Saturday, 4 August 2007

Noctophyle, Stuntface, Global Parasite @ Dudley Arms, Rhyl


I guess you’d call this a low key gig. Low key as in it’s not a Punk in Drublic promotion and therefore lacks that power of the internet and flyposting medium. Let’s face it, if you don’t frequent The Dudley, you’re not gonna see the posters on display by the bar, and if you don’t read the link2wales forum, you would never have known tonight’s gig was on.

Take Instant Agony’s vocalist Hocky; he was on a daytrip to Rhyl from his native Birkenhead, perusing the record shops of the locale, thought he’d have a pint at his old stomping ground and found some of his old buddies setting up for a gig.

Low key, means low in numbers, probably half of the usual crowd – most will be saving their pennies for the forthcoming punk onslaught in Blackpool. The punk girls far outnumbered the punk boys tonight and it gave them the opportunity for a bit of pogo-moshing without fear of being crushed by some 14 stone tattooed beer monster!

They’ve played countless gigs in their short existence, picked up some very favourable reviews along the way and I’ve somehow managed to miss every performance so far. So I was well pleased when a text from Global Parasite came through this afternoon to announce they had been added to the bill. And I was pretty pissed off to arrive there as they were playing their penultimate song! What I did see and hear was fast churning punk rock being sweated out in a screaming frenzy not too disimilar to The Cox; there again two-thirds of GP were The Cox.

Stuntface (top pic) are a very busy band these days as Wayne attempts to continue the cause he holds so dear to him. The number of gigs they play is as relentless as the way they play them. With a new LP ‘Pain Is Only Temporary, Glory Lasts Forever’ in the offing (their 3rd), The Dudley’s intimate setting allowed them further opportunity to target the audience with outstanding and invigorating tunes such as ‘TV Told You So’ and ‘Every Dog Has His Day.’ And on the dog subject, when guitarist Harry Kari broke a string, his replacement guitar was the same colour as a dog’s dick!


With everyone chin wagging in the beer err… yard, it looked as if Holland’s Noctophyle (pic above) would be playing to me and Stuntface, which wouldn’t have been very nice on their 3rd visit to the UK, but the live room was nicely filled by the end of the opening song. This is hardcore psychobilly – and very fucking loud – imagine The Cramps but with 2 punk guitarists, no twiddly bits, with a Stray Cats singer and Sham 69 solos…! Hard to imagine eh..! But this is sleazy rock’n’roll that turns into speedcore then back into the Cosmo Jones Beat Machine.

Image wise, you’ve gone from the sweat, scum and shit that is Stuntface to the clean-cut smoothness of Noctophyle – but that’s as far as cleanliness goes – this is dirty knicker wetting spunk rock. Good enough to wish they were ours to keep as our own. In fact I might just convert the garage to house them.

Lead singer-bassist Freddel carries a great charisma on stage; this is not your typical run of the mill 3 chord same old same old bollocks – its a wall of guitars that’s tremendously exciting and makes you wanna rock and roll!

What a fucking superb band.

Parking Non‑Stop & Ectogram at Klangbad Festival 2007

 

Bangor Experimentalists at Klangbad: 


Two boundary-pushing bands from BangorParking Non‑Stop and Ectogram—took the stage at the Klangbad Festival in Scheer, Germany, a celebrated haven for experimental and avant-garde music founded by Hans‑Joachim Irmler of krautrock pioneers Faust.

Parking Non‑Stop, an ambient sound-art collective inspired by psychogeography and field recordings, delivered an atmospheric set that bridged electronic textures with spoken word and environmental audio. Their appearance at the festival marked their international debut and was a catalyst for future collaboration with Irmler's Klangbad label, leading to the release of their debut album Species Corridor in 2008.

Joining them were Ectogram, a band equally rooted in Bangor’s thriving underground scene. Known for their fusion of noise rock, psychedelia, and improvisation, Ectogram brought a heavier, more distorted energy to the festival. Their set underlined the band’s commitment to sonic experimentation and their place within the broader European avant-rock landscape.

The Klangbad Festival 2007, held from 3–5 August, showcased a diverse lineup of leftfield musicians from across Europe. Set in the idyllic town of Scheer on the banks of the Danube, the event was a celebration of musical freedom, far removed from commercial constraints. Both Parking Non‑Stop and Ectogram exemplified the exploratory spirit Klangbad is known for.

A festival CD compilation released later in the year features tracks from both bands, preserving a moment when two distinct voices from North Wales found an international platform among like-minded experimentalists.

Friday, 4 August 2006

Texas Radio Band, Genod Droog play Porthmadog

 

It's quite fitting that Texas Radio Band played Clwb Chwaraeon as they have a great song called Chwaraeon. 
The electro-country indie band, formed in 1998 in Camarthen but relocated to Aberystwyth when theyd went to university there.
Feat; Matthew Williiams (voc,gtr) (ex Doli), Rhydian “Squids” (bass,voc), Rhodri (drms,voc), Rhodri (keys,elec. eq.). 
Appeared Shotgun Slide Show (2002), 4 Trac, Bandit and Sesiwn Hwyr. 
They were featured on the compilation '£5 Heb Newid' (1999) which also included Zabrinski and Doli, And released 'Y Tywysygoes EP' (2001), 'Love Is Informal' (2002). Slacyr Records released the acclaimed album 'Baccatta'  (Feb04). 
Matthew bought one-way ticket to Spain (Jun04) and re-emerged to return home and the band recorded the next LP ‘Gavin’ (Peski Recs 07.07.08).

Did you go to this gig? Any memories?

Monday, 31 July 2006

VIDEO - Junebug - Sweet Mellow Water (live at Bar Blu, Rhyl)

 I put this video together of Abergele popsters Junebug and their absolute classic Sweet Mellow Water

Sunday, 30 July 2006

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

Saturday, 31 December 2005

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.

Friday, 23 December 2005

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.