Jamesy

Right... So I'd advanced the gig with the band's agent giving them a load-in time of 3.30PM as per at The Tunnels. Avocado are a bit of a shambles at the best of times but usually the bands at least turn up. Black My Heart played Kef with us a few months back and turned up like 7. I emailed and phoned Avocado in Germany all day (whilst sorting out Milburn...) and got no response on anything at all. So I used my best judgement and kept the gig on for as long as possible. I postponed it till 7.45PM and then simply had to cancel it. The band were already 4 hours late and I hadn't heard a peep from anyone at all so between the venue and myself we decided we had no choice. The first I heard frm any of the bands was at 8.45PM when Taylor called me as he saw some vans pull up. We tried to get a hold of a sound engineer but couldn't get one and everyone that'd came for the show had already turned away. I left the Milburn show and went and met with the guys from the bands and they said simply that they'd fucked up and that they totally agreed with everything we'd done... So what I can do? It was all advanced - I hadn't heard a peep and it was an hour after doors... Jamesy x

Haunts and Parka... Haunts are amazing.

I'm sorry - but sometimes you are a bitter old man, I did a couple of gigs with them for the simple reason that the agent came to me... By the way - I also got offered this date of said agent but Triptych took them. I'm glad the gig was a winner, they're an awesome band and tip-top guys - just gutted I didn't get a chance to catch up with then and go on the piss as per. Jamesy

The X-Certs Right Hand Left 10 Easy Wishes 7.30pm @ Moshulu. They were fucking ace tonight in Arbroath.. www.myspace.com/thexcerts

yo. set your goals + no trigger on August 12th, fear before the march of flames on sept 3rd. jamesy (currently camden crawling...)

Could be 15 - talking about 3 Drum Kits...

Yeah. Starting to get on top of this promotions malarky - have acquired some assistance, thank god. apparantly they're worth 800ish in Glasgow - but here I'm guessing we'd get nae farther than The Tunnels?! Excuse my naiviety - If it wasn't on Drive-Thru I just da'Ken.

Yo. Feeler time.. Any interest in seeing Boredoms of Osaka in Aberdeen folks? x

Dundee - Mid - Late 00's... Wait and see... Aberdeen's time will come..

I quit..

Arrange it... We'll set up a ring inbetween the pillars on the Moshulu dancefloor...

Meh. I'm going to kick his cunt in

Aye, rightio...I do Jeniferever as a favour to Phil EDiLS and because I've got to know the boys well, and they're nice lads but at the same time they're typically moody and pretentious - you should see their rider and demands.. Also, had no idea about the support until I got a call yesterday.. Unfort, I'm in London, I've been up and down 3 times in the last 2 weeks unavoidably... Ever thought that Jeniferever actually dont have a fanbase at all? Is that so hard to believe? IN terms of the mainstream, apart from maybe one article in Rock Sound - they've had NO press and NO radio play... On top of that.. 3 locals and only 40 people there? Aye, suppose that's my fault as well... Do you have any fucking idea how much I have on my plate? 40 odd shows - all to sort locals/market/advance/run(if humanly possible) it's beyond on a joke, but it's what I choose to do I know but a little bit of appreciation every now and again wouldn't go a miss.. Maybe I should just fucking give-up. Some people are never fucking happy. Phil, don't have time? Too many TV's to polish? Loads of gigs with the band? Pffft, then only gig I can ever remember you doing was I KIlled the Prom Queen - which I booked and organised for you, and sorted the locals - and all you did was chuck up a couple of shitty a4 posters...

So... You book someone like Jonah Matranga, a legend in some circles. It's 2 weeks to the show and you've got no venue, no promotion done and no tickets onsale - and you have the cheek to make a myspace page about me and RFR - whilst all you do is sit about all day on the fucking internet picking your arse and wanking off to granny porn. Good een.

Buy Whatever And Ever Amen. It's a fivespot in Fopp right now. A brilliant, brilliant album love from christy x

Yo Yo. RFR New gig listttt...

Jack Penate Adele The Video Nasties Aberdeen Tunnels on Monday 9th April @ 7.30PM Tickets - One-Up//See Tickets//Ticket Web 08712200260//08700600100 www.myspace.com/jackpenate www.myspace.com/adelelondon www.myspace.com/videonasties

yo yo. buy tickets here

I'll have tix onsale tonight..

I cant be sure but I have a haunch that it may just be that nobody cares anymore...

be in 1-up tomorrow...

hey. now got a page set up so you can browse all our shows together, makes it easier to get tickets. still need to add a few bits and bobs. you can find it here

Five O'Clock Heroes Opera House The Vivians The Unknown Heroes Moshulu Tuesday 13th March 7.30pm myspace.com/ fiveoclockheroes operahousehq theviviansdivided Five O'Clock Heroes We know what youre thinking. Just who are these mysterious Five O Clock Heroes,? Well, theres a long and a short answer to that question. The short answer is that theyre the Anglo-American quartet whose take on the late-70s jerk-pop mastery of the likes of Joe Jackson and Elvis Costello has been causing a quiet stir on both sides of the Atlantic, and who are on the verge of releasing their long-gestating debut album, Bend To The Breaks, a record so riddled with post-punk infectiousness, it should come bearing its own STI warning with a complimentary body-condom to boot. The long answer is, however, somewhat more complicated than that. Essentially born out of frontman Antony Ellis seventeen year-old desire to escape his native Northampton and follow his elder brother to the bright lights of New York City because, as he puts it, England was too shit and cynical at the time, the Heroes first came into being in 2003. I guess it was that sort of time in New York when being in a band seemed like the most natural thing to do, explains one-time Visa renegade Antony, from 2000 onwards, it seemed like the most exciting city in the world. It was that sort of time when The Strokes, The Rapture and Yeah Yeah Yeahs were all getting really big and everything seemed to be focused on New York Eventually, Antony met Elliot (Thomson, guitarist) in a bar and they started playing together, then within a two-week period they both met Nader (Khierbek, bass), and after going through a couple of drummers over the next few years, in early 2006 theyve finally managed to find the person in the UK thats gonna be with with em for good, and thats Sam Embery. Elliot comments, When I first met Antony and we all decided to start playing music, I really wasnt sure if the difference in backgrounds/cultures of the members would be a hindrance or not, but, as it turns out, we were able use it to help add another dimension to the band. I think it has played a large role in what success weve had in both countries. Nader adds Our geographical origins, which were exhibited sonically with our various accents, were not our only differences. We hailed from a wide range of musical influences, from Brit Pop to Rock to Punk. Finding a common ground gave us our edge, and we soon learned the art of shaping catchy hook laden songs into high energy, fast paced, danceable tunes. The route hasnt been the most direct, and its taken a lot of hard work to get to where they are now. After quickly developing a cult following in New York, the band swiftly began their relentless assault on the UK. Sans record label backing, the band booked and paid for their own tours Thats what credit cards are for, quips Ellis when questioned on the funding for these jaunts right down to the van-driving duties. Ive got 9 points on my license from driving the tourbus around Britain with an illegal number of people in the back, says Antony. One more self-funded tour and wed have had to find another driver! Tour supports with the likes of Brendan Benson, The Bravery and The Paddingtons brought them to the attention of British gig-goers, their jittery, hook-laden pop classicism winning fans the length and breadth of the country, on the back of their own dime. It paid off, but it wasnt easy. As Nader remembers Touring was truly a test of tolerance. Especially the way we toured: crammed into a tiny transit van, sharing one Travelodge hotel room, and performing on small stages. We were within arms length of each other 24 hours a day, 7 days a week, for months at a time, like young siblings growing up in a tiny flat. The potentially volatile situation actually galvanized us into a tighter band. We learned to live with each-others eccentricities, and embrace our differences. In the end it made us sound better, perform better, and most importantly, become best mates Antony continues. We did 42 dates in 46 days, and at the end of it, we didnt know what to do with ourselves. But the reaction of British crowds has been validation for us. Weve never had much money to throw around weve only ever released four limited edition singles, so the support of our British fans has been incredibly important to us. We look at everything we do as being building blocks, and hopefully the release of the album will have a domino effect on everything weve done so far. Bend To The Breaks itself sparsely recorded on their own buck in former Smashing Pumpkin James Ihas New York studio, is a jerking, jittery post-punk meisterwork thats less concerned with aspirations of skuzzy NY cool and concentrates instead on the multi-faceted delights of razor-sharp pop songwriting, with doffs of the cap to the likes of The Cars and gasp! The Police. From the spiky angular come-on of opener Head Games to the joyous reggae-pop hybrid, er, come on of White Girls ( I see you from behind/ You know whats on my mind, indeed, Mr. Ellis), its an infuriatingly catchy collection of twelve potential singles rife with bedhopping sexual frustration and choruses that etch themselves into your grey matter after a mere cursory listen. I dont like lazy comparisons, but I do think that people like Joe Jackson played an incredibly important part in the songwriting aspect of the album. People often get the wrong idea about us, they automatically think that because of our name were gonna sound like The Jam. But for me, Elvis Costello and people like that are a HUGE influence. Thats what we aimed for with this record, to get the sound of an album like My Aim Is True, or Joe Jacksons Look Sharp. But were our own band, and well play what we wanna play. Who we sound like isnt the hugest thing we think about. I just want things to sound catchy and melodic, and I think a lot of people are scared of that kind of songwriting these days. Im not ashamed of writing catchy songs. I dont give a fuck about which direction we go in. says Ellis The Heroes current direction, however, is onwards and upwards, with a planned (and long-overdue, we might add) autumn return to these shores to coincide with the release of Bend To The Breaks, this time no longer funded by their overworked Mastercard. Just who are the Five O Clock Heroes? Youre about to find out very, very soon. Barry Nicholson (NME)

Forever Like Red - http://www.myspace.com/foreverlikered FOREVER LIKE RED You wont forget the first time you heard Forever Like Red. It will be on a day such as this when nothing feels right and it seems like as good an idea as any to fill the silence with reason. Songs very rarely make you stand up and sing but Exit Signs and Dream On and What Will You Pay and Breakdown just might. And you could stand here all day and say that Forever Like Red sound like this and Forever Like Red sound like that but it wouldnt get you anywhere youd still be standing up and singing. Forever Like Red is Cameron Meshell (voice, guitar, piano), Pelle Hillstrom (guitars, effects), Mikkel Heimburger (bass) and Jesper Kristensen (drums). This line up came together in London at the start of 2006 but prior to that Danish born Mikkel and Jesper were in the LA-based Citrus whilst Swedish-born Pelle featured in electropop outfit Modwheelmood. Cameron hails from Shreveport, Louisiana but coincidentally all four had spent time in LA before individually heading over to the UK. Cameron knew of Pelle anyway and called him up, asking if he would like to hear some songs. Pelle agreed and what he heard blew him away, those songs forming the basis of what you are going to know and love as Forever Like Red. Pelle co-wrote What Will You Pay, Inhibitions and Off You Go but the vast majority of Forever Like Red material has been penned by Cameron himself. Unquestionably a star in the shadows, Cameron is the product of a traditional Deep South God-fearing upbringing, a fact that may be apparent once you hear What Will You Pay. Essentially an agnostic take on the contradictions inherent in a belief in any after-life, Cameron admits to hiding this song from his fervently religious mother lest she be offended. She follows the word, he says with a look that suggests well all know what that means. Other songs are more clear-cut although similarly addictive: Inhibitions is about Doing Anything You Wanna Do, Dream On is about a couple changing and growing apart together - the words of love you flew to me on paper planes; and Exit Signs is a rites of passage song about not wanting to make a commitment. Straightforward enough you might think but then youd hear Father and Forever Like Red and youd have to think again. Written as a result of a catastrophic event in Camerons life that took place in August 2000, both these songs showcase Forever Like Reds darker, heavier side: Father is pure caterwaul emotion whilst Forever Like Red itself is an epiphany of sorts, all pent up anger and fear in music. Of this song, Cameron will only say I hope people will make sense of the lyrics and connect with them but reveals further that Forever Like Red is an attempt to describe a life-changing moment that remains frozen in time, he pauses, forever like red. Forever Like Reds debut album is called Distance and Cameron explains the title away by suggesting that much of the albums content concerns a long distance relationship he was conducting whilst recording the album although it also refers to the distance in time since he started writing some of the songs thereon. On the title track he sings I will write a letter to you on your birthday but admits that he never got round to writing or sending such a letter and that maybe the album is just his attempt at doing so. The love song itself is often seen as some kind of secular requiem anyway but on Distance, Forever Like Red appear to have elevated it to some kind of new art form. My guess is you are going to love it. Forever Like Red are about to tour and will be stepping out from the shadows on the following dates: March 6th Cambridge The Loft/March 9th Bristol Academy/March 10th Glasgow King Tuts/March 11th Aberdeen Moshulu/March 12th Newcastle Carling Academy/March 14th Oxford Zodiac/March 15th Liverpool Carling Academy/March 16th Doncaster Boiler Room/March 17th Manchester Night and Day/March 19th Birmingham Academy/March 20th York Fibbers/March 23rd Northampton Soundhaus/March 24th Bath Moles M Distance was produced by Brad Wood and Dave McCracken and the tracklisting runs as follows: What Will You Pay; Inhibitions; Dream On; Father; Exit Signs; Runaway Story; Forever Like Red; Breakdown; Off You Go; Distance. Plus The Confidantes - http://www.myspace.com/theconfidantes Novocaine - http://www.myspace.com/novocaineaberdeen The Bad Animals - http://www.myspace.com/thebadanimals (Feat Craig Scott of Hex Pensioners) Doors at 7.30pm - Only 2.

Yeah, Contra ain't playing. here it is.. Howards Alias Crazy Arm Crashdown Dirtbox 7pm. 6