The Hepburns – Llanelli indie/rock/pop band (1985–present), feat; Matt Jones (gtr,voc,keys), Mike Thomas (bass), Les Mun (drms) early years / Pete Mason (drms) later, with additional collaborators including Nigel Boulton (lead gtr), Jen White (flute), James White (trumpet), Cris Haines (brass) and Sue Reece (flute/keys) across different albums and line‑ups.
Formed in January 1985 in Llanelli, Wales, they emerged from the post‑punk/indie boom with a distinctive sound combining jangly guitar pop, chamber‑pop sophistication and lyrical wit influenced by Burt Bacharach, Jonathan Richman and 1960s‑70s easy‑listening.
Signed to Cherry Red Records in 1986, they released their debut album 'The Magic Of The Hepburns' (1988) and later set up their own Magic Records label to retain creative control. The band’s output blends pop, brass, orchestral touches and cinematic songwriting, with themes ranging from humour to social commentary.
They have toured Scandinavia and the USA, recorded multiple BBC sessions, and continue to perform and record, maintaining a devoted fanbase and a strong Welsh musical identity.
Discography
'The Magic Of The Hepburns' – 1988, Cherry Red Records
'Champagne Reception' – 2000, Magic Records
'The Last Thing I Saw Before I Said Goodbye' – 2003, Magic Records
'Something Worth Stealing' – 2007, Magic Records
'Trojan Hearse' – c2008, Magic Records
'How The Fallen Are Mighty' – c2010, Magic Records
'There’s No Such Thing As The Hepburns' – 27.01.17, Magic Records
'In The Mean Time' – 06.04.18, Magic Records
Notable singles / EPs
The Magic Of The Hepburns EP (1986), Cherry Red Records
A5 – Gwalchmai hip-hop/dance collective (1988–1993, sporadic until c2002), feat; Johnny R (prog,voc), plus a rotating cast of guest rappers and vocalists.
Originally a lo-fi Welsh language hip-hop project recorded on 4-track cassette decks using "samplers from Argos," they evolved into a more polished dance act by the early 2000s.
The Cybergoth CD single (R-BEN 053), released in 2002, featured a distinct shift toward electronic experimentation and included various remixes like the "Casio VL-tone Mix" and the "Doli Dolig Mix."
And... 24 years on I'm still pondering over whether this is genius or utter rubbish (probably a bit of both).
It was packaged with a keychain, the release was typical of Johnny R’s anti-commercial, DIY ethos on his R-Bennig label.
I found this cutting in my scrapbook from 1983 - it was out of one of those shite red top newspapers.
It's a sensationalist article on Class War and in particular Swansea University graduate, the living legend that is Ian Bone (once described by the News of the World as ‘the most dangerous man in Britain’)
Born on August 28, 1947, Bone's connections to Wales, specifically Swansea, go far beyond simply studying there.
Swansea was the foundational environment where he developed his unique brand of radical anarchism and political action, which he later took onto a national stage with Class War.
While studying at the University in the 1960s, Bone established his first anarchist agit-magazine called Alarm. This paper was a precursor to Class War.
Fighting the "Swansea Mafia" was a major focus of Alarm's activities was exposing alleged corruption within the local Labour-controlled Swansea Council (which Bone and his comrades nicknamed "The Swansea Mafia"). This grassroots investigative agitation was highly successful and is directly credited with contributing to the jailing of two prominent local Labour council leaders (Gerald Murphy in 1977 and his successor Sid Jenkins).
Bone himself credits the energy and experiences developed in Swansea as leading to the creation of the Class War paper and movement. The famous slogan "Class War" was reportedly coined after an argument with anarcho-pacifists at a Campaign for Nuclear Disarmament (CND) rally in Swansea.
Ian Bone was a member of the local activist group Swansea Solidarity. In 1969, he was involved in the hundreds of protests that took place outside St Helen's rugby ground in Swansea in protest against the visiting South African touring rugby side during the anti-apartheid movement.
Around 1979 he formed Page 3, a porno-punk band with Ray Rockafella (voc) (also Dyfatty Flats), Jock Negative (voc,stripping), Jon Smythe-Murray (sax), Mr Miers (gtr), Huw Pew (drms), Gags (drms) and many others. Played two, maybe three gigs, the first of which descended into chaos when two females joined the band naked on stage and rolled around on top of each other.
Songs included Sexist Twat, Bitches on Heat, Premature Ejaculations, Swallow it Down, Can’t Get It Up, One Of The Boys, Clap Clap I Wanna Get The Clap, Prostitutes World.
Andy Green, who promoted gigs at Swansea Uni said in a 2007 interview, ‘I foolishly put on a punk band called Page 3, in what was to be their last-ever gig – whose members were to become the anarchist agitation group Class War. This band included a lady of ill repute involved in the so-called ‘sex for luncheon vouchers scandal’ in the ‘70’s. Their act included doing rude things with jelly babies and feeding them to the front row of the audience. It got worse: the night ended in chaos with police and fire brigade called out, the College Safety Officer was beaten up, and my dear mate Bertie Mathews got thumped. My abiding memory is when cleaning up the mess at the end of the night. This big Welsh guy stood in the hall with his posture indicating he was going to make some negative pronouncement but declaring, in his broad valley’s accent: “Smutty, but good!” I learnt that you can at least please some of the people some of the time!’
After this, Living Legends were formed They played with Crass in Swansea and released their debut single ‘The Pope is a Dope’ (Upright Records 1982). Gigs were always chaotic with Ian Bone being arrested after one particularly memorable gig at Abergavenny Town Hall in 1983. By this time the band was Cardiff based. A second single ‘Better Dead Than Wed’ followed in 1985 and surprisingly topped the UK Indie charts for 3 weeks.The band continued to sporadically play well into the 90s. A ‘Greatest Hits’ tape was released on BBP Records 1996.
Bone's autobiography, Bash the Rich: True Life Confessions of an Anarchist in the UK, is heavily focused on his life and political development in the city. The film rights to the book were reportedly sold to a filmmaker, with a significant portion of the film planned to be set in Swansea.
Ian Bone was the initiator and key organizer of the Rock Against the Rich tour, which was spearheaded by his organization, Class War, in 1988.
Along with fellow anarchist Darren Ryan, Ian Bone approached Joe Strummer in a London pub (The Warwick Castle in Notting Hill) in March 1988. The initial idea was for a one-off benefit gig for Class War, but the conversation, fueled by drinks and Bone's confrontational style, quickly escalated into a full-blown, multi-date national tour.
It was conceived as a way to promote the anarchist politics and direct action focus of Class War—particularly their "Bash the Rich" activities—and raise the issue of wealth inequality.
The tour was endorsed and organized by Class War with Bone as a leading figure. The shows featured Strummer's new band, the Latino Rockabilly War, and the door money was split between local Class War groups and various local "needy" causes (like defence funds for sacked miners).
A significant aspect of Strummer's involvement, which Bone helped secure, was that Strummer agreed to underwrite any potential financial losses. He paid the wages for his American band and covered their travel and accommodation expenses.
Footnote: Welsh punks Anhrefn were also part of this tour and released their single 'Be Nesa 89' with the Rock Against The Rich logo on the label.
Jez Shea has made The Paraletics album 'Protest + Thrive' available online for the first time since it's mid-80s original release (although 'release' should be taken lightly, as it was shared with a few friends). Two of the songs did find their way onto a 1986 compilation cassette called 'Freedom What Freedom'
Speaking today, Jez says; An old friend, Adrian ‘Otto’ Williams, passed away a couple of months ago at the age of 58. Many shared memories of his life, but few remembered him as a bassist. In the 80s I played guitar in a punk band, The Paraletics, with Otto on bass, Gary Sheep on vocals, the legendary drummer Jonny Evans, and Ian Arkless as our mate with a van. For a few years we played local gigs, ripping up the Jazz Room in the Students Union. Once we travelled to Newtown to record an album on a mate’s 4 track portastudio, blasting out 15 original songs in a day. And here they are, never previously released, in memory of Otto [1966-2025], Jonny [1967-2001] and a bygone age in Bangor’s musical history.
If there’s one thing you can count on from the mysterious curators behind Weedian, it’s a love of riffs — big, warm, fuzz-drenched riffs that roll like thunder across the landscape. Over the past few years, the collective has mapped the globe through their sprawling Trip to… compilations, unearthing hidden gems from Greece to Poland, Italy to England. Now, with A Trip to Wales, Weedian turns its heavy gaze westward — to our mountains, coasts, and post-industrial valleys that have long reverberated with distortion and defiance.
Clocking in at 35 tracks, A Trip to Wales is nothing short of a love letter to the Welsh heavy underground. From the swirling psychedelia of Wrexham's Mammoth Weed Wizard Bastard to the molten groove of Sigiriya, from Dope Smoker’s monolithic fuzz to the punk-doom hybrid chaos of Made of Teeth, this compilation doesn’t just showcase a scene — it charts a geography of sound.
The tagline on Bandcamp puts it perfectly: “Where the riffs roll like the hills and the amps sound like thunder on the coast.” It’s a fitting description for a record that feels carved from the same granite that defines Snowdonia.
Each band contributed a track with full blessing — some new, some deep cuts — creating an anthology that feels both curated and communal. It’s a snapshot of Welsh heaviness in 2025, but also a reminder that the country has been nurturing this energy for decades.
As a country, we have long punched above our weight in the world of heavy music. From the early days of Taint and Acrimony, through the experimental metal of Hark, to the cosmic sprawl of newer outfits like Goat Major, Warklockhunt and Estuary Blacks, the Welsh scene has always blended noisy sludge with grandeur.
A Trip to Wales stitches those threads together, offering both history and prophecy. You’ll find legendary names alongside underground up-and-comers, often on the same sonic wavelength — proving that the fire that once burned in the bars and rehearsal rooms of Swansea, Cardiff, and Wrexham still rages on.
For those unfamiliar, Weedian isn’t a label in the traditional sense — it’s more like a curatorial collective and celebration of heavy culture. Each Trip to… release serves as a sonic travelogue, guiding listeners through the underground of a particular region. Previous entries like Trip to Greece, Trip to England, and Trip to Poland II gathered over a hundred tracks apiece.
This time, Wales gets its own dedicated volume — a tighter, leaner, but no less potent compilation that feels distinctly personal. The artwork, by illustrator Silvester Wisnu, captures that mix of mysticism and magnitude: a land where ancient myth meets modern amplifier worship.
There's a sense of connection running through the whole compilation. There’s no hierarchy here, no big-label gatekeeping — just a shared devotion to the almighty riff, whether it’s delivered from a bedroom in Bangor or a studio in the South Wales valleys.
For longtime followers of the Welsh scene, this compilation feels like validation. For newcomers, it’s a revelation — a reminder that while the world’s attention might flicker elsewhere, the spirit of Welsh underground music remains defiantly alive.
Well... almost but not quite - but this little family tree documents the family history of Bangor 'superstars' Fay Ray, who were signed to WEA and had a minor hit with the excellent new wave single Heatwave in 1982.
The family tree (you'll need to zoom in), is a bit hard to decipher as the band names with lettering that's almost a pre-former to all those grindgore bands' logos that no one can read!
However, bands included are Hot Water, Fay Ray, The Menai Straights, Some Noise, Inverted Commas, Distant Cousins, TVI's, Loose Connections, 9½, Brenda & The Hot Dicks, Feet First, Bran, Kelly's Heroes, Red Hot Pokers, Broken Arrow, Weetabix Express, Pushy Pushy Band
Today, Dyfrig Wyn Evans would have celebrated his 47th birthday. Known to many as Dyfrig Topper, he was a much-loved musician, actor, and friend whose creativity left a deep mark on Welsh culture before his untimely passing in May 2022.
Born in Penygroes, Gwynedd, in 1978, Dyfrig grew up surrounded by music and performance. His talent shone from an early age, making his television debut at just 13 in C’mon Midffîld!. He later became a familiar face on S4C, most memorably as Arwel “Ari Stiffs” Jones in Rownd a Rownd, where he spent five years as part of the original cast. Further roles in Talcen Caled, Emyn Roc a Rôl, Tipyn o Stâd, Gwlad yr Astra Gwyn, Darren Drws Nesa, and the acclaimed drama Y Gwyll / Hinterland showed his remarkable range. Friends and colleagues often described him as a naturally instinctive actor, able to bring humour, warmth, and depth to every character he played.
Alongside acting, music was always at the centre of Dyfrig’s life. In the early 1990s, he formed the band Paladr with his brother Iwan and Peter Alan Richardson, before re-emerging as Topper in 1996. With Dyfrig as frontman – lead singer and guitarist – Topper became one of the most distinctive voices in the Welsh psychedelic pop scene. Their releases, including the Arch Noa EP, Something To Tell Her, Non Compos Mentis, and Dolur Gwddw, and led by Dyfrig’s unforgettable voice and presence.they caught the attention of legendary broadcaster John Peel, who invited them to record two Peel Sessions in the late ’90s.
When Topper disbanded in 2001, Dyfrig continued to write and perform, releasing his solo album Idiom in 2006. He remained active as a songwriter, even placing third in Cân i Gymru in 2019 with his track LOL. His creativity never dimmed; he had an instinct for melody and storytelling that resonated with audiences, whether on stage, on screen, or in the studio.
The news of Dyfrig’s passing in May 2022, at just 43 years old, was met with shock and deep sadness across Wales. Tributes poured in: Super Furry Animals’ Gruff Rhys praised his unforgettable “sweet tones,” while comedian Elis James reflected on the golden era of Welsh music that Topper helped to define. Producer David Wrench shared memories of touring and working with him, remembering both his artistry and his friendship. Fans and colleagues alike described him as funny, mischievous, larger-than-life, and above all, a true talent.
Dyfrig Wyn Evans will be remembered as much more than a musician and actor. He was a cultural figure who embodied creativity, humour, and heart. His work lives on through the songs, the performances, and the memories he left behind — and today, on what would have been his 47th birthday, we celebrate the life and legacy of Dyfrig Topper.
Born on 5 August 1953, former Llandudno resident, Glyn Porrino is a seasoned guitarist, composer, and producer whose work has spanned a wide range of rock and melodic styles over several decades. A founding member of Harvest Moon, he quickly became known in the North Wales music scene for his expressive guitar playing and strong songwriting sensibility.
Through the late 1970s and 1980s, Glyn played with bands such as Stepping Stones, White Tygrz, Nightwing, and Manalishi, contributing both as a lead guitarist and co-writer. His ability to move effortlessly between classic rock, progressive influences, and heavier melodic sounds helped shape the musical identity of several North Wales acts.
Porrino sessioned on a European tour with Nightwing and split Harvest Moon in 1984 on his return after a disagreement with keyboardist David Evans. He remained with million seller, six album Nightwing, whose releases include the critically acclaimed ‘Natural Survivors’ (1996).
Today, Glyn continues to perform and record, working with bands like KARAC, and remains active as a producer, programmer, and creative collaborator. His dedication to the craft and enduring presence in the regional music community make him a respected figure in Welsh rock history.
Llwybr Llaethog, the long‑running experimental Welsh-language band from Blaenau Ffestiniog, have been actively subverting genres since 1985. Their music, a heady mix of hip‑hop, dub, punk, reggae, and sharp political commentary, remains one of the most distinctive sounds to come out of Wales.
Back on August 4, 2002, they performed a live session for Adam Walton’s BBC Radio Wales show, a programme known for giving airtime to some of the country’s most innovative underground acts. But unless you happened to catch that particular broadcast, you’re out of luck. That session, like so many others, is now buried deep in the BBC archives. Not available to stream anymore, not on YouTube, not even listed in most session databases.
Whereas a John Peel session holds the reverence it deserves, I find it criminal that these recordings on Adam's show—important cultural documents—are locked away and rotting in obscurity. These aren't just old tapes. They're snapshots of musical history, capturing the raw, (often) live energy of artists at pivotal moments in their careers.
So why can’t we hear them?
Is it a resource issue? A lack of staff or funding to digitize and release them? Or is it purely about copyright control? The BBC typically owns the rights to these sessions, and that ownership may extend to restricting access, possibly even from the artists themselves.
Whatever the reason, it’s frustrating. Personally, I would happily volunteer my time to help digitize and share these sessions, officially or otherwise, if only I could get my hands on them. There are hundreds, possibly thousands, of unique recordings gathering dust while fans, historians, and curious listeners remain locked out.
In a digital age where music discovery is everything, it’s time to open the vault.
Paul Hammond – Also known as The Scouse Git born 1965. Moved to Rhyl from his native Liverpool & tired of hosting Macc Lads parties he gave up his management position at Asda to form the Psycho Sexual Sex Terrestrials (PSST) in 1990. After many line up changes, the band ran its course, Hammond then formed KKKK who soon changed their name to GMX Stuns, before starting a new more trance orientated project called Sentient (this moniker rotated with the Sex Terrestrials & the full PSST name).
Hammond, a prominent figure in the local press & never one to shy from publicity found what a lot of people described as his niche as host of the Xsentrik Selection Radio Show on Shore FM. Also recorded an anti-smoking song with Malcolm McLaren (former Sex Pistols manager) & ironically a pro-cannabis ditty with local musicians called Smokin’ The Ganja. Other ventures have included running a co-operative recording studio called Sound Solution, promoting bands at Trotters in Rhyl, introducing trance acts as MC Jester at Trancemission. Started the DNA Project in 2000 (a 'personal' acid-dance project). 2001 saw him as the driving force behind Rhyl’s venue the Breeding Ground for 18 months before rekindling an electronic version of PSST. Forever reinventing himself, Hammond formed deadsexys (2007) using Liverpool band Sleeping With The Fishes to perform cover versions, whom he managed up to 2009. In April 2008 he released a version of The Kop’s tribute to Liverpool FC’s striker Fernando Torres, earning him thousands of hits on YouTube, an appearance on LFCTV, numerous airplays at Anfield on matchday and plaudits in the Spanish media. Since 2011 for around 10 years he has been found mashing up well know punk songs. In 2013 he started Zombie Dub project with Joe Shooman and also officially remixed Sigue Sigue Sputnik. In 2016 he began releasing material under his own name including the album ‘Out Of The Dark’ (29.01.18). In 2020 Paul found that niche again and began to present his very popular Punk AF radio podcast. Paul Hammond on Bandcamp Punk AF Radio Show on Mixcloud
Fflapogram, featuring Ann Matthews and Alan Holmes from Fflaps / Ectogram, along with Dewi Evans. They will be playing songs from Fflaps and Ectogram. In memory of Emyr Ankst.
Yep, Ann and Alan resurrected both their early bands for a handful of local appearances in 2024 - playing The Curiad Pulse and Ara Deg festivals.
Check out this great video / documentary on Fflaps.
Mr Phormula is in the house, Mr Phormula commands the house. It’s an improv set for a certain mind-set and the king of hip hop kings performed admirably.
This is the Cymdeithas Yr Iaith (Welsh Language Society) string of fringe gigs in and around the National Eisteddfod site in Boduan.
So while the Klu Klux Druids are doing their sacrificial stuff in a big tent somewhere over there, here we have some great music among great people.
In the beautiful surroundings of Nefyn on the north coast of the Llyn Peninsula sits the Nanhoron Arms. Bands and artistes are here all week (Eisteddfod week), it’s a celebration of Welsh culture and perfect reason to get drunk with friends.
Asking you to embrace his culture with a welcome smile and a great new album is Mr Phormula. ‘AWDL – Artist With Dual Language’ is out now and worth anyone and everyone’s attention, whether you like hip-hop or not, you will after listening to AWDL. Mr Phormula is a shining example of an ‘open-door’ policy to Welsh language music and sets out to reverse the ever-decreasing circles trend that has blighted the scene in recent times. He takes his act and workshops across schools in Wales, opening the eyes and minds of those before him.
World renowned for his human beatbox techniques, he did just that to open his set as we all stood in awe at what we were seeing and hearing. It was very much an ad-lib whirlwind set that had those present a-whoopin’ and a-hollerin’ – great to hear Un Ffordd live and the brand new Tir.
Enter Crinc – there’s not a lot I could’ve previously told you about these, apart from two cool tracks online and a great name. On seeing them, I fully understand why! My guess is they’re too busy getting stoned to be bothered getting stuff recorded and out there…
What a great band! I counted SEVEN of them on stage, and they looked like a throwback shit 80s wannabe indie band from Blaenau Ffestiniog. This was a jam rather than a gig; probably four maybe five songs, a cool voice, with improvised riffs in between and a bassist holding it all together. It made a great spectacle in the smoke filled tent, awash with this guitar band that straddled a Jesus & Mary Chain, My Bloody Valentine psycho-delic route to the finale. That finale saw the Druid slaying guest Rhys Trimble (of Lolfa Binc fame) hit the stage with his megaphone filled with attitude and coherent killing lyrics. Rhys was ranting and panting as the band’s guitars (and tambourine) screamed on… Fantastic.
Now a decade into unleashing his music Scotch Funeral has put together a new album of songs, from the past, about the past.
They were written and recorded between 2012-2018 and mastered by Ben Dempsy Sawin (of Mowbird & Eitha Da fame).
There’s a unique, yet authentic feel about Scotch Funeral’s songs, and they’re definitely a contagion. You find yourself drawn in by the sound, the style and the simplicity.
For forty-three years, The Victoria Hotel in Menai Bridge—affectionately known as The Vic—stood as a reliable cornerstone of our diverse music scene, finally closing its doors under independent ownership on November 21, 2021. Managed by sisters Anne Smeaton, Kate Elias, and Nicky Campbell, the venue was celebrated not just as a local pub, but as a prestigious stop for touring musicians in the jazz, folk, blues, and independent rock genres. It gained a reputation as a "musician’s venue," where world-class players were drawn to the intimate atmosphere of the function room and the genuine hospitality of the family who ran it.
The venue’s musical legacy was vast and varied. It served as a primary hub for the North Wales Jazz society, hosting acclaimed acts like the Tom Thorp Quartet, tenor saxophonist Dean Masser, and local jazz luminary Neil Yates. Its acoustic and roots programming was equally legendary, featuring performances by folk icons such as John Renbourn & Wizz Jones, the award-winning Canadian artist Stephen Fearing, and the high-energy blues duo Hat Fitz and Cara Robinson. On the louder side of the spectrum, The Vic embraced the underground, providing a stage for Bangor-based krautrock pioneers Ectogram, the heavy distortions of The Bent Moustache, and local talent like Jack Sharp.
The sale of the hotel to the national chain Greene King in 2021 marked the end of an era for the town's independent spirit. While the building underwent a multi-million-pound refurbishment and reopened in 2023 as part of the Chef & Brewer Collection, it is the pre-2021 version of The Vic that remains etched in the memory of the community. It was a place where international talent and local fans shared the same floor, and where the "wall of sound" from a touring band often competed with the stunning, quiet views of the Menai Strait just outside the windows.
Here's a video of Welsh Rebel Outpost - a band featuring members of Anhrefn and 4Q playing The Ruts' 'Staring At The Rude Boys' with punk poet Attila The Stockbroker. At The Vic in 2016.
Gareth Jones, the presenter widely known as Gaz Top, celebrated his 60th birthday by becoming the first person to swim the entire length of Wales from south to north. This monumental 60km challenge, which took three weeks to complete, was documented for the S4C series Gareth Jones: Nofio Adre.
Starting on August 17th, the journey began in the Bristol Channel off the coast of Porthcawl, where he was dropped 1km out and had to body-surf back to shore through two-meter waves. Throughout the trek, Jones navigated a diverse range of waterways, including the rivers Teifi and Conwy, and major reservoirs like those in the Elan Valley and Llyn Brenig. His swim across the lakes of Wales was particularly comprehensive, featuring Llyn Padarn, Llyn Mwyngil, Llyn Gwynant, Llyn Mymbyr, Llyn Eigiau, and Llyn Trawsfynydd.
A highlight of the expedition was his crossing of Llyn Tegid, the largest natural lake in Wales, which held deep personal significance because his father had nearly drowned there decades earlier. He also reached the literal peak of his journey by swimming in Llyn Llyffant, Wales's highest lake. The swim concluded at the Liverpool Arms on Conwy harbour, where he finished the final leg by swimming down the River Conwy.
To support this feat, nutrition and sports science experts from Bangor University monitored his physiological health, advising him to consume a massive 5,000 calories per day to fuel his efforts and combat the energy-sapping effects of cold water. Despite facing significant physical hurdles, including a severe bout of stomach cramps and food poisoning on the second and third days near Llanelli, Jones completed the distance to highlight the natural beauty and environmental challenges of the Welsh landscape.
This video provides a first-hand look at Gareth's preparation and the extreme water temperatures he faced during his cross-Wales swim.
When you’ve been sitting at the proverbial Gig Bus Stop waiting for over a year, waiting impatiently to be taken on a tragical blistery tour, suddenly two turn up… Second outing to witness the phenomenon of live [original] music in as many days…
Tonight they’re in the flesh, alive and spitting and threatening to finish off my one good ear for good… Bring it on…
Long time link2wales reviewer Mark Watson-Jones is today celebrating the fact he has inexplicably made it to 50 years. Considering he keeps his liver in a jar of Absinthe, making it this far is none short of a miracle. Although still serving time for being an emissary of syn Mark’s band took the night off and allowed three great bands to don their guitars and wish him many happy returns.
Maines as ever, (once you’ve coaxed them into appearing) never fail to deliver, and this is the first opportunity to experience their wall of bliss in almost two years. Pulling from their two EPs with songs [well; compositions] like, My Cull Cain, the excellent Malkovich, finishing with Whales, it’s the intricacy of those compositions that leave your mouth agape and your mind mesmerised. The ebb and flow of their sound can be a trickle and it can be a tidal wave. I grabbed a Maines mug too…
All Consumed are a godless bunch from Preston, but don’t hold that against them (their location). More core than grind, their set was toe-tappingly, head-bangingly, back-stabbingly to the point. All Consumed will iterate that there is no world order and their suicidal tendencies will have you clamouring to join this shapeless existence. They blasted through ten, maybe eleven punches to the head in no time at all, and the diverse line-up made for an excellent evening of noise pollution.
The Rage is a contagion that spored in Halifax and has spread through the punk fraternity in the form of Burning Flag. Their eagerly awaited third album in its vinyl form has been subject to the usual delays of world pandemics, Tory Brexits, Suez Canal boating disasters and (worst of all) Record Store Day.
‘Matador’ (and tonight’s gig) brings with it the debut of Holly on screaming vocal duty. She / we have waited eighteen months for this, since her onscreen live appearance when bands took to streaming their material live on Facebook (it was almost a glimpse into a sterile could-be world where we watched our favourite noise merchants from the boring safety of our homes). Like the new album, Burning Flag opened with Thrown Out and bar a couple of tracks ‘Matador’ was unleashed upon our very souls. Toxic by design, they know what they’re doing [play no nonsense punk rock] and they certainly know how to do it… Check their gig schedule, they’re coming in thick n fast…
When Keeping It Rhyl – Punk-Plan appeared in the summer of 2021, it looked at first glance like a straightforward local compilation — another DIY record gathering North Wales bands under the Link2Wales banner. But behind the vinyl sleeve lay something far more ambitious: a speculative vision of Rhyl’s cultural future, built from sound, imagination, and community grit.
The compilation was conceived and produced by Jimmy Loizeau and Matt Ward of Goldsmiths, University of London, in collaboration with myself (Neil Crud). Together we built the album as part of a larger speculative design project after I asked: what if Rhyl, a struggling seaside town, built the world’s longest pier — one that housed a University of Music and Media?
From that question grew an imaginary urban plan — “The Punk-Plan” — and the record that gave it shape. Keeping It Rhyl became not just a collection of songs, but a “material manifestation of a possible future”, as one academic description put it. The album captures the sound of a community that’s endured decades of cultural ebb and flow — a sonic map of resilience.
Released digitally and on vinyl through Link2Wales on 14 June 2021, Keeping It Rhyl – Punk-Plan features 12 tracks (13 digitally) from artists connected to Rhyl and the wider North Wales underground. The tracks were “generously donated” by musicians who have long been part of the area’s independent scene — one that Link2Wales has chronicled and championed since 1999.
One news article reads: Unlike many conceptual art projects, Keeping It Rhyl was released into the wild with the same energy as a punk record — available on Bandcamp, promoted across DIY channels, and embraced by the scene it came from. Reviews have been limited but appreciative. The Link2Wales site itself described it as a “collaborative compilation” uniting music and imagination, while a Reddit post in r/punk introduced it simply and proudly: “Link2Wales Records is proud to be part of the collaborative compilation album Keeping It Rhyl.”
For those who know the town, or who’ve ever felt the tug of a small scene refusing to fade, Keeping It Rhyl – Punk-Plan is more than a compilation. It’s a declaration: that even at the edge of the map, the beat goes on.
CORONA LOGIC: A LOCKDOWN TRIBUTE TO SUPER FURRY ANIMALS IN AID OF LLAMAU!
These albums were recorded entirely in lockdown by Welsh or Welsh based musicians at home using whatever means were available to them, creating a rich tapestry of sound paying tribute to the genius music of Super Furry Animals.
It’s completely free to stream and download, but we strongly encourage you, if you have the means, to donate to Llamau:
“Our mission is to eradicate homelessness for young people and vulnerable women. For thousands of the most vulnerable people in Wales, homelessness is a frightening reality. End homelessness and change futures”
Pete Fowler, the Super Furries legendary sleeve artist has also created beautiful bespoke artwork for the project combining many elements of his iconic sleeve designs.
We hope you enjoy the music and please do donate if you can! SFA OK!
