Category Archives: EP Review

EP REVIEW: BLACKBEARD’S TEA PARTY- ‘Leviathan!’ (2018)

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.

Blackbeards Tea Party from left to right: Liam ‘Yom’ Hardy – Drums * Dave Boston – Drums * Stuart Giddens – Lead Vocals, Melodeon * Laura Boston-Barber – Fiddle * Martin Coumbe – Guitar * Tim Yates – Bass

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.

Discography

Leviathan (2018) * Reprobates (2015) * Whip Jamboree (2013) * Tomorrow We’ll Be Sober (2011) * Heavens to Betsy (2009)

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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.

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EP REVIEW: THE GRINNING BARRETTS- ‘The St. Padraig’s’ (2018)

 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!

The Grinning Barretts hail from the town of Ladysmith on the east coast of Vancouver Island, British Columbia, Canada. The area was renowned for coal mining in the early decades of the twentieth century. As would seem to be the way with industrial workers it is coal-miners who have been traditionally the most militant and the area was famed for it’s militancy with many strikes and unrest as the areas miners battled the mine owners in an area at the time thought to be the most dangerous in the entire world. As around the world the bosses realised it is cheaper to import coal dug by children and modern day slaves and so the mines eventually closed but the ides that were forged miles underground by those miners still live on in the closely knit town where Pamela Anderson was born! The band formed in 2015 and after going through several line up changes have finally settled upon a steady line up. The St. Padraigs EP saw the light of day on St. Patrick’s Day just passed and the Bhoys already have a follow up release planned any day soon and a third release for later in the year. Out of the ashes of local ska bands The Kiltlifters and Street Prophets Union, Scot and Pat decided after a decade away from playing live music that the time was ripe and the area was in need of a kick-arse Celtic-Punk band so after roping in recruits from the local Pacific Gael Pipes and Drums corp. as well as from the local rock scene The Grinning Barretts hit the stages around Ladysmith and the rest is history!

The Grinning Barrettts left to right: Jeremy Fiddy- Drums * Bern Kinnear- Bass * Aaron Bergen- Bagpipes/Whistles * Dylan Wickham- Guitar/Banjo/Vocals * Pat Westmacott- Guitar/Mandolin/Vocals * Kevin Dougan- Bagpipes/Whistles

The EP begins with the pounding blue-collar working class anthem ‘Plutocrass’ and it’s hard and fast bagpipe punk from the get go. The sound is in the same vein as Yank bands Of Doom and Alternative Ulster. Yer basic standard catchy as hell punk rock played with superb bagpipes as an integral part of the music rather than just tacked on as an afterthought. The band call it “A shot at the rich bastards who own news outlets, and pay them to lie so they can get richer.”  

“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 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)

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(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”)

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

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

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

 

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

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

“Power in the wrong hands”

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

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

Buy Riot

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

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

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

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

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

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

Only One Team In East London

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

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

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

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

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

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

Download Fake News From Nowhere

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

Facebook event here

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Buy Sometimes It’s Better To Not

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

EP REVIEW: TULLAMORE- ‘Déš An Pr’i Strà, Déš An Int ál Bar’ (2018)

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 EP

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!

Tullamore standing from the left: Fra (fiddle), Teo (bass), Santo (drums) and Perni (guitar). Crouched from the left: Bert (accordion), Iora (vocals) and Albe (mandolin)

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)

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EP REVIEW: THE DREADNOUGHTS- ‘Foreign Skies B Sides’ (2018)

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)

This year gave us the ambitious ‘concept’ album, Foreign Skies, from Canada’s own Dreadnoughts. It was released to mark the 100th anniversary of the first world war (yeah, I know, the Great War ran from 1914-1918, so that includes 1917!), and features twelve original tracks all based on events, people and places that were part of that war. There are a few standout tracks, notably; ‘Daughters of the Sun’, ‘Anna Maria’, ‘Jericho’ and ‘Black Letters’. The rest is all good with the usual fantastic musicianship we’ve come to expect from the Dreadnoughts. The subject matter does make it a rather sombre listening experience, and while the feeling/belief behind the album is admirable, there is no getting away from the subject matter. An interesting work, but it won’t get too many airings at parties over the festive season.

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 feel
Summer 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)

Discography

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)

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LONDON CELTIC PUNKS PRESENTS THE BEST OF 2017!

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.

CARLTON HUNT

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.

CELTIC FOLK PUNK AND MORE

FOLK’N’ROCK

PADDYROCK

MERSEY CELT PUNKS

SHITE’n’ONIONS

MacSLONS IRISH RADIO

CELTICPUNK.PL

remember any views or comments we would love to hear them…

 Sláinte, The London Celtic Punks Crew- January, 2018

EP REVIEW: FLATCAPS & FISTICUFFS- ‘Candy Cane’ (2017)

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

*FREE* FromTheBand *FREE*

Contact Fisticuffs & Flatcaps

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Further Christmas themed fun with this London Celtic Punks Top Twenty

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

EP REVIEW: FLATCAPS & FISTICUFFS- ‘Raspberry Cheesecake’ (2017)

*FREE* download of the debut release of delicious country Folk-Punk from Flatcaps & Fisticuffs from the town of Berkhamsted!
Ukulele, mandolin, guitar, cajon, trumpet and a fragrant hint of rap!
You know when you have made it as a band when you find other bands being compared to you and so it is with Matilda’s Scoundrels and Flatcaps & Fisticuffs. They are by no means clones but I think you could easily bracket them in the the same style of folk-punk with a bit of celtic-ness! I literally found out about them this week so made the short leap to the free download and bloody loved it so thought I’d get in touch with the guys and find out what’s the score with them. Long, long ago is how it usually starts but not this time! Duncan the mandolin player had just arrived in England from South Africa and on meeting Ben the guitar player in a pub and over a few (!) beers it was suggested they start a band. The hardest thing about starting a band, I’m reliably informed, is to find a drummer but they already knew one so it wasn’t too long before they progressed from playing open mic gigs in pubs around Hertfordshire to making their own folk punk sound with uke, mando and other standard band instruments.
The band hail from Berkhamsted, a historic market town in Hertfordshire in the south of England. Now any new appearance of a band in England even remotely sounding just a little celtic-punk is a joyous event to us and so we were more than a little excited to press play and see if they warranted all this excitement.
…well I am glad to say it’s a blooming excellent EP and you’d have to be a right mug not to take them up on their fantastic offer of a free download of it.

Flatcaps & Fisticuffs left to right: Ben- Guitar / Backing vocals * Duncan- Mandolin / Vocals * Adam- Uke / Vocals * Ben- Drums * Will- Percussion / Vocals * Tom- Bass

Raspberry Cheesecake begins with ‘Socks’ and it’s right up my alley with this ode to yer man’s socks hitting all the right notes for me.

“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

WebSite  Facebook  Soundcloud  Twitter  YouTube

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!

EP REVIEW: HEADSTICKS featuring STEVE IGNORANT- ‘Lies, Lies, Lies’ (2017)

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

FromTheBand

Contact Headsticks

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Tower Struck Down WebSite here

EP REVIEW: BogZH CELTIC CATS!- ‘Kazh al Lagenn’ (2017)

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.

BogZH Celtic Cats! from left to right: JJ- Harmonica, Vocals * Maxime- Bagpipes, Vocals * Corentin- Tin Whistle * Gwenolé- Bass Guitar, Upright Bass, Vocals * Fabien- Folk/Electric Guitars, Vocals * Hervé- Drums * Gilles- Tenor Banjo, Guitar, Vocals.

(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

FromTheBand

Contact BogZH Celtic Cats!

WebSite  Facebook  Bandcamp  YouTube

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

The Celtic League is an inter-Celtic political organisation, which campaigns for the political, language, cultural and social rights, affecting one or more of the Celtic nations- Facebook  WebSite

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

EP REVIEW: HOOLIGAN featuring CHRISTY DIGNAM- ‘(Justa Nother) Teenage Rebel’ (2017)

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.

Left to right: Eoin Page, David Linehan, Paul Price. Front: Christy Dignam

‘(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!)

Contact Hooligan

Facebook  Soundcloud  MySpace

  • A fantastic overview of The Outcasts can be found here via Spit Records.
  • Great interview with Hooligan here from ‘Louder Than War’

EP REVIEW: THE McMINERS- ‘Tales of Betrayal and Deceit’ (2017)

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.

The McMiners left to right: Luciano Alvim- tin Whistle, accordion, backing vocals * Nathan Augusto- electric and acoustic guitar, backing vocals * Nicolas Ramos- bagpipes * Gabriel Finnegan Leão- bass, bodhrán, mandolin, lead vocals * Marianna Gray- violin * Guilherme H. Silva- drums, percussion. Special Guests- (not pictured) special guests on the album: Karl Malachy Mooney and Rafael Salobreña.

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
Left behind”

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)

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EP REVIEW: ShamRocks- ‘ Ye Olde Chariot’ (2017)

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!)

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FOLK-PUNK BAND CASCABEL FROM SLOVAKIA TOUR OF IRELAND AND ENGLAND 2017

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.

This entertaing five piece band already have a extensive tour history under their belt, including almost every European country, and now they are ready to wash up here with their quality upbeat folk punk music. Their mix of fast chords and catchy melodies is all performed solely on acoustic instruments with folk melodies and plenty of punk rock attitude.
Though they are far removed from any of the Celtic nations their music has an indefinable celtic air to it. As I said it reminds me a lot of the stripped down Mickey Rickshaw that played a short European tour earlier this year and not just that but singer Lukas doesn’t half remind me of Mikee from Mickey Rickshaw as well. Extremely catchy and real foot tapping country-Irish-folk from a band we must support while they are over this side of Europe. Their tour takes them to Ireland, England, Germany and Belgium and with gigs in Liverpool and London I’m sure the London (and Mersey) Celtic Punks will rally round. Their full tour dates are above but they come to us in the capital at The Bird’s Nest in Deptford, South London on Monday 4th September and the good news is that it’s free admission and Cascabel will take the stage about 9pm but check on the Birds Nest FB page (here) nearer the time or the FB event (here).

I’m sure I don’t have to tell London Celtic Punks how hard and expensive it is for a band to tour round Europe so take a good look at the tour dates and get onto your friends and share it with them or even get them to share it.
We are not a massive scene but we are certainly a good one with good people. We are a small family but we support each other like the best families do.
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EP REVIEW: BLACK RAWK DOG- ‘Suburban’s Folk Stories’ (2017)

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?

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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.

EP REVIEW: FOLLOW THE CROWS- ‘West is East’ (2017)

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.

Follow The Crows (left to right): James Cannon- Vocals, Guitar * Ben Sumner- Mandolin, Banjo, Lead Guitar, Backing Vocals * Dan Ferguson- Fiddle * Lawrence McNamara- Bass, Backing Vocals * Karl Hussey- Drums, Percussion

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)

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