Boasting members from both South America and Europe, alt-rockers, Guilty have a truly international appeal. Having met and formed the band in 2019 they have since been based in Romania, home country of the rhythm section, drummer Cristi Diaconu and bass player Silviu Ruta.
Augmented by Renan Santos from Brazil on guitar and led by singer-songwriter Rubén Villanueva from Peru, they have become an established act within the Romanian rock scene.
The band have just released their fourth single of 2021, keeping themselves busy at a time of country / world wide Covid restrictions.
‘Leave It and Rewind,‘ differs from those tracks that have preceded it this year. Whereas the others have been more uptempo and rocking, this one is much more subtle. The song deals with the issue of social media and the adverse impact it can have on users, so it’s perhaps not surprising the general mood is more sombre. Dark even.
However, there’s an air of positivity in the title and lyrics which is reflected in the melody of the catchy and memorable chorus. It has a quite anthemic feel about it.
‘Leave it and Rewind,’ is available across all streaming platforms now.
(By way of illustrating the strength of Guilty, here’s the video that accompanied their release of a few months back, ‘Never Call My Name Again.’)
Smoking Pistols are a four-piece, post punk band from the Drôme region of south-east France. Formed during 2020, they recently released their second EP, ‘Sip It For Free,‘ via Bandcamp.
The five tracks are a loud and raucous mix of abrasive sounding garage punk, a little in the vein of Idles, I’d suggest. The strong EP opener and title track ‘Sip It For Free’ is shouty and angry … and hooky and catchy at the same time. It may take more than the initial listen, but you’ll get there. I’d say there were even shades of Foo Fighters peeking through towards the end.
‘I’m Just Not Good At It,‘ again has that Foo Fighters feel. Maybe it’s the rasping vocals and pounding drums, but I’m definitely getting that kind of vibe. There’s some nice discordant guitar going on as well. It’s a real fist pumper of a track, bound to go down well in a live performance.
‘Isolation,’ features more spoken styled lyrics and a buzzing guitar sound. It doesn’t have the sort of anthemic feel of the previous tracks, but is more of a ‘grower.’ Clocking in at almost seven minutes length, it sounds like a story of anguish and frustration been given some air.
‘Glass of Patience’ again features more chanted vocals over occasionally discordant guitar, building into a resounding chorus.
Then the closer, ‘Cut Me Some Slack’ veers away from Foo Fighters towards a more Talking Heads and Devo feel, with a little bit Rolling Stones ‘Woo Hoos,’ added towards the end. Which is all OK by me.
Though the lyrics focus very much on introspection, weird manipulations within human relationships, and self-destruction, the EP is pleasantly upbeat and boisterous.
All in all, this is a very positive sounding EP and well worth checking out.
Formed in Dublin in 1975, Radiators From Space are credited with being Ireland’s first punk band, initially adopting the name Greta Garbage and The Trash Cans.
Their music is straight up, first wave punk – nothing too fancy, just high energy, angry but melodic, shouted gang vocals, over raucous guitar and drums with a predominant, throbbing baseline. At this early stage, the music still echoed influences of early Sixties rock ‘n’ roll / garage and like all classic punk songs, none overstay their welcome, and are short sharp and straight to the point!
The band were picked up by the excellent Chiswick Records label (more about them in a later post) and their debut single ‘Television Screen‘ was released in 1977.
Later the same year, their first album (and only LP under this particular name) was released, again on Chiswick Records. ‘TV Tube Heart‘ comprises thirteen tracks, over thirty-three fast, furious and fabulous minutes. You could say that the sound is standard ’77 punk noise, with tracks like ‘Ripped and Torn‘ reflected by The Rezillos and ‘Blitzin At The Ritz,‘ a bit Clash-esque in places.
By the time of the album’s recording, original vocalist, Steve Rapid, had left the band, to be replaced by Phil Chevron who would later move on to join The Pogues.
In 1978, the decision was taken to shorten the band name to simply, ‘The Radiators,‘ and their second album, ‘Ghostown‘ was released in 1979.
Over the years, there have been a few re-incarnations of the band and retrospective releases, but these are the only two albums of The Seventies.
(After leaving the band, Steve Rapid – real name Steve Averill – went on to become a successful design artist, famously responsible for producing U2’s album covers. He is also reportedly credited with suggesting the band changed their name from ‘The Hype.’)
(Steve Chevron sadly passed away in 2013)
THERADIATORS FROM SPACE Phil Chevron – Vocals / Guitar James Crash – Drums Peter Holdai – Guitar Mark Megaray – Bass Stephen Rapid (Steve Averill) – Vocals
(Submitted by John Allan, Bridgetown Western Australia, August 2021)
It was the early 70s and I must have been about 15 and already a hardened Progressive Rock devotee. My Genesis, Yes, Gentle Giant and JethroTull albums were already crowding out my brother’s collection of Beatles and Fleetwood Mac LPs and the half dozen classical and British comedy recordings of my parents. Bernard Cribbins’ “Right Said Fred” would not make an appearance again for a few decades until wearing shirts became too sexy !
For reasons that are lost in the sylvan forests of that dingily dell of prog rock/adolescent halcyon, time, I thought my collection lacked a Scandinavian slant. ABBA hadn’t had their Waterloo moment yet !
How or where I first discovered Tasavallan Presidentii (President of the Republic) is a complete mystery or major mental blackout. Maybe because my surname was included in the band’s name. I can only speculate.
Lambertland was a proud addition to my ever expanding sonic library.
The cover was like a water colour Roger Dean. All trees and mountains and suns with a splash of pseudo religious symbols floating about. I thought they might throw in a free yoga lesson or a weekend mountain retreat to straighten out your Shakra with every album sold.
As for the music, it had all the ingredients of the genre – rock, folk, ambient, jazz, and the obligatory blues jam in an odd time signature. There was quite a smattering of flute and sax which appealed to me. Clever guitar work and sympathetic bass and drums.
The vocalist was a required taste with a very thick Scandinavian accent and would have been better singing in his native tongue going by some of the lyrics. No keyboard player was credited but I definitely heard the tasteful tinkling of electric piano and perhaps a sparse string synthesizer. The music certainly didn’t require any of the usual heavy handed Hammond, muddying Mellotron or meddling Moog.
6 tracks over 2 sides is probably prog de riguer. My favourite being the title track though where this mystical place may be – whether the far forests of Finland or a walk in a London suburb (sorry that’s Lambeth) is not clear. It has echoes of folksy Tull, jazzy Soft Machine and zippy Zappa. Not so much in a lumpy porridge sort of way, more a light, healthy, if not hunger abating, muesli.
Where that album ended up I’ll never know – probably an ashtray now at my nieces flat.
Does it stand the test of time ? Not really. Like most prog rock, it sounds dated on the naive side of edgy but it’s all space and time, innit or eikӧ olekin as they say south of Lappland !
Tracks: 1. Lounge 2. Lambertland 3. Celebration of the Saved Nine 4. The Bargain 5. Dance 6. Last Quarters
Recorded: April-May 1972 at Finnvox Helsinki, Finland and at Europafilm Stockholm, Sweden.
(Line-up relates to this particular album.)
Jukka Tolonen – Guitar Eero Raittinen – Vocals Pekka Pӧyry – Saxophone / Flute Måns Groundstroem – Bass Vesa Aӓltonen – Drums