Posts Tagged ‘Manchester’

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The C33s are Punk/Garage/Surf tinged band from Manchester consisting of Judy Jones (drums, vocals), Cav Green (guitarvocals) and Ste Phillips (bass).
Their sound is an East coast meets West coast affair, ramped up Ramones pop fused with full on Dick Dale twang. If Pulp Fiction were set in a satellite town The C33s just wrote the soundtrack to their future.

Heading for a lockdown break-out?. Then this song is one for the soundtrack! ‘Harpurhey Hostility’ is an explosive mix of garage punk and raging northern discontent. Not quite like anything else but reminds you of such past iconic delights such as The B52s, The Ramones & the more recent sounds of Oh Sees and Amyl and The Sniffers etc.

An uneasy and uncompromising visceral portrait of a small town in North Manchester whose strong will and attitude can often spill over into the extreme and unruly. Tragedy and comedy are at the core of The C33s and ‘Harpurhey Hostility’ represents this duality in both sound and statement.

Drummer Judy Jones takes lead vocals on this one and snarls her way through 3 minutes of slick guitar, bass runs and tribal drums that have become now recognisable to The C33s’ sound. Recorded at Magic Garden Studios, Wolverhampton under the spiritual umbrella of Gavin Monaghan and Joseph Murray.

The C33s “Harpurhey Hostility” available through The Hatchery Records Released on: 29th June 2020,

It’s been more than a minute since we’ve gotten a full album from Manchester outfit Pins, but today they’ve revealed a May 29th release date for “Hot Slick”, their first since 2015’s brilliant Wild Nights. To go along with the news, the indie post-punk trio dropped the single “Ponytail,” .

“Ponytail” is glorious with its serpentine beat in front of singer Faith Vern cooing about being up all night with her hands in the air, high heels and guitar on while she whips her ponytail from side-to-side without a care in the world. The song is the third single from Hot Slick, following the record’s title track and exquisitely addictive “Bad Girls Forever,” both released last month.

“Have you ever had a bad day and instead of crawling into bed with a bucket of ice cream, you swipe your mouth with some lipstick, put your high heels on and go out to dance?” asks Vern. “That’s what ‘Ponytail’ is about.”


Though they’ve not released a full length in sometime, PINS haven’t been out of the spotlight entirely, dropping an EP here and single featuring Iggy Pop there, but have also been adjusting to the departure of their original rhythm section. Singer/guitarist Vern, along with guitarist Lois MacDonald and bassist Kyoko Swan, have been joined by a rotating cast of collaborators in the studio, including The Kills Jamie Hince and Nathan Saoudi of Fat White Family. The result is a bevy of strutting synth nods on Hot Slick to everyone from Soulwax and Suicide to New Order.


One of this year’s most talked-up new outfits, it’s easy to see why on the catchy single “Taking You With Me” which has recently been receiving praise in all the right places.  Having already amassed plenty of support in their hometown (their fanbase includes Brix & The Extricated and Clint Boon), it should only be a matter of time before Blanketman’s glorious post-punk racket connects with a mass audience.

They are also a band with a great logo, get one of their t-shirts before they become a much sought after collector’s item. With the intuition of the rhythm, believable lyrics and the tasteful guitar work, the band’s ability to keep it to the point, without tacked on self indulgence clouding the pathway, permits them to continually develop into a strong, entertaining live act that all elements of the masses can enjoy.

Suffice to say, they will not be unknown for long. Blanketman and their new double A side single has confirmed them as one of the brightest talents to come out of Manchester in a very long time

That's My Ego / Big Cat by Faux Pas / Uncle Buzzard

We’ve been lucky enough to catch these live twice already, supporting Life at Liverpool’s Phase One and as the opening act for IDLES . On both occasions, it was obvious that these are stars in the making, just one listen to their single That’s My Ego is sure-fire proof of that.

“That’s My Ego” is available on a limited edition vinyl: and was released via Come Play With Me. To find out more about the label, their singles club + the artists they’re supporting, head to

Akin to PlaceboFaux Pas are a wrecking ball of energy.

The new singles by Manchester-based indie punks Faux Pas and Leeds-based psych-po 5-piece Uncle Buzzard, come together as a double A-sided 7”. That’s My Ego shows Faux Pas maturing as songwriters as they discuss the pursuit of perfection, whilst Big Cat sees Uncle Buzzard’s shimmering sound shrouding some heavy subject matter.

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DUTCH UNCLES Live at Old Granada Studios was recorded in 2017 at Low Four Studio, also Our label Memphis Industries has made all our releases available digitally for pay what you like across this weekend. If there are any gaps missing in your Dutch Uncles collection Now Is Your Chance!


A live set, recorded at Old Granada Studios for Low Four, in front of a live studio audience in February 2017. It includes our cover of Stay by our faves The Blue Nile
released April 30th, 2020

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Hard to believe it has been five years since Manchester based trio PINS released Wild Nights.

Again we’re a bit late to the party, but Hot Slick, their third long player will be out on 29th May via their own Haus of Pins label. Three tracks have already been shared from it (see below) and now we have Ghosting, which also features Nathan Saoudi from Fat White Family on additional keys. It is a cracking indie anthem shot through with some techno-trance vibes that dials up the sleaze factor. Re-grouped and, if the introductory stomp here is much to go by, re-charged, Manchester’s PINS return with a generous helping of sound clash business, melding filthy electro sleaze and playful rock with two deft and confident hands, the results of which should score big with fans of seductive disco sludge. And let’s face it that’s pretty much most of us. Tracks like ‘Read My Lips’ and ‘Bad Habit’ are fine examples of a dark but alluring edge this lot seem more than capable of creating, while ‘Daisies’ could almost replace Wilson Phillips to score the final scene of ‘Bridesmaids’. Which is certainly no bad thing. “We can keep going” the band threaten over ‘Ghosting”s compressed but intense rave punk. Based on this, we’re more than happy with that idea.

Hot Slick will be released on 29.05.2020

Buy Online The Charlatans - Between 10th & 11th (Expanded Edition)

The second album by the British alternative rock band The Charlatans “Between 10th and 11th” was originally released on 23rd March 1992. and features the UK Top 20 hit (and biggest US single) “Weirdo”, as well as singles “Tremolo Song” and “I Don’t Want To See The Sights”.

When Tim Burgess isn’t busy hosting his Twitter listening parties (if you haven’t already, make sure you check them out HERE) or playing as a solo artist, he’s once again riding high with indie icons The Charlatans and to celebrate thirty years since the release of their seminal second album ‘Between 10th and 11th’, the Manchester lads are bringing out a new Expanded Edition.

Between 10th and 11th was originally released in the Spring of 1992 and include such game changing singles as ‘Tremelo Song’ which would become their biggest selling song to the US to date. Criticism within and without settled on Flood’s production style as well, his crisp, technically sharp abilities seem to go against the band’s natural flow. In hindsight, though,it is much stronger than its reputation, with many fans proclaiming it their favorite. It’s partly due to Burgess more up-front vocals.

Similarly, Rob Collins keyboards stand out more, either shading or leading the songs perfectly. “Weirdo,” the album’s lead single and strongest point, has a brilliant lead organ break from Collins and series of great funk stabs that became his strongest performance ever. Equally fine is the electric piano start to “Tremolo Song,” leading to a deep Blunt bass and sassy flow of a song. Mark Collins also fill out their parts equally well, with Flood’s production strengthening and creating excellent arrangements for everyone as a whole. His numerous touches are really something, from the sudden shift to buried/flanged production on “Ignition” to “Subtitle”‘s atmospheric mixing and burbling bass. Other highlights include the string-laden charge of “Can’t Even Be Bothered” and the concluding “No One (Not Even the Rain)”.
‘Between 10th and 11th’ (Expanded Edition) will include a remaster of the original album, plus plenty of bonus material in the form of the entire live disc devoted to their heralded 1991 Chicago gig know as Isolation 21.2.91. – with even more on the bonus CD!

The Band:
Tim Burgess – lead vocals
Mark Collins – guitars
Rob Collins – Mellotron, Hammond organ, piano, backing vocals
Martin Blunt –Bass guitar
Jon Brookes – drums

You can grab a copy of The Charlatans ‘Between 10th and 11th’ (Expanded Edition) right now

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April 28th, 1980: Joy Division are in a disused T.J.Davidson rehearsal studio in Manchester filming their video for “Love Will Tear Us Apart.”

On this day, 40 years ago, Peter Hook, Bernard Sumner and Stephen Morris entered TJ Davidson’s Studios and turned on the cameras for the recording of “Love Will Tear Us Apart”, the only promotion video Joy Division ever recorded.

The clip was recorded by the band themselves during a rehearsal at T.J. Davidson’s studio on Little Peter Street in Manchester. The T.J. Davidson studios had already housed the band’s rehearsals at the beginning of their career.

The curiosities remain: In the intro to the video the door that opens and shuts has ‘Ian C’ carved into it; reportedly this was the beginning of an abusive message (the rest later erased) carved into the door by a spurned ex-girlfriend of Curtis’ during the band’s earlier work at the studio.
The video is browned out at points, unintentionally, but nevertheless a fitting aesthetic — along with the omission of Curtis’ trademark dancing, which instead is replaced with the frontman strumming on a Vox Phantom VI six string british guitar.

Official video for Love Will Tear Us Apart by Joy Division

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It’s a pleasure to announce our debut album ‘Working Men’s Club’ will be released on the 5th of June via Heavenly Recordings. It’s been a long road with a lot of sweat put into this album and at points we weren’t sure it would actually get made. However, it did and we’re incredibly proud of it. Produced by our dear friend Ross Orton and Recorded in Sheffield.

A rumble on the horizon. Gritted teeth, nuclear fizz and fissured rock. A dab of pill dust from a linty pocket before it hits: the atom split, pool table overturned, pint glass smashed — valley fever breaking with the clouds as the inertia of small town life is well and truly disrupted. Here to bust out of Doledrum, clad in a t-shirt that screams Socialism and armed with drum machine, synth, pedal and icy stare are Working Men’s Club, and their self-titled debut album.

Their eponymous collection of songs is equal parts Calder Valley restlessness and raw Sheffield steel; guitars locking horns with floor-filling beats, synths masquerading as drums and Minsky-Sargeant’s scratchy, electrifying bedroom demos brought to their full potential by Orton’s blade-sharp yet sensitive production.

Standouts include the nonchalant existential groove John Cooper Clarke — centred around the realisation that yes, even the luckiest guy alive, the Bard of Salford himself, will someday die. The washily-vocalled, Orange Juicily-guitared White Rooms and People, Cook A Coffee which is like a lost Joy Division number from an alternate universe and the frenetic, pew-pewing A.A.A.A.

Working Men’s Club are: Sydney Minsky-Sargeant – Vocals/Guitar/Drum Machine/Synth Liam Ogburn – Bass Rob Graham – Guitar/Synth Mairead O’Connor – Guitar/Keyboards/Vocals

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Manchester’s Purple Heart Parade release their third EP through premiere post-rock ambassadors Club AC30. Following from last years lauded Lonestar EP, Desolation Angel takes the band’s expansive and textured sound to new heights.

It opens with lead single Petrichor with its deftly dreamlike delivery that showcases the bands distance from previous influences and confidence in their own sound. Waves of engulfing, storm-like guitars crash across this entire EP but there are moments of extreme clarity within tracks like Petrichor and Red Rose Country, utilizing the full force of their loud / quiet shoegaze dynamics. Elsewhere tracks like Starwheel and title track Desolation Angel harness more of the infectious harmonies and chorus hooks that put them alongside some of their own cities finest.

Once again the band recorded at Perry Vale Studios with Pat Collier (The Jesus and Mary Chain, X-Ray Spex). Moving on from their last record which was largely emotional and cathartic, Desolation Angel is optimistic, romantic and mature. “Life’s a roller-coaster through the heavens. You’ll hit some soul destroying lows, but just up the track you know you’re going to hit some heavenly highs.

The EP is also about being true to yourself, standing up for your beliefs, doing your own thing, even though it’s not considered cool. It’s also about freeing yourself from negative situations in all aspects of life and cleansing yourself of them.”