‘Void’ The Debut ep from Blackwood teenagers Primitive Soul
* Available to stream on all major digital platforms from June 4th 2021. * Extremely limited vinyl and CDr versions with artwork by Phil Rose also available (with even more exclusive badge) from repeatfanzine.bandcamp.com Stop press – initial pressing sold out in 3 hours, re press now almost sold out. *Recorded by Rosey R*E*P*E*A*T, Mastered by Sam Marsh (Jacob’s Mouse) *Cat No BB035.
“In today’s messed up world, we just want to make music that people can relate to and trust” – Primitive Soul ——————————————————-
“Reminiscent of those heady early days of The Manics in damp carpet rehearsal rooms where the vision and pathway was laid out, no holds barred. Refreshing to hear a band bearing witness to the realities we face today fused with a post punk sound akin to Gang of Four or Wire…Ymlaen , we need your voice” Patrick Jones, Writer, Blackwood.
“a snapshot of youth full of thrashy electric guitar, an ominous bassline and spurting out political punk lyrics… passionate about changing the future “ – Mash Zine
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Pic : Rosey
Growing up during a pandemic in a post industrial town in the South Wales valleys isn’t always easy.
Primitive Soul are a band of year 10 misfits who have spent their lockdown year immersing themselves in the sounds, images and words of past icons, artists that that have really made difference :The Clash, Rage Against The Machine, The Manics, Public Enemy, Sid Vicious, Dave Grohl…
They have also spent this dead time, safely sanitised and in a frustratingly socially distanced way, honing their own art; rehearsing, improving stagecraft, conducting online interviews, spreading their social media reach and writing more songs than you could shake a broken plectrum at, so that once the world returns to what is laughingly called ‘normal’, they can be ready to take it on, and take it over.
Recognising a kindred (primitive) soul in R*E*P*E*A*T, the band got in touch with founder Rosey, and pretty soon they were recording their debut ep on his steam powered laptop in a tiny practise room in Pontllanfraith. These are the 3 tracks which make up the ep, showcasing both their adrenaline fuelled, politically inspired punk rock grooves and also the potential for something more ambitious in the haunting, half way epic title track ‘Void’.
This is very much a DIY production, but also a marker for the future. For those who really want to grab a part of it, very limited handmade lathe cut vinyls and CDr versions are available from the R*E*P*E*A*T Bandcamp pagehttps://repeatfanzine.bandcamp.com/album/void
Post script – vinyls sold out in 3 hours– repress now in progress, order soon if you want one!
A DIY Punk Rock East West Rebel Alliance Production
Primitive Soul Live: Swansea Creature Sound, August 6th with The Mudd Club, Tom Emlyn, Shock Horror and more, Swansea Fringe Festival, Crawley’s Bar, October 23rd, 1pm
James White and the Wild Fire’s debut album Making Tracks is due for release on Saturday June 5, and will be launched with a Saffron Hall concert. with tickets already on sale for a 5pm gig at Saffron Hall on the same date.
Along with James, the band comprises Brooke Bond on Double Bass, Ed Goldsmith on Banjo and Lee Dorrington on Cajon
Part-country, part-Americana musician James said he is grateful for the opportunity to perform in his hometown after putting his solo tour on hold after the outbreak of Covid-19.
James said: “The response has been absolutely insane.
“Saffron Hall is a venue on the same circuit as the Royal Albert Hall.
“My jaw almost hit the floor when they approached me to play.
“I feel very grateful to the people of Saffron Walden for supporting us and helping to get us here.”
The band’s album Making Tracks marks James’ first foray into county and bluegrass music after a solo career.
Once an indie-rock artist he was listed as an Emerging Talent by Glastonbury organisers.
He has completed two-and-a-half European tours, with his last cut short in March 2020 following the outbreak of the pandemic.
James now joins banjoist Ed Goldsmith, Brooke Bond on the double bass and Lee Dorrington on the cajón hand-drum for his new band project and album.
His album also features Paul Price-Smith on harmonica.
“Over the last few years, I have fallen in love with country artists such as Tyler Childers,” James said.
“With that in mind, it felt like a nice new challenge.”
His EP Making Tracks contains four songs, two of which are reworks from his solo career, while one is over 100 years old.
The Saffron Hall concert will only be James’ second performance since February 2020.
He added: “It has been a long year for everyone and I really hope everyone can find a bit of enjoyment in the normality.
“I’ve truly struck gold to work with Brooke, Lee and Ed.”
Old Album: ANOTHER DAY, ANOTHER RIOT (Remastered 2021)
Both available to stream, on all services, May 18th
The first Toasted Heretic press release in nearly 30 years…
May 18th is the 300th anniversary of the burning at the stake, by the Spanish Inquisition, of the oldest heretic in Europe (Maria Barbara Carillo, age 95, burnt in Madrid).
On that date, to celebrate her memory, and the memory of old heretics everywhere, Galway band Toasted Heretic will release “Satellite Dishes”, their first new single in 30 years; and rerelease, remastered, their cult third album, Another Day, Another Riot. (Unavailable anywhere for two decades, it currently costs an eye-watering $902 for a second-hand CD copy on Amazon; it has never been available to stream.)
Below are some thoughts on why these releases are surprisingly topical (with lots of juicy quotes from singer, and now author, Julian Gough).
WE LIVE ONCE MORE IN AN EXCITING TIME OF WITCHHUNTS AND HERESIES
Some thoughts on the old album, and the new single, and why they matter now, from Julian Gough, lyricist & frontman with Toasted Heretic.
(Some background/bio: Julian now lives in Berlin. Since Toasted Heretic, he has written a number of successful novels; the Rabbit & Bear children’s books which have been published in over 30 languages; and the ending to the computer game Minecraft, which went on to sell 166 million copies.)
“Toasted Heretic started out recording cassette albums in Neil’s parents’ living room in the late 1980s, as teenagers. It was joyously DIY. We didn’t even have a bass guitar, we just tuned down a regular one. Our drum machine was made by a toy company. When we finished an album, we would send the Dave Fanning Show a copy of the master tape – Dave would play us that day, and read out our address. Hundreds of people posted a fiver to Neil’s parents’ house, and we sent them a cassette, and a packet of Tayto Cheese & Onion crisps. Lots of our songs name-checked writers, and books, so we started selling the albums through bookshops. We were just making it up. It was fun.
But by the time we recorded Another Day, Another Riot, in 1991, we’d sold thousands of albums, we were in a real studio, and we had a top ten hit in Ireland (“Galway and Los Angeles”). We were packing out lively little venues like the Baggot Inn on consecutive nights, we were Single of the Week in Melody Maker in the UK, we were getting national airplay in France… I was worried we might get famous, and worried what that might do to me, and us. I didn’t feel ready for it; I didn’t feel stable enough to handle it. Luckily we avoided that catastrophe!”
THE TERROR OF OVERNIGHT, DESTABILISING FAME IS NOW EVERYBODY’S TERROR
“That fear of becoming famous, or infamous, overnight, seemed very esoteric back then. An incredibly niche problem for unstable, insecure, rock stars (or want-to-be rock stars).
But the terror of overnight, destabilising fame is now everybody’s terror. We risk uncontrollable worldwide fame, and condemnation, every time we post anything of ourselves online. A single tweet, or a shaky snippet of video taken on a phone, taken completely out of context, can get you reviled around the world.
And so people are retreating into silence, are hiding their inner selves, their true opinions, and we are sliding back into an age of outward conformity and inner rage.”
THE BATTLE FOR INTELLECTUAL FREEDOM TODAY IS NO LONGER AGAINST THE CATHOLIC CHURCH
“That feels… strangely familiar…
When Toasted Heretic formed, the Catholic Church still ruled Ireland. Abortion was illegal, gay marriage was illegal, divorce was illegal.
Indeed, when Another Day Another Riot was first released, in 1992, homosexual acts between men were still illegal in Ireland. (Homosexual acts between women were so unthinkable, no one had even thought to pass a law against them.)
The battle for intellectual freedom was still against the Church; Toasted Heretic released a song about clerical sexual abuse unfashionably early, in 1990. (The surprisingly cheerful “They Didn’t Teach Music In My School”.) It got – of course – no radio play in Ireland. (My own mother was appalled by the song; she asked me how she was going to show her face in town. Years later, after the publication of the Ryan Report into clerical sexual abuse, she apologised…)
But divorce, gay marriage and abortion have all since been legalised. Clerical abuse, in the industrial schools, the mother and baby homes, the Magdalen Laundries, has been investigated and widely reported. The battle for intellectual freedom today is no longer against the Catholic Church.”
Pic : Phil Rose Esq
NEW FORMS OF HERESY
“The post-religious world – the secular, technological world – has created new forms of heresy: there are things you can say – often perfectly true and unremarkable things! – that can get you excommunicated from society.
So we live once more in an exciting time of witch hunts and heresies. It is a time of marvellous equality, where anyone, regardless of sex, age, nationality, skin colour, or sexual orientation, can be attacked from both left and right for thinking the wrong thoughts out loud.
We have secular taboos now that are as strong as the old religious taboos, as ruthlessly enforced, and as irrational.
What better time for Toasted Heretic to emerge, blinking, from their bunker?”
A GOOD SONG TO LISTEN TO, A YEAR INTO A PANDEMIC
“Mess up your life, it’s great / I’ve messed up mine
And I feel so much better / So much of the time…”
“The new single, Satellite Dishes, is a beautiful song that should have come out thirty years ago. But, in many ways, it works better now: It’s a song about being alone in a room, with just the hum of electronic devices for company, yearning for a lost past full of perfect moments you didn’t appreciate at the time. A good song to listen to, a year into a pandemic.
“The star that you wished on last year / Has been taken down for repair
And so you sit on your own / In a room full of white noise, and dead air.”
Neil’s production is timeless; it could have been recorded yesterday. And Declan Collins’s guitar playing is astonishingly emotive. I wrote the words, and I still don’t really know what it’s about. Yearning, I guess; for someone, for something.
Yeah, it’s a perversely Toasted Heretic thing to do: wait thirty years, till the entire world has ADHD and an attention span measured in nanoseconds, and then finally release an incredibly slow, six minute long single, with no chorus. But at least that perversity will probably protect us, yet again, from the catastrophe of fame…”
SOME FINAL THOUGHTS, ON TRYING TO INCARNATE BACCHUS IN THE MODERN ERA
“Something that strikes me, now, looking back, is that the lives we lived then cannot be lived now. The guys who became Toasted Heretic did so unselfconsciously: as teenagers, they grew up by climbing Galway Cathedral, and walking under every bridge along the Corrib, and wandering around Galway all night on mushrooms, with no supervision, no surveillance, and above all no self-consciousness: there were no photos, no social media, none of our idiocies, our errors, our failures, were immortalised. There was room to make mistakes, and thus learn and grow, that is denied to todays’s teenagers.
And what it means to sing in a band, what it means to go see a band, has changed. In some ways that is good; men did not treat women well thirty years ago, and I definitely include myself in that. To sing in a band was to incarnate Dionysus, and Dionysus was often a bit of an asshole. The fact that women don’t get treated so thoughtlessly by men these days is a huge win for society. But other aspects of change are less positive. The kind of surveillance society we live in now, where half the audience are filming the gig with a phone, means, I suspect, that people can no longer get totally lost in the experience as they once could. Having exiled Dionysus, we have lost the Dionysian…
I remember a gig we did in London, at the Powerhaus. I was wearing a woman’s one piece catsuit. Very flattering. And as I was singing at the front of the stage, a young woman down the front stood on tippytoes, unzipped me from top to bottom, reached in, and took out my cock and balls. (Yeah, no underwear; if you’re on stage, under a spotlight, in front of hundreds, you don’t want visible pantyline.) I kept singing, as we made eye contact; it was a fascinating moment. I think we were both out of our depth, and somewhat nervously wondering what rock’n’roll etiquette demanded we do next. Anyway, after what felt like a very long time indeed, but almost certainly wasn’t, she tucked everything back in and zipped me back up. Perhaps it hadn’t met her expectations.
I loved moments like that, when something real and unexpected was happening in the room. But I wonder would such a moment even happen now, if her friends were filming her instead of laughing and dancing and enjoying the show. Do we self-censor even in our moments of abandon? And if the singers in bands no longer incarnate Dionysus, who does? Because he hasn’t gone away, you know. And the need for a Dionysian ritual hasn’t gone away…
Anyway, these songs from a different time sound strangely potent in this new moment. I hope the people that liked them first time round enjoy rehearing them, after several decades. And I hope some new people will hear them for the first time, and find something of use to them, in their complicated modern lives.”
Is it suffering caused by war and terror or the individual’s desperation over not being able to escape depression’s chains? Too many things are bothering mankind and too many of those arise in ourselves. We’re born with it, it’s in our nature or created and fed by our social environment. Finding a way out is asking for a more powerful word than „challenge“ but the urge of looking into the matter in more detail and starting to counteract can’t be suppressed.
Flying Penguin are one of those to attend to difficult topics on a critical view and giving it shape by creating their new album. In their very own way, using ironically joyful punk-rock sounds, Felix Schneider (songwriter, lead vocals, guitar), Timo Ambrus (guitar), Thomas Bösl (drums) and Florian Knoll (bass, backing vocals) approach the challenge to eventually offer a new perspective and hope.
Today (21st May 2021) is the day, the album „ORANGE“ is out on the market and spinning the golden – or rather the orange – thread from the colorful band outfits further to the yellow and red designed Singles „What We Want“ and „State On Fire“ resulting in what it had to result in: „ORANGE“. As the color of joie de vivre and creativity they hereby tie up the loose ends creating a whole and representing what makes their band unique:
Honest punk-rock with a lot of passion, depth and energy!
But there’s a different side to them as well. With their album title track „Unbelievable“ they show their calmer side, also placing themselves in the contemporary fields of pop music.”
For Bandicoot “Worried Blues inhabits a world of paranoia, born from a fear of lost love. It carries you down labyrinthine streets like a nightmarish memory, with a contagious strutting rhythm which never lets you stop moving along with it.” Never missing a beat or taking time to catch their breath Bandicoot are back with a new and impressive single.
‘Worried Blues’ starts with forceful piano chords and an anguished emotional vocal from Rhys Underdown, channeling John Lennon’s Plastic Ono Band primal scream as a voice from the dark. When ‘Worried Blues’ intro releases into a riff full of Talking Heads strutting art rock/ dance punk directness it leaves no doubt, Bandicoot are ‘The Sound of Young Wales!’. Bandicoot have received recent support from: BBC 6 MUSIC / JOHN KENNEDY / RADIO X / KEXP / HUW STEPHENS BBC RADIO WALES / BBC RADIO CYMRU / AMAZING RADIO
Yn ôl Bandicoot “Mae Worried Blues yn byw mewn byd o baranoia, wedi’i eni o fyd sy’n ofn cariad colledig. Mae’r gân yn eich cymryd am dro lawr atgofion hunllefus, gyda rhythm cerdded heintus nad yw byth yn gadael i chi stopio symud gyda’r trac” Yn fand sydd byth yn stopio, mae Bandicoot yn ôl gyda’i sengl newydd ‘Worried Blues’.
‘Reclaim These Streets’ by LOUD WOMEN is out now! We are delighted to bring you the first listen of our collective single ‘Reclaim These Streets’, released today with all proceeds to Women’s Aid. In the wake of the recent deaths of Blessing Olusegun and Sarah Everard, we hope to turn up the volume on current discussions on the issue of women’s safety. As the song says, “Until every woman is safe to walk on every street”. Watch the video here
The song was written by LOUD WOMEN’s founder, Cassie Fox, with a spoken word/rap section written and performed by Brix Smith. Instrumentation is provided by a female and non-binary supergroup with members of My Bloody Valentine, Salad and T-Bitch. DJ John Kennedy gave the track it’s national radio debut last week on Radio X, and called it a “feminist Band Aid”. Fittingly so! There are 64 contributing vocalists on this track, who form a who’s who of women in our music scene – and there’s even someone who was on the original Band Aid song … here’s the full list: Abby Werth, Amber of Hadda Be, Angela Martin of Bugeye, Bec Jevons of IDestroy, Brix Smith, Caroline Gilchrist of Hot Sauce Pony, Cassie Fox, Charley Stone, Debbie Googe, Debbie Smith, Dungareen Jean, Elis Sarv from Noise Noir, Ella Patenall of Naz & Ella, Emily Eagle of The Pukes, Emma Sky of Slut Magic, Erika Severyns, Estella Adeyeri of Big Joanie, Gail Something-Else of Muddy Summers & the Dirty Field Whores, Gemma Cullingford of Sink Ya Teeth, Georgie Willsher of Beverley Kills, Gilan, Harriet Doveton, Helen McCookerybook, Holly Carter of Berries, Jade Ellins, Janey Starling, Jen Macro, Jo Bevan, Joyce Raskin, Julie Riley of I Am HER, Karen of Hagar the Womb, Kat Five of Feral Five, Kel of The Empty Page, Kelly Chard, Kimmi Watson, Kristina Stazaker, Lee Friese-Greene, Lilith Ai, Liz Hayward of Ode to Sleep, Lorna Tiefholz of Rabies Babies, Marijne van der Vlugt, Michelle Marti of Girls Rock Indiana, Minni Moody, MIRI, Molly Energi, Nadia Javed, Ngaire Ruth, Nicki Mirage of Brazen Hussy/KNM, Patsy Stevenson, Paul Maps – Joyzine, Penfriend, Priya, Ren Aldridge of Petrol Girls, Ros Cairney of Deux Furieuses, Roshi Nasehi, Rowanna Chown, Sam McCann of Gender Chores, Shona MacMillan, Siân Alex of Gold Baby, Siobhan Fahey, Stevie B of T-Bitch, Suteki Hegg, The Pukes, Umbilica
More about some of our featured artists …
Siobhan Fahey The Bananarama and ShakespearsSister superstar gets the final, poingant words of our song. Video link above for candid interview. Jo Bevan The frontwoman of Desperate Journalist joined us for our socially distanced recording session at Soho’s Dean Street studios.
MIRI Singer-songwriter MIRI added a soulful, dare we say, jazz finesse to the song when she joined our recording session.
Brix Smith The iconic frontwoman of The Fall and Brix and the Extricated, Brix wrote and performed a spoken word/rap section on the song. Charley Stone Currently counting Salad, DesperateJournalist, MXTyrants and The Fallen Women amongst her stable, Charley also releases frequent, excellent solo music.
Patsy Stevenson The woman the world saw forced to the ground by police at the Sarah Everard vigil at Clapham Common in March.
Janey Starling Punkrock singer and Co-Director of the LevelUp organisation, Janey Starling explains her reasons for joining the campaign: “We live in a country where two women a week are killed by a partner or ex-partner and the government are cutting domestic abuse refuges, and they’re cutting rape crisis services – effectively the state has turned its back on women.”
Nadia Javed Nadia Javed of The Tuts jjoined us at Dean Street studios to record her vocals – and sang so beautifully her vocals were chosen to start the first lines of the song.
Jen Macro Jen Macro of Hurtling plays rhythm guitar and also sings on our single. Debbie Googe Debbie Googe of My Bloody Valentine plays bass on the song – her trademark super-fuzzed, driving bassline hits hard from the start of the track.
Here’s what Tony Rounce had to say about ‘Reclaim These Streets’
A magnificent, marathon musical undertaking, ‘Reclaim These Streets’ gives the concept of the ‘Charity Single’ a long overdue and much-needed overhaul. For a start, it benefits Women’s Aid, and hopefully will help this worthy close-to-home organisation continue to “build a future where domestic violence is not tolerated” as their own mission statement proclaims.
Then there’s the fact that it’s great. Nah, scratch that – it’s actually fan-blimmin’-tastic! A thumping groove, a massively catchy tune and a big old shouty, sing-along chorus do everything you would expect them to do to sell the song’s straightforward and rightfully angry lyric. It’s a shame that we live in a world where it’s necessary to underline the gravity of a situation with a song like this, but as soon as you hear it – even once – you will be glad that several somebodies did.
There are 64 women involved in the making of ‘Reclaim These Streets’. You might not be able to pick out the individual contributions of the majority of them – although you can have fun putting names to the faces in the video, shot by LW’s favourite photographer (and why wouldn’t she be?) KeiraAnee – but everybody who contributed gave their time willingly and with maximum commitment. I’m proud to be a colleague to several of them on Team LOUD WOMEN, none more so than our beloved leader CassieFox who moved this from ‘wouldn’t this be a great thing to do’ to ‘here we are in the studio, let’s make a record’ in a shockingly brief period of time. Like the baseball field in the film “Field Of Dreams”, our Cassie built it, and ‘they’ came.
If I listed everyone who did their bit here there would be no room to extol the virtues of the music, so in the interests of parity and equality I won’t – although I would like to mention that one of the less familiar voices here is that of PatsyStevenson, the woman who suffered the ignominy of being – literally – manhandled by the police at the Clapham Common vigil for the late SarahEverard. I’ll otherwise level the field by saying everyone’s contribution was vital. If you have been keeping up with the aforementioned LW socials, you will know who was on board anyway. They all deserve three cheers from those of us whose contributions were spiritual out of necessity rather than physical, and a thunderous round of applause for all who helped to make it happen. My hat and my whole head are off to each and every one of them.
Hopefully the day will eventually come when it will not be necessary to write and record songs like this – and I mean that in the most optimistic way, of course. Until that day arrives, those who fight against domestic abuse in all its forms can be proud to have ‘Reclaim These Streets’ as their anthem, and their call-to-arms. Although it’s one Loud Woman’s initiative, it would be a Record Of The Week (and of the Year) whoever instigated it.
I write this review as one of Team LW’s brace of cis-males-in-residence, but I have a wife and teenage daughter who I love very much, and who I would be prepared to kill for if either ever found themselves on the receiving end of male violence. Even though I am unlikely to be on the receiving end of such a thing myself, I can fully get behind everything that “Reclaim These Streets” stands for. Please buy it, stream it, play it, talk about to anyone who is prepared to listen (and given that it’s already been played enthusiastically on many radio stations, a lot of people WILL have been listening already), but most of all love it and continue to support the sentiments within the song. It’s been described as ‘a feminist Band Aid’ – but it’s not. It’s better than Band Aid. Tonight be glad it’s them, instead of Bono…
‘Reclaim These Streets’ is out now on all streaming platforms.
TOM MORELLO FT PUSSY RIOT AND THE BLOODY BEETROOTS “WEATHER STRIKE” (THE BLOODY BEETROOTS REMIX) HERE
OFFICIAL “WEATHER STRIKE” MUSIC VIDEO (DIR. KSTI HU) HERE and below
artwork by Santiago Imkorpo Pagnotta
At the end of last month, incendiary rock guitarist and acoustic troubadour Tom Morello, revealed “Weather Strike”, a protest song penned and co-produced alongside Russia’s influential art collective Pussy Riot and produced by Carl Restivo. Today, the dynamic track sees a dazzling remix by The Bloody BeetrootsHERE. Earlier, the “Weather Strike” music video was created by the filmmaker & 3D artist Ksti Hu. Tom Morello and Nadya discuss their caustic collaboration on Tom’s Maximum Firepower podcast on SiriusXM, plus see part of it on video.
“When The Bloody Beetroots got ahold of “Weather Strike”, (my collaboration with Pussy Riot) it took an already ferocious song to another level. This remix feels like a brand new sonic alloy has been forged, a Marshall Stack/Bass Drop firestorm of fury.” – Tom Morello
“I’ve been trying to work with Tom for years! And this is just the beginning. And with Pussy Riot on this track, I couldn’t ask for anything more!” – The Bloody Beetroots
With a clenched fist raised high in the air, The Bloody Beetroots has continuously revolutionized electronic music for more than a decade. Commanding a creative lane all its own, The Bloody Beetroots operates as a multi-layered concept that unfolds like an art project and encompasses original punk-fueled dance music, in-demand remixes, high-end visuals, and graphics, fashion, photography, and riveting live performances.
At the core of The Bloody Beetroots universe lives Italy-born, Los Angeles-based founder Sir Bob Cornelius Rifo, a modern-day multi-hyphenate who operates as the act’s primary producer, songwriter, musician, DJ and mastermind. Inspired by his lifelong love of punk rock and comic books—the artwork of legendary Italian comics author/illustrator Tanino Liberatore and the Venom-inspired black masks Rifo dons onstage remain constant in the act’s visual aesthetic—Rifo unleashed The Bloody Beetroots in late 2006. Since then, he’s crafted an intense sound unlike any other: Mixing Rifo’s background as a classically trained musician, his punk rock obsession and his burning passion for electronic music, The Bloody Beeatroots’ edgy rock-meets-dance hybrid sound pummels you like a punch in the face or a brutal kick to the stomach.
Tom Morello, known for his innovative guitar solos and thunderous chords, is a groundbreaking artist whether in his solo career or as an original member of the rock bands Rage Against the Machine and Audioslave, two acts responsible for multiple Grammy Awards and a combined 30 million albums sold worldwide. He’s released four solo albums as The Nightwatchman, created the genre obliterating Atlas Underground project, and formed the band Street Sweeper Social Club with Boots Riley of The Coup. Morello has also been recognized by Rolling Stone magazine as one of the “100 Greatest Guitar Players of All-Time (#26).” Morello has produced or collaborated with artists of diverse genres including Wu Tang Clan, Johnny Cash, Tool, John Fogerty, Anti-Flag, Public Enemy, Joe Strummer, Crystal Method, Calle 13, Dave Matthews Band, Johnny Cash, Killer Mike. Travis Barker, and Pete Seeger. In addition, he joined Bruce Springsteen and the E-Street Band for six years on tour and is featured lead guitarist on Springsteen’s Wrecking Ball and High Hopes albums. In 2016, Morello joined forces with fellow Rage Against The Machine bandmates Tim Commerford and Brad Wilk, as well as Cypress Hill’s B-Real and Public Enemy’s Chuck D and DJ Lord to form the band Prophets of Rage. In 2020 Rage Against The Machine announced its reformation and an extensive world tour. Morello is also known for his lifelong valiant activism.
Exactly 10 years after its foundation, Russia’s protest art collective Pussy Riot will focus on releasing a full-length debut album later this year. Their most recent release Panic Attack EP includes “TOXIC” ft Dorian Electra and the audio-visual “Panic Attack” created a fever in the NFT art world by collecting over $370.000 to benefit a Russian women’s shelter as well as supporting Pussy Riot’s continued activism. The Panic Attack EP came on the heels of their urgent call to action “RAGE” as a part of their campaign for the release of all people arrested for political reasons in Russia in 2021. Pussy Riot’s Masha Alekhina and Lucy Shtein, a queer couple, are currently being held separately under house arrest and are facing 2 years in jail for supporting jailed Putin’s critic Alexey Navalny. Tom Morello: https://www.facebook.com/TomMorello/ https://twitter.com/TMorello https://www.instagram.com/TomMorello/
RELEASED JULY 9TH VIA EGG RECORDS + UK DATES SCHEDULED FOR JULY 2021
NUMBER ONE SELLING NEW ALBUM ‘I AM MORON’ OUT NOW
Back in the old world at the start of 2020, our psychedelic punk heroes The Lovely Eggs were primed to release their new album ‘I Am Moron’ – their greatest work yet, over-flowing with political venom and fresh ideas, set to a gloriously independent noise. Then, of course, the pandemic happened. The Lovely Eggs pushed ahead, and the album came out to critical-acclaim and indie chart-topping status, but their plans to tour it far and wide were obviously scuppered. At first, their UK tour was rescheduled to just two months later, thinking there’s no way the pandemic could last more than a few weeks….
Fast forward a year, their UK tour has been rebooked independently by the band at least five times and The Lovely Eggs are still yet to play the new album live.
But in that time, they made a new fan in Iggy Pop, the Godfather of punk, and without doubt the coolest street walking cheetah to ever stalk the earth, who had been playing The Lovely Eggs on his 6 Music show. Fast forward a bit more time and The Lovely Eggs are extremely delighted to be able to announce a collaboration with Iggy Pop for their new single ‘I, Moron’, released July 9th via their own label Egg Records.
“Being in The Lovely Eggs we’re kind of used to surreal experiences but collaborating with Iggy Pop takes the biscuit,” exclaims singer/guitarist Holly Ross. “It’s actually unbelievable. For him just to say nothing but “moron” over and over again fitted in with the sentiment of the song perfectly. He just GOT it. We are all morons. In a world of moronic things. In a world of moronic ideas. You are moron. I am Moron. We are Moron.”
In a further homage to Iggy, the B-side features The Lovely Eggs own take on ‘Dum Dum Boys’ from Iggy’s defining 1977 album ‘The Idiot’.
“For the B side it made real sense to us to cover one of Iggy’s songs off “The Idiot”, says drummer David Blackwell. “There seemed to be a real synchronicity to it. I had this album on cassette, and it was one of the first albums that I got really into. Dum Dum Boys struck a chord with us, kind of missing the old days and the old gang we used to hang out with.”
Once again, the single will feature artwork (featuring a three headed Iggy/Eggy beast) by the brilliant Casey Raymond on one thousand yellow coloured vinyl 7” singles, recorded by The Lovely Eggs in Lancaster and mixed by Dave Fridmann at Tarbox Road Studios, NYC
‘I am Moron’ was declared “Album of the Day” by BBC 6 Music and received critical acclaim
from the national press. The Sunday Times called it “A Triumph”, ★★★★ “I am Moron is
much cleverer than it would have you believe”- The Telegraph, ★★★★ – I Paper, 9/10- Louder Than War, “An act of fine calibration of noise and sweetness”- Q, “Packed with their observations of modern culture and the utter madness of the current world”- Sunday Mirror, Album of the month- Classic Rock, “Their Best Record Yet”- Long Live Vinyl, 8/10- Uncut, “Anarcho spirit dominates”- MOJO, “Excellent”- Brooklyn Vegan.
Catch The Lovely Eggs live at the following dates in 2021/2022 *GUEST LISTS AND INTERVIEW TIMES AVAILABLE *
July 2021
Thur 8 Metronome, Nottingham
Fri 9 SWX, Bristol [Venue upgrade. Original tickets still valid]
Sat 10 Concorde 2, Brighton [Venue upgrade. Original tickets still valid]
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R*E*P*E*A*T Fanzine- Fighting the Power Since 1994 