DIY punk legends TELEVISION PERSONALITIES have an elaborate and comprehensive singles collection out this week.
Formed in Chesea in 1977 by Dan Treacy, later joined by SWELL MAPS’ Jowe Head, the band are perhaps best-know for their 1978 tracks ‘Where’s Bill Grundy Now?’ and ‘Part-Time Punks’ before turning towards psychedelia with ‘I Know Where Syd Barrett Lives’.
The double-CD hardback book-form package houses Some Kind Of Happening – Singles 1978-1989 and Some Kind Of Trip – Singles 1990-1994, the compilation contains numerous highpoints and rarities from a multitude of labels, including their debut 45 ’14th Floor’, a Creation Records flexi, their ultra-rare take on Mel & Kim’s ‘Respectable’ and 1989’s nearly-hit ‘Salvador Dali’s Garden Party’…
Set for release on 12 July through Fire Records, the anthology is available to pre-order here.
Jowe Head, meanwhile, has his new double solo album Widdershins – in which he tackles weird folk, post-punk and Krautrock – out through Easy Action Records on the same day. It’s available to pre-order here.
Jowe plays The Stag’s Head, Hoxton, London on 27 July.
Newly minted Celtic folk-punks THE WALKER ROADERS have unveiled a lyric video for their first single.
‘Will You Go Lassie Go’ is taken from the band’s self-titled debut album, out on 23 August.
Led by THE POGUES co-founder and accordionist James Fearnley, the band also features former DROPKICK MURPHYS multi-instrumentalist Marc Orrell, and FLOGGING MOLLY co-founder Ted Hutt. They’re joined on the album by bassist Brad Wood, fiddler Kieran Mulroney and drummer Bryan Head. Based in L.A., the band take their name from a notorious street gang in Fearnley’s fome city of Manchester.
“I’d come across Ted loads since arriving in Los Angeles years ago,” explains Fearnley. “Socially, gastronomically, not least musically, beginning with Brad Wood suggesting me to play accordion on an album Ted was producing. It developed from there. Marc, I knew from Dropkick Murphys opening for The Pogues one Christmas. And then he surfaced in L.A. It was an opportunity too good to pass up to bring us together with others I’d played with that had talent, an instrument and an ear.”
Ahead of the release of their new album, PIXIES are on the cover of the new edition of our sister mag Louder Than War.
Inside we chat to the band are about their long and illustrious history, including the 30th Anniversary of their classic album Doolittle, and the making of their seventh full-length Beneath The Eyrie, which is out on 13 September, the same day they kick off a major UK tour.
Also this issue, we talk psych with TEMPLES, shoegaze with RIDE, post-punk with THE MURDER CAPITAL and the new wave of psychedelic folk-rock with Cornish mavericks HANTERHIR.
Elsewhere we’ve got NEW MODEL ARMY, FUTUREHEADS, FAT WHITE FAMILY, MANIC STREET PREACHERS, BLACK FUTURES, THE NATIONAL, MIKE PATTON, GOODBYE MISTER MACKENZIE, UTAH SAINTS and loads more…
The new edition of Louder Than War is on sale now here and in all good newsagents!
STRAY CATS fever continues to sweep the world with the announcement of a major new box set from the Long Island rockabilly legends.
In celebration of the trio’s 40th Anniversary, Runaway Boys brings together their first three classic albums – Stray Cats, Gonna Ball and Rant’n’Rave – released on Arista between 1981 and 1983, newly half-speed remastered and given the 180g deluxe vinyl treatment.
A fourth vinyl disc brings together eleven b-sides and assorted rarities.
On top of that, there’s a 40-page book compiling classic interviews down the years alongside rare and unseen photos and memorabilia.
Best of all is the Rumble In Brighton board game, where players are invited to race from London’s Ace Cafe to Brighton seafront for a dust-up on the beach.
Also available are 25-track double-vinyl and 36-track double-CD anthologies.
Set for release on 27 September through BMG, the box set and anthologies are available to pre-order here.
The original members of the TOM ROBINSON BAND are coming together to celebrate the life of Danny Kustow next month.
The guitarist, who joined the band in 1976, passed away in March after a short illness.
Signing to EMI, TRB were instantly successful with their debut single ‘2-4-6-8 Motorway’ and debut album Power In The Darkness both soaring into the Top 5. One of the most politically motivated bands of the era, they played regular shows supporting Rock Against Racism and the Anti-Nazi League.
Following the break-up of the band in October ’79, Kustow contributed to Generation X’s third album Kiss Me Deadly, going on to play in The Spectres with Glen Matlock and The Planets with members of The Blockheads. He would later play on Robinson’s 1983 hit ‘War Baby’, rejoining the briefly reformed TRB at the end of the decade. More recently, he joined Robinson onstage for ‘…Motorway’ at the 100 Club in 2017.
The gig at The Scala in London’s Kings Cross on Monday 29 July will feature Robinson plus original members, keyboard-player Mark Ambler and drummer Dolphin Taylor, who also played in Stiff Little Fingers and Spear Of Destiny before relocating to L.A.
Also featuring members of Robinson’s current band and special guests, the night will include video screenings of Danny at his best.
Tickets for the show are now on sale here. All profits from the gig will go to NHS Critical Care Unit in Bath, who cared for Danny during his final days.
Aussie idlers THE CHATS return to the UK at the end of the year for a major tour.
The teenage Queensland mullet-punks, scored YouTube hit with ‘Smoko’ – 7.2 million views and counting – a few years back will be giving a taster of what to expect when they appear at Reading and Leeds festivals at the end of August.
The band return at the end of November for a string of dates culminating in a London show at Kentish Town Forum. Full dates are…
Nov 30th Brighton, Concorde 2 Dec 1st Oxford, 02 Academy Dec 2nd Norwich, Waterfront Dec 3rd Nottingham, Rescue Rooms Dec 4th Leeds, Brudenell Social Club Dec 5th Newcastle, Riverside Dec 6th Edinburgh, Summerhall Dec 7th Aberdeen, Lemon Tree Dec 9th Glasgow, Garage Dec 10th Manchester, 02 Ritz Dec 11th Birmingham, 02 Institute Dec 12th Cardiff, Clwb Ifor Bach Dec 13th Bristol, 02 Academy Dec 14th London, 02 Forum
East Anglia’s leading melodic punks BEVERLEY KILLS venture forth from their Cambridge base for a handful of dates next month.
The much-loved quartet have kept a relatively low profile in recent years – save for a track on a flexi from Repeat Fanzine in 2017 and a very special 10th Anniversary show in their hometown last year.
The band now break cover for a trio of shows in Norwich, Newcastle and London, where they play this year’s Wonkfest.
Full dates are…
Fri 26 July – Gringo’s, Norwich (w/Goober Patrol & Project Mork) Sat 27 July – The Dome, Tufnell Park, London (Wonk Fest 7) Sat 31 Aug – The Cluny, Newcastle (w/China Drum)
In other news, Bevs guitarist Kate Fleet has just published her first children’s book. Monty Mouse of Cambridge Town was written by Kate and illustrated by Angela Cogo and is available here.
Fast-rising grime-punks RISKEE AND THE RIDICULE have unveiled a new video from their imminent new album.
Following on from’Kaboom!’ earlier this month, the broodingly anthemic ‘In The Dark We Dwell’ is taken from the Kent quartet’s third album Body Bag Your Scene, their debut for Bomber Music.
“‘In The Dark We Dwell’ is about gravitating towards self destruction,” explains frontman Scott Picking. “It’s an insight in to the past. It’s about who we used to be and who we are now.”
Directed by the band themselves, the video “is a respectful nod to Keith Flint and anyone suffering from their own internal darkness.”
The band have several UK dates lined up, including appearances at Rebellion and Booze & Glory’s 10th Anniversary bash at Camden’s Electric Ballroom in November. Full dates are…
29 Jun – Crowley’s Bar, Hastings 13 Jul – 1 In 12 Club Bradford 26 Jul – The Lab, Northampton 1-4 Aug – Rebellion, Blackpool 17 Aug – Esquires, Bedford 20 Sep – Ramsgate Music Hall 5 Oct – Rich Mix, London 18 Oct – Exchange, Bristol 2 Nov – Electric Ballroom, London (w/Booze & Glory)
Body Bag Your Scene is out on 28 June and is available to pre-order here.
NEW MODEL ARMY have unveiled a lyric video for the first single from their new album.
The urgent, dystopian ‘End Of Days’ is taken from From Here, which follows on from 2016’s Winter and is set for release through EARmusic on 23 August. The album is available to order in various formats and bundles here.
The band will follow the release with a UK tour kicking off in Southampton on 8 October and taking in a London date at the Electric Ballroom, Camden on 14 November. Full dates are…
08/10 – 1865, Southampton 13/11 – SWX, Bristol 14/11 – Electric Ballroom, London 15/11 – Junction, Cambridge 16/11 – Stylus, Leeds 17/11 – Tramshed, Cardiff 19/11 – Live Rooms, Chester 20/11 – Boiler Shop, Newcastle 21/11 – Liquid Rooms, Edinburgh 22/11 – O2 Ritz, Manchester 23/11 – O2 Institute, Birmingham 12/12 – Concorde 2, Brighton 21/12 – Rock City, Nottingham
Now in its fifth year, the Red Rooster Festival has shaped up from humble beginnings to be THE go-to weekend for rock’n’roll, blues and roots music . Vive Le Rock donned its dungarees to check it out….
RED ROOSTER FESTIVAL EUSTON HALL, SUFFOLK
With a track record of good weather, Red Rooster is something of a rarity in the UK calendar. Better not jinx it! It’s also one of the easiest on the eye, when it comes to locations, situated in the grounds of Euston Hall on the Norfolk-Suffolk border, by wood and river. Moreover, it’s compactness means you don’t waste time and energy slogging everywhere, can easily find your mates and are generally in with a good chance of making it back to your tent before passing out.
Kicking off on the Thursday evening, just as most people are arriving, the mainstage offers a low-key bill of mellow country rock, headlined by Philadelphia’s Low Cut Connie, trading in a weird concoction of garage rock through a Queen filter.
The following morning, though, the fest sets off in earnest with London’s long-serving Cajun aces Joli Blon, who do an amazing job of shaking the masses out of their torpor. The day takes shape approvingly via the many-headed Cash-style country-punk of The Johnsons, ZZ Top-channelling newcomer Sam Morrow and Texan golden boy Jarrod Dickinson, who takes time to salute homestate legend Doug Sahm with a terrific cover of ‘I’m Glad For Your Sake’.
After a Prosecco-and-veggie-burrito break, Vive Le Rock returns to the mainstage for another of Texas’s finest sons, Dale Watson. Single-handedly saving country music one truckin’ song at a time, Dale’s on fine form, the crowd quickly getting into singalong mode on ‘I Lie When I Drink’ (“…and I drink a lot!”). Ever the consummate pro, Dale takes some beating, although Nick Lowe gives it a good go. Since teaming up with LA’s masked instrumental surf band Los Straightjackets, the Godfather of Pub has been reinvigorated: delivering an elementary ‘greatest hits’ set, rockin’ recent single ‘Tokyo Bay’ is as good as anything the great man’s ever done.
By Saturday both stages – and the sun’s rays – are getting into their stride, so we slap on the lotion to enjoy sets on the Little Red Rooster acoustic stage from fast-rising skateboarder-cum-country-blues-picker, Yorkshire’s own Serious Sam Barrett – drawing one of the biggest crowds of the weekend – and the country’n’rockabilly of The Haystingers, unphased by a mid-set power failure.
Over on the mainstage, it’s Euro-tastic with youthful French rockabillies Howlin’ Jaws delivering a blistering set, closely followed by Switzerland’s Powersolo and the homegrown Oh! Gunquit, featuring the finest hula-hooping, trumpet-blowing frontwoman of the festival.
East Londoner Errol Linton has been a reliable draw on the London scene for many years, so it’s great to watch him deliver a crowd-pleasing mid-afternoon set of his reggae-infused blues. He’s definitely deserving of bigger things. So too, Cedric Burnside: grandson of the legendary R.L. who kickstarted the noughties punk-blues scene, he delivered a blistering set, backed only by a hard-hitting drummer with an infectious beat. The two even swapped places at one point!
For the final act of the weekend, Vive was in a bit of a quandary, but sorely tempted by the soul-inspired space-rock of The Budos Band, we opted for the tried’n’tested Legendary Shackshakers on the Little Red Rooster stage. One of the most dynamic acts of the festival, it’s a shame they’re relegated to the smaller stage, but their fiery gothic-country-punk has zero airs and graces, quickly creating the atmosphere of the moshpit, frontman J.D. Wilkes risking life and limb (his, the band’s, the crowd’s) with his cavalier mic-stand antics. A brilliant punk-rock frontman, and quite possibly the only one armed with a banjo, Wilkes is a force of nature who deserves much wider fame.
The party kept rockin’ well into the night over on the Howlin’ Woods DJ stage, but totally spent from the Shackshakers, Vive (dis)gracefully retired. Out first Red Rooster successfully completed, we’ll definitely be back next year.
Punk rock ukulele band THE PUKES are back with a brand new video which they’re premiering exclusively with Vive Le Rock!
‘One In A Million’ is taken from the band’s first full album of all-original material, Never Mind The Buffet, which is due out in September though their own Hoo Har label. The video is the work of renowned film-maker Mark Richards.
The Pukes have built a reliable reputation for riotous gigs, featuring ukulele-based renditions of punk classics from the likes of Buzzcocks, Dead Kennedys, Cock Sparrer, Ramones and Discharge, releasing the album Too Drunk To Pluck in 2014.
The band now return with a slimmed-down line-up and an album of self-penned songs, produced by ex-Vibrator Pat Collier at Perry Vale Studios in South London.
The band have a handful of dates coming up, including a special album launch at The Dublin Castle, Camden on 13 September. Full dates are…
Thu 1 Aug – Rebellion Festival Fri 13 Sept – London – Dublin Castle tickets Sat 14 Sept – Bristol Ukulele Festival
In 2019, the urgency of anarcho punk’s message is just as relevant, if not more so, than in 1982. Punks with informed opinions and a ferocity towards the injustices of government and mankind as a whole continue to make their voices heard amid a cultural atmosphere of ignorance and submission. Vive Le Rock caught up with Bad Breeding, who carry the flame of anarcho wrath into the 21st century.
You formed in 2013 in Stevenage, how did you all get together and what’s the journey been like?
We’ve been friends since we were kids and went to the same secondary school. There was a time in the summer of 2013 when we were all at a bit of a loose end in terms of employment and decided to do something in the evenings that would serve as a bit of a release from the slog of labouring shifts and agency work. Bad Breeding has allowed us to contribute to a lot of political and cultural discussions we’ve felt marginalised from growing up in somewhere like Stevenage. It’s given us an outlet of expression that we haven’t been able to construct elsewhere in our working lives.
How long did it take to write and record this album and what do you want people to get out of it?
We wrote the bulk of Exiled in a month or two after getting back from a European tour last October. We had structures and a few songs down before we left, but most of them were finished off in the autumn after spending a month or so travelling around in the van. Exiled further explores the systemic, pernicious con-tricks of neoliberalism that have dogged and punished vast sections of the British working class since Thatcher through Blair and beyond into the sort of ideological contempt that is being played out now under the Conservatives. I think there’s been a trend in mainstream guitar music in recent years to confuse working-class resistance with unshakeable victimhood. Things seems to be put through a patronising or condescending liberal lens. I think you tend to get a lot of virtue signalling and weird class tourism from bands. We wanted to write a record that spelled out the rank injustices experienced on a daily basis as they are in the cold light of day – without pretence or performative gesturing.
Since the first wave of anarcho punk, what did those bands change and achieve?
The thing I always took from that period was the emphasis on a collective effort to push for change – whether that be within immediate music scenes, local community issues or wider constructs within the political landscape. I wouldn’t term myself as an anarchist, I would define myself as a socialist, but those anarcho bands were important in opening up political dialogue within music that wasn’t led by the capitalist class and wasn’t constricted by the overbearing nature of liberal intellectualism. It placed people at the heart of everything and inspired collective politicisation without people being put off by the misdirection of the supposedly complex political realities laid out by late capitalism. Educationally those bands played an important role in offering a route into politics that didn’t have to be defined by a lofty education and were often more aligned with direct action. Through pamphleting, art and organising, they democratised access to radical information, arguments and varying modes of resistance.
What message are you spreading?
The intention is to create records and take part in shows that centre on the spirit of the collective and allow people to take part in political discussions without feeling marginalised or belittled. For me you’ve got to use genuine anger and frustration as a means of bringing people together. Channelling anger and frustration into something that people can relate to at an immediate level has always seemed a positive practice for me. If it can open up doors for people to read up on particular issues or get involved in local, direct work then that’s progress in my mind.
What other bands do you feel are vital to the anarcho scene now and why?
Nicky Rat, who produces most of the band’s artwork, has put together a brilliant band called Subdued. I think they’re pretty crucial at the moment. It sort of takes the best and coldest parts of Amebix and a lot of those early bands on Spiderleg Records and combines them with that deathly smog of stuff like Celtic Frost. There are lots of exciting things happening in the DIY scene both here and in Europe at the moment, which aren’t necessarily defined by anarchism, but are certainly driven by a collective desire to bring people together and give bands a chance to play shows and tour.
What are some influential bands to you and some key albums that inspire you?
Being born in 1990 most of my inspiration started with an inherited record collection and all the literature and artwork that came with it. Flux of Pink Indians and a lot of the bands on Spiderleg (Amebix, Subhumans, The System, Kronstadt Uprising) are important to us. Crass and some of the bands on Crass Records too (Zounds, Omega Tribe, DIRT, The Mob). The Six-Minute War EPs are some of my favourites and the later Fallout records too. No Trend’s Too Many Humans is a crucial one within the band as a document of progressive nihilism. They had so much commitment to messing with conformity and people’s heads. That band is a standalone art form in its own right. There’s plenty of other stuff too – Icons of Filth, S.A.S, Instigators, Reality Control and the Epileptics.
What do you think of Crass?
They’ve been a vital entry point for us, especially in understanding the importance of collective power and collaboration, although I wouldn’t say we share the same politics. One of the things that always drew me to Crass was the intention to question and resist without being overbearing or condescending. It didn’t smack of being educationally pious, but more of a group that asked people to question what was around them. Some of their comments on the links between capital, power and the condition of our environment seem to be ringing truer than ever as we become acutely more aware that we’re enduring a vile system that is wholly incompatible with the survival of life on our planet. The use of different elements of media has appealed to us too – the use of video, literature and some of the more direct methods of resistance that came to define a lot of anarcho bands at the time. In terms of artwork we’ve tried to use that idea of writing to help further the points on our records by including essays and other bits of literature with the releases.
Do you go along with the DIY ethic and if so, how?
Stevenage hasn’t got a live scene and licensing issues make it difficult to put on shows. You’d need people wanting to come out too so in that regard building something based around music here has been difficult. We had Bowes Lyon House in the 80s that put on a lot of great anarcho bands but sadly they don’t do shows there anymore. Instead we’ve been involved with different movements across Europe. For example, we did a Rote Hilfe fundraiser in 2017 to help pay the legal costs for those arrested at the G20 protests in Hamburg, while we’ve also taken part in fundraisers for No Tav and a number of other movements in Italy. We get involved wherever we can. Locally our work has been less built around shows and more focused on our community food bank and locally-run group People for People – Stevenage, which encourages the use of direct methods to help alleviate the strain of austerity taking grip in the town.
If Brexit was handed over to you – how would you deal with it?
I can’t answer on behalf of the band unfortunately. We’ve all got differing viewpoints and it’d take a while before we got anywhere near a coherent answer. It’s taken two years to reach this weird impasse so imagine the arguments we’ve had amongst ourselves during that time. Personally I feel the only democratic option is to deliver what people voted for. We risk conceding huge amounts of ground to the right if people’s votes are done away with. There was evidently misdirection on both sides of the debate and I think that was an honest measure of just how much political self-interest governed each campaign. That said, I think it would be dismissive to assume that people were duped or voted solely on ideologically nationalistic lines as opposed to their own economic experiences and material conditions. Some sections of the mainstream press ran with the idea that Brexit purely centred on reactionary nationalism and xenophobia, which may have been true in some cases, but they never really gave space to acute concerns regarding the role of the European Union as a damaging neoliberal cartel. There are important questions to be asked of the EU as a reactionary force of late capitalism and its exploitation of workers both here and in mainland Europe. If we’re striving for revolutionary challenges to the nefarious and exploitative structures that govern our lives then it’s vital we should hold a mirror up to a neoliberal construct backed by corporate banks, big business and imperialistic forces like NATO.
What’s lined up next for the band in 2019?
We’ll be doing some shows with Uniform from New York City at the back end of July – Bristol, Hull, Leeds, Cardiff and London. We should get out to do another European tour in September and hopefully get over to the United States where Iron Lung are releasing the record too.
Exiled by Bad Breeding is out now through One Little Indian.
of: Subhumans, Flux of Pink Indians, Subdued
Bad Breeding are featured in the current issue of Vive Le Rock!
Fast-rising London rockers RANDY SAVAGES have a bunch of shows coming up next month and they’re sharing a new live video exclusively with Vive Le Rock! as a taster.
The clip of the unreleased ‘Better With Age’ was shot on the band’s recent dates in The Netherlands.
“It’s about still drinking and still taking drugs in your 30s and 40s when you should know better…”, they say proudly.
Randy Savages play Garageland at London’s Shacklewell Arms on Friday 12 July, with SNAKERATTLERS, before joining the bill at the second Pump It Up Powerpop Weekender at The Lexington on Saturday 27 July, alongside THE NUMBER ONES, DUNCAN REID & THE BIG HEADS, LAST GREAT DREAMERS and more.
Their final show of the month will be as special guests to US legends POISON IDEA at their last ever UK show at New Cross Inn on 31 July.
The band are currently lining up an Italian tour, to be followed by the release of an EP recorded live at London’s legendary 100 Club.
Punk legend BRIAN JAMES has added a one-off London show this summer.
The former DAMNED and LORDS OF THE NEW CHURCH axeman – and let’s not forget, author of THE very first UK punk single ‘New Rose’ – hasn’t played in the capital since a World Cup-bothering show at the Lexington last summer, celebrating the vinyl reissue of his classic debut album.
This time he’ll be playing Oxford Street’s fabled 100 Club, scene of many early victories, including the legendary 100 Club Punk Festival in September of ’76.
The show on Friday 23 August will also feature special guests THE DeRELLAS with Londoners ELECTRICS opening proceedings.
Tickets are available from the 100 Club website, with a FREE CD EP for the first 100 tickets sold!
LAST GREAT DREAMERS are to celebrate the 25th Anniversary of their classic debut album Retrosexual this Autumn.
The band were formed on the Soho glam scene in 1993 and released Retrosexual the following year to considerable acclaim. It would be their only album until reforming in 2014.
For the first time ever, the album will be released on vinyl in a fully-remastered limited edition, including a free download. The record will be released through their own Ray Records label on Friday 15 November, but it’s available to pre-order here.
Now scattered across the country, to celebrate, the powerpop-rockers will be playing a special London show at The Lounge in their old stamping ground of Camden Town on Saturday 16 November, where they’ll be playing Retrosexual in its entirety including songs never performed live before, plus a second set of fan favourites. The gig will be followed by an after-party with Marc and Slyder from the band on the decks, recreating one of their original Glitterball monthly club nights. Tickets are on sale here. The band are also planning VIP packages and a ‘magical minibus tour’ of their old haunts.
Since reforming the band have gone from strength to strength, touring more widely than ever before, including shows in Spain, Norway and Italy and numerous festival appearances. Releasing their acclaimed fourth album 13th Floor Renegades in April 2018, Marc and Slyder have since been joined by new rhythm section Tim Emery and Rik Pratt.
“Marc and I haven’t played some of these songs live for over twenty years so relearning them has been great and we are both really excited about the prospect of playing them again,” says Slyder. “We know this album means a lot to many of our fans so it will be a privilege to play it for them in its entirety. It’s gonna be a real party atmosphere, a celebration, we have a few special things planned and hopefully a few special guests.”
Last Great Dreamers will also be playing the second Pump It Up Powerpop Weekender alongside The Number Ones, Duncan Reid and The Big Heads and more at The Lexington, London on Saturday 27 July. Tickets are on sale here.
London punks HEALTHY JUNKIES have a new video which they’re premiering exclusively with Vive Le Rock!
‘This Is Not A Suicide’ is taken from the band’s latest album Delirious Dream which was released last Autumn.
The band have a bunch of dates coming up, including their third annual FREE Punk & Roll Rendezvous festival from 6-8 September at The Unicorn, Camden featuring 25 bands plus DJs. Full dates are…
12 July – The 100 Cub (w/The Vibrators and Penetration) 13 July – The Unicorn, Camden ( Punk & Roll Rendezvous ) 20 July – Percy’s Cafe, Whitchurch 26 July – The Amersham Arms, New Cross, London 3 Aug – Rebellion Festival, Blackpool 17 Aug – Wolsey’s, Bangor, N Ireland (BBA Taking Control Festival) 23 Aug – The Mulberry, Sheffield (Punks Against Cancer) 31 Aug – BOSfest. Burnham-on -sea 7 Sept – The Unicorn, Camden (Punk &and Roll Rendezvous) 18 Sept – The Dublin Castle, London 28 Sept -Kollis The Lounge, London 5 Oct – HRH Punk Festival, O2 Academy, Sheffield
Delirious Dream is available now from the band’s website.
PENETRATION have covered BUZZCOCKS’ classic ‘I Don’t Mind’ for a new video.
As previously announced, the Newcastle band will be joining Buzzcocks and THE SKIDS at the Royal Albert Hall, London on 21 June, celebrating the life of the sadly departed Pete Shelley.
Penetration’s Pauline Murray memorably paid tribute to Shelley at the Vive Le Rock Awards in March, performing ‘What Do I Get?’ alongside Steve Diggle and the house band, The Vive Le Rockers.
“I first saw Buzzcocks as an 18-year-old at the Screen On The Green in 1976,” she recalled. “Punk inspired young people to explore talents they didn’t know they had and Pete Shelley wrote love songs with a twist, simple yet profound. I wish Pete was here tonight to know how much he was appreciated for his lifelong dedication to music and providing the soundtrack to the lives of a generation. It’s only when someone leaves us that we notice how their lack of presence can change everything.”
Penetration covered ‘I Don’t Mind’, for the sessions that resulted in their acclaimed 2015 comeback album Resolution, which also featured former Buzzcocks drummer John Maher. The band shot a video for the song at Whitley Bay Playhouse, which has been unseen until now.
Penetration play the following dates…
21.06.19 LONDON Royal Albert Hall (w/ Buzzcocks & Skids) 22.06.19 PORTSMOUTH Wedgewood Rooms 12.07.19 LONDON 100 Club 13.07.19 LEWES Con Club 14.07.19 HALIFAX Lantern 03.08.19 BLACKPOOL Rebellion Festival 06.10.19 SHEFFIELD O2 Academy 18.10.19 NEWCASTLE Cluny 19.10.19 GLASGOW Audio