ALBUM REVIEW: THE RUMPLED- ‘Ashes & Wishes’ (2018)

Dance, scream, jump, sweat, clap hands and wear out your feet. Italian celtic-rockers The Rumpled come wrapped up with heaps of enthusiasm and energy and on hearing this they  will soon have you trapped in their spell!

If you ever think that celtic-punk music is confined only to the Celtic nations and the Celtic diaspora then you couldn’t be more wrong! Those days are long ago, if indeed they ever really existed at all, and these days celtic-punk music is spread literally all over the globe. Today’s review is of Italian band The Rumpled’s debut album Ashes & Wishes and if celtic-punk was designed as a vehicle to take elements of traditional Irish folk and punk rock and blend them together while staying true to both genres roots then The Rumpled have nailed it.

The band was born in 2011 in the northern Italian city of Trento and began with the name Seven Deadly Folk but as is often the way with celtic-punk bands with the coming and going of new and old members the band decided in 2014 to change their name to The Rumpled. This led to the release of a 4-track demo in June 2015 and the change of name did them no harm and in the summer of last year they won the prestigious European Celtic Contest organized during the Montelago Celtic Festival. Having already performed over a hundred concerts at pubs, festivals, on the street and many more unlikely places and with this award under their belt and the release of their album last month they set off later this month on their biggest ever tour of Italy.

(the first demo release from The Rumpled)

The celtic-punk scene in Italy leans very heavily towards the Irish side of things and in bands like The Clan and Uncle Bard And The Dirty Bastards Irish traditional folk music is referenced heavily. Another band I have started to notice being referenced quite often, and for good reason, is Aussie celt’s The Rumjacks. Kicking off with ‘Rumpled Time’ and its catchy, riff laden, accordion led celtic-punk heaven! Its more the folky side of things but still with plenty of bite to it and, in common with the above Italian bands, Marco, the vocalist, has a strong voice and when singing in English is perfectly understandable. Following this is ‘Just Say No!’ and the Irish influence is strong on a song that bounces along with tin whistle leading this time. So far the emphasis has been on good time music but the Bhoys ramp it up for ‘Jig Of Death’ and was the second single released from the album the week after St. Patrick’s Day. According to the video the ‘vocal supervisor’ was one Francis D. McLaughlin so we could have half expected them to singing in broad Scots!

Another thing they have in common with The Clan is their elaborate and well made videos. Take a few minutes to check them out as they are well worth your time. The album carries on with ‘I Wanna Know’ and by know I’m getting the vibe off them that they are very much a live band. Music like this belongs in the public house but they have made a very decent job of transferring it onto disc so well done lads. The Rumjacks connection continues with ‘The Ugly Side’ featuring the Rumjacks themselves. Don’t these guys ever intend returning to Australia?? One of the punkier songs on Ashes And Wishes but without losing any of its catchiness. The bagpipes are loud and proud for next song ‘Don’t Follow Me’ the video of which features the local Celtic interest group Il Clan della Fossa. This was the lead single released last November and sparked up a lot of interest in the band around Europe.

As I already mentioned Italian celtic-punk bands have really embraced the sound of trad Ireland and on ‘County Clare’ The Rumpled take that music and inject it with a healthy dose of punkiness and an energy oft times missing. The song is again led by the accordion and Marco’s voice combine for the album standout for me. The album continues with ‘Bang!’ and a catchy ska beat knocks shoulders with a country folk base and nice wee track with very well played fiddle from Patrizia. We are nearing the end and still no covers just some excellent original celtic/Irish influenced folk punk. ‘Dead Man Runnin’ continues the punkier side of things before ‘Ramblin’On’ brings us back to their more folky side. Again its catchy as hell and finally the album comes to an end with ‘Letter To You’ and if the only thing missing from Ashes And Wishes was a lovely wee ballad then they almost pull it off with this wonderful song that they can’t quite help sticking a jig in the middle of it. The sort of song Springsteen would do if he ever records an Irish themed album.

Ashes And Wishes is a real fun album the sort of music that would see you certain of a good night out among friends and comrades. With the spirit of great Irish bands like The Dubliners, The Pogues, Dropkick Murphys and Flogging Molly infused here celtic-punk is not a genre built entirely on originality in fact it skates by on a massive dose of nostalgia as much as anything else. In which case it’s sometimes hard to judge bands and with the best place to hear this kind of music being the pub its the feelings it evokes that tell us whether the music is good or bad or in between. What you have here is just plain good old time party music. There is no hidden meaning to it just the wish from The Rumpled for us, the listener, to enjoy ourselves and to forget our troubles.

Which is exactly what I did for thirty-four minutes!!

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EP REVIEW: UNDER A BANNER- ‘Riot’ (2018)

Fine purveyors of passionate, powerful and poetic folk-rock Under A Banner unveil their brand spanking new EP this week. 

Under A Banner have featured on these pages several times over the years and strangely, for a English band, they have managed to get here on the strength of their many releases rather than their live performances. Not to say they aren’t bloody brilliant live but that they have hardly ever played in London. We helped put them on once at the legendary Water Rats (where The Pogues played their debut gig) but i couldn’t make it leaving my only Under A Banner gig at a festival in Croydon a couple of years back. Needless to say they outstanding and I’ve tried several times since to catch them but to no avail.
The band hail from the West Midlands town of Wolverhampton and began life as a duo before slowly adding to the roster of musicians until they had gathered around them the core of what would be Under A Banner for quite a while. A heavy touring schedule and a very healthy relationship with their fans (one look at the bands social media shows how much love flows from the band to their fans and back again) has seen their star rise and rise all the time becoming more and more popular. The folk-punk scene in the Midlands has also played a large part in their popularity with bands like Ferocious Dog leading the way and others like The Silk Road, The Whipjacks and Headsticks who all know and support each other. Further proof, if needed, that while the Celtic/Folk-punk scene may not be massive in numbers the people who make it up are the best. Solidarity me Bhoys and Ghirls! With several releases under their banner (ahem!) including a bunch of singles and EP’s as well the albums The Ragged Rhythm of Rain in 2012, Close To The Clouds in 2014 and Wild Places in 2016. We reviewed Wild Places here and  most of their previous releases are available as Pay What You Like downloads on Bandcamp at the link at the bottom if you want to check them out.

 

So with a new band member in tow, new bassist Richard Corry formerly of The Whiskey Syndicate, Under A Banner returned in February this year with a new single and video for ‘Light Breaks Through’. The video was directed and edited by Nick J. Townsend and announced the unveiling of a Crowdfund campaign to raise the necessary readies to pay for the EP’s release. The bands fans came running and here all ready and delivered is the new five track EP which while sounding like the old Under A Banner hasn’t stood still and has taken the band into a much bigger sound.
At the head of it all are the words spun by singer/guitarist Adam
“We always seek to bring passion and power with what we do, although sometimes we just love to spin a good old yarn”
and therein lies the secret of Under A Banners success so far. It’s their ability to combine catchy tunes and stories (with bands like these I prefer to call them stories rather than lyrics as lyrics make them sound trivial at times) that have captured the folk-punk public.

The EP kicks off with the title track ‘Riot’ and with feedback and Richards pounding bass and its a heavier and harder hitting Under A Banner while still keeping their folkier sensibilities. They are constantly compared, especially by us, to New Model Army in the past but the new EP brings in influences as diverse as Anarcho-Punk and bands like The Stranglers, The Cult and Rush. We have said before that they are only a fiddle away from being the next great celtic-punk band but here Kat 70’s and 80’s inspired synth more than makes up for that. At a length of over six minutes the song never runs out of steam and on my first couple of listens I couldn’t believe it was that long as it sounded so short and snappy to me. Next is ‘The Wrong Hands’ and the sound is massive with one of many anthemic choruses on view here giving us all plenty of chances to stick our fists in the air!

“Power in the wrong hands”

Hard rock and synth launch ‘We Want Hope’ and here its the harder edged NMA that springs to mind and more great fist pumping choruses and words that reach you brain as well as your feet. The EP continues in the same vein with ‘Last Orders’ and the quality hasn’t waned and another corker with a all too brief folk/blues interlude before it rocks back into action. The EP ends with possibly Under A Banner’s greatest ever moment (so far!) with the amazing ‘Light Breaks Through’ and here they sound most like the old Under A Banner. Now this is what Folk-Punk should sound like people. Great meaningful lyrics that actually mean something accompanied by a mix of rock and folk that leads into yet another catchy chorus and a real foot/head tapper that should have the dance floor full when they play it. They may be compared to others but Under A Banner have only ever followed themselves.

The EP does have one extra song a radio friendly edit of title track ‘Riot’ at a shorter length of only five minutes. I prefer the longer version!
So what to make of the new direction? I love it! The harder and louder edge suits them and you still hear their folk influences throughout and I’m sure will signal the start of a new era in the band’s history. They are embarking on their most extensive tour to date taking in venues and festivals across the UK throughout the Spring and Summer so be sure to check out their web-site for tour dates, to be announced imminently! Anthemic, loud and heavy it’s the same Under A Banner only bigger and better!!

Buy Riot

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  • We interviewed Under A Banner last year and it makes for a great read so check it out here and find out a bit more about the bands origins and influences

EP REVIEW: STEVE WHITE- ‘Fake News From Nowhere’ (2018)

Local folk-punk hero Steve White is back but without The Protest Family this time to cement his reputation as one of East London’s finest sweary guitar playing lefties!

This EP had almost slipped my memory when I bumped into Steve in the Leyton Orient Supporters Club bar. Trust me you’d need a drink after watching us this season! Anyway it reminded me that Steve had released a five track solo release and I promised him I’d get my thoughts onto here soon as I could.  Steve is the vocalist of one of London Celtic Punks favourite bands Steve White & The Protest Family. They have featured here a couple of times with album reviews and having played a few of our gigs but its been well over a year since the release of Protest For Dummies so something has been long overdue for this prolific band. Since that review the left has further entrenched itself in the backwardness of identity politics and the divide between the left and the class it’s suppose to represent has never been bigger. As I said then “It’s hard to be left-wing at the moment and certainly there is no joy in being so…” but that was before Jeremy rode over the hill on his white horse to save us. I’m not convinced but there you go. It’s a small light at the end of the tunnel and any hope is better than no hope. In a scene characterised by too serious po-faced lefties and hand wringing earnestness it’s heartening to find Steve White and his merry band still kicking out against the powers than be with their very own brand of bawdy, satirical, revolutionary socialist punk-folk-folk-punk music!

Steve has a certain knack for hitting home his points without that earnestness that puts so many people off. Not to say that the songs on here don’t make serious points or are even told in a serious manner as most are but its the way they are delivered that makes the difference and Steve White knows it.

Fake News From Nowhere was released the week after St. Patrick’s Day on 22nd March and has been released as a ‘Name Your Price’ download, more on that later but what better incentive do you need to get this? With several releases as Steve White And The Protest Family and couple as a solo artist Steve has been active on the London scene for a good few years and somehow finds the time away from his job as a firefighter.

Only One Team In East London

Fake News From Nowhere begins with ‘The Death Of Facts’ and the new modern way of media that sees facts making way for feelings and rumours. If people can still lose the argument while using facts than something is seriously wrong. On ‘Don’t Look Down’ the lyrics tell of the ‘I’m alright Jack’ way society has been moving for decades. Steve’s accent is propa Cockney here while the music is gentle. Like a lot of the bands songs the gentle front often hides a passion and call to arms. ‘If The Queen Had A Hammer’ is I think a full band song. It certainly sounds like it. Again the music has a gentle side to it while Steve hammers home a anti-monarchy message while still acknowledging that the Queen is still a human being.

“If the Queen had a hammer, would she hammer in the morning?
Would she hammer on the rich or on the poor men?
Would she hammer for change or for the status quo?
Would she hammer to remain or hammer to go?
Would she hammer with her head or hammer with her arse?
Would she hammer for the patriotic working class?
Would she hammer with her head or hammer with her feet?
Would she hammer on the metropolitan elite?”

Steve is a wonderful songwriter and the high point here is ‘Children In The Crosshairs’ with lyrics dealing with school shootings but not in as direct a way as you would maybe imagine. An intelligent and sensitive song that makes it’s point loud and clear. The final whistle on EP is for ‘A Song For St. Patrick’s Day’ and absolutely no surprises that it’s my favourite track here. Round every 17th of March English people are found bemoaning the fact that the Irish here celebrate St. Patrick’s Day while St. George’s (the patron Saint of England) Day shuffles by without anyone really doing anything. It turns out that St. George was in fact from the Middle-East so was in fact a refugee from his homeland.

“Each year on this day of March seventeen
A bigot will make a complaint
That in England no man of Irish descent
Will honour his host’s patron saint”

A great wee ditty that sees Steve accompanied on mandolin and will raise a smile I am sure. So another fine disc out of East London and from supporters of the best team in East London too. Five tracks that come in at a rather good twenty minutes and buzzes along nicely sitting. While the folk-punk scene does have a habit of espousing politics in a kind of virtue signalling way you just know that Steve and his merry band both live and breathe their beliefs. Some may not agree with everything they say but I’m sure we can all admire a band that not only packs a punch but also tickles your funny bone while doing it.

(you can have a listen to Fake News From Nowhere below on the Bandcamp player but seeing as its’s ‘Name Your Price’ why not just download the bloody thing!)

Download Fake News From Nowhere

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You can catch Steve White And The Protest Family live in London this the weekend!

Facebook event here

ALBUM REVIEW- FINBAR FUREY- ‘Don’t Stop This Now’ (2018)

We rarely use the word legend on this site so when we do then it is only when it is well deserved. Multi-instrumentalist, composer, songwriter, storyteller and actor, Finbar Furey is celebrated around the world as one of the great folk icons and is a supreme storyteller as well as a versatile and multi-talented artist.

We have often spoken here on what Irish music and culture meant to the children of the Irish growing up in Britain in the 80’s. When The Fureys and Davey Arthur appeared (watch it here) in the middle of the 12th November 1981 edition of the popular music TV show Top Of The Pops featuring the likes of Kool & The Gang, Haircut 100 and Earth, Wind & Fire the effect it had on the Irish community here was gigantic. As Finbar said on the groups entry into the Top Of The Pops studio

When we walked in, people went ‘What in the name of Jaysus is this!’

There had been success for Irish bands but it was years before many of us were born. The Wolfe Tones played to thousands wherever they went and all without press or publicity so when these band of hirsute middle aged Irishmen took the stage playing ‘When You Were Sweet Sixteen’, a beautiful ballad that I’m sure over the years has brought a tear to most Irish peoples eye over a certain age! The band included brothers Finbar, Paul, George and Eddie as well as Davey Arthur. That day it became a defining moment in many a young 2nd and 3rd generation Irish person’s life. I remember it clearly how proud my family were at the bands achievement the smiles beaming across their faces. It would climb to #14 in the singles chart at a time when that meant selling 10’s of thousands a week. At a time with the war raging in the north of Ireland and spilling over onto English streets the Irish were having a bad time of it over here. Suspicion, aggression and bigotry against them was everywhere and countless Irish men and women were being jailed on very little evidence (all later to be cleared of any crime) with the effect that many Irish born people kept their heads down and put up with the abuse. But things were changing. There were around a million Irish born people in Britain in the early 80’s and their children were not going to be silent and act ashamed of our roots. We were still a few years away from The Pogues and Irish culture and accents were never seen on TV or the media except to be ridiculed so when Finbar Furey sang

“Come to me, and my
dreams of love adored
I love you as I loved you
when you were sweet
when you were sweet sixteen”

in front of watching millions it planted something in our minds that would later come to fruition just a few years later when The Pogues would erupt onto the music scene.

The Fureys And Davey Arthur

The band were no one hit wonder and several of their songs like The Green Fields of France and The Lonesome Boatman have gone on to become solid gold Irish classics. Go to any Irish pub on any day of the year in ant part of the world and there’s a very very good chance you’ll hear one of their tunes. Born in Dublin into a Irish traveller family on 28 September 1946 in Ballyfermot, Dublin Finbar came from a highly respected musical family and began playing the uilleann pipes as a child. By his teens he had won just about every medal he could win and his amazing ability had spread across Ireland. IN the late 60’s Finbar and brother Eddie were part of the legendary Irish folk group, The Clancy Brothers with Finbar playing the pipes, banjo, tin whistle, and guitar. The brothers left in 1970 and began to perform as a duo and in 1972 their single, a version of The Humblebums ‘Her Father Didn’t Like Me Anyway’, was enthusiastically received by John Peel becoming his favourite song of 1972. Peel like many over here fell in love with the glorious sound of the Uilleann pipes (listen to it here) and they more than played their part in the coming celtic-rock phenomenon that was about to shake the music industry at home and abroad. It was though when his other brothers joined the band and they teamed up with Davey Arthur that fame came a calling and they carved out a very fruitful and successful career until in 1997, after almost thirty years in The Fureys Finbar decided to pursue a solo career as a singer songwriter.

Finbar released his first solo album ‘Colours’ in 2013 with a powerful mix of contemporary originals and modern interpretations of classic Irish songs his status as one of Ireland’s most treasured performers was cemented further. The album featured Mary Black and the second-generation Irish Mancunian Shayne Ward and instantly brought Finbar to a whole new audience too young to remember The Fureys in their heyday. Alongside his solo career he also found time to take up acting, appearing in the Martin Scorsese directed feature film ‘Gangs Of New York’ as well as 2004’s ‘Adam And Paul’ and the RTÉ TV series ‘Love/Hate’. In 2014 Finbar was honoured by the City of Dublin with the Lord Mayor praising him for

“Bringing life and laughter to many homes in Ireland”.

He followed that album up with 2015’s The Slender Promise an instrumental album of pipes and flute which brings us bang up to date with Don’t Stop This Now. The album, unsurprisingly, made #1 in Ireland under it’s original name Paddy Dear. Obviously that title was deemed too sensitive for these politically correct times so a new name was chosen. The album begins with ‘Sweet Liberty Of Life’ and the first thing that sprung to my mind was how similar in both delivery and emotion it is to the late great Johnny Cash and his American recordings. The voice is unmistakably the same as one that lit up our TV screen in that tiny living room in England twenty-seven years ago except now its more weathered and one magazine’s description of him as a “played out Dublin born Tom Waits” fits admirably.

Finbar sings of freedom and peace on a song he wrote back in 2010

“Liberty, life and freedom are words that capture the true spirit of humankind in every imaginable way”

At 71 years young Finbar’s voice comes alive and after his near-fatal heart attack in late 2012 in a gentle country-folk number it’s no wonder emotion is evident in his voice. Next is title track ‘Don’t Stop This Now’ and again there’s a strong country feel to proceedings with a string section backing and the first appearance of the uilleann pipes. Finbar’s voice is strong and direct and the wonderful words all present a song that anyone could sing and make a maudlin mess out of it but in his capable hands it becomes the beauty it is. The only downside I found is the annoying ending where they fade Finbar’s voice out rather than just simply ending. We go back to 1994 now with ‘Annabelle’ and the first exercise of the auld tear duct’s. A true story of a homeless woman in the Dublin of the 1950’s. Having lost her love in the Irish War Of Independence Finbar’s auld Mammy befriended her

“I’d often be with them as they’d share a bar of chocolate sitting on the roadside”

It’s a beautiful and simple song and leads us into the tragic story of a family caught up in The Great Hunger in ‘We Built A Home’. Both songs songs show Finbar’s strength is in his storytelling. After the amazing recent release the album ‘Chronicles of the Great Irish Famine’ by Declan O’Rourke (read our review here) this song could easily fit onto that album telling the fact of why The Great Hunger happened.

“To bear witness to heaven’s eye of cold,cold genocide”

Again its a beautiful song this time led by Finbar on the banjo. ‘The Galway Shawl’ follows and is the only cover on this album. Not much is known of the origins of this traditional Irish folk song but it has been covered widely over the years. Telling of a musician who meets the love of his life but has to leave her behind.

“Said she, “goodbye sir”; she cried and kissed me,
But my heart remain with the Galway shawl”

The string section is back for ‘Sarah Waits’ and is the tale of soldiers away at war while their love awaits their return. Linking World War One to today’s the wars continue… even as I write these words. My favourite song here is up next and it’s not even very Irishy! On ‘Co-Exist’ Finbar weaves an Eastern tune out of his banjo and the simple but effective words tell universal truth. Finbar’s daughter Aine Furey accompanies him on the two following songs, ‘The Taxi’s Waiting’ and ‘Hail, Rain Or Snow’, and her wonderful voice brings a sprightly youthfulness to the songs. The first is a catchy folky number while the second is bluesy folk number with a real foot-tapper with a lovely singalong chorus. Not surprisingly their voices are perfect together. On ‘Michael Power’ Finbar tells of a man at sea dreaming of his love at home in Dunmore. On ‘Paddy Dear’ Finbar’s voice is strong and powerful as the strings connect with the tin-whistle in a gentle tune later joined by the pipes.

We are washing up towards the end and for a man who spent so much of his life away from Ireland its a charming song about that scourge of the Irish nation- emigration. On ‘I Was Further Than I Thought I Was’ his voice cracks with emotion as the banjo and whistle lead us gently along with the story known to many of us of a old man thinking of a home he will never see before he dies. Now Irish lads and their Mammies is a story in itself and it’s kind of heartening to know that I’ll still be like this when I’m Finbar’s age! The tear ducts get another airing here and it just goes to show that his wonderful storytelling is a joy to behold.

The album ends with the haunting ‘Lament for John’ an instrumental starring Finbar on flute and uilleann pipes.

An outstanding album showcasing the amazing talent of Finbar Furey. Shane MacGowan had this to say about him recently

“proves he is not just a massive force in Irish music’s heritage, he is a massive force in shaping it’s future as well.”

It may be twenty seven years since he lit up our living room but Finbar has lost none of that sparkle and this album will please not only his own fans but will announce him to a whole new range of fans too. The album is packaged with a free DVD of Finbar in concert performing many of the songs from the album and his better known hits too making this a must have album. As stated at the beginning legend is a word far too often used in this day and age but it belongs far and squarely after the words Finbar Furey have been written.

Buy Don’t Stop Me Now

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EP REVIEW: TEUFELSTANZ- ‘Carmina Tristia’ (2018)

Teufelstanz are a Russian band that performs medieval music in modern times.

In Teufelstanz they play medieval bagpipes supported by various rhythms of the drums with deep resonant percussion. A unique sound they call ‘Alternative Medieval Music’.

If one of the aims of this site is to introduce people to new music then I can safely sit back with my feet up after this one I think. I can’t remember how i was introduced to Teufelstanz but I got a message just this morning from Bandcamp that they had a new release out. I rushed off my $ (yes one dollar) and sat back to take it all in.

Teufelstanz were formed in Moscow in the summer of 2009 when the drummer Konstruk-Thor left his previous band and gathered around him a bunch of musicians well known upon the Russian folk scene. Jaroz and folk-hero piper Haldavan took part in the new project and after a handful of gigs they expanded taking on two more pipers in the ‘great and horrible’ Bergtroll and Minoss as well as a drummer. Since those early days Teufelstanz have shared a stage with many of the best bands to pass through Moscow like the Dropkicks Murphys and Irish celtic-metallers Cruachan. They have released a bunch of singles and three albums, the last of which, XIII, came out last December but sadly passed us by.

(you can listen/buy all the three previous Teufelstanza album’s here and help to keep this great band on the road) 

Their new EP, Carmina Tristia, was released last week and was recorded and mixed by Bergtroll from the band and an awesome job he has done. It must be hard to get the sound right for one bagpiper but three!!! How to describe this band. Now I haven’t dived too deeply into their back catalogue but on Carmina Tristia the bands own description of themselves as ‘alternative medieval music’ is spot on but I’d maybe go so far as to call them celtic-goth as well.

The EP begins with the title track ‘Carmina Tristia’ and unlike a lot of their previous work its on the slow side of things. Medieval group chants over pipes and drums its a great song and the added bonus of a string section all makes for something very special and a must have for any pipe fans. The words are in Russian but the title means ‘The Dire’ and tells of a country that has lost in war with some pretty downright and suitably gloomy lyrics.

“Our rivers are poor in water,
Our windows do not see the day,
Our morning looks like a night,
Well, and the night is for me”

The second song is ‘The Rains Of Casta Mere’ and again its a total surprise. Done almost entirely on piano with McArrow’s accompanying voice. It’s a emotional ride and beautifully done.

“Yes now the rains weep o’er his hall,
And not a soul to hear”

It may be familiar to some of you in that it’s taken from the TV series Game Of Thrones and has appeared several times throughout it’s run. The final track here is the instrumental ‘Der Finne’ and only further cements this EP’s place in my brain as ‘celtic-goth’ as its performed on that most Gothic sounding instrument of all- the cello. The song was originally performed by the similar German band Varius Coloribus as a bagpipe song (check it out here). The song once again is beautifully done and with the backing of a string section and is wonderfully understated.

So only three songs to report on and apart from that title track perhaps not much to interest your average celtic-punk rocker but there’s plenty here to intrigue and to whet your interest to check out their back catalogue as well. Any band with three bagpipers is bound to be worth looking out for and with the EP available for just one measly dollar its well worth a shot in the dark.

(listen to Carmina Tristia first before you buy at the Bandcamp link below)

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ALBUM REVIEW: MUIRSHEEN DURKIN AND FRIENDS- ’11 Pints & 3 Shots’ (2018)

And we all thought Muirsheen Durkin had gone off to mine gold in California but would seem he got lost on the way to Amerikay and ended up in Arnsberg and started playing some proper kick-arse Irish-Celtic-Folk-Punk-Rock!

I have a feeling we’ll still be reviewing celtic-punk releases from March well into the Summer at this rate! Here’s another that arrived in time for St. Patrick’s Day and has hardly been out of my ears since. The quality of what we received here at London Celtic Punks Towers has been amazing and when I said I thought Krakin’ Kellys new CD was already the album of the year I hadn’t heard 11 Pints & 3 Shots by this awesome German collective of musicians.

Having known each other for some thirty years it was only a few years back in 2009 that the idea to start something new came up. Wanting a band with its feet based firmly in traditional Irish music and with an emphasis on emigration songs Muirsheen Durkin & Friends was born. Their name comes from the auld song about a happy go lucky Irishman heading off to mine for gold in America during the  California Gold Rush of 1849. The song is unusual in that its a happy song and Muirsheen (a reference to the phonetic pronunciation of ‘Máirtín’ (in English Martin) in the West of Ireland.The feet may be in trad with mandolin, banjo, tin whistle, accordion and two pipers but with the addition of classic rock music instruments the band joined an ever growing scene

” set about re-voicing Irish traditional’s with pulsing bass runs, pumping beats and the use of relatively rare instruments, making it hard to recognize the contemplative shanty or seafaring vocation , Pure enjoyment and a little punk rock is still…”

Modern day celtic music and celtic-punk music has moved away from the areas well known for Irish/Celtic emigration and is now played throughout the world inspired by hundreds of bands throughout the globe. They no longer come from Ireland or London or New York but from Indonesia, Russia, Japan and even China. This is the proud legacy that the Pogues leaves to the world.

11 Pints & 3 Shots is the third release from Muirsheen Durkin with their debut album, Last Orders, hitting the streets back in 2012 and their follow up to that, Drink With The Irish, a four track EP, arriving in 2014 which features ‘The Pogues and Whiskey’ a stunningly great homage to Kings Cross finest. Each release came with mighty press from around the celtic-punk world with everyone from Celtic Folk Punk & More to Shite’n’Onions raving to the high heavens about how good they are.  Formed in the central German town of Arnsberg the band were first revealed to me when they played at the Celtic-St. Pauli football and music festival and loads of fellow Celtic supporters arrived back over here raving about a band they had seen. That was a couple of years ago and with 11 Pints & 3 Shots I finally had the chance to hear them for the first time.

What we have here is fourteen tracks that clock in at three quarters of an hour which includes three instrumentals and and a bunch of songs that you may have probably heard before but done in a style i’m sure not many are accustomed to outside these pages! Mix in some re-workings (updating?) of a couple of songs and a smattering of original compositions and you got yourself one hell of a an album!

So onto the actual review and the fun begins on 11 Pints & 3 Shots from the very off with a great album opener ‘Another Drunken Night’. Self penned by the band this was the song that announced the new release to the waiting public and needless to say it is a corker! Banjo and accordion led with nice drumming it has a definite Rumjacks feel to it but these Bhoys and Ghirls have been around long enough, and on another continent!, to come up with it themselves. A grand song and what a way to start.

The subject matter well have a gander at the video above and you’ll easily work it out. We stay in the pub next for ‘One Whiskey’, another band penned number. The song really evokes an Irish sound to me. This is the Gaelic music music that we grew up here but with plenty more bite to it. Its still folk music but played at a breakneck speed and with a real passion. Vocalist MacRünker was a member of the first Irish folk punk band in the area, Lady Godiva, who released four albums and his voice fits in superbly. Hoarse and raspy but never too much and totally in tune with the music. The bagpipes are out for ‘Itchy Fingers’ and it puts the mental into instrumental. It’s the same tune as The Kilmaine Saints signature tune which I am sure is well known but beyond my feeble memory. A killer of a song and you’d expect it to be from a band with two pipers and where half the rest of the band can pipe as well!

The first totally recognisable cover is the Scots classic ‘Donald Where Your Troosers’. Written by the great Andy Stewart in 1960 while sat on the toilet in a recording studio. The song tells the hilarious story of a kilted Scotsman travelling round London shocking the well heeled residents of London.

“I went down to London town
To have a little fun in the underground
All the Ladies turned their heads around, saying,
“Donald, where’s your troosers?”

This is followed up with another classic Scottish song in ‘Wild Mountain Thyme’ and make no mistake I tells you this is the best bloody version of it I have ever heard in all my days! Folk music is put aside somewhat for a moment as the band punk it up with a thundering bass and MacRünker and acoustic guitarist Sonja and accordionist Mine kick up a real storm on vocals that captures Muirsheen Durkin perfectly. Talk about catchy this album sounds like there’s about twenty people playing and if i never thought I’d hear a better version than you-know-who’s then i was wrong. Another classic cover up next and its one perhaps made famous by The Dreadnoughts, ‘Old Maui’. The song can be traced to records going back to the mid 19th century and tells the story of a whaling ship returning to Maui in Hawaii after a long season of whaling.

“It’s a damn tough life full of toil and strife
We whalermen undergo”

The song is strong as any on the album but doesn’t add much to the Dreadnoughts version for me and for a band that really can stamp their brand onto any song maybe it might have been better to cast their net for a less known song. After a smattering of covers the next couple of songs are self-penned by the band and ‘Peggy The Waitress’takes us back to the auld sod of Ireland and a tin-whistle led instrumental that takes in a variety of tunes some sounding familiar and others not before the banjo takes over and leads us until the accordion takes over and then all kick in before we get ‘Land Of 1000 Mountains’ and its a country/Irish folk crossover and again MacRünker’s voice is exactly what is needed here. The song steams along at a steady pace and you know its gonna take off and when it does it lifts the roof. Another album standout here proving they are not just a brilliant covers band but a brilliant band in their own right. Next up we get another cover and Sonja and Mine again take up the vocals on ‘Botany Bay’ and again it’s a great version but perhaps a bit overdone. For a band so in touch with ‘Irishness’ this would be my only wee complaint here. ‘MacRunkers Junk’ is another belting Irish folk punk instrumental with what could easily pass for a ska interlude if they wanted. The tunes fly at you and once again some familiar and some not but they make for one hell of a song when they all put together. On ‘Drink With The Irish’ Muirsheen Durkin pay tribute to one of Ireland’s best ever bands and one that at times could have got you arrested for just listening to! The Wolfe Tones classic rebeler ‘Erin Go Bragh’ is chopped and changed and adapted with love and respect into a celtic-punk number.

“I’ll sing you a song of a row in the town,
When the green flag went up and the Crown flag came down,
‘Twas the neatest and sweetest thing ever you saw,
And they played that great game they called Erin Go Bragh”

Written and arranged by banjo/mandolin player Thomas ‘Lanze’ Landsknecht I bet the tones would whole heartily approve. With the King Of Celtic-Punk’s recent 60th birthday Muirsheen Durkin then pay tribute with ‘Last Of McGee’ written by Shane himself.

“Rope of hemp, around his neck
To hang from an old gum tree
And as he hung
The branch came down, and finished the last of McGee”

You may not have heard it as the song was unreleased and was recorded in 1990 during the recording sessions for the Hell’s Ditch album and produced by Joe Strummer. The song stays fairly true to the MacGowan version and is a timely reminder of the great mans talent. Fast and furious and how could it be anything other than absolutely fecking brilliant!! We are steering up towards the end and the quality hasn’t waned and in ‘When The Pipers Play’ we have what for me is the albums standout track. Originally played by the amazing Black Tartan Clan from Belguim the lyrics are by Muirsheen Durkin and leans heavily on songs as varied as ‘The Water Is Wide’, ‘Danny Boy’ and ‘Auld Lang Syne’. If you like bagpipes in yer celtic-punk then this is the song for you. Absolutely stunning pipes from Andre and Simon and arranged into a completely new song.

11 Pints & 3 Shots comes to a glorious end with the hilarious ‘Botany Bay Reggae’ and aye you guessed it is a reggae infused version of everyone’s favourite emigration song. Now I hate reggae but I love this so there! What a way to wrap up the album and the perfect way!

Overall the album has a fantastic sound. Quite a feat with the amount of musicians at work here and thanks are due to Sebastian Levermann of German progressive metal band Orden Ogan who along with the band members has managed to capture the band perfectly. The CD also comes with a very elaborate twenty page booklet with everything you need to know about the album and with some amazing cartoons of the band drawn by Sebastian Kempke. Last year was the year all the giants of celtic-punk released albums and this year may seem quieter because of that but so far we have a handful of albums that must have the giants quaking in their shoes and up at the top of that list is this one!

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RAISING FUNDS FOR IRISH DRINKING SONGS FOR CATS, PAW’T 3!

Do you love cats? How about Sea Shanties? What about traditional Irish folk music? Then why not adopt a new CD of Sea Shanties for Cat Lovers!

Yeah you read that right it’s Irish Drinking Songs For Cat Lovers and if you think that’s a bit odd then where have you been? They already released two volume’s (or paw’t!) and they are ready to unleash a third but they need your help. I’m a bit of a cat fan myself with two of the most wonderful companions anyone who runs a mildly successful celtic-punk website could ever want. Here’s my beauties!

Murphy and Molly

HOW DID A CAT ALLERGY TURN INTO A SUCCESSFUL CAT SONG SERIES?

by Marc Gunn

I love cats. I currently have three in my household. Okay, four if you add in the stray ‘Orange Kitty’ living on our porch. I was not raised with cats. I thought I was allergic. (turns out I wasn’t). When I finally took the plunge after pressure from an ex, I fell in love… with cats. My relationship with my ex didn’t last, but my love of cats remains.

I adopted my boys Tiziano and Torre. They were educational to say the least. They tore up my couch. They peed in my bed. They yowled and played wildly as I tried to sleep. But they also sat in my lap. They rubbed their heads on my legs. They were a constant comfort and joy in my life. It was no surprise then when one day while singing the famed Irish drinking song ‘Wild Rover’, I started meowing in the middle of the song. PURRR! An idea was born. The idea turned into a three-song single. Then a website. It blossomed into a full-length CD. It bred into a second album. That launched into a live CD. It’s been ten years since I released my last cat album. Throughout that time, my Celtic Cats meowed for more. It’s time to see if we can make that happen.

Will you adopt a cat CD?

WHO ARE MARC GUNN AND THE DUBLINERS’ TABBY CATS?

My name is Marc Gunn. I sing drinking songs. It started with traditional Irish and Scottish songs at Renaissance festivals. But soon, I became a staple at science fiction conventions, like Gen Con and DragonCon. You’ll hear me beautifully fuse traditional Celtic songs with themes about Firefly, Star Wars, Star Trek, Lord of the Rings, Doctor Who, and yes, CATS! I’m not just a musician though. I’m also a podcaster. I host the largest Celtic podcast in the world. The Irish & Celtic Music Podcast has three times won the award for Best Podsafe Music. It’s been featured by Apple Podcasts numerous times. I tell you this because I love Irish music. When I decided to record these albums, I wanted to make an album that might’ve been recorded by The Clancy Brothers, The Dubliners, The Chieftains, The Wolfe Tones, or the Irish Rovers… but with cats. So I started a band–The Dubliners’ Tabby Cats. The original band was made up of a variety of traditional Irish musicians from Austin, Texas, where I lived. Plus cats of course. Together, we created a beautiful mix of Irish music along with meows, yowls, hisses, and purrs. Fourteen years later, it still sounds amazing!

SEA SHANTIES FOR CAT LOVERS

Each of my albums was themed. The first was a tribute to The Clancy Brothers, Tommy Makem and The Dubliners. It was Irish drinking songs, but with cats. The second was more like The Chieftains, Planxty, or Lunasa. It had an even more traditional Irish sound, but about cats. The third album is heading out to sea…again… with cats.

Sea Shanties are tremendous fun to sing. They’re easy and upbeat. They’re also fairly easy to parody. I want to share the cat versions of some of these incredible songs.

You can listen to previous albums when you follow Marc’s Cat Loving Spotify playlist here.

WHY I NEED YOUR HELP?

The music business has changed. I used to think I would one day retire on the 20+ albums that I released over the past 14 years. I used to be confident that I could have a thousand CDs adopted in a year. For better or worse, streaming music came along. Now I don’t know if I can afford to create an album with the same quality as my original CDs: Irish Drinking Songs for Cat Lovers and Whiskers in the Jar. Please make a pledge to adopt this exciting new cat CD by Marc Gunn & The Dubliners’ Tabby Cats. I decided to reach out to the cat loving community. My hope is that you will adopt a CD and help me bring the third album in the series to life. And maybe, just maybe, I can keep recording and releasing new cat songs for years to come. Irish Drinking Songs for Cat Lovers is more than just a pet project. It’s brought joy to thousands of cat lovers. I want to bring you even more happiness.

I’m gonna need every cat lovers help to spread the word about this album. I have a ton of videos and MP3s and old podcasts that people can share to help us reach the goal. But this will not succeed without your help. Please make a pledge and share on Forums, groups, mailing lists, social media and even at vet clinics and animal rescue shelters.

Visit Marc’s website to learn more and sign up to my mailing list here to be kept informed about what’s new and you get six free cat songs when you subscribe.

ALBUM REVIEW: THE JOHNNY CLASH PROJECT- ‘The Johnny Clash Project’ (2018)

The most novel and interesting covers album you will ever hear! The debut album of The Clash re-imagined as The Man In Black. 1977 punk as boom-chuka-boom-chuka country’n’western with the roots of original rock’n’roll showing.

By some quirk of fate I came across The Johnny Clash Project and purely on the name I decided to check them out. Well to say I was impressed is an understatement. I was further intrigued to read that they would soon be touring the UK so I dropped the lads a message on Facebook to find out if they were playing London and sadly the answer was not. Well a couple more emails and a bit of jiggery pokery and we had landed them to play at the London Celtic Punks show later this month in Leytonstone on Friday 27th April. More on that later but you may now be wondering what was so special as to warrant all this interest well here you go.

Covers are not unknown in the celtic-punk scene and I dare say 95% of celtic-punk releases include a cover or two but The Johnny Clash Project’s debut album is all covers. Not only that they are of the same band, The Clash. It is in fact a song-by-song tribute to The Clash self-titled debut album from 1977. Now there’s two ways to record a cover (three if you include f*cking it up like Ed Sheeran did recently with ‘Fairytale Of New York’) you can either copy it closely or else breathe new life into it and try and record it in a new style. We are used to hearing both here and they both have value as long as they are recorded with love and respect. The Johnny Clash Project have taken the second route and recorded an album that is so God-damn memorable and catchy, its songs haven’t left my brain alone for over a week!!

What they have done is take the songs of The Clash and recorded them in the style of the great and legendary country outlaw Johnny Cash. Yes The Man In Black himself. There’s plenty of elements of blues, Americana, folk and rockabilly but essentially this is country of Johnny Cash of the Folsom Prison Blues era. Songwriter. Six-string strummer(!). Storyteller. Country boy. Rock star. Folk hero. Preacher. Poet. Drug addict. Rebel. Saint AND sinner. Victim. Survivor. Home wrecker. Husband. Father. Son. and more… Johnny Cash the ultimate music villain widely loved and respected by all passed away in 2003  and this is also a loving tribute to him as well.

The Johnny Clash Project formed in January 2013, in Bologna in northern Italy, and stars Lorenzo Mazzilli (voice and guitar), Paolo Cicconi (guitar and banjo) and Zimmy Martini (double bass). All three are active in other bands, The Giant Undertow, Lucky Strikes and Muddy Worries but here they are united in having only one purpose- to take the songs of the one band whose influence in punk has never waned and re-imagine them in the style of the ultimate Country singer-songwriter outlaw, Johnny Cash and to make them their own and this they have done. With several tours of home behind them and a two month tour last year that took in Switzerland, France, Belgium, Germany, Austria and England they have been causing waves and their live show has been receiving plaudits from all and sundry.

Taking the boom-chuka-boom-chuka of Marshall Grant’s double bass and piling on top a voice that is so close to Johnny’s that it will make you do a double take this album is an absolute must have. It all kicks off with ‘Janie Jones’ and it’s one of a handful of songs here that the original tune stays in tact. Most of the album is done in the style of ‘Remote Control’ and ‘I’m so Bored with the USA’ where the tune is completely different and it’s not until the chorus that you start to recognise things. There are several high points but to be perfectly honest from start to finish this album is an absolute belter. ‘White Riot’, ‘London’s Burning’. ‘Career Opportunities’ keep the energy of the originals and the fast tempo while  ‘What’s My Name’ and ‘Cheat’ are played as an emotional ballads and the curtain comes down with ‘Garageland’ and accompanied by Marc Santò on the fiddle and the three female singers from fellow Bologna ska band Le Birrette, Anna, Carlotta and Giulia, it even manages to stand out even more. Fourteen songs and just over forty-five minutes of musical heaven. There is something about knowing the words to a song that brings you closer to the music and here you almost find yourself singing along before you know what the song is!

As said Johnny was the ultimate rock’n’roll outlaw. Had he been born twenty later perhaps he might have embraced punk himself even. Ever faithful to both the spirit of The Clash and the sound of Johnny Cash this is pure unabashed country-folk but would they have got away with it if Lorenzo didn’t sound so much like Johnny Cash? Probably not but so what. Backed by Paolo Cicconi on electric guitar and banjo and Zimmy Martini double bass, they are joined here on the drums by Matteo Dall’Aglio whose simple rhythms and changes of pace take you back to those halcyon days of the 1950’s. The album was released on St. Patrick’s Day eve this year and has been released on Milan label Rocketman Records. The sound is completely authentic sounding and the whole project reeks of care and attention to detail. Normally we come across albums we love with a sense of joy crossed with dejection. Joy at the discovery of music that will warm your soul but dejection at the realisation that you will never (probably) get to see the band in question perform. Well some of you those feelings will remain while for Londoners we can catch The Johnny Clash Project in the flesh in just a couple of weeks time. Don’t miss this great band and while I do have a tendency to wax lyrical about records I love the songs on this album are still swimming inside my head as I write this a week after I first heard it so that has to be the best recommendation hasn’t it?

(listen to the whole of The Johnny Clash Project at the link below)

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The Johnny Clash Project will be joined on Friday 27th April by Dutch celtic-folk-punkers Drunken Dolly, also playing in London for the first time, and London’s #1 celtic-punkers The Lagan. Live at one of East London’s most popular Irish pubs The Plough & Harrow, 419 High Road Leytonstone, London E11 4JU. Halfway along Leytonstone High Road the nearest tube is an easy 8 min walk from Leyton tube. For up to date information join the Facebook event here. Full tour dates- Tuesday 24th April at The New Inn, Canterbury * Wednesday 25th April at The Liver Hotel, Liverpool * Thursday 26th April at the Craft Taproom, Liverpool * Friday 27th April at the Plough & Arrow, London and Saturday 28th at the Fez in Margate.

EP REVIEW: RAISE MY KILT- ‘A New Tartan’ (2018)

All the way from Argentina it’s the new EP from Raise My Kilt. Celtic-Punk that is 100% attitude and  100% fun!

Well what can we say except that its become common these days for bands in the celtic-punk scene to schedule their releases around St. Patrick’s day and 2018 has been no different and we have been overwhelmed here at London Celtic Punks with both the number and the quality of recent releases. One such band is relatively new to me. Raise My Kilt hail from Buenos Aires in Argentina and are one of a handful of bands ion that country playing celtic music. Last year they self-released their debut EP, Gaitas And Tanos, which received a great review over at Celtic Folk Punk And More (here) which brought them to many people’s attention and thank Heavens they did. The title of the EP refers to Gaitas which is a local Argentinian word for people from the celtic nation of Galicia and also the word for Bagpipes while Tanos is the local word for Italian people and as the band are all  of Italian and Spanish descent.

Raise My Kilt from right to left: Mariano Miramontes- Guitar, Vocals * Manuel Magariños- Drums * Damian Giancarlo- Guitar, Mandolin, Vocals * Diego Moreno- Banjo, Acoustic Guitar * Carlos Scelzi- Bass, Vocals * Pablo Gadea- Bagpipes

Their new EP, A New Tartan, consists of six songs and similar to that debut has a fine balance of traditional folk songs and original compositions. While some may roll their eyes at some of the bands choice of covers its important to remember that not everyone has grown up on these songs and while I may have first heard ‘Dirty Old Town’ in the womb I respect everyone who chooses to do their own version of it. As long they inject it with a bit of life and a bit of their own personality then Good Luck to them. Its also worth remembering that this is not for our market here it’s for their own country where many wont have heard them before.

Raise My Kilt have trodden a similar path to many of their contempories in the celtic-punk scene in that a bunch of friends in the Buenos Aires punk and hardcore scene had started to listen to some traditional folk music and before they knew it an idea to start a band had formed. To take the trad folk of Irish legends like The Dubliners and The Chieftains and to mix in the energetic and raucous sounds of Celtic-punk legends like the Murphys, McKenzies and Mollys. That was October 2013 and little more than a year later the band played their debut show. With over three years of shows behind them we would much rather be reviewing an album but I suppose a EP will have to do… for now!

The EP kicks off with the title track, ‘A New Tartan’, and if you like bagpipes then this is the band for you. Obvious comparisons to major league hitters like The Real McKenzies and Pipes Or Pints but these guys have their own take on things too. The drone of the pipes begins the song and its a sound that fills my heart. You can hear why the sassenach would often run from it in battle or why you would follow it into battle. The band chip in half way through and run it down as an instrumental trad punk number. Now I was expecting more of the pipes’n’punk but ‘New Arcadia’ takes me by surprise and is a much more trad folk-punk number with the banjo leading and some ace gang vocals. To top they close out the track with ‘John Ryan’s Polka’. This song may have been a better choice to close the EP but what the hell do I know. No pipes in that number but they are back for a healthy version of ‘Dirty Old Town’. Chugging guitars and them wonderful pipes give it the Raise My Kilt stamp and yeah it may be done to death here but fecking hell when it’s played this good you’ll forget you ever heard it before. After all Ewan MacColl who wrote the song hated The Pogues version so whose to say anything! Again they surprise you with ‘1982’ up next. Played as a a straightforward punk rock number with the pipes coming in and out its catchy as hell and a real foot tapper. A great song and shows the bands versatility in the different strands of celtic-punk on display. Nearing the end and we get a celtic cover of the Cock Sparrer favourite ‘We’re Coming Back’. The banjo and pipes accompany on a song that I’m sure will have any dance floor filling. The EP comes to an end with a fast and furious version of the Scottish anthem ‘Scotland the Brave’ that would have many a other band diving for cover.

With the recent retirement and somewhat resurrection of Black Tartan Clan and bands like Krakin’ Kellys and The Clan raising the pipes throughout Europe it would seem that Bagpipes in the celtic-punk scene have not gone away. Some would say that the sound may be an acquired taste but when you have band’s that really care about how they use the instrument in their songs it really makes a huge difference. These are not just punk bands with a piper attached playing along to the tune these are songs where the pipes are an integral part of the song every bit as much as say the drums or guitar are. Raise My Kilt are a solid addition to the worldwide celtic-punk scene and as one of only a handful of bands in the South American continent playing celtic-punk we ought to get behind them and show them our support. Here they have only whetted our appetite for a full length release and I for one cannot wait to hear it.

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ALBUM REVIEW: AIRS AND GRACES- ‘Voting At The Hall’ (2018)

With a mix of folk and punk with a dash of country Airs & Graces have that boundless enthusiasm and infectious energy creating a superb medley of melodies, chants and sing-a-longs that will have you howling for more!


Born in 2012 Airs & Graces are the latest in a long line of utterly fantastic German celtic-punk band’s to grace our scene. We have featured many German bands over the years and Germany has always been the country with the third most views every year since we started of (behind the ‘UK’ and the USA). We have a feeling to why celtic-punk is so popular in Germany so if you not tired of hearing it then head over to our review of Ghosttown Company’s debut album here and find out. Just recently we have had reviews of records from Distillery Rats, Restless Feet and The O’Reillys And The Paddyhats and a new review will be coming soon of perhaps the best known of all German celtic-punk bands Mr. Irish Bastard.

Airs & Graces hail from the south-eastern German town of Regensburg but if you like me then you’ll be wondering what a maple leaf is doing as part of their logo. Well it turns out that the bands guitar player Arlyn is Canadian (a native of Saint John, New Brunswick) and has lived in Germany since 2008. She is married to Philipp who plays mandolin and sings lead vocals in the band, Together they were both members of celtic-punk band The Buccaneers till they disbanded in 2012. The Canadian connection does not stop there either with Ayron Mortely and Lindsey O’Connell from Toronto who were also part of The Buccaneers and who also play in Airs & Graces but are not featured on Voting At The Hall but do look out for their other celtic-punk band The O’Deadlys.

Airs & Grace from left to right: Arlyn- Guitar/Back Vocals * Philipp- Mandolin/Lead Vocals * Kerni- Drums * Asche- Bass

Voting At The Hall is the bands first official release after a four track Demo from October 2014, Six Men Were Put On Trial, with Matty from Northern-England folk-punkers The Roughneck Riot contributing vocals on one track and despite not having much of a recording history they certainly have made a name for themselves by word of mouth. A couple of high profile gigs have done them the world of good and with their debut album I’m sure they hoping to further capitalise on their good name. Here we have fourteen tracks and every one an original composition, composed by lead vocalist Philipp and arranged by Airs&Graces.

Starting off with ‘Card’ Voting At The Hall is fourteen tracks that comes in just under forty minutes. From the very off it’s reminiscent of 70’s/80’s English punk but with with some nice Celtic flourishes. ‘Cards’ is in fact one of the best tracks on the album with Philipp’s clear vocals shouting out loud and proud. It has a certain Dropkicks feel to it too with its catchy chorus and driving punk and mandolin. Excellent start. The lyrics deal with the betrayal of workers by their trade union leaders. ‘These Hands Master’ tells of working class life that was taken for granted until they realised that not only can these hands build they can also vote.

“These are the hands that built this cities walls, These are the hands voting at the hall”

Great as it is to hear such things I also like a bit of humour and ‘Ginger Red Bastard’ supplies it. Real foot-tapper this and may be a bit slower than previous and that English punk rock sound is even more clearer here with them reminding me of a band from my youth that I can’t quite put my finger on. It will probably come to after this is published! ‘Four Corners’ appeared on the MacSlon’s Irish Pub Radio compilation and was a standout track upon it even though surrounded by the cream of today’s celtic-punk scene.

Telling the story of the Winnipeg General Strike of 1919 it’s brilliant to hear history told this way. Never forget the past people. You can get the compilation here. The album continues with ‘Ringing of The Bell’ and it’s short and sweet and over in two minutes but me heads nearly falling off me shoulders before ‘Turn Her Into The Wind’ and you can hear in the songs that if you took away the Celtic instruments then Airs & Graces would still be a very very good punk band. Another standout here is ‘Throat’ with a memorable hook that would get you up on yer feet if you weren’t already and you can see why the band have got such a good reputation as these are songs that were made for the live setting. ‘Straighten Your Back’ is the shortest track here clocking in at dead on ninety seconds and its catchy as hell while they follow this up with ‘A Town So Black’ which is the most Celtic they get so far with mandolin kicking the song off before the rest of the band come clashing in. Seems the band have a score to settle here but that’s all i’ll be drawn on.

(‘A Town So Black’ featuring David De Prest from Boston punkers Continental)

We’re well over halfway now and ‘Refuse To Go’ continues with another solid slab of punk rock. Now you’d expect me to be biased in favour of the more Celtic numbers but my miss-spent youth and embarrassing photos of multi-coloured mohicans are testimony to my love of old school punk rock and that’s in plentiful supply here and on ‘Devil’s Factory’ where Airs & Graces prove they have a stock of catchy songs that are well played with boundless energy and abandon. ‘Three Sisters’ again has a great hook and singalong chorus and ‘bounce’ to it and the words speak of a landmark at sea that welcomes you back to home soil.

‘Never Wanted Trouble’ is another track that sails by in less than two minutes before ‘Pull Me Out’gs down the curtain on Voting At The Hall and a great ending. No slow songs here its just fast and furious celtic-PUNK rock. People I know who I have been lucky enough to catch them in concert remarked on their excellent live show and their it seems that Airs & Graces have managed to capture their live sound rather well here in the studio and that energetic, raucous and ‘shantyish’ punk rock sound has transferred well. They have a grand sense of history too and all working class people should be proud of our labour history. As someone once said “Those who cannot remember the past are condemned to repeat it”. It seems an obvious thing to say so I will say it but lovers of Dropkicks style celtic-punk would absolutely love Airs & Graces and this album is full of good songs that these days the Dropkicks would love to play! At the moment the album is only available From MacSlon’s shop but will be coming as a download in around 3-4 weeks on Spotify, iTunes, Apple Music, Amazon, Deezer etc so if you can wait that long get in touch with the band.nearer the time.

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ALBUM REVIEW: MALASAÑERS – ‘Footprints’ (2018)

German-Spanish band Malasañers fill the gap between early and late Flogging Molly with whiskey-soaked Irish folk and good auld fashioned rock music. 

Malasañers history is a complicated one and begins back in working-class Madrid where due to the financial crisis at home Carlos del Pino makes the journey across Europe to move to the mid-German town of Bamberg to start a new life. Inspired by his father’s vinyl album’s of Irish and Celtic music Carlos develops an enthusiasm for the music of the green isle and mixed with early influences of the Ramones, Beatles and Elvis the scene is set for the early beginnings of Malasañers. Formed in Madrid in 2012 the band are cheerful and folky taking in influences from Spain as well as broader Rock and Indie music but with the band going nowhere at home and frustrated by the economic crisis Carlos moves to Germany in 2014 reignites Malasañers and gathering around him some of the areas best musicians Carlos burning passion for Irish punk finds a happy home in the beer metropolis of Bamberg with the active music scene.

The celtic-punk quartet take their name from 15-year-old girl Manuela Malasaña, who was murdered on the streets of Madrid on 2nd May 1808 during  the uprising against Napoleon I of France stationed in the Spanish capital during the Spanish War of Independence. Manuela was a seamstress who had had her scissors confiscated by French soldiers leading indirectly to her death. For the band scissors have become the band symbol and the pointless murder continues to exert a shattered fascination on Carlos inspired by the fight against narrow-minded nationalism.

“I am happy about intercultural exchange – this is how people learn to become more open”, as he says himself. “I see the nationalist development that is currently going on in Europe as very dangerous because either they want to rebuild their borders or draw borders there, where they never were.”

Their debut release in 2014 was part of ‘Welcome To The Folk-Punk Show’ compilation album on Wolverine Records. The album features four bands with three songs each that alongside such scene stalwarts as The Mahones, The Porters and The Judas Bunch announced their arrival on the European celtic-punk scene and made many of us sit up and take notice. The following year saw the release of their debut album Spanish Eyes. Forty minutes of self-penned Irish folk-punk that straddled extremely well both the folk and punk sides of celtic-punk. A healthy respect for Irish music throughout the release shines through and sets the scene for their follow up album, Footprints, that is now available having come out on St. Patrick’s eve.

Malasañers left to right: Corni Appun- Electric Guitar/ Vocals * Philipp Renz- Drums * Frau Vau- Fiddle * Carlos Del Pino- Vocals, Banjo, Acoustic Guitar, Bass

Footprints begins with the awesome single ‘Sell The Night’ and from the off its high energy uptempo classic celtic-punk fast, hard and heavy but accessible as ever and with a catchy as hell chorus.

Banjo and accordion are both kicking arse here and they even throw in a bit of one of my favourite instruments the harmonica on ‘My Time Before I Die’ and again energetic music coupled with those catchy chorus ensure it’s another winner. The second single from the album to be released was ‘Workers On The Run’. A socially conscious track nailing their colours to their mast.

‘But Not Today’ is a little bit out of place but don’t be mistaken it’s a great song it’s just that it moves away from celtic-punk a little into more rock ballad territory. Actually it’s one of my favourite songs from the album and it may not be as heavy as some on Footprints (till the end that is) but it’s still got plenty of bite to it. They celebrated the release of the album with a new video for the fourth track ‘Long Live The Glory’. As is the way with bands on the continent they not happy with just putting together a compilation of live pictures or the like the video here tells a story. Watch it yourselves and take it from me it’s well worth a view. Played as a straight up punk song its a great wee number and the video perfectly conveys the fun the band seem to be having.

One thing I always look for is the amount of original compositions and here I can happily report that they all are! The whole band involved in writing the lyrics and the music mainly by Carlos it’s quite an achievement. So begins a section of the album where the ‘celtic’ takes a backseat and Malasañers concentrate on some kick-arse punk rock numbers with ‘The Stars Are Falling’, ‘Paris Je’taime’ and ‘I just Can’t Stay And Wait’. The album’s title track rolls up next and you can hear why they named the album ‘Footprints’ after it. Elements of country, folk and spaghetti westerns abound but with Carlos voice and that great accordion its unmistakable Malasañers. Again it’s not there typical fare but all the better for it. We nearing the end and ‘To The Border’ slows it down a little losing none of their catchiness and ‘Ghostly Border’ speeds it up with a great punk’n’roll song that Social Distortion would kill for. Carlos recorded the bass for the album such is his immense talent (…the bastard!) and thumping bass kicks off  ‘Fun Has Just Begun’ in a catchy wee number dominated by accordion and a great accordion solo in amongst another great singalonga chorus. ‘Your Wars’ brings the curtain down on Footprints and Carlos croons away on a fantastic folky anti-war song that is a real nice surprise and a lovely way to end proceedings with some truly heartfelt lyrics that tell you all there is to be told about this grand band. 

So thirteen songs and over forty minutes of whiskey-soaked Irish speedfolk that will knock your bleedin’ socks off! Footprints has been produced and mixed by Carlos with Trine Pedersen and is a refreshing addition to the celtic-punk scene and will only go on to increase their popularity.  Malasañers have produced a quality album here that takes in both the traditions of working-class Irish pub music and the anger and passion of punk and rock music. Music to dance to your ass off to and enjoy but with also a serious side. The words promote friendship between nations and international togetherness. In these times where the old politics seem to be making way for something new that no one seems to know where it’s going these are good sentiments indeed.

(you can listen to a couple of tracks from Footprints via the Bandcamp player below)

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Wolverine Records- Saving souls with Rock’n’Roll since 1992!

Germanys finest independent Punk, Psychobilly, Celtic-Punk and Rock’n’Roll label. Featuring such luminaries as The Mahones, The Hellfreaks, and Jamie Clarkes Perfect

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EP REVIEW : IN FOR A PENNY ‘Sometimes It’s Better To Not’ (2018)

We called In For A Penny the hottest new Celtic-punk band of 2017 and with their new EP that came out for St. Patrick’s week they only cement that view in our eyes!

One of the highlights of 2017 amongst all the album releases from the ‘superstars’ of celtic-punk was the discovery of a new band out of Savannah in Georgia in the USA. In For A Penny hadn’t been going very long and both their releases of 2017 both featured high in the upper echelons of our Best Of Albums and EP’s of the year.

So it was then could they keep it up? Well on the evidence of their EP which hit the streets of Georgia last week then the answer is a resounding yes. With their previous release they have trodden a similar path with sometimes an equal amount of Irish standards and self -penned songs. Needless to say I much prefer their own songs. While they do play the standards in their indomitable way I much prefer to hear bands play and record their own material. A perfect example is their last album One More Last Hurrah! which has the perfect mix of covers and originals. You can still download the album for free or as the lads put it

“Don’t wanna pay nuthin? Cool, download it and enjoy. Think you wanna toss us a couple of bucks to help support our Irish punk habit, great. Want to give us one million dollars… well, you get the idea”.

A fantastic album recorded in just 7 (seven!) hours in in the back room of The Sand Bar on Tybee Island, GA. Not that you’d notice mind as the sound is fantastic and if you need to know anything just think that in a year of album release from the Murphys, Mollys, Flatfoot, Tossers, McKenzies and many more established and well known bands we placed it as #8 in the years album releases.

Here on Sometimes It’s Better To Not the band do not disappoint and all the songs are written by the band themselves. Irish-American Sean McNally is both songwriter and lyricist for In For A Penny and in him they have found someone who has his finger right on the nations Irish-American community. Hard to believe he first picked up a mandolin in anger in 2014 but after only a few open mic performances Sean soon realised that the response he was getting to stripped down cover’s of The Dubliners and The Dropkick Murphys on just mandolin and vocals was so great then the next step must be to form a band. Roping in old friends in Henny ‘da butcha’ on drums and Jeremy Riddle on guitar and Sean’s son Bryce on bass In For A Penny took their home state by storm and judging by the wider celtic-punk media they have taken everywhere else by storm too.

This EP, Sometimes It’s Better To Not, is only four tracks long but sails in at nearly twenty minutes long. In For A Penny while they don’t go in for short songs they also know when to bring the curtain down so the EP never drags on. Sean’s gravelly yet distinctive voice again shines through and it’s incredible to think that the whole thing started off as just a jam but within a few days the band had taken Sean’s melodies and turned them into what we have here. The EP begins with ‘Before The Devil’ and it’s unmistakable In For A Penny. For a band with such a short time span they have really nailed their sound. With Bryce, bassist and Sean’s son, having moved to Colorado Matthew Price has been filling in and opens the EP off nicely before the band join in and it’s a fast, danceable number catchy as hell and as pretty the template for celtic-punk to these big ears. A story of redemption and trying to steer clear of you know.

(the bands submission for last years The Salty Dog Cruise)

On ‘Broken’ Bryce returns for a song with him recording his bass bits at home and then sending it on to Sean to mix. Bryce played their recent St. Patrick’s shows so maybe they could go all Ned’S Atomic Dustbin and have two bassists! With a opening that sounds like a Irish rebel song it soon changes to into a track telling the tale of ‘every man’. The homeless, lost and broken in society. A brilliant track that ends on a positive note of hope. Great words and music. The EP’s epic is ‘Dancing With The Stars’ at not far off six minutes! A slower song than usual but with an intensity that makes it seem faster. The song builds and builds and amazing to think theirs only four fella’s playing here. A real foot-tapper and at times could veer off in metal but they keep it subdued and in my opinion just right.

The EP ends with the standout track next ‘Your Claddagh Heart’. Johnny Piper of London Celtic Punks faves Alternative Ulster guests on bagpipes on this one and really makes the song shine. Sending his pipe track over to Sean from New York like Bryce did making this EP certainly wasn’t a easy process.  Dedicated to Sean’s Mrs it’s a lovely song and though it’s sentimental as feck it’s not gushing and I reckon the kind of song we’d all secretly like to write for our loved ones.

“when I said I love you, I meant forever”.

Johnny’s pipes are perfect and again it’s a fairly lengthy (for celtic-punk anyway) song at just a few seconds under five minutes but still the only thing i got left to say is the EP ends all to quickly. So there you go, yet another contender for our Best Of charts from these extremely talented Bhoys from Georgia. Sadly Sean is working away from home for a few months after St Patrick’s is over so this will be the last we hear of them for a while but plenty of plans are afoot on their return so don’t let this great band slip from your thoughts. They will be back!

(you can listen to the whole of Sometimes It’s Better To Not before you buy on the Bandcamp player player before you buy. G’wan it’s only 5 bucks!)

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The Bhoys over at Mersey Celt Punks beat everyone to the first review of Sometimes It’s Better To Not and is well worth looking at for another opinion. It’s a great site and well worth subscribing to so check it out here

HAPPY ST. PATRICK’S DAY TO ALL. CELEBRATE WITH A FREE TEMPLARS OF DOOM DOWNLOAD!

It’s here again. The day when everyone is just a little bit Irish, except for the gays and the Italians obviously (©Simpsons!). St. Patrick’s Day a day of wearing the green and celebrating the land of your birth or of your ancestors in whichever way you see fit. For some it’s a religious holiday that may make you want to attend Mass while for others it’s a time to have a few drinks and party. After all today all Lenten restrictions are eased and so I will be personally celebrating with the biggest bar of chocolate known to man!

When we were young ‘uns we knew St. Patrick’s Day wasn’t far off when bunches of pre-paid postcards from relatives in Ireland would appear on the doorstep and then as the day got closer a strange bulky package containing strange green leaves would arrive.  Some would pinned to your coat and you’d be sent off to Catholic school which would be a sea of green for the day. The one day of the year we were allowed to be Irish in a country that if not hostile just ignored us. You see I’ve always thought of St Patrick’s Day as a day for the Irish overseas. It’s our day. A day to remember our roots and while we may have been airbrushed out of history and school curriculum’s and our contributions ignored it was a day to assert ourselves and say We Are Irish! We are still here and still fighting as the sticker goes. It was in the United States that Saint Patrick became the symbol of Irish heritage and culture that he is today. As more Irish came across the Atlantic, the Feast Day celebration slowly grew in popularity. In fact the first ever St. Patrick’s Day parade was in Boston in 1737. Celebrated around the world wherever an Irish person has ever set foot or settled it is celebrated on the anniversary of Patrick’s death, which was believed to be March 17, 461 AD.

So you won’t find anyone sneering at you condescendingly from the London Celtic Punks for whichever way you choose to celebrate. Get to mass or the pub (or like me both!). Dust off the auld Eire/GAA/Celtic top or even your leprechaun outfit and whatever you choose to do be proud of your roots if you got ’em. In amongst all the fun why not spare a moment to remember those who passed that pride onto us and are not here anymore so raise a glass to the sky for them.

Sláinte.

As our gift to you on this grand day we are happy to offer you a **FREE DOWNLOAD** of the new Templars Of Doom track ‘Saint Patrick Saved Ireland’, written especially for St. Patrick’s Day 2018. Templars Of Doom are a Irish-American band out of New York that have not long released their debut album which you can read all about here. Thanks to Michael X. Rose, Rory Quinn, Eric Pomarico, Marty Shane and Josie Rose for sharing.

Saint Patrick saved Ireland
Ireland saved the World
He drove out the snakes, (He) drove out the Druids,
the Pagans and Satan

The Vikings captured Patrick
Christ saved Patrick
Patrick saved Ireland
Ireland saved the World

Voices of the Irish cried out
We beg you holy youth,
come home and walk once more among us
Patrick answered the call

The Druid priests mocked Patrick
And were thrown in the air and died
On Easter’s eve Patrick lit the Fire
The Druid priests did not survive

Released last week the single is available free to all London Celtic Punks for the month of March so click here and follow the link to your free download! Simply click on ‘Buy Now’ button and put in 0.00 to get it for free or leave a donation if you wish.

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Today’s a good time of year to remember those we love who are no longer around. This year we want to dedicate our St. Patrick’s Day post to Joseph Patrick Michael Mullally the Grandfather of Michael of the Templars Of Doom and whose birthday it would have been today. Like many who crossed the broad Atlantic he never knew what he would find but through hard work and endeavour he made a success of his life and never forgot his roots in the auld country.

The Mullally family with Joseph in the gold shirt and tie and Michael the little boy who’s ear he’s twisting!

Born in Born in Kilross, Tipperary on March 17th, 1913. His mother had returned home from Boston to have the baby in a convent, which was standard back then. His Dad stayed working as a butler in Boston and didn’t see my Grandfather til the War ended, when he was 5 years old. He entered the United States at the age of 5 with his Aunt. Their names are on the wall at Ellis Island. He became a Doctor of Philosophy, (Thomas) via Columbia University, one of the youngest in the US. He taught at Notre Dame and then was the chairman of the Philosophy Dept. at Queens College NY, CUNY, for about 40 years. Loved and respected by all.

Raise a glass to him and yours today.

ALBUM REVIEW: CLAN OF CELTS- ‘Beggars, Celts And Madmen’ (2018)

A new(ish!) London band fusing together all their musical experiences and influences ranging from Rock, Metal, Country, Punk and of course traditional Irish. They have created a unique style of original Celtic-Rock and an unmistakable sound that is brought to you with Celtic pride, passion, commitment and respect for our traditional roots.

Clan Of Celts are no strangers to the London music scene with roots dating back over the past 20+ years to many various other bands throughout England and Ireland. March is generally a pretty busy and drunken period in the Celtic punk world but the Clan Of Celts are busy preparing for the launch of their debut album Beggars, Celts And Madmen. All going well it is expected to be launched on Paddy’s Day so if by chance you intend to have a pint then this album is the perfect partner. Stick this CD on in any bar and it will definitely put you in the mood for a decent session. 2016 saw the release of the first song and video from the album ‘Please Don’t Send Me Home’. The video release was a great introduction of the band and is written about the Irish emigrants in London and the craic in the bars and clubs around London.

“They’ll fight about the horses, they’ll fight about the cards
Hold back the fists although they’re pissed, to make out that they’re hard
They may drop a tear for Ireland, and sing their mothers song
You’ll be sure of the craic, when you drink with the pack so
Please don’t send me home”
If you’ve ever lived in London you’ll easily relate to this tune.

‘Please Don’t Send Me Home’ was followed up in 2017 with another video release of the album title song ‘Beggars, Celts And Madmen’. The video features Frankie from The Rumjacks on the whistle. The song is written about the forced emigration of many Irish in 1864 following An Gorta Mór and the hardship they faced upon arrival on foreign shores. Despite everything they worked and toiled to save themselves from starvation and build a better life for their family and friends. A dark period in Irish history which unfortunately is repeated in many parts of the world today.

“This song is dedicated to the memory of those brave Men, Women and Children that made those journey’s, who worked, fought and died to make a better life for themselves and their kin. To Celts all around the world, your hearts are with us.”

The third video release from the Clan of Celts came in January 2018 with the release of ‘Dream Catcher’. This is a more melodic song about the passing of Denis’s (vocalist and guitar) father in 2016. It paints the picture of his dads soul leaving England and returning to his native home in The Curragh, Co Kildare.

An excellent song with an introduction of pipes to set the scene. The video was filmed and edited by Mr. McLaughlin Of The Rumjacks who also features in the video. (Be careful guys I think he’s stalking you!!!)

“I see her reaching far and wide
Beyond my fading eyes
Rainwater resting on the sod
From all the tears I cried
I leave behind my love mankind
And end these months of pain
Cross gripped in hand
Depart this mortal land
And join the souls that glide the Curragh Plains”

Other notable tune on the album are ‘Stacy Lawlor’ which is an extremely catchy tune about the dangers of online dating. I’m lead to believe that this is based on a true experience by one of the Clan (who will remain nameless) so before you go online give this a listen. You have been warned. The album kicks off with ‘Clan Of Celts’ which is a great into to the album and sets the scene. This is quickly followed up by ‘The Boots Are On’ which is another upbeat tune about a night out down the Holloway Road (or County Holloway as it’s known round here!). There’s a good story behind this one but best to ask Denis about that. Not sure I could put it in print!! This is an excellent debut from Clan Of Celts and they are already hard at work on the follow up album. They are also keen to take do an tour with the debut album so jump over to the website and buy the CD to help them hit the road and come to your town. I expect we will be hearing a lot more about these guys in the coming years. Great to see the London Celtic punk scene making progress with excellent bands emerging. Keep up the good work.

Clan Of Celts left to right: Denis Dowling- Vocals, Lead Guitar, Acoustic Guitar, Banjo, Strings *  Jim Filgate- Banjo, Accordion *  Grant Wildy Drums, Pots * Billy MacAllister- Vocals, Acoustic Guitar *  Alistair McCaig Bass * Padraig O’Reilly- Fiddle, Whistle

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COMING VERY SOON

Watch this space in the next week or so for a big and beefy interview with Denis from the Clan Of Celts about all things Celtic as well as life in general. To subscribe to London Celtic Punks simply fill out the form either on the right or below depending how you are viewing this page.

NEW MOVIE- THE BLOODLUST OF THE DRUID OVERLORDS

Here’s the new short film from singer/vocalist of Irish-American celtic-punk band the Templars Of Doom, Michael X. Rose. Thanks to Michael for sharing. Heaven knows how he keeps up the level of activity he does. I’m jealous! So sit back put your feet on the coffee table pour yourself a drink and break out the hob-knobs for a classic Hammer Horror style movie featuring ritual virgin sacrifices,visions of the Virgin Mary, a giant burning Wicker man, bloodthirsty Druids and a swashbuckling St. Patrick!

THE BLOODLUST OF THE DRUID OVERLORDS

Written, Produced, and Directed by Michael X. Rose.

Assistant Producer James Pogo Lo Rubbio | Edited by Dr. Jeff Burns | 30 Minutes 

Music by the Brian Wilson Shock Treatment

Starring Mary Urban | Michael X. Rose | Suzanne Schubert | Steve Scibelli | James Pogo LoRubbio | Gala Scibelli

Ireland. 428 A.D. Bloodthirsty Druids overrun the land seeking Virginal Maidens to Sacrifice to their Dark, Insatiable gods. They emerge from dark caves carrying torches, wearing white robes and hideous animal masks. Soon Saint Patrick arrives from Britain sent by a dream. He is rowed by two fellow monks to the wooded shores of Ancient Ireland. While praying in his hut, the Virgin Mary appears to St. Patrick, telling him to “go and save my maidens.” Meanwhile the young girls are brought by land and water to the unspeakable place of sacrifice by the Druid Overlords. Victim after victim is slaughtered in bloody worship to Belinus. Half-naked nymphs drink human blood and eat the human flesh that they crave. Can St. Patrick find the Druid orgy in time? As the most pure virgin is prepared to be burnt alive in a forty-foot tall wicker man, see him battle the Druids to save the last virgin in a life or death climax in this thrilling blood-soaked tale.

You can contact Michael via the Templars Of Doom Facebook page here or his Web Site here

ALBUM REVIEW: KRAKIN’ KELLYS- ‘Promised Land’ (2018)

What happens when traditional Irish Folk’n’Roll meets American Punk music? A rather unique blend, courtesy of Belgian Krakin Kellys!

Now dear readers I’m sure you have absolutely no idea how many celtic-punk albums we have to trawl through to give you the best of the bunch. Well let me tell you its loads and its not often that many make me sit up and really take notice. Just recently we have been lucky with the amazing releases from bands like Bastard Bearded Irishmen, Airs & Graces and Irish Moutarde who were all especially good but a rare thing happened in June last year. I got in from work to find a e-mail from Krakin’ Kellys, a celtic-punk band from Belgium I hadn’t ever heard of informing me their new video for a song called ‘One Way’ had just been released. Now nearly without exception the bands that I hear are all pretty decent so I was expecting something good but to say my mind was blown is to put it mildly. What a fecking song!! I must have played it about two-dozen times before replying to the band to tell them how much I loved it and then sharing it on the London Celtic Punks Facebook page for you lot to marvel at too! The song was ‘One Way’ and I’m delighted to say it appears here on their debut album, Promised Land, and it was by far my favourite song of 2017 and even now whenever I’m on YouTube I find myself drawn to it!

Krakin Kellys left to right: – Olivier Dreze- Drums * Stephan Mossiat- Bass * Pierre-Yves Berhin- Acc’ordion * David Leroy- Vocals * Matthieu Hendrick- Guitar * Rémi Decker- Bagpipes & Whistles

Krakin’ Kellys hail from the city of Namur in Belgium. The city is the capital of the self-governing Walloon Region which was created, largely along language lines. Wallonia consists of the French-speaking provinces of Hainaut, Liège, Luxembourg, Walloon Brabant and Namur. Its elected government has authority over such are as as agriculture, transportation, and public works and has a population of 3,500,000. There is a burgeoning independence movement in Wallonia that seeks to split Belguim into Dutch speaking Flanders in the north and French speaking Wallonia in the south. The area has struggled to recover economically from postwar industrial decline, and there are those in the north who label their French speaking neighbours as spongers and feckless. As is usually the history behind the conflict is complicated so I think I better leave that there!

Formed only last year Krakin’ Kellys have taken the celtic-punk scene by storm without releasing an album so their debut album has been widely anticipated by just everybody. They describe their music themselves as

“taking the opposite line from the genre’s godfathers, Bostonian Dropkick Murphys, Krakin’ Kellys songs begin with punk-rock riffs, which they then unite with Eire-inspired melodies.”

The comparison to the Dropkick Murphys has been made about the band and yes they are definitely on the DKM’s side of celtic-punk rather than say Flogging Molly but this band is not just another Boston clone I can tell you. In fact I’d go so far as to say that there’s virtually no way the Murphys will ever come up with an album as good as Krakin’ Kellys Promised Land ever again. I hope I am proved true and I can only imagine how fecking good that would be!!

Promised Land begins with ‘Anarchy In The Double K’, the albums third single release, and the drone of bagpipes before the accordion kicks in and then the whole band join in with what can only be described as celtic-skate punk! Straight away bands like The Descendents, NOFX and Pennywise spring to mind but with Pierre-Yves amazing accordion and Rémi’s bagpipes Krakin’ Kellys have nailed their tricolour firmly to the celtic-punk ship. It’s fast, catchy as hell and with David’s incredible raspy-punky vocals laden on top international stardom awaits them I am sure!

One of the ways bands without any or few releases can make a splash in the celtic-punk scene, or any scene really, is to make use of YouTube. One great example of this is The Rumjacks whose ‘An Irish Pub’ was sailing towards 75,000,000 views the last time I looked. Krakin’ Kellys have followed this route and all three of their releases from promised Land are accompanied by absolutely brilliant videos. Filled with fun and humour and with a wee story to tell it’s no wonder they have become the to watch out for in 2018. Next up is ‘Bar Fight’ and yeah it’s a drinking song and yeah its a cracker. All the best elements of punk and ‘Celtic’ are here and its so well played too. Next is my second (it would have to be) favourite song of the album, the title track ‘Promised Land’. By the end of this page you going to be sick of how many times I use the word ‘catchy’ if I’m not careful. Accompanied by another great video it has a great tune and aye it’s bloody catchy too.

So three songs in and I have to say that I have never heard better accordion in a celtic-punk band in my life. The sound is perfect and leads the songs along in such a glorious way. Pierre is truly a master of this art wielding his accordion lifting the band to magical heights. And just to prove that God doesn’t deal out talent in a fair and equal way he also did the artwork for the album cover! For many celtic-punk band it’s a background instrument but not here. On ‘Our Pride’ it leads the tune and its many flourishes (could you call them accordion solo’s?) only add to the tune. Of the fourteen songs here most come in around the 3:20 minute mark giving them plenty of time to develop the songs and  even though they are fast as on ‘United’ or ‘The Journey’ they could linger too long and one of the things I’ve noticed about playing this album is that it speeds by so fast. That is a sign in itself that I must be enjoying it. Loads of humour dotted throughout like on next song ‘Kinky Mary’ and it’s great to see a band not taking it all too seriously and obviously enjoying themselves. ‘When I Die’ stops and starts and is guess what… catchy with great singalong chorus. ‘Come And Get Some’ begins a tone heavier but soon settles down into a sorta celtic-metal-rap song while ‘Lovely Jess’ is a nod to the bagpipes and if there’s a song here that could pass for the Murphys it’s this one. Gang vocals, the pipes and measured tribal style drumming combine for a beast of a song that wouldn’t be out of place on last years 11 Short Stories of Pain & Glory. We are back in cracking form for ‘Hey Bro’ before finally we get to that song and even though I must be responsible for about half it’s views on You Tube it has lost absolutely none of it’s power. ‘One Way’ was without a doubt my favourite song of 2017 and on hearing it I’m sure you will agree. Again accompanied by a fantastic video and again thanks to band guitarist Matthieu Hendrick for his marvellous work. The song could be early Dropkicks but (and I better whisper this) a lot more celtic-punk.

The album is nearly up and still no sign of a ballad here I’m afraid. On ‘Giving Up’ its yet more of the same catchy stuff as we have seen. There isn’t a weak song on this entire album and to prove it they go out with ‘Garry’s Battle’ yet another brilliant trad-infused punk-rock track. A whole album of standout tracks!

So there you go and I wouldn’t be surprised if this ends up at the top of the Best Of 2018 polls it is that good. Full of energy and bounce and humour this is downright drinking music. There’s no revelations about politics here and no songs about nuclear war and I can only say thank heavens. Sometimes we need music to take the pressure off us. To take our minds away from the daily grind and that’s where celtic-punk comes in. Its music to drink to, to dance to, to meet folks and make friends and Krakin’ Kellys have delivered unto us the ultimate celtic-punk album. It’s not often I use the words this is a must have album but this is a must have album!

(you can have a *FREE* listen to Promised Land on the Bandcamp player below. Just press play and away you go!)

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FromTheBand Pre-order of the album. You get 3 tracks now and the complete album the moment it’s released on March 17, 2018 with some exclusives bonus items!

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The third single of Krakin’ Kellys ‘The Goonies ‘R’ Good Enough’ released on 1st September 2017 and written and composed by Cyndi Lauper!

ALBUM REVIEW: IRISH MOUTARDE- ‘Perdition’ (2018)

Quebecois Irish Moutarde are back with their second album with folklore sounds of bagpipes and banjo mixed with punk rock riffs. This album has something for everyone to enjoy.

Back back in the day when this here web-zine was in its infancy one of the very first bands to send us their new album was Irish Moutarde. To say we loved it is a bit of an understatement and so they have always been a band that we have followed and looked out for so we are delighted that they have safely delivered their follow album and it’s an equal, if not better, than their previous one.

Irish Moutarde were formed in 2009 in Quebec city (the French speaking province of Canada) as a covers band playing trad Irish songs but with a punk feel and attitude. It wasn’t till 2012 though that they released their first single, ‘The Bear and the Maiden Fair’ which went on to become an instantaneous hit right across the celtic-punk scene.

This track was based on a song from one of the novels that inspired the hit TV show Game of Thrones. The song coming out a year before the show debuted. This keen interest lead the group to follow up this release with their first album Raise ‘Em All the following year and they have since gone on to become one of North America’s best celtic-punk bands. Combining the usual punk rock instruments with banjo, mandolin and highland bagpipes. On my first listen they reminded me of a celtic-punk NOFX and it is this winning combination that has saw them at the top of all the various Best Of 2012 lists and will do the same for this year I suspect. Sadly as is the way for bands, especially for celtic-punk bands who tend to have so many members, some of the Bhoys and Ghirls fell by the wayside. Irish Moutarde were not beaten though and after recruiting some new blood to the band they began to slower get back in the swing of things. A few shows were played last year to showcase new songs before hitting the studio to record their new album.

Released on the first day of Spring, March 1st, this year Perdition is thirteen songs of pure celtic-punk heaven! The album begins with one of it’s best songs and from the very off I knew I was in for a treat.

‘Prélude En La (Lala)’ begins with pipes and drums and then the electric guitar comes chugging into ear-shot and Irish Moutarde are off. The song is sung in French and rather than run the lyrics through Google Translate I’m not going to try and decipher them. Bagpipes and banjo rule here and the clear and concise vocals are still pretty punk rock as well. Irish Moutarde are that rare thing in celtic-punk in that they have a female vocalist and they are certainly not a novelty act either. The vocals are shared between Andrée-Anne and Tony but both Sébastien and Fred take the lead as well on occasion. On ‘The Poison Trail’ the story revolves around going for a pint with the devil and its another high quality song with the relentless fast pace, except for a bagpipe solo!, and the various instruments accompanying each other rather than drowning each other out. It’s fast and furious and typical Irish Moutarde good fun.

Next is ‘Terre Rouge’ and they speed it up and some rather gruff metal style vocals kick in in a song shared between vocalists. This could almost be two different songs, one a metal thrasher and the other a sweet celtic number. That they manage to fit the two together is testament to how good they are. On their debut album the vast majority, maybe even all, of the songs were sung in English while here they have decided to concentrate on singing in French. It doesn’t, and shouldn’t, detract from the music in fact I would always rather hear a band singing in their native tongue. On ‘Jarrets’ and then ‘Eat, Drink And Be Merry’ it could be a nod to both medieval punk as well as punk as of the NOFX variety. A good fun number and thank heavens for that. Sometimes all you want is a bit of fun and something to make you smile.
“So sing (dance), dance (hey)
Like no one’s watching
Forget those losers talking ‘cause I don’t care about them anyway
Eat (drink), drink (hey) and be merry
And I’ll be here to carry you home
‘Cause I don’t want to leave here all alone”
The most Irish song here without a doubt is the brilliant ‘N’oublions Pas’ beginning with banjo and some gentle piping and another standout track soon takes a turn into wild abandon and on an album of standout tracks it don’t get any better than this. This is the sort of stuff we were expecting (hoping) the last Dropkicks album to be like but turned out to be Dad-Rock. Here especially the shared vocals work a absolute treat. The formula works again for the following few songs with ‘À La Santé de Lucifer’, ‘Only in Your Lies’ and ‘Bientôt’ all rocking out with abundant use of celtic instruments and punk rock. On ‘Old Days’ we get the albums solo slow number and by Christ I love it too. Nice lyrics about meeting up with a old friend and going on the lash knowing well that the days when the next day wouldn’t be spent ill in bed are long gone!
“Tomorrow is not going to be easy
Weakness, headaches, fatigue and thirsty
And you know that this is the price to pay
To have a good night just like in the old days”
We are nearing the end and its time for Irish Moutarde to ramp it up again and they don’t get any faster on Perdition than on ‘Go Away’. The excellent drumming throughout the album is not bettered here and the band keep up just in time. It may be fast but still accessible I am sure to anyone. Next up is ‘Condamnés’ and sees the band determined to not go out slowly and finally Perdition comes to an end with ‘The Bitter End’ and an unusual but simply brilliant way to go out. Fast and slow in alternate moves and all the time as catchy as feckin’ hell!
The album was produced by Sébastien Malenfant and he has done one hell of a job. I always think its one of the particularly hard to produce a record with so many instruments and not just that but that some are relatively quiet compared to say the drums. The music here is mixed perfectly and everything has come out clear as a bell. All the songs on the album have been written by the band and again that’s fairly novel within the celtic-punk scene as well. Never in my wildest imagination did I think that Irish Moutarde would bring out an album that would be as good as their debut, the classic Raise Em All, but didn’t they just go and only bettered it didn’t they! 

(Have a listen to the whole of Perdition for free below )

Buy Perdition

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Two Interesting Whisky-Fuelled Band Facts:
1. The name Irish Moutarde was chosen because it is a pun on the French expression “relish-moutarde,” which the founding band members felt the name was (and still is) humorous, light and expressed their musical quality.
2. The band’s mascot is Olaf the Irish Giraffe, who was created by fans of the band Julie Lévesque and Guillaume Racine. The sixth song on their debut album is a tribute to this whisky drinking, green metal giraffe who sports a long white mane and long white goatee.

ALBUM REVIEW: MARYS LANE- ‘Wild Unknown’ (2018)

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Marys Lanes hail from Cleveland, Ohio and their new album is a diverse collection covering themes of love, life and death, trials and tribulations, religion and of course drinking. Never straying too far from their Irish roots it adds Celtic instincts into an mix of sounds that crash-land somewhere in between rock, pop, bluegrass, Americana and honky-tonk.

Marys Lane.jpg

America is, maybe unsurprisingly, and always has been a hotbed of innovative and original Irish music. Away from the native land Irish musicians in the USA have soaked up influences galore from other cultures and mixed them up with the music of their ancestors to come up with something that is always impressive. Marys Lane are no different and the six-piece band take their inspiration from their Irish and Celtic backgrounds and their musical histories have all been way of the various pubs, clubs, pipe bands around Cleveland. The band met at the Cleveland Irish Cultural Festival but it wasn’t until a year later, they met again, and realized waiting was no longer an option. they needed to start a band.
Last Summer they pulled off a ten date tour of Ireland which saw them play many of Ireland’s famous folk venues including Matt Molloy of The Chieftains at his venue in Westport. With a rake of releases behind them their most successful to date was their collaboration with Martin Furey of the High Kings having met at an Irish Festival in the States. After hearing Marys Lane perform a song called ‘Sleep When I’m Dead’ and after being introduced through a friend of a friend the plan was made to hit the studio and record it the next day and so the Furey Sessions EP was born.

Cleveland St Patrick’s Parade 1935

The story of the Irish in Cleveland has parallels with many other major Irish-American areas. A small number arriving around 1818 they began to arrive in large numbers during the 1820’s during the building of the Ohio Canal starting in 1825.  It was mainly Irish labour that built both the Ohio and Erie Canal. They made their homes on what became known as Whiskey Island. Considered outcasts by fellow immigrants the Irish began to build shanties and saloons and churches there. The Irish population of Cleveland remained around 1,000 until the years of the ‘famine’ and the Irish flocked to many cities across America. Many of these immigrants came from Mayo in the west of Ireland. They did not farm in the Cleveland area, instead becoming labourers who unloaded ships or worked in the steel mills. At the end of the 1800’s, the Irish had a terrible time with Shantytown an open sewer of industrial and human waste.  The area was home to cholera, diphtheria, and scarlet fever and because of continuing Irish immigration, there was simply not enough homes for everyone. The Irish population grew to over 10% of Cleveland’s total population and as the city grew, Irish families moved from the slums into the suburbs and began to build lives for themselves and their descendants.

Danny Greene

The Irish throughout America are famous for fighting their way out of the slums through the clever use of politics although in Cleveland they never quite attained the control they wielded in other places they still managed to have much bigger representation then other larger immigrant groups. The diverse ethnic composition of the city was reflected on the city council, and while certain districts elected Irish representatives, city council never had an unusually large proportion of Irish. Nowadays they say the Irish have assimilated into society but one in six Clevelanders claim Irish ancestry, more than 9%, and Cleveland has one of the longest running and largest St. Patrick’s Day parades in America regularly attracting more than 500,000 people. The Cleveland Irish were catapulted into fame in recent years thanks to the release of Rick Porrello’s book To Kill The Irishman. In the 1970’s proud Irish-American and local folk-hero Danny Greene became one of the most powerful crime figures in Cleveland. Literally a living legend all the stories about Danny you ever heard are all true. He looked after those in his neighborhood who were in most need. A church going, God fearing Irish gangster whose goal in life was to look after his own. The book led to several documentaries and a feature film about him and the many failed attempts on his life. Needless to say it was inevitable Marys Lane would write a song about this most famous of their fellow city men and what a song it is! Danny still has family in the city and ‘Robin Hood Of Collinwood’ has become an anthem for the cities Irish community to rally behind.

So with a decent back catalogue behind them it’s time for their latest release to hit the streets and a couple of weeks back Wild Unknown popped through the letterbox at London Celtic Punks towers. Eleven songs that take in pretty much every variation of modern day Irish music in their own indomitable way. The album starts with a great folk/Irish/country mashup ‘Dead Man Walking’ and its lively, jaunty fast paced acoustic music with a real catchy feel to it. At once the sound of a wee Irish pub and at the same time a massive festival fill yer ears. Vocals on the album are shared between Patrick Mulloy and Michael Crawley and here Patrick shines with a voice perfectly suited to the sound.

‘Rain On My Parade’ slows it down a little and reminds me of a couple of other Irish-American bands I came across at the arse (or should that be ass?) end of last year, Crikwater and Plastic Paddy. Next up is ‘Petronilla’ and again it’s a slowish song but don’t mistake that for dull or boring with an interesting bass line line and drums. While so far the album has shown the multitude of influences that Marys Lane have soaked up on ‘Last Gift’ they give us their first full blown Irish track and blew me away. That word ‘catchy’ pops up again and its a real foot-tapper that you could imagine the dance floor filling up at your local Irish hostelry. We stay firmly on our native shore with ‘Road Less Traveled / Harvest Home’ which brings back the country feel to it with some exquisite fiddle work dominating proceedings. ‘Smoke’ has a feel of another Irish-American band The Young Dubliners and I’m starting to hear a common sound amongst a whole host of bands from across the broad Atlantic. On the blurb that accompanied the album Marys Lane compare their sound to that of the Irish kitchen session.

“Cleveland rock roots but knee deep in the ghosts of Ireland – not maudlin mind you, but in the typical Kitchen Party made so famous by the Irish – everyone comes, everyone joins in, one way or another, and everyone leaves wishing the night would never end”

It’s a great description and better than anything I could say about them.

Not that it will stop me trying! More than halfway through and its time for one them good auld Irish drinking songs and its a belter. We Irish, mostly!, love a drink and ‘Another Round’ can be added to the long list of loving tributes. ‘Box Of Roses’ is their most country song here and yet still has the Irish feel to it and I don’t mean the dreaded Country’n’Irish thing that scared many a young 2nd and 3rd generation Irish kid off music when they were young. If you could imagine a (more) Irish Bruce Springsteen then this is the kind of music he’d serve up, especially in these days when he’s rediscovering his roots. ‘Whiskeytown’ is an ode to their home town and is a beautiful tribute to a city that may have seen better days but like most working-class cities it has heart and a will that will see it return to its days as an American powerhouse. So far the only thing missing has been a jig or two and for the penultimate song we get them both served up in ‘Gypsys Dance / The Kesh Jig’. Now I don’t have much of an ear for remembering trad jigs but ‘The Kesh’ Jig may be an old Bothy Band song and if so the band certainly do justice to it. Wild Unknown comes to an end with the album’s best song I think. The epic sounding  ‘Between The Darkness And The Light’. We are back in ‘Irish Bruce’ territory here and it may again be on the slower side of things but that does not diminish its power and it’s a swirling, twirling monster of a song and a fantastic way to bring down the curtain.

Wild Unknown is that exceedingly rare thing on these pages. An album of all original songs written by the band themselves. Their are four songwriters within the band and all band members contribute to everything they produce. A real team effort. The album was recorded with multi platinum award winning producer Michael Seifert and it certainly shows as the sound is absolute perfection and clear as the proverbial bell without being over produced or ‘fiddle’ with too much. A great album all round and this Irish-American sound is well worth checking out especially if you like your celtic-punk a bit more on the gentler side.

Celtic rock- hard to define, hard to resist, much like Marys Lane.

(you can listen to the whole of Wild Unknown before you download by pressing play on the Bandcamp player below)

Buy Wild Unknown

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Find out more about the legend that was Danny Greene, an impoverished but charismatic young Irish-American who rises to power as president of the longshoreman’s local union and is charged with corruption but evades serious jail time by becoming an FBI informant. With fearless nerve he joins forces with a Mafia gangster to rise to power in Cleveland’s underworld, gaining the reputation of a Robin Hood-like figure with nine lives as he escapes countless assassination attempts.

Danny Greene: The Rise and Fall of the Irishman

USA | 2011 | 60 min.

Genre: Documentary Director: Tommy Reid

Photographs that have never been seen before and exclusive interviews with the family members of Danny Greene, officials from the Federal government, associates of the Mafia and representatives of Cleveland Police Enforcement make up this documentary examining the life of the legendary infamous Irish-American gangster Danny Greene.

Clint O’Connor of The Plain Dealer writes

“Feeding America’s appetite for mob stories with a grisly slice of Cleveland’s criminal past, spotlights the gangster whose life was famously extinguished by a car bomb in a Lyndhurst parking lot. A fearless hood who grabbed headlines for years in the 1970s, Greene was a colorful character. He dressed in green, drove green cars, and embraced Irish history and Celtic lore. Alternately a union troubleshooter, embezzler, and enforcer, Greene dabbled in racketeering, gambling, and loan-sharking. He excelled at beating the rap, which may have been attributed to his other occupation: FBI informant. Police have long assumed that Greene conspired to take out Shondor Birns, a rival in Cleveland’s numbers racket, and later mafia underboss Leo ‘Lips’ Moceri, whose body was never found”

Kill The Irishman

USA | 2011 | 1hr 42mins

Genre: Action | Biography | Thriller Director: Jonathan Hensleigh

Starring: Ray Stevenson, Christopher Walken, Vincent D’Onofrio

ALBUM REVIEW: EBRI KNIGHT- ‘Guerrilla’ (2018)

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A superb mix of traditional Catalan music and punk-rock.

Ebri Knight hail from the Maresme, a region where the sea and the mountains meet halfway between La Selva and Barcelona in Catalonia. If you have been living under a rock over the last couple of years Catalonia is currently a region of Spain. I say currently as there is a massive groundswell of support from the Catalan people to leave Spain and forge ahead as a nation in its own right.

Catalonia is is located on the extreme north east of Spain and is home to around 7,500,000 people and its capital is one of the worlds greatest cities in Barcelona. They have their own language and culture that is different to that of Spain and the wish to be independent has occupied the minds of many Catalan’s for decades. Back in the general election of 1931 the Catalan people voted heavily for the left-wing Republican government that promised greater autonomy but when Franco’s fascists moved against the democratically elected government causing the Spanish Civil War (1936-1939) the Catalan’s sided with the government. Three years of heavy fighting throughout Spain but especially in the republican stronghold of Catalonia led to the devastation of the country and eventually to the defeat of the Republican forces and Franco brought in a dictatorship in which he never forgot the role that Catalonia had played. Franco’s regime banned the use of the Catalan language and all institutions of self-government were abolished. It wasn’t until the death of Franco and the return of democracy that Catalan self-identity was again tolerated and the people were allowed to express their national pride without fear of repercussion. This eventually led to the controversial referendum held last October in which than 2,020,000 voters (91.96%) voted for independence. This led to a crackdown on those the Spanish government considered responsible but the fact is that independence is inevitable and Spain are playing a risky game by denying the people of Catalonia their wish to take their place amongst the nations of the world.

The La Senyera Estelada is used by supporters of Catalonian independence. It was inspired by the stars on the Puerto Rican and Cuban flags, who gained independence from Spain in 1898 and 1902 respectively, Catalan independentists began including stars on their symbols from the early 20th century onwards.

Like most nations struggling for freedom across the world the use of traditional/folk music has been one of both uniting the people and a way to protest. With their language banned for decades it was mainly in song that Catalan was kept alive. Ebri Knight are firmly rooted in traditions that have been known across the streets of Catalonia for centuries. The melodies and traditional instruments that inspired them don’t belong left in the past but need to be brought to the fore again. To take from the past and not change it or reinvent it but add to it something. Music is constantly changing and adapting and Ebri Knight are no different to bands like The Dubliners, The Pogues and Flogging Molly. Three bands that show nearly sixty years of evolving and developing traditional Irish folk music.

Guerilla kicks off with ‘Carnaval’ and like a lot of European celtic-punk bands they love the flute. Not an instrument I was always fond of but over the last couple of years (ever since seeing Firkin from Hungary in fact) I have fallen for in a big way. The song is loud and bombastic with plenty of shouty gang vocals and what we might think of here as Spanish touches but all along have unbeknown to us are actually Catalan ones. The  accordion is particularly good here. Next up is the lead single and title track ‘Guerrilla’ and Ebri Knight nail their colours to the mast and they are RED! The video was directed by Eloi Aymerich and shot on the beach of Callao de Mataró  standing on the horizon of the Mediterranean Sea.

The song is a tribute to self-organization, to those that fight side by side together to overcome injustice and those who perpetuate them and to awaken those who remain alienated in the society in which we live.

“The days of the crumbs have been finished, We have already risen and we will make the executioner fall”

The video ends with a shot of a mother feeding her son wrapped in a red cloth, a symbol of revolt, dignity and the future. The music is catchy as hell, fastly played mainly acoustic and while the Celtic melodies may be missing its not a million miles from celtic-punk and in fact could be described as a next door neighbour. Almost the entire album is sung in Catalan so I can’t explain much about whats going on but its a thoroughly enjoyable album with plenty in it to keep both folkies and punkers happy. Not knowing much about the band previous to this album I can’t say how they have developed over their career but they certainly kick up a storm here and on ‘Venim’ it’s a perfect marriage of punk and folk music. The sort of music that could keep everyone happy but without wimping out. The guitars are turned up loud and the whole song bounces along with an almost Ramones feel to it but totally accessible at the same time. On ‘Rosa De Foc’ they slow it down beginning with just voice and acoustic guitar before the band join and while still keeping it slow(ish) the sound is massive. They can’t help themselves though and then BOOM and they off again and the Bhoys push it to max before slowing down again towards the end. ‘Filla’ is the quickest song here and sounds like a traditional song with vocals dominating over a bongo. A nice interlude and very much a salute to the past. ‘La Nit Encesa’ and ‘Mai Més’ are back firmly within punk territory with the folk instruments loud and proud in the mix with flute, fiddle and accordion competing with chugging electric guitar. If you were to pick a celtic-punk tune from this album then ‘El Nostre Dia’ is the one. A more folky number and the closest here to an Irish song. Slower but still massive as with all their slower songs with a swirling movement that you can imagine would be the pint in the air, arms round your mates on the dance-floor moment of the album. I would definitely suggest a visit to the bands YouTube page as well (link below) as they have obviously put a lot of work into their videos and ‘Vientos Del Pueblo’ is a great example. Using illustrations from the Civil War and the words of Republican fighter and poet Miguel Hernández the video is an incredible and powerful work of art.

Born into a poor family and with little education he published his first book at 23 and gained considerable fame before his death. He fought gallantly through the war before eventually being arrested and sentenced to death but Tuberculosis beat the hangman to it and before his death he scrawled his last verse on the wall of the hospital:

“Goodbye, brothers, comrades, friends: let me take my leave of the sun and the fields”

We are steering up towards the end now and ‘Cridarem’ again has a bit of a celtic-punk feel to it with a great shouty but tuneful chorus with what sounds like the whole band joining in. ‘Tornaria’ is a gentle song which makes me think that it’s the words that are important here. They are that kind of band. The lyrics are more important than the tunes to them but lucky for us that there’s more than enough to enjoy even if you don’t know any Catalan! The album ends with the fine anti-fascist anthem ‘Viva La Quinta Brigada’. Written by the legendary Christy Moore and sung here in English it’s an absolutely fantastic version and not very recognisable with Ebri Knight putting their own stamp all over it and defiantly making it their own. In Christy’s version the words pay tribute to the Irishmen who fought in the Spanish Civil War against Franco but here some lines are missing perhaps they found it too difficult to pronounce the Irish names! Nevertheless an awesome song, an awesome version and a great way to end the album.

Guerilla was recorded and mixed in Terrassa in their home region by Marc Bória and Oriol Bacardit and was released at the beginning of February. Twelve songs and forty-three minutes and as good a production as you will ever hear, as clear as the proverbial bell! We are all lucky that the band have made it available for free download so we recommend that as soon as you finish reading this you follow the link below and get downloading! We all owe bands like Ebri Knight a great service. Bands that keep our traditions alive that keep the songs in our memories that provide a link from the past to the present. Music on its own cannot change the world but it can inspire people to read, to think, to act. Music can rouse a people from its slumber its exactly why those that manipulate us and control us promote music that stops people thinking, reading, acting. Music can have the weight of the people behind it and bands like Ebri Knight have the strength of a people who want to change the world.

That’s why they make the music they do.

(you can listen to Guerilla on the Bandcamp player below)

Discography

Tonades Of Time Ago (2011) * La Palla Va Cara (2013) * Foc! (2015) * Cridarem Foc! (2017)

Get Guerrilla

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NEW FILM- STOKED: THE DREADNOUGHTS RETURN

Stoked. A documentary about The Dreadnoughts by Adam PW Smith.

|  | 17 November 2017 (Canada)

Vancouver clusterfolk legends The Dreadnoughts have returned from a six year hiatus to record a new album. Filmed in the recording studio, and drawing from an archive of photos and film clips that go right back to their second ever live show, this low budget documentary rises above its station with great characters and stories that range from enlightening to hilarious (and occasionally dubious). These liquor soaked musical heroes prove themselves to be thoughtful, as well as entertaining. Everything you ever wanted to know about the Vancouver-based celtic-punk band – and perhaps things you didn’t – can now be found in, Stoked: The Dreadnoughts Return.

After a few years away The Dreadnoughts announced their arrival back on the circuit with a utterly brilliant new album and now also a documentary film.

The 40-minute film by Adam PW Smith looks at the 10-year history of the band. It features rollicking music accompanying a mix of old and new footage, including tongue-in-cheek, sometimes raw tell-all biographies of the band members, past and present. The documentary delves into the band’s temporary hiatus and return with last November’s release of  Foreign Skies.

The film contains what some might consider inappropriate language and if you of a delicate disposition then viewer discretion is advised!

The Dreadnoughts
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Adam PW Smith
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You can also still buy ‘This Place Is Awesome’ – a Dreadnoughts tour diary written by the director of this video. It’s 2009 and music photographer Adam PW Smith flies to England to spend a week touring with The Dreadnoughts in the middle of their first European tour. Smith was in the thick of it, suffering all the standard indignities but one. The result is a book that reveals much about life as a young, touring band who bring real meaning back to the DIY ethic, and a few things about what it’s like to be a 43 year old trying to survive in that environment. Available on amazon.com http://goo.gl/Q9Cdk

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