Them and us (Hillsborough)

Them and us.

It's always been a bit of a woolly statement.

At any given time 'us' has been everyone who agrees with you with 'them' being those who don't.

It's been the working classes against anyone else.

Well it was until people in suits decided that this was a classless society.

More recently for some it has been the media led UK born against immigrants argument.

In the aftermath of the paralympics I suspect it will be the disabled v the able bodied as the coalition continues to drive a wedge between us all.

They've already being going at it hammer and tongs to separate in our minds the employed and the unemployed.

There's a shifting sands aspect to it that allows them and us to be applied to just about anything.

Yet have the lines between them and us ever been cast sharper now that the truth about Hillsborough has been revealed?

On one side there's the people of Liverpool who always knew the truth, and they've always been backed up by virtually every Tom, Dick and Harry from across the whole of the country because deep down we all knew the score.

Then on the other side is the Murdoch funded Sun who lied, the police who covered it up, and the politicians who buried it.

Now the proof of their complicity has been revealed and it has shown in sharp contrast that there is indeed a them and an us.

There's plenty of comments doing the rounds about how Thatcher wanted the police onside and aided them in hiding the truth for her own ends, but lets not forget that she wouldn't have done this alone.

The whole top tier of the conservative government were happy to dance on the graves of those who died to promote their own political needs.

Disgusting low lives who displayed the same amount of empathy for their fellow man as a sociopath would.

However lets be fair and spread the blame a bit further.

Does anyone really think that the information that has now come to light was not available to subsequent prime ministers and their cabinets?

Every single leader of this country after Thatcher knew the truth.

None of them felt that it was necessary to share it.

Not one single person in government felt that providing closure to those who lost members of their families on that day was a priority.

Not one felt that the tarnished character of Liverpool should be addressed with the truth.

That's the harsh fact of it.

The Sun of course knew from day one that they lied, but lying, or fudging the truth, is their stock in trade.

Why anyone buys that rag and gives anything they say credence is beyond my ken.

Maybe now people will wake up and consider that if they lied in such a hurtful way about the Liverpool fans at Hillsborough then what else have they been less than truthful about?

The people of Liverpool know that if they say the sun is going to shine you need to crack a curtain to make sure that the reality isn't that it's raining cats and dogs.

It's time for everyone else to catch up and consign any overtly manipulative newspaper to the dustbin.

This current debacle so close on the heels of the Leveson inquiry, where Murdoch has been shown to have his grubby fingers in every pie since Methuselah was a kid, must act as a catalyst for its downfall.

It simply must, but it probably wont. 

People want their football and tits and hell mend anyone who gets in the way of them.

A little matter of smearing a city and it's people with lies seems unimportant when it may mean that an individual will miss out on a cheap thrill and a poorly written article on transfer windows.

As for the police.

Well lets not paint every rank and file bobby with the same brush, but at the same time lets not forget that there was drastic life ending mistakes made on that day and no one from the time was held accountable.

Worse, that apart from no accountability, was that there was a cover up.

A deliberate move to not accept that accountability.

Time and again the police have been used to limit our rights and the payment for doing so has been that they are often offered a get out of jail free card from those in power.

Hillsborough is a prime example of this in action.

It seems rare for them to pick up their truncheons and riot shields to defend our rights as citizens of this country.

Instead every time I see an image of them doing their stormtrooper tribute act it would seem that it is purely to protect the interests of a minority at the top of the tree.

How did we get to this point?

I've said it before that in the past governments and big business used to pay lip service to us, but increasingly less so now.

Hillsborough is the proof.

In a time gone by they would have been concerned about the public opinion, or at least pretended to be.

Do any of us really see any concern, or even faux concern now.

Every half arsed platitude rings completely false.

Every empty apology an affront to us all.

They don't care about what we think and it's written all over their faces in blood.  

So why are we, the majority, continuing with this game.

They have now fundamentally drawn the line in the sand and we can see very clearly who is on one side or the other.

It's them or us is starting to sound more like a challenge for survival.

Sonic Templars - Breaking Silence

Remember when Madchester was the thing?

How could you forget the Stone Roses and their ilk kicking down the provincially doors and stealing the thunder from the south?

Even if you weren't around at the time, the media with their slavish nostalgia pieces could make you feel like you had been.

Who could really disagree that it reached its pinnacle with Oasis and that they, as a band, would alter the musical landscape of the UK forever.

It's all sort of carved in stone in the history of music now.

However it was a scene and style that I never totally succumbed to, and instead I dipped in and cherry picked what I wanted.

The laddish swagger was a double edged sword I felt, and for me it only worked if there was a degree of intelligence behind it, and that is where Sonic Templars neatly come into it as here is the band that can take all the swagger of that era, add the intelligence, and apparently effortlessly polish it up for a new generation to enjoy.

That they're not from Manchester has no real relevance as their debut ep is drenched in the sound of the city, but while that sound is very obviously the influential roots of their music its the far more cosmopolitan feel of it that really pushes the envelope.

The song writing, musicianship and the quality of the recording all manage to equally raise this five track ep to the level of the release that would be expected from a band decades into a career.

The addition of strings to the track Sun Catcher is the perfect example of how ambitious these guys are.

I suspect that the whole arrangement was in their head, a whole hodgepodge of sounds.

And it's to their credit that they didn't record it until they knew that they could capture what they wanted from it.

Many bands would have probably compromised just so that they could get their material out to the public.

That Sonic Templars didn't is what will separate them from their peers.

Thanks to Unsigned Exposed who originally tipped me the wink to Sonic Templars.

Good call Jennifer.

Listen and buy here.

Joey Cape & Tony Sly - Acoustic Volume Two

For those who are unaware it was way back in 2004 that Joey Cape (Lagwagon) and Tony Sly (No Use For a Name) first stepped out from their respective bands to take a stab at widening the scope of their material by rearranging songs from their back catalogues into a quieter and more rootsy fashion for a debut album that they simply dubbed 'Acoustic'.

It was the success of this album that would serve to open doors for them both, and set them on the path to rather acclaimed solo careers.

It would also spawn a subsequent 7” split, and the two working together in the band Scorpios.

It was earlier this year we then seen the release of 'Acoustic Vol 2'.

An album that would sadly be the last from Tony Sly who passed away peacefully in his sleep just as it was settling into the collective psychs of the wider world.

As an epitaph goes it's a fair representation of what Tony was all about.

A singer who broke a sweat.

Even when he is aiming for heartfelt he can't hold the passion back, and this more urgent heart on sleeve approach serves to compliment the more introspective angle that Joey has to his material.

There's a solid yin and yang feeling on the album that is also there on the first volume.

Two different styles that work together collectively and augment each other rather well.

There has been some murmurings that this volume falls short of the quality of the first.

It's a mild critique that I would disagree with.

The only difference is that Vol 1 came out of leftfield and carried no expectations with it while Vol 2 had a predecessor to live up to.

The surprise quality is missing, but that has absolutely nothing to do with the material.

It could be argued that the same criticisms could have been levelled at the first album if it had arrived eight years after this one.

I suspect that fans have already taken the album to their hearts and cherish it, and specifically the brotherhood of NUFAN fans will be more than happy with it being the swam song from the much loved Tony Sly.

Pete Wylie - The day that Margaret Thatcher dies

I've listened to this once and instead of letting it seep in and thinking about what to say about it I'm just slapping it out there.
It is what is.
A bit of the Stones some Lennon and a whole lot of delightful bitterness.
Pete Wylie has certainly returned with a bang.
Political garage ramalama anyone?

9/12

Well yesterday the western world apparently celebrated the attack on the twin towers.

While some will baulk at the word celebrate and jerk their knee in disgust at my using of it, tell me what other word is apt?

There was the usual communal outpouring of empty grief from people who think that sharing a picture on facebook somehow matters.

Most probably didn't give much of a shit on the day it happened, will rarely consider why it happened, and neither will the ramifications of it keep them awake at night.

Even if some do, the majority certainly wont on any other day other than the anniversary, and many of them wont give it any more thought than the seconds it takes to click share on said anniversary either.

Reposting an image apparently replaces real compassion and empathy now.

Similar to how asking people to repost a picture of a bald headed girl with cancer doesn't do anything practical apart from salve the conscience of those who post the image the wave of similar 9/11 ones serve no real purpose either.

Social media was literally ablaze with remembrance memes.

When I see the words' never forget' I take it to mean that we should never forget the atrocity, and therefore collectively work towards ensuring that we never see such a horror repeated.

Others apparently consider it a mental note to never forgive, never give any quarter, and in some strange way as permission to wage war on.........well on anyone they want basically.

I seen a few posts from people who were respectfully putting across the point that violent deaths were an affront to us all as human beings regardless of where and when they happen, and to who they happen to, and that maybe we should try to be more inclusive in how we remember 9/11.

No one I seen said anything along the lines of it not mattering in the face of all the tragic violent deaths anywhere.

People were respectful to a fault, but the reaction to their posts were brutally repugnant.

People screaming in block capitals that 'it's not a fuckin' competition' as if anyone had said it was.

No matter how it was explained that the original intent was to highlight that all deaths are individually as important it just wouldn't sink in.

The aggression shown against anyone that dare utter anything about us learning from the terrible crime that was visited upon the US was frankly disgusting.

A disrespectful affront to the memories of those who did die, and the families that will carry the burden of grief forever.

Every single victim on that day was the mother, father, brother, sister, daughter or son of someone, and the impact on how they left this world will haunt those who loved them forever, but no more so than the impact of any other person who has lost a dear one to a violent death.

If we can't say that then what are we really saying?

Are we saying that the lives of those who died in New York are more important than that of any one else?

We can't do that.

We must not do that.

All life is precious.

Everyone matters to someone.

So who is really respecting the memory of the victims.

Those who will oppose the violence to all, or those who feel offended at those who strive for global peace?

The Vox Dolomites - Japan ep

When I first heard the Vox Dolomites I was a bit lost for words.

The first thing that sprung to mind after the initial blank was how the hell had I never heard of them.

Via a free download of three demo tracks I was welcomed into a small world where punk rock was still flirting with ska, still saying something relevant and still throbbing with life.

To say I was impressed really doesn't convey the excitement that I felt.

There was an old style visceral thrill to the tracks.

They could have been written by a punk supergroup featuring a revolving door of the most talented, and sometimes iconic figures, from year zero and beyond, but with the added bonus of avoiding the pitfalls of nostalgia.

Now with their 'Japan' ep they have just reinforced my faith in them as being the cream of the current crop of guys who define that melodic punk sound.

Not pop punk, or that UK 82 style, but punk as I remember it.

The Ruts, The Clash, The Jam, The Specials and more.

Every song is hugely accessible.

They just hit you in the chest and keep the beat going.

It's as if they instinctively know how to hit every button.  

Live I bet they just nail it.

If they ever venture across the border and wind up in Glasgow they better give me first shout at booking them or I'll be royally pissed off.

Band Website plus link to three track demo and 'Japan' download

The Meteors - Doing The Lords Work

It must be that time of year again as The Meteors have a new album out.

Not that I'm complaining as similar to The Ramones, Cramps and Motorhead, The Meteors are a band who can keep treading the same water repeatedly and I never get bored of it.

PP Fenech still wants to fuck the world, ghouls, corpses and anyone who doesn't like the Meteors.

It's rather reassuring to know though.

That's over thirty years they've been grave robbing bastards and like a snug well used security blanket they are the musical constant in many fans lives.

The guitars twang, the bass rumbles, the drums pound away and PP Fenech growls over everything in fine style.

There's no speed bumps on the highway with 'Doing The Lords Work'.

No messing with the template at all, and that's no bad thing because I would struggle to think of one note that could be added or taken away to make this album better.

Even the inclusion of Black Sabbaths 'Paranoid' adds to the over all flavour.

The Meteors....giving the fans what they want since 1980. 

OTMAPP.

The Peacocks - Don't Ask

It seems like a long time ago now, but back in the nineties some rock and roll in the form of an double bass started to make its presence felt in melodic punk bands.

Bands like The Living End and The Peacocks had the purist 'billy fans throw their hands up in despair in a similar fashion to how older generations always do as they bemoan that 'that's not how it is supposed to be played'.

I remember going to see The Living End on what must have been their first UK tour and the sound guy just didn't have a clue what to do about the bass.

Thankfully the bands with their double basses were having too much fun to have their train derailed and nary a fuck was given, and quite rightly so.

Now The Peacocks from Switzerland's who were one of the first to kick down the doors* are back.

With some fantastic releases already tucked under their belts, and literally thousands of club gigs left littered behind them they return to the fray with their latest on 'People like you Records' and it may just be their best.

In fact scratch that. 'Don't Ask' is their best.

It's fourteen tracks of polished, but not too polished, punky goodness wrapped in that driving signature slap bass.

The musicianship has always been top notch, but on this release the song-writing has matured and has reached the level that as a band they could compete with any of the stadium players in the genre they are in.

Just as everyone is getting into a bit of a state about Green Day being on the cusp of releasing three albums straight here's the Peacocks slipping in the back door, and delivering an album that if you seek it out will provide plenty of ear-worms that don't have any discernible expiry date.

This is actually the album that everyone who likes their punk poppy, but still retaining a modicum of exhilarating toughness to it, should be excited about.

Don't let it be an underground classic. 

Buy it and shake the status quo up.

*Yeah. I know. The Stray Cats and Levi & The Rockats were doing it far earlier, but that was a different sound and far closer to the traditional sound of rock and roll than bands like The Peacocks are.

Peacocks on Facebook

Peacocks website

People Like You Records

ZZ Top - La Futura

Rick Rubin and ZZ Top working together for many sounded too good to be true.

Just the thought of the pairing sets the benchmark super high.

Maybe so high that no matter how good the album would be it would fail to make the grade due to the preconceived certainty that it would be all killer and no filler.

The excitement was certainly ramped up when the Texicali ep was released.

The magic was liberally sprinkled over 'I gotsta get paid' and the only people who weren't happy to get aboard with it were curmudgeons who preferred to be stuck in a time warp.

Now that the full album has landed it would appear that any concerns that the direction would stray too far from the ZZ Top template, or that Rubin couldn't last the pace and inject the fire into a full album, have been proven to be groundless.

From start to finish 'La Futura' is a classic ZZ Top album, just with added balls.

Big huge hairy tea bagging balls.

Very few old fans will be disappointed as it's all here

Instantly recognisable the trio have simply dusted off their instruments, put the greatest hits tours and album packages behind them, and settled in to kick ass in style.

While I find the eighties material they did fun, if rather lightweight, La Futura has put that period to bed to a certain extent, and seen the band return to their roots with plenty of blues influenced texan rock and roll coming to the fore.

It sounds like a dirty, road weary, battered but unbowed slab of a challenge to those who had lost faith.

If anyone considered the band past it then they have just been royally slapped down.

Best appreciated with a bottle of tequila.

Bob Dylan - Tempest

Dylan is back, and as sure as night follows day, the plaudits are rolling in.

The best album since his last album.

A career defining blast of classic Dylan.

Blah blah blah blah ad infinitum!

If the maestro farted into a bottle, sampled the sound and talked over the noise of the wind echoing around the receptacle then some critics and fans would be forming a line to praise his ground-breaking genius rather than his mundane wind breaking talents.

(Not that I know if his wind breaking talents are mundane. It's entirely possible that he can whistle Dixie note perfectly from his anus in private)

It's this sort of fundamentalist, no quarter given, praise that acts as a massive turn off for me.

I don't dislike Dylan, and I consider that he is an artist who has certainly paid his dues.

He's undoubtedly an iconic artist of his generation, and has influenced a great many artists over literally decades.

He's even written a good song or two. (joke)

It's arguably true that the current musical landscape probably wouldn't sound the same if it wasn't for him, but I seriously baulk at giving anyone a free pass for their current output on the basis of their past endeavours.

Yet similar to the theory that if you had enough monkeys hammering on enough typewriters over a long enough period of time then one would rattle out a Shakespearean line the critics with their unlimited and feverish reviews have hit the spot this time.

Tempest is the album that will reignite a love for Dylan that some have lost, it will equally serve as a gateway album and introduce many more fans to his canon of work.

It's quite literally the exceptional album that people are saying it is.

However it doesn't sound new.
In fact it's a very traditional sounding album, but not specifically old fashioned if that makes sense.

Some material floats in as if it's coasting ghost like on the ether from another period in time, but there's no snap, crackle or pop that normally accompanies the sound that swells out from the speakers when any of us dip into the sounds of the past.

It's as if Dylan is reworking it with a more modern interpretation.

Paying homage I suppose..

It's sort of similar to how Tom Waits warped the sound of the drunken jazz clubs ivory tinkler to express his own version of the oeuvre.

He's coming at something familiar, but from a slightly different angle, and it works to great effect.

Much has been said about the epic nature of the nearly fourteen minute title track that tells the tale of the demise of the Titanic to its watery grave.

It's true that it would probably make Homer blush with pride that here in 2012 people will still try and emulate his prose story telling in such a long winded fashion.

Yet it doesn't for a second feel long winded at all.

It's as if Dylan has crafted each utterance to engage, and it does.

The fourteen minutes fly by and as the song closes it leaves you wanting to skip back to the beginning and appreciate it all over again.

Now that is genius.

I doff my cap. No seriously. If I had a cap on right now I'd be doffing it.

Here's the album that isn't just for Dylan aficionados.