is a free DIY magazine based in London. write us here: onewayticketlondon@gmail.com ONE WAY TICKET CREW Editor in Chief / Creative Director Raissa Pardini Managing Director Neus Ruiz Contents by Raissa Pardini Neus Ruiz Daniel Husayn Dr. Fishlove Matthew Liam Fogg Cretin Crowley Frieda Strachan Stephanie Morin Dave Berkham Eva Earwaker Alexander Coates-Leprechauns Bert Cabot Justin Crumpton Samantha Gladu Bobby Charlton Foster @ Nuisance Club Paul Manchester @ Dirty Water Keith Milla @ Bad Vibrations Illustrations by Ika Lesniak and Raissa Pardini Editing by Raissa Pardini Neus Ruiz Graphic by Raissa Pardini Printed at CLP London www.clpeurope.net Follow us on facebook: One Way Ticket Follow us on Instagram: Onewayticketlondon
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NEWS SECTION A FOGGY NOTION by Matthew Liam Fogg
In the latter stages of December, Bad Vibrations and Lanzarote Events teamed up for a five-date musical excursion housed in various venues around London. The likes of Dead Meadow, Loom and Dead Skeletons all featured; in a week of live perfomances that also saw The Shacklewell Arms play host to an ‘all-dayer,’ which was impressively compiled of artists plying their trade to an aticipating East London audience. Budding Shoegazers Kult Country enthralled, whilst Eat Lights; Become Lights brought their growing reputation to the capital - fresh from a Liverpool Psych’ Fest performance that glowed amongst some of Europe’s heavy hitting psychedelic acts. Elsewhere, experimental whiz kid and guitar legend Lee Ranaldo of Sonic Youth fame took over an equally as revered venue in London’s The Garage in the wake of his latest solo effort, Last Night on Earth. It was a welcome performance for fans new and old, significantly for the latter, with support coming by way of former bandmate and old friend Thurston Moore. A man who bewilderingly does need an introduction, despite being a part of the seismic musical shift early 90’s Britain, John Power made sure the humble surroundings of Brixton Jamm were bustling this November, showcasing a catalogue that highlighted the positives of having a lengthy and successful career in music. Songs new old and aired, with The La’s and Cast favourites nestled amongst the setlist of the Scouse singer-songwriter. Budding London band Manflu shook off the cold in one of the months where the population is most susceptible to the supposed male-only illness from which the group derives it’s moniker, with a November album launch in North London. Already a number of years in the making, Manflu’s Joys of Life was finally materialised and successfully released on a limited CD format, with a promise of a download/vinyl release early in the New Year. Long-standing musical hub The Lexington was the chosen venue and for good reason, with fans flooding the upstairs room to partake in Manflu’s first full-length offering.
Pusher proceeded to put their mark south of their home county of Yorkshire, with two vehement shows in Camden and Stoke Newington respectively, bringing with them their quick-rising reputation as a no-frills-five-piece who rely on carefully crafted musicianship and a number of entrancing songs to entice. The group, who combine hair-raising guitar techniques with ear-pricking, gloomy vocals told One Way Ticket that their plan is to relocate to the capital, in hope of pursuing their musical ambition – something that they are well on their way to achieving given their attention grabbing recent headline shows.
Release-wise, November has also been a flourishing month. Particular highlights coming by way of Theo Verney’s second EP and debut Vinyl release Heavy Sunn, as well as Brooklyn-based Spires debut 7” Candy Flip. While Spires may not be London news per se, expect them to grace the city soon, as international recognition is slowly substantiating and a trip across the pond beckons. As the penultimate month of the year draws to a close and December begins, those not too preoccupied with the stresses of another holiday season should find solace on this year’s final month’s musical offerings. A Lola Colt single launch at the aforementioned The Lexington, as well as an appearance from what is arguably one of the most influential bands of the last couple of decades, Yo La Tengo, should provide welcome distraction to the hubbubs of the festive period.
FACTORY FLOOR by Daniel Husayn
Lots of new and exciting releases coming up, each month seems to keep getting busier. Once again starting locally. The Franceens have produced a wonderful album coming out on TNS Records. If you didn’t catch them at Garageland then check out the new recording. Sometimes I feel like it has the vibe of a White Wires LP, but in a distinctly non Canadian way. Role Models have tracked a new EP. It’s a bit of a strange experience trying to put it all together as we were offered a chance to record in a College in south London. As the Guinea pigs for the students it wasn’t a straight forward experience. The songs were finished here and will be ready for release soon. The Smear have finished an amazing new demo. I am not sure of the final format but for now you can hear it on their soundcloud page. Another band featuring members of the Love Triangle is also Personnel. The off the cuff delivery and lyrics that make the mundane seem sacred have me captivated. Bella Black have a record coming out on Rapt Records. An eclectic and hypnotising clutch of songs. Rhubarb Triangle have finished mixing their EP. A wonderful reminder of freakbeat greatness. Check them out as they lurk about town playing shows. Further afield there is allot going on. Of course there is a your usual dose of Crust lingering in Europe with splits by Anger Burning and Gau. Traitre are a new band from Lille who play Oi tinged punk. Metric Eyes, another new band this time made up of members of the Briefs, Toyotas, and Boonaraaas. If the names of member’s previous groups aren’t enough to get you interested, just have a listen to a song from the forthcoming demo. You will be hooked. You garage types need to check out Ali Barbare And The Grinds. French madness with the curt sensibility of the Angry Samoans done in an entirely loose, fuzzy, garage punk style. For those of you whose attention span have been destroyed by being raised by the television set, 14 songs in 14 minutes will surely keep you interested. Snotty 77 punk a la the Cyanide Pills in german you say? Zustände is Germany’s answer. Mixing is in the final stages out should be done soon. Anybody check out the L.A. Drugz 12” that just came out? Do it. If you can’t get enough of Justin from the Clorox Girls work also check out his other band Maniac, featuring members of the Girls. They have a new LP coming out that will leave you with the aftertaste of an LA house party. Maybe you shouldn’t have done all those drugs. Geyser hail from Sudbury Canada and will have a 12” coming out. If you don’t know the Sudbury scene then check out Strange Attractor. Houston’s own The Real Energy also have a new LP coming out. If you haven’t already, check out their 2010 LP The Energy’s First Album. Speaking of Texas, Codetalkers two drummer experiment has been committed to tape and will out sometime soon once again tracked at the Marked Men’s studio Cool Devices. Featuring members of the Distressers. Piss Test. Oh Piss Test. I’ve just finished mastering the new LP. Wonderful. They have a European tour in the works. Lets convince them to come to London and we will show them a good time like when the Chemicals were here. More hardcore goodness has come out of Toronto (besides the Mayor) in the guise of a new Valley Boys record. And finally the finishing touches on the Estranged masters are done and it’s off the press. New LP and tour of Europe this winter, but alas no UK dates. Other bands with releases in the works: Modern Pets, Rebel
Steel, Slugz, Tenement, The Rätz, Hellshock. The North London Bomb Factory http://hajjihusaynmastering.wordpress.com/
*INTERVIEW WITH STEVE FROM
DEAD MEADOW by Raissa Pardini
A mix of things is what I feel we are.. Touring and meeting new people it seems like everyone has their own take on who we are but it is not usually right. First off we are not a “heavy” band.. we never were and it was not our intention. We were into Trex and Hendrix.. We like heavy elements but we also liked classic song writing. Especially when we first started the band if we could have found a time machine we would have left and gone back to the 60’s. To think we had any influence from bands like Kyuss or what have you is completely mistaken so it bums me to read reviews that we have lost that in our sound. So for the record we never wanted that in our sound.
You added a second guitar on Feathers and you got back to the original line up recently. It seems that the band has always been followed its way spontaneously in response to what the band needed. Of course.. It made sense at the time and he was an old friend. We have always done what we felt not the business. In fact I didn’t know bands were as influenced by outside sources as they are. I have learned that now recording bands and seeing what input managers and labels have on their decisions. It sux. Be yourself and follow what you need creatively. In the end that is the best scenario. Dead Meadow
When touring in Vienna last year, I was priveledged to play alongside the band Dead Meadow. They are great musicians, and it was awesome to have the opportunity to hang out with then, and get to know a bit more about the band, their music and their sound. We started talking about One Way Ticket and this is what happened.. RAISSA: I’ve never been a big fan of live albums in general, but
Three Kings is definitely somethings else than a normal live album. Lots of people think Dead Meadow’s records sound totally better live on stage so Three Kings might has been an important document on showing the audience what happen during Dead Meadow’s gigs..
STEVE: Yeah agree with on on all of that... I also don’t like “live” albums either but after years of being what people consider good live band we felt the need to have record of it and I think Three Kings captures that.. Also it was about fun.. We did a lot of it (such us the filming) with a tongue in cheek attitude. It was a great experience and it documents an interesting era for the band. Kinda the classic time for us just before Stephen McCarty left. Also it was the last show on a 3-4 month tour so we playing some great licks by then.. lots of practice!
After recording “Howls from the hills” in a farm in East Indiana, you recorded Feathers between NYC and Washington DC. How much these locations influenced you on making an album? The farmhouse in Indiana was a really special place. We ended up doing Old Growth there too. It was about isolation and getting into your thoughts but then there was also limited time so we were on a deadline. On the other hand with Feathers we had unlimited time so we did a bunch of tweaking over months. I am not sure what is a better experience but it is different. I had great times in both cities and rural experiences. In the end of the day it is not the recording of the album that shapes the music it it is the writing process. I think you write different types of music in urban vs. nature but in the end of the day it just depends on your personal headspace.
Dead Meadow have been catalogued into music genres so many times before. What i think about Dead Meadow as to other bands at the moment (OR among others) is that your sound is just a modern result of a mix of genres, experiences and generations of the past, projected a new contemporary vision. What’s inside the music of Dead meadow then? What have you been more influenced by through your carrier?
Dead Meadow’s Feathers
How’ has your last tour been? Tour has been fantastic. Tons of new places and friends.
Matador Records seems to be a happy family of different artists, different genres and different musical approaches. I believe the main aspect that get all of this stuff together it’s Quality. During the years, music quality changed from being very technical to be something different, something that creates an experience on you, far from being technical and very structured. Is the band feeling the same? I agree that quality means something.. It can be any style and genre but you know when music is good or “phoned in” and faked.. Matador always had a good nose for soulful real music. I think it was never about technical ability... It is always about the heart. Good soul and heart to your sound makes any band have longevity
Growing in Washington DC gave you the chance to be involved in a musical scene that did believe in sharing a free knowledge propaganda through fanzines, magazines and a DIY production in general. How much did it influence your generation? For me personally, as an artist first, and especially when I was younger.. all of the fanzines and home brew art that was being made was really inspiring. Sometimes the organic DIY thing is one of the best ways to get the creative juices going as compared to the overally shiny and processed. So I am not sure about my generation, I don’t try to talk for other people, and especially when I kinda can’t relate to them... but for me personally the propaganda and collage art gave me a sublime level of being excited for once.
ASK DR. FISHLOVE by Dr. Fishlove It’s hard being a paragon of truth and justice, you get critics (Beethoven had them too, bet you can’t name any) but I soldier on because I know I’m fighting the good fight no matter how many people tell me my column is, “poorly constructed dross,’” “probably written by a miserable virgin,” (virgin on shagging every woman in London, I’ll have you know) or a “tragic cry for help.” I know what I’m doing, my aim is true as I hold mediocrity in my crosshairs. That said, however, I’m sitting here in my velour tracksuit nursing a Caffe Marocchino (I take it like I take my women, hot, frothy and with my meaty hand wrapped round the middle) currently wondering what the bloody hell I should write about. Should I prattle on about the new Giuda album like everyone else even if they do sound like Slade filling in as a house band in ‘Allo ‘Allo (i.e. crap)? No. Of course not. If you’ve been keeping up with my column which, let’s face it, you probably have, it’s phenomenal, I have occasionally gone on a Literary journey and I think I’ll keep that up this issue. I have decided to include an excerpt from my new erotic western I’ve been penning, ‘Scarlett’s Skin.’ Have a read and tell me what you think or ignore it and keep your thoughts to yourself. Either / or.
• • •
The hot Texas sun beat down upon Scarlett’s forehead and breast soaking her with perspiration but, unfortunately for her, no one else was around to help her with the maintenance of her horse drawn carriage apart from the new, mysterious farm hand. “Need a helping hand, Ma’am?” he asked removing his hat, his eyes seemed to burn into Scarlett’s. “Why yes, sir thank you,” she replied, “the front and rear axles were connected by a main shaft called ‘the perch’ or, if you prefer, a ‘reach.’ Furthermore, the splinter bar that supports the springs has degraded through use, it needs replacing as well as the paint work needing a touch up BUT you can only use a sable brush otherwise known as ‘a liner,’ if I was being picky the Imperial could be varnished but that job can wait.” “An Imperial?” the young man replied quizzically, the sweat now soaking his t shirt through so Scarlett could see his washboard abs. “Yes, an Imperial. Its the name for a luggage case that is stored on top of the carriage. A second story compartment of a coach, if you will.” Then they had sex.
RECORD LABEL OF THE MONTH with RIP Records
curated by Raissa Pardini First Release. Black Manila - Shake That Thing - it’s a really unpretentous
rock and roll tune that we loved, the label was born from striving to release this track. The video has the band dressed as a bear, santa and a sheik on fairground rides drinking whiskey.
Do you like working more with the local music scene or promoting the European/International bands? We like to get really involved with our acts, being as personal as possible so it’s definitely important that we are able to spend time together. Saying that though, if we heard a track that we loved across the world and had the opportunity to release it then we would, that’s what it’s all about at the end of the day - putting out decent tunes regardless of where they’re from.
In terms of genres, is RIP trying to sign similar bands or are you going for an open approach? We’ve never even had a discussion about genres to be honest, if we see someone we like and they have a song that we like then we think about releasing it - I’d love to put out some Malian music one day, I love that stuff. We have great taste across lots of genres so expect the label to have many different phases and identities over the next few years!
Cds / Tape or Vinyl. Vinyls are the nicest thing to put out, they look great and people
really look after them. I love the whole ritual of putting a vinyl on too, always sounds a bit better and you take the time to listen to the track more - everyone fast-fowards on everything else. Wouldn’t mind putting some tapes out some time though, will never do CD’s.
3 things that RIP is going to do soon. 1, Buy the Champagne. 2, Open the Champagne. 3, Down the bastard.
*INTERVIEW WITH ALAN
THE ONLY ONES
by Neus Ruiz and Raissa Pardini
The first album I bought was by an american band called “Earth Opera” which was a big influence on me. It was formed by Peter Rowen the singer who had a very distictive voice which set a tone of voice that I was drawn to in the following years with the likes of Don Covey, Mose Allison, Leonard Cohen. For Peter it was Dylan.
It has been about 35 years since The Only Ones first got together; when you finally got all members and started the band, you were all very optimistic and you had a feeling you were doing something ‘very special’, what was the initial goal and how did that gradually change with the years? Did you meet your own expectations? How was that compared to scene in Glasgow? Back then we definitely thought we were doing something very special, and today I feel that we did that, otherwise the band wouldn’t be relevent today…We now play in more territories than we did in the seventies and our sales are bigger now than they have ever been. The scene in Glasgow was very different with the beatstalkers. This was mass hysteria with girls fainting every night at the gigs, the fans went wild everywhere we played to the point that the gigs were stopped by the police. We had girls sleeping outside our flats every night for most of our career. It was crazy. The Only Ones was all about the music.
Your first gig, back in 1978, was very welcomed by the audience and music journalists. Not long after that, your single ‘Lovers of Today’ sold 28.000 copies only by independent distribution and soon after there was a bidding war from record labels to have you signed, can you tell us how you all felt in that period? We had rehearsed solidly for 6 months and had done an invitation only performance which went well so there was a certain antid=cipation at our first gig at the greyhound in Fulham. Around the same time we recorded “lover of today” and were turned down by a few of the major recod companies so decided to release it independenty to rave reviews and it was record of the week in a couple of the music mags. It didn’t take long for the majors to hear about it and the bidding war started. It was an exciting time. Artwork by Ika Lesniak
For this issue we had the pleasure to interview the Only Ones. For those of you who have never heard of them or are oblivious of their fabled existence well, let me tell you some of their history then. The Only Ones were a short-lived but legendary band from the end of the 70’s punk era. Formed in August 1976 in South London by Peter Perrett, they became famously known for their song “Another Girl, Another Planet”. Their first single “Lovers of Today” was quickly made “record of the week” by three of the most influential music magazines of the time. The Only Ones released three albums between 1978 and 1980 (The Only Ones, Even Serpent’s Shine and Baby’s got a Gun), all well acclaimed by their fans. In 1980, they supported The Who in their American tour, sometime after that, in 1982, the band officially split. Nowadays, the band are back gigging around England. We had a brief chat with Alan Mair to find out.
The Only Ones is one of those bands that has inspired many other bands such as Nirvana, Babyshambles, The Libertines and Blur but not many of us know the story behind how it all began. Can you tell us how you got together and why? The band was formed by Peter Perrett and it took around 6 months for the members to become the only ones as we know it, with John Perry first to join peter, kellie was next and finally myself to complete the band.
What influences did you all have when you started? When did you first become interested in music and which artists inspired you as you were growing up? Can you remember the first record you bought?
The Only Ones
Before being signed to cbs and recording in basing street, you had already began recording at escape studios, what tracks did you record there and why did you choose that place? We recorded “Another girl another planet”, “Oh no”, “Whole of the law” and “Special view” there. The engineer John Burns and his studio was recommended to us. By the end of 1981 and after recording ‘Baby’s got a gun’ it was
all over for The Only Ones, due to Perret’s drug influence and
other factors, how do you remember that time, was it a tough decision to let things go? Recording “Baby’s got a gun” was so difficult. It was such a disjointed affair. We would sometimes record without Peter. Then Peter wanted to use a guitarist he had met on some of the tracks, which turned out to be a disaster. The guy could hardly tune his guitar he was so nervous… and then by the time we did the U.S. Tour in 1980 supporting the who the drug use was now a permanent feature in the daily life of the band which i know was starting to affect the live music and the spirit of the band, so I left after this tour.
As resigning as it may sound, these days the band is known as One-hit wonders for the track ‘Another girl, another planet’. Although it became a hit in the time of release, it also faded pretty quickly. Where you happy when the song reached an increased visibility thanks to the Vodafone advert in 2006?
WINDMILL BRIXTON
22 Blenheim Gardens, Brixton, London SW2 5BZ
FEBRUARY
04 Mean Bikini + Hana Piranha + Roseanne Barrr 06 Barringtone + Stats + ADA 08 “When Planets Collide Winter Warmer Day 1” – Palehorse + War Iron + Grimpen Mire + Ghold + In The Hills + Sealclubber + Wolfshead 09 “When Planets Collide Winter Warmer Day 2” – Necro Deathmort + Slabdragger + Day Of The Locusts + Nomad + Bastardhammer + Greenhorn 15 Klub Motorik: Damo Suzuki with Eat Lights Become Lights + Speak Galactic + Parastatic
I guess some might think of us as one hit wonders, but it’s certainly not what our fans think as they are so into all our albums.
21 Chris Mills & The Distant Stars (USA) + Brent Newman & The Broken Arrows + We Are Dust
The band made a brief come back in 2007 and just in the hype of ‘Another girl, another planet’, how was the experience? Would you think of a reunion any time soon or getting together to record a new album?
25 Kelley Stoltz (USA) + Grimm Grimm + The Near Death Experience
The Vodaphone ad, and the exposure it gave us was the final key in getting the band back together. Around 3 months prior to the ad being on tv i had been trying to drum up interest with the guys to see if they were interested in getting back together. Both john and kellie said they were up for it, but it took the offer of the “all tomorrows party” festival to convince peter. We actually haven’t not stopped playing since 2007 and we are currently recording a new album.
22 “Some Weird Sin” – Ricky C Quartet + Duncan Reid & The Big Heads + The Smear
MARCH
08 Afropunk/International Women’s Day Special – Vodun + Ye Nuns + Madam So 14 “Cosmic Carnage” – Nought + Pigs Pigs Pigs Pigs Pigs Pigs Pigs + Earthmass + Henge 15 Afropunk – The Connectors + Elephant 12 + Yinka Oyewole 25 Austin Lucas + PJ Bond
RECORDS OF THE MONTH by One Way Ticket All Stars Medical Tourists - S/T Autistic Youth - Nonage LP Giuda - Lets Do It Again Cut - S/T LP Jacuzzi Boys - S/T LP Night Beats - S/T LP Go!Zilla - Grabbing A Crocodile Bass Drum Of Death - S/T LP The Orwells - Remember When Wavves - Afraid Of Heights Shocked Minds - S/T LP Nightmare Boyzzz - Bad Patterns Sulk - Graceless
28 Northern Star Weekender Day 1 - White Noise Sound + 14 Iced Bears – Official + 93MillionMilesFromTheSun + Pusher 29 Northern Star Weekender Day 2 - youngteam + The Greencoats + Culkin + The Electric Mainline + Soundwire + Satsangi 30 Northern Star Weekender Day 3 - The Wolfhounds + Daniel Land + One Unique Signal + Dead Rabbits + The Carousels + more TBA
OLD Big Boys - The Fat Elvis Collection Buzzcocks - Another Music In Another Kitchen Psychic Tv - Dreams Less Sweet Cocteau Twins - Victorialand Gun Club - Mother Juno Thin White Rope - Exploring The Axis Curtis Mayfield - Superfly The Darkside - All That Noise Tom Petty And The Heartbreakers - Damn The Torpedoes Nervous Eaters - Hot Steal And Acid Viletones - Taste Of Honey Index - The Black Album Dexy’s Midnight Runners - Searching For The Young Soul Rebels
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you have yourself a volatile mix. So when Menswe@r split, I ran like the wind, and didn’t look back.
NUISANCE CLUB by Bobby Charlton Foster There was an article recently saying that 2014 would be the year of the Britpop revival. Rubbish. It’s been going on for years… When myself and my co-promoter Steve Horry launched our monthly Britpop club Nuisance, 4 and a half years ago, it was our sole intention to play the records we loved and had never stopped loving, in the hope that like-minded people may want to come along and join us. And they did. Within a couple of months we were getting a dedicated following and it was clear we weren’t alone in our Britpop reverie. People have criticised it for being retro, overly-nostalgic and not bringing anything new to 21st century nightlife, but this misses the point. The demand for a night like ours was clearly there already and it certainly wasn’t just for people to reminisce and regress back to some twisted version of their teenage selves, but to be able to go out and dance to songs that meant more to them than anything before or since. This is borne out by the way some of our most dedicated attendees are actually younger than some of the songs they are singing their hearts out too. It’s also no coincidence that we’ve seen so many Britpop bands reform in the last few years, and play to huge numbers – Pulp, Blur, Stone Roses, and most successfully Suede, who’ve not only managed to come back sounding better than before but have also delivered an album in Bloodsports that is arguably equal to their landmark albums of yore. This has then prompted further interest in some of the other players of the time – Shed Seven sold out their recent tour in record time, Menswe@r are playing in March after a few successful charity gigs last year, Gene are strongly rumoured to be announcing something soon and the clamour for Mansun to perform together again grows ever stronger. Even the inevitable barrel-scraping has begun with news that Republica and Space are joining forces for a UK tour in the coming months.
Menswear back in the 90s
I caught up with Johnny Dean to ask why he felt now was the right time to return with Menswe@r: my experience with Menswe@r the first time around was a bit chaotic. I was an undiagnosed autistic in a notoriously cut throat business surrounded by vultures, vampires and vagabonds. There are some good people, but they are like gold. Unfortunately Menswe@r were seemingly lumbered with some of the worst, most morally bereft, most self motivated chancers you could probably ever come across. Add internal band difficulties, and
What tempted me back? Well I did the first gig as a way to raise money for the National Autistic Society. I was still a little anxious about getting involved in music again, but after a couple of rehearsals with the guys and girls involved I relaxed and let myself enjoy it. This led to the revelation that I was actually enjoying something that meant to be enjoyable, because the first time ’round that didn’t happen. The gig itself was so much fun that I regretted running away 15 years previously, I felt I had wasted all that time hiding and denying my nature. So I had this mixture of happiness and regret. Bitter sweet. The plan this time is really quite simple. To have fun and hopefully entertain. I don’t really care about anything else. Menswe@r play the Bush Hall in Shepherds Bush on Weds 26th March with support from former Strangelove singer Patrick Duff and The Bright Ones, the best of the new wave of Britpop bands. Tickets available @ http://www.wegottickets.com/event/250167
Nuisance Club runs every 1st Friday of the month at Buffalo Bar https://www.facebook.com/groups/NuisanceClub
BOOKLET COLLECTION Ogdens’ Nut Gone Flake choosed by Raissa Pardini
Ogdens’ Nut Gone Flake is a concept album by the English rock
band Small Faces.The album was originally released on vinyl in a circular novelty package of a metal replica of a giant tobacco tin inside which was a poster created with 5 connected paper circles with pictures of the band members. The award-winning artwork for the album cover was done by Mick Swan who was a product of the sixties art school scene.
CINEMA SECTION When Cinema meets Music
FUGAZI: INSTRUMENT by Frieda Strachan I don’t know how many times I’ve watched this documentary about the best band that ever existed (still exists?). On a daily basis I pray that they will end their hiatus. Often on that slow sleepy commute to work I daydream about the day the announcement will be made and feel genuine excitement. Until then, we have Instrument. For Fugazi fans, punks, feminists, equalises, gay right activists, political activists, alternative kids, straight edge - it’s a moving bible of how to be the ideal band. Filmed over the course if ten years (1987-1997), it’s not just about a band - the politics of Fugazi are a main focus, songs are shown in
full, no band member profiles are given, and the live footage is generally filmed in one continual shot from the side of the stage. Nothing is scripted, and Instrument is true to Fugazi’s punk ethos – no direction, it just flows. Being a band to Fugazi wasn’t just about the songs, it was also about respecting the fans, having the fans respect them, equality through ignoring industry rules, and raising awareness (nearly all live footage shown is from benefit concerts). It was about having a good time - or if you are the guy that appears at every gig wearing a skirt, the best time. For a documentary that is so loosely constructed - there is no narrative and no tangible ‘goal’ – it’s crazy the impact this film can have when you watch it.
The whole of Instrument’s two-hour run is a highlight. Guy Picciotto clambering up the drums to squeeze himself into a basketball hoop and dangle upside down screaming Glue Man, is a highlight. Brendan Canty telling us how a tall man showers is a highlight. Hearing Joe Lally speak about how the band came to be is a highlight. Hearing the couple talk about falling in love and later marrying, whilst discussing Fugazi lyrics is definitely a highlight – not solely due to the Babes in Toyland shirt. Ian MacKaye explaining why Fugazi operated in the way they did is a highlight - but then the latter is also an important and inspiring piece of footage, and not just some random ‘good bit’ that filmmaker (or rather film splicer) Jem Cohen decided to include. The concert clips, the shots of fans going wild, the super 8 camera footage of the band on the road result in one of the most intense and beautiful music films – constructed to highlight the music, not the artist. When you think about Fugazi and the impact they had on the music industry - by refusing to let it have an impact on them through anticonsumerism - the influence they had and continue to have on music, their drive and passion, it isn’t crazy at all. This isn’t a review, it’s a call to action - Fugazi have to be seen to be believed, and once seen, this band ‘could be your life’.
STRAY DOGS - RICHARD KERN by Stephanie Morin « We propose … that any film that doesn’t shock isn’t worth looking at … There will be blood, shame, pain and ecstasy, the likes of which no one has yet imagine … The only heaven is the heaven of sin, being rebellious, having fun, fucking, learning new things and breaking as many rules as you can.. »
Those lines were written as a manifesto, one against what was seen as sloppy academic cinema, ruled by geriatric film critics, without challenge, without excitement. A blank cinema rejected by a blank generation! Nick Zedd, Richard Kern, Lydia Lunch and others were the degenerated bad seeds of the Cinema of Transgression, a more provocative and extreme continuation of the No Wave Cinema which emerged in the New York wasteland of the late 70s. The motto of the No Wave (anti-)movement was artistic transgression through spontaneity and experimentation, which covered not only cinema but also music and any art form. You considered yourself a filmmaker; well you would grab a guitar and start strumming the hell out of it. And the other way around, anyone could borrow (or steal) a camera and go down in the streets, shoot a movie. You didn’t need money or what they call talent. Having guts and getting yours kicks was all there was about it. Richard Kern was possibly the most outrageous and prolific filmmaker in the scene. He started out making fanzines, also played in a bunch of bands like the Drug Whores with G.G. Allin, which was all about doing crazy amount of drugs and getting wasted. He later directed music videos, like the gory Death Valley 69’ he made in 1985 for Sonic Youth. The same year, Kern shot Stray Dogs in Super-8, a short film part of the Manhattan Love Suicides series (including Women at the Wheels, Thrust in Me, I Hate You Now). The plot of all four films revolves around the annihilating and destructive effects of blind love. In Stray Dogs, a painter gets stalked by a creepy young man as he walks with his girlfriend through the streets of New York. On his way home, he tries to shove him back but gets followed all the way to his apartment. He begins painting, taking no notice of his admirer who jerks off on the couch behind him. Frustrated from being ignored and rejected, the stranger ends up literally ripping himself apart. Just then, the artist amused by the bloodshed pays attention to him and sketches his dismembered body. True to the Cinema of Transgression, Stray Dogs displays sleazy violence and sex, cheesy gore effects and sickening characters. While the painter is pictured as a snobbish show-off, his stalker appears as a zombie-like weirdo (remarkably performed by David Wojnarowicz, whose exaggerated body language and contorted facial expressions convey a sense of utter frustration). New York seems like a world inhabited by freaks and lunatics in that disturbing short which managed to capture the vibe of the bankrupted urban decay from that time.
REVIEW YOURSELF by Raissa Pardini
*INTERVIEW WITH
THE FELINES by Neus Ruiz
Color Me Obsessed: A Film About The Replacements (2011) Color Me Obsessed, is a rockumentary by Gorman Bechard about the legendary American alternative rock band The Replacements.
Space is the place - Sun Ra (1974) Space Is the Place is an 82-minute science fiction film made in 1972 and released in 1974. It was directed by John Coney, written by Sun Ra and Joshua Smith, and features Sun Ra and his Arkestra. A soundtrack was released on Evidence Records.
The Felines are: Ditte Melgard – Guitar/Vox, Mei Long Bao – Drums/Vox, Asta Bjerre – Bass/Vox Artwork by Ika Lesniak
All right now, everyone take a seat! Here is The Felines, a mewww all-girl trio from Copenhagen with a love for raw compositions and virtuous musical imperfections. The Felines sound is well-defined by the old and new garage punk bands such as The Sonics, The Gories, Ty segall and Thee Oh Sees. These three Danish girls have toured with bands such as Dead Ghosts, Cheap Time or the Monsters and they have released two EP’s ‘Daddy Walk’ (2011), a 7” via Spanish record label Hey Girl! Records and online through Dirty Water Records, and their latest EP ‘A man stuck in your mind’ (2013). The latter may be a sample of what’s gonna be their debut-LP, to be released very soon by Soundflat Records. Here I catch up with them to get to know more. NEUS: Hey Girls! Tell us a bit about how did you get together
and why?
FELINES: We met where we study, at the musicology department of the university of Copenhagen. We all wanted to start a band at that time, so we started jamming and a couple of months later we played our first gig.
Superfly (1972) Superfly uper Fly is a 1972 directed by Gordon Parks, Jr. This film is known for its soundtrack, written and produced by soul singer Curtis Mayfield. Super Fly is one of the few films ever to have been outgrossed by its soundtrack.
What was the record/song/band that made you want to play punk garage music? We don’t have one specific influence, but when we first started playing, we did some covers of the Pandoras, thee Headcoatees and the Cramps.
In general we’ve been listening to a lot of different bands and artists.
February/march 2014 if everything works out as planned.
You are all from Copenhagen, how’s the scene there? What are some of your favourite bands to play with in the scene?
Last records you guys dig?
The scene in Copenhagen is very mixed. Right now it’s very influenced by post punk and psych. We’ve been playing quite a lot with Halasan Bazar. It’s a band that we dig and they’re our friends too.
Kliché’s “Supertanker”, Nick Drake’s “Five Leaves Left” and some soundtracks from japanese animated movies are some of them. Lately we’ve also been listening to artists such as Ty Segall, the Velvet Underground, R. Stevie Moore, Peach Kelli Pop and Devo.
No.
You play around Europe most of the time, what’s your favourite place? Have you considered crossing the Atlantic?
In Europe, you have shared the bill with some great acts such as Dead Ghosts and Cheap Time, any good stories about live shows? Little quirks that you girls may have?
We had a lot of fun touring Germany. Our favorite place for sure is Münzgasse 13 in Tübingen. Lovely people, great place. We hope to go to the US west coast during summer 2014.
We had a party with Dead Ghosts, they’re very nice guys! We were talking about touring the US west coast with them, let’s see what happens.
When are you coming back to London?
Apart from The Felines, do you have any side projects?
What was the inspiration behind the song “Daddy Walk” from your first EP? What else inspires you to write? Who writes most of the stuff? We all write the stuff. One of us comes up with an idea, and we jam it and develop the song together. Our songs are about different things, but mostly love stories we guess. “Daddy Walk” is about a guy who one of us once tried to hook up with, but then it turned out he was a dad. There’s nothing really serious about that song :)
The Felines
Your EP ‘A man stuck on your mind’ is pretty awesome, what’s behind the theme? Where did you record the album? Are you happy with the results? Not one theme is continuous through the 4 songs. Some of them are about love, and “Meeker Joe” is more about being provocative. We recorded the songs with Lee Tea (The Branded, Thee Gravemen) in his studio, it was cool.
So you are finally working on your first full album now, is that right? What can we expect from your next release, in terms of sound, compared to your last two 7”? Yes, we’re recording our first full album right now, and we’re very excited about it. We’re working with Fredrik Eckhoff (Halasan Bazar) in his bands bunker. We don’t want to reveal too much, but the sound will be a bit different and some percussion has been added. We guess the expression will be more personal and less traditional compared to what we released earlier.
When’s the album due?
Hopefully sometime during spring 2014, but we have nothing planned yet.
Describe your music in three words. That is hard!
FLASHBACK
Section dedicated to the good old music
THE ZOMBIES
THE SEARCHERS /Love’s Melodies
by Eva Earwaker
by Dave Berkham
The Zombies
Love’s Melodies by The Searchers
The Zombies emerged in 1962 to become one of the most iconic bands of the era. They have recently toured America with a band called Et Tu Bruce and the lead singer Jamie White is the son of original member Chris White. The Zombies celebrated 40 years in the music industry in 2008 with a huge concert at The Shepherds Bush Empire in London. The band was formed whilst all members were still at school in St Albans,Hertfordshire.
Just when you think that a 60’s band would jump on the bandwagon of simply playing their greatest hits, The Searchers released a pure pop gem that never got the recognition it deserves. This is one of the most easily mistaken dollar records that you can find.
The single I go back to time and time again and that I love the most is She’s Not There. Released in 1964 on Decca it was a big hit in the UK and got to number 2 in the US. The lead singers vocals build anthem like and the sound cascades and clashes. It drip drops up and down tempo and is both ethereal trippy and earthy gritty in turns,ending abruptly,leaving you wanting more. Essentially a lamenting love song, it was totally unique in its delivery. It has stood the test of time and is a classic. In 1969 trippy psychedelic pop and baroque rock and jazz pop was the thing and The Zombies, a group of beautiful, flamboyantly dressed boys,led the way. The next hit single was Time Of The Season(1969) which was a number 1 in the UK. Their albums include their first UK LP, Begin Here(1965),a mix of original material and R’n’B classics and Odessey and Oracle(1968),which was cited by Rolling Stone magazine as one of the top 100 albums of all time.The spelling of Odyssey was misspelled by the printers but the band could not afford to change it. Many compilation albums followed and their latest was Breathe Out, breathe In(2011). The original line up consisted of Colin Blundstone (lead,vocals) Rod Argent (organ piano,vocals) Paul Atkinson (guitar,vocals) Chris White (bass,vocals) Hugh Grundy (drums).They have split and reformed several times and are currently still together. In October they were nominated for their long deserved place in The Rock and Roll Hall Of Fame. The Zombies tour America and Canada the UK and the Netherlands yearly and in 2011 toured Japan,France,Germany,Greece and Israel. I was recently at a North London music venue and was blown away to be told I was siting opposite original Zombies member Chris White, who was there to watch his sons band,Et Tu Bruce, back from their tour supporting The Zombies,perform .I was undecided about which band to write this article about and that night I made my decision. The Zombies,they never really went away.
The album starts off with the jangly 12-string riffage of “Silver” which could match up with classic power-pop acts debuts like Badfinger and Big Star. Great hooks and eerie vocals. The record was released on Sire Records in 1981 when the band was definitely passed their commercial prime, now being in their in their late 30‘s/early 40’s. But the bands “tightness” and songwriting definitely shines on this record. Like many artists, this record was critically acclaimed but the sales did not provide enough stability to make the album a hit for the general public. A great thing the Searchers did on this record was revisit now “classic” songwriters such as Alex Chilton and John Fogerty. They covered Chilton songs, before the world jumped on that trend. Their cover of “September Gurls” is perfect, the qualities are there just like the original, but not a dead on copy. Prisitine vocal harmonies, jangly guitars, and just a slight change of lyrics. The album is full of other greats like “Murder in my Heart” written by Ronnie Thomas and “Everything But A Heartbeat” by Will Birch. Another personal favorite of mine is the title track, “Love’s Melody”, an original by the band. The song has a driving beat that introduces the melodic jangly 12 string guitar lick that continues through the choruses and gets stuck in your head ALL DAY! This record is one of my favorite cheap discoveries. Everything about the record is deceiving- the cover art, which has a cartoon road with a heart as a stop sign, to the haircuts on the band, you would expect it to be an 80’s “come back” record. Which honestly is probably how most people saw it. But it truly shines as great, cheap power-pop record that is worth every single penny. Make sure not to pass this LP up if you find it in the dollar bin. Now go to your local record store and find it!
*INTERVIEW WITH MARCO CECIONI OF
IL BALLETTO DI BRONZO by Alexander Coates-Leprechauns
MC: Lino Ajello has always been a real fan of Jeff Beck and Keith Richard. He was able to reproduce their distorted guitar sound using a VOX amplifier and some distortion pedal (different pedals, not the same one Cascone took with him from England). He used later a WAH WAH pedal in conjunction with other sounds effects some of which he had made himself! He was very good at creating the sounds. I probably owned the larger collections of vinyl in the band. I still remember that before going to sleep almost every night I would listen to the KINKS, DOORS, SMALL FACES, ROLLING STONES and some BEATLES too. John Mayall Blues Breakers and CANNED HEAT has also been some of my favourites and later on of course The Free and Led Zeppelin. ACL: How did you get to sign for Arc and Italian RCA? What
do you remember about the recording session at the RCA studios on Via Tiburtina? Who was the sound engineer and how was the record produced? It is the same studio where the band Camel (with members of the Primitives) recorded their LP, right? Did any of them contribute to the recordings of Sirio 2222?
Il Balletto di Bronzo
Balletto di Bronzo’s debut album Sirio 2222 on Italian RCA
is one of the most sought after Italian LPs, perfectly illustrating the transition from beat group to rock band. And it all happened in the chaotic, seedy and anarchic realm of the city of Naples. The debut-album of Balletto di Bronzo is in some ways a controversial LP. For lovers of progressive rock it represents an ambiguous work, a sort of unfinished album with great potential that it fails to deliver. In my opinion this assessment is questionable and Sirio 2222 represents one of the best Italian late ‘60s beat/prog-psych/hard rock albums. At the end of 2009 I had the chance to contact the singer of the first line-up, Marco Cecioni, who kindly answered my questions below. ACL: How influential was Raffaele Cascone’s trip to London to
the birth of the band?
MC: RCA Italiana in Via Tiburtina in Rome was our “goldmine”; we dreamed to make a real fortune there with our records, but our real fortune was to be really young (around 20 at the time) and not very concerned about the fact that we were so “different” from all the other Italian groups of that time. To real enjoy what we did we treated our MUSIC AS RELIGION; both fashion and they way we LOOKED were also very important factors at RCA where we were always in the company of lovely miniskirt-dressed young delicious blonde girls from the Scandinavian countries. We adored bands like CAMEL with a great singer like ALEX (ndr Alex Ligertwood who will later sing for Brian Auger’s Oblivion Express and Santana) and possibly the best drummer I ever heard. They were real musicians but we had a better look, at least we liked to believe that! Our producer at RCA looked like a rabbit and at some point his nickname did become “the rabbit”. He was also from Naples of course and I still remember that he would tell us some incredible lies like: “You know guys, you are much better that all those English bands around here”, ha ha ridiculous!
MC: Raffaele was the prophet of the beat generation of that time in Naples, he was our spiritual guide first introducing us to the SHADOWS (he owned one of the very first Fender STRATOCASTER and genuine Fender amp with BINSON echo). The sound was really magic and later on by playing to us early Rolling Stones he opened a brand new door. The blues, the Beatles but mostly he had a real obsession for the Rolling Stones that culminated into composing original beat music with Italian lyrics and Nanker-Phelge influences. ACL: Can Naples be defined the “Italian Detroit”? MC: Napoli has always been a very special place for music in general. It is not by chance that even beat music found the right ground there...the Italian Detroit? It may well be!! ACL: I read that the band was named “Balletto di Bronzo” after
the picture The Bronze Ballet by Edward Wadsworth was shown at the Tate Gallery. What is the true story behind this?
MC: It is a true story: that was the painting! The man who suggested the name Bronze Ballet (in Italian: Balletto di Bronzo) was a great flute player from England with a big Jethro Tull-style beard; he had been jamming with us every night for a while in Riccione in the summer of 1969 I think, it was great to hear him playing blues with us... ACL: What were the main influences for the band at the begin-
ning? Your cousin Lino Ajello seemed to have studied the moves of various Jimmy Page, Jeff Beck, etc thoroughly. Have any of you ever owned a big collection of UK vinyl?
ACL: How the Spanish version of “Nieve Calda” was released?
Why did you decide to sing in Spanish?
MC: I remember very well the version of NEVE CALDA in Spanish language. I think that it sounds pretty good and my voice is not so bad when I sing in Spanish, actually perhaps sounds better than in Italian. Rock singers have a very hard time when they have to sing in Italian. I always thought that rock music is for English-speaking singers, I do not know of any exception to this rule at the moment... ACL: I heard that after leaving Balletto and before moving to
Stockholm you were the lead vocalist for another Italian band called Moby Dick. Can you tell us a little more about this experience? Now I have to explain that the major reason for me to leave Italy and Balletto di Bronzo was: BLONDES! I remember that I was in love with at least 3 or 4 girls in Rimini; one of them took me to Sweden and once I was there...mmmh the real story is that soon after Balletto di Bronzo was reformed by Gianni Leone, I become the singer of a
group called MOBY DICK...another maybe not so popular but ‘legendary’ band from Napoli featuring the famous TONY ESPOSITO on drums (he was a real virtuoso, playing right and left hand and using a complete drum-set with 2 big bass-drums, terrific sound!). On lead guitar we had TONY DI MAURO who was capable to imitate Jimmy Page, he was even better than Jimmy I think! The bass player, ENZO PETRONE, was also a pure rock spirit. We stayed together for about one year, touring Italy with a repertory of covers but with some of our original songs that unfortunately never got recorded.
RECORD SECTION
curated by Justin Crampton & Cretin Crowley
ACL: Did you try to start a new band once you were in Stock-
holm, and if so how was the scene in the early 70s?
After this very exciting rock EXPERIENCE with Moby Dick I moved to Stockholm and together with Lino Ajello and the original bass player from Balletto (Mike Cupaiuolo) we tried to put together something like a rock band...no way! Stockholm was not the ideal place for it. I had pretty soon the impression that we where out of the music loop there, so I started to play guitar and sing in a English cover-band called HARMONY which survived for 3 years. Later on, together with Lino Ajello and Tony Di Mauro we finally opened a brand new 24-tracks studio: the HUMLAN, which was right in the middle of the Stockholm...oh it was a real adventure...some of now very famous artists recorded at our studio and were produced by us. ACL: Did you follow the activity of the subsequent line-ups of Bal-
letto di Bronzo when they changed to a more progressive sound?
What’s a Punk ? The best of British Punksploitation LP The best comp ive gotten my hands on so far in 2014. For the most part i had heard none of these bands too, which is a plus. From about 77 to 80, these lesser knowns are finally getting their credit due. Nothing medicore about this at all, pogo till you go go from start to finish. Highlights include Radioscope’s Alltime needletime loser, Horrorcomic’s Jesus Crisis, Airship’s Gimme a can of spray paint, and my personal fav Down at the Vortex by Yellow Dog. Cant forget badly bruised, slighty stoned (yes thats a song title) and also the final track on this one Fuck You by Alberto Y Lost Trios Paranoias. A must have for anyone that likes to collect the obscure stuff without paying the obscure price. J. C.
Yes, coming back to Il BALLETTO di BRONZO, I always been fascinated by the second version of the band featuring the brilliant vocalist-pianist GIANNI LEONE called LEO NERO and my impression when I heard the record was surprise and admiration...now, that was real PROGRESSIVE!!! When I saw Gianni performing recently I was really impressed by his live show. They played the whole LP ‘YS’ and I have to say that it was even better than listening to the record. ACL: Are you still in touch with Mike, Lino Ajello or Gianchi
Stinga? Have any of them remained in the music business?
Giancarlo lives in Malaysia and Singapore and he recently came to visit me in Stockholm. Lino has opened a Bar in Tenerife. ACL: I read that on February 1, 2007 for “Progressivamente
Rock Festival” at Stazione Birra, Rome you performed as a guest with the current line-up of Balletto di Bronzo (only other original member Gianni Leone) singing and playing harmonica in “He He Ha Ha”. Did you have a good time?
Buck Biloxi and The Fucks (Red Lounge) This record. seriously. One of the most punk things ive heard in years. i was lucky enough to catch guys on tour once last year at sxsw at the florida’s dying/ Get Bent showcase in Houston. My mind was blown. It sounds live just like it sounds on record. Sloppy and primitive, Asking for nothing and giving nothing in return. Also i give this one best track list of 2013 award. with titles such as “Shut The Hell Up, “Shut The Fuck Up”, “The Walls Have Aids” and “Who Gives a Fuck”, How can you go wrong ? This one should be in everyone’s collection. J. C.
MC: I was honoured to be invited by Leo to perform at STAZIONE BIRRA and I was very nervous at the beginning but after a few moments I realised that the guys were really good and I felt like I had been on stage all these years....a great feeling, not to mention the warmth of the public...in a few words I was moved, BELLISSIMO! ACL: Can you please tell us about your more recent career as an
artist in Sweden?
My motto is: “Don’t tell me...I know it already!” I love music and I love my artistic creations; in the 60’s I was writing songs now I am writings stories that you can see in my paintings. I am really satisfied with my visual art experiences. Lately I have been invited and sponsored by PORSCHE CARRERA in Helsinki to make my own show during the presentation of the new car in March 2008. I am working very hard on many projects: I am passionate about visual art as much as I am about rock music! Sirio 2222 is a work of seminal importance for hard rock followers; and it is a real shame that these genial Napolitans did not stay together long enough to deliver other masterpieces such as this. There are only 8 years left before the year 2222 and we can say that the prophecy of ‘Missione Sirio 2222’: “Men alone in the space; but the world will never forget them” has for sure become a reality.
Ratsia (S/T) Svart Finally, someone reissued this and now collectors dont have to seek out an original that would cost over $800 here in the states. Its an overlooked classic and the wonderful country of Finland is to thank for it. Released on a limited 400 copies on Clear Vinyl, This one offers hooks from beginning to end. I kept this in my playlist for nearly a year as for a long time i was only able to find it through the internet (Thanks Soulseek) Its all in their native language of course, so i have no idea what any of it means, but thats the nature of rock and roll right ? It dosent have to mean anything. 3 chords and some chuck berry leads and you are good to go, with a catchy chorus of course. Its all that and several bags of chips. J. C.
Nerve City-Asleep on the Tracks (Sweet Rot)
Giuda - Let’s Do It Again 12” LP (Damaged Goods)
I discovered this guy back in 2009 when i was getting to know the south florida scene. Heard a single called “Sleepwalker” and i never looked back. Some of the more meaningful song writing in Garage these days, and it still has that lofi production value that i respected back then. Not overdone, Which is key these days. “Rifle of Peace” and Sydney’s Problem were standouts for me on this one, but there is not a bad song on it. Jason Boyer cant write anything subpar. Its impossible. I def suggest you check out his earlier recordings (especially the cassettes). J. C.
This is Italy’s glam rocker sweethearts’ second album following “Racey Roller” released in 2010. The new record is more subtle, slicker and the production is great too, each track stands out with its own feel and vibe. The opening track “Wild Tiger Woman” is so infectious its impossible to stop yourself recreating your own choreographed dance moves with your local denim clad street gang. This record is less power chord heavy than the last and the drums sound more genuine for the kind of glam pop sound Giuda were always going for. A lot of glam revival bands screw up recreating that 70s sound a la Slade and T. Rex but Giuda have put together the real deal. Stand out tracks include “Yellow Dash”, “Teenage Rebel” and “Wild Tiger Woman”. C.C.
Epicycle- You’re Not Gonna Get It: 1978-81 (Hozac) Viciously melodic and anthemic. Hozac has launched an archival series of old school bands. and this is their first LP release. I want to cover one of their songs in my own band, but not sure if we could dopu it justice. Standouts are of course the title track, “Hardcore Punk”, “Underground”, and a song that only a live recording exists of, “Teenage Suicide”. Its just good punk. It has an originality to it that only music of this era can provide. J. C.
The Flying Rats - Fiasco Paranoia EP (No Hit Record) Here we gots the Flying Rats debut EP featuring the tracks “Fiasco Paranoia” and “Ten Times Harder”, if you aint heard them you really oughtta check em out already! A red hot rock n roll duo consisting of that notorious Brazilian energy paired with some non stop frantic skin beating. If you’re smart you’ll check this band out live, it’s all out, singer and guitarist Rods Ceaser is like a wild wolfman howling into the night, his vocals will huff, puff and blow you away, pair the gruff of those vocals with the wail of that telecaster and you’ve got a winning ticket. Not reliant on effects or distortions much like other garage duos. Clean, crunchy and straight like a freshly fried frite from Belgium. Straight to the point garage punk - no wimpy crooning. This is a real mans band. C.C.
King Lollipop - Gonna Eat My Candy 7” (Surfin Ki Records)
Cherry Glazerr -Haxel Princess (Burger)
Following his debut album “Woodland Whoopee Songs of Ol, Callowhee!” (1234GO! Records), King Lollipop (A.K.A. Cody Blanchford of Shannon & The Clams) has a new EP featuring three brand new tracks. Cody sounds like a train hopping drifter keeping lonely spirits cheerful with his whimsical folk songs in the same vein as Woody Guthrie. The percussion led woodland stomper “Eat my Candy” makes you envision King Lollipop leading his Disney-esque forest friends to the nearest watering hole to drink, all the while howling, wailing and hiccuping away. Cody whistles and chirps his nostalgic rhymes beating at his guitar as if it really did kill fascists. C.C.
Ah yes, Burger Records. They have resurrected cassette culture here in the states. They are old friends since Thee Makeout Party days and have been consistent for the last 4 years. This is a band that stood out in their new releases. With the opening track “ Cry Baby” This 4 piece have successfully put together a tasteful garagepop record. That is extremely tough to do. A lot of the time these bands can come off a little too cookie cutter, taking too many shortcuts and just coming off as mediocre Anyone that can write a song about “Grilled Cheese” gets an a+ in my book. Also “White’s not my color this evening”? Sometimes its not mine either. J. C.
DESOLATION ROW #4
BAD VIBRATIONS
“Desolation Row” narrates stories of different young aspiring artists and their own views and interpretations of an unknown tomorrow and the future youth that will come along with it. by Bert Cabot
Our monthly feature between One Way Ticket and Bad VIbrations by KEITH “Bad Vibrations formed in, November, 2011 and since then we have promoted a large number of local and European garage, psych, shoegaze and post punk bands. We work in tandem with Fuzz Club Records. We distribute records for the label as well as scouting bands for and setting up launch shows”.
NEXT EVENTS Gloria is sat at the last step of the stairs. The look on her face whispers madness, her eyes as they look down on you make you surrender from their hysteria and beauty. She´s been shaking perception for so long that you can´t tell anymore if she´s around or not. On the road she has changed many lives. Her two faced personality portrays both despair and hope. She would handle the keys to heaven to the devil himself out of a kindness gesture. She mumbles: - You now don´t look so proud. You now don´t look so good. You don´t seem so fine. Stop knocking on my door, midnight approaches and so does madness. I’m awake, and will always be. I´m alive, more than I´ve ever been. And those nightmares and memories, they keep coming and going and oh lord how I enjoy their company. How do you see? She stands up and wants to run. Her big grey eyes look down the alley. She sees Johnny far away and staring at her. A revelation seem to occur as she starts laughing disturbingly. They both start walking towards each other. When together, they seem to be a raw version of Adam and Eve.
February 5
Holy Wave February 21
John J Presley & The Underground Youth February 27
The Lucid Dream, Moksha Medicine & Whistlejacket March 6
Trans The Reverb Conspiracy - Vol. 2 (Fuzz Records)
- Why didn´t you? - Johnny asks Gloria. - I was never supposed to, words are just rules and regulations to me, and you intend to be someone I don´t want to know. The words coming out of Johnny`s mouth seem to be breaking while walking a thin line between wonder and stupor. - It never occurred to me the fact that you would despise everything you don´t want to see. The pulse of the tree is beating lower and lower. Its roots now seem to be what I remember of what you used to be. Its leaves are now memories fading away. Times of strong winds these days... Gloria smiles and whispers in Johnny´s ear: - Failure precedes success. She slowly turns around and leaves. Gloria is now walking out the doors of mediocrity. She also presumes sins are attached to people´s conscience. She realizes the path she´s walking towards to is making her stronger and ready for her tomorrow. It works slowly but firmly. She assumes partially sane purposes attract the evil side of what´s relative, and that is its essence what defines her entire life until this point.
- Jesus died for somebody´s sins but not mine.
Fresh off the back of The Reverb Conspiracy Festival housed in London’s Shacklewell Arms last month, the Reverb Conspiracy returns with it’s second release; capturing the highs and drones of a flourishing psychedelic scene ready to burst out of the gatefold of this vinyl-only release. Comprised of 16 carefully selected tracks, this second installment signals another collaborative effort from labels Fuzz Club Records and The Reverb Appreciation Society that scours a continent so you don’t have to - but will soon be more than likely persuaded to.
One thing quickly noticeable upon listening to the compilation is that the numerous differing entities that currently carry the psychedelic tag are pulling it in different directions and giving it a whole new identity. Where as previously everything was linearly linked with the lysergic induced resurgence of the term channeled through bands such as Spacemen 3 and The Brian Jonestown Massacre, this collection goes some way in showcasing music that has shrugged off the aforementioned late 80’s/90’s hangover and is recreating a scene that isn’t limited to the psychedelia tag, but offers influences ranging from punk to krautrock and is fast spreading throughout Europe. Jarring into life with Stockholm’s The Janitors, a bass line straight from Peter Hook’s tenure in Joy Division splits the early haze of opening track ‘MSSG’ and announces The Reverb Conspiracy’s return from where it previously left off. This early rush simmers momentarily with the ring of Dark Bells, before the London-based Aussies’ ethereal guitar and grinding bass of track ‘Wildflower’ rises and culminates in an elemental crescendo. The introduction of Richard Norris and his jumping krautrock-tinged project The Time and Space Machine followed by the return of fuzzed-up Sonic Jesus make for a diverse quartet of groups that have found their home in the hypnotic first side of The Reverb Conspiracy - Volume 2. As appealing as simply returning the needle to the start of an enthralling first side of vinyl may be, a flip to side B uncovers more artifacts and covers yet more ground; this time a brief stop off in Greece is on the cards for the mesmerizing churn of the garagepsych of Acid Baby Jesus. A foray into Norway calls for an instrumental break, which is delivered in the rollercoaster that is track ‘6 AM’ from Electric Eye, combining riffs that a Second Coming era John Squire would be proud of, with fitting electronica and an intently driving rhythm section. The run up to the half way mark is then brought by Tales of Murder and Dust and Cult of Dom Keller respectively. Playing a part in chronicling the modern day revival of the psychedelic age of music, London’s bustling music underbelly has seen the likes of Whistlejacket’s experimental reverberated tones grace numerous venues in the capital. ‘March Hare’ sneaks up on you on The Reverb Conspiracy - Volume 2’s second LP, before unleashing a sound indicative of why the rebirth is flourishing the way it is. Their British counterparts Desert Mountain Tribe follow suit, with a three-piece onslaught in ‘Coming Down.’ Thankfully, a handful of tracks remain to guide you through the come down of The Reverb Conspiracy - Volume 2, as the hour and a half music collective reaches is latter stages with the likes of Denmark’s The Woken Trees with their dark and brooding ‘orders.’ Far from a simple label sampler or festival taster, this compilation witnesses Fuzz Club Records and The Reverb Appreciation Society stamp their presence on what is currently a growing corner of music. Again packaged featuring artwork from Dead Skeleton’s Nonni Dead, it features buzz bands from a number of boutique labels that are currently relevant, yet it feels collectible. As good of a reason as any to immerse yourself. (Matthew Liam Fogg) TRACK LIST
1. The Janitors (SE) – MMB 2. Dark Bells (AU/UK) – Wildflower 3. The Time And Space Machine (UK) – Black Rainbow 4. Sonic Jesus (IT) – Reich 5. Acid Baby Jesus (GR) – Mesmerized 6. Electric Eye (NO) – 6am 7. Tales Of Murder And Dust (DK) – Hypnotized Narcissist 8. Cult Of Dom Keller (UK) – No Where To Land 9. The Vagabond Stories (DE) – Mental Dysfunction 10. Whistlejacket (UK) – March Hare 11. Pinkunoizu (DK) – The Great Pacific Garbage Patch 12. Desert Mountain Tribe (DE) – Coming Down 13. Giobia (IT) – Orange Camel 14. The Cosmic Dead (UK) – Mausoleum 15. The Woken Trees (DK) – Order 16. Big Naturals (UK) – Krautpunk
WHAT’S UP, PORTLAND? by Samantha Gladu
Because Portland has so few spectators (most people are in multiple bands), holiday shows necessitate a gimmick to gain a draw. Big name bands, cover bands, or reunions are required to get people out. On New Year’s Eve there were two huge small bar shows within walking distance. Barbarian Riot Squad, Hellshock, and Lord Dying played at Star Bar. Reactor, Wild Mohicans, Long Knife, Deathcharge, and DEFIANCE (all-original lineup) played at East End. One would think there would be an obvious punk/metal split, but because things are so incestuous and small here, there wasn’t. I went to both shows, as did a lot of people. I tried to be a punctual punk, a la GLITZ (bay area, members of Apache/Personal and the Pizzas, look it up and buy it). I showed up at Star Bar with my boyfriend in time to claim a nice safe booth for all the thrashing. Except while we were there, there was hardly any thrashing. Punk time, you know. Everyone showed up later, zzzz. Hellshock don’t have a lock on their PDX van and loaded in tired, exhausted from their indispensable work. Everyone in the band has multiple jobs at bars, restaurants, strip clubs, and notably the drummer, Keith, co-organizes the punk compound BLACKWATER with Alex from Arctic Flowers & Vivid Sekt. Despite the exhaustion, Hellshock played hard with their singer Joel’s trademark leather-cuffed fist pumping, and their bassist Derek’s headbanging. My neck hurt from their thirty minute set. Billy from Tragedy is dating a rad girl who bought me multiple kamikaze shots and he was courteous enough to pull the table toward him so my shins didn’t bruise. People were happy. When Hellshock ended I quickly headed out toward East End for the other show. East End is bigger than Star Bar, overall, and was likewise more crowded. I got distracted by out of town friends snorting poppers and my desire to book a mostly girl punk show. I watched all of DEFIANCE’s set and was proud to see them playing and to see everyone so stoked, and to hear the hits. But, because I’ve only lived here for five and half years, I felt the reunion wasn’t mine. It was like experiencing other people’s nostalgia. I recognized the hits but most reveled in seeing others so excited. It wasn’t the wildest show I’ve seen here, but it went really well considering the way that reunion shows bring out people who don’t go out often and thus cause fights. Can’t wait to see Dead Moon on Saturday!
DIRTY WATER CLUB
tor and her henchwoman. Official review:
Top track: “The Corner Man”….I’m a sucker for an allegory, I
love garage simplicity, and the Ant is my Corner Man even when I can’t admit – or see it – but the Ant ain’t been wrong yet. http:// www.youtube.com/watch?v=vJdBdGxSsZo
“Hangman’s Token”….Oh no, not more of that same old blues crap!: http://www.youtube.com/watch?v=BpHfTmlxUNA
“Daddy’s Gone To Bed”…..Fucking Hell, r&b too! http://www.youtube.com/watch?v=DnWzmvKDd2U And all the other ones.
Wanker of the Month by Paul Manchester
Growing up in Boston in the 70s/80s, there were only two bands one deliberately avoided: Pixies (great, but joyless) and Barrence Whitfield and the Savages. One stands by one’s decision re the former, but the latter decision is an all-time, idiotic, ignorant, dogmatic blunder. The Boy Blunder’s “reasoning” at the time was that BWATS were an “r&b” band and he only liked rock’n’roll and punk rock. Idiot! The facts:
By universal acclaim your faithful diarist has been anointed Wanker of the Month for November for reasons that the photo should make patently obvious. There are, however, conflicting reports on the events leading to the incident: A Gentleman writes: “A sophisticated European gentleman was taking his early morning constitutional whilst contemplating the superb musical event he’d been privileged to calmly enjoy the previous evening in Spain’s Garden City of Benidorm when, suddenly, what came rocketing up the street but a flaming schoolbus filled with orphans! Your man in Benidorm, ignoring all physical risk to himself, threw his body into the street to stop the out-of-control machine, thereby preventing any orphan casualties. The Spanish ambulance service and Guardia Civil were so impressed with Your Hero’s actions they provided him with a VIP escort to the local hospital from which x-ray facility he remains a fugitive.” A Lady writes: “Two masters of shenanigans – A giant a.k.a. La Máquina with no sense of pain or gravity who thinks that broken bones (11), scars (don’t ask, don’t tell), black eyes and stitches are the tattoos of life whereas the little one – mad, bad and dangerous to know – has real tattoos and has cornered the market on bad decision making. The two get together for their first joint shenanigans abroad and the little one says to the giant whilst still firmly standing on the Queen’s soil : “I don’t care how crazy we go, but there’s only one rule: no hospital!!!” Giant ears must be too high up to hear the little one and when the giant attempted to run - never seen before or, hopefully, again - he landed head first on the pavement. Rule: broken. Summary: Bad, bad giant.” Classified Ads
He didn’t even really know what r&b was; He likes r&b a lot now, and would have then if he’d had a clue; BWATS aren’t even an r&b band; For Fuck’s Sake, 3 of the 4 founding members of BWATS were exLyres, his favourite band! Then, the epiphany (a.k.a. being slightly less moronic then previously): 25 Sep 13 gig: really good…..26 Sep 13 gig: fucking brilliant…..27 Sep 13 gig (getting stalker-ish now): amazing. One may have possibly overstated one’s ignorance above i.e. “Ow! Ow! Ow!” and “Let’s Lose It” are prominent components of one’s stable of brilliant, underdog records. But with all due respect to Milton Reder, the new BWATS album is their best by far. Peter Greenberg is back in the composition fold alongside Phil Lenker and they have created a brilliant canvas that only Barrence’s unique vocals can take to another level. They are the best garage band, the best blues band and the best r&b band today. That’s all that matters, but it amuses and encourages one that the best and coolest band in the world are driven by a 58-year old fat, black, Bostonian soul singer and a 58-year old skinny, Jewish, Bostonian punk guitarist. Fuck multi-millionaire Tony B. Liar and his alleged diplomatic skills, send Peter and Barrence to the Middle East and they’ll all be dancing in the streets. Shit, running out of space, gonna get told off again by that evil edi-
Roof removal services available – Are you still stuck with one of those pesky roofs over your head, preventing the cleansing English rain from polishing your possessions each day? That’s where we come in! Using our patented Light It ‘n’ Leg It™ technology, we can burn down the roof over your head faster than you can say “Oh my God they burned down the roof over our head!” For a quote ring Roofs’R’ntUs on 0800 FIREBALL. Language tutor required – Midget, fluent in most of the major European languages but unable to say “No” in any of them seeks a tutor to teach her that word in those and all languages. Contact Party Girl on 0800 Jess!
Apart from being one of the dearest friends of the One Way Ticket Crew, Jalapeno Spike is also a great photographer that used to live in New York. His pictures really encapsulate the old underground punk scene. It is our privilege to be able to share with you each issue from now on, a picture that Spike made back in the good old days. These are the Public Image LTD. Jalapeno Spike Š