It is important in these days of multiple access to musics to retain a sense of balance – indeed some days I find myself so swamped with incoming requests for radio play that I begin to wonder if my ability to discern good from bad from plain awful is somewhat wanting.
There are occasions when something comes in, and within the first thirty seconds I know it is special – viz of late Comet Sands, Monster Island, Danny Short etc etc. There are some occasions when things pique my interest but I have to file them away as my brain cannot take any more music within a 24 hour period and I have to womble around Skyrim for a few hours and kill a few zombies so I can reset the balance.
There is music which is from other countries which is singularly independently produced and outside of the conglomerate mind set which I feel should get some airing.
And then there are the things I have always liked which I will play because it makes me smile.
There are generally a lot of occasions when things come in and the 30 second rule applies and things get binned immediately. Most of those these days are Coldplay clones. Killers/Vaccines copyists or or those who have not quite honed their craft to a level where it is in tune. My general benchmark is “have I heard something like that before” – if I have it tends to get rejected because frankly one Adele/Florence/T Tempah is enough – we don’t need another one. My other benchmark is that if what I get is/will or was going to be played on national radio then it gets filed – what is the point of a community radio station if it is going to parrot what the nationals are doing? A local station needs to be playing local music which is not accessible to the masses. So you will not find me on the “Roses” bandwagon this year, for example, they don’t need anymore publicity than they already have.
Where is he going with this you ask?
Not sure really, but I wanted to set some sort of benchmark about what I am going to say next. Which is……..
“Kill Pretty” are wonderful.
Ian Moss took the decision to curtail The Hamsters in their final iteration – which in respect of what I am about to say was a brave but sensible move. The Hamsters remain as the iconic force of punk and post punk GM, (along with The Worst), as the single and signature evocation of DIY music.
Notwithstanding all the other bands who might claim the right to be described as edgy, difficult and possibly “unlistenable” The Hamsters remain historically at least as an example of a band which stood defiantly apart from the music scen (sic).
That he decided to do that around the same breadth of months as the dissolution of his previous outfit – Sicknurse – and that the bass player from said band and his son were in the last iteration of The Hamsters is also relevant.
That a relatively recently returned from exile drummer was in the audience for the last Sicknurse gig is also relevant.
Before this turns into a gothic novel of immense proportions I should point out that I am talking about a relatively new band which includes:
- Ian Moet Moss – Vocals. Mouth Harp
- Chris Dutton – Guitar, Vocals
- Josh Dutton – Bass, Vocals
- Mike Leigh – Drums
They have just been into recording studios in Stockport to lay down tracks for their first album. I have been fortunate enough to been given demo cuts of five of the tracks. My colleague Stephen Doyle has already played a number of these tracks on his Sonic Diary Show. I will be playing them on my (Salford) Music Scene show next week.
The band is somewhat unique in combining a range of talents from the music scene round these parts across a wide breadth of years. Their initial recordings with Simon Archer and Craig Scanlon were rather superb. Their session (free for download here) for Stephen Doyle’s Sonic Diary show was suitably visceral and more than a little exciting.
The latest set of recordings are even better.
The music they produce is exciting, fresh and challenging but at the same time reflects the experience of the players. They are able to meld a garage rock sensibility with a new take on psychobilly and I have to say Moet’s vocal performances have never sounded better than they do now.
I commend them to you and suggest you listen in next week to hear four of the five songs I have received. SD will playing them also and you can catch them live at the Kings Arms on 26th January 2012.