GIG REVIEW - Super Furry Animals @ Fuji Rock Festival, Japan

Hi:Fi South Live Arena

Arriving to the stage by golf buggy the Welsh techno wizards are dressed for tonight's Live Arena performance in what look like Blue Velor waterproof boiler suits. Ambling on stage lead singer Gruff Rhys is playing a paint tin maraca while the rest of the bands make lovely noises before the Golden Retriever backing visuals which spill orange over the heads of the throng. It really feels like we're watching the musical version of gold.

The band continue backed by mellow trailing visuals to play some very spacey rock and are quite possibly jamming no longer sticking to any known tune, which slightly confuses the crowd, magical and Hello Sunshine sneaks upon us, lovely. Their next song Receptacle Of The Respectable includes a nacho solo by Gruff, munching into the microphone before throwing nachos into the crowd who are mesmerised by the groovy cartoon and this tune is in 13 parts we are told.

A clash of the three guitars on stage like sword play brings much feedback and suddenly 'You've got to tolerate, Some of those people that you hate, I'm not in love with you, But I won't hold that against you.' spills form the speakers from the rather lovely Juxtaposed With U it's another magical moment. If I could see the sunset I'd wager it would be lovely, and looking at it would leave me feeling rather like I do after Super Furry Animals walk off stage, all glowing and ready for the night.

review by: Scott Williams

Farewell Sound Nation

In the vibrant landscape of the past four years, few publications captured the pulse of a creative nation quite like Sound Nation. 

Originally launched under the raw and energetic title Honk, the magazine was born out of a necessity to document a Welsh music scene that was rapidly evolving beyond the "Cool Cymru" stereotypes of the 1990s.
As it transitioned into Sound Nation, it became the official flagship publication of the Welsh Music Foundation, serving as both a fan-facing glossy and a vital industry trade journal. It was a rare beast in the publishing world: a magazine that could seamlessly pivot from interviewing global stars like the Stereophonics or Manic Street Preachers to providing deep-dive features on the technical infrastructure of South Wales recording studios or the grassroots growth of electronic and indie scenes in the north. 

Under the influential guidance of editors like the late James McLaren, the magazine acted as a unifying force, bridging the gap between English-language rock and the flourishing Welsh-language pop and folk communities. It provided a platform for critical discourse that the London-based press often ignored, treating the Welsh industry not as a peripheral curiosity but as a self-sustaining ecosystem of labels, venues, and artists. 

However, the shifting tides of the digital revolution and the complexities of arts funding eventually took their toll, and Sound Nation printed its final issue in December 2005. Its closure marked the end of an era for physical music journalism in Wales, leaving a legacy that is still felt today in the digital archives of Link2Wales and the renewed spirit of modern Welsh music festivals.

Oz Wright - Rheinallt H Rowlands - RIP

The story of Owain "Oz" Wright is one of a remarkable talent whose life was cut short just as he had become a cornerstone of the North Wales cultural landscape. Born in 1970, Oz was a gifted carpenter by trade, but it was his haunting, deep tenor voice—often compared to the likes of Scott Walker or Johnny Cash—that earned him a legendary status in the Welsh music scene.

As the frontman for the duo Rheinallt H Rowlands, formed in 1991 alongside orchestrator Dewi Evans, Oz helped create some of the most atmospheric and cinematic music to emerge from the Ankst record label. The band was famously shrouded in a fictional backstory, presenting "Rheinallt" as a former quarry worker who found his calling through the influence of post-punk. In reality, the project was a sophisticated exploration of baroque pop and chamber pop, reaching its zenith with the 1996 album Bukowski. The record was a critical triumph, blending lush arrangements with Oz’s resonant vocals, and it remains a landmark of 1990s Welsh-language music.

Beyond his main project, Oz was a prolific collaborator, lending his talents to acts like Gorky’s Zygotic Mynci, The Serpents, and Llwybr Llaethog. He was a central figure in the Bethesda community, known for organizing sessions at local venues like The Fic and the King’s Head. Friends and fellow musicians remembered him as a man of immense warmth and technical skill, both as a craftsman and a songwriter.

Tragedy struck in the early hours of December 23, 2005. After attending a festive BBC Radio 1 session at Hendre Hall near Bangor, Oz was walking home to Bethesda when he was struck by a car on a narrow mountain road. He was just 35 years old. His death sent shockwaves through the tight-knit musical communities of North Wales and the Isle of Anglesey, leading to numerous tributes and a conviction that the Welsh scene had lost one of its most unique and soulful voices. Even years later, his influence persists, remembered through the timeless, melancholic beauty of the music he left behind.

Oggum - The Label

 

OGGUM RECORDS

Adam Anonymous looks at the ‘spaced out’ Ceredigion label in the last Spotlight feature, plus we look back at previous businesses given the once-over

[originally published in Sound Nation magazine - Nov 2005]

Forget look-at-me Myspacers or schmoozing independent industry players, because some of the most interesting, trend-defying music still originates from tiny self-starter labels. Wales’s very own self-proclaimed snoozy avant hobbyists Oggum Records are among the best examples of that theory, quietly releasing spaced out yet tuned in transmissions from deepest Ceredigion since, in typically unworried fashion, 1997-ish.

“We were inspired originally by fanzines like Organ and Ptolemaic Terrascope, and the DIY ethic they were writing about,” Oggum architect Dr Daf Roberts reveals. One four-track recorder purchased later and his band Alphane Moon was born.

“We started making links with like-minded labels, and through the goodwill of the Terrascope made a connection with New York label Spiffing. Spiffing planned our first tape as a CD; eventually they released a 7-inch, A Circle of Four. Spiffing did a lovely job of it: hand-made curtain sleeves, silkscreen printed cover, 50 see-through green vinyl. This EP sparked the interest of Norbert Schiller’s Plate Lunch label, and Norbert released our second tape. We were inspired to start Oggum because of the slowness waiting for these CD releases to happen. We imagined we could get things going quicker. We also thought it would be good fun to release music we like in our own way.”

Oggum maintained those early aesthetics, beginning a lovingly crafted back catalogue with Yew Dark On Doze by Alphane Moon / Our Glassie Azoth, each 7-inch on coloured vinyl with home-made sleeves. As with many micro-budgeted labels, cash has been reasonably tight, however.

“The very first 7-inch was self-funded,” explains Dr Roberts. “We consequently got a lottery grant for some releases leading up to the Yr Agor compilation. Since then we’ve used the income from releases – including releases of our music on other labels – to finance things. It’s very shoestring.”

“We tend to like doing things on our own,” he replies, when asked if Oggum feel part of the Welsh music industry. “We have a very relaxed schedule, and certainly don’t feel part of any industry, although I can see benefits in working in a more focused way, and it could be useful to have more support. Distribution is very hard for odd music.”

The late, great John Peel latched onto the label through Electroscope’s 7-inch, a record Dr Roberts cites as his favourite Oggum project so far. “They were lovely to work with and it was the first one Peel played. He went on to support Nimbus 2000 and heavily plugged our Yr Agor CD. Good lad.”

Dr Roberts’ closing wish for the future is to “just follow our own interests”, which says everything you need to know about Oggum. Gloriously unconcerned by what’s fashionable, this is a label for people for whom music is truly a way of life.

[Oggum Discography]

The Dirty Weekend, Dudley Arms, Rhyl

[review by ste sync]
I’ve just remembered why I haven’t reviewed a gig for so long – It really adds hard work to an already very busy day, but I’m not one to complain (fuck me!) so here goes. I went down to the Dudley at 4pm to buy my ticket and to check that the bands on the schedule I wanted to see had turned up – yes they had. Scott Bakers had just started their set when I arrived, and I’d been looking forward to seeing them since the demise of Kneejerk because the direction the band were taking was SkaCore – Fast guitar skank, with punk power chords at lightening pace. Now I’ve played some fast songs live in my time, but I wouldn’t like to attempt to jam along with some of their songs. When the band played at the same tempo together, their sound really shone through, but there were some moments where because of the sheer pace of the songs, the bands tempo lost each other, but this will be ironed out the more rehearsals the band have and I’m looking forward to seeing their improvements soon.

I missed The Pain due to me re-fuelling on chip butties, before Crud gave me a lift back down just in time for 3 Minute Warning.

One of the main reasons for me turning up to this event was 3 Minute Warning. What a sound they make, they have a punk, almost Clash like edge to them, and Ska keyboards very reminiscent to Mike Barson’s from Madness, and for an old school 79 Ska Boy like myself, they provide some great flash backs. Crud and myself couldn’t control our heads bobbing along to this sound you can’t stay still to. Crud has played a couple of songs by this band on his radio show, but you really have to see it live to appreciate the whole thing. After the gig I managed to blag an official Eatin Aint Cheatin CD from the pork pie hat wearing keyboard player, which hasn’t been off my CD player yet!

Crud and myself were enjoying a pint outside in the sun while the bands were packing up and setting up their gear, we both agreed that with the people and the atmosphere around the venue, it was like being whisked back 25 years which is great escapism for anyone wanting to reminisce (shit did I just say that?). Seize The Day were late arriving and by the time they did, Dave Cox realised that 3 Minute Warning who had to leave straight after their set, had the bass amp the rest of the bands playing today were meant to be using.

Crud had to leave early due to other commitments (hair wash!) and we had to find a solution for the bass problem, so after a very brief sound check with the bass plugged into the PA (sounded fine) Seize The Day blasted into their first song. I saw this band play at the Dudley a few months back, and they pulled in a big crowd then, and they were equally as popular today. They are fucking well tight and held together by some great speed drumming, every song played at pace with furious energy, and yes, they played Ham & Cheese! Top stuff, and I want to see more gigs from them.

After Seize The Day, I thought I’d try and find The Dangerfields to tell them that the bass amp problem had been sorted. I found them outside rehearsing under the arches of Vale Road bridge, with the drummer/vocalist using his thighs as drums and whispering the lyrics quietly to himself. If you’ve ever seen The Dangerfields live before, you will know that what I witnessed under the bridge was the strangest ‘unplugged session’ I think I’ve ever seen. This band demand volume and attention, as I found when I gave Dave a hand on the sound desk to get the levels right before their set. Once the sound was set, the vocalist/drummer tempted the crowd back in by saying Dave Cox would lap dance for them all personally. They powered through their high paced set with the guitarist playing whilst on his back on the floor, among the mosh pit, or even with his guitar behind his head. Great show!

The Nerds are an Italian punk band (who would have thought such things exist) who are currently on tour with The Dangerfields, in fact both bands after their performances tonight, had to drive to their next gig in fucking Inverness! Local bands take note, shouldn’t you be widening your horizons?

After helping Dave with The Dangerfields sound, it now appeared that I should be helping with The Nerds, which I did to the best of my capabilities. This band have a great live image with their menacing front man dressed in an orange boiler suit, screaming lyrics and contorting his body across the stage. In one song the vocalist put a black sack over his head with the mic pushed up to it to sing, and with the orange boiler suit, it suddenly dawned on me where I’d seen this image before – Iraq beheading victims. This maybe too strong an image for some people, but it takes a lot to shock me with an image, and I respected their use of these garments for their performances sake, as it did give them an extra edge.

Big punk rock wall of sound with wailing lyrics, what more could you need? Well, after The Nerds I needed a break so I ended up going to Wetherspoons for a couple too many, so I missed Drongo’s For Europe and the other bands, and ended up copping off with a pizza! Great night though, I hope I can get to more of the next Dirty Weekend.

Zombina & The Skeletones, Jives Room, Delayed Promise @ Bar Blu, Rhyl

(narration and pix by Neil Crud)

‘Why does Steve Rastin look like he’s on a cruise, or an extra on Love Boat?’ Enquired Ste Sync as Rastin passed us in his summer attire. He had reason to feel colourful, he had booked the long awaited arrival of Zombina to our humble no horse town. But first we were warmed up by Delayed Promise from Manchester as Andy Fatman explains:

‘What language was she singing in? I say this cos the vocals were so muffled it was hard to work them out against a musically tight power-pop-rock background. And why does the drummer always feel the need to embellish any between-song banter / info with flourishes of cymbals…? Resulting in a nightmare for reviewers!

The guitarists vocals didn’t fare much better, proving that soundchecks are a pointless exercise. But amid the PA problems, promise was shown from a visually static performance that influenced the gathered few. This was always going to be an uphill struggle, going on before Jives Room (with their home support) & Zombina (striving for legendary status in these parts).’
Great third song; good riffage, great drumming, would love to hear them on CD.

There had been rumours that this was to be Jives Room’s final gig, which was news to them and as Natasha explains it was a top performance with some good new songs ending with that timeless ‘CAM’ with the words “Fuck fuck fuck Cymdeithas.”

’Jives Room made a welcome return to the live circuit with their rousing rock’n’roll anthems. Kyle “The Accusing Angel” shouts and sings with angst and style, he’s definitely one to watch for the future. Their first gig in over a month was admirable, well timed and on the pulse with a tighter set. It feels like they’ve never been away. We love ‘em!’

The arrival of Zombina and The Skeletones has been long overdue after a couple of aborted attempts at getting them to Rhyl, the beach boy Rastin finally got his claw hammer out to tug the last nail out of the coffin and release the bats on Blu. It was another sell out crowd and they were in for a treat.

With the theatrical blood flowing from every available orifice in wonderful contrast against the pan-stick make up Zombina delivered a horror-billy show. We were saying it would’ve been ace to have lived in the 1950s when all this kind of stuff was about, a sort of deep south demented rawk! But we weren’t sure if the original bands playing it were from the sixties parodying the fifties; does anyone know the answer to that? We can all turn around in our graves and yell The Cramps! But it was The Cramps who copied the sixties bands. Regardless, it was all ace and so are Zombina; and to my knowledge they’re the only ones doing this stuff right now.

Playing a selection of choice material including the excellent Counting On Your Suicide they too were dogged with the quiet vocal problem but the audience lapped it up for the 35 minutes, and for once I wanted more, but you don’t get an encore at Blu, and its good to be left wanting. More please.

Kentucky AFC - Iasobe? EP Review

 

[transcript from Sound Nation magazine August 2005]

Iasobe? is the first offering from Boobytrap's Kentucky AFC since the release of their debut album. This EP features four songs plus the six-minute plus instrumental, Gizmo.

Y Salwch kicks off with good, jangly, guitars which lead into a strong, Supergrass-ish chorus, and the more rocky Y Gwan A I Flydd demonstrates great riff-writing ability. Praidd relies more upon instrumentation to drive the song but still shows the band's raucous but disciplined vocals, then fourth track Un Ffordd opens with pounding drums and a frenetic pace.

All the songs are guitar driven, and Kentucky AFC certainly prove their talents at writing catchy riffs. The production (courtesy of the band, plus Matth from The Keys and Dyl Mei at Cardiff's Music Box) is a little fuzzy but this only adds to the raw sound of the EP. This is a positive release from the band and is set to be a fan pleaser. VE

• Label: Boobytrap

• Release Date: 1 August

• Press / Plugging: Plug 2

• Distribution: Genepool / Universal

• Web: www.kentuckyafc.com

• Web: www.boobytraprecords.com