Human Impact may have cancelled the UK leg of their tour citing, among other things, Brexit – which is disappointing, but unsurprising – but the arrival of new music offers some solace, I suppose.
Put simply, the UK’s separation form the EU has completely fucked the arts, especially touring musicians not only within the UK, but those wanting to play here, and not only those coming from the EU. The idea that we’re some kind of powerful supernation with immense international clout for trade and everything else is beyond deluded: we’re a small island with little to boast economically right now. So here I am, sitting by candlelight in an attempt to reduce my energy consumption, while sipping a pint of homebrew because the price of beer is soaring almost as fast as diesel and train fares – which is one reason I’ve not been to a gig all month, and it’s starting to feel like lockdown as actually better than this, meaning the timing of arrival of ‘Imperative’ couldn’t be better.
The band announced a new lineup with the release of their first new material since last year’s EP01 as follows: ‘Human Impact is super excited to announce that our line up for the upcoming European tour will include Jon Syverson (Daughters) on drums and Cooper (Made Out of Babies) on bass. We will miss Phil Puleo and Chris Pravdica, but our evolution as a band continues and Jon and Coop will join us in making these live shows truly unforgettable. Human Impact’s self-titled debut album arrived on the eve of the pandemic back in March 2020, which received much critical acclaim and landed them the front cover of New Noise Magazine France. Human Impact followed up with an eight-song EP, dubbed EP01 a year later in March 2021 which featured a mix of singles and unreleased B-sides that were recorded simultaneously to the debut album. ‘Imperative’ is the first new music from the band since then’.
It’s one hell of a way to herald the new phase of the band. ‘Imperative’ is an absolute beast of a tune, an angry grey mass of anguish and angst that slams and grinds and kicks and churns with the nihilistic fury of the best of Unsane and Daughters. It’s brutal, not in its abrasion, but in its straight-up solid bludgeoning. The guitars are steely, but corroded, the sound of twisted metal against a frenzied bass and rolling drums. Feel the pain.
AA
2022 TOUR DATES
15/06/22 : Sonic Morgue @ Kuppelhalle/Silent Green – Berlin (DE)
Three years on from the original Lips Can Kill Tour, which took place in December 2019, these four likeminded bands reconvene to showcase their contrasting but complimentary styles around the UK, landing in York on the second night after kick-starting things in Birmingham. And, while ostensibly London-based acts, this is very much an international affair, and it’s this range of flavours and elements of cultural context that make this such an exciting proposition.
On the one hand, I feel that making a deal of the fact any band is female-fronted is unhelpful in the scheme of things, as if being female-fronted is something particularly novel or to be applauded in itself, or, worse still, a kind of virtue signal or positive discrimination. It’s more a hindrance to equality and detracts from what the band actually does. Female-fronted is not a genre. I say this because context matters, and the fact that all four acts on this tour are female-fronted is precisely the point: it’s a package deal of strong female frontspersons working in solidarity: stronger together. But stepping back from that, the fact of the matter is that it’s a package deal with four fiery guitar-led bands that you can’t really go wrong for the seven quid or so entry.
With a revolving running order, the stage times on the door simply list bands 1-4, and the first is on early, just fifteen minutes after doors. It’s Tokyo Taboo up first after some last-minute pole prep. Their act and image has come on a fair way since I last saw them way back in 2018, and their set now features unreleased material and singles released since 6th Street Psychosis. For the most part it’s chunky, spunky, punk rock with a pop edge. ‘Pussy Power’, dedicated to the women of the bands on tour is strong and empowering. The second half of ‘Self Sabotage’ is sung from back by the bar after Dolly totters through the crowd on heels that are practically stilts. As it began, so it ends, and they’re back to low-slung stoner riffage for closer ‘No Pleasure Only Pain’.
Tokyo Taboo
Healthy Junkies are up next for what seems to be a depressingly middle-aged male-dominated crowd, and they’re on form on their second time playing in York this year. They sound denser, louder, more driven and energised and get people moving from the start. They’ve got the quiet/loud dynamics and beefy grunge/punk riffs nailed and kick the songs out with swagger and confidence, but without coming across as cocky. They’re proficient and efficient, lean and strong. It’s the first tour for their new bassist. He’s young and energetic and delivers some solid Rickenbacker action. Chat is kept to a minimum as they pack in the tunes and play them hard. ‘Tricky Situation is pure spirit of 77 with guitarist Phil Jones taking over lead vocals. They’re joined by Frog from PollyPikPocketz for closer ‘Mayday’. It’s got novelty value, but the green haired old punk’s Lydon ripping is a shade anticlimactic in its predictability. Still, they look like they’re having fun and the crowd love it, so maybe it’s just me being cynical and jaundiced.
Healthy Junkies
The night steps up a notch or three with the arrival of Yur Mum onstage. They immediately up both the volume and intensity. Something about cutting down to a duo seems to have given the band – who already kicked arse as a trio – a fresh impetus and incentive to kick arse twice as hard. If it’s a case of overcompensating, then fine: it works. Anelis’ rib-shaking bass packs a massive, phat, buzzing, booming punch, and it’s matched every note by Fabio’s stick-flipping hard hitting drumming. The jarring, jolting frenzy of ‘Tropical Fuzz’ is absolutely killer, and brings all the cowbell, too. Then they’re straight into the jungle… and there’s more amazing bass, with fast fretwork but it’s not wanky for a second. They really turn up the heat with ‘Sweatshop’ and, for my money, are the band of the night.
Yur Mum
PollyPikPoketz present an interesting dynamic – and pack a hell of a lot of energy. The guitar and bass are – specifically those wielding them – are old punk/metal with their Lemmy / Rotten stylings respectively, and are probably older than singer Myura’s parents. It makes for an odd dynamic, visually at least. Sonically, though, it works a treat, combining experience with sass and energy. They’ve got some killer riffs, too, and hit full-throttle gut churn at times, simultaneously calling to mind early Therapy? and The Adverts.
PollyPikPoketz
In all, it stacks up for a quality night, and where many package tours feature bands who sound alike – which can get tedious pretty quickly, because no-one needs four shouty punk bands or instrumental post-rock acts back to back – Lips Can Kill 2 offers stylistic range sonically and visually, not to mention top-notch entertainment all night.
Influential psych innovators Gong have shared a new live video for ‘If Never I’m and Ever You’ as the group prepare for an extensive UK & EU tour between Feb – Sept 2022.
Performing the song, taken from their acclaimed 2019 album ‘The Universe Also Collapses’, this new video captures the band in the intimate setting of their rehearsal space, performing together in early 2019. A mind-melting and incredible sonic experience, a Gong live show is something all fans should experience and as they prepare to embark on their massive ‘This Is The Moment And Now Is The Time’ tour, this new video offers a glimpse for fans of the magic to come.
Formed in 1969 by Daevid Allen, one of the founding members of Soft Machine, classic albums such as Camembert Electrique, Flying Teapot and You established Gong as one of the most unique, innovative and experimental rock groups of the Seventies.
Before he sadly passed away in 2015, Allen laid out his hopes for a future Gong, that it should be uplifting, exploratory and a positive force. Kavus Torabi, Fabio Golfetti, Ian East, Dave Sturt and Cheb Nettles, chosen by him, continue his vision.
The band will release a new live album Pulsing Signals on 18th Feb via Kscope. Recorded live across three shows at The Wardrobe in Leeds, The Cluny in Newcastle and Rescue Rooms in Nottingham in 2019 as the band toured ‘The Universe Also Collapses’, this live record finds the group in spirited form as they undertake, unbeknownst to them, their final tour before the global pandemic took charge.
With touring now set to recommence and bookings going long into 2022 and beyond, Daevid Allen’s vision for the future looks set to be fulfilled.
Watch the video here:
AA
GONG LIVE IN 2022
FEBRUARY
Sun 27 – FLETCHING – Trading Boundaries
MARCH
Tue 01 – BRIGHTON – Chalk
Wed 02 – SOUTHAMPTON – 1865
Thu 03 – READING – Sub 89
Fri 04 – GUILDFORD – Boileroom
Sat 05 – COLCHESTER – Arts Centre
Mon 07 – LEICESTER – Musician
Tue 08 – MANCHESTER – Gorilla
Wed 09 – GLASGOW – Oran Mor
Thu 10 – CARLISLE - Brickyard
Fri 11 – WIGAN – The Old Courts
Sat 12 – STOCKTON-ON-TEES – Georgian Theatre
Sun 13 – NORWICH – Arts Centre
Mon 14 - BURY St. EDMUNDS – The Apex
Tue 15 – BIRMINGHAM – Hare & Hounds
Wed 16 – NOTTINGHAM – Rescue Rooms
Thu 17 – NEWCASTLE - Cluny
Fri 18 – YORK - Crescent
Sat 19 – HEBDEN BRIDGE – Trades Club
Sun 20 – BETHESDA – Neuadd Ogwen
Tue 22 - EXETER - Phoenix
Wed 23 – BRISTOL – Thekla
Thu 24 - STROUD – Sub Rooms
Fri 25 - HITCHIN – Club 85
Sat 26 – RAMSGATE – Music Hall
Sun 27 – TUNBRIDGE WELLS - Forum
Mon 28 - LONDON – The Garage
AUGUST
Sun 7 – Love Summer Festival 2022 – Plympton, Devon
‘Last Day In L.A.’ is the lead single from the UK quartet’s forthcoming album Forever on the Road, which promises a mash-up of psychedelic rock, punk, grunge and goth. They’ve toured relentlessly since their formation in 2011, gathering a respectable international following along the way, and kicking out four albums and a bunch of EPs, too.
Listening to this reminds me that I had been due my first day in LA in May, on my first proper family holiday in over a decade, but the 2020 happened – or didn’t – and life activity was suspended. But, filtering through all of the shit of the last six months, the trade-off is that while the absence of live music has left a gaping chasm in the lives of many, including mine, (although I’m fortunate to only have been impacted socially and spiritually, rather than financially unlike so many bands, sound engineers, roadies, and so on), many artists have found ways of using the time off the road to record and release new material, and this is true of Healthy Junkies.
‘Last Day in L.A.’ may not represent a major departure from anything they’ve done previously, but it’s lively, vibrant, and has a proper late 70s / early 80s vintage feel, but equally, it’s got a grunge-pop element, as well as a corking hook and the kind of riff that totally grabs you.
There’s also a certain sassy spin thanks to Nina Courson’s vocals, ad it all adds up to an exciting single and an enticing prelude to the album.
“It seemed to make a lot of sense to strip it back of all the industrial electronic sounds and leave it with just a guitar that sounds like it’s lost in an empty void, because that’s pretty much what’s happening to every town and city around the world right now”
For Sky Valley Mistress the lockdown couldn’t have come at a more challenging time, you see March 20th was the release date of their debut album Faithless Rituals an album that had already had a rocky road to get to the finish line and as momentum grew and everything started to fall into place the reality that the world would soon be standing still and for a period of time the band would have to sit back and not be the centre of the universe albeit for a short time has been testing. With all promotional duties and tour commitments shelved and working out the challenges of lockdown Sky Valley Mistress have simply just got on with it.
Seeing the band live is a sight to behold and the real frustration is that the “Faithless Rituals Tour” and the preparation that went into it hasn’t happened and when it does it can’t help but be different from the Pre-Covid version, we know venues and live music arenas won’t be the same, but we also know as a band Sky Valley Mistress won’t be the same, they haven’t really took to or got the luxury of performing streamed shows but instead have been putting together enough material for a second album and even though its all been done from a distance the band have never been closer and when the time is right they’ll be working in the studio.
To begin their lockdown endeavours and armed with Trent Reznor’s Tambourine which Max & Kayley required live from a Nine Inch Nails Scala show in 2013 they have recorded a version of ‘Everyday Is Exactly The Same’, each part has been performed, recorded and mixed remotely and strips back their usual sound to create a sombre version of this 2005 NIN classic, accompanied by a video created, directed, edited and featuring Kayley filmed in Isolation.
“I’ve been blessed to work with both Ben Chisholm and Kristin Cofer for many years now as creative collaborators. Ben sometimes does something called “grave-hunting,” searching for graves for people online who are looking for their relatives in far-away cemeteries. Kristin and I went along with him one day last Spring to a hidden graveyard in a small mountain town and I brought my guitar along. We searched, and filmed, and played some music for those who’ve passed on. The feel of the video was inspired by some footage I stumbled upon of Joni Mitchell from a 1966 French-Canadian TV show, after I had already written “Highway,” but the feel was just so sweet and natural and free, and I wanted to bring that to life for my own song as well, since Joni has been such a big inspiration for me since childhood.” – CW
Chelsea Wolfe’s acoustic tour of Europe is fast approaching, and the debut of a new video for "Highway" (filmed by Ben Chisholm & Kristin Cofer) is a poignant reminder of journeying and life on the road, one of the themes around her latest work, Birth Of Violence, out now on Sargent House. Set in unique spaces, the forthcoming dates are complemented with support from Tribulation guitarist and sublime solo artist, Jonathan Hultén – dates and details below. Watch the video here:
Chelsea Wolfe has spent her career making music that’s as fascinating as it is undefinable. Built on seven studio albums and numerous tours of consistently powerful performances around the globe, Wolfe’s work has transformed itself repeatedly throughout her 10-year career. Her earlier records exposed the intimacy of folk music with a doomed, bleak aesthetic (The Grime and the Glow, Apokalypsis, Unknown Rooms). She later immersed herself in a sonic intensity approaching the electronic industrial (Pain Is Beauty, Abyss) and even sludge metal (Hiss Spun). Her latest release, Birth of Violence, steers her sound back toward pure folk, adding another enigmatic layer to her oeuvre. Although Chelsea Wolfe’s approaches are experimental, she deliberately ties together her discoveries in rich textures and haunting melodies, digging into the viciousness and pain of the world to find its beauty.
Celebrating their thirtieth anniversary, Helmet are playing thirty-song sets in thirty cities. It feels like an immense privilege that Leeds is one of them, and the fact it’s the 150-capacity Key Club even more so. With only ten tickets remaining for sale on the door, for a cult band who’ve only released two albums in the last decade, they’ve retained a hardcore following, not all of who, are old buggers.
With no support act, they take the stage at eight sharp, and immediately start with the riffs. Not a word at the start, nor between songs for the first half dozen at least. Instead, it’s all about the riffs.
Riff after riff after riff.
Riff after riff after riff.
The extended freeform solos drift into the background while the rhythm section thunder on relentlessly: the floor-shaking, gut-churning bass, the rhythm guitar that blasts out concrete slabs of noise.
Riff after riff after riff.
Riff after riff after riff.
The blunt, bludgeoning weight of thick, stop/start chunks of noise that became the defining feature of Nu-Metal are Helmet’s staple, but they did it first and did it best. Helmet were also one of the first off-the-street jeans ‘n’ T-shirt bands, and Beavis and Butthead were on the money when they observed that “That drummer looks like a regular guy,” and “If you, like, saw these guys on the street, you wouldn’t even know they were cool.” And yes, they are cool. Seriously cool. Their influence clearly extends far, far beyond their fanbase and commercial reach, which peaked in the early ‘90s. But being cool is also about pushing on, and Helmet’s achieving radio play and MTV exposure around this time was a matter of coincidental timing rather than strategized mass appeal.
There’s no messing, no posturing: Page regales us with an amusing anecdote about being rehearsing in a space next to Buck Cherry, who commented on the fact the band load their own gear, and who they heard rehearsing their between-song banter. But I never mentioned that. It’s one of only a few moments of chat we get but what’s keenly apparent is that these are nice guys, with no pretence or rock-star delusions, and with their major-label years long behind them, no industry bullshit surrounding them.
They play songs in small venues.
They play hard.
Riff after riff after riff.
Riff after riff after riff.
Song number thirty is ‘In The Meantime’. It’s blistering. But then, so were the preceding twenty-nine songs.
And long may they continue to knock out the riffs.
Hull hardcore duo Parasitic Twins are set to hit the road later this month with the monstrous Boycott The Baptist! The band, who released their visceral debut EP, “All That’s Left To Do Now Is Sleep With Each Other”, on October 26th, are set to appear in Germany and Holland with BTB! Remaining dates see support from Clunge Destroyer. Full dates for the tour below:
November 30th – Thav – Hildesheim, Germany (w/ Parasitic Twins)
December 1st – The Morgue – Leeuwarden, Belgium (w/ Parasitic Twins)
December 2nd – Crowley’s – Hastings (w/ Clunge Destroyer)
December 4th – Birds Nest – London (w/ Clunge Destroyer)
December 5th – North Bar – Rhyl, Wales (w/ Clunge Destroyer)
December 6th– Paradiddles Music Café – Worcester (w/ Clunge Destroyer)
December 7th – Lounge 41 – Workington (w/ Clunge Destroyer)
December 8th – The Westgarth Social Club – Middlesbrough (w/ Clunge Destroyer)
Ripping a page from the Killing Joke school of lo-fi noise, then setting it on fire via the way of Today Is The Day and Godflesh, Hull’s scariest kids, Parasitic Twins are riding high following the release of their debut EP. Recorded live and raw, at Melrose Yard Studios in York, the hardcore duo, made up by guitarist/vocalist Max Watt (Rotting Monarchs) and drummer Dom Smith (Mary and The Ram), have performed together previously as part of Seep Away was born of a desire to create the most abrasive sound they could.
Discussing their debut single, “Massive”, Watt had this to say: “It’s about that mental sense of abandon that comes once in a while and turns our lives into ash. Temporarily, of course. Everyone’s been in that place where long term plans and prospects just become irrelevant and all you can focus on is immediate day to day shit, and one day you wake up and think “Goddamn, what was all that noise about?” At the time it’s huge but with time just becomes a notch in your past, then you gotta make the reparations, and push all that negative shit to the back.”
Hammered into the raw aggression like a nail into splintered wood is a youthful rage desperate to be heard. Taking comfortable influence from the late 90s sludge scene, the track “Flipswitch” borrows from the Raging Speedhorn school of duel vocal ferocity while “End” wraps a chain around the Biohazard-esque bouncy hardcore and throws it on the heap. Making “ATLTDNISWEO” a white-hot blast of crusty oblivion, perfect for fans of low end, aggro-punk. Listen to at wielding volume.
Following their storming performance at Desertfest, a run of European shows with L7, plus a one-off appearance with stoner rock legends Sleep, Black Moth show no signs of stopping in 2018 as they share a new video for ‘Pig Man’ ahead of their UK tour with Corrosion of Conformity, Orange Goblin and Fireball Ministry.
Directed by Ged Murphy/Rob Hoey and filmed by Louis Caulfield, vocalist Harriet Hyde comments on the meaning behind the track:-
‘In my endless fascination with human sexuality, I came across a brilliant book called Perv by Jesse Bering which celebrates how we’re all sexual deviants in our own unique and colourful ways. In reading it, however, one particular story stood out for its horror and absurdity…
‘Most people know of the atrocities committed towards women in 17th century New England in the Salem Witch Hunts. Deranged rumours circulated that they cut off men’s penises, bewitched them and kept them as pets! To this day, women are ‘slut-shamed’ and outcast for possessing their own innate power and sexuality.
‘A lesser known story is that of the ‘Pig Man’ hunts that obsessed the congregations of New Haven. The poor dears in their infinite repression managed to convince themselves that certain men were secretly in league with the Devil to impregnate barnyard animals. The offspring would be Satan’s children walking the earth, wreaking destruction in their orderly Christian society. It seems the arrival of a deformed pig foetus was enough to incriminate the farmhand for ‘buggery’ and lead to his brutal execution. In a sick, paranoid society, no-one is safe.’
Watch ‘Pig Man’ here:
Tour dates with Corrosion of Conformity / Orange Goblin / Fireball Ministry
Oct. 26 – Engine Rooms – Southampton Oct. 27 – The Institute – Birmingham Oct. 28 – Rock City – Nottingham Oct. 30 – The Ritz – Manchester
Nov. 01 – Garage – Glasgow Nov. 02 – The Plug – Sheffield Nov. 03 – Cardiff University Great Hall – Cardiff Nov. 04 – The Forum – London
This conversation happened. It didn’t quite happen as was originally planned, but shit happens and storms happen. Maidstone-based pop-rock quintet Weekend Recovery may have been late – way late, after storm Doris fucked all things traffic, meaning the journey to Leeds took an insane eight hours – to their own show on first night of their first headline tour, but they still made it on stage in fair time and finished on time, played like pros and rocked the house down in the process. All of which is to say, they may be a relatively new act, and they may be young in years, but they know how to conduct themselves, and demonstrate an admirable work ethic and commitment to what they do.
These are not easy times for being in a band, and the economics of the music industry in the twenty-first century mean that music-making can only be a sideline or hobby for most. But the way to make it is to treat music-making like a full-tie job: it takes 110% just to get off your arse and tour without label backing. Weekend Recovery – with a bit of crowdfunding assistance have taken the enormous leap from local band occasionally venturing further afield, to proper touring entity, in order to promote their new single ‘Don’t Try and Stop Me’.
AA: Before becoming Weekend Recovery in April last year, you and your fellow band-members were the Lauren Forster Band. Why the change?
LF: We changed it because I didn’t feel like being called Lorin Jane Forster Band. Credit to my band mates who work very bloody hard – also it’s really tricky to get higher up a bill when people think you’re an acoustic act.
So more about making clear you’re a proper band, rather than a solo artist with backing?
That’s exactly it.
Why Weekend Recovery?
Well, I personally wanted Ninja Pandas, but I got voted out, she explains. I can’t help but laugh. Ninja Pandas would have been ace. But perhaps not as easy to be taken seriously with. It actually comes from my guitarist Jordan’s favourite band The Darkness’ song ‘Friday Night’.
Ok, so I do find it difficult to digest the fact that The Darkness could be anyone’s favourite band – other than perhaps Justin Hawkins’ mum, but I let it ride. Because there’s a time for music snobbery and being a twat, and time to rein it in. Weekend Recovery don’t sound like The Darkness, or any other second-rate Queen tribute, or any other overblown pomp-rock.
You describe yourselves as pop rock. Pop is often a dirty word in rock circles, and pop-punk tends to be lame as, but Weekend Recovery have some serious nuts on the evidence of your first two singles. Musically, who inspires you – and why?
Personally, I love Paramore. I’m sure that’s obvious and Katy Perry is my hero! But I love Bikini Kill and Slaves as well, so a real mismatch.
In context, those seemingly incongruous juxtapositions work well, and yes, they do come through in the music. For my money, I’d take Weekend Recovery over Paramore (too obvious, and Hayley’s voice grates) or Katy Perry (too bubblegum and lacking in substance) any day. Here is a band with some substance, not to mention a singer with a decent voice. But I’m curious: how about the rest of the band, and to what extent do they contribute to the songwriting and development?
They love a variety of music – Artur likes funk; Jordan loves The Darkness; Sean, Aerosmith, and Matt metal and Little Mix. I write the songs, lyrics and melody, but the lads jazz ‘em up.
That’s one hell of a range, and no mistake. It shouldn’t work. I daren’t ask if she’s having me on about metal and Little Mix, but then, I have a hefty stack of albums by Sunn O))) and Godflesh in a collection which also houses records by A-Ha, Duran Duran, and even a Stefan Denis 12”. What would you say distinguishes you from other bands?
It’s hard to say, because there are sooooo many bands. She had a point. We’re at band overload, a point of saturation beyond saturation. I receive in the region of up to a hundred releases a week to check out, and in truth, half of my emails don’t even get opened. And so it comes down to bands putting themselves out there and pushing like hell. We work really very hard and not afraid to fail, she says. And perhaps that’s it, in a nutshell: fearlessness is the key.
Image: how important is it? I’m aware of the fact I’m asking this question of a woman who strolled nonchalantly into a tiny venue wearing a calf-length animal-print coat and then performed in a crop-top on a wild night in Leeds in February. It’s not that she radiated ego, but a sense of occasion and role.
I think it’s important that the crowd know who the band is and doesn’t just think it’s a random person off the street – if that makes sense.
It does: jeans and t-shirt bands just look like they don’t care and could be just anyone. Everyone’s anonymous: we need bands who look like bands, rather than guys who’ve wandered on stage after a shift in some IT department. So I push a bit further. Women in rock: there are many, and yet I still get the impression it’s not an easy ride. What’s your experience so far?
I rise to it, like I’ve had the looks and the ‘oh here we go’ but I’m more of a bloke than most of ‘em.
I can believe this. She may be smiley and affable, but it’s abundantly clear that Lorin has colossal balls, at least metaphorically. You’ve toured and played support to other bands – notably Hands Off Gretel – but this is your first proper headline tour: how does it feel?
Scary as hell! If it weren’t for Hands Off Gretel I probably never would have had the kick up the arse to think ‘hell this can be done on your own without help of agency or pluggers, etc.’ – but we love it, love meeting other bands and seeing the country and what every city’s music scene has to offer!
From the live clips I’ve seen on-line so far, and from your show in Leeds on the first night of your tour, I get the impression you’re a band who thrive on playing live: is this the case, and what does playing live mean for you?
You get such a different atmosphere from playing live than a recording, the energy is something that you can’t expel to your fans from playing in a studio – I think anyway – it’s an experience you can only share to a live audience. Also, I love meeting people that like our music!
What’s in the pipeline for Weekend Recovery once you’re done with the tour?
Well, we’re supporting Skinny Girl Diet, which I’m super amped about, then it’s back in the studio I imagine, and then take over the world!
No two ways about it: Skinny Girl Diet is an ace support to bag. And I always say that ubiquity is the key to world domination.
It totally is! Yes, we’re supporting them at the Lady Luck on 30th March, which is funnily enough where we supported HOG.
It’s funny what goes around comes around, and perhaps this is fate. Weekend Recovery aren’t only a hard-grafting band, but a band who are intent on driving their own career path and making their own luck. Armed with a bunch of killer tunes and a go get ‘em attitude, if ever a band did deserve world domination, it’s Weekend Recovery.
![DSC_2557[1]](https://auralaggravation.files.wordpress.com/2019/10/dsc_25571.jpg "DSC_2557[1]")
Aural Aggravation 