And read the review of Nevilles new album in the latest, 1979 issue of ViveLe Rock. 


 Legendary Vocalist For The Specials, Neville Staple, 

Premieres Gritty New Video From His Forthcoming New Album!

Los Angeles, CA – The Original Rude Boy returns! Neville Staple, charismatic vocalist/toaster for one of the most celebrated 2 Tone ska bands ever, The Specials, reclaims his place in the spotlight with a triumphant new album to be released on Cleopatra Records on May 13. Entitled Ska Crazy!, the album features phenomenal cover versions of ska/reggae classics by Prince Buster (“Time Longer Than Rope”), The Slickers (“Johnny Too Bad”), and Max Romeo (“Wet Dream”) plus brand new compositions including “Rude Boy Returns,” “Girl,” and the gritty single “Roadblock,” which will make its worldwide debut in a professionally shot music video that premieres on the syndicated music/pop culture webzine Something Else! this coming Monday, April 28.

>From the cinematic opening scenes of urban decay filmed in Neville’s hometown Coventry, England, the video bristles with tension as the song’s melodic hook, a killer horn-guitar combo riff, pulsates over shots of graffiti walls and CCTV cameras, like the title sequence to a lost season of The Wire. The dramatic plot of the video, a drug deal that erupts in violence, unfolds as Neville and fellow toaster Daddy Woody act as a Greek chorus warning against youthful hubris. Director Joseph Wallace comments, “I wanted to film a video that approached the subject of street crime seriously, yet still very much retaining the relaxed mood and chilled tone of the music. I wanted Neville walking through Coventry’s cold, empty streets at night singing to the camera as though almost preaching his message; weaving in and out of the narrative itself and blurring the line between performance and social issues.” The video was produced by Rawline Entertainment.

Catch the video premiere here:

Staple enthuses about the album, “I am so pleased and proud to have put this album together as it includes some old time classic favourites, which I grew up with and which I have added some ‘original rudeboy’ flavour to. My current band are brilliant and they put a lot of time into creating that authentic Jamaican sound with me, that you will hear in the tracks, as well as helping me with the creation of brand new material. You will also hear a lot of vocals from my wife Christine and my good friend and Jamaican DJ artist, Daddy Woody. I hope you all love it as much as I do and I’m dedicating the album to Jerry Dammers and my cousin Alvin who helped me on the way to a career in music.”

To pre-order the CD or vinyl on Amazon:

To pre-order the digital album on iTunes:

For the latest information on Staple, visit:

Share : facebooktwittergoogle plus



The Damned are now confirmed as the last gothic stage headliner for Alt-Fest, 15-17th August at Boughton Estate in Kettering. To reflect the sound of the stage, the band has chosen a special set-list, featuring tracks that have not been played live for many years. More additions come in the form of hardcore punks Dead Kennedys, industrial metallers The Defiled and many more. Tickets are available now from

With a catalogue that spans, and even helped define, goth, punk, krautrock, psychedelic, garage rock and more, The Damned have something truly special up their sleeves for Alt-Fest. As well as playing a selection of songs from the Phantasmagoria and Black albums, the band will perform a ‘people’s choice’ track to be decided by social media ahead of their gothic stage headline set.
A hearty slab of hardcore punk has been added to the main stage with the confirmation of Dead Kennedys. The San Francisco quartet is awash with underground credibility as one of the first hardcore bands to make waves internationally. They will be a sure fire crowd-pleaser among the tribes gathered for Alt-Fest.
Also confirmed are The Defiled, joining Alt-Fest’s metal stage in a more modern day barrage of industrial metal. Next up are heavyweight quintet Heart of a Coward, Wales’ loudest export Revoker plus Hawk Eyes, who opened for none other than System of a Down in 2013.
Alt-Fest’s gothic stage line-up reaches completion with a UK festival exclusive from 80s gothic, post-punk outfit Theatre of Hate and ambient, experimental German duo Other Day, a UK debut and 2014 exclusive booking. A raucous confirmation comes in the shape of the reformed gothic anarcho-punks Rubella Ballet, whilst She Past Away (UK debut show and festival exclusive) leave their native Turkey for Alt-Fest’s fields. The poetically named cold-wave group Soror Dolorosa and Vienna’s Whispers In The Shadow (UK debut show and festival exclusive) complete the gothic proceedings.
Last but by no means least joining the S.O.P.H.I.E stage are Brighton’s dub-infusing metallers Collisions. 


Click the image below to watch the latest Alt-Fest trailer 

About Alt-Fest:
Alt-Fest has already caught the attention of both the UK alternative scene and the media through a hugely successful Kickstarter campaign.  The event, a five-day, multiple stage festival covering Alternative, Industrial, Metal, Goth and Steampunk music, lifestyle and more not only reached its target of £30,000 but went on to double the target, receiving over £61,000 from fans via the Kickstarter UK platform. Over 150 acts across the Metal, Goth, industrial and Steampunk genres are now booked. Most importantly Alt-Fest, which is operating a strict policy of ‘run by the fans, for the fans’, is engaging their audience in every aspect of the planning process making Alt-Fest not just crowd-funded but also crowd-led. 



Share : facebooktwittergoogle plus




Paul Weller has said that he won’t be taking part in Record Store Day in the future after seeing his 2014 release sold online at vastly inflated prices. 

Weller put out a one-off 7-inch, ‘Flame Out’, for this year’s Record Store Day, which took place on Saturday (April 19). As with a majority of other releases this year, copies of the record appeared on eBay later that same day while other fans complained of the release being sold out as soon as record shops opened their doors. 

Addressing the issue on his official website, Weller attacks the "touts" selling the limited edition Record Store Day releases and states that the online sale of records "goes against the whole philosophy" behind the annual event. 

"I agree with all of you who have sent messages expressing your anger and disappointment at the exploitation of these "limited editions" by touts," Weller writes. "Apart from making the record, the rest has very little to do with me but I am disheartened by the whole thing and unfortunately I won’t be taking part in Record Store Day again."

He continues: "It’s such a shame because as you know I am a big supporter of independent record stores but the greedy touts making a fast buck off genuine fans is disgusting and goes against the whole philosophy of RSD. It only takes a few to spoil a wonderful concept for everyone else. Shame on those touts."


Share : facebooktwittergoogle plus



RIP AC/DC: 1973 – 2014


Brothers Malcolm Young, George Young and Angus Young, 2012 (photo from Facebook)

By Darryl Mason

AC/DC are ending their 41 year career on a terribly sad note.

Plans were underway for a new studio album, their first since 2008’s monumental Black Ice, and a ’40th Anniversary’ world tour, 40 huge shows across the globe.

About 3 weeks ago, founding member, rhythm guitarist, co-producer and co-songwriter Malcolm Young had a stroke, which left a blood clot on his brain.

When AC/DC reunited at the start of April to begin a month of rehearsals, in the lead-up to new album recording sessions, Malcolm discovered he couldn’t play. At least, he couldn’t play like he used to play.

Nothing has been officially confirmed, as of this writing, but friends and family members have been discussing what happened to Malcolm for the past couple of weeks. The blood clot, resulting from the stroke, is believed to be why Malcolm couldn’t keep working.

Although friends have described Malcolm’s condition as serious, it doesn’t mean he won’t recover. People do get better after strokes, and people do recover lost skills.

But friends and family of band members believe the decision was made last week to call it quits. 

Media in Australia have gone ballistic today on rumours of The End Of AC/DC, and it appears the news got out ahead of a planned official announcement from the band and management.

Right now, that announcement is expected Tuesday, April 16, and a press conference has been scheduled.

AC/DC won’t continue playing and recording without Malcolm. It can’t be done.

While Angus Young is the more famous, and more recognisable, AC/DC is most definitely Malcolm Young’s band, he started AC/DC, under the guidance of big brother George Young (ex-Easybeats, and co-producer) and encouraged his younger brother Angus to join him, and take on the world.

Malcolm Young has been the quiet motivator and boss of the band for four decades, co-writing nearly all of AC/DC’s classics, and making sure nothing happened to harm or damage the band’s reputation, or disappoint the fans who’ve stuck by them for decades.

His passion for the band and its music, and integrity, were so intense, back in the 1970s he used to have fistfights with his younger brother, Angus, in the studio, when disagreements about a sound or riff couldn’t be resolved. Proper punch-ups, teeth were lost, blood was drawn.

So that’s it. AC/DC are coming to an end.

But what a career. AC/DC set out to conquer the world, and they did it, multiple times. Even the death of singer Bon Scott barely slowed them down, and only slightly delayed recording sessions for Back In Black. 

Back In Black is still one of the biggest-selling albums in rock history, and AC/DC have easily sold more than 180 million albums, and probably half as many singles and DVDs and videos and special edition packages. They’ve influenced pretty much every hard rock, heavy rock and heavy metal band that has followed in their wake, including Nirvana, Metallica, you name them, they probably grew up loving AC/DC. And AC/DC are still in the record books for one of the biggest live audiences in rock history, playing to more than 1.6 million people in Moscow, in 1991. They were invited to play by the youth of Russia, who grew up on AC/DC bootlegs, after the fall of the Berlin Wall.

The band have been written off by critics, numerous times, but they stuck to their guns and beliefs and never compromised their sound. They were rarely, almost never, tempted by the musical fades that came and went over the decades. They dabbled in glam rock at the start of their career, but that barely lasted through the recording sessions of their debut album. Their fans wanted rock n roll, heavy rock, they could rely on, and that’s what AC/DC delivered, across more than 14 albums, and numerous live-in-concert releases.

Malcolm Young never gave up on his belief that 1950s and 1960s rock n roll was rarely bettered, and he used the riffs and rhythms of black blues players as the basis for AC/DC’s sound. He’s also cited The Rolling Stones’ Keith Richards as a key influence, and talks about that influence in the below interview.

The secret to Malcolm’s playing, as Guitar Magazine explained, was open chords with the amps turned down, not up, and mics shoved right up close to capture all the details. He didn’t churn out huge rock riffs through blasting amplifiers, his playing, and magic, is much more subtle than that, despite the rawness of the early studio albums.

I still reckon AC/DC’s 2008 album Black Ice was amongst the best they made, right up their with Back In Back and Highway To Hell (their last album with Bon Scott), it’s absolutely killer, and filled with excellent playing, classic AC/DC songs about rock n roll and some of Brian Johnson’s better vocal performances. It’s also pretty much a live-in-the-studio album, with minimal overdubs, just like they did it back in the Alberts Studio days in the mid-1970s.

Malcolm’s work on Black Ice, in particular, is superb, not just the detail of his playing, but also his songwriting with brother Angus. They worked on the writing of the Black Ice songs for five years, and gave themselves the time to get it right. They nailed every single one, and Black Ice became the 2nd highest selling album of 2008.

 Rock N Roll Dream, from Black Ice, is everything AC/DC was about. They wanted the rock n’ roll dream, they got it, then they lived it.

"And it could be the very last time…"

Malcolm Young and his family have now returned to Australia. Everyone is hoping he makes a recovery, but close friends are saying the situation is not looking good, right now. Things may change. We can hope they change, and Malcolm recovers.

Instead of linking to an AC/DC classic, most of which you’ve probably heard a thousand times already, here’s a rare treat instead – Malcolm Young’s rhythm guitar from Let There Be Rock, way back in 1976. 


Share : facebooktwittergoogle plus




Leading up to 1979, how had 1976 to 1978 treated you and your band?
“The years leading up to 1979 were a time of mixed blessings, really. The band that preceded Secret Affair was called New Hearts; formed during the first onset of punk’s first wave of ’76 bands, such as The Clash, The Damned, The Sex Pistols and so on.
Up until this time, music was dominated by hugely successful rock supergroups who played some great music but who, for many teenagers like me, seemed distant and remote. Both the pop chart scene and the black dance scene were dominated by some very cheesy music… The Stylistics, Barry White, The Bee Gees, The Carpenters and so on, with only artists like David Bowie or Roxy Music still striving to break new ground.
“Punk, and the more interesting term ‘new wave’, represented an opportunity to overturn much that was rather staid, shallow, complacent or, in the case of the rock supergroups of the time, self-indulgent, with its 20 minute drum solos and pseudo-mystical lyrics that didn’t always connect with working class teens like me. Punk’s assault on the musical and fashion status quo was, in retrospect, both rapid and astonishing in its impact. The important thing, more important than the music itself, was that it overturned the music industry, leaving in its wake a raft of gibbering record company executives, who literally didn’t know where to turn, who to sign or what to do. At first they had tried to resist it, along with their partners in crime in radio, TV and the print media. But importantly, the UK music press quickly embraced the new wave revolution, gave it the oxygen of publicity and suddenly all the staff of the NME, Melody Maker, Sounds and Record Mirror were clad in obligatory black leather biker jacket and skinny jeans (though not quite having had the courage to get their hair cut!).
“In the face of establishment resistance, the new wave/punk movement steamrollered on, forming its own independent record labels, such as Miles Copeland’s Step Forward, or the excellent Stiff Records formed by Dave Robinson and Jake Riviera, and creating its own fanzines such as the iconic Sniffing Glue, and its own venues like London’s The Roxy, or Monday nights at the Vortex, which was for the rest of the week a disco venue called Crackers. Punk was now a movement, a culture, a way of life for some.
“New Hearts, with me its 16 year old singer (eldest band member 18), stepped into this maelstrom of change determined to embrace our opportunity. For us, as musicians from the edge of London, without ‘contacts’ in the business or being part of any established scene or fashionable clique, saw that the systematic destruction of the music industry more, and meant we had as much opportunity and right to be a part of this new generation of music as anyone else. Or so we thought.
“The major record labels from 1977 onwards, still reeling from their dizzy fit, soon embarked on a campaign of signing as many of the new generation of bands as they possibly could, achieving a few coups along the way with CBS Records signing The Clash and United Artists signing The Stranglers. What major labels like CBS never really got though was the innate suspicion and irreverent disregard this new generation felt for them, whether they signed with them or not. Everyone knew that the rich cigar-wielding chief execs of the majors, with their teams of out of touch A&R men still wearing their permed footballer hairstyles and brightly coloured silk tour jackets, neither knew nor cared about this new revolution or, for that matter, about music itself. Many, I believe, thought they could just swallow it up and make it fade away so that they could return to the old days of formulaic pop and lofty supergroups.
“So New Hearts were quickly signed to CBS Records, and I think for a number of reasons. First, our age meant that, in theory, we were of the current generation. Second, that while we embraced one of the key tenets of punk rock performance; energy, passion, commitment, we rejected the often stated notion that ‘anyone can play punk rock, you don’t even have to know how to play the guitar or how to sing’. Instead, we were a tight, melodic, punchy unit with a big collection of well arranged songs, energised by intense guitar sounds that drew from that great power playing of guitar greats like Pete Townshend. And it had been proved to us that in both a punk, and new wave context, that approach was acceptable because successful bands like The Jam had proved it. Hard and fast, in time, in tune, with bags of passion and commitment, they did very well, while anyone with any sense could see this wasn’t a punk rock band. Their clothes, their look and their sound came straight out of the ’60s, which they had made contemporary and adapted to sit very comfortably in the new order of the second half of the ’70s.
“But for us as New Hearts, a few things meant that we were fated to unravel. One of the biggest factors was the issue of credibility. The whole new wave era was bedevilled by an obsession with credibility. Who was real and who wasn’t, who was ‘jumping a bandwagon’ who was ‘in’ and who was ‘out’. The prime drivers in the who was and wasn’t credible campaign were the UK music press. With ephemeral judgements worthy of The Crucible’s Abigail and Tituba, the music press started to decide who was cool and who was not, who was in and who was out, and the power of their witchcraft extended until, in the face of an ever-diversifying music market and dwindling circulations, there came the fall of the false kingmakers of sounds, Melody Maker, Record Mirror and the dramatic re-invention of the only survivor of those days – the much improved NME.
“Also, I had come to realise that there was something rotten at the heart of punk. That this heart didn’t really speak for ordinary working class kids like me, but whose trail led to origins in the King’s Road, Chelsea, whose proponents talked about ‘street’ culture but didn’t walk the streets, who professed to despise ‘the establishment’ but was in fact an in crowd establishment of its own. And we were outsiders.
“New Hearts’ record company understood none of this existential predicament, to our cost. The one thing they did understand was a strong melodic ‘pop’ element in our high energy new wave sound and they seized on this because to their addled and outdated minds, a good pop record would make the charts and bring success – job done. Against our will they put us in the recording studio with ex-Tommy & The Shondells keyboard player and now producer Kenny Laguna, who had a great track record in bubblegum pop but no knowledge at all of punk or new wave at the time. The result was a disaster and our first single was neither good pop, nor credible new wave and we were further pushed to the edge of the trust of the movers, shapers and kingmakers that were mysteriously empowered to raise or lower the Emperor of Credibility’s thumb.
Further pressurised to pursue the ‘pop’ route by manager and record company alike, we realised too late that frankly our careers were being steered by village idiots. The record company wound up their deal not long after the failure of the second single.
However, some very good things happened over this time. The first is that CBS retained myself and partner Dave Cairns as a proposed performer/songwriter duo. One executive laughably proposed that we think about making ourselves the next Smokie!
“The second is that they were very generous with demo time in their state of the art recording studio in central London. Due to this generosity (if generosity it was), I worked hard to learn about recording, what people did to make good records and how things worked technically. The house engineers at those studios patiently answered every trivial and irritating question I had. One in particular, Simon Humphrey, went on to be Secret Affair’s studio engineer.
“The third is that we made absolutely no attempt to go on and be the next Smokie, but worked and wrote and worked to create a new band, a new sound and a fierce determination never to let anyone treat us the way we had been treated again.”

How did the political climate in 1979 affect the band and the songs you were writing?

“Well it only affected me in as much as it affected a great many others. The death of consensus politics in ’79 with the election of Margaret Thatcher’s Conservative party gave rise to an intensifying of all that could be divisive between those who leaned to the left and those that leaned to the right, transforming normal political differences of opinion into issues of outright mistrust and mutual dislike. Margaret Thatcher was unquestionably a divisive leader, and her handling of the Trade Unions showed her to be both a cynical and ruthless leader. In my opinion, many people’s agreement that many of Britain’s woes at the time were caused by Trade Union militancy overlook the cause of that militancy, which was inflation massively reducing people’s pay. Also, when inflation did start to come down the major strikes that followed were not about pay, but about jobs. I think Margaret Thatcher knew full well that every redundancy of a union member effectively weakened that union.
“But it was in this climate, that some bright spark from a now defunct music paper decided to call me a Conservative which, in the bizarre credibility obsessed music business, amounted to a damning indictment. It was based on a quote of mine when I was asked what my politics were. I had replied that I didn’t have much time for either major political party… but if I were able to vote for them I would probably choose the US Democratic party. Also some people had deliberately misconstrued some remarks I had made about why there had been a revival of interest in Mod culture. I had said that the movement was fundamentally working class, and the desire of the young to wear a suit, look sharp and hold their head up high was aspirational – a statement that said that beyond class, status and wealth, they could, symbolically look anyone in the eye and say ‘I am your equal’. The idea for a while was nicknamed ‘suited subversives’ (by me I think) And I still like the idea. But anyone who thinks that is a right wing ideology has the politics of a 12 year old.
“In terms of songwriting, I am not a believer in promoting party politics through my lyrics. I don’t think ‘celebrities’ should use the power of their ‘voice’ to tell people how to vote. Musicians and songwriters who use their music to promote and address what could be called world or global issues, say human rights and social justice, is fine by me. Sting lamenting mourning Chilean women dancing the Cueca alone with photographs of their disappeared loved ones in their hands in the song ‘They Dance Alone’ seems to me a beautiful and moving way to make me think about what was the political issue of Pinochet’s reigime… but I don’t recall him ever telling me how to vote.”

What are your memories of appearing on Top of the Pops?
“Well our first appearance on Top of the Pops was the most memorable. It involved me and the bass player being half way up a motorway on the way to a show when we suddenly got a call that we had been invited to play TOTP that day. In the days before mobile phones the only way the rest of the band managed to contact me was by persuading Radio 1’s Newsbeat programme to broadcast a message at the end of their news bulletin which, by good fortune, we happened to be tuned into (I usually listen to Radio 4).
“In the end they had laid on a helicopter that flew back to London to make the recording of the show on time. I remember having to have to make a long, unheeded complaint to our record company’s promotions people who had arranged for a photographer to greet us at Battersea heliport. The ensuing pictures of me dashing from the helicopter, suitbag over my shoulder, were exactly the kind of non-credible exposure I was still trying to explain to record company executives that we didn’t need! They never got it.”

How important was the music press or to get played on John Peel’s radio show at the time?
“Well I think I may have spoken enough about the music press already perhaps? The John Peel exposure was, for me. In 1979 radio exposure was the most important way to break a band. John Peel at the time was Radio 1’s king of credible, and many of his shows consisted of a lot of dark, heavy punk full of out-of-tune guitars and bad singing of offensive lyrics. But many people missed the point about John. His mission wasn’t to promote punk music, per se. He felt it was his role to promote new talent. When I eventually got to ask him why he had played songs when it was so different from everything else he played he simply said, ‘because I liked it. And you needed a break.’ My promotions lady and I took him for a night out later and got him fabulously drunk. For weeks after he kept calling asking when we could do it again. He was a lovely man.”

Why do you think 1979 was such a fantastic year for alternative music?
“I think the proponents of the credibility gap issue were starting to lose their grip. Critics remained obsessed with it for years to come, but many artists were able to achieve mainstream success with their reputations intact because the music buying public were becoming less and less interested in such things. Among the top twenty records of 1979 were songs by Generation X, Elvis Costello, Lene Lovich’s fantastic Lucky Number, Ian Dury, Doctor Feelgood, were standing tall alongside the likes of Abba, Supertramp and Queen. The more embracing new wave revolution had achieved a really important landmark in popular music history; the broadening and diversifying of musical taste and style and the notion of, in a way, music for everybody. I think this process continued long into the next decade in a positive way, until the onset of the internet, which got everybody confused, and they still are. But that’s probably a topic for another day.”

Was there a feeling that a new breed/style of music was taking over?
“No, I wouldn’t say ‘taking over’. But certainly that popular music was becoming a broader church and that even established bands had to push on, develop and evolve – and that a disregard for new talent, new ideas and ways of doing things could be fatal.”

Which other band that was breaking that year made you sit up and think, ‘We’ve got a bit of competition here’?
“I’ve never thought of making and playing or appreciating music as a competition. The Premier League is a competition and the team with the most points at the end wins it. I’ve always hated TV programmes like the Top 20 Films of this or… The Top 100 Dance Tunes of that – they’re entirely arbitrary. Of course you can use record sales as a measure but then, in 1981, Ultravox’s ‘Vienna’ spent four consecutive weeks at #2 in the UK singles chart without ever getting to #1. Joe Dolce’s novelty song ‘Shaddapya Face’ kept it off the top slot for three weeks – but who made the better record?”

How important do you think fashion was to youth culture in 1979?
“Fashion has always been important to youth culture, but I am aware of the speed and diversity with which from ’76 through to the early ’80s fashion styles came about. Punks, Teddy Boy, Skinhead, Casual/Soul Boy, Mod, Two-Tone… and don’t forget, by the end of 1979 someone somewhere must have already been dreaming up New Romantics!”

What song really broke you big in 1979?
“Although it’s never been my favourite of our songs, we owed our initial success to ‘Time For Action’. At that time, singles’ airplay and chart success were absolutely fundamental for breaking a new band – absolutely paramount. ‘Time For Action’ was the right song at the right time. And even today, when we play it people still go crazy. It sold over 200,000 copies at the time, and if it had done those kind of numbers today it would be number one for three months.”

If you could do one thing over again that you did that year, what would it be?

“Oh, that’s an easy one! I’d like to remix our first album, ‘Glory Boys’ – if I’d known then what I know now I could have made it even better!”

UK Singles
"Time For Action" – 1979 – Number 13
"Let Your Heart Dance" – 1979 – Number 32
"My World" – 1980 – Number 16
"Sound Of Confusion" – 1980 – Number 45
"Do You Know" – 1981 – Number 57

UK Albums
"Glory Boys" – 1979 – Number 41
"Behind Closed Doors" – 1980 – Number 48
"Business As Usual" – 1982 – Number 84
"Soho Dreams" – 2012



Share : facebooktwittergoogle plus


The Punks, London 1979 by Janette Beckman


VLR readers let us know what this epic year meant to them.

"’Five Star Rock ‘n’ Roll Petrol.’ Mods, punks and skinheads. I had ‘Too Much,Too Young’ and it was ‘Time For Action.’ Mates with a ‘King Rocker’ who I knew like the ‘Back of My Hand.’ ‘My Sharona’ was a ‘Duchess’ and all I wanted was to be ‘Happy Nowadays.’"
Michael Conway

“I was 17 in 1979. I used to listen to ‘Machine Gun Etiquette’ by The Damned, ‘Inflammable Material’ by SLF, ‘Germ Free Adolescents by’ X-Ray Spex, The Rezillos, Penetration, The Ruts, The Lurkers, etc. Used to fall asleep listening to John Peel. There was always something quite good on Top Of The Pops!”

Alex Glendinning

“The popularity of the single meant I could afford a new slice of youth culture every week. Punk continued with SLF, the Subs and the Upstarts. The charts had great singles from The Jam, Blondie, Squeeze and Ian Dury and the mod/ska scene was up and running too.”
Mal Hutchinson

“I was a spotty 14 year old daydreaming in class. Punk became new wave. Album ofthe year was ‘London Calling’. Single was ‘Boys Don’t Cry’. And great new bands―Dead Kennedys, Joy Division, SLF and Skids. And ‘Dancing Barefoot’ and ‘Eton Rifles’ had me bouncing in my bedroom.”
James Skene

“March 1979. Thursday night. TOTP. The usual crap. Wallop. Skids. ‘Into The Valley’. My life changed forever. I became a fan of Skids and music from that moment on. ‘Into the Valley’ ‘Masquerade’, ‘When You’re Young’,‘Strange Town’, ‘Are ‘Friends’ Electric?’, ‘I Only Wanna Be With You’. THE BEST YEAR EVER.”
Peter Trenholm

“1979! The greatest year for me. I discovered punk rock. John Peel’s show and his festive fifty was a great way to discover all these new bands. Despite some claims of punk’s dead, nonsense! You could turn on TOTP and see Sham, Skids, Sid, Dickies, Upstarts, Damned, Ruts etc. All the movements around: Punk. Skins. New wave. Two-tone. Mod. Reggae. Metal. Even hippies still around.”
Michael Whittaker

"1979 was really the year that ‘rockabilly’ became a teen cult. The music had been trickling out via Sun International reissues since the late 60’s but was really the domain of older music collectors and those who frequented specialist and generally London rockin’ clubs like the Royalty in Southgate. The young kids getting into rockabilly at those clubs were the subject of Matchbox’s ‘Rockabilly Rebel’ but it was that song that let the general population of teenagers in on act. The explosion of interest in the genre worldwide after that 1979 single which was a hit all over the globe set up the environment for bands like The Stray Cats and the Polecats to score hits in the 1980’s and the wider reissue of rockabilly rarities that has continued to this day.”

Simon Nott



Share : facebooktwittergoogle plus

BL’AST! (USA / Southern Lord) – Live in Europe

 California Hardcore Legend announce Live Line Up for upcoming Tour

BL’AST! (USA / Southern Lord) – Live in Europe 2014:

We are proud to announce that legendary DANZIG and QOTSA drummer Joey Castillo will complete the line up for upcoming BL’AST! Tour…! 

The new BL’AST! Album ‘BLOOD!’ is been produced and mixed by Dave Grohl (FOO FIGHTERS, QOTSA, NIRVANA, PROBOT, etc..),



21.06.2014 F – Clisson, Hellfest 2014

23.06.2014 UK – Brighton, Stick Mikes

24.06.2014 UK – Bristol, The Fleece

25.06.2014 UK – Manchester, Star and Garter

26.06.2014 UK – Glasgow, Audio

27.06.2014 UK – London, Underworld

28.06.2014 GER – Wiesbaden, Schlachthof

29.06.2014 A  – Innsbruck PMK

30.06.2014 I  – Bologna, Freakout Club

01.07.2014 I  – Milano, Lo Fi Club

02.07.2014 A – Wien, Viper Room

03.07.2014 GER – Berlin, Magnet

04.07.2014 DK – Roskilde, Roskilde Festival 2014


Live Line Up:


Cliff Dinsmore / org singer BL’AST! – Vocals

Mike Neider / org guitar BL’AST! – Guitar





Share : facebooktwittergoogle plus


 Barrence Whitfield & The Savages


May 2014 UK/Irish Tour



Thrs 1      Norwich, Norwich Arts Centre


Fri 2          Cork, Crane Lane Theatre


Sat 3         Kilkenny, Kilkenny Roots Festival


Sun 4       Kilkenny, Kilkenny Roots  Festival


Tues 6      Wolverhampton, The Slade Rooms


Wed 7      Glasgow, Broadcast


Thrs 8      Newcastle, The Cluny

Fri 9         Newbury, Arlington Arts Centre


Sat 10      York, Fibbers


Sun11      Leeds, Brudenell Social Club


Tues 13    Nottingham, The Rescue Rooms  


Wed 14     Sheffield, O2 Academy 2


Thrs 15    Southend, The Railway Hotel


Fri 16       Brighton, The Haunt


Sat 17       London, The Borderline



Barrence Whitfield & The Savages play The Corner Man on Later……With Jools Holland, watch here……



I hadn’t heard from Barrence for a while…I have now. Don’t “Turn Your Damper Down”….Turn it up!”-Elvis Costello


 “Barrence Whitfield is the Barrence Whitfield of R&B”.-Andy Kershaw BBC


Barrence Whitfield & The Savages

Dig Thy Savage Soul (Bloodshot Records)


Boston’s legendary Barrence Whitfield & The Savages’ new album Dig Thy Savage Soul is a wealth of atomic-powered, sock it to me R&B and rock & roll hoodoo. Barrence, possessing otherworldly pipes that range from a low feral growl rumbling the nether regions to a scream that would make Little Richard blush, belts out originals and crate-diver covers with the formidable and aptly-named Savages. They keep his back with a punk rock grit and blues ferocity that lives in the frets between Chuck Berry and Jack White. Together, Barrence & the Savages lay down a groovy racket that’s so thick and greasy, you need moist towelettes near the hi-fi.


Dipping their gut-bucket deep into the well of America’s dirty musical soul, Barrence & the Savages’ sound is a sweaty elixir that enlivens, exorcises, and energizes on Dig Thy Savage Soul. “The Corner Man” bursts out of the gate, as much a child of the Sonics as a father to the Dirtbombs; it’s the Savage-Mobile neutral-slamming out of the garage. “My Baby Didn’t Come Home” and the love letter to the iconoclastic Oscar Levant (a man in chaos in search of frenzy…Google it, man.) burn with a roguish swamp mojo; bonus points for the killer jump-soul horn section. On “Daddy’s Gone to Bed” and the badass Jerry McCain tune “Turn Your Damper Down,” Peter Greenberg’s guitar plays like the lost Sun Records collaboration between Howlin’ Wolf and Carl Perkins. “Hangman’s Token” starts as a low-fi hill country shimmy harkening back to the early days of Fat Possum Records that then explodes into a tasty hard rock feast.


Out front, Barrence is preaching to a congregation we definitely want to join. “Bread,” a Bobby Hebb B-side done with a Glimmer Twin strut, has Barrence matter-of-factly distilling all the nuance, confusion, and frustration of any relationship into the simple inarguable truth: “Only one thing in this here world/ to make you popular with all the girls/ and that’s BREAD/ that’s what I said.” Lee Moses’s “I’m Sad About It” is a slow burn gospel headbanger, conjuring a completely unhinged Al Green tossing sweat and blood soaked scarves from a fiery pulpit. 


Sho’ nuff. Where’s that towelette, again? 


Barrence Whitfield & the Savages shot out of Boston in the mid-‘80s with the force of a cannonball. Through their sweaty dance party shows and love of primal soul, they were to R&B what the Cramps were to rockabilly–a gateway musical drug for nascent underground roots mavens (including a wideeyed, dewy-eared future Bloodshot co-founder Rob Miller). Along with original Savage Peter Greenberg (The Lyres, DMZ), they released several records on Rounder, became a favorite of BBC DJ Andy Kershaw, toured with the likes of Bo Diddley, Tina Turner, and George Thorogood, and won seven Boston Music Awards. They re-united in 2011 with new Savages Phil Lenker on bass, Andy Jody on drums, and Tom Quartulli on sax. 


Perhaps the world is ready for them this time around. 



Uncut 8/10 “Irresistible set”

Classic Rock 8/10 “(Dig Thy Savage Soul) is a fire-and-brimstone rock-and-soul delight”  (Kris Needs)

Record Collector 4/5  “Rowdy and raucous


Barrence Whitfield & The Savages DL link for hi res pics, biog, album artwork etc here….


Share : facebooktwittergoogle plus



April 26 – Great American Music Hall, San Francisco, CA (w/ The Tyde, The Light Fantastic)
April 28 – One Eyed Jacks, New Orleans, LA (w/ The Men)
May 1 – Austin Psych Fest @ Red 7, Austin, TX (w/ The Warlocks, Asteroid #4, etc.)
May 3 – House Of Blues, Houston, TX (w/ Muck and the Mires, Mikey and the Drags)
May 4 – Kessler Theater, Dallas, TX (w/ The Hickoids)
May 6 – Hi Tone, Memphis, TN (w/ Doug Tuttle, Tyler Keith)
May 8 – Plush, St Louis, MO (w/ Bad Dates)
May 9 – House Of Blues, Chicago IL (w/ Archie Powell and the Export)
May 10 – Potawatomi Bingo, Milwaukee, WI (w/ Lee Rocker)
May 11 – Turf Club, St. Paul, MN (w/ Mighty Mofo’s)
29 May – Sala El Sol, Madrid
30 May – Explosivo Club, Zaragoza
31 May – Kafe Antzokia, Bilbao
1 June – Sala Acapulco, Gijón
4 June – Sala [2] de Apolo, Barcelona
5 June – Loco Club, Valencia
6 June – Sala El Tren, Granada
7 June – Sala Stereo, Alicante

10 June – Club Cargo, Caen
12 June – La Trabendo, Paris
13 June – Parc Expo, Nancy
14 June – John Lennon, Limoges
15 June – Moloco, Besancon
16 June – Toulouse
17 June – Secrete Place, Montpellier

(Italy and UK tour dates to be announced soon)

Having completed successful tours of Japan, Australia, London and the U.S. last year, THE FLAMIN’ GROOVIES are hitting the road again in full force for their spring 2014 tours of the U.S., Spain and France. The Cyril Jordan, Chris Wilson, George Alexander line-up that rocked the UK, Europe and the US from 1971 – 1980 are BACK IN ACTION. With the addition of Victor Penalosa on drums, they continue to present their own unique and infectious style of rock n roll with such cult classics as "Slow Death," "Shake Some Action" and "You Tore Me Down."


THE FLAMIN’ GROOVIES (left to right: Cyril Jordan, George Alexander, Victor Penalosa, Chris Wilson) photo credit: Anne Laurent
"The Flamin’ Groovies’ new song ‘End of the World,’ like the band’s best tracks, blends proto-punk energy with power-pop melody. A certain rawness permeates the band’s dedication to pop rhythm, making it sound like it could have been recorded today or in 1972. Considering all the bands that have been influenced by the Groovies, this music is timeless. – ROLLING STONE

"The Flamin’ Groovies’ new single ‘End of the World’ actually sounds to me like substantial growth from their mid/late ’70s material — this is just sonically, musically beyond even ‘Shake Some Action,’ I think. I don’t know if the riff is quite as devastating but the whole soundscape is." – DAVE MARSH

"The Groovies’ recent return sees their quest to keep the spirit of beat music alive continuing." – MOJO (Nov. 2013)

"The Flamin’ Groovies uniquely straddled the garage rock and new wave periods with equally classic output during both, becoming a peerless and legendary San Francisco band." – SF WEEKLY

"Badass rock ‘n’ roll that predated punk rock by a good decade. The Flamin’ Groovies are about as classic a rock band as it gets. And to die-hard fans of rock ‘n’ roll, they are classic rock legends." – CLEVELAND PLAIN DEALER

"One of San Francisco’s best, if somewhat overlooked, bands. – MOTHER JONES


Share : facebooktwittergoogle plus


 Read the Off interview in next issue of ViveLe rock-out end of next week!


“You can feel the whumph against your sternum.” The Guardian
“Seethes with urgent rawness.” Kerrang!
“Exemplifies the best of US punk rock.” Q

Check out the video for ‘Hypnotized’ featuring cameos from punk legends David Yow from Jesus Lizard and Jack Grisham from T.S.O.L. below:


Punk/hardcore luminaries OFF! are set to return this October, bringing their short, sharp bolts of noise back to the UK for the first time since the summer of 2012. Following the release this week of their highly-anticipated new album ‘Wasted Years’ via Vice Records, led by former Black Flag/Circle Jerks frontman Keith Morris, OFF! have cranked their blasts of rage and energy up a notch to maximum effect. Recorded live to 8-track half-inch tape at the quartet’s practice space, ‘Wasted Years’ is simply the most direct and in-your-face realization of OFF!’s mission yet. The album is available for purchase here:
Support on all UK dates will come from regular touring partners Cerebral Ballzy, whose snotty New York hardcore rock n’roll is the perfect accompaniment to OFF!’s hardcore rage. Duck for cover at the following dates:
2nd          Bristol                  The Exchange                          Ticket Link
3rd           London                Oslo                                         Ticket Link
4th           Sheffield              Queens Social Club                 Ticket Link
5th           Glasgow               King Tuts                                Ticket Link
7th           Leeds                   Belgrave Music Hall                 Ticket Link
8th           Brighton               The Haunt                                 Ticket Link

For more info:

Share : facebooktwittergoogle plus


 ‘Looking For Johnny – the legend of Johnny Thunders’

CHIP BAKER films in association with JUNGLE RECORDS presents a DANNY GARCIA FILM:
a documentary on the life of the late New York Dolls and Heartbreakers guitarist

Johnny Thunders was the legendary hard-living rock’n’roll guitarist who inspired glam-metal, punk and the music scene in general.  
‘Looking For Johnny’ is a 90-minute film that documents Thunders’ career from his beginnings to his tragic death in 1991.

When Johnny Thunders died in New Orleans on April 23rd 1991, he left behind a mystery. Though MTV and international broadsheets reported the guitarist’s demise, for many in the mainstream, Thunders was perceived as an enigmatic outlaw. He was adored by a legion of devotees and cited as an influence by at least three successive generations of musicians. Thunders refused to play the corporate game and was both elevated and damned for it.

‘Looking for Johnny’ is the creation of the documentary maker, Danny Garcia (‘The Rise & Fall of The Clash’). The young Spanish filmmaker was seized by a question that wouldn’t let go – "just who was Johnny Thunders?"  He spent 18 months travelling across the USA and Europe, filming interviews with fifty of the people who were closest to Johnny, building a compelling narrative drawn from first hand testimonies.

The film examines Johnny Thunders’ career from the early 70’s as a founding member of the influential New York Dolls, the birth of the punk scene with The Heartbreakers in both New York City and London, and later incarnations including Gang War and The Oddballs. It also explores Johnny’s unique musical style, his personal battle with drugs and theories on the circumstances of his death in a New Orleans hotel in 1991 at age 38.

Interviewees include Sylvain Sylvain, Lenny Kaye, Walter Lure, Billy Rath, Bob Gruen, Terry Chimes, Alan Vega, Peter Perrett, Sami Yaffa, three of his managers, who’ve sadly now all passed on: Marty Thau, Leee Black Childers and Malcolm McLaren, and many others.

The film includes forty songs with historic film of Johnny with live performances from all periods, including unseen New York Dolls and Heartbreakers footage and photos. Cult filmmakers Bob Gruen, Don Letts, Patrick Grandperret, Rachael Amadeo and others contribute classic archive footage, helping illustrate the charisma, chaos and heartbreak inherent to the guitarist.

Premiere showings are booked for May and June 2014 across USA and Europe, including New York City, London, Los Angeles, Chicago, Stockholm, New Orleans, Dallas, Toronto, Boston, Washington DC, Gloucester MA, San Francisco, Athens Greece tbc, Madrid, Barcelona and elsewhere, with more events to follow. 
(See below for details and Facebook and websites for updates.)

The film will later be issued on DVD, Blue-Ray and digital services. 

Live screenings booked worldwide:

MAY 3 – CHICAGO  CIMM Festival 
MAY 5 – NEW YORK CITY  Anthology + New York Junk (live)

MAY 9 – TORONTO  Canadian Music Week

MAY 11 – BOSTON  Regent Theatre +The Daughters (live) 
MAY 15 – GLOUCESTER, MA  Cape Ann Cinema 
MAY 17 – WASHINGTON DC  Gala Theatre 
MAY 22 – NEW ORLEANS  Zeitgeist 
MAY 23 – DALLAS  Texas Theatre 
MAY 24 – LOS ANGELES Downtown Independent 
MAY 28 – SAN FRANCISCO  Roxie Theatre

JUNE 5 – LONDON  Prince Charles Cinema


JUNE 27 – MADRID  Transmissions Festival 
JULY 5 – BARCELONA  Transmissions Festival

with more to be announced.

Share : facebooktwittergoogle plus





Joining previously announced Main Stage headliners
The Boomtown Rats, Kool & The Gang and The Human League

Sham 69 by Dod Morrison

GuilFest organisers are delighted to announce that Sham 69, with their ORIGINAL LINE UP, featuring the founding members of the band, legendary Jimmy Pursey, Dave Parsons and Dave Tregunna, will be headlining The Vive Le Rock Punk Stage on Friday 18th July.  Sham 69 are quite simply one of the most famous punk bands of all time, producing a stream of hits during the golden era of punk including ‘Hurry Up Harry’, ‘Angels with Dirty Faces’ and ‘If The Kids are United’.  As they originally hail from Hersham, this show will be one chance to see the band close to their home turf.  A unique opportunity not to be missed!

The Buzzcocks by Dod Morrison

Punk legends Buzzcocks return to GuilFest to headline The Vive Le Rock Punk Stage on Saturday 19th July.  Famous for classic tracks ‘Orgasm Addict’, ‘Harmony In My Head’, and of course the punk anthem ‘Ever Fallen In Love (With Someone You Shouldn’t’ve)’, Buzzcocks have been cited as inspiration by a wide variety of acts including REM, Nirvana and Green Day and can quite rightly lay claim to being one of the most influential bands of the Punk era.  Expect this band to tear the roof off The Vive Le Rock Stage.

Ruts DC

Reggae Punk rockers Ruts D.C. are confirmed to headline The Vive Le Rock Punk Stage on Sunday 20th July.  Reformed in 2008 after nearly 30 years, Ruts D.C. are best known for their highly regarded 1978 single ‘In a Rut’, an instant classic that received regular airplay on the late John Peel’s legendary Radio 1 show, but have also had numerous UK top 40 hits including ‘Babylon Burning’, ‘Something That I Said’ and ‘Staring at The Rudeboys’.  Ruts D.C. are sure to close The Vive Le Rock stage in style.

In the coming weeks the GuilFest line up will continue to grow with over 200 live acts and DJs performing on 7 stages across the festival site, including the now legendary Big Cheese Rock Cave, The Acoustic Lounge and our two unsigned LiveClub stages. 

Don’t forget that it isn’t just about the music at GuilFest! All over the site you can find excellent entertainment such as the brilliant Theatre Tent, featuring a wealth of diverse theatrical productions all weekend long.  The Cosmic Comedy Tent also returns this year with a fabulous yet to be announced line up of some of the best comedians in the business.

For the night owls, Farmer Giles’ Barn Dance, La Discothèque, The Funky End Dance Tent, and the brand new Spaced Inn will keep you revelling ‘til the early hours. All this, as well as the massive 150ft beer tent, cocktail bars, food and drink from around the world, craft and clothes stalls, impromptu street theatre performances and much more besides!

Consistently nominated as the UK’s Best Family Festival, GuilFest has, as you would expect, a fabulous Kidzone for your young ones to enjoy – featuring a brilliant children’s theatre, face painting, fun rides, games, and costume making, culminating in a wonderful procession across the festival site on Sunday.

For visitors that want to experience GuilFest in style, for the first time ever in the festival’s history a very limited number of VIP tickets will be available to the public – These will allow access to a backstage area with posh loos, and a special bar for exclusive aftershow parties! You never know who you might see around there!

Tickets available now at special early bird prices from the website, or from Seetickets on 08712301106 Be sure to visit for full details or keep an eye on the official Facebook and Twitter feeds.

Share : facebooktwittergoogle plus


 This is killer! New split out now on Bomber music-7 Day Conspiracy and the wonderful Goober Patrol!!

Check out the video!!!

Learn bad words with the new video from the UK punks!

‘Berkshire Hunt’ is taken from the new split album with Goober Patrol, out on Bomber Music. 

Available on CD, download and heavyweight Transparent Green Vinyl from


Share : facebooktwittergoogle plus




GUILFEST IS BACK – JULY 18/19/20 2014!!!





Rising once again like a phoenix from the ashes, GuilFest, The UK’s No. 1 family festival returns to its spiritual home – the idyllic grounds of Stoke Park on July 18th/19th/20th 2014.  The public have spoken, and after a year without their favourite festival they have bombarded Guildford Borough Council in their droves with requests for its rightful return, creating one of the largest petitions ever to grace the council’s website, and proving GuilFest has a truly special place in the hearts of music lovers everywhere.


Organisers are delighted to be back, and this year will see the original team (a team that swells to a number of over 2000 local people when the festival is in full swing!!) thoroughly committed to giving the town truly the best festival it has ever seen!  Not only this, but organisers have reduced ticket prices too – With a limited number of adult weekend with camping tickets available for just £100! – That’s a saving of over £30 on the same tickets for GuilFest 2012!!


Headlining the festival on Friday 18th July, The Boomtown Rats grace The Main Stage for what promises to be a show stopping performance to conclude the day’s proceedings.  Fronted by world famous singer/songwriter, author and activist Bob Geldof and formed in 1975 in Dublin, The Boomtown Rats exploded out of Ireland in ’76 and their fast, loud, furious music and their fast loud furious attitude meant they became part of the burgeoning punk scene.  The Boomtown Rats have toured with world famous names such as the Ramones and Talking Heads, and performed alongside contemporaries the Sex Pistols, The Clash, The Jam and The Stranglers to name but a few. A string of top ten hits and platinum albums has earned them Brit Awards, Ivor Novellos, Grammy Awards and they could easily be described as one of the biggest bands of the late 70s and early 80s.  Making history as the first Irish band to have a UK No 1. hit with ‘Rat Trap’, The Boomtown Rats topped the charts in 32 Countries with their timeless anthem ‘I Don’t Like Mondays’ and racked up 6 era-defining albums and 12 UK top 40 singles.


Saturday 19th July sees a headline performance on The Main Stage from disco, R&B and funk royalty Kool and The Gang.  Famous for classics such as ‘Celebration’, ‘Get Down On It’, ‘Ladies Night’, ‘Cherish’, ‘Hollywood Swinging” and ‘Jungle Boogie’ as well as countless others, Kool and The Gang have sold over 70 million albums worldwide and can rightfully lay claim to have influenced the music of three generations.  With a whole host of accolades including 2 Grammys and 7 American Music awards, as well as over 31 gold and platinum albums, they are one of the most successful bands of their kind – having performed continuously for the last 35 years! This is longer than any other R&B group in history – and due to their instantly catchy funk arrangements they are also credited as the most sampled band by other artists of all time – bar none!


Electro pop icons The Human League are confirmed to close the festival on Sunday 20th July.  With everyone from Madonna to Moby, and Pet Shop Boys to Robbie Williams and even Nine Inch Nails citing The Human League as an influence, the Sheffield originating band are clearly one of the most important acts of the last 40 years.  Their number 1 triple platinum 1981 album ‘Dare’ has proved to be a genre defining record, paving the way for the pop sound of today, leading to two BRIT awards for the band, and spawning the seminal sing-a-long hit ‘Don’t You Want Me’ – A song that still receives prolific airplay worldwide.  Also responsible for such hit songs as ‘Tell Me When’, ‘Human’, ‘Mirror Man’ and ‘Open Your Heart’, The Human League have truly had an incredible career that includes four top ten albums, eight top ten singles, and sales of over 20 million records, as well as numerous awards, a Grammy nomination and legions of fans across the globe.  Having last headlined GuilFest back in 2009 – a show that received universal approval from thousands of GuilFest attendees, organisers expect them to be a massive hit with Stoke Park crowds this summer.


GuilFest 2014 will feature an amazing line up of over 200 music, comedy and theatre acts, spread over a variety of stages including The Vive Le Rock Punk Stage, The Big Cheese Rock Cave, The Funky End Dance Tent, The Acoustic Stage, The Cosmic Comedy Tent and The Theatre Stage.  Visitors can expect touches GuilFest has come to be known and loved for such as Farmer Giles Barndance, The Massive 150ft Beer Tent selling all manner of beverages including traditional real ales, cocktail bars, food stalls from around the world, the fantastic art and craft village, and one of the best children’s areas on the festival circuit, The GuilFest Kidzone with VIP guest appearances, fun rides, daring circus performers and much, much more.  New for the 2014 festival is The Spaced Inn – an arts, music, and performance venue with entertainment all weekend long – including open mic sessions and impromptu performances from local artists and musicians.


For visitors that want to experience GuilFest in style, for the first time ever in the festival’s history a very limited number of VIP tickets will be available to the public – These will allow access to a backstage area with posh loos, and a special bar for exclusive aftershow parties! You never know who you might see around there!


GuilFest 2014 – Back by popular demand – promises to be the most exciting event the area has ever seen.  Tickets available from 9am on Thursday 3rd April, from the website, or from Seetickets on 08712301106 Be sure to visit for full details or keep an eye on the official Facebook and Twitter feeds.





Share : facebooktwittergoogle plus



GROEZROCK 2014, Edition #23:


We just received some bad news: ROTTING OUT will have to cancel their Spring Tour due to one of the members having to deal with critical health issues and having to get treatment. It’s impossible for them to do this tour. We wish them all the best and a fast recovery.

Rotting Out will be replaced by Liferuiner. LIFERUINER is a contiguous thinking melodic hardcore band from Toronto, Ontario, Canada. "Future Revisionists" is their sophomore release that represents a strong message of equality, integrity, and passion. LIFERUINER hopes to inspire change not only with their music, but also their mess. They are on the road with Norma Jean.


Besides GROEZROCK, each year there is a bunch of GROEZROCK Pre-Parties. When you’re in the neighborhood, make sure you’ll drop by and say hello. You might even win some GR-Tickets.

Official Belgium Groezrock pre-show in cooperation with HeartBreakTunes

GROEZROCK 2012             FLYER

Groezrock and HeartBreakTunes are excited to announce the official Belgian Groezrock pre-party with lots of Macbeth goodies.

You might win tickets to Groezrock.

When: Thursday April 3rd – 19:30h

Where: Muziek-O-Droom
Bands : Bury Tomorrow, Chunk! No, Captain Chunk!, The Charm The Fury, Moments
Tickets: Ticket Shop
For more information check out the FACEBOOK page.


Line Up:

With a sound that merges the plaintiveness of post-hardcore with the punishing heaviness of metalcore, Bury Tomorrow attack listeners from all fronts with their emotionally charged metal assault. Offsetting layers of pleasant, atmospheric melody with sudden bursts of chugging heaviness, the band uses its breakdowns to create a brooding, moody effect, as if the songs are lurching into a fit when provoked from their somber ruminations.

Pop punk with a melodic hardcore edge with heavy vibe breakdowns, a high-paced rhythm section and odd keyboards.

The band, formed in September 2010, has a unique take on metalcore and is not only known for its harmonious but chaotic tracks, but also because of female screamer Caroline.
Inspired by bands such as Underoath, For Today, Architects and Every Time I Die, The Charm the Fury brings a new dimension to the genre. With a strong focus on quality, dynamics and loudness, the stubborn TCTF twist cannot be missed

This melody-driven hardcore band from Belgium has been touring non-stop since these youngsters started out in 2011. After spreading their name across the country and after releasing a first EP they are now climbing their way up. In november 2013 the band released another promising EP which had an immense impact and made them cross the country borders. Their sound has become heavier and they bring the most energetic live show you’ve probably ever seen. It’s been a crazy journey so far but there’s a lot more to come.

Acoustic Punk Meeting 4 @ Groezrock Campsite – BBQ area

GROEZROCK 2012             FLYER

After successful editions during previous years, it’s time for edition 4 of the Groezrock Acoustic Punk Meeting. And by Acoustic, we mean acoustic. No PA, no amps, just a guitar and sing-a-longs.

When: Thursday May 1st – 22:00h
Where: BBQ area at the campsite

What: Basically this is a way to get people together on the night before the festival starts, play some music, sing along, and have a drink.

Please invite all your friends, the more the merrier! And if you’d like to play feel free to contact us at

For more information check out the FACEBOOK page.

Lots of people would like to play, we’ll do our best to let everyone play a few songs. We don’t want to make a time schedule or rules for this. We’ll just see what happens. It has to stay a fun thing to do, right?!

See you there! Don’t forget to invite all your friends!

The Smith Street Band (AUS), Crazy Arm (UK), ASTPAI (AT), The Dutch Rudders (BE), Tragical History Tour (SCO), (Derrick from UNIFORMS), Trash Candy (SLO), Evening Call (BE), Radio 911 (BE), ScrXtch (NL), James Choice (AT), Xenofon Razis (GR), Dirty Leaves (UK), Icons Down! (FR), Greg Rekus (CAN), Sweet Empire (NL), Ducking Punches (UK), Jonathan Marriott (UK), One Strike Left (DE), I Like Allie (IT), Emma Hallows (UK), The Murderburgers (SCO), Andrew Cream (UK), DEAD NECK (UK), Steve Allen (Wreck the Place, UK), Sammy H Stephens (UK), Recession Youth (NL), The Roughneck Riot (UK), Benjamin Weston (UK), Ponk (NL), … more tba


Macbeth brings Uppercut Deluxe barbershop, headed by Paul from AONO to Groezrock

GROEZROCK 2012             FLYER

With over 11 years of experience in the hair/barbering industry, working in and around Brighton and Hove, AONO barbershop was born.
Paul is the UK ambassador for Uppercut
Deluxe and works in LA and around Europe, his dedication to the barbering lifestyle
keeps him pushing the boundaries every day.
He brings traditional barbering into the
modern world and Macbeth brings this experience to you.

Paul and his team of barbers
offer you free haircuts & professional advise. Appointments and walk in service during both days of Groezrock festival. The Barbershop is located front stage left from the Macbeth shop.

Artists and Groezrock visitors can get an appointment with Paul or 1 of his
3 barbers on both days.

The Haircuts are for free however tips are appreciated. We advise you to plan an
appointment by sending an email to
Include your name and phone number and let us know what day and approx what time
you’d prefer. We’ll do our best to fulfill your request.

When: Friday May 2nd & Saturday May 3rd
Timing: The Uppercut Deluxe barbershop by Macbeth is open from 12.00 – 22.00 at the Macbeth Booth
Barber Team:Paul, Frank, Brad & Ryan

Distros at GROEZROCK 2014

GROEZROCK 2012             FLYER

Reflections Records, Big Deal Clothing, Bite Back, Up magazine, Fair Trade Merch, Trust No One Clothing, Pontos Nos Is LDA, Abandon Ship Apparel, Ass-Card Records, Pierced Heart, GRM Shop, Funtime Records, Impericon/IC Music And Apparel, MRW Trading BVBA/Mr. Waterpijp, Sea Shepherd Belgium, Cosmos, Reality Records, Shield Recordings, Kings Road Merch/Epitaph Records, Buckaneer Merch, Rock ‘n Load Concerts, Free And Wild, Death, Shred!, King Cobra, Black Box Bookings/Strength Clothing, Let’s Go Bananas, Faceburn, Green Hell Records, Useless Pride Records, La Agonia de Vivir, De Nieuwste Rages, Bad Mood Records, Lolalolita, NoReason Records, The Limit Records, Myloclo Clothing, Animal Heart Clothing, Attitude Holland, American Socks, Greenpeace Belgium, Hardcore Help Foundation, Atticus Clothing, Total Uprawr, Big Scary Monsters, Hot Sauce Committee, … + more TBC

Check with Mike de Coene from Hardlife Promotion if there are options left. Mail Mike De Coene @ HARDLIFE PROMOTION .

Coaches to GROEZROCK 2014


People who wish to put on a bus service on their own may pass on their data to the organisation that will (if requested) put this information on the Groezrock homepage so that BUS-POOLING is possible. There will be special (free) parking facilities for these buses. The only thing you have to do, is follow the indications.

Contact GROEZROCK to get discount if you organize a bus-trip.

International Concert Travel, Coaches from the UK

We’ve been taking music fans to concerts both in the UK and abroad since 1985. We look after several fan clubs for their trips including Iron Maiden who we’ve worked with since 1999. We’ve taken UK fans to many festivals over Europe including Rock Am Ring, Rock Werchter, Pukkelpop and Rock En Seine. Everybody who works for us is a music fan themselves and we try to arrange our trips so that they run as a music fan would want.

We’re looking forward to coming to Groezrock for the 3rd time!


Rock on wheels, Coaches from Russia

We’re looking forward to coming to Groezrock for the 3rd time!


Rockfreaks.Net, Coaches from Denmark (Copenhagen) is the largest online magazine in Denmark. We have shipped music fans from Denmark to Groezrock Festival five years in a row. We have organized a bus tour that departs from Copenhagen on the evening of May 1st, with a pickup option at Fredericia, Denmark, and return again in the morning of May 4th . You’re allowed to drink on the bus, and we’ll be blasting a Groezrock-themed music playlist for the duration of the tour.



Festride, Coaches from SLOVENIA

Za vsak prevoz zbiramo prijave, ko je prijav zadosti se prevoz potrdi. Prevoz se potrdi/odpove najkasneje 5 dni pred odhodom. Če vam 5 dni (koncerti), 10 dni (festivali) pred odhodom ne potrdimo prevoza je prevoz odpovedan. Plača se po povzetju preko Pošte ko je prevoz potrjen. (+2,16€) Cene so za prevoz tja in nazaj. Potovanje na lastno odgovornost. Možnost plačila na obroke.

We’re looking forward to coming to Groezrock for the 1st time!



Coaches from FRANCE (Nevers)

Start 1 : 01/05 – Nevers (22h30)
Start 2 : 02/02 – Orléans (1h30)
Arrival : Meerhout – Groezrock (9h00)

Start : 04/05 – Groezrock : 12h00
Orléans : 20h00
Nevers : 22h30

We’re looking forward to coming to Groezrock for the 1st time!


And…there’s a new kid in town: Pulse Events

Check : FACEBOOK for more info about Pulse Events.

Upcoming shows :


GROEZROCK 2012             FLYER

22/05/2014: State Champs, A loss for words, Roam, The Waiting Game


More cool stuff ?

Anyway, that’s it for now but please keep an eye on 08/04/2014 and 20/04/2014 for some "very very very special" news. We’re pretty sure everybody’s going to like it.

Meanwhile make sure to buy your tickets now, you don’t want to be the guy/girl standing at the festival entrance holding up a cardboard sign!

For more information:

Tickets :



We would be very happy if you keep spreading the GROEZROCK word around and post our flyer on as much as possible on facebook, twitter, personal websites, e-zines, …. with a link to our website

Our Flyer:






Friday : 70 euro

Saturday : 80 euro

Combi : 110 euro

Camping : 15 euro (camping tickets are not sold separately)

Mobilhome : 50 euro (more info on our website)



Share : facebooktwittergoogle plus

1 2