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“I will chase you through the sea forever and ever.”

So the band known as Down I Go will soon be no more. What with various members emigrating to pastures new and shouting about wikipedia entries slowly getting a bit long in the tooth, they’ve decided to bow out gracefully. Or should that be ‘bow out as a thrashing, malevolent roar of deity-destroying rage? ‘Gods’ is their last release, following on from previous conceptual outings dinosaurs, disasters, robots and tyrants.

Despite only being 4 tracks and 15 minutes long, there is a lot going on during ‘Gods.’ Down I Go don’t scrimp on the experimentation, nor do they on volume or indeed on the interminable mood-swings. The way certain moments sway from lurching, post-hardcore to absurd brass segments, not to mention the changes of tone that at times seem fairly sudden, but beneath it all, you can hear the subtle shifts slowing creeping in beneath the sound of  their metallic dissonance.

The first track on ‘Gods’ deals with the goddess of the harvest, sanctity of marriage, the scared law and life and death. ‘Demeter’, is a ruthless and quite a scathing opening track, structured somewhat around the myth surrounding her involvement with Poseidon and his pursuit of her. There’s some lyrical trade-off between vocalist Pete and drummer Ben, with the former channelling an irrepressible tyranical bark, whilst the latter almost reaches a falsetto, with his ostentatious cry of “transforming yourself into a horse won’t protect you from my lusty sword!” (easily one of the best lines I’ve heard this year). ‘Demeter’ is a fairly ungainly song – it staggers and sways under this grungy, bass-driven scrape, complete with constantly squealing guitars. The rising wail around the minute and a half mark, morphs into yet more schizophrenic back-and-forth as well as the cry for the return of Demeter’s daughter Persephone from the clutches of Hades. The tone again shifts at the 2:20 mark and stays consistently solemn until the tracks conclusion. Gone, is the rage, the snapping, the System Of A Down-style word play. Instead, a melancholy, desolate piano takes the lead, whilst the vocals mournfully recite the same 4 lines: “trapped…living with Hades, stuck…in the underworld, curse…the pomegranate, it’s….winter forever.” For the somewhat tongue-in-cheek, hydra-head of music that is Down I Go, it’s some of their most different and challenging work.

I fail to see how any of my words can do the next track ‘Poseidon’ any justice, because the video is so superbly bat-shit insane. From the disjointed opening riff, to the sea-shanty bounce of its coda, it’s one of, if not the best thing they’ve committed to tape. The guitars sound completely filthy, with a proper de-tuned growl that’s been present in the Down I Go sound since they began. The screwed-up electronic crackles and yet more piano halfway through as the track plays the old ‘quiet, quiet, quiet-LOUD’ card perfectly. Shifting from the sorrowful wails of doomed sailors, it kicks back in with such tortured metallic fury and cackling destruction. There is also some wonderful gang-vocals near the end, coupled with blasts from a saxophone, that irrepressible metallic stomp and if the band ever decided to play live, a chant (“FREEZING! AND DROWNING! SPARE US, POSEIDON!”) that would even rival Turkmenbashi.

After hearing ‘King Herod the Great’ and ‘Dionysus’ both from Down I Go’s ‘Witness the Shitness’ b-sides EP, you can tell where some of the ideas for the more interesting vocals on ‘Atlas’ stemmed from. The hilariously barmy falsetto vocals give a slight ‘Mike Patton on helium’ edge and embrace a sound last heard on Dillinger Escape Plan’s ‘Irony is a Dead Scene’ EP. Credit to the poppy keyboard flourish around the 1.15 mark – absolute genius – never have keys and jagged hardcore sounded more in harmony. Whilst the song is about a struggle, namely Atlas carrying the weight of the world and ‘dispersing the weight of the planet’ there is also a lot of hope, that suddenly cuts out almost too soon on an elongated keyboard wail as if the world finally became too much of a burden for those shoulders.

Final track ‘Icarus’ relates the tale of the ill-fated engineer who flew too close to the sun (some say it was because he flew too close to the sea, soaking the wings resulting in his death) and fell to his death when the wax melted. Possibly the most acerbic track on ‘Gods’; ‘Icarus’ is nothing short of a snapping, snarling ball of disjointed bile and jittering unpleasantness. The second half of the track features the lines “WAX IS MELTING! FEATHING FALLING! DOWN YOU GO! DOWN YOU GO INTO THE SEA!” which is spat with such venom over some gnarly, sludge-metal that staggers and contorts like a wounded Minotaur before ending in a scrawling caterwaul of feedback and bizarre guitar squeals.

To conclude, ‘Gods’ is Down I Go going out on a high; their most accomplished work – a deity toping blast of unique and twisted metallic noise. Simply: unsinkable.

If you’re still not convinced that this is one of the most essential metal EPs this year, then head over to shelsmusic and order a copy right now. Alternatively, you can buy the download from shelsmusic bandcamp here.

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Links

Down I Go
Down I Facebook
Shelsmusic
Shels bandcamp

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By Ross Macdonald

The only person I could possibly ask is the legend of all things filth- Kunt and the Gang!  The ‘sick sick sick’ gentleman explained it’s actually a Royal Wedding between ‘Prince William & Kate Middleton’ and he would like to spread the word in a form of  tasteful ditty Fucksticks (Royal Wedding Souvenir Version):

His quest is to get the track in the UK top 40 and YOU can help!

Order between the 18th and and 23rd and it will count… But wait theres MORE! There are 6 other versions-  METAL version (feat. One Fell Down) is a particular highlight.

How do we order these blessed tracks I hear you plead? Simply download from Amazon, HMV or iTunes

Links are below:

Amazon with all 7 versions (make sure you buy as ’song’ not album’

iTunes

7 inch picture disk

Continue the celebrations by attending the:

FUCKSTICKS TOUR!
16/04 YEOVIL woods wine bar
21/04 SHIPLEY social club
22/04 OSWALDTWISTLE black dog (LEICESTER cancelled, sorry!)
23/04 SUNDERLAND the borough
24/04 NEWCASTLE trillians
27/04 LONDON nambucca
28/04 BRIGHTON caroline
29/04 your house?
30/04 CROYDON scream lounge

Currently there seems to be some issues with encoding/symbols appearing where there shouldn’t be symbols which has pretty much bodged up nearly all the posts on the site. I have no idea why, and because the tech guy is currently on holiday in Wales and is un-contactable, I’m left twiddling my thumbs as to why this has happened. I’m thinking there’s been a server move or something. Anyway, apologies for the problems, as for now updates will be on hold while I try and work out what has happened.

Cheers,

Ross, Editor

The Blood Brothers began in 1997, featuring vocalists Johnny Whitney and Jordan Blilie, drummer Mark Gajadhar, bassist Morgan Henderson and guitarist Devon Welch (who was soon replaced by Cody Votolato). They didn’t record their first album until 2000, having released a stream of 7” records (which were later compiled as the ‘Rumours Laid Waste’ Ep, which also features Welch on the cover). Their debut, ‘This Adultery Is Ripe’ was a raw, scrappy cluster of noise and epileptic shouting. Dual vocalists Whitney and Blilie were like two yappy little dogs, biting and snapping at each other in a blind fury. Two years later, the band returned to the studio to record concept album, ‘March On Electric Children’ a 9 song short story about the bleak lives of the characters Mr Electric Ocean and The Skin Army. This was the band’s first foray into utilising other instruments, aside from the standard guitar, bass and drum set up. Henderson’s use of korg synthesisers as well as a range of samples came into play, however, the terrifying highlight is the bizarre closing track that features only Whitney and Blilie sat at a piano. The pair alternates between mashing the keys, and screaming like unruly children to a rather Bugsy Malone-style, honky-tonk lead of flamboyant optimism. It’s a jarring, and disconcerting end to an album that took the template set by ‘This Adultery is Ripe’ and ripped into the notions of egotistical superficiality.

The band was soon snapped up by V2 Records and released ‘Burn, Piano Island, Burn’ in March 2003. With a bigger budget and nu-metal maestro Ross Robinson on board, it soon became their breakthrough record. Between ‘Burn…’ and ‘March….’ The Blood Brothers evolved significantly. For one thing, ‘Burn, Piano Island, Burn’ was twice as long as their previous release, clocking in at just under 48 minutes. Their style had changed considerably – the hardcore element still remained, but become tighter, reigning in more chance at experimentation and the extension of sounds. Songs like ‘God Bless You, Blood Thirsty Zeppelins!’ were cut into various scenes, shifting from alt-rock to fiery hardcore punk through razor-sharp time changes. ‘Every Breath Is A Bomb’ was the sound of a circus playing Black Flag songs via a Gay Pride Parade. ‘The Salesman, Denver Max’ spliced acoustic and stoner elements perfectly, whilst the slow burn of ‘The Shame’ and the chaotic noise-core thrash-fest of ‘Cecilia and the Silhouette Saloon’ emphasised just how far the band had come in creating something totally mind bending. It was a triumph and is often regarded as their best work to date.

‘Crimes’ followed a year later and saw yet more change. Votolato’s shrieking guitar was toned down in places, whilst more macabre sounds were injected into the fold courtesy of Henderson and Whitney as well as more percussive elements alongside Gajadhar’s drumming. The album had a subtle political message, targeting both military policy and the Bush administration, with the closing two tracks ‘Celebrator’ and mostly ‘Devastator’ critiquing the US military campaigns in Iraq and Afghanistan. ‘Love Rhymes With A Hideous Carwreck’ became a massive hit and was on regular rotation on the hard rock music channels, more so than ‘Ambulance Vs Ambulance’, which came out a year before. After touring ‘Crimes’ Whitney and Gajadhar worked on a new project called Neon Blonde; which mixed more electronica-based elements and dance-rock alongside the harsh punk of The Blood Brothers sound. They released the EP ‘Headlines’ in 2005 and followed it with their only album, ‘Chandelliers in the Savannah’. Blilie and Votolato joined with Nick Zinner of the Yeah Yeah Yeahs and Justin Pearson and Gabe Serbian of the Locust to form Head Wound City, a band described by Bilile as sounding like “The Alien and Predator’ starting a band instead of fighting each other.” The only recorded output is a 10 minute self-titled EP, which was also released in 2005.

After time apart with other projects, the band went back to the studio and recorded ‘Young Machetes’ their 5th and final album. The 15 tracker, would be their longest album to date. It was also a possible foreshadowing for their split; as it brought together all the various stylistic shifts the band had gone through since it’s inception. Songs like ‘Rat Rider’ and ‘Johnny Ripper’ harked back to the days of ‘This Adultery Is Ripe’ hardcore punk, whilst ‘Laser Life’ gave a nod towards the heavy use of keys and samples as heard on ‘Crimes’ and ‘Set Fire To The Face On Fire’ and ‘Vital Beach’ had elements of the band around the ‘Burn….’ sessions. Of course, their current sound was also in play: tracks such as ‘1,2,3,4 Guitars’ blended a sombre Radiohead-ish vibe of despondence with their caustic hardcore, whilst ‘Street Wars/Exotic Foxholes’ mixed ambient trance elements with a new-wave pop edge and ‘Giant Swan’ fixated on the celebration of large birds under a staccato rush of noise.

After two UK tours at the beginning and middle of 2007, the band was put to rest through a collective decision. Blilie stated later that the split was also down to “not being able to find a middle ground where everyone was happy” and generally just drifting apart.

What I admire about The Blood Brothers is their talent in creating such exciting music. Their shifts and alterations in sound over their 5 albums shows real progress in redefining their music and style. It was still heavy and discordant enough to engage those who liked the more raucous side, yet it had that dark pop edge and chaotic punk rock streak of scatter-brained insanity.

They basically destroyed what I knew about hardcore punk – they made all other bands in that spectrum of music sound pretty much irrelevant. Their music was harrowing – it stalked me. When I first got ‘Burn, Piano Island, Burn’ I found it such a difficult listen. I’d make it about halfway through and have to turn it off and just sit there thinking “shitting crikey.” I think if an album can make you do that, then it’s truly something special indeed. It was such a concentrated rush of unrelenting rage and wailing emotion, mixed with a dangerous fire of unhinged brilliance. I kept going back to it though, re-listening to certain songs over and over before moving on. It began to consume me. This was the only thing I’d listen to. I’ll always remember the look I received from my friend Tom who lived next door to me in halls who looked in during one of Whitney’s testicle-retracting screams – it basically said “you either lost your hearing ages ago” or “Ross seems to be listening to the soundtrack of someone having various vital organs removed through their nose.” – Possibly right on both accounts.

Their lyrics were largely nonsense, full of non-sequitur shouts and visions of warped depravity and at times, commentary on the current political climate, especially the material from ‘Crimes.’ A mythical place dubbed ‘Piano Island‘ was a regular lyrical feature; appearing in both their debut album and as a subject throughout most of ‘Burn….’ Due to the dual vocal attack, most of their songs were deranged conversations between Whitney and Blilie, trading lines with each other like two warring misanthropes and were for the most part, extremely unsettling once you deciphered their content.

It sounds cliché, but there will never be another band quite like them, (mostly because no-one in the world can imitate THAT voice) but they should feel proud to be one of the most experimental and influential bands associated with the post-hardcore community.

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Where are they now?

Johnny ‘sounds like a castrated choir boy being tortured’ Whitney and guitarist Cody Votolato joined with J Clark of Pretty Girls Make Graves to form Jaguar Love, a dance-punk/indie/weird beast – all camp screams and flamboyant mannerisms. Jaguar Love are now currently a two piece (Whitney and Votolato) and are set to release their second album, ‘Hologram Jams’ in March this year.

Mark Gajadhar, Morgan Henderson, Jordan Blilie and old guitarist Devon Welch have formed Past Lives, who’s debut album ‘Tapestry of Webs’ should be out soon. They released the EP ‘Strange Symmetry’ back in 2008.

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Video

Click on the player below to listen to ‘Cecilia and the Silhouette Saloon‘ taken from the ‘Jungles Rules‘ DVD.

Links

The Blood Brothers
Jaguar Love
Past Lives
Neon Blonde
Head Wound City

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By Ross Macdonald

Circle One Answer:

a) Yes.
b) Fuck Yes.
c) Sorry, I was too busy trashing the shit out of my house after seeing Mr Spencer fuck up that studio.

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Links

Jon Spencer Blues Explosion
Jon Spencer Myspace Explosion

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(Note, I’ll have something proper to put up in the next few days. Currently struggling with crippling writer’s block.)

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Band: Capdown
Time active: 1997-2007
Sound: politically-charged, fast-paced skacore. The band experimented with elements of dub, hip hop and hardcore in their sound, making them truly standout from the legions of other chequered-loving acts that surrounded them. Vocalist Jake Sims-Fielding saxophone playing was a particular highlight, as where his sandpaper larynx and unusual, slurred singing voice.
High points: their live shows were always a riot and they packed out toilet venue after toilet venue and lived on the road during their 10 years together. Debut album ‘Civil Disobedients’ is considered by many underground music fans as a benchmark in UK punk rock. Touring with many high-profile punk bands such as Less Than Jake, Pennywise and Lagwagon. Being part of the Deconstruction tour, an incredible live set at Reading Festival in 2001, and tours with Bad Religion and Hundred Reasons.
Low points: The six year gap between their second album ‘Pound For The Sound’ and the radically different sounding ‘Wind Up Toys’ was a killer. With a couple of superb singles and 1 live album released between then, their fanbase drifted and soon lost interest in what was once one of the UK’s most prolific bands.
Fast fact: The first gig I ever went to was Capdown at the lovely establishment known as Hitchin’s Club 85. It cost £4- great night that. Also, their name stands for Capitalist Downfall.
Recommended listening: both ‘Civil Disobedients’ and ‘Pound For The Sound’ are strong albums, with the former having a more scrappier, punk rock edge as opposed to the slight hardcore leanings of the latter. Plus, ‘CD’ has ‘Ska Wars’ the band’s notable anthem.
Where are they now?: split up in November 2007, 9 months after the release of ‘Wind Up Toys’. Bassist Boob and drummer Tim are both apparently working with Simon Wells from Snuff/Southport in a new band called The Maccalites. The whereabouts in the musical world of guitarist Keith, sax/vocalist Jake and keyboardist Eddie are unknown.

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Band: Lightyear
Time active: 1997-2003 (the band split up and reformed between 2006-2007 to play benefit shows.)
Sound: insane ska punk chaos from 7 men who would frequently get naked, use big cardboard pirate ships as stage props and generally twat about having more fun than any other band in the world ever. They retained a heavy, brash punk rock sound that was stuffed to bursting with parping brass and the quick-fire vocal delivery from vocalist Chas and trumpet player Neil.
High points: Their live shows, which were utter bedlam, plus like many bands of this ilk, touring their arses off. Shows with Capdown, Mad Caddies, Save Ferris and Nerf Herder, Suicide Machines and a place on the Concrete Jungle tent at the Carling Festival in 2002. They were also kicked off Steve-Os MTV Jackass tour for being too rowdy.
Low points: From a fan’s point of view; splitting up. From their point of view – very little. The toll of playing 300+ shows in 2 years must have drained and pushed the band to the point of exhaustion in their heyday.
Fast fact: I’ve seen Lightyear perform live on 8 separate occasions, which is more than any other band. Also, vocalist Chas signed a bit of paper to me saying ‘Clits, my dogs.’ What a guy.
Recommended listening: Their debut ‘Call of the Weasel Clan’ is a great place to start and is probably one of the most consistent albums I own in terms of quality.
Where are they now?: defunct, but probably ready to reform one last time, should the great weasel signal be displayed in the sky…

Visual: Click on the player below to see Lightyear dressed as Bully, MR T, Marty Mcfly and Egon!

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Band: Less Than Jake
Time active: 1992-present
Sound: despite several band members being hardcore metalheads, Less Than Jake’s sound is characterized by its third-wave ska punk tomfoolery and cheeky pop-punk bounce. Throughout their 17 years as a band, their sound has evolved into brass-tinged punk rock sheen from scrappy beginnings. Most of their songs stem from real life experiences and are about real people/areas in and around Gainesville where the band are located.
High points: Being one of the biggest and well-known ska punk bands in the world, Less Than Jake have built up a solid reputation in the mowhawk circles, thanks to their live performances, prolific song writing, solid back catalogue and commitment to their fans, not to mention the release of their 1998 album, ‘Hello Rockview.’
Low points: ‘In With The Out Crowd’, an album which saw them depart from their ska punk sound that flooded so freely through their past releases. However, their return in 2008 with ‘GNV FLA’ saw them combining this new pop-punk edge, with their brass backing to greater effect.
Fast fact: The band name stems from the dog of their drummer, Vinnie Fiorello. In Vinnie’s house, the dog was treated better than everyone else and the name was born.
Recommended listening: ‘Hello Rockview’ (not because it has ‘All My Best Friends….) but due to the fact it’s simply their best work, flows nicely, terrific selection of songs and the brass element has never sounded stronger. ‘Borders and Boundaries’ is also a great starting album, as is 1996’s ‘Losing Streak‘ for a more rough ska-punk edge.
Where are they now?: still going strong and are set to appear on the Vans Warped Tour this year.

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Band: Adequate Seven
Time active: 2000-2006
Sound: More funk-punk orientated than the ska leanings that other acts in this article display; but the A7 were familiar touring buddies of Lightyear and Capdown so they deserve a place. Riot-provoking hardcore funk, with a driving horn section, dancing trombone player and a superb collection of catchy, uplifting songs.
High points: signing to Household Name Records, releasing ‘Songs of Innocence and of Experience‘ in 2003.  Their touring schedule rivaled Capdown’s for shear weight of artists involved, including Hundred Reasons, Fishbone, Lightyear, Cypress Hill, The Slackers and European tour with the Suicide Machines (see SM feature here) They went on to release their second album through their own label, before recording a live album and then splitting up in 2006.
Low points: splitting up really! They seemed to be at the top of their game, but I’m guessing the stress and pressure of touring finally called an end to proceedings, which is a real shame.
Fast fact: Their debut album title is taken from a William Blake poetry book.
Where are they now?: Defunct. Although I’m reliably informed that some members are working on new bands (vocalist Jamie is in a metal band now!) and bassist Will Davies is now in Attack! Attack! who are signed to Rock Ridge music and will be featuring on the next Guitar Hero. Nice work!

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Band: Jesse James
Time active: 2000-2007
Sound: brass, brass and more brass. It was like someone had stuck the horn section from a marching band in a punk rock outfit and told them to get on with it. The horns were more in league with those of Rocket From The Crypt than the noisy frivolity of Reel Big Fish. Their live shows were never quiet, and relied on a barrage of sound and blasting energy, backed up by the quality of their songs and the passionate nature in which they were delivered.
High points: recording their second record ‘Mission‘ with Ryan Greene, (NOFX producer), being signed to Deck Cheese and Golf Records, both popular ska punk labels at the time,  ‘Shoes‘ being a massive and I mean massive underground hit and a stint in the punk tent at the Carling Festival in 2002.
Low points: losing members every so often and the pressures of touring.
Fast fact: their infamous ‘Dear Jesus’ video being banned by UK tv and they were the first band I ever reviewed for my University newspaper!
Recommended listening: Both the ‘Shoes’ and ‘Hotwired‘ Eps are a good starting point, but the debut ‘Punk Soul Brothers’ is worth a listen as is ‘Mission’.
Where are they now?: saxophone player Pete and guitarist Ben are now both part of tyrantcore 4 piece Down I Go.

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Band: Leftover Crack
Time active: 1999-present
Sound: Like Dani Filth fronting a skacore band who can barely play their instruments. The Crack have a no-nonense, anti-everything style of raucous, mangled punk, with a vocalist who possibly eats broken glass for a living. As well as being fiercely anarchistic, angry and anti-government, Leftover Crack are actually one of the first bands to fuse ska with death metal. You’re probably shaking your head at this, but really, it’s not that bad honest. Plus, they sounded pretty good most of the time.
High points: Having a strong following in the underground community and generally being a band that inspires hope, if a somewhat misguided yet angry hope within people.
Low points: Death of drummer Brandon Possible in 2004, plus numerous bannings from various venues around New York, Canada and vocalist Stza’s continuing trouble with the PoPo.
Fast facts: Their name is an oxymoron and their second album was delightfully entitled ‘Fuck World Trade.’ Stza’s previous band, Choking Victim released an album called ‘No Gods, No Managers’ and featured no barcode.
Recommended listening: ‘Medicore Generica’ is 33 minutes of fucked-up skacore that has more crust than a steak and ale pie from a local truck stop.
Where are they now?: Still together (despite more line up changes than Zao) and set to tour America in June.

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Links

Capdown
Lightyear
Less Than Jake
Adequate Seven
Jesse James
Leftover Crack

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By Ross Macdonald

In any case, those that are familiar with Frank Turner’s work, but never really heard the stuff he did before ‘Sleep is for the Week’ or ‘Love, Ire and Song’ should seriously consider getting ‘A Song To Ruin’; plus the inclusion of single-only release ‘I Gave My Eyes To Stevie Wonder’ (which is one of their best songs) and ‘Medicine’ is a nice touch.

Frank Turner is set to release a new album in September entitled ‘Poetry of the Deed’ (pun-tastic!) in September via Xtra Mile and Epitaph. (Cheers to Punknews for this and the above info!)

If anything, this news has made me put ‘A Song To Ruin’ on again and it still fucking rocks, especially the bit at the 2:30 mark on ‘The Rise and Fall’ where the drummer starts screaming. EPIC.

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Video

‘I Am The Party’ (featuring some nice MTV2 tags at the top) by Million Dead.

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Links

Million Dead Myspace
Fansite
Frank Turner
Xtra Mile

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By Ross Macdonald

The track titles for this 7 track mini album (estimated playing time over 30min Alec has added) are:

Control Drug

Shivers

Baby Skull

Vampire State

t.o.t.

If You Live Or Die (2009 version feat. Robbie Furze/Big Pink on guitars)

1000 Eyes (The Golden Foretaste of Heaven Film version 2009)

Note: iTunes will have a full concert as a bonus available. (more infos soon)

The first dark, controlled, electronic riot track ‘Control Drug’ can be played from the player below:

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You can also watch a 5 minute taster how the track ‘Shivers‘ will sound from the player below:

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Last but not least if you are one of those Nic Endo fans who is still bidding on that poster of her and haven’t even looked up when Alec and Nic are playing, the dates are below:

30.04.2009 Vorselaar (B) – Edma
01.05.2009 London (GB) – The Underworld
02.05.2009 Manchester (GB) – Satan..s Hollow
03.05.2009 Glasgow (GB) – Ivory Blacks
05.05.2009 Norwich (GB) – The Waterfront
06.05.2009 Amsterdam (NL) – Paradiso
07.05.2009 Hengelo (NL) – Metropool
08.05.2009 Reutlingen – franz.K
09.05.2009 Jena – Kassablanca
23.10.2009 Berlin – K17
24.10.2009 Cottbus – Gladhouse
28.10.2009 Linz (A) – Stadtwerkstatt
29.10.2009 Wien (A) – Szene
30.10.2009 Ingolstadt – Paradox
31.10.2009 Leipzig – Lagerhof

More dates to come soon!

If you can I would go for the London gig as that evening will be 10 years to that day since the Atari Teenage Riot was in a huge Berlin Riot!

Cash in? No not really. Tom Delonge has been flogging that Angels And Airwaves toss to death and making a packet out of that and Mark Hoppus and Travis Barker have done well with their +44 project, so it does seem that old differences have been put aside for them to carry on and good luck to them. It does beg the question: what the hell are they going to write about? I don’t think I could stand another Green Day-style ‘we’ve gone all boring and political’ collection of half-arsed attempts at songs. This perhaps means they’ll revert to their frat boy hijinks, which certainly had their charm, but Hoppus is about 36 now and Delonge must have eclipsed his toilet-humour days when he went all ‘U2-space-rock’ on us. If they were to write stuff similar to their last album, the self-titled one with the crap cover art, then I’d buy it. Mind you, if they wacked out (pun intended) ‘Enema of the State Mk2‘ I’d buy that as well.

…

Actually, listening back, they’re still funny and write damn good songs.

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Video

Here’s some live footage of the Blink boys playing one of their best songs that isn’t an overplayed single (note: I couldn’t find a decent version of ‘Wendy Clear‘, which is the best Blink 182 song ever.)

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Links

Blink 182 Official
Blink Myspace
+44
Angels and Airwaves

Since our Christmas introduction post to the cheeky chaps last year, they have been the most popular post by far!

We spoke to Kunt and this is what he would like to say to all his fans:

“I would like to thanks all the fans that have kept me at the top spot this year, especially any of them who are fit birds and i would like to give them a special personal thank you by offloading some love on to their knockers should i ever meet them in person.“

To celebrate we have a completely non festive but funny as fuck song / video enjoy!

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Why not shove these up your stocking!

Original introduction post
Interview with the duo
Their Kunt-space!