PHOTOCREDIT – THE PIECE HALL HALIFAX (SOCIAL MEDIA)
Those wonderful folks at The Modern Record asked me to review Weezer at the Piece Hall in Halifax last Monday and that was an opportunity I did not intend to miss. It came with two review tickets so I was there with my good buddy Baz. We wrote the review together, check it out on the Modern Record site by clicking here.
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This was another gig pulled together by music promoter extraordinaire, Simon P of Northern Radar and featured some of my favourite bands, notably headliners Lost Trends, but more of them later as I need to talk about the rather stunning support acts. First up it was Saliva Birds. If you are addicted to class A garage rock then this bunch will make you overdose on it. They have some great songs and they are one hell of a tight band. The backdrop visuals were weird, wonky and wonderful and featured monstrous impossible creatures and rather strangely Bjorn Borg! This was the first time I have seen them live and I am quite excited for the release of their new single now.
Next up it was the incomparable Apocalypse Disco. The duo are much louder and more spiritual than the Prodigy. From the opening bars of opener “Welcome To The Disco” the crowd were all ready to sign up to be members of the Apocalypse Disco cult! Keyboard and laptop maestro Ian bashes out more beats than an army could manage while front man Robin works the crowd wonderfully with his energy and madly, manic magnificent performance. There were many stand outs, particularly “Alive”, “Surrender” and “The Bridge”. This was the second time I have seen them live and it won’t be the last. In fact I will be seeing them again on 11th July!
Finally it was time to see the mighty Lost Trends. When I first saw the band back in 2018 they were seen as a dance influenced indie band. Now they have grown into something that is so much more. This was easily the most powerful performance I have seen from them. Recent singles “Antelope” and “Take Down” are masterful rock songs. Lost Trends classic “DJ” still raises the roof and the new hip hop influenced track is ace. Their progress in the eight years since I first came into contact with them is colossal. Imagine how the Who went from a relatively basic 60s R & B band into a humongous rock behemoth. It feels like Lost Trends have the potential to be on a similar trajectory! This was another great night from Northern Radar!
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Last month I reviewed “Worst Trimester” and that was my first experience listening to LA/ Brighton duo peach|melba. In case you didn’t read that piece let me recap a little. They write, record and mix everything themselves. The band have said “We swear on your mother’s life to release a new song every six weeks until world peace has been fully achieved“. So if you want world peace then get some peach|melba in your life. The next scheduled peach|melba releases are; “Dykes” July 21st, “Have A Latte” September 1st and “Sound Of Violence” October 13th.
“Fell In Love With Godx (She Was Really Fit)” is a bass heavy punky song with song great funky drummer vibes. It is hard core lo-fi. It sounds like something the White Stripes might have written for their favourite band and if Jack White listened just once then peach|melba would be his new favourite band. The lyrics are wry, sardonic, sarcastic and wonderful. I guess the words kind of deal with procreation, like “Sleep with your friends for a better selection, Sleep with your friends for a better connection. Sleep with your friends for a better conception, Sleep with your friends for happier children“. The new single comes with a ‘Logic Glitch Remix’ which is as scary as fuck, don’t listen to the remix alone in a darkened room with your headphones on. I did and it scrambled my brain, where the fuck is my strait jacket and why are the walls in this room padded! I loved “Worst Trimester” and “Fell In Love With Godx (She Was Really Fit)” is even better. I am close to drooling for next months release now.
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We are huge fans of HerOrangeCoat here at Mayhem Towers, so we are always excited when she releases new material. She has just released a new single, “Daytime TV” and it is darkly gorgeous. A tale of losing your job just before Christmas and getting drawn into shitty daytime TV and the whole range of feelings that align with that kind of feeling of loss. The emotion is powerful and her voice is perfect, like a 21st century folky Karen Carpenter. The harmonies, which I think are multitracked, are exquisite and the finely plucked mandolin brings everything together. What I love about HerOrangeCoat is that she is never afraid to use the silence. You need to listen to this song NOW!
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Lloren last appeared on the pages of With Just A Hint Of Mayhem when we reviewed her single “Mad Woman” last September. Back then I sensed an element of the dark side of Lana del Ray in her music. That is still there with new single “Like I Need”. But this time there is a Sophie B Hawkins vibe and Taylor Swift, modern country pop feel. The track is underpinned by a pulsing, bassy synth riff which drives it as the perfect vehicle for Lloren’s impassioned soaring vocals. This is a truly fabulous song and I love it!
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SUNBENDR from San Diego are what might be called a super group with Chris Cote (Kut U UP) on bass and vocals, Brandon Parkhurst (Kut U UP and Yovee) on guitar and Frank Dixon (Nancy and Sister Juanita) on drums. The trio are augmented on this track with backing vocals from George Perks (Mogwai and Doves) and Benjamin Ward. Just to add to the stellar cast layers of dynamic cinematic synth are applied by Tom DeLonge. The song was recorded at DeLonge’s home studio in March of this year.
Sonically it rocks and rolls like a song that has been in your head all your life. The drumming is huge and the riffs hit you hard. Vocally I was reminded of Billy Corgan and also Jordan Bell (Avalanche Party). The tune is laden with great hooks and deserves to be a huge hit. The hooray for the B-sides lyric hook is pop rock perfection.
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Imagine, if you will, a mad professors laboratory in the Stygian darkness of deepest Transylvania. Then imagine that someone has captured the creative brilliance of Talking Heads, added the essence of My Chemical Romance and sprinkled that with some Mark E Smith. Are you picturing it yet? You are? Well good, but now you no longer have to use the window of your imagination. Out of that laboratory has emerged the stunning new single from Erotic Secrets Of Pompeii, “Bring Me Back From The Black Beyond”. It is their best yet and it gets better with every listen. In their own words the Erotic Secrets of Pompeii are an apocalyptic art rock band from Bristol. Frankly I think they have injected their songs with a tiny dose of the apocalypse in the name of art.
The song is underpinned by a dark disturbing synth riff and Thomas Hawtin’s vocals are on the verge of madness, but seemed to be reigned in for now. Lyrically I believe it describes a journey into some kind of purgatory and a desire to be able to bring someone back from that bad place. There are so many great lines, I particularly love “Life holds no meaning here in the realm of death. As love holds no meaning in the realm of hate”. The video, directed by Saul Knight, is a wonderfully weird fun fest and I love it! I was going to add that this is a band made for the 21st century, but fuck that, this is a band made for the 22nd century! Inject the Erotic Secrets Of Pompeii into your veins right now!
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Regular readers will know that I have never been a huge Robbie Williams fan and that in fact I have been quite negative towards him over the years. That changed when I went to the cinema to see the Robbie biopic ‘Better Man‘. I saw him in a very different light after that. As soon as we returned from seeing the film my wife Catwoman (a.k.a. Catherine) suggested that we book tickets to see him in Edinburgh, so we did and here we are! So was Robert Peter Williams any good? You will have to read my thoughts on the support acts before you find that out.
First it was the Lottery Winners and this was the first time that they have ever played a stadium. This Manchester band are riding the crest of a wave after two UK number one albums and playing a number of UK festivals. Off the back of that I think they might be the perfect act to open the show on Robbie’s Britpop tour. Frontman Thom was incredibly excited just to be there and that carried through into a sparkling performance from the band. There were many highlights, “You Again” was great but “letter To Myself blew us all away on a wave of emotion. Next up it was Rory Charles Graham a.k.a Rag’n’Bone Man. I have loved his voice from the first time I heard his soulful baritone on his first album ‘Human’ back in 2017. I have seen him a few times since then, but this was the first time for quite a while. His band is incredibly tight and wonderfully funky. “All I Ever Wanted” was good but even that was topped when he ended the set with a two song knockout punch. First it was a supremely powerful “Human” followed by a stomping run through of the huge hit he had with Calvin Harris in 2019, “Giant”. The recorded version is good, but live it takes on a whole new life.
Finally it was time for Robbie to hit the stage. He opened with the first ever live outing for rocking new single “Rocket”. He took the stage bedecked in an astronaut costume and thanks to some excellent wire work soared above the stage while performing. When he came back down to earth and lost the spaceman gear he exploded into “Let Me Entertain You”, what a performance. It is clear that whatever you think of Robbie you cannot deny that he is a towering performer. Then it was time for an eclectic medley which included “Song 2” (Blur), “Seven Nation Army” (White Stripes), “I’m Gonna Be (500 Miles)” (Proclaimers) and “Minnie the Moocher (The Ho De Ho Song)” to name just a few. If anyone in the stadium was for some strange reason not enjoying the show by the time “Rock DJ” was unveiled they would have had to submit then to towering take on a Robbie classic. An emotional highlight for me personally was “I Love My Life”, those words mean so much and I did shed a little tear.
“The Road To Mandalay” was performed while Robbie took a long walk to his C- Stage in the middle of the crowd. He was joined on the C-Stage by Thom from the Lottery Winners for a walk through some songs that might have made the setlist, well technically they all did, right? Anyway that included snippets of a few songs including “Let Love Be Your Energy” and one of my favourites, “Candy”. But the best part of the C-Stage set was the first solo live outing for Robbie doing “Relight My Fire” the Dan Hartman song that became one of Take That’s biggest hits. For the part that Lulu sang on the original Robbie was joined by the winner of the second and final Pop Idol contest in 2003, Michelle McManus. That woman knows how to belt out a song. An epic performance from the girl from Glasgow. Robbie returned to the Main Stage for “Millennium” and “The Theme From New York New York”. By this time I don’t think there was anyone still sitting down. I loved the emotion in “Come Undone” and in “She’s The One”. The latter was dedicated a a delighted and emotional Debbie from Dundee who was picked from the crowd by Robbie to give a personal serenade to. The encore piled on emotion, pathos and soul with “Feel” followed by “Angels”. There were not many dry eyes in the house at this point. Even I enjoyed “Angels”
Robbie made a point about not being cool which was warmly received by the crowd. He implored us to embrace our cringe and to get in touch with our inner twat! I have done both, and probably have done something similar for years. Mr Williams comes across as a supreme showman who knows exactly who he is and it is hard not to love him for that. Confession time, I am most definitely a Robbie fan now. “Angels” is no longer my least favourite song ever. In fact I loved it as the show closer in Scotland. Would I see Robbie again? Certainly I would. It rained a lot through the show but that dampened no one’s enthusiasm. This was a stunning gig, one of the best stadium shows I have ever seen. Finally a big shout out to the organisers for giving us such an easy bus ride back into the city. Thirty minutes after leaving the stadium we were back in our hotel room in the city centre.
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Kindelan has a new single, called “Cigarettes” and it is once again her best yet! It is a dark tale of break up and maybe being spurned. There is anger in Laura’s strong R & B style vocals which skim wonderfully over a funky, jazzy sound with some great folk injections. The lyrics are deep and buzz with an otherworldly electricity fuelled by a solid and powerful fury. Lines like “I’m a ball that’s been thrown You picked me up then let go. How can you blame where gravity makes me fall?” sum up those feelings of loss, passion, pain and revenge. This song is first class and if there was any justice in the world would be all over the airwaves.
The video sums up the mood of the song perfectly and is simply darkly glorious. The track is available alongside a song called “Wish I Wrote A Love Song” which is a ‘before’ to “Cigarettes” ‘after’ theme on a 7 inch vinyl release called ‘After Before’. I have ordered my copy, why don’t you do yourself a favour and order one for yourself. You will not regret it! Just click here and buy it via Bandcamp.
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Delilah Bon is back after locking herself away in her Princess Castle and now she is out she is fucking angry. This time mostly with those misogynistic arseholes. Those kind of men really won’t like her when she is angry because Delilah becomes the She-Hulk of brat metal rap and fights the fight for fairness and equality for all. Well except for a few stupid men who will always consider themselves superior and who constantly prove themselves to be pathetic human specimens. “Princeless Princess” is up there with the best of Delilah’s extraordinarily great canon of work.
It opens with an echo of “Stand And Deliver by Adam And The Ants. After that it is pure, unadulterated Delilah. It has anger, passion, venom, care and intellect she hits misogynists not just with a double barreled attack but with a whole infantry of heavy gunners. The riffs on this track are huge as is the driving bass. Delilah sings “I don’t need no Prince to save me” and she is right, but the world needs Delilah Bon to help save it! She sings in a wonderfully venomous style that she is a “motherfucking Princeless Princess” and actually she probably is, but I reckon she ranks higher than that, Delilah is the motherfucking Queen! The song is a taster of her forthcoming EP and on the strength of this song that EP will blow the balls off every misogynist that comes close to it!
She has a European Tour coming in October, but before that, in August, she will be unleashing the power of Delilah on the USA. Hopefully the Mango Mussolini won’t have destroyed it by then!
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