Ahead of their appearance this Sunday [October 22] at The Roadmender in Northampton, here’s ten of British Sea Power‘s best singles, 2001-2017. Tickets …
This weekend the annual Ctrl Alt Fest Delete returns to Kettering for it’s fourth outing. The event takes places across three venues over three nights [Oct 20/21/22] at the [soon…
This weekend the annual Ctrl Alt Fest Delete returns to Kettering for it’s fourth outing.
The event takes places across three venues over three nights [Oct 20/21/22] at the [soon to close] Prince of Wales, the Three Cocks Inn, and The Shire Horse. The free event raises money for charitable causes, and this year the fest is in aid of Johnny’s Happy Place, the community hub/cafe on Rockingham Road [Kettering] that seeks to help those with mental health problems in and around Northamptonshire.
This years band line-up is vast. It includes…*deep breath*
KARL PHILLIPS AND THE REJECTS
Jacob and Phoebe
Kenneth J Nash Band
MIDNIGHT HONEY CLUB
Mary Bendy Toy
What Lies Within
Miyagi Car Wash
THE BRANDY THIEVES
James Watt and the Avenues
Acoustic metal with Unitra
Family of Noise
The Final Clause of Tacitus
DJ Bobby Nightmoves
AIDEN PRYOR BAND
Tom Rose and The Heathen Orchestra
You can visit the Ctrl Alt Fest Delete Facebook page here for up to date info.
Today it was announced that Kettering rock venue the Prince of Wales is to close at the end of the year. Publican Nina Hammond, who took over in 2015 following…
Today it was announced that Kettering rock venue the Prince of Wales is to close at the end of the year.
Publican Nina Hammond, who took over in 2015 following a £40,000 makeover, made the following statement:
“It is with a heavy heart that I let you all know my time at The Prince is coming to an end. This is not a decision I wanted to make, or have made lightly, but unfortunately there is no alternative. Being brutally honest, there is simple not enough money coming in to pay what is going out. I’ve been trying to keep live music going at the venue but without continuous support from the public it is just not possible. I have tried charging on the door to cover costs, iv looked for investors, and iv tried putting on bands/events that people have asked for, but still we don’t see the bodies through the door. I’m sure you have all heard the term ‘use it or lose it’, and unfortunately this may now be another venue that closes its doors for good. It saddens me that I am unable to continue and make this venue work, but as mentioned before, the lack of bodies through the door coupled with rising beer costs, rising business rates and other general expenses, it is just no longer financially viable”.
The final day of trading day will be New Years Eve. This comes hot on the heels of the news that The Hut in Corby is set to finish in its current form at the end of November. The Rockingham Road venue only opened on weekends following the closure of The Zombie Hut at the end of 2015. The future of the venue remains unclear.
So, is rock and alternative music in the county under threat? What can be done to turn things around? Leave comments below if you feel so inclined.
This Saturday will witness the first ‘Shoetown Sounds’ live event in Northampton, which is to be a regular event that will pop up all over Northampton to promote community radio…
This Saturday will witness the first ‘Shoetown Sounds’ live event in Northampton, which is to be a regular event that will pop up all over Northampton to promote community radio and support local music by broadcasting the events live.
Celebrating NNBC Radio‘s “upgrade” on the September 30th and it’s renaming as ‘NLive‘ the event has a formidable line-up of five Northants bands/musicians who will be playing & broadcast live from The Lab [97 Charles St]. The line up is Charlotte Carpenter, O’Mahon, Burrowing Bees, Deep Sea Mountains and Hana Brooks.
It’s a mere £3 on the door, or you can pick up a wristband for free entry from the NLive team who will be on the Market Square in Northampton town centre, broadcasting live all day on Saturday.
The next planned event is also taking shape: its to be on November 4th, with Corinna Jane as the headline act, supported by Dan Hughes (and again at The Lab).
Visit NNBC Radio/NLive here.
RELIGIOUS OVERDOSE Glass Hymnbook (1980-1982) (Glass Redux) This retrospective compilation is very early post-punk, the Northampton band having formed in 1979, the year in which the very notion of post-punk…
Glass Hymnbook (1980-1982) (Glass Redux)
This retrospective compilation is very early post-punk, the Northampton band having formed in 1979, the year in which the very notion of post-punk (or “new musick” as it was first coined) was first being talked about, and its ideas being explored. Guitarist Richard Formby would move onto work on In Embrace, Spectrum, The Jazz Butcher and more, before becoming a studio producer. Vocalist Alex Novak would move onto The Tempest, Attrition and his long-term project Venus Fly Trap. But there and then they were experimenters in noise and emotion, taking on board the contemporaneous sounds of PIL, Joy Division, fellow midlanders Bauhaus et. al – alongside the psychedelic kraut bands (primarily Can and Neu one can presume).
The heady mix saw strange, often bleak, gothic lo-fi abstraction poured forth from the studio. Over three singles and a compilation track they briefly burned strong before the individuals moved onto other, equally-interesting projects. John Peel supported the trailblazing Relgious Overdose debut 45: the drum machine-heavy, hypnotic dirge of ‘25 Minutes’, which came backed with the industrial fuzz of ‘Control Addicts’. The second single ‘I Said Go’ bought the kraut influence to the fore in the unsettling 5/4 rhythms and complex vocal arrangements. It could have been a hit, in a certain light. ‘Alien To You’ continued the serious ambience of the earlier single, with some avant-garde, Vini Reilly-esque spiky guitar lines alongside Novak’s vocal in-and-out flights of fancy. Also from 1981 came the synth-led new wave of ‘Blow The Back Off It’, which appeared on a Glass Records compilation – and was good enough/should have been a single itself. ‘The Girl With The Disappearing Head (I’ve Got To Adjust To It)’ was the final A-side from 1982, the band now confident enough to be putting out 7-minute songs of jittery punk-funk that holds it’s head up well against their competition of the time. New drummer Pete Brownjohn does some striking patterns throughout.
It’s their final B-side, ‘In This Century’, which cements their legacy though. After almost two minutes of abstract noise (drum machine, triangle, violin, real world sounds) the songs kicks in with their most affecting song; a hypnotic, funereal off-beat jangle that would not have sounded out of place on Closer. There are four bonus tracks to round up this release, of which the ten minute demo version of ‘In This Century’ is the most exciting revelation. ‘Hazaal’ and ‘Talk Talk’ are unreleased recordings that stand up in comparison to the released songs, and only suffer a little for the demo quality of the recordings.
It all builds up to an impressive work of a band who freely admit they were making it all up as they went along. Bold, experimental sounds from a Northants past that can be treasured by all in this excellent compilation. Make sure you pore over the visuals in the CD case too – they create another world of their own.
Glass Hymnbook (1980-1982) is out now
A new compilation album featuring acts from Northamptonshire and the wider Midlands has been released to help raise money for charity. The Shoe Town Collective is a collection of independent artists and…
A new compilation album featuring acts from Northamptonshire and the wider Midlands has been released to help raise money for charity.
The Shoe Town Collective is a collection of independent artists and bands collaborating for charitable causes.
All downloadable profits of this album New Midland Sounds are in aid of the Warwickshire & Northamptonshire Air Ambulance.
All 23 original artists are from all corners of the Midlands. “Known for its heritage in shoe-making”, so the collective state, “Northamptonshire has now become a vibrant centre for music-making – the artists here likewise gravitate around this Central Midlands Shoe town. We’ve got together and put together this collection of our works in the hope of spreading our net a little further. We’re representatives for what our humble shoe towns can provide but there’s lots more talent to discover”.
Artists on the compilation are Stevie Jones & The Wildfires, Freebooters, hazeyjane, Will Rogers, Kenneth J Nash, Fatbwoi, Ash Tu-kay, Steve Young, Aldous Pinch, Tim Jon Brophy, Averse Prospect, Autumn Dawn Leader, Mark A. Harrison, Lilith’s Army, Woolford Scott, Duncan Bisatt, Lew Bear, Rogue State Circus, DJ Jeffeak, Dan Hughes, Star Shaped Halos, Andy Griffiths, and Paul Strummer.
Songs are available to download from Bandcamp for 75p per track, or all twenty three songs for £12.99.
This Northampton band have a biography that states ‘millennial malaise at it’s most morbid’. As sales pitches go it’s unlikely to have people queuing up for tickets. It’s obviously a…
This Northampton band have a biography that states ‘millennial malaise at it’s most morbid’. As sales pitches go it’s unlikely to have people queuing up for tickets. It’s obviously a little bit tongue in cheek. But then again, as the guttural scream of ‘Split In The Hair’ kicks in and lasts an uncomfortable nine seconds, maybe not so. Anyway up, the hardcore punk/grunge/metal trio have turned in a debut [mini] album that’s as confident and fresh sounding as anyone has any right to be.
The pummeling action of Oli Knight (formerly of Of Blue Skies And Youth) on vocals and guitar is capably aided and abetted by Adam Cator on bass and Josh Miller on drums throughout (both formerly of Death Kindly Waits For Me). Eighteen months work has gone on in the background leading up this release, and it’s been time well spent, as the songs give the hardcore/alt-rock scene a sure-shot in the arm.
‘Moodhoover’ has immediate impact, with the juxtaposition between anthemic chorus and the tense light/dark shades on the verses. It loses its shit towards the climax and will leave you rather stunned when it’s suddenly over. The aforementioned ‘Split In The Hair’ plays it relatively straight – the hardcore centre sounding familiar to millions. It moves into screamo territory in the breakdown though: we’re talking less scare-the-horses and more Stephen King shit-the-bed. ‘Roman Nose’ showcases their trademark tempo changes again, shifting effortlessly from frenetic passages to a more grunge-style chorus.
‘Raincoats’ has one foot in the indie/alt-rock world: all well-shaped guitar lines through just the right pedals and a keening, angry melody about love gone wrong. If you want to dip your toe into this album it’s perhaps a good starting point. ‘Snakebites’ repeats the trick, though with a little too much reliance on the pure grunge sound when evidently the strength of the band is the blend of their myriad influences. ‘The Everfall’ is the softest sounding tune here: an effecting minor-chord bruised body that jolts back into life on slash’n’burn punk choruses. They finish with their debut single ‘Pearls’, a powerful song about a dying relative and the anguish that causes. It’s beautiful, haunting, sad, angry, and more besides. Well worth waiting around for, in an album that continually rewards.
If you enjoy Refused, Deftones, Soundgarden, At The Drive-In, or Million Dead then there’s something here for you. And really you should be all over this, as Loose Tooth offers some serious dark fun to those bleak Midlands nights.
Loose Tooth is available to buy on ITunes, to stream on the major platforms, and to buy on CD directly at the band’s shows
After more than two years, from humble support act with flare to headlining a new local festival, the alt-pop four-piece Flyte return to Northampton with an exclusive run through of…
After more than two years, from humble support act with flare to headlining a new local festival, the alt-pop four-piece Flyte return to Northampton with an exclusive run through of their upcoming debut album. Back in early 2015 Flyte supported folk artist Lucy Rose at a sold-out Roadmender gig, leaving their first impression on the town…and it was a good one.
Since then they have only become tighter as a band and more thought-provoking with their lyrics, and it shows in their set here at Garden Open Mike 2017.
Opening their set with the sharp oscillating guitar rhythm from lead vocalist Will Taylor on track ‘Echoes’ they instantly command the swinging shoulders of the crowd.
Like the track suggests the distorted guitar reverb and sublime four-part harmonies bounce off the stone walls that surround the BP garden, allowing the music to envelop the audience.
Track after track, Flyte’s faultless set pulls the crowd closer to the stage. The most popular tracks of the night appear to be their new single ‘Cathy Come Home’ with its ever-so-catchy chorus drop, as well as their final two tracks ‘Faithless’ and a stripped-back acoustic version of one of their older tracks ‘Light Me Up’.
On the final song sky lanterns are fittingly let off into the night. Well some of them were: a comical “fuck” comes from Taylor’s microphone as one lantern floats just above the stage and briefly nests in a tree behind whilst the band kicked off their final song.
A bit of final commotion to a unique experience – and New Boots can’t think of anyone we would like more to round off a great day and night of music.
Tonight Flyte are a truly mesmerising headline, and great things must follow their debut albumThe Loved Ones, released later this week.
It is just over a year since The Red Triangle’s previous incarnation, the fantastically-monikered Red Triangle Circus Gang, played at Wellingborough’s Retro-Beat night. On that occasion, their festival-perfect gypsy folk soul had…
It is just over a year since The Red Triangle’s previous incarnation, the fantastically-monikered Red Triangle Circus Gang, played at Wellingborough’s Retro-Beat night. On that occasion, their festival-perfect gypsy folk soul had the audience up and dancing with abandon as then-vocalist Anya and guitarist Marcus revved up their hometown crowd. A name abbreviation and a line-up change later, vocalist Anya has been replaced by Elle Delaney and with her comes a significant shift in sound. With The Horseshoe rapidly filling up and the crowd for this Retro-Beat looking even more eclectic than usual, the late stage times meant anticipation to see what TRT would show us was simmering away nicely. And tonight patience is a virtue.
The wait is extended by a surprisingly lengthy support set from Houses In Motion, who have had to restructure themselves for the evening to accommodate the absence of their drummer. Their set of blues and soul-tinged original songs and covers (Tom Tom Club, Deee-Lite, Stevie Wonder) suffers from the lack of beats or bass, although there is some standout guitar moments and vocalist Jackie has some real power to her voice, especially on the bluesier songs. A scaled-down performance may have been better suited to their situation, as there are moments when the energy of Jackie’s performance jars against the lack of a rhythm section, leaving you with the feeling that she can hear what is meant to be there, but the rest of us can’t. Like watching people at a silent disco.
With time rapidly becoming an issue, the six members of The Red Triangle are ushered onstage, introductions are quickly dispensed with, and they launch into their opener ‘Cosmic’. Immediately, the contrast with their previous incarnation is clear: with much more of an acid jazz/neo-soul sound that instantly harks back to bands like Brand New Heavies and a unleashes a real 90s R&B nostalgia, with Elle’s light and sweet vocals trilling over the solid, polished sound of the guitar, bass, drums, keys and violin behind her. This is boosted further when Marcus’ backing comes in, their voices working perfectly together to bulk out her delicate sound. TRT’s relaxed, natural vibe runs through their set, with lyrics touching on the metaphysical and spiritual just this side of the full patchouli. Trippy ‘Eden’ feels like the perfect festival soundtrack, leading you down an urban Alice’s rabbit hole. The intricate but strong ‘Had About Enough’ evokes memories of Massive Attack and Madonna’s version of ‘Love Don’t Live Here Anymore’. There are even hints of the old Circus Gang in the violin-led ‘Wooden Heart’. Tribute to mothers, ‘Momma’, is the only number that feels unworthy of the set, conforming to my long-held rule that you should always skip the cheesy album tracks where any band start getting saccharine about their parents or their religion. As Retro-Beat overruns its allotted time slot, no one is complaining as the final songs treat us to a variety of chilled-out soul, touches of drum & bass beats, and seemingly effortless flights of musical fancy that are definitely best experienced live.
With the name and line-up so similar, comparisons were always inevitable, but in this incarnation The Red Triangle are very different but no less impressive. They are a collective of musicians who are going to constantly evolve their sound with the ebb and flow of their varied influences, so I don’t think they do permanence. Whilst their current direction may lack the immediate impact of the warm, high-energy originality of the Circus Gang era, it is sincere, crafted, and well worth a little patience.
Former Catfish and The Bottlemen guitarist/song-writer Billy Bibby brought his new band to Northampton’s Charles Bradlaugh last weekend, and he didn’t disappoint. Playing recent singles including ‘Are You Ready?’, ‘Substitute’, ‘Always Something’,…
Former Catfish and The Bottlemen guitarist/song-writer Billy Bibby brought his new band to Northampton’s Charles Bradlaugh last weekend, and he didn’t disappoint.
Playing recent singles including ‘Are You Ready?’, ‘Substitute’, ‘Always Something’, and new one ‘Hamburg’ his band are a tour de force of good time guitar rock’n’roll.
The support wasn’t too shabby neither, with locals The Barratts and Kettering’s Monarchs up to their usual high standard.