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Popular “Indie Rock” Stations

HWWS Indie Music Top 10 Spotlight The Hangin With Web Show is pleased to present the HWWS Indie Music Spotlight! The Hangin With Web Show team is featuring music from Independent creators from around the country, as well as interviews with these talented and dedicated musicians. With ALL original tracks from musicians you may or may not have heard of, but we're certain you will! These often under appreciated musical performers can be found all over the world wide web, and we are so proud to have been a small part of their journey. From Rock and country to pop and more, the HWWS Indie Music Spotlight is bringing the world wide web some of the freshest beats on the Interwebs, and talking one-on-one with the singers and songwriters that have poured their musical talents into each and every one. Tune in, Log On and Jam with us! Who are you hangin with now?
Halshack Indie Rockcast The #1 rated indie music podcast on the planet!! Halshack is up to over 80k subscribers now and can be heard on most major music platforms. We are broadcasted, played, streamed, downloaded, or aired in over 70 major US markets and over 70 countries around the world!! I work with top stars music projects (Stevie Nicks, Frankie Muniz, and Kesha) and have exclusive music and bands that only run under the Halshack promotional label and radio show. I am honored to have been bestowed with such gifted musicians and music and to be revered with such respect among my peers.
Thanks so much for your love and support as we continue to rise to the top of the music industry. I am currently fielding investors and/or partners to make HALSHACK RECORDS a reality. Do you important big wigs in the industry want countless new hit songs to feed the masses. Well I only got about 400 across my shows that you know nothing about from top quality artists, as good as, or better, than today’s FM radio stars!!
Angry Grrrl Music of the Indie Rock Persuasion Angry Grrrl Music of the Indie Rock Persuasion is a feminist podcast highlighting and giving a platform to women, LGBTQ+, and minority movements in the punk rock & indie rock scenes. Contact [email protected] now to book a guest spot.

We discuss the lessons, songs, and personal stories of women who dare to be” id-for-player=”” id=”dare-to-be-seen-indie-women-in-music-4x6rLG3tQ28″ link=”/station/dare-to-be-seen-indie-women-in-music-4x6rLG3tQ28/” vid=”4x6rLG3tQ28″ csrf=”Mmqqrs82Qr1ePikvN1PikpYWupjoW87wvLuyjmWh33oJPEfytelynNc7OmlkfDc2″ verification-image=”https://image1.vurbl.com/vurbl/vms-13-1-11-d305a35/img/veri.svg” entity-type=”station” is-authorized=”false” position=”vertical”>
Dare to Be Seen – Indie Women in Music Join our host Elisa Di Napoli, aka Elyssa Vulpes author, artist coach and multi-instrumentalist as she engages in down-to-earth, insightful and inspiring conversations with female indie singer-songwriters around a campfire.

We discuss the lessons, songs, and personal stories of women who dare to be seen, scratching beneath the surface to give you an insider look into what makes their career sometimes challenging and yet always inescapably compelling.

Subscribe Rate & Review on iTunes http://getpodcast.reviews/id/1534168222

Support the podcast! https://ko-fi.com/daretobeseen
‎The Indie Music Podcast A weekly podcast presenting the Top 5 Indie Songs from around the globe.
Presented by On-Air personality, Tommy Evans and a rotating group of his music enthusiast friends and broadcasting colleagues.

Popular “Indie Rock” Playlists


Gordon Skene, two-time Grammy Nominee and archivist runs The Gordon Skene Sound Archive and this website, which is dedicated to preserving and encouraging an interest in history and historic news, events, and cultural aspects of our society. Past Daily is the only place on the Internet where you can hear a Nixon speech, listen to an interview with John Cassavettes or play a broadcast of Charles Munch rehearsing the Boston Symphony in 1950, all in the same place. It’s living history and it’s timeless.” id=”past-daily-world-of-music” vid=”past-daily-world-of-music” id-for-player=”past-daily-world-of-music” link=”/playlists/past-daily-world-of-music/” is-authorized=”false” csrf=”Mmqqrs82Qr1ePikvN1PikpYWupjoW87wvLuyjmWh33oJPEfytelynNc7OmlkfDc2″ custom-styles=”margin: 0 24px 24px 0;”>
Past Daily: World of Music Listen to World of Music as Vurbl Partner Past Daily shares recordings the L.A. Philharmonic, Steel Mill, Stan Kenton, Dizzy Gillespie, Peter, Paul & Mary.

Gordon Skene, two-time Grammy Nominee and archivist runs The Gordon Skene Sound Archive and this website, which is dedicated to preserving and encouraging an interest in history and historic news, events, and cultural aspects of our society. Past Daily is the only place on the Internet where you can hear a Nixon speech, listen to an interview with John Cassavettes or play a broadcast of Charles Munch rehearsing the Boston Symphony in 1950, all in the same place. It's living history and it's timeless.
Past Daily: Amazing Historical Concerts & News
New Test 123 katemartem
My playlist with favorite audio All audio I like so much_ katemartem
Some playlist the best playlist katemartem
Dion with her gentle delivery…Gladys Knight with her perfect phrasing….Aretha
Franklin with her sharp jagged delivery ….Dionne Warwick with her faultless voice
(Heartbreaker being one of my favourite songs)….and of course Tina Turner with her
fabulous range…..a lot can be learned by up and coming girl singers from the likes of
these legends….and at the opposite end of the scale I would like to introduce one of
the worst records ever made…only .in my opinion of course….Tell Laura I Love Her by
Ricky Valance….which reached number one back in the day….but to me it is one of
the worst records ever.” id=”1WzmesiSbuw” vid=”1WzmesiSbuw” id-for-player=”1WzmesiSbuw” link=”/playlists/1WzmesiSbuw/” is-authorized=”false” csrf=”Mmqqrs82Qr1ePikvN1PikpYWupjoW87wvLuyjmWh33oJPEfytelynNc7OmlkfDc2″ custom-styles=”margin: 0 24px 24px 0;”>
Tell Laura I Love Her I have always liked good female singers with pin point accuracy….for example Celine
Dion with her gentle delivery…Gladys Knight with her perfect phrasing….Aretha
Franklin with her sharp jagged delivery ….Dionne Warwick with her faultless voice
(Heartbreaker being one of my favourite songs)….and of course Tina Turner with her
fabulous range…..a lot can be learned by up and coming girl singers from the likes of
these legends….and at the opposite end of the scale I would like to introduce one of
the worst records ever made…only .in my opinion of course….Tell Laura I Love Her by
Ricky Valance….which reached number one back in the day….but to me it is one of
the worst records ever.
Vince Tracy, Don Woods and our Memories in Music

All “Indie Rock” Audio




James – in concert from Heaton Park – Recorded September 12, 1999 BBC Radio 1 – Gordon Skene Sound Collection –


James in concert this Friday night (slipping into Saturday morning). Recorded live at Heaton Park in Ma” id=”10ovw7GBwfl” vid=”10ovw7GBwfl” id-for-player=”10ovw7GBwfl” link=”/listen/james-in-concert-from-manchester-1999-past-daily-soundbooth-10ovw7GBwfl/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
James – In Concert From Manchester – 1999 – Past Daily Soundbooth James – Began life as Model Team International – and took it from there.



James – in concert from Heaton Park – Recorded September 12, 1999 BBC Radio 1 – Gordon Skene Sound Collection –


James in concert this Friday night (slipping into Saturday morning). Recorded live at Heaton Park in Manchester on September 12, 1999 by BBC Radio 1 for In Concert.

James were formed in 1982 in Whalley Range, Manchester, when Paul Gilbertson persuaded his friend Jim Glennie to buy a bass guitar and form a band with him. Their line-up solidified when Gavan Whelan joined on drums. They played a string of gigs under the names Venereal and the Diseases and later, Volume Distortion, before settling on the name of Model Team International, then shortened to Model Team. They performed mostly improvised material derived from jam sessions, supporting the Fall at an early gig at Manchester Polytechnic. Vocalists and other musicians drifted rapidly in and out of their line-up, until the band encountered Tim Booth at a student disco. Gilbertson invited him to the band's scout hut in Withington to join the band as a dancer; he was soon promoted to lead singer. After a brief period under the name Tribal Outlook, the band renamed themselves James in August 1982. A gig at the Haçienda caught the attention of Tony Wilson of Factory Records. He offered James an album deal with Factory, but the band, by now a settled live act, were worried about tarnishing their material in the studio and settled instead for a three-track EP. Their debut release, the Jimone EP, was recorded at Strawberry Studios, Stockport, in August 1983 and released on Factory Records in September. It led to the band providing the support for The Smiths between February and April 1985 on the Meat is Murder tour. The Smiths covered James' 'What's The World' track during this tour.

Over the next two years, James toured constantly, building up a solid fan base. They released their second album, the folky Strip-Mine, in 1988. The record failed to capitalize on their live following, and the band departed Sire the following year, signing with the independent Rough Trade. On their new label, James released the moderately successful "Sit Down" and the live album One Man Clapping, which climbed to number one on the indie charts. In 1990, Whelan was replaced by David Baynton-Power, and James expanded to a septet with the addition of keyboardist Mark Hunter, violinist Saul Davies, and trumpeter Andy Diagram. The new lineup signed to Fontana Records and released Gold Mother in the fall. Following a handful of minor hit singles, Gold Mother finally became a breakthrough success in the spring of 1991, when a re-recorded version of "Sit Down" — now boasting a contemporary baggy beat — climbed to number two on the U.K. charts and became a staple on U.S. modern rock radio. Although the success of "Sit Down" was a blessing, it also was a curse, as the single became all James were known for. The band began to rebel in concert, playing almost nothing but new material, and its next album, 1992's Seven, was perceived as a misguided stab at big arena rock.

James called it quits following a winter tour of the U.K. in December 2001. The break was short-lived, however, as the band re-formed in 2007 and embarked on a tour in support of the double-disc compilation Fresh as a Daisy: The Singles. The following year saw the release of Hey Ma, James' tenth studio album.

For a reminder of their 1999 period, hit the play button and crank it up and get ready for the weekend.




The Pigeon Detectives – live from Amsterdam, Netherlands – August 15, 1998 – Gordon Skene Sound Collection –


A blast of highly popular Indie tonight, via The Pigeon Detectives, recorded live on Augus” id=”54MO5k5uq6r” vid=”54MO5k5uq6r” id-for-player=”54MO5k5uq6r” link=”/listen/the-pigeon-detectives-live-in-amsterdam-2008-past-daily-soundbooth-54MO5k5uq6r/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
The Pigeon Detectives – Live in Amsterdam – 2008 – Past Daily Soundbooth The Pigeon Detectives – Took a while for the name to settle in. But once it did . . .




The Pigeon Detectives – live from Amsterdam, Netherlands – August 15, 1998 – Gordon Skene Sound Collection –


A blast of highly popular Indie tonight, via The Pigeon Detectives, recorded live on August 15, 2008 and preserved for posterity by Radio Nederland.

The Pigeon Detectives formed in 2002, but the group's members — Matt Bowman on lead vocals, Oliver Main and Ryan Wilson on guitars, Dave Best on bass, and Jimmi Naylor on drums — were mates from school and had known one another since they were 12. The Pigeon Detectives started earning press attention for their gigs in 2004, and in 2006 they made their recorded debut with the limited-edition vinyl 7", "I'm Not Sorry." On the strength of the single, the Pigeon Detectives scored an opening slot on a British tour with Dirty Pretty Things, and a second limited-edition single, "You Know I Love You," hit stores in July (though this time 1,000 copies were pressed, as opposed to 500 for the debut). The Kaiser Chiefs invited the Pigeon Detectives to tour the U.K. and Europe with them in the fall of 2006, and the group's third single (and first for the noted indie label Dance to the Radio), "I Found Out," was released in November, eventually reaching number one on the U.K. indie charts. Nick Baines of the Kaiser Chiefs began name-checking the Pigeon Detectives as his favorite new band, and noted British disc jockeys Steve Lamacq, Jo Whiley, and Zane Lowe championed the group as single number four, "Romantic Type," became a Top 20 pop hit. Wait for Me, the band's first full-length album, was released on Dance to the Radio in mid-2007. It was followed a year later by Emergency, which was produced by Stephen Street. Following the nationwide tour of their second album, the five-piece took some time out and returned on tour with Manchester outfit James in 2010. They began work on their third effort Up, Guards and at 'Em! that year with producer Justin Gerrish (Vampire Weekend, Yeah Yeah Yeahs) in his Brooklyn, New York studio. The record arrived in 2011 and scored the band their third consecutive U.K. Top 40 release and a European tour. In 2013, their fourth album, We Met at Sea, was released to mixed reviews by the music press. They returned in 2017 with their fifth album, Broken Glances, which they framed as a thank you letter to their fans.

Crank it up and enjoy.




Midlake – live at Glastonbury Festival 2010 – June 26, 2010 BBC6 Music –



Some Stateside Indie by way of Midlake in concert at Glastonbury 2010 – recorded and broadcast by BBC 6 Music on June 26, 2010.

Midlake was formed in 1999 by a gro” id=”3FpHHylsQ1V” vid=”3FpHHylsQ1V” id-for-player=”3FpHHylsQ1V” link=”/listen/midlake-live-at-glastonbury-2010-past-daily-soundbooth-3FpHHylsQ1V/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Midlake – Live At Glastonbury 2010 – Past Daily Soundbooth Midlake – A band with several incarnations.




Midlake – live at Glastonbury Festival 2010 – June 26, 2010 BBC6 Music –



Some Stateside Indie by way of Midlake in concert at Glastonbury 2010 – recorded and broadcast by BBC 6 Music on June 26, 2010.

Midlake was formed in 1999 by a group of jazz students at the University of North Texas College of Music. The original lineup consisted of Tim Smith (vocals, guitars, keyboards), McKenzie Smith (drums), Paul Alexander (bass), Eric Nichelson (guitar), and Evan Jacobs (keyboards). Their initial work – under the name "The Cornbread All-Stars" – consisted of funk/jazz explorations heavily influenced by Herbie Hancock.

Later, the band began to lean more toward an indie rock sound. Tim Smith quit playing saxophone and began writing songs that were heavily influenced by bands such as Jethro Tull, Radiohead, Björk, and Grandaddy, artists who experiment, while still remaining accessible.

Though the group spent much of 2011 and 2012 recording at the farm in Buffalo, Texas where The Courage of Others was tracked, the recording process stalled. "We knew something was missing," guitarist Eric Pulido said. Midlake played a handful of live dates and debuted new material in 2012, including an appearance at Bella Union's 15th Anniversary End Of The Road Festival on August 31, 2012. Just a few months later, lead vocalist and songwriter Tim Smith announced he was leaving Midlake to form a new project called Harp. Rather than divide the recorded material among the two bands, Midlake abandoned the two years' worth of recordings with Smith and began again from scratch, writing and recording a new full-length album in just six months.

In August 2013, Midlake announced the release date for their fourth full-length album, Antiphon, due November 5, 2013 on ATO Records in North America and November 4, 2013 on Bella Union in Europe. In a message on the band's website, Midlake acknowledged Tim Smith's departure, saying "we've pushed ourselves and challenged ourselves and feel that Antiphon represents an ultimate genesis both musically and spiritually."

Guitarist Eric Pulido steps into the role of lead vocalist on Antiphon, with backing vocals from Alexander and new members Jesse Chandler (keyboards, piano, flute) and Joey McClellan (guitars). "Antiphon is the most honest representation of the band as a whole, as opposed to one person's vision that we were trying to facilitate," Pulido remarked in the album's press release, which characterizes the new music as "free-flowing in feel, concise in structure … it's very much Midlake, but uncannily rebooted, and relaxed." Antiphon is more rooted in progressive rock than their earlier records.

In addition to the lineup change, Antiphon marks Midlake's first release on Dave Matthews' ATO Records label, also home to My Morning Jacket, Caitlin Rose, and Stars.

Tim Smith is featured on the 2017 Lost Horizons album "Ojala", having written lyrics for and performing vocals for the song "She Led Me Away". He also appears on Chemical Brothers' 2007 album We Are the Night, contributing vocals to the track "The Pills Won't Help You Now".

For a reminder, or an introduction – here is Midlake as they were when they performed at Glastonbury 2010.



The Beta Band – live in Paris – The Black Sessions – June 10, 2004 – Radio France International – Gordon Skene Sound Collection –




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The Beta Band – Live In Paris – 2004 – Past Daily Soundbooth The Beta Band – all the earmarks of legendary, but with the self-destructive bits too. The self-destructive bits won.



The Beta Band – live in Paris – The Black Sessions – June 10, 2004 – Radio France International – Gordon Skene Sound Collection –




The Beta Band in session/concert tonight – recorded live in Paris for The Black Sessions on June 10, 2004 by Radio France International.

A puzzle by most standards; a band that had all the earmarks of being several cuts above other bands at the time, they suffered from one fatal ingredient; a propensity for the self-destructive.

The legendary UK publication NME probably has the most comprehensive story on The Beta Band – here's a snippet to give you an idea:
Remembering The Beta Band, the self-destructive pop saboteurs who did it all wrong in all the right ways
The cult Edinburgh band's compilation of their mythic early EPs is reissued today

By
James McMahon
14th September 2018

There’s never been a band like The Beta Band. Chances are, there won’t be again. Not only is there an argument for the Edinburgh group being the 1990s’ great lost band. There’s also one for them being the band that killed off the decade. The house band for the fall of Rome. Or Camden at least.

That The Beta Band were starshaped in a square hole should have been clear from the off, when on the eve of the release of their 1999 released self-titled debut album proper, they described the era’s most feverishly anticipated collection of songs as “fucking awful”. They’d originally planned to record the album in four different continents. They ended up doing a chunk of it in a hut belonging to turntablist John McLean’s grandfather, located on the northwest tip of Scotland. The hut was small. The band had filled it with so many weird homemade instruments they had no space to sleep. Somehow two songs came out of this particular stint; one entitled ‘Happiness and Colour’. The other, fittingly, called ‘The Hut’.

Later the band decided the two aforementioned songs were ‘boring’ so insisted they were taken off the album – a few weeks after advance CDs had been distributed to music journalists everywhere. In interviews they started calling the newly sequenced record “the worst record released this year”.

That sound you can hear is the band’s publicist still sobbing, almost 20 years on.

This week the band kick off a cycle of reissues that begins with the band’s classic 1998 compilation ‘The Three EPs’, which collects ‘Champion Versions’ (July 1997), ‘The Patty Patty Sound’ (March 1998) and ‘Los Amigos del Beta Bandidos’ (July 1998). It’s the perfect introduction to this indie rock chimera. There’s the lollop of the Happy Mondays. The groove of early Verve. The cut and paste ingenuity of DJ Shadow. Arguably it’s better than any of the band’s subsequent ‘proper’ releases. They were the bedsit Pink Floyd. The band that for years Radiohead would have chewed off their own limbs to be.

Cohesive opinion is that the 1990s was the last era when the money flowed freely around the music industry. The dream of strange, highly creative men like the four that made up The Beta Band – raised on punk, emboldened by hip-hop, folk or dance, free to be whatever they wanted – used to be ‘get a record deal, push the envelope, make magic happen’. This was an era that saw the Super Furry Animals buy a tank and convert it into a soundsystem. The Beta Band delivered similar folly in spades.

For a while, they only performed in Velcro suits whereupon felt letters could be displayed, meaning the band could spell out words upon them. A cool idea. One that cost £4,000. The band lost the suits on the tube. When The Beta Band disbanded, in 2004, they were £1.2 million in debt to their record company.

Everything The Beta Band did was tangential. When Mojo magazine requested them for an interview, they agreed on the condition they would be asked the same questions as put to The Beatles before their legendary 1966 Shea Stadium concert. When they were invited to the Q Awards, singer Steve Mason did so wearing a baseball hat that read, ‘If assholes could fly, this place would be an airport’. They refused to perform on children’s television. They claimed that MTV viewed their audience as “vacuous vegetables”. They talked of “breaking into your local police station and stealing a fucking M-16 and heading down to the World Bank and blowing a few heads off”.
For the rest of it, you're encouraged to head over here – https://www.nme.com/blogs/nme-blogs/remembering-beta-band-self-destructive-pop-saboteurs-wrong-right-ways-2375232

In the meantime, enjoy.



Cinerama – in concert at Maida Vale – Presented by John Peel – January 9, 2002 – BBC Radio 1 –


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Cinerama In Concert – 2002 – Past Daily Soundbooth David Gedge and Sally Murell – Cinerama to a lot of people – Wedding Present on hiatus, to others.



Cinerama – in concert at Maida Vale – Presented by John Peel – January 9, 2002 – BBC Radio 1 –


Cinerama in concert at the BBC's Maida Vale studios tonight – recorded for and presented by John Peel, live on January 9, 2002.

Cinerama are an English indie pop band, headed up by David Gedge, the frontman for The Wedding Present. The band is known for combining rock guitar music with string and woodwind sounds. Originally formed in 1998 while on a break from The Wedding Present, Cinerama started as a duo of Gedge and his then-girlfriend Sally Murrell. The initial releases were a break from previous Gedge records as they featured soundtrack-like arrangements and string and woodwind accompaniment. Live performances included a lot of musicians to play these orchestral/pop songs. Over the years though the sound changed back to more of a rock sound, especially once some of The Wedding Present songs were incorporated into the live set.

Around 2003 Murrell and Gedge split up and she then left the band. Eventually during the recording of what became Take Fountain, Gedge decided that the sound had changed so much that it would be better released under The Wedding Present name, and so Cinerama were finished although the same musicians carried on.

Most Wedding Present set lists in recent years have included at least one Cinerama song.

Although the band officially no longer exists, a band perform a short set under the name Cinerama at each of David Gedge's "At the edge of.." festivals. The line up usually comprises the current Wedding Present lineup but with the musicians switching their usual instruments.

On 18 May 2015, they released a re-vamped version of the Wedding Present's album Valentina. The re-recording of a Wedding Present long player by Cinerama had been a long term ambition of David Gedge.

For a reminder of the early Cinerama, here is their 2002 Maida Vale session, complete with David Gedge recovering from a nasty cold and having some strained notes here and there.

Enjoy!



Ivy – live In Paris – June 14, 1995 – Gordon Skene Sound Collection –


American Indie for a change this week. Ivy are a band from New York who have together in this lineup since 1994. In 1991, Andy Chase placed an ad that attracted fellow multi-i” id=”4F9U2M9BnUL” vid=”4F9U2M9BnUL” id-for-player=”4F9U2M9BnUL” link=”/listen/ivy-live-in-paris-1995-past-daily-soundbooth-4F9U2M9BnUL/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Ivy – Live in Paris – 1995 – Past Daily Soundbooth Ivy – New York Indie with a French accent.



Ivy – live In Paris – June 14, 1995 – Gordon Skene Sound Collection –


American Indie for a change this week. Ivy are a band from New York who have together in this lineup since 1994. In 1991, Andy Chase placed an ad that attracted fellow multi-instrumentalist Adam Schlesinger. In 1994 they met Dominique Durand, a native of Paris who had moved to New York City to study English, and with whom they shared admiration for The Go-Betweens, The House of Love, The Pastels, Prefab Sprout and The Smiths. Although Durand had never sung in a group, she was persuaded by Chase and Schlesinger to sing on some demos, and Ivy was formed.

In 1994, Ivy signed with Seed Records and released "Get Enough," which the UK magazine Melody Maker named Single of the Week, followed by the EP Lately. In 1995, they released their first full-length album, Realistic. Lately's cover version of "I Guess I'm Just a Little Too Sensitive" impressed its author, Edwyn Collins of Orange Juice, so much that he invited them to tour together. Ivy also toured during this period with Lloyd Cole, Madder Rose, and Saint Etienne.

Apartment Life (released October 6, 1997 on Atlantic Records) was praised by critics as one of the year's best albums and established Ivy as a band that wrote pleasant, well-crafted pop songs. They were assisted by several guest musicians, including Lloyd Cole, James Iha, Dean Wareham and Chris Botti. The album received more attention when "This Is the Day" and "I Get the Message" appeared on the soundtrack for the movie There's Something About Mary.

Apartment Life, however, did not produce any hits, and Ivy was dropped by Atlantic. They signed with 550 Music on the condition that the band reissue the album. According to Schlesinger, four of the songs were remixed and the album was remastered and re-released on October 7, 1998.

Ivy have cited The Go-Betweens, Burt Bacharach, Antônio Carlos Jobim, Orange Juice, The Smiths, The Velvet Underground & Nico, The Beatles and Françoise Hardy as influences, as well as other artists covered on Guestroom.

Durand's vocal technique and Parisian pronunciation are often compared by reviewers to another French singer, Lætitia Sadier of Stereolab.

Schlesinger was also a member of the bands Fountains of Wayne and Tinted Windows.

Durand and Chase, with Michael Hampton, recorded one album, 2004's This Is Where We Live, as Paco.

Chase's solo project, called Brookville, released three albums: Wonderfully Nothing (2003), Life in the Shade (2006) and Broken Lights (2009). In November 2012, Brookville changed their name to Camera2, releasing the "Just About Made It" single, followed by EP releases in 2013 and 2014.

For a reminder of their formative period, hit the play button and travel back to 1995 for a live gig from Paris.




Jimmy Eat World – Live At Reading 2014 – Recorded by BBC Radio 1 – August 22, 2014


Jimmy Eat World in concert from the 2014 Reading Festival tonight. Like just about every band with a tour ” id=”l3ClByFFLb” vid=”l3ClByFFLb” id-for-player=”l3ClByFFLb” link=”/listen/jimmy-eat-world-reading-festival-2014-past-daily-soundbooth-l3ClByFFLb/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Jimmy Eat World – Reading Festival 2014 – Past Daily Soundbooth Jimmy Eat World- variously described as a "pretty energetic" band – understatement of the year.




Jimmy Eat World – Live At Reading 2014 – Recorded by BBC Radio 1 – August 22, 2014


Jimmy Eat World in concert from the 2014 Reading Festival tonight. Like just about every band with a tour lined up for 2020, the events of the past few months and the vagaries of COVID-19 have forced everyone to hunker down and wait. And Jimmy Eats World pulled the plug on what would have been an extensive tour.

Small concession, I know, but at least there are concerts to listen to via streaming and to watch via YouTube – maybe not the real thing, but live gigs are pretty exciting no matter in what context you witness them. This one is no different.

Jimmy Eat World got started in 1993 in Mesa, Arizona. The band is composed of lead vocalist and guitarist Jim Adkins, rhythm guitarist and backing vocalist Tom Linton, bassist Rick Burch, and drummer Zach Lind. They have released ten studio albums, the last nine featuring the current lineup.

The four-piece's commercial breakthrough came with the release of several singles from their album Bleed American (2001), four of which charted within the top 20 positions of the Alternative Songs chart, with "The Middle" reaching No. 1. Their follow-up album, Futures (2004), featured the No. 1 song "Pain".

The RIAA certified Bleed American platinum and Futures gold, rewarding the two albums for selling over 1.5 million records between them. The band's sixth LP, Chase This Light (2007), became their highest charting album and peaked at No. 5 on the Billboard 200. The band released their tenth album, Surviving, in October 2019.

And in the odd event you missed it – here is an announcement from the band via Twitter:



"Hey Everyone – it comes as no surprise, but a bummer nonetheless, that we are pulling the plug on our tour with
@TheFrontBottoms
that was set to kick off in August. If you purchased a ticket, you will be receiving an email with your refund options…"

Been a rotten year all around – at least you can crank this one up and forget about everything for the next hour.

I tried it. It works.



The High – live at New Century Hall, Manchester – August 10, 1990 – The Jim Moody Archive –



The High to start the week. A band that falls under the too-often used category of underrated and ” id=”9zbiDNyThSy” vid=”9zbiDNyThSy” id-for-player=”9zbiDNyThSy” link=”/listen/the-high-live-in-manchester-1990-past-daily-soundbooth-9zbiDNyThSy/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
The High – Live In Manchester – 1990 – Past Daily Soundbooth The High – The seemingly endless saga of the underrated and overlooked. But never completely.



The High – live at New Century Hall, Manchester – August 10, 1990 – The Jim Moody Archive –



The High to start the week. A band that falls under the too-often used category of underrated and overlooked, but also a band that helped usher in a dramatic change in Popular music of the 90s, who luckily recorded and who even miraculously left some excellent live performances to their legacy.

A shout-out and debt of gratitude to Jim Moody, whose sound collection was responsible for making this post possible tonight. You never know if what you spend hours and days working on makes any difference or is even noticed by anyone – more doubtful is offering, maybe not well-known artists or artists not singing in English, running the risk of being roundly ignored by everyone on the planet.

But when somebody, out of the blue, sends a note saying "I like what you're doing and I thought you might like some of these", it's truly astounding – and it makes the whole effort, the hours and days of digging through dusty boxes and overflowing shelves, digitizing and restoring just to turn people on to things they may have either forgotten or never knew about – completely makes my day. And for that I am grateful to you, the readers and fellow collectors and people who just want to share things they love with people who might feel the same way. You have no idea how truly appreciative I am and the great feeling of knowing how we're all doing our best to keep the good things going. Thank you – thank you – thank you.

On to The High – another example of just how influential the Madchester genre wound up being for the 90s. Sadly, a combination of being lost in the Tsunami of talent and a record company being less than supportive have done more damage to fledgling careers than anything else. And that did it's damage to The High.

The band was formed in 1989 by former Turning Blue singer John Matthews, along with former Buzzcocks F.O.C. members Andy Couzens (guitar, also formerly of The Stone Roses and pre-Roses bands The Patrol and Waterfront), Simon Davies (bass), and drummer Chris Goodwin (also formerly of the Waterfront as well as the Inspiral Carpets), when Steve Diggle left Buzzcocks F.O.C. to reform the Buzzcocks.

They were signed by London Records and had three minor UK Singles Chart hits in 1990 before breaking into the top 30 in 1991 with a revamped version of their debut single, the Martin Hannett-produced "Box Set Go". The band's debut album, Somewhere Soon, peaked at number 59 in the UK Album Chart.

With the Madchester scene losing favor with the critics, the band's later releases failed to chart, resulting in the band splitting up in 1993. John Matthews and Chris Goodwin went on to form the group One Summer, with Manchester musicians Stephen Fitzpatrick (guitar) and Carl Wolstenholme (bass). One Summer worked with Factory Records group A Certain Ratio and recorded a demo for the label before it went into administration.

Maybe Madchester was losing favor with the critics in the UK, but it was just taking off in the U.S. and there were plenty of eager fans to keep the scene going, especially on the West Coast. Believe it or not, Madchester and Grunge had a certain kinship of spirit going for it over here.

Last word was that the band reformed in 2015, but with only John and Andy from the original lineup.

Crank it up and enjoy and thanks again to Jim for a great show.



Zahara – In Concert At Contempopranea 2019 – recorded on July 18, 2019 –


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Zahara to end out the week. A dose of Spanish Indie tonight in concert at the annual Contempopranea festival in Alb” id=”9Js4NRQTrYq” vid=”9Js4NRQTrYq” id-for-player=”9Js4NRQTrYq” link=”/listen/zahara-live-at-contempopranea-2019-rock-without-borders-festival-edition-9Js4NRQTrYq/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Zahara – Live At Contempopranea 2019 – Rock Without Borders – Festival Edition Zahara – one of the major figures in Spanish Indie.



Zahara – In Concert At Contempopranea 2019 – recorded on July 18, 2019 –


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Zahara to end out the week. A dose of Spanish Indie tonight in concert at the annual Contempopranea festival in Albuquerque, Spain and recorded on July18, 2019.

Joining the likes of Russian Red, Anni B Sweet, and Alondra Bentley, Zahara was part of the new wave of Spanish indie folk, female singer/songwriters that emerged during the late 2000s. Born Maria Zahara Gordillo Campos in Jaen in 1983, she wrote her first song at aged 12 and after studying music both at the Conservatorio de Musica de Ubeda and the Universidad de Almeria, she released her debut album, Dia 913, in 2005. In the same year she teamed up with the Applebite's Alfonso Alcala and Pablo Garcia to record an EP influenced by the likes of Smashing Pumpkins and Death Cab for Cutie under the name Zahara Electrica. Featuring the official Vuelta Ciclista an Espana anthem, "Merezco," her sophomore album, La Fabulosa Historia De… was released in 2009, and was followed in 2011 by La Pareja Toxica. Zahara also appeared on the "Ay Haiti" charity single, collaborated with Love of Lesbian for an Antonio Vega tribute album, and starred as a cheerleader in the film La Mujer America.

In 2013 Zahara made the first jump to the international market thanks to a collaboration with the Liverpool Institute of Performing Arts (LIPA), which led to several concerts in the United Kingdom accompanied by LIPA students.

In case you aren't familiar with her, here's the perfect chance; a stellar performance at the 2019 Contempopranea festival. Sadly, she had a full schedule of concerts and festival appearances slated from Spring until Winter of this year. But with the current state of COVID-19 and all postponed and cancelled concerts and festivals, this post may be the only performance you'll get to hear of hers for a while.

In which case, it would be a good idea to crank this one up



The Ladybug Transistor -live at Contempopranea Festival, Spain – July 23, 2005 –


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Brooklyn Indie collective The Ladybug Transistor, live at the 2004 Contempopranea Fe” id=”90AfSqhBBQz” vid=”90AfSqhBBQz” id-for-player=”90AfSqhBBQz” link=”/listen/the-ladybug-transistor-live-at-contempopranea-festival-spain-2004-past-daily-soundbooth-90AfSqhBBQz/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
The Ladybug Transistor – Live At Contempopranea Festival, Spain – 2004 -Past Daily Soundbooth The Ladybug Transistor – taste of Brooklyn Indie in Spain.



The Ladybug Transistor -live at Contempopranea Festival, Spain – July 23, 2005 –


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Brooklyn Indie collective The Ladybug Transistor, live at the 2004 Contempopranea Festival in Spain.

A few explanatory notes by Jason Ankeny at AllMusic:



Led by vocalist/guitarist Gary Olson, a onetime string stretcher and key inspector at his family's piano factory, indie pop unit the Ladybug Transistor debuted in 1996 with the LP Marlborough Farms, titled after Olson's Brooklyn-area home recording studio. After a lineup change that left only Olson and drummer Edward Powers remaining from the Ladybug Transistor's original roster, Saturnine guitarist Jennifer Baron and her bassist brother Jeff were recruited prior to recording 1997's Beverly Atonale, issued on Merge. After completing the LP, Powers exited and was replaced by Individual Fruit Pie drummer San Fadyl. The group's wonderful third album, The Albemarle Sound, which featured new member Sasha Bell on keyboards and vocals, followed in 1999. Both Bell and Jeff Baron were also members of neo-psych band the Essex Green at this time, as well as the alt-country outfit the Sixth Great Lake.
The Ladybug Transistor's next album, Argyle Heir, with its indie kitsch stylings, was released in spring 2001. After losing Jennifer Baron and gaining Julia Rydholm, the band decamped to Arizona to record its next album, The Ladybug Transistor (2003), with Calexico producer Craig Schumacher. More lineup changes followed as Bell left the band and Jeff Baron became more of a satellite member. The band stayed fairly quiet for a couple years as the lineup sorted itself out, and Olson spent time producing other artists. They returned in 2006 with the Here Comes the Rain EP and followed up with the excellent Can't Wait Another Day, which was released in June 2007 by Merge. The lineup for the album added keyboardist Kyle Forester and guitarist Ben Crum of Great Lakes.

Sadly, mere weeks before the release of the album, drummer San Fadyl, a beloved figure in the indie rock community, passed away due to complications from severe asthma. Before recording its next album, the group's lineup shifted again with guitarists Michael O'Neill and Mark Dzula and drummer Eric Farber added to the core of Olson, Rydholm, and Forester. The band's seventh studio LP, Clutching Stems was released in June of 2011.


Crank it up and give a listen.



Cast – Glastonbury – 1997 – recorded live June 28, 1997 – BBC Radio 1 –




Cast recorded live during the 1997 Glastonbury festival by the venerable BBC Radio 1 on June 28th, 1997. Cast was formed” id=”2lLp7LRfntV” vid=”2lLp7LRfntV” id-for-player=”2lLp7LRfntV” link=”/listen/cast-in-concert-at-glastonbury-1997-past-daily-soundbooth-2lLp7LRfntV/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Cast – In Concert At Glastonbury 1997 – Past Daily Soundbooth Cast – Noel Gallagher of Oasis once described seeing them live as "a religious experience".



Cast – Glastonbury – 1997 – recorded live June 28, 1997 – BBC Radio 1 –




Cast recorded live during the 1997 Glastonbury festival by the venerable BBC Radio 1 on June 28th, 1997. Cast was formed in Liverpool in 1992 by John Power (vocals, guitar) and Peter Wilkinson (backing vocals, bass) after Power left The La's and Wilkinson's former band Shack had split. Following early line-ups with different guitarists and drummers, Liam "Skin" Tyson (guitar) and Keith O'Neill (drums) joined Cast in 1993.

Emerging from the Britpop movement of the mid-1990s, Cast signed to Polydor Records and their debut album All Change (1995) became the highest selling debut album for the label. Further commercial success continued with the albums Mother Nature Calls (1997) and Magic Hour (1999), however a departure in sound on the band's fourth album Beetroot (2001) was met by a poor critical and commercial reaction and contributed to the band's split two weeks after its release.

The band re-formed in November 2010 and released their fifth album Troubled Times in November 2011. Bassist Peter Wilkinson confirmed his departure from the band in March 2015, after abruptly leaving a previous tour in December 2014. He was replaced on that tour and in the band by Power's frequent collaborator Jay Lewis, who would also feature on their sixth album Kicking Up the Dust, which was released on 21 April 2017.

Noel Gallagher of Oasis described watching the band live as being like a "religious experience" and they were labelled "The Who of the 90s". It has been suggested that the name "Cast" was taken from the final word on The La's eponymous album (the song "Looking Glass" ends with the repeated line "The change is cast"); John Power has since confirmed this to be true, despite previously playing the link down to coincidence.

In case you missed this gig from Glastonbury '97, it's suggested you take the next 50 or so minutes, crank this one up and give it a listen.

Good times.



The Railway Children – in concert at Assembly Rooms, Derby – May 8, 1991 – BBC Radio 1 In Concert –


The Railway Children to start off the week. Recorded in concert by BBC Radio 1 for their celebrated In ” id=”6xmyJ8rnnW9″ vid=”6xmyJ8rnnW9″ id-for-player=”6xmyJ8rnnW9″ link=”/listen/the-railway-children-in-concert-1991-past-daily-soundbooth-6xmyJ8rnnW9/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
The Railway Children In Concert – 1991 – Past Daily Soundbooth The Railway Children – further evidence there's something in Manchester water . . .



The Railway Children – in concert at Assembly Rooms, Derby – May 8, 1991 – BBC Radio 1 In Concert –


The Railway Children to start off the week. Recorded in concert by BBC Radio 1 for their celebrated In Concert series on May 8, 1991.

It's always amazing to be reminded, while uncovering and listening back to old bands, just how influential a particular town had been in the growth and cultivation of a musical movement. I forgot The Railway Children were a Manchester (Wigan) band, surfacing roughly around the same time as The Stone Roses, Happy Mondays, Inspiral Carpets, The Charlatans, James, and so many others.

I always say it's the water, but there is just (still is, from what I gather) a tremendous amount of talent all coming from one area.

The Railway Children formed in Wigan in 1984, by Gary Newby(songwriter/vocals/guitar/keyboards), Brian Bateman (rhythm/guitar), Guy Keegan (drums), and Stephen Hull (bass).

Factory Records recorded their debut single "A Gentle Sound" in 1986, followed by their first album, Reunion Wilderness in 1987, which topped the UK Indie Chart. They left Factory shortly afterwards and were signed to Virgin Records.

1988 saw the release of their second album, Recurrence, on Virgin Records, and support tours with R.E.M. in Europe (Work Tour) and The Sugarcubes in the US. A national chart hit eluded them with singles "In the Meantime", "Somewhere South" and "Over and Over". In 1990, they released Native Place, an album that saw the band take a more pop oriented direction, with keyboard textures coming more to the fore than previously. "Every Beat of the Heart" became a Top 40 hit in the UK with a peak at No. 24, and the song became a No. 1 hit on the newly founded Modern Rock Tracks chart in the U.S.

The band parted with Virgin Records in 1992, and broke up soon after. Keegan later had a spell in the Wigan-based folk rock band The Tansads, The Crash Band, and The Ultras, while Hull and Bateman left music for good.

Newby continued solo, and has since released several albums as The Railway Children: Dream Arcade (1997, Ether Records), Gentle Sound (2002, Ether Records) and two collections of rare recordings: Rarities #1 in 2007 and Rarities #2 in 2010; the latter available only by download from his official site (listed below). Newby spent several years in Japan from 2002 onwards, writing/arranging music and lyrics for several major Japanese artists, including Anna Tsuchiya, Every Little Thing, V6, Detroit Metal City, Sailor Moon and Yoshikuni Douchin.

In 2016, the original line up of Newby, Keegan, Hull and Bateman began rehearsing together and went on to play several times, including the NYC Popfest, the Shiiine On Weekender and concerts in Manchester, Berlin and London.

As a reminder, crank up this 1991 concert from BBC Radio 1's In Concert series.




Ultra Vivid Scene – Live In Chicago – Park West – 1993 – Gordon Skene Sound Collection –

Ultra Vivid Scene in concert from Chicago in 1993 tonight. Former Nothing But Happiness and Crash gu” id=”2ojDRAob03X” vid=”2ojDRAob03X” id-for-player=”2ojDRAob03X” link=”/listen/ultra-vivid-scene-live-in-chicago-1993-past-daily-soundbooth-2ojDRAob03X/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Ultra Vivid Scene – Live In Chicago – 1993 – Past Daily Soundbooth Kurt Ralske of Ultra Vivid Scene – Dreampop Indie with a dose of Psychedelia.(photo: Getty Images)




Ultra Vivid Scene – Live In Chicago – Park West – 1993 – Gordon Skene Sound Collection –

Ultra Vivid Scene in concert from Chicago in 1993 tonight. Former Nothing But Happiness and Crash guitarist Ralske started Ultra Vivid Scene in 1987, was signed to 4AD Records in 1988, and released his first UVS EP, She Screamed, in 1988. The debut album was released October 1988, was written, produced and performed entirely by Ralske, whose influences include The Velvet Underground and The Jesus and Mary Chain. The second album, Joy 1967-1990, was released in April 1990. The same month they played their first tour dates in the United Kingdom.

This from 4AD's site, in case you don't already know:



4AD's sole addition to the roster in 1988 was Ultra Vivid Scene, an alias for New York dreampop auteur Kurt Ralske, whose music successfully melded The Velvet Underground, My Bloody Valentine and '60s psychedelia. They debuted with the single ‘She Screamed’, which was soon followed by a self-titled album. In 1989, Kurt released a 12" featuring a newly recorded version of ‘Mercy Seat’ from the debut album. Later in the year came ‘Something To Eat’: a work-in-progresss, promotional single, and one of the very few 4AD promos to be assigned a regular catalogue number. As it turned out, ‘Something To Eat’ never made it onto any other release. Ivo suggested Kurt team up with producer Hugh Jones for the second album. The result was Joy 1967-1990, a veritable encyclopedia of pop possibility that highlighted Ralske's knack for couching lyrical misanthropy in supremely catchy songs. The album spawned two singles, ‘Staring At The Sun’ and ‘Special One’, the latter a duet with Kim Deal that was accompanied by a wonderful video which saw Kurt and Kim crooning the song like Sonny & Cher. 1992's Rev was a different entity to its carefully-honed predecessors. Recording as part of a three-piece rock band, Kurt kicked out the jams on a series of lengthy tracks dominated by his searing guitar leads. Despite what seemed like a promising new direction, Rev proved to be the final Ultra Vivid Scene album. Kurt subsequently concentrated on production, before returning with a new project, Cathars, in 1999. their final release was the Blood And Thunder EP, featuring a single remix of the title song and three other tracks, including a superb rendition of John Cale's ‘Winter Song’.

Hit the Play button, turn it up and sit back.



The Bluetones – in concert at Bizarre Festival ’98 – Recorded by WDR – August 21, 1998 – Gordon Skene Sound Collection –

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The Bluetones to end the week. In concert at the 1998 Biza” id=”1Yx5q65Pyty” vid=”1Yx5q65Pyty” id-for-player=”1Yx5q65Pyty” link=”/listen/the-bluetones-live-in-cologne-1998-past-daily-soundbooth-1Yx5q65Pyty/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
The Bluetones – Live In Cologne – 1998 – Past Daily Soundbooth The Bluetones – Fits and Starts and back on the road.



The Bluetones – in concert at Bizarre Festival '98 – Recorded by WDR – August 21, 1998 – Gordon Skene Sound Collection –

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The Bluetones to end the week. In concert at the 1998 Bizarre Festival in Köln, Germany -August 21, 1998 and recorded by West German Radio.

Formed in Hounslow, Greater London, in 1993. The Bluetones members are Mark Morriss on vocals, Adam Devlin on guitar, Scott Morriss on bass guitar, and Eds Chesters on drums. A fifth member, Richard Payne, came on board between 1998 and 2002. The band was originally named "The Bottlegarden".

The band has scored thirteen Top 40 singles and three Top 10 albums in the UK charts. Although their commercial success waned in the post-Britpop era, they continued to tour and release new records. Their most recent album A New Athens was released in May 2010.

After the release of two singles on Fierce Panda Records, the band signed to A Records and released Expecting to Fly on their own sublabel Superior Quality Recordings. The album entered the UK Albums Chart at number one, and featured the singles "Bluetonic" and "Slight Return", with the latter climbing to #2 on the UK charts (kept from the top by Babylon Zoo's "Spaceman"). Following the touring and promotional duties for Expecting to Fly, the band released stand-alone single "Marblehead Johnson" to bridge the gap between albums.

The second Bluetones album, Return to the Last Chance Saloon, was released in 1998. While failing to repeat the commercial success of their debut, it reached the top 10 in the UK album charts and spawned the hit singles "Solomon Bites the Worm" and "If…".

In 2000 the Bluetones released their third album, Science & Nature, which again reached the Top 10 and featured the hit singles "Keep the Home Fires Burning" and "Autophilia".

On 28 March 2011, the band announced they would split after a farewell tour in the autumn. On 13 April 2015, the band announced that they would reform for a new UK tour.

In Summer 2017 they co-headlined the Star Shaped Festival tour run by the popular Britpop club of the same name alongside the newly reformed Sleeper. This took place in Birmingham, London, Manchester & Glasgow in July and August 2017.

They are currently on a UK tour.

See them if you can – in the meantime, crank this one up and get ready for the weekend. (Note: Sound is a little messy at the start – vocals get lost, found and lost again – a couple minutes in, everything settles down. Mixing on the fly is an experience to behold.)



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Number One Cup – In session for John Peel – March 11, 1997 – BBC Radio 1 –

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Number One Cup – In Session – 1997 – Past Daily Soundbooth Number One Cup – Indie from Chicago for five blazing years.



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Number One Cup – In session for John Peel – March 11, 1997 – BBC Radio 1 –

Indie from Chicago to start the week. Number One Cup with their second of two sessions, recorded for John Peel on March 11, 1997 and broadcast over BBC Radio 1.

Via their bio from Sweet Pea Records:
Number One Cup was a Chicago indie rock band from 1993 to 1999. Sweet Pea Records released three NOC 7-inch vinyl records: “Connecticut,” “Divebomb/Indie Soft-Core Denial” and “The Monkey Song.” The band later was signed by Flydaddy Records and then by Blue Rose/V2 in the UK. The band also put out a 7″ on the UK label Wurlitzer Jukebox under the name The Eleventh Hour. They did this because their British record label didn’t want them putting out another NOC release at the same time as their label’s release. The Eleventh Hour adopted an ’80s synth-pop style as befitted the name.

Number One Cup was founded by Seth Cohen (now named Seth Kim-Cohen), who began assembling the band after being interviewed by rock critic Ben Kim for NewCity, a Chicago alt-weekly. Cohen’s band Eliot had come to an end, and when Kim asked him what kind of band he was looking to form next, Seth said something along the lines of three bands he’d just seen, Unrest, Gastr Del Sol and Stereolab. The writer took the unusual step of printing Seth’s phone number in the article. Soon after, guitarist Pat O’Connell called that number, and the two got together and decided there was something there. Seth and Pat went looking for a drummer and auditioned three. They settled on Michael Lenzi, the least experienced of the drummers they’d auditioned but the most enthusiastic and energetic. They decided to go for enthusiastic, figuring that would be more useful than just having a great drummer. Those three formed the core of the band, while several bassists came and went. As far as the band can recollect, Pat played bass for awhile until John Przyborowski (from Eliot) joined them. John was replaced by Jenni Snyder. After she left, Pat Reis played bass, followed by Przborowski again. Kurt Volk was the band’s last bass player. The band broke up in Pensacola, Fla., in 1999, while on tour. Later, Seth and Michael formed The Fire Show.

Crank it up and enjoy. The week is just starting.



The Jasmine Minks – in session for Janice Long – BBC Radio 1 – October 15, 1986 – BBC Radio 1 –

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The Jasmine Minks – In Session – 1986 – Past Daily Soundbooth The Jasmine Minks – one of the first bands signed to Creation Records, and still going strong.



The Jasmine Minks – in session for Janice Long – BBC Radio 1 – October 15, 1986 – BBC Radio 1 –

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The Jasmine Minks to end the work-week. The Jasmine Minks formed in Aberdeen in 1983, the band were initially a quartet of Jim Shepherd (guitar/vocals), Adam Sanderson (vocals/guitar), Martin Keena(bass guitar), and Tom Reid (drums/vocals). After sending a demo tape to Melody Maker, the band were recruited by Alan McGee to record for the fledgling Creation label. Their first single, "Think!" was recorded for £50 at Alaska Studios, Waterloo. The 4 piece line up was augmented by keyboards from Dave Musker, and the single produced by Joe Foster. The small brown plastic electronic organ was the same one that had previously been used on "Blue Boy" by Orange Juice. Prior to recording, Sanderson had been listening to the Buzzcocks' Spiral Scratch EP, and repeated the two note refrain from "Boredom" at the end of "Think!". Later, Edwyn Collins of Orange Juice was to reference "Boredom" and repeat the same two note refrain on Orange Juice's hit single "Rip It Up". "Think!"/"Work For Nothing" was released in March 1984, and reached single of the week status, jointly with The Pastels single that Alan McGee released at the same time.

The band recorded and released their second single, "Where the Traffic Goes"/"Mr Magic", once again at Alaska for a similar budget, with Foster producing again. McGee had the idea to promote "Where The Traffic Goes" by doing a one-day busking tour, an idea which he may have "borrowed" from the Violent Femmes, an American band the Jasmine Minks had supported. They played eight gigs in one day, all on acoustic instruments, were moved on by the police, were invited into pubs, and then went to McGees's club, the Living Room to perform that night’s gig. By then bored with the acoustics, the band played an all-electric set, amps cranked up to the max, with a 1-2-3-4 between each song, Ramones style. The press were there, and the energy surprised them. They received outstanding reviews, and were chosen by the NME as one of the eighteen most hopeful bands in Britain and were invited to play at the NME showcase along with Lloyd Cole, The Triffids, The Go-Betweens, The Pogues and others. Jasmine Minks records were played on national radio, and the band began to attract a good reputation as a live act. McGee gave them over £400 to record a six track mini-album, One Two Three Four Five Six Seven, All Good Preachers Go To Heaven (1984, Creation) and some major labels showed an interest in the band, to the extent of booking them sessions in very expensive studios.

Unfortunately, the NME showcase happened during the National Union of Journalists strike, the music press was heavily involved, and the NME was not printed; In short, there was no publicity for the music event of the year, and the band played to a very sparse audience. The expected boost in the band's popularity didn't happen.

At the end of 1984 the band toured mainland Europe as part of a Creation package including McGee's band Biff Bang Pow! and new Creation signings The Jesus and Mary Chain. The JAMC single "Upside Down" was released while the tour was in progress. When the tour was over, McGee found himself increasingly preoccupied with the rising success of the Jesus and Mary Chain. During this period, the Jasmine Minks recorded a four track EP, inspired by listening to the Buzzcocks "Time's Up" bootleg over and over. It sat on a shelf while McGee was forced to pursue other interests, eventually surfacing as a seven-inch single of "What’s Happening"/"Black & Blue", which was largely ignored by the music press.

Their self-titled debut album was recorded in Ellon, Aberdeenshire, on a budget of £600 and released in 1986. The idea had been to record a low budget, high quality song based album, but McGee did not like the finished result and dropped some tracks. Some earlier recordings were used for the album, including the track "Cold Heart", which had originally been recorded during the One Two Three Four Five Six Seven, All Good Preachers Go To Heaven sessions. In 1986 the band recorded their only Peel session, along with this session for Janice Long.

In March of 2019, the band announced their new 7” single, to be released via A Turntable Friend Records, both digitally and on blue vinyl in cardboard sleeve.

Still together, still happening – take a step back in time for this session from October 1986.

Good way to start the weekend.



The Shrubs – in session – John Peel – August 26, 1987 – BBC Radio 1 –

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The Shrubs tonight. In session (their second and last) for John Peel. Recorded and” id=”95iHc2PkLtD” vid=”95iHc2PkLtD” id-for-player=”95iHc2PkLtD” link=”/listen/the-shrubs-in-session-1987-past-daily-soundbooth-95iHc2PkLtD/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
The Shrubs – In Session – 1987 – Past Daily Soundbooth The Shrubs – Three years together and with three albums – and a big fan in John Peel.



The Shrubs – in session – John Peel – August 26, 1987 – BBC Radio 1 –

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The Shrubs tonight. In session (their second and last) for John Peel. Recorded and broadcast on August 26, 1987 at BBC Radio 1.

Formed in Watford in 1985, releasing three albums before splitting up in 1989. After being sacked from Stump for 'being too serious', Nick Hobbs formed his own band, initially as The Kevin Staples Band, but changing name to The Shrubs before first release Full Steam Into The Brainstorm, a 6-track 12" EP in July 1986 on the Ron Johnson label. Bassist Phil Roberts left shortly afterwards to join Marc Riley in The Creepers, to be replaced by Steve Brockley, and subsequently by Mark Grebby, who had been the bass player for original Ron Johnson artistes Splat!

Shrubs contributed Bullfighters Bones to the NME's famous C86 album.

A further 12", Blackmailer followed towards the end of the year, with debut album Take Me Aside For A Midnight Harangue hitting the shops in July 1987. With the collapse of the Ron Johnson label and the indie distribution network The Cartel, several hundred copies of "Harangue" were incinerated, much to Hobbs' annoyance. Shrubs signed with the Hertforshire-based Public Domain label for a studio/live 12", Another Age, and second and final album Vessels Of The Heart, both in 1988, after which the band split. Hobbs went on to form Mecca, who toured the Soviet Union with Nitzer Ebb, and subsequently Infidel, along with current Pere Ubu guitarist Keith Moliné and Nico's former drummer Graham Dowdall.

Tonight's session is the second The Shrubs did for John Peel, and their last before calling it quits a year later. Like so many bands; starting off with lots of promise and support from fans and the press, something happens and things go askew. Unfortunately, too many bands suffer a similar fate, which is why making a career from Rock (or any music genre, for that matter) is not for the feint of heart or easily discouraged.




Close Lobsters – in session for Janice Long – June 29, 1986 – BBC Radio 1 –

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Close Lobsters in session tonight. Recorded on June 29, 1986 for Janice” id=”6NuqmHkSHEk” vid=”6NuqmHkSHEk” id-for-player=”6NuqmHkSHEk” link=”/listen/close-lobsters-in-session-1986-past-daily-soundbooth-6NuqmHkSHEk/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Close Lobsters In Session – 1986 – Past Daily Soundbooth Andrew Burnett of Close Lobsters – Psychedelic tendencies under the guise of C86.




Close Lobsters – in session for Janice Long – June 29, 1986 – BBC Radio 1 –

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Close Lobsters in session tonight. Recorded on June 29, 1986 for Janice Long at BBC Radio 1.

Close Lobsters were formed in the Scottish village of Paisley (prophetically enough, given the band's psychedelic tendencies) in 1985 by singer Andrew Burnett and drummer Stewart McFayden. The pair couldn't decide between the names the Close and the Lobsters and simply combined the two for their nonsensical but evocative handle. Adding guitarists Tom Donnelly and Graeme Wilmington, plus Burnett's brother Robert on bass, Close Lobsters gained some early notoriety when their song "Fire Station Towers" showed up on the legendary New Musical Express cassette C-86, which lent its name to an entire movement of post-punk guitar bands. Close Lobsters had a greater commitment to melody than most of the C-86 bands, though, as shown on their first single, "Going to Heaven to See If It Rains," which was released in November 1986. A second single, "Never Seen Before," appeared in April 1987, with a superior re-recorded version of "Fire Station Towers" and a cover of the Only Ones' "Wide Waterways" on the flip.

Their popularity on United States college radio stations led to an invitation to the New York Music Seminar in 1989, which in turn led to an extensive American tour. They toured extensively in the UK, Germany and the United States of America and Canada. The band eventually took an extended break.

Their 'Best of' Singles retrospective, Forever, Until Victory! – the title is from the reputed last sign-off in a letter from Ernesto 'Che' Guevara to Fidel Castro 'Hasta la victoria siempre!' – was released on 5 October 2009 on Fire Records.

Close Lobsters's song "Let's Make Some Plans" was covered by the Wedding Present on the B-side of their "California" single in 1992.

In March 2012, Close Lobsters reformed to play the second Madrid Popfest, Glasgow, third Popfest Berlin and the 2013 NYC Popfest.

In May 2014, Close Lobsters played the Copenhagen Popfest and released new EP, "Kunstwerk in Spacetime". Lead single "Now Time" received significant attention, and the band hinted at more new music to come in an interview with Sound.wav Music in July 2014.

Close Lobsters's song "Let's Make Some Plans" was covered by The Luxembourg Signal on the B-side of their "Laura Palmer" single in 2017.

Hit the Play button and play loud. Two more days to go before the weekend – pace yourself.



Echo & The Bunnymen – live at Nijmegen, Netherlands – June 2, 1981 – KRO-FM/VPRO, Netherlands –



Echo & The Bunnymen in concert tonight – recorded live at Nijmegen in The Netherlands on” id=”5yBeDsMU0CR” vid=”5yBeDsMU0CR” id-for-player=”5yBeDsMU0CR” link=”/listen/echo-the-bunnymen-live-at-nijmegen-1981-past-daily-soundbooth-5yBeDsMU0CR/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Echo & The Bunnymen – Live At Nijmegen – 1981 – Past Daily Soundbooth Echo & The Bunnymen – Cult Following with mainstream success – no small feat. (photo: Ebet Roberts)



Echo & The Bunnymen – live at Nijmegen, Netherlands – June 2, 1981 – KRO-FM/VPRO, Netherlands –



Echo & The Bunnymen in concert tonight – recorded live at Nijmegen in The Netherlands on June 2, 1981 by VPRO for KRO-FM, Holland.

The original line-up consisted of vocalist Ian McCulloch, guitarist Will Sergeant and bassist Les Pattinson, supplemented by a drum machine. By 1980, Pete de Freitas joined as the band's drummer.

Their 1980 debut album, Crocodiles, went into the top 20 of the UK Albums Chart. After releasing their second album, Heaven Up Here, in 1981, the band's cult status was followed by mainstream success in 1983, when they scored a UK Top 10 hit with "The Cutter", and the album which the song came from, Porcupine, hit number 2 in the UK. Ocean Rain (1984), continued the band's UK chart success with its lead single "The Killing Moon" entering into the top ten.

After releasing a self-titled album in 1987, McCulloch left the band and was replaced by former St. Vitus Dance singer Noel Burke. In 1989, de Freitas was killed in a motorcycle accident. After working together as Electrafixion, McCulloch and Sergeant regrouped with Pattinson in 1997 and returned as Echo & the Bunnymen, before Pattinson's departure in 1998. The band has been touring since, releasing several albums since the late 1990s, to varying degrees of success.

Echo & the Bunnymen's debut single "The Pictures on My Wall" was released on Bill Drummond & David Balfe's Zoo Records in May 1979, the B-side being the McCulloch/Cope collaboration "Read It in Books" (also recorded by The Teardrop Explodes approximately six months later as the B-side of their final Zoo Records single "Treason"). McCulloch has subsequently denied that Cope had any involvement with the writing of this song on more than one occasion.

By the time of their debut album, 1980's Crocodiles, the drum machine had been replaced by Trinidad-born Pete de Freitas. The lead single, "Rescue", climbed to UK No.62 and the album broke into the Top 20 at No. 17, following critical acclaim. Their next album, Heaven Up Here (1981), was an even bigger critical and commercial success, reaching the UK Top Ten (No. 10), although a single lifted from the album, "A Promise", could only reach UK No. 49.

In June 1982, the Bunnymen achieved their first significant UK hit single with "The Back of Love" (No. 19). In July 1982, they performed at the first WOMAD festival. This was followed in early 1983 with their first Top 10, the more radio-friendly "The Cutter", which climbed to No. 8. The parent album, Porcupine, hit No. 2 in the album chart. Now firmly established as a chart act, further hits followed with a one-off single, "Never Stop" (No. 15), and "The Killing Moon", a preview from the new album featuring a dramatic McCulloch vocal, which became the band's second UK Top 10 single at No. 9.

Back to 1981 tonight for this concert – crank it up and get ready for the weekend.



Teenage Fanclub – Reading Festival – 1992 (Abbreviated set) – August 30, 1992 – BBC Radio 1 –


Teenage Fanclub tonight, in an abbreviated set from their legendary 1992 Reading Fe” id=”9jxdt1VB1JT” vid=”9jxdt1VB1JT” id-for-player=”9jxdt1VB1JT” link=”/listen/teenage-fanclub-reading-1992-past-daily-soundbooth-9jxdt1VB1JT/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Teenage Fanclub – Reading 1992 – Past Daily Soundbooth Teenage Fanclub – universally praised by both Kurt Cobain and Liam Gallagher as 'The Best band In The world"



Teenage Fanclub – Reading Festival – 1992 (Abbreviated set) – August 30, 1992 – BBC Radio 1 –


Teenage Fanclub tonight, in an abbreviated set from their legendary 1992 Reading Festival appearance – recorded on August 30, 1992 by BBC Radio 1.

Teenage Fanclub are a Scottish alternative rock band formed in Bellshill near Glasgow in 1989. The band was founded by Norman Blake (vocals, guitar), Raymond McGinley (vocals, lead guitar) and Gerard Love (vocals, bass), all of whom shared lead vocals and songwriting duties until Love's departure in 2018. As of 2019, the band's lineup consists of Blake, McGinley, Francis MacDonald (drums, vocals), Dave McGowan (bass, vocals) and Euros Childs (keyboards, vocals).

In concert, the band usually alternate among its songwriters, giving equal playing time to each one's songs. Although often pegged as alternative rock, the group have incorporated a wide variety of elements from various music styles in their songs.

They have had a succession of drummers, including Francis MacDonald, Brendan O’Hare and Paul Quinn, who left the band after recording the album Howdy!. Quinn was replaced by the returning Francis MacDonald. Keyboardist Finlay MacDonald (no relation) has also been a member. As of September 2016, the band have released ten studio albums and two compilation albums.

Teenage Fanclub emerged from the Glasgow C86 scene. Their sound is reminiscent of Californian bands like the Beach Boys and the Byrds, and their seventies counterparts Big Star. Originally a noisy and chaotic band, their first album A Catholic Education, released in 1990 on Paperhouse, is largely atypical of their later sound, with the possible exception of "Everything Flows". The King, their next album, received critical reviews; it consisted of a number of self-confessed shambolic guitar thrashes and a cover of Madonna's "Like a Virgin".

Their next album, Bandwagonesque, released on Creation Records in the UK and Geffen in the US, brought Teenage Fanclub a measure of commercial success. Bandwagonesque was more deliberately constructed, the hooks became stronger, the guitar riffs were brought under control, and the harmony vocals took shape. Bandwagonesque topped Spin magazine's 1991 end-of-year poll for best album, beating Nirvana's Nevermind, their Creation stablemates My Bloody Valentine's album Loveless, and R.E.M.'s Out of Time.

The subsequent, Thirteen, received mixed reviews on release. Brendan O'Hare left Teenage Fanclub during this period because of "musical differences", to be replaced by Paul Quinn (formerly of the Soup Dragons).

Grand Prix, Teenage Fanclub's fifth album, was both a critical and commercial success in the UK, becoming their first top ten album. In the United States however the band failed to regain the ground that Thirteen had lost them. Around this time Liam Gallagher of labelmates Oasis called the band "the second best band in the world" — second only to Oasis.

Still going strong, but to get an idea of what they were up to at Reading in 1992 – hit the play button and crank this one up. I'll run the complete concert soon as a weekend feature – worry not.



Pale Saints – in session for John Peel – recorded July 23, 1989 – broadcast August 17 – BBC Radio 1 –

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Pale Saints for the middle of the week. I remember hearing Pale Saints around” id=”4ibdPJ7vgv6″ vid=”4ibdPJ7vgv6″ id-for-player=”4ibdPJ7vgv6″ link=”/listen/pale-saints-in-session-1989-past-daily-soundbooth-4ibdPJ7vgv6/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Pale Saints – In Session – 1989 – Past Daily Soundbooth Pale Saints – part of the collective breath of fresh air that greeted the end of the 80s.



Pale Saints – in session for John Peel – recorded July 23, 1989 – broadcast August 17 – BBC Radio 1 –

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Pale Saints for the middle of the week. I remember hearing Pale Saints around the same time I heard Lush, by way of their initial ep's. Together with the scene that was brewing which included Madchester, it was very healthy and very affirmative. It signaled, at least to me, that music was in good hands and heading in fascinating directions. When you couple what was going on the UK with the Grunge scene that was developing in Seattle – things were definitely in a state of upward flux.

The thing about Rock, and it's always been this way, is that it is a constantly growing, shaping and re-shaping form that doesn't stay in one place for a long time. Although you would be hard-pressed to find that true in the mainstream, where corporate dictates insist that the new one sound just like the old one for fear of losing an audience – I think it's a universal opinion that Mainstream music is in big trouble and has been for at least a decade.

There are a lot of reasons for that – the most glowing being the lack of access to musical diversity within the marketing community. I won't mention radio because it is, for all intents and purposes, a dead medium – expired for lack of flavor and terrified out of existence.

Pale Saints were part of a wave that was truly engaging and nourishing – and this session, sadly their only one for John Peel, ably demonstrates the wealth of influences they tapped into and why the late 80s/early 90s were a significant period for music.

Hard to imagine this session is 31 years old – there is a freshness about it that begs for repeat listenings. I still believe we're in good hands and are capable of heading in fascinating directions – it just takes a little digging an uncovering.

Crank it up and enjoy it often.



City And Colour – live at Splendour In The Grass – July 25, 2014 – Triple J Radio, Australia

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Staying in Australia and sticking to July 2014, it’s a set by Dallas Green, aka:” id=”9fhKlRVtOKe” vid=”9fhKlRVtOKe” id-for-player=”9fhKlRVtOKe” link=”/listen/city-and-colour-live-at-splendour-in-the-grass-2014-past-daily-sounbooth-festival-edition-9fhKlRVtOKe/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
City And Colour – Live At Splendour In The Grass – 2014 – Past Daily Sounbooth: Festival Edition Dallas Green – aka: City and Colour – dynamically gentle and vulnerable. (Photo: Dustin Rabin)



City And Colour – live at Splendour In The Grass – July 25, 2014 – Triple J Radio, Australia

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Staying in Australia and sticking to July 2014, it's a set by Dallas Green, aka: City And Colour at Splendour In The Grass. Recorded on July 25, 2014 by the venerable Triple J Radio.

Dallas Michael John Albert Green is a Canadian musician and singer-songwriter who records under the alias City and Colour. He is also known for his contributions as a singer, rhythm guitarist, and songwriter for the post-hardcore band Alexisonfire. In 2005, he debuted his first full-length album, Sometimes, which achieved platinum certification in 2006. City and Colour began performing in small intimate venues between Alexisonfire tours. The name City and Colour comes from his own name: Dallas, a city, and Green, a colour. His reasoning for the name was that he felt uneasy "putting the album out under the name Dallas Green".

City and Colour announced the release of the new album entitled The Hurry and the Harm to be released on June 4, 2013. The song "Of Space and Time" was released on March 11, 2013 prior to the announcement of the new album. The track listing includes 12 songs; the special iTunes deluxe version, available for pre-order in April, will include 3 extra tracks for a total of 15 new songs. The song "Thirst" was released on April 1, 2013 on City and Colour's Soundcloud page. The album was unofficially leaked on May 22, 2013. The album cover shows Green's face which felt weird for him, since he always wanted his music to be about his songs and not about himself.

In October 2014, City and Colour was selected as the headline act for the grand opening of the Meridian Centre, St. Catharines' new 50 million dollar hockey and performance arena.

City and Colour announced the release of the new album entitled If I Should Go Before You to be released on October 9, 2015. The song "Woman" was released exclusively on Beats 1 station on Apple Music on July 16, 2015, hosted by Zane Lowe.

In September 2018, Green announced the release of a new compilation album of live songs recorded during his 2017 "An Evening with City and Colour Solo Canadian tour", to be released digitally on October 5, 2018, and physically on November 23, 2018, via Still Records, a new record company set up by Dallas himself.

Three tracks from the album were released digitally on September 21, 2018, "Casey's Song", "Sensible Heart" and "As Much as I Ever Could". A further three tracks were released a week later on September 21, 2018, "The Girl", "O'Sister" and "Lover Come Back".

In April 2019, City and Colour was the opening act for Alice in Chains' Canadian tour and other three U.S. concerts in support of their album Rainier Fog. Green is a longtime fan of the band and has cited them as one of his early influences. He joined them on stage for a rendition of their song "Nutshell" (a song that Green would often cover) during their concerts at the Budweiser Gardens in London, Ontario on April 23, 2019, and at the FirstOntario Concert Hall in Hamilton on April 24, 2019. He also sang "Got Me Wrong" with the band on April 25 in Rama, on April 27 in Montreal, and on April 28 in Quebec. Alice in Chains' guitarist and vocalist Jerry Cantrell gave one of his guitars to Green after they performed together at the MTELUS in Montreal on April 27, 2019. Green has stated that Cantrell made him fall in love with playing a guitar.

On June 3, 2019, the band debuted their first new song in four years called "Astronaut" and also announced a 22-date North American tour starting in October 2019. A further single called "Strangers" was released on June 21.

On August 15, 2019, the band's album A Pill for Loneliness was announced and at midnight on August 16, a third song, "Living in Lightning", was also released as a single. Green said in a statement about the album, "I wrote a lot of dark songs and wrapped them in the most beautiful sounds we could find, there are personal connotations, but they're also relatable. I'm thankful for the opportunity to create." The album was released on October 4, 2019.

Here's a reminder of what was going on in 2014 at The Splendour In The Grass Festival.

Crank it up.




Courtney Barnett – Live At Splendour In The Grass – 2014 – Recorded July 27, 2014 – Triple-J Radio Australia –

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Courtney Barnett, live at the 2014 Splendour In The Grass festival, recorded by Triple-J Radio in Mel” id=”9Qf9daXgPJX” vid=”9Qf9daXgPJX” id-for-player=”9Qf9daXgPJX” link=”/listen/courtney-barnett-splendour-in-the-grass-2014-past-daily-soundbooth-festival-edition-9Qf9daXgPJX/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Courtney Barnett – Splendour In The Grass – 2014 – Past Daily Soundbooth: Festival Edition Courtney Barnett – grabbed attention from the get-go




Courtney Barnett – Live At Splendour In The Grass – 2014 – Recorded July 27, 2014 – Triple-J Radio Australia –

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Courtney Barnett, live at the 2014 Splendour In The Grass festival, recorded by Triple-J Radio in Melbourne and broadcast shortly after July 27.

Known for her deadpan singing style and witty, rambling lyrics, Barnett attracted attention with the release of her debut EP, I've Got a Friend Called Emily Ferris. International interest from the British and American music press came with the release of The Double EP: A Sea of Split Peas in October 2013.

Barnett's debut album, Sometimes I Sit and Think, and Sometimes I Just Sit, was released in 2015 to widespread acclaim. At the 2015 ARIA Music Awards, she won four awards from eight nominations. She was nominated for Best New Artist at the 58th Annual Grammy Awards and International Female Solo Artist at the 2016 Brit Awards.

In 2017, she released Lotta Sea Lice, a collaborative album with Kurt Vile.

Barnett's second album, Tell Me How You Really Feel, was released in 2018.

From 2010 to 2011, Barnett played second guitar in Melbourne garage grunge band Rapid Transit. They released one self-titled album on cassette, which is now a rare collector's item. Barnett also recorded many early versions of her songs with a band called Courtney Barnett and the Olivettes, which was later shortened to The Olivettes. They released a live EP demo CD, with only 100 copies being produced which were hand numbered.Between 2011 and 2013, she was a member of Australian psych-country band Immigrant Union, a musical project founded by Brent DeBoer (of The Dandy Warhols) and Bob Harrow. Along with sharing vocal duties, Barnett predominantly played slide guitar and is on the band's second studio album, Anyway. DeBoer also played drums on Barnett's first EP, I've Got a Friend called Emily Ferris. It appeared in 2012 on Barnett's own label, Milk! Records.

In 2013, Barnett played lead guitar on Jen Cloher's third studio album, In Blood Memory, which was released on Milk! Records. Following the release of her first EP, Barnett signed to Marathon Artists (via its imprint House Anxiety). In August 2013, Marathon Artists released The Double EP: A Sea of Split Peas, a combined package of Barnett's first EP and her second EP, How to Carve a Carrot Into a Rose. The Double EP brought Barnett international critical acclaim, with "Avant Gardener", the lead single, named Track of the Day by Q Magazine and Best New Track by Pitchfork in 2013. It was named the album of the week by Stereogum The track "History Eraser" was nominated for the APRA Song of the Year. How to Carve a Carrot into a Rose was released on a limited run by Milk! Records as a standalone EP in October 2013. Marathon Artists and House Anxiety partnered with Mom + Pop Music for the U.S. release of The Double EP in 2014.

At the end of 2015, Barnett was nominated for a Grammy Award in the Best New Artist category. She was later nominated for Best International Female in 2016 for the Brit awards. On 21 May 2016, she was the musical guest on the season finale of Saturday Night Live's 41st season, hosted by Fred Armisen. In January 2016, Barnett appeared on the cover of Australian music magazine, Happy Mag. And on 27 May 2016, she was the musical guest on The Tonight Show Starring Jimmy Fallon.


On 12 February 2018, Barnett teased a new album on her social media accounts, featuring Barnett trying out various musical instruments with the clip ending with the tagline Tell Me How You Really Feel. Barnett released the singles "Nameless, Faceless", "Need A Little Time", "City Looks Pretty", and "Sunday Roast" from her sophomore solo album, which was launched at a private function at Sydney's Lansdowne Hotel in April 2018 and emceed by ex-Go-Between Lindy Morrison. The album was eventually released on 18 May 2018 and titled Tell Me How You Really Feel. "City Looks Pretty" was featured on the soundtrack of the video game FIFA 19.

Sit back and crank it up – The Triple J folks get a bit chatty in-between songs and run the risk of spilling over into the introductions, but fortunately stop short.

Enjoy.




Intergalactic Lovers – In Concert at Haldern Pop Festival – August 14, 2015 – West German Radio –


Intergalactic Lovers in concert this week. One of my favorite of the recent crop of bands, not enough can be said about ju” id=”AFEf0nhhse2″ vid=”AFEf0nhhse2″ id-for-player=”AFEf0nhhse2″ link=”/listen/intergalactic-lovers-haldern-pop-2015-past-daily-soundbooth-rock-without-borders-AFEf0nhhse2/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Intergalactic Lovers – Haldern Pop – 2015 – Past Daily Soundbooth – Rock Without Borders Lara Chedraoui of Intergalactic Lovers – no end to spellbinding.




Intergalactic Lovers – In Concert at Haldern Pop Festival – August 14, 2015 – West German Radio –


Intergalactic Lovers in concert this week. One of my favorite of the recent crop of bands, not enough can be said about just how intoxicating and superb the voice of Lara Chedraoui is and how evocative everything swirls into place.

This concert comes from their show at the Haldern Pop Festival in Germany on August 14, 2015 and was recorded by WDR, the German radio network. The Belgian band have been making serious inroads to a fan base since getting started in 2008. They are on Warners in Belgium, but not in the U.S. – and that is completely baffling. Even more baffling, they haven't done anything resembling a tour, or even sporadic appearances here in the States – also baffling. This is a band that stands out and really needs the universal exposure, even if they were an opening act – this is a band that is simply too good to ignore and I cannot imagine them anything less than hugely popular over here. My two cents.

For everyone who complains about the relative dearth of new and interesting music in the current climate, I have to say there is so much more happening than mainstream media would lead you to believe. For one thing, the notion that bands are hampered by their country of origin (i.e. not singing English) is totally false now. Every song Intergalactic Lovers did in this Haldern set was in English – this is a trend that's been going on well over 20 years now. And yet, there's this stigma that somehow renders them inaccessible to English speaking audiences – crazy.

I've run a few concerts from Intgalactic Lovers in recent years – the response has always been favorable. Audiences are captivated by Lara's voice – and the warmth and precision the band displays as a whole is enthusiastically received.

They haven't done anything since late last year. I am hoping their label decides it's a good idea to do even an exploratory venture to SXSW next year or a similar showcase, just to make the audience aware of just how good this band is and just how much everyone is missing.

I suppose it's up to you to hit the play button and decide for yourself. I would check out their website and invest in any one or all three of their albums. They could use your support and you could use their music – seems like a fair exchange.



The Cribs – Live at The Fleece, Bristol – 2007 – BBC6 Music –

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The Cribs to end the regular week (of course, it is a Holiday weekend, so . . .), in concert at The Fleece in Bristol in 2007 and broadcast by BBC” id=”1p6FbuI7pJM” vid=”1p6FbuI7pJM” id-for-player=”1p6FbuI7pJM” link=”/listen/the-cribs-live-in-bristol-2007-past-daily-soundbooth-1p6FbuI7pJM/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
The Cribs – Live In Bristol 2007 – Past Daily Soundbooth The Fleece – "the biggest cult band in the UK" – Q Magazine.



The Cribs – Live at The Fleece, Bristol – 2007 – BBC6 Music –

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The Cribs to end the regular week (of course, it is a Holiday weekend, so . . .), in concert at The Fleece in Bristol in 2007 and broadcast by BBC 6 Music.

According to Q Magazine, The Cribs are "the biggest cult band in the UK" – from 2008 until 20011 the band boasted former Smiths and Modest Mouse guitarist Johnny Marr in their ranks (until 2008). This show comes just shy of Marr's appearance.

The Cribs were formed in late 2001 as a recording project for the three brothers. After recording a demo and garnering label interest, the band started playing live around this time, at venues like the Brudenell Social Club in Leeds, and "squats and warehouse parties" with artists such as Calvin Johnston, Subway Sect, Herman Dune, and Ballboy. They also released a split 7" single on Leeds based garage/riot grrrl/punk label Squirrel Records during this period with former Shove/Boyskout member Jen Schande. Limited to 300 copies on blue vinyl the record is now a rarity that sells for upwards of $150 on eBay. According to Mojo magazine, 'On the strength of one demo, the rush to find the UK Strokes saw the three-piece fielding calls from major labels, pluggers and label managers' in 2002. After several high-profile support slots, the band signed to the fledgling independent label Wichita Recordings in 2003 "we thought (they) were great because they sounded a bit like Pavement and had a big hook. We went to see them at the Metro on Oxford Street and completely fell in love with them. They seemed like such an obvious pop band. Every song sounded like a single" – Mark Bowen, Wichita Recordings.

After signing with Wichita Recordings, the band began re-recording many of the songs from the original demo, as well as several new tracks for what would be their debut record. Sessions began in London with Chicago based avant-garde musician Bobby Conn producing, after the band had supported him on some UK dates and impressed him "They had this cassette demo they had recorded on a boom-box, I suggested overdubs, they were too kitchen-sink for overdubs. I tried handclaps, they were 'not sure about handclaps'. It was all 'Keep it real'" – Bobby Conn. Then sessions moved to Toe Rag Studios in Hackney with the band self-producing. The album was completed in 7 days, live to 8-track tape, with Ed Deegan engineering.

Released on 8 March 2004, the album found early supporters in the NME, who commented on its "supreme pop melodies", and referred to it as "lo-fi, hi fun" giving it an 8/10 review. Lo-fi would be a term that would follow the band around for the next few years, and something that became synonymous with the group. Again, from the NME in 2011: "Recorded in a week, it's the definition of indie lo-fi. But not willful indie lo-fi; the scratches, clangs and gawwumps all heard here are genuinely the product of the trio's shoestring methods rather than the usual contrived fuzz that bands spend ages poring over beaten up eight-tracks to achieve". Radio 1 DJ Steve Lamacq was also an early champion. Lois Wilson of Mojo magazine described the album in 2009 as "intelligent lyrics on a background of clipped guitars and tumbling drums, with nods to The Strokes, Beat Happening, and C86's inept charm" Three singles were released from the album – the limited edition 7" only "Another Number"/"Baby Don’t Sweat" in November 2003, followed by first single proper "You Were Always the One", which climbed to No. 2 in the indie charts. "What About Me" was the third and final single from the album, again making the indie top 10. The Cribs toured extensively throughout 2004 and into 2005, both as headliners as well as supporting artists like old friend Bobby Conn, Death Cab For Cutie and The Libertines. Over the campaign they toured the UK and Ireland, Europe, Japan, and the United States, as well as several significant international festival appearances such as Reading and Leeds Festivals, Summersonic, T in the Park and Pukkelpop amongst others. Though only a moderate underground success at the time "Another Number" has gone on to become one of the band's most enduring ‘hits’ – seldom being left off the set-list and usually accompanied by a full crowd sing-along of the signature, repeated guitar riff.

For a taste of their 2007 period, hit the play button and crank it up. Enjoy the weekend – more surprises in store.



Mow – In session for Slapjack TV – January 27, 2017 –

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It would be safe to say I have become a complete fan of Gabriela Casero and her project Mow. The other-wordly singer and the intensely spacious band who accompanies her m” id=”460IZrIDRNG” vid=”460IZrIDRNG” id-for-player=”460IZrIDRNG” link=”/listen/mow-gabriela-casero-in-session-2017-past-daily-soundbooth-rock-without-borders-460IZrIDRNG/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Mow (Gabriela Casero) – In Session – 2017 – Past Daily Soundbooth – Rock Without Borders Mow – Gabriela Casero – the spell continues.



Mow – In session for Slapjack TV – January 27, 2017 –

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It would be safe to say I have become a complete fan of Gabriela Casero and her project Mow. The other-wordly singer and the intensely spacious band who accompanies her make music I can't get enough of. It is enveloping, engaging and long-lasting.

It's only fitting I post Mow at night – this is music to drift away to; to become lost; to provide backgrounds to vibrant and unexplainable dreams. Perfect.

This was a session done for Slapjack TV, I believe in Madrid, in 2017. Vogue Magazine in Spain published an article on Casero in 2018, citing a considerable amount of interest in her work; her debut album for the progressive indie label Subterfue, which has gotten lot of positive press, a soundtrack for a short film which has gotten film festival attention, music going viral on Spotify, airplay from College Radio here in the U.S. – basically, all the ingredients to what is shaping up to being a very exciting new artist on the horizon.

Her music exudes an air of intimacy while comfortably fitting into the genres of Electronica, Dream-Pop, Emo and Indie – but the music relly isn't that easy to classify – it just presents itself as a backdrop and an avenue of escape.

I ran one of her more recent concerts from the Primavera Sound festival only a few months ago and you might want to go over there and check it out, as this session is rather short and Mow isn't the kind of musical project you take in short doses.

But I would urge you to go over to the Subterfuge site and investigate Mow and Gabriela Casero further. You might also want to check out what else this really fascinating label is doing – their catalogue is growing and it would do you a lot of good to hear what else they've got going on.

Crank it up and go exploring.



Day Wave – In session – Huw Stephens – BBC Radio 1 – November 2015 – BBC Radio 1

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Day Wave – In Session – 2015 – Past Daily Soundbooth Jackson Philips – aka: Day Wave – Upbeat and frothy from Oakland.



Day Wave – In session – Huw Stephens – BBC Radio 1 – November 2015 – BBC Radio 1

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Ending the week with Day Wave – a taste of Indie-Pop from Oakland by way of Maida Vale Studios in London for Huw Stephens at BBC Radio 1 in November of 2015.

Day Wave is an American indie rock band from Oakland, California, formed in 2015. The band's studio output consists solely of Jackson Phillips, with accompanying musicians for live performances. The band released their debut EP Headcase in 2015. Day Wave's songs have received attention in number of prominent publications including the Los Angeles Times and Billboard, and the band opened for Blonde Redhead during their fall 2016 tour.

In November 2016, Day Wave signed onto Harvest Records and released the single "Wasting Time". The song "Hard to Read" appears in 2016 video game Watch Dogs 2. In February 2017, Day Wave announced its debut album, The Days We Had, which was released on May 5, 2017. Phillips relocated to the Echo Park neighborhood of Los Angeles in early 2017. Like on his earlier EPs, Phillips recorded straight to tape on his full-length debut.

The touring members of Day Wave include brothers Henry Moser (bass) and Jack Moser (keyboard/synth) as well as Nick de Ryss (drums), and Alex Lasner (guitar).

In April 2015, KCRW premiered “Drag” on its blog, and dj Jason Bentley went on to play the track during his “Morning Becomes Eclectic Show.” Soon, Sirius Alt Nation and Sirius XMU added the song with Zane Lowe spinning it during the launch of his Beats 1 show. Over 3 million cumulative Soundcloud plays later, Day Wave’s independent Headcase EP followed, and Los Angeles Times, Buzzfeed, The Fader, Stereogum, and Noisey sung Jackson’s praises. In between touring with the likes of Albert Hammond Jr. and Blonde Redhead, he penned his second EP, Hard To Read.

Once again, Jackson played every instrument, produced, mixed, and mastered, even recorded directly to tape. His one-man methodology yields a singular sound where ethereal vocals glide over celestial guitars awash with subtle synths, building an entrancing and enticing sonic milieu. It soundtracks his own personal narrative.

The first single “Gone” taps directly into that cinematic expanse with its clean guitar melody, immediately hypnotic hook, and airy delivery about being deprived of whatever it is that keeps you grounded.

The lithe six-string strum of “Stuck” gives way to a delicate melody that’s as magnetic as it is majestic. It reflects the all too identifiable feeling of getting stuck in your own head. Whether it’s the buzzing urgency of “Deadbeat Girl” or the spacey ponderousness of “You,” Day Wave instantly captivates.

The Berklee College of Music graduate constantly challenges himself to evolve. Whether it’s learning multiple instruments or immersing himself in production, he keeps pushing himself to connect.

“I want people to hear Day Wave and feel the same feeling I get when I listen to the music I love,” he leaves off. “It gives you an emotional response—whether that’s sadness, nostalgia, or happiness. That’s what I try to create. If I can give that feeling to other people, it’s working.”

To get a better idea, have a listen to his first BBC session in 2015.



Rayo – in session for RNE Radio 3 – October 18, 2019 – RNE – Madrid


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Rayo to close out the week. In session for Radio Nacional España Radio 3 in Madrid and recorded on October 18, 2019.

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Rayo In Session – 2019 – Past Daily Soundbooth: Rock Without Borders Rayo – Further evidence there's a lot to check out in the world.



Rayo – in session for RNE Radio 3 – October 18, 2019 – RNE – Madrid


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Rayo to close out the week. In session for Radio Nacional España Radio 3 in Madrid and recorded on October 18, 2019.

RNE's Los Conciertos de Radio 3 website bio for the band indicates they're a Supergroup among Female bands currently happening in Spain -Comprised of former members of Fuckaine, Las Odio and Agnes, they issued their debut album Jung-La and are favorably compared to Sonic Youth.

It's a further indication that, as much as you hear that's new, there's always more to hear and discover. I happened on Rayo by accident and was sold after the first 30 seconds. I confess to not being previously familiar with them, and have pieced together bits of information from various websites (and a lot of "gist English) and from what I've been able to gather, the Press love them and for good reason – they are a very appealing ensemble with a clear vision and tight execution. Forget the barriers of language – as I've said, and continue to say; music is such a universal language that being fluent in one tongue or another isn't really important where the spirit of making amazing music is concerned. I would love for them to come to the States -I have feeling they would be welcome with open arms, especially in Los Angeles. The only other all-female Indie/alternative band from Spain that I know of is Hinds – they have picked up an international following over the years. I find Rayo to be a few notches better. But that's my particular take on things.

I don't know what their plans are for a tour or if they've already been on tour promoting Jung-La or if they have plans that extend further than the continent – a lot of questions.

For starts, head over to their Bandcamp page and download their debut ep which came out in December 2017 and is a freebie.

I would keep an eye on this band and I would certainly crank this session up.

Keep your eyes and ears open – your mind goes without saying.




R.E.M. – In Concert at Milton Keynes Stadium – July 30, 1995 – Monster Tour – BBC Radio 1 –


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R.E.M. – In Concert – 1995 – Past Daily Soundbooth R.E.M. – 350,000 fans couldn't be wrong.




R.E.M. – In Concert at Milton Keynes Stadium – July 30, 1995 – Monster Tour – BBC Radio 1 –


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R.E.M. in concert tonight. From the 1995 UK Monster Tour, a set from their Milton Keynes Stadium gig and preserved for posterity by BBC Radio 1. This was the last date on the tour, playing two nights at Keynes Stadium – this one is from July 30,1995.

After piecing together two albums in the studio, R.E.M. decided to return to being a rock band with 1994s Monster. Though the record was conceived as a back-to-basics album, the recording of Monster was difficult and plagued with tension. Nevertheless, the album was a huge hit upon its fall release, entering the U.S. and U.K. charts at number one; furthermore, the album received accolades from a number of old-school critics who had been reluctant to praise the band, since they didn't "rock" in conventional terms. Experiencing some of the strongest sales and reviews of their career, R.E.M. began their first tour since Green early in 1995. Two months into the tour, Bill Berry suffered a brain aneurysm while performing; he had surgery immediately and had fully recovered within a month. R.E.M. resumed their tour two months after Berrys aneurysm, but his illness was only the beginning of a series of problems that plagued the Monster tour. Mills had to undergo abdominal surgery to remove an intestinal tumor in July; a month later, Stipe had to have an emergency surgery for a hernia. Despite all the problems, the tour was an enormous financial success, and the group recorded the bulk of a new album. Before the record was released in the fall of 1996, R.E.M. parted ways with their longtime manager Jefferson Holt, allegedly due to sexual harassment charges levied against him; the groups lawyer, Bertis Downs, assumed managerial duties.

Monster is indeed R.E.M.s long-promised "rock" album; it just doesn't rock in the way one might expect. Instead of R.E.M.s trademark anthemic bashers, Monster offers a set of murky sludge, powered by the heavily distorted and delayed guitar of Peter Buck. Michael Stipes vocals have been pushed to the back of the mix, along with Bill Berrys drums, which accentuates the muscular pulse of Bucks chords. From the androgynous sleaze of "Crush With Eyeliner" to the subtle, Eastern-tinged menace of "You," most of the album sounds dense, dirty, and grimy, which makes the punchy guitars of "Whats the Frequency, Kenneth?" and the warped soul of "Tongue" all the more distinctive. Monster doesn't have the conceptual unity or consistently brilliant songwriting of Automatic for the People, but it does offer a wide range of sonic textures that have never been heard on an R.E.M. album before.

Hit the Play button and dive in.



Noel Gallagher’s High Flying Birds – in session – BBC 6 Music – November 7, 2017 – BBC Radio 6 Music


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Noel Gallagher's High Flying Birds – In Session – 2017 – Past Daily Soundbooth Noel Gallagher's High Flying Birds – things are definitely looking up. Photo: Sharon Latham.



Noel Gallagher's High Flying Birds – in session – BBC 6 Music – November 7, 2017 – BBC Radio 6 Music


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Noel Gallagher's High Flying Birds in session tonight – recorded at The BBC on November 7, 2017. Much has happened with Noel Gallagher since that fateful brotherly smashup, which took place ten years ago.

For one thing, Noel Gallagher has outdone himself and has more than amply shown he can carry on a solo career just as successful, if not more so, than his previous life as Oasis.

Gallagher's solo career plans began in earnest after the demise of Oasis, on 6 July 2011, Gallagher held a press conference in London during which he announced that Noel Gallagher's High Flying Birds would release a self-titled album on 17 October 2011, and a second collaboration with Amorphous Androgynous would be released in 2012. In July 2011, he released his debut single "The Death of You and Me", to positive reviews. Following the success of "The Death of You and Me", Gallagher confirmed on his website that the band's next UK single would be "AKA… What a Life!" which was released on 11 September 2011. "If I Had a Gun…", Gallagher's first US single, was made available on iTunes on 20 September 2011. Gallagher's second album was to be a collaboration with Amorphous Androgynous, due in late 2012. He said, "It sounds a bit like Pink Floyd's Dark Side of the Moon. The sound is similar to High Flying Birds, but more psychedelic and tripped out. It's not an electronic project. People are jumping to that conclusion because Amorphous Androgynous used to be an electronic outfit."

In the press conference, explaining solo album material and collaboration talk, Gallagher admitted the collaboration is "fucking far out. It's got like 18 tracks on it, some of it's krautrock, some of it's soul, some of it's funk and that's just the first song." Then later confessing, that he's nervous about releasing his second solo album with Amorphous Androgynous. "A lot of people are looking forward to it, which I'm a bit nervous about. They're building it up in their own minds, thinking it's going to be something it might not be when they hear it. It's fucking good, but I probably shouldn't have announced it. But I just thought, 'It's finished, so fuck it, here's what I've been working on.'" He later found it hard to say "no comment" to journalists, adding, "I'm just cursed with an absolute endless stream of one-liners. I'm sorry about that. People say it's the way I talk in interviews that makes people interested. But they just mean I'm honest. 'Oh, he's got a way with honesty, that lad…' How depressing is that?" On 16 March 2012, Gallagher announced that an EP titled Songs from the Great White North would be released exclusively for Record Shop Day on 21 April 2012.

On 2 May 2019, the band released "Black Star Dancing", the title track of their EP, which will be released on 14 June 2019. Two further EPs will be released later in 2019. Gallagher has said that the second will have a "Mancunian" sound and the third will be released at Christmas.

The band began a tour of North America with The Smashing Pumpkins in August 2019, with an Australian tour in support of U2 to follow in November.

Catch them if you can – they are a great live band and well worth the price of the ticket, and poster, and t-shirts, and albums . . . – a double bill with Smashing Pumpkins should be ace.

Hit play and crank it up in the meantime.



The House Of Love – In Session – BBC 6 Music – October 25, 2007 – BBC

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The House Of love in session from October 25, 2007 for BBC 6 Music.

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The House of Love – In Session – 2007 -Past Daily Soundbooth The House Of Love – add to the ever-growing list of bafflingly underrated.



The House Of Love – In Session – BBC 6 Music – October 25, 2007 – BBC

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The House Of love in session from October 25, 2007 for BBC 6 Music.

I don't think I am every going to fully understand why some bands and artists are showered with undeserved attention while others quietly trudge along, being severely overlooked and criminally underrated. Doesn't seem fair, but it's the Music Business after all – fairness and artistic merit have virtually nothing in common with each other. I remember hearing about The House Of Love pretty consistently over the years, certainly since the late 1980s. To be fair, they haven't been ignored completely in all that time. In fact, their first albums for Fontana were critical and commercial successes, with their third album Babe Rainbow doing very well in the UK album charts, as did their second album, self-titled and hitting Number 8 on the charts. They have been very popular in the UK, it's the US that seems to be the ones unaware.

But after Babe Rainbow, the band went on a ten year hiatus, resurfacing in 2003.

The House of Love were formed in London in 1986 by singer-songwriter-guitarist Guy Chadwick and co-founder and lead guitarist Terry Bickers. They rose to prominence in 1987 with their first single "Shine On", released on the independent label Creation. The following year, the band released their critically acclaimed eponymous debut album and built their reputation over the next few years through subsequent releases, constant touring and the support of English press. They signed with Fontana Records records in 1989 and met commercial success in 1990 with their second self-titled album, which peaked at number 8 in the UK albums chart. Their third album, Babe Rainbow, was favorably met by the critics in 1992 and also reached the top 40 in the UK.

The House of Love are best known for their detailed psychedelic guitar sound and for other singles such as "Christine" and "Destroy the Heart". In the US, the songs "I Don't Know Why I Love You", "Marble" and "You Don't Understand" were also popular on alternative rock radio stations, respectively reaching number two, number five and number nine on the Billboard Modern Rock chart. The House of Love disbanded in 1993. After a hiatus of 10 years, they reformed in 2003 with Bickers, who had performed on their two first albums. They have been cited as an influence by shoegazing bands Slowdive and Ride.

The session from 2007 coincides with the CD reissue of their 1988 debut album. In December 2012, The House of Love Official Facebook page confirmed that the band had recently completed a new studio album. The album was recorded with original members Chadwick, Bickers, Evans accompanied by bassist Matt Jury. In early 2013 the title was revealed as She Paints Words in Red; it was released in March by Cherry Red Records. The band kept touring the following years.

In 2018 to celebrate the 30th anniversary of their debut album, the band embarked on a six date British tour in autumn, peaking with a headline show at the Roundhouse in London in November: they played the album in full.

Hit the play button and crank it up – become acquainted if you aren't already – nod in appreciation if you are.




The Dears – in concert at Cambridge Junction – 2005 – BBC 6 Music –

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Canadian Indie practitioners The Dears i” id=”OtX6dK4PMH” vid=”OtX6dK4PMH” id-for-player=”OtX6dK4PMH” link=”/listen/the-dears-in-concert-2005-past-daily-soundbooth-OtX6dK4PMH/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
The Dears – In Concert 2005 – Past Daily Soundbooth The Dears – welcome to the Canadian Indie Renaissance.




The Dears – in concert at Cambridge Junction – 2005 – BBC 6 Music –

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Canadian Indie practitioners The Dears in concert at Cambridge junction in 2005 to kick off the week.

One of the pioneers of the Indie renaissance in Canada this Montreal-based band have been steadily gathering a devoted following all over the world practically from the get-go.

The band formed in 1995 and released their first album, End of a Hollywood Bedtime Story, in 2000. Their orchestral, dark pop sound and dramatic live shows established The Dears as part of the then-emerging Canadian indie renaissance.

The Dears performed in Toronto in October 2001 with Sloan. In 2001 and 2002, they released the EPs Orchestral Pop Noir Romantique and Protest, respectively, as well as a collection of unreleased songs, Nor the Dahlias. In 2003 they released their second full-length album No Cities Left, and a string of shows at SXSW '04 launched their international career.


The Dears performing at Botanique in Brussels, 2006
The Dears toured extensively across Canada, U.S., UK, Europe, Japan and Australia supporting the international release of No Cities Left and returned to the studio to record in 2005. Gang of Losers was released in 2006, and was well received by the press.

The Dears have had high-profile gigs as opening act for Sloan, The Tragically Hip, Keane, The Secret Machines and Morrissey, to whom Lightburn is often compared. Their music has been described as a cross between The Smiths and Serge Gainsbourg with Lightburn's singing voice being likened to Morrissey as well as Blur's Damon Albarn. The complexity of the music and arrangements has also been compared to Radiohead, Jethro Tull and early Genesis. The Dears' powerful live shows have been described as: "…the sonic equivalent of seeing the face of God."

On July 10, 2007, The Dears' album Gang of Losers was named to the shortlist for the 2007 Polaris Music Prize. The follow-up Missiles was released in the United Kingdom on October 20 and in North America on October 21, 2008.

On February 15, 2011, The Dears released their fifth studio album, Degeneration Street. The album was named as a longlisted nominee for the 2011 Polaris Music Prize.

In case you've missed any of their shows, or they've escaped your radar completely, here's a chance to get caught up. It's suggested you crank this one up and prepare to get lost in sound.



Flinch – in session for John Peel – Recorded October 16, 1994 – BBC Radio 1 –

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Flinch In Session – 1994 – Past Daily Soundbooth Grog – lead singer of Flinch – Cheapest Dressed Band in Rock – so said Grog.



Flinch – in session for John Peel – Recorded October 16, 1994 – BBC Radio 1 –

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Flinch to end the week. Somewhat short-lived and ultimately a stopping off place for lead singer Grog, before heading off to form the highly acclaimed Feline.

Formed in Camberwell, south London, England, at the close of 1993 by Grog (vocals), Paul (guitar, ex-Screeming Custard) and Dominic (drums, ex-Cardiacs), Flinch had released two independent singles before attracting press interest as one of the UK’s most promising bands of 1994. Despite major label AR interest, they chose instead to sign with the independent Clawfist Records after winning the Best New Band poll at September’s In The City music seminar. In keeping with their self-image of ‘cheapest dressed band in rock’, they celebrated with a day out at Alton Towers pleasure park. The following month they released a third single, ‘Faking It’, which attacked the lack of sincerity in the music industry, and recorded a session for BBC disc jockey John Peel. This was followed in February 1995 with ‘Jamie D’, before a UK tour with Hopper and the Nubiles and a new contract with Vinyl Solution Records subsidiary!Dilo! Soon afterwards the band collapsed, with Grog going on to form Feline.

A few words from Grog herself via her I Am Grog website:
I’M MOST WELL-KNOWN AS THE SINGER/BASS PLAYER AND FACE OF ROCK BAND DIE SO FLUID.
I cut my teeth musically in London, England, having formed my first band FLINCH while taking a degree in fine art at Chelsea School of Art on the Kings Road. Before that, I sang in choirs, had a classical training in piano and clarinet and even toured with an orchestra in Canada.

Some early standout moments include Flinch winning the acclaimed ‘In The City’ music award, doing our first John Peel Session and then being featured on his show when we played Reading Festival.

The band transformed into FELINE and soon after – in a flourish of champagne, parties and private jets – we signed a major record deal with EMI:Chrysalis. Numerous TV and radio appearances followed (MTV, BBC), and we toured the world playing live with THE CATHERINE WHEEL, KENICKIE (with Lauren Laverne), SCARFO (with Jamie Hince from The Kills), and many, many others.

Still developing our ultimate sound, loyal fans stayed for the ride as we morphed into our final band incarnation DIE SO FLUID, although we experienced a false start as I was suddenly hospitalized with life-threatening pancreatitis. For me though it was a blessing in disguise and the beginning of a much deeper and authentic journey.

The band has been making killer rock music and maintaining its cool cult status for over a decade, always shifting the bar higher with each tour and record release. Highlights have been appearances at festivals like Hard Rock Hell, London Bass Guitar Show, and tours with DROWNING POOL, EISBRECHER, MINDLESS SELF INDULGENCE, MY RUIN, Ill NINO, MAJ KARMA, and PRONG.

I relocated to Los Angeles seven years ago and I have been a dedicated yogi for five years; I'm now a qualified teacher. I also trained in silversmithing and passed my motorcycle test. Along the way, I have had the great pleasure of working with an array of artists doing both live and studio session work, and collaborative projects: TOM DiCILLO, MEL C, KELLY and OZZY OSBOURNE and DAVE ROWNTREE, to name a few of the most notable.

So there you go – now hit the play button and crank it up. Here comes the weekend.



Loop – In Session for John Peel – Recorded August 11, 1987 – broadcast August 19 – BBC Radio 1 –

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Loop In Session – 1987 – Past Daily Soundbooth Loop – a much anticipated reunion around 2014 got things rolling again.



Loop – In Session for John Peel – Recorded August 11, 1987 – broadcast August 19 – BBC Radio 1 –

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Loop in session for John Peel tonight, their first of three sessions the band would do at Radio 1.

Loop were formed in 1986 by Robert Hampson (vocals, guitar), with his then-girlfriend Becky Stewart on drums. Stewart was later replaced by John Wills (The Servants) and Glen Ray, with James Endeacott on guitar. Initially releasing records on Jeff Barrett's Head label, their first release was 1987's "16 Dreams", with debut album Heaven's End following later that year. The band was then signed up by Chapter 22 Records.

They returned with a more polished sound with the "Collision" single in 1988. A second album Fade Out followed in 1989, reaching No. 51 on the UK album chart. Endeacott left the band in 1988, Scott Dowson joined the following year. They changed labels again to Beggars Banquet subsidiary Situation Two, releasing the "Arc-Lite" single in 1989 and the third and final studio album A Gilded Eternity in 1990.

The band split in 1991, with Hampson briefly joining Godflesh before forming Main with Dowson. Hampson's Main project was discontinued in 2006 and while he now releases under his own name in 2010 he announced the return of Main, albeit as a collaborative project with other sound artists. Wills and Mackay went on to form The Hair and Skin Trading Company, which last released in 1995. Wills now performs and records as Pumajaw.

Loop recorded three Peel sessions for John Peel (11 August 1987, 14 June 1988 and 21 January 1990). A collection of these sessions entitled Wolf Flow was released in 1992. Following the split Loop's official studio albums were re-released on their Reactor label. Their sound was influenced by Krautrock and No Wave influences and relied heavily on three chord riffs. Some of the records featured cover versions of Suicide, The Pop Group and Can tracks. The band played at the Reading Festival in 1989.

Hampson's MySpace pages referred to friendly pressure to again re-release the Loop albums and these were eventually released in November 2008 on the Reactor label.

In November 2014 a new line-up emerged; still led by Hampson (vocal, guitar), the band performed with Hugo Morgan (bass) and Maskell (drums) from The Heads as well as Dan Boyd (guitar). They played at the Garage (London) and in the Netherlands. Their set featured a new song, "Precession". They also announced they would be playing ATP Iceland 2015

In June 2018, the band played as part of Robert Smith's curation of the Meltdown festival.

Here's their first session for Peel – crank it up and get horizontal.



Mat Bastard – live at Trianon, Paris – May 2019 – RTL2 -” id=”27EsX7KTrvk” vid=”27EsX7KTrvk” id-for-player=”27EsX7KTrvk” link=”/listen/mat-bastard-live-in-paris-2019-past-daily-soundbooth-rock-without-borders-edition-27EsX7KTrvk/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Mat Bastard – Live In Paris – 2019 – Past Daily Soundbooth: Rock Without Borders Edition Mat Bastard – It is impossible to fall asleep, listening to his music. (photo Alex Pradervand).



Mat Bastard – live at Trianon, Paris – May 2019 – RTL2 –



First Aid Kit – Live at The Biggest Weekend, Belfast – May 26, 2018 – BBC 6 Music –

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First Aid Kit – in concert at The Biggest Weekend in Belfast and recorded by BBC 6 Music on May 26, 2018.
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First Aid Kit – Live In Belfast – 2018 – Past Daily Soundbooth The Sisters Sõderberg aka: First Aid Kit – Stockholm never sounded so good.



First Aid Kit – Live at The Biggest Weekend, Belfast – May 26, 2018 – BBC 6 Music –

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First Aid Kit – in concert at The Biggest Weekend in Belfast and recorded by BBC 6 Music on May 26, 2018.

Taking a minor detour from our French excursion this week with the Swedish duo First Aid Kit as they did a gig at the 2018 Biggest Weekend Festival in Belfast, Ireland.

Sisters Johanna and Klara Söderberg are from Enskede, in the outskirts of Stockholm. Johanna was born on 31 October 1990 and Klara on 8 January 1993. Their father was a member of the Swedish rock pop band Lolita Pop but he quit before Johanna was born and later became a teacher of history and religion. Their mother is a teacher of cinematography.

From childhood, Klara and Johanna were eager singers by giving concerts using a jump rope as a pretend microphone. Klara's first favorite songs were Judy Garland's songs from The Wizard of Oz and Billie Holiday's version of "Gloomy Sunday", which she sang without much understanding of the English lyrics. Klara wrote her first song "Femton mil i min Barbiebil" when she was six.

They both attended the International English school of Enskede. Klara applied for admission to a music school but she was not accepted.

In 2005 when Klara was 12, a friend introduced her to the band Bright Eyes. This led her to country music stars such as Johnny Cash, Bob Dylan, Leonard Cohen, Carter family, Louvin Brothers, Townes Van Zandt, Gram Parsons and Emmylou Harris. The same year she received a guitar of her own as a Christmas present and quickly learned to play it.

Johanna enjoyed a wide range of music from Britney Spears to German Techno. However, it wasn't until watching the film O Brother, Where Art Thou? and listening to the film's soundtrack that she was inspired to sing "Down in the River to Pray" with her sister, Klara. Fascinated by the result they started to sing together first at home and then as street singers, for example in the Stockholm metro and in front of liquor stores. Klara preemptively came up with the name for their band at age 13 by looking through a dictionary. She found the term "first aid kit" and thought it described best what she wanted her music to be.

Klara and Johanna also started to write and compose their own country-folk songs inspired by Devendra Banhart and CocoRosie, among others, without much influence from their parents who were more fond of Patti Smith, Velvet Underground and the Pixies. Their father confessed later in a Swedish radio program that he was astonished and actually a little jealous of the ease his daughters had in producing top-notch music. The most important advice their father gave to them was to sing so loud that even somebody behind the wall could hear it.

On 12 January 2018 BBC's Graham Norton Show was broadcast where First Aid Kit performed "It's a Shame". At the same time Johanna and Klara were interviewed on the Norwegian-Swedish Skavlan TV show where they also performed "Fireworks".

The new album Ruins was released on 19 January 2018. A gold record was awarded in Sweden in August and silver record in UK in November. The release was followed by several tours in Canada, the US, Europe and Australia. They performed at Coachella on 14 and 21 April 2018. They had their first arena concerts in UK in November and had arena size concert tour in Scandinavia starting in January 2019. During touring they performed in several radio and TV programs such as The Ellen DeGeneres Show, The Andrew Marr Show, Jimmy Kimmel Live! and The Late Show with Stephen Colbert.

On 8 June Columbia released an EP Live from the Rebel Hearts Club in digital format that contains live versions of five songs from the Ruins album in addition to a live version of You are the problem here. On 11 July Spotify released a stripped-down version of "Fireworks" and a cover of Kate Bush's song "Running Up That Hill" as singles that were recorded in the new Spotify studio in Stockholm. On 14 September vinyl EP Tender Offerings was released containing four previously unreleased tracks. It went number one in UK vinyl charts.

First Aid Kit sings backing vocals on several 2018 releases: on Alela Diane's song Ether & Wood on her album Cusp, on George Ezra's song Saviour on his album Staying at Tamara's and on Little Jinder's song Goldwing on her album Hejdå.

UK Americana Awards 2019 nominated Ruins for International Album of the Year award in November and in Sweden they got Grammy award nominations for the song of the year and alternative pop of the year in December. In January 2019 they got again nomination for the International Group Brit Award.

So now you're all caught up. Hit the play button, sit back and enjoy. Back to Paris tomorrow.






Jail Weddings for Saturday night. Not that they’re a "best kept secret", but are considered to be one of the best bands on the current Los Angeles Music scene, and have been for a few years now. That’s L.A., and probab” id=”6c3FQfZiJ1J” vid=”6c3FQfZiJ1J” id-for-player=”6c3FQfZiJ1J” link=”/listen/jail-weddings-2019-past-daily-nights-at-the-round-table-6c3FQfZiJ1J/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Jail Weddings – 2019 – Past Daily Nights At The Round Table Jail Weddings – A tarnished romantics guide to breathless agitation.






Jail Weddings for Saturday night. Not that they're a "best kept secret", but are considered to be one of the best bands on the current Los Angeles Music scene, and have been for a few years now. That's L.A., and probably the West Coast – but I am not so sure they are a recognized name in London or Bristol or Paris. Pity, because I think the other side of the Atlantic would enjoy them as much as we do.

Truths to tell – I spend a lot of time playing and promoting bands and artists from overseas – some well known and some not known over here at all. But all with that spark, that essence which makes them stand out from the sea of musical faces we're often confronted with. Jail Weddings are one of those bands, only they are local, homegrown and from L.A.. So it's only fitting that you should know about them if you already don't.

Face it, if you know about Jail Weddings, you're a fan and I don't need to convince you. But it's that bunch of people in the hinterlands – in Madrid and Amsterdam and Vienna who might not be familiar with the musical goings on in L.A. – there's a scene here – and maybe it gets lost in the shuffle at times and the city is in a state of flux over venues – but there's a lot going on, and much of it is worth your closer inspection, starting here.

Jail Weddings have been around for a little over a decade now – with personnel changes here and there, but always with Founder/Singer/Writer/Guiding Light Gabriel Hart shepherding things along. Variously labeled at times Death Doo-Wop (a sub-genre for sure) with dashes Apocalyptic Folk and a veritable soupçon of styles and influences, Hart is taking the band in a sort of free-for-all direction. And the results are putting Wilted Eden, their 3rd album, several cuts above what's currently going on.

Much of the credit goes to Hart who is not a passive or disinterested singer – he has a knack for dragging lyrics out, kicking and screaming, so each song is a guided tour through those gaping holes and crevasses of the human experience; warts, jewels and all. His is a performance you do not take-or-leave. This is a band you listen to, not at – and that's refreshing. No. It's necessary.

So what we've got tonight is a track from Wilted Eden (which you can get on Bandcamp as either a download, lp or CD – click on the link and go there). They are scheduled to play The Satellite here in L.A. on September 24th. Beyond that, I don't know.

This is a band that needs to break out of this burg and do it on the road – take the message to a bigger audience – judging from the merits of Wilted Eden, that's a very strong possibility. BTW – the production is top-notch and the landscape is lush.

Fingers crossed – hit the play button and crank this one up.

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Tears For Fears – In Concert – Public Hall, Cleveland, Ohio – February 12, 1990 –




Tears For Fears in concert from Cleveland, recorded on February 12, 1990. Tears for Fears formed in Bath, England in 1981 by Roland O” id=”813CeFeTbf2″ vid=”813CeFeTbf2″ id-for-player=”813CeFeTbf2″ link=”/listen/tears-for-fears-in-concert-from-cleveland-1990-past-daily-soundbooth-813CeFeTbf2/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Tears For Fears – In Concert From Cleveland – 1990 – Past Daily Soundbooth Tears For Fears – Curt And Roland – Anthems for the 80s and beyond.



Tears For Fears – In Concert – Public Hall, Cleveland, Ohio – February 12, 1990 –




Tears For Fears in concert from Cleveland, recorded on February 12, 1990. Tears for Fears formed in Bath, England in 1981 by Roland Orzabal and Curt Smith. Founded after the dissolution of their first band, the mod-influenced Graduate, Tears for Fears were initially associated with the new wave synthesiser bands of the early 1980s. Later, the band branched out into mainstream rock and pop and attained international chart success. Tears for Fears were part of the MTV-driven Second British Invasion of the US.

The band's debut album, The Hurting (1983), reached number one on the UK Albums Chart. Their second album, Songs from the Big Chair (1985), reached number one on the US Billboard 200, achieving multi-platinum status in both the UK and the US. Songs from the Big Chair contained two Billboard Hot 100 number one hits: "Shout" and "Everybody Wants to Rule the World"'. The latter song won the Brit Award for Best British Single in 1986.

It was 1989 before the group released their third album, The Seeds of Love at a reported production cost of over a million pounds. The album was written largely by Orzabal along with keyboardist Nicky Holland, who had toured with the band on their "Big Chair" world tour in 1985. Moving from various studios and using various sets of producers over many months, the band ultimately decided to scrap the recordings and take the reins themselves with assistance from engineer Dave Bascombe. Much of the material was recorded in jam sessions and later edited down. The length of the production impacted on the band's management company, who had financially over-extended themselves in other business matters and were hoping for an earlier release date to pay off their debts.

The album retained the band's epic sound while showing increasing influences ranging from jazz and blues to the Beatles, the latter being evident on the hit single "Sowing the Seeds of Love" (the first record ever played on the Irish-based longwave radio station Atlantic 252). The second single from the album was "Woman in Chains" (a top 40 hit in the UK, Canada, France, Ireland, Italy, Netherlands, Sweden and the US), on which Phil Collins played drums and Oleta Adams—whom Orzabal would later guide to a successful solo career—shared vocals.

The album was a worldwide success, entering the UK Albums Chart at no. 1, making the top 10 in the US and in numerous other countries, eventually going on to sell millions of copies internationally. The band set out on an extensive "Seeds of Love" world tour sponsored by Philips to start recovering the debt incurred. The band's show in Santa Barbara, California, in May 1990 would be captured on the Going to California live video as the singles "Advice for the Young at Heart" and "Famous Last Words" delivered modest chart success.

A 64-page companion book, simply titled Tears for Fears – The Seeds of Love, was released by Virgin Books in 1990 and offered extensive insight from Orzabal, Holland and Adams into the songwriting and production process for the album, as well as the musical scores for each track and rare promotional photographs from the era.

This concert comes from the Seeds Of Love period in 1990. Curt and Roland would split in 1991, and reform in 2000, and have been together ever since. If you missed them during this middle period, here's a chance to check out what they were doing at the time. It was a departure from their earlier work, but they've never lost that ability to offer compelling and well-crafted material. Still do.

Enjoy.

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Blossoms – live at BBC 6 Music Festival, Bristol – Feb. 11, 2016 – BBC 6 Music –

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An extended excerpt of a concert by Blossoms during the 2016 BBC 6 Music Festival in Bristol tonight. Blossoms are an English i” id=”7Go2vY1zePx” vid=”7Go2vY1zePx” id-for-player=”7Go2vY1zePx” link=”/listen/blossoms-live-at-bbc-6-music-festival-bristol-2016-past-daily-soundbooth-7Go2vY1zePx/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Blossoms – Live At BBC 6 Music Festival, Bristol – 2016 – Past Daily Soundbooth Blossoms – Initially pigeonholed as Psych-Pop, but . . . .




Blossoms – live at BBC 6 Music Festival, Bristol – Feb. 11, 2016 – BBC 6 Music –

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An extended excerpt of a concert by Blossoms during the 2016 BBC 6 Music Festival in Bristol tonight. Blossoms are an English indie pop band from Stockport, Greater Manchester. Formed in 2013, the band consists of Tom Ogden (lead vocals, guitars), Charlie Salt (bass, backing vocals), Josh Dewhurst (lead guitars, percussion), Joe Donovan (drums) and Myles Kellock (keyboards, synthesizer, backing vocals).

They were on the BBC's Sound Of new music list for 2016 where they finished in fourth place (and of course, this appearance in Bristol in February of that year). It was commented by the band and several other people that they were one of only two guitar bands on the list, alongside Rat Boy. Blossoms' self-titled debut album was one of the twelve albums nominated for the Mercury Music Prize in 2017.

Recording thier debut album begin in September 2015. On 4 October Blossoms announced that their next single would be "Charlemagne" and released the song on iTunes and Spotify on 5 October. On 30 October the Charlemagne EP was released featuring three other songs ("Across the Moor", "For Evelyn" and "Polka Dot Bones"). "Charlemagne" went on to commercial success and became BBC Radio 1's track of the day and featured on Spotify's 'Spotlight on 2016' list. The commercial success extended through to December where Charlemagne topped the Christmas vinyl chart.

On 5 January Blossoms announced their At Most a Kiss EP and released the song, with the video following. Whilst doing promotion for the EP Blossoms played the Radio 1 Live Lounge, covering WSTRN's "In2". They announced on 22 January that recording for their debut album was complete. While on their third headline tour Blossoms had support from Viola Beach, who were killed mid-tour in a car crash with their manager on 13 February. Blossoms played a recorded set from a Royal Leamington Spa performance for the remaining tour dates in the slot that Viola Beach would have otherwise played in.

The At Most a Kiss EP was released on 23 February. On 12 April Annie Mac played their song "Getaway" for the first time on BBC Radio 1 before a midnight release of the single on iTunes and Spotify. In May it was announced that Blossoms would play their biggest show to date and support the Stone Roses at Etihad Stadium on 15 June after Ian Brown became a fan of the band. Once again Blossoms are playing a summer of festivals, being clocked up to 41 festivals by Dewhurst. Blossoms' eponymous debut album was released on 5 August with "My Favourite Room" and "Honey Sweet" being released to pre-orders early as singles. It was met with mostly favourable reviews and peaked at the top of the UK Albums Chart in its first week, giving Blossoms their first number-one album. Blossoms featured on the August cover of NME magazine. An autumn tour to support the album release also sold out including a performance at Stockport’s Plaza Theatre at midnight on the day of the albums release.

Cool Like You was their second studio album. It was released in the United Kingdom on 27 April 2018, by Virgin EMI Records. The album was produced by James Skelly and Rich Turvey. It peaked at number 4 on the UK Albums Chart, and at number 1 on the Official Vinyl Albums Chart. Subsequently after this, the band followed up the album’s release with a UK tour which was completely sold out, including a night at the O2 Apollo in Manchester and three shows at Stockport Plaza. After playing some festivals in the summer, Blossoms announced another UK tour for December, including two nights at Manchester’s O2 Victoria Warehouse and the O2 Brixton Academy in London. The entire tour sold out within minutes on the day tickets went on sale.

Hit the play button and travel back to 2016, cranking it up while you're doing it.




Two Door Cinema Club – Live in Paris – September 12, 2012 – Radio France International –

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Two Door Cinema Club tonight. Recorded in Paris on September 12, 2012 and preserved for posterity by Radio France. For those who don’t alr” id=”7uixmmdAMkW” vid=”7uixmmdAMkW” id-for-player=”7uixmmdAMkW” link=”/listen/two-door-cinema-club-live-in-paris-2012-past-daily-soundbooth-7uixmmdAMkW/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Two Door Cinema Club – Live In Paris – 2012 – Past Daily Soundbooth Two Door Cinema Club – admirable risks.




Two Door Cinema Club – Live in Paris – September 12, 2012 – Radio France International –

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Two Door Cinema Club tonight. Recorded in Paris on September 12, 2012 and preserved for posterity by Radio France. For those who don't already know: Two Door Cinema Club are an Irish indie rock band from Bangor and Donaghadee, County Down. The band formed in 2007 and is composed of three members: Alex Trimble (vocals, rhythm guitar, beats, synths), Sam Halliday (lead guitar, backing vocals), and Kevin Baird (bass, synths, backing vocals).

The band's debut album, Tourist History, was released on 1 March 2010 by French independent record label Kitsuné Music. In the United States, where the band are signed to Glassnote Records, the album was released on 27 April 2010. Tourist History was selected for the Choice Music Prize for Irish Album of the Year (2010) the following year.

The band's second album Beacon was released on 3 September 2012, debuted at number one on the Irish Albums Chart and reached number two in the UK Albums Chart.

The band's third album Gameshow was released on 14 October 2016. The first single, "Are We Ready? (Wreck)" was released on 14 June 2016 and was debuted on Annie Mac's Hottest Record on BBC Radio 1. Two more singles, 'Bad Decisions' and the title track 'Gameshow' were released prior to the album and are also included on the track list.

On 24 April 2019, the band released "Satellite" and announced the new album, False Alarm.

Reaction to the band over the years has ranged from overzealous to non-plussed. They have a large and loyal fan base – their journalistic counterparts, not so much. Despite being decried in some circles as an "anonymous band", they have been consistently popular and have achieved hit status over a span of several years. Goes to show you that the Press aren't right all the time.

For some idea what they were up to reasonably early on, here is a gig they performed in Paris in September 2012.



Róisin Murphy – live at BBC 6 Music Festival, Bristol – February 12, 2016 – BBC 6 Music –

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Róisín Marie Murphy (born 5 July 1973) is an Irish singer-songwriter and record producer. Sh” id=”Ax6eCre9pJb” vid=”Ax6eCre9pJb” id-for-player=”Ax6eCre9pJb” link=”/listen/roisin-murphy-live-in-bristol-2016-past-daily-soundbooth-Ax6eCre9pJb/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Róisin Murphy – Live In Bristol 2016 – Past Daily Soundbooth – Róisin Murphy – relevant and with traction in the modern world. (photo: Niall O'Kelly)



Róisin Murphy – live at BBC 6 Music Festival, Bristol – February 12, 2016 – BBC 6 Music –

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Róisín Marie Murphy (born 5 July 1973) is an Irish singer-songwriter and record producer. She first became known in the 1990s as one-half of the UK-Irish trip hop duo Moloko with her partner Mark Brydon. After the breakup of Moloko, Murphy embarked on a solo career, releasing her debut solo album, Ruby Blue, written and produced with experimental musician Matthew Herbert, to critical praise in 2005. Her second solo album, Overpowered, was released in 2007.

After an eight-year hiatus (which nonetheless included several singles, vocal features, and side projects), her third album Hairless Toys was released in 2015; it was subsequently nominated for the Mercury Music Prize and Ireland's Choice Music Prize. The following year, she released her fourth album Take Her Up to Monto (2016). Throughout her career, she has received critical praise for her idiosyncratic music, fashion, and performance sensibilities.

In May 2014, Murphy released a six-track EP in the Italian language titled Mi Senti, featuring a new composition and previous Italian pop hits.Her third studio album, titled Hairless Toys, followed a year later, to positive reviews.

Regarding the album, Murphy wrote:
There was a desire to make an unquestionably refined record. It's multi layered, electronic and live instrumentation, musically it goes to places most pop music never does. It's emotionally bare and laced with irony. I definitely didn't set out to make something unique per-se but it really is like nothing you've ever heard before. So it's impossible to describe except to say… it's heartfelt.
A new album, titled Take Her Up to Monto, was released on 8 July 2016. It was recorded during the same sessions as Murphy's 2015 album Hairless Toys, and included long-time collaborator and producer Eddie Stevens. The title is derived from an Irish folk song of the same name, popularized by The Dubliners in the 1960s, which Murphy's father sang to her as a child. It was followed by a number of European festival dates and a number of North American shows.

Through 2018, a series of four 12-inch discs were released on The Vinyl Factory. Consisting of eight original songs in total, they were produced by Maurice Fulton in a House style. Each clock in at around 6 minutes, and all the A-sides were made into videos directed by Murphy herself.

Back to 2016 with this live set from the BBC 6 Music Festival in Bristol – recorded live on February 12, 2016 by BBC 6 Music.



Stella Donnelly -Live At Fuji Festival 2019 – Recorded July 27, 2019 – NHK-FM

New faces by way of Australian singer-songwriter Stella Donnelly, whose debut album came out in March of this year and has been getting widely positive reactio” id=”3O8EUBYktWX” vid=”3O8EUBYktWX” id-for-player=”3O8EUBYktWX” link=”/listen/stella-donnelly-live-at-fuji-festival-2019-past-daily-soundbooth-festival-edition-3O8EUBYktWX/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Stella Donnelly – Live At Fuji Festival 2019 – Past Daily Soundbooth: Festival Edition Stella Donnelly – a feast of biting wit and honesty.



Stella Donnelly -Live At Fuji Festival 2019 – Recorded July 27, 2019 – NHK-FM

New faces by way of Australian singer-songwriter Stella Donnelly, whose debut album came out in March of this year and has been getting widely positive reactions all over the world.

Recorded literally hours ago, Donnelly and her band deliver an enchanting and clear-headed set to an appreciative and very receptive Japanese audience, making for a heartfelt energy exchange between artist and audience.

A little background on the artist via her webpage to help get you up to speed:
Stella Donnelly was raised between Morriston, Swansea in Wales and the burbs of Quinns Rocks, Western Australia. Donnelly got her start singing Green day songs in her Aussie high school rock band, eventually turning her interest to jazz and contemporary as an adult studying at the West Australian Academy of Performing Arts.

At the beginning of 2017, Donnelly released her debut EP ‘Thrush Metal’ and was met with critical acclaim. The five-track release was written over the space of two years; a musical undertaking resulting in a bold and unapologetic repertoire of songs which has forged Donnelly to the forefront of the new guard of Australian songwriters.

The second half of 2017 saw Donnelly receive invitations to perform at world-renowned music showcases in 2018; the UK’s The Great Escape and Austin’s SXSW. In November, Donnelly travelled to London to perform sold-out shows as part of The Great Escape’s ‘First 50’.

Back on home soil, Donnelly won the inaugural Levi’s Music Prize, as the ‘most outstanding talent’ at Brisbane’s Bigsound conference, a swathe of Western Australian Music Industry Awards, including Best EP, Best Folk Act, Best Single, Best Female Vocalist and Most Popular New Act. This was quickly followed by Australian national youth radio station Triple J awarding Donnelly the ‘Unearthed Artist of the Year’s award.

Donnelly’s brutally honest and witty observations of people and relationships are transformed into blissful poems and lyrical punch lines on her standout debut EP ‘Thrush Metal’. Donnelly’s relatable way of writing is her lens to the world in which we live, a glimpse into what it’s like to be a millennial woman in the age of Trump, Tinder and third wave feminism.
All that's left for you to do is hit the play button, sit back and relax.

Good times.




PJ Harvey – in concert at Les Nuits de Fourviére, Lyon France – June 14, 2016 – Radio France International –

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PJ Harvey tonight. In concert at Les Nuits de Fourviére in Lyon France and recorded on Ju” id=”5uvQff62Foy” vid=”5uvQff62Foy” id-for-player=”5uvQff62Foy” link=”/listen/pj-harvey-live-in-lyon-2016-past-daily-soundbooth-5uvQff62Foy/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
PJ Harvey – Live In Lyon -2016 – Past Daily Soundbooth PJ Harvey – Face of the 90s Rock Zeitgeist (photo: Kevin Westenberg)




PJ Harvey – in concert at Les Nuits de Fourviére, Lyon France – June 14, 2016 – Radio France International –

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PJ Harvey tonight. In concert at Les Nuits de Fourviére in Lyon France and recorded on June 14, 2016. An artist of unquestioned brilliance who is also strangely underrated in the eyes of the mainstream, at least in the U.S. (well . . .no great loss) – but considered to be an artist's artist by many who regard her work as uncompromising, urgent, vital and compelling.

Polly Jean Harvey began her career in 1988 when she joined local band Automatic Dlamini as a vocalist, guitarist and saxophone player. The band's frontman, John Parish, would become her long-term collaborator. In 1991, she formed an eponymous trio and subsequently began her professional career. The trio released two studio albums, Dry (1992) and Rid of Me (1993) before disbanding, after which Harvey continued as a solo artist. Since 1995, she has released a further nine studio albums with collaborations from various musicians including John Parish, former bandmate Rob Ellis, Mick Harvey and Eric Drew Feldman and has also worked extensively with record producer Flood.

Among the accolades she has received are the 2001 and 2011 Mercury Prize for Stories from the City, Stories from the Sea (2000) and Let England Shake (2011), respectively—the only artist to have been awarded the prize twice—eight Brit Award nominations, seven Grammy Award nominations and two further Mercury Prize nominations. Rolling Stone awarded her 1992's Best New Artist and Best Singer Songwriter and 1995's Artist of the Year, and listed Rid of Me, To Bring You My Love (1995) and Stories from the City, Stories from the Sea on its 500 Greatest Albums of All Time list. In 2011, she was awarded for Outstanding Contribution To Music at the NME Awards. In June 2013, she was awarded an MBE for services to music.

In the odd event you haven't heard of her, I would suggest you stop reading this, hit the play button, and dive in for the next 90 minutes. You might come back a different person.

In which case, I told you.




The Sugarcubes In Session for John Peel – December 9, 1987 – BBC Radio 1 –









The Sugarcubes tonight. Fronted by the inimitable Björk and only together for” id=”1rvaRAfLiZO” vid=”1rvaRAfLiZO” id-for-player=”1rvaRAfLiZO” link=”/listen/the-sugarcubes-in-session-1987-past-daily-soundbooth-1rvaRAfLiZO/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
The Sugarcubes In Session – 1987 – Past Daily Soundbooth The Sugarcubes – variously described as The Coolest Band In The World (thus said Rolling Stone) – Photo: Mark McNulty.




The Sugarcubes In Session for John Peel – December 9, 1987 – BBC Radio 1 –









The Sugarcubes tonight. Fronted by the inimitable Björk and only together for a relatively short period of time (1986-1992), they managed to make an indelible impression on the Indie/Alternative scene, prompting such mainstream stalwart publications like Rolling Stone to proclaim them "the coolest band in the world".

The Sugarcubes were the biggest group ever to emerge from Iceland, which helps explain their off-kilter sense of melody. Their 1988 debut Life's Too Good attracted terrific reviews and became a college radio hit, but they never were able to recapture that sense of excitement.

According to group legend, the Sugarcubes formed on June 8, 1986, the day that vocalist Björk gave birth to her son. Prior to that day, the members of the group had been a variety of Icelandic bands. Björk had the longest career out of any of the members. By 1984, Björk, Einar Örn Benediktsson and Siggi Baldursson had joined forces, forming Kukl with keyboardist Einar Melax. KUKL — which means witchcraft in Icelandic — was an noisy, artsy post-punk band that released 2 albums on the independent British record label Crass. In 1986, KUKL evolved into the Sugarcubes, adding Björk's then-husband Thor Eldon on guitar and Bragi Ólafsson on bass.

In late 1987, the band signed to One Little Indian in the U.K., Elektra Records in the U.S.

The band received critical and popular acclaim internationally. Their debut studio album, Life's Too Good, was released in April 1988 to unexpected international success. It is credited as the first Icelandic album to have a worldwide impact and is considered a definite influence on all subsequent Icelandic popular music. It spawned the band's signature hit "Birthday". Their follow-up album, Here Today, Tomorrow Next Week!, was released in September 1989 to lukewarm reviews from some critics and fans. Their third and final album, Stick Around for Joy, released in February 1992, was more well received by both fans and critics and had two successful singles: "Hit" and "Leash Called Love." The Sugarcubes have been regarded as "the biggest rock band to emerge from Iceland."

For a taste of what they were like in 1987, here is that session, recorded for John Peel in December of that year.

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Suarez – 29:09:00 – Issued in 2000 – FAN Records, Argentina –

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Suarez for Saturday night. 29:09:00 is their last ep before splitting up. Suarez consisted of Diego Fosser on drums, Fabio Suárez on bass, Gonzalo Córdoba,” id=”4b2OfpshDgm” vid=”4b2OfpshDgm” id-for-player=”4b2OfpshDgm” link=”/listen/suarez-290900-2000-past-daily-nights-at-the-round-table-rock-without-borders-edition-4b2OfpshDgm/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Suarez – 29:09:00 – 2000 – Past Daily Nights At The Round Table – Rock Without Borders Edition Rosario Blefari of Suarez – deceptively hypnotic.




Suarez – 29:09:00 – Issued in 2000 – FAN Records, Argentina –

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Suarez for Saturday night. 29:09:00 is their last ep before splitting up. Suarez consisted of Diego Fosser on drums, Fabio Suárez on bass, Gonzalo Córdoba, Marcelo Zanelli (on guitars) and Rosario Bléfari on vocals. Together from 1988-2001, they released some five albums and this ep, before calling it quits – at least for the next 14 years.

I ran several pieces by Suarez on Past Daily before, mostly from 2012. Listening back to their catalog, it struck me as perplexing that this band's popularity didn't extend too much past Argentina and that they were one of the most original and engaging bands working in South America at the time. This, during a period where a lot of interesting music was happening to the south of us, but we had no (or very little) idea what was going on. Argentina, along with Chile, Brazil and several other counties in region have been very forward thinking and productive, and their music is distinctive and does not fit in with mainstream music or even a stereotype conception of what music from South America is supposed to sound like or what it's supposed to accomplish. In short, I love this band and have since the second I first heard them on MySpace, a whole lotta years ago.

Rosario Blefari, who was lead singer and co-founder of the band has a deceptively simple voice; it appears to be light and innocent and almost pop on its surface. But that belies the breathtaking hypnotic quality she injects into the music of Suarez. You are lulled into thinking you're going to hear one thing, and leave knowing you've experienced something completely different.

Fortunately, since 2015 the band have been staging reunions at various times. First, with no intention of going past a single reunion, but later reconsidering it as audience reception has been overwhelmingly positive as has press reaction. Rumors of new material and tours have been in the works the past couple of years.

My big wish for them is to make the trek north, or even head over to Europe for a few concerts. I think there is an audience for this band that extends way past their borders.

I think it's a moot point, but I always bring it up where bands from other countries are concerned. Singing English for many bands is not a consideration – some do and some don't. But there has always been a certain reluctance to listen to a band or an artist that doesn't sing in English and it's been that way for decades. I can't tell you how much you short-change yourself when you put those sorts of restrictions that predicate a willingness to listen to a band from another country you're not familiar with. Music is, and always will be the universal communicator; it is heard, felt and understood whether you speak the language or not, and your willingness to go along for the ride to see where it goes is crucial – no, it's imperative. And so I urge you to keep an open mind and let the music do the talking.

K?

Hit the play button and enjoy.





Sebadoh – in concert – Reading Festival 1996 – recorded August 23, 1996 – BBC Radio 1 –

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Sebadoh in concert at Reading Festival 1996. Recorded for BBC Radio 1 and John Peel on August 23, 1996. A taste of American Indie-Lo-Fi tonight.

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Sebadoh – Live At Reading 1996 – Past Daily Soundbooth Sebadoh – Pioneers of Lo-Fi.





Sebadoh – in concert – Reading Festival 1996 – recorded August 23, 1996 – BBC Radio 1 –

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Sebadoh in concert at Reading Festival 1996. Recorded for BBC Radio 1 and John Peel on August 23, 1996. A taste of American Indie-Lo-Fi tonight.

Sebadoh formed in 1988 in Northampton, Massachusetts, by Eric Gaffney and Dinosaur Jr. bass player Lou Barlow. Along with such bands as Pavement and Guided by Voices, Sebadoh helped pioneer lo-fi music, a style of indie rock characterized by low-fidelity recording techniques, often on four-track machines. The band's early output, such as The Freed Man and Weed Forestin' (both released 1990), as well as Sebadoh III (1991), was typical of this style. Following the release of Bubble Scrape in 1993, Gaffney left the band. His replacement, Bob Fay, appeared on Bakesale (1994), but was fired before the sessions for the band's major label release The Sebadoh (1999).

The band then went on a 14-year recording hiatus, during which time members pursued other projects while occasionally touring as Sebadoh. The group, fronted by singer Lou Barlow, returned in 2013 with the Secret EP and a full-length album titled Defend Yourself, which were both self-recorded.

Lou Barlow was the bass player for alternative rock band Dinosaur Jr. in the late 1980s. While both Barlow and leader J Mascis wrote songs, Mascis' material dominated the group's output because Barlow was intimidated by the guitarist's songwriting efforts. Barlow spent progressively more time recording his own songs at home. Barlow and Eric Gaffney released the Weed Forestin' cassette in 1987 on Homestead Records under the name Sebadoh, which was a nonsense word Barlow often muttered in his recordings. Both Barlow and Gaffney contributed songs to The Freed Man (1988) cassette. Homestead Records head Gerard Cosloy heard the cassette release of The Freed Man and released it as a full-length album on Homestead in 1989. Soon after the cassette's release Barlow was kicked out of Dinosaur Jr. Over time Sebadoh's releases became a way for Barlow to address the issues of control that manifested as the tension in and his ejection from Dinosaur Jr; Barlow said "I got a lot of hatred out just by writing those songs." Jason Loewenstein joined in summer 1989, the first release that he played on being the "Gimme Indie Rock" single in 1991. Only ten 'band' shows were performed throughout Western Massachusetts, Boston, and New York over the period 1989-1990 before the third album Sebadoh III was released.

After touring with Firehose in 1991, they signed to Sub Pop (Domino in the UK and City Slang in Germany) in 1992, and released the two EPs Rocking the Forest and Sebadoh vs. Helmet released just two months apart. These EPs had their track listings truncated and shuffled around and made into the American full-length release Smash Your Head on the Punk Rock. Their fourth album Bubble Scrape was released in April 1993. The same year, the band's "Soul and Fire" EP humorously described the band's musical goal as "driving dozens of college-age lemmings off the cliff of limited imagination."

Following Bubble Scrape (1993) Gaffney left the band. His replacement, Bob Fay, appeared on Bakesale (1994) and the follow-up Harmacy in 1996. Fay was fired before the sessions for The Sebadoh (1999) and replaced by Russ Pollard, a friend of Loewenstein's from Louisville. The band went on a tour to promote this album, including a stop in Toronto in March. The band then went on hiatus, with Barlow concentrating on his other project, the Folk Implosion, and Loewenstein working on material for his debut solo album At Sixes and Sevens, released in 2002. The two reunited to play concerts in late 2003 and early 2004.

So 33 years on and they're still together. But as a reminder of what they were up to at Reading in 1996 – hit the play button, crank it up and you'll find out.



Dweeb – Live At Reading Festival 1996 – August 24, 1996 – John Peel – BBC Radio 1 –

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Dweeb, live at Reading Festival 1996 and captured for posterity by BBC Radio 1 and John Peel.

Lo-fi indie band Dweeb, formed in” id=”5IV0KcMSE0I” vid=”5IV0KcMSE0I” id-for-player=”5IV0KcMSE0I” link=”/listen/dweeb-live-at-reading-festival-1996-past-daily-sounbooth-5IV0KcMSE0I/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Dweeb – Live At Reading Festival 1996 – Past Daily Sounbooth Dweeb – Turbo-charged, lo-fi – and sadly, short-lived.



Dweeb – Live At Reading Festival 1996 – August 24, 1996 – John Peel – BBC Radio 1 –

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Dweeb, live at Reading Festival 1996 and captured for posterity by BBC Radio 1 and John Peel.

Lo-fi indie band Dweeb, formed in Watford, Hertfordshire, England, launched their career with three singles for acclaimed independent labels – Fierce Panda, Che and Damaged Goods. Afterwards, they surprised many by signing to a major, WEA Records, through their Blanco y Negro affiliate. The group, which comprises leader Kris Dweeb, his sister Lara and the similarly surnameless John Dweeb, formed after seeing a London gig by teenage lo-fi band Bis. They came to the attention of Blanco y Negro managing director Geoff Travis (formerly of Rough Trade Records) after he heard the demo that won them appearances on BBC Radio 1’s Evening Session and the John Peel show. Their first two singles for Blanco, ‘Scooby Doo’ and ‘Oh Yeah, Baby’, highlighted the group’s energetic pop style, with guitars allied to electronic elements, including samples, drum machines and tape loops. Surprisingly, their debut album was recorded with Pete Woodroffe, best known for his work with Def Leppard and (more in keeping with the group’s sound) Tiger.

Sadly, the band split in 1999 and have been largely overlooked ever since, and probably overshadowed by another band named Dweeb, who got started in 2002. No relation of any sort, even though some mentions on some sites confuse the two bands, there is no getting around it, Dweeb of the 90s were turbo-charged and certainly had all the earmarks of a successful band. Even John Peel was a fan and is heard at the end of their show back-announcing.

But like all short-lived bands, all the potential, all the right moves, but something didn't click, whether it was the label or the audience, it's always hard to tell.

At any rate, you might want to crank this one up and have a listen. I suspect they may not be familiar to many.



Rubella Ballet – in session for John Peel – Recorded May 29, 1982 – Broadcast July 6 – BBC Radio 1 –

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Rubella Ballet in session for John Peel to end the week. Recorded on M” id=”3eL9zisLtDx” vid=”3eL9zisLtDx” id-for-player=”3eL9zisLtDx” link=”/listen/rubella-ballet-in-session-1982-past-daily-soundbooth-3eL9zisLtDx/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Rubella Ballet – In Session 1982 – Past Daily Soundbooth Zillah Minx and Sid Truelove of Rubella Ballet – A little bit of Goth Anarchy never hurt anybody.



Rubella Ballet – in session for John Peel – Recorded May 29, 1982 – Broadcast July 6 – BBC Radio 1 –

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Rubella Ballet in session for John Peel to end the week. Recorded on May 29, 1982 and broadcast July 6th, it was their first of two sessions done for Peel.

Rubella Ballet is a gothic anarcho-punk band formed in Summer 1979, who released several albums before splitting up in 1991. They reformed in 2000.

The band was formed by drummer Sid Truelove (born 18 April 1960, Sutton Coldfield, a former chef and later also the drummer with Flux of Pink Indians), together with former Fatal Microbes Pete Fender (Dan Sansom, guitar), Gem Stone (Gemma Sansom, bass) and It (Quentin North, also bass), with vocalists Annie Anxiety and Womble. Their first gig was at the Triad Leisure Centre in Bishops Stortford on 5 August 1979, where they crashed the bar to play at a Crass/Poison Girls/Epileptics gig that was happening in the main hall. Several other gigs followed throughout the summer of 1979, until Annie, Womble and It left, to be replaced by vocalist Zillah Minx (born Zillah Elaine Ashworth, 31 March 1961, Birkenhead) towards the end of the year.

Zillah's first performance was when they took to the stage at the end of a Crass/Poison Girls concert at Conway Hall, Holborn. The new band's first proper gig was a fundraiser for the Theatre Royal in Stratford on 28 October 1979 supporting Poison Girls, which ended in a riot due to an invasion mid-way through Poison Girls' set by the local contingent of the British Movement, during which several members of Poison Girls were injured. Rubella Ballet had agreed to be interviewed by Mike Diboll for Toxic Grafity fanzine after their performance and thus escaped the attack, although the stage had already been partially invaded during their set. Following this the band played frequently around the UK, often asking audience members to put them up after gigs.

Pete Fender left early in 1980 to pursue a solo project, the Four Formulas EP, produced by Richard Famous for XNTRIX Records. He was replaced by former Flux of Pink Indians guitarist Andy Smith, and synth player Eugene. The new line-up were soon known for wearing brightly coloured dayglo clothes on stage, to differentiate themselves from the anarcho-punk bands who tended to wear black, 'army-surplus' style clothing, and it was this line-up which featured on the Ballet Bag cassette album at the end of 1981.

Pete Fender rejoined the band at the beginning of 1982 to record and promote the Ballet Dance EP and the first of two John Peel sessions for the BBC, leaving at the beginning of the following year to join Omega Tribe as a full-time member, having been their early mentor and record producer.

To get an idea of what their first session for John Peel sounded like, click on the Play button and crank it up.



Kaiser Chiefs – live at Bilbao BBK Festival – July 8, 2011 – RNE – Radio 3 –

‘Scuse the badgering but . . .




Kaiser Chiefs, recorded at Bilbao BBK Festival on July 8, 2011 by Radio Nacional España – Radio 3.

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Kaiser Chiefs – Live At BBK Bilbao Festival -2011 – Past Daily Soundbooth Ricky Wilson of Kaiser Chiefs – laid back, he ain't.



Kaiser Chiefs – live at Bilbao BBK Festival – July 8, 2011 – RNE – Radio 3 –

'Scuse the badgering but . . .




Kaiser Chiefs, recorded at Bilbao BBK Festival on July 8, 2011 by Radio Nacional España – Radio 3.

Now – first off, this concert is quite good – but – this concert is also marred by some really over-chatty announcers who gush non-stop, over intros, between song patter and song endings. It is also a little over half-hour of what was surely a much longer set.

Much as I love concerts from the European festivals, just about every broadcasting entity can't get their announcers to shut up long enough to let the show just take place. I know why they do it, for the most part – so the unscrupulous in the audience won't be tempted to sell this thing on the bootleg market, for one thing. The other, I imagine, is so other broadcasters won't hijack bits of it for their own programs without giving proper credit (i.e. licensing fee) to the originating network.

Whatever the reason is, the end result is frustrating in the midst of a very good show, and you find yourself tempted to yell at your speakers just to make them stop.

That said – what you do get to hear is pretty sensational and it's plainly obvious why Kaiser Chiefs are one of the more popular Indie groups the last few years.

A little background on the band right around the time of this concert:
Following a hiatus, Kaiser Chiefs announced that they expected to release their fourth studio album in mid-2011. The album was recorded over a period of eighteen months at various locations including drummer Nick Hodgson's self-built east-London studio. The album's producers included Tony Visconti, Ethan Johns and Owen Morris, in addition to Nick Hodgson himself. On 3 June 2011, Kaiser Chiefs launched their new album from their website. Using a create-your-own album technique, fans were able to choose 10 out of 20 songs to create "their album" for £7.50; the band provides streams of roughly one minute to preview each track before selection. Many celebrities including, Radio One DJ Chris Moyles, The Guardian Newspaper, and frontman Ricky Wilson, created their own version of the album, donating the £1 reimbursement for each copy sold to the Alzheimer's Society.

On 27 June 2011, Kaiser Chiefs released an official track listing for the album, featuring 12 of the 20 available tracks and including a previously unheard track 'Kinda Girl You Are' which did not make the initial launch as it was not ready in time. They played two sell out comeback gigs at Falmouth Princess Pavilion. Then followed by appearances at Germany's Hurricane and Southside Festivals in June, Switzerland's Gurten Festival, Pinkpop in The Netherlands, Belgium's Rock Werchter, Portuguese festival Optimus Alive! in July, V Festival in August, Hard Rock Calling in June, the Isle of Wight Festival in June and at Terres Rouges Festival in Luxembourg in September. They also played at Tennants Vital in Bangor, Northern Ireland and in September they played two sold out home town shows at Kirkstall Abbey in Leeds. They also be played in October in Festa das Latas, Coimbra – Portugal.

On 6 March 2012 the album was re-released under the title Start The Revolution Without Me for the US market. The track list differs significantly from the initial release, including the track "On The Run", which is exclusive to the US album and served as its lead single in early 2012.
Like I said, if you can get past the gush and long-winded chattiness, there's a good show in there. Worth the frustration, I swear.

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Radiohead – In Concert At Best Kept Secret – 2017 – June 18, 2017 – VPRO, Hilversum Holland –

Just a reminder . . .







Radiohead in concert at Best Kept Secret Festival in 2017, and recorded by the venerable VPRO (D” id=”lZbNVjoikl” vid=”lZbNVjoikl” id-for-player=”lZbNVjoikl” link=”/listen/radiohead-live-at-best-kept-secret-2017-past-daily-soundbooth-soothing-rattled-nerves-edition-lZbNVjoikl/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Radiohead – Live At Best Kept Secret – 2017 – Past Daily Soundbooth: Soothing Rattled Nerves Edition Radiohead – Sounds to soothe jangled nerves from aftershocks.



Radiohead – In Concert At Best Kept Secret – 2017 – June 18, 2017 – VPRO, Hilversum Holland –

Just a reminder . . .







Radiohead in concert at Best Kept Secret Festival in 2017, and recorded by the venerable VPRO (Dutch Radio Network) on June 18, 2017.

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Don't know about you, but if you live in Southern California (as I do), you have a certain pre-disposition to the earth moving out of control occasionally. It's never when you expect it, and when it happens you never know how long its going to last or if this is a prequel to The Big One.

In case you don't have the faintest clue of what I'm talking about – we've been having several earthquakes around Southern California the past few days – and each one carries with it a certain helplessness; that dizziness that overcomes you and knocks you to the floor while everyone is frantically racing for doorways.

What does this have to do with Radiohead and the Best Kept Secret Festival? Well, when the shaking finally stopped (according to a few sources, the shaking went on for between 30 seconds and a minute), I had a distinct craving to hear Radiohead in concert. Why? I couldn't really tell you – but all I know is that there is something completely soothing about Thom York's voice and just the music in general that takes me away from focusing on the room shaking – or getting ready for the next episode in this seismic odyssey.

Don't know why, but Radiohead's music has a kind of "all is right with the world" vibe to it; for me. I do not find Radiohead to be dismal, dark, foreboding or bleak, despite even friends protests to the contrary. Radiohead have always been pioneers as well as those musicians who continuously reach out and explore new things. So needless to say, this concert came to mind when the floor stopped moving and I was able to get my equilibrium back and check for whatever damage was visited upon the studio.

So that's why I'm running this concert tonight – because I need to. And, of course it's something I think you will enjoy as well.

Hit the play button and chill for the next 2 hours.

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Cast In Concert – 1996 – BBC Radio In Concert Series – BBC Radio 1 –










Cast in Concert tonight. One of the bands considered highly influential in the Brit-Pop movement during the early 90s. Cast formed in” id=”38NXsFBy6zR” vid=”38NXsFBy6zR” id-for-player=”38NXsFBy6zR” link=”/listen/cast-in-concert-1996-past-daily-soundbooth-38NXsFBy6zR/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Cast In Concert – 1996 – Past Daily Soundbooth Cast – highly influential band in the early 90s Brit-Pop movement.




Cast In Concert – 1996 – BBC Radio In Concert Series – BBC Radio 1 –










Cast in Concert tonight. One of the bands considered highly influential in the Brit-Pop movement during the early 90s. Cast formed in Liverpool in 1992 by John Power (vocals, guitar) and Peter Wilkinson (backing vocals, bass) after Power left The La's and Wilkinson's former band Shack had split. Following early line-ups with different guitarists and drummers, Liam "Skin" Tyson (guitar) and Keith O'Neill (drums) joined Cast in 1993.

Cast signed to Polydor Records and their debut album All Change (1995) became the highest selling debut album for the label. Further commercial success continued with the albums Mother Nature Calls (1997) and Magic Hour (1999), however a departure in sound on the band's fourth album Beetroot (2001) was met by a poor critical and commercial reaction and contributed to the band's split two weeks after its release.

The band re-formed in November 2010 and released their fifth album Troubled Times in November 2011. Bassist Peter Wilkinson confirmed his departure from the band in March 2015, after abruptly leaving a previous tour in December 2014. He was replaced on that tour and in the band by Power's frequent collaborator Jay Lewis, who would also feature on their sixth album Kicking Up the Dust, which was released on 21 April 2017.

Noel Gallagher of Oasis described watching the band live as being like a "religious experience" and they were labelled "The Who of the 90's". It has been suggested that the name "Cast" was taken from the final word on The La's eponymous album (the song "Looking Glass" ends with the repeated line "The change is cast"); John Power has since confirmed this to be true, despite previously playing the link down to coincidence.

So to get an idea of what Cast were up to during their peak period of the 90s, here is a concert that spells it out in big black letters. As always, more popular in the UK than the US, they still got a reputation over here from positive word-of-mouth. If you aren't already familiar, you will be in a few seconds.

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The Cure – in concert at Rock Werchter, Belgium – June 28, 2019 – RTBF

Before you read, we gotta ask:




The Cure in concert at Rock Werchter, just one day ahead of their much talked about Glastonbury ” id=”50nb1w2TJm3″ vid=”50nb1w2TJm3″ id-for-player=”50nb1w2TJm3″ link=”/listen/the-cure-live-at-rock-werchter-belgium-2019-past-daily-soundbooth-50nb1w2TJm3/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
The Cure – Live At Rock Werchter, Belgium – 2019 – Past Daily Soundbooth The Cure – Robert Smith – hitting the festival circuit this year with a vengeance.



The Cure – in concert at Rock Werchter, Belgium – June 28, 2019 – RTBF

Before you read, we gotta ask:




The Cure in concert at Rock Werchter, just one day ahead of their much talked about Glastonbury appearance. Since most everyone has heard the Glasto show, I suspected Rock Werchter may have gone largely unnoticed. Festival season is upon us and the embarrassment of riches is in full swing. And The Cure, true to form, are hitting the Festival circuit this year in a big way – with some 23 dates planned between June and August. A lot of shows and the road crew are no doubt up to their eyeballs in stage monitors.

For a band that's been around for over forty years, The Cure have shown no indication of stopping, or even letting up. Since lead singer and founder Robert Smith is the only remaining original member of the band which started in 1978, there's no point in stopping when their shows are written up as memorable and audiences have packed halls and stadiums all throughout this tour so far.

In case you haven't been exposed to The Cure, or are coming to them just recently, here's an excerpt from their Wikipedia page which should answer a few questions and shed some light:
The Cure formed in Crawley in 1976. The group has experienced continuous line-up changes over its lifespan, with vocalist, guitarist and principal songwriter Robert Smith being the only constant member. The band's debut album was Three Imaginary Boys (1979) and this, along with several early singles, placed the band in the post-punk and new wave movements that had sprung up in the wake of the punk rock revolution in the United Kingdom. During the early 1980s the band's increasingly dark and tormented music, as well as Smith's stage look, was a staple of the emerging style of music known as gothic rock.

Following the release of the album Pornography in 1982, the band's future was uncertain. Smith was keen to move past the gloomy reputation his band had acquired, introducing a greater pop sensibility into the band's music. Songs such as "Let's Go to Bed" (1982), "Just Like Heaven" (1987), "Lovesong" (1989) and "Friday I'm in Love" (1992) aided the band in receiving commercial popularity. The band are estimated to have sold roughly 27 million records as of 2004 and have released 13 studio albums, two EPs and over 30 singles to date. As of March 2019, the band are in the process of recording their fourteenth studio album which they hope to have released by the end of the year. They were inducted into the Rock and Roll Hall of Fame in 2019.

In April 2018, Robert Smith announced that the Cure would be heading into the studio to record a new album with plans to release it in 2019. "It's the 40th anniversary of the first album in 2019. I thought, if I don't have something out new that year, that's it for me," Smith said.

In February 2019 it was announced that the Cure will embark on a twenty-three date tour from June through August consisting mostly of festival performances along with four dates in Sydney, Australia where the band will celebrate the 30th anniversary of Distintegration by performing the album in its entirety along with rarely or never performed outtakes from the album. The final Sydney show on 30 May was also live-streamed (and is currently still available) on YouTube. Smith hinted that the band might also perform the album in the United States at some point.

It was announced on 15 March that the Cure would headline the Glastonbury Festival in June, closing out the festival on Sunday 30 June. It would be their first set at Glastonbury since 1995, and their fourth appearance overall, tieing with Coldplay.

In a 30 March interview with Rolling Stone, Smith commented on the band's next album saying, "For the first time in 20 years, we went into a studio—we actually went into the studio where they (Queen) did 'Bohemian Rhapsody'. The songs are like 10 minutes, 12 minutes long. We recorded 19 songs. So I have no idea what to do now. The others are saying, 'Triple album!' I'm saying, no let's not. I'll pick six or maybe eight songs and do like a single album. But I think it will delight our hardcore fans. And probably really, really infuriate everyone else. At my age, I'm still doom and gloom. We'll finish it before we start in the summer, and it'll be mixed through the summer. And then so release date, I don't know, October? Halloween! Come on!"
So now you know – all that's left is to hit the play button, relax for the next 2 hours and enjoy the concert.
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Interpol – Live At Glastonbury 2019 – Broadcast live – June 28, 2019 – BBC 6 Music –

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Interpol for a Friday and for the first day of Glastonbury 2019 – recorded earlier in the day (June 28th) by the inimitable BBC 6 ” id=”66bUVyHQysz” vid=”66bUVyHQysz” id-for-player=”66bUVyHQysz” link=”/listen/interpol-in-concert-glastonbury-2019-past-daily-soundbooth-festival-edition-66bUVyHQysz/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Interpol In Concert – Glastonbury 2019 – Past Daily Soundbooth – Festival Edition Interpol – Kicking off a big Festival in a big way.




Interpol – Live At Glastonbury 2019 – Broadcast live – June 28, 2019 – BBC 6 Music –

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Interpol for a Friday and for the first day of Glastonbury 2019 – recorded earlier in the day (June 28th) by the inimitable BBC 6 Music.

In case you don't already know – Interpol is from Manhattan, and formed in 1997. Their original line-up consisted of Paul Banks (vocals, rhythm guitar), Daniel Kessler (lead guitar, vocals), Carlos Dengler (bass guitar, keyboards) and Greg Drudy (drums, percussion). Drudy left the band in 2000 and was replaced by Sam Fogarino. In 2010, shortly after recording finished for the band's fourth album, Dengler left to pursue personal projects, resulting in Banks becoming the band's bass player.

Having first performed at Luna Lounge along with bands such as the Strokes, Longwave, the National and Stellastarr, Interpol is one of the bands associated with the New York City indie music scene and one of several groups that emerged from the post-punk revival of the 2000s. The band's sound is generally a mix of staccato bass and rhythmic, harmonized guitar, with a snare-heavy mix, drawing comparisons to post-punk bands such as Joy Division, Television, and the Chameleons. Aside from the lyrics, each band member contributes to songwriting, rather than relying on a lead songwriter

Interpol's debut album Turn on the Bright Lights (2002) was critically acclaimed, making it to tenth position on the NME's list of top albums in 2002 and number one on Pitchfork Media's Top 50 Albums of 2002. Subsequent records Antics (2004) and Our Love to Admire (2007) brought greater critical and commercial success. The band released its fourth, self-titled album on September 7, 2010. They went on hiatus from 2011 through 2012 while they focused on other projects. Their fifth studio album El Pintor was released on September 9, 2014. In 2017, the band embarked on an anniversary tour for Turn On the Bright Lights, performing the album live in its entirety. The band's sixth studio album, Marauder, was released on August 24, 2018.

So, if you want to find out what they've been up to earlier today, all you have to do is hit the Play button and crank this one up.

Gonna be a great weekend – I can feel it in my bloodstream.

. . .and even better if you kicked in a few to keep us going during the Fundraiser that was interrupted last week:



Stereolab – In session for Marc Riley – June 26, 2019 – BBC 6 Music –

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Stereolab in session tonight. Something of a cause for celebration. 2019 has m” id=”37pzzVKMdmh” vid=”37pzzVKMdmh” id-for-player=”37pzzVKMdmh” link=”/listen/stereolab-in-session-2019-past-daily-soundbooth-37pzzVKMdmh/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Stereolab – In Session – 2019 – Past Daily Soundbooth Laetitia Sadier And Tim Gane of Stereolab – not a breakup; a hiatus. Back nonetheless. (photo: David Tonge-Getty Images)



Stereolab – In session for Marc Riley – June 26, 2019 – BBC 6 Music –

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Stereolab in session tonight. Something of a cause for celebration. 2019 has marked the year of Stereolab's return – though many have thought it was a breakup, the band members (most notably Laetitia and Tim) insisted it was merely a hiatus – one that went on for a good ten years. But they are back, touring just about everywhere (even a session gig at KCRW a few weeks back, the L.A. public radio station) and in the midst of a slew of reissues as well as a standout appearance at this years Primavera Sound festival in Barcelona. It's good to have them back, and this session for Marc Riley at BBC 6 Music (recorded hours ago) is further evidence they've been missed and a collective sigh for having them back in top form.

For those of you just making the discovery: Stereolab's music combines a droning rock sound with lounge instrumentals, overlaid with sing-song female vocals and pop melodies, and have also made use of unorthodox time signatures. It has been generally described as avant-pop, indie pop,art pop, indie electronic, indie rock,post-rock, experimental rock, and experimental pop.

The band have played on vintage electronic keyboards and synthesizers from brands such as Farfisa and Vox and Moog. Gane has praised the instruments for their versatility: "We use the older effects because they're more direct, more extreme, and they're more like plasticine: you can shape them into loads of things." The 1994 album Mars Audiac Quintet prominently features Moog synthesizers.

Lætitia Sadier's English and French vocals was a part of Stereolab's music since the beginning; and would occasionally sing wordlessly along with the music. In reference to her laid-back delivery, Peter Shapiro wrote facetiously in Wire that Sadier "display all the emotional histrionics of Nico", while some critics have commented that her vocals were unintelligible. Sadier would often trade vocals with Mary Hansen back-and-forth in a sing-song manner that has been described as "eerie" and "hypnotic", as well as "sweet slightly alien". After Hansen's death in 2002, critic Jim Harrington commented that her absence is noticeable on live performances of Stereolab's older tracks, and that their newer songs could have benefited from Hansen's backing vocals.

In interviews, Gane and Sadier have discussed their musical philosophy. Gane said that "to be unique was more important than to be good." On the subject of being too obscure, he said in a 1996 interview that "maybe the area where we're on dodgy ground, is this idea that you need great knowledge esoteric music to understand what we're doing." Sadier responded to Gane, saying that she "think we have achieved a music that will make sense to a lot of people whether they know about Steve Reich or not." According to Sadier, the band " going overground" and exemplified PJ Harvey, Pulp and the Cranberries; all of whom were initially obscure, but quickly rose to fame: "This kind of notoriety is not a particularly good thing, you don’t enjoy it anymore." The duo were up-front about their desire to grow their sound: for Gane, "otherwise it just sounds like what other people are doing", and for Sadier, "you trust that there is more and that it can be done more interesting."

Hit the Play button, sit back and crank it up.



The Passmore Sisters – In Session for John Peel – October 5, 1986 – broadcast November 11th – BBC Radio 1 –

The Passmore Sisters, heading into Wednesday – Short-lived, but with a considera” id=”A07VH7HOfCp” vid=”A07VH7HOfCp” id-for-player=”A07VH7HOfCp” link=”/listen/the-passmore-sisters-in-session-1986-past-daily-soundbooth-A07VH7HOfCp/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
The Passmore Sisters – In Session – 1986 – Past Daily Soundbooth The Passmore Sisters, initially got together to write and play songs about Politics And Girlfriends.



The Passmore Sisters – In Session for John Peel – October 5, 1986 – broadcast November 11th – BBC Radio 1 –

The Passmore Sisters, heading into Wednesday – Short-lived, but with a considerable amount of heart and good music. Coming from Bradford in November 1984 the Passmore Sisters formed to write songs about "politics and girlfriends" the band’s first recording in September 1985 appeared on a 3-track EP titled '3 Love Songs' , with the A side Dance The House Down spitting with anger, all 3 tracks displayed a distinctive cheap up-beat indie pop not too dissimilar to that of fellow Yorkshire pop merchants, The Housemartins. This first single was followed up by the first of two Radio 1 sessions for John Peel who championed the band throughout their short career.

The band’s second EP/single included the lead track Violent Blue and featured the band sounding more poppy and with a lyrical touch not too dissimular to the Redskins, it sounded more angry than the 1st EP. Released on 12 inch only format and with tracks not issued on the LP this EP has become the most collectable of the band’s releases. Doing the opposite of the Wedding Present the band moved from West Yorkshire to Manchester and by 1987 they consisted of Martin Sadofski – vocals, Brain E. Roberts – guitar vocals, Howi – bass, Robert Grace – drums. This was the line-up which recorded the 3rd single Every Child In Heaven

Beginning with a haunting rap, the line "This is the head Passmore speaking….let’s franchise" the 12 inch (and hence longer version) of Every Child In Heaven opens and begs for your ears! During the 14 years since it’s release this slice of 80’s jangle pop has dated very little.

The final single A Safe Place To Hide was released and being as good as the previous singles, it’s lead track featured an almost reggae beat underneath a jangly guitar sound. The apparent soothing tones of the song reflected a harsh statement against the homelessness of England in the late 1980’s and in true political nature the band donated all royalties of their final track Red Star Blue Heart to the charity Terrence Higgins Trust. Around this time the band visited BBC's Maida Vale studios for the last time to record a session for Radio 1's Janice Long

The Passmore’s only LP First Love Last Rites which was named fittingly enough after a collection of short stories about sex and death by Ian McEwan, was released after the band slit-up, it coupled tracks from 3 of the 4 singles and included songs from the band’s 3 Radio One sessions onto one handy record.

In case you missed them the first time around, here is their second (and last) session for John Peel, recorded on October 5, 1986 and broadcast on November 11th – crank it up and enjoy.



The Breeders – Live At Reading 2002 -Recorded August 23, 2002 – BBC Radio for John Peel – BBC Radio 1 –

The Breeders, recorded live at Reading 2002 on August 23, 2002 and broadcast by John Peel on August 28th.

For f” id=”6FvtOu6fplm” vid=”6FvtOu6fplm” id-for-player=”6FvtOu6fplm” link=”/listen/the-breeders-live-at-reading-2002-past-daily-soundbooth-6FvtOu6fplm/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
The Breeders – Live At Reading 2002 – Past Daily Soundbooth The Breeders – Rekindling the dopamine rush we've all known and loved.



The Breeders – Live At Reading 2002 -Recorded August 23, 2002 – BBC Radio for John Peel – BBC Radio 1 –

The Breeders, recorded live at Reading 2002 on August 23, 2002 and broadcast by John Peel on August 28th.

For fans, you can skip the stuff below and head straight to the player and jump into the concert – for newbies, here is a brief rundown via Wikipedia which should get you up to speed:
The Breeders are an American alternative rock band based in Dayton, Ohio, fronted by Kim Deal and her twin sister Kelley Deal. The band was first formed by Kim Deal and Tanya Donelly in 1989, originally intended as a side-project for Deal and Donnelly while still in their full-time bands Pixies and Throwing Muses; however, The Breeders would quickly become Deal's primary recording outlet. The original line-up also included bassist Josephine Wiggs of The Perfect Disaster, and drummer Britt Walford of Slint. The band has experienced a number of lineup changes over the years, with frontwoman Kim Deal being the band's sole continuous member; Kim's twin sister Kelley Deal would join in 1992, and has remained in the band ever since.

In 1995, Kelley was involved in a drug bust, which put The Breeders on an indefinite hiatus. Kim formed a side project, The Amps, with Macpherson, Dayton locals bassist Luis Lerma (member of The Tasties) and guitarist Nate Farley, who later joined Guided by Voices. In October 1995, The Amps released the album Pacer.

Following drug rehab, Kelley started The Kelley Deal 6000, also forming The Last Hard Men with Skid Row singer Sebastian Bach, Smashing Pumpkins drummer Jimmy Chamberlin, and Jimmy Flemion of The Frogs.

Meanwhile, in New York, Wiggs recorded and co-produced the Kostars' album Klassics with a K, a Luscious Jackson side-project (also touring with them playing drums), released a solo album on the Beastie Boys' Grand Royal label, and released an album on Atlantic Records under the name Dusty Trails with Luscious Jackson keyboardist Vivian Trimble.

In 1996, Kim reclaimed The Breeders moniker, but with essentially The Amps' lineup plus violinist Carrie Bradley, and played a few California dates. They made an unsuccessful attempt at recording a third studio album in 1997. Kelley Deal rejoined the band the following year and wrote and recorded songs with her sister, although the only material released during this period was a cover of The Three Degrees' take on James Gang's "Collage", recorded for The Mod Squad soundtrack in 1999.

The Deal sisters recruited new personnel to play several live shows in 2001, and returned to the studio with guitarist Richard Presley, bass player Mando Lopez, and drummer Jose Medeles to record the third Breeders studio album, Title TK, with Steve Albini. This lineup was profiled in a short documentary film entitled The Breeders: The Real Deal (Netherlands, 2002).

The Breeders also performed in an episode of Buffy the Vampire Slayer in early 2002. They were approached by the production staff after they had been playing the show's theme, written by Nerf Herder, as a regular part of their concert set. The episode is entitled "Him", and aired November 5, 2002; they sang their song "Little Fury" at the Bronze. They also contributed the track "Wicked Little Town: Hedwig Version" to the 2003 Hedwig and the Angry Inch tribute album, "Wig in a Box".

In 2012, the reunited Last Splash lineup of Kim and Kelley, Macpherson, and Wiggs announced a tour to coincide with a 20th anniversary reissue by 4AD of Last Splash, entitled LSXX. The tour began in the US, continued in Europe, Australia, and South America, and included the Deerhunter-curated All Tomorrow's Parties festival. A teaser video was made by the band showing the reunited lineup in rehearsal.

In a June 2016 article, Stereogum reported that the band was in their Ohio studio recording a follow up to Mountain Battles, and that Courtney Barnett, who was in town for the Nelsonville Music Festival, recorded some backup vocals for one of the album's songs.

A new single, "Wait in the Car", was released on October 3, 2017, and is part of an upcoming seven-inch series to be issued by 4AD. The song will be available on three different seven-inch records, limited to only 1,500 copies. Rolling Stone described the song as "a classic Breeders bruiser, clocking it at two minutes, and packed with punchy drums, sugar-rush power chords, and lead riffs". During a BBC interview with Lauren Laverne on October 13, 2017, Kim revealed that the band expected to release a new album in 2018, possibly on the 4AD label. The 4AD Label announced on January 9, 2018, that the new album, All Nerve, would be released on March 2, 2018. The title track was released as the album's second single on the same day. All Nerve, was released as planned on March 2, 2018.
If you haven't already, hit the play button, play loud and rock your ass off.

Works wonders.




Warm Jets – In Concert at T In The Park – July 11, 1998 – BBC Radio 1 –

Warm Jets to start the week. Together for a short three years, Warm Jets scored several hit singles and had released their debut ” id=”85dDdfGPKqd” vid=”85dDdfGPKqd” id-for-player=”85dDdfGPKqd” link=”/listen/warm-jets-live-at-t-in-the-park-1998-past-daily-soundbooth-85dDdfGPKqd/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Warm Jets – Live At T In The Park – 1998 – Past Daily Soundbooth Warm Jets – inexplicably short lived. The fickle nature of major labels struck again.




Warm Jets – In Concert at T In The Park – July 11, 1998 – BBC Radio 1 –

Warm Jets to start the week. Together for a short three years, Warm Jets scored several hit singles and had released their debut album, just in time to be dropped from their label, Island Records. They were named after Brian Eno's landmark album, Here Come The Warm Jets.

The band was formed in 1995 by Louis Jones, Paul Noble (formerly of Eat) and Ed Grimshaw, and signed to This Way Up records in early 1996. They recruited former Pale Saints, Parachute Men and Rialto member Colleen Browne on bass guitar 1995-1997. She was replaced by Aki Shibahara.

After the release of their debut EP Autopia the band received positive press and played prestigious support slots and festival appearances, including an arena tour with Blur. The band appeared on NME's annual tour of up and coming bands in early 1998.

Their only album, Future Signs, was released in 1998, mixed by Glyn Johns. The band had top forty hits in Britain with "Never Never" and "Hurricane".

The band had some tabloid fame when singer Louis Jones had a relationship with DJ Zoë Ball. They were also often namechecked by Jones's friend and media buddy Paul Kaye under his Dennis Pennis alter ego.

Paul Noble left the band. The remaining trio recruited former Strangelove and Blue Aeroplanes guitarist Alex Lee. The group disbanded shortly after Island Records dropped them.

As always, I wish I could say this was an isolated incident, but it's not and the fact that they were in the midst of releasing their debut album is just baffling.

But then, nobody said the Music Business operates in any sort of logical way – bands are signed and dropped on a whim. And maybe it's personalities, artistic differences or a clash of egos, it's never about one thing. It probably speaks volumes as to the current state of major labels and why mainstream music is bordering on chaos. Perhaps that's a good thing.

In any event, hit the play button and have a listen to a band you may have missed the first time around.



Dawn Of The Replicants – Live At Reading Festival 1998 – BBC Radio 1 –

Dawn Of The Replicants, live at Reading 1998 and recorded for posterity by BBC Radio 1 on August 28, 1998.

According to AllMusic’s Craig Har” id=”AABuxxv9B7n” vid=”AABuxxv9B7n” id-for-player=”AABuxxv9B7n” link=”/listen/dawn-of-the-replicants-reading-festival-1998-past-daily-soundbooth-AABuxxv9B7n/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Dawn Of The Replicants – Reading Festival 1998 – Past Daily Soundbooth Dawn Of The Replicants (or DOtR) – categorized as impossible to categorize.



Dawn Of The Replicants – Live At Reading Festival 1998 – BBC Radio 1 –

Dawn Of The Replicants, live at Reading 1998 and recorded for posterity by BBC Radio 1 on August 28, 1998.

According to AllMusic's Craig Harris:
Named the "best new band of 1997" by the London Times, Dawn of the Replicants has quickly grown into one of the most inventive groups in the United Kingdom. Impossible to categorize, their music is, according to founders Paul Vickers and Roger Simian, a mix of "swamp rock, pop, glam rock, electro-, girlie jazz, doo wop, nasty ass blues, hip-hop, redneck, and experimentalism." Initially a duo, Dawn of the Replicants has expanded into a quintet with the addition of bassist Donald Kyle, guitarist/keyboardist/vocalist Michael Sorenson Small and drummer/guitarist/keyboardist/vocalist Grant Pringle. All have contributed original songs to the band's repertoire. While all five musicians previously worked together on the short-lived Scottish music magazine Sun Zoom Spark, their experiences had criss-crossed each other's for years. Pringle, Small, and Simian had played together in a trio, Crunchy Joseph, while Pringle and Kyle had played together in Da Hsing and Placenta Party. Small and Vickers had been members of Pennies from Heaven and Snoopy on Sax.

Northern England-born Vickers and Simian met while working for Sun Zoom Spark, shortly after Vickers had dropped out of college and moved to the borderlands of Scotland. Releasing 500 vinyl copies of their debut EP, So Far so Spitfire, the album quickly attracted attention. Melody Maker named it "single of the week." Signed by Eastwest, Dawn of the Replicants released its debut album, One Head, Two Arms, Two legs in 1998. After releasing their second effort, Wrong Town, Wrong Planet, Three Hours Late, in 1999, the group took a brief hiatus. Simian and Vickers continued to play together as Pluto Monkey, showing their expertise on Yamaha samplers and theremins instead of guitars. The offshoot band released an album, Little Brenda: Bluegrass Mission and two singles. Dawn of the Replicants' third album, Touching the Propeller, was released in 2002 on the Flying Sparks label.
So, with all that in mind – hit the Play button and crank this one up.





The Little Unsaid – In session at Silk Mill – 2019 – Reveal Records –

Ending up the week with a preview of coming attractions. Atomise is the latest album by The Little Unsaid, slated to hit stores on May 24th – just ” id=”6wgwaG6Rs93″ vid=”6wgwaG6Rs93″ id-for-player=”6wgwaG6Rs93″ link=”/listen/the-little-unsaid-in-session-2019-past-daily-soundbooth-6wgwaG6Rs93/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
The Little Unsaid – In Session – 2019 – Past Daily Soundbooth The Little Unsaid – A clear vision and stunning sense of direction.





The Little Unsaid – In session at Silk Mill – 2019 – Reveal Records –

Ending up the week with a preview of coming attractions. Atomise is the latest album by The Little Unsaid, slated to hit stores on May 24th – just before that, they cut a session at Silk Mill (I believe in April), and this is a taste of what you will no doubt be hearing a lot in the coming months.

The Little Unsaid is the brainchild of singer, multi-instrumentalist, composer and producer John Elliot and Atomise is his/their sixth album to date (and one ep) – it is also their most accomplished.

I have posted John Elliot's music here before; early songs and productions by an artist exploring a path – reaching, honing and perfecting – broadening and shaping.

Atomise is his most arresting and engaging album to date and one which I think is going to reach a much wider audience very soon. That's not to say the almost non-stop touring and gigging haven't paid off. His audience and fans have grown considerably over the years – and this is from doing what every artist needs to do in order to make it work. I call it "the slog" because that's what it is; getting your music and your message out to any venue or group of people who will listen. This is the essence of the creative experience – the fun part is the creation, putting the notes and crafting the landscape; marveling at the pieces of the puzzle fitting in, witnessing the tapestry come alive. The work part is letting everyone know about it – the at times insufferable blasting of ones own horn in order to be heard above the din of the slick. But when music is honest – when it comes from the heart; taps into that reservoir of the human condition and expresses thoughts and feelings that connect with everyone who it comes in contact with on a deeply fundamental level, you know you've done something right. The world becomes the better place and stars are aligned in perfect symmetry.

Needless to say, Atomise is an accomplishment. One that I will place bets on its acceptance coming from many places. I also think it's time for them to hit the Festival circuit this summer – and it's time to hit Marc Riley at BBC 6 Music up for a spot on his show. Just a thought.

If you aren't already familiar, here's what you can do – click on the player and give listen to these two tracks – and then go over to The Little Unsaid website on Bandcamp and order the album. While you're there, you might want to dive into his previous five albums and the early ep. There is a lot to like and much to explore.

But don't take my word for it – have a listen and see for yourself.



Haven – In Concert from Glastonbury 2002 – BBC 6 Music –

Haven in concert from the 2002 Glastonbury festival, broadcast by BBC 6 Music. Haven were an English indie rock band, formed in Cornwall ” id=”1vave6YyNDL” vid=”1vave6YyNDL” id-for-player=”1vave6YyNDL” link=”/listen/haven-in-concert-2002-past-daily-soundbooth-festival-edition-1vave6YyNDL/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Haven – In Concert 2002 – Past Daily Soundbooth: Festival Edition Haven: Comparatively short-lived, as bands go, but sweet while it lasted. (photo- Greg Hughes)



Haven – In Concert from Glastonbury 2002 – BBC 6 Music –

Haven in concert from the 2002 Glastonbury festival, broadcast by BBC 6 Music. Haven were an English indie rock band, formed in Cornwall in 1996. The band consisted of singer Gary Briggs, guitarist Nathan Wason, bassist Iwan Gronow and drummer Jack Mitchell. Originally called Blew, their new name was taken from a local holiday resort. The band formed after Gary Briggs moved to Cornwall and met Nathan Wason in a record shop in Penzance. After recruiting drummer Tom Lewis and London born Iwan Gronow, the band moved to Manchester in 1999 after being discovered by the former Smiths' manager Joe Moss set them up with a regular slot at The Night and Day Café. In 2001, drummer Tom Lewis left the band and was replaced by Manchester drummer Jack Mitchell. Through Moss's Smiths connections they also played support slots for Johnny Marr's band The Healers, and others including Badly Drawn Boy. The band's first release was the Til The End EP in May 2001, with further singles following, including the top-75 UK hit "Let It Live" and their top-30 breakthrough "Say Something". Their debut album, Between The Senses, was released in February 2002, and reached No. 26 in the UK Albums Chart. A second album was released in 2004, and the band constantly remained on tour. Their record label merged with another and the band were asked to record a third album. However, with the deadline set soon after the tour, Haven did not manage to record enough material to complete what the label wanted. They were subsequently released from their recording contract, and the band split up.

Following the split, Iwan Gronow and Jack Mitchell joined Manchester band Mutineers and went on to play as the rhythm section in Johnny Marr's live band. Gary Briggs and Nat Wason formed the short lived band The Strays. Briggs was also recruited as the lead singer for the Peter Hook/Mani project Freebass before going on to work on courses run for musicians. Wason was the guitarist in Peter Hook and The Light from 2010 to 2013 and is currently a member of A Blaze Of Feathers with singer-songwriter Ben Howard, having toured as part of his backing band for several years.

In 2012, a comprehensive biography of the band was published by Matador Books.

Crank it up and get ready for the weekend.




Fat White Family – in session for Marc Riley – April 25, 2019 – BBC 6 Music –

Fat White Family in session for Marc Riley, recorded literally hours ago via BBC 6 Music from the legendary Maida Vale Studios.” id=”3hCX7TvMJlj” vid=”3hCX7TvMJlj” id-for-player=”3hCX7TvMJlj” link=”/listen/fat-white-family-in-session-2019-past-daily-soundbooth-3hCX7TvMJlj/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Fat White Family In Session – 2019 – Past Daily Soundbooth Fat White Family – flying the flag of ostentatious discomfort high. And why not?




Fat White Family – in session for Marc Riley – April 25, 2019 – BBC 6 Music –

Fat White Family in session for Marc Riley, recorded literally hours ago via BBC 6 Music from the legendary Maida Vale Studios. Ever since the world lost John Peel, there has been an active movement to preserve and present artists in session at the BBC. Frankly, it's essential. It's a practice that's been copied over here to some extent by Public and College radio, but not to the degree the BBC still does. In this day of unremarkable mainstream Pop and Rock radio, that bands are doing sessions is doing more to promote new music, and vital new music, than any single thing anyone else is doing. And because we now have streaming audio, the immediacy of the session and the excitement of making new discoveries continues without stopping.

On to Fat White Family:

Fat White Family formed in 2011 in Peckham, South London. Fronted by Southampton-born and Huddersfield-raised Lias Kaci Saoudi. Lead guitarist Saul Adamczewski was previously the frontman of indie pop band the Metros, which also featured Fat White Family's bass player, Jak Payne.

They released their debut album, Champagne Holocaust, in 2013, on UK label Trashmouth Records. It was released in 2014 in the U.S. on Fat Possum Records. The band released Fat Whites/Taman Shud, a split EP with Taman Shud, on 11 December 2013 on Trashmouth.

On 10 March 2014, Fat White Family issued their first single, "Touch the Leather", on Hate Hate Hate Records.

In early 2014, the band launched a PledgeMusic campaign to fund their show at the South by Southwest festival, with a subsequent US tour. Pledgers were given the self-released EP Crippled B-Sides and Inconsequential Rarities. Next was the single "I Am Mark E Smith" (referencing singer Mark E. Smith of the Fall), released 15 December 2014.

Their second album, Songs for Our Mothers, was released in 2016 by the Without Consent label. It was promoted with a single for "Whitest Boy on the Beach", which was later chosen for the closing credits of the 2017 film T2 Trainspotting.

Fat White Family's next single, "Breaking Into Aldi", was released on 16 August 2016.

On 9 January 2019, Fat White Family announced that their third album, Serfs Up, would be released on 19 April 2019 on Domino Records. This was followed by the singles "Feet" and "Tastes Good With The Money", the latter featuring a video directed by Róisín Murphy.

There's a great article on them in the February 2nd issue of The Guardian, written by Kitty Empire – titled: Fat White Family review – growing up disgracefully. Check it out.

In the meantime, crank this one up and head over to Trashmouth's Bandcamp site and grab a copy of Serf's Up.



Slug – in session for Marc Riley – recorded live – April 22, 2019 – BBC 6 Music –

Slug in session to kick off the week. Recorded literally hours ago in session for Marc Riley at BBC 6 Music.

According to Ti” id=”3913AZHp7Gj” vid=”3913AZHp7Gj” id-for-player=”3913AZHp7Gj” link=”/listen/slug-in-session-2019-past-daily-soundbooth-3913AZHp7Gj/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Slug In Session – 2019 – Past Daily Soundbooth Slug – Inspired by The Residents – lofty creds indeed. (photo: Carolina Faruolo)



Slug – in session for Marc Riley – recorded live – April 22, 2019 – BBC 6 Music –

Slug in session to kick off the week. Recorded literally hours ago in session for Marc Riley at BBC 6 Music.

According to Timothy Monger at Allmusic:
Slug is the solo project of British musician Ian Black, a former touring bassist for angular indie rockers Field Music and a fixture of the Sunderland area indie scene since the early 2000s. Mixing quirky, melodic guitar pop with art rock, '70s funk, and an array of other eclectic influences, Black recorded his debut in 2014 with help from Field Music brothers Peter and David Brewis, who co-produced the album. Rounding out the ensemble are guitarist Rhys Patterson and bassist Andrew Lowther. Slug's debut LP, Ripe, was released in April 2015 by British indie Memphis Industries. The follow-up, 2018's HiggledyPiggledy, departed from the debut in being a completely solo effort, with Black playing everything and producing as well. Inspired by the Residents and the Holy Mountain soundtrack, Black took a minimalist -approach to recording that focused on drums and rhythm while lyrically detailing the Dadistic nature of modern life.
You might want to check out their (his) latest album, Higgledy Piggledy which came out last year to good reviews, like this one:
The first Slug album, Ripe, was co-produced and helped along by Field Music's brothers Brewis, which wasn't surprising considering Slug's Ian Black was once that band's bass player. The record didn't fall too far from the art-rock-with-hooks tree, but was colored by a weirder, more playful streak that Black brought to the mix. When it came time to record a second album, Black decided to go it alone. 2018's HiggledyPiggledy doesn't suffer any from the lack of Brewis brothers — Black has more than enough skill and imagination to make Slug sound great all by himself. While still orbiting around the same angular, witty, and sometimes goofy sound as the debut, this time Black seems a little more willing to experiment and stray from delivering big hooks in favor of sneaky, off-kilter songcraft that relies as much on the sounds he creates as it does the words or melodies. Many of the tracks were built up from the drums and bass, and they both sound powerful and occasionally thunderous. Tracks like "Basic Aggression" and "Humming and Hawing" really have the feel of two musicians battling it out in an overheated studio, not of one guy doing overdubs. This live-sounding, athletic undercurrent gives Black a solid foundation to build quirky, oddball arrangements on top, adding flutes, synths, prog rock guitar lines, Steely Dan smooth vocal harmonies, and his own strong vocals like a not-so-mad scientist. Along with a batch of thoughtful, musically complex numbers that are sure to please both fans of Field Music and the kind of prog that is devoid of any metal influence, Black sneaks in a few pure pop songs that Andy Partridge, or going back further, Todd Rundgren, would have been glad to call their own. "Lackadaisical Love" is a thumping love-ish song with a big fat chorus pasted over loping drum beats, steel drums, and a rippling guitar solo; "Dolly Dimple" is another jerky delight with cute wordplay, nice vocal interplay, and a fun new wave feel, and "Petulia" is basically the best song XTC never got around to writing. Black balances his pop leanings and prog inclinations well throughout the record, never tipping too far in one direction or the other, and always making music that is pleasing to both the part of the brain that wants to think and the part that wants to feel.
So, my suggestion to you is, head over to their website – check out their store – pick up both of their albums (vinyl on Higgledy Piggledy is sold out) and keep an eye out for a tour which could make it over to these shores at some point.

In the meantime, crank it up and stay sane.



Gemma Ray – in session for Marc Riley – April 15, 2019 – BBC 6 Music –

Gemma Ray in session to start the week. Recorded for Marc Riley (with an extra track for Gideon Coe) on April 15th (earlier today) at BBC” id=”8nwpRa56WSE” vid=”8nwpRa56WSE” id-for-player=”8nwpRa56WSE” link=”/listen/gemma-ray-in-session-2019-past-daily-soundbooth-8nwpRa56WSE/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Gemma Ray In Session – 2019 – Past Daily Soundbooth Gemma Ray – Taking a panic attack and turning it into art. (Photo: Steve Gullick)



Gemma Ray – in session for Marc Riley – April 15, 2019 – BBC 6 Music –

Gemma Ray in session to start the week. Recorded for Marc Riley (with an extra track for Gideon Coe) on April 15th (earlier today) at BBC 6 Music.

Paula Carino of AllMusic says it all here:
Reaching back to pre-Beatles rock for inspiration — but tossing in a jumble of influences including the torch songs of Billie Holiday, film scores, flamenco, and more — Gemma Ray has sculpted a sound that is familiar and warm, but also appealingly off-kilter and full of noir-ish touches. After making her recording debut in 2008 with The Leader, she stripped back her typically cinematic sound for the 2010 covers album It's a Shame About Gemma Ray, then took a more pop-oriented approach to 2012's Island Fire. Alongside a dozen original songs, the latter included collaborations with Sparks on covers of two of their tunes. She returned to a spookier retro-rock on albums such as the more personal Psychogeology from 2019.

Lights Out Zoltar! A native of Essex, England, Ray released her first album, The Leader, in early 2008 on the U.K.-based indie label Bronze Rat Records. After receiving a warm welcome from the British press, she was about to embark on a tour when she became ill and had to cancel a number of profile-raising shows. While recuperating, Ray wrote a batch of songs and recorded them in a modest home studio with co-producer Michael J. Sheehy. The resulting Lights Out Zoltar!, released in late 2009, belied its homemade origins by boasting an expansive concert hall sound. Ray took the opposite approach for her third album, It's a Shame About Gemma Ray, which found her covering 16 songs (ranging from Buddy Holly's "Everyday" to Mudhoney's "Touch Me I'm Sick") in stripped-down versions. She continued to stretch artistically on her poppier 2012 album Island Fire, which featured collaborations with the Mael brothers of Sparks. A year later she released the vinyl-only Down Baby Down, a more experimental record with help from Thomas Wydler of Nick Cave the Bad Seeds. Her sixth full-length, 2014's Milk for Your Motors, was recorded upon Ray's relocation to Berlin. She returned in 2016 with The Exodus Suite, a nearly hour-long set of torch songs with lead vocals and a core band recorded live at Candy Bomber Studios in Berlin. Taking inspiration from traveling the world on tour and trying to find her own place in it, her eighth studio album, Psychogeology, followed in 2019.
If you're just getting familiar, by all means, check out her site – everything is there, from tour info to albums – in the meantime, have a listen to this session recorded earlier today. It goes places.

Play loud.




Carl Barât – live in Paris – July 8, 2011 – Radio France Le Mouv –

Carl Barât, former Libertines frontman and Dirty Pretty Things co-founder, during his solo period just after the breaku” id=”7JlypDYaWCn” vid=”7JlypDYaWCn” id-for-player=”7JlypDYaWCn” link=”/listen/carl-barat-live-in-paris-2011-past-daily-soundbooth-7JlypDYaWCn/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Carl Barât Live In Paris – 2011 – Past Daily Soundbooth Carl Barat – former Libertines, former Dirty Pretty Things – flying solo in 2011 in this Paris gig.




Carl Barât – live in Paris – July 8, 2011 – Radio France Le Mouv –

Carl Barât, former Libertines frontman and Dirty Pretty Things co-founder, during his solo period just after the breakup of The Libertines, and Pete Doherty's induction into rehab. This was recorded in Paris during a two month tour, recorded on July 8, 2011 and broadcast by Radio France's Rock outlet Le Mouv (along with a very chatty French announcer who gets "this close' to stepping all over song intros).

Barât released his self-titled, first solo album on 4 October 2010. In an interview with C.B.Liddell of Metropolis magazine he described the album as "the first album I've done that is kind of introspective rather than escapist." In the same interview, he also talked about "stepping away from big loud guitars" as the album is stylistically more diverse and less rock-oriented than previous work.

The release of Barât's first solo album also coincided with the release of Threepenny Memoir: The Lives of a Libertine, an autobiography documenting his years in The Libertines and Dirty Pretty Things.

In January 2013 Barât announced that guitarist Johnny Marr (formerly of The Smiths) and drummer Andy Burrows (formerly of Razorlight and We Are Scientists) would feature on his second solo album, due for release in 2013. Barât revealed demo versions of tracks 'War of the Roses' and 'Victory Gin' from his second solo effort online.

Also in 2013, Barât wrote the title "The dark, it comes" for the album "Love Songs" of French singer Vanessa Paradis on which both sing together.

He is part of the supergroup The Bottletop Band with Matt Helders (Arctic Monkeys), Andy Nicholson (Arctic Monkeys), Drew McConnell (Babyshambles) and Gruff Rhys (Super Furry Animals). The band's single, "The Fall of Rome", was released in December 2010.

On 20 April 2014 an image of London's Hyde Park was released to the band's Facebook page. Around this time both Carl Barât and Peter Doherty indicated in interviews that they had accepted an offer to play the venue on 5 July 2014.

On 25 April, it was confirmed that the Libertines would play on Saturday 5 July in London's Hyde Park, headlining the day, as part of the Barclaycard British Summer Time series of concerts. Support for the concert was to be provided by a number of bands and artists, most notably The Pogues, Spiritualized, Maxïmo Park, Raglans and The Enemy

At their 5 July Hyde Park gig, they announced three new gigs, taking place in Alexandra Palace, on 26, 27 and 28 September.

In January 2015 it was announced that Doherty had successfully completed his rehab treatment at the Hope Rehab Centre in Thailand, and had joined his bandmates in the recording of their third studio album.

The Libertines were praised for forming a very close relationship with fans. The band befriended several of their fans, and their Guerrilla gigs allowed devoted supporters to see them in close proximity. The film Fuck the Police, shot in 2003 by Anne McCloy, captured one such gig at The Albion Rooms when the police raided and closed down an impromptu gig after complaints by irate neighbours. Doherty published the "Books of Albion" online, sharing his personal thoughts and feelings freely. He also frequently posted on the fan forums. This allowed fans a deep insight into his life and helped cement the relationship between the band and the public. They were also very free with their recordings, releasing songs free onto the internet and via word-of-mouth giveaways. This allowed their fan base to hear unfinished songs or ideas, some of which would grow into finished versions on the albums, some of which would be discarded.

In case you missed this "in-between" period, here is Carl Barât in 2011 playing in Paris on July 8.

Crank it up and enjoy. Next week ought to be insane.



Roy Harper – with The Keith Mansfield Group – In Session for John Peel – March 17, 1968 – BBC Radio 1 –

Roy Harper to kick off the week. Perhaps not a household name in the States, but a legend and icon in the U” id=”AXieKMAAnqf” vid=”AXieKMAAnqf” id-for-player=”AXieKMAAnqf” link=”/listen/roy-harper-in-session-1968-past-daily-soundbooth-AXieKMAAnqf/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Roy Harper In Session – 1968 – Past Daily Soundbooth Roy Harper – The great Bohemian and City-tough Folk Poet – still going strong.



Roy Harper – with The Keith Mansfield Group – In Session for John Peel – March 17, 1968 – BBC Radio 1 –

Roy Harper to kick off the week. Perhaps not a household name in the States, but a legend and icon in the UK (our loss), as well as a very strong influence on the current crop of artists comprising the "new-Folk" genre that sprang up in recent years.

Harper has been at it since roughly 1964 – and even though he is "retired" (but just having finished a tour last month), he's been very much a guiding spirit for these past 50+ years, collaborating with everyone from Pink Floyd, Led Zeppelin to Kate Bush and more recently, Fleet Foxes and Elbow.

This session, his second for John Peel, was broadcast on March 17, 1968 and features the Keith Mansfield Group as backup. The sound is not great, but the spirit of the session and the spontaneous aspect of it are very much intact. So whatever sacrifice in quality has been made is more than compensated by the sheer energy of the session. And until a better copy surfaces, this will have to do for now.

For those of you not familiar with Roy Harper – here is an excerpt from the bio on his website, which should give you some idea of why he's an important figure:
"Stormcock (1971) is generally regarded as a masterpiece: a sprawling but focused suite of four lengthy tracks which explored the inner space of Abbey Road Studio to rhapsodic effect. Like Astral Weeks refracted through the pages of OZ magazine, the songs span an enormous spectrum of experience, from the frontline of social unrest to the secluded, birdsong-infested lanes of the English countryside. Led Zeppelin’s Jimmy Page added guitar, disguised as ‘S Flavius Mercurius’, highlighting a relationship with the group that had begun at the 1970 Bath Festival of Blues and Progressive Music. “Hats Off To (Roy) Harper”, an incoherent, gutsy blues workout on Led Zeppelin III, paid tribute to the singer’s status as a beacon of integrity for the underground scene.

Harper enjoyed a special relationship with Led Zeppelin, and his subsequent albums began to move into harder rock territory with the addition of various key collaborators including, as well as Page, orchestral arranger/keyboardist David Bedford, David Gilmour, Chris Spedding, Bill Bruford and John Paul Jones. Lifemask (1972) contained several songs written for the film Made, directed by John Mackenzie, which starred Harper as an edgy, high-maintenance rock star. Valentine (1974) was launched with a gig featuring Page and Bedford plus Ronnie Lane and Keith Moon. He was invited to sing lead on the single “Have A Cigar” from Pink Floyd’s classic album Wish You Were Here (1975). In the same year Harper released HQ, a rock based album notable for the closing track, “When An Old Cricketer Leaves The Crease”, an elegiac hymn to unchanging ways and mortality which BBC DJ John Peel insisted should be played in the event of his death.

With the dawn of the 1980s Harper took part in a musical exchange with Kate Bush, who guested on The Unknown Soldier (1980), while Harper returned the favour by appearing on Bush’s hit single “Breathing”. Harper rode the unsteady waves of the music industry during the early 1980s but kept up a productive output that saw his music taking on a prophetic role, expressing more explicit concerns with environmental disaster, religious fundamentalism, urban poverty and the first Gulf War, on releases like Once (1990), The Dream Society (1998) and The Green Man (2000). In 1994, exhibiting typical desire for autonomy and self-sufficiency, he set up his own record label, Science Friction, to curate and rerelease his entire back catalogue, along with a clutch of CDs of live and unreleased material covering his entire career. In his book, The Passions Of Great Fortune (2003), he published his complete lyrics together with photos, annotations and re-evaluations of every one of his songs. In 2005 Harper was awarded the Mojo Hero Award by the staff of Mojo magazine. The award itself was presented by long time collaborator and friend, Jimmy Page."
For the rest, I would suggest you pay a visit to his website and get caught up. In the meantime, enjoy this session and get ready for the week.



Villagers – BBC 6 Music Festival, Liverpool – March 30, 2019 – BBC 6 Music –

Villagers tonight, from their concert last weekend at The BBC 6 Music Festival in Liverpool and recorded on March 30th by the venerable BBC 6 Music.

Villagers are an Iri” id=”5yAuCwofwbT” vid=”5yAuCwofwbT” id-for-player=”5yAuCwofwbT” link=”/listen/villagers-in-concert-2019-past-daily-sounbooth-festival-edition-5yAuCwofwbT/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Villagers In Concert – 2019 – Past Daily Sounbooth: Festival Edition Villagers – an eerie sense of disquiet.



Villagers – BBC 6 Music Festival, Liverpool – March 30, 2019 – BBC 6 Music –

Villagers tonight, from their concert last weekend at The BBC 6 Music Festival in Liverpool and recorded on March 30th by the venerable BBC 6 Music.

Villagers are an Irish indie folk band from Dublin, formed in 2008. As well as songwriter and vocalist/guitarist Conor O'Brien, the band currently consists of Danny Snow (bass, upright bass), Cormac Curran (keyboards), Gwion Llewelyn (drums, flugelhorn) and Mali Llywelyn (harp).

The band came to prominence in 2010 with the release of their debut album, Becoming a Jackal. Released to critical acclaim, the album was shortlisted for the 2010 Mercury Prize and the Choice Music Prize. The band's second studio album, {Awayland} was released in 2013. It won the Choice Music Prize that year and was also shortlisted for the 2013 Mercury Prize. In 2015 they released their third album, Darling Arithmetic, and the following year Where Have You Been All My Life? – a compilation of live reworkings of some of the band's best-known tracks. In May 2016 Darling Arithmetic won the Ivor Novello award for Best Album.

Villagers have performed at several music festivals and toured with Grizzly Bear, Tracy Chapman, Bell X1, Tindersticks and Elbow.

In September 2012 the band announced the release of "The Waves", the first single from their follow-up album. While at the time the name of the album wasn't announced, the details for {Awayland} were released soon afterwards alongside news of a headline tour in February 2013. The band were just about to start a tour supporting Grizzly Bear in October 2012. A second single, "Nothing Arrived", was also announced in December 2012 with a release date set for 14 January 2013 in conjunction with the launch of {Awayland}.

Whilst on tour supporting {Awayland}, the band debuted two new songs; "Occupy Your Mind" and "Hot Scary Summer". On 7 February 2014 "Occupy Your Mind" was released as a single, produced and mixed by James Ford. As part of Record Store Day 2014, a limited edition clear 7" vinyl version of "Occupy Your Mind" was released.

In early February 2015 the release of their third LP Darling Arithmetic was announced for the 10th/13th/14 April in Ireland, the U.K/Europe and the U.S.A respectively. The new album was written, recorded, produced and mixed by Conor O'Brien at his own home, with him playing all instruments on the record, similar to Becoming A Jackal. A tour was announced, with several dates in Ireland, the U.K and throughout Europe, and a show in New York supporting Laura Marling. In March 2015, when promoting the band's upcoming album and tour in Ireland, O'Brien spoke to GiggingNI.com about the songwriting process on Darling Arithmetic as well as addressing love and the issue of homophobia.

On 8 January 2016, the band's fourth album – mostly consisting of live versions of previously released songs – was released under the title Where Have You Been All My Life? The band toured worldwide throughout 2016 supporting the album.

In August 2018 new album The Art of Pretending to Swim was announced for a 21 September release and new song, FOOL and accompanying music video was unveiled.

Hit the play button and listen for yourself.





John Grant – live at BBC 6 Music Festival, Liverpool – March 29, 2019 – BBC 6 Music –


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John Grant In Concert – 2019 – Past Daily Soundbooth John Grant – with each album, getting closer to what's inside his head.





John Grant – live at BBC 6 Music Festival, Liverpool – March 29, 2019 – BBC 6 Music –


John Grant in concert from this past weekend in Liverpool to start the week. I know people say the first big festival of the year is supposed to be SXSW (although there would be a lot of argument that it's really not a festival as much as one giant Demo session) and historically, the first big Spring festival in Europe is Primavera Sound in Barcelona, the BBC 6 Music Festival in Liverpool from March 29-31 has proven to be one of the great kick-offs to the season and really has been setting the tone for everybody else.

Like all truly inclusive music festivals, The BBC 6 Music Festival covers a wide range of contemporary music, and they've booked some strong acts and some very strong up-and-comers. It is the festival to watch.

John Grant gave a stunning performance for this opening night of the festival. Grant has been on the radar for a while now and has been picking up a loyal following along the way both here in the states and in Europe – proof that was the enthusiastic reception Grant received in Liverpool.

There’s much to tell about Grant: how the demise of his first band The Czars led him to abandon music for five years before an instantly acclaimed solo career, chart success (Grey Tickles… went Top Five in the UK) and a Best International Male Solo Artist nomination at the 2014 BRITS alongside Eminem and Justin Timberlake. Sinead O’Connor and Tracey Thorn have guested on Grant’s records, he’s sung live with Alison Goldfrapp and Kylie Minogue, performed at the 2017 Songs Of Scott Walker (1967-70) BBC Prom, and co-written/sung on Hercules Love Affair and Robbie Williams albums. Last Autumn he recorded the “Kindling” duet with Elbow then went on to tour with them this Spring. His music has been used in films such as Andrew Haigh’s drama Weekend and Daisy Asquith’s Queerama. In 2016, he fronted BBC Radio 4’s Reimagining The City, taking listeners around Reykjavik, where Grant has lived since 2012; in April 2017 he curated North Atlantic Flux: Sounds from Smoky Bay in Hull, showcasing thrilling and innovative musicians from Scandinavia and Iceland. But that is the past, just as Grant’s autobiography, for publishers Little, Brown, is the future. The present is Love Is Magic, the latest installment in Grant’s astonishing story.

In case you missed this one last weekend or wanted to hear it again, hit the play button and crank it up – a warm glow will emanate from your screen. We're in good hands.





She Drew The Gun – live At 6 Music Festival, Liverpool – March 29, 2019 – BBC 6 Music –

She Drew The Gun, kicking off the BBC 6 Music Festival in Liverpool just a few hours ago with a ki” id=”4zQKzh00a0W” vid=”4zQKzh00a0W” id-for-player=”4zQKzh00a0W” link=”/listen/she-drew-the-gun-in-concert-2019-past-daily-soundbooth-festival-edition-4zQKzh00a0W/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
She Drew The Gun – In Concert 2019 – Past Daily Soundbooth: Festival Edition She Drew The Gun – Okay, we can relax – music still burns with protest. (Photo: Andy Hughes – NME)





She Drew The Gun – live At 6 Music Festival, Liverpool – March 29, 2019 – BBC 6 Music –

She Drew The Gun, kicking off the BBC 6 Music Festival in Liverpool just a few hours ago with a killer set and an amazing start to what is shaping up to being a stellar festival this Spring.

She Drew The Gun is one of those bands to pay very close attention to – fronted by Louise Roach, they fairly burn down the stage with an energy and passion that makes you instantly love them on so many levels.

I was wondering when the anger and protest was going to start getting channeled into music – these are such strange and frustrating times that pretending everything is okay is just a sham – we know shit's getting real and we need voices to express what we are feeling and seeing right here and right now. She Drew The Gun is the right band at the right place at the right time. Louise Roach is an artist who resonates with passion and commitment. I can't tell you just how potent this mixture of Rhythm & Anger is – it's cathartic at first hearing. They pull no punches – Roach lays it out in clear, concise language – she is part of the solution and hers is a voice that cuts right through the bullshit and candy-coats nothing.

I had the feeling something was up the first time I heard them in session a while back. There was that flame – that spark that set them in a much different place than most bands I've been listening to of late.

I know they finished a gig recently at SXSW, but haven't heard it nor got a sense of what the reception was like. All I know is, this set tonight in Liverpool, on a day where the government in London is falling into chaos, where the division among people in the U.S. is hitting the breaking point and where life as we knew it is on a crash course to crisis, we need the music to say how we feel. She Drew The Gun are doing that unbelievably well.

I love this band and wish them every possible ounce of good luck to keep it up and keep it real.

Don't think twice about cranking this up – just do it.




The Brian Jonestown Massacre – In Session for John Peel – Recorded, October 25, 1996 – Broadcast, November 18, 1996 – BBC Radio 1 –


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The Brian Jonestown Massacre – In Session – 1996 – Past Daily Soundbooth The Brian Jonestown Massacre – 18 albums and still going strong. The Koala is a fan (photo: Katy Newcombe).




The Brian Jonestown Massacre – In Session for John Peel – Recorded, October 25, 1996 – Broadcast, November 18, 1996 – BBC Radio 1 –


The Brian Jonestown Massacre to get us out of Hump Day, in a session for John Peel at BBC Radio 1 – recorded on October 25, 1996 and broadcast on November 18th of that year.

The Brian Jonestown Massacre is a collective founded by Anton Newcombe in San Francisco between 1990-1993. Their first albums were compilations of multiple recording sessions and an early demo tape. It was titled Pol Pot's Pleasure Penthouse. This release became a popular bootleg.

A second album, Spacegirl and Other Favorites, was released in 1993 as a vinyl-only release and was compiled from what Anton called his "studio trash". The album includes "Hide and Seek", which was released as a single in 1994. The band's follow-up album, Methodrone, was developed largely out of the concepts explored on 'Spacegirl' and heavily influenced by the shoegaze genre that had gained prominence several years prior to its release. The album's ethereal rock sound is comparable to bands such as Galaxie 500, Spacemen 3 and My Bloody Valentine. Two tracks from the album, "She Made Me" and "Evergreen", were released as a double A-side single in 1992. 'Methodrone' was recorded primarily at a studio in the Hunter's Point region of San Francisco called The Compound, where Naut Humon provided an environment for Anton to record for hours on end.

Over the next couple of years the band would shift its sound from their more shoegaze, goth, and dream pop influences of the 80's and 90's into a 60's retro-futurist aesthetic. As lineup changes persisted, the band continued to record and in 1996 released three full-length studio albums. The first of these, Their Satanic Majesties' Second Request reflects a pastiche of 1960s psychedelia. The album also includes vast experimentation with a variety of different instrumentation including Indian drones, sitars, Mellotrons, farfisas, didgeridoos, tablas, congas, and glockenspiels. The title of the album is a play on words of the Rolling Stones' 1967 album Their Satanic Majesties Request. Anton has similarly named songs and records this way throughout the band's catalog.

The band's second album released in 1996, Take It from the Man!, is rooted heavily in the maximum rhythm and blues aesthetic of the 1960s British Invasion. The album includes the song "Straight Up and Down", which was later used as theme music for the HBO television drama series Boardwalk Empire (2010–2014), and was engineered by Larry Thrasher of the influential group Psychic TV.

Fast forward to 2019, Brian Jonestown Massacre burst into the new year with the release of their 18th full-length album, just 7 months after their last one. The self-titled 9-track album is released on Anton Newcombe’s A Recordings on 15th March 2019. It was recorded and produced at Anton’s Cobra Studio in Berlin.

The album was originally going to be released in September, but due to a hugely successful global tour – taking in USA, Canada, Australia, New Zealand and Europe the release was delayed.

Recorded this time last year, the album features Sara Neidorf on drums, Heike Marie Radeker (LeVent) on bass, Hakon Adalsteinsson (BJM / Third Sound & Gunman & Holy Ghost) on guitar and Anton Newcombe on multiple instruments. Also making a guest vocal appearance on ‘Tombes Oubliées’ is Rike Bienert who has sung on previous BJM albums. The band performed songs from the album throughout the European leg of the 2018 tour.

Anton Newcombe has been a very busy man these past 5 years, having released 4 critically acclaimed Brian Jonestown Massacre albums and an EP, 1 soundtrack album and 2 albums with Tess Parks. All releases were fully recorded and produced at Anton’s studio.

The Brian Jonestown Massacre track ‘Bon Bon’ was used in the 2015 Palm D’Or winner Dheepan. Anton penned the soundtrack for ‘Moon Dogs’, a film directed by multi-BAFTA nominated Philip John (Svengali, Downton Abbey, Being Human).

To get an idea of what they were up to in 1996, here is that Peel session, as it was originally heard on November 18, 1996.

You really DO need to crank this one up.





The Wedding Present – Live At Leeds Sound City’ 96 – Leeds Metropolitan University – John Peel – April 12, 1996 – BBC Radio 1 –


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The Wedding Present – Live At Leeds Sound City '96 – Past Daily Soundbooth The Wedding Present – A band that proudly gets under your skin.





The Wedding Present – Live At Leeds Sound City' 96 – Leeds Metropolitan University – John Peel – April 12, 1996 – BBC Radio 1 –


The Wedding Present to start the week. An almost disastrous gig at Leeds Metropolitan University during the Sound City'96 Festival – a blown power supply right in the middle of Click Click threw everyone into a panic and the hall into total darkness, forcing emcee John Peel to do some fancy footwork while the crew went about fixing the problem. Fortunately for everyone; band, audience and radio listeners, the show went on after a little over 10 minutes and the band picked up right where it left off.

In case you didn't already know, The Wedding Present are a British indie rock group originally formed in 1985 in Leeds, from the ashes of the Lost Pandas. The band's music has evolved from fast-paced indie rock in the vein of their most obvious influences The Fall, Buzzcocks and Gang of Four to more varied forms. Throughout their career, they have been led by vocalist and guitarist David Gedge, the band's only constant member.

The band has its origins in the Lost Pandas, which folded in 1984 when Janet Rigby, the drummer for the band, left following departure of guitarist Michael Duane.David Gedge and The Lost Pandas' bass player, Keith Gregory, decided to continue the band, renaming it The Wedding Present. The name was jointly conceived by Gedge and his girlfriend at the time, as they were both avid fans of The Birthday Party and it was an homage to their favorite band.

The band spent most of 1993 taking time off, occasionally playing gigs. A stopgap compilation of three more archive radio sessions, Peel Sessions 1987-1990, was released by Strange Fruit. When they re-emerged in early 1994 with the news that they had signed to Island Records, it was quickly followed by the announcement that Gregory had left the band, due to lack of enthusiasm, and was replaced by Darren Belk. For their next album, The Wedding Present again left for the States and enlisted Steve Fisk (Screaming Trees, Nirvana). The result was Watusi. The album's songs ranged from warm lo-fi pop ("Gazebo", "Big Rat") to semi-psychedelic, Velvets-like workouts ("Click Click", "Catwoman").

No further albums were recorded for Island, and the best part of 1995 was spent the same way as 1993: touring, writing new material, no recording. Paul Dorrington decided to quit the band; no replacement was made as Belk doubled on bass and guitar. In the autumn of 1995, The Wedding Present released "Sucker", a self-financed single that was sold at their gigs only (it has since been included on compilation albums). Shortly after, the band signed with independent label Cooking Vinyl.

The band, still a three-piece, recorded their newly written material and issued the car-themed six-track mini-album, Mini. Belk played both guitar and bass on the songs but struggled at the lead instrument. Shortly after releasing the album, Jayne Lockey, who had already sung backing vocals on Mini, was announced as the band's new bass player. Belk decided to quit the band and was replaced by Simon Cleave. Both Lockey and Cleave were former members of Tse Tse Fly, along with Paul Dorrington and Mark Goodham.

The band still had material from their sabbatical year and went into the studio again to record Saturnalia. This proved to be the last new material by The Wedding Present for a long time. After playing a number of gigs to support the album, the last one in Liverpool on 18 January 1997, the band took a long sabbatical.

The band resumed in 2004 and have been going strong ever since. 2017 saw the 30th anniversary of the release of George Best, an anniversary tour and a feature-length documentary about the record titled The Wedding Present: Something Left Behind.

For a reminder of their 1996 period, crank this one up and enjoy the hell out of it. It's a great show.





Marble Arch – 1. Moonstruck – 2. Your Song – 3. Reminiscence – From Children Of The Slump released March 22, 2019 – Géographie Records – 2019

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Three By Marble Arch – 2019 – Past Daily Nights At The Round Table Marble Arch – New offerings from a band making a difference.





Marble Arch – 1. Moonstruck – 2. Your Song – 3. Reminiscence – From Children Of The Slump released March 22, 2019 – Géographie Records – 2019

Marble Arch this Saturday night/Sunday Morning – new tracks from their second album, Children Of The Slump released just yesterday (March 22). I ran a post late last year with what were some tracks from their first album, and an advance copy of their new single. I was told that their second album, Children Of The Slump was due to be released in February of 2019. Only off by a few weeks, Children Of The Slump hit stores on March 22nd (just yesterday), and I'm thrilled to be able to offer you some samples from this extraordinary new offering.

The three tracks are; Moonstruck, Your Song and the bonus track, Reminiscence. I would play the whole album, but it's best to give you a taste and point you in the direction of their website so you can support the band by picking up a copy of your very own.

I've said this before; there is a lot of noteworthy music out there – a lot of it is in need of audience support. Marble Arch are a French band and it's hard getting exposure (though not impossible) as far away as here in Los Angeles. But this is a band that actively dispels the myth that good music is dead, and that there are no musicians out there picking up the slack. Marble Arch do a commendable job and they have done a lot to restore, certainly my somewhat jaundiced faith, in the current state of music by offering engaging and inspired work.

They are currently hitting the road and touring around France. They've already played Route du Rock in February, so they are gathering an audience at home – no plans, as far as I can see, to take it overseas to these shores anytime soon. But I would say they would be a welcome addition as support act on any tour currently on the road and I have a hunch they would have an audience and fan base here once they started gigging around.

In the meantime, have a listen to these three tracks and head over to their Bandcamp site, which is run by their label and check them out. You can get their albums via download, CD or Vinyl. Choices!




Bis – In Concert at Leeds Metropolitan University – Leeds Sound City ’96 – John Peel – April 12, 1996 – BBC Radio 1


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Bis In Concert – Leeds Sound City '96 – Past Daily Soundbooth Bis – Cornered the market on Weird And Wonderful – Photo: Joshua Kessler.




Bis – In Concert at Leeds Metropolitan University – Leeds Sound City '96 – John Peel – April 12, 1996 – BBC Radio 1


Bis in concert to end the week. Recorded at Leeds Metropolitan University during Leeds Sound City '96 on April 12, 1996 and emceed by none other than John Peel. A riotous time was had by all.

A few words from their very own website (in case you aren't already well-familiar):
Since forming in 1994, bis have continually mutated their initial influences of Synth-pop, Riot Grrrl and DIY Punk into weird and wonderful songs with a natural gift for melodic earworms with a disco heartbeat. Sci-Fi Steven, John Disco and Manda Rin first caught the UK underground’s attention with the “Disco Nation 45” EP in 1995. Its cross-breeding of Huggy Bear, Blur and Devo made it stand out in the dreary death of Britpop, fanzines had new saviours and before long the underground went overground. With the next release, “The Secret Vampire Soundtrack”, suddenly bis were playing “Kandy Pop” on Top of The Pops – as the first unsigned band ever to appear – and riding high in the “proper” charts. Bands, record labels and entire movements seemed to spring up in the aftermath of this generational wake-up call. Whilst bis didn’t quite pull-off the revolution they threatened too, they have still managed to survive the twists and turns of 20 years of Punk Disco.

A frantic bidding war resulted in bis turning down big-money from big business and opting to sign for Wiiija Records in 1996, a spiritual home where the band could maintain absolute control. Choosing the Beastie Boys’ Grand Royal label in the US was based on the same philosophy. The first album “The New Transistor Heroes” came out in early 1997, a punk rock ethos meaning there were to be none of the earlier hits present as to give the fans complete value for money, so 16 new tracks were written and recorded in the gaps in the band’s vigorous touring schedule. The album sold 100,000 copies on release in Japan and saw bis support acts as diverse as Bikini Kill, Pavement and Foo Fighters across Europe and the US. The band were even seen as the ideal candidates to write and record the theme tune to Hanna-Barbera’s classic cartoon, “The Powerpuff Girls”. By the time of 1999’s “Social Dancing”, the band’s sound had shifted away from the more DIY sonics of the earlier recordings and a more electronic, polished sound was emerging. Punk hadn’t been forgotten but it’s the shiny Electro-Pop of its signature song, “Eurodisco” that encapsulates the second phase of the band. After spending most of 1999 on the road, including a main stage appearance at the inaugural Coachella Festival and a headlining show at the Benicassim Festival, bis released the even more electronic “Music For A Stranger World” EP in early 2000 before spending the rest of the year in the studio creating the band’s most misunderstood album “Return To Central”. Seen by some fans as the masterpiece the band had been striving towards, and by other fans as the final straw, “Return To Central” showcases the band’s impatience and desire not to repeat themselves. Gone was the shouty vocal style, replaced by Manda’s threatening whisper and in came lush, layered electronics. Instead of cribbing riffs from old Rough Trade records, “Return To Central” aimed for the gravitas of The Associates, Talk Talk and Brian Eno but with those trademark melodic earworms and disco heartbeat intact.
And there you have it (at least up to 1999). Still at it – still going strong. Their latest album, Slight Disconnects was released in February of this year. Head over to their site and take a look around – lots to see and records to pick up. Do it.

In the meantime, crank this one up and dance your ass off.



Coin Op – In Concert at One Live, Brighton – October 30, 2003 – John Peel – BBC Radio 1 –

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Coin Op – In Concert At One Live, Brighton – 2003 – Past Daily Soundbooth Coin Op – A turbo-charged 7 minute set – but still . . .



Coin Op – In Concert at One Live, Brighton – October 30, 2003 – John Peel – BBC Radio 1 –

Coin Op, in an all-too-short 7 minutes worth of concert recorded at One Live in Brighton and hosted by none other than John Peel on October 30, 2003. Although only seven minutes was broadcast on this day, Peel indicated the whole set was recorded and would be played at a later date – but exactly when, I have no idea. Suffice to say, this tantalizing snippet certainly whets the appetite and hopefully a search will show up the rest of it.

Coin Op (from their Facebook page):
The UK based quartet have released a number of singles on Fierce Panda as well as the mini album ‘Friendly Fire’. Their debut single ‘Democracies’ (no.19 in John Peel’s Festive 50 2002) was the chosen theme for MTV Europes weekly music show, ‘The Fridge’ – on which the band also appeared live. Coin-Op have also recorded radio sessions for XFM, Virgin and Radio 1, which included a hectic day at Maida Vale recording sessions for both Steve Lamaq and the late great John Peel.

In 2003 the band played the BPI’s UK Showcase night at Austin’s SXSW, sharing the bill with Kaito, British Sea Power and The Darkness – as well as a U.K. tour supporting The Inspiral Carpets, including a sellout show at Londons Brixton Academy. Other live forays have seen the ‘Op’ bag support slots with the likes of: The Yeah, Yeah, Yeahs, The Rapture, Trans Am, Death Cab for Cutie, and The Polyphonic Spree – whilst somehow still remembering their passports to play festivals in both Sweden and Spain.

Their eccentric brand of art rock was once described by the N.M.E as “a retro futurism made by Devo-friendly dorks!” – Kerrang! also described the band as having, “arty leanings and a natural born obtuseness” – whereas Organ described the Coin-Op sound as, “The Fall and Clinic going mad in a fairground”. Other comparisons have been to Pavement, The Pixies and The Cardiacs.
Until we can find the rest of it, crank this excerpt up and enjoy the show.



Blood Red Shoes – in session for Huw Stephens – March 18, 2019 – BBC 6 Music –

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Blood Red Shoes In Session – 2019 – Past Daily Soundbooth Blood Red Shoes – after a four year hiatus . . .hitting the ground running.



Blood Red Shoes – in session for Huw Stephens – March 18, 2019 – BBC 6 Music –

Blood Red Shoes in session tonight – recorded earlier in the day (March 18th) for Huw Stephens, substituting for Marc Riley at BBC 6 Music.

Here's What The Line Of Best Fit had recently to say about them:
After a four-year hiatus Blood Red Shoes are back with fresh heads, news of a new album, and a glorious, rumbling new track "Mexican Dress".

In 2014 Blood Red Shoes went their separate ways after years of relentless touring and music making. The Brighton-based duo had sadly exhausted each other. “We didn’t, at any point, have a breather. We probably didn’t see each other for about 10 days a year, tops, for six or seven years. We got to the end of the fourth record and were like, ‘Fuck you, I never want to see you again,"" says drummer and vocalist Steven Ansel.

Their self-titled and self-made fourth album ended on a sour note, leading to vocalist and guitarist Laura Mary-Carter jetting off to LA to focus on her own doings, while Ansel explains he "went out and took drugs and went clubbing for about half a year. I don’t remember a lot about it. Classic break-up move, right?”

Returning to their roots, Blood Red Shoes have today announced their fifth album Get Tragic, alongside the first track "Mexican Dress".

On the new single, Mary-Carter explains, "This song is about the lengths people will go to for attention. Whether it’s online or in real life – Small hits of validation and the feeling of having all eyes on you have become our generation’s biggest drug problem."

The duo's forthcoming album was born out of their separation and individual paths taken during their break, as Ansel explains, "The reason we called it Get Tragic is because we realised that everything we’ve been doing over the last three years is kinda tragic! Just like, ‘Ooh, I hate you, I’m going to America to find myself’, and like ‘Ooh, I’m gonna party for the rest of the year!’ Everything about it is such a cliché – we were like, ‘We’ve turned into a fuckin' tragedy!’”
And if memory serves, the last time I ran a Blood Red Shoes session it was in 2015, right about the time of their hiatus. With that in mind, and armed with the above background, here's what they're up to right now – in fact, a few hours ago.

Crank it up and enjoy. The four years wait was worth it.

Extra Extra! Just found the extra track from the session which was broadcast an hour or so later – here's God Complex:



Blood Red Shoes – God Complex – extra track –



Blood Red Shoes – in session for Huw Stephens – March 18, 2019 – BBC 6 Music –

Blood Red Shoes in session tonight – recorded earlier in the day (March 18th) for Huw Stephens, substituting for Marc Riley at BBC 6 Mu” id=”7wXPjlOZTUk” vid=”7wXPjlOZTUk” id-for-player=”7wXPjlOZTUk” link=”/listen/blood-red-shoes-in-session-2019-past-daily-soundbooth-7wXPjlOZTUk/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Blood Red Shoes In Session – 2019 – Past Daily Soundbooth Blood Red Shoes – after a four year hiatus . . .hitting the ground running.



Blood Red Shoes – in session for Huw Stephens – March 18, 2019 – BBC 6 Music –

Blood Red Shoes in session tonight – recorded earlier in the day (March 18th) for Huw Stephens, substituting for Marc Riley at BBC 6 Music.

Here's What The Line Of Best Fit had recently to say about them:
After a four-year hiatus Blood Red Shoes are back with fresh heads, news of a new album, and a glorious, rumbling new track "Mexican Dress".

In 2014 Blood Red Shoes went their separate ways after years of relentless touring and music making. The Brighton-based duo had sadly exhausted each other. “We didn’t, at any point, have a breather. We probably didn’t see each other for about 10 days a year, tops, for six or seven years. We got to the end of the fourth record and were like, ‘Fuck you, I never want to see you again,"" says drummer and vocalist Steven Ansel.

Their self-titled and self-made fourth album ended on a sour note, leading to vocalist and guitarist Laura Mary-Carter jetting off to LA to focus on her own doings, while Ansel explains he "went out and took drugs and went clubbing for about half a year. I don’t remember a lot about it. Classic break-up move, right?”

Returning to their roots, Blood Red Shoes have today announced their fifth album Get Tragic, alongside the first track "Mexican Dress".

On the new single, Mary-Carter explains, "This song is about the lengths people will go to for attention. Whether it’s online or in real life – Small hits of validation and the feeling of having all eyes on you have become our generation’s biggest drug problem."

The duo's forthcoming album was born out of their separation and individual paths taken during their break, as Ansel explains, "The reason we called it Get Tragic is because we realised that everything we’ve been doing over the last three years is kinda tragic! Just like, ‘Ooh, I hate you, I’m going to America to find myself’, and like ‘Ooh, I’m gonna party for the rest of the year!’ Everything about it is such a cliché – we were like, ‘We’ve turned into a fuckin' tragedy!’”
And if memory serves, the last time I ran a Blood Red Shoes session it was in 2015, right about the time of their hiatus. With that in mind, and armed with the above background, here's what they're up to right now – in fact, a few hours ago.

Crank it up and enjoy. The four years wait was worth it.

Extra Extra! Just found the extra track from the session which was broadcast an hour or so later – here's God Complex:



Blood Red Shoes – God Complex – extra track –




Pet Shimmers – in session for Tom Ravenscroft – BBC 6 Music – March 14, 2019- BBC 6 Music –


This happened literally a few hours ago. Pet Shimmers, the band I played a few weeks ago on the occasion o” id=”6HDqi4AYGNl” vid=”6HDqi4AYGNl” id-for-player=”6HDqi4AYGNl” link=”/listen/pet-shimmers-in-session-2019-past-daily-soundbooth-6HDqi4AYGNl/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Pet Shimmers In Session – 2019 – Past Daily Soundbooth Pet Shimmers – six weeks old and their first gig is a Maida Vale BBC session. Go team!




Pet Shimmers – in session for Tom Ravenscroft – BBC 6 Music – March 14, 2019- BBC 6 Music –


This happened literally a few hours ago. Pet Shimmers, the band I played a few weeks ago on the occasion of their first-ever single, just finished their first-ever live gig; a studio session at the BBC's legendary Maida Vale studios for DJ Tom Ravenscroft, just ahead of their first club gig later on this evening.

I will say I am downright thrilled for this band, not the least because my friend, colleague and Music Adviser Mig Schillace is the drummer, but because this band is a lovely roux of musical influences and colors and it hits on so many levels that it makes for a thoroughly enjoyable experience worth repeating.

For me it's always been the test of a song's merit if it bears repeated listenings, or if "once is enough" – I have been listening to Persona Party (their first single) via Bandcamp the past few weeks and it hasn't worn out its welcome. Hearing it live (the first song on this session) it holds up just fine. The second number, Low Motion is another one – having played it three times in just the past few hours, it's heading into Desert Island Disc territory.

For everyone who says the current state of music is dead is basing their entire opinion on what mainstream Pop music has been doing. If you scratch the surface and get away from All the hype and the noise and check out what bands like Pet Shimmer are doing, you'll come away with an entirely different opinion of what's really going on. And the prognosis is very healthy. Bands and artists are not afraid to try new things, try different combinations and mash-up genres – it's the only way the experience will stay fresh and engaging.

I have no idea what Pet Shimmers plans are – I know there is an album in the works and a string of gigs around the UK in the offing. Beyond that, it depends on how the audience feels. I suspect the audience will feel rather good.

Stay tuned.




Broadcast – in session for John Peel – Recorded September 15, 1996 – aired, October 16, 1996 – BBC Radio 1


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Broadcast In Session – 1996 – Past Daily Soundbooth Trish Keenan of Broadcast – a voice that is irreplaceable.




Broadcast – in session for John Peel – Recorded September 15, 1996 – aired, October 16, 1996 – BBC Radio 1


Broadcast to start the week. Broadcast were an English indie electronic band, founded in Birmingham, England in 1995 by Trish Keenan (vocals, keyboards, guitar) and James Cargill (bass). The band has released three albums as well as several EPs, singles and EP collections, with their first studio album, The Noise Made by People, being released in 2000. Their musical style blends elements of 1960s American psychedelic rock with electronica, incorporating samples from various sources, and earned the band a cult following.

Other members included Roj Stevens (keyboards), Tim Felton (guitar), and Steve Perkins (drums). Drummers including Keith York, Phil Jenkins, Jeremy Barnes and Neil Bullock were also featured in the band. As of 2005, Broadcast consisted only of the duo of Keenan and Cargill. Following the unexpected 2011 death of Keenan, Cargill remained the only member.

The group's debut studio album, The Noise Made by People, was released by Warp in March 2000. It was self-produced in the group's own recording studio after having been through three producers to get a particular sound. Regarding the expensive two year production of the album, Keenan said, "There no financial benefits in getting it right." The band issued two EPs in the same year, Extended Play and Extended Play Two.

Their second album, Haha Sound, was released in August 2003, preceded by two EPs, Microtronics Volume 01: Stereo Recorded Music for Links and Bridges and Pendulum. Recording sessions for the album took place in fragments at various locations: Keenan recorded vocal tracks with her head in a cardboard box which gave it a "closeness and deadness that makes it sit in the mix a bit nicer," while drummer Bullock recorded drum tracks in a neighborhood church before overdubbing guitar tracks and additional arrangements. Haha Sound became their first charting album in the United States, reaching No. 8 in the Top Dance/Electronic Albums chart. While touring the United States to promote Haha Sound, the group recruited American drummer Jeremy Barnes to perform their live shows. Felton departed after Haha Sound to form a new project, Seeland, with Billy Bainbridge (formerly of another Birmingham Warp act, Plone).

Broadcast's next album, Tender Buttons, was issued in September 2005. It was their first album as a duo of Keenan and Cargill. A second compilation of B-sides and rarities, The Future Crayon, was issued in August 2006.

Broadcast released a collaborative album with the Focus Group (aka graphic designer and Ghost Box label co-owner Julian House) called Broadcast and the Focus Group Investigate Witch Cults of the Radio Age in October 2009. The band was chosen by Matt Groening to perform at the All Tomorrow's Parties festival he curated in May 2010 in Minehead, Somerset, England.

Keenan died on 14 January 2011 at the age of 42, following complications with pneumonia, which she suffered from after earlier contracting H1N1. Cargill, the sole remaining member, said in a 2011 interview with Under the Radar that a new Broadcast album was in the works, featuring vocals recorded by Keenan shortly before her death. He later said: "Trish left a lot of tapes, four-tracks and stuff, and I’ve been going through those. It’s difficult, and I’m connected to it at the same time. It’s wonderful, but I’m also feeling a sense of loss. The next thing I release with Trish on it will be more like a monument and a tribute to her rather than this obsessive thing I used to have about making albums." As of 2018, however, the album has not been released.

As a reminder, here is their first session for John Peel, as it was aired on October 16, 1996



Gene – In concert from La Cigale, Paris – November 3, 1994 – RFI – Gordon Skene Sound Collection –
A concert from Gene tonight – recorded live at La Cigale in Paris on November 3, 1994 by Radio France International.

Gene’s orig” id=”41ha6JHNR9q” vid=”41ha6JHNR9q” id-for-player=”41ha6JHNR9q” link=”/listen/gene-in-concert-la-cigale-paris-1994-past-daily-soundbooth-41ha6JHNR9q/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Gene – In Concert – La Cigale, Paris – 1994 – Past Daily Soundbooth Gene – Melody Maker called them the "brightest hope" of 1995.



Gene – In concert from La Cigale, Paris – November 3, 1994 – RFI – Gordon Skene Sound Collection –
A concert from Gene tonight – recorded live at La Cigale in Paris on November 3, 1994 by Radio France International.

Gene's origins lie in a previous band which was first called The Go Hole, named after a fictional "Beat" club in John Clellon Holmes' novel Go, and later renamed Sp!n when they became a four-piece. The band was formed by Lee Clark (vocals/guitar) and Daz Walton (bass). Soon afterwards, James joined on drums with John Mason on bass. Their first single recorded in the same studios as The Ruts' In a Rut' appeared on their own Big Pop Records label. A John Peel session fueled their early success where they mixed with the Camberwell scene mingling with members of House of Love, My White Bedroom and Vic Reeves and Bob Mortimer. Self-managed, apart from a couple of brushes with mini music moguls (in their own minds), John Mason would organize and negotiate much of the group's gigs, contracts and press especially later when they were a four-piece. After 18 months Clark, Mason and James invited John's brother Steve Mason to play lead/rhythm guitar and thereby free Clark to focus on vocal style.

By the time NME journalists Keith Cameron and Roy Wilkinson encountered Gene, the band had already gained some live experience and written several songs. Cameron and Wilkinson were impressed enough to form independent record label Costermonger, which was created with the sole purpose of promoting Gene to a wider audience. Their double A-sided debut single "For The Dead" / "Child's Body" was released on Costermonger in May 1994. The single received a great deal of attention from the music press: Select named it "Single Of The Month", whilst NME made it their "Single of the Week".

The limited edition of 1,994 copies sold out in two days. Numerous live shows followed but it was Gene's performance in support of Pulp at London's The Forum that revealed the band to be a real force to be reckoned with. "Gene have just played third on the bill and willed the crowd into treating them like headliners who are very, very big indeed", said NME. "He has made people love him, and now he's loving every minute of it."

With Gene already developing a devotional fan-base, a new single was planned to consolidate their popularity. The second single, a triple A-side consisting of "Be My Light Be My Guide", "This Is Not My Crime" and "I Can't Help Myself" was released on 1 August 1994 via Costermonger. Melody Maker awarded "Be My Light Be My Guide" its "Single Of The Week".

After achieving the top spot in the UK indie chart and number 54 in the UK Singles Chart, the band played their first UK headlining tour that included a show at London's Paradise Club which sold out immediately, cramming 800 people into the venue. The plaudits had not gone unnoticed by the big record companies and Gene eventually signed a deal with Polydor Records. For many observers, this was to prove a turning point for the band. After a successful appearance at the Reading Festival, the band released their third single 'Sleep Well Tonight', just prior to embarking on a large national tour, preceded by several sold-out French dates. Through 1995, Gene were still going from strength to strength.

Featuring strongly in both critics and readers end of year polls, Gene were the recipients of the inaugural NME Brat Award for 'Best New Act', and as such played at the sold out Brat Award ceremony at the London Astoria. They adorned the covers of both the NME and Melody Maker, who voted them their 'Brightest Hope' for 1995. Their fourth single, 'Haunted By You', became the band's second Top 40 hit (reaching number 32), whilst their debut LP Olympian reached number 8 in the album chart following a plethora of excellent reviews. The album also gained Gene their first silver disc, recording sales of over 70,000 in the UK alone, and when the final single from the album was released ("Olympian"), it went into the Top 20 of the UK Singles Chart.

As a reminder of that halcyon period, here is one of the gigs from their series of French dates from 1994. Crank it up and enjoy.



The Darling Buds – In Session for John Peel – September 21, 1987 – BBC Radio 1 –

The Darling Buds tonight. Something catchy and simple tonight.

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The Darling Buds In Session – 1987 – Past Daily Soundbooth The Darling Buds – Purveyors of the catchy.



The Darling Buds – In Session for John Peel – September 21, 1987 – BBC Radio 1 –

The Darling Buds tonight. Something catchy and simple tonight.

The Darling Buds formed in Caerleon near Newport, South Wales, in 1986 by 19-year-old Andrea Lewis Jarvis. Their debut single, "If I Said", was released on February 1987 and was well received. The group re-released the single on an established label, Native Records, receiving radio play on John Peel's BBC Radio 1 show. Signing with Sony in 1988, several singles preceded their critically acclaimed 1989 debut LP, Pop Said…. The album, described as "relentlessly chirpy", ultimately reached the Top 30 in the UK Albums Chart, and the band appeared on Top of the Pops as well as the cover of Melody Maker twice (24 September 1988 and 18 February 1989). In 1990, the original drummer, Bloss, left the band and was replaced by Jimmy Hughes from Black. Their second album, Crawdaddy, was not as well received, even if, according to critic Doug Brod, it "reveal a more mature Buds, a group that has learned the value of a little variety."

Pressing forward with their new style, the group followed with their third and final album in 1992, entitled Erotica, a few weeks before Madonna's album of the same name. The album contained the US single, "Long Day in the Universe", which was featured on the soundtrack for the Mike Myers film, So I Married an Axe Murderer. This line up featured second guitarist Matt Gray (ex-Soldier Dolls). Although they toured the United States in support of the album for a year, the members of the Darling Buds grew increasingly frustrated by their lack of commercial success and disbanded. Speaking to the Q Magazine in 2012, Lewis explained the reasons behind their decision: "Sony's London office wanted to pass the financial buck after we'd moved to LA and the bureaucracy meant we couldn't tour or record. We got stuck in limbo for ages and eventually called it a day."

In case you missed them the first time around – here is a sample of what John Peel found so engaging, as this is their second session for him on September 21, 1987.

Crank it up and enjoy.




The Clientele – In session for Marc Riley – September 8, 2015 – BBC 6 Music –


The Clientele to start the week off. A London-based indie pop band, currently composed of lead singer/guitarist Alasdair MacLean, drummer Mark Keen and bassis” id=”8DhHGY95vis” vid=”8DhHGY95vis” id-for-player=”8DhHGY95vis” link=”/listen/the-clientele-in-session-2015-past-daily-soundbooth-8DhHGY95vis/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
The Clientele – In Session – 2015 – Past Daily Soundbooth The Clientele – Shades of exquisite melancholia.




The Clientele – In session for Marc Riley – September 8, 2015 – BBC 6 Music –


The Clientele to start the week off. A London-based indie pop band, currently composed of lead singer/guitarist Alasdair MacLean, drummer Mark Keen and bassist James Hornsey.

The band has experienced more success in the United States than they have in their native Britain, and are currently signed to Merge Records, an independent record label based out of North Carolina. They have conducted several extensive U.S. tours throughout their existence.

MacLean and Hornsey both grew up in Hampshire, England, and began collaborating musically while still in school, after MacLean saw that Hornsey had written the name of the band Felt on his pencil case. The band formed in 1991, with Innes Phillips sharing singing and songwriting duties with MacLean; their original name was The Butterfly Collectors. The band recorded an album's worth of material but failed to get any label interest. Innes left the band (and would go on to found The Relict); the rest of the group re-formed in 1997, after which they moved to London and released a number of singles that were eventually collected on Suburban Light (2000). That compilation won the band glowing reviews; SF Weekly said the band "offers a brand of appealingly melancholy pop that might just surpass that of its forebears." The Violet Hour (2003) was their first album proper, which again saw great acclaim, but, as yet, little commercial success.

August 2005 saw the release of their second full album, Strange Geometry, the first the band recorded with a producer, Brian O'Shaughnessy, who had previously produced Primal Scream. It was notable for a much cleaner production sound than the reverb-heavy sound that had previously been their defining characteristic; it was also the first time the band had used a strings section on one of their records. The task of writing these arrangements was given to Louis Philippe. One single, "Since K Got Over Me", was released from the album. Another song from the album, "(I Can't Seem) To Make You Mine", was featured on the soundtrack of the film The Lake House.

Strange Geometry was quickly followed by a collection of recordings from 1991 to 1996, featuring Innes Phillips, called It's Art, Dad. After a U.S. tour in August 2006, The Clientele became a four-piece again, adding Mel Draisey (on violin, keys and percussion), who became their first female member. They then recorded the album God Save The Clientele with producer Mark Nevers, known for his work with Merge labelmates Lambchop; the album again featured several Louis Philippe-composed string arrangements. God Save The Clientele was released in May 2007 in the United States. Bonfires on the Heath followed in October 2009, and Minotaur, a Mini-LP, was released on 17 July 2010.

On 6 July 2011, the band announced on its website that The Clientele would be taking an indefinite hiatus.

The band announced that it would reunite for a lone gig at The Bell House in Brooklyn on 21 March 2014.

Since then, the 'Suburban Light' album has been reissued with bonus tracks and gave the band a Billboard top 30 album for the first time in their history. They also released two new singles in 2014, 'Falling Asleep' and 'On A Summer Trail'. The band have continued to tour in both the US and Europe, and MacLean is writing songs which may constitute a forthcoming album. On 24 March 2016, the group's official Facebook page posted an image of the mixing board at Brian O'Shaughnessy's Bark Studios in London, with the implication that the group were recording new material. On 16 June 2017, the band announced a new album, Music for the Age of Miracles, and a tour.


To get you familiarized (if you aren't already) here is their session for Marc Riley at BBC 6 Music. Recorded on September 8, 2015.

A low-key start to a week that is anything but. Hit the play button and relax – and turn the TV off.



The Flatmates – John Peel session – Recorded September 14, 1986 – broadcast September 24, 1986 – BBC Radio 1 –

The Flatmates to end up the week. In session for John Peel and recorded on September 1″ id=”2cGGR9kUJGy” vid=”2cGGR9kUJGy” id-for-player=”2cGGR9kUJGy” link=”/listen/the-flatmates-in-session-1986-past-daily-soundbooth-2cGGR9kUJGy/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
The Flatmates – In Session – 1986 – Past Daily Soundbooth The Flatmates – Initially short-lived, but part of a movement that had far-reaching effects.



The Flatmates – John Peel session – Recorded September 14, 1986 – broadcast September 24, 1986 – BBC Radio 1 –

The Flatmates to end up the week. In session for John Peel and recorded on September 14, 1986 and broadcast on September 24, 1986. Not familiar? Well . . .

This comes from Yinpop.com and explains it all:
The Flatmates formed during the summer of 1985 in Bristol, England. Martin Whitehead (guitar) began practicing songs he had written with Rocker (a nickname derived from his distinctive dancing movements). Rocker's roommate (or "flatmate" in British English) Kath Beach offered to play bass, and after the trio had been practicing for several weeks Rocker and Kath's roommate, Debbie Haynes, was added as the band's singer. The group's name found them when Rocker told a local writer that the band was composed of "me and my flatmates," and she interpreted this as "The Flatmates."

The band continued writing songs and rehearsing in the basement of the local Communist Party office, performing publicly for the first time in January of 1986. After a handful of local shows bassist Beach departed the band, replaced Sarah Fletcher, a friend of the band who had no experience with the bass. By the end of June the band were ready to begin recording tracks for their first single at S.A.M. studios in Bristol.

The first single, I Could Be In Heaven, was released as a 7" in September, 1986, reaching number 11 on NME's indpendent singles chart. BBC DJ John Peel began playing it on a regular basis, and within the month Peel had invited the band to record a session for his show.

In early 1987 the band received an invitation to perform their second BBC session, this time for Janice Long's show. On March 1st they recorded "My Empty Head," "I Want To Be With Him," "When I'm With You" and a cover of the Buddy Holly song "Everyday." Later that month the session was broadcast, and their second single was released.

Happy All The Time was pressed as a 7" and 12", and the group began a series of shows to promote the new single, which reached number 4 in NME's independent chart. In May the Flatmates undertook their first international tour, playing five dates in Holland. The band's increased touring schedule began to pose a problem for Rocker, with Joel ÕBeirne, filling in on drums and eventually taking on the position full time.

Over the summer of 1987 the band began recording tracks at S.A.M. for their third single. You're Gonna Cry was released on 7" and 12" in October. A "budget" music video was made to help promote the song, which reached number 4 on NME's independent chart.

After the third single the band had hoped to begin work on an album to be released on Subway. Their management convinced them that releasing more singles would be the best way to work toward a lucrative offer from a major label, and they grudgingly acquiesced.

The band's management arranged for the band to work with producer Chris Allison, resulting in the March 1988 single, Shimmer which was soon a number 1 independent hit, and was followed by short tours of the UK and Europe.

At the beginning of June, Sarah made the unexpected decision to leave the band, leading Martin to fill in on bass when the group returned to the studio to record two new songs, "Heaven Knows" and "Don't Say If," leading Martin to temporarily fill in on bass. It was also the occasion for an unexpected betrayal – second guitarist Tim Rippington recorded his own guitar parts, but then went on to play Martin's parts as well. Though Martin opted to leave the track as it was to maintain harmony in the band, tensions had begun to build in the band. Soon after bassist Jackie Carrera joined the band.

A media blitz accompanied the September, 1988 release of Heaven Knows, including a music video, extensive print advertising, and a CD single. The single sold as well as Shimmer, but it only reached number 12 on NME's independent chart due to many copies being disqualified.

Meanwhile, the band began a 15-date tour of the UK in the second half of October. On October 28, 1988, the band was set to play a crucial sold-out show at The University of London Union. The band had been hoping to secure a major label contract, and suspected that label representatives would be in the audience. Unfortunately, things went badly awry.

Tim Rippington reportedly consumed virtually all of the alcohol that the venue provided to the entire band, and subsequently attempted to sing the lead vocal parts along with Deb, was unable to even approximate the guitar parts he was supposed to be playing, and at one point collapsed with his guitar and mike stand. Martin approached Tim to implore that he compose himself. Tim's response was to throw a drink in Martin's face, at which point Martin laid Tim out with a punch to his face. After a brief retreat Tim returned to the stage and ranted about how he had been mistreated during his tenure with the band, prior to again retreating.

The band, in a state of shock, was left to try to decide how to compensate for the missing guitar part, complicated in no small part by the fact that Tim had begun throwing empty glasses at Martin from the side of the stage. Though the chaos from the show no doubt attracted a good measure of attention, it was not the kind of attention they had sought.

The band were particularly concerned about alienating London Records, which had expressed interest in the band and had offered to finance some demos. After hurriedly writing some new material the band had recorded four new songs at S.A.M. After the ULU show the band half-expected that London would have lost interest, but this was not the case. Instead the studio offered to book additional time at Loco studio in South Wales. The band recorded a new song of Martin's, "Trust Me." The band had great confidence in the song's potential as a single. London asked the band to meet with the head of the AR department, but after a brief meeting in which nothing of substance was discussed the band were dismissed and London never called again.

After the trauma of the ULU incident Deb was reluctant to accept new offers to play, and the band played their last show in February of 1989. In March Deb announced that she was leaving the band.

Though they were never able to record a proper album, Love and Death, a compilation of singles, B-sides, unreleased songs, and compilation tracks was released at the end of 1989.
That, I think explains it all pretty well. Now all you have to do (if you aren't already familiar), is hit the play button and enjoy.

BTW – they got back together in 2013 and are currently gigging and recording. Stay tuned.



Longpigs – Black Session – June 26, 1996 – Bernard Lenoir – RFI Studio 104, Paris – Gordon Skene Sound Collection –

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Longpigs In Session – 1996 – Past Daily Soundbooth Longpigs – Seriously underrated and overlooked – and it wouldn't be the first time. (Photo: Mitch Jenkins)



Longpigs – Black Session – June 26, 1996 – Bernard Lenoir – RFI Studio 104, Paris – Gordon Skene Sound Collection –

Longpigs in session tonight. Recorded in Paris on June 26, 1996 for the celebrated Bernard Lenoir and his Black Sessions radio program for Radio France International.

Longpigs rose to fame on the fringe of Britpop in the 1990s, comprising Crispin Hunt (vocals), Richard Hawley (guitar), Simon Stafford (bass guitar) and former Cabaret Voltaire member Dee Boyle (drums) who was replaced by Andy Cook for their second album. Hailing from Sheffield, the group had success with singles such as "She Said", "On and On", and their well-received debut album The Sun Is Often Out (1996).

The band toured extensively, opening for Echobelly, Supergrass and finally Radiohead in early 1995. Their first singles on Mother Records, "Happy Again", "She Said" and "Jesus Christ" did little in the charts. The band played the 1995 Reading Festival. The new track "All Hype" was featured on the compilation CD Volume 14: Reading '95 Special although was never released as a single.

Their fourth single, "Far", managed to hit the UK Top 40. In March 1996 this was followed by the ballad "On and On", which received considerable radio airplay and hit the Top 20 of the UK Singles Chart. In April 1996 the band released their debut album The Sun Is Often Out, which was declared one of 1996's 50 best albums by both Q and Melody Maker. On the heels of their newfound success, the band then repackaged and re-released "She Said" which also reached the UK Top 20 in June 1996, which was followed by "Lost Myself" (#22).

Initially things seemed promising in America. In 1997, their single "On and On" was added to the playlist of the L.A. alternative radio station KROQ-FM briefly reaching the Alternative U.S. Top 10. The song was also featured on the Mission: Impossible soundtrack (although it was not used in the film). They toured America with Echo the Bunnymen and The Dandy Warhols, and even opened for U2 on several dates of their PopMart world tour. This tour featured a new track "Beyond Good and Evil" which was never officially released. The band also played the 1997 Glastonbury Festival, with the live track "Travel" (formerly known as "Far" B-side "Amateur Dramatics") being featured on the official BBC live Glastonbury compilation Mud for It. The song "On and On" can be found on the soundtrack to the 1997 film Face starring Robert Carlyle.

Before the recording of the band's second album Dee Boyle left the band and was replaced by Andy Cook. Boyle's relationship with the band resulted in later conflicts with the members.

Mobile Home, was released in October 1999, along with the two singles "Blue Skies" and "The Frank Sonata". After briefly reaching the Top 40 in the UK Albums Chart, sales of the album faded away. Mother Records folded in 2000, and the rest of the band split up shortly afterwards.

In case you missed them the first time around, here's a chance to catch up. Sadly, another in a long (and getting longer) list of bands who had all the signs and indications of success, but it just was a series of bad breaks and poor timing.




Six By Seven – in session for John Peel – Recorded April 7, 1998 – broadcast May 12, 1998 -BBC Radio 1 –

Six By Seven in session for John Peel tonight, their first for him, recorded on April 7, 1998 and broadcast on May 1″ id=”Arz4sFLB690″ vid=”Arz4sFLB690″ id-for-player=”Arz4sFLB690″ link=”/listen/six-by-seven-in-session-1998-past-daily-soundbooth-Arz4sFLB690/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Six By Seven – In Session – 1998 – Past Daily Soundbooth Six By Seven – rumored to be the best undiscovered band. . .ever.




Six By Seven – in session for John Peel – Recorded April 7, 1998 – broadcast May 12, 1998 -BBC Radio 1 –

Six By Seven in session for John Peel tonight, their first for him, recorded on April 7, 1998 and broadcast on May 12th. Regarded by many as the best undiscovered band even, Six By Seven were first together from 1992-2008 and then picking back up (with a few personnel changes) in 2012 and, at last report, still going.

Originally formed in 1992 as "Friends Of…", they performed their first show at the Old Angel pub in their hometown of Nottingham in late 1992. After recording several demos and playing gigs, the band attracted some record company interest. However, they once played to a room full of A men at Leicester's Charlotte with the room emptying before the first 15-minute song was complete. Undeterred, the band continued to write and record. Bass player Paul Douglas joined later that year. The band got their break by playing support slots with Rocket from the Crypt and Girls Against Boys, and changed their name to Six by Seven in 1996. The name was taken from the research connected with the Hubble Space Telescope. Sam Hempton came up with the name and described it as follows:

"There was a big debate as to whether the millions of other galaxies in the universe were accelerating away from each other or moving away at a constant rate, or whether they were actually coming back in on themselves. The scientists originally thought that everything would eventually come back in on itself and implode, but what's actually happening is that they are accelerating away at a rate of 6 x 7."

In 1997 the band released their debut 12-inch single 'European Me', which led to a five-album deal. Their debut album, The Things We Make, was released the following year, after which they began headlining their own shows, as well as touring with Ash, Manic Street Preachers, The Dandy Warhols, and Placebo. In May 1998, they were asked to play a live session on the John Peel Show, and recorded four more sessions over the next four years (this one is the very first).

Their second album, The Closer You Get, was released in 2000. Sam Hempton left the band shortly thereafter. Douglas followed in 2002, after the release of their third album, The Way I Feel Today. In September 2004 the fourth album 04 was released, along with a collection of outtakes from the recording sessions called Left Luggage at the Peveril Hotel which was initially available through the band's website. In April 2005 a new album was announced for release entitled Artists Cannibals Poets Thieves – it was described as Six by Seven's "first album as a three-piece".

Shortly before the album's release in June, the band announced they were to "stop touring and effectively end the group for the foreseeable future", with a live album and a b-sides and rarities collection to follow.

In December 2005 a new "unofficial" studio album – Club Sandwich at the Peveril Hotel – was released on the band's web site on 16 January 2006, with a limited number of copies making their way into stores in March. Although there was mention (and even scheduling) of a series of live gigs for early 2006, these shows were eventually cancelled.

In August 2006 the band made a surprise appearance playing at the Social in Nottingham with a new line-up featuring past collaborators Tony Doggen Foster and Ady Fletcher with Ian Bissett newly recruited on the drums.

In September 2006 a collection of rarities, live tracks and demo recordings was made available via the bands' website.

On 12 December 2006 the band played another gig at the Social in Nottingham. Once again this featured the lineup of Chris Olley, James Flower, Doggen, Ady Fletcher and Ian Bissett.

In case you forgot their early period (or never knew about it in the first place) – time to hit the play button and crank it up.

It's worth it.




This Is The Kit – in session for Marc Riley – October 18, 2018 – BBC 6 Music –

A session from This Is The Kit tonight – keeping with our Wednesday Anti-Road Rage theme. This Is The Kit (aka: Kate Stables) ” id=”61PCTZ8QXsB” vid=”61PCTZ8QXsB” id-for-player=”61PCTZ8QXsB” link=”/listen/this-is-the-kit-in-session-2018-past-daily-soundbooth-61PCTZ8QXsB/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
This Is The Kit – In Session – 2018 – Past Daily Soundbooth Kate Stables – aka: This Is The Kit – What Alternative Folk is up to these days.




This Is The Kit – in session for Marc Riley – October 18, 2018 – BBC 6 Music –

A session from This Is The Kit tonight – keeping with our Wednesday Anti-Road Rage theme. This Is The Kit (aka: Kate Stables) is probably no stranger if you've been following what the Alternative Folk scene has been up to in the UK in recent years – not to mention a lot of touring, not only in Europe and the UK but here in the States as well. So this session may be a welcome reminder.

Based in Bristol and Paris, This Is The kit's most high profile media moment to date occurred in August 2015, when BBC iPlayer debuted an episode of the documentary series Music Box devoted to This Is The Kit's music and influences. The show was hosted by Guy Garvey, who argued that their second album "Wriggle Out the Restless" deserved a Mercury Prize nomination.

Previous to the BBC documentary, This Is The Kit were a long-time favorite among various BBC Radio 6 Music DJs, which is where Garvey discovered them, playing their music frequently. Fellow 6 Music DJs Lauren Laverne, Radcliffe & Maconie, Cerys Matthews, and Mary Anne Hobbs have also been major supporters; DJ Marc Riley has hosted the band for three BBC live sessions to date (including this one for Marc Riley). BBC Radio 1 has offered the band spot plays via DJs Huw Stephens, Jen & Ally, and Phil Taggart.

As the band prepared to release their third album "Bashed Out" in late 2014 and early 2015, they began to receive more attention from online and print critics. Uncut, Drowned in Sound, The Line of Best Fit and The 405 awarded the album 8/10 ratings. The Mancunion rated a live show a 9/10. Finally, the American blog Stereogum wrote that "Kate Stables has been recording music as This Is The Kit for years now, but this is probably one of the first times you’re reading about her. "Bashed Out" will be her third full-length album, and…it will also likely be her breakout."

The band also appeared in the BBC One television series Wanderlust, playing in a night club that Toni Colette's character Joy attended.

In 2014, the band began work on their third studio LP "Bashed Out" with Aaron Dessner of The National. The band's usual members contributed to the recording as did studio musicians recruited by Aaron Dessner, including his brother Bryce Dessner, Benjamin Lanz (Beirut, Sufjan Stevens), Thomas Bartlett (Doveman, The Gloaming) and Matt Barrick (The Walkmen) amongst others. Brassland released the album in 6/7 April 2015. It has received attention as the band's "breakthrough" recording, and as one of the best British recordings of 2015.

July 2017 brought the release of the band's fourth LP Moonshine Freeze. The record was well received and chosen as the Rough Trade Album Of The Month for July.

To get you up to speed if you aren't already familiar and to remind you if you are a fan, here is that session for Marc Riley, recorded on October 18, 2018.

Suggest you find a quiet place and hit the play button – the sounds are quite exquisite.



Low – In session for John Peel – Maida Vale Studios – November 11, 2000 – BBC Radio 1 –

Low in session to end the week. A serene capper to an insane week, only fitting that one of America’s finest examples of Indie comes along to say it’s all going to b” id=”7CX1cOzrALL” vid=”7CX1cOzrALL” id-for-player=”7CX1cOzrALL” link=”/listen/low-in-session-2000-past-daily-soundbooth-7CX1cOzrALL/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Low In Session – 2000 – Past Daily Soundbooth Low – American Indie at its finest.



Low – In session for John Peel – Maida Vale Studios – November 11, 2000 – BBC Radio 1 –

Low in session to end the week. A serene capper to an insane week, only fitting that one of America's finest examples of Indie comes along to say it's all going to be okay. Of course, this session comes hot on the heels of the election of 2000 – another time of hysteria an uncertainty. Further evidence that powerful music is timeless.

The music of Low is characterized by slow tempos and minimalist arrangements. Early descriptions sometimes referred to it as a rock subgenre called "slowcore" often compared to the band Bedhead, who played this style during the 1980s and early 1990s. However, Low's members ultimately disapproved of the term.

Parker and Sparhawk's striking vocal harmonies represent perhaps the group's most distinctive element; critic Denise Sullivan writes that their shared vocals are "as chilling as anything Gram and Emmylou ever conspired on—though that's not to say it's country-tinged, just straight from the heart."

Low are known for their impressive live performances. Rock club audiences sometimes watch the band while seated on the floor. During their early career, the band often faced unsympathetic and inattentive audiences in bars and clubs, to which they responded by bucking rock protocol and turning their volume down. The huge dynamic range of Low's early music made it susceptible to background noise and chatter, since many of their songs were very quiet. A performance in 1996 at the South by Southwest festival was overpowered when a Scandinavian hardcore band was booked downstairs. The Trust album marked a turning point, and Low's music has developed a more emphatic sound.

The band's mainstream exposure has been limited: their best-known song is arguably a hymnal version of "The Little Drummer Boy," which was featured in a Gap television ad that depicted a snowball fight in slow-motion to match the song's glacial tempo. A remix of their "Halflight" was featured in the Mothman Prophecies motion picture. The band made their network television debut in 2005 by performing the single "California" on an episode of Last Call with Carson Daly. On June 11, 2007, Scott Bateman, a web animator, announced that his video for Low's song Hatchet (Optimimi version) would be one of the preloads on the new Zune. Also in 2007 they recorded a song called "Family Tree" which featured in the "Careful" episode of Nick Jr's kids' show Yo Gabba Gabba!

As a reminder of their performance for John Peel at BBC Radio 1 in 2000, hit the play button and dive into this Maida Vale session and get ready for the weekend.



Aereogramme – Live at Eurosonic Festival 2002 – January 15, 2002 – John Peel – BBC Radio 1 –

Aereogramme, in concert at Eurosonic 2002 in The Netherlands. Recorded on January 15, 2002 with John Peel for BBC Radio 1. Described in seve” id=”6gLtoO8qiMe” vid=”6gLtoO8qiMe” id-for-player=”6gLtoO8qiMe” link=”/listen/aereogramme-live-at-eurosonic-2002-past-daily-soundbooth-6gLtoO8qiMe/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Aereogramme – Live At Eurosonic 2002 – Past Daily Soundbooth Aereogramme – One of those bands that left way too soon.



Aereogramme – Live at Eurosonic Festival 2002 – January 15, 2002 – John Peel – BBC Radio 1 –

Aereogramme, in concert at Eurosonic 2002 in The Netherlands. Recorded on January 15, 2002 with John Peel for BBC Radio 1. Described in several publications as one of the top ten bands that broke up way before their time, Aereogramme managed to release four albums during their lifespan (1998-2007) and gather a staunch and loyal fan base, of whom John Peel was certainly one. He's heard introducing the band during this gig at Eurosonic and their set was run in its entirety on his show of January 15th.

Formed in April 1998, the band released two 7" singles in 1999 before signing to Chemikal Underground in early 2000, at which point they recorded two EPs before releasing their first full-length, A Story in White, in 2001. Sleep and Release followed in 2003 but the band moved to Undergroove Records soon after for their third official release, Seclusion. However, the group re-signed to Chemikal Underground in August 2006.

Their fourth album, My Heart Has a Wish That You Would Not Go was released in Europe and the United States on 29 January 2007 and in Japan on 14 October 2006, taking its title from the novel The Exorcist. In a recent interview, singer Craig B. revealed the long delay between releases was partly due to losing his singing voice for six months. "We didn't know if it was going to continue so everybody went their separate ways waiting for my voice to come back. I went to see a throat doctor and he told me to eat yogurt which I did and it did absolutely nothing. The only thing that made any difference was time 'cause I'd spent the previous couple of years screaming every single night and whisky and smoking and that was just a horrible combination. I think my body just said stop."

On 11 May 2007, in a message board post on Myspace, Aereogramme announced they were to disband:
“ It is with heavy hearts that we tell you all that Aereogramme have decided to split up. Reasons are multiple and complex. It is however fair to say that the never ending financial struggle coupled with an almost superhuman ability to dodge the zeitgeist have taken their toll, ensuring that we just don't have any fight left in us.
We are immensely proud of the four albums that we made over the past seven years. We hope that they continue to grow in your hearts. We plan to honour and celebrate the beautiful friendships we have made along the way with these final shows over the summer".
The band played their last ever show at the Connect Music Festival in Inverary, Scotland on 31 August 2007.

For a quick reminder of a band the really shouldn't have broken up when they did, here is Aereogramme's set from Eurosonic 2002, and the inimitable John Peel popping up at the end for a few words.

Good times, albeit poignant ones.




Saint Etienne – in concert at Primavera Sound 2017 – Recorded May 31, 2017 – Radio Nacional España Radio 3 –


Sain” id=”562yUzvkfsY” vid=”562yUzvkfsY” id-for-player=”562yUzvkfsY” link=”/listen/saint-etienne-in-concert-at-primavera-sound-2017-past-daily-soundbooth-562yUzvkfsY/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Saint Etienne – In Concert At Primavera Sound 2017 – Past Daily Soundbooth Saint Etienne – how to stir up a pot of 90s dance club with 60s pop, while tossing in odd references all over the place – and come up with a heady confection of wonderful.




Saint Etienne – in concert at Primavera Sound 2017 – Recorded May 31, 2017 – Radio Nacional España Radio 3 –


Saint Etienne for the weekend. Something to go very well with the weekend and every attempt at trying to be as grounded as possible.

Started in 1990, Saint Etienne became heavily associated with the "indie dance" genre in the early 1990s. Their typical approach was to combine sonic elements of the dance-pop that emerged in the wake of the so-called Second Summer of Love (e.g. samples and digitally synthesized sounds) with an emphasis on songwriting involving romantic and introspective themes more commonly associated with traditional British pop and rock music. Early work demonstrated the influence of '60s soul, '70s dub and rock as well as '80s dance music, giving them a broad palette of sounds and a reputation for eclecticism. Years later, The Times wrote that they "deftly fused the grooviness of Swinging Sixties London with a post-acid house backbeat". Their first two albums, Foxbase Alpha and So Tough feature sounds chiefly associated with house music, such as standard TR-909 drum patterns and Italo house piano riffs mixed with original sounds, notable by the use of found dialogue, sampled from 1960s British realist cinema.

During the early 1990s the group enjoyed extensive coverage in UK music weekly papers NME and Melody Maker and gained a reputation as purveyors of "pure pop" in the period immediately prior to the Brit-Pop explosion. So Tough reached No. 7 in the UK Albums Chart. Their most popular singles of this period were "You're in a Bad Way" and "Join Our Club" (which reached No. 12 and No. 21 in the UK Singles Chart).

Tiger Bay (1994) represented a change of direction: the entire album was inspired by folk music, combined with modern electronica. Although the album reached No. 8 in the UK Albums Chart, the singles performed disappointingly, with "Pale Movie", "Like a Motorway" and "Hug My Soul" reaching No. 28, No. 47 and No. 32 in the UK Singles Chart. In a 2009 interview, Bob Stanley said that in retrospect the band "got ahead of ourselves a bit" by releasing such an uncommercial album, which "definitely could have done with a couple more obvious songs".

In 1995, they released their most successful single, "He's on the Phone", a reworking of Étienne Daho's "Week-end à Rome" that they had created for a collaborative EP with Daho entitled Reserection. It reached No. 11 on the UK chart.

After years floating around various record labels, the band came back to original label Heavenly for their 2009 career retrospective, London Conversations: The Best of Saint Etienne. The album contained two singles, a reworked "Burnt Out Car" and new track, the Richard X-produced "Method of Modern Love". The album also contained as a third "new" track, a remix by Richard X of the previously vinyl-only "This is Tomorrow".

In May 2012, following the January release of the single "Tonight", the band released their eighth studio album, Words and Music by Saint Etienne. Saint Etienne's ninth studio album, Home Counties, was released on 2 June 2017, where much of the music for this festival appearance comes from.

I suggest you plug in the headphones and relax . . .or dance.

Either way, enjoy.

(Editors note: Thanks to Charlie Bidwell for the suggestion – timing is everything)






Chapterhouse in session for John Peel – Sept. 23, 1990 – BBC Radio 1 –


Chapterhouse for a Thursday night.

Forgive the lack of posts these past few days. This Cold/Flu/Virus that’s going around is sinister at best and I have been reduced t” id=”23pNs5v5hKs” vid=”23pNs5v5hKs” id-for-player=”23pNs5v5hKs” link=”/listen/chapterhouse-in-session-1991-past-daily-soundbooth-23pNs5v5hKs/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Chapterhouse In Session – 1991 – Past Daily Soundbooth Chapterhouse – Shoegaze as an art form






Chapterhouse in session for John Peel – Sept. 23, 1990 – BBC Radio 1 –


Chapterhouse for a Thursday night.

Forgive the lack of posts these past few days. This Cold/Flu/Virus that's going around is sinister at best and I have been reduced to a wailing, moaning mass of fever-induced middle age, unable to drag myself out of bed since last Sunday. Hence the long gap in any sort of historic tidbits. But I hope to be up and running in no time.

Chapterhouse were a British shoegazing/alternative rock band from Reading, Berkshire, England. Formed in 1987 by Andrew Sherriff and Stephen Patman, the band began performing alongside Spacemen 3. They released two albums entitled Whirlpool (1991) and Blood Music (1993). After the band split in 1994, Sherriff later formed Biocom. The group temporarily reformed in 2008 after being asked to join Ulrich Schnauss onstage to perform his cover version of their song "Love Forever" at the Truck Festival in Oxfordshire. The band finished the brief reunion with two shows in London (2009–2010) and tours in North America and Japan in 2010.

The band comprised Andrew Sherriff (born 16 May 1969, Wokingham, England; guitar/vocals), Stephen Patman (born 8 November 1968, Windsor, Berkshire, England; guitar/vocals), Simon Rowe (born 23 June 1969, Reading, Berkshire; guitar), Jon Curtis (bass) and Ashley Bates (born 2 November 1971, Reading; drums).

Chapterhouse took the unusual step of rehearsing and gigging for well over a year before recording even a demo tape. Initially lumped in with the British acid rock scene of the time, a mistake hardly rectified by the band's early performances supporting the rather laidback Spacemen 3. Chapterhouse eventually escaped from one genre only to find themselves thrust amongst the shoegazing groups of the early 1990s (with Lush, Moose, Ride and Slowdive)

Bassist Jon Curtis left early on to study, being replaced by Russell Barrett (born 7 November 1968, Vermont, United States) who also fronted his own garage band, the Bikinis. Chapterhouse eventually signed to the newly formed Dedicated label, releasing a series of singles, including "Pearl", which featured guest vocals by Rachel Goswell of Slowdive and reached No. 67 in the UK Singles Chart.

Their first album, Whirlpool, released in 1991, has been cited as one of the genre's high points, but failed to capture a wider market despite reaching No. 23 in the UK Albums Chart. In the same year, Chapterhouse also appeared in their home town Reading Festival immediately following Nirvana's performance.

This session, their first and only one for Peel, comes around the time of the release of their debut album.

Suggest you play moderately loud.




Wire – in session for John Peel – September 17, 2002 – BBC Radio 1 –

Wire to start the week. Inspired by the burgeoning UK punk scene in 1976, Wire are often cited as one of the more important rock groups of the 1970s and 1980s.” id=”21BwHEX0M7W” vid=”21BwHEX0M7W” id-for-player=”21BwHEX0M7W” link=”/listen/wire-in-session-2002-past-daily-soundbooth-21BwHEX0M7W/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Wire In Session – 2002 – Past Daily Soundbooth Wire – expanding the sonic boundaries of music in general.




Wire – in session for John Peel – September 17, 2002 – BBC Radio 1 –

Wire to start the week. Inspired by the burgeoning UK punk scene in 1976, Wire are often cited as one of the more important rock groups of the 1970s and 1980s. Critic Stewart Mason wrote, "Over their brilliant first three albums, Wire expanded the sonic boundaries of not just punk, but rock music in general."

Pink Flag, Wire's first album influenced future hardcore punk with their fast energetic playing style. They are a definitive art punk and post-punk ensemble, mostly due to their richly detailed and atmospheric sound and often obscure lyrical themes. The group exhibited a steady development from an early raucous punk style to a more complex, structured sound involving increased use of guitar effects and synthesizers (1978's Chairs Missing and 1979's 154). The band gained a reputation for experimenting with song arrangements throughout its career. Wire's debut album Pink Flag (1977) – "perhaps the most original debut album to come out of the first wave of British punk", according to AllMusic – contains songs that are diverse in mood and style, but most use a minimalist punk approach combined with unorthodox structures. "Field Day for the Sundays", for example, is only 28 seconds long.

Between 1981 and 1985, Wire ceased recording and performing in favor of solo and collaborative projects such as Dome, Cupol, Duet Emmo and several Colin Newman solo efforts. In 1985, the group re-formed as a "beat combo" (a joking reference to early 1960s beat music), with greater use of electronic musical instruments. Wire announced that they would perform none of their older material, hiring The Ex-Lion Tamers (a Wire cover band named after a song title from Pink Flag) as their opening act. The Ex-Lion Tamers played Wire's older songs, and Wire played their new material. Wire released IBTABA in 1989, a "live" album of mostly reworked versions of songs from The Ideal Copy and A Bell Is a Cup, heavily rearranged, edited, and remixed. A new song from the album, "Eardrum Buzz", was released as a single and peaked at number 68 in the UK singles chart.

Founding member and drummer, Robert Gotobed left the band in 1990, after the release of the album Manscape. After his departure, the band dropped one letter from its name, becoming "Wir" (still pronounced "wire"), and released The First Letter in 1991. There followed a further period of solo recordings, during which Newman founded the swim ~ label, and later Githead with his wife (ex-Minimal Compact bassist Malka Spigel), while Wire remained an occasional collaboration. It was not until 1999 that Wire again became a full-time entity.

With Gotobed back in the lineup (now using his birth name, Robert Grey), the group initially reworked much of their back catalogue for a performance at Royal Festival Hall on 26 February 2000. Wire's reception during a short tour in early May of the US, and a number of UK gigs, convinced the band to continue. Two EPs and an album, Send (2003), followed, as well as collaborations with stage designer Es Devlin and artists Jake and Dinos Chapman. In 2006, Wire's 1970s albums were remastered and re-released with the original vinyl track listings. Rumors abounded of a renewal of activity to mark the 30th anniversary of the band's debut as a four-piece and the re-release of Pink Flag. A third Read & Burn EP was released in November 2007.

This is the last session Wire did for John Peel – recorded on Sept 19, 2002 and broadcast on September 21st.

Play loud.



The Magic Numbers – Live At The Fez Club, Reading – BBC 6 Music –

The Magic Numbers, live at The Fez Club in Reading and recorded by BBC 6 Music in 2005. The Magic Numbers are an English pop rock band comprising two ” id=”86YOy6yYYru” vid=”86YOy6yYYru” id-for-player=”86YOy6yYYru” link=”/listen/the-magic-numbers-live-at-the-fez-club-reading-2005-past-daily-soundbooth-86YOy6yYYru/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
The Magic Numbers – Live At The Fez Club, Reading – 2005 – Past Daily Soundbooth The Magic Numbers – Proof that families who play together stay together.



The Magic Numbers – Live At The Fez Club, Reading – BBC 6 Music –

The Magic Numbers, live at The Fez Club in Reading and recorded by BBC 6 Music in 2005. The Magic Numbers are an English pop rock band comprising two pairs of brothers and sisters from Hanwell in west London. The group was formed in 2002, releasing their debut album titled The Magic Numbers on 13 June 2005 (around the time of this gig). Their follow-up album, Those the Brokes was released on 6 November 2006, The Runaway was released on 6 June 2010, Alias was released on 18 August 2014, and their most recent album, Outsiders, was released on 11 May 2018.

The Magic Numbers consists of Romeo Stodart (lead guitar, vocals), his sister Michele (bass guitar, vocals, glockenspiel), Angela Gannon (melodica, percussion, keyboard, vocals) and her brother Sean Gannon (drums).

On the back of releasing just one commercially available single, "Forever Lost", and even before their debut album was released, they played a sold-out show to a crowd of over 2,000 at The Forum in Kentish Town, London, where a limited number of live albums of the gig were released. They played their first live session on UK radio on the Dermot O'Leary Show for BBC Radio 2.

Their eponymous debut album was recorded in late 2004 and early 2005 at Metropolis Studios in London, and released on 13 June 2005. The album was produced and recorded by American producer Craig Silvey. Prior to release, only "Forever Lost" was promoted as a commercial single. This was followed up by later single releases "Love Me Like You", "Love's a Game" and "I See You, You See Me".

Following the release of their debut album, the remainder of 2005 and the first few months of 2006 were spent touring and promoting their album and singles, throughout the UK and United States, across Europe and also in New Zealand, Australia and Japan. Their Japanese tour was featured as a side documentary on Jonathan Ross's Japanorama.

They received a large amount of press attention for being the first band to walk off the TV show Top of the Pops after host Richard Bacon allegedly insulted their physiques (calling them "a big fat melting pot of talent" in their introduction) shortly before they were due to appear on the show to promote their single "Love Me Like You".

The album was shortlisted in 2005 for the coveted Mercury Music Prize.

Crank it up and relax.



Depeche Mode – Live At Dodger Stadium – Aug.4, 1990 + Shoreline Amphitheatre, Mountainview, S.F. – july 21, 1990 – Gordon Skene Sound Collection –

Depeche Mode this weekend, from their World Violation Tour, supporting their sevent” id=”3nhWal1iuQv” vid=”3nhWal1iuQv” id-for-player=”3nhWal1iuQv” link=”/listen/depeche-mode-live-at-dodger-stadium-1990-past-daily-backstage-weekend-3nhWal1iuQv/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Depeche Mode – Live At Dodger Stadium – 1990 – Past Daily Backstage Weekend Depeche Mode – World Violation Tour (photo: Anton Corbijn)



Depeche Mode – Live At Dodger Stadium – Aug.4, 1990 + Shoreline Amphitheatre, Mountainview, S.F. – july 21, 1990 – Gordon Skene Sound Collection –

Depeche Mode this weekend, from their World Violation Tour, supporting their seventh album release, Violator which came out on March 19,1990.

In a contemporary review for Melody Maker, music critic Paul Lester called Violator the group's "most arresting work to date." Tim Nicholson of Record Mirror was enthused by the stripped-down quality of the songs and called the album a "compromise between pop music and something a little more sinister. There are no noises out of place in this perfectly formed void". Ian Cranna of Q magazine found the music subtly clever and called it "a fine record which may not set the world on fire but deserves to singe it a bit." NME writer Helen Mead felt that the album "seems almost a step back, in that it's cleaner, sparser, more clinical" than Music for the Masses, but concluded that "there is security in the knowledge that everything is very clear cut in Depeche Mode's blue and white world." In a less enthusiastic review, Robert Christgau said that Depeche Mode conceded to fickle teenage demographics on Violator. Rolling Stone magazine's Chuck Eddy said that, despite its "ambient charm", Gahan sounds "slimy and self-involved", and in their attempt to make listeners dance, Depeche Mode "revert to morose pop psychology and then never tell you how come they're so sad." Entertainment Weekly's Greg Sandow felt that the album's varied music can "cast shadows, the significance of which can be hard to figure out".

In 2003, Violator was ranked number 342 on Rolling Stone magazine's list of the 500 greatest albums of all time and number 57 on the magazine's 100 Best Albums of the Nineties list. It has also featured on lists of the greatest albums of all time made by publications such as Q and Spin. In a retrospective review, The Austin Chronicle's Christopher Gray cited Violator as Depeche Mode's "career peak", while The Guardian's Dorian Lynskey called it the band's best album, "encasing Martin Gore's favourite tropes – guilt, salvation, obsession and the virtues of keeping your mouth shut – in production as black and shiny as a beetle's shell." Rolling Stone complimented its "heavier hooks, cinematic arrangements and sleek sonic detail". Sal Cinquemani of Slant Magazine called the album "a quintessential benchmark of pop, rock and electronic music." It is included in the book 1001 Albums You Must Hear Before You Die.

As a sign of their rising popularity when Violator was released, a signing party for fans at a Wherehouse record store in Los Angeles that was expected to draw only a few thousand fans ended up drawing around 17,000. The band were forced to withdraw from the event due to security concerns, and their early exit nearly caused a riot. Violator reached number 17 on the Billboard 200 year-end chart of 1990, and was the first Depeche Mode album to sell a million copies in the United States.

The success of Violator introduced the band to a wider audience, and this increased exposure led to their 1993 follow-up album Songs of Faith and Devotion debuting atop the charts in both the United States and United Kingdom. "Before this, we'd been going along quite nicely," recalled Andy Fletcher. "Then when it came to Violator we inexplicably went huge. It was just incredible, and in many ways we never really recovered from that. After that, we just felt like we wanted to muck it up a bit."

Here is their concert from Dodger Stadium, recorded by the band sound engineers on August 4, 1990 – also included in the last half (due to technical problems) is their performance from Shoreline Amphitheatre, in San Francisco on July 21, 1990.

Crank it up and enjoy.



Salako in concert – Recorded October 28, 1999 from the Royal Court at Sound City ’99 in Liverpool on October 28, 1999.

Salako in concert tonight, also from the Sound City ’99 festival in Liverpool, recorded by BBC Radio 1 and hosted ” id=”9CmDpEOcN6k” vid=”9CmDpEOcN6k” id-for-player=”9CmDpEOcN6k” link=”/listen/salako-in-concert-at-liverpool-1999-past-daily-soundbooth-9CmDpEOcN6k/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Salako – In Concert At Liverpool – 1999 – Past Daily Soundbooth Salako – Folk-flavored Psychedelia. (Photo: Ami Barwell)



Salako in concert – Recorded October 28, 1999 from the Royal Court at Sound City '99 in Liverpool on October 28, 1999.

Salako in concert tonight, also from the Sound City '99 festival in Liverpool, recorded by BBC Radio 1 and hosted by John Peel. General consensus of opinion puts Salako as one of the more quirky and idiosyncratic bands to come along during the 90s. Their label, Jeepster Records does nothing to dispel that, as is evidence by this excerpt from their bio:
"They started playing together in late 1995 as a four-piece featuring guitarists David Langdale and James Waudby, drummer Luke Barwell and friend Stu on bass. Through 1996, they performed numerous gigs at the Hull Adelphi, soon reaching the point where record companies started showing interest. Visiting AR men were, however, less impressed by their live playing than their recordings.
A change was needed. And it came at the start of 1997 when Luke to bass, Stu shifted to keyboards and Tommy Spencer was introduced on drums. In this vastly improved guise they snared the interest of Mark Jones at Jeepster Recordings sending him tapes containing two new songs every week. Before long, he had a backlog of around thirty tracks. “He thought there must be something there if we can keep throwing them out,” Luke recalls.
Finally, in November 1997, Jeepster tested Salako out in a studio in Edinburgh, an experience they found “a nightmare, total waste of time”. Jeepster realised the band worked better in Luke’s bedroom and so resolved to simply sign them and buy them some better equipment. In February ‘98 they finally signed a deal, starting recording their debut album on their new gear the very next week.

Recording took place over around eight consecutive weekends during which James commuted back from university in London (he eventually dropped out after a year). After the ‘Growing Up In The Night’ single, the album ‘Re-Inventing Punctuation’ was released in October 1998. It featured a set of 20 songs (chosen from over 40) inspired by such great things as the Hayley Mills-starring children’s movie Pollyanna (‘The Story Of Bill’) and acclaimed modern architects Future Systems (‘For Inspiration Only’). The sleeve featured shots from the countryside around Hull that has inspired the band (indeed, James and Luke both remain stubborn village dwellers).

A gig at the 12-Bar Club in London also turned rather colourful when, following their own performance, the venue’s landlady commandeered their drum-kit, continuing singing and playing her own songs long into the night.
When the band decided it was time to turn in, they had to start deconstructing the drum kit around her. “She ended up singing and just playing a kick drum, before standing up and going, ‘I’ve never seen anything like this in my life.’ And then the audience started shouting at us…”

The band ended their first year of recording with a Peel session, with the esteemed one suggesting that Salako were destined for world domination.

Second album ‘Musicality’ was recorded over late ’98/ early ’99 and adopted some unorthodox methods along the way. Some guitar parts were recorded on the beach, others in a local newsagents where James used to work. For the vocal to ‘Arts And Crafts’, James hid under a pile of coats to better capture the song’s theme of being confined in an attic."
You get the picture – okay, now hear the concert. As they were broadcast on October 28, 1999 – Salako at The Royal Court, Sound City '99, Liverpool.




Marine Research – In Concert at Liverpool Sound City 99 – John Peel – October 26,1999 – BBC Radio 1 –
Marine Research in concert tonight. Something rare. Recorded for John Peel (and announced by him) at the Liver” id=”V83Rp9uqej” vid=”V83Rp9uqej” id-for-player=”V83Rp9uqej” link=”/listen/marine-research-in-concert-1999-past-daily-soundbooth-V83Rp9uqej/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Marine Research – In Concert 1999 – Past Daily Soundbooth Marine Research – Short-lived but put a stamp on Twee that was all their own.




Marine Research – In Concert at Liverpool Sound City 99 – John Peel – October 26,1999 – BBC Radio 1 –
Marine Research in concert tonight. Something rare. Recorded for John Peel (and announced by him) at the Liverpool Sound City 99 festival from October 26, 1999.

Short-lived, Marine Research were the outgrowth, or the resurrection of, a previous band, Heavenly which was formed in 1990 and broke up in 1996 after the suicide of founding member, drummer Matthew Fletcher.

A comprehensive bio of the band appears on Elefant Records page, which pretty much nails it and explains everything:
"Although England's MARINE RESEARCH formed in early 1998, this band boasts an influential legacy of truly legendary proportions. In the beginning there was TALULAH GOSH, "crashpop" punk rock geniuses of the latter '80's who are widely referenced to this day as one of the 100 most influential underground bands ever. In 1990 HEAVENLY was born, yet another brilliant band instantly claiming extreme ecstatic reverence in the independent rock movement.

HEAVENLY set the standard for blissfully celestial upbeat pop meshed with deliciously harmonic vocal dynamics. After their untimely departure in 1996, underground music endured the loss of a truly original and talented act.

Never fear, because 4/5 of HEAVENLY comprise the revelation that is MARINE RESEARCH, a brilliant new perspective in modern pop music. Nods to HEAVENLY are present, but MARINE RESEARCH harbor an entirely new concept swinging with rich, aquatic clarity. The familiar ring of Pete's guitar chimes through, touches of French pop, subtle sounds which weave, almost subliminally, throughout the seams of their songs. Coupled with the beautifully juxtaposed harmonies of Amelia and Cathy, MARINE RESEARCH evoke the spirited sample-pop of BROADCAST and the colorful canvas of classic STEREOLAB.

“Sounds From The Gulf Stream” is a much more languid, complex, mature approach than anything HEAVENLY or TALULAH GOSH ever produced. MARINE RESEARCH have succeeded in threading a warmly oscillating tapestry of an album, music of immense crystal-clear purity, emulating the image of a lush underwater garden in a tidepool that shimmers with color, texture and mystery.

Elefant Records released the album in Spain, as it had been done with the latest HEAVENLY album and the compilation “This is Heavenly”. The band premiered the album in the opening night at Benicassim Festival in 1999, where they shared stage with Elefant band VACACIONES among others. Later on that year they came back to Spain to play a couple of dates: in Madrid they were supported by VACACIONES and LA PEQUEÑA SUIZA; in Barcelona by LOS FRESONES REBELDES, LA CASA AZUL and VACACIONES again.

MARINE RESEARCH don’t exist as a band anymore. Amelia, Rob and Dj Downfall have a new band called TENDER TRAP; in 2002 they release their first album, “Film molecules”. Peter plays with WOULD BE GOODS."

I believe this appearance at Sound City Liverpool was their last – if not the last, very close to the band's breakup. In any event, if you haven't heard this one before, or if you aren't familiar with Marine Research, have a listen.



Pavement – live from the Royal Court – Sound City ’99 – Liverpool – John Peel – October 28, 1999 – BBC Radio 1

Pavement to end the week. In one of their last concerts together before the split, recorded live from Royal Court at t” id=”53cNCwBl6yy” vid=”53cNCwBl6yy” id-for-player=”53cNCwBl6yy” link=”/listen/pavement-live-in-liverpool-1999-past-daily-soundbooth-53cNCwBl6yy/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Pavement – Live In Liverpool 1999 – Past Daily Soundbooth Pavement – one of the last gigs before their fabled breakup.



Pavement – live from the Royal Court – Sound City '99 – Liverpool – John Peel – October 28, 1999 – BBC Radio 1

Pavement to end the week. In one of their last concerts together before the split, recorded live from Royal Court at the Sound City '99 Festival in Liverpool and mc'd by the legendary John Peel – from October 28, 1999.

Since I ran an earlier Pavement concert in October and gave you all the background information on the band at the time, I don't need to add all that much here. Other than what happened during the years after the split and the eventual reunion:
On September 15, 2009, Brooklyn Vegan reported that Pavement were scheduled to perform multiple benefit show dates in New York City's Central Park from September 21, 2010. Official statements by the band, label, venue and promoter were released on September 17, 2009 confirming the reunion. The announcement included one concert in Central Park and the promise of a tour, but said that the reunion may only be a one-off event. It said, "Please be advised this tour is not a prelude to additional jaunts and/or a permanent reunion." Tickets for the first Central Park concert sold out in two minutes, leading to the announcement of three more shows at the same venue.

In an interview with Rolling Stone, Scott Kannberg spoke about the band's future: "We’ll do some rehearsing in the new year. The Central Park SummerStage shows, we’ll probably end up doing one or two of those. There’s festivals and stuff that we’re talking to, like Coachella. After that, anything that happens in the future is in the future." The band since confirmed a world-wide tour which started in Auckland, New Zealand on March 1 at the Auckland Town Hall, before heading on to Australia then heading to the UK, including the All Tomorrow's Parties festival in Minehead, Somerset (May 14 – 16) and several European shows. They also performed at the Coachella Valley Music and Arts Festival in April 2010, the Sasquatch! and Primavera Sound Festivals in May, the Toronto Island Concert in June with Broken Social Scene, Band Of Horses, and others, Open'er Festival, Roskilde Festival and Les Ardentes and Pitchfork Music Festival in July.

The band released a "best-of" compilation album in March 2010, entitled Quarantine the Past: The Best of Pavement. On June 24, 2010, Pavement performed at the Bob Hope Theatre in Stockton, their first-ever hometown show. Original drummer Gary Young joined the band for an encore, playing three songs from Slanted and Enchanted. Young also joined the band during six songs the next night at The Greek Theater in Berkeley.

In September 2010, Pavement appeared on The Colbert Report and Late Night with Jimmy Fallon. After concluding their proper US tour at the Hollywood Bowl on September 30, the band played the following night in Las Vegas at the Palms Casino as a part of the Matador 21 festival. During their set, Scott Kannberg kicked his monitor and smashed his guitar into his amp in frustration of not being able to hear himself while performing. NME noted the band had an "icy atmosphere onstage". The band honored a further two South American show commitments in November 2010.

In an interview with Las Vegas Weekly, Malkmus addressed the possibility of the band continuing beyond their 2010 tour. He commented: "No, we're sticking to our guns and what we promised, even though it has been fun. Anyone who bought a ticket to see us, I don't want them to have paid these slightly higher prices to see us and then have us right back there again—it's just disingenuous. And we want to keep it fun." In another interview with Spin magazine, Bob Nastanovich suggested it was a possibility that the band would play more shows, but ruled out new material as "Stephen does not write songs for Pavement anymore, or songs in the Pavement mindset."

Scott Kannberg joined Stephen Malkmus and The Jicks onstage at the El Rey Theater in Los Angeles on March 28, 2014, for an encore performance of the Pavement song "Stereo."

According to Bob Nastanovich, the members of Pavement approached Stephen Malkmus with the idea of a reunion tour in 2015 or 2016 but "it did not float."

On October 1 and 2, 2016 Stephen Malkmus and the Jicks performed at Spiral Stairs' 50th birthday celebration at The Chapel in San Francisco. On the first night Kannberg joined Malkmus and The Jicks onstage for four songs. The following night Kannberg played three more songs with the group, joined by Gary Young on the final two.

On September 27, 2017 BrooklynVegan reported that Kannberg addressed the possibility of a band reunion in an interview with the Italian radio station Radio Città del Capo. Kannberg mentions there has been some chatter about getting the band back together in 2019 to mark Pavement’s 30th anniversary: “We haven’t really discussed it, but there has been some talk about our 30th anniversary in 2019 maybe doing some stuff, so stay tuned!”

In an interview in May of 2018, Malkmus nixed the idea of a 30th anniversary reunion, saying, "No, that's not happening. It's not possible."

Thanks Wikipedia, as always.
Now crank it up and get ready for the weekend. You earned it.





Bleach – in session for John Peel – Dec. 2,1990 – Recorded Nov. 20, 1990 – BBC Radio 1 –

Bleach, their debut session for John Peel – recorded on November 20, 1990 and broadcast on December 2.
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Bleach In Session – 1990 – Past Daily Soundbooth Bleach – short-lived – railed at being considered Shoegaze – Profound. (Photo: Getty Images)





Bleach – in session for John Peel – Dec. 2,1990 – Recorded Nov. 20, 1990 – BBC Radio 1 –

Bleach, their debut session for John Peel – recorded on November 20, 1990 and broadcast on December 2.

Bleach were an indie rock band from Ipswich, England, usually considered part of the shoegazing genre. The band was formed in 1989 by brothers Neil and Nick Singleton (guitar and bass, respectively) together with drummer Steve Scott and vocalist Salli Carson. Their first release was the Eclipse EP in 1990, followed in 1991 by the Snag EP. The tracks from these two EPs were collected on an album in 1991. 1992 saw the release of the full-length album Killing Time, and the single "Shotgun", a surprising mixture of shoegazing and rap. In 1993 the band released two separate mini-albums, Hard and Fast. The group disbanded shortly thereafter.

This comes from their Facebook page:
Bleach came together in August 1989. Legend has it that Neil approached Steve in a local supermarket. He had approached Nick some years before, as they are brothers. Steve knew Salli and asked her to sing. She said no.
We recorded a demo tape after two gigs, got a record deal after six, and toured with Ride after 12.
Early promise was not fully capitalized on as our gear was impounded on a return trip from the US by our then manager, who promptly went to prison for stabbing a bloke in the head with a potato peeler.
Most of our success was Stateside, where we toured a number of times. We released four albums (ish), had two John Peel sessions, played 180 gigs and were darlings of the British music press.
We unofficially split in 1993 having run out of steam and needing to earn a salary (having all given up decent jobs to play professionally for 3 years). The fact that the US label decided to drop us didn't help either.
Now – crank it up and listen to what you might have missed the first time around.





The Suncharms – Red Dust – New Single – released October 2018 – Slumberland Records
The Suncharms new single to kick off the week. Last year when I ran a Suncharms Peel session from 1992 I found ou” id=”66rjSueTz5M” vid=”66rjSueTz5M” id-for-player=”66rjSueTz5M” link=”/listen/the-suncharms-red-dust-2018-past-daily-nights-at-the-round-table-66rjSueTz5M/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
The Suncharms – Red Dust – 2018 – Past Daily Nights At The Round Table The Suncharms (in 1991) – Further evidence you can't keep a good breath of fresh air down.





The Suncharms – Red Dust – New Single – released October 2018 – Slumberland Records
The Suncharms new single to kick off the week. Last year when I ran a Suncharms Peel session from 1992 I found out the band had split shortly after. It was certainly a shame, though not an unusual story; bands split up for any number of reasons and you're left with their legacy to ponder all the what-ifs and read about where they are now, or if they left the music business altogether.

However, a few weeks ago, I got an e-mail from lead singer Marcus Palmer who informed me that in fact, the band got back together and were recording, gigging and getting the word out that The Suncharms were back.

That was very good news to hear, because I thought The Suncharms were one of those bands that had more than one compilation album's worth to say and more than a four year lifespan to show for it. So, lucky us – word is they are currently gigging and in the process of recording what will be their second album (or debut album if you don't count the s/t compilation that came out in 2016 as an honest-to-god debut), released through Slumberland Records, an Indie label out of Oakland.

In the meantime, saunter over to Soundcloud and pick up their single (which Red Dust is the A side), and fall by their Facebook page to keep tabs on what they are up to and when the album is slated to come out.

And while you're doing all that, sit back and have a listen to what they are up to now. I was convinced they had something to say the first time around – I'm pretty much certain they still have something to say now.

Crank it up.





Orange Juice – In Session for Richard Skinner – January 9, 1981 – BBC Radio 1


Orange Juice, as we head into the first of three holidays. Recorded for the Richard Skinner program at BBC Radio 1 on Januar” id=”50rD39JSncj” vid=”50rD39JSncj” id-for-player=”50rD39JSncj” link=”/listen/orange-juice-in-session-1981-past-daily-soundbooth-50rD39JSncj/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Orange Juice – In Session – 1981 – Past Daily Soundbooth Orange Juice – Not really aware of their potential or influence on the early 80s.





Orange Juice – In Session for Richard Skinner – January 9, 1981 – BBC Radio 1


Orange Juice, as we head into the first of three holidays. Recorded for the Richard Skinner program at BBC Radio 1 on January 9, 1981. Something of an enigma here in the U.S., in the UK, Orange Juice were a critically acclaimed band, even though they had one chart hit. The trouble was, the band weren't aware of how big an influence they would become and how they were one of the pioneers of post-punk Indie.

The Guardian has a take on it:
Like their heroes the Velvet Underground, Orange Juice were one of those bands whose potential was only ever partially realised, but whose fearless originality bore an influence on guitar music that was thoroughly disproportionate to the number of records they sold. Without Orange Juice’s assembly of Chic guitars, stomping Motown beats and choruses and mismatched camp clothing – from Davy Crockett hats to Boy Scout shorts and plastic sandals – and you can imagine how all that went down in the macho, very working-class Glasgow music scene of the late-1970s (chants of “Poofs! Poofs! Poofs!” became familiar at gigs) – post-punk would have missed out on one of its wittiest and most tuneful agitators. Without the treacle-voiced, bequiffed and gleefully absurdist ways of singer, songwriter, guitarist and provocateur Edwyn Collins – indie’s original crooner, whose still fruitful solo career has produced more than a few cherished moments of its own – there’d arguably have been no Morrissey, and goodness knows how many young musicians with an instinct for the funny, the dismal, the ridiculous and the profane might have wilted on the vine. As one of four Orange Juice singles released on Glasgow’s legendary and legendarily dysfunctional Postcard Records, August 1980’s Blue Boy was atypical of their early tangled jangle of a sound, but it packed a powerful wallop. It’s a blistering, Buzzcocks-indebted flash of excitable energy beginning with seven seconds of speed-fuelled martial drumming and an opening line that leaves you in no doubt you’re listening to a lyricist of real fluency and wit (“When he spoke, she smiled in all the right places”). Culminating in some fantastically cackhanded and out-of-tune guitar soloing, it’s an indecently exciting piece of punky guitar pop, and as apt a place as any to begin a root through some of the best bits of both Orange Juice and Collins’ oeuvre.

Orange Juice’s transfer to Polydor did not see the fulfilment of their early promise. The magic was starting to wane, and even by 1982 they felt behind the times, their shtick having been shamelessly, if slickly, plundered by knockoffs such as Haircut One Hundred. But by positing a more polished take on the Postcard sound, You Can’t Hide Your Love Forever – which was funded by Rough Trade, and originally slated as a Postcard release (it even had a catalogue number) – stands the test of time, and is certainly the finest of the four Orange Juice albums. Felicity is comfortably one of its standout tracks, a two-and-a-half-minute head rush of frothy guitars, whimsical whistle blows and ringing piano capped with a fabulously gauche Collins vocal. Written by guitarist James Kirk – which explains the weird William Shatner reference at the start of The Wedding Present's frantic cover version – it had first been released, in a live version, on a 1979 flexi-disc. But the later album version is the definitive one. Winding up with world-weary “wo-ah-woahs”, Felicity is an ode to illusory pleasure and – a familiar Orange Juice trope – sticking steadfastly to one’s principles (“Within remain unchanged / The things for which we strive”), concluding with a foot-stamping, sardonic refrain of “happiness, happiness, happiness”. It’s just that.
I remember only hearing bits and pieces about them at the time. I don't think they ever toured the States. Here is their session for Richard Skinner – in case you remember, or if you forgot or if you are just finding out now.

In any case, crank it up and enjoy.



Marble Arch – 3 Songs – 1. I’m On My Way (a) – 2. A Grave – 3. Stone Keeper (b) – (a) 2018 – (b) 2015 – Géographie Records

New music on the horizon tonight. You always know you’re doing at least something right when a record compan” id=”NAKxiLMjXN” vid=”NAKxiLMjXN” id-for-player=”NAKxiLMjXN” link=”/listen/three-by-marble-arch-20152018-past-daily-nights-at-the-round-table-NAKxiLMjXN/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Three By Marble Arch – 2015/2018 – Past Daily Nights At The Round Table Marble Arch – French Psych mixed with Shoegaze – Mon Dieu!



Marble Arch – 3 Songs – 1. I'm On My Way (a) – 2. A Grave – 3. Stone Keeper (b) – (a) 2018 – (b) 2015 – Géographie Records

New music on the horizon tonight. You always know you're doing at least something right when a record company contacts you and wants your feedback on an artist. In this case, it was Marble Arch, a French band closely associating themselves with Psych and Shoegaze, but doing it in the inimitable French way.

Marble Arch, a French band with a very UK sounding name, have been around for a short time. And like most all bands from overseas, particularly ones not from the UK, getting your message out is a bit harder than others much of the time. Part of it used to be the language barrier. But as we've seen in recent years, most artists who are looking for an international audience sing in English, and its paid off for many. But there's still the part about being seen and heard – and sometimes labels or management, or the artists themselves knock on doors and make contact with as many stations, bookers and bloggers as they can to help the process along.

It's the way of the future and it has worked much of the time. It also helps if the band or artists in question have something to say and have put together some strong material. I can say that's the case with Marble Arch.

This comes from Géographie, their label:
Having perfectly digested shoegaze and dream pop's secrets, their music is oriented toward childhood and experimentation. After The Bloom of Division, a first well noticed effort of in 2015, the Parisians will set the table one more time with Children of the Slump, a highly anticipated second album which will be released early 2019 on the label Géographie.
Or as the band put it on their Bandcamp page:
Initially it's an intimate approach, which gradually grows and reveals itself. Not claimed influences, no type assigned, just the sound of childhood, play, experimentation.
The opening track is the new single, from the forthcoming album, Children Of The Slump, slated for release in February 2019 – the following two tracks; A Grave and Stone Keeper, come from their debut album, Bloom Of Division from 2015.

I found their material to be dreamy and engaging and certainly worth more than a few casual listens. It would be nice to catch them in a club or concert setting, so maybe a foray to SXSW next year might be a possibility. In the meantime, here is a taste of what Marble Arch are up to now, and a sample of what they were up to when they issued their debut album.

Good stuff all around – check out their Facebook page and get acquainted – you'll be hearing about them sooner or later.

In the meantime, crank it up.




Soeur – in concert at Marrs Bar – Worcester – Feb. 16, 2016 – Gordon Skene Sound Collection –

Bristol Indie/Grunge upstarts Soeur for a Thursday night/Friday morning. Live at Marrs Bar in Worcester on February 16, 2016.

To get an” id=”5XwuQv4uFOm” vid=”5XwuQv4uFOm” id-for-player=”5XwuQv4uFOm” link=”/listen/soeur-in-concert-marrs-bar-worcester-2016-past-daily-soundbooth-5XwuQv4uFOm/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
Soeur – In Concert – Marrs Bar – Worcester, 2016 – Past Daily Soundbooth Soeur – Bristol to the rescue – photo ©-Ania Shrimpton




Soeur – in concert at Marrs Bar – Worcester – Feb. 16, 2016 – Gordon Skene Sound Collection –

Bristol Indie/Grunge upstarts Soeur for a Thursday night/Friday morning. Live at Marrs Bar in Worcester on February 16, 2016.

To get an idea of what we're diving into – here's a review of a recent gig at home-town be-all/end-all nightspot The Louisiana last year, as reviewed in Tap The Feed by Mustafah Mirreh:
With today’s horrible news in Westminster, a time for support and togetherness couldn’t be more important. Certainly a local hometown show would help settle nerves and cheer up spirits, and an exciting one for sure as Bristol based rock three-piece Sœur headline the Louisiana to celebrate the release of their debut EP What Separates Us.

Trio Anya Pulver, Christina Maynard and James Collins have built a sturdy reputation over the last few months with their refreshing guitar rock sounds – directly in-your-face approach with dual vocal harmonies, slick drumming and nail-biting rhythms that pack a wallop. So to no surprise tonight’s event sold-out as numbers gather to witness the in-form band in full force.
Immediately Sœur launch into current single ‘Put You On’ from the new EP, sounding even bigger and stronger live. Within seconds a mosh pit erupts and everyone is in full swing to the sweaty mayhem that’s about to happen. Towering riffs and punchier lines continue on ‘Just Yet’, and even more so as Anya and Christina’s intertwining vocals result in an almost soulful yet hypnotic sensation while James’ composed and solid drum work holds everything together for an exhilarating display. Even among technical difficulties as Anya’s pedal went out, Sœur did not fault as their confidence shines through on stage – evidently so with their thrilling movements on the guitar and fearless connection with the crowd (Anya jumps into the audience for a brief solo). Turning it up a notch, the band play both ‘Pass Out’ and ‘No Fire’ – receiving a huge reception before closing with the EP’s final track ‘Slow Days’.

Whether it was the events that incurred in London or Sœur’s hard-hitting lyrics, tonight certainly struck home and reminded us on how great Bristol music is and also to cherish those closest to you. Sœur are one of a kind, and alongside Armchair Committee and Dead Royalties, who also produced storming live sets earlier on are all proudly keeping rock music alive.
BTW: The "horrible news" was the terrorist attack which took place in London at Westminster in March of 2017.

Crank this one up – way up.



The RPMs – Live At Marrs Bar, Worcester – November 9, 2017 – Gordon Skene Sound Collection –

The RPMs tonight – Indie from Brighton, live at Marrs Bar in Worcester, November 9,2017.

The RPM’s emerged from the Brighton scene t” id=”4nZQxoJWTO2″ vid=”4nZQxoJWTO2″ id-for-player=”4nZQxoJWTO2″ link=”/listen/the-rpms-live-at-marrs-bar-worcester-2017-past-daily-soundbooth-4nZQxoJWTO2/” is-authorized=”false” custom-styles=”margin: 0 24px 24px 0;”>
The RPMs – Live At Marrs Bar, Worcester – 2017 – Past Daily Soundbooth The RPMs – Or as BBC 6 Music would say: "The Future of Indie"



The RPMs – Live At Marrs Bar, Worcester – November 9, 2017 – Gordon Skene Sound Collection –

The RPMs tonight – Indie from Brighton, live at Marrs Bar in Worcester, November 9,2017.

The RPM’s emerged from the Brighton scene that has also birthed contemporaries Black Honey and Fickle Friends. The band was formed in Dorset by childhood friends Jack Valero (lead vocals, guitar), Callum James, (drums and backing vocals). Following a move to Brighton they were joined by Miguel Cosme on bass and gained early momentum in 2016 for their debut EP, ‘Digital Disobedience, followed by their second EP in 2017, ‘Agents of Change’ released via Xtra Mile Recordings. Inspired by the support of singles ‘Oh My God’and ‘Things I Forgot To Do’,TheRPM’s expanded to a five piece, adding in Chris Bowden on keyboards and Ollie Summer on lead guitar to create a larger live sound and carve out a more ambitious sonic direction. Aided by in demand producer Gethin Pearson (Mallory Knox/Charli XCX) ‘Let Things Happens’ flows effortlessly into their steadily evolving plot together with other significant milestones: Their London debut for Abbie McCarthy – Good Karma Club, their SXSW debut; being chosen by Huw Stephens as one of his Alternative Tips for 2018; their first Radio X-Posure session and inclusion on R1’s Best Of BBC Introducing Playlist. The RPMs are set to tour extensively throughout Spring and Summer in support of ‘Let Things Happen’ and their upcoming third single for 2018, ‘Gotta Let Go’ slated for release in September via Xtra Mile Recordings.

With much good press and a growing following, it would be safe to assume The RPMs are heading in an upwards direction – here's a sample of what the various outlets and media are saying, the past few months:
“Ahh, that’s a banger that!”, Huw Stephens, BBC Radio 1 “A bunch of lads with an ear for a great tune", Steve Lamacq, BBC 6 Music “Played more times on BBC Introducing than I've had eggs for breakfast ”, Dave Warren, BBC INTRO SOUTH Synth driven indie – pop DORK “There’s a lot of love from here,” Casey Heyburn, BBC INTRO SOUTH “I think they are set for a good 2018, tune after tune, something you just can't resist”, John Kennedy, RADIO X “That sound is the best indie from the 90's with a modern take on it, a future sound of indie, "Chris Hawkins, BBC 6 MUSIC
New single ‘Let Things Happen’ raises the bar significantly for this young Brighton band. Following the success of their previous single, ‘Your Ghost’, ‘Let Things Happen’ is cast firmly in the mould of classic indie pop, fusing contemporary songwriting sensibilities with the fluttering sounds of lush keyboards interwoven with melodic, ringing guitars. Speaking of the new single, singer Jack Valero said, “It’s written about how sometimes in life you just have to sit back and go with the flow and is very much based on where we are as a band right now. You face many difficult obstacles in life especially when you’re in a band and it’s all about how you overcome them and carry on, just like it says in the chorus ‘Pick up and start again’. It’s a positive message to not allow yourself to be defeated and also to remember sometimes to let go and live in the moment instead of trying to control it.

If you missed them at SXSW and are wondering when they are coming back to the States anytime soon – no idea, but in the meantime check out this club gig from last year and maybe it will whet an appetite.

Crank it up.
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