Category: Feature

Ten Of The Best: The Lovely Eggs

Ten Of The Best, with The Lovely Eggs, who play the Northampton Roadmender on Sunday October 21st. Don’t Look at Me (I Don’t Like It) [2011] Have You Ever Heard…

Ten Of The Best, with The Lovely Eggs, who play the Northampton Roadmender on Sunday October 21st.

Don’t Look at Me (I Don’t Like It) [2011]

Have You Ever Heard A Digital Accordion? [2008]

Fuck It [2011]

Wiggy Giggy [2018]

I Just Want Someone To Fall In Love With [2012]

Magic Onion [2015]

People Are Twats [2011]

Allergies [2011]

I Like Birds But I Like Other Animals Too [2008]

Big Sea [2018]

 

 

 

Comments Off on Ten Of The Best: The Lovely Eggs

Interview: Charlotte Carpenter brings us Babywoman Records

Kettering singer-songwriter Charlotte Carpenter has earlier in the summer launched her own record label, Babywoman Records, and today  announces the first release on it from Alessi’s Ark. New Boots Editor Phil…

Kettering singer-songwriter Charlotte Carpenter has earlier in the summer launched her own record label, Babywoman Records, and today  announces the first release on it from Alessi’s Ark. New Boots Editor Phil Istine met up for a coffee and spoke to Carpenter all about it, in our first ever audio interview just below. Full single release details are below too.

The Alessi’s Ark single is entitled ‘Devant Moi’, and is released digitally on September 27th. A fresh dreamy, French pop sound comes from Londoner Alessi Laurent-Marke, and is a follow up to her fourth studio LP Love Is The Currency [2017]. Delivered in French (a mother tongue for Alessi), she remarks of the song:
“’Devant Moi’ is the connection felt between true partners, taking that leap and being open to love with another being. I feel such a strong connection to water when swimming, the ground when walking, it’s so visceral, physical, intimate, medicinal… but only to a point. ‘Devant Moi’ is about being ready, at last, to share intimacy after a long period spent alone in connection with nature only”.

Alessi has toured extensively in the UK, Europe, US and Japan: with Mumford & Sons, Laura Marling, John Grant, Jenny Lewis and M.Ward amongst others. Her releases have won acclaim from BBC London, BBC 6, XFM, WFMU, DubLab, KEXP and previous LP ‘Love Is The Currency’ was warmly welcomed by MOJO, Guardian, Best Fit, Clash, and The 405. ‘Devant Moi’ is produced by fellow Ark member Jason Santos, and mixed by Jag Jago. 

Alessi heads out on a run of UK & EU shows with Carpenter this November:

Saturday 17th – The Playhouse, Northampton
Monday 19th – The Islington, London
Tuesday 20th – The Castle, Manchester
Wednesday 21st – Yellow Arch Studios, Sheffield
Thursday 22nd – Prince Albert, Stroud
Saturday 24th – De Log, Ghent
Sunday 25th – Kulturcafe Lichtung, Cologne
Tuesday 27th – Freundlich+Kompetent, Hamburg
Thursday 29th – Feinkost Lampe, Hannover

Babywoman Records on Facebook. Artwork design by Rogue Ink and CC/AA photo by Wild Sisters

Comments Off on Interview: Charlotte Carpenter brings us Babywoman Records

Video premiere: Sarpa Salpa ‘Smith’

Northampton quartet Sarpa Salpa release their new single ‘Smith’ tomorrow, and we can exclusively reveal the video today. The band have also chosen to make this a vinyl release, on…

Northampton quartet Sarpa Salpa release their new single ‘Smith’ tomorrow, and we can exclusively reveal the video today.

The band have also chosen to make this a vinyl release, on a limited red 7″. The video was shot by director Bella Evans.

Bassist Ethan Whitby on ‘Smith’: “The song is about a relationship that was just starting before being split suddenly by one person leaving the other confused, upset and angry! So a really feel good track as you can imagine… We recorded this with Ben ‘Faz’ Farestvedt over at Damage Audio in Bedford back in early spring time.We’ve worked with him on all records since ‘She Never Lies’ way back last in August last year, and we are back in the studio with him over the next few weeks. We are very lucky to work with someone not only very talented and who gets our sound, but generally just a really nice guy as well!

Guitarist George Neath on the video: “‘Smith’ is a fairly angry track and we wanted the video to reflect that! The red and white imagery was intended to represent love / anger simultaneously! We shot the video with Bella Evans, she does a lot of art/design for the band so was fun working with her! We wanted to stick to the DIY approach lot of the props for the video we created / painted ourselves!”

And Whitby again, on the appeal of vinyl: “It’s hard to deny that in the last few years vinyl has had a pleasant comeback, so instead of printing CDs, like we’ve done for the last singles, we decided to try something new! As well with a vinyl you get a lot more options for design; not only do you have more area to work with but things like coloured vinyl and all that kind of jazz”.

‘Smith’ is available digitally from Friday September 14th. Sarpa Salpa Facebook

 

 

Comments Off on Video premiere: Sarpa Salpa ‘Smith’

Northampton shops ready for the return of Record Store Day

Record Store Day returns this Saturday April 21st. Ahead of the annual race for limited edition vinyl New Boots contributor Peter Dennis took a trip around Northampton’s independent record stores…

Record Store Day returns this Saturday April 21st. Ahead of the annual race for limited edition vinyl New Boots contributor Peter Dennis took a trip around Northampton’s independent record stores to find out more about the day and what it means to local shops.

Older readers will recall fondly the plethora of independent record shops that peppered the town centre. Abel & Sons on the Market Square, which at one time boasted the largest stock of records in the East Midlands. John Lever on Gold Street, with its popular listening posts and own record label. Memory Lane began life in the much missed Emporium Arcade, while Spinadisc on Abington Street was a popular destination for vinyl aficionados. In fact music was such an integral part of the cultural fabric that records could be purchased in chemists, newsagents and supermarkets.

The lamentable decline of the independent record shop has been a national phenomenon, but compared to towns of a similar size Northampton still has several independent sellers and attracts buyers from surrounding areas like Milton Keynes and Leicester – who are void of such amenities.

If you arrive in town by train then your first port of call will be Spun Out on Gold Street. Coincidentally the store occupies the premises that was John Lever’s, so the fact that it’s another record shop provides a nice symmetry. “We’ve been here 18 years” explains manager Chris Kent. “At the moment we’re selling lots of rock, reggae, soul and indie. Having seen a slump in the vinyl market I’d say Record Store Day has been a godsend. It’s pointed out that you still have this resource, these independent shops where you can get immersed in music”.

“It’s all about getting involved”, he continues. “The initial Record Store Day has gained momentum and a lot of it is down to the fact there’s this exciting day that will give you a ticket into this club at your local record shop. We get a fair amount of people queuing up early because they know we try our hardest to have a good selection of all that’s released. This year we’ve also got Thee Telepaths playing live in store at midday, and DJs playing all day long.”

Walking up Abington Street next to the library you will find Watt’s furniture shop. Enter the store, ascend two flights of stairs and you will discover Vinyl Underground. Now in its 25th year they became a record shop almost by default, after selling specialist Detroit and Chicago imports unavailable anywhere else. The shop which has a reputation as a ‘digger’s paradise’ where you can browse through thousands of records. Owner Aidy Harland: “I love the fact that RSD supports independent and local businesses so I really want to get behind it and join in with it. We extend the shop and we have 300-400 people through here on a Saturday. We have a huge variety of releases and there’s a queue outside from 4am. People come in here who are regular customers just to enjoy the day. That’s what it’s all about; people coming in and talking about music”.

Behind Northampton College, on St Michael’s Road, you will find Spiral Archive. The shop is housed in an old printing works building, with approximately 35,000 items. The shop was founded in 1999 by local artist and musician Alex Novak when vinyl sales were at their nadir.  “I think if you look at it as a niche thing those people don’t go away”, he elaborates. “The people who are interested in records will always be there while other people kind of dip in and out”. While Spiral Archive doesn’t stock official Record Store Day releases, it instead opens from 11am until 4pm with half-price sale on everything. Novak also organises a record fair around the corner at The Lamplighter on Overstone Road – open from midday until 4pm – with local DJs playing vinyl right through until 1am.

To find out more about this year’s event and the limited edition releases, visit the official RSD site at https://recordstoreday.co.uk

Comments Off on Northampton shops ready for the return of Record Store Day

Deaf Trap: interview and new video for ‘Real Nice Night’

Following the release of their second EP, Miscreants, Peter Dennis spoke at length to Northampton alt-rockers Deaf Trap. The band comprises of Matthew Wetherill (guitar), Rob Gray (drums) and, rather…

Following the release of their second EP, Miscreants, Peter Dennis spoke at length to Northampton alt-rockers Deaf Trap. The band comprises of Matthew Wetherill (guitar), Rob Gray (drums) and, rather confusingly, the band has two Tom Wrights: Thomas (vocals) and Tom (bass). The lads tell New Boots about their songs, their scene, and their plans for the future. Plus, the new video for Miscreants track ‘Real Nice Night’ is below.

How easy was it to find three other guys with similar musical tastes who you could tolerate?
Matthew Wetherill: For me it comes down to genuinely being really good friends. It’s probably a clichéd thing to say…
Thomas Wright: We basically met up as mates and then Matthew started playing guitar and we used to cover things where I’d sing along and then we used to write songs about the hotel that we worked for and how much we absolutely hated it! [laughs]
Matthew: That was it. It was almost like Billy Bragg protest songs about a posh conference centre. We’d go for a night out and because we didn’t have any money we’d go round someone’s house, drinking, playing guitar, singing…
Tom Wright: Many years later…here we are! [laughs]
Thomas: We’re late bloomers.
Tom: It took us a long time to get our first gig. We were practising for over two years.
Matthew: That’s one of the good things. It’s like a slow build. You’re not forcing anything.
Tom: You see all these young bands, we play with them and they’re awesome.
Thomas: It’s depressing, isn’t it? [laughs] That band who were on at The Lab [The Keepers], they were really good and The Barratts were saying how young they were and The Barratts are younger than us! The Barratts were getting annoyed at how young The Keepers were and I thought, ‘Shit! That’s exactly how I used to feel about you!’
Matthew: That’s it. We have a closeness. I say it all the time but you have to be comfortable falling out with people. And that way when you do fall out with people, although it’s not always nice, because you’re comfortable enough you just go past it, because you’re that good friends, you’re happy to tell each other what you think. It means you don’t hold things in so much, there’s no tension. It’s a much more natural progression because of it.
Thomas: There is the occasional strop in this band and it usually takes a couple of beers to get over. [laughs]
Rob Gray: That’s a Deaf Trap recommendation. A good conflict and resolution solution. Always resolve it.
Thomas: [laughs] No punching!

Can we talk about your musical influences? What do each of you bring to the Deaf Trap sound?
Rob: My pretentious answer to that is everything I’ve ever heard. I know the stuff I like but it doesn’t necessarily influence what I’m doing here. It’s whatever you hear at the time. Within this band the style I play there’s a lot of Chad from the Red Hot Chili Peppers, the way he whacks those drums. I can’t think of a nice way to say it but he slams those drums, he fucks them up, he really hits them. I’m influenced by hip hop and trip hop beats, it doesn’t play out in this band apart from some break parts. More recently Foals or Bloc Party, they’re both heavily tom-based, they don’t just do the straight beats, they’re almost dance beats with some rocky bits and then a lot of tom’s to make it sound tribal. The Trail of Dead do some awesome stuff and Ginger Baker is one of those guys with that swing.
Thomas: I suppose in terms of things I listen to, it’s traditional indie. I like a lot of Britpop, I like indie bands. These guys write some basic music first and I have to adapt and put my mark on it so… I kind of experiment with my voice and then it just comes out. I don’t draw on anything specific. I’m not a musician! I just keep trying until something good comes out. Sometimes it doesn’t!
Matthew: For me very, very early on it would have been The Cribs and The Libertines, that’s the age I was when I first picked up a guitar. I’d go to watch bands at The Soundhaus and always be a bit in awe and when I saw those bands and the carelessness with which they played but still generated more emotion out of me than any of the other bands did that made me think, maybe I could do that. As I got older I really listened to The Pixies and Sonic Youth. That’s where, if I need a bit of inspiration, it’s down that route. I wouldn’t write a whole song and come to practice and say ‘Right, how can you guys add to this?’ I might start off with something and then it will change so much from what it was with everybody’s input. It doesn’t come from one particular influence. By the time a song’s finished you can’t trace it back to anything because the ideas are so collected now.
Tom: This might come as a shock to the band but I listen to a lot of Nirvana, Foo Fighters. I listen to a lot of Rolling Stones, I like the bass in Royal Blood. I get a lot of my bass riffs and ideas from Royal Blood and stuff like that.
Rob: That drummer is sick, the Royal Blood drummer. I saw him live. Solid.

It sounds like you all have disparate influences. How do you bring them together and make them work cohesively?
Matthew: It tends to to be, I’ll have a guitar riff, Tom will have a bass riff and then we’ll loop and throw guitars and things over the top. In doing that and having a bit of a jam you can usually work out two or three different ways it could go because we don’t fall out as much now.
Thomas: Sometimes it does reach a point where, say, two of the band have got completely different ideas and at the end of a practice everyone’s a bit disjointed because it keeps going round because nobody can decide. Usually everyone goes home, has a sleep on it, comes back and says “Actually, that’s a good idea after all. We’ll try that”. There are certain points where there’s a bit of stubbornness .
Matthew: You have to draw a bit of a line, don’t you? But when you do come back to it and everyone thinks there’s two different ways we can do it, retry everything. That’s the thing these days, there’s no “We’re not doing that”. If one person thinks something and another the other, we’ll do two different ways. It’s very rare at the end of that we don’t agree.
Tom: We tend to go through at least ten ideas before we get to a song.
Rob: We do drop a lot because there’s too many things going on in there so we can’t agree so what’s the point in sticking with it if we can’t agree? We move on and we end up with the stuff we can agree on and when we have that one idea we can all agree on, that’s what makes it cohesive.
Thomas: I think that because everyone’s a bit different does slow down the process of writing a song, but it adds to the end product. We’re all usually happy with the way it sounds and at the beginning nobody thinks it’s going to sound like that, it’s always something completely different.
Matthew: Obviously when you listen back to some of our songs and you know the influences then as much as you wouldn’t say “That song sounds like Foals” or “That song sounds like Sonic Youth” if you really pick it apart and pay attention you can see where those ideas were spawned.

Your recent single ‘From the Floor’ is quite dark, and not what I expected.
Rob: I wasn’t aware that ‘whore’ was a swear word. It’s not in America.
Matthew: The interesting thing with that is, it’s worth putting on record, it’s a song about having struggles with alcohol, drugs, that sort of thing.
Rob: It’s a massive metaphor.
Thomas: Actually the core line in that came from Rob.
Rob: It was the first time we really started to sing together. That’s what really pushed it as a song. The original lyric was ‘Need somebody to love’ – it was too George Michael for us. So I sang ‘Please stop being a whore’ instead. It just sounded a bit rougher, a bit rock and about not going too far with things.
Thomas: We toyed with the idea of changing it to something that would be played on the radio, and then we thought ‘Fuck that!’; we’re not pandering to society. The thing is everybody’s offended all the time about whatever and to be offended is somebody’s choice and how they interpret our lyrics is how they interpret our lyrics. If they’re offended by that it’s because they’ve taken something from the lyric and it reflects on them rather than us.
Rob: It’s not necessarily talking about a woman. It could be talking about yourself, about a friend of yours. It’s just a general sense of going to far.
Thomas: When I sing it I think of it as a kind of battle. A first person singing to himself: “I’m going out tonight, I don’t want to do this, I’m always a whore when I go out”. That’s the avenue I take mentally when I’m on it. Obviously it’s a fictional character…I’ve never been a whore! [laughs]
Rob: We’ve got to make it clear that it’s not a re-imagining of The Police’s ‘Roxanne’. It’s not that. You don’t have to put on the red light. It’s not the same thing.
Thomas: No. We’ve got a lot of respect for whores and we’d never sing about them in a derogatory manner.
Rob: We’ve got respect for all ladies of the night!

While we’re on the subject of ‘From the Floor’ it’s accompanied by a great video. How involved were you in that?
Rob: We did it all. I tried to take the lead because I’ve got a little bit of video making experience, but it was all of us.
Thomas: Jack, the lead in the video, always comes to our gig dressed as a hot dog so we thought that because he’s been so committed to the band we’d give him a lead role in our first video.
Rob: He was really creative in that, he was full of energy, God bless him, he was up for anything and always available and we can’t thank him enough really.
Matthew: We all really like it. It came out really well considering we had no budget.
Rob: Zero budget. It was just an idea to do something like Peep Show. For me it’s a bit like a cheap version of The Prodigy’s ‘Smack My Bitch Up’ video. Someone goes out and gets wasted and we just tried to put an extra element to it…a hot dog!
Matthew: The point being, not being able to get over your addictions. You fall into it at the start and at the end you are trying to recover and you fall back again.

What do you think of the local music scene?
Thomas: It’s underrated. There’s loads of great bands around. It’s not just Northampton, it’s Kettering, Corby and all the surrounding towns. I think we’re overlooked towards this end of the country.
Tom: Northampton’s really strong musically.
Matthew: We’ve got so many good bands like Monarchs, Thomas mentioned The Barratts earlier. The Keepers are doing really well.
Thomas: And they’re all nice guys. We get along well with all the bands. There’s no egotistical band where they’re all wankers and they don’t talk to or want to have anything to do with the other bands. They’re all really decent, sound people who’ll have beers with everyone.
Matthew: That’s true. I can’t think of any band in the town who I don’t like. I mean there’s obviously styles that you don’t prefer but in terms of any band we’ve played with I can’t think of anyone who’s been iffy.

There’s some cracking small venues in the town but what we really need is a good, medium size venue that has bands on every night.
Thomas: Bring back The Soundhaus basically. That’s what we all feel like. I was devastated when it closed.
Matthew: The Lab, at the moment, is the best venue in town for bands being able to play. They’ve gone to a lot of trouble to get a great sound system set up, it’s really starting to take off and that’s why we’re here today. It’s Independent Venue Week but the only other real venue I would say is The Roadmender, but that seems to be club nights.
Rob: They’ve got the main hall and a side room. If you want to do a bigger gig in that type of venue then… The Picturedrome have had their entire room refitted. Our next video is due to come out, it’s done at The Lodge with Max, and he renovated The Picturedrome for it’s acoustics. I can’t wait to hear a band there. It’s a difficult place to play because it was originally a cinema, so I can’t wait to hear a band there because if he’s done a good job then that would be a major higher class venue rather than a pub.
Matthew: It was a travesty when The Soundhaus closed because that was 380 capacity and that was perfect because you used to get bands who were about to break playing there and they booked some great bands. The list of bands from The Arctic Monkeys to The Libertines and so on. They all played there and whoever booked them at the time had all the contacts and we’re crying out for someone who knows what they’re doing. The town’s missing that. The Lab’s great but it has a lower capacity.
Rob: The town is fine for that: The Garibaldi’s putting bands on, The Lamplighter putting bands on, you can get a couple of hundred people in there but they’re all squashed. They’re not venues that are originally designed for that.. The main venues are shutting down because of neighbours who’ve moved in and want quiet and venues are also struggling financially.
Thomas: I think that’s where a lot of local bands get their break by supporting touring bands and there’s no major bands passing through. That’s where you get most of your exposure. When our old band supported Space at The Picturedrome we had a whole new crowd to play to. It was a great opportunity and it got us loads of new fans but without the touring bands we never would have had that. That’s what it’s like pretty much all the time.
Rob: I think if you look at what some of the surrounding towns are doing like Corby, Bedford, Milton Keynes even, they’re always supportive of their bands. Some of those things are out there which we’re keen to play this year to open thing up for us. My friend Karl was saying it’s a shame Northampton’s got all these bands coming up but unfortunately the surrounding areas are doing more. I think in time it’ll come up. The Lab is doing a lot. I don’t think it’s dying, it’s on its way up but it’ll take time. For the time being it’s worth driving to play 20 miles out of town to play somewhere that’s got venues of a decent size.

How do gauge your music development between the your two EPs? Is one an extension of the other, or is it more a quantum leap?
Matthew: We talked about this not so long ago. The first EP felt more ‘demo-ish’ because we needed something to go “Right! We’ve got new music, we’re technically a new band, here’s what we’ve got for you to listen to”. It wasn’t rushed but it was a case of, you want to give people something to check out, to decide if they want to come and see you, there was an element of that, whereas with the second it’s a lot more precise in the way it was written. We could have done five songs again but, no; these three we’re really happy with.
Rob: At this time it’s also an economic thing as well, to get an album done in a top recording house it’s gonna cost you hundreds of pounds, that’s realistic. We’re lucky to get the bargains we have, working with the people we have. We can go in there with a short time frame and they do great jobs. I think now the reaction we’ve got from these EPs…in a way people are waiting for an album and I think that’s next on the cards.
Thomas: We probably won’t release any more EPs, will we? We’ve done physical copies for the two EPs. I think now, until we get to the album stage, we’ll release things as a digital single.
Matthew: we can go and record a song in two or three hours because we live-take it generally – then we sing the vocals over the top. We don’t do it bit by bit, we have it quite organic and because of that we can do it really quick. So if we wanted to get something out there it won’t cost us a fortune. It’s working out the best way to do it. We’ve got a good amount of material out there [with those eight songs]. I don’t feel we need to jump into something straight away.

That was going to be my final question. What are your future plans?
Rob: We haven’t really talked about it so we may disagree. I’d like to record more this year, stick everything on that because we’ve got enough EPs. Maybe double down on them and get a couple more singles out this year. Then we could work more on them, rather than doing them in a day, if we can have that luxury of doing them in a week or a month then we can concentrate on getting our best sound, then maybe next year look at getting a full album out.
Thomas: I think it’s important to stay on the radar releasing smaller amounts of stuff more often so people don’t forget about you.
Matthew: That’s a good theory. Whatever the end goal is, along the way making sure people don’t lose touch with you.
Rob: Like we said, go to other places and raise our fan base and this year we’re going to concentrate a lot more on festivals, to enjoy that element of it.

https://www.facebook.com/DeafTrap

 

Comments Off on Deaf Trap: interview and new video for ‘Real Nice Night’

That Joe Payne debut single and live show

Ex-frontman of The Enid Joe Payne launches his solo career on March 2nd with a single and accompanying launch gig at Northampton’s Picturedrome. Now going under the That Joe Payne…

Ex-frontman of The Enid Joe Payne launches his solo career on March 2nd with a single and accompanying launch gig at Northampton’s Picturedrome.

Now going under the That Joe Payne moniker, ‘I Need A Change’ is the first shot across the bow in a new phase of the singer-songwriters’ life. New Boots sat down and got the skinny on how he got here.

First things first: what’s your musical background – did your love come from family, school lessons, friends…?
I grew up in the small town of Tring, Hertfordshire where they had a community theatre. I spent all my spare time there, rehearsing and performing, and it got me totally addicted to being on stage. Apart from some classical training in singing and piano, I guess I inherited some of my musicality from my dad who would like to play his guitar privately. If anything, I wonder if he followed my example in the end, as he’s now the one spending all his time at the theatre playing for the show bands!

How did you end up in The Enid?
When I was about 19 I decided to book a recording studio for the first time, sick of always recording naff demos in peoples garages. The Lodge Recording Studio was my choice, and just so happened to be home of The Enid. They invited my band to see them at a gig in Chesham, near my home. I absolutely loved it! It must’ve been the first time I’d heard any music that appealed to my taste for classical, theatre, rock and pop, all at the same time.

The band invited me to sing backing vocals for them. About a year later, both recently turned single, Max and I fell in love and started spending all our time together. I was just graduating with a degree in Business Management, so it made sense for me to start running The Enid’s independent record label. Then, having become part of the family so to speak, I was invited to sing lead.

How was your experience of being a part of their journey?
In all honesty, the whole road from joining to leaving was a frustrating one. I was forever under pressure to prove myself in some way. It’s not easy trying to re-brand something that already has so much history.

I was only 22 when I joined, and it felt like no one would take me seriously. To a lot of The Enid’s fans I threatened their idea of what the band was all about. To others I was just a singer, and despite writing a lot of the new music, no one ever gave me credit for it.

Don’t get me wrong, I proved a lot in the end. By the time I left I had made a name for myself, and raised the bar dramatically for the band’s shows. But it was tough to do, and not everyone was willing to move together on everything. Over time I started to feel less and less part of the band and more of a separate entity.

How was the support of the wider prog fraternity?
The prog community and I remain very close. Not only did I front The Enid, but I was also running the record label, booking the shows, arranging PR, etc. So by default I would always be the one to correspond with people. Fortunately for me I made a lot of friends that way.

The wider fan base definitely had my back, and it feels like they still do. Winning ‘Best Male Vocalist’ in the Prog Magazine Readers’ Poll two years running was totally unexpected. Considering who I’m up against, there are much bigger artist than me that have topped these polls. I’m lucky to have so much support. It wouldn’t be easy for me to start again without all these people behind me.

Why did you decide to go your separate ways?
I had a breakdown. Every band has internal politics, but this was a whole new level for me. As far as anyone knows publicly, I left so I could begin recovering my mental health. The point is, for me anyway, continuing working or living with The Enid wasn’t an option. If I’d stayed I’d probably be dead by now.

How was the decision to go solo?
Having a solo project was always something I’d wanted to do, but I wasn’t really allowed to do it. Anything outside the band was considered to be a wasteful use of time which could be spent on the band instead. So that was quite limiting. Once I left the band I knew I’d rather go solo than start a new one. It was my first and only chance to express myself exactly the way I wanted.

But daunting? Hell yeah! I spent the first 6 months of my illness doing nothing, literally incapable of working. The next six months I used to re-educate myself, reading all the music theory books I could and playing the piano every day. I had barely touched one in about 10 years. I only really began writing music again mid-2017. It took me so long to get started, not because I didn’t have the ideas, but because I was still fighting off all those old voices in my head that told me I needed to prove something.

Now that I’ve done it, worked out my writing process, had feedback from the press, those voices have finally been silenced. I’ve learned that those doubts had no place being there in the first place, and I’ve always had it in me to do it on my own.

Is ‘Moonlit Love’ – a widescreen choral ballad – a good signifier of what to expect in the future?
I guess you could say it is, yeah. My writing style is very classically influenced, and I grew up playing a lot of Beethoven and Mozart. It’s that kind of emotive harmony, melodic ideas and modulation that I get a kick out of. It does mean everything is a pain in the arse to play though! Haha

What’s the debut single ‘I Need A Change’ about?
‘I Need a Change’ is probably the darkest thing I’ve ever written. It’s about suicide, guilt, loneliness… At the time when I first started writing it I had nothing left to live for. I was about to lose my businesses, my home, my dog, my relationship. Everything was being taken away from me. So the song is very much about ending one life to start a new one, or dying to be reborn. I had to leave everything behind and start again with nothing.

What can we expect at the Picturedrome show? It’s all local musicians that are playing with you…
The set list is kind of like a greatest hits. I’ll be performing some of the songs I’m best known for doing with The Enid. I made a point of only choosing the ones I was a writer on, and those just so happened to be the most popular tracks at the time. I’ll also be airing some other collaborative work for the first time, plus new material.

I have a great band playing with me. Local boys Dan Battison (Ginger Snaps) is on bass, and Josh Judd (Burrowing Bees) is on drums. I also have Moray Macdonald on keys and Oliver Day on guitar. Both of these guys are renowned throughout the prog scene for their work with other bands such as Crimson Sky and Yes tribute, Fragile.

When can we expect an album?
This year I’m planning to drip out singles. I don’t want to rush the album, but I already know what songs are going on it. In fact I have a three album plan, and this is just the first. Once I feel that I’ve raised my profile enough as a solo artist, I’ll be ready to launch the album. I’m thinking early 2019 would be a good time.

What’s on your stereo this week?
I’ve been getting really excited about Brighton Pride this year, and as Britney Spears is performing I have been solidly listening to her entire back catalogue in consecutive order. I may be a prog artist, but there’s a pop princess in me somewhere!

Who is your favourite local artist?
Definitely Burrowing Bees! Why do you think I invited them to support me on the 2nd of March? I can’t get enough of them.

Tell us something about you the public don’t know.
When I was a kid I auditioned for S Club Juniors, and Nicki Chapman told me I had a “nice smile”. I didn’t get the job…

‘I Need A Change’ is out Friday March 2nd, and available to order on CD here. Tickets for the March 2nd Picturedrome show are available here

Comments Off on That Joe Payne debut single and live show

An interview with: Alex Novak

Alex Novak has been entertaining Northampton and beyond with his esoteric sounds for forty years now, and to celebrate this milestone Northampton gallery Sanctuary are hosting an exhibition of his…

Alex Novak has been entertaining Northampton and beyond with his esoteric sounds for forty years now, and to celebrate this milestone Northampton gallery Sanctuary are hosting an exhibition of his artwork, entitled “Meta Art/Music/Work 1977-2017”. New Boots speaks to the Spiral Archive proprietor at length about the musical journey from then to now.

What was your musical upbringing? What influenced you as you got to 16 and joined Isaws?
Pre-punk I listened to a wide selection of music from The Beatles, Roxy Music, Bowie, T.Rex, Black Sabbath, soul music. Then bang! – the punk explosion happened in 1976, so got to hear The Sex Pistols, The Damned, Buzzcocks, The Stranglers. This also pulled in bands like New York Dolls, The Flamin’ Groovies, The Stooges. I guess what is referred to now as proto-punk. I followed the advice of the Sniffin’ Glue fanzine – “here’s one chord, here’s another, go form a band”. It was year zero: we had no previous musical experience, just picked it up as we went along. Isaws first gig was at Weston Favell Upper School talent contest as Hawker Harrier & the Jump Jets – for the next gig we changed it to The Isaws.

Northampton School of Art was the precursor to the University of Northampton today. Can you recall your time there for us.
Well art school was cool – made even cooler by The Jam song! It was a laboratory for lots of different ideas and a place where many bands were formed, including Bauhaus, Isaws, Aliens, Religious Overdose. It was a place where art and music came together.

You came of age musically and found your style with Religious Overdose. As the recent Glass Redux compilation makes obvious it was a special band. How did you guys capture that magic elixir?
Punk set us free in thought/style; to think for yourself. The whole DIY movement was a breeding ground for many ideas – punk was not a uniform. Gordon King from Sheffield joined Isaws (later he would be in World of Twist/Earl Brutus) and exposed us to early Human League, Clock DVA, Vice Versa (pre-ABC). We experimented, but it wasn’t working so we all went our different ways. I ended up joining Religious Overdose. RO was a different animal, we used repetition and improvisation to make songs. Live tracks would develop as we went along. Richard Formby (later of In Embrace/The Jazz Butcher/Sonic Boom) brought in influences from The Fall, Cabaret Voltaire, Throbbing Gristle, Can – a more experimental approach to music.

Was Northampton a major influence on Bauhaus? Did the pre-existing local scene naturally lead to their formation?
Alan Moore called Northampton “the murder mecca of the midlands” so that set the tone for Bauhaus’s mix of Banshees meets strobelight-Bowie. It was very monochrome, to suit the edgy local scene. They certainly went through many incarnations – from the punk of Cardiac Arrest, new wave of Craze and the power-pop of Jack Plug & the Sockets – before settling on Bauhaus 1919. You get swept along with whats happening, things moved fast.

Was the 1980s a golden age for music in Northampton?
I think every ten years or so there’s a change, a musical upheaval, but it was certainly an interesting time centred around venues like The Black Lion [now the Wig & Pen], where you got to see local bands alongside the likes of The Housemartins, Spacemen 3, The Jazz Butcher…all being aided by the Northampton Musicians Collective and as conduit to the wider world via release on Glass Records [based in London].

Tell us about The Tempest album. You didn’t stick around for long…
After the demise of Religious Overdose Richard Formby went on to university in Leeds, where he still runs a recording studio. So I decided to get together with other local musicians including John Luccibello (Russians) and Mark Refoy (later of Spacemen 3/Spiritualized/Slipstream/Pet Shop Boys fame) to form The Tempest.
Mark and John were also in The Syndromes at the same time, but The Tempest fell apart after the recording of our only album 5 Against The House.

You had a brief sojourn to London and worked with Attrition during the mid 80s. How did that affect you, being exposed to a different scene in a new city?
I had been aware of Attrition for a while. Martin Bowes had also written a Coventry fanzine called Alternative Sounds and Religious Overdose had played a few gigs with them. After the demise of The Tempest I joined Attrition, who were based in London, sharing a studio with The Legendary Pink Dots. I got to see a lot of bands listening to more experimental/electronic music being produced by labels such as Third Mind, In Phase, Projekt, Sweatbox, United Dairies, Wax Trax etc.
There was a lot of activity, not just with the band, but socially: taking in gigs, clubs, exhibitions, meetings with shops/labels. In hindsight a productive period, and an exposure to the European scene which then paved the way for Venus Fly Trap.

You formed Venus Fly Trap on your return in 1986, alongside your brother John. What was the plan at this time? The line-up may have changed, but has the vision changed much over the years?
I tried out with a band in Norwich, which didn’t work out as we had different ideas, so I decided to do my own band. So John (Isaws/Wheres Lisse) and Tony Booker were both available, so we got it going pretty quickly. We just got out and played gigs: not just in Northampton but Oxford, London (a lot), Rugby, Norwich, Leicester…we got picked up via a contact I had made via Attrition. A new label based in Paris called Tuesday Records released our material initially [they had already put out material by McCarthy]. So we got to play in France and put out our first single ‘Morphine’ within six months of gigging. The European connection has been important ever since. Changes in line-up has been part and parcel of VFT – new members bring a different view point and fresh ideas. We’re always open to new ideas – not into following trends/fashion. We produce music we like…anything’s possible!

20 years of a band is a great run. What’s next for VFT?
We have been working on a new album Icon, which will be released via Glass Redux. It’s full circle in one respect as this was my first label for Religious Overdose. The planned release is Spring 2018, alongside doing dates in the UK and in Europe.

What’s your take on the Northampton music scene in 2017?
There’s plenty of interesting bands in Northampton if you look for them. I always like to catch a band if I’m not working. I’m always discovering new music, whether its local or touring. Long may it continue.

Meta Art/Music/Work 1977-2017 runs from Monday November 27th to Sunday December 10th at Sanctuary [2 Clare St, Northampton]. Open from 11-4 by appointment [sanctmark@hotmail.com]. There is a meet and greet launch night on Saturday December 2nd from 6pm to 9pm, with an after party across the road at The Lab from 9pm.

Comments Off on An interview with: Alex Novak

Charlotte Carpenter offers us ‘Shelter’

[Excuse that groan-worthy title, but no one has used it yet and that is a grave oversight] Kettering singer-songwriter Charlotte Carpenter has had a pretty good opening scene so far,…

[Excuse that groan-worthy title, but no one has used it yet and that is a grave oversight]

Kettering singer-songwriter Charlotte Carpenter has had a pretty good opening scene so far, releasing EPs and singles digitally since 2014, to much acclaim. And now she releases her best song yet, ‘Shelter’, as the lead track from her first vinyl release, the 10″ Shelter EP.

New Boots had a quick chat whilst she is on her whirlwind promotional trail

New Boots: This new song is something special. What’s is about?
Charlotte Carpenter: ‘Shelter’ is about the push and pull of the early stages of a new relationship, the moment you know you’re about to go into this big life changing event but part of you is still holding back. It’s ultimately about letting go, and just embracing new change. The video embodies that along with my growing confidence – as a musician and a woman.

NB: You have referred to ‘Shelter’ as your “unofficial James Bond theme”.
CC: Awkwardly, I’ve never watched a Bond film! They don’t tickle my fancy, but the songs always have. I love those big Bond numbers, with uneasy strings and chords to make you feel on the edge. My favourite Bond songs are ‘Skyfall’, ‘Tomorrow Never Dies’ and ‘Diamonds Are Forever’.

NB: ‘Hey Mr. Cowboy’ feels so intimate. Do you find this intimacy plays to your strengths?
CC: The funny thing with ‘Hey Mr. Cowboy’ is that its quite different to what I’ve done before. Firstly, It isn’t about me, and my songs usually are. The feel/tone of the song is a slightly different style to previous releases too. I think the intimacy in this song shows that I can bring both light and shade to the table, and that’s a strength on its own. So I guess, to answer the question: yes.

NB: Who’s in your band?
CC: Lee and Matt! When I’m playing headline or festival shows I’ll have the guys with me; they’re wonderful people and completely respect my songs. Lee plays slide, baritone and Moog (he’s also my producer) and Matt is my drummer who literally takes on anything I throw his way.

NB: How do you find touring? Must be finally nice to have some vinyl to sell at the upcoming shows
CC: I love touring, it’s the best part about it all. You get meet those who you talk to online and thank them in person; visit cool venues, cities and countries and eat some great food. I am over the moon to have some vinyl, it’s a complete dream to hear these songs on my record player at home.

NB. Best and worst things about the Northants music scene.
CC: Best – There is some serious talent. Worst – Not enough variety of good size, good sounding music venues.

NB: What do you have planned for 2018?
CC: I’m planning on recording every week, touring my ass off and making my way across Europe!

CC live dates:
Oct 23 The Sunflower Lounge, Birmingham
Oct 24 Open, Norwich
Oct 25 The Star Inn, Guildford
Oct 26 Record Junkee, Sheffield
Oct 27 The Cookie, Leicester
Oct 29 Surf Cafe, Tynemouth
Nov 01 St Pancras Old Church, London
Nov 10 The Roadmender, Northampton (with Hana Brooks)

The Shelter EP is out now. Watch the videos for ‘Shelter’ and ‘Hey Mr. Cowboy’ below. Order the Shelter EP here, and stream/download it from the usual outlets.

Comments Off on Charlotte Carpenter offers us ‘Shelter’

Solid Ten: British Sea Power

            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  …

 

 

 

 

 

 

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

 

 

 

 

Comments Off on Solid Ten: British Sea Power

Interview: Scarlet.

Hotly-tipped north-west quartet Scarlet are currently on a UK tour and finish their run at The Lab Northampton on Saturday October 14th. New Boots speaks to them about alt-rock, feminism and getting to America. New…

Hotly-tipped north-west quartet Scarlet are currently on a UK tour and finish their run at The Lab Northampton on Saturday October 14th. New Boots speaks to them about alt-rock, feminism and getting to America.

New Boots: For the uninitiated could you let us know a bit of background about who are you as people and how you formed?

Jessie: We are SCARLET, an unsigned DIY band that sounds like if Nirvana, Blondie and The Pixies had a band baby. I’m Jessie, the singer and guitarist, Adam is guitar man, Jake is our drummer and we have a bassist called G.
Adam – We’re a bunch of northerners dotted around Manchester Liverpool and St Helens who are all obsessed with writing and performing live music. Me and Jessie got things going through out our time at Chester uni and eventually we got a band together who could all meet up and rehearse in Liverpool and we’ve kept our rehearsal space there ever since!

NB: How would you describe your sound? It’s pretty anthemic to our ears. 
Jake: To me our sound is pretty unique. I feel like we’ve taken the late grunge, alt rock sound from the 90’s (think the Pixies) and really modernised it. We have that same energy and riff driven sound, but with an intelligence and level of sophistication that feels fresh and modern, not just a throwback.

NB: Jessie, you recently spoke out on the difficult experiences of being a female in the music business. Can you elaborate some more for those that didn’t see the article.
Yeah, I wrote a piece for Alternative Press magazine along with some other brilliant girls, about our experience in the music industry surrounding sexism. We literally spoke about the facts, things that have actually happened to us at shows and how we are treated in comparison to how men are treated. The comments on the article pretty much backed up what we were all talking about. Angry men calling us all kinds of names and pigeon-holing us into a criteria that they think fits a woman that has the nerve to talk about her experiences. I was shocked at the response to be fair. The reaction to the word ‘Feminist’ is often a defensive/aggressive one. “Feminist: the person who believes in the social, political, and economic equality of the sexes” (Nicole Kidman said that). I never think of myself as different to the boys. I forget I have boobs most of the time. It would be great if
everyone could forget that I have bobs.

NB: What was the last album you bought on vinyl? What was the last thing you downloaded?
Adam: Last album I bought was DAMN by Kendrick Lamar (the GOD)
Jessie: The last album I bought…If were telling the truth on this one, it was Little Mix – haha – them girls can sing! I love how fun they are. But I’m into all kinds of music, the last vinyl album I bought was Enter Shikari’s new one on pre order
Jake: I’ve gotten quite into my vinyl purchases recently. The last albums I bought were Currents by Tame Impala and Skeleton Tree by Nick Cave. Last album I downloaded was More Life by Drake. I love hip hop.

NB: What are your main influences/interests outside the world of music?
Jessie – I’m an animal nerd. I think animals are amazing. I love watching films, I got so into Kick Ass 2 that I literally forgot to breathe and almost passed out, haha. Films draw me in massively, I throw all my emotions into films. I am also really into science… like, specifically the anatomy of the voice… I’ve only recently got into it and its the best thing to geek out over.

Jake – I love reading: I’m a big ol’ nerd when it comes to fantasy books and stuff. I think I’ve read Lord of the Rings about three times, so that gives you an idea! I also love quirky independent films and tend to like the low-budget, coming-of-age type stuff. My biggest soft spot is American comedy shows though, I can’t get enough. Shows like Rick and Morty, Archer, Brooklyn Nine Nine and Bojack Horseman are just brilliant.

NB: What can folk expect from your live show?

Jessie: Sweat… and uncontrollable mashing, haha!
Jake: Expect loads and loads of energy! Our live performances go down really well as we put our blood, sweat and tears into every song.

NB: There’s a lot of great new guitar music around. Who is your ‘tip for the top’?
Jake: There’s a great band who we played with in Blackpool called Seegulls, they’re really great and we loved playing with them.
Adam:- I tip Purple Merlin from Stockport to have a great year.
Jessie: Seegulls all the way, their live energy is something else. I have no idea how they aren’t massive yet. There’s a few incredible bands about right now: Occoeur, Witch Fever, and Seegulls are my faves.

NB: What is your burning desire for the band to do next? What plans do you have for 2018?
Jessie: I want to keep building a team around us. And I want to go to America and get on all the festivals next year. A handful isn’t enough, I want to do them ALL.
Jake: for me I want to get an EP or a single recorded. Promote that. The next year or so will be huge for this band. I can feel it. Something big is coming, I can feel it in my bones!

Comments Off on Interview: Scarlet.

Type on the field below and hit Enter/Return to search

error: Content is protected !!