The Blinders – Fantasies of a Stay at Home Psychopath
On Friday, The Blinders released their new album Fantasies of a Stay at Home Psychopath. Last night, they followed this with a streamed launch which only served to reinforce how much we’re all missing live music. The band are renowned for giving a blistering performance and, despite the obvious lack of opportunity to interact with fans on this occasion, their trademark energy and intensity were still very much to the forefront.
Following on from first album Columbia, the new offering feels like the band have had time to consider and incorporate their influences into their own brand of alt-rock with a heavy noir twist. The result is a departure from the debut and begs to be seen live in the flesh. Tour dates scheduled for March will doubtless sell out in no time. But for now, the livestream from their Manchester studio has whet the appetite, ably abetted on the night by the complimentary skills of Eoghan Clifford on guitar, Paris Taylor on backing vocals and percussion, Thomas Castrey on drums and Callum Chesterman on keys.
Fantasies of a Stay at Home Psychopath is a reflection of the shades of societal dystopia that come from living in the shadow of Brexit, the climate crisis and the global pandemic, a bizarre situation that prompts justified angry anthems. Lunatic (With A Loaded Gun) calls on the disturbing imagery of Trump’s separation policies… ‘there are children in cages on Monday’s front pages’ and the metaphorical loaded gun crashes through the tribal drums and half spoken vocal. The Doors-esque Black Glass draws towards the final track In This Decade, where things slow to a pensive contemplation of the fragility of the environment we live in… ‘for in this decade there’s no knowing if there’s gonna be a tomorrow’. All in all, the album is a journey through the increasingly varied aspects of The Blinders’ repertoire, and a welcome addition to the bleak background but certainly not creatively challenged facade of 2020.
New releases – Silverbacks, Pet Grotesque, Erasure
Silverbacks – Fad (album)
Following the slow drip of tantalising singles over the last couple of years, Dublin’s Silverbacks finally release their much anticipated album Fad today. If you’ve not heard the band before, opening track Dunkirk is a fine introduction, all spiky guitars and spoken lyrics, flavours of The Fall and Sonic Youth easing their way throughout the song. Further into the album, Just In The Band depicts the tale of Bowie and Iggy Pop’s friendship which is surely worthy of consideration. Lots of influences abound but Silverbacks manage to shape -shift these into their own enigmatic sound, a fad worth getting involved in.
Fad is available now on Bandcamp or via your local record shop. Live dates are being rescheduled for 2021, in the meantime check out the album and watch the video for Pink Tide here.
Most recently seen as touring keys player in Goat Girl and a member of Tiña, featuring on Speedy Wunderground’s latest excellent release, Pet Grotesque has spent much of lockdown working on his second album. If new track Scratch is anything to go by, it will be one to watch out for. Mixing gnarly psych undertones with dreamy lo-fi pop sensibilities, Scratch sounds like the soundtrack to a balmy summer evening with just a hint of menace. The forthcoming album is mixed by PVA’s Josh Baxter, promising another layer of genre-fused finesse.
Stalwarts of electro-pop, Erasure release a new track this week as a precursor to their album The Neon, due to be launched into the world next month. Long time fans of the band need not worry that they’ve strayed too far from what they know and love. If anything, Shot A Satellite is testament to the heady days of the 80’s dancefloor, looking set to stick in your head and prompt a listen to material old and new. Speaking about the new songs and the use of older instruments and machines, Vince Clarke says, “There’s a warmth to them. There’s also a real beauty in putting different analogue synthesisers together, too – a Pro-One, a Sequential Circuits, a Moog – they give this lovely sheen… It was about refreshing my love – hopefully our love – of great pop. I want kids now to hear these songs! I wanted to recharge that feeling that pop can come from anyone.”
The Neon is scheduled for release on 21st August via Mute Records, you can pre-order the album here and watch the video for Shot A Satellite below.
The Streets – None Of Us Are Getting Out Of This Life Alive
“Stand by me my apprentice; be brave, clenched fists”
The concluding lines of Turn the Page, the opening track of Original Pirate Material, Mike Skinner’s game-changing debut album under the moniker The Streets, which turned eighteen this past March. 2020 sees his prophecy fulfilled, as None of Us are Getting Out of This Life Alive sees him recruit some of UK music’s most exciting acts to collaborate on what is the first record by The Streets in nearly a decade.
It’s difficult to differentiate what constitutes as ‘The Streets’ and a project by ‘Mike Skinner’ in the years since he retired the moniker in 2011; I’d imagine Skinner isn’t exactly sure where the line is himself, and this new mixtape provides no clear answers. On the face of it, it doesn’t scream an album by The Streets; whilst the infamous clipper lighter logo adorns the cover, the kitchen-sink imagery of lonely bus stops or Goliath tower blocks that they bordered don’t feature, instead it sits entangled by a brazen gold chain, a trophy to recognise Skinner’s impact on UK music, and a tease into the young heirs who he’s brought along as proof being in the pudding. However, as a collaborative project it possesses a palpable creative spirit and fun energy but also a sloppiness (the latter of which could not be said of Original Pirate Material or A Grand Don’t Come for Free) and surprisingly the most jarring part of the mixtape is often Skinner himself.
His idiosyncratic style, only a step away from spoken word but with a documentarian eye for detail that captured early 2000’s youth culture so definitively, here stands out often as clumsy and wonky when placed alongside some of the slicker features. If this were your introduction to The Streets it would be hard not to think that Skinner is failing to keep up with the kids, at times the difference in tone and rhythm borders on embarrassing. It doesn’t help that it’s stylistically all over the place and inconsistent in production too, for example the titular track with Bristol punks IDLES should have been a towering, punishing success but disappointingly sounds tepid and brittle. On the other hand, the wobbly dubstep of Eskimo Ice with Kasien is the polar opposite; hard, loud and face-scrunch inducing.
As for the features, it’s where the mixtape shines for the most part and Skinner should be given credit for finding space and allowing for their personalities to flourish, even if it works against him personally in a number of cases, though one is left wondering for what reason the highly anticipated Slowthai duet did not make the cut, with him being often labelled as the true heir to Skinner’s crown. Initial listens are a little harsh, but after a few playbacks it would be hard to argue that Skinner has nothing left to offer UK music in 2020, especially when sparring one-liners with Ms Banks on You Can’t Afford Me – “She talks about her ex so much even I miss him” / “I ain’t gonna allow you mate, not even a little, I’m from M&S babes, you got a better chance at Lidl’s” or when weaving around a meditative Everything is Borrowed style beat on Falling Down with Hak Bakar.
Skinner is at his best when crafting a narrative, it’s when his conversational style is at its most charming and effective and this formula here doesn’t allow for such, but if there’s a running theme at all it would be technology; specifically phones. Not the first time Skinner has mused on mobiles, they appear throughout his past work and interestingly can be used to date the projects; the early 2000’s struggle of standing by the door of a club to get signal on Blinded by The Lights or developing a nervous apathy for the introduction of camera phones in the mid-2000s for the fear of being caught in some toilet cubicle hedonism in When You Wasn’t Famous. The same can be said here, his unique view on the 21st century appendage is viewed through a focused 2020 lens and results in the most interesting lyrical moments, as in his references to ghosting and watching Instagram stories Skinner is delightfully honest; like many of us, his phone is always in his hand, though as he says outright, if you think he’s ignoring you, he is.
So, in the end NOUAGOOTLA only muddies the waters further of what The Streets exactly are in 2020; a return to music in the form of a mixtape of rap duets in which the features often outshine the lead should, on paper, be a disaster. But much like the chain on the cover, it’s different than before but there is gold that can be found gleaming through, after the first few awkward listens.
None of Us are Getting Out of This Life Alive is out now on Island Records; more details and link to buy tickets to a livestream performance from London on 6th Augusthere – watch the album sampler below.
When Covid -19 Stopped the Music by Jennifer Mullins
This refrain from Joni Mitchell’s song Yellow Taxi, ‘Don’t it always seem to go, that you don’t know you’ve got ‘til it’s gone,’ seems to sum up the situation of live music at venues being put on hold to stop the spread of the virus. Hopefully, the small venues and musicians that have created a community there will have a place to return once this pandemic is over.
Alex Mullins at the Rebel Lounge
I began to get into music photography when my son, Alex, began playing open mics. His first show was at Joe’s Grotto in Phoenix, Arizona. Because he was underage, I had to accompany him. It was the first time that I had seen him perform, though I had heard him play in the house. I was blown away at how calm, confident, and talented he was as he took the stage. A year into his playing at different venues, I began to take photos and videos. My primary photography focus at this time was on nature.
Top: Fans at Pub Rock Middle: Alex Mullins
Coyote Tango at the Rebel Lounge
Once Alex formed his band, Alex Mullins and the Royal, I began going to different venues with low light. It was a whole new photography learning experience as I had to learn to adjust to low light photography. I met some of the nicest young photographers who helped me with camera settings and encouraged me to move from shooting in auto to manual mode. They also helped me with editing techniques as I found my unique style.
Top: El West at Crescent Ballroom Bottom: Holiday Extravaganza at the Van Buren
In the beginning, I would stay and photograph only Alex’s band, then head home. As time went on, I began to stay and watch other bands. Before I knew it, I was driving around the greater Phoenix area to different venues to discover the vibrant local music scene. I found not only so much musical talent, but a community. Music is meant to be heard live with other people who come together to share their love of the sound the musicians create.
All at Crescent Ballroom – Top: Rival Coast Middle: Luxxe Bottom: Harrison Fjord
A camera gives you a different way of seeing the world and that’s true when photographing a gig. You have to move fast to capture the moment because each set is non-stop and there are no second chances. Since my focus was on the viewfinder, I would forget that people were seeing me in action. I was also posting on Instagram and people would get to know who I was through there as well. I would always introduce myself to musicians and they would say, “I know who you are.” It’s been great to not only see Alex grow as a musician but to get to know other musicians and fans.
Top: Jared and the Mill at Rhythm Room Bottom: Jared and the Mill at the Rebel Lounge
Now all the venues are closed, the musicians are not playing live and the music community can no longer gather safely. It’s great when my favorite musicians livestream but I miss seeing them on stage as much as I’m sure they miss playing. The collection that I created was capturing the musicians and fans. The connection that only music creates can be seen in both the musicians’ faces and the fans’ reactions.
As psych-surfers Leeches release their singles collection Easy, we had a chat about musical influences, how they’re coping with lockdown and painting along with Bob Ross. At times like these it’s important to hold very serious conversations, and it’s highly likely that someone, somewhere is doing exactly that.
Leeches are Jack Pearce (bass/vocals), Ben Lowe (guitar/vocals) and Frank Waloszek (drums) and that much at least is true – probably. Here goes…
Hey, how are things with all of you – where have you been spending lockdown?
Jack: I’ve been in a shed in my parents garden keeping myself busy with my Only Fans account.
Ben: As I have not been able to drive my Porsche around the south of France lately, I have not been in the best mood.
Frank: I stay as far away from Jack and Ben as humanely possible, filthy cretins, they definitely have Coronavirus.
Your singles collection Easy was released last week, tell us about it…
Frank: Well actually… as far as I was concerned, it was supposed to be a Jazz Fusion album called Pints as an Act of Persistence but due to pressure from the record label, our manager, and Jack/Ben we had to scrap that idea and it became a heavy rock singles collection instead, but it’s still pretty good to be honest.
Jack: It was originally meant to be a pure Jazz Fusion piece but Frank insisted on making it more accessible, and kept threatening to leave the band so we settled on this.
Ben: It was always our (mine and Jack’s) dream to be the biggest band on Clarendon Road. Then Frank was enrolled as percussion I remember, and we moved on to Ascham Road. We progressed to barking on both these roads riff by delightful riff, singing and whistling as we strode. Alfie Tyson-Brown, a butcher by trade, took us under his meaty wings and turned our gaze to larger streets, upon which he showed us not only how to rock, but how to roll upon these new avenues, the likes of which we had never seen the like of which. Christian and Alex, the knights of Bristol at the time, the striders ahead, knew of even brighter pastures. We now want to bark on these roads when Boris says “Yeah alright”.
How difficult is it releasing music when you can’t get out to promote it?
Jack: It is hard to know how it will land and would be nice to tour it, but it means we can work on stuff like the music video and go through old unfinished tracks. Every artist is in the same boat though, it’s been amazing seeing how people have worked around it.
Frank: About as difficult as it was playing to a venue full of debauched wasters who had no recollection of the gig the following morning.
There’s a track called Bob Ross, have you ever tried to paint along with him?
Frank: Of course.
Jack: Wouldn’t dream of it.
Ben: Due to an ongoing court case, I’ve been advised to answer no comment to this question.
You’ve been with Leisure Records for a while now, how did you first start working with them?
Frank: It all happened so fast. I was auditioned for the band, and when we were certain it was going to work the next thing we were travelling up to Bristol and London, just all over the place really, networking with all these real characters, you know… and somehow they were making it all happen. It was greatly uplifting to discover such a conglomerate of proactive, cultured folk. Jack and Ben had already done most of the hard work when I joined the band. I was quite literally the leech.
Ben: Christian and Alex from Leisured Recordings threw big money on the table and my accountant told me this was my only option after what happened with the last label.
Jack: Please see Frank’s answer.
Musical influences – what are your earliest memories of listening to music as kids and which artists do you count as long term favourites?
Jack: When I was little, my folks would listen to Euphoria compilations and REM while we drove around, I think that had a big influence on me. That and getting into all forms of dance and psych-rock, Sabbath’s first two albums and early Chemical Brothers got a proper rinsing.
Frank: Anything that was on cassette cause it got played in the car. Devo was the first band I ever really ‘got into’. After that it was Weather Report.
Is 2020 the weirdest year ever and can you pick out some good bits amongst all the mayhem?
Frank: Yeah, it is the weirdest year. On the bright side – I think the impact of this Coronavirus has overtly exposed a lot of serious inadequacies and hypocrisy in politics and the economy on a global scale, to say the least. There’s nowhere to hide it; we have to pay up and counter-weigh all the broken aspects of the system to make things work and it shows. Hopefully it’ll ignite a change for the better. Because I think people everywhere are beyond fed up with all the horseshit – we all share that in common, albeit with different agendas.
Jack: Frank put it really nicely. It’s definitely a catalyst of a year, I just hope things pick up in the right direction.
And assuming things revert to normal at some stage, what’s next for Leeches?
Frank: Who knows… I mean, beyond getting around to making that Jazz Fusion album we never completed… I don’t know.
Jack: We will be going under the new name of Scalping.
It’s always heartwarming to see a music photographer who clearly loves the bands they shoot and Gary is definitely one of those. Here he talks us through some of the last gigs he caught before lockdown, and the nature and landscapes he’s discovered since whilst walking along the famous Leeds to Liverpool canal…
‘Hi, I’m Gary. Like Batman I have a respectable day job, as a regulatory manager for a UK Internet Service Provider, and at night I’m often seen lurking in the dark, seedy shadows of an underground music venue.
The day job pays for my unpaid hobby, a hobby that I started a few years ago now photographing the bands and gigs I was already more often than not going to see anyway as a fan.
It was December 2019 and I’d been photographing the current Buzzcocks line-up at Preston’s 53 Degrees and Manchester’s Gorilla, the band performing together following Pete Shelley’s sad passing and, although that was three months before lockdown, I remember having a strange feeling that something significant was about to happen in our lives but nothing I could put my finger on.
Buzzcocks, Preston
Buzzcocks, Manchester
Three months on and it’s February 2020 and although none the wiser as to what was about to happen, I got to photograph the brilliant band Déjà Vega doing a full set at the Ferret in Preston. I’d seen them playing there previously at GlastonFerret; if you haven’t seen these guys they are a must go and see.
Déjà Vega, Preston
A couple of weeks later and what was to be my final photography gig was for Dead Objectives who’d asked me to go and shoot their set at Wigan Punk Fest 2, as they wanted some live shots for their forthcoming new album cover. Sadly, post-lockdown the band decided to part company with their bass player so not sure if these shots will be used now.
Dead Objectives, Wigan
My last gig of 2020 was ironically the same night as the Dead Objectives gig in Wigan, this time I had to drive over to Manchester for the sold out Déjà Vega gig at the Deaf Institute, and what a gig that was although for once I didn’t photograph it.
Like most gig photographers, Covid-19 and lockdown have given us an opportunity to photograph different subject matter.
For me, I’ve always been interested in landscapes and buildings so I took the camera with me when out on the daily exercise walks along the Leeds to Liverpool Canal route that’s close to where I live. The non-live shots highlight some of the interesting things you see when out walking, even along a canal that stretches some 65 miles to Leeds or Liverpool depending on how much of a walk you fancy.
The picture below was taken about a mile into the walk from my house where you end up at the lock that runs alongside a dairy farm. Depending on the route you take you can end up in the field to the right of the lock gate trying to get to the other side before the bull gets you.
If you walk straight on about a quarter of a mile down the canal path, you will come across a derelict farm building that’s not surprisingly covered in graffiti. You often encounter quite a few cyclists along this route, the majority of whom are courteous and warn you before they park their bikes in a place that would likely be uncomfortable.
Carry on walking about another quarter of a mile and there’s a nice cluster of boats that are moored in what appears to be a small boat repair yard. Most as you can see below are barges, one of which is named Elvira, I added in the nickname Mistress of The Canal.
In the next picture you can see a 50-person lifeboat tied up to its mooring which I’m sure is very reassuring for anyone that might take a wrong turn down the canal in a cruise liner.
Finally my last shot is of a male swan who’s just become a dad and often comes over to take bread and peas for his baby cygnets and his Mrs. He’s quite partial to porridge oats when he can get them.
There’s lots of other wildlife along the route and plenty to see, irrespective of the direction you take, and for someone that never really exercised much, lockdown really has given me a different perspective to life and opened up a lot more opportunities to develop my photography from the Punk frenzied gigs I’m usually shooting.
I’m currently working on my website atwww.allthecoolbandsphotography.co.ukwhich has already attracted one well known band and one that I’m a big fan of to contact me for some live show shoots in 2021, I’m unable to say who at the moment but keep an eye on the website and all will become clear next year. I might include a section on the site that highlights some of the other photos I take too, I haven’t made my mind up yet if I’m honest.
Thanks to Siobhan for giving me the chance to write this and, if you got this far, thank you all for reading it.’
All photos are taken and copyrighted by Gary – you can see more of his work on hiswebsiteand give him a follow onFacebook / Instagram / Twitter
Online Exhibition, James Hyman Gallery, 22nd June – 26th July 2020
Shirley Baker: A Different Age
Header photo: Manchester 1985
‘James Hyman Gallery is pleased to present an online exhibition of largely unseen photographs by Shirley Baker, selected from the photographer’s estate. The exhibition includes her rare colour work as well as iconic black and white images.’
Manchester 1965
Shirley Baker (1932 – 2014) is one of Britain’s most fascinating yet unexplored social documentary photographers, particularly considering the era in which she started actively shooting. A woman practicing street photography in post-war Britain was a rarity, her gritty, expressive style a poignant reflection of the times. Shirley’s pictures show the flip-side to the hype of London’s swinging 60s, instead concentrating on the reality of the local people in the area around her Manchester home. From traditional flat caps to the vintage style and sometime glamour of the working class, the images are beautifully composed without being posed, her work continuing to record urban life over the following decades.
For those who question the validity of street photography, Shirley Baker’s pictures go a long way to explaining how, especially over time, capturing the everyday scenes around us offers an important visual timeline as good as any history book, memories for some and a chance to better understand the past for others.
Top left: Manchester (Man with Pigeons) 1967 Top right: Stockport Road, Stockport 1967 Bottom: Chester 1966
Further details here from the press release:
The exhibition focuses on Shirley Baker’s celebrated street scenes photographed around Manchester and Salford and explores her depiction of older adults.
Nan Levy, Shirley Baker’s daughter, who has curated the show with James Hyman, explains, “Having been in lockdown for the past weeks and only just being allowed out, it made me think of our elderly folk who are still unable to see their loved ones. They cannot even visit their sons and daughters or take pleasure from playing their grandchildren for fear of catching the virus. I have put a collection of Shirley’s photographs of the elderly taken from the 60s to the 80s showing them taking pleasure from the simple things in daily life that sadly are not possible at the moment”.
Manchester 1968
Shirley Baker, writing of her motivations captures a world of street life that seems like a distant memory, “I love the immediacy of unposed, spontaneous photographs and the ability of the camera to capture the serious, the funny, the sublime and the ridiculous. Despite the many wonderful pictures of the great and famous, I feel that less formal, quotidian images can often convey more of the life and spirit of the time”.
Untitled 1983
All images are reproduced courtesy of the Shirley Baker estate and James Hyman Gallery. The online exhibition is live on the gallery’s website now until 24th July 2020.
You can see more of Shirley Baker’s photography here.
Proving to be another great signing for Alcopop!, Beach Riot’s latest offering brings not just music but retro gaming skills to the table. Wrong Impression showcases the band’s trademark mix of fuzzy grunge and new wave harmonies, a suggestion of what might happen if their Brighton neighbours Blood Red Shoes and Demob Happy were poured into the melting pot.
The single is released alongside a specially designed retro style Instagram filter arcade game. To play along, search ‘CATNIP 3000’ on Instagram filters and share your high scores with the band. Not only do you get to fly a spaceship but there’s a prize up for grabs for the record-breaker, details to follow but it probably won’t be a spaceship.
Commenting on the new track, the band say: ’Imagine that you had the chance to go back in time to tell your younger self that you turned out alright. You’d do it, right? You’d give your old self some much needed advice and encouragement, and then be on your way? As we can’t go back in time, maybe take a moment. Next time you catch yourself in a reflection let yourself know it’s gonna be OK now. Love yourself’.
The only beach riot you should be involved in right now, Wrong Impression is released via Alcopop! Records.
In Earnest continue to tackle the reality of living with mental health issues in a very honest, uncomplicated way. The Southend trio are made up of Sarah (vox, keys), Thomas (vox, guitar) and Toby (violin, guitar) and together they create music that manages to be delicate and reassuring at the same time. New single Come Upstairs is the epitome of this.
Written from Thomas’s perspective, as he urges Sarah not to give up hope, he says, ‘In the wake of my partner’s mental health struggles, it feels like I spend every waking moment trying to keep a brave or positive face on and there are times when I find it difficult to maintain my own identity. We’re gradually learning how to combat negative thinking, but I’m usually the one who takes the weight and pulls her out of waves of depression.’
The track has a feel of Goo Goo Dolls’ Iris and addresses a situation that many people will recognise and empathise with; a reminder that there’s always someone there to talk to and keep things at a level that feels ok.
Aside of the message, it’s a great song and promises more to look forward to when the band release their forthcoming EP later this year.
With a diverse range of subjects in her portfolio, photographer Ingrid Turner captures the true essence of the moment, be it music, documentary or street photography. Here, she shares some favourite shots and experiences…
‘My name is Ingrid Turner and I’m a photographer based in Manchester, UK.
My interest in photography was initially sparked in 2009, when I was employed at a charity and went to the Philippines on a research trip. Even though I had pretty much no idea how to use the expensive Nikon DSLR I’d been equipped with I liked the process of talking and connecting with people and taking photos with them and of their community.
Once I had my own camera, I started out with street photography.
Salford Central
Lisbon
Left: Corfu Town, Greece Top right: View of Stretford House from Turn Moss Bottom right: Cagliari, Sardinia
A couple of my street images from Dublin were included in Breaking Glass Magazine’s recent B&W feature.
I’m also an event photographer and often work with the bands Henge and The Age Of Glass, as well as other Manchester-based musicians and performers.
Henge, Scala, London
Drift, The Lowry, Manchester
Henge, Glastonbury
Shunya, Carlton Club, Manchester
The Age of Glass, Beatherder Festival
Paddy Steer, Scala, London
During events, I love spotting intimate, special, humorous moments when people connect – either with each other or with the performers.
Henge, Pennabilli Festival
Henge fan, Bristol Fleece
Egg Pondering, Pennabilli Festival
Henge fan, Manchester Academy
Over the last couple of years, I worked with various charities to illustrate the stories and experiences of the people they help and support. Covid-19’s impact on the arts sector means event photography will be impossible for some time. The charity sector is struggling financially so photography may not be a priority, or even a possibility, for many organisations. In the meantime, I am trying to stay positive and am planning on developing street and social documentary project ideas.’
All photos are taken and copyrighted by Ingrid Turner. You can view more of Ingrid’s work and make contact via her website. Follow her new posts on Instagram / Facebook / Twitter.
Wasting no time on a gradual build, Dream Wife’s latest Album So When You Gonna storms straight into opening track Sports!, and there’s little let up from thereon in. There’s a hint of earlier singles Hey Heartbreaker and FUU but with a slicker production and overall sound, courtesy of producer and mixer Marta Salogni (Björk, FKA Twigs), engineer Grace Banks (David Wrench, Marika Hackman) and mastering engineer Heba Kadry (Princess Nokia, Beach House). ‘It was amazing to work with this community of womxn on this album who are supporting each other in an industry that is so male-dominated. It was a way of us practicing what we preach. It felt like an honour to be able to deliver this baby with these three amazing midwives,’ says guitarist Alice Go. ‘What would you call the opposite of gate-keeping? Facilitator? Enabler? It’s all about opening the gates,’ adds bassist Bella Podpadec.
The punk ethic confronting societal issues head on is absolutely still apparent and now sits neatly alongside poppier tunes on which it’s hard not to contemplate the influence of vocalist Rakel Mjöll’s Icelandic compatriots The Sugar Cubes, notably on the trio of U Do U, RHRN and Old Flame. However, don’t settle too far into your seat because these are followed by the explosive collision that is the title track (video below). A stand out for me is Homesick, three minutes of Viv Albertine meets Karen O whilst spinning on the Waltzers. If this were a gig, the finale of After the Rain would be a fitting close to the evening, its minimal keynotes providing the perfect backdrop to emphasise the piercing vocal; the message ‘It’s my choice, my life… it’s my body, my right’ evocative of Dream Wife’s continuing message that gender should be no barrier to who you are and what you do. Speaking of barriers, this is an album that will have the one at the front of the stage bouncing when we reach a point where live music can be enjoyed again. Currently the three-piece are set to tour across the UK then around Europe in April and May 2021 – keep your fingers and toes crossed.
So When You Gonna… is out on 3rd July via Lucky Number Music – you can pre-order here or, from Friday, maybe pop to your newly re-opened local record shop to pick up a copy if you’re lucky enough to have one nearby. Watch the video for Sports! below.
For those familiar with the band, it will be no surprise that Bo Ningen have created an album that will leave you with no option other than to sit up and pay attention. What may be more unexpected is the diversity of music as Sudden Fictions take you through a journey of different genres and sonic references. From the opening assault of the lead track You Make a Mark Like a Calf Branding to the jarring psych-rock of Zankoku, it’s clear that the whole record is a complex, intriguing piece of art. It manages to sound like a classic and completely new simultaneously and will hold your attention from start to finish. The weird and wonderful world of Bo Ningen just took a leap further than any of us might have imagined.
Sudden Fictions is out today on Alcopop! Records – purchase here and listen to Zanzoku below.
With a departure from their lo-fi beginnings, Tugboat Captain’s new release No Plans (For This Year) blends a much deeper, layered musical background to form a track that would drop happily into the 60s’ summer of love and harmony. Noting that it had the feel of an updated, uptempo Eleanor Rigby, it was interesting then to see that the band have been recording at Abbey Road. Coincidence or otherwise, the new sound may have its inspiration in the past but is perhaps more akin to contemporaries like Foxygen and The Lemon Twigs. The title may suggest a lockdown lullaby but the song was actually written 18 months ago. A perhaps prophetic, solid single with a crescendo of a finale; check it out below.
Tugboat Captain’s debut album Rut is due for release on 16th October via Double A-Side Records. Listen to No Plans (For This Year) below and purchase here.
The latest offering of post-punk revivalism from Partisan Records comes in the form of Welcome to Bobby’s Motel, the debut album from Montreal based five-piece Pottery, who made waves in 2019 thanks to the release of their EP No. 1, as well as touring alongside label-mates Fontaines DC and American art-punks Parquet Courts.
Listening through Bobby’s Motel, it’s evident that the latter left a strong impression on the band, who have enlisted the production talents of Jonathan Scheneke, who worked on Parquet Courts brilliant 2018 album Wide Awake! From this, it makes sense that Wide Awake and Bobby’s Motel both share a playfulness in approach to genre and performance, and in just under forty minutes Pottery toy around with elements of groovy dance rock and spiky post-punk, adding flourishes of disco and glimpses of psychedelic rock, with an impressive degree of consistency.
I say impressive and not perfect, as Pottery’s genre gear changes occasionally work against them, resulting in the flow of a song stalling and preventing it from reaching its full potential. Thankfully, there are twice as many instances where this is not the case, the foremost being the sizzling Hot Heater, which breaks out of its relatively straightforward first half and convulses into a glorious dance-rock freak-out that echoes Stop Making Sense-era Talking Heads, another influence detected running throughout Bobby’s Motel.
From then onwards Pottery don’t let up, possessing an infectious energy and a palpable sense of sweltering performance (appropriate for the many references to heat and temperature), the band rarely stop for breath aside from Reflection and the sweet dream-pop ballad finale Hot Like Jungle.
As for themes, you’d be forgiven to believe at first glance Pottery were releasing a narrative album but that’s not the case; Bobby and his titular motel are less literal figures and more metaphors for human existence, the grit and grime and the exuberant shade of joy in the face of often overpowering shadow. In the release notes it’s described as ‘an all-encompassing alternative reality that the band have built themselves, for everyone else’ which does read as an excuse to throw as much as possible at the wall to see what sticks and have the most fun in doing so. The good thing is the last part cannot be disputed, Bobby’s Motel is packed with quick tempoed tunes that are undeniable in their ability to literally move the listener; try and sit still during Hot Heater, Texas Drums Pt 1&2 and Bobby’s Forecast and prepare to fail miserably.
It’s the albums strongest component, that even in the moments where the transitions fail to click or when a chorus lacks a solid punch, it’s still projected with the kind of compelling energy that you’d only find in a jam session gone wild, a band caught up in the moment, which despite sounding tedious, makes Welcome To Bobby’s Motel a joyous listen for the most part.
Welcome to Bobby’s Motel is out tomorrow via Partisan Records; you can order the album in various formats here and listen to Hot Heater below.
It’s often said and holds true that there is something timeless about a black and white photo, as is apparent in this lovely collection of images by multiple photographers. The shots featured are in no particular order other than to be mixed by genre and subject matter so please scroll all the way through and enjoy…
A huge thank you to all the fantastic photographers who have shared their images for inclusion. To see more of their work just click on the links shown.
All pictures are copyrighted by the photographer credited; please do not use without gaining their permission first.
For a number of years now, Portsmouth’s Strong Island Recordings have hosted a day of live music in exchange for donations to the local foodbank. With gigs and festivals still currently a pipe dream, on Saturday they took their Interstellar Food Drive online, in collaboration with Pie & Vinyl, Honeymooner Records, Velvet Candy, Hard of Hearing Music and Thank God For Sinners, bringing streamed performances from artists around the world. The event ran in association with Love Record Stores Day and encouraged donations to the Trussell Trust and other charities.
LA Peach
Tom Bryan
Given that the novelty of taking photos of the beach has long since worn thin, I thought it would be good to shoot some musicians again so spent a strange chunk of the afternoon pointing my camera at computer screens. And yes, I’m aware there’s such a thing as a screenshot but if people are doing photo shoots over Zoom then why not. Oddly, I found I still defaulted to my favoured slightly to the left front of stage position, make of that what you will.
Thyla, Sunfruits, Freya Beer
Hussy, Tugboat Captain
Rosie Alena
As well as seeing favourite bands, a lot of us are missing that chance to find something new, and the food drive gave just that opportunity with a whole bunch of talent from far and wide. Kicking things off, an Australian trio of laid-back psych from Sunfruits, kaleidoscopic riffs from Dear Doonan and some fine indie tunes from Badgers. Closer to home, there were great mini sets from local south coast artists including Megan Linford, Barbudo, Ban Summers, Public Body and Thyla. A stunning showcase from Speedy Wunderground’s new kids on the block Tiña (header photo) suggests that they will very definitely be on the ones to watch list, and no less chaos and ripped denim than you would expect from the illustrious Lynks Afrikka, proving that sofa performance is not to be taken lightly. Too many more to mention individually (see poster for complete line up) but suffice to say that every artist was well worth the watch and I have to give a shout out to LA Peach for the shower cap and shades combo, sure to catch on.
Lynks Afrikka
Fake Turins, Megan Linford, LIME
Tropa Magica
The final set came from LA’s Tropa Magica, closing an excellent day with some suitably festival fuelled cumbian-punk. Am so looking forward to when we can do all this in person again but, for now, if you haven’t had the chance yet, you can watch the full stream on the YouTube link here. If you’re able, you can donate directly to the causes listed below via their links.
The Trussell Trust Helping food banks to provide practical support to people in crisis
Brixton Soup Kitchen A Brixton based service for the homeless and people in need
Portsmouth Hive A local cooperative from the voluntary and community sector helping people to build independence
Making waves on the Manchester music scene and beyond, The Red Stains bring a fresh blast of energy with their spiky tunes and brusque, incisive lyrics. Get to know them better here, then keep them on your radar when live music kicks off again…
Give us a quick intro to The Red Stains, who’s involved & where did it all begin?
The Red Stains are a Manchester based contemporary post-punk band. We started playing together last year. Our names are Natalie Emslie, singer, Sterling Kelly, bass, Ella Powell, synths and guitar, Ben Dutton, drums.
How’s lockdown been treating you, are you all ok?
Thanks for asking, nobody ever asks us if we are okay in interviews! We miss the pub and we are looking forward to being able to play together soon for the first time in ages.
Tell us about your recent single Mannequin
It’s a song about objectification and more specifically the objectification that you experience when you are a woman. It takes the piss out of the way that women are judged solely by their appearance.
Ella: The synths are fun to play cause it’s not following traditional chord structures. Sterling: This is the fastest bass line out of all the Red Stains songs in our set. It’s kind of gritty and I see it as controlled anger. Ben: For me it’s opposite to Sterling. It’s probably the simplest song in our set. It’s constantly keeping time, being the metronome for the band. Natalie: It’s a protest against all the arseholes that have done me wrong in life. It’s a very powerful and personal song to me. When I play it I feel bloody untouchable and reminded how strong we are. We are nobody’s mannequins, nobody’s toys!
There are lots of venues struggling to keep afloat right now, are there any local to you that you want to give a shout out to?
Yes, our local favourite is The Peer Hat in Manchester’s Northern Quarter. It’s basically our second home. There is also the Night & Day Cafe, which is where we are going to play our postponed single launch, hopefully in October. We can’t wait!
And where else do you like to spend your time around Manchester?
We like the Greggs at Piccadilly Gardens.
Mannequin reminds me of The Slits, who else have you been likened to – any surprises?
We have been likened to The Fall, but that is not a surprise. We have heard it said that Natalie has an Ian Curtis stare and Sterling’s bass playing has been compared to JJ Burnel.
Last album/playlist any of you listened to?
Ben: The Professionals – I Didn’t See It Coming Sterling: Nova Twins – Nova Twins EP Ella: Kelly Lee Owens – Kelly Lee Owens Nat: Felt – Let The Snakes Crinkle Their Heads To Death
As well as the music, you’re also putting together a zine called JAM TARTS, what’s that all about?
We wanted our friends and wider community to be involved in making art with The Red Stains. It’s fun and care-free with the goal of making art accessible to everyone, contributors and readers alike.
I guess future plans depend a bit on how things progress with the easing of lockdown but what are you hoping the rest of the year holds for The Red Stains?
We hope to record another single, to play our postponed single launch and generally just go back to gigging and being a band.
Amidst what has become a very bizarre existence, pandemic life has put a stop to all major public gatherings this summer with events cancelled across the world. But it’s Pride month and where there’s Pride, there’s a way.
Whilst the streets of towns and cities across the UK will miss the Pride street celebrations, a new campaign, Pride Inside, has been created to ensure that the LGBTQ+ community can still be visible and have its voice heard.
With a massive marketing reach, 1,000 digital billboards have been donated by Clear Channel to be filled with photographic images created by and featuring members of the LGBTQ+ community celebrating Pride from their homes – a huge achievement considering that everything has had to be produced within lockdown guidelines.
From today and for the next two weeks, the images will appear across the country with the potential to reach in the region of 10 million people. The marches and parties might have to wait until next year but Pride Inside is making sure that its message will be out there, loud and clear, social gatherings or no social gatherings.
More details from the press release here:
PRIDE WILL TAKE TO THE STREETS THIS SUMMER AFTER ALL – WITH A NATIONWIDE CELEBRATION OF QUEER LIFE
New grassroots campaign Pride Inside will see queer people take over digital outdoor screens in all four nations of the UK with stunning images of what Pride means to them to ensure their continued visibility this Pride month.
The initiative – the brainchild of writer, performer and drag star Ginger Johnson – is supported by Out of Home media and infrastructure company Clear Channel, which has donated 1,000 digital billboards the length of the country from Glasgow to Southampton, including iconic Storm sites on Lambeth Palace Road and Hammersmith Tower in London.
The campaign aims to represent the full spectrum of the diverse LGBTQ+ community, with more than 120 queer contributors and photographers teaming up to create images from their homes or local public spaces, all socially distanced of course. They include the lead singer of a Belfast queer punk band – together with her pet rat, a Newcastle drag king, an NHS nurse in south London, original members of the Gay Liberation Front and an award-winning engineer who came to the UK as a refugee and went on to be named one of the BBC’s top 100 influential women in the world.
Pride Inside hopes the campaign will inspire other queer people across the UK to carry on the Pride celebrations at home and create their own images, posting them online under the #PrideInsideUK hashtag.
This unique opportunity will also raise awareness of the work of grassroots LGBTQ+ charities, with Pride Inside partnering with LGBT+ Consortium to collect donations to be distributed to organisations across the UK who provide vital services for the queer community. A specially designed website will feature resources to allow people to learn more about Pride, those taking part in Pride Inside and how they can engage with each other.
The not-for-profit campaign was pulled together in less than a month after the Covid-19 pandemic prompted the cancellation of Pride events across the country. The photography was co-ordinated by award-winning music and events photographer Corinne Cumming, who said: “We’ve managed to source photographers and subjects from across the LGBTQ+ spectrum, throughout the UK and from many different ethnicities which is so exciting and unique. For LGBTQ+ photographers and their subjects to be able to choose how they want to be represented via their art on a national platform, that’s really special.”
Paul Roberts OBE, Chief Executive of LGBT+ Consortium, said: “Covid-19 is having a real impact on our LGBT+ communities. Pride would ordinarily be a time for the visibility and increased awareness of issues facing our communities. This campaign offers a digital alternative and Consortium is delighted to see the diversity and intersectionality of our communities captured through these photographs. I hope this campaign let’s LGBT+ people know you are not alone and there is support out there.”
Clear Channel’s Chief Marketing Officer Martin Corke said: “As part of Clear Channel’s ongoing commitment to support and celebrate the LGBTQ+ community, we are proud to be partnering with Pride Inside this year to showcase people from all parts of the community celebrating at home. While Pride events may not be happening on the streets, we hope to create a sense of shared experience and bring that community spirit Out of Home with our very public medium.”
Ginger Johnson, resident MC at Sink the Pink, the UK’s biggest LGBTQ+ collective, and co-presenter of breakfast TV show Wakey!, said: “Usually we take to the streets for Pride. We take to stages, demos and dancefloors. We climb onboard floats or walk shoulder to shoulder with our families and friends but this summer that just isn’t possible. So it’s crucial that LGBTQ+ people from all walks of life are visible and proud in our public spaces even if we can’t be there together in person!”
Ginger added: “Pride is also a chance for our community to reach out to the people who haven’t found pride in their lives yet, who don’t feel safe, who are hidden. It’s our chance to say to them, ‘You are not alone, we are here and we are proud of you.’ Pride has always been an opportunity for us all to learn about each other – to honour our shared experiences, our differences and our collective resilience. It’s taken the combined efforts of a whole team of amazing queer people from all over the UK to get this project off the ground and we can’t wait to share it with everyone.”
Check out Ginger’s video here and share to promote the campaign with the hashtag #PrideInsideUK
You can follow Pride Inside on Twitter / Instagram / Facebook for updates and more photos; head to their website for more information and opportunities to get involved
Intro by Siobhan – all press details and photos above are used with permission from Pride Inside, big thanks to Leigh Holmwood for helping us with this
Flying the DIY flag for Southend on Sea, Asylums have shared their latest single Platitudes, adding to their already impressive catalogue of infectious punk edged tunes. Energy is never in short supply where the band are concerned and the track is a welcome burst of bouncing riffs and raw emotion in the vocals. The video is made up from spliced home recordings of gigs and festivals and makes the promise of a return to live music sometime in the future look all the more inviting. When the chance permits, keep Asylums at the forefront of acts to catch live.
Platitudes is the third track taken their forthcoming album Genetic Cabaret, recorded with legendary producer Steve Albini. Genetic Cabaret is released on 17th July via Cool Thing Records – you can pre-order a copy here. In the meantime, watch the video for Platitudes below.
Jangle-indie pop is high on the agenda for Canada’s Gum Country, and their latest single Talking to my Plants is laden with fuzzy guitars and honeyed vocals. The band’s own description of their music as ‘harsh twee’ is a fair one, and a dulcet-toned track inspired by a fondness for gardening fits the bill well. Their sound is evocative of Stereolab and the soft side of Sonic Youth , the song an indicator of more delicacies to come on their pending album Somewhere.
Talking to my Plants is out now, listen below. You can pre-order Somewhere ahead of its release on 19th Junehere.
Korean dream-pop artist Nijuu has shared Blue, the lead track from her soon to be released debut EP, suggesting an eclectic mix of hazy soundscapes will be forthcoming. Incorporating recorded elements from nature to air-conditioning units, this looks set to be ambience with added impact. The vocals on Blue float seamlessly alongside the minimal instrumentation, and beg comparison towards the likes of Cocteau Twins or Mazzy Star, reflecting the continuing theme of the sea throughout the EP – you can almost feel the waves lapping over your feet.
Nijuu in the Sea will be released on 25th June via State51 Conspiracy; for now listen to Blue here.
I’m Siobhan, editor of Breaking Glass. Given that much of the magazine’s content comes from live music, exhibitions and the like, as we got a few weeks into quarantine I wondered whether there would be enough content to keep things going. When I asked if any photographers wanted to have their lockdown photos featured I was amazed at the responses and the beautiful shots that came in. I’m hugely grateful to everyone who contributed, not least because you helped motivate me to take some of my own – I thought maybe it was time I shared a few…
I live in Worthing on the south coast (this is usually followed with ‘near Brighton’ for anyone not local). Outside of my day job, I usually spend the rest of my time shooting gigs and festivals and working on the magazine. When I started Breaking Glass at the end of 2018, I’d no idea of where it would take me. It’s been, and continues to be, an absolute pleasure to have so many talented people get involved along the way.
I’ll be honest, I find it inordinately difficult to photograph things that stay still and with natural light on my side – stick me in a dark venue with a moving target any day. Nonetheless, it’s been interesting to look at what I normally take for granted on my doorstep in a different light, and these photos are all taken within about a mile or so of my house. Some of them are currently making up a digital exhibition for Worthing Museum.
Introducing Doomshakalaka, maybe better known to some of you as Paul Rafferty, previously of Hot Club de Paris, the indie rock outfit once described in The Guardian as ’abstruse and charming in equal measure’. With his debut self-titled album set for release, we asked what’s gone into its 10 years in the making and got some top tips for a trip to Liverpool…
You’ve been involved in the music industry for a while now, how was the idea of Doomshakalaka as a new project born?
The idea for Doomshakalaka came about around 2011. I’d been writing bits of music here and there that wasn’t suitable for my band at the time (Hot Club de Paris) and once that folded, I wanted to make music without the compromises that you might encounter in a band. When you’re writing as a group you’re attempting to satisfy all the member’s creative visions. The reason the Doomshakalaka record took so long was because it turns out that those series of compromises is what makes writing quicker and easier.
Your album is out tomorrow, it feels like you’ve put a lot of yourself into its making – how personal is it and who else has helped you make it happen?
I guess all ‘solo’ records are pretty personal affairs but this feels particularly so as I recorded all of the material as well as writing and performing it. I mixed it and then designed all of the artwork so I’ve probably put more of myself into this record than a lot of people would. It’s certainly more input than I’m used to so there was a steep learning curve with regard to figuring out how to manage my expectations as a creative person, in line with a lot of technical stuff I was learning about how to record music. My friend Tom English played the drums and provided a much needed voice of reason / encouragement / enthusiasm, without which I might still be recording it now.
Is there a track that stands out for you and what’s it about?
At this point on a good day I love all of the songs in equal measure and on a bad day I hate all of the songs in equal measure. I’ll choose the song Black Balloons. I like the linear arrangement and organic space in it. It feels like I was writing in quite an unabashed, unconstrained way that I feel is a tough zone to get into. I think a lot of writers feel like they’re playing full-contact sport for Team Zeitgeist and it’s sometimes difficult to remember to make whatever the fuck you want. The lyric started as a joke; my girlfriend finds it amusing that I often mention people’s birthdays or birthday parties in songs, and I wanted to write something that might make her laugh. It all went a bit dramatic though and started to be about gunshots and dreaming about your house burning down.
Has lockdown affected your release plans at all?
There were no plans to play this record live as I don’t have a band as yet, so we’re just pressing on regardless of lockdown. It’s kind of tough to make videos for the singles in this situation but restriction often presents better ideas so I’m not too bothered.
Tell us about the video for lead track One Last Saturday Night which features you walking with your dog – is it right that it was shot by your girlfriend on an iPhone?
Yeah, we made it during the initial stages of lockdown. I was recovering from a particularly unpleasant surgery where I’d had a scarred nerve removed from the ball of my foot which is why I’m on crutches in the video. We needed to make something near the house, preferably whilst we walked our dog and not too strenuous, so it was the best we could muster in the circumstances. Turns out she has a very steady hand, plus we’re isolated together so she was the perfect choice for DOP.
And how’s your foot now, will we see you undertaking a series of increasingly difficult sports activities on subsequent videos?
There is 0% risk of me doing anything strenuous on camera.
Liverpool’s normally a pretty busy city – outside of quarantine where are favourite places to go?
Most of my favourite places to go tend to involve food or coffee or both. I really like eating at The Bagelry and most recently Meatless. I like the coffee at Belzan and it’s only a 30 second walk from my studio. I walk my dog everyday in Sefton Park which is beautiful at any point of the day. My favourite gallery is probably The Walker, so I’ve been missing going there during lockdown. If I’m in that part of town I love going to Lovelocks which has brilliant coffee and insane cake. Defend Vinyl is a great record shop in the south of the city and I often spend a couple of hours chatting with the owner about the second hand records he’s acquired. Venue-wise, everywhere I used to go when I was more into going out has been turned into flats, plus I barely drink now so I’m not particularly connected to any bars / pubs / venues. I have quite bad tinnitus these days, so I choose the gigs I attend quite carefully.
Once restrictions are lifted, what’s next for Doomshakalaka?
I’ve been writing a new Doomshakala record! I’m planning a different process this time; simpler songs, quicker bouts of writing and to record the material live with a band. I’ve got some excellent musicians lined up to populate my band and help me record the record so I’m very excited about it. We’re looking at recording it in October. I’m hoping the restrictions will be lifted without reinstatement by then, but you can never be too sure considering our government’s harrowing approach to protecting people’s health. Other than that, I’m thinking about getting a haircut.
Doomshakalaka is released tomorrow, 5th June, on Moshi Moshi Records. You can pre-order the album here and watch the video for One Last Saturday Night below.
Covid has completely changed my life from one day to another. I found myself stuck in my hometown, could not go back to the city where I live and work. No job, no friends, no going out for almost 70 days. The life I knew before doesn’t exist anymore. But I decided to take this period of time as a personal challenge; I wanted to make the most out of it. So I filled my days with the things I like: photography above all. I have been studying and shooting everything I could within my poor means.
All My People / All Mankind is a series of portraits of friends in Italy and abroad, that I have been taking via webcam during quarantine. I have titled this project after a song by Liam Gallagher because it has a double interpretation. ‘All my people’ are the people of my life, whoever has been there during this difficult time, everybody in their own way. They are the people who have always sent a message to ask how I was or just to make me laugh. I have never felt so much empathy for people before like in this surreal and difficult time.
These photos are my tribute to them. This pandemic will be a distant memory one day, but I want to remember how they were. Each person has been photographed in his/her favourite corner of the house or while dedicated to his/her hobby or passion. The link between me and many of these people is music. My intention was to catch the empathic connection between me and them despite the distance and the devices (our webcams and my camera) dividing us.
‘All mankind’ is the second interpretation. Each person has their own story and the Covid emergency has had consequences on everybody’s life. Some of those people in the photos have been isolated for three months trying to protect their elderly parents, have struggled against the virus living in complete isolation without even going out to buy food, have lost their jobs, had planned to get married and could not, could not visit their families in other regions for months, had to work from home while taking care of a child.
These are universal stories in which everybody can recognise themselves. They teach us that mankind has a great power to adapt. Some people have started teaching online, have started home radio stations, have recorded music, have made drawings out of my photos, have volunteered. Together we have done photo shoots, guitar and yoga lessons, birthday parties. We have not given up, because life always prevails.
Amidst what has become a very bizarre existence, pandemic life has put a stop to all major public gatherings this summer with events cancelled across the world. But it’s Pride month and where there’s Pride, there’s a way.
Breaking Glass Magazine 