Lazy Dreadlock HOLIDAY With Wacky Storyteller JAMES DOMESTIC

Daily electricity to load your batteries

28 August 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.

Last April JAMES DOMESTIC had his shake and swing debut LP,
baptized Carrion Repeating out in the open.

Turn Up The Volume wrote: “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.”

Now, before this hot summer is over Domestic drops his Holiday single off the LP.
Another example of telling us one of his wacky stories, this time about a travel
agency hostess and her boring job.

Musically, it’s a lazy dreadlock-reggae-holiday tune with that familiar mellow
60s organ versus schizophrenic guitars, while Domestic gets his shit together
with a swim, a good book and a pina colada. Sounds like a fun holiday to me.

Yeah, of course I do a bit of tourist stuff
But then I go where the locals go
I speak to the people, have some fun with ‘em
Get the spirit of the place; the feel y’know
Next day? Maybe some pool time
Helps me work through my hangover and get my shit together
A swim, a good book, a pina colada
And dinner with my new local friends tonight, alright?

Is this your holiday?
It makes no sense to me
Is this your holiday?
Cos It looks like work to me
And I guess if you’re happy
It’s no business of mine
And I guess if you’re happy
You could show it some time

Catch the vibe here…

JAMES DOMESTIC: Facebook – Instagram

TURN UP THE VOLUME’s 25 Best Tracks Of 2022… So Far

Time flies. Oh yes, we already have six months of 2022 behind us.

Mad summer parties are just around the corner. And here’s the perfect
loud/quiet soundtrack… Turn Up The Volume’s 25 best tracks of 2022,
so far!

ALL TOGETHER on Spotify…

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TRACK BY TRACK
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1. I’ll Make You See God’ by THE AFGHAN WHIGS

The by now legendary passion rockers from Cincinnati, Ohio with mastermind Greg Dulli leading the troops have their new longplayer How Do You Burn? out on 9 September.

This lead single is a sturdy steamroller, a red-hot-heated ripsnorter, an unstoppable cannonball going everywhere fast. Manic blitzkrieg guitars, ruthless drum/bass attacks, Greg Dulli‘s rush of blood vocality, and a brutal finish. Flabbergasting.

Dulli: “That’s one of the hardest rock songs we’ve ever done.
It was written and performed on sheer adrenalin.”

See God here…

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2. ‘Slowly Separate by CROWS (London)

This London post-punk team unleashed their 2nd scorching album
Beware Believers, last April. One of TUTV’s best full-lengths of 2022 (so far).

Single Slowly Separate is a schizo sonic serpent generating a mind-blowing backwash
while chainsaw guitars turn up the decibels to an illegal peak, and man-in-the-middle James Fox rages and blazes through his teeth.

Fucktastic!

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3. ‘I Am Kate Moss’ by DITZ (Brighton, UK)

This frenetic Brit force hit big time with their dazzling debut album
The Great Regression last March (more about it in a couple of days).

Let’s focus now on one of its cast-iron brainbreakers. It’s a poignant, biting, and
anxious uppercut. I’m pretty sure Moss would love this hit-and-run drone when
it would hit her ears. She is, after all, the Femme Punk Fatale of fashion.

Turn up the heat…

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4. ‘Twitchin’ in The Kitchen’ by WARMDUSCHER (London)

This punky-funky disco corker is the perfect pick-me-up tune for all the wacky weirdos who are always in the kitchen at parties waiting for free drinks and waiting for Warmduscher to come in and kick their lazy asses. Big stroke, big chorus, big fun!

From the gang’s thrilling 4th LP At The Hotspot.

Twitch as much as you want here…

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5. ‘Demolition Row’ by METZ (Toronto, CA)

“It’s a warning, an unflinching assessment of the vastness and insignificance of this
life, is precisely counterbalanced by their lesson, which models the resilience that this understanding demands. ‘Demolition Row’ is persistent, concise, and alarmingly physical.”

This blustery belter is vintage Metz. Full blast ahead, no brakes, no breaks.
The track featured on a split 7” with London-based group Adult Life.

From Dylan’s Desolation Row
to Metz’s Demolition Row


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6. ‘Frankenstein’ by TRAMP (Northern Ireland)

“As a story or metaphor, we are all ‘Frankenstein’s monster’ – made up of other people’s opinions and parts that don’t belong to us. That we were born perfect but people, in their
own conditioning, come along and can make us feel undesirable/inadequate/the monster.
But we can choose to be real instead.”

This is without a shadow of a doubt the best debut single I heard so far this year.

A towering tune going low, high and back. A sickly sticky pop gem wrapped in
a big-boisterous-wall-of-sound. And upfront, Sianna Lafferty ‘s phenomenal voice
causes goosebumps when she goes sky-high on the chorus. The ardency of
Porridge Radio comes to mind.

One word: AWESOME.

“I am not what you want me to be
Uncle Sam won’t even point at me
Even the eyes of the Virgin Mary wall
hanging won’t even stare at me.”

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7. ‘Shaman’ by THE CHRONICLES OF MANIMAL AND SAMARA (London)

Shaman progresses like a vicious viper sliding to its prey. Determined, but always
wary of sudden danger. It dumbfounds and flummoxes while the song’s tension
intensifies and sends shivers down your spine.

No metallic explosions or abrupt pace changes this time, although it feels like a thunderstorm can happen as the mesmeric music swells along its ominous path
towards a demonic climax. Another appealing piece de resistance, another
psychedelic exploit another step closer to the new album.

From their brand new LP Trust No Leaders, out today.

Face your nature
Face your fears
Face your demons
Wake the dead

Roll the tape and get impressed…

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8. ‘Mañana’ by JAMES DOMESTIC (Essex/Suffolk, UK)

“A paean to taking your foot off the gas and letting things slide, or a warning of the perils of procrastination, perhaps? It’s hard to tell whether ‘Mañana’ is meant to serve as a confessional regarding Domestic’s own perceived lack of willpower, or a celebration of idleness. It could be either of these things; and that’s one of its many joys.”.

A sirens intro, David Bowie‘s saxophone, and steel drums straight from Trinidad. Sounds like an exotic swing and shake ditty is coming up. No folks, it’s a lazy rap-sody you can play the morning after a booze marathon to get up and sober up, slowly.

Soul voice Clare Gillet takes care of the chirpy chorus.

Press play here…

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9. ‘Digging’ by NOTHINGHEADS (London)

“Propelled by a motorik rhythm and abrasive guitars, it stomps toward a doom-laden finale. Inspired by Sebastião Salgado’s (note TUTV: Brasilian photographer) anarchic photos of the Gold Mines of Serra Peladain the Amazon in 1985: the track explores the relentless obsession with grasping a glint of glory from the mud. “

Once I learned that this startling belter is about the horrible exploitation of human
beings by ferocious money sharks this jagged jackhammer blew my mind even harder than I heard it the first time before knowing about the band’s inspiration for this stunner.

Expect rabid guitars, doom and gloom vocals, and frantic
twists and turns until the chaotic finale. Post-punk at
its razorblade best.

Dynamite


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10. ‘Welcome To Hell’ by BLACK MIDI (London)

Geordie Greep (vocalist, guitar): “Almost everything I write is from a true thing, something
I experienced and exaggerated and wrote down. I don’t believe in Hell, but all that old world folly is great for songs, I’ve always loved movies and anything else with a depiction of Hell.”

A screwy zig-zagging haymaker it is. From upcoming, 3rd, LP Hellfire.

Burn here…

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11. ‘Cream’ by BOTCHED TOE (UK)

My fav track from one of my fav albums of the year (so far), baptized
A False Glimmer Of Hope with loudmouth James Domestic (yep, the
guy from above) going bonkers.

This red-hot-blistering hardcore missile punks up your adrenalin and
invites you to open all windows and doors and yell your tits off.

(S)cream here…


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12. ‘Zick Zack’ by RAMMSTEIN (Germany)

The bombastic German metal machine have
a new, their 8th, longplayer out, called Zeit.

Their same old recipe still works.

My fav sledgehammer on the LP is Zick Zack.

Ridiscouly infectious
Great Scheiße shit!

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13. ‘Edie’ by STEPH SWEET (UK)

This is the spellbinding title track of this enigmatic songstress’ new album.

The dark garage guitar swagger of this nightmarish cracker is irresistibly
magnetic. Think trash-and-slash duo Royal Trux. Both eerie and haunted.

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14. ‘Eris’ by VIOLET NOX (Boston, MA)

My favored sonic sci-fi symphony from the duo’s excellent Eris Wakes EP.
Trippy, spooky, trancy. With repetitive mind-twisting Krautrock eurhythmics
that take you on an otherwordly voyage. Top-flight!

Launch your spaceship here…


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15. ‘TV Or Not TV’ by JODIE LANGFORD (UK)

After the piano intro (sounds like the theme tune of classic horror-thriller Halloween) this young outspoken artist fumes with barbed wire temper towards the supersonic chorus that resonates like hardcore rap.

This rushing rollercoaster swings forth and back with grim impetus until the gloomy
synth climax makes way for that ominous piano fragment again. TV or not TV, that’s
the question? The answer is easy. To hell with the relentless idiocy of reality TV stars and influencers constantly putting pressure on growing minds to behave in ways unattainable to most.

Find the answer here…

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16. ‘We Are Ukraian’ by OSCAR MIC (London)

Oscar Mic wrote this song after witnessing the horrific violence of
psycho Putin’s illegal invasion of Ukraine on the news. All proceeds of
the song go to Save The Children’s Ukraine Appeal.

We Are Ukrainian is a tremendously catchy hip-rap-pop jam featuring steel drums
and timpani balancing somewhere between Roots Manuva and Mr. Scruff.

“Fleeing people running scared, so tell me Where’s the justice? Our leaders say they care,
tell me can you trust this? Urban warfare, your home’s done and dusted, Aiming at the
public, they wouldn’t? They just did,”

Fuck Putin


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17. ‘White Skin’ by THE BANKROBBER (Italy)

The titillating electro- intro echoes early Depeche Mode before they became the darkwave Goth-esque rockers we all know. But in an eye-blink White Skin turns into a swirling synth-pop stomper to fill dancefloors with. It’s an instantly infectious nightclub earworm with an ecstatic chorus.

From the siblings’ forthcoming, second, album.

Start the tape and make your move…

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18. ‘Worthless Souls’ by MELTED WINGS (Toronto, CA)

“A track that calls out how sexism and power corrupt all levels of society.
We all need to recognize this going forward and make sure that it doesn’t
go unchecked.”

The sickly sticky synth beat comes across like an invitation for my feet to kick the butts of vicious sexists and power-horny billionaires ruining people’s lives. Middle finger to them while spinning around mad as a hatter to this bang-on electro buzz. Trust me, you’ll feel much better afterward

From their new Cheer For The Deer album.

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19. ‘Hello Dreamer Baby’ by THE ROYAL FOUNDRY (Canada)

This is what ecstatic pop grandeur is all about. Music that elevates
your state of mind to a titillating level. This pearl generates a feel-good
entrancing buzz.

When the multi-layered vocals/harmonies pop up in a gospel-like choir delight
creates an atmosphere of utter joy comparable with the euphoric drive of
The Polyphonic Spree. Vitalizing vibe, refreshing rapture.

Listen/watch

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20. ‘Life And Lies’ by LEE ROGERS (Northern Ireland)

A mixed-emotions lullaby with Rogers‘ sky-reaching voice as the star. It’s an emotional
and bluesy reflection. Wurlitzer jukeboxes should be reinvented for these heartbreakers so moody minds can cry their eyes out (or cry in their beer) at night in a downtown bar where lonely ones gather and muse about life and lies.

This one is for all barflies out there…

From his new heart and soul album Gameblood.

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21. ‘Chaise Lounge’ by WET LEG
22. ‘Up The Mountain’ by REGINA SPEKTOR
23. ‘All The Good Times'</a> by ANGEL OLSEN
24. ‘Come Back’ by SHARON VAN ETTEN
25. ‘The Dripping Tap’ by KING GIZZARD & THE LIZARD WIZARD

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
centipede.

Debut album: CARRION REPEATING
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

– MANANA –

– FAZE OUT –

– PUSH ON THROUGH –

Stream/buy the full album here…


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DOMESTIC: Facebook – interview with Turn Up The Volume

An 18-Minute Hardcore Apocalypse – BOTCHED TOE Storms On Debut Album ‘A FALSE GLIMMER OF HOPE’

14 February 2022

Band: BOTCHED TOE
Who: British hardcore mavericks
Debut album: A FALSE GLIMMER OF HOPE

Kibou Records: “This is the debut release by BOTCHED TOE. There are ten songs,
clocking in collectively at just over 18 minutes. Why mess around, right? The catchy,
pummelling riffs Flanagan serves up provide the perfect backdrop to a bleak vocal
narrative from Domestic of a country in decay. Government corruption at an all-time
high, those in power displaying ever-increasing contempt for the public; the ravages of unbridled capitalism and a poorly handled pandemic carving ever deeper scars into our individual and collective mental health; simple dreams now out of reach, and a populace
so on edge and exhausted by it all that any significant, organised dissent seems less enticing that just retreating into one’s shell and hoping for the best (even when it’s clear that
this is the most flawed tactic of all”.

Turn Up The Volume: Here’s what you need to know before going out of your head:
No rest for the wicked. No mercy for the 10 Downing Street criminal and his yeasayers. World war three is just around the corner. This 18-minute hardcore Apocalypse long-player is 10 minutes shorter than the Ramones debut LP. Busy frontman James Domestic spits and sneers with frenzied force. Botched Toe is a nasty riff machine, a blustering beast, a Saint Valentine’s Day Massacre gang. Get together, all you mosh-pit fanatics,
and stop the devastating rat race while going berserk.

One more thing: do your greedy ears a favor and
buy this Doomsday hullabaloo via Bandcamp
or via Kibou Records.

Stream ‘A False Glimmer Of Hope’ here
(but alert your neighbors first)…

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BOTCHED TOE: Facebook

Merchandise info HERE

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.”


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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 – JANUARY 2021

Turn Up The Volume‘s 20 Knockout Tracks for January 2022!

A stream of rattling rippers, jagged jams, and romantic reveries.

All 20 together on Spotify

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Here, knockout by knockout…

1. ‘Slowly Separate’ by CROWS (London)

Kamikaze guitars, boiling bluster, insane vocals. The London’s post-punks
are back with a holy smoke hammer as a warm-up for their second LP,
titled Beware Believers, out 1st of April.

I know it’s only January, but this is//will
be one of the best singles of 2022.

Bonkers time…

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2. ‘Piggy’ by SKUNK ANANSIE  (UK)

After 28 years, Skunk Anansie still is a massively popular band with Skin
screaming her lungs on this new killer single as if she’s still 28 years herself.
‘Piggy’ is an enraged eruption calling out all incompetent governments,
specifically UK’s short-sighted Brexit statesmen.

This red-hot-blistering shock wave explodes like
a metallic bomb with a volcanic Skin chorus.

Yeahhhhhh

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3. ‘Battery Not Included‘ by Ho99o9 (Los Angeles)

The industrial crossover punks scream that they
hate techno shit before going totally berserk
on this new slam dunk.

Ever had an electric chair experience?
Me neither, but I’m sure it sounds
like this…

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4. ‘Pour Another’ by YARD ACT (Leeds, UK)

These politically charged indie gunslingers from Leeds are the talk-of-the-town
lately. Every music website/zine is raving about, them. Their dazzling debut longplayer entered the British charts on #2 last weekend. One of the highlights is this bass-driven jackhammer. Infectious from the kick-off.

Topnotch

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5. ‘Mañana’ by JAMES DOMESTIC (Essex/Suffolk, UK)

A sirens intro, David Bowie‘s saxophone, and steel drums straight from Trinidad. Sounds like an exotic swing and shake ditty is coming up. No folks, it’s a lazy rap-sody you can play the morning after a drinking marathon. A slow start to get out of bed and sober up. Soul voice Clare Gillet takes care of the chirpy chorus and finally Domestic gets up for a couple of Mañana shouts.

Get up and move, ladies and gents…

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6. ‘Dead Weight’ by PLEASURE CRAFT (Toronto, CA)

After a ghostly intro, the drone machine starts up hitting like
a massive sledgehammer with an industrial exuberance. Merciless
and puissant. No rest for the wicked. Think The Horrors and NIN.

A master blaster! Absobloodylutely!


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7. ‘Fatso’ by WARMDUSCHER (London, UK)

Following in the soundsteps of legendary mega-funk-groover Sly Stone with
a 21st Century post-punk coolness and a pumped-up synth-tastic puissance
this London combo activates all of your muscles, your bloodstream, and your
appetite for behaving like a midnight rambler.

This mid-tempo disco jam helps you to keep in shape at your hot spot
at home until the nightclubs reopen. It’s a Warmduscher affair, folks.

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8. ‘Green Goddess’ by SEA POWER (UK)

Socially engaged indie pop-rockers who started their journey back in 2003.
In the very beginning, they operated as British Air Power, but changed it quickly
to British Sea Power. But last summer the band announced another name change,
dropping ‘British‘.

Their new, 7th full-length, titled Everything Was Forever lands on 11 February.
With new single Green Goddess they do what they do best, writing anthemic pop
tunes that stick after one play.

Yeeees

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9. ‘La Fusée Du Chagrin’ by ELEPHANT STONE (Canada)

After a 5-4-3-2-1 countdown this rocket blasts into space with supersonic speed.
No looking back, full steam ahead, pushed by a banging drum/bass beat and crazed guitars. Somewhere in the middle, it’s time to reload the batteries and start all over
again fueled by swirling synths et les dernier mots de M. Lonely.

Psychedelia at its mind-boggling best.
Un coup de poing formidable!

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10. ‘The Magic’ by EELS (Los Angeles)

Eels made another Eels album sounding like an Eels album.
But as Mark Oliver Everett moves and grooves, rocks and rolls
like in the good days Extreme Witchcraft feels like he’s having fun,
although you never know for sure with his capricious state of mind.

The Magic is definitely my favorite piece

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11. ‘Farewell, OK’ by ELVIS COSTELLO & THE IMPOSTERS (UK)

Two weeks ago Costello released his 32nd album called
The Boy Named If. And it’s a triumph, praised by the press
and my ears.

Elvis rocks big time again…

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12. ‘Capture The Stills’ by EX-HYENA (Boston)

This twilight hallucination resonates as the shadowy side of Depeche Mode
and the enigmatic darkwave murk of The Soft Moon. The iterating synth-riff
at work here gets under your skin without asking. The atmosphere is impending,
the tone is obscure, the color is black. All you need for a sonic nightmare.

New cut from the Boston duo’s forthcoming
sophomore album Moon Reflections.

Quite special…


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13. ‘Planningtochange’ by ANIKA and PLANNINGTOROCK

This is a rotating remix of the title track of Anika‘s excellent album
released last year. British electronic musician Planningtorock
turned the song into a trippy and vibrant electro beat-breaker.

Anika‘s distorted voice changes the mood
of the original recording. More mystifying,
more mysterious.

Catch the change…


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14. ‘How To Breathe’ by GRAMMONTH (Belgium)

The smooth pop elegance of Kevin Parker (Tame Impala), the mellow
vocality of Adam Granduciel (The War Drugs) and his twinkling guitar
play to end this sweet little pearl. Sonic dreaming at its finest with
a tantalizing pearl that gets under your skin, slowly but surely. Top!

Breathe here…

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15. ‘Scream Quietly’ by REVOLUTION ABOVE DISORDER (Dublin, Ireland)

This is the moniker of Vancouver-based Dubliner Stephen Nicholas White describes
himself as a post-punk/nugaze/electro artist. This new single circles around a repetitive
guitar riff and shiny synths with Eels echoes. Magnetic, hypnotic, and mesmeric.

Press play here…


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16. ‘Delusion Spree’ by EADES (Leeds, UK)

In the past few years, another Britwave of young rousing wolves
has emerged and looks to turn into a sonic tsunami. Black Midi,
Black Country New Road, Black Honey, Fontaines D.C
. (I know they’re
Irish), Yard Act, and several more prove that guitar rock is
alive and kicking again.

Now you can add Leeds’ hungry squad Eades. With
6-track EP Abstract Education EP, released last Spring,
they made it loud and clear they’re not a one-trick pony.

Here’s sonic proof…


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17. ‘You The People’ by VONAMOR (Italy)

This is a mindboggling knockout. You The People starts as a meditative harbinger
for a mindboggling sonic orgasm midway, inflamed by whamming percussion, an
ear-shattering guitar explosion, and haunting male/female, English/Italian vocals
before an abrupt comedown ends this rad rush of blood to the head. Wow!

Listen here, people

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18. ‘Gallows’ by VAZUM

Gallows progresses like a death march, on its way to the graveyard,
with a somber and macabre reverberation. Its repetitive and raucous
slo-mo dynamics evoke images of confusion, agitation, and transitoriness.

Get lost in the woods…

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19. ‘Happy Birthday Forever’ by TESS PARKS (Toronto, CA)

Toronto-born, London-based femme fatale Tess Parks has a new album,
called And Those Who Were Seen Dancing, out 2 April. Her first longplayer
in 13 years.

Lead single Happy Birthday Forever is a pretty catchy surprise.
It spins around in your head before you’re even aware of it.

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20. ‘Vercingétorix Face à l’Empire’ by FRAZYL

This is the solo project of Jérôme R. Desrosiers, who played
drums in different Black Metal and Death Metal in the late 90s.
He’s making synth music for about 20 years now, but it’s only
since 2018 that he decided to share his work.

He just issued his new album Mon Odyssée. An imaginative
journey with cinematic synth symphonies, like this one…


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See/hear you next month, music junkies…

Riding Rapper On A Restless Roll – Listen To New JAMES DOMESTIC Single ‘PUSH ON THROUGH’

New striking strokes

1 December 2021

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

New single: PUSH ON THROUGH
Second shared taster, after the vitriolic lead
single Faze Out, of his upcoming debut LP

Turn Up The Volume: Remember those scenes of the iconic 1976 movie
Taxidriver with that desperate guy character called Travis (played by living
legend Robert De Niro) wandering around in his taxi at night in the mean
streets of New York City looking for clients?

James Domestic has that kind of long, companionless car drives too, not in a dirty
town but rather on one of those endless roads in the country with ‘Push On Trough
on the radio. A fitting moody Sleaford Mods like jam on a raw roll. Motored with
keyed-up organs, screechy guitars, and observing rapping. Loneliness in motion.

Start your engine here…

JAMES DOMESTIC: Facebook

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…

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‘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…

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‘Faze Out’ by JAMES DOMESTIC (UK)

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…

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‘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…


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‘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

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‘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…

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‘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.

Fucktastic…

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‘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…

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‘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…


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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
generation.

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…

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‘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…

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‘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…


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‘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.

Yeahhhhh…

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‘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…


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‘Count The Death’ by THE CHRONICLES OF MANIMAL AND SAMARA: (London)

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…

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‘Blood Moon’ by CONVERGE and CHELSEA WOLFE (USA)

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…

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‘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…


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‘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.

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‘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…

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‘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…

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See/hear you next month, music junkies…

Centipede JAMES DOMESTIC Spits And Sneers On New Vitriolic Solo Single ‘FAZE OUT’

Daily electricity to load your batteries

18 October 2021

Artist: JAMES DOMESTIC
Who: Member of former hardcore gangs The Domestics), plus Pi$$er,
Tokyo Lungs
and half a dozen more. Domestic is a cultural centipede:
poet, DJ, singer/songwriter, doctorate owner, producer, East Anglian
Hardcore
legend and inspirator of young punk bands.

A hard-working man: “I’ll write three in my head, forget one, demo two,
and throw one of those away ‘cos it’ll be crap…the third one will be great
though!””

Debut solo single: FAZE OUT
First cut from upcoming album
titled Carrion Repeating

Turn Up The Volume: Faze Out is a slash and trash jackhammer,
an angry spit and sneer storm, a Sturm und Drang firestarter, 143
seconds of furious frustration is what you get. Retro organs clatter
like if a nightmare is just around the corner, but Domestic sounds
like he’s a determined survivor who will not go down just like that.

Fucktastic rant!

Sucked into the vortex / it’s a Faze out /
you feel just like you’ll fade out

JAMES DOMESTIC: Facebook