Visions: Motörhead – God Save The Queen

So today’s the day of our Queen’s Diamond Jubilee celebrations. It’s also my second wedding anniversary!

Enough about my personal life though. Here’s some things you need to know about Motörhead’s cover of one of the Sex Pistols’ biggest hits.

1. I’d wager it’s better than the Pistols' original. It certainly rocks more.

2. They bothered to make a video for it. And it’s quality, as they perform on a flotilla around ol’ London town.

3. Lemmy. Without a beard! But still the coolest frontman you’ve ever seen.

4. Yep, definitely better than the original.

But that’s my opinion. You can weigh in with your two pennies below. Once you’ve watched the video, that is. It’ll only take around three minutes of your time and it’s more fun that the day’s celebrations, that’s for sure.

Peter Clegg

This is not a tribute

For some reason, I feel compelled to devote time and energy to the subject of tribute bands – a niche of live music that really doesn't normally interest me and has no relevance to me as it's not a representation of incoming talent. With the greatest respect to these bands, as good as what they provide might be, I want to hear what the likes of Iron Witch and Zillah have got coming next, and not how good an impression of Phil Lynott a Thin Lizzy tribute act can do.

What has stirred the hornet's nest, so to speak, is my own gullability. I was drawn in by my local rock bar, The Parish in Huddersfield, putting out a status on Facebook asking how many people liked TURBONEGRO. The post got a fair few appreciative comments with one or two people perhaps wondering and suggesting The Parish were about to announce something big. I certainly did, I'm embarrassed to say. I wish I hadn't.

Maybe it was the fact Wheatus had just played there. Maybe it was because they'd had big acts in the last year or two. Maybe its because Turbonegro, much as I love them, haven't had as great a profile in the last couple of years as they did around the middle of the last decade, owing to ill health and the departure of frontman Hank von Helvete…to scientology. I'm fully aware they did recruit ex-Dukes of Nothing singer Tony Sylvester to replace Hank and they're doing the festival circuit this summer in support of new album 'Sexual Harassment'. But I could dream. Aside from the aforementioned Wheatus, the venue had recently lured Ginger Wildheart and Fleshgod Apocalypse among its big names to perform there. Surely, surely this was going to be the epic announcement the tease suggested.

Not so. Instead, what was announced was Turbonegra, 'the world's number 1 all-female Turbonegro tribute!' Several people appeared to like the announcement, others said they'd be on it in a shot. Out of respect I declined to comment further simply as I didn't want to appear to be criticising the venue's booking strategy (which I have no say in at all), and wasn't intent on upsetting good friends with my brutally honest assessment.

Which is as follows: Aside from the irony of an all-female Turbonegro tribute potentially singing songs such as 'Denim Demon' and 'I Got…(which I'm sure isn't lost on them), I really don't see the appeal. I've already seen the previous incarnation of Turbonegro three times, once at the Cockpit in May 2005 which I remember very well due to being on the verge of fainting from sheer sweat and heat exhaustion. That will probably be the Turbonegro experience for me that will never, ever be topped. But more importantly, the real Turbonegro are still very much active – why would I want to see a tribute act when I can wait for the real thing to come around again? And why would I want to tarnish such a memory by watching a band who, as good as they might turn out to be, will never be as good as the band they are imitating?

TURBONEGRO: THE REAL THING

Surely that's a conundrum that most music fans that live in towns that bands don't visit very often face. Do you save your money for the day your favourite band announces a tour within accessible reach? Or do you take a wild stab at that really similar sounding tribute act who play the area often? Who knows when Kiss will be back around town? The temptation to instead see Kiss Alive! Or Hotter Than Hell, for example, will always linger for those wanting a Kiss experience but not wanting to fork out the high prices the real Kiss charge. But again, I was lucky enough to see Kiss when they performed at Donington in 2008, an experience I will never, ever forget as long as I live. I even have the copy of the show on CD if I ever get reminiscent.

I'm not a rich guy. I'm comfortable but that's through hard work and prudent financial sense. I've saved for the gigs I want to go to and more often that not, get the necessary bang for my money. I will never disrespect what bands like Turbonegra, Limehouse Lizzy, Hotter Than Hell, Slack Babbath, Motorheadache, Live/Wire et al do, and one day, my opinion may shift. But, while their heroes/heroines are still going strong, I'd rather sit back and wait. I'm not going to regret missing any tribute. I might regret it if I didn't take my chance there and then to see the real thing live while they were in the UK, or while they were going. Fair enough if the actual band you're aping isn't around any more. 101% Pantera is one good example, considering the real Pantera will most likely never perform again owing to Dimebag Darrell's death. Even then, I'd never feel desperate to want to go and see them.

Maybe I'm being a prude. Maybe I'm losing sight of the fact that a tribute band isn't really going to make a lot of money out of their fan service, and that what they do is something they do well. Putting the effort in to be their heroes, performing to a range of spectators, not all of whom will regularly chuck themselves into a moshpit and more than likely have only the most passing of interests in rock music. More likely than that, they probably just want a good time, and who can blame them?

I'd love for people to chip in with their opinions. It's not the most pressing of topics on a blog that is constantly championing fresh new bands. But I personally feel I needed to put it out there, because my own gullability certainly set me up for disappointment – disappointment at which I needed to vent.

Peter Clegg

Visions: Primus - Lee Van Cleef

It feels like ages ago since Primus released 'Green Naughahyde', their first album in 11 years. At last, however, they have released an official video for the song 'Lee Van Cleef', which asks the eternal question burning on Les Claypool's mind - whatever happened to Lee Van Cleef? The question was apparently born out of Claypool's curiosity as to what became of the late Van Cleef, against the clamour for living legend Clint Eastwood, whom he starred alongside in some of the great Western movies in years gone by, including starring the villainous Angel Eyes in 'The Good, The Bad, and The Ugly'.

The answer apparently lies here. You see, if you watch 'The Good, The Bad and The Ugly' right through to the end credits, you'll see Angel Eyes reincarnated as a zombie. Apparently.

Peter Clegg

Dope Body - Natural History

Dope Body

Natural History

Drag City

The term 'punk' is more loosely defined than ever. Once a defiant statement of rebellion, its label has been applied to some many undeserving things that the lines of what is punk and isn't punk are more blurred than ever before. Evolution is a welcome thing but the watering down of punk's description certainly hasn't been. These days, unless you really sound and look the part and chime in with an acidic bark and a sheer defiance of authority, the next best attributable thing is probably to acts which exudes a hint of apathy and a smattering of could-care-less what you think attitude blended with a penchant for excess. That's perhaps how I could at least best sum up Baltimore's Dope Body, a quartet whose 'Natural History' is perhaps one of the finest dangerous, reckless and indeed careless statements of arguable punk today.

We Must Obey is one year old!

Holy crap. Little did I know when I started this little blog on May 23^rd, 2011, that it would be where it is today. Little did I realise I would have a nice little thing going on, with people from around the world viewing this little site and actually giving a crap about what I, and occasionally Michael, have to say, on subjects as diverse as rock, metal, live music, videos, popular topical culture, idiotic journalists, cake, beer, local issues, etc.

Planet Janet @ The Parish, Huddersfield, 28/04/2012

w/ Beretta Suicide, Hellbound Hearts + more

Disclaimer: This review includes a band that features my brother Davey on guitar. I don't give a hoot if you feel the review is somewhat slanted. Even if I'd have been born 5,000 miles away, been completely unrelated and not known a thing about any of these bands, these bands would have still rocked it as much as the below account details.

As with any gig these days, fatherhood takes precedent over the party, so my late arrival means I missed the first two bands (Escape Artist and Animated respectively), and only caught the last two songs of Hellbound Hearts' set. What I did see, though, I enjoyed. They reminded me of bands such as Backyard Babies and earlier Wildhearts, with some great classic synchronised rocking action on the frontline. Featuring ex-members of Terrorvision, expect to hear a little more about this band in the future.

Torche - Harmonicraft

Torche

Harmonicraft

Volcom

It feels like ages since we had a proper Torche release. That is, if you discount the quicker than a hiccup release 'Songs for Singles' in 2010. 'Meanderthal' would have been an appropriate mantra for the band following the release of that album, with the following full length held up by line-up changes, singer/guitarist Steve Brooks getting back together with old band Floor, and a split with Part Chimp last year that featured not one but three Guided by Voices covers. Good things come to those who wait, however, and 'Harmonicraft' is by and large the follow-up we all hoped for.

Feist/Mastodon - Black Tongue/A Commotion 7"

Feist/Mastodon
'Feistodon': Black Tongue/A Commotion

Warner Bros.

I just thought I'd add my two pennies on this given that despite not attending Record Store Day (due to personal responsibilities, not lack of support for the cause), I have managed to listen to this limited release 7" that caused quite a commotion (pun very much intended) building up to its release, not least because of the unlikely connection between Canadian songstress Feist and Atlanta, Georgia metal titans Mastodon, which developed following their respective appearances at the same recording of the Jools Holland Show last year.

Melvins - The Bulls and the Bees

Melvins

The Bulls & The Bees

Scion A/V

The Melvins feel to have been around an eternity, yet show no signs of letting up their prolificacy. Indeed, 2012 is setting up to be an even busier year for them, with the forthcoming release of the 'Melvins Lite' album 'Freak Puke' almost upon us, following hot off the heels of the Scion A/V-backed EP 'The Bulls and The Bees', once again comprising the quartet of Buzz Osborne, Dale Crover and the Big Business rhythm section of Jared Warren and Coady Willis. Now in the 29^th year as a band in one shape or another, the Melvins are still bang on form and firing on all cylinders, even if 'The Bulls and The Bees' isn't quite classic material, although still far better than anything you can do.

Every Time I Die - Ex Lives

Every Time I Die

Ex Lives

Epitaph

By now, the law of averages says that Every Time I Die ought to have a bad album by now. With each album comes a further upward swing in a seemingly endless trajectory skywards, and the amount of awesomeness their previous releases have brought coupled with their fans rabid enthusiasm and indeed, expectation, you could argue there might be one or two expecting ETID to hit a snag somewhere. Yet within moments of Keith Buckley yelling 'I want to be dead with my friends!' in the opening to 'Underwater Bimbos from Outer Space', its business as usual, setting the tone for 'Ex Lives' to become the best album of ETID's career to date.

I could easily leave it there having pretty much summed up that you need this album right now. But that wouldn't do the album's many highlights any justice. Keith Buckley's trademark wit is still rife: 'I refuse to be the only man/put to rest in a mass grave' ('Underwater'…) is one such delight from many and his voice lends itself to many other the album's catchy moments, of which I'm sure you'll be able to pick out.

Every Time I Die - Revival Mode (official video)

'Ex Lives' displays a huge range of ETID's influences old and new merging themselves to blistering effect. 'Holy Book of Dilemma' ups the speed and intensity, one of the heaviest songs on the record. The rockabilly beginnings to 'Partying is Such Sweet Sorrow' offer a brief respite but by and large this is perhaps the heaviest ETID record yet – Keith Buckley's howl at times conjures pure hell, evidenced by a blistering roar of 'I have declared a war' on 'Drag King'. For all its intensity, at times 'Ex Lives' does change the pace, and while fairly melodic in contrast to the majority of the record, the darkness of 'Revival Mode', with its catchy refrain of 'Thanks Lord/but I don't need any more/poor advice', is one of the record's stand-out tracks, while 'Indian Giver' even sees the band steering into Melvins territory with a hypnotic psych-tinged sludge riff.

It's still the same Every Time I Die we know and love six albums in, fourteen years down the line. Arguably their defining album, they're still loaded with swagger and packed with more answers than any questions that could be asked of them at this stage of their career, whilst making one unholy din. 'Ex Lives' is, to repeat, ETID's most accomplished album to date, still managing to stay one step ahead of everyone else when it comes to merging heavy-ass grooves and punk rock intensity with a bloody good time.

Peter Clegg

Buy 'Ex Lives' here

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Visions: Corrosion of Conformity - Psychic Vampire

The new Corrosion of Conformity video is like watching paint dry.

Just kidding. Or maybe not.

It's just a performance video but I'm digging the backdrop effects even if they don't contribute greatly to a video than doesn't greatly add to what is a cracking song from a cracking album. Scion A/V's last couple of videos haven't been that entertaining to previously - the Weedeater one for 'Mancoon/Turkey Warlock' was entertaining as hell. I just wish they could all live up to that standard.

Still, if you want anyone to do a performance vid, there ain't many who do it better than CoC.

Peter Clegg

Live Review: G.U. Medicine @ The Parish, Huddersfield, 23/03/2012

So that's your lot. Any of you ever hoping to catch G.U. Medicine live again, should you not have been in attendance here, have more than likely missed the boat. G.U Medicine signed off in style, delivering a typically raucous set to a packed out crowd in Huddersfield, rallying through a set comprising of their best material from over the years. Songs like 'Needles and Pins' and 'Alcoholocaust' hit the mark just like they always did and will always do, and damn you can headbang like always to 'Dirty Little Girl'. Original guitarist/vocalist Lee Storrar rejoined the band to sing 'Lords of Oblivion' and Mr. Shiraz vocalist Mikey Baird even got up at one point to sing 'The Right Time' with the band. It was a party atmosphere that embodied what the band were all about – sleaze, danger, booze, and all out rock action. The cans of Carling dotted around the stage should have hinted at that alone, if not the band's association with Jagermeister which has been prevalent over the last couple of years. Now the UK is one more quality rock band short. We probably can't hold out much hope for a G.U. reunion, at least not in this vein, but this was a fitting finale nonetheless.

Peter Clegg

Visions: Mark Lanegan Band - The Gravedigger's Song

Circumstances did not allow me to be able to go and catch Mark Lanegan on his recent UK tour, something which I regret for not having discovered it sooner. Nonetheless, he and his band have at least provided some (dis)comfort in the form of the new video for new album 'Blues Funeral's opening track, 'The Gravedigger's Song'. Right from the off, I felt a tinge of unease. Directed by Alistair Legrand and produced by Jack Richardson, this haunting bluesy number gets a befitting clip. Set in a house filled with ghosts, full of ghostly women and children staring blankly into your soul, often from nowhere, amongst other slightly grisly images of blood, taxidermy, and generally all things dark. Its a loving tribute to old-school horror films and certainly one of the more capitivating videos I've watched recently. Check it out above and indulge yourself in Legrand's mildly disturbing vision.

Peter Clegg

Josh Homme and Scott Reeder sue Kyuss Lives! Sad news indeed.

I sincerely wish the above headline was a work of fiction, but unfortunately the news is very true. Yep, Queens of the Stone Age and ex-Kyuss guitarist Josh Homme, along with former bassist Scott Reeder, have filed a lawsuit against Kyuss Lives!, the reincarnated version of Kyuss formed by former bandmates John Garcia, Nick Oliveri, Brant Bjork, with Bruno Fevery enlisted in Homme's former role.

The last G.U. Medicine show as we know it

Without question, Barnsley rockers G.U. Medicine ought to have become one of the UK's most successful rock bands. Their brand of dangerous metallized sleaze rock has won them a cult following who undoubtedly go rabid for their songs whenever they perform live. They released three cracking albums including the phenomenal 'Lords of Oblivion', unquestionably one of the greatest releases of 2010 and certainly one of the most overlooked too. Unfortunately, success has eluded them, not least because of our country's horrible music taste and limited label backing at best. Perhaps their best recent publicity came when, following the departure of their long time vocalist/guitarist Lee Storrar, they recorded a song with Rocky 'The Rockhopper' - that penguin, on vocals.

It's with a tinge of sadness I hereby report on the upcoming G.U. Medicine show taking place at The Parish, Huddersfield, this Friday evening (23^rd March). The gig is billed as 'the last G.U. Medicine show as we know it!' – at least, according to the poster. The reality is that G.U. Medicine appear to be calling it quits good and proper. Support is from Girlfixer and Black Hart Idols.

If anything is guaranteed about this final G.U. show, it's that its bound to be everything you can expect from a G.U. show – booze, sweat, headbanging and a damn good time. One last time. Get yourself down there and do far too many again.

Peter Clegg

Facebook event page & information here

Stubb - Stubb

Stubb

Stubb

Superhot

If one thing is certain about psychedelic rock and blues rock, it is that they will never die. Any style of music that can continue to pervade and influence some fifty or more years after bands started shoving them together in a drug-addled, scuzzy haze is obviously completely incapable of being killed off and might well outlive humanity. Until that day, we might as well continue to enjoy it, particularly when it comes to Stubb, a London three-piece comprising two members of the avant-garde grunge sludgers Trippy Wicked and the Cosmic Children of the Knight (in the form of the rocking rhythm section of Chris West on drums and bassist Pete Holland) and guitarist and lead vocalist Jack Dickinson. Sent to me a few weeks ago by the band, ‘Stubb’, their debut album, is something of a diamond in the rough.

Live Review: The Devil's Blood @ Moho, Manchester, 17/02/2012

Due to my poor timing and the journey taking longer than planned, we managed to arrive moments after Funeral Throne finished. Now, with only candles set up around a shrine in the middle of the stage, and droning atmospheric ambience for entertainment, we waited for what seemed like a long time. The 'scary music' was unceasingly dribbling out of the PA system, giving a restless and cheap feeling that probably wasn’t what The Devil's Blood intended. Not to worry, this at least gave me more opportunity to spend over three pounds a pop for cans of lager.

Eventually five very serious looking figures covered in mud, blood and adorned in tight leather pants enter the stage. The frontwoman or 'priestess' remains out of sight for the moment, while her brother, the creative and spiritual force behind the band, tightly harmonises and solos with the other two guitarists.

The guitarist closest to me chants to himself whilst staring directly ahead in a way that makes me think he might have seen action in ‘Nam. The Devil’s Blood haven’t ever given the impression that they do this for the love of music. Anyone who’s read up on the band will know that their objective is possibly more sinister and occult; it’s also of much less interest to me. Obviously I can’t speak for all as Ghost's recent success has shown; there seems to be a lot of people who find it fascinating. Still, The Devil's Blood were crazy long before Ghost started dressing up as necrotized Klan members and spouting their devil worship. The Devil's Blood’s explanation of their agenda and belief seems cryptic and long winded, but is basically aimed at instilling rebellious behaviour, and it’s no surprise to me that they ideologically align themselves with the likes of Jon Nodviedt from Dissection, whose beliefs lead him to shoot himself instead of making another fucking album.

The band's creation of atmosphere is the first thing to be emphasised. Songs seem to be more of a ritual than played track after track. Lengthy build ups lead into a sublime moment where songs such as 'On the Wings of Gloria' come in with a spine shattering bass line. This is where The Devil's Blood’s brilliance, which is their strength of their songs, becomes apparent. The vocalist stands close to the crowd, her arms open wide, beckoning, with wild hair and shrouded in smoke. Her powerful, melodic voice slices through the mix like a razor through flesh. It would be easy for her to over indulge, yet the performance fits the band's psychedelic rock influenced style perfectly, adding another dynamic that makes The Devil’s Blood special. Another is the bands ambiguity in terms of their musical design, their certainly black metal fans but draw just as much in their style from the likes of Fleetwood Mac amongst an array of trippy 70s rock. I find the band avoids mediocrity and distastefulness completely, even lyrically, on a subject I generally find to be arrogant and stupid. 'The Yonder Beckons' was certainly a highlight in the set, with the band at their most imposing, creating a powerful energy to the haunting march of the song, which gives prominence to the bands most powerful weapon which is their musical subtlety.

Unfortunately the electrical atmosphere these moments created did not last, and the band did not attempt to keep it flowing by moving on quickly. Jams inbetween and during songs were far too lengthy; there would come a point where the crowd, nodding along, would expect the start of the next song, and instead were subjected to another five minutes of solo trade-offs between guitarists. I felt sorry for the bassist having to hold onto what shred of a riff they were playing ten minutes ago. Although it would have worked in moderation, there were several point’s when I wanted them to stop fucking about and play a fucking song. It was a shame that these moments had to contrast so much with the great ones, and also with the band's ability to write songs with none of the bullshit or ego that was displayed live. This, combined with the venues' consistently bad sound didn’t stop the band from being an impressive, enjoyable experience and I left happy, also I'll know at what points to go to the bar when I watch them at Hellfest.

Michael Collins

Earth - Angels of Darkness, Demons of Light II

Earth
Angels of Darkness, Demons of Light II
Southern Lord

At this stage in their career, there's been so many words used to describe Earth's ever changing sound that there's pretty much no more superlatives available to describe them. So we'll keep it simple and describe new album 'Angels of Darkness, Demons of Light II' for what it is. Recorded at the same time as part I, 'Angels II' sees Earth supplying yet more lush riff-orientated sonic soundscapes, continuing down the drone desert blues path forged since their reinvention by mainman Dylan Carlson seven years ago now.

Van Halen - A Different Kind of Truth

Van Halen
A Different Kind of Truth
Interscope

The last three or four years in Van Valen's history have been relatively sedate compared to all the rehab, the acrimony, splits, reunions and fights that preceded this later chapter in their career. However tumultuous and public these events have been, Van Halen have not so much bounced back as they have carried on without a care, much like their touring strategy, which seemed focused on their home country. After all the rumours, the will they, won't theys, have they and haven't they's, Van Halen are back with their first album in 14 years, with ultimately defining vocalist David Lee Roth leading the line - the first album he's recorded with the band since rejoining VH back in 2007.

Disguised as Birds - Black Circles/New Demons

Disguised as Birds

Black Circles/New Demons

Phratry

This release actually combines two EPs ('Black Circles' and 'New Demons'), released in 2011 and 2009 respectively by Milwaukee rock trio Disguised as Birds, but Phratry Records have now put the two together for a vinyl release. Despite their combination, it does still feel slightly like two separate releases podged together, but that's only a minor complaint.