#madchester legends

[dadiddlylemma]

Inspiral Carpets

[maximuswolf]

Madchester legends Northside return for first gigs in a decade on 2025 UK tour

Madchester legends Northside return for first gigs in a decade on 2025 UK tour https://ift.tt/YmCKDOF Submitted October 30, 2024 at 02:31PM by Edm_vanhalen1981 https://ift.tt/93SOgxH via /r/Music

[speakspeak]

Timeless Cool: Ian Brown

[solenelanza]

If London Calling, the North offers many vibes with nice bunch of people. On a break in Manchester, capital city of the sound typical of the north, we’ve tried to play the part of the new wave Fab Four. And in extremely well-known setting, on the famous bridge, in good company, we’ve tried to capture the real spirit of the Hacienda roots.

London Calling… mais le nord offre beaucoup d’autres mélodies grâce à des bandes sympathiques. Pendant un séjour à Manchester, capitale de ce son du nord, nous avons essayé de jouer le rôle de ce Fab Four de la new wave. Et pas n’importe où, sur le pont bien connu, en bonne compagnie pour sentir au plus près l’esprit originel de l’Hacienda !

When I told my sweet gang (Kelly and Alice), I wanted to bring them to ManC. I didn’t just confront the Londoner vibes with the Mancunian energies but also gathered a whole country, ours, France, as we met some lovely dudes over there – who are totally into the local music. My bestie Salma, formerly-Northern-based, also proofreading of my blogs and a very nice local fond of photography, Amele. That was a great fortune as I wished to put a lot of music lovers in front of the camera onto the bridge.

Quand les Dancing Queens (Kelly et Alice) ont appris que la prochaine étape serait Manc, l’idée n’était pas que la confrontation des énergies londoniennes avec le caractère mancunien mais aussi de réunir un pays, le nôtre, la France, car de délicieux compagnons ,mordus de musique du coin ,avaient fait également le déplacement. L’incontournable Salma, ancienne locale de l’étape, également relectrice de Londonkeepsrocking et WTFrenchPeople ainsi qu’une charmante régionale grande amatrice de photos, Amele. C’était une aubaine car la séance demandait beaucoup de participants, certains même avec un passage obligatoire des coulisses au devant de la caméra.

Alice : Top/Tie and Trousers by H&M – Trainers by Nike 

It’d been a first time for our delighted photographer, a habit for our cute model and a nice trial for my grammar expert. Four girls to follow the footsteps for quatuor, picked our fashion facilities, or kind of… Because playing the part of beary Peter Hook would be hard (sorry Hooky!) Alice for her premiere and her tie and shirt love fitted a perfect Bernard and thanks to my strips (on sale) stop, I got the rhythm playing Stephen Morris.

C’était donc une grande première pour l’enthousiaste photographe, Alice, une habitude pour la modèle Kelly, et une expérience étonnante pour l’ES orthographique Salma. Quatre filles pour suivre les pas du quatuor selon les possibilités du dressing enfin plus ou moins! Car chausser les grôles du barbu Peter Hook était une tâche trop osée (désolée Hooky^^^). Alice pour ses débuts face caméra et son amour des cravates /chemises faisait une parfaite Bernard. Grâce à mon haut rayé (et soldé), j’ai suivi le rythme de Stephen Morris.

Solène : Shirt by Comptoir des Cotonniers – Trousers by Zapa – Trainers by Lacoste 

And then, Kelly, so feminine, took the waiting and hoping expression of Annick Honoré while Salma, and her lovely trench, kept the cold face of Ian Curtis. It is not about playing with the ghosts but to give a vibrant tribute to the band.

De leur côté, Kelly, si féminine, prit les traits optimistes et l’attitude patiente d’Annick Honoré tandis que Salma, et son trench adorable, cristallisait l’allure rude de Ian Curtis. Pas question de jouer avec les fantômes mais de rendre un hommage bien parlant au groupe.

Kelly: Trousers by Monki – White shoes by Nasty Gal

Salma: Trench by H&M – Shirt by & Other Stories – Joy Division T Shirt –  Polka Dot pants by Camaïeu –  Shoes by Geox 

You know, the bridge picture during snow days was a burden for photographer Kevin Cummins who even wanted to cancel the photo shooting because of the weather. We totally got it as we were freezing for the mythical pause but also couldn’t forget this friendly atmosphere in smiles, gestures and kind looks between the lads.

Saviez-vous que la photo du pont en temps de neige fut un vrai souci pour le photographe Kevin Cummins qui voulut annuler la séance à cause de la météo ? Nous en avons eu bien conscience en capturant la pause sous un climat particulièrement venteux mais nous n’avons pas voulu délaisser l’atmosphère conviviale avec les sourires, les gestes et les regards bienveillants des garçons.

As always, there is a small story in the big story, I will always keep in my mind these cheerful moments, giggling about the Wombats tribute, admiring the new uni architecture that recently spread recently in these industrial suburbs. With the same careful feeling, I had the chance to discover this place years ago with Craig Gilly. Decades later, Heart and Soul are still beating…

Et comme toujours, il y a la petite histoire dans la grande, je garderai à jamais gravés dans ma mémoire ces instants enjoués à pouffer à l’évocation des chansons des Wombats ou admirant la nouvelle architecture étudiante de ce quartier anciennement industriel. Avec un sentiment tout aussi intense que lors de ma première venue sur ces lieux avec Craig Gilly. L’amour de la musique ne tombe jamais en pièces.

Texts: Solène L. Models: Kelly, Salma, Alice Pictures by ©Alice Menguy x Amele 

Pour d’autres histoires musicales en Angleterre suivez-moi ou contactez-moi 😉

        Tear love Apart with Joy Division in Manchester If London Calling, the North offers many vibes with nice bunch of people. On a break in…

[weirdoclubbcn]

Happy 50th Tim Burgess #Madchester #TimBurgess #TheCharlatans #Manchester #Legend #Weirdo #oneofakind #oneofus #weirdo

[miskinmusic1920]

Songwriting Research Task 1.

You will look at two pop music scenes, commenting critically on:

Style (musical characteristics) 

Development (origins and cultural aspects) 

Major Artists  

Great Songwriting of the Period 

You will present a well written song that you can speak about in terms of its strengths (EG Emotional impact, Lyrical message, Melodic power)

For TWO of the following areas of popular music:

​New Romantic and Synth Pop

The following are some examples of this:

Culture Club, Spandau Ballet, Duran Duran, the Human League, Eurythmics, Depeche Mode, Soft Cell, a-ha, New Order, Orchestral Manoeuvres in the Dark, Yazoo, Ultravox, Erasure, Pet Shop Boys, New Order, Gary Numan

​80s commercial Pop Music

The following are some examples of this:

Michael Jackson, Prince, Madonna,  Whitney Houston,  The Bangles.  Cyndi Lauper  George Michael, The Police, Queen 

Also Stock, Aitken and Waterman artists (Rick Astley, Kylie Minogue, Donna Summer, Mel and Kim etc…)

​Madchester/ Britpop

The following are some examples of this:

Happy Mondays,  The Stone Roses. EMF,  James,  The La’s, The Charlatans, Suede, Pulp, Elastica, Oasis, Blur, Radiohead, Ocean Colour Scene, Republica, Sleeper, Supergrass

Hip Hop/G Funk

The following are some examples of this:

DJ Kool Herc, Grandmaster Flash and the Furious Five,  Sugarhill Gang,  Run D.M.C, Beastie Boys, NWA, LL Cool J, Public Enemy, Eric B. & Rakim,  Dr. Dre, LL Cool J, Eazy-E, Wu-Tang Clan, Snoop Doggy Dogg, Busta Rhymes, Cypress Hill, Puff Daddy, 2Pac, Jay-Z, Kanye West, Eminem, Dizzee Rascal, Drake, Kendrick Lamar, Stormzy,  Cardi B, 

Girl Groups

The following are some examples of this:

Bananarama,  En Vogue, The Bangles Spice Girls,  All Saints, Atomic Kitten,  Eternal, Destinys Child, Suga Babes, Girls Aloud, Pussycat Dolls, Wonder Girls

​RnB

The following are some examples of this:

Bobby Brown, Mary J. Blige,  Lauryn Hill,  Missy Elliott, Nelly, Usher, Chris Brown, Rhiana, Pharrell Williams, Alicia Keys, Bruno Mars, John Legend, Janelle Monáe, Childish Gambino

Grunge and Alternative Rock

The following are some examples of this:

Faith No More, Red Hot Chili Peppers, Rage Against the Machine, Green Day, Weezer,  Nirvana, Hole, L7, Soundgarden, Alice in Chains  Pearl Jam, The Offspring, Primus, Foo Fighters, The White Stripes, Muse, Kings of Leon

House Music/Commercial Dance Music

The following are some examples of this:

MARRS’ “Pump Up The Volume”  Beatmasters, Krush, Coldcut, Yazz, Bomb The Bass, S-Express, Black Box, Technotronic  Björk, C+C Music Factory, Baby D, Urban Cookie Collective, Haddaway, Daft Punk, David Guetta, The Prodigy, Basement Jaxx, Pendulum, Aphex Twin

Contemporary singer songwriters

The following are some examples of this:

Adel, Amy winehouse, Lady Gaga, Katy Perry, Justin Bieber,  Ed Sheeran, Taylor Swift, Billie Eilish,

You can also add a third type of pop music style to your research if there is something else you really like that falls outside of these categories

DEADLINE FOR THIS RESEARCH TO BE PUBLISHED ON YOUR NEW WIX TEMPLATE IS JANUARY 2nd 2020

[stellavista]

808 state - spiral arms.

2 new ep´s from the madchester legends and an album is to come in october. this is my favourite so far, not sold on the other 7 songs.

however: the new “morphing” logo is absolutely genius!

[readablenoise]

Neon Waves and the Unexpected Sound: Readable Noise reviews Riptide Music Festival- Day 1

South Florida’s premiere alternative music festival continues to hit it’s mark in combining the old and new

Fort Lauderdale- FTL has always been a city within a city.

Bordering the Miami gateway and its Northern areas of suburbia, it’s an odd metropolitan escape that has never quite received the note of recognition it deserves. Except for of course, in the arms of its beaches.

Stretching for miles, the solar mirrored sand along the Atlantic is serene as it is comforting, with a State Park nestled almost oddly alongside it. And it’s in this multi leveled plateau that 104.3 The Shark makes it’s home for Riptide Music Festival; South Florida’s only alternative based music festival, following the departure of it’s predecessor, 103.1 The Buzz’s annual Buzz Bake Sale.

The station, started by the former operator of the aforementioned FM local staple, John O’ Connell, is done in good hands and with good intentions; the festival occupying a good stretch and interspersed with two stages in one hand, and a cavalcade of acts in the other including modern staples in the form of The Killers, Silversun Pick-Ups and newcomers, the 1975.

What is so vastly important however, is the reception and welcoming of new acts to the fold; such as White Reaper, who opened the festivities on the Sharkwrecked Main Stage, Friday afternoon.

The quartet from Kentucky are an interesting and refreshing mix of The Cars sensibilities, alongside 90’s pop-punk. With tight melodies, and that special thrill that comes from seeing an act fresh not only in their element, but their ambition. It’s something that instantly makes you smile, and happily sway in their sound, with songs rooted in proper composition but with an unexpected, exciting edge to the performance.

It’s an introduction that is not only needed, but necessary in the genre, allowing new blood in as, no pun intended, chumming the water as proof of existence that the genre is still alive and well.

Whether through the open and unique performance of Morgxn, whose infectious smile and honesty in their performance that touched on Southern gospel rock with an Elton John showmanship, or the female version of Rhye’s silky smooth vocals, in the form of DC’s own Shaed; it’s an infusion that leaves you breathless. This is the new class in it’s prime, and just a taste of some of the forms that are to come.

One of those interests being K. Flay. There is an undeniable, enjoyable bite to her tracks, like a flavor you can’t quite describe but enjoy all the same. It’s a feeling that carries into whose live performance, and makes itself more clear. A gritter version of Phantogram’s Sarah Barthel, Flay’s stage presence is electric, opening “Not In California” to an already palpable crowd, she carriers herself in her words, and using that presence as an instrument itself. It’s something wonderful, and a wonderful addition to the start of the festival.

And with the new, so comes due respect to the those that helped pave way to the current path, in the form of Silversun Pick-Ups.

It’s also here, that we unfortunately ran into the sole issue of the ambitious festival and its current venue.

While the experience is rightfully and Thankfully fan friendly, geared with the right intentions (a day out on the Florida sands, with music and good memories in both the sun and moonlit hours), it made behind the scenes work at times, tenuous. Due to the venue itself, and the corporate strings that do follow with more major festivals operated by outside hands, we were unable to watch more than three songs of most of the bands featured in this review, including that of SSPU, Matt Maeson, and all acts throughout Saturday’s festivities as well.

This is not at all to say the fault fell with the behind the scenes crew, who were more than gracious to all reporting on the festival.

However, with tied hands, the opportunity of accurately capturing the tempo, surprises and the elation of both bands and fans present were a bit chaotic at times, given the strict time restraint allowed by higher powers to capture photographic moments. It was truly the only downside of this otherwise truly special music festival.

After all, where else would you find Silversun Pick-Ups, whose glistening opening song “Neon Wound” was met with incredible, and deserved reception from the audience and perfectly cascading into latest “It Doesn’t Matter”, proudly showing the incredible power and chemistry the quartet still have; or The Revivalists, whose Southern honey tinged rock feels as at home on the picture perfect shore as it does in the glades, dancing to their sway of smooth ballads and jam oriented blues?

In that same vein of great surprises featured in this festival, were Judah & The Lion; a Cage The Elephant style of bombast meets Johnny Rotten explosion. With a flurry of strobe lights greeting their arrival, it was an unexpected and special treat to witness, opening with “Pep Talk” and seamlessly crescending into “Quarter Life Crisis”, frontman Brian Macdonald is a powerhouse to watch, and is reminiscent of those legendary live shows.

Their performance was a truly wonderful treat, with tracks that while undeniably smooth, formed like a punk show and leaving the crowd alight with excitement. Nowhere else will you get audio fireworks other than with this sound, and it’s one we were grateful to see for the time we were given to.

And as the sun set, and the muggy Florida cool of the night set in, the Main Stage crowd began to grow closer in quarters, as the 1975 set the beginning machinations for the final songs of the first night to a frenzied crowd.

It isn’t a stretch to say the fervor attached with the Manchester based group is that of almost reminiscent of The Beatles in the frenetic frenzy that follows them with their audience, which while perhaps surprising at some moments, is not out of the ordinary.

Their digital aesthetic intertwined with modern age love songs are relatable on an odd wavelength, and never left feeling out of place. In addition, their stage performance is electric, with frontman Matthew Healy coming out in full form wearing a Fugazi longsleeve and swinging his mic around as the act performed “Give It A Try”. And while most bands reach for their own brand of identity, as all acts should, it’s extremely rare that a band can actually make their own aesthetic, with a following that actively and appropriately combines photographs of love, heartache and neon with the act’s lyrics; something that the band also do in graphics of vaporwave stylings throughout their performance. Say what you may about the band, who are definitely riding and enjoying their wave, it’s always something special when an act can connect on such a level that sound becomes material.

And it’s on that note that we get to the main headliner for the night, alternative and rock legends, The Killers.

The Las Vegas act first arrived on the scene in 2004 with a then uncarried bombast, catering to a curve no one had quite yet acknowledged, much less heard of. Following in the footsteps of New Order, The Cars and Depeche Mode, it was still a ground less followed as it was sacred.

As it should be, with the new wave acts paving the way for the future, which following the Madchester and deep house tiering, coupled with the arrival of grunge rock and nu-metal, remained a path that seemed to have stopped dead. Enter in the quartet, who not only took back up the mantle, but aimed to become it, releasing “Mr. Brightside” and “Somebody Told Me” with a glamour and decadence not quite Las Vegas, but not quite English either. They were the perfect hybrid of UK arena interspersed with American ambition, and it’s a formula that is still followed today by the band, albeit with a pinch more Springsteen.

As the band open with signature “Jenny Was A Friend Of Mine” if you have followed the band since their debut, it’s a consistent and almost parental wonder to see how far they have come.

As with any band you may have grown up with, there is always that glimmer of wonder; something uncontainable that rises like static electricity after it’s first viewing, or listen. It’s a hard feeling to ensure, time after time and after nearly two decades, their formula is still potent.

With frontman Brandon Flowers coming more into his own, drummer Ronnie Vannucci still being the electrifying mixture of John Bonham meets Keith Moon and even adapting with evolution; allowing  guitarist Dave Keuning and bassist Mark Stoermer optional time away from touring while still being part of the experience, something that no band never truly been done before.

It’s a testament to the strength of the act themselves, still able to carry a crowd like absolute ease, performing “The Way It Was” with earnest bombast, and proof of the faith in their tracks. Whereas some acts might choose to leave their hits for the latter part of the set and lure potential new ears into the fold by keeping those immediately recognizable songs to the end, they proudly display it on their sleeve; Flowers leading into “Smile Like You Mean It” with a serene build-up of synths, or even the instant crowd pleaser of “Somebody Told Me”, all with neon graphics accompanying, alongside a glittering assembly of lights, complimenting the show as it’s own type of instrument.

Their regard of the experience to be a apart of the music, giving support to each respective feel is the showmanship of Vegas coming off their sleeves, and it works well.

Including, and most importantly, for the audience themselves, with a recent concert rite of passage that The Killers have started doing at their shows: inviting any potential audience members who dare hold up signs asking to play a track with the band, and honoring that request. Tonight’s aptly named “Victim” was Jayson, a native of Gainesville who accompanied the act on  “For Reasons Unknown” and absolutely nail it; mirroring Vannucci’s signature energic frenzy throughout the hills and valleys of the tracks composition, had the crowd chanting following his performance, and deservedly so. 

And as the night continued with a spectacular cover of Tom Petty’s “American Girl”, and the act’s own “Run For Cover” you see the Las Vegas act still elicit that same special blend of magic the band have created; raising crowds to an electric level, and bringing the best out of tired feet and glittering eyes. It’s a recipe that’s hard to nail, and even harder to consistently deliver. And as The Killers arrived at their closing track, “Mr. Brightside” (cooly and beautifully split up into half Jacques Lu Cont remix and half original banger), with Flowers remarking earlier in the night the incredible spirit of the tightly packed crowd, promising to return next year, is where you see it. 

Underneath the moonlight, and river of lasers and lights the desert act combine into their shows, the heartbeat of a crowd coming together for one more song. Right as the last note plays, and the sand settles once more, that smile starts creeping up without any necessary thought. It’s the strength of music delivered right, in a climate that’s created in the best components. And 

Thankfully, bands like those featured today, alongside Riptide itself, are helping to truly keep that feeling alive.

See our exclusive live captures of White Reaper here: https://www.youtube.com/watch?v=ReS-lFOhMAM

And Shaed here: https://www.youtube.com/watch?v=v5aNNCRAvec

(Words and Photos: Jenelle DeGuzman)

[slovenlyrecordings]

OUT TODAY! TH’ LOSIN STREAKS “THIS BAND WILL SELF-DESTRUCT IN T-MINUS” LP

TH’ LOSIN STREAKS – This Band Will Self​-​Destruct In T​-​Minus –

12″ LP on black or gold vinyl, limited to 100 copies.

•

ORDER THE GOLD VINYL HERE!

ORDER THE BLACK VINYL HERE!

ORDER VINYL ON BANDCAMP

AND GET AN AUTOMATIC DOWNLOAD!

The highly anticipated and way overdue second album from Sacramento, CA freakbeat legends TH’ LOSIN STREAKS has finally landed in the sweaty palms of Slovenly Recordings, and we couldn’t be more gassed! “This Band Will Self-Destruct in T-Minus” finds Th’ Losin Streaks regrouping after a devastating break-up in 2010 – six years after the release of their debut LP “Sounds of Violence” – teaming up once again with long time friend and producer Chris Woodhouse (Thee Oh Sees, Blind Shake, Ty Segall) for the sole record he agreed to produce in 2018 – the same record proclaimed by mastering engineer Tim Warren (Crypt Records) to be “’The best American tribute to Freakbeat ever made.”

Let’s be frank for a moment here: what this ain’t is the simplistic and primitive ‘Streaks garage stomp of yore. This band has stumbled upon a sophisticated formula that relies far less on the 1-4-5, as the new “Order of the Day” finds our veteran hipsters in all-out mod-mode, propelled by ace-face Mike Farrell’s freshest and most inspiring melodic tattoo to date – you’ll swear it’s the searing cacophony of shagged-out Limey teens dosed on a fistfull of vitamin E, kicking out a wall of twistable scree front and center at a liquid light show in early 90s Madchester. Genius maniac drummer and fellow MONKS fanatic Matt K. Shrugg works in two hairy shots of beat-punk snarl as a composer / vocalist on this outing, monking up a mutated version of the “Complication” riff on “Falling Rain,” and you can bet your Beatle boots it was his call for the lone cover of ultra-obscurity “You Can’t Keep a Good Man Down” by Brooklyn no-counts The Jagged Edge. Band leader slash rhythm axe maestro Old Man (Tim) Foster is on rave-up duty here, knocking out four surly tracks of pure 1960’s rage. Foster’s partner Stan Tindall, from zebra-clad garage ne’er-do-wells THE TROUBLE MAKERS, is back on the bass, laying down a bottom so thick and soupy you’ll be scraping it off of your face until the release of the next Losin Streaks long player, so apologies if you’re waiting as long as you did for this ‘un, but it’s a good look, kook!

TH' LOSIN STREAKS "This Band Will Self-Destruct In T-Minus" LP by Th' Losin' Streaks

Tracklist: (This Man Will Self-Destruct In T-Minus), Trouble You Find, To Die For, You Can’t Keep a Good Man Down, Time Has Come, Order of the Day, You’ll Never Know, Room and Board, I Don’t Care What You Do, Genevieve, My Disease, Falling Rain, Too Late

[speakspeak]

Timeless Cool: Ian Brown

[suckmycoxon]

for the make me choose thing: 1. trimm trabb vs no distance left to run 2. dreams never end vs age of consent 3. give em enough rope vs. combat rock & 4. blur vs. the stone roses? :)

1. “Trimm Trabb” because... I don’t know... that song perfectly captures the essence of 13... “No Distance Left to Run” is great because the video is wonderful tho dkgnhkhdgkdh

2. “Age of Consent” because fuck Hooky. kdnhkfkfh alright musically, “Dreams Never End” is actually very endearing... the guitars and bass are great... and Hooky’s voice actually is so cool, so Ian-like... (it sucks when it’s played live tho) but then again... fuck Hooky... “Age of Consent” is a cute song tho. don’t you just love the sound of Barney yelping?

3. wow that’s pretty tough but um... Combat Rock... solely for “Should I Stay or Should I Go”... and “Straight to Hell”... and “Atom Tan”...

4. KSFHKSFHNKSFHSF OH GOD. depends on my mood actually, because Blur are more experimental while Stone Roses tend to sound... baggy, Madchester-like (although probably not as Madchester-sounding as Happy Mondays, Inspiral Carpets, etc)... my mood right now says Stone Roses so Stone Roses it is. I think it’s also amazing how Stone Roses remain a legend despite only producing 2 albums

thank you so much Mia!!

[weirdoclubbcn]

TONITE Dig The Lazarus! Dj's 18.05.2017 Manchester Bar Gòtic 10PM - 3AM Free Admission Love will tear us apart. Ian Curtis Memoriam #Hate #JoyDivision #IanCurtis #legend #Postpunk #Indierock #Shoegaze #Darkwave #Madchester #Britpop #DigTheLazarus #Djset #Barcelona #Clubbing #ManchesterBar (en Manchester Bar)

[chantellesandland]

42nd street night club which we all referred to as 42’s, opened in 1963 in Manchester by the legend George Best which he first called the night club “Slack Alice” for George to drink in. A few years and many name changes later we have 42’s.

Back then Slack Alice was know for shots of Mad Dog 20 20, hugging strangers and bellowing Live Forever till the lights came on, to falling asleep by the fruit machines or queuing for chips at Topkapi afterwards, M.E.N readers have been sharing their memories of the club through the decades.

Back in the Swinging Sixties, it was owned by Manchester United legend George Best and was a champagne-flooded favourite for celebrities.

After Slack Alice, the venue changed names to Zoo, then Playpen in the 80s, before it became 42nd Street in the mid 90s. By then, it had a bit of a ‘townie’ reputation, but ran an alternative music night called ‘Ruby Tuesdays’ once a week. It became so popular the club managers transformed it into a indie music club, playing the likes of The Smiths, Stone Roses, Oasis and other Madchester bands.

In the late 00s and 2010s, 42s was a weekly staple wfor indie fans and had purple walls adorned with pictures of Manchester music legends. Arctic Monkeys, The Killers, Arcade Fire and The Kooks blasted out of the speakers. Fast forward to 2019 and the love for 42nd Street still carries on.

[swilfa]

@liamgallagher #liamgallagher #LG #beadyeye #oasis #legend #madchester #manchester #oasismania #swilfavinylart #swilfa #vinyl #art #vinyljunkie #vinylcollection #vinyls #vinylart #vinyladdict #recordart #records #arts #artist

[gigsoupmusic]

GIGSOUP SPEAK TO ADAMSKI ON THE 30TH ANNIVERSARY OF 'NRG'

Adamski, the DJ, musician & producer who was catapulted from illegal raves to international stardom with chart busting bangers, ‘NRG’ and global smash-hit with Seal, ‘Killer,’ is releasing 7 re-imagined versions of ‘NRG’ in 7 weeks, to celebrate the 30th anniversary of this seminal track. Let’s face it we all feel old now, right? We decided to have a chat with the legend himself and see how he feels about the work and how it has affected him and also we poke him about his newly found veganism and his recollections of the rave scene back in the day… It’s the 30th Anniversary of the release of NRG - how does that make you feel? Old lol ...but seriously it makes me feel grateful for having been in the eye of the storm of acid house and the social and cultural significance that has... Tell us about the new, updated versions of NRG you are releasing - what's the vibe & inspiration for the 2019 slants on the track? Firstly I have treated it more as an art project than just rehashing an old club tune with flavour of the month remixers ....I have done stuff that wasn’t possible in those days like finding other songs with ‘energy’ in the title on youtube and spotify and kind of twisting them into my tune ....some well-known and some more obscure like The Residents nutso art rock from 1974...obvs I only use things I actually like but I do have a quite diverse taste in music... Oh and it’s now called re:NRGize cos that’s what i’ve done to the beat and what the beat has done to me ... What did you think of the recent Rave exhibition at the Saatchi Gallery? We understand you played the closing party, how was that? That was super fun ! I played in two different rooms ...and loved every minute although there was chaos with the decks and soundsystem set up ....it was somehow more smoothly organized in 1989 playing in fields and aircraft hangers in the middle of nowhere with everyone on drugs and without cell phones ... I saw Paul Cook from the Sex Pistols in there which was cool cos the Saatchi Gallery is on the King’s Road where the British punk rock scene emanated from in the 1970s ...I love making all these trivial connections in my head ... What are your fondest recollections from the rave scene? Playing at the opening party of Amnesia in Ibiza in 1989 which was then considered to be hands down the best nightclub in the world ...Playing 3 sets at the first ever open air rave ,Biology ....basically either attending or performing at the greatest parties of the 20th century. If fans want to catch your live set, do you have any gigs coming up? October 05th at Madchester October 19th at Berlin Berlin (Egg, London) …best to connect on socials for live updates! You became vegan fairly recently, what does veganism mean to you? Yes 2 years and 4 months ...I saw a funny tee shirt recently that said “I became vegan for love and now I f**king hate everybody” that pretty much sums it up ...we are evolved ...we can access the vile truth about industrial agriculture with one click on our smart phone ...we can easily access nutritional info and know it’s bullshit meat and dairy industry propaganda that we need to eat cow pus or the flesh of beings that had souls and arseholes to survive ...oh God you’ve got me started now... The releases are available now such as ‘SOLAR NRG’ – focus track ‘NRG BOOST’ will be available from 2nd October. All available from iTunes. https://open.spotify.com/album/27mkAUGMPfuXeThna1pSI3 Read the full article

[vandalamagazine]

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Article and Photo Credit L. Paul Mann

On a beautiful summer evening, English New Wave Legends Psychedelic Furs, and James, played the final date of their 2019 U.S. tour. Music fans arrived at the venue early to enjoy the warm summer sun and celebrate with a variety of local spirits at the well-stocked bars located across the amphitheater. The joint Live Nation, Nederlander Production featured a local fitting act, Dear Boys as openers for the show. The young Los Angeles band wrote their first EP, which was released in 2013, in Vauxhall, London.  Lead singer and guitarist Ben Grey shared with the audience at the end of their brief 30-minute set, “We are honored to have shared the stage with James and Psychedelic Furs, and you can tell how they have greatly influenced this band.” The young band did share a sound much like English New Wave bands of that genre. But the young musicians have managed to make the music their own, and it is a refreshing sound. The group, which also features Keith Cooper (drums), Austin Hayman (guitar) and Nils Bue (bass), played soothing songs from their three EP’s, including their new single “Heaven Moves.”

After a short intermission James emerged just as a setting sun bathed the band in an orange glow. The eight-member band fronted by one of the most charismatic lead singers of the New Wave genre, Tim Booth managed to cram 11 songs in a set limited to just over an hour. The mesmerizing set was nothing short of amazing, and the band dominated the entire night of music. It was unfortunate that the group was limited to such a short set, especially since they have over 250 songs to share in their catalog, from no less than 15 studio albums. Although the group’s founding goes back to 1982, it was the 90’s decade that saw the band release their most significant string of hits. But unlike many other bands of the New Wave era, James continues to release relevant new music. That was apparent at the Greek theater show as Booth introduced the first song of the set. “This is our angry song,” he quipped as the group broke into “Hank” from their latest album Living In Extraordinary Times, released last year. An animated Booth led the group in the dramatic opening song which couldn’t be more relevant to the current political climate in the country. The song was all the more relevant after the trio of mass shootings in the last few weeks. The lyrics redirected at gun violence included, “This crackhead’s tiny fingers / accusing you of what he’ll do / white fascists in the White House / More beetroot in your Russian stew.” By the time the band broke into their third tune of the set, their 1990 hit “Come Home,”  from the Madchester album, Booth couldn’t contain his whirling Dervish inspired energy and wandered off the stage for his first foray deep into the crowd.  Booth wandered to the middle of the amphitheater posing for selfies with concert-goers, shaking hands while beaming wildly, singing directly to mesmerized music fans and even shaking hands with a press photographer before prancing back to the stage. All the while, the six-member band laid down intricate music with elements of jazz, classical and a bit of post-punk rock mixed in an elegant musical cocktail. The bands sound is a bit like an English version of REM. But while that innovative band retired long ago, James continues to evolve their sound like a meandering river making its way towards the ocean.

It wasn’t until the fourth song of the evening that many in the crowd recognized the music, when the band played their first hit in the United States the 1994 single “Laid.” That launched most of the crowd onto their feet when many people realized for the first time who this charismatic band was.

As the band continued their phenomenal set, they were joined by Psychedelic Furs Sax player, Mars Williams.  Williams dueled with the extraordinary James trumpet player Andy Diagram. Diagram is a veteran of the band dating back to the 1980s. Other members of the band included veteran guitarist, violinist, and percussionist Saul Davies, also a veteran of the band back to the ’80s. Jim Glennie, the original bassist of the band returned to the group in 2007 after a six-year hiatus. Drummer David Baynton-Power is another veteran member of the band dating back to the ’80s. Keyboardist Mark Hunter has also been a member since the ’80s. The band also featured lead guitarist Adrian Oxaal on lead guitar, the newest member of the band, joining them in the mid-’90s. As the group neared the end of their set, singer Booth who was by then wound up like the energizer bunny again bolted into the crowd. The emboldened singer ended up climbing up the outside railing of the balcony to sing to music fans at the top of the venue. After the band completed their ten-song set, the stage manager ran out to let them know they could play one additional song.  James concluded with the well-known tune “Sound” from the Seven album to an extended standing ovation and ended the set on an optimistic note.

Twilight set in, and stars began to appear in the summer evening sky as the Psychedelic Furs took the stage for their headline set. The band led by original singer Richard Butler and brother Tum Butler on bass played a nostalgic set relying heavily on their hit songs from the 1980s. The band was founded in London, amidst the punk rock scene in 1977, but the ’80s was the era that saw them become one of the defining bands of the New Wave dance music era. Fierce fans of the group could be heard singing along to nearly every song on the setlist. The set opened with “Love My Way” from the band’s third album Forever Now released in 1982. Singer Richard Butler sauntered onto the stage dressed like a rock star and instantly connected with the audience. The personable front man pranced about the stage locking glances with members of the audience at every turn. Unlike James, The Furs embrace the nostalgic component of their music and revel in it, seemingly locked in a 1980’s time warp. Mars Williams, fresh from his guest foray with James, added another dimension to the catchy tunes with his jazz driven saxophone skills. Butler’s characteristic raspy vocals took center stage on the tune, “Heaven,” an MTV and 1980’s disco favorite.

Psychedelic Furs and James Complete Their Tour at The Greek Theater Los Angeles Article and Photo Credit L. Paul Mann On a beautiful summer evening, English New Wave Legends Psychedelic Furs, and James, played the final date of their 2019 U.S.