Category 1 – Page 6

Riskee and the Ridicule – Body Bag Your Scene

3rd July 2019

Riskee and the Ridicule are;

SCOTT PICKING– Lead Vocals/Lyrics, JORDAN MANN– Lead Guitar/Backing Vocals, JIMBO AGLONY– Guitars/Vocals, MATT VERRELL– Drums/Vocals/Keyboards

There are not many bands that can define themselves in one album. It’s even harder to do as you redefine your early sound and hone your musical and lyrical skills so you can launch an oral (aural) tirade at the same time. The latest release from these down to earth, insightful, sharp witted and discerning men is refreshing and alarming at the same time. Just listen to the prolific lyrical assault which is delivered with rapier precision on this incisive and incendiary album. Self awareness is a essential trait of alienated alternative artists and Riskee and the Ridicule are on a mission to become the epicentre of an earthquake where ever they play. The album grabs you from the start and like a juggernaut, it will drive relentlessly, gathering pace as it takes you on a journey which will educate and hopefully inspire but ultimately invigorate.

Describing themselves as “grime punks”, a term which is new to me, the musicianship and delivery reminds me of Rage Against The Machine / Senser / Frank Carter and the Rattlesnakes with a flavour of Body Count, infused with some US Punk but with a nod to the spirit of Booze N Glory and Wonk Unit. Of course, the grime aspect conjures up a whole other genre which has so many underground influences. This band has a universal appeal which has the potential to grow at an exponential rate. The name alone makes you want to check them out as it’s “different”.

It’s hard to pin down standout tracks on the album because, if you’re attracted to the musical delivery then you need to recognise what draws you, the crushing guitar driven punk/metal or the melodic chant along tunes. Using the incredibly well delivered complex lyrics, that tend to distract from the music at times, you engage the subject matter with an insane intensity at times. There’s something here for everyone. The music and words do complement each other throughout and it’s great to have a well balanced, well executed album.

Visually, the band will challenge. Not to judge a book by it’s cover, the aesthetic of the band doesn’t necessarily match what you would expect to hear. Perhaps the opening track “Accelerate” with it’s acapella opening until crashes in and demonstrates what’s to come is filled with anger, angst and attitude. When James at Division PR sent me a heads up on the video “Kaboom”, I relished the release of the album and the chance to review it. At first, the playful delivery of the chorus provides with you with the hook but once it kicks in, it is a seriously infectious groove.

So after two tracks, I have to completely re-calibrate my expectations with “Our Time”. I’m taking this band seriously! Kaboom does admittedly put a smile on your face and may even see you bounce along in any mosh pit, but the third track gives the discerning listener something to get their teeth into. What a wake up call. The title track of the album is up next and it’s relentless “Body Bag the Scene” is a killer song. It’s a strong message for the industry. The song is a weapon of destruction. The meat in the middle of this album sees some heavier social commentary, “Black, White and Grey” has a strong underlying context and it is carried on with the anthemic “In the Dark We Dwell”. It’s an all too often common story in this day an age. Powerful and poignant, it gives you some insight into where the band are prepared to go.

The video directed by the band, is a respectful nod to Keith Flint and anyone suffering from their own internal darkness.

If you thought you were being led in a certain direction then “Sell Out” quickly flips you into some singalong pop punk. Melodic but menacing yet it still stays within the band dynamic. When you hear the opening bars of the next song, you might be forgiven for thinking Alex Brindle Johnson from Wonk Unit has popped up to do a cameo but the cheeky chap would certainly appreciate the comedic chaos in “Millwall Brick, Glasgow Kiss”. In a similar vain, “Sex” retains the frivolity of the previous track but the subject matter is deadly serious. There’s no harder hitting song on the album than “Cut Your Teeth” which is an absolute monster of a track. In contrast, “For Old Times Sake”, is the only real respite you get on the album. The song lends itself to reflection and a nostalgic approach to what our future selves. As the album draws to a close, we are shown the spectrum of whats on offer from. The piano and opening verbal volley lends itself to the “grime/street” genre as the spoken word delivery over the piano swiftly changes to some slick punk prose. The song “D.I.Y.”is the bands mission statement and as good a demonstration of where they come from and where they might end up…. if they sign!

Catch the band at Blackpool’s Rebellion Festival in August or check their social media pages for gig details.

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Conversations with Nick Cave – Usher Hall, Edinburgh 22.06.19

22nd June 2019

Nick Cave continues his journey through life with this stripped back solo tour. This time it involves his audience in a more direct role than normal. These past few years has seen Nick Cave become more accessible with the creation of “The Red Hand Files”,where his fans are encouraged to ask questions and become part of his day to day life as he undertakes to understand both his own journey and those who wish to be involved by sharing theirs. I feel I have been on this journey for as long as I can remember and seen the many guises of Nick Cave, from those chaotic days in The Birthday Party to the current emotive days where the chaos has subsided but been replace by an intensity that is even more exhausting than any physical exertion. Nick Cave and the Bad Seeds gigs are a sight to behold. You really have to be there to understand and to have an opportunity to see and hear what makes Nick Cave ‘tic’ , almost face to face, is always something not to be missed. Of course, with 2,000 in the building, I am not alone but the connection he has with his audience feels special. Enigmatic and resplendent in his suit, Nick Cave strides on stage with a purpose. Hand raised in acknowledgement of the applause, I’d say “rapturous” and that would be a good description as it does feel like a religious experience, certainly spiritual, and the first song he plays is prophetic. The opening chords of “God is in the house” sets the tone for the evening. Nick Cave might not be an actual god but the respect he commands is considerable.

This conversations event is a direct extension of “The Red Hand Files”. Nick asks everyone who subscribes to raise their hands and immediately states “there’s not enough, google it and subscribe to it”. Set up 6 months ago, Nick now gets approx. 100 questions a day. The questions are mostly extraordinarily beautiful but Nick states “The concept of the question is done nowand it’s become a part of his life and he his plugged in to the soul of his audience and it’s a beautiful thing”.The point to this evening, is an unmoderated way for anyone to ask what they like. It is difficult to stand up in front of people, but Nick says “suspend judgement and let’s see what happens”, he asks people not to film or feel the need to put up on the internet so “put your fucking phones away”. Nick asks the crowd to compose themselves, think of questions, the bolder and stranger the better. Nick states “The beauty of all of this is, it started as an exercise and now has become terrifying”. Back at the piano, we get one of his classics. A song of the girl with the crooked smile and a heart shaped face, “West Country Girl”.

We are now in conversation…

First question, “how do you transition from travelling from home to various places all over”. Nick responds quite plainly, when at home he’s with his family full time. He treats each day similarly in that, he gets up in the morning, puts on his suit, kisses his wife goodbye, then walks into his home office. It’s almost the same when he’s away but without the kiss and it’s a hotel room, not his office.

“Do you ever suffer from creative comedown when you finish a book or an album”. Nick responds with “the thing about making a record or a book, you believe this will change the world but the end result is just a lump of plastic then everything is taken away from you so in the end, the game is just to provide material for people”. “The actual creation process is immensely enjoyable”,Nick says he lives for it.

“Who, apart from Leonard Cohen, has influenced you in your life and what’s your thoughts of Boris Johnson”. As Nick tells us, “Well of course, Boris has been a huge influence” Nick says jokingly, but actually, “Alex Harvey was a massive influence, a huge influence, maybe not a morale one but certainly musically”. He tells us his first band was basically a Sensational Alex Harvey tribute band.

After previous asking in Birmingham where the question was “how do you get back your creative flow”, the member of the audience now asks “where do you get your mantra from”. Nick says he feeds from his own songs and he inherently uses a collection of songs to feed from each other, like on the album, “The Skeleton Tree”, Nick says, “there are echoes in each song but ultimately, the message was just to stay alive”.

Next, a man called Peter asks about an interview where (former Bad Seed) BlixaBargeld apparently called Nick the greatest songwriter ever. Nick jokes he must’ve taken a great deal of amphetamines before he said that, and this leads into Nick describing a song where Blixa wrote the music and Anita Lane wrote the words as an examination of Nick and Anita’s sexual relationship. Nick laughs as he tells us he has ended up singing it. It has ironically been quoted as one of his favourite Bad Seeds songs. “Stranger Than Kindness” goes down well with the audience and Nick jumps back up from the piano and into another question.

It’s a question about the Bad Seeds and the revolving entity that the band are, members have come and gone and although Warren Ellis is a now a main stay now of the band, how is Nicks relationship with former stalwart Mick Harvey. Nick tells us they do still meet, Christmas being the last time and they are still friends but the dangerous and corrosive nature of collaborations means that often friendships cannot survive. Nick goes on to say The Bad Seeds are a family, although there are ghosts of previous members, Nick would be happy to work with old members, in fact Blixa nearly worked on “Push the sky away”, but due to illness, it didn’t happen. Nick says, talking of his current and most prolific collaborator, “first and foremost, Warren is a friend and even though they spend time apart, their collaboration is based on their friendship first”. As Nick continues to talk of friendship, he jokes about Bobby Gillespie from Primal Scream and the fact he struggles to understand him. There’s some good banter from the audience and similarly, Nick fails to hear or understand those shouting out.

“What would your advice be for anyone starting out in the music industry now”, as Nick has been around for a long time, what is his advice. In response, he’s not considered himself as being a part of it. Nick says he feels from the beginning, he would never be successful. Coming from Australia neither himself nor his band felt they would ever be a part of it so to stay away from the industry was a good thing. His recommendation is to put out your music on the internet and try to exist out of the business. He also says, the early bands from Australia did their own thing and never expected to be heard.

The next question was about the right to die. It’s too difficult for Nick to answer but he does say “anyone who is suffering unduly should have the right to make their own choice”. To lighten the mood,Nick says he’ll play a happy song, or at least one of his happier songs and we hear “Breathless”.

“Is there any subject matter that you wouldn’t consider singing about or is everything fair game”. Nick responds that he always believed rock n roll should be offensive and challenge people, “it’s a moral duty to piss people off”, the Bad Seeds want to plant a flag and say we will still continue to play songs that offend people. Like “Stagger Lee”, it is meant to offend on many levels but no one has ever complained” and it is always one of the most popular choices of the crowd when played. Nick advises it is very important for him to continue playing that song but he is worried he can’t do it justice tonight just on the piano. We will hear later how he gets on.

As the next member of the audience attempts a question, but is painfully shy, Nick directs everyone to look at them and after much hilarity, they ask “what’s your favourite colour and favourite lullaby to sing”. Nick tells us he loves the colour “yellow, sunshine yellow”but he has no favourite lullaby.

A guilty pleasure of the next person to ask a question is the song “Scum”from the seminal album “Your Funeral, My Trial”. The song was written about a journalist. Nick recalls his memories of that journalist and his girlfriend. Written with humour but Nick recounts what the journalist said of his second album, “it lacked dramatic tension”. So he wrote the song to let those journalists know how he felt. Nick no longer cares about criticism as he knows he puts the time in to what he writes and he sees the results in his audience faces. Nick says, about the song “Girl in Amber”, he can see the joy or the tears in the eyes of his audience. It’s difficult to know what people think but the reactions speak for themselves.

“I would like to know what your point of view is on Monogamy”. “Why” is Nick’s response, “because I am genuinely interested”, the girl in the crowd responds. “There’s great virtue in it” is Nick’s final response, much to the amusement of everyone in the building.

“How do you keep your energy and integrity up year after year”. Nick replies that the last tour was very important. After the death of his son and the blizzard of letters, via internet and snail mail, the volume of communication made Nick and his wife Susie part of a massive outpouring of grief. They had felt constricted by their own grief but as the messages kept coming, they felt a connection to other people and Nick had an urgency to get out in front of these people and show them you can get beyond the trauma. To walk on stage, he was putting this to the test and between himself and the band, it became energising, lifesaving and the music lifted Nick and Susie beyond their self-absorption. Fittingly, Nick takes his seat at the piano and plays “Jubilee Street” Those prophetic lyrics “I’m transforming, look at me now” hang in the air as he returns to the front of the stage to answer some more questions.

“Are you still proud of your work from 40 years ago”, Nick is still proud of his work but on a low level. His music has changed and he has challenged his audience. The music doesn’t bend for them, they have to continually try to work out each record. From The Birthday Party onwards, there has been a progression to where the music is now. Nick has moved on from those days and politely declines the request to play any of the early material but he does suggest a Grinderman song. We are treated to “Palaces of Montezuma”, lyrically, it is one of Nick’s favourites he tells us.

“You are one of the few great artists who does themselves justice with your work, is there any inspiration where the murder ballads came from”. Nick tells us it was inspired by the song “O’Malley’s Bar” and as it didn’t really fit in to the previous album, it spawned an entire album. The genre of Scots and Irish music and the telling of tales gave some influence to the song which spilled over into the album.

Recalling the first time they saw Nick at Reading, the next question asks “is there any specific moments that have changed your life”. Nick remembers seeing the Australian band The Saints when they came to perform near where he lived and it changed his life. He also remembers how seeing Nina Simone influenced his life with respect to performing live.

Another question from the audience, when the album “Murder Ballads” came out, the Dunblane tragedy had just happened. Can Nick recall any backlash from his “Murder Ballads” record. Without reference to the Dunblane tragedy, Nick remembers one journalist asking what’s next, rape ballads? Nick tells us he just writes his music and put’s it out. It’s unfortunate if there are parallels drawn but Nick takes no responsibility if they offend as they have a life of their own. It’s disrespectful to the creative process.

Next question “even though your songs offend or “kick against the pricks” where do you stand on becoming a national treasure or the subject of a movie being portrayed by a Hollywood star”. Nick feels uncomfortable with the thought of becoming a treasure or even being recognised with a lifetime achievement award so he wants to buck the trend. It’s time for him to remind us of what he does best and the iconic “Stagger Lee” has the audience buzzing. Nick’s previous fears of the song not measuring up being played on the piano has been in vain. Judging by the crowd and the volume of appreciation, it’s the favourite of the night so far.

“What scares you, if anything”. Genuinely what scares Nick is people around him dying. It’s a by-product of trauma that causes Nick to worry and it scares him that people do die.

The next audience member recounts, having not seen Nick play a gig since ‘89 in Glasgow, where people were urinating on to the stage from theatre boxes above the stage, does Nick remember that and has the bands rider changed from those days. Nick does remember and he jokes that he is still in therapy for it but since then, there’s no more drinking and no riders. The tour he is currently doing is so stripped back, he just moves from town to town with no fuss.

“Can you talk more about meeting Nina Simone and Bob Dylan and about any other heroes”. Nick remembers the fear he had when he met Nina and he recounted the Bob Dylan story from Glastonbury when Bob, sporting a hoodie, waded through a mud swamp to shake Nick’s hand and say “I love what you do”. Frozen to the spot, Nick eventually responded, “I love what you do” and as Bob turned and walked away, Nick wondered why he never said more after all the years of wishing to meet him.

After saying “I love you and Susie”, the next young lady makes her way to the stage as she has also asked for a hug. Nick greets her with open arms and as she struggles to fight back the tears of emotion she tells Nick of her hardship after struggling with an illness. She asks how he has gotten over the trauma of his recent suffering. Nick talks of the great beauty and meaning after acute suffering. Nick has discovered he has found more meaning since the tragedy of the death of his son but that he would give it all back in an instant however, he says “there are no cosmic deals in life”. Nick goes on to say, the beauty he has found somehow redresses the pain.

A lady in the audience called Lucy asks, “what was the inspiration for the song Lucy”. Nick tells us he wrote the song after meeting a girl he met whilst mopping floors in rehab. They had tasks to do and he filled in the time writing new material.

“What’s it like having totally random people asking for selfies. Having asked for a photo in Copenhagen airport, is there a down side to this”. Nick can’t complain about this side of things as it is all part of the job, but he does hate having his photograph taken. He would rather sign something, hug someone, lick something but he tells us he hates cameras. Nick takes his seat back at the piano and runs through “The Mercy Seat”and the Leonard Cohen song, “Avalanche”. I personally love the adaptation of this song that Nick plays live. It’s time for some more audience participation.

“If you had to choose between love or money, what would it be”. Of course, Nick tells us it would always be love.

“What’s your favourite Bowie album”. Nick says “It has always been “Low”, of all the songs he has ever done, that album was always my favourite”.

“How much of yourself exists in you music”. Nick responds, “Every song I write is about myself. I write how I feel about things. Not simply about myself but I write lines and another few lines and the lines interact with each other”. Nick calls it shimmering. “It’s about grabbing a line and another and growing the song. What the songs ultimately are about is secondary. The songs describe in an authentic way, a snap shot of life at the time. Once written, they lose their meaning and although authentic, they have done their job”. Although Nick is literally writing the songs he says he is not attached to them. They are simply written for other people. He goes on to say although he does live within them when performing them, they have more meaning to the listener.

“What is the largest animal could you stun with a single punch. I think it would be a goat”. After much hilarity, Nick responds with “Koala”. Nick tells us not to underestimate the cute little animals as “they could rip your face off”. Time for another song and the opening chords of “Higgs Boson Blues”are welcomed before going straight into the beautiful “Love Letter”.

“Do you have a favourite lyric that you have written, personally”. Nick replies “Yeah, I’ll play it to you, it’s a really good lyric. It’s about going to the Brompton Oratory, it was written there. There’s carved statues of the apostles down the sides of the church and I had a freshly broken heart”. Without any hesitation Nick jumps back on the piano and plays “Brompton Oratory”.

“What was your motivation for writing “Into my arms”. This song had apparently helped this person in times of pain after hearing some sad news and they wondered how it was written. Nick recounts writing this song in rehab and how it has grown and grown in stature. So, straight back to the piano again and the ever present “Into My Arms” is faithfully reproduced for all to behold.

“What does it take to write screen plays and books”. Our host tells us that he and Warren Ellis have been involved in many projects and it’s been immensely enjoyable especially on soundtracks.

“Is there a lyric or chord progression you have written that didn’t work”. Simple answer from Nick, if anything doesn’t work, it’s not used.

“God is mentioned in the songs you create, do you have anything to say on this”. In response, Nick says, “hands up who’s an atheist, hands up who’s a musician and a song writer, it must be a hard job doing that. Atheism is really bad for the business. How do you do it”. This question was directed at me as I had my arm up and being in the 2^ndrow I was a direct target. I responded“It’s not for me to prescribe what others believe in but I like to think everyone should work it out for themselves”. We’ll leave it there replies Nick and as the evenings drawing to a close, Nick suggests he does a few more songs, a couple more questions and “fucks off”. The song suggestions are coming thick and fast and one suggestion strikes a chord, literally. Nick dedicates the next song to a man who had shouted it out called Ian. “Watching Alice” is quickly followed by “The Weeping Song”, another much requested song from the crowd.

A question is shouted out from the gallery behind where Nick is on the stage, “as a scientist I was impressed that you wrote a song based on science”. Nick was potentially terrified by the prospect of the Higgs Boson and the thought we could disprove the existence of God. Also referred to as “The God Particle”, it was coincidental that the experiment was done at the same time as the song was being recorded. Nick states we must pursue the truth via scientific purposes however the concept of truth can’t just be done using science. As Nick looks back at me and says, we can’t live within a box and we should be able to believe in what we like without impunity.

“What drew you to write a letter to MTV”, this was in response to being nominated for best male artist in 1996. Nick recounts, knew he was going to lose as the choice was between himself and George Michael, Nick wanted no part of the award ceremony. Nick famously stated his muse was not a horse and he was not in a horse race.

“There’s a rich mystery in your songs, what do you see yourself as, a songwriter or a poet”. Nick responds that he sees himself dragging anything from anywhere to write his songs. He is seeking a connection using humanity and spiritual yearning and taking any of these elements out of his songs, there’s simply nothing left to write about. Nick has a deep yearning, if there’s anything beyond this life, it makes the reach to find out all the more powerful. The reach and extension is what it’s all about. Nick tells us, “there’s a fundamental need in our DNA to search for what’s missing in our lives”. Some people look for it in religion, rightly or wrongly but it’s the need to search for this that drives him. As Nick says, “Let’s end it there”, it’s been really something for Nick to stand up on stage and to let the audience enable him to keep on doing this. Nick retakes his seat and after “People Ain’t No Good”, we get a song that Nick loves very much, “Cosmic Dancer”. Nick thinks Marc Bolan was one of the great lyric writers. We’ve reached the final song, it’s hard to believe three hours has passed since Nick Cave took to the stage but time marches on and “Skeleton Tree” ends the evening. Another day in the life of Nick Cave, where he put on his suit and went to work. Luckily we felt his kiss before he slipped away, stage left, but he will remain ever present in the memories of those who witnessed this concert.

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NICK CAVE’s Conversations tour continues throughout 2019, check his website for details as dates are being added due to popularity. It is “SOLD OUT” across the globe.

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Pete R. Jones – Contrivances for the Soul

18th June 2019

When you see that someone you have known to play in several bands in their career release a “solo” album, you never know what to expect. Will it stick to the boundaries of what has gone before or will you get something completely removed from what they have previously been a part of . Will we hear how they have influenced the bands they were part of, or will the originality come shining through.

I was sent the “Master” version of this album back in December 2018 but as the release was delayed, I decided to prolong the review. I am glad I did. With any first listen of an album, it can be dependant of when and where you first heard it. As time passed, I have realised, this album has an uncanny feel about it in that, every play is like the first. How is that? There’s only one way you will find out, listen to it for yourself, but here’s my take on it.

“Ocean Blue”, the opening track from Pete R Jonesis a great introduction for the listener. Not quite knowing what to expect from the former PIL / Brian Brian / Deptartment S bass player, we hear drums, picked minor chords from the guitar and it sets the mood but it’s not long before the signature Fender bass sound comes in to drive the song. In contrast, the first vocal which we hear almost matches the title of the song; “Ocean Blue”conjures up something calm, visceral, deep and pleasant but it has menace below the surface and that’s what we get with the chorus, the feel of the song flips as the flowing verse is disrupted but the crashing wave of sound. Great opening song.

“Liar”, the second track, and it’s a monster of a song. In your face, crunching guitar and thumping drums. The slick lyric and vocal deliver is engaging. As the chorus brings frantic lead guitar underpinned by some unexpected synth effects firing off left and right like photon torpedoes, it leads into a sublime break where the musicianship on show is impressive. This is an early favourite and could be the stand out tune of the album.

“Time After Time”has a more recognisable feel to if you are familiar with the recent Department Sofferings but Pete R Joneshas developed the sound where it has a richer texture and depth to it. The production overall on the whole album demonstrates that Petehas put his entire life and soul into this recording. There’s some real dark and mysterious lyrics in these songs.

“Basket Of Hands”, I almost anticipate John Lydon’svocal coming in at some point as there’s a PILfeel about this song. Apart from the fact that Pete is a former member, the rhythm and sonic deliver is reminiscent of some of their work. The heavily processed vocal works well and guitar hook is hypnotic. A very intense but addictive track.

“Spanish Snow”, if there’s a song on the album to show off the talents of Pete, then this is a strong contender, with the great Spanish guitar runs complimented by the pulsing bass. Another track that stands out, again, the multitracking within this album is incredible, you can hear so much going on within the song it’s impossible for your brain to interpret everything that’s going on within the first play. I have had a copy of this album for many months now and it has taken me until now to be able to understand it. Don’t get me wrong, it’s easy to listen to any form of music but when you actually digest this album, you feel like you’ve been reborn.

“The Reason Why”, as the arpeggiated synths open the song, it almost has a dance/remix feel to it. The dreamy feel of the music is contrasted by the questioning lyrics. Edgy shimmering guitars compliment the keys. The layering of the multitrack vocals is clever and draws you in as the music wraps around you.

“Psycho Drill”, it’s the bass that grabs you straight off and as the vocal bursts in front and centre, there’s nowhere to hide. There’s more slick guitar work in this song but it’s the constant vocal delivery that is like a drill inside your head. Leigh Heggarty (Ruts DC) has been drafted in on guitar for this track. There’s a remix of this song additional to the album but for the purposes of this review, we’ll stick to the original. The song pounds just like the subject matter and I feel like I’ve been water boarded by the music (if that’s even possible!). It was intense and my brain is reeling as the music fades out.

“Contrivances For The Soul”, every great album needs a climatic glorious ending. As the final song starts, the intensity of the previous song still has me breathless but the opening piano is an instant relief and as the guitar, synth and bass come in, it’s almost like the entire music library of the past 40 years flashes through my mind. I can hear my own soul bared wide open. The syncopated drums are pinned by the repetitive bassline. The soaring synths, not unlike something from Pink Floyd’s Wish You Were Here are huge. The heavily affected vocals blend in the mix and are instrumental in delivery. If it were possible to condense your being into one song, this would be it. The Id, Ego and Super Ego are all entangled within this ethereal offering. It’s a monumental ending to an amazing album. Whether it’s heard at 2am in the dark with headphones or on the bus to work, it will do it’s best to re-calibrate your being.

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The Membranes – What Nature Gives….Nature Takes Away

7th June 2019

John Robb is never out of the limelight when it comes to music journalism. He is ever present to those that follow alternative music. He has been a main stay in the industry for many years and commands a great deal of respect. The Membranes are his mainstay musically. Although he has other outlets, it’s the music he is best known for. Although the band had a long hiatus, their return to recording and live appearances has seen them rise in popularity. With the release of the album “Dark Matter/Dark Energy” in 2015, it achieved the critical acclaim it deserved. The re-birth, recalibration of the band had come full circle and now, with a strong foundation, this new album has a standard to maintain.

It’s been a long time coming; I feel I had waited a lifetime for this album as its inception whetted my appetite. I now have something tangible to review, I resisted all forms of media until I had the new album on vinyl, delivered by mail, one day ahead of the official release date. “D” Day was here, not just figuratively but actually. In light of the fact that it was the 6^th of June, I decided to wait one more day, to the 7^th and give the album the gravity I anticipated it would respect.

The Membranes – John Robb, Nick Brown, Peter Byrchmore and Rob Haynes

SPRING

“A Strange Perfume” having heard this song live last year, I felt an immediate affiliation with this song. It was like seeing (hearing from) an old friend. Great opener for the album and it is subtler than hearing it live and the addition of the choir really gives the song more depth.

The title track of this double album is reminiscent of pure 80’s dark post punk at its best. With the bass driving the song, which is almost expected we get a pure stroke of genius with the orchestration, as it demands your attention. The keys fill the mix with marvellous minor chords and makes the mind wander with subtle melodies you hear your self hum along to with any inspirational song. The choir round off the song with “What Nature Gives… Nature Takes Away…..” bliss. I just played this song twice on first hearing.

The next song “A Murder of Crows” is timeless Membranes. You think you’ve heard it before and the immediacy of the stark harsh driving beats are accented by some manic piano as it crashes to an end. As the echo bass pulses and hypnotises, the eerie guitars pick there way through the song. The spoken effected vocal delivery adds to the ethereal menace. “The City is an Animal” is a bleak reality of a song. If the concrete carnivore in the previous song didn’t do you harm, then “The 21^st Century is Killing Me” might do more harm. The choir comes to the fore in this song and the under lying menace again is uplifted by the rapture from the harmonious voices. It has a feel of an album ending song but it’s only the end of side 1 of 4!!! Glorious.

SUMMER

Flip to side two with anticipation and the immediate dark overtones keep coming.

“Deep In The Forest Where The Memories Linger” builds from the opening bars of a bassline that wouldn’t be out of place on “Unknown Pleasures” by Joy Division, the song builds with some choral chanting underpinned by guitars that are on the edge of insanity. As the song comes to an abrupt end, “Black Is The Colour” picks you up and drags you back into the world The Membranes inhabit. It’s dark and powerful. The menace in John Robb’s voice is offset by the wondrous voices of the choir yet again. Black is THE colour but there’s light in the darkness.

As “A Murmuration of Starlings on Blackpool Pier” begins, the synth wraps around your brain like a flock of starlings as they flock and dance in the air. The poem written and read by Shirley Collins is complimented by john’s spoken word. It’s another great song to end an album and does so for the second time as the record stops.

AUTUMN

As we move into the second disc of this double album, side one starts with “Mother Ocean/Father Time”. Another classic Membranes feel to this song as it marches at pace, much like father time does. Stark and obtuse, bleak and unforgiving but the beauty is still there. The analogue synths hit you like breaking waves. It’s more of the same with “The Magical and Mystical Properties of Flowers” and it begins in the same vain. Kirk Brandon lends his signature voice at the highpoint of the song. As the guitar crashes in on “Snow Monkey”, it’s sharp, edgy, angular delivery, reminiscent of Andy Gill at his best slices through the ether [sic]. The drums and bass drive the song but it’s the guitar that provides the purpose. Another guest voice on the album as Jordan reads at the beginning of “Demon Seed/Demon Flower”. The heavily effected echoed drums are the backdrop to the final song of side three. The song has the flavour of a remix in parts and Robb’s vocals cut through the onslaught of sound to burst through like an explosion of pollen bringing life to tundra of silence.

WINTER

As the final side of this double album begins, the winter of discontent is populated by ghosts and poltergeists in this haunting melody. “The Ghosts of Winter Stalk This Land”, another bleak offering but the multi-layered masterpiece musters the imaginations of what could possibly be around you. Try listening to this in the dark with your headphones, I dare you. “Winter (The Beauty and Violence of Nature)” a poem spoken by Chris Packham, the description of nature and life’ itself. A wonderful depiction and set to the backdrop of crows cawing over some tribal music. “Nocturnal” is another song plucked from those dark days of the 80’s. The Membranes of course pre-dated post punk but came to the fore in the genre. The heavy drums and bass line transport you back to halcyon gothic times. You wish you’d heard this song 35 years ago but there’s a time and place for all things and it sits well as a penultimate song on the album.

As “Pandora’s Box” looms large as it’s nearing the end, how do you bring closure to this behemoth expansive album. Bring the wonder of what might be by opening Pandora’s box and suffer the consequences. As the box lies open, are we left with misery and sickness? I’m left with a sense of emptiness as the song ends, not through the lack of satisfaction but that the aural exhilaration has stopped. Where do I go from here, back to the strange perfume that lured me in all those months ago? This album compliments it predecessor and has moved the goal posts for The Membranes. They have set themselves apart from their peers (if there are any!). The limelight is firmly on John Robb for his music and The Membranes should be proud of this album.

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Honeyblood and Emma Woods – Beat Generator, Dundee 01.06.19

1st June 2019

It’s been quite sometime since Stina Tweeddale played in Dundee and she’s returned without her original musical partner. It’s not all bad news though as the new album proves there’s plenty musical talent to come from this solo artist. As Honeyblood embark on a UK wide tour, they played Aberdeen last night and will follow on to the capital in two days. But first, Beat Generator welcomes two fantastic predominantly solo artists, who will play to the busy crowd as full bands.

Emme Woods

The self professed music maker and booty shaker takes the stage but she’s not alone. Bubbles, the chihuahua take her spot, front of stage and quite cosy in the temporary doggy bed made from a jacket. The 60’s look and feel from Emme exudes from her and her voice grabs you from the start. It’s no secret that her love of music is rooted in the 60’s and she quotes Brian Wilson and Fleetwood Mac as direct influences. Mix this in with a modern feel of Janis Joplin meets Brody Dalle coupled with the atmospheric blues guitar and some essential tremolo effects and it’s a recipe for success. Haunting, chilling guitar chords hang in the air as her gravel voice cuts through the silence right to the heart of the audience. “Heavy Weather” and “Mirror mirror” open the solo part of her set. After these two mesmeric solo tunes, some regular friends join her on stage. Jamie Bogie (Guitar), Scarlett Randle (Bass), Jack Boyce(drums) and Kevin Tierney (Trumpet) give a more traditional look to the stage as this collection of musicians form the band. The addition of the trumpet brings some real empathy to the songs and having the two guitars play shimmering chords and wonderful picked vibrato bring ethereal layers to the music. The drums come to the fore at times in the performance as the straight back beats are bolstered by some real enthusiastic enigmatic drumming. The melancholy in “I Don’t Drink To Forget” is incredible and the crowd stand mesmerised.

Bubbles makes an appearance as she picks her way carefully across the stage during “That’s that”. She takes safe refuge as Emme becomes more animated and intense during this song. As we are introduced to “Mother Doesn’t Love You” Jamie picks up a bottle of Buckfast and runs it up and down his fretboard like a guitar slide. Emme grooves throughout the tune and Uma Thurman wouldn’t look out of place dancing like she did in Pulp Fiction with Vincent Vega.

The spellbinding and addictive “Kill Yer Darlin” is up next which is well received then the penultimate song, “I’ve Been Running”, sees Emme at her playful best. The final song “It’s Ma Party” ironically brings the set to a close. Just as the band were getting into full swing, it’s all over. A truly mesmeric performance tonight, one of which I will remember for many years to come or at least until I see Emme Woods and her magical band again.We cannot display this gallery

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Honeyblood

It’s an upbeat start as “Sea Hearts” from the 2016 album“Babes Never Die” kicks off the set. “Biro” up next, from the first self titled album.2019 sees the release of a new album “In Plain Sight” and between that and “Honeyblood”, these two albums form the backbone of the set tonight. “The Third Degree” brings back the 60’s feel to the evening as the first song from the new album is aired.

“Hey Stellar” brings us smack band into the sound of Honeybloodat it’s core. “Walking At Midnight”, a single from Babes Never Die is next before “I’d Rather Be Anywhere But Here”, one of my favourites of the night. There’s a real charm about this line up. The three piece band really works and the charm and maturity from the music is alluring. The smartest rat in the sewer is the subject of the next song. Of course, the song is not literal but we get the message,“Super Rat” is a wicked number. We get some real “Crashing with a passion”as during the performance of “Glimmer”, the snare drum suffers an early demise. Luckily, there’s more than one “spare snare” in Dundee [sic] as Emme Woods is on hand to bring the spare to the stage. As we wait for the drum to be replaced, we get an impromptu version of “Bud”. With the kit back together, the evenings back on track with“Gibberish”. “Fall Forever” sees the band in full flow anddoing what they do best. Another track from the new album “Take the Wheel” is next and you can hear the evolution from those early tunes. “Babes” follows and the song is about finding inner strength when someone screws you over. Another early single is next “Killer Bangs” before the last song from the new album is played tonight,“She’s A Nightmare”. Clever use of a backing track to include the keyboards from the catchy song. The video is worth checking out if you get the chance.

The last single played tonight is “Ready For The Magic” and as the music fades to rapturous applause, the band take their leave. Honeyblood’s new album “In Plain Sight” is quoted as being a riddle to solve. We got to hear this puzzle live tonight and how it fits in the grand scheme of things. Like any good puzzle, it leaves you wanting more, and on the strength of the performance tonight, I am curious, you will be to. We cannot display this gallery

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The band are on tour throughout June

3 – Edinburgh, Summerhall

4 – Newcastle, The Cluny

5 – Sheffield, Plug

6 – Guildford, The Boileroom

7 – Bedford, Esquires

8 – Oxford, O2 Academy 2

10 – Cardiff, Clwb Ifor Bach

11 – Liverpool, Arts Club

12 – Preston, Preston Guild Hall

13 – Hull, The Polar Bear

14 – Stoke-On-Trent, The Sugarmill

15 – Kendal, The Brewery

Slaughter and the Dogs – Do It Doggy Style in Dundee

30th May 2019

Beat Generator in Dundee, a regular venue for the original UK punk bands that are still touring forty years on from their inception. Having formed in 1975, Slaughter and the Dogs were one of the very first bands to sign a major record deal. Original members Wayne Barrett and Mick Rossi have brought their rock ’n’ roll infused punk to the East Coast of Scotland tonight and they’re still “Cranked Up Really High”as they have ever been, only now, it’s purely the music that’s the buzz these days. The rest of the band are made up of Dan Grazianoon bass and Mark Reback on drums.

The 2019 tour sees the band play at most of the prestigious punk venues up and down the UK. It’s testament that they still draw strong crowds whenever they play and although they might not have been a household name like the Sex Pistols or The Clash, within the punk circles, they are certainly up there with most punk rock patrons. The music trancends the punk genre much like the New York Dollsand the Glam scene did. Mick Rossiand Mark Reback will also tour with Walter Lure (ex-Heartbreakers) later this year and play the famous “L.A.M.F” album. The circle is almost complete as the 70’s infused rock ’n’ roll keeps on rolling.

Its another packed night in Dundee’s Beat Generator. The early show doesn’t put off the gig goers, as this mid-week gig sees weekend regulars out in force and some well travelled faces in the crowd that have made the effort to come see their favourite rockers.

Mick Rossi takes the stage and the signature sound of his Gibson Les Paul Custom is the first sound we hear as he strums the iconic guitar to warm up the crowd. After the opening numbers “Twist and Turn”and “The Bitch”, we get treated to hearing the first album, almost in it’s entirety. “Boston Babies” from the seminal album “Do It Dog Style” sees the crowd bouncing along with Wayne Barrett as Mick Rossi is already in full flow throwing his signature guitar shapes above his head and spinning round on the tight stage.

Slaughter and the Dogs – Boston-Babies (Live in Dundee)

The band make the most of the space as they run through the highlights of the album. We also get an inspired version of the New York Dolls“Who Are The Mystery Girls” much to the delight of the responsive crowd, before it’s back to basics with “We Don’t Care”and “You’re A Bore”. The early singles and “B” sides get some well deserved attention as the audience shout out their favourites. The usual banter flies between songs as Waynedoes his best to keep them on their toes by enticing them to leave the bar and crash the barrier instead. There’s a faithful version of the Velvet Undergrounds“I’m Waiting For The Man”. The band featured this on their first album so it comes as no surprise they play it tonight. The early tunes keep coming and lead up to the set ending crowd favourite “Where Have All The Boot Boys Gone”. We hear Dan’s bass start pumping as Mark and Mick come crashing in. There might not be any boot boys in the crowd but it doesn’t stop them doing their best to raise hell.

The band take their leave but not for long. Mick Rossi plays the unmistakable chords of the T.Rexhit “Get It On”. The song features on their last studio album “Vicious”. Next up, a spirited version of the early song “Johnny T”, then it’s the one they’ve all been waiting for next as “Cranked Up Really High” has the crowd in full voice at the breakdown of the chorus. “Nah, nah, nah, nah, nah… nah, nah, nah”. It’ll be a hard come down from the high of this iconic song for the crowd but they won’t be cold turkey for long.

Slaughter and the Dogs – Cranked Up Really High Live in Dundee

After a brief break, Wayne takes the stage along with Mickand they play an emotional guitar ballad dedicated to Wayne’sailing mother who’s been unwell. It’s not long before the crowd, after a respectful cheer to Wayne’smother, start shouting out the hits the band haven’t played yet. As we get the entire back catalogue shouted out, it’s one their latest tracks, “Stranded” from the 2016 album “Vicious” that is the penultimate song of the night. After much shouting and screaming, there’s another powerful redition of “Boot Boys” before the band finally take their leave. There’s a lot of love for the band tonight, whether it’s nostalgia or the subliminal thought of them being some relation to mans best friend, either way, they’ve gone down a storm. It’s off to Newcastle and Manchester for the next two nights as the band keep rocking and rolling on.

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Single Review – KLAMMER – Being Boiled

15th May 2019

KLAMMER

POSS – Lead Vocals/Guitar

STEVE WHITFIELD – Guitar/Vocals

ROBERT LONGLEY – Drums

MIKE ADDY – Bass

Hailing from Leeds, Klammer draw on the members’ shared love for all things angular, dark, loud andmelodic. Previously described as the love child of XTC and Gang Of Four, they offer an enticingcontemporary twist on the post-punk attitude, blending elements of goth rock, punk rock and dark wave, all with dark pop sensibilities. You’ll find plenty of hooks and a dark and edgy broodiness coursing through their sound.

Formed by UK Producer Steve Whitfield (The Cure/The Mission/Jane Weaver) in 2014, they have already released 3 albums to great critical acclaim, with last years ‘You Have Been Processed’ receiving fantastic reviews across the board. The singles ‘Modern God’ and ‘Spiral Girl’ off the album, both received airplay on 6 Music. Having consistently played up and down the country both as a headline act and in support of some big name bands (including The Skids, The Undertones, Richie Ramone, Chameleons Vox, Penetration andThe Membranes), they have also played at Rebellion for the last two years and The Great BritishAlternative Festival. Klammer are intent on consolidating their position as one of the country’s finest live Post Punk acts.

Writing of the 4th album is under way and but in the meantime they are releasing their version of The Human League’s early classic single “Being Boiled” on June 3rd 2019.

In the late 70’s when the guitar gods had been replaced by punk rockers playing three chords. The next “Big” thing was already well under way. With Tangerine Dream and Throbbing Gristle at the opposite ends of the Alternative Prog / Industrial Metal scene, The Human League were about to launch their own revolution but with synths instead of guitars. Martyn Ware and Ian Craig Marsh, originally called ‘The Future’, changed their name to ‘The Human League’ in 1978 and with the addition of vocalist Phil Oakey they released the single “Being Boiled”.

The guitar revolution was to be challenged by a new wave of electronic pioneers like Clock DVA, Fad Gadget and Cabaret Voltaire. The Human League however, went onto the heights of the UK Top 40 when the original members left (to form Heaven 17) and were replaced as the band took on the guise of a pop band. The now iconic “Being Boiled” will forever be known as one of the first singles to break synth pop into the charts, although it took a re-release 4 yrs after it’s first airing to make it popular. There have been many bands cover the song, from Simple Minds to Kylie, but until now, the original remains the best.

The dominance of electronic dance music is now challenged by the return of the guitar. KLAMMER have taken on this giant of a pop synth track and harnessed it’s dark appeal. The opening drum beat plays homage to the drum machine in it’s robotic manner but brings immediate life and resonance before the simultaneous entry of synchronised bass and guitar come in. It’s loud, it’s powerful and it’s demanding. There’s more than a passing resemblance with the way Poss delivers the vocals to Phil Oakey, who also had a great delivery, whether it was on the early Human League music or the pop tunes that made them famous. Poss matches the sultry mood and has the right amount of edge in his voice to cut through the wall of sound provided but the rest of the band. The manic guitar of Steve Whitfield dominates all the way through the track and if you have never heard the original, ever, you will definitely want to know what it sounds like. Some cover versions are best left alone, but this one, not only does itself justice, it looms large over the original. As is the way with songs you love, often, first is best but this certainly makes me question myself. Having seen the original line up of The Human League perform this song live, I will now have to see KLAMMER do it! Watch this space.

Do not make the mistake of trying to compare either version, embrace them both and realise it’s hard to pick a winner. Guitars and Synths have been unified in this world for a long time now and it’s all the better for having two incredible versions of the same song.

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“Modern God” video

“Spiral Girl” video

Brix and the Extricated – Live in Dundee

2nd March 2019

Brix and the Extricated – Beat Generator, Dundee 02.03.19

Dundee is fast becoming the place to be for many bands who make the journey north of Edinburgh as far as gigs are concerned. This venue has seen Brix bring her band here three times in the last 2 years and they have rewarded the faithful crowd with this “mini” northern run of dates to celebrate the release of the album “Breaking State”. As we will find out, a fitting title as the band shake off the shackles of “The Fall”. There’s two support bands on the bill tonight that will demonstrate there’s great talent in Scotland and it deserves to be to be heard.

Drainpipe

First up and fresh from the recent Independent Week gig held here at Beat Generator in early February, that featured a wealth of northern talent including Rascalton, Strange Bones and Drainpipe. This local band have the opportunity to air their material to a slightly more mature audience than last month. As the set starts, the self pro-claimed lo-fi shoe gaze rockers demonstrate an energy and a rawness similar to the early 90’s Seattle sound, which is followed up by some great indie guitar work not unlike Rascalton. After a rather energetic start, you can hear the influence of Mogwai. With more than a passing resemblance to their peers, the young band try their utmost to replicate the brilliance of the west coast band. At times, there was a frailty in some of the vocal deliveries but the waves of sound kept the ethereal performance on track. After the opening few songs, Calum Dunnet joins the melee to play violin and it’s a great addition to the overall musical offering. It’s a wall of sound for the most part but with interludes of tender melodies. The final song sees frontman Michael Tonner swap roles with Lewis Walker as he moves onto the drums. Both seem to relish the swap and there’s a resounding finish to the set.

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Wozniak

There’s an incredible array of foot pedals across the entire width of the stage. No room for shoe-gazing on this stage but they will be put to good use as Wozniak leave the capital to play Dundee tonight. They have a new release on offer, “Space Between The Trees” and the band start with “Slacker” from the new E.P. Right from the beginning of the set, there’s a haunting tenderness to the music. Simon and Sarah Cuthbert-Kerr’s swirling guitars are hypnotic. The subtle and delicate changes are underpinned by the tuneful bass. “Karate Kid” see’s Kevin Fraser’s bass provide the backbone to the song as the guitars are left to dance and sing in the ether. Massive swathes of chords and notes feedback through out and only the drums tie down the sound or we’d drift off with the haunting melodies. This is shoe-gaze at it’s best. Wozniak are masters of the genre like their name sake from the electronic giant. It’s a mighty strong name to be measured against but this Wozniak is up to the challenge. Another track from the E.P. sees “Bone Caves” show the beauty of their craft. The set finishes with a track from the bands full length album “Courage Reels”. The expansive soundscape “Scottish Dancer” builds and reaches a crescendo as the band take their leave from the stage.

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Brix and the Extricated

For someone who is forthright and accessible, there’s still a charm and allure about Brix that is unexplainable. She’s had a weird and wonderful past all of which has been well documented but still, the mystery is there. The audience await her appearance but it’s Steve Hanley that takes the stage first as he straps on his bass and we hear the opening track of “Breaking State”. As the rest of the band join in, Brix is lead to the stage wearing a blind fold. A dramatic appearance and very fitting as she sings “total blackout in Alaska”. The Extricated have built on the first album and “Breaking State” is well represented this evening. Like a phoenix from the flames, Brix has had a re-birth with the band, she has exorcised herself from the past and the cathartic process has seen the rise through the new songs. There is passion and intensity in every performance and it’s evident within every member of the band. The set continues with “Pneumatic Violet” from the first album “part 2” and quickly followed by “Prime Numbers” and “HC”, which is an early highlight of the set. I witness the lyrics being mouthed by those at the barrier, mesmerised by Brix as she captives her audience.

Brix welcomes Dundee and introduces the next song “Vanity” where she explains how the lyrics were a result of a visit to India where she witnessed bodies float down the ganges and she wanted to write about the moment the spirit leaves the body. The haunting guitar work of Steve Trafford and Jason Brown offset Brix’s voice. There’s a complete change in mood in the set as two more tracks from the new album “Dog Face” and “Sleazebag” are split by “Feeling Numb”. This sees Brix pick up the guitar for the first time tonight. The song blends into the set very well. After the quirky “Valentino” we get another Fall number in “Glam Racket” which sees the band seamlessly perform the track faithfully.

Brix takes a break to introduce “Going Strong” and delivers a message for everyone that’s ever been “put down or kicked to the kerb to get right back on top and fucking owning it”. The band are in full flow as the upbeat number and it’s singalong chorus demonstrate the unity of the band. Next, the trio of guitars play in unison as “Dead Beat Descendant” starts and is instantly recognisable to the eager audience who relish the chance to relive a live Fall song. We get the final two songs from “part 2” tonight as “Damned for Eternity” and “Hollywood” end a blistering performance. Of course, the faithful crowd deserve a final song before the band finish and after a 2 minute break, we are treated to the signature drum intro of “Totally Wired”. As the rest of the band re-appear and chant those famous words “I’m totally wired” in unison, Hanley delivers the awesome bassline we all love and we get the jangling edgy guitars of Steve and Jason. The exquisite brilliance from the duelling guitarists sees Brix beckon with her arms and extract the spiritual energy from them respectively and motion deliverance direct into the audience. After nearly 8 mins, we are left with the drums and bass ringing in our ears just before the crowd erupt as the music stops.

Brix comes out to thank the crowd for spreading the word about her band through the social media platforms and to invite everyone to meet the band. A welcome invite that would not have happened with a previous incarnation and ultimately most welcomed by all parties.

The rise and rise of Brix and the Extricated continues.

https://www.brixandtheextricated.com/
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6th April
Carlisle – Old Fire Station
7th April
York – Fulford Arms
12th April
Clitheroe – The Grand
25th April
London – Borderline
26th April
Derby – The Venue
27th April
Milton Keynes – Craufurd Arms

Frank Carter and the Rattlesnakes – Liquid Rooms, Edinburgh

22nd February 2019

Another sold out tour for Frank Carter and the Rattlesnakes as they bring their chaotic brilliance to Edinburgh for their penultimate gig of this UK tour. The Liquid Rooms is packed to the rafters and ready for this explosive band to take the stage. There’s a new album set for release on May 3rd but until then, we will have to hear the tracks first hand as we “End The Suffering” and hear tracks from this much anticipated album live.

Black Futures

It must be a daunting prospect for any band to tour with Frank Carter and the Rattlesnakes, but Black Futures have embraced this and raised the bar for “support” bands. Industrial Noise Punks, this duo have an incredibly powerful sound for what intensively is a drummer and a synth/guitarist (namely VIBES and SPACE).

Of course, with the involvement of some brilliant production utilising live sequenced tracks, they leave the audience wondering how two people on stage can deliver a wall of sound like it. Describing themselves “A no-holds-barred aural assault of Anarchic Electro Psych Punk Noise that is something like Death From Above and the Chemical Brothers’bastard offspring” they certainly match their peers.

There’s a theatrical side to the performance as we see two people dressed in Haz-Mat suits and they compliment the performance as they interact in dramatic robotic fashion. The drama didn’t stop on the stage as SPACE(Guitar) places himself dead centre of the audience. He plays one song from the crowd much to the amazement and curiosity of those around him. If you get the chance, check this band out, although I suspect they will be in your face before you know it.

https://youtu.be/LcjqpNpbiTE

BLACK FUTURES– Website // Facebook

Frank Carter and the Rattlesnakes

The lights go out and the crowd already go wild from anticipation as the band breeze on stage like it’s just another day, just another gig but this couldn’t be further from the truth. What you get from this band is a performance to die for, everytime. It’s like the last gig they will ever play and they want you to live it and die for it as they expend everything they’ve got for you.

Frank Carter // The Liquid Rooms- Edinburgh // 22nd February 2019 // Photo Credit: Raymond Thomson

The set kicks off with “Crowbar”, the crowd singalong to this new song, which was released on video a few weeks ago and is already a crowd favourite. It’s dedicated to everyone who’s been there from the start. It’s 2 1/2 minutes of bedlam as, after a signature guitar intro from Dean, the song explodes into life with Frank bouncing all over the stage and acting up for the cameras that are there to capture the gig.

“It’s beautiful to be back in Scotland”, says Frank and we get lyrics to match the sentiment as “Wild Flowers”crashes into life and the mayhem continues. Up next is a new song from the album, which features a guest appearance from Tom Morello(Rage Against the Machine/Audioslave/Prophets of Rage) and you realise that Dean could be the spiritual son of Tom as he wears his guitar high like Tom does.

The tune does have that ‘feel’ of a Morello track but still retains a ’Rattlesnakes’ flavour. Frank’s barely made it to the end of the third song before he launches into the crowd and surfs and sings to the end of the track. Frank’s now standing on top of the crowd but he is not in “Trouble”. If you only ever see one video of the band, check this out!

Frank Carter and the Rattlesnakes // The Liquid Rooms- Edinburgh // 22nd February 2019 // Photo Credit: Raymond Thomson

Climbing onto the wall and up onto the balcony, Frank re-appears to sing “Vampires” with the crowd alongside him. He’s being bated to dive from upstairs but declines after a bit of teasing as 10yrs ago he probably would have. He makes it back on stage but is redundant at this point as the crowd are in full voice and almost drown out the band as they burst their lungs.

“Fangs” sees the crowd surfing matching the furiosity of the band before Frank brings the tempo down with a monologue about women crowd surfing and experiences of being mistreated. This is a song for the ladies to surf and be treated with love. “Heartbreaker” another new track from the upcoming album is the perfect soundtrack to surf for these sirens. The tempo is maintained with a powerful version of “Acid Veins” from their last album “Modern Ruin”.

We get another prophetic speech from Frank but this time it’s about the daily stresses and troubles we can all suffer from as the band play “Anxiety” from the new album. Slowly picked guitar backs Frank as he sings emotionally and the song builds and captivates the audience. You could almost hear a pin drop as the band bring it down and leave Frank to voice the lyrics before a characteristic blast as the band come in full force to end the song.

Another must see video is “Snake Eyes” as the band play one of their seminal songs and it’s back to business as the crowd try their best to match the strains of the energetic vocalist. After a massive singalong, Dean finishes the song with some wailing lead solos and feedback before he crashes into “Jackals” and the place erupts. “Lullaby” brings back the bounce. We get treated to a second rendition of “Crowbar” as Frank makes no apologies for playing it, just because he can. “Devil Inside of Me” sees the height of the crowd chaos tonight, and we get the signature encore of “I Hate You” as every single person in the building sings those prophetic words.

Veni, Vidi, Vici….Frank Carter could rule the world on the evidence of tonight’s performance but he’ll settle for bringing his love and passion to you however he can. There’s a European tour on the horizon, the launch of the new album and a whole lot more to come from this talented man and his incredible band.

Frank Carter– Website// Facebook// Youtube

Ruts DC 40th Anniversary of “The Crack” Tour 2019

20th February 2019

There’s no “Love in Vain”in the Liquid Rooms tonight. Everyone present is here to celebrate the 40th Anniversary of the release of Ruts 1st album “The Crack”. There may only be two Ruts remaining, after the untimely death of their singer Malcolm Owen who died in 1980 aged 26 and Paul Fox who sadly passed away in 2007 but they came to terms with this a long time ago and Leigh Heggarty, a good friend of the band has been a long-standing member and an incredible addition to Ruts DC as they celebrate with this UK wide 15 date tour.

The Ruts DC / Liquid Rooms, Edinburgh / © Photo Credit: Raymond Thomson

The Professionals have joined them on this tour and have no doubt brought their own following to this tantalising tour. To hear the album played in its entirety is a rarity, waiting 40yrs for it to happen has resulted in some of the dates being either a sell-out or very close to capacity. Tonight is no different, the room is packed.

The Professionals

Originally formed by 2 ex-members of The Sex Pistols, namely Steve Jonesand Paul Cook, it’s an apt name for the band. Paul Cook has a no-nonsense air about him as he takes his seat behind the kit, with some purpose, and clicks in the first song with his sticks. “Join the Professionals” gets the band off to a great start and although there’s no Steve Jones,Chris McCormack’s sledge hammer chords and blinding lead guitar solos prove there’s no loss of purpose with this band even without the iconic original. “Can’t Keep a Good Man Down” is the first track we hear from the 2017 “What in the World”album of the year as voted by Vive Le Rock magazine.

Professionals-16 — Paul Cook / The Professionals / Liquid Rooms, Edinburgh / Photo Credit : © Raymond Thomson

After a cracking version of “Payola” we hear Tom Spencer for the first time this evening as the banter with the crowd starts. He doesn’t speak “Scottish” but he loves the square sausage he had at breakfast and aptly it’s “Going Going Gone” as the next track off the 2017 album is played.

For all the ‘pistols fans in the audience, we get “Silly Thing”. A faithful version but certainly never played any better than by this band. Tom thanks everyone for turning out early to hear their set as it’s an early curfew tonight so the 7pm slot is incredibly well attended.

We get another track from the last album “Rewind” before one of the early tunes from 1980“Just Another Dream”. Paul Cookasks the crowd for the Chelsea score and it’s not good news but the band’s dream at least is still alive. As the band play on we’re treated to another couple of tracks “Bad Baby” and “Hats Off” before we get the run down to the end of the set with“Kick the Doors Down” and “Let’s Go”. So it’s “1-2-3” that brings the evening to a close for a band that are relishing playing to these packed venues up and down the country. They leave the stage with their heads held high, like the true professionals they are.

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Ruts DC

“It’s a very small world in the middle of a crowd.

The room gets dark when the music gets loud.

Treble cuts through’ when the rhythm takes the bite,

But there’s no room to move ’cause the floor is packed tight.

A voice shouts loud “We’ll never surrender”

A voice in the crowd “Never surrender””

Who would have thought after all these years, Ruts DC could have so fittingly wrote their own destiny with the lyrics from “Staring at the Rude Boys”.

RutsDC-13 — The Ruts DC / Liquid Rooms, Edinburgh / Photo Credit : © Raymond Thomson

As the lights dim, we hear a very clever pre-recorded audio introduction. Using the song titles and lyrics of their songs, it’s an engaging piece to focus the crowd on what’s about to take place. We are treated to the entire album, played as it would have been in 1979 on your record player. Starting with the unmistakable police sirens,“Babylon’s Burning” brings those hypnotic chords.

There’s no loss of energy from the band, even after all these years,Dave Ruffy is an incredible drummer who along with Segs on bass, are the backbone of the original band. With Leigh Heggarty faithfully re-producing Paul Fox’s guitar licks but with his own flair, this three piece definitely do justice to the iconic album.

The audience is either captivated or trying to capture these golden moments on an array of media devices. There’s a lot of love and appreciation in the room, as Ruts epitomised a great deal of the punk scene back then. Songs of politics, drugs and unity as they crossed genre’s between punk and reggae so exquisitely. The first part of the evening finishes with Malcolm’s voice, cleverly introducing “Human Punk”, the final “live” track from the 1979 album.

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After the indulgence of “The Crack”we get Ruffyout from behind the drums to thank each and every person who has come along tonight and show their appreciation. There’s, of course, some touching sentiment for his long lost friends but tonight’s celebration means there’s no time for remorse, only joy as well are treated to yet more great tunes.

2016 saw the released of new Ruts DC material and we are treated to three songs from the “Music Must Destroy”album. “Music Must Destroy”, “Kill The Pain”and “PsychicAttack”are split by two seminal Ruts songs. “West One”(one of my favourites of the night) and“In A Rut”received rapturous applause as the old guard still love the original songs but there’s plenty love in the room for the last album which demonstrates the trio can still write some incredible songs.

The final three songs, two of which ironically sing of what resulted in Malcom’s early death. “H-eyes”and “Love in Vain”bring out the empathy from the crowd before a rousing version of the ever popular single from 1980, “Staring at the Rude Boys”. As these men put down their instruments and bow at the front of the stage, the crowd stare at these rude boys in amazement as they have witnessed the finest exponents of punk from 1979 brings us bang up to date and see that they never surrendered after the adversity of those early years.

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