debut album Wed, 09 Mar 2022 08:41:56 +0000 en-US hourly 1 debut album 32 32 The Bataclan memorial charity will benefit from a punk rock evening Wed, 09 Mar 2022 05:00:00 +0000 THE Nick Alexander Music Trust, a musical charity created following the Bataclan terrorist attack in Paris, is holding its tour at The Joiners on March 16.

The trust has teamed up with Xtra Mile Recordings, home to charity patron Frank Turner, to bring music lovers four brilliant new bands for ten years.

The event is set to feature the best in punk rock party music courtesy of Essex’s Pet Needs, alternative rock noisemakers Ghosts of Men, melodic indie grunge trio BERRIES and Riot Folk mainstay Henshaw.

Renowned for their explosive live performances, Pet Needs are attracting attention in all the right places, including from Steve Lamacq who called them “scrunchy melodic rock and roll…up my street”. Their Frank Turner-mastered debut album “Fractured Party Music” saw them tour to increasingly larger venues across the country.

Johnny Marriott of Pet Needs told the Daily Echo: “The Nick Alexander Music Trust does an amazing job donating musical material to amazing charities and community projects across the country. As a former youth worker, I understand the value of creativity in youth work and have also seen how many of these projects have to work with minimal resources.

“The NAMT on the Road tour works in two ways. One, it raises money for amazing causes and two, it gives musicians like me the opportunity to tour again after the pandemic. The ultimate win-win!”

Proceeds from the show will be donated to the UK registered charity which provides grants for musical instruments and equipment to small charities and disadvantaged community groups across the UK. It was created in memory of Nick Alexander who was killed in 2015 while touring with Eagles of Death Metal.

Punk rock band Sweeping Promises will perform at the Bishop on Thursday Mon, 21 Feb 2022 08:00:00 +0000

Sweeping Promises, a punk rock band, will perform at Bishop Bar at 9:30 p.m. Thursday. Adults 18 and older can participate. Tickets are $12 and can be purchased on the venue’s website.

The duo, Lira Mondal and Caufield Schnug, started making music in Arkansas. When they moved to Boston, they created several underground bands on the East Coast, according to the venue’s website.

The band hails from a reverberating, disused concrete lab in Cambridge, Massachusetts, according to the venue’s website.

Sweeping Promises’ debut album “Hunger for a Way Out” was released in 2020. The venue’s website said the album was tracked with a single-mic technique, eliminating some of the electronic representation of the his.

Their latest single, “Pain Without a Touch,” is a subtle reimagining but intensifies their energy, said NPR writer Lars Gotrich.

Related: [COLUMN: Beach House’s ‘Once Twice Melody’ is an atmospheric reverie of dream pop noise]

According to the venue’s website, Virginia’s Feel It Records label manager Sam Richardson said there was a synth sound and pop appeal to their music.

“Angled guitars and sharp synth notes float atop a raw rhythm section, while Lira Mondal’s effervescent vocals really define the sound of Sweeping Promises,” said Richardson.

Participants must provide proof of COVID-19 vaccination and wear masks on site.

Best punk rock singles | The Clash, The Libertines Fri, 18 Feb 2022 19:31:03 +0000

The seven-inch 45 rpm single was the perfect punkrock average, in that anything related to such an unusual musical genre and culture as punk can be designed. This is because he was originally rock n rollis the perfect medium, and the original purpose of punk was to strip down rock to its fundamentals. And if you limit your presentation time to two minutes and 30 seconds, you’ll squeeze all your best ideas into a tight, concise package.

There are also the inherent acoustic advantages of singles, at least in their original form. You have the warmth of vinyl, added to that faster playback speed. 45 RPM already sounds hotter than a shipment of counterfeit Gucci handbags seized by US Customs. But you can master everything harder on one, thanks to the wider grooves. And punk rock is meant to be strong.

Read more: A riot grrrl story, from “Rebel Girl” to “Racist, Sexist Boy”

One of the original rules of punk-rock was value for money – certain songs were reserved for singles and excluded from albums. Some felt that the fact that all the singles appeared on the albums ripped off fans. This explains why, although you can find all the Sex Pistols‘A-sides on their only actual LP release, Never mind the bullshit, here come the Sex Pistols, the B-sides remained strictly on the 45 rpm. This is also why some tracks were exclusive singles, even though they appeared on later compilations or best ofs. This practice declined as vinyl became less popular. Today, a decent number of great standalone punk singles are still being released. Because there’s no thrill as electrifying as the short, high-pitched shock of a great punk-rock single.

here is alternative press‘ selection of 12 of the best stand-alone punk singles in history, with a personalized playlist to enjoy while you read.

The Clash – “(The White Man) at Hammersmith Palais”

This may confuse some who have only heard the American edition of shockthe first album of. Well, that’s because when Epic Records finally deigned to release Shock domestically after the imports sold impressive numbers, they dropped part of the original tracklist to feature some of the singles released between it and 1978 Give them enough rope. And “(White Man) at Hammersmith Palais” — the ultimate distillation of the Clash’s punk/reggae synthesis, with a beautiful Joe Strummer lyric about rampant fascism and the commercial co-optation of punk – only released on seven inches in their home country. Did he manage to Ropeit would have improved this album a thousand times over.

The Weirdos – “We’ve Got The Neutron Bomb”

Like many West Coast punk stars, LA the weird ones assumed that the major record labels would come knocking on their door, as they did for Ramones or many English bands. This is why much of the crucial LA and San Francisco punk documentation comes from independently released 45s. You might get the occasional bright explosion like this, a weapon-grinding screech that killed people while leaving buildings untouched, tuned to huge Gibson chords. Otherwise, several albums of material remained unreleased, possibly recorded over demos later collected from anthologies. “We have the neutron bomb” is as political as early American punk, powerful enough to be included in any essential punk playlist.

The Avengers – “We’re the One”

that of San Francisco avengersled by a charismatic teen singer Penelope Houston, should released an album. It’s criminal that they didn’t get the full treatment until three years after their breakup. Their first single in 1977 “We are the only one” is as definitive a punk statement as was made, filled with the revolutionary fervor of the era, featuring some of the finest guitars ever recorded. Blame it on Houston’s fierce commitment to her delivery – you can hear the veins popping in her neck and forehead, and the sweat pouring down her back. A rebellion sublime enough to dance to.

Buzzcocks – “What Do I Get?”

Nobody wrote better pop songs than Buzzcocks chief Pete Shelley. His airtight melodic confections redefined punk, romance and timeless songwriting. But for all their brilliant singing charms, Shelley’s tunes were hardly carefree — no one got the girl or the guy in their gender-nonspecific compositions. Second United Artists 45 “What do I get?” is a perfect example. The protagonist is hardly a Romeo. He laments the lack of romance in his life because of some of the most perfect high-speed guitar backing vocals and whoa-whoa backing vocals dedicated to tape. Deceptively, dangerously sweet, like a razor blade hidden in an apple.

Germs – “No God”

The ace Germsled by a fascinating death cult leader in training Darby Crashwere a glamourrock group has had a nihilistic makeover. They were also the most successful punk graduates of the on-the-job training music school. “No God” was the B-side of their second single, and the best extraction yet of the charming and powerful destroying machine that they were. Played back to back with 1977 “Forming,” it is also an apt demonstration of how far we have come in a year. Guitarist pat smear was unable to pull out of the game Yes quote he now slams face to face in the start of the song, as it collides with a chaotic atheist statement. Yet chaos remains controlsomehow.

Bad Brains – “Pay to Cum”

One of hardcoreonly four former jazz/funk musicians could have performed the blinding 800 km/h thrash of “Pay to cum” and never derail it. Many back in the day would check their decks to make sure they weren’t playing at the wrong speed. But no, it was the right tempo. Really, this is the version punks love to say they prefer. It also got most to watch DC bad brains with reverence and admiration – it was a rare and powerful musical force. Don’t ask what the message of the song was, as a singer TIMEThe delivery was so frenetic that he might as well have vibrated his index finger between his lips while humming. the real message was, “It all just happened much faster…

Social Distortion – “1945”

Social distortion were a rare pogo-party explosion from 1977, in an underground climate now awash with hardcore. It didn’t hurt this boss Mike Ness was a songwriting savant with a solid grounding in the basics of old school rock ‘n’ roll. That’s what helped make “1945”, an account of the bombing of Hiroshima told from the perspective of one of the bomber pilots, such an explosion – it had a good rhythm and it was easy to dance. Beginning with samples of an air raid siren and an explosion above a drummer Derek O’BrienNess’ frenzied beat, Ness’ grating bawl and air combat guitars create an ambience of arrogant majesty.

Manic Street Preachers – “Motown Junk”

Glam punk gains political awareness in 90s Welshman’s second single Situationists Manic street preachers. Starting with a public enemy sample and ending with one of skates, “Motown Junk” was probably the first example of a punk band attacking hip-hopstyle production techniques without trying the musical style itself. In between was an accelerated amalgamation of cheap stuff and the Clash decrying a wave of danceable love songs then grabbing the UK pop charts, calling it all “betrayal of the lower class”. Astutely, bassist Nicky Yarn backs up the chorus with a quote from the supremes“You can’t rush love.”

Bikini Kill – “Rebel Girl”

Kill in bikini were the group that officially ignited riot grrrl. So it stands to reason that they would record the movement’s most crucial anthem. Played since 1991, the band cut and released three different versions of “Rebel Girl” in 1993, initially for the Yeah yeah yeah yeah side of their split LP with cuddly bearthen thirdly for their Pussy Whipped album later in the year. But the best version is the supercharged single they cut with Joan Jett. Delivering them with a thick, loud Sex Pistols burst, Jett adds her meaningful rhythm guitar prowess and guttural vocals to this anthem of unapologetic lesbian love and female empowerment.

The White Stripes – “Let’s Shake Hands”

“Let’s shake hands” was Earth’s first introduction to the colorful and joyful universe The White Stripes reside. A “hallelujah” inducing a burst of secular gospel from the pen of Jack Whiteit’s an ode to platonic romance carried by the drummer Meg Whitethe frenzied bashing and the guitar so drenched in fuzz it sounds like it was recorded through a broken speaker. A clipped and concise shockwave of 2:04, she has the delirious spirit of Little Richard and was the first step towards the re-popularization of the 21st century punk garage. It also serves as the first glimpse of Jack’s idiosyncratic conceptual brilliance.

The Libertines – “Don’t Look Back at the Sun”

The fourth single from the dilapidated and heartfelt British mechanics on the sleeve the libertines, “Don’t Look Back at the Sun” is also arguably their best song. Produced in a dense, compressed scream by the ex-Sweden guitarist Bernard Butler, the track lifts and breathes anxiety over the fame the quartet had just achieved. Yet he simultaneously celebrates it, feeling like he worked hard for it and deserved it. Yet even if it had been the Pete Doherty and Carl Barat-led only recording of the quartet, it would have ensured their legend. As it is, it’s a major cog in their ongoing romance with mythical Britain.

The Linda Lindas – “Racist, Sexist Boy” (Live At LA Public Library)

With “Racist and sexist boy” recorded live last year at the LA Public Library modern teenage riot grrrls the Lindas Lindas amply demonstrate the continued vitality of raw punk. Written in response to racist comments from one of drummer Mila de la Garza’s classmates before the COVID-19 pandemic, the video of the performance has become a viral sensation. Several have complained online about their lack of experience, but just as many have praised him, including notables ranging from Thurston Moore for Kathleen Hanna to the author Viet Thanh Nguyen, who called it “the song we need right now”. Best of all, the Linda Linda are including a studio version on their upcoming debut album, but this one is just as insane as ever.

Four classic rock bands will take the stage at United Wireless Arena – Dodge City Daily Globe Tue, 08 Feb 2022 12:04:17 +0000

Vincent Marshall Dodge City Globe

Do you live to rock? Well, there’s a tour for that in Dodge City as the Live to Rock tour of classic rock bands Skid Row, Quiet Riot, Warrant and Winger hits the United Wireless Arena in Dodge City on Saturday, May 7, featuring the show starts at 7 p.m. and doors open at 6 p.m.

Tickets go on sale Friday, February 11 at 10 a.m.

Tickets can be purchased by calling the United Wireless Arena box office at 620-371-7878 or online through the UWA website at or through

Ticket prices are $49 for bowl seats or floor access and $65 for VIP pit access.

According to UWA officials, VenuWorks, there will be no seating on the arena floor, only standing room. Arena staff will take the necessary health and safety precautions as the entire arena will be sanitized before and after the show.

For those unfamiliar with bands (i.e. kids), Skid Row started in 1986 in New Jersey and went on to land Top 10 singles plus gold and multi-sales. platinum, including Billboard’s #1 album “Slave to the Grind.” .”

Not to be outdone, with their debut album reaching double platinum, Warrant achieved international acclaim that has continued over the past 30 years, reaching sales of over 10 million copies.

Also in 1986, former Alice Cooper bassist Kip Winger, formed his band Winger which gained popularity in glam and progressive metal, earning the band a nomination for Best New Heavy Metal Band by the American Music Awards in 1990.

A legacy that’s been around since the 1970s, Quiet Riot was formed by Randy Rhoads and Kelly Garni who later released their breakthrough album, “Metal Health” in 1983. This album would go on to become the first heavy metal album to reach the top of the charts. Billboard charts.

A few lineup changes later, the band continues to perform, including new music coming with this 2022 tour.

Get your tickets when you can before your parents. To contact the author, email

The punk-rock career of star Shane West’s ‘A Walk to Remember’ Mon, 17 Jan 2022 08:00:00 +0000

What happened to Shane West?

Ryan Gosling, Channing Tatum, Liam Hemsworth and Zac Efron have all won hearts in the film adaptations of Nicholas Sparks’ best-selling novels. But before these dreamy leading men could set out to wow viewers, actor Shane West helped lay the groundwork for the Sparks film subgenre when he starred opposite Mandy Moore in one of first adaptations of the author’s work: 2002 tearful teen An unforgettable walk.

By the time West landed the role of Landon Carter in the teen romance, he had already spent years building a name for himself in the industry. The budding star’s resume included cameos like boy meets the world and buffy the vampire slayer. He has also appeared in teen-centric films such as Everything that’s necessary and Move on.

Corn An unforgettable walk took West’s career to the next level and cemented his scene-stomping status.

Her success in the industry continued long after stardom. West continued to appear in The League of Extraordinary Gentlemen and Emergency room in the 2000s. After that, he booked long-term work on TV shows such as Salem, Nikita and Gotham.

A look at his profile on IMDb promises more acting projects to come. But what makes his career doubly impressive is that he has balanced his remarkable success in TV and film with his equally impressive musical ambitions.

Yes, you read that right. Shane West is a double threat.

Early pop fans will hopefully remember West co-starring in a music video with fellow pop star Mandy Moore. His bubblegum ballad “Cry” landed on the An unforgettable walk soundtrack, and they bonded over the accompanying visual.

Mandy Moore’s “Cry” Video

What fans may not realize is that Moore wasn’t the only musically inclined star in the film. Where is Also appeared on the soundtrack.

At the time of An unforgettable walk, he was the lead singer of a punk rock band called Johnny Was (formerly Average Joe). west said Buffalo News that the film’s director Adam Shankman was a fan and wanted to feature one of their songs in the film.

The Track – “So What Does It All Mean?” – was not credited to Johnny Was. Instead, it appeared on the track listing under the band members’ surnames: West, Gould, Fitzgerald.

Their spunky bop was featured at the very beginning of the classic film and was just the start of West’s musical career.

“So what does it all mean” An unforgettable walk

West was clearly doing things as an actor. But he came to music even more naturally; one could even go so far as to say that it was in his blood.

In 2008, he tells rolling stone that both his parents were in punk bands before he was born and that he grew up inspired by their musical tastes.

“I’m very influenced by the Clash, [that] Like Generation X Sex Pistols of punk rock,” he explained to Buffalo News.

How did he describe Johnny Was? “We have a pop side but we’re more punk,” West said. “We’re not as edgy as Rancid, not as mainstream punk as Rancid but more edgy than Blink-182 and Simple Plan and those types of bands.”

Unfortunately, the band’s music is not available on Spotify today, and the band is no longer together.

However, the end of Johnny Was was not the end of West’s musical career.

The same year as his rolling stone interview, he starred in What we do is secret, an indie biopic centered on the punk band Germs who took over the Los Angeles scene in the 70s. He starred as the late singer Darby Crash.

West was so natural that he was invited to play with the other members of Crash’s band. After performing together at the film’s closing party, they lined up several more shows and toured.

Things started badly but ended up being a great success.

“When it started, everyone was suspicious. It’s not something that normally everyone would have thought would have happened, so there was a lot of negativity. At the start, the crowds were 80 negative. % and I was fighting for my life,” West said rolling stone. “It’s come down to about 10% negative, which is great. It’s never going to be 100% positive, but now the fans have seen us do the show and they know it’s going to be a good one. They know it’s okay. be tight and sloppy in the essence of germs.”

He went so far as to list the performance on the closing night – his first set with Germs – as the coolest night in an interview with Charm.

“There have been Emmy or Oscar nights over the years where I’ve stood next to Sean Penn or Kevin Spacey, and those are phenomenal, geeky moments,” he explained. “But when you put your heart and soul into the music and they’re there to support you, it’s pretty awesome.”

As a member of Germs, West performed on the Vans Warped Tour in 2008. He was successful while working as an actor…pretty impressive if you ask us!

West continued to talk about the differences between acting and music in interviews at the time. While he was very successful in the acting world, music clearly had his heart.

“There is no better experience than being on stage,” he said. tv guide. “At a gig, you know if you’re good or bad right away – you don’t see your performance later and you’re like, ‘Oh great, that sucks,’ and for a whole year, I I thought that was pretty good.”

When West’s time with Germs ended, he was far from done with the music industry.

In 2016, he became the leader of a new group: Twilight Creeps. The band dropped their self-titled debut album that year, and a second effort followed in 2019. They even released a spooky Christmas song in 2020.

Twilight Creeps “Poison in the Mistletoe” video

Twilight Creeps is still releasing music today. The band’s latest album, Ghouls, ghouls, ghouls, arrived in early 2021. The group closed last year by announcing performances on Instagram.

Meanwhile, West welcomed 2022 with a reflective message on his personal page.

“It’s been a hell of an adventure but I’m proud of it and can’t wait to see what’s next,” he wrote. Hopefully there are plans for even more music on the horizon, but we’ll have to wait and see!”

Mandy Moore over the years

Brighton and Hove News »A night of loud punk rock music in Hove Mon, 25 Oct 2021 15:33:13 +0000


Jimi from Top Left Club live at Brunswick Basement Bar, Hove 23.10.21 (photo Watkins cris/PunkInFocus) (Click on the photo to enlarge)


Local concert promoters Weirdsville and Stay sick tonight put a trio of punk rock bands in front of Brunswick Cellar Bar at 1-3 Holland Road, Hove, BN31JF.

The line-up presented TOP LEFT CLUB, OHMNS and HUMAN INVENTION.

Alannah and the other members of the crowd are having fun tonight at Brunswick Basement Bar, Hove 23.10.21 (photo Watkins cris/PunkInFocus) (Click on the photo to enlarge)

Surprisingly tonight was my very first gig there and I wasn’t sure what to expect from this bustling pub and popular music venue, which was built in the 1930s. Brunswick is a charismatic building striking with traditional curved bay windows, turreted roofs and brass crittall style windows. Much of the original paneling (the same as used in the Orient Express) has been salvaged and restored throughout the building. They have two areas that can accommodate music, the main wing at street level with a capacity of 130 and the Cellar Bar in the basement. Being a loud punk rock night, we were confined to the hidden Cellar Bar.

With drinks purchased from the main bar at street level, we bypassed the restroom and carefully descended the steps into the bowels of hell to the compact Cellar Bar, which as you would expect is a cellar with a small bar.

Human Invention live at Brunswick Basement Bar, Hove 23.10.21 (photo Nick linazasoro) (Click on the photo to enlarge)

The first tonight are HUMAN INVENTION which is a Brighton-based post-punk hardcore noise group made up of Andrew Burton (guitar and vocals), Matt Powers (bass and vocals), Mat Brannagan (guitar) and Danny Barnes (drums). The quartet formed last year and tonight was their fourth concert.

These almost middle-aged gentlemen opened their shop at 8:27 p.m. and blasted punters with their noise mark, which was as you would expect a good ol ‘decibel due to the nature of their chosen style as well as the tomb-shaped room. The longer their set lasted, the more compact the room became and, therefore, the better they improved.

Vocal duties were shared between guitarist Andrew and bassist Matt. I sometimes thought Matt’s tones were a bit similar to Robert Smith from The Cure, but the music was most definitely different. They blew up their set of seven songs, which included a still unnamed composition midset. They ended their set with an instrumental number entitled ‘Wasteland’ and after 29 minutes, at 8:56 p.m., they were done.

List of Human Inventions:
‘Old no. 1 ‘
‘Hove Mind’
“Frankie and Cator”

Find them on Instagram.

OHMNS live at Brunswick Basement Bar, Hove 23.10.21 (photo Watkins cris/PunkInFocus) (Click on the photo to enlarge)

On the concert advertisement before tonight, the main act was billed as OHMNS, but they were the next to take the stage instead of last.

In their hometown of Liverpool, the OHMNS helped form part of a wild but fertile kraut-infused garage punk mini-scene with their explosive, raucous and at times downright wacky live performances. It looks like they’ve also put together a garage punk fanzine with other bands on the scene, which is pretty admirable. Discover the fanzine HERE.

OHMNS live at Brunswick Basement Bar, Hove 23.10.21 (photo Watkins cris/PunkInFocus) (Click on the photo to enlarge)

Tonight was OHMNS’s very first time at Brighton & Hove for this male quartet and they opened their account at 9.20pm and performed eleven numbers selected for the bustling cellar bar room. The lineup includes Quinlan alias ‘Brisket’ (vocals / guitar), guitarist Kendall alias ‘Dadhug’, bassist Ali alias ‘Krazz’ and drummer Kingy alias ‘Mumkiss’. I believe their nicknames are a cryptic set of bowling references.

OHMNS live at Brunswick Basement Bar, Hove 23.10.21 (photo Watkins cris/PunkInFocus) (Click on the photo to enlarge)

Their raucous garage rock set started with “Nightmare Trail” who saw bassist Ali’s ominous vocal prowess. Fortunately, the next number ‘Dece Bece Crece’ saw guitarist Quinlan take over, but his was initially a bit quiet compared to the instruments. However, this problem was quickly rectified by the sound engineer at the back of the room.

OHMNS live at Brunswick Basement Bar, Hove 23.10.21 (photo Watkins cris/PunkInFocus) (Click on the photo to enlarge)

To be fair, the offbeat beats emanating from OHMNS were extremely average on some songs and much better on others. There is a vintage punk to screaming punk vibe that comes down with this bundle and they kept their best numbers until the end. The best being the final number ‘Curfew’ and after a close second was the penultimate number ‘Tito Puente’. They finished beating our ears after 31 minutes and started tidying up at 9:51 PM. It’s time for another beer after that!

If you want to know what they look like including their latest single ‘Tommy Knockers’, then go to their Bandcamp page HERE.

OHMNS live at Brunswick Basement Bar, Hove 23.10.21 (photo Watkins cris/PunkInFocus) (Click on the photo to enlarge)

OHMNS song list:
“Nightmare Trail”
‘Dece Bece Crece’
“Wrong way home”
“Paul is sure”
“Shot of punches”
“View from here”
‘My boy was there’
“Shit eye”
‘Tito Puente’

Top Left Club live at Brunswick Basement Bar, Hove 23.10.21 (photo Watkins cris/PunkInFocus) (Click on the photo to enlarge)

By default, tonight’s title act had changed to the Brighton-based Marvel. TOP LEFT CLUB which presents the two members of SKINNY MILK, namely Johnny Hart (bass and vocals) and Tim Cox (drums) as well as MacDaddy (guitar) and Jimi Dymond (YAMAHA Reface DX keys and vocals instead of bass), Young Francis Hi Fi.

TOP LEFT CLUB kindly performed their 20 song set for us tonight, which started at 10:08 pm and ended 40 minutes later. So, calculating the average timing, each track would only last 2 minutes or less, which vintage-style punk rock should be.

Top Left Club live at Brunswick Basement Bar, Hove 23.10.21 (photo Watkins cris/PunkInFocus) (Click on the photo to enlarge)

It was my second serving of TOP LEFT CLUB this month and based on my first meeting I knew exactly what I was going to get …… a really awesome set! The guys again this time certainly didn’t disappoint as I heard five tracks that I hadn’t heard the last time I met them. Their first live performance was behind closed doors during lockdown, when the guys performed for the FourFace video cameras at Concorde 2 in July. Their three songs will hopefully surface on the FourFace Digital channel very soon.

I am totally amazed by my vinyl copy of Top Left Club’s ‘Shoulders at 90’ debut album, which can be found on their Bandcamp page HERE.

Top Left Club live at Brunswick Basement Bar, Hove 23.10.21 (photo Watkins cris/PunkInFocus) (Click on the photo to enlarge)

They can also seriously cut mustard live. Here is a group that really needs to be seen by the masses at the annual meeting. Rebellion punk festival held in Blackpool. It’s the mecca of punk and the biggest punk gathering that these shores have to offer and TOP LEFT CLUB deserves to share the stage with the most established punk bands. Punks will be immediately taken aback as they don’t walk the scene with their studied leather jackets, split t-shirts and ripped jeans. Oh no, this lot wears shell suits as a total juxtaposition of their heavy sound. Rest assured, TLC is 100% retro punk. They are the purveyors of a sound that until now had only been heard on punk vinyl records recorded until February 1977. They captured that nostalgic sound to perfection. Of course, it could have something to do with the fact that their first album was written and recorded in Johnny’s living room in just 8 weeks.

Tonight’s set started with Jimi saying “We are TOP LEFT CLUB, you are the people of the basement” and the guys adopted a capital ‘T’ shaped body pose, which is the first of their trio of moves, “Get up, hide, 90” we were informed by Jimi. This joins the title of the album ‘Shoulders 90’.

Top Left Club live at Brunswick Basement Bar, Hove 23.10.21 (photo Watkins cris/PunkInFocus) (Click on the photo to enlarge)

The quartet have been prolific lately and already have enough material for a second album, which everyone agrees has already been recorded. I can’t wait for this one. It’s fair to say that any tracks performed tonight that aren’t on their debut album will more than likely come out on the follow-up, which is certainly not a tough second album.

Their ‘sound’ seriously reminds me of the Heartbreakers, the early Damned (especially Johnny’s vocals), the Ramones, the Stiff Little Fingers, a heavier version of The Clash and The Stranglers, as well as the vibe of the Rezillos mixed with the New York Dolls. , and the Stooges.

Top Left Club live at Brunswick Basement Bar, Hove 23.10.21 (photo Watkins cris/PunkInFocus) (Click on the photo to enlarge)

The notable songs from tonight were ‘Teddy Biscuits’, ‘Shitbag’ (even if the voices were missing a few seconds at the beginning), the “Ballroom Blitz” –esque ‘Initial hum’ and ‘Slugs’ with its intro which looks a bit like the Siouxsie & The Banshees version of ‘Helter Skelter’. They are a joy to see and that includes Jimi’s echo style announcements between tracks.

This is a group not to be missed and so I warn you guys are going to blow up their exciting game to the lucky bettors at Hope and ruin on Saturday November 6. And get this, it’s a free entry concert as it will be held at the bar on the street level and not in the concert hall upstairs. Things start at 9 p.m. We’ll see each other there!

Club setlist top left:
‘Speak speak’
“ICU tonight”
‘No control’
“Shark’s eye”
“Shake my brain”
‘Teddy Biscuits’
“Poop bag”
‘Initial hum’
‘Tie me Up’

Tonight’s concert flyer

The Top Left Club setlist

OHMNS setlist

Set the hours

Attend the Top Left Club concert in Brighton on November 6, 2021 at Hope & Ruin


]]> 0
Punk Rock Bowling 2021 – Day 1 – Live in Las Vegas Wed, 20 Oct 2021 04:00:00 +0000


If you don’t come to Punk Rock Bowling to do some damage then you are not doing the PRB properly. And by “pity” it is in Keith Morris / Chuck Dukowski’s sense – the desire to make the most of a situation. Fortunately, at PRB there is a lot of fruit to pick. Who would be the best headliner? Who was the secret guest? How would Blag Dahlia manage to make a set of three hours during brunch? Who in their right mind would go into the pool with hundreds of other punks (cleanliness being extremely suspect)? This is why, to live fully, we must accept that there is no time to rest, and only time to relax.

That’s why as soon as I touched the ground Thursday night, I rushed to my hotel. I kicked open the door to my room, threw my bags inside, then sprinted to “The Place on 7th,” the newest PRB affiliate site. I broke in just before the punk legends of the first wave Fear took the stage. The TPo7 is a great indoor venue that actually has an outdoor stage, giving it the intimate setting of a club, without the humidity, cigarette smoke, and generally the feeling of cave dwelling. Fear came out and Lee Ving was in classic style. His voice is still a blown airhorn and the band crushed around two dozen slammers with most of the tracks from the debut album. Fear was exactly what fear should be: loud, cowardly, sloppy, and destructive. There’s a reason legends are legends.

The next morning I ran into one of the two branches of Zia Records, the best record store in Vegas and one of the best record chains in the world. As usual, I had a lot of cool CD finds (Imported Rolling Stones releases, Roots Radics 12 inch dub) and some very cool record finds (Sloppy Seconds, Coathangers.)

Finally, Punk Rock Bowling was ready to start in good standing! the darts kicked out a high-energy garage meets a punk ensemble. Bad cop / Bad cop, which drew a huge crowd on the side stage, tore up a sweet yet political pop-punk ensemble. One wonders if they will be charged much more, the next awards ceremony. Todd C’s FYP were a surprise to see on the main stage and they rose to the mark. FYP was a curious line between the punk / hardcore charge of the first wave and the more accessible pop-punk style sound of the ’90s. Plus, since bands tear up high-energy song after high-energy sound, it can be difficult to translate that sound out of the club. FYB had no problem with that and wowed the crowd, sort of bringing the large field back to the basement.

Back on the small stage, PEARS brought their self-destructive sound, but somehow accessible. At this point, the band has come out on top and are in the rarefied position of having already had to hurry before playing a note. To that end, they performed with confidence and ease, oscillating at times between tight musicality and loose punk chaos. Back on the main stage, Dillinger four did what they do and the crowd was in it. Unlike PEARS, who seem to slide in and out of control, D4 has carved out a niche for themselves where they are totally in control of their instruments, but they give the impression that they are not in reality.

Back on the side stage, the crowd had completely packed for the dwarves, one of my most anticipated sets. The band don’t tour the east coast a lot so it was a rare chance to see them in action. The group has already mentioned that in a festival they play to win. Well, the Dwarves actually came to fight. The group has followed a most successful strategy and has gone from basher to basher – and the group has a lot of bashers. In fact, even their latest albums made it into the hit set and the latest jams “Sluts of the USA” and “We Only Came to get High” hit as hard as mega classics like “I’m in love with the USA. everyone’s daughter ”and“ backseat of my car. ”As they are used to, the band applied a pop-punk style to their hardcore jams to make them really bounce in the crowd and a hardcore style. to pop-punk tunes to make the catchiest tracks particularly hit. Singer Blag Dahlia sounded great and served as both a ringleader and hypeman for the dwarves, repeatedly shouting “Dwarves are rock legends.” And “The Dwarves are the greatest band ever.” Well, it’s nice of Blag to say that, but it was even nicer that the live PROVEN it. One of the highlights. weekend for sure!

Back on the main stage, the Menzinger played in front of a very large crowd and has huge video effects behind it, to the point that they really looked like an arena rock band – add to that some ‘crowd participation’ games as well, as anyone sees it. what a great rocker. They do what they do well, but that’s just not my thing – there’s not enough raw power or danger… or damage so to speak. To each his own. In stark contrast to the great lights reaching Menzos, Homosexuals were back on the side stage and performed through a full set of classic Queers tunes in a high-energy style in the basement. It was quick and eye-catching, as they should be.

As the night dawned Frank turner was back on the main stage. He cut a few jokes about being English as he usually does and talked about finally being able to play live music again. I thought about doing an “unbiased, objective” style review (which is an oxymoron in itself). So I’m just going to say this. My buddy and I weren’t in this set. It was slow or mid-tempo, soft to the point of being soft rock, and just wasn’t inspiring. And not that slow, smooth music is boring per se – Stevie Wonder’s sweetest tracks are some of the greatest songs of all time. But, this set appeared to me later than Sting than Stevie. My friend accepted. I just don’t understand and I don’t understand how it’s not classified as adult-contemporary. For me there was no fire, no surprises, no soul. But, we were clearly in the minority as Turner performed to enthusiastic applause like it seemed like a real rock star up there. I do not know what to say. I guess it’s me, not you. Back on the secondary scene, Anti flag performed in front of a large audience. They were energetic and passed broad sentences. It was good, even if it was a bit the same.

To crown the first evening of the festival itself, Descendants flew over a wide range, mixing hits and their band’s new album, 9th and walnut. I have now seen the Descendants three times, and each time they have been very good. At PRB, they were EXCEPTIONAL. I don’t know what it was – maybe because they were a substitute, they felt they really had to break everything. Maybe they were just really on point. The crowd was delighted. Singer Milo had a water bottle wrapped around his chest like an ammo belt and he was having drinks between songs – it was adorably comical. They released 30 massive songs, but it was so excited that the set looked like it was done the way it started. In fact, the group seemed to be surprised that they had already gone through thirty songs when their energy at the end was even higher than before. Of course, it’s good when legends are legendary.

After the festival itself was over, I took the plane back to the venue on the 7th. I arrived just in time to see Dog party. The duo have been rocking for almost a decade now and they are refining and refining their perfect rock essence (with a bit of country here and there). The band have new songs and they sound better than ever. The band have really proven themselves with their last three albums and they did it again with a quick and supercharged set at PRB. After the dog festival, Wicked jeans came out in great shape. You can never tell if the band is playing or really is a crazy bunch – on stage they debated which songs to play, and even said something like “we have some great songs to play for you, but we. will play a few more first. Of course all of their songs are pretty rock and awesome. The band is surprisingly able to walk the line between Ramonescore and 80s cheese rock without falling too far into either. They played some jingle tunes as well as their hardest hits like “Tears in my beer”. In fact, they rocked it so well that it suggests that the knucklehead act is just that… and “Act”.

The evening ended with one of PRB’s biggest surprises. Lunachicks headlining the club’s show and it was their first set in nearly 20 years. Honestly, I didn’t know them much before the shoot and after that I was a big fan. Wearing daytime outfits, the band broke up the ’90s punk style (with a bit of grunge and harder metal here and there) and took a crooked stance on riotgrrrl music and feminist music while still being really , really funny. “Jerk of all trades” was a particularly important number, as were the moments when they really did come down and crash, powerful and punchy destructo sounds. It’s great to see your favorite bands destroy it at PRB. It’s also great to see bands that you don’t know do the same.

After hanging out with a few friends for a bit longer, I collapsed between 4 a.m. and 5 a.m., with the alarm optimistically set for 10 a.m.… other record stores were waiting the next morning…


]]> 0
Brighton and Hove News »A Christmas punk rock concert announced for Brighton Mon, 18 Oct 2021 15:01:20 +0000


Peter from Test Tube Babies

These adorable local punk herberts, Peter and the test tube babies (Peter, Del, Nick and Sam) announced their annual Christmas concert in Brighton. Yeah, I know it’s a bit early to talk about the party and all Christmas stuff, but the concerts last year were sold out so if you don’t get there early and early you will be missing out !

The iconic ’70s and’ 80s punk rock band will celebrate over 40 incredible years of chaos this year and will return home on Friday December 28th at Prince Albert.

Del Greening from The Test Tube Babies

Del Greening, founding member of Test Tube, told us: “We missed seeing you all at our Christmas party last year, apparently there was some kind of global pandemic going on, anyway it’s gone now (cough!) So we can’t wait to see you on the Tuesday, December 28 in the mosh pit with Malodorant and co! ”

Since their debut album in 1982, The Tubes have released thirteen other albums, the most recent being the much-acclaimed, ‘This shallot’, in 2017.

The fish brothers

Special guests will be notorious ‘Brighton legends’ The fish brothers that amazed, amused and offended thousands of people on their travels.

Take your tickets HERE and HERE.

Read more about Peter & The Test Tube Babies at

Prince Albert will host the concert (pic Nick linazasoro)


]]> 0
10 obscure but brilliant Japanese psych rock bands – including the original Ghost Tue, 12 Oct 2021 07:00:00 +0000


As krautrock took hold of the traditionally-bound German music scene in the late 1960s and early 1990s, a similar psychedelic revolution was taking place in Japan – diverse but complementary, utopian in spirit, but finding this sense of wonder in legendary pastoral pasts as well as legendary futures. This urge to explore has continued to this day, making Japan one of the richest sources of psychedelic rock in the world.

Taking inspiration from this scene, as well as compatriots such as Motorpsycho, Norwegian Kanaan marks his next kaleidoscopic album, Tied to the earth, as well as just released a new single, Pink riff, by commissioning bassist Eskild Myrvoll to choose the best and weirdest psych rock bands that have brandished their prisms in the land of the Rising Sun.

According to Eskild: “Choosing only 10 groups for this feature was a struggle, but I defined ‘psych’ in the broadest sense of the word to be able to include some of the groups that inspired me the most and who had the most influence on Kanaan in terms of musical audacity and pure sonic exploration. My interest in Japanese music started with my love for noise music many years ago, but across all genres the Japanese music scene is a constant source of excitement and discovery for me. I dare say that this stuff has been very important for our band in recent years as well, both in our compositions and in the state of mind with which we approached recording and improvisation, and certainly in the sound we had in mind when recording our new single. , Pink riff. “

Stronger line break

1. Temple of Acid Mothers

One of the definitive Japanese psychedelic rock bands of all time, which over the past 25 years and under the command of guitar magician Kawabata Makoto has released a multitude of recordings under several different aliases and with a range Almost endless of collaborators, ranging from the legendary Gong and Soft Machine founder Daevid Allen to adoring Philadelphia psychedelic rockers Bardo Pond. For me, their extensive song-based improvisations and heavy references to Western and Japanese rock culture have been a portal to a whole new world of psychedelic music and new inspiration for playing and recording psychedelic rock. For Kanaan, they have a strong influence in how they’ve managed to cover so much musical ground while still staying true to the nature of the AMT project, something we’ve always aspired to do – to be stylistically diverse, but still maintain l spirit of Kanaan.

2. The Naked Rallizes

Not a psych band in the truest sense of the word, more like “the craziest psychedelic noise rock band with doo-wop basslines you’ll ever hear”. For a band whose only material available is live bootlegs and whose leader has not been seen since the 90s, they have acquired an extremely solid international audience, and rightly so. Once I understood the beauty of the Rallizes and learned to appreciate the weight of their lo-fi sonic attack, I was destined never to return to the normal world again. For the ultimate hearing overload, listen The night of the assassins of the well-titled Heavier than a death in the family.

3. Flower Travellin ‘Band

Julian Cope’s striking cover photo Japrocksampler book (and theirs All over debut album), where the band is seen riding naked on motorcycles along a Japanese highway caught my attention and immediately interested me in the band’s music, which didn’t disappoint. Heavy psychedelic rock, with a very strong English inspiration to begin with (the aforementioned album contains covers of Black Sabbath and King Crimson), before they managed to appropriate the style on the much more adventurous and diverse field. . Satori album.

4. High height

Appropriately named Psychedelic Speed ​​Freaks before they changed the band’s name to High Rise at first, their first name is probably the best description you can get of the music contained here. Crazy psychedelic garage rock, delivered with relentless energy and overwhelming volume, if their extremely lo-fi ’80s recordings give the right impression of what it was like to live a show with this power trio. It’s one of the best musical discoveries I’ve made across the psychological spectrum and it fills me with joy every time Munehiro Narita embarks on another creepy guitar solo. The energy of these recordings was definitely an inspiration for our song. Pink riff, even if we were aiming for a little more hi-fi sound for our recordings!

5. Kikagaku Moyo

A more recent addition to this list, but this group has probably drawn more people to Japanese and Asian music over the past five years than any other group here. A coherent discography that mixes influences of psych, jazz, krautrock and traditional Japanese music with great taste, and a great live band that has been an inspiration for us too. Kikagaku Moyo also runs a label called Guruguru Brain, which offers quality psyche from a diverse roster of Asian bands. We were supposed to share a scene with them in Norway this summer, and it’s easily one of the shows we’ve been most disappointed with to have been canceled throughout the pandemic.

6, Taj Mahal travelers

In the truest sense of the word “psychedelic,” Taj Mahal Travelers might be the most psychedelic band on this list because it really could be music to take you to another dimension. Improvised drone music that has a few ambient qualities, but the musicians know all about how to pull the performance into a darker, more unsettling place as well. This loosely united group of musicians toured the world playing in art galleries and performing outdoors in the early 1970s, with some of the instruments including trumpet, double bass, synth and branches. tree (!). Finding out that one of their most acclaimed live recordings was from a concert in Sweden also brought me a little closer to the Japanese psychedelic scene.

7. Far Eastern Family Band

One of the most amazing discoveries I made in Japanese music was the 1976 Far East Family Band album. Parallel world, produced by none other than krautrock godfather and synthesizer guru Klaus Schulze. Their albums from the early ’70s are pretty good as well, but on this album they really turned their music into an immersive and trippy listening experience in the best possible way. Ambience sections, progressive breaks, spellbinding drum grooves – this band has it all! As I usually do synth overdubs on Kanaan albums, the calm and grace of the synth work on this album (courtesy of Kitaro, who went on to make an international career in new age music) as well. been an influence to add that feel to parts of our own studio work.

8. Ghost

Not to be confused with the self-conscious Swedish rockers of the same name, this psychedelic folk group led by Masaki Batoh has produced a number of quality releases since their eponymous debut in 1991. From acoustic jams to full-fledged fuzz freak- outs and sometimes reminiscent of krautrock pioneers Amon Düül II, this band has something for anyone interested in the psyche. their song I stole from the eponymous album is simply one of the most beautiful songs I have ever known – a gem of a psychedelic folk song, as good as I have ever heard anyone do.

9. Fushitsusha

Hearing this band for the first time a few years ago opened my eyes. The shifting line-up is primarily noise rock legend Keiji Haino’s vehicle for creating raw, unbridled noise rock from the ’80s and until today. Improvised, devastating and somehow still rock’n’roll in the most extreme sense of the word. Kaiji Haino is definitely an inspiration in how he has such a strongly defined musical character that shines through in every project he’s involved in.


Another group following the classic “Create a mock band for a photoshoot and end up as an extremely diverse group immersing themselves in psychedelic rock, tribal jams, vocals and abstract sound painting”. Led by Yoshimi P-We, best known as Boredoms’ longest-serving drummer, a very exciting band who always seem to keep a keen eye out for new musical experiences.

Kanaan’s album Earthbound is released on November 12 via Jansen Records. Pre-order it on the Kanaan Music Camp Page. Pink Riff’s single is out now.


Robert Plant says old rock bands look “decrepit” Mon, 13 Sep 2021 19:43:28 +0000


Led Zeppelin will always be one of the greatest rock’n’roll groups in musical history, even if his own Robert Plant sometimes doesn’t care. Plant has always criticized Zeppelin. There are songs he really likes, like “Kashmir”. But there are also songs he absolutely despises, including one of Zeppelin’s greatest hits, “Stairway to Heaven”. He donated to a radio station that promised never to play the song again.

However, while Plant clearly struggled with his own legacy and the legacy of his famous rock band, he never stopped performing some Zeppelin songs. Which is ironic considering that Plant has just cast a shadow over old rock bands that still perform their old hits.

Robert Plante | Per Ole Hagen / Redferns

How did Led Zeppelin break up?

Led Zeppelin has been together for 12 years. They recorded 8 studio albums, 4 live albums, 9 compilation albums and 16 singles during their time together. They have toured around the world and released a popular live concert film called The song stays the same in 1976. Unfortunately, the group did not survive after 1980.

The biggest catalyst for the band’s demise was their drummer, the death of John Bonham that year. He died accidentally on September 25, 1980, of pulmonary asphyxia. Bonham was a heavy drinker. He drank 40 shots of 40% ABV vodka the night he died, which Express said “equates to almost a liter and a half of a drink.”

Instead of replacing Bonham, Led Zeppelin chose not to continue without him and therefore disbanded. They issued the following statement, announcing their end: “We wish it was known that the loss of our dear friend and the deep respect we have for his family, as well as the feeling of undivided harmony felt by us- same and our manager, led us to decide that we could not continue as we were.

Following their decision, the remaining members of the group embark on their solo careers, which is initially difficult for Plant. In 1988, Bonham’s son Jason began performing with the other members of the Zeppelin at various performances. In 2007, Jason joined the group again during their reunion concert in London. But when he approached Plant to get the group back together, Plant said he loved Bonham too much to do that. “I can’t go out there and pretend. I can’t be a jukebox, ”he said.

RELATED: Robert Plant Recalled His John Bonham ‘Over-singing’ and ‘Over-playing’ Days

Robert Plant found success with Alison Krauss

Plant started recording and performing with bluegrass singer Alison Krauss in 2007. Their debut album was Sand rising, which consists of blankets. The song “Gone Gone Gone (Done Moved On)” won a Grammy for Best Pop Collaboration with Vocals the following year. Sand rising also won the Grammy for Album of the Year.

According to Plant, he and Krauss work so well together because of “what they don’t know.” Speaking to MOJO, Plant explained, “When I spent that first year or so with Alison, I was so in awe of America. I thought I shot America down, but here is this whole country music world. that I hadn’t met. That’s the great thing about me and Alison – we are ably supported by a world of beautiful music that either of us is unfamiliar with.

Robert Plant recently cast a shadow over old rock bands

Talking about their new album Raise the roof, which comes out on November 19, Plant couldn’t help but compare his collaboration with Krauss to others.

Since his collaboration with Krauss is so fresh and straightforward, it makes Plant reflect on other bands that started decades ago and are still together, doing the same old things. “The good thing about Alison and I is we’re two soul mates,” he says. “Most of the musicians form a band, then they stay in the band until the end – 20 years, 30 years, 50 years, whatever – and it starts to look sadly decrepit. It is as if people are hanging onto a life raft or staying somewhere comfortable.

It more than likely casts a shadow over old bands like The Rolling Stones, U2, Aerosmith and The Who, which are still on tour long after their 40th birthday. Plant may have a new face to guide him into new eras of the music industry, but he still plays his old tracks in concert. He and Krauss occasionally play Zeppelin tunes on tour, and Plant has reunited with his former bandmates more than once since 1980. Zeppelin reunited in 1985, 1988, 1995, and 2007, despite Plant’s views on the playing hits at an older age. He thinks it might crush their legacy.

RELATED: Why Led Zeppelin Bristled To The ‘Heavy Metal’ Label From The Beginning

“So, is it someone’s age, their looks, the songs they play, or just their decision to play with their original mates that makes heritage bands so hard for Plant to watch?” »Consequence of sound writings. “It’s a pretty dark position to take, and I hope it’s proven wrong by the simple fact that if you can still play music with passion, it surely can’t hamper your legacy in a negative way.”

We’re not exactly surprised by Plant’s comments. We’re used to his intermittent love for Zeppelin and his contradictory statements. Plant is not fooling anyone. He will still sing “Stairway to Heaven” as long as Mick Jagger sings “Jumping Jack Flash”.


]]> 0