Dear reader it’s that time again, the last week in September, when I wax lyrical about the utterly wonderful Salford Music Festival. . Now in its’ seventh year this grass roots, no nonsense event, is part of the musical life blood of the city in which I live. Often overshadowed, in entertainment terms at least, by our noisy neighbours in Manchester, this Festival plays a big part in redressing that imbalance and puts Salford firmly on the map, where it deserves to be.
The difference between any other festival that you might care to join in on is that it is absolutely free for punters, no wristbands, no overpriced beer or food, and no tents. Ed Blaney’s desire for the events to be free is a key driver for the popularity and success of the three day celebration of music. And the added benefit is there isn’t a tribute band in sight.
The Festival has been stripped back to three days this year, Thursday 29th September to Saturday October 1st, and centres around the Chapel Street/Blackfriars area close to Manchester City Centre, and the peoples republic of Eccles and the delightful village of Monton, just five minutes up the road from where I happen to live. This more compact and focused approach makes this years Festival feel more important and vibrant than ever.
And of course I have a direct interest in that I am looking after two nights at the Eagle Inn – Friday and Saturday.
So what can you expect? Well all the gigs are listed on the Salford Music Festival website so I encourage you to go there, but here are a few of my highlights from the three days……
The ultra talented Tamsin Middleton (Mr Heart) has a solo show at The Crescent at 8:30pm followed by ded.pixel and The Kingdom
The excellent Salford Arms has Duke and the Darlings, Wintergreen and Crimsons
Bobby Peru close the night at the always excellent Wangies in Eccles with support from The Comics and Sioux.
The beautiful Sacred Trinity Church is the main stage for a headline concert featuring local big new things Cabbage, the excellent Blaney, Sound of Thieves and Jess Kemp
The Eagle Inn has the first of two German Shepherd Nights with The Junta, Bouquet of Dead Crows, The Scissors and Kit B.
Highly regard all female trio Liines play The Crescent.
The second German Shepherd stage at the Eagle features Taser Puppets, Poppcock, JD Meatyard and West Coast Sick Line.
Highly regarded Death to the Strange play The Crescent.
A packed day at the Salford Arms sees seven acts on between 5pm and closing time.
Milton Keys duo The Rusty G’s play Wangies.
Y Key Operators with guest bassist John “The Junta” Montague play the Blue Bell in Monton.
Here are some examples of what to expect over the weekend. I hope to see you at the Eagle for what promises to be an excellent weekend.
As Mr Moss once said “Strap yourself in, it could be a rough ride…..”, welcome to another bumper edition of some Fascinating Things sent to me by those lovely promo people…..there is a curious mixture of things this week from sprightly pop, via electro, ethereal drones to more heavy stuff.
Kranky have announced plans to release the fourth Loscil album, “Plume” for the first time on vinyl format. This classic record, originally released May 2006, will be released via the label on double LP 16th October. This news arrives as Loscil aka Scott Morgan also reveals tour dates in November, which marks the first official European tour since the release of the most recent album “Sea Island”. For those of you who live near me he is on at The Eagle in the Blackfriars area of Sunny Salford on November 23rd, one of only three UK dates, so a bit of a coup for us lot round these parts.
Scottish four piece Proud Honey launches new single ‘Weekend Millionaire’ out on the 17th October 2015, Influenced by a credit card fuelled stag do on which the band members went out on the town and spent ‘ridiculous amounts of money we didn’t have’, Already nominated for best British band 2015 by Pure M magazine (never heard of it but I don’t suppose they’ve heard of me), the band have also been compared to the varied and brilliant likes of The Stone Roses, The Verve, Primal Scream, Oasis, the Charlatans and many more classic British bands. Of course they sound absolutely nothing like any of them – I was reminded of the blues rock bands I used to go and see in the early 1970s…..Stray, UFO etc
“Mississippi Beat” is the first single from forthcoming album ‘Companeros’ from Ian Prowse. A duet between Prowse and legendary Irish Gaelic singer Pauline Scanlon. Mississippi Beat is a break-up song. The two singers became firm friends after performing together at the Liverpool Philharmonic Hall with Dublin legend Damien Dempsey. Prowse also tours with his band Amsterdam later this year and will play Gullivers. Manchester on 14th November.
“The Camel, The Lion, The Child” is the eight-track, near hour-long sound excursion from Seattle-based progressive doomgaze collective, He Whose Ox Is Gored. Tracked at Red Room and Ex Ex Audio in Seattle by Robert Cheek (Serial Hawk, Noise-A-Tron etc.) with additional recording at Avast Studios with Randall Dunn (Sunn O))), Earth, Wolves In The Throne Room etc.), mixed by Matt Bayles (Isis, Mastodon etc.) and mastered by frequent collaborator, Blake Bickel, The Camel, The Lion, The Child is sonically and conceptually very interesting indeed. The band – members Brian McClelland (guitar, vocals), Lisa Mungo (synths, keyboards, vocals), Mike Sparks (bass) and John O’Connell (drums) – transcend musical boundaries with a meticulous amalgamation of technical guitar structures and atmospheric synth over a pummeling rhythm section, the end result yielding a unique cinematic soundscape. Check it out on the Sonic Attack podcast.
Irata’s second album, “Sweet Loris”, will see release through Kylesa’s label, Retro Futurist, on October 9th, 2015. The sound of Greensboro, North Carolina-based trio dodges genre barriers with dexterous, infectious grooves influenced by a variety of underground rock and metal scenes. Once an instrumental act, the lineup has shifted from a trio to a duo and back, and following several lineup shifts since their inception eight years ago, the band has solidified things with its most impressive recording yet. With nearly forty minutes of material packed into seven new tracks, Sweet Loris was recorded by the band at The Jam Room, produced by Phillip Cope and engineered by Cope and Zac Thomas, and the record completed with artwork by Santos and design by Phillip Yeary. A fairly pungent release with a lot of energy echoing early Sabbath in parts – most enjoyable.
Transcendental Canadian duo, The Visit — comprised of cellist Raphael Weinroth-Browne (Musk Ox, Woods Of Ypres session) and vocalist Heather Sita Black -release their debut on October 9th. Fittingly titled Through “Darkness Into Light”, the album was recorded and mixed by Leon Taheny (Owen Pallett, Ohbijou) at Union Sound Company in Toronto, mastered by Alan Douches (Between The Buried And Me, Martyr) at West West Side Music in New Windsor, New York and offers up a five-track, hour-long journey that is both hauntingly beautiful and epic in scope. A musical dialogue that transcends genres and idioms, the duo’s sound is characterized by long, compositions which can be compared to sacred music in their form and delivery.
The Visit have received virtually unanimous praise for their live performances as well as their debut recording “Between Worlds”. The band secured coveted slots at Nouvelle Prague Festival in Prague, Czech Republic, Ottawa’s RBC Bluesfest, and the Royal Conservatory’s esteemed 21C Festival in Toronto. After refining their craft and sharing stages with artists of all genres, only one element was missing: an album. Combining the structures and instrumentation of classical chamber music with the intricacy of Middle Eastern and Persian music and the emotional and rhythmic weight of metal, their lengthy, through-composed pieces conjure sonic worlds in which listeners can immerse themselves. I don’t think anyone else will release anything remotely like this at any other time. It is completely unique, a partnership between a fragile voice and a riffed/bowed/plucked cello. Stark and uncompromising it demands your attention.
A new studio album from SUNN O))), “Kannon”, will be released officially on 4th December 2015 via Southern Lord. Composed in the after-shadow of SUNN O)))’s most recent successful collaborations (the group worked with Scott Walker on Soused, Ulver on Terrestrials in 2013 and 2014) and also from the success of their Monoliths & Dimensions album, “Kannon” emerged both independently as a conceptual entity and with roots in the legacies of those projects, yet was fully realised years later, in 2015. The album consists of three pieces : Kannon 1, 2 and 3.
The album celebrates many SUNN O))) traditions; Kannon was recorded and mixed with SUNN O)))’s close colleague and co-producer Randall Dunn in Seattle, in Studio Litho, Aleph and Avast!; and the LP includes performances by long term allies and collaborators Attila Csihar, Oren Ambarchi, Rex Ritter, and Steve Moore to name a few. At the core, the composition centres around the dynamic and intense guitar and bass interplay of SUNN O)))’s founders: Stephen O’Malley & Greg Anderson.
Southern Lord say:
“It is possibly the most figurative album SUNN O))) has created, which is unusual as they usually dwell in layers of abstraction and subjectivity. On the other hand the album is the most outright “metal” in years, drawing personal associations and memories of cherished albums like Panzerfaust and Twilight of the Gods again to the forefront of consciousness. Kannon is also very close to the cyclical character of mantra which the band has evolved into as a living creature, the enormity of intense sensate detail and manifestation of the live in concert element of SUNN O))), the organism that has flourished, metamorphosed and transcended tremendously over the past ten years.”
Kannon will be available on gatefold LP, CD and digital formats worldwide on 4 December, with a limited number of clear vinyl available on Black Friday RSD, Friday 27 November.
Nina Schofield is a London-based singer-songwriter who’s hard work and DIY attitude have gained her a pretty impressive music CV. She’s co-written and co-worked with Oscar, Grammy and Golden Globe winners and nominees including a striking list of names such as Morrisey’s Richard Niles, Gabrielle Aplin’s Tom Wilding, Usher’s Angelo Valentino and Orbital’s Lloyd Perrin.
After casually self-releasing one of her singles, Nina instantly charted on number 4 on iTunes which got her a buffet of industry individuals wanting to get behind her as an artist. Totally by chance Nina’s paths crossed with a BMG/Chrysalis writer/producer Jo Pereira, known for his ‘out there’ way of thinking and ‘behind-the-scenes’ approach in production. The outcome of their collaboration comes in the shape of Nina’s upcoming new single Come Down.
Sounding like the perfect lovechild between Sky Ferreira, Ella Eyre and Major Lazer, Come Down is current, cool, edgy, memorable and worthy of everyone’s attention. Why, I hear you ask? Well, first of all, Nina’s vocals literally sound like silk covering a ticking bomb pulsating in the background. Then with the help of gritty synth bassline and powerful arrangements, the track explodes massively in each chorus whilst quickly becoming an unforgettable pinnacle to any listener’s ear.
The contrasting sonic spectrum of vulnerability and perseverance makes Come Down a powerful track and will be available for sale and download via 23rd Precinct/ Notting Hill Music on the 6th November 2015.
Stockholm’s Jenny Hansen’s new record “River” is a subtle blend of electro and pop. Down tempo, minimal electronic music powerfully led by a lush vocal arrangement echoes Bjork during her Medulla period. There’s enough glitchy things going on and a blues tinged soulful vocal makes this stand out, ‘River’ will be released on Monday 26th October.
Album Nº3 from Christina Vantzou is the result of a two-year process of composing, arranging, rearranging, experimenting, and melding classical instruments with synths and electronics. Recorded in Belgium with a 15-piece ensemble of strings, horns, woodwinds and micro-choir, the tracks vacillate between orchestral, ambient soundscapes and more structured works that the composer refers to as “pillars.” The internal core of the record is a series of drones surrounded by soft, subtle and sometimes intense clusters of sound.
The structured tracks mark a new direction for Vantzou. Whereas 100% of the music on albums Nº1 and Nº2 was composed without time structure or steady click, the pieces on Nº3 adhere to a solid mathematical scheme. Nº3’s virtual instruments and voice samples hearken back to Vantzou’s time with The Dead Texan, specifically tracks like “Aegina AIrlines” and “When I see scissors I cannot help but think of you”. The synths on Nº3 were given special attention and were recorded over a 2 week period using a DX7, Yamaha CS20, Roland Juno-6, and a selection of eurorack modular synths, making Nº3 very much a hybrid record, both symphonic and synth-based.
It’s her best work yet.
Kowloon Walled City release their long-awaited new full-length this Autumn. “Grievances”, their third album and first for Neurot Recordings, finds the San Francisco band at its artistic peak, having moved even further away from its sludgy, post-hardcore origins and toward a more sparse, more melancholic detuned heaviness.
This shift began with 2012’s critically successful Container Ships, which Lambgoat described as “spacious” and “hypnotic,” with a “Shellac-like use of dead time and instrumentation,” and The Obelisk called “cerebral in approach.” On Grievances, the band takes these elements to even greater extremes. The strings rattle. The guitars crackle and blister. The notes ring out, at turns bleak and beautiful — sometimes both at once.
“We dug into this expansive, less distorted vibe. The songs are mostly slow and bummed out but we still want them to push, to have energy,” said vocalist/guitarist Scott Evans.
Evans, together with guitarist Jon Howell, bassist Ian Miller, and drummer Jeff Fagundes spent over two years working on the seven songs for Grievances. The intense editing process weeded out about two albums’ worth of songs. Howell’s unusual chord changes and discordant aesthetic channel Unwound and Slint. Miller’s gritty bass adds a surprising layer of depth and melody, while Fagundes’ drums resonate in what sounds like an impossibly large room. Evans’ shouted vocals are raw with frustration and disappointment, but without the typical veneer of macho aggression.
“We’re not interested in doing something that’s good enough — we want to do something that we believe is good,” said Miller. “With Scott’s concept and sonics and Jon’s playing and our rhythm section, we feel like should be able to do something interesting. But it’s hard work.”
The concept of work forms the thematic foundation of the entire record, from the cover art to the title and the lyrics. Whereas previous Kowloon Walled City releases were largely inspired by the band’s hometown of San Francisco, Grievances focuses its attention on our complex relationships with work and the power our employment — and employers — have over us.
As with Kowloon Walled City’s previous releases, Evans recorded and mixed, starting in Sharkbite Studios and finishing in his own Antisleep Audio, both in Oakland. “We’re not a fancy band. There are no effects to speak of, no reverb, no delays,” said Evans. “We each play one guitar, one pedal, one amp. So there’s not much to hide behind. I try to respect that in our recording process and our recordings.”
Kowloon Walled City formed in 2007 and has released an EP, Turk Street (Wordclock, 2008), and two full-length albums, Gambling On The Richter Scale (Perpetual Motion Machine, 2009) and Container Ships (Brutal Panda, 2012), as well as two splits. Among the bands it has shared stages with are Neurosis, Tragedy, Sleep, Thou, Coliseum, Zozobra, Fight Amp, Roomrunner, The Body, and Helms Alee.
Grievances will be released worldwide on October 9th, 2015 on Neurot Recordings, with vinyl on Gilead Media.
Back in 2009 one of the first local bands I chanced upon in my early days as a DJ was Pearl Divers. I found my way to them via Mike Leigh, the ex Fall drummer, who had chosen the group as his way back into the music business after a long absence.
Pearl Divers are the brain child of writer, singer and guitarist Carl Lingard. His initial work with the name was the impressive EP “The Boy Who Won The World”. Deciding to take his work live he formed a trio with Mike Leigh and John “Monty” Montague on bass, and following some early rehearsals the line-up was expanded with Tony Gilbody on keyboards and Jeff Black on guitar and MIDI instruments, HIgh profile gigs at Night and Day in Manchester and supporting Martin Bramah’s Factory Star, were followed by the addition of Ben “Spilla” Doherty on vocals/rap, and a more urban/soul direction away from the initial indie feel of the material. Several attempts to record an initial album , and the addition of other vocalists, including Danielle “MzDee” Carter, lead to the creative differences emerging between band members over the change in musical direction. Leigh left and went off to join The Blimp and Black. Montague and Carter formed Positronik. Lingard put Pearl Divers on hold for a few years.
Roll onto to 2014 and Lingard decided to try again with the Pearl Divers project. He recruited Gareth Johnson on guitar and Paul Greenhow on drums and convinced Jeff Black to rejoin the band, this time on bass guitar. Lingard’s desire to work with a female vocalist was realised when Nathalie Hayley joined. Lingard has been hard at work on new material and the band has played live at Salford Crescent.
Carl has always aimed to marry the Manchester Indie sound with Urban Music – the key example being the evocative “White Lines” the original band performed. Examples of the new work he has produced, and has been performing with the band, have been sent my way.
The newer material aims to continue that indie/urban approach but some extra twists and turns have been added to the mix. . First track “Beating Heart Of England” takes that shuffling baggie Madchester heritage and brings it up to date with jangly guitars and a catchy sing along feel. Carl delivers a laid-back rap and takes us on a trip to the dance floors of Manchester during a long hot summer.
“This Life” has a great 60s feel, I can imagine Nancy SInatra doing a cover of the song. Bacharach/David came to mind when listening to the changes and the glorious move from the verse into the chorus is stunning. This clearly demonstrates Lingard’s strength as a writer.
Lingard likes to inject variety into his sets and “Coming Home” is one that sits well in Pearl Divers world, but is completely different from the more pop oriented songs. A bluesy ramble with slide guitars and busy bass runs mixes JJ Cale with english pop elements to create a unique sound.
“Kingdom Come” goes to another place entirely, sounding like an Gibb Brothers classic delivered in a chanson style that changes into an urban chant which then morphs into a John Barry TV theme. Rich and mellow and utterly compelling.
“Something”, which appeared under a different guise in the first incarnation of the band, is a perfect piece of summer pop, merging blues guitar licks with a great Indie sound, Hayley’s pure vocal sound floats over a funky rhythm with a memorable hook making this a current ear-worm.
So Pearl Divers are back with great tunes and for my part I am very pleased. Lingard’s song-writing talent needs to be brought to a wider audience and he has now got a band to deliver his excellent songs.
To celebrate the release of The Mekkits! debut double album they are releasing 4 free singles via sftrecords.co.uk in the lead up to the release date.
Accompanying music videos for each single will also be released.
1. Brave Little Boy (Released – 14/05/12)2. This Town (Released – 16/05/12)
3. End Of The World Blues (Released – 21/05/12)
4. History (Released – 23/05/12)
Science Fiction Theatre Records second album release of 2012 is ‘Pompeii / Vesuvius’ by The Mekkits! It’s the first time they have released a double album On once side there is Pompeii which bounds its way into your hearts, a true modern pop classic of an album juxtaposed by its evil twin Vesuvius with its often haunting music, melodies and lyrics which is a side to the band you may not yet be familiar with.
The Mekkits! have been working on this album for almost 2 years