The Kecks are back to wish you a rad Christmas with their take on the Mud classic “Lonely This Christmas”, a Christmas number one in the UK in 1974. This is probably one of my favourite Christmas songs and the Kecks are faithful to the original while adding the stamp of their dirty garage rock ‘n’ roll. Good songs never die do they and the Kecks keep this one alive really well in their inimitable style. Les Gray and yes Elvis too would be proud of those Kecks lads! This is my first Christmas post of 2021, there will be more!
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I have seen Damon Albarn on numerous occasions, three or four times with Blur, twice with the Good, The Bad and The Queen, and once with Gorillaz. But until now I had never seen him perform solo. I saw his streamed solo set at the Live From Worthy Farm a few months back and that, plus the release of his new solo album, was perhaps a precursor to what the shows on this short tour might be like. Firstly though I must mention this iconic venue, which was completed in 1472 and remains the largest cathedral of its kind in Northern Europe. I have missed out on a couple of contemporary shows here previously; Benjamin Francis Leftwich and the Howl and the Hum. Although the live stream of the latter was stunning.
After a 30 minute wait outside in a freezing York, we were finally ushered in for the 6:30 show, a second was planned for 8:30. The Minster setting was spectacular, particularly after the main lights were dimmed and it was then mostly candlelight. The stage was simple with a piano and seats for a string quartet. Yes, this was never going to be some kind of full-on band show. A rather unassuming Damon (my wife Catherine a.k.a Catwoman said scruffy) took to the stage to the sound of the string quartet playing Darke’s “In The Bleak Midwinter”. The first song was “The Nearer the Fountain, More Pure the Stream Flows”, the title track of the new album. Six more tracks from the new album followed of which for me the highlights were “The Tower of Montevideo” and “Particles”, both stunning in their simplistic beauty.
But it was the last few songs that really set the evening on fire. First, it was “Beetlebum”, a UK number one for Blur back in 1997. The original was a warped, psyched out, Beatlesy kind of tune whose lyrics dealt with Damon’s experience with heroin. But this string and piano-driven version was ethereal and otherworldly, such a phenomenal take on a great song. This was followed by “Lonely Press Play” from Albarn’s first solo album ‘Everyday Robots’ from 2014. The sadly very short set was brought to an emotional close with a gorgeous take on Blur’s “The Universal” to which we all sang along quietly. I was kind of jealous of the fans at the later show who bagged two more songs than us, “My Terracotta Heart” and “Under the Westway”, both Blur deep cuts. But putting that aside this was a truly incredible show and a never-to-be-forgotten experience!
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Promethium are a gang of metal marauders from Lancaster and were the seventh act to receive coverage in our Mayhem Virgins series around 18 months ago. Since then they have made regular appearances in the Mayhem Top 20 chart posts as some of my more obscure listening. But this is not a band that deserves to remain obscure they need to be heard. To do that there is no better place to start than with the tenth-anniversary reissue of their stunning and incredibly accomplished debut album, ‘Welcome To The Institution’ which is out today. Back in 2010, this album laid out very, very clearly the Promethium Metal Manifesto and also showcased their depth, they are so much more than just a metal band. “Visions” was a meaty and mighty tune with the power to rip a planet into a million pieces. The riffs throughout the album are bigger than Olympus Mons (that is a Martian mountain fact fans!) But it isn’t all about the riffs, album opener “Distant Illusion” lulls the listener into a false sense of security regarding what is to come with its prog-like lullaby style. I can hear elements of other bands here from Led Zeppelin to the Foo Fighters to Linkin Park. The latter are clearly an influence on “33.1”.
The anger and passion in “Cycle Of Vengeance” and “The Curse” is electrifying and if you love headbanging anthems look no further than these two tracks. Having listened to the album quite a few times I think “Tribute To The Fallen” is currently my favourite track. The power, emotion, soul and message hits you right in the face, as it should. If this was the only album Promethium ever recorded it would stand as an incredible legacy, an incredibly confident and mature debut album, but they have so much more and this release includes some recordings of three of the original tracks by the current line up and they are something damned special. It is hard to imagine a re-recording of “Visions” being better than the original, I mean how can you improve on perfection, but it is better and even more perfect. The other two re-recorded songs, “Nothing” and “Murder Inc” are superb too. Finally there is a rather good bonus track on the CD, “Sons Revenge” which is a remaster of the first song Promethium ever recorded back in 2007. If you have never listen to this band before ‘Welcome To The Institution’ would be a great place to start your metal journey with them. If I ever have to go into an Institution I want it to be the Promethium Institution! I still haven’t seen them live, but when I do I suspect it will be a truly awesome experience.
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I don’t often put together the best albums of the year list, but I do love a good list so here are my favourite albums of 2021. What were yours?
‘Delilah Bon’ – Delilah Bon –An absolutely sublime, sassy debut from Lauren Tate’s magnificent, impassioned alter ego. This has been my album of the year since I first heard it
‘The Yearbook’ – Baby Queen – Not many bands care as much about their fans as Baby Queen, but they are so much more than caring, they really are a stunning band
Thanks to a site called Obscurify. It claims to tell you how obscure your listening on Spotify is. Compared to the rest of the UK I am now supposedly 99% more obscure than other users in the UK, which has increased from a mere 90% in July! It also lists my most obscure artists, (the top three of which have been there since I began doing these posts) which currently are
So who were the top artists for October (29th) and November (20th)? Check the full lists below, but I can reveal that Delilah Bon was the chart-topper in October, her second time at the top and her fourth appearance overall. Once again it was Dame David Bowie in November for his fifth time at the top. There are a few new artists in there, notably Dea Matrona, Joy Crookes and, Emily Haines & the Soft Skeleton. I was pleased to see Apollo Junction, Emily Capell and, Nightmares On Wax making an appearance too. Also plenty of the usual classic acts, including Elton John, Amy Winehouse and, the Biffy Clyro. Regular readers know that as I share this Spotify account with my wonderful wife Catherine (a.k.a. Catwoman) a few artists finished much higher than they might have done if they were only my choices 🙂 Notably the Carpenters and Rick Astley. Give Obscurify a spin and let me know what your chart looks like and how obscure your tastes are 🙂
Mayhem’s Top 20 Artists on Spotify (November 20th 2021)
David Bowie Nightmares On Wax Damon Albarn Radiohead Carpenters Rick Astley Notorious Lightbulbs Avalanches Emily Capell Biffy Clyro Blur Apollo Junction Ima Robot Bruno Mars Millie Manders & the Shut Up Bob Marley & The Wailers Bunny Wailer Norman Connors Joy Crookes Emily Haines & the Soft Skeleton
Mayhem’s Top 20 Artists on Spotify (October 29th 2021)
Delilah Bon Elton John David Bowie Steven Wilson Nick Cave and the Bad Seeds Durand Jones and the Indications Amy Winehouse Emily Capell Billy Nomates Biffy Clyro Strange Bones T Rex Sharon Jones and the Dap-Kings Darts Counting Crows Nightmares On Wax Cleopatrick Beans On Toast Be Bop Deluxe Dea Matrona
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It is a long while, more than two years thanks to Covid, since I last saw the wonderful Hands Off Gretel play live. So I was really looking forward to this show. Did they deliver? Well just read on to find out because there were also two other bands on the bill. First up was Scarlet, who, for me, had a very punk and very metal Evanescence kind of vibe. This is an exceptionally talented band, especially the drummer who beat the drums with such, precision, passion, and panache that you might have thought his life depended on his performance. Scarlet has a huge sound and huge aspirations and injection of the sass of Joan Jett.
Scarlet
Spookily the next band, As Sirens Fall, supported Hands Off Gretel the last time I saw them back in 2019. They are proud to admit they are from Keighley. Singer Mikey Lord single-handedly made the common old cuppa a proper rock ‘n’ roll drink by having tea as his tipple of choice on stage. Mikey prowls the stage like Axl Rose crossed with Ollie Sykes. He was also sporting a jumper that he may have stolen from Freddie Krueger! Is this the new New Wave Of British Heavy Metal? Powerhouse drums, rifftastic guitar, tasty bass beats, and a singer who has all the right ingredients to become something of a rock god! I promise not to leave it so long before I see As Sirens Fall play live again!
As Sirens Fall
Finally, it was time for Lauren, Becky, Sean, and Sam of Hands Off Gretel to hit the stage and they did it in their usual hard-hitting super bombastic style. This is definitely a band at the top of their game and this was a supernova performance from them. There were so many stand-out moments, particularly rousing workouts of “Milk”, “Alien” (written about Lauren’s now sadly deceased cat), and “I Want The World”. The crowd reaction to a supercharged take on “S.A.S.S” came close to taking the roof off the Brudenell. “She Thinks She’s Punk Rock N Roll” was fiery, bombastic and magnificent! Lauren introduced a new song, “War” by telling us how she had recently played it to a record industry bigwig, who like many in that position was an old, white man. She told him how proud she was of the lyrics, which sound like a fabulous attack on the pale, stale, and male patriarchy. Said bigwig responded with something along the lines of “I don’t listen to lyrics”. That, for me, tells you everything you need to about where the current corporate end of the record industry sits. It is beyond shameful, but it also shows that bands like Hands Off Gretel can make it on their own without a big corporation behind them. Lauren was also passionate about girls coming to gigs and festivals, that is the only way to get more girls in bands because seeing girls playing will lead to more girls wanting to play. This, in turn, will increase the number of female artists on festival bills. Lauren Tate is not only hugely passionate about this and women’s safety at gigs, but you can tell that she really believes in the cause. If only more people were so eloquent about things like this, what a better world it would be. Let me state categorically that I am an old, white, man who is passionate about music and I support Lauren and Hands Off Gretel 100%. These are causes that all genuine music fans should get behind. But it is not just about these causes, Hands Off Gretel are a phenomenal band who deserve huge success. They have the confident swagger of Gwen Stefani in her No Doubt pomp and the hardcore emotionally driven songs that Kurt Cobain excelled at. I think it is worth mentioning how prolific Lauren Tate is too, since 2013, including Hands Off Gretel releases, solo output and more recently Delilah Bon, Lauren has been a part of something like seven albums and countless EPs and singles and the quality never seems to falter. All of the band are supremely skilled in what they do, not just Lauren. Bassist Becky Baldwin not only plays with Hands Off Gretel, but also Fury, Dorja and iDestroy among others. The whole chemistry of Hands Off Gretel is completed by one of the finest guitarists of his generation, Sean Bon and Sam Hobbins, an extraordinary drummer who never fails to keep a stomping, punky beat going on. If you are not a fan of Hands Off Gretel yet, then you are missing out big time!
The crappy photos were taken from the back of the hall using my cheap Chinese Android phone. All the videos were found on YouTube.
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I became a fan of Millie Manders and the Shut Up after seeing them at this same venue, Fulford Arms almost exactly two years ago, so I wasn’t going to miss another opportunity to see this great band. Did they deliver? Well you will just have to read on to find that out, because I need to tell you about the support band, Jøra The Førtuneteller. This hugely talented four-piece are based in Brighton (or possibly Norwich) and to get themselves on the road they sold loads of their stuff, including their Playstations, to buy a van to tour with. In my opinion that sacrifice and investment was well worth it for Sam, Gui, Dawid, and Josh. They have only been together for three years but it feels like they have been a band much longer. I sense the histrionics of Muse, the grandeur of Pink Floyd, and the punk attitude of the Clash. Sam’s vocals are world-class and reminiscent of the best of Steve Marriot and Kurt Cobain and Gui’s guitar skills are easily advanced enough that he could battle Matt Bellamy in a guitar duel and come out on top. It was also great to see Millie Manders showing her support at the front of the stage too. I am so looking forward to hearing more from Jøra The Førtuneteller and definitely seeing them play live again.
Regular readers will have seen Millie Manders and the Shut Up on these pages before. I had the honour of interviewing Millie back in January too, click here to listen to it. Millie is one of the most passionate performers in music right now. She is not just passionate about the music though, she is also supremely passionate about life, injustice, mental health, the environment, and many other things. All of this is encapsulated in an absolutely stunning performance from her and the Shut Up. Every tune was full of electrifying energy and there wasn’t a duff song or note in the whole set, the band and Millie were firing perfectly on all cylinders. Some people choose to badge Millie Manders and the Shut Up as ska-punk, but they are so much more than that. Highlights for me were “Poor Man’s Show” which is even more pertinent in the post-Covid world where the UK government is ripping the guts out of our fabulous National Health Service. Then “Not Okay” is a heart on the sleeve clarion call to every one of you who is suffering from depression, anxiety, and any other form of mental health issue. It really is ok to be not ok! But the pinnacle of the night for me was the astonishing, powered, anger and feeling in a mountainous performance of “Panic”. There are still a few dates left on this tour and if you can get to any of them, damned well do it! You will not be sorry!
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Swedish pop trio Spunsugar have a new ep ‘Things That I Confuse’. Floaty driving pop with a hint of Cocteau twins and driving drums with buzzing bass tones propel “Hatchet Along”. Excellent vocal harmonies create a false sense of ease which is quickly dispelled by the dark nature of the lyric. “Pink And Red” continues in the same vein. Cure like guitars carry the song along and a heavier touch sits nicely under the light touch vocals. “Things That I Confuse” is a very different animal to begin with and then locks back into the patterns established by earlier songs. The chorus is very effective with heavenly sounding choirs . The melodies on this EP are strong and the feel is one of dreamy euphoria with some excellent arrangements. I look forward to hearing where Spunsugar go to next. Written by Paul Bamlett
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Luv Dot Gov is a power-pop band from New York and their second album ‘The Good Times Are Over’ is a cornucopia of melodic delight with crunchy guitars and deadpan vocals aplenty. The title track “The Good Times Are Over” kicks things off in style with a Ramones meets the Monkees chorus. “Panik” opens on jangling guitars and Byrds-style vocals. Acapella vocals open “Maybe I Like The Rain” which is more balladic and gentle although the lyrics to all of these songs are somewhat dark. Big Hair metal riffs usher us into “Steal Your Heart” and a love song with its tongue firmly in both cheeks. “Blue Holiday” has a touch of Green Day about it and a more punky feel although the melody continues to be very strong. “Don’t Call Me” rather unexpectedly features a piano and is a truly standout song showing the breadth of this excellent band’s ambitions. In their press release, they talk about their struggle to make the record under lockdown and touch on the unsettling nature of some of their music. I for one will be searching out their 2018 debut album ‘At Least We’ve Got This Madness’ and also looking forward to seeing this melodic and thoughtful band live. Written by Paul Bamlett.
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I don’t often get the chance to review books, but when this one was sent to me a few weeks ago I thought it was worth giving it a spin. I read a lot of books, including many rock autobiographies and biographies. This is a compelling autobiography from Dire Straits’ ace bass player John Illsley. Along with Mark Knopfler, Illsley was one of the founding members of Dire Straits, who became one of the most successful British bands ever. Apparently, Geldof had asked them to headline Live Aid as in 1984/ 85 they were probably the biggest band on the planet. However, as they were booked to play Wembley Arena that night they went on a little earlier. Illsley sums that day up superbly in saying that he is glad they didn’t have to follow Queen. John describes his early years and how he came to find a career in music, which like many of his peers and successors was frowned upon by his parents, at least initially. The band came together in Deptford, South London and were so broke in the early days that they were living hand to mouth and picking up any gigs they could. They were finally able to record a demo tape which they managed to get to DJ Charlie Gillett who played “Sultans Of Swing” incessantly on his show, the rest, as they say, is history. Aside from his time in Dire Straits Illsley speaks in a brutally honest way about how that level of fame, success and the intensive recording and touring cycles destroyed some of his relationships. I really enjoyed this book and it definitely ranks among the best rock autobiographies that I have ever read. It is well written, open, honest, uplifting and incredibly interesting. It will be a great read for any music fans and not just fans of Dire Straits. It is out now, published by Diversion Books.
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