Let us consider some of the other possibilities..

1. Love Music, Love Racism

Nasty people can still have a gentle  heart when it is melted by sweet sounds pouring through their ears.

Take Nick Griffin for example, prior to life on the acceptable edge of right-wing thuggery Nick was in a ukulele band. Coming from a working class family he entered grammar school on a music scholarship and proceeded to read Baroque music at Cambridge. He now denies all of this, but he also denies denying the holocaust, so can you really trust what he says?

2. Love Racism, Hate Music

The Afrikaans despise all forms of music. Their extreme protestant beliefsinclude the idea that music is the devils temptation. Terre’Blanche once killed a man for humming. But you cannot fault his Love Racism credentials.

3. Hate Music, Hate Racism

Some people just hate everything they will never be happy. In fact I would even suggest that a music loving racist would have a more fulfilling life than someone that can find no joy in anything.

4. Indifferent to Music and Racism

This category is unfortunately where the majority of the population finds themselves. More people voted for Susan Boyle than voted at the European elections. Susan Boyle lost and the BNP received 6% of the vote. General indifference all around.

5. Love Music, Hate Racism

Saturday 24th October

Audio Brighton, Five Pounds, 7.30pm

Trenton & Free Radical,-  live Hip Hop and Reggae outfit hailling from  Africa and bringing a strong groove mixed with astute lyrics on living in our globalised world

Lana - who has had plenty of support on BBC 6 Music and BBC Radio 2

Senadee,  featured on the  dance hit ‘Say The Words’ (Ben Gold) which playlisted on BBC Radio 1 for 7 weeks and was single of the month in Mix Mag. He is going to bring his unrivalled vocal and myrical prowess along with his little acoustic band

“Lana has a pouty and sultry fullness to her voice and she plumbs the lower registers in a way that most young singers couldn’t even imagine – this is a woman and not a girl singing to you” – andygraham.org

Lana, Trenton And Free Radical, Senadee, Monumental Music Club

Audio Brighton

24th October

Four Quid

I Had been ignoring all but the most appetising messages.

That seems a bit of a waste and I am sure many nights worthy of a promotion slipped beneath me unnoticed. So, I have decided to chuck it all out there.

If you have something to promote email events@thehussy.co.uk and if you can spare a couple of tickets then I can send someone along to see what you have to offer.

If you are interested in writing reviews of live music, then fill in the form below and I will pass some of the good stuff your way. Please fill in the form below so I can keep your details. You need to be registered with the Hussy to fill the form in, but you can opt out of The Hussy’s newsletter if you don’t want it.

cforms contact form by delicious:days

The Half Sisters, (c) Ben Petrucci

 To be more precise it is Sister, Sister, Half Sister. But Bros allowed Craig to join in so there is family misnomer precedent in band names. Actually one third of the trio are half sisters so the name is 67% accurate.

The Brighton band are fun. And good. Good fun.

Tonight they are playing at the Brighton Live launch party, but that is invite only so you can’t come. There is free beer too, but don’t let that concern you. They are also playing at Madame Geisha, Friday 2nd October. So you can go, indeed you should go. To tempt you I have placed one of their extremely high budget videos below…

Why? because it is five days of FREE events that work to promote local artists. That means free gigs. WIN-WIN-all around. Brighton Live is a non-profit organisation which makes a pleasant change in a town filled with greedy fuckers.

At the core of the festival is a showcase of new and unsigned Brighton music at a wide range of venues in the city. Over 150+ bands play 20+ venues. There are also free industry workshops and seminars to provide: information, inspiration, advice and discussion on current issues. There are also opportunities for professional development and networking with wise old music professionals and other -not so wise but enthusiastic- unsigned bands.

For five days: 29th Sep to 3rd October there are events in 20+ venues all over Brighton and Hove.

If you only manage to get out to see a couple bands, The Hussy recommends…

Half Sisters: @Madame Geishas, Friday 2nd October 7.30
Catchy songs that will appeal to everybody. Things are kept simple with a poppy sound created using ukulele, flute, jazz drums and vocal harmonies (according to Brighton Visitor)

Grasscut @My Hotel, Friday 2nd October 7.15
A duo possessing all the credentials one would expect to find on the soundtrack to a spooky, dazed and confusing dream, it should come as no surprise that The Sunday Times deemed Grasscut ghostly and weird. More astonishing, though, is the inclusion of “enveloping” in that description; and, more astonishing still, is that it’s completely true. Grasscut’s melodies are never compromised by their spookiness; in fact, the amalgamation of the two produces something so fascinating you’d be a fool to miss it. (according to The Badger)

For full listing go here

“The organisers of White Air have today announced an exclusive partnership with MySpace, that will see the festival teaming up with the social network to find a new unsigned band or artist to play the opening slot on the festival’s main stage on Saturday September 19th.
Interested bands and acts will be able to enter the competition by registering at the official White Air Myspace profile, which can be found at www.myspace.com/whiteairextremesports, between Tuesday September 8th and Sunday September 13th. The White Air music team will then review all entries, using songs uploaded to MySpace and other material across the entrants’ profiles to pick a winner, drawing on their wealth of festival-booking experience to identify the most talented act possible. “

Orchid Thieves brought every ingredient to the Prince Albert that makes watching a live band such a treat; gorgeous vocals, fantastic stage energy, multi-layered percussions and guitar chords as raw and ripped as your old Levi’s. From the very first note a thick beautiful noise belted out of the speakers and filled half of the street. 

Jones’ vocals were so dirty you’ll be washing them off for a week

The songs are well-constructed with adorable beginnings which reel the audience in while lead vocalist Rhiannon Jones holds her expression of stern-intent, thumps her foot into the stage floor and starts that hypnotising hip-swinging thing she does. Orchid Thieves are sexy and you know it. They work themselves into a whirlwind of dynamic lively rhythms and absorbing complex melodies which are well balanced with a rich and dense backing.

The lyrics have been put together like a finely tuned engine. They are an ode to life and all its fickle highs and lows. Jones’ vocals were so dirty you’ll be washing them off for a week. Her voice varies from a sultry-huskiness which will leave you sobbing on your best friend’s shoulder to full-blown belting which will rock your trousers, shoes and socks off. This band reeks of passion and they charmed the pants off the audience. Their sound is so potent it had the rats in the basement stomping their feet. Orchid Thieves went in, played every last song with heat and zest, leaving in their tracks a large group of people with smiles on their faces, humming the chorus to “After Tomorrow” as if it were an anthem.

Orchid Thieves have stormed their way on to the music scene with a series of successful gigs across the South East. They already produce a sound which is a strong rival to some of the newer bands at the Reading and Leeds Festivals; they certainly would not be out of place here and their music would transition well from the intimate venues they have been playing. They are doing everything right to set themselves up for an exciting and bulletproof future. If you have not heard their music before then you are missing out on some serious oral gratification. They are currently in the studio working on their debut album and if the track listing is anything like their current records then it’s going to be one to keep at the top of your CD collection.

By Paul Theoret

Of course “tipping point theory” tells us that we are already fucked and even teeny-weeny gerbil sized footprints can’t save us. So, go and listen to sweet tunes. Three bands, two pounds, one evening.

Alan Bonner: http://www.myspace.com/alanbonnermusic
Amanda Shaw: http://myspace.com/mandalshaw
Amy Hill: http://www.myspace.com/amyhillacoustic

Date:   
Saturday, 05 September 2009
Time:   
19:45 – 23:00
Location:   
The Lectern, Lewes Road, Brighton

Fantastic musicians – great, original songs – and the lead singer is an amazing performer. Orchid Thieves give 100% to their audiences

The lead singer of this bad is HOT!

I stared at her for the whole gig….the guitarist was giving me the evil eye though…..

Great gig – great music and she’s damn sexy!

Venue: The Prince Albert, Trafalgar St, Brighton
Bands: Orchid Thieves (headline), Deadlines, The Hi-Sides, Icicle Thieves
Date:  Friday, 4th Sept
Time:  Doors open 8pm
Price:  £5 on the door

www.orchidthieves.co.uk

Bearded Beauty: William Fitzsimmons

Feeling lucky enough to be provided a chance to see William Fitzsimmons at on his latest wiz-round-tour round the U.K I headed out to the freebutt, to watch him play, and promote his latest album, “Goodnight”.
This bearded beauty of a man – rated as one of americas finest finest folk musicians – fuses his own emotive lyrics with simplistic guitar folk melodies. Hailing from Pittsburgh, Pennsylvania, born the youngest of two blind parents, his relationship with sound began. Having to communicate through sound in a variety of different ways, the house being covered with the likes of pianos, talking birds, guitars, trombones, and a huge pipe organ (which his father built with his own hands), including parents with very varied music styles, the mother being more interested in the contempery folk artists of the time, including Joni Mitchell, Bob Dylan, and James Taylor. His dad resonating with a more classical taste, you could say that along with his own passion for music he was destined to be a fantastic musician.
His history in working has not however been straight into music,being a qualified threpist in the U.S.A his lyrics retain an outside view point, and a melonconic quality about them. His latest album about his parents divorce, was said by him to be an important album in in releasing the regret and pain, and moving on.
Arriving at the freebutt venue at 7.30pm, the venue  conspicuasly hidden with hardly any frontage and not ready for any punters, me and a couple of other punctuals were asked if we were actually in the band.
If anyone has been to the freebut the layout is sunwhat unusual a seperate room for the bar, and a mirad of pillars scatter a small room with a stage at the far corner, its deffinetly a personal experience. To start a young lady sung meodic pop and got the crowd started, and a band called “The sea will decide”  bored me to tears.
William entered the stage with just one other member on guitar a very simplistic band outfit. Laughing, connecting and making relationships with the audience, he would tell the audence what particular songs meant ask questions, and have fun, being such an intimate venue it seems we could really get a feel for the real William, his voice so peaceful and quiet was so beautifully different and unique, songs such as “the song of the sparrow”, shone through for me, and also “you still hurt me” His voice was not forced it seemed he did not have to try hard to get his voice across, his emotions being resolved through his music. His music will deffinetly fill apart of you and nourish the soul, reccommended listening.

Reviewed by Luke Tonks

It feels rather bizarre cooping onself in the dingey confines of the Arc on a grey afternoon to watch bands, at least at most other festivals you’re in a field, here you’re where you would be on a Thursday night, except not drunk and – in my case – clutching a much needed coffee.  Well, this was all worthwhile because what I was watching was Canadian Blast, a showcase of some of the finest bands Canada has to offer.

The afternoon began with Dan Mangan, a really emotive, gruff voiced singer – who can switch to soft and fragile with ease – he instantly charmed the audience and led them all in a sing/stomp/clap along as he roamed unplugged through the crowd, singing ‘Robots need love too!’  The perfect start to the day.  He was followed by the hugely energetic Ultimate Power Duo, who, at first, channeled early Weezer and Green Day before displaying much needed classic rock licks laced with self-knowing, irony – but never less than ‘awesome’.  Particualr highlights being their song about a time-travelling serial killer; ‘It’s like Groundhog Day meets, er, Silence of the Lambs.’ and the genius track Cone of Silence that has to be seen live to be believed.

Up next was Hey Rosetta who craft lush country tunes, that seem to embody (in music) the great vistas that Canada surely offers.  Beautiful, passionate and rich.  After that came the rock bravado of Arkells, who seem to start where Kings of Leon leave off and – despite the early time – whipped the audience up into a sweaty, sing-a-long frenzy.  Closing the showcase was Ohbijou, a stage-filling act with violion, cello, a humongous (almost disastrously balanced) piano and much more; they, like Hey Rosetta, make a beautiful sound, though there’s is somewhat more twee and mystical.

After seeking out lunch I made my way to Salis Benney theatre to catch The Veils, who delivered a blistering if troubling set.  The lead singer is balanced somewhere between Nick Cave and Jeff Buckley and seemed on the verge of an emotional collapse throughout the impressive set, his voice was powerful and dramatic, but his eyes seemed full of genuine anguish that at times I just wanted to get up on stage and ask if everything was ok!

Micachu and the Shapes followed and were a stark contrast, which may have explained the frustratingly chatter-filled reception they received from the crowd (most of whom seemed to have just turned up ridiculously early for British Sea Power).  Despite this I found their set to be lively, fun and one of the most striking acts so far of the festival, a true 21st century junk shop band using tin can and bottles as percussion mixed with laptops and skittering, stop-start wonky guitars and erratic drumming.  Brilliant!

I then made a dash for Volks, eagerly anticipating Connan Mockasin.  Fortunately I was early enough to catch half of Meme Love‘s set, and was treated to swoonsome, smart songs about broken hearts and romance; the lead singer’s vocals were particularly heart-aching, both sweet, giddy and innocent whilst laced with sadness and regret.

Connan Mockasin took to the stage, clad primarily in red, and launching into a helium-voiced, rickety showcase of his unique, bonkers pop.  Songs such as Sneaky, Sneaky Dogfriend, Egon Hosford and his awesome cover of The Teenagers Starlet Johansen went down extremely well with the audience and I can’t wait for the eventual release of his debut LP.  He was joined, for his last song, by the next act – Liam Finn, who then kept Connan around as he quickly began his own set.

Finn breaks the curse of sons in their fathers shadow by being, in my humble opinion, a heck of a lot better than Neil Finn.  This set was particularly impressive with Finn using loop pedals to create a cacophonous noise accompanied only by a backing vocalist and – occasionally – Connan Mockasin (also on vocals).  A particular standout was Second Chance that lurched towards a tremendous finale with Finn layering guitar upon guitar and pummeling the drums like a man possessed.

It’s funny sometimes what you end up accidentally watching, and this was proved twofold tonight.  Firstly I mis-read the festival guide and ended up in Coalition when I wanted to be in the Basement, this meant I got to see the end of The Charlatans set, and they were finishing off one track before a crowd-pleasing rendition of North Country Boy.  I then dashed to my initially intended location and got to hear – from outside the stage room – Elizabeth‘s final song, and though I liked what I heard I can’t quite remember it enough to describe it.

The second instance of strange accidental viewing was in who I had gone to see at the Basement, there was something oddly familar about the name Mike Bones - though I couldn’t place it, until half-way through his set when I recognised the song and remembered the music video I had seen and the feelings of not-very-impressed I had felt at the time.  Fortunately, live Bones comes across far better than he did on Youtube, with the Bob Dylan-sound to his vocals standing out over the Lou Reed-like lyrics telling slightly seedy tales of New York life.  His set was crowd-pleasing, grimy and entertaining.

Alas, due to commitments that I have to wake up for I had to call it a night, but feel that I really got to see an interesting cross-section of music tonight and eagerly await tomorrow, which, I think, will involve a lot of running around…

Getting off to a late start due to work and acting commitments I made my way into Jam for the tail end of We Were Promised Jetpacks, a band with a name close to my heart.  Their Scottish indie-pop sound was instantly appealing and emotive, and once I’d found a perch to see above the maximum capacity crowd a good live viewing experience.

The real reason I’d made my way to Jam though was The Twilight Sad, from somewhere near Glasgow, their particular brand of emotional pop is characterised by the distinct accent of the lead singer, between embittered drunken hollers and remorseful, swoonsomeness.  At times they sounded like Explosions in the Sky with lyrics, then The Cure but, y’know, Scottish.  The highlight however was the opening song; That Summer At Home I Became the Invisible Boy, a glorious anthem to the dispossesed and a genuine, contemporary classic.  The rest of their set, though powerful, lacked the directness of this first song.

Afterwards I dashed over to Hector’s House and saw the last half of Magic Magic, a skittering, ska-vibed pop group who also impressed quickly, though, as before, it was a shame I only had a brief glimpse into their world.  Afterwards was Norwegian act The New Wine who seemed determine to prove that disco is not dead in Norway.  Their lengthy dance odysseys quickly became dull and lifeless, and reminded of those 12 inch vinyl singles tucked away in my parent’s record collection that seemed to last for days.  Sometimes you want to advertise to the people around you that you’re enjoying a band with a degree of irony, and this was such an instance.  Their buoyant nature diluted the effect of the much-hyped Hockey, and, needing to seek musical pastures new I ditched them two songs in.

Following a confused trek around many Brighton streets I found the mysterious Basement and caught the final song of singer-songwriter Birdengine, it was a smart, wry, beguiling sound and I feel quite frustrated that I didn’t get to see any more.  He was followed by Blue Roses who has been dubbed ‘the new Kate Bush’, but, fortunately for me, this tag didn’t fit (I’m not too keen on Kate Bush).  Instead Blue Roses crafted beautiful, slight and warm songs with piano, violin, guitar and occasional cardigan-covered drums.  I was, in the most positive sense, drifting off whilst she sang, lulled into a beautiful dreamland.

And thus ended my first, hasty day at the Great Escape.  More tomorrow!

According to their weekly newsletter,”On the day of release of his awesome new record ‘Further Complications’ (trust us, it’s incredible), the one & only Jarvis Cocker will be popping in between 5 & 6pm to work behind the counter! The 1st 50 of you to purchase the album from Jarvis on Monday 18th May will receive your record in a specially made, limited edition cloth bag, presented & rung through the till by the man himself! How good’s that?!”

I suspect you may have to start queueing early for this one.  Maybe you could also pop in and put in a request for when he plays the Dome a couple of weeks later.

The New Single.

Candlelit Classics: Karl Jenkins requiem

@ St Bartholomew’s church

16th May 8pm-10pm

£13

This event is a Hussy pick for the Brighton Fringe.

To see all of our top choices Follow Me 

Away from the busy hubbub of Brighton, awe-inspiring Nineteenth century cathedral St Bartholomew’s is the perfect setting for this classical event with its heady mixture of incense and soft lighting.

Requiem, released in 2005 by Welsh composer Karl Jenkins, topped the UK classical charts within a month of its release. Featured on the Classical Brits and Classic FM, Jenkins’ moving work has been called “…the ultimate in post-modern Requiems…” by Music Week magazine.  

In his unusual work, Jenkins combines Japanese death poems with traditional Latin text encountered in a Requiem Mass.

It’s time to get in touch with your classical side, let Jenkins’ masterpiece wash over you for the evening whilst bathed in the magic of candlelight.

For more info visit: www.brightonfestivalfringe.org.uk/

This is an entry for the competition to win a ticket to the Beachdown Festival.

The winner will be the one whose writings recieve the most visits.

See all of the entries here

For details of the festival www.beachdownfestival.com

Paul Gregory (guitar)

@ St Nicholas Church

5^th May 7.30pm-9.15pm

£8

 This event is a Hussy pick for the Brighton Fringe.

To see all of our top choices Follow Me

Brighton’s oldest church St Nicholas on Dyke Road brings us something a little bit different.

With an intoxicating mix of piano and guitar combinations plus solos, works include those of Boccheri, Schubert and Albeniz.

For one night only, internationally acclaimed musicians Yoko Ono, established concert guitarist Paul Gregory and tenor Robert Chavner will join forces to create a wall of impenetrable sound. Surely this speaks for itself, an event not to be missed.

For more info visit: www.guitars-maestosomusic.com

This is an entry for the competition to win a ticket to the Beachdown Festival.

The winner will be the one whose writings recieve the most visits.

See all of the entries here

For details of the festival www.beachdownfestival.com

@The Brighton Coalition

Saturday April 4, 2009

One of the best things you can do on a Friday night in Brighton to wind down from a busy week is nip out for a few drinks and a spot of live music, even more reason if it’s in the name of charity. 

For all of those reasons, last night my friends and I ventured out to trendy seafront nightclub The Coalition.

The Brighton Coalition is not your average nightclub, full of beautiful people, the 7 day week programme always carries a variety of live music, comedy and achingly cool DJ nights that embrace the local culture.

Last night we were there for Bright-AID, a live music event held in the name of raising money for Cancer Research, the Polycystic Kidney Charity and The Macmillan Hospice. What better reason to put our dancing shoes on?

The fully local line-up included Gloria Cycles, The Third Man (with Max Rafferty from The Kooks) and Rock ‘n’ Roll-er’s I-Koma, all this for a minimal £5 entry fee.

Kicking the night off at 9pm was Brighton-based foursome I-Koma www.ikoma.co.uk .  Warming us up nicely, front man Davey Perry was on form filling the stage with a massive energy that they kept up the whole way through the gig. Giving us the songs we wanted, including the already familiar ‘La La La Hey’ and ‘Wasting My Time’ they got us hip-shaking and hair-flicking all over. By the time it was finished, all we wanted was to hear more.

Next up was The Third Man www.thethirdman.co.uk, a first time see for me and they certainly didn’t disappoint. Vocalist and guitarist Max Rafferty held the audience captive with a fresh indie sound that felt new and progressive. The whole set list was perfect, but it was latest song ‘Better Days’ that captured our chilled out vibe perfectly.

This lead us nicely into the concluding act, the just fabulous, Gloria Cycles www.gloriacycles.co.uk.

With clear influences from The Eels, Supergrass and Talking Heads among others, vocalists Glaswegian-born Kenny McCracken and Brightonian Jen Dalby gave us the magic that capped off the evening nicely. When the crowd wasn’t dancing it was because we were completely enchanted by Jen Dalby’s somewhat hypnotic voice and stage presence – These are the ones I’ll be watching closely this summer.

All in all a fantastic line up and The Coalition works incredibly well as a live gig venue – a true Brightonian’s night out. 

To find out more about what’s on at The Coalition visit: drinkinbrighton  

Written by Sarah L Sharp

This is an entry for the competition to win a ticket to the Beachdown Festival.

The winner will be the one whose writings recieve the most visits.

See all of the entries here

For details of the festival www.beachdownfestival.com

Apologies in advance for accidentally putting this up after a few dates have gone by, but if you hurry out tonight you’ll be able to catch the wonderful Charlot Webster along with Kate Walsh, Conrad Vingoe, Dannii Nicholls and Ben Griffiths all tucked inside Kemptown’s Fairtrade Gallery tonight (4th April).

The April Alternative kicked off on Thursday 2nd April and continues until the end of the month with some wonderful acts evenly distributed throughout the coming weeks…

Thursday 9th April sees rambunctious country fun from The Crucks, sounding like Dr. Teeth and the Electric Mayhem covering Johnny Cash they ooze a riotous sense of fun, playing with wit and energy.  They’re accompanied by the Brighton based collective known as Jukebox Poets, a group who put a great deal of theatricality and performance into their poetry readings, tag-teaming words and rhymes back and forth with great gusto, humour and intelligence.

Friday 10th April has beguiling and experimental folk singer Mary Hampton headlining and support from Astra.

Saturday 11th April sees my favourite singer-songwriter of the 21st Century playing an intimate set in anticipation of his new EP; Ed Harcourt was Mercury nominated in the year 2001 and has continued to produce an incredible catalogue of work over four albums and numerous side-projects.  Support comes in the shape of The Robot Heart who produce folk-pop filled with invention and layered melodies.

Thursday 16th April boasts another jam-packed line-up, rich piano-led folk from Sharon Lewis, Barnaby O’Rourke, scrappy funky folk frolics from The Great Indoors and the elegant voice of songstress Crack-a-Jack Crow.

Friday 17th April is a showcase from Fat Cat Records’ sweet country-tinged singer-songwriter Tom Brosseau, the ethereal Pantaleimon and Nik Barrel.

Saturday 18th April finds two rather avant garde acts sharing space; the experimental and intricate sound of Tenebrous Liar and the jazzy swagger of Black Carrot.

Thursday 23rd April has the sweet and funny sound of Foxes!, they share a similar boy-girl sound to The Moldy Peaches but mixed with uplifting Beach Boys riffs; support comes from shimmering acoustic act Charleyville.

Friday 24th April puts The Gin Club at the top of the bill, playing a toe-tapping, head-nodding line in Blues Country, a path also walked by their support act The Shoestrung, expect with a more raggedy sound.

The festival comes to a close on Saturday 25th April with Pepper Records’ Live All Day Recording, which lasts from 2pm to 11pm and is free!  As a nice warm-up before the madcap May festival hits town, there is a diverse and brilliant range of music playing in this venue amongst art by Alex Binnie; Jim Sanders; Binnie, Glew, Sanders, Shuttlewood and Pam Glew.

CALL 07990 511576 FOR INFO & TICKETS

THE FAIRTRADE GALLERY
26 MONTAGUE PLACE
BRIGHTON
BN2 1JE

Gargantuan Rock Monster

zeeb

This is straight up punk rock, but Zeeb fail to gain any momentum throughout their second album. Though they are not doing anything that hasn’t been done before, they admittedly do it well.  This is despite unimaginative titles – ‘Drinkin’ Gasoline’ and ‘Chainsaw Lurve’ continue their testosterone fuelled barrage of meager lyrics that follow every stereotype of this genre.

They focus on a low-fi sound that though deliberate, is comparative to the Dead Kennedys covering Busted.  Whilst the music produced is far from ‘gargantuan rock’, it is most certainly a monstrous album leaving me to question who would allow a follow up to a presumably equally dissatisfying debut.

However, there are sparse highlights that could fill a much shorter CD.  ‘Sex + Supernova’ is the best of their efforts, due to it’s grinding bass, successful song formula and duel vocal choruses.  It seemed that just over half way through the album, Zeeb themselves realized they were not cut out for true punk rock and instead opted in ‘Angel Grinder’ to experiment with an undeniably indie influenced introduction ala The Futureheads. 

Their use of simple cliché lyrics and overused chords fuse together to make eleven tracks that quite simply are not worth listening to.  Unless you enjoy the sound of three middle-aged men attempting to live out dreams they shared as teenagers.

Reviewed by Amy Russell

Phinius Gage & The King Blues 

Phinius Gage opened up to a crowd who looked on slightly nonchalantly, but that didn’t stop the Brighton punkers from putting their all into the show.  Starting with a selection of songs from their older albums; ‘Fire’s Burning’ and ‘Understand’ and playing with such contagious enthusiasm that I couldn’t stop the smile from spreading across my face.

 
A few members of the dispersed crowd shared the energy displayed by this gruff looking band, dancing along and occasionally shouting the few lyrics they knew of the fast, raw songs.  It became apparent that they aren’t just about the tunes and have a deeper meaning to their songs.  This was clear when bassist Mike Scott declared that one of their songs ‘Got Away With Words, Got Away With Murder’ is about vegetarianism.  He then risked a stab at people who indulge in bacon sarnies whilst standing proudly wearing a vegan design t-shirt.

Engrossed with watching them interact and throw themselves around the small stage, I noticed the singer Ade had trouble controlling his saliva during this show.  This display left me slightly perturbed, and I’m sure I wasn’t the only one.  Managing to not slip on Ade’s spittle; Phinius Gage played a superbly passionate set in their hometown, sharing their punk influences and warming up the small crowd. Then The King Blues hit the stage.

Hit the stage they certainly did! By the time The King Blues had brandished a white sheet taped to the rear wall with Gaffa tape displaying words ‘The King Fuckin’ Blues’, the crowd had shuffled and edged forward with anticipation.  They opened with an instrumental introduction and begun teasing the crowd with their talent; before diving head first into the set.

Their blend of instruments was ‘unique’: the 6 members consisting of a standard two-guitar-drum-bass combo. Plus they also managed to cram a percussionist with bongos and assorted hand-held instruments onto the stage. Vocalist Itch switched between his ukulele and tenor melodica for the introduction to some songs.

The floor was bouncing midway through their first song, and by the third, beer had begun flowing and limbs flailing.  The tiny venue quickly turned into a seething mass, dancing rhythmically to the funky beats.  It’s difficult to confine this band to a genre, they show strong reggae influences, which they arftfully blend with a ska beat.  Lyrically they show a political passion.

The King Blues gripped of the audience, encouraging them to sing the words to ‘Come Fi Di Youth’ after achieving a massive ‘fuck you’ to the BNP from the whole venue.  With an honest display of their political influence and unique musical style so well put together that it is hard to fault this stunning performance.  Confidently striking chords on a ukulele, front man Itch could not look more natural stood at stage-front.  The entire band were laughing and smiling with each other during songs, each member clearly having a good time.

The King Blues weren’t all dancing fun though.  Towards the end of their set they played a slow number containing the words ‘you look beautiful tonight’, the result? Clambering onto sweaty shoulders and brandishing lighters.  Another glorious moment, thay had those unfamiliar with this band singing to songs they have never heard before.  For the finale, The King Blues displayed their a cappella influences with a superb rendition of the Italian partisan song ‘Bella Ciao’ with guitarist Fruitbag showing off a beautiful voice.  Bellowing out foreign words (meaning ‘goodbye beautiful’), all fists were in the air and each soul filled with a passion for this band. 

“We played for fucking days!” exclaimed vocalist Itch in a later interview, but to be fair, I don’t think anybody complained. 

Reviewed by Amy Russell @ , Brighton Concorde 2, September 23rd.

This is an entry for the Beachdownwriter Competition

The Brian Jacket Letdown

‘White Sky’

It’s been a good ol’ while since TBJL hit us up with their sonic airbrushes. Lying largely fallow since ’07, the band’s ever changing line-up have since enlisted the help of bassist Alyssa McDonald of Scritti Politti fame. Along with Alyssa, newcomer Gemma Ware fans The Jacket’s flames with her oddball box of musical wonders, peppering the band’s signature whimsical with sax, reed organ and glock nuances among other aural tickles.

Plucked from their debut album Darling Bit Me, TBJL release ‘White Sky’ this spring. Fabulously eerie, ‘White Sky’s’ melancholic cha-cha recalls the ephemeral roll of a new and brighter season. With cocky little cowbell tunks icing fuzzy guitars and throaty basslines, the record stabs somewhere in between Wilco and Seabear and the very visceral nostalgia therwith. The single’s B-side, ‘Devil In My Room’ takes a horny bow to Eliot Smith waltzing to the Hispanic shimmer of Buena Vista Social Club. An understated gem of a record, it’s quite easily a chunk of any self-respecting music gorger’s summer soundtrack.

Released on 25^th May through Genepool Records

www.thebrianjacketletdown.com

by Plum Woodard

Dirty Stop Out

‘Cuntro Classics Volume 1′

As the play on words in the title suggests, Volume 1 in a succession of similar releases is a brazen, filthy, fuck-mouth dollop of psycho billy, country punk and rock’n'roll. Comprising seven tracks, Volume 1 is hosted by three whip-ass collaborators who make up the bases of Dirty Stop Out: bastion of high-end lingerie and founder of Agent Provocateur, Joe Corre; ‘Filthy’ Luca Mainardi; and Mick Jones of The Clash. Sure, dab the sweat from your brow, but that ain’t half of it.

Seemingly following in his parent’s footstep’s, Corre’s dealings in music comes as testament – albeit it both quite sweet and rather bent at the same time – to Malcolm McClaren and Vivienne Westwood’s associations with The Sex Pistols. Dirty Stop Out aren’t just punk, though: they’re fuck punk. With a little help from their friends (that’s Bobby Gillespie, Les Rita Mitsuko and Nina Hagen to me and you…), Dirty Stop Out’s first offering in the sound stakes is high octane, tongues (and tits) out catharsis. A bag of goodies in every way, the suspense for Volume 2 is killin’ me…

Available now on Agent Provocateur Entertainment

www.agentprovocateur.com

by Plum Woodard

Sunday Driver

‘Rats / The Gayatri Mantra’

It’s both a shame and no surprise that the Cambridge sixpiece, Sunday Driver, haven’t garnered the recognition they perhaps ought to have during their nine years as a band. A melting pot outfit of characters, they marry traditional Indian sounds and instruments with very eccentric Englishness: maybe where they stumble.

This double A-side, taken from their album In The City Of The Dreadful Night, is a spectral whammy of instrumentation and mellifluous noise. The mischievous ‘Rats’ could easily lend itself as a backdrop to some creepy story by Neil Gaiman as Chandy Nath’s crystal cut vocal soars and bounds to muted sitar riffs and acoustic guitar. In contrast, ‘The Gayatri Mantra’ is a swathe of traditional tabla, sitar and clarinet with “repurposed Sanskrit” lyrics, Crispian Mills’s idea of heaven, no doubt. This kaboom of fusion listening is most certainly worth the pennies, if exclusively for those who can cope with the stop and change aspect of Sunday Driver’s musical nature.

Released 16^th March on Bakul Bagan Records

www.sundaydriver.co.uk

www.myspace.com/sundaydriverinuk

by Plum Woodard