Reasons To Be Cheerful – JAMES DOMESTIC Rants And Rips On His Solo Debut Album ‘CARRION REPEATING’

7 June 2022

Artist: JAMES DOMESTIC (Essex/Suffolk, UK)
Who: Member of former hardcore gangs The Domestics), plus Pi$$er,
Tokyo Lungs
and half a dozen more. He’s a punk poet, DJ, singer/songwriter,
doctorate owner, producer, and inspirator of young punk bands. An artistic

Out: in April via Kibou Records

Turn Up The Volume‘s impressions:

My verdict is simple. Carrion Repeating is a contender for my best-albumsof-2022 list

Why? Domestic raps, rants, rips and rages through all of the 11 tracks on this solo debut longplayer with grit and guts. He’s a story-telling Cockney wordsmith, tackling politics, daily life shit, gobbling business sharks, and other related mess.

Musically anything is possible. Screechy guitars and 60s sounding Hammond organs to inflame tirades such as Itchy Itchy, Faze Out, Bean Counter and Push on Trough. Saxophone and steel drums straight from Trinidad on Mañana. Soulful female voices and Le Freak C’est Chic riffs on Never Enough. A reggae vibe with xylophone touches on Is Thay You?. Dub Jah Wobble bas on Weekend Carbs and Giblets. He just does what his ears like.

One moment he sits back for a sort of lazy Mike Skinner musing, then again he turns it up like Sleaford Mods do with sharp-toothed gusto, but overall the idiosyncratic vocality, the ingenious verbality, and the stream of catchy tunes of the late genial legend Ian Dury are omnipresent and it works like a magnet. Lots of reasons to be cheerful. I’m sure you understand now why Carrion Repeating will be on my best-of-2022 list.

Singles/clips: Mañana / Faze Out / Push On Through




Stream/buy the full album here…

DOMESTIC: Facebook – interview with Turn Up The Volume

All You Need To Know About The British Multitasking Artist JAMES DOMESTIC

Questions and Answers

4 February 2022

He raps but is not a rapper, he produced a few records but is not a producer, he’s
an occasional poet, he fronts several noisy DIY bands, he’s frequently on Turn Up The Volume‘s stereo with his first bang-on singles, he has his solo debut LP/CD coming up
and a PI$$ER album to record, he likes Kraftwerk played by a steel band, he’s not from London, he has an awful memory for movies that he watched, he is all that or not, and more.

He’s James Domestic and this is his new brisk belter called Mañana

Hello James,

Your artistic resume is pretty extensive, James. What is it you like the most?

“Well, firstly, I’ve never called myself a rapper. I’m not really sure where that came from, though it has been said a few times now! Certainly, I enjoy hip-hop and there is no doubt
a little influence in from proto-rappers like BUTTERBALL, but it kind of ends there.

The poetry is a really occasional thing – I’ve done some spoken word tracks on some of THE DOMESTICS records, and had a couple of bits published, but I’m too immersed in music to do more in that realm right now.

For me, music will always be the thing I love the most; I mean I’m in so many bands and projects right now I can hardly keep up! “Producer” sounds a bit grand, but I think I’m still in the phase like I was for years with not thinking of myself as a musician, of just doing it and seeing what happens. I’ve produced a few records now, and done a few remixes for people, so in time I expect it won’t feel weird to call myself a producer… maybe. I’ve just got into painting too, but I’d struggle to call myself a painter!”

The first single of your upcoming debut LP is a fucktastic rant.
What is FAZE OUT about?

“The title is a hybrid of “phased out”, as in you feel like your relevance to the world is on the wane, like your place in it has become in some way tenuous, and “fazed”, as in being disconcerted by a situation. So, it’s both of those things rolled together really.

I think everyone feels a bit like that sometimes; like the rug’s getting pulled from under you, and you have to reevaluate and adapt to some curveball that life’s thrown at you. Sometimes it feels like life is just a series of curveballs; it’s fucking exhausting. If you
think Faze Out is a fucktastic rant, wait until you hear Bean Counter.”

What or who influenced your decision to go solo and make/record an album?

“It’s something I’ve wanted to do for a while. I’m still very much in all the bands too; THE DOMESTICS are gigging again from March 2022 and will start recording a new album in a couple of months. PI$$ER will hopefully record a new album in late summer. I’ve got new stuff coming out with others like TOKYO LUNGS, DA GROINS… so I’ve not “gone” solo, it’s just another thing on the CV, but one that has been gestating for a couple of years or more.

My taste in music has always been incredibly broad; I just soak up stuff like a sponge really. Punk and hardcore showed me the way, taught me how to get things done, taught me to just get on with it. It made me the man I am today! But much as I love it, sometimes
I want to listen to other things. I occasionally DJ, and that tends to be either soul and funk, or reggae, which I love. Y’know, I listen to electronic stuff, post-punk stuff, psychedelia, krautrock… the list is endless really, and there really isn’t space in the other bands I’m
in for those influences to come through to any great degree.

Repetitive beats and bass, a mix of sprechgesang, sung and shouted vocals, plus some other vocalists to add an extra dimension. Decent lyrics, no limits on instrumentation or rhythms… I just wanted to make a collection of great songs that were all different but had these elements to bind them together to make a cohesive record. I’m not into making one of those records that’s diverse but really jarring; there was a lot of that in the nineties, people just strutting around like fucking peacocks shouting “look what I can do! Aren’t
I clever!”.

Sure, I’ve got an ego the same as anyone else, but I’d rather make a great album than show off like a tit, y’know? At heart, it’s still a fucking punk record as far as I’m concerned.”

The album’s title ‘CARRION REPEATING’ sounds smelly.
What’s the story behind it, James?

“For me, it’s about the state of the world, and the UK in particular. You can take it a
number of different ways, I guess. Mostly it’s about history repeating itself and how it’ll carry on repeating and who gets to be the crow and who’s stuck being the carrion; the persistence of that. Who’s the fucker and who’s the fuckee, right?

You could also take it as referring to the potential for change, so like the crow – let’s say he or she’s a prime minister or president or whatever – maybe the carrion eating just gets too much and starts repeating on them, fighting back if you will, even in its rotten state. I like titles to be open to interpretation; I expect others will think of their own.”

Why should the whole wide world buy the LP?

“It really comes down to this: do you want polished turds masquerading as an alternative to the mainstream, made by people on an extended gap year before they get a nice job
at daddy’s firm, or do you want guts, spirit, and a modicum of integrity and intelligence in your music? It’s got bass, it’s full of great songs – I’m not afraid to blow my own trumpet about that. It’s unafraid music, not some corporate second-guessing bullshit with an eye on a demographic, a major deal and a number one album.

If I wanted to do that, I’d have done it by now, but it’s just not in me. Y’know, I’d love to have a big selling album, but I’m not going to censor or neuter what I do to get it or any
of that stuff. Life’s too short.”

What’s a JAMES DOMESTIC gig like?

“There’s no live band for the solo stuff just now. I’m still trying to get my head around how it could be done. It’s a daunting prospect really; every time I think about it and go through the songs I come to the same conclusion: I’m going to need six other people. A seven-piece band just sounds so unwieldy when you’re used to playing and touring as a four-piece. Mentally I have people penciled in for the different roles, and many of them contributed
to the album in some way.

A gig with THE DOMESTICS is loud, sweaty, and intense – more often than not with bodies flying about the place. I imagine a solo gig to perhaps not be quite as full-on as that as the tempos are nowhere near as high, and the sounds nowhere near as relentless. It’d be great to do it though. Easier on my voice too.”

You’re also involved with a band called BOTCHED TOE. What is it about?

“Very occasionally I’m not the one to start a project and just get asked to join. BOTCHED TOE is one of those projects. Dan from HAEST and KNIFE CLUB asked if I fancied doing a band with him and James Baughurst who he was in MATILDA’S SCOUNDRELS with.

He sent me some music and it was obvious I could do what needed to be done. Got Marcus in – who I’m also in HAZARD PROFILE with – on drums and smashed out ten songs, which ended up being the A False Glimmer Of Hope album. I’m really pleased with it.
It’s hardcore but not as fast as most of my hardcore bands, more riffy and spacious. Still sounds fucking feral though, which is what you want from a hardcore record innit. It’s up for pre-order now from Kibou Records in the UK, Amok Records in Germany, and some other places too – just google it.

Ah, the name… well that was Dan’s idea. It’s a line Danny DeVito says in an episode of Always Sunny in Philadelphia. I’d never seen it, but he sent me a clip. DeVito seems like a cool fella so it’s fine by me.”

Your advice to young upstarting bands/artists?

“The best bits of advice I can give – and shit, I’ve made plenty of mistakes! – is never
pay to play, and never think that one person’s advice on anything is in any way definitive. That includes mine. But I will reiterate: never pay to play.”

How’s life in London post-BREXIT, James?

“I think what you’ve done here is made the mistake of thinking I come from London because of my accent. That said, all my family are originally from Bethnal Green and Hackney, but my parents had moved out to Hertfordshire by the time I was born.

Then for some reason I can never quite fathom, almost all of them upped sticks and moved to Clacton-on-Sea in Essex, where I grew up. I do have that London-Essex accent though because half of Clacton-on-Sea originates from London. I guess London is much the same as anywhere else post-Brexit. Same as Essex and same as Suffolk, where I live now. Same shit, different postcode.”

How is it possible that professional liar and lockdown
party animal BORIS JOHNSON is still in charge?

“It’s astonishing really innit. And people are still defending him! I swear Johnson could fuck a dog and murder a child on the steps of number ten and still people would defend him. Every week reasonably intelligent people become more and more incredulous and still it goes on and on. Who would you replace him with though out of that shit shower?

All the top jobs have been dished out to the Johnson sycophants, all of them fucking useless but loyal, to a point. When you see him next to any other leader it looks like some fucking pissed up lunatic has gatecrashed. What with him and Brexit it’s no wonder we’re the biggest joke on the world stage. Not so funny if you’re in it though.

Which movie would you choose to visualize your music?

I have a terrible memory for films. I can watch one on a Thursday, and really enjoy it, and by Friday I can’t even remember what I watched. Other things just kind of crowd it out. I suppose I could try to be cool and say some kind of cinema verité or La Nouvelle Vague or whatever, but in all honesty, any kind of comedy of errors, where the rug is constantly pulled from under the characters would be way more appropriate.

Nah, I’m going to say Train to Busan, just because it’s one I can remember.”

Suppose you were asked to rewrite and put new music to the British Royal Anthem ‘God Save The Queen’, no restrictions whatsoever, what would be the outcome in sound and vision?

“If you listen to the official recording it starts with a massive rising snare roll, just like ‘War’ by Edwin Starr, so I’d be happy just to replace it with that. But if I was to do it, I’d give it a massive reggae bassline, some Latin percussion, horn section, a hip-hop beat, and a load of horrible guitar feedback at the end. That would actually be far more relevant, and reflective of the country it’s supposed to aurally represent, than the current version.”

The best track and album you’ve heard in 2021?

“I always find these questions impossible to answer. I listen to so much stuff in so many genres. Ok, today’s answer… favourite single is ‘Come Back with a Warrant’ by SCHIZOS. Favourite album… I’m going to say ‘Pan Machine’ by the EBONY STEEL BAND. It’s an album of KRAFTWERK
covers done with steel drums and I’m playing it a lot this week.

Ask me next week and I’ll pick something entirely different, I’m sure.”

Name three things you absolutely want to see happen in 2022?

“I really want to get the PI$$ER album recorded. I finished writing and demoing
it before the ‘Carved Up for Yuks’ remix album came out, but then lockdown happened, and Bri relocated, and Charlie’s in Sweden… it’s complicated, but we’ll get there.

Secondly, I want to see Johnson properly held to account. And not just him but his cronies who’ve aided and abetted him. This is literally the most corrupt – and unapologetically so – UK government I, and I think anyone, will have ever seen. They don’t give a fuck and they don’t care that you know they don’t give a fuck. We should string the fuckers up but
y’know what us Brits are like.

Thirdly, I’d like to see the record get into people’s ears and do well. I guess I’m quite “known” in certain niche circles, but beyond that; zero. Half the problem with putting out a record these days isn’t making a record that can have some appeal, it’s getting it heard by the people that would like it in the first place amongst all the other stuff that’s out there; that’s the challenge, and I’m not a natural salesman, I’m not out schmoozing and blowing smoke up the right people’s arses. I just want to make music and get it out there, make some fun videos, and generally be creative and enjoy life. It’s not much to ask, is it?”

Thank you, James, for taking the time for this interview.
Have a great 2022 and a successful debut album.

Let’s go out with another funky punky single…

You can pre-order the album – out 22 April 2022 – via…
James Domestic
Kibou Records
TNS Records
Amok Records (Germany)

James Domestic: Website – Facebook – Instagram

Turn Up The Volume’s 20 KNOCKOUT TRACKS Of The Month – OCTOBER 2021

Turn Up The Volume‘s 20 Knockout Tracks for October 2021!
A stream of rattling rippers, jagged jams and romantic reveries.

All together on Spotify

All knockouts, one by one

‘Magic Medicine’ by DEAP VALLY (California)

After 10 years the sisters in arms want to inject their bond with new musical challenges
to keep their marriage alive and kicking (they’ll be always alive and kicking anyway).

Their new LP called, yes, Marriage and lands on 12 November.

The first taster is a slo-mo synth-vaccinated groove with Lindsey Troy‘s fully charged
guitars all over it and Julie Edwards, as usual taking care of the solid backbone drum
beat. Troy‘s vocals and Edwards echoing voice in the back give the song an extra thrill.

Takeyour medicine here…


‘Black Widow Spider’ by PARQUET COURTS (Texas / New York)

Last week the wayward Parquet Courts unleashed their 7th album, titled
Sympathy For Life. One of the many highlights is Black Widow Spider.

A sticky head-spinning rocker.

Turn it up, folks…



Expect a slash and trash jackhammer, an angry
spit and sneer storm, a Sturm und Drang uppercut.

143 seconds of furious frustration is what you get. Retro organs
clatter like if a nightmare is just around the corner, but Domestic
thunders like he’s a determined survivor who will not go down
just like that.

Join the wild ride…


‘Better Than Life’ by GLASS SANDS (London, UK)

I listened to the title track of this London-based singer/songwriter’s new album
about 50 times, so far. It’s a guitar-driven riff-hook-and-lick standout that cuts like
a new Swiss knife with feverish and heartfelt vocals amplifying the dumbfounded
chorus. Holy smoke.

Press play, it’s better than life…


‘Pennsylvania by JESSE STONE (Montreal, CA)

The rock ‘n roll swagger of Eddie Cochran, the surf guitar electricity
of Link Wray, and the fervent fire of Bo Diddley. Get the punchy
picture? This rollin’ razzle-dazzle riffage will boost your mood.

Get up and twirl yourself dizzy


‘Staying Here’ by ACTING STRANGE (Scotland)

Stadium rockers The Killers will nod their heads in praise
when they hear this Scottish duo new excellent album
Staying Here.

The title track is a sassy stonker, a glam-synth-bam
banger with a relentless beat and vivacious vocals.
Top cut!

Feel the vibe…


‘Wild Flowers’ by WARMDUSCHER (London, UK)

London’s funk-punk gang is gearing up
for their big breakthrough album.

This first taster is a trippy bass-driven disco groove you can sway
your hips to in the morning while waking up, in the evening while
getting drunk, and during the day when you’re getting bored.



‘Dad Vibes’ by LIMP BIZKIT (Florida)

I never really liked Limp Bizkit. They wanted
to be the white Rage Against The Machine
and jumped on every crossover bandwagon.

But hey, this new single made my ears flap like crazy.
After all these years I clap for Fred Durst & co.

Rap it up, Fred…


‘Butterfly Room’ by SHATTERCONES (London)

This fulminating sucker-punch tackles the Brexit Apocalypse with
a raging force and poignant frustration. Watch your back, Bojo!

It comes from their staggering 4-track EP This Septic Isle.

Release the bats…


Blacked Out‘ by THE MANIC BOYS AND GIRLS CLUB (Toronto, CA)

When surreality becomes reality cry outs like these pop up to translate
alienated feelings that dominate your daily life. This club of two decided
to embed their frustration into a swirling dance stunner for our doomed

Pithy, peppery, and a blacked-out chorus that sticks as primo glue.
Add glamorous vocals and a glittering full-on wall-of-sound and the
final result is a supersonic stunner.

Here’s why…


‘It’s Critical’ by SAVING JACKIE (San Antonio, Texas)

The heated rap-rock gang from San Antonio launched
a video for the title track of their debut album.

The clip is a clear-cut message regarding life-threatening diseases.
Flamboyant frontwoman Jenny 4C Ramirez emphasizes the fight
for your life
bravery while making your blood stream faster through
your veins.

Bang your head here…


‘Chaos Space Marine’ by BLACK COUNTRY, NEW ROAD (London)

These young gunslingers rushed to indie stardom with their ace
jazz and prog-rock influenced debut LP For The First Time.

Isaac Wood (frontman) about this brand new song: “it’s the best song we’ve ever
written. We threw in every idea anyone had with that song. So the making of it was
a really fast, whimsical approach – like throwing all the shit at the wall and just
letting everything stick.”

I smell great shit…


‘Medicine’ by SLEEPSHAKE (Canada)

A blazing rock slam about the desperate need for stable emotional stimulation.
Blustering guitars, flurried synths, hot-blooded vocals, a discharging chorus, and somewhere in the middle a thunder and lighting guitar solo to electrocute all your
mind-destroying demons. Every time you take this medicine, you’ll get a kick out of it.

If you like British turbo Royal Blood
you’ll go berserk to this cracker too.



‘The Met’ by COLATURA (Brooklyn, NY)

Instantly effective pop tunes like these make me smile
from left to right and back. Shiny guitars with shoegazy
sparks, a dizzy-making rhythm, happy-go-lucky sentiments,
and seducing vocals. A song that would turn Taylor Swift
into an indie star.

Check it out…




A crystal-clear structured protest against greedy political sharks and
megalomaniac charlatans oppressing people for their own devastating
agendas. Again Manimal and Samara show how to fuse poignant poetry
and versatile metal genres.

Manimal and Samara are sonic architects.

Follow their path here…



The fab goth-metal gang made an album with goth heroine Chelsea Wolfe
and Cave In‘s Stephen Brodsky. The LP, titled Bloodmoon: I will soundtrack
our nightmares from November 19 on.

Here comes the first piece Blood Moon. A classic mix of deafening bombast,
theatrical doom and gloom, barking voices (except for Chelsea of course), and
hardcore torment. A perfect Halloween monster.

Your Halloween starts here…


‘Wanna See’ by HANNYA WHITE (London, UK)

White continues her sound-exploring search. Here she fuses
symphonic instrumentation with deep-bass-resonating synth
turbulence. Trippy, dissonant, and even claustrophobic when
short fragments of White‘s restless breathing emerge somewhere
in there.

The ongoing pizzicato violin play adds both an airy and eerie timbre.
I have no idea what the totally silent outro with some echoes of (what
seems to be) firecrackers in the very end, is about. What I do know is
that the first thought that crossed my mind when hearing this, was:
Aphex Twin is back, in disguise.

Stream/buy ‘Wanna See’ here…


‘Nightmare Pills’ by EX-HYENA

Pretty quick into the song the early days of electronic
British legends Human League and Baxter Dury‘s synth
pop sensuality (especially the female voices) popped up
on my stereo in my head.

It sounds as if this Boston tandem warns us of Big Brother’s ambition to brainwash humankind with mind-altering chemicals with this darksome, yet instantly striking
electro jam. Haunting, feverish, and gloomy are the keywords here. Best played at
night while being dazed and confused by the surreal times we experience the past
18 months.


‘The Beachland Ballroom’ by IDLES (Bristol, UK)

A new album is canned and sees
the day of light on 12 November.

The lead single is “an honest-to-goodness
soul song named after the iconic Ohio venue.”

Expect the slower side of Idles with hefty eruptions now
and then and frontman Joe Talbot‘s blood cooking.

Feel the heat…


‘Slow Down’ by MOONWOOD (Sydney)

It’s been a while since I heard an epic belter that evokes
an image on the screen in my head of a massive stadium
filled with a sea of people holding their phones up with
shining lights and scream at the top of their lungs.

This powerful love ballad will
trigger your romantic side…

See/hear you next month, music junkies…