“Fifteen Further Tasty Treats from Bury St Edmunds Rock City”
On Friday 22nd March 2019, R*E*P*E*A*T Records and Pure Deadly are extremely proud to release THIS IS THE SOUND OF SUGAR TOWN VOLUME 3: a 12” vinyl and download album featuring fifteen incredible acts from the UK’s unsung DIY rock capital, Bury St Edmunds.
Following the critical success of Volumes 1 and 2 (in 2015 and 2017 respectively), which received airplay and support from Tom Robinson, Steve Lamacq and Tom Ravenscroft at 6music, John Kennedy at Radio X, BBC Music Introducing in Suffolk and Radio One’s Huw Stephens, Volume 3 features a whole heap of amazing tracks by AMETHYSTS, B.U.H, THE CATCH, DRUIDS, ENTERLUDE, GAFFA TAPE SANDY, THE GLITTER SHOP, THE INTERESTING TIMES GANG, KULK, KYANOS, SAM EAGLE, STRETCH SOUL GANG, SUN SCREAM, THY LAST DROP and TUNDRA, plus a beautiful cover painting by celebrated artist and musician (and former Long Blonde) KATE JACKSON. The painting is Kate Jackson’s specially commissioned painting of Bury-based printing firm Denny Bros’ hometown HQ; Denny Bros are big supporters of the local music scene, and the painting has been used with their kind permission.
All profits from this fine compilation will go towards funding a Rebound Therapy programme at Riverwalk SEND School in Bury St Edmunds, and the record is dedicated to the memory of Riverwalk School teacher James Brooke, who passed away in May 2018.
The 12” black vinyl LP is strictly limited to 300 copies and can be pre-ordered now (with immediate download) from http://www.repeatfanzine.bandcamp.com
Discussing the bands featured, co-curator Seymour Quigley explained:
“For a medium-sized market town (population: 40,000) under perpetual Tory rule, the Bury St Edmunds DIY music scene has spent the last 20 years punching far above its weight. Jokingly declared by much-missed Radio One legend John Peel to be ‘the new Seattle’ back in 2002, the town seemingly took his words as a challenge to live up to; but unlike Seattle in its grunge heyday, there’s no prevailing look or sound, just a whole bunch of brilliant bands all making their own brilliant music so they can be part of a brilliant thing. Gigs are safe spaces where everyone is welcome and the manic idiocy of the outside World, with its constantly-enforced divisions, inherent prejudice and misogyny, stays firmly outside. Artists work together, support each other and spur each other on to make great records, play great gigs, produce great art, and see where the next adventure takes them. Some of the artists featured on this LP (Gaffa Tape Sandy, Sun Scream, Sam Eagle, Kyanos, Thy Last Drop) have already begun to receive press and radio attention, and invitations to play high-profile gigs and festivals; some artists are just beginning their journey. But all of them are heroes, helping to bring people together in the Holy Communion of rock and flippin’ roll.”
THIS IS THE SOUND OF SUGAR TOWN VOLUME 3 will be available in all good record shops (while stocks last) from Friday 22nd March and on iTunes/Spotify etc from Friday 5th April.
LAUNCH PARTIES:
Saturday 16th March, 1-4pm: Vinyl Hunter Record Shop, Bury St Edmunds
Live performances by Tundra, The Catch (acoustic) and Kyanos plus guest DJs.
All ages welcome, free entry.
Saturday 16th March, 5.30-11pm: The Hunter Club, Bury St Edmunds
Live performances by Gaffa Tape Sandy, Stretch Soul Gang, Thy Last Drop, B.U.H, Kulk and Kelodown.
All ages welcome (under-14s with a parent or carer), £5 entry.
Having just completed a sold out tour of the UK, Peter Doherty & The Puta Madres have announced a UK and European tour to coincide with the release of their eponymously titled debut album on Friday 26th April through Strap Originals/Cargo Records.
Pic : Dom Waters
Tickets for all shows go on sale at 9am on Friday 1st March. Tickets for the European shows are available from: https://www.albionrooms.com/live To make sure you bag a ticket for the UK Tour, pre-orderthe new PeterDoherty & The Puta Madres album from https://peterdoherty.seetickets.com/tour/peter-doherty and get access to an exclusive pre-sale starting 27th February at 9am.
The full dates are:
MAY
3rd Friday Belfast – Limelight
4th Saturday Dublin – The Academy
5th Sunday Bristol – O2 Academy
7th Tuesday Glasgow – Barrowland Ballroom
8th Wednesday Leeds – Stylus
9th Thursday Manchester – O2 Ritz
11th Saturday Nottingham – Rock City
12th Sunday London – O2 Forum Kentish Town
15th Wednesday Paris (FRANCE) – Bataclan
16th Thursday Antwerp (BELGIUM) – Trix
17th Friday Cologne (GERMANY) – Kantine
19th Sunday Berlin (GERMANY) – Astra Kulturhaus
20th Monday Vienna (AUSTRIA) – WUK
21st Tuesday Munich (GERMANY) – Backstage Werk
23rd Thursday Zurich (SWITZERLAND) – X-Tra
24th Friday Fribourg (SWITZERLAND) – Fri-Son
Pete Doherty & The Puta Madres also play the following Festivals:
MARCH
31st Sunday Rennes (FRANCE) – Mythos Festival
JUNE
8th Saturday St Pierre (FRANCE) – Sakifo Musik Festival
JULY
19th Friday Amersham, Buckinghamshire – Penn Festival
A single, mixed by Cenzo Townshend, ‘Who’s Been Having You Over’, is available now when you preorder the album from: http://smarturl.it/PeterDohertyThePutaThe video for the single was filmed in Margate and
directed by Roger Sargent and is a collaboration with Art Collective; Worship the Ground (Chu & Dr. D):
“We believe the act of creating public artworks is visual activism, punk
ethics have always been at the very core of it’s soul. We are arming an inactive society with an alternative knowledge, standing up to ongoing vilification by the press and their immoral standards, and to the authorities who encourage the soulless gentrification and social control in our public space, whilst ignoring their duty of care.”
‘Peter Doherty & The Puta Madres’ will be available on Vinyl in a gatefold sleeve (SOLP1), CD (SOCD1), Cassette (SOCASS1), Deluxe CD (SOCD1X) & Deluxe Vinyl (SOLP1X) (including live album and film)and digital download.
‘Peter Doherty & The Puta Madres’ was recorded at a family home overlooking a fishing village in Étretat Normandy, over 4 days last summer and mixed at Urchin Studios (East London). The album is engineered by Dan Cox (Laura Marling, Thurston Moore, Florence & The Machine)and produced by Jai Stanley (long time friend and manager). All the songs from the album were road tested over the last 18 months across Europe at Festivals and headline shows.
Songs include the reflective ‘All At Sea,’ the raw ‘Punk Buck Bonafide,’ the upbeat and playful ‘Shoreleave,’ the joyous hymn of liberation ‘Paradise Is Under Your Nose,’ ‘Someone Else To Be’ Peter’s re-imagining of the Velvet Underground’s ‘Ride Into The Sun’ and Oasis’ ‘Don’t Look Back In Anger, ‘Traveling Tinker’ an elegy to Peter’s friend Alan Wass and ‘Who’s Been Having You Over’ with dialogue from the 1948 film adaption of Graham Greene ‘Brighton Rock’ and the cheeky poke at his own notoriety…or is it,“Your so Rock & Roll.”
Pic : Dom Waters
Peter Doherty has released three album with The Libertines (‘Up The Bracket’ (2002), ‘The Libertines’(2004) & ‘Anthems For Doomed Youth’(2015) and With Babyshambles ‘Down In Albion’ (2005), ‘Shotter’s Nation’ (2007) & ’Sequel To The Prequel’(2013) and two solo albums ‘Grace/Wastelands’ (2009) and ‘Hamburg Demonstrations’(2017).
Peter Doherty & The Puta Madres are: Peter Doherty (Vocals/Guitar), Miggles (bass), Miki Beavis (violin), Katia DeVidas (Piano/keyboards), Jack Jones (lead guitar) and Rafa (drums).
See more exclusive pix of Pete Doherty and the Puta Madres in Swansea here
After a wrapping up sell-out UK and US tours, IDLES have confirmed a 2019 world tour, headlining their biggest venues yet. The run will include two London headliners at The Electric Ballroom and their first ever run of dates in Australia. Tickets are on sale now,available at www.idlesband.com, full routing below.
IDLES’ new record ‘Joy As An Act Of Resistance’ debuted at no.5 in the UK charts, breaking Rough Trade’s all-time record for most pre-orders and sales in day. It is currently the no.1 best reviewed record of 2018 (average rating of 88 across 25 reviews) at Album Of The Year and in the Top 10 on Metacritic. The band saw not only singles but the album itself A-listed at 6 Music and earned major features, amongst others, with the likes of Q, Mojo, The Guardian and covers with DIY, Loud & Quiet, So Young and NME. They’ve arrived internationally too with only last week NPR Music declaring “I am an IDLES addict. It’s like mainlining an uplifting and unifying assault on nationalism, racism, intolerance, and class inequality.”
The band won Best Breakthrough at the Q Awards last month following their Jools Holland debut which NME called “history in the making…incomparably brilliant,” likening it to Arctic Monkeys and Kanye West’s first appearances on the show. La Blogothèque also just filmed the band performing a couple ‘Joy’ standouts, watch them do stripped down versions of “I’m Scum” and “Gram Rock”.
IDLES 2019 Tour
26 Mar 2019 / UK / Sheffield / The Leadmill-
27 Mar 2019 / UK / Cardiff / Tramshed-
28 Mar 2019 / UK / Norwich / The Nick Rayns LCR, UEA-
29 Mar 2019 / UK / Brighton / Brighton Dome Concert Hall-
01 Apr 2019 / UK / Belfast / Empire Music Hall-
02 Apr 2019 / IE / Dublin / Vicar Street-
03 Apr 2019 / UK / Manchester / Albert Hall-
04 Apr 2019 / UK / London / Electric Ballroom-
05 Apr 2019 / UK / London / Electric Ballroom-
Idles at Spillers, 7.9.18
Pic Rosey R*E*P*E*A*T
Selected praise for IDLES:
“No hyperbole needed; IDLES are the most important band we have right now.” DIY Magazine (cover story)
“Everything about Joy As An Act Of Resistance is just so perfectly realised. An instant classic, one that people will turn to in times of need for years to come.” 10/10
NME
“This album is a heart-breaking but jubilant exploration of joy, honesty, fragility and expression as our most powerful means of human resistance.” 9/10
Classic Rock
“IDLES have released the most relevant and at times gut wrenching album of the year.” Drowned In Sound
“IDLES make sense of modern chaos on the utterly essential Joy as an Act of Resistance.” The Line Of Best Fit
“Idles take their rightful place as not Britain’s, nor Europe’s, but the world’s most vital band. It’s a fist-clenched celebration of the full spectrum of phenomena – inexplicable, crushing and totally joyous – that divides and unites us all.” The Quietus
“IDLES deliver a thunderous and sharp state-of-the-nation address.” The 405
“Across its 40-odd minutes, Joy As An Act of Resistance makes you want to laugh and cry and roar into the wind and cradle your nearest and dearest. It is a beautiful slice of humanity delivered by a group of men whose vulnerability and heart has become a guiding light in the fog for an increasing community of fans who don’t just want, but need this.” 5/5
DIY
“The power of ‘Joy As An Act Of Resistance.’ is how it shows society itself in a mirror. Sometimes it’s a bathroom mirror in the morning too bright and over exposed, another time it’s a makeup mirror in a car you struggle just to catch a glimpse of yourself and other times it’s a fairground mirror and everything is distorted and grotesque. But each time you have look yourself in the eye and take stock for your actions.
This is a band to get excited about. Very, VERY, excited about!” 9/10
Clash
“This album announces IDLES as one of the most exhilarating and necessary punk bands of right now.” Kerrang!
“…this isn’t good-time, aspirational, radio-friendly pop. But for anyone in need of music that articulates their concerns or helps them to work through their troubles–or anyone who simply appreciates blistering, intelligent punk – they might just be Britain’s most necessary band.” The Guardian
“Over a visceral torrent of motorik punk-pop pummels recalling prime Pixies or mclusky, Joe hails his “beautiful immigrant” blood brother “Danny Nedelko” and celebrates his “mongrel” upbringing on “I’m Scum” – in a world run by bullish right-wing sex pests, his aggressive compassion is a potent antidote.” The Independent
“This feels indispensable, as both bereavement therapy and Brexit-era protest.” Q
“Britain’s most cult-worthy band have a raging vitality.” GQ
“Joy as An Act of Resistance is a record that bristles with the political and emotional energy of punk’s very best.” 9/10
CRACK
“One of the most vital albums of 2018.” 5/5
Dork
“‘Joy…’ is a self-confessed parade. It’s a punch-up and it’s a bear hug.” Loud & Quiet
“Their follow-up sees them crank everything up to the next level. No band is better equipped to document the here and now, warts and all.” Mojo
“This must surely win the award for most intense album of the year. An exorcism of sadness and rage, with a burning commitment to honesty of expression throughout.” The Times
“Bristolian punk – brutally loud, brutally honest.” Uncut
“IDLES is the best 21st century punk-ish band I’ve heard.” NPR Music (Bob Boilen)
“Visceral, joyous, and honest — lightning rods for collective rage, forged from love.” Noisey
Withdrawn Traces: Searching for the Truth about Richey Manic, Foreword by Rachel Edwards
by Sara Hawys Roberts and Leon Noakes
Foreword by Rachel Edwards
To be published by Virgin Books on 31st January 2019, price £20
Over two decades have passed since the disappearance of Manic Street Preachers’ lyricist and guitarist, Richey Edwards, age 27. On the eve of a promotional trip to America, he vanished from his London hotel room. His car was later discovered near the Severn Bridge, a notorious suicide spot. He has not been seen or heard of since. Richey’s disappearance remains one of the most moving, mysterious and unresolved episodes in recent pop culture history.
Withdrawn Traces – Searching for the truth about Richey Manic is the first book written with the full co-operation of Richey’s sister, testimony from his closest friends and unprecedented and exclusive access to Richey’s personal archive of diaries and letters. In a compelling real-time narrative, the authors examine fresh evidence, uncover overlooked details, profile Richey’s state of mind, and bring us closer than ever before to the truth.
‘I was 24 years old when I last saw my brother. 24 years have passed since the day that he went missing. I have been without him for half of my life.’ Rachel Edwards
Richey had a deeply idealistic and sensitive disposition which set him apart from his contemporaries on the music scene. From his diaries, lyrics and behaviour at the time it was evident that the world he wrote about troubled him greatly and, as his time with the band progressed, his own troubles played out for the world to see.
SARA HAWYS ROBERTS and LEON NOAKES have been working closely with Richey’s sister, Rachel Edwards, examining Richey’s archive and investigating his disappearance. Their new discoveries and fresh perspective, together with a range of previously unseen sources, illuminates and brings a deeper understanding of the Richey Edwards story.
For those with a basic grasp of the facts, Richey’s suicide seems obvious and undeniable, a history of self-harm, anorexia and alcoholism, together with his own self-confessed inability to love. However, a closer investigation of his actions in the weeks and months before his disappearance just don’t add up, and until now few have dared to ask the important questions. Reading through Richey’s personal archive and talking to those close to him a pattern emerges that suggests a possible life in exile. Scrutinised in detail, what appears to be an uncanny trail of puzzle pieces is maybe enough to convince even sceptics that Richey may have planned his disappearance.
Rachel Edwards has been frustrated for years at unchallenged notions about her brother’s life and disappearance. Withdrawn Traces is an opportunity to explore the evidence anew in the hope of shedding some light on his disappearance but ultimately it is a tribute to the life of Richard Edwards, to celebrate him as a unique artist, visionary, friend, brother, son and profound human being. This book is for those who miss him.
Read a review of Withdrawn Traces on the R*E*P*E*A*T website very soon.
THE WILDHEARTS are proud to announce the release of Renaissance Men on 3rd May, their first full-length studio album in 10 years.
To coincide with the release of Renaissance Men the Wildhearts’ classic line up of Ginger, CJ, Ritchie and Danny, are to play an 8 date UK tour. This intimate tour will start in Manchester at the Academy 2 on Friday 3rd May and concludes at the Riverside in Newcastle on Sunday 12th May.
“Well fuck me it’s only been 10 years since our last release and we have a monster album on its way. Danny is back in the band and we hit the road in May, playing new tunes and all the old hits. Can’t wait and I know the boys are super bloody excited for this. ROCK!” – CJ Wildheart
Creatively brilliant, The Wildhearts play a distinctive fusion of hard rock, perfectly complimented by contemporary melodies. With a career spanning nearly 30 years The Wildhearts helped change the landscape of British rock through the 90’s, and to this day they haven’t shown any sign of slowing down. Miss these shows at your peril.
SHARE FIRST VIDEO FROM FUZZ CLUB SESSION LP: WATCH ‘PUNCH BACK’ HERE
For over a decade Brooklyn’s A Place To Bury Strangers have been dealing in pure sonic destruction. Famously lauded as the loudest band in NYC, their thunderous noise-rock has seen them pick up a cult following and shatter many unsuspecting eardrums across the globe. With no release or live show similar to the last, APTBS have continually twisted their malevolent sonic assault into something not of this world. Following 2018s Pinned LP (Dead Oceans) the trio are back once again – this time with a live session LP on London-based imprint Fuzz Club.
Whilst in London at the end of a European tour in support of Pinned, the band spent the day at Lovebuzz Studio in South London to lay down a Fuzz Club Session, due for release February 15th as a vinyl exclusive alongside a collection of videos which will be released online. Raw, punishing and unpredictable, the LP – recorded live in one take – perfectly captures the APTBS ethos through-and-through and sees the unwavering intensity of their live show committed to wax like never before. To announce the release, APTBS are now sharing the first video from the session – the first taste of what’s to come on the Brooklyn bands Fuzz Club Session comies in the shape of the snarling garage-y noise-rock of ‘Punch Back’.
“It’s good to record at the very end of the tour,” reflects Oliver Ackermann, the band’s vocalist/guitarist and founding member: “You’ve been playing these songs all tour and there’s a certain point when you kind of get tired of them so you have to reinvent what they mean and what happens in them. I feel like that always pushes things to the next level. It’s exciting.” Some songs on the session may date back a decade but, true to the APTBS way, they’re totally reconfigured and pushed to their very limits. Spanning their lengthy back-catalogue, there are two tracks from Pinned (‘Never Coming Back’ and ‘Punch Back’), one from 2015’s Transfixiation (‘We’ve Come So Far’), one from 2012’s Onwards To The Wall (‘Drill It Up’), another from their 2007 S/T album (‘Ocean’) and a previously unreleased track (‘Chrome Shadow’).
What makes this LP stand out is the way in which the live setting perfectly captures the band’s ability to work as a collaborative unit; every member feeding off one another, their tight-knit playing hardened by months on the road. Ackermann’s visceral guitars and FX pedal manipulations may be what defines the APTBS sound but just as integral on this LP is Dion Lunadon’s scuzzy, remorseless basslines and the primal percussion and snarling vocals of Lia Simone Braswell, who joined the band just last year.
There aren’t many bands who can make deafening chaos sound so tight and meticulous but that’s just how APTBS roll. The Fuzz Club Session LP serves as a perfect indoctrination into the fuzzed-out world of A Place To Bury Strangers – taking you through a no-holds-barred tour of their discography whilst also offering a glimpse into the almost-hypnotic power of their live show. This is an album just as much for fuzz veterans as it is for the uninitiated.
PRAISE FOR APTBS
“The most ear-shatteringly loud garage/shoegaze
band you’ll ever hear” The Washington Post
“Setting tinnitus-inducing noise-pop against a tension-wracked
Joy Division-meets-Ministry backdrop, this Brooklyn trio
drenches lovesick indie pop in sheets of
deafening static and distortion.” Pitchfork
AUSTRALIAN & NZ TOUR-DATES
Thur February 28 – Melbourne – Cherry Bar
Fri March 1 – Adelaide – Crown & Anchor
Sat March 2 – Wollongong – Farmer & The Owl Festival
I’m hosting a charity gig on Saturday 16th March at the Blue Moon, Cambridge featuring local indie/rock band ‘Stingray’ who have kindly donated their talent for the night! Stingray are an Indie/rock band, whose vibrant live performance has been honed on the live pub and club circuit.
The event is in aid of local Cambridge based charity ‘Something to look forward to’ who support people and their families who are coming to terms with a terminal cancer diagnosis.
The charity is run by my friend and her family, fronted by her mum Fiona, who has her own diagnosis. They do incredible work providing things like concert tickets, meals out, hotel stays and many other things to give people a ‘little something special to look forward to’ inbetween treatment.
++++++ ALBUM AND SINGLE NEWS! AND TOURING AS WELL! JOY! ++++++
We’re absolutely delighted to announce the release of our second album, CollectiV, a spring tour in support of it and new single, Sex Robot.
Released on 08 March 2019 on Ma§onic Records via Cargo, CollectiV is a veritable sonic feast. Made from only the finest ingredients including rock’n’roll, chain gang chants, mutant soul and gospel, as well as the band’s own heavy lounge, this is the best release yet from Jim Jones and the Righteous Mind.
Collectiv will be preceded by Sex Robot on 22 February.
Giving weight to the album’s name is a stellar cast of guest musicians. These include guitarist Little Barrie, soul singer SISTER COOKIE, The Urban Voodoo Machine’s Paul-Ronney Angel, The Future Shape Of Sound’s Stuart Dace and opera singer Vesna Petresin. CollectiV also finds Jim Jones re-uniting with guitarist Ray ‘Sonic’ Hanson’s Whores Of Babylon and drummer Phil Smith his comrades from Thee Hypnotics, for the first time in over 20 years.
Joining the band in spirit is The Rolling Stones’ Keith Richards, whose 1964 Gibson Hummingbird – the very guitar on which ‘Street Fighting Man’ and other classics were written and recorded – made its way into Jim Jones’ hands and within the grooves contained on CollectiV.
Jim Jones & The Righteous Mind will tour the UK in the spring. They play:
When Oslo’s Spielbergs brought their debut single We Are All Going To Die to the world in February this year, their impact was immediate. It was a rallying cry, an urgent and insistent examination of mortality that instantly exploded through the rafters and shot for the sky. It was a track that united rock and indie fans and writers the world over, topping the Hype Machine as most blogged about band in the world, making Lamacq’s Livener on BBC 6 Music and cementing the band as ones to keep a very close eye on going forward.
However, along with the many plaudits that the debut EP Distant Star received, one question usually followed; how do you follow-up a statement like that? Where some see a hill to climb, others see the weight as a gift, and if there’s one thing Spielbergs are never short on it is ideas. With its strength in immediacy, boldness in anthemia, and trademark Spielbergs when-are-the-wheels-going-to-fall-off intensity, This Is Not The End sets its stall out as an album that wrestles despondency, anxiety and hope, broadcasting their talent for melody and emotionally wrought song writing clearer than ever.
In spite of how things play out thematically, there’s a certain warmth that is hard to extinguish when three life-long friends are creating music they love together. As a result, listening to Spielbergs is like picking up that classic record that you and your friends bonded over as teenagers. They have that rare skill of finding a way to channel their own life story – through a thick wall of guitars and feedback – into something that makes you pine for the past, but gives you the strength to stare down your future. It’s the feeling of freedom gained from confronting harsh realities with the knowledge that better days are ahead.
In amongst the sludgy despondency of Five On It, the lets-skip-town triumphism of Distant Star, the bruising march of We Are All Going To Die, and the giddy 4AM, tracks such as Familiar and McDonald’s (Please Don’t Fuck Up My Order) offer some thoughtful respite, showing the band as far more than simply upstarts.
As the final chord rings out on Forevermore’s attacking climax, there’s the sense of a story coming to an end. The truth is, This Is Not The End is merely the opening chapter. As far as introductions go, This Is Not The End is a handshake that threatens to either turn into a hug, or tear your arm off completely. For Spielbergs, it’s a line they are happy to tread again and again.
Spielbergs embark on a headline tour of the UK in Feb 2019
“Big, heart-on-sleeve guitar-rock with a go-for-broke anthemic intensity… will have you either tearing up, punching the sky, or both.” – Stereogum – Band To Watch
“Pummelling yet melodic guitars batter you round the heart with nary a pause for breath… Full of huge, lung-busting, shouting-into-the-wind vocals and relentless drums, guitars and everything else, they show little concern for restraint.” – DIY
“It offers the kind of swaggering, punch-drunk escapism we used to spend all our time wishing for in our teenage years, while making it feel utterly achievable even now we’re much older and far more cynical.” – Gold Flake Paint
“A roller coaster ride of rollicking riffs, descending and ascending with a luminous fury and friskiness, before delivering us back home again safe and sound, but breathless.” – The 405 – Song Of The Day
“Your new favourite band.” – Kerrang!
“Guitars drill down at all angles, while the pummelling percussion sounds like a cement mixer trying to chew up a steel beam.” – CLASH
“‘We Are All Going To Die’ is the perfect introduction to the trio – with clattering rhythms and razor-sharp riffs combining for a devastating listen.” – NME – Emerging Artist Of The Week
“Harnessing the sun-kissed escapism of road-trip-rock acts like Japandroids and Cloud Nothings, their pessimistic streak is cast aside be searing riffs and an urgency most lo-fi groups could do well to glean from.” – AnotherMan
“One of the most exciting bands of 2018.” – The Independent
Cambridge’s highly regarded band The Scissors return with a brand new album replete with their signature swirling keyboard-fuelled psych-pop,horrorshow freakbeat guitars and new wave post-punk basslines. Titled “Look Good In Cheap Clothes” the 7th December release shows a real development from its popular predecessor “Haunted Mirror”. With a dazzling mix of garage punk, otherworldly pop, and some new explorations the band demonstrate a significant shift in their sound whilst retaining the core of their alternative take on music.
“Swirling keyboard-fuelled psychpop with horrorshow freakbeat guitars and new wave post-punk basslines.”
