12th July 2024

Click HERE to listen again or to download the podcast (downloading & playing is more reliable). 

Buster Bloodvessel - Come on England
Bilbao Kung-Fu - Oh!
Waxahatchee - A Little More
White Lies - Death
The Temper Trap - Love Lost
The Dead Milkmen - Punk Rock Girl
The Vaccines - If You Wanna (Glastonbury 2024)
Performance - Modern Nature
Nits - The Tree
Belgrado - Jeszcze Raz
Emily Wurramara - Magic Woman Dancing
The Drop - Sports Team
Benzen & Binau - Tune in Your Radio
Soapbox - Fascist Bob
La Poison - Le Monde Va Mal
La Femme - Sacatela
Pistol - Cigarettes After Sex

In the ever-evolving landscape of punk rock, the band Soapbox stands as a testament to the enduring power of raw energy, social consciousness, and unyielding authenticity. Emerging from the underground scene, Soapbox has carved out a niche for themselves with their electrifying performances, thought-provoking lyrics, and commitment to the do-it-yourself (DIY) ethos that has been a hallmark of punk since its inception. This blog about them delves into the band's musical journey, their impact on the punk community, and the unique qualities that set them apart.
Soapbox's inception can be traced back to a group of friends united by a shared passion for punk rock and a desire to use music as a platform for change. From their early days playing in small, gritty venues, the band quickly developed a reputation for their high-octane live shows and uncompromising sound. Drawing inspiration from punk legends like The Clash, Dead Kennedys, and Minor Threat, Soapbox's music is characterized by fast-paced rhythms, aggressive guitar riffs, and anthemic choruses that inspire both moshing and contemplation.
Over the years, Soapbox has evolved musically while staying true to their punk roots. Their discography reflects a blend of traditional punk elements with influences from other genres, creating a distinctive sound that is both familiar and refreshingly original. This musical versatility has allowed them to appeal to a broad audience, from hardcore punk enthusiasts to casual listeners who appreciate their dynamic style and potent message.
One of the defining features of Soapbox is their dedication to addressing social and political issues through their lyrics. The band's name itself suggests a platform for speaking out, and they have consistently used their music to voice concerns about injustice, inequality, and the struggles of the disenfranchised. Songs like "Broken System" and "Voices Unheard" tackle topics such as systemic corruption, environmental degradation, and the plight of marginalized communities.
Soapbox's lyrics resonate deeply with fans who see the band as not just musicians, but also as activists. In an era where many artists shy away from controversial topics, Soapbox confronts them head-on, sparking conversations and encouraging listeners to think critically about the world around them. This fearless approach to songwriting has earned them a dedicated following who find both solace and inspiration in their music.
A Soapbox concert is more than just a musical performance; it is an experience. Known for their energetic and interactive shows, the band creates an electric atmosphere that draws the audience in and makes them a part of the performance. Whether playing in a packed club or at a sprawling festival, Soapbox's live shows are characterized by their intensity, passion, and the palpable connection between the band and their fans.
The physicality of their performances, with members often diving into the crowd or climbing stage structures, embodies the rebellious spirit of punk. This raw, unfiltered energy is a key element of their appeal, ensuring that each show is a unique and unforgettable event.
In an industry often dominated by commercial interests, Soapbox has steadfastly adhered to the DIY principles that are central to punk ideology. They take pride in managing many aspects of their career independently, from recording and producing their albums to designing their merchandise and organizing tours. This hands-on approach not only gives them creative control but also reinforces their authenticity and integrity.
Soapbox's DIY ethic extends to their involvement in the local music scene. They frequently collaborate with other independent artists, participate in benefit concerts, and support grassroots movements. By fostering a sense of community and solidarity, they contribute to the vibrancy and resilience of the punk scene, proving that punk is not just a genre but a way of life.
Beyond their music, Soapbox is known for their innovative visual aesthetics. Their album art, music videos, and promotional materials are often striking and thought-provoking, reflecting the themes and messages of their songs. Collaborating with visual artists and filmmakers, the band ensures that their artistic vision is cohesive and impactful, adding another dimension to their work.
Soapbox embodies the enduring spirit of punk rock through their relentless energy, socially conscious lyrics, and unwavering commitment to the DIY ethos. Their journey from underground venues to becoming a beacon of authenticity and activism in the punk community is a testament to the power of music as a force for change. As they continue to evolve and inspire, Soapbox remains a vital and vibrant part of the punk landscape, reminding us all of the importance of speaking out, standing up, and staying true to our principles.

8th July 2024

Titus writes:

 

As many of you know, I was going to write about The Vaccines last week, but I was so impressed with PJ Harvey’s set at Glastonbury, that I just had to write about it first.

 

The Vaccines are an English 4 piece band, and I suppose if one has to label them, they could be classed as playing Indie Rock. Their formation came as late as 2010 in London, and the current line up is Justin Hayward-Young (apparently no relation to the Moody Blues stalwart),  Arni Arnason, Timothy Lanham & Yoann Intonti.  Just to inform you via my legendary “Not a lot of people know that” series, Hayward-Young is the great grandson of the prolific English painter and artist Walter Hayward-Young, a.k.a. ‘Jotter’.  The Vaccines have been the ‘warm up’ act for the Rolling Stones, Arctic Monkeys, Muse and the Red Hot Chilli Peppers amongst others.  A year after formation, the band made the first of their six studio albums ‘What did you expect from The Vaccines?’, and the LP became the best selling album of 2011 in the U.K.   Following on from this album, there were 5 further studio LP’s : ‘Come of Age’ (2012), ‘English Graffiti’ (2015), ‘Combat Sports’ (2018), ‘Back in Love City’ (2021), and ‘Pick-Up full of Pink Carnations’ (2024) which is mentioned shortly.

 

Zane Lowe in particular was particularly praiseworthy of them, saying that ‘If you wanna’ (from the above album) was “The hottest record in the World”, and that praise was complemented by ‘Clash’ magazine who stated that The Vaccines could help bring in a new era for good guitar music.   The band re-wrote history by appearing on the TV show ‘Later with Jools Holland’ BEFORE releasing a single.  Such was the band’s initial popularity, that a gig in Kentish Town quickly sold out and around 200 people were turned away. 

 

By September last year, the band had recorded its sixth studio album, the aforementioned  ‘Pick-up full of Pink Carnations’, and The Vaccines announced an accompanying U.K./U.S./European Tour. The LP was released in January  2024.  I mentioned winning an award earlier on, and in addition the band have won ‘Best emerging talent’ (Quintessentially Awards); ‘Best new band’ (NME); ‘New Music Award’ (XFM) and ‘Best foreign new Act’ (Swedish GAFFA Awards). They were also nominated at the MTV Awards, The Brits, and The Mojo Awards.

 

As I mentioned PJ Harvey’s performance at Glastonbury earlier on, I think it only fitting to request Lex to play a Vaccines live recording from the same weekend, which is the classic ‘If you wanna’ and can be found here.  I don’t know about you, but I reckon, that despite being written around thirteen years ago, it still sounds pretty darn good. I sincerely believe that they have become one of the best Indie Bands on the circuit, and have maintained a high standard in the fourteen years they have been in the business.

5th July 2024

Click HERE to listen again or to download the podcast (downloading & playing is more reliable). 

Boney M Vs Horny United - Ma Baker
The Blow Monkeys - This Is Your Life
Black Country Communion - Enlighten
Altered Images - I Could Be Happy
Marisa And The Moths - Borderline
Michael Head & The Red Elastic Band - Shirl's Ghost
Queen - Another One Bites the Dust (dedicated to Jacob Rees-Mogg, see notes below)
Bizarrap - Bzrp Music Sessions, Vol. 53 (Tiësto Remix)
Lola Young - Together In Electric Dreams
Budgie - Breadfan
Cara Dillon - Spencer the Rover
PJ Harvey - This Is Love
Pomplamoose - Lovely Day & Good as Hell - Mashup
The Dead South - A Place I Hardly Know 

Jacob Rees-Mogg, a prominent figure in British politics, often elicits strong reactions from both admirers and detractors. Known for his articulate speeches, traditionalist views, and sharp wit, Rees-Mogg has carved a niche for himself in the Conservative Party. However, beyond his polished exterior and sophisticated demeanor, there lies a controversial side that has drawn considerable criticism. These notes delve into the more contentious aspects of Rees-Mogg's public life, examining his political positions, public statements, and personal conduct that have earned him the label of absolute cunt.

One of the most significant criticisms of Jacob Rees-Mogg is his staunch opposition to progressive social policies. A devout Catholic, Rees-Mogg's views on issues such as abortion and same-sex marriage are rooted in his religious beliefs, which often place him at odds with more liberal segments of society. He has consistently voted against measures to legalize same-sex marriage and has publicly stated his belief that abortion is morally indefensible, even in cases of rape or incest. Such positions, while reflecting his personal convictions, have been condemned by many as out of touch with modern societal values and lacking in compassion for individuals facing difficult personal circumstances.

Rees-Mogg's economic policies have also been a source of contention. A firm advocate of free-market capitalism, he supports deregulation, lower taxes, and reduced government intervention in the economy. Critics argue that his economic stance disproportionately benefits the wealthy at the expense of the less fortunate. Rees-Mogg has been a vocal proponent of austerity measures, which have led to significant cuts in public services and welfare support. These policies, aimed at reducing the national deficit, have been linked to increased poverty and inequality, drawing ire from those who believe they harm society's most vulnerable.

Moreover, Jacob Rees-Mogg's conduct during the Brexit debate has amplified his reputation as a polarizing figure. As a leading Brexiteer, he was one of the most ardent supporters of the United Kingdom leaving the European Union. His uncompromising stance on Brexit, coupled with a perceived lack of empathy for the economic and social upheaval it caused, has been a major point of criticism. Rees-Mogg's infamous comment that the economic benefits of Brexit might not be realized for fifty years was seen by many as indicative of his detachment from the immediate concerns of ordinary citizens. His investment company’s establishment of a new fund in Ireland post-Brexit to ensure continued access to the EU market was seen by critics as hypocritical and self-serving.

In addition to his political positions, Rees-Mogg's behavior in Parliament has also attracted negative attention. His decision to recline across the front benches of the House of Commons during a crucial Brexit debate was widely perceived as disrespectful and indicative of his sense of entitlement. This incident, captured in photographs that quickly went viral, became emblematic of what many see as his arrogance and disdain for parliamentary decorum. Such actions have reinforced the perception of Rees-Mogg as a politician who is not only out of touch with ordinary people but also dismissive of the democratic process.

Another aspect of Rees-Mogg's controversial persona is his connection to the aristocracy and the perception that he represents a bygone era of privilege and elitism. Educated at Eton College and Trinity College, Oxford, his background is often cited as evidence of his disconnection from the experiences of everyday Britons. His mannerisms, speech, and lifestyle choices, which harken back to a Victorian era, while charming to some, are seen by others as anachronistic and indicative of a lack of understanding of contemporary issues and the diverse fabric of modern British society.

In conclusion, while Jacob Rees-Mogg is undoubtedly a skilled politician with a loyal following, his controversial views and actions have made him a divisive figure in British politics. His opposition to progressive social policies, advocacy for austerity measures, contentious role in the Brexit debate, and perceived elitism contribute to a public image that is as much criticized as it is admired. Understanding the nasty side of Rees-Mogg's public persona is essential for a comprehensive assessment of his impact on the political landscape of the United Kingdom. He lost his seat in the 2024 General Election, and I say thank fuck for that.

30th June 2024

Titus writes:

This week I had a ‘short list’ of new bands in my head, from which to choose one to blog about. Having watched the BBC’s highlights of PJ Harvey’s Glastonbury set on the Pyramid Stage, there was no other choice other than to rave about and review that set, plus indeed her long career. It’s unusual for me to follow an artist(e) throughout a career – I feel that many fall into the trap of becoming ordinary & predictable, and how can these people call themselves ‘progressive’ when this happens?  I won’t name any names but some bands think it will suffice to go on stage (usually augmented by backing vocalists, loads of extra instrumentalists) and just make ‘noises’, performing their most successful tunes to a dreadful standard.  In my opinion, Neil Young, Half Man Half Biscuit, The Fall (before the tragedy of Mark E. Smith’s death), the late David Bowie, and PJ Harvey have truly progressed.  PJH has evolved in true Bowie-esque styli IMO.

 

Polly Jean Harvey, M.B.E. , born in 1969 in Bridport, is primarily known as a singer, guitarist, saxophonist and plays a variety of other instruments. She has had a long term musical partnership with John Parish, who was the frontman when she joined local band Automatic Dlamini.  She began her PJ Harvey career with Parish, and they performed as a ‘The PJ Harvey Trio’, releasing two well received albums, ‘Dry’ and Rid of me’. After 1994, Harvey tried her hand as a solo artist, but soon reformed the band.  To date, 10 Studio albums plus 2 Collaboration LP’s have been released and each one has proved so different to the previous one.   My personal favourite LP is ‘Stories from the City, Stories from the Sea’ but believe me, they’re all good. There’s also an EP, and 23 singles.

 

Anyhow, I’m reviewing their Glastonbury 2024 appearance now, and, unusual for me, I’m going to praise the BBC. The coverage was good, and the cult followers were in the main, very attentive. A great choice of a haunted crow tree dress adorned Polly by the way, but  I felt a bit sorry for the various people in the front rows though, who had ‘bagged’ their great view for when Dua Lipa came on later – they must have wondered what on earth they were listening to and looking at!  The tracks performed were more of a miscellany of PJH’s work, unlike the 2016 appearance, where in the main, the band showcased their two (then) recent albums ‘Let England Shake’ and ‘The Hope Six Demolition Project’.   The miscellany I refer to, for the 2024 Festival, was ‘Prayer at the Gate’, ‘The Nether-edge’ and the title track from latest album ‘I inside the Old Year Dying’; ‘The Glorious Land’,  ‘The words that Maketh Murder’ and the title track from ‘Let England Shake’; old favourites ‘50 ft Queenie’, ‘Black Hearted Love’ ‘The Garden’, ‘Man size’, ‘Dress’, and to conclude ‘To Bring You My Love’ from the LP of the same name.

 

As always, I could write pages and pages about PJH.  If you’ve not seen Polly Jean and her band before, and are a little apprehensive on the enthusiasm stakes, please stick with it. The music and its origins will win you over I’m sure.  Back to those old  and favourite words “Truly alternative”.  I could choose dozens of tracks, but I chose this one which is called ‘This Is Love’  from the LP ‘Stories from the City, Stories from the Sea’.

28th June 2024

Click HERE to listen again or to download the podcast (downloading & playing is more reliable). No Clumpton this week, so it's a 2 hour show!

Graham Coxon - Freakin Out
Melanie - Some Say (I Got Devil)
Budgie - Napoleon Bona Parts 1 & 2
Night Club - Another Side of You
Y&T - Forever
Halsey - The End
Angelo Badalamenti - Laura Palmer's Theme (Instrumental) - Soundtrack From Twin Peaks
Aimee Mann - Going Through the Motions
Molly Hatchet - Boogie No More
Penny Arcade - Jona
Danzig - When We Were Dead
The McCoys - Sorrow
Yea-Ming and The Rumours - Old Frog
Bloodhound Gang - The Bad Touch
Ron Geesin - Fair By The Sea
Bad Manners - Lip Up Fatty
Split Dogs - And What?
Waxahatchee - Can't Do Much
The Anti-Queens - Overthinking
Babasha - Pai Naa
Koe Wetzel & Jessie Murph - High Road
Delta Empire - 185 Two Steps From Hell - Victory [Drum Cover]
The Members - Working Girl (Live, Peel Session)

I asked ChatGPT to give me 3 politically incorrect tunes. This is what was suggested:
The Beatles - Polythene Pam
Ted Nugent - Jailbait
Johnny Rebel - She Ran Off With A Nigger - Please read notes below

Datsuns - In Love
FLO - Walk Like This
Looper - Columbo's Car
Beth Gibbons - Lost Changes
Pure Bathing Culture - Dream The Dare
Parsnip - The Light
Carl Malcolm - Fattie Bum Bum 

The Controversial Legacy of Johnny Rebel and "She Ran Off With a Nigger":
The intersection of music and social issues often produces potent and polarizing works. Johnny Rebel, the stage name of Clifford Joseph Trahan, is a prime example of an artist whose work has sparked significant controversy due to its explicit racism. One of his most infamous songs, "She Ran Off With a Nigger," epitomizes the overtly racist themes present in much of his music. Understanding the impact and legacy of Johnny Rebel and this particular song requires an exploration of the historical context, the content and themes of the music, and the broader societal reactions to his work.
Johnny Rebel's music emerged during the Civil Rights Movement, a time when the United States was grappling with profound racial tensions and striving towards greater equality for African Americans. The 1960s and 1970s saw significant legislative and social progress, yet also a strong backlash from segments of the white population resistant to change. This backdrop of racial conflict provided fertile ground for Rebel's brand of music, which resonated with those opposed to the Civil Rights Movement.
"She Ran Off With a Nigger" is a blatant example of Johnny Rebel's use of derogatory language and racist stereotypes. The song's title alone is a stark indication of its offensive content, while the lyrics further propagate hateful messages. Rebel's music typically portrays African Americans in a negative light, reinforcing harmful stereotypes and advocating for white supremacy.
The song narrates a story of betrayal, framed through a racist lens, where a white woman leaves her partner for an African American man. The lyrics are steeped in resentment and vitriol, reflecting a broader societal fear of racial integration and miscegenation. This fear was not uncommon in the mid-20th century, as many white Americans struggled with the implications of a more integrated society.
The reception of Johnny Rebel's music has always been deeply divided. On one hand, his work found an audience among white supremacist groups and individuals who felt marginalized by the changing social landscape. These listeners appreciated Rebel's unapologetic stance and the validation of their own prejudices.
On the other hand, Johnny Rebel's music has been widely condemned by mainstream society for its explicit racism. Civil rights organizations, anti-racism activists, and many in the general public have criticized his work for perpetuating hate and division. Platforms and distributors have often taken steps to limit the availability of his music, reflecting a broader societal repudiation of his messages.
The legacy of Johnny Rebel and "She Ran Off With a Nigger" is a testament to the persistent undercurrents of racism in American society. While his music is abhorrent to many, it also serves as a reminder of the work still needed to combat racial hatred and promote inclusivity. The existence and popularity of such music among certain demographics highlight the ongoing struggle against bigotry and the importance of continued efforts towards equality.
In the digital age, the spread of such music has become more challenging to control, but it also provides opportunities for counter-movements. The internet allows for the rapid dissemination of anti-racist messages and educational content, which can help counteract the influence of hate-filled works.
Johnny Rebel's "She Ran Off With a Nigger" is a stark example of how music can reflect and amplify societal issues. While his work is undeniably offensive and rooted in racism, it also serves as a crucial point of reflection on America's ongoing battle with racial prejudice. Understanding and acknowledging the existence of such music is essential in addressing and dismantling the structures of racism that persist in society. The legacy of Johnny Rebel is not one of musical achievement, but rather a cautionary tale about the power of art to influence and reflect societal values.

23rd June 2024

Titus writes:

 

For a complete change this week, I am not going to extol the virtues of a band or artist(e) that you may not have heard of......instead I am writing about the cult TV series of the 1990’s ‘Twin Peaks’.

 

I remember on a Sunday night in 1990, I sat down to watch a new TV series, which I initially thought was an ordinary serialised murder mystery. I should really have known better, in the knowledge that the series was created by David Lynch & Mark Frost, who don’t do ‘ordinary’.  Initially, it concerned home-coming queen Laura Palmer, whose body, wrapped in a plastic bag, washed up on the shore of a river in Twin Peaks, Washington, and also Ronette Pulaski, discovered badly injured just across the State border.

 

FBI Special Agent Dale Cooper is sent to investigate and he believes that Laura’s death is similar to another from the previous year in Washington. He firmly believes that the killer is from Twin Peaks.  Like others, Laura had been living a complex life. Via her diaries, Agent Cooper discovers she was cheating on her boyfriend Bobby Briggs, prostituting herself with the help of truck driver Leo Johnson, and a dreadful drug dealer called Jacques Renault.  In addition she was a cocaine addict.

 

Inexplicably, Cooper has a vivid dream about being in a red room with a one-armed man called Mike, who claims that he knows that Laura’s killer is BOB, a feral denim wearing man.  Cooper finds himself decades older in the dream, in which a dwarf in a red suit plus Laura Palmer appear. The dwarf has the ability to talk backwards and in coded dialect.  After the dream, it is discovered that her father Leland Palmer looks in the mirror and sees himself as Bob, and kills his own daughter.  This is no longer just a murder mystery, and the whole thing morphs into a complex web of surrealism, intrigue, and psychological undertone.  The series meanders into a plethora of eccentric people, supernatural elements and dark secrets.  Many residents talk of “The evil in the woods” and its two entrances The White Lodge & The Black Lodge, and the surrealism that is thrust upon the viewer is a typical trait of creators Lynch and Frost.  The atmosphere, at best is eerie, and the red room scenes illustrate the programme’s ability to blur the lines between reality and the subconscious. The ending to the series is dramatic, when Cooper looks at himself in the mirror and sees BOB.

 

‘Twin Peaks’ was incredibly revolutionary in its approach to television telling a tale. It divorced itself from conventional episode formats, and it was extremely influential when one thinks of ‘The X Factor’ or ‘Lost’. It explored how the inhabitants of a small town had peculiar habits, hidden sins, and how the themes of good & evil were explored.  Perhaps, for those of us who watched Lynch’s 1986 film ‘Blue Velvet’ with intrigue, we knew in our heart of hearts, that a  complete series of intrigue and surrealism would follow just a few years later......the town of Twin Peaks is anything but ordinary!

 

Series 1 & 2 aired 28 episodes, and I must confess to having not seen Series 3, called ‘The Return’. This was shown a quarter of a century later. Interestingly, in 1992 Lynch’s film ‘Fire walk with me’ although filmed after ‘Twin Peaks’, was in fact set as the prequel film.....this is also worth a look in my opinion. I have chosen a track from Angelo Badalamenti’s soundtrack to the series and have requested lex to play this, which can be found here.

22nd June 2024

Click HERE to listen again or to download the podcast (downloading & playing is more reliable). These tunes were played in the first hour of the show:

The Members - Time Bomb
RAF Camora, Ski Aggu - Liebe Grüsse
Pomplamoose - Something About Us
Graham Coxon - Bittersweet Bundle of Misery
The Fans Feat. Kes - The Fan
Michael Head & The Red Elastic Band - Shirl's Ghost
Trembling Blue Stars - My Face For The World To See
Belle and Sebastian - Seeing Other People
KAROL G, Peso Pluma - QLONA
Vera Sola - Bad Idea
Lawn Chair - Men with Shifty Eyes
Maluma & Carin Leon - Según Quién
Sheherazaad - Dhund Lo Mujhe
Blitzen Trapper - Hazy Morning
The Rising Lights - Marlene
Alyona Alyona, Jerry Heil - Teresa & Maria
YG Marley - Praise Jah In The Moonlight.mp3
Blues Delight - Slightly Hung Over