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?

The Red Eyes – Man and Boy – Alan Bishop

Alan Bishop – The Red Eyes

2017 was a big year for The Red Eyes. They released their 4th album – the masterpiece that is “Man and Boy” and marked their 20th anniversary with a tremendous gig in Audio playing 2 sets – one with original 90’s line up and their headline “Man and Boy” set. The Red Eyes were joined on the night backed up by Fudgie McFadden’s “Strung Out Nights” and Heavy Drapes, who are due to release their debut album in 2018.

Man and Boy launch gig
Man and Boy launch gig

I caught up with Alan Bishop to find out a bit more about his thoughts and experiences of the last 20 years.

20 Years going strong

You celebrated 20 years as a band last year, what have been your highs and lows over that period?

Hi Neil, The first thing is I’m amazed the band is still going after 20 years.

Highs include recording all 4 albums and 2 EP’s. I enjoy the whole recording process and hopefully we’ll do more in the future.

All the great support slots we’ve had with loads of my favourite bands….SLF (9 times – 4 times at Barrowland), Theatre of Hate & Spear of Destiny, UK Subs, 999, Undertones, The Alarm, Goldblade, Sham 69 and loads more.

Playing the Wasted, Nice ‘n’ Sleazy and Rebellion Festivals plus loads of great all-dayers!

Lows include losing band members and struggling to replace them. The last couple of years have been particularly frustrating as hardly played any full band gigs.

Playing at poorly attended gigs particularly if you’ve travelled hundreds of miles can be a bit soul-destroying at times even tho’ the odd gig like these can turn out great.

Tell me about the current Red Eyes line-up.

The Red Eyes 2018 line-up is myself Alan (Vocals / Guitar)…Alex (Lead Guitar / B. Vox)…Brad (Bass)….Jan (Drums).


What changes have you seen over the last 20 years, both from the way music is consumed, but also in the live music circuit (specifically in Scotland/West of Scotland).

What do you make of these changes – positive and negative?

Obviously the whole download culture. I’m just old skool and prefer to have a product in my hand….i.e. vinyl or CD.

The internet is great for advertising gigs now…how the hell we knew what gigs were on pre-internet I’ll never know lol…must have been the music papers only. I actually feel there is more places to play in Glasgow now than before. In the 90’s we struggled to get gigs in Glasgow. We used to book The Halt Bar a lot and put our own gigs on in there (the UK Subs turned up at one of our gigs…was my 31st birthday and played a set in The Halt….great night….Charlie Harper bought me a chocolate cake with candles).

Still no money for bands playing original material so nothing changed there.

I’m in exactly the same place regarding physical product, give my some lovely vinyl anyday or at least a CD. And UK Subs turning up at a gig and playing a set, brilliant. Another highlight I’m sure.

Red Eye Studios

You run/own Red Eye Studios in Clydebank, you must have some idea of the local music scene from the use of the studios. What can you tell us about up and coming acts? Tell us more about the studios and how any budding bands/singers can get in touch to book?

Yeah I’ve now ran and owned Red Eye Studios in Clydebank for nearly 7 years. We have 3 great rehearsal rooms and recording facilities.

The last Red Eyes EP and the album “Man & Boy” were recorded at Red Eye (I get a discount lol).

Studio is open 7 days a week ’til midnight every day. Takes up a lot of my time as I usually work 6 days with only the one day off!!!

There’s been a bit of a change in the bands coming into the studio over the last few years. Less original bands and more Cover / Tribute bands. Not complaining about that, just an observation. Hopefully a few younger bands will start coming in again.

In the past we had a few bands that went on to play T in the Park (Blindfolds & Waiting For Go) but unfortunately they have both split. The rock band Mason Hill are doing really well at the moment and Joe Bone & The Dark Vibes (have always liked what Joe does since first seeing him in We Are Jawbone then The Coffins and now The Dark Vibes). The Ronains are doing great as well.

For anyone looking for rehearsals or recording call us on 0141 951 1554 or message our facebook page at https://www.facebook.com/redeyestudios.clydebank/ Thanks for the opportunity for a wee plug Neil.

From the Outside in cover
From the Outside in cover

You’ve released four albums to date, personally I think you have grown with each album. I didn’t think you could surpass “From the Outside In” with tracks like “This is My Life”, but Man and Boy is a masterpiece both musically and lyrically.

Thanks for that. I think every album has been an improvement on the last one. Not just the production but the songwriting and playing as well. I spend more time on lyrics these days and really pleased with Man & Boy. All the reviews have been great so far.


I know you are good friends with fellow punks Hateful, with Alex King playing with The Red Eyes on and off. Hateful released a phenomenal album last year too in “Noize from the Streets”, how do you see the future of punk in Scotland?

Hateful - Noize From The Streets
Hateful – Noize From The Streets

In my opinion Hateful are one of the best UK punk bands. How they’re not Rebellion regulars is a mystery. Their albums and live performances are always great. Kev Mac from Hateful played drums on Man & Boy and Alex King has been in The Red Eyes on and off for 10 years (on at the moment).

Like most people I’m enjoying Heavy Drapes and looking forward to their album as the EP is superb. They were our special guests at our 20th Anniversary / Album Launch.

Reaction, The Zips and Fire Exit always great! My mate Alan Kyle’s band Blacklist are one to watch as they’re barely a year old but have an EP already (Alan was the original guitarist in The Red Eyes).

New bands forming all the time so things seem quite healthy. I don’t get to many gigs now due to working at the studio.

Man and Boy

I know most bands will say their current album is their best/favourite, is this the same for you? What are your favourite tracks from Man and Boy and tell me a bit about the story behind the songs?

Yeah I do think Man & Boy is the best thing we’ve done but I still like the other albums. I’d like to get the first 2 albums mastered properly which would make a huge difference to how they sound. That’s the only disappointing thing about the early albums…the sound!

I like all the songs but probably the title track “Man & Boy”, “Nowhere Boy” and “The Man Who Thinks He’s God” are my favourites.

The title track is about my Dad who unfortunately passed away when I was 18 (he was only 43) so just about how much he has missed out on things particularly in my life. “Nowhere Boy” is really about coming to terms with reaching 50…dunno why…mid life crisis probably lol.

The song “No More Tears For Daddy” at the end of the album probably throws a few people and I think it was a brave move to put it on the album. I’m glad we did as everything has been positive about that particular song. I’ve played it for years in my solo acoustic set and wasn’t sure if it would “fit” on a Red Eyes album. Alex King did a great job with the string arrangement. The song was about British troops who’d died in Afghanistan being paraded in their coffins in the village of Wootton Bassett in Wiltshire so family members and the public could pay their respects. You would see young children there who’d just lost their Fathers and it seems such a waste of life, as all war is. They’ve now stopped the parades, think the last one was 2011.

The Red Eyes in 2018

What is next for The Red Eyes? I know you already have some gigs lined up for 2018 – a Glasgow pre-Damned show in Audio and also a great line up towards the end of the year in Manchester including UK Subs and Loaded 44.

Next Gigs….

Sunday 28th January – Damned pre-show in Audio, Glasgow in the afternoon – Free Entry!

Saturday 24th February – Shugfest 2 at Audio, Glasgow.

Friday 13th April – McChuills – gig for my 50th with support tbc.

Got a gig at the Dreadnought in Bathgate – 2 dayer 28th / 29th September – day we play tbc.

Sunday 2nd December – Star & Garter with UK Subs, Loaded 44 & Benefit State

Man and Boy review
The Red Eyes Man and Boy album cover
Man and Boy cover

The Red Eyes masterpiece. An album packed full of massive tunes and thought-provoking lyrics. Alan Bishop is one of Scotland’s strongest songwriters and the album demonstrates all that is good about the punk/alternative music scene in Scotland.

Previous album “From the Outside In” was in itself an incredible work including what was my favourite Red Eyes tune to date, “This is My Life”, with Man and Boy, Alan and co. have surpassed themselves.

The Red Eyes have a classic late 70’s punk guitar sound that is distinctly theirs and has been honed over their 4 albums. This album a splendid assortment of songs relating to relationships and all aspects of the human condition. Including the family dynamics of the aforementioned “Man and Boy” and “No More Tears for Daddy” two of the strongest tracks which bookend the album. Both songs have a similar, but different, theme and are also musically very different.

“Man and Boy” is one of the most personal songs on the album (see Alan’s interview), along with “Nowhere Boy”, with a chorus that is both emotive and musically stirring.

“Face the Truth” touches on father/son relations again, this time mentioning the passing down of behaviours from father to son. The song tackles the age-old problem about religious bigotry, especially linked to football in the West of Scotland, and asks why this is still a problem in the 21st Century as no-one seems to want to tackle it head on.

The album mixes songs with the full on harmonious guitar, bass and drums assault of the eardrums you may associate with late 70’s punk including shades of SLF and the Buzzcocks, with more melancholic numbers bringing acoustic guitars in the mix. “You Fade Away” starts with a delicate acoustic intro which is maintained throughout the song which then builds up layers around the melody creating a strongly touching song. Similarly more human relations are tackled in “Friday Girl” with a melancholic acoustic intro that soon bursts to life


Like many Red Eyes songs of old, there are a heap of songs with great arrangements, lyrics and refrains. “The Man Who Thinks He’s God” is no different and has you singing along to the chorus and the outro nod to Joy Division. Similarly the 2 minute fast paced, in your face “Regrets” starts by paraphrasing “My Way” but changes the age-old line to too MANY to mention and with the chant of all those wasted days, wasted years, wasted nights and wasted tears it is a full pelt statement of remorse for the all that squandered time.


Tear-jerking album closer “No More Tears for Daddy” complete with keyboard and strings is different from the rest of the album but no less potent for that. In fact, the song is potentially more potent because of the lack of guitars and possibly the most compelling song on the album. Alan’s voice is commanding and filled with anguish. When the song ends with sombre voices singing the refrain which segues into the Last Post, the full weight of the song is cemented.

An outstanding collection of songs covering all of the vagaries of life.

The Red Eyes – Man and Boy is available now from bandcamp as are previous albums and the “You Sold Yourself E.P.”

The band is also on Facebook

Red or Dead – Trotsky Waltz – New Album

Red or Dead


Red or Dead are:

Rob Murray – Guitar, Mandolin and Vocals.
Emma Sunerton-Burl – Cajon mandolin and Backing Vocals.
Gala Elvira – Vocals.
Dave Sunerton-Burl – Bass, Guitars, Backing Vocals.

The band met protesting outside a UKIP conference mid 2015. They ended up playing an anti-UKIP song Rob had written and made the first item on the BBC 6 O’Clock News that night.

Since then they have had some high profile support slots. Including Hugh Cornwell, Mike Peters, Ferocious Dog and the Christians (Twice).

Musically their heroes and inspirations are The Clash, The Stranglers, X Ray Spex, The Pistols, Iggy and so on.

The new album is a passionate comment on society from a socialist viewpoint.

Rob: “I personally feel that this is the right time to stand up and speak on things we believe in”

Being a lover of songs and lyrics that mean something, having to listen to mainstream radio every day at work, I couldn’t agree more with Robs other point:

“Mainstream music is full of young boys with acoustic guitar singing twee songs about some girl leaving them or some such shite”

Rob goes on:

“Music needs to be raw and angry again and there is definitely a ground swell in live music at a grass roots level.”

Again, having seen the top selling albums and tracks of 2017 , and a follower of the live music scene in Glasgow, I also concur with that sentiment.

What’s next for Red or Dead?

“We hope to build on some great live shows with a few festival appearances and a couple of great supports and we will be playing some live shows to promote the CD from late January.

Trotsky Waltz

Unsurprisingly, given the name of the band, the album and how they came together, the album is a socialist commentary on today’s society.

The songs are robust and thought-provoking acoustic folk-punk. With lead vocals shared by Rob and Gala with sweet female backing vocals and harmonies. Take the sentiments and ideals of Billy Bragg, the passion of Joe Strummer and a sound somewhere between the Levellers, Roughneck Riot and The Tansads and you have Red or Dead.

Rob and Gala both have strong voices with the female lead vocals on “No-one is Innocent” kicking in with a fair impression Poly-Styrene. A powerful driving track reminding us that we are all part of the problem. “No-one is innocent, no-one is pure, we all poison the land while we look for the cure”

The call to action for today’s youth that is “Take a Stand” is aurally reminiscent of The Levellers “Another Man’s Cause”

Strummer and Burnel

With the poignant and memorable “Strummer and Burnel”, the band make reference to their late 70’s punk heroes. Hankering back to the days when “the world was going to change, we were going to blow them all away” and lamenting the fact that no-one protests or makes a stand as they did before. While the demise of British industry is lamented in “Steeltown”. With both Tory and Labour governments lambasted for the downfall.

The energetic “A New Day” is a massive two fingered salute to those in charge of the country. A prayer for a new day coming to ring in the change. Ending with the words I’m sure many would like to say…

On the other side of the Atlantic, the Trump administration is a gift that keeps on giving for bands writing politically influenced music. Red or Dead are no different in this respect with a song cataloguing everything that is wrong with the most powerful country/man in the world with “In America”

Overall, the album is an eminently gratifying listen. Importantly it has something to say. It is an outstanding antidote to the vacuous acts that make up the majority of mainstream radio playlists and the “charts” these days. Oh dear, I sound like my Dad.

Anyway, want to find out more and get hold of the album?

Red or Dead are on Facebook, and have a website.

Their album is available to purchase from bandcamp.

Crimedesk and Thirteen – Album/EP reviews

It’s a bit of a coincidence that I received Crimedesk’s album and Thirteen’s EP within a few days of each other.

I say this, as I’ve recently featured Drunk Gods and earlier this year I saw all 3 bands in Ivory Blacks. It was a great nights entertainment. 3 very different bands in sound but all enjoyed by a small but enthusiastic crowd.

In another coincidence, the gig should also have featured Heavy Drapes. I also wrote about recently, unfortunately they had to pull out at the last-minute.

Crimedesk – Louder…..FASTER

Crimedesk have been around and about since ’79 and are a hard-gigging 3 piece punk band from Fife featuring the 2 Alan(n)s on guitar and bass & vocals and John on drums.

The new album “Louder…..Faster” kicks off with “The Louder You Scream, The Faster you Go”. It has a bit of a Psychobilly/Meteors feel to it, both in style and in that Alan’s vocal has a gruff sound to it like Paul P. Fenech. A rollicking start to a solid album.

With “WTF You Looking at” you pretty much get a song that you would expect with a title like that. The chorus spat out with some venom.

Anti-war song “Future Engraved (Death no Glory)” has a poignant lyric and some nice harmonies from the outset.

One of my favourites is “Never Give Up, Never Give In”, I like the positive sentiment of the song, the almost football chant of a chorus and the guitar breaks

“Freaky Street” has another memorable chorus and references (from what I have gathered from covers/live shows) band favourites The Stranglers.

Album closer “Manky Hoor” won’t win any plaudits from the PC brigade but is a great sing-a-long track.

Another of the tracks says, “What You See is What You Get” and what you get from Crimedesk is a thoroughly enjoyable album of melodic punk songs.

Get the album at one of the bands upcoming live dates or contact them in their Facebook page.


Falkirk based Thirteen describe themselves as “Punk Rock ‘n Roll from Scotland”.

They have a harder edged rock sound, with an obvious punk influence.

Spirit of Resistance is a fast paced opener with frantic guitar and drums. The 6 song EP features a number of songs with a protest type theme – which you may expect with the name of the EP – as well as the title track there is “We Will Overcome” and “The Day the Killing Stops”.

We Will Overcome has a Smashing Pumpkins feel to it. Dolly has a very distinctive voice not unlike Billy Corgan’s.

Tattered Sleeve is a song about growing up as a disaffected youth in the late 70’s with punk as the soundtrack to life. “’76 when this all started, the first time you felt alive

EP closer “The Day the Killing Stops” has a moody bass intro with drums and guitar building into the opening The Day the Killing Stops refrain. The song builds to its crescendo before fading out to a lone bass drum beat and the final refrain once more.

If you like your punk with a fast paced harder guitar sound, you’ll enjoy this EP.

Get the EP from their bandcamp page or at one of the bands upcoming live dates.



Kiss This Tarbeach NYC in Glasgow – Review

I’m not long back from attending “Kiss This” in Broadcast and a huge thanks needs to go out to all involved. What a brilliant night.

I had been looking forward to seeing the 3 bands together for a while and none of them disappointed.

The warnings were out in advance all over social media – the gig was a sell-out, returns only and the first band would be on PROMPT at 8pm as it was an early curfew.

Sure enough, and true to the word, as I arrived at the venue with my mate, there was a queue of people waiting to pick up their tickets and the first band were already on.

The order of the bands hadn’t been advertised to ensure maximum attendance from the start and as we got downstairs, the venue was packed for the first band, who happened to be ReAction.


Big Carson had to be careful he didn’t brain himself on the low beam right in the middle of the stage. As always the band played a flawless blinder of a set with all the ReAction favourites. They slipped in a few cracking new tracks too – “Kill Time”, “Been There Done That” – written by Scott, and “Kamikaze Baby” – destined to be one of my new favourite ReAction songs.

The early curfew meant trying to get through as many songs as possible in the allotted time – at one point Joe mentioned they still had 5 songs to play in 6 minutes. This also meant a choice on whether to play External Menace’s “Someday” or “I Wanna Be Your Dee Dee Ramone”. An impossible choice given how great both tracks are. The audience choice was “Someday”, much to Bryson’s dismay – “that’s right pick the fast one and kill the drummer!” Storming set.

It was pretty warm from the start but by the time ReAction had finished it was a sweat box. Quick opportunity to get a diet coke(!) a quick chat with Jonzip and a hello to a few folk I finally managed to meet in real life rather than in the virtual world then it was the turn of Heavy Drapes.

Heavy drapes

There were plenty of MoNkArOcKs t-shirts on display in the venue. New bass player, ex Scars guitarist, Paul Research was also resplendent in a MoNkA creation with “Heavy Bass” on it like a statement of intent. And he followed through – awesome first gig with the band.

The searing set contained all the crowd pleasers – all the Heavy Drapes staples. “Number 1”, “Into the Blue”, “Nightrippin'”, and of course, my personal favourite “(I Wanna Be) Maladjusted”. “Guest backing vocals” on “Hanging Like a Suicide” were provided by Charlie from Dublin, who was one of several folk tonight who had travelled some distances for the gig.

I’ve seen the band several times over the last year but I thought tonight they were outstanding. My mate had last seen them on this very date last year. His comment that the band had come a long way since then spoke volumes about what has happened in the last 12 months. Looking forward to the album…(and the French EP!)


Another quick turnaround and then it was the turn of the Zips to end the evenings proceedings. Kicking off with topical track “Hear Hear” – “our country, at war, with itself, and its people, this dis-united kingdom“.  The set included songs from throughout the bands back catalogue.

Every track went down a storm with a melee of bodies, singing away with huge grins, slamming into each other at the front. I wondered if we’d all be there in another 10 years singing along to “50 Years of PuNk RoCk”!

The band included an old track played live for the first time “Take Me Down” which can be purchased soon on new Gary Crowley punk/new wave box set.  Jonzip started to thank everyone who had travelled to be at the gig only to be reminded that “we’ve only got 30 minutes….”. The set ended with classic “Don’t Get Pushed Around” which was enthusiastically received – included a microphone takeover/stage invasion by several enthusiastic gig goers.

And there we have it 3 blistering sets by 3 of Scotland……….nay, the UKs finest proponents of this thing they call “punk rock”. As I walked up the stairs I realised I had been enjoying the bands so much I had no photographs of said bands to add to this post! So photos are courtesy of Chris Davis and John McLaughlin.

Can’t wait until they do it again! Just one thing though. PLEASE, next time, don’t make it on my wedding anniversary – Ha Ha.


Heavy Drapes – De Liberate speaks…

Heavy Drapes

I’ve been banging on about Heavy Drapes for some time now. Recently things have really started going stellar for the band. They are one of the most talked about bands on the punk scene.

The band has very definite ideas, knows exactly where it wants to be. Important it has the tunes and the image that live up to those ideas. Lead singer De Liberate’s swagger and confidence is not unfounded.

Having seen the band on a number of occasions in the last couple of years, they never fail to disappoint.  Heavy Drapes have a tight sophisticated sound that doffs its cap to the classic punk 76-78 era. The songs are laden with hooks and memorable, catchy choruses. I find that even some of the unreleased tracks regularly become my earworms.

The band must be one of the busiest with promotion and gigging. They are always on the road playing the length and breadth of the UK and Ireland and now further afield.

In the run up to Kiss This, I was reflecting on some previous gigs featuring Heavy Drapes.

A couple of gigs stick out in my mind. Audio in Glasgow last December sharing a bill with ex-Boys bassist Duncan Reid & the Big Heads and Falkirk band The Media Whores. 3 great bands coming together to be one of my gig highlights of 2016.

Another was the “Dread Meets Punk Rock Southside” gig in The Rum Shack that also featured fellow Tarbeach label-mates ReAction (also playing Kiss This alongside The Zips) and young punks The Minority Rule. A great night was had by all – bands and punters alike.

If the band continue on their current ascendency, I’ll be pleased to be one of the people who can say “I was there” at these and other gigs.

The Edinburgh based band, some of whom originate from closer to my neck of the woods (East Kilbride/Glasgow) are made up of De Liberate – vocals and attitude, Richie Stiv – guitar, Billy Chaos – drums and new member Paul Research on bass.

The band recently returned from a show stealing set, by all accounts, on the Empress Ballroom main stage at Rebellion festival. And on return from the festival, the news broke that original bassist Jerry Dangerous had left the band and was to be replaced by ex-Scars guitarist Paul Research on bass duties. It was sad to see Jerry go, but at the same time a bit of a coup to get a replacement of the calibre of Paul.

Suffice to say, Heavy Drapes are going places.


I had an opportunity to ask DeLiberate and new bassist Paul Research a few questions recently. I really wanted to find out about Rebellion and the lowdown on the band changes. As I should probably have expected, De Liberate was very frank & honest in some of his answers.

I wasn’t one of the fortunate ones to have seen their set at Rebellion. However, I but had seen nothing but praise everywhere on the back of the bands set. I wanted to know how it felt from the bands perspective and also how the departure of Jerry had impacted them.


Thegingerquiff: Things are really happening in the Heavy Drapes world just now, you returned from a triumphant gig on the main stage at Rebellion and announced the departure of bassist Jerry, to be replaced by Scars legend Paul Research. For anyone that wasn’t there, tell us about the gig and what it meant to you?

De Liberate: This band could have died at 2pm, Friday 4th August in the Empress Ballroom. It was a critical moment. If there was no audience, that would have been a clear message that we were not what the people wanted.

I met Darren, who heads the event, the previous night. He said we were going to kill it, we’d be brilliant. I really did admire his enthusiasm and positivity but I wasn’t in that headspace, yet.

We arrived backstage an hour before our stage time along with our main man Billy Hunt who keeps an eye on us and makes sure everything happens when it should. We met Billy last year at Rebellion and he’s become a very good friend. He lives in Ireland and he was heavily involved with the shows we did over there in June.

We had a bit of a chat, a beer, individual time with the stage manager ensuring everything was in place from a tech and performance perspective and then I’m on my own. The musicians in the band are with the tech guys side stage which is somewhere through a maze of corridors. Someone had mentioned the hall was huge but empty.

15 minutes is a very long time when you’re on your jack in a large dressing room with only a mountain of beer for company, no internet connection, no coffee and no smoking. I opened a beer, sat on a chair and I went through the band’s timeline in my head. Achievement after achievement, one goal after another exceeded but there was an awareness that this could all go wrong. I knew we would deliver on that stage but playing to 50 or less people in a huge ballroom was not what I had dreamed for the band. We had worked our balls off to get here, it was 18 months of blagging, bluffing, shouting, more blagging and hemorrhaging cash, it had to work. It really had to work or the band wouldn’t exist at 2:40pm.

The guys were back, looking calm while I’m climbing the walls. They mentioned that a few people were in but it was quiet. We decide to go for a smoke which is a bit of a hike. A chat with other bands and crew outside, including The Exploited bass player, Irish Rob, who’s worked with us before and had requested to do our sound at the Empress without us knowing. He’s bloody good and that gave us a boost. Our tunes/sound is at its very best on a mammoth stage. At least we would sound huge while we crash and burn. A quick band selfie and back to the dressing room.

The door bursts open, it’s Billy Hunt. He’s taking the guys side stage to hook up with the crew for last-minute checks and he’ll come back for me 5 mins before showtime. He mentions the hall is getting busy. I’m then I’m on my own, again.

Billy’s back, he’s firing me up with his excitement. “Let’s do it. Let’s go. It’s busy”. He’s in front of me, out the dressing room we go, through the maze of corridors and into the band chill out area. I’m behind Billy with all the clobber on, Seditionaries’ shirt, big fuck off creepers and the largest shades I could find. I’m swaggering behind Billy and I could see Jeff Turner from Cockney Rejects with his mates. I had to pass them and I knew I was gonna get some verbal. I was getting closer and I was thinking, fuck it, I can handle this.

“What the fuck is this”?

“Alright Jeff, how you doin, De Liberate, Heavy Drapes”. Big smile and I’m off through some doors with a voice shouting, “You look fuckin great mate, fuckin great. Give ’em some”. I could have misheard that comment but it sounds good and I’ve now convinced myself it actually happened, so there’s no going back.

I’m side stage and I get a glimpse of the crowd and it’s a sea of heads from the front to back. Rikki Stiv, for some reason, was as calm as you like. He pulls out his camera, takes my photo and both of us stand at the bottom of the stage stairs waiting on the nod to go on.

We get the green light and we’re off. Our entrance is planned, the way we delivered the songs was planned. The first 60 seconds was the guys taking positions and me stumbling my way around the stage and getting a good look at the audience, knowing there will be shouts from the crowd to get started. Its theatre and we’re aware of that.

“We’re Heavy Drapes and we’re a fuckin’ punk rock band.” And we’re into what is a 10 song,  40 min set. We nail it in 37 mins, according to the stage manager. We leave the stage to a thunderous roar.

I’m backstage, collapsed in a heap of wet Seditionaries’ and my phone’s ringing. It’s Peter Coyne from The Godfathers (top bloke) and he’s wanting to meet for a chat in 20 mins, he’s next to the mixing desk. I couldn’t do it, I was a mess. Wayne Barrett was there, who loved it I was told. Christ, we were minutes from extinction and now we’re the band of the moment. This was how I wanted it to be. We were going up the punk ladder rapidly. I looked up from under the towel over my head and Jerry said “I’m off, see you at the next gig”.

The 3 of us hung out at Rebellion for the remainder of the weekend. We partied so much, we had nothing left to give. On the way home up the M6, we stopped to grab a coffee and make the decision on Jerry.


Tgq: Sounds like Rebellion was a brilliant weekend! Can you tell me more about what happened with Jerry?

De L: We went through one of the most challenging and demanding days knowing Jerry had already left the band the week before. He quit two days prior to our Rebellion warm-up shows in Sheffield. We couldn’t believe it. He quit while we were on a band chat arranging the finer details of our next London trip.

He had done this twice previously, sudden verbal outbursts of aggressiveness. His words were “I fucking quit, go and find someone else, I’m out”. His decision to leave was a personal one. We wanted him in, not out. This wasn’t part of the plan. We decided to sleep on it, maybe Jerry would chill and contact us.

Nothing all next day from Jerry. I’m at home and I phone our guitar hero. The gravity of the situation has kicked in. Billy Chaos is up North trying to chill, there’s rubbish internet and he’s completely out the loop but he knows about Jerry and he knows we’re trying to come up with a plan of action to save the day. We agree a list of 3 potential replacements.

Gary McCormack (ex Exploited) was the first name. We had been in a band with Gary briefly in the mid 90’s called Slider and were courted by various major labels before we fell to pieces. Gary looked the biz and could play.

Paul Research (ex Scars) was the most unlikely name to come up but it did. It was ridiculous, he was a guitarist and known to be a bit of player. He was already a punk star, it was a stupid idea. I had only met Paul for 5 secs after our Edinburgh show with UK Subs. I was actually standing with Alvin Gibbs and Paul walked past and we said hello, although we had never met. A quick hand shake and he was off. In the 5 secs we had, he got his message over about what he thought of the band. We blew him away.

3rd on the list is Glen Matlock, completely stupid because it just is. Glen did stay on the list and as a last resort, when everything else is lost, I would contact him. It would have been easy, absolutely nothing to lose.

What actually did happen was, we called Paul Research and put the proposal to him. We had 8 days until Rebellion and 2 days until our warm-up shows in Sheffield; it was looking like the warm-ups would have to be cancelled.

Would he like to join the band as bass player and be ready in less than a week? The answer was Yes.

To learn a set of songs is a huge task but the added pressure of being able to deliver them in the manner we needed for the Rebellion show, note perfect, one after another, relentless, with no chat, seemed like an impossible task; on an instrument which you’re not familiar with, it seemed ridiculous.

I received a message from Jerry to call him, this was the day prior to the first of two Sheffield shows. We had a lengthy chat and although his head was fucked, he agreed to my offer of coming back onboard. Paul Research very kindly agreed to stay on standby but he was absolutely driven by the thought of joining the band and made it clear he wanted the job.

The journey to Sheffield was fine. Jerry was a bit distant but we had no issue with that, he was a quiet guy normally anyway. We hung out with friends for the weekend, warmed up and came home with 5 days until the big one.

3 of us travelled down to Blackpool on Thursday and Jerry arrived on the Friday, 4 hours before the show as planned. And that takes us back to me in the dressing room……

Tgq: I also asked Paul how he felt about joining the band.

Paul Research: I’ve been a massive fan of Heavy Drapes for about a year, and I’ve known Richie and Billy for years in and out of various bands. There was talk of me coming on for a “supersub” appearance at the 100 Club show, so Richie and I started jamming to prepare for that.

Initially it was just the two of us, and we’ve since gradually gathered a bunch of other players together, and been writing and recording – that project is called Voicex. So when I got a call asking if I could step into the bass role, I already knew we could play and write music together. An easy decision to make.


Tgq: I know you are in the process of recording your debut album. How is that progressing?

De L: We started working on ideas for the album at the end of last year. We secured the services of Mark Freegard, who has a fantastic pedigree, including the production of Manic Street Preachers, the Breeders, Erasure, Del Amitri and the list goes on. He was also involved with Sandinista – The Clash.

Mark has understood what we’re trying to achieve and he believes the best way to deliver the best result is for us to only use the instruments we play and capture it live in the studio. To do this, you need to be playing the tunes at gigs, the song takes on a new life and you start to get a better feel for the dynamics and arrangement. Most of the tunes on the album will have been through this process.

The album will have 12 tracks, just like our favourite albums; we are firm on that, and any more than 12 is too much. We have recorded and mixed 6 tracks and we’ll start work on the next 6 between now and the end of the year.

We’re receiving a lot of requests to have the 4 EP tracks included, this appeals to us because it would tie up all the tunes we’ve written since the band got together. We’ve worked on 2 of the EP tracks for the album, these were produced by Mark Freegard, they sound much more urgent and have more depth; they sound massive in comparison to the EP production (which is actually 4 demo tracks remastered and released due to the demand).

We’ll have the album complete and ready by January and then we’ll be in negotiations with record companies to secure a release date. We will go with the label who understand what this album is all about. It’s not just another album by another band, this is THE album, it’s special, it’s the shot in the arm the punk/alternative scene needs. It’s been said that this is the most anticipated punk album in decades, if that is the case, then from our side we need to ensure we nail it, from a record company side, they need to realise what they have in their hands. We have our sights on Europe and America, we know the American market will lap this up, if they hear it. So, it needs to be a label with clout. I wouldn’t say no to Geffen.

We’re being asked constantly when the album is out, which is a good thing but what needs to be made clear is, if we were just another punk band, we could have knocked out a couple of albums this year but this isn’t about knocking out any old tune, it’s about getting it right and thinking about what you’re trying to achieve. You don’t go top 50 USA by knocking stuff out. Sex Pistols first show was Nov 1975, their album was released September 1977; we’re on the same timeline. This may be the last album the band ever does, it’s our legacy and we’ll take our time thanks very much.


Tgq: You’ve all had some previous experience and success in the music industry, with 3 of you being the core of Baby’s Got a Gun and obviously as mentioned (a number of times) earlier, Scars. What are the key differences and challenges you see now compared to your previous incarnations?

De L: Heavy Drapes is an opportunity for all of us to get it right. Paul has already been in a band at the top-level and delivered an album which has been documented as being special. Through numerous conversations, I know Paul feels he has much more to give and he is 100% convinced this will be with Heavy Drapes.

As for us other 3, we’re the same as Paul. We’ve got an opportunity to be part of something which is pure and untouched; it’s not been manipulated, watered down, copied or influenced by the dollar. It’s real rock music containing no bullshit.

PR: In some ways some of the old challenges have disappeared: the cost of recording demos is minimal now, you used to need a record advance or a bank loan and it was a huge gamble. Plus you can reach an audience with YouTube and SoundCloud in a way that was literally inconceivable in 1977. But the market is shrinking now, and because it’s easy to generate music it is harder all the time for the audience to separate noise from signal. Also, people don’t want to own music or to pay for it. It is expected to be free and always available on demand. So it’s harder all the time to make your living doing it.

Tgq: Paul, what are the things that stand out for you during your time with Scars?

PR: Recording our first single was a highlight. I was blown away but how well everyone performed in Scars, it was exciting to hear things that the others were doing in the studio environment. It really gelled and carried a lot of power. We had a similar experience recording our album. It wasn’t always fantastic, but Scars usually delivered when it really mattered, on the big occasions. Heavy Drapes also has that sense of drama for the big occasions.

Tgq: So, going back to the beginning, when and how did Heavy Drapes come about?

De L: The idea of Heavy Drapes goes back to 2007. Rikki Stiv and I advertised for a drummer and bass player. We jammed for a while with a drummer called Mark Rabies and bass player called Martin. We never had a name but we did have 25 punk cover versions nailed. Martin had an alcohol issue and would slide down the studio wall while drunk and sleeping, mid tune. He never came back after Mark Rabies hit him on the head with a full can of beer during one of his slide down the wall incidents. Rikki pulled in a guy called Jerry to play bass, who ended up being Jerry Dangerous.

We got asked to play a couple of shows, a private party and charity event in the late summer of 2007. We named ourselves The Stivs, after Stiv Bators of the Dead Boys and went out and played our set of covers. These gigs worked in the sense that Rikki and I knew we wanted to write tunes and get a bit more serious about it. We kept Jerry, moved on Mark Rabies and drafted in Billy, later to become Billy Chaos.

We wrote some tunes, including the 4 songs which appeared on our EP last year. Lined up a run of gigs at The Box in Glasgow, that was April/May 2008. Played to 20 people at the first gig and the next two shows were busier. We were picked up by the mainstream music agency, Regular Music. They secured us dates with the New York Dolls, Hoodoo Gurus and Stone Gods (the Darkness).

We also had management based in Los Angeles, that’s who arranged for the video of Into The Blue to be filmed at The Box in Glasgow. You can find this video on YouTube; the footage is dark, due to lighting rig being too large for the venue and it couldn’t be used.

We had everything going for us but I knew something was missing. We had our sound, we had the songs but I had no clue where we wanted to go with it. We did a show at Leith Depot in Edinburgh which ended with us completing 5 encores and finishing with God Save the Queen with police sirens and a massive street brawl. This was July 2008, we had been together less than a year, did 7 gigs and wrote approx. 7 songs. We imploded that night in Leith. I knew I didn’t want to be in a band at this point in my life. On hindsight, if we dropped into the punk scene at this point, we’d have ripped it right open, as we have done now.

We got together again in 2011 to play a one-off charity event. We then tried to play the same charity event in 2012 but I got ejected from the venue just as I was about to go onstage (I was in the wrong company).

Tgq: Where & when was your first gig as Heavy Drapes?

De L: In the summer of 2015 I was offered the Electric Six Scottish dates but I didn’t have a band, although Rikki, Jerry and Billy were up for it, we wouldn’t have been ready. I was also offered the support slot with 999 in October 2015 and that was far enough away to give us some time to get ourselves together. We agreed to do the show.

On 3rd October 2015, Heavy Drapes did their first show opening for 999 in Bathgate. We barely had a set of songs and only a few rehearsals under our belt but we destroyed it. We knew prior to this show that this time we would be much more direct and focused. We wanted to be the biggest new punk band in the UK and release the best punk rock album the world has heard in a long time. We wanted to deliver the message that punk rock doesn’t have to be the way it is, it can actually look and sound like us. Punk can be new, it can have influences from the decades post punk, it can be explosive, have swagger and it can have tunes; big tunes which are all-inclusive with potential to appeal to a broad demographic. It can be fun.


Tgq: I mentioned earlier some of my favourite experiences of seeing Heavy Drapes. What are some of the key highlights along the Heavy Drapes journey so far for you?

De L: Key highlights so far would be; securing 5 Rebellion slots in 22 months, Blackpool 2016, Blackpool 2017, Dublin 2017, Amsterdam 2018 & Blackpool 2018. Uncharted water for the Rebellion team. No other new punk rock band in the world has achieved this I’m told.

Being included on 2 Vive Le Rock magazine cover CD’s, one of which was the best 16 new bands in the country.

Playing to 2000 people in the Empress Ballroom, Blackpool, and knowing they were there to see us.

Glen Matlock telling me he thought Heavy Drapes was a great name and him being thrilled when I told him it came from a line in a book called ‘Only Anarchists Are Pretty’, describing the heavy drapes hanging at the rear of Malcolm McLaren and Vivienne Westwood’s ‘Sex’ shop on London’s Kings Road, the same shop where Glen worked on a Saturday as a teenager.

The one thing which brought me joy above anything else was the front few rows at the Empress Ballroom, it was all people we knew, friends we had made on our journey since that first gig with 999 in 2015. There were faces from London, Dublin, Sheffield, Edinburgh, Glasgow, Manchester and Nottingham. These are the people who make as many sacrifices as the bands do to make this whole scene happen. We were very proud to be with them, as one, when we conquered Rebellion in August.

Tgq: DeLiberate, I’ve heard you talk at length about some other bands you enjoy playing with/listening to, like Duncan Reid & The Lee Harvey’s. What new bands are you excited about just now?

De L: New bands, I’ve seen more bands in 20 months than I have over my lifetime. I don’t believe I’ve seen any good new bands. Bands who I’ve seen and rate have been going for some time.

The Lee Harvey’s are special, they play straight forward punk rock, no frills, like Ramones/Undertones, good lyrics and good songs. We now class them as mates. We played Dublin with them this year and it was one of the best nights we’ve had, as a gig and a night on the town. They rocked Rebellion with us in 2016 and 2017.

Do ‘Knock Off’ and ‘The Blue Carpet Band’ count as new, I dunno, they’ve been going a fair bit longer than us. When does something stop being new? I’m thinking too hard.

No, I’ve not seen any good new bands.


Tgq: There are a number of great gigs coming up for you – including playing with Duncan Reid and 3 Minute Heroes in October (as I said, your gig with Duncan Reid in Audio last year was one of my gig highlights of 2016) and also with 2 of my other favourite bands on the Scottish punk scene, ReAction and The Zips in September, what else are you particularly looking forward to in the next 6 months?

De L: The next six months is crucial. We have our first London headline show at the 100 Club, London. I’m told it’s going to sell out. We have 3 top London bands on the bill and I think it’s a fantastic night for Edinburgh and Scotland, where we have are top of a bill that people are saying is the cream of new talent in the UK.

We need to raise the roof to put our stamp on it.

We need to deliver the album of our lives and present it to the world early 2018.

We need to shine at Rebellion Dublin, Amsterdam & Blackpool.

We’re now entering an exciting phase in the band’s history, it’s a white knuckle rollercoaster ride and we have no idea where it will end up. I suppose we know where we’re going, we’re just not clear on how we’re going to get there.

Thanks a million to De Liberate and Paul for taking the time out to talk to me and for being so open about recent events. I for one am thoroughly looking forward to seeing the band in the next few months before they take a break from live gigs to finish recording the album.

You can catch Heavy Drapes at the following gigs for the remainder of 2017 and into 2018.

For anyone who hasn’t heard the band, check out their video for Into the Blue:

Heavy Drapes discography:

Should I Suck or Should I Blow (CD EP) (UK release) – self-released – Suck 1976

4 track EP

  1. Should I Suck or Should I Blow
  2. Into the Blue
  3. Hanging like a Suicide
  4. (I Wanna Be) Maladjusted

Should I Suck or Should I Blow (CD EP) (US Release) – Tarbeach Records – tar010

4 track EP – same tracks as UK release – different cover.

Should I Suck or Should I Blow (7” Yellow vinyl) – Tarbeach Records – tar010

A-side – Should I Suck or Should I Blow?/Hanging Like a Suicide

B-Side – Into the Blue/(I Wanna Be) Maladjusted

Heavy Drapes/ReAction split single (7” Red vinyl) – Tarbeach Records – tar007vs

Heavy Drapes side: Into the Blue

ReAction side: Hey Patty Hearst

Heavy Drapes on compilations:

Tarbeach Compilation: No Animals Were Harmed On Any Recordings On Tarbeach Records.(Charity Release – supporting NYC musician Sonny Vincents family) – Tarbeach Records – tar016 CD

Heavy Drapes track featured is Nighttrippin’

Vive Le Rock cover CDs:

Let it Roll: Heavy Drapes track featured is Should I Suck or Should I Blow

Recharge – 15 of 2016’s Year-busting tracks: Heavy Drapes track featured is Into the Blue

Heavy Drapes current releases available from Tarbeach Records

Follow Heavy Drapes on Facebook & Twitter


Fancy some quality Heavy Drapes clobber?

New VeRy LiMiTeD Heavy Drapes t-shirts also available now – designed and made by Phil Gallagher and Rachel Forsyth of MoNkArOcKs. Get in NOW to get yours before they disappear, they are limited to 77 and are all individually numbered.