A Motley Mish-Mash of Melodious Musical Merriment

Since the turn of the year, I’ve been listening to a variety of music – new and old – and in a variety of formats. I’ve never been a fan of streaming, but I’m trying to get into the 21st Century and using these formats where there isn’t an alternative.

I’ve been playing catch up on music I’ve been sent over the last few months as well as listening to Christmas presents and recent recommendations from friends.

Speaking of recommendations – I recently wrote a blog about Jason How, if you haven’t already checked him out. I’d recommend a listen, regardless of what “genre” you normally listen to. It’s a musical treat to the eardrums.

The Secret Life of a Teenage Punk Rocker – Andy Blade

Over the last week I also finally got around to ordering Andy Blade’s audiobook version of “The Secret Life of a Teenage Punk Rocker: The Andy Blade Chronicles”. Narrated by the man himself, the book is an entertaining romp through his teenage years and the formation of Eater. I’m only a couple of hours in at the moment, but already would highly recommend it to anyone. I say this whether you are a fan of Eater or not, even if you aren’t a fan of punk, you don’t need to be.

Andy Blade - The Secret Life of a Teenage Punk Rocker
Andy Blade – The Secret Life of a Teenage Punk Rocker

Andy has a great way of telling a story and has me engrossed and laughing along with him a lot of the time. Whether that be due to an in-depth tale of “stalking” The Runaways at their Bayswater Hotel as a 14 year old, his comparing his feelings about dancing to teenage sexual urges or even simple asides about Tennents Lager cans. It is fascinating to hear a first-hand account from someone who was a fan of and involved in the scene as a band from the outset. I’m listening in the car on the way to and from work and I’m disappointed when I get to my destination! Looking forward to my next car trip…

The Fall, Gerry Cinnamon, The Skids

From a music perspective, as well as working through The Fall complete singles and b-sides (what an amazing body of work!). I’ve also found myself listening a lot to Gerry Cinnamon. His album goes to prove that in this day and age, just because you pick up an acoustic guitar you don’t need to sing insipid love songs about some girl or other being “between my arms”.  (When I hear that song, am I the only one who conjures up a picture of Sheeran standing with arms outstretched in front of him and some lassie standing in front of him “between” his arms?).

I’ve also been enjoying the new Skids album which arrived last Friday after what seemed like aeons since I pledged for it. It has been well worth the wait and with some songs co-written by The Filthy Tongues Martin Metcalfe and produced by Youth the album stands up well with their classics. Having seen them live a couple of days prior in King Tuts, the band proved that they still have what it takes to get a crowd going, even if Jobson still can’t dance (still, that is part of the charm). They were tight, the musicianship was fantastic, some amazing drumming from Mike Baillie, a brilliant night was had by all. And of course they ended the night with the “worst song we ever wrote”, TV Stars.

Buzzbomb Sixty Miles of Open Road

Buzzbomb – 60 Miles of Bad Road

On the album front, another new release that deserves your attention is the third album from Bathgate’s Buzzbomb. Not only do I love this band’s music, but the cover art on the new album by 2000AD artist Patrick Goddard is a joy to behold too. I pre-ordered the vinyl to ensure I get the full effect of the artwork (and also the fact that I love vinyl) but have been listening to the download in the meantime.

The album, “Sixty Miles of Bad Road” is a high-octane thrill ride that doesn’t let up for a second for a breath. I don’t know if anyone recently watched the B-movie style TV series “Blood Drive” (a futuristic schlock horror blood and guts TV series with a murderous race involving cars that are powered by blood – you get the picture). Maybe it’s a combination of the music and the cover art, but I could easily visualise the high-adrenaline psychobilly/punkabilly music of “Buzzbomb” sound-tracking the series.

Buzzbomb band

Only one of the tracks disappoints me slightly, their cover of “Born to Lose”. I’m not averse to bands covering classic songs, but something about this version leaves me cold.

High Adrenaline Thrill Ride

However, that aside, the rest of the album delivers blow after blow and hits the target every time with a dead-shot. From the intoxication and chanted chorus of “Blood and Whiskey” via the breakneck reality that is the banding having an “Existential Crisis”. Leaving “Wreckage” (One of my favourites on the album – “Forget yesterday, learn to walk away”) in their wake, all the way through to the 100mph drumming and buzz saw guitar of the “All that I have and all that I believe in refrain” of “Russian Roulette”. I’m exhausted by the end of the album – in an exceptionally satisfying way.

With a number of dates already secured including Michale Graves another support date for the Kings of Psychobilly, The Meteors, 2018 already looks good for Buzzbomb.

Tunay Akdeniz

Another album that was sent to me via my blog, was a re-release of old tracks from “Godfather of Turkish Punk” Tünay Akendiz. I’ll be honest, I didn’t know of his existence before the link dropped into my inbox with a bit of background. However, from what I can glean from the press release and a couple of quick internet searches he appears to have been somewhat of a maverick in Turkey.

Tunay Akdeniz The Godfather of Turkish Punk
Tunay Akdeniz The Godfather of Turkish Punk

“Tünay Akdeniz”

Ironhand Records is proud to present one of the greatest legends of Turkish rock music:

Tünay Akdeniz was quite a figure in 70’s music scene in Turkey with mocking lyrics, punk-rock image and bad boy attitude. He had once used giblets for accessory in a photo session, had sued state television for not airing his music, used the title “punk-rock” first time in Turkey and had earned the title “big rocker” as he made cassette copies of hard ’n’ heavy albums for younger generation who lack resources to find originals with mail order for years.”

 What you get on this album is 14 tracks in all, 8 different tracks (6 of the tracks are instrumental versions of tracks on the album)

Bear in mind that this was in the 1970s, when in the UK we were struggling with strikes, 3 days weeks, unemployment, the winter of discontent and a heatwave in ’76. In Turkey, the decade was book-ended by military coups in ’71 and ’80 and much political violence from 76-79 resulting in over 5000 deaths. If you bear this in mind as a backdrop to the times, the activities listed that he undertook in 1970’s Turkey would have seemed fairly radical and extreme, even if they don’t seem so now in modern day UK.


Tunay Akdeniz
Tunay Akdeniz

The music is of its time, not an overtly “punk” sound as you would necessarily classify it, but you need to remember a lot of these songs pre-date punk as we would know it. If you believe that punk is an attitude more than a style of music and way of dressing as many of the punk police would have you believe, then yes, Tünay could very much be described as punk.

I can’t really vouch for the lyrics to songs as I don’t speak the language, but there are some good wee tunes in here. “Nicin Seni Seviyorum” (which if google translate serves me right translates as “Why I Love You”) musically has a “Roadrunner” feel to it while some of the other tracks have more of an early 70’s sparse rock sound incorporating disco/funk guitar effects (“Dişi Denen Canlı” / “The Creature Called Female”) or an almost Johnny Cash/country guitar (“Mesela Mesele” / “For Example The Matter Is…”). The aforementioned “Babam Yazdı Ben Besteledim İşte Aşkın Tarifi” (“Daddy Wrote the Lyrics, I Composed the Music, That’s the Recipe of Love”) has perhaps my favourite translated song title on the album.

Certainly not an unpleasant listen and has also given an insight into alternative/protest music scene in another culture during the 70s.

The Apparents

Moving to the here and now, and punk as it is today, The Apparents have a new EP, “The Face May Change” out on various download and streaming sites.

These Scottish protest-punks have presented 5 tracks of in your face punk rock with some accomplished guitar playing. The majority of the tracks have an angry edge to them – whether that be  directed to the government (Tory Boy), a rant about the proliferation of reality TV (Reali-TV), Indyref related (This is Scotland) or religion (Fuck Religion – which brings to mind the Fire Exit classic – Religion is the Cause of all War).

Open in Spotify

However, for me both musically and lyrically, the stand out track on the EP has to be the one with a more positive vibe, “Nothing is Set in Stone”. With pulsing guitar and messages about making the most of life, “Don’t take life for granted – it can all be taken away” I’d like to hear more of this side of The Apparents in the future.

The Dunts

Another band that have been on the go since 2016 but I’ve not had the pleasure of seeing yet are The Dunts.

Describing themselves as Council Punk, I’ve been enjoying the 4 tracks on their “Not Working is Class EP” on Spotify. All tracks are high voltage with clever and often amusing lyrics (“Hampden Cabs”) with a similar style to Slaves, Idles & Eagulls.

Open in Spotify


I’m also enjoying the song available on Spotify by Voicex –“Never”. A tasty collaboration between members of various bands from the alternative scene in Scotland – Scars, Boots for Dancing and Heavy Drapes, with words provided by performance poet Suky.

The song is a jubilant post-punk romp with shades of the Velvet Underground. Suky delivers a passionate performance and the song has been on repeat in my ears a good few times over the last few weeks.

I look forward to hearing more from Voicex in 2018

Open in Spotify


I’m late to the game AGAIN, but I’ve been listening to WHITE recently too. They have been going at least a couple of years, but I’ve been enjoying listening to their album “One Night Stand Forever”. It is more poppy than a lot of stuff I listen too, but I can hear enough in their sound that appeals and makes it interesting. Occasionally there is a bit of a Billy McKenzie twang to it, especially on tracks like “Future Pleasures”. Elements of the guitar hark back to early 80’s angular post-punk bands like Josef K, Fire Engines and the like, with a bit of Sparks and Hot Chip thrown in for good measure.

Open in Spotify

There are a few bands that I would love to have seen in the New Year series of gigs in King Tuts in January, but have had to make do with listening to their output available online at the moment. These bands are The Ninth Wave, Motion Poets and Sway.

The Ninth Wave

The Ninth Wave are an interesting proposition. They have an EP available just now, “Reformation”, which I have been listening to on repeat. Their wide open sonance bringing to mind vast landscapes, with rich atmospheric electronic keyboards adding to the sophisticated layers. Vocals in places not unlike Propaganda and the delicacy of Shellyann Orphan and complemented by the huge dark powerful sound of noughties bands like White Lies, whilst also encapsulating 80’s goth rock god, Robert Smith.

Open in Spotify

The Motion Poets

Hopefully 2018 will see Edinburgh based band The Motion Poets follow up their first single from 2017, the extremely catchy “One Too Many” with more of the same jangly indie-rock guitars and drums bounding along and hooking you in along the way,

Open in Spotify


I’ve mentioned Sway in a previous post with their latest single “To Be a Man” and I’m still listening to this along with “Planet Earth”/”Give You it All”, all available to stream on Spotify. Their songs, at least the sound and passion of “Give You it All”, takes me back to Whipping Boy & Power of Dreams gigs in King Tuts in the ‘90s.

Open in Spotify

I’m hoping to catch all of these bands during 2018 at some point. I listen to a lot of music by bands of a certain era and even many of the current or newer bands I listen to are made up of “older” musicians. It is good to hear some new music out there that I enjoy, made by the younger generation who aren’t stuck in the bedrooms communicating virtually only. I include the aforementioned Dunts in that list too.

Always open to new music – any recommendations?

Nick Cave & the Bad Seeds – Live at the SSE Hydro – 27th September 2017

Nick Cave & the Bad Seeds – Live at the SSE Hydro

I wasn’t sure how I felt about this before the gig. Nick Cave’s music to me seems to be suited to a more intimate venue. Especially when you think about recent events with the tragic death of his son and the extremely personal nature of the song-writing for latest album “Skeleton Tree”.

It was my birthday, however, so I was determined that nothing was going to impact my enjoyment of the gig.

I needn’t have been worried though. I wouldn’t be over-stating things to say the night was monumentally epic. 18 exceptional songs in total and nearly 2 1/2 hours on stage.

I must admit that although I’d listened to a few of the tracks, I hadn’t yet bought the latest album, “Skeleton Tree” so was also concerned that my unfamiliarity with some of the songs would have an impact on my enjoyment.

A night to remember

Again, I needn’t have worried. Although the opening salvo of “Anthrocene”, “Jesus Alone” and “Magneto” were all from that album and are of a very personal nature with almost whispered lyrics at various points, they filled the room and felt like songs I’d loved for years. Cave stalked the stage, prowling like a caged beast, and with the band swathed in atmospheric lights I knew it was going to be a night to remember.

Despite the subject matter of the songs and the impact of his son’s death on the final writing of the album, Cave was on top form interacting and joking throughout the night with the lucky punters down at the front.

BooM Boom Boom

During “Higgs Boson Blues” he traded “boom boom boom’s” with audience members, breaking into laughter at various points. An over enthusiastic fan also grabbed him at one point when he was leaning into the crowd. He responded by jokingly commenting about sexual harassment in the workplace.

“From Her to Eternity” was colossal building to a cacophonous crescendo. His audience interaction continued with him noticing the number of people taking photos and recording videos, building “Brother with an iPhone, Sister with an iPhone” into the song.

A crash of thunder

A crash of thunder and familiar brooding bass introduced the titanic classic “Tupelo”. As the background video of ferocious hurricanes and storms played out, the ferocity was matched by the music, with Warren Ellis brewing up his own storm on the violin. I’ve never seen anyone get the sounds out of a violin that Ellis does. At times playing it like a guitar and creating savage feedback.

One of the set highlights was “Jubilee Street” another song with an extended run-out ending in a beautiful gargantuan clamour. It was transforming, glowing, vibrating and flying, I dare you NOT to “look at him now”

High emotions

The tempo came down for the brace of “The Ship Song” followed by an emotional “Into My Arms”, but the intensity wasn’t any less. After every song I kept wondering how he would match that, but each time he succeeded and continually exceeded all my expectations. I was feeling emotional during these two songs and it took all my inner strength to not actually have tears in my eyes.

You could hear a pin drop in the audience during “Into My Arms”. The atmosphere at the end was electric when Cave encouraged the crowd to sing the last few lines back to him. Exquisite.

A few shouts went up from the crowd for various songs. Most of which were brushed off. But, when someone shouted for “Stagger Lee” he responded with “We’ll definitely play that one, we always play that one!”

The emotion continued with a brace of songs from Skeleton Tree with the sad lines of “Girl in Amber”…

“You kneel, lace up his shoes, your little blue-eyed boy

Take him by his hand, go move and spin him down the hall

I get lucky, I get lucky cause I tried again

I knew the world it would stop spinning now since you’ve been gone

I used to think that when you died you kind of wandered the world

In a slumber til you crumbled, were absorbed into the earth

Well, I don’t think that any more the phone it rings no more”

…and “I Need You”. Just breathe…..

Red right hand

Next was the song that many of my non-Nick Cave fan friends recognise from its use in the excellent Peaky Blinders, “Red Right Hand”. I’d lost count of how many times in the days preceding this gig that I had to explain who Nick Cave was and had mentioned this song on numerous occasions. Hopefully I have converted at least one person to his music. The atmosphere was intoxicating with the band bathed in sinister red lights. Another Cave classic followed with a transcendent version of “The Mercy Seat”

I’d only just recomposed myself after the double whammy’s of “The Ship Song”/“Into My Arms” and “Girl in Amber”/”I Need You” when “Distant Sky” came along. With a video of Else Torp projected behind the band that added to the poignancy, the lyrics really hit me. It is such a personal song and an outpouring of grief from Cave with masterful violin from Ellis. Even as I type this and read the lyrics it is bringing a lump to my throat.


“They told us our gods would outlive us,

They told us our dreams would outlive us,

They told us our gods would outlive us,

But they lied.


Let us go now, my only companion,

Set out for the distant skies,

Soon the children will be rising, will be rising,

This is not for our eyes.”


And to follow this up with set closer “Skeleton Tree” with snow effects on the backdrop video and touching final lines of “and it’s alright now”. I’m emotionally exhausted by this point. And the encore is still to come.


This saw even more interaction from Cave with him making a foray into the audience. During “The Weeping Song” he once more jocularly engaged with the crowd, admonishing a fan off for not holding him up properly.

Penultimate song and massive crowd-pleaser “Stagger Lee” saw him inviting the fans at the front onto the stage. A melee of excited bodies singing, dancing, taking photos and videos and even stage diving as Cave sang. Every word being enthusiastically sung back at him.

“Push the Sky Away” ended the evening with Cave asking the punters on stage to sit down while he introduced/thanked the band to great applause. “You’ve got to just keep on pushing, keep on pushing….”

As he was leaving the stage with the band Cave announced “You don’t know how much this means – no really you don’t.” And I believed him.

It meant a lot to us too. I never ever thought that one of my favourite gigs would be in a venue like the Hydro. But the sheer emotion, interaction with the crowd and quality of the songs and the musicianship came together to make this one very special gig.

As I trudged through the rain back to my car, I smiled as I saw one punter who had been on the stage during “Stagger Lee”/”Push the Sky Away” recounting his experience with child-like enthusiasm to a group of his friends. A night they will never forget.

A night that will stay in all of our memories for some time to come.

The Media Whores – Mercury prize nominees for Dangerous Minds

Who are The Media Whores?

The Media Whores are a Falkirk based “political power pop punk” band (description courtesy of Vive Le Rock) who have now have three albums to their name.

  • Debut “Starfishing”
  • 2013’s “Pornophonica” (9/10 in Vive Le Rock)
  • and latest release “Dangerous Minds” (2016) (again 9/10 in Vive Le Rock) and was also long-listed for the Mercury Music Prize.

Although Dangerous Minds has been out for a while now, it seemed like a good time to catch up with the band following the Mercury long-listing.

Media Whores at the 100 Club – photo courtesy of MWHQ

Band members are:

Craig A – vocals & rhythm guitar
Doogie Mackie – bass guitar & backing vocs
Martyn Heath – lead guitar & backing vocs
Andy Russell – drums

Recent shows

The Media Whores have been prominent and noticeably busy since the album release. This included playing alongside an impressive list of bands on landmark gigs and tours. Read ’em and weep:

  • The Damned’s 40th anniversary show at the ABC in November 2016.
  • a run of dates with Big Country marking the 30th anniversary of their album ‘The Seer’.
  • supports with Blue Aeroplanes and The Godfathers,
  • playing for the 10th anniversary of Record Store Day at Europa Records, Stirling.
  • Eddie and the Hot Rods, including at the legendary 100 Club, marking the 40th anniversary of ‘Do Anything You Wanna Do’.
  • supported Stiff Little Fingers on their 40th anniversary date in Scotland during the Edinburgh festival.
  • some gigs with the re-formed Valves.
  • and a recent run of gigs with Ruts DC, including the 40th anniversary of their first gig!

Ally: All this and a line up change in March 2017. We changed guitarists with Jimbo MacKellar leaving and Martyn Heath coming in. Martyn’s first gig was the Record Store Day gig in Europa Music, Stirling.

It would be amiss not to thank Jimbo for his sterling efforts, drama and entertainment!

political post-punk with a conscience

In my questions to the band I described them as “political post-punk with a conscience”. This was a result of and reflection on the subject matter covered in their songs.

Take just a handful of songs from latest album Dangerous Minds. Subjects here include protest songs against fracking (“Frack Off“), to bemoaning the growth of online relationships on “Computer Love Affair” commenting that they

“deconstruct real relationships and drive(s) social ineptitude for many people”.

Police corruption in “Raking it In” and on “Black Widow” a “vitriolic swipe” directed at successive Tory governments and their

“privatisation of the NHS, the Post office and begs the question “how come these things are all decided by minority cowboys that I don’t vote for” “.

(Quotes above all from Craig)

The band have also covered mental health issues in their songs – these have been influenced by very personal situations.

Ally:  “Like most people we have been affected directly and indirectly with mental health.

We lost 2 friends in quick succession to suicide and one is referenced in the song “Vinyl Head” on Dangerous Minds. It is essentially a song about the love of vinyl and record shops, but also a love of love and one line references a lost friend.

Craig A is the lyricist for all apart from ‘Skinny’ which I am immensely proud to have co-written. It is about eating disorders, depression, anxiety, size zero, photo-shopping, body-shaming. The full range of both female and males depression and anxiety, and specifically eating disorders.

If, like me, you like your music not only with great tunes but also thoughtful lyrics and topical subject matter then Dangerous Minds is the album for you.

I urge you to go and buy a copy, but not just yet…

I have been in touch with the band’s manager, Ally, recently. He arranged for Craig and Doogie to answer some questions for thegingerquiff.

Thanks to Craig and Doogie for taking the time out to answer these and to Ally for organising, providing photos and background and also answering some questions!


thegingerquiff: You have been around now for nearly 10 years and are 3 albums in. How does it feel to finally have some wider recognition and have “Dangerous Minds” long-listed for the Mercury Music prize?

Craig A: It feels fantastic, we are very proud of the Dangerous Minds album and of the Mercury nomination. (We are) very happy that this gives our work wider recognition throughout the music industry;  and introduces the Media Whores to a wider audience.

Our previous albums have always been well received and have received excellent reviews from the music industry (Pornophonica and Dangerous Minds were both 9/10 in Vive Le Rock). This type of press really helps us communicate with an audience and ultimately helps sell our records and fills up our shows.

Doogie: That’s 9 years we have been together and suppose it is a form of recognition for a stand out album in this current time although the long list is better than the short list.

tgq: It doesn’t make sense to me that the likes of Ed Sheeran made the short-list. I don’t think that is in the spirit of the award. (In terms of artists getting exposure and a monetary prize to give them a step up to the next level). What are your thoughts on the short-list?

Craig – It is a real honour (and objective recognition of our music, our lyrical content and our attitude) to be nominated. Music is such a subjective medium and is a very competitive industry. The short list is what it is – the opinion of a panel of judges as to what they consider to be worthy of the short list.

You have to be in it to win it and we were in it (up to a point). Good luck to those who made the shortlist and good luck to the winner. It will help their career and raise their profiles in a crowded marketplace.

Doogie: It’s what we expected. It’s all too safe and comfortable. The industry doesn’t like a change but it needs one again and has for a long time. There are so many people that are fed the music and just go with the flow.

Ally: We felt the album, with the lyrics, tunes, sound, artwork, everything about it, may have been left field enough to pique the judges attention.

One of the start points of our thought process, during the recording when thinking about titles and art, was the now rightly maligned NME running a piece saying there was no protest music or politics in music any more. Well there clearly is, in the underground, outwith their metropolitan bubble and cliques of what is hip this year!

However, the shortlist felt entirely predictable, safe and mainstream but also not genre or regional representative. I mean 5 finalists from not only London, but South London!!

Ed Sheeran does not need the exposure or even the cheque that the award generates, but I hear he does support many issues, including mental health issues, which we all should support.

However, no-one can ever lose sight of the fact that the world needs guitars, bass and drums and machines that kill fascists!

tgq: I couldn’t agree more. You make a valid point about Ed Sheeran and what he does outwith the public eye. He certainly seems like a genuine bloke. It would be a boring world if everyone had the same tastes.

However, it does definitely seem that due to the subjectivity of whoever was on the judging panel, there was an uneven distribution in the short list.

In my opinion, Dangerous Minds shoulda been a contender!

MEDIA WHORES background

tgq: I know we are focussing on the present and the Dangerous Minds album, but lets go back a wee bit. What was your inspiration for starting the band? Give me a bit of insight into your progression over the years?

Craig: As a music fan, the inspiration for starting a band was always lodged within the creative process and the opportunity to perform your original music to people. Being in a band is great fun; it allows you to travel, to see new places, to gather life experiences and to meet new and like-minded people. Music is for life and not just for Xmas.

The progression has been incremental and since the release of Dangerous Minds in 2016 we have had honour of sharing the stage with some of our heroes – Damned, SLF, Eddie and the Hot Rods, Theatre of Hate, Spear of Destiny & Ruts DC, as well as having the opportunity to play the album in its entirety from start to finish as it was conceived at packed out album launches in Glasgow and Edinburgh.

Doogie: We have all been in numerous bands over the years, some of us together at different times and some attaining more success than others. With this camaraderie we knew this would be worthwhile in making music.


tgq: Dangerous Minds (along with your previous releases) is a thought-provoking album with many potentially controversial topics being covered. These topics include, as mentioned earlier, mental health which is a subject close to my heart.

The album could be described as intelligent post-punk with a conscience. Obviously you take a lot of inspiration from issues of the day. Tell me more about writing the album/songs?

Craig: Can’t Say Whore (on the radio) …. fuelled by frustration and the band have had some resistance from the “DJ” gatekeepers on mainstream radio – Galloway, Gelalty et al, ….. playing  the same 20 manufactured insipid pop  songs, beamed out from hypocrisy central, on sickening repeat.

The DJ community are quite happy to popularise misogyny and sexual exploitation of women but won’t play a song by “The Media Whores”, which ironically has no sexual connotation whatsoever.

Zombies in Mayfair….dedicated to the corporation sluts with their eyes glued shut…… Big business “wants to own the machine and it wants to own the vaccine” – generating wealth from the sickness, exclusion and misery of the vast majority of this “great” Britain.

Do You Think I Am Lying?….The centre for social justice and the assessment criteria of the Welfare reform act, fit for work decision-making, entitlement to disability benefits and the institutional bias that everyone is “at it”  come under fire in this acerbic piece of tribal warfare.

Doogie: As you say there is an inspiration from issues of the day, these can be from either what’s going on in our country or all around the world. We see and hear about all issues everywhere worldwide.

We know you can write songs about anything and everything but we have seen bands and played with bands who aren’t saying anything at all. They would be as well singing the wheels on the bus go round and round!

Yes, I think I’ve seen some of those bands….

media Whores live

tgq: I’ve seen you live on a few occasions. You were part of the line-up that was my gig of the year for last year. (with Duncan Reid and the Big Heads and Heavy Drapes in Audio).

Media Whores live – La Belle Angele – 16th Sept 2017. Photo courtesy of Gary Alexander photography

You’ve also just completed a string of dates with Ruts DC. The feedback I’ve heard is that both bands were on fire.

How did you enjoy playing with them and how did the opportunity come about?

Craig: It was fantastic, an awe-inspiring experience. Ruts DC are lovely people and we were treated really well and received excellent audience reactions. NB Thanks for the wine Segs – pity I dropped it.

Doogie: We have supported Ruts DC on two occasions previously which were a great experience and again this was a fantastic run of shows with them. The band and crew are absolute gentlemen and a professionally run outfit. They like our sound and what we are doing so have been talking about doing more shows with them in the future.

Click here for a review of the bands recent gig  with Ruts DC – from La Belle Angele, Edinburgh on 16/09/17.

Your next gig is at the end of the month in Bridge of Allan. What is next for The Media Whores (gigs/releases)?

Craig: Finish mixing new EP, launch shows and promotional tour of UK towards the end of 2017/early 2018. Thereafter, early in 2018 we will record and release our new album and we are, very, very excited about that.

Doogie: Gigs can come along and be confirmed at anytime at short notice. We have a few festival slots coming up at the end of the year. We have recorded 4 new songs for a new ep to be released as soon as all music and artwork is complete.

I’m also excited about the E.P. and the follow-up to Dangerous Minds. I’ll be keeping a keen eye out for release dates and gigs.

Keep up with what is happening in the world of The Media Whores by following them on Facebook & Twitter.

The current list of gigs looks like this – with more being added all the time:

30th September – Bridge of Allan
21st October – EH6 Festival – the Granary, Leith
26th November – Bannermans, Edinburgh with Roddy Radiation and the Skabilly Rebels
16th December – Lancaster alldayer Punk festival at the Bobbin
22nd December – Smash, Edinburgh with Angelic Upstarts

24th March – Mad Hatties, Inverness

Media Whores Manifesto

tgq: For anyone who is new to the music & convictions of The Media Whores, how would you describe the bands manifesto!

Craig: Talk truth to power and say it like you see it. This is a class war and we are all soldiers.

Media Whores are essentially a protest band. Unless you never look up you will realise there is plenty to protest about in the current political and economic environment. VLR quoted that MW are “political power pop punk perfection.”

Doogie: This manifesto is still being put to the testo. We aim to continue playing and writing in the way we do, there is no plan other than that is the plan. 

Ally: Keep on keeping on, doing our own thing, not in a clique or cliché and discombobulating the masses!

Vote Media Whores!!! (And thanks Doogie, Sultans of Ping – Wheres Me Jumper? is now going to be in my head for the rest of the day)

Get the Album!

tgq: Opportunity for blatant promotion time – Where can we get hold of Media Whores releases and merchandise?

Doogie: We have our own slot/space in HMV music shop, yes our own slot/space!

Amazon, NHC Music Glasgow, Love Music Glasgow, Europa Music Stirling, Noise Noise Noise shop Falkirk, online on our Facebook page and at gigs. Also on Spotify

Ally: The label we are on Twenty Stone Blatt has worldwide distro, which is why we generate sales and reviews from as far afield as Australia, America, Germany and Sweden! The physical product is out there in shops and also for the more modern among us, download on iTunes, Spotify, deezur and Amazon!

Thank again to Craig, Doogie & Ally for their time and contributions and congratulations on the Mercury long-listing. l look forward to hearing the new songs and catching the band live again in the not too distant future.

Media Whores Manager – Ally Gemmell for press and booking enquiries/T: 07747750420/E: themediawh@yahoo.co.uk