mix it backwards, forwards and upside down. Turn up the heat and fix it with a downbeat, bring in the trumpets and let ‘em blow, let the piper call the tune to let us all know, it’s up to you to do what you like with it. The only limitation is your imagination.”

The response was fantastic with close to one hundred submissions from professionals, amateurs, do gooders, do badders, DIYers and give it a tryers twisting and morphing the sounds.

The first results of this creative process are ready to be heard and released in the form of a twelve-inch EP (alongside a limited 1000 red vinyl pressing) of remixes by producer and XL Recordings honcho Richard Russell under the guise rLr, who tackles and further subverts the anti-war anthem ‘They’ve Got A Bomb’, turning it into a stuttering, rhythmic rattle, whilst Boston, Massachusetts experimental synth-pop artist Glasser takes aim at ‘Do They Owe Us A Living?’ and takes the original songs simple, direct messaging into entirely different realms of rhythm and distortion.

“Crass is a great example of futuristic art and lifestyle; anchored in communal ethics and collective spirit, moving beyond mere defiance of authority and into radical ideas of love and creativity,” explains Glasser. “I’m so glad I had the chance to play around with their recordings. It’s basically the best gift a fan could get from the artists they admire.”

Crass founder Penny Rimbaud can be heard talking to Richard Russell on NTS Radio on his monthly ‘Making A Mixtape’ radio show, talking through the remixes and selecting a suitably eclectic range of music.

Radio Show Link

‘Normal Never Was’ 12” EP out July 24^thon Crass Records.

All monies raised from the project will go to the charity ‘Refuge’ – www.refuge.org.uk

Refuge provide specialist support for women and children experiencing domestic violence with a national network of specialist services and opened the world’s first safe house for women and children escaping violence in 1977. On any given day, Refuge’s services support 3,000 women and children and the recent lockdown has seen calls to the charity’s helpline increased by two-thirds and website visits have risen nearly tenfold. The charity remains committed to working towards a world where women and children can live in safety, free from fear.

Crass are still accepting contributions to the project with the final date for submissions being August 1^st. “But don’t let that stop you,” say Crass. “Make your own album of it and get it out there but let us know if that’s what you’re up to. We’re all in this together. It’s you who makes the world around you, the mix is all yours. Tell it loud, tell it proud.”

1,2,3,4. Do they owe us a remix?

Download the stems : HERE

Pre-order the ‘Normal Never Was’ 12” EP: https://indian.co.uk/shop/crass/normalneverwas

For further information visit:

PENNYRIMBAUD – FACEBOOK

CRASS – FACEBOOK / WEBSITE

The Lovely Eggs – New Single 10th July

4th June 2020

PSYCH-PUNK DUO THE LOVELY EGGS ANNOUNCE NEW SINGLE ‘LONG STEM CARNATIONS’ TO BE RELEASED JULY 10^THON EGG RECORDS

UK DATES ANNOUNCED FOR FEBRUARY 2021

NUMBER ONE SELLING NEW ALBUM ‘I AM MORON’ OUT NOW!

The Lovely Eggswill release brand new single ‘Long Stem Carnations’ on Friday July 10 on Egg Records. The track, taken from their number one selling album ‘I am Moron’ will be released on limited-edition coloured 7” vinyl. Backed by brand new B side ‘The Voyage’, ‘Long Stem Carnations’ was inspired by the Mars One programme, a global project which aims to establish a permanent human settlement on Mars. Applicants are offered a one-way ticket- never to see earth again. This fascinated Lovely Eggs Holly and David who drew parallels between this mission and their own isolation as a band. ‘Long Stem Carnations’ is a funeral march for society’s outcasts and freaks. It’s an existential voyage in cosmic form. “Is there an internal self-destruct button that cannot be destroyed?” said Holly. “We are all the pilots of our own ship. You’ve just got to remember it’s important to try and hang on and see the mission through.”

‘I am Moron’, bears the fruit of The Lovely Eggs second collaboration with Grammy award winning producer Dave Fridmann (Flaming Lips, Mercury Rev, Mogwai, MGMT, Tame Impala) at his studio in upstate New York. It captures the zeitgeist of post Brexit Britain and mysteriously seems to point towards the unimaginable future we’re now living in. Many songs on the album are about isolation and living a new way in a different world. When The Lovely Eggs made ‘I am Moron’ it was like they had a crystal ball.

Sonically, the album brings with it a mix of heavy psych, pop and strangeness. Some songs flicker between an earthly realism and the otherworldly loneliness of a one-way space mission.

Upon its release ‘I am Moron’ went straight to Number One in the UK Independent Album Charts. It also took the Number One spot in the UK vinyl charts as well as the UK Independent Album Breakers Chart.

Debut single ‘This Decision’ unfurled a seething two-minute-and-fifty-seconds of rage, reaching Number 1 in both the Official UK Physical and Vinyl Charts, with follow up single “Still Second Rate” ironically reaching Number 2 in the UK Official Physical and Vinyl charts.

‘I am Moron’ was declared “Album of the Day” by BBC 6 Musicand received critical acclaim from the national press. The Sunday Timescalled it “A Triumph”, ★★★★ “I am Moron is much cleverer than it would have you believe”- The Telegraph, ★★★★ – I Paper, 9/10- Louder Than War, “An act of fine calibration of noise and sweetness”- Q, “Packed with their observations of modern culture and the utter madness of the current world”- Sunday Mirror, Album of the month- Classic Rock, “Their Best Record Yet”- Long Live Vinyl, 8/10- Uncut, “Anarcho spirit dominates”- MOJO, “Excellent”- Brooklyn Vegan.

Despite all of this deserved praise and success, the band have obviously been gutted to not be able to play live throughout this period, and due to the on-going Coronavirus situation, have made the tough decision to cancel all scheduled live appearances this year and have focused their attentions and hopes on a UK tour in February 2021.

“This is an absolute gutter for us but with little direction from the government, we don’t want to put people’s safety and lives at risk. We imagine that even by autumn even if gigs CAN happen, they’ll be very different to the usual Lovely Eggs experience and we don’t want that! We want the normal Egg-shaped chaos that you’ve come to expect from a Lovely Eggs gig. So, we’ve taken the decision to postpone our touring until next year. All tickets for the old shows originally scheduled for April and rescheduled for July are now valid for the new shows in February. In the cases where we have seen a venue change/upgrade the tickets for the original show in that city remain valid. Our shows at O2 Ritz in Manchester and Heaven in London have been rescheduled to May. We really hope people hang onto their tickets, not get refunds and join us next year. We live to tour and tour to live. This is our life and our livelihood. Once this shitstorm is over. We want a party like no other!! Looking forward to seeing you all next year!”

The Lovely Eggs are willfully independent. With NINE BBC 6 music sessions under their belt, as well as sessions for Radio One and Radio X, they have enjoyed huge support from UK radio. And they continue to sell out gigs across the UK without the help of management, booking agent or record label support.

They have produced six albums. Fifth album “This is Eggland” saw their first encounter with Dave Fridmann as producer/mixer after Holly left a drunken message on his studio answerphone asking him to work with them. Dave got back in touch with them a year later and Eggland was born. It was released in February 2018 to critical acclaim, was added to the 6 music Playlist and announced by HMV as one of their Top 50 Albums of the year.

With observational and often surreal lyrics about life The Lovely Eggs have a powerful raw sound that creates the sonic illusion of a band twice their size and have become known for their ferocious yet joyous live performances. They’re undoubtedly the most real band in Britain, operating in a world when true authenticity is hard to find.

The Lovely Eggs are one of the most exciting, innovative and genuine bands of the Great British Underground. Welcome to their world. Welcome To Eggland!

Catch the band live at the following dates in February 2021:

Friday 5 Gorilla MANCHESTER (SOLD OUT)

Wed 10 The Bullingdon, OXFORD (Original show tickets still valid)

Thur 11 The Loft, SOUTHAMPTON (Original show tickets still valid)

Fri 12 SWX, BRISTOL (Venue change. Fleece show tickets still valid)

Sat 13 Concorde 2, BRIGHTON (Venue change. Komedia show tickets still valid)

Sun 14 The Garage, LONDON (SOLD OUT)

Mon 15 Junction 2, CAMBRIDGE (Venue change. Portland Arms show tickets still valid)

Tues 16 Castle and Falcon, BIRMINGHAM (SOLD OUT)

Wed 17 O2 Academy, SHEFFIELD (Venue change. Network show tickets still valid)

Thurs 18 Metronome, NOTTINGHAM (New date announced!)

Fri 19 Phase One LIVERPOOL (New date announced!)

Sat 20 The Brudenell Social Club, LEEDS (SOLD OUT)

Thur 25 The Cluny, NEWCASTLE (Original show tickets still valid)

Friday 26 Stereo, GLASGOW (Venue change. CCA show tickets still valid)

Sat 27 The Mash House, EDINBURGH (Original show tickets still valid)

Sun 30 May O2 Ritz, MANCHESTER Bank Holiday Extravaganza with support from Phill Jupitus (Original show tickets still valid)

Fri 4 June Heaven, LONDON with support from Rob Auton (Original show tickets still valid)

Tickets available HERE:

Pre-order the new single “Long Stem Carnations” HERE

Order the new album ‘I Am Moron’ http://www.thelovelyeggs.co.uk/shop.php

Find The Lovely Eggs online at:

WEBSITE / FACEBOOK / INSTAGRAM

Dealing With Damage – New Killer E.P. Out Now

19th May 2020

**London post-hardcore mob DEALING WITH DAMAGE are back with a new EP and they’re premiering a video for the lead track exclusively with Vive Le Rock!**

‘Lady Day’ is taken from the 3-track digital EP Home Security, which comes hot on the heels of the band’s debut album Ask The Questions, released in February.

‘Lady Day’ explores themes of racism and sexism through the life story of jazz legend Billie Holliday. Says frontman Ed Wenn, “’Lady Day’ points to the suffering of women (and women of colour in particular) by the music industry over the years. Andy [Myers, guitar/vocals] and I took moments from the life of jazz singer Billie Holiday to use as examples of the terrible treatment dished out to her and her peers, but it’s impossible not to be moved by the strength and resilience of someone like Lady Day and so we wrap up the song as something of a celebration of her life and how – despite the tragedy of much of it – her work could be symbolic of the triumph of the human spirit over the racist, sexist, machine that she worked under.”

The quartet, who comprise former members of such semi-legendary bands as Sink, K-Line, Done Lying Down, Jerrybuilt, Stupids and The Scum Children, recorded the EP at No Recording Studio near Rayliegh in Essex with engineer John Hannon (Hundred Reasons, Eight Rounds Rapid). The EP also features ‘Making Plans For Misery’, which casts a stark eye on the use of trade sanctions by the US and EU.

There’s also a cover of ‘Dust’ from Texas psychonauts 13th Floor Elevators’ undervalued second album Easter Everywhere.

Dealing With Damage // pic: Ollie Tarbochski

FACEBOOK // BANDCAMP – HOME SECURITY E.P.

Riskee and the Ridicule – New Single

19th May 2020

Riskee and The Ridicule return with new single ‘Blue Jacket’

New album ‘Body Bag Your Scene’ out now via Bomber Music

Watch the ‘Blue Jacket’ video

“A bombshell of challenging themes.” Kerrang!

“A sound that belongs entirely to them.” Clash

Screaming from the lockdown, even pandemic protecting masks cannot muffle the anger and bile spilling from eclectic Kent punks Riskee and The Ridicule and their new single ‘Blue Jacket’.

Referring to the constraints that leaving the EU poses, ‘Blue Jacket’ pokes fun at the ‘Brexit means Brexit at any cost’ ethos. It’s humorous, lyrically dark, yet musically happy. That offset makes for a stark contrast between the disappointment and anger in the words and the optimism in the music.

“We hate Brexit,” states frontman Scott Picking. “Musically It’s most likely going to cripple UK DIY touring bands on the mainland. Not only that, but with the way the world is so affected right now by COVID-19, we need unity more than ever. Nobody had a clue what they were voting for and people are still none the wiser and all divided.”

Body Bag Your Scenewas written and recorded at breakneck speed, a reflection of its reactionary nature to the daily uncertainty projected upon us. Taking aim at the powers that be (“Our Time”), sexual exploitation (“Sex”) and the barrage of contradictory news (“Black, White & Grey”) it’s a record that holds a mirror to the world with simultaneously acerbic and humorous analysis.

Growing up in Kent, Riskee and The Ridicule have always been a staple of the UK DIY scene, but their fervent attitude and unique “Grime-Punk” rallied troops of dedicated fans across the world. Musically, the band meld their genre-spanning influences with their intent to challenge preconceptions. On the surface they may appear easy to read, when in fact Scott Picking (Vocals), Jimbo Aglony (Guitars, Vocals), Jordan Mann (Guitars, Vocals) and Matt Verrell (Drums, Vocals) are a gang of progressive punks who form a powerhouse of change. Full of fierce energy, the Kent quartet have motives resting among The Clash with relentless streams of wit, literacy, and observational accuracy akin to The Smiths and a background in the UK Grime scene.

There is much more to come. You can be sure that Riskee and The Ridicule will be back onstage as soon as the world allows.

Find Riskee and The Ridicule online at:

Bomber Music Website

Facebook

Forty shades of The Monochrome Set

1st March 2020

The Monochrome Set

Beat Generator, Dundee

29.02.20

Leap years are a rare but regular occurrence and can be somewhat special. It can be true for some special gigs but you never know when they will come along. It had been 35 years since The Monochrome Set had graced Dundee with their presence and they did so with two great support bands. Formed in ’78 but it was 1980 before the seminal album “Strange Boutique”was released, so a 40th anniversary of that great album was very welcomed by those fortunate enough to attend one of the tour dates. The band have not sat on their laurels though and have released 6 albums since their reformation 10 years ago.

The Cathode Ray

A second night for the influential Edinburgh band and by all accounts, they saved their best ’til last. After they eased into their set with a blues style number “Lost and Found”, they played one of their regular set favourites “Train”. The twin guitars worked well as the band ramped up their 70’s influenced post-punk/pop. “Make Believe”was up next, and an early set highlight, “It Takes One to Know One”. There was some seriously good lyrical content weaved throughout their set and the songs “Eyes are the Window to the Soul”proved this. After “Another World”, the band played the title track to their recent third album of the the same name “Heightened Senses”. There had been some great lead guitar work throughout the night and it culminated with “What’s It All About”. The four piece were an ideal start to the evening and with the release of a new album and an E.P. it bodes well for the future.

FACEBOOK : WEBSITE : Punk4RT – PHOTOGRAPHS

The Cathode Ray // Live in Dundee // pic: Raymond Thomson

Stoor

Local favourites Stoor took to the stage and were given a warm welcome. It had been 2 years since I’d seen the band live and they wasted no time launching into their performance. The bands latest 2019 kickstarter funded album “Fleam” provided two tracks namely “Unlike Them”and “Chivers”. Another band firmly steeped in post-punk, flip between austere dark sounds and playful pop tunes at their beck and call. The band are no stranger to the odd instrumental and “Tungsten Rungs”a ‘B’ side from 1998 got it’s regular outing. The band finished off a solid performance of driving drum and bass rhythms with great classic edgy guitar work on their final track “Sure Beats Me”off their first self titled album. Another instrumental which wouldn’t be out of place on a Tarantino movie. Ever present and a willing inclusion onto any bill, Stoor continue to build their fan base and they cemented their popularity with a great support slot.

FACEBOOK : BANDCAMP : Punk4RT – PHOTOGRAPHS

STOOR // Live in Dundee // pic: Raymond Thomson

The Monochrome Set

With very little fuss, the band breezed on to stage like they were playing for friends. I first saw The Monochrome Set in Dundee in 1982 and it was one of the first bands I took pictures of. Bid made reference to the last time the band played at Fat Sams in Dundee in 1985 and there were a few voices from the crowd raise a cheer when he did so. There was no time for nostalgia as the first song was from one of their recent albums released in 2018. “I Feel Fine”set the tone for the evening as their newer material was prevalent throughout. One of their early tunes “The Jet Set Junta”, was up next, originally released on their 3rd album and title track from an E.P. of the same name. There’s a classic authenticity to the bands sound as the tell tale Rickenbaker bass and rich lush keyboards fill out the precious guitar tone. It doesn’t get an earlier than the next song as “Alphaville” their first release raised a big cheer from the crowd. The mix of old and new brings on “I Can’t Sleep” from their latest 2019 album Fabula Mendax. The new album gets an airing a few times amongst a mix of some older favourites. The 2012-2019 material is played throughout the set but it’s the old favourites from that iconic first album that stir the audience. “Love Goes Down the Drain” and “The Monochrome Set” received much deserved plaudits from the crowd. Andy Warren (Bass) remained poker faced for most of the night but he did break into a wry smile every now and then as the band playfully reproduced their recorded material. The band refused to leave the stage at the end of their set and played on for another couple of songs including “He’s Frank” which was shouted out throughout the night and finally played as a treat to the hard-core fans sporting the bands T shirts.

FACEBOOK : WEBSITE : punk4RT – PHOTOGRAPHS

The Monochrome Set // Live in Dundee // pic: Raymond Thomson

The Monochrome Set will continue to gig throughout 2020 and will tour The USA and Canada.

Frank Carter and the Rattlesnakes

14th February 2020

Glasgow Barrowlands

13th February 2020

“It is finally our pleasure to be in the motherfucking Barrowlands”– the diminutive yet domineering figure of Frank Carter announced his relish of finally bringing his merry band of rattlesnakes to the iconic ballroom in Glasgow, the spiritual home of rock ’n’ roll. It was a brief three-date offering where the band visited Manchester, Glasgow and London before they play an eleven date tour in the summer across Europe.

There were two support bands in Glasgow. The opening act from Canada, Cleopatrick is a great exponent of the two-man band that is increasingly popular. The obvious comparison to Royal Blood was surpassed as the electric rock-infused performance engaged the early crowd. Having toured with an impressed number of bands, Cleopatrick was a good fit for this tour.

FACEBOOK: WEBSITE

The main support saw New York’s Ho99o9(pronounced Horror) bring chaos and energy into the room and it rose exponentially as every song raised the intensity. Body Count and Bad Brains meets The Prodigy is an easy comparison to draw as the dark industrial hardcore electronic sub-bass-driven songs are overlayed by hard-edged guitar samples. The live drumming brought an authenticity to the performance but it was the twin fronted vocals of Eaddy and theOGM that stole the show. They took it in turns to drive home their brutal energy. A dynamic and relentless wall of sound saw many of the crowd in awe of what they witnessed. The new album Cyber Warfare provided the backdrop to the set but there was still room for some “My Way” from Frank Sinatra(sample) and a cover of The Exploited’s “Sex and Violence”.

FACEBOOK: WEBSITE

After the brutally raw energy of Ho99o9, it was down to Frank Carterto raise the bar. Resplendent in his shimmering shirt and slick suit, it’s a far cry from the half-naked tracksuit bottomed acrobat that we are used to seeing flying into the audience from the get-go. Frank stood on a riser at the back of the stage between the Keyboards and the Drums and he informed the crowd that the night’s entertainment would consist of material from all three albums and that participation from the crowd was mandatory. It wasn’t long before the entire audience sung along with Frank during the opening song “Why a Butterfly Can’t Love a Spider”. The latest album was well served as “Tyrant Lizard King” kept the audience wanting more from the focused frontman and he ventured down from his riser to tower over the crowd on a sizeable monitor front of the stage. He spent much of the evening darting from side to side on the stage but took his rightful place back there front and centre. “Juggernaut”and “Wild Flowers” were welcomed with riotous applause as the hardcore fans were rewarded with some earlier material before many visits to the new album throughout the set as it was nearly played in full. If the powers that be were ever looking for an alternative James Bond, then Frank did his best to audition for the part as “Love Games” coupled with Frank in his suit, almost had the feel of a bond theme.

The Barrowlands became a safe haven for women in the mosh pit as Frank highlighted the importance of respect and decency in venues and throughout the evening, the now customary social dialogues bring everyone together, at least for 90 minutes. An empathic version of “Anxiety”was an early highlight from the set as the mental health message hit home.

The frantic evening was brought to a close with “Crowbar”and “Devil Inside of Me”before the ever-present “I Hate You”brings it all to an end with the crowd in raptures.

FACEBOOK : WEBSITE : TWITTER : INSTAGRAM

Independent Venue Week – Beat Generator Dundee

2nd February 2020

INDEPENDENT VENUE WEEK

Beat Generator – Dundee

Dundee has some great history when it comes to independent venues and live music. Dundee has also had some very cool record shops that nurtured the taste for independent music acts. Groucho’s is one of the most highly regarded shops but there have been many more through the years i.e. Bruce’s, Chalmers and Joy, I&N and Rockpile. Today, apart from the afore mentioned Groucho’s, there’s a new kid on the block in the form of Assai Records. They have injected a new wave of vinyl buyers into Dundee and having recently moved into the town centre from its Broughty Ferry beginnings, Assai Recordshave been involved in a growing number of artist album launches. Twin Atlantichad chosen Dundee as one of the locations to launch their new album “Power”and it proved to be an incredible start to the Independent Venue Musicweek.

Twin Atlantic

29.01.2020

Beat Generatorhave been involved with Independent Venue Weekfor many years and it provided a great intimate atmosphere for the band. This was not a normal tour for Twin Atlanticby any means as they admitted, they would never normally do more than three consecutive dates, but they had lined up a 12-day tour without any days off, so it was a challenge. The stage was crammed with the bands gear and the barrier was bursting as the band took the stage. The venue was sold out as the attraction of seeing the seminal Scottish band up close and personal was too great an opportunity to miss. No nonsense, no frills, just the band and their new album. The album “Power”was released just a few days prior to Independent Venue Weekbut already, the eager crowd seemed to be fully up to speed with the songs and lyrics. Sam Mctrustywas in full flow right from the beginning of the show and his enthusiasm spilled over into the crowd.

Sam Mctrusty // Twin Atlantic // Beat Generator // pic: Raymond Thomson

Although the new album seemed to have polarised the opinions of the critics, the band made the most of the intimate setting to engage with the fans in the room. The heavy presence of synthesised music in the new album brought with it a sense of rapture as the expression of the faces listening was that of adoration. Seeing the band up close and personal instead of 50yds away in a field, endeared the music and the band to the sold-out crowd. For 40 fabulous minutes, the crowd sang along and raised their arms in unison as the band played through the album. It was a powerful start with “Oh Euphoria”and “Barcelona” kicking off the proceedings. It is a tight stage at the best of times but somehow the band managed to shoehorn not only their expansive range of gear, but there’s an engineer on-stage to mix their sound. The tempo increased with “Novocaine”before there was an odd electronic interruption of a 40 second album filler. The new musical direction the band have taken was best served by the songs “Ultraviolent Truth”and “Messiah”as there were overtones of Depeche Mode. The final song of the evening said it all, “I want you to praise me, save me, show me no mercy”,there was nothing but praise for the band as they left the stage leaving the crowd wanting more. No encores but Dundee won’t have to wait long for the full Twin Atlanticexperience as they will return in March.

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VF Lambda / Franky’s Evil Party / Strange Bones

31.01.20

The second gig of the week for Independent Venue Weekat Beat Generatorsaw three very different bands have one common similarity, the singers all removed their shirts during their performances to reveal their tattooed torsos. If the music was not enough to entertain the masses, then the singers in each band certainly captured their attention.

Johnny // VF Lambda // Beat Generator // pic: Raymond Thomson

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Local favourites VF Lambdahave been working on the premise that they mix up their set-list each time they play. They have a growing catalogue of songs that desperately need recorded so they can share them with their growing fan base. The band are an eclectic bunch and their musical influences just as varied. Stoner rock/grunge/rock ‘n’ roll might best describe them, and they have a 70’s vibe that makes you feel at ease when they play. They challenge you and make you sit up and pay attention. The storybook format of their lyrics was engaging and the subjects wildly diverse. Their signature tune “Natasha”settled the performance and it flourished from there on. The amusingly titled “Poppin Wheelies”was followed by “Coffee”.A new song to me“The sign said You Are Here… and I was” kept the intrigue going beforethe final song “Big Tam”rounded off a memorable performance.

Franky’s Evil Party // Beat Generator // pic: Raymond Thomson

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Hailing from Dumfries in the South West Coast of Scotland,Franky’s Evil Partyare no ordinary run of the mill band! Drums/Bass/Guitar/Synth and Saxaphone are all well established instruments but rarely played with such disdain and possess such primal venom. Controlled yet chaotic rage pulsed throughout the music and the calamitous energy was under pinned with the hard-hitting drums and samples. There was a chronic unease in the audience as they weren’t sure what to expect but like all good horror films, you know you should probably run but you’re drawn to the danger. Like Iggy Popand early Nick Caveperformances, the singer looked disconnected, de-void of emotion, almost zombie like at times but intrusively immersed in his own world, pacing up and down the tight stage, like a prisoner in solitary or a captive animal trapped in a zoo. A flavour of early Brithday Partyin the first song “Yabba” before we got some full on rhythmic beats not unlikeJah Wobble eraPiL and a hint of The Stone Roses thrown in as“Blonde” was the second song to be played. The third song “Big Family”started off with some melodic picked guitar before a full on onslaught of hard hitting drums and chaotic guitar kicked in. It was a sprawling multi-faceted song which again, harked back to Nick Cave’s Birthday Party. We were treated to some psycho“Disco” next as the pumping bass and straight drum rhythm was overlayed by edgy/angular guitar. The vocal was harsh and heavily affected but the psychotic rhythm was addictive. “Paradise”was a crushing tune with yet more screaming and heavy drumming underpinned by deep analogue bass from the synth. There was a swap of instruments next as the drummer leapt out from behind his kit to play saxophone and the guitarist jumped on the kit. The sax had a wonderfully eerie effect via delay and again, the vocals were harsh and demanding. The synths were heavy but the sax was uplifting. The aptly named “Morpher”showed there’s more to this band than meets the eye as it subtly morphed into the final song “I Hate Men”which reminded me of The Pop Group. A demanding performance from a must see band.

Bobby // Strange Bones // Beat Generator // pic: Raymond Thomson

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No stranger to Dundee’s Beat Generator, Strange Bonesgot a riotous welcome from the eager crowd as VF Lambdaand Frank’s Evil Partyhad both done their best to kick start the evening. It didn’t take Bobby Benthamlong to breach the barrier into the crowd and be part of the mosh. The intensity of the earlier performances was the perfect platform to launch the frantic four-piece from Manchester. The rhythmic assault of The Prodigy/ Qemistsmeets the energy of Frank Carterpossibly best describes Strange Bones, but they have created their own hard-hitting fusion of electro/punk rock. “Napalm Uber Alles”is a killer track and what a way to start their set. Boom! The band were off the scale. It was straight into “Here Come the Wolves” as the intensity continued and the mosh pit was frenzied. Before anyone had time to take a breath, “We The Rats”had the crowd bouncing and in full voice at the chorus. Next up was a new tune “Underdogs” as Bobby thanked the crowd for turning up. It is an absolute banging tune. The tempo dropped slightly for “Snakepit” as the air raid sirens wailed at the beginning of the song before the screaming guitars kicked in. It was time for some full-on crowd participation as “S.O.I.A”had everyone chanting along. The frenzy continued as “Energy”was up next. There was no Stormzyin the house but the band created their own storm. The penultimate song“Vicious” was brutal and lead straight into the old favourite “God Save the Teen”,which saw Bob leap the barrier and sit the entire audience down on the floor before he demanded they smash into him as the chorus kicked in. There was nothing left to give, the band had literally expended blood, sweat and tears into their performance.

Vic Galloway (DJ) / Magnum Haus / Walt Disco

01.02.20

Magnum Haus // Beat Generator // pic: Raymond Thomson

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Radio Scotland DJ Vic Gallowaytook the stage to introduce the bands and highlight what Independent Venue Weekis all about. He is a champion of unsigned bands in Scotland and has had both bands in for a radio session on his show. The third night of gigs at Beat Generatordemonstrated the diversity of music that plays in venues up and down the country. Without independent venues and bands will to travel the width and breadth of the country, the life blood of innovation would suffer. The bands were almost polar opposites from the evening before where Strange Bonesliterally took the roof off, it was a more polished and relaxed approach from Magnum Haus. The Alt-R’n’B local band certainly had no intention of removing their shirts or leaping the barriers to mosh with the crowd but they had their own mandate. The band are no strangers to lively gigs and critical acclaim as they were formed by former members of Model Aeroplanes who had some success four years ago, ultimately winning awards and touring the UK extensively. Model Aeroplanes are no more though and the current members of Magnum Haus have moved on to a new vibe and are heavily influenced by R & B, Soul, Hip Hop and Jazz. It was a very tight performance which oozed class. Considering Dundee has produced such great artists as Average White Band, The Associatesand Danny Wilson, the band had a strong desire to match their peers. There’s almost a nod to Jamiroquaiin some of the material and it’s “Shuga”that draws the loudest cheer of the night as it reverberated through the crowd. There was a laid back confident vibe throughout out the set and the crowd gave the band a great cheer when they finished. Magnum Hauswon over a few hearts and minds with their performance.

Walt Disco // Beat Generator // pic: Raymond Thomson

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The final band of the three night bonanza for Independent Venue Weekand it was well worth waiting for. Walt Discofrom Glasgow have increased their band numbers to six and they filled the stage, there was barely room for the boys to move but somehow they managed. Walt Discohad just done a session for Vic Gallowayand he introduced them onto the stage. As Vic shouted “Young, Hard and Handsome”the band appeared and it is hard to challenge that statement! Looking like a young Ultravox from the John Foxxera, the band are a throw-back to the halcyon days of late 70’s early 80’s electronic pop. James Potter (Vocals) has more than a passing resemblance to Foxx and Billy Mackenzie. In fact, when he started to sing live, I am sure I was not alone in wondering what it must’ve been like listening Dundee’s famous son live. As the goose bumps and hair rose on the back of my neck, the first song “Hey Boy”really grabbed the crowd and there was an instant rapport with the audience. James engaged eye to eye with the eager audience on the barrier and loomed large over them as he reached over their heads like he was acting out a Shakespearian play. There’s more to the band than just the vocalist though. Visually, there’s a lot going on as the bass player and guitarists were all very active. The edgy powerful song proves the band have substance over style and they have a lot of style! The falsetto vocals are contrasted by the hard hitting delivery of the rest of the band. The next song “Strange to Know” continues in the same vain and as James announced “Dancing Shoes”, there’s a muttering from the crowd “I think I like this one”which is repeated by James and created some hilarity. Dancing Shoes was a 7” single released by the band last year. And certainly enjoyed by the audience. Next up is a song David Bowiewould have been proud of as the slick edgy guitar riffs are Reeves Gabrellike. “What You Want” demonstrates the band are destined for greater things. As the applause dies down, James announces a brand new song and it’s slots into the set nicely. “Sling” is very reminiscent of mid 80’s Cureand the visuals of Lewis on guitar with his long hair is not unlikePorl Thompson. Next up is one of the songs from Vic Galloways radio session, “Cut Your Hair” has some great keyboard work not unlike early Simple Minds but My favourite tune of the night was the B side of the Dancing Shoes single, “Pop Sensibilities”.The edgy bass and drums really drove the song and the guitars cut through.

Onto the penultimate song “Past Tense”and more Bowie influence crossed with Ryuichi Sakamotoas the keys start the song like an excerpt from Merry Xmas Mr Lawrence.The final song of the evening is possibly the most adventurous song of the night.“Velvet Bed” brings someBanshees into the mix as the bass and guitars thrash through most of the song. As the guitars are left feeding back, the band take their leave. No encore and it’s was a shame as the crowd gave a great account of themselves but as they say in show business, always leave your audience wanting more.

One Venue, three nights and six bands. All original material, all as deserving as each other and proof that the life blood of music is being independent. Make sure you check out each and every band in this article and get along to your local venue soon and check out the bands on offer. It doesn’t matter if you have not heard them before, I had only seen one of the bands once before but can tell you I will make the effort to see each one again.

Whatever Happened to The Libertines – They Sold Out!

8th December 2019

The Libertines

Caird Hall, Dundee 06.12.19

With the Xmas Party season underway in Dundee, the streets and bars were packed, but the party would be in a much larger venue than normal, the Caird Hall. A historic venue that has seen a great number of acts throughout the past 50yrs and can be a challenge not only to fill, but to nurture an atmosphere. The Libertines hit Dundee, the third date on their current sold out tour of the UK. The crowd would make sure any shortfall on the bands performance would be more than compensated by their enthusiasm. To get the evening off to a great start, the support slots were Retro Video Club from Edinburgh and Dundee Ex-pat Kieren Webster from The View with his new project band Web.

Retro Video Club had a few technical issues as they kicked off their set but soon got into the flow. The indie rockers looked comfortable on the big stage and rightly so as they opened with the tuneful “Psycho”. Moving up a gear the tight punchy “3AM” demonstrate the band’s exuberance and energy. It’s a shame the hall is not at capacity to hear the indie rockers rip through their set. Hoping to capitalise on this tour, the band certainly deserve to use this to springboard onto bigger things. “Chemistry” and “Addicted” keep the crowd going before the band closed out with “Night In”. After a great performance in Dundee, I’m sure Retro Video Club will relish the two sell out nights in Glasgow at the iconic Barrowlands.

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It’s been a while since Kieren Webster has graced the Caird Hall stage and he got a welcome return. As the crowd numbers steadily increased in anticipation, there was a few spirited members in the crowd spurring on the former View bassist. More accustomed to acoustic gigs these days, Kieren has put together a three piece project called Web. With no material on general release, the majority of the crowd were hearing the songs for the first time. “Dark Before the Dawn” was the first song followed by “P.O.D”. The crowd were warming to Kieren’s new material and the Dundonian banter did help between songs. The standout track for me was “Haze”. There will be some releases planned for next year but meantime, the crowd were always waiting for songs from The View’s back catalogue and “Shock Horror” saw the arms raised as well as the odd beer being thrown. The final song of the night was “Superstar Tradesman” and had a great response from the half filled venue. With most of the crowd mouthing the words, the ever popular local hero left the stage having acquitted himself. Slightly ramshackle at times, but that’s the beauty of it.

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The advertised slot of 9pm came and went, did we really expect anything less. The band don’t play by the rules and in this day of gigs by appointment, it’s actually refreshing not to have everything run on time! With the room filled to capacity, the barrier was bursting in anticipation. It got too much for two guys though as a brawl started and saw security remove the two members of the audience before the band kicked off! With that two minutes of drama over, the band breezed on and the crowd let out a huge roar. The Libertines may have had the ramshackle brilliance down to a T but their honed performance now, leaves those chaotic days behind. Suited and booted (more Oxfam than Hugo Boss), Pete Doherty and Carl Barât strode out first, raising arms in acknowledgement as a hail of plastic beer glasses were thrown in appreciation. This would continue throughout the night! It was a slightly low key start with “Delaney” from 2002 and the ironic lyrics “maybe maybe I just don’t care” but it’s obvious the band were loving it. The energy alone from drummer Gary Powell was enough to carry the entire band. The chemistry is still there between Pete and Carl and they playfully swap singing roles throughout and shared the microphone on many occasions. Bassist John Hassall stayed rooted to the spot for the majority of the set but together with Gary, provided a solid platform to allow the pair of “Likely Lads” to entertain to audience. The backdrop had images of the four band members projected larger than life in black and white and provided an artistic feel to the show. There was not much interaction between the band and the audience but the few times Pete did shout out a thanks to Dundee for the support through the years, it was met with rousing applause. “Fame and Fortune” and “Boys in the Band” were an early highlight in the set before Carl took his place at the piano for a poignant performance of “Waterloo”. The next highlight of the set was “Can’t Stand Me Now” and there was a good number of the crowd up on shoulders, arms raised and singing along. The song finished Pete launched his mouth organ into the crowd. The laughter backing track on “Ha Ha Wall” was well done as the loud cackling drowned out the music at times. As Carl sat back down at the piano for what seemed an eternity, the rest of the band crowded round and had a singalong at a mic above the piano. “Dead For Love” did bring the mood down but it wasn’t long before the evening was back on track with “Up the Bracket”, “What Became of The Likely Lads” and the main set closed out with “Time for Heroes”. There was a brief interlude before the band returned to play a well deserved encore.

“Music When the Lights Go Out” was followed on with “What Katie Did” and as the performance came to an end, there was no one sneaking away from this Xmas Party early. It’s been a rock n roll rollercoaster for 22yrs and the fresh faced cheeky chaps from Camden have matured but still manage to make the crowd feel the halcyon days of those early years.