Vive Le Rock faves GIUDA have announced a one-off London show in December to celebrate the release of their third album.

The football-loving Roman boot-boys play The Lexington in Pentonville Road on Saturday 5 December. Support comes from glam-punk trio THEE JEZEBELS. Tickets are £10 (£12 otd) and are available here.

The band have a new single ‘Roll The Balls’ downloadable from 28 September, and available on 7″ vinyl from 23 October. Look out for the video!

giuda album

Giuda on Facebook



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It’s here! The first issue of LOUDER THAN WAR magazine is out today, available through W.H. Smith’s and all good newsagents!

Brought to you by the hugely successful website and Big Cheese Publishing Ltd, publisher of Big Cheese and Vive Le Rock magazines, the quarterly Louder Than War is 116 pages of classic indie, alternative and post-punk music.




SUBSCRIBE TO VIVE LE ROCK and get it sent straight to your home – and received a FREE COPY of EMBRACE’s top 5 album ‘EMBRACE’ featuring the singles ‘Follow You Home’, ‘Refugees’ and ‘In the End’ on Cooking Vinyl Records.

Make sure you select the ‘SUBSCRIBE TO LOUDER THAN WAR MAGAZINE ONLY’ option from the link below.

Subscribe here now!

Louder Than War mag on Facebook

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Pioneering folk-punk label BLANG RECORDS celebrates its 10th Anniversary this Autumn with two special gigs and an 18-track compilation album.

Founded out of the monthly Blang nights at legendary London venue The 12 Bar Club, the label returns to the venue (albeit in its new location on Holloway Road) on 1 and 8 October for two celebratory shows. Acts appearing over the two nights include label founders SERGEANT BUZFUZ, DAVID CRONENBERG’S WIFE, MALCOLM KAKSOIS, JJ CRASH, PAUL HAWKINS & THE AWKWARD SILENCES, SLATE ISLANDS, THOMAS TRUAX, EMILY CAPELL, MATT DOLPHIN, EUGENE RIPPER and more. Full running order for the gigs can be found on the Blang website.

Admission to the gigs is £5 on the door each night. It also gets you a free pre-release copy of the new compilation album Lucky Dip, which features most of the above plus tracks from MILK KAN, THEE CEE CEES (pictured), FILTHY PEDRO, SHEEPY, DEXTER BENTLEY, CORPORAL MACHINE & THE BOMBERS and others. Lucky Dip gets its official release on 6 November.

Lucky Dip Rose (left) copy

Check out the video for Filthy Pedro’s ‘Rock’n’Roll Points’.


Pic by Stephen Dowling

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Vive Le Rock is much saddened to learn of the passing of former DAMNED bassist Bryn Merrick, following a long battle with cancer.

Bryn replaced Paul Gray in the band in 1983, joining from Cardiff punks VICTIMIZE and first appearing on the ‘Thanks For The Night’ single. He played with the band throughout their commercially successful MCA years, including the albums Phantasmagoria and Anything . He also participated in their psychedelic side project NAZ NOMAD & THE NIGHTMARES and their Give Daddy The Knife, Cindy album. In recent years, he played with RAMONES tribute band, THE SHAMONES.

Our thoughts are with his family, friends and fans.

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Long-serving LA rockers JUNKYARD have unveiled a video for their new single ‘Faded’.

The band have issued a limited edition vinyl 7″ of the track backed with ‘The River’, which they’re selling signed copies of TODAY (11 Sept) ONLY from their website. The single is also available on CD and digitally from iTunes and Amazon.

The band, who originally formed in 1986 and feature MINOR THREAT, BAD RELIGION and DAG NASTY guitarist Brian Baker in their line-up, will play a benefit for cancer-troubled SUPERSUCKERS frontman Eddie Spaghetti at The Viper Room in Hollywood on 3 October, before heading off on a tour of Spain.


The band promise a brand new album next year.

Junkyard on Facebook

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Detroit disco-garage rockers ELECTRIC SIX are set to release a studio album next month, followed by UK and Irish dates during November and December.

Still notorious for their chart smashes ‘Danger! High Voltage’ – featuring Jack White – and the follow-up ‘Gay Bar’, the band will release their eleventh album Bitch, Don’t Let Me Die through Metropolis on 2 October. You can pre-order it here.

Check out ‘Roulette’ from the album.

Full tour dates are as follows….

24.11.15 SHEFFIELD O2 Academy 2

25.11.15 MANCHESTER Sound Control

26.11.15 GLASGOW Oran Mor

27.11.15 BELFAST Limelight 2

28.11.15 DUBLIN Academy

30.11.15 YORK Fibbers

01.12.15 NEWCASTLE O2 Academy 2

02.12.15 BIRMINGHAM O2 Academy

03.12.15 LIVERPOOL O2 Academy

04.12.15 LONDON O2 Islington Academy

05.12.15 BRIGHTON Concorde 2

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Italian ska-punks LOS FASTIDIOS release a new EP this weekend, the day before headlining the final night of the AWOD North festival.

The eight-track So Rude, So Lovely features three brand new songs, plus five bonus tracks including covers of ‘Dirty Old Town’ and Italian partisan anthem ‘Bella Ciao’. It’s out on Saturday 12 September via Kob Recors, but you can pre-order it here.

los fastidios

Then on Sunday 13 September they join OI POLLOI, MENACE, CHARRED HEARTS, LAGAN and more at The Hairy Dog in Derby for AWOD North, the first Another Winter Of Discontent festival to be held outside London.  Tickets still available here.

Check out a video trailer for So Rude, So Lovely.

Los Fastidios on Facebook

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Vive Le Rock is pleased and proud to bring you a double-dose of GODFATHERS video action today!

‘Till My Heart Stops Beating’ is one side of their brand new double A-side single which is available now through iTunes and Amazon. It’s also available as a strictly limited 7” direct from the band’s website.

Check back later when we’ll give you the other side!

godfathers 1

The South London gangster garage-rockers, who’ve just celebrated their 30th Anniversary, recently retooled with guitarists Mauro Venegas and Steve Crittall, and drummer Tim James, joining battle-hardy brothers Peter and Chris Coyne.

The Godfathers on Facebook

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Legendary London rockers TEN BENSON are set to make good on their long-awaited return with the release of a new single in September!

The track is accompanied by this video by film director Mark Locke (UNKLE, PIXIES, DINOSAUR JR etc).

‘Mud Man’, self-produced and mixed by Anthony Chapman (ARNDALES, COLLAPSED LUNG), is available to download through Ditto Music from 11 September.

Ten Benson recently played their first London show for five years at The Lexington and made an appearance at the Supernormal Festival in August.

Ten Benson - Press Shot 1

Critically acclaimed and ever changing, Ten Benson first came on the scene at the end of the last century with the release of their debut single ‘The Claw’ in 1997. Since then they’ve released five albums and toured extensively, but over the last few years have been on a very long sabbatical undertaking different projects.

More details of their recording plans and live dates are set to be announced very soon. 

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Reunited 80s garage-rockers THE PANDORAS arrive in London next week for their only UK date as part of a European tour.

They play The Shacklewell Arms, Dalston on Saturday 5 September with support from OH! GUNQUIT and THE FRANKLYS. Buy tickets from the Dirty Water website.

Part of the same Hollywood scene that spawned THE BANGLES, THE THREE O’CLOCK, THE RAIN PARADE and THE DREAM SYNDICATE, the band enjoyed a fluid line-up during their eight-year career, recording their debut album with BOMP! supremo Greg Shaw, and going on to sign with Restless, Rhino and Elektra. The band’s career was brought to a tragic halt, however, when frontwoman Paula Pierce died suddenly from a brain anyeurism.

Bassist Kim Shattuck, who went on to find success with THE MUFFS and PIXIES returns to fill Pierce’s role, alongside Melanie Vammen, Karen Blankfeld and new member Hilary Burton.

Listen to ‘That’s Your Way Out’.

The Pandoras on Facebook


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Much talked about US trio RADKEY release their long-awaited debut album Dark Black Makeup today via Little Man Records.

The sibling punks from St Joseph, Missouri are in the UK next weekend for the Reading and Leeds festivals, and have a bunch of shows lined up for the autumn.

Listen to Dark Black Makeup.

Watch the video for the new single ‘Love Spills’.

Together, well, since birth, the brothers played their first gig supporting FISHBONE in 2011 and have since gone on to play SXSW, Afropunk, Coachella and Download festivals. Having previously released two EPs, they recorded Dark Black Makeup in Sheffield with producer Ross Orton.

radkey sleeve

Get Dark Black Makeup from iTunes.

Catch Radkey on the following dates…



Thur   27- Aug              Banquet Records New Slang, Kingston w/ Spector

29th/30th-Aug                Reading and Leeds Festivals

Mon   31st-Aug              Rough Trade, Nottingham



Tue       1st-Sept           The Old Blue Last. London SOLD OUT



Mon     26th-Oct           Brighton, Green Door Store

Tue      27th-Oct           Bristol, Exchange

Wed     28th-Oct          Birmingham, Hare & Hounds

Thu      29th-Oct          Sheffield, Leadmill

Fri        30th-Oct          Nottingham, Bodega

Sat       31st-Oct          Manchester, Sound Control (basement)



Mon     02nd-Nov         Glasgow, King Tuts

Tue      03rd-Nov          Newcastle, Academy 2

Wed     04th-Nov          Leeds, Key Club

Thu      05th-Nov          London, The Dome

Get your tour tickets here.

Read more about Radkey in the new edition of Vive Le Rock!


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UK label COLD SPRING have announced that they’re hooking up with CRASS for a series of archive live releases by the anarcho-punk pioneers. Released on vinyl and CD, they’ll also be available to download for free. Titles and schedules will be announced shortly.

Originally coming together in Essex in 1977 and kickstarting the early-80s anarcho-punk scene, Crass’s legacy has been the subject of much heated debate among fnas and former members in recent years, with vocalist Steve Ignorant’s decision to perform the band’s Feeding Of The 5,000 live in 2007, followed by the back catalogue release of The Crassical Collection in 2010.

Read a statement by the band’s Penny Rimbaud on the Cold spring releases below…


Thomas Jefferson once said in a letter written in 1813: ‘If nature has made any one thing less susceptible than all others of exclusive property, it is the action of the thinking power called an idea, which an individual may exclusively possess as long as he keeps it to himself; but the moment it is divulged, it forces itself into the possession of every one, and the receiver cannot dispossess himself of it. Its peculiar character, too, is that no one possesses the less, because every other possesses the whole of it. He who receives an idea from me, receives instruction himself without lessening mine; as he who lights his taper at mine, receives light without darkening me’.


In a perfect world there’d be no yours or mine because everything would be shared or, at most, swapped in fair exchange. Why’s that? Because in the perfect world we’d realise that there’s no such thing as ‘them and us’, no separation between self and other. In short, we’d be as one and we’d behave as one. Then how do we go about creating this perfect world? Firstly, I guess, by realising that apart from the trials, tribulations and conflicts that we humans bring to it, the world is perfect, silently getting on with its own business without thoughts either of profit, a gaggle of shareholders ever ready to justify corporate avarice, or an army to force the issue. In realising the above and taking it to heart, we’re already halfway there.

When I was a child, my father frequently regaled me with tales of what he called the ‘real world’, demanding that I abandon my youthful waywardness in order to find a place in it. Without a hint of irony, he told me that unless I conformed, I’d never get a proper job. At that time his proper job was as a board member of British Rail, seeing that the trains ran on time which, given the free-flowing nature of the temporal world, they more often than not didn’t. In short, he was setting before me a thoroughly undesirable and unworkable model existence. Coupled with that, he’d often tell tales of a war he’d helped win in order that I should be free which, considering his frequent and rude interventions on my youthful self-styled freedom, seemed entirely contradictory.

The Native Americans considered the land in the same manner as we consider the air; it was beyond enclosure and ownership. Equally, wisdom was shared as ‘common sense’ rather than coveted as intellectual property; the land, water and air were a reflection of that commonality and an inspiration to those who maybe didn’t quite get the message. If modern day capitalists could market air, you can rest assured that they would do so. They’ve done it with the land and water, but when it comes to air, they simply pollute it, thereby in some cocked-up way possessing it – they pocket the profits of pollution while we suffer the consequences, and sod climate change which, not so coincidentally, they greatly profit by too.

Yours? Mine? Anyone’s? No one’s? Intellectual property? Copyright? Mine all mine, but taking into account the transient nature of our existence, can any one person truly hang on to anything within what is commonly referred to as the ‘real’ or ‘material world’? Can an idea be owned when largely it is culled from the pool of ideas to which we are exposed every day by self and others? In any case, why should we seek to possess ideas? In that respect, it’s like love, for isn’t possession the very antithesis of love, an ossification of ideas? Why do we seek to own the object of our love or cosset the product of our ideation? Why seek to consummate and contain them, thus depriving them of their natural freedom? A caged songbird is deprived of flight, deprived of freedom and everyone apart from its owner is deprived of its beauty, albeit one which will inevitably diminish under the deprivations of captivity. In this sense, its captivity is also ours. All forms of enclosure, be it animal, vegetable or mineral, deprive us of our fundamental right to exist free of imposition. Then clearly, if we seek that freedom, we must start by attempting to minimise on the impositions that we place on others and thus, conversely, upon ourselves. In other words, never mind the Rolex, it’s a manacle to time, and time is a manacle to place and, further, both are no more than illusory constructs.

The public domain is a funny place to be. My mother used to talk about public face and private armpit, the armpit being where we stored up our personal secrets. There are things which can be said ‘out there’ and others which, if only out of circumspection, are better left unsaid, at least that’s what she used to tell me. But how much damage do we do through keeping things to ourselves? Is this not the root of the unresolved issues that keep us at each other’s throats or, at the very least, so separate from each other?

Amongst many other things too innumerable to mention, John Lennon is remembered for his aphoristic ‘life is what happens to you when you’re busy making other plans’ which, in fact, was first coined by cartoonist, Allen Saunders, when Lennon was still only dreaming of the stardom that gave him the unquestionable right to claim creation of the planet itself, after all, ‘war is over if…’. Nonetheless, as I see it, the saying has deep roots in Taoist philosophy from which by some circuitous route it must have emanated. So who owns what? Rip-off, tip-off or judicious use of common-sense wisdom?

Prior to the sixteenth century and the creation of precise if inhibiting forms of musical notation, musicians knew by heart their body of work, as needs would anyone else who might have sought to replicate them. So, was the humming of a tune picked up from a wandering minstrel an early form of bootlegging or an unqualified and unconditional expression of respect for its creator and joy in its creation? We can freely whistle a blackbird’s song if we have the ear for such musical complexity. Is that, then, an act of bootlegging? Meanwhile, the blackbird sings on regardless, and another dusk draws a close to another day.

It was in the early sixteenth century that what was possibly the first documented act of musical bootlegging was made by the fourteen-year-old proto-punk, Amadeus Mozart. On a visit to St Peter’s, Rome, he heard Allegri’s ‘Miserere’ being performed and later, in the privacy of his lodgings, he transcribed it note for note. Admittedly, on finishing the transcription he had to make a brief return to St Peter’s to check its accuracy, but his achievement surely must stand as confirmation of the power of the mind left to its own devices, and as a major indictment of those who nowadays see Google as being synonymous with memory. More seriously, however, through Papal decree it was in those days forbidden, under threat of excommunication, to transcribe the ‘Miserere’ or to perform it anywhere outside the Vatican. However, on hearing of Mozart’s achievement, the resident Pope was so impressed that he summoned him to the Vatican and showered him with great praises for his youthful genius. The ‘Miserere’, as liberated by Mozart, has since become one of the most universally loved choral works in the classical canon, and one is forced to wonder what might have been its fate without his intervention. One also wonders whether other works of such profound beauty are still confined to the shady vaults of the Vatican alongside other possibly darker secrets.

So, where does all this take us? What on earth has Crass got to do with the Vatican, or Monseigneur Steve Ignorant with the Pope or, indeed, bootlegging with righteous common-sense sharing of common wisdom? The simple answer is all or nothing.

I had, perhaps, hoped to write a brief history of bootlegging, ignoring its alcoholic connections in favour of its more cultural implications. I had intended to begin by citing the first ever performance of Dylan Thomas’ ‘Under Milk Wood’ and the almost complete live solos of Charlie Parker, both of which having entered the public domain in the form of bootlegs, but, as is a common trait of mine, I chose a more universal approach.

But let me now maybe get to the point. Whereas piracy or outright theft is more often than not driven only by a desire for personal profit, and offers little or no creative addition, bootlegs are more commonly acts of love practised by fans who quite rightly want to carry away a memento from a gig which otherwise might be destined to become no more than a faded memory. In this respect, I have always supported and encouraged bootleggers and have been able to thoroughly enjoy listening to their offerings of which, in the case of Crass, there are many. As I see it, if a band chooses not to record their own concerts for the benefit of those who might have been unable to be there, then they really have little or no reason to complain when others choose to do it in their stead: it’s not as if any real theft has taken place. On the one hand we can react with elitist, separatist ideas demanding ownership of a recording which is not ours, or we can accept a wider picture which recognises rights with which we might not all be comfortable, but which, without doubt, express a true democracy, and I do not mean here the political so-called democracy from which we are all in some way forced to suffer, and which I see as a mere extension of ancient feudalism.

When Justin of Cold Spring Records wrote to me seeking permission to release a series of Crass bootlegs, I replied that essentially it wasn’t anything to do with me, him or indeed anyone else, because, in my understanding of it, bootlegs are up for grabs. I might have been Crass’ lyricist and drummer, Justin might be a label owner and someone or other must be the sound recordist bootlegger and, in all probability, ne’er the twain shall meet. However, Justin persisted, and whereas in no way could I have been persuaded to directly endorse any Crass bootleg, still less give it ‘official’ approval, I suggested to him that I could write the essay that you are currently reading, explaining my overall feelings on the subject which, hopefully, I have successfully done. It’s my way of saying ‘yup, it’s fine by me’, and if others don’t like it, then that’s also fine by me.

There are, no doubt, those who might object both to Justin’s actions and my tacit support of them, but, frankly, I don’t really care. Crass happened thirty years back and the party was great while it lasted. Since that time there’s been a fair amount of revisionist reinterpretation of what was or wasn’t the nature of that party, but if anything can recapture its true radical vibrancy, it must be the bootlegs of the period. In a studio recording, we (Crass) were firmly in control, whereas at gigs we were out there and up against the wall with our terror, jubilance, bullshit and profundity in equal dosage. So, while the studio recordings were a record of how Crass might have wanted it to appear, the bootlegs are documentation of the times as they were, warts’n’all – one big crazy gathering of giggers, liggers, dreamers, schemers, bums and beats’n’bootleggers alike. Crass? You bet.


Smash the system? For sure, but of all the systems that are worthy of consideration for such intervention, it surely must be our own ideas that require the most attention. If we can’t change those, we can’t change anything.

Love, blessings and sweet joy, Penny Rimbaud. Summer 2015.

Cold Spring Records

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First Lady of the Medway garage-punk scene HOLLY GOLIGHTLY returns this week with her first new solo album in eleven years!

Slowtown Now! is out on vinyl, CD and download through Damaged Goods on Friday 21 August, with a limited edition seven-inch of ‘Seven Wonders’ released a week later. You can listen to ‘Seven Wonders’ here.

Holly initially came to prominence at the start of the 90s fronting BILLY CHILDISH and THEE HEADCOATS’ all-girl splinter group THEE HEADCOATEES, Holly released her first solo album in 1995, going on to collaborate with the likes of THE WHITE STRIPES, ROCKET FROM THE CRYPT and THE GREENHORNES and featuring on the soundtrack to the JIM JARMUSCH movie Broken Flowers.


Domiciled in the US for several years, where she’s been playing back-porch blues and Americana with Lawyer Dave as HOLLY GOLIGHTLY & THE BROKEOFFS, Holly recently returned to the UK and East London’s Gizzard Studios to record Slowtown Now! with legendary producer Ed Deegan (The Fall, Billy Childish, Stiv Cantarelli) and a band that included Headcoats and LEN BRIGHT COMBO drummer Bruce Brand, NICK LOWE bassist Matt Radford and guitarist/keyboard-player Bradley Burgess.

You can order Slowtown Now! here.

Holly Golightly on Facebook


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San Fanciscan rock’n’roll legends the FLAMIN’ GROOVIES turn 50 next year! And they’re getting ready for the party by shakin’ a whole lot of action!

With a full US tour lined up for November, the band are set to release a new single this Autumn featuring two Cyril Jordan and Chris Wilson songs. The newly recorded ‘Crazy Macy’ and ‘Let Me Rock’ will be issued on cassette and download by Californian label Burger Records, with a limited edition vinyl 7” coming later.

Having just returned from a European Tour, the Groovies are now putting the finishing touches to their first new album in more than thirty years, which will be released next year along with a documentary film The Incredible Flamin’ Groovies Movie. Watch a trailer for the film here.

Formed as a rock’n’roll covers band in 1966, the Flamin’ Groovies have been through various configurations, signing to Sire in the 70s and getting caught up in the New Wave with the classic Shake Some Action album and single. An invitation to play the HOODOO GURUS’ Dig It Up! festival in Australia in 2013 resulted in the successful reunification of founder members Cyril Jordan and George Alexander with 70s guitarist and singer Chris Wilson, plus drummer Victor Penalosa, for a series of well-received dates in Japan, the US and the UK.

Flamin’ Groovies on Facebook

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GANG OF FOUR have announced two UK dates for the Autumn at the tail-end of a mammoth North American Tour.

The post-punk legends, who released their latest album What Happens Next in February through Membran, play Islington Mill, Salford on 5 November, and Islington Assembly Hall, London on 6 November.

Get tickets for Salford and London.

If you can’t wait until then, they play the Rebellion Festival in Blackpool this Friday.

Formed at Leeds University in 1977, Gang Of Four epitomised post-punk, releasing the genre-defining Entertainment! Album in 1979. Resurfacing sporadically over the years, including a dalliance with their original line-up in 2004, sole founder member Andy Gill returned with a revitalised line-up last year. They’ve just released a video for the track ‘Dying Rays’ from What Happens Next, featuring Das Boot star Herbert Grönemeyer. Watch it here.

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Vive Le Rock helps East London outfit THE FUTURE SHAPE OF SOUND launch a brand new video today, with a host of celebrities on hand to help it go with a swing!

Led by producer Alex ‘Captain Future’ McGowan, TFSOS recorded ‘Rise Up (Feat. Sister Cookie)’ at his Space Eko Studio, where he’s collaborated with such weighty names as URBAN VOODOO MACHINE, JAH WOBBLE, JIM JONES & THE RIGHTEOUS MIND, BIG JOE LOUIS, MARK LANEGAN and JOSH HOMME. He’s joined in TFOS by Stuart ‘Lodekka’ Dace, the man who put the sax into PRIMAL SCREAM’s Screamedelica.

Influenced by the likes of SISTER ROSETTA THARPE, CLARA WARD SINGERS, SLIM HARPO and HASIL ADKINS, TFSOS release ‘Rise Up’ through Brighton’s Freshly Squeezed Music.

Rise Up_Artwork_RGB

You can download the single now from iTunes, Spotify and Bandcamp.

TFSOS on Facebook


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Much-loved Australian post-punks THE SCIENTISTS are having their hard-to-find back catalogue made available once again thanks to Chicago reissue label The Numero Group.

And more than that, the worldwide rerelease programme heralds a new period of UK and European live activity from the Perth legends!

The programme is spearheaded by vinyl and digital releases of the band’s long deleted 1981 self-titled debut and their classic Blood Red River mini-album from 1983. They’re available to pre-order now here and here.

Then next Summer, the label will release a CD box set of the band’s complete recordings. The band plan to celebrate the release with a series of festival shows in the UK and Europe.

Speaking about the new reissues, laconic lead Scientist Kim Salmon told Vive Le Rock: “We’re glad to let some of our old experiments out of the lab”.

Originally formed in 1978, The Scientists went through various line-ups, musical styles and geographical bases, landing in London in the mid-80s before splitting in 1987. The band has reformed in various incarnations over the past decade, with their original line-up reuniting for Australian dates earlier this year. The line-up for next year’s dates has yet to be decided.

Salmon’s latest release is the album True West as Kim & Leanne with sometime Scientists drummer Leanne Cowie.

Watch the video for ‘Blood Red River’.

Read more about The Scientists and other classic Aussie bands in the current edition of Vive Le Rock!

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