Category Archives: Asturias

CELEBRATING A CELTIC CHRISTMAS 2017. MERRY CHRISTMAS TO ALL THE LONDON CELTIC PUNKS FAMILY

Each December we pick the best Christmas themed song we’ve heard that year to showcase in our end of year message and this year the runaway victors are from just up the road from us in Berkhamsted. We give you Flatcaps & Fisticuffs and their wicked version of ‘Good King Wenceslas’. The EP it’s from is availanble as a free download from here.

CELEBRATING A CELTIC CHRISTMAS

According to long standing theory, the origins of Christmas stems from pagan winter festivals. One main reason early Christians were able to spread their religion across Europe so quickly came from their willingness to embrace celebrations already common among regional populations. One such example is the Celtic ‘Alban Arthuan’, a Druidic festival that took place around December 21st. the Winter Solstice. This traditional fire festival celebrated the re-birth of the Sun. Although a celebration of the Son’s birth replaced that of the Sun’s, still a number of ancient Celtic Christmas traditions remain today.

Christmas

As we look across the Celtic nations, it is interesting to note some similarities among Christmas traditions that cross geographic boundaries. They include, for example: Holly (a symbol of rebirth among Pagan Celts, but also of hospitality—it was believed fairies sought shelter inside the evergreen leaves to escape the cold); Mistletoe (believed to have healing powers so strong that it warded off evil spirits, cured illnesses and even facilitated a truce between enemies); fire and light (most notably the Yule log or candles placed in windows to light the way for strangers and symbolically welcoming Mary and Joseph); and door-to-door processions, from wassailing to Wren Hunts.

Each of the seven nations possesses its own variations of Celtic Christmas customs. Surrounding cultures and local identify shape theses practices as well.

SCOTLAND

Flag ScotlandChristmas was not officially recognized in Scotland for nearly four centuries. The Puritan English Parliament banned Christmas in 1647 and it did not become a recognized public holiday in Scotland until 1958. However, according to Andrew Halliday, in his 1833 piece Christmas in Scotland, Scots were not discouraged from celebrating Christmas. Halliday wrote

“We remember it stated in a popular periodical, one Christmas season not long ago, that Christmas-day was not kept at all in Scotland. Such is not the case; the Scots do keep Christmas-day, and in the same kindly Christian spirit that we do, though the Presbyterian austerity of their church does not acknowledge it as a religious festival”

Halliday’s 19th century account went on to describe festive sowens (sweetened oat gruel) ceremonies, “beggars” (actually “strapping fellows”) singing yule song, dances and card parties and children’s teetotum games. Despite Puritan rule, some long-time Christmas traditions are preserved. These include burning the Cailleach (a piece of wood carved to look like an old woman’s face or the Spirit of Winter) to start the new year fresh; or on Christmas Eve burning rowan tree branches to signify the resolution of any disputes. The Celtic tradition of placing candles in windows was also done in Scotland to welcome “first footers” (strangers, bearing a small gift) into the home. Traditional dishes also continue to be featured at Christmas lunch and throughout the holidays, including Cock-a-Leekie soup, smoked salmon, beef or duck, Clootie dumplings, black buns, sun cakes, Christmas pudding and Crannachan.

Because Christmas was not an official holiday until the late ‘50s it is no surprise that today, for some Scots, Hogmanay (New Year’s Eve) is the most important event of the season. Arguably, locals ring in the new year with much more gusto than any other place on the planet.

IRELAND

flagAn Autumn clean up was a common practice in Irish homes to prepare for Christmas. Women looked after cleaning the interior, while men took care of the outdoors, including whitewashing all exterior surfaces. Then holly, grown wild in Ireland, was spread throughout the house with cheer. Contemporary Ireland also highlights this clean-up ritual; once complete, fresh Christmas linens are taken out of storage.

Other customs include the Bloc na Nollaig or Christmas Block (the Irish version of the Yule log), candles in the window (perhaps one for each family member), and leading up to Christmas, ‘Calling the Waites’ where musicians would wake up townspeople through serenades and shouting out the morning hour. Christmas Eve Mass is still a grand affair; a time for friends and family to reconnect. It is not uncommon for churchgoers to end up at the local pub after service to ring in Christmas morn. On Christmas Day, traditional dishes include roast goose or ham and sausages, potatoes (such as champ), vegetables (such as cabbage with bacon) and plum pudding, whiskey, Christmas cake and barmbrack (currant loaf) for sweets. Traditionally on December 26th, St. Stephen’s Day, Wren Boys with blackened faces, carrying a pole with a dead bird pierced at the top, tramped from house to house. Today the custom sometimes sees children caroling throughout the neighbourhood to raise money for charity. It is also quite common to go out visiting on this day.

WALES

Flag WalesMusic was and still is a major part of Welsh holidays. Plygain is a Christmas day church service, traditionally held between three and six in the morning featuring males singing acapella in three or four-part harmonies. While today this may be mainly practised in rural areas, Eisteddfodde (caroling) is abundantly popular in homes, door-to-door and as part of annual song-writing competitions.

Dylan Thomas’ story ‘A Child’s Christmas in Wales’ is renowned around the world. An excerpt offers a glimpse of a traditional Welsh festive season:

“Always on Christmas night there was music. An uncle played the fiddle, a cousin sang ‘Cherry Ripe’ and another uncle sang ‘Drake’s Drum’… Looking through my bedroom window, out into the moonlight and the unending smoke-coloured snow, I could see the lights in the windows of all the other houses on our hill and hear the music rising from them up the long, steady falling night”

Other intriguing Welsh traditions include toffee making; drinking from a communal wassail bowl of fruit, spices, sugar and beer; children visiting homes on New Year’s Day looking for their Callenig gift; and Mary Lwyd (Grey Mare) featuring wassail singers going door-to-door carrying a horse’s skull and challenging residents in a contest of mocking rhymes.

ISLE OF MAN

Flag Isle Of ManCarolling also holds a special place in Manx Christmas celebrations, but traditionally an unconventional twist characterized it. On Christmas Eve, large numbers attended church for Carval. While the congregation sang, all of a sudden women would begin the traditional food fight, having peas on hand to throw at their male counterparts! Accounts from the 1700s and 1800s describe 12 days of non-stop Christmas celebrations where every barn was filled with dancers accompanied by fiddlers the local parish hired. The Reverend John Entick recorded in 1774

“On the twelfth day the fiddler lays his head on one of the women’s laps, which posture they look upon as a kind of oracle. For one of the company coming up and naming every maiden in the company, asks the fiddler, who shall this or that girl marry? And whatever he answers it is absolutely depended on as an oracle”

As in Celtic fashion, Hunting the Wren processions occurred on the Isle of Man and today the practice is going through a revival, characterized by costumes, singing and dancing.

Other Manx customs include Mollag Bands, wearing eccentric clothing, swinging a mollag (fishing float) and demanding money (a practice since outlawed); the kissing bush (a more elaborate ornament than a sprig of mistletoe); and Cammag, a sport that originated on the Isle of Man traditionally played on December 26th and/or Easter Monday. In older times but even as recently as the early 20th century, Christmas decorations were not taken down until Pancake Tuesday (when they were burnt under the pancake pan). Now holiday décor tends to be packed away on Old Christmas (January 6th).

CORNWALL

Flag CornwallAs a result of Oliver Cromwell banning Christmas, authentic holiday carols began to fade through much of Britain. However, throughout the 1800’s, Cornish composers and collectors sparked a revival of local Christmas song.Certain carols well-known around the world, such as Hark the Herald Angels and While Shepherds, are credited to Cornish origins.

“Contrary to the effect Methodism might have had on the English carollers, in Cornwall its impact was to stimulate song,” states the Cornwall Council (Cornish Christmas Carols – Or Curls, 2011). “In those areas where Methodism was strongest, music and signing had their greatest appeal, and notably so at Christmas. The singers would practice in chapels and school-rooms, some of them walking miles to be there”

Today, Cornwall erupts in festivals, fairs and markets during the holidays. The Montol Festival in Penzance (named for Montol Eve on December 21st) is a six-day celebration highlighting many Cornish traditions. These include Mummers plays, lantern processions, Guise dancing (participants dress in masks and costume, such as mock formal dress, to play music and dance).

Montol is also the time for burning the Mock (yule log). A stickman or woman is drawn on the block of wood with chalk. When the log burns, it symbolizes the death of the old year and birth of the year to come.

BRITTANY

Flag BrittanyBrittany boasts a wealth of folklore and supernatural beliefs around Christmas time. Christmas Eve was known as a night of miraculous apparitions from fairies to Korrigans, and at midnight, for just a brief moment, waters in the wells would turn into the most sweet-tasting wine. It was also at midnight, when families were either at mass or in bed, that ghosts would surface; traditionally food was left out for deceased loved ones just in case they visited.

During the holidays, Christmas markets come alive in many Breton towns vending hand-made crafts and toys, baked cakes and bread and ingredients for Christmas dinner. You can also buy Gallette des Rois at stalls, as well as bakeries, which is traditionally eaten on January 6th(Epiphany). A tiny figurine (the fève) is hidden inside the puff pastry cake; the person who finds the figurine in their piece gets to be king or queen for the day and wear a crown. Another special tradition through all of France is a meal after Christmas Eve’s midnight mass, called Réveillon. Specifically in Britanny, the traditional dish for this occasion is buckwheat crêpes with cream.

GALICIA

Flag GaliciaGalicia has its own unique Christmas gift-bearer that pre-dates Christianity. He is called Apalpador, a giant who lives in the mountains. For Christmas, he descends into the villages below to make sure each child has a full belly. He brings treats, such as chestnuts, and well wishes for a year full of delicious sustenance. While Apalpador may not be widely observed in Galicia, his legend is seeing a revival.

Food is very important during the Galician holidays, featuring at least two feasts (on Christmas Eve and Christmas Day). Not surprisingly, seafood is on the menu, including lobster, prawns, shrimp, sea bass, and cod with garlic and paprika sauce. Other culinary delights consist of cured meat, cheese and bread, roast beef with vegetables and for dessert tarta de Santiago (almond cake), filloas (stuffed pancakes) and turrones (nougats). The children of anticipate the coming of the Three Kings or Magis by filling their shoes and leaving them outside on Epiphany Eve, January 5th. Many Galician’s communities also parade on the 5th.

So there you have it the old traditions just like the traditional music we all love live on…

Nollick Ghennal as Blein Vie Noa (Manx Gaelic)

Nollaig Chridheil agus Bliadhna Mhath ùr (Scottish Gaelic)

Nollaig Shona Dhuit agus Bliain Nua Fe Mhaise (Irish Gaelic)

Nedeleg Laouen na Bloavezh Mat  (Breton)

Nadolig Llawen a Blwyddyn Newydd Dda (Welsh)

Nadelik Lowen ha Bledhen Nowyth Da (Cornish)

Further Christmas themed fun with this London Celtic Punks Top Twenty

GET IN THE FESTIVE SPIRIT WITH THIS CHRISTMAS CELTIC PUNK TOP-TWENTY!

Now go have a drink…

THE HISTORY OF CELTIC-ROCK MUSIC

Today the 30492- London Celtic Punks web zine is four years old today so what better way to celebrate our birthday than to give you this small but perfectly formed potted history of Celtic-Rock. We have never just wanted to be a place that only reviews new records we want to celebrate everything that makes us celtic-punks. Our love of our roots and our history and our traditions and the love that those with no Celtic ancestry have as well. Celtic-Punk is for all that share our common values of friendship and solidarity and the love of a good time. Music cannot change the world but it can certainly make it a better place to live in and in these uncertain times that is something we all need. The roots of celtic-punk should be important to us as that is where we come from and we must never forget that.

The London Celtic Punks Admin Team

Celtic rock is a genre of folk rock, as well as a form of Celtic fusion which incorporates Celtic music, instrumentation and themes into a rock music context. It has been extremely prolific since the early 1970’s and can be seen as a key foundation of the development of highly successful mainstream Celtic bands and popular musical performers, as well as creating important derivatives through further fusions. It has played a major role in the maintenance and definition of regional and national identities and in fostering a pan-Celtic culture. It has also helped to communicate those cultures to external audiences.

Definition

The style of music is the hybrid of traditional Irish, Scottish Gaelic, Welsh and Breton musical forms with rock music. This has been achieved by the playing of traditional music, particularly ballads, jigs and reels with rock instrumentation; by the addition of traditional Celtic instruments, including the Celtic harp, tin whistle, uilleann pipes (or Irish Bagpipes), fiddle, bodhrán, accordion, concertina, melodeon, and bagpipes (highland) to conventional rock formats; by the use of lyrics in Celtic languages and by the use of traditional rhythms and cadences in otherwise conventional rock music. Just as the validity of the term Celtic in general and as a musical label is disputed, the term Celtic rock cannot be taken to mean there was a unified Celtic musical culture between the Celtic nations. However, the term has remained useful as a means of describing the spread, adaptation and further development of the musical form in different but related contexts.

History

Origins

Celtic rock developed out of the (originally English) electric folk scene at the beginning of the 1970’s. The first recorded use of the term may have been by the Scottish singer Donovan to describe the folk rock he created for his Open Road album in 1970, which itself featured a song named ‘Celtic Rock’. However, the lack of a clear Celtic elements to the self-penned tracks mean that even if the name was taken from here, this is not the first example of the genre that was to develop.

Ireland

It was in Ireland that Celtic rock was first clearly evident as musicians attempted to apply the use of traditional and electric music to their own cultural context. By the end of the 1960’s Ireland already had perhaps the most flourishing folk music tradition and a growing blues and pop scene, which provided a basis for Irish rock. Perhaps the most successful product of this scene was the band Thin Lizzy. Formed in 1969 their first two albums were recognisably influenced by traditional Irish music and their first hit single ‘Whisky in the Jar’ in 1972, was a rock version of a traditional Irish song. From this point they began to move towards the hard rock that allowed them to gain a series of hit singles and albums, but retained some occasional elements of Celtic rock on later albums such as Jailbreak (1976). Formed in 1970, Horslips were the first Irish group to have the terms ‘Celtic rock’ applied to them, produced work that included traditional Irish/Celtic music and instrumentation, Celtic themes and imagery, concept albums based on Irish mythology in a way that entered the territory of progressive rock all powered by a hard rock sound. Horslips are considered important in the history of Irish rock as they were the first major band to enjoy success without having to leave their native country and can be seen as providing a template for Celtic rock in Ireland and elsewhere. These developments ran in parallel with the burgeoning folk revival in Ireland that included groups such as Planxty and the Bothy Band. It was from this tradition that Clannad, whose first album was released in 1973, adopted electric instruments and a more ‘new age’ sound at the beginning of the 1980s. Moving Hearts, formed in 1981 by former Planxty members Christy Moore and Donal Lunny, followed the pattern set by Horslips in combining Irish traditional music with rock, and also added elements of jazz to their sound.

  • THE POGUES AND IRISH CULTURAL CONTINUITY (here)

Scotland

There were already strong links between Irish and Scottish music by the 1960s, with Irish bands like the Chieftains touring and outselling the native artists in Scotland. The adoption of electric folk produced groups including the JSD Band and Spencer’s Feat. Out of the wreckage of the latter in 1974, was formed probably the most successful band in this genre, combining Irish and Scottish personnel to form Five Hand Reel. Two of the most successful groups of the 1980s emerged from the dance band circuit in Scotland. From 1978, when they began to release original albums, Runrig produced highly polished Scottish electric folk, including the first commercially successful album with the all Gaelic Play Gaelic in 1978. From the 1980s Capercaillie combined Scottish folk music, electric instruments and haunting vocals to considerable success. While bagpipes had become an essential element in Scottish folk bands they were much rarer in electric folk outfits, but were successfully integrated into their sound by Wolfstone from 1989, who focused on a combination of highland music and rock.

  • HOW THE IRISH AND THE SCOTS INFLUENCED AMERICAN MUSIC (here)

Brittany

Brittany also made a major contribution to Celtic rock. The Breton cultural revival of the 1960s was exemplified by Alan Stivell who became the leading proponent of the Breton harp and other instruments from about 1960, he then adopted elements of Irish, Welsh and Scottish traditional music in an attempt to create a pan-Celtic folk music, which had considerable impact elsewhere, particularly in Wales and Cornwall. From 1972 he began to play electric folk with a band including guitarists Dan Ar Braz and Gabriel Yacoub. Yacoub went on to form Malicorne in 1974 one of the most successful electric folk band in France. After an extensive career that included a stint playing as part of Fairport Convention in 1976, Ar Braz formed the pan-Celtic band Heritage des Celtes, who managed to achieve mainstream success in France in the 1990’s. Probably the best known and most certainly the most enduring electric folk band in France were Tri Yann formed in 1971 and still recording and performing today. In 2017 celtic-punk band Les Ramoneurs De Menhirs fly the flag for Brittany singing in their native language and playing regularly and often accompanied on stage by Louise Ebrel, daughter of Eugénie Goadec, a famous traditional Breton musician.

  • ALBUM REVIEW: LES RAMONEURS DE MENHIRS- ‘Tan Ar Bobl’ (here)

Wales

By the end of the 1960’s Wales had produced some important individuals and bands that emerged as major British or international artists, this included power pop outfit Badfinger, psychedelic rockers Elastic Band and proto-heavy metal trio Budgie. But although folk groupings formed in the early 1970’s, including Y Tebot Piws, Ac Eraill, and Mynediad am Ddim, it was not until 1973 that the first significant Welsh language rock band Edward H Dafis, originally a belated rock n’ roll outfit, caused a sensation by electrifying and attempting to use rock instrumentation while retaining Welsh language lyrics. As a result, for one generation listening to Welsh language rock music could now become a statement of national identity. This opened the door for a new rock culture but inevitably most Welsh language acts were unable to breakthrough into the Anglophone dominated music industry. Anhrefn became the best known of these acts taking their pop-punk rock sound across Europe from the early-80’s to mid-90’s.

  • TRIBUTE TO WELSH PUNK ROCK LEGENDS ANHREFN (here)

Cornwall and the Isle of Man

Whereas other Celtic nations already had existing folk music cultures before the end of the 1960s this was less true in Cornwall and the Isle of Man, which were also relatively small in population and more integrated into English culture and (in the case of Cornwall) the British State. As a result, there was relatively little impact from the initial wave of folk electrification in the 1970’s. However, the pan-Celtic movement, with its musical and cultural festivals helped foster some reflections in Cornwall where a few bands from the 1980s onwards utilised the traditions of Cornish music with rock, including Moondragon and its successor Lordryk. More recently the bands Sacred Turf, Skwardya and Krena, have been performing in the Cornish language.

  • ALBUM REVIEW: BARRULE- ‘Manannans Cloak’ (here)

Subgenres

Celtic Punk

Ireland proved particularly fertile ground for punk bands in the mid-1970s, including Stiff Little Fingers, The Undertones, The Radiators From Space, The Boomtown Rats and The Virgin Prunes. As with electric folk in England, the advent of punk and other musical trends undermined the folk element of Celtic rock, but in the early 1980s London based Irish band The Pogues created the subgenre Celtic punk by combining structural elements of folk music with a punk attitude and delivery. The Pogues’ style of punked-up Irish music spawned and influenced a number of Celtic punk bands, including fellow London-Irish band Neck, Nyah Fearties from Scotland, Australia’s Roaring Jack and Norway’s Greenland Whalefishers.

  • FROM OPPRESSION TO CELEBRATION- THE POGUES TO THE DROPKICK MURPHYS AND CELTIC PUNK (here)

Diaspora Celtic Punk

One by-product of the Celtic diaspora has been the existence of large communities across the world that looked for their cultural roots and identity to their origins in the Celtic nations. While it seems young musicians from these communities usually chose between their folk culture and mainstream forms of music such as rock or pop, after the advent of Celtic punk large numbers of bands began to emerge styling themselves as Celtic rock. This is particularly noticeable in the USA and Canada, where there are large communities descended from Irish and Scottish immigrants. From the USA this includes the Irish bands Flogging Molly, The Tossers, Dropkick Murphys, The Young Dubliners, Black 47, The Killdares, The Drovers and Jackdaw, and for Scottish bands Prydein, Seven Nations and Flatfoot 56. From Canada are bands like The Mahones, Enter the Haggis, Great Big Sea, The Real McKenzies and Spirit of the West. These groups were naturally influenced by American forms of music, some containing members with no Celtic ancestry and commonly singing in English. In England we have The BibleCode Sundays, The Lagan and others.

  • THE EFFECTS OF NEW DIASPORA CELTIC PUNK: THE CREATION OF A PAN-CELTIC CULTURE (here)

Celtic Metal

Like Celtic rock in the 1970s, Celtic metal resulted from the application of a development in English music, when in the 1990s thrash metal band Skyclad added violins, and with them jigs and folk voicings, to their music on the album The Wayward Sons of Mother Earth (1990). This inspired the Dublin based band Cruachan to mix traditional Irish music with black metal and to create the subgenre of Celtic metal. They were soon followed by bands such as Primordial and Waylander. Like Celtic punk, Celtic metal fuses the Celtic folk tradition with contemporary forms of music.

  • CELTIC-METAL’S TOP FIVE BANDS (here)

Influence

Whereas in England electric folk, after initial mainstream recognition, subsided into the status of a sub-cultural soundtrack, in many Celtic communities and nations it has remained at the forefront of musical production. The initial wave of Celtic rock in Ireland, although ultimately feeding into Anglo-American dominated progressive rock and hard rock provided a basis for Irish bands that would enjoy international success, including the Pogues and U2: one making use of the tradition of Celtic music in a new context and the other eschewing it for a distinctive but mainstream sound. Similar circumstances can be seen in Scotland albeit with a delay in time while Celtic rock culture developed, before bands like Runrig could achieve international recognition. Widely acknowledged as one of the outstanding voices in Celtic/rock is the Glasgow born Brian McCombe of The Brian McCombe Band, a pan Celtic group based in Brittany.

In other Celtic communities, and particularly where Celtic speakers or descendants are a minority, the function of Celtic rock has been less to create mainstream success, than to bolster cultural identity. A consequence of this has been the reinforcement of pan-Celtic culture and of particular national or regional identities between those with a shared heritage, but who are widely dispersed. However, the most significant consequence of Celtic rock has simply been as a general spur to immense musical and cultural creativity.

EP REVIEW: UNION BLOOD- ‘Working Class Pride’ (2017)

From the land of pipes and drunx comes this new EP of streetpunk and Oi! from Galician band Union Blood.

union-blood-ep
Bit of a departure for London Celtic Punks with this EP from the newly formed Street punk band Union Blood. Formed last Summer in A Coruña in Galicia now that city may ring a bell for celtic-punk fans as it is the home town of famous celtic celtic-punk band Bastards On Parades. As it goes Union Blood began last year as a side project but as Bastards On Parade announced on their Facebook page
“Hey! We wanted to let you all know that we are taking a break for a while. Different circumstances don’t let us keep the rhythm of traveling and tours we used to, so we will wait for the right time to come back as this band deserves.
See you soon you bastards!! Cheers”
Now Bastards On Parade, who took their name from the Dropkick Murphys song and played with them numerous times, worked their collective arses off over the years with their touring and even washed up over here a couple of times including a short and not particularly well organised tour (by us!) with The Lagan. So they are deserving of a break but what has stepped into the breach in the meantime you ask? Well what we have here is Union Blood’s first release and it has all the influences of Oi! bands past and present that you would expect flowing through it. Now I never been a skinhead but use to be a big fan of Oi! and one of the things about Oi! is that it was/is the British sound that completely dominates. Bands like The 4-Skins, Cock Sparrer and the Rejects seem to influence every band no matter where they come from and Union Blood are no different.

from left to right: Ruper, Arenga, Dopi, David

The EP begins with ‘Working Class Pride’ and its straight forward skinhead rock with David’s welcome, and familiar, voice rasping his way through a fast and catchy as hell number about having pride in your background. In a world where the working classes are hated by the elites (to be fair they always have been) for not voting the way they are told or being coarse or unruly and for simply not doing as we are told we only have each other. With the left around the world hellbent on destroying itself by the adoption of lunatic and poisonous identity politics a new left is needed that in the words of someone who should know is a new left that is
“from the class, for the class, of the class”

‘Reckless And Bones’ is up next and the chugging guitars are still evident but also the catchy gang chorus and “whoa whoa” too. Traces of Bastards On Parade here and with a piper in there we would be away!
The best song on the EP for me is the anti-fascist anthem ‘Blood On The Streets’ and cor blimey guv’nor it is a cracker. I won’t stray in cockney rhyming slang I promise but this song is an almighty foot tapper and fist shaker. Slightly slower and a lot heavier than previous tracks but by God it’s a class song.

The EP ends with the song ‘Brawlers’ which is another great song and dedicated to the Bhoys football team Deportivo de La Coruña. So there you have it songs about brotherhood, football, drinking and fighting the good fight. All played in such a way that if you were a fan of Bastards On Parade you would love this too. Great songs with interesting and well thought out lyrics and, most importantly of all, extremely good and catchy songs!
(you can have a listen to the EP below but only two songs feature so to get the whole four tracks you will have to buy the vinyl single)
Get The EP
Download- FromTheBand (First two track)  For Vinyl- USA: CrowdControlMedia  Europe: Oi!-Punk  Spain/France: CROM Records
Contact Union Blood

2015 REVIEWS ROUND UP PART TWO- WILL TUN AND THE WASTERS, SKONTRA, LOUISE DISTRAS, HAPPY OL McWEASEL, THE CUNDEEZ, ANTO MORRA

This year has been quite brilliant for celtic-punk releases. In fact it has been far the best year since we began doing this here thingy. Good news surely but it also sadly means we didn’t get a chance to review everything we received or heard. So after catching up with our North American cousins (here) last time in Part 1 this time round we catch up with some a wee bit closer to home.

WILL TUN AND THE WASTERS- ‘The Anachronist’s Handbook’  (BUY)

Will Tun And The WastersThis album release came accompanied with the sad news that lead singer Will Tun was leaving the band. An amicable split and the rest of The Wasters have decided to carry on without him and so this is the swansong of Will Tun’s Wasters. Formed in 2010 by a gang of students based all over southern England Will Tun And The Wasters released a smattering of EP’s and singles and managed to get pretty popular so it was only a matter of time before an album was due. I suppose losing your lead singer would also also help lose a big slice of momentum as this album sneaked out rather than be unleashed and that was a mighty shame as this is a album deserving of being unleashed! Impossible to pigeonhole they were a hard working bunch ready to arrive from several starting points to play gigs at a drop of a hat. Though starting off more as a folk/celtic/ska-punk band they never stopped evolving and traces of hip-hop, Balkan and Latin found a home and nowhere more so than on The Anachronist’s Handbook. Twelve songs and over fifty minutes long the album takes you on a roller-coaster ride of musical styles but its the accordion and fiddle that stand out for me as well as Will’s great distinctive vocals. The energy is infectious and ‘Red & Black’ and ‘A Criminal’s Waltz’ could be The Pogues but whatever genre they turn their hand to they master it. The album ends with ‘Downtime’ another album highlight but this time a reggae/ska beat dominates. I really hope The Wasters can regroup and carry on (as they do intend to) as they would be sorely missed.

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SKONTRA- ‘Foguera’  (DONATE/FREE DOWNLOAD)

SkontraHere’s some authentic celtic-punk for you played by Skontra from the city of Gijón in the celtic region of Asturias currently under Spanish control. There is a school of thought amongst celtic scholars that to be a true authentic celtic nation you must have your own language but if to be truly celtic is based on culture then we must instead expand our thinking to include both Asturias and their neighbours Galicia as well. Celtic culture is alive and kicking and the people are especially proud of their celtic roots. Formed in 1991 Skontra this is their fourth full length album and the thirteen songs are mingled with elements of punk, hardcore, ska and reggae but always with a celtic base and with the traditional Asturian bagpipes leading the way. Seven of Foguera’s songs are in their native Asturian and the rest in Spanish so can’t tell you what the songs are about but its all dead catchy and if you’re looking for a comparison then this would please all you Real McKenzies fans but its very well played celtic-punk that ought to get you all moving your feet. Typical of Skontra is the fantastic title track which includes just about everything that makes them tick. They have made the album available for free for download so you’d be a mug not to get this fantastic album.

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LOUISE DISTRAS- ‘Dreams From The Factory Floor’  (BUY)

Louise DistrasMaybe not a celtic-punk album but Louise has popped up supporting both The Mahones and Bryan McPherson in the last year and her folky-punk solo set is right up our alley. She has been called the next Frank Turner but as I don’t think she went to the poshest most exclusive school in Britain I reckon we can ignore that. There’s no style over substance here, what you see and what you hear is what you get. ‘Dreams From The Factory Floor’ is twelve songs of over half an hour of folky punk that sometimes veer into almost poppy tunes like the great ‘Bullets’ but then the album goes in a direction that (very) early Bragg or Springsteen at his best would approve of. Plenty of harmonica (I love that) and great politics too. The politics of the working class and its struggles in every day. The spoken word title song is amazing and delivered in Louise’s broad Yorkshire accent sounds about as authentic as some others don’t. The use of both acoustic and electric guitar and the poetic lyrics and every song is both catchy and meaningful. No filler or fluff here and though not as punk rock as Louise is with her full band this album certainly shows an artist who is on her way to stardom.

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HAPPY OL’ McWEASEL- ‘Heard Ya Say!’  (BUY)

Happy Ol McWeaselFrom the first moment I heard this album I fell in love with Happy Ol’ McWeasel’s brand of joyous uplifting celtic punk rawk! Formed in 2007 in the Slovenian town of Maribor this is their second album and while on No Offence they relied maybe a little too much on traditional folk covers on this album they decided to take the more risky route and play only their own songs and I tells you it works… and it works well! All the usual instruments are here as well as accordion, fiddle, and banjo making as authentic a celtic sound as you are likely to hear in celtic-punk in 2015. Most important of all through the album’s twelve tracks you get the feeling that the band really love doing what they are doing. Their is a real sense of enjoyment running through this album and though you could bracket it with Flogging Molly style celtic punk it certainly ploughs its own trough too though it certainly could compare with bands like Rancid as well. Well played instruments, clear vocals and these fun-loving tunes are a definite hit. Its criminal that bands like Happy Ol’ McWeasel don’t get the applause they deserve but they are definitely one of the scenes best bands. They have given us an album that doesn’t just pump out standard celtic-punk rock but something with a whole lot more substance. One of the best productions on a album I have heard helps a lot but this innovative band will go far I am sure.

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THE CUNDEEZ- ‘Sehturday Night Weaver’  (BUY)

The CundeezIf their was a prize for best pun in a album title then Dundee band The Cundeez would walk it. Do you get it? Anyway this is their third album and with each one the band have got more polished and accomplished. Saying that it’s still ramshackle punk rock in all its glory. The lyrics are mostly either political or a bit daft and shouted in a raw Dundee dialect and combined with the punching guitars, pounding drums and occasional bagpipe The Cundeez certainly offer something well different to yer usual punk rock fare. The opening song is pure bagpipes and well played they are too but with the next song ‘Scaffie Radio’ the album steers away from celtic-punk into more standard (but still very good) punk. Elements of ska too especially on the brilliant ‘Rooota’ The pipes return occasionally and the album ends with a cover of ‘Teenage Kicks’ where the pipes return again to great effect. The rest of the album rocks by and can’t wait to catch them live from what I have heard they put on a great show.

The Cundeez unashamedly Dundonian working class band promotin the culture an havin a laugh!

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ANTO MORRA- ‘Patriotism Is Not Enough’ EP  (BUY)

Anto MorraNow this EP from London Celtic Punks favourite Anto Morra sticks out like the proverbial sore thumb here. I can say that freely as it was Anto himself who said it first! Those coming along to this EP expecting more of the same as Anto’s previous releases will get a shock as what you get here is hardcore ‘finger in the ear’ folk music that brings back reminiscences of people like Ewan MacColl and Pete Seeger. Famed for his wordplay and the way he somehow manages to inject the spirit of punk  rock into his London Irish acoustic folk Anto has come up here with something very novel and you can listen to the whole EP below on the Bandcamp player first before you buy. Again the amazing fellow London Irishman and artist Brian Whelan has provided the artwork and the whole EP is a tribute to Edith Cavell. Edith was a nurse and is celebrated for saving the lives of soldiers from both sides during the First World War. She aided some 200 Allied soldiers to escape from German occupied Belguim and it was for this that she was arrested and accused of treason. Edith was found guilty and sentenced to death and despite international calls for mercy, she was executed by firing squad with her execution receiving worldwide condemnation. She is well known for her statement that “patriotism is not enough” and it was her strong Anglican beliefs that compelled her to help all those who needed it. She was quoted as saying, “I can’t stop while there are lives to be saved”. Edith, who was 49 at the time of her execution, was already notable as a pioneer of modern nursing in Belgium and this EP tells of her glorious life. Five tracks of Anto recorded in a church in Norfolk last Summer including ‘Edith Louise Cavell’ which was performed and broadcast live at the Edith Cavell’s centenary memorial service on BBC Radio 4. So a lot different to what Anto has previously done and I doubt we’ll get to hear any of these songs at a London Celtic Punks gig but full marks for producing this beautiful tribute to Edith and I do hope you will give it a chance.

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So ends Part 2 and again we’re sorry we weren’t able to give each album the full-on London Celtic Punks treatment but it was just not possible with work and family commitments. Soooo only one more part to come and in Part 3 we will checking out some cracking releases from across the other side of the world. Yes from Japan, China and Australia. If you don’t want to miss any of our posts then you can follow us by simply filling in your e-mail address in the box that is either below or to the left depending how you are viewing and you will receive every post to your in-box.

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