Category: Artists

Headline Artist:
The Loveless

aka Marc Almond / James Beaumont / Ben Ellis / Mat Hector / Neal X

No-one forgets their first romance, not even The Loveless.

Serving up the songs that awoke their delinquent desire for snaky tunes played in seamy dives, The Loveless are back where they began – pledged to the pulp appeal of garage rock. An outcast tangent of rock ‘n’ roll – garage swaggered on the margins, giving a terse voice to all the full moon boys and girls in black leather waiting for the night to begin.

In Garage Land, love is never easy and sometimes it’s twisted, as ‘Dark Side’ so adroitly demonstrates. The Loveless could be accused of being a covers band but they are so immersed in the smouldering tension of the material, it fits them like a second skin.

Sired by Marc Almond, whose voice evokes a million shades of darkness and delight, and guitarist Neal X, a revved up exponent of classic riffs, The Loveless are augmented by Iggy Pop’s on tour rhythm section, Mat Hector and Ben Ellis, whilst Hammond maestro, James Beaumont, commandeers the keyboards.

As well as playing live, The Loveless have been recording the material, The Kink’s moody ‘I’m Not Like Everybody Else’ rubbing shoulders with The Sorrow’s ‘Take A Heart’ at Dean Street Studios in the heart of Soho. Despite the insidious nature of gentrification that has made the area a theme park of its former self, Neal X swears the ghosts of old Soho make their presence felt in the twilight hours and in the grooves of The Loveless’ version of Smoky’s ‘Hot, Hard & Ready’ (NB not the insipid UK Smokie but L.A’s sizzling Leather-cladlad Smoky.)

Unburdened by record label intervention means The Loveless can do what they want, how they want, when they want.

Headline Artist:
Fields of the Nephilim

Fields of the Nephilim is the creation of vocalist and front man Carl McCoy, a seeker of the greater truth, who sprang from humble beginnings in south London. Brought up in a religious environment, Carl became familiar with the stories of the Watchers and Nephilim at a very early age. Unquestionably, this influenced his decision to pursue a creative career in art and music which embraced the world of the occult and portrayed it through his own apocalyptic fusion of Victorian underworld meets Sergio Leone Spaghetti Western, Fields of the Nephilim’s emerging brand of dark aural delights – expressed in tracks such as ‘Trees come down’, ‘Power’, ‘Preacher Man’ and ‘Dawnrazor’

But it also helped define the band’s unique appearance, both on and off stage. Wide-brimmed hats, long duster coats and cowboy boots, usually black and smothered in white flour as a substitute for dust, became its trademark in a world where designer label clothes were fast becoming the street style of the era. Fields of the Nephilim’s distinctive appearance, meant that they quickly became noticed by the music world, ensuring a growing fascination that enabled the band to achieve moderate success with their early singles and develop a loyal fan-base throughout Europe

Little by little that success was built upon until the release in 1987 of their single ‘Blue Water’, which with its chaotic video propelled it into the bottom reaches of the UK pop chart. This was followed in 1988 with the release of the band’s seminal classic ‘Moonchild’, named after a magical novel by controversial English occultist Aleister Crowley. It rocketed into the charts at number 28, forcing TOP OF THE POPS to play its heavily occult inspired video. It shocked the nation, but also helped propel Fields of the Nephilim into the realm of a major league rock band

The sequel, ‘Psychonaut’, a title inspired by a magical grimoire by chaos magician Pete Carroll, was even more shocking. Although it received next to no national airplay in Britain (save for the concerted efforts of liberal Radio One DJ Annie Nightingale), it found its way into the charts at number 35, allowing a limited exposure to its mind-altering, Grainy video which featured a Sioux sundance ritual in which the candidate is hurled up into the air by claw-hooks affixed to his bare chest. Interspersed between its constantly shifting scenes, cut up in a style similar to news reels of the Edwardian era, were brief, almost subliminal flashes of war and destruction in the Middle East, as well as Christian religious images, which blended to express an apocalyptic vision of coming times

Then there was the release of the band’s uncompromising albums, including the awe-inspiring ‘Elizium’, released by Beggars Banquet in 1990. It remains arguably one of The Nephilim’s most seminal soundscapes to date, invoking the energy of the Watchers and Nephilim and acknowledging them as the gods and demons of a mountain-like heaven towering above the Fertile Crescent, on which the civilisations of Sumer and Babylon evolved. Two highly evocative tracks, ‘For her light’ and ‘Sumerland’, appeared as singles, and each shared in chart success despite, once again, virtually no airplay on national radio

Fields of the Nephilim’s remarkable success story was aided perhaps by the manifestation among global youth culture during the late 1980s and early 1990s of all things black and gothic. Indeed, the band’s deep, dusky music style became the soundtrack of their lives. The band’s distinctive T-shirts and sweatshirts, adorned with occult-influenced designs, were virtually signs of recognition among many thousands of fans with a like mind. Furthermore, the Nephilim’s evocative soundscapes unquestionably inspired several talented people in their own particular lines of interest

Among those who might credit The Nephilim’s music for their own creativity include Richard Stanley, the writer and producer of science fantasy films such as ‘Hardware’, which featured Carl McCoy’s acting debut as the ‘zone tripper’. Writers of graphics novels who have admitted listening to Nephilim music include Warren Ellis – the main character of his HELLSTORM stories, ‘Daimon Hellstorm’, being based directly on Carl’s enigmatic persona, on and off stage. Other graphic novels such as FAUST, LOVE OF THE DAMNED and GUNFIGHTERS FROM HELL, all with artwork by Tim and Joe Vigil, as well as their ‘Macabre Erotica Series’, published by Rebel Studios, owe a debt to The Nephilim, as do some of the Watcher-inspired works by Storm Constantine. Her Grigori Trilogy (Grigori is Latin for Watchers) pays its respect to the music of The Nephilim.

In non-fiction, ancient mystery writer and psychic questing pioneer Andrew Collins acknowledges enveloping himself in The Nephilim’s spectral soundscape during the writing of his scholarly work FROM THE ASHES OF ANGELS, published in 1996. It tells the story of the origins, history and latter-day influences of the Watchers and Nephilim of Enochian tradition. He concludes that they were flesh and blood beings who once walked the earth and initiated the Neolithic revolution that culminated with the creation of the world’s first civilisations

The Nephilim continue to create their uncompromising form of visual and aural art. Prepare yourself to continue what has become a way of life to countless followers of the fallen faith with the scheduled release of new material, as well as announcements regarding a more adventurous audio-visual project

For the Nephilim now look forward to a long reign that might take moments to experience but lifetimes to fulfil.

All My Thorns

All My Thorns are a band with a history stemming back to the early 90s

Taking inspiration from the goth / metal bands of the time they formed in Preston, Lancashire, UK as a band called In Soma Dawn after a long break away from music Drew Freeman and Korovin Sutch joined three other musicians to form the band Sometime The Wolf in 2017. Quickly putting their stamp on the scene again with their progressive new age goth – metal sound

With atmospheric live performances up and down the country and across Europe and the release of the Never Wake EP the band soon had people wanting an album

One year later, it was released, the album called From Here And Earth, recorded in Cambridge by Steven Carey (The Eden House) and Simon Rippin (Nefilim, Fields of the Nephilim, The Eden House) the album was a huge success and took the band on a journey up to 2021 were it became apparent there were differences in the way the band wanted to move forward. This led to Drew Freeman & Korovin Sutch forming All My Thorns with Alec and Mick joining soon after

The band honoured the gigs which has been confirmed pulling together a set featuring tracks old and new. Gigs in Morecambe, Leeds and London were brilliantly received

Going forward the band is currently writing new material and pre-production is well under way, the possibility of a two-part album has been talked of and is an exciting possibility. With recording and live dates taking shape quickly 2022 is being looking good

Very Special Guests:
Balaam and the Angel

Balaam and the Angel, from Cannock, West Midlands. formed in 1983, Initially the band self-released a series of EP’s and an album entitled Sun Family via their own Chapter 22 label and played on three tours with The Cult, culminating in an iconic appearance on the Channel 4 music programme, The Tube. This caught the attention of Virgin Records, who signed them and released their debut album, The Greatest Story Ever Told. It peaked at No. 67 in the UK Albums Chart in August 1986.They toured in the United States with The Mission, Kiss and label mate Iggy Pop

A second guitarist and the first non-sibling, Ian McKean of Twenty Flight Rockers, was added to the band in 1988. The band began to move away from gothic rock music styles into a sound that had more in common with hard rock. With their new-found style, they recorded the album Live Free or Die. This was soon followed up in similar style when they recorded Days of Madness, before leaving Virgin Records. Their song ‘I’ll Show You Something Special’ appeared on the soundtrack for the film, Planes, Trains and Automobiles. During this period, they toured the UK with Aerosmith and played many headline tours around the UK with appearances at Reading Festival

They have been playing selected dates over the past 10 years both their own headline shows and as guests to The Mission, Fields of the Nephilim an appearance at Kirk Brandon’s Westworld Weekend in 2021

They are back and keen to bring their always special live show to everyone again, they recently released their first live album entitled ‘That’s Not The Real World’ on their own label Chapter 22 Records

Special Guests:
Into A Circle

Formed from the ashes of legendary post/punk outfit Getting The Fear, Into A Circle AKA In2a0 was founded by members Paul “Bee” Hampshire and Barry Jepson in 1985. Barry was prior to being in Getting The Fear a founding member of Southern Death Cult.

Supporting Nico at their first ever show, the duo’s genre-twisting sound and striking aesthetic (Bee clad in a clear-plastic junkie spacesuit by Vivienne Westwood designer Murray Blewitt), Bee & Barry made an impressive mark from the moment-go. Signing to the Arcadia label, Into A Circle issued their debut single “Rise” soon after which featured backing vocals from Rose McDowall (Strawberry Switchblade), which shot straight to No. 5 position in the UK Indie Singles Chart.

Signing to Abstract Records in July 1986, Into A Circle released the Top-20 Indie Chart denting ‘Inside Out’ EP, which featured input from Billy Morrison (who would later go-on to play guitar for Robbie Williams, Black Sabbath and Billy Idol).

The band released their trail-blazing debut album ‘Assassins’ in 1988, co-produced by Larry Steinbachek of Bronski Beat. Exploring themes of literature, theology, animism, sex, and spirituality, the album charted at No.7 in the Indie Charts and harvested the singles “Forever” (ft. Rose McDowall) and “Evergreen”, both of which also dented the Top 10.

Working with Viv Albertine (of The Slits) on an MV for “Evergreen”, Into A Circle also began incorporating further visual projections into the live gigs that followed. With additional guests including ‘Crass’ collaborator Annie Anxiety and Rose McDowall, Into A Circle embarked on their final tour in Autumn of 1989.

Breaking a 33 year hiatus, in 2021 Into A Circle have announced their long awaited return to music. Reforming for a very limited and exclusive series of shows, with the added promise of new material too, fans of the noir new wave band will be able to catch the original line up of Bee and Barry back together in 2022.

Evil Blizzard present Blizzoween

From opening for the Fall at Salford Kersall Club to selling out the prestigious landmark theatre ,The Guildhall in their hometown of Preston. Evil Blizzard have come a long way since their inception in 2012

It was at a sold out show in Manchester that the legendary Mark E Smith, offered to finance their debut album and take them on tour with him. The result of which, became the debut album on John Robb’s fledgling ‘Louder Than War ‘record label – The highly critically acclaimed “The Dangers of Evil Blizzard” . The Quietus described it as being enveloped in the much lauded and short lived genre of “Arsequake”

After the huge success of “The Dangers” came “Everybody Come to Church” – Selling out on-line in TWO HOURS! With this came shows opening by personal request for Public Image Ltd, Killing Joke, Ruts DC and Hawkwind. Word was spreading that Evil Blizzard were injecting the much-missed theatrics back into live performances and it soon became apparent that no musical genre was immune from their infectiously shambolic and enthralling live shows

With the band now in full flow. Classic Rock Magazine described them as ‘THRUMMING WITH DYSTOPIAN MENACE AND MADNESS’. A very accurate description, indeed

Everybody Come to Church gave the World two live anthems in the shape of “Sacrifice” and “Are you Evil?”. The latter was designated by Nikki Sixx of Motley Crue as his ‘Single of the Month ‘on his globally syndicated ‘Sixx Sense’ i-Radio show

January 2017 began with a sold out show at the Underworld in Camden, London. Followed by an appearance at the Stone Free Festival at London’s O2 Arena. Not to rest on their laurels. It was time to write another album

2018. Evil Blizzard took their live event “The Worst Tour on Earth” careering around the UK. With sold out shows throughout, including Leeds (Brudenell), Newcastle, Derby, London (100 Club), Preston (Blitz) and finally Manchester (Academy)

Saturday 13th April 2019. To celebrate the release of the double live album “Vile Evil Live” they became the first and only band from Preston to both headline & sell-out the Grand Hall at the Guildhall. A feat previously only achieved by the likes of Queen, Bowie, Iron Maiden, Led Zeppelin, Black Sabbath and the Wombles.—The venue was closed permanently shortly after

In the wake of the Guildhall show, we sadly bid farewell to Kav as he went onto pursue a path with his new project, HAQ 123. He has subsequently been replaced by our long-time friend former Hawkwind lead singer / bassist, Mr Dibs as ‘Fleshcrawl’

Evil Blizzard have now set their sights on Whitby and present Blizzoween their unique take on this festive season…Are you Evil?

Special Guests:
Ghost Dance

Anne Marie Hurst was the backing vocalist for the Goth Rock group the Elements in Keighley UK. In December 1982, she helped form Skeletal Family. After departing from Skeletal Family in 1985, she co-founded Ghost Dance with Gary Marx (formerly of The Sisters of Mercy). Ghost Dance released several indie chart hit singles, which were later compiled on the ‘Gathering Dust’ album. In 1989 they signed to Chrysalis Records and released the ‘Stop The World’ album and two more singles, with ‘Down To The Wire’ peaking at no.66 in the UK singles chart

In 2019, Anne Marie reformed Ghost Dance with ex Harlequyn members, Tim Walker, Phil Noble and Dave Wood, then in 2020, Stephen Derigg (formally of Original Sin) completed the line up and work commenced on a new album. Both Harleqyun and Original Sin had played several support gigs to the original Ghost Dance line-up in the late 80’s. They released their first single ‘Falling Down’ on Voltage Records in August 2021


Following a handful of formative sessions with prolific drummer / producer Jim Sclavunos (Nick Cave and the Bad Seeds, Sonic Youth) , the Brooklyn-based Bootblacks released its first EP, Narrowed, in the fall of 2012. Debut full-length Veins came next in 2016 and was backed by extensive touring. 2017’s Fragments found the band expanding to a bigger, more atmospheric and synth-heavy sound; the album landed on many year-end lists and helped earn slots on festivals such as Cold Waves, Terminus, Absolution, Wave Gotik Treffen, and Murder of Crows. Thin Skies, Bootblacks’ first album for Artoffact Records, zooms forward where Fragments left off. The nine songs combine a driving, dance floor pulse with soulful, melodic post-punk, yielding results that are positively anthemic

Produced by Jason Corbett of Artoffact label mates ACTORS, Thin Skies evokes scenes of dark days and reckless nights in the urban jungle – a marriage of post-punk emotion and clubland sweat. Frontman Panther Almqvist’s brooding voice captivates as itv eers from detached cool to deep vulnerability. Guitarist Alli Gorman’s hard jangle “channels the trademark delay techniques of [U2’s] The Edge, “in the words of Keyboardist Barrett Hiatt’s arpeggiated synths are the life force pushing the songs relentlessly forward, as Larry Gorman bashes a mix of acoustic and electronic drums with power and perfection. Backing vocals come courtesy of Shannon Hemmett (ACTORS) and Kennedy Ashlyn (SRSQ,Them AreUsToo)

Bootblacks ‘hometown of New York City is integral to Thin Skies’ sound.The band’s name itself is said to be derived from novelist William Burroughs’ description of the dark underbelly of glitzy NYC. Almqvist states: “It’s an energetic city and people have all the reasons in the world not to give you the time of day. I think our music has been shaped by that in many ways.”

The loneliness of city life pervades the album’s music and lyrics. “Most of the lyrics on the album are about loneliness,”says Almqvist. “Looking back on the lyric writing process there seems to be some connective feeling of isolation and distance present in all of the songs…I’m always hoping that a listener personalizes thes ong, that’s why the songs never have a narrative but try to embody a feeling.” As well as playing shows at every significant venue in NYC, sharing stages with the likes of Clan of Xymox, Light Asylum, HEALTH, and VOWWS, along the way, Bootblacks has toured North America and Europe