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Mikal Cronin releases self-titled debut on 3 Oct 2011

Conceived and recorded as a sort of therapy to help cope with adjusting to post-college life, an ensuing break-up and geographic isolation Mikal Cronin steps momentarily away from the rhythm section of Orange County surf-punk bashers, The Moonhearts with his debut solo album.

Take heart, this isn’t a ‘vanity project’ or half-baked endeavour – Mikal’s solo debut is fully realized, cohesive and beautiful. With themes that are personal as they are universal; questioning the future, accepting the past and living in the moment.

Taking influences such as the late sixties Del Shannon and The Everly Brothers and filtering them through his own mutant Californian fuzz, Mikal deftly explores his singer-songwriter side that at moments feel like a punk Harry Nilsson or Curt Boettcher – balancing sweet melodies and chords with chunky, psychedelic guitar freakouts. Don’t let the opening Beach Boys harmonies of ‘It’s Alright?’ fool you into thinking this record can be easily pinned down.

With long time friend and collaborator, Ty Segall producing, Eric Bauer (Ty Segall, Royal Baths) running the tape machine and guest like John Dwyer of Thee Oh Sees, you can be sure you’re in for something special. Once those guitars kick in, and you hit the first transcendent chorus, you’ll be hooked.

Mikal Cronin


Release Date: 3rd October 2011

Label: Trouble In Mind

Format: CD/LP/ Digital



Is It Alright           


Green and Blue           

Get Along           

Slow Down           



Again and Again           

Hold On Me           

The Way Things Go





June 16, 2015 By : Category : News Newsplug Tags:, , ,
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Steve Ignorant announces support for final ‘Last Supper’ gig

In 1977, Steve Ignorant and Penny Rimbaud founded Crass.

In 1984 Crass disbanded.

In 2007, as a personal tribute to Crass, Steve Ignorant performed a show at Shepherds Bush Empire called ‘The Feeding Of The Five Thousand’, a celebration of the Crass album of the same name, which was performed in its entirety.  Answering the calls that have come from around the globe in response to the Shepherd’s Bush gigs Steve Ignorant has been touring ‘The Last Supper’ across the UK, Europe, US, Canada, Australia and New Zealand to rapturous audiences, celebrating the period of Crass’ work with which he feels most closely aligned – the period when he feels the band were at the strongest, most productive and most hopeful.

In November 2011 Steve Ignorant and his merry band of musicians comprising Gizz Butt (guitar), Pete Wilson (bass), Spike T Smith (drums) and Carol Hodge (vocals) will be performing the Last Supper for the last time, deliberately and significantly to be held once again at the 02 Shepherds Bush Empire.

This will doubtless be the last time any member of Crass will play these songs live again. Ever.

Steve has invited some old friends along to help make this a truly unforgettable event and I am pleased to announce the support acts for the final ever show…

The Cravats

Formed in 1978 near Birmingham, England, these dada fuelled, Jazz-Punk colossals soon became firm John Peel favourites with their unique brand of sax-riddled, bass-laced punk weirdness, doing 4 sessions for the great man and releasing numerous records on Small Wonder, Crass, Corpus Christi and most recently the double CD retrospective, ‘Land of The Giants’ on Overground Records, who, in January, are also re-releasing the band’s first 1978 LP, ‘The Cravats In Toytown’ on CD, as well as a brilliantly crafted new creation culled from the original ‘In Toytown’ master tapes by Penny Rimbaud of Crass, which one described as, “. . . Like an English Stately Home garden landscaped by Jackson Pollock.” The live band features, original founder and voice, The Shend (The Cravats, The Very Things) as well as legendary Cravats sax behemoth, Svor Naan along with Rex Speedway on fuzz club guitar, Rev. J. Noble on bass and Rampton Garstang, the tree-bending sticksman. 

Eccentrically frantic on stage, odd but on the ball and definitely not normal.

Paranoid Visions  

Formed in Dublin in 1981, Paranoid Visions quickly allied themselves to the anarcho punk fraternity of the second wave of punk rock in the early 80’s. Heavily influenced by the Crass ethic of DIY music, the band formed their own F.O.A.D label and licensed their records to All The Madmen, home of the Mob, Thatcher on Acid, Blyth Power and the Astronauts. The band are currently completing their new album, entitled “Dichotomy: White Sands / Black Earth” for release in early 2012. the album features contributions from the Cravats’ The Shend, TV Smith, Goldblades’ John Robb and US punk band the Blame. A single (featuring TV Smith on guest vocals), “Outsider Artist” will be released to coincide with this show with Steve Ignorant, the bands largest London gig to date.

Videos: politician 2011 (cd single), reached number 6 in the IRMA irish physical sales chart 2011, strobelight and torture (7″ and cd single), reached number 4 in the independant download charts 2010 Missing in action (album track from 40 shades of gangreen, 2007) video produced by students from tisch college, NYC, as part of their work experience in Dublin courtesy of hot press.

Andy T

Andy T. began writing poetry/lyrics around the mid 1970’s encouraged by the free festival scene which had a lot of roots and branches in Rochdale. Andy became friends with Crass, attending a lot of their gigs around the country. They were expressing similar feelings that he related to. He had been sending cassette tapes of his poetry and music to friends for quite a while. Crass decided to release a bunch of tapes they had received from all over the country as Bullshit Detector. Andy had something to do with 5 tracks on the first one. Andy T’s music has been described as ‘Joy Division meets Killing Joke at a dub reggae party, with a fat, old bloke shouting over the top’. It probably sounds like nothing you’ve heard before, please feel free to decide for yourself.

Some special secret guests will also be appearing!

‘So here it is then – the final date for the final gig, it’s so weird looking at it knowing it’s going to be the last time I ever perform Crass songs live on stage. I know that was the idea behind this Last Supper tour, but to see it in black and white in front of you like this really makes it final. I know that every gig I do is special and that me and the band put 1000% into every performance, but I have to admit to you all, this one will be special. If you’re thinking of coming, bring some tissues – it’s gonna be emotional’ – Steve Ignorant

The Last Supper
O2 Shepherds Bush Academy
Saturday 19th November.  Doors 7pm
Special guests: The Cravats, Paranoid Visions and Andy T

Tickets £20, on sale now from Ticketweb, the Southern web shop, UK tickets.

June 5, 2015 By : Category : News Newsplug Tags:, , , , , ,
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Icarus Line return with new album, ‘Wildlife’, and UK Tour

Los Angeles rockers Icarus Line have announced the release of their first alum in four years – Wildlife will be issued on Cobraside Records on 29 August.

Speaking about the genesis of the new album, Icarus Line mainman Joe Cardamone observed, ‘It has always been a hard sell to convince record label suit types to invest in music that celebrates the kind of lifestyle that threatens their very day jobs and status of importance in this material world. Since Kurt Cobain blew his brains out high on dope years back, it sure seems that they have vowed to never make this mistake again and if you read any popular music magazine or website you’ll see that they have been widely successful. Call it how you see it, it’s a load of crap. Not only are bands that hold guitars a vintage idea but anything that doesn’t pander to iPhone sales in some way is banished to the back of the bus with the other delinquents. That is unless you were born a rich, rock star to begin with. Not the case here.

‘We have been touring/recording/hiding/again and again since 1998. We came from various middle to low income areas of Los Angeles; starting off as a high school punk group and eventually, a world wide act (despite little to no financial support from formal institutions). Even while signed to semi major, V2 we resorted to living with friends and deplorable hotels in the worst parts of Hollywood. Scumbags. It’s hard to care about making a decent living when you don’t even know where you are going to be living. For over ten years we’ve reared our heads in various forms, made critically acclaimed records, toured the world and then seemingly vanished for years on end.

‘The new record, Wildlife was written by me over a period of two years. I had moved out of slums of Hollywood back to my hometown, Highland Park in East LA. The change of scenery was prompted by a need to get away from everything that living in Hollywood brought – Desperation, drugs and record industry scum. Drummer Jeff Watson was driving a Taxi in Portland Oregon at the time so he headed back to LA to complete the group before the sessions. Alvin was around town trying to keep busy while waiting for the man and Jason was working hard supporting his new baby girl. The band got together and crashed through the 30 odd tunes that I had scribbled on bits of paper. We had about 15 days to get an album worth of material, packed into a two car garage that had been repurposed as a sound proof studio. We went at it with very little time for communication. From the day Jeff landed, until the night before the recording was to start, Wildlife was born. With a little help from Ariel Pink and Giant Drag’s Annie, about 20 songs were recorded in Room Three at Sunset Sound. Yes, the same room that Prince turned into his apartment to make Purple Rain.

‘The remainder of the tracking and mixing took place in my home studio mostly under no professional supervision. What does this knob do? Do? Do? Do! Relying on instinct and some gathered knowledge and a new-found enthusiasm for learning to use gear I barely knew how to use, I put together the album. The result is almost like a debut release, uncharted territory for the band that had always used the studio as an instrument to fully express their intent. Wildlife was learning to play piano and tuning up a car at the same time. This wasn’t out of choice completely but more of necessity. It had to be done.

‘Wildlife presents the newest chapter in a bizarre saga of sonic ambition and utterly stubborn will. A rock‘n’roll nuke followed by a couple months of radiated fallout. This record did not just make itself and get into your hands by accident today, it was written, produced and recorded under the constant threat of extinction. As we all know the bills keep coming long after the money is gone. It is another document from a distant corner of Los Angeles that believes in Rock’n’Roll music as art and religion. This collection of songs is finer than the last and those before that. We, The Icarus Line may never get to make a record again and so every record has been made as if it’s the very last one. That’s how this music is supposed to feel though isn’t it? Like a fight to survive in a musical landscape dominated by frat boys in ships clothing. If you love Iggy, If you miss Roxy Music, if you feel Funkadelic, if you need a flash of danger in your life, if you want a little lust around, if you love Rock N’ Roll music that is actually made by motivated fuck ups who had no other choice, then this is for you.’

The band have also announced their first UK dates for two years:

10 Oct             Cardiff                                    Club Ifor Bach

11 Oct             Manchester                          Ruby Lounge

12 Oct             Glasgow                                 King Tuts

13 Oct             Wakefield                              The Hop

14 Oct             London                                  Lexington

Check out ‘King Baby’ and ‘We Sick’ from Wildlife HERE


June 16, 2015 By : Category : News Newsplug Tags:, , , , ,
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New Simon Morgan album, ‘Domestic Abuse’ now available via iTunes

Domestic Abuse, the remarkable solo debut album from Eyeplug’s very own Simon Morgan is now available from iTunes. Morgan’s songs splice the energy and worldly cynicism of punk rock to anthemic tunes with genuinely affecting melodies. In a similar literate lyrical vein to such singer/songwriters as Elvis Costello and Billy Bragg, Morgan’s lyrics delineate a post-modern kitchen-sink landscape of sexual politics, autism, alcoholism, drug addiction, depression, death, parental loss, unrequited love, requited love, and social networking.

An important new voice from the bedsitter heartlands, the evocative nature of Morgan’s descriptions of ‘players, doggers, gold-diggers, users and their pimps’ indentifies his talent for charting the topography of the heart. Packed with small-town detail, the dozen songs on Domestic Abuse represent the culmination of over 30 years of songwriting experience and stand as a vivid testament to a creative talent that has not only lived life to its fullest extent, but is also prepared to lay his often hard won experiences bare to a wider audience. ‘Johnny Rotten told me I had no future,’ he observes. ‘He was wrong . . . this is my future.’

Live, Simon has already made an impact, a recent high profile show at the Islington Academy being the latest in a series of gigs that have seen the steadily growing buzz around him gather volume and momentum. His performances are a testament to the concept of function over form, there is no artifice as he presents compelling songs, written from the heart and performed with honesty and conviction.    

‘This is the best set of songs I’ve written,’ enthused Simon. ‘The destination of a musical journey from punk rock to folk.’

Download Domestic Abuse from iTunes

June 16, 2015 By : Category : News Newsplug Tags:, , ,
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Marmalade ‘Best Of’ 2CD set announced

Fine Cuts: The Best Of Marmalade

Released on Salvo, 5 September 2011

Scottish group Marmalade formed originally formed in 1961 and are best known for their UK number one cover of the Beatles ‘Ob-La-Di, Ob-La Da’ and the major US hit ‘Reflections Of My Life’.

These hits are featured on their new album “Fine Cuts” , which showcases a total of 45 tracks, also including ‘I See The Rain’, ‘Cousin Norman’, ‘My Little One’ and many more.

The album was remastered by Finesplice for the finest possible sound quality. A stylish double digipack with 12-page booklet, it contains rare photographs plus a comprehensive overview of Marmalades career written by band members Junior (William) Campbell and Dean Ford.


CD1 – The 60s                                                                               

1                   It’s All Leading Up To Saturday Night

2                   Wait A Minute Baby

3                   Can’t Stop Now

4                   There Ain’t No Use In Hanging On

5                   I See The Rain

6                   Laughing Man

7                   Man In A Shop

8                   Cry (The Shoob Doroorie Song)

9                   Lovin’ Things

10                 Hey Joe

11                 Wait For Me Marianne

12                 Mess Around

13                 Ob-La -Di, Ob-La-Da

14                 Chains

15                 Baby Make It Soon

16                 Time Is On My Side

17                 Butterfly

18                 (Take A Little) Piece Of My Heart

19                 Mr Lion

20                 Station On 3rd Avenue

21                 Mr Tambourine Man

22                 Summer In The City

23                 I Shall Be Released

24                 Reflections Of My Life

25                 Rollin’ My Thing

CD2 – The 70s     

1                   Rainbow

2                   The Ballad Of Cherry Flavar

3                   My Little One

4                   Is Your Life Your Own

5                   Cousin Norman

6                   Back On The Road

7                   Mama

8                   Sarah

9                   Ride Boy Ride

10                 Empty Bottles

11                 Stay With Me Baby

12                 Can You Help Me

13                 Radancer

14                 Kaleidescope

15                 Lady Of Catrine

16                 She Wrote Me A Letter

17                 Just One Woman

18                 Bad Weather

19                 Super Clean Jean

20                 I’ve Been Around Too Long

June 5, 2015 By : Category : News Newsplug Tags:, , , , ,
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Scaling The 50ft Woman

Scaling The 50ft Woman

Hot on the (high) heels of their recent Menage à Trois EP, I strapped on my crampons and set out up the north face of 50ft frontwoman Minki to find out more about the band. When I arrived – sweaty but invigorated – at her summit, this is what she told me:

For those of our readers who’ve been deprived of the joy of discovering 50 ft Woman, could you tell us a little about how the band came together?

Well originally, 50ft Woman really only existed as a name. It was just me, with a few songs I had picked from my old band, plus some new ideas. It didn’t take long for me to realise that it was a bit lonely being a solo artist. Gigging was a logistics nightmare, rounding up various musician friends, and really the songs sound more like a band. So I started looking and found Adie, swiftly followed by Paul. Ben and Axel are relative newcomers but fitted in so well it was like they were born to be in the band!

Looking at some of the old footage of the band on You Tube, it’s evident that the band’s sound and visual image have come together over the past three years – what were the key elements that made you to decide to go in the audio/visual directions that now define the group?

I think as the new songs have come together, it’s given a more tangible sound, which then gives a clearer view for the image. Now that I have a regular line-up and 50ft Woman is a band and not just me, it can be more cohesive, in both sound and visual aspects. I’m lucky anyway, as the ‘frontwoman’, I can get away with wearing whatever I fancy!

How did you come to select the three tracks on Menage a Trois? It seems to me that any of the seven tracks streamed on your website could have merited inclusion – will any of those be surfacing on subsequent releases?

We definitely wanted to record ‘(Strictly) Only Swinging’. We love playing it live, and at the moment it’s the perfect set closer. It was a case of then picking songs to sit around it that showed off all our best assets, as it were. We do have plans to put some of the other songs on the album, but they will be re-recorded to better fit in with the new sound we have.

Do you have a large corpus of unrecorded material? Do any covers find their way onto your setlists?

Funnily enough I just shared a large dollop of unrecorded stuff in acoustic form, with the rest of the band. There’s about enough for an album, and that’s just the stuff that is in a completed song format. The guys have lots of ideas too, and I know Ben texted me at midnight just the other night, excited about a song he had just finished writing.

We are currently including ‘Turning Japanese’ in our set, though it depends on the length of the set and where we are whether we play it or not. There are a couple of others we’d  like to do, too. I think sometimes it gives a fresh crowd an instant connection with you, as long as you do it well!

Of the three tracks on the EP, ‘Psychic Hygiene’ and ‘(Strictly) Only Swinging’ seem to represent the band’s more visceral edge, whereas ‘You’re In Love With Love’ is more melodic – would you say that this accurately represents the two sides of 50ft Woman’s sound? Is it likely that as the group progresses, one side will eclipse the other?

It definitely represents the two sides! I’m glad you picked up on that. I do tend to have a very schizophrenic writing style, where it will be either one or the other! (Must be the Piscean element in me.) I think as a band we find it easy to flip between the two, and even the more full-on stuff will still have a melodic edge to it. The rule is that all of our songs must work acoustically, then you know for sure that it works as a song!

How have the band been going over live – is there a big difference between your most recent gigs and those from the group’s early days?

I think we are a lot more confident, a lot better rehearsed and we have a lot more fun on stage as a result of that. When you know that the band is totally ready, you can relax more into it, which makes for a much better performance. And when the band has fun, it definitely means the audience have more fun too!

What kind of audiences are you getting?

A real mixture. There is always a struggle with London crowds as there is so much choice of gigs and place to go. So lately, we have been concentrating more on out of London gigs. The weirdest one we have done recently (but also one of the best), was at the Marussia Virgin Racing Weekend. About 300 F1 fans all camping for the British GP, in the rain, which thankfully stopped when we came on, and as it was still wet, the audience was about 40ft away under parasols and tents! We still got lots of new fans from that gig, so it was worth it.

Have you played with any bands with which you feel a connection, or do 50ft Woman stand resolutely alone?

We’ve done a few gigs with the Scratch who we love. We do quite a bit of cross promotion with them, and are hoping to do a mini-tour later this year. I think in this business the more friends you can make and help along the way the better. After all, it’s not like people only like one band is it? If we could put on more nights with bands we like and that compliment us, then we can all share fans and all gain more!

Would you say that there are common influences that unite the quartet, or do you have wildly differing tastes?

I think we have a common love of ‘rock’ in general, though we do have differing tastes. Axel keeps promising to educate me in drum ‘n’ bass and dubstep and all those weird urban subgenres I know nothing about. Adie loves his seventies rock and blues, Paul loves most modern rock. I think Ben and I were separated at birth, as we seem to have a spookily lot in common musically. I think what helps as well is not being closed off. I have such eclectic tastes and love discovering new music.

I understand that you’re due to shoot a video for the forthcoming single ‘Google Tan’ – do you have any specific visuals in mind for that?

Ah that would be telling! Well, ‘Google Tan’ is obviously about spending way too much time in front of a computer screen … so it will be based around that. We are storyboarding it this weekend and I can’t wait to film it. There are rumours that I may be playing a few different characters in it, but you will just have to wait and see. Anything could happen in this band!

Any plans for an album, or touring? What’s next for the band?

Well, as I mentioned we want to do a mini-tour with the Scratch later this year, and knowing us, this will probably develop into other stuff too. We ended up doing support dates with the Union last year then rushing off to the London Tattoo Convention, so we are up for a logistical challenge. After all, I’m used to it from the early days! We’d love to get on another couple of good tour support slots, we seem to make friends easily, thankfully.

Album? Yes! It’s already in the pipeline. It’s literally a matter of sitting down with our diaries and guitars and making concrete decisions. However, we won’t release it until we are 100% happy with it. It’s our debut album, and as such, needs to be all killer no fillers.

50 Ft Woman website



June 5, 2015 By : Category : Eyeplugs Features Front page Interviews Tags:, , , , ,
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Shonen Knife – ‘Free Time’

(album, Damnably)

The legendary Osaka trio’s 15th studio album finds Shonen Knife refining their Ramonic poppery to a fine point across a disc that also showcases their expanding range and assured structuring.

Always best when they’re giving a song the full fuzzed-up day-glo treatment, Free Time features a trio of tracks that clearly demonstrate why the band have remained cult superstars for so long: Angular opener, ‘Perfect Freedom’ shows the band’s mastery of mixing garage and punk tropes into a searing broth of melodically distorted power, while ‘Economic Crisis’ is a visceral hook-ridden sugar rush that detonates tuneful fuzz bombs amid sherbet flares of thrash and rhythm. Perhaps best of all is the primary coloured sci-fi romp of ‘Monster Jellyfish’ – an irresistible drum salvo driven depth-charge that’ll have you singing its ‘Outbreak’ chorus in the tub.

The less serrated side of Shonen Knife is represented by bittersweet confections such as ‘Rock’n’Roll Cake’, and the bubblegum fluff of ‘Do You Happen To Know’ – two songs that encompass two poles of Naoko Yamono’s vocal range; from the plaintive former, through to the Fay Fife power piping of the latter. There’s strange and wondrous fare on offer, too – ‘Capybara’ is an appropriately semi-aquatic upbeat shuffle that for some reason calls to mind Blondie’s ‘Tide Is High’, ‘An Old Stationary Shop’ evokes past times and sounds a lot like Peter, Paul and Mary have been given a new wave makeover, while ‘Pick Your Own’ (an agricultural, berry-fixated chant-a-long) is at times reminiscent of a punked up ‘Smurf Song’.

Penultimate track ‘Love Song’ finds the trio mining a classic seam of girl groupery, all ankle socks and angst, whereas the closing ‘Star’ is an effects assaulted aspirational hymn with a cosmic sonic subtext that wraps around a guitar break, which, oddly, goes a bit Frampton in places. Such strangeness is part of Shonen Knife’s considerable charm, and across this album there’s an artful simplicity that – as with the Ramones – is indicative of a group of a group that is smart enough to keep things simple.

June 5, 2015 By : Category : Music Pop Punk Rock Tags:, , , ,
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Exit_International confirm debut album details and free download

Returning from 2010’s critically acclaimed ‘Sex W/Strangers’ EP, Exit_International’s Fudge Wilson (bass/vocals), Adam Thomas (drums/percussion), and Scott Lee Andrews (vocals/bass) prepare to unleash their debut full album, Black Junk, on 19 September. The band promise that their EP was, ‘Just a taste of the embryonic promise of things to come!’ 

From the 48 second blast of ‘Blindfolds’ to the brooding, creepy expanse of ‘King Of The Junkies’ Black Junk have been described as, ‘Rabid, off-kilter, filthy punk rock’  – think the Pixies combined with Motorhead, the sonics of Girls Against Boys and the nerve-splitting post-hardcore volatility of the Blood Brothers. Opener, ‘Glory Horn’ was originally released as a split-single to celebrate a UK tour with Antlered Man quickly becoming a crowd favourite, whilst ‘Bowie’s Ghost’, the band’s first video displays the trio’s uncanny knack for combining the short-sharp-shock treatment with their unmistakable visceral sound.

Recorded in a chaotic 72 hour chemical haze, Black Junk is a guitarless tour-de-force containing just over 30 minutes of urgent, blister-fuzz future rock n’ roll. With ex-60ft Dolls drummer Carl Bevan behind the decks, the band re-recorded tracks ‘Sex W/Strangers’, ‘Chainsaw Song’ and ‘Lights Out’ from their previous EP with added intensity and fervour.

The last 12 months have seen the band from obscurity to ‘ones to watch’ in the UK and the US, with resulting (PA destroying) appearances on the BBC Introducing Stage at Reading and Leeds, 2000 Trees, Guilfest, Leopallooza, Merthyr Rock festivals and sessions recorded for BBC Radio 1 Introducing – including their (now) infamous cover of Nirvana’s ‘Territorial Pissings’.

While tours with Monster Magnet,  Blitz Kids, Ginger Wildheart, Pulled Apart By Horses, Gay For Johnny Depp, Future Of The Left, The Bronx, and others spread the carnage of Exit_ International’s live performance, Black Junk  is set to take that carnage into your very own bedroom with its limitless duel-bass fronted noise-rock.

Check out the fuss by downloading EI’s ‘Voices’ HERE

 Black Junk tracklist:

 01. Glory Horn                 

02. Sex W/ Strangers                 

03. Voices                 

04. Shake Your Bad Ass                 

05. Bowie’s Ghost                 

06. Body Joyrider                 

07. Sherman Fang                 

08. Chainsaw Song                 

09. My Mouth Is Your Mouth                 

10. Lights Out                 

11. King Of The Junkies                 

12. Blindfolds                 

13. Hey Disciple

Exit_International on MySpace

June 5, 2015 By : Category : News Newsplug Tags:, , ,
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The Calimocho Club – ‘Whoa Whoa Hey Hey’

(EP, own label)

A howling phoenix emerging from the ashes of the mighty Black Knights, the Calimocho Club announce themselves rudely with a five-fingered statement of intent that sees the Hope/Pickford duo emerge from the Salford Delta to distil the essence of the blues down to ital firewater.

This is minimum r’n’b sugah, as in totally fat-free, lean sinuous, rock’n’roll that’ll cum in your hair. ‘She Told Me’ opens with economy and assured precision, realising a perfect blues stomp without fuss, pretension, or shoes. ‘War Machine’ sends vapour trails of distortion strafing across a sonic miasma of fractured rhythm and vocal urgent testimony, before ‘Baby Got A Switchblade’ plots up amid some crepuscular back-alley street hassle that intermittently explodes across a Voodoo Chile soniscape.

As Lux Interior correctly asserted, ‘Rock’n’roll is all about sex’. A proven fact that is given further weight by ‘Smoking Area Blues’, wherein notes are bent into priapic shapes that moisten the fleshy opening of this nasty slice of defenestrated urban angst. Finally, ‘Roll The Dice’ oozes forth; a slow-burning universal expansion that gathers momentum, then twists and writhes its way across the consciousness leaving a sticky, salty residue. You won’t want to wash yourself after.

The Calimocho Club website

Join the Club on Facebook

June 5, 2015 By : Category : Blues Garage Music Rock Tags:, , , , ,
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Edie Sedgwick releases album, 11-song MP3 download coupon

Through 12 years, three record labels, over a dozen band members, one epilepsy diagnosis, and one filthy dress. E.D. Sedgwick has seen it all. It wasn’t pretty. ‘Love Gets Lovelier Every Day is the Smile of Washington, DC drag-punk rock,’ says Sedgwick, a.k.a. Justin Moyer, the El Guapo/Supersystem bassist who started performing under his nom de plume in 1999. ‘Everything conspired against this record. A collapsing record industry. Bandmates moving out of town. A couple of grand-mal seizures. Getting evicted from my studio, which was torn down by the city to build – wait for it – another studio. My decision to stop performing in a dress. The discovery of a 13th astrological sign, which means I’m no longer a Pisces, but an Aries (a fucking Aries!)’

‘The only thing Love Gets Lovelier Every Day has going for it is really good songs, and a really good band to play them.’

Recorded in 2009 but caught up in record label, personnel, and personal drama until now, LGLED is a poignant memoir of a bad season – and, with a long slate of featured performers, a departure for an reformed electroclash artist who used to make records alone in his bedroom. Dancey ragers like ‘Everybody Wants Some’ (featuring Chad Molter and Mark Cisneros of Medications on, respectively, bass and sax) appear alongside ‘He Composed Lines That Frighten Stanzas’, a Pixies-ish rocker co-written by ex-Supersystem guitarist Rafael Cohen. And there is the titular, 12-plus minute pseudo-psychedelic medley equally inspired by John Coltrane’s A Love Supreme and the B-side of the Beatles’ Abbey Road. But nowhere is Sedgwick’s unlikely evolution more on display than in ‘Silver Bullets’, the record’s first single.

‘‘Silver Bullets’ is about survival,’ Sedgwick says of the raucous, four-on-the-floor banger that name-checks Henry Rollins and Chris Cornell. ‘In the dark days of October 2009, I was moping in my soon-to-be-torn down studio when I started playing this reggaeton- ish two-note bassline. Then, I started writing lyrics from the perspective of a lead-singer Superman archetype. Like: “I’m not a werewolf – silver bullets can’t kill me.” Like: “I’m better than Bono. Bono can’t kill me.” When the song was finished, I felt better. I was like, “I’m gonna get through this.”’

Love Gets Lovelier Every Day will be released by Dischord in September 2011. The album will be available as a download or included with the purchase of this limited edition three-song 7”. Sedgwick’s new band will play select East Coast dates before heading to Europe in October.

Love Gets Lovelier Every Day tracklist (tracks 1, 2, 9 appear on the single):

1  Silver Bullets

2  See Saw

3  Natural Born Killers

4  Trip Inside My Mind

5  Everybody Wants Some (Van Halen Mix)

6  Shine a Light

7  Who’s That Knocking on My Door? (Post-Czech Mix)

8  He Composed Lines that Frighten Stanzas

9  Av a Dev i ne

10 (We’re Livin’ in the) 21st Century

11 Love Gets Lovelier Every Day Medley


June 16, 2015 By : Category : News Newsplug Tags:, , ,
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