Artists from across the South West of England have come together to raise funds for venues in Glastonbury affected by COVID-19.

Music venues across the UK have understandably had to close their doors during the COVID-19 pandemic.

Running a venue can be a precarious business. The current slashing of income adds to their challenges.

To help venues in Glastonbury, the town that lends its name to the more famous festival down the road at Pilton, a mammoth 91- track fundraising album has been released.

Imprints performing at Glastonbury Calling, February 2020. Pic by Joe Lepper

The album has been created by the organisers of the Glastonbury Calling festival, which takes place at venues across the town each February.

It features those that have played or simply want their tracks on to help venues across Glastonbury.

“Mainly these artists are based in the West Country and we can’t thank them enough for contributing a track on this epic sprawling album,” say festival organisers.

“Thanks to everyone who contributed their help by buying, promoting and putting this beast together.”

The album is called Now That’s What I Call Glastonbury Calling and is available on June 12.

The Legendary Snake, Snake, Snake at Glastonbury Calling, February 2020. Pic by Joe Lepper

The album is split into two ‘sides’ costing £10 each, or £15 if you buy both. Side one includes 48 tracks from local acts such as Craig & Alex Priddice, The Legendary Snake, Snake, Snake. A cover of Carter the Unstoppable Sex Machine’s The Only Living Boy in New Cross by Nick Parker and Les Carter himself also features.

Meanwhile, side two features 43 tracks so far, with more to be added. This includes tracks from among others: Imprints, Lonely Tourist, Liam Howard, Steve Henderson, Flipron and Zion Train.

By Joe Lepper

What kind of music will we be listening to post lockdown?

As we emerge from our cacoons and our routine of one walk a day will we want something slow and dramatic? Or will want something fast and furious to reflect our new freedom? Will we go back to the future and crave sci-fi B-movie style synths?

I like to think the answer may well be all three, which is exactly what is on offer in the debut from The Sinclairs, formed by Damned drummer Rat Scabies and Jesse Budd, aka Billy Shinbone, from Flipron and guitarist with Neville Staple’s band.

Armed with his trusty Gretsch, Budd’s picking, reverb and tone is on top form here and works well with Scabies’ punk nouse and drum pounding.

This instrumental though is not just another Ennio Moricone tribute album, its got a New Wave twist too with added electronica. This places it firmly in the sci-fi soundtrack territory that the early B-52s achieved. This is especially in reference to their ‘Duane Eddy on Mars’ guirarist, the late great Ricky Wilson and his uniquely tuned surf’s up Mosrite.

There’s lots to like here, especially the Jon Spencer Blues Explosion-like Lipstick Rumble. Rat’s drums are particularly pounding here.

For the more guitar twang numbers then opener La Venta sets the scene well. Half Way Round Your Dreams is another guitar high point – odd, quirky and Western.

Meanwhile, Plimpton 322 is for those that love a spooky sci-fi theremin.

Could this be the soundtrack for our odd Covid-19 lockdown times as well as being a post pandemic party album? I’m probably spending too much time indoors and my brain is becoming warped, but I’m very much in the mood for some science fiction meets the harsh reality of a Western film plot.

8/10

More information about The Sinclairs can be found here.

by Joe Lepper

Late, great Glastonbury music scene legend Dan Bradford had a great way of describing his music – “Bitsa – bits of this, bits of that”.

It’s been three years since he died but his tradition lives on with another Glastonbury based artist, Billy Shinbone (aka Jesse Budd from psychedelic popsters Flipron and the Neville Staple Band).

For this debut album Jesse has taken his love of 1960s psychedelia and merged it with bits of the old country and Cajun music he became engrossed in while touring the USA with Flipron.

It’s a combination that proves effective as within his guise of Billy Shinbone, he creates, inhabits and owns his own world – of an Englishman with eclectic tastes, suited up, with banjo, guitar, accordion and more taking to the stage in the smokey dives and bars of Texas and Tennessee.

From the reverbed guitar, whistling and accordion of opener Mostly Cloudy, Occassionally Sunny to the psychedelic, country finger-picking of Hoard of Hope and Plunder, there is plenty of opportunity to showcase his instrumental skills.

If You think You’ll Get Away With It also has all the hallmarks of lead single. This foot stomping, banjo and harmonica driven track has the best chorus on the album.

Temptation’s Got The Good Stuff, with some smart guitar dampening, runs this track a close second as our current favourite.

There’s a bit of a hoedown going on later on the album with Another Bunch of Flowers before last orders are called for the mean and moody Thanks But No Thanks, Baby.

Fans of Robyn Hitchcock are among those urged to catch Jesse when he tours his Billy Shinbone Show in the coming months in the UK. Hitchcock’s own “bitsa” mentality, of combining the music of his adopted home Nashville with whimsical English pop and psychedelia, is arguably a good point of reference.

With a bit of this, a bit of that working so well here, Dan would have been proud.

8/10

by Joe Lepper

For more information about The Billy Shinbone Show visit his website here.

Some of the south west of England’s best acts were out in force at Glastonbury Calling, the annual eclectic, one-day festival now in its second year.

With Glastonbury pubs The Hawthorns, The Riflemans, Market House and King Arthur involved, as well as the larger Assembly Rooms and Bocabar, it was as much a showcase of the town’s wealth of venues as its array of talented musicians.

It was the pub venues where we focused our attention, starting at The Hawthorns. Complete with newly knocked through wall this town centre venue now offers a two tier view of the stage.

Flipron

As host to the town’s regular open mic event as well as local artists’ gigs, Hawthorns is  a home away from home for many of the acts. This includes Glastonbury based Flipron, who on the day eschewed their usual four piece psychedelic pop band persona to present a lounge set, involving singer and songwriter Jesse Budd and Joe Atkinson on keyboards.

It was a stripped back feel that worked particularly well, bringing their late 1960s psychedelic side to the fore and saving the more 1990s indie rock aspect for another day.

Among highlights was Orpheus Inconsolable, a whimsical ditty from their Gravity Calling album that features some splendid Roger Whitaker style whistling and could have come straight out of 1967. Mingers in Paradise, from 2006’s Biscuits for Cerebus album and about aging disgracefully, also worked well in this laid back set.

Gilda Parade

A quick five minute walk took us to a polar opposite gig, the windowless back room of The King Arthur where Bristol heavy rock trio Gilda Parade were churning out tracks, such as their 2015 single Devil in Me, at a rate of knots.

Yes, they are full of the rock clichés, such as wearing shades indoors. But with self deprecating banter it was clearly partly tongue in cheek. They offer far, far more than mere clichés too across their tightly played set full of jerky rhythms and dramatic stops and starts.

Next up, back at The Hawthorns was Glastonbury based Duncan Batey, winner of the 2012 Somerset Songwriter competition and playing tracks from his impressive 2013 EP Blindsided.

The arrangements, featuring Dan Shaw on double bass and slide guitar, and Gerry Barnett on cello, brought out the melancholy, thoughtful side to his songs. This also gave his impressive vocals the chance to shine across a passionate set.

Duncan Batey

The Rifleman’s was the venue for our final Glastonbury Calling act of the afternoon. This is one of Glastonbury’s oldest pubs, with a 16^th century bar at the front and a warren of rooms stretching out back.

Taking the pub’s schedule from afternoon to the evening was Owl in the Sun, a Somerset based quintet that features two married couples among its members. But the similarities with Fleetwood Mac stop there as they put in an entertaining set blending Americana with gypsy folk and jazz.

Owl in the Sun are one of those bands that I challenge anyone to dislike. Their set was fun, engaging and full of beautiful vocal harmonies. It also finished off with one of the best flute solos I’ve seen live.

Owl in the Sun

There was plenty more to go into the evening. Bristol reggae act Laid Blak headlined the Bocabar’s list, DJ sets were carrying on at The Market House and the Assembly rooms featured The Truthseekers, Safehaus and Lazy Daze among others. In total more than 40 acts took part.

One of the main points I take away from my day was how great it was to see every venue busy and full of smiles, with the crowds out in full force, eager to hear new music and see familiar acts alike.

I’m looking forward to next year’s Glastonbury Calling already, as this one day event continues to impress and make its mark on the west country’s already famous festival scene.

Words and pictures by Joe Lepper

Bristol reggae act Laid Blak and the indescribable Flipron are among the acts playing at the second annual Glastonbury Calling one day festival in Glastonbury, Somerset.

This year’s event takes place on February 25^th and involves around 40 acts across six venues: The Riflemans, The Hawthorns, The Assembly Rooms, The Market House, The King Arthur and The Bocabar.

Profits from the event will go to community radio station Glastonbury FM.

Highlight’s include an afternoon set (14:30 -15:15) at the Hawthorns Hotel by Glastonbury based Flipron. Describing them is tricky so here’s our latest stab at it – psychedelic pop band, trapped inside a fairground organ and forced to use the power of punk to fight their way out. Others have settled for the more sober “eccentric English rock”.

Laid Blak (The Bocabar, 22:30-23:30) are another highpoint, with the Bristol band currently one of the most talked about British reggae acts, with support slots for among others, Ed Sheeran, the Wailers and Lee Scratch Perry, under the belts.

Festival organizer and Glastonbury FM presenter Ian Liversidge said: “We want to highlight the variety of great new music from the west and show off the cracking venues in the town and show that the town is always full of great music

“We love the early part of the year as there is so much music coming out and we intend to get a jump on the summer festivals and show it off. This year we have an amazing line up over all of the venues and are chuffed to have the legendary Laid Blak headlining the Bocabar.”

Tickets for Glastonbury Calling are available in advance for £10 from Bristol Ticket Shop, Jaywalk Guitars, The Bocabar and The Hawthorns Hotel, or can be bought for £13 on the day.

For more information about Glastonbury Calling and stage times visit here.

Shock revelation of the day – Glastonbury is so much more than the BBC coverage and the main Pyramid stage line up. So for all you Kanye West haters with tickets in your hand why not pop over to some of the event’s many and varied small stages.

We’ve had a scan through the full line up, which was released this week, and  have come up with our pick of the small stage acts. As with last year William’s Green continues to impress, especially as it hosts this year’s 25^th anniversary of Heavenly Records. We also have some old punks, the best of Somerset’s local bands and one of the best indie bands around at the Leftfield.

Stealing Sheep

William’s Green, 4:30pm Friday

We first saw this Liverpool trio supporting Field Music in Bristol three years ago. They play as part of the Heavenly Records contingent, at what has become one of our favourite small venues at the Festival, and are one of the best live acts we have seen. Blending folk, indie and 1960s surf music they are not to be missed.

Declan McKenna

William’s Green, 10:45am Friday

The deserved winner of this year’s Glastonbury Festival Emerging Talent Competition opens proceedings at the William’s Green stage. Be sure to get up early to see why this teenager won the world’s toughest Battle of the Bands competition.

La Femme

William’s Green, 5:30pm Saturday

From France, via California, this stunning live act blend electro-pop and are another in our list to borrow from 1960s surf culture. Their 2013 album Psycho Tropical Berlin was one of our albums of the year for good reason.

The Phantom Band

William’s Green, 6pm Sunday

Their 2014 album Strange Friend was their best to date and proved why they are one of Scotland’s best bands as they merge rock and electronica effortlessly. Get there early at 5pm to see legendary prog rockers The Bevis Frond beforehand. Both great bookings for William’s Green.

Martha

Leftfeld, 6pm Friday

At Indietracks a couple of years ago Martha was the most talked about band there and for good reason. They are injecting some much needed energy into an increasingly introspective UK indie scene. Billy Bragg and co, who curate this stage, certainly know their indie music. An impressive booking.

Buzzcocks

Leftfield, 9pm Sunday

Leftfield again impresses and has bagged the legendary punk act Buzzcocks. With guitarist Steve Diggle still playing like a 17-year-old on stage and Pete Shelley’s timeless lyrics of love this looks like one not to be missed.

Nick Parker & the False Alarms and Flipron

Nick Parker and the False Alarms Avalon Café, 7:30pm Friday

Flipron, Avalon Cafe 1:30am Saturday and Bandstand 7:30pm Sunday

Nick Parker and the False Alarms

Two of Somerset’s best live acts are back again at Glastonbury, which once again is showing a strong commitment to promoting local talent. While Parker and crew focus on bittersweet folk rock  tales of love and life, Flipron will be showcasing their trademark brand of whirly-gig hipster new wave (note: actual genre may not exist).

Compiled by Joe Lepper

Everyone has their own Glastonbury experience. It’s so vast, with 200,000 people and thousands of acts scattered across two large Somerset farms that this giant muddy city is able to offer something for everyone. There are those that like the big name acts of the Pyramid and Other stages, some who can dance all night at Shangri-La and Arcadia and then there’s some like me who enjoy finding new bands and watching music in the many smaller, more intimate venues.

Storm clouds over the Pyramid Stage

I was attending this year as a judge for this year’s Glastonbury Emerging Talent Competition so was especially keen to catch up with some of the finalists. During this review I’ll cover each of my day’s trek around the storm hit, mud strewn site’s smaller venues to bring some new acts to your attention.

Friday

After discovering it was Kaiser Chiefs not my dream of Prince playing the surprise slot opening at The Other Stage I headed to this year’s best venue, William’s Green, where new bands rub shoulders with more established acts looking to play a second, more intimate gig. Ralfe Band were first on and provided the perfect start with Oly Ralfe’s accomplished Baroque pop on keyboards and acoustic guitar putting in great versions of tracks such as Crow and Ox.

Ralfe Band

As I made my way over to the BBC Introducing stage I stopped off to watch a little of Blondie. I knew it would be a soul destroying experience for this fan and was proved right. Debbie Harry, Chris Stein and one of the world’s best drummers Clem Burke remain from the original line up but they were supplemented with some rent a rock session musicians and were now very clearly a spent force. Harry shouted rather than sang her way through the classics like Hanging on the Telephone and their bland ‘new ones’ were met with groans and sighs from the crowd. Is it time to call it a day? In Blondie’s case, definitely.

Wood Burning Savages

Over at the BBC Introducing stage Dan Hyde proved a welcome antidote, backed by cello and giving a new take on the skinny jeaned young singer songwriter genre. Derry’s Wood Burning Savages were next and immediately looked like a band destined for bigger things. Every track in their short 20 minute set of fast paced indie rock sounded like a single, especially Lather, Rinse, Repeat. In singer Paul Connolly they also have a great frontman; part Bono, part Danny Kendall from 1980s Grange Hill.

Carnabells from Leeds were next at BBC Introducing and were brought on stage by fan Steve Lamacq. All giant hair, paisley shirts and velvet jackets they play rock and roll with a huge dollop of indie rock and did Steve proud.

The beauty of the BBC Introducing stage is it is next to the Gully Outer National stage for world music as well as John Peel for the more established BBC 6 Music style acts. Birmingham’s Eternal Taal – Bhangra Entertainment Team were hard to ignore with their energetic crowd participation act at Gully as were Temples over at John Peel with their carefully crafted late 1960s psychedelic rock. It’s a little Tame Impala light but they still do this genre justice.

Carnabells

Following a brief burst of sunshine some menacing clouds began to appear. I sought shelter back at William’s Green to see We Were Evergreen. Anyone who has heard Canada’s Rural Alberta Advantage will be impressed by this smart, Parisian electro pop act.

The next event was the weather, with a truly frightening electrical storm bringing the festival’s music to a brief close due to health and safety fears. Everyone at the festival will have their tale to tell of where they were when this intense rain came down. For me it was in The Leftfield where Neonfiller.com favourites The Tuts were just getting going in their punk pop set when the generators were shut down. Billy Bragg, who is curating proceedings at The Leftfield apologised but audience didn’t care though as they launched into a Cliff Richard at Wimbledon style sing-along to Bohemian Rhapsody. The guitar solo bit was particularly funny.

Young Knives

Back at William’s Green and the electricity back on, Young Knives played a storming set, filled with tracks from Neonfiller.com top 20 album of 2013 Sick Octave and an incredible performance from lead singer Henry Dartnell as he snarled, barked and jerked around the stage.

Billy Bragg’s Friday night Leftfield show is a tradition of the festival. Tonight it was just him and telecaster and acoustic guitar, belting out his hits and reminding us of the late Tony Benn, who was a regular at the festival. It’s a political venue so the politics is ramped up through tracks such as Between the Wars and There is Power in a Union. But he’s also a preacher with heart and Handyman Blues about his father was among many tearjerkers. Bragg always puts on a good show, but there’s something special about his Friday night Leftfield slot.

Billy Bragg

My evening ended with two Somerset based bands, Flipron and Nick Parker and the False Alarms who share members and played a great joint set at Avalon Café. Both Parker and Flipron frontman Jesse Budd were playing a number of times at the festival but you’d never know they were probably wrecked from exhaustion as they belted through their most festival friendly tracks. There was even dancing amid the tea drinking.

Nick Parker

Saturday

John Peel openers Black Tambourines were one of the Glastonbury Emerging Talent competition finalists this year and left me impressed during their short set at the Pilton finals in April. It was great to see a full set from this Falmouth act, which owes a lot to the 1960s garage punk and mod sounds of the Unrelated Segments and other obscurities from that era.

The Black Tambourines

At BBC Introducing by coincidence another Falmouth act, Polly Money, is proving that the Cornish music scene is in fine voice. Her intricate acoustic guitar work and looping vocals show she is another accomplished, emerging talent. After a surprise gig at BBC introducing from Little Dragon I headed back over to William’s Green for the billed psychedelic rock segment of the weekend, which started with the Nirvana-esque grunge-sters The Wytches, Brisbane’s Blank Realm, Smoke Fairies and Dinosaur Jr’s favourites Bevis Frond.

The Wytches

All these William’s Green acts were great in their own separate ways from Smoke Fairies’ style of dressing in designer white outfits, Bevis Frond’s love of life, Blank Realm’s insane vocals and The Wytches massive hair.

The Smoke Fairies

The evening was spent in the company of two great songwriters. Watching Nick Lowe sing What’s So Funny About Peace Love and Understanding with his perfect pitch and intonation is one of those ‘things to see in music before you die’ moments. He was especially suited to the beautiful Acoustic tent with its hanging red drapes and giant disco ball.

John Grant

John Grant at the Park was as amiable and fun as he appears to be on disc, with his clever lyrics and liberal swearing. As joints were being passed around at the front Grant dazzled us with tracks such as Mars and GMF, perhaps his greatest song. On the way back home that night (I live near the site and was popping in each day) I managed to catch the Arcadia landing show, an outstanding spectacle of fire breathing giant space spider pyrotechnics.

Arcadia

Sunday

The Black Tambourines and Wood Burning Savages prove the festival has emerging talent that has seemingly arrived fully formed. But some of today’s BBC Introducing stage acts showed that some have a little way to go in terms of stage presence. Glastonbury Emerging Talent finalists FURS have the right look and sound but fell into the trap of not looking like they wanted to be there. Kagoule have their chops around a distortion pedal but while excellent musically they looked nervous and were smile-shy.

Kagoule

We are told by the BBC DJ who introduced singer songwriter Lapsley that she will be one of those acts that will be making a swift move from the BBC Introducing to a main stage swiftly. It does happen, with Ed Sheeran playing the stage in 2011 and bagging a Pyramid slot this year. Lapsley could do well with her  haunting electronica. She has some nice touches to her act as well, especially through voice manipulation gadgets. But she’ll have to do a lot of work on her stage presence to follow Sheeren’s lead. She looked  like she was on work experience at an office, desperately trying to pluck up the courage to ask a manager where the coffee machine is, rather than at a music festival.

Gallery Circus

Gallery Circus though showed these acts how it should be done. This Newcastle duo of twins Graeme and Daniel Ross play sibling blues rock in the White Stripes vein and are  sensational live; Graeme’s frantic drumming especially. After seeing the energy they put into playing live I want them to get wider attention and a main stage slot that so many on the BBC Introducing are touted for but today only Gallery Circus deserve.

After the storms of Friday and Saturday the mud was thick and getting about the site was tough work. I decided to stick to one area for the duration, even if that meant missing the Festival’s buzz act Dolly Parton. The Park was my venue and provided the best segment of the festival as well as the best live act I’ve seen since Nick Cave’s astonishing Pyramid Stage set in 2013.

M+A

Phosphorescent brought the songwriting talents of Matthew Houck and key tracks, such as Song For Zula and Ride On/Right On from his Neonfiller.com Top 20 album of 2012 Muchacho, to the Park. He had a little wobble early on, having a hissy fit with a mic, slamming down the stand in disgust. Perhaps realising that this made him look like an utter knob he backtracked, thanked the sound engineers for their hard work and the gig resumed.

Ahead of next act Yoko Ono with Yo La Tengo I popped up to the Rabbit Hole, the crazy bar near the Park’s ribbon tower to catch a second gig from Glastonbury Emerging Talent winners M+A. Their blend of European pop and electronic trickery was superb in this tiny venue and they proved worthy winners of this competition.

Yoko Ono and Yo La Tengo

I was not expecting Yoko Ono to be good. I was mostly there for the novelty of seeing such an well known figure of modern culture and had always been of the opinion that her and Lennon’s preaching was more pretentious than heartfelt. There was pretension, but she is such an engaging personality I can see why so many listened to her and husband back in the day. Before she came to the stage people with flowers in the hair went around the crowd handing out labels to write down wishes and hand back in a bucket. Then Ono arrived, tiny, focused and full of smiles backed this time by Yo La Tengo as the Plastic Ono Band.

Packed full of tales from her own life, including the tragic loss of her daughter due to a marriage break up and artists visiting her and Lennon, the audience immediately warmed to her. Musically it was pretty fine too. Backed by Yo La Tengo’s indie rock, Ono throat warbled her way through tracks such as We’re All Water and Mind Train as the audience beamed back at her.

St Vincent

St Vincent provided one of the most astounding show of the weekend. Looking sensational in gold trimmed black dress and stiletto boots she moved around the stage like a android doll that is smirking as it discovers rebellion and music for the first time. Coordinated dances with the band, a move onto a giant white pedestal, a coordinated roll back down it and two of the most insane crowd surfing moments I’ve witnessed then followed.

St Vincent being helped into the crowd

The crowd surfing was particularly impressive, still playing guitar she struggled through the mud in her heels, had to be helped up by security staff, fell over a number of times, jumped on people, managed to borrow a flat cap and then popped back on stage still in android doll character as if nothing had happened. How she managed to still look cool after that I’ll never know. Your Lips Are Red and a tender version of Prince Johnny were among many highlights of an incredible masterclass in performance and music for some of the emerging acts here to take note of.

Words and Pictures by Joe Lepper. All pictures are copyrighted to News and Features Ltd, if you would like to use any please email joelepper@newsandfeatures.co.uk

To see more photos from the weekend head over to our Facebook page.

At its heart this second album from Somerset based singer songwriter Nick Parker is folk. But dig deeper and there’s a far broader range of styles on offer, from alternative indie pop to stadium-sized, get your lighters out, rock.

Production from Twin Falls man Luke Stidson helps the alternative indie feel and with a collection of local musicians and friends in tow the album also has a warmth to it.

In places those taking part even steal the limelight, such as guitarist and harmonium player Dave Little whose country twang brings to life opener Could We At Least Try. Singer Beth Rowley is another talent given room to shine and provides a star turn on the melancholy Oceonographer.

Parker and Stidson clearly know how to get the best out of a range of musicians with Clare Tarling’s fiddle playing deserving of praise for highlighting some fine melodies in the songs but never veering into the clichés of Irish folk/rock, that are thankfully avoided on this album, even though on Never Been To Dublin Parker admits to adoring that genre.

Another musician involved is Billy Shinbone, the alter ego of Flipron frontman Jesse Budd, who brings not only banjo but some fine 1950s style lead guitar work to elevate songs such as Jerusalem.

The collection of tracks here are those Parker has been gigging across the UK and Europe for much of the last year. But while the stomp of up tempo tracks such as I’ve Never Been to Dublin Before and the stadium rock bombast of Another Journey Home are sure to be crowd pleasers on stage, it is the sadder, more atmospheric tracks such as Oceonographer, Come on Jump Over Your Shadow and Something Someone Said where Parker’s writing really shines on disc.

7/10

By Joe Lepper

Nick Parker and his backing band The False Alarms, which features many of the musicians on this album, will be performing later this month at the Glastonbury Festival 2014.

Introducing… continuing our regular feature looking at some of the exciting acts around that you may not have heard of (yet). Our next instalment features Flipron.

Where are they from? Glastonbury, UK.

Who are they? Jesse Budd – Vocals, guitar, lap steel, accordion, harmonica, ukulele, mandolin, dobro & clarinet;  Joe Atkinson – Organ, piano, some guitar, accordion, backing vocals; Mark – Bass guitar; Mike – Drums, percussion & backing vocals

What do they sound like? Eclectic doesn’t even come close to the mish-mash of styles that Flipron use. Described as music-hall punk, ska, new wave and psychedelic by other reviewers, there’s a bit of everything with Flipron. For us at Neonfiller.com the clearest influences musically are the Kinks, Pulp and The Auteurs. In terms of dress sense Pulp frontman’s Jarvis Cocker is an influence again. Live their performances hinge on the energy and whimsy of lead singer and multi-instrumentalist Jesse, who has helped them develop quite a live following over the years that has even led to some US dates this year (2010).

What have they got to say for themselves? “We love old records and new records. We love all sorts of music by all sorts of people. This gets all mixed up and rearranged inside our Flipron-shaped brains and comes out again into our own music.” In short, they like a lot of stuff.

What’s their latest? Gravity Calling (2008), which was produced by The Damned’s Rat Scabies,  Biscuits For Cerberus (2006) Fancy Blues & Rustique Novelties (2004).

Where can I find out more? http://www.flipron.co.uk/