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EVENT NEWS: Dave Haslam ‘Close Up’ interview – Pete Shelley at Gorilla Manchester on 10th June 2018

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Dave Haslam will interview the legendary Pete Shelley of Buzzcocks about his life, ideas, and music in the latest of the author and DJ’s ‘Close Up’ interviews at Gorilla in Manchester on Sunday the 10th of June 2018.

Info: https://www.thisisgorilla.com/event.php?id=1797&d=2018-06-10

In what promises to be a very special event, the two will discuss all aspects of Pete Shelley’s iconic Buzzcocks and solo work and coincides with the launch of the Collected Lyrics Of Pete Shelley; a new book co-ordinated with Eyewear Publishing and long time collaborator Malcolm Garrett.

Info: https://www.buzzcocks.com/posts/2018/5/10/new-pete-shelley-lyric-book

Buzzcocks are still performing and recording today, forty-two years after they were formed by Pete Shelley and Howard Devoto in Bolton in February 1976. The band, completed by the addition of Steve Diggle and John Maher, famously put on and opened for the Sex Pistols in Manchester and by the end of that year became one of the first groups to form their own independent record label to release the seminal ‘Spiral Scratch’ EP. After Devoto’s departure in ’77 they recruited bassist Steve Garvey and over the next three years released a trilogy of outstanding albums: ‘Another Music in a Different Kitchen’, ‘Love Bites’ and ‘A Different Kind of Tension’, as well as the hugely influential and popular ‘Singles Going Steady’ compilation in 1981.

Pete Shelley also released two ground breaking solo albums ‘Homosapien’ and ‘XL-1’ with producer Martin Rushent that are set to be repackaged and re-released as ‘The Genetic Years’ this Summer.

Info: https://www.buzzcocks.com/posts/2018/5/14/pete-shelley-the-genetic-years

This is the latest of a series of onstage ‘Close Up’ interviews hosted by Dave Haslam. Previous guests have included John Lydon, Nile Rodgers, Will Self, and Neneh Cherry. Some of these encounters feature in his new book ‘Sonic Youth Slept On My Floor’.

‘Close Up’ featuring Pete Shelley is presented in association with Manchester Histories Festival.
Sunday 10th June 2018 (Doors at 6.30pm. Interview starts 7.30pm)
https://www.facebook.com/events/1005870342900491/

Pete Shelley will also be present for signings at the private view of the forthcoming Orgasm Addict Reframed exhibition with curator Malcolm Garrett at the Parkside Gallery in Birmingham City University on the 11th of June.

https://www.eventbrite.co.uk/e/private-view-orgasm-addict-reframed-exhibition-malcolm-garrett-tickets-46281768014

TOUR NEWS: Jonathan Toubin’s New York Night Train/Soul Clap & Dance Ft: Daddy Long Legs June 2018 dates

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THE NEW YORK NIGHT TRAIN SOUL CLAP & DANCE-OFF hits the UK for a run of shows throughout June. Full dates as follows:

Fri 1 Lewes (Brighton)- The Con Club
Sat 2 Euston-Red Rooster Festival
Sun 3 Southend-The Railway Hotel
Wed 6 Glasgow-Broadcast
Thrs 7 Newcastle-TheCluny
Fri 8 Leeds-The Brudenell Social Club
Sat 9 London-The 100 Club

Tickets available here: http://bit.ly/SoulClapDanceOff

THE NEW YORK NIGHT TRAIN SOUL CLAP & DANCE-OFF

A night of dancing to Jonathan Toubin’s original 60s raw soul 45s interrupted by a short but elaborate dance contest in the middle determined by a collection of local judges, The Clap is also unique because of its flamboyant DJ, its rambunctious aesthetic, and its anomalous audience. Incubating his party in 2007 far removed from the constraints of typical soul subcultures at Williamsburg’s Glasslands Gallery, Toubin and his art/punk audience organically learned together how to play and dance to soul 45s in their own way and in the process developed a new approach to the music in their monthly sessions.

By 2008 strangers were discovering The Clap as it developed into a sold out monthly local tradition. By 2009 it was an international party. And through the years of appearances at dozens of major music festivals, Lincoln Center, Madison Square Park, and hundreds of nights in dozens of worldwide markets, the Soul Clap has grown to play to over a thousand revelers monthly at its current residency at Bushwick’s Elsewhere and to headlines large venues everywhere from LA’s Regent and DC’s Howard Theater to Syndey’s Town Hall and Athens’ Stavros Niarchos Park Great Lawn.

Last March the party celebrated its 10th Anniversary with a Toubin-curated soul revue featuring Irma Thomas, Archie Bell, David Johansen, John Batiste, King Khan, Joe Bataan Orchestra, Maxine Brown, Young Jessie, Baby Washington, Ural Thomas, and Nick Waterhouse and continues this to feature performances by the likes of Sun Ra Arkestra, Miss Lavelle White, La Luz, and Kool Keith.

DADDY LONG LEGS

Jonathan Toubin and Daddy Long Legs befriended one another in the mid-2000s as fixtures on the punk edge of the rapidly gentrifying but fertile Williamsburg/Downtown music scene. By the end of the decade Toubin was turning his roughest toughest sixties 45s and throwing sweaty New York Night Train underground parties like the Soul Clap and Dance-Off across a spectrum of North Brooklyn art spaces and warehouses. At the same time three members of Electric Shadows and Stalkers joined forces to explore the primal edge of the electric blues as Daddy Long Legs.

Both entities employed their punk approach to soul and blues territories respectively to create something new. As escalating rent and cultural blandness sent the majority of their friends and lovers packing for LA, upstate New York, or back home, Toubin and Daddy Long Legs stayed planted in the city they love – consistently working and playing all over town year after year from dusk ‘til dawn to keep the subterranean spirit, wild aesthetic, and raw power of rock and soul alive for a new generation.

While the two voraciously touring entities have been co-billed dozens of times in the tri-state area, in Nashville, and at South By Southwest (where The Clap is the annual official closing party), their May/June 2018 European invasion marks the first time they’ve combined forces on a tour. Since Daddy Long Legs’ four full-lengths and Toubin’s five “Souvenirs of the Soul Clap” compilations appeared on the legendary Norton Records, the label’s larger-than-life much-missed co-proprietor Billy Miller initially suggested a Norton caravan featuring both entities. While their king has since departed, his knights, at the peak of their powers from years of relentless globetrotting, get in the van to take the loud sound on the road and give fans a glimpse of how they do their thing back home.

FOR MORE INFORMATION

f/ https://www.facebook.com/PunkRockBlues
f/ https://www.facebook.com/newyorknighttrain
f/ https://www.facebook.com/officialdaddylonglegs

EXHIBITION NEWS: Hit Exhibition, T-Shirt: Cult | Culture | Subversion is coming to Yorkshire

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A new exhibition is coming to South Yorkshire which collates for the first time some of the most recognisable and wearable designs of the last century, T-Shirt: Cult | Culture | Subversion provides a unique insight into the historical and cultural influence of the most ubiquitous, affordable and popular garment of the last 100 years.

“a rapid tour through fashion, music, protest, art and popular culture. The simple power of a worn message comes through in t-shirts bearing important messages… each one triggering memories of the movements that brought them to prominence.” The Londonist

Since its earliest incarnation at the start of the 20th Century, the t-shirt has served as a means to broadcast social, musical and political passions, most recently becoming a creative tool for expressing innovative design. T-Shirt: Cult – Culture – Subversion explores each of these embodiments of this everyday item, featuring significant pieces from the archives of artists, designers and collectors. Having spent 3 months delighting visitors to The Fashion and Textile Museum in London, the exhibition is now coming to The Civic in Barnsley.

Spanning over 50 years and featuring over 100 rare and ground-breaking examples, the exhibition includes some of the most valuable examples in the world. Highlights include rare surviving pieces, hand-customised by Vivienne Westwood in the 1970s, era-defining designs from the archives of Katharine Hamnett and Pam Hogg, and contemporary reimaginings from Moschino, Vetements and Henry Holland.

“The humble white t-shirt has come a long way since the days of Brando, Dean and Wayne. It has been controversial, sexy, political, ironic and just plain cool. Who knows where it’s going to go next?” David Sinclair, Exhibition Curator, The Civic

Today the t-shirt continues to be recreated with the advent of each new technology and political message, remaining an advert for social change, a canvas for artistic expression and a defining element of costume for almost every trend and subculture imaginable. T-shirt: Cult – Culture – Subversion is curated to inspire dialogue, to encourage new ways of seeing and to empower us to reinterpret the messages of popular culture, all via this most diverse, enduring and crowd pleasing garment.

“[The T-shirt] is a really basic way of telling the world who and what you are.” Dennis Nothdruft, Head of Exhibitions, Fashion and Textile Museum

Employing key influential themes and movements of the last century, T-Shirt: Cult – Culture – Subversion creates a thematic framework through which to view the timeline of this ever-evolving garment:

– Basic uncovers the evolution of t-shirt textiles and technologies; tracking the progression of ancient shape to modern garment and the effects of mass production and mass customization. Key themes include the importance of printing techniques; silkscreen, transfer, embroidery and digital practices.

– Agitprop explores the t-shirt as a tool for change, an item with the ability to subvert an image or slogan and to do so with an explicitly political agenda. Westwood and McClaren’s classic ‘Cambridge Rapist’ t-shirt (1977 – 1978), intended not just to visually shock, but to convey a message of confrontation, is the perfect example of this desire to disrupt.

– Continuing to explore the messages of Dame Vivienne Westwood, Collecting discovers the private archive of an enthusiast. Delving deeper not only in to the tale of punk and the t-shirt, but into the garment as an identifier, a fan favourite and a tool for connecting with others who share your allegiances.

– The band t-shirt has become a phenomenon in its own right. With The Band examines both the tribes defined by their t-shirts and, in recent years, the re-appropriation of the band t’. Instantly recognisable t-shirts, designed for Joy Division, The Rolling Stones, The Velvet Underground and Nico and The Ramones have been re-purposed in tribute to other artists or movements. For some, the band t-shirt now represents purely fashion, rather than fandom.

– Personal Political travels the works of designers such as Katharine Hamnett and Wonder Workshop, including instantly recognisable slogans such as ‘Stay Alive in ‘85’, ‘No More Page Three’ and Keith Haring’s ‘Ignorance = Fear, Silence = Death’. This section highlights the place of the t-shirt within the hard fought history of LGBT+ community, featuring historic Pride t-shirts, creating a visual timeline of events, movements, and campaigns for equal rights.

– Unisex studies the t-shirt as a garment capable of traversing traditional gender roles. Perhaps the item of clothing most commonly sold as suitable for all genders, the t-shirt is also famous for its ability to subvert gender norms via its prints and motifs by questioning and at times mocking, stereotypically gendered fashion ideals.

– By the time Westwood released Climate Revolution in 2009 the t-shirt was very much cemented as a conveyer of the political message. However, its connections to ethics and sustainability run far deeper than this. Ethics and Ecology considers the role of the eco-friendly and the ethical in the continued production of the t-shirt, introducing young designers, such as People Tree, who champion these approaches to manufacturing.

– The t-shirt is a canvas to disseminate art and is art in its own right. However, it is also a means of appropriating an image or message. Art to Wear discusses Barbara Kruger’s replication of imagery from mass culture, Westwood’s adoption of Rubens’ paintings etc as appropriations of art to a new end. This section will also dedicate space to female artists, including The Guerrilla Girls perpetually poignant ‘The Advantages of Being a Woman Artist’.

– If laid out in chronological order, t-shirts could tell us something about the trends of each decade of the last 100 years. Pop Goes The T-shirt confirms the t-shirts place in popular culture, following it’s history through the rise of grunge, club culture and modern streetwear, via the designs of BOY (the first time around), cult lifestyle brand Cassette Playa and the many incarnations of the iconic smiley face.

– From the street and the free party, to the boutique and the catwalk, t-shirts find a home within all elements of fashion; Fashion Statement examines their place within the designer world. Designer fashion elevates the humble t-shirt, by the addition of a simple but recognisable logo, from every day item, to wearable assertion of wealth and taste. However, this level of recognisability also generates parody. From Comme Des Fuckdown to the capitalist kitsch of Vetements DHL design, the t-shirt is canvas to both high-end statements of style and social media fuelled, ironic twists on mass culture.

– Having considered the historical context and importance of the t-shirt, Not a T-Shirt features modern design and it’s deviation from traditional shapes and uses. Launched in 2004, CuteCircuit are the world’s first fashion label creating fashion wearable technology collections. When a t-shirt is wearable, sharable and fully programmable, does it become more of a gadget than a garment?

Displayed alongside the exhibition will be T: A Typology of T-Shirts, a collection of photographs by Susan Barnett in which the subjects are photographed from behind, wearing their t’shirts backwards. By excluding faces from her portraits, Barnett allows individuals to project their identity solely through the slogans on their backs and to soundlessly express passionate messages on sexuality, race, spirituality, consumerism, violence, pleasure, history, narcissism and nihilism.

The T Shirt: Cult | Culture | Subversion will open at The Civic, Barnsley on 23 June 2018 to 22 September 2018

Curated and organised in partnership with Fashion & Textile Museum, London
Part of the Great Exhibition of the North 2018 programme #GetNorth2018

For more information visit www.barnsleycivic.co.uk or call the Box Office on 01226 327000.

Opening times

Gallery: Tuesday – Saturday, 10am-5pm (last admission is 15 minutes prior to closing time)
Box Office: Monday – Friday, 10am-6pm / Saturday, 10am-5pm / Sunday, 10am-4pm (on family performance days)

Contact

01226 327000
enquiries@barnsleycivic.co.uk

The Civic, Hanson Street, Barnsley, S70 2HZ

EP REVIEW: The Bleachés – ‘Easter Island’

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The email from The Bleachés asking us to take a listen to their new EP was short on information – it basically said that they were relatively new and based in Manchester, and that’s it. At no point beyond some quotes did it at all indicate what sort of music they played. Unfortunately, even as a writer of the sort of thing that bands use in publicity, I have a tendency to skip quotes. What actually made me click to their Bandcamp page was their name. Yes I’m that shallow, an interesting band name is actually enough to make me want to listen to their music – although bearing in mind that I actually have albums I’ve only ever played once because I just got them because I liked the cover but didn’t like the music having got it home, I guess I probably am.

I guess the band name spoke to me of those slightly, shall we say, kooky band names that 60s’ psychedelic pop bands chose. Although the band themselves describing their sound as alternative rock didn’t really help me, in fact if the name hadn’t intrigued me quite so much it might have put me off.

Having clicked through I went from the usual ‘slump in a chair waiting to hear something I’ve probably heard way too many times before’ to ‘bloody hell, what the hell is this, wait a minute this is great’ in what amounted to seconds of the first track. And actually the quotes, now that I’ve actually gone back and read them, really don’t tell us anything about the music the band play at all.

So this EP actually has six tracks, not the usual four, and the first track is an instrumental, that’s right an instrumental. On reflection this is a great idea, it conceals one of the standout things about their sound from us, the vocals, and those are well worth waiting for.

So what, I hear you ask, do this band sound like. Well, it’s one of those ‘wait a minute that sounds a bit…’ and then ‘hold on that sounds like…’ things. There are hints of the ‘Manchester sound’ (if we have to define it somehow), lots of West Coast psychedelic pop, psych, a haze of dream pop, hints of 4AD bands like the Cocteau Twins, bits of strange freaky 60s European pop and that sort of post rave slightly fuzzy danceable rock. It is frankly on the edge of falling apart musically, it’s all wonderfully chaotic and slightly off-kilter. And this is topped off by Chloé’s vocals which are frankly hard to describe – they sort of float, they just sort of drawl in the sweetest way, in a sort of chanteuse sort of way, with huge amounts of what I can only describe as ‘being way coooool’

So track one ‘Balsa Boogie’ – the instrumental – starts sounding like the sort of thing that Spirit might have loosely jammed late at night, it’s all slightly slack strummed guitar and then there is just the most wonderful guitar that for the life of me sounds almost slightly 80s Postcard band but then again slightly post-punky, and then, what is going on here, there is organ. There is organ in the most fantabulous psychedelic pop way.

Actually that strummed start to the songs is a bit of a theme, it’s the launchpad for the songs which hit a groove, and boy do they groove, and stay on it. That makes it sound samey, it isn’t.

‘Shell Shaker’ is one hell of a groove, it has this hint of Primal Scream. Just the smallest hint. I defy anyone not to have to get up and shake your stuff to this. It has this quite wonderful off-kilter guitar that just keeps coming and going. And this organ sound which I swear shouldn’t work but it does, it does in huge creamy amounts. And this track is going to introduce you to Chloé’s vocals, get ready for that people.

Things slow down for ‘Dive’, it has this almost tribal drumming. And then, another of of those what the hell moments, there is harmonica. There is is this wobbly guitar stab. It has this strange almost country rock feel to it, but it’s way slow. And those vocals just haze out towards to you. Frankly it’s almost pure psychedelia, I’m taken to a field in the sunshine, sitting and nodding to the music gently. It builds, not hugely, the drums are a little more insistent. This takes you away somewhere really really good.

‘Anamour’ and we are back to something with more of a dance groove. It’s bizarrely poppy in a sort of strangely European way, it’s sort of almost psychedelic pop but not, it’s almost post-punk in places, it could almost be a classic danceable pop track but it isn’t. It has the weirdest drumming on what is a sort of pop-rock track I’ve heard in a long time. It sounds a mess, it isn’t.

‘Missed You By A Week In Maui’ is mainly keyboard led, it’s sort of mid-tempo with hints of a rock thing going on. I’ve listened to this track loads more than I should and I still can’t work out what Chloé’s singing about, but her voice is so so beguiling I’m not sure I really care.

OK so if you just listened to the track you’d swear ‘Mary’ was called ‘Maria’ or possibly ‘Marie’ which what it sounds like in the vocals. It has the grooviest groove. It is the densest danceable slightly fuzzed psychy thing I’ve heard in a long time and it is beautiful.

So the quotes I mentioned right at the start bandy words like garage and grungey around, I’m not sure I entirely agree. While the band might sound at though their songs are about to fall apart at any moment (if this is what is meant by ‘garage’), this is part of their charm. And I just don’t get grungey at all. These songs are sophisticated and put together with a huge degree of care. There is a beauty to them that shines through. And while there may be hints of things you recognise coming through The Bleachés take those and make them into something that is very much their own. And while there is variety in the sounds of the tracks – and I really like that in a band – there is this thread running through that is their sound.

I’m not entirely sure I can find the words to sum up how I feel about this EP – I could throw words and phrases like beauty, sophisticated, carefully put together, inventive, with a groove that have you shaking your stuff and shouldn’t work but does oh so well into some sort of badly put together sentence. Or I could tell you that these songs take you to a really really great place. But that feels sort of inadequate.

The best I can do is to say that if you like music made with care, music that takes you to a great place, music with a groove, music that takes a whole load of influences and puts them together in a way you’ve not heard before, then try this, you won’t be disappointed.

The EP is available on Spotify:
https://open.spotify.com/album/3nsAJoIHub30TZg9qKcpSF?si=7glr853gSg22rv3e-9pF8A

Or can be purchased from Bandcamp:
https://thebleeshays.bandcamp.com

The info

The Bleachés, pronounced ‘bleeshays’ are an alternative rock band from Manchester, formed in 2016.

The group formed after Chloé moved to the UK from France and met Adam, the pair began playing open mics together, blending a mix of covers and original songs. The duo began to write and record songs at home together, soon realising they wanted to start a band and progress from the open mic scene. Adam’s brother Jake soon joined on guitar, Josh replied to an ad for a bass player and friend Liam Farr stepped in on drums for the first few shows, who was later replaced by James in 2017.

After supporting a number of touring bands such as – Os Mutantes, Elephant Stone, Tracy Bryant & Flyying Colours, The Bleachés recorded and released the debut EP – “Easter Island” in May 2018. The six track EP was recorded across two studios in Manchester by two friends Billy Morley & Alex Burnett-Scott. The tracks blend between hazy, melodic jams to upbeat garage rock, with Chloe’s soothing vocals entwined throughout.

The band are
Chloé Sancho – vocals, guitar
Adam Hutchinson – guitar, organ
Jake Hutchinson – guitar
Josh Yeung – bass
James McGraw – percussion

They play

‘Melting Wax’ at Night People, Manchester
9th June
Info: https://www.facebook.com/events/615982475419366/

Bandcamp: https://thebleeshays.bandcamp.com/
Facebook: https://www.facebook.com/thebleeshays/

VIDEO NEWS: Habberdash drop ‘Like A Lover’ lyric video single

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Sheffield’s alternative pop-rock quartet HABBERDASH’ have released their ‘Like A Lover’ lyric video single release. The single is taken from their ‘Morning After The Madness’ EP due for release late 2018.

The Habberdash story commenced early in 2013 as friends united armed with the verve and determination to deliver music that is both packed with explosive melodies and their own amalgam of versatile guitar-driven alternative pop-rock. Quickly developing a potent reputation for their exuberant on-stage performances, Habberdash have earned headline appearances around their native South Yorkshire, performed at Y Not Festival and have been seen opening stages for the likes of The Buzzcocks and Crazy Town. Trying to create ‘fresh’ and exciting music, the Habberdash guys ride an eclectic wave of musical influences including Lower Than Atlantis, The Beatles, Nirvana, Issues and Bruno Mars.

In late 2017, the band consisting of Kriss Stainton (Vox), Hayden Marshall (Bass), Ashley Houldon (Guitar) and Andrew Holland (Drums), headed into Derbyshire’s renowned production house ‘Tree House Studios’ to develop new material under the guiding wing of producer Daniel Jeffery. The end result becoming a significant leap in the bands refinement of sounds and musical maturity. This collection of material forms their attention grabbing new EP ‘Morning After The Madness’.

With a huge amount of talent, confidence and creativity, Habberdash are intent on laying the groundwork to be recognised as a new force in British rock music.

https://www.facebook.com/HabberdashUK
https://www.twitter.com/HabberdashUK
https://www.instagram.com/habberdashofficial
https://www.youtube.com/HabberdashUK

VIDEO & TOUR NEWS: GET CAPE. WEAR CAPE. FLY. Video for latest single: ‘Animate’, Autumn 2018 tour dates 

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Teaming up with esteemed visual artist Rebecca Hendin, GET CAPE. WEAR CAPE. FLY. is delighted to present an innovative new animated video for latest single: ‘Animate’. The news comes as Sam Duckworth announces a string of live shows this Autumn with a full live band in tow.

A special collaboration with World Illustration Awards winning and currently 2018 Creativepool awards shortlisted artist Rebecca Hendin, the ‘Animate’ Video takes us into a hybrid world where the natural and technological fiercely collide and compete for your attention.

In the video, the viewer watches on as a solitary figure traverses across a 2-D landscape resembling reality, yet invaded by swarms of emoticons, plagued with sensory-overloading computer coding and littered with electronic devices poised to distract.

Speaking about the video, Hendin says “The ‘Animate’ video shows a flowering world of colour and beauty obscured by a factory-line cityscape of greyscale modernity- phones and technology and social media and the perpetual static engulfing us. The digital noise switches off during the chorus to show an expanse of colour, always there if you choose to notice- if only you look past the static. Ultimately in the animation, the world of noise overtakes the world of colour, and the video ends in a sea of grey and glitches. Cheerful, I know.”

A captivating visual accompaniment for a song all about the disconnect that technology can perhaps pertain to, Get Cape AKA Sam Duckworth offers us his own added context here with regard to the piece’s score:

“Animate is a song about taking a step back, drinking in the view. In a world of rushing around sometimes the long way is the best way. More peaceful, more beautiful, less rushed. I’m a huge fan of animation, the attention to detail and the endeavour of the human hand. It allows new worlds to be created and for imaginative takes on the present. The song is called animate because of the belief that sometimes its just best to do it by hand, with time and attention to detail. Rebecca Hendin is one of my favourite illustrators. She did an absolutely incredible job of my Recreations album artwork and I’m absolutely made up that she agreed to do the artwork and video for this single.”

Washed in a hazy reverb and bejewelled with sequinned synthesiser lines, sonically ‘Animate’ is a mellow, reflective and joyous new single to soundtrack the sleepy awakening of Spring and one of the finest cuts from his ‘Young Adult’ album (out now on Xtra Mile Recordings).

STREAM/PURCHASE HERE

In addition to this latest video unveiling, GET CAPE WEAR CAPE FLY is also delighted to announce a slew of new live dates this October as he looks to tour his latest studio album with a full live band. Full dates and details below.

GET CAPE. WEAR CAPE. FLY. – OCTOBER TOUR

Thu – 4th – Lincoln – Engine Shed
Fri – 5th – Liverpool – Shipping Forecast
Sat – 6th – Manchester – Neighbourhood Festival
Sun – 7th – Glasgow – O2 ABC2
Tue – 9th – Newcastle – Think Tank
Wed – 10th – Leeds – Brudenell Social
Thu – 11th – Leicester – The Cookie
Sun – 14th – Birmingham – O2 Academy3
Mon – 15th – Oxford – O2 Academy2
Tue – 16th – Southampton – Joiners –
Wed – 17th – Brighton – The Hope & Ruin
Fri – 19th – London – Islington Assembly Hall

After a four year recording hiatus from the moniker, Get Cape. Wear Cape. Fly. returned with his sumptuous new album ‘Young Adult’ in January of 2018 (via the Xtra Mile Recordings imprint). Featuring a string of equally different and individually brilliant singles including “Adults”, “Always”, “Just A Phase”,“DNA”, and ‘VHS Forever’, the album was met with warm reviews, with Louder Than War praising Sam’s skill for “catchy and introspective 3 minute pop songs”, whilst Upset Magazine championed the record something of a “soundtrack to a revolution” (4/5).

Making his return to the live stage with a triumphant one-off UK show at The Village Underground in London back in January to mark the release of ‘Young Adult’ (a show hailed by The Independent as “a heartfelt and raucous performance” (4/5)), Get Cape. Wear Cape. Fly is well and truly back. Catch Sam and band on tour this October.

GET CAPE. WEAR CAPE. FLY. – ‘YOUNG ADULT’ – THE NEW ALBUM, OUT NOW
ORDER HERE

LABEL & ALBUM NEWS: Leeds based Sixteen Records releases ‘Volume 1’

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New Leeds based Alternative/Electronic label Sixteen Records showcases debut release with an eclectic compilation of the genre’s finest artists.

Sixteen Records owns the true meaning of DIY, with 22-year old producer and founder, Lotte van den Berg taking the reigns on the majority of its production, mixing and mastering. Featured artists ranging from well-respected Leeds favourites LELO, Dokkodo Sounds and JOULE to big Nottingham postrockers Eyre Llew and fresh up and coming acts such as Luna Pines and Imi, this record is bursting with young talent and potential.

VOLUME ONE ARTISTS:

Luna Pines
Dokkodos Sounds
Loris
Ryan Hawkins
Eyre Llew
Jack Segal
Hannah Slavin
Imi
JOULE
Magic Hour Soundtrack
Regista
LELO

Produced by Lotte van den Berg & Various Volume One artists.
Mastered by Lotte van den Berg
Cover Artwork by Lotte van den Berg

Website: www.sixteenrecords.com
Facebook: www.facebook.com/sixteenrecords2018/
Instagram: www.instagram.com/sixteenrecords/
Twitter: www.twitter.com/sixteen_records

TOUR NEWS: Chainska Brassika are hitting the road this November for a UK headline tour

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Chainska Brassika have announced they will be heading out on a UK tour in November. The band will be visiting some of their favourite cities and bringing their trademark good time vibes with them.

London based 8-piece Chainska Brassika are firm party-starting favourites, rocking crowds from Glastonbury to Notting Hill Carnival and Rototom Sunplash to Outlook. Regularly found opening for 2-Tone legends Madness, Chainska are at the forefront of the new UK Ska movement. Their high-energy live show has taken the band to some of the Ska & Reggae world’s biggest stages, spreading their contagious horn driven anthems across the UK, mainland Europe and and even on a full blown tour of Jamaica.

Their latest album ‘Harry J Business’ was recorded at Harry J Studios in Kingston with double Grammy award winning producer Stephen Stewart. The album featured a rare guest performance from reggae legend Toots Hibbert of Toots & The Maytals, and has gained major airplay across BBC Radio 2, BBC Radio 6 Music & BBC Radio 1xtra. The album gained a 6-page review in the world’s biggest Reggae magazine ‘Festiville’ and got them invited to showcase at SXSW Festival in Texas.

With their classic Ska sound backed up by a dynamite brass section, Chainska Brassika continue to win over new fans and delight their faithful following with their undeniable crowd pleasing formula.

Chainska Brassika, finish their November UK tour on a high with an extremely special home coming show at Islington’s The Garage.

November 10th will see a celebration of the 21st century Ska and Reggae scene with a line up brimming full with todays stars. Alongside Chainska Brassika are Essex’s own Death of Guitar Pop whose current single features none other than the original rude boy, Neville Staple. Kicking off the live performances will be the Chainska tour support and festival favourites, Bare Jams, with their “organic and freshly brewed party vibes”.

It wouldn’t be a Roots party without some mighty fine selectors playing the finest cuts and the deejays spinning are worthy headliners in their own right. Josh from London’s own Reggae band The Skints will be joining the party. As will Island Records artist and yet another Londoner, KIKO BUN. Finishing the bill are Ska Beat Soul playing strictly original heavyweight Jamaican vinyl to make sure we all remember where it all started.

A celebration of 21st Century Ska & Reggae

LIVE:

Chainska Brassika

Death of Guitar Pop

Bare James

DJ Sets:

Josh fro The Skints

KIKO BUN

Ska Beat Soul

Saturday 10th November 8pm-2am

The Garage, Highbury & Islington – London

UK Tour Dates

01/11 – Newcastle Cluny

02/11 – Glasgow Hug & Pint

03/11 – Birmingham Castle & Falcon

04/11 – Manchester Deaf Institute

06/11 – Southampton Joiners

07/11 – Brighton Hope & Ruin

09/11 – Norwich Arts Centre

10/11 – London The Garage

Website: http://www.chainskabrassika.com

Facebook: https://www.facebook.com/chainskabrassika/

Twitter: https://twitter.com/chainskabrasika

YouTube: https://www.youtube.com/user/ChainSkaBrassika

SINGLE NEWS: VICTORS release ‘Slow Down’ 1st June

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Leeds indie pop band VICTORS return with ‘Slow Down’, dropping June 1st.

VICTORS consists of Harry Waterhouse (Vocals/Guitar/Synth), Simon Appleson (Guitar/Synth), Dominic Brooks (Bass/Synth) and Matthew Gillen (Drums) who have vlogged their musical journey, which you can follow on their YouTube channel: https://www.youtube.com/channel/UCq-H6qmB1U59D2XqRNl2EcQ

Pre-save ‘Slow Down’ on Spotify here – https://exit.sc/?url=http%3A%2F%2Fpresave.io%2Ft%2Fslowdown

In support of ‘Slow Down’, VICTORS will be touring the UK:

16th June – The Leopard, Doncaster
29th June – 360 Club, Leeds
7th July – Eskfest
21st July – Penn Festival
6th October – Viva La Fia, Wakefield

More TBC

Links

https://www.facebook.com/victorsofficial/
https://www.instagram.com/victorsofficialuk/

ALBUM NEWS: New York Alcoholic Anxiety Attack – Digitally release back catalogue

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Now almost seven years following the band’s demise, Bradford’s New York Alcoholic Anxiety Attack’s legacy lives on with the digital release of their entire back catalogue. The cult-following British psych-edged indie/garage rock outfit have firstly issued their ‘Greatest Hits’ – a collection of studio recordings produced by Matt Lawrence, Nathaniel Chan, Justin Sullivan and Neil Innes and also ‘B-sides and Rarities’ – a collection of self-produced demo recordings by NYAAA members Mik Davis (Vox/Guitar), Matt Graham (Bass/Vox) and Jimmy Bridle (Drums/Vox).

New York Alcoholic Anxiety Attack originally formed as Plateau Skull back in 2004 by singer/songwriter Mik Davis and bassist/songwriter Matt Graham, before quickly changing their name and line up. Mentored by award winning author and poet Joolz Denby and New Model Army frontman Justin Sullivan, NYAAA were active as a three piece between the years of 2004 to 2011. During that time, the band regularly frequented the UK festival circuit, including six Glastonbury appearances. They toured clubs and venues extensively throughout the UK including shows in Germany, supporting artists such as Michael Monroe (Hanoi Rocks), Trigger Finger, The Stranglers, The Only Ones, Eighties Matchbox B-Line Disaster, Stiff Little Fingers and many more. Before dis-banding, they had caught the attention of music industry moguls via Red Bull Records and an unnamed London based management agency associated with Century Media. NYAAA subsequently recorded two singles ‘Lullaby Us’ and ‘Sunriders’ with Grammy Award winning producer Matt Lawrence (Amy Winehouse/The Rolling Stones/U2 etc)

2012 saw New York Alcoholic Anxiety Attack briefly continue under the moniker of Utopian Love Revival, releasing four singles written and recorded towards the back end of NYAAA’s career. Mik Davis cited ‘it didn’t feel right to release the singles as NYAAA’ – Mik Davis later went on to have some success fronting hard rock/post-grunge band ‘Monster Jaw’ and most recently as the founder of electro/dark-wave rockers ‘They Called Him Zone’ (Eromeda Records).

Greatest Hits Out Now
https://itunes.apple.com/us/artist/new-york-alcoholic-anxiety-attack/268551534

Twitter: https://twitter.com/NYAAAULR
Instagram: https://www.instagram.com/newyorkalcoholicanxietyattack/

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