Hyper-energetic Swedes SWEET TEETH have unveiled a video from their debut mini-album.
You wouldn’t necessarily know it from the ferocious ‘Shattered Glass Face’, but the band cite such melodic power-pop influences as Flamin’ Groovies and Big Star alongside the more understandable Hüsker Dü, Hellacopters and Dinosaur Jr.
The plethora or influences shouldn’t be such a surprise, though, as Sweet Teeth are a supergroup of sorts, featuring a members that have slaved for years at the rugged coalface of Swedish rock in bands like The Deadbeats, Disfear, Dollhouse, Year Of The Goat, Tortyr and The Dontcares.
The track is one of seven on the band’s new Acid Rain mini-album, which was recorded, mixed and mastered by bassist Joona Hassinen at his Studio Underjord in Norrköping.
Out today through Lövely Records, Acid Rain is available to stream/download here. It’s also available to pre-order on 12″ single-sided purple vinyl here.
COLOURSØUND, the collaborative project of THE CULT’s Billy Duffy and Mike Peters from THE ALARM have just released their long-awaited second album Coloursøund II. In the latest edition of Vive Le Rock!, Guy Shankland hears from Duffy. In this special online-only interview, we get a track-by-track rundown of the new album from Peters…
‘Paradise’ “I just heard that as being an instant piece of Coloursound music. It’s a great starting point for a classic Billy Duffy riff played on the White Falcon. It’s iconic before you even hear the vocals come in. It’s a cliche, but when I first heard it, I felt like I was in paradise. Hearing my favourite guitarist of all time sharing one of his brand-new creations with me, and that was the driving force of the album. At this point in our lives, we’re free people; we can go where we wanna go. We love and respect both The Alarm and The Cult, but we can work outside of those confines and let this one be an anthem for our time together.”
‘Lightning Strike’. “What I like about working with Billy is, as a great guitarist, he’s not precious about where the source of the material comes from. So he’ll sometimes ask, “What have you got Mikey?”, and I’ll play him a riff; I do feel nervous about showing him one of my riffs (laughing) because he’s so great on guitar, but he sometimes likes loading the weapon with some ammunition that comes from another source. He listens to a riff I’ve recorded on my phone, and then as soon as he starts playing it… it goes up to twenty on the dial. He really does know how to place that riff into a space that you then hear as massive rock music. I wanted the lyrics to be more about, Coloursound are back in town. It’s like lightning strikes twice. We’re here now, we’re in this moment, and we’re going to make the best of it…”
‘Revelation’. “Again, this song has got a stamp on the darker side of where we’ve come from—the alternative music of the eighties which spawned a generation of influences if you like. I’ve always loved Killing Joke, and I thought it would be great to have something a little bit darker on the record. It was actually Billy’s guitar riff, and when we were writing the album, I took Billy up to this place near Carnarvon, which I’d found on the beach, a little beach house. The waves were crashing in, and it felt like we were right in the bosom of Mother Nature and the revelation of the waves hitting the sea and hitting the window of the house we were writing in. The song just poured out in an instant. Billy hit the coolest chords, and there it was.”
‘Addiction’. “I think ‘Addiction’ has a lot of ties with the original sound of Coloursound. We were originally responding to the Britpop generation that spawned around us in 1999. Billy and I came from a generation that felt we’d been pushed aside a little bit. When both our bands arrived in America in the late eighties and a big part of the nineties, we were the alternative, but then the next minute, you’ve got a new wave of alternative with Nirvana and Pearl Jam. In Britain, it was Blur, Oasis and the Manic Street Preachers and we just felt swept aside, and we had some songs on that first (Coloursound) album that were our way of saying, hey, we’re still here, still alive and still contemporary. We may not be in the bands you know us from, but we’ve still got a lot to give out, and that still comes across in what we’re doing. We listen to modern music – Sam Fender, Catfish And The Bottlemen… We listen to what’s going on and even though we’re elder statesmen of rock music if you like, we still wanna be on the front line, in the trenches where it’s all really happening. Also, we both work in an industry which has major issues with a plethora of habits and addictions.”
‘Why’. “We originally intended to freshen up and properly record some of the original songs that we had from 1999. The original recordings we made were really just demos, good production demos. We were going to go into the studio with someone like Bob Rock and do a big album. Unfortunately for Coloursound, Ian Astbury and Eddie Macdonald from The Alarm came to see a gig, and it was like, wow, better get these guys back where we belong! The phone started ringing, and opportunities started arriving for The Alarm. ‘Why’ came in at the tail end because we originally went in to write three songs and re-record some cuts from the original era, but we got a roll. Songs just flew out, Billy said, I’ve got this chord sequence here, and we were pretty much packed and ready to go, but he played me, and it just reminded me of something Bowie might have done around Ziggy or Aladdin Sane time. It’s almost got a Steve Harley Cockney Rebel feel in a way, and I just heard the lyric ‘Why. Why are we here after all this time? Why didn’t we walk away then after all this time?’ I think there’s a bit of sub-conscious reflection in it, the fact we both had to walk away from Coloursound in 1999 and go back to our real lives. The relationship we had was just as powerful, the pull; we knew we had to walk away, but it still hurt. In 1999, Coloursound was set up to become something like our generation’s version of the Foo Fighters or something. There’s a real relationship between Billy and I when we write together, and now it’s a relationship out of wedlock, as we say, but it’s an affair that’s got a lot of dynamism in it and has a real place in the world. There’s also a little piece of what would have happened if we’d met in 1983… and put our resources into each other at that time. I know I have to walk away from this at some point again because Billy’s too good not to be in The Cult. The Cult are one of our generations greatest bands, and he belongs in The Cult. I just have to appreciate that I’m lucky enough to have him in my camp when I can and make the most of it! The only thing missing from the song is the answer because we all know it has to happen.”
‘Action’. “A Lot of Coloursound material happens because Billy challenges me with an amazing guitar riff, and I just said to Billy that I was going to throw some lyrics at him, and then you see what music you’ve got in your consciousness or memory banks that might apply. I think The Cult start around Billy’s riffs or Ian’s musical mood. I don’t think they start with the lyrics first when they’re writing. So this was a role reversal, and ‘Action’ is what came out of that. Billy is a fan of The Stooges, Ron Asheton, Johnny Thunders, New York punk, and it’s got that kind of swagger to it that you get from being a fan who was there at the beginning. We were both (separately) at the Iggy Pop gig at Manchester Apollo when Bowie was on keyboards. It influenced us massively; Iggy with his top off, with leather trousers on and Bowie on keyboards it was an incredible gig, and Blondie was the support band…That instigation into music in us both we both love Slade and Glam, but we also love that New York Punk scene.”
‘The Other Side.’ “Again, that’s another Billy riff; it’s a little bit ‘Search And Destroy’. Billy and I are both football fans, and we follow teams from the opposite side of Manchester, and I wanted to write a song… We’re different but very alike. We want to be inspired by each other and explore our differences that bring us together as Coloursound and as friends.”
‘Start A Fire’. “This was a song from Billy’s songbook; he started the whole song, really. Again, he played me the tune he had, and it was quite high pitched, so I said, why don’t we try this on a baritone guitar which I learnt through doing acoustic shows. Billy really took to the guitar, and I think it opened a new world to him in terms of the tones he could get from the guitar and also where the singer could pitch himself over Billy’s guitar playing style. When we had a body of work, I said, unlike last time, I’m not going to play rhythm guitar. You’re gonna play it all. To adhere to you and your vision. The listener can only hear Billy Duffy playing the guitar; you don’t want to hear Tony Iommi and then have Ozzy playing the guitar underneath, filling all the space. So I just stayed out of the way. One of the guitar solos on ‘Start A Fire’ highlights Billy’s versatility because it’s such a great solo, and you wouldn’t normally associate Billy playing like that in The Cult, which just shows how dextrous he can be.”
‘Eye For An Eye’. “Another Billy Duffy-meister riff, and I hear it as an out and out rock song. I think was trying to channel a bit of my inner Jack Bruce. It’s a bit of a Cream number. We spoke about making a simple rock album, and what’s better than that seventies British rock period Sabbath and Cream and then from America we both love Montrose, and I wanted to sing it in a way that you don’t normally associate Mike Peters with singing either. It’s quite high-pitched, and it demands a big vocal and a big roar. (laughing) Fill the lungs and go for it! Lyrically it was inspired by the music. I didn’t want it to be too introspective, and I wanted it something you can sing live, plus the fans could relate to it as well. Eye for an eye, a tooth for a tooth is kind of what we do, Billy and I. When he presents me with a riff, I want to extract everything I can get from this and give as good as I get. I feel I’ve got to raise my game to play alongside Billy and have the honour to sing with him. I’m a massive fan of Ian Astbury. I think he’s an incredible talent, and I have to think about what The Cult fans will think when they hear me singing with their man, y’know and The Alarm fans as well. I wanted there to be some surprises for Alarm fans. I can sing like this because there is a different guitar dynamic going on that inspires a different performance from me, and I think I’ve also taken Billy to certain areas that he wouldn’t usually take in. That’s the beauty of Coloursound and our relationship.”
‘Mourning Call’. “When we’d finished, this is a song that we couldn’t get out of our heads. It has this amazing droned in Billy riff that was almost echoing the chorus. It was so catchy it was almost too good. I thought the song was too melodic for the record we’d done, but it just felt like we needed to approach it very differently by the time we got to that part of the recording process. So we sacrificed quite a lot of its original conception and turned it into something a lot more interesting and deeper. Originally I called it ‘Morning Call’, but Billy sat down and said, Mike, this m-o-u-r-n-ing call, let’s take the song in that direction. That’s another example of Billy being able to look at you as a lyricist as well. He can cast his eye over what you’re doing and spot little nuances and turn the song from night into day or, in this case, day into night.”
Hi-NRG action rockers IRON LIZARDS have just dropped their first single from their forthcoming debut album.
The aptly-titled ‘It’s About Time’ is their first release for Swedish label The Sign and comes a full five years after their debut EP. It’s taken from the album Hungry For Action which is out on 17 September.
The Parisian trio formed in 2015, citing the traditional influence of the Stooges and the MC5 plus later bands such as Minor Threat, Gang Green, Hellacopters and New Bomb Turks. On the road they’ve been in good company with the likes of Get Dead, Zeke, Mammoth Mammoth, Sonic Wolves and The Hip Priests.
‘It’s About Time’ is available to stream/download here.
Rejuvenated Kiwi rockers DESPERATE MEASURES have unveiled another new video from their forthcoming mini-album.
The brooding ‘Flowers At Your Door’ is the second single to be taken from the six-track Rinsed, and follows on from ‘The Rich-Tual’, revealing the diversity and complexities of the band’s sound. The video was directed, edited and shot by Craig Temple of Racketeer Pictures.
“’Flowers…’ was written after being stuck in pretty much self-isolation for three months on last year’s first lockdown as a relationship went down the pan,” explains band founder and frontman Eugene Butcher. “It was a lonely time for a lot of people and this song was born out of all that.”
Formed on the thriving Christchurch scene in 1981, Desperate Measures burned briefly but brightly in their original incarnation, performing at the infamous Golden Showers festival and being handpicked to play an aftershow party for The Clash before releasing the now highly sought-after 1984 EP.
Retooled and revitalised four decades later, Butcher leads a new London-based line-up featuring guitarist Gaff (Glitterati, Rich Ragany & The Digressions), bassist Ricky McGuire (The Men They Couldn’t Hang, UK Subs) and drummer James Sherry (K-Line, Done Lying Down).
Out on 6 August through Easy Action, Rinsed is available to pre-order here.
Desperate Measure play a special album launch at The Hope & Anchor on 30 July with support from Knox from The Vibrators and The Backstreet Abortions – tickets
They then play HRH Punk at Sheffield O2 Academy on 3 October – tickets – before heading out on tour with THE PROFESSIONALS. Full dates…
13 Oct – Tunbridge Wells, Forum 14 Oct – Oxford, o2 Academy 15 Oct – Swansea, Sin City 16 Oct – Manchester, Factory 18 Oct – Glasgow, King Tuts 19 Oct – Newcastle, The Cluny 20 Oct – Nottingham, Bodega 21 Oct – Birmingham, Castle Falcon 22 Oct – Liverpool, EBGB’s 24 Oct – London, The Garage 25 Oct – Bristol, The Exchange 26 Oct – Leeds, Brudenell Social 27 Oct – Milton Keynes, Craufurd Arms 28 Oct – Chester, Live Rooms
Kiwi rockers THE DATSUNS have announced the release of their own limited edition guitar pedal in celebration of the release of their recent new album.
The Eye To Eye shares its name with the album – the band’s first in seven years – and is an all-analogue phaser, hand built by guitarist Christian’s London-based boutique effects company Magnetic Effects.
“The Eye To Eye is a 4 stage OTA-based phaser capable of many shades of phase including slow and swirly though to fast and intense,” they say. “Each Eye To Eye pedal is hand built by Christian in London, England.”
Check out the Eye To Eye and the full range of Magnetic Effects here.
The band have just released ‘Dehumanise’, the third single to be taken from the album, accompanied by a video shot by renowned film director Sam Kristofski. Says bassist and singer Dolf Datsun, “‘Dehumanise’ is another Sci-Fi inspired number, about being literally stripped down to your utilitarian parts by the machines and machinations around you. The main parts were written on tour, opening for Graveyard in Europe some years back. I was listening to a ton of heavy 70’s rarities at the time, sampling their drum intros in Garageband to make demos. This one features more custom fuzz guitar FX courtesy of Christian and also my first attempt at a synth solo, wild!”
Fast-rising Yorkshire rockabilly and roots roustabouts THE BURNER BAND have a new video which they’re premiering with Vive Le Rock!
‘Blues Came In’ is the first single to be taken from the Leeds outfit’s debut album Signs And Wonders, which is due out in September.
Singer/guitarist Lewis Burner has been treading the boards for a while, with the likes of Bob Log III, The Legendary Shack Shakers and at the Strummercamp festival, releasing two solo albums before hooking up with singer and double-bassist Ian.
On Signs And Wonders they mix bluegrass and rock’n’roll with a punk attitude and lyrics that reflect on everything from mental health issues to the dedication shown by the people of Liverpool in eradicating the Sun newspaper from its environs.
“This is a song we wrote together about living dangerously and then getting walloped by the blues,” says Lewis about the video. “We filmed it in the Rodley Social Club because I really like pubs and this is one where I grew up in Leeds. Plus, they let us, so thanks! It would have been much funnier and better had we had more talent available. The telecaster you hear was £250,000 but came with a free house.”
Due out on 3 September through Shed Load Records, Signs And Wonders is available to pre-order and vinyl here and on CD and download here.
The Burner Band head out on a tour this Autumn with fellow Yorkshireman, renowned singer/guitarist/skater Serious Sam Barrett, kicking off with a joint album launch show at Leeds’ Brudenell Social club on 17 September – tickets. Before that they have a handful of dates on their own. Full dates are…
Sun 1 Aug – Deer Shed Festival, Thirsk Sat 28 Aug – Caroline Club, Shipley (afternoon, Lewis solo) Sun 29 Aug – Preston * Fri 3 Sept – Calder Vale Hotel, Horbury* Sun 5 Sept – Bradford Underground (Lewis solo) Sat 11 Sept – Armley Festival Fri 17 Sept – Brudenell Social Club, Leeds (album launch gig)* Sat 18 Sept – The Swan, Addingham* Fri 24 Sept – Paradise Tap N Taco, Harrogate* Sun 26 Sept – The Swinging Arm, Birkenhead* Fri 1 Oct – Dorothy Pax, Sheffield* Sat 2 Oct – What’s Cookin’, London* Sun 3 Oct – Beak Brewery HQ, Lewes* Fri 8 Oct – Village Hall, Terrington (LIAMS Club)* Sat 9 Oct – Constitutional Club, Farsley* Fri 15 Oct – Labour Rooms, Otley*
Yorkshire post-punks PARTY DAY are to have their complete works made available on CD for the first time ever.
Formed near Barnsley in 1981, the band’s proximity to both Leeds and Sheffield meant they were ideally placed to involve themselves in both cities’ developing post-punk and goth scenes, while they made an instant impact nationally with their first two singles ‘Row The Boat Ashore’ and ‘The Spider’ being picked up for airplay by John Peel. These were followed in 1985 by their debut album Glasshouse and a year later by Simplicty, each earning rave reviews in the music weeklies.
The two-CD Sorted! anthology comprises both albums and singles, plus the 4-track Glasshouse EP, along with compilation tracks and unreleased material. The set is completed by a 20-page booklet, including rare photographs and contemporary reviews. The sleeve design replicates the Glasshouse EP artwork which has achieved peak goth by being selected for the Victoria & Albert Museum’s Prints and Drawings collection.
The two-CD edition of Sorted! is released on 24 September through Optic Nerve Recordings and is available to pre-order here. A gatefold double coloured vinyl edition comprising Glasshouse and Simplicity without the extra tracks will be available later in the year.
Danish-Brazilian garage duo THE COURETTES have announced a major UK tour in support of their forthcoming album.
The super-hip husband-and-wife duo of vocalist/guitarist Flavia Couri and drummer/backing vocalist Martin Couri have been gaining attention in the UK over the past year with their singles ‘Want You! Like A Cigarette’ and ‘Hop The Twig’ on Damaged Goods – not to mention their two previous albums – are set to release their brand new full-length Back In Mono in October.
Kicking off down on the South Coast in Portsmouth on 15 October – the album’s release date – the pair traverse England, Scotland and finally Wales, winding up in Cardiff on 31 October. Along the way they hit London for what will doubtless be a rammed show at The Lexington on 19 October.
Full dates are…
Fri 15 Oct – Portsmouth The Loft Sun 17 Oct – Norwich Norwich Arts Centre Tues 19 Oct – London The Lexington Thur 21 Oct – Hastings The Piper Fri 22 Oct – Sheffield Yellow Arch Studios Sat 23 Oct – Middlesbrough Westgarth Social Club Sun 24 Oct – Hull Adelphi Mon 25 Oct – Newcastle The Cluny Tues 26 Oct – Manchester Night N Day Wed 27 Oct – Edinburgh Voodoo Rooms Speakeasy Thur 28 Oct – Glasgow Mono Sat 30 Oct – Brighton The Albert Sun 31 Oct – Cardiff The Moon
Tickets go on sale here on Friday 23 July at 10am.
The world’s number one CRAMPS tribute band TEENAGE WEREWOLVES return to the UK next month. Having been postponed three times already, thanks to the lifting of pandemic restrictions, the shows finally look set to go ahead.
Following on from their explosive 2019 tour, the band planned a speedy return, lining up a 13-date tour for 2020. Frontman Jack Atlantis and showgirl Kitten de Ville were two days away from boarding a flight for London to start the tour when the first airport closures started at the beginning of the pandemic. Left with no choice, Jack and his tour manager Gary, cancelled all dates.
Over the course of 14 months, they started over from scratch and re-booked, then cancelled, three complete tours. That’s 40 booked then cancelled venues, 90 hotel rooms and 85 poster designs. Months of lost time which equates to substantial financial and personal loss they will never get back. To add insult to injury, the band were forced to make two member changes: lead guitarist and drummer, plus two different rock’n’roll show-girls.
“The Delta variant looked like it would surely end a fourth Teenage Werewolves tour,” sighs Jack. “When Boris Johnson recently announced 100% re-opening, we were caught off guard and have been racing to get up to speed as our and our opening act SHE’S IN BAUHAUS’s dates loom closer. . . As of today, this project is clinging by its claws (pun intended), so success of this 2021 tour is crucial for us to continue in the United Kingdom.”
Kicking off in Grimsby on 12 August, the Stay Sick Tour winds through to Brighton Green Door Store on 23 August, taking in a London show at the legendary 100 Club on 20 August. Full dates are…
12 AUG – GRIMSBY Docks Academy – tickets 13 AUG – LEEDS The Warehouse Leeds – tickets 14 AUG – NEWCASTLE The Cluny – tickets 15 AUG – STOCKTON The Georgian Theatre, Stockton – tickets 16 AUG – MANCHESTER Factory Manchester – tickets 17 AUG – LIVERPOOL Jimmy’s Liverpool – tickets 18 AUG – WOLVERHAMPTON The Slade Rooms – tickets 19 AUG – BRISTOL The Fleece Bristol – tickets 20 AUG – LONDON The 100 Club – tickets 21 AUG – DERBY The Hairy Dog – tickets 22 AUG – SOUTHAMPTON The Joiners – tickets 23 AUG – BRIGHTON The Green Door Store – tickets
THE GUN CLUB’s ‘John Hardy’ has been immortalised in a new CGI video.
The song, which featured on the legendary band’s 1982 album Miami album, produced by Blondie’s Chris Stein, soundtracks the animated video created by Paris-based CG artists Laurent Mercier and Cédric Bernard of Callicore Productions and was co-produced by Jacqui Pierce, sister of Gun Club mainman Jeffrey Lee Pierce.
A traditional song, ‘John Hardy’ is based on the true story of a 19th Century railwaymen who killed someone in a drunken dispute during a craps game near Keystone, West Virginia and was later hanged for the murder.
Miami was one of two major label album releases for the band, released through Stein’s Animal imprint of Chrysalis Records and followed two years later by Las Vegas Story.
THE PROFESSIONALS have announced a string of summer dates ahead of the release of their new album.
The Pretty Vaccinated Tour will comprise five UK shows at the end of August, including the band’s appearance at the Stone Valley Festival near Newark on 28 August.
The dates are in addition to the band’s already announced October tour with DESPERATE MEASURES in support of their new album SNAFU, which is out on 24 September.
“Getting out to there to play and see you lovely people has seemed like an unrealistic fantasy for too long,” they say. “Our fingers are crossed for our album launch tour this October. Please don’t let it go tits up again! So, in the meantime, our marvellous agent has managed to grab us a string of gigs around a festival show on the Saturday. Yes, they’re not our usual haunts, we had to avoid October locations, but we truly can’t wait to make some noise and get amongst the people. We’ve been working on the new album. That’s kept us sane through mad times. You’ll get to hear it in October. Before then though, let’s get together to blow away the cobwebs of covid.”
Full tour dates are…
August – The Pretty Vaccinated tour 25th Wed St Albans, The Horn 26th Thu Bridgwater, Cobblestones 27th Fri Southend, The Cricketer’s 28th Sat Newark, Stone Valley Festival 29th Sun Guildford, Boiler Room
October – SNAFU tour 13th Wed Tunbridge Wells, Forum 14th Thu Oxford, o2 Academy 15th Fri Swansea, Sin City 16th Sat Manchester, Factory 18th Mon Glasgow, King Tuts 19th Tue Newcastle, The Cluny 20th Wed Nottingham, Bodega 21st Thu Birmingham, Castle Falcon 22nd Fri Liverpool, EBGB’s 24th Sun London, The Garage 25th Mon Bristol, The Exchange 26th Tue Leeds, Brudenell Social 27th Wed Milton Keynes, Craufurd Arms 28th Thu Chester, Live Rooms
Tickets for all shows are available from the band’s website.
Desperate Measures’ new single ‘Flowers At Your Door’ is out on 26 July through Easy Action.
Indiana blues duo THE COLD STARES have a new lyric video which they’re premiering exclusively with Vive Le Rock!
‘Prosecution Blues’ is the third single to be lifted from their forthcoming fifth album Heavy Shoes, which follows on from 2019’s Ways.
Guitarist/singer Chris Tapp says, “‘Prosecution Blues’ was an opportunity to tip our hat to some of our heavy blues influences.” But he’s not just talking about music…
“I’m writing from the point of Edgar Allan Poe and William Faulkner. It needs to have weight to it,” he explains. “There’s not really anything that bothers me to talk about. When you don’t allow yourself to be human and say what’s happened to you, then you make other people that are going through tough shit think that they’re alone.”
Their first album for Mascot Records, Heavy Shoes was recorded at Sam Phillips Recording Studio in Nashville – “We did our Ways album there, so it very much felt like a continuation of that. So, it was familiar and pretty much the same cast of characters,” says drummer Brian Mullins – and later mixed by Mark Needham (Taj Mahal, Chris Isaak) and mastered by NYC mastering legend Andy VanDette (The Almighty, Jon Spencer Blues Explosion).
Set for release on 13 August, Heavy Shoes is available to pre-order here.
With Rebellion postponed again until 2022, following the Government’s decision to lift Covid restrictions on 19 July, the festival’s organisers have pulled out all the stops to bring fans a special one-day event.
Taking place in Blackpool’s Empress Ballroom on 7 August, which would’ve been the Saturday of the original event, HITS 25 will celebrate 25 years since the Holidays In The Sun festival – Rebellion’s precursor – first took place.
Acts lined up to appear include COCK SPARRER, COCKNEY REJECTS, UK SUBS, GBH, THE BARSTOOL PREACHERS, DIRT BOX DISCO, MAID OF ACE, GIMP FIST, FIRE EXIT, DEATH TRAILS and MILLE MANDERS AND THE SHUTUP.
There’ll also be an ‘almost acoustic’ stage featuring TV SMITH, ATTILA THE STOCKBROKER, STEVE DREWETT of NEWTOWN NEUROTICS and others.
The Winter Gardens will also have free admission from Thursday 5th to Sunday 8th for punks to meet up and hang out.
Ticketwise the event is completely separate to the main Rebellion event, and tickets originally issued for 2020 and 2021 will be rolled over for the festival’s return in 2022.
Tickets for HITS 25 priced £21.50 are available here.
Canadian sleaze-monkeys DANGEREENS have signed to Golden Robot and release their first single for them later this month.
The Montreal quintet turned heads with the excellent self-titled 5-track EP back in 2018 and released their debut full-length Tough Luck, from which the new single ‘Streets Of Doom’ is taken, last year through Germany’s Alien Snatch label.
Fusing junkshop glam, Thunders punk and 50s rock’n’roll, they’ve toured all over their homeland, making it as far down as Boston and NYC. Who knows when they’ll make it to this side of the pond.
‘Streets Of Doom’ is available to stream/download here.
If you’re looking for something to watch, try ‘Blacklight City’ from their debut EP…
Rat Scabies has been reunited with producer Nick Lowe for the first time since the recording of The Damned’s classic debut album in 1976.
Lowe produced the band’s debut single ‘New Rose’ followed by the album Damned Damned Damned, widely accepted as the first ever UK punk single and album.
The pair came together last weekend on a session by The Spammed, the charity band that Scabies plays in alongside Specials bassist Horace Panter, musician and actor Micko Westmoreland, ex-Banshees and Specimen guitarist Jon Klein, Terry Edwards of Gallon Drunk and NJE fame and comic actor Kevin Eldon.
Lowe was called in to produce the band on a version of his own classic song ‘(What’s So Funny ‘Bout) Peace, Love And Understanding’, which first appeared as a single by Lowe’s pub-rock pioneers Brinsley Schwarz in 1974.
With recording taking place at Dire Straits guitarist Mark Knopfler’s British Grove Studio – with studio time generously donated by Knopfler for the purpose – the track will feature on Viva -Songs Of Freedom, a new compilation released in the New Year by the Specialized Project, to raise funds for the Teenage Cancer Trust.
“I suppose I have never been able to afford working with Nick since”, quipped Scabies.
On recording the song, Lowe commented, “It’s a good song which has been covered so many times over the years, I now scarcely feel I had anything to do with it. I was flattered to be invited and very pleased for an opportunity to get out of the house and spend time in the stimulating company of similarly under-employed musicians.”
Thanks to the ongoing doubt around the scheduling of live music events, the organisers of the Vive Le Rock-sponsored FUTURAMA festival have taken the difficult decision to postpone the event until Easter 2022.
The much-vaunted return of the semi-legendary 80s post-punk event, featuring Heaven 17 (pictured), Spear Of Destiny, A Certain Ratio, Peter Hook & The Light, The Chameleons and many more, had initially been scheduled to take place in April this year, but ongoing restrictions forced organisers to move it to September. With doubts rife across the industry over the wisdom of the Government’s decision to free the nation from restrictions on 19 July, the decision was taken to move it once again to the weekend of 16-17 April 2012.
The organisers state, “We apologise for the inconvenience but the increasing COVID infection rate, plus the latest delay in lifting restrictions without the necessary assurances and guidance from the Government, has made it impossible to put the festival on this year. It’s the news that many expected but few wanted, but it did become obvious during the long dark months of lock down that even if a green light was given on June 21st, people would still be hesitant and rightly so. Despite the government saying July the 19th, we know people have changed and it will take a little time to restore confidence and feel secure inside indoor events.
“More than anything, we want Futurama to be free of all restrictions. We want it to be a celebration of freedom, we want people to be able to fully immerse themselves in the festival and to be able to wander around all our great venues, watching bands, eating & drinking, without having to worry about safety precautions. That’s what a festival is all about; having a great time, interacting with music fans and we don’t think we can produce that special atmosphere this year. We are all longing for Futurama to return and we can wholeheartedly promise to deliver the greatest post punk festival this country has seen in over four decades.
“Most bands have reconfirmed for next year and the ones that can’t make it will be replaced by just as good bands as we have been inundated with acts to play the festival. The good news is we’re happy to confirm that tickets for this year’s festival will automatically be rolled over to 2022. So next year’s festival is secured, and no further action is required! If you’re not able to join us in 2022, you’ll be able to claim a face value refund on all tickets. We’re working closely with our ticketing partners, and they will be in touch with instructions on the next steps within 7 days. Thank you again for your continued support. For now, keep safe, keep healthy and look after each other. The Futurama Team.”
RON S PENO, former frontman with Aussie legends DIED PRETTY, has announced a new album with his latest band THE SUPERSTITIONS.
Do The Understanding is the band’s fourth album, and is in prestigious company, two of its predecessors having previous been longlisted for the Australian Music Prize.
The new album follows on from the band’s 2017 release Guiding Light and comes after an enforced lay-off brought about by thankfully successful treatment for oesophageal cancer followed by the Covid pandemic. Looking on the bright side, Peno was able to return to the stage earlier this year for shows with the reunited Died Pretty.
A veteran of such seminal bands as the Frozen Stiffs, Hellcats and The 31st, Peno was a fleeting founder member of legendary Brisbane band the Screaming Tribesmen, before throwing in his lot in ’83 with Died Pretty, recording one of THE greatest Australian debut albums of all time in Free Dirt, before going overground with a series of mainstream-chart-bothering albums during the 90s. Peno has gone on to work on various other projects, including three albums with the duo The Darling Downs alongside Kim Salmon of The Scientists.
Formed in 2009, The Superstitions see Peno joined by guitarist Cam Butler, drummer Mark Dawson, keyboard-player Tim Deane and bassist Andy Papadopoulos.
Set for release on 26 July, Do The Understanding is available to pre-order on CD, vinyl and download from Bandcamp, with immediate access to two tracks ‘The Strangest Feeling’ and ‘Everything Has Changed’.
The Scientists are featured and reviewed in the latest edition of Vive Le Rock!