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Buckcherry / Hoobastank with Adelitas Way supporting – SWG3 Glasgow

Buckcherry – SWG3, Glasgow 13.02.19

Glasgows multi-purpose venue SWG3 houses a range of diverse acts and none more so than Buckcherry from LA. The venue adapts to accommodate varying audience capacities and tonight, the TV studio will see these North American rockers perform in front of a good number of mid-week gig goers. There’s a number of people wearing buckcherry T shirts so it’s obvious who they’re here to see tonight but with Hoobastank on this joint headline bill, the crowd numbers have no doubt have increased as the promise of seeing them live has attracted a number of fans keen to see the alt-rock band return to Glasgow after a very long absence. There’s an added benefit of having Las Vegas rockers Adelitas Way. Having toured with Creed, Pappa Roach, Staind and Alter Bridge, they’re no strangers to a great rock gig and it’s their first visit to Scotland.

Adelitas Way

It’s an early show in Glasgow tonight with a venue curfew of 10pm so accordingly, the opening slot sees the band take the stage at approx 18:30. There’s a fair number in the room to see band take the stage and they kick off with Still Hungry from the EP Live Love Life. The band try to raise the energy with Ready For War but its Notorious that see the crowd engaged. There’s some sing along with the crowd as Rick Dejesus belts out Last Stand. As the end of the set looms, the song the crowd have waited for finally gets the accolades from the audience. Invincible, the most recognisable song by the band brings this spirited performance to an end. Judging by the reception, the early crowd seem to have benefited by making the effort to beat the traffic to get to the venue.

Hoobastank

It’s been 15 years since the band graced Glasgow with it’s last performance. It’s no co-incidence that it’s also 15 years since The Reason was released. With 3 remaining members from that album, it is well served tonight with 4 songs from the #1 US Billboard album. The night kicks off however with Pieces before Out of Control is the first track to be played from the anniversary album. There’s a real energy and cohesion in the band and it’s like they’ve turned back the clock to dial into the energy they expelled in those early days. It’s refreshing to see a band on stage enjoying them selves and with genuine affection for the crowd who’ve turned out to see them. Doug Robb (vocals) is beaming and its smiles all round as all of the band can see the rapport in the venue tonight, which is quite surprising considering there’s not a lot of people in the crowd have seen them live before. Remember Me from the album of the same name maintains the bounce and delivery. Inside of You is slick and shows the band are a finely honed machine as the hits keep coming. There’s a killer performance of Same Direction and with Never There and Just One played back to back, it’s shows the strength in depth from the 15yr old album The Reason. There’s some real crowd engagement with everyone in the room holding up an arm before Let It Out keeps the set on track. We get treated to one of the newer releases as This is Gonna Hurt leads into the final song of the night. The Reason, no Hoobastank performance would be complete without this song. It’s their anthem and if you only hear one song from them, it might not be completely representative of what they do best, but it certainly leaves you with that feel good factor. They came, they smiled, they conquered. I’m sure it won’t be 15yrs before they return.

Buckcherry

As the band take the stage in relative darkness, we wonder what version of Josh Todd (vocals) we will get tonight. No stranger to the excesses of drink, drugs and debauchery, will he bring out his wild side or do we see a more controlled version. It’s nearly 9pm and with the curfew looming, lets hope the performance is not cut short. The first song of the night, the very recognisable Nine Inch Nails anthem, Head Like A Hole blasts out of the PA. It’s a strange choice for a cover as the industrial metal music is tackled by these sleaze rock veterans. The lighting is very dark for the first song and barely improves for the next but that doesn’t detract from the band getting into their groove. As Josh welcomes Glasgow, the crowd singalong in the chorus as we go Ridin’ with Buckcherry. Josh asks if anyone has read the book, The Art of War right before launching into Broken Glass, probably my favourite of the night. We find out how many long standing fans are in the audience as the 1999 song For The Movies drops the tempo but not the intensity. It’s taken a handful of songs before cocaine is mentioned, a regular subject at Buckcherry gigs and the words of “I love the cocaine, I love the cocaine” belt out during Lit Up. Moving on from the serious subject of drugs, we get a rather tongue in cheek comical version of Icona Pops – I love It but with the wording changed to suit the genre. Say Fuck It has the crowd singing along and it’s the perfect come down from the drugs high of the previous song. We now get some insight into what the new album will offer with the title track Warpaint. It hasn’t strayed far from the well worn path but is well received. Next up, the ever popular Still Out of Line sees the crowd clapping to the beat before we get the full on sleaze rock with 2 Drunk to Fuck. Josh Todd has one of those voices that is unmistakably recognisable. It’s the signature sound of Buckcherry and shows a tender side with the next song Sorry, a not to be missed wavealong/singalong for the crowd. There’s a new single from the upcoming album Warpaint up next as Bent ups the tempo. Gluttony has the crowd bouncing as they scream “I want it, I want it” at the top of their voices. It’s already gone 10pm and the curfew has been broken, it’s time for the band to end the set with the signature tune Crazy Bitch. This is Buckcherry at their anthemic best as far as the crowd are concerned, it’s the song thats most requested. The musicianship on show tonight has been sublime, right through the entire evening and demonstrated by all the musicians. During this last song, we see the variety on show as we go from the full on sleaze to some Proud Mary (Clarence Cleerwater Revival) as it is mixed into the final song which has the feeling of an encore. As the final notes fade away, the crowd’s rapturous applause is the backdrop for the band to pose at the front of the stage for their signature crowd selfie.

I had my doubts that two bands could pull off a double headline gig considering the subtle differences in musical direction but to my pleasant surprise, they’ve pulled it off. I would have been more than satisfied with either of the bands as the main act. You’d need to split hairs to choose the highlight of the night but from a musical perspective, I’d go with Hoobastank but if it were down to balls out rock n roll, then we were there for Buckcherry to do their thing and they did it.

 

The Overbites – Mince E.P. released 09.02.19

The Overbites – Mince E.P.

Every now and then, you see a band at a small gig or festival on the bill and the name jumps out at you straight away. An “overbite”, when something overlaps, usually teeth but I found this to be quite poignant when I discovered The Overbites were formed from a band I had previously enjoyed on a few occasions live and even had a recording of theirs I’d picked up at a gig. The overlap between bands did have a similar feel but from the early promise of the original band, there’s a definite feel of progression with what has now become The Overbites. 

Having seen The Overbites live and had the benefit of hearing all of the tracks before this EP was recorded, I had looked forward to hearing the first studio offering from these local lads. My only apprehension was, could they capture their live performances without losing any of their dynamic.

The E.P. starts frantically just like their gigs do. A 42 second blast of “I Could Never Stop” which leads straight into “TV”. The teenage angst and frantic outcry from the start of this EP is followed up by an acerbic and apathetic opinion of “TV” and how Football,MTV and the News, get the ultimate abrupt turn off from the orator of the story. The sharp lyrics are perfectly matched by the crunchy but clean cut guitars which has a flavour of the best of US punk. The twin guitars are perfectly balanced and fluent solo work is easily distinguishable throughout the songs. The running bass lines and tight drumming results in something that feels greater than the individual parts.

The title track, which immediately endears any Scots person listening, is called “Mince” . This is a very well used term for a number subjects. The song has a, “day in the life” story to it. “Now my head has turned to mince…..” is the ultimate message of the song as what starts off as a rough day, gets worse! 

The next track “Misled” a clever play on words, as the story of a femme fatale and unrequited love have the perfect back drop of a picked guitar/country song which crashes into something resembling the Clash’s Tommy gun with the snare drum rolls accenting the break. You could say, it’s a stand out track from the EP but that’s doing the other songs a dis-justice. Either way, the clever country and western back drop is perfectly matched to the story.

“Time Was Up”, perhaps the most identifiable influence from the previous incarnation of an earlier band, and ironically, a song about how that band had it’s time. There’s nothing hidden in the message, it’s a timeline of the bands existence and of how all things come to an end. The back drop of ska/punk, with some incredible lead work towards the end of the song, make for a fitting epitaph for that now defunct band. If the only purpose for those formative musical connections was to produce this song, I’d say the years of pleasure and pain were worth it. The only slight downside of this studio version, it’s at a slightly slower tempo than when it’s played live, but still, it’s one of those songs you wished you’d written!

What could possibly be worse than having your band disintegrate and fall apart, those bonds you made musically, well, the emotional roller coaster carries on with the final track, “Separation”. A heart on your sleeve, baring all story, of two lovers/friends/family falling apart. The emotion in the guitar work is incredible. It’s a song we can all identify with as we’ve all been there at some point. The final few bars of the song give us some clue that there’s light at the end of the tunnel. As the final few notes play out, what a sublime way to end the EP. The heartbreak is somehow made bearable by the music itself.

This band are infectious. The EP is infectious, I feel like I’ve been on a journey of discovery listening to it. I have lived through the lyrics and felt the emotions through the music. We all might suffer with a “Heid Like Mince” from time to time, but there’s one thing for sure, this EP is definitely NOT MINCE!!!!

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Concert Review: Killing Joke – Laugh At Your Peril – Leeds (UK)

It’s not often a band can profess to have been in existence for 40 years but Killing Joke have made it thus far and after many trials and tribulations, they are well into their 40th Anniversary World Tour. Tonight’s venue is the O2 Academy in Leeds and there is a strong “gathering” of faithful fans. Killing Joke, like many bands of the era, has a strong following that turns out in droves, whether it is to attend tours or one-off “gatherings”. A gathering is a special gig or event in between tours that Killing Joke often spring upon the faithful. The current tour has a feeling of a special gig every night of the tour. The “Laugh At Your Peril” 40th Anniversary Tour started back in September 1st in Seattle, USA and after many dates in South America and Europe, the tour finally hits the UK. It’s the second date in the UK after they played Nottingham, Rock City last night.

The much-anticipated re-releases on CD and Vinyl, which are currently available as a “Pledge”, will be bolstered by special recordings from this tour. One of these was two weeks ago in Berlin and one is to follow soon in London. Tonight though, we will hear the band live as they bring their special blend of post-punk with a flavour of industrial and tribal beats.

The Killing Joke line-up has seen many changes through the years, mostly on drums, but after the untimely death of Paul Raven (Bass), the band line up has remained the same for ten years. Jaz Coleman (Vocals), Paul Ferguson (Drums), Geordie Walker (Guitar) and Youth (Bass) take the stage to a near capacity crowd.

Much to the delight of the long-serving fans, the opening track “Unspeakable” starts the well-established set. There have been a few minor tweaks as the dates progressed, but it’s a popular choice. With Jaz Coleman at his theatrical best, he moves like an oversized animated puppet between songs, striking menacing poses throughout. Tour regular “European Super State” follows before Jaz declares the venue an “Autonomous Zone”. The band race through the song at a brisk pace, they are a well oiled machine at this point in the tour and “Big Paul” Ferguson’s drums drive the song with metronomical precision.

As Jaz screams “Forty fucking years” The band blast into the recognisable “Eighties”. Geordie is at his empirical best as he dominates the mix with his brutal and unmistakeable guitar. The band go on to play a selection of their greatest hits, mixed with Jaz’s social and political commentaries. For the most part, Geordie was planted at his usual stage right, but Youth was in a playful mood as he moved around the stage in his fashionable attire. There are rare performances of “Loose Canon” and “Labyrinth” as the band finish the main set with the ever present “Pssyche”.

After a brief respite, the crowd raise a massive cheer as the band return and deliver an extended encore, which start with “SO36” and “Turn to Red”. “Love Like Blood” is dedicated to Paul Raven and the band deliver a poignantly faithful version of the chart hit from the 80’s. The band end with an incredibly powerful trio of songs as “Death and Resurrection Show” and “Wardance” precede the seminal “Pandemonium” as the final song before the curfew of 10pm. By far the longest set of the tour so far, Killing Joke feel the connection from the appreciative audience and reciprocate with a very special performance.

The “Laugh At Your Peril” Tour continues throughout November and the remaining dates are;

KILLING JOKE TOUR DATES

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Killing Joke: The Glasgow Gathering – Laugh At Your Peril

The “Laugh At Your Peril” 40th Anniversary Tour started back in September 1st in Seattle, USA and after many dates in South America and Europe, the tour hit the UK last week. Tonight, it’s the Glasgow Barrowlands. A venue that has seen Bowie, Metallica, Rage Against The Machine and Radiohead in the last few decades, has also had previous visits from these very men. Its a packed ballroom and there’s a “Gathering” feel to this whole tour. Normally a one off, “Gatherings” are special, and tonight will be no different.

The much-anticipated re-releases on CD and Vinyl, which are currently available as a “Pledge”, will be bolstered by special recordings from this tour. One of these was two weeks ago in Berlin and one is to follow soon in London. Tonight though, we will hear the band live as they bring their special blend of post-punk with a flavour of industrial and tribal beats.

The Killing Joke line-up has seen many changes through the years, mostly on drums, but after the untimely death of Paul Raven (Bass), the band line up has remained the same for ten years. Jaz Coleman (Vocals), Paul Ferguson (Drums), Geordie Walker (Guitar) and Youth (Bass) take the stage to a near capacity crowd.

There are two supports bands tonight and the first up are BlackWaters. I met Max (vocals) and asked him how they have joined the tour in Glasgow. The band had other gig commitments but were incredibly happy to have joined up with Turbowolf and Killing Joke. Being managed by the same manager as Killing Joke and having Youth involved with their production, it’s no surprise these guys are on the bill but they’re here on merit as well as they play an energetic set in front of a reduced audience. The 19:20 stage time being slightly too early for those die hards that have chosen not to turn up till later. They missed a great young band that seem undaunted by the stage they fill tonight. Raw energy and talent with the great mix of songs, these guys should be on your watch list. Playing a few tracks from their recent E.P. People Street – Pick Me Up and People Street show their diversity. FACEBOOK

Turbowolf have been the main UK support for the whole tour. Looking like a cross between Frank Zappa and Jarvis Cocker, Chris Georgiadis (vocals) is a looming figure as he leaps across the stage endlessly. The punk, psych-rock, metal, and electronica three piece have a flavour of Royal Blood as they use drums and guitar (instead of bass) as the main instruments but also the vibe of Wolfmother is not unnoticeable. Having played with Korn, Pulled Apart by Horses, and the Eighties B-Line Matchbox Disaster they are no stranger to audiences expecting some real hard hitting music. Perhaps not the perfect fit for the target audience tonight, they do well to keep the crowd intrigued for 30 mins.
http://www.turbowolf.co.uk

 

So, its time for Killing Joke, the set list has been well publicised so it is no surprise to those in the know that “Unspeakable” is the opener. The third track from the 1981 album What’s This For! is a very popular choice. There have been a few minor tweaks to the set as the band set out on this tour but from those early dates but it’s been finely tuned as we reach Glasgow. With Jaz Coleman at his theatrical best, he moves menacingly across the stage with a glare that could chill to the bone. As the sequenced synthesised sounds of “European Super State” start, there’s a big cheer. Having had a day off the tour yesterday, a re-invigorated Jaz declares his love for being in this fantastic “Autonomous Zone” where we can be free for the evening. The band race through the song at a brisk pace, “Big Paul” Ferguson’s drums drive the song with metronomical precision which is under pinned by Youths sub harmonic bass tones. As Jaz screams “Forty fucking years” The band blast into the hit from 1984, “Eighties”. Geordie is at his empirical best as he dominates the mix with his now legendary 1952 Gibson ES-295. The guitar might be showing signs of age but Geordie certainly is not as his wonderfully brutal and unmistakeable slabs of relentless chords fill the mix. Jaz informs us, we have new enemies according to the media and that we will go to war, “New Cold War” is the next track to keep the crowd on edge. For the most part, Geordie was planted at his usual stage right, but Youth was in a playful mood as he moved around the stage in his fashionable head gear, dinner jacket and funky shoes. There’s a huge cheer as the iconic “Requiem” starts with Geordies recognisable guitar and Big Paul’s toms. As Youth comes in with the pulsing bass, the crowd are captivated by Jaz as they singalong, almost mouthing the lyrics word for word. We stay with another track from the iconic 1st album released in 1980 as “Bloodsport” gives Jaz a break from singing but he engages with the audience in true Jaz Coleman manner, reaching out and staring down the crowd. Jaz asked the crowd if they enjoyed Brexit or Mr. Trump before “Follow The Leaders” keeps the intensity in the room. The third track from Whats This For! is next. “Butcher” gets a rare live outing and there are also special performances of “Loose Canon” and “Labyrinth” before a crushing version of “Corporate Effect”. Another song that’s not seen a tour for sometime is the popular Asteroid. We’re taken back to those early years with one of my favourite’s of the night as Big Paul absolutely smashes his kit relentlessly during “The Wait”. It has the whole room singing the chorus. Between the kick/toms and Youth’s bass, the entire building is shaking. As Youth thanks his fellow band mates for the past 40years, the howling of Youth and the crowd, signify the seminal “Pssyche”. Swapping between Youth and Jaz on the verses, by the time we get to Big Pauls verse, the incredible drummer hits the hi-hats at rates unmeasurable. The feedback from Geordie’s guitar dies out and we’re left with the bass reverberating as Youth leaves the stage to huge cheers.

After a brief respite, the crowd raise a massive cheer as the band return and deliver an extended encore, which commences with “SO36”. The irrepressible “Love Like Blood” is dedicated to Paul Raven and the band deliver a poignantly faithful version of the chart hit from the 80’s. The band end with an incredibly powerful trio of songs as “Death and Resurrection Show”, “Wardance” and “Pandemonium”. Glasgow has seen the very best of a band still at the top of their game.

The “Laugh At Your Peril” Tour continues throughout November and the remaining dates are;

KILLING JOKE TOUR DATES

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Album Review: Brix and the Extricated – Breaking State

Breaking State

It’s just over one year since the release of Brix and the Extricated’s debut album, “Part 2”. They had previously released three singles on “Blang Records”, but this is the first release on their “Grit Over Glamour” label. Having toured the better part of 2018, they’ve still found time to record their second studio album, “Breaking State” in between summer festivals and regular touring.

Brix Smith Start – vocals, guitar / Steve Hanley – bass guitar / Paul Hanley – drums / Steve Trafford – guitar, vocals and Jason Brown – guitar, vocals; have been together as a band since 2014 when the 4 ex-Fall members formed the band with Jason Brown, the fifth member. The legacy of having been in The Fall has been embraced and although you can still hear the influence and unmistakable sound of Hanley’s Bass running through a number of their tracks, the foundations that were laid years ago have provided very solid building blocks for what now has been richly layered into an alternative wall of sound.

Ironically, the new album has a feeling of being the “Part 2” of their first album. However, having the benefit of touring and playing so many festivals under their belt, there’s an indescribable bond between the band members like they have morphed into one. Unlike The Fall, where you often felt a frailty and chaos in the music, which was the beauty of it as well, there’s a definite cohesiveness with Brix and the Extricated, a togetherness where everyone plays their part and delivers something greater than the sum of their parts. The Drum and Bass, which undoubtedly hold everything together, provide the perfect platform for the expansive, beautifully layered guitars, which have been effectively engineered in stereo so we can enjoy the separation in the mix but have them re-kindled within our brain. The final piece of the jigsaw, Brix’s vocal, has a masterful presence and a subtle dominance which has you captivated like a rabbit in the headlights as she brings “Grit” and “Glamour” to the songs. Her personality comes through in waves throughout the album as she imparts the lyrics for dissemination with her wicked delivery.

The album comprised of 10 songs, the cover art, advertising campaign and the merchandise for ‘Breaking State’ was designed by the renowned comic book illustrator Rufus Dayglo (Tank Girl, 2000AD, Gorillaz, Judge Dredd, Ramones).

Alaska – It’s an eerie opening start, reminiscent of a film soundtrack of a Cohen brothers film or something equally as diverse. It’s not long before the signature edgy raw bass cuts into the eeriness. It’s a sound we’ve come to recognise as the backbone of nearly every Fall recording through the 80’s/90’s[sic]. Of course, this is not the Fall but comparisons have to be drawn for obvious reasons. It’s a dark track with sparse picked guitars and wailing keys the only relief from the doom and gloom of what it must be like to live in almost total darkness in the bleak wasteland of the northernmost state of the USA. Brix’s vocal delivery matches the tone of the song as she sings of being “alone in a total blackout in Alaska”.

HC – Here we go, the second track kicks some life into the album as it flips from drum/bass driven indie/grunge where the menace in Brix’s voice changes to a mellow almost dreamy chorus and back to the driving indie-verse. The break between verse and chorus takes us right back to classic Fall, if only for a few fleeting seconds before we’re transported into what the band have evolved into. There’s a Jekyll and Hyde feel to the song which prophetically demonstrates how the band can transform back and forth from Fall to Extricated. There is no battle between good and evil here though.

Dog Face – This next song has an upbeat punchy melody with guitar work which reminds me of Marr/Smiths era during the chorus. The verse, however, awkward and angular which matches the lyrics. Another well-crafted song which could easily have been a single to launch the album. The juxtaposition between verse and chorus is fabulous.

Prime Numbers – Touted as the lead track from the album, Prime Numbers does demonstrate what the band have become, tight, forthright and accessible.

American Skies – The beginning of this song has a drum roll reminiscent of The Devine Comedy and an uplifting melody which is beautifully accented with sweet violins and those marvellous guitars. Brix’s half spoken/sung lyrics work well.

Vanity – Similar in delivery to the previous song, Brix’s acerbic lyrics and vocal delivery make the song. The production and a masterful mix are at it’s best in this song. The interlaced strings throughout the song bring a menacing beauty, which is in perfect unison with Brix’s voice until the crashing break where there’s a downward spiral of chaos as “Never, never, never ever, never going home” finally makes way for the sublime ending as the music stops and the spoken words of “Where vanity takes it’s place” eerily end the song.

Sleazebag – As the heavily affected feedback of the strings make way to the swirling picked guitar, Brix snarls and spits out the lyric’s to “Sleazebag”. This is archetypal Brix. It could easily be mistaken for something written by her in a previous life.

Going Strong – More of a punk feel to this one and “I’m not going quietly, I am going strong” is the message and possibly Brix’s mandate for life these days!

Heavy Crown – “Heavy is the head that wears the crown” – a charged and brutal track which has the guitars almost battling each other for dominance throughout the song.

Unrecognisable – You’ve got to love a song that sums up not only the album but perhaps an entire life lived. “Never give up, never shut up….” The lyrics have a very personal message and are wonderfully delivered. The orchestration near the end of the song is so poignant but uplifting at the same time and the guitars compliment right through to the incredible pianoforte which plays out the final 20seconds leaving me feeling oddly satisfied with a twist of melancholy.

Right through the album, the balance between the orchestral arrangements of arranged by Sarah Brandwood-Spencer and the guitar work of Steve Trafford and Jason Brown are sublime. Put this together with the rock-solid drums of Paul Hanley and the bass of Steve Hanley, Brix is the veritable icing on the cake! The lyrics are direct and although personal at times, they are identifiable and lure you in as you identify with the experiences and changes in life and personal circumstances many of us have been through.

Brix and The Extricated will be touring;

25th Oct – Night People, Manchester

26th Oct – Dingwalls, London

27th Oct – Thekla, Bristol

3rd Nov – The Cookie, Leicester

4th Nov – Esquires, Bedford

10th Nov – The Adelphi, Hull

11th Nov – The Loft Arts Club, Liverpool

16th Nov – The Bullingdon (the Bully), Oxford

17th/18th – Shiiine On Weekend, Butlins Minehead

25th Nov – Arts Centre, Norwich

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GBH – Live In Glasgow

Ivory Blacks in Glasgow is the venue for another G.O.Y.A (DIY) gig. Roddy O’Donnel’s brainchild to keep the punk ethic going and it’s obviously working as it’s a busy gig. There’s a good number turned out to see GBH and a host of great punk bands tonight. Regular visitors to Scotland, GBH bring their brand of punk rock to an energetic audience, hungry for some action and they won’t be disappointed. It’s a full line up tonight, with bands from the east, west and south of Scotland as well as south of the border.

Half Charge

First up, local Oi band Half Charge kick off with a “charged” performance. There’s absolutely no doubt what they are about, it’s pure Oi, Oi, Oi and they make no apologies for it!

Half Charge

Zero Hour

It’s not often a promoter also features in one of the bands on the bill but in this case, Roddy O’Donnel will play in two bands tonight! In Zero Hour, Roddy is the front man and along with Davy Frew (Drums) these guys have a lot to get through tonight! Zero Hour bring us anarchy, chaos and anti-establishment songs, delivered in the style of Exploited and Discharge meets Motorhead. 

ZEROHOUR

Razor Sharp Death Blizzard

We’ve had Oi and Punk so far, so just to mix things up, here’s some Metal, Hard Core with some Punk running through it. Hailing from the Scottish borders, the last thing you’d expect would be some full on in your face doom punk but it’s alive and well and flourishing! Jamie’s throat vocal style compliments the crushing guitar and the hard hitting drums are balanced with growling bass. With songs that include “You Will Burn”, “Fascist”, “Dirty War”, “The World is Fucked” and “Riot” these guys have a message to deliver, with attitude! But, they do end the set with “Have a nice day” so it’s not all doom and gloom and a nicer bunch of punk/metal merchants you couldn’t meet.

Razor Sharp Death Blizzard

Fat Albert

Old School punk rockers up next. Fat Albert are a great no frills punk band, that has a busy schedule and they just make it in time tonight having driven up from Workington. Straight from the road to the stage, no rest for the wicked and they get through their set in super quick time. Kicking off with some back to back songs, there’s an urgency that matches their rush to the gig. “Control”, “Decay” and “Get Clean” are finished before the band get a breath. Their usual set is cut short due to time constraints so we miss out on their seminal “Living in Workington”. It’s not all bad though, after a rushed day, the guys get time to have a pint with the appreciative audience.

Fat-Albert

Razorblade Smile

Roddy and Davy are up next for the second time. On guitar this time, Roddy adorns his signature old German soldiers helmet and Davy is behind the drum kit again. Launching their new E.P. tonight “Savage Soul” the band are on a high as they’re keen to get their new self-funded music out there. With some lively banter, the crowd is kept busy as Razorblade Smile keep up the tempo throughout their set. It’s been 10years since they formed and the self-styled punks will no doubt be doing this in another 10yrs as it’s a lifestyle, not a fashion and you could not get more down-to-earth, no bullshit people.

Razorblade Smile

No Thrills

Another band, with a busy gig schedule, they make their way up to Glasgow from Penrith. Celebrating their 20th anniversary this year, No Thrills are another die-hard punk band, which seems to be the flavour tonight. They’ve also supported a who’s who of punk bands through the years, so being on the bill for GBH, suits them down to the ground. The frantic four-piece keep the crowd busy on their first appearance in Glasgow, I’m sure going by tonights showing, it won’t be long before they’re back. Pez (Vocals) looks like he’s having a great time as he bounces through the entire set. No doubt you will see them at a venue near you soon as they’re lined up for a load of gigs before the end of the year.

NO THRILLS

Potential Victims

The “Pot Vics” as they’re affectionately known, are no strangers to Scotland. They love the journey north to visit their extended family. There’s a different look tonight as Tony (Bass) and Martin (Guitar) are replaced by Derek (Bass) and Raymond (Guitar). Derek has filled in on a number of occasions but it’s not only Raymond’s first outing with the band but the first time he’s played with them, having learned the set from Youtube and CD’s! The Potential Victims kick off with “Hate Crime” and get the busy crowd moshing. “Revolution”, “Smart Arse” and “Control Freak” all get their regular outing before crowd favorite “Punk Rock Police” brings the banter between Spider (Guitar/Vocals) and the eager audience. The signature double drum beat start to “Chewing Gum for The Brain”  raises the tempo and energy and the band ends on a high.

Potential Victims

Social Insecurity 

These boys are back with a bang in 2018. The anti-establishment anarcho-punks from Edinburgh look like they mean business. Fortunately, singer Jon Bones has recovered from a recent bout of flu, but you wouldn’t know it, as adorned in a black boiler suit and matching black balaclava but with mowhawk sprouting from it, he crashes around the stage like he’s trying to escape an asylum. Frantic but focused, Jon’s energy level is maintained through out the set. As the band rip through “Victims of Hatred”, “Police brutality” and “Wage Slave” there’s hardly time for a breath before “Drones of War” and “Tranquilised” keep the frenetic pace up. “Burn All Flags” and “Don’t Suffer in Silence” show the band clearly have a message to get across and mean what they say. “Up the Punx” is a fitting last song as it’s epitomises the whole evening.

Social-Insecurity

GBH

Without any fuss, Jock (Guitar) and Scott (Drums) take the stage with stand-in bass player Nick (as Ross can’t make it tonight). The crowd gives a loud cheer as Colin takes the stage, sporting his iconic leather jacket. It’s like times stood still as GBH launch into their set but the crowd will be treated to some newer numbers tonight as well as the greatest hits. “Birmingham Smiles” from their latest album “Momentum” is the first song tonight. As Colin sings “Everybody’s got a hometown, Not everybody’s got a home” the band sounds like they’re at home even though it’s been a year since they’ve been in Glasgow. The next six songs are from their first album, Leather, Bristles, Studs, And Acne.  Playing almost non stop, bar a few song name titles, Colin looks like he’s been transported back in time as his stage movements are almost identical to those early energetic days when the band was raw and full of energy.  GBH still deliver to this day. It’s brilliant to watch Colin wrestle with his mic stand and strike those iconic head down poses as well as the leg splitting jumps. Another new track, “Fifty What?” kicks off the next batch as GBH continue to play through their back catalog which includes “Sick Boy”, “No Survivors” “Diplomatic Immunity” and “City Baby’s Attack” and “Revenge”.

As the set draws to a close, Nick (bass) looks like he’s played with the band for years as he’s thanked for filling in. 25 songs tonight and the crowd savored every minute. The moshpit was manic and the interaction brilliant as Colin shared his mic with the boys on the barrier who were always keen to singalong. Let’s hope it’s not another year before GBH return.

GBH

 

The Membranes / Theatre of Hate – CHURCH, Dundee

CHURCH Dundee, the venue for tonight’s tour visit from Theatre of Hate and guests The Membranes. With its twin staircase as you enter and the characteristic church appearance, it’s gothic charm lends its self as a perfect place of worship for two bands that have stood the test of time. The dramatic architecture and atmospheric presence, work on many levels, as you enter the building. Stepping in from a balmy summers evening, into a dark hallowed venue, you’re ready for the sermon.

The Membranes John Robb takes the stage and baits the audience to come closer. With the song title, The Universe Explodes Into A Billion Photons Of Pure White Light the self-awakening begins for those who’ve made it tonight. Dark, atmospheric, powerful end of days music for the disillusioned.  It’s an incredible behemoth of a song with multiple complicated layers of darkness. You could imagine Dante writing The Devine Comedy to The Membranes music. Next, Dark Energy (from the 2015 Album Dark Matter/Dark Energy) has John Robb’s bass pulsing whilst the dual guitars of Nick Brown and Peter Byrchmore bring subtlety and eeriness. Crushing bass and jangling chaotic guitars signify Do The Supernova which is well received. The tempo drops for the atmospheric yet angular and chopped, In The Graveyard. John Robb’s heavily effected vocals carry the song and see him at his theatrical best bringing out his dramatic emotive energy as he raises and outstretches his arms to the heavens. He dedicates the song to the local graveyard, where we’ll end up…. if we’re lucky! Encouraging the crowd to dance, Black is a Colour is up next. The throbbing edgy bass and straight beats from Rob Haynes are wonderfully complimented by the twin guitars. A new track, which has it’s first airing live, A Strange Perfume demonstrates there’s a lot more to come with the anticipated new recordings, as again, driving bass and some great tribal tom work is the background to the fantastic harmonic yet diverse guitar work which elevates the song. The penultimate song, Hum of the Universe (again from their last album) sees another drop in tempo with no less focus on delivery. The crowd join in at John’s request to singalong with the chorus then, on to the last song. The seminal Myths and Legends, perhaps the most archetypal song which could define The Membranes. A captivated audience show their appreciation for what has seen a spirited performance, fitting for the location.

https://www.facebook.com/theMembranes/
http://www.themembranes.co.uk

Theatre of Hate take the stage in a low key manner and get straight down to business with the bands first ever single, Original Sin. Turning the clock back, the opening saxophone of Clive Osborne is joined by Stan Stammers bass then the drums of Chris Bell come hammering in before Kirk Brandon’s opening lyric takes us back to 1980. Clive Osborne’s haunting sax starts Judgement Hymn, another early track is next before we get the first of the newer songs Black Irony from the last album (Kinshi). Kirk picks up his iconic guitar and sings, “I believe in Mickey Mouse”. The focus and deliver from the band are as relevant today as they ever were. The band’s incredible passion is evident with every note, set apart by the saxophone which has an unmatched empathy with any other band of it’s genre. Kirk’s lyrics filled with social/political comment are worthy of dissection and he remains a relevant voice for those who need to find an alternative voice. Kirk introduces Facade (another from Kinshi) as a song about how this world is “unreal”, everything we see in the media or on TV is just a show we’re watching. This song has a timeless feel to it with the saxophone again bringing an elegance to the song. The third song from Westworld is next, “63” with Americanos and Conquistador following on.

The musicianship and intensity from the band are felt throughout the audience and there’s a gravity about the band which comes through in their no-nonsense performance. Day of the Dog (Kinshi) is a fabulous upbeat song with some throwback lyrical references to earlier Theatre of Hate songs which leads onto another track from Westworld as The Wake see a return to early form. Driving bass and drums with twin guitars of Kirk and Adrian Portas and the sax supplemented with Kirks distinguishable voice. Two more tracks from Kinshi, the thought-provoking Eyeless in Gaza and Slave bring Theatre of Hate smack bang into the present day. The next track sees Kirk brandishing a drumstick in hand as he hits the mic stand/monitor and himself to the hypnotic beat. Listed as Africa on the setlist, it benefits from heavily played tribal drumming and heavy strummed bass with the signature melancholic sax with a great running solo on guitar. Kirk’s in a world of his own twirling the drumstick like a baton. The song ends to rapturous applause.

A rousing version of Incinerator is followed by the seminal Legion as the band are in full flow and deliver the B side of the first single with great energy. The middle break with Stan hammering his bass and Clive’s sax filling the room, see Kirk, stage left dancing and gesturing back towards the band before he comes crashing back in with his rousing Legion, Legion, Legion. Biggest response from the crowd so far as the band fire into Europa and the infectious Propaganda. This brings the set to a close but after a brief break, they return, much to the delight of the eager audience and The Klan breaks the silence before the unforgettable Do You Believe in the Westworld does see the band bid farewell to Dundee as Kirk thanks the audience.

https://soundcloud.com/raymond-thomson/do-you-believe-in-the-westworld-theatre-of-hate 

 

https://www.facebook.com/TheatreOfHateOfficial/
https://www.kirkbrandon.com
http://www.stanstammers.com
 

Not the busiest gig I have ever been at to be fair but both bands delivered tonight. Both with musical content and passion, they left nothing to the imagination. For those that did turn out, they were treated to two bands at the top of their game!

Thanks to Boab Williamson of Patchchord News and Ruthless Artists http://ruthlessartistes.co.uk for a fantastic gig.

 

Album Review: The Eddies – Still Takin’ the Mick (E.P.)

Mick Kilbride was the inspiration for this E.P. and a fitting tribute it is for a life well lived but taken too young. The former Eddies guitarist had some rough ideas for a song which was re-worked and recorded on this E.P. to celebrate and recognise his role, not just with The Eddies, but to a wider audience as he was well known in the Punk scene.

It has taken some time to get it recorded but, I can say with some certainty, it has been worth the wait. The Eddies were simply too busy playing live to get time in the studio and this has worked to their advantage as they’ve honed the songs and regulars to their live sets have had the benefit of hearing the tracks prior to recording. The songs have evolved, grown, they’ve been born and will now be adopted by a wider audience and none better than at the E.P. launch at Rebellion Festival 2^nd August when the E.P. will be unleashed.

Some bands are known for their songwriting and some for their blistering live performances, well here’s something you don’t hear every day, a band that actually pull off both.  No one sets out to tame their live performance when they record in a studio, and it is very difficult to capture the essence of a performance on a wet Tuesday night or even a hot Saturday afternoon during a mixdown, but what The Eddies have managed to do is bring their hard-hitting melodic punk and captured it in a manner that gives that live feel and has you lacing up your DM’s looking for a gig!

The Eddies music is direct, it’s accessible. You don’t have to draw comparisons with other punk bands or genres, although they sound familiar, there’s no need to pigeonhole them as there are a maturity and originality to their music. So, don’t try to compare their sound as it’s fresh and hungry like music should be.

No Way – A well known live track that’s been in the set a while and gets the E.P. off to a flying start. The Powerful drums and edgy bass give a perfect platform to some energetic rhythm guitar that’s supplemented by the slick lead which runs throughout the song. The vocal delivery is cleaner and more precise on the recording than live versions of the song and that’s where the studio/live differences do come in. The singalong chorus is well worked and the opener has you hooked. This is one of my live favourites and I can now enjoy listening to it at home… as I lace up my DM’s!

My Game My Rules – Now, this is a new song. As far as I’m aware, it’s only been aired a few times live and carries on the great opener and moves up a gear. Similar EQ on this track but the backing vocals on this just endear the song more and this is furthered by the great bridge. There’s an antagonism to the song, a focus. It’s not arrogance but a confident delivery, one well engineered.

Nowhere – Yet another new song, this has a Ruts feel to it when the guitars come in (no comparisons eh!) but the “wooh oh’s” soon bring another dynamic. Some great lead work on the solo and the nihilistic lyrics are a subtle change from the two earlier tracks. I have heard this live and it was well received so it’s worthy of inclusion in this recording.

One of These Days – The third new song and if you thought there was any respite on this E.P. then no, deal with it. The Eddies make great punk rock songs that stick in your head and this one is no different. They have a process and a reason for what they do. It’s not hard to disseminate but that’s part of the beauty of it. Every different song I hear on this E.P. has me saying, this is my favourite. There’s not much between them.

Takin’ The Mick – The title track to the E.P. and some great chord chops start this song. This one is close to The Eddies heart as it has Mick’s influence all over it. What a fitting tribute and you really should see this one live. The band are full on as this is The Eddies at their best. Musically it shows everything they are about. The singalong chorus, great backing vocals and an ending that leaves you wanting more. Whether it’s the heavy drumming, the tight powerful bass, the rapier rhythm or the sliced lead guitar, there’s something for everyone to enjoy on this 5 track epic.

To summarise, this E.P. was necessary. It’s been cathartic for the band members to not only remember Mick but to celebrate his influence and have something tangible to remember him by. But it doesn’t stop there, The Eddies are long overdue some credit for plugging away for all these years with few recordings. This is a platform for them to showcase what’s possible. 

The Eddies perform the E.P. This coming Thursday at Rebellion Festival, Blackpool.

The Eddies – Rebellion Festival 2nd August

The Eddies – My Game My Rules 

Album Review: Big Paul Ferguson – Remote Viewing

Big Paul Fergusons collaboration with multi-instrumentalist Mark Gemini Thwaite was something I had anticipated listening to for some time.

I approached Paul to review after hearing a taster of it and he was more than happy to forward. After immersing myself in this dark electronic, industrial and emotive album, I have come out the other side and have retained my sanity. Anyone who has ever heard Killing Joke, for instance, would have half an idea that an album that would be released by the rhythmic master, would be worthy of scrutiny and reverence.

Having heard some of BPF’s work out with Killing Joke, I anticipated “Remote Viewing” would bring another level of understanding of how he has developed, not only as a drummer but also a producer and architect of sound. The fact that he also spends a great deal of his life moulding metal and creating art from natural resources, can only stand him in good stead! There is a fluidity to his creativity; he crafts molten metal into things of beauty that can be handled by those who best appreciate the craftsmanship. Let’s not forget the considerable input from his collaborator, a well-respected musician in his own right and from what I’ve heard during the review of this album, the perfect partner for BPF as they have both created something that will have a metamorphosis once its audience hears it.

It is an album that you will feel as well as hear. The message within each song, by nature, should reach you on several levels, spiritually, subliminally and directly depending on how you receive them. It will be an awakening, perhaps even a revelation but should not be a surprise. You should be ready for your transformation.

Hungry Ghosts – A subtle beginning to the album. Arpeggiated synth and syncopated drums with heavily effected spoken words that remind me of Leftfield and Massive Attack before heavy guitar chords come hammering in just over a minute into the song that leans more towards a metal/rock fusion. Not unlike some Killing Joke remixes but far enough removed that apart from the name, you wouldn’t know he was a founding member based on this offering. As the song progresses, the vocal delivery and the progressive build-up of guitars with sustained searing chords have you almost in a semi-trance and all too soon, it is over. Slightly under 4 minutes but felt like it would go on longer. Leaves me wanting more.

Reboot – Heavy kick drum and synched synth open the next track with the spoken word theme being carried on. Again, an arpeggiated synth features throughout. There’s some very clever programming going on, and although the composition sounds complicated, the mix is well engineered to the point all tracks are audible and well separated. “Help me, Jesus, help me now” runs throughout the track and we’re not going to grasp these songs on first hearing, which is not a bad thing. The mix is busy but again, hypnotic and addictive.

BPF – Reboot

Fear The Great Motivator – Drums and Vocals take early precedence in this song so you are grabbed and directed into Paul’s voice almost as if you are listening to a hypnotist as you succumb to the narration. When the hammering bass and guitar come in with screaming soaring synths with a pronounced snare that makes you feel like you’re an oarsman responding to the drumbeat on a slave warship being forced into battle. There is a real menace in the delivery of the music as Paul’s voice drums words into your brain. The song has a darkness, “Fear” is the driving message as he lists our inner hidden fears one by one. “Fear the great motivator” is the message as “We build our lives around fear”. We should know as a society, we are being force-fed by the establishment/media to “Fear” but “Fear does not exist” is BPF’s real message!

Terrible Warriors – Bongo drum and spoken word kick off the fourth track. The rhythm set by the bongos is matched by syncopated keyboard/synth as the spoken word continues in the same hypnotic manner as previous tracks. The song builds and has the feel of a mix of reggae/dub rhythms.

XBOX – “What are you gonna do” – BPF uses this song as a social commentary/rant with a message that we need to wake up! Describing the “XBOX” as a “Waste of fucking time machine” the cyber-cynical music matches the antagonistic commentary as BPF repeatedly asks the opening line. The repetitive edgy rhythmic bassline on a continual loop feels like it has been slowed down to bring an arrogant backup to BPF’s lyrics. The ultimate call to arms on the album.

I Am War – We are six songs into the album and now we feel the BPF / Killing Joke influence. The guitar feels like it is simulating the part of drum toms as its repetitive chords effectively match the kick and give a tribal feel as the bass underlines the entire song. Paul narrates continuously through the song. “I Am” –Fear/Ignorance/Hate/Anger/Creator/Gold/Gold digger/Problem/Cure – “I conflict, I am War”. BPF continues the conflicting/challenging messages for us all to heed.

BPF – I Am War

Zarzal – The song kicks in with serious sub-bass frequencies that reverberate like a weaponised instrument that will destroy your mind or the building you inhabit. Delivered in a dub like fashion with melodic vocals spoken softly, there is a mellow feel to the final track. Complicated harmonics that are made up of staccato keyboard chords and sporadic percussion. Some great stereo mixed guitars pick their way through the latter part of the song as it drifts into the ether as it finishes.

The release date for the CD is August 24^th. It is however available on a pre-order or digital download via www.deadradiostation.com/bpf

Notes from the website (below)

1. Hungry Ghosts
2. Reboot
3. The Great Motivator
4. Terrible Warriors
5. X-Box
6. I am War *
7. Zarzal *

Written and recorded by Paul Ferguson (BPF) at Drum’n’Steel Works, Baltimore, MD; and Mark Gemini Thwaite at Mob Research Laboratories, Los Angeles, CA.

* written and recorded by Paul Ferguson

Percussion, voice and loops – Paul Ferguson

Guitars and additional instrumentation – Mark Gemini Thwaite

Electric Violin on X-Box – Brainshadow

Produced by Mark Gemini Thwaite and Paul Ferguson

Mixed by Mark Gemini Thwaite

X-Box – Mixed by Brainshadow

Mastered by Brainshadow at Digital Mysteries, Stockholm, SE.

With gratitude to Mont Sherar, Daniel Watson, and Mark Gemini Thwaite.

And to Olga Cestero-Ferguson, for her support and putting up with me.

Dedicated to Maqui Berríos, whom I will never stop missing.

 

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