John Sinclair – Beatnik Youth (Double CD) 8th September 2017

March 15, 2017

John Sinclair - Beatnik Youth

John Sinclair – “Beatnik Youth” on Double CD
Released 8th September 2017 by Iron Man Records.

All Press enquiries to Sean Newsham : sean@mutante.co.uk

Catalogue Number: IMB6032

Release date: 8th September 2017

Label: Iron Man Records

Distribution: Cargo

Disc 1

  1. Testify (9.10)
  2. Good Stuff (4.32)
  3. Everybody Needs Somebody (7.09)
  4. Change My Life (5.14)
  5. Ain’t Nobody’s Business (3.36)
  6. My Buddy (5.13)
  7. That Old Man (3.53)

Disc 2

  1. Brilliant Corners (11.29)
  2. Culture Cide (11.38)
  3. Red Dress (Ruby My Dear) (6.25)
  4. Sitarrtha (6.16)
  5. Do It (6.16)
  6. War On Drugs (6.18)

John Sinclair, the renegade poet, scholar and cultural revolutionary releases “Beatnik Youth” on 8th September 2017 on Iron Man Records. The double CD contains over 80 minutes of music from the restless creative mind of Youth, with some fine spoken word and poetry delivered by John Sinclair.

John, has been described as an Archetype of the 1960’s art, music and literary synthesis, and who today continues his work for cultural transformation.

Youth is one of the UK’s most influential producers and has been honoured, with an Outstanding Contribution Award by the Music Producers Guild. His career spans more than 30 years and is one of the UK’s most consistent, credible and influential producers.

John Sinclair - Beatnik Youth

You can pre-order the Double CD, Vinyl and T-shirt here: http://ironmanrecords.bigcartel.com/artist/john-sinclair

From Detroit to New Orleans and from Los Angeles to Amsterdam, John Sinclair is still the king-size, psychedelic old-gangster poet, a living legend, a veteran of the counterculture, a survivor of the Marijuana Wars, and one of the last bohemians still standing. As a co-founder of the Detroit underground newspaper The Fifth Estate, manager of MC5, and Chairman of the White Panther Party described on Wikipedia in these modern times as a far-left, anti-racist, white American political collective founded in 1968 and dedicated to cultural revolution his mark on the boho rock & roll underground has been unique.

In 1969, with Richard Nixon in the White House, Vietnam in chaos in the wake of the Viet Congs near-suicidal Tet Offensive, and American cities still scared and scarred from urban riots, even the comparatively harmless agitprop pranks of White Panther cultural revolution had those in power reaching for their metaphoric and sometimes actual revolvers. Authorities remembered how John had organized the MC5 playing outside the 1968 Democratic National Convention in Chicago, the only band actually able to perform before Mayor Daley’s rabid police department violently derailed the massive anti-Vietnam war rally with teargas, billy clubs, and helicopter support.

John was deemed a danger to society and set up like a bowling pin. After handing a couple of joints to a hassling hippie who turned out to be an undercover narcotics agent, John found himself on the bad end of a ten year jail term. At the same time though he became a cause celebre. Free John Sinclair became one more battle cry in an embattled era. Protests, propaganda, and a giant concert in Ann Arbor headlined by John Lennon and Yoko Ono ultimately resulted in John’s release in November 1971. Lennon even wrote a song about him called ‘John Sinclair’ which he included on his ‘Sometime In New York City’ album.

In common with much that happens with John, a meeting with producer Youth (Paul McCartneys ‘Fireman’, Primal Scream, The Verve etc & Killing Joke bass player) that sowed the creative seeds was a matter of stoned synchronicity. As former Track Records boss Ian Grant tells it, Alan Clayton told me he had John Sinclair coming round tomorrow. I said “The John Sinclair?” One night Zodiac (Mindwarp) was on the bill with the Dirty Strangers and Youth was very taken with John. “I want to make a jazz album with John” he said. Since then, the two met at Youths house whenever he was home, and when John was in the country, and recorded the album.

And through the course of those recordings John, always so associated with the 1960s, took a serious step into the ways of the 21st century, with the same intoned poetry, but with melodic backing vocals, highly inventive production, even a nod to hip-hop, but still remembering his first loves of blues, be-bop, and classic rock & roll.

Beatnik Youth is one more step in the Big Chief’s long zig-zag trip that seems set to continue all the way to the far blue horizon. Summing up John Sinclair, you can only say with certainty that the beatnik goes on.

Youth

Youth has been responsible for numerous hits from artists including The Verve, Embrace, Echo and the Bunnymen, Crowded House, The Orb, Sir Paul McCartney and The Charlatans. Among his recent projects was the co-production of Pink Floyd‘s final and largely instrumental album, The Endless River. Youth also remixed David Gilmour‘s current solo album, Rattle That Lock. The Verve’s Urban Hymns brought Youth a BRIT Award for Producer of the Year after three consecutive years of nomination.

Youth says “I’m very proud of the longevity of work on Killing Joke and The Orb, how those recordings still sound fresh… and what I’ve done with The Verve and Richard Ashcroft, and Paul McCartney (The Fireman) and Pink Floyd. It’s only really working with those guys, with my insecurities, that I felt as though I could go, ‘yeah, I am a producer’.” His “university” was Killing Joke after he left school, and it “doesn’t really get more intense than that”.

As a young musician Youth, whose real name is Martin Glover, cut his teeth doing bass sessions for Adrian Sherwood productions and for artists such as Kate Bush whose phenomenally successful Hounds of Love album had Youth on bass. He was also a founder member and bassist of the band Killing Joke. After leaving Killing Joke (and a short experiment with the band Brilliant, managed by Bill Drummond and featuring June Montana, Jimmy Cauty and other key innovators of electronic and indie dance music), Youth began working with Alex Paterson and Cauty as The Orb, a collaboration that was responsible for the introduction of chill-out ambient house music.

Cauty and Drummond eventually moved on to form The KLF, leaving Youth and Paterson to experiment extensively in the post punk British dance music and Acid House scene. This led to the release of two classic albums as The Orb – U.F.Orb and Adventures Beyond The Ultraworld, which incorporated Little Fluffy Clouds, a track that defined ambient house and chill-out and brought these genres firmly into the mainstream.

Youth’s skills as a producer were now being noticed by a much wider audience, not least because of his remix work with band like Siouxsie and The Banshees, Malcolm Maclaren, A Guy Called Gerald, Fine Young Cannibals, Marc Almond and U2. In 1993, he collaborated with Sir Paul McCartney who had developed an interest in remix culture. This resulted in Strawberries Oceans Ships Forest, an ambient album – and the first of three critically acclaimed albums – released under the name of The Fireman.

Over the years, Youth has notched up a staggeringly large and varied list of production and remix credits for artists such as Yazz, James, Primal Scream, Gun’s N’ Roses, Blue Pearl, Art of Noise, P.M. Dawn, Shack, De La Soul, Erasure, Beth Orton, Bananarama, Maria McKee, Suns of Arqa, The Shamen, Kool and the Gang, Texas, Pete Murphy, Tom Jones and Dido. He remains tireless in his quest for inspiration, excellence and innovation in recording great music and also finds time to paint, illustrate and publish poetry.

John Sinclair

John Sinclair the White Panther firebrand who stoked the MC5’s insurrectionary manifesto has roots that stretch back to jazz and the beats, as a writer, avant-garde champion and poet. John has travelled the world, collaborating with like-minded souls; a living embodiment of the original free spirit that fought to emancipate a generation, one of the few still flying the freak flag.

Since the early 90s, Sinclair has released albums of his poetry, but Beatnik Youth is possibly some of John Sinclair’s best work to date.

This poorly served generation needs it: that militant energy which released the bats in the 60s is crucially booted into the 21st Century in a riotous celebration of personal freedom, cultural trailblazers and marijuana.

The following Iron Man Records Patrons have made this release possible:

Suzy Tweddle, Deborah Ritchie, Scott Roe, Margaret Calleja, Thomas Rathgeber, Dan, Lee Parsfield, Chris Scales, Muir Mathewson, Michael Howe, Jonathan Harris, Dave Barnard, Bill Fadden, Mike Burgess, Jachim Palm, Lyle Bignon, Thomas Burke, Ben Cartlidge, Matt Grimes, Toby Conyers, Chris, Andy Cavendish, Steve Wyatt, Andrew Dubber, Frank Knoblich, Vaughan Roberts, Ian Robertson, Marcus H….

Become a Patron too https://www.patreon.com/ironmanrecords

John Sinclair – Beatnik Youth Ambient (500 copies on Vinyl) 28th July 2017

March 15, 2017

John Sinclair – “Beatnik Youth Ambient” on Vinyl.
by Iron Man Records.

Pre-order the Vinyl here: http://ironmanrecords.bigcartel.com/artist/john-sinclair

All Press enquiries to Sean Newsham : sean@mutante.co.uk

Catalogue Number: IMB6033

Barcode: 5060132273319

Label: Iron Man Records

Release Date: 28th July 2017

Distribution: Cargo

Side A

Do It (6:16) Recitation – John Sinclair, Music – Youth, Mix – Youth and Michael Rendall

Brilliant Corners (11.29) Recitation – John Sinclair, Produced by Youth

Side B

War On Drugs (6:18) Recitation – Howard Marks, Music – Youth, Mix – Youth and Michael Rendall

Sitarrrtha (9:19) Recitation – John Sinclair, Produced by Youth

John Sinclair, the renegade poet, scholar and cultural revolutionary will release “Beatnik Youth Ambient” on Iron Man Records. The record is over 30 minutes of ambient, chill out music from the restless creative mind of Youth with some fine spoken word and poetry delivered by John Sinclair.

John, has been described as an Archetype of the 1960’s art, music and literary synthesis, and who today continues his work for cultural transformation.

Youth is one of the UK’s most influential producers and has been honoured, this year, with an Outstanding Contribution Award by the Music Producers Guild. His career spans more than 30 years and is one of the UK’s most consistent, credible and influential producers, Youth has also hand drawn the beautiful cover artwork.

The record features 4 ambient tracks including 2 tracks completed in late 2015. Do it and War on Drugs were composed and produced by Youth with words By John Sinclair and Howard Marks. John Sinclair presents some illuminating words of wisdom on the life of the artist in the opening track Do It, while Howard Marks delivers some lost last words in War on Drugs on side B. The Mood is maintained by 2 extra ambient tracks taken from the Beatnik Youth album simultaneously released by Iron Man Records on Double CD. The free-form cinematic Brilliant Corners is a homage to Kerouac, Ginsberg and Burroughs and the smokily atmospheric Sitarrtha reflects on the work of John Coltrane.

The record is a smoker’s dream with the 4 ambient tracks clocking in at just over 30 minutes.

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You can pre-order the Vinyl, Double CD and T-shirt here: http://ironmanrecords.bigcartel.com/artist/john-sinclair

From Detroit to New Orleans and from Los Angeles to Amsterdam, John Sinclair is still the king-size, psychedelic old-gangster poet, a living legend, a veteran of the counterculture, a survivor of the Marijuana Wars, and one of the last bohemians still standing. As a co-founder of the Detroit underground newspaper The Fifth Estate, manager of MC5, and Chairman of the White Panther Party described on Wikipedia in these modern times as a far-left, anti-racist, white American political collective founded in 1968 and dedicated to cultural revolution his mark on the boho rock & roll underground has been unique.

In 1969, with Richard Nixon in the White House, Vietnam in chaos in the wake of the Viet Congs near-suicidal Tet Offensive, and American cities still scared and scarred from urban riots, even the comparatively harmless agitprop pranks of White Panther cultural revolution had those in power reaching for their metaphoric and sometimes actual revolvers. Authorities remembered how John had organized the MC5 playing outside the 1968 Democratic National Convention in Chicago, the only band actually able to perform before Mayor Daley’s rabid police department violently derailed the massive anti-Vietnam war rally with teargas, billy clubs, and helicopter support.

John was deemed a danger to society and set up like a bowling pin. After handing a couple of joints to a hassling hippie who turned out to be an undercover narcotics agent, John found himself on the bad end of a ten year jail term. At the same time though he became a cause celebre. Free John Sinclair became one more battle cry in an embattled era. Protests, propaganda, and a giant concert in Ann Arbor headlined by John Lennon and Yoko Ono ultimately resulted in John s release in November 1971. Lennon even wrote a song about him called ‘John Sinclair’ which he included on his ‘Sometime In New York City’ album.

In common with much that happens with John, a meeting with producer Youth (Paul McCartneys ‘Fireman’, Primal Scream, The Verve etc & Killing Joke bass player) that sowed the creative seeds was a matter of stoned synchronicity. As former Track Records boss Ian Grant tells it, Alan Clayton told me he had John Sinclair coming round tomorrow. I said “The John Sinclair?” One night Zodiac (Mindwarp) was on the bill with the Dirty Strangers and Youth was very taken with John. “I want to make a jazz album with John” he said. Since then, the two met at Youths house whenever he was home, and when John was in the country, and recorded the album.

And through the course of those recordings John, always so associated with the 1960s, took a serious step into the ways of the 21st century, with the same intoned poetry, but with melodic backing vocals, highly inventive production, even a nod to hip-hop, but still remembering his first loves of blues, be-bop, and classic rock & roll.

Beatnik Youth Ambient is one more step in the Big Chief’s long zigzag trip that seems set to continue all the way to the far blue horizon. Summing up John Sinclair, you can only say with certainty that the beatnik goes on.

Youth

Youth has been responsible for numerous hits from artists including The Verve, Embrace, Echo and the Bunnymen, Crowded House, The Orb, Sir Paul McCartney and The Charlatans. Among his recent projects was the co-production of Pink Floyd‘s final and largely instrumental album, The Endless River. Youth also remixed David Gilmour‘s current solo album, Rattle That Lock. The Verve’s Urban Hymns brought Youth a BRIT Award for Producer of the Year after three consecutive years of nomination.

Youth says “I’m very proud of the longevity of work on Killing Joke and The Orb, how those recordings still sound fresh… and what I’ve done with The Verve and Richard Ashcroft, and Paul McCartney (The Fireman) and Pink Floyd. It’s only really working with those guys, with my insecurities, that I felt as though I could go, ‘yeah, I am a producer’.” His “university” was Killing Joke after he left school, and it “doesn’t really get more intense than that”.

As a young musician Youth, whose real name is Martin Glover, cut his teeth doing bass sessions for Adrian Sherwood productions and for artists such as Kate Bush whose phenomenally successful Hounds of Love album had Youth on bass. He was also a founder member and bassist of the band Killing Joke. After leaving Killing Joke (and a short experiment with the band Brilliant, managed by Bill Drummond and featuring June Montana, Jimmy Cauty and other key innovators of electronic and indie dance music), Youth began working with Alex Paterson and Cauty as The Orb, a collaboration that was responsible for the introduction of chill-out ambient house music.

Cauty and Drummond eventually moved on to form The KLF, leaving Youth and Paterson to experiment extensively in the post punk British dance music and Acid House scene. This led to the release of two classic albums as The Orb – U.F.Orb and Adventures Beyond The Ultraworld, which incorporated Little Fluffy Clouds, a track that defined ambient house and chill-out and brought these genres firmly into the mainstream.

Youth’s skills as a producer were now being noticed by a much wider audience, not least because of his remix work with band like Siouxsie and The Banshees, Malcolm Maclaren, A Guy Called Gerald, Fine Young Cannibals, Marc Almond and U2. In 1993, he collaborated with Sir Paul McCartney who had developed an interest in remix culture. This resulted in Strawberries Oceans Ships Forest, an ambient album – and the first of three critically acclaimed albums – released under the name of The Fireman.

Over the years, Youth has notched up a staggeringly large and varied list of production and remix credits for artists such as Yazz, James, Primal Scream, Gun’s N’ Roses, Blue Pearl, Art of Noise, P.M. Dawn, Shack, De La Soul, Erasure, Beth Orton, Bananarama, Maria McKee, Suns of Arqa, The Shamen, Kool and the Gang, Texas, Pete Murphy, Tom Jones and Dido. He remains tireless in his quest for inspiration, excellence and innovation in recording great music and also finds time to paint, illustrate and publish poetry. All original artwork on the sleeve was hand drawn by Youth.

John Sinclair

John Sinclair the White Panther firebrand who stoked the MC5’s insurrectionary manifesto has roots that stretch back to jazz and the beats, as a writer, avant-garde champion and poet. John has travelled the world, collaborating with like-minded souls; a living embodiment of the original free spirit that fought to emancipate a generation, one of the few still flying the freak flag.

Since the early 90s, Sinclair has released albums of his poetry, but Beatnik Youth Ambient is possibly some of John Sinclair’s best work to date.

This poorly served generation needs it: that militant energy which released the bats in the 60s is crucially booted into the 21st Century in a riotous celebration of personal freedom, cultural trailblazers and marijuana.

The following Iron Man Records Patrons have made this Vinyl release possible:

Suzy Tweddle, Deborah Ritchie, Scott Roe, Margaret Calleja, Thomas Rathgeber, Dan, Lee Parsfield, Chris Scales, Muir Mathewson, Michael Howe, Jonathan Harris, Dave Barnard, Bill Fadden, Mike Burgess, Jachim Palm, Lyle Bignon, Thomas Burke, Ben Cartlidge, Matt Grimes, Toby Conyers, Chris, Andy Cavendish, Steve Wyatt, Andrew Dubber, Frank Knoblich, Vaughan Roberts, Ian Robertson, Marcus H, Seth Faergolzia, Ricky Lee, Kathryn McCormack, Ade Cartwright, Sunwoo Jung….

Become a Patron too https://www.patreon.com/ironmanrecords

Police Bastard – Confined: Death, doom, despair and TERRIFYING NOISE… discussed.

February 23, 2017

Here’s part of an interview With 2 members of Police Bastard conducted by Robin Valk who spends his time writing about Music, Musicians, Music Business and Radio in the UK’s West Midlands.

Robin: As a bumbling young rock DJ, I covered the decline of progressive and hard rock throughout the 70s. Pub-rock rose and fell, global forces like Springsteen and Fleetwood Mac emerged, and Birmingham moved from Monsters of Metal to cross-cultural mixes, (UB40, Apache Indian, the Beat, Ruby Turner). Oh, and let’s not forget the New Romantics. On second thought, let’s.

By the end of the decade, Punk Rock emerged, to be rapidly commoditised as product and fashion trend (Generation X anyone?), and used as a career-launching platform (Police, Squeeze, Boomtown Rats). Then the mainstream lost interest, so it went underground, morphing from a bunch of snotty teenagers flipping the bird at the man, into something else altogether.

Police Bastard were punks once. Now they’re punk/metal/thrash, a set of 40 somethings with a remarkably long history, and a new album, Confined.  The dumb rebellious simplicity of the late 70s has been replaced by something more complex, more considered, even dutiful. The music? Savage as ever, of course – but now, these guys can play. John Doom and Mark Badger talk it up after the jump.

John Doom: The band started as a fun project in about 1993. Not many albums, but we’ve done lots of touring. A real mix.

Robin: Twenty years – are you still as angry?

John: When I was about 16 I formed Doom. They’re still going now. It was Crust/Punk. We were raised on Punk – and political punk as well. Anarchist Punk Rock.

Robin: OK, let’s clarify some definitions. Proper Punk has always been about being snotty and challenging the establishment. I came in for all that when the Sex Pistols went round radio stations on promo tours. But Political Punk goes a lot further – as irreverent and challenging as all Punk, but with a more layered set of things to say?

John: We were influenced by Crass and Conflict and all these bands that were political. Yeah, we were angry then… but we lived with our parents! We were at odds with a lot of things. We lived in suburbia; a lot of people there were quite racist, traditional in their values. We were singing from a slightly different hymn sheet.  So, yeah, when we formed Police Bastard in 1993, I’d left Doom, and become a bit jaded. I made a commitment to write about things that were pertinent to me and the band – fresh ideas, positive things, not spiteful and vicious things. But filtering down to where we are now, I’d still say there’s plenty to be angry about.

Robin: No argument from me on that score. The early punk bands reacted against turgid progressive rock. There’s that famous Who song, Who Are You, which tells the story of Pete Townsend having a drunken row with Johnny Rotten in a Soho pub… but all that was years before you even started Doom. So does that mean that you are bringing – gulp – an adult perspective to your punk?

John: I’ve been through many different ways of thinking about things. In some ways, time strengthens your position, because you can come at things from an adult perspective. You’re not quite so quick to judge, to let things spill out your mouth. Here’s an example. When we were growing up listening to Crass and the like, people were really, vitriolically anti-religious. If you fast forward to now, there’s all these questions about what faith is, and about respecting other people’s faith; Islam for example.  All these ideas of being blasphemous and rude and in your face – you come round to thinking maybe faith isn’t the problem, maybe it’s the organisation and the power behind it. That’s something we address on the new album.

Robin: But that early 70s/80s anti-establishment punk blasphemy was pretty much all against Christianity. Nothing else was on the radar.

John: Exactly. It’s a more complex and globalised world. You’ve got to take on ideas about the whole world, not just your own neighbourhood.  The world’s got smaller. It’s easy to see a lot more problems – Syria, Russia – different issues.

Robin: How does that play out with your audiences – from the early days to now?

John: Weird. It might be my cynical nature. Underground Punk exists as an entity, outside the mainstream. It’s always been a constant. But around acid house and rave culture, some people forgot about issues, forgot about being angry…

Robin: They were blissed out…

John: Yeah!  More hedonistic, having a good time. But those issues were still there. Things come around though. A lot of original bands came back for one last time in their fifties… Things come in cycles. Over the last five years, you’ve seen a shift back, politically and in society, to what brought people out in the seventies. People are feeling disillusioned. Feel there’s no hope, that there might not be those jobs for them. So you can see Punk growing again.

Robin: Are you saying nostalgia for Punk? That makes it a commodity!

Mark Badger: It’s like a dogma. Some people still think that if you want to be in punk band, you gotta think a certain way, look a certain way, sound a certain way, do certain things.  The idea of Police Bastard, when I joined was more attractive than the band itself. Something that had a brutal musical delivery of political ideas, with a very diverse set of individuals.  To me, that flies in the face of the dogma of what it is to be punk or metal.  And we’re still doing that.

John: Some of our goals have come true. The major labels don’t control things anymore. So the DIY ethic, at the heart of punk, hasn’t been affected by the decline of the industry. And the web has helped.
On the craft and musicianship front, the band now has some phenomenally good technical skills.  A thunderous attack, played with blistering skill and stamina. You just wouldn’t have had those skills twenty years ago – they come with time. Does stagecraft sort of get in the way?

John: I think there have been times when we’ve been in danger of disappearing up our own asses. A few pints where we became a little bit too metally, a little bit too technical. That’s because we’re absorbing ideas from all over.

Robin: But there’s nothing wrong with being a fabulous player…

John: Not at all. But you can move away from some of the areas you should be in. As Mark was saying, one of the beauties of Police Bastard is that if we want to do a dub song, a metal song, a two-minute punk song, we’ll do it. It doesn’t get in the way.

Robin: What’s the gender split with your audience?

John: Fairly good. I never like to see it get too male. There was a point with hardcore where it became too violent and too macho. Everything became blokes with their shirts off, fighting rather than enjoying the gig. My experience has been good. We’ve had loads of girls dancing, and not feeling harassed or beaten or groped. I’ve been fairly happy with it.

Mark: We manage to sell good quantities of girls and boy’s t-shirts.

Robin: So how about the album….?

John: I’m proud of this album, We’d finished the band in about 98… the rest of the band was unable to put the time in. We had jobs, I went back to university… Then the band sort of reformed, and at first I felt a little bit off about it. But what they were doing was great – exactly what Police Bastard were all about. Eventually Mark asked me to come in with the band, and it’s gone from there. Our singer lives in Spain, we’re all doing different things, and we’ve still managed to come together and create new songs. All different, dark, aggressive, touching on new material.

Mark: John and Pid (Stu-pid) have probably come up with the best lyrics on Confined they have written so far. The new album was difficult in lots of ways, especially getting everyone together. But we’ve got to hand it to Simon Reeves. He sat there with about 27 channels of guitar. John put down several tracks of noise and feedback and other horror. Simon sat there clamly with his head in his hands muttering what am I going to do with this? John simply said ‘You’re the Producer, you sort it out!’ And of course, he did. We are all really pleased with the finished record.

Robin Valk

Police Bastard – Confined

Police Bastard – Confined (VINYL) is available from Iron Man Records now

February 12, 2017

Police Bastard – Confined (VINYL) has arrived after many months of waiting.

A big Thank You to all of you who have pre-ordered the VINYL or have contributed as Iron Man Records Patrons. I would like to acknowledge the ongoing insanity of the following and their kind financial support for this madness:

Suzy Tweddle, Deborah Ritchie, Scott Roe, Margaret Calleja, Thomas Rathgeber, Dan, Lee Parsfield, Chris Scales, Muir Mathewson, Michael Howe, Jonathan Harris, Dave Barnard, Bill Fadden, Mike Burgess, Joachim Palm, Lyle Bignon, Thomas Burke, Ben Cartlidge, Matt Grimes, Toby Conyers, Chris, Andy Cavendish, Steve Wyatt, Andrew Dubber, Frank Knoblich, Vaughan Roberts, Ian Robertson, Marcus H, Seth Faergolzia, Ricky Lee, Kathryn McCormack, Ade Cartwright, Sunwoo Jung….

Almost all orders have been posted out in the last few days, and Patrons will get their copies this week.

It’s been a bit mad at this end, I have never had to post out so many records in such a short time before. It’s been a task in itself just trying to get the orders to the post office.

If you would like to buy Police Bastard – Confined on VINYL try the Iron Man Shop here

If you would like to become an Iron Man Records Patron go here

This record is possibly the best record the band have released to date and there are only 500 copies on Vinyl so get one while you can.

The work continues on new recordings and new material. The band will be back playing live later this year, hope to see you then

Cheers Mark

Police Bastard – “Confined” VINYL limited to 500 copies. Released Jan 23rd 2017

December 4, 2016

“Thought-provoking monologues and confrontational lyrics bring you on a cold, doom-laden journey of perpetual war, psychological mind control and disillusionment.”

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Cover Art by Mark “Skinny” Orton

Pre-order your copy on VINYL now. Only 500 copies to be pressed on Double Gatefold VINYL. Released January 23rd 2017

All pre-orders will be £10 plus postage and sent out ahead of the release date.

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A big thank you to all Iron Man Records Patrons who helped make this possible.

Suzy Tweddle, Deborah Ritchie, Scott Roe, Margaret Calleja, Thomas Rathgeber, Dan, Lee Parsfield, Chris Scales, Muir Mathewson, Michael Howe, Jonathan Harris, Dave Barnard, Bill Fadden, Mike Burgess, Jachim Palm, Lyle Bignon, Thomas Burke, Ben Cartlidge, Matt Grimes, Toby Conyers, Chris, Andy Cavendish, Steve Wyatt, Andrew Dubber, Frank Knoblich, Vaughan Roberts, Ian Robertson, Marcus H….

M:CAD DrawingsKey ProductionGKA94675 CD 4pp GF Softpack 2 x P

“CVLT Nation’s Top 6 Crust Albums 2013: Police Bastard are pretty infamous at this stage, so no need for any introductions with band member links to Doom, Sore Throat, Filthkick, Sensa Yuma etc. Their new album ‘Confined’ sticks to their cynical view of the world mixed with innovative guitar textures and driving industrial intensity. Thought-provoking monologues and confrontational lyrics bring you on a cold, doom-laden journey of perpetual war, psychological mind control, disillusionment and omnipresent bullshit. For a band that has been knocking about on and off for twenty years, they could be forgiven for reverting to the formulaic. However, they rethink and deliver a furious maelstrom of complex dark hardcore, best served cold.” – CVLT Nation (Dec 19, 2013)

“The album starts with “The Curse Of The Cross”, an anti-theistic slice of brutality, which leaves the listener in no doubt that Police Bastard mean business. You even get a quote from Richard Dawkins about teaching the bible as fiction. Musically they give us huge chugging riffs on “Brought To Our Knees”, which tackles the blandness of multi-national companies infecting the high street, set against the backdrop of the widening gap between rich and poor. For those that like their anthems loud and stompy, “Sick Sick System” will no doubt win a seal of approval with its knock about Punk mayhem and catchy refrain, ‘sick sick system, same old bullshit’. Elsewhere on the album, we get subjects as diverse as being captivated by virtual reality (Word Confined) and environmental disaster from the hand of mankind (Cries From The Earth). Album closer “Fortress” sees organised religion attacked once more, and poses the question, how long before it crumbles…..” – Zak, Ryans Gig Guide (Dec 01, 2013)

“….From Mark Orton‘s cover art through the final song, “Fortress,” Police Bastard have presented an album that uses hardcore’s battering ram approach to push through a series of songs that depict how humanity has destroyed the Earth. Lines such as “We’re sealing our fate” hammer home the idea that mankind has taken the world to the edge of existence, and we’ll all soon perish, should we not change our ways. Thankfully, Confined manages to never lapse into Earth Crisis-like preaching, choosing instead to quote the likes of John Gray‘s Straw Dogs: “Long after the traces of the human animal have disappeared, many of the species it is bent on destroying will still be around, along with others that have yet to spring up. The Earth will forget mankind. The play of life will go on.” While the music is basic hardcore which occasionally aims for bigger sonic targets, the lyrics and presentation are what make Police Bastard worth checking out……” – Rock Star Journalist, Rock Star Journalist (Nov 22, 2013)

Ten songs recorded in early 2013 and released through Iron Man Records, Birmingham.

Tracklisting:

Side A
The Curse Of The Cross
Brought To Our Knees
Sick Sick System
Humanimal
Cries From The Earth

Side B
Binary Thinker
Words Confined
Bite The Hand
We Are The Dead
Fortress.

All Lyrics: Pid and John

All Music: Police Bastard

Layout: John Doom

The album was Recorded, Mixed, Produced and Mastered by Simon Reeves at Framework Recording Studios.

Label: Iron Man Records
Catalog: IMB6036
Format: VINYL Double Gatefold Limited to 500 copies
Country: England
Released: 2017
Genre: Rock
Style: Punk

Burn Money – Become A Patron of Iron Man Records

March 3, 2016

Burn-Money-A6-Postcard-No-Crop-Marks

Iron Man Records wants to make all new record releases available on Vinyl.

23 Patrons currently support the record label. You are invited to become a Patron to ensure the insanity continues.

The journey from 1996, when Iron Man Records began, has been back-breaking. The record label has generated a mountain of debt and a serious Class “A” drug habit would have probably worked out a lot cheaper. Everything I earn, working as a Tour Manager, goes into keeping Iron Man Records moving and your support would be much appreciated at a critical time.

Iron Man Records continues to release records by some of the most interesting and talented artists, writers, and musicians. There has to be something that opposes the “reality” that we are surrounded by every day.

I don’t expect everyone to like what the record label releases, but at least you have a choice.

Musicians have to go to band practice, pay for their rehearsals, record their music, and work out a way to release their music. Many musicians have to plan and finance the costs of touring to promote their music by themselves. Musicians also need to eat and have a roof over their head, and I do too. It’s a tough time for musicians and artists, and you have to be mad to carry on sometimes.

I want to return to making every release on Iron Man Records available on Vinyl, as well as via streaming, downloads and on CD. It’s madness in the current economic climate, but a little bit of madness is just what is required. Are you still with me on this?

BVPy5zWIEAAgl1f

I’m not asking anyone to pay for everything, nor am I asking anyone to pay me to run Iron Man Records, I can look after all that myself. What I want to do is invite people to contribute to reducing the costs of producing albums on Vinyl in exchange for a number of rewards to make it all worth while.

Patrons will get a copy of everything the label produces, as it becomes available. Patrons will also get access to digital files of everything, so you can listen on portable electronic devices, and you will get all sorts of other benefits. For example: free stuff from the Iron Man shop, stickers, email updates, free tickets, and whatever else I can think up as I go along. There is method to the madness, all you have to do is join in.

If you want to support struggling musicians who are up against it on a daily basis, then please consider offering your support to the cause.

I have put a page together on Patreon https://www.patreon.com/ironmanrecords which appears to be an interesting way to raise money. This will help produce Vinyl in small quantities and to the highest standards. Patreon lets you make recurring monthly donations and helps to reduce the upfront costs of producing music on vinyl. Anything from £1 a month or more is actually really helpful.

Iron Man Records is not in the pop business. The Label’s debts are what it’s worth. The label is trying hard, during a tough time in the history of recorded music, to help musicians and artists develop a sustainable future. To me, the simple way to do that, is to give the bands and artists a record to sell at gigs, that people would love to buy.

Iron Man Records wants to create Vinyl, something special, something that presents music in a format that people want to keep and enjoy. Life isn’t just about computers, mobile phones and social networking. There has to be an alternative. So if you want to join in and Burn Money, become a Patron and let’s make something happen. You have to make the world you want to live in.

Have a look here and any comments, good or bad are invited.

Immanentize

 

Your Insanity Will Do – Become A Patron Of Iron Man Records

February 8, 2016

I bought a copy of “The Manual” by Jimmy Cauty and Bill Drummond in 1996. I’d been looking for a copy for years. Some of it made sense, some of it didn’t. I liked the writing style and the advice given. I sent my receipt as proof of purchase to the PO BOX printed in the book and requested The Guarantee.

This is the reply that Bill Drummond sent back on headed paper. By reply Bill Drummond became the first Unaware Patron of Iron Man Records. Blame him for everything. A lot has happened since 1996. Your Insanity will do.

Iron Man Records - Your Guarantee

Your Insanity could help Iron Man Records to release more music on Vinyl via Patreon. There are 21 Patrons currently supporting the record label, you are invited to become a Patron too.

Iron Man Records has been running since 1996. The label has released over 30 records and continues to work hard on a daily basis. Iron Man Records wants to make all new record releases available on Vinyl. The label will continue to make everything available through digital channels. You are invited to get involved.

Why help Iron Man Records? Here’s a quote from Detroit Poet John Sinclair, who released an album called “Mohawk” through the label in recent times. This sums up the sort of thing going through my head when I started out trying to bring people together to do something under the label name of Iron Man Records at the start of it all in 1996.

“One of the most important things to young, formative artists is having a group of one’s peers that one can be a part of, can talk to, work with, work out ideas, etc and can give crucial support.

Modern society has succeeded to a frightening degree in alienating artists from one another (and of course from people in general; or at least vice versa) and atomizing what could be a vital, active community into a group of lone, defensive, hung-up people who are afraid to talk to and/or work with anyone but themselves and (maybe) three or four friends.

A community of artists means that a group of highly conscious people can help each other in very real ways. Artists working alone are cutting themselves off from sources of inspiration and influence that can help them immeasurably in their work.

The lone artists have no one to listen to their work, no one to offer criticism and ideas that would bring their work into sharper focus with itself. Hard to get as excited, as completely involved in one’s work by oneself; when you can talk about it with/to others who are trying to do the same thing as yourself and communicate it to others, you can achieve and maintain the state of consciousness Henry James called “perception at the pitch of passion.” And who better to communicate to than those few people who are operating at the same level of awareness and involvement as oneself?

We are now in a period of expanded consciousness in all the arts. NOW is the time to find out what’s wrong with your work, NOW, at least get an inkling of what other real people will think of it and how it communicates.

So: what we want is a place for artists—musicians, painters, poets, writers, film-makers—who are committed to their art and to the concept of community involvement to meet and work with one another in an open, warm, loving, supportive environment—a place for people to come together as equals in a community venture whose success depends solely upon those involved with it.”

In reality, the journey from 1996 has been back-breaking, and the record label has generated a mountain of debt. Everything I earn working as a Tour Manager goes into keeping Iron Man Records moving forward, and in doing so, I try to provide a platform and focal point for everyone involved with the label.

To-The-Gig

I manage to ensure that new records come out every year and during difficult times perhaps every two years. Without fail, Iron Man Records continues to release records by some of the most interesting and talented artists, writers, and musicians. The label seeks to share what resources it has, and provides an alternative to the onslaught of pop culture and everything that goes with it. There has to be something that opposes the nonsense that we are surrounded by every day, there has to be a meeting place and platform for those that demand an alternative. There has to be a mechanism to share contacts, resources and ideas.

I don’t expect everyone to like what the record label releases, but at least the label gives you a choice. You don’t have to buy everything from “the man” and you don’t have to work for “the man” either. As the saying goes: “We may never defeat these swine, but we don’t have to join them.” There’s always another way, and for Iron Man Records and the musicians, artists and writers it works to support “the show must go on, by any means necessary…..or until we are all eliminated”

Sound-System

I can handle the logistics of running Iron Man Records by myself but I could use some help in releasing more Vinyl. At a time when “ownership” of music is becoming less important, and digital services are making “access” a much easier way of listening to more music than ever before, we have been left with a problem to solve.

How can the record label continue to release physical records by artists for people to “buy,” at a time when anyone, with any money left, can “access” more music for free, or at a fraction of the price, using streaming digital services?

We all know how to google an album, or a song, and find it for free. We’ve all done it. We all know how to access music on social networks for free, and through Streaming services like Spotify. Some of us buy our music from download sites. I think its fair to say some of us listen to more music than ever before, and choose to only spend our money on music from our favourite groups.

Iron Man Records has invested a lot of time and effort into making every release available through as many digital services as possible ensuring all the artists get a chance to be heard.

You can find all releases from Iron Man Records on iTunes, Apple Music, YouTube Music Key, Spotify, Amazon Music, Google Play, Deezer, Groove, Rhapsody, eMusic, Simfy Africa, iHeartRadio, MixRadio, MediaNet, VerveLife, Tidal, Gracenote, Shazam, 7Digital, Juke, JB Hi-Fi, Slacker, Guvera, KKBox, Akazoo, Anghami, Spinlet, Neurotic Media, Yandex, Target Music, ClaroMusica, Zvooq, Saavn, 8tracks, NMusic, Q.Sic and others.

From the stats, it is clear that plenty of people want to listen to the music Iron Man Records produces, but they don’t always want to pay for it. Many people want music as cheap as possible, and ideally for free. They would rather have access to music, than ownership of music. Fair enough, I can accept that, enjoy the music the way you want it. But how can the artists be supported to produce more work if people want “access” rather than “ownership?”

It makes me laugh when you hear people talking about how they won’t buy music from Amazon because Amazon doesn’t pay its workers a fair wage, and then get drawn into a discussion about what sites to use to find music for free without having to use Amazon.

People forget that starving musicians have to go to band practice, pay for their rehearsals, record their music, and work out a way to release their music. Many musicians have to plan and finance the costs of touring to promote their music by themselves. Musicians also need to eat and have a roof over their head, and I do too. Some of the more popular releases on Iron Man Records might achieve 23,000 streams over a five year period but only sell about 60 downloads. In the same period they may only sell about 150 physical copies on cd and even less on vinyl. I read recently that 1,500 streams can equal one album sale. If that statistic is correct, in order to sell 1,000 albums, you need to generate 1,500,000 streams. That sounds ridiculous to me. It’s a strange time for music if you are operating independently. There’s not much money coming in from sales here at Iron Man Records yet more people are listening to the music Iron Man Produces than at any time previously.

These days, it’s interesting to note that many musicians would probably earn more per hour, packing boxes and packages for Amazon, even on the poor wages that Amazon pays, than at most gigs they end up playing. But lets move on, you get the point. It’s a tough time for musicians and artists, and you have to be mad to carry on against such odds that are always stacked against you.

Where does Iron Man Records find itself in the digital world?

Streaming is taking off and I have always loved vinyl as a format. I want to return to making every release on Iron Man Records available on Vinyl, as well as via streaming, downloads and on CD. It’s madness in the current economic climate, but a little bit of madness is just what is required.

It is clear to me that if you can produce anything of value in terms of your music, a digital version is necessary so people can access and even download your music on their mobile devices. But if you are serious about your music, you must release it on Vinyl so the really passionate fans of your music, can get a copy to add to their collection and enjoy when they are at home.

Iron Man Records is capable of releasing records and making them available worldwide across pretty much every digital platform. Producing CDs of each release is also affordable within the context of selling physical copies, sending out to press and radio and keeping things ticking over. Vinyl however, is a little bit tricky.

Producing a record on Vinyl is about three times more expensive than producing a cd, which means you have to sell three times more records to recover the upfront costs. So something has to give.

This year has been tough for Iron Man records, income from selling physical sales has continued to decline. In fact physical sales of everything both CD, Vinyl and DVD has steadily declined year on year since 2004 when I started keeping a record. Habits are changing all the time and the market is choosing to access music rather than own music. Times are changing and either Iron Man Records changes too, or it’s game over.

Where am I going with this? I want you to sign up or subscribe to insanity.

Immanentize

I want to start releasing records on Vinyl again and I need help reducing the front end costs. I’m not asking anyone to pay for everything, nor am I asking anyone to pay me to run Iron Man Records, I can look after all that myself. What I want to do is invite people to contribute to reducing the costs of producing albums on Vinyl. In exchange for help and support, you will get a copy of everything the label produces, as it becomes available. Supporters will get access to digital files of everything, so you can listen on portable electronic devices, and you will get all sorts of other benefits. For example: free stuff from the Iron Man shop, stickers, email updates, free tickets, and whatever else I can think up as I go along. There is method to the madness and all you have to do is join in.

I would like to think that if you like what Iron Man Records does, if you would like to encourage the label to produce all releases on Vinyl, and if you would like to support struggling musicians who are up against it on a daily basis, then please consider offering your support to the cause.

I have put together a page on Patreon https://www.patreon.com/ironmanrecords which I think is an interesting way to raise money. This will help produce Vinyl in small quantities and to the highest standards with regards to artwork and packaging. Patreon lets you make recurring monthly donations and thereby helps to reduce the upfront costs of producing music on vinyl.

Anyone who donates will get a copy of the vinyl produced and a number of other benefits. Anything from £1 a month or more is actually really helpful, and knowing a small regular sum is coming in each month allows me to plan more effectively.

Everything the label produces is accessible for free online anyway so you can have anything, anytime if you look for it. Offering a small monthly donation means that regardless of what goes on, Iron Man Records can keep releasing music on vinyl and keep helping the bands and artists to survive, and to make more music.

Let me be clear: Iron Man Records is not in the pop business. In fact it’s just not in business. The debts are what it’s worth. The label is trying hard, during a particularly tough time in the history of recorded music, to help musicians and artists develop a sustainable future. And to me, the simple way to do that, is give the bands and artists a Record to sell, at their gigs, that people would love to buy.

Iron Man Records wants to create Vinyl, something really special, something that presents music in a format that people want to keep and enjoy. That’s it really. Life isn’t just about computers, mobile phones and social networking. There has to be an alternative.

Have a look here and any comments, good or bad are invited.

Mark – Iron Man Records

Believe-Nothing

Become A Patron of Iron Man Records

October 23, 2015

Iron Man Records - Vinyl 12" and 10" LPs

Support Iron Man Records creating Record Releases on Vinyl.

As a Patron we invite you to be the first to hear new releases and you will be sent special updates and news. You will have unlimited access to the Iron Man Records Sound Cloud account and you will be able to choose any T-shirt, CD, or vinyl of your choice from the Iron Man Shop.

WAV files of all new releases will be sent out using a file transfer service.

Stickers, artwork and any other limited items of interest will be offered to you first as they become available. You will also get free tickets to special events.

You may also be first to get an invite to be driven round the M25 for 25 hours on the weekend of Gimpo’s M25 25 hour spin. Fuel and Vehicle included but sanity is up to you.

As a patron, you will join a highly valued group, committed to supporting the future release schedule of Iron Man Records, and will enjoy a copy of everything produced on Vinyl with your support.

Your donation as a Patron will directly support our creative programme of releasing music on Vinyl and will allow us to work with and champion artists, music, ideas and creativity.

To Become a Patron of Iron Man Records go here

Thank You

Mark – Iron Man Records, 23rd October 2015

5-Seconds

Iron Man Records would like to release more music on Vinyl. You are invited to get Involved.

October 16, 2015

Iron Man Records - Vinyl 12" and 10" LPs

I want to invite you to support Iron Man Records releasing more music on Vinyl via Patreon.

A small donation of something like $1 a month could help Iron Man Records release some of the recent CD and Digital releases on Vinyl.

Here is a list of recent releases that could be made available on Vinyl with your help:

Police Bastard - Dead To The World final 1600x1600

IMB6020 POLICE BASTARD – Dead To The World – Digital Release (23rd November 2015)

M:CAD DrawingsKey ProductionGKA94675 CD 4pp GF Softpack 2 x P

IMB6021 POLICE BASTARD – Confined CD / Digital 2013

John Sinclair - Mohawk CD front

IMB6022 JOHN SINCLAIR – Mohawk CD / Digital 2014

Death To Fanatics FRONT 1600x1600px

IMB6023 DEATH TO FANATICS – Iron Man Records 1999-2014 compilation CD 2014

TC Lethbridge - Moon Equipped 1600x1600

IMB6027 T.C. Lethbridge – Moon Equipped – Digital Release (23rd November 2014)

TC Lethbridge - 2000 TC 1600x1600

IMB6028 T.C. Lethbridge – 2000 TC – Digital Release (23rd November 2014)

TC Lethbridge - Mina 1600x1600

IMB6029 T.C. Lethbridge – Mina – Digital Release (23rd November 2014)

Iron Man Records invites you to contribute to reducing the costs of producing albums on Vinyl. In exchange for your help, you will get a copy of everything the label produces, as it becomes available. Supporters will get digital files of everything, so they can also listen on portable electronic devices. You will also get all sorts of other benefits like free stuff from the iron man shop, stickers, email updates, free tickets, and whatever else I can think up as I go along.

If you like what Iron Man Records does, if you would like to encourage the label to produce new releases on Vinyl, and if you would like to support struggling musicians who are up against it on a daily basis, then please consider offering your support to the cause.

I have put a page up on Patreon here https://www.patreon.com/ironmanrecords

I think it is an interesting way to raise additional sums of money. This will help produce Vinyl in small quantities and to the highest standards. Patreon lets you make recurring monthly donations and helps to reduce the upfront costs of producing Vinyl.

Anyone who donates will get a copy of the Vinyl produced and a number of other benefits. Anything from $1 a month or more is actually really helpful. Knowing a small regular sum is coming in each month allows me to plan more effectively.

Everything the label produces is accessible for free online anyway so you can have anything, anytime if you look for it. Offering a small monthly donation means that regardless of what goes on, Iron Man Records can keep releasing music on vinyl and keep helping the bands and artists to survive.

Iron Man Records is trying hard, during a particularly tough time in the history of recorded music, to help musicians and artists develop a sustainable future. And to me, the simple way to do that, is give the bands and artists a good record to sell.

Iron Man Records wants to create Vinyl, something really special, something that presents music in a format that people want to keep and enjoy. That’s it really, life isn’t just about computers and social networking. There has to be an alternative. You have to make the world you want to live in.

A small donation could help Iron Man Records to release more music on Vinyl

October 5, 2015

I want to invite you to support Iron Man Records releasing more music on Vinyl via Patreon.

Police Bastard

I have been running Iron Man Records since 1996. I have never earnt anything, of any significance, from the work I have done so far, and neither have the bands. In fact the debts are what the label’s worth. It has been a true labour of love, and I like to think the music has made a lot of people happy. The label has released over 30 records by some fantastic bands and artists and continues to work hard on a daily basis. Iron Man Records wants to make all new releases from the label available on Vinyl and you are invited to help.

Iron Man Records - Vinyl 7" singles

The journey has been back-breaking, and the label has generated a mountain of debt too. Everything I earn as a Tour Manager goes into keeping Iron Man Records moving forward. I manage to ensure that records come out every year and during difficult times perhaps every two years. But without fail, Iron Man Records continues to release records by some of the most interesting and talented artists, writers, and musicians. The label seeks to provide an alternative to the onslaught of pop culture and everything that goes with it. There has to be something that opposes the nonsense that we are surrounded by every day, in every format.

I don’t expect everyone to like what the record label releases, but at least the label gives you a choice. You don’t have to buy everything from “the man” and you don’t have to work for “the man” either. There’s always another way, and for Iron Man Records and the musicians, artists and writers it supports “the show must go on, by any means necessary, or until we are all eliminated”

I can handle running Iron Man Records by myself but I could use some help with releasing Vinyl. At a time when “ownership” of music is becoming less important, and digital services are making “access” a much easier way of listening to more music than ever before, I have been left with a problem to solve.

Iron Man Records - Vinyl 12" and 10" LPs

How can I continue to release physical records for people to “buy,” at a time when anyone, with any money left, can “access” more music for free, or at a fraction of the price, using streaming digital services?  

We all know how to google an album or a song and find it for free. We’ve all done it. We all know how to access music on social networks for free, and through Streaming services like Spotify. Some of us buy our music from download sites. I think its fair to say some of us listen to more music than ever before, and choose to only spend our money on music from our favourite groups.  

Iron Man Records has invested a lot of time and effort into making every release available through as many digital services as possible. From the stats, it is clear that plenty of people want to listen to the music Iron Man Records produces, but they don’t want to pay for it, they want it as cheap as possible and ideally for free. Fair enough, I can accept that.

It always makes me laugh when you hear people talking about how they wont buy music from Amazon because Amazon doesn’t pay its workers a fair wage and then get drawn into a discussion about what sites to use to find music for free without having to use Amazon.  

People forget that starving musicians have to go to band practice, pay for their rehearsals, record their music, and work out a way to release their music. Many musicians also have to plan and finance the costs of touring to promote their music all by themselves. Musicians also need to eat and have a roof over their head, and I do too.   These days, it’s interesting to note that many musicians would probably earn more per hour packing boxes and packages for Amazon, even on the poor wages that Amazon pays, than at most gigs they end up playing. But lets move on, you get the point.

Iron Man Records - Vinyl 12" and 10" LPs

Where does Iron Man Records find itself in the current digital world?

Streaming is taking off and dominating everything, people want “access” to more music and are very choosey about what music they actually want to “buy.” The CD in my view will be around for a while yet but, if you can already access the music as a digital file online either as a download, or a stream, why buy a CD as well? I have always loved vinyl as a format and I have reached the stage now where I want to start making every release on Iron Man Records available on Vinyl, as well as via streaming, downloads and on CD. To be fair, in the UK, not many people will buy the vinyl I produce, the real market for Vinyl is in places like Germany, or Czech Republic and other places in Europe who can’t get enough of it. Vinyl provides a good incentive for any band with Vinyl for sale to go and tour. And that’s what most of the bands on the label do when given the chance.

Some years ago I was talking with a friend in Czech Republic, while on tour with Police Bastard. He was talking about the state of music and he summed it up like this. “I google new bands and their music, and listen for free. If I find a band I like, I will find out where they are playing and go and see them live. If I like the concert I will buy their album on Vinyl even though I already have it as a digital file on my computer at home. The digital files are for listening to on my phone or sending to friends, the Vinyl is for my collection and I listen to it on my record player when I’m at home.

This friend was also the same person who booked Police Bastard to play, organised the promotion of the concert, cooked the food for the band and gave us a place to have a wash and sleep after the show. People like this are what makes being in a band worthwhile, they actually care enough about the music to do something to help.

It is clear to me that if you can produce anything of value in terms of your music, a digital version is necessary so people can access and even download your music. But if you are serious about your music, you must release it on Vinyl so the really passionate fans of your music, like our friends in Czech Republic, can get a copy to add to their collection and enjoy when they are at home.

Iron Man Records is capable of releasing records and making them available worldwide across pretty much every digital platform. Producing CDs of each release is also affordable within the context of selling physical copies, sending out to press and radio and keeping things ticking over.

Iron Man Records - Vinyl 12" and 10" LPs 

Vinyl however, is a little bit tricky. Producing a record on Vinyl is about three times more expensive than producing a cd, which means you have to sell three times more records to recover the upfront costs. I don’t think any of the bands are expanding their fanbase faster than the costs of producing their music on vinyl and no one wants to start putting prices up. So something has to give. Either the records are released as digital only, or the releases come out on CD first to test the market, or I have to find three times as much money upfront to release a record on Vinyl.  

This year has been a tough year, income from selling physical sales has continued to decline. In fact physical sales of everything both CD, Vinyl and DVD has steadily declined year on year since 2004 when I started keeping a record. Its not my fault or anything to do with the bands, the physical sales are declining because the market has a greater choice of music than ever before and what I am selling is becoming a smaller and smaller part of that market. Habits have changed and the market is increasingly choosing to access music to listen to via platforms like spotify rather than owning music via buying records to take home and play. Times are changing  and either Iron Man Records changes too or it’s game over.  

So where am I going with all this? Let me explain.  

Digital – I make every release through Iron Man Records available in a digital format and that is relatively cost effective and easy to do. From the stats at this end this is something people want, and a format that makes all the music the label has produced to date easy to access across digital platforms worldwide. As a record label that’s at least one job done that the bands don’t need to worry about themselves. I have yet to generate enough money through digital services to pay the bands any meaningful sum, but month by month the situation seems to be getting better. I remain hopeful for the future.  

CD – I have made every release through Iron Man Records available on CD right up to recent years and the boxes and boxes of unsold stock tell me that there is still a market for CDS but interest in physical CDs is steadily declining. Once I’ve sold the stock I’ve already got I doubt it will be replaced by more cds. 

Vinyl – I started out releasing records on Vinyl when I first started the label, over 18 years ago. To be honest I have still got half the stock of Vinyl I pressed all those years ago but that is probably more to do with the fact I pressed too many records in an enthusiastic, naive and hopeful state of mind.   What I am proposing to do is this. I want to start releasing records on Vinyl again but I need some help and support in reducing the front end costs of producing the Vinyl. I’m not asking anyone to pay for everything, nor am I asking anyone to pay me to run Iron Man Records, I can look after all that myself.

What I want to do is invite people to contribute to reducing the costs of producing albums on Vinyl. In exchange for help and support, they will get a copy of everything the label produces, as it becomes available. Supporters will get digital files of everything, so they can also listen on portable electronic devices, and they will get all sorts of other benefits. For example: free stuff from the iron man shop, stickers, email updates, free tickets, and whatever else I can think up as I go along.  

I would like to think that if you like what Iron Man Records does, if you would like to encourage the label to produce all releases on Vinyl, and if you would like to support struggling musicians who are up against it on a daily basis, then please consider offering your support to the cause.

Iron Man Records - Vinyl 12" and 10" LPs

I have put together a page on Patreon https://www.patreon.com/ironmanrecords which I think is an interesting way to raise additional sums of money. This will help produce Vinyl in small quantities and to the highest standards with regards to artwork and packaging. Patreon lets you make recurring monthly donations and thereby helps to reduce the upfront costs of producing music on vinyl.

Anyone who donates will get a copy of the vinyl produced and a number of other benefits. Anything from £1 a month or more is actually really helpful, and knowing a small regular sum is coming in each month allows me to plan more effectively.

Everything the label produces is accessible for free online anyway so you can have anything, anytime if you look for it. Offering a small monthly donation means that regardless of what goes on, Iron Man Records can keep releasing music on vinyl and keep helping the bands and artists to survive, and to make more music.

Let me be clear: Iron Man Records is not in the pop business. In fact it’s just not in business. The debts are what it’s worth. The label is trying hard, during a particularly tough time in the history of recorded music, to help musicians and artists develop a sustainable future. And to me, the simple way to do that, is give the bands and artists a Record to sell, at their gigs, that people would love to buy. Iron Man Records wants to create Vinyl, something really special, something that presents music in a format that people want to keep and enjoy. That’s it really, life isn’t just about computers and social networking. There has to be an alternative.

Have a look here and any comments, good or bad are invited.

Mark – Iron Man Records 5th October 2015.

Police Bastard Interview – Bald Cactus #31 – 2014

October 18, 2014

Andy at Bald Cactus has put together an interview with Police Bastard in issue #31. Here it is in full, you can email Andy and get a copy of the Fanzine for a £1 here
Police Bastard Interview - Bald Cactus #31 - 2014 (1)

Police Bastard Interview - Bald Cactus #31 - 2014 (2)
Police Bastard Interview - Bald Cactus #31 - 2014 (3)

Police Bastard – Music, T-shirts and other items of interest Buy here

More Police Bastard info here: Police Bastard, Twitter, Facebook

For all Police Bastard bookings: mark@ironmanrecords.co.uk

Police Bastard – “Confined” CD distributed by Cargo

September 20, 2014

“Thought-provoking monologues and confrontational lyrics bring you on a cold, doom-laden journey of perpetual war, psychological mind control and disillusionment.”

Police Bastard - Confined CD Front Cover

Police Bastard – Confined – CD Album (Iron Man Records) Distributed by Cargo – October 6th 2014

Cover Art by Mark “skinny” Orton

Police Bastard - Confined - Terrorizer review by Ian Glasper 2014

“CVLT Nation’s Top 6 Crust Albums 2013: Police Bastard are pretty infamous at this stage, so no need for any introductions with band member links to Doom, Sore Throat, Filthkick, Sensa Yuma etc. Their new album ‘Confined’ sticks to their cynical view of the world mixed with innovative guitar textures and driving industrial intensity. Thought-provoking monologues and confrontational lyrics bring you on a cold, doom-laden journey of perpetual war, psychological mind control, disillusionment and omnipresent bullshit. For a band that has been knocking about on and off for twenty years, they could be forgiven for reverting to the formulaic. However, they rethink and deliver a furious maelstrom of complex dark hardcore, best served cold.” CVLT Nation (Dec 19, 2013)

Police Bastard - Confined Band Photo 2013

Police Bastard band photo by Andy Ward

“The album starts with “The Curse Of The Cross”, an anti-theistic slice of brutality, which leaves the listener in no doubt that Police Bastard mean business. You even get a quote from Richard Dawkins about teaching the bible as fiction. Musically they give us huge chugging riffs on “Brought To Our Knees”, which tackles the blandness of multi-national companies infecting the high street, set against the backdrop of the widening gap between rich and poor. For those that like their anthems loud and stompy, “Sick Sick System” will no doubt win a seal of approval with its knock about Punk mayhem and catchy refrain, ‘sick sick system, same old bullshit’. Elsewhere on the album, we get subjects as diverse as being captivated by virtual reality (Word Confined) and environmental disaster from the hand of mankind (Cries From The Earth). Album closer “Fortress” sees organised religion attacked once more, and poses the question, how long before it crumbles…..” – Zak, Ryans Gig Guide (Dec 01, 2013)

Police Bastard - Confined CD Back Cover

“….From Mark Orton‘s cover art through the final song, “Fortress,” Police Bastard have presented an album that uses hardcore’s battering ram approach to push through a series of songs that depict how humanity has destroyed the Earth. Lines such as “We’re sealing our fate” hammer home the idea that mankind has taken the world to the edge of existence, and we’ll all soon perish, should we not change our ways. Thankfully, Confined manages to never lapse into Earth Crisis-like preaching, choosing instead to quote the likes of John Gray‘s Straw Dogs: “Long after the traces of the human animal have disappeared, many of the species it is bent on destroying will still be around, along with others that have yet to spring up. The Earth will forget mankind. The play of life will go on.” While the music is basic hardcore which occasionally aims for bigger sonic targets, the lyrics and presentation are what make Police Bastard worth checking out……” Rock Star Journalist, Rock Star Journalist (Nov 22, 2013)

Tracklisting:

The Curse Of The Cross, Brought To Our Knees, Sick Sick System, Humanimal, Cries From The Earth, Binary Thinker, Words Confined, Bite The Hand, We Are The Dead, Fortress.

All Lyrics: Pid and John

All Music: Police Bastard

Layout: John Doom

The album was Recorded, Mixed, Produced and Mastered by Simon Reeves at Framework Recording Studios.

Police Bastard - Confined Inside CD wallet

Police Bastard Logo 2013

Presskit for Reviewers / Podcast / Radio people here: http://www.sonicbids.com/PoliceBastard

Police Bastard / War Plague – Attrition Vinyl split album Buy it here (Vinyl version of It’s Good To Hate with an extra track)

Police Bastard – T-shirts and other items of interest Buy here

IMB6020 Police Bastard – Dead to the world CD Album (Discography of everything from Gulf War Syndrome onwards with 7 never released new songs. Should be released next…..)

More Police Bastard info here: Police Bastard, Twitter, Facebook

For all Police Bastard bookings: mark@ironmanrecords.co.uk

Nightingales – "Out Of True" in 2014

January 4, 2014

Born out of Birmingham’s original punk group The Prefects, the Nightingales have stubbornly ploughed their own furrow in the field of alternative rock n roll for three decades. 2006 saw the release of “Out Of True” on Iron Man Records and the return of a reformed Nightingales after some years away. The band have not wasted much time since then and yet another new album is on the way for 2014.

Nightingales - Out of True

Buy Nightingales CDs here: http://ironmanrecords.bigcartel.com

The new album, which remains secret for now, was recorded at Faust studio in September 2013 for release in spring 2014. There will be a vinyl lp and the record label & title will be confirmed soon.

The band hope to announce tour dates for UK/Europe for  April and May and some Festivals to be confirmed for over the summer/autumn 2014.

There may be some United States dates in Sept/Oct time too.

Nightingales are planning a 7″ 45rpm to be released at some point & another album to be recorded later in the year for early 2015 release.

Described in John Robb’s definitive post punk biography ‘Death To Trad Rock’ as “the misfits’ misfits”, the band has constantly garnered praise and respect from other artists and received endless glowing press reports, particularly for their live shows. Led by singer/lyricist Robert Lloyd (‘The most underestimated songwriter of his generation’ according to Ben Thompson in the Independent) the latest incarnation of the Nightingales are back again with a new album recorded at Faust studio in September 2013 for release in spring 2014. There will be a vinyl lp and the record label & title will be confirmed soon.

Birmingham’s original punk group The Prefects had been part of The Clash’s ‘White Riot Tour’, recorded a couple of Peel sessions, released a 45 on Rough Trade and, years after splitting up, had a retrospective CD released by NY label Acute Records to all round glowing reviews – from Rolling Stone to webzines.

The Nightingales was formed by former members of The Prefects following that band’s demise in 1979.

With an ever fluctuating line up, based around lyricist/singer Robert Lloyd, the Nightingales enjoyed cult status in the early ’80’s as darlings of the credible music scene and were championed by John Peel, who said of them – “Their performances will serve to confirm their excellence when we are far enough distanced from the 1980’s to look at the period rationally and other, infinitely better known, bands stand revealed as charlatans”.

The group recorded a bunch of critically acclaimed singles (Almost always ‘Single Of The Week’ in the music press) and three albums, plus many radio sessions for their great supporter Peel – more than any other band bar The Fall. They also regularly toured the UK and Northern Europe, as headliners and supporting acts as diverse as Bo Diddley and Nico.

In the late Eighties the Nightingales stopped working but, following the occasional gig between times, they re-grouped in 2004, with Lloyd being joined by original Prefects guitarist Alan Apperley.

Since restarting the group have been more productive than ever – releasing five 7″ vinyl singles and three studio albums (Plus two live ‘bootleg’ albums), touring England, mainland Europe and USA numerous times, recording many radio sessions along the way. They have been invited to play various festivals in Europe and the States, including Glastonbury and SXSW. Their “Let’s Think About Living” 45 was ‘Single Of The Week’ on BBC 6 Music and they have continued to receive regular rave reviews for their records and live shows.

2006 saw the release of “Out Of True” on Iron Man Records and the return of a reformed Nightingales after some years away. In 2008 the band recorded “Insult to Injury” produced by Hans Joachim Irmler of krautrock legends Faust which was released in 2009 on Irmler’s Klangbad label. “The Lost Plot”, an Irmler produced 10″ EP was released to coincide with the band’s Euro tours in 2011.

“No Love Lost” was also recorded at Faust Studio in Germany but this time self produced and was released in April 2012.

small selection of recent press:

Nothing could have prepared for the astonishing revelation of Robert Lloyd’s Nightingales… The cumulative effect is one of euphoric delight, of old knowledge in the hands of new disciples. “Dig the depth of the furrow of mirth that I can plough,” sings Lloyd on The Overreactor. Tonight The Nightingales hit an epic new low. Catch them when they’re at it again – MOJO, UK

The Nightingales have always been simply a great rock ‘n’ roll band and 32 years on they’re right at the top of their game – THE STOOL PIGEON, UK

The Nightingales – they’re back and they’re marvellous – MARC RILEY/BBC 6 MUSIC, UK

Nightingales are unreal. The level of playing and songwriting after their post-punk hiatus is unparalled by any of their generational comeback cohorts – TERRE T/WFMU, USA

With The Fall getting Lifetime Achievement awards and Gang Of Four canonised it is long past time the wayward genius of Robert Lloyd and his cohorts was recognised – RECORD COLLECTOR, UK

Rock & Roll at its best – SUDDEUTSCHE ZEITUNG, GERMANY

Consistently excellent, the Nightingales are back, as ferociously sardonic as ever. Nice to see them still mad, still funny, still wrecking the furniture after all these years. – DUSTED, USA

Shows just how poor these skinny jeaned little shits currently doing the rounds really are. – TASTY, UK

The Nightingales in Southend on Friday jetted in to my top ten gigs of all time – PHILL JUPITUS/BBC 6 MUSIC, UK

Forget all these NME Band of the Week types, who make out they don’t care, they won’t compromise, etc, whilst wearing the same indie uniform and churning out the same tired old riffs. They don’t need your attention. The Nightingales do. Because rock ‘n’ roll rarely gets as uncompromising as this – PLASTELIN, SERBIA

The Nightingales revisited their past and offered up the future. Still stunningly relevant – LONDON EVENING STANDARD, UK

The Nightingales subjugate a rapt and breathless audience with a performance of sinewy magnificence – DAILY TELEGRAPH, UK
Tuesday night at the Cake Shop in NYC. One of the best shows I’ve seen in years. Jangly, angsty, angular, punk, post-punk, just rock and roll, whatever, they destroyed – DAN SELZER/ILXOR, USA

The Nightingales have been responsible for some of the most genuinely innovative minority music of the past three decades. – THE QUIETUS, 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

Boozy and deranged, Insult to Injury is how the new Franz record ought to sound – VICE, UK

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

Their freshest and most subtly intoxicating work to date – OBSERVER MUSIC MONTHLY, 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

“The new album by Nightingales is brilliant. One of the fiercest and most exhilarating rock records I’ve heard in ages.” Andrew Male, MOJO

Nightingales ‘No Love Lost’ cd/dd – Cooking Vinyl – Released April 30th 2012 – Press Report March 30th 2012

www.thenightingales.org.uk
www.facebook.com/pages/The-Nightingales/8860762012
http://twitter.com/_Nightingales

Buy Nightingales CDs here: http://ironmanrecords.bigcartel.com

Police Bastard – "Confined" CD

January 2, 2014

“Thought-provoking monologues and confrontational lyrics bring you on a cold, doom-laden journey of perpetual war, psychological mind control and disillusionment.”

Police Bastard - Confined CD Front Cover

Police Bastard – Confined – CD Album (Iron Man Records) Buy it here: http://ironmanrecords.bigcartel.com

Cover Art by Mark “skinny” Orton

Police Bastard - Confined - Terrorizer review by Ian Glasper 2014

“CVLT Nation’s Top 6 Crust Albums 2013: Police Bastard are pretty infamous at this stage, so no need for any introductions with band member links to Doom, Sore Throat, Filthkick, Sensa Yuma etc. Their new album ‘Confined’ sticks to their cynical view of the world mixed with innovative guitar textures and driving industrial intensity. Thought-provoking monologues and confrontational lyrics bring you on a cold, doom-laden journey of perpetual war, psychological mind control, disillusionment and omnipresent bullshit. For a band that has been knocking about on and off for twenty years, they could be forgiven for reverting to the formulaic. However, they rethink and deliver a furious maelstrom of complex dark hardcore, best served cold.” CVLT Nation (Dec 19, 2013)
“The album starts with “The Curse Of The Cross”, an anti-theistic slice of brutality, which leaves the listener in no doubt that Police Bastard mean business. You even get a quote from Richard Dawkins about teaching the bible as fiction. Musically they give us huge chugging riffs on “Brought To Our Knees”, which tackles the blandness of multi-national companies infecting the high street, set against the backdrop of the widening gap between rich and poor. For those that like their anthems loud and stompy, “Sick Sick System” will no doubt win a seal of approval with its knock about Punk mayhem and catchy refrain, ‘sick sick system, same old bullshit’. Elsewhere on the album, we get subjects as diverse as being captivated by virtual reality (Word Confined) and environmental disaster from the hand of mankind (Cries From The Earth). Album closer “Fortress” sees organised religion attacked once more, and poses the question, how long before it crumbles…..” – Zak, Ryans Gig Guide (Dec 01, 2013)
“….From Mark Orton‘s cover art through the final song, “Fortress,” Police Bastard have presented an album that uses hardcore’s battering ram approach to push through a series of songs that depict how humanity has destroyed the Earth. Lines such as “We’re sealing our fate” hammer home the idea that mankind has taken the world to the edge of existence, and we’ll all soon perish, should we not change our ways. Thankfully, Confined manages to never lapse into Earth Crisis-like preaching, choosing instead to quote the likes of John Gray‘s Straw Dogs: “Long after the traces of the human animal have disappeared, many of the species it is bent on destroying will still be around, along with others that have yet to spring up. The Earth will forget mankind. The play of life will go on.” While the music is basic hardcore which occasionally aims for bigger sonic targets, the lyrics and presentation are what make Police Bastard worth checking out……” Rock Star Journalist, Rock Star Journalist (Nov 22, 2013)

Ten new songs recorded in early 2013 and released through Iron Man Records, Birmingham.

Police Bastard - Confined Band Photo 2013

Police Bastard band photo by Andy Ward

Members of Police Bastard on this recording are: (from left to right…)

Mark BadgerGuitar, Chris CrassBass, Simon RoeDrums, John DoomVocals / Guitar, Seano Porno Guitar, Stu-PidVocals

Presskit for Reviewers / Podcast / Radio people here: http://www.sonicbids.com/PoliceBastard

Police Bastard - Confined CD Back Cover

Tracklisting:

The Curse Of The Cross, Brought To Our Knees, Sick Sick System, Humanimal, Cries From The Earth, Binary Thinker, Words Confined, Bite The Hand, We Are The Dead, Fortress.

All Lyrics: Pid and John

All Music: Police Bastard

Layout: John Doom

The album was Recorded, Mixed, Produced and Mastered by Simon Reeves at Framework Recording Studios.

Label: Iron Man Records
Catalog#: IMB6021
Format: CD
Country: England
Released: 2013
Genre: Rock
Style: Punk

Police Bastard - Confined Inside CD wallet

Police Bastard Logo 2013

IMB6018 Police Bastard: It’s Good To Hate…..CDEP with DVD 2010 Buy it here

Police Bastard / War Plague – Attrition Vinyl split album Buy it here (Vinyl version of It’s Good To Hate with an extra track)

Police Bastard – T-shirts and other items of interest Buy here

IMB6020 Police Bastard – Dead to the world CD Album (Discography of everything from Gulf War Syndrome onwards with 7 never released new songs. Should be released next…..)

IMB6021 Police Bastard – Confined – CD Album Buy it here

More Police Bastard info here: Police Bastard, Twitter, Facebook

some additional words:

Police Bastard are back with a new album on Iron Man Records called “Confined.” The band have been influenced by many different sounds ranging from the likes of Discharge and Chaos UK to Amebix, Rudimentary Peni, Celtic Frost, Black Sabbath, The Cardiacs and Killing Joke. The band emerged from the ashes of some of Britain’s well known hardcore thrash bands: Doom, Sore Throat, Filthkick, English Dogs, Sensa Yuma and Contempt. Police Bastard started in 1994 and the new album is possibly the best record the band have made so far.

“Confined” was recorded at Framework Studios, Birmingham and will be released as a digital download from 30th September 2013. The album will follow on 23rd November as a full CD release on Iron Man Records. The track listing for Confined includes: The Curse Of The Cross, Brought To Our Knees, Sick Sick System, Humanimal, Cries From The Earth, Binary Thinker, Words Confined, Bite The Hand, We Are The Dead, Fortress. All the lyrics were written by Pid and John, the music was written, arranged and performed by Police Bastard and the CD layout was done by John Doom. “Confined” was recorded, mixed, produced and mastered by Simon Reeves at Framework Recording Studios with cover art by Mark “Skinny” Orton. Members of Police Bastard on this recording include Mark Badger – Guitar, Chris Crass – Bass, Simon Roe – Drums, John Doom – Vocals / Guitar, Seano Porno – Guitar, Stu-Pid – Vocals

Digital release September 30th. CD release on Iron Man Records November 23rd.

Press kit for Reviewers / Podcast / Radio people here: http://www.sonicbids.com/PoliceBastard

Label: Iron Man Records / Catalog#: IMB6021 / Format: CD / Country: England / Released: 2013 / Genre: Rock / Style: Punk

All Press enquiries: mark@ironmanrecords.co.uk (tel: 07974 746810)

Last Under The Sun gigs 2014

December 30, 2013

Fri Jan 24 2014 The Adam and Eve, Birmingham, UK with The Members + Deadflowers + Last Under The Sun
Wed Jan 29 2014 The Adam and Eve, Birmingham, UK with The Duel
Sun Feb 16 2014 The Flapper and Firkin, Birmingham, UK
Sat Feb 22 2014 The Stanley, Norwich, UK With Ziplock
Sun Mar 2 2014 The Sitwell Tavern, Derby, UK With Black Cop and Prolefeed
Sat Mar 8 2014 Bastards on Beer Festival, Groningen, NL
Sat Apr 19 2014 The Intake Club, Mansfield, UK
Sat Jun 14 2014 The Intake Club, Mansfield, UK

“On this EP, Last Under The Sun deliver five songs of terror and the harsh realities of life. In that same apocalyptically bleak way that bands like the Subhumans and Crass have done in the past. But they are singing about our current day in a direct way “how many people die, for a worthless cause… I dont wanna die in some desert war”. It is all about our politically violent world, but at times it’s done with some humor like on the song ‘Hooligan Jihad’. How can you forget the lyrics “You can’t play crust in fucking flip-flops…”. Frantic and pissed off, members also make up Birmingham’s infamous Police Bastard, who had a split with War//Plague on Profane Existence last year. Which is no surprise as you could draw parallels in the style they play. Very much a no excuses crust styled hardcore with it’s roots firmly in DIY hardcore punk. There certainly is great production and tight musicianship on this too, without losing a raw punk sound.”

You can buy Last Under The Sun – Hooligan Jihad in The Iron Man Shop here: http://stores.ebay.co.uk/Iron-Man-Shop

All Gig Bookings: Email (tel: 07974 746810)

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