One way ticket #2

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7th THEE CHEMICALS (US) + THE GAGGERS + LOVE TRIANGLE Live. Katia + Tim (Love Triangle / Shitty Limits) djset £4, 4-11pm. RYAN’S BAR

10th JONNY COLA & THE A-GRADES + THE

PECKHAM COWBOYS + 16 HOLE BOOTS Live £4, 8 pm. WINDMILL BRIXTON For those of you who didn’t manage to make the launch night, sucks to be you, it was a great night. But hopefully you’re reading this because you’ve come to your senses and made the second issue party, Good for you! The launch party went really well, a great big thank you to the lovely people at Cakey Muto, the great set fromThe 16 hole boots, and last but not least thank YOU, yes YOU, thank you so much for coming, and especially big thanks to anyone who was kind enough to donate and help us keep going. so, on we go with issue 2, what do we have in store you may ask? more of our nonsensical rants about the weird stuff we all love, we’d like to thank all the contributors, and just like to take this opportunity to say, what the fuck are you still reading this for, there’s articles over there ---> RAISSA & ADRIAN

12th “GARAGELAND 70’s PUNK ROCK/ GARAGEPUNK CLUB” THE ELECTRIC COCKS + MEAN BIKINI ,Live plus Special Guest Djs Free entry, 8pm. THE UNICORN

14th PATTERN PARTY 2

SHEEN, SKINNY DREAM Live £3, 11pm, 129a Kingsland Road E8 2PB

18th BAD VIBRATIONS present CROWS, SHEEN, SKINNY DREAM Live Free entry, 8 pm, MACBETH

19th SOME WEIRD SIN present CYANIDE PILLS + ATOMIC SUPLEX + THE LADYKILLERS Guest Djs Jimmy Jones and Sam Hell (Ten O Sevens) £5, 8 pm, BUFFALO BAR

19th ECHO & THE BUNNYMEN Live 8pm.O2 ACADEMY BRIXTON

20th DIRTY WATER CLUB present NOBUNNY + BAD SPORTS + BONEYARDS £12, 8pm, SHACKLEWELL ARMS

4th BAD VIBRATIONS present DARK HORSES, LOLA COLT, THE KVB Live £8/10, 8 pm. HOXTON BAR AND KITCHEN

4th MPV’S, ED CORDS, JUVENTUD Live

24th - 25th THE GROWLERS

Sold Out. SHACKLEWELL ARMS

25th CLEAVERS + DIRTY WOMBS + BURT

9pm, free entry. OLD BLUE LAST

WARD free entry, 8pm. BIRDS NEST

6th ONE WAY TICKET #2

26th SULK Album Launch Party

Free entry night. GO!ZILLA Live. Raissa, Adrian and Daniel djset. 8pm CAKEY MUTO

5th HIDDEN DOOR CLUB EAST Girls on the desks special! 60s Grage, Psych and Beat! free entry, 9pm. MASCARA BAR

8pm, £5. BABBLE JAR

27st WEIRDSVILLE-THE CAVEMEN V

(France)+CHEAP FREAKS (Ireland)+LADYKILLERS Live, plus Djset by £7, 8pm. THE FIDDLERS ELBOW CAMDEN


With the fun and upbeat sounding “I’m a Pretender”, to the pure rock n roll driven “Boulevard Trash” and the harmonious and heartfelt “sleeping aides and razor blades”, this album really does have a little something for everyone, so good even your mum’ll be humming along! Tarred In Punk, Feathered in Feathered in Power Pop, Squawking out an album that will definitely stand the test of time.

BY ADRIAN

Big Surprise, I’m talking about Power Pop again... This month mark’s the tenth anniversary of The Exploding Hearts’ shit hot debut LP “Guitar Romantic”. This record has to be, without a shadow of a doubt the freshest sounding contemporary punk/power pop album of the 21st century. In punk it’s pretty hard for anything post 1977 to sound original at all, I mean you’d really need something special to stand out, and it’s hard to pin point exactly what it takes, but The Exploding Hearts definitely had it. The Exploding hearts were a band of kids that grew up together in the city of Portland, known for its rich punk music scene, the band were actually quite different to the heavier and darker sounding punk bands from Portland, like Poison Idea, The Wipers, and Dead Moon. Unlike any of these bands, with bright melodies, catchy hooks, and all the best pop sensibilities, drawing influence from everything from the British Invasion bands of the 60’s, through to the first wave of punk and late 70’s/Early 80’s Power pop. They somehow managed to sound somewhat original despite all these influences, playing a great mix of sticky sweet pop and raw punk rock n roll.

Unfortunately this was the only release for the band, shortly after this album was released the band were playing a gig in San Francisco, which tragically turned out to be their last. On their trip back to Portland, Bass player Matt Fitzgerald lost control of their van, causing it to skid off the road, causing Singer; Adam Cox, and Drummer; Jeremy Gage to be thrown from the van, they were pronounced dead at the scene, Fitzgerald died later in hospital, Lead Guitarist; Terry Six and manager Rachell Ramos sustained only minor physical injuries. Now ten years on since the release of their legendary debut LP, it raises the question, why is this so good? Well put quite simply, the band were right at the front of the revival, they spear headed it, and other’s couldn’t help but follow suit, near enough every power pop band that formed post ‘Guitar Romantic’ can’t help but be influenced by it, It was just That good. Now do yourself a favour, if you haven’t already, go and listen to Guitar Romantic!

Adrian

BY MAURO

Iggy Pop: “PARTY“

The album starts with the song “Modern Kicks” (Also released as a single on Pelado Records), twangy sounding guitar to draw you in then the drum beat ‘modern kicks’ you right between the ears dropping you into 3 minutes and 20 of the rawest pop bliss. with some of the sweetest lead guitar licks you’ll have ever heard Terry Six barely even showcases just how good of a guitarist. With that track ending on a high note, you’d think it couldn’t get much better. But you’d be dead wrong, there’s another 9 top notch songs to come that’ll have you singing along by the time the chorus kicks in.

If you’re ever in the mood to get a blank expression from someone, tell them you’ve been listening to this album. Of course everyone LOVES Iggy Pop, he’s a lovable clown yet he’s unimpeachably cool and everything, but he’s made some albums that have really slipped through history’s net, best of which being this aptly-titled masterpiece. Admittedly, I’d never exactly sought this album out – no one does! – but a mate of mine whose taste I respect sang its praises and lent it me… and well, suffice to say he’s not had it back yet and it’s been YEARS. Context: it’s 1981, Iggy’s stint with Arista Records is coming to an end and they’re frantic for him to finally come up with


something resembling a hit. (Having failed to make a hit of the magnificent “New Values” – arguably the best of all Iggy albums – two years earlier, they get little sympathy from me, even if I’m sure Iggy was “a challenge” to work with). This push for hits seems to put Iggy firmly into HEDONISTIC mood. And a contagious hedonistic mood at that – as shown to merciless effect on opening tracks “Pleasure” (“Just giiiiive mee pleeeeasure!”) and the sensationally unsubtle “Rock’n’roll Party” (“Rock is rock, if you like it or not!” – hard to argue with this. Iggy has always been a man who speaks the simple truth). Basically, if you don’t have a smile on your face by the end of these two tracks, you’re listening to the wrong album. You want a good time, or what? Come on!! Iggy’s got eggs on his plate! He LIVES in here! What the hell’s he on about? Who knows! Too busy dancing! “Sincerity” spells it out once again, for those slow on the uptake – “I’m going to get a beer. I’m going to get a beer! But I will return, my dear.” People tend to like their Iggy moody and sinister, rather than larking about in this fashion. But I guess I’m not most people! Anyway, I find that one in particular hard to listen to without actually going to get a drink of some sort.

struggling to keep up with the New Wave he’d done so much to inspire?). Iggy’s definitely in stream-of-consciousness mode over much of this album. But surely this is the whole POINT of Iggy? Bowie is considered, studied, meticulously planned, etc. Iggy is primal, chaotic, unpredictable. When he yells “This isn’t the right thing to do!” at the start of “Bang Bang”, it couldn’t come as more of a stark contrast to Bowie uttering those same words on his version. (Ironically, it’s Bowie who I find myself in complete agreement with!)

Christ knows what Bowie made of all this. (Would that it were possible to write about this album, or pretty much ANY Iggy album, without the spectre of the Dame hovering somewhere in the background… But no.) He was probably in the middle of something arty at the time, anyway. Must’ve been paying some attention though, because he covered “Bang Bang” a few years later – admittedly, in the worst of all his “Shit, I’ve run out of ideas” periods. At that point he’d practically turned into an Iggy covers act, although you could be kind and see this as a true friend helping a brother out by lobbing him a load of royalty cheques in his hour of need. Of course I’ve never HEARD Bowie’s version, it’s on the “Never Let Me Down” album! No one puts themselves through that! OK, OK, I’ll give it a spin, in the interests of “research”.

Band news. The Love Triangle is broken. Or at least it was a foursome for a week while I helped them record their debut LP. You like Splendid Living? You will absolutely love this. It’s in its early days but this is the record I’m most excited about this year. Recorded in two days in true garage punk fashion, hopefully it will be done and at the pressing plant in the next month or two. Get Excited.

The less said about “Happy Man”, the better. It’s very, very silly, and by far the worst song on the album. Over quick, though. We also get a version of ‘50s classic “Sea Of Love”, played with a totally straight bat and beautifully sung. An inspired choice – shoulda been a Number One. If it had, more people might have heard of this album and Osterberg might not have gone on to make “Zombie Birdhouse”, at which point he fully lost the plot. At least he had Bowie around to save him! Happy endings all round! Any time anyone’s in the mood for a proper “Rock’n’roll party”, give me a shout, we’ll get this album on and you’ll see what I’m talking about.

BY DANIEL

Christ, it’s wretched. That puts paid to THAT album being next in the series! Ironically, Side Two’s “Pumpin’ For Jill” comes over as Iggy thinking, “’Heroes’? Pah! Piece of piss, I could do that” (as well as bringing to mind the Go-Go’s “Our Lips Are Sealed” – Iggy

Bi-marks have a new 12” on Sabotage Records for their European tour this summer (no UK shows unfortunately). Total Portland destruction a la Bad Brains, Poison Idea, Thin Lizzy, and Black Sabbath. Best show I saw last time I was in PDX. I have never seen the crowd take over a Bar in such a fashion. The owner was like a rich landlord during a peasant revolt and let them do whatever they wanted. The crowd was in such an ecstatic frenzy. They lit joints with impunity, tore the light over the pool table out of the of the ceiling, threw trash cans full of empty beer cans around like beach balls, nearly knocked over all the video poker machines, and all the while the singer climbed the stacks of speakers to the corner of the ceiling before jumping into the middle of a fight as people threw lit fireworks at each


other. And the band never stopped, or even noticed for that matter. If you want to Feel the Darkness, it is here. Squats across Europe will burn. Youth Avoiders have distinguished themselves again. Their new LP was recently mastered here and will come out on Deranged Records to coincide with a US tour. Take their first 7” and develop it further and you have an amazing LP.

Picket Fence or whatever this thing’s called has a meagre expense account that I’m already in the red with, which brings me onto your questions. Absolutely shoddy affair, well, the ones I could be arsed to read, anyway. I’ve decided not to answer any this month, I’m sure you’re wondering why. Laziness? The issues too close to the bone? Sold your soul? Nope. None of those, you just burden me.

Daylight robber have a new 7”. If you have not heard the LP Ecstatic Vision (out in Europe on Taken By Surprise) check it out. Dark melodic punk with male and female vocals. An amazing record for a dark rainy day spent at home. I’m very jealous as this record is coming out on Poison City Records in Australian in support of their Antipodean tour.

Thee Spivs are also gearing up for the release of a new LP on Damaged Goods! Release date, shows, and tours to be announced soon.

MODERN CLASSICS The Yolks – S/T Night Birds - Born to Die in Suburbia Tranzmitors - Busy Singles for the new one The KVB - Immaterial Vision White Fence - Family Perfume #1-#2 Bad Sports - Kings of the weekend Connan Moccasin- Forever Dolphin love

http://hajjihusaynmastering.wordpress.com/

CLASSICS

In other news the Red Dons came and went playing three shows. A|l of this was to facilitate recording the A-side to a new 7” coming out in the summer on Grave Mistake Records in conjunction with a tour.

Os Replicantes - O Futouro é Vortex Hasil Adkins – Out to Hunch Phil Seymour - Self Titled Os Mutantes - Os Mutantes Big Star - Big Star Serge Gainsbourg - Serge Gainsbourg no.2 Acid House Kings - Acid House Kings Bauhaus- Burning from The Inside OUT NOW SURF TREM 7’’ - CHARLES HOWL For Dr. Fishlove it never rains, it pours. Like a teased, busted minge. I won’t dwell on it though, I have to slaughter your problems and leave them floating down the Thames like minced meat buoys, mangled arteries and grizzled cartilage glimmering in the moonlight or, as I’m now considering, changing my phone number and e-mail address to avoid you whiney cunts. Either / or. The last column was, unsurprisingly, received marvellously with many a back slap, compliment and bare breasts draped over me like gravy on a pie. So far I’ve been awarded a private parking space at China White (I can’t fucking drive), Peter Stringfellow has sent me a congratulatory Paco Rabane aftershave in the post and I’ve begun masturbating with a Nintendo Power Glove, wearing a cock ring (I don’t need one, I just want my penis to look like a fencing sabre) and, occasionally, bursting into fits of laughter for no particular reason. Life is good. Actually, scratch that. Life potters on. It’s not an ideal lifestyle, the One Way

buy it now! http://charleshowl.bigcartel.com/


VS

BY RAISSA

I interviewed two different bands with different backgrounds and sounds. The Wytches are a more psychedelic band from Brighton, and the MVP’s are a more “lo-fi” group of Londoners. Both bands have the same garage attitude, with a similar rich sound. 1. Do you find that smaller, local scenes are more passionate and tight knit because there isn’t much to do in a smaller town? You think that you can still find this sort of thing in such a big city like london?

THE WYTCHES - From experience of lurking in and out of local music scenes, a lot of people go about them in a temporary kind of way. Most of my friends who have taken a creative path are from villages, playing small clubs and houses but aspire for bigger and better things on a larger scale. I don’t think many bands these days choose to be in a local, more hidden scene and stay there. Limitations for creativity have helped me in the initial stages of music. I’m from an anonymous village in Peterborough(?) so limitations are always apparent. It does help though. You don’t really know whats going on outside of isolation so you just get along with your own thing and dont really focus on whats ‘hip’ and ‘in’ because you dont actually know. THEE MVP’s - I think the dumb rock and roll we play still has a lot of community spirit even if in a huge city like london. A lot of the time we play it’s with bands that are from overseas, so you play to the few friends they have in this town alongside the usual crowds, already in the handful of shows we’ve played maybe about half of them were with out of town/country bands. I’ve played/attended other shows since and bumped into people that saw us before, of course this kind of music is also very welcoming to new people, our label PNKSLM is amazing for putting on a huge party with a colourful and lively group of people all losing their mind at it. I use to play screamo/noise rock and that scene to me didn’t have much growth in the friendships it made. It gets boring playing to 10 bearded sober guys with their arms crossed when you could be playing to a room full of drunk guys and girls. 2- A good lo-fi live or recording can be the result of a good knowledge of effects, post production or just sound shocks between instruments and amps. How much work on this kind of thing on stage and when you’re recording?

THE WYTCHES - I love guitar feedback and a lot of natural reverb. Like you’re in a bathroom or too far from the mic. Whenever i listen to something with that roomy sound or some mistakes

left in, it feels very real and personal. A lot more imagery comes from music and art that is imperfect. You can almost envision the room it was recorded in or how they were perched up on the side of their bed when they wrote it or something. Live, i like to stand away from the mic on some bits and scream so the whole room is amplifying you rather than The PA. Theres a lot of intentional mess with feedback and over driven echo in our live set but we balance it out well with real-put-together songs. We don’t add much else to our recordings that you wouldn’t hear live. Just some castanets and other hidden percussion. Our live show is very much the same as our recordings. THEE MVP’s - Well, we record live, I’ve spent a few years working on a sound that i’m happy with and the other two just wanna sound as mean as possible. We don’t really want to spend more than a weekend on recording things anyway. Partly because alex works full time so we have to use our time wisely and partly because I’m always writing, then arranging with the rest of the band at least five new songs a month. The bands we like generally don’t spend a great deal of time on it either. I think a great song can sound good with any production value to it when it has a good structure and a catchy melody, if your 100% happy with the end result it’s easy to convey that to the audience. Guided by Voices got 100 grand advance for a record it cost them $10 to make. 3- You make a full sound for a 3 piece. Do you have any problems achieving that sound? Any limits you have or will run into?

THE WYTCHES - Yeah we play very loud. I mean, some songs dont call for much other than the fact it needs to sound full. I like to rely on good melodies, lyrics and the occasional doom riff. We use octave pedals for parts and surf echo that kind of fills in any gaps. Some stuff i write does need other parts but i dont stress myself out if it can’t be achieved. I guess it depends on what the song calls for. We’ve started adding in some gypsy sounding violin but thats only in recordings so far. THEE MVP’s - Dan and I both have pretty mean fuzz pedals to do that job, Alex is a solid drummer too, he usually plays the guitar so he can write drums to suit my lines real well, he can rock some fantastic fills here and there, go to some real swingy beat the next bar but then can absolute slay some huge beat for when we slow it down. I also think the way we arrange the instruments is important as well, like leaving the vocals out here, dropping the bass there and leaving out the guitar, I really like the way old POWER TRIOS like Blue Cheer and the Jimi Hendrix Experience did this, Shellac are also incredible at structuring their instruments. I guess the main problem we have right now is getting that sound onto a record, we definitely have a lot more weight live than our current recordings suggest, but we’re working on an album soon so we hope to iron all that stuff out. 4- A mix of different music genres and experiences probably gave you a unique sound a varied mix of music genres and experiences seem to influence you into having your own style, what would you say has been a key influence to your music, and your style? And what venue do you feel fits the band’s style?


THE WYTCHES - I have some real strong influences that if you put together on an album, just wouldn’t work. I like to try find a way of taking sounds you wouldn’t normally pair and try and make them cohesive. A lot of doom, bright eyes and Egyptian groove. I’m not really sure how it works, i wish i did. I like to think in ‘album terms’ for the bands progression so for our first batch of stuff the kind of venues we play are perfect. Something small, personal but with character and the occasional girl, weeping in to a brass bucket where a snake will eventually be charmed out of. THEE MVP’s - Well I first started the group by myself, doing the one man band thing because I was still in a group, some kinda lightning bolt meets coachwhips thing, it was getting too outta control for me musically so I started writing trashy garage rock by myself in the hopes of writing something simpler and gave space to more of a tune. The band was named after a Big L song and in some kind of weird abstract way, I think the fact the three of us love hip hop has some far away influence on our ‘skinny heartbroken white boy’ garage rock, the basslines are held down and constant like this i guess, dan has only been playing since last June so he’s playing what I’ve taught him, he’ll the first to admit he’s not in a position to improv so I guess that’s what makes it minimal in that sense, he often says it’s like playing one of those simon says toys with the coloured buttons you gotta push in the right order. There are also obvious influences from california of course like Ty Segall and Thee Oh Sees but i think being from England helps prevent us being a straight copy of those SF bands, also we tell all the cool dudes Dan and I use to live two towns over from Billy Childish. We all love bands like Modest mouse as well, I certainly like to think i have that scrappy, percussive sound Isaac has. You gotta thank Sabbath for the fuzz as well.

BY JENNY

Old telephone directories make ideal personal address books. Simply cross out the names and address of people you don’t know Beavis, Southampton

Use an old vhs case as a sandwich protector/ lunchbox. Now you can take your favourite Tom Cruise film and your cheese and prawn jambalaya wherever you wish! I chose Cocktail. Mavis, Stockton-on-Tees

Trying to lose a few pounds? Replace breakfast, lunch and dinner with ice cubes. Tony Montana, Redbridge

BY FISHER

Probably the most important thing mentioned in here, London’s one and only Punk record shop has just turned 10. Sure most of you are plonked on your arse thinking, “Oh yeah, that place! I like it there, they let me stick fliers for my bands gigs / adverts for band members / put my bands 7” out for sale in there.” Good. May I now ask you a question - When was the last time you spent money in there? You see, the British mentality lends itself to laziness and, occasionally, apathy. I’m as guilty as the next person, but what most seem oblivious to is that we have lost over 500 record shops in the UK in the last 10 years. Quite a lot were general shops, not a niche like ALL AGES. As such it needs your support to ensure another 10 years. Lemme just say, you’re not gonna get the records in there cheaper anywhere else! Support the independent, get down to 27a Pratt Street in Camden and buy records.

OUR MONTHLY TOP TIP Now that studded goods have been rinsed by mainstream fashion, you really have experiment with your style to avoid looking like the whole of Essex/Dalston/Birmingham. We found that Pigeon spikes add an edginess to your leather jacket like nothing else. And even better they’re free! Our favourites are by Bird-X.


BY FISHER

I know him as Marco you, however, probably know him as either Marco NFT, Terminal Gagger, Casey Gash, Vinny Typhoid or the geezer that runs that pilates class your fat Aunt Pam goes to. I met Marco a few years ago at a Gaggers rehearsal, we said hello then we didn’t really say much to each other until he overheard myself and Shaun talking about the brutal porn that Max Hardcore releases. “Max Hardcore’s a fucking legend,” I suddenly heard from an excited voice over my shoulder, we then spoke about the most disgusting porns we’ve seen for about 20 minutes. I get on well with wrong’uns. So does he. I think it’s why we’re friends. Boring question first - What made you decide to start No Front Teeth records? - It was in 2000 and we just thought there wasn’t enough European representation of American bands we liked - bands on labels like Rip Off, Hostage, and Disaster etc. so we wanted to spread the word over here about bands like that. The English scene was a complete non-event at the time. We also started NFT as an outlet to release music by bands we were in, with the first being Low Score City. Funnily enough we never intended NFT to be a full-fledged label - we were initially a zine that was going to release compilations every so often. It’s rare nowadays that you’d just buy every single record that comes out on a label simply because everything they’ve put out in the past was so great, I think you’ve got that on lock. What labels did you love when you were growing up? how about now? - Definitely the aforementioned Rip Off, Hostage, Disaster but also early labels like Posh Boy and Dangerhouse and definitely current labels like Dirtnap, Johnny Cat, Goner and Deranged. I think TKO was a massively important label at the time we started NFT, they were so prolific and really helped spread a lot of punk around and get a lot of bands heard globally. Any real inspiration for your art style? - Not really, art is all I’ve ever loved and I work in all mediums so I don’t really have a particular style. Punk-wise I have definitely been influenced by Jamie Reid, Gee Vaucher, Jessee Michaels, Tom D. Kline - I was hugely inspired by all the records I was buying as a kid. My favourite artist is Francis Bacon - who definitely had an impact on my painting style and love for painting in general. Why do you refuse to eat sauce and cheese? You’re Italian for fucks sake. Do you hate coffee, Brylcreem and shit mopeds too? - I don’t like convolution. Which is why I like punk rock. Sauce

on food doesn’t enhance a flavour it kills the original flavour. It’s like sauce is what turns punk rock into rock, you know all the added on bullshit like the solos and uber-production, that’s the sauce. Plus it mostly tastes like shit. Mayonnasie? Fuck that. I love coffee but it has to be real coffee - I’ve never had an instant coffee in my life. Growing up my Mum would give me and my sister and espresso every morning that would have a little drop of Sambuca in it instead of sugar, that will get your motor running. Brylcreem’s fine and I prefer Lambretta to Vespa. Any guilty pleasures as far as music goes? - Well, I love country music which is not really a guilty pleasure but I do like some real shit like Red Sovine. I have a soft spot for some really shit electro pop stuff like Baltimora! I think that stuff’s quite punk actually...maybe it’s just the Italian in me.... Who was the biggest bell end in music you’ve met? - Busy Signal – the first Gaggers drummer. Didn’t give a shit about anything. Had a beard. If you had to go gay for a Gagger which one would it be and why? - Bushy for his body...that’s some Peter Andre six pack shit right there. Favourite book / film? - I only read factual books about the history of punk or skateboarding and art books. In terms of novels it would have to be ‘The Catcher In The Rye’ or ‘Naked Lunch’ but I don’t really read fiction. Some books I love are ‘Nashwille Babylon’, ‘The Curse Of Lono’, ‘Built To Grind’, ‘Punk Is Everything, Punk Is Dead’, ‘Radio Silence’, ‘Treat Me Like Dirt’, ‘All Your Ears Can Hear’, the Snakepit Books, Bauhaus books, Crap Hound...so many. I’m the same with films – pretty much only watch documentaries. My favourite movie would probably be ‘The Grandmother’ by David Lynch but I love the Roky Erikson documentary ‘You’re Gonna Miss Me’ and also the Rockets Redglare documentary. ‘Streets On Fire’ the Santa Cruz skateboard video is super-important to me too, I grew up with that and it’s etched in my mind alonmg with the amazing soundtrack that would influence me for years to come. What’s shitter, Psychobilly or the gay mullet Biters-esque fad in punk right now? - Well, I have absolutely no interest in Psychobilly but I do dig a lot of powerpop. I prefer early stuff like the Other Kids, Plimsouls, The Sponsors, Quincy, LA Burgers...shit like that but I do dig a lot of modern stuff too like The Cry, Plastic Letters and Sonic Avenues. Most hated band? - Hands down The Beatles. They are given far too much credit for a bunch of pussies. They were, and still are a national embarrassment. The Beach Boys should have been that band that were as revered as The Beatles were. They were true innovators and they got stiffed. Any bands you wanna recommend?


- Heroin Diet, White Wires, Spits, Inservibles, Low Culture, Chemicals and everything on No Front Teeth What would be on your gravestone? - Here lies Marco NFT aka Terminal Gagger aka Casey Gash aka Vinny Typhoid aka Vinny Rodrigues aka Vinny Sainte Rose aka Peps E. Coli aka Jimmy Jabber aka Trick Jagger...and why not. Any last words / thanks or anything? - Cheers Fisher- for the interview and for all your support with the Gaggers including merch mugging and photo/filming duties. Thanks to all the loyal NFT supporters, you rule. Gag On This, No Used-To-Be’s.

BY RAISSA

As the only Italian here, I thought that it’s only right to have a monthly column talking about the best things from my country. Forget about pizza and our bikini clad girls, where Italy really ruled was in the golden era of movie soundtracks in the 60’s and 70’s, thanks to our awesome composers. These composers paid attention to every little detail of the movies. They tried to captivate all of the “colours” and shadows of the pictures in the film. They thoroughly depicted the scenes with their music. Cinema and music have never been as close as they were back then; back when they were both speaking the same language. That language was quality. The key to old Italian soundtracks is that exactly quality, a quality that only a master composer could achieve. Let’s talk about a great Italian muscian Armando Trovajoli. Trovajoli died last month at the age of 95, but when he was young he led his own pop orchestra. He was entrusted with an orchestra after graduating from the Accademia Nazionale di Santa Cecilia in Rome in 1948. RAI gave Trovajoli a pop orchestra set with 12 violins, four violas, four cellos, one flute, one oboe, one clarinet, one horn, one harp, one vibraphone, one electric guitar, one bass, a set of drums, and a piano. Trovajoli himself played the piano in the orchestra. In 1952-53 he collaborated with Piero Piccioni on a weekly musical broadcast called Eclipse. In Eclipse the orchestra was directed alternately by the two composers, in a style that was extremely refined and sophisticated. The style of music played by Trovajoli’s orchestra on Eclipse was very different from the music of radio orchestras at the time. A passionate Jazz lover, for many years Trovajoli was considered to be the most important jazz musician in all of Italy. He was invited to represent his country at the International Jazz Festival held in

Paris at the Salle Pleyel, playing alongside legends such as Duke Ellington, Louis Armstrong, Miles Davies, Chet Baker, Stephan Grappelli, Django Reinhardt and many more. He was one of the most important composers and conductors of many of the jazz scores for low-budget exploitation films of the commerida all’italiana genre. He collaborated with Vittorio De Sica (most famous “Boccaccio ‘70” and “Rugantino”), with Giuseppe De Santis in Bitter Rice (1974), Dino Risi, Ettore Scola and others, for a total of over 300 scores. It’s pretty weird reading all these italian titles but every single movie i mentioned had an important role in the sixties and seventies international cinema. At the top of his masterpieces we can find the original soundtrack of Ugly, Dirty and Bad. He was was a prolific composer for Italian films and stage musicals. He worked with many of Italy’s leading directors, including Mario Monicelli, Dino Risi, Ettore Scola and Vittorio De Sica, for whom He composed music for La Ciociara (Two Women, 1960) and Matrimonio all’Italiana (Marriage Italian Style, 1964), both of which starred Sophia Loren, who became a friend. When Loren was going to Hollywood for the first time in the mid-1950s, Trovajoli composed and recorded with his orchestra a song in Neapolitan for her, Che M’è ‘Mparato a Fà (What Did You Teach Me to Do?), which did much to launch her in the US. Trovajoli created his own music style. He always tried to blend jazz with Latin influences, 60’s boss and new psychedellic and uptempo vibes. My Top Trovajoli Pick’s: DECISIONE BEAT TROMBONE LOVE IS A WOMAN MAMBO BACAN SAMOA TAMOURE’

BY NEUS

Avid readers of ONE WAY TICKET will remember THE LADYKILLERS being featured in a review in the 1st edition of our fanzine. Well, I finally got to see them live just a couple of weeks back and wowza, what a gig! A 5-piece garage band, who have been rocking their garage rock sound on stage since 2009. While the front man is a ball of fire going up and down the stage -he would have rocked on the ceiling if he could! - but what impressed me the most was the guitar player and his finely brushed “Rollie Fingers Moustache”. What a lady-killer! Dignified, sophisticated, refined, and above all else, ominous. But anyways… The Ladykillers have supported the now signed Jim Jones Revue, they have also played The Vintage at Goodwood and Boomtown


festivals and have toured the USA too! This active London based band of ‘catchy choruses and slick guitar riffs’ are currently playing shows and their debut album #introducingtheladykillers is out now on iTunes and from their website (theladykillers.bandcamp.com) … so let’s see how life is in the boots of a Ladykiller: (The Ladykillers are Luke -Singer-, Jim – Rhythm/lead Guitar-, Joey –Rhythm/Lead-guitar-, Shaun -Bass- and Rob -Drums-.) Neus- So I know you’ve probably been asked about this many times but do you like Ealing comedies? If yes, did it have any influence in the name of the band? Luke: Funnily enough, yes. I studied film for a bit and came across it and just dug the name. At the time, I was surprised that there wasn’t any other bands using it. Then I did a Google search... Neus- So You started your band 4 years ago, how did it happen? What was your motivation and what were your influences? Do you have any side-projects? Luke: It really just all began in a bedroom with a couple of beat up acoustic guitars. Jim and I have been friends since we were young kids and as we got into music I think it was always inevitable we were going to form a band. We had a mutual love for 50’s rock and roll and 70’s punk rock and it just grew from there. Shaun: I currently Play Drums in two other bands, The Gaggers and the Electric Cocks. Neus- I understand that, primarily, members of the band are from Harlow, Essex. This little town has a rich and plentiful rock and roll history and music legacy including Newtown Neurotics, The Sods etc… how do you feel you fit in or even carry on this heritage? I once went to The Square (Music venue in Harlow Town) and I caught a glimpse of a poster of Harlow’s bands family tree, are you part of it? Luke: I think when we formed, we we’re maybe on the tail end of what had been quite a prosperous period for Harlow bands. I don’t know whether it’s just where we are now older or maybe out of touch but there certainly doesn’t seem to be that desire for young kids to be in rock n roll and punk bands anymore. I think the poster was being drawn up around the time we formed, so we’re not on there but I’m sure Shaun and Joey are on there from other bands. Shaun: yeah I remember that, someone had some serious spare time drawing that thing up! I think my old band the Seminals are on it. Neus- Your album ‘#Introducingtheladykillers’ is out now, how has your sound changed since you started? What’s next? Luke: Well we initially began life as this weird pseudo rockabilly band. We were never quite taken in by that crowd and we were always dividing opinion between the purists and those who perhaps, were also involved or fans of the punk and garage scenes. Unlike a lot of the other bands in that crowd, we write our all own stuff and we rehearse weekly. So those shackles eventually came off and we stopped trying to appease to a certain sound or style and just play what we thought sounded good. Once we bumped up to a five piece, when Shaun joined, I think we were comfortable and complete. During the recording of the album we began experimenting with

some synths and electronic sounds so I expect that’s something that will probably continue.

Neus: The Ladykillers have been on tour in Europe, but we are seriously interested in the USA Tour. Were the Americans welcoming? And Vegas ….did any of you see themselves re-creating a scene from Fear and Loathing in Las Vegas? Is there any plans of touring back the US? Luke: It was awesome. We were brought over by the label Wild Records and I think the two big shows we did with them still stand as our best shows ever. We heard rumours that it can be a tough crowd over there but that wasn’t the case for us. The guys were very welcoming and took us around Vegas and Hollywood and generally just got us very drunk and gave us great food. It’s still crazy to think back about the experience and depressing that we’re not back this year. Fingers crossed for 2014. Shaun: I dunno. Since joining the band on bass last year, the furthest I’ve been with them is Croydon. They were lovely to us. Neus: Which bands do you play with that are similar? What’s the latest records you guys dig? Any recommendations? Luke – We’ve played with the Jim Jones Revue a couple of times and we supported The Computers in January. The Ten O Sevens are another band we love playing with and they too have roots in Harlow. Shaun: I’ve been listening to The new Crazy Squeeze LP, the Jacuzzi Boys - Glazing and the Love Triangle - splendid Livin’ single to name a few. I’d recommend saving your pocket money for the Ten O Sevens album when it’s released! Neus: Any places you used to play or hang out in London that were legendary and don’t exist anymore? Any gig anecdotes? Luke: The majority of the places we’ve played are luckily still standing but we did play the last ever show at The Luminere before it closed. Our favourite venue to play in London is probably the Lexington and it would be heartbreaking if that ever ceased to exist. Shaun: I don’t think the Trash bar was legendary? Neus: Favourite place to have a 5am drunken munch in London? Shaun: If I’m drunk at 5am, I’m not too worried about what’s being put in my mouth. Luke: The Chicken shop opposite The Unicorn on Camden Road. Its fucking rank but I’ve been there more than once. Catch The Ladykillers on April 19th at Some Weird Sin, The Rattlesnake, Angel.


Rapt Records is a London based record distributor/label, and a place where we share, expose and promote the music we love. For those of you who bothered to check out my recommendations in the last issue, here are a few more picks from Rapt for you to shake your bones to... For fans of vinyl, all listed records (and more) are available to purchase via mail order, and at the One Way Ticket club nights. Until we launch our website, feel free to like our Facebook page to keep up to date with all the latest music we release and promote - www.facebook.com/RaptRecords. This month Gal and Whitey of Rapt recommend:

Mountain Bike - Everything But a Gift 7” (Azbin/Madam

Moustache - 2013) Mountain Bike are another recent band hailing from Brussels (is there something in the water?), and featuring members of Warm Toy Machine, Thee Marvin Gays & the Mighty June Moan. If you are familiar with any of these bands, then you know what to expect from Mountain Bike: the best kind of poppy garage, full of big riffs, syncopated guitars, complimented by atmospheric vocals, which is something we particularly like about Mountain Bike. Titled track “Everything but a Gift” is perfect for starting the day. It’s hard to ignore the catchy, relentless chorus, and have found ourselves playing it countless mornings since it’s release last month. On the reverse, “Nothing At All”, could not be more opposite. Lovers of atmospheric psych garage rock will prefer the dark, melancholy mood of this track – which makes a great B-side, to a very solid debut single from a very promising new band.

White Fangs - White Fangs LP (Frantic City/Azbin Records -

2012) This Brussels’ quartet’s debut release is filled with raw, primitive garage punk rock. This LP has it all - that modern fuzzy guitar sound, angst ridden Adolescents-esque punk rock attitude and dark, twisted rockabilly undertones reminiscent of The Cramps. All of this is complimented by frantic vocals drenched in reverb, giving the the songs a hectic chaotic vibe. The riffs are relentless, the choruses are big and there are lots of catchy hooks which will be left stuck in your head long after the record has stopped spinning.

Meat Market - Meat Market LP (Under The Gun - 2012)

Despite the shitty London weather, I’m a sucker for sunny, laid back surfy rock’n’roll. This Californian band play great garage-y lo-fi songs, with Clash inspired guitar melodies that are sure to brighten up a rainy day in this city. In the same vein as modern bands like The Beets or the Black Lips, Meat Market tick all the boxes in terms of ‘Fun Music To Listen To When Hanging Out With Friends’. With catchy choruses, harmonising and jangly guitars, this album has a jam after jam. This is one you will end up playing everyday (as long as you’re not a goth...).

Black Manila - Shake That Thing 7” (RIP - 2013)

Black Manila are a South London trio who play British bluesy garage. The influence of ‘swingin sixties’ bands like The Beatles and The Who are clearly evident in the guitar licks from singer and guitarist Gareth Hoskins. The solos found in-between the heavy, off-beat riffs ensure that Black Manilla have your full attention as the song plays. The title track’s screeching vocals bark at the guitars, giving the song a rocky edge like the rhythm and blues of the 1950’s, but it’s a modern take on the above that creates the fun, dancey and SUPER catchy tune. Bassist Conrad Armstrong takes on the role of singer for the breezy, mellow B-side track ‘Hoverfly’, which has a lighter 70’s beat rock feel. The lyrics tell of a farewell to an unhappy relationship, but is juxtaposed with happy rhythm guitar - ironic considering the A-side track talks about luring a girl to give her hand and come and “Shake That Thing”...

ONE WAY TICKET FANZINE N.2 London, April 2013. onewayticketlondon@gmail.com Illustration and graphics by Raissa Pardini find us on FACEBOOK and join our release party every first saturday of the month with bands and djs.


here we go with some friends


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