LIVE REVIEWS, JANUARY-JUNE 2017.
DIABOLUS INCARNATE / PRAESEPE. The Unicorn, 6/1/17. I had expected that my first gig of the year would be The Boys, later this evening, but it turns out that there’s a Black Metal gig happening at the Unicorn and, as my friends Gaye and Eric are going to be there, I decide to meet up with them before going to the other gig. With five bands on the bill, this was an early start and it’s also free admission, so it makes a good opportunity to check out a few of the bands as well as having a couple of beers with the chaps. The first band, Diabolus Incarnate, are just starting their set when I arrive. Now, I don’t know all the different sub-genres of Black Metal and I probably still wouldn’t be able to tell them apart even if they were explained to me, but overall, it’s a style of music that is undoubtedly powerful, especially in a live situation, and the better bands often add a more interesting experimental angle. In the case of Diabolus Incarnate, they veer in a more Classical, symphonic direction that allows subtle melodies to infuse the songs alongside the pummelling riffs. They’re actually pretty impressive, especially witnessing the huge sound they create in such a close-up environment. I’m not sure if I’d enjoy a whole evening of this kind of music, but in a sharp burst like this, it’s pretty enjoyable. One final point… although currently based in London, the band originally formed in South Africa, which prompted me to speculate, if apartheid was still in place, would Black Metal be subject to segregation ? Just a thought…
The following band, Praesepe, are similarly based in London although originally from Poland. Again, undeniably powerful, but for me they seemed to lack the more diverse elements that Diabolus Incarnate brought to their music. I didn’t dislike what they were playing, but it lacked the character of the previous band and failed to make an individual impression. Perhaps if I was more familiar with their music, it would make better sense ?
Anyway, at this point it’s time to scurry-off to the next gig…
The following band, Praesepe, are similarly based in London although originally from Poland. Again, undeniably powerful, but for me they seemed to lack the more diverse elements that Diabolus Incarnate brought to their music. I didn’t dislike what they were playing, but it lacked the character of the previous band and failed to make an individual impression. Perhaps if I was more familiar with their music, it would make better sense ?
Anyway, at this point it’s time to scurry-off to the next gig…
THE BOYS. 100 Club, 6/1/17. Despite the efforts of London Transport, I arrive at the 100 Club just as the support band have finished, so I have a chance to grab another beer before The Boys begin their set. The stage is looking a bit crowded this evening, as there are a few additions to the line-up. Firstly, original drummer Jack Black is onstage to provide backing vocals and clearly enjoying being up there whatever the role ! And then, alongside recent recruits Kent and Martin, there’s an additional guitarist in the form of Chips Kiesbye from the Swedish band Sator. He’s already a friend of The Boys, having filled-in for Honest John Plain when he was hospitalized in 2015. On this occasion, he’d offered to be on hand following a recent injury sustained by Casino Steel ! In the event, Cas was able to play the gig, so Chips was invited to join them onstage in his more usual six-string position.
I have to admit, the sound wasn’t great to begin with, but after the first few songs it began to come together and once it settled, the band sounded great. The set mostly featured older material, but there was a good selection of tracks from the recent ‘Punk Rock Menopause’ album such as ‘I’m A Believer’, ‘Global Warming’ and ‘Do The Contract’, which all fitted in perfectly. Of course, The Boys have such a great back catalogue of outstanding songs that they’d be hard-pushed to play everyone’s favourite track, but with a selection that included the likes of ‘Terminal Love’, ‘Cop Cars’, ‘Brickfield Nights’ and ‘First Time’, I doubt that anyone was ever going to complain. I know it’s been said so many times already, but it still confounds me that they never had any hit singles. These are songs that should have been on the radio every day of the week, but for some reason, quality just wasn’t enough. Regardless, those who know the songs still love them as much as when they first heard them and enjoy every moment of the gig. The gig ends with a short but perfect encore, ‘Livin’ In The City’ and ‘Sick On You’. After that, we can all go home feeling happy !
I have to admit, the sound wasn’t great to begin with, but after the first few songs it began to come together and once it settled, the band sounded great. The set mostly featured older material, but there was a good selection of tracks from the recent ‘Punk Rock Menopause’ album such as ‘I’m A Believer’, ‘Global Warming’ and ‘Do The Contract’, which all fitted in perfectly. Of course, The Boys have such a great back catalogue of outstanding songs that they’d be hard-pushed to play everyone’s favourite track, but with a selection that included the likes of ‘Terminal Love’, ‘Cop Cars’, ‘Brickfield Nights’ and ‘First Time’, I doubt that anyone was ever going to complain. I know it’s been said so many times already, but it still confounds me that they never had any hit singles. These are songs that should have been on the radio every day of the week, but for some reason, quality just wasn’t enough. Regardless, those who know the songs still love them as much as when they first heard them and enjoy every moment of the gig. The gig ends with a short but perfect encore, ‘Livin’ In The City’ and ‘Sick On You’. After that, we can all go home feeling happy !
UK SUBS / MENACE / DESPERATE MEASURES. 100 Club, 14/1/17. My friend James is playing drums for the current version of Desperate Measures, so that gave me a good reason to arrive early for this gig. The band themselves originally formed in New Zealand some time in the early 80’s and feature lead singer Eugene Butcher, best known as editor of ‘Vive Le Rock’ magazine. Alongside him, I think there’s only one other original member, but they play a decent set that mostly features their own material. And one of their songs even mentioned legendary Kiwi band Toy Love, so they couldn’t go wrong. Not bad at all.
This is the first time I’ve seen Menace for a while, with only Noel remaining from the original band. But now with an additional guitarist, they still play a really gutsy set featuring mainly their older material. It’s one of those occasions when everything just comes together for them, and it’s great fun. The audience are really enthusiastic, culminating in a boisterous but friendly stage-invasion, and the singalong songs as good as ever. This is the best I’ve seen them since they first reformed and, on this showing, there’s still plenty of bite left in them.
This is also the first time I’ve seen the Subs since new guitarist Steve took over from Jet, and if this is an example of how things are going to continue then the fans really have nothing to worry about. Jet had been an important part of the band over the last decade and had certainly been integral in the recent upsurge of their popularity, but with Steve they seem to have found the perfect continuity. This night, the sound is great, the band is really tight and Charlie is clearly having a great time. They play all the old favourites plus a bunch of new ones, keeping everyone on their toes. Watching this band right now, it doesn’t sound like nostalgia, it sounds vibrant and real. There were certainly times when I wouldn’t have been able to say that, but I’m really glad to say that the UK Subs are now on their very best form and you’d be a fool to miss them.
This is the first time I’ve seen Menace for a while, with only Noel remaining from the original band. But now with an additional guitarist, they still play a really gutsy set featuring mainly their older material. It’s one of those occasions when everything just comes together for them, and it’s great fun. The audience are really enthusiastic, culminating in a boisterous but friendly stage-invasion, and the singalong songs as good as ever. This is the best I’ve seen them since they first reformed and, on this showing, there’s still plenty of bite left in them.
This is also the first time I’ve seen the Subs since new guitarist Steve took over from Jet, and if this is an example of how things are going to continue then the fans really have nothing to worry about. Jet had been an important part of the band over the last decade and had certainly been integral in the recent upsurge of their popularity, but with Steve they seem to have found the perfect continuity. This night, the sound is great, the band is really tight and Charlie is clearly having a great time. They play all the old favourites plus a bunch of new ones, keeping everyone on their toes. Watching this band right now, it doesn’t sound like nostalgia, it sounds vibrant and real. There were certainly times when I wouldn’t have been able to say that, but I’m really glad to say that the UK Subs are now on their very best form and you’d be a fool to miss them.
THE REZILLOS / SPIZZENERGI / THE TUTS. Venue 229. 27/1/17. I arrived just in time to see The Tuts playing a short set. Several people have been telling me that they’re a great band, but I really wasn’t impressed on this occasion. They didn’t seem to know if they wanted to be Josie & The Pussycats or a real band. Either way, they didn’t have any songs that caught my attention and it all seemed a bit lightweight. That being said, they were going down very well and their comment about looking out into the audience and loving all the bald heads was rather poignant !
Spizzenergi are really on form tonight. With only a forty minute time-slot, they cram all the best songs into an enthusiastic set and sound superb. As I keep saying, this is easily the best line up Spizz has had since the early Eighties and the introduction of new songs like ‘City of Eyes’ and ‘Here Come the Machines’ add a new energi to proceedings.
As if in response to the Spizz-set, The Rezillos are also at their best tonight, determined to deserve their headline status. They certainly don’t let us down, with a great set that starts with ‘I Can’t Stand My Baby’ and just keeps on getting better from there. Plenty of the older songs like ‘Flying Saucer Attack’ and ‘Cold Wars’, but also great new songs like ‘Groovy Room’ and ‘Life’s A Bitch’. Along the way, there’s also a cover of ‘River Deep Mountain High’ and, I think for the first time I’ve seen it live, ’20,000 Rezillos Under The Sea’ complete with Eugene on sax. Of course, the biggest cheers are reserved for ‘Top of The Pops’ and ‘Destination Venus’, but the whole set was a winner and it’s great to hear the current band playing as well as this. There were a few times I saw them after they first reformed when they didn’t seem to be so into it, but right now they really seem to be enjoying themselves and are playing better than ever.
Spizzenergi are really on form tonight. With only a forty minute time-slot, they cram all the best songs into an enthusiastic set and sound superb. As I keep saying, this is easily the best line up Spizz has had since the early Eighties and the introduction of new songs like ‘City of Eyes’ and ‘Here Come the Machines’ add a new energi to proceedings.
As if in response to the Spizz-set, The Rezillos are also at their best tonight, determined to deserve their headline status. They certainly don’t let us down, with a great set that starts with ‘I Can’t Stand My Baby’ and just keeps on getting better from there. Plenty of the older songs like ‘Flying Saucer Attack’ and ‘Cold Wars’, but also great new songs like ‘Groovy Room’ and ‘Life’s A Bitch’. Along the way, there’s also a cover of ‘River Deep Mountain High’ and, I think for the first time I’ve seen it live, ’20,000 Rezillos Under The Sea’ complete with Eugene on sax. Of course, the biggest cheers are reserved for ‘Top of The Pops’ and ‘Destination Venus’, but the whole set was a winner and it’s great to hear the current band playing as well as this. There were a few times I saw them after they first reformed when they didn’t seem to be so into it, but right now they really seem to be enjoying themselves and are playing better than ever.
CHROME / TEETH OF THE SEA. The Dome. 8/2/17. After their previous appearance in London, I was definitely not going to miss Chrome. Although only featuring Helios Creed from the original line-up, it was always his vocals and guitar sounds that made their best records so good and while I certainly didn’t dislike Damon Edge’s solo efforts, they always lacked the rawness and adventurousness that Helios provided. Additionally, he’s put together a line-up that obviously appreciates the approach of the original band and translates it perfectly onstage.
Support came from Teeth of The Sea, a London based band who indulge in (mostly) electronic experimentation. I’ve been impressed by some of their recorded work so I was looking forward to this, but unfortunately it didn’t work as well on a live stage. They played quite a long set, but musically it seemed to lack energy or movement. It felt more like listening to a recording being played and lacked a sense of fluidity. It wasn’t bad but there just didn’t seem to be any connection between the band and the audience.
Chrome, however, go straight for the gut. They may have been playing a very similar set to last year, but it never felt mechanical or too precise. The band are tight and hold down the rhythms with all the power that’s needed to allow Helios the space to create his sound effects. There’s plenty of room for the songs to develop naturally, a skill of which Helios is a master. This is exciting because, firstly, the songs are great and secondly, because you know the band are going to see if they can take them even further. This possibly wasn’t the best place to see them, as the claustrophobic feel of the Electrowerkz gig had been somehow more conducive to the atmosphere and the sound at The Dome wasn’t as good, but the overall performance was just as incredible and stressed yet again what a unique, innovative and influential band Chrome were and remain. Miss them at your peril.
Support came from Teeth of The Sea, a London based band who indulge in (mostly) electronic experimentation. I’ve been impressed by some of their recorded work so I was looking forward to this, but unfortunately it didn’t work as well on a live stage. They played quite a long set, but musically it seemed to lack energy or movement. It felt more like listening to a recording being played and lacked a sense of fluidity. It wasn’t bad but there just didn’t seem to be any connection between the band and the audience.
Chrome, however, go straight for the gut. They may have been playing a very similar set to last year, but it never felt mechanical or too precise. The band are tight and hold down the rhythms with all the power that’s needed to allow Helios the space to create his sound effects. There’s plenty of room for the songs to develop naturally, a skill of which Helios is a master. This is exciting because, firstly, the songs are great and secondly, because you know the band are going to see if they can take them even further. This possibly wasn’t the best place to see them, as the claustrophobic feel of the Electrowerkz gig had been somehow more conducive to the atmosphere and the sound at The Dome wasn’t as good, but the overall performance was just as incredible and stressed yet again what a unique, innovative and influential band Chrome were and remain. Miss them at your peril.
ANTISECT / LOS FASTIDOS / HARDSKIN / DRAGSTER. The Dome, 18/2/17. Sadly, it looks as if this is going to be the last full Another Winter of Discontent festival as the organizers have decided to discontinue these events (with only a shorter final set of gigs later in the year.) It’s a pity, because I’ve seen some great bands at AWOD over the past few years and the gigs always have a great atmosphere. But I’m sure the spirit of it will continue in some form.
I don’t arrive too early today, so the first band I get to see are Dragster. They’re a female-fronted UK hardcore band that play with a lot of passion but perhaps just a bit too much of a metal sound for my personal taste. But next-up are Hardskin and that’s when the fun really begins. Here to show the kids, the crusties, the old farts and, basically, anyone who lives north of Catford how it’s done. All you need to know is it involves a lot of beer, two chords and an attitude sharper than a Stanley knife. All of which, Hardskin have in Car loads (XR3’s, natch.) You could complain that they keep on playing the same songs every time you see them, but that’s missing the point. These songs are so good, they don’t need to write anymore. You’re lucky to be hearing them at all ! It’s what they’re saying that matters and as Fat Bob tells us, it’s all about stuff. Think about that. If they’re not there to tell you about all this stuff, then you won’t even know what it is (know what I mean ?) In these dark days of Trump and Brexit, there’s one thing you can rely on, and that’s Hardskin. ‘Cos they’ll always tell it like it is.
After this, it’s the turn of Italian band Los Fastidios, who play an upbeat mix of early 80’s punk and ska. With a strong anti-fascist, anti-capitalist reputation, it’s a shame we can’t hear more of the lyrics, but the music certainly translates their intent. This is possibly not the best way to see them for the first time (a smaller club would’ve probably made more sense) but the reaction they got certainly suggests they’ll soon be winning over an audience of their own here in the UK.
Finally, Antisect are headlining. There’s been more changes since the last time I saw them, with the band now reduced to a three-piece featuring a new bass player. It also soon becomes clear that they’re been busy writing a lot of new material as this is what makes up most of the set. But the new stuff sounds really good, still very powerful and a lyrical continuation from their older songs. Pete Lyons is now handling most of the vocals and does so very confidently. They’re also using more tapes between songs, which add thoughtful commentary to the set, and one song also sees a guest vocalist adding a different approach to the lyrics. Overall, this was so much different to the last time I saw Antisect, but certainly no less effective. They’ve lost none of their power or purpose and if this gig was anything to go by, the indications are that the long awaited new album is going to be well-worth that wait.
I don’t arrive too early today, so the first band I get to see are Dragster. They’re a female-fronted UK hardcore band that play with a lot of passion but perhaps just a bit too much of a metal sound for my personal taste. But next-up are Hardskin and that’s when the fun really begins. Here to show the kids, the crusties, the old farts and, basically, anyone who lives north of Catford how it’s done. All you need to know is it involves a lot of beer, two chords and an attitude sharper than a Stanley knife. All of which, Hardskin have in Car loads (XR3’s, natch.) You could complain that they keep on playing the same songs every time you see them, but that’s missing the point. These songs are so good, they don’t need to write anymore. You’re lucky to be hearing them at all ! It’s what they’re saying that matters and as Fat Bob tells us, it’s all about stuff. Think about that. If they’re not there to tell you about all this stuff, then you won’t even know what it is (know what I mean ?) In these dark days of Trump and Brexit, there’s one thing you can rely on, and that’s Hardskin. ‘Cos they’ll always tell it like it is.
After this, it’s the turn of Italian band Los Fastidios, who play an upbeat mix of early 80’s punk and ska. With a strong anti-fascist, anti-capitalist reputation, it’s a shame we can’t hear more of the lyrics, but the music certainly translates their intent. This is possibly not the best way to see them for the first time (a smaller club would’ve probably made more sense) but the reaction they got certainly suggests they’ll soon be winning over an audience of their own here in the UK.
Finally, Antisect are headlining. There’s been more changes since the last time I saw them, with the band now reduced to a three-piece featuring a new bass player. It also soon becomes clear that they’re been busy writing a lot of new material as this is what makes up most of the set. But the new stuff sounds really good, still very powerful and a lyrical continuation from their older songs. Pete Lyons is now handling most of the vocals and does so very confidently. They’re also using more tapes between songs, which add thoughtful commentary to the set, and one song also sees a guest vocalist adding a different approach to the lyrics. Overall, this was so much different to the last time I saw Antisect, but certainly no less effective. They’ve lost none of their power or purpose and if this gig was anything to go by, the indications are that the long awaited new album is going to be well-worth that wait.
OMEGA TRIBE / RUBELLA BALLET / LOST CHERREES / DIRT / HAGAR THE WOMB / THE PUKES. The Dome, 19/2/17. Billed as ‘Vi Day’, this final day of the festival was a tribute to the late Vi Subversa, who as part of the Poison Girls was an inspirational figure on the original Anarcho-Punk scene. As such, many of the bands playing today were either involved with or influenced by her band and there was clearly a lot of emotion in the room as a result.
I arrive later than intended due to numerous delays, so only catch the end of the set by The Pukes. Maybe it was because they were playing on a bigger stage, but there seemed to be less of them than usual ? Anyway, they still sound good and even though I only catch a few songs, it’s still a great way to start the gig.
Next onstage are Hagar The Womb and while for most of them, it’s a relatively sedate gig (well, it is still pretty early in the day) Karen is going bonkers leaping around the stage and continually harassing Mitch (poor lad !) That being said, musically they sound surprisingly tight and it’s good to just stand back and appreciate the songs for a change, rather than being distracted by their (admittedly entertaining) onstage antics. I love this band and would happily drink with them once a week.
Strangely, since it seems that most people are here to see them, Dirt are appearing quite early in the evening, apparently by their own request. Regardless, they begin with their own tribute to Vi Subversa, with Gary telling the story of how he first attended a Poison Girls gig before Deno takes over and they go into a brief selection of Poison Girls songs. The audience, obviously eager to hear Dirts’ own material, listen patiently and supportively until they are rewarded with the opening riff to ‘Hiroshima’. Deno lets the audience scream her ‘Two, Three, Four’ before the crowd goes berserk, spontaneously reacting to the classic track. From there, the songs continue at a furious pace with a mix of material from all of their old releases. The sound is really good, conveying the aggressive noise of the music while ensuring that Deno’s vocals are loud and clear. They play for maybe 45 minutes but it seems to end all too soon, with the band members hugging each other onstage. It’s the first time they’ve played for a long time and they’ve said it will be a one-off, strictly in Vi’s memory, but I would certainly be happy to see them again should they reconsider.
The unenviable task of following Dirt was taken by the Lost Cherrees, who despite the odds, play a great set of their own. This is the second time I’ve seen this line-up, with two female vocalists, and I’m starting to enjoy them a lot more. Having seen at least three different versions of the band over the years, it can get a bit confusing when the members keep changing, but each version has had their own individual strengths and that’s what keeps this band interesting. I’ll be sure to see them again soon.
Not being the biggest fan of Rubella Ballet, I take the opportunity to go and get something to eat but still arrive back in time to see a few of their final songs. They go down well, I respect what they’re doing and can see why people like them, but unfortunately it just isn’t something I enjoy very much.
I arrive later than intended due to numerous delays, so only catch the end of the set by The Pukes. Maybe it was because they were playing on a bigger stage, but there seemed to be less of them than usual ? Anyway, they still sound good and even though I only catch a few songs, it’s still a great way to start the gig.
Next onstage are Hagar The Womb and while for most of them, it’s a relatively sedate gig (well, it is still pretty early in the day) Karen is going bonkers leaping around the stage and continually harassing Mitch (poor lad !) That being said, musically they sound surprisingly tight and it’s good to just stand back and appreciate the songs for a change, rather than being distracted by their (admittedly entertaining) onstage antics. I love this band and would happily drink with them once a week.
Strangely, since it seems that most people are here to see them, Dirt are appearing quite early in the evening, apparently by their own request. Regardless, they begin with their own tribute to Vi Subversa, with Gary telling the story of how he first attended a Poison Girls gig before Deno takes over and they go into a brief selection of Poison Girls songs. The audience, obviously eager to hear Dirts’ own material, listen patiently and supportively until they are rewarded with the opening riff to ‘Hiroshima’. Deno lets the audience scream her ‘Two, Three, Four’ before the crowd goes berserk, spontaneously reacting to the classic track. From there, the songs continue at a furious pace with a mix of material from all of their old releases. The sound is really good, conveying the aggressive noise of the music while ensuring that Deno’s vocals are loud and clear. They play for maybe 45 minutes but it seems to end all too soon, with the band members hugging each other onstage. It’s the first time they’ve played for a long time and they’ve said it will be a one-off, strictly in Vi’s memory, but I would certainly be happy to see them again should they reconsider.
The unenviable task of following Dirt was taken by the Lost Cherrees, who despite the odds, play a great set of their own. This is the second time I’ve seen this line-up, with two female vocalists, and I’m starting to enjoy them a lot more. Having seen at least three different versions of the band over the years, it can get a bit confusing when the members keep changing, but each version has had their own individual strengths and that’s what keeps this band interesting. I’ll be sure to see them again soon.
Not being the biggest fan of Rubella Ballet, I take the opportunity to go and get something to eat but still arrive back in time to see a few of their final songs. They go down well, I respect what they’re doing and can see why people like them, but unfortunately it just isn’t something I enjoy very much.
Finally, Omega Tribe are headlining. I’d been really looking forward to this as I’d always considered their ‘No Love Lost’ album to be one of the more under-rated records of the original anarcho-punk era. However, it seems that this latest incarnation has taken more of the bands’ later direction, which to me sounded more ‘indie’ and a lot less interesting. As a result, there’s a lot of new material that I’m not familiar with, which sounds pretty lightweight. Even when they do play some of the tracks that I wanted to hear, such as ‘Profit’ or ‘Freedom’, the guitar sound is just too clean to recreate the original energy. There were a few times when they sounded good and I hear what I originally liked about the band, but overall, this could have been so much better. I mean, how can a band who wrote a song as great as ‘Duty Calls’ reform and then not even play it ? This is just my opinion, of course, and perhaps they will get a better balance as they play more. I certainly hope so as they have a lot more songs that I’d still like to see live. The set finally ends with them being joined onstage by original member (and Vi Subversa’s son) Pete Fender, which is one of the moments when it all comes together. It proved to be an appropriate end to the whole event.
VIBRATORS / DARRELL BATH BAND. Hope & Anchor, 2/3/17. Turning up rather late I only saw a few of the last songs by the Darrell Bath Band. As the Vibrators would be featuring their original members this evening, he had taken the opportunity to support with his own band. This should have been good, as his recent solo album was a solid and enjoyable rock’n’roll album, but for some reason the band seem rather shambolic tonight and fail to really make the impact they ought to have achieved.
The Vibrators, however, have no such problems. Billed as a semi-acoustic set featuring the 1978 line-up, it’s actually much more like a full-on set with some acoustic touches. With Knox, John Ellis, Eddie and Gary Tibbs onstage, you knew it was going to be great and the added bonus was that, even after the success of their 40th Anniversary gig at Islington Academy last year, they chose to play this at a relatively low-key event. The set consists entirely of older material (I think) and it’s occasions like this when you realise just how good those original records really were. It can be argued that they weren’t strictly a ‘punk’ band (although the same criteria, that they’d already been playing in bands before ’76, would also have excluded The Clash…) but either way you chose to look at it, they wrote and recorded some great music that still sounds remarkably effective even now. ‘Whips & Furs’, ‘Automatic Lover’, ‘Troops of Tomorrow’ and , of course, ‘Baby Baby’ are all classics and innovative in their own right, so what else do you need to know ? The band are clearing enjoying playing together again and the sentiments are shared by the audience. There are currently no further plans for this line-up to play live but if it does happen, be sure to see them. You’ll be really impressed at how great they sound !
The Vibrators, however, have no such problems. Billed as a semi-acoustic set featuring the 1978 line-up, it’s actually much more like a full-on set with some acoustic touches. With Knox, John Ellis, Eddie and Gary Tibbs onstage, you knew it was going to be great and the added bonus was that, even after the success of their 40th Anniversary gig at Islington Academy last year, they chose to play this at a relatively low-key event. The set consists entirely of older material (I think) and it’s occasions like this when you realise just how good those original records really were. It can be argued that they weren’t strictly a ‘punk’ band (although the same criteria, that they’d already been playing in bands before ’76, would also have excluded The Clash…) but either way you chose to look at it, they wrote and recorded some great music that still sounds remarkably effective even now. ‘Whips & Furs’, ‘Automatic Lover’, ‘Troops of Tomorrow’ and , of course, ‘Baby Baby’ are all classics and innovative in their own right, so what else do you need to know ? The band are clearing enjoying playing together again and the sentiments are shared by the audience. There are currently no further plans for this line-up to play live but if it does happen, be sure to see them. You’ll be really impressed at how great they sound !
FALLEN LEAVES / KILLER B’s. Hope & Anchor, 18/3/17. I’ve seen The Fallen Leaves a few times of the past years and always intended to investigate further, but it wasn’t until I heard their latest album, ‘What We’ve All Been Waiting For’ that I realised that seeing them live again was really a priority. Having shamelessly accepted the added incentive of a place on the guestlist (noted as ‘the infamous Andy P’, a title that I really should adopt on a more permanent basis) I turn up in time to see The Killer B’s, who turn out to be a great three-piece band. They look like an old r’n’b band, and there’s certainly an element of the rougher side of that to their music, but they also at times remind me of Marc Riley & The Creepers and even early Alternative TV. Definitely recommended… check them out online, but search for ‘Killer B’s London’ as it seems to be a ridiculously popular band name in America, for some reason…
The Fallen Leaves, in contrast, have developed their own style of ‘Punk Rock For Gentlemen’, by which they mean, it has all the attitude without any desperate attempts to relive their past. So, no covers, no soundchecks. It clearly works for them. They’ve created an idiosyncratic style that I described in my album review as a mix between The Creation and the early Modern Lovers, more Sixties-leaning perhaps but with all the intent of early Punk Rock, before it became codified into Mohawks and safety pins. Image-wise they’ve gone for vintage wear from the Forties, Fifties and Sixties, much in the same way that Thee Headcoats set themselves apart from their contemporaries. I’m sure it’s not meant to be taken too seriously, but not exactly knowing is also part of the fun. I’m mostly familiar with the songs from the latest album and fortunately they play most of it, but the whole set is a real treat. Rob Green is a unique and engaging frontman, while Rob Symmons is an incredibly enthralling guitar player and the rhythm section hold it all in place perfectly. Watching The Fallen Leaves was the perfect compliment to the new album and I have been repeatedly kicking myself for not paying more attention sooner than this. If you haven’t already done so, be sure to see or hear them at the earliest opportunity.
The Fallen Leaves, in contrast, have developed their own style of ‘Punk Rock For Gentlemen’, by which they mean, it has all the attitude without any desperate attempts to relive their past. So, no covers, no soundchecks. It clearly works for them. They’ve created an idiosyncratic style that I described in my album review as a mix between The Creation and the early Modern Lovers, more Sixties-leaning perhaps but with all the intent of early Punk Rock, before it became codified into Mohawks and safety pins. Image-wise they’ve gone for vintage wear from the Forties, Fifties and Sixties, much in the same way that Thee Headcoats set themselves apart from their contemporaries. I’m sure it’s not meant to be taken too seriously, but not exactly knowing is also part of the fun. I’m mostly familiar with the songs from the latest album and fortunately they play most of it, but the whole set is a real treat. Rob Green is a unique and engaging frontman, while Rob Symmons is an incredibly enthralling guitar player and the rhythm section hold it all in place perfectly. Watching The Fallen Leaves was the perfect compliment to the new album and I have been repeatedly kicking myself for not paying more attention sooner than this. If you haven’t already done so, be sure to see or hear them at the earliest opportunity.
STRANGLERS / RUTS DC. Brixton Academy, 24/3/17. With Ruts DC as support, this was one occasion that I made sure to arrive early at the Academy. They play a shorter set than usual and obviously it’s not as effective as they usually are in regular-sized venues, but the power of this band and their songs still resonates throughout the cavernous hall and everyone is paying attention. Of course, with songs like ‘Babylon’s Burning’ and ‘In A Rut’ at their disposal, it would have been hard for them not to have impressed the audience, but songs from the latest album also go down really well, proving that Ruts DC are still a force to be reckoned with (much like The Stranglers in recent years.) Playing to much bigger crowds than usual, I’m sure they claimed a whole new set of fans for themselves.
The Stranglers, meanwhile, are in a similar position of having re-established themselves as a truly great live band once again and also releasing some fine new records in recent years. Billing this tour as ‘Hits & More’, Baz Warne quickly explained that all it really meant was that it was going to be a regular Stranglers set featuring older and more recent material, including a few less obvious tracks. The ‘Waltzinblack’ intro begins proceedings , quickly fading into an epic version of ‘The Raven’, followed by ‘Was It You’, ‘Sometimes’ and ‘Grip’. The energy of the performance can almost be felt physically at times, as the band drive through the music with real passion. Even the mellower tones of ‘Always The Sun’, Strange Little Girl’ and ‘Golden Brown’ are suitably dramatic when place into the context of this set, but for me the real highpoint is the bass-heavy version of ‘Bearcage’ and the less-often played renditions of ‘Who Wants The World’ and ‘Walk On By’. The set ends with ‘Five Minutes’ and ‘Down in The sewer’, a combination that couldn’t go wrong, before two encores deliver ‘Duchess’, ‘Something Better Change’, ‘Go Buddy Go’ and ‘No More Heroes’. After that, I can’t imagine that anyone would have gone home anything less than impressed.
The Stranglers, meanwhile, are in a similar position of having re-established themselves as a truly great live band once again and also releasing some fine new records in recent years. Billing this tour as ‘Hits & More’, Baz Warne quickly explained that all it really meant was that it was going to be a regular Stranglers set featuring older and more recent material, including a few less obvious tracks. The ‘Waltzinblack’ intro begins proceedings , quickly fading into an epic version of ‘The Raven’, followed by ‘Was It You’, ‘Sometimes’ and ‘Grip’. The energy of the performance can almost be felt physically at times, as the band drive through the music with real passion. Even the mellower tones of ‘Always The Sun’, Strange Little Girl’ and ‘Golden Brown’ are suitably dramatic when place into the context of this set, but for me the real highpoint is the bass-heavy version of ‘Bearcage’ and the less-often played renditions of ‘Who Wants The World’ and ‘Walk On By’. The set ends with ‘Five Minutes’ and ‘Down in The sewer’, a combination that couldn’t go wrong, before two encores deliver ‘Duchess’, ‘Something Better Change’, ‘Go Buddy Go’ and ‘No More Heroes’. After that, I can’t imagine that anyone would have gone home anything less than impressed.
THE OUTCASTS / HEAVY DRAPES / BLUE CARPET BAND. New Cross Inn, 25/3/17. This was a pretty impressive line-up, especially as New Cross Inn is virtually my neighbourhood venue these days ! I can also always rely on a bumping into a good selection of friendly fellows, so what more could I want ?
Having seen Blue Carpet Band a few times, I still think they’ve got a lot of potential. They’re not quite the stunning live band that some are already suggesting, but they certainly have a fine frontman in the shape of Djamel. He has a great style and puts the band on the front-foot, but they’ve really got to focus their musical direction before they’ll be able to take things forward. But they’re young and there’s still plenty of time for that. I hope they get there.
This is the first time I’ve seen Heavy Drapes but I’ve been receiving some rather good recommendations about them for a while. Coming from Edinburgh, they haven’t yet made too many trips down to London, but I think that’s going to be changing rather soon. Basically, their style of punk rock takes the Sex Pistols as their basis but then jumps forward, taking-in the inventiveness of later bands like The Wall or Ruts to create something altogether different and unique. They’re not particularly young but they’ve obviously loved their music along the way and have infused all the different ideas into what they’re doing now. Much like Blue Carpet Band, but from a very different starting point, they have a lot of potential and I really think we should all be watching out for this band. If the sound they created tonight is anything to go by, their much anticipated debut album could well be a thing of beauty.The Outcasts, in contrast, achieved their potential many years ago and, to my mind, maintained that glorious level ever since reforming. My only gripe is that they still haven’t recorded any new
Having seen Blue Carpet Band a few times, I still think they’ve got a lot of potential. They’re not quite the stunning live band that some are already suggesting, but they certainly have a fine frontman in the shape of Djamel. He has a great style and puts the band on the front-foot, but they’ve really got to focus their musical direction before they’ll be able to take things forward. But they’re young and there’s still plenty of time for that. I hope they get there.
This is the first time I’ve seen Heavy Drapes but I’ve been receiving some rather good recommendations about them for a while. Coming from Edinburgh, they haven’t yet made too many trips down to London, but I think that’s going to be changing rather soon. Basically, their style of punk rock takes the Sex Pistols as their basis but then jumps forward, taking-in the inventiveness of later bands like The Wall or Ruts to create something altogether different and unique. They’re not particularly young but they’ve obviously loved their music along the way and have infused all the different ideas into what they’re doing now. Much like Blue Carpet Band, but from a very different starting point, they have a lot of potential and I really think we should all be watching out for this band. If the sound they created tonight is anything to go by, their much anticipated debut album could well be a thing of beauty.The Outcasts, in contrast, achieved their potential many years ago and, to my mind, maintained that glorious level ever since reforming. My only gripe is that they still haven’t recorded any new
songs, or at least introduced them into the live set. When you see them onstage, it’s obvious the chemistry is still there between them, so surely they could at least try-out something new ? But as I’ve said before, when they can play a set including songs as great as ‘Magnum Force’, ‘Subconscious Over You’, ‘Seven Deadly Sins’ and ‘Winter’, I’m still not going to be walking away disappointed.
In fact the only unsettling point during the gig was when Greg pointed out the truly disturbing similarity between their guitarist Petesy Burns and our friend Steve ! Separated at birth ? One of them really needs to get a haircut !!! I’ll have nightmares about this for weeks, if not months, but otherwise this was another very enjoyable gig from The Outcasts and I hope there’s going to be many more to come.
In fact the only unsettling point during the gig was when Greg pointed out the truly disturbing similarity between their guitarist Petesy Burns and our friend Steve ! Separated at birth ? One of them really needs to get a haircut !!! I’ll have nightmares about this for weeks, if not months, but otherwise this was another very enjoyable gig from The Outcasts and I hope there’s going to be many more to come.
HEADACHE / EMERGENCY TIARA. Dublin Castle, 6/4/17. I’ve been trying to see Headache for a while, having been impressed by their demos and album. Up until now I’ve been thwarted by various problems, but this time it all goes smoothly. I join some friends for a few pre-gig drinks and also catch one of the support bands, Emergency Tiara, who are actually pretty good fun. The band are fronted by three girl singers and play a mix of Sixties Girl Groups, French Pop from the same era and possibly even some J-Pop. It’s a pastiche to a certain extent, but they do it in a way that respects the originals and adds something of their own to the proceedings. It’s rathery entertaining and I wouldn’t be surprised if they became quite successful.
Headache, on the other hand, are a much louder and more upfront proposition. Obviously influenced by more recent rock bands (everything from Foo Fighters through to Rival Schools) they also have hints of older bands (for some reason, I keep thinking of the first Alternative TV album, although I haven’t been able to explain that so far.) Their records are interesting and certainly have a lot of potential, but at the moment they have the problem of finding gigs to play and that’s what any young band needs to allow them to really focus themselves. This was a good example, a mix of them enjoying themselves but also discovering the best ways to effectively play their music. Unfortunately, there isn’t a particularly large crowd (originally, they weren’t supposed to be headlining but the main band copped-out at short notice) which would have given them a better idea of how things were going, but those in attendance were certainly eappreciative. I hope they can build things up from here, because they’re an entertaining band with a lot of good ideas and it would be interesting to see where they can take it.
Headache, on the other hand, are a much louder and more upfront proposition. Obviously influenced by more recent rock bands (everything from Foo Fighters through to Rival Schools) they also have hints of older bands (for some reason, I keep thinking of the first Alternative TV album, although I haven’t been able to explain that so far.) Their records are interesting and certainly have a lot of potential, but at the moment they have the problem of finding gigs to play and that’s what any young band needs to allow them to really focus themselves. This was a good example, a mix of them enjoying themselves but also discovering the best ways to effectively play their music. Unfortunately, there isn’t a particularly large crowd (originally, they weren’t supposed to be headlining but the main band copped-out at short notice) which would have given them a better idea of how things were going, but those in attendance were certainly eappreciative. I hope they can build things up from here, because they’re an entertaining band with a lot of good ideas and it would be interesting to see where they can take it.
CRYSSIS. The Pelton Arms, Greenwich, 7/4/17. Cryssis were a band formed in Southend by Dick York and Vom Ritchie way back in 1981. In 2009, the band were revived, releasing new recordings on Vom’s Drumming Monkey label and occasionally playing live. This wasn’t strictly ‘Cryssis’ but Vom had made the trip over from Germany to play with Dick (oo-err !) so it featured a bunch of friends and many of their songs. As Vom commented, ‘Last weekend I was playing an arena in Germany with Die Toten Hosen. Now I’m playing a pub in Greenwich with this lot… and I love all of it !’
That being said, Cryssis is more about Dick Yorks’ songs, and he has plenty to offer. I was only familiar with the Mod-styled single ‘Fighting in Brighton’ (which was a highlight of the set) but none of the other material let me down. With a good crowd of Adverts and Phobics in attendance, plus the usual Pelton crowd, this was a lot of fun. I don’t know when this lot will play again, but trust me, I’m sure you’d enjoy it. Great songs, fine musicians and a great sense of humour along with it. What else could make a lovely little pub any better on a Friday night ?
That being said, Cryssis is more about Dick Yorks’ songs, and he has plenty to offer. I was only familiar with the Mod-styled single ‘Fighting in Brighton’ (which was a highlight of the set) but none of the other material let me down. With a good crowd of Adverts and Phobics in attendance, plus the usual Pelton crowd, this was a lot of fun. I don’t know when this lot will play again, but trust me, I’m sure you’d enjoy it. Great songs, fine musicians and a great sense of humour along with it. What else could make a lovely little pub any better on a Friday night ?
DEALING WITH DAMAGE / DOWN LOVE. The Stags Head, 8/4/17. Dealing With Damage are another band I’ve been meaning to see for a while, since hearing their first set of demos. Featuring Ed (Sink / Big Ray / Stupids) and James (Done Lying Down / Desperate Measures) they’re also old friends so I need to attend ! They’re actually supporting tonight but are still the band I’m most interested in seeing. There’s more than a few familiar faces in the audience and in a small venue like this, that means it’s going to be a good atmosphere. I turn up late but Ed still has time to buy me a beer (bribery, that’s where it’s at) and soon enough, Dealing With Damage are playing their set. It’s really good, not a million miles away from early Sink but with elements of the more melodic DC hardcore bands and maybe even some of the better ’77/’78 UK bands. I wish I could tell you the names of the songs they played, but as most of the set was new to me, I’m as much in the dark as you are. The best deal is to check them out on bandcamp, where there’s a wealth of material available to be heard. Yeah, I know, some of these people are nearly as old as me, but they’re still playing music because they love it and that’s what makes it real. Anything else is just wasteful.
The headline band are Down love, launching their new album ‘Trust’, released by Boss Tuneage. Live, I’d say they were a bit more aggressive than the album (fine that it is) perhaps more Husker Du than Mega City Four if you see what I mean ? Either way, they’re a really good prospect, plenty of great tunes played with just the right amount of distortion. I don’t think I’d had a chance to hear their album before this gig, but it certainly sent me home with the desire to do so. Definitely a band that you ought to investigate as well.
The headline band are Down love, launching their new album ‘Trust’, released by Boss Tuneage. Live, I’d say they were a bit more aggressive than the album (fine that it is) perhaps more Husker Du than Mega City Four if you see what I mean ? Either way, they’re a really good prospect, plenty of great tunes played with just the right amount of distortion. I don’t think I’d had a chance to hear their album before this gig, but it certainly sent me home with the desire to do so. Definitely a band that you ought to investigate as well.
ELECTRIC PENCILS / DAVE ELVIS. CNB Gallery, 9/4/17. Okay, fourth gig in four days, I’m definitely wilting by this point. I’m such a delicate flower (equal parts orchid and triffid, I’d like to think.) But at least this is an afternoon event, the launch for the first exhibition of work by ex-Spiv and current Pencil, Ben Edge. I couldn’t miss this ! Anyway, it seemed that everyone got lost along the way and it was only by chance that I found the place first, but once inside, the gallery / venue is actually the basement below (yet another) Shoreditch bar and I’m happy to be separated away from their clientele. After some stand-up style compere monologues, the musical entertainment begins with Holloway Roads’ legendary Dave Elvis, a man who often joined The Spivs onstage and whose talent took him as far as X-Factor auditions (those scumbags just didn’t get it !) He sings, he croons, he rocks the joint ! He serenades the hot chicks in the audience and makes it a performance that no-one will forget ! Some have got it, some haven’t. Dave has got it, even though I doubt none of us could say what it is.
The Electric Pencils have adapted since I last saw them. Now a three-piece rather than just a duo, with only Ben remaining from the first line-up. This is also an acoustic performance, so probably a lot less raucous than one of their usual gigs (although, sadly, they don’t play as much as I wish they would.) But Ben’s songs are just as immediately likeable as always, with thoughtful lyrics and raw, catchy melodies that just drag you into the world of his songs. Again, it was another occasion where I can’t tell you what songs they played because I just don’t know, but they had such an instant affect that you’d be dumb to miss them. Watch out for this band. I don’t know where, I don’t know when, but they’re going to be coming along one day and they’ll make it a good one for ya !
2 SICK MONKEYS / BUCHA EFFECT / WERECATS. The Birds Nest, 21/4/17. Another decent Friday night in Deptford. The Werecats play first and despite a few sound problems run through their set in fine style. Catchy, punky powerpop with lyrics veering between personal matters and funny stories. They play the songs with so much energy and glee that you can’t help getting drawn into the set so more and more people crowd around the tiny stage area as they continue. It’s all very entertaining and if their first single is anything to go by, I think we can expect a lot more great music from this band.
Bucha Effect are also on their best form this evening, blasting through their set with confidence and looking as if they’re really enjoying themselves. Their odd sense of humour is perfectly matched by some great tunes which you can enjoy even if you’re not in on the jokes. It must be about time that we get some new recordings from this lot ? They‘ve been playing live a lot more often recently and it would be good to hear how that translates in a studio.
Finally, we have 2 Sick Monkeys, a band I must admit that I knew nothing about before this evening. As it turns out, they’re a two-piece and come from Swindon. They’ve also played rather prolifically over the past two decades which makes it all the more surprising that I haven’t come across them before now. Musically, one of them plays bass while the other plays drums and they share the vocals. Despite the lack of band members they create a really big sound, a lot more powerful than many full-size bands can muster. The obvious comparison would be with No Means No, particularly the way that they take the traditional rhythm section and make it much more prominent, but they also have a harder punky sound. The set comes as a real eye-opener for me. It’s very enjoyable and I just can’t believe I’ve not caught-up with this band before now. One further bit of information ; they’ve announced that they will be playing their final gig at the end of this year. Between now and then, they’ll be touring all over the place. I recommend that you catch them soon before you lose the chance altogether.
Bucha Effect are also on their best form this evening, blasting through their set with confidence and looking as if they’re really enjoying themselves. Their odd sense of humour is perfectly matched by some great tunes which you can enjoy even if you’re not in on the jokes. It must be about time that we get some new recordings from this lot ? They‘ve been playing live a lot more often recently and it would be good to hear how that translates in a studio.
Finally, we have 2 Sick Monkeys, a band I must admit that I knew nothing about before this evening. As it turns out, they’re a two-piece and come from Swindon. They’ve also played rather prolifically over the past two decades which makes it all the more surprising that I haven’t come across them before now. Musically, one of them plays bass while the other plays drums and they share the vocals. Despite the lack of band members they create a really big sound, a lot more powerful than many full-size bands can muster. The obvious comparison would be with No Means No, particularly the way that they take the traditional rhythm section and make it much more prominent, but they also have a harder punky sound. The set comes as a real eye-opener for me. It’s very enjoyable and I just can’t believe I’ve not caught-up with this band before now. One further bit of information ; they’ve announced that they will be playing their final gig at the end of this year. Between now and then, they’ll be touring all over the place. I recommend that you catch them soon before you lose the chance altogether.
THE PHOBICS / ANITA CHELLAMAH BAND. Hope & Anchor, 28/4/17. The Phobics are back at the H&A, home to some of their best performances, and this one is yet another goodie. There’s something about this venue that really suits them. The room is just the right size, the audience and atmosphere is always really good, the sound is perfect and everyone seems intent on having a great time. They run through the set at a frantic pace, putting all their energy into the songs and feeding-off the audience response. On nights like these, there aren’t many other bands that can match them.
Anita Chellamah is best known as the singer for Eighties glam-punks The Cherry Bombz and her current band also includes Dave Treganna and Timo Kaltio from that group, so any original fans are going to love this line-up. Unfortunately, they were a band that I never really got into at the time so I can’t tell you which songs they played, although there was also a healthy selection of recent material as well. The music was really tight and Anita has a very distinct, strong voice so it sounded good even if it wasn’t the sort of thing I’d usually go to see. Not a bad end to the evening.
Anita Chellamah is best known as the singer for Eighties glam-punks The Cherry Bombz and her current band also includes Dave Treganna and Timo Kaltio from that group, so any original fans are going to love this line-up. Unfortunately, they were a band that I never really got into at the time so I can’t tell you which songs they played, although there was also a healthy selection of recent material as well. The music was really tight and Anita has a very distinct, strong voice so it sounded good even if it wasn’t the sort of thing I’d usually go to see. Not a bad end to the evening.
WIRE. The Garage, 4/5/17 + 5/5/17. Two nights and they’ve said that they’ll be playing different sets, so I decide to get myself along to both. The evenings turn out to be quite different in other ways, both involving members of the Morgellons and both involving their drinking habits. On the Thursday night, I bump into Morgellons’ singer Vince on the way to the gig. As he doesn’t drink, I only have a couple of beers over the course of the night and consequently pay full attention to the gig. As their latest album, ‘Silver/Lead’, had only recently been released, the sets are both based around the new material although, as usual, various older songs are included to complement the new. Some of them are also adapted to better fit the tone of the performance, which starts with a short but wonderful version of ‘Boling Boy’. From there, we get a selection of new tracks including the insistent ‘Diamonds in Cups’ and Graham Lewis’ ‘This Time’, before playing the only song from their Seventies’ era, ‘Three Girl Rhumba’, as well as the rarely heard ‘Art of Persistance’ from the ‘Third Day’ EP. From here, the new material is interspersed with tracks from the last few albums and it is not until the very end that we get to hear a menacing version of ‘Over Theirs’, something I don’t think they’ve played since the mid-Eighties but certainly a welcome return. The encore includes another mid-Eighties highlight, ‘Ahead’ and then ends with ‘Stealth of a Stork’, perfectly illustrating how Wire are always looking towards taking things further.
The second night, I go to a nearby pub and this time bump into a few friends including the Morgellons’ drummer Mannie who, unlike his singer, definitely enjoys a few drinks. This promptly sets the tone for the rest of the evening and lets just say, we were all a bit more high-spirited watching the gig tonight. Not that it makes it any less enjoyable and, in some ways, it was interesting to hear he new material from a different perspective !
This evening the set begins with ‘Ahead’ but from there, the bulk of the material is pretty much the same as the previous night. Not that this is a problem as I’m more than happy to hear this set again. I tend to find that Wire’s music adopts a more direct character when performed live, whereas their studio work often loses the rougher edges. I have no problem with either approach and it’s great to have the options. There’s a particularly fine version of ‘Red Barked Tree’ this evening and ‘Playing Harp For The Fishes’ has a wonderfully understated vocal from Graham. The set ends again with another version of ‘Over Theirs’, sounding so much more menacing than the recorded version ever did. The encore features the title track from ‘Silver/Lead’ and an atmospheric version of ‘Used To’ before ending with the extended brutality of ‘Harpooned’. I can’t imagine that anything else could have followed such a grand finale.
This evening the set begins with ‘Ahead’ but from there, the bulk of the material is pretty much the same as the previous night. Not that this is a problem as I’m more than happy to hear this set again. I tend to find that Wire’s music adopts a more direct character when performed live, whereas their studio work often loses the rougher edges. I have no problem with either approach and it’s great to have the options. There’s a particularly fine version of ‘Red Barked Tree’ this evening and ‘Playing Harp For The Fishes’ has a wonderfully understated vocal from Graham. The set ends again with another version of ‘Over Theirs’, sounding so much more menacing than the recorded version ever did. The encore features the title track from ‘Silver/Lead’ and an atmospheric version of ‘Used To’ before ending with the extended brutality of ‘Harpooned’. I can’t imagine that anything else could have followed such a grand finale.
ANDREW CZEZOWSKI & SUSAN CARRINGTON Q&A. Roxy exhibition (Neal Street) 9/5/17. Following the unveiling of a (well-deserved) memorial plaque commemorating the location of the Roxy Club, an excellent exhibition of photographs from the original ‘100 Days’ took place just a few doors along from the actual site. Curated by the artist Jane Palm-Gold, the pictures really captured a sense of time and place and I think very few, if any, would not have been impressed. The exhibition was eventually extended by several weeks due to its’ popularity.
This evening saw a Q & A session with Roxy Club founders, Andrew Czezowski and Susan Carrington. They’re both very erudite speakers and have so many stories to relate (see my own interview with them) so this is an interesting and entertaining event. The audience also gets into the spirit of the event, adding their own questions and observations (some even arguing their points) but that’s what makes this real. It is nostalgia but it doesn’t have to be safe ! There are people here who went to or were involved with the original club and there were many (like me) who never had the opportunity, but we all recognize how important the venue was to so much Art and culture that ensued, even though it only existed for such a brief period of time. With so much of London’s musical history being lost, the Roxy Club certainly deserves to be celebrated.
This evening saw a Q & A session with Roxy Club founders, Andrew Czezowski and Susan Carrington. They’re both very erudite speakers and have so many stories to relate (see my own interview with them) so this is an interesting and entertaining event. The audience also gets into the spirit of the event, adding their own questions and observations (some even arguing their points) but that’s what makes this real. It is nostalgia but it doesn’t have to be safe ! There are people here who went to or were involved with the original club and there were many (like me) who never had the opportunity, but we all recognize how important the venue was to so much Art and culture that ensued, even though it only existed for such a brief period of time. With so much of London’s musical history being lost, the Roxy Club certainly deserves to be celebrated.
DOCTORS OF MADNESS / BAND OF HOLY JOY. The Lexington, 16/5/17. As soon as I discovered that this gig was going to happen, I was very interested. The thing is, Doctors of Madness are one of those bands that were a big influence on the early Punk Rock scene but it’s difficult to really appreciate this from their original albums. More than a few old fans have told me over the years that you really had to see the band live to appreciate their full impact. Obviously, I’d never had that opportunity, so I was hoping that this gig would be the chance I needed to put everything in context.
The gig is set-up as an entire event, with multi-media decorations throughout the venue and appropriate support from various performers. I only get to see Band of Holy Joy, who are rather interesting. It’s the first time I’ve seen them for maybe thirty years, but they still have that same spark, based around Johny Browns’ inimitable vocals and lyrics. I’m glad they’re still out there.
The place is completely packed for Doctors of Madness. Both the band and the promoters were genuinely overwhelmed by the amount of interest this gig generated, selling out long in advance and generating a mini-tour of further gigs around the country. But once I see them onstage, I can see why. The music is so much more upfront and watching original members Richard Strange and Urban Blitz, they have such genuine charisma and presence that you can clearly see how and why they inspired so many of the early punk musicians. Obviously, the presentation is different and the individuals are older, but the songs have that same anti-establishment and creative approach, all of which provided a stepping stone between David Bowie or bands like Roxy Music and the initial punk movement. Starting with ‘Doctors of Madness’ itself, the band then go into ‘Back From The Dead’ (originally co-written with TV Smith) and I think it’s as soon as this point that I’m totally won over. I won’t pretend to know all of their material, but those songs I did know (‘Mainlines’, ‘Mitzi’s Cure’, ‘Suicide City’, ‘Sons of Survival’) sounded great and seeing it performed live really did put it into the context that I had always been looking for. With the ‘new’ rhythm section of Susumu and Mackii presenting their own style and a continuous projection of images forming the backdrop, this was a stunning gig to watch and hear. I have a feeling that the success and enthusiasm that these gigs have received will result in further performances and I can only say that, if they do happen, they are certainly something that you should investigate.
The gig is set-up as an entire event, with multi-media decorations throughout the venue and appropriate support from various performers. I only get to see Band of Holy Joy, who are rather interesting. It’s the first time I’ve seen them for maybe thirty years, but they still have that same spark, based around Johny Browns’ inimitable vocals and lyrics. I’m glad they’re still out there.
The place is completely packed for Doctors of Madness. Both the band and the promoters were genuinely overwhelmed by the amount of interest this gig generated, selling out long in advance and generating a mini-tour of further gigs around the country. But once I see them onstage, I can see why. The music is so much more upfront and watching original members Richard Strange and Urban Blitz, they have such genuine charisma and presence that you can clearly see how and why they inspired so many of the early punk musicians. Obviously, the presentation is different and the individuals are older, but the songs have that same anti-establishment and creative approach, all of which provided a stepping stone between David Bowie or bands like Roxy Music and the initial punk movement. Starting with ‘Doctors of Madness’ itself, the band then go into ‘Back From The Dead’ (originally co-written with TV Smith) and I think it’s as soon as this point that I’m totally won over. I won’t pretend to know all of their material, but those songs I did know (‘Mainlines’, ‘Mitzi’s Cure’, ‘Suicide City’, ‘Sons of Survival’) sounded great and seeing it performed live really did put it into the context that I had always been looking for. With the ‘new’ rhythm section of Susumu and Mackii presenting their own style and a continuous projection of images forming the backdrop, this was a stunning gig to watch and hear. I have a feeling that the success and enthusiasm that these gigs have received will result in further performances and I can only say that, if they do happen, they are certainly something that you should investigate.
THE WITCHDOKTORS / BLACK BULLETS. Hope & Anchor, 19/5/17. Back to the H&A again. It sometimes starts to feel like my home-away-from-home, particularly on the Rockaway Beach nights, but when I’m seeing gigs as good as this, I don’t think I’d mind moving-in permanently. The Black Bullets are a Midlands-based Hi-energy rock’n’roll band playing hard’n’loud rock along the lines of Motorhead and the MC5. If they had been around in 1974, it would now be called ‘proto-punk’ (not that it would’ve done them any good at the time.) It’s raw, it’s dirty and it has the right bad attitude. Play it at your Mutha !
The Witchdoktors are just as exciting but in a much more show-business kind of way. Not that I mean that as a put-down, but in the same way that Rocket From The Crypt or Supersuckers put on a show when you see them. The Witchdoktors have styled their performance in a way that involves the audience just as much as themselves. Lead singer Andy has just the right amount (eg lots) of charisma to carry this off, while the band back him up with some of the tightest, most brazen rock’n’roll you’ll hear right now. There are plenty of guitar bands that get heralded by the music press, but this is the real thing. Lots of great songs, really great to watch and the type of go-for-it approach that you just can’t fake. You don’t learn about this sorta thing by attending college courses and reading books, you just get onstage and do it because you have to. In the past, I’ve missed this band on occasions because their gigs have clashed with others that I also wanted to see. In the future, I may well be missing those other bands…
The Witchdoktors are just as exciting but in a much more show-business kind of way. Not that I mean that as a put-down, but in the same way that Rocket From The Crypt or Supersuckers put on a show when you see them. The Witchdoktors have styled their performance in a way that involves the audience just as much as themselves. Lead singer Andy has just the right amount (eg lots) of charisma to carry this off, while the band back him up with some of the tightest, most brazen rock’n’roll you’ll hear right now. There are plenty of guitar bands that get heralded by the music press, but this is the real thing. Lots of great songs, really great to watch and the type of go-for-it approach that you just can’t fake. You don’t learn about this sorta thing by attending college courses and reading books, you just get onstage and do it because you have to. In the past, I’ve missed this band on occasions because their gigs have clashed with others that I also wanted to see. In the future, I may well be missing those other bands…
1984 / ABSOLUTE BEGINNERS. New Cross Inn, 20/5/17. This is going to be a busy evening. There are actually several gigs going on that I’d like to attend and I’ve figured out how to get to two of them. There’s a mini-festival of sorts at New Cross Inn and 1984 are playing what will be the final gig by this line-up so it’s one that I don’t want to miss. Fortunately, they’re playing reasonably early, at 8.00pm, so I’ve figured out that if I catch a train from New Cross station through to Highbury & Islington straight after they finish, I’ll be able to make it up to the Hope & Anchor in time for The Fallen Leaves. In theory it can be done so I intend to give it a go.
I arrive at New Cross Inn fairly early and watch the next band onstage, Absolute Beginners.who turn out to be a Jam-tribute band. I’m not a big fan of covers bands, I don’t really see the point unless they add an interesting twist to it (like Thee Nuns or The Pukes, for example.) So while I certainly don’t mind hearing a bunch of old Jam songs, I didn’t really see the point of it being a part of this event.
1984 set-up onstage pretty promptly and start the set as soon as they’re ready. Beginning with ‘No Town Hall’ and ‘Holocaust’ from the first Crisis single, they play through a selection of material from the original records and the audience steadily builds around the front of the stage. There are some people here who know who the band are and know what to expect, but many are either unaware of the Crisis connection or have no prior knowledge of that band at all. However, as they play the songs more and more people become interested and move forward to pay attention. The songs may be almost 40 years old and some of the lyrics are consequently-dated, but the music certainly remains unique and vital, creating a positive response from the audience. It’s a short set, maybe only forty minutes, but it’s enough for them to make a lasting impression and when the end, with a fine version of ‘All Alone In Her Nirvana’, they receive well-deserved applause. Although this was the final gig by this three-piece line-up, their next step will be a more complete Crisis reformation including original drummer Luke Rendall, so be sure to watch out for them.
I arrive at New Cross Inn fairly early and watch the next band onstage, Absolute Beginners.who turn out to be a Jam-tribute band. I’m not a big fan of covers bands, I don’t really see the point unless they add an interesting twist to it (like Thee Nuns or The Pukes, for example.) So while I certainly don’t mind hearing a bunch of old Jam songs, I didn’t really see the point of it being a part of this event.
1984 set-up onstage pretty promptly and start the set as soon as they’re ready. Beginning with ‘No Town Hall’ and ‘Holocaust’ from the first Crisis single, they play through a selection of material from the original records and the audience steadily builds around the front of the stage. There are some people here who know who the band are and know what to expect, but many are either unaware of the Crisis connection or have no prior knowledge of that band at all. However, as they play the songs more and more people become interested and move forward to pay attention. The songs may be almost 40 years old and some of the lyrics are consequently-dated, but the music certainly remains unique and vital, creating a positive response from the audience. It’s a short set, maybe only forty minutes, but it’s enough for them to make a lasting impression and when the end, with a fine version of ‘All Alone In Her Nirvana’, they receive well-deserved applause. Although this was the final gig by this three-piece line-up, their next step will be a more complete Crisis reformation including original drummer Luke Rendall, so be sure to watch out for them.
FALLEN LEAVES. Hope & Anchor, 20/5/17. And so, fast exit from New Cross Inn and I reach the station just in time for the next northbound train. For once, it all goes pretty-much according to plan and I arrive at the Hope & Anchor with just enough time to order a beer before The Fallen Leaves take to the stage. It’s a busy evening and the place is just about full so I’m unable to get a really good view, but sometimes a bit of claustrophobia is just what a gig needs. The sound from the stage is loud and clear, giving me a chance to stand-back and really appreciate how good this band are. Rob Green is a very idiosyncratic frontman, performing in an amusing and slightly eccentric fashion but with a lyrical and vocal style that raises it all to a higher level. Rob Symmons takes his guitar style from a more Sixties Mod / Garage direction, but then takes it further, unafraid to make noise alongside melodies and adding a real edge to the proceedings. This is what makes them special. They’re not concerned with rock’n’roll traditions, they want to see what they can do with their music on their own terms. Just hear their latest album, ‘What We’ve All Been waiting For’, and you’ll see what I mean. I’m really glad I made the effort to see both gigs this evening because, although very different musically, they were both great fun.
BRIDPORT DAGGER. Leytonstone What’s Cookin’, 27/5/17. I last saw Bridport Dagger about six years ago when they played in Chelmsford. I enjoyed that gig but despite watching out for further gigs, they seemed to go off the radar. Turns out they split-up for a while, but are now back together with an extended line-up and a different look. Fortunately, the music remains just as intriguing, recalling bands like the Gun Club, Thin White Rope and Nick Caves early solo albums. The sound is now a bit more involved, with an extra guitarist and even a sax player, but it works well even though I also enjoyed their original sparser style. As an opening band, they go down really well (especially as the headliners are a much more trad-rock outfit) so this was an encouraging set and I’m glad to see them back. They’re now based back in London and seem intent on re-establishing themselves, so be sure to check them out as soon as you can.
COWBELL. All You Read Is Love, Leytonstone, 27/5/17. Although the Bridport Dagger gig was something entirely separate, there’s an all-day festival going-on in Leytonstone today, with different bands playing at different venues through the afternoon and evening. Cowbell are headlining at the rather neat ‘All You Read Is Love’ bookshop / bar and my intention was to go from one gig to the other. The only problem turns out to be that you need a festival wristband to get in and, despite it being the last band of the evening and the venue not being full, the twit on the door won’t let us in unless we purchase a ticket for the full day. It does not compute ! So, having been happy to pay a normal price to get in, we resort to some punk rock sneakiness, wait until a couple of punters leave the venue and then borrow their wristbands to get into the gig for free. Fuck the rule book !
Cowbell are already playing, but we’ve only missed a couple of songs. Despite the name sounding rather twee, the band (actually a two-piece) make a really cool noise. I suppose you could loosely call it ‘Alt-country’ although that phrase gets used for such a range of things these days that it doesn’t really explain anything. Cowbell have a sound that embraces early rock’n’roll, Blues, the darker side of Country music (Johnny Cash etc) and also take in a twist of bands like Gun Club and other more recent forms of Garage rock. I couldn’t tell you the song titles, but I recognize several from the last time I saw them and that’s always a good sign. Again, this is a band that I really recommend, they take established styles but they do something different with them. Check them out at the earliest opportunity.
Cowbell are already playing, but we’ve only missed a couple of songs. Despite the name sounding rather twee, the band (actually a two-piece) make a really cool noise. I suppose you could loosely call it ‘Alt-country’ although that phrase gets used for such a range of things these days that it doesn’t really explain anything. Cowbell have a sound that embraces early rock’n’roll, Blues, the darker side of Country music (Johnny Cash etc) and also take in a twist of bands like Gun Club and other more recent forms of Garage rock. I couldn’t tell you the song titles, but I recognize several from the last time I saw them and that’s always a good sign. Again, this is a band that I really recommend, they take established styles but they do something different with them. Check them out at the earliest opportunity.
THE DAMNED / RUTS DC / DUNCAN REID / THE PROFESSIONALS / DEADCUTS / DESPERATE MEASURES / ZODIAC MINDWARP / LONDON SS. Camden Rocks, 3/6/17. When the annual ‘Camden Crawl’ event fell apart a few years ago, Camden Rocks festival was established to take its’ place. With the same format (a multitude of bands playing at numerous venues around Camden all on one Saturday) this new set-up took a more ‘rock’ direction than its’ predecessors ‘Indie’ approach, but it was only this year that I decided there were enough bands I’d actually like to see to warrant buying a ticket. As I’ve said before, I’m not a big fan of festivals, but this line-up was rather enticing, particularly with The Damned due to play at the (relatively small) Electric Ballroom and with the likes of Ruts DC, The Professionals and Duncan Reid on the line-up.
On the day of the gigs, I turn up nice and early, thinking that picking-up my wristband won’t take long, but the queue stretches right around The Worlds End. Damn these music fans ! Fortunately, I bump into a slightly hungover Squirrel and accidentally join her in the queue, fairly close to the front (‘Honest, we were just chatting and next thing I knew, I was at the ticket desk collecting my wristband…’)
On the day of the gigs, I turn up nice and early, thinking that picking-up my wristband won’t take long, but the queue stretches right around The Worlds End. Damn these music fans ! Fortunately, I bump into a slightly hungover Squirrel and accidentally join her in the queue, fairly close to the front (‘Honest, we were just chatting and next thing I knew, I was at the ticket desk collecting my wristband…’)
From here, straight down the road to a really horrible bar called ‘Be At One’. It’s an over-priced shithole that’s totally unsuitable for watching a band (unless they’re a boring band that you don’t want to see or hear them) and it’s a bad way to start the days’ entertainment. However, London SS are actually rather good. Despite the fact that every time I’ve met Brady he seemed totally out of it (including today) his performance behind a guitar is excellent, playing the kind of sleazy, trashy rock’n’roll that the Hollywood Brats did so well. I have to say that the vocals perhaps needed a bit more character, but overall this was a rather fine blast of music and the version of ‘Sick On You’ was worth the price of admission in itself.
After this, the plan was to stroll back to the Underworld to meet various friends and see what Zodiac Mindwarp are upto these days. But again, it didn’t go according to plan. Firstly, there’s another bloody queue and then, when I do get into the venue, there seems to be less lighting than a mid-Seventies power-cut. I can’t find anyone and although I do get to watch the band, it’s not great. They could’ve been anyone and I’m really not sure if any of the original musicians were actually in the band. It was just hard rock without any sense of fun or humour and I can live without that. Meh.
Already fed-up with being at a festival, I head up towards Kentish Town to buy some chips at Pangs. Possibly the best chip-shop in London. I wonder if I can get a sponsorship deal ?
Already fed-up with being at a festival, I head up towards Kentish Town to buy some chips at Pangs. Possibly the best chip-shop in London. I wonder if I can get a sponsorship deal ?
Back down the road and I decide to stop in the Cavendish Arms to see Desperate Measures. I’m glad I did, because this afternoon they were really good. Not a big audience, but very supportive and the PA sound is just right for them. Originally formed in New Zealand in the early Eighties, two of the original members are now based in London and have reformed the band for occasional gigs with some Limey replacements. I had seen them once before and they’d been good-but-not-great (even though one of their songs name-checked the legendary Toy Love) but I decided to check them out again and this afternoon, they do sound great ! I don’t know what made the difference because I’m sure they played the same songs, but today everything sounds right and both band and audience are enjoying themselves. Their version of ‘No Government’ is entirely appropriate and amusing, even if singer Eugene should really refrain from posing with his foot on the monitors quite so much, and their own songs really come across well. The chips at Pangs and this set of songs totally reinvigorated me for the rest of the day !
Back down the road and I meet up with a bunch of chaps in time to join them for a rather slow walk upto the Camden Assembly (aka Barfly, aka The Monarch) to see Deadcuts. This is the current band formed by former Senseless Things singer Mark Keds. Despite various problems over the years, he’s always been a nice bloke and it’s great to see him back with a fine new band, still playing catchy, melodic punk-pop but with a noisier approach this time. Sadly, due to a mix-up over running times, we only get to see a few songs from the band, but what I hear is really good. I hope this is a step towards Mark re-establishing his obvious talent as a songwriter and performer.
For some weird reason that still remains unexplained, we then take a ridiculously long route back towards the Electric Ballroom to see The Professionals. If you saw my review of their ‘comeback’ gig at the 100 Club, you’ll know that while I did enjoy hearing the songs, I thought the lack of Steve Jones was a rather big stumbling block Well, since then, they’ve lost guitarist Ray McVeigh and he’s been replaced by former 3 Colours Red guitarist, Chris McCormack. This seems to be the element that the current band needed because they now have someone who can really replicate Jonesy’s guitar style in a natural fashion. They don’t sound like a band trying to mimic the original line-up, they sound as if this is what they do. Playing through mostly old songs and (I think) a few new ones, they were just how we wanted them to be with that big guitar sound to the fore. ‘Just Another Dream’, ‘Join The Professionals’, ‘Little Boys in Blue’, ‘1,2,3’ (not quite as good as the Avengers’ ‘Second To None’ but I still love it) and an encore that features both ‘Kick Down The Doors’ and ‘Silly Thing’… The Professionals should have been so much more successful than they were, but so many things conspired against them. It’s great that we can still hear these songs and while I do remain reserved about their reformation without Steve Jones, tonights’ gig sounded just the way they ought to be. I’ll wait to hear the new album before I’m totally convinced, but this gig put me a lot closer.
So, final few gigs and it’s going to take a bit of running back and forth but I think I can make it. Over to the Black Heart and a set from Duncan Reid & The Big Heads. Having been a long term fan of The Boys this is a band that I’ve already seen and enjoyed. But this evening, in a packed and uncomfortably sweaty room, they exceed themselves. Great catchy punk-pop songs that stand-up alongside the best of The Boys’ repertoire. It’s a shame that wasn’t involved in the recent Boys album (excellent as it is) but Duncan has kept busy since leaving the band and we’re now getting plenty of great new songs from both of them. Live, the Big Heads are a great, energetic band that pack more into a thirty minute set than most bands could manage in an entire career. Duncans’ voice doesn’t seem to have aged at all and the rest of the band throw themselves into the songs with total conviction. The Boys should’ve had so many Top Ten hits, the Big Heads deserve to be on every decent radio show. Catch them for yourselves while the rest of the world catches up.
Back to the Underworld, not such a long queue this time but I still miss the first few songs of the Ruts DC set. Not a problem as the rest of the gig is still thoroughly enjoyable and even if it is packed-out, the music is more than enough to keep me happy. All the old classics and all the great tracks from the recent ‘Music Must Destroy’ album. It’s one thing for a band that I love to reform, it’s another thing for them to release an album of all new material that I love as much as their original releases. Ruts DC have achieved that with style, do not miss them.
Finally, back to the Electric Ballroom for The Damned. I should have had plenty of time for this but, as if often the case with events like this, the venue is already full and despite having a ticket, they won’t let anyone else in until others have left. Damnit ! As if to add insult to injury, it also starts to rain as we’re standing in the queue. Looking at my watch, The Damned are due onstage now. I begin to fume (well, steam, owing to the weather conditions) but after another five minutes, the queue starts moving and eventually I get inside. Unbelievably, I’ve only missed the first two songs and watching the band here is so different to the last couple of times. It’s a much shorter set than usual so they blast through the ‘hits’ and favourites, playing a set that only the worst cynic would have pretended to dislike. I know the current line-up isn’t perfect, but when they play a gig like this one they really do present an overview that would be difficult to surpass. As an end to the day, this was more than ideal, with everything from ‘Neat Neat Neat’ to ‘Ignite’ and from ‘Jet Boy Jet Girl’ to ‘History of The World’. I wish there had been some new material on show, but as a retro set, this was just about right.
Finally, back to the Electric Ballroom for The Damned. I should have had plenty of time for this but, as if often the case with events like this, the venue is already full and despite having a ticket, they won’t let anyone else in until others have left. Damnit ! As if to add insult to injury, it also starts to rain as we’re standing in the queue. Looking at my watch, The Damned are due onstage now. I begin to fume (well, steam, owing to the weather conditions) but after another five minutes, the queue starts moving and eventually I get inside. Unbelievably, I’ve only missed the first two songs and watching the band here is so different to the last couple of times. It’s a much shorter set than usual so they blast through the ‘hits’ and favourites, playing a set that only the worst cynic would have pretended to dislike. I know the current line-up isn’t perfect, but when they play a gig like this one they really do present an overview that would be difficult to surpass. As an end to the day, this was more than ideal, with everything from ‘Neat Neat Neat’ to ‘Ignite’ and from ‘Jet Boy Jet Girl’ to ‘History of The World’. I wish there had been some new material on show, but as a retro set, this was just about right.
THE DESCENDENTS / ABRASIVE WHEELS / THE KENNETHS. The Forum, 4/6/17. It’s their first gig in London since the release of last years ‘Hypercaffium Spazzinate’ album, plus it’s the twentieth anniversary of the ‘Everything Sucks’ LP, so there’s a lot of reasons why this gig is going to be special. I arrive early to meet up with everyone, walking in at the soundcheck to hear them running through a great cover of Devo’s ‘Uncontrollable Urge’! Apparently, they recently played at a festival in America where Devo had also been scheduled to play but had been forced to cancel at short notice, so The Descendents opened their set that night with ‘Uncontrollable Urge’ as a treat for the Devo fans. Unfortunately, it’s not being played on these dates (so I wish I’d had my tape recorder ready for the soundcheck…)
Catching up with everyone, they’re all in high spirits having just played at the Primavera festival in Spain and are set for the following European dates. Everyone gets themselves together and we head out for some food a nearby Japanese restaurant. I’m not so familiar with Japanese food but I have a vegetarian dish that turns out to be really nice, so this is something I’ll have to investigate further.
Back at the venue, the place quickly fills up. I go for a wander to try and find a few friends who had said they would be there, but the downstairs area is so crowded that I kind find anyone. The first band onstage are The Kenneths, a young London-based trio playing melodic punk in the traditional three-chord style. Their recent EP ‘Double N’ was recorded by Bill Stevenson and they’re certainly a good choice as the opening band for this gig.
Main support is from veteran Eighties punk band Abrasive Wheels, which seems a bit of an odd choice. That being said, they actually go down rather well, with their anthemic songs coming over as not so far removed from more recent bands like Rancid or Bouncing Souls. Only vocalist Shonna remains from the original Abrasive Wheels line-up, but they play well and ensure that the audience is soon on their side. Ending with ‘Burn ‘em Down’, they certainly won over a bunch of new fans this evening.
The Forum is absolutely crammed by the time The Descendents arrive onstage. Milo decries the state of America at the moment, denouncing that ‘orange asshole’, before Stephen launches into the opening chords of ‘Everything Sucks’ and the show is underway. The songs come fast and frantic, from older favourites like ‘Hope’ and ‘Pervert’ through to equally lovable tracks from the more recent albums like ‘On Paper’ and ‘Nothing With You’. ‘Clean Sheets’ gets one of the best responses and even ‘Van’ is welcomed by enthusiastic cheers (not that it shouldn’t, but it is a rather peculiar song even for this band…) ‘Weinerschnitzel’ is actually played twice after Milo misses the cue for the final line (taking it up to a whole thirty seconds !) So many great songs… ‘I Don’t Want to Grow Up’, Coolidge’, ‘Suburban Home’ and with equally fine tracks from ‘Hypercaffium’ like ‘Shameless Halo’ and ‘Victim of Me’, this is a band who are still at the top of their game. The inevitable encores follow the main set, with ‘I’m The One’ and ‘Sour Grapes’ providing further high points, before they’re called back for a second time and play ‘Catalina’ followed by the excellent ‘Spineless and Scarlet Red.’ Does it get better than this ? While so many other bands have come along in their wake, playing melodic punk rock and becoming highly successful, The Descendents are still the band that the others have to match-up to. Quite frankly, I can’t see that changing in a very long time, if at all.
Catching up with everyone, they’re all in high spirits having just played at the Primavera festival in Spain and are set for the following European dates. Everyone gets themselves together and we head out for some food a nearby Japanese restaurant. I’m not so familiar with Japanese food but I have a vegetarian dish that turns out to be really nice, so this is something I’ll have to investigate further.
Back at the venue, the place quickly fills up. I go for a wander to try and find a few friends who had said they would be there, but the downstairs area is so crowded that I kind find anyone. The first band onstage are The Kenneths, a young London-based trio playing melodic punk in the traditional three-chord style. Their recent EP ‘Double N’ was recorded by Bill Stevenson and they’re certainly a good choice as the opening band for this gig.
Main support is from veteran Eighties punk band Abrasive Wheels, which seems a bit of an odd choice. That being said, they actually go down rather well, with their anthemic songs coming over as not so far removed from more recent bands like Rancid or Bouncing Souls. Only vocalist Shonna remains from the original Abrasive Wheels line-up, but they play well and ensure that the audience is soon on their side. Ending with ‘Burn ‘em Down’, they certainly won over a bunch of new fans this evening.
The Forum is absolutely crammed by the time The Descendents arrive onstage. Milo decries the state of America at the moment, denouncing that ‘orange asshole’, before Stephen launches into the opening chords of ‘Everything Sucks’ and the show is underway. The songs come fast and frantic, from older favourites like ‘Hope’ and ‘Pervert’ through to equally lovable tracks from the more recent albums like ‘On Paper’ and ‘Nothing With You’. ‘Clean Sheets’ gets one of the best responses and even ‘Van’ is welcomed by enthusiastic cheers (not that it shouldn’t, but it is a rather peculiar song even for this band…) ‘Weinerschnitzel’ is actually played twice after Milo misses the cue for the final line (taking it up to a whole thirty seconds !) So many great songs… ‘I Don’t Want to Grow Up’, Coolidge’, ‘Suburban Home’ and with equally fine tracks from ‘Hypercaffium’ like ‘Shameless Halo’ and ‘Victim of Me’, this is a band who are still at the top of their game. The inevitable encores follow the main set, with ‘I’m The One’ and ‘Sour Grapes’ providing further high points, before they’re called back for a second time and play ‘Catalina’ followed by the excellent ‘Spineless and Scarlet Red.’ Does it get better than this ? While so many other bands have come along in their wake, playing melodic punk rock and becoming highly successful, The Descendents are still the band that the others have to match-up to. Quite frankly, I can’t see that changing in a very long time, if at all.
VIVA LAS VEGAS / MORGELLONS / DESPERATE MEASURES. Mau Mau Bar, 9/6/17. My first visit to the Mau Mau Bar, right down at the bottom end of Portobello Road, and it turns out to be a great night in a decent venue (even if the bar prices are a bit steep…) Plenty of friendly faces in attendance help to create a good atmosphere and fortunately all the bands play on time, which is useful considering the long trek back to the tube station afterwards.
First on are Desperate Measures, who had been really good when I saw them a few weeks earlier at Camden Rocks. Unfortunately, tonight they suffer PA problems from the outset. I don’t think this place has loud bands playing on a regular basis, so it takes the soundman a while to get things sorted and although they play a decent set, the vocals are far too loud and the guitars are really low and indistinct. It’s a pity because I was looking forward to hearing them again after the last gig. Things do improve towards the end of the short set and they also run through another enjoyable version of ‘No Government’ (always guaranteed to bring a smirk to my face) but by the time it all starts to come together for them, the set is almost over. It wasn’t bad, but now I know they can sound a lot better, I want to hear them that way. No doubt I’ll be seeing them again and hopefully next time the PA won’t sabotage them !
This is actually the launch night for The Morgellons new (self-titled) album. I’d only just got a copy of it so I can’t tell you which songs they played from it, but what really matters is that it was a very strong set. Taking their cue from the generation of bands who came along with a different approach to the initial punk explosion (it wasn’t post-anything, it was the next step forward) The Morgellons create sounds that come from a similar background. Not content to just stick to the three chord trick, they’re searching for different sounds, different tempos and different ways to convey their thoughts. Think of early Joy Division, Magazine or even bands like The Mob perhaps, stretching themselves to create something new. They’re interesting, original and still manage to rock ! Is there anything not to like about this band ?
Viva Las Vegas are a pretty straight forward premise ; Elvis songs done in punk rock style. Maybe not a band that’s going to change your life, but when you catch them on a good night (this was one of them) they’re one of the best party bands you could ever hope to see. Great songs played in the style of the Ramones, silly wigs, over the top posing and plenty of laughs. You’ve gotta love ‘em (well, not too closely.) I’m sure The King himself would have approved !
First on are Desperate Measures, who had been really good when I saw them a few weeks earlier at Camden Rocks. Unfortunately, tonight they suffer PA problems from the outset. I don’t think this place has loud bands playing on a regular basis, so it takes the soundman a while to get things sorted and although they play a decent set, the vocals are far too loud and the guitars are really low and indistinct. It’s a pity because I was looking forward to hearing them again after the last gig. Things do improve towards the end of the short set and they also run through another enjoyable version of ‘No Government’ (always guaranteed to bring a smirk to my face) but by the time it all starts to come together for them, the set is almost over. It wasn’t bad, but now I know they can sound a lot better, I want to hear them that way. No doubt I’ll be seeing them again and hopefully next time the PA won’t sabotage them !
This is actually the launch night for The Morgellons new (self-titled) album. I’d only just got a copy of it so I can’t tell you which songs they played from it, but what really matters is that it was a very strong set. Taking their cue from the generation of bands who came along with a different approach to the initial punk explosion (it wasn’t post-anything, it was the next step forward) The Morgellons create sounds that come from a similar background. Not content to just stick to the three chord trick, they’re searching for different sounds, different tempos and different ways to convey their thoughts. Think of early Joy Division, Magazine or even bands like The Mob perhaps, stretching themselves to create something new. They’re interesting, original and still manage to rock ! Is there anything not to like about this band ?
Viva Las Vegas are a pretty straight forward premise ; Elvis songs done in punk rock style. Maybe not a band that’s going to change your life, but when you catch them on a good night (this was one of them) they’re one of the best party bands you could ever hope to see. Great songs played in the style of the Ramones, silly wigs, over the top posing and plenty of laughs. You’ve gotta love ‘em (well, not too closely.) I’m sure The King himself would have approved !
CHELSEA / CHRON GEN / DEPARTMENT S. Underworld, 10/6/17. I wasn’t sure what to expect from this gig. I’m not the worlds’ biggest Chelsea fan, but friends had been telling me that the current line-up are well-worth seeing. In the case of Chron Gen, despite being a fan of their early material, I’d never actually seen them, and although I hadn’t been entirely blown-over by Department S, they’ve recently been joined by Ruts DC guitarist Leigh Haggerty which was a more-than tempting proposition. So this gig seemed like a great way to cure my curiosity.
The gig starts ridiculously early so there’s only a small crowd in attendance for the start of the Department S set, but it soon becomes apparent that this is going to be something that the other bands will have to be on real form to match. With the addition of any extra guitar, their sound has become so much more powerful and on this occasion, everything clicks into place. Their current singer Eddie (Vaughan Toulouse sadly passed away many years ago) puts across his own character effectively while the rest of the band play a hard, rocking sound that was never really conveyed by their original releases. Without that Eighties production sound on songs like ‘Going Left Right’ and even ‘Is Vic There’, they have a much more punk rockin’ style that quite easily stands up to their fine cover of ‘Sonic Reducer’. As the opening band, they only get to play a short set, but by the end, everyone wants to hear more.
Chron Gen were one of the early Eighties UK punk bands who got lumped-in with the likes of The Exploited and Vice Squad but were actually far better song-writers and released some truly fine singles. Unfortunately, their debut album was ruined by an absolutely appalling production and they didn’t last much further than that, although they have reformed on a sporadic basis. Tonight, they’re playing as a three-piece and apart from singer/guitarist Glynn Barber, I’m not sure who the others are. Even so, they start with a batch of old songs (their cover of ‘Jet Boy Jet Girl’, the excellent ‘Reality’ and ‘Hounds of the Night’) before delving into their recent material which, I have to say, was pretty much hard rock. I know it’s a long time since those original records, but the new songs just didn’t sound like Chron Gen and that’s the way the set continued. A whole load of new material saw audience members wandering off to the bar until the end, when a trio of ‘LSD’, ‘Mindless Few’ and ‘Outlaw’ brought a return to older standards. There were moments when they did sound the way that I’d like to hear them, but too many when it could’ve been another band altogether. I don’t begrudge a band taking a different direction, but I’m afraid that still doesn’t mean that I’ll want to hear it.
The gig starts ridiculously early so there’s only a small crowd in attendance for the start of the Department S set, but it soon becomes apparent that this is going to be something that the other bands will have to be on real form to match. With the addition of any extra guitar, their sound has become so much more powerful and on this occasion, everything clicks into place. Their current singer Eddie (Vaughan Toulouse sadly passed away many years ago) puts across his own character effectively while the rest of the band play a hard, rocking sound that was never really conveyed by their original releases. Without that Eighties production sound on songs like ‘Going Left Right’ and even ‘Is Vic There’, they have a much more punk rockin’ style that quite easily stands up to their fine cover of ‘Sonic Reducer’. As the opening band, they only get to play a short set, but by the end, everyone wants to hear more.
Chron Gen were one of the early Eighties UK punk bands who got lumped-in with the likes of The Exploited and Vice Squad but were actually far better song-writers and released some truly fine singles. Unfortunately, their debut album was ruined by an absolutely appalling production and they didn’t last much further than that, although they have reformed on a sporadic basis. Tonight, they’re playing as a three-piece and apart from singer/guitarist Glynn Barber, I’m not sure who the others are. Even so, they start with a batch of old songs (their cover of ‘Jet Boy Jet Girl’, the excellent ‘Reality’ and ‘Hounds of the Night’) before delving into their recent material which, I have to say, was pretty much hard rock. I know it’s a long time since those original records, but the new songs just didn’t sound like Chron Gen and that’s the way the set continued. A whole load of new material saw audience members wandering off to the bar until the end, when a trio of ‘LSD’, ‘Mindless Few’ and ‘Outlaw’ brought a return to older standards. There were moments when they did sound the way that I’d like to hear them, but too many when it could’ve been another band altogether. I don’t begrudge a band taking a different direction, but I’m afraid that still doesn’t mean that I’ll want to hear it.
For me, the best album by Chelsea was ‘Evacuate’, in particular the title track and the single ‘War Across The Nation’. That album was recorded when guitarist Nic Austin was a part of the band, and he’s now back in the line-up along with former members James Stevenson and Mat Sargent, as well as mainstay Gene October. So I’m happy to give this a chance. I have to say, they did sound a lot better than on the occasions when I’ve seen them before and they did play the songs I mentioned above, so that kept my interest. They also looked good onstage, like a band enjoying themselves and not just going through the motions. It’s not a bad set at all, although the only songs I know are older ones like ‘I’m On Fire’ and the set-closer ‘Urban Kids’ (co-written by Mark Perry.) The encore also includes ‘Last Drink’ but then comes to an end with ‘Right To Work’ which I still really don’t like so I sneak while it’s still being played.
Overall, I have to say that Department S played the best set this evening, but all of the bands certainly had their moments. For an early evenings’ entertainment, it wasn’t a bad night out at all !
Overall, I have to say that Department S played the best set this evening, but all of the bands certainly had their moments. For an early evenings’ entertainment, it wasn’t a bad night out at all !
KILLING JOKE. The Scala, 12/6/17. Ahead of a European tour, Killing Joke announce a relatively low-key gig at The Scala. It’s quite expensive but I know that Killing Joke are never a disappointment, so I buy a ticket and then meet-up with a bunch of friends before the gig. Having no idea who the support bands are, we opt for a couple of drinks in a nearby pub before heading over to the venue, which turns out to be a smart move because the place is ridiculously packed. It’s hard to just get through the doors into the main room, let alone find a good to watch ! It’s all rather uncomfortable but as soon as the band come onstage and launch into ‘The Wait’, all of that becomes secondary. The sound is immense, really loud but also perfectly defined, allowing the songs to be played with maximum effect. The set is pretty similar to the ones played at the end of last year but with a selection of songs that include the likes of ‘Love Like Blood’, ‘Sun Goes Down’, ‘Autonomous Zone’ and ‘I Am The Virus’, I can’t imagine anyone complaining. They play a blistering version of ‘Exorcism’ and the set ends with the adrenalin-rush righteousness of ‘Pssyche’, a perfect song for these times. There’s a short break for everyone to get their breath back and then the encore delivers another half-dozen songs including ‘Requiem’, ‘Wardance’ and a climatic ‘Pandemonium’. The end of the set looks like a celebration, both onstage and in the audience, with so many gleeful, exhausted faces. I have never seen Killing Joke play a bad gig and as time goes on, they’ve never let their standards slip. There would have to be a very good reason for me to miss them.
THE SKIDS / THE VAPORS. The Roundhouse, 16/6/17. The Skids are one of the bands that came from the punk movement but forged their own sound and released some truly great records. Their records were immediately recognisable but never stuck to a formula. They also had a lot of success with it ; consider how many times they made it onto Top of The Pops (launching an epidemic of silly dancing at school discos all over the UK !) Unfortunately, they split-up before I ever got a chance to see them, although occasional reunions (only in Scotland) left me with the hope that it might still happen one day. Finally, that chance arrived. As with many events happening over the past year or so, the band announced a 40th Anniversary Tour, sadly missing original guitarist Stuart Adamson (who died in 2001) but featuring Richard Jobson, Bill Simpson and Mike Baillie from their early years. I was sure that they would not undertake an event like this half-heartedly so I was expecting good things.
On the evening of the gig, I arrive early but find The Vapors already onstage. The venue isn’t too crowded at the moment so I make my way down towards the stage to check them out. Apart from the obvious ‘Turning Japanese’, I was never a big fan of the band but I still expected they would be a good live act. Well, if this was anything to go by, I was wrong. I don’t think I’ve ever seen a band play a more lackadaisical performance in front of a large audience. The only person who looked as if he was enjoying himself was the drummer, and he wasn’t an original member ! I have no idea what the reason was, but they seemed to put so little energy and enthusiasm into their songs, even though a fair amount of people were clearly happy to hear them. Even ‘Turning Japanese’, a genuinely classic pop song, seemed to be played with the brakes on. If a support band are supposed to be there to ‘warm-up’ the audience, The Vapors failed miserably.
After a reasonable wait, the Skids arrived onstage with ‘Animation’, not an obvious opening track, but it sounds great. Also, in complete contrast to The Vapors, they’re clearly enjoying being back onstage and putting everything into it. ‘Of One Skin’ follows, one of the best tracks from the first album, and then a bunch of tracks from other albums before the first ‘hits’ of the evening, ‘Working For The Yankee Dollar’ and ‘The Saints Are Coming’. Any doubts are completely gone by this point. The band sound amazing and Richard Jobson, if not dancing and singing in his own inimitable style, is engaging the audience with tales of the bands formation or self-deprecating humour. It’s this that really wins the audience over. They may be taking the music seriously, but not themselves, which somehow makes it feel far more genuine. The set continues with songs like ‘Charles’, ‘The Olympian’ and ‘Out of Town’ before it comes to a glorious finale with ‘Circus Games’, ‘Masquerade’ and ‘Into The Valley’. The band leave the stage to rapturous applause but don’t keep us waiting too long for more. ‘Charade’ is the first song of the encore, surely their most under-rated single and certainly one of my favourites, before Jobson thanks the audience for being the first one to call out for ‘ the worst song The Skids ever wrote’, only to be countered by Bill Simpsons intro, ‘Eddies tammy Stanley’s chamois’ and we’re off into the ridiculously-enjoyable (and slightly updated) ‘TV Stars’. As the applause dies down, a new song is introduced, ‘A World On Fire’, and it sounds really good, boding well for the forthcoming album. Finally, with time running out, they remain onstage to play ‘Of One Skin’ a second time, providing a perfect end to an exceptional gig. As I said earlier in the review, I expected this to be good, but I was still blown-away by how great it actually was. Especially after The Vapors weak delivery, The Skids had really blown all the cobwebs away and reminded us just how many great songs they produced. With another tour scheduled to support the upcoming album, I can only warn you that you’ll miss it at your peril !
On the evening of the gig, I arrive early but find The Vapors already onstage. The venue isn’t too crowded at the moment so I make my way down towards the stage to check them out. Apart from the obvious ‘Turning Japanese’, I was never a big fan of the band but I still expected they would be a good live act. Well, if this was anything to go by, I was wrong. I don’t think I’ve ever seen a band play a more lackadaisical performance in front of a large audience. The only person who looked as if he was enjoying himself was the drummer, and he wasn’t an original member ! I have no idea what the reason was, but they seemed to put so little energy and enthusiasm into their songs, even though a fair amount of people were clearly happy to hear them. Even ‘Turning Japanese’, a genuinely classic pop song, seemed to be played with the brakes on. If a support band are supposed to be there to ‘warm-up’ the audience, The Vapors failed miserably.
After a reasonable wait, the Skids arrived onstage with ‘Animation’, not an obvious opening track, but it sounds great. Also, in complete contrast to The Vapors, they’re clearly enjoying being back onstage and putting everything into it. ‘Of One Skin’ follows, one of the best tracks from the first album, and then a bunch of tracks from other albums before the first ‘hits’ of the evening, ‘Working For The Yankee Dollar’ and ‘The Saints Are Coming’. Any doubts are completely gone by this point. The band sound amazing and Richard Jobson, if not dancing and singing in his own inimitable style, is engaging the audience with tales of the bands formation or self-deprecating humour. It’s this that really wins the audience over. They may be taking the music seriously, but not themselves, which somehow makes it feel far more genuine. The set continues with songs like ‘Charles’, ‘The Olympian’ and ‘Out of Town’ before it comes to a glorious finale with ‘Circus Games’, ‘Masquerade’ and ‘Into The Valley’. The band leave the stage to rapturous applause but don’t keep us waiting too long for more. ‘Charade’ is the first song of the encore, surely their most under-rated single and certainly one of my favourites, before Jobson thanks the audience for being the first one to call out for ‘ the worst song The Skids ever wrote’, only to be countered by Bill Simpsons intro, ‘Eddies tammy Stanley’s chamois’ and we’re off into the ridiculously-enjoyable (and slightly updated) ‘TV Stars’. As the applause dies down, a new song is introduced, ‘A World On Fire’, and it sounds really good, boding well for the forthcoming album. Finally, with time running out, they remain onstage to play ‘Of One Skin’ a second time, providing a perfect end to an exceptional gig. As I said earlier in the review, I expected this to be good, but I was still blown-away by how great it actually was. Especially after The Vapors weak delivery, The Skids had really blown all the cobwebs away and reminded us just how many great songs they produced. With another tour scheduled to support the upcoming album, I can only warn you that you’ll miss it at your peril !
THE PHOBICS / PIG. The Pelton Arms, 17/6/17. It’s a particular nice warm evening, so The Pelton is a perfect place to be. Unfortunately, I get the running times mixed-up and arrive just as Junko Fuse are ending their set (d’oh !) but with the place packed with loads of friends I’m soon busy enough to put that disappointment behind me. The first band I do get to see are P.I.G. a (fairly) local crustie-hardcore band with (so I’m told) some connection to Conflict. I’ve tried to find more details, honest ! Anyway, they play a rather brutal metallic punk set and if that description appeals to you, then this is a band you ought to look out for… But I’m mainly here for The Phobics and it’s when they take the stage that the evening really comes together. So close to home that Tom can even nip back to his own bathroom between songs, they treat this as their local and with plenty of friends in attendance, this one couldn’t be anything other than a lot of fun. All the songs we want to hear and just the right atmosphere to appreciate them. More like a party than a gig, this was one that you really couldn’t fail to enjoy.
THE PHOBICS / STONE HEROES / JUNKO FUSE / BUCHA EFFECT. New Cross Inn, 24/6/17. This was an excellent all-day event set-up by the South London Punk Collective in aid of the Sex, Drugs & HIV campaign. A dozen or so bands were playing and your ticket also gave you access to a free buffet (with plenty of veggie options) which over the course of the day was much needed. I arrived at around 4.00pm just as Bucha Effect have started playing and my entrance into the as yet not-so-packed room even gets a personalized greeting from Jumbo up on the stage. Ahh, the infamous Andy P is becoming acknowledged ! Anyway, they’re on fine form, hurtling through their songs in that barely-organised fashion that they have. Somehow this suits them perfectly as it just wouldn’t seem right for them to be playing songs like ‘345 to Peckham’, ‘Why Are You So Fat, Roland’ and ‘Tom Doesn’t Like Cheese’ if they did it smooth and professionally. Nah, I like ‘em just like this.
Next band that I watch are Junko Fuse, the first time I’ve seen them since they became a three-piece and although there are some alterations to their sound as a result, they have an interesting style that combines punk rock influences all the way from the Seventies through to the present day. And they still play their cover of ‘Rebel Girl’ which, for an all-male band, is a rather brave move.
Next band that I watch are Junko Fuse, the first time I’ve seen them since they became a three-piece and although there are some alterations to their sound as a result, they have an interesting style that combines punk rock influences all the way from the Seventies through to the present day. And they still play their cover of ‘Rebel Girl’ which, for an all-male band, is a rather brave move.
At this point in the afternoon, everyone seems to be going backwards and forwards between the main room and the tables outside, making the most of the nice weather before the evening draws in. As a consequence, I didn’t see enough of a couple of the bands to really be able to review them, but I made a point of returning to see Stone Heroes. They may have a bass player who, firstly, has five strings on his guitar (not necessary !) and plays it under his chin (not normal and definitely not cool) but they produce a great sound. I suppose the name is a bit of a giveaway, but there are more than a few comparisons to be made with Penetration, particularly with the strong female vocals and the guitar sound (based in punk but with a more interesting and involved approach.) They may take a few listens to really appreciate, but it’s well-worth your effort.
And next, it’s The Phobics. Two gigs in SE London in one week, that’s practically a tour ! By now, everyone is inside the venue and their set is met with the most enthusiastic response so far, with everyone crowding around the stage and dancing as the set goes on. Plenty of familiar songs like ‘Die Slowly’ and ‘Like a Child’ as well as several new numbers. (Moyni comments that ‘I fucking hate this one’ before one of them, only for Jeff to remind him that, ‘You wrote it !’) Tom implores the audience to get him a drink from the bar and for once it works (even if it was from his own daughter !) As usual, ‘Down & Out in Deptford’ gets the biggest cheers but that’s as much to do with it being a great song as for its’ local references. I always enjoy seeing this band, but this has to be one of the best times.
In fact, this was where the schedule went adrift. The next band onstage were Rock’n’Roll Gypsies and while they’re fine at what they do, their blend of Stonesy Blues was a bit of a come-down after the hi-energy set from The Phobics and the momentum was lost. I would normally have stayed to watch the final bands, but at this point it just seemed appropriate to make my departure and I sneaked back to home…
In fact, this was where the schedule went adrift. The next band onstage were Rock’n’Roll Gypsies and while they’re fine at what they do, their blend of Stonesy Blues was a bit of a come-down after the hi-energy set from The Phobics and the momentum was lost. I would normally have stayed to watch the final bands, but at this point it just seemed appropriate to make my departure and I sneaked back to home…
THE SATELLITES / SOME DOG. 100 Club, 30/6/17. Another 40th Anniversary gig, but this time it’s a less-obvious band, namely The Satellites. In many ways, I’m much more tempted to see lesser-known bands reforming because they’re quite obviously not doing it for the money and are more likely playing again simply because they still love the songs. This principle does let me down badly sometimes, but it’s something to take into consideration.
Anyway, The Satellites were another band I never got to see, despite buying their first two singles back at the time, so I’m certainly happy to go along and see what they’ll be like now. I arrive at the 100 Club a little later than intended and miss the first band, but the bizarrely named ‘Some Dog’ are now onstage playing a set of what I can only call ‘cow-punk’, complete with ridiculously oversized cowboy hats. It’s actually pretty entertaining although I’m not sure that I’d want to buy an album of it. But if you get a chance to see them, you’ll probably enjoy it.
The Satellites make their entrance onstage to a tape of ‘Carmina Burana’ which would have been a bit over-blown for any other band, but in their case is received in a suitably tongue-in-cheek fashion. Vocalist Del gives a brief introduction and then they’re straight into ‘High Rise Hillbillies’, the b-side of the first single. From there, they play through tracks from their various singles and album, including the delightfully-titled ‘Lucy is A Prostitute’ and ‘I Fell in Love With a Lesbian’ (we’ve all been there…) as well as (seemingly) more serious songs like ‘Sick Planet’ and ‘Nightmare’. They even try to get a bit slick, with a backing-tape providing the helicopter sounds for ‘Vietnam’, although any respect for this technology is put firmly back in its’ place by Del’s funky dance moves during ‘West Acton Shakedown’. The set comes to its’ appropriate climax with a wonderful version of ‘Urbane Guerilla’, but by this point, they can’t be bothered to leave the stage and continue straight into their final song, the legendary slice of industrial-pyschedelic jammimg that is ‘Turn The Hoover Up, Mum (I’m On Drugs)’. If ever there was a perfect representation of adolescence in the suburbs, this probably isn’t it, but I’m sure there are more than a few reprobates who will relate to the sentiments !
With this, the gig comes to an end. I’m not going to claim that The Satellites were one of the best bands of the era, but they made a handful of fine and entertaining records that didn’t sound like anyone else and still stand-out for that very reason. This was a very enjoyable gig, not to be taken too seriously but all the better for it. They’ll be playing at least a few more gigs in the near future and you really ought to catch them while you can.
Anyway, The Satellites were another band I never got to see, despite buying their first two singles back at the time, so I’m certainly happy to go along and see what they’ll be like now. I arrive at the 100 Club a little later than intended and miss the first band, but the bizarrely named ‘Some Dog’ are now onstage playing a set of what I can only call ‘cow-punk’, complete with ridiculously oversized cowboy hats. It’s actually pretty entertaining although I’m not sure that I’d want to buy an album of it. But if you get a chance to see them, you’ll probably enjoy it.
The Satellites make their entrance onstage to a tape of ‘Carmina Burana’ which would have been a bit over-blown for any other band, but in their case is received in a suitably tongue-in-cheek fashion. Vocalist Del gives a brief introduction and then they’re straight into ‘High Rise Hillbillies’, the b-side of the first single. From there, they play through tracks from their various singles and album, including the delightfully-titled ‘Lucy is A Prostitute’ and ‘I Fell in Love With a Lesbian’ (we’ve all been there…) as well as (seemingly) more serious songs like ‘Sick Planet’ and ‘Nightmare’. They even try to get a bit slick, with a backing-tape providing the helicopter sounds for ‘Vietnam’, although any respect for this technology is put firmly back in its’ place by Del’s funky dance moves during ‘West Acton Shakedown’. The set comes to its’ appropriate climax with a wonderful version of ‘Urbane Guerilla’, but by this point, they can’t be bothered to leave the stage and continue straight into their final song, the legendary slice of industrial-pyschedelic jammimg that is ‘Turn The Hoover Up, Mum (I’m On Drugs)’. If ever there was a perfect representation of adolescence in the suburbs, this probably isn’t it, but I’m sure there are more than a few reprobates who will relate to the sentiments !
With this, the gig comes to an end. I’m not going to claim that The Satellites were one of the best bands of the era, but they made a handful of fine and entertaining records that didn’t sound like anyone else and still stand-out for that very reason. This was a very enjoyable gig, not to be taken too seriously but all the better for it. They’ll be playing at least a few more gigs in the near future and you really ought to catch them while you can.