(You can sample the whole of The Lucky Trolls EP below on the Bandcamp player)
Category Archives: EP Review
Italian Celtic/Irish Rockers The Rumpled follow up last years debut album with a digital only 5-track EP. Five different stories about love.
After last weeks review of The Clan’s new 4-track EP, Quattro Giorni Fuori Porta, it’s time for another Italian Celtic-Punk to be featured and another EP as well. The Rumpled haven’t been around as long as The Clan and are in fact one of the newest of the bunch of bands that we consider make up the Italian Celtic-punk scene.
The band were formed in 2011 in the northern Italian city of Trento and began with the name Seven Deadly Folk but as is often the way with bands with so many members it’s hard to keep everyone together and with the coming and going of new and old members the band decided in 2014 to change their name to The Rumpled. Last year saw the release of their debut album Ashes & Wishes for which they also took on a mammoth tour of home that saw them play every corner of Italy. The album was a surefire hit among the Celtic-Punk community and saw the band placed in all the various Best Of’s the scenes media had to offer. In the London Celtic Punks Top Thirty of 2018 they managed a very respectable #14. Not bad at all for a debut album.
In common with bands like The Clan and Uncle Bard And The Dirty Bastards The Rumpled embrace a certain kind of Celtic-Punk sound. It’s neither the Dropkicks or the Murphys but a Celtic-Punk that is very much focused on Irish traditional music. That may sound strange as you may think that is what all Celtic-Punk is but it is in fact quite rare. Irish folk music and Irish traditional music are different things and when Punk is added to it it can sound very different.
Is love an ideal? Is it love we feel for some friends? Can love be also sad or even frightening? Can love become an addiction, a source of pain or even violence? All is answered on this EP titled as a tribute to the legendary Grace O’Malley but more on her in a moment as the disc kicks off with the raging ‘Song Of Ill Repute’, A swift accordion and fiddle led whirling dervish of a song that you can imagine couples swirling each other round a dance floor. The Irish sound is paramount here but with both feet still in Celtic-Punk. It’s kind of untraditional traditional music if you will! This is swiftly followed by a extended version of the title track ‘Grace O’Malley’. Now Grace has become quite famous in the last few years. She was born in Ireland in around 1530 and was a fearless leader over land and by sea, politician and tactician, a rebel, pirate and matriarch, and the ’most notorious woman in all the coasts of Ireland’. Although she was always famous as The Pirate Queen in Ireland and among Irish communities, notorious for their long memories ( I remember being told bed-time stories about her taking on the British Empire’s fleets as a small child) and glee at being able to rely a story in which the Irish didn’t lose to the English for a change! Her life is far too complicated to take up in a review of a single song so take the time to read up on her fascinating and inspiring story. Anyhow back to The Rumpled and the song ‘Grace O’Malley’. The song has racked up an incredible raked more than 50,000 streams in less than a month on Spotify and has been chosen for two of the most important playlists curated by the platform (New Punk Tracks & Celtic Punk).
Great lyrics, with thanks for assistance from Stephen Trollip, and Marco’s raspy tuneful voice telling the tale in English , not that that matters on first listen you’d never be able to tell his first language wasn’t English. Next up is another song that has set the internet alight and on ‘Fearless And Brave’ you may recognise the voice that is accompanying Marco and yes its the fearless Paddy O’Reilly from awesome Celtic-Punk band Paddy And The Rats. A utterly fantastic song with Paddy and Marco sharing vocals to great effect while the Celtic-Punk crosses into Ska but by hell it certainly doesn’t get much more catchy that this I tell you. The story is again dedicated to Grace O’Malley and steams along at a healthy pace that would be totally accessible to both Folk and Punk fans. On ‘Feelin’ Fine’ the song keeps up the same pace and has a ‘piratey’ feel to it with the heavy sound of the accordion while the final track ‘The Maiden’ brings down the curtain on 15-minutes of proper brilliant Celtic-Punk that will only go to further The Rumpled’s reputation.
(the full 5-track ‘Grace O’Malley’ EP by The Rumpled)
The album has been produced by Gianluca Amendolara of Black Dingo Productions (who look after any Celtic-Punk band who hits Italy through being a independent record label, booking gigs and general management) who started his many appearances on these pages as drummer with The Clan before setting sail to join Aussie bhoys The Rumjacks. He has done an incredible job here and a special mention also for our Frankie out of The Rumjacks who has taken The Rumpled under his wing and assisted them throughout their career, who appears here as ‘vocal coaching and supervisor’ which must be a first for a Glaswegian! To celebrate the release of the EP The Rumpled have set sail on another massive tour that will take in Italy, Switzerland and France and will I am sure gain them legions of new fans.
(have a listen to their brilliant debut album below on the Soundcloud player)
Another release from one of the most productive and popular bands in Celtic-Punk. The Clan from Italy balance high tempo folk and country alongside Celtic-Punk to make one of the best records of the year so far.
It has been a funny week in the world of Celtic-Punk! Fresh from catching the superb Dropkick Murphys live in London last Friday two EP’s land on our doorstep on the same morning from very well respected Italian Celtic-Punk bands. The first was from this band, The Clan. One of the first bands heard and a band that has featured several times on these pages with previous album reviews. The second was a relatively new band The Rumpled who arrived on the scene properly in 2014 but it was with last years highly rated Ashes & Wishes album featuring guest vocals from The Rumjacks Frankie McLaughlin.
But more on The Rumpled later in the week for now we have The Clan. Probably the better known of the Italian bands in the scene. Along with bands like The Clan and The Rumpled, Modena City Ramblers, Kitchen Implosion, Dirty Artichokes and Uncle Bard And The Dirty Bastards all the Italian bands share a deep love for Ireland and it’s culture and musical traditions. If Celtic-Punk was about taking the folk tradition and the punk tradition , moulding them together but still staying true to those traditions then it is the Italians who do the job best. There is a sort of generic Celtic music that incorporates music from all the Celtic nations and though instantly recognisable as Celtic-Punk it doesn’t belong to one place in particular. The Italian bands are different and has produced a truly unique style of Irish music. The Clan hail from the small town of Muggiò in Lombardy which is in the north of Italy and have been together since 2013. With a bunch of fine albums behind them, three in five years, The Clan in 2014, All In The Name Of Folk in 2016 and last years Here To Stay, here on their new EP they have carried on their progression and taken a new direction to forsake English and decided to record the EP’s four songs in their native language. It’s understandable that bands think they need to sing in English, with the vast majority of Celtic-Punks fanbase in English speaking countries, but we have long been supporters of native languages so sing on Bhoys. We’ll still get it you know.
The title of the EP is Quattro Giorni Fuori Porta which translated into English means Four Days Out Of Door and though it only has four songs they are sung and played with the same passion that The Clan are renowned for. To this par of big Irish ears the words, sung by guitarist/mandolin player Angelo, sound great. Italian is famous for being a beautiful language and it fits the music here perfectly. The music itself flits from Celtic to upbeat Country and Folk and sounds jolly and fun though the subjects contained in the songs are not always! The EP begins with ‘Il Giorno Più Freddo Dell’anno’ (The Coldest Day Of The Year’) which is a song about animal-rights, a subject The Clan have visited before and a cause close to their hearts. The longest song here at over four minutes its sound leans heavily on Francesco’s fiddle and is against hunting as it tells of a day spent with a mother and her puppies out in the wild. The sound sits fairly perfectly between Country and Celtic but as with The Clan they don’t make music to stand still to! They follow this up with ‘Il Giorno Con Te’ (‘The Day With You’) and the bands sound is perfect with Francisco’s fiddle again leading but venturing from manic to melancholy and while it is annoying not to know what the words are about this is only because The Clan have nailed it on their lyrics in the past and I have always enjoyed reading them. Still it’s a small price to pay to hear the songs sung as they should be. ‘Il Giorno Prima Di Morire’ (‘The Day Before Dying’) keeps the tempo right up and is a hymn to freedom. The time we have here on earth is fleeting and we must each make the most of all we have. Catchy, fast and passionate it’s another corker and leads us nicely onto the final track ‘Il Giorno Migliore’ (‘The Best Day’) which, for me, is the standout track here with its upbeat sound that would move even the shyest mans feet!
The Clan have announced their may well be an English version of this EP but for now this is to show their appreciation to their Italian fan base and why not? The balance they have between genres is quite the feat and yet they still remain at heart a Celtic-Punk band more in the acoustic tradition say of Flogging Molly but with a sound all of their own making. The Clan have carved out quite the movement behind them thanks to intelligent lyrics, well made videos, respect for folk tradition and the love of a bloody good time! In common with those previous releases it’s been excellently produced and the whole band shine through. This is a great EP and though part of me is looking forward to hearing the English versions another part wants to leave it like this.
There’s an interview with The Clan here at Traks magazine where you can play the whole EP. I couldn’t work out how to embed the EP from Spotify! Remember to translate from Italian though!!
The debut release from The Placks based in the Scottish Highlands and Islands. World champion Pipers and Punk-Rock legends combine to play a concoction of Celtic infused Punk-Rock and Trad-Folk, but with melody, mirth and a message!
One thing that is always levelled at the Celtic-Punk scene is that it is often inauthentic. There are two kinds of people who make this allegation usually. One is the folk music
snobs purists who cannot stand to see their music ‘fiddled’ about with and updated. These people are usually happy for ‘folk’ music to remain isolated from the public within their own ghettos where they can remain ‘big fishes in little ponds’. The other kind is those that quite simply do not understand the Celtic diaspora. Many in Scotland and Ireland consider the children of those forced into exile as little more than a joke. I think this is mainly because we share the values and culture of those original exiled people and in modern day Ireland and Scotland this is seen as old fashioned and outdated. Where the children of Ireland may listen to the latest American ‘Grime’ artist those same children if born in Milwaukee or London or Memphis or Brisbane could be learning the traditional folk music of their ancestors or, even better, playing it. Celtic-Punk is a direct link for many of us to what we consider as ‘Home’ but it doesn’t worry me at all that folk back ‘home’ don’t get it. After all it was the same children of the Celtic diaspora at the forefront of the Punk revolution in the late 70’s.
Even so it is always a blessing to discover a Celtic-Punk band from one of the various Celtic nations. From Ramoneurs De Menhirs in Brittany, Ireland’s Blood Or Whiskey, from Wales Anhrefn, in Galicia the Bastards On Parade and Falperrys. All bands that have embraced their local languages and cultures and have, sometimes against the will of many of those
snobs purists, dragged it kicking and screaming into a new era. In Scotland that is exactly what Oi Polloi have done with the Scottish language. It is undeniable that in the Celtic nations our languages are in desperate trouble. The tidal wave of globalisation threatens the Celtic nations and the possible damage could be greater than the British (and French) ever did to them. So it makes no sense for the Scottish language community to turn its back on a band that is helping promote the Scots language in a style never before attempted. A band that plays all over the world and sings and releases records in Scottish that is basically shunned by the people who are supposedly in place to help save it. Still they are getting through. From packed gigs in the Highlands of Scotland to having one of the best selling Scots language records of all time maybe the time has come for the Scottish nation to embrace Celtic-Punk and The Placks could be the band to make them do it!
For Oi Polloi it is uncompromising anti-fascist political hardcore-punk that gets the message across but for the The Placks it’s a dynamite mixture of Celtic infused melodic punk rock and folk music. The bands ranks include, alongside guitar, accordion and fiddle, Fraser and Black Jack Rees, two former world champion pipe band members in their ranks as well as vocalist Iain who spent his youth in various punk bands that both helped shape punk rock (Intensive Care) and toured worldwide and were very successful (Beerzone) so you know these guys are a perfect example of the overlap between traditional music and punk. This new EP came about as The Placks were offered a support slot on the recent Flogging Molly European tour. The original idea being to release a four track CD to sell at the concert. Sadly that gig had to be cancelled due to the recent political upheaval over in Paris so the Bhoys decided that the best thing to do would be to release them digitally instead and get the band’s name out there. It’s certainly done them no harm and offers have been flying in from all over the world for The Placks to play and record. The band’s name comes from the Gaelic Scots word Plack which was an ancient Scottish coin worth four Scottish pennies.
So the question is all this is well and good but are The Placks really deserving of the accolade ‘The future of Celtic-Punk comes from Scotland’ as our comrades over at the Celtic Folk Punk site suggest? Well the answer my friends, on the evidence of these four songs, is POSSIBLY! All the elements that float my boat are here. A pride in their country and it’s value and culture that is not hampered by prejudice and bigotry in any way. Joyous uplifting music that sweeps you away but is just ramshackle enough without being too polished. A style of music that would be at home in either the pub or the stadium. The opening track ‘Stealing Bread’ reminds me of 80’s Highlands punk rockers Toxic Ephex with the simple story of of someone being deported for stealing bread. Not much lyrically here to get your tongue round but its a great opening track before the blistering pro-independence ‘Nation In Chains’ erupts and fills your lugholes. Whilst the band are strong believers, as we are too, in Scottish freedom they make it clear they are not anti-English in any way and that it was/is the English ruling classes to blame for the crimes committed against Scotland and the Celtic nations and further afield. Next up is ‘The Mountain Men’ and definitely a trad air to this. Fiddle and accordion lead the way until the music speeds up and certainly gets the blood racing.
Rebellious Sons ends with my favourite track here ‘Let’s Pretend’ and its funky acoustic base tells of the wish for a perfect world away from the reality of what is really happening. Great meaningful lyrics with a novel way of getting them across… and a great tune as well. It bodes well for this great bands next release which is an album (out soon I am promised!). It’s a fantastic four minute history lesson through Scotland’s tragic history away from tartan trousers and shortbread and as I say promises much more of the same I hope. It can be guaranteed that we will be hearing much more from this great band and the chances are that if you live in the States or Canada you may well have the pleasure of seeing them well before me!!
Read a interview with The Placks Clan Chief MacPlack here from Transceltic from last month.
Well I never it’s actually an Irish band from Ireland! The Led Farmers hail from Dublin and their brand new EP features seven absolute Irish folk classics done of course in that special Led Farmers way!
The Led Farmers are four Dublin fella’s who love what they do, playing upbeat Irish folk music and more. Boasting a two-time All Ireland music champion and members who have studied music at University level. Having performed throughout Europe and the U.S. they began their career in 2014 playing beloved Irish folk classics but soon after began to concentrate on writing their own material that may nod to the past but also moves folk along to the present and even the future. They take their name from a quote by Robert Downey Jr.’s character in the 2008 film Tropic Thunder. Recently having toured Italiy they went down a storm with their acoustic traditional folk played with passion and energy. They’ll not be a song here new to even the casual folk fan but these songs have become the mainstay of most pub singers for a very good reason. Speaking for myself I heard these songs at my Mammy’s knee and were among the first songs I ever knew the words to. Each song evokes a memory and experience I look back with fondness and I’m sure most people from the Irish diaspora can relate to that. Irish Folk Out Straight has been mixed and mastered by Eoin Withfield and is seven tracks of classic Irish folk done in their own energetic and fun Led Farmers style.
Now the songs here were originally and, in most cases, made famous by one or two bands but in the case of ‘Whiskey In The Jar’ it’s a song that stepped out of folk music and actually became better known when recorded by Irish rock band Thin Lizzy. Anyone who hasn’t seen the TV recording of them miming away to it from 1973 had better get on it now (here) for it’s never been bettered. Recorded, of course, by both The Dubliners and The Pogues (they even released a version of it together!) it’s given a new lease of life here as The Led Farmers run through it with a jolly and energetic tune bordering on upbeat country and bluegrass at times with Brendan’s guitar aflame!
“With me ring dum a doodle um dah
Whack for the daddy o
Whack for the daddy o
Theres whiskey in the jar”
The song dates from the 17th century though no one is actually sure when and who wrote it but a cracking way to kick things. A very popular song which folk music historian Alan Lomax in his book The Folk Songs of North America, suggests was because
“The folk of seventeenth century Ireland (and Scotland) liked and admired their local highwaymen where the gentlemen of the roads robbed English landlords, they were regarded as national patriots.”
Now the next song has been recorded by just about every Celtic-Punk band in existence and if you haven’t heard it by at least a dozen bands then you need to seriously sort out your music collection! ‘I’ll Tell Me Ma’ is without doubt the most popular trad song in Celtic-Punk and with good reason too. It’s a beauty of a song that is perfect for speeding up and getting a crowd going as well as getting a good auld singsong on the go as well. Here it’s mucked about (in a good way) as the boys have fun with it diving in and out of several genres, including reggae, as its ploughed through in just over a couple of minutes. Originally a a children’s skipping song, it’s another song whose origins are a bit obscure but versions were found in parts of northern England and Ireland in the 19th century. Following now is ‘The Rattlin’ Bog’ and The Led Farmers demonstrate they can play a mean bit of trad Irish folk as well as a good party song. No one knows the exact origins of the song except that its about a bog on the grounds of Collon Monastery in county Louth. Traditionally the song gets faster and faster as the song comes to the end and audience participation is a must here with its easy to remember chorus. As with most folk songs it’s been passed on orally through generations and hence many different versions exist out there but the version as sung by The Dubliners seems to have become the standard.
(The first single from the EP and its great video as filmed by Ger O Donnell in the beautiful fields of county Clare. )
This time its given a bit more time to breathe and at over four minutes is the longest track here and with its’s trad folk flourishes it’s the standout song here and well deserving of the hilarious video that accompanies it.
“And in that bog there was a tree, a rare tree, a rattlin’ tree
With the tree in the bog
And the bog down in the valley-o.”
We get another popular Celtic-Punk cover next with ‘Star Of The County Down’ and for once we know it’s date of birth as it was written by Cathal McGarvey who passed away in 1927. The song is set near Banbridge in county Down and The Led Farmers take a rest and play it nice and slow. It’s beautifully played and the addition of some wonderful uilleann pipes from Roman Haller really lifts the song. Another Pogues/Dubs collaboration follows with ‘Rare Old Mountain Dew’ and they stick fairly close to the standard with Brendan’s banjo leading the show and the gang getting in on the “hi di-diddly-idle-um, diddly-doodle-idle-um, diddly-doo-ri-diddlum-deh” chorus! Written in 1882 the song celebrates poitin, the name for illegal Irish alcohol brewed from, what else but, the humble potato and this is what gets my goat (or in English- on my nerves) when people denounce Celtic-Punk with being obsessed with songs about alcohol when here you have a song that has been belted out for 130+ years doing just that. We shipping up towards the end and appropriately its the sea shanty ‘Leaving Of Liverpool’. Dating from the 1800’s it tells of a prospective Gold miner setting sail for California who pledges to his beloved “so fare thee well my own true love; when I return united we shall be”. Whether your man ever did is debatable. Certainly many didn’t giving this song perhaps a bitter sweet edge to its jocularity. So on a mini-album of seven songs the first six have been much loved and much played classic Irish folk tunes so when I saw ‘Drunken Sailor Odyessy’ was bringing down the curtain I expected the bog standard version but The Led Farmers turn the song on its head and deliver a song pitched somewhere between The Beach Boys and some white-bread Hip-Hop! Great fun as Brendan gives it a go rapping as Ross gets a chance to shine on the bass rumbling away while the band chip in and the whole thing is bloody marvellous and worth the price of the EP alone!
So absolutely nothing original here (except the rap version of ‘Drunken Sailor’ I suppose) but that’s hardly the point of a record like this. Maybe it’s to keep their fans happy in between ‘proper’ releases or maybe they know it’s guaranteed press coverage but whats in it for the casual fan or those like me new to the band. Well hard to say exactly but these songs are extremely well played and the fun is utterly infectious and it’s brilliant to hear a band having such great fun playing songs that are sometimes over a couple of hundred years old. The Led Farmers have a back catalogue of great songs of their own so relish the chance to freshen up these classics and it’s worked out well for them.
Buy Irish Folk Out Straight
Contact The Led Farmers
(in concerto al Bundan Celtic Festival in Stellata di Bondeno (FE).)
Read a great interview with vocalist and banjo maestro Brendan on the 67 Music site here.
I asked Brendan O’Prey, main vocalist and guitarist in the Kingston-on-Thames based band, why they had decided to go for an EP release after so long, instead of a full album.
“I just thought it was time to get something out!”, replied Brendan, “when we started recording the EP it had been five years since we released WYMN. We had to get something out there, but didn’t have the money or material to release a new album. We’re not prolific songwriters and we didn’t have a lot of time in the studio”.
“that’s the next step. I’ve never sat down to write an album as one piece of work, but I’d like to. Life gets in the way though, none of us do this for a living and we are always so busy gigging.”
Speaking of which, when can we get our next Lagan fix?
“We’re gonna try to hit the festival circuit a bit harder this year, hopefully get out to Europe a bit more. Our first gig of 2019 is at The Fighting Cocks in Kingston on 2nd February. It’s a free show and it’s always a good time down there. so ‘mon down and have a sing-song with us.”
They may have the strangest name in Celtic-Punk but Dutch band The Royal Spuds can also play a mean tune as evidenced on their fourth studio production, a brand new EP, titled Unforgotten Lore.
Wherever these guys got their name from I do not know but since their formation back in 2012 The royal Spuds have been pushing their version of Spud-Rock to the masses. It is certainly true that growing up in a Irish household you do come to the conclusion that the potato is king! Both their debut album Wanted Drunk and Alive and It’s A Feckin’ Freakshow were voted into the Top 10 and 20 over at Irish Pub Radio as well as reaching the heights in the Celtic-Folk-Punk site lists as well.
(have a listen to It’s A Feckin’ Freakshow on the Bandcamp player below)
The boys have toured the length and breadth of the Netherlands and played most of the alternative festivals the country has to offer. They have even managed a tour of Ireland in 2015 and in 2017 ventured further afield across Europe and as they say
“just like any salty spud, once you have had a taste of their powerful music, you will be left craving for more”.
The Royal Spuds are of course available for gigs, festivals and concerts in the Netherlands and abroad.
Coming out in the gap between Christmas Day and New Years Day Forgotten Lore may not have been blessed the most perfect release date but they celebrated it well with a bumper sell-out gig in their home town. The EP begins with ‘The Arrival’ one of several songs here penned by lead singer Maarten. It is cut from the same cloth as the recent upsurge in acapello singing of songs like ‘Old Maui’. The sound of chains and the ocean with the boys belting out the chorus of “Unforgotten Lore”. The song comes to an abrupt end and we are straight into ‘I’m Too Old For This’ and some fast paced melodic Celtic-Punk. The bends in Europe certainly love their flute and though I was late to realise that I actually liked it in Celtic-Punk I am most definitely a convert to it now and Mickey’s playing is superb. Chuck in a guitar solo as well as accordion, banjo and mandolin and we off to an absolute flyer. Needless to say Maarten’s vocals are as clear as the proverbial bell and his English as good (indeed better!) as any English speaking band you’ll find. Next up is the EP’s first cover song. The band have chosen well with ‘Johnny Jump Up’, a lively energetic trad Irish folk song that may surprise some in that it only dates from the 70’s. The song tells of an Cork man who gets in a whole load of trouble thanks to drinking too much extra-extra-strong cider. It’s a popular song on the circuit and deservedly so and The Royal Spuds do it justice.
“So if ever you go down to Cork by the sea
Stay out of the ale house and take it from me
If you want to stay sane don’t you dare take a sup
Of that devil drink cider called Johnny Jump Up”
Its played fast but with a style that would impress both folkies and punkers. ‘The Man’ is one of my favourites here and exposes in me what it is so good about Celtic-Punk generally. I find myself drawn to both the folky ballads and fast punk songs and ‘The Man’ is the closest they come to a ballad here, though not really that close really. Catchy and based somewhat, but no means exclusively, on the auld Pogues number ‘I’m A Man You Don’t Meet Everyday’ it’s a great wee number with all the Celtic instruments coming together beautifully with the vocal chords of the band getting a nice work out with the ‘OOOOOhhhhh’ chorus. The song speeds up at the end with a really nice Irish folk flourish showing these guys know wht they about. A more traditional Celtic-Punker follows with ‘Alley In Killarney’ a drinking song about getting lashed in Kerry. Mickey is back with accordion this time, the talented bastard!, and Maarten gives it a bit extra with the vocals. A cracker of a tune.
Too often Celtic-Punk is though to be only about the music of Irealnd and Scotland but their are seven Celtic nations and The Royal Spuds visit there next with the ‘Tri Martolod’. A traditional Breton song dated back to the 1800’s in Lower Brittany. Made famous by it’s recording by the famous Breton harpist Alan Stivell in the 1970’s. The Royal Spuds version is utterly fantastic and the highlight of the album for me. At a whopping six and a half minutes the song is given time to develop and not once do you start to tire of it. Beginning with a 70’s Folk-Rock vibe the song twists and turns even with time to inject a touch of ska into it. All the songs on Unforgotten Lore are sung in perfect in English and while we don’t mind that it’s not something that matters so was nice to hear the story of three young sailors who leave Brittany for Newfoundland and find love sung in it’s absolutely perfect native Breton! The EP ends with the jolly ‘The Last Wild Haggis’ and they go out on another high with a song about that elusive Scots creature the haggis. While the song almost punks out the band rein it in a bit stopping just short but another cracking song and given over five minutes to evolve.
Their has always been a fantastic scene in the Netherlands and while the bands there do share some similarities they are all different enough to survive independently. The Royal Spuds are on the folkier side of things while still having more than enough punk to keep us all happy. An excellent EP that impressed me no end and to have a song in a Celtic language has even impressed me that bit more!
Start Your Engines EP (2012) * Wanted: Drunk ‘n’ Alive (2013) * It’s a Feckin’ Freakshow (2015)
Buy Unforgotten Lore
Download (-Apple/Spotify/Google/Deezer etc.,) For physical CD’s contact the band
Contact The Royal Spuds
With only a handful of last year’s releases to go before we unveil our Best Of lists it dawned on our man in Cavan, Shane, we could present two Aussie bands for the price of one so here are two of the best Celtic-Punk bands rocking it on the underside of the world. Handsome Young Strangers and The Dangerous Folk may play music from the same genre but together they also show the great diversity in the scene.
Handsome Young Strangers. ‘The Bleeding Bridge’ EP.
Sydney based Handsome Young Strangers have just released The Bleeding Bridge mini album which is the ninth release from the band in their almost 15 years of existence. The Sydney bush / folk outfit describe their style of music as Bushranger core. The mini album is release on the Tasmanian Label ‘Folk ‘Til Ya Punk’ who have also signed bands such as The Ramshackle Army, Fox N Firkin and The Dead Maggies. If, like me, you haven’t listened to HYS much before now this is an ideal introduction. I’m not quite sure how or why I haven’t been listening to them more regularly but I will definitely be making up for that. The new mini album contains three new original tracks ‘Coming Home’, ‘The Bleeding Bridge’ and ‘The Rose Hill Packet’. It also features a brilliant version of the Aussie traditional tune ‘Limejuice Tub’ and a cover of the Triffid’s ‘Wide Open Road’. My personal favourite on the mini album is ‘Limejuice Tub’ which have a very distinctive Aussie Folk Punk sound. The band have been touring Australia extensively from coast to coast over the years covering everything from small clubs to the larger festivals. HYS is made up of 6 core members and features regular guests. They have recently added Edward Lawlor (Medusas Wake (Mandolin & Vocals)) to their line up. Special guests on the new release include Jason Walker (Pedal Steel), Ben Pattinson (Squeeze Box), Michael Carpenter (Piano) and Luke Moller (Fiddle). HYS are planning to release a full new album in 2019. If its anywhere nearly as good as ‘The Bleeding Bridge’ then we are in for another treat.
Buy The Bleeding Bridge- iTunes
The Dangerous Folk. One EP.
As 2018 drew to a conclusion we received the debut EP from The Dangerous Folk all the way from Brisbane, Australia. Prior to this we had only heard snippets from the band on social media. In 2018 they released a video for the song ‘Shipping it up to Brisbane’ which I suppose drew our attention for obvious reasons. The band has been going for about two years now and their music has been described as Guinness fuelled Celtic Punk. The style of music is definitely more early days Dropkick Murphys than Flogging Molly and is played at a high intensity and tempo. The ep titled ‘One’ features a total of 5 tunes opening with ‘Shipping It Up to Brisbane’. The other songs on the ep are: • ‘Sayeno’ • ‘Inch’ • ‘The Brigade’ • ‘Spike it up’ You’re probably sick of listening to ramble on about Celtic Punk bands from Australia but we can’t help it. They just keep emerging and each one is as good as the last (if not better). The Dangerous Folk are another shining example of what the Aussies have to offer the scene and I have no doubt its not the last we will be hearing from them. If you’re lucky enough to be over that part of the world anytime soon be sure to look them. If not, then get your hands on a copy of the ep ‘One’ and give it a spin. Either way I can safely say you won’t be disappointed.
Download One- FromTheBand (tracks 1 Aussie $ each)
2018 REVIEW ROUND-UP’S. PART ONE: THE CELTIC NATIONS- CRAIC’n’ROLL, DAMIEN DEMPSEY, PIRATE COPY, FALPERRYS
Every year we are completely shocked by the sheer number of Celtic-Punk releases we receive here at 30492- LONDON CELTIC PUNKS. As happy as this makes us it unfortunately means that we cannot keep up with everything out there. Sometimes we will receive music that we simply don’t have time to give a review to and others just simply get lost in the ether so every year we have a week at the end of the year to catch up with the ones we missed first time round. We prefer to do detailed reviews so apologies to the band’s concerned that we had to squeeze them in this way. Each and every band featured here are worthy of your time so please be sure to check them out. To start with in Part One we will be concentrating on releases from the Celtic nations. In a few days time we will head to Europe and then we will focus on the America’s so please be sure to check back.
CRAIC’n’ROLL- ‘The Early House’ (BUY)
The older I get the more and more I get back into Rockabilly I have to tell you. Having grown up listening to Elvis and The Dubliners at my Mammy’s knee this hasn’t been too much of a shock to anyone in my family as they are all rock’n’rollers. My Mammy would definitly approve of Craic’n’Roll. Basically a duo of fantastic Irish singer Donna Dunne and London based psychobilly legend Phil Doyle once of legendary Dublin psychos the Klingonz. The Early House is ten songs of mostly gentle rockin’ acoustic rock’n’roll with the odd flash of something a bit harder. Donna’s voice is utterly fantastic and although she is probably sick and tired of being compared to Imelda May its a very favourable comparison I think. The album is a lovely mix of a few well chosen covers and their own compositions of which the Guinness tinged title track about a pub called The Early House, the 50’s style ‘Treat Me Nice’ and the bonus track ‘Arizona Sky’ with full band backing are the highlights.
Donna released one of my favourite albums of last year called Voodoo that I heartily recommend and still play all the time. She’s got one hell of a voice and it gets a good workout here. Donna seems to be always busy juggling several different projects at once and hopefully Craic’n’Roll won’t be put on a back burner and will be back again soon.
DAMIEN DEMPSEY- ‘Union’ (BUY)
Having already milked the Greatest Hits market a couple of Christmasses ago Damien Dempsey has released this unashamed Christmas cash-in album but unlike the sweet and sickly Christmas album’s that we’re use to this does have some redeeming features. Damo hails from the north of Dublin and is, I suppose, as famous for his affected vocals as any song he has written. A renowned singer-songwriter his last couple of albums have left me fairly cold bar one or two songs and here on his latest their are no new compositions just a selection of fourteen of his better known songs or ones he has performed and given a bit of spit’n’polish and recorded with some of the bigger names in the Irish and folk scenes. So we have Damo collaborating with the likes of John Grant on ‘Soulsun’, Kate Tempest on ‘A Child is An Open Book’, Imelda May on ‘Big Big Love’, and even rapper Maverick Sabre on ‘You’re Like the Water’. It’s all strong stuff and each collaboration is worthy of further experimentation as Damo continues his quest to wrap Irish folk around every kind of music possible though we still waiting on that Celtic-Punk number mate! The highlights for me are ‘Singing Bird’ with the legend that is Finbar Furey and as amazing a version of the rebel ballad ‘Kevin Barry’ with Damo accompanied by an understated Seamus Begley.
Back in the early days of his career the Dublin intelligensee scoffed at Damo and his mainly working class audience who not only got what he was singing about but also liked the idea of someone with their accent singing it. He’s become part of the furniture in Ireland now, reluctantly I would guess, but he’s still with the ability to turn a head and if you can release an album like this and have no one question your integrity then that definitly means something.
PIRATE COPY- ‘Swashbuckle And Swagger’ (BUY)
Proper authentic Celtic Celtic-Punk from the ancient kingdom of Kernow and the small fishing village of Portreath. Pirate Copy were formed in December, 2011 and have featured on these pages a couple of time before with a couple of EP previous releases but now is time for their debut album. Swashbuckle And Swagger is released on the appropriatly named Black Sail Records and is twelve songs of over forty minutes of high octane shouty punk rock about pirates. They may have no Celtic instruments in the band and Pirate Copy are most certainly a punk band but they make use of Celtic/Pirate tunes and arrangements and as it’s as catchy as anything you’ll hear with a mandolin I think its fair enough to grab them for our wee scene!
Several highlights here including the first single release from the album ‘Reckless Alice’ based on a true story about a drunken lass called Alice who after a night on the lash in Torquay, nicked a ferry, declared herself a pirate then crashed the ferry, trashing everything in sight, and got arrested. Hilarious! The rest of the album veers from songs based on stories from the rich history of the south-west coast of England steeped in smuggling, rebellion and general buccaneering to more modern day tracks like ‘Somalian Pirates Suck’ and ‘Kicked Out The Pub’ all done with tongue firmly in cheek and with bottles of Rum on standby. Vocalist Cap’n Kernow has a strong growl that fits the music superbly and the rest of the band chugg away to their hearts content and while some of the songs may go on a tad too long this is the kind of punk rock that come’s into it’s own live on stage which is where they shine. Feel good punk rock with a wide appeal and hopefully 2019 promises to be a special year for Pirate Copy which will see them come busting out of Kernow over the English border and with appearances at many a festival coming up be sure to keep an eye out for them on the circuit. A dirty dozen ditties that clocks in at forty-two minutes all marinated in rum and ready to pillage your eardrums!
Contact Pirate Copy- Facebook Bandcamp YouTube
FALPERRYS- ‘Nova Abordagem’ (BUY)
More traditional Celtic-Punk from a somewhat lesser known Celtic nation with the Falperrys second album Nova Abordagem. The Falperrys were formed in 2010 and hail from Vigo in seventh Celtic nation of Galicia. Released in June we only got a copy when one of the band sent us one just like the others here fully deserved a more detailed review but with time was against us. The albums title in English is New Approach but they sound just the old brilliant Falperrys to me! A seven piece fast as feck accordion led Celtic-Punk band. In fact it is the dual sound of Manolo’s accordion and Don Xosé’s thrashy guitar that gives Falperrys their sound. Thirteen tracks here packed with energy and all expertly played. Mostly Falpeerrys own composiotions but with a handful of covers like ‘Nove Crozes’ which is a cover of Irish folk legends ‘Go On Home British Soldiers’ while The Pogues ‘Streams of Whiskey’ and ‘The Irish Rover get a Galician make-over along with the famous instrumental ‘John Ryan’s Polka’. Well known musicians Rubén de Donramiro, Suso Soak, Sime Keltoi!, María de Gaioso, Kg o Boticario and María de Gaioso from the Galician folk and rock scene guest on this brilliant album.
Falperrys know their way round a cover but as is usual it is with their own material they are the strongest with opening track ‘O Meu Alento’, ‘Aboiado’ and ‘Taberneiro’ standing out but my absolute fave here is the album closer ‘Arousa’ which is just pure traditional folk heaven. The lads show they can play their instruments here and knock out one hell of a tune. We nearly brought them over to play in LOndon a few years ago with a friend of ours who was living in London but he returned home to Vigo and the plan never came to fruitition. It is said that Galicia and Ireland in particular have much in common with the weather and music being just two things and their is no mistaking the Galician love of Celtic music and culture.
Located Occupied in the green and lush north-west corner of Spain and faces out towards the Atlantic ocean it is also known as ‘the land of the 1000 rivers’. They have their own language which we are proud to say that the Falperrys are one of a small group of Celtic Celtic-Punk bands to use regularly. Celtic customs are embedded in Galician culture with the bagpipesthe national symbol of the country. Gaitas, as the pipes are called locally, rule Galician music and the city of Ourense alone has over 5,000 registered bagpipers. A fantastic album and I am sure they are a belting band to see live too. The album is available as a Pay Whatever You Want download which means the band would like you to have it for free if you don’t have much money but please leave enough for a Guinness or two if you do.
So ends the first part of our 2018 Round-Up’s and apologies to all the bands as each and every release deserved that full London Celtic Punks treatment. We have probably still missed some fantastic music so all the more reason to send us your releases to review. We are also always looking for people to join the reviews team so don’t be shy if you fancy giving it a go. And finally 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.
A Snake’s a Snake is the brand new EP from Dorset’s finest ramshackle Americana-Country-Folk-Punk band The Two Man Travelling Medicine Show released on Musical Bear Records.
The Two Man Travelling Medicine Show formed in 2016 and have rapidly become firm favourites on the south coast music festival scene in a short time. Described as ‘Heartfelt, Ramshackle Country Punk’ they have built up a good following and are becoming known for their riotous live shows. They released their debut album ‘Weeding Out The Wicked’ last year but as far as I know didn’t really escape their home base. This year they have released two EP’s ‘Float Your Boat’ and, this one, ‘A Snake’s A Snake’ and are aiming to begin 2019 with another. Things are definitly on the move for The Two Man Travelling Medicine Show so be sure to watch out for them next year.
The EP begins with the title track, ‘A Snakes A Snake’, and from the off it bounces along with a catchy air to it. It’s very much a product of the part of England they come from with an abundance of bands playing this kind of folky-catchy-country-punk. They are what I use to call a ‘Festival Band’ back in my youth. Dorset seems to churn out bands like this willy-nilly while the rest of the country barely manages a couple per town! I mean you count the number of bands in London on one hand. The song is pure great stuff. The kind of track that is guaranteed to get you up off your arse and bouncing around a field somewhere near the South-West coast. Influences galore mashed together and with a staggering eight members they sure cook up an interesting sound. Banjos, acoustic guitars, accordion and violin compete nicely for your attention while vocalist Mark explains his views on the deceitful world of the bastard and ethics.
‘Flood’ is up next and if I was to pigeonhole this band then perched somewhere between The Levellers and New Model Army would perhaps be it. Mark’s vocals are perfect and it’s great that he doesn’t ry too hard with them delivered in a completely natural way. The band have a bit more bite in this song and even an electric guitar can be heard though it’s not exactly thrashing! Still another great song that leads us into the gentle ballad ‘Sick And Tired’ where the band take it down a notch while fiddle player Alison Jay takes over on vocals to sing tenderly about the break-down of a relationship. A lovely song that shows the great diversity in this bands sound. Now this where most of the reviews Of A Snakes A Snake end but we were sent one with a bonus track, ‘Putting On A Show’. It’s another gentle rocker with Mark back on vocal duties and again its beautifully understated.
The Two Man Travelling Medicine Show show perfectly on this EP what they are all about. At times threatening to burst your eardrums in that way only an eight-piece acoustic Folk-Punk band can and at others so gentle and tender you shouldn’t really be listening to the same band but you know you are.
Buy A Snakes A Snakes
Contact the band via email@example.com or you can buy their debut album here
Contact The Two Man Travelling Medicine Show Facebook
Last In The Bar was released on 5th October 5 this year and was recorded, mixed and mastered by Matthias Reithofer at Far Beyond Recording studios. He has done a grand job as the EP is absolutely faultless. Musically It would appeal to fans of the Dropkick Murphys style of music from a decade ago with the mix of pipes and punk. The band have christened their style as ‘Highland Punk Rock’ and yeah that sounds about right! Now the interesting bit for you simply click on the link below and be directed to a free download of Last In The Bar. Yes, free!!! So don’t delay get to your lap-top and get downloading…
Download Last In The Bar
One of the biggest pullers on the London Irish scene Celtic-folkers The Craicheads are back with an 4-track EP the follow up to their debut album and a taster for their new studio album due next year!
There are two Irish communities living in London. The Irish and the London-Irish. The Craicheads are London-Irish through and through. A product of their environment on the working-class streets of London where the Irish ran everything. Nowadays London is a multicultural place where every nation in the world has rocked up to and the presence of the Irish in it has diminished in a couple of ways. For decades the public face of the Irish was the pub. Only a decade ago Irish pubs dominated the high streets of the capital but gentrification and changing demographics and the ever increasing need to build flats for young
yuppies professionals has seen 100’s and 100’s closed over the last few years. On top of that, the ageing population has sadly seen many of the Irish who arrived in the glory days of Irish emigration from the 50’s through to the 80’s either pass away or move back home in retirement. Nevertheless their is a rich vein of Irishness still alive and kicking in the capital and it wouldn’t be unusual to go to an Irish pub these days and find the Irish born well outnumbered by the Irish not born in Ireland!
Music has played an enormous part in this and yeah bands like The Pogues did truly represent us back in the day but more modern bands like The Bible Code Sundays continue the trend. All over London, and other parts of England, Wales and Scotland, the foreign born Irish celebrate their ancestors and their roots listening and singing along to fellow foreign born Irish bands and singers. Into this category we can add the wonderful Craicheads. Formed a decade ago the Bhoys are in constant demand playing in and around the capital and at functions and festivals throughout the UK and abroad. Performances on ITV’s This Morning, at Trafalgar Square for the 2016 St Patrick’s Day festivals, The Irish Post Awards and at The Rugby World Cup too, as well as a residency at one of London’s largest and most well known Irish bars, O’Neills in the west end. They have one release behind them, ‘Brewed In London’, which was basically an album of Irish folk and country tinged covers which was well played and enthusiastically received but it was the two original Craichead compositions on the album that stuck out for me. ‘Take Me Back To Harrow’ and ‘Sligo Shore’ showed exactly what they can do and I never stopped hinting to Mick the bands singer when I would see him that they ought to concentrate on some original material. Well I have gotten my wish!!
It’s a wee bit of a change of direction for them and I can honestly say its for the better. Watching them in O’Neills, as I have done countless times, you come away knowing a couple of things. 1) That you have had a bloody great time and 2) that these guys are wasted on the London pub scene! The songs here are still tinged with folk, country, blues and even good old fashioned rock’n’roll but there’s a bite to these songs that was missing before. Maybe its a bit of punk attitude but as a taster for the upcoming Craicheads second album this will certainly get the juices flowing.
Greetings From Another Land was recorded many miles from London at the Rockfield Studios in Monmouth, Cymru. The studio has in the past played host to such legends as Oasis, Joe Strummer, The Stone Rose’s and Queen. In fact it’s was here where Freddy Mercury wrote the epic song ‘Bohemian Rhapsody’! The EP kicks off with the rousing title-track ‘Greetings From Another Land’ where Mick’s voice sits snugly between fellow London-Irishmen Johnny Rotten and Shane MacGowan but still completely tuneful! The song takes the form of a message from one generation to the next about their experiences and the struggles they faced in emigrating to these shores.
“No Blacks, No Dogs, No Irish was the sign upon the wall, It’s hard now to believe it but it happened to us all”
Times were tough for those Paddies and Biddies we must never forget. The song itself takes in a ska/reggae beat, appropriately enough, alongside some fantastic fast trad Irish. The Irish lived side by side with the West Indian communities on arrival here in London’s poorest areas and many of their children still do.
A cracker of an opener with more than a hint of the Bible Code’s Celtic-Rock but lifted by the influences from around London. All the required instrumentation is here and played, as you’d expect, absolutely note perfect. They follow this up with ‘The Ballad Of John Joyce’, a song about vocalist Mick’s Grandad John Joyce from Connemara. Arriving in England from the Gaeltacht (where only Irish was spoken) with no English he got a job working down the coal mines in Wales, then to London and starting work and raising a family. It’s down to such legends in our lives that we are Irish. Here The Craicheads give it some Country’n’Irish with a snappy, catchy tune with Ben’s fantastic fiddle and tin-whistle moving it along nicely. It’s hard to imagine what he must have gone through to leave the green fields of home to go to work two miles underground. It literally must have seemed like another planet. On ‘Larry’s Song’ Mick tells the story of a man he worked with many moons ago. Like many of these long gone Irish over here, they all had a story to tell. A great hurler from Gort, Co Galway he helped the young Mick figure out what life was all about. His advice be sure to chase your dreams is truly good advice. The slowest song here though not quite a ballad but some lovely Irish folk played under Mick’s voice who proves he can still hit the notes when needed. A beautiful song with a strong and positive message. Class.
We’re rolling up to the end and the curtain comes down on Greetings From Another Land with ‘Leave Me Alone’ and The Craicheads go out in style with a knockabout Poguesy Celtic-Punk number. Telling the story of a man looking for a bit of peace and quiet away from it all down the boozer who won’t be left alone. Yeah there is still a trace of country still in there but its fast and furious and a great way to end things. Four new songs that are knocked out with power, passion and pride and it would be criminal if The Craicheads were confined to the pubs of London town. We will keep you posted as to when the full length album will be delivered but we must never forget that we built the roads, schools, hospitals (and staffed them too), tubes and plenty more besides in London and we have a not too shabby musical legacy to be proud of as well.
Buy The EP
Contact The Craicheads
Combining Gypsy rhythms and punk energy, ska grooves and folk storytelling, The Brandy Thieves have created a sound that is uniquely their own, a sound that has stolen the hearts of all of whom that have seen them perform. Stephen Francis Bourke was at the release party at the Soundhouse Leicester for London Celtic Punks.
Already renowned as one of the Midland’s best live acts, The Brandy Thieves gypsy rhythms and punk energy, ska grooves and folk storytelling create a sound that is uniquely their own. ‘Raucous’ ‘Infectious’ ‘Enthralling’ ‘Captivating’ and ‘Sweaty’ are just a few of the words that have been used to describe the alcohol stealing gypsy punks. Now they have taken a new direction, embracing grass roots Americana in the form of new EP ‘The Devil’s Wine’.
Chatting to the punters ahead of the EP, ‘The Devil’s Wine’ launch at the Soundhouse in Leicester it became clear that I was in for “a hellava good show!”. The Brandy Thieves have a varied local fan base from punks that are old enough to remember seeing The Clash at Granby Halls, now a car park for The Tigers Rugby ground, to ska fans who had been encapsulated by the Two Tone launch just up the M69, through to ex-ravers disillusioned by the commercialisation of the scene, bearded lovers of country folk and exuberant students.
In a week when the City had come together in grief following the tragic loss of the football club’s beloved chairman Vichai Srivaddhanaprabha they needed something to celebrate, felt when Demarai Gray’s strike put the winner in for the club on Saturday, felt on this Friday night. In short, there was a lot of love in the room.
This was more than a gig. We had a magician compère, fortune telling, belly dancers and free shots of brandy. Having already appeared on Monday at a London Celtic Punks show TC Costello, self proclaimed punk folk accordion player and part time Brandy Thief entertained the crowd with his highly entertaining solo slot, The Splitters supported with their tight, edgy rock/ska sound with added sound effects, like the embodiment of Mick Jones’ mind somewhere between the Sandinista album and Big Audio Dynamite. They played their way right through a blown amp!
Then we had the main event.
The Brandy Thieves are a live band, first and foremost. They told me that when they write the songs Andrea and Cain bring the lyrics to the rehearsal and the arrangement is done by the whole group. The first album ‘Old Tattoos’ has that live feel, ‘ The Devil’s Wine’ demonstrates just how in tune with one another’s mood the Brandy Thieves must be.
So how does the collection of new songs fit in? – Well the lyrical themes of earlier songs continue. A folk lore devil is ever present, right down to the title of the EP. He’s a curse to the protagonists of the ballads and an ever present feeling that the ‘old one’ may well have the best tunes. ‘Down the River’ is a personal lament of battling demons inside. The track was an early taste of the forthcoming EP and works well as a bridge from the old ska/punk folk beats of the first album ‘Old Tattoos’ towards the new cooler sharper sound of ‘Devils Wine’ by providing a gospel blues feel with the more familiar reggae beats.
For the new EP marks the Brandy Thieves anew. Like they took the Chattanooga choo choo, picking the grapes and grain of Americana music on the way and distilling a spirit of their own into ‘The Devil’s Wine’.
Andrea’s vocals are just as powerful but smokier and melodic throughout. Listen to her scat on jazz blues inspired ‘Midnight Circus’ and all of their voices come through the intro of the EP, an untitled drinking song in the form of a spiritual for the 21st Century, reminding us, in Brandy Thieves style, of our own mortality.
Joe’s trumpet and Sebastion’s banjo have been let off the leash of the rhythm section to offer encapsulating melodies and freestyle solos. Hear the horn sing with TC Costello’s accordion on ‘Midnight Circus’and the hauntingly restrained banjo, echoing southern gothic on ‘ This Mountain’, while Chris’ tight drum beats and Cain’s waking bass riffs have taken up their rightful role as the heartbeat of the band, saying “keep cool, we’ve got this”. the aforementioned ‘Midnight Circus’ is as rhythmically rolling as a Stray Cat Strut.
Gone on ‘The Devil’s Wine’ are the runaway mixed tempos of ‘Old Tattoos’ although they still went down well during the show, taking the crowd from swaying folksy singalongs and then distinctively upping the tempo in a ‘1,2,3,4!’ punk/ska rhythm to get them jigging and pogoing with abandonment. Whether that was ‘Didikai Lee’; The hurdy-gurdiness of ‘Broken Record’ or title track of the first album itself; ‘Old Tattoos’ this was the case tonight. The exceptions are ‘Molly Malone’ a swaying murder ballad reminiscent of the classic traditional song ‘Rose Connelly’ and on the night an acoustic version of ‘Blackbird’ that had loyal fans singing along, both these tunes will, I imagine, be mainstays of the band whatever direction they take.
The Brandy Thieves have evolved away from ska. This was acknowledged midway through the gig when they covered Toots and the Maytals’ ’54-46 Was My Number’ saying that this would, probably, be the last time their Leicester faithful would hear it, and then playing it with the gusto of saying goodbye to an old friend. Now we have a sound that is just as comfortable for the listener at home or played in the car as it is live. ‘Girl from the Black County’ with a clear acoustic guitar, plucking banjo and singing accordion wouldn’t sound out of place blasted on the eight track of a classic 1970’s Chevy pick up as it kicks up dust from the road on the way to see Billy Jo Spears at the Whiskey River.
(listen to the EP below on the Bandcamp player)
Buy The Devil’s Wine
Contact The Brandy Thieves
The Brandy Thieves are bringing their sweaty, dancing, skanking frenzy to London on Saturday 17th November at the Hootananny in Brixton. Plenty of bands on so check the Facebook event here for details. Its free to get in before 10pm and gig ends at 3am. Hootananny Brixton, 95 Effra Road, Brixton, London SW2 1DF.
Lexington Field is Fiddle Rock from San Diego, CA.
Back in the early early days of the London Celtic Punks one of the first bands to get in touch with us from overseas happily turned out to be a band that would go on to become one of my favourite all-time Celtic-Punk bands, Lexington Field. Born in San Diego, California in 2009 they are a straight up punk-rock band but with fiddle right slap bang in the middle of proceedings and one in which it’s the fiddle that calls the tune!
It’s been only two years since their last EP Redwood and three since their last full length album, Greenwood, appeared but they have kept busy touring and playing festivals around North America and now on November 1st they have a double release of an album and a EP, Modern Times, on the same day! Certainly very ambitious and it actually goes against the rock’n’pop guidebook and I honestly don’t remember any band ever doing it before. The reasoning behind the decision to have two releases seems to be that while the album is much more rounded musically, carrying on perhaps from their acoustic EP Redwood where they re-recorded several of their old tunes, here they let their hair down and let their pop-punk roots show.
Modern Times begins with ‘Side By Side’ and from the off you just know that Lexington Field are back with a bang. Fast, heads down Celtic-Punk with a shedload of attitude and Bhoy oh Bhoy that fiddle! Cami’s playing is breathtaking and such an integral part of the songs here. This is why some bands may be Folk-Punk but will never be Celtic-Punk. Not that it matters to them as they have christened what they do as ‘Fiddle Rock.
As is Lexington Fields way they are are also a story telling band and here Beau tells a simple tale of love and a message of hope for all singletons!
“I can’t believe that this is now realI never thought I would find you my dearI knew from the start If I opened my heartWe’d rock this love side by side”
It’s not just played fast its over pretty quickly too but the band don’t slow down on Modern Times at all. On ‘We Are Fearless’ its again the fiddle standing out but vocalist Beau has a great voice and his vocals fit in with the music perfectly. Pitched nicely between punk rock shouting and folky smoothness it’s easy to understand the words and the positive message springs forward. Next up is the track ‘Tracy Boys Know How To Party’ and the song is a follow up I’m sure to the 2011 song ‘Tracy Boys Fight The World’ which appeared on their album Old Dirt Road. The mythical (I think?) Irish family get another tribute to their hard drinking and hard living ways and what a life. Whiskey and pints are thrown back and the song has an unmistakable Irish air to it. A real mosh pit filler this one leading us into ‘Tip My Cap’ and they keep the speed up with Beau singing of friends and loyalty. Catchy as hell and so much energy I’m sure you’d be guaranteed a good time watching this motley crew. The EP ends with the title track ‘Modern Times’ and starting off with just Beau it soon becomes a loud affair. It’s got a rough edge to the recording of this song that only adds to the awesomeness of their sound. A great message as usual and a superb way to end the record.
So we get five original songs coming in just short of fifteen minutes and for the initiated it’s a great place to start but for those of us who love Lexington Field I can’t say it’s a return to form as I’ve loved every single release from them! Each release is a real labour of love from them from the beautiful artwork to the heartfelt and positive lyrics. A fantastic taster for their new album Dreamers that we will review in the next few days, so be sure to come back and check that out. Rest assured it will receive glowing praise galore from us!
“We are very proud of all these songs and hope the positivity stands out and represents us as the artists we have become over this last decade. Our family, friends, and fans have supported us all these years, and both albums honor them. We are humbled, and very lucky to continue to create fiddle rock music in Lexington Field.”
Old Dirt Road (2011 LP) * Poor Troubled Life (2012 EP) * No Man’s War (2013 LP) * Greenwood (2015 LP) * Redwood (2016 EP)
Buy Modern Times
Pre-Sale for release on November 1st iTunes
Contact Lexington Field
The untraditional Anti-Folk punk band.
Mosche Di Velluto Grigio are an Italian Celtic-punk band and while their name may not trip lightly off the tongue of anyone who cannot speak Italian it’s certainly more poetic and beautiful than the English translation, Gray Velvet Flies! The name appears to come from an old Italian horror film directed by Dario Argento. The band were founded in 2000 and hail from Canneto sull’Oglio in the northern Italian region of Lombardy, home of fellow Celtic rockers The Clan and Strawdaze. Celtic-Punk has always been popular in Italy and relations between their Irish and Italians have always in the main been friendly, except perhaps in the USA in the past where two poverty stricken immigrant communities lived side by side in ghettos.
Famous for their DIY ethos Mosche Di Velluto Grigio were first conceived in the late nineties when singer Andrea and his sister Laura were inspired by their love for NOFX and the 90s punk scene. Together they went on to recruit others and the first incarnation of the band was gathered around them. Collectively they have become one of the more successful Italian Folk-Punk bands and though influenced by the likes of The Pogues and Dubliners on one wing and Stiff Little Fingers on the other their is more than a ounce of the legend Johnny Cash in there as well. These days members of the band come from not just Lombardy but from all over Italy and even Mexico.
I first came across them on their 2016 album Old School. It never made the reviews here as it was a couple of years old by then but I was impressed and have kept up with them since waiting for a chance to make things right. That album was, as far as I am aware, all traditional folk songs from North America and back Ireland and home to Italy. Internationally renowned songs like ‘Amazing Grace’ and ‘Waltzing Matilda’ go up against classic Celtic songs like ‘The Foggy Dew’ and the ‘Fields Of Athenry’ and a rake of songs that I had never heard before. The new EP, Of Pain And Glory, carries on in the same vein except with one exception all the songs are penned by the band. Beginning with ‘A Whisper From My Cigarette’ and it’s classic Celtic-Punk. Loud and bombastic and massive. The song is not particularly fast but catchy and tuneful while Andrea sings out the lyrics, no doubt through a cloud of cigarette smoke! His voice is so raspy he makes Tom Waits sound like the singer in a boy-band. Accordion and tin-whistle grab you here until mid-way when the song suddenly shoots up in tempo. An excellent start that leads into ‘Glasgow Town’ and this is no ordinary Celtic-Punk band as witnessed by the sound of a saxophone wailing away in the background.
Again its catchy as hell and this time a much more straight forward punk rocker of a tune. They slow it down again next for ‘Seven Ships’ and even add in a bit of Country’n’Western twang. Balanced between country and folk it threatens to take off but stays a nice gentle folky foot-tapper with a couple of Celtic touches thrown in for good measure but… then it does go off for last few bars ensuring I’d say a messy dance floor when played live. ‘Pieces Of Glass’ begins as the most Celtic of the songs here with accordion at the forefront before the chugging guitars come in and lead the song on a right merry Celtic-Punk dance. The third single from the EP is ‘Laura’ and we couldn’t have timed this review any better as just three days ago they released the new video and its a great production as many of their videos seem to be.
The EP comes to an end with Mosche Di Velluto Grigio’s favourite song, ‘The Parting Glass’. I say favourite as it also featured on Old School and was released as a single inbetween that record and this. First heard in the late 1700’s the song has been recorded by far to many to mention here but the sad but defiant song has rarely sounded different here. Starting off as barroom ballad they soon up the ante and turn the song into a killer punk rock tribute. Love it.
Bands like Mosche Di Velluto Grigio don’t make covers in the traditional sense of the word. I would prefer to call them re-interpretations. They have taken some old traditional songs of their home, of the Celtic nations and further afield and have made them their own. Mosche Di Velluto Grigio are a utterly fantastic band and if you can get past the distinctive vocals then I’m sure they’ll gain a bit more recognition outside of Italy. While the music has crossover appeal Andrea’s vocals place it firmly in the Punk side of Celtic-Punk but also shows these lot will never be found watering it down.
Buy Of Pain And Glory
Contact Mosche Di Velluto Grigio
One man Folk Punk music from Nottingham, England.
One of the great things about Folk-Punk is the generally positive message it sends out to the listener. In a scene where the majority of releases are done and organised by the bands themselves it’s nice to be able to deal with bands themselves without having to go through PA’s and managers. Dad Nap is the epitome of DIY music having recorded his second EP in his kitchen with a budget of exactly £0 using a knackered old microphone and readily available free software off the internet.
DIY literally means ‘Do It Yourself’ the idea that you don’t have to rely on the record industry to make and produce music. DIY champions the individual and communities and empowers us to record, produce albums, merchandise and to distribute and promote independently, outside and away from the music industry. DIY bands do everything themselves, from production to marketing and communication. By controlling the entire production and distribution chain, DIY bands can develop a closer relationship between artists and fans. The DIY ethic gives total control over the product without need to compromise.
Dad Nap is Strong Simon a one-man Folk-Punk battalion based in Nottingham in the East Midlands of England. On the break up of his old band Green Hill Zone Simon began to attempt to put together a new band. Writing songs inspired by raw emotional Folk-Punk bands like Days N Daze and We the Heathens and with the intention of finding other people it soon became clear he had enough songs to record his first EP and so Dad Nap became a truly one man operation.
(The lead song from Dad Nap’s debut release 3 Songs is also available at the Bandcamp link below as a Name Your Price download)
Worn Out is his follow up release and came out at the end of last month. All the songs were written, performed, recorded and suffered through in true DIY fashion by Strong Simon himself. The four songs here begin with the sound of an accordion before Simon jumps in with some frantically strummed acoustic guitar and what sounds to me like a kazoo!! ‘Burn The Bodies’ is a nice slice of folky class war which includes a quote from the supposed saviour of the working classes, though I’m not 100% convinced myself, Jeremy Corbyn.
“The bank of mum and dad
is not open for the poor
and now we’re all locked out
the housing market as closed the door
on us, we’re broke and tired
our world is run by fucking liars
our protectors have abandoned us
and yet they ask us for our trust”
The title song is next and ‘Worn Out’ and I loved it. At times Simon is both crooning and rapping over a basic folky mash up of several instruments. I don’t know enough about modern music to be able to compare it to anyone but it comes across as highly original in the Folk-Punk scene at least. Gloria Gaynor may or may not be any longer with us so I don’t know if she’s spinning in her grave at the sound of Dad Nap’s version of ‘I Will Survive’. The nasally voice accompanying basic punk rock with a cracking accordion solo it really makes me wonder why more punk bands haven’t covered this track with its positive message and great tune. It’s the kind of track Leatherface use to do with ease. The last song here is ‘She’s A Killer’ and politics takes a step back as Simon sings a ballad of love to his ‘punk rock killer queen’. Accordion again leads the melody and Simon shows a good vocal range without ever losing the punk rock approach.
A great wee EP the four songs clocks in at just under ten minutes. Sincere heartfelt lyrics and a belief in himself and his music Worn Out is available for just a measly £3. It goes without saying that we must do all can do to help out DIY artists like Dad Nap as they are the life and soul of any decent musical genre and without them we’d be only left with what the corporations decide is good enough for us and we don’t want that!
(listen to Worn Out for free before you buy on the Bandcamp player below)
Buy Worn Out
Contact Dad Nap
Gritty, honest Celtic-Folk-Punk from the north of England’s The Silk Road and a tale of murder and corruption leading to the highest pillars of the British state.
Despite being one of the best bands in the Celtic-Punk scene on this island The Silk Road remain relatively unknown outside the north of England. Hailing from the Derbyshire town of Chesterfield, whose football team has suffered the same ignominy as my own, Leyton Orient, and dropped out the Football League, they are the unsung heroes of Celtic-Punk in England. It’s not unusual that bands from the main cities get all the glory and sometimes coming from an unfashionable place can even hold you back. It’s just a shame that whoever decides these things doesn’t value the history of a place like Chesterfield with its past steeped in traditions of coal mining and steel production and the accompanying militant trade unionism that goes with it.
The Silk Road have been together since 2015 formed by Tich, Andy and Shaun and going on later to recruit both Jamie and Brian. Taking some old demos singer/songwriter Tich had recorded in his studio and re-working them into something new and fresh The Silk Road began to take shape. They released Midnight in July of 2016 as a taster for their forthcoming self-titled debut album that was the light of day in July of last year. The album lit up the Celtic-Punk worlds media hitting their many Best Of’s including ours where it landed a very respectful #14. Infectious and catchy throughout the album had more than enough punk to keep the punks happy and plenty of folk to keep the oldies like me happy too. Owing a debt to the English folk-rock scene that has kept bands like The Levellers and New Model Army in clover The Silk Road have also added their own style of both Celtic and English folk melodies without losing any of the punk urgency that they started out with.
Here on their brand new EP Justice For Daniel The Silk Road have Andy has come in as a extra guitarist and they have added two instruments you don;t hear much in Celtic-Punk with Tom Wood on trumpet and Sarah Reaney-Wood on saxophone who join the band live on stage when time permits. The EP’s title refers to the tragic case of Daniel Morgan. Daniel was a private detective whose gruesome murder still lies unsolved despite being the most investigated murder in English legal history. Police corruption and criminal activity and the conduct of journalists with the British tabloid News of the World lie at the heart of this case. According to a Metropolitan Police investigation in 2007 his murder was because he
“was about to expose a south London drugs network possibly involving corrupt police officers”.
Daniel was 37 at the time of his death in a south London pub car park on 10 March 1987 and in the 30+ years since his death his family have never given up trying to find out what happened and to bring Daniel’s murderers to justice. Their are several excellent places to find out more about Daniel’s case but the best place is the ten-part podcast Untold: The Daniel Morgan Murder which topped the UK iTunes chart here.
With family connections to the case and a desire to see justice done The Silk Road have released this EP in tribute to Daniel and in hope of keeping the case alive and it was with Daniel’s families blessing that they went ahead with the song. The EP begins with the title track and Tich tells the full tale of what went on. Its a jaunty and catchy wee number that belies its tragic subject matter. As is The Silk Road way Tich’s vocals are clear and easy on the ear while the music is basically upbeat folkyness with some excellent fiddle work from Jamie. As protest songs go its up their with the best I’ve heard in recent years and you can tell from the passion in Tich’s voice it’s a subject close to his heart. You can have a listen to this grand song over at Facebook here. A brilliant start and they continue with ‘No Reason’. The electric guitar is louder here giving them a bit more punch and gives them the sound that lies somewhere inbetween The Levs and NMA but with added Ferocious Dog too! As usual with The Silk Road its as catchy as hell as police corruption is again tackled. They let fly next with ‘Morgan’s Riot’ and if the Celtic-ness has been somewhat subdued so far they don’t hold back here. Proper pure top of the table Celtic-Punk that will get the auld feet tapping away. Its fast and furious and again Jamie’s fiddle is amazing. The only complaint is that its not longer as at under three minutes I don’t think it does it justice. The curtain comes down on the EP with an acoustic version of the title track ‘Justice For Daniel’. Just Tich and his acoustic guitar, Jamie and his fiddle and the wonderful sound of Sara Haley on backing vocals and the whole gang getting in on the chorus it is, not surprisingly quite an emotional and poignant song.
Clocking in at near twenty minutes its all together a fantastic EP that warrants getting hold of. Brought out by the band themselves and financed in part from sponsorship from the Vape Domain shop in Ollerton, Nottinghamshire its always great to see a band taking their own route and sticking close to their principals, also good to get a dose of real politics into the scene. The Silk Road are not Irish or Scottish but are still most definitely a Celtic-Folk-Punk band and one of the best this island has to offer too. Year on they get bigger and more well known and despite several set-backs we are still going to see them in London town one day soon. It’s a shame the CD is not available as a download but drop the band a line at the e-mail address below and they will let you know how to get a proper CD. It’s worth it for lots of reasons.
Ireland has no shortage of talented singer-songwriters, and never has had to be honest, and among the most talented the name James McGrath is up at the top of the list. Hailing from Nenagh in the north of Tipp James has a voice that has been compared to both Neil Young and Eddie Vedder and the songwriting skills of the legendary Shane MacGowan. Live At The Shed is his third EP release and showcases James live at Shed Studios in the once heavily Irish enclave of Enfield in north London. Just him and his guitar and no knobs twiddled or fiddled about with to change anything. James exciting and passionate live performance transfers onto this recording so well and his warmth shines through. He has already tasted success at home in Ireland when his track ‘8 Cans’ from The Cans EP hit the #1 spot in last years Irish Download charts.
Live At The Shed begins with ‘Can’t Get Out’ and the first thing you notice is James voice. Clear and precise and with a brogue as Irish as Damo Dempsey but without the over inflated ‘Dubb’ inflection. The shortest song here its a tale of having no cash and trying everything you can to make your life work. There’s only four songs here and ‘Bad Bends’ is up next. It’s much more laid back but far from a ballad again it’s no tale to eat popcorn too and despite it being a downbeat song it’s also full of hope and tender emotion. It’s certainly not what I am use to reviewing on these pages but I like to challenge myself and I got over the idea that I cannot like things that my Mammy would like years ago. Now i am not one to bander Ed Sheeran’s name around much but if you draw a line between the wee ginger billionaire and Shane MacGowan then you’d be right to put James on the Shane side of the middle. Third song is ‘Walk Away’ and not much to add here except its more of the same mid-tempo folk. Extremely well played and James has stamped onto these songs his own brand. At times you can imagine the songs coming from Christy or Damo but young James has certainly developed his own style. The highlight of the EP for me is ‘Race To The Bottom’ which brings down the curtain after only eleven minutes.
One of James stated goals in moving to London was to write an album so here’s hoping he gets onto it as soon as possible. Things move fast in London so he needs to strike while he’s building up some momentum. One bad habit he seems to have picked up in London like the many before him is a love of the bookies. Did your Ma never tell you there’s no such thing as a poor bookmaker? It’s a downbeat song and its not unusual for any of us who arrive in London to find it too much and a combination of the capital’s excesses and homesickness often is too much for new arrivals. A real beauty of a song.
The second EP release in less than six months from the beer and whisky fuelled bagpipe Celtic punk rockers The Grinning Barretts. Delivering more of the same with a range of floor stompin’, table poundin’ trad Irish folk originals, to catchy, ‘waketheFup’ Irish punk anthems that will sure blow the cobwebs out your ears!
Hailing from the small ex-mining town of Ladysmith in British Columbia, Canada that debut release saw seven song, including two covers, of pounding anthemic Irish influenced punk rock. Simply played but with a passion missing from many a signed band The Grinning Barretts have a pride in their ancestry as well as their class which shone through in songs like ‘UFS’ (-Union Fight Song) and covers like ‘Wild Mountain Thyme’. Rather than repeat ourselves head over to our review of The St. Padraigs EP here and find out a bit more about the rich (not in money!) history of where The Grinning Barretts ancestors washed up and the individuals involved in the group.
The Riot EP was released last week and is another step in the right direction for this class band. Kicking off with ‘Armstrong Ave’ and with two pipers they waste no time in getting them involved in a Real McKenzies-ish, who even get a mention, fast paced punk rocker.
“I hear evolution, Fire get’s passed along, I hear the tried and true.
Who still soldier on Good Riddance, McKenzies, Strung Out, NoFX. I listen to Rancid.
I will until I’m deaf”
Punk lives on and each band carries the torch and whose to say there’s not a group of young guns out there listening to The Grinning Barrett’s who will take the torch from them… but not just yet. ‘At The Altar Of Saint Ayn’ is more Irish with vocalist Pat Barrett’s mandolin getting a good work out. The music is fast and punky with the occasional break for some trad folk and it’s all done with a style you wouldn’t often associate with a straight forward punk band. The song is interspersed throughout with chat from England’s own Christopher Hitchens. Look him up if you like and make your own minds up on what he says is all I will say. The song is about the Russian-American philosopher Ayn Rand.
“The apostles of St Ayn. Blue blooded time and time again profess the virtues of toil and sacrifice. From offices so high. Bestowed as a birthright and baptized on the altar of St Ayn”
Next up is ‘Last Call’ and is that most dreaded words for any Celtic-Punk fan. We may hate it but what about the poor bar staff trying to shoe horn us out the bleeding door! This song is for them. We have our first and only cover next up with the old and beloved ‘The Rising Of The Moon’. Picked up and sung on occasion by Celtic-Punk bands but by no means common i can only remember it played by US band The Kilmaine Saints and Ukrainians ShamRocks it’s played to the max here and coming in at under two minutes its fast and most unlike any version you ever heard before. Pat’s voice is harsh and gruff and adds plenty punk rock bite to the rest of the proceedings. Aaron and Kevin’s pipes are out again in force and it takes us nicely into ‘IBLD’ a straight up punk number with a nice guitar break from Dylan. No Celticness to admire here just a catchy as hell punk rock number. We are nearing the end and again The Grinning Barrett’s mine (!) their local history for its rich source of material and ‘King Of Scabs’ is without doubt the #1 song on The Riot EP for me. Beginning with the pipes and one hell of a catchy tune and Pat reins in his voice a little and even sings along at times. Its a cracker of a song and for those that don’t know a Scab is the word used to describe a ‘person’ who betrays his brothers and sisters and crosses a picket line. Take some advice from The Grinning Barrett’s and London Celtic Punks- Don’t ever cross a picket line. The song tells the story of miners strike and is important enough I’ll reprint it all here.
“Across a picket line a man with no loyalty walked. Into the mines because his honor had been bought and over bodies he would step to line his bank account. While other men’s families learned to go without.
1887 at Nanaimo #1 an explosion killed 148 Men. Condemned to die by conditions in the mines trying to put food on their plates. On broken strikes and broken backs the King built his castle and he paid a pittance for the lives lost deep down below. The men got locked out of the mines for talk of a better wage.
Roberts greed and Roberts pride would see them all as spaces. He hired thugs and police to harass picket lines until men accepted starvation wages in collapsing mines
(Chorus) Halfway to hell at the morning bell into the mines for coal. While the king of scabs clawed wages back from high in his castle”
(listen to The Riot EP for free before you buy here on Bandcamp)
Buy The Riot EP
Contact The Grinning Barretts
Irish-American Celtic-rockers The Langer’s Ball are back in town with their first release as just a duo in over eight years.Writing, touring and performing for over a decade The Langer’s Ball play their own brand of traditional drinking songs and original material with a thumping beat and a flurry of notes and harmonies. Hard-hitting and bigger than you’d expect a duo could ever be you’ll dash to refill your drink and cheer for more!
The Langer’s Ball have featured on these pages several times over the years with a multitude of releases and news and here they come again with the release of their fourth studio album Hard Time in the Country. As usual the album features a band that knows it way round an old fashioned tune and contains a fantastic mix of both American and Irish Folk-Punk. The last time they featured on these pages I had this to say and as I don’t think I will say it better I’ll repeat it here.
The Langer’s Ball have long been hailed as one of the most interesting and innovative bands in the north American celtic-punk scene. They have never been afraid to mix in other genre’s of music while all the time keeping one toe firmly in the music of The Emerald Isle. It’s bands like The Langer’s Ball that keep the scene alive and fresh and bring new ideas to the celtic-punk table.
Back in February, 2017 The Langer’s Ball announced they were making their entire (yes their entire) back catalogue available for free download via the band’s Bandcamp page so head over their soon as you finish reading this and get downloading.
The Langer’s Ball hail from Saint Paul in Minnesota and it’s a place where the Irish make up the second largest population of the city at a well decent 14%. The largest at over double that is people of German descent and despite being only half their number the Irish learnt very early on that power lays not just in numbers but in control of City Hall. These days, of course, the Irish are no longer running things but it’s still no surprise to find Irish surnames dominating among local government, the Police and the Fire Service. The Langer’s Ball have been together since 2007 starting off as a duo with Michael and Hannah releasing a couple of albums that were well received by the national, and international, celtic-punk community. Persuaded by this reception they decided to try and fill out their sound and so set out to recruit some musicians and it wasn’t too long before the full line up of The Langer’s Ball was born.
The band take their name from the Irish word ‘Langer’ which has three meanings one being a right eejit (-idiot), and the others being pissed or your dick! I can only hope you can guess which one the band want you to associate with them! Since those two early LP’s in 2007 and 2008 they have gone on to release ‘Drunk, Sick, Tired’, a live St Patrick’s day recording, in 2011 and ‘The Devil, Or The Barrel’ in 2012. They followed this with 2014’s ‘7 Year Itch’ which we reviewed here and was so called because it heralded the seventh anniversary of The Langer’s Ball’s existence. Then came 2016’s Whiskey Outlaws, here, an absolute killer of an album which made all the Best Of lists of the major celtic-punk media and confirmed their place as one of the best bands in the scene.
So a few years without a release but the band have by no means been quiet and as I have followed them from afar they have never seem to have stopped touring in all the years since Whiskey Outlaws. Hard Time In The Country captures The Langer’s Ball perfectly with a wide range of ballads, and acoustic Celtic-Punk taking in both modern and traditional songs with of course a ‘craicing’ drinking song! The album begins with a cover of the Billy Bragg penned number ‘Constitution Hill’ from his 2011 album ‘Fight Songs’. It showed a sort of return to form for Mr. Bragg away from his twee middle class stuff of recent years to angry polemic. Sung acapela with Michael leading the way joined by The Langer’s Ball choir of friends and misfits for the chorus. It’s a great song and Michael’s voice is strong and passionate and he sings with great conviction. This is followed by a rousing instrumental ‘Justin’s Favourite’ with Hannah on tin-whistle and it’s a lovely, jaunty wee Irish folk song that will surely get the foot a-tappin and the thigh a-slappin’! Next up is ‘No Irish Need Apply’ which is based upon the times that the Irish were discriminated against in the United States and signs and adverts were often posted with the words No Irish Need Apply. The song shares a few lines with the great Wolfe Tones song of the same name but The Langers’s Ball give it a new twist and even extol a nice bit of retribution for what these bastards did to our ancestors.
“Well I couldn’t stand it longer, so ahold of him I took
And I gave him such a beating as he’d get at Donnybrook
He hollered “Milia murther,” and to get away did try
And swore he’d never write again ‘No Irish Need Apply’
He made a big apology, I bid him then good-bye
Saying “next you want a beating, write ‘No Irish Need Apply'”
Next time the child of some millionaire decides to lecture you on so called ‘white privilege’ point them to here to learn about how the Irish suffered and were mistreated and abused on arrival on Amerikay’s shores. The songs come fast furious and ‘Meet Me Where You’re Going’ is again a nice twist on things and here Michael and Hannah sing a lovely Americana/Country twinged folk ballad together. Written by Craig Minowa for fellow Minnesotan band Cloud Cult’s 2013 album Love. Its a beautiful love song and leads us nicely into the Celtic-Punk favourite ‘Dirty Old Town’.
Covered and played by all and sundry I sometimes think it’s been done to death but every time I see it on a track listing I’m always curious to see what a band is going to do with it. Here Michael again voices it with passion and conviction and its basic background of only whistle and acoustic guitar lends it a power you don’t often hear with this song. Stripped of its ‘Irishness’ (it is in fact a English song written by a second generation Scot- Ewan MacColl) its a great piece of Americana and I always prefer to hear it sung in the singers original voice/accent. They delve further into the past next with ‘Penny’s Farm’. Their is no record of how long this song actual is except it was recorded by The Bentlys on their one and only record released in 1929. The song is about farmers protests and the mortgage mentioned in the song in the song was a so-called chattel mortgage, which was backed by the farmer’s few possessions as well as his next year’s crop. Five days after The Bentleys recorded this song the stock market’s Black Monday came and life out on Penny’s farm got a lot tougher with The Great Depression and The Dust Bowl.
“With their hands in their pockets and their head hanging down.
Go in the store and the merchant will say,
“Your mortgage is due and I’m looking for my pay.”
It’s a-hard times in the country,
Out on Penny’s farm.”
As mentioned already (several times!) Michael’s voice is brilliant at capturing the mood of these songs and Hannah’s accordion whisks you back to those dark days. We stay in the past but in a very modern way with ‘Way Over Yonder In The Minor Key’ a beautiful version of a song that appeared on the 1998 album Mermaid Avenue where previously unheard lyrics of Woody Guthrie were put to music and performed by Billy Bragg and Wilco. Known for his working class anthems its an incredibly beautiful song and sure its done justice too here. Woody Guthrie was possibly the most important folk- music figure in American history. His influence on music is beyond measure and far too many have cited him as an influence to go into here. Michael and Hannah play it slightly more upbeat and again Hannah’s accordion is superb. A real nice surprise and just shows their was so much more to Woody than many of us give him credit. The album is laid out very nicely and with so many diverse tunes on board its been designed to fit very well and despite shunting from upbeat to manic sometimes it flows very well and the same can be said here of ‘Beans, Bacon And Gravy’ which follows here. Fast and manic and again we are in the days of The Great Depression. A time so bad it demands its own capital letters! The singer is so sick of eating the same thing over and over again he even sees them in his dreams! The great Pete Seeger wrote that the song
“probably grew over the years being polished by any number of Depression-weary workers who could laugh the bitter laugh of irony—so often a man’s best friend when times are hard.”
And how true. It was often humour that got the poor and down trodden and dispossessed through the hard times (but its always good to hear of someone getting their just desserts too, as in ‘No Irish Need Apply). At first glance on the track listing I took the next song ‘1916’ to be about the tragic heroic rebellion of Dublin but then I noticed the credit to one Ian Kilmister and I realised the song was indeed a cover of Motorhead song as penned by Lemmy himself. May he rest in peace. The song, as you can imagine, is nothing like the original but is given the Folk-Punk treatment and you can finally take in Lemmys words about a young lad heading off to the trenches in the First World War in all its blood drenched glory. A simple accompaniment told with passion. So onto ‘I’ll Tell Me Ma’ and here just re-read what I said about ‘Dirty Old Town’. Its not exactly a rare song to hear but its sung and played with gusto and will have the crowds, young and old, joining in! Being a strong advocate of people joining their trade union its great to hear ‘Picket Line Song’. Written by Evan Greer for the 2009 album Some New Songs.
“Mom called him a dirty scab and gave him two pieces of her mind
she picked up and she threw every rock that she could find
and when he called the cops on her she kicked his behind
and said that’s what you get when you walk across a union’s picket line!”
We nearing the end and ‘Hoist Your Cup High’ is The Langers’s Ball at their best. As much as I love the songs that mean something nothing means more to me than a good drinking song! It has a feel of Ireland, Germany, Eastern Europe about it and Michael raises a glass to all his departed friends and family and hoists his cup high as when we are dead we may not drink at all! The album ends with an unusual version of ‘The Parting Glass’ usually sang as a slow ballad here its given an upbeat version and I have to say I absolutely love it. Its an old song some say from before 1770’s and recorded countless times but in the hands of musicians with pride, love and respect it can become almost new and original.
Hard Time in the Country shows the roots of The Langer’s Ball and it is their willingness to dip into the past that sets them apart from their contempories in the American Celtic-Punk scene. They can take songs from the likes of Billy Bragg, Woody Guthrie and Motorhead take them away and breathe new life into them. Not for The Langer’s the easy route of simply covering a song, they are determined to stamp their brand on everything they do and turn it into their own. It is this knowledge of the folk and rock scene which makes their choice of songs so interesting and adds so much to what they do then their is always something for everyone to enjoy. A band that sets the brain and the heart racing The Langer’s Ball are constantly evolving and constantly improving so get on board and join them on their journey.
(have a listen to Hard Time in the Country via The Langer’s Ball Bandcamp page before you buy (its only 4) but rememeber all (yes all!) their back catalogue is available as a free download but leave a donation if you can)
Buy Hard Time in the Country
Contact The Langer’s Ball
POST-EDIT: The Langer’s Ball deemed it necessary to release a statement on their Bandcamp page with regard to the song ‘No Irish Need Apply’ so here it is.
London based five piece Man the Lifeboats play raucous, upbeat folk music. Their debut EP is four songs of full-throttle, upbeat contemporary folk music to drink, dance and sing along to…
Now before i start have to admit that I never really got the Skinny Lister thing. While all around me people and friends were renting and raving about how brilliant they are I remained marooned on my desert island a lone voice against the many. Maybe it was their unbridled cheerfulness or that in the early days all their merchandise was festooned with the ‘Butchers Apron’ but I may have to have a re-think though as relatively new band on the London scene Man The Lifeboats cite them as their main influence and therefore there has to be something I am missing out on.
Formed in the wake of seeing Skinny Lister live in concert in 2016 this is the debut EP from Man The Lifeboats. It was recorded at Soup Studios on a floating lightship studio on the river Thames – where else! – and was produced, engineered and mixed by Ed Ripley who has worked extensively with the oft mentioned Skinny Lister.
The EP begins with ‘Doomed’ and its bouncy upbeat fast paced folk music from the first beat. Harvey’s mandolin is the most ‘in-yer-face’ instrument along with Rich’s vocals and it works perfectly. Perhaps Daniels fiddle could have been louder but that is a very minor gripe on a song that fits together perfectly. The lyrics belie the jollyness of the song as it repeats that we are doomed with the rising of the sea levels and pollution but done with lashings of humour that will raise a smile or two.
“We’re all doomedThe four horsemen are coming, we’re maroonedTime to go and colonise the moonThis is the sound of impending doom“
The video for ‘Doomed’ was released last May and was the first sign that Man The Lifeboats were on the way.
This is followed up by ‘A Wasted Life’ and this song reminds me a little of my favourite bands The Housemartins. Massive at their time in the mid-80’s they are completely forgotten about now but as well as their superb agit-pop they also wrote some great ‘folk’ tunes. Again Harvey’s mandolin is to the fore and the fiddle is louder here too and with the addition of one of the most under-rated instruments in Celtic-Punk the harmonica its a great tune and with clever and insightful lyrics about the common theme, the havoc that over indulgence in alcohol can wage against us.
“YeahWhy should I care?I’m going down the drinkI’ll see you thereAnd I wouldn’t be pretending I was Hemingway or ReedIf I could write a happy endingTo this wasted life I lead”
All the songs here are written by the band but the lyrics are by Rich the vocalist and he is very much in the tradition of a singer-storyteller. The songs have an auto-biographical feel to them and all are interesting in many different ways whether he’s trying to make some political point or excuse some drunken escapade in the dark past of days gone by. On ‘My Westferry Sweetheart’ he sings of the time
“I had a sweetheart who lived down on Westferry RoadOn the banks of the Victorian Thames”
“And you know how the story ends”
The EP came out just a couple of weeks ago on the 22nd June and the Bhoys played the EP launch party to a packed audience at the Nambuca in north London. With great tunes and a catchyness about everything they do Man The Lifeboats have their fare share of problems with band members but with a settled crew on board now they look set for further and better things. With lyrics that tell stories about real heartfelt events that raise a smile and a hackle, when needed, along with some beautiful fiddle and mandolin melodies and a stomping beat Man The Lifeboats have created a sound that is pretty unique among the London folk and punk , and folk-punk, scene. Put it all together and you are sure of a blistering live experience. You can catch Man The Lifeboats soon playing as main support to those lovable Aussie Celtic-Punk rogues The Rumjacks at the New Cross Inn in South London on Monday 6th August (check out the Facebook event for that gig here). As someone said a ‘tonic for these troubled times’.
Buy Man The Lifeboats
Contact Man The Lifeboats
The debut release of pure, unadulterated Irish folk music from Norway’s Paddy’s Underground Party People.
To most people on the ‘outside’ it would probably sound a bit strange to have a Irish/Celtic folk band in Norway but to those of us who follow the Celtic-Punk scene it’s no surprise at all as Norway is already home to one of the best, one of the most popular and one of the longest running Celtic-Punk bands in existence with The Greenland Whalefishers. The Whalefishers may have formed ten years after the Pogues, in 1994, but with their style of Celtic traditional music combined with British punk they are considered to be one of the founders of the modern day Celtic-Punk scene. So with that in mind it’s no coincidence that Paddy’s Underground Party People tip their hat in the Whalefishers direction with this their debut release. Formed in 2011, and with the current band members together since 2015, they hail from the southeastern city of Hamar. An interesting connection to England is that the diocese of Hamar was founded in 1152 by Nicholas Breakspear, who later went on to become Adrian IV the first only English Pope but that’s where any connection to England ends, for this band play good time old fashioned Irish music!
The EP begins with ‘The Ballad Of Susan Grey’ and from the off its acoustic guitar and flute give it an Irish air while the song has a Irish air too. Many olden Irish songs often had dark subject matter but the jolly music meant the lyrics were over looked. The song tells of Susan Grey a serial killer of her many husbands who meets a grisly end. It follows in that Irish tradition with a jaunty tune and singalong chorus and while Gaute does have a strong Norwegian accent its sung perfectly well in English and he even manages a bit of an Irish twang.
The first of the EP’s two covers is ‘Star Of The County Down’. Recorded many’s a time from within the scene and in the larger folk scene it’s a well known song and dates back to the end of the 17th century. Written by Cathal McGarvey (1866–1927) the song is set in the Irish town of Banbridge in County Down, and tells of a young man infatuated with a beautiful young cailín (Irish for girl) and who is determined to marry her.
“From Bantry Bay up to Derry’s Quay,
From Galway to Dublin Town,
No maid I’ve seen like the fair cailín
That I met in the County Down.”
Paddy’s Underground Party People play it as a straight Irish folk cover and it’s a well decent stab at it. To be honest you can’t go wrong with this song and I’m sure it fills the dance floors of Hamar and beyond. Gaute is joined on vocals by Bård and his five year stint studying in Glasgow stands him in good stead as I originally thought it was a Scottish singer! The other cover follows and is ‘I’ll Tell Me Ma’, another Irish pub standard known throughout the world these days. It’s another old song with no exact date of origin. Also known as ‘The Belle of Belfast City’ the song is believed to have originated as a children’s skipping song, or street song.
“I’ll tell me ma when I get home,
the boys won’t leave the girls alone;
They pulled me hair and they stole me comb,
but that’s all right till I go home.”
Again the Bhoys give it a hearty rendition though the music is a bit subdued in the mix it’s still ticks all the boxes and with that chorus leave all who hear it shouting and singing along with Bård expertly played flute. The final track of the EP is the excellent folky ‘Trekkspellterroristen’ and I had to check with the band what this meant as the song is sung in Norwegian. Thanks to Gaute for explaining that the word trekkspell is Norwegian for accordion and that the song is about when fighting breaks out at parties in rural parts of Norway it is broken up by ‘the accordion terrorist’ who gets people to forget the fighting and start singing and dancing. The Irish is toned down here but still comes through and I was right to sense it’s not a particularly serious song going by the tune!!
So a very nice start to the band’s career. It’s not unusual at all for a Celtic-Punk band to have a few covers on their debut release and as I’ve said before there’a very good reason why new bands outside of the Celtic diaspora tend to record from the same group of songs and that is because they are so God damn popular! I’ve been to enough nights in Irish pubs to know that it’s only when the band gets out the Dubliners songbook that the party really gets going! It’s four songs and twelve minutes of Irish folk as filtered through the folk traditions of Finland and further proof if it was ever needed that people around the world know a good tune when they hear it and I hope we hear much more from Paddy’s Underground Party People in the near future.
Buy Tell Your Ma’
Contact Paddy’s Underground Party People
The first new release from Blackbeard’s Tea Party in three years takes traditional songs and folk tunes about the whaling industry and gives them a heavy edge but with a playful arrangement and driving dance rhythms.
Blackbeard’s Tea Party have been together since 2009 and in that time became firm favourites on the English folk scene. An independent band with four albums to their name, Blackbeard’s Tea Party have also completed a number of successful UK headline tours. So it’s been a bit of a mystery as to why they went quiet on the recording front and this is their first release since Reprobates in 2015. They continued to tour and are still as popular as ever but in this game you have to have regular output otherwise there is always another new band waiting in the wings to take your place.
Anyroad they are back now and with this great EP celebrating the history of the whaling industry. Although whaling had existed for thousands of years it was in the 17th century that industrial whaling emerged with organised fleets that by the late 1930’s were killing more than 50,000 whales a year. Communities along the coast around the world have long histories of subsistence whaling and harvesting beached whales. On Leviathan! Blackbeard’s Tea Party play out the history of an industry that once made the fortunes of ports such as Hull, Whitby and Peterhead. Thousands relied upon the practise but it would eventually drive the species to the verge of extinction so much so that in the 1980’s it was banned though many countries still hunt whales under so called scientific purposes.
Leviathan! is the bands fifth studio release and even though only five songs its a mighty fine way to remind any fans who have lost touch that they are still around! The EP begins with the traditional folk song ‘The Diamond’. Popularised by Scottish legends The Corries (check out their version here) the song first appeared on Ewan MacColl and A.L. Lloyd’s 1957 album Thar She Blows! Lloyd recorded it again in 1967 for his album Leviathan! Ballads And Songs Of The Whaling Trade. I would guess these two releases have been very much influence on Blackbeard’s Tea Party.
On the song A.L. Lloyd commented on the Leviathan! album sleeve notes:
Sad events lie behind this most spirited of whaling songs. By the 1820s the relativity milder northern waters were fished clean, and whalemen were having to search in more distant corners of the Arctic, notably round the mighty and bitter Melville Bay in Northwest Greenland. In 1830, a fleet of fifty British whaleships reached the grounds in early June, a month before they expected. But the same winds that had helped them also crowded the Bay with ice floes and locked most of the fleet in, including the Diamond, the Resolution, the Rattler (not Battler) of Leigh (not Montrose), and the Eliza Swan. Twenty fine ships were crushed to splinters and many bold whalermen froze or drowned. The Eliza Swan was among those that got free and brought the sad news home. Our song must have been made only a season or two before that tragedy for the Diamond‘s maiden voyage was only in 1825. One wonders if the man who made the song was up in Melville Bay, the year of the disaster, and whether he was lost with his ship.
Blackbeard’s Tea Party have always been an innovative band and their version skates through English and Celtic folk music while adding some surprisingly modern touches while Stuart Giddens sumptuous (their description not mine!) vocals ably fit the music. His voice may not be that of a crooner but it is strong and versatile and reminiscent of folk singers of old but without the trademark finger in the ear. They follow this up with the first of two instrumentals and ‘DLFN’, written by the bands Laura Barber and Dave Boston is certainly a bit of a shock. With Blackbeard’s dark bite it chugs along with a real foot slamming beat. The fiddle shines throughout and only adds to the somber mood of the song. Next up is title track ‘Leviathan’, written by Giddens it’s a song that verges (or even passes!) on folk-punk and steams along at a mighty pace with Stuart telling the story of the albino sperm whale known as Mocha Dick that lived in the Pacific Ocean in the early 19th century and went on to inspire the story of Moby Dick by American writer Herman Melville in 1851. This song shows Blackbeard’s Tea Party in all their glory as story-tellers as all the finest folk musicians truly are. The song plays out the excitement of the hunt while never shirking from the blood thirsty reality of a whalers life at sea where these mighty creatures may at any moment strike back and take the ship down. We now have another Boston/ Barber instrumental in ‘The Lost Triangle’. Again the fiddle shines and the darkness of the song evokes the bloody reality of life out at sea. At nearly seven minutes long the song is loud and bombastic and ends with a real doffed cap to the early days of English folk before speeding up again and ending with a real flourish reminiscent of 70’s folk/prog rock.. Leviathan! comes to an end with another traditional folk song, ‘Weary Whaling Ground’. The song is about whaling in Greenland during 1840-50. Again A.L. Lloyd recorded it for Leviathan! Ballads And Songs Of The Whaling Trade and his album notes sum up the feeling of the poor souls aboard ship better than anyone.
“Three emotions dominated the old time whalerman: exultion in the chase, a longing for home, and disgust at the conditions of his trade. This latter mood descended heaviest upon him when the fishing was poor and he became “whalesick” (like homesick, only sick for whales). The man who made the complaint for The Weary Whaling Grounds must have been very whalesick.”
Having added a second drum kit to the band it has given the band a much rougher and tougher edge and with dark material like this it works a treat giving it a doom and maybe even Gothic touch they never had before. Their may be only one new song here with lyrics but the band have turned out two extremely good original instrumentals and have taken two songs from relatively ancient times and breathed new life into them. That new song ‘Leviathan!’ shows the new found power of the band and their flair for storytelling which places them in a direct line from the likes of Ewan MacColl to today. There was a time when the folk purists (or snobs as we call them!) would have approved of Blackbeard’s Tea Party but maybe they are trying to distance themselves from the ‘party approved’ AOR folk of the likes of the Mumford’s but the move into darker territory suits them well.
Leviathan (2018) * Reprobates (2015) * Whip Jamboree (2013) * Tomorrow We’ll Be Sober (2011) * Heavens to Betsy (2009)
For more on the sea why not dip your toe into our Classic Album Series review of ‘Steady As She Goes. Songs And Chanties From The Days of Commercial Sail’. Released in 1976 the album is dedicated to the workers of the sea. Undoubtedly hard and very often tyrannical under many a vicious Captain’s rule. The workers said “a song is as good as ten men” and the songs were used in the manner of field work song’s. These shanties tell the tales of loneliness, the families these men left behind and the daily hardships of an unkind sea and nautical life.
Many of the albums featured in the series (here) come with free downloads.
Beer and Whisky fuelled bagpipe Celtic punk rock from Vancouver Island 5 piece The Grinning Barretts who deliver a range of originals from floor stompin’, table poundin’ trad Irish folk, to catchy, ‘waketheFup’ Irish punk anthems!
“Billionaires paying millionaires to tell the middle class to blame the poor
To keep them from our guillotines, torches and pitchforks
Billionaires paying millionaires to lie right thru their teeth
Filling empty heads with ignorance to justify their greed”
I likes it a lot! ‘W&B’ carries on in the same vein with a story of friendship but told in The Grinning Barretts own indeterminable way
“When the pot is getting hotter or you’re only treading water
I’ll be a life boat and ferry you home
Fuck your fair-weather friends I’ll be there till the end
Drinking whisky and pissing on their bones”
It’s great stuff and again catchy as hell and with a real foot slappin’ beat to it. There are no namby-pamby lyrics or feelings here just words as normal working folk would speak them. This is NOT a safe space!! Pat’s growl fits the bill and the chugging guitar accompanies the pipes perfectly here. Next is ‘Kudatah’ and there’s the slightest ever tinge of a ska beat going on. Obviously these guys can’t leave it all behind. It works as well as it so often does in Celtic-Punk.
The only Celtic instrument on display are the pipes but these Grinning Barretts are definitely an Celtic-Punk band. The use of the pipes is so entwined with the music how could they be anything else. Check out their full concert video at the end of the review for further proof. Another great example is their first cover with ‘The Wild Mountain Thyme’ as it’s never been played before. Something about this traditional Scots folk ballad just lends itself to Celtic-Punk and quite a few bands have covered it but The Grinning Barretts give it the full on punk rock treatment. They follow this up with a visit to Ireland and another, perhaps overdone, Celtic-punk standard with ‘Black Velvet Band’. The Bhoys adapt it to their own home and give it plenty of oompf and you may suspect a ballad is coming till the cobwebs are well and truly blown away and the song almost veers into metal but its the unmistakable tune of the original that shines through. We coming up to the final bend and its time for my favourite song and its an anthem dedicated to workers everywhere. A union song that would give The Dropkick Murphys a run for their money! ‘UFS’ is not just a union song though its a Join Your Union song. I come from a long line of militant trade unionists myself so love the sentiments here. If only we as workers understood our power is when we are together and that being in a union is a necessity these days. When you buy home insurance you don’t think your house is going to burn down and the same with joining the union you may think the bosses will always treat you fairly but history says your wrong. Do as The Grinning Beggars say and join a trade union today. Beers and cheers go from the band to Brooks Jamison for the superb guitar solo who delivered the goods in only three takes and asked only for beers for the pleasure. Finally The St Padraig’s EP ends with ‘To Your Name’. It’s the longest song here due mainly in part to Aaron Bergen’s fantastic bagpipe solo at the end of a classy punk rock number about always remembering you lost friends and comrades.
“To your name, we raise a glass
To the miles that we walked together”
As I stated these are words from the heart and from the street not the coddled university’s where the pampered offspring of the middle classes turn their fury away from the real enemies and onto the working class who have never profited from anything but have always lost everything.
All together we have seven songs with five originals and some novel takes on a couple of standards that you will never have heard played like that! Not a band for the faint hearted folkie but if you love your Celtic-Punk played with passion and pride in their class and their music then this EP is for you. The Grinning Barretts will drink your beer, and you will like it.
(listen to the whole of The St. Padraigs EP below on the Bandcamp link)
Buy The St. Padraig’s
Contact The Grinning Barretts
(full concert from last year at Logans in Victoria B.C. and as they say “Apologies for poor sound and dark lightning but it is a punk bar”)
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.
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
Contact Steve (via Steve White And The Protest Family)
You can catch Steve White And The Protest Family live in London this the weekend!
Facebook event here
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)
Buy Carmina Tristia
FromTheBand (Download only $1!!!!)
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.
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.
Buy A New Tartan
Contact Raise My Kilt
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!)
Buy Sometimes It’s Better To Not
Contact In For A Penny
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
Italian Celtic-Punk from the swamp influenced by the Dropkick Murphy’s, Flogging Molly, The Tossers, beer and a certain brand of Irish whiskey!
Tullamore were founded in northern Italian city of Pavia in 2007 and this EP is released to celebrate their tenth anniversary together. The EP’s title translated to English means ‘Ten Years On The Streets, Ten Years At The Bar’ and is pretty apt for a band named after one of Ireland’s premier whiskeys! The original idea being to bring together the traditional folk of the Celtic nations with good old fashioned Italian punk rock. The first incarnation of the band were together three years and released their first demo in 2010. Four songs that included the first song the band ever wrote, ‘Sogno l’Irlanda’ (‘I Dream Of Ireland’), the first song that Tullamore ever wrote and which these days they end all their concerts. As is the way with most bands members come and go and with a few changes in personnel it was decided that the band should move towards a more powerful celtic-punk sound with Albe abandoning electric guitar in favour of the mandolin and Iora becoming the bands vocalist leaving the bass in the hands of Sandrone, and at the end of 2011 Perni joins the band on electric guitar. In January 2013 Tullamore released their first EP of seven songs that showed the band’s potential and hit the streets running. Fast celtic-punk sung in Italian that got a great reception on release and is now available as a Free Download/Pay What You Want on Tullamore’s Bandcamp page- link below.
More band members came and went and the band began to play and tour a bit more often and started to make a name for themselves outside their home area. In October 2016 the band released their debut album titled ‘Palude’ (-‘Swamp’) and again it received plaudits from across the celtic/folk-punk scene. Now with a fiddle player added to the mix and even the odd song in English the LP is a successful mix of fast but not too heavy punk rock and trad Irish tunes. With a strong anti-fascist sentiment throughout the album the band pay tribute to freedom fighters around the world and produced a very good album of celtic-punk with their own sound.
And so the Tullamore adventure continues and at the beginning of 2017 original member Misu leaves leaving Perni on guitar and Bert is recruited on accordion. Today’s Tullamore are raring to go and to celebrate ten years on the road they have recorded this EP of five songs with three unreleased collaborations with friends, a cover and a re-recording of that first ever song.
Déš An Pr’i Strà, Déš An Int ál Bar begins with that original song ‘Sogno l’Irlanda’ and accordion kicks us off before the band jump in and its fast and furious music made for the dance floor. The balance between celtic and punk is just right and they are quite right to be proud of their first ever song. They follow this with the first of their collaborations with Bebe of Livorno based streetpunkers Urban Vietcong taking over on vocals but with a fantastic gang chorus of
“30 years old, another victim here’s to you, fire of freedom”
with the whole band singing along. The song is about the life of Mairéad Farrell. She was a volunteer in the Irish Republican Army who was executed in Gibralter in 1988 during a British Army operation aimed at preventing the bombing of the ceremonial changing of the guard. A fitting tribute. A documentary well worth checking out is Fourteen Days which examines the events that began with the SAS operation in Gibraltar that left three members of the IRA unit dead, including Mairéad and the chain of events that followed leaving a further nine people dead and more than 50 injured. The film is on YouTube here but for how long is anyone’s guess. The series of events would go on to define the war in Ireland for generations to come.
Next up is ‘Pronti ad Offendere’ (-‘Ready To Offend’) and features Alex Alesi on vocals and shows, like all the best celtic-punk bands, a more gentler side to Tullamore before the band launch into more spirited and manic celtic-punk. While the bands music has seen a softening Iora’s vocals remain firmly embedded in the punk scene giving Tullamore a much harder edge than many fellow celtic-punk bands. Rowing towards shore we have ‘Ribelle Senza un Perché’ (-‘Rebel Without a Why’) which again features a guest vocalist with Giulio from fellow Italian punk’n’Oi! band 5MDR. It’s all great fun and made for the dance floor before the Bhoys wrap it up with a cover of the auld Irish rebel song ‘Come Out You Black and Tans’. Sometimes it takes a non-Irish band to inject some life into a song and Tullamore certainly do that here. The song may be nearly 100 years old and covered by many in the folk scene but here its given a lift with Perni singing the verses with the band joining in the chorus over the snap of the drum to keep beat and get your Irish blood pumping! The lads have been over to Ireland countless times including last years celebrations for the 100th anniversary of the Easter Rising making friends young and old. A inspiring band!
Released last week this is a fantastic EP and a great way to celebrate your anniversary. As everywhere these days there are some fantastic Italian celtic-punk bands and the one thing I have noticed is that they all manage to bring their own sound to the genre and Tullamore are no different. Brilliant band with sound politics and one to mark out for greater things.
(you hear all of Tullamore’s great EP for **FREE** before you buy by pressing play on the Bandcamp player below)
Buy Déš an pr’i strà, déš an int ál bar
Four songs from one of the most original bands around that didn’t make it onto last years album but were still good enough to put out as an EP.
As their by line goes The Dreadnoughts are one part roaring sea shanty, one part haunting folk melody, and a solid chaser of gut-crunching street punk and that is as good a description of them as you could ask for! The Dreadnoughts are truly one of the biggest and most popular folk-punk bands in the world and they built up their audience and reputation from years of absolutely constant touring and four stunning album’s that only cemented their place in our hearts. Formed in the Downtown Eastside area of Vancouver, British Columbia, Canada in 2016 from the ashes of popular Irish-punk band Siobhan they changed and adapted their range of influences and soon they had become one of the cities best live bands. After taking on their home town and then Canada it was then time to spread their wings and they soon became a regular feature on the European gig circuit playing everywhere from England to Russia and in between. They didn’t quite leave behind their Irish roots but as the albums flowed it became less of the focus on them and from Legends Never Die in 2007 to Foreign Skies last year they have added the traditional folk music of just about every European country they have visited to the mix and while they still play with the wild abandon of the old days their is much more to them now than just celtic-punk.
Foreign Skies came out at the beginning of last November and takes all those musical influences and again mixes them all up but this time presents them in a concept album about the First World War that is both moving and poignant but, dare I say, also great fun to listen to. Sometimes fast, sometimes slow, sometimes acapello even with Irish, English and Eastern European folk and polka’s throughout. It could certainly be described as epic in my view.
LONDON CELTIC PUNKS REVIEW OF FOREIGN SKIES (DECEMBER 2017)
The album shows a side of The Dreadnoughts we had never seen before. You wouldn’t think their last album was called Uncle Touchy Goes To College would you? Have they matured? Well on this certainly but I very much doubt we have seen the last Dreadnought song about apple love and cider drinking.
Here we have four songs released on January 10th that didn’t quite make the cut on Foreign Skies. The band give no explanation as to why except to say they “still think they are pretty good and so we are sharing them with you”. Having listened to them the one thing I can report is that they weren’t dropped because of their quality they are as good on anything on the finished article but I suppose they were dropped to not fitting the scope of the album.
We start of with ‘Top Of The Hill’ which is the follow up to ‘Bay of Suvla’ from the album. Written by guitarist Nicholas Smyth it’s a five minute epic of a song taking in many of those influences already mentioned. A driving forceful rock number that is breathlessly typical Dreadnought territory.
“Faces down, eyes to front
you’ll get what you need boys
You’ll get what you want
fingers hard on biting steel
till theirs nothing left to feelSummer rain gonna set you free
bury the ashes under the sea
and the dawn will break across your skin
And wash away your sin”
It is set during the Battle of Gallipolli. The battle took place only a few miles from the site of the ancient city of Troy but the horrors unleashed in that battle rivalled anything seen then or since. Imagine spending eight months in a trench dug under some cliffs at constant risk from snipers, suffering from dysentery spread by flies hopping from decomposing bodies to your food. The battle was fought in modern-day Turkey but in 1915 it was part of the Ottoman Empire who were fighting alongside Germany. The plan was to land at Gallipolli and take the capital Istanbul. The plan did not work. In fact it was a disaster leaving over 200,000 Allied casualties with many deaths coming from disease. The number of Turkish deaths is not clear but it is generally accepted that they far exceeded 200,000. Next up is ‘Poor Michael’ a song about two blackbirds singing to a soldier ion France. The song is sung acapello without backing. This is something The Dreadnoughts can claim credit for within the celtic-punk scene with many bands now following their lead and including one or two tracks within their sets. As you can imagine it’s a beautiful song with strong voices and even more powerful words.
‘Cold Rain And Snow’ is up next and its a fast and catchy number written by the bands lead singer Drew Sexsmith who was always known as the Dread Pirate Druzil on previous albums. Like on the album the lyrics belie the upbeat music and I’m sure it will take a few listens for the words to penetrate. The EP comes to an end with ‘The Best Of ‘Em’ again written by Nicholas Smyth and its simply Drew accompanied by piano and a faint accordion. The song is a tribute to the best of them. Those that didn’t come home. I can certainly see why The Dreadnoughts put this EP out. They are four excellent songs that deserved a release but they must come accompanied by the album so if you haven’t got it yet then I suggest you get onto it as soon as possible!
(listen to the whole EP below on the Bandcamp player)
Legends Never Die- July 2007 (Golden Tee Record) * Victory Square- June 2009 (Stomp Records) * Polka’s Not Dead- October 2010 (Stomp Records) * Uncle Touchy Goes To College- 2011 (Bellydrop Records) * Foreign Skies- November 2017 (Self Released)
Buy Foreign Skies B Sides
Contact The Dreadnoughts
Yes I know it only seems like five minutes since the last one but it’s that time of year again when we give you, for what it’s worth, our opinion on who made the best music in the celtic-punk scene over 2017. It’s been another outstanding year for the music that we all love and some truly fantastic records came out in the last twelve months. So read on to find out who came #1! Remember though this is only our opinion and these thirty album’s are only the tip of the iceberg of what was released last year. Feel free to comment, slag off or dissect our lists. We don’t pretend to be the final word as that my friends is for you…
1. FLATFOOT 56 (Chicago)- ‘Odd Boat’ here
2. THE TOSSERS (Chicago)- ‘Smash The Windows’ here
3. THE BIBLECODE SUNDAYS (London) – ‘Walk Like Kings’ here
4. THE PEELERS (Canada)- ‘Palace Of The Fiend’ here
5. FEROCIOUS DOG (England)- ‘Red’ here
6. BLACK WATER COUNTY (England)- ‘Taking Chances’ here
7. THE O’REILLYS AND THE PADDYHATS (Germany)- ‘Sign of the Fighter’ here
8. IN FOR A PENNY (USA)- ‘One More Last Hurrah’ here
9. LES RAMONEURS DE MENHIRS (Brittany)- ‘Breizh Anok’ here
10. MATILDA’S SCOUNDRELS (England)- ‘As The Tide Turns’ here
11. KILMAINE SAINTS (USA)- ‘Whiskey Blues & Faded Tattoos’ here
12. ORTHODOX CELTS (Serbia)- ‘Many Mouths Shut’ here
13. UNCLE BARD AND THE DIRTY BASTARDS (Italy)- ‘Handmade’ here
14. THE SILK ROAD (England)- ‘S/T’ here
15. FLOGGING MOLLY (USA)- ‘Life Is Good’ here
16. THE LUCKY PISTOLS (USA)- ‘Where The Orioles Fly’ here
17. THE REAL McKENZIES (Canada)- ‘Two Devils Will Talk’ here
18. DRUNKEN DOLLY (Netherlands)- ‘Alcoholic Rhapsody’ here
19. CASSIDY’S BREWERY (Serbia)- ‘One Brew Over The Cuckoo’s Nest’ here
20. CRAIC (USA)- ‘Sounds Of Vandemark’ here
21. THE MOORINGS (France)- ‘Unbowed’ here
22. JOLLY JACKERS (Hungary)- ‘Blood Sweat and Beer’ here
23. THE SCARLET (Hungary)- ‘Hardfolk Shanties’ here
24. THE DISTILLERY RATS (Germany)- ‘Tales From County Whiskey’ here
25. CELKILT (France)- ‘Stand’ here
26. DROPKICK MURPHYS (Boston)- ’11 Short Stories of Pain & Glory’ here
27. O’HAMSTERS (Ukraine)- ‘Где бы мы ни бывали’ here
28. SONS OF O’FLAHERTY (Brittany)- ‘The Road Not Taken’ here
29. THE BABES (London)- ‘Greetings From London’ here
30. CHEERS! (Czech Republic)- ‘Daily Bread’ here
Just bubbling under:
THE TEMPLARS OF DOOM (USA), GHOSTTOWN COMPANY (Germany) McSCALLYWAG (Netherlands)
No surprise here at all as all four admins voted #1 for Flatfoot 56 and their utterly brilliant ninth album. Not only that but we also all gave second spot to The Tossers, making it a Chicago #1 and #2! The year began with news of two new Dropkick Murphys albums coming but we only got the one and it met with, well quite a muted response to be honest. Saying that they were fantastic live and they certainly added a new dimension to these new songs when played in the flesh. The list leans heavy towards the bands from these shores it has to be said but it was always going to be with bands we get to see live regularly. It’s especially fitting to see The Bible Code Sundays in there too. In a year when every ‘big’ celtic-punk band released an album the competition was great so well done to all. Keep them coming. If you are not here then it just means we didn’t all agree or even all hear it and maybe we didn’t receive it too. The amount of debut albums from loads of these bodes well for both the scene here and internationally with a great mix of bands from thirteen countries.
BLACK WATER COUNTY- ‘Taking Chances’
This was a very hard category to fill with so many new bands arriving on the celtic-punk scene this past year. Soooo many to choose from but in the end we pumped for our very own Black Water County who just pipped Cassidy’s Brewery and In For A Penny to the title!
1. BLACK ANEMONE (Sweden)- ‘In It For Life’ here
2. RAIN IN SUMMER (Indonesia)- ‘Discordant Anthem From The Gutter’ here
3. IN FOR A PENNY (USA)- ‘Every Day Should be Saint Paddy’s Day’ here
4. THE BOTTLERS (Australia)- ‘The Bottlers’ (here)
5. BLACK RAWK DOG (Indonesia)- ‘Suburban’s Folk Stories’ here
6. BogZH CELTIC CATS! (Brittany)- ‘Kazh al Lagenn’ here
7. THE CRAZY ROGUES (Hungary)- ‘Rebels’ Shanties’ here
8. THE McMINERS (Brazil)- ‘Tales of Betrayal and Deceit’ here
9. BORN AGAIN HEATHENS (USA)- ‘Born Again Heathens’ here
10. THE DEAD MAGGIES (Australia)- ‘Wild Dogs And Flannies’ here
Stand out winner here from Sweden’s Black Anemone which none of us were sure was either a big EP or a small album so we gave it the benefit of the doubt and placed it in here. Outstanding! Two representatives of Indonesia’s fantastic celtic-punk scene made up for no album releases from there last year and one band from a Celtic nation with the BogZH Celtic Cats! The Bottlers sneak in as they only sent it to us the week before Christmas. Glad they did though.
1. DECLAN O’ROURKE- ‘Chronicles Of The Great Irish Famine’ (here)
2. ShamROCKS- ‘Ye Ould Chariot’ EP (here)
3. CRIKWATER- ‘Crikwater’ (here)
4. BEOGA- ‘Before We Change Our Mind’
5. FOLLOW THE CROWS- ‘West is East’ EP (here)
6. PLASTIC PADDY- ‘Lucky Enough’ (here)
7. DAMIEN DEMPSEY- ‘Soulson’
8. GALLEY BEGGAR- ‘Heathen Hymns’ (here)
9. I DRAW SLOW- ‘Turn Your Face To The Sun’
10. ANTO MORRA- ‘From The Vaults’
Absolutely no question who romped home here. from the first time I ever heard Declan O’Rourke’s monumental album Chronicles Of The Great Irish Famine I was simply blown away. I simply cannot recommend it enough. Go and acquire a copy now. A mix of folk and trad makes up the rest of the list with a special mention for Ukrainian band ShamROCKS who play Irish folk as if they were naturals! We would like to feature more trad and folk on these pages in the future hopefully. Also Vince Cayo had a fecking brilliant album but was neither celtic-punk nor folk. Was tempted to make a separate list just for him!
MERSEY CELT PUNKS
This use to be the Celtic Folk Punk And More Best Celtic Punk Web-Site award so often did they use to win but last year it went to the new kid on the block, our good mates over at Mersey Celt Punks. Well we were in a bit of a quandary about who would win this week but then in the last few weeks of the year the Mersey Bhoys upped their game and won a unanimous vote. They finally started to use their Web-Site (here) and published a whole host of great reviews and things like a events/gig section. You can also join in their fun and games at Twitter and Facebook and we heartily recommend you do.
So there you go. Remember we don’t pretend to be the final word on things in fact if you check the other celtic-punk media I’m sure we’ve all come up with relatively different lists. Our Best Of’s are cajoled and bullied out of the four admins from the London Celtic Punks Facebook page. The assorted scraps of paper and beer mats were then tallied up over several pints of Guinness in Mannions. Not all of us heard the same albums so like all Best Of’s ours is subjective.
Of course we cannot go any further without mention of the saddest news of the year. That of the passing of Carlton , the drummer of The Bible Code Sundays. A friend of London Celtic Punks and an absolute diamond stand up guy he will be forever sadly missed by all who met him. We are grateful To Ronan for penning a few words for him.
We lost Carlton on 3rd November 2017 unexpectedly and it has left a massive hole in our family. Carlton joined The BibleCode Sundays some twelve years ago when we were still called Slainte.
His work ethic was second to none, he even dragged us into the studio to record our first CD, he did a lot of pushing in the early days and the Lord knows we needed it!
He was always the first to say yes to any gig, whether it was a small Irish pub like The Old Crown in Hayes or The Shawl or whether it was some of our bigger gigs. Over the years we played some fantastic gigs and venues, such as The Royal Albert Hall, New York’s Beacon Theatre, The House of Blues in Boston, Shepherds Bush Empire, The Roundhouse, Glasgow Barrowlands, Indigo at The O2, Glastonbury Festival, Finsbury Park, London Irish, on the pitch at Twickenham Stadium and at Celtic Park (the night Celtic beat Barcelona). We’ve played with Elvis Costello, The Dropkick Murphys, The Wolfetones, John Lydon’s Public Image Ltd, the Saw Doctors and he even got to realise a dream when we shared a stage with Thin Lizzy. They were minus legends Phil Linnot and Gary Moore but this mattered not to Carlton, his hero Brian Downey was still behind the drums. Carlton got to meet his idol and even got some Thin Lizzy drumsticks as souvenir, he was like an excited little kid that night. We did TV appearances on Sky Sports, BT Sport and even a live St Patrick’s Day performance on BBC’s The One Show.
We got to travel around on trips and tours all around the UK and Ireland as well as Germany, Italy, Spain and the USA to mention a few. This was all just topping up the stamps on his passport that he had accrued in his days with Bad Manners, Feast of Fiddles and The Melody Fakers and many more as he spent so many years on the London Irish music scene.
Not many would know that he also wrote poetry and song lyrics, they are very clever with pun-tastic wordplay and generally came out sounding like Bernard Cribbins songs with titles like ‘Breakfast Epiphanies’ or the Brighton-themed song ‘All Things Brighton Beautiful’. He used to always say
“I try to be serious but the humour always takes over”
He did, however, manage to pen two of the best songs on our latest album, he was very proud of his songs ‘Disorganised Crime’ and the beautiful ‘Clouds’. Drummers writing songs?! Whatever next?! He truly was the engine room of the band, a quiet and gentle man off stage who turned into a one man wrecking ball when he was sat behind his drum kit.
Things will never be the same without him but he would want us to and we will carry on making music and playing his songs.
Ladies and Gentlemen, on drums.. Mr Carlton Hunt
This is the 5th year of us making these lists so if you would like to check out out who was where in our previous Best Of’s then just click on the link below the relevant year.
We are not alone in doing these Best Of lists in fact all the major players in celtic-punk do them so click below to check out what they thought.
remember any views or comments we would love to hear them…
Sláinte, The London Celtic Punks Crew- January, 2018
Twas only a couple of weeks ago that we reviewed Flatcaps & Fisticuffs debut EP and low and behold straight after another one lands on our doorstep. This time it’s a Christmas themed romp and it’s also available as a *FREE* download!
We kind of compared them to Matilda’s Scoundrels in our review of their debut EP Raspberry Cheesecake (here) but releases in a month is even beyond Matilda’s level of prolificness! Poor Bing will be rotating in his grave as the Bhoys annihilate the old-school Christmas banger ‘White Christmas’ as your starter, lay into ‘Good King Wenceslas’ as the chicken-in-turkey mains and then shock us all, especially me, with a cover of Run-D.M.C.’s ‘Christmas In Hollis’ bringing down the curtain as the classic Christmas Pudding dessert. A trio of tunes that will be sure to get your nan swinging from a low-hanging branch of the Christmas tree!
(as filmed in one take!)
You can download Candy Cane for free from SoundCloud or the Flatcaps & Fisticuffs website but you can play it using the Soundcloud player below.
Download Candy Cane
“My socks, my socks, without them I’d be lost”
Fast paced with plenty of slow bits and a lovely gang chorus that’s easy to singalong to. It’s a bit daft but hey-ho give me the Toy Dolls over The Subhumans any day of the week. As stated already it has a tinge of Matilda’s Scoundrels about it with classic English folk and punk colliding and almost very nearly spilling over into celtic-punk.
On ‘Capo On A Jew Harp’ it’s more of the same if not punked up a bit but just as accessible and as catchy. The lyrics take a harder edge while still keeping the fun element. Politically directed lyrics but with a good sense of humour thrown into the mix is always going to be a winner. Bland virtue signalling has had its day and with the world seemingly on the brink every couple of months we want our politics to lift us don’t we? The final song here is a cover of the, frankly annoying, New Zealander Lorde’s debut single ‘Royals’. While her version is ok Flatcaps & Fisticuffs blow her away with the cobwebs with the catchiest little number here. The uke stands out loud and proud and it all has a bit of a celtic-ska thing going on. Seriously a fantastic number and enough here to keep fans of about five different genres delighted!
Raspberry Cheescake (where on earth did they pluck that name out of??) was released only last month and so we have been lucky to have found it so quickly. Flatcaps & Fisticuffs have made it available for free so just follow the link at the bottom of this review and I am absolutely certain you will be extremely glad you did. In this country we don’t have a wealth of bands playing this style of music so when one comes along its always a bit of an event and even better when they deliver something so special. So now that we have found them our next step is to get them on the short road to a London Celtic Punks gig. So here’s what to do… download the EP, find them and then like them on Facebook (link below) and lastly keep an eye out for them playing very, very soon. Enjoy!
Download Raspberry Cheesecake
*FREE* FromTheBand *FREE*
Contact Fisticuffs & Flatcaps
While plans are afoot to bring Fisticuffs & Flatcaps for a London Celtic Punks show you can catch them at The Horn in St Albans on 18th of January, Nottingham on the 27th of January for a Homeless charity fundraising gig (TBC) and in London for somebody else at the Finborough Arms in Kensington on the 3rd of February. See you at the bar!
The new four track EP from northern England folk-punk powerhouse Headsticks featuring the legendary voice of Mr. Crass Steve Ignorant.
On first listen to this you may wonder why its being reviewed on these pages. After all we pride ourselves on being celtic-punk and covering (or trying to cover) every aspect of the Celtic music diaspora. While this has seen us feature everything from trad to metal to hip-hop the one kind of music that we haven’t really gone into is what I use to describe as ‘festival music’. The sort of alternative folk-rock pumped out for the last few decades by the likes of New Model Army or The Levellers. But they do own, much like everyone in England!, some rather special Celtic credentials too with the bands roots firmly in the ashes of two much loved, and sadly long gone, celtic-punk bands ‘Tower Struck Down’, who were one of first English celtic-punk bands back in 1985, and Jugopunch.
Headsticks (not The Headsticks) hail from the once proud industrial town of Stoke once amed for the manufacture of pottery (the area is known as The Potteries), coal mining and steel making. All of the areas main industries are long gone having been decimated by successive governments of Labour and Tory who care nothing for the working class while they chase the votes and follow the whims of the urban ‘chattering’ classes. They have featured on this site before with reviews of their debut album, Muster and their follow up Feather And Flames. Both albums were very well received and have seen the bands star rise with each release and having graced the 0161 Festival in Manchester among others and even reached London several times, each time with a growing number of fans.
While there is nothing particularly ‘Celtic’ going on within this EP what you do get is four songs of expertly played catchy as hell and in-yer-face folk-punk with a biting and still humorous at times social commentary which takes well aimed strikes at those who blight our lives with their misrule while all the time knowing exactly who their music is aimed at.
“It’s a social commentary that the working classes can easily relate to…..we aim to make people stop and think with our songs and it does seem to do that! It’s not so much about smashing the statues and setting fire to the government buildings, but more of asking people to look outside their own bubble, basically to start giving a shit before it’s too late!”
The band describe themselves as “where folk and punk collide” and is as perfect a way to sum them up in five words as could be imagined. The songs start side 1 and ‘Big Game Hunter’ and features the unmistakable dulcet tones of the one and only Steve Ignorant of seminal English anarcho-punk band Crass. We have all seen the photos on Facebook of these utter shits standing next and smiling over the corpse of some amazingly beautiful animal they have shot from safety while on safari. While our hope is that they turn the tables on these monsters it rarely happens and ‘trophy hunting’ only seems to be getting more and more popular among the rich and powerful. Maybe one day they will doing it to us? The song has managed to catch both the typical sound of Headsticks and a couple of Steve’s better previous bands pitched somewhere between Schwartzeneggar and the Stratford Mercenaries.
“Arrogance personified, the abuse of wealth and power”
Side 1 comes to an end with ‘Dying For A Lie’ which gives its name to the record. The sad tale of war criminal Tony Blair and the lies. lies, lies that he told to bring us to war in Iraq. The song is catchy and a real head nodder for those of us well past our moshing days. Like a lot of their previous stuff there are touches of country music here and there and it all makes for an enjoyable romp with a nice fist in the air chorus to shout along to.
Flipping over we have side 2 and we are off with the fantastic folk-punk anthem ‘Soaps & Costume Drama’. The recent fad of fancy BBC dramas is a world away from the lives of most people and nowhere on this EP do the words resonate so powerful.
“She escapes into another costume drama, as she waits for her knight in shining armour”
Absolutely classic Headsticks and it sees the welcome introduction of one of my favourite instruments the harmonica too. The disc comes to an end with ‘You’re Killing Me America’, both a band and a crowd favourite re-recorded from the Muster album. It’s brought slap bang up to date beginning with Donald Trump’s voice starting the song off and I would say the rough edges are gone but I don’t think the old version had any but they have added something to it besides a few samples but its kind of hard to put your finger on it. It may have only acoustic guitar and harmonica as ‘folk’ instruments but Headsticks have an unmistakable traditional English folk sound that I’m sure would appeal to all fans of celtic-punk.
(a live version and without the samples and harmonica and extra flourish of the version on the EP but just to give you a wee taster!)
The whole thing comes in a package of a 10″ record on red vinyl that is quite possibly the most beautiful package we have ever received at London Celtic Punks towers. You don’t just get the record either with a whole bunch of stickers, postcards, lyric sheet and download code included. Having been around a bit I’m more than happy to see the resurgence of vinyl even if I do personally listen to most of music on my mobile! The band have also released a live album recently and we will be getting round to that soon but the urgency and honesty and just plain good old fashioned folk’n’roll from their album’s is still very much in evidence and while they may be heavy on the mind they are also light on their feet. An EP of four superbly crafted songs that reflect perfectly what the band represent- the place “where folk and punk collide”.
Buy Lies, Lies, Lies
Tower Struck Down WebSite here
Celtic celtic-punk and rock, rage and Celtic swing from Naoned.
Rearranged and adapted Breton rock, trad Irish and Scottish Celtic rock’n’roll punk-folk.
Released last month this is the debut release form the latest Breton celtic-punk band to grace these pages. Earlier this year we published a review of the great debut album from Sons Of O’Flaherty. In that review we told a faction of the history of Brittany so rather than go over it again hightail it here and learn a little of the story of this proud Celtic nation. The Breton’s have embraced the celtic-punk revolution with open arms and bands like Les Ramoneurs De Menhirs, The Maggie Whackers and Sons Of O’Flaherty use their Celtic heritage and music to push for more civil rights and recognition for their language.
BogZH Celtic Cats! were formed in late 2014 out of the ashes of famed Breton rock band Daonet by three of their former members. Daonet were a rock band playing dynamic rock music with celtic rock melodies with lyrics mostly in Breton embodying the image of a free, conscious and future-oriented Brittany. Hervé and Gilles were drummer and bassist in the Daonet and were playing in a rock and blues band Bogzh until they were joined by JJ, blues harp player and singer and Hervé’s brother, Fabien who also played in Daonet and Gilles son Gwenolé on both bass guitar and upright bass though not at the same time! The band started off with a repertoire of celtic-punk classics from the likes of the Dropkick Murphys and the Real McKenzies as well as adapting some traditional folk songs of Brittany, Ireland, Scotland and singing in a combination of Breton, English and French. Kazh al Lagenn is the bands first release and came out last September. Self produced and distributed by the band themselves it’s truly a DIY release and a sign of the healthy celtic-punk scene in Brittany.
The EP begins with ‘Ye Jacobites By Name’ a traditional Scottish folk song written in 1791 by the legendary Scots poet Robert Burns. The Jacobites were Scots rebels trying to return James II, the last Catholic British monarch, to the throne after he had been deposed by Parliament during the Glorious Revolution. The series of battles took its name Jacobitism, from Jacobus, the Latin form of James. With the defeat of the Jacobite army at the battle of Culloden in 1746, the union of England and Scotland was sealed, and this song is a call to the Jacobites to take up Scottish independence but with a more anti-war outlook. Recorded untold times through the years it’s a song that lends itself well to celtic-punk and BogZH Celtic Cats! give it a good seeing too playing with a heap of gusto with strong performances from all. Starting off with some lovely western overtones before the band jumps in and harmonica, pipes, electric guitar, bass and drum taking us firmly into celtic-punk territory. Fast and catchy before slowing down and speeding back up again before ending on a flourish. Gilles’s voice is powerful and backing vocals from the rest of the band are equally as strong. Next up is the EP highlight for me the extremely brilliant ‘An Avel’ ( meaning ‘The Wind’). I love harmonica and wish it was more widely used in celtic-punk circles. Sang in Breton the song is catchy as hell and harks back to the days of Daonet with a song fit to grace any rock bands set. We are in Ireland next for a song covered by just about everyone in the scene and it takes a lot to get much of a rise out of me for ‘Star Of The County Down’ these days but BogZh Celtic Cats! keep it slowish and rocky rather than punky and yeah it’s fine and faithful to the original.
Does the scene need another cover of this admittedly great song? Probably not but there’s a very good reason why songs like these are so popular and while we may be a little jaded on hearing it we have to realise that to fans of BogZh Celtic Cats! it’s quite possibly a new song to them. The pipes are the standout on the next track ‘Kenavo Da Viken Ma Breur’ (meaning ‘Farewell My Brother’) and in the longest track on the EP the Bhoys really go for it and at times it could drift off into Goth or Post-Punk but always Celt.
Dropkick Murphys ‘Prisoner’s Song’ from their Signed And Sealed In Blood album is given a faithful and if anything outCelts the Murphys on this great track. The EP ends with the lads version of the traditional Breton folk song ‘Son Ar Chistr’ and those elements are out in force again and it’s a winning combination for me. As a punk with a few Goth tendencies I love that that they aren’t just a straight up punk band but something a little different. Vocals on the EP are shared between JJ, Gilles, Gwenolé and Fabien and work extremely well.
A great way to start their recording history and another welcome addition to the Breton scene. With bands like this the Celtic revolution is in safe hands. While they may not be as celtic-punk as say the Sons Of O’Flaherty they have taken the rock sound of Daonet and embraced punkier elements to it and come up with something that actually sounds quite fresh to these ears. The only problem being that five songs is not enough and we want to hear a lot more from these.
(you can listen to Kazh al Lagenn for *free* on the Bandcamp player player below before you buy. Available as download or CD)
Buy Kazh al Lagenn
Contact BogZH Celtic Cats!
You should also check out THE FOLK’N’PUNK BRIGADE which is a local celtic-punk collective similar to London Celtic Punks. A group of friends and musicians from French bands The Moorings and Saints and Sinners and Breton bands The Maggie Whackers and Sons Of O’Flaherty- Facebook
Gilles from the band also runs an extensive Blog featuring both Daonet and BogZH Celtic Cats! as well as heaps of Breton and Celtic music so check that out here- WebSite
Legend of the Irish music scene Christy Dignam of Aslan teams up with Dublin punk band Hooligan on a new 4-track single released this week.
The moments when you meet your heroes stay with you forever and it was a chance meeting between Irish folk-rock legend Christy Dignam and a young David Linehan at one of Christy’s band Aslan’s gigs that has led to the release of this fantastic collaboration between Irish folk and Irish punk over twenty five years later. Meeting again recently David reminded Christy of the time when fresh back in Dublin after a stint squatting on the the Loughborough Estate in south London when David and a mate walked into a rehearsal studio in Great Strand Street, an alleyway near the Halfpenny Bridge, where unbeknownst Christy, who had not long left Aslan, was rehearsing with his new band. From being away David had noticed that the music scene in Dublin was far more snooty and elitist than in London
“imagine my surprise at instead of being told to feck off he said “c’mon in lads” and allowed them to stay watch them play a few songs. I was struck both by how friendly he was and the warmth and kindness of the man”
Christy asked if they had a band and said if we didn’t we should form one because if nothing else they looked the part! Just the kind of confidence boost any budding young artist needs.
‘(Justa Nother) Teenage Rebel’ is a cover of the much loved paean to the late 1970’s tale of familial teenage angst, originally released by northern Irish punk rock legends The Outcasts. Formed in war torn Belfast in 1977 The Outcasts were three brothers and two mates who came up with the name after being banned from local venues. Releasing their debut single ‘Frustation’ on It Records in May, 1978 they soon after signed to the Good Vibrations label who released “Just Another Teenage Rebel” in November 1978. The single rose to the top of the Alternative charts and the band received much radio airplay. The band imploded in the mid-80’s but with the sad death of founder member Colin Cowan the band got back together in 2011 and are still going strong now.
Approved by the two surviving Outcasts brothers, Martin and Greg Cowan, it’s a great choice of track and is part of a four track EP released on Reekus Records, home of Dub legends The Blades, who incidentally also released This Is which was the first record by Aslan over 30 years ago in 1986. Aslan are often thought of as
“the band to follow in the footsteps of U2 in conquering America”
and they certainly blazed high taking the Irish music scene by storm with their brash interpretation of Stones style rock’n’roll all be it with a very Irish twist. Formed in the working class northside of Dublin they seemed to be on the verge of worldwide fame and fortune before tragically imploding on the very day their debut single was due to be released in the USA in 1988. Dublin at the time was in the midst of a terrible heroin epidemic and young Christy was not immune to the same pressures as others in his home city. Unceremoniously fired from the band due to a spiralling heroin addiction that would haunt him for decades Christy left the band and though they tried to soldier on without him it wasn’t long before Aslan were no more. Silent for five years they returned and their music had become more refined and influenced by folk melodies. Fame again awaited them but as has been the Aslan way it’s been a rocky road intersperced with long periods of inactivity but always sustained by their loyal and large fan base. The band have released six studio albums as well as two ‘best of’ albums and have a list of smash hits that have topped the charts as long as yer arm. Aslan have forged a legacy that has seen them become one of Ireland’s most popular and enduring musical acts and as the bands motto goes “the lion is still roaring”.
So it was that shortly after meeting again all these years later David contacted Christy and sounded him out about the possibility of performing on the next Hooligan record. Christy jumped at the chance and ‘(Justa Nother) Teenage Rebel’ was born.
Hooligan have made a name for themselves releasing a pile of fantastic critically acclaimed EP’s over the years. Formed in Dublin in 2009 the band has been beset by member comings and goings but at last things are more settled and founder and guitarist/singer David Linehan is joined by the brand new rhythm section of Eoin Page on bass and ex- Paranoid Visions drummer Paul Price. ‘(Justa Nother) Teenage Rebel’ is yer basic classic 77 era punk rock. Chugging guitar and thundering bass with Christy’s distinctive voice driving it along. The following tracks are more of the same with Upstarts/Clash/SLF comparisons inescapable on ‘Generation On Fire’. Guitar driven anthemic Irish punk that leads us soon after into the tribute to Uncle Joe himself. The Clash influence is in overdrive with ‘Calling Joe Strummer’ with the spirit of everyone’s favourite public schoolboy coursing through it’s 200 seconds. The album ends with ‘Gang War’ and here Hooligan are at their best for me. Loud and brash and in your face with a catchy chorus and a killer punk tune that’s over before you can think what a great song it is.
Another fantastic EP to add to the Hooligan EP collection and you will be pleased to know that they will be making one of their regular appearances in London in a couple of weeks at the New Cross Inn dahn Sarf London supporting Splodgenessabounds on Saturday 4th November (Facebook event here) with a tonne of other bands including a rare capital show by London Celtic Punk faves Headsticks. The gig starts at 5pm and Hooligan will take the stage at 8-30pm so don’t be late!
Buy (Justa Nother) Teenage Rebel
Reekus Records (available as download or CD with vinyl coming soon!)
Irish style celtic-punk from Brazilian band The McMiners.
Yet another example of the international status of celtic-punk for you now with a great band hailing from Belo Horizonte in Brazil. It’s the sixth largest city in the country and in a country the size of Brazil that means its bigger than most counties over here! With over 2,500,000 in the city and over 5,000,000 in the surrounding area it stands to reason that their must be a bunch of celtic-punk fans with the talents to start a band and so in early 2012 The McMiners were born.
My previous knowledge of celtic-punk in Brazil has been confined to the absolutely brilliant band Lugh, who are in fact one of my favourites in the entire scene. To check them out why not go here and treat yourself! Both the Dropkick Murphys and Flogging Molly take in Brazil whenever they set sail to south America so the interest is there and seems to be growing. Their is a large Celtic diaspora of mainly Welsh and Irish in neighbouring Argentina and Uruguay that is well documented and Irish soldiers like William Brown in Argentina, Bernado Higgins in Chile and the St Patrick’s Brigade in Mexico played major roles in freeing their respective adopted countries from colonialism and gaining independence. Che Guevara, whose grandmother’s surname was Lynch, was another famous member of this diaspora. Guevara’s father, Ernesto Guevara Lynch, said of him
“The first thing to note is that in my son’s veins flowed the blood of the Irish rebels”
Whether or not the interest in celtic-punk is linked to any of this is debatable and it’s more likely the love of a good auld time and a few beers plays its part as well. It is safe to say though the Irish in South America are very proud of their roots and their history is one that should be known by all.
The first McMiners release was the County Cross EP which came out in April last year. It has passed me by completely until I came to write this review so I revisited it and have to say I expected it to be a bit on the rough and ready side but it was actually very good. It’s four tracks included a extremely well played instrumental, a celtic-punk version of ‘Johnny I Hardly Knew You’ and a couple of their own compositions, one slow and a fast sea shanty that would befit any ship!
So after having a couple of listens to that debut EP I sat down with a big mug of tea and a packet of biscuits to have a listen to their new release, Tales of Betrayal and Deceit. It’s taken a while to cross the oceans as it came out in April earlier this year but man am I glad that it did do! The EP kicks off with the instrumental ‘No Deal’ and if you were expecting something slow and traditional then you were as wrong as i was! It’s fast and manic and dominated by Nícolas great bagpipes. This is the kind of trad music to wake up the masses!
(here’s a acoustic version of ‘Left Behind’ rather than the one on the EP)
In ‘Left Behind’ McMiners bring out both accordion and fiddle and the pace is still right up there. The lyrics speak of the poverty in their country and the ones left behind while obscene wealth is being made by some.
“We are the ones
They don’t care
We are the ones
They forgot about
We are the ones
Hopeless and f’-d up
We are the ones
The first release from the EP was ‘Behead The Captain’ for which they put out a great video and the pipes and fiddle are out again in force for this really catchy number.
Great lyrics as they are throughout the EP with no sign whatsoever that English isn’t their first language. Like Lugh they sing in English and while this no doubt helps reviewers like me I really don’t think it matters. Ironically last week we reviewed the new album from London band The Babes where Mao the Singer/bagpiper sings several songs in Spanish! The next song ‘A Prologue / The Jack and the Black’ begins with the sound of the ocean and seagulls and Karl Mooney, accompanied only by a distant acoustic guitar, the Dublin born native and singer of fellow local celtic band The Celtas (here) reads a short piece about two brothers one of whom becomes a priest and the other a soldier before suddenly the band storm in kicking down the door and launch into a lovely big slice of celtic metal with chugging guitar and vocals that would put the fear of God into you. Again intelligent and interesting lyrics and an obvious step above the usual ones about drinking. The EP ends with another instrumental ‘The Clauss’ and while the opening instrumental was classic celtic-punk this is much more of a traditional Irish folk number. The song was originally an improvised session recorded on a phone with Luciano on tin Whistle and the band’s former piper Ernst on the accordion when Ernst left Brazil and moved to Ireland. Still close the band decided to record the song as a way to tell him they missed him. At the very end you can actually hear the original phone recording of the song! Two bodhráns are joined by accordion and tin whistle and shows the folk purist snobs that they can both play their instrument and write an exceptional traditional song too. Here is another band that Brazilians can be proud of and believe you and me a triumph of quality over quantity!
(you can have a listen to Tales of Betrayal and Deceit before you buy it for free below on the Bandcamp player)
Buy Tales of Betrayal and Deceit
Contact The McMiners
Founding fathers of Ukraine’s celtic-punk movement and the originators of ‘Stout Rock’. A blend of Irish, Scottish, Breton and Finnish folk with a variety of rock and metal styles.
Born in the Ukrainian capital of Kiev only a few years back in 2009 Ye Olde Chariot is the second release from ShamRocks and combines all the parts that made their first release so enjoyable. We waxed lyrical at how much we loved Captain’s Log. A mutual love of traditional Irish and Scottish music, Finnish polkas, ancient sea shanties and good old fashioned punk rock and metal that has introduced the people of Ukraine to some out of the best modern adaptations of classic folk songs out there. Taking traditional melodies played on the violin, mandolin, flute and accordion and mixing them up with head-banging riffs that are both heavy and danceable at the same time. That debut album was a collection of the best of ShamRocks songs since they were formed from their first demo to their last studio sessions mastered brilliantly to give it that ‘crowded pub’ feel. It was voted into 4th place in our end of year London Celtic Punks Top Ten Folk/Trad releases but could just have easily made the celtic-punk Top Ten as well!
(listen to their first release Captain’s Log below)
What we had to say then stands the test of time
“There is plenty here to upset the folk purists (or snobs as I prefer to call them) but these people would like to keep the folk music of our people locked up in a box. Put away and kept out of the hands of people who (in their opinion) don’t respect or cherish them as much as they do. Their way is noble yes but is also a surefire way to kill off folk music. They attacked the Dubliners and then The Pogues in their time and now fawn longingly over the bands they once called sacrilegious. ShamRocks have taken a bunch of songs and added so much more to them than by simply folking it along. That they are Ukrainian adds another dimension to them. An absolutely stunning album with the only tiny criticism I may have is that their’s not enough ShamRocks own self-penned songs and to that end they have already began work on a EP that may or may not develop into a LP and I for one can’t wait to hear it!”
Well a full album is still in the works so in the meantime ShamRocks offer up this five track EP for us and again to say it is very good would be a massive understatement.
Ye Olde Chariot begins with the sound of an ocean before morphing into, appropriately, an olde sea-shanty, ‘Roll The Old Chariot’. Originated as an African-American spiritual it was used as a ‘stamp-and-go’ or ‘walk away’ meaning the sailors would hold on to the line and walk with it creating a steady pull. The song starts off in an acapella style before the mandolin is introduced and just as you are lulled into the gentleness of the song BANG ShamRocks launch into the celtic-punk version and the cobwebs are well and truly blown away!
Fast and carefree the song still maintains, as is ShamRocks style, very much the original folk song despite some great touches like a ska ‘ish’ beat at the beginning and the trumpet towards the end. Simply breath taking and easily the best version I have ever heard. Can’t tell you much about the next song titled ‘Пияка-Гультяй’ ‘cept it’s in Ukrainian and is fast and has a Eastern European sound. No matter how fast they play or how much punk or metal they inject into it it’s amazing that so much of the original folk songs survives. We are only three songs in and ‘Der Stern Der Grafschaft Daun’ is yet again a real eye opener and when I say that I’m a little jaded after hearing yet another celtic-punk version of ‘The Girl From The County Down’ I mean it. But this is different and as the band say themselves it’s
” an all-time favorite folk song frankensteined into an industrial metal number”
Well that was until I heard ShamRocks version. I thought I’d heard it played every which way imaginable but I was wrong! Yeah a metal version but once again never straying too far from that original.
Next up we have a instrumental called ‘Topor Polka’ and it’s extremely well played with great fiddle work and accordion alongside the driving electric guitar, bass and drums. I daresay this is a real fans favourite live and it may steer more towards their own side of the world rather than Celtic but we don’t hold a monopoly on the best music and I love to see bands adding their own influences into the mix. Ye Olde Chariot comes to an end with ‘Kiltartan Cross’ and it’s a beautifully ballad based on the poem ‘An Irish Airman Foresees His Death’ by the famous Irish writer and nationalist W.B.Yeats. The words are worth repeating so here they are.
“I know that I shall meet my fate
Somewhere among the clouds above;
Those that I fight I do not hate,
Those that I guard I do not love;
My country is Kiltartan Cross,
My countrymen Kiltartan’s poor,
No likely end could bring them loss
Or leave them happier than before.
Nor law, nor duty bade me fight,
Nor public men, nor cheering crowds,
A lonely impulse of delight
Drove to this tumult in the clouds;
I balanced all, brought all to mind
The years to come seemed waste of breath,
A waste of breath the years behind
In balance with this life, this death”
Though he may be fighting for Britain the airman’s heart is at home in his Irish village of Kiltartan. Written not long after the end of the First World War where many Irishmen died fighting for the British Empire their lives would have been better served fighting at home. Serge’s vocals are mournful and timeless. They convey the emotion of the words perfectly and the band’s backing is perfection too with the flute taking the lead through most of the song and so the EP ends very much on a high note.
Now there are many bands out there who steer clear of the usual well worn covers and prefer to do some research or delve back into their childhoods for inspiration and we always love that but most of the time these bands hail from within the Irish/Celtic diaspora. The amazing thing about ShamRocks is that they don’t. They don’t and yet the respect and affinity they have for Irish music is clear to anyone. As mentioned no matter how hard they rock out there is still the unmistakable sound of traditional folk music behind them. They have produced here eighteen minutes of exactly what I think of when I think of celtic-punk. Modern music but with both feet firmly planted in the past and there are many many modern Irish bands who could do well to learn from ShamRocks example.
(have a free listen to Ye Olde Chariot on the Bandcamp player below before you purchase. It’s only $3 which is super good value believe me!)
Buy Ye Olde Chariot
Contact The Band
Cascabel’s European tour sees them heading to London, Liverpool and Ireland (as well as Germany and Belguim) in just a few days so be sure not to miss this fantastic celtic influenced folk-punk band playing live in or near your town!
Anyone out there remember seeing the great Mickey Rickshaw play on their European tour in January earlier this year? Well I only mention it as the stripped down band that made it over this side of the Atlantic from their home in Boston, Mass sound remarkably similar to this bunch of Slovaks on their second EP Blood, Wood & Rats. Five songs of beautifully played acoustic punk rock with some of the most amazing fiddle you will ever hear on a band featured within these pages. Released just last month Blood, Wood & Tears is Cascabel’s second release after their debut Coffee Tellers and on listening you can hear they have got better and better as a band every step of a road that has taken from their home in Banská Bystrica in Slovakia in the heart of Europe.
Another top quality Indonesian celtic-punk band belt it out of the ball park with their new EP! Black Rawk Dog continue the Indonesia love in…
Just a couple of days ago we reviewed a great EP from an Indonesian celtic-punk band (here) and low and behold just like buses up rolls another one five minutes behind! As with Rain In Summer we first came across Black Rawk Dog on the absolutely superb Indonesian celtic-punk compilation ‘Wind From The Foreign Land’ from 2014. Fourteen tracks from fourteen different celtic-punk bands from across Indonesia and from right across the whole celtic-punk spectrum from folky traditional folk to celtic-Oi! and hardcore it’s all there and is definitely one of the best album’s I have ever heard. We described Black Rawk Dog then as
“fast paced fiddle and mando punk played at breakneck speed with gang vocals”
and on the basis of Surburban’s Folk Stories I can see no reason to change that!
(The EP teaser a collection of videos by friends of the bands showing them hanging)
The Black Rawk Dog story begins at the end of 2010 when a group of Sidoarjo friends become interested in and decide to take up an unlikely form of music for youths in their country. It takes a while to get going and in November, 2011 they begin their journey playing with another of Indonesia’s celtic-punk greats Skarockoi! They began to invite some of the other great bands from around the country to play in Sidoarjo and soon enough they were being invited to play around the country as well leading to their performance at the Jogja Celtic Punk Night. BY now the band had set out to find more about traditional Irish music and the wider celtic music scene in Indonesia and Black Rawk Dog were now firmly on their way to transform from a punk band with folk instruments to a fully fledged celtic-punk band. A skinhead mate suggested ‘Black Dog Conspiracy’ as a band name and somewhere along discussions they ended up as Black Rawk Dog and set out to take Indonesian celtic-punk to the masses!
Surburban’s Folk Stories was sent to me by an old mate on Facebook Jr Miko from the record label that released this and pretty much everything Indonesian celtic-punk related. The first thing that strikes you on listening to this EP is how much energy the band has. If it’s possible to tell how much fun a band has through listening to them on record then here is the best example I have heard it quite a while. They roll out all the celtic instruments to kick start ‘Brand New Day’ the opening track.
Tin whistle, bango, fiddle all leading the song with vocals shared among the band and a real Dropkick Murphys singalong going on. Now the band sound more like Flogging Molly than the Murphys but the songs do remind me of them more somehow. A fantastic start to the EP and the sound of quality Irish folk music fills the air on the second track too. ‘Work Proud’ is again sung in English and is nice and clear and just on the right side of punky gruffness. Again its fast but without losing the folky sound and the ‘Woah Woah’ gang chorus is great. The celtic instruments are out in force again but the whole band is on top form here with nice drumming and guitar. Now regular readers will know how i wax lyrical about the most under-rated instrument in celtic-punk, the harmonica. My uncle Pat bought me a mouth organ when I was a kid and though I never did quite master it I still love the sound. ‘Still One’ slows it all down a little and the harmonica kicks it off until more gang ‘Woah Woah’s come in and beautiful guest female vocals take the song slowly up in tempo into a fast and frantic hardcore celtic folk punk number. The song ends with a high kicking blast that comes with a tinge of country included. More than half way through the EP and I am absolutely loving it. Play this in a bar in Dublin, London or NYC and tell the regulars these are a local band and you’ll get no argument I am sure. In fact the way that Black Rawk Dog have taken to Irish music would put most Irish bands on the island of Ireland to shame. Indonesia is a 80% majority Muslim country so great to hear ‘Rumble In The Bar’. Celtic-punk as our header states is music of rebellion and resistance and great to hear Indonesian’s playing it as well as anyone else, and sometimes better. Starting off with banjo it all turns into a massive ceilidh and like some sort of Irish-punk-celtic-hoedown with more gang vocal chorus and fiddle to die for. Super production here on all the songs and the music is flowing as the beer is flowing out and sadly the EP comes to an end with ‘The Old Man Stands Alone’. Expecting a slow maudlin ballad Black Rawk Dog kick out the best song on the record that takes me right back to to the days of The Pogues. Whoever is sharing their record collection with these guys is doing a fantastic job and I’m left wanting to hear more from this great band.
All the songs here are penned by the band themselves and if I had any criticism it would be that it’s only twenty minutes as I am now desperately wanting to hear more from them. This EP is a perfect example of what can be done with a bunch of extremely talented musicians and a wish to move beyond playing bog standard punk music. This is easily as good as anything I have heard this year and I only wish that bands like Flogging Molly or The Murphys would put their hands in their pockets and get some of the bands from Indonesia over to the States for some exposure. How about getting them on the next Salty Dog cruise Flogging Molly?
Contact Black Rawk Dog
WLRV Records is a Yogyakarta based independent record label, focusing on celtic punk and punk. Started by YK Mass in 2012 we are here to support Indonesian Celtic Punk / Irish Folk Punk / Paddy Punk movement.
London based Celtic folk rock/Irish/bluegrass band with hard-driven vocals fused with guitar and mandolin mayhem, underpinned by riotous folk rhythms of rebellion, redemption and downright recklessness!
Formed in August, 2012 Follow The Crows are the latest in a growing line of bands playing in the London Irish-folk scene that have embraced some of celtic-punk’s harder edges. They have been playing regularly around London for a good while but so far apart from coming across them on Facebook we haven’t had the opportunity to check them out live in person as it were. Then this arrived on the doorstep, their new EP released last January and after just a couple of listens they have swiftly risen to the top of the list of bands I want to see.
East Is West is Follow The Crows debut release and begins with the kind of song that our description at the top of this review fits exactly. ‘Lay It Down’ starts with the sounds of the ocean before slowing morphing into a song combining elements of trad Irish, bluegrass and Americana that makes this EP a real winner. Catchy as hell and a real foot tapper.
Extremely well played by very good musicians and while there are no thrashy guitars, or even drums, it’s given that bit of edge by singer, James raspy vocals.
“Freedom songs don’t say anything
When you’re out on you’re own
With those big wheels turning
Those bridges burning
West is east high is low”
They follow this with the soft rock edged ‘As The Night Comes Falling’. Threatening at any minute to go flat out, and part of me does wish they would, but they reign it in and keep it nicely subdued. Coming off here as part Tom Waits- part Mumford with a dash of rock’n’roll it’s another great number. Third track here is ‘Black For The Crows’ and if you’ve ever heard the Murder Ballads album by Nick Cave then that’s the territory we are in here. Great song and though underpinned by Irish/celtic music influences seep in from everywhere.
“They rose up their banners for glory on high
Sounded the bugle beneath the blue sky
‘Freedom will follow when the day is o’er”
The EP comes to an end with ‘Quiet Land Of Erin II’ and for me they save the best for last. Ever so reminiscent of The Waterboys here I think. With James sounding a real ringer for Mike Scott. The vocals are almost whispered while the Crows get plenty of guests in to give the song a real full band sound once it gets going. More proof that Follow The Crows are fantastic musicians and with the songs to match to bring the curtain down.
“Oh father now she said
The curlew and the cuckoo’s fled
Troubled is the heart that you’re hearin’
Oh father now she said
They buried you among the dead
On the quiet, quiet land of Erin”
At the moment East Is West is only available as a digital download for now and priced at a very reasonable £3. It’s a great introduction to the band and if they want to stray away from the London pub circuit then a follow up album of more like this is a necessity and will surely achieve it.
(listen to East Is West by pressing play on the Bandcamp player below)
Get West Is East
Contact Follow The Crows
The Dead Maggies are a folkpunk band from Tasmania.
Hear tragic tales set to a lively toe-tapping hoedown of music that will make you dance, yell and folk till you punk.
Now here’s another chance for me to wax lyrical about the quality of of music coming down to us from the heights of the Australian celtic/folk-punk scene. Regular readers know my views but it doesn’t hurt to reiterate them again every now and then so here we go. The best music in the world comes from the Australian celtic-punk scene of that there is no doubt. We have been fortunate enough in London to have hosted The Dead Maggies before and fellow Aussies The Rumjacks and The Go-Set have blazed their paths through London several times each leaving behind a ever growing army of fans each time they play.
They formed in Hobart on the day of Margaret Thatcher’s death when a bunch of punk and folk musicians were celebrating and started jamming songs accompanied by plenty of home brew. It wasn’t long after that they were up on stage playing with some of the biggest names in Australian celtic-punk. This EP is the third release from The Maggies and follows in the footsteps of their amazing debut mini-album The Dead Maggies Sing About Dead People.
Released in April, 2014 it’s a fantastic way to begin with seven original songs/stories that tell the tale of Tasmania in a way that not many bands could do. Tragic tales set to a toe-tapping lively folk punk hoedown. The above is a link to the re-issue that is the same except with added fiddle. After this release they toured Europe including a week long tour here that took them as far north as Scotland and as south as London where they fair set the TChances stage alight with a set that had the sweat dripping off the walls! They followed this up with their debut full length album Well Hanged in November, 2015. We ranted and raved about this LP and it even mad #7 in the 2015 London Celtic Punks Album Of The Year (here). We ended that review with these words that are worth repeating
“Twelve tracks that explore the lives, battles, deaths and loves of ordinary people. The people whose history is being written out of the books. The history children don’t learn at school. History that is an embarrassment to the people who rule us and who are scared stiff of the inspiration it could once again provide to the ancestors of the original folk these stories are written about. Music to dance to, love to, cry to and rejoice. The Dead Maggies provide all this in spades and by telling of the dark and oppressive past of Tasmania that history will never leave us. Bands like this should be an inspiration to us all in the celtic-punk scene. Story telling is at the very core of our music. We have a glorious past and if indeed our music has any connection to the past we are forced to retell it in song. Thanks to The Dead Maggies for doing that and doing it so well”
So then what they got to offer in 2017? Well the year started with discussions about a Dead Maggies follow up tour of England which is now definitely happening people (but more on that later!). So with the band busier than ever and looking forward to the rain they released Wild Dogs And Flannies last week on Tassie record label Folk ‘Til Ya Punk Records.
It would seem on Wild Dogs And Flannies they have taken a break from tales of convicts and bushrangers and given us five tracks that deal in the here and now. The EP begins with ‘When I Die’ and its heavy stuff but put to a great ‘cow-punk’ back beat. Starting off slowly before the band kick in and give it us in spades. The subject of assisted suicide is not yer typical celtic-punk fare but that’s exactly why the Aussie scene is so well loved by us all. Never afraid to take on serious subjects or open their hearts. They follow this up with another serious subject dealing with domestic violence on ‘She’. Released last November with all proceeds from the song going to Tassie group SHE (Support, Help, Empowerment).
“One day will come liberty
But for my children, I would die to be free”
I love The Dead Maggies for their raucousness and unabashed celebration of dark things and here they show they can still put out a tune that makes you think. Show your support for SHE by downloading this song here for just one Aussie dollar.
They keep up the serious theme of the EP with ‘Goodbye Gondwanaland’ a slow acoustic number telling of the dangers of the coming (or has it already arrived?) environmental disaster. A beautiful song again designed to make you think and given that GTMongrel has one of the most distinctive voices you will hear in any genre its an emotional song given that added depth by his wonderful vocals. Gondwanaland was one of the two ancient super continents from about 200 million years ago. ‘Wild Dogs And Foxes’ is classic Maggies beginning with acoustic guitar and fiddle before the tempo shifts and we are back in the celtic-hoe down territory that we love. The curtain comes down and they finish with a flourish and a light hearted fast paced track ‘All My Flannies Are Broken’ with the whole band having a go at vocals. A flannie is a Aussie term for them tartan button up long sleeve flannelette shirts. A lovely ditto about getting them ripped in the moshpit. A superb end to proceedings.
So there you have it. Another masterpiece from The Dead Maggies. Five songs that stretch what they do in every direction possible. This is a band that can really make you think and while that is not always what you want (lets face it music is an escape from the trials and tribulations of life) you could always instead switch off your brain and just enjoy the excellent music!
The Dead Maggies deserve to be massive and while they are half way there in Australia you will get a chance to check them out on these shores this summer. The dates of the tour are yet to be finalised but they are booked to play at Outcider festival on Sunday 6th August and Boomtown on Saturday the 12th. The inbetween bits are being sorted now and in there will be dates in London and Kingston (provisional dates are Thursday 10th and Friday 11th) so if you want to be kept up to date check out the London Celtic Punks Facebook page and subscribe to our Events here and we will see you at the bar!
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Since we last reviewed The Dead Maggies there has been an explosion in Aussie sites concentrating on Celtic/folk-punk. Well two anyway. So if you absolutely obsessed with the Australian scene like me do yourself a favour and head over there now.
Australia’s folk-punk troubadour!
Just a few days before we review the new EP from Tasmania’s premier folk-punk outfit The Dead Maggies and it’s more of the same with more Aussie fare from Benny Mayhem. Not a name known to us till recently it would seem that Benny has blessed Europe quite a few times before as both a solo artist and as the shirtless, writhing front man of kick-arse smart alec punk rock party band Project Mayhem. He tours as both solo and with a band and if plans go to plan he will return to England with both in 2017 while inbetween Benny will be studio-bound applying the finishing touches to his latest LP.
From his home base on the west coast of Australia in Perth, Benny Mayhem has toured the world as a wandering troubadour and in England has gone from busking outside tube stations to the festival circuit in only two years. The EP begins with the title song ‘Song For Absent Friends’ and is an ode to the multitude of people that have helped Benny on his journey’s around the globe delivering folk-punk to the masses. It was in the Fuelled By Cider Studio in Somerset that Benny realised the three original songs delivered here needed the backing of a full band to realise their full potential. Returning to Australia he set about mixing the songs and gathering the right musicians for the job.
“Now I’m sitting in my room,
Thinking of times I shared with you,
And I wouldn’t be me today…
If it wasn’t for you”
He wrote the opener in a hotel room in the Austrian Alps and its poppy’ness’ and Cali-punk style belie its snow laden roots! It may not have much in common musically with The Dead Maggies but the Aussies seem to have cornered the market in great song/story writing.
(acoustic version of the full band song on the EP)
Benny and his acoustic guitar start the show next with the amazing ‘Mother Nature Will Have Her Revenge On Old Fatty’. Great well thought and inspiring lyrics as well as a great sense of humour. Listening to this song especially you can tell it would have worked as just Benny and that guitar but the band takes it into a different territory and will I am sure open many more doors for him.
“You’ll watch the jungle close in
Just as it always has before…
And the waters will rise
Just as they always have before…”
‘Bulwer Street Waltz’ is next and again it’s mostly Benny and his guitar with minimal but crucial backing from the band. A tale of mis-spent youth that ends with the absolutely fantastic line
“We were glared at in clubs
But we didn’t care
My only regret is that I didn’t dance”
What a line. I love it.
Song For Absent Friends ends with a class acoustic version of the Stiff Little Fingers standout ‘Suspect Device’. Jake Burns spits the original out with real bile while Benny plays it much calmer. Perhaps taking inspiration from Anto Morra who did an amazing job with SLF’s ‘Wasted Life’ proving you can do an angry song without an angry voice (here) Benny nails it regardless.
“Inflammable material, planted in my head
It’s a suspect device that’s left two thousand dead”
You can file Benny Mayhem in the folk-punk section with fellow Aussies like The Rumjacks and The Go-Set but just don’t be expecting the same celtic fuelled raucousness of said bands but more hook laden, catchy and contemplative songs from an artist whose journey has only just started. Whether that journey will lead him away from his trademark folk-punk sound who can tell but wherever it does end up you can be sure Benny will be delivering it straight from his heart.
French celtic-punk chicks band!
Four Girls Two Fiddles
Toxic Frogs are quite the anomaly within celtic-punk circles it has to be said. As much as i hate the idea of segregating bands into male and female it is refreshing to see a all-female band in the scene and standing tall too. Most of the time it seems to me that when ‘female’ music is brought up we are suppose to like it whether or not we do actually like it or not. The failed and discredited identity politics that handed the American election to Trump have ensured that people can no longer have an opinion on ‘certain’ things without being shouted at and labelled by hysterical bigots with no actually basis in fact. Anyway rant over and my point is that as a music reviewer my job is review music not ‘virtue signal’ to you all how right on I am by giving good reviews to bad or mediocre music just because the band fit someone else’s ideological pigeonhole. I don’t not have to worry about any of that shite here mind you as The Mermaids Song is abso-fecking-lutely fantastic!
I have heard plenty about Toxic Frogs in the short time they have been together without actually hearing an awful lot of what they have put out so far. Always on my list of bands to find out more about I just had never gotten round to it. Their 2015 album Kill The Devil somehow passed me by except for this review from Celtic Punk Folk And More here but they have kept up a steady stream of excellent videos that have at least introduced them to the wider celtic-punk scene if not me personally!
Formed in the east-central French city of Lyon in September 2014 Ella came up with the idea of staring an all girl celtic-punk band so started to advertise the idea and soon enough the team of girls was ready. Having already played fiddle for French celtic-punk legends Celkilt she knew the scene and as soon as they hit the practise rooms something gelled. Taking their name from the not so friendly nickname the English give to French people they began to make waves in the celtic-punk scene almost straight away but the question everyone wanted to know was did the band deserve the hype and the answer listening to The Mermaid’s Tale is undoubtedly a resounding yes!
The EP begins with the instrumental ‘Scott Is Back’ and what a start to proceedings. The band consists of electric guitar, bass and drums and some almighty fiddle playing. The music sits nicely on the fence between celtic-rock and celtic-punk and many a time could fall into each within a single song and the standout here is that amazing fiddle playing though that’s not to say the rest of the band don’t play their part equally as well. The song begins with a Scottish feel to it I think because of the Scottish style drumming before a more traditional Irish sound comes in. The songs builds to a breakneck speed and ends with a fantastic flourish. There are a couple of bands in the scene that have female singers like Irish Moutarde and Brutus Daughter but most of the the ladies are confined to backing vocals or taking the lead on ‘Fairytale Of New York’! The band sing in English and ‘Criminal’s Heart’ is pure pop-punk heaven. Much more of a folk-punk number until near the end when the celtic fiddle kicks in and leads the song until the end.
Title track ‘The Mermaid’s Song’ is up next and there’s some blatant metal overtones here which remind me of all girl punk legends L7. Again the fiddle comes in well after the song has established itself showing that Toxic Frogs could easily get away with being just a run of the mill rock band as well. Again the fiddle brings the last curtain down on the last couple of minutes. We are in celtic-punk territory with ‘Toxic War’ and the girls go about their job with a frantic fast paced song with plenty of gang vocal “Hey, Hey” going on.
Last year Katie out of The Mahone put down her accordion for five minutes to record the now infamous ‘F*** You’ for the Hunger And The Fight Part Two album and now Toxic Frogs can add to that with their own ‘F**k You’. At just over six minutes long its a bit of an epic and begins with a slow and soaring guitar rock solo. Ella comes in with her vocals and the music lifts and then all of a sudden we back with the more trad Toxic Frogs sound. A great song that never drags and a brave song to record knowing that celtic-punk fans much prefer short n snappy songs …unless they are ballads and then you can go for as long as you like. Shades of grunge are back in ‘Go!’ with the chugging guitar and the EP ends with the majestic ‘Violins and Hammers for Ever’. Yeah they save the best for last in my humble opinion. Like I said just a few lines ago I am a absolute sucker for a well played ballad and here Toxic Frogs manage it in spades. A beautiful song where Ella’s voice on this EP never sounds better. The best way to bring the curtain down at the end of a celtic-punk record without a doubt.
So an excellent record and good enough for me to leave you in a minute to go and check out their back catalogue as well. Seven great songs that clock in at over thirty minutes so probably long enough for us to call it a album seeing as it is longer than a few other 2017 album’s. Their is talk from our fellow London celt’s Urbankelt about bringing Toxic Frogs over to play so hopefully that will come off as they deserve to be seen far and wide.
Buy The Mermaid’s Song
Contact Toxic Frogs
Celtic punk rock from Raleigh, NC bringing a swift kick in the pants to Celtic Music. Something different, something rude, something drunk, something crude!
Rocking away out of Raleigh, the capital city of the state of North Carolina, Born Again Heathens play absolutely amazing kick-ass UK82 style punk rock with bagpipes. Born out of the ashes of the areas only celtic-rock band My Three Kilts the drummer and bassist from said band fancied something with a much heavier edge to it and so Born Again Heathens were delivered.
“Someone born into the world with no religion, who gets baptized as a child, learns about or experiments with other religions as an adult and then declares all region to be BS. This person may or may not still believe in a higher being”
Like most cities in the States the local Irish-American community is flourishing again after some rather lean years. The city boasts the popular Raleigh GAA Club which plays both football and hurling, a massive Irish festival, a branch of the Ancient Order of Hibernians, Irish dance and traditional music classes and enough Irish bars to give you blood poisoning if you attempted a pint in each one!
So it’s no surprise then that wherever you find the Irish community in America you will also find some top quality celtic punk bands and Born Again Heathens are one of the best I’ve heard of late. All the band are from Scots/Irish backgrounds like Andy the drummer whose Grandad came from the Shetland Islands. Now I do love my folk music and I love all kinds of celtic-punk from the more trad based to the hardcore versions, or you could say the Murphys to the Mollys even, but sometimes the folkier stuff just won’t cut it and your in the mood and need something to bang your head to. Well you can go ahead and place this EP in the latter section.
Kicking off with ‘Irish Goodbye’ it’s great old fashioned fast punk rock but just as you start to think what’s it doing in the celtic-punk section the pipes start up and you nod your head knowingly to yourself. That’s why. The pipes are played expertly as all the other instruments and the production here is quality too. Now a ‘Irish Goodbye’ is not something I knew much about before I saw it mentioned on an episode of The American Office. It means leaving a pub without saying goodbye. Now I’ve been known to do this myself but sadly without realising like the time I went to the toilet and came straight out the door and went home leaving my coat and bag behind me in the middle of winter!
Fast and furious with a real catchy feel to it with the bagpipes feeling really natural. This isn’t just a punk band with a bagpiper this is a band where the pipes are an integral part of what Born Again Heathens are doing. We are in for more of the same with ‘McIntyre’s Lament’ and the headbanging continues. More tales of the pub and a mate who can’t hold his drink. Even room for some fecking great metal guitar! ‘Wild In The Streets’ comes with a really well produced video and the songs sounds pretty damn good too. Most celtic-punk bands liken themselves to some sort of cross between The Clash and The Dubliners but here we have something a bit more different. Imagine if you would a hybrid of Manchester punk/Oi! trailblazers Blitz and Scots folk legends Silly Wizard and you’ll be much nearer the mark.
The vocals are sung in a sort of English accent which makes the Blitz comparison even more true. ‘Brass Tacks’ is the most traditional folk sounding song here. The pipes are pushed to the fore and lead the band along. I have rarely heard piping as good as this in celtic-punk and in ‘All My Friends Are Drunks’ the longest song here the Bhoys really get to drop the hammer. An absolutely superb song with influences washing in from metal and southern rock with chugging guitars and them wonderful pipes. The longer song really gives the band a chance to get into it and was I thought as good as it could get here till the even better ‘Stagger Alley’ came waltzing into my lugholes. Proving they aren’t just a two dimensional band they give us, for me anyway, the album standout. The catchiest of catchy choruses helps of course! The EP comes to an end with another great song ‘Sadie Hawkins Slam Dance’. In the states a ‘Sadie Hawkins’ dance is where a woman asks the man to dance with her, instead of the traditional way of man asking the woman. I found a hilarious explanation of the origins of the dance here. This could become the Born Again Heathens anthem I think.
So there you are. Seven songs that fly past at breakneck speed in just twenty three minutes. I think any longer and we, the listener, may not make it through! I been listening to a lot of folk music recently and after playing this two dozen times I’ve decided its time to dig out the punk music again. Seven songs written by the Born Again Heathens that have plenty of scope and influences from outside celtic-punk that only add to the sound. They are starting to make a name for themselves outside of North Carolina and they certainly deserve to if they can keep songs like these coming. Now wheres that album Bhoys?
Get The EP
Contact Born Again Heathens
North Carolinian’s pride themselves on their knowledge of the history and culture of ‘North Cackalacky’ but when it comes to this unusual nickname no one seems to know where in the world it came from!
From the land of pipes and drunx comes this new EP of streetpunk and Oi! from Galician band Union Blood.
“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”
“from the class, for the class, of the class”
Download- FromTheBand (First two track) For Vinyl- USA: CrowdControlMedia Europe: Oi!-Punk Spain/France: CROM Records
Will Tun And The Wasters carry on exactly where they left off except without Will Tun and with kind of a new name but still with plenty of that explosive folk’n’punk’n’ska rebel rocking they are renowned for!
We first heard of Will Tun And The Wasters a good few years back when I got a call out of the blue from someone begging me to let their band support The Dreadnoughts and The Lagan at Mannions in north London. They would even do it for free they were so desperate. Music to any music promoters ears so they were booked straight away. They arrived at the venue from universities from right across England and played a blinder, going down an absolute storm. Very young and enthusiastic, their energy was infectious as well as their music bringing with them equal doses of folk, celtic, punk and ska. Fast forward a few years and now mostly settled in Bristol they had become firm festival favourites as well as gigging and touring the length and breadth of these islands. Then all of a sudden vocalist Will Tun announced he was off. Nothing personal but it was time to get a proper job or something. Rather than agonise over what to call themselves they just dropped Will from their name and decided to just call themselves And The Wasters. I love it and think its genius!
Last year And The Wasters played the main stages at popular English festivals such as Bearded Theory and Boomtown Fair and also completed an extensive tour of Europe. Adding elements of Latin, dub and even jazz to their usual brand of folk, punk and ska played with accordion, trumpet and fiddle. So after a year of playing as And The Wasters this new 5 track E.P State of Repair is their first release post-Will Tun and stands up well next to their album release from September, 2015 The Anachronist’s Cookbook which came out not long before Will’s decision to leave the band.
The EP kick’s off with ‘Lions Share’ and this is proper what we use to call festival music. Catchy ska based music but with hints of something a bit more aggressive below. The trumpet is leading the way and the band gel fantastically well and it’s a grand start to proceedings. Jo’s accordion rears its head towards the end and if we thought they would be hampered by Will’s absence then we were wrong. Next is ‘Small Victories and it’s more of the same. Still catchy and music to get you on your feet.
They may have left their more overt celtic-punk/ folk-punk sound behind but it’s back with a vengeance on the re-cycling anthem ‘Reduce, Reuse, Rebel’ all being it smothered in a rather lovely ska beat with again some great trumpet playing. ‘Bound as One’ adds Balkan folk into the mixture and stirs it about. This band sure do catchy well before the EP wraps up with the slow ‘Intro Dub’. None of the rowdiness of before bit more of a head nodder this one!
The past few years have seen the band taking their feel good music out beyond the usual safe spaces bands normally go. This band would literally play anywhere they can so attached are they to the idea of DIY music. The idea that bands can do it all themselves without the need for managers, publicists or record deals. But don’t be thinking they are just some happy-go-lucky ska-punk band version of The Wurzels though. Their music is only matched by what they have to say. That attachment to DIY only echos their positive message of solidarity, friendship and collective action. The band live by their message and their beliefs, being active within the DIY music scene and by lending support to various good causes.
(have a listen to State Of Repair before downloading it for *FREE* below)
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CONTACT THE BAND