Category Archives: Post Punk

The Pull of Autumn ‘Shipwrecked on Aspirin’ from ‘Small Colors’ LP RBM Records 18 September 2020

The Pull of Autumn previews ‘Shipwrecked on Aspirin’ ahead of ‘Small Colors’ LP release

Art rock collective The Pull of Autumn will be releasing their new ‘Small Colors’ album on September 18. Ahead of that, they preview the track ‘Shipwrecked on Aspirin’, the second taste of this album.

Featuring Luke ‘Skyscraper’ James of IRS artist Fashion. ‘Shipwrecked on Aspirin’ harkens back to post-punk of the past with one different element – the introduction of electronic music added in. Much in the spirit of Eno’ work with Roxy Music.  Elements of theremin and a horror soundtrack vibe bubble underneath.

Luke originally wrote this song when he was 22 as a fingerstyle guitar traditional folk song. Later he did a punk version, which Daniel Darrow has now turned into post-rock!

“About these lyrics, a guy kills an albatross (bad luck), the ship is becalmed, they make the guy walk the plank to bring back the wind, but as he steps off the end of the plank, he’s reborn as an albatross! Not the same story as ‘Rhyme of The Ancient Mariner’ but kind of inspired by it,” says Luke James.

Based between Boston and Rhode Island, The Pull of Autumn is a ‘super group’ of sorts, with songs orbiting around Daniel Darrow from Johanna’s House of Glamour and Luke ‘Skyscraper’ James (Fashion), but also involves numerous emerging and notable musicians from the local music scene and from far abroad.

Earlier, The Pull of Autumn released the lead single ‘Holiday’ feat. Orange Cake Mix (a.k.a. James Rao). They recorded this Bee Gees‘ track as a tribute to the 60s with an added electronic element, melding 60s pop into today’s post-rock movement.

‘Small Colors’ will be released via Boston-based label RBM Records. The collective’s third album, this it is a tribute to many moods, ranging from British folk music and post-rock to jazz, ambient and electronic music. The album’s title represents Darrow’s return to a minimalist approach towards creating music.

This long-play involves members of 4AD artists Dif Juz, Rough Trade artists Johanna’s House of Glamour and Butterfly Child, , Epic 45, Boyracer, Perfect Disaster, InsidesGermany’s Seasurfer, Japan’s Broken Little SisterOrange Cake Mix, vocalists Mina Hunt and Jeanne BattingColin Darrow and Matthew Darrow.

“Many artists reached out to contribute to make this album a full range of interpretations of sound .It’s thrilling to have all these amazing artists join together to create 16 songs that a channel the same voice – A love of creating beauty, even in these difficult times,” says Daniel Darrow.

This release follows up the 2019 ‘Afterglow’ LP, which included contributions by members of Throwing Muses, Boyracer, Seasurfer, Orange Cake Mix, Johanna’s House of Glamour, Hood, and Nick Cave and the Bad Seeds for something quite beautiful.

Their debut album ‘The Pull of Autumn’ was released in 2018 following the single ‘Not Coming Down’ featuring Luke ‘Skyscraper’ James, frontman of British new wave pioneers (and I.R.S. recording artist) Fashion.

The cover painting was created by artist Joyce Raskin, who is also bassist in Scarce and author or several books. Her painting fully represents the sound  of the music.

As of September 18, ‘Small Colors’ will be available across online stores and streaming platforms like Spotify. It will also be available on CD, packaged in a gatefold 7-inch sleeve. The album can already be pre-ordered via Bandcamp.

‘Holiday’ written by Barry Gibb
Guitar and vocals by James Rao ‘Orange Cake Mix’
Keyboards by Daniel Darrow
Bass by Bruce MacLeod
Album cover painting by Joyce Raskin White

1. Bakhchalarda
2. Easy
3. No Romance
4. Fester
5. That’s How it’s Always Been
6. The Stars or the Jungle
7. Holiday
8. Lampin
9. The Beautiful Golden Y
10. The Sun Is Going to Shine
11. Bored and Lonely
12. If You Could Read My Mind
13. Shipwrecked on Aspirin
14. Delirious Intuition
15. Color
16. No Day at the Beach

Keep Up With The Pull of Autumn / RBM Records
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Posted by on September 16, 2020 in Alternative, Folk, Post Punk


Folk Devils – “Forever” EP – first new music in 33 years!

Folk Devils, the London group that took their name from a well-known academic text on media scapegoating, have returned with their first new music in 33 years. The band blazed a trail across the UK’s independent music scene of the mid-80s with their unique brand of post-punk energy, known for their acclaimed indie-chart singles “Hank Turns Blue”, “Beautiful Monster”, three John Peel sessions, plus live dates opening for Nick Cave & The Bad Seeds, The Fall, The Gun Club, Screaming Blue Messiahs and others.

The 3-track “Forever” EP lands on 10” (Clear Red Vinyl)^ and Digital on September 18, 2020 via Optic Nerve Recordings and features two new compositions, the title track “Forever” and “My Slum Soul”, plus an incendiary new version of an old live favourite “Ink Runs Dry”.

Recorded at London’s famous Konk Studios in North London and mixed and co-produced by Grammy Award-winning engineer Rik Simpson, the re-born Folk Devils drew inspiration for new recordings from the release of their 2016 career retrospective “Beautiful Monsters (Singles & Demo Recordings 1984-86)” and the excellent reactions at subsequent live shows around the UK with kindred spirits Membranes, Inca Babies, The Wolfhounds and The Cravats.

Founder members, guitarist Kris Jozajtis and bassist Mark Whiteley, reformed the group by recruiting members of a short-lived 1987 version of Folk Devils; guitarist Nick Clift and drummer John Hamilton. Together with singer Dave Hodgson they soon discovered they had created a well-oiled twin-guitar juggernaut that brimmed with the same restless, twisted blues that characterized the first and second iterations of the band from 1983-87 when they were fronted by the highly underrated and now sadly-departed singer/songwriter Ian Lowery. Hodgson, a fellow transplant from the North-East, had known Lowery in the early 80s prior to Folk Devils, when the two were in their respective post-punk bands Ski Patrol and Parting Shots.

For vinyl and download pre-orders click HERE

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Posted by on July 22, 2020 in Post Punk


The Sea at Midnight – We Share The Same Stars (21 August 2020)

LA postpunk artist The Sea At Midnight presents ‘We Share The Same Stars’ single

Postpunk artist The Sea At Midnight presents the new single ‘We Share The Same Stars’, produced and mixed by Chris King of Cold Showers and with Brandon Pierce of Glaare contributing drums.

This is the latest in a series of singles showcasing this artist’s 2020 offerings, which also include singles ‘Medicine’, ‘Melancholia’, ‘How Many Times’ and ‘Edge of The World’. This brings The Sea At Midnight closer to the release of the eponymous debut album, due out later this year.

Born and raised in Chicago, The Sea At Midnight is Chicago-raised Los Angeles-based songwriter Vince Grant. Inspired by classic postpunk bands like The Cure, Joy Division, the Psychedelic Furs, Siouxsie and the Banshees, New Order and Echo and the Bunnymen, he bought his first guitar at 23 and started playing in local Chicago bands before eventually moving to Los Angeles.

He then bounced back and forth between New York and LA for a number of years, playing and singing in numerous bands, working a series of dead end jobs and grappling with drug addiction and alcoholism. After getting sober and making a serious attempt at dealing with his lifelong depression, Vince now calls LA home.

What began as an acquaintance via Craigslist, internet file swapping of acoustic demos, and an initial single blossomed into plans for an EP and then full length album. The eight tracks.

With a sound habitually compared to The Cure, Joy Division, The Jesus and Mary Chain, Depeche Mode, the Mighty Lemon Drops, the Wild Swans, and Icicle Works, to name just a few.

“When working with Chris King, we approached every song asking “What is good for this song?” rather than “How can we make it sound like all the others or how can we make it sound like such and such band”. Each song has its own individual vibe and we didn’t want to rely on a sonic cookie cutter approach with the same musical template. That’s why I especially like bands such as The Cure and Depeche Mode. You know it’s them immediately, but each song has its own personality and style. If I strive for anything, it’s that – for The Sea At Midnight to be recognizable while, at the same time, each song has its own unique personality,” says Vince Grant.

“This release was never supposed to happen. I thought my days of playing in bands and recording were over. If it weren’t for fate, this record would have never been made. I had no intentions of recording ever again. For wont of a better word, the ‘dark’ scene is where I’m coming from. I also really feel a kinship to the cyberpunk esthetic. Lyrically many of the songs deal with my struggles with alcohol and drug addiction and coping with lifelong depression. I suppose there is a strong element of sadness to them, but I also feel they contain a glimmer of hope.”

‘We Share The Same Stars’ is out via iTunes, Spotify and other digital retailers on August 21, but can be pre-ordered via Bandcamp. The full album ‘The Sea At Midnight’ is due out in autumn in 2020.

All songs written and performed by Vince Grant
Produced, recorded and mixed by Chris King at Moon Palace Productions, Los Angeles
Drum programming by Brandon Pierce of Glaare
Mastering by Masterplus

Keep up with The Sea at Midnight
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Posted by on July 16, 2020 in Post Punk


Ponderosa Glee Boys – Awake (Punk Town Records December 2019)

The promo pack of the day features the wonderful album “Awake” by the Liverpudlian band Ponderosa Glee Boys.

I liked the album so much that I did a research and found the following bio on the facebook page:

Ponderosa Glee Boys formed in 1978 and their first gig was played weirdly enough at the Somali Club in Liverpool, It was a well known prostitute haunt.

They where a part of the Liverpool Eric’s punk scene with the likes of Elvis Costello, Echo & the Bunnymen, Teardrop Explodes. Big in Japan, Pink Military.

New York had CBGBs and Liverpool had Eric’s a venue that attracted all the big named Alternative/Punk including the likes of The Sex Pistols, The Clash, Iggy Pop,The Stranglers, Buzzcocks,The Ramones, Joy Division, The Damed to name a few. Everyone that was anyone payed at the time played Eric’s.

It was a great musical education and offered young bands like The Glee Boys some great support slots with the likes of Iggy Pop or whoever hit Liverpool at the time.

They supported many well known bands around the time including the likes of Generation X, Theatre of Hate, Killing Joke, Echo & The Bunnymen and so on.

After playing a few tours around the UK and their demos played on radio stations the band attracted a cult following and were signed to Liverpool independent label Inevitable Records along with bands like Wah Heat, Dead or Alive and The Room.

The PGB attracted quite reputation for their live performances and antics.

The band at the time were difficult to manage when it came to recording and would often not turn up to recording sessions to the annoyance their management and label saying the hole idea of playing the same song over and over for hours didn’t appeal to them.

Despite that they were voted Liverpool’s best band by a poll in local Merseysound magazine in 1980-81 and invited to do a John Peel session at the BBC.

Known to be one of the late John Peel’s favourite bands and after meeting him in the BBC canteen they where cheeky enough to ask him to repeat the show never thinking he actually would. Credit to John he did repeated the session so the band got paid again.

Futurama Live 1981

The Glee Boys appearance at the Futurama 3 festival in September 1981 was the last time the band played together with vocalist Steve Thompson.

Bass player Carl Eaton took over on vocals from 1981 onwards and the band had a reshuffle.

The band stopped gigging in 1982 and drummer Steve Coy joined Liverpool band Dead or Alive.

Steve passed away and the Glee Boys dedicated the album “Awake” to him.

Carl Eaton and guitarist Mike Mooney worked together for a while around this period until Mike went on to join Echo & the Bunnymen.

Carl the only original member left and the line ups continued to change. He decided to put aside the PGB and work on other projects with different musicians.

Fast forward to 2017 when a new Ponderosa Glee Boys line up came together with Dave Banks rejoining for a charity benefit gig they were asked to perform for the Liverpool Homeless.

Their gigs in 2017 once again received a lot of interest and rave reviews.

The band recorded the single “Wake Up” in 2017 on the Eric’s 77 label as well as writing a total new set of songs for their live set.

The songs also got rave reviews and the idea of an album was thrown out there.

In 2018 the Glee Boys recorded the album “Awake”.

The Glee Boys line up currently is Carl Eaton – Vocals. legendary guitarist Mike Mooney (Echo & The Bunnymen, Psychedelic Furs,Spiritualised). Monster of Bass man – Phil Hartley (Super Fast Girlie Show, Space). Drums – Mark Robson (Rain, Psycamesh)

This line up are the real deal and the sound they create is a monster.

The Glee Boys play limited appearances due to logistics of the band members.

The release of “Awake” in December 2019 on PunkTown Records via an epic journey. “Awake” the well travelled monster recorded in St Helens Merseyside. Then additional recording on the Gold Coast Australia , Over to Amman Jordon for mixing,On to Germany for mastering then to Holland for manufacturing arriving back in Liverpool with only hours to spare before the band played the album launch at the District. Currently working on new material which will feature in their live sets and a planned second album in 2020.

The Album ‘Awake’ was launched on December 8th 2019 at District Club, Jordan Street, Liverpool.

It is available on Vinyl and CD from Punk Town Records

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Posted by on July 10, 2020 in Post Punk


Wolfhounds – Can’t See The Light (A Turntable Friend Records 15 May 2020)

London-based C86 legends Wolfhounds have announced their new album ‘Electric Music’, set for release on July 3 via A Turntable Friend Records. Ahead of this, they present lead single ‘Can’t See the Light’, a powerful track that opens fire on side one of the forthcoming record with captivating video by David Janes.

“Musically, ‘Can’t See The Light’ has a discordant guitar line – perhaps carrying echoes of John Barry’s The Persuaders theme – until it reaches a desperate crescendo; this feeling is captured brilliantly by David Janes’ claustrophobic and darkly psychedelic video,” says Wolfhounds’ frontman David Callahan.

A spitball of melancholy fury, this is an explosive tune about how anger turns inward after the low expectations of a country’s myriad self-defined gatekeepers have crippled the ambitions of those who want change for the better. With a bass-heavy rush, ‘Can’t See The Light’ builds desperately to a semi-tonal release of noise, sounding simultaneously claustrophobic and liberating.

“All tunnels eventually emerge into the sun (as David Janes’ accompanying paranoid and sick-a-delic video shows) but while you’re underground it can seem like darkness is perpetual and inevitable,” says Callahan.

Always ahead of the times, The Wolfhounds have never nailed the spirit of now more succinctly and devastatingly than on this new single and other songs on the new album.

Originally formed as teenagers in 1984, The Wolfhounds released four critically acclaimed LPs before initially disbanding in 1990. By that time, they released music on the legendary and influential C86 cassette via NME, recorded three John Peel sessions for BBC Radio One, and toured the UK and Europe extensively as headliners and as support for My Bloody Valentine, The House of Love and The Wedding Present. The band’s acknowledged and audible influence stretches from Nirvana to the Manic Street Preachers, and all the way to Fontaines DC – but musically they remain ahead of all.

The band reformed in 2006 at the request of St Etienne’s Bob Stanley to celebrate 20 years since the release of C86, and inflicted a severe guitar noisefest on an unsuspecting indiepop crowd at London’s ICA. Since 2012, they have been recording and releasing new material, including ‘Middle Aged Freaks’ (2015) and ‘Untied Kingdom or (How to Come to Terms With Your Culture)’ (2017), repeatedly showing that they can still blow any act half their age offstage. In 2018, Wolfhounds released ‘Hands in the Till – The complete John Peel sessions’, a 12-track album released via A Turntable Friend Records.

The Wolfhounds are back and better than ever with their new ‘Electric Music’ LP – probably their greatest album yet.
 The band has become truly (hyper-)active again, performing at several popfests (including Berlin and New York) and stand-up comedian Stewart Lee’s All Tomorrow’s Parties, as well as regular club dates in the UK and Europe. Stewart Lee also wrote the extensive sleevenotes for the record.

The band continue to be more relevant and adventurous than ever and, despite their indie roots, have more in common with the likes of Richard Dawson and Sleaford Mods than their old jangly peers. Electric Music grabs their home country’s woes by the horns and gives them the kicking they deserve!

As of May 15, ‘Can’t See The Light’ will be available everywhere, including Apple MusicSpotify and Bandcamp. The full ‘Electric Music’ album will be released on July 3 on vinyl, CD and digitally.

Recorded, engineered and mixed at Cosmic Audio, Epping, by Ant Chapman
Additional home and phone recordings by Andy Golding and David Callahan
Mastered by Rory Attwell
Formulated and promulgated in Essex and London
Produced by the Meerkats

David Callahan – vocals, guitar, samples
Andy Golding – vocals, guitar, banjolele, bulbul tarang, keyboards
Richard Golding – bass guitar
Pete Wilkins – drums
Rhodri Marsden of Scritti Politti plays the bassoon
Extra vocals from Katherine Mountain Whitaker.
Sleeve by Andy Royston
Sleeve notes by Stewart Lee
Videos by David Janes

Keep up with Wolfhounds
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Posted by on May 14, 2020 in Post Punk


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Vision Video – In My Side (single, out now digitally)

Athens-based post-punk new wave outfit Vision Video present their debut single ‘In My Side’, a shimmery pop number reminiscent of early Cure, along with an equally impressive b-side ‘Inked In Red’.

Vision Video is vocalist and guitarist Dusty GannonEmily Fredock on vocals and keys, drummer Jason Fusco (Shehehe), and bassist Dan Geller (I Am the World Trade Center, The Agenda). These tracks were recorded and mixed by Tom Ashton (The March Violets, Clan of Xymox) at Sub Von Studios, and mastered by Joel Hatstat at High Jump Studio.

Not afraid of the dark, Video Vision pays homage to 1980s new wave and gothic-rock with heavy influence from 2000s emo and disco punk. They synthesize a masterful blend of gothic rock, shoegaze, pop and punk rock. With depth and originality, they aren’t afraid to write a hook, resulting in their own unique flavor of accessible and dancey goth-pop.

Having served in war-torn Afghanistan as an Army Infantry Officer, an experience that left an indelible mark on his psyche, Gannon returned home to serve on a new frontline as paramedic and firefighter. These experiences inform Vision Video’s songwriting, resulting in a serious look at the dark side of humanity processed through a retro-goth filter.

“Lyrically, ‘In My Side’ is about trying to find normalcy in relationships that are inherently toxic or detrimental. I think it’s easy to conceptually understand that someone isn’t right or healthy for you, but the reality is often so much more complicated because we don’t choose who we love. I likened this to being hunted down by a serial killer in the song. It’s also sort of my homage to 80’s horror and slasher flicks. The idea is that you can try all you might to get away from this person, but sometimes there’s no denying it, no running from those feelings, despite the red flags,” says Dusty Gannon.

“B-side ‘Inked in Red’ is a song I wrote about trying to find meaning in post-war life. I was trained to be a soldier, whose job it is to kill, for such a long time. Once that experience ended, I had a lot of difficulty seeing myself fitting into civil society. This is a song about feeling like you’re just in the wrong place and time, and that it’s just not ever going to change, even though you’re doing everything you can to find new meaning and contentment.”

Vision Video formed in March 2018, named for a now-defunct local video rental store out of nostalgia for a fave Friday night ritual of renting horror movies, thereby keeping a piece of Athens history alive through the band’s name. Their music is influenced by Bauhaus, Joy Division, The Cure, The Smiths, Type O Negative, The Clash, Washed Out and New Order.

Dusty Gannon explains how things came together: “I worked with Jason at the Georgia Theatre bar and told him about some goth-rock and post punk songs I had been working on. He was quick to offer to play some drums. Eventually we had quickly written 3 or 4 songs very organically and effortlessly. Dan heard about us through mutual friends. He had sworn to never play in another band, but we brought him out of retirement, so to speak.”

Emily soon joined and everything came full circle. “I used to sneak into Go Bar to see Dan DJ parties and play with his synthpop band ‘I Am the World Trade Center’. I was fascinated by how well they got a crowd going. It had a huge impact on my desire to play music. Little did I know I’d be close friends and in a band with him 12 years later,” says Gannon.

“I met Tom Ashton at a Goth Night that I DJed a few years ago. I have been a big fan of The March Violets since I was a teenager. Pretty bad-ass to record with someone whom wrote music that helped shape your musical taste.”

‘In My Side / Inked In Red’ is out now across digital platforms, including Apple Music and Spotify. Their debut album is expected later this year.

Written by Dusty Gannon
Performed by Vision Video
Recorded and mixed by Tom Ashton (March Violets, Clan of Xymox) at Sub Von Studios.
Mastered by Joel Hatstat at High Jump Studio

Dusty Gannon – Vocals and Guitar, Emily Fredock- Vocals and keys, Jason Fusco- Vocals and drums, Dan Geller – Bass

7″ Single Cover Art by Ryan Dunn
Photos by Jaysen Michael of Secret Playground Photography

Keep up with Vision Video
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I LIKE TRAINS – The Truth (Atlantic Curve 6 May 2020)

Leeds-based trailblazers I LIKE TRAINS present ‘The Truth’, an eye-opening lead track that forebodes their potent, hard-hitting new album ‘KOMPROMAT’, written as an instinctive gut reaction to a world that has changed beyond all recognition. This is a record that digs beneath populism’s rise, from the divide and conquer tactics that caused Brexit in the UK, to Trump’s ascent in America and the subsequent reign of lies and misinformation, to discover the grubby hands that have engineered it all.

The British quintet will release their fourth studio album via Schubert Music’s newly founded Atlantic Curve label in late summer. This is the band’s first record since 2012’s ‘The Shallows’, which focused on how the internet and smart technology is re-wiring the human mind and affecting our concentration spans. Now, with ‘KOMPROMAT’, it’s clear that this same technology, in the wrong hands, has taken an even more sinister turn. The game has changed – and I LIKE TRAINS have changed with it.

The accompanying deep-fake karaoke video was directed by previous co-conspirator Michael Connolly, a Leeds born artist and designer, who says “The track is relentless and I wanted the film to feel the same. Claustrophobia and confusion were my watch words. I combined deepfakes, distorted visuals, and digital cut-up techniques to create an intense level of disorientation. It sums up the last four years in geopolitics for me.”

‘The Truth’ was the last track to come together during the group’s recording sessions – a summation of the way in which facts are bent and, in many cases, utterly dismantled. Over a burring build of disco-inflected post-punk that recalls LCD Soundsystem and early DFA Records, “The truth is no longer concerned with the facts”.

“I’d been writing this list on my phone for a couple of months, adding a couple of lines
to it every so often. I’d read a news article or a tweet and I’d make reference to it. I decided to dig out this list in the last couple of days in the studio [for this track]. It’s pretty much the order I wrote it in – it came together on the fifth take and it was a pretty cathartic process,” says the group’s vocalist and lyricist David Martin.

Formed in 2004, I LIKE TRAINS is made up of David Martin (vocals/guitar), Alistair Bowis (bass), Guy Bannister (guitar/synths), Simon Fogal (drums) and Ian Jarrold (guitar). They have never shied away from confronting the possibility of humanity’s collapse. Earlier records, like the towering Godspeed-influenced ‘Progress Reform’ (2006) and ‘Elegies to Lessons Learnt’ (2007) took tales of tragic characters and events from history and applied them to the modern day, while ‘He Who Saw The Deep’ (2010) looked uneasily ahead to the climate change battle we are on the verge of losing.

While ‘KOMPROMAT’ sounds like none of those records, it contains DNA from all of them. I LIKE TRAINS has essentially gone back to go forwards in some ways, returning to some of the primary influences that inspired the band’s formation: Joy Division, The Birthday Party, Gang of Four, Television and The Velvet Underground.

“An I LIKE TRAINS record doesn’t really start to take shape until there’s a theme. That point came following Edward Snowden’s NSA leaks in 2013,” says David Martin.

“We didn’t set out to write a record about current affairs, but the path we set out on converged drastically with that daily discourse. The album inadvertently became about populist politics across the world. Brexit, Trump, Cambridge Analytics and covert Russian influence ended up at the centre of it all”.

At the time, Martin started writing about low-key, insidious intrusions on our privacy. As global events unfolded, however, so did the importance of those themes: the perception of what is true and what isn’t true being challenged on a daily basis and how that confusion could be used to manipulate populations into thinking and voting in certain ways.

Several years ago, British filmmakers Ben Lankester and Matt Hopkins released the feature documentary ‘A Divorce Before Marriage’, which follows the band members over three years, capturing their struggles first-hand. Then, as now, one thing is for sure – while I LIKE TRAINS often look back and also to the future, ‘The Truth’ speaks very much of the here and now. Available across digital platforms as of May 6, the full ‘KOMPROMAT’ album will be released on August 21 on black vinyl LP, limited edition silver vinyl LP and CD, as well as digitally.

I LIKE TRAINS will be under interrogation on Saturday, May 9th. Hard hitting music journalist Simon Catling will be pressing for answers on ‘KOMPROMAT’. Join the live-stream on I LIKE TRAINS’ YouTubeFacebook and Twitter from 20:30 (BST).

Performed by I LIKE TRAINS
Music by Guy Bannister, Alistair Bowis, Simon Fogal, David Martin, Ian Jarrold
Lyrics by David Martin
Produced and mixed by Lee Smith and Jamie Lockhart at Greenmount Studios (Leeds)
Mastered by Tom Woodhead at Hippocratic Mastering
Album artwork by Michael Connolly
‘The Truth’ video created by Michael Connolly

Keep up with I Like Trains
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Posted by on May 9, 2020 in Post Punk


Versari – Sous La Peau (out April 24th, 2020 on T-Rec/Declared Goods & Unknown Pleasures Records)

Parisians, Versari debut their new single “Des images” from the upcoming album Sous La Peau – with a stark and beautiful video by Director Renaud de Foville. “Des Images” single is released on April 10th on T-Rec/Declared Goods & Unknown Pleasures Records (CD/Vinyl)

“Des images” opening statement is sharp and direct: We are here, and we know why.
I know where I am / I know where I feel good
 I know who I am / I know what helps me to stand
 I know what I am running from and what is holding me back.”
(Jean-charles Versari in “Des Images“)

Sous La Peau (“Under The Skin“), Versari’s third album, affirms, with strength and power, a new skin after shedding: an exorcism, a rebirth.

Incendiary lyrics: Jean-Charles Versari sings stories of purifying pyres: burning lies and false pretenses.

All these words that you wrote / All you wanted was to burn them
 All the words you wrote / You wanted to set them all aflame
(from “Tu Te Disais“)

“I want to burn on my skin every desire that you desire
I want to burn on my skin every letter of your alphabet”
(from “La peur au ventre“)

“Burn the days that have come before / Even if everything is consumed”
(from “Brûle”)

The guitars radiate and roam with intent with the support of an understated yet powerful rhythm section. Bass and drums are intensely precise, elegant and seductive. Their music is the heir of a dark and literary genre. Taking as much from the English and the French culture, they are freed from both.

Their music draws from “Chanson” (French songwriting) to Post-punk, from Noise to Post-hardcore, painting with pallet knives – thunderstorm landscapes, where a white sun breaks through.

It represents the end of a cycle. “There is nothing more to say/ There is nothing more to lose / There is nothing more to do” ( from “Nemesis”)

A lyrical, sweet and melancholic note concludes Sous La Peau
A draining experience to be thankful for.
A definite memory is erased and discards itself,
 finds itself so far away, wears out and celebrates,
 erases itself, and lets go.
 No more sadness.”

Versari are Jean-Charles Versari (guitar/vocals), Laureline Prod’Homme (bass), and Cyril Bilbeaud (drums) with Adrian Utley (founding member of Portishead): additional synths and guitars Jonathan D. Mayer (composer): sound design.

Click HERE for pre-orders

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Posted by on April 16, 2020 in Post Punk


The Cravats – Hoorahland (March 13, 2020 Overground Records CD/LP/Digital)

Από τότε που δημιουργήθηκαν οι The Cravats στο Redditch της Μεγάλης Βρετανίας τις ένδοξες ημέρες του 1977 και του punk, κατάφεραν να σφυρηλατήσουν ένα εντελώς δικό τους μουσικό μονοπάτι, καθιστώντας τους δύσκολους στο να κατηγοριοποιηθούν.

Η περιγραφή της μουσικής τους από το ΝΜΕ το 1980, πως είναι σαν να ακούς “τον Captain Beefheart και τους Bonzo Dog Doo-Dah Band να τσακώνονται μέσα σε ένα σακί …”  τότε φαινόταν αρκετά ακριβής και το ίδιο ισχύει ακόμα και σήμερα.

Σαράντα και πλέον χρόνια αργότερα, το άλμπουμ τους “Hoorahland” αποδεικνύει πως οι Cravats ελέγχουν πλήρως το που θέλουν να βρίσκονται ηχητικά.

Το “Hoorahland”  είναι μια γυαλισμένη εξέλιξη του άλμπουμ ‘Dustbin of Sound‘ που κυκλοφόρησαν το 2017.

Δώδεκα συνθέσεις που καταγράφουν το πώς βλέπει τα πράγματα ο τραγουδιστής The Shend, απλωμένα σαν ένα σετ ακριβά σεμέν πάνω στο σαξόφωνο του Svor Naan, την πληθωρική κιθάρα του Viscount Biscuits, τον μπάσο κινητήρα του Joe 91 και την ντράμς του Rampton Garstang.

Στο άλμπουμ συμμετέχει και ο Jello Biafra τραγουδώντας ένα ταγκό τραγούδι με τον The Shend, το “Now Το Magic Has Gone”, σχετικά με δύο ηλικιωμένες θεατρίνες των οποίων η αιώνια αγάπη έχει τραγικά κατακερματιστεί σε χίλια κομμάτια από ένα πικρό μίσος.

Οι ίδιοι το ονομάζουν “ένα περίπλοκο σχέδιο Dada Vinci για δυσλειτουργικά συγκρουόμενα αυτοκινητάκια τα οποία καθώς αναπηδούν όταν χτυπούν μεταξύ τους οι προφυλακτήρες τους, εμείς φρενάρουμε αρπάζοντας αδέξια το φανταστικό τιμόνι”.

Πέρα από το περσινό single “Shy/Good For You” το οποίο έπαιξαν στο ραδιόφωνο και οι Gideon Coe, Marc Riley και Henry Rollins μεταξύ άλλων, υπάρχουν δέκα ακόμα τραγούδια που καλύπτουν τα πάντα από την έλλειψη του Θεού, τα Austin Allegros και τα ξεθωριασμένα τζην της γιαγιάς, τα σφιγμένα καπάκια των βάζων, τις μπουκαπόρτες των υποβρυχίων μέχρι το πουκάμισο του Brian May.

Επιπλέον, φυσικά, αυτό το ντουέτο με τον Jello.

Σύμφωνα με τους Cravats, όλοι κατοικούμε στο Hoorahland αλλά εδώ δεν πρόκειται για τις βόλτες που κάνουμε, αλλά περισσότερο για την θέα που έχουμε από το τέλος της ουράς στην οποία στεκόμαστε.

Και όχι, δεν πρόκειται για ένα θεματικό άλμπουμ. . . αν και ο ορισμός του «θεματικού» είναι «μια αφηρημένη έννοια» και μιας και οι Cravats είναι αφηρημένοι όσο παίρνει εδώ και 43 χρόνια, τότε ίσως και το άλμπουμ να είναι θεματικό.

Η κυκλοφορία του ‘Hoorahland’ σηματοδοτεί την αρχή περισσότερων συναυλιών και μιας ευρωπαϊκής περιοδείας με τον Steve Ignorant στην Steve Ignorant Tour.

Το νέο τους άλμπουμ είναι πρωτοποριακό, ασυμβίβαστο, παράλογο, πειραματικό, αμβλύ, αιματηρό, γελοίο, σουρεαλιστικό, εκκεντρικό αλλά πάντα διασκεδαστικό.

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Posted by on February 15, 2020 in Post Punk


Ελληνικό Punk: Μια pub διαφορετική απο τις άλλες

Η δεκαετία του ’80 είχε κάποια στέκια με ιδιαιτερότητα. Ήταν κάποια μαγαζιά που συχνάζανε πάνκηδες και new wave άτομα και ένα απο αυτά ήταν το Pub Blue Note στην οδό Ίμβρου κοντά στην Πλατεία Αμερικής.

Pub Blue Note menu


(Οι τιμές είναι σε δραχμές φυσικά, ενδεικτικές του κόστους της εποχής…)

Το μαγαζί ήταν ένα νεοκλασικό, μια μονοκατοικία με κάποια δωμάτια δεξιά και αριστερά της εισόδου, ένα μεγάλο σαλόνι στο οποίο υπήρχε το μπάρ στα δεξιά και άλλο ένα δωμάτιο στο βάθος το οποίο είχε τηλεόραση και έπαιζε μερικές φορές βιντεοκασέτες με ξένα συγκροτήματα.

Το σημείο στο οποίο άνοιξαν το μαγαζί ήταν λουκούμι για τις παρέες εκείνων που άραζαν στην Πλατεία Χαλεπά, καθώς και εκείνων που περνάγανε την ώρα τους στα Goody’s της Φωκίωνος Νέγρη.

Φυσικά ήταν ιδανική η θέση του και για όσους έμεναν στο κέντρο.

Εγώ με την παρέα μου πηγαίναμε στο δωμάτιο με την τηλεόραση που βρισκόταν στο βάθος για να δούμε κανα συγκρότημα και επειδή ήμασταν πάντα άφραγκοι, προσπαθούσαμε να μπερδέψουμε τον νεαρό που ερχόταν για να πάρει παραγγελία, λέγοντάς του «θα παραγγείλω σε λίγο» και με το που έφευγε πηγαίναμε και καθόμασταν σε άλλο μέρος του μαγαζιού.

Όταν μας ξανάβρισκε του λέγαμε τα ίδια και ξανα-μανά αλλάζαμε θέση.

Επειδή είχε μουστάκι, έπεφτε σύρμα πως «έρχεται ο μουστάκιας». Ποτέ δεν έτυχε να μάθω το όνομα του ανθρώπου…

Κάποια στιγμή φυσικά παίρναμε κάποιο ποτό αλλά είχαμε ήδη ροκανίσει τον χρόνο.

Κώστας Starman / Elton

Υπήρχαν άλλες φορές που πήγαινα και καθόμουν στα σκοτεινά με τον Δημητράκη και τον Κώστα από τους Αούσβιτς,

Δεν μπορείς να πεις πως το μαγαζί έπαιζε πανκ, περισσότερο post-punk, Siouxsie & the Banshees, Bauhaus και new wave έπαιζε.

Δεν ξέρω γιατί πήρα μαζί μου αυτόν τον μικρό κατάλογο. Απο εφηβική αφέλεια φαντάζομαι. Τον ποστάρισα και πριν κάμποσα χρόνια εδω στο Tribe4mian και να που έγινε η αφορμή σήμερα να ρωτήσω τον Κώστα τον Starman που πέρασε κι απο εκεί σαν DJ, να μου πει καμιά ανάμνηση του:

«Το Blue Note μετά άλλαξε όνομα σε Muswell’s» είπε ο Κώστας και πραγματικά, αυτό το θυμάμαι κι εγω. «Θυμάμαι πως σύχναζαν οι South of No North, Forward Music Quintet, Alive She Died, Last Drive, o Λωρης απ τη Di Di Music, o Δασκαλόπουλος κ.α. Εγω επαιζα μουσική από το ’84 μέχρι το ’87 περίπου…» συνέχισε.

Νομίζω πως από κάποιο σημείο και πέρα άρχισα να αραιώνω τις επισκέψεις μου γιατί ήταν μακριά απο εκεί που έμενα και άρχισα να πηγαίνω στο Ελλάς, ένα καφενείο στο Παγκράτι, λίγο πιο πάνω απο το Bright Shoe, με την παρέα των Film Noir.

Ρώτησα τον Κώστα αν έχει να μου δώσει καμιά φωτογραφία του Blue Note ή του Muswell’s απο την εποχή εκείνη.

Τι στο καλό; Εδω το άτομο έχει βγάλει φωτογραφίες τον Joe Strummer στο backstage του Rock In Athens και τους Bauhaus στο Σπόρτιγκ, δεν θα έχει απο εκείνο το Blue Note / Muswell’s;

Και να ομολογήσω πως έχω σκεφτεί, οτι επειδή έχω δεί κατα καιρούς αρκετές φωτογραφίες που έχει τραβήξει, μάλλον είχε μια έφεση σε αυτό.

Πραγματικά ξέθαψε κάποιες φωτογραφίες, αυτήν εδώ την αφίσα του Muswell’s και είχε την καλοσύνη να μου δώσει μερικές να τις χρησιμοποιήσω σε αυτό εδώ το κείμενο.

Με τούτο και με εκείνο, θυμήθηκα πως είχαν παίξει και οι South of No North κάποιο βράδυ εκεί μέσα και ο Κώστας μου είπε πως έχει ο Tax μια αφίσα εκείνης της βραδιάς.

Ρώτησα τον Tax και… voilà…

Είχε δίκιο, οπότε και ο Tax είχε την καλοσύνη να μου δώσει κι αυτός αυτήν εδώ την φωτό απο την εμφάνιση των South στο Muswell’s Pub, στις 13 Μαρτίου του 1987

Τόσες φωτογραφίες και αναμνήσεις με την ευκαιρία ενός χαζού καταλογάκου που σούφρωσα απο ενα μαγαζί πριν 30+ χρόνια..


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