Next time you’re passing through Lyon hoping for a chance to catch a glimpse of the ‘Euro Gino Ianucci’ JB Gillet, your best chance is if you drop by his brand new skateshop, Ballz Out!
This conventionally named store is going to be placed in the higher echelons of class like it’s manager, and co-worker Nico.
Check it out at: Ballz Out – 28 Rue Bugeaud Lyon 69006
Yet another banger of a skate video, Life and Times is a new production from Real Skateboards that follows the team through their travels and really catches the lifestyle that pro and amateur skaters endure and enjoy.
From one of the hardest working teams in the business, you know they didn’t pull any stops with this one. Release is imminent.
Yes, the summer is here and The Heavy Shit Show is at boiling point. This show brought to you by Crossfire resident DJ’s Zac Slack and James Sherry carries a special surprise.
If you are a fan of The Download Festival then you will find that we have 5 pairs of weekend tickets to give away on this show…well actually 4 and a half, so if you know any midgets then get them to enter as we can take them to the festival for FREE!
All you have to do is answer a simple question that was made up on the spot whilst the boys recorded this show. Once you made your decision, go to the competitions page and enter your answer and the winners will be drawn from a cats arse, a week before the festival and the winner will be contacted via phone and email. Good luck!
Crossfire DJ’s will be playing records all weekend at the Snickers Bowl at the Download Festival
Hear this show by clicking the flag and if you want to request tunes for the next show click here.
May playlist:
1. Cannibal Corpse – Make Them Suffer (Metal Blade)
2. Sodom – Wanted Dead (SPV)
3. Face Down in Shit – Countless (Relapse)
4. Architects – To The Death (An At The Deep End)
5. The Accused – Martha Splatterhead (Nuclear Blast)
6. Scissorfight – Victory Over Horseshit (Tortuga)
7. Daath – Ovum (Roadrunner)
8. Pantera – Fucking Hostile (East/West)
9. Trivium – Master Of Puppets (Kerrang! Comp)
10. Satyricon – Now, diabolical (Roadrunner)
11. Thin Lizzy – Emerald (Vertigo)
12. Wolfmother – Woman (Island)
Finsbury Park in North London is a huge green space stuck right in the middle of chaos.
I lived there in 1994 for 3 years, we were burgled twice, the car done once. I only revisit when i have to, as the area has become a serious dumping ground for stinking chavs, illegal immigrants and drug dealers.
Traffic pours through there in droves, it gets clogged up, people are tired looking and hang out in gangs with pitbulls. But on a positive note, Arsenal Stadium is just round the corner and just outside the tube station have a bagel shop that rocks, especially if you like saltbeef and pickle.
The park hosts the occasional festival annually, in fact the last bands i saw their on the same bill where The Sex Pistols and Iggy Pop in the late 90’s – one of the best shows that park has witnessed to date, but now, the park has concrete to skate, so we went to check it out a week after the last pour went down.
As we moved up the hill towards the park it is clearly far from finished. The area around the bowls are still covered in scrap wood, pipes and bricks but the first thing we noticed about the park itself is that it has a really strange layout that could be fun. The park was built by Fearless Ramps also known for their concrete build at Dagenham which has some nice lines but this bowl in Finsbury Park is tight. They were obviously stripped of a budget like all parks seem to be in London. Same old story.
Locals we spoke to who sat in on committee meetings mentioned that the mellow bowls at the Southern point of the park were supposed to be a small bowl with a spine in the middle of it, until people shouted “what about us street skaters” and instead of building ledges, a manny pad and stairs across a flat smooth surface and scrapping the bowl idea altogether, the design was changed and a block with coping edges was dumped into the middle of this mess making it very difficult to skate. If you hit the tranny straight up and down, you then have to avoid this block at your peril. This is just word of mouth though so not set in stone.
The bowl is as tight as arseholes. Too tight to really enjoy a great session there. There is nothing like flowing around a bowl and although you can have fun in there, you just wished it was bigger. Greysocks managed to skate it well as he can shred anything in sight but to be honest even he was struggling to keep his lines flowing without running out of space. We met a guy called Jake who ripped it. He even managed to get a fs grind up the ridiculous escalators that were dumped in there but yet again, it’s so tight that you run out of ideas after hitting a few walls. Also, if you ever run into Jake, ask him about the egg he has on his elbow due to the PLASTIC drain installed, yep, it’s a wheel killer.
I asked every person skating what they thought of this park out of 10 and the average figure that came back from 10 skaters was 5.5. The fact that London STILL does not have a World Class Plaza/Skatepark still bemuses us all and this tiny park and the new surface that ruined Stockwell are the latest additions to taking us further away from skating really decent parks. The better the parks, the better the skaters.
In addition to this news, locals from Cantelowes were skating with us at Finsbury Pk who also report that the plans for their local in Camden are completely up in the air due to budgets and designs conflicting, so the project is currently on ice with local media sniffing around trying to help skaters to voice their opinions.
In other London skatepark news, we hear on the grapevine that Rich “Holland” Badger who recently designed the Interstices Exhibition at the Lille Expo (click here to read a feature on this exhibition) has designed a street plaza for a new indoor park in London Bridge but this is far from done. With gas pipes becoming an issue and the council being fans of prefabricated skate ramps, it has reached a sticky point. More on this soon but Badger is also designing the new street plaza for Bay Sixty6.
If you want amazing parks to skate, don’t travel to Central London right now, all our parks are good, but just not amazing. The 2 most recent concrete parks worth skating are in Potters Bar and mainly Boreham Wood made by Freestyle. Travel up North instead as up there, they seem to be on a level par with the rest of the world, or even down South to Bournemouth. Maybe London is just too expensive to get shit done, maybe people just take the money and don’t give a shit, but with key people sitting in on meetings about council funded skate parks, there should be no room for errors such as the tightness of Finsbury Park but as i said before, some people will love it’s quirkiness, we are all different. I just hope that one day we will have the luxury of watching the real skate park designers and builders sign up to the UKSA and hopefully like regular builders, their work will be stamped with an official UKSA badge so we know what parks are worthwhile and ones that are just shite can be ignored. We also hear that a UK pro vert skater is thinking about organising a UK skate park book. With lots of new parks being built all over the country right now, it may well be needed.
Finsbury Park is located in North London. You can get there by tube on the Victoria Line.
Click here for a map of the tube.
When you leave the station, head along the main road and follow your nose to Finsbury Park, you can’t miss it, it’s opposite a bagel shop. Go into the main entrance, up the hill and you will find the park on the left hand side of the tennis courts.
Chuck Bangers
Written May 10th 2006
If you have heard the single Steady as She Goes it gives you a fairly good idea of what to expect from The Raconteurs debut album. Jack White and Brendan Benson team up with The Green Horns rhythm section to produce a very competent blues rock throwback to the seventies album.
Both White and Benson are of course prolific songwriters and here each trade songs and vocals on all 10 tracks. Whites distinctive wide eyed blues howl has been toned down and sometimes its hard to work out who’s actually singing, but on the fabulously bluesy Blue Veins, complete with backwards samples, or the grunge funk of Level, there’s no confusing his vocal touch or too his incendiary guitar playing, when required, especially on the rollicking Store Brought Bones or Hands.
All in all it’s not a Jack White album but a joint effort and a worthy one at that, it’ll probably be a massive hit due to Whites connection and I’d recommend it as a nice alternative soundtrack to the summer
Nelson Bibb
Nothing beats finding a dope radio show to lock your thoughts down somewhat, so allow this months Hangover Session to interfere with your frantic existence and ground you for a second.
Brought to you by DJ Zac Slack, this session is lazily fuelled by a pick of some of the best chilled indie guitar tracks out there.
Click the flag for some instant peace or click here to leave a message or a request for the next show.
May Playlist:
1. Kelley Stoltz – Please Visit Soon – Jackpine Social Club
2. The Shins – Saint Simon – Sub Pop
3. Ambulance LTD – Swim – TVT
4. The Crocketts – 1939 Returning – V2
5. Benjamin Falls – Higher – Demo
6. Criptic – Higher – Demo
7. The Soundtrack of our lives – Magic Muslims – Hidden Agenda
8. Dead Meadow – Let It All Pass – Matador
9. Monster Magnet – Zodiac Lung – SPV
10. Black Mountain – Set Us Free – Jagjaguwar
11. King Biscuit Time – Kwangchow – No Style
12. The Evens – On The Face of It – Dischord
13. Frock – The Refugee – Frozen Jungle
14. Nicolai Dunger – Independence – Overcoat
15. Scott Matthews – Elusive – San Remo
Take four very different personalities, a huge dose of easy going Caribbean vibe, an effervescent live show and a lot of experience chaperoning Slipknot and the like, and the result is a ska outfit – Big Hand.
With an ever growing fan base and now legendary live shows, the four piece are going from strength to strength, and with their debut album in the pipeline at Air Studios, the famous four took some time to chat about what it’s all about with Dee Massey.
Big Hand first sprung to life in 1999 and it wasn’t until last year that the line up was finalized. How do you feel that the current line up compares to the original one? What does each individual member bring to the band?
Tim: The original line up was a real random collection of 4 very different individuals, all very random, chaotic and intense, with a real free anarchic spirit, different demons and ambitions, and all these crazy ideas. That’s still true with this line up, its just that with the old line up, we had many moments of magic, but the whole thing just didn’t really gel, and it was still beautiful, but more volatile and unstable. Now, the band has the same kind of spirit to it, but it just works as a unit, like we’re all really on a wavelength, so there’s strength and unity to it.
In terms of what we all bring – I bring the songs, the flower-power positivity, the funk, and the dandyness, Luke brings the world-wise industry head together know-how, the energy and driving force, as well as the pounding bass undercurrent that moves it all, Paul brings the ROCK, the cheeky sense of humour, the fine ear for detail, the amazing ability to sing and play drums like a warrior, and the boy-band approachability, and Phil brings pure randomness, poetry (he is the new Robert Burns for real), the unusual instruments, the eclectic stage performance.
In the space of a year you’ve gone from opening at the Barfly to almost selling it out as top of the bill, and played to such a huge range of audiences, from the Edinburgh Festival through to a Russian wedding?
Phil: People deep down seem to want to enjoy themselves / release themselves from various every day tensions and there ain’t no place to do quite like a dance floor to some proper intense euphoric zorbanian psyskadellic ska beats man.
Known and played together since you were teenagers what were your main influences then, and what kind of stuff are you listening to now?
Paul: The band have always had a real variety in the music we listen to. The main influences when the band started were the likes of Manu Chao, The Specials, Jimmy Cliff, Tom Waites and early Chilli Peppers. All of us listen to different styles of music and listen to as broad a range of music as possible to get as many different influences we can – I think that gives us versatility and depth to our songs. The main stuff played in the BH tour bus at the moment is The Slackers, The Cat Empire, The Killers, Jimmy Eat World, Devandra Barnhart & KT Tunstall (partly because Luke fancies the hell out of dark haired women that play Telecasters).
Luke, having spent seven odd years in the music industry that must give you invaluable insight for managing the band?
Luke: To an extent it helps to have a lot of friends that are still deep in the industry that I can ask for advice on stuff and have had experience of how a show is run etc. However there is nothing that can prepare you for living it yourself.
Knowing both sides of the coin must give you a solid foundation for the band?
Luke: Again on some levels this is true but it can make you overly cynical and I don’t think there is such a thing as a solid foundation for a band. We all work pour asses off and take pride in what we do. In any walk of life this will get you places and if the band didn’t have that I wouldn’t have got involved in the first place.
Also how does working with the likes of Slipknot etc compare to being in a ska band?
Luke: I miss my expenses account..
You’ve spent quite a bit of time recording this year. What you enjoy more touring or recording?
Phil: I live for the live shows, it’s like an addiction man. If I don’t get my live addrenalin fix I get very edgy, very true! just ask my pet gnome Eggbert.
Recording at Air. How did that come about, and how did it feel to be recording on such hallowed ground? Are we about to witness a charity single a la BandAid20?
Paul: Don’t worry, the folk in Big Hand would never dream of doing a charity single al la BandAid 20 as we only have each other! The recording came about when a producer at Air studios saw the band play their first London Barfly show and was blown away by the band. He’s into ska music but was impressed with our take on it and was really keen to work with us, so invited us into Air for a few days recording.
Air studios is one of the most amazing places we have ever seen and the first day consisted mainly of us trying to stop dribbling and keeping our jaws off the floor! Singing into £20,000 microphones and being behind a mixing desk that looks like it has come straight from the Starship Enterprise really blows your head and makes you pinch yourself to make sure you’re really there.
The guys were really happy with how we worked, so after the initial recording, we were invited back to record our debut album. We’ve now completed all of the planning and preparation and the main recording is well under way. Working with producers and engineers with the gravitas and knowledge of Chris Nuttall, Tony Clarke and Adam Noble has been a real privilege and we can’t wait until the album is on the shelves near you…!
In the studio, who takes artistic control?
Luke: To be honest when it comes down to studio stuff it’s a pretty even keel, when we’re recording and mixing we all tend to get focus on what we are doing as individuals rather than worrying about the overall sound which is where having a producer is essential.
How involved were you in the production of your EPs Right and Wrong and Light and Dark and Light?
Luke: We bought in our live engineer Mixmaster Matt to help with the final mix and master on all the tracks but other than that the first 2 EPs were entirely self recorded, produced and mixed.
Who writes most of your material?
Luke: Tim comes up with the chords and melody for 99% of the stuff we then sit down and work it out as a band with everyone chipping in on what sounds best. We also tend to test drive stuff live for a few months before we record it.
What can your fans expect from the new EP?
Luke: Something to play loud as fuck that will make the neighbours smile.
Last year was a busy year for you guys 85 shows, a move down South, studio time in Air and this year with 125 booked looks like life is fairly manic. What’s been your best experience this year?
Tim: So many gigs stick in my head as incredible sights etched onto my memory, like being all dolled up in our suits in front of a sold out garage, the floor shaking at the Left Bank with these beautiful girls at the front properly moshing, our homecoming at the Bongo club with all our home crowd welcoming us back. The one thing that really gets me though is when we were in Air, which was mind-blowing in itself, like full on jaw-dropping wide-eyed craziness, all the magical gadgets and famous artists they had there. In particular, at one point, we set up the acoustic guitars, loaded up a video camera, and just played for 3 hours, and right at the end, when they’d all got tired, I played Hallelujah, and the place properly felt like a church, and i could feel all these benevolent spirits flowing around me, wishing me well sort of thing, and the time stood still.
So why should your average music bum come see you guys live? What do you have that no one else does? What should people leave your shows feeling?
Paul: The real unique attribute we have is 4 true frontmen – from Tim on guitar and lead vocals, myself on drums and lead vocals, and with Luke on bass and Phil ‘is he on drugs’ Ramsay giving all the energy and enthusiasm that is humanly possible on a stage. We love being on stage and enjoy every show we play, whether it is to 3 people or 3000 – If you don’t enjoy what you play on stage, you shouldn’t be there!
There is also a real depth to the songs we play, which means if you’re not in the mood to dance and forget all your worries, there is enough in the lyrics, melodies, harmonies and progression of the songs to keep even the most cynical of music buffs entertained.
We have recently been hailed as the ‘cure for an overweight generation’ and are proud of this. Everyone who sees Big Hand should leave with a smile on their face. If they don’t we’ll give them their money back (honestly!)
Lastly, is 2006 going to be the year Big Hand takes the world by storm?
Tim: You know, in a way, but we won’t properly have conquered the masses fully until next year. Its like 2006 is a year of planting all these beautiful little seedpods all over the place, and people with their ears to the ground will hear all these peculiar rumblings underground, like elves plotting a revolution but keeping it kind of sly. Then suddenly in 2007, everything will burst out into the open in a blaze of colour, like the day of the triffids but with electric spangly ska demons instead of man-eating plants, and it will be all anyone will want to talk about.
Your big ones….(a la Pop World…only without Simon Anstell)
Favourite venue to play?
Phil: I prefer smaller venues, lets you interact more with the audience in an intimate way, Mmmmmmm intimate. Ok, em…..would say Whistle Binkies in Edinburgh was my favourite venue, it’s like roots man.
Best post-pub delicacy?
Luke: My bro is a chef and also a big fan of the band so we’ll frequently end up coming back to mine after a gig and he’ll cook for us. Everything he’s done so far has been amazing. Failing that Shebab in Shepherds Bush is a fave as it’s on the N207 route and amazing!
Who’s the most annoying person in the band?
Tim: Well, we can all be stubborn moody little devils. On balance, probably me though.
Most overplayed CD you own?
Paul: The Cat Empire (1,4,5) and The Slackers (Peculiar)
Edinburgh or London?
Paul: Both are special in different ways – Two of the band are Scottish and two are from London. We know Edinburgh like the back of our hands and is the place that really feels like home for the band. We’ve done some awesome shows there and always love going back. In saying that, we moved to London as Edinburgh is small and doesn’t have nearly as much opportunity to develop as a band. We are always looking to push ourselves as much as we can and gain as much experience as we can. There is no better place to do that than in London.
We want to play to as many people as possible and will play any show we are asked to, if we feasibly can (See North Berwick Scout Hall show…) Scottish crowds are insane. London crowds warm up quickly and then let it all out!
Worst habits of band members?
Luke: On occasion some of the members in the band are able to catch me with really annoying questions just as I’m in the middle of something important. EG (talking to the promoter) – ‘So is it cool to get 9 passes and I need two phot….’ At which point someone will butt in with ‘So Luke do we get a rider of 20 Carlsberg or 19 Grolsh for our show in 7 months…’ other than that not much really. Oh and I’m the grumpiest bastard in the world until I’ve had a diet coke in the morning…
Worst experience on tour?
Tim: Attracting the attention of some little vampire goths in Belgium, them following us back to the left-wing anarchist squat where we were staying, before they reveal their secret right-wing allegiance, and land us in a whole heap of trouble before we drunkenly manage to explain in French that we are an anti-nazi ska band, that these mini-tearaways were just misguided attention seekers, and so on. 3 hours of stoned sleep in a festering armchair put me in fine spirits for the early flight the next day. Nothing but the best for the hand.
Home comforts?
Phil: Give me at least 2 bottles of buckfast and I will feel at home anywhere
3 things you never go on tour without?
Tim: hip flask, chess set, hat
Luke: Paul, Tim and Phil
Phil: – A copy of the Daily Sport (tits and comedy man, genius!), my 1906 undertakers top hat and voices in my head.
For further information and to listen to some tunes check out www.myspace.com/bighandmusic or www.thebighand.co.uk
Big Hang play The Barfly, Camden on May 4th.
Derby ska-punk crew Lightyear, who split in late 2003, have announced a one off tour this summer across the UK.
Tickets are available now via www.seetickets.com
Before the split, the band released two critically acclaimed albums – ‘Call Of The Weasel Clan’ and ‘Chris’ Gentlemans Hairdresser And Railway Bookshop’ – and were well known amongst UK punk fans for their frenetic, fun live shows.
LIGHTYEAR UK TOUR JULY 2006
THURS 20th JULY – BRISTOL BIER KELLER
FRI 21st JULY – YEOVIL SKI LODGE
SAT 22nd JULY – BIRMINGHAM CARLING ACADEMY 2
SUN 23rd JULY – BRIGHTON ENGINE ROOMS
MON 24th JULY – LEICESTER CHARLOTTE
TUE 25th JULY – MANCHESTER JILLY’S ROCKWORLD
WED 26th JULY – NEWCASTLE CARLING ACADEMY 2
THU 27th JULY – NORTH BERWICK COMMUNITY CENTRE
FRI 28th JULY – SHEFFIELD THE PLUG
SAT 29th JULY – LONDON MEAN FIDDLER
SUN 30th JULY – DERBY FIRST FLOOR
For more Lightyear malarkey, go to www.householdnamerecords.co.uk and if you are a massive fan of HHN, click here to hear Kafren on the None More Punk show as a guest from the label.
Texas pop-punks Fenix TX have cancelled their imminent UK tour for the second time. Singer/guitarist Will Salazar has been struck down with throat problems, and has been ordered to stop singing immediately. The band apologise to their UK fans, and are intending to reschedule the tour for a later date.
The band last played the UK in 2002, whilst promoting their second album ‘Lechuza‘.
What happens when you have had such a shit day that booze just won’t cut it? What happens when the battery on your iPod runs out in the middle of your favourite tune? And what happens when your local Chinese takeaway tells you you’re not getting your free prawn crackers tonight? What happens is that Crossfire comes at you with the most brutal metal, the most vibrant punk and the best the indie world has to offer, and slaps you round the face with it. Forget the crackers, the battery and the crap office you work in and fix your ears onto our recommendations. The Pit is back and its gonna cause carnage.
TOOL – 10,000 Days
(Volcano)
www.toolband.com
This is it. The album that you either have, or damn well should have been, waiting for for almost half a decade. Their first batch of fresh material since 2001’s classic ‘Lateralus‘, Los Angeles based quartet Tool return with the outstanding ‘10,000 Days’. Packed full of 10-minute plus marathons bursting with the off-kilter rhythms, twisted riffs and soaring vocal harmonies many have come to know and love so dearly, it’s already certain to top the end of year polls for fans and critics alike. Drag yourselves to stores from May 8th and form an orderly queue.
MOTLEY CRUE – Carnival of Sins – Live
(Motley Records / SPV)
www.motley.com
Whether you care to acknowledge it or not, Motley Crue are simply one of the most influential and legendary bands in rock history. Bursting onto the LA strip scene of the early 1980’s their unique hard rock stylings – as well as their sex, drugs and alcohol fuelled rampages – would go on to form the blueprint of which countless classic bands would follow thereafter. Recorded on their hugely successful ‘Carnival of Sins’ world tour, this double-disc set clocking in at over 100 minutes is a shining example of how heavy music deserves to be played. Loud, fast, and fucking filthy.
SWORN ENEMY – The Beginning of the End
(Century Media)
www.swornenemynyc.com
Any seasoned Sworn Enemy fan will tell you that upon first listen ‘The Beginning of the End’ is not so much a mere album title as it is a lip-splitting statement of intent. Though several years on the road with a host of modern day metal’s leading lights has clearly had more than a slight influence on proceedings, the band’s previous hardcore roots are by no means severed; but rather moulded into a 45 minute slice of groove-laden brutality. Jaw-breaking devastation at its absolute finest.
CHOKEHOLD – The Killing Has Begun
(Casket)
www.chokehold-metal.com
In a metal world dominated by overseas exports, it’s refreshing to have yet another member of the ever growing and ever improving UK underground to call our own. A whiplash-inducing nod to the early 90’s groove metal formula perfected by the likes of Pantera and Machine Head, Oxford based five-piece Chokehold have planted the foundations for what may just be a long, successful, and ridiculously heavy career. If the killing has begun then grab your bullet-proof vest, because this is one band you can’t afford to slip away from.
THE HAUNTED – The Haunted
(Earache)
www.the-haunted.com
By the summer of 1998 the word “metal” had become a largely dirty word in the minds of many. That is, of course, unless preceded by the words “nu” or “rap”. Thankfully, lurking sinisterly in the Swedish shadows were The Haunted. Formed from the ashes of Gothenburg legends At The Gates, this self-titled debut was the shot in the arm that so many owe so much to. Frantic, uncompromising and utterly irate in its delivery; it was, is, and always will be a true classic in every sense of the word.
BOY KILL BOY – Suzie
(Vertigo)
www.boykillboy.com
www.vertigorecords.co.uk
Following from their debut top ten single, East London upstarts Boy Kill Boy keep the momentum up with new release Suzie. This upbeat dance floor filler combines a disco vibe with an awesome indie slant intertwined with thumping drums, keyboards and a tongue in cheek disco smattering. Frontman Chris Peck’s distinctive vocals put a dark spin on lyrics of a faltering love affair, crumbling before our very eyes. With a slot of the NME new bands tour on the horizon and the forthcoming album due for release on May 22nd – these guys are whetting our appetites for what promises to be a absolute stormer of an album.
WE ARE SCIENTISTS – Nobody Move, Nobody Get Hurt
(Virgin)
www.wearescientists.com
www.virginrecords.com
If you missed out on the original release of this single on limited edition last July, then be grateful you have another chance to savour this indie gem. Seductive guitars, layers of sound slithered together with fast packed riffs and an overpowering chorus – this is the track that catapulted the New York three piece into the limelight last summer. With the unforgettably suggestive ‘My body is your body, I won’t tell anybody’, this track will wheedle its way into your head. Describing their sound as “advanced high level sectional articulation” We Are Scientists straddle the gap between darker pop punk and indie chic – and this single is the perfect showcase of their talents.
THE SPINTO BAND – Did I Tell You
(Radiate)
www.spintoband.com
www.radiaterecords.com
Hailing from Wisconsin, Delaware, this indie six piece, follow their album release with the intoxicating Did I Tell You. Twinkling keyboards fade into a wonderfully infectious, bitter sweet track, Nick Krill’s heart wrenching vocals grab your attention, to provide a vibrant and memorable offering. The tracks thunders along with an endearing fuzziness, there’s a mellow shadow cast over the proceedings, it’s a sound you can sink into and enjoy. There’s nothing hugely original or breath taking – but this is a well structured, multi faceted feel good single, that’ll prove a good soundtrack to chilled summer evenings…if summer ever arrives that it.
PHOENIX – Long Distance Call
(Virgin)
www.wearephoenix.com
www.virginrecords.com
French four piece Phoenix precede their third album release with the dynamic and quirky Long Distance Call. Both enticing yet understated as ever, with great keyboard and cross fader effects, it’s a bracing track, with a smooth winding keyboard sound sliding into almost staccato guitar effect on the choruses. Phoenix are essentially a pop band with good dose of indie sensibility, and this track really deserves to enjoy mainstream airplay. With their quirky choppy sound, they apparently revel in their studio time and this shines through in a coherent and beautifully presented single. Vive la France!
TEDDY THOMPSON – Separate Ways
(Verve Forecast)
www.teddythompson.com
www.vervemusicgroup.com
Currently capturing the hearts of the UK audiences on tour around the country, NY alt country singer/songwriter Teddy Thompson has come to our attention, and really hits his stride with a simply exquisite second album. Rich chords, simple melodies layered to compliment his smooth and reassuring vocals, this supremely talented artist really seems to be coming into his own. With guest appearances from Rufus and Martha Wainwright, and Thompson’s musician parents (dad Richard was in folk rock outfit Fairport Convention and mum Linda was a solo artist), the album is over brimming with catchy, endearing and beautiful tracks that really stick in your mind. Title track Separate Ways is a highlight, with it’s moving, touching lyrics, but there’s really no low point in this album that brings together the elements of folk, alt country and rock. A worthy addition to anyone’s record collection.
THE AUTUMN OFFERING – Revelations Of The Unsung
(Victory)
www.theautumnoffering.com
Originally formed six years ago in Florida, The Autumn Offering are doing a fine job of mixing old-school metal influences with the speed and fury of hardcore. ‘Revelations Of The Unsung’ (their debut album, originally released in 2003) is bursting with thunderously heavy grooves and gravel-throated vocals, but is set apart from the generic metalcore masses by some amazingly intricate guitar work – such as the Van Halen style shredding on ‘Shadows Of Betrayal’. Keep an eye out for this lot; their new album ‘Embrace The Gutter’ will be released soon.
IGNITE – Our Darkest Days
(Century Media)
www.igniteband.com
The Orange County hardcore stalwarts finally return with an absolute stormer of a fourth album. Frontman Zoli Teglas’ soaring voice often resembles that of the Offspring’s Dexter Holland, and much of ‘Our Darkest Days’ is indicative of what the latter band might have sounded like, had they followed a darker, harder musical path instead of writing rubbish pop songs. This is, quite simply, an awesome hardcore record: heavy, yet melodic, and sure to get you singing along with your fist in the air.
REZUREX – Beyond The Grave
(Fiend Force)
www.rezurex.com
Given that Rezurex count members of Tiger Army and Nekromantix among their ranks, it’s no surprise that the Californian quartet’s debut album is a feast of prime quality psychobilly. Imagine the dark, horror-influenced aesthetic of the Misfits (complete with vocals reminiscent of Danzig) paired with the hyperactive pace and style of the Stray Cats; the results are songs like the arresting stomp of ‘Dia De Los Muertos’ and the none-more-black comedy of ‘Everyday Is Halloween’. Truly, ‘Beyond The Grave’ is to die for.
S.O.S. – A Guide To Better Living
(3:16 Productions)
www.sosnyc.com
‘A Guide To Better Listening’, more like. S.O.S. hail from New York, and deal a mean trade in raw stoner-punk, in a Corrosion Of Conformity/Helmet vein. Having been together nearly a decade, they’re one well-oiled rock n’ roll machine, ripping through monolithic riffs and squalling solos with no shortage of panache. Turn this one up loud, feel the grooves of songs like ‘Star Killers’ and ‘The Wedding Guy’, and be amazed. The fact that this lot are still unsigned is nothing short of criminal.
SUICIDE BID – This Is The Generation
(Household Name)
www.householdnamerecords.co.uk
Household Name Records have done a lot for the UK punk scene over the past few years, so it only seems fitting that they should release this album; a collaboration between members of various UK bands like The Filaments, King Prawn, Ex-Cathedra and Operation Nailbomb. ‘This Is The Generation’ is a refreshingly raw mix of ska, reggae, punk and dub, along with politically aware lyrics that intelligently tackle subjects such as the July 7th bomb attacks and anti-war demonstrations. A message for the head and a beat for the feet – essential stuff.
THE HOLY MOUNTAIN – Enemies
(No Idea)
www.noidearecords.com
If there’s one thing you should expect from a decent crust punk record is that it has to sound fucking dirty and this new 6-song EP from hardcore powerhouse The Holy Mountain is pure filth! Each song is awash with noise, filth and fury, drawing on the raw power of classic hardcore punk bands like Discharge, Tragedy and Poison Idea played with a jaw dropping intensity that can’t be beat. Listening to songs like ‘The Will Of The People’ and ‘Rope Or Bullet’ you can practically see the veins bulging and the sweat pouring from their heads as they pound living hell out of their instruments. This, my friends, is some heavy shit.
Added to the six new songs, we also get their rare ‘Wrath‘ seven-inch and two songs recorded live at The Fest 4 in November 2005 giving us more noise for our money. Bargain.
FEATHERS – S/T
(Gnomonsong)
www.feathersfamily.org
I think it was Ozzy that once said ‘you have to have quiet bits to make the loud bits sound loud,’ and the befuddled Brummie metal god hit the nail on the head. Feathers feature Kyle and Asa from the monstrously heavy Witch and Feathers is the light to Witch’s all consuming darkness. Specialising in beautifully chilled out almost medieval folk music, Feathers draw obvious comparisons to Devendra Banhart, but their influences come from simpler times when folk collided head-on with psychedelic music and progressive rock and bands like The Incredible String Band, Comus and Fairport Convention stripped their music down to some of the deepest roots in music. Likewise, this album is full of gorgeous, simple songs that make you want to smash your mobile phone, computer and ipod into a thousand pieces and live in a tent. Perhaps.
BEDOUIN SOUNDCLASH – Root Fire
(Sideonedummy)
www.bedouinsounclash.com
Available for the first time in the UK, this is Bedouin Soundclash’s first album showing how the band got started and how they sounded before the success of their ‘Sounding A Mosaic’ album and their hit single ‘When The Night Fells My Son’ awoke the world to their innovative fusion of reggae, rock, punk and soul. With their roots firmly embedded in the ground-breaking sounds of fellow fusion punk bands like The Clash and Bad Brains, ‘Rootfire‘ shows the band finding their sound and feel through ten tracks of smooth , hypnotic grooves and rolling dub bass. The key to their success, however, is that Bedouin Soundclash understand the importance of memorable sound-writing and hooks and while there is nothing here quite as commercial and addictive as ‘When The Night…’ it’s fun listening to them work their way towards that ultimate goal whilst always retaining their roots and a positive vibe.
CAPTAIN BEYOND – S/T
(Capricorn)
www.capricornrecords.com
If you like your classic seventies rock and think you have the best of the period covered with your Led Zep, Thin Lizzy, Black Sabbath and Deep Purple records, think again. If you dig a little deeper and peek under a few stones there’s treasures there that will blow your brain. Captain Beyond may never have achieved the commercial success of the era’s monsters of rock but their debut album is artistically up their with the greats. The whole album just buzzes with genius, classic riffs, jaw-dropping drumming and rhythmic percussion and brilliant songs. Stoner rock greats Monster Magnet covered ‘Mesmerization Eclipse’ and re-invented it for their ‘Twin Earth’ single, exposing the band to a whole new generation of rock freaks. And what’s good enough for Monster Magnet, is good enough for us.
THE EXPLOITED – Complete Punk Singles Collection
(Captain Oi)
www.captainoi.com
No other genre of music has revelled in it’s own stupidity quite as much as punk rock. Right from the very beginning The Ramones, who started it all, played up on their lobotomised brain-dead idiocy. The Exploited, however, dragged punk rock to all new lows in stupidity, spitting songs of gang violence (‘Fuck The Mods’) and endless cliches over-simplistic slogans and brain drool. But boy did they fucking rock. The Exploited played some of the most essential high-energy thug rock you could ever hope to hear, appealing to the pent up violent idiot in all of us in a blitzkrieg of knuckle-dragging pure noise and hate. This CD has all of their singles on it (the clue is in the title). It ain’t pretty, but this is the place to go if you just wanna reduce your brain cells without the use of drugs.
SLIPKNOT – Vol.3: The Subliminal Verses
(Roadrunner Records)
www.slipknot1.com
Say the name Slipknot and what comes to mind? Masks, Vomit, Blood curdling growls and all manner of ill shit for starters. But slap on this latest disc and be prepared for a shock. Sure you still get the kick in the face slabs of heaviness such as ‘Three Nil’ and ‘The Blister Exists’ along with the fist pounding Kerrang! friendly anthems such as ‘Duality‘ that we’ve all come to know and love from the well oiled 18 legged machine. However there’s a new side to Slipknot these days. A couple of slow paced tracks that you’d more expect to see on the latest Stone Sour record pop in here, and you know what? They’re actually bloody good. Credit must go to the band for mixing things up a bit when they could easily have cashed in with their trademark sound. All in all everything here ties together to form a fresh, varied and ultimately essential record for any collection.
ILL NINO – One Nation Underground
(Roadrunner Records)
www.illnino.com
Ill Nino have reached the point in their career where they need a very strong offering to keep up with the modern metal world. Following an interesting debut and a largely disappointing sophomore effort combined with rumours of performing to backing tracks and warring words with former members, it’s essential they pull it off with their third release. Unfortunately, they don’t by far. One Nation Underground is a weak, half hearted attempt at fusing nu-metal with detuned guitars that were popular around 5 years ago and tribal elements. Opening track “This is War” gives you the impression that it could be worth a go and just possibly a sleeping giant of an album, but alas it’s all spectacularly downhill from there. And it’s blatant at several stages that Cristian Machado just doesn’t have the vocal ability to fit into the style which he’s trying to mimic. The best way I can describe this? Soulfly-ExtraLite. And that’s pushing it.
OPETH – Ghost Reveries
(Roadrunner Records)
www.opeth.com
It’s satisfying in this current age where fashion bands and the next fad rule MTV and the music publications – to see a band with genuine and undisputed talent who have quite frankly worked their bollocks off, finally come through to the masses. Opeth are truly a band that you just can’t lump into any genre no matter how hard you try. It’s also possible that ‘Ghost Reveries’ is some of their most accomplished work to date. This disc can only be described as an epic 8 track journey that twists and turns at every opportunity, crushing you at one moment before picking you up and stroking you gently the next. Mikael Akerfeldt has never sounded better, and with striking tracks such as ‘The Grand Conjuration’ and ‘The Baying of the Hounds’ as evidence, it’s hard to think of anything else that should be sat at the top of any music fans collection this year.
STATIC-X – Start A War
(Warner)
www.static-x.com
Another group who have recently hit the headlines for all the wrong reasons, Static-X are a band who have enjoyed relative success riding on the coat tails of industrial tinged nu-metal. Having replaced the recently incarcerated Tripp Eisen with original guitarist Koichi Fukuda, the band are proclaiming to have gone back to their roots with this their 4th full length release. This is all well and good until you come to realise that this isn’t the direction they should probably be heading in. Nu-metal has had it’s day and the times are a changing as they say. Sure there’s several short (and I do mean short) sharp punchy efforts on here, but there’s nothing remotely substantial or inspiring to speak of. If the band are to stay afloat it’s definitely time to make a few changes and steer clear of the tried and trusted method. One for the diehard fans only I’m afraid.
KORN – See You On The Other Side
(Virgin/EMI)
www.korn.com
KoRn, former nu-metal kings of yesteryear re-emerge with their 7th album having freshly signed to new label Virgin and now parading as a four piece thanks to Brian ‘Head’ Welch’s decision to follow Christianity, it’s hard to mention KoRn these days without cringing and waiting for the inevitable barrage of abuse to come. But when they roll out efforts like this you’ve got to ask yourself if it’s really any wonder. KoRn are blatantly one of those bands that just don’t know when to quit. Thriving on making a fortune out of teen angst well into their thirties, the band don’t even see fit to write all their own lyrics anymore. Whether that’s a good thing in the end or not I really don’t know but on this showing it’s definitely time to quit the day job. I’d name a couple of tracks that stand out but in truth none actually do. So to sum up, if you get your rocks off listening to a rich thirty something, rock star singing in a whiny voice about how shit his life is then no doubt you’ll think this is once again a fantastic album. However the rest of us lucifer loving metal fans may just start seeking out god ourselves after being subjected to this.