No Ripcord - Issue 4
Also there's something different about No Ripcord - now you find out who writes each review. On the main webpage there will soon be a small profile of each of the writers, which will tell you a bit more about us.
Contents:
Ex-Stone Roses drummer Reni is to play on a track on Aziz Ibrahim's forthcoming album. Aziz, who was John Squire's replacement in the Roses, also co-wrote most of Ian Brown's debut "Unfinished Monkey Business". The band, to be called "Aziz", features ex-Smiths members Andy Rourke on bass and Mike Joyce on drums. The band are currently looking for a record deal and more details can be found at their website.
Our Poll is finished again. More votes this time and a conclusive verdict seems to have been gained:
You hate Cast! John Power's band clocked up a whopping 59% of the votes. Nearest challengers were Shed Seven on 25% and Embrace on 13%. With only 3% of the vote, the Bluetones appear to be your favourite out of the four.
There's a new poll up and running - go here to vote in it.
Finally, The New Radicals have split. I'm sure Chris'll have a word or two to say about that in the General Failures...
Remember our Shed Seven competition last week? Well after being overwhelmed with entries our judges had the difficult job picking a winner (and not laughing at the entries). In the end, the lucky winner was Abbi Shaw, who said "I love Shed Seven shed seven are so original, beautiful, stunning, and...... i know their drummer's aunt!" Abbi scooped a copy of the bands latest single "Disco Down". Hard luck to anyone who lost.
We've got a new competition for you. This one's got an even more glamourous prize in the form of Cable's final album, "Sublingual". As usual we've only got one copy to give away. The simple question you've got to answer is:
Which country do Cable come from?
a)England
b)Wales
c)USA
As a tie-breaker, tell us why you deserve this prize. Send all entries to fanzine@zensearch.net.
Singles:
Manic Street Preachers - Tsunami
The 4th single from "This Is My Truth..." Pretty much like the last few - ok for a few listens then you get fed up of it. It's got a sitar in it as well. Thankfully, the Manics won't be releasing a fifth single from this album - their next release will see them making a return to their roots with "Masses Against The Classes". It's due out in October-time but judging by recent gig postponements it may be held up a bit.
Llama Farmers - Yellow
As you may have read in the album review, I LIKE Llama Farmers!! and Yellow is no disappointment as a single. It may be described by industry dickheads as a ‘Rock Ballad’ but I feel that would de-value it. It is indeed a mellow track with soaring guitars (flanger ahoy!!) as well as acoustic and some bluesy vocals from the one and only Bernie Simpson. His skill for writing songs at such at early age is inspiring and this is another cracker!!
Following on from "Yellow" is the Album’s namesake "Dead Letter Chorus", this too employs Acoustic backed by more rocking electric guitar (you have to wait a while though!!) and is a very instrumental song. It lasts for a quite considerable 5 minutes 20 seconds which only goes to prove that Simpson is capable of a lot more than just the 2-3 minute pop favourites in the charts these days. Sorry to keep bringing up band comparisons but it doesn’t half remind me of the greats Radiohead (again!!)
Finally there is ‘I Don’t Want to Talk About It’ which brings back memories of the 60’s (like I was there!!!) think Dylan and you’ll get an idea of this track... I can’t be bothered writing any more so there you are - BUY THIS CD!
Avalanche - Acid Attack/Kill Roger!
12" Double A-side from French duo Arnaud Rebotini (DJ/Remixer) and PGD (Keyboards). "Acid Attack" is the pick of the two, with wah wah guitar over a superb bassline. Shame about the computerised vocal over the top, which is the only poor bit in the whole 8 minutes and 11 seconds. It just doesn't seem to fit in at all. "Kill Roger!" is more hip-hop orientated, and sounds a bit uninspired and lacking. In case anyone's interested, the label is Dino Stratos and it's out now.
Basement Jaxx - Rendez-vu
The follow-up to top 5 hit "Red Alert" will do well to sell half as many as it's predecessor. In fact it'll do well to sell many copies at all. It's ok for a minute or so but after that the whole computerised vocal thing (a theme developing?) really starts to annoy. Still to their credit, there's a nice little spanish guitar bit in there. There's even a "Red Alert" remix included as the b-side (which bizarrely samples "I Believe in Miracles" by The Jackson Sisters).
This issues singles section was reviewed by Dave and Chris
Albums:
Llama Farmers - Dead Letter Chorus (XL Recordings)
Llama Farmers are a young four piece from Greenwich, London. Strange name I hear you say!! well let me explain... their name originates from when they were at school (they only formed a year and a half ago!!!) and they had a friend who’s mother sent him to school with goat sandwiches, Llama Farmer was his nickname and when they first played at school they adopted his name as a band name - fair enough!!
Anyway putting the strange name to one side Llama Farmers are the best band I have heard in a very long time. They have achieved a unique sound of their own in the short time they have been together that many bands are still struggling to attain. Dead Letter Chorus is self described by the band as ‘Guitar driven songs’ yet there is so much more to them, pounding drums and class vocals from Bernie and Jenni Simpson (brother + sister) all adds to the sound that is Llama Farmers.
It's hard to get away from being compared to previous bands when trying to break new ground of your own, yet for the Llama Farmers this may be no bad thing, for their songs have been likened to the greats Radiohead, Placebo, Greenday (listen to track 7, Jessica) and perhaps not so famous Radish. If they are this good now who knows how they’ll improve in the future!! I can only wait in anticipation of what may prove to be one of the next GREAT bands...
Llama Farmers are playing the Reading/Leeds Festival this summer - make sure you go see them.
Reviewed by Chris Hall
Liberty 37 - The Greatest Gift (Beggars Banquet)
Liberty 37 consist of Ishmael Lewis (Vocals), Tim Batcup (Guitar), Andrew Watkins (Bass) and Cliff Harris (Drums). These guys herald from Wales and as the line-up suggests they are your average guitar forced indie/rock band... That was my first opinion of Liberty 37 - however, if you keep listening and listen you do, you’ll find there is that little something different about their songs which puts them apart from most of the angst ridden bollocks that keeps popping up these days.
The first song only has 4 lines but that still doesn’t seem to matter, it has hints of.. I’m not really sure what, Pearl Jam/ Soundgarden (vocals) perhaps? Then ‘When We Say’ bursts into Radish style Rock and Bop!!
Last single ‘Oh River’ definitely brings back thoughts of Soundgarden and their rocking tracks but then slightly disappoints when it calms down half way through, that being said it is still a damn good track.
I could sit here and scrutinise every track on ‘Greatest Gift’ but I can’t be bothered!! I will say this though: Liberty 37 are a refreshing change to all the Indie and Britpop at the minute - search them out - your CD player and ears will thank you for it. Reviewed by Chris Hall
Apparently, "the new psychedelia is spreading" - but from Cockermouth?! The demo i got from them was only 2 tracks long so I thought I'd check out the Infusion live before writing a review. Comments from the crowd after the gig were very mixed but one thing everyone present had to concede was that they are a rather unique band. Who else would dare to cover Inner Circle's hit "Sweat" AND have a weird dancing bloke who answers to the name of "The Goat"?
The Sherbet Infusion played for around 50 minutes, and after that I am really none the wiser as to whether they are any good or not. Some songs seemed lazy and uninspired where as others, in particular their final song "Return to the Open Groove", were a breath of fresh air to a venue used to little more than Greenday covers. The band are heading into the studio this week and we will try to review the products of these sessions in a future issue.
Find more details about the band by mailing them at Bobrofski@aol.com. Alternatively, you can visit the bands webpage.
Demo Reviews by David Coleman
There's a school of thought doing the rounds at the moment that REM have been in freefall decline since they released Automatic For The People. This, of course, is total crap. "Up" was the best album since "Green" and probably the best thing to come out of 1998.
But here we are at Stirling Castle in the middle of summer. And it's raining. Not that it matters. After Feeder play through an entertaining set (aided by a hyperactive bassplayer) REM take to the stage, starting with Lotus, Whats The Frequency Kenneth? and The Wake Up Bomb. We all get thrown around as several thousand people jockey for places as close to the front as possible but somehow we don't mind that we're crushed, wet and sweating bricks because REM are reminding us that they're still one of the best bands on the planet.
Evidence for "Up"' being a quality album comes in the form of Suspicion, At My Most Beautiful and Walk Unafraid, which are delivered in the manner only REM can do. Michael Stipe complains that Edinburgh dry-cleaners "custom fucked-up on my favourite shirts" to a chorus of "Wankers!" from the mainly Scottish crowd.
We are also treated to a new song "Great Beyond", which shows that REM are far, far from finished. The rain falls harder but it still doesn't matter because moments like Michael Stipe doing some kind of jig are worth getting soaked to the bone for.
The band are loving it. Mike Mills talks to those on the front row. You can see Peter Buck say to Stipe "This Is Great!" as the whole crowd sings along to every word and bouces along with unlimited energy to Losing My Religion, The One I Love, Pop Song '89 and Man On The Moon and the rest.
For the encore, we get a solo Michael Stipe with an acoustic guitar working his way through a couple of songs with the crowd supporting his efforts. He eventually manages to get a tune going and for some reason, we all find this as brilliant as if he had found a cure for all disease.
It ends of course with It's The End Of The World As We Know It (And I Feel Fine), one of those moments you wish would go on forever and very nearly does. Then it ends.
OK, so maybe I wished they'd played Orange Crush, Sidewinder Sleeps Tonite, Radio Free Europe....no, sod it. I can't criticise. Maybe they don't sell as many records as they used too. Maybe you do hate them. But I don't care. I feel fine indeed.
Reviewed by Peter Mattinson
While the band have potential by the shedload, the real test will come when they start to introduce more of their own material into the set and seeing whether it stands up. However, with a singer armed with a good set of a vocal chords and as a whole having no shortage of musical talent, Superimposed should be worth watching in the near future.
And it goes on to the Milestones, Maryports prime musical export (yes). Having seen them back in October, I was excited by a band with a taste for melody. Eight months on and it's the same game and basically the same setlist (just add a version of Jimi Hendrix's Foxy Lady minus the really hard guitar parts). An audience that was frankly just not up for it didn't help matters but the Milestones will have to steepen their learning curve if they're to escape the restraints of Cumbria. Full credit though for excellent cover's of "I Wanna Be Adored" and the Door's "Break On Through To The Other Side".
Reviewed by Peter Mattinson
With one of the best lineups in recent memory, Scotland's premier festival looked like being the best yet. All the bands (except Ultrasound, whose non-appearance has sparked split rumours) turned up to the Balado site for what will probably be the final time that T in The Park is staged there - And with beautiful weather for almost all of the weekend and a brilliant atmosphere, almost all of them seemed up for the occasion. So let's get straight into the reviews. No Ripcord saw it's fair share of bands, but here's the pick of them.
Despite the release of recent album "13", Blur haven't really played that many gigs in the last year, so this was always going to be a big test for them, headlining the main stage on Saturday night. Kicking off with Tender (aided as usual by that gospel choir) for which just about everyone sang along to was fair enough, but what happened next was a bit self indulgent. Blur launched into a full set of songs from "13" losing the interest of 90% of the crowd. Their was brief pickup in atmosphere as they played latest single "Coffee and TV", but soon frustration set in. "Song 2" was shouted several times in the inbetween songs silence which seemed to piss Damon off. But not enough obviously, as he followed with "Trimm Trabb" and the appalling "Battle". Why didn't we go to see Gomez or Mogwai? We found out as a re-energised Blur, rush back on stage and announce they're going to play some old (and therefore decent) songs - "The Universal", "Beetlebum", "Country Sad Ballad Man". Off they go again (allegedly Graham needs a piss), and Damon says "we're going to finish with 3 b-sides". Like fuck they are. Half their album tracks are shit so even they wouldn't be stupid enough to churn out 3 dire b-sides, especially when they've got "Girls and Boys", "Parklife", and the brilliant "Song 2" in their armoury - which is exactly what we get. The crowd goes wild. It must be pretty hard to find out your new album's shit in front of that many people, but that's exactly what Blur learned tonight.
Reviewed by David Coleman
Bassist Richard Jones comes on stage with a kilt on AND they get the crowd to sing "Flower of Scotland". Talk about milking the crowd. The Stereophonics couldn't put a foot wrong could they? Or could they...
As they plodded through a predictable set, comprising the highlights from 1997's "Word Gets Around", and most of this years rather disappointing "Performance and Cocktails", the crowds interest started to wane. Many would have probably left if Shed Seven hadn't been the alternative, as the performance got drearier by the minute with next single "I Wouldn't Believe Your Radio". At the end Kelly smashed his gold guitar up (it took him a few attempts) and threw the neck into the crowd, but that was about as rock 'n' roll as the whole thing got.
Reviewed by David Coleman
It is 17:15 on a scorching Sunday afternoon. A little man walks on stage wearing a Khaki dress accompanied by a shaggy Mancunian drummer, and an evidently homosexual bass player. "Sorry I’m late", he proclaims, "I’ve just been getting a blow-job from the lead singer of Gay Dad and I’ll tell you, it’s not just his music that sucks!" Who else could it be but Brian Molko’s Placebo.
The three-piece began their set with a lively rendition of "Allergic", which kindled the moshpit into a frenzy. This was followed by, the teeny-bop classic, "They Don’t Care About Us" and the equally popular "Every You, Every Me". Next, for the genuine Placebo fan, three more traditional songs were played. "Bionic", "36 Degrees",and "Teenage Angst".
The sensitive nature of Molko came out with the next single "Without You I’m Nothing" and "Lady of the flowers". The latter enabled me to get my breath back and to take some half decent photos of the band which will be added to the fanzine when I get them developed. The band finished up with probably their two most well known songs "Nancy Boy" and "Pure Morning" which saw Dave, Chris and myself dispatched over the barrier at the front of the moshpit.
This was the first time I saw Placebo, however it is evident that they are ever-improving and maturing nicely. They will continue to impress as long as they do not slump into the black hole, which is commercialism. Well worth going to see!
Reviewed by Adam Booth
The four piece played a mixture of new songs from "Rides", a couple of B-sides, and some more vintage material. They commenced their measly 45 minute set with next single "New Bird" followed by the somewhat commercial but nevertheless brilliant "I’ve Got Something To Say", "Wandering"and "Place Your Hands". The sublime "Metro" and the refreshing "Sweety" were played along with "Come Back Brighter" and live favourite "Naked".
The set was not without it’s fair share of grunts and other indescribable noises which one associates with Gary Stringer and which are impossible to duplicate! Gary also tried his hand at a bit of abseiling off the stage using the microphone cord. "It’s fucking wicked!" he shouted in his refined southern voice. Someone also threw a frisbee at Jack Bessant which he managed to deflect with consumate ease as if it had happened hundreds of times before.
In summary Reef were exciting and well worth going to see in the future. In fact we did still catch 30 minutes or so of Dark Star who also were first rate and who we will undoubtedly hear a lot more of in the coming months.
Reviewed by Adam Booth
One of the crap things about this years T in The Park was the scheduling of the bands. More about this later, but we'd already missed Gomez and Mogwai on Saturday in favour of Blur, and unfortunately we now had to miss the start of Dark Star in favour of Reef. Well as Adam said, Reef were great, so we didn't care that much. As we approached, I heard "Vertigo" pumping out of the P.A. I jus thoped I hadn't missed the brilliant "I Am The Sun" - unfortunately I had (Along with "About 3am" and an instrumental intro). But that's life. Next I was treated to a sublime version of their debut single "Graceadelica" followed by "What In The World's Wrong". Next "Lies" which highlighted Francolini's awesome drumming, as well as Haye's bizarre onstage movements. For the first time of the weekend we saw some true improvisation and it was a refreshing change. The crowd enjoyed it, the band enjoyed it, and after a brief version of "A Disaffection" off they went to a rapturous applause.
Reviewed by David Coleman
They've had more than their fair share of critics over their new batch of material, and why not? A few good tracks aside, "This Is My Truth Tell Me Yours" is a very weak album and to take 4 singles from it, a mistake. Wisely, the Manics chose to play only 4 songs from their latest album:- "If You Tolerate This...", "You Stole The Sun From My Heart", "Tsunami", and "Ready For Drowning". The rest of the set consisted of material from their other 4 albums, with highlights being "Faster", "Yes" and "Motorcycle Emptiness".
Their was a renewed fire in the performance too, something the Stereophonics would do well to adopt. Nicky Wire was on top form too, slagging off Billy Bragg ("I wouldn't want his dick pissing in my toilet") and the Beta Band ("Playing in a tent over there to 4 fucking people"). In fact the Beta Band weren't even at T in The Park, but who cares?
At the end of the set the drum-kit and amplifiers were the victims of Wire's anger, as he shouted insults at the Stereophonics abouted how you don't smash expensive guitars up. Contradicting himself maybe, but no one seemed to mind. Having chosen to watch the Manics tonight, we missed out on seeing Mercury Rev, the Happy Mondays and Fatboy Slim - but it was worth it. The performance of the festival.
Reviewed by David Coleman
They'll be more on T in The Park next issue, including Fun Lovin' Criminals, Rico and Faithless
Dark Star are: David Francolini (drums), Bic Hayes (guitar/vocals) and Laurence O'Keefe (bass/vocals).
It's been a long hard journey for these 3, who along with vocalist Terry Bickers, used to be Levitation. Bickers stormed off stage during a gig and failed to return to the band. Other singers were auditioned but nothing worked out. Giving up midway through an instrumental album, they sunk deep into a world of drugs and alcohol, as they accepted that Levitation was finally over.
That would be enough to put most people off the idea of being in a band for good, and for a while all three stopped playing. Bic and Laurence eventually found work with relatively small-time music projects, but couldn't find anything where they were free to do what they enjoyed. Dave also found his way back into the music world, trying his hand as a manager and a producer. With all three starting to consider giving it another go, they went to watch a Sonic Youth gig. It was then that the realised that the had to ability to make it work again, and rehearsals commenced. But who would sing? Like with the Levitation saga, auditions for a new singer proved futile. Fuelled by frustration the band decided Bic should have a go. The guitarist agreed, and Dark Star was born.
The first fruits of the new partnership came with debut single "Graceadelica". Another single, "I Am The Sun" followed before the release of their debut album, "Twenty Twenty Sound". It's raw and heavy and that's just how they wanted it. The album, bursting with anger and frustration, fuelled by the Levitation split is very refreshing. Some phenomenal drumming by Francolini provides a superb backdrop for Hayes' excellent guitar work, and makes for a sound which is difficult to pigeon-hole. Psychedelia has been mentioned but Bic has been quick to dismiss that. Dark Star promise a change in direction for the new material, with a more groove-based approach to be adopted. Should be well worth waiting for...
For a review of Dark Star at T in the Park, see above.
This issue, Band of the Fortnight was written by David Coleman
The La's are one of the great lost bands of the past 20 years (see also: House Of Love and Pale Fountains), a band that should have been great and were set for it but messily imploded leaving nothing behind but the legend of THAT song. Oh, and the fact that the bassist turned out to be that bloke in Cast, but we'll ignore that.
But I'm not going to mention THAT song. Oh no. For this album stands up without it. Easily. Noel Gallagher once said that Britpop started with the La's, which is a load of crap obviously as the La's had what most Britpop bands didn't: Simple yet brilliant songs and literate lyrics with some degree of thought put into them aided by chiming guitars and (no other word for it) lovely vocal harmonising.
The simplicity of songs such as "Son Of A Gun" and "Way Out" is heartwarmingly beautiful in such a way that you just wish they'd stuck around to shape the future instead of disappearing of the face of the planet (singer/songwriter Lee Mavers), drum in the Lightning Seeds (Chris Sharrock) or form a god-awful band (see above).
But it always comes back to THAT song. The sheer brilliance of it- has there been a better moment in pop music in the last 10 years than There She Goes? (bollocks)
The classic albums section is written by Peter Mattinson. Feel free to contact him with any opinions or comments.
1. Terrorvision (even their name makes me cringe) I can’t remember if I’ve mentioned these losers before, if not I should have cause they are shit. Anyway recently playing at ‘The Big Day Out’ Terrorvision got mightily upset when the big bad Queens of the Stone Age refused to leave the shared dressing room having settled comfortably and started drinking Terrorvision's beer, the Bass player started a fight and proceeded to deck the opposing bands support crew and was eventually arrested but not charged. Unfortunately none of the band were hurt and they went on stage as planned. I’m starting a petition to get the Queens of Stone age knighted - if you agree send your name + any other good stories about Terrorvision to the usual address.
2.The New Radicals - having just disbanded I thought I would mention these dickheads for the losers that they are, the lead singer (I don’t know his name!! don’t want to either) says that he wants to concentrate of his music writing - What!!!
3.Kelly from the Stereophonics - although they are great band, Kelly has shown himself to be a bit of a prick... in a fit of over excitement at the end of their recent T in the Park set, Kelly decided it would be cool to trash his favourite £10,000 guitar (how Rock n’ Roll!!) which he also wrote all previous Stereophonics songs on!! He is now said to be quite upset about the incident and regrets it terribly.
He had a fair struggle actually breaking it as I remember seeing and took a good minute snapping the neck off before Drummer Stuart Cable threw it into the crowd, nearly maiming an unlucky youngster in the process.
As ever, General Failures is written by Chris Hall
