Victorious Festival 2018 - Saturday Preview

If Friday night at Victorious serves up an amuse-bouche for the festival experience, Saturday delivers more filling fare with the opening up of the rest of the stages, providing us punters with a wider selection of auditory morsels to be sampled. 

There's something for just about everyone here, even to a somewhat jaded and cynical gig monkey such as myself. Therefore, with a larger menu to pick from and with distances between stages taken into consideration, I've tried to be slightly more selective with my recommendations. Are we sitting comfortably? Then I'll begin...

Happy Mondays (Common Stage, 1315-1400)
The boisterous bunch of Madchester survivors have an early afternoon slot on the big stage and, whilst this might reduce the possibility of a shambolic performance, it does rather increase the chances of random incidents of Dad dancing amongst the crowd (and I have a sneaking suspicion that there will be at least one person present sporting some sort of melon-related paraphernalia). 



Pins (Castle Stage, 1450-1520)
Pins are rockers. They rock out. They hail from Manchester, they've featured on the soundtrack of Lucifer and some scenes of their recent their visual EP (below) were filmed in a public convenience. And yes, they're really rather good.



Sleeper (Common Stage, 1620-1650)
Louise Wener and chums have dusted off their Britpop credentials, acquired a new bass player, and hit the road. Having quite liked Sleeper back in the day, yet having heard indifferent reports of their live prowess from some of my chums who've seen them, I'm somewhat intrigued to see what they bring to the stage.  



Coasts (Castle Stage, 1650-1720)
If you've not seen Bristol's Coasts play live before then, sadly, their Victorious appearance will be one of your last chances to do so; after several years, a couple of albums and a soundtrack appearance on Made In Chelsea, this five-piece are calling it quits. If you are lucky enough to catch them on the Castle Stage, and like what you hear, tickets for their Farewell Tour in October are on sale now.



Neneh Cherry [DJ set] (World Music Stage, 1700-1800)
It's Neneh Cherry. Spinning tunes. Honestly, I shouldn't really need to sell it to you.



Gaz Coombes (Common Stage, 1720-1805)
The former Supergrass frontman has released consistently interesting material since going solo; Matador was an excellent long player and this year's follow up, World's Strongest Man, has received critical praise. Plus he sports a natty pair of sideburns, and that's a thumbs up in my book.



Trampolene (Seaside Stage, 1800-1830)
Once upon a Southsea Fest I found myself, standing in a packed Fat Fox, watching a three-piece blow minds and unhinge the projector screen. They were Trampolene. And they still are, mostly.



Shoot The Duke (Beats & Swing Tent, 1815-1900)
Portsmouth's very own alt-skiffle band, Shoot The Duke have been entertaining punters at various venues and events across the city for a few years now; expect an infectious blend of roots, rhythm and blues. Which is nice.




Chaos DJs (Soul Circus, 1915-2020)
Chaos was/is a Pompey institution, a regular indie-alternative night that took over one of the bars (and occasionally both) on South Parade Pier, providing their target demographic with loud music (see below), a bouncy dance floor and (for those on a budget) access to some suspect looking (but reasonably priced) Sangria. Ahh, memories...



Barry Hyde (Acoustic Stage, 1945-2015)
Formerly of the sadly defunct and much missed Futureheads, since going it alone Barry Hyde has released an EP of Ivor Cutler covers and an LP that features a suite of songs reflecting his own experiences with mental illness. Whilst some might be hoping for an airing of the 'heads' Kate Bush cover I'd rather hear some of his solo material (OK, and maybe his Prince cover too).



Everything Everything (Castle Stage, 2020-2110)
You know, that band that aren't Alt-J or Django Django. Yes, I have been known to get the three of them mixed up too. No, it's nothing to be ashamed of. Honest.



China Bears (Real Ale Stage, 2045-2115)
Direct from Somerset, via Guildford, indie rockers China Bears have won praise from Steve Lamacq and Frank Turner, information which, depending on your viewpoint, has already informed your decision on whether you'll like them or not. It's a festival, there's beer adjacent, go check them out.



Paul Weller (Common Stage, 2120-2250)
The Modfather himself. If you're expecting him to dredge some Jam classics out of his considerable back catalogue then you may be disappointed. Or not, he's mercurial like that.



And if that wasn't enough to keep you entertained then Simon & Dave of Hipshaker will be at the Common Stage all day, spinning some righteous tunes between the acts playing there. Well my lovelies, that's my selection for Saturday, tune in next time for my Sunday recommendations.

Victorious Festival 2018 - Friday Preview

The August Bank Holiday weekend is looming large on the horizon, strange metal structures are growing on Southsea Common and (no doubt) angry people are writing to the local newspaper to complain about access and/or noise. Yes, it's Victorious time again and, as the set-times have been released, here are my personal picks of acts and bands to look out for; first up, Friday night...

The addition of a Friday session, extending the fun over three nights and two days, was a welcome expansion to Victorious last year (even if the line-up for the inaugural Friday evening didn't really tickle my fancy). This year there's a bit more selection, though only limited parts of the site will be open for business (similar to the Thursday night at Bestival) and.

After the nutty boys of Madness headlined last year it appears that the organisers have again opted mostly for crowd-friendly sing-a-long action, booking Shed Seven, Kaiser Chiefs and a tribute act performing The Beatles' Abbey Road album in full. It struck me as bizarre then (especially giving one of their numbers' shambolic solo set at last year's festival) to read that The Libertines are headinling. I know, right? What, of the offerings makeing up the bill on the two open stages, would I go see? Well..

Marley Blandford (Common Stage, 1300-1400)
Unfortunately for Marley he's drawn the opening slot on The Big Stage but he's a local lad so I'm sure he'll have an audience ready and waiting.



The Lightning Seeds (Common Stage, 1720-1800)
The glorious jingly-jangly feel-good pop of Ian Broudie, pretty much guaranteed to leave you with a smile on your face and a foot aching from tapping. I don't know whether they'll play this but, as it's one of my Seeds favourites (the Susanna Hoffs cover it rather good too).



Dutch Criminal Record (Beats & Swing Tent, 1900-1945)
Purveyors of bouncy indie-pop, Chichester's Dutch Criminal Record have the early evening slot in the Beats & Swing Tent.



Minque (Beats & Swing Tent, 2045-2130)
Lush electronica from Southsea, again in the Beats & Swing Tent, Mique's set should finish just in time for the short wander back to the Common Stage to wait for Pete Doherty to show up.



The Libertines (Common Stage, 2140-2255)
And finally, yes, The Libertines. Now I know that you may have, quite rightly, assumed from my musings earlier in this post I'm not the world's biggest fan of Mr Doherty and chums (possibly due to the NME having an ongoing love-fest with them most weeks). Believe me, I've tried and, yes, have been told by several people considerably younger than myself that Mr Doherty is a genius. Whether he is or isn't is moot but, on their day, The Libs can turn out a punchy indie anthem equal to or better than some of their fellow alt acts below them on the bill. Like this one..



...after which you could just toddle along to the Meat & Barrel, have a cheeky pint, and wait for the rest of their set to be over.

The Queen of Soul

RIP Aretha Franklin 

1942-2018 

 

Susanna - 'Freight Train'

There are few better ways to entertain a musically inclined tourist to Portsmouth than by introducing them to the gem that is Southsea's Pie & Vinyl; with its wallet melting selection of shiny vinyl and delicious pies it deserves to be shown off. And so it was I found myself there the weekend just gone, treating a visitor from the Big Smoke to lunch, where I happened upon the shop's latest venture.

Beneath The Noise is the P&V free magazine, a near pocket-sized pamphlet of news, reviews and interviews that hit the shelves in time for this year's Record Store Day (I know, I've been busy). It's a well-assembled zine that sits well amongst the copies of So Young & DIY on the shop's shelves, what really grabbed my attention though was the cover.

Staring up at me was Susanna Wallumrød, possibly better known to some as half of Susanna & The Magical Orchestra (the other half being pianist Morten Qvenild) though now primarily a solo artist. I must confess that, since 2006's Melody Mountain, Susanna had fallen off my radar somewhat, thus the interview in BTN made for an interesting read to bring me up to date.
 
Susanna's latest release, Go Dig My Grave, is a collection of themed cover versions, performed with the same delicate nuance that I'd enjoyed with her Magical Orchestra releases (her version of Dolly Parton's Jolene has to be heard to be believed). The new album includes takes on the Lilac Wine, Perfect Day and Joy Division's Wilderness, her reworking of Elizabeth Cotten's Freight Train is presented below.

As a bonus, here are two live clips I've found, one of a Don Henley hit, the other an AC/DC classic (no really):

 
If you'd like to know more about Susanna I'd suggest toddling along to P&V, picking up a copy of Beneath The Noise, and having a read whilst you wait for your pie to arrive.

Temples of Youth - 'Darker Places'

Sound the new music klaxon, Winchester's Temples of Youth have returned. Darker Places is just under three minutes of haunting vocals and melodic electronica, and the video is rather spiffing too...

...those are black oranges on his hands, yes? No? Whatever, this is a gorgeous tune (and if you like this why not check out their SoundCloud page for more musical delights).

Sunday of Doom

Sundays.

They're all a bit samey aren't they?

Appease the hangover, vegetate on the sofa, numb the brain with something bland on the television, despair at not winning the lottery, contemplate a beer, flick through the channels again, go to bed knowing that the next Sunday will unfold in exactly the same way.

Ecch.

This Sunday, 19th August, instead of settling down to the last episode of Unforgotten, why not see out your weekend with something loud and raucous instead? Courtesy of the fine folks at Portsmouth Punk Promotions and Charlie's Big Ray Gun Records, and for the bargain price of just £5 (on the door), the Edge of the Wedge is hosting the loud collective majesties of Horseflies, Herd Mover, Human Leather and HACK JOB. Yes, all that, for a fiver.

Bargain.

Hooli hit the road...

Gosport trio Hooli get their show on the road next month, taking their mellifluous blend of indie-blues to four venues across the south. The three-piece have got good word of mouth on the live outings, scoring a good review of their Winchestival set from the excellent Mix It All Up blog. You can catch Hooli at the following venues in September..

Latest Music Bar, Brighton - 10th September CANCELLED
The Jolly Sailor, Portsmouth - 11th September
BBC Introducing LIVE @ The Purple Turtle, Reading - 12th September
Madding Crowd, Bournemouth - 13th September

 ..and be sure to check out their latest release, Cider Sue, via the Spotify embed:

Nod Ya Head presents...

Growing up in Portchester, the Burbs of Fareham, there never seemed to be a venue nearby to showcase local bands. Yes, the local pubs might host a band of a weekend, but these were (and still are) mostly cover acts. Once at college there was the lure of the Gosport Labour Club, the go to spot for fellow students who'd thrown a band together. That was then and this is now; there are fewer pubs, fewer venues, but the appetite for live music is the same if not greater.

What to do, what to do? Fret not my local gig monkey, for an enterprising chap called Dave has set about organising a (hopefully regular) event where local acts can gain valuable gigging experience and us punters can be entertained by new music.

The new event, named after the Facebook group that got the ball rolling, will debut in September with a line-up consisting of Marley Blandford, Lo-Fi Rebels, Drusilla and Dutch Criminal Record. Tickets for the event, to be held at the Mill Road Social Club, are £6 in advance, £7 on the door, and can be purchased from Fareham's one and only vinyl emporium, Heathen Chemistry (if you're local, and like vinyl, then I urge you to visit; the shop is a labour of love for its owner and, if you're at all like me, you'll end up in deep conversation with him about gigs and bands and shiny vinyl).

Interstellar Food Drive

Austerity. Welfare reform. Cuts to public spending and services. These are, as Lee Hazlewood sang, cold hard times. Every day more people find themselves in the situation where feeding themselves and their families is a struggle. There is a continuing rise in food poverty across the country and Portsmouth is no exception. Organisations such as The Trussel Trust and the Portsmouth Food Bank provide a sterling service to our community but unfortunately their resources are limited.

To help raise much-needed funds the fine folks of Strong Island Recordings, Velvet Candy and Crocodile Nightmares have joined forces, combining community spirit with music and art to create the Interstellar Food Drive. This cosmic celebration of in-sounds from the out-there takes place at both The Dockyard Club & The Coastguard Studio on Saturday 11th August.

This one-day, two-site mini festival features an impressive line-up of left-field sounds, featuring Portsmouth's own psych merchants Melt Dunes, psych quintet Number 9, the freaky pop of Pregoblin, psych from Sad Palace, garage pop/rock from Skinny Milk, Mystic Peach and The Scrubs, the heavy psychedelic sounds of Black Helium, shoegaze from Superdrone and Dad Hair's post punk. Both venues will feature a kaleidoscopic light show courtesy of Velvet Candy, plus there'll be an exhibition of work from local graphic artists (and, if the music gets you feeling peckish, there will also be a vegetarian BBQ with all profits going to the Portsmouth Food Bank)

Tickets are £8, plus booking fee, available via Billeto.

Further reading 
Latest statistics on emergency food supplies given to people in crisis (from The Trussell Trust)
Food Poverty "You think it doesn't happen to normal people" (from Cooking On A Bootstrap)
Child poverty "Hungry pupils fill pockets with school food" (from BBC News)  
Jack Monroe "Poverty doesn’t discriminate" (from The Independent)

Dials Festival 2018

Good news everyone! Dials Festival has returned, bringing a day of music to Albert Road, filling the hole made when Southsea Fest headed into the sunset. The Dials organisers have been hard at work behind the scenes since they tweeted their 'save the date' message, conjuring up the first wave of acts that has now been announced.

On the bill (so far) are [deep breath] Los Bitchos, Thyla, Fake Empire, Barbudo, Hotel Lux, Penelope Isles, Sad Palace, Lauran Hibberd, Art School Girlfriend, Bella Spinks, Highlights of Our Modern World, Horsefiles, Margot, Lice, Temples of Youth, Melt Dunes, Libralibra, Mystic Peach, Breathe Panel, Tigercub, Omar Baba, Attack the Fire, Jerry Williams, Bokito, Salt Ashes, Vinyl Staircase, Ugly, Sleep Eaters, Violet Mud and the most excellent Curxes.

That's hell of a line-up and, if that wasn't incentive enough to get aboard, Dials have partnered with Solent Mind, a registered charity that provides a wide range of high quality services, across the South, which support people with mental health problems. I can, from personal experience, vouch for the good work organisations like Mind do.

Super Early Bird tickets are on sale now for just £12 [sorry, all gone!], with regular advance tickets still a bargain at £16, available now from the festival website. For more information and updates check the Dials Twitter feed.

Save Maida Vale

The BBC recently announced that its iconic Maida Vale Studios are to close and, whilst I can see value in Auntie building new state-of-the-art facilities (because, lets face it, a converted roller rink in a sleepy part of London seems out of place in this digital age) the building is of great cultural importance (thanks in no small part to its association with the BBC Radiophonic Workshop and the many Peel Sessions recorded there) so shouldn't be demolished and replaced with another block of flats.

Having been lucky enough to visit Maida Vale Studios it strikes me as odd that so much interesting music could come from such a nondescript building, hidden away as it is on a quiet residential street. From outside there's not much to give the game away, a brass nameplate (as in the image above) and a flaky paint job. Once inside however the corridor walls are adorned with photos of artists past and present, in various states of performance, all hallowed visitors to NW6. There is brief time to ogle these images though as, crocodile fashion, punters are led past flight-cases and into one of the large studio rooms where sonic wonder awaits.

So then fellow music lover, how to save this quirky, odd,yet highly significant piece of British music history? Hope? Thoughts and prayers? Perhaps not, but one enterprising soul has created an online petition to implore the BBC to reverse their decision. Sign the petition and follow Maida Vale Studios on Twitter for updates. Whatever happens, when/if Maida Vale closes, I trust the BBC are going to throw it one hell of a goodbye party.

Kick Kick Kick Kick...

Names have been changed to protect the innocent... 

[INT] An office building on an overcast Thursday afternoon. In a quiet corner of an open-plan room a team of IT types are hard at work; they are of similar ages, all awaiting a mid-life crisis, with the exception of the considerably younger PFY.

Mr Ex: 6Music just played the Hey Duggee football song, it's brilliant!
Mr Stick: Is that the Kick song?
PFY: What's Hey Duggee?
Mr Stick: Listen to this [banging tune emanates from a mobile phone's speaker, all listen]
Mr Check: It's OK, but it's not the best World Cup song is it?
Mr Shorts: Which is? 
Mr Check: New Order's one obviously
[several quiet seconds pass]
PFY: Who are New Order?

Bless. And people wonder why I never watched The IT Crowd. However, yes, the interesting people behind Hey Duggee have re-worked their retro club classic Stick song for the World Cup. No, really...

Frightened Rabbit - 'Good Arms vs. Bad Arms'

One of my very favourite Frabbit songs, and this is a great acoustic version by Scott Hutchison. 

Frightened Rabbit - 'Scottish Winds'

RIP Scott Hutchison

Goodbye Owl John

"Come gather in my lungs Scottish wind
Belt out your blackest poems
As the sea around you sings
When that drone takes to the air
A single note to raise my hairCarry songs beyond my lungs cold Scottish wind"

RIP Scott Hutchison

Devastating news, tragic. Such a great talent, such a loss. Your words have long been rooted in my head, have helped steer me my through my own dark times. Whatever peace you needed I hope you have it now. 

Mental health affects us all. If you're struggling or feeling low, please know that you are not alone. Talking helps, and there is always someone to listen. 

Samaritans - help is available 24 hours a day, call 116 123

Campaign Against Living Miserably
Time To Change
Papyrus
Mind

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). 

Childish Gambino - This Is America

It's brilliant, scary, funny, gorgeous, choreographed, worrying & fantastic and, since it dropped on an unsuspecting internet at the weekend, I can't stop watching it...

Fightback: Grassroots Promoter

MusicPlanet Live have partnered with the Music Venue Trust, celebrating International Women's Day 2018 by finding, supporting and empowering 100 new young female promoters to promote 100 new shows at 100 grassroots music venues.

Fightback: Grassroots Promoter is aimed at young women, passionate about live music, who want to learn the skills required to be an independent promoter. This new initiative will provide £100,000 in subsidy guarantees, underwriting 100 gigs at grassroots venues, all promoted by the next generation of independent female promoters.

Encouraging new promoters is vital for the survival grassroots music venues and, given the lack of diversity present in the music industry, it is important to remove barriers and encourage young women to bring their unique voice to the grassroots scene.

To sign up simply create an account on the MusicPlanet Live website, then email the Music Venue Trust to advise them that you want to be part of the programme, including a link to your MPL account.

Redialled?

Back in January a message popped up on Twitter that caught my attention, it was from the Dials Festival account, querying if there was anyone still out there. Dials which, for those who may not remember, stepped into the fray when Southsea Fest took a years hiatus, had a successful debut before festival retiring itself for SSF's return.

The festival returned, in a smaller form, in 2016 as Dials Days (where the photo above was taken) before it again disappeared into the shadows much like Homer Simpson stepping backwards into a hedge.

Time moves on and, as Southsea Fest has also stepped back into the shrubbery, the sight of this tweet piqued my interest. Is Dials returning? Is there a new(ish) festival to fill the SSF hole in my gig calendar? Apparently so as, according to this tweet, we should keep Saturday 6th October free.

Woo, and furthermore, hoo. Here's looking forward to the first announcement of acts playing, and cue happy dance...

The Fat Lady Sings / Letters Leases Writs & Rings

After moving house I spent a lot of time poring through a near never-ending series of cardboard boxes, locating and decanting items previously packaged away for safe transit, stumbling across all manner of odd items I'd squirrelled away in the process. If I've learnt one thing from moving house it's that, perhaps, I may have a bit of a problem when it comes to not throwing things away (as I appear to have retained a lot of paraphernalia some might think useless). 

For example, inside one box was a piece of orange card that dated from 1993, sent by East West Records to inform me that Irish alternative rock band The Fat Lady Sings were releasing a series of six collectable CD singles from their then soon-to-be-released second album Johnson. The CD singles could be stored in a cardboard sleeve, supplied with the final single, and would feature B-sides and demo tracks. It seems weird to think now, given both the vinyl revival and the death of physical single thanks to streaming, that CD singles were ever a thing. That's the 90s for you.

The Fat Lady Sings were one of my favourite bands of the time. Twist, their first album, is an assured collection of songs that features harmonica-fuelled odes to internal masochism in the face of broken hearted love (Deborah) and likening loneliness to an area of Antarctica (Dronning Maud Land), all featuring lead singer Nick Kelly's distinctive vocals. Fanboy that I am I got to see them play live at The Wedgewood Rooms and, many years later, sought out a solo Nick Kelly play a set in the basement of a Dublin pub (if you ask nicely I'll regale you with the story of how I cajoled an American couple into joining us there and how I ended up post-gig with a signed poster).

Two years after Twist the band, now a three piece, released Johnson. Again an assured collection of songs, with Drunkard Logic's all too relatable tale of failed love viewed through the bottom of a pint glass being a standout (the CD single collection took its name from one of the song's lyrics, "we don't leave ourselves in many things, just in Letters Leases Writs and Rings"). 

Promotion of the second album saw the band hit the road on an extensive six month tour, including three months across the pond, that culminated with a gig at New York's famed CBGB's venue. Sadly the band split soon after, with frontman Nick walking away to pursue both a career as a solo act and, latterly, as a film director. 

Fanboy me, obviously, ensured that I took heed of the orange card and procured all six CD singles (the two released for Show of Myself, the two released for Drunkard Logic and the two released for World Exploding Touch) as and when they were released. I listened, I enjoyed, I stored them all together in the cardboard box supplied with the final single and placed them safely in my record collection (and then, when I moved house, they went into a larger cardboard box).

Amongst the tracks included on the limited edition singles are live tracks (including Twist, Arclight and Be Still), demos (World Exploding Touch and Show of Myself), peculiarities (Creepy Baby, Broken Promised Land) and a rather good remix of Boil. It might be good for my wallet that music isn't packaged in this way any more, and I'm far too old to go in for the completist buying thing (I've even stopped buying Panini stickers, maybe I'm maturing?), though I do miss the days of a boxset of singles. The concept may well have been invented by one of Stelfox's colleagues, and exist only to move product, but they do look rather lovely on a shelf.

Some years after these singles were released, long after the dust settled on The Fat Lady Sings, a lot of the tracks captured in the single collection appeared on the band's retrospective double album; The Fat Lady Singles/Opera Obscura collates the best of the bands output into one handy package. 

And yes, I've bought that too.

An Eighties Challenge, Day Seven

So here we are, the final day of my Eighties Challenge, just time for one last trawl through the ocean of time to catch a shimmering fish of musical nostalgia.

With all the great music that was produced in the 1980s, and there was a lot, you didn't have to wait all that long for your new favourite band to make an appearance; turn on the radio, tune into Top Of The Pops on a Thursday night, listen to that cover-mounted cassette, there they were. Once discovered there was the inevitable period of new fandom, that golden time spent buying the single and listening to it over and over again. Of course, being a fickle minded youth, my allegiances to bands would wax and wane depending on the views of Smash Hits or the NME, hearing the appalling follow up single to the big hit, or just good old-fashioned peer pressure. Of all the bands I discovered back in the Eighties there a handful that I still regularly listen to, and today's band is one of them.

They weren't cool. They weren't hip. They weren't trendy. They didn't produce music that you could easily dance to or soundtrack car chases with but they had a good ear for melody and a nose for interesting and well-crafted lyrics. They let the drummer write the odd song and the bass player painted their album covers. They came from a land down under but were more interested in chocolate cake than Vegemite. They were Crowded House.

Now I know what some of you might be thinking; a guy like me who listens to bands that no-one else has heard of (let alone could be dragged along to see with me) must be having a laugh. I assure you I'm not. Crowded House? Really? Yes, really, and no I won't try and shrug off my appreciation of Neil Finn and chums as a guilty pleasure. I like listening to them and I'm not guilty about it. So there. I've still got their albums (I bought the debut in the Television Parlour shop in Fareham), a lot of the singles (I've even got the little cardboard box that collects the releases from Woodface) and even the odd live bootleg. For all my love of Krautrock, of Electronica, of noodly Indie guitar bands, of odd Modern Jazz from Scandinavia, I like Crowded House too. What can I say, I have catholic tastes.

And so I finish my seven days roaming the Eighties with one of my favourite Crowded House songs, taken from their under-rated second album, Temple Of Low Men (which is apparently a very rude album name indeed); here, from 1988, is Better Be Home Soon..

An Eighties Challenge, Day Six

It's the sixth day of my Eighties Challenge, a seven day stroll down a memory lane that's in dire need of better street lamps, foraging through the overgrown musical shrubbery.

In many ways the Eighties were a simpler time, with less distractions and smaller supermarkets. Fewer television channels, no Internet, no mobile phones. To be honest I wonder what we did with ourselves without Facebook or Wikipedia to keep us occupied. Surely we can't have spent the whole time drinking tea and making polite conversation about the weather? Thank heavens that nice Tim Berners-Lee bloke invented the World Wide Web so I could stay home and look at vinyl online, not spend a lot of my time in record shops ogling their merchandise.

Back then my home town of Fareham was blessed with several of places to buy vinyl, consequently many of my Saturdays were spent ricocheting from shop to shop in pursuit of some 12" or other. The record sections of WHSmith and Woolies, the bijou shininess of Our Price and, of course, the slightly dog-eared delights of Venus Records. I spent hours in all of them, but the most time in Venus, flicking through the racks, admiring the posters on the walls, paying attention to the tunes that got played by the staff (that scene in High Fidelity, where Rob states that he will sell five copies of The Three EPs by The Beta Band, is embarrassingly close to the mark; I bought the 7" of Perfect by Fairground Attraction from there after hearing to it played over and over; the Scottish guy behind the counter was adamant it would be a hit, and he was right).

A large corner of my bedroom was taken up with an ever growing collection of vinyl, most of it brought home in the familiar white carrier bags that sported the Venus Records logo, a ridiculous haul of 12" singles. As I near the end of this seven day challenge, and the memory banks of my brain warm up, I'm remembering too many of these songs that I could post. Do I pick The Big Dish's Christina's World, a nice slice of Scottish pop rock? How about Horse's mighty You Could Be Forgiven? Danny Wilson's evergreen Mary's Prayer (the 12" of which features a country-flavoured take, Mary's Prairie, on the flip side) perhaps? Am I swayed by the choice vocals of Do-Re-Mi's Deborah Conway on Adultery or do I take the opportunity to choose something by the Pet Shop Boys? Nope, none of those (though I may do a follow post of 'bonus tracks' later).

Today's band, Fire Next Time, were a four piece from Leicester; strange then that I only heard of them thanks to spending way too much time loitering among the racks in a record shop in Fareham. They never broke it big, only releasing a handful of singles and the one album before disbanding but, thanks to them scoring a support slot for a tour with The Icicle Works, I got to see them live. To be honest my memory is a bit hazy about the gig itself; I remember them being rather good, I'm fairly certain that at least one of them was wearing a loud Hawaiian shirt, I'm definite that neither my brother or I were all that bothered about watching Icicle Works' set after. The other thing I'm sure of is that we bumped into the aforementioned Scottish chap from Venus Records, he who sold me Perfect, as he turned out to be chums with Fire Next Time too (well, stranger things have happened I suppose). After a brief and, yes, probably fanboy-esque chat with the band we turned down the offer of going for a curry with them (no, really) and headed off to Scott's Bar for a few pints. I know, what might have happened if I'd gone for the curry? Sometimes my life really is like a Gwyneth Paltrow movie.. err.. anyway, here then from 1988 is Fire Next Time..

An Eighties Challenge, Day Five

The fifth day of the Eighties Challenge I've been set, a selection of seven hand-picked tunes from that fine decade, gently buffed to a shine and hot-glued onto the web.

Whilst some bands had the legs to make it through the decade, more or less intact, not all were so lucky. Wikipedia has a handy selection of 'year in music' pages that list the hits but also the casualties, the bands that either disbanded or imploded. Such is the way of things not all of these bands stayed dead, they festered for awhile, sometimes feuded publicly, then reformed, with more or less the original line-up, usually for financial reasons. If this sounds cynical then, well, that's the music business for you.

Today's band have split, reformed, split again, reformed again, had members sacked, replaced, re-hired and sacked again. Back in the mid-eighties they looked like a bunch of fashion models and public school boys, which they possibly were, who wore cricket jumpers and blazers. The lead singer not only helped co-produce their debut album but was also credited on the liner notes for art direction and styling of the sleeve. They covered Roxy Music, they had the Artists Against Apartheid logo printed on their releases, they were terribly right on. They released a string of singles that had some success, one featuring the dulcet tones of Belinda Carlisle, whilst their biggest hit was used on the soundtrack for a dystopian sci-fi film that starred Mark Hamill (and flopped so badly at the cinema that the producer went bankrupt). Today's band is, of course, Then Jerico.

I toyed with picking Big Area, the big hit from the bad movie, but that would perhaps have been a wee bit too obvious a choice (plus I couldn't find the promo with clips of Mark Hamill and Bob Peck in an Edgley Optica on YouTube, maybe I just imagined seeing that on Top Of The Pops). Instead I've plumped for The Motive, a track from their debut album, 'First (The Sound of Music)', the LP of which I still have. The video ticks a lot of Eighties boxes, with back projected footage, slow motion and moving camera shots, with the added bonus of lead singer posing. Lovely.

Some years after their big success I got see to Then Jerico up close and personal at The Wedgewood Rooms (though they were billed as Then Jerico II and were basically a vehicle for lead singer Mark Shaw to belt out the hits, aided on stage by the silent, brooding and be-jacketed figure of Andy Taylor). Yes, that Andy Taylor, him from Duran Duran and The Power Station. Andy Taylor who noodled away on his guitar whilst simultaneously puffing away on a home-made cigarette of some description. Come to think of it I think I've got the set-list here somewhere. err.. but I digress. Here then, from 1987, is The Motive.. the nights come down and moments glow, the rats go by and by...

An Eighties Challenge, Day Four

Day four of my Eighties Challenge, a jovial seven day jaunt back through the mists of time, throwing musical oddities onto the web..

The Eighties famously saw the Second British Invasion of the USA, a musical incursion into the American charts that was powered by another of the decade's children, MTV. Thanks to the music video, and the channel's near constant playing of them, a raft of UK bands saw considerable chart success across the pond. For some acts this was only a fleeting glimpse of fame, whilst others secured career longevity and are still (mostly) together today; you only have to look at the posters on the wall in Ferris Bueller's bedroom to see who stumbled and who ran. Music sales were bolstered and embiggened by the power of the music video, with bands often reinventing their sound to make themselves more commercially appealing (perhaps at the gentle prodding of their record company). Would U2 be where they are now without MTV? Arguably no.

Just over thirty years ago this week I found myself standing in a field just outside of Milton Keynes to see one of these bands. Over the course of several albums they'd already moved from their Post Punk roots, to New Wave, to dabbling with Synthpop, all with varying degrees of success. A shift to a rockier sound brought dividends but it was a song from a movie soundtrack, a song they didn't write and were loathe to record, that pushed them over the edge and made them a stadium band. I am, of course, referring to Simple Minds.

In 1985 the band released Once Upon A Time, an album that soon appeared to be everywhere (in part due to most of it being released as singles), and the band toured relentlessly off the back of it. A year later, on a Sunday in June, my brother, his chums and I stood at the rear of the Milton Keynes Bowl, ready to be entertained. This was my first foray into the world of "the Stadium gig" and, yes, suffice to say I was a wee bit over-excited. The line-up included Doctor and The Medics (my first experience of seeing a band bottled), The Waterboys, the excellent Lloyd Cole and The Commotions and the sadly underwhelming Big Audio Dynamite.

Finally though the headline act took the stage, kicking things off with Waterfront, and all was good with the world. Well, it was nearly all good. Unfortunately the gig clashed with another important world event, namely the World Cup Quarter Final match between Argentina and England. Yes, that match, that infamous meeting of hand and ball. And wouldn't you know it, Jim Kerr baited the crowd with news of the game throughout their set. For shame Jim, for shame. Still, it was an excellent evening of music, a big band at the top of their game. And yes, there are no prizes for guessing what song I've picked for today..

41. EXT. FOOTBALL FIELD - DAY

We see Bender walking towards us as Brian's monologue continues.

BRIAN (VO)
(CONT'D)
But what we found out is that each one of us is a brain...

ANDREW (VO)
...and an athlete...

ALLISON (VO)
...and a basket case...

CLAIRE (VO)
...a princess...

BENDER (VO)
...and a criminal...

BRIAN (VO)
Does that answer your question? Sincerely yours, the Breakfast Club.

We see Bender walking across the football field as he thrusts his fist into the air in a silent cheer and freezes there.

An Eighties Challenge, Day Three

It's the third day of my Eighties Challenge, a seven day foray into the neon palace of memory, plucking songs and related gibberish from the ether as I go.

The Sony Walkman might have been around since 1979 but it came into its own in the 80s; a portable music player it finally provided relief for the millions of people that want to left alone on the bus (though, in turn, it created an arguably larger portion of society sat behind them wondering what song that tinny noise was supposed to be). In a nod to this growing market of sullen folk sat on trains and buses, and perhaps in a not so subtle move from The Man to try and stop The Kids from killing music (and his profit margins) with home taping, the music industry introduced the 'cassette single'.

On paper it might have appeared, to a bean counter at least, to be a grand idea; the same form factor as the cassette but, as it only had to hold a limited number of tracks, it contained less tape and was cheaper to produce. There was no A or B side as the tracks were repeated on both sides and, as it edged nearer to a 12" single than a 7", they could bump up the cost accordingly. All the people who listened to music on their Walkman, an ever increasing number, would buy one. The money would print itself. The trouble was that most everyone with a Walkman would either buy the album the single was from on cassette or, more likely, buy their tunes on vinyl and collate them into mix tapes. Who wanted to carry around a bag of 'Cassingles' (no really, I looked it up) when a couple of C90s would do the job nicely? And so the 'cassette single' went the way of all flesh.

That's not to say, of course, that I wasn't suckered into the shininess of this new item on the shelf. Today's offering came in a shiny gold cardboard flip-top box, looking vaguely like a slightly trim packet of Benson & Hedges, that caught my eye on a visit to Venus Records one day (and, contrary to what I wrote above, I'd already bought the album it came from). From 1985 then I give you Scritti Politti's Perfect Way...

An Eighties Challenge, Day Two

Day two of the Eighties Challenge where, of course, I've been tasked to choose seven songs in seven days from that decade of excess. Songs to delight, or songs to confuse. Maybe both.

Thinking about it now, despite the tricks memory plays, Saturdays had a regular routine about them (or at least they did until I discovered alcohol); mornings spent festering in front of the telly, flicking between BBC and ITV, followed by a walk into Fareham to waste a not inconsiderable amount of time in Venus Records perusing the 12" singles piled up in their 99p sales rack. Sometimes this exercise would offer up gems, a promo white label perhaps or a new release that had been slipped in to make things interesting, but more often than not I'd end up punting my pounds on something peculiar. All too often I'd be tempted by odd vinyl from bands I'd not heard of, risking my money on the cover alone, and have to wait until I got home to discover if I'd bought a classic or a new novelty place mat.

Today's offering is one from the 99p sales rack, it's not really a gem but it's not something I'd sit my plate of fish and chips on either, that I must have had some reason to buy unheard. A song by a band some might remember but most won't know, to be honest I was amazed to find the audio clip on YouTube (more so that it's on Spotify too), English Evenings released a handful of singles before disappearing back from whence they came. Set your controls for 1985 and, for the next six and a bit minutes, enjoy the slightly overblown 12" remix of I Will Return...

An Eighties Challenge, Day One

All it took was a thumbs up, a thumbs up of a post on Facebook, and my fate was sealed; the gauntlet thrown to select seven songs from Eighties, a misbegotten decade, and post them for all to enjoy (or mock, depending on the selection). Was I up to the challenge? Yes, although not wanting to limit "the fun" to Facebook I'd thought I'd bung them up here as well for all to enjoy.

The Eighties, as I recall them through the hazy fog of memory, were an interesting time to be alive. As I remember now it seemed a loud decade, mostly big and bright, peppered with quirky design and adorned with shocking typography, with too much time spent obsessing over shoulder pads or doing whatever Frankie told us to do. It was a time of grand technological advances, burgeoning globalisation, some excellent John Hughes movies and living in the near constant fear of either being atomised in a Nuclear Holocaust or catching something nasty that might make your winky fall off. Fun times indeed, all sound-tracked with a selection of tunes, some good, some bad, some classic and some that haven't aged very well at all.

First up on our brief and hopefully entertaining jaunt through the dusty 80's section of my record collection (as, yes, I promise that I will have owned or still have a copy of all the selections posted) is a gem of a tune from 1983. All drums, whistles and earnest clipped vocals, I first encountered Kissing The Pink thanks to that classic of Saturday morning television, No.73. I can't recall if the band were on before or after Roger Ramjet, or if they played The Sandwich Game, but I do know that I liked their song so much that I bought the 7" single....

Tunes, not chat

As much as I loved Massive Attack's set at Portsmouth Guildhall last night, and an excellent array of tunes and arresting visuals it was too (including a nice Terry Wogan tribute), my enjoyment of said gig was somewhat hampered by the drunken chatterboxes stood behind me who willfully bleated on throughout the show. It is my gig-going bugbear. My prime punter annoyance. Why pay £30+ for a ticket if you're going to talk all the way through the gig? Why cheer loudly when Horace Andy takes to the stage if you're just going to gab during his performance? Surely not just to piss me off, that they could've done far easier and cheaper than spending £££ for a ticket plus whatever to cover the amount of booze they'd imbibed. No matter, the Dave abides and, by shuffling my carcass slightly forward, I moved myself just about out of earshot (though slightly more up close and personal to some flat-cap wearing hipsters then I'd like) and could enjoy the show (and damn good it was too).

By my own admission, and no surprise to you reading this, I'm a bit of gig whore. I have been to a lot of shows over the years and, yes, I've sadly stood through too many that have been spoiled by someone crapping on about something when they should be listening. Venues have bars, if you want a chat go and stand there, prop up the counter and chew the fat. Don't stand next to me and talk to your mate about your favourite song, the one you want played at your wedding, that you then talk loudly through when the artist plays it (that was one time seeing Ed Harcourt) or just witter on incessantly and ignore the very British looks of umbrage that are being thrown in your direction (as happened at gigs by such fine artists as John Grant, Midlake and Sleaford Mods to name but three).

Last night's experience reminded me of times in The Cellars (RIP) where they had a notice pinned near the bar advising that it was a "listening venue"; if you spoke too loudly during a set then one of the bar staff would tell you off, and they weren't kidding either. Slightly less full on is a poster campaign by Independent Venue Week that makes the point very clearly; if the band is interrupting your conversation you're in the wrong place. Ideally venues shouldn't have to post up nanny state posters telling punters how to behave, nor should I have to waste pixels venting a small amount of spleen about some people I don't know who couldn't care less, but sadly that's just the way it is.

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(update - unfortunately the link to the IVW campaign appears to have expired, the posters are present via the illustrator though; click the image below to view them on Robbie Porter's website)

Life on Mars

One of the sad facts about gaining years is that, with every day, there's an ever increasing chance that someone you know, love, appreciate, admire or respect will disappear. It's one of the choice parts of the human condition, a happy/sad twist that makes you reflect on what you have, what you've missed out on, what hours there are in the day to make something new or maybe just that it's high time that you bought that new shiny thing that you'd promised yourself. It may be that someone you know has passed on, or it may be that someone you've never met, but to you has had an equally important impact on your life, has died; the writer of a book you can quote offhand perhaps, or an actor who's work you enjoyed, the painter who's way with colour makes the juices in your brain fizz or the performer who's music lifts your soul. If life is like a box of chocolates, and you never know what you're going to get, there's a likelihood that some days you'll be handed the Peanut Cracknel and not the Noisette Triangle. Today was one of those days.

David Bowie is dead and, not to put too fine a point on it, it's bummed me right out. It bummed me out when I woke up to the news, half-dreaming the report read out on the radio, and it's continued to do so as the day has progressed. It's bummed me out, it's pissed me off, it's made me sad and, from the tweets I've read and the items I've seen populating my newsfeed in Facebook, unsurprisingly I'm not alone in how I feel. Today may be beyond Peanut Cracknel, today was a big bar of Marmite chocolate, chewed with a grimace. David Bowie is/was a genius, an artist, a chameleon, a creator of beautiful music and, by most accounts, was a really nice chap to boot. Part of me thinks that this is just another way of him reinventing himself, that he'll reappear as a new creation tomorrow, but that's just the dreamer in me. Bowie has left the planet. The body may be gone but the body of work remains and will always be with us. He really made the grade, and for that I am thankful.

RIP David Bowie (1947-2016)

What to see at Southsea Fest 2014

It seems to me that the relatively simple task of picking a small selection of bands to see at Southsea Fest becomes more difficult every year. That said perhaps I'm deluding myself that it was ever simple (every year I try, and usually fail, to be in several places at once to take in all of the delights on offer) and this year's line-up is, in my opinion, stronger than ever. Eventually, after much poring over the Clashfinder, scratching of head and imbibing of caffeine, I came up with these suggestions for acts that you should maybe see this year...

Honeyblood - The Wine Vaults 'Pie & Vinyl' stage [2100-2130]
Last year, at the inaugural Gland Rock, I found myself the lucky recipient of a bag of Fat Cat vinyl in the raffle. This stuffed Santa's bag of aural delights somehow made it home safely, despite my tired and emotional state (it had been a long day) and the next morning, whilst my hangover slowly abated, I rifled through my red felt sack. Tucked away inside I found a lone 7" single, Bug by Honeyblood, on soothing mellow pink vinyl. None of this is any explanation why you should see Honeyblood at Southsea Fest but, if you need one, know that they can make cakes explode with their minds.



Battery Hens - Southsea Social Club 'Champagne Justice' stage [1355-1725]
At Southsea Fest 2012 I found myself in the cramped confines that is the tiny room above Bar 56, watching a dedicated if not sizable mosh pit wreck themselves to Battery Hens. To this day I still have no idea how I made it out of there without being drenched in lager. If you like noise, and don't mind flying lager, then these are for you.



Wyldest - Bar 56 'Strong Island Recordings' stage [1520-1600] & Magick Bean Café 'The Boy I Used To Be' curated stage [1820-1900]
The duo of Wyldest (or Wildest Dreams as was) have had an eventful year so far. They've won a slot at Green Man, been tipped for great things by various music blogs and, to top it off, have had to change their name. All that and they still had time to produce a fantastic cover of Kate Bush's Cloudbusting.



Mazes - The Wine Vaults 'Pie & Vinyl' stage [2200-2300]
Manchester's Mazes arrive at Southsea Fest with a new album, Wooden Aquarium, under their belts. No, I haven't got it yet so I can't witter on about how good it most likely is; you'll have to toddle along to the Vaults and find out for yourselves instead.



Prides - Little Johnny Russell's 'Psychedelia/Quay West' stage [2130-2200]
Scottish trio Prides recently supported Foxes on tour and played the closing ceremony of the Commonwealth Games. If you don't get your synthpop fix fully sated by Curxes earlier in the day, and are jonesing for some 80s style keyboards and drums as Southsea Fest works its way into the night, then this lot should sort you out.



Gossling - Kings Theatre 'Southsea Fest' stage [1900-1930]
Australian Helen Croome produces beautiful folk-pop tunes, made slightly off kilter by her distinctive vocals. Quite lovely.



Fear of Men - Southsea Social Club 'Champagne Justice' stage [2200-2245]
Floaty but dark indie pop from Brighton, you can already feel yourself swaying along...



A selection of different acts then, different styles of music, some local and some from further afield. If none of these tickle your fancy, and if you have seven (!) hours to spare, I heartily recommend sampling the official Spotify playlist. If anything it made my cogitations more difficult (such that my plan for five acts to see went right out of the window) but there are gems on there waiting to be heard (including Brontide who, sadly, have had to pull out of Saturday's shenanigans).

Southsea Fest 2014 also sees a couple of local bands bowing out in style, both Attack! Vipers! and The B of The Bang have announced that theyll be playing their last gigs this weekend. Typically, in yet another turn of the festival screw, the Bang's set clashes with that of Curxes so, if you happen to spot a goatee'd oaf bundling across the road from the Kings Theatre to the Wedgewood Rooms (or vice versa) around 1520 on Saturday afternoon, chances are it'll be me.

Now, where did I put that Clashfinder...

Cate le Bon @ The Wedgewood Rooms (10/09/2014)

I feel a bit sorry for Oxford.

The city of dreaming spires may have gifted the nation the likes of Supergrass and Radiohead, provided a home for Lyra Belacqua and played a part in the education of Professor Stephen Hawking, but apparently its audiences aren't very lively. Or, at least, this is what Cate le Bon tells us of her experience playing there the previous evening. Depending upon your level of cynicality this could be viewed as disparaging to the fine people of Oxford or, instead, that well used tactic of winning over a new audience by rubbishing an old one. If it is the latter then it's not a tactic that le Bon needs to use.

The comment regarding the previous night's crowd is dropped several songs into her set, needlessly as I (and, given the applause, the rest of the crowd) am enthralled. What a difference a few songs can make; at the outset I wasn't so sure what we were in for, with le Bon striding across the stage to stand in a dark corner, set apart from the three members of her backing band. Thoughts of J Spaceman, standing aloof at the side of the stage, stirred at the back of my memory. Would this be another such gig where I left feeling that I'd paid money to watch someone who didn't want to be looked at? No, obviously.

From the opening bars of the first song le Bon becomes possessed by the music, stepping into the light and swaying toward the microphone. Holding the guitar like a weapon she moves around the stage, a fluid and better choreographed Wilko Johnson she could machine gun us down at any time. That the set plundered latest album Mug Museum is no real surprise; the first track from the new long player, I Can't Help You, is dispatched early on and a stirring Wild is dedicated to the fine folks of Portsmouth (and sees an errant string broken midway through its wig out, thus the guitar is replaced by handbells for the next couple of numbers).

Her backing band of Huw, Dan and Steve (who were all introduced to in another break between songs) leave le Bon alone for the first song of the encore, a beautifully delicate take on Frank Mills (from the musical Hair but probably better known by some as the last proper track on The Lemonheads' It's A Shame About Ray album). The band rejoin for one last song and then, all too soon, the lights come on and we make our way to the door and the delights of the merchandise desk that awaits us in the foyer.

So, yes, I feel a bit sorry for Oxford. Cate le Bon was an exquisite delight, you'd have to have been staring at your shoes, with fingers in your ears, not to have been swept along with her.