THEE HYPNOTICS have announced a run of UK dates for the Spring.
The week of shows will serve as a warm-up for the band’s headline appearance at the Fuzzville Festival in Alicante, Spain on 28 March.
Twenty years on from their original dissolution, High Wycombe’s nuclear rock’n’roll mercenaries were reconvened by founder members, singer Jim Jones and guitarist Ray Hanson in 2018 for a string of gigs and festival dates in support of vinyl box-set Righteously Recharged. So successful was the reunion, they’re back for more.
“We’ve had so many people asking for more shows that it really felt like a case of unfinished business,” says Jones. “But more than that, it was great to be playing together again after all that time. The chemistry was still there.”
“Even though the chemicals are firmly in the past!” adds Hanson. “But we’re going to be cooking up some real highs on this tour.”
Kicking off on 19 March in the motor city of Birmingham alongside fellow rock revolutionaries BLACK BOMBERS, and featuring a London date at Tufnell Park Dome, full tour dates are…
19 Mar – Hare & Hounds, Birmingham UK 20 Mar – The Warehouse, Leeds UK 21 Mar – The Dome, London UK 22 Mar – Music Hall, Ramsgate UK 24 Mar – The Joiners, Southampton UK 25 Mar – The Globe, Cardiff UK 28 Mar – Fuzzville, Alicante ES
South-coast punks MAID OF ACE are back with a new video, which they’re premiering exclusively with Vive Le Rock!
‘The Terror’ is the first single from the band’s as yet unnamed third album which is due for release this summer. The video is once again the work of noted videographer Mark Richards.
The band have been busy touring the world for the past few years, most recently round Europe with punk legends The Exploited. They kick off 2020 with a series of February dates with ANTI-FLAG and THE CREEPSHOW. Full dates are…
2 Feb – Chalk, Brighton 4 Feb – 02 Academy Islington, London 5 Feb – Club Academy, Manchester 6 Feb – The Mill, Birmingham 7 Feb – Garage, Glasgow 8 Feb – The Key Club, Leeds 9 Feb – The Globe, Cardiff
Street-punks SCANDAL kick off the new year with a brand new single and video, which they’re premiering exclusively with Vive Le Rock!
An anthem to the Romanian quartet’s adopted hometown, ‘This Is London’ was recorded once again with producer and former VIBRATORS bassist Pat Collier at his Perry Vale studio in South London, and features a guest appearance by Carlos from Surrey punks THE FOAMERS.
The video was shot on the streets of the capital with a bunch of mates by noted filmmaker Mark Richards, his third clip for the band.
Formed more than 20 years ago, Scandal have been in London for seven of those, releasing three EPs and a full-length album since 2016. Having toured widely across the UK and Europe, 2020 will be a busy year for the band with the current line-up of Vlad (bass/backing vocals), Gigi GM (drums), Brendan (vocals) and Andreas (guitars/backing vocals) gearing up for a further European tour, plus numerous festival appearances, including their second visit to Rebellion in August.
‘This is London’ is out on a 7” split EP with São Paulo’s SUBALTERNOS.
Scandal play the following dates…
Sat 25 Jan – The London Stone, Staines (w/ Peter & The Test Tube Babies etc) Sat 15 Feb – Hairy Dog, Derby (w/ Argy Bargy, Gimp Fist etc) Fri 13 Mar – Fighting Cocks, Kingston (w/ Rude Pride etc)
Last month Pink Fairies bassist Duncan ‘Sandy’ Sanderson sadly passed away. Fairies biographer and Vive writer Rich Deakin pays his respects…
Duncan ‘Sandy’ Sanderson has died aged 70 at The Royal Free Hospital, London. Sandy was best known for being the bassist of late 1960s and early ‘70s counterculture bands The Deviants and Pink Fairies. His long-time friend and musical partner of over 50 years, Russell Hunter, had this to say in the days after Sandy’s passing: “I always enjoyed playing with him. At his best he carried us along, and when he was flying we were flying too. He was certainly not a ‘traditional’ root note bassist, and his originality often led to him being misunderstood and not fully appreciated. But he was always the Pink Fairies bass player, and never forget, the only person to appear on all our UK recordings… and most of the Deviants’ recordings too. I don’t think it’s an overstatement to say the Pink Fairies just wouldn’t have sounded like the Pink Fairies with a different bass player.”
Born in Carlisle on 31 December 1948, his father, who was in the Royal Air Force, was transferred to Dayton Airbase in Ohio, USA, where Sandy spent the first five years of his life before the family returned to the UK and lived in Northwood. It was here that Sandy first met Nick Lowe, whose father was also in the RAF. Their paths would cross again years later when Lowe went on to work with a mid-1970s incarnation of the Pink Fairies. By the time the Sanderson family had moved again, this time to Andover in Hampshire, Sandy, like so many teenagers of his generation, had discovered The Beatles and Rolling Stones, as well as artists like Georgie Fame and Booker T & The MGs. It was while he was boarding at Brentwood School in Essex that he saw his first live band – the Graham Bond Organisation. He also became interested in the emerging folk scene and the likes of Davy Graham and Bert Jansch, but by the time he left school Bob Dylan was a firm favourite of his.
Moving to London in January 1967, he started work at an advertising agency, and soon reacquainted himself with an old school friend of his, Chris Rowley, who introduced him to the UFO club, one of the capital’s top psychedelic night spots. Sandy didn’t need to think twice about quitting his job when the advertising firm relocated out of the city. Immersing himself further in London’s nascent counterculture scene, he found work at UFO and became involved with other left field ventures, including Yoko Ono’s ‘Half A Wind’ exhibition at Lisson Gallery. After meeting Deviants front man Mick Farren at UFO the pair soon ended up sharing an apartment on London’s Shaftesbury Avenue. It was inevitable Sandy would be drawn closer into the Deviants’ sphere of activities before too long. Although he is attributed as providing backing vocals only, or “handclaps and noises”, as the sleeve of the Deviants’ debut album Ptooff!! has it, he is also said to have contributed some uncredited bass parts too. Ideally Sandy would have preferred to be a guitarist, but took up bass, as he thought this would be the easier option. He would later reason, “’Go on, gimme the one with four strings, it’s gotta be easier!’ Actually it isn’t, it’s a whole different ball game. I never studied the bass, never thought about the bass, but that’s how it came to be, really.”
He joined the Deviants officially in a twin-bass line-up that, according to Mick Farren, “… on full amplification could replicate an atonal B52 in a power dive and were far from pleasant.” It wasn’t for nothing, then, that the Deviants are now regarded as being proto-punks, and sometimes likened to being the UK’s equivalent of The Stooges. The Deviants would release two further albums, Disposable in 1968, and a self-titled third album in 1969, before imploding on a visit to Canada after Farren went into full neural meltdown caused by a combination of heavy psychedelics and amphetamine burnout. Farren returned to England, but without airfares home the rest of the band decided to strike out on their own playing their way down the West Coast to San Francisco. It was here that they began to hone some of the Deviants’ tunes and change their direction slightly. Having eventually earned their airfares home they returned to the UK where they hooked up with John ‘Twink’ Alder and changed their name to The Pink Fairies.
From the outset they laid out a manifesto which included playing as many free gigs as possible. Living up to that promise, they infamously played outside the main perimeter fence at the Bath and Isle of Wight Festivals in 1970. They also played at the second ever Glastonbury Festival in 1971. They weren’t just a festival band though. Based in the counterculture enclave of Ladbroke Grove in West London, they quickly earned themselves the reputation of being a people’s band, and along with Hawkwind, they further cemented their community band credentials by jamming together, sometimes using the moniker Pinkwind, under the arches of the recently constructed Westway flyover.
During the summer of 1970, Sandy embarked on a relationship with the super groupie Pamela Miller, AKA Miss Pamela (later Pamela Des Barres) of the Frank Zappa endorsed band The GTOs. It was only a short-lived affair, but it was all good publicity whilst it lasted. Miss Pamela was usually known for seeking out major-league rock stars as trophies, but she was apparently genuinely smitten with Sandy. It probably wasn’t just his insouciant personality that swung it for Miss Pamela though. His good looks must surely have played some part too, and in his autobiography Mick Farren described Sandy as “devastatingly handsome and a magnet to women”. He was disarmingly louche with it too. One only has to look at any number of photos of him from the early ‘70s, particularly the Kings Of Oblivion album poster, to see this. Farren has also affectionately said, “Sandy seemed to exist in a world of his own, apparently content with the natural goals of women, intoxication and rock & roll, coupled with a quiet Monty Python humour and a psychedelic philosophy that frequently made sense only to him.”
Despite their relatively small recorded legacy, the Pink Fairies’ wider influence shouldn’t be understated. They recorded just two studio albums with original singer and guitarist Paul Rudolph, but both failed to live up to expectations – the Fairies were essentially a live entity – and the production on debut album Never Never Land didn’t do the band justice, although What A Bunch Of Sweeties had its moments. Although not always tacitly observed at the time, the Pink Fairies had a significant influence on not only the burgeoning UK punk scene but subsequently in America too. Over the years, musicians like John Lydon, Captain Sensible, Tony James, Jello Biafra and Henry Rollins have all cited the Pink Fairies as an influence.
After Rudolph’s departure, they were joined by Larry Wallis on guitar, and in 1973 released their third album, Kings Of Oblivion – a coruscating combination of blistering heavy metal, glam rock and proto-punk ferocity. Although never really a songwriter in his own right, Sandy did co-write with Wallis one of the album’s highlights. ‘City Kids’ was three-and-a-half minutes of searing heat and explosive thunder propelled throughout by Sandy’s unfaltering bass – it’s no coincidence that it became a staple of Motorhead’s set in their early years! By now, Sandy’s bass playing had really come into its own. Russell Hunter now says, “Listen to Kings of Oblivion to hear him at his best, some great driving bass complementing Larry’s lead. And he and I had some great times with Paul [Rudolph] jamming all over ‘Walk Don’t Run’ and ‘Uncle Harry’. When it really worked it was fantastic – equally, if you go that far out on a limb, there are occasional bumpy landings as well.”
Even a change of style and direction wasn’t enough to ensure Pink Fairies the mainstream recognition they deserved, and they split up in 1974… but not for long. A number of reunions followed throughout the mid-1970s before they called it a day again, and Sandy found occasional work at Dingwalls as a DJ, and at Better Badges in Camden. There were also other bands, such as the Psychedelic Rowdies, before he joined The Lightning Raiders, an ‘acid punk’ outfit who had associations with Steve Jones and Paul Cook of the Sex Pistols. Despite being signed to Island records, the Lightning Raiders’ album was never released at the time, and the Raiders split up in 1982. For the next few years Sandy kept his hand in on bass by playing in Larry Wallis’s backing band, the name of which changed with virtually every gig. The Wallis gigs alone were not enough to live on, and Sanderson briefly took up work doing furniture removals. It was at this point he met Tone Sutterud, a freelance journalist from Norway. They became partners for over 30 years until splitting up four years ago. Sandy was an unlikely removals man though, and Tone says he didn’t make much money doing that. It was one of the only times Sandy came close to conventional employment until he took up “fitful” work as an exam invigilator in the early 2000s. Sandy’s friend and band mate in a later line-up of the Deviants, Tim Rundall, says, “He wasn’t made for the straight world, which was too unkind for the likes of him”.
Although already a professional journalist at the time (and she still is), Tone had a little experience of music journalism by the time she arrived in London, but Sandy had even less of photography. However, she reasoned, “You were only ever allowed to stand up front [at gigs] for three songs, and it’s really loud. If anybody could take that it would be Sandy.” With the prospect of being paid for going to gigs, he didn’t need too much encouragement to take up photography, and soon started working with Tone… sometimes with mixed results. On one of his first major photo shoots, Sandy accompanied Tone, who was interviewing the legendary Leonard Cohen. With the interview and photo shoot in the bag, Sandy adjourned to the darkroom only to discover, to his horror, that the entire film was black! Whether he had really forgotten to take the lens cap off, or whether it was a processing room malfunction is still open to conjecture. Although amusing in hindsight, mishaps like this were thankfully few and far between. And what is not debatable are Sandy’s photographic skills – Tone now says he did take some very good pictures.
Sandy’s fame as a Pink Fairy sometimes acted in their favour too, such as the time when he and Tone went to interview John Lydon, who had famously said when he was in the Sex Pistols that the Pink Fairies had been one of his favourite bands as a teenager. Journalists and photographers are frequently only granted a limited amount of time to interview their subjects or get the shots they need, but when the Public Image Ltd frontman heard that Sandy was the photographer he allegedly said, “Oh wow, is Sandy taking the pictures? I’ll give him as long as he wants”. Sandy then spent the next hour just taking photos of Lydon in the Virgin building. Between 1987 and the early 1990s, Sandy and Tone went on to undertake numerous assignments together. During this period, Sandy juggled his photography commitments with yet another Pink Fairies’ reunion, and they released an album, Kill ‘Em And Eat ‘Em, in 1987. After Wallis quit the Fairies, the remaining band members continued as Flying Colours until the early 1990s.
With the birth of their two children, Billy and Maya, in the ’90s, Sandy took to fatherhood with aplomb and settled comfortably into a life of domesticity, mainly staying at home to bring up the children while Tone continued to work as a professional journalist, albeit more frequently from home at that time too. As the kids grew older, Sandy was employed by his local school as an exam invigilator. But the new millennium also saw renewed interest in the Deviants and Pink Fairies, and by the end of the ‘00s band-related activities were in the air again. Sandy dusted his bass guitar down, and played his first gig in nearly twenty years, when he joined his long-time partner in rhythm Russell Hunter again, with Tim Rundall, as Mick Farren’s backing band The Fairy Friends. Further gigs followed with Hunter, and other musicians, such as Brian James and Dave Treganna, under pseudonyms such as The Portobello All-Stars, most notably at a testimonial for their former head roadie Boss Goodman. But when Farren and Sandy’s former Pink Fairies’ colleague Andy Colquhoun both moved back from Los Angeles, a Deviants reunion proper became an ongoing concern, and in the next couple of years the reformed Deviants released a brand new single and played a string of live dates, including Glastonbury 2011.
Tim Rundall recounts an amusing incident from this period. Referring to Sandy’s occasional employment as an exam invigilator in more recent years, he says it was, “a role he adopted with some amusement as his true identity became known to students who marvelled at the secret life of their ‘Mr Sanderson’ – I remember some of them coming to the Borderline to check him out in the born-again Deviants and being suitably wowed by his great stage presence and obvious popularity with the fans.” Sandy did have a great affection for the fans and showed a genuine interest in them, always taking time to talk before and after gigs. A natural raconteur, he would regale them with one of his many yarns about the Pink Fairies’ glory days or other tales about the days of the underground, his personality, and great sense of humour always shining through.
The Deviants’ reunion ended abruptly when Farren died on stage in London in July 2013, and the remaining members of the Deviants, whose ranks by then also included percussionist Jaki Miles-Windmill, reconvened the following year as the Pink Fairies. Having enlisted George Butler as a second drummer, they embarked on a series of live gigs entitled, perhaps not so ironically, ‘The Pension Credit Tour’. Almost 18 months later they were still gigging and Sandy’s son even stood in for George Butler on one occasion at the Hop Farm Festival in Kent. Towards the end though Russell Hunter was occasionally missing gigs due to ill-health. When it was announced in October 2015 at a show in Bilston that their next gig in London a few days later might very well be their last, it was somewhat ironic when Sandy collapsed on stage due to heat exhaustion caused by the venue’s lighting. It may have been coincidence it was the very same stage on which Mick Farren had died just over two years earlier. Unsurprisingly then, given Hunter’s health and Sandy’s own predicament that night, it ultimately proved to be the Pink Fairies’ last ever gig. They were not quite finished though, and the band eventually released a brand-new studio album called Naked Radio at the end of 2016. Although Sandy frequently sang the Pink Fairies’ cover version of Velvet Underground’s ‘I’m Waiting For The Man’ and ‘Uncle Harry’s Last Freakout’ live over the years, he also provided some of the lead vocals on Naked Radio. The album proved to be Sandy’s swansong.
Various health-related issues within the band curtailed any further notable Pink Fairies activity after this, and the last three years have seen not only the deaths of their former head roadie, Boss Goodman, but also drummer George Butler, as well as former guitarist and front man Larry Wallis, just barely two months before Sandy’s death. Tone says Sandy never lost his sense of humour, even right at the end, recounting an incident a couple of days before he died. Sandy was by now getting weaker, and drifting in and out of consciousness. Having apparently just fallen asleep again, his son Billy was present when a particularly garrulous nurse entered the room and engaged Billy in conversation, “She was only trying to help him” adds Billy, and having assumed Sandy to be unconscious or napping at the very least, Billy and the nurse were somewhat taken aback when Sandy suddenly piped up, “”Oh fuck off! I can’t stand the sound of your voice.” Laughing, Tone now says, “Typical Sandy!” Sadly though, having been admitted to the Royal Free Hospital several weeks before, Sandy eventually succumbed to bronchial pneumonia related complications in the early hours of 21 November 2019, with his son Billy keeping vigil by his bedside. Never Never Land has now lost another one of its fairies and will be a much sadder place without Sandy.
Arizona via Seattle cowpokes SUPERSUCKERS are back with a new single, album and tour.
‘Ain’t Gonna Stop (Until I Stop It)’ is the opening track from the band’s twelfth album Play That Rock’n’Roll which makes for a relatively speedy return for the band following on from last year’s Suck It.
“The Supersuckers have been doing this for a long time,” says bassist/vocalist Eddie Spaghetti. “A LONG time. And the fact that we’re still doing it is not lost on us. We still love Rock’n’Roll. I mean, we must. There’s no other explanation for why we would still be putting out fresh, new rock music anymore. No one NEEDS it. Hell, hardly anybody even WANTS it. But here it is. Another master class in quality Rock’n’Roll. Sure it’s for the few, the proud, the People of Impeccable Taste, the Connoisseurs Of Quality, but it makes us happy to know we still got it. And we do. We might be better than we’ve ever been and that’s exciting. So here it is, our love letter to good, ass-kicking Rock’n’Roll. Turn it on, turn it up and listen to the Supersuckers play that Rock´n Roll!!”
Play That Rock N’ Roll is out on 7 February through SPV/Steamhammer and is available to pre-order here.
Supersuckers recently completed a major tour around Europe as special guests to AIRBOURNE. They’re back again in February, March and April for a mammoth headline tour, including a week of gigs in the UK, with a London show at the 100 Club on 9 February. Full dates are…
07.02. NL-Deventer – Burgerweeshuis 08.02. NL-Amsterdam – Paradiso 09.02. UK-London – 100 Club 10.02. UK-York – The Crescent 11.02. UK-Blackpool – Waterloo Music Bar 12.02. UK-Glasgow – Stereo 13.02. UK-Edinburgh – Bannermans 14.02. UK-Newcastle – Cumberland Arms 15.02. UK-Pershore – The Iron Road 17.02. FR-Rennes – Mondo Bizarro 19.02. ES-Barcelona – Rocksound 20.02. ES-Valencia – Loco Club 21.02. ES-Murcia – Sala Rem 22.02. ES-Estepona – Louie Louie 23.02. ES-Madrid – Gruta 77 24.02. ES-León – Babylon 25.02. ES-Vigo – Sala Rouge 26.02. PT-Porto – Barracuda Club 27.02. ES-Mieres – Cultural Center 28.02. ES-Hondarribia – Psilocybe Nea 29.02. ES-Vitoria-Gasteiz – Helldorado 02.03. FR-Montpellier – Secret Place 03.03. IT-Torino – Blah Blah 04.03. IT-Milano – Magazzini Generali 05.03. IT-Bologna – Freakout Club 06.03. IT-Parma – Splinter Club 07.03. IT-Treviso – Nasty Boys Saloon 12.03. BG-Sofia – Live & Loud 13.03. GR-Thessaloniki – 8Ball Club 14.03. GR-Athens – AN Club 18.03. HR-Zagreb – Hard Place 19.03. DE-Munich – Folks Club 20.03. DE-Stuttgart – Goldmark’s 21.03. DE-Kempten – SkyLounge 22.03. DE-Wiesbaden – Schlachthof 23.03. CH-Solothurn – Kofmehl 24.03. DE-Cologne – Sonic Ballroom 25.03. DE-Kassel – Goldgrube 26.03. DE-Berlin – Wild At Heart 27.03. DE-Weinheim – Cafe Central 28.03. DE-Lauchhammer – Real Music Club 30.03. DK-Copenhagen – Basement 31.03. NO-Halden – Siste Reis Pub 01.04. NO-Trondheim – Lobbyen 02.04. NO-Oslo – John Dee 03.04. SE-Avesta – Garaget 04.04. SE-Stockholm – Bar Brooklyn 14.04. FR-Strasbourg – La Maison Bleue 15.04. BE-Ittre – Zik Zak 16.04. NL-Eindhoven – Blue Collar 17.04. BE-Saint Niklas – De Casino 18.04. NL-Utrecht – DB’s
Rising punk band MC16 are releasing a new single to raise money for All Call Signs – a support organisation aimed at helping Armed Forces personnel and veterans who are experiencing issues with Post Traumatic Stress Disorder and poor mental health.
‘Sleeping On Cardboard’ will be released on 20 December through all major streaming platforms (Spotify, Apple Music etc) and is available to pre-order as a direct download at MC16’s Bandcamp page – the money from each download purchase will be directed to All Call Signs.
To coincide, the video for ‘Sleeping With Cardboard’ is out now – aiming to highlight awareness to the plight of ex-servicemen and women and the struggles they face after leaving the forces.
Frontman Carson says: “How can we live in a world where someone in the forces faces a bigger fight when they actually leave and then try and get help for ‘work related’ mental health problems? As a country we should look after our people and especially those who try and look after us.
“If we see an injured dog then rightly so, people rush over to help, but if they see an ‘injured’ homeless ex- forces then they just walk on by.”
All Call Signs was created by two former servicemen and is designed to offer emotional and practical support to serving Armed Forces personnel and veterans.
Dan Arnold from All Call Signs said: “When we first heard MC16’s song and the lyrics, it truly hit the mark in terms of a band understanding the stresses and issues that people who leave the Armed Forces can face. It can be so difficult and the song and video highlight how important it is that these people aren’t left without any help and support.
“Every day, All Call Signs aims to help and as a support organisation we are totally reliant on the support of the general public to keep the momentum of our work going.
“Every download of ‘Sleeping On Cardboard’ will be donated by MC16 to All Call Signs and we hope people will support us and, of course, enjoy the song too.”
Having previously played shows for homeless charities, MC16 released their debut EP Outvoted By Robots this summer, showcasing their aggro-pop punk, laced with lyrics calling out many political and social injustices. They’ve enjoyed sharing stages with some of the biggest names in punk rock playing Rebellion for two years running, as well as last month’s Morecambe Punk Festival.
Following on from her spellbinding performance at last night’s Vive Le Christmas event, SUZIE STAPLETON today unveils the brand new video for her single ‘Thylacine’, which she’s premiering exclusively with Vive Le Rock!
“The ‘Thylacine’ film clip was made by experimental filmmaker Julian Hand,” says Stapleton. “We see briefly in the opening seconds flashes of images of the last known thylacine that died in captivity in 1936. The doglike marsupial, also known as the Tasmanian tiger, inhabited Australia for thousands of years. After European settlement, the thylacine was hunted intensively, encouraged by bounties, and that along with other contributing factors drove it to extinction. The clip evokes a sense of loss and longing – the last of a kind locked up and lonely, a stark warning transmitted through the ages.”
‘Thylacine’ is available now from all streaming platforms and Bandcamp.
As previously announced, Stapleton plays a special London launch for the single at Paper Dress Vintage, Hackney on Saturday 7 December. Support comes from MIRACULOUS MULE, THE PACERS and CHERRY B DJs. Tickets are on sale here.
You can also catch her on the following dates in the New Year…
4 Jan – The Carlisle, HASTINGS w/ Dastardly Dudes // Free Entry 24 Jan – The Brunswick, HOVE w/ The Damn Shebang // Free Entry 25 Jan – Rough Trade, BRISTOL w/ Emily Breeze (headlining) + National Treasure
Jamaican music pioneer LEE ‘SCRATCH’ PERRY has a new album out next week and he’s premiering a track from it exclusively with Vive Le Rock!
‘Heavy Rainford’ is taken from Heavy Rain, a dub companion to the Upsetter’s most recent album Rainford, released in June and co-produced with dub maestro and On-U Sound head honcho Adrian Sherwood.
Musicians on Heavy Rain include stalwarts from Sherwood’s regular collaborators Tackhead, Dub Syndicate and Creation Rebel, along with special guests including Brian Eno, who contributes to a re-working of the Rainford track ‘Makumba Rock’, aptly re-christened ‘Here Come The Warm Dreads’.
‘Heavy Rainford’ features the talents of Skatalites and Bob Marley trombone legend Vin Gordon and UK harmonica ace Alan Glen, known for his work with Little Axe, Nine Below Zero and Jeff Beck.
Heavy Rain is available on black or silver vinyl, CD and download from Friday 6 December through On-U Sound. It’s available to pre-order here.
Legendary Australian musician ROWLAND S HOWARD is to be celebrated with a night at London’s Royal Festival Hall next year.
The Melbourne guitarist came to prominence after joining the band BOYS NEXT DOOR, who would morph into THE BIRTHDAY PARTY, launching the career of NICK CAVE.
Following The Birthday Party’s split in 1983, Howard would join CRIME & THE CITY SOLUTION with his brother Harry before forming THESE IMMORTAL SOULS. He would go on to collaborate with numerous musicians including LYDIA LUNCH, NIKKI SUDDEN, EINSTURZENDE NEUBAUTEN, JEFFREY LEE PIERCE and HENRY ROLLINS.
Diagnosed with terminal liver cancer, Howard released his second solo album Pop Crimes shortly before his death in January 2010.
Howard’s song ‘Shivers’, written when he was 16 and first recorded with the band THE YOUNG CHARLATANS, has since become an Aussie standard.
The show Pop Crimes, at the Royal Festival Hall on 12 February, will feature Howard’s music performed by bandmates Harry Howard, Mick Harvey, Genevieve McGuckin and JP Shilo with Conrad Standish in place of the late Brian Hooper, along with special guests including Bobby Gillespie, Lydia Lunch and more to be announced.
Midlands psych-punks THE COGS OF TYME have their debut album released today, just 33 years after it was recorded!
Described as “Frat Punk Fun with a little Acid thrown in,” by band founder Gavin Wissen, the band were a small but but significant part of the fertile mid-80s scene around Rugby, Warwickshire that would spawn SPACEMEN 3 and, in turn, SPIRITUALIZED. The band’s members include Tim Morris (Spacemen 3), Will Carruthers (Spacemen 3, Spiritualized, Spectrum, Brian Jonestown Massacre) and Sean Cook (Spiritualized, Massive Attack).
Tyme Waits For No Man comprises 12 studio, live and rehearsal recordings, including one track recorded Rugby’s now legendary Reverberation Club, jointly run by the Cogs and the Spacemen. The album was mastered by noted Midlands producer John A Rivers.
The limited edition vinyl album also features a 4-page insert with notes by the band members along with Mark ‘Mac’ Macdonald of Birmingham’s iconic Sensateria club; and front cover art by Spacemen 3 and Spiritualized artist Natty Brooker.
Released through Seventeen Records and Easy Action, it’s available here.
Transplanted Australian post-punk guitarist SUZIE STAPLETON has announced a new single and dates ahead of her debut album release.
The witchy, neo-gothic ‘Thylacene’ is set for release from all the usual digital platforms, while the long-awaited debut album We Are The Plague is set to follow in the Spring.
Stapleton is joined on the recordings by JIM JONES & THE RIGHTEOUS MIND bassist Gavin Jay and STRANGLERS drummer Jim Macauley. Sessions took place at OX4 studios in Oxford and Stapleton’s home studio, with noted producer Dan Cox (Lianne La Havas, Thurston Moore) brought in at the mixing stage.
“When I started writing for this album, I felt a sense of responsibility to address what was going on in the world,” she explains. “We’re bombarded constantly by horrific news, stuck on a broken systemic hamster wheel. I felt stupid writing about my insignificant woes whilst the world burned around me.”
The live dates, which will feature YANN TIERSON drummer Dave Collingwood taking the place of Macauley, kick off with a special single launch on 7 December at Paper Dress Vintage in Hackney, with special guests MIRACULOUS MULE and THE PACERS. Full dates are…
7 Dec – Paper Dress Vintage, London tickets 4 Jan – The Carlisle, Hastings 24 Jan – The Brunswick, Brighton 25 Jan – Rough Trade, Bristol
A year on from the release of his debut album, Italian musician FERRO SOLO has unveiled a video of his collaboration with Roman yob-rock sensations GIUDA.
Solo, also known as Ferruccio Quercetti, guitarist and singer with long-serving Bolognese garage-punks CUT, included the terrace-stomping shoutalong ‘He Spies’ on the snappily-titled album Almost Mine: The Unexpected Rise and Sudden Demise of Fernando (Pt. 1), released last year.
“When I wrote ‘He Spies’, I was dreaming for it to become a glam/yob-rock stomper in the style of Slade, Jesse Hector or the Hammersmith Gorillas,” he explains. “I wanted the sound of a gang of street urchins let loose in the suburbs of a decaying industrial UK town in 1974 and nothing less! Actually, the only band who’s capable to conjure that kind of noise comes from Rome, Italy, and it’s called Giuda. They also happen to be great friends of mine. When I got in touch with them about this, they enthusiastically embraced my mad idea and gave me everything I wanted and more. I adored every minute of my time in the studio with Giuda, under the guidance of Danilo Silvestri, master of the Glam racket!”
Solo/Quercetti has just released a second solo album, Almost Mine: The Unexpected Rise and Sudden Demise of Fernando (Pt. 2), which came out last month. Released through Riff Records, both albums are available on vinyl, CD and download here.
Cut’s most recent album Second Skin was released in 2017 and is available here.
Having just celebrated their 10th birthday with a riotous sold-out show at London’s Electric Ballroom, BOOZE & GLORY have gifted their fans with a new video.
The aptly-titled rousing street-punk anthem ‘Ten Years’ is the third video from their latest acclaimed album Hurricane. Directed by Frank Pellegrino, it’s a fast-paced circle-pit action-packed travelogue of the band’s decade on the road.
Essex punk legends NEWTOWN NEUROTICS have announced the debut screening of their long-awaited documentary movie.
KICK OUT! The Newtown Neurotics Story is the work of filmmaker Luke Baker and was made possible thanks to a fevered crowdfunding campaign.
The film charts the career of the band from their early beginnings in the post-war newtown of Harlow, at the same time as Margaret Thatcher ascended to 10 Downing Street, not un-coincidentally, just prior to the second UK punk explosion.
Inextricably linked to iconic and fertile Harlow venue, The Square, the band provided a string of insurgent anthems – ‘When the Oil Runs Out’, ‘Kick Out The Tories’, ‘Living With Unemployment’ – fuelled by Steve Drewett’s insightful, incisive lyrics, which have earned a new relevance in the current political climate.
“What started as a simple video idea quickly grew into something much bigger,” explains Baker. “What struck me during our initial meetings was how relevant the lyrics Steve wrote over thirty years ago were still today. While mainstream success alluded them, they have quite the pedigree in terms of their fan base, their historic shows behind the iron curtain and Steve’s solo shows in North Korea and Cuba. On one hand, you could say it’s a film about a band that has continuously evolved with the political and social changes around them. On the other, it’s a film about how many of the issues and problems tacked in the band’s lyrics still resonate today as much as they did back then.”
Alongside the band themselves, the movie also features contributions from such friends, fellow-travellers and observers as Billy Bragg, Attila The Stockbroker, Phil Jupitus, Garry Bushell and journalist and broadcaster Steve Lamacq.
Co-promoted by Vive Le Rock and Black Wax, KICK OUT! will receive its world premiere on Saturday 25 April 2020 at the Leytonstone Ballroom (upstairs at The Red Lion), East London. Hosted by MC Steve Lamacq the event will feature performances from the Neurotics, Attila The Stockbroker and more, plus a Q&A with Luke Baker.
Legendary Aussie punk THE VICIMS are to have their complete works released on a new vinyl compilation.
Originally formed in Perth in 1977, the band featured future HOODOO GURUS Dave Faulkner (aka Dave Flick) on guitar and vocals and James Baker on drums plus bassist Dave Cardwell aka Rudolph V.
The trio released the iconic – and now absurdly collectable – ‘Television Addict’ single in April ’78, followed a few months later by the curiously-named 5-track No Thanks To The Human Turd EP. The contents of both records can be found on The Victims vinyl album, with nine more unreleased-at-the-time demo tracks.
Released on limited-edition coloured vinyl in a gatefold sleeve, it’s available to order now through In The Red Recordings.
The LA-based label is also issuing the Horror Smash EP, comprising new recordings of three original Victims songs by a reconvened band featuring Ray Ahn from the HARD-ONS on bass. Pressed on limited edition coloured 7″ vinyl, you can get that here.
The UK’s leading exponents of ‘kitchencore’, Liverpool band PETE BENTHAM & THE DINNER LADIES have just released their fourth album England’s Up For Sale. Vive Le Rock hooked up with Pete to find out what’s cookin’…
Your new album England’s Up For Sale – is it a soundtrack for the 31 October Brexit deadline? Yes sure. Despite being seen as a kind of a theatrical band, we just use that as a way of putting across social comment and things we believe in. We think making it entertaining is a better way of putting across a serious point, than ranting at people. So how could the album not be a soundtrack to what’s going on now? It’s sad how the country is so divided. We certainly understand why disillusioned people voted for it, but like most people from Liverpool, we are pro-Europe because under Thatcher, their (leaked) plan was for a ‘managed decline’ for Liverpool and it was massive European funding that revitalised the city and helped make it the amazing place it is today. Plus it’s always been a melting pot of different races and cultures.
Are you influenced by Liverpool’s rich history pf punk and political bands? Because of its history as a major port and a gateway to the World and other cultures, plus the strong labour movement, Liverpool is a political place, so you can’t help but be influenced by it. It also still has a strong sense of identity and community, that has been lost in some places. That’s why divisive people like the far right never get a good reception here. Obviously, the city has a massive history of great bands and the current DIY punk scene is also great. There’s so many amazing current bands here like The Wasters, Down & Outs, Pardon Us, Bolshy, Sheepy, Piss Kitti, Crapsons who have all got something important to say. My personal favourite local band is probably still Half Man Half Biscuit, who like ourselves sometimes get dismissed as a novelty band, but are often making some proper social commentary, that’s not always appreciated.
You seem to be a bit of a favourite of Rebellion festival regulars? Yes. We are lucky that Darren and Jennie get what we do and to have have played it so many times. But we do always put on a show with the visuals and everything so I guess we are one of the bands that add something to proceedings, alongside, say, Interrobang!? Wonk Unit, Evil Blizzard and a few others. Rebellion is the best and is a massive thing for the punk scene as a whole, and has been brilliant in helping us reach loads of people.
The album takes in various styles… We like ‘Goth Postman”s psychobilly vibe. You aren’t afraid to experiment... Yes, our stuff is quite eclectic. We often get called ‘a people’s band’ in that unlike most bands, we are all different ages and types. So we all bring different influences to it. I bring my garage rock & roll thing, the rhythm section Pete and Tony come from the DIY punk and hardcore scene, sax player Anna has a classical background and was in a really good ska band. Plus The Dinnerettes dancers bring the whole performance art thing to it. But I think mainly we just all love all kinds of music. When we are on tour the CD in the van will be be playing all sorts of stuff like Moldy Peaches, Wire, The Specials, Syd Barrett, Motown, Velvet Underground plus all the current bands we play with like Pizzatramp, Nosebleed, Wonk Unit etc.
Whats the funniest gig Pete Bentham & The Dinner Ladies have ever played? Two years ago Peter from Paranoid Visions, who likes us and is a top man, invited us over to Dublin to play with Lars Frederikson’s band Old Firm Casuals. When we got there, the line-up was three skinhead Oi bands and mostly skins in the audience and there’s me on stage with a load of girls dressed as Dinner Ladies singing abut Marcel Duchamp! It actually went surprisingly well. Perhaps skinheads are more clued up about conceptual artists than you’d think?
Did you have a crush on your dinner lady at school? Definitely not. They were terrifying at our school, like the Gestapo. But the people who come to our shows dressed as Dinner Ladies look pretty good. Also, the band is named after my mum who was a Dinner Lady.
Powerpop legends THE RUBINOOS return to the UK for dates in the New Year.
The Berkeley, Ca quartet recently released From Home, their first new album in four years. Produced by and co-written with Chuck Prophet, it’s widely considered to be a return to powerpop match-fitness.
Formed in 1970, The Rubinoos were one of the first bands on the Bezerkley label, hitting their stride in the late 70s with their self-titled debut album and its follow-up Back To The Drawing Board. Their cover of Tommy James & The Shondells ‘I Think We’re Alone Now’ and their own ‘I Wanna Be Your Boyfriend’ are revered in powerpop circles.
Now back in their 1980 configuration of John Rubin, Tommy Dunbar, Donn Spindt and Al Chan, the band hit the UK in January for three dates. Catch them at…
Fri 24 Jan – 229 Club, London Sat 25 Jan – The Cluny 2, Newcastle Sun 26 Jan – Deaf Institute, Manchester
Check out their to paean to Islington beat legend Honey Lantree…