Honeyblood - 'The Third Degree'

The return of Honeyblood has been something I've long been looking forward to, the first two albums have both received considerably play at Chez SoMC and, when seen live, the duo of Stina Tweeddale and Cat Myers are a force to be reckoned with. 

New single The Third Degree is a solid, foot-tapping Wall of Sound-influenced tune, a take on not giving your ex the satisfaction of causing a scene when you see them with someone new. This tale of a broken relationship is one that Honeyblood do well, a counterpoint perhaps to some of The Wedding Present's back catalogue of songs that tackle doomed romance.

Something, however, has changed. It's difficult to hear a difference in band dynamic when you hear a song on the radio but, watching the video, there is a noticeable absence in the band's line-up. Yes, moving forward with album number three, Stina has decided to make Honeyblood a solo project, using brought-in musicians to fill out the live sound when touring. This is both a bad (Cat is an excellent drummer, recently stepping into the brink to help Mogwai out) and good (there's always been a feel of a solo act about the project) thing.

On the strength of the single all bodes well for Honeyblood; a UK tour starts in April (including dates at The Joiners on Saturday 11th May & The Boileroom on Thursday 6th June) as well a series of in-stores (which take in both Pie & Vinyl and Resident) ahead of the release of album number three, In Plain Sight, on Friday 24th May.

CLT DRP & LibraLibra @ The Joiners

Southampton's legendary Joiners will host a Brighton band double-header in April, welcoming art-pop-rock ensemble LibraLibra and electro-punk noise merchants CLT DRP to its compact and bijou stage. 

Having encountered LibraLibra at Dials last year I can guarantee that they're a live act you have to catch; raucous beats, arresting hooks and lead singer Beth Cannon's frankly jaw-dropping vocals, a stylised performance that lingers long in the memory. Recent release Skin and Bone is a prime example of the aural onslaught that awaits the discerning gig-goer (the AK/DK remix is pretty damn good too).



CLT DRP, three disparate travellers whose paths crossed on the South Coast, are a live unknown to me but on the strength of the tracks available online they bode well to deliver a raw set packed with pumping drums, feed-backed guitars, industrial beats and angry vocals.



Oh yes, this gig promises to be very much my bag of doughnuts; if it tickles your fancy then mark Wednesday 3rd April on your calendar. Tickets are available via the venue, priced at £5, with additional acts set to be added to the bill presently.

Music Venue Trust - Grassroots Music Audience Survey 2018

Since it was founded in 2014 the Music Venue Trust has helped to protect grassroots music venues across the country, helping to secure the future of such illustrious venues as The 100 Club, the Tunbridge Wells Forum and, a personal favourite, the venerable establishment that is The Joiners. As well as these all being stepping stones onto the gigging circuit, providing valuable live experience and exposure to willing punters, these venues have something else in common; they've all danced scarily close to the edge of closure.

The Music Venue Trust works to ensure that these important venues have the recognition they deserve, recognition for the essential service they provide to their local communities, for their importance to the music industry in general and to their local economies.

To aid the Music Venue Trust in their fight to protect these important venues they're running this survey to gain evidence in their campaign. By taking part, and answering seven straightforward questions, we can all aid them in their fight to protect, secure and improve the UK's grassroots music venue circuit (which, as I'm sure you'll agree, is good for everyone of us music-loving gig-goers). 

The End of The Revolution

The announcement that Pure Reason Revolution were calling it a day popped up in my Facebook feed earlier; the Reading alternative prog rockers have cited 'changing circumstances' but whatever the real reason it's a damn shame. I first stumbled across the band several years ago, supporting Mew at The Wedgewood Rooms if memory serves, and with their intoxicating blend of harmonies and melodic (and, yes, progressive) rock they soon became a band that my gigging buddies and I obsessively followed.

We bought the CDs, coveted the badges, used the bookmarks given away at the merchandising desk and waited with bated breath for news of a new release. Time passed only for debut album The Dark Third to be re-released in a slightly different form. Of course, we bought that too. Our fanboy ardour waned as the months went by; after a disappointing gig at The Joiners, beset with technical issues, one of our number decided that was enough. Our fickle fandom could only take so much.

However, being the kind of sad music obsessive that I am, I couldn't give them up completely. I scoured the internet for updates, there were rumours of the new album, but I wouldn't believe it until I had a copy in my grubby mitts. So it was, some months later, that I again found myself at The Joiners. The rumours were true; a pile of shiny new CDs, all in shiny cardboard sleeves, teased me from the merchandise desk.

Second album, Amor Vincit Omnia, dispensed with the lush strings from the debut, replacing them with dollops of synthesizer. The harmonies and repeated themes remained but, despite a couple of excellent signature tunes (Deus Ex Machina and Victorious Cupid), it wasn't as wholly satisfying a listen as their debut. Where the album succeeded though was in showing a band confident enough to experiment with their sound.

Not letting the dust settle PRR continued their push into electronic territories, perfecting their efforts on third long player Hammer and Anvil. Co-written and produced by Tom Bellamy (ex-Cooper Temple Clause) the album is a heavy, pounding, synth happy delight; throat-grabbing opener Fight Fire is a song that seems designed to accompany things blowing up.

Shortly after Hammer and Anvil's release I saw the band for what now looks to be the last time, at last year's SouthseaFest; having drawn the opening slot on the Wedge stage the band found themselves playing to a mostly empty room. No matter, they cranked the dials up to 11 and played a charged set sampling their new long player. This was a band ready to seize the day, or so I thought at the time; I really do have a kiss of death about these things. 

But before they bid the crowds adieu, pack up their instruments and go their separate ways, the band will be playing a final six shows. The 'farewell tour' takes in Nottingham, Bristol, Norwich, Holmfirth, Glasgow and London (but sadly no 'one last time' at The Joiners, which is a shame) with debut The Dark Third being played in its entirety each night. A good way to say goodbye, if there is such a thing. 

So long PRR, and thanks.

The Computers versus Southampton

In amongst the regular glut of spam and eggs that filled my email inbox today was a natty missive from indie/punk noise merchants The Computers. I was lucky enough to catch the four piece at The Wedgewood Rooms when they supported The Duke Spirit but, and maybe it was that last pint, for the life of me I can't remember signing their mailing list. Whatever, scrawl my name across the sheet of A4 I obviously did.

Getting to the point, the band have announced that they'll be joining The Subways on their Autumn tour, rocking up at Southampton University on Monday 3rd October. Before then however the band will be supporting Face To Face at The Joiners on Tuesday 30th August. Which is nice.
 

Here's a taster to whet your appetite...

SouthScene @ The Joiners 25/11/05

A combination of my legendary tardiness (I missed the train I was planning to catch), being too clever for my own good (I hopped the next train to Eastleigh, it seemed a cunning idea at the time) and a suicide at Surbiton (all the trains were delayed and I kicked my heels on a cold platform for half an hour) meant that I was later getting to The Joiners than I'd planned.

My late arrival meant I missed the first half of The Kiks set. For a Southampton band The Kiks had me fooled; I was convinced they'd just got off the train from Liverpool. The 60's influence and Mersey guitar jangle oozed out of them, accompanied by a cheeky chappy attitude. Now I like The Coral and I love The La's but, whilst The Kiks were obviously having lots of fun being in a band (and I can't fault them for that), they didn't offer me anything different than what I might find on a Cast b-side.

As the set continued it became apparent that they had a couple of good tunes tucked away, but they weren't good enough to sway me from my first impressions (and I'm sure they used "showaddywaddy" as a lyric at one point). So, not quite my bag of donuts (this from the man who hated The Coral when he first heard them but loves the new album) but seeing as I'd only paid a fiver to get in I can't really grumble.

Next up were Dead!Dead!Dead! who, I must admit, were the reason I'd travelled to Southampton on a chilly Friday night. Again another local outfit (well, it was a SouthScene showcase), D!D!D! have a shambolic polish about them that bigger acts I've seen could learn from.

They roared onto the stage, grabbed my attention, threw it around a bit, stopped for a couple of jokes at the drummer's expense (if the music career fails then a future in stand-up comedy beckons for the lead singer), then dropped the speed a notch before revving up for the end (OK, so I've been watching Top Gear).

The band themselves were very tight musically, with the two guitarists\vocalists knowing how to work the stage (something which can't be said of some of the bands I've paid more money to see), so chances are the signed CD I bought at the gig might be worth something on ebay some day.

Third up were Cayto who, strangely for a southern showcase, hail from northern climes (Glasgow to be precise). The lead singer, who bore an uncanny resemblance to Seth Green, built a piano wall to block himself off from one side of the audience and the bass player; with the rest of the band assembled loosely they started to play.

H'mm.

I have to admit that Cayto didn't connect with me. They made music that, to me, was far too clever for its trousers. Yes, they can play. Yes, they're talented. Yes, the lead singer was wearing a neckerchief. Yes, they make interesting music. But it's not music that you can dance to. Or sit still to. Or even do the ironing to. It's music that you have to go away and have a think over and work out whether someone is taking the piss or not.

Just when I heard a tune or a rhythm that I could hook into it was kicked down a flight of musical stairs on its way into the next movement. Maybe I wasn't in the right frame of mind for them; I have a bottle of Absinthe here so maybe I'll give them another try one rainy winter evening (I think a warm-up session listening to The Bad Plus might come in handy).

Mach Schau were the headlining act of the showcase. Unfortunately a combination of a need for beer and my inherent geekiness meant that I missed the start of their set; I was at the bar talking to the guys from Dead!Dead!Dead! about the Evil Office baseball cap the rhythm guitarist had been sporting earlier on. Yes, all very sad.

As I returned with a fresh Grolsch the lead singer of Mach Schau teetered on the edge of the stage, leering out to the crowd in a casually disinterested manner. Sounding not unlike Maximo Park in places, Mach Schau ooze attitude; as they powered through their set the lead singer padded around the stage as if he couldn't give a toss if we were there or not.

He soon had his wish, we had to leave. I'd have liked to have stayed and seen the rest of their set but we had to hotfoot it to the station to get the last train out of the big city. Life is hard when you live in the suburbs, I didn't even get a chance to buy their CD (there are freebie MP3s on their website though).

Both Mach Schau and Dead!Dead!Dead! have gigs in the pipeline, I'd recommend checking them out if you get the chance.