Another Short Call Show: BISHI
Written by: David Harrison
So you can’t afford Manu Chao, but still want some continent-crossing modern masterpieces in the next week? Well, Bishi is playing the Camden Monarch on December 10, and it’s only £4 with a flyer.
The Monarch used to be the Moon Under Water or somesuch, but it will be home to Bishi next month as she celebrates a year that has seen her wangle her way onto Jonathon Ross, The Culture Show and Des O’Conner Tonight. Yes, DES O’CONNOR TONIGHT.
She is trying out her new material on the sssh, so pop along and have a look.
Manu Chao announces surprise London show
Written by: David Harrison
Apologies to anyone reading this that doesn’t live round the corner to the Kentish Town Forum in north London, but Manu Chao has just announced a surprise show there for December 16. The last time Manu Chao played London, he sold enough tickets to pack out Wembley Arena, and for my money they were the was the only band putting in the effort at Glastonbury 2008.
Tickets are here
Tickets are here. I’d get a move on if I were you.
I Set My Friends On Fire: the band you never heard of, are coming to sellout a festival near you soon
Written by: David Harrison
So: the design is perfect, the name and logo are excellent. It seems they have fourteen billion MySpace listens already and 100 date tour. Already no doubt sold more records then Guns N Roses and The Killers combined. And nobody has ever heard of them. I can already see them on main stage at Download or Bloodstock or somesuch, book them up now.
Music Towers can only assume thar this summer, I Set My Friends On Fire will come over here to blow our tiny little minds, with their accomplished mix of hardcore electro, High School Musical pop, and their comedic yet postive outlook.
Here is them putting all of that into practice, in a YouTube video masterclass:
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VIDEO: The Count & Sinden ft. Rye Rye - Hardcore Girls
Written by: David Harrison
This should make me feel old - it wasn’t like this in my day. I should talk at full volume in a grumpy old white man voice, saying “This isn’t real music. Real music is Soundgarden or Slayer’s ‘Angel of Death’, or Led Zeppelin‘.
I should be dismissing this as “Yes, very good, but not my sort of thing”. <aybe I should dislike it for simply being on the same label as Emmy The Really-Not-Very-Good-Let-Alone-Great.
I would say all those things…but i am too busy grooving. Someone put me in the club, this move is too fresh to waste!
Seems they are doing a London residency, down Old Street way -
The Count & Sinden present:
MEGA MEGA MEGA
With guests:
Nov 27th – Skream, Emynd & Bo Bliz (Philly), Frankmusic
Dec 4th - Chase & Status, Example, Mystery Jets DJs
Dec 11th – Sunship, Mistajam (BBC 1Xtra)
But don’t go to the one on the 11th - come to our Beef Warehouse party instead.
EP: Kono Michi & The Stone Ghost Collective - ‘The Grey Eulogy EP’
Written by: Hugh Platt
I love Christmas. Society takes a step back from all the bollocks it preaches for the rest of the year (Don’t Drink So Much. Don’t Eat So Much. Stop Snogging Random Strangers You Meet In the Pub. Be Miserable. Be Quiet.) and instead everyone acts like they should (Drinking Too Much. Eating Too Much. Enjoying Mistletoe Too Much. Having Fun. Singing Songs). Big Coats! Mulled wine! Presents! The slim hope of snow! Dr Who Xmas Specials! And the record industry slowly grinding to a halt as everyone starts chucking up Best Ofs and re-releases for the Christmas rush. Meaning we get to spend more time with our feet up, listening to the records we think we like, rather than those we think we ought to cover. Yes, Christmas is a good thing.
Another reason to celebrate this Winter (well, if you live in The North, that is), is because Kono Michi and The Stone Ghost Collective are embarking on a mini-tour to promote their new collaborative release, The Grey Eulogy EP. Four tracks book-ended by covers of ‘The Look Of Love’ and ‘Baby, It’s Cold Outside’, it’s at once both wintry and warming. With both acts solid staples of Shark Batter Records, their covers were never going to be straightforward. ‘The Look Of Love’ slips from a whispering murmur to the edge of ghostly nervousness, as opposed to the retching sweetness of the Bacharach original. ‘Baby, It’s Cold Outside’ pairs an unexpected outback twang with Kono Michi’s violin, and the addition of Brendan McAndrew of The Stone Ghost Collective on vocals - sounding like a young Tom Waits if he existed solely on a diet of honey and lemon - suprises us by finding a new spin to put on a song we thought well and truly spun out.
Kono Michi & The Stone Ghost Collective hang out and practice in France and Switzerland:
It’s with the two original tracks that the EP crackles and pops though. The title-track, described by the band as a “death-bed ballad”, mixes maudlin lyricism with a warmly uplifting melody, mulling over its sense of mortality. It feels right that we’re listening to it now, during the onset of Winter, with the song feeling delicately crisp, rather than glum and grey.
‘War Correspondence’ reminds us a bit of long-forgotten LA-electrolocists, Snake River Conspiracy¸ only without that boring obsession with making bad covers of The Smiths. Combining a killer chorus of “You lie on your back / it’s a mortar attack”, it manages to be robotic without having to sound like a cheap automated sex-product (Goldfrapp: take note). It’s addictive like an arcade game that you can’t stop pumping pound coins in till you’ve blown your bus fare home. A genuine contender for Track of the Year.
‘The Grey Eulogy EP’ by Kono Michi and The Stone Ghost Collective is out now on Shark Batter Records. They’re on a micro-tour of the north of the UK from tomorrow - get yourself here to see if there’s a date near you.
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Live: The Sea @ The Dublin Castle - 21 November
Written by: David Harrison
In the 20 years I have known him, my mate Tom has never once said:
“So-and-so are playing the Dublin Castle - want to come along?”
“Yep, I will meet you there,” I reply, somewhat stunned.
The band in question is The Sea, playing at the Dublin Castle in Camden - and Tom loves them. Their search engine-proof moniker means I walk blind into the venue, and was pleased to see nothing but a guitar amp and drumkit on stage. The Sea are just one man bashing pigskins, and his brother twisting strings on a Rickenbacker plugged into a scuzzy vox.
We later discover that not five minutes before they are due on stage, a fellow cornered the guitarist, Peter Chisolm in the toilet. “Give me coke, skinny indie kid,” he ordered. Upon finding that this skinny indie kid had none he proceed to punch him a few times in the face.
Which is why a dazed Peter Chisholm joins his brother, Alex, on stage. “This song goes out to the man who just gave me a black eye’” he syas, and lunges into a guitar frenzy. A hard-hitting bluesathon of riff rings out, and the room fills up. A lot of miserable old blokes shuffle around at the back, and optimistic teenage girls bounce around up front - always a sign of record company interest (or a paedophile ring).
It’s only 8:30pm, and The Sea are shamelessly riffing and drum filling away. If I’m being lazy, it is quite like early White Stripes, before Meg had that breakdown, and Jack turned into a humourless git that wrote wishy washy Bond themes. They have calls of Dan Sartain, Robert Johnson, and Led Zeppelin’s ‘Moby Dick’. The set creates a warm feeling like sausage & mash might, but instead it is made up of guitar riff porn and killer drum fillers.
However, listening to their MySpace page the next day, I’m not feeling the same raw fuzzed-out feel I got from the live show. It feels all a bit indie-twee, and seems to be missing its critical edge. Someone put Albini to work on it, and the world shall see peace in our time.
For more noises from The Sea, go check out their MySpace page.
Live: Kenan Bell @ Hoxton Bar & Grill - 19 November
Written by: Hugh Platt
I know fuck all about hip hop. Okay, so I’ve got a few albums lying about here and there from acts both American and British, but I’d be a big fat lying fucker if I pretended they weren’t tokenistic inclusions in my record collection. There’s some Task Force nestling up against some Phi Life Cypher, but it’s got an inch of dust on it. It’s just stuff to play at parties when you want to mug off the responsibility of DJ’ing to go drink’n'flirt with the hot girls in the kitchen.
I’m might know jack shit about hip hop, but I know when I’m having a good time. And on Wednesday night at the Hoxton Bar & Grill, that’s exactly what Kenan Bell made me have. It’s hard to enjoy anything at the Hoxton Bar & Grill. It has the stupidest name of any venue ever. It has the worst bar staff and bar prices in London, a city famed for it’s shittiness of both. It’s always too hot inside, the venue always feels too empty as the ceiling is far too high, and the tiny stage that’s too high up never does anyone any favours.
It certainly doesn’t Kenan Bell and his band any at first once they take to. Intermittently pleading and berating the crowd for not gathering at the foot of the stage, and about how in debt this tour has made them, the Californian and his cohorts seems somewhat indifferent of the fact that London is crunching to a recession-frozen halt. We’re all broke these days, chaps, and moaning about how hard done by you feel will hardly engender you to a be-credit-crunched crowd.
Watch Kenan Bell and his giant sunglasses playing performing ‘Enjoy’:
They’re saved by a gradually swelling crowd, and the fact that there’s talent in his songs, rather than the sub-standard self-aggrandisement I expect from hip hop. Tracks like ‘Save Your Life’, ‘Good Day’ and ‘Enjoy’ manage to be engaging without being unbearably “positive”. You know what I mean - those positive-thinking positive-message types who seem to see the stage as theit platform to preach from, rather than to entertain from. Kenan Bell sidesteps this with hooks that still feel like they’re tugging on my ears when I’m on the tube ride home.
Seeing as the biggest impact the UK urban scene has had on me recently is that they had to abandon their own awards ceremony descended into a mass brawl, it’s a little sad that I’ve had to look across the Atlantic to find something that’s made me want to investigate hip hop again. But if it means exposure to more acts like Kenan Bell, well, I’m all for it.
For more info on Kenan Bell, go check out his Official Website. Alternatively, go check out his MySpace page.
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Something For The Weekend: White Lies
Written by: Hugh Platt
I first heard this track, White Lies’ forthcoming single, ‘To Lose My Life’, on Steve Lamacq’s BBC 6Music radio show last night. It was one of the tracks being reviewed as part of Lamacq’s Round Table feature, where musicians and celebrities listen to new releases and give their two-cents on them. We were quite taken with it, as was the awesome Marcus Brigstocke, who’s love of The Cure has always made him a bit of a hero here at Music Towers. It wasn’t universally popular though - Huey the bore-off from The Fun Lovin’ Criminals thought it “sucked”, but then he hasn’t made a decent record in over a decade. It’s easy to see why he’d be bitter about a track as awesome as this.
So, to ease the pain of the end of Friday in the office, why not take a couple of minutes to watch the video. It has soup in it. Amazing:
‘To Lose My Life’ (the single) is out on 12 January 2009, with an album of the same name out a week later. Both are being released by Fiction Records.
Mime That Tune
Written by: David Harrison
Since when did today become a music quiz day? When we found absolutely nothing of interest to rant about, that’s when. Over at our friends site, The Quietus, they have made, erm, they made…
Well, quite frankly, the most difficult game since Expert Level on Guitar Hero 2. If you’re interested in proving your album cover knowledge, or just like skinny men in Lyrca, give it a go.
Courtesy of the Quietus
Venn That Tune
Written by: David Harrison
If you like Venn Diagrams, you will like this. Some clever man called Andrew Viner worked out that everyone likes music, everyone likes Venn Diagrams, hence his just-released book, Venn That Tune.
Venn diagrams, or set diagrams, show all hypothetically possible logical relations between a finite collection of sets. Apply that theory to pop hits, and you’ve got yourself chunk after chunk of 30 second amusement.
Billy Ocean - ‘When the Going Gets Tough, the Tough Get Going’
The Hollies - ‘He Ain’t Heavy, He’s My Brother’
Brian Adams - ‘(Everything I Do) I Do It For You’
The Beatles - ‘All You Need is Love’
Elvis - ‘A Little Less Conversation’
Cat Stevens - ‘The First Cut is the Deepest’
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TOTP is back….but just for Christmas
Written by: Shokrates The Finger
Silly old BBC. They really don’t “get” how to do music on television. Apart from Jools-bloody-Holland and that abominable Switch yoof-ting of theirs, their schedules are alwatys a bit barren. Okay, so there’s a documentary every now and again, but it’s all a bit tokenistic.
Which is why we’re heaving a big sigh of relief here at Music Towers now the Beeb has announced there will be a Top Of The Pops Xmas Special. The corporation had previously decided against giving the once-mighty pop show its traditional Christmas Special, a tradition that continued last year even though the weekly format of the show ended in 2006.
Simon Cowell, the power behind the X-Factor throne, had offered to buy he dormant brand off the BBC, which helped generate pressure from everyone from MPs to bands to the public for the show to get its Xmas Special banck. So that’s one good thing we can thank the high-waisted trouser’d one for.
TOTP will also get a New Year’s Eve show for the first time ever. DOUBLE-WHOOP.
Why is it sold out already? The Ticket Con
Written by: David Harrison
The scenario: a show goes on sale. Even though you are all over your phones and the relevant website, all the tickets are sold out. Is it just a lottery? They can’t possibly have sold those 50,000 tickets that quick. How did it become ”sold out”, the very second tickets went on sale? I don’t understand.
And if they’ve “sold out”, how come there are loads of tickets though on those Secondary Ticketing sites such as Viagogo and Seatwave already?
Are there really that many people just buying to sell? And how come they can make everything work so fast? It is almost as if the promoters of the shows are giving large allocations directly to the Secondary Ticket sites.
Almost? Unsurprisingly a lot of them are!
Bit depressing isn’t it? In the search for new revenue streams, agents (who are acting on behalf of the artist) and promoters are giving allocations of the big live shows straight to the secondary ticketing market. If you didn’t know already, the “secondary ticketing market” is pretty much a tout market, where you auction off your tickets to the highest bidder.
Bah! What the **** is that about
The live industry has been in a boom-time for the last ten years, and this is exactly the sort of behaviour that will kill the goose that lays this particular golden egg. Remember £16 CDs? Remember the record companies burying Napster? Live shows aren’t an invincible source of cash - we might just stop buying tickets.
But seeing as the Government has bigger fish to fry, ticketing will carry on developing its own code of conduct, rather than having one imposed upon it. and it will probably be increasingly exploitative, as this looming reccession kicks in.
Whta do we think? It should be made public knoweldge exactly what allocations are going where, as at the moment there is a big silent con going on; a con that is rotting away at the core of the live scene.
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Listen to Chinese Democracy - NOW
Written by: Hugh Platt
A week ago we heard Chinese Democracy for the first time….and now you can too, before the album is released in stores next week. Because in this world of shady internet backroom deals, the whole record is now available to stream over on MySpace.
Click here to hear Axl’s Roses new baby.
Let us know what you think - did you disagree with what our resident word-monkey had to say, now that you’ve had a listen? WE WANT YOUR OPINIONS.
Single: Selfish C**t - ‘England Made Me II’
Written by: David Harrison
Selfish C**t never had a name for radio. It was always such an abrasive name that I found it was difficult to them seriously, dismissing them as a bunch of attention-seeking skinny-jeans types.
But ‘England Made Me II’, their latest single, is just too bloody good. First up (thank God), it isn’t a cover of the Black Box Recorder song. Instead it kicks off with a US-style preacher vocal that doesn’t reconcile with the title at all, but then the car-crash smash of guitars kick in and send you flying into the nearest ditch.
Calling on the ghost of McClusky, 80’s Matchbox, The Cramps, Sex Pistols and all things that are fucking great in low-fi rock n roll, Selfish C**t have made a bastard brilliant record. It might just be one riff all the way through, but who gives a toss? It’s better then that 700 billion dollar Chinese Democracy record, and probably only took about ten minutes to record as to boot.
Splendid - carry on.
‘England Made Me II’ by Selfish Cunt is ount on December 1st on Sparrow’s Tear Records. For more info, go check out the band’s MySpace page.
What do you mean, you haven’t seen…The Computers
Written by: Hugh Platt
We here at Music Towers are big fans of The Computers. We’ve caught them playing live a couple of times, and when we got hold of their debut mini-album, You Can’t Hide From The Computers, a few weeks back, we were more than a little impressed.
Well, on last week we busted down to the Camden Barfly to catch the boys play a killer set to mark the release of their mini-album. We brought along our trusty (ie, creaky and useless) video camera, and before the show we pinned down bassist Nic Heron (that’s him on the left) and drummer Will Wright (on the right) for a chat. In one of the Barfly’s gloomiest back passages. No, that’s not a euphemism, you filthy-minded oiks.
Anyway, why not busy yourself for the next three minutes with the end result?
We’ve got some more live footage, if that’s your cup of tea. Let us know if you want to see more.
‘You Can’t Hide From The Computers’ is out now on Fierce Panda. For more info, tour dates, that sort of thing, go check out the band’s MySpace page.
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Songs In The Key Of Hanukkah
Written by: David Harrison
Why are all those dudes in Golders Green in such sharp suits? Because they are all in carnival-ska, qausi-religious, Gnarls Barclay-type acts of course!
This track, ‘Dreidel’ is really nice, a big latin dance behind the floaty feel, and a big call-to-arms vocals to boot. Featuring Jules Brooks and MC Y-Love - whoever they are - it’s been put together by Erran Baron Cohen, brother of Sacha Baron Cohen. Yes, Börat. If there is any sibling rivalry, Erran - you have way more class.
It seems to be off an album, Songs in the key of Hanukkah, where bunch of hipsters making Hanukkah songs. Do you have to buy presents at Hanukkah? Maybe I will convert.
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Interview: Naughty Jack is tempted out of his castle of solitude.
Written by: David Harrison
Naughty Jack, aka Adam Morley, is reclusive character. Earlier this year, he popped his head out of his shell for a spot of promotion of his album, Good Times, and to do a few appearances on the festival circuit. In turn, this generated a maelstrom of interest and gig offers that were met with polite declines. Why? Because Naughty Jack chose instead to rewire his house and consider the next album. Music Towers caught up with him and quizzed him a bit.
So it if it isn’t too obvious, what is Good Times about?
“It’s about nostalgia, which is a feeling I really enjoy; when you get a connection to all the good things that have happened to you, or even not so good things. All those things are part of you, and it’s important to feel them. Music does that for me and helps me get clear my head of any cloudy, stressy, numbness that might be in my head from everyday life.
“The track ‘Good Times’ is about me and my friends sitting in the sunshine in our old age, after all the business of life has ceased to matter, looking back at our youth when we didn’t give a shit.”
There are numerous references to alcohol on the record - do you have something that you want to tell us?
“Good alcohol helps me to get in touch with what’s important in life. It’s not the alcohol that I’m referring to, it’s the urge to suck up life and make the most of it while you can.”
Good Times, are you sure you are qualified to be a blues singer?
“No. I’ve never claimed to be a bluesman. I’m coming from a different place in a lot of ways. If I was to go around trying to be a bluesman, it would be really embarrassing for all involved. I haven’t really got the blues, I’m really pretty happy. If something bad happens, I don’t tend to dwell on it. But I’ve loved blues since I was a boy, so the influence is bound to be there.”
Your album cover proudly displays your influences, citing Professor Longhair, Townes Van Zandt, Tom Waits and Howlin’ Wolf among others. But the album maintains a pretty unique style throughout, despite the range of influences.
“I was really exciting about all these artists at the time I recorded the album and I wanted to bring it all together. On the other hand I didn’t want it to sound like a Sol Hoopii cover followed by something by The Band, for example.
“I knew that the dobro and double bass were pretty distinctive. So as long as stuck to this format and didn’t mess around with backing vocals, percussion or other instruments, I could allow the influences to flow strongly and still create a valuable, clearly defined sound of my own.”
Good Times is very laid back album, are you that laid back day to day?
“The album sounds like how I felt when I was recording it; by myself, snowed in, no-one to talk to, but with all the time in the world to write, play and record. I was emotional, nostalgic, excited, inspired; I had a supply of whiskey and I was relaxed.
“But at the same time I was very focussed on what I was doing. It felt good and right to be putting down these recordings.”
There’s an effortless quality to it despire the complexity of the playing. Did the parts come easy?
“Definitely, songs that had been bothering me for months came together easily. I recorded all the vocals in one three-hour drunken session, most are first takes. They came out croaky and a bit sloppy, but the recordings captured a feeling that I’d like to remember. I knew that if I went back to it afterwards, I’d risk losing that.”
Who would you like to work with?
“A lot of the people I’d really love to work with seem to have died recently, like some of the original calysonians and blues players. But a great piano player would be good - Pinetop Perkins is still playing, I hear.”
Where can we see you next?
“Well, I’m currently re-wiring and plumbing my house and deciding if the bassment is going to be a flat or a recording studio, and musing on the next album. So first I need to work out how this boiler is going to fit under the stairs.”
For more info on Naughty Jack, go and check out his official website.
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Just remembered not everyone knows who the Fuck Buttons are
Written by: David Harrison
I was watching Top Gear last week, and was stunned to hear a Fuck Buttons track, ‘Sweet Love for Planet Earth’, creep in as they tore some supercar round their airbase. This band have blown my mind this year, and I mean literally - ever since catching them at ATP last Christmas, I’ve had a headache. I think I actually went blind while standing in the front row; I know I woke in the middle of the night shouting obscenities. All these I can only attribute to the mighty Fuck Buttons. I think the band didn’t take it as a compliment when I told them so later - in fact they just walked away from me. Maybe I was just talking in white noise.
Anyway, fans of avant garde electro rackett listen up. Actually, non-fans of bristol based electo racketts listen the hell up and get experimenting. They don’t seem to have a real video, but if they did I would expect it to have massive space ships colliding.
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REVIEWED: Chinese Democracy
Written by: Hugh Platt
Is there any dance move, stage gesture or physical act of defiance, more rock’n’roll, than the pelvic thrust? You can keep your devil horn throwing, your crowd surfing, your stage diving, your head banging, your mosh pit’ing – the pelvic thrust sums up everything about rock’n’roll. The ill-restrained sexual desire. The disregard for what others may think. The fact that if anyone other than a rockstar attempts it anywhere but on a stage in front of an audience, it looks totally fucking stupid.
If records were dance moves, then Chinese Democracy would be a pelvic thrust. If anyone other than Axl Rose had made this album, it would sound totally fucking stupid. Despite holding the lion’s share of ex-GnR members, there’s no way Velvet Revolver could’ve made this album. It’s over-wrought, over-the-top, over-budget and completely, unequivocally, a Guns record.
There’s no point in even trying to review this objectively. Notwithstanding that this is possibly the most mystery-shrouded record release in the last twenty years, notwithstanding the fact that this review will make fuck-all difference in altering your decision whether to buy it or not, and notwithstanding the fact that this review is a result of a single playback in a record company boardroom, it’s impossible to listen to Axl Rose’s new baby without the dull ache of regret in the pit of your guts. For all the acres of talent used in it’s creation – the liner notes for this record go into exasperating detail – and the years spent making it, the crushing realisation hits you that this is just a capable album, not an exceptional one.
You’ll have already heard the title-track by now – opening the album, it feels more portentous than it did as a stand-alone track. Those Elton John urges he squirted out indiscriminately with ‘November Rain’ – well, they’re back with ‘Street Of Dreams’, only nowhere near as grandoise. The rumoured dalliances with industrial metal chug? See ‘Shackler’s Revenge’. “Don’t ever try to tell me how much you care for me / Don’t ever try to tell me how much you’re meant for me,” Axl sneers at us. Oh, if only you knew, Axl, if only you knew.
‘Better’, which is being lined up as a potential second single, has a pumping chorus, but its refrains of “Now I know you better / You know I know better” never quite get under your skin the way you desperately, fervently hope they will. As a fan you want this record to succeed, but as a fan you can’t really deny that it fails.
‘I.R.S’, played live at Rock AM Ring, 2006:
There’s one, huge, elephant-in-the-room problem with Chinese Democracy – bangers. Or rather, the lack thereof - the title-track is the fieriest bombast the album can manage. Oh, there are acres of solos, from the Bill & Ted excess of the guitar wanking in ‘Street Of Dreams’, to the big, stabby mentalism of the one that ‘Riad N’ The Bedouins’ indulges, but none of them have the soul-fucking, spine-ripping, raw gonzo genius of classic Guns. A few tracks like ‘Scrapped’ might come close to the cocksure riff attitude of old, but they can’t hide the fact that there’s not one true anthem of the ages here. No ‘Paradise City’. No ‘You Should Be Mine’. And certainly no ‘Sweet Child O’ Mine’.
If anything, Chinese Democracy goes to show that without Slash, Duff and Izzy to keep a stern rock’n’roll eye on him, there’s no-one to curtail Axl’s wanton musical excesses. The hired help just smile and do what they’re told, whereas the classic Guns would take their frontman’s wild ideas and give them that juiced-up wild-eye’d rock finish, and make them into the solid-gold genius that those early GnR records had in abundance.
When legends die young, they become cannonised as they’ll never tarnish their legacy with ever-decreasing returns. When Chinese Democracy was the joke of the industry – the album that would never come – then the legacy of GnR was unimpeachable. Now? Guns N’ Roses were one legend we wish had stayed dead.
‘Chinese Democracy’ is out on November 24.
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Forget your troubles to the Bloody Beetroots.
Written by: David Harrison
I love this shit, banging classic thrash covers. One-part Metallica, one-part two geeks, to two-parts sugarcoated idiots. How can you possibly complain? Recently after posting some Bloody Beetroots on a message board we received some po-faced replies, along the lines of “Yes, they are obviously very talented but I would never listen to it”. Even as on the wrong side of 30, this makes me feel the urge to shout ‘Baldie’ at random strangers, throw Eggs and Flour at passing dogwalkers before chasing footballs in front of a buses. Yes, it’s got me that excited.
How can we save the Music Industry? WE CAN’T - SEEK AND DESTROY. This is the Bloody Beetroots, playing London next on the far away date of February 27. Don’t miss it.
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Music Towers features- What you mean, you haven't seen...The Computers
- Album: Guns N' Roses - Chinese Democracy
- Festivals need your help
- Interview: Scars on Broadway - part 2
- Top Ten songs about the Credit Crunch
- Never Mind ‘Team GB’, Here’s Tiger Leaping
- Interview: Scars on Broadway - part 1
- Suicide Silence: "Every night is full of violence"
- Reviewed: Metallica and the Death Magnetic experience
- Interview: Jenny Lindfors tells us what-for