Following on from the rather wonderful Summer Solstice Shenanigans in June at this very venue Spirit Of The Hawk is back with a Winter Solstice Spectacular. The first of the support bands was Chiang featuring some of Bradford’s finest musicians. They smashed into a stunning, incendiary set full of punk and metal energy. I am a new Chiang fan! Next up was one of York’s best bands, Soma Crew, who supported the Summer Solstice Shenanigans. They brought their “A-Game” drone skills with a collection of tunes that flow into your psyche and make you feel good. As usual, they throw in some exquisite curveballs; grunge tones, Floyd and maybe Can. Their rich sound was enhanced on a few tracks by the addition of a slide guitar. Just when you think that Soma Crew might have peaked, they do this and you know they are still on that upward curve.
Finally, it was time for this Winter Solstice Spectacular to kick into overdrive as Spirit Of The Hawk took the stage. Once again including members of Percy and Soma Crew. This was a supreme sonic fest that showcased just how good Hawkwind once were. This was a true psychedelic trip with some heavy, jazzy, proggy sounds, and, as with the Summer Solstice Shenanigans we had our very own Stacia stand-in making some flowing dance shapes in a glittery jumpsuit. This lady knows how to interpret music with dance. Every member of the band was firing on all cylinders. The guitar playing was exceptionally good. If you had shut your eyes during the set you might have imagined that it was Dave Brock on stage. There were too many highlights to mention but I loved “Damnation Alley” and set closer to “Quark, Strangeness And Charm”. When I reviewed the show in June I mentioned a quote from New Order’s Stephen Morris, “Punk rock started because in every small town, there was somebody who liked Hawkwind.” I am already looking forward to the next Spirit Of The Hawk gig, are you?
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The Bowie Contingent is a Sheffield-based band that pays homage to the music of David Bowie. They are not a tribute act in the same sense as Absolute Bowie, where you get the full theatrical costumed appearance. The Bowie Contingent clearly has huge respect for Bowie’s music and they play it supremely well. The focus for tonight’s show was the much-acclaimed Berlin Trilogy. Although as the singer Jason said, we all know that not all of that music was recorded in Berlin. (‘Low’ was recorded in France and Berlin, ‘Lodger’ in Switzerland and New York. ‘Heroes’ was the only one of the famous album triptych to be recorded completely in Berlin.) The Bowie Contingent promised deep cuts from this era and they delivered. The band played for a little under two hours, what a show!
They played some of the instrumental tracks from the period. The highlights of those were “Sense Of Doubt”, “A New Career In A New Town,” and a magnificent rollicking version of “V2-Schneider” (yes, I know the latter has some vocal elements, but it is mostly instrumental. I really loved that the focus wasn’t on big hits, although some of those did get aired. I must applaud the Bowie Contingent for their spot-on and respectful takes on “DJ”, “Be My Wife”, “Blackout”, “Beauty And The Beast” and “Joe The Lion”. These tracks showcased just how good this band is. I know how much the Spiders From Mars were revered and they were a brilliant band, but I believe the strongest band in Bowie’s career was with him during those three albums, I am talking of the DAM trio (Dennis Davis, Carlos Alomar, and George Murray). If you shut your eyes during this set you could almost imagine that the DAM trio were in full force at the Fully Arms.
Some of the arrangements were very clever. It felt like “Always Crashing In The Same Car” was played in a slower tempo, “Sound And Vision” was more acoustic than electronic and how could you not love the slow start to “Let’s Dance”. The main highlights for me, and there were many, were the superb vocals from Jason and the piano accompaniment on “Life On Mars”, the enormous fun the band had during “Boys Keep Swinging” and “Scary Monsters” and perhaps best of all using the bass intro for “Under Pressure” as the start of “Heroes”. The latter was a work of sublime genius. Whatever you feel about tribute acts, if you’re a Bowie fan you will love the Bowie Contingent!
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Having reviewed their album a few weeks back I was keen to see the Exceptional Mr. Hyde in action. Were they any good? Read on to find out, but first, let me tell you about the three support acts. First on stage was Beck Stacey. Beck gave us dark, bluesy folk with the voice of an angel. At this point let’s not forget that Lucifer was once a fallen angel. Working with that kind of theme I believe that Beck’s tunes would make the perfect soundtrack for a classic British Folk horror film along the lines of ‘The Wicker Man’. A perfect candidate would be the rather splendid “Red”. There were many highs in this wonderful set, particularly “Devil Town” and the gorgeous rendition of Townes van Zandt’s “Our Mother The Mountain”. Hearing Bek’s set strengthens my argument for never missing a support act. Beck Stacey was 100% ace!
Debdepan followed Beck Stacey onto the small and intimate Fulford Arms stage. I am not sure about the name, but the music is rather wonderful. This is Riot Grrrl meets Goth with the addition of slightly slower-paced New Order-style drums. Lead singer Chelsea’s voice is reminiscent of Siouxse Sioux and Patti Smith. Debdepan provided the perfect tunes to chill out after a hard, loud heavy metal gig. Based on this set I bloody love Debdepan. The final track had some weird, warped jazz tones in it and for me was one of the best songs of the night. But “The Goat” was my favourite track of Debdepan‘s set.
Feather Trade offer passionate, soulful, powerful rock vocals which reminded me of early U2, back in the days when they were still a bit edgy, and I am not talking about their guitarist. This was definitelythere in their new single “A Ready Defense” which includes a fabulous marching drum pattern a bit like U2’s “Sunday Bloody Sunday”. This was a stunning set from a stupendous band on top of their game and on peak form. Musicaaly that lack almost nothing. Emotional, soaring vocals, drums that are a hair’s width away from 100% perfection. Bass sounds that could bring down Olympus Mons, the highest mountain in our solar system. On top of all that their songs are overlaid with guitar sounds that could draw tears from the hardest of hearts, well unless that heart belomgs to a Tory MP! But fuck those scummy Conservatives, they have no hearts anyway. Feather Trade is a band that you need in your life!
Finally it was time for the Exceptional Mr. Hyde, this set was one of a number of dates that the band have put together to promote their new album ‘The Inevitable Rise Of…..’. I reviewed the album a litlle while ago and said “It is an album that bears repeated listening, and with each spin, it seems to build more power”. They have a great punk attitude and a mix of too many genres to mention, but fuck that mix works well! Bass and guitar work was exceptionally good. The band were missing their keyboard player, but the recorded parts worked well. They also don’t have a drummer, but the prerecorded drums (or drum machine) are mountainous. The srum sound on “Crash Land” stands in good comparison to the drum and bass style on Bowie’s ‘Earthling’ from 1997. The Exceptional Mr. Hyde blasted into their set with the song that opens the album, “Burn” and it was something very special indeed. A song about the earth and the environment, “She Cries” showed more care and conviction than any politician ever has. The ended the evening with a sonic explosion called “Solemn Power”. This was a great set showcasing a brilliant album!
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It is ages since I last saw the SoapGirls. Were they still as good and still as controversial? Read on to find out, but first I need to tell you about the rather spiffing support bands. Proceedings were kicked off by York’s Kiss Kiss Kill with a very heavy, feedback-fuelled barnstormer of a set. Does anyone remember the early 80s and the New Wave Of British Heavy Metal (NWOBHM)? There must be a New NWOBHM with Kiss Kiss Kill as its vanguard and torchbearer. But their sound is not just metal, they also showcased their punk and pop sensibilities. The band was firing on every cylinder, but a special mention of the exquisite vocals from Gemma-Louise a.k.a. lil Miss. It was like a perfect splice of Suzi Quatro and Girlschool. The new Kiss Kiss Kill single “Bad Bitch” is spectacular.
Next, it was the turn of Lavire from Lincoln. This is a city that has given the world quite a few very talented musicians and songwriters, particularly Bernie Taupin, Rod Temperton, Iain Matthews, and more recently Holly Humberstone. Talking of NWOBHM Lavire would be a major part of a New NWOBHeavierHM. But again this lot is much more than just metal. Chloé’s vocals might have been forged in the mountains high above Asgard, while Aaron’s guitar riffs could split a planet in two. Check out their new EP ‘No Truth To Tell, Part 2’ it is bloody brilliant!
The SoapGirls possess power, passion and, absolutely everything else you need from a great band. They sound like Beth Ditto fronting a full-on punk band but with oodles of SoapGirls originality. “Wasted” was a huge highlight for me. The SoapGirls “mean it maaan”, probably more than the Sex Pistols ever did. Given the SoapGirls‘ stance on female empowerment, I was a little disappointed, but sadly not surprised that it was a predominantly male crowd. The band’s protagonists sisters Noemie and Camille Debray are Riot Grrrl, Girl Power, feminism and so much more writ loud. If you need a band that actually matters and cares about what matters to you then look no further than the SoapGirls.
All pictures and videos were found online. If any of them are yours please let me know and I am happy to credit you or remove pictures and videos.
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I love it when a gig comes up and includes at least one band that I have never seen before. and tonight it is Wooze‘s turn. Additionally, I had never seen the opening act Joe Haydon and the Ghost Ship before either. In the first part of their set, I was getting a kind of Beatlesesque, the Coral and Zutons vibe. But after that, they went down a wonderfully funky road, like Haircut 100 with heavier rock credentials. “Evergreen” was a fabulous track, especially the full-on guitar wig-out at the end. Ghost Ship is a mesmerisingly good band that defies genre boxing completely. The rhythm oozes funk and the guitarist could give Ernie Isley some competition. I will definitely be checking out their new album when it hits the streets.
Next up it was the rather immaculate Hærtstrings, Fulford Arms Battle of the Bands champions 2023. This was just their fifth gig and given that their first was heat 1 of the Battle of the Bands it would be played five and won two! These lads are another band that defy genre pigeon-holing too. So much do they defy it that I wonder if we need to create a brand new genre just for them. They have slam poetry, jazz, punk, funk, heavy rock, disco (yes!) and much more. Almost everything but opera, at least not yet anyway. For a band that has only existed for 4 or 5 months, they are incredible. I believe that the future will be so bright for Hærtstrings we won’t only have to wear shades, but possibly a radioactive-proof onesie. Every song was a banger but for me “Continue” and “Talk It Out” were particular highlights.
Finally, it was time for London-based Wooze to hit the stage. Three members of the band were masked and that added a dark element of generic menace to proceedings. Their sound was grungey, punky and occasionally there was a feel of peak power Devo. Vocally it was a delicious splice of Andrew Eldritch and Tin Machine era David BowieWooze know how to put on a show. This was a stupendous performance and possibly one of the loudest sets that I have experienced at the Fulford Arms. There were some stand-out moments. “Good Old Fashioned Fan” was like Iggy Pop fronting Duran Duran in a weird and warped alternative universe. At the end, the crowd demanded one more song and Wooze delivered with a horror disco glam stomper that had beats big enough to raze Dracula’s Castle to the ground. So this is perhaps another band that is difficult to genre-ise, but I will try. Goth Funk Punk, is that a thing? It fucking is now!
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The Exceptional Mr. Hyde release their new album on 10th November, and it has been on rotation here in Mayhem Towers for a while. It is an album that bears repeated listening, and with each spin, it seems to build more power. It starts with “Burn” with magnificent riffing and screaming guitars. It carries a dark and angry mood. The lyric “heads up your obsequious arses” definitely conveys an angry contempt for someone. There is a dark gothic disco feel to “Steal” which leans toward a heavier Sisters Of Mercy sound. The album moves into almost ballad territory with “She Cries” a tune that might be perfect on the soundtrack of a classy British horror film. Speaking of horror, “Falling Down” is one of the best tracks on the album, but listening to it on headphones in the dark it has a sometimes disturbing tone with the potential to scare. The guitars on “Crashland” have quite a jaunty pop style, but Phil’s vocals add a more sinister vibe to it.
The riffage on “Sleeping Bag” is truly mountainous and the vocals suggest Lemmy in a nightmare. The drums here drive the track perfectly. The sound belies the title as there is no way you could fall asleep to it! The synths are sumptuous and I assume they result from the credited wizardry of Karl Marsden. The recent single “Solemn Power” is an absolute banger and in a recent singes review I said “Is this electro dance or heavy rock? Actually, it is both. If Hawkwind began in the 21st century it might sound like this” I stand by that opinion, the song is the perfect blend of electro dance and thumping heavy rock. Weirdly drum ‘n’ bass tones make an appearance on “Control” and they are highly effective. Is there an argument for a new genre here, Goth ‘n’ Bass anyone? The synths on “Control” suggest the early industrial-style stuff from Gary Numan. The album closes with “Another Picture” which I think is another film soundtrack contender, maybe a Sci-Fi/ Horror classic. It has everything but the kitchen sink and the whole band is on fire here. After four or five listens this is the song that has stayed in my head. If you love good music you need to check this album out!
Lead vocalist Phil Montgomery also told me the rather intriguing story of the cover. He did say it might be too long for this piece, but personally I found it too interesting to leave out or precis. He said “The background photos used are from a derelict, abandoned 1920’s hotel and destroyed complex in Croatia that I explored a few years ago. The story is really interesting and a tale of scandal and debauchery. As a hotel it was used by the rich and famous, boasting working hostesses that were called the guests ‘pets’, the swimming pool was rumoured to have been filled with champagne at one point. Then it slid into decline followed by civil war breaking out. It became populated by refugees that stripped it bare of its luxurious furnishings. Then the soldiers moved in and used it as a base, finally being attacked from the sea by the opposition. It’s very close to Dubrovnik. It’s fascinating, walls destroyed by shells and peppered with bullet holes. The front cover is one of the internal rooms in the hotel. To Mr Hydes left, if you zoom in, is a woman depicting innocence (holding a lamb and a baby), to his right is The Trickster, a Loki type character. The electricity is supposed to be their influence on his character. The background portrays the world, his playground. 😀 The rear cover depicts the world burning in the sky, this relates to the global warming/current deforestation/threat of extinction of species etc. The derelict buildings are from the same hotel complex as the front cover and relate to the greed and debauchery of the past, decline and war. The tank hovering in the back represents the ever present threat of war, power and control. The man in the suit represents money or governmental power with the head of an eyeball linking to big brother tactics. The electricity demonstrates how the men in the suits/power make us not only dance to their tune but enjoy it without abandon at the same time“.
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Talented English Singer and multi-instrumentalist Marika Hackman released a new single last month, “No Caffeine”, which is a taster for her fourth album ‘Big Sigh’ which is due out on 12th January 2024 on Chrysalis Records. The single bags up anger, hope, confusion, and love in an intricate musical path in which Hackman deals with anxiety and panic attacks. The opening verse sets the scene perfectly and will be very close to home for anyone who has experienced anxiety or panic attacks. It certainly brought the experience back to me. The new album will be a contender for the album of the year 2024 if the rest of the tracks are as good as “No Caffeine”. The video has a real edge to it and enhances what is already a wonderful song. She also released another new song a couple of weeks ago, “Hanging”, an incredibly dark, haunting, and beautiful ballad that seems to be about loss and suffocating relationships. It has shades of Kate Bush as it heads towards its climax.
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It has been a while since the last Mayhem Singles Round Up so I thought how about one that focused on bands and artists from or based in York? This post contains songs from eighteen different artists and showcases the diversity of styles, the strength of music, and the depth of the music scene in my adopted city of York. All these tunes were delivered into the world by the magical music stork in the last few months. OK fact fans, three of these acts have a link to the school that I currently work at, can you guess which ones? Click here to take a listen to a Spotify playlist of all eighteen tracks, which is more than an hour of fab music! In case you are interested, the order of the songs was simply drawn out of a metaphorical hat 🙂
“G.U.N.N.E.R” – YouVee YouVee get proper heavy on this blockbuster of a tune. Shades of early Kasabian and even Black Sabbath abound!
“Start A New” – Bull – This is a band that moves closer to perfection with each release and “Start A New” has the makings of a Bull classic. The harmonies are good enough to melt even the hardest of hearts with the genius of adding a school choir too.
“Make Up” – Pennine Suite – I reckon this is Pennine Suite’s finest song so far. It has power, awesome vocals, and a chorus that sticks around in your head for quite a while.
“In Ecstasy” – Shed Seven featuring Rowetta – York’s musical titans the Sheds are back and with an absolute banger featuring the unmistakable vocal support of the magnificent Rowetta.
“Break In The Weather” – Benjamin Francis Leftwich – A gorgeous ballad of heartbreak that shows the emergence of buds of hope. Potentially a real tearjerker.
“Rebellion” – Anthea Drive – Is this Anthea Drive’s heaviest tune yet? I think so. Full of mountainous, immaculate riffs and roaring vocals.
“Your Mind’s Closed” – Offbeat – A delicious slice of indie pop that will get everyone moving a indie nights everywhere. I felt like the ghost of Altered Images haunted this tune a couple of times.
“Said And Done” – Fendry and Liv North – British rap is alive and well and Fendry might one day be at the forefront of it. This delightful collaboration with Liv North has parallels with some of Eminem’s work with female vocalists like Rihanna. Ace beats and rap that bleeds feelings and passion.
“Alive” – The Apocalypse Disco – If the apocalypse is truly on its way then this bunch must be on your end-of-the-world soundtrack. This joyous slice of electro does make me want to stay alive though. Dance to it and tell the four horsemen of the apocalypse to fuck right off!
“Marionette” – Vaquelin – a deep, dark tune from one of my favourite rock bands, Vaquelin. As usual, the guitar sound is immense as are the vocals. But the stand out is the drumming which would give Bonham and Moon a run for their money!
“Kelly’s In The Garden” – Heavy Bloom – A wonderfully chilled indie-style pop tune, like Air with added guitars. This will be on my summer playlist for next year.
“Tomorrow” – Fervent Red – This hits you like a hard-edged Beatlesy Brit Pop tune. It has a slight psychedelic vein running through it and a rather nifty chorus.
“Solemn Power” – The Exceptional Mr. Hyde – Is this electro dance or heavy rock? Actually, it is both. If Hawkwind began in the 21st century they might sound like this. This bodes well for their upcoming album!
“Last Train To Selby” – PERCY – Those West Yorkshire Superheroes are definitely back on form. A song that only PERCY could deliver. A great singalong that highlights a ghost on the train lyric. Check out the excellent video below.
“On My Mind (Radio Edit)” – CHAZ – A pounding piano-led house anthem that would move even the comatose. Dance music is alive and well in York as this debut single from CHAZ proves. The vocals are brilliant too.
“Save Your Time” – Rosettas – This captures some of the energy and power that the Rosettas have on stage. A great tune from a great band and every member is on top form.
“How Can You Be” – Everything After Midnight – My favourite Everything After Midnight song from the first listen. It has been aired live in a different form. But now it is an all-round close to perfect tune. The guitars smack you in the face in a good way while Steph’s vocal is close to heavenly.
“Fixed Point” – Heartsink – Those cheeky pop-punk chaps Heartsink have another great tune for our delectation. A little more acoustic than usual, at least initially. But a song that turns the riffage and passion up to 11 towards the fade.
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The latest release by the Sheffield band Suncharms, ‘Things Lost’ crashed with a bang into my inbox last week. If you’ve never heard of the Suncharms they describe themselves as an indie/shoegaze band from Sheffield and are made up of Marcus Palmer on Vocals, Matt Neale on Guitar, John Malone on Guitar, Richard Farnell on Bass, and Chris Ridley on Drums. They formed in 1989, inspired by indie and pop, and within a year were supporting the likes of Curve, Catherine Wheel, and Cranes. With two successful EP releases in 1991 followed by a Peel session early in 1992, it looked like the band would go from strength to strength. Sadly they played their last gig in 1993 and luckily for us punters, they got back together in 2021.
The album kicks off with “3.45” which unsurprisingly lasts for 3 minutes 45 seconds. It opens with what sounds like the crackle of a vinyl LP, slightly scratched, creating a glorious feeling of nostalgia. Are they suggesting something about their nostalgic return after many years? The track bursts into a meaty guitar riff, and for a minute, I thought I was listening to Bill Nelson. It was either Matt or John this time, and it sounds bloody brilliant! The tuneful 6-string guitar blends seamlessly with Marcus’ whispery vocals accompanied by solid and simple drums and bass, courtesy of Chris and Richard. Next up “Satanic Rites”, a laid-back track, soft and more dominant vocals drive this melodic piece of pop music. Few jangles, little distortion, literally no effects, and definitely not a classic shoegaze style expertly demonstrates their talent and capability of straddling a number of genres. “Things Lost”, the title track returns to The Suncharms’ familiar style. Reminiscent of Ride and even early Blur, it’s dreamlike, it deliciously swirls around and is punctuated by neat guitar work. The off- beat drums work a treat, being a drummer myself, I can probably appreciate this more than others. About 3 minutes in, the sound is stripped back, then builds layer upon layer, finishing with a sweet Hammond keyboard sound.
“Whitby” is the next track on the album, maybe inspired by the album cover or vice-versa, explodes with punchy drums and distorted guitars, accompanied by Marcus’s soft vocals. Together with some well-placed harmonies, the whole ensemble encourages you to get lost in the mood. A powerful Wall of Sound opens the next track, “Daylight is Here” and not too dissimilar to the opening of “Just Like Honey” (The Jesus and Mary Chain). Deftly matched with a melodic guitar riff being echoed by a soft walking bass line and wonderfully layered guitars. The result is a more stripped-back sound than we’ve heard so far and manages to give you space to absorb the floating melodies and airy vocals. A powerful and jangly guitar riff opens “Red Wine Kisses”, swooping you off your feet and transporting you back to a moody and atmospheric sound. Marcus’s vocals together with the lush harmonies, and solid percussion from Messrs Farnell and Ridley, propel this track along nicely and before you know it…it’s over and we launch immediately into “Dark Sails”. This track takes us on a truly melodic trip! More layered guitars, sumptuous harmonies, vocals, and expertly crafted guitar riffs. The finishing flute at the end is sooo “Strawberry Fields Forever” to further add to the trippiness!
Next up is “Demonic Eyes” a song which quite simply sums up everything the Suncharms are about. The trademark vocals, the meandering melodies, sweet angel-like harmonies, poignant guitar mastery, and second-to-none percussion and bass. It’s indie pop, it’s shoegaze, it’s C86 generation…it’s awesome! The penultimate tune called “Torrential Rain” has a Roses feel, familiar yet nostalgic. The track builds gradually to its finale, the emphasis being on the instrumental prowess of the lads and leaving the vocals early on to speak for themselves. The closing track “Last Tram” brings this musical masterpiece to an end. Marcus asks us if it ‘Is it really time that we say goodbye’ and I’m afraid it is. The spoken word towards the close adds a certain interest as we haven’t heard anything like this before. I am Looking forward to these chaps going on tour, and living in North Yorkshire I hope to be able to see them once or even several times. Don’t take my words as read, listen to The Suncharms for yourself on Bandcamp and you’ll see what I’ve been going on about.
Written by Juan Brooks
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This book is the true story, documented sporadic diary style, of Press On Vinyl in Middlesbrough. Steve Spithray’s excitement and enthusiasm oozes from the pages and is wonderful to feel. When my review copy of ‘How To Build Your Own Record Pressing Plant’ arrived through the post my wife said, based on the title, that is the most boring book you will ever read. She is always right, at least she always was up to that point, I read the book in around three days. It has everything. Science, business, nerdiness, geekiness, vinyl and obviously, music.
Press On Vinyl was set up by David Todd and Danny Lowe from an initial idea which arose in a chat, just like so many wonderful ideas, but this one took flight in a huge way. Steve Spithray clearly has a great relationship with not only David and Danny, but also with pretty much everyone who played a part in getting this amazing venture off the ground. To have a new pressing plant in the UK at a time when the vinyl revival is in full flow is very special indeed. The highs and warts and all lows are documented eloquently and my interest in this story never waned once. Now I need to get myself up to Middlesbrough for a visit! As a footnote I also loved that there are a couple of people, places and bands mentioned that I actually know. Step forward Vinyl Eddie (York’s finest record shop), Avalanche Party (Possibly one of the best bands on the planet right now) and a special mention for Avalanche Party front man Jordan Bell. The book is out soon (3rd November), if you love records, love music or simply love a tail where a potential underdog reaches the top, get it. You will not be disappointed. It is published by Butterfly Effect, click here to order it via Bandcamp.
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With Just A Hint Of Mayhem 