Wednesday, 21 September 2016

Self-Loathing Whiteys of Rock (2): Billie Joe Armstrong


More just-out-of-rehab wisdom from White race cuck Billie Joe Armstrong of Green Day fame, making a statement that embraces Leftist anti-White narratives while avoiding all the facts:
"A lot of white people should shut up and listen. They really don't know what the African-American experience truly is. When you have people getting shot in their cars for no reason and being put in fucking jail cells and it's for profit, we have a serious problem, and the first thing you need to do is get educated. Don't try to do this, like, 'Blue lives matter.' Don't try to do the 'All lives matter.' Just shut up and listen to the experience. And then move forward after that."

Tuesday, 20 September 2016

YOSHITOMO NARA'S STRANGE INSPIRAL CARPETS FIXATION


Yoshitomo Nara is one of the top three or four contemporary Japanese artists, painting pop art pics of cute but gnarly children with large heads. He also seems to have a deep love of the 80s and 90s "Madchester" outfit the Inspiral Carpets, going by this work of art, I chanced upon recently. The canvas includes the lyrics to the Oldham band's 1990 classic and minor hit This is How it Feels.

Monday, 12 September 2016

Preview: Biffy Clyro / Trashcan Sinatras, Japan 2010

Biffy Clyro
It's not often that you get two bands from the same small corner of Scotland appearing in Japan at the same time, but that's what's happening next week when Ayrshire bands Trashcan Sinatras and Biffy Clyro show up. Nothing but a coincidence apparently, and in other respects the bands are quite different.

The Trashcans, with their literate, sophisticated adult pop are one of the "could-have-beens" of the 1980s and early '90s, attracting big label attention for a few years, before being dropped because they didn't fit easily into any marketing niches.

Sunday, 7 August 2016

Interview: Zodiac Mindwarp


 Senses Working Overtime


Zodiac Mindwarp and his cronies are about to unleash a second slab of their raw, primal biker anthems onto an unsuspecting public. The album is entitled Hoodlum Thunder and it will be interesting to see if Zodiac can recapture the glory of his Prime Mover days.

So, over a few jars in a quiet pub, I asked him to begin with how they found their new member bassist Suzi x?
“I don't know actually,” the Zodiac replies, straight faced. “I think Cobalt, the guitarist, brought him along one day. He had all the qualifications -- drug dependency and alcohol abuse. He fits right in.”

Sunday, 17 July 2016

Album Review: David Byrne, "Look Into the Eyeball"


In an article in the New York Times, David Byrne once said that he hated World Music, surprising for someone whose own music incorporates elements of Samba, African Pop, and a plethora of other influences. But what he was criticizing was the way the term is used to relegate the vast majority of the music produced in the world "into the realm of something exotic and therefore cute, weird but safe."

Sunday, 19 June 2016

Interview: Graham Bonnet & Bob Kulick, Blackthorne

Kulick and Bonnet, 2nd and 3rd from left.

Masters of Reality


Blackthorne, put together by guitarist Bob Kulick and featuring the renowned vocal talents of Graham Bonnet, as well as Jimmy Waldo (keyboards), Chuck Wright (bass), and Frankie Banali (drums), are an ongoing, touring monster.

So impressed was Bonnet with the material that he returned to LA. Kulick too was impressed by the project.

"It's worked out great. This is the best rhythm section I've ever worked with and also the best singer I worked with," which is a statement not to be taken lightly considering his portfolio (KISS, WASP, etc).

Sunday, 12 June 2016

Album Review: Gomez "In Our Gun"

It's postulated that once the Universe stops expanding, it will start contracting and that Time itself will start running backwards.

Musically, this has already started to happen with certain bands like Gomez, who continue to develop by rediscovering the past.

Sunday, 29 May 2016

Video: Golden Years


Ricky Gervais found stardom in 2001 with the hit comedy series The Office, but much of that highly successful series derived from a 20-minute comedy film Gervais made a few years earlier, where he played a 37-year-old businessman with aspirations to be a David Bowie impersonator.

Saturday, 28 May 2016

Album Review: Voivod, "Angel Rat"

VOIVOD are unpredictable – an immensely strange talent who were instrumental in the development of the techno-Metal/Thrash sound. Over the years their playing has progressed and developed through five LPs tackling the ongoing saga of the 'voivod,' the mythical creature they wove their musical adventures around. The new LP Angel Rat, on MCA and their sixth, represents a complete departure from both the 'voivod' story and also their past noisy musical style.

Sunday, 1 May 2016

Interview: Mark Knight, Bang Tango



Dancin’ to a Different Tune


With their first two releases, Live Injection, on the independent World of Hurt Records and Psycho Café, their label debut for MCA/ Mechanic, LA’s BANG TANGO established themselves as one of the city’s more diverse bands. Augmented by Joe Lests (vocals), Kyle Kyle (bass), Kyle Stevens (guitar), Tigg Ketler (drums), BANG TANGO’s press cites a strong European feel to their sound.

Saturday, 16 April 2016

Riff Raff I

The first issue of Riff Raff hit the newstands in December 1989, with Alice Cooper on the cover.

Among the articles were Simon Robinson's live review of DOG'S D'AMOUR and the QUIREBOYS, Anna Crampton's review of MOTLEY CRUE, Mark Crampton's  review of ANDERSON BRUFORD WAKEMAN HOWE and the now Fish-less MARILLION, and Mark Liddell's review of SHY.

Friday, 15 April 2016

Interview: Debbie Harry, Blondie


Blondie says goodbye with greatest hits tour


After a career broken by a lengthy period of retirement, Blondie are finally calling it a day again, with a farewell tour that includes several dates in Japan. Originally part of the 1970s New York punk scene, the six-piece, fronted by the iconic singer Debbie Harry, became one of the bands that defined the New Wave movement of the late 70s and early 80s.

Tuesday, 29 March 2016

Interview: Carnival Art

Culture shock can be a funny thing. Take CARNIVAL ART, a subversive rock n' roll quartet, hailing from L.A. and according to their bassist Ed, with his regular Joe haircut, eclipsed by a baseball cap, "it's unreal being here."

So we huddled around a table in the lounge of the Columbia Hotel in Lancaster Gate, London. Singer/guitarist, Michael P. Tack, adorned with beaded necklaces, cuts a sort of bohemian maverick figure who's eager to enlighten me with the raison d'être of their particular carnival:

Wednesday, 9 March 2016

Album Review, Rox, "Memoirs"

The year is 2009 and Amy Winehouse, after stumbling upon a winning formula of retro-cutesy blues n’ soul, sung by a London girl with a "Black" voice, is stumbling around too drunk and stoned to make the most of it.

The search is on for an act to cash in on the formula before it becomes defunct, and – phew! – they think they've found it in Rox Tataei, the 21-year-old progeny of a Jamaican mother and Iranian father.

While Amy has the "Black" vox, Rox has that too, plus a few other "Black" things, like dark skin and frizzy hair. She is pretty too, although a little big boned. Not nearly as iconic as Amy, but they feel they can work with that and help the girl find her "own" style – maybe something along the lines of a Civil Rights icon/ glamour model thing, or, if that doesn't work, a proto #BlackLivesMatter campaigner with a hipster sensibility.

Interview: Dave King, Flogging Molly


King of Flogging Molly not slowing down


When Dave King started blending the rich musical textures of traditional Irish music to the white hot energy of punk in the early 1990s, it wasn't a career move. But nonetheless, the unlikely combination gradually caught on, leading to the creation of one of the most potent live acts of recent years, Flogging Molly. The seven-piece band brings its musical maelstrom of traditional Irish instruments and searing electric guitars to Japan in April.
"When we started playing together, the excitement of it was something I'd never felt before," King explained by telephone from a doctor's office in Dublin, Ireland. "There was an energy that you knew couldn't be contained by the room we were playing in. It belonged in so many other rooms. It just felt like it needed to get out and go wild."
While many have drawn comparisons with the Pogues, the 1980s band that first mixed punk and Irish traditional music, or with 1970s precursors Horslips, there is nothing derivative about Flogging Molly. This is because the band grew out of the experience of their main man.