Girls In Synthesis take aim at career politics with new single ‘They’re Not Listening’

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London-based experimental punk trio Girls In Synthesis are set to release their debut album ‘Now Here’s An Echo From Your Future’ on 28th August via Harbinger Sound, originally scheduled for release in May but put back due to the current pandemic. The band are caustic and confrontational and are considered by many to be the most exciting underground band in the UK.

With the punk tag not quite fitting, the group have acquired a broad range of influences; disco and dub can be found rooted in the rhythm section whilst bands such as Crass and Flipper have informed the atonal guitar dissonance.

More of a collective than a conventional band, the group and their collaborators have created all their own artwork, videos, photos as well as the records themselves, truly embodying the original meaning of DIY. Non-musical projects have included a long sold out and collectable series of lyric and poetry books, a month-long photography exhibition at Lomography in London and also run a regular postal mailing list for fans, Redux Faction.

In early 2020 the white heat punk blast of ‘Pressure’ was released and provided the first caustic taste of the forthcoming ‘Now Here’s An Echo From Your Future’ album. This release was followed by the torrent against mass media manipulation in ‘The Images Agree’ and now Girls In Synthesis have ushered in their next aural attack with new single ‘They’re Not Listening’, taking aim at career politics and the whims of government playing with the lives of people and their vulnerabilities. The track is a musical mix of screaming, staccato guitars, thudding drums and a spacious dub-influenced bass line, it could be seen as the harshest single taken from the forthcoming debut so far. The song also sees the return of the GIS videography arm, Soft Surface, creating a bleak black and white performance video which is as accurate a portrayal of the group live as possible in a staged setting. With Covid putting the block on people witnessing the groups’ incendiary live performances for the time being, the video will come as a welcome refreshment of the live show the band are infamous for.

Watch the video for ‘They’re Not Listening’ HERE:

With a UK tour scheduled for October and more UK and EU dates lined up for Spring 2021, this is the most critical period for Girls In Synthesis. A time to prove that the hype over their early  releases was well deserved. With other bands wearing down their rough edges and sanitising their anger, Girls In Synthesis can truly be classified as the most important underground band in the UK.

See Girls In Synthesis live at the following dates in October (government advice permitting):

Thursday 15th: Birmingham, Hare and Hounds

Friday 16th: Nottingham, Chameleon Arts Cafe

Saturday 17th: Manchester, The Talleyrand

Friday 23rd: London, Shacklewell Arms

Saturday 24th: Northampton, The Lab

Pre-order the album HERE:

 

 

Black Sabbath celebrate their 50th anniversary with super-deluxe editions of ‘Paranoid’

Black Sabbath - Paranoid 50th Anniversary Edition

Five-LP Collection Includes Original Album Plus Rare Quad Mix

Along With The Vinyl Debut Of Two 1970 Concerts

Also Available As A 4CD Set

Widely regarded as innovators of the musical genre which came to be known as Heavy Metal, legendary Birmingham-bred Black Sabbath celebrate the 50th anniversary in 2020 of their multi-million selling album Paranoid with a 5-LP/4CD edition released on October 9th, featuring the vinyl debut of two 1970 concerts.

PARANOID:  SUPER DELUXE EDITION includes the original album, in addition to a rare 1974 Quad Mix of the album folded down to stereo, plus two concerts from 1970, from Montreux and Brussels, that are pressed on vinyl for the first time. The five-LP set comes with a hardbound book with extensive liner notes featuring interviews with all four band members, rare photos, and memorabilia, a poster, as well as a replica of the tour book sold during the Paranoid tour.

After the success of the band’s self-titled debut in early 1970, Ozzy Osbourne, Tony Iommi, Geezer Butler, and Bill Ward returned that fall with Paranoid. The record became the band’s first album to top the U.K. charts and has sold more than 4 million copies in the U.S. alone. Today, songs like “War Pigs,” “Planet Caravan,” “Iron Man,” and of course, “Paranoid,” continue to inspire a new generation of musicians around the world.

PARANOID: SUPER DELUXE EDITION first two LPs feature the original album plus a Quadraphonic Mix of the album. Originally released on vinyl and 8-track cartridge in 1974, but subsequently long out of print, the Quad Mix has now been made available as a fold-down to stereo mix on vinyl for this set.

The collection’s final three LPs mark the official vinyl debut of two 1970 live performances. The first was recorded on August 31 in Montreux, Switzerland shortly before the release of Paranoid. It captures the band, already a tight musical unit, thundering through new songs like “Hand Of Doom” and “Iron Man” while mixing in “N.I.B.” and “Behind The Wall Of Sleep” from their debut album. The second concert was recorded a few months later in Brussels during the band’s performance for Belgian television. Unofficial versions of this classic show have circulated in the past, but they’ve never sounded this good.

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Do they owe us a remix? Crass sounds reassembled

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CRASS – THE FEEDING OF THE FIVE THOUSAND REMIX PROJECT

Late last year, anarchist punk icons Crass took the step of making the original separate track stems of their seminal debut album ‘The Feeding of the Five Thousand’ available as a free download on One Little Indian Records. With a call to take the original sixteen track recording in its pre-mix state, the intent was for people to create their own remixes and interpretations and breathe fresh life and ideas into this revolutionary music.

First released in 1978, ‘The Feeding of the Five Thousand’ pre-empted rap and grime in its hard-on-the-beat, fast fire, uncompromising lyrics and the iconic sounds and messages are ripe for reinterpretation. Crass encouraged people to rip apart the sound and ideas and create something new, then send the files to Crass Records for future releases and charitable projects. The message is DIY like it never was before. “Yours for the taking, yours for the making,” Crass said. “You do it, we’ll stew it. Mix it backwards, forwards and upside down. Turn up the heat and fix it with a downbeat, bring in the trumpets and let ‘em blow, let the piper call the tune to let us all know, it’s up to you to do what you like with it. The only limitation is your imagination.”

The response was fantastic with close to one hundred submissions from professionals, amateurs, do gooders, do badders, DIYers and give it a tryers twisting and morphing the sounds.

The first results of this creative process are ready to be heard and released in the form of a twelve-inch EP (alongside a limited 1000 red vinyl pressing) of remixes by producer and XL Recordings honcho Richard Russell under the guise rLr, who tackles and further subverts the anti-war anthem ‘They’ve Got A Bomb’, turning it into a stuttering, rhythmic rattle, whilst Boston, Massachusetts experimental synth-pop artist Glasser takes aim at ‘Do They Owe Us A Living?’ and takes the original songs simple, direct messaging into entirely different realms of rhythm and distortion.

“Crass is a great example of futuristic art and lifestyle; anchored in communal ethics and collective spirit, moving beyond mere defiance of authority and into radical ideas of love and creativity,” explains Glasser. “I’m so glad I had the chance to play around with their recordings. It’s basically the best gift a fan could get from the artists they admire.”
Crass founder Penny Rimbaud can be heard HERE talking to Richard Russell on NTS Radio on his monthly ‘Making A Mixtape’ radio show, talking through the remixes and selecting a suitably eclectic range of music.

Watch the video for ‘Bomb’ – the rLr remix HERE:

‘Normal Never Was’ 12” EP out July 24th on Crass Records.

All monies raised from the project will go to the charity ‘Refuge’ – http://www.refuge.org.uk/

Refuge provide specialist support for women and children experiencing domestic violence with a national network of specialist services and opened the world’s first safe house for women and children escaping violence in 1977. On any given day, Refuge’s services support 3,000 women and children and the recent lockdown has seen calls to the charity’s helpline increased by two-thirds and website visits have risen nearly tenfold. The charity remains committed to working towards a world where women and children can live in safety, free from fear.

Crass are still accepting contributions to the project with the final date for submissions being August 1st. “But don’t let that stop you,” say Crass. “Make your own album of it and get it out there but let us know if that’s what you’re up to. We’re all in this together. It’s you who makes the world around you, the mix is all yours. Tell it loud, tell it proud.”

1,2,3,4. Do they owe us a remix?

Ane Brun releases a new single per month in Lockdown from new album

Ane Brun‘s new album scheduled for the Autumn received another wondrous tune this week in, Honey. Hear her beautiful, upbeat new 90s production here.

Honey follows the serene Song for Thrill and Tom released last month,
Feeling Like I Wanna Cry released in April and cathartic lullaby, Trust in March as Ane releases a song per month during lockdown.

Ane Brun will play live this December in UK at the following dates:

08th – Glasgow St Luke’s
09th – Manchester Academy 2
10th – London Shepherds Bush Empire

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The Chats return with The Clap! New single out now and album and tour details announced

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THE CHATS ANNOUNCE DEBUT ALBUM
HIGH RISK BEHAVIOUR
OUT MARCH 27 VIA BARGAIN BIN RECORDS/COOKING VINYL AUSTRALIA

THE CLAP SINGLE & VIDEO RELEASED TODAY HERE:
TOUR DATES ANNOUNCED FOR OCTOBER

The Chats have announced their debut album High Risk Behaviour, out March 27 on Bargain Bin Records/Cooking Vinyl Australia.
To mark this momentous occasion the band have released an eye-watering new video for their new single The Clap, take it in below on an empty stomach.

This is the closest you’ll ever hear The Chats get to write a love song (that is unless you are talking about their love of beer). A cautionary tale about a root gone wrong (direct quote), and an STI that just wouldn’t leave. The Clap features guitarist Pricey on vocal duties and is taken from the forthcoming album.

WATCH THE VIDEO FOR THE CLAP HERE:

The Chats have the cops to thank for the title of their debut album, High Risk Behaviour.

If they didn’t keep hassling drummer Matt Boggis about skating in places he shouldn’t – and giving him tickets listing that as the offence – who knows what idiotic title the self-proclaimed “dropkick drongos from the Sunshine Coast of Australia” would have come up with.

And yet it’s the perfect name for an album that does not fuck around. An album that sounds like Aussie greats the Cosmic Psychos downing beers with The Saints before doing shots with the Buzzcocks and then spewing it all up behind the kebab van. An album that’s over in 28 blistering, funny, sweaty, unforgettable minutes, with half of its 14 songs failing to reach the two-minute mark. Some might call the Queensland trio lazy. Singer-bassist Eamon Sandwith sees it differently.

“I don’t want to make the songs boring, so I just keep them short and sweet,” shrugs the man whose mullet became an international talking point following the success of 2017 viral hit “Smoko”. “We try not to think about it or complicate it too much. You don’t want to force it or the song’s going to turn out crap.”

Since forming in their mate’s bong shed in 2016 while still at high school, that attitude has taken The Chats – completed by guitarist Josh Price, who once wrote a song called How Many Do You Do? in which he boasted of doing 52 “dingers” in a night – from the sleepy coastal village of Coolum (located roughly two hours north of Brisbane) to venues around the world. Their fanbase includes Dave Grohl, who loved the video for Smoko so much he showed it to Josh Homme, who then asked the trio to support Queens of the Stone Age on their 2018 Australian tour. Iggy Pop is also a card-carrying member of The Chats’ fan club, requesting that they support him in Australia in early 2019 and peppering them with questions like, “What’s a smoko?” and “What’s a dart?”

The rest of 2019 was spent taking the world by storm armed with nothing more than guitars, drums, shorts, shirts and thongs (or, if it was a formal occasion, sandals and socks). Shows across Australia and the UK were sold out, and they performed their first gigs in America (the LA show was attended by Homme, Grohl and Arctic Monkeys’ frontman Alex Turner). The band capped off the year with a return visit to Britain, selling out venues such as London’s 2,300-capacity 02 Forum.

Suffice it to say, life has changed a fair bit for The Chats over the past two years.

“Well, I don’t have to work at the supermarket anymore,” says Sandwith.

That he does not. In fact, Sandwith and his mates have been too busy touring, writing songs and, when their gigs took them to Victoria, dropping into engineer Billy Gardner’s studio in the coastal city of Geelong for a day of recording. That they chose this piecemeal approach explains why the album took 18 months to finish – a luxury considering 2017 EP Get This In Ya took four hours to record one hungover afternoon.

“If we’d just done a week and slogged it out we could have had an album before now but we just kept going in there and making newer and better songs so it’s hard to put a stop on it,” says Sandwith.

The sessions were fast. “Some of the songs were first-take and we were like, ‘That’s good, whatever’,” says Sandwith. “We’re really not perfectionists.”

Remarkably, they still found time to experiment with exotic instruments such as… a tambourine.

The end product is an album that buzzes like an out-of-control chainsaw, propelled by Sandwith’s spoken-spit-sung vocals, their three-chords-is-one-too-many approach, and an exacting combination of youth, vigour and drunkenness. But don’t mistake simple for stupid – if it was easy to make songs this short, this catchy and this downright brilliant, everyone would be doing it.

“I think they’re good songs,” says Sandwith. “And at the end of the day, if I like it then fuck it, who cares if other people do?”

Despite being the subject of a record label bidding war, The Chats are releasing High Risk Behaviour on their own label, Bargain Bin Records. It’s indicative of a band that have embraced DIY culture since day one, to the point where Sandwith used to spend his days at the post office sending out merch orders.

“We thought, if we just do it ourselves we don’t have to worry about getting swindled,” says Sandwith. “We’ve always done it our way.”

Their determination to do things “our way” extends to their music, which is why High Risk Behaviour delivers everything you’ve come to love from The Chats – only more of it – and confirms their status as Queensland’s greatest ever export (apart from Bundy Rum).

“I just want people to have a good time,” says Sandwith of the album. “I want them to dance around and have a beer and enjoy it. We don’t make songs for people to look at in a fucking emotional or intellectual way. We just make songs for people to jump around and have fun to.”

Follow The Chats:
FACEBOOK | TWITTER | INSTAGRAM | WEB

Follow Bargain Bin Records:
INSTAGRAM | WEB

HIGH RISK BEHAVIOUR TRACKLISTING:
1. Stinker
2. Drunk N Disorderly
3. The Clap
4. Identity Theft
5. Guns
6. Dine N Dash
7. Keep The Grubs Out
8. Pub Feed
9. Ross River
10. Heatstroke
11. Billy Backwash’s Day
12. 4573
13. Do What I Want
14. Better Than You

The Chats are:

Eamon Sandwith bass / vocals
Josh Price – guitar / vocals
Matt Boggis on drums

Catch The Chats at the following dates in October:

October 2020
Fri 16 Southampton, 1865
Sat 17 Nottingham, Rock City
Sun 18 Bristol, 02 Academy
Mon 19 Ireland, Dublin, Olympia
Tue 20 Belfast, Limelight
Thu 22 Glasgow, Galvanizers
Fri 23 Leeds, Stylus
Sat 24 Newcastle, Boiler Shop
Sun 25 Manchester, 02 Academy
Mon 26 Brighton, Dome
Wed 28 London, Electric Brixton
Thu 29 London, Electric Brixton

Grade 2 sign to Hellcat for Graveyard Island album

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Isle of Wight street punks Grade 2 will release their third album and Hellcat debut, Graveyard Island, on October 11th. The album was recorded and produced by Rancid’s Tim Armstrong at Armstrong’s Shiprec Studios and mixed by The Interrupters’ Kevin Bivona. Today, the band unveils the video for Graveyard Island’s title track.

Grade 2 is vocalist & bassist Sid Ryan, vocalist & guitarist Jack Chatfield, and drummer Jacob Hull. Formed in 2013, the band met at school where they would spend their lunch break playing covers of classic punk tunes together in the music room. Since their formation, the band has released several EPs and two studio albums; Mainstream View (2016) and Break The Routine (2017).

While touring, the band met Lars Frederiksen (Rancid) who took an interest in Grade 2 and ultimately played some of their music videos to his bandmate Tim Armstrong. Armstrong liked what he saw and not only agreed to produce the band’s forthcoming record but signed them to Hellcat. Last December, Grade 2 flew to Los Angeles, and, over the course of two weeks, tracked the dozen songs that comprise Graveyard Island. “He’s one of the most efficient people we’ve ever worked with. He knows exactly what he wants. In the studio, he wanted to capture how we sound onstage, so we were tracking songs live with a scratch vocal,” vocalist/bassist Sid Ryan said on working with Armstrong.

Graveyard Island offers proof that punk rock is still as relevant in 2019 as it was in 1976. “Although we’re more than forty years on from when punk began, I actually think the times are very similar now to how they were back then,” says Sid Ryan. “The political climate today means that people see the worst in everything, which means that for us there’s a lot to write about. Everything in the country is pretty much turning to shit! There are certain parts of our record that would make sense were it released in 1976.”

Graveyard Island Track List:

1. Tired of It
2. Reality is Calling
3. Graveyard Island
4. Look Up
5. Murder Town
6. Don’t Look Back
7. Johnny Aggro
8. Bowling Green Lane
9. Dover Street
10. JSA
11. Monsters
12. On The Radar

The Chats release Identity Theft video

Aussie punks, The Chats have released their catchy new single, Identity Theft today. The cheeky charlies!

Dates on their huge UK tour this December are starting to sell out…

Bad Breeding release C.S.A.M video ahead of UK tour

Banned by YouTube on upload, Bad Breeding‘s latest message in video form for explosve track, C.S.A.M is as explosive as their live show. See them play around the UK on their tour from next week at the following shows:

July 21st Crofter’s Rights, Bristol
July 22nd The Polar Bear, Hull
July 23rd Temple of Boom, Leeds
July 24th The Moon, Cardiff
July 25th Electrowerkz, London

Bad Breeding – C.S.A.M. from One Little Indian Records on Vimeo.

Grohl, Homme and Arctic Monkeys join The Chats in LA

The Chat’s LA show this week saw Dave Grohl, Josh Homme and Arctic Monkeys in the audience for their sold out show at the Regent Theatre.

Their next UK shows will be at Reading & Leeds festivals. UK tour dates for December can be found here.

Photo: Aaron Farley

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The Chats announce huge UK tour for December

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From forming in their mate’s bong shed in Coolum, Queensland 2016 when all three members were seventeen, to scoring a 24-carot bona fide viral hit on YouTube with ‘Smoko’ (currently up to 7.2m views) and headlining the Electric Ballroom in London in two short years, The Chats ascent has been rapid to say the least.

Following their forthcoming first appearance at the Reading and Leeds Festival in August, the Australian pub rock trio (they prefer ‘shed rock’) have also announced that they will be closing 2019 with a full UK tour in December, culminating in a headline show at The Forum, London on December 14th.

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