The revamped Futurama Festival has announced a third wave of additions to the line-up, led by Manchester post-punk/dance pioneers A CERTAIN RATIO.

Post-punk veterans CLOCK DVA, SEX GANG CHILDREN and THE BLUE ORCHIDS have also been added alongside newcomers such as fast-rising Norwegian newcomers POM POKO and hotly-tipped Essex punks THE MEFFS, whose new video Vive Le Rock! premiered last week. It’s also been announced that SPEAR OF DESTINY will now be replacing Kirk Brandon’s other band, the previously announced Theatre Of Hate.

As previously announced, the cutting edge festival which was first staged at Leeds’ Queen’s Hall and ran for several years during the 80s will be reborn in Liverpool at the hands of festival founder John Keenan and Liverpool promoter Marc Jones.

Taking place over the weekend of 11-12 September, the festival will feature four stages across three venues – the Invisible Wind Factory, Make Arts Centre and Ten Streets Social in the Stanley Dock / Regent Road area of Liverpool. The main stages will be hosted by Vive Le Rock! and Louderthanwar.

The latest line-up additions will be joining previously announced headliners HEAVEN 17 (Saturday 11) and PETER HOOK & THE LIGHT and THE CHAMELEONS.

The full line-up so far is…







…with more names to be added!

Weekend and day tickets (including an instalment option) are available here.

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ZZ TOP legend BILLY F GIBBONS trails his forthcoming solo album with a new video.

The desert-twangin’ ‘West Coast Junkie’ is the first track to be revealed from Hardware, the Texan guitarist’s third album, following on from 2015’s Perfectamundo and 2018’s The Big Bad Blues.

Hardware was recorded at Escape Studios in California’s high desert, near Palm Springs, by Gibbons with former Cult and Guns N’ Roses drummer Matt Sorum and bassist Mike Fiorentino, along with engineer Chad Shlosser.

All but one of the tracks on Hardware are credited to the quartet with the remaining song a cover of ‘(Hey Baby) Que Paso’, a hit for Texas Tornados, the supergroup featuring Doug Sahm, Augie Meyers, Freddie Fender and Flaco Jiminez.

“We holed up in the desert for a few weeks in the heat of the summer and that in itself was pretty intense,” says Gibbons. “To let off steam we just ‘let it rock’ and that’s what Hardware is really all about. For the most part, it’s a raging rocker but always mindful of the desert’s implicit mystery.”

Set for release on 4 June through Concord Records, Hardware is available to pre-order here.

Billy F Gibbons on Facebook

Pic by Blain Clausen

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Fast-rising Essex punks THE MEFFS have just released their second single and they’re premiering the video with Vive Le Rock!

Packing a severe punch for a two-piece, and clearly taking a lead from the early 80s anarcho scene, the angry ‘Scum’ is the Colchester duo’s second single and first new material since the release of their highly-rated self-titled debut album released last year.

“At just 1 minute 25 seconds long, we try to confront shutterbugs and the media about their perceived right of intrusion,” they say. “‘Scum’ references celebrity culture and the detrimental effects of fake news. Lyrics such as, ‘…oh well, so what, you said it’s worth a shot. If you make a quid a minute then you’re making quite a lot!’ try to highlight the focus on reaching an end goal at any cost, regardless of the damage caused to others.”

Having spent the past year just itching to get out there and play live, Lily (guitar/vocals) and Lewis (drums/backing vocals) have already been lined up for Bristol’s Attitude Festival in September alongside Riskee & The Ridicule, Bob Vylan and The Blue Carpet Band, and a show at Lewes Con Club in January next year with Subhumans. Their diary is filling up fast – make sure you don’t miss ’em!

Stream/download ‘Scum’ here.

The Meffs on Facebook

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THE 69 CATS, the gothabilly supergroup put together by Jyrki 69 of The 69 Eyes and Danny B Harvey of The Rockats, The Head Cat, etc, have announced a new single from their forthcoming album.

‘(Let’s Go) Psycho’ is taken from the band’s long-awaited second album, which follows on from 2014’s Transylvanian Tapes, hence the title Seven Year Itch!

“‘(Let’s Go) Psycho’ was a song I wrote with Australian Psychobilly / Rockabilly artist Brigitte Handley in 2000 when she came over to the States to play some shows and enlisted me as her guitarist & band leader,” says Harvey. “Although she had started out as a Rockabilly artist she had musically moved more toward Psychobilly and people started complaining that she was too loud, too fast. In response I said “f*ck them” and told her we should write a song about her transition from nice rockabilly filly to Crazy Psycho Siren. So she and I sat up late at Tim Polecat’s apartment, where she was staying, and wrote the song. Before she left to return to Sydney we went into the studio and cut it along with 5 other tracks. On the 69 Cats version I managed to leave her background vocals from the original recording so that’s her singing with Jyrki. I told her she makes a guest appearance on our song on the 69 Cats album and she was very happy and loved the final track when she heard it.”

The band’s previous album featured a rhythm section of The Cramps’ Chopper Franklin and Blondie’s Clem Burke. This time around Jyrki and Danny are joined by Damned legend Rat Scabies and Kim Nekroman of Danish psyhcobillies Nekromantix.

Curiously, the new album also features a couple of guest spots from beyond the grave in the form of Sky Saxon, from The Seeds, who died in 2009, and Pink Fairies and Motorhead legend Larry Wallis, who passed away in 2019.

Stream/download ‘(Let’s Go) Psycho’ here.

Pre-order Seven Year Itch! here.

The 69 Cats on Facebook

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London pop-rockers RICH RAGANY & THE DIGRESSIONS are back with a brand new single an video.

‘Heartbreakers Don’t Try’ is a taster for the ex-ROLE MODEL’s as yet unnamed second album which is due out this Summer.

Recorded between lockdowns at the South London studio of producer Andy Brook, the album finds the Canadian-born songwriter joined by a now stable line-up including Brook on keys, guitarists Gaff (Desperate Measures, Hollywood Brats) and Kit Swing, bassist Ricky McGuire (UK Subs, The Men They Couldn’t Hang) and fellow ex-Role Model Simon Maxwell on drums.

“A pretty simple song lyrically about the fight you can have with depression”, says Rich about the song. “But then that great feeling of just saying ‘FUCK IT’ and standing up and taking on the day, week or challenge. Just taking that cloud and giving it stiff little fingers and going out and gettin’ some JOY! The liberation.”

With lockdown still making it difficult for bands to get together in one place, the band had the novel idea of getting their puppet pals to appear in the video…

“The puppets do a fantastic job of raising your spirits, and they are really feeling those lyrics,” laughs Rich. “We love bands like The Faces who are great at juggling beautiful music, but also letting their humour show. It’s in the spirit of that.”

Rich Ragany & The Digressions on Facebook

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San Diego noisemongers WARISH have unveiled another new video… featuring legendary children’s entertainer Barney the Dinosaur!

‘S.H.M. (Second Hand Misery)’ is taken from the trio’s second album Next To Pay, which is due out on 30 April through Riding Easy.

The band were formed back in 2018 by Riley Hawk – son of legendary pro skater Tony Hawk – who says “This video came to mind when I heard ‘If You’re Happy and You Know It’ by Barney playing somewhere and I was in a bad mood and was thinking ‘this song is kinda evil sounding’. Then I went home and instantly started editing the video to the track ‘S.H.M.’ because it’s the polar opposite. It fitted nicely I thought.”

Next To Pay is available to pre-order here.

Warish on Facebook

Pic by Magdalena Wosinska

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London punks GUITAR GANGSTERS just played a special livestream show for the 30th Anniversary of the debut album. They’ve also just released a new live album. Vive Le Rock! caught up with singer/guitarist Pete Ley to find out where the last thirty years went….

The Guitar Gangsters recently celebrated a big birthday. When and where did you get together?
Well it was a belated birthday due to viruses beyond our control but 2020 would have been 30 years since the release of our debut album Prohibition. Guitar Gangsters became a real thing, a London thing, in about 1988 – Phil and I were looking for a back to basics approach to punk after our previous band and its valiant attempt to progress the punk medium, had come to an end. (Phil and I are brothers and we went to the same guitar lessons together in 1975 so you could say the GG master plan began there and then.) The creative process got a kick start when Mark Brennan (then of Link Records, later Captain Oi!) asked us to contribute songs to the first Underground Rockers compilation of likeminded post-punk guitar bands. Mark gave us the name and we were off and running.

What was the punk and rock’n’roll scene like in London back then and what sort of gigs were you doing?
There was no punk scene in London in 1987/88. Forming a punk band then was sheer madness! Join a soul band, an indie band or stay in your bedroom until Britpop is invented were probably the sensible options. Punk was still in its ‘has been’ phase in a music world where styles came and went and once it was gone, it was gone. So gigs were hard to come by in London. We took any show with any promoter that would have us. We played pubs all over London, the Thomas A Becket and The Blue Coat Boy come to mind as regular gigs then even the bright lights of The George Robey. We got around the UK playing small shows promoted by punk fans who I think just wanted to see us play live – many forgot to invite an audience. Just as we were getting comfortable playing to 25 people on the sticky carpet circuit, Stiff Little Fingers invited us to open for them on the 1990 UK ‘comeback’ tour (I should add an emoticon here of a terrified face). What a great opportunity! But all SLF support bands get bottled off stage don’t they? (Another terrified face). That’s a story for another time.

You’ve played all over Europe. Where do you like to play the most in the E.U and why?
We first toured in Europe, or rather Germany, in 1995 as ‘special guests’ of 999 to whom we will always be grateful for the opportunity. This opened our eyes to what was then a thriving alternative music scene operating completely outside the mainstream rock media. Punks, skinheads, psychobillies and your average joes all mixed happily in this alternative existence and we discovered that we were known. We played songs for the first time in Germany and the crowd sang the choruses right back at us. Mind blown. That started our love affair with playing in Europe – we started gigging in Poland, Czech, Switzerland, Italy, Sweden Slovakia and Serbia. It’s so difficult to say where we prefer – unexpected successes always stay in your mind, like the Exit Festival in Novi Sad Serbia – an empty arena one minute, “Oh we’re gonna die…” and then one song in and there’s 2,000 people singing along! Or a festival in Poland where the promoter thinks it’s a good idea for us to headline, “Oh, we’re gonna die…” and it turns out to be a stormer. And everywhere is different, Italians won’t jump around cos they are just too cool while the Czechs just can’t stop bouncing (sorry). But Germany will be always be special.

You’ve seen a few trends and punk scenes come and go but you seem to fit into them all. What’s the secret?
That’s kind of you to say. If Guitar Gangsters have managed to navigate this scene we call punk for so long, then it’s probably a result of us never having been at the extreme end of any of punk’s outer reaches – and this is probably as much our curse as our strength. We will often find ourselves in a show line-up with Oi!, streetpunk, ska, and hardcore as well as the more obvious melodic punk bands – I guess we have a wide appeal. We don’t have a particularly angry agenda and there’s probably nothing radical enough punk terms to alienate an audience – if we’re gonna change the world, it’s gonna be just one bit at a time. I can hear accusations of “middle of the road punk” coming my way now but our road knows where it’s going and it’s a road we can tread with confidence. We are close to finishing our new album which is due out in the summer; no two songs sound the same and while they cover a range of punk styles, they are all very much, Guitar Gangsters.

You’ve just released a cracking Live At The 100 Club album on Wanda records. Is it special playing at the 100 Club? And the album was recorded by the Vibrators’ Pat Collier which must have been special…
It’s a risky business recording a live album – the sound, the vibe, the crowd and performance has all gotta come together and thankfully, by happy accident, it all seemed to work on the night. There are not many venues where we would consider recording a live album and yes The 100 Club was, and is, special – not just because of its history but it’s a London club that crowds actually like going to and those are becoming scarce! Pat has worked with us for some time now and does a brilliant job – he just gets guitar bands and worked miracles with the live tracks from the show. There was just no sound separation and so the post production/mixing becomes a bit of a compromise but I think the result is pretty damn powerful! We’re back in the studio in a few weeks with Pat to complete the new album.

Finally, tell us a bit of the streamed gig here for your 1989 album Prohibition
The original idea was simply a livestreamed Guitar Gangsters set but livestreamed gigs seem to be increasingly common – we thought we needed a good reason to hang a bunch of songs together and why not to give a respectful nod to our first album? This is the album that set us on our path and probably most people know, (which is weird as only 500 copies were pressed!) – it’s the band’s first album and has that first album naïveté that often occurs when a band starts out but that’s why it’s special I think. Playing an entire album is not something we would generally do live but with fourth Gangster, Ed Roolette on guitar we were able to do all the songs justice – Even ‘Endless Saturday Night’ had its first ever outing. In the streaming show for Prohibition we now have a great sounding live performance of all the songs from start to finish in the order they appear on the album – and a performance we’re very proud of. I hope Vive le Rock! readers agree.

Live At The 100 Club is available here.

Guitar Gangsters on Facebook

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K÷, the collaborative project between Jaz and Geordie from KILLING JOKE and former NEW ORDER bassist Peter Hook, have a video which they’re premiering exclusively with Vive Le Rock!

The haunting, atmospheric ‘Remembrance Day’ is taken from the trio’s K÷ 93 EP which is out this Friday 19 March, while the moving video pays tribute to Gang Of Four’s Andy Gill, Joy Division’s Ian Curtis, Killing Joke’s Paul Raven and others.

“In recent interviews I have talked extensively about how my ‘precognitive’ abilities have affected my work,” says Jaz about the work. “‘Remembrance Day’ is a good example of this being essentially a song about how Covid-19 has changed our lives but written some 30 years ago! Indeed I remember thinking when I wrote the lyric ‘what the fuck is this about?’ – it’s certainly not the conventional 11/11 Remembrance Day dominated by the poem of Rupert Brookes, The Soldier (and others). However, the prose of K÷’s ‘Remembrance Day’ is certainly about megadeaths and now it’s happening in real time.

“Looking back to early 2020 our colleague Andy Gill (of Gang Of Four fame) died unexpectedly from a respiratory problem. Then a year later I received news that my beloved Uncle Bob Pandy (who was a second father to me) died on Christmas Day. I went into shock and contracted a handful of illnesses including Covid-19 from which I have fully recovered I am happy to say!”

As previously revealed, the three tracks on the EP were the result of a session recorded by the trio at Hook’s studio in 1993, that Jaz descries as “spontaneous and magical”.

Remastered from a DAT cassette that recently resurfaced, the EP is now available on clear 10″ vinyl, limited to just 2,000 individual numbered copies.

“I think these tracks are great. I hope something else happens or at least we play them some time. I’ve missed you lads! “ exclaims Hook, while Jaz adds “When you listen to this rare chemistry, you will understand why I’ve always felt this experience begs for a full opus magnum somewhere in the near future.”

K÷ 93 is available on vinyl here along with various merch items. Get it digitally here.

Read a full feature on K÷ in the new edition of Vive Le Rock! out now!

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On the eve of the release of their career-spanning anthology Time Lapse, Vive Le Rock talks to Alex Novak from Northampton post-punks VENUS FLY TRAP.

Can you give a brief history of Venus Fly Trap.

I had been in a band called Attrition who were based in London at the time, I had done an album and toured Holland/UK with them. Decided to move back to my native Northampton famous for Bauhaus, Alan Moore and the film Kinky Boots, hooked up with my brother John Novak (Isaws, Where’s Lisse) and Tony Booker an ex art school student, I had also studied at art school. The line-up has changed many times over the years: Andy Denton joined via a local band Crowman, initially as the drummer and ended up playing guitar and has done for many years.

Your new album Time Lapse collects tracks from three albums – Totem, Pandora’s Box and Luna Tide. What was your reasoning for a three-in-one rather than individual releases?

It was basically the time it would take to release individual albums: to promote those albums, and the costs, it just seemed to make more sense. If someone else would like to reissue everything in one go in the future then that’s fine. It gave me an opportunity to pick tracks and create an alternative album for this alternate reality.

You’ve talked about VFTs albums as existing in triptychs. How do these three albums relate to each other?

Well, two came out on Danceteria, the line-up was pretty consistent with the core members being present. I would say Luna Tide was a transition album with members who had joined at the time of Pandora’s Box being retained, so shifts in line-up rather than seismic changes. But generally it was a band line-up with the usual drums, guitar, bass and keys which kept it within certain parameters but with some experimenting in the studio.

There was quite a sonic shift from the post punk of Totem to more organic Luna Tide. Why the constant evolution?

As new members join they add their influences to the pot, also we replaced electronic drum pads with a real drummer (on Mars we had a drum machine) and sequencers with an analogue keyboard player so that will effect the feel.

Despite this they remain easily identifiable as VFT. What’s the aesthetic holding them together?

I guess one thing would be myself: I have been the only constant in all the line-ups and I want the sound to fit certain parameters. Luna Tide was at the edge of those parameters and I didn’t want to continue in that particular direction for Dark Amour but that’s another story.

Certainly not a metal album, Luna Tide nevertheless got a glowing review in the metal bible Kerrang!. What was the crossover appeal?

I think at that time the magazine was covering a lot wider musical tastes not just the traditional stuff but also grunge, alternative rock and goth so we fitted within that brief.

How did you decide what tracks to include on Time Lapse?

Tried to get tracks to fit together and get a flow going, changed the order on some of the tracks from Luna Tide as they seemed to fit together better.

Fans have a special relationship with songs. Were you worried about omitting someone’s favourite when assembling Time Lapse?

This is an alternative album for an alternate reality, those albums don’t exist in this reality, another time and another place the dice would fall differently.

Time Lapse seems a pretty apt title for these strange times.

Time has been changed: are we going forward or are we in limbo?

How will you promote the album in the midst of a pandemic?

Via the net, magazines, radio and whatever portals and wormholes are open to transmit  information.

Time Lapse 1989-1994
(Glass Modern)

Northampton’s Venus Fly Trap, like Killing Joke or Public Image, are a band in constant flux with their discography shapeshifting from it’s post-punk beginnings to a darkwave electronica. The aptly titled Time Lapse selects tracks from three albums which encapsulates the bands evolution.

Venus Fly Trap found great favour on the continent and French label Danceteria released Totem in 1989. Four tracks from that record open this collection beginning with ‘Out Of Your Depth’, an epic of biblical proportions. Opening like the gates of Babylon it finds vocalist Alex Novak wailing, as if the love child of Nico and Jim Morrison, over a tangle of discordant guitars and sombre electronics. There’s a definite cinematic quality to these songs, especially the darker end of celluloid and ‘Rainy Latvian Wedding’ would make the ideal soundtrack to some unsettling film noir such as The Cremator.

Two years later and Pandora’s Box spilled its delights on an unwary public. ‘Shadow Ministry’: a baby’s wail, guitar dripping icicles and glacial synths constantly repositions the listener as it swirls around the room like some unruly spirit. The truly haunting ‘Sidewinder’ is a midnight stroll through the grounds of Stephen King’s Overlook Hotel while the albums lead single ‘Achilles Heel’ skips along on waves of effervescence. Producer Pat Fish sprinkled his magic on proceedings and produced a busy yet uncluttered sound which mirrored the bands frenetic energy.

When they returned in 1994 with Luna Tide it was with a more organic effort that veered in a more rock direction. However, in whatever guise they appeared there’s a dark aesthetic present and no more so than on ‘Storm Clouds Are Gathering’. The Velvet Underground meets Suicide, it takes a sombre turn that jars with the metronomic explosion that is ‘Moscow Menagerie’. Ensuring the album ends as it began the funereal ‘Heretic’ is a dark procession that leads to a haunting conclusion.

Despite the years and genres that separates these tracks they hang together as a cohesive whole and make a deliciously dark that’s perfect for these dark times.

Peter Dennis

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THE URBAN VOODOO MACHINE’s genial frontman Paul-Ronney Angel celebrates a year of lockdown with a very special livestream show this weekend.

Since lockdown began, every Saturday night Paul-Ronney and his partner Ane Angel have been staging intimate yet uplifting performances and livestreaming them to the outside world via the Urban Voodoo Machine Facebook page.

Featuring a host of UVM classics and newly-minted and frequently topical songs, making poignant observations about the state of the world we find ourselves in, the shows have also included an array of guests (where Covid restritions allow) such as Rat Scabies, Tamirae Brown and Jim Jones, and of course various UVM colleagues.

This Saturday 20 March, the 53rd episode will mark a full year of broadcasts. Kicking off at 8pm GMT, all are invited to join the livestream here.

In related news, this coming June will see the release of Paul-Ronney’s debut solo album London Texas Lockdown, while The Urban Voodoo Machine’s long awaited new album $nake 0i£ €ngine is due in September.

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Joe Banks
(Strange Attractor)

Emerging out of the late-60s Ladbroke Grove squat scene, Hawkwind’s story has always seemed to be one of sheer luck more than design, from being in the right place at the right time, cloistered in a space-rock cocoon of bleeps, whooshing sounds, squawking sax and garage-rock guitars while the zeitgeist – both cultural and political – spirals chaotically around them.

The band’s now fifty-year trip has been told before, through other excellent and insightful biographies, but Joe Banks has, perhaps wisely, given the enormity of the task, restricted his book to the band’s first decade – arguably Hawkwind’s Golden Age – when a bunch of freaks soared to the top of the charts, going on to take on the punks at their own game.

Daunting at first, unlike most biographies Days Of the Underground is comprised of different types of chapter – the standard chronology of events; in-depth album-by-album appraisals; searching interviews with key players; and, perhaps most importantly, essays in which Banks adroitly gets to the nub of the musical, philosophical and historical context surrounding the band, their coterie and their environment, throwing early-70s West London in particular and the post-hippie comedown in general into vivid relief.
Gerry Ranson

Days Of The Underground is available here.

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Former SAINTS guitarist ED KUEPPER has no fewer than three new retrospective releases due this Spring.

The albums span three key career stepping-stones: his immediate post-Saints band THE LAUGHING CLOWNS; his 80s/90s solo years and much more recently, THE AINTS!

Kicking off with the timeless ‘Also Sprach The King Of Euro-disco’, Singles ’86 – ’96 compiles twenty singles from the artists extraordinarily prolific, and internationally successful, solo career. Available on a double-album in red, yellow, green and black vinyl, the release will also be available as a double-CD, the second disc featuring assorted B-sides, EP tracks and fan favourites.

Golden Days: When Giants Walked The Earth is a ten-song entry-level anthology of The Laughing Clowns, covering the band’s lifespan of ’79 to ’84 and including such classics as ‘Eternally Yours’, ‘Holy Joe’ and ‘Mr Uddich Smuddich Goes to Town’. It will be available on clear vinyl.

In 2018, Kuepper put together The Aints!, featuring Sunnyboys’ Peter Oxley, Celibate Rifles’ Paul Larsen Loughead and jazz musicians Alister Spence and Eamon Dilworth to record songs he’d written during the 70s, presenting them as the widely acclaimed album The Church of Simultaneous Existence. Live At Marrickville Bowlo finds the band performing the tracks live in Sydney on 27 April 2018, two days before they entered the studio to record the album. The 12-track LP will be available on clear vinyl.

All three albums will be available here and from stores from 28 May.

Ed Kuepper on Facebook

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South London punks PLAGUE UK have a new video which they’re premiering exclusively with Vive Le Rock!

The band were formed by guitarist/vocalist Marc Jefferies of original ’76 punks (and John Peel favourites) The Plague, who played the legendary Roxy numerous times back in the day.

A band with an impressive London punk pedigree, Plague UK find Jefferies joined by ex-Armitage Shanks singer/guitarist Simon Godfrey, drummer Lee Morrell (Chelsea, Lucifer Star Machine) and bassist Martin Taylor.

Brimming with classic New Wave tunefulness, backed by a Class of ’77 punk punch, ‘See It Now’ is an anthem to the solitary suburban living and sense of lockdown isolation that many of us will be all too familiar with, ‘See It Now’ is taken from the band’s new album Nothing For Nothing.

Released through Chrome Model Records, Nothing For Nothing is available from the band’s website and the Plastic Head store in the UK and Sound Pollution in Europe.

Plague UK on Facebook

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Fresh-faced Aussie punks THE KIDS have just dropped a video for their latest single.

Not to be confused with the Belgian punk vets of ‘This Is Rock’n’Roll’ fame, these Kids are a bunch of skateboard-loving 18-year-old hardcore yobs from Sydney, who claim they’re “making music with the sole intent to piss you off”.

‘Go Back To Canberra’ is their spiky middle-fingered anti-anthem to Australia’s capital city and seat of government.

You can stream/download ‘Go Back To Canberra’ here.

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London punks HEALTHY JUNKIES are back with another video which they’re premiering exclusively with Vive Le Rock!

Unable to gig for a year, the band have been writing new material and making videos “to keep us sane.”

‘Streets Of Olympia’, taken from the band’s Forever On The Road album, is inspired by their 2018 US tour, which took them to the city of Olympia in Washington State for a couple of shows.

“There was a large contingent of homeless teenagers/twenty-somethings in there,” says guitarist Phil Honey-Jones. “They lived in tents on a designated car park. They were so welcoming to us, and then moshed themselves into a wild frenzy during our show with one guy breaking a wrist and another girl dislocating her shoulder. It was a cool scene there back in 2018, it was like a modern day court of miracles. I often wonder what became of them. This song is for them.”

The video was directed and edited by Shogo Hino and filmed at Jumping Sofa Studio in London.

Currently in the process of recording tracks for their next album, Healthy Junkies are in the throes of planning UK shows for the Autumn.

Forever On The Road is available here.

Healthy Junkies on Facebook

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Ascendant Belfast band NEW PAGANS have just unveiled a video from their forthcoming debut album.

‘Habour’ is the third single to be taken from The Seed, The Vessel, The Roots and All, following on from the recent ‘Christian Boys’ and ‘Yellow Room’, released last summer.

“The video was shot on a freak dry day, in between weeks of snow and lashing rain, at St. Cooey’s Well,” says bassist and video director Clare Miskimmin. “Lyndsey [McDougall, vocals] had been a few times and kept it in mind as a stunning and pretty sinister location. It dates back to the 7th Century and the 70s altar actually houses the foundation stones of the old monastery. That lent itself to the basic premise of summoning a world and its inhabitants beyond ours, hidden from our view. Merging two realities.

“I love how the very last line is ‘it’s just you and me’, and how Lyndsey and her summoned doppelganger are swallowed up by the altar,” Clare continues. “Stuart Sloan, our editor, and I are massive David Lynch fans and nobody does the world beyond the veil like Lynch so we just ran with that vibe. Our very own entrance to the Black Lodge in the wilds of County Down.”

With the album set for release through Big Scary Monsters on 19 March, the band have lined up a special livestream event for the same day as a lockdown launch gig. The show will take place in Derry, where they played their first ever show, at the city’s musical hub, the Nerve Centre. Free to view, the gig is a ticketed event – sign up here.

The Seed, The Vessel, The Roots and All is available to pre-order here.

New Pagans on Facebook

Pic by Aaron Cunningham

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Suffolk post-punk goths SENEX IV have just released their second album.

Released in partnership with Bat-Cave Productions, Gods & Taboos follows on from their acclaimed 2019 debut Dolls House.

Gods & Taboos was written and recorded between lockdowns at Crooks Hall, West Suffolk, incidentally also a location for the recording of ALIEN SEX FIEND’s recent Possessed album.

Despite the band being formed relatively recently, the band members have a long history on the Suffolk/Cambridge post-punk scene: frontman Dave Middle and guitarist Rob Shaul both served time in Haverhill punk legends 13TH CHIME, and individually spent much of the 80s with the likes of FINAL SCREAM, VANISHING POINT, THE WYNDUPS and THE ANTIX. The band’s line-up is completed by Mark Tingey and Anthony Hitchcock.

Gods & Taboos is available to buy as a download or CD here, with the vinyl edition available to pre order for May delivery.

Check out the band filmed live at Blue Shed Studio last autumn…

Senex IV on Facebook

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Rising star in the psych-rock firmament ED SYKES and his band THE SONIC OSCILLATORS blast back with a new video which they’re premiering today exclusively with Vive Le Rock!

The fantastically trippy ‘My Little Black Cloud’ is the band’s second taster for their debut album Sky Seed, following on from last summer’s ‘I’m Forever Losing You’.

Likened to “a big dramatic painting like Rembrandt’s Belshazzar’s Feast with all its drama and darkness”, the track was recorded on a vintage 3M tape machine at Rebellion Studios in Marks Tey, Essex and produced by the band’s guitarist Nathan Wacey.

The suitably lysergic video starring Gemma Bailey was directed by Sykes himself.

‘My Little Black Cloud’ will be available to stream/download everywhere from 12 March through Co6 Records.

Ed Sykes on Facebook

Pic by Maryann Morris

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