Pale Rider – ones to watch in 2018
Yeah this is a stupid time to do this, well, here goes, Getintothis’ Peter Guy writes stuff and that – these are the best new artists and bands in Liverpool and they probably don’t even know it.
What is this. That’s not a question – that’s kinda a sound out. Are we all on the same page? Because for the first time in a long time, I am looking at Liverpool and wondering. I really am.
When I watched a truly abject documentary about the so called halcyon days of Liverpool’s music scene – it revealed; or Will Sergeant, more poignantly revealed, that when Merseyside was supposedly in a cultural boom, the bands didn’t just hate each other, they deplored each other. It was nasty. It was vicious. It was shite. It was, perhaps, unnecessary.
The Eric’s era was horrid. Make no mistake there was no community there. The bands left in their wake – you know the ones, are not just bitter – they’re fucking shite. A scab on our music city.
We really don’t need that. Ever.
Over the last few years Liverpool’s thriving music community has been displaced – undeniably by Liverpool City Council and development, resulting in a displacement and a lack of centre and focus.
Where once, young developing artists could thrive off others and evolve in an eco-structure that was genuinely literal to the eye and ear – now we’re in a new phase – no city, nowhere.
There’s no centre. No community. Nowhereland. We are nowhere.
We are told – you do not belong here. You can try. But you are not part of Liverpool.
Music City Liverpool. No. Liverpool is not your home.
Where once a new society of promoters like Samizdat, Meshuggy, Post Music and their ilk tried to kick up a community – this hasn’t ever been replaced. That was 2008.
There hasn’t been a new ‘new bands’ promoter regular since Craig and Ste of I Love Live set up camp in 2010. What does that tell you?
Liverpool is ALIVE. But we’re fucking dying.
It’s on all corners. It is the way Liverpool new musicians feel in Liverpool.
Practice rooms are dead or closed.
Rent for musicians is too high.
Competition for space is too much.
Not many people can take a chance of gigs.
Music in Liverpool is a risk.
The musician is fucked.
The ‘great’, professional musicians are really in trouble. They’re working behind a bar while PRS cheques rolls in.
The less than great are nowhere.
Musicians of note are on bikes delivering warmed up food for chains.
What does Liverpool as a city do. Nothing.
And for the first time in a long time established relationships are more strained than ever.
Festivals flourish, the artist gains little.
Where is Liverpool UNESCO City of Music? 2015 is a long time ago.
Nowadays Liverpool musicians are different. They’re, if anything, hungrier, faster and quicker than ever. They fuck your head first, the rest is salivated later.
The thing is, if you’re new, you better learn fast, cos not that many people are helping out.
Speaking to new artists and what Liverpool music represents now is a world away to four years ago.
When the Kazimier formed, there was a liberation in the air of Merseyside and a freedom which pervaded the artistry hung long in the air. People helped each other. There’s little, if any of that now, unless you’re in the right circles because local government has dissolved and disintegrated this communal focus.
Now, it’s a hunger to survive.
If all this is grim reading. Well, you better wake up.
Because none of this is new to Liverpool musicians.
Most, if any, don’t get paid for gigs. They care – but this is it.
Few see travel expenses recouped to play in another city.
Most go and practice once a week which when combined with their other shite leaves them out of pocket before they begin to plug in.
We could continue, but you’ve probably stopped reading.
This is meant to be a YEAH happy list of the fucking best bands who may save your life. I dunno whether they will, but they can.
This is a list which is already out of date.
This is a list which anyone who’s anyone who’s anyone knows.
Anyway.
The only caveat to this is that for the first time ever. We include a band in our New Breed selection who’ve been in before: Jo Mary. Because, simply, they’ve gotten a record label: Eggy Records – and well, this writer feels it’s something which defies all rules and new breed regulations.
Onwards. Fight the good fight. Keep on keeping on. We’re listening. Always.
Here’s the full Getintothis’ New Breed 2017 – click on their name for more sounds & news
AJHD
Astles
Aystar
The Blame
Black Pulp
The Bohos
C Two
Cavalier Song
Death Blooms
Denio
Danye
Eyesore and the Jinx
Farhood
The Fernweh
Gazelle
Ali Horn
Jo Mary
Katie Mac
King Hannah
MT Hall (formerly AKASA)
Milo Tain
Medicine Man
The Movamahs
Eleanor Nelly
Neil Noa
Bill Nickson
NuTribe
Pale Rider
Peach Fuzz
Pixey
Mincemeat
Shak Omar
Queen Zee and the Sasstones
The Racket
Remee
Rico Don
Rival Bones
Laurie Shaw
SPILT
Spinn
Tremz
TV ME
Vain Male
Violet Youth
Wavey Joe
We Were Glue
Wide Eyed Boy
- Before you get bummed out about a band missing above, we defo tipped them before you got bummed out – so check here before you do our heads in, ta.
