Despite having a tendency for being disorganised so and so’s, the Tin Pot Operation are easily one of my favourite NI acts and have been for the last few years. We’ve got them playing the Big Gig 8 on November 27 at the Spring and Airbrake Belfast and here’s a reprint of a recent interview I did with their singer/guitarist Anto O’Kane…

Tin Pot Operation

Loved by the likes of the NME and lauded by mainland Europe, Belfast’s rabble rousers the Tin Pot Operation have kicked against the pricks since their inception. In November they play the Big Gig 8 and we caught up with singer/guitarist Anto O’Kane to hear about their current album ‘Human Resources,’ as well as how Katie Melua robbed their idea and why modern pop stars have no soul.

OK, let’s start at the start-how did it all begin for the TPO?
“Way, way back in the later Triassic period there was a little rehearsal studio/ meeting spot in Marquis Street called the Music Box, run by the Welsh busking legend and songwriter Mike Doyle. We were all in bands that used the room at the time [Nixon, Jasper, Babylon by Bus] and after these efforts split up we just happened across each other and started chatting about the sort of music that needed to be made. We all had a strong conviction that saying something was far more important than a polished sound or commercial potential. We started working and right away a very unique kind of sound started coming together. Choosing to sing in our own accents for example seemed to give the music a special rhythm and voice all of its own. We’ve been working on perfecting it ever since. I still get surprised at how much possibility there is when we get together to work on a new song. I love it.”

 Right from your inception you’ve put noses out of joint both online and (sometimes) at gigs. Do you enjoy winding people up?
“Absolutely. Some people think there are ‘rules’ to making music and what sort of bands should be popular. It’s an utter load of sh*te and I absolutely adore it when these smug, tiresome little bores are taken down a peg or two. Now more than ever we’ve got asinine, safe, vacuous music is piped into every part of our lives and once music is used to sell you something it’s utterly worthless. A lot of people still persist in thinking that commerciality is king but they’re wrong.”

 The Tin Pot Operation has had some great press over the last couple of years-how do you feel about it?
“I have to say I’m a sucker for a good review! Stuff in NME, Hot Press, AU and all over the blogs has been great. People recognise that we are doing something unique and even if it’s not precisely to their taste they appreciate it for being different at least. The other thing is journalists and bloggers must get bored to f*ck with these bands and artists terrified to say anything that might spoil their safe, commercial image, so they have a lot of time for anyone with something to say. I suppose if we were a bit more organised or media savvy we could be milking it a bit more, but we just don’t have those genes.”

We love the video for ‘Sitting There.’ Can you tell us a bit about the filming?
“It was good craic. I love videos with simple ideas and since I’m the bossy, preening, up-himself member of the TPO, we (well THEY) thought it would be funny to pretend to give me a beating in the interests of art. I think there was definitely some catharsis going on when Raymie [Lawlor, guitar/vox] stood on my head! I was utterly gutted when I saw the video for ‘Nine Million Bicycles’ by Katie Melua and she’d ripped off our idea of being dragged along the ground by the feet. She must have a time machine… I’ve been hiding outside her house a fair bit to see, but so far she has been careful not to reveal anything.”

We heard you got nominated for an award in Italy in April. Can you tell us a bit about it?
“It was all thanks to our friends the Rosenkrantz over in Italy. We’ve toured with them over here and they submitted the video for these awards. I think we managed to get through to heat stages or something, but I kept having to translate the emails on Google and stuff, so I was never quite sure! ‘Right and Wrong’ made it to the Semi-Finals of the UK Songwriting Competition too which was a nice bonus.”

‘Human Resources’ is out at the moment-how do you feel about it now?
“‘Human Resources’ to us represents exactly the sound and atmosphere we’ve been aiming for since starting the band. Recording live in a single room made a real difference to the vibe and energy of the record, we’re all really proud of it.”

What’s your favourite track?
“That’s a hard one. I adore Raymie’s vocal performance on ‘Tell the Kids.’ I sometimes choke a wee bit when I get caught up in it. So powerful. It was one of those moments where me and [producer] Pete Pratt at Blueroom Studios just looked at each other and went ‘YESSSS.’”

Any plans to make a follow up?
“Absolutely. We never rest from writing new material and could easily fill another album twice over. The addition of Daithi on mandolin has given us a much broader palette too and at the moment TPO HQ is a hive of energy with lots of new stuff being tested out.”

Tin Pot Operation play the Big Gig 8 at the Spring and Airbrake, Belfast on Friday, Nov 27. Admission is £4. www.myspace.com/.tinpotoperation

This fortnight’s Hot Press is on the stands now (more details here http://www.hotpress.com/2893481.html) so here’s a reprint of the previous issue’s NI bands column!

News

Words: Edwin McFee

This fortnight this writer has been playing the new album from NI’s finest punk rock band the Lobotomies in almost constant rotation. Entitled Big Bang Hangover it features 17tracks in around 30minutes and it’s pretty much one of my favourite records of the year. Why am I telling you this, you ask? Well the four-piece launch their album on October 23 with a gig in the Pavilion, Belfast and you should all be there as it’s only £5 in. There are plenty of highlights on the release, but the smashmouth sounds of ‘Freedom,’ and the savage ‘Bloodsports With Lapdogs’ get our recommendation and if you can’t get to the gig don’t fret, as Big Bang Hangover is released vie EHC Records. Visit www.myspace.com/thelobotomies for more details.

Congratulations to the Panama Kings who not only ruled the school at their first ever Mandela Hall headline gig a few weeks ago, but they’ve also bagged the hugely coveted support slot on Ash’s up-coming UK and Irish tour. The boys will hit the road with the band from mars (see what we did there? No? Alright, please yourselves…) throughout the months of October and November and these include dates at the Button Factory, Dublin on Nov 25 and the Spring and Airbrake, Belfast on Nov 26 so check Ticketmaster and the usual suspects for ticket details.

Sludge worshipping heavy hitters Slomatics have released their latest slab of wax this fortnight and it’s a split CD with the mighty Selaah. The band contribute three songs to the record (while Selaah recorded a 17minute long improve piece. Jazzy!) and it’s strictly limited to 200copies, so get ‘em while you can. At £4 it’d be rude not to. More details are available at the link http://slomatics.bigcartel.com/.

Delirium Tremens (who are currently beavering away in the studio like, er…beavers) have posted up two demos for their forth-coming debut release on their MySpace page (www.myspace.com/deliriumtremensrock). ‘Shuffle Off This Mortal Coil’ and ‘Requiem’ are currently available for streaming and even in this rough format, it’s pretty clear that the record will be nothing short of monstrous once it sees the light of day in the New Year. The boys are also in the process of booking a tour south of the border and although some shows are to be confirmed, the trek runs from Nov 27-Dev 7. As if that wasn’t enough, they also support American post rock types Junius in Belfast on Nov 27 and once we have the final dates, Hot Press will of course keep you up to date.

This week marks my six year anniversery contributing for the Belfast Telegraph. I’ve interviewed a lot of interesting people (and sadly some not so interesting ones too) during my time there and I’m proud to say that I was one of the first journo’s to write for the 24/7 supplement. Over the last year or so I’ve decided to step back a wee bit from the papers though. Bascially as I received more work from Hot Press and NME I scaled back a little bit on the local stuff (there’s only so many hours in an eight day week, right?) but I still do bits and pieces and last week 24/7 ran my interview with Biffy Clyro. The album is up for streaming now on MySpace so here’s a reprint to tie in with it.

Biffy Clyro

In an era of one hit wonders and plastic, perma-tanned pop stars, it’s somewhat reassuring to see Scottish tunesmiths Biffy Clyro continue to produce the goods. With each new release the trio seem to climb another rung up the ladder to rock royalty and the quality of their records only improves as they mature in years. However, while ‘07’s gold certified Puzzle may have been their most successful slab of wax in their 14year history, it was also their most painful to make as it documented the death of singer/guitarist Simon Neil’s mother and saw the affable lads from Ayrshire butting heads with the legendary producer Garth Richardson (whose credits include working with Rage Against the Machine among others). Fast forward two years later though and their follow up Only Revolutions couldn’t be any more upbeat and positive and as we catch up with bassist James Johnston during his press junket, we have to ask him-where did it all go right?

“We all know what Puzzle was about, it was a very difficult record and time in our lives, but I guess these days we’re much happier,” reflects the 29year old. “An album will always be informed by what’s around you and severe tragedy never leaves you. Simon got married last year and that was something to be happy about and we’re looking forward to the future now instead of being sad about the past. I guess the music is a little more hopeful too. The brass on [current single] The Captain is triumphant and there are a few points on the record like that. We’re in a really great place at the moment. It’s mad though-I feel like I’m from LA talking about emotions. We’re three blokes from Scotland and we don’t do that stuff for God’s sake.”

What separates Biffy Clyro apart from other alternative rock bands is their connection with their fans and refusal to become yet another rock ‘n’ roll cliche. They may be five records into their career (that includes ‘02’s Blackened Sky, ‘03’s The Vertigo Of Bliss, ‘04’s Infinity Land, the aforementioned Puzzle and their soon to be released Only Revolutions for those keeping score) but they’re far from jaded about their achievements.

 “It’s not an easy life and it’s not easy working on records, but it’s an absolutely great life too,” smiles the bassist. “We’re very blessed to do this and I wouldn’t sit and tell you it’s all difficult. Your reader’s lives are difficult, you know? Success hasn’t changed us. Without sounding like we’re full of ourselves-we kinda deserve it though. We’ve worked hard and we’re over the moon more people are getting to hear us.”

Sounding like a band at the height of their powers, Only Revolutions also features guitar-work by Queens of the Stone Age’s Josh Homme [on the track Bubbles] and the Scot confesses that they learned a lot from the ginger giant.

“Working with Josh was great fun. We really respect him because he’s always one step ahead of the rest. We toured with the Queens in the States and in Europe and we got to know them fairly well. I wouldn’t say we’re best buddies but we got on well. We learned a lot from them and when Josh heard we were going to be recording in LA he said gimme a shout and I’ll come play. I don’t think he expected us to take him up on it [laughs]. I think he thought ‘Oh, sh*t it’s Biffy on the phone.’ Anyway, legend has it that he put his daughter to bed at 10 o’clock and came down to us for 11pm. He came in, listened to the track once and went ‘Right, I’ve got a solo for it.’ He went next door and just started wailing on his guitar. It was all the things you dreamed of if you were a Josh Homme fan. He’s just awesome.”

And it wasn’t just Josh Homme who was “awesome” this time around. Their producer Garth Richardson also did a sterling work on the new record too.

“It was fairly well documented in the past that we struggled a little bit working with Garth on Puzzle and that was certainly true in the first few weeks because we just worked in different ways. He wasn’t used to dealing with such determined people. He was more accustomed to having young bands come in and do things his way, but we were very much like-no, we’d like to do it that way instead, so we butted heads a little. We’ve now become really, really great friends with Garth though and he’s a brilliant ally. It was a pleasure working with him this time. He spurs us on. Sometimes he p*sses us off, but I think that’s the beauty of a creative relationship.”

When Only Revolutions hits record shop shelves on November 9, chances are it’s going to change their lives forever. Already featuring the top five hit single Mountains, the top ten denting That Golden Rule and the soon to be released The Captain, the opus sounds utterly monstrous and will no doubt see the childhood friends notch up a plethora of awards in 2010 and become festival headliners next year. As a band with a close connection with their fans we ask them if they worry about alienating their most loyal followers.

“We do worry about it,” confesses James. “We wouldn’t be anywhere without the hardcore fans who would’ve seen us play smaller venues in Belfast for years and now that we’re doing bigger places like St George’s Market I’m sure we’re going to put some noses out of joint, but what do you do? If you try to second guess what people want to hear then that’s when you’re screwed. When those kids will inevitably say Biffy have gone weak I don’t know what to say to them. I just keep trying to put on the best show I can. Besides, I’d rather have things the way they are now than when we were scrambling to get support slots from terrible bands like OPM and Limp Bizkit!”

 As James prepares to get bundled off into a taxi to tape an appearance on Later With Jools Holland, we ask him about his hopes for their fifth (and possibly best) album to date.

“Our ambition is to surprise a lot of people with this record,” he concludes. “We’ve always seen ourselves as awkward young men and we haven’t changed in that respect, but we try to do things that are unexpected too. I think that’s a good thing to do in music. We also put ourselves under a lot of pressure. We’re a band that really cares a lot about what we do and we don’t like to waste time. The record company are turning the screw a little bit-but they aren’t saying we need to write a certain type of song. It’s more like-this needs to be absolutely mega and hopefully everyone will think that once it’s released.”

Biffy Clyro play St George’s Market in Belfast on Oct 28. Support is from Manchester Orchestra and Pulled Apart By Horses. Tickets cost £21 and are available from all Ticketmaster outlets. Doors open at 7pm.

Edwin McFee

Late last summer I was sent down to Malmaison to meet up with Dizzee Rascal. He was an interesting dude and the kind of bloke who seemed like he might be a good laugh if he got over himself a little bit. We also had a playback of his new record ‘Tongue ‘N’ Cheek’ (which his tour manager insisted on playing at the loudest volume possible) and I looked after the lead review for Hot Press as well as the interview. It’s a fun record and as one of his tracks came on the radio there now, I thought I’d post up the original transcript…

Dizzee Rascal

Tongue ‘N’ Cheek (Dirtee Stank)

Three and a half out of five

For far too long, Dizzee Rascal’s name and reputation has overshadowed his music. At this stage we all know he’s a “respected UK rapper” and Lily Allen loves him so much she called her song ‘LDN’ in tribute to his lyrics, but beyond that, most people knew him as that bloke who had the creepy puppets in his video for the Captain Sensible sampling single ‘Dream,’ and that was pretty much it. But this year all that changed-specifically with his Calvin Harris produced track ‘Dance Wiv Me.’ Dizzee finally crafted a tune that lived up to his reputation and what a song it was. Full of inventive hooks and some truly impressive mic skills, it quite rightly put the MC at the top of the heap, and that was just the first single.

Shortly after that he released ‘Bonkers’ and ‘Holiday’ in close succession and they too were just as catchy, just as imaginative and just as good, if not better, than their predecessor. So, now that we have the album to listen to you’d be forgiven for thinking that the only thing of worth are the three singles. We say you’d be forgiven, but you’d also be wrong. You see Tongue ‘N’ Cheek is a tour de force in future sounds. Over the course of 11 tracks Dizzee stitches together dancehall, reggae, 90s techno, hip hop and pop Frankenstein-style and nine times out of ten it works really well.

Opening the album with ‘Bonkers’ Tongue ‘N’ Cheek starts off strong, with some fast-paced rhyming and excellent production by Armand Van Helden. Second song ‘Road Rage’ has a Bollywood vibe and is sure to be another hit single. Speaking of hits, the aforementioned ‘Dance Wiv Me’ is track three and if you haven’t heard it yet then we truly feel sorry for you. Next up is one of the most controversial yet catchy songs on the slab of wax ‘Freaky Freaky.’ Featuring the classic line “She’s always up for a bonking,” Dizzee’s word-play is phenomenal, even if his rampant sexism leaves a little to be desired. ‘Can’t Tek Me No More’ might continue the theme of atrocious spelling and grammar, but stylistically it goes somewhere else entirely-employing a dancehall beat courtesy of longtime collaborator Shy FX. ‘Chillin’ Wiv Da Man Dem’ is one of the few turkeys to be found on Tongue ‘N’ Cheek with its slow pace feeling a little too restrained after what’s come before.

By the second half of the record, it’s all change again though and ‘Dirtee Cash’ harks back to the era of the Shamen, KLF and people on E blowing whistles for no apparent reason. Sampling the Adventures of Stevie V’s classic cut ‘Money Talks (Dirty Cash)’ the song gives ‘Dance Wiv Me’ a run for its money. Both ‘Money Money Money’ and ‘Leisure’ let the side down a little though and they don’t shine quite as brightly as other tracks, (the boasting on ‘Money Money Money’ in particular gets a little tiresome and we’re left thinking of images of the rapper swimming around in a giant pool of cash just like Scrooge McDuck-which is as bizarre as it sounds) but ‘Holiday’ and the techno-influenced album closer ‘Bad Behaviour’ make you forget all that quickly enough.

At its best, Tongue ‘N’ Cheek is the album that Dizzee Rascal was born to make. It’s upbeat, uplifting and one of the best produced pop albums of the year. At its worst, the blatant sexism and copious references to his prowess at “baby making” are as big and clever as a dwarf who was held back a few years at school. Still, for all its faults, Tongue ‘N’ Cheek is a pretty special record and should be filed under “G” for guilty pleasure.

Key Track: ‘Dirtee Cash’

Edwin McFee

Literally just now, I watched the first episode of Karl Spain Wants to Rock. For those of you who haven’t watched RTE before, he’s a comedian/documentary maker and this brand spanking new series is about Irish tribute bands. Every week Spain and his wig wearing cohorts (Ireland Maiden, the Rubber Plants, Thunderstruck, User Illusion and Metallitia)  travel around Ireland on a big fuck off bus and Biff from Saxon gives his “expert” view after they perform a gig. Each week a band gets booted off and the first episode was good fun, so if you’re the kinda person who enjoys watching an Irish soldier pretend to be Axl Rose then you should give it a go. Click on the link below if you wanna see more

http://www.rte.ie/player/#v=1058591

If you live outside of Ireland (north and south) you mightn’t be able to watch, but sure give it a wee click anyway.

Hallowe’en comes to Castle McFee one day early so I thought I’d post up a video of our singing Frankenstein’s monsters!

Oh, and if you’re stuck for something to watch this All Hallow’s Eve, here’s a horror film guide I did waaaayyyy back in the year 2008-http://edwinmcfee.wordpress.com/2008/10/28/

It’s nearly my favourite time of year so I thought I’d post up the video for ‘Scream’ by the Misfits (directed by zombie king George Romero) to get you all in the mood. I forgot just how SWEET Michael Graves’ ‘do was….

Anyway, this song was orginally written for Wes Craven’s comeback film film Scream fact fans.

I was a bit like this dude the first time I saw Maiden…

I’ve been listening to the new Lobotomies record ‘Big Bang Hangover’ almost non-stop since getting it in the post a few weeks ago and if you love fast and nasty punk rock, then you should definitely head down to their launch in Belfast tonight.

I reckon pound for pound the Misfits are my favourite punk band, so when I got this press release through I got a little bit excited. Plus, check out Arthur Suydam’s artwork!

ALL-NEW MATERIAL FROM THE MISFITS ARRIVES HALLOWEEN ‘09

PRE-ORDER AND GET IT A MONTH BEFORE IT ‘LANDS’ IN STORES.

 The legendary Misfits return with 2 brand-new, soon-to-be-classic songs marking the first new original material from the certified-gold selling horror rock icons in a decade! The release also marks their first new studio recordings since 2003’s billboard chart topping “Misfits Project 1950” covers album. The Ltd. Ed. 12-inch LP maxi single showcases an incredible new cover painting rendered by Arthur Suydam (of Marvel Zombies fame) who has ferociously rendered the Misfits world famous “Fiend Skull” icon in homage to the zombie films of George A. Romero. The artwork is appropriately suited as both new songs (“Land of the Dead” and “Twilight of the Dead” written by Misfits founding member Jerry Only), were inspired by the acclaimed director’s living dead series.

The first pressing on clear red vinyl is a limited edition of 1,000 pcs guaranteed to feed the collectible frenzy with Misfits fiends while supplies last! Look for the ‘Fits (Jerry Only Bass/Vocals, Dez Cadena Guitars and Robo Drums) on tour throughout North America now – late December ’09 where you can expect to hear both new songs performed live in concert. Starting October 30th, (Devil’s Night at the Starland Ballroom in NJ), Fiends will have the chance to pick up a special clear orange vinyl tour edition of the 12-inch (also limited to 1,000 pcs worldwide), while supplies last. The clear orange vinyl pressing will be on sale exclusively at live Misfits shows and will not be available in stores. The clear red vinyl edition is available exclusively from our online Fiend Store and the Misfits Records online store. Pre-order now and have it in your fiendish hands over a month before it ‘lands’ in record shops!

All online orders will ship by or before, but no later than Halloween. Both songs (“Land of the Dead” and “Twilight of the Dead”) will be available individually for digital download (@ only $0.99 per track) on iTunes and other digital music providers starting October 27th… Happy Halloween Fiends! www.misfits.com