Australian musician SUZIE STAPLETON has announced a special digital release to raise funds to help injured and displaced wildlife affected by the Australian fires.
This digital release of Stapleton’s new single ‘Thylacine’ comes with an exclusive, previously unreleased track ‘Song of Murray’s Brigade’. A musical adaptation of a 1940 poem by Australian bush poet Banjo Paterson, the song is performed by Stapleton on acoustic guitar and vocals, accompanied by acclaimed cellist Gareth Skinner.
The track ‘Thylacine’, which features Jim Jones & The Righteous Mind bassist Gavin Jay and Stranglers’ drummer Jim Macaulay, takes its name from the Australian dog-like mammal, also known as the Tasmanian Tiger. Hunted to extinction, the last known thylacine died in captivity in 1936.
“Many of the species that have been affected by these fires were already threatened or endangered due to factors such as habitat loss from land clearing for agriculture and urban development, invasive species, and pressures from extreme heat caused by climate change and ongoing drought,” explains Stapleton. “These fires pose a huge threat for their ongoing survival, but we still have a chance to help and ensure that they don’t end up in the history books next to the thylacine.”
‘Thylacine’ is available as a download for £5, though you can pay what you want and there is no upper limit. 100% of proceeds will go to Wildlife Victoria. Please give generously to help Australia’s unique wildlife.
Aussie punk poster-boys have announced the release of their debut album with another run of UK dates and a wince-inducing new video.
‘The Clap’ is taken from High Risk Behaviour, and features guitarist Josh Price on vocals.
The trio from the Sunshine Coast have come along way since ‘Smoko’ went viral, earning them the personal approval of both Iggy Pop and Queens Of The Stoneage, who both invited the band to guest on Australian tours.
High Risk Behaviour has taken 18 months to record as the band dropped into engineer Billy Garner’s studio in Geelong, Victoria during breaks in touring. Says bassist/singer Eamon Sandwith, “If we’d just done a week and slogged it out we could have had an album before now but we just kept going in there and making newer and better songs so it’s hard to put a stop on it. Some of the songs were first-take and we were like, ‘That’s good, whatever’. We’re really not perfectionists.”
Although courted by various labels in a high-pressure bidding war, the trio chose to stick with their own Bargain Bin imprint, firmly entrenched as they are in their DIY ethic.
“We thought, if we just do it ourselves we don’t have to worry about getting swindled,” says Sandwith. “We’ve always done it our way.”
High Risk Behaviour is released on 27 March on Bargain Bin Records via Cooking Vinyl Australia. It’s available to pre-order here.
Fri 16 Oct – Southampton, 1865 Sat 17 Oct – Nottingham, Rock City Sun 18 Oct – Bristol, 02 Academy Mon 19 Oct – Ireland, Dublin, Olympia Tue 20 Oct – Belfast, Limelight Thu 22 Oct – Glasgow, Galvanizers Fri 23 Oct – Leeds, Stylus Sat 24 Oct – Newcastle, Boiler Shop Sun 25 Oct – Manchester, 02 Academy Mon 26 Oct – Brighton, Dome Wed 28 Oct – London, Electric Brixton Thu 29 Oct – London, Electric Brixton
Lancashire psych-punk duo THE LOVELY EGGS herald a new album with a new single and video.
‘This Decision’ is the first track to be revealed from the new album I Am Moron, which is set for release via their own Egg Records label on 3 April. It follows on from their acclaimed 2018 release This is Eggland and once again is co-produced and mixed by Flaming Lips and MGMT producer David Fridmann.
I Am Moron takes its bearings from the observations by Holly Ross and David Blackwell on the deteriorating state of Brexit-era Britain and the world in general. ‘This Decision’ is the duo’s attack on greed and mindless consumerism and a fierce defence of the thoroughly independent no-frills lifestyle they have chosen to pursue.
“For the video we wanted something with the pedal to the frigging floor,” explains Ross. “The track is pretty intense so we wanted something to match that and to take a pop at the moronic relentless capitalist culture that we’re surrounded by these days.”
The Lovely Eggs head out on tour in support of the album. Cathc them live at…
Thur 9 Apr – The Cluny, Newcastle Fri 10 Apr – The Brudenell Social Club, Leeds SOLD OUT Sat 11 Apr – The Castle & Falcon, Birmingham Sun 12 Apr – The Bullingdon, Oxford Mon 13 Apr – The Fleece, Bristol Tues 14 Apr – The Loft, Southampton Wed 15 Apr – The Portland Arms, Cambridge SOLD OUT Thur 16 Apr – Komedia, Brighton Fri 17 Apr – The Garage, London Sat 18 Apr – Gorilla, Manchester SOLD OUT Fri 1 May – The Mash House, Edinburgh Sat 2 May – CCA, Glasgow
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
UK hardcore legends DISCHARGE are to celebrate their 40th Anniversary with a major new anthology.
Yes, it’s forty years since the Stoke-on-Trent band released their iconic debut single ‘Realities Of War’ and to celebrate, they’re releasing Protest And Survive: The Anthology, a 53-track career-spanning collection on double splatter vinyl and double digipak CD.
The band actually formed in 1977 but ‘Realities Of War’ saw them break out of their Potteries bolthole, picking up regular airplay from John Peel and earning them a 44-week stay on the indie chart, peaking at No.5. The band would go on to wield a globe-straddling influence over punk and metal, going so far as to sprout a new sub-genre, D-Beat.
Protest And Survive is heralded by the previously unreleased track ‘Descending Into Madness’, which was recorded in 2002 with original singer Kelvin ‘Cal’ Morris.
“As we were writing the tunes for the 2002 album, me and Bones felt that Kelvin was not doing too much to contribute, so we didn’t really know how it was going turn out until the demo,” explains co-founder Tezz Roberts. “We did in Stoke and let me tell you, we breathed a sigh of relief when we heard his voice was back! It’s not the finished product but you get the gist of it!”
Set for release on Friday 21 February through BMG, Protest And Survive is available to pre-order here.
One of the most iconic of Italian punk bands, NOT MOVING have been born again in a new band with a brand new EP.
Originally formed in the northern town of Piacenza in 1981, Not Moving were one of Italy’s most successful homegrown punk bands. Drawing influence from the gothic punk and rock’n’roll of X, The Gun Club and The Cramps, the band released three albums and toured with the likes of The Clash, Johnny Thunders and The Celibate Rifles before disintegrating amid addiction and acrimony during the 90s.
A brief reunion in the mid-Noughties saw them return to the stage for dates with The Damned and The Stooges, while reissues of their original albums quickly sold out.
Now longtime members Rita Lilith Oberti (vocals), Dome La Muerte (guitar) and Tony Bacciocchi (drums) are back together as NOT MOVING LTD, joined by Iride Volpi in a Cramps-style two guitars/no bass line-up.
The first fruit of the configuration is a three track vinyl and download EP featuring the tracks ‘Lady Wine’, ‘Spider’ and ‘Suicide Temple’. Released through Area Pirata, it’s available now through Bandcamp and Spotify.
Punk comes to the Yorkshire coast this spring for the Scarborough Punk Festival.
Headlined by THE SKIDS and ANTI-NOWHERE LEAGUE, the one-day event takes place at the Scarborough Spa on Saturday 28 March.
A very impressive bill also features PETER AND THE TEST TUBE BABIES, CHELSEA, 999, THE RAMONAS, HUNG LIKE HANRATTY, MENACE, HOT ROCKETS, KINGCROWS and THE VIBRATORS.
The festival proper will be preceded by an intimate pre-show party on Friday 27 March at The Tipi Venue, featuring EXTREME NOISE TERROR, MAU MAUS, ANTI-SYSTEM, WAR ALL THE TIME, CHARRED HEARTS, SATANIC MALFUNCTIONS and ACTIVE MINDS.
Tickets are available here. The first 200 earlybird tickets sold out within minutes so get in quick!
It’s worth noting that the town’s full of very cheap hotels and B&Bs this time of year, so get booking now and make a weekend of it!
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)
Mining a rich seam of Swedish garage-punk, ROTTEN MIND are back with a new video and album.
‘Beat Of The Street’ is the second single to be taken from Rat City Dog Boy, the Uppsala quartet’s fourth album, which follows last year’s misleadingly-titled Fading Into Oblivion.
Speaking about the album’s title, guitarist/singer Jakob Arvidsson says, “We practically live on the streets, in the bars and in our rehearsal room in Uppsala; the dark and twisted city with a long history of rock music and especially punk. For us, taking inspiration from the nights in Uppsala and putting it on tape was an essential part of writing this album.”
Rat City Dog Boy will be released on vinyl and download through Lövely Records on 7 February.
We’ve seen some great videos this year – some flash and fancy, others cheap but cheerful – many of which were exclusively premiered with Vive Le Rock! We decided to get our heads together and come up with our Top 10. Unfortunately, there were just so many good ones, we rounded it up to fifteen. You’re welcome! Enjoy!
15. BRUTALISTS – TAKE IT ALL AWAY
14. LOS PEPES – POSITIVE NEGATIVE
13. SMALLTOWN TIGERS – JUST FRIENDS
12. GRADE 2 – GRAVEYARD ISLAND
11. AMYL & THE SNIFFERS – SOME MUTTS CAN’T BE MUZZLED
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.
Iconic South London post-punks BAND OF HOLY JOY sweep out the old and ring in the new with a pair of shows either side of the New Year.
The hugely influential band, first formed in New Cross by transplanted Geordie, Johny Brown in 1984, have had a bit of a rebirth in recent years with a brace of widely acclaimed albums – 2017’s Funambulist We Love You and this year’s Neon Primitives, both through the Tiny Global label, as well as playing numerous shows, including dates with DOCTORS OF MADNESS . They’re currently in the studio working on new material.
The band head down to Brighton on Sunday 29 December for a show at The Prince Albert, with support from ASBO DEREK. Tickets are available here.
Then it’s into the New Year with a special Pennyblackmusic show at The Water Rats, London on Friday 17 January. They’ll be joined by MOON UNDER WATER and DREAM MAPS. Tickets are on sale here.
Last month, punks brought sunshine to Morecambe. Vive Le Rock packed our buckets and spades.
Off we go to the seaside once again for three days and nights of fun at a proper DIY punk festival. Day One kicks off with PAUL CARTER bringing his own brand of humour to the proceedings and he goes down like a spoonful of honey. SINFUL MAGGIE played a stomping set that left me wanting more. Quality. PICTURE FRAME SEDUCTION had to have a stand-in bass-player but they did not suffer in any way and they delivered every song with confidence. Next up for me was PARANOID VISIONS. This was one of the highlights of the weekend and the place was packed with happy punters. Animated does not come close.
Saturday rolls around with an early start of 12 o’clock. A healthy crowd had already gathered in anticipation of the days proceedings. A band that I had never heard before was RED LONDON and I am so glad that I caught them live. Top energy and great tunes. SYSTEM OF HATE have been delivering quality gigs from day one but this one was a bit special as it was Dave Guilford’s last gig with the band. Good luck with the future Dave. FACE UP smashed it and Rox really has got stage craft nailed. GIMP FIST have always gone over my head but I think I have been converted. Highly enjoyable.
And then it’s Sunday. THE YALLA YALLAS woke the crowd up with some proper anthems. Top job. THE DELINQUENTS played to a full room and the joy as they played was infectious. Time for a bit of old school Goth with 1919. Another highlight for me. ANTI PASTI did what they do and as a three-piece they do it oh so well. Absolutely brilliant. The weekend was rounded off with the infectious EASTFIELD. They never fail to bring a smile to my face.
All in all a fantastic weekend that was run by a great team of volunteers. Take a bow people.
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
As expected, CIRCLE JERKS have added a London date to their European tour next year.
As previously announced, the reconvened L.A. band will be playing a string of dates across Europe during the summer in celebration of the 40th Anniversary of their classic debut album Group Sex, including an appearance at Rebellion in August.
The band, who were originally formed in 1979 by former BLACK FLAG frontman Keith Morris and ex-RED KROSS (and future BAD RELIGION) guitarist Greg Hetson, will play London’s Electric Ballroom in Camden Town on Wednesday 5 August. Tickets are available here.
The dates will be accompanied by a special commemorative reissue of Group Sex.
Full dates below…
Check out Group Sex album tracks ‘Deny Everything’ and ‘Don’t Care’ live in ’85….
Newcomers NOTHINGHEADS have a new single which they’re premiering exclusively with Vive Le Rock!
Recorded with producer Chris Smith at Kluster Studio in Limehouse, the coruscating ‘Cockroach 2051’ is a timely signpost to a worryingly dystopian future, while calling to mind the post-punk riot of noise-merchants like The Jesus Lizard and Head Of David.
The London-based quartet have been scorching the paint from the walls of various venues for the past couple of years, sharing stages with the likes of Japanese Television, Nuha Ruby Ra, Ugly, Something Leather, Swedish Death Candy, Human Pet and The Cosmics.
“The idea for ‘Cockroach 2051’ all came from a film called The Very Brief Life Of An Ember. A load of street kids takeover Manila in a decadent future and run riot. The synth sirens and choppy guitars are as chaotic sounding as possible,” they tell us.
Melodic hardcore mob STRIKE ANYWHERE have announced a series of dates for the summer.
Having formed in Richmond, Virginia in 1999, the band released several albums during their first decade, culminating in their most recent full-length In Defiance Of Empty Times in 2012. Since then they’ve put their energies into touring.
A first list of dates – including a London show at New Cross Inn on 15 August – is below. More dates to be announced. Tickets go on sale this Thursday at 9.00am.