Posts Tagged ‘Newcastle Upon Tyne’

This is ‘Hell’s Teeth’ the new single by Pigs Pigs Pigs Pigs Pigs Pigs Pigs.

The track is one of the many highlights of the latest album ‘Viscerals’. With its headbanging, foot stomping, driving, low-slung guitar rhythm, booming drums and ‘Let’s Rock!’ moniker, the single is an ode to metal bands through the ages.
And that is not all – the b-side features an exclusive rework of “Hell’s Teeth’ by fellow Rocket artist J.Zunz.
J. Zunz is the solo project from Lorena Quintanilla – one half of Mexican duo ‘Lorelle Meets The Obsolete’ and is releasing her latest album ‘Hibiscus‘ via Rocket Recordings on 21st August. 2020


Released July 31st, 2020

Today is the day! Pigs x 7 release their third album ‘Viscerals‘ is out there in this weird, wild world, courtesy of Rocket Recordings. The noise loving Newcastle-Upon-Tyne quintet featuring Matt Baty, Sam Grant, Adam Ian Sykes, John-Michael Hedley and Christopher Morley. We hope that you enjoy it as much as we do, and we look forward to hearing what you think and seeing you at a show as soon as is possible. For Lockdown Listening we recommend playing it loud, whilst exercising, cleaning, cooking or just simply when having a lovely, cathartic time. Powerful, primal, passionate music-making. An infectious, ambitious, raucous, riff-driven record. A workout of sheer musical magnitude and absolutely their best yet.

Adam Ian Sykes (guitar): It’s a strange time to be releasing an album, no doubt, but the reception and support we’ve had from people has been incredible. It’s odd spending months preparing for a long period of touring an album for that to be pulled from underneath from you but despite that, we’ve really enjoyed the run up to release and we’re still excited to get it out there for people to hear. Seeing as we’re not allowed to leave the house at the moment, we’re gathering together at 7pm BST on our YouTube channel in order to have a chat, a listen back to the record and welcome guests including Geoff Barrow of Beak, Self Esteem, ‘Viscerals’ cowbell performer Richard Dawson and Dev from Idles

‘Viscerals’ is available on vinyl LP, CD and digital formats from wherever you buy your music. To purchase one of the three limited edition vinyl versions currently available, in blood red sparkle vinyl. Rocket Recordings

Band Members
Matt Baty (Vocals)
Sam Grant (Guitar)
Adam Ian Sykes (Guitar)
Christopher Morley (Drums)
John-Michael Hedley (Bass)

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The Newcastle based French punk-pop duo the Noise & the Naive were formed in 2017.A six-track blast of glorious, wilful discordant noise from The Noise & The Naïve, two piece who describe themselves as “power pop”,
With acknowledged influences that include Shonen Knife, Yeah Yeah Yeahs and The White Stripes, Anne (drums, lead vocals) and Pauline (guitar, backing vocals) have forged their own unique take on the Riot grrrl aesthetic and gained a reputation for fire-cracking live sets that has led to gig invitations from events such as Hit The North, Evolution Emerging and Loud Women.

“Damned” with its “porn loving masturbators… sodomites, and lesbians” lyric is never going to gain much radio play, but beneath this is a stripped bare guitar and vocal tirade brimming with barely subdued rage. The Jon Spencer tinged “Mus Muscles” was released in February as a download only and shows the full range of Anne (drums, lead vocals) and Pauline (guitar, backing vocals), as they take a punk-blues riff and mangle it gleefully through Riot grrrl, the ensuing racket is a joy to behold, as is “Eggshell Milkshake” which has elements of mid 80’s Death to Trad Rock, rushing drums, shrieked vocals, its taut yet slack at the same moment, a fizzing ball of energy that precedes “10, 000 Men” with heavy cranked guitar riff, hammering drums, shimmering cymbals, odd breakdowns and switching timescales… this is a strange yet welcome voodoo.
“Abby” sounds like a Nightingales out take that was then put through The Noise & The Naïve mincer, before shouldering in some distorted noise ahead of remembering to jet off on a space rock trip to distant frazzled stars; the real curveball is closer “Seek Solace” which Anne wrote following the suicide of her brother, her anguish is palpable throughout the vocal, matched by tensile guitar slashing; there is both melancholy and welcome danger here.
Band Members
Pauline (guitars) and Anne (drums, vocals)

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Holly is an emerging singer-songwriter who grew up in the moors of the Durham Dales. Her debut EP ‘Ilex’ has seen radio play from Radio 6 Music, a feature on Tom Robinson’s BBC Introducing Mixtape listening to the music of Holly Rees, we’re instantly transported back to a simpler time. With acts like Laura Marling, Emmy The Great  were at the forefront of a folk-led movement, acoustic guitars and beautiful words ruled the roost and it felt like the start of a quiet revolution. but Holly Rees reminds us folk is not a dirty word in the pantheon of pop.

Holly also released her excellent EP, Slow Down, a few months back, and now this week shared a brand new single, “Stick Around”. Holly’s music has that certain wide-eyed rural sheen that only a sky full of stars without the distraction of cars and street lights can bring. “What’s this thing in my chest skipping in circles”, Holly sings with a beautiful simplicity and raw honesty; this is music that makes a connection with no bells and whistles, just a personal truth laid bare for all to see.


Stick Around is available now.

Pigs Pigs Pigs Pigs Pigs Pigs Pigs – the Newcastle based maximalists whose riffs, raw power and rancour have blazed a trail across the darker quarters of the underground in the last five years, have made a second album in King Of Cowards which does its damnedest to take consciousness to its very limits.

Vocalist and synth player Matt Baty notes “In terms of how the theme came together I’d relate it to throwing paint at a canvas in a really physical and subconscious way, then stepping back to analyse it and seeing it all as one piece. It wasn’t until then that I saw there was this continual thread of sin and guilt in the lyrics throughout the album. For a long time I’ve questioned how and where guilt can be used as a form of oppression… When can guilt be converted into positive action? After typing all of the lyrics up I realised I’d unwittingly referenced every one of the seven deadly sins throughout the album. That’s the fire and brimstone Catholic teachings I picked up at school coming into play there!”

The period since Pigs’ Rocket Recordings 2017 debut Feed The Rats  a mighty tsunami of rancorous riffage and unholy abjection that wowed critics and wreckheads alike has seen the band build on their incendiary live reputation far and wide, from the sweatiest of UK fleapits to illustrious festivals like Roskilde. Perhaps the most relentlessly head-caving outfit of an alarmingly fertile scene operating in Newcastle at present, the band have all been busying themselves in a variety of activities, with Baty running Box Records (home of underground luminaries like Lower Slaughter, Casual Nun and Terminal Cheesecake) and both himself and bassist John-Michael Hedley playing in Richard Dawson’s band – indeed Dawson himself guests on King Of Cowards, both on synth and as part of a vocal ensemble on the opening “GNT” – moreover, guitarist Sam Grant has been working hard on a new incarnation of Blank Studios, which began its life with the recording of this very album.

This opus sees the band entering a new phase as a sleeker yet still more dangerous swineherd, with ex-Gnod and Queer’d Science drummer Chris Morley joining the ranks and a new approach being taken to its creation. The Iggy-esque drive to dementia, Sabbath-esque squalor and Motörhead-style dirt may still be present and correct yet the songs are leaner, the longdrawn-out riff-fests sharpened into addictive hammer blows and the nihilistic dirges of yore alchemically transformed into an uplifting and inviting barrage of hedonistic abandon.


Against all odds, the writing of this record entailed encounters with actual pigs. “We hired a remote, converted barn in the Italian countryside and spent a week there writing the bulk of the album and trying to make friends with wild boar.” notes Adam Ian Sykes. “The results are shorter, more concise songs with, I guess, a little more focus, especially thematically. We wanted to shift slightly from our old jam-based way of working. In places, the album gets darker than Feed the Rats, especially lyrically but we also tried to get a fair amount of levity in there.”

“The creatures outside looked from pig to man, and from man to pig, and from pig to man again; but already it was impossible to say which was which.” So George Orwell noted at the end of a certain slim volume. King Of Cowards is nothing less than just such a metamorphosis, one in which – in a blur of primal urges and beastly physicality – this band shows us just which animalsare really in charge of the farm.

Releases September 28th, 2018

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Little Comets have released their new single ‘M62’. Having spent winter tucked away in Europe, including Frank Sinatra’s derelict former Bordeaux holiday home and a church near Bilbao, the band are now ready to get on the road again with a small tour later in April 2018 . This summer, the band will also perform at festivals across UK and Europe with announcements to come shortly.

The new track is the first of four singles to come ahead of the band’s fifth album release.

M62′ is instantly recognisable as a Little Comets’ track. The band may have evolved over time, but the key Little Comets elements remain in place, with frontman Robert Coles’ distinct vocals carried by the rhythm of their bouncy indie-pop sound.

‘M62’ will be available on a Special Limited Edition 7” vinyl from the Official Little Comets Store and includes a free CD!

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Meghann Clancy is a singer-songwriter based in the North of England. Her last EP ‘Lay it on the Line’ was released summer 2015. Expect beautifully addictive tunes, pure yet powerful vocals, and relatable lyrical themes.

“This isn’t typical singer-songwriter music. Oh sure, cute girl and guitar they’re present in equal fun measures. But infused in these songs are strong pop sensibilities. You’ll find your head nodding and your toes tapping”

The music of this singer songwriter is something of a dream. It rocks listeners back and forth with the complacency of a calmed ocean wave. She has been writing since 2012 and has only continued to merge a wide array of genre and sound. “In Time” starts with a folk sway and then launches into a pop track with a soulful shade. This is the first single off her upcoming and highly anticipated full-length album release . Keep your ears on her beautiful and engaging sound that is sure to both crush and inspire the hearts of many.


It’s a fact that live albums are sometimes a risky business, Orchestral live albums? Overblown and highfalutin, they’re too often the errant result of deliriously daft backstage ideas after a band enjoys their rider a little too much, With thin ideas bloated by commercial success, they’re the foie gras of rock. Think Metallica, ELP, and Yes; indulgent doesn’t begin to cover it. In tight times, amidst a forensic focus on social media “reach”, streaming figures, and brand synergy, what sort of act would think that such a baroque and involved treatment of their songs would be a good idea? Step forward Lanterns On The Lake.  One of the UK’s best purveyors of widescreen dream-pop – and for whom widespread success remains bafflingly elusive – their thoughtful, ornate music with last year’s excellent Beings , it was their third album. It also goes hand-in-hand with a low-key, an almost apologetic style.

So just how did a self-effacing indie band end up blinking into the stage lights at The Sage – a large, purpose-built concert hall and music hub in their native Gateshead – flanked by the Royal Northern Sinfonia?.

The Sage have been really supportive of us as a local band for a long while,” says singer Hazel Wilde. “They put us on in their smaller room in 2011, and we played the main room in 2013 – but I don’t think we were quite ready for that. We’d been convinced to do it, and on the day I felt really unconfident about playing, so I drank a bottle of wine and took some beta blockers to ease the nerves. Suffice to say I felt pretty detached from the whole experience. The people at the venue were keen to hear “Beings” before we’d put it out, so Simon [Raymonde] at Bella Union passed it on to them, then conversations began.”


Like all worthy artistic endeavours, such a new project brought a broad sense of personal challenge, so did that previous bad experience cloud the preparations? “It felt weird at first,” Wilde admits. “I also think that, like a lot of people in bands, we feel like we’re just winging it, like we’re frauds. No-one wants to get caught out – going into that situation makes you feel exposed. We come from such different worlds to the orchestra players: there was us, this shy, obscure indie band coming in to work with such a renowned orchestra.

“I’ve also never felt all that sure of myself in the past. But I think most people have that, whether they like to admit it or not. I think I am extrovert trapped inside an introvert’s body. Or an introvert trapped inside an extrovert’s life. One of those, I’m not sure which.”

Where Wilde does herself and, by extension, the band’s material down – albeit inadvertently via that all-pervading thoughtful mentality again – Is that Lanterns On The Lake’s music is actually perfectly suited to being taken in just such a bold direction. beautifully austere, inventive but direct, and politically and personally charged.

The collaboration found its feet as the band began work on scoring with Fiona Brice, an acclaimed violinist, arranger and composer who has also worked with John Grant, Midlake, and Vashti Bunyan. “She totally got what we were about and was really open to all our ideas. She was keen to explore them and make them happen,” says Wilde. “She really was the bridge between our world and the orchestra’s. We were able to push the songs and add all the nuance and intensity that you imagine when you’re writing – all those textures and colours that are in your head come to the fore.”

The end result is a rare thing – a live orchestral album that makes perfect sense on its own terms. In fact, the evening went so well that it was repeated as another special performance at the Bluedot festival in the summer. Rather than being a exercise in having standard rock motifs with violins lazily plonked on top, this is instead a fluid and natural extension of the band’s work, realising its sense of ambition in scaling up, but also reinterpreting, an established sound.

Lanterns On The Lake tour the UK later this month,


Lanterns On The Lake live with Royal Northern Sinfonia at Sage, Gateshead 2016

This nearly made it on to the year end best of lists just for the opening (and title) track alone. It is phenomenally good, 16 minutes of pure joy. The more I listen to it the more I want it never to stop and the more I keep asking myself…how can there possibly be only 3 of them in the band?! All 3 tracks are repetitive in nature but, with slight subtle changes to the riffs and drum fills, but Blown Out give the perfect lesson of how repetition doesn’t have to be boring. There is a real other-worldly feel to the record, almost like it was composed to explore the universe to, it really is that good. It is powerful and relentless without being overbearing and bombastic. A classic album release!

40 minutes, split over 3 tracks, of mind-bending and bowel-loosening psych jamming. A psychedelic, lysergic romp thru’ the stars with a band who know exactly how to encapsulate the vastness of the cosmos into one superb freakout of a recording. It doesn’t get much heavier and spacier than this Blown Out  have released 2 albums this year and both were knockout and it was difficult to choose between this and ‘Planetary Engineering’