The Lovely Eggs Announce supports for Autumn Tour Dates Featuring Mush, ILL plus poet and comedian Rob Auton

The Lovely Eggs
Announce supports for Autumn Tour Dates
Featuring Mush, ILL plus poet and comedian Rob Auton
Tour Dates:
11 Oct – Beat Generator Live, Dundee%
12 Oct – CCA, Glasgow%
13 Oct – Bongo Club, Edinburgh%
19 Oct – The Brudenell Social Club, Leeds*
21 Oct – The Roadmender, Northampton%
23 Oct – The Hare and Hounds, Birmingham%
24 Oct – The Musician, Leicester
25 Oct – 1865, Southampton
26 Oct – The Fleece, Bristol*
27 Oct – The Haunt, Brighton*
28 Oct – The Scala, London*
9 Nov – The Cluny, Newcastle*
10 Nov – Gorilla, Manchester*
*with Mush
%with ILL
Link to buy tickets here
New album This Is Eggland out now
Having spread the gospel of Egg throughout the summer with oodles of festival appearances (including a packed-out Far Out Stage at Green Man and a spectacular headline show at Indietracks), surreal DIY punk rockers The Lovely Eggs (and hardest working band in indie), head back out on the road for autumn shows in October and November. They’re delighted to announce some exciting supports with Leeds art-rockers Mush as well as Manchester feminist post-punks ILL. They also welcome back poet and comedian Rob Auton, fresh from a successful run at the Edinburgh Fringe. Dates on the tour include their biggest London show to date at The Scala on 28 October.
Since its release in February, their most recent album This is Eggland has won high praise from critics and fans alike. The Independent’s 4* review described it as “a giant leap forward” with The Guardian describing their single “Wiggy Giggy” as “marvellous.”  Iggy Pop has become a great and enthusiastic supporter, playing various tracks and singles on his BBC 6 Music Radio show over the past few months, saying; I like everything I hear about The Lovely Eggs.”
BBC 6 Music Album of the Day
“Exhilarating and trashy.” Uncut

“A giant leap forward.” The Independent 4*s

“Impressively focused, relentlessly brilliant and a must-go destination.” Shindig 5*s

“This is Eggland is a relentless, heartfelt statement of intent. You wouldn’t bet against them unearthing glory from the fringe for decades to come.” The Quietus
“Not since Space Ritual-era Hawkwind has anyone so successfully combined workboot riffing with the swirling bleeps of the unexplored cosmos.” Record Collector
“The duo’s sound has toughened, their edge has sharpened and their approach has streamlined as they’ve become more and more the most perfect version of themselves.” Drowned In Sound 9/10
Produced and mixed by Grammy award winning producer Dave Fridmann (Flaming Lips, Mercury Rev, Tame Impala) and self released on their own label Egg Records, This is Eggland confounded expectations, hitting number nine in the UK Independent National Album Chart, it also made it to number 23 in the UK Vinyl Charts and overall number 136 in the UK National Album Chart – although, had they towed the industry line and not sold the album direct to fans via their website and gigs before release day, they would have been in the top 45! Their single “Wiggy Giggy” was number eight in the Official Vinyl Singles Chart, again despite most sales coming from gigs and their own website. The album CD had to be repressed twice and the vinyl once in the first week alone. As industry outsiders, all this was achieved without the help of management, booking agent or record label support.
The Lovely Eggs are one of the most unique, innovative and genuine bands on the British Underground music scene. Holly Ross (guitar/vocals) and David Blackwell (drums) have built up a cult following, selling out gigs across the UK, as well as gaining support from BBC 6 Music and Radio One. Heavier and more in-your-face than anything they’ve done previously, This is Eggland brings together a fierce DIY ethos, surreal sense of humour and kitchen-sink realism, creating an explosive blend of motoric krautrock, 60s psychedelia and punk rock attitude.
The album received a tremendous response from radio. It was declared “Album of the Day” by BBC Radio 6 Music who also added their single “Wiggy Giggy” to the BBC 6 Music playlist. Steve Lamacq stated, “I can’t get enough of this record at the moment,” and made it the “Lamacq livener” (where it has been played every day for a week). It went on to win Roundtable and was the most popular track on both Steve Lamacq and Marc Riley‘s show on consecutive weeks. The pair played their seventh live session for Marc Riley in February before heading out on a sold out tour of the UK, with 9 out of 10 dates sold out in advance.
 Watch video for “Big Sea” here:
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The Blinders debut album ‘Columbia’ out this Friday & UK Tour

The Blinders debut album ‘Columbia’ out this Friday Sept 21st plus UK tour including Cambridge (with Ugly) and Cardiff Swn Festival

THE BLINDERS, BIOGRAPHY

Escape these end times. Free yourself from mind control. Prepare to celebrate the new world order. ‘Columbia’, the debut album by The Blinders, is ready. Nominally, it’s the work of three twenty-one year-old men living in Manchester by way of Doncaster. Spiritually, ‘Columbia’ is the beacon to show a better, freer life. Past cult leaders have promised spiritual awakening, true. But the way of The Blinders is more benign and relies only on possessing open ears to gain enlightenment.

You may well have already heard them on Radio 1, Radio X or 6 Music, who playlisted recent single ‘L’Etat C’est Moi.’ You may have seen The Blinders supporting Idles, The Charlatans or Cabbage, or at festivals including Reading And Leeds, Isle Of Wight, Kendal Calling, TRNSMT, Festival No 6 and Neighbourhood Weekender, where they drew a huge crowd to their headline slot at the new bands stage. They’re impossible to miss live, where singer/guitarist Thomas Haywood dons warpaint to assume the fearless persona of Johnny Dream, whose tribal gaze adorns the sleeve of ‘Columbia.’ “Once the warpaint is on, we become monsters, thunder riders,” says Haywood of his alter-ego. “As Johnny Dream, I can totally lose myself in the music and become a shamanic Jim Morrison character. We can do anything, be anyone.”

That shamanic, compelling mood is captured perfectly in ‘Columbia’. Ably produced by Gavin Monaghan (Editors, The Sherlocks, Goldblade), the album sees childhood friends Haywood, bassist/co-writer Charlie McGough and drummer Matt Neale follow Johnny Dream on his spiritual awakening, from the coruscating swagger of the opening ‘Gotta Get Through’ to the raw, beautiful and ultimately redemptive finale ‘Orbit (Salmon Of Alaska)’. Inspired as much by literary touchstones such as George Orwell and Jack Kerouac as much as Nick Cave, Kanye West and The Wytches, ‘Columbia’ is often as dark as you’d expect from an album named after the utopia Charles Manson promised his Family. But, as Haywood notes: “We didn’t want the album to be totally negative. We’re holding a mirror up to society, and there is good in society, so it was absolutely important to end on the optimism of Rat In A Cage and Orbit.”

The latter song was recorded after a schoolfriend of the trio committed suicide. “We’d been struggling to get the song right and were on the verge of abandoning it,” Haywood recalls. “But we read over the lyrics after what happened to our friend and realised we had to get it down. The vocals are one-take.”

Having grown up in Doncaster, The Blinders moved to Manchester to go to University Of Manchester after their A-Levels, though Haywood and Neale soon dropped out to leave McGough to complete his degree in politics and history this spring. “We’d been in bands before, but we’d only just started The Blinders when we finished sixth form,” the bassist recalls. “We felt there was something there, and Manchester was the perfect next step to live a more creative lifestyle. I don’t think it matters where we’re from, ultimately. We say we’re from Doncaster and we love the place, but the community spirit among bands in Manchester who’ve helped us out has been a godsend to us.”

McGough speaks fondly of university giving him both structure when The Blinders aren’t on tour, and of bringing fresh ideas to bring to his songwriting – he studied the Spanish Civil War as part of his degree, with Orwell’s writing a recurring influence on Columbia, not least the eerie campfire feel of ‘Ballad Of Winston Smith’. (“A song you could sing after the apocalypse,” notes Haywood.)

The album contains a reworked version of 2016 debut single ‘I Can’t Breathe Blues’, but daringly leaves off ‘Swine’, the appropriately infectious single which had critics raving. Early Blinders songs were inspired by specific outrages, with ‘I Can’t Breathe Blues’ written after the chilling recording of police brutality victim Eric Garner in New York was made public. The trio’s writing has since become broader in scope, without losing that feeling of rage. “We didn’t know when we started that there’d be such a theme to our songs,” admits McGough. “It was fascinating seeing that narrative come together once we’d recorded the album, realising that even early on in our songs we were expressing that yearning and that hope.”

McGough and Haywood share songwriting duties, with the latter noting: “If you listen closely, you can tell which songs are mine and which are Charlie’s. His songs are more poetic, while I’m always trying to slip a chorus in, but lyrically I’m more ambiguous and Charlie is straight to the point. The credits just list them as being written by the three of us: that equality is the philosophy we preach, and it was important to put that into practice in our own small way.”

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Drily witty drummer Neale adds: “With two writers, you’re not defaulting to one vision. And it helps that we’re a trio, because if there are any arguments, it’s going to be two against one. So we’re always a democracy. The fact we’re so loud as a three-piece on stage? That’s partly down to the secret of reverb. But as a trio, you can’t have any unnecessary elements. If you take any one element out, it all collapses.”

Although there’s a timeless power to The Blinders’ songs, the trio are keenly aware of needing to express the malaise at the heart of Western society. “We try to write about the times we’re in, and we try to write daily,” says McGough. “We’re always going to want to get our songs out to the world as soon as possible, so that the events we’re inspired by aren’t out of date. Then again, the nature of social media and 24-hour news channels means the news cycle moves impossibly quickly.” That’s a frustration expressed in ‘Ballad Of Winston Smith’, where Haywood sings: ‘Forgotten stories on the news, a week or so and it’s adieu.’ “It’s one of the reasons we’ve moved slightly away from specific issues,” McGough nods. “We want justice in general, not just for specific topics.”

That sense of injustice is there in the title of ‘Columbia’, drawn from The Blinders’ fascination with cult leaders. Haywood explains: “The rise of populism here and in America means you can draw a line from Trump to Mussolini to Stalin, then through to cult leaders like Jim Jones and Charles Manson. Also, we’re a fan of one-word album titles, like ‘Humbug’ by Arctic Monkeys. One word can strike you, and you can draw so much from it.”

‘Columbia’ was recorded in a month at Gavin Monaghan’s studio Magic Garden in Wolverhampton, with Haywood enthusing: “Beautiful moments happen all the time with Gavin. He takes our ideas and makes them even more epic.” McGough continues: “We’re so hungry, we didn’t need anyone pushing us further than we push ourselves. Gavin was that calming influence on us that we needed.”

‘Columbia’ moves from the brutal brevity of ‘Free The Slave’ and ‘Et Tu’ to the seven-minute sprawling epic ‘Brutus’. “’Free The Slave’ and ‘Et Tu’ are short, sharp shocks,” says Haywood. “They say what they need to.” As for ‘Brutus’, Neale admits its initial inspiration is a mystery to the band too. “That song has changed so much, even we’ve no idea where it came from,” the drummer laughs. “Some of our older songs, we feel like we’re covering them when we play them. It’s the centrepiece of our shows, so it was important to get it right in the studio. It could have gone on for 25 minutes, let alone seven, but as with the other songs, it only says what it needs to say.” McGough admits ‘Brutus’ psychedelic atmosphere was initially tough to capture. “We’d just come off tour when we recorded it,” he recalls. “We went at ‘Brutus’ far too fast, and it sounded awful. The key to getting it right was slowing it down just enough.”

‘Columbia’ also features the powerful ‘Brave New World’, familiar from its use in a William Hill TV advert. “We thought about doing it for a long time and we were initially sceptical,” says Haywood. Adds Neale: “Ultimately, there are few quicker ways of getting your message out there than in a huge TV campaign. You can’t just preach to the converted and get your message out there to people who already support you. You need to reach out to people. That said, it’s a nightmare when the ad comes on when we’re back in Doncaster watching football with our mates. You have to go for a long piss during the ad breaks to avoid your mates ripping it out of you.”

It’s that feeling of being mates, united against the world, that helps the essentially hopeful message of The Blinders and ‘Columbia’. There’s a powerful gang mentality in danger of vanishing in an increasingly gentrified music society, but an elixir which The Blinders possess in abundance. They talk of wanting to move quickly in music, babbling excitedly about new songs they’ve written already since Columbia was recorded. “We’re very certain we’ll be even more ambitious, lyrically and musically,” vows Haywood.

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For now, the next chapter will have to wait. Dive into ‘Columbia’. A tangible utopia awaits.

https://theblindersofficial.com/
https://www.facebook.com/theblindersband/

Grades in Intellect – Introducing Idealistics, Ideas colliding with attitude and musical nous

Marrying lyrical intensity to some stunning musicianship, Idealistics first come to public view via their regular appearances at R*E*P*E*A*T Young Performers Gigs at The Portland Arms and Relevant Records. Since then they’ve played ‘adult’ stages including Strawberry fair and gone on to record their debut ep.

Here they explain their story so far.

‘The band first met online and formed through a mutual love of Manic Street Preachers.
Ali (bassist) saw one of George’s (guitarist) videos covering Manics guitar solos and soon they got talking. With Ali’s lyrics having strong messages, whether it be political, mental and physical health, or animal rights, and George’s melodies bringing the whole song to life, the band soon formed a tight bond.

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R*E*P*E*A*T, whom they had heard of due to the Manics fanzine, took them under their wing and provided so much support and opportunities to play gigs and express themselves. It was only natural to think about releasing an EP, with songs focusing on a variety of matters with the world today including personal experiences with the education system and conflicts attempting to be hidden within the world.

They hope you enjoy listening to it as much as they enjoyed writing and recording it!’

https://www.facebook.com/idealisticsband/

War Waves – ‘Be Well’ – New EP and Single

“90’s angst may have disappeared from the musical mainstream for a while, but it never left the fragile hearts and nervous minds of many of us. We don’t need a distraction – we need music that listens to us and shares our feeling of disenchantment.
War Waves seemed to come out of nowhere in 2015. Their self-titled record created a modest local buzz but also reached isolated listeners all over the world who were looking for a record just like it.
War Waves dropped the follow-up single ‘Horses’ in July of 2016 and it was a statement of intent.  The full-length “All That We Lack” arrived shortly afterwards and confirmed that this was a band who had lofty goals for their sound and were absolutely capable of reaching them.
Which brings us to now.
‘Sleep’ and ‘A Lion’s Head’ – the first singles lifted from War Wave’s upcoming EP ‘Be Well’ – show even more maturity from a band that already seemed to bypass a few grades in school. With ‘All That We Lack’, War Waves found their sound. On ‘Be Well’, the band refines it,
upping the ante with more dynamism from the instrumentation and songwriter Marc Newby’s soul-baring lyrics and vocal delivery.
This is the type of record you buy, listen to repeatedly  and scream it back to the band when seeing it live” – Adam Darowski (darowski.com)
For fans of: Frightened Rabbit, Idlewild and The Gaslight Anthem

Anti-Flag To Premiere Video For “For What It’s Worth (Buffalo Springfield)” on Democracy Now! Tomorrow, September 13th

Anti-Flag To Premiere Music Video For
“For What It’s Worth Tomorrow On Democracy Now!

American Reckoning Out September 28th on Spinefarm Records

Photo Credit: Jake Stark
Pittsburgh political punk band Anti-Flag will be premiering the new music video for their cover of Buffalo Springfield’s “For What It’s Worth.” The show will be available to stream on Democracy Now! tomorrow, September 13th at 8AM EST. The new song comes off of their recently announced album American Reckoning, set to be released on Spinefarm Records on September 28th. The album features acoustic versions of songs from their past two albums, as well as covers of songs that inspired them. Pre-orders for American Reckoning are available via Spinefarm Records. A quote from the band on the Democracy Now! feature can be found below.
Democracy Now! stream available here at 8AM EST on 9/13.

 

“Inspiration and the energy to keep fighting for social and economic justice comes in all forms. Many would not expect a punk rock band to take that inspiration from an artist like Buffalo Springfield, but they’d be wrong. We have been influenced by the power of this song for years. We have used portions of the groove and drum beat on Anti-Flag records, and now have created this version of the song. 

“The live footage in this video is from our 2018 summer European Tour, where everyday people would ask us about gun violence in America and what people were doing to confront it. The March For Our Lives footage comes from the organization Everytown, who are on the frontlines of the battle against the NRA and the gun lobby in America. These are the people doing the real work to confront gun violence here at home. 

“To premier this video via Democracy Now! is an absolute honor and privilege. When people ask us how they can become informed, be better citizens of the world, find news predicated upon empathy and the truth, we tell them to listen to Democracy Now! To be featured on this life changing and undeniable force for truth and positive change in the world is incredibly special to our band.” – Anti-Flag

American Reckoning, the new acoustic album from Pittsburgh political punk band Anti-Flag, strips down some of the band’s latest hits to get to the heart of the message. The album features acoustic versions of songs off of their last two albums, American Spring (2015) and American Fall (2017), as well as covers of some of the classics that inspired them. By arranging these songs together, American Reckoning functions as an account of one of the country’s most tumultuous political times told by some of music’s sharpest political minds.

The American series, all released on Spinefarm Records, showcases why Anti-Flag is recognized as a staple in punk rock. Known for their left-wing politics, focusing on anti-war activism, imperialism, class struggle, human rights, and various sociopolitical sentiments, Anti-Flag have proven themselves as both dedicated activists and accomplished musicians since forming in 1993. Decades of strong political ideals and rousing punk rock songs have allowed the band to assemble a devoted fan base of likeminded individuals all across the world. A quote from the band on their new album can be found below.

“When you’re a band that has been together as long as Anti-Flag has you take nothing for granted. We have far exceeded any personal expectations we have had for the band, our art and the reach that it has had. This chapter of our band started with the hope of American Spring, the anger of American Fall and comes to cessation with American Reckoning

This piece focuses on songs from both records (Spring/Fall) that we felt maintain their relevance, even in the distraction politic Donald Trump America, where issues and truth are distorted in a seconds time. We also wanted to provide insight into our influences that lead us to write the records, that’s where the covers come in. They are songs that people may not expect to be influential to Anti-Flag records but either in their messaging or sonics they were tremendously impactful to us as individuals and hence the song writing process.

We can not be knee jerk reactionary to a president that uses corporate media to endlessly lie, we created statements and art that we feel directly combat these tactics, American Reckoning has allowed us to revisit some of those previous statements and shine new light on them.” – Anti-Flag

Anti-Flag is currently on tour with Rise Against and AFI. Anti-Flag have recently announced a UK/Euro tour this fall with Silverstein, Cancer Bats, and Worriers, as well as two ANTIfest indoor festival shows. ANTIfest is the band’s own festival they have hosted in various locations in Europe, UK, and the U.S. since 2012. Lineups and other information for the fest can be found below, along with a full list of tour dates.

American Reckoning was recorded in Pittsburgh, PA, and mixed and mastered by long time Anti-Flag engineer Justin Francis. The album’s artwork was designed by Doug Dean, who also did the artwork for both American Spring and American Fall.

American Reckoning Track Listing
1. The Debate Is Over (If You Want It)
2. Trouble Follows Me
3. American Attraction
4. When The Wall Falls
5. Racists
6. Set Yourself On Fire
7. Brandenburg Gate
8. Gimme Some Truth (John Lennon cover)
9. For What It’s Worth (Buffalo Springfield cover)
10. Surrender (Cheap Trick cover)

Tour Dates:
9/13 – Dallas, TX – Toyota Music Factory^
9/15 – Denver, CO – Red Rocks Amp^
9/16 – Salt Lake City, UT – Complex^
9/17 – Boise, ID – Revolution^
9/19 – Bozeman, MT – Brick Breeden Fieldhouse^
9/20 – Calgary, AB – Grey Eagle^
9/21 – Edmonton, AB – Edmonton Expo Center^
9/23 – Vancouver, BC – PNE Forum^
9/24 – Seattle, WA – WaMu Theater^
9/25 – Portland, OR – Crystal Ballroom^
9/28/18 Concord, CA – Concord Pavilion
9/29 – Santa Barbara, CA – Santa Barbara Bowl^
9/30 – Irvine, CA – Five Point Amphitheater^

10/11 – Vienna, AT – Flex*
10/12 – Wels, AT – Alter Schlachthof*
10/13 – Salzburg, AT – Rockhouse*
10/14 – Prague, CZ – Meet Factory*
10/16 – Hannover, DE – Pavillon*
10/18 – Berlin, DE – SO36*
10/19 – Hamburg, DE – Fabrik*
10/20 – Köln, DE – Live Music Hall*
10/21 – Stuttgart, DE – Longhorn*
10/23 – Munich, DE – Backstage Werk*
10/25 – Saarbrucken, DE – Garage*
10/26 – Haarlem, NL Patronaat – ANTIfest*
10/27 – Hasselt, BE Muziekodroom – Groezrock Indoor*
10/28 – Wiesbaden, DE – Schlachthof – ANTIfest*
10/30 – Birmingham, UK – Asylum#
10/31 – Bristol, UK – SWX#
11/1 – London, UK – Heaven#
11/2 – Manchester, UK – Academy 2#
11/3 – Glasgow, UK – Garage#
11/5 – Belfast, UK – Foundry#
11/6 – Dublin, IE – Whelan’s#

^ = w/ Rise Against, AFI
* = w/ Silverstein, Cancer Bats, Worriers
# = w/ Cancer Bats,Worriers

26 OCT 2018
city: Haarlem, Netherlands
venue: Patronaat
line-up: Anti-Flag, Less Than Jake, Reel Big Fish, Silverstein, Cancer Bats, Prestige, Black Peaks, Culture Abuse, Worriers, Tusky, Drones

28 OCT 2018
City: Wiesbaden, Germany
venue: Schlachthof
line-up: Anti-Flag, Silverstein, Less Than Jake, Reel Big Fish, Cancer Bats, Black Peaks, Worriers, Tusky

WebsiteFacebook l TwitterInstagram l A-F Records

Punk legend TV SMITH releases new single “Never Again Until The Next Time”

Punk legend TV SMITH releases new single “Never Again Until The Next Time”

New album ‘Land Of The Overdose’ out September 14, 2018

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TV Smith has just released the second single from his new studio album “Land Of The Overdose” which will be released by JKP, the label of German outfit Die Toten Hosen on September 14, 2018.

Hear “Never again Until The Next Time” here:

Described as “one of the most important political songwriters in the U.K”, TV Smith comments on what drove him to make the new record:

“It’s been a long journey from 1977. I used to think that punk rock was a one-off protest movement, but sadly now in 2018 there is even more to protest about. The punk spirit lives on. In “Land Of The Overdose” I’ve tried to sum up everything I feel about what’s wrong with the world and what we can do about it. The only compensation for me about the awful state we find ourselves in is that it’s inspired me to come up with some of the best songs I’ve ever written. I hope this album sends out a positive message that if we recognise the problems in the world things can start to change for the better, and that music can be a force for the good.”

Hear previous single “No Hope Street” here: https://open.spotify.com/track/0Qk3zdAZeZoKzlBIcJqfor?si=P7ISl9zjR6KQQ6QOoxIrVw

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TV Smith – Land Of The Overdose” (JKP)

Track listing

01. No Control
02. We Stand Alone
03. Land Of The Overdose
04. Satellites
05. Keys To The World
06. Green Zone
07. No Hope Street
08. Never Again Until The Next Time
09. Sunny Side Up
10. File It Under Not My Problem
11. Written Out
12. Last Lost Sheep

Pre-order the album here: http://smarturl.it/wu4bx7

TV Smith will be back out on the road again which started with an hour long set on the Almost Acoustic stage at Rebellion Festival on August 2, 2018 and then out on the road over the next few months.

“Land Of The Overdose 2018” Tour

15.09.2018 (UK) Sourton – The Highwayman
21.12.2018 (UK) Leicester – Duffy‘s Bar
22.12.2018 (UK) Manchester – Star & Garter
19.01.2019 (UK) Worcester – Marr‘s Bar
20.01.2019 (UK) Nottingham – Foremans

More info on TV Smith

TV Smith was one of the first stars of the London punk scene. Today he is considered one of the most important political songwriters in the U.K. In the last year alone he played more than 130 concerts. In these days of Brexit, Boris and Trump, people need his voice more than ever.

Try and place TV Smith in the musical landscape of 2018 and you’ll probably end up somewhere between Frank Turner and Billy Bragg. Tim Smith, as his friends know him, started his career as a singer in the Adverts, one of the early stars of the London punk scene in 1977, and since then has established himself as the irrepressible voice of the underdog. At 62 years old he has become one of the most important songwriters Britain has produced. His mission, as he sees it, is to comment on his broken country, to hold political and corporate power to account, and to criticise inequality and social division.

TV Smith writes and sings about a superficial world where we are “virtually” more connected than ever, but at the same time feel more and more isolated. In an age where discussion and debate are discouraged, he continues to ask the pertinent questions. Rather than sounding negative, his songs put forward an optimistic and positive viewpoint. His attitude is: it’s time to stop complaining and start doing something about it.

TV Smith has that rare ability to write protest songs that on first listen don’t come across as protest songs. He describes the big issues in terms of small details. He can play the snotty-nosed punk equally as well as the traditional balladeer storyteller. What stands out is his authenticity, which has a lot to do with the fact that he has been on the road for so long, seen so much, and tackles his subject matter so unflinchingly. In these times of political chaos, voices like his are more important than ever.

The clubs are dying out, the cost of housing has hit the roof, and the politicians are at each other’s throats. We should be glad that there are still a few artists who are prepared to make a stand and speak out. TV Smith has been commenting on the lack of integrity in the British political system long before it hit the headlines. In some period’s political comment falls on deaf ears, but in these “days of distress” – as Smith terms it – songs about the real world are back on the agenda.

TV Smith’s new studio album “Land Of The Overdose” will be released by JKP, the label of German superstars Die Toten Hosen. Seventeen years ago the band recorded and released an entire studio album with him – “Useless: The Very Best Of TV Smith” – something they have never done with any other artist. His new work is awaited with particular anticipation this time around. Thanks to Brexit, Trump & co., the recent political landscape has changed beyond all recognition – rich pickings for Smith’s brand of songwriting.

Campino (Die Toten Hosen): “We’ve known since 1977 that TV Smith is one of the best songwriters in the music scene. His songs are more important than ever in the current political situation. We respect him for sticking to his guns and fighting incessantly for equality and social justice. As soon as we heard his new songs we knew that “Land Of The Overdose” had to come out on our label.”
TV Smith spends his life travelling to gigs, and plays a huge amount of concerts – more than 130 in 2017 alone, and in 34 countries so far at the last count. He says that in the past couple of years he often gets the feeling that the world has gone mad: “Wherever I go I meet people who think completely differently to their political leaders, but whose feelings and aspirations are being ignored,” he says. Back in England between tours he started to write and record a batch of new songs based on his experiences and observations. “Land Of The Overdose” is his seventeenth album of new material, and in true D.I.Y. style the first that he has played and recorded completely on his own. His punk roots are evident in every groove. The album was produced by fellow countryman Jon Caffery, renowned for his work with Sex Pistols, Einsturzende Neubauten and Die Toten Hosen among many others.

The opening track has barely begun before TV Smith starts to ask the big questions: “Do you remember when you had a voice? Do you remember when you had a vote?” In another new song, “We Stand Alone,” he makes an illuminating diagnosis: “The pubs get closed/The future’s unknown/Our only hope for salvation/And escape from isolation/Is to fight our way outside our comfort zone.” And in an age where we are defined by Facebook algorithms, Smith succinctly sums up the situation in “Green Zone”: “Spy on what I buy/How I vote, what I wear/Put me in your algorithm/I don’t care/I know you’re watching me/I’m watching you too/And what did you do?”

Before TV Smith started performing as a solo artist he had already lived through more than most musicians could ever hope to experience. His band The Adverts was one of the driving forces of the London punk rock scene. His song “Gary Gilmore’s Eyes” was one of the biggest punk rock hits of the era. In Germany, his connection with Die Toten Hosen has brought him a large fanbase, thanks to their album together and his tireless touring. Occasionally when he plays in Germany his old friend Vom Ritchie – the English drummer of the Hosen – sits in on drums and the duo adopt the name TVOM.

Forty years after founding his career in the heady days of the Sex Pistols and The Damned, TV Smith’s story is far from over. He is still one of the most observant and artistic chroniclers of the changes in society and their impact on ordinary people’s lives. And one thing is clear: as long as there is inequality and a lack of true values in the world in general – and his country in particular – TV Smith will continue to sing about the “Land Of The Overdose.”

http://www.tvsmith.com/
https://www.facebook.com/TVSmith77/

Vulgarians Share new single & UK dates

Vulgarians

 

Share New Single: ‘Dead People Are Easier To Love’ – Listen Here
Autumn EU/UK Tour – Including: The Macbeth, London – September 27, 2018

Hull’s Vulgarians are today sharing the Radio 1-supported new single, ‘Dead People Are Easier To Love’ – listen here. Produced by Alex Greaves (Avalanche Party, The Orielles, Bo Ningen) at The Nave, Leeds, this is the first new music from the band since their 2017 EP, ‘Almost-Instinct, Almost True’. A bullish indicator of what’s to come from Vulgarians through 2019, the band will support ‘Dead People Are Easier To Love’ with a string of dates through autumn 2018, including a stop at The Macbeth, London on September 27 – all tour dates below.

‘Dead People Are Easier To Love’ marks an assertive step forward for the group’s sound, turning to 80s synthesisers and the likes of Cold Cave and John Maus for inspiration. Penned just 72 hours before the band were set to record with Greaves, the new single captures a sonic and lyrical urgency that is hard to counterfeit. Speaking about the single, frontman RW Preen says: “After wandering home from wherever I had been, I noticed a blank billboard, which rather amusingly someone had tagged. I guess we live in a time where culture is so celebrity-driven and popularity accounts for happiness, it’s easy to romanticise that a blank billboard appeals to you. There’s truth and guilt in that we don’t appreciate something or someone until they’re no longer present.”

 

Since the release of 2016’s ‘Life’s Successful Death’ and 2017’s ‘Almost-Instinct, Almost True’, the Hull quartet have gone on to win support from Huw Stephens and Steve Lamacq (performing on Lamacq’s Introducing stage at The Great Escape), as well as touring alongside the likes of fellow Hull band, LIFE (whom they supported throughout June 2018), TRAAMS, The Wytches and Weirds. In addition, they have appeared at 53 Degrees North (Slaves, The Horrors, Dream Wife) and Another Fest (Yassassin, Heavy Lungs), ticked off a headline slot at Humber Street Sesh and secured further spots with HMLTD, Lady Bird and Protomartyr.

Praise for Vulgarians
“A majestic march to the underworld” – DIY
“Vulgarians weld melody to caustic noise, invigorating as much as terrifying” – Drowned in Sound
“Angst driven punk in places, sprawling chasms of sound in others” – The Line Of Best Fit
“Come to Hull, City of Culture, where Vulgarians combine Black Grape with Black Flag” – Loud & Quiet
“Brilliantly loud riffs and boastful drums combined with clever, relatable lyrics” – Clash

UK & EU Tour Dates
22 Sep | Last Train Home Festival, Darlington | https://bit.ly/2vrS7tT
26 Sep | Wharf Chambers, Leeds | https://bit.ly/2MS8w5z
27 Sep | The Macbeth, London | https://bit.ly/2QfhfwP
29 Sep | Green Door Store, Brighton | Free Entry
01 Oct | TBA, Lille, FR |
02 Oct | Au Chien Stupide, Nantes, FR |
03 Oct | TBA, Paris, FR |
04 Oct | McDaid’s, Le Havre |
19 Oct | Left Of The Dial Festival, Rotterdam, NL | https://bit.ly/2oOb5qE

Facebook: http://www.facebook.com/vulgaarians
Twitter: http://www.twitter.com/VulgariansUK?
Instagram: http://www.instagram.com/vulgarians_uk/

The Fall – I Am Kurious Oranj 30th Anniversary Reissue on orange vinyl

30th anniversary reissue, pressed on orange vinyl
Contains replica of original ballet program from the performances at Sadler Wells Theatre
Release date: 12 October 2018 via Beggars Arkive
Watch: Big New Prinz video, filmed during ballet rehearsal: https://youtu.be/KiDSoT5vy-I
I Am Kurious Oranj is The Fall’s eleventh studio album. Released by Beggars Banquet 30 years ago in 1988, it contains some of their most loved songs including “Cab It Up!” “Jerusalem” (which takes its lyrics from a poem by William Blake) and “New Big Prinz” which Pitchfork called “one of the songs that defined The Fall and Mark E. Smith”. They also said that it “has the sort of jaunty bass line that would later emerge on Pavement’s “Two States” to Blur’s “Parklife.” When Smith utters “check the record, check the guy’s track record,” the words melt into glorious nonsense a la “Surfin’ Bird.”
The album was written as the soundtrack to an avant-garde ballet titled “I Am Curious, Orange”, produced by the experimental Michael Clark Company and performed in London with The Fall playing live. As it said in the original ballet program, replicated inside this reissue, “Mark E. Smith is a history buff and admirer of Michael Clark, and I Am Curious, Orange spawned the idea of a thematic delving into the foibles and little-known psyche of William of Orange.” 
According to Mark E. Smith in his book, Renegade,
“We adapted the title from a Swedish porno film–I am Curious, Yellow. I was trying to make the point that we all share some kind of common knowledge that’s within ourselves; that comes out in all sorts of things. Some people call it a gene pool. It’s as if you already know subconsciously about historical incidents. You don’t have to have been taught it. It’s in-built. At the time I wanted to put this across, basically as a loose explanation of what was happening in Belfast: it’s in the head and bones and there’s nothing you can do about it.
I was on a roll at the time. I’m rarely short of ideas, and I’m not into preserving them much, either. If it’s in your head and you’ve got the right people around you them there’s no better time to tell the story. You can’t be afraid of reactions when it’s like that. I think too many writers hold too much back for another time and then lose the initial spark.
The idea was that Clark would do the ballet side to it and we’d come on and play every now and again. The band was very tight at the time and I reckon we could have played anywhere and delivered.
We took it to the Edinburgh Festival and it was a real punch in the face for the artistes and critics. The confidence behind the production threw people; there were no half-measures. It was all very bright and brash, and those that got it really got it. You see it a lot more in films and on TV, historical fiction depicted in a brazen way. It was never intended to be high art or low art. I don’t know what those terms mean, to be honest. It was fuck-all like anything else. That’s good enough in itself, if you ask me. I’m not saying it was perfect or brilliant, but I know for a fact that those who did hook into it experiences something special.
A. New Big Prinz
Overture from ‘I Am Curious Orange’
Dog Is Life/Jerusalem
Kurious Oranj
Wrong Place, Right Time
B. Win Fall C.D. 2080
Yes, O Yes
Van Plague?
Bad News Girl
Cab It Up!
 “[The Fall have] retained the power to surprise, to provoke and occasionally outrage that only The Smiths could pretend to possess in the ‘80s.”NME
 
“Smith’s work was the manna that gave a certain cross-section of music culture sustenance for 40 years.” – Pitchfork
“Part musical hypnotist, part ranting madman, Smith was a singular figure in post-punk…Their songs were odysseys into his ever-verbose psyche, marked by repetitive rhythms and melodies.” – Rolling Stone

BurySOUND returns for its 21st year; Enter now!

Established in 1998 by St Edmundsbury Borough Council’s Jackie Smith and local promoter Paul Johnson, BurySOUND is one of East Anglia’s best-known and longest-running band competitions, endeavouring year after year to discover, nurture and promote up and coming musical talent.  Previous winners and entrants have included Miss Black AmericaThe Dawn Parade and Blue Gandhi (all of whom received widespread recognition thanks to the support of legendary BBC Radio One DJ John Peel), internationally respected garage rockers Thee Vicars, Billion Dollar Brain (featuring multi-instrumentalist and visual artist Laura Kidd, aka She Makes War), singer-songwriter Lewis Mokler (aka Huntar), and future members of hotly-tipped, festival-smashing, BBC-endorsed supergroups Gaffa Tape SandyKyanos and Sun Scream
 
The dates for BurySOUND 2019 are
 
Heat One – Friday 25th January at The Hunter Club, Bury St Edmunds
Heat Two – Friday 1st February at The Hunter Club, Bury St Edmunds
Heat Three – Friday 8th February at Haverhill Arts Centre
Heat Two – Friday 15th February at The Hunter Club, Bury St Edmunds
Heat Two – Friday 22nd February at The Hunter Club, Bury St Edmunds
GRAND FINAL – Friday 8th March at The Apex, Bury St Edmunds
 
Guest headliners will include 2018’s overall winners Influx Of Insanity (below) and winners of the 2018 Rising Star Award, Kyanos
Image result for influx of insanity
 
Our judging panel comprises musicians, promoters, DJs, journalists, producers and other industry professionals who adore live music, and who make a positive contribution to the local scene. Artists are judged on musical ability, entertainment factor, stage presence, lyrical content, originality, professionalism and band togetherness, but more importantly on the intangible, indefinable awesomeness, passion and raw talent that future biopics are made of.  The competition element, however, is secondary to the thrill of discovering other like-minded artists, and playing in front of a music-loving crowd. Whoever wins, everyone involved will be part of something amazing!
 
The competition is open to any bands, duos and solo artists based in East Anglia who perform original material.  All ages and genres are welcome, but priority will be given to younger artists based in the West Suffolk area.  The deadline for entry is 5pm on Friday 22nd November 2018, and artists can enter RIGHT NOW at www.burysound.com/enter 
 
Last year we had an incredible response, with almost 50 amazing new bands applying from all around the region; as a result it was the strongest year in the competition’s history and every event felt like a celebration of everything that’s amazing about the East Anglian music scene.  We’d love to hear from as many new bands as possible again this year, so get in touch if you want a go!
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Slava B, Cambridgeshire singer/songwriter, set to release debut album

Singer / Songwriter from Cambridgeshire is about to release his debut album “My Heart”

Slava B. – Hailed as a “King of Rock” making him an absolute smasher of the stage in his own unique Genre. If you was ever thinking how is that possible to successfully combine Jazz, Ska, Rock and Metal genres, then here we go – Slava B. brings unforgettable experience in sound quality. Whilst Rhythmic and Punchy drums, heavy guitars, Melodic Horns and pianos pleasure your ears, the deep and heavy vocal tells you the painful story from his life experience. Sounds intriguing isn’t it?

Slava Belevcov – produces music since he was 15 years old ( 29,now ). Back in 2016 Slava start writing music for his new project “Slava B.”, to stand out from others Slava B. was learning to play instruments on the go same as singing. Slava B. has achieved high end sound quality at his home record studio that he built himself when he was influenced by a number of big bands like Rammstein, Gogol Bordello, Metallica, Red Hot Chilli Peppers.

In 2018 year Slava B. did quite few successful live performances in Cambridgeshire to showcase his music and attract more fans to his social media pages. As a result he was able to pull almost 2k followers across his social media pages. Having good stock of songs, including well known song around Norfolk “King’s Lynn by Slava B.” And finally Slava B. releasing his debut Album “ My Heart” this year on 12th of October across all major digital platforms platforms ( Spotify, Apple Music, GooglePlay, Deezer, Tidal, Shazam, Amazon, Napster, Pandora , Beatport + 150 other stores ).

Don’t miss a chance, check him out @ www.slavab.co.uk

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Buy now Audio CD

Digital Pre-Orders :

Pre-Order on Amazon

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