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  Updated Tue, 16 Oct 2018 10:00:32 +0000
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Merseyside music?s top 25 tracks of 2018 ? Getintothis staff picks
Category End of Year Review, On Track, Opinion, Beija Flo, Bill Nickson, Bill Ryder Jones, eyesore and the jinx, Liverpool music, Mary Millar, merseyside music best tracks, Monks, Pharoahe Rocher, Pizza Girl, shards, She drew the Gun, Strange Collective, The Fernweh, The Gear, The Mysterines, xamvolo

An intriguing year of Merseyside music finds new stars blossoming and a significant changing of the guard, Getintothis’ Peter Guy reflects as staff select the best tracks to emerge from the Liverpool region. For all the obstacles put in front of Liverpool musicians in the last 12 months it is a wonder they’ve not downed [...]

The post Merseyside music’s top 25 tracks of 2018 – Getintothis staff picks appeared first on Getintothis.


Merseyside music’s top 25 tracks of 2018

An intriguing year of Merseyside music finds new stars blossoming and a significant changing of the guard, Getintothis’ Peter Guy reflects as staff select the best tracks to emerge from the Liverpool region.

For all the obstacles put in front of Liverpool musicians in the last 12 months it is a wonder they’ve not downed tools or jumped in the fucking Mersey.

With a slew of independent venues shutting, various staples of festival circuit being axed and more importantly practice rooms closing faster than you can say ‘hey Signature Living why don’t you ruin another architectural gem,’ it’s been particularly hard going if you’re an aspiring musician on Merseyside.

With the likes of city centre practice room institution Crash set to close it’s doors – this marked yet another damning indictment for Culture in Liverpool. Young musicians – who predominantly work low paid jobs to fit around their artistry are struggling more than ever on Merseyside – and it’s frankly a wonder we’re consistently producing such sonic riches. But they go on – and we’re ever thankful.

And what struck us when compiling this list of 25 tracks was just how much the Merseyside music landscape has shifted this year.

The older guard are still present – the likes of Stealing Sheep are brewing a new album and have teased with a few tracks nestled on to their platforms; All We AreMugstar andEx-Easter Island Head continue to tour with consistent plaudits – and of course The Coral returned with a curio of a new record.

However, it’s very much a brand new set of artists that have been setting a new agenda around Liverpool.

Perhaps with no central hub – no Korova, no Kazimier, no Mello Mello – it has been left to the smaller Liverpool city centre basements of Sound on Duke Street and more recently the emerging Jacaranda Records Phase One on Seel Street, that this new breed of Scouse musicians are beginning to thrive.

Even more pertinent to the lack of practice rooms and live spaces giving brand new talent a shot is the rise of the bedroom producer and artists.

No fewer than 11 of the artists listed are solo and have self-produced their track – with the vast majority recording in their homes. Sure, lo-fi production is in vogue but we’d argue this is as much out of necessity than choice. And we’re not including the likes of Bill Ryder-Jones or XamVolo who are well accustomed already to self-production.

Another stark contrast to previous ‘best of‘ lists we’ve produced in recent years is the lack of any coherent communal thread coursing throughout Liverpool music.

This once again goes back to the lack of a central hub – however, for once, this perhaps has provided an upshot – as there’s such a wealth of diversity within the 25 tracks we’ve selected.

We chat to Anton Newcombe of the Brian Jonestown Massacre ahead of their UK tour

Unlike years gone by when the Wolstenholme Square area produced bands which while not sounding like each other were drenched in production and artistic coherence which oozed familial bonds.

These strands could be collected in waves attached to Deep Hedonia‘s DIY electronic crew, the Kazimier collective, or perhaps the Dan Croll finesse of that wave of LIPA graduates. In more recent years Scouse Trap, the psychedelic garage mayhem of Ohmns and co and the more traditional Mersey rock and roll of By The Sea seems to have subsided.

Indeed, you’d be hard pushed to find much of a common music thread in the list below. Instead, this is a collection of 25 tracks celebrating diversity, individualism, singularity, artistic integrity and most of all profound personal investment. We hope you enjoy it. – Peter Guy

Mary Miller at Studio 2

25. Mary MillerI Found Heaven

Mary Miller has slotted seamlessly into a blossoming Liverpool music scene, utilising cutting edge sounds and ethereal vocals that recall the titillatingly spacious work of Jamie XX and Frank Ocean without ever following anyone else’s footsteps.

Deeply rooted in her output, Mary’s a fondness for the sophisticated and refined, she finds space for cinematic strings, choral outbursts and raging horns that ensure her tracks glimmer with a great panache that celebrates both the contemporary and the retro.

In I Found Heaven, Miller finds a superb balance of entrancing vocals and sound, and most importantly, a divine danceability in her moonlight-disco endeavours. – Matthew Wood

Yank Scally

24. Yank ScallyYano Da

Teaching himself the art of synth pop with FruityLoops and a fiery passion for musical design, Yank Scally draws influence from 80’s video games, retro synth sounds and a splicing of the contradictory.

Yano Da is a journey of jaunty bass drums and kaleidoscopic synths that sweep, warp and transform throughout. His work seems to place precedence on exercising exceptional timing and treating the track as almost formulaic, each motif or layer arrives with intent and purpose and does not go unnoticed; there is no filler here, it’s as meticulous as it is down right catchy. Keep em coming. – Matthew Wood  

XamVolo at The GIT Award 2017 at Constellations

23. XamVoloSudden 

A man who puts his heart and neo-soul into everything he does, XamVolo is a role model with an exemplary work ethic, one that has shot him to international stardom, thanks to an Arena tour with Paloma Faith, in next to no time at all.

Sudden is the sound of him exercising more experimental forces, a thumping beat jaunts heavily in unison with ghostly vocal samples, creating a spiky rhythm for him to croon and let his voice spread its wings over.

And my, what a voice, spanning all scales effortlessly, harnessing an earthy ruggedness as well as a blissful falsetto, as long as he keeps a mic within reaching distance, he will forever be turning heads. – Matthew Wood 

Strange Collective

22. Strange CollectiveSo What 

Frenzied garage rockers Strange Collective have been churning out devilish, twisted tracks for some time now, garnering much praise via their explosive live shows and shrewd curation of all day events.

So What is their latest concoction and arrives trudging with intent despite frothing at the mouth as you’d imagine the personification of most of their tracks to do; brimming with thunderous drums, roaring energy and a handful of gallic shrugs. Aggressive yet carefree contemporary psychedelia for those who long to let their hair down. – Matthew Wood 


21. MonksSundried

Swimming in a sonic ocean, babe” gasps Monks front-man George Pomford on their understated yet refined single Sundried, and it feels much like you’re doing much the same as a listener.

Aquatic swathes of synth and guitar recall kaleidoscopic titans Pond and Tame Impala, while the quintet skillfully weave disco motifs into their punchy blend of psych rock officially branding this one as dance floor-worthy. The first fruits from a band we’re very much going along on the ride with. – Brett Angle

The Fernweh

20. The Fernweh Is This Man Bothering You

Second single release from the psych-folk-rock ensemble from March 2018 via those cats on Skeleton Key Records. Featuring guest vocalist Alessi Laurent-Marke, the spirit of the ’60?s is alive and well, helped along by the retro boys? own urban adventure video. 
Flutes and mellotrons combine with guitar to faithfully reproduce the gentle sounds of a bygone age without ever sounded dated – indeed, this is a band striding ever forward. – Jane Davies

The Mysterines finally unleash their debut single

19. The MysterinesHormone

The Mysterines are three of the most exciting teenagers to come out of Liverpool. Unlike most teens they have hardly any social media presence but this hasn’t stopped Lia Metcalfe (lead vocals and guitar) George Favager (bass) and Chrissy Moore (drums) from selling out their first ever gig and supporting the likes of The Big Moon and Miles Kane.

Masked in mystery, everyone is wondering “who are The Mysterines?” As they?ve started to create quite a buzz in the North West after releasing their debut single Hormone. It?s loud and it boasts a pure rock ‘n roll punch, ozzing guitar riffs and moody baselines – The Mysterines are 100% feisty energy. – Rebecca McGrath 

The Gear

18. The GearThere’s A Place 

The last 12 months hacve been a big year for The Gear. George Sephton played them over the PA at Anfield as Liverpool FC took to the field while they’ve played pretty much every first-rung venue on Merseyside including our very own Deep Cuts stage.

Then there’s this, their first single, which starts with a rapidly picked, Foals-style guitar riff overlaid with shimmering stabs and Sting-like vocals; it ends, after barely a moment’s respite, with a triumphant guitar solo and an assured crescendo. They’re currently plugging away diligently at the Liverpool gig circuit; keep your eyes peeled for these heads. – Matthew Eland


17. PizzagirlCarseat 

Synthtastic moment of teenage love’s triumph from the Pizzagirl. Although his obsessively kitsch styling is drowning in Technicolor kitsch and burdensome irony, this belies the fact there’s some real skill and taste going on in the music. This is proper songwriting and some great synth work.

The vocal melodies, sparse harmonies and logorrheic text are most worthy too – but OH! that vocal sound… If stardom truly beckons then there’s work to be done on those vocals – work that a flood of reverb is never going to compensate for. Fix that, and we might have a Scouse Pet Shop Boy on our hands. – Jono Podmore


16. SeatbeltsA World Drained of Wonder

There?s a very real risk Hooton Tennis Club?s James Madden and Ryan Murphy?s new project Seatbelts could well eclipse previous endeavours.

The best pop music gives us an exact glimpse of what is going on right here and now; when we hear The Beatles sing She Loves You we get a three minute snapshot of what it was like to be a teenager in 60’s Liverpool before the hippies came along and ruined everything. You can feel that sense of optimism and freedom, and naiveté, fifty odd years on. What we get with A World Drained of Wonder ? well, you can surmise from the title I guess, is our current times in a nutshell.

This song captures 2018 perfectly; so many are living in the grey shadows. Yet it is not a miserable, relentless trawl or yawn. This is no trudging whingefest. There?s an emotional beauty here; like a lovely, hopeful light full of colour. This is what exceptional songwriting is all about, kids. – Cath Bore

Baron Farg

15. Baron FargElectron Vortex Wave 

Liverpool?s Baron Farg is a deep-space electronics producer dealing in liquid IDM grooves. Often exploring ambient techno realms, Rob Alcock (Baron Farg) is inventive, textural and into deep-scale atmospherics.

Electron Wave Vortex bubbles with alien dub-bass swerves and lava-lamp beats, conjuring synth swells and shadowy acid pulses. This is a trip into the deepest aural trench, just don?t get the bends on your return. – Mike Stanton

She Drew The Gun’s Louisa Roach collects The GIT Award 2017

14.She Drew The GunResister

Resister is the first fruits from new album Revolution of Mind – and what a killer track it is.

Fuzzed-out with rumbling intent and pounding floor toms compete with dark chugs of guitar and symphonic synths as lead vocalist Louisa Roach is in fine form once again with her supremely versatile and already iconic vocal work. If you’ve not invested in that new album check this one for size and go from there. – Matthew Wood 

13. Pharoahe Rocher: 5

Enigmatic beat ninja, Pharoahe Rocher released his fourth self-releaed collection earlier this year; a catalogue of nine instrumentals titled Kpopcreep?/?Arthasmistakes… Make of the title what you will but this certainly isn’t K-Pop and if there is any mistakes, they sound intentional.

Vintage string samples coupled with super slick, glitchy beats make Pharoahe Rocher a prime contender for those study beats playlists that have swarmed the YouTube algorithms; they’re eclectic, addicting and Liverpool’s answer to a J Dilla incarnation if there every was one.

Selecting one track isn’t really fair as he needs to be heard as whole. He’s set to emerge from behind the impenetrable cloak of social media and treat us to a live performance at a Deep Cuts on Thursday November 8 at Jacaranda Phase One – you’d be a fool to miss it. – Matthew Wood  


12. ShardsReflections

The debut release from Shards comes in the form of the glittering, crystalline track Reflections. Alex McKenzie’s vocals float above lipid guitar and gentle drums to create a peaceful yet energising single.

It is the highlight of their live performance, the most assured track in their set, a band confident in the sound they’re emitting. If similar assurance can be justified for future releases, then we have a band that in style and substance have enough to accelerate towards national recognition. – Lewis Ridley 


11. SPQROr So I Say 

The opening track from the band?s recently released EP, The House That Doubt Built, kicks off as a definite marker as to what you?ll get from SPQR.

Spiky punk, but well layered sounds that range from the utterly berserk to the more nuanced qualities of Peter Harrison?s impressive vocal range. And all of this in one track. It?s the perfect advert for SPQR?s live shows – full of emotion, power and subtlety. – Peter Goodbody

Vryll Society

10. The Vryll SocietyAndrei Rublev

From The Vryll Society?s long awaited debut album Course Of The Satellite this has the atmospheric soundscapes in likeliness to Teardrop but with less psychedelia and more rich electric guitars.

Compared to other songs on the albumAndrei Rublev, has a lot more instrumentation floating along until around half way where the vocal motif bleeds into a more powerful, electric guitar solo surrounded by a wave of delicate synths making it the ultimate track to drift off into hazy oblivion. – Naomi Campbell


9. SPILTCatnip
Since destroying our senses with Acid Baby, Runcorn scuzz merchants SPILT have showed little signs of easing up. A tour with Fidlar earlier this year saw them somewhat overshadow their big brothers of noise and they seem set for something even bigger on the horizon.
In Catnip they’ve another statement of dark visceral intent – all spiky chrome guitars and ridiculous fuzz bass aligned to Mo Molineux‘s deranged howl. Ferocious and then some. – Peter Guy

Samurai Kip

8. Samurai KipMr Void

Mr Void is the second release from Samurai Kip – a six minute six second multi-layered, guitar jazz delight.

Starting with a gorgeous strings and synth arrangement reminiscing of hazy Style Council stuff until a young James Brown husky soul filled vocal locks in.

A free flowing storytelling in psychedelic loveliness ensues until the four and half minute mark where the tempo ups a notch or two with a backing double clap to accompany base and percussion to crescendo, and who doesn?t love a double clap swing in song? – Paul Fitzgerald

Bill Nickson

7. Bill NicksonWhat To Say 

Bill Nickson is Merseyside?s worst kept secret. The Wirral (it?s a very happening place these days) singer-songwriter shows prowess well beyond his years.

Released earlier in the summer, What to Say sees a massive leap in confidence despite him staying in his happy place, within the security boundaries of lo-fi bedroom recordings he?s become known for.

Nickson is still safely in that US 1990’s plaid shirt and scuffed trainers arena, it?s dreamy and nice, and while there?s no harm in that, what we?re hearing here a very exciting glimpse of how much further the young man could go. – Cath Bore

MC Nelson

6. MC NelsonBy The River

Self-taught rapper and producer MC Nelson embarked on his journey to become a hip hop musician when he was the ripe age of 9. His ambitions led him to join a Merseyside hip hop crew, and later delve into more experimental waters via his bedroom recordings.

Melding his sharp creativity with his black heritage, he aims to tell the ?untold? story of the UK?s oldest black population. By The River is a jaunty, jazz and psych-inflected track, Nelson?s expressive style finds its groove while he sits atop a raft and bathes among flowers and oranges. – Matthew Wood 

 Bill Ryder-Jones at the GIT Award 2017 in Constellations

5. Bill Ryder-JonesAnd Then There Was You 

This is the second track to be released from Bill Ryder-Jones?s fourth studio album Yawn available November 2.

The track builds from calm verses filled with Bill?s characteristic raspy voice through to a dramatic Cocteau Twins inspired chorus of guitar melodies and profound word play giving the song an extra dynamic edge.

The overall sombre tone imbues the lyrics with an affecting, emotional pull making for quite an extraordinary listen. – Sarah Pitman 

Forest Swords

4.Forest SwordsCrow

Crow is the first new fruits by Forest Swords since his 2017 album Compassion.

Sat alongside the likes of Dead Can DanceNeneh CherryVashti BunyanLaurel Halo, and Demdike Stare is the sole new composition of Matthew Barnes on his DJ Kicks 27-track compilation.

Drawing heavily on his characteristic tribal dub, Crow is a suitably malevolent march of squalling drones, fractured pulses and a cyclical claustrophobic beat.

Aligned to director Liam Young‘s Tomorrow?s Storeys video, Crow is another brutal, zombified thwack to the senses in the dense Forest Swords canon. – Peter Guy

Claire Welles

3. Claire WellesLeamington Spa 

Dark, brooding intimidation is the word here. Built over a simple, stark industrial drum line, and a circular, picked acoustic guitar, Leamington Spa is all twisted vocals, wide choral layers looping around each other, battling each other into submission.

It swirls and swoops to dizzying and delightful effect as it lifts and fades underneath a distinctly Syd Barrett flavoured melody. The central character is pained, only just clinging onto herself, she tries to escape the grim reality of being wronged. She resolves to seek revenge, if only in her mind. A song for the solitary dark hours, when things begin to make sense. – Paul Fitzgerald

Eyesore & the Jinx

2. Eyesore & The JinxGated Community 

Gated Community is a terrifying slice of psychobilly prophecy, a garage punk assault on a lead-lined Brexit bunker, a grimly fun-filled 3?01? epic.

If the single sounds like it was self-produced in a slaughterhouse, that?s because it was. Touch points like The Fall, Gun Club and Birthday Party are part of some unholy pentagram from which Eyesore and the Jinx are emerging with unstoppable, jaded fury. – Burt Backiraq

Beija Flo – our number one track of 2018 from Merseyside music

1. Beija FloMary

Beija Flo is a mystery and yet bears her entire soul. She, like many of the best pop stars, is a myriad of contradictions.

For it’s in these contradictions, contrasts of light and shade, enigma and emotional soul sharing – that we, the listener, are able to enter into her world – but just for a short while. On Mary – her stand out track to date – she allows us into this shadowy, often theatrical, usually playful yet remarkably dark netherworld for just two minutes and 29 seconds. It’s all she’ll allow but it’s all we need to be bowled over by a song of starkly brilliant balladic cataclysm.

Once inside, we’re in the grip of a primal force which comes from deep inside her very being. Foreboding, near-psychosis-induced vocals trade with minimal instrumentation that’s almost Birthday Party dueling with Bauhaus and Bat For Lashes.

The intensity of the crash chorus acts like a blunderbuss going off at a wedding where everyone at the altar is massacred and aligned to the superlative video it’s a mini pop masterpiece which will send you into delirium. And as the refrain suggests, that’s probably where she likes it. – Peter Guy

The post Merseyside music’s top 25 tracks of 2018 – Getintothis staff picks appeared first on Getintothis.

DUDS to play Liverpool?s Shipping Forecast as part of November UK tour
Category News, Duds, Duds Liverpool, Duds UK tour

As Manchester’s DUDS get set to hit the road with their new album Immediate, Getintothis’ Jane Davies brings news of a Shipping Forecast date. DUDS will play Liverpool’s Shipping Forecast on Wednesday November 7 as part of a UK tour. Back in January they cooked up a real storm at the Bagelry, suitably impressing our man on the [...]

The post DUDS to play Liverpool’s Shipping Forecast as part of November UK tour appeared first on Getintothis.

DUDS, Photo Credit: Joao Machado

DUDS (photo credit: Joao Machado)

As Manchester’s DUDS get set to hit the road with their new album ImmediateGetintothis’ Jane Davies brings news of a Shipping Forecast date.

DUDS will play Liverpool’s Shipping Forecast on Wednesday November 7 as part of a UK tour.

Back in January they cooked up a real storm at the Bagelry, suitably impressing our man on the scene with their relentlessly infectious and oddly addictive compositions of bite-sized post punk goodness.

Straddling the twin worlds of art rock and post punk the band draw inspiration from Fire Engines, A Certain Ratio and Devo, becoming the first UK-based band to find a home on John Dwyer‘s Castle Face label.

Since their formation in 2015, the line up has grown from four band members to seven with all those extra hands allowing for additional experimentation as well as the added dimensions of a brass section and even cow bells!

With their expanded formation it?s certainly going to be a tight squeeze onstage in the intimate confines of the Shipping Forecast for a band whose early career highlights has seen them provide support to the likes of Gang of Four, The Raincoats and Omni.

Jane Weaver Interview: Modern Kosmology and the power of the female muse

Back in May they toured France, Spain and Portugal and this summer has seen appearances at a plethora of festivals including Clamlines, Visions and Green Man.

Come down to the Shipping Forecast on November 7 to see and hear something completely different but with a retro feel.

Apparently their stage outfits are grey shirts with epaulettes, making them look like musical parcel delivery men. It?s certain they are going to deliver a lively set!

The post DUDS to play Liverpool’s Shipping Forecast as part of November UK tour appeared first on Getintothis.

Jane Weaver interview: Modern Kosmology and the power of the female muse
Category All Talk, Jane Weaver, Leaf, Liverpool, Loops in the Secret Society, Manchester, Modern Kosmology

Psych pop queen Jane Weaver promises us something a bit different this autumn at Leaf, so Getintothis? Cath Bore tries her darnedest to get the deets. Jane Weaver?s Modern Kosmology rode high in the best album lists of 2017. In the spring of this year she supported Public Service Broadcasting on their UK tour and she [...]

The post Jane Weaver interview: Modern Kosmology and the power of the female muse appeared first on Getintothis.


Jane Weaver (photo credit: Andy Votel)

Psych pop queen Jane Weaver promises us something a bit different this autumn at Leaf, so Getintothis? Cath Bore tries her darnedest to get the deets.

Jane Weaver?s Modern Kosmology rode high in the best album lists of 2017. In the spring of this year she supported Public Service Broadcasting on their UK tour and she spent this summer playing festivals here and around Europe ? Czecholzlovakia, Poland and Finland – with her band. Upon returning home, she announced details of a solo UK tour, which takes in Liverpool’s Leaf this week.

She took time out of rehearsals to talk about the album, her solo gigs and vintage musical instruments.

Getintothis: Modern Kosmology as a record hit a chord with so many people, maybe, because listening to it the songs take you elsewhere. In one interview you said a lot of not very nice things were happening in the world when you were writing it. So it provides escapism for you as an artist as well, maybe?

?It?s true, when I was writing it?social media is amazing, I?m not being negative about it but when you?re subjected to loads and loads of things, some you don?t want to see..if you?re like me you dwell on stuff. It becomes an imprint. The hideous things going on in the world which we need to know about?about wars and who is controlling what?but that said it can make you feel out of control because you can?t do anything about it.

‘You can try to be a better person, try and do your bit, try and do some charity work, provide funding, campaign?but it makes you feel these big things are happening and you?re quite small as a human being, out of control. Cosmology is the study of the universe and Modern Cosmology to me is the study of the history of your own universe and how you can use your energy for the positive. I used to try and make a change, that was what was happening at the time, in a semi philosophical way! (laughs). Politics as well, you wake up in the morning and it?s?arrgh, no, what?s this??

Getintothis: So you made a wonderful album instead?

?You can try and se your energy to do something creative. Maybe that will in turn make somebody feel happy.?

Getintothis: Your vocals are noticeably more up front on this album. Is that an increased confidence, or intentional?

?I think it was a creative decision and also I?ve always wanted to bury my vocals?nobody likes the sound of their own voice. I was..put more reverb on, put more echo?but I just decided?and fashion-wise as well, people doing new psychedelic music and that thing of putting space echo on everything. I can?t escape that I grew up with space rock music, Hawkind or ELO that sort of spacey sound I?ve always been attracted to.

‘So I guess I wanted to do something different to my previous albums. But I guess I?ll probably go back to a bit of space echo on the next one, I don?t know!?

Getintothis: You?re doing this solo show, and so far you?ve been pretty tight lipped on actual detail. One can?t help but be intrigued at how you will interpret the newer songs on your own.

?It?s become a bigger deal than I expected?I?ve not done solo gigs for ages. I?ve been with the band since 2013 or 14, and I used to do solo gigs before that with a guitar and a little record player and little bits and bobs pedals and a table of instruments, stuff onstage keyboards. It?s getting back to doing that but with visuals and a bigger operation. It?s going to sound a lot more professional.

‘There?s a lot more pre-production involved than going ahead with the band who are all rehearsed and whatnot. I?m using dubplates with backing tracks, playing looped stuff on top of that so I?m going to have to?really pull my finger out!?

Performing with the Immix Ensemble in Nov 2017

Getintothis: The tour Loops In The Secret Society is named after a song on Modern Kosmology, and it?s so interesting that Swedish feminist and artist Hilma af Klint served as a muse to you as you created the record. Throughout history women have been muses to men because of their beauty and desirability, and it?s refreshing to see a woman inspired so much by another woman.

?It?s not just her art, which is amazing, it?s her process. She?d have these notebooks with signs and symbols create these symbols which meant certain things she documented everything which is what they did in Victorian time, documented everything scientifically. I?m inspired by her process as a feminist as well there were a lot of abstract artists?being celebrated but because they were very sophisticated in their spin and PR? she should have been celebrated (while still alive).  

‘She used automatic painting and had a secret society of women who would come round and do séances, channeling energies from high above and she?d create art…and it gives me shivers thinking about it?she did these amazing pictures inspired by her spirit guide.?

Getintothis: Do you have any objections if the audience hold an impromptu séance on the night of your show, maybe? You never know what might happen?

?I think I?ve done a Ouija board once on a piece of A4 paper, with my mate and a bottle of nail polish and nothing happened. I?ve never been involved in any spiritualism…it?s all intriguing isn?t it. I wouldn?t have a problem with anyone trying to anything like that on the night. If anybody wants to get a table and try something.  We?ll see what happens!?

Liverpool?s Bold Street Coffee is back ? look inside as they talk future plans

Getintothis: You did a collaboration with Immix Ensemble, another special event, almost a year ago now.

?(It was) my dream gig at Liverpool Metropolitan Cathedral…because when I was nine or ten I used to go to a sewing club there and have sewing lessons and make all the banners around the cathedral hanging up.  (It was) with Sister Anthony who was an amazing nun, there was us and a few girls, the choir was there as well?and the poly(technic) students. It was great for nostalgic reasons (it?s a) special place in my heart.  

‘I?m a modernist fan anyway?there?s nowhere quite like it. I also worked in the (cathedral) bookshop briefly. It?s got a certain smell about it a certain feeling about it. Because it?s so?round, you do feel very involved, wherever you are in the building. You do feel very drawn in. It?s got an amazing resonance to it as well, the choir and the organ there is quite special.?

Getintothis:Tell me about that little omnichord in your press photo. There’s a cracking film on YouTube of you pottering about in a studio and you seemed to take great delight in experimenting with it.

?I only got that a few years ago. I wanted one for a while?I think they invented the omnichord because it?s so easy to play. You strum across it, it?s easy to operate. I?ve always wanted one because it?s got such a distinct sound.

‘I?m attracted to old instruments, analogue stuff, vintage stuff that have very distinctive sounds. I?ve got synths and keyboards but I?m not a mad collector. Some people are very obsessive about it I use them as tools to play with mess about with. I like nothing more than going in the studio and they?ve got a new old keyboard and I go, ?what does this do??, plugging into patch bays and twiddling all the knobs getting involved rather than?I?m not very good at working inside the box.

‘I do (sit in front of the computer) as part of mixing and remixing but when it comes to actually inventing music and writing I prefer to be physically hands in with stuff and more involved really. I don?t want to know what each button (does)?i just want to plug it in, and off I go! I like the spontaneity and the naivety and the creativity and not knowing too much about what each instrument does.? 

Jane Weaver at Bluedot 2017 (photo credit: Peter Goodbody)

Getintothis: Would it be shallow and superficial to ask about some of your stage outfits? As they really are quite wonderful.

?They?re designed by my friend Emma?we?ll have a few meetings, what do you think about this, what shall we do, incorporate ideas from the record?I?ve got a number of costumes that I?ve worn and I cycle them round.

‘She?s just done me some new ones actually for my solo tour which she said, ?you can use one of these at your festival gigs.? And I was, ?they?re so beautiful I am NOT getting changed in a portaloo with that! I?m saving it for special!??

Jane Weaver’s Loops In The Secret Society UK tour dates are:

October 17 – The Pleasance, Edinburgh
October 18 – Leaf, Liverpool
October 21 – Royal Exchange Theatre, Manchester
October 30 – City Varieties, Leeds
November 6 – Hackney Arts Centre, London
November 7 – Trinity Centre, Bristol
November 8 – Konedia, Brighton
November 9 – Arts Centre, Nottingham

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Half Man Half Biscuit: O2 Academy, Liverpool
Category Live reviews, All I Want For Christmas is a Dukla Prague Away Kit, Dukla Prague, Half Man Half Biscuit

Half Man Half Biscuit played Liverpool for the first time since 2005 and they’re national treasures and Peel favourites as Getintothis’ Matthew Eland reports. Thirteen years is a long time. Since Half Man Half Biscuit‘s last gig in Liverpool, they’ve released four albums and continued their sporadic touring presence up and down the country. They’ve even [...]

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Half Man Half Biscuit

Half Man Half Biscuit played Liverpool for the first time since 2005 and they’re national treasures and Peel favourites as Getintothis’ Matthew Eland reports.

Thirteen years is a long time.

Since Half Man Half Biscuit‘s last gig in Liverpool, they’ve released four albums and continued their sporadic touring presence up and down the country. They’ve even had a line-up change.

Gone is Ken (the first man in Wallasey to pronounce Quinoa correctly), and in comes Karl, whose greater skill on the guitar has given them something of a new lease of life. They’re more technically proficient, and previous gigs have seen them dust off a few lesser-played numbers. Even long-term Biscuit admirers had something unusual to look forward to at this, the closest they’ll get to a homecoming gig.

As such, there was a definite sense of occasion, and a different vibe to usual gigs. For one thing, it was packed, and some of the ever-presents (such as the King of Hi-Vis, usually resplendent in his titular garb) were more difficult to spot.

There were plenty of Dukla Prague away kits though and, as usual, lots of men. It’s the one ticket where the lads can be assured of a queue to the trough, no matter what time they go.

As a brief aside, we’ve always found it slightly sad that such a clever, witty band should only be thought of as a lad’s band. Perhaps it’s all the songs about football. Nevertheless, the amount of women in attendance was disproportionate to that of the men, and by the time the lights went down and the theme from Zulu came on over the PA there was a close, muggy atmosphere.

Never ones to be overawed by an atmosphere, the band came on and began the set with The Light at the End of the Tunnel (Is the Light of an Oncoming Train).

The ageless and evergreen Nigel Blackwell was centre stage as usual, looking splendid in a black shirt. To his left, the band’s secret weapon: the bulldoggish Neil Crossley, whose basslines always seem to be overlooked in any discussions of the band.

On Nigel‘s right was new signing Karl, a more boyish and animated presence than Ken (the first man in Wallasey to own a Dyson), who always cut a fragile and hesitant presence. At the back was drummer Carl Henry, who spent most of the gig in near darkness.

Second song was Fuckin’ ‘Ell! It’s Fred Titmuss, always a good yardstick by which to judge how warm a HMHB crowd is. On this occasion, the refrain of “Fucking hell! It’s Fred Titmuss!” was pleasingly hearty.

Half Man Half Biscuit ? top five wacky funster facts

With a back catalogue of over two hundred songs to choose from, the challenge for the band was to maintain a balanced set while also pleasing the constant listeners with a bit of variety.

It was evident how well the new material fits in. Renfield’s Afoot is an instant crowdpleaser, the lumbering diatribe about organised batwalks firing up into a punky punchline. Swerving the Checkatrade is one George Formby may have sang if he was from the leisure peninsula and Every Time a Bell Rings is as topical as it gets. “Who needs the library or the pub/when we’ve got your creative hub” steers as close as the lads have got to politics since A Country Practice (which sadly does not make an appearance tonight).

There’s time for some of their longer, more stream-of-consciousness tunes: Rock and Roll is Full of Bad Wools and National Shite Day. Sadly, the customary singalong of “There’s a man with a mullet going mad with a mallet in Millets” is a bit more muted than usual. These contrast well with the shorter numbers though, such as Running Order Squabble Fest and Vatican Broadside.

As usual, the caravan guitar comes out at the end (“It’s a pity the little door doesn’t open“) and the lads finish on Everything’s AOR. The two hours go too quickly. It’s unusual to see them play to such a big crowd, and one would hope that it reminds the group of the high regard in which they’re held around these parts; especially after recent comments from Nigel hinting that if Geoff Davis at Probe ever packed it in, then so would they.

The two hours go by in a flash. See you all again in 2031.

Images by Getintothis’ Keith Ainsworth

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Wrapped Up In Books #5: Anton Newcombe interview, ROOT-ed zine, Cath Barton talks novellas and more
Category All Talk, A. A. Milne, Anton Newcombe, Blitzed, Cath Barton, Chester Literature Festival, George Orwell, Hafiz Kabir, Hollie mcNish, James Hoare, Julian Barnes, Literature Wales Mentoring Scheme, Makina Books, MAX, Max Padilla, NaNoWriMo, National Novel Writing Month, New Welsh Review, Norman Ohler, Old Man Weather, Patrick Doyle, Philip K Dick, Quran, Rarebyte, Robyn Hitchcock, ROOT-ed, Tess Parks, The Brian Jonestown Massacre, The Century of the Self, The Plankton Collector, Veronica Falls

If you’ve ever wondered what it’s like to be a debut author or what Anton Newcombe thinks about reading then you’re in luck, because Getintothis’ Cath Bore has this and so much more, book talk galore.  From debut authors, indie publishers to ventures to get you writing, it’s a diverse mixed bag in this month’s Wrapped [...]

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Wrapped up in books

If you’ve ever wondered what it’s like to be a debut author or what Anton Newcombe thinks about reading then you’re in luck, because Getintothis’ Cath Bore has this and so much more, book talk galore. 

From debut authors, indie publishers to ventures to get you writing, it’s a diverse mixed bag in this month’s Wrapped Up in Books.

Cath Barton speaks about her debut novella The Bone Collector, the founders of new magazine ROOT-ed tell about their ambitions to make the art world and creative scene a more equal playing field for members of the BAME community.

It’s National Novel Writing Month in November, so we’ve got all the encouragement you need to start that novel you’ve been promising to write.

There’s music related book stuff too.

Back in March, former Veronica Falls‘ drummer Patrick Doyle died; the photographic book he was working on during his final months is finally published.

The Brian Jonestown Massacre this week play a show in Manchester. BJM‘s Anton Newcombe, who has a brand new album out with the tremendous Tess Parks, shares his reading habits.

ROOT-ed  founders Amber and Fauziya

ROOT-ed is a north west magazine for creative people of colour, the brainchild of Amber Akaunu and Fauziya Johnson. Issue 4 came out in September, but in addition to the publication itself, the two women put on events such a film screenings and workshops around Liverpool. They took time out of their busy schedules to tell all about the mag and what plans they have for it.

 Why did you see a need for ROOT-ed in the first place?

?We realised we were the only two people of colour in our Fine Art degree, and simultaneously the absence of (PoC) tutors? the North West also has a huge lack of diversity and representation within the arts sector. So where there is a gap and lack of support, there is also a need to fill it. So that is exactly what we did.?

You held a fundraiser at the Unity Theatre, why did you go the fundraiser route for your first issue rather than, say, start out as a photocopy then work up?

?As artists we both really take pride in the quality of our work and wanted the same for ROOT-ed Zine. We knew we wanted the zine to have a higher quality look to it than just photocopying. We also really love the physicality of a zine, and really wanted something to hold and distribute rather than just an online digital presence, which would have been much cheaper.

‘The fundraiser was also an excellent way to connect with the people and show off the crazy talent here in Liverpool. This is because our fundraiser, which was held in a respected institution?was a showing of what ROOT-ed does…We still do offer PDF versions of the zine which are cheaper than the physical copies.?

I?m interested in the name ROOT-ed and the tagline ?revolution of our time?. What aspect are you referring to? The format, or content ?or both? Or something else?  

?The format is not revolutionary really, a lot of zines are A5 with silk paper, however I guess that the content ?and the concept of it is quite revolutionary?we showcase creative people of colour from the North West, regardless of whether they have an arts education, or their arts experience in exhibiting… the people we show are the catalysts of the next age of art- the age where?you will be considered, respected and appreciated as much as your white counterparts…

‘The word revolution sounds a bit dramatic but it?s not, we really are trying to change the art industry for the better – inclusivity, acceptance… Not tokenism, and box ticking??

Wrapped Up In Books – read more here 

 How do you co-ordinate and balance your message through social media and print?

?We have a website, and we use that to publish our weekly articles that us (Fauziya and Amber) write about. We speak colloquially about our lives, experiences and do funny little reviews or something of similar sort.

‘In addition, we do a lot of workshops and meet ups regarding systemic issues such as?experiences of hair, and also about art in general…We believe our message is still filtered through into these events, as it?s asking the participants: what do you stand for as a person firstly, but also as a possible minority.?

What?s the ultimate goal for ROOT-ed?

?Full, genuine representation, platform, respect and work opportunities for currently underrepresented groups who are creative within the North West of the U.K.

‘Furthermore, for people of colour to feel safe within their creative institutions, social circles, and media representation. Of course we don?t want racism or discrimination of any kind, but that issue truly has to start from the people at the top, the government and media outlets. We would also love to open up a gallery or a centre where we can further what we do now and have a safe place for people of colour in which they will always be a priority.?

For more information on ROOT-ed and further events, go to their website.

Max by Patrick Doyle (Makina Books)

MAX by Patrick Doyle (Makina Books)

  • A collection of photography by Veronica Falls’ drummer

Patrick Doyle was most notably drummer for Veronica Falls, he also played with Correcto and The Royal We plus made solo music as Boys Forever and Basic Plumbing.

Two years ago, the musician moved from the UK to Los Angeles to start a new life with journalist and publicist Max Padilla, whom he later married. After his husband?s death in 2017, Scottish-born Doyle started to put together a photography book in tribute to him.

MAX is a vivid glimpse of the couple?s lives together, shot in and around the couple?s Silver Lake home by Doyle on 35mm analogue film.

Doyle?s eye for capturing the magic of everyday moments makes the images come alive with a sense of fun and warmth. While Doyle doesn?t appear in the photographs himself, there?s an unmistakable sense of his presence throughout, whether in Padilla?s sly smile, Doyle?s can of beer that?s been briefly abandoned to take a photograph, or the boner in Padilla?s boxer shorts.

After Patrick Doyle himself died a few months ago, London-based publisher Makina Books worked with Veronica Falls? bass player Marion Herbain to finish the publication.

The book celebrates gay intimacy and sexuality, and is a poignant look at the lives of two beloved people who are gone too soon. A portion of the proceeds will benefit the Los Angeles LGBT Center, who provided invaluable support to Doyle.

The Plankton Collector by Cath Barton (Rarebyte/New Welsh Review)

  • The Plankton Collector by Cath Barton (Rarebyte/New Welsh Review)

Cath Barton started writing fiction seven years ago. She originally intended to explore travel writing but caught the fiction bug upon winning a short story competition. Her stories and flash fiction have been published in a number of publications across the world. She is currently working on a collection of short stories and this month sees The Plankton Collector, her debut novel ? a novella, published.

What is a novella? It’s a short novel. The English word ?novella? is derived from the Italian novella, which means ?new?. The official word count for the form is up for discussion; it can vary.  George Orwell?s 1945 classic Animal Farm is a novella, its word count just under 30,000 words; Julian Barnes‘s The Sense of an Ending (2011) boasts 43,869. But a novella can contain as many as 70,000 words.

Cath, a mentee of the Literature Wales Mentoring Scheme 2018, told me all about her book and the positives of becoming a debut author in her sixties.

What The Plankton Collector about? 

?The Plankton Collector is the story of a family, all of whom carry a burden of sorrow. The eponymous Plankton Collector appears to each of them in a different guise, and helps them.?

Why did you write it?

?I wrote it for the same reason I write all my stories, to make sense of a senseless world. And particularly to look at the time of my childhood and adolescence, that sunny post-war time. Which of course was not all sunny…?

Why did you choose the novella format, or did it choose you?

?A friend in a local writing group said, unexpectedly, at the beginning of 2015 – ?Who?s going to write a novella this year?? I found my hand going up, though I hadn?t thought about it until that moment!?

How did your book deal come about?

?I submitted The Plankton Collector for the New Welsh Writing Awards AmeriCymru Prize for the Novella last year, and won! The prize included publication by New Welsh Review under their Rarebyte imprint.?

You said on Twitter that ?I could not have written it earlier – I had to live all this time? in relation to your book, what did you mean?

?I?m 68 and have decided to embrace early old age! I do think that it?s only now, in the last few years, that I have truly become myself. That doesn?t mean I no longer have anxieties, but I?m now ? at last! – largely content with who I am, and that?s the place from which I write. And I have a lot of experiences to draw on for my stories.

‘Incidentally, many women writers responded to the tweet in which I made that comment, saying they feel the same.?

What would your debut have been like if you?d written it, say, in your 20s or 30s?

?Embarrassingly bad, probably. I had an English tutor at University who encouraged his students to write stories as an alternative to essays. I cringe when I think of the work I submitted, not because it was badly written, but because I laid bare my feelings, unmediated. He taught me about the need to put my own experience into a different context.?

There?s much emphasis on younger debut novelists in terms of prizes, awards, bursaries and so forth How can we level the playing field for writers of all ages?

?Well, first of all, no age limits in competitions. (Author and journalist) Joanna Walsh does a lot to champion that. People debut at any age, and that?s particularly true for women. It wasn?t family responsibilities that held me back, but I know that is so for some women. So more sponsored opportunities for women to take some dedicated writing time would be great. Sponsored mentoring too, in person or online, there could be more of that.?

  • NaNoWriMo

November is National Novel Writing Month. On Nov 1, participants start to write the initial draft of a novel, to be completed by the month?s end. The target is 50k words over the 30 days, which works out as roughly 1,700 words per day.

NaNoWriMo is free to take part, there?s support online and in person, with meet ups in towns and cities all over the world. Sign up here and get writing!


Hollie McNish (photo credit: Peter Goodbody)

  • Chester Literature Festival takes place Nov 10 – Dec 1 and features poets Hollie McNish and Lemn Sissay, flash fiction expert Vanessa Gebbie and many more.
  • Wirral poet Eleanor Rees has a new collection due next year. The Well at Winter Solstice will be published by Salt.

  • Earlier this month, Topshop cancelled a partnership promoting an anthology of feminist writing Feminists Don?t Wear Pink (and other lies) edited by Scarlett Curtis at their London Oxford Street store. A pop-up shop and display was dismantled hours before the shop was due to open, shortly after Arcadia Group chairman Philip Green viewed it. The book is published by Penguin in partnership with UN charity Girl Up which provides girls and young women with leadership development training.
  • Wirral Bookfest runs throughout October. Events take place in libraries around the peninsula and include talks by Carys Bray, and crime author Martin Edwards. Full listings can be found here.
  • ROUGH TRADE BOOKS is a new publishing venture from Rough Trade Records. Launched over the summer, books and pamphlets feature writings from creatives, poets, musicians and artists. Notable names so far include Submarine author Joe Dunthorne, and poet Salena Godden.
Anton Newcombe (photo credit: Thomas Girard)

Anton Newcombe (photo credit: Thomas Girard)

  • Bookworm of the Month: Anton Newcombe, musician

What is your favourite book, and why?

?My favourite thing about life, is the fact that I don?t have to have a favourite anything? I can just discover things and enjoy them for what they are, to learn from them, or to let them provoke my mind into thinking about something unexpected?and hopefully this new experience fits nicely somewhere in my being and is useful in some way.?

You?ve been living in Berlin for some time now, has that shifted your reading habits? Are you enjoying more European books?

?I view myself as a being on earth and the geography isn’t so important… to be honest, I?ve been trying to be as productive as possible now that I?ve reached that certain point in my life where I get the distinct feeling that I may only have 20 years of that to work as hard as I do physically. I can?t imagine myself playing all the tracks including drums at 71 years of age.

 ‘I find that I read mostly on tour?I have a 5-year-old, Wolfgang, so my time is pretty limited and sleep precious.?

What are you reading at the moment, or what?s your most recent read?

?A friend gave me a silly book called Blitzed about drugs in Nazi Germany (by Norman Ohler).

‘That, and this Adam Curtis documentary The Century of the Self (manufacturing consent) that made me wonder what sort of magic is afoot at the moment in the use to make people so docile and ok with the clearly not ok.?

You gave an interview to Vice a couple of years back about how you were aiming to dive into more fiction. Has that happened? 

?Not really, I simply have not had the time? I would like to go backwards and read all the Philip K Dick and see how that feels.?

What non-fiction books do you enjoy the most, subject wise ? and why?

?I am very interested in the naughty esoteric books that the naughty boys study in their fraternal organisations and why they should feel the need to know all of that historical theology and / or practical magic among other things? it?s like, why does a captain of industry need to study the real Cabala or highest level Indian magic??

You?re a parent ? how do you encourage reading? 

?I?m fortunate that Wolfgang loves learning, we buy him books but unfortunately the outside world creeps in? on the one hand he?s taught himself German by watching cartoons, on the other hand he?s now in love with super heroes and all that pop culture vomit. 

‘I tried to start reading the A. A. Milne books because I enjoyed that stuff as a kid but the pace is a little slow for a 5 year old so I think I will wait a few more months to pick it back up?kids really value the effort and the closeness I think, but you have to find something that interests them.?

Why do you think sometimes boys are reluctant readers? Were you a reluctant reader as a child, and if so when/how did that change?

?Why are boys fascinated with spectator sports? Who knows? I was very lucky in that someone had given my mother loads of these strange books and encyclopaedias – things like American heritage that included paintings and pictures along with the history and I loved it all.?

What?s the first book you read, and what?s the first one you remember enjoying? What did you get out of both?

?I remember loving 1001 Nights (Arabian Nights) and even the concept that this clever woman would create these tales to keep the sultan from taking her life? in retrospect the book taught me that your imagination is a powerful weapon and it also sparked a lifelong interest in other cultures and world history.

‘For instance my favourite book actually might be a large collection of translations of poems by Hafiz Kabir? it?s interesting that many of his poems are listed as Hafiz – a hafiz is someone that can recite the Quran – it?s confusing, but he?s a Persian Sufi.?

Does reading influence your songwriting?

?I?ve been playing music with people for 40 years? I?m not sure that anything influences me?except the love of playing music… I remember watching Robyn Hitchcock play a few years back and listening to the words of Old Man Weather ? I think his way with words influenced me to think about my own process.?

Do you read your own press?

 ?When it comes to my attention yes? but I am over any of the excitement that one could hope to gain from seeing myself in print? I want to do great things with my life? taking stock of the past is meaningless to me.?

The Brian Jonestown Massacre?s latest album Something Else was released in June. Anton Newcombe‘s second collaborative album with Canadian singer and songwriter Tess Parks, eponymously titled, was released on Friday.

BJM tour the UK this month:

Oct 16 – Birmingham, O2 Academy
Oct 17 – Glasgow, Barrowlands
Oct 19 – Dublin, Academy
Oct 20 – Manchester Academy
Oct 21 – Newcastle, Institute
Oct 22 – Sheffield, Leadmill
Oct 23 – London, Forum

The post Wrapped Up In Books #5: Anton Newcombe interview, ROOT-ed zine, Cath Barton talks novellas and more appeared first on Getintothis.

Getintothis Album Club #30: Low, Jungle, Her?s and more
Category Albums, adwaith, albums, Alessi's Ark, Arcade Fire, Beatles, club, Jungle, Low, Manic Street Preachers, Michael Blythe, Mike Mogis, Monsters Exist, Orbital, Pigs Pigs Pigs Pigs Pigs Pigs Pigs, Pigs x7, psychedelic furs, review, Rilo Kiley, Saintseneca, She drew the Gun, Spiritualized, Spring King, The Coral, Villagers

The evenings are closing in so Getintothis digs out its big coat and looks forward to a busy Autumn full of gigs and albums, just to keep you on your toes. As the days get shorter, the wind whips ever colder onto our skin and Autumn prepares her sepia cloak to drape over the summer landscape (this [...]

The post Getintothis Album Club #30: Low, Jungle, Her’s and more appeared first on Getintothis.


Pigs Pigs Pigs Pigs Pigs Pigs Pigs

The evenings are closing in so Getintothis digs out its big coat and looks forward to a busy Autumn full of gigs and albums, just to keep you on your toes.

As the days get shorter, the wind whips ever colder onto our skin and Autumn prepares her sepia cloak to drape over the summer landscape (this is good stuff isn?t it?), there is one benefit of heading out of Summer and leaving behind its festivals and holidays. And that reason is ? gigs!

Autumn has long been a time for a rush of great gigs, all timed to fit in with the students returning to Uni, thus supplying a ready made audience in University towns, their pockets bursting with loans and money from parents.

Happily, this feeding frenzy isn?t just limited to students and the rest of us can join in the fun with unrestrained glee.

This Autumn alone offers us gigs from The Prodigy, Paul McCartney, Mogwai and The Orb.  And with great tours come great albums – there is after all no point touring unless you have some product to push, and so our album reviews below look at new blockbusters from Spiritualized, Orbital, Jungle and Low, as well as some more under the radar belters from Adwaith and Michael Blythe.

The glory days of the 90s meant that going to at least one gig a week was the norm for the Autumn, criss-crossing the city and making frequent runs into Manchester and beyond. Sometimes we managed two gigs in one night, such as running from Lush at the Mountford Hall to see Levitation at the Krazy House, taking full advantage of their excellent buy-one-get-one-free bar policy before the barely remembered taxi home.

At the Jacaranda?s recent 60th birthday celebrations, DJ Dave Haslam was asked if he thought gigs were in danger of becoming old hat, due to the onward march of technology and the Internet.  His response was a firm no ? a gig was something that could not be replaced by its virtual equivalent.

No amount of virtual reality or high definition streaming video could hope to recreate the full experience of going to a gig, of live music assaulting your senses and joining in the communal experience with friends and strangers. No recording, no matter how high, good or real seeming, could come close to that feeling when a really great gig hits you square in the chest and takes you beyond the confines of whatever venue you are in, raising your spirits and lifting you higher.

The Coral, She Drew The Gun, Cut Glass Kings: Mountford Hall, Liverpool

A great gig can be the best entertainment you will ever witness, it can be a life affirming/life changing thing and it can be rallying cry for like minded souls to come together. Being a frequent gig goer, you can come to recognise other faces who regularly show up at the same gigs as you, to start a network of friends who might be with you for many, many years to come.

So for all the pessimists who complain that there is nothing to look forward to after the August bank holiday, have a look at our gig guides or the posters that are displayed around town and join in. Go and see SOPHIE at 24 Kitchen Street, or The Vryll Society at The Academy or even pop along to one of our Deep Cuts nights and maybe discover your next favourite band.

It?s happening now and we fully recommend that you all join in and experience music as it was meant to be heard ? live and loud.

Adwaith: Melyn

Libertino Records

Discovering Adwaith these last twelve months has been a tantalizing tease of a journey. The delicious drip-drip of singles from the Welsh trio, it?s fair to say, has enticed a wider audience than Welsh language music is accustomed to outside the country itself. The reason for that is because ? and I don?t want to sound like a bloody sentimental hippie here, but if I have to, I jolly well will ? music can speak in a way mere words cannot.

Proudly feminist and political, Melyn (Welsh for yellow), their post punk-esque debut album, performed entirely in the Welsh language, is a brave unashamed trawl through a love of a wide expanse of genres ? from the confrontational punk of Lipstick Coch (Red Lipstick) to the reggae swagger of Colli Golwg.

There are three short, weird instrumentals to refresh the palate, and the gorgeous bold Fel iFod captured the imagination widely in 2018, becoming one of the most streamed Welsh language songs ever, capturing 300k listens. The magnificent Newid (Change) is a stirring call to arms.

The Manic Street Preachers? James Dean Bradfield remixed Gartref for Adwaith as he?s a fan of the band, but the album version of the song carries its own weight, in a slow, eerie build.

Adwaith have been called the future of Welsh music, the future of music full stop and all manner of wonderful things. One thing is for sure. They are so GOOD.

Each song on Melyn is inspiring and kicks ass, the dreamier carrying a punch of their own. whether post punk is an accurate way of describing Adwaith is up for discussion. I myself would argue there?s far more to Hollie Singer, Gwenllian Anthony and Heledd Owen?s songwriting chops than past eras long gone can boast of.

Y Diweddaraf is the first Welsh language song to be included on Spotify?s New Music Friday playlist a couple of weeks back. To give a wider sense of perspective on how ground breaking this is, consider that Spotify launched in the UK 10 years ago this month. Things are changing, people. And Adwaith are leading that change. Be part of it. Cath Bore


Her’s: Invitation to Her’s

Heist or Hit

The All Music Guide to Electronica (2003) defines dream pop as an atmospheric subgenre of alternative rock that relies on sonic textures as much as melody. Adopted Scousers, Her?s, could be described as wearing this definition like a badge of honour. Their official debut album, Invitation To Her?s, serves up multiple layers of wistful introspection, and sees the duo add further substance to their already acknowledged skill in said dream pop landscape.

From the opener, Harvey, which is for all intent and purpose, a paean to the James Stewart film of the same name, Cumbrian, Stephen Fitzpatrick and Norwegian, Audun Laading, introduce us to their world of melancholia, sex workers and boy racers.

Summoning up the ghosts of 80s intelligent pop purveyors such as Scritti Politti, Aztec Camera and Prefab Sprout, Her?s seamlessly weave a melange of funk-driven bass lines, lush guitar melodies and swooping vocal delivery.

On Low Beam, Fitzpatrick voices the gentle side of the biker in the gang, ‘Keeping my lights on soft beam, thinking of different thrills’, using bold baritone vocals to a backdrop of sparkling synths and a driving drum beat. In fact, the drum machine could almost be the third member of the band, so much is it in use. And on the album as a whole, it?s not a bad thing at all.

A sex line operator on Love On The Line (Call Now) coos, ‘Buttercup, call me up, Saturday night?.I?ll be waiting on the end of the line’, showing how a seedy subject can be infused with the musical equivalent of Angel Delight.

Invitation To Her?s is cheeky, playful and wistful in equal measures. Merging doo- wop, shimmering melodies, skittish riffs, and enough hooks to hang a wardrobe of parkas on, Her?s have further cemented their reputation of today?s equivalent of perfect student bedsit connoisseurs.  Mark Flannery

Jungle: For Ever

XL Recordings

For Jungle mainstays Tom McFarland and Josh Lloyd-Watson, LA opened its arms following relationship breakdowns for the pair. The city’s summery vibes juxtaposed with mournful heartache, are a constant on their follow up to 2014’s eponymous debut album, which brought them much acclaim.

Opener, Smile, with it’s rhythmic drum beat, and instantly recognisable falsetto delivery, immediately let’s us know that a yearning for contentment drives the autobiographical feel of the record…’when you smile, the world feels a little better’.

The West Coast forms the backdrop for much of the band’s lyrical content. From Heavy, California, with its sun-drenched vibes, contrasting with the sense of lost love, with its ‘just hold me, I’m a lonely heart’ refrain, to House In LA, with its sweeping strings and languorous instrumentation. However, it doesn’t completely grab the listener throughout.

Mama Oh No and Give Over are Bontempi-esque fillers, which can be thoroughly glossed over, and (More and More) It Ain’t Easy sounds like they started getting bored with the whole shebang.

That said, there’s enough here to satisfy those who enjoyed their debut offering. Slinky basslines, slick disco grooves and electronic lush string arrangements pepper For Ever, and baring one’s soul in such a way, definitely has its upsides.  Mark Flannery

Low: Double Negative

Sub Pop

After The Invisible Way and Sixes and Ones I did fear that Low were on the slow decline, merely re-treading old ground. When one of your favourite bands is seemingly on the wane, it?s a difficult thing to contemplate. The fears quickly recede where Low?s new album, Double Negative, is concerned.

It?s why they are in the pantheon of modern age prominence. Alan Sparhawk and Mimi Parker enhance the notion that they are indie rock?s steady hand. As husband and wife, as parents, as a musical group, for years they?ve appeared unflustered. Until now.

Double Negative is Low at their most pissed off. Low in a complete shit-storm and while their listeners have spent over twenty-five years seeking a safe haven in their music, it seems that Low themselves have jacked it in and joined us in the mire. While far removed from Low?s signature slow-core blueprint, Double Negative is still very much a Low album. With the assistance of BJ Burton (Bon Iver), this could well be one of the greatest re-sets in modern times.

From the first twenty seconds of Quorum, it?s clear that their template has been thrown at the wall, put through the mincer, and the results are a reassembled warped combination of skewed vocals, scarred guitar and post-apocalyptic atmospherics. While Dancing in Blood is Parker?s finest moment on the album, Steve Garrington?s ingenuity from bassist to multi-instrumentalist shouldn?t be understated. His overall performance is integral to the results on Double Negative.

The album moves from sleepy town narratives to something larger in the way of Disarray. The lead single and closing track. Its chaotic themes illuminate our times and along with the sprawling twists and turns throughout Double Negative, it?s hardly surprising that this track concludes the album.

With Double Negative never have this band sounded so revitalised. Sure, Drums and Guns was seen as the black sheep of Low?s body-of-work at the time, however this album has a dark political undercurrent which in many ways is as equally uncharted territory for Duluth?s finest band. It?s a terrain that could swiftly become their natural habitat.  Simon Kirk

Michael Blyth & the Wild Braid: Indigo Train

Aviator Music

Michael Blyth knows the road. It became his home for a while. It?s as in him as he was once immersed in it. For him, the road led to the blues, to the bottle, prison and eventually to redemption and recovery. The raw pain and joy of that journey is held in this bleak, cutting emotion of where Michael Blyth has been and where he?s now found himself is evident here. There?s a darkness to many of the moments on this album, as well as the reflections of a former addict happy with the life he?s found, or rather, of the life that?s found him.

In the late 1970s, Blyth cut himself free from his Brighton-based band, over musical differences. He ran away to follow his one true love to America. The band ran away to become The Psychedelic Furs.

When his quest for love foundered, he found himself in California, lost, alone and with no idea what to do next. He turned, almost inevitably to the bottle, and that was where he remained for a couple of decades. Many attempts to resurrect his music failed, as his addiction took a hold. The demons were winning. But he began to use the weight, the turmoil and the agony of his chaotic lifestyle as a force for change. He wrote. He kept on writing. ‘I never stopped writing, motivated along the way by the pain and joy, to turn lead into gold.’

In 1994, he returned to Britain, landing in West London, where he began learning psychotherapy and working as a counsellor in a rehab. Fate and synchronicity led him to the kindred spirit of Aviator?s Pete Wilkinson (formerly of Shack, Cast and the Bunnymen) and Mark Neary, bass guitarist, pedal steel and producer (Adele, Van Morrison, Noel Gallagher). Together they brought this collection of dusty alt-country blues tales together. The raw emotion in Blyth?s cracked and scratched voice, is given plenty of free space to move, to tell these stories. The memories, fears, and hopes of a past life.

From the cello and flute laden country folk of When The Mist Comes Down, both inviting and familiar, to the simple, warm, honest love song When Day Is Done, Michael Blyth?s gift for telling tales from the road he?s loved and lived is unmistakable. Lyrically emotive and musically evocative, a haunting, melancholic beauty holds this wonderful album together.  Paul Fitzgerald

Orbital: Monsters Exist


Orbital?s story is not without its twists and turns. The Hartnoll brothers? debut single, Chime, was recorded in a cupboard using their dad?s cassette deck and saw them ride the crest of the Dance/Acid House wave, appearing on Top of the Pops as fresh faced youngsters, having to take time off from a job at the local pizza place to mime play their record to millions of people.

Then came a string of great albums and a legendary appearance at Glastonbury that still regularly crops up in lists of the best gigs of all time, before sadly calling it a day in 2004. They got back together in 2008 only to split up again in 2012.

This then represents their third time around the block. So what can we expect from a reformed band who had been there and done that before the old millennium ended? The answer: one of their best albums to date and one of 2018?s best.

Monsters Exist aptly starts with the title track, which comes across as an anthemic, atmospheric opener. Melodramatic keyboards and beats form an orchestral epic, sounding like the soundtrack to a sci-fi noir scene. The momentum built so far is spoilt a little by track two, Hoo Hoo Ha Ha, which sounds to a little throw away or cheesy to these ears. Balance is soon restored however, as The Raid mixes apocalyptic dialogue with more dramatic soundscapes.

Single P.H.U.K. showcases Orbital?s beeps and bleeps side nicely. As men of a certain age, Orbital seem to be aiming their music more at the head than the feet on Monsters Exist, and as such have crafted an album of what we used to call ?intelligent dance music?. Tracks such as Buried Deep Within may not immediately fill a dance floor, but they are nonetheless superb pieces of music.

Monsters Exist finishes with There Will Come a Time, which features a lengthy talk from Brian Cox that focuses on our own deaths and the following deaths of Earth, our solar system and the universe itself. The effect of this with Orbital?s expansive and atmospheric music is oddly comforting.

Cleverly put together and expertly executed, this is Orbital in peak form.  Banjo

Pigs Pigs Pigs Pigs Pigs Pigs Pigs: King of Cowards

Rocket Recordings

It all started at Psych Fest last year. We?d heard good things about this lot and figured they were worth checking out over in District. And we weren?t the only ones. There was a one out one in policy at the door well before they were due on stage.

What followed was one of the most extraordinary gigs we have ever seen. Mild mannered Matt Baty, the band?s lead, was dressed in a black jacket, black trousers and a white shirt as though he was going out for the night for a couple of Mojitos before heading off to swallow a fillet steak, cooked medium rare, somewhere upmarket. In Shoreditch, perhaps.

He was the essence of politeness to the sound guy, thanking him many times and being appreciative. He was concerned about the 3 second reverb on his vocals he?d asked for wasn?t coming through. ‘Don?t worry’, said the sound guy, ‘It?ll happen’. ‘Thank you very much’, said Matt.

And then the onslaught started. Baty kicked off a gig that will be seared into the mind for a Very Long Time as the band played the three songs that comprise debut album Feed The Rats in order and with a passion and an energy that will ever be one of those ‘were you there?’ moments.

Baty?s transformation from the smart gent wearing a nice suit to the crazed topless screaming maniac, microphone swallowing nutter, was the most amazing thing to see. It was impossible to understand how this seemingly random mayhem could be repeated either before or after. It was nuts.

But here we are and the band has a second album, King of Cowards. It?s calmed them down a tad, perhaps. It?s an easier listen than the earlier stuff. They even got a play on Radio 6 by Mary Ann Hobbs, with Cake of Light being perhaps one of the more radio friendly tracks on the album, if only because it comes in at less than four minutes.

Maybe that?s required for the exposure, but it?s the eight minutes plus of the other songs on the album that grab the best. The fact this band dares to explore the various avenues available ? the psych, the punk, the heavy rock ? and that they refuse to be just like anything else you?ve heard marks them out as special.  Peter Goodbody

  • Pigs x 7 play Liverpool?s Shipping Forecast on November 30


Saintseneca: Pillar of Na

ANTI- Records

Ohio?s Saintseneca bring us their fourth full length LP, Pillar of Na. Released on ANTI- Records, it?s the brainchild of frontman Zac Little, and produced by Bright Eyes? Mike Mogis who?s other notable production workings include First Aid Kit, Alessi?s Arc, and Rilo Kiley.

From the intro Circle Hymn you?d be forgiven in thinking it?s the latest instalment from Alt-J, a 47-second intriguing interlude of a preaching harmony, overlaid by a penetrating poetic lead vocal. Although comparisons to others are put to bed from this point, a creative convolution carves through the soul of the record bearing it difficult to categorise in the best possible way. The album takes several listens to fathom, each bringing its own idiosyncrasies and emotion.

The genre crossing throughout the record dips into alt-folk, art-rock, elements of Celtic renaissance, symphonic classical, and just really good pop. This, intertwined with clever wordplay, and some hauntingly lyrical songwriting is captivating in each of the 10 tracks.

In its entirety, Pillar of Na has the attributes of being one of the most multi-layered, and multi-dimensional albums in a long while. The intricate tonalities, genre, and time-looping textural ambiguity are complex yet compelling which makes the record work so well.

Highlights include; Ladder to the Sun, evocatively written with jangly guitar riffs. Denarius is a modern classical gem with heartbreaking strings arrangements. Frostbiter is the stand out track of the album, a cinematic aura bleeds through the structured reminiscing writing, with a stunning falsetto chorus and slicing synths.  Kevin Barrett

She Drew the GunRevolution of Mind

Skeleton Key Records

GIT Award Winners 2017, She Drew the Gun return with the follow up to 2016?s Memories of a Distant Future with Revolution of Mind. Produced by The Coral?s James Skelly at Parr Street Studios, this second offering offers their trusted recipe of a fair smattering of ballads contrasted with some sturdy protest songs.

Not surprisingly we find SDTG talking about a revolution .  Of course we would expect nothing less from them. This time it?s about a Revolution of the Mind rather than taking to the streets and when we are told to  ?Arm yourself?, it?s purely in the metaphorical  sense.

Resister, the first single from the album which has already occupied a spot on the Radio 6 playlist  demonstrates a shift in tempo in that it absolutely races along and with a heavier keyboard contribution than we?re accustomed to which is also equally apparent in Wolf and Bird.  Something for the Pain opens with a decidedly Merseybeat  , 60s feel,  which is not unusual since lead singer, Louisa Roach is a big Beatles fan.

Between Stars is   an effective mix of spoken and sung word jangles along with an extra helping of fuzzy guitar to boot.  The title track will be familiar to anyone who has seen the band play live in the past 12 months and is fashioned in the form of spoken word, much in the same vein as the highly acclaimed Poem from their first album.

Paradise reminiscent of Pit Pony as it rocks along is contrasted by the more suitably sedate Dopamine.  A remixed, re-worked  version of Resistor races in as Resistor Reprise and the acoustic ballad Human calls the album to a gentle close.

Second albums can be notoriously tricky, but She Drew the Gun have taken the firm foundations of first album to build something equally as impressive and possibly more appealing to the commercial ear.  Jane Davies

Spiritualized:  And Nothing Hurt

Bella Union

It?s been a long six years since the last release from Jason Pierce, aka J. Spaceman. 2012?s Sweet Heart Sweet Light marked a somewhat return to vibrant form. The lengthy break and recent teasing in interviews that this may be his last, ensures the new album arrives somewhat under anxious and intrepid scrutiny. Will it be worthy of its place among the catalogue, or a swan song footnote?

Well, from lead single I?m Your Man it?s clear the key elements remain but with a new sense of maturity, comfortably fitting into the well-worn glove of acceptance and appreciation. This theme continues through the nine track offering. There?s strings a-plenty, swooning gospel backing and driving guitars underpinning the elaborate and intrinsically woven tapestry which is the Spiritualized sound.

Opening with simple ukulele chords dancing around a determined declaration of love. ?I?d like to dream you up a perfect miracle? is the opening statement. Here y?go Jason take this canvas from our hands and paint us a picture .

By the time you reach third track Here It Comes (The Road) Let?s Go positivity is written all over our faces. It?s impossible to resist. The choir floats away into a saxophone playing us out in perfect timing.

Fans need not worry, those all to familiar themes still weigh heavy on Spaceman?s mind: love, loss, self-deprecation, mortality and eternal life. The differences this time around – there?s the absence of desperation and pleading that?s been there since the breakthrough Ladies and Gentlemen… the raw heartache echoes but no longer dictates.

The comfortable slippers of gratitude, contentment and a realisation of the preciousness of fragility is ultimately what?s celebrated here. On Let?s Dance Spaceman concurs, ?Although I?m tired of sitting here falling for you, there?s better things y?know a lonely boy and girl can do.? Of course, in the most beautifully decorated way that only Pierce knows.

The final coda of the album, its dying embers come with a promise, ?If I could hold it down, I?ll sail on through for you.? Spaceman, keep on loving, keep on feeling, the world needs to hear emotion that?s delicately brittle, heart-yearningly beautiful.  Howard Doupé 

Spring King: A Better Life


The Manchester quartet?s 2016 opening salvo Tell Me If You Like To went somewhat under the radar, due to the fact it felt more like a collection of (sadly under-performing) singles looking for a home rather than a polished, rounded debut album.

This second album however, benefits from the band writing the material together rather than just drummer/vocalist Tarek Musa (the band originally began as very much his solo project) and this, coupled with the 12 months they took to make it, leads to a far more cohesive piece of work.

Lead singles Animal and Us Vs Them are a perfect segue from the first album with large riffs, layered vocals and catchy, singalong-at-a-festival  choruses very much still the order of the day, their mission to have that elusive ?big hit single? that will take them onto the next level shows no sign of abating.

It rolls on at a relentless pace, but as a band Spring King are also not afraid to accentuate their pop instincts, indeed The Hum is almost reminiscent of Alphabeat.

The sprightly melodies of Let?s Drink are very much at odds with its downbeat lyrics, and although the pace starts to drop in the second half, the bluster turns into well-rounded, more crafted songs, the harmonies very much at the fore on both Have You Ever Looked Up Into The Sky? and Paranoid, whilst on the hypnotic closer Thunder they stray almost into Arcade Fire territory.

Maybe a couple of tracks too long and perhaps not the giant leap forward that some of their contemporaries have made on their second efforts, but still a massive step in the right direction.  Steve Doherty

Villagers: The Art of Pretending to Swim


On The Art Of Pretending To Swim, Villagers? fourth album, the band dip their toes into deeper, darker waters. The album bolsters singer and songwriter Conor O?Brien?s nu-folk writing style with a much more electronic feel than the band is used to. Synth glitches, sampled vocals, and background noise feature prominently across all tracks. Despite maybe being one of the darkest Villagers albums, it is certainly the grooviest, with strong pulsing drumbeats forming the backbone of most songs.

We?re eased into the new sound with album opener, Again, through the use of a sampled and pitch-shifted O?Brien answering his own melody. The song also features one of three synth solos across the whole nine-track album, which is certainly new ground for a band that strongly relied on not much more than a finger-picked guitar line and a catchy melody in the past. Album track Love Came With All That It Brings features Moby-esque gospel samples and rhythmic sax parts, making it a standout track on the album, and definitely one to listen to to get a sense of how Villagers have progressed.

It?s important to note that the new sound certainly doesn?t come at a detriment to the songmanship of Villagers. Both singles, A Trick Of The Light and Fool, are some of the strongest that O?Brien has written. A Trick of the Light particularly manages to capture the plaintive pop of Villagers past, while still maintaining a groove. Fool is the closest we get to a Villagers-by-numbers hit. We still get the emotionally reaching, earnest melody in the bridge that O?Brien does so well, which will surely be a singalong moment live.

With songs often ending as if they?ve glitched out, or we?ve slipped into a remix of the very song we were just listening to, it?s clear that Villagers have moved into a new chapter, and it?s a strong one.  Will Truby

The post Getintothis Album Club #30: Low, Jungle, Her’s and more appeared first on Getintothis.

Liverpool music gig guide: Jack White, SOPHIE, The Orb, Our Girl and much more
Category Gig Guides, 02 academy Liverpool, 24 Kitchen St, 81 Renshaw St, aiming for enrike, arts club, Bugzy Malone, Caro Emerald, Echo Arena, Go-Kart Mozart, hangar34, Hermitage Green, Invisible Wind Factory, Jack White, Jane Weaver, Jinkx Monsoon, Lisa O'Neill, Liverpool Philharmonic, MOURN, Our Girl, Sophie, Sound Food and Drink, The Orb, The Vyrll Society, viex farka toure, Warmduscher, We are Scientists

With the summer festival circuit done and dusted, Getintothis’ Simon Kirk looks ahead of a week jam-packed with local shows. No sun, no football (Internationals don’t count), the only thing that salvaged the weekend was The Coral! In any case, with the summer festivals now a faded memory, the good news is that gig guides all [...]

The post Liverpool music gig guide: Jack White, SOPHIE, The Orb, Our Girl and much more appeared first on Getintothis.


Lisa O’Neill

With the summer festival circuit done and dusted, Getintothis’ Simon Kirk looks ahead of a week jam-packed with local shows.

No sun, no football (Internationals don’t count), the only thing that salvaged the weekend was The Coral!

In any case, with the summer festivals now a faded memory, the good news is that gig guides all over the country are brimming with brilliant acts and Liverpool is no different. There are a slew of artists making their way to Merseyside in the coming weeks.

The weather may get you down, but don?t succumb to getting home from work, putting on the comfs and watching shitty tele’. That doesn?t do anyone any good, does it? Get out, go for a pint, maybe break the bank and get some food, too. Oh, and of course, see a band! Anything below tickle your fancy?



Warmduscher: The Shipping Forecast, Tuesday October 16

Fat White Family? Paranoid London? Insecure Men? If you like these three, then you’ll like Warmduscher, a super-group comprising of members from all three aforementioned acts.

Have no fear, it’s more weirdness, this time in a restless off-kilter garage soul kind-of-way. It should be all just as mental in the live arena, so get yourself down to The Shipping Forecast and see the band play some ditties off their new record, Whale City.

Jane Weaver (photo credit: Peter Goodbody)

Jane Weaver: Leaf on Bold St, Thursday October 18.

Jane Weaver will be sauntering around Bold St, playing upstairs in the cozy surroundings of Leaf.

The show is billed as a ‘Loops in the Secret Society’ show and having seen Weaver a couple of times, her shows are always different and this one probably won?t buck that trend. This one is advertised for an 8 p.m. start folks, so get there early.

The Orb – pic by Graham Morrison, from artist’s Facebook page

The Orb: The Invisible Wind Factory, Thursday October 18.

With Jane Weaver likely to finish a bit earlier, it?d be rude not to jump in a cab and get down to see The Orb at The Invisible Wind Factory.

Marked as their 30th Anniversary tour, this show is bound to have all the favourites along with their more recent material which further illustrates the notion that The Orb are indeed the pioneers of ambient music.

One to bliss out to and already I can feel the hangover coming on Friday.

Go-Kart Mozart

Go-Kart Mozart

Go-Kart Mozart: District, Thursday October 18.

Consisting of former members from Felt and Denim, Birmingham?s Go-Kart Mozart are in Liverpool to promote their new album, Mozart?s Mini-Mart.

A self-professed B-sides artist, if you like your pop with a hint of glam, a bit of synth and dash of bedroom, then check out the weird and wonderful world of Lawrence and Co.

Lisa O’Neill

Lisa O?Neill: 81 Renshaw, Friday 19 October.

The Irish sing-songwriter plays 81 Renshaw to celebrate the release of her new album, Heard a Long Gone Song, released on the same day through Rough Trade’s new imprint, River Lea Records.

Lisa O?Neill has previously collaborated with Cass McCombs and Pat McCabe to name a few. All the more reason to get down, meet the friendly staff at 81 Renshaw and have a Dortmunder Union!

The Vryll Society

The Vryll Society: O2 Academy, Friday October 19 .

On the back of their brand new album, Course of the Satellite, local favourites, The Vryll Society, will no doubt be showered with infinite love and praise. The local boys done good and all that. Rightly so, too. This album is decent.

A one stop shop for psych and dream-pop, not to mention some clever electronic sprinklings in-between, live I can imagine it all to be quite expansive.

Jack White

Jack White: Space by Echo Arena, Saturday October 20

Jack White is back (you might’ve heard of him). He?ll be banging out ditties from his new album, Boarding House Reach, along with the obligatory White Stripes, too, of course.

Don?t forgot, this is a phone-free show, folks. Jack has his posse running around confiscating your personal effects, so if you want check-in on Facebook, you best do it at Pizza Express or the Pump House beforehand.

SOPHIE plays 24 Kitchen Street

SOPHIE: 24 Kitchen St, Saturday October 20

On the back of her debut album, The Oil of Every Pearl?s Un-Insides, SOPHIE will deliver her interpretation of modern-day pop.

Some may be familiar with SOPHIE?s work alongside Faris Badwan with Let?s Eat Grandma, however as our very own Banjo suggested in August, this is where the excellence lies. Be sure to witness pop with a jagged twist.

Our Girl

Our Girl: Sound Food and Drink, Sunday October 21

Brighton three-piece, Our Girl, will be in town on the back of their fantastic debut album, Stranger Today. With this LP becoming increasingly more difficult to rip off the vinyl platter, this is looking to be the show of the week.

Produced by local favourite, Bill Ryder-Jones, Our Girl‘s Stranger Today is one of the finest debuts released this year and it will be intriguing to see if their lovely, and at times loud, sound translates live.

Get down to Sound’ early for a pint and some chow. The potato wedges are highly recommended.

The best of the rest this week:

  • Caro Emerald: Philharmonic Hall, Tuesday October 16
  • Viex Farka Toure: 24 Kitchen St, Wednesday October 17
  • Her’s: Arts Club, Wednesday October 17
  • The Velveteers: EBGB’s, Wednesday October 17
  • Aiming For Enrike plus support: Jacaranda Phase One, Thursday October 18
  • Bugzy Malone: O2 Academy, Thursday October 18
  • Jinkx Monsoon: Hangar 34, Thursday October 18
  • MOURN: Sound Food and Drink, Thursday October 18
  • Hermitage Green: Arts Club, Loft, Friday October 19
  • We Are Scientists: Arts Club, Saturday October 20
  • Club Kuru: Sound Foor and Drink, Saturday October 20

The post Liverpool music gig guide: Jack White, SOPHIE, The Orb, Our Girl and much more appeared first on Getintothis.

The Coral, She Drew The Gun, Cut Glass Kings: Mountford Hall, Liverpool
Category Live reviews, Cut Glass Kings, Liverpool University Guild of Students, Mountford Hall, She Drew Th Gun, The Coral

With The Coral’s new album, Moving Through the Dawn, boxed off and road tested, Getintothis? Simon Kirk is on hand to watch their euphoric homecoming gig unfold. Liverpool loves its history and, of course, rightly so. Notwithstanding the obvious that is Mathew Street, enter a boozer on Allerton Road, Slater Street, or hell, even down The [...]

The post The Coral, She Drew The Gun, Cut Glass Kings: Mountford Hall, Liverpool appeared first on Getintothis.


The Coral

With The Coral’s new album, Moving Through the Dawn, boxed off and road tested, Getintothis? Simon Kirk is on hand to watch their euphoric homecoming gig unfold.

Liverpool loves its history and, of course, rightly so. Notwithstanding the obvious that is Mathew Street, enter a boozer on Allerton Road, Slater Street, or hell, even down The Strand and there are pubs littered with photographs of their local heroes. You know the ones, The Beatles, The La’s, Echo and the Bunnymen, Cilla Black et al.

While many outside of Liverpool wouldn’t place them in this company, the locals know best. Yes, among these images that litter pub walls, there is always a place for The Coral.

Since their inception in 1996, Hoylake?s favourite band have pretty much demonstrated a neo-version of Mersey-beat. Sometimes it?s to their detriment, for they have almost become one of those bands that are adored exclusively by the locals. In saying that, many will argue that this is to the band’s advantage and there’s definitely a solid case for that, too.

Throughout their nine album deep discography, they haven?t been afraid to redefine their margins by exploring new sounds. Psychedelia has always formed a part of their patchwork, but their overt explorations during The Distance in Between was almost a case of the band hitting reset.

Just when you thought they would continue this journey, The Coral throw us yet another curve ball with Move Through the Dawn. A straight up-and-down affair which threatens to cross the threshold towards contemporary pop music.

Tonight it will be interesting to see how these new tracks are received. The crowd, keen and at the ready, having escaped the foul weather that greeted them before entering the Mountford Hall.

Cut Glass Kings kick off the night and their bog and spud interpretation of psychedelic blues-rock goes down well enough.

HOBO Kiosk: the Liverpool pub injecting communal bohemianism into the Baltic Triangle

Liverpool favourites, She Drew The Gun, follow to a rapturous reception. Louisa Roach takes the crowd on a journey of dark collage rock through the generations. The cuts from new album, Revolution of Mind, sound great, with Roach‘s political messaging throughout very much on-point.

With She Drew The Gun drawing a groundswell of enthusiasm, it’s the perfect segue for the main event.

The Coral enter the stage to more local fanfare. Paul Molloy is the first to enter, followed by the main man, James Skelly. Paul Duffy, Nick Power, Ian Skelly and Jack Prince follow and assume their respective positions onstage.

No messing about, the band jumps straight into business with Sweet Release from Move Through the Dawn.

Chasing the Tail of a Dream follows and live it has far more muscle behind the rhythm section, giving the track a different edge altogether. Outside My Window sounds like a new brand of arena psych-rock and while some may find that off-putting to a degree, The Coral circa 2018 are built for this stage.

From here the hits flow. There’s an even spread of ditties picked from the band’s illustrious discography. The one-two of Jacqueline and Pass It On is lovely and just when the crowd hold that collective thought of a having a breather, alas, not to be. Bill McCai and In The Morning follow.

The new material sounds stellar, too. Reaching Out for a Friend and Eyes Like Pearls have a nice punch to them courtesy of Duffy‘s driving bass.

Rebecca You continues the conveyor belt of hits and while the band leave the stage, they quickly return for one last projection of the love. Goodbye receives the greatest applause of the night only for Dreaming of You to surpass the rapture of its predecessor with consummate ease. The crowd absolutely lose their shit and it’s a great thing to be a part of.

Let’s be honest, it’s all been said about The Coral. There’s no need for glib platitudes or any further superlatives that have already been directed towards this band. Tonight is a feel good factor of ten. Not in the way where you watch some predictable television program, or – dare we say – some intolerable romantic comedy. Sure, The Coral do project an element of romance, but comedy this is not. Seeing a collective of people appreciate this band the way they do tonight is the reason we all love music. Magic and medicine, indeed.

Images by Getintothis? Lucy McLachlan

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Arctic Monkeys, The Lemon Twigs: Manchester Arena, Manchester
Category Live reviews, Alex Turner, Arctic Monkeys, Manchester, Manchester Arena, Sheffield, The Lemon Twigs

Arctic Monkeys are back for their first UK tour in four years and Getintothis? Amos Wynn was at the Manchester Arena to see them in action. Back in May the Sheffield rockers, led by Alex Turner, made their much-anticipated return with their sixth studio album. The piano driven, Tranquility Base Hotel & Casino, certainly raised a [...]

The post Arctic Monkeys, The Lemon Twigs: Manchester Arena, Manchester appeared first on Getintothis.

Arctic Monkeys

Arctic Monkeys

Arctic Monkeys are back for their first UK tour in four years and Getintothis? Amos Wynn was at the Manchester Arena to see them in action.

Back in May the Sheffield rockers, led by Alex Turner, made their much-anticipated return with their sixth studio album.

The piano driven, Tranquility Base Hotel & Casino, certainly raised a few eye brows, as it sounded a million miles away from the band who were singing about Sheffield night life back in 2006.

But that?s why Arctic Monkeys remain the biggest band of this decade; they keep progressing and they refuse to be defined by one genre.

Most of all they keep producing good tracks, regardless of the direction they take.

The stand out track from their latest outing was Four Out of Five, which acted as a great set opener and sounded exceptional live.

The Arena truly erupted with passion and sweat as the band blasted out Brianstorm.

With loud guitars and superb drumming from Matt Helders, the entire night would continue in a similar vein.

As chants of “Yorkshire!” echoed across the Manchester Arena, Turner addressed his band mates saying, ?let?s take these people back to the start.?

What  followed was four minutes of nostalgia and true brilliance as they played the opening track of their debut album, The View From The Afternoon.

The crowed were joyous as the four-piece took them through some classic songs, with From the Ritz to the Rubble also in the set list, Turner kept the passion going.

From old to new, there was also plenty on display from their latest outing.

Dressed in cream and showing off his short trim, it is clear to see Turner?s pleasure as he jumps on the piano for the new tracks that ooze class.

One Point Perspective and Science Fiction both sounded enigmatic as the Manchester crowd took to the latest tracks well.

Arctic Monkeys

Arctic Monkeys

This weekend marks five years since the release of AM, and of course there was room in the set for some of its best tracks including Why’d You Only Call Me When You?re High? and Do I Wanna Know?, with both having fans in full voice.

They closed proceedings with another classic, I Bet You Look Good On The Dancefloor.

This track still sounds like it was written yesterday, and no matter the size of venue it is played in, the place will always be bouncing.

Of course, they couldn?t finish with the audience dying for more, so they returned to the stage for an encore, beginning with Star Treatment.

The finish was true rock ?n? roll, with Arabella and R U Mine?.  Flashing lights, a jumping crowd and guitars ramped up to the top, it all rounded off a fantastic night.

Singles Club #182

Supporting The Monkeys were US band The Lemon Twigs who, equipped with flared trousers, had seemingly been dragged out of the 70s.

Brothers Brian and Michael D?Addario provided some decent moments in their half hour set, with some songs certainly being better than others.

It would?ve been hard for any band to get a crowd, who had come with the sole purpose of seeing the Arctic Monkeys,bouncing, but Lemon Twigs seemed to particularly struggle at times.

The Lemon Twigs

The Lemon Twigs

Some songs were simply uninspiring with Manchester perhaps being the wrong time and place for this band. The band didn?t even finish their set, storming off stage after having a drink thrown in their direction.

Clearly some Monkeys fans weren?t impressed and there were a few cheers as they left.

Despite that, it wasn?t all negative; they had some catchy tracks with the more slow and melodic ones standing out.

Throughout they stated to the crowd ?we love you all just as much you all love us,? leaving that message open to interpretation.

Whilst it was a tough crowd for the Lemon Twigs, there was nothing but love for the Arctic Monkeys.

It was a faultless performance, like they have never been away. With top tunes and live shows that continue to get better, the Arctic Monkeys remain the best band currently in this country and good luck to those who try to topple them from their throne.

Images by Getintothis’ Lucy McLachlan

The post Arctic Monkeys, The Lemon Twigs: Manchester Arena, Manchester appeared first on Getintothis.

Teenage Fanclub ? Gerard Love leaves the band, what next for The Fannies
Category Opinion, Gerard Love, Nirvana, Teenage Fanclub, the pastels, The Pixies

As Gerard Love announces he is to leave Teenage Fanclub Getintothis’ Joseph McEwan looks back on some of his cherished moments of the band. I think we all have our ?JFK moments? in music when you remember exactly where you were and what you were doing when your heart was broken by an announcement, possibly your favourite [...]

The post Teenage Fanclub – Gerard Love leaves the band, what next for The Fannies appeared first on Getintothis.

Teenage Fanclub

Teenage Fanclub

As Gerard Love announces he is to leave Teenage Fanclub Getintothis’ Joseph McEwan looks back on some of his cherished moments of the band.

I think we all have our ?JFK moments? in music when you remember exactly where you were and what you were doing when your heart was broken by an announcement, possibly your favourite band was splitting up or your favourite member was leaving.

I have two such specific memories of where I was and what I was doing. The first was when I was sitting on the bus reading an issue of NME in April 1996 when I heard that John Squire was leaving The Stone Roses.

The second was much more recently, although I know it will stick, when I was sitting in front of my computer at work reading a message board about my favourite football team when a Facebook Message was posted by Teenage Fanclub advising that due to continuing and sadly unresolvable differences of opinion on whether the band should proceed with proposed touring plans, Gerard Love would be leaving the band after the UK Shows.

Love explained that he was indeed leaving due to the conflicts over touring. And that from the outset he didn’t want to do the particular shows in Hong Kong, Japan, Australia and New Zealand, specifically because of the flying involved, also that they had flown around the world the year before and it was not something that he would want to do too often in his life.

I first became aware of the band through a friend. I was encouraged to listen to Bandwagonesque and was blown away by the crossover of noise and melody which I had never really heard before; The Pixies and Marychain had passed me by. This inspired me to go to my first ever music festival, in Reading in 1992 where I saw TFC blow Nirvana off the stage.

The single that stood out for me on their album was Starsign with its great melody of driving, instant pop by a guy singing in a modern-day Alex Chilton-like vocal, which did not sound clichéd coming from someone who spoke in a Glaswegian accent.

Formed in 1989, Teenage Fanclub’s Byrdsian Jangle Pop never achieved the mainstream success they deserved even though Bandwagonesque was voted album of the year in America by Spin Magazine and they were lauded by the likes of Kurt Cobain and Liam Gallagher ? “the second-best band in the world” he called them – but they have an enviable back catalogue, with Love?s tunes being the stand-outs.

Gerard Love began his musical career as a member of The Pastels where he bonded with fellow bandmate Norman Blake over a love of Big Star, they went on to form Teenage Fanclub with Raymond McGinley and Brendan O?Hare.

However in later interviews Love became irked by reviews of the band being constantly compared to Big Star and ?Glasgow?s Beach Boys?.

He went on to say that at the beginning of Teenage Fanclub he had also been listening to Sonic Youth, Dinosaur Jr, Go Betweens, REM and some soul and Reggae.

Mental health, music and me: my very own vinyl revival

He became a prolific songwriter providing tunes for all the Creation albums some not as notable: Guiding Star ? Bandwagonesque, Hang On ? Thirteen, Going Places ? Grand Prix and Take The Wrong Way Round from their last Creation album – Songs From Northern Britain.

Some of my favourite Fannies tunes and the more prevalent are all Gerry?s and come from various of the above named albums ? Starsign, Radio, and my all-time favourite, the stunning Sparky?s Dream.

Gerry loved playing the bass, which can be heard in the texture of his songs. He never became involved in ego management which you get in other bands with several songwriters.

In fact, he preferred to be in the background and when he released a solo album in 2012 it came out under the name of Lightships, on the album Electric Cables he was joined by some fellow Glasgow Indie greats from past and present, Tom Crossley of The Pastels, Belle and Sebastian?s Bob Cable and former Teenage Fanclub sticksman Brendan O?Hare. The influences came from several music genres ? Producers Rogerio Duprat, Tom Wilson and Charles Stepney along with some soul and dub.

A lot of Gerry?s songs provide beautiful broad strokes and structures many starting with a short instrumental interlude before roaring off into the music, they have a real feel of optimism and exuberance to the point they?re revelling in themselves, occasionally there appears to be some love sonnets in the lyrics also such as: ?If you can I wish you would, Only if you feel you should, Bring your loving over? from Ain’t That Enough ?But now you lighten up my day with your views just out of school and you’re that’s so cool? from Radio, and ?If she lived in space, man I’d build a plane? from Sparky?s Dream, allegedly a loving ode to Juliana Hatfield.

Although there are some great songs written by Blake and McGinley, Gerard Love’s songs shine out like a beacon!

He will be missed by so many Teenage Fanclub fans.

He ended his statement with the words “All I can say is that I feel very lucky to have met Norman and Raymond all those years ago”.

Not as lucky as we have been to hear your beautiful songs Gerry!

The post Teenage Fanclub – Gerard Love leaves the band, what next for The Fannies appeared first on Getintothis.

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