Behind the mask: interview with Thunderstick’s Barry Graham Purkis ahead of new studio album

Interviews, new wave of British heavy metal, Rock music, , , , , ,

NWOBHM legend, Barry Graham Purkis, resurrected his Thunderstick persona back in 2017 and released a critically-acclaimed album, Something Wicked This Way Comes – the first all-new Thunderstick product in thirty years. The revitalised band has since proved a popular live draw at festivals. Now they’re back with a new single and a new studio album set for release in October 2023. Here, Barry updates me on what’s been happening.

You were one of the pioneers of the New Wave Of British Heavy Metal (NWOBHM) back in the late 70s. Apart from one or two obvious examples it’s an era that tended to get overlooked. Do you think the New Wave Of British Heavy Metal is finally starting to get the recognition it deserves?

Yes and no… I often get asked, “Did you think it was something special at the time?” Well, the answer is no to that because it was very much a kind of work-in-progress. It was after we’d had total domination by punk. The record companies were only signing punk bands. And a lot of them got their fingers burnt through doing so because there were only a handful of bands that were really iconic and of their time. We all know the Sex Pistols – absolutely amazing album, Clash, Siouxsie & the Banshees, there are a number of them. Whereas a lot of other bands, there was a lot of dross as well. But because of that domination, nothing was happening with any other musical genre. And there was this underground movement of all these bands that were learning to play as a throwback against punk, because of the simplicity. Punk was all about a feeling, wasn’t it. It wasn’t so much about musical proficiency. It was more about an attitude and everything else that it signified. And so be it. Because before that we had the self-indulgence of the prog rock bands that would go for ten-minute drum solos. And then you’d have a five-minute bass solo and then a keyboard solo and it was just ridiculous. So there was a backlash against that. But there was also a backlash against punk – the simplicity of it and that a lot of these bands hadn’t even learnt how to play their instruments. And so there were a lot of metal bands or hard rock bands at the time that actually had.

So there were quite a few bands around but they didn’t have any exposure. And then, bit by bit, they started emerging. Samson, the band I was playing with at the time obviously had a great stake in that because we were one of the first bands to release an album that was considered to be New Wave Of British Heavy Metal. And that was the Survivors album. We also had a management company that were prepared to put money into that band and so they financed what was known as the Heavy Metal Crusade. Paul Samson knew a band from south London that he was good friends with because we were looking for support acts to come out with us. He recommended a band called Angelwitch and so they were put on the bill and we were still thinking about a third band and I said, “Well the band I played with prior to joining Samson was a band called Iron Maiden. Would you be interested in them?” And he said, “Yeah, sure.” So that’s how that came about.

One of the venues that we played at regularly was a place called the Music Machine in Camden in London. Quite a sizeable venue and when we played that – around 1979-1980 – there was no social media, there was hardly any VHS let alone DVDs and there were no real rock magazines. They were all black and white weekly music rags – Sounds, Melody Maker, New Musical Express etc. One of the main contributors to Sounds, a guy called Geoff Barton, came down to have a look at this gig with Samson, Iron Maiden and Angelwitch. And he went away and wrote up his piece and that was the very first time when he coined the phrase ‘This is the new wave of British heavy metal’. I mean up until then it wasn’t even called heavy metal, it was called rock – hard rock. And because I was doing the Thunderstick thing with the mask, I got on the front cover of Sounds and they said, ‘Is this the new face of heavy metal?’

And that’s how it came about. And now, let’s move forward up to these days and there are so many bands who like tag themselves in on NWOBHM and say, “Oh yeah, we’re a NWOBHM band.” A lot of which you can totally disregard because it was only a handful of bands at the time that were there and doing it. A lot of publications at the time thought that bands such as Def Leppard were part of that movement. I think they’ve distanced themselves suitably enough now but there are the bands that are still trading on that such as Tygers of Pan Tang and Diamond Head. And I guess it’s the same for me. Whenever we play, I always seem to get the phrase New Wave Of British Heavy Metal coming up. Which makes me laugh because I’m not heavy metal at all. My band, Thunderstick, are purely hard rock, pushy, punchy rock. We’re not metal by any stretch.

The Thunderstick persona that you developed, that was captured on that cover of Sounds, it brought an element of that very theatrical style of rock from the mid-70s to a new generation in the early 80s. Was that a conscious decision?

Very, very much so. The way the mask came about was the simple fact that there weren’t very many glossy colour magazines that catered to a certain genre or anything like that. And when they did start bringing out posters of bands, you would always get the singer at the front strutting his stuff, you would get the guitarist pulling all the stereotypical poses and then you would get the top of somebody’s head and a row of cymbals. And that was the drummer! Now there were certain drummers that were obviously iconic. There was Keith Moon and Ian Paice and John Bonham and drummers of repute such as that. But I’m talking about grassroots bands. Nobody would really be able to tell you who the hell the drummer was. So I went ahead and I created a faceless drummer. And in doing that I then came up with the name Thunderstick. Now the theatricality came in with that image. Well it kind of wrote itself. Because the moment I put the mask on, that’s it – I kind of became that person.

You stopped being Barry and you became Thunderstick while the mask was on.

Exactly! And also the fact of my love of theatricality in bands. To this day I still worship at the altar of Alice Cooper because I just love that. The Tubes was another band that I really, really used to love going and seeing when they toured over here. So it’s always been paramount in my thinking. Always.

Who are your favourite artists and who have been the big influences on you? You’ve mentioned a couple. Are there more?

Well there are but the main thing about my musical taste is that I like to regard it as very eclectic. There’s bands like The Residents. I used to love them. Very, very strange band. But then, as I’ve just mentioned, I would love Alice Cooper. I would love hard rock. I also loved experimental music like Brian Eno, for example. As well as that, I’ve always loved female vocals. So, yeah,  I have got a very eclectic taste. As regards drumming, very strange influences. Obviously, I’ve mentioned Keith Moon. John Bonham I loved and it’s only at an older age as I am now that I can appreciate exactly what he did.

So my influences at the time, there was a guy called Guy Evans, who played for a band called Van Der Graf Generator. Another one was a guy called Pierre Merlin who played for a band called Gong which I love. I used to go and see them quite regularly – and that harks back to the theatricality in music. And what a fantastic drummer. The hi-hat stuff that he used to do was just quite incredible. Prairie  Prince from the aforementioned Tubes – absolutely amazing drummer as well.

And I just thought they were able to treat the drums as a musical instrument rather than just a rhythm-making machine. And I’ve always maintained that. I can’t abide drum solos. I hate them. I have had to do them in the past, many years ago. With my particular style of playing, I have always tried to put everything I can into the musical arrangement. And so for drum solos I haven’t really got a great deal more to say. All I’m doing is a repetition of what I’ve done within the song anyway. And also the fact, technically, I’ve never had a drum lesson in my life. I literally learnt to play from the heart and that’s my style. I really wish that I could be more technical and I see these young kids of 8 or 9 and they sit down behind a drum-kit and they’re just wizards and they hardly break a sweat and I think how the hell do they do that? Because it’s something that I’ve never been able to do. In some ways I’ve found it frustrating and I suppose to a certain extent it’s held me back. But the other side of the coin is that I bring something to my style of playing that is unique. And I hope I am one of those drummers that when you hear them for the first time you know exactly who it is. And you can go, “That’s Thunderstick!”

So when you left Samson did you have a very clear idea about the kind of band you wanted and the kind of music and image you wanted?

Yeah.. there was  a stop-gap between Samson and Thunderstick. That stop-gap was Bernie Torme’s Electric Gypsies. I was the drummer with them for a little while and we did selected dates. I also did a Capital Radio session… But then some of the press jumped on the fact that I was ‘Thunderstick unmasked’ and that became a bit untenable so it was time to move on. Bernie didn’t want any of that. It was Bernie’s band obviously.

So I then started putting together Thunderstick and, yes, I was totally focused on what I wanted from it. I used to even design the lighting – nine times out of ten it was design of lighting that I could ill-afford – but I used to design the lighting, the choreography, and just anything and everything regarding Thunderstick, as well as being the songwriter. I had a clear-cut idea of what I wanted it to be. I also immediately thought that I wanted a female vocalist. There were two reasons for that. One being the fact that I always liked writing for a higher register voice. But more so because the Thunderstick image within Samson was very stark. And it was during the time of female emancipation and the women’s lib group were really quite active in what they had to say, and rightly so, but felt that my image was very detrimental to women and belittled women. It didn’t help that we all know the story that there was a guy called the Cambridge Rapist who wore a mask very, very similar and was breaking into women’s homes and raping them which was just horrific. I’ve never viewed the Thunderstick character to be anything but the knock-about character that it was.

Like Alice Cooper and his guillotine…

That’s it. Exactly right. You can read into things that happen on stage so easily and with certain people in their hands it becomes quite an incendiary type of thing. So I thought, you know what, I’m going to put a female vocalist at the front of the stage and then that way if I do get any comebacks from other women I can just say, “Look, go and talk to her.”

And there’s an obvious counterpoint then on stage.

Yeah the ‘Beauty and the Beast’ thing.

In 2017 Something Wicked This Way Comes was the first new Thunderstick album for thirty years, picking up many positive reviews. Were you surprised by the response to that album?

Yes, totally. I didn’t know because I hadn’t put any product out for, as you’ve said, thirty years. Thunderstick had died a death within the ‘80s. The reason behind putting that album out, as you also know, is it was due to Jodee Valentine’s death after her fight with dementia. For those that don’t know, Jodee was an American singer who loved everything English regarding rock bands. Her all-time favourite band was The Who and she came from the States, on the east coast, and had a degree in classical piano and decided that she wanted to just jump on a plane and come to England, home of The Who. So she did just that and in the meantime I’d gone through a few singers because they weren’t right. The first singer was a lovely lady called Vinnie Monroe and then I had another lady called Anna Borg and through one thing or another they and the band parted company. It was nothing acrimonious. With Anna she kept losing her voice and I had to blow out a tour because of that.

So in goes the advert for another vocalist and Jodee came along. My main rule regarding the band was no fraternisation amongst the band because it really doesn’t work. And what do I do? I commit the cardinal sin and I move in with Jodee. So Jodee and I became an item but it was great on stage because we were, as you just said, that counterpoint. We were able to really work off each other. But the music industry being the volatile environment that it is, has had many a relationship that has fallen foul of it and we were just another one. So she jumped on a plane, went back to the States and that was that.

And many, many years later, I read that there was a guy that had been visiting her in a care-assisted home. I had recently remixed all of the early material and put it out on an American label and it was called Echoes From The Analogue Asylum. The reason I called it that was because purely and simply it was of its time and all of the songs were recorded analogue. Digital didn’t exist. So it was the first time that I was able to put it out in a digital format. He got a copy of it unbeknownst to me and he then went and saw Jodee because he was a musician and he would go to these care-assisted homes as a visitor. And he took a copy of the album and played it to her and she didn’t even recognise her own voice. She was just staring out of the window. Which is absolutely terrible. And he told me that she’d been in there for five years before she passed. It was, for me, a very emotional time. Although at that time I’d moved on and I have my wife and I have a daughter and what have you. But there was just so much material there that I thought,  you know what, she would have loved it to actually come out on an album. So that’s what I did. That’s when I went into the studio and the studio found me a session vocalist at the time and she was good enough to be able to put on the album and the rest regarding that album is history.

It came out and it received really, really positive reviews all the way around the globe. And I was just amazed by that. I really was. It was simplistic in its approach because I didn’t have a great deal of money. In fact, I mixed the album in two days, with the engineer. And it was funny because a lot of the reviewers picked up on it and said, “You’ve managed to encapsulate that simplistic late ‘70s, early ‘80s type of NWOBHM sound and projected it into the now. Is that something you actually worked at?” Yes, it was something I worked at but also it was the fact that I had no money and I had to mix it in two days! Which was great, because they picked up on that. That was wonderful and yeah, it received some very good reviews.

And you now have a new studio album coming out in October. Tell us about that.

Well, after the reviews of Something Wicked people were asking why I didn’t have a performing band going out and promoting the music. And it was purely because I hadn’t even contemplated putting a playing band together to be able to do it live. Getting those reviews, I started having to have a rethink. And I started thinking along the lines of, maybe I should put a live band together. And I did. I put a live band together and used a young lady who I’d seen something of in a band that she was singing in and so I approached her. She came with her partner who’s a guitarist and I started putting together a live show to be able to play the material that was on the Something Wicked album. It didn’t work out with them because they were a partnership and without going into too much detail they were promoting their band rather than promoting Thunderstick.

So then we started looking for another vocalist and one of my friends, who also played in a NWOBHM band – the guitarist from More, a guy called Dave John Ross – he came to me and said, “Have you seen this vocalist? She plays for a covers band and she also does solo material with backing tapes.” I was completely taken aback when I listened to her. I thought, oh my god. She had this unique vibrato in her voice and she had never sung in front of a real loud, hard rock band before but she came along for the audition and she blew me away. Completely! And I also hope that we did her. And we got together and she’s been with me a good three years or so. She has great stagecraft and she has an amazing voice. So there was all this material left laying around that I had written in the ‘80s that had only got as far as the demo stage. And I thought, yep, it’s time to do this thing that musicians do of getting in the studio and bringing out another album. With her on it. It was so important for me to get something out with her on it.

Thunderstick live in 2019

So yes, it’s been a long time in the making. I can tell you a little bit about it. There was a lot of material taken from the early days. I also started writing with one of the ex-Thunderstick guitarists, a guy called Dave Killford, who had appeared on Something Wicked as well. And I also started writing with Rex (bass-player with Thunderstick). Thunderstick was, for me, always my baby. Completely. And I used to write the material, I would produce it etcetera, all the way down the line. So, for me to start writing with other people, I found it was quite cathartic for me to actually do that. Because instead of having all the responsibility, all the time, I was able to work off other people and that was really, really good.

So we started writing and I put the drums down in 2019 with the thought that we would release it sometime in 2020. But we all know what happened. We’d just started putting the bass tracks down when it came about that we had to self-isolate and nobody was allowed to get together in a room and it just absolutely decimated my timetable. I then had guitarists, a lot of guitarist that are friends saying, “If you need me to do anything you know where I am.” So a lot of the guitar work is my friends that have recorded remotely and sent all the files in but therein lies a problem because my drums when I put them down, they weren’t done in a recording studio. They were done in a rehearsal studio and I just found that there was so much wrong with the drums. There was spillage onto different mics and there were problems with mics that weren’t connected properly, just one thing after another. Technical problems. And then most of the guitarists that had contributed to the album always wanted to put their effects on it. At the time I should have insisted and said I want a dry signal which enables me to then at a further date when we mix be able to do what I wanted. I thought it was saving time but in the long run it didn’t save time at all.

So, I have a plethora of guitarists on it – but they’re all good friends and they’re all people that I regard highly as musicians and their contributions have been amazing. I have now, obviously, my own live band that continues. Raven has done some amazing vocal tracks on the album. She really has. And where are we now? 2023! And it was only about two to three weeks ago that I actually finished the mastering of the album. It’s a long album. It lasts for about an hour and twenty-five which is really good. I think material-wise, it’s some of the strongest stuff I’ve ever written and my co-conspirators I hope are also pleased with what they’ve put on it so, yeah, I’m looking forward to it coming out.

And you’ve got  a new single coming out later in August?

I said earlier that I needed to get something out with Raven on it. We put out a single called ‘Go Sleep With The Enemy (I Dare You)’ and it was a limited-run which we sold at gigs. So I’ve revisited that because I thought it would be good to have something that represents the album and the way that we’ve moved forward as a band on that album. It is a heavier version of the original track but I think it’s more representative of the way that the album will sound so, yeah, I’m looking forward to putting that out again. I’m looking forward to people’s response on it.

Thanks Barry. Before we wrap up, is there anything else you want to tell us?

I’d just like to say, check us out. We’re doing a couple of festivals. We’re also doing one in France in October called British Steel. Obviously, we’ve just done the Iron Maiden after-party (at the Cart & Horses in east London) when Iron Maiden did the two nights at the O2 and we did the first night as an after-party. It was really well-attended. It sold out. I’m also very happy that we put one track up that had been recorded by somebody. The sound quality was really quite good and we’ve had two-and-a-half-thousand views on that, which is amazing and, as you said, the album will be out in October. And I’m just hoping and praying that everyone receives it as well as they did with Something Wicked because I think the material on it is even stronger. And thanks for supporting Thunderstick if you are, indeed, a supporter. And if not, check us out and welcome you on board!

Facebook: https://www.facebook.com/thunderstickofficial/

Facebook fan site: The Thunderstick Stormtroopers

Twitter: https://twitter.com/ThunderstickUK

Instagram: https://www.instagram.com/thunderstick.official/

Related posts:

Thunderstick album – news, reviews and interviews round-up

News: 40 years of Thunderstick celebrated with limited-edition live album – released 20/3/20

‘Reap The Whirlwind’: new single from KK’s Priest ahead of second album and UK tour

Music news, Rock music, , , , , , , ,

Former Judas Priest guitarist, K.K. Downing, made a dramatic return to the frontline of heavy metal with the launch of KK’s Priest and the release of the Sermons of the Sinner album back in 2021. Reviewing the band’s debut album I concluded, “Every riff, every yell, every beat, every second of the album encapsulates the spirit of Priest and is executed with power, panache and pure class.”

And the very welcome news is that a second album, The Sinner Rides Again, is scheduled for release on 29th September, accompanied by a short UK in October. Fans already had a taste of what’s in store from this album with the release of the ‘One More Shot At Glory’ single earlier this summer and that’s now followed up by a second single from the album, ‘Reap The Whirlwind’.

K.K. Downing says of ‘Reap The Whirlwind’: “’If you sow the wind, you will reap the whirlwind’ – this is a common phrase that has been familiar with me from a very young age. Obviously it’s very meaningful – it’s a warning that if you mistreat people, or really whatever you do in life, you need to be very careful, because whatever sufferance you inflict on anyone, it could come back to haunt you, and your suffering could be even more severe. Everyone knowingly or unknowingly has made the mistake of thinking they can get away with small misdemeanors to suit their selfish pursuits, but if justice is to be served, you will reap exactly what you sow. That is the message of this song.”

KK’S PRIEST is K.K. Downing (guitar); former Judas Priest vocalist, Tim ‘Ripper’ Owens (vocals); A.J. Mills (guitar); Tony Newton (bass); and Sean Elg (drums).

Discussing the forthcoming album, Downing recently said, “We’ve lost a lot of great people – Dio, Lemmy, for example – but this amazing and unique style of music must be preserved for as long as possible and I feel it within me to continue to play my role, as I always have, and to defend this metal genre, which we all know and love.” The Sinner Rides Again is a testament to this call for the classics while speeding full force into the future, delivered by some of heavy metal’s most essential performers.

KK’S PRIEST UK tour dates:

October 7, 2023 – Birmingham @ O2 Institute

October 8, 2023 – Glasgow @ SWG3

October 10, 2023 – Nottingham @ Rock City

October 11, 2023 – Manchester @ O2 Ritz

October 12, 2023 – London @ O2 Shepherd’s Bush Empire

KK’s PRIEST – Jul 16, 2021. Photo credit: George Chin

The Sinner Rides Again released 29th September 2023 and available for pre-order via:  https://lnk.to/KKsPriest-TheSinnerRidesAgain/napalmrecords

https://kkdowningofficial.com

Related posts:

Album review – KK’s Priest ‘Sermons of the Sinner’

Album review – Spirits Of Fire ‘Spirits Of Fire’

Album review : Judas Priest – Redeemer of Souls

Live review: Judas Priest at Brixton Academy 2015

Live review: Les Binks’ Priesthood at Minehead 2020

Book review: ‘Confess’ by Rob Halford

This week’s featured artist: The Artist Formally Known as Vince Band – new album ‘A Problematic Opera’

Album reviews, Music news, Rock music, , , , , , ,

Combining elements of glam, punk, power-pop and rock and roll, The Artist Formally Known as Vince Band (or TAFKAVince Band for short) formed in 1996, releasing their debut album in 2002 and building a reputation as a fearsome live act in their home-town of Chicago as well as out on tour around the US. TAFKAVince is Vince SanFilippo (vocals and guitar), Lauren Kurtz (vocals), Brian Chinino (drums, percussion and backing vocals) Chris Geisler (bass, percussion and backing vocals) and Vee Sonnets (guitar, backing vocals and keyboards).

The band’s latest album, A Problematic Opera, is a six-track album released in May this year and features guest performances from Brian Smith, Joe Vitti, Yoko Schmadeke, and Maureen Grady. I instantly warmed to the band’s brand of trashy glam-punk and, hopefully, this latest album should bring them to the attention of a wider audience and win them plenty of new fans.

Vince tells Darren’s music blog:

“The tracks from A Problematic Opera came quickly in a songwriting binge. I chose these six songs as they seem to all mesh together and cover all aspects of what the band does. There is variety yet consistency; late-night thoughts and late-night experiences; theatrical imagery that always slips in. I envisioned these songs together on a 10-inch record so we headed into the studio to make this album. A couple long weekends in the studio gave us time to add a little extra to the solid base we worked out in our rehearsal room. Every band member individually suggesting “A Problematic Opera” as the title really brought it to completion.”

A Problematic Opera – released 26th May 2023

https://theartistformallyknownasvince.bandcamp.com/album/a-problematic-opera

https://www.facebook.com/theartistformallyknownasvinceband

This week’s featured artist: Appalachian singer-songwriter, Lucas Pasley – new album ‘Ponies Back Home’

Album reviews, americana, Folk music, , , , , , ,

Lucas Pasley is an old-time fiddler/banjo-player and singer-songwriter from Sparta, North Carolina in the heart of the southern Appalachian mountains. Pasley has spent most of his musical life performing traditional Appalachian music and formed the band, Gap Civil, in 2018 with a motto to “honour and innovate” traditional mountain music. In recent years, however, he has also moved into singer-songwriter territory.

Ponies Back Home is his second solo album and follows Souls Living On, released in 2020.

Still very much rooted in traditional Appalachian music, Pasley is heavily influenced by his grandmother’s songwriting, while also bringing in wider country influences together with his own sense of originality. The result is an album packed full of appealing melodies, heartfelt lyrics and authentic playing.

A number of additional guest vocalists, together with a stellar line-up of musicians complementing Pasley on vocals, guitar and fiddle, makes for a strong album. Ponies Back Home will certainly appeal to those with a love for the Appalachian traditions but there’s plenty here to tempt anyone who enjoys some fine Country/Americana-flavoured singer-songwriting.

Released: 7th May 2023

https://www.lucaspasleymusic.com/home

Rivets For The Eiffel Tower: interview with Robert Carter of folk/rock/blues band Parkbridge

Folk music, Interviews, Rock music, , , , , , , ,

Coming together through a shared love of classic rock, folk rock and blues – bands like Led Zeppelin, Pink Floyd, Fairport Convention and Free – Parkbridge is a four-piece from Greater Manchester. The band’s debut album Rivets For The Eiffel Tower comes out in the Autumn. I catch up with lead singer, lyricist and guitarist, Robert Carter.

Firstly, what got you into performing?

It was really my cousin, Steve. He was in bands from being a teenager. He’s five years older than me and I used to go round to his house and he’d be playing the piano and he’d try and teach me how to play ‘Chopsticks’. His fingers would just go up and down the keys and I was just so impressed. And then as he got older he started being in bands. And then when I started writing songs, he was the first person that I contacted to see if he was interested in playing around with them. In the early ‘80s we got together once a week for about a year and wrote songs together. In those days it was usually his music and my lyrics. But then we both had young kids and we kind of let it drift. He’s in Whitby now but we still get together at least once a year. And we just get the guitars out and start playing. It’s great fun.

What prompted you to start writing? You said you started off writing songs with your cousin.

It was probably about 1980 when I was 20 years old. Believe it or not there was a Paul Gambaccini series about various bands and he did one on the Doors. He was talking about how Jim Morrisson had written a load of poetry and he took them to Ray Manzarek, who was obviously an accomplished musician, and Ray Manzarek said something along the lines of, “These are the greatest lyrics I’ve ever seen. Let’s form a band and make a million dollars.” And I thought it was going to be that easy. So just find a really great musician – my cousin – and we’ll make a million dollars. But it didn’t quite work like that!

So you’re still waiting for the million dollars?

Yes, although that doesn’t go quite as far these days, does it? But it did 40 years ago!

And now you’re the singer and guitarist with Parkbridge. Tell us how this project first came about.

There’s an area of Ashton-under-Lyne called Park Bridge – two words. And it’s a famous old area that I’ll come back to in a minute. But it’s got an institute which is basically like a co-operative pub and about three years ago they had what they called an acoustic night. So I trundled up with my guitar and played a few songs and our bass player, Ian Turford, was in another band at the time. Their band played a few songs and Ian then said to me, “Let’s get together and do something.” But Ian works full time and he’s playing in bands almost every night of the week. And he’s married and he’s got grand-kids and kids and all that stuff. So fitting it in was difficult. And then a couple of years later, I was introduced to Sean Dyer by one of the members who said, “You play guitar. You play guitar. Talk to each other!” So, we started chatting and even though he’s considerably younger than me, he has very similar music tastes. We talked about Paul Kossoff and Free. We talked about Peter Green and David Gilmour and Led Zeppelin. And then we started talking about folk and Fairport and Cropredy Convention and he said, ‘Oh, I’ve just got into Fairport.” And he likes a bit of Bert Jansch and Richard Thompson and the more we talked, the more we kind of clicked. I just invited him round. I said, “I’ll play you some of the songs I’ve written and see what you think.”

So we did and it worked out quite well. He started noodling – that’s a technical term for playing arpeggios and licks! – around the songs I was singing to him. So I said, “We’ve got to do this again.” So we met again the next week, did the same songs and played around with them and I said, “Do you know Ian?” – who also lived in Park Bridge at the time and he said, “Yes, of course I do – great bass player.” And I said, “Well, he and I have been talking about doing something and we’ve just never got around to it.” So, I phoned him up and the next week when we got together, Ian came, too, just with his acoustic bass. And we sat in my kitchen and started just formulating arrangements for the songs that I’d written. Ian then got us a gig supporting another band he was in and it went really well. But his band had a drummer. And Sean and I were watching this second band and we said, “Oh, we need a drummer don’t we?” Anyway, a couple of months later a drummer that Ian had played with, Dave Johnson, had his drums set up at the back of the hall in a rehearsal room. So we went and met Dave and it all started to click together. We said let’s work on some original songs, let’s play around with some covers just to get the feel and get tight as a band and that’s kind of it. So by about May last year, we’d become the four-piece that we are today.

As a band you’re upfront about bringing that mix of rock, blues and folk influences into your music. Was that a conscious decision or did that just evolve from those first few jam sessions together?

I think it’s evolved. When Sean and I first got together we were talking about folk and folk rock – in an acoustic environment. And then there was one particular song called ‘Hired To Kill’ which is on the first album, and I said, “This isn’t working.” When I wrote the song, I wrote it as a rock song and it needed a riff. So Sean started playing around with an electric riff and we bounced it around and it evolved into a rock song. As did another one called ‘Alright Jack’ which is the opening track on the album. And, again, once we put an electric riff to it, it just took on a whole new dimension. But we’ve not done that with everything. The album is a mix of rock, acoustic rock, folk rock and blues. A couple of songs I wrote were definitely written as blues songs in the twelve-bar format. So it’s evolved really. It started out as a folk rock duo and has now become either a folky blues-rock band or a bluesy folk-rock band.

What are your favourite artists and who has been a big influence on you?

After I graduated from the pop-rock bands of the early ‘70s like Slade and Sweet, I was at a neighbours. They were all a few years older than me. And one day one of the guys put on Led Zeppelin 2 and it changed my life! I heard Led Zeppelin as an 11 or 12-year-old and I just thought wow! So then I started to discover new things and started listening to the Alan Freeman show was on the radio on a Saturday afternoon. So the bands that I really got into: Led Zeppelin I’ve mentioned, of course. I love Free, Family, Pink Floyd. The heavier stuff, like Black Sabbath. I got into Uriah Heep as well. It was all of those kind of bands. A friend had Wishbone Ash’s Argus which is a sublime album. So it was really what we now call classic rock that influenced me. But, I always had a soft spot for Fairport Convention. And I got into Fairport, as many people did, because of Sandy Denny doing the duet with Robert Plant on ‘The Battle of Evermore’. And I thought, “I’ve got to hear more of her.” So I went and discovered Fairport and I’ve been a Fairport fan ever since. I go to their Cropredy festival every year – as you do! I’m also a big Neil Young fan. And the Byrds. And I just love Bob Dylan, as a song-writer, and against popular perception, I do also actually like Bob Dylan’s singing voice, too. I think he pus his songs across really, really well.

You must be excited to have the band’s debut album coming out – Rivets For The Eiffel Tower. Firstly, tell us where that title comes from.

I mentioned Park Bridge earlier. Park Bridge was formed as a village during the industrial revolution. There was a big iron foundry in Park Bridge and a mill. If you ever go to Paris, in the museum at the Eiffel Tower there is an inscription that says “Rivets made by the Park Bridge Iron Foundry, Ashton-under-Lyne.” And so Rivets For The Eiffel Tower became the obvious name for our first album. They also, we believe, made the rivets for the Sydney Harbour Bridge, too – so there might be a second album title there. And as third album’s often sink – ours won’t of course – they also made the rivets for the Titanic but we don’t talk about that one too much!

So what can people can expect from the album?

They’re all original songs. There are eight songs on the album. There’s a couple of what you would call folk rock. There’s a couple that are classic rock in style. There’s a couple that could be classed as indie rock and there’s a couple of blues songs. And they are all words written by me and music and arrangements by the band. And if you’re into the kind of bands that we’ve been talking about, maybe you’ll like what you hear. I have to say that I’m working with three fantastic musicians. Sean’s two big influences are David Gilmour and Peter Green and I think that comes out in the album. Ian, the bass-player, loves a bit of Black Sabbath and you can hear a bit of Geezer Butler’s influence in there. He plays a melodic bass quite regularly, not just a thump-thump bass, and Ian’s style kind of captures that. And Dave is quite eclectic. He loves a bit of John Bonham but he loves quite a few modern drummers as well. And they’re all great musicians and it’s a privilege for me to work with them. We’re probably a little different to most of the newish rock bands you hear these days. We try and be melodic. We try and tell a story in the lyrics. We try and offer something different. So if you’re into that classic rock sound with style, have a listen and tell us what you think!

You also present your own music show on Real Rock Radio. Can you also say a bit about that?

It started last year at the Tameside Beer Festival. Immediately after Parkbridge played, Tony Charles, the managing director of Real Rock Radio did a set of classic rock songs and we got chatting and he said, “I could really do with someone on the station who could do country rock.” And I said, “What about folk rock and acoustic rock, with a little bit of country rock thrown in?” He said, “I love it!” So I now present every Friday at 7 O’clock ‘The Acoustic & Folk Rock Show’ on Real Rock Radio. It’s repeated on Tuesdays at 2pm for those people who have better things to do on a Friday. And it’s great fun. It’s a lot more work than I expected but it’s introduced me to a lot of bands that I wasn’t aware of. And on this week’s show I’ve actually sneaked in ‘Why Do You?’ from our album but don’t tell anyone!

Rivets For The Eiffel Tower by Parkbridge goes on general release on 6th October with a limited-edition CD available from 18th August 2023.

Website: www.parkbridgemusic.com

Facebook:  https://www.facebook.com/parkbridgemusic

Twitter:  https://twitter.com/Parkbridgemusic

‘Burn The World’ a compelling slice of eco-themed prog from Hats Off Gentlemen It’s Adequate

Music news, Rock music, , , , , , ,

Hats Off Gentlemen It’s Adequate are a UK-based progressive rock outfit featuring Malcolm Galloway (vocalist, multi-instrumentalist and producer), Mark Gatland (bass, Chapman stick, backing vocals, additional guitar, keyboards and co-producer), and sometimes accompanied by Kathryn Thomas (flute, backing vocals).

Their forthcoming album, the band’s seventh, is The Light Of Ancient Mistakes which is set for release on 9th September. A first single from the album is the excellent ‘Burn The World’ with it’s compelling climate-themed message. All proceeds from sales of the single (at least until the end of 2024) will be donated to the Prog The Forest fundraising initiative (which donate funds to the World Land Trust, to support their work buying threatened habitat to put into protective trusts in collaboration with local communities).

Malcolm Galloway tells Darren’s Music Blog: “Of all the balls of rock in the sky, ours is the only one we know for certain harbours life. We seem so reckless in how we act. We know that increasing CO2 in the atmosphere warms the planet, and warmer air leads to more extreme weather events. Every forest is part of our life-support system. Saving rainforests from being burned down for short term financial gain helps in the fight against climate change and against the mass extinction of other species.“

Hats Off Gentlemen It’s Adequate are co-organisers of Prog The Forest, the annual progressive music environmental charity fundraising festival that has raises money to protect over 40 acres of threatened habitat.

“We work with Chris Parkins of London Prog Gigs to organise an annual fundraising progressive music festival in London. The festival donates all profits to the World Land Trust, which acquires threatened rainforests and other valuable habitats to place them in protective trust in collaboration with local communities. We will be donating all the earnings from the Burn The World single release until at least the end of 2024 to this fundraising. So far, Prog The Forest has raised enough to save over 41 acres of threatened habitat.”

Tickets: https://www.ents24.com/festival/prog-the-forest-23/6793332

The Light Of Ancient Mistakes album is available to pre-order on Bandcamp, and will be on general release on 9 September 2023. The centrepiece of the album is ‘Walking To Aldebaran’, inspired by the science fiction novella of the same name by Adrian Tchaikovsky. The tracks ‘Avrana Kern Is Made Of Ants’, ‘The Requisitioner and the Wonder’ and ‘Gothi and Gethli’ are references to a character, two spaceships and a pair of crow-like creatures which insistently deny they are sentient in Adrian Tchaikovsky’s ‘Children of Time’ series.

Science fiction author Iain M Banks’ novel ‘Look To Windward’ is the inspiration of the title track. The track ‘The Man Who Japed’ is named after the Philip K Dick novel. The childhood experiences of David Cornwell, who wrote as John le Carré are the inspiration behind ‘Sixteen Hugless Years’. ‘The Glamour Boys’ was inspired by Labour MP Chris Byrant’s book of the same name about the experiences of a group of mostly homosexual or bisexual Conservative MPs who argued against appeasement, despite the threats from Chamberlain’s government to expose their secrets. Many went on to risk, and in some cases lose their lives in the Second World War.

The album also features ‘Sold The Peace’, which explores how after spending and risking so much to fight the Cold War, some of our leaders seem willing to risk our democracy for relatively small sums. ‘The Anxiety Machine’, is a three part instrumental is interspersed within the album. ‘Goodbye Cassini’, isa flute led tribute to the space probe, and ‘imtiredandeverythinghurts’ s about Malcolm’s experiences with invisible disability due to Ehlers-Danlos Syndrome, and the difficulty knowing how to respond to the well-intentioned question ‘how are you’? The album ends with the climate change inspired ‘Burn The World’.

The Light Of Ancient Mistakes is released on 9th September 2023 and is available to pre-order on Bandcamp: 

https://hatsoffgentlemen.bandcamp.com/album/the-light-of-ancient-mistakes

www.hatsoffgentlemen.com

Glam rock: album review – Sir Prize & The Twomorrow Knightz ‘Glitter, Gum & Bubble Pop’

Album reviews, Glam rock, , , , ,

A collaboration between UK-based singer-songwriter , Tim Izzard, and US-based lyricist, DJ and owner of Dandy’s Stardust Dive online radio station, Gregory Dobbins, Glitter, Gum & Bubble Pop is twelve tracks of shiny, sparkly, retro pop. It’s an album that unashamedly celebrates both the late ’60s US bubblegum scene and the early ’70s UK glam scene, while also paying homage to the golden age of Hanna-Barbera cartoons through the creation of the duo’s animated alter-egos, Sir Prize & The Twomorrow Knightz.

Tim Izzard and Gregory Dobbins:

“Hear ye, Hear ye!……..The future of the music of the past has arrived……50 years in the making, ‘Glitter Gum and Bubble Pop’ is an album that takes the lyrics of a young American teenager in the 70’s to create a retro-modern Bubble Gum Pop and Neo-Glam sound. The 12 original songs are performed by the fictional, ‘cartoon-like’ Sir Prize & The Twomorrow Knightz just like the old, Saturday morning cartoons of the past.”

“Imagine being young again. A new, weekly cartoon is on TV on Saturday mornings. Each episode includes a song that you can’t help but sing along to till next week’s episode …..when you hear another new song!!!”

“The memories of Hanna-Barbera hang with the ghosts of US 60’s Bubble Gum pop and UK 70’s Glam Rock to produce something for the future from the spirit of the past. Arise ‘Sir Prize & The Twomorrow Knightz’……and strut your stuff!!”

The collaboration came about because Dobbins has been playing Izzard’s solo music on his station for the last three years. A friendship grew out of their shared love of 70s pop with the idea for an album eventually emerging.

Lead single, ‘Automatic Satin Circus’, is an irresistible slice of glam-inspired pop with a crunchy riff, an infectious beat, a Bowie-esque vocal and lyrics celebrating many of the Glam heroes of the era.

‘Little Lambs Dressed As Mutton’ is more the art-school glam favoured by the likes of Roxy Music et al, while songs like ‘Bubble Gum Kisses’ and ‘Stewy Stewy’ nicely capture that archetypal bubblegum sound of The Archies and early Sweet. 70s space rock and the middle of the decade’s Doo-Wop revival also get a look in on the album, too

Packed full of instantly-recognisable sounds even if the songs themselves are unfamiliar, If I didn’t know any better I’d have assumed this was another of those ‘Junkshop Glam’ compilations that had unearthed and repackaged yet more delightfully obscure singles of the era. But it isn’t. These are all brand-spanking-new songs, and Sir Prize & The Twomorrow Knightz are here to inject a much-needed dose of glam-pop into our twenty-first century lives.

Released: 1 July 2023 and available digitally via https://sirprize.bandcamp.com/album/glitter-gum-and-bubble-pop

Related Posts:

21st Century Exposé: New EP from Tim Izzard celebrates fifty years of Glam Rock

Tim Izzard and the new glammed-up Ziggy-esque album ‘Starlight Rendezvous’

Live review: Iggy Pop, Blondie, Generation Sex, Stiff Little Fingers & Buzzcocks at Crystal Palace Park 1/7/23

Live reviews, Rock music, , , , , , , , , , ,

One thing I like about the music scene these days is how much less tribal it all is compared to when I was a teenager. The intense rivalry between punks and metalheads has certainly dissipated since I was at school in the late 70s and early 80s. The passage of time, for many of us, has led to a much broader appreciation of rock and roll in all its many guises. As a teen, I was firmly in the hard rock/metal camp rather than the punk/new wave camp but looking around at those attending what has been billed Dog Day Afternoon today, there doesn’t look to be much difference in appearance between all the crop-haired, ageing punk fans clad in regulation khaki shorts and black T-shirts and all the crop-haired, ageing metal fans clad in regulation khaki shorts and black T-shirts.

Buzzcocks

Excepting Buzzcocks (and a couple of artists I’d seen perform in other permutations) this will be my first time seeing virtually all of the bands on stage today. But it will be the first time seeing Buzzcocks without Pete Shelley, since his passing in 2018. Steve Diggle has now switched to lead vocals, got in a new lead guitarist in place of Shelley and carried on pretty much where they left off. Pete Shelley was a unique talent with a unique vocal delivery and it’s not everyone who can perfect that blend of northern camp -meets- punk attitude so I was therefore wondering how Steve Diggle would shape up in trying to fill his shoes. But he pulls it off pretty magnificently. Fast, raucous, irreverent – Buzzcocks were sheer joy to watch. And in spite of being only the second band of the day (unfortunately, I missed the Lambrini Girls due to having to check into my hotel beforehand) there was a decent crowd to sing along as they blasted out timeless punk anthems like ‘What Do I Get?’, ‘Orgasm Addict’ and ‘Ever Fallen in Love (With Someone You Shouldn’t’ve)’.

Setlist:

What Do I Get?

Senses Out of Control

Fast Cars

People Are Strange Machines

I Don’t Mind

Sick City Sometimes

Why Can’t I Touch It?

Orgasm Addict

Promises

Manchester Rain

Ever Fallen in Love (With Someone You Shouldn’t’ve)

Harmony in My Head

Stiff Little Fingers

Comprising Jake Burns and Ali McMordie (who were both with the band when it started in 1977) and Ian McCallum and Steve Grantley (who have each been around since the mid-1990s) this is a stable line-up and a well-oiled machine who deliver another impressive set. Jakes Burns also gets a well-earned round of applause (by way of introduction to the song ‘My Dark Places’ from the 2014 album No Going Back) when he opens up about his own struggles with depression and urged men in the audience not just to bottle things up like he did, but to talk to someone. We hear you, Jake.

Setlist:

Tin Soldiers

Nobody’s Hero

Roots, Radics, Rockers, Reggae

Just Fade Away

Doesn’t Make It Alright

My Dark Places

Barbed Wire Love

At the Edge

Wasted Life

Gotta Gettaway

Suspect Device

Alternative Ulster

Generation Sex

Composed of 50% Sex Pistols (in the form of Steve Jones on guitar and Paul Cook on drums) and 50% Generation X (in the form of Billy Idol on vocals and Tony James on bass) Generation Sex is a modern-day celebration of both bands, with a setlist that is drawn entirely from the music of each. Some may regard bolting together incomplete bits of classic bands in this way as somewhat sacrilegious. Imagine if Paul and Ringo and Mick and Keith formed a hybrid of the Beatles and the Stones in this way. But the punk generation appears to have fewer qualms about it – not least because it’s absolutely brilliant. The band power through a crowd-pleasing mix of Pistols and Generation X songs with energy and vitality. Plus, it has to be said, Idol is a much better vocalist than John Lydon could ever be. There’s still enough of a sneer and a snarl in his delivery, however, that the essential essence of the Pistols is very much in evidence in all of the Sex Pistols numbers performed today. Given the way the material from both bands is rapturously received by the crowd, no-one would appear to be feeling at all short-changed by this hybrid melding of bona fide punk icons.

Setlist:

Pretty Vacant

Ready Steady Go

Wild Youth

Bodies

Black Leather

Kiss Me Deadly

Dancing With Myself

Silly Thing

King Rocker

God Save the Queen

Your Generation

My Way

Blondie

Blondie absolutely knocked me out. The whole day was a very strong line-up anyway but in terms of sheer class and charisma, in terms of wave after wave of iconic era-defining classics blasting from the PA and in terms of the immense power emanating from the band on stage, this very much felt like a headline performance in every possible way. A playful Debbie Harry, celebrating her 78th birthday today, is in fine voice as she belts out song after song, accompanied by the unmistakeable signature drumming from the ever-brilliant Clem Burke and with none other than another ex-Pistol, Glen Matlock, now putting his own signature stamp on the bass. Sadly, there is no Chris Stein on this current tour. He has taken leave due to ongoing health issues but his shoes are ably filled by Andee Blacksugar, with Matt Katz-Bohen (keyboards) and Tommy Kessler (guitar) completing the line-up. It’s an unforgettable performance.

Setlist:

One Way or Another

Hanging on the Telephone

Sunday Girl

Call Me

Will Anything Happen?

Atomic

Rapture

The Tide Is High

Long Time

Detroit 442

Maria

Heart of Glass

X Offender

Dreaming

Iggy Pop

Old schoolboy loyalties meant I was slower in coming to British punk than many of my fellow middle-aged festival attendees here today. But I was certainly not slow in coming to Iggy, the Godfather of Punk himself. I’d picked up second-hand copies of the Lust for Life album and The Idiot while I was still a young teenager in the early 80s and I bought the Blah Blah Blah album as soon as it came out back in 1986. But, curiously, until today I never actually got around to seeing him live. He has been on my bucket-list of artists to see for some time though and he certainly doesn’t disappoint. Shirtless, tanned and with that familiar torso now covered in wrinkles and bulging veins, Iggy Pop is a manic, mesmerising presence on stage.

His newly-refreshed backing band are exceptional, too. With echoes of saxophonist, Steve Mackay’s contributions in the Fun House era of The Stooges, the band now includes a full brass section. I’m not sure my brain quite adjusted to hearing layers of brass on songs like ‘The Passenger’ and ‘Lust for Life’ but the entire set felt like a real privilege to witness – and there was a nice mix between old Stooges material, his classic late 70s solo era and songs from his most recent album, Every Loser. I had finally got to see the great Iggy Pop in action. A brilliant ending to a pretty amazing day.

Setlist:

Rune

Five Foot One

T.V. Eye

Modern Day Rip Off

Raw Power

Gimme Danger

The Passenger

Lust for Life

The Endless Sea

Death Trip

I’m Sick of You

I Wanna Be Your Dog

Search and Destroy

Mass Production

Nightclubbing

Down on the Street

Loose

Frenzy

Related posts:

Lust for Life 2024: Clem Burke, Glen Matlock and Katie Puckrik reunite for second UK tour

Notes from the Lust For Life Tour – Feb/Mar 2023

Live review: Glen Matlock headlines Hastings Fat Tuesday 5/3/19

Latest folk reviews: Ímar, Westward The Light, James Kerry, Neil Pearlman and Owen Moore

Album reviews, Folk music, , , , , , , , , , , , , , ,

Ímar – Awakening

Awakening is the third album from Glasgow-based folk aces, Ímar – their first in five years. Featuring Mohsen Amini (concertina), Tomas Callister (fiddle), Adam Rhodes (bouzouki), Ryan Murphy (pipes, flute and whistle) and Adam Brown (bodhran, guitar), the album (featuring cover art of the 9th century king from which the band takes its name) offers up ten tracks of mainly original tunes.

Mohsen Amini: “The idea behind this album was to take it back to where we came in with all the vibes of our debut album, Afterlight. As the band progressed, the music became more produced. We loved it but we never had more enjoyment that those original days at the inception of Ímar.”

Fresh, exhilarating and inventive, Awakening sees Ímar take us on a breathtaking ride through a stunning new collection of tunes that both showcase their virtuosity while giving every impression of a band having a huge load of fun during the making of it.

Released: 21 April 2023 https://www.imarband.com/

Westward The Light – Flow Country

Westward The Light are Charlie Grey, Sally Simpson, Owen Sinclair and Joseph Peach. Formed in 2018, the band have won acclaim on the folk scene for their innovative arrangements of Scottish traditional tunes on fiddle, viola, piano and guitar. Flow Country, named after the region of rolling peatland between Caithness and Sutherland, is their second album.

Joseph Peach: “Flow Country is a record on which the tune takes precedence. There are no gimmicks, there’s jus straight up traditional music which we feel really captures the essence of our Scottish culture and heritage.”

A lovely collection of tunes that instantly transport the listener to the rugged landscapes and long-cherished musical heritage of the north of Scotland and which showcase some stunning interactions between these highly-skilled instrumentalists, Flow Country leaves its mark from the very first listen.

Released: 31 March 2023 https://westwardthelight.com/

James Kerry – Source

Still only in his mid-20s, melodeon-player and composer, James Kerry, has been a noted presence on the UK folk scene, playing at festivals such as Warwick Folk Festival and Broadstairs Folk Week and establishing a reputation for passionate, rhythmic playing rooted in the folk dance tradition. Source is Kerry’s first solo project and features mainly traditional English tunes with a handful of original compositions and a couple of contemporary pieces by other writers thrown in as well.

“Source is a true representation of James’ style and passions and reflects his huge respect for traditional music and his desire to pass it on,” we are told in the album sleeve-notes.

A fine showcase for James Kerry’s skilful playing, supporters of traditional English dance tunes will simply love this album – which also boasts a stunning line-up supporting musicians  in Tom Kitching, James Delarre and Danny Tonks.

Released: 1 April 2023 https://jameskerrymusic.com/

Neil Pearlman – Refractions

Neil Pearlman is best known for his ground-breaking approach to the piano in Celtic music. In that capacity he tours regularly with Kevin Henderson, Katie McNally, The Pine Tree Flyers, and as a solo pianist, while playing more irregularly with a wide variety of side projects featuring top Celtic, Americana and Jazz musicians. His latest project, Refractions, is a collection of traditional Scottish and Gaelic tunes, arranged especially for solo performance on the piano.

Neil Pearlman: “The choice to focus on traditional Scottish  melodies is my way of paying respect to my roots. Traditional Scottish tunes are some of the very first music I ever heard or played, so going into that repertoire and having a conversation with it as the artist I am today was a powerful experience, and a good way to explore both who I am now and where I come from.”

Some of the tunes on Refractions are familiar, others less so, but what Pearlman does throughout the whole album is find the inherent beauty in each individual tune and present them in an entirely new light. It makes for a poignant and highly intimate album with some exceptional playing.

Released: 5 May 2023 https://neilpearlman.com/

Owen Moore – Songs From The Shamrock Bar

And finally, while there’s been a heavy focus on instrumental albums in this latest round-up, the ever industrious Irish-born, Dorset-based singer songwriter Owen Moore also has a new album out, another compilation – this one with an Irish theme.

Owen Moore: “My new album is called Songs From The Shamrock Bar and is an anthology of recordings that have all appeared on previous Owen Moore albums and singles over the past ten years or so. All of the songs have a link of some sort with Ireland, which is where I was born (70 plus years ago) and many of them take a nostalgic look at days gone by.”

Always entertaining, with a penchant for engaging storytelling, catchy melodies and gentle guitar picking, Owen Moore’s own brand of Americana-infused singer-songwriting with that special touch of Celtic magic is very much on display here.

Released: 17 March 2023 http://www.owenmooremusic.com/

Live review: Ocean Alley at De La Warr Pavilion, Bexhill 22/6/23

Hastings music scene, Live reviews, Rock music, , , , , ,

Formed in 2011 in Northern Beaches on the outskirts of Sydney and now on to their fourth album, Aussie rockers, Ocean Alley, have built up a decent following in the UK in recent years and are currently mid-way through a European tour promoting their latest release, Low Altitude Living. While the backdrop may have been the English Channel rather than the Pacific, Ocean Alley seemed a perfect fit for a balmy summer evening at Bexhill’s De La Warr Pavilion this week.

First up were the even more appropriately-named Seaside, another Australian band who kicked things off with a lively forty-minute set and a chance to hear their newly-released single ‘Housewife’.

Ocean Alley tend to be labelled alternative rock but their music embraces a variety of influences, from psychedelia to hard rock to reggae. And they eschew the more po-faced, uber-cool aesthetic beloved of some indie rockers, and bring with them enough rock and roll swagger to ensure a much broader appeal. Lead singer, Baden Donegal, has a nicely lived-in feel to his voice and there’s some fine bluesy licks coming from lead guitarist, Angus Goodwin. Even more importantly, there’s an irresistible anthemic quality to so many of their songs which means that even if you’re not too familiar with their entire back catalogue you can’t help but be swept away by the waves of enthusiasm emanating from both band and audience.

Unsurprisingly, a sizeable chunk of the set-list tonight comprises songs from Low Altitude Living, which came out last Autumn. But there’s also room for some older crowd-pleasers, including ‘Lemonworld’ which kicked things off, the rousing ‘Tombstone’ and the ever-popular ‘Confidence’ which drew big roars of approval from the Bexhill crowd.

If tonight’s show is anything to go by this latest tour will have certainly helped to  cement Ocean Alley’s reputation among UK audiences and won them over some new fans.

https://oceanalley.com.au/