Hotei Euro Tour 2017

March 21, 2017

Japanese superstar HOTEI returns to Europe in April 2017 with live dates scheduled in Netherlands, Germany, Switzerland and Belgium, playing in many cities for the very first time.

Says Hotei:

My career started from playing in small clubs in Japan, and we built it up to the level where I was able to play in front of stadiums full of screaming fans.

And now, I’m opening the door to the world, starting again from playing small clubs in new, unfamiliar places. Back to basics, never lose your ambition even in your success―that’s my philosophy. One step at a time with your own steps, that’s the only way to achieve your dreams.

I can guarantee you that you will be up on your feet dancing once you hear me play live with my amazing band, even if you are not familiar with me. Those who are bored with experiencing live performances with no soul will be surprised at how refreshing it is to see a real ‘live’ performance!

I am really looking forward to meeting as many people as possible on this Euro tour! If you can’t connect with the soul of the audience in front of you, there’s no chance to grab the hearts of thousands!

Hotei celebrated his 35th anniversary in music in 2016 with a new “Best of” album release and an extensive touring schedule in Japan, with 57 dates across the country. The shows ranged from intimate club shows, to a free open-air concert in his hometown in front of 25,000 fans and finishing the year with his 40th performance at the Budokan in Tokyo on December 30th, where Hotei performed 35 songs to celebrate his 35 years in music.

Hotei also found time in 2016 to continue building his international profile, striking up a personal and professional relationship with Italian superstar Zucchero and performing on his latest, platinum selling, album “Black Cat”. Hotei and Zuccchero performed live together several times in 2016, including Zucchero’s first ever performance in Japan at a special event in Tokyo, and at headline shows at the Royal Albert Hall in London and Arena Di Verona in Italy.

That special relationship has continued into 2017 with Hotei joining Zucchero on stage at the prestigious San Remo Festival in Italy in February, a major TV performance viewed by millions.

Also in 2016, Hotei released singles with godfather of punk Iggy Pop and Richard Z. Kruspe (from Emigrate/Rammstein) from his critically acclaimed debut international album, “Strangers”, and performed his first-ever LA show at the legendary Troubador, returned to the Highline Ballroom in New York, and performed headline dates in Amsterdam, Paris and Berlin.

Hotei released his debut international album, Strangers, in 2015 through Spinefarm Records, a subsidiary of Universal Music. The album features an array of guests including the godfather of punk Iggy Pop singing on two songs, Emigrate/Rammstein’s Richard Z. Kruspe, Bullet For My Valentine’s Matt Tuck, Noko from UK electronic band pioneers Apollo 440, and acclaimed Texan singer Shea Seger.

Heralded by Time Out as “iconic”, and a genuine superstar in his native Japan where he has sold more than 40 million records, Hotei is best known internationally for his Kill Bill theme ‘Battle Without Honor or Humanity’ and is sought-after as a collaborator both in the studio and on stage.

http://www.hotei.com

https://www.facebook.com/HOTEI

Hotei – European Tour April 2017

March 17, 2017

I will be working with Hotei in April. For those of you interested to know, his website says “We’ve added a couple more shows to the Euro tour, which now encompasses shows in Netherlands, Germany, Switzerland and Belgium. Tickets are available now for all shows. Hotei will be joined by longstanding live collaborator, Zac Alford on drums, Japanese keyboard player Okuno, and London based all rounder Noko, who will be playing bass.”

Hotei’s new album “Strangers” features collaborations with the legendary Iggy Pop, Richard Z. Kruspe from European rock gods Emigrate/Rammstein, Matt Tuck from British rock band Bullet For My Valentine, Noko from electronic music pioneers Apollo 440 and acclaimed Texas singer Shea Seger.

Hotei comments, “When I was a teenager I was going to the record shops to buy everything I could by The Beatles, The Stones, Led Zeppelin… I soon realised that almost all of it was British. With idols like David Bowie and T-Rex, I’ve always felt a strong connection to the UK and now that I am living in London, ‘Strangers’ allows me to take a step out of this new and relatively anonymous space to introduce myself. A stranger to many, remembering the days when I was young and just starting out, playing gigs to a room of only 20 people, I want to connect with people individually and let them understand me through my music.”

11th April 2017 Euro Tour: Frankfurt, Zoom
12th April 2017 Euro Tour: Cologne, Clubbahnof Ehrenfeld
14th April 2017 Euro Tour: Amsterdam, Paradiso
15th April 2017 Euro Tour: Paaspop Festival, Netherlands
17th April 2017 Euro Tour: Hamburg, Indra Club
18th April 2017 Euro Tour: Berlin, Musik + Frieden
21st April 2017 Euro Tour: Zurich, Papiersaal
22nd April 2017 Euro Tour: Brussels, Rotonde Botanique

Hope to see some of you on the road…..you can find out more on Hotei’s website. He’s a kind and decent bloke but he’s a demon on the guitar. Come and see…..

http://www.hotei.com/en/

UNITY PRESENTS – DISCHARGE, SKUFF, VOLITION, AT THE NINES, FRIDAY APRIL 2ND, TICKETS £5.50 ON THE DOOR

March 18, 2010


UNITY PRESENTS – DISCHARGE – SKUFF – VOLITION – AT THE NINES – FRIDAY APRIL 2ND – TICKETS £5, £5.50 ON THE DOOR – AVAILABLE FROM THE NINES – 01229 821301

Dufus – Dastard / THEY SHOOT MUSIC – Video

August 27, 2009

They Shoot Music Dont They video – Dufus play a special offstage acoustic session in an underpass at the Prater in Vienna in April 2009

The Nightingales – Insult to Injury tour 2009

April 7, 2009

THE NIGHTINGALES

with guests TED CHIPPINGTON and VIOLET VIOLET

INSULT TO INJURY TOUR – APRIL 2009

ITInightingalestour
Sat 18 – ST. GALLEN, Palace www.palace.sg

Sun 19 – LEIPZIG, TBC www.bllalabooking.de
underground show, keep ’em peeled

Mon 20 – BERLIN, Wild At Heart www.wildatheartberlin.de

Tue 21 – HAMBURG, Hafenklang www.hafenklang.de
+ Cpt. Howdy

Wed 22 – KOLN, Blue Shell www.blue-shell.de
+ Another Nice Mess/DJ Marcelle

Thu 23 – RAVENSBURG, Club Douala www.douala.de

Fri 24 – MUNCHEN, 59:1 Club www.59to1.net

Sat 25 – ULM, Cat Cafe www.cat-ulm.de

Sun 26 – LONDON, 100 Club www.the100club.co.uk
+ David Cronenberg’s Wife

Mon 27 – MARC RILEY’S BRAIN SURGERY www.bbc.co.uk/6music/shows/brain_surgery
live radio session on BBC 6 MUSIC 7pm* 

Mon 27 – MANCHESTER, Night And Day* www.nightnday.org
+ Hotpants Romance

Tue 28 – WOLVERHAMPTON, Little Civic www.wolvescivic.co.uk

* Violet Violet not playing Manchester

www.thenightingales.org.uk

www.myspace.com/nightingalesmusic

THE NIGHTINGALES
INSULT TO INJURY
new album out now on Klangbad label
catalogue # KLANGBBAD40
distribution via Broken Silence/Germany & Cargo/UK

This is a living, breathing beast of an album – ARTROCKER, UK

This is their fiercest, most lacerating album yet, better by a good margin than the mid-1980s Pigs on Purpose…and that was excellent – BLURT, USA

The Nightingales have been responsible for some of the most genuinely innovative minority music of the past three decades. What’s more with the release of Insult To Injury they have significantly raised their game. In fact, this is undoubtedly their finest moment – THE QUIETUS, UK
Boozy and deranged, Insult to Injury is how the new Franz record ought to sound – VICE, UK

Their freshest and most subtly intoxicating work to date – OBSERVER MUSIC MONTHLY, UK
They sound wired, edgy, boozy and as dangerous as ever, like a new band full of that energy that comes with those first moves and not a band who’ve been doing this since the start of punk. Robert Lloyd really shouldn’t be this good after all these years, should he? – THE ORGAN, UK

The new album from the ‘Gales is their finest for 27 years. Start here and work backwards – SUNDAY TIMES, UK
Unlovable as ever. The Nightingales remain hard work for precious little gain – MOJO, UK

Its no wonder that they are on the label of the Krautrock legends Faust. The Nightingales capability with sound and playfulness is endless. Their rough unruliness is very charming – ECLIPSED, Germany
Insult to Injury is probably as good as the Nightingales have ever been. This isn’t just an 80’s band doing good but it’s a fine record period, and puts most contemporary (and younger) “post-punk” bands to shame – SOUNDS XP, UK

This album is uneven, undisciplined and overlong – UNCUT, UK

Insult To Injury combines stuff capable of being on the radio with utterly entertaining experiments. Thrilling. – NOTES, Germany

TED CHIPPINGTON
WALKING DOWN THE ROAD… A HISTORY OF TED CHIPPINGTON 4CD box set available on Big Print Recprds
www.myspace.com/revtedchippington

VIOLET VIOLET
new single C-C-C-CAT out now on NROne Records
www.violetviolet.co.uk
www.myspace.com/violetviolet1

HOTPANTS ROMANCE
IT’S A HEATWAVE CD album available on Big Print Recprds
www.hotpantsromance.com
www.myspace.com/hotpantsromance


London Easter Punx Picnic 9th-12th April 2009

April 5, 2009

Thursday 9th April: Paradox, dirty love, rage dc, social schism, self inflicted, jesus bruiser, fat cats, leading the charge, moral dilemma

Friday 10th April: P.A.I.N, the kadt, trashcat, faintest idea, contempt, local madmen, the terrors, jonas first date, automads, rotten agenda, terminal decline, kilnaboy, dread messiah

Saturday 11th April: left for dead, defcon zero, police bastard, dead subverts, active slaughter, r.a.m. m.a.n., 2 sick monkeys, rabies babies, section 13, the dead batteries, something more grotesque,

Sunday 12th April: A.O.S.3, headjam, jimmy the squirrel, the extinguishers, the hostiles, the john plyer specials, captain black no stars, jakal, the apostates.

Police Bastard 11th April London

Easter Punx Picnic – A 4 Day Benefit in London, Raising Money for Faslane Peace Camp in Scotland

Since 1982 Faslane Peace Camp has been occupied by an ever expanding group of multinational Peace activists… Intent on disrupting any attempts to make nuclear war, at the Submarine Base. We are also doing a alternative lifestyle project. Living and working together, organising ourselves and co-operatively helping each other. Faslane has done protests against faslane navy base, the nearby Coulport nuclear storage, Truck convoys coming up from Aldermaston/Burghfield (nr. Reading), canoeing infront of Submarines and other actions on the MOD, BAe, Rolls Royce, and other Military corporations. 

Faslane Peace Camp welcomes visitors, feel free to visit at anytime, or come to the Annual birthday party week of action – To be announced Directions – The camp is situated 6 miles North of Helensburgh. Helensburgh can be reached from Glasgow by train, for £5 return, trains leave every half hour from Glasgow Queens Street (Low level station).Or the 216 from Jamaica St – Helensburgh. You can catch the 316 bus from Helensburgh Central train station (for Coulport or Garelochead, stops outside the camp) it only costs £1:50, and you can ask to be dropped off at the peace camp. -F.P.C. is on the east verge of the A814 road, which leads to HMNB Clyde and beyond. The Camp is therefore visible to all traffic coming towards the base from the direction of Helensburgh. We are about 30 miles west of Glasgow, by the Gareloch, a river Clyde estuary sea loch. Faslane Naval Base is on the Gareloch. CAMP PHONE 01436820901

Forum – http://faslanepeacecamp.freeforums.org/

http://www.myspace.com/faslanepeacecamp

http://www.myspace.com/toxikpunkspromos

http://www.myspace.com/seskaandpunk

http://www.myspace.com/rottengigs

http://www.myspace.com/bottleddisease

http://www.myspace.com/resistform696

Form 696 is an eight page form which the Metropolitan Police have introduced to gather information about all live music events in London. It could become the responsibility of venue owners to complete a copy of the form for every gig they put on in their premises. Thirteen London boroughs Bexley, Brent, Camden, Croydon, Ealing, Enfield, Hammersmith & Fulham, Kingston, Lambeth, Royal Borough of Kensington & Chelsea, Royal Borough of Windsor & Maidenhead, Southwark, and Sutton – have already signed up to this scheme, and are likely to make completion of Form 696 for all events a condition of granting a performance license. These boroughs have all already incorporated Form 696 requirements into their Statements of Licensing Policies; most of these include the Metropolitan Police’s definition of a “significant event”:

‘This definition relates to events that require a Promotion/Event Risk Assessment Form 696. A significant event will be deemed to be: any occasion in a premises licensed under the provisions of the Licensing Act 2003, where there will be a live performer(s) – meaning musicians, DJs, MCs or other artiste; that is promoted in some form by either the venue or an outside promoter; where entry is either free, by invitation, pay on the door or by ticket.’

http://www.lambeth.gov.uk/moderngov/ieListDocuments.aspx?MId=6464 (search within the document for ‘696’)

In addition to this, once the gig is over venues must complete Form 696A giving an account of how it went: http://www.met.police.uk/events/forms/form_696a.doc (Microsoft Word document)

According to a recent piece in The Independent newspaper: Feargal Sharkey is applying for a judicial review into whether a local authority has the right to make it a condition of a publican’s licence that they have to fill in Form 696. The scheme was introduced by the Metropolitan Police after incidents at live music concerts in 2006, some involving guns. In theory, it applies to any licensed premises where there is live entertainment, but Detective Chief Superintendent Richard Martin, head of the Met’s pubs and vice squad, said that in reality it will apply only to performances likely to draw large crowds.

Professionals in the music business fear that if it becomes accepted, it will be copied in other cities. Martin Rawlings, director of the Pub and Beer Association, said: “I know of licensees faced with this saying they are just not going to put live music on. Form 696 is being used only in London so far, but there are similar things going on around the country, where the police are asking publicans to sign various protocols. It has gone too far, frankly.”

Mr Sharkey has also complained to the Equality and Human Rights Commission that the police appear to be focusing on the music enjoyed by black and Asian teenagers. One of the questions on the form requires the licensee to specify the type of music that will be performed, giving as possible examples “Bashment, R’n’B, Garage”. Another question asks, “Is there a particular ethnic group attending?”

In a letter to Sir Ian Blair, the Met commissioner, Mr Sharkey said: “In explicitly singling out performances and musical styles favoured by the black community we believe the use of Risk Assessment Form 696 is disproportionate, unacceptable and damaging to live music.”

The Musicians’ Union is also consulting lawyers, because they believe that performers’ privacy is being invaded. Rick Finlay, 49, who has been playing drums in London venues for 30 years, warned that even if licensees agree to fill in Form 696, musicians may not co-operate. “I would be pretty angry about it, and I can tell you some of my colleagues would refuse to work with me rather than give their details,” he said. “The last thing they need is a deterrent, which implies that there is something wrong with what they are doing.”

But Det Ch Supt Martin said Form 696 was already making live music in large venues safer. “It’s not about being risk averse, it’s about managing the risk,” he said. “If you a publican and you are just having some performers to entertain your regular customers, you won’t be expected to do a risk assessment. It’s for when the performance is being put on to draw people in. We will never assess somebody just on the genre of music they are performing. There is a whole raft of factors that are taken into account.”

And from The Register:

The threat is serious: failure to comply “may jeopardise future events by the promoter or the venue”. Licensing of live music is nominally under the democratic control of local authorities. However, few councillors dare contradict the advice of the constabulary – even when such advice exceeds the police’s authority, as it does here. John Whittingdale, the Culture select committee chairman, described it as “a consequence of the Metropolitan Police exceeding what is required by law”.

UK Music chief Feargal Sharkey told a House of Commons select committee that the policy had already been used to pull the plug on an afternoon charity concert of school bands in a public park organised by a local councillor.

“No alcohol would be sold, tickets were limited to three maximum, and the councillor offered to supply eight registered doormen. Police objected on the grounds that the names, addresses and dates of birth of the young performer could not be provided,” said Sharkey, speaking to the Department of Culture Media and Sport’s hearing on venue licensing today.

“Live music is now a threat to the prevention of terrorism”, he concluded. In response, Detective Superintendent Dave Eyles from the Met’s clubs and vice office told us that 10,000 such Risk Assessments would be processed this year. He said they weren’t compulsory:

“We can’t demand it – we recommend that you provide it as best practice. But you’re bloody silly if you don’t, because you’re putting your venue at risk.”

“Have a look at the papers and tell me where the black-on-black shootings happen? They’re around the night time economy,” said Eyles.

“Music promotions attract people who have a propensity to use violence. That’s not speculation. We have a duty to prevent that from happening.” But even if that’s true, why vet then the performers? Unless the performers attack the audience, Sid Vicious-style in the fictional Great Rock and Roll Swindle?

“We’re not vetting the performers – we’re looking at the audience. It’s not the music it’s the people who follow it, who use that event as a catalyst to commit crimes.

But, Form 696 explictly vets the performers. We read it out.

“Some venues use their inhouse DJs all the time – others fly them in from around the world. It’s not just their track record in the UK we’re looking at but we’re looking worldwide – what has happened historically at those events”.

With the police groaning under bureaucracy, was 10,000 extra forms really justified?

“We can effectively look at those venues and say by putting in some measures as a last resort, canceling the event, we can prevent crime.” But didn’t Sharkey’s example – a kids concert in the park – suggest that the system was being abused?

“I would doubt that’s factually correct,” said Eyles. “I’ve never known an event to be cancelled because a Risk Assessment wasn’t completed. If we went to the organisers and asked them to pull it, we would be laughed out of court. I cannot believe that would happen. In itself, it’s not grounds to shut an event down.”

The BBC’s website says: The head of the industry body, UK Music has reported the use of the form to the Equality and Human Rights Commission, and has called for a judicial review into its use.

He explained: “We are already aware of a number of pubs that have had this now attached as a mandatory condition to their license, which means if the landlord of that pub does not give that information, he is then in breach of his license.

“That could result in either the loss of the license and therefore his business and, or a maximum of £20,000 fine and, or six months in jail.”

He confirmed that they might take their fight against Form 696 to the courts: “UK Music is currently looking at the process of judicial review and that would involve all 21 local boroughs that we believe are involved in this.

“However, it does raise the question as to quite why a music industry is potentially going to have to fund a high court case costing hundreds of thousands of pounds to deal with a bit of legislation that is quite obviously deeply flawed and why isn’t the Government intervening to fix it in the first place?”

David Isles, a Detective Superintendent with the Met Police Clubs and Vice unit, has responded to McClure’s comments saying Form 696 is not designed to stop people having a good time.

“I think that that’s naive in the extreme because this is about Black Kids being shot and stabbed and being targeted,” Isles replied.

Form 696 initially came about when the police became concerned with the number of black on black shootings around nightclubs.

Isles went on: “You have particular gangs aligned to particular types of music and that obviously created an environment where rival gangs would target them.

“It wasn’t about the music, it wasn’t about the venue, it wasn’t about the promotion it was because gangs were associated with those particular events.”

And he said this came about through a process of consultation with all concerned, the nightclubs, the local police, the security firms and the promoters.

According to Isles, the method is under review and the Met are always open to consultation: “We want to work with all these various agencies to come up with solutions, not to shut events down.

“That is the last resort and we would only ever do that when the threat level is so high that no means of intervention could prevent someone from becoming a victim of violence.”

One of the major difficulties in understanding the scope and scale of the problem at the moment is the conflicting information available online and via various newspaper reports. The numbers of London boroughs requiring venues to complete the Form is variously stated as 12, 13 and 21. Some reports say the use of the form is still voluntary, others that the completion of the form has been made a condition of the renewal of live music licenses at venues already.

The information requested will be held by the police and includes the genre of music to be played, the names and contact details for all performers and worst of all the likely ethnic profile of the audience. The completed form has to be submitted 14 days in advance of the event; the police claim it will help prevent violent incidents but we can’t see how this will make any difference to the problems of violence at gigs; holding information on performers and venue owners isn’t going to stop anyone coming in to an event to cause problems and no performer or venue owner wants to see, or can be held responsible for, trouble at their events.

We believe that if it is allowed to happen, Form 696 will effectively destroy the live music scene, particularly at the smaller-scale end of things. Venue owners won’t want to be bothered with the paperwork, which will be onerous to complete anyway, and many will simply stop putting gigs on. Performers in many cases won’t want to be supplying their contact details to the police. There is also the issue of how this information will be kept and used by the police. On top of this there is the question of how the police will treat identical gigs where the ethnic make-up of the audience differs, potentially breeding racial tensions.

We believe that if it becomes compulsory, this will prevent young performers from coming through, cause venues to shut or stop being able to put on shows and make it very hard for bands to be able to get to play… and possibly lead to more problems than it could possibly solve. They said the Criminal Justice Bill wouldn’t happen and it did; they said the smoking ban would never happen and it did. Please, if you care about the future of live music and performance, sign the petition and stop Form 696 in its tracks.

The Downing Street petition is here – PLEASE sign it if you’re a UK citizen or resident: http://petitions.number10.gov.uk/Scrapthe696/

The facebook group is here: http://www.facebook.com/home.php/group.php?gid=42439007135

A copy of the proposed form is here: http://www.met.police.uk/events/forms/form_696.doc

Finally, please tell everyone you know about this page and get them to sign the petition!!!