Reviewer's Retreat

A copy of the album ‘Myths & Fables’ fell into my lap when paying a short visit to a local musician who I’ve met from the Valleys gigging scene over the years. I was dropping off an old cassette tape that my Dad had recorded in the 1970s and Anthony, the mastermind behind Revolution Rabbit Deluxe, kindly stepped up to the challenge of digitising the sentimental tracks that it contained for me. On my way to re-collect the tape, I gave the album he gifted me a good listen to and was very impressed.

Revolution Rabbit Deluxe are a band based in the Blackwood area and although have quite an ominous stance in regards to who they are and what their initial message may be, they have crafted a very interesting third entry in their own world of album creation. The album opens with the track “Generation Voyeur” which melts into your mind with its dynamic synth line, assertive drum beat and unearthly spectral vocals.  A chorus chant of “Click! Click!” has quite an alarming tone to it, putting you on edge and really kicking off the overall feel of the album perfectly.   “Killswitch” continues with its bubbling synth and sweet mellifluous guitar line, drawing you in with its detrimental lyrics, drowned out by the optimistic vibe of the song’s instrumentation. It’s a real highlight of the album so far as it has a nice divide between despondency and the serene, clashing in all the right ways. Title track “Myths & Fables” bounces along with some synthy sounding bass, seemingly a reoccurring trope of the album so far, but one of the reasons why I am enjoying it so much so far! This song has more of a Brit-Pop vibe to it, harking back to the early 90s sound of bands such as Primal Scream or (dare I say it?) the Manic Street Preachers. I really like how varied and catchy the album is, adding the electronic elements to a more traditional band set up really gives it an extra layer for the band to play with. It’s like when Billy Corgan introduced electronic elements to the Smashing Pumpkins sound, the results were wonderful! The next song “Channel 5” creeps along, reminding me of a David Bowie song that I can’t quite put my finger on at this moment in time. A bit more of a glam stomper with some brilliantly fiddly guitar playing, militant drumming and prominent bass lines. Anthony is bellowing for his life here by repeating the refrain ‘taking me down’ and I really admire the space-age guitar outro alongside the industrial sounding drums rattling away underneath.  “Reconstruction (Through_Deconstruction)” has an almost Pop-Punk guitar intro which soon gets dispelled when the vocals slip in, giving it more of an Indie Rock feel with the scratchy guitars, layered vocals and it’s choral incantation of ‘if you want it, make it happen’. The next track “Pretty Escarpment” contains a refreshing keyboard sound, confident vocals and squidgy/fuzzy guitar licks. I had the piano melody from this stuck in my head when lying in bed the other night. It has such an emotive quality to it, even though by comparison, the band seem to be having a gig at the current political system within the lyrical context. What happens when you your Acid House turns New Wave? You “Go Supernova” with its wickedly distorted vocals and infectious bounce. I must say that “They say they’ll keep you young, I say much younger, you’ll re-enter your mother’s womb’ is the lyrical highlight of the album for me! Onwards from its clamorous break and supernatural sounding synth lines, we get into next track “Battle Hymn (of the New Republic)” which kicks off with an electronica introduction once again, but I’m beaming as I listen along attentively. Bringing back the Brit Rock presage, it sails along with a great upbeat pace and general concern for a potentially dystopian future which is coming to fruition.  “TV Junkies” concludes the album with its captivating melodies and unstable but rousing guitar bends. “Show me, show me, reveal who you are, reveal who you are!” is the chorus of choice, being equally as catchy as it is antagonistic. A great way to finish off the album, with a memorable indie-punk war cry, littered with a multitude of interesting vocals samples and exploratory sound effects.

As a whole, I think that this recent release in the Revolution Rabbit Deluxe oeuvre is pleasurable to my own personal musical intrigue and audible palette. Stuffed to the brim full of fascinating concepts and extensive sonic playfulness, this is a great Indie Rock meets Experimental Brit-Pop album that has been a delight to listen to in its entirety. The band seem to be quite prolific lately and I’ve noticed the shift in progression to their overall sound and musical output, ticking all the right boxes to me. If you get the chance, check out “Myths & Fables” as I’m sure you will find it quite engaging to explore and enjoy. I’ll be jumping down the rabbit hole myself over the next coming days to check out their previous albums and I’m also looking forward to seeing what they come up with next!  

Myths & Fables is out! Listen to it HERE on Spotify and follow the band on Facebook for future news and releases.

I am a fool! All of this lockdown bollocks has left me content in my own lackadaisicalness, putting off the interesting little wormholes I could’ve been sucked into during my free time, in place of cheap thrills and junk TV. I was asked to review this album back in December and one month later, we eventually got there, locked and loaded, ready to introduce you to the bizarre majesty of SpünDay.

The album begins with the eerie squelching sounds of opening track “Once Upon A Time In Essex”, leading into some Public Image Ltd-like guitar noodling that sounds like a malfunctioning robot fighting with a slide whistle. I am instantly hooked! Vocally the track is deep and distorted, really adding a certain edge and abrasiveness of the musical soundscape they’ve created.

“There’s A Hole In My Arm Where All The Money Goes” opens with a sample and a tasty guitar lick, reminiscent of that slick 90s indie slacker vibe. Don’t get me wrong, slackers they are not. There is so much raw energy here it makes The Stooges sound like Status Quo in comparison. The track fades out with some sweet acoustic guitar riffs that I really wasn’t expecting, but also kind of backs up the slacker comments I also just made.

Another sample and cathartic noise containing the ‘C word’ and some chunky bass punches, gives us “BBB”, their next audible assault. This song is pretty harsh. It sounds like a Sonic Youth instrumental if they’d broken all of their fingers during a live show and the Sleaford Mods jumped onstage, taking over on vocal duties in a special brew fuelled rage. Loved it!

“Avoid Unemployed French Horse Butchers” has a solid build up and some more angsty curse words on a fast-paced hardcore Rock & Roll bullet train. Slowing down for a bit of dub-inspired bass and math rock “potching” on the old electric guitar. I’m really diggin’ the vibe from these guys and I pray that they’ll bring these deranged tones to the live arena when the world starts turning again. All of the tracks so far contain a sense of urgency to them, but also appreciating the calmer moments here and there before kicking back into overdrive.

Echoes of Public Service Broadcasting creep into next song “Junior’s Speedball Blues” with its unique instrumentation and use of sporadic vocal lines and samples. This being the longest track on the album so far, it has a kind of evil surf-rock vibe to it that I’m really enjoying. “Weekend Dads” kick off with a little synth and further chaotic axe swinging, keeping the alternative pace well and truly enthusiastically up-tempo for this psychedelic romp.

I wish I had the gall to try and take the lyrics apart to make more sense of the themes and topics they are raving on about, but that’s not where the brilliance of this album lies to me so far. “There’s A Pimp In My Boots” loops a vocal sample alongside a foreboding chug until bursting in with untamed menace and metallic influence. The guitar sounds absolutely mind melting, backed up with precision drumming, vicious bass lines and more naughty words, oh my!

Things get a little funkier on “The Bull Wins” which harks back to that more experimental post-punk PiL meets Captain Beefheart sound, but in much more scattered and excited outbursts. “Show Me Your Speedface” is a bit of a shorter onrush with it’s cool repeated refrain, but it’s just as bonkers as the rest of the album, paving the way for the final track “Stuckness”. A change of pace and a surprise moment of calmness with harmonica, more ominous vocal samples and a serene but hooky bass line. No surprise bursts of noise or chaos here but an exquisitely carefree nuanced way to end the album.

This is one hell of a debut album with flashy layered effects and the use of unique/experimental sounds, confident but sometimes macabre vocal lines and a tight blusterous rhythm section. I’m super glad that I gave my time to this album and I will admit I am really excited to eventually catch the band in the far off distant post-apocalyptic wasteland of the mythical “live music venue”. In fact, fuck it… I’ll put them on for a show myself sometime if they are interested! Get in touch guys, I look forward to hearing from you!

“Shock Wave Gang Bang” is out now. You can find it here on Spotify, but if you’ve had enough of that, it is also available on Bandcamp, with the option of purchasing the album, which we would always recommend!

I first witnessed the angular majesty of Glass Angel when my band performed alongside them last year in Bristol at what we always dubbed as ‘the worst gig that we’ve ever played’. We may have stumbled ourselves, but Glass Angel were a gleaming surprise of jerky Indie-Pop, who really stuck out to me that night, even though the barman shouted at them for talking politics on stage!

Their brand new 3 track EP opens with “(Do you wanna) Fight or Nah?”, which is absolutely brilliant! Opening with a ‘ding ding’ from the boxing ring fight bell, this track oozes with exciting post-punk vs pop tendencies. It’s repeated titular lyrical refrain and catchy guitar line really grabs your attention as the track progresses.

There is a mischievous plodding bass line from bassist John Slattery that really helps to drive the song into more of a New Wave direction, as well as a wicked vocal delivery from lead singer and frontman Shaun McCrindle. About halfway through we are also treated to guest vocals from an unknown female backing vocalist, which really helps to give the track an offbeat 80s vibe. I really like this track, it’s a quirky little pop song with plenty of interesting sounds and styles going on to keep you fully engaged.

The second track of the EP “My Ship” jumps straight in with its guitar and vocals, then bursting into some sharp percussion from drummer Jeff France. This song has more of a Brit-Pop feel to it with its short song breaks, allowing the jangly guitar and ominous basslines to shine through. “Do you want to take a ride in my ship?” is the chorus of choice for this track which builds up and up into its John Squire-esque sounding guitar solo and then back down again. This song is like a rollercoaster with a climb, a drop and plenty of loop de loops in-between.

This distressingly short EP then comes to an abrupt end with its final track “Magical Smile”. Owing more to a late 60s Rock sound, the chants of “Hey, hey, hey” beckon you into this staggered and zig-zagged Pop/Rock song. The instrumentation on this track is brilliant! Starting off like a Poppy XTC dreamscape and then evolving into more scratchy post-punk territory, along the lines of A Certain Ratio. There are some creepy ethereal synth lines on this track which are chilling during the post punk section, but inadvertently adds to the upbeat happy atmosphere that bookends the track as a whole.  

Overall, this release from Glass Angel is something that really grabbed me! The mix between celestial dark sounds and more buoyant and cheery hooks really makes this release refreshing and exciting. The band manage to capture the jolted aura of bands like the Talking Heads, but at the same time the darker avant-garde feel of the post-punk movement. The best way I could describe their music is like a happy version of the band Wire.  And trust me, that is not a bad thing at all!

“Fight or Nah” has already been released! You can check it out on their Bandcamp page. Follow Glass Angel on Facebook for future news and releases.

Putting up some of my old reviews from the past 8 months that I didn’t really archive on my own blog. Just to look back on really... Starting with the one review that sadly wasn’t even shared by the artist after it’s completion. 

Straight from the beautiful hidden landscape of a small village situated in the mountainous valleys of the Rhondda Cynon Taf, “Some Nights I Hear Her Call My Name” is the latest single release from Cwmaman based songsmith Mahouts. I’ve been lucky to witness this particular track’s upcoming music video ahead of its release and it is truly a remarkable and gorgeously shot piece of visual artwork to accompany an impressive new release.

The song begins quite menacingly with the sinister twang of a precisely strummed acoustic guitar, setting the tone for the haunting subcurrent to follow.  As the vocals creep into play, we get a sense of familiarity with the calm but assured vocal melodies, telling a tale of prevalent woe with ominous overtones, delivered with a confident grandeur.

The song picks up the tempo with a burst of percussion and the repeated refrain of ‘Some Nights I Hear Her Call My Name’ which leads to into an ear-pleasing flow of gritty and rustic musicianship and chant like backing vocals. This teleports you right into a kind of sentimental but also robust atmosphere that Mahouts have intrinsically crafted.

Without scouring the band’s Facebook page for any clues, it’s hard to put my finger on any definite influences the band may have. The song reminded my partner of a folky version of the band Clutch, but I got some Neil Young and Crazy Horse & “Funeral” era Arcade Fire vibes. The extra percussion and slick instrumentation to the track really makes it shine, which is also carried by its bold and self-assured singing approach. I think the song is a fantastic addition to the collective output of its main singer/songwriter and if this introduction to the new album is anything to go by, then we are in for a real treat!

Mahouts forthcoming album “It Might Be Hot Outside, But The Dirt Is Cold”, is due out in the near future. The new music video for “Some Nights I Hear Her Call My Name”, directed by Matthew Palmer was released yesterday. Check it out HERE on their Facebook page and give them a like! The song is also available to download on Bandcamp, why not purchase it and help the band their forthcoming album?

It’s about time that I’ve tackled some good old-fashioned Punk Rock and what better place to start than from Bath and Bristol’s own fired up four-piece The Lone Sharks. The band have been released onto the unexpecting public and causing a commotion since 2008, so I am really interested to hear how their brand-new EP release entitled “Firing On All Four” sounds to a pair of fresh (but battered) eager ear-holes.

The EP opens with “The Open Road” which kick-starts our insight to the band, sounding like a much heavier take on a Folk-Rock track. A bit like The Rolling Stones attempting acoustic if Keith Richards had forgotten the difference between an acoustic and electric guitar, opting for a bit more POWER over gentle intricacy. “You’re the reason I’m bored” is the first lyric we are introduced to with a very Mick Jones-esque delivery evoking the sounds of The Clash, especially with the added ethereal backing vocals and sing-along chorus. The song ends as quick as it came and I’m already sucked in to hear what’s to follow next.

“When The Truth Tells Lies” opens with a guitar riff that reminds me of the intro to “Killing An Arab” by The Cure, especially with the short stop and drum flourish before we go full throttle. A beefy bass line rumbles in with shrieking guitars and quick-fire vocals. The band members share the vocal duties between themselves so it’s already interesting to hear the change in dynamic so suddenly. I really like the vibe of this track, I could imagine jumping around to this in a sweaty backroom of a pub, watching half-empty beers fly overhead.

The next song “(Burning Down) The House Of Cards” begins with its standalone bass line and some hefty gang vocals, sliding into The Ramones vs The Buzzcocks territory. I really like the sound of the guitar and the precision Surf-Rock styled drum beats that hold the track together. Quickly wrapping up the entire EP with “Panic Attack” which I’d say is the heaviest track on here, but one of the best to bop your head along to. I can hear chunks of The Damned littered throughout and I’m also enjoying the added cowbell and cheeky guitar lick that jumps in before the catchy shout-along chorus, which is brilliant!

The running time clocks in at a rapid 8 minutes and 2 seconds which I think is ace! I’m a big fan of short snappy songs that get straight to the point, especially with this selection of infectious tunes. The Lone Sharks are a slick band who combine together a whole host of different influences to create their own interesting blend of Rock, Punk and Post Punk musings. I’m really looking forward to catching these guys play live again in the near future, as you really can’t beat a nice juicy helping of Rock & Roll!

Check out the band on Facebook here: https://www.facebook.com/pg/The-Lone-Sharks

Listen to the EP here too:  https://thelonesharks.bandcamp.com/album/firing-on-all-four-ep

Words: Mitchell Tennant

Emerging from the caustic sizzle of Beelzebub’s oven, “Anti-Crust” are Cardiff’s own Satanic Pizza Themed Sludge-Punk band. Currently trapped within the stove of the damned and drip feeding their new musical output to us unsuspecting sinners, one slice at a time. Due to the current pandemic that is sweeping the entire globe, this demonically deranged 4-piece have released some of their debut material a little earlier than excepted with their new EP entitled “The Corvid-19 EP”. Sit tight the unconverted, as you are in for one hell of an audible attack!

The EP begins with the bellows of I’LL SWALLOW YOUR SOUL straight out of Evil Dead II, just to set the tone before the music has even started! We are soon met with a full-frontal assault of Hardcore Metal-Punk for their song “Satan Is Waiting”, featuring precise vocal squealing, with machine gun-like delivery. After being hit by a wall of noise we get an instantly catchy chorus telling us about the lake of fire consuming our souls and then praising their big red idol with a shout-along gang vocal. The sound of the bass guitar is like a buzz-saw hacking it’s way nicely into the sweeping synths and pounding drum beats alongside it.

“Lady Of The Lake” slides into the mix next with some ambiguous lyrical content, building up into trashy shouted vocals and some slick muted bass guitar chugs. This track is HEAVY but has a great underlying groove to it, which contrasts nicely with the much harsher sounding percussive clash of the cymbals. We are then introduced to the pulsating icy synth sting of the most relevant song on the EP so far entitled “The Virus (Interlude)”. With the necessary creepy Gothic church organ creeping in and becoming nothing short of the new soundtrack to the next installment of the 28 Days Later franchise (28 Years Later maybe?).

“Mountains” fires off guns a-blazing’ with a barrage of noise and some nasty riffs over a very angrily screamed vocal delivery. The breakdown section harks back to that post-apocalyptic end of days vibe that the band have perfectly crafted. Finishing off with the track “Semen Demon”, it really has an infectious bounce to it, sucking you in and smashing you over the head with a glass bottle on arrival. Adding a bit more of a humorous element to this assault on the senses, it’s finishes off our introduction to Anti-Crust’s deformed little realm of fire, eternal suffering and deep pan pepperoni.    

This is a band that you NEED to see live at least once in your life. I have been lucky to witness them on several occasions and although I will admit I’m not a huge fan of their music, I still have an affinity to everything they are currently doing and still consider myself a big fan. I’m sure it’s got nothing to do with the vocalist being a giant semi-naked crow with teeth and the giant slice of pizza with a pitchfork who stands on stage with them either. They are truly a unique band who blend together a love of heavy music and absurd comedy with a polite nod to the twisted dark arts which encompasses their whole image. If you are fan of bands such as The Residents, The Misfits or Gnarkill (thanks to my partner Beth for that one!) then you should check them out. It’s like Papa John’s answer to GWAR with deranged results!

Check out the band on Facebook here: https://www.facebook.com/anticrust666/

Listen to the EP here too: https://anti-crust.bandcamp.com/album/the-corvid-19-ep

Words: Mitchell Tennant

I've been holding this little box stuffed full of balloons, a cut out picture of a tank, a googly eye and elastic bands for a couple of weeks and now finally found some time to dig through the trinkets to find the new 18 track album by Aberdare/Cwmaman based band Cool Beans. 

Cool Beans are a quartet consisting of Chris Davies, Nick Geake, James Parr and Simon Blinkhorn. Four diverse musicians from around the local area creating music together that doesn't always have a consistent flow to style or genre. Just how I like it! The album title you ask? It all depends which physical copy of the album you picked up. I was able to grab "Beanito Mussolini" myself and for this review (seeing as there are so many tracks) I'll be giving my thoughts on each song in order as the album progresses:

1. David's Hateful Babies We kick off the album with a bit of acoustic that which has a Gospel-like vibe to it with some great harmonica playing and a "preacher" like delivery on the vocals. "Giraffe" is shouted as a multiple gang vocal alongside some twinkling organ playing which setting the tone of the album right off the bat. 

2. The Amazing Quality Of Dry Stone Walls Double speed? Triple speed? The backing instrumentation rises in tempo to also give us dada-like lyrics such as "Have You Got A Drink Of Water?" almost seeming like it lies totally out of context to the “Jungle” feel that the entire vibe of song gives off.

3. Mad Dog Starting with a bit of bright glockenspiel tinkering, it sounds like something “The Alan Parsons Project” or “King Crimson” would squirt out on their day off, with even a “Hawkwind” kind of feel to it. It’s like an acoustic Prog experiment going off the grid. A really catchy little song!   

4. Iodine Here comes Mr. Parr's panpipes! (Hopefully from down his trousers as usual too). Sweet harmonies over jagged acoustic guitar stums and some forceful vocals. You can sing along with the chorus of “I-I-I-I-I-I-I-Iodine” with this unruly bunch of Rag, Tag and Bobtails. 

5.Swansong Carnival vs flamenco guitars introduce us to a medieval setting, being serenaded to us by the courtroom bard. "It's time to leave it there" is the repeated refrain, which sounds like something Neil Innes may have put out during his illustrious solo career. 

6. Flat Earth Some intricate keyboard playing starts with a cool free-flow jazzy guitar over the top. The singing during  the chorus like section reminds me of the aliens from the old Smash TV adverts or a Dalek with scrambled circuit board. A really cool Proggy track!  

7. Go Swim A calmer track to begin with but I will admit am gutted I haven't delved into the lyrics and potential song meanings. With the pure extensive output and my usual own style of reviewing, I'd be here for a very long time trying to work out a complete philosophical outlook. Funny track though! 

8. Major Minor Now we're talking, a bit more experimental with the synth lines, but it reminds me of the soundtrack to a Jamaican rum party, especially with the vocals and Steel Drums. It has some really cool and playful rhythms going on. The vintage-tinged outro is  bloody brilliant too, just go listen to it!

9. Music Of The South Pole A bit of a goofy Country-esque approach going on here with an ode to the frozen wastelands. Reminding me a lot of something “The Beatles” would have had fun with to include on “The White Album”. This album is full of fun little ditties you can pull out of the lucky dip at will. 

10. Sesame's Treat Acapella into Haunted Rock & Roll into vocal harmonies. I really like the variation of songs and styles darted throughout the album, especially up to this point. It's a bit all over the place but that is what makes it so intriguing and interesting to listen to and take apart.

11. Teddington Lock That flamenco-like guitar creeps back in, or is it a mandolin? I think it might be both! The vocals are a bit softer and hushed which harks back to those 60s Folk ditties that mirror the sounds of an advert for a new Italian restaurant that's just opened up the road.    

12. Sing For Swirling psychedelic synths vs a barrage of vocal nuances until we hit a catchy funk guitar chorus of "Sing For". This is a really strange but really cool track on the album. One of my favourites which I heard a little while ago before I picked up the album.

13. In The Box Whats in the box? More progressive instrumentation with a very Welshy sample of a youngster's voice layered over the top. The playful experimentation of the album must really be applauded as you never know what is coming your way next.  

14. There is no demise worse than being systematically ignored to death over a period of 40 years 

Happy, folk-fun with a depressing name to counteract the upbeat nature and wacky penny whistle solos. There is a cool groove to this song with some top notch vocals and acoustic stomp that you can slap your knee along to. 

15. Towndown Town I remember the band playing this song at The Cambrian a while back with that catchy bounce of the main riff. It has that distinctive joyful jaunt to it which breaks up the song nicely into pieces with it's almost "Freedbird" like organ break in the middle.

16. Village Green This starts a little sombre with no direct relation to The Kinks's pop-culture paradise in sight! Barbershop quartet vocals and video game dungeon organs litter the track, giving it another unique edge to an album already firmly rooted in excessive variation.

17. Chad's And Stacy We're off to Church! Or maybe the Circus? It's bounces between the style of sounds until we hit a punchier chorus section with a bit more thrash and balls! "We Want Biscuits" they shout, don't we all want biscuits? I miss those Maryland Cookies with peanut butter in them.

18. Make It Happens We end the album on a lighter note with a more Folk-tinged song with some carefree backing vocals and some optimistic lyrics with a pan-pipe solo. A much more positive outlook to finish off a great album jam-packed with creativity. 

Overall the album is a great listen, stuffed full of ideas and interesting songs. I had a very “Bonzo Dog Doo Dah Band” kind of vibe as a whole but the list of influences that I can also pick out after listening could be endless! The packaging will suck you in but the album itself will keep you listening. There are a few copies left at “Red House Music” in Aberdare Market. Try and grab yourself a copy BEANfor it’s too late!

Check out the band on Facebook here: www.facebook.com/coolbeansaberdare/

Words: Mitchell Tennant

I present to you "The Bucky Rage", a wild Proto-punk Surf Rock band from Glasgow, Scotland who create their own unique brand of what they like to call "Wrestling Rock n Roll". Inspired by a cool concoction of bands such as Richard Hell and The Voidoids, Devo and The Stooges, today I'll be taking a little look at their 2017 album release entitled: "F​.​Y​.​I. Luv U"

The album opens with "Nine Stone Cowboy" and I'm instantly in love with the fuzzy guitar lines and wobbly synths. Distorted vocals and swirly keyboards give a perfect introduction to the demented landscape they have created. Instant admiration! The second track "Dr Dre USA" with it's catchy shout along chorus is a fast-paced Rock & Roll machine seguing nicely into the jangly Memphis tinged Link Wray inspired vibe of the next track "Down A Hole". 

It's nice to finally listen to the band on record as the previous times I've heard them has only been in the live arena, where they totally are a force to be reckoned with! "Chewing Gum" has a great Kraut Rock feel to it, with a hint of dark 60s hippy carelessness which is ironic as shit considering the next song is called "Hippy Shit" and sounds like a direct protest against it. This one is a great 'shout along with the band' song with some really cool organ work and thrashy drums, a funny and memorable song in their cannon. 

"I Dont Care (That You Dont Care)" has a wall of fuzzy goodness to begin, with a very Stooges-like free-for-all in audible action. A straight forward Proto-punk rocker, with aims to keep the Garage Rock nugget lovers stuck on cloud nine. Album title song "FYI I Luv U" reminds me of one of those happy Bubblegum Pop songs like the Ramones used to cover but with more grit and attack. I love the sound of the bass on this song, it's like the lead instrument thudding alongside the clean but scratchy guitar chords. I need to mention the vocals again, they sound so bipolar with bursts of anger but also a raspy sweetness underneath.

The album ends with "Let Her Know" which is the happy Pop mega Beatles-esque 60s Rocker but with their own Bucky Rage spin to it. Emoting the feel of a bygone era when a TV took up half the living room due to it's sheer size and when everyone went to work in a bowler hat. It also reminds me of The Muppet Babies theme song on amphetamines. Great little album, stuffed full of psychedelic and Garage-Rock influence which is familiar but also exhilarating to listen to on this fine Sunday afternoon.

Check out the band on Facebook here: www.facebook.com/thebuckyrage/

Listen to the album here too: https://the-bucky-rage.bandcamp.com/

Words: Mitchell Tennant

“Last Birth” is the debut EP from Bristol based Indie/Alternative band Fonzy & Company. Coming together as a group quite recently (only back in February 2019) the band are starting to pick up some traction within the online world, gearing up ready for their EP launch night on Saturday 5th October at The Crofter’s Rights in Bristol. I’ve been given exclusive access to the EP a month in advance so here is what I think from the perspective of a music lover with a mangled brain trying to make sense of this confusing world of new music!

Introduction song “The Stubborn And The Brave” kicks off the EP with a full on Indie stomp, in the vein of a bands such as The Fratellis or The Rifles. This track has some great guitar lead licks which gives it an almost Samba-esque Americana quality which bounces off the soft modern vocal style quite nicely. I’m a sucker for killer organ breaks and solos too, a feel-good hit of the autumn! “Sue Me” is a solid rumbling Alternative song with some sweet female backing vocals, giving off more of a vibe from a band such as The Lumineers. I really like the use of scratchy funky guitars just in the right places, it really shows off how great the production of these songs are. Powerful vocals dominate throughout, especially where frontman Fonzy gets to show off his high vocal range near the end of the song.

My favourite track so far is introduced with a thrash of guitar and a chorus very akin to Roy Orbison’s “You Got It” which I think is bloody great! “Queen Of Nothing” has more wicked organ lines, hard hitting guitars a REALLY catchy singalong chorus. The guitar solo is pretty damn cool and I think this is one of those songs that will shine bright within the live arena. “Silk” reminds me of those pretty introductions on some of the slower singles by Suede but the vibe totally changes as soon as Modern Rock vocals come in and gives the listener a more emotional taste of the band. The guitar solo reminds me a of a cross between Santana and The Eagles, which vastly reflects the big rock kick-in that comes before the first chorus.

The EP ends with the two tracks “Pieces” and “Without Regret”, the first being a decent vocally lead and softer radio friendly unit shifter, and the latter being a sickly-sweet song with nice melodies with a more friendly approach. None of this is a bad thing though! I quite like the ending track’s jangly guitar intro which echoes a similar sound to The Smith’s Johnny Marr, plus it had a nice gooey little ending that will make you trundle off with a little smile. Overall this is a very strong debut release with a whole host of different influences littered throughout its run time. Sometimes it’s hard to put your finger on some of the artists that the band are looking up to, but it’s a great mix of ideas and sounds that are pushed into the forefront with great production and a slick Modern Alternative Rock sound. Give it a listen when it comes out, you may even surprise yourself!

Keep an eye on the band’s Facebook page for the FREE release of the album, coming out in the next few weeks: www.facebook.com/fonzyandcompany/

Words: Mitchell Tennant

Booji Boys. I am instantly interested in checking out this Nova Scotia based band purely on the name alone, but don’t let the link to the infamous Devo character connection fool you. Remember Devo's "Hardcore” compilation of early demos that they released in the 90s? Well it's safe to say that this "Tube Reducer" album  is of much more HARDCORE origin than it is of the original Geek Rock pioneer's own output.  

First track "Contrition" kicks off with that awesome Lo-fi Garage Rock vibe, reminding me of a heavy version of US garage punk rockers such as Wavves and Jay Reatard. I’m a sucker for short sonic blasts of music, especially in this raw and more realistic format.  Second track "Calling" has that catchy Meat Puppets-esque Cow Punk guitar lick which crashes right into the full throttle of "Lucky Citizen" with its overall thrash and angular instrumentation. 

"Nothing Good" is fast and abrasive, have you started to notice a pattern on this album so far? I think it would be unfair to compare them to any other further artists at this point as I can hear bits and pieces of EVERYTHING as each second rolls by. I’m starting to get a Pop-Punk version of Siouxsie & The Banshees from this one (last one, I swear!). I bet the band are a force to be reckoned with in the live arena. Especially for their Dead Boys pastiche "Tube Reducer"’(argh, there I go again!). Imagine all  of those cool Post-Punk and underground bands you loved in the 80s/90s, wrapped in tin foil and being chewed up inside your speaker system.

“Life As A Fed”, “Cody Oi” and “Berlinetta” all rumble into the forefront inside their own audible attack position, making this Lo-fi release so far a short and sweet affair. Perfect for sound-tracking skateboard videos, surf montages and even for blasting out of your bedroom door, after you've argued with your parents about not taking the rubbish out. "Distorto" is my favourite so far, it captures that manic abstract spikiness I love from these compact Proto-Punk monstrosities. I wonder how they manage get their songs to sound like they've been pummelled in in a bar-room brawl?  "Herky Jerky" is equally as chaotic and fun as it is 27 seconds long.  

"Stevie Cool" and "Honeyboy" seem to have a bit more heart and emotion to them than the previous barrage of songs, but they’ve also kept "Nervous Idea" and "Moto-Hard’" for the attention grabbing ending track. Especially with all of the messed up brass noises coming and going in the latter track.

This is Canadian Punk Rock 101 with a kick-ass name and a kick your arse attitude. Please come to a venue near me soon, so I can witness the insanity first-hand!

^ BLOW YOU EAR DRUMS AWAY HERE ^

Words: Mitchell Tennant

It was one of those rare instances where a targeted advert on Facebook caught my attention and introduced me to the fantastic "Calva Louise". We all know what it's like, scrolling through the posts and stumbling across silly band names you've never heard of who have a new music video etc. but I accidentally let one of these play one day and I was instantly hooked!  The band are a 3-piece consisting of Vocalist/Guitarist Jess Allanic, bassist Alizon Taho and drummer Ben Parker who create an exciting blend of what I can only describe as Grunge meets Bubblegum Pop, it's brilliant! I had to trek down to Cardiff again last night to catch their support slot with my Dad, even though we had already seen them at their own headline Cardiff gig only 2 months prior.

The band opened their set at The Moon in Cardiff with "I'm Gonna Do Well", a great guitar driven track with its upbeat catchy chorus and intricate (but fast) guitar lines on the verses. Singer Jess' tuneful screams and harmonious backing from the rest of the band really makes their music stand-out to an avid new audience. The set comprises of about 80% of their debut album 'Rhinoceros' (which I highly recommend might I add) and 20% of new material that flows nicely between Jess' naive-like stage banter and the growl of the band's overall sound as a powerful unit. My favourite track "I Heard A Cry" is delivered with such excitement and carefree moxie that the crowd get whipped up into a frenzy of moshing and mini stage diving. Other wicked tracks off the debut album follow including "Outrageous", "Getting Closer" and an attention-grabbing rendition of their bilingual Spanish/English opus "No Hay".

The band used their cruelly short set on this cold Monday night in Cardiff to trial out a new song that I think is called "Sleeper" maybe? (don't quote me on that as I just peeked at the setlist before we left the venue). This song was a heavy styled rocker in the vein of Queens Of The Stone Age’s Desert Rock, melded together with the band's own unique grit and aptitude. If the name of the song is correct then this is definitely a 'sleeper' hit in the making! The band end their set with the currently unreleased song "Belicoso" which is catchy as hell and both times I've seen them, have had the audience so tightly in their grip at this point that there is no escape from the manic hysteria that they've generated throughout the venue. I think this band are destined for big things, I wore my Calva Louise t-shirt last night with pride, already looking forward to the next time they come around.

Words: Mitchell Tennant

It’s been 12 years since I first received a copy of “Blood, Sweat and Towers” from a friend for my 16th birthday, the debut album from the kick-ass (but contentious) Towers Of London. I can’t believe it has taken me this amount of time to finally see them perform live, not including the period of inactivity they had or the lack of Cardiff shows post 2006. I was so thrilled that they were coming to Cardiff, I made sure to get there early and right down the front for what I knew was going to be one hell of a show. Currently on a short 8-date UK tour as opening support for Massive Wagons (the less said the better) and Rock & Roll royalty The Wildhearts, the band are currently reliving the glory days by playing some great medium sized venues across the country. I was lucky to worm my way into The Tramshed last night to get up close and personal with one of the bands that shaped my formative years.

The band marched onto the stage and blasted straight into their popular 2007 hit “I’m A Rat” to eagerly warm up the crowd with their exciting Glam-Punk stylings. Even though it was the first song, this didn’t stop me shouting along, though most of the middle-aged men around me looked confused (or maybe even slightly inspired?). This then lead into a track off the first album “Beaujolais” which was amazing to hear live with all the extra grit and power behind it. There were a bunch of new songs from the newly invigorated group which I can honestly say were bloody awesome! I’m unsure of the names of the songs at the moment, as they are still pretty fresh, but I can’t wait to hear them on record soon enough. There were distinct slices of edgy Rock & Roll meets shout-along choruses on these new tracks, akin to bands such as The Skids or The Clash, which are fantastic new additions to their growing selection of songs.

“On A Noose” had the crowd totally transfixed with its catchy hooks and the pugnacious attitude of lead singer Donny Tourette. known for his past controversial antics, but to me one of the coolest frontmen to ever grace the Tramshed stage. I loved the quick-fire stomp of “Air Guitar” played in the middle of the set. I was there, screaming along to every word like a frustrated teenager once again! Guitarist ‘The Rev’ was on form tonight too, spitting beer in the air and rocking out like his life totally depended on it. It was great to see Snell smashing away at the kit alongside Tommy and Dirk holding the chaos of the band together with their tight performances.

The set ended with always the live favourite “Fuck It Up” which had people standing next to me also whipped up into a flurry of punk rock eagerness. It was wicked to see how much of an impact this song still has today. It has always been a balls-to-the-wall sonic attack but also a great bit of fun at the same time. A highlight for me was Donnie coming right up to me mid-song, acknowledging that I knew all the words and enjoying it as much as I was. Now is the time to catch the band live! After waiting all these years, it was worth making the effort to go see them play about 40 minutes down the road from me. I left straight after I saw them perform, excited to do this write up and just to let everyone know the Towers are back in action and better than ever!

Words: Mitchell Tennant 

"Scratched" is the new stand alone single from Swansea based Alt-Rock trio Zed Motel and it's totally worth stopping by for a listen! I've been watching the band develop over the past couple of years and it's safe to say they have now comfortably settled in to their particularly cool style of Rock and/or Roll. The track opens with its thick guitar punches, very reminiscent of the song "Robot Rock" by Daft Punk. This draws you in with intrigue, especially with the double harmony "Ooh-ooh-ooh" vocals from lead singer Katie Skilton and backing vocals from lead guitarist Chris Noir.

Katie's vocals soar over this solid Rock track with a smooth flow of distinct intricacy. It harks back to the early vocal styling of artists such as: The Runaways or Joan Jett & the Blackhearts, but with an almost White Stripes-eque instrumental backing. The sweet vocals bounce off of the nasty electrical guitar fuzz with a nice contrast. This song is one for drummer Jonathan Williams to shine on. Out of all the drummers I'm come across over the years, he most likely holds the crown for the most powerful that I have ever witnessed! You can feel each thump, thud and whack of the drum kit, which I’m sure was barely left standing after they finished the recording process. 

There is a Thrashy-Grunge feel to the chorus as well as its squealing guitar bends & licks from Chris Noir, giving the song a slick modern edge. The sound is still very dominant for a 3-piece that don’t utilise a bass guitarist I will admit. I went to see the band play in Swansea last week and they are currently playing from strength to strength at the moment. The whole set was an Alt-Rock wet dream for lovers of bands such as: Death From Above 1979, The Dead Weather and Queens Of The Stone Age. They've got a few gigs coming up soon, go and catch them while you can and of course check out this bitchin' new single below:

Check out the band’s Facebook page here: https://www.facebook.com/zedmotel/

You can also catch them live at the following places over the next couple of months:

11th May @ Jacs Music Venue | Aberdare

8th June @ The Bunkhouse | Swansea 

21st June @ The Salty Dog | Northwich 

Words: Mitchell Tennant

Just like the debut release from Bargoed based The Woodsman, I'll be keeping this review short and sweet. "The Cliff Amendment" EP is a machine gun fire of thrash-punk domination! The first track "Evil Klaus" is an aural assault on the ears, perfectly bombarding the listener with what's to follow for the next 13 minutes of vociferous trash. "United States Of Paranoia" has a nod to the activist grunt of Rage Against The Machine with a more commanding tone & violent approach. 

The third track "Hero Of The Work" is my choice cut from the EP so far with its catchy vocal refrain from singer Jody Davies's guttural howl. His voice, mirroring the sludgy Guitar-Bass hybrid fuzz from Luke Davies and crashing drum skirmish from drummer Ross Morton. With bands such as The Ramones, Misfits and Black Flag before them, the style of music doesn't deviate too far away from the similar-sounding onslaught of each track presented, but it works quite well for the style of music and attitude that they are forcefully trying to convey. 

"Voice Of The Voiceless" continues this trend of nasty obstreperous carnage that leads into bonus track "Complications" which is the closest you'll get to a sing-along song from this ear-splitting trio's turbulent efforts. I went to see them live at my local music venue a few days ago and I can honestly say that they hold the distinction for the loudest three-piece I have ever witnessed. If you like your Punk Rock fast and rowdy with quick-fire hardcore activation, then look no further than The Woodsman!

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Band's Facebook page: https://www.facebook.com/TheWoodsmanMusic/ 

Words: Mitchell Tennant

So, this is my first international review and boy, it's a good one! Black Market Hard-Tack are a band from St. Johns in Newfoundland, Canada who have been active on their respective local music scene over the years in many different guises (loud thrashy punk anyone?) but have currently settled into this awesome New Wave / Synth-Punk hybrid which I think works brilliantly. Around about this time last year band member 'Curtis Kilfoy' ventured over here, to the mystical land of Wales, to perform an impromptu collaboration gig with our own band 'Head Noise'. The show was beautifully chaotic but seeing as we shared some similarities in the music (we both use a keytar) overall it was a fantastic sentiment and it gave everyone back home a bit of excitement ahead of their new album release. Curtis had picked up a fair amount of 'foreign' fans on his travels so I'd like to give my thoughts on their new self-titled album below:

The album begins with the murky and heinous sounding “Dark Rooms” that forcefully injects its listener with harsh guitar lines and it's destructive buzzsaw synths. There are plenty of gothic overtones within the track that has a Castelvania-esque vibe to it. It contrasts greatly alongside it's distinct high vocals from lead singer Curtis and the wicked sing-speaking section from second vocalist Krissy Breen. The second song of the album is the disgustingly menacing sounding “Jumbo Video Castle of Horrors”. The song takes its source of inspiration from those bargain VHS rental stores that we used to have back in the 90s. Featuring that beautiful b-movie themed schlock and corn syrup based fake-blood that has been torn out of your stomach and dripped back into your earholes. This track is sonically challenging with its glitchy synths and yelping back & forth vocals, but it’s as brilliant as you'd expect it to be!

“Suffer Me Gladly” tiptoes its way into modern territory as the song is riddled with pretty keyboard lines and bendy electrical swells. It has an almost MGMT vibe about it, combining new electronic elements with a psychedelic stomp. The electronic drums sound like delirious handclaps as the reverbed vocals repeat the refrain 'Suffer' as though a tortured arcade machine's loading screen was depending on it. Oceanic waves of synth wash over into a fun dance beat on “Made Right Here” which has an almost Primal Scream vibe about it - just as they delved into the digital era. The song builds up into a notable groove which sounds like an evil 80s soundtrack. I especially like when the spy-like guitars creep in before those fuzzy killer guitar solos from guitarist Ryan Wade at the end. It’s riff city!

A pure rough 'n' tumble sea shanty entitled “You Can't Hurt My Feelings” wistfully sails in next as the song opens with some nice bright guitar chords. There is a playful edge to this song brought forward by its heartfelt lyrics and playful motornik beat. I like how the song kicks back in after the Theremin-like break which keeps the pacing tight and together. The next song “Remains Of The Bay” begins with its fart-y malfunctioning keyboards that roll straight into dual-attack vocals and some awesome bass pops from bassist Evan Vinny. It's a yuppie anthem with its ties to an alternative future. A little like the scene in ‘Back To The Future II’ when Biff takes over the town and turns it into a dismal paradise for the yuppie generation. I NEED to mention the vocal repeat of the word 'quiet' too. It reminds me of that episode of the ‘The Simpsons’ where Bart is a toddler and running around shouting ‘quiet, quiet, quiet!’ to a tired and frustrated Marge as he bonks himself on the head with pots and pans. Very funny stuff!

Now we're talking! “The Waps” hits you with a brick from the get-go. It's a thrashy-punk song with swears galore. The only way I can describe this song is that it sounds like someone threw a Sega Mega Drive into a washing machine. It's bloody great and one of my favourites of the entire album! From punk into post-punk, “I Wanna Hurt” is the dimension hopping track featuring a thudding beat and sci-fi overtones littered throughout. It reminds me a little of 'Daddy Cool' by Boney M too but I don’t know why. The lyric of 'burning my brain' is delectably intense and the lyrical content makes the song's protagonist sound like a sadomasochist on a deadlock holiday. The album ends with the track “Echo Of Your Footsteps” which is a lo-fi noise-fest from the start. I really like the cool ethereal chanting in the background of this song - it must be a highlight of their live set I'm sure! The meandering yelps and scratchy guitar/keyboard solos stick out to me as a slice of modern pop with an ugly edge. The lyrics repeat 'I am the echo' which is a fitting way to allow this album to fizzle out.

Overall, I think this is a BRILLIANT album and one of my favourites of the year so far. It captures a Retro 80s Electro-Punk aesthetic which I am a big fan of, but it also encapsulates melodic song writing with an original kick. The album is out tomorrow. If you are around the St. Johns area in Canada tomorrow night, go see them live at Cbtgs, dance and get your fix.

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Album out TOMORROW (14/07/18) at: https://bmht.bandcamp.com

Album launch show event: https://www.facebook.com/events/213451619283198/

Facebook page: https://www.facebook.com/BlackMarketHardTack/

Words: Mitchell Tennant

So today I'll be tackling the self-titled album by Twin Siblings. I've been looking forward to giving this new album a review as soon as I got my hands on an advance copy, as I've always been a fan of sole band member Jake Healy's other past projects She Ripped and New Cowboy Builders. So, it seems the mastermind behind the operation, stuffed his drum machine into his bag and abandoned his homeland for the bright lights of Bristol. With his cynical but somewhat patriotic outlook on the Welsh experience, these are the songs that are destined for the comedown after the afterparty. Its own moody afterglow.

The first track of the album “Gutter” opens with percussion. The tone is set with its robotic heartbeat pounding away like an old grandfather clock shoved in the corner after years of neglect. The alluring guitar line and despondent vocals stumble in, introducing us to the mortified Goth-Pop which is to follow. Spare us the gutter! First single, and one of my highlights from the album, “Shore” follows with its delicate guitar lines and hushed vocals. I've really enjoyed this song as it brings forward a poignant eerie mood which uses minor synth lines towards helping create its vast emotional soundscape. Continuing with this sombre theme, "Talk" has this sort of graveyard motif to it. I'm unsure how to explain it exactly, but it's droney and ghostly vocals aside the downbeat music gives off a feel of paranormal-esque dread. "Dacw" starts its drum loops sounding like what I can only describe as little fireworks going off, but the entire song is littered with melodic but sinister guitar lines. The flow of these songs could easily suit an Italian Horror movie soundtrack or a David Lynch short film, especially with the use of those indistinguishable vocal samples.

Hammering away at the guitar strings amidst a politeful chug, the song "Saturday" then gives us a certain ambience, using the repetitive drone of a siren as its weapon of choice. The song encompasses a barrage of personal lyrics which contain some dubious observations of the world outside to Jake, repeating the refrain "I always hate this, I hope you realise" until we hit a sudden stop. Now at the last two songs, we hit some aggressive guitar noodling on “Stood” that makes a great contrast to the soft and sultry vocal line, ambient middle section and short bursts of confused guitar. The tame parts of the song stick out for me the most as they build up a more emotional response to the listener. It's beautifully sparse in places. The final opus of the album is the dark and downtrodden “Chair”. I use the word opus because it's long. There are some passionate but personal lyrics incorporated into the track, themes of adulthood and coming to terms with growing up being in the forefront. About halfway through, a trudging drumbeat comes in with some interesting sound loops and samples until a deferential fade.

To conclude, Twin Siblings is an Art-Rock and Avant Garde experience. Its gloomy themes and excessive drawl constructs its own unique territory to challenge the listener. I didn't want to compare this to many other artists (as its a little unfair to say) but I think this would sit comfortably next to the very early years of Sonic Youth. I would also say that the sound of Twin Siblings is comparable to a very unhappy Durruti Column.

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Album out on CD and cassette TOMORROW (15/06/18) at: https://www.twinsiblings.bandcamp.com

The cassette tape edition can also be ordered early at KM records here: https://kmrecords.bigcartel.com/product/twin-siblings

And Facebook page: https://www.facebook.com/twinsibs/

Words: Mitchell Tennant

Saturday night I ventured up to my local music venue Jacs Aberdare to see a handful of original artists performing as part of our monthly independent promotional night called Blowout. I'll keep this review short and honest but seeing as the weekly in-house blogger was having the weekend off to work on a new book, I thought I'd give my thoughts on how Saturday night's show went.

I was a bit rushed about on Saturday evening, so sadly didn't get the opportunity to see the opening band 'The Tribeless' perform their set in full, but luckily, I was around to catch a song at their soundcheck. The band had a quite modern rock sound with great instrumentation and a powerful voice from the young lead singer. I was speaking to some of the members of the next band just as they finished their soundcheck and they told me that the band members of The Tribeless have been floating in and out of different bands over the past couple of years but have now finally found their comfortable niche playing their own upbeat rock music with heavy guitar riffs throughout.

The Tribeless in action

I was able to get to Jacs about halfway into the next band's set ‘Parkview UK’ and as soon as I walked into the room they created a tension that can only be described as enticing as they performed live on the busy stage. Their overall sound to me consisted of a wild mash-up between Pearl Jam, Billy Talent and Rage Against the Machine with those precise guitar lines, thunderous drums and high robust vocal bursts. The band were a very tight unit and were obviously enjoying themselves as much as the eager audience who were watching them attentively. They are a great bunch of guys and definitely ones to watch out for this year as they are starting to build up considerable traction around the South Wales area, but I can see why.

Parkview UK rocking out

The next band 'No Violet' were a Bristol based quartet that I dragged my 70-year-old father out to see as he really enjoyed one of their songs I showed him on Youtube the night before. It's always a risk putting out of town bands on higher up the bill for original music nights in the Valleys, but I think it worked out in the favour of the last two bands. No Violet were great, some of the songs had high intense moments which contrasted greatly with the soft and sweet melodic Pink Floyd-esque guitar lines darted throughout some of the songs. Lead singer Ellie's vocals are unique and came across like the glue holding the rest of the band together as they went off on their math-rock tangents and heavier musical segues. A big highlight for me was seeing the audience getting sucked into their little world, watching some older attendees smiling and clapping along after every song.

No Violet giving a fantastic performance

The final band of the evening were also Bristol based 'Sœur' (pronounced SIR) who really impressed me. They are a three-piece band fronted by two singers who share the lead vocal duties in good measure. They are a very melodic trio that control the dynamics of their songs with precision and create very catchy and memorable hooks. I thought I'd be funny at the beginning of their set, so I let off a balloon on the floor with 'Old Cow' written on it. Not for any reason at all as I just found it in my pocket leftover from a birthday party, but as soon as it hit the floor, lead guitarist/vocalist Anya stamped on it and it exploded. These girls do NOT take any shit it seems! The band seem to be doing very well in their native homeland but converted the people of Aberdare with ease when requesting them to move their seats closer to the front of the stage for that extra slice of ambience. Speaking of extra ambience, they also lit an incense burner at the front of the stage and it smelt great! Those little touches eh? I thought they were awesome and they picked up a handful of interested new fans after their set, myself included!

 Anya from Sœur letting it loose

All in all, it was a FANTASTIC night of new original music in Aberdare and I was lucky to be part of the evening as a casual observer. I walked away with 2 new CDs that have had repeat plays in the car since Saturday and I'm honestly looking forward to seeing all the bands performing live again somewhere down the line soon. 

You can keep an eye on the Blowout page for many more exciting upcoming events at Jacs Aberdare and beyond here: https://www.facebook.com/blowoutnights/

You can find all of the bands on Facebook here also:

The Tribless: https://www.facebook.com/thetribeless/

Parkview UK: https://www.facebook.com/parkviewuk/

No Violet: https://www.facebook.com/novioletuk/

Sœur: https://www.facebook.com/soeursoeursoeur/

Photography credit goes to:

Clint Thomas:  https://www.facebook.com/ClintThomasPhotography/