Since starting out as school boys, this five-piece band has become notorious for stealing every stage with the outrageous, jaw-dropping performances that have become the Shame signature. Their riotous two-year journey has included gate-crashing a Glastonbury stage, supporting The Fat White Family, Warpaint and Slaves, performances in Europe, Austin Texas, a nomination for best new artists at the prestigious Anchor awards, headlining their own UK tour and releasing the double A-side single, Gold Hole/The Lick and follow-up, Tasteless.
Formed in the playgrounds of South London, Steen met guitarist Sean Coyle-Smith at primary school. They got together with guitarists Josh Finerty and Eddie Green at secondary school. Charlie Forbes –the drummer – was at nursery school with Green. Bonded by their precocious taste in music (one of their first gigs was supporting their hero Mark E Smith of The Fall) during their A level years they were hanging out at Stockwell’ s Queen’ s Head – unofficial home to The Fat White Family.
“We were sucked into this alternative world which just crystallised everything we thought about” says Steen. “There were drag queens and jobseekers; people who’ d been in bands, like Alabama3, The Ruts, and the bassist from Stiff Little Fingers – this older generation of people and they saw a kindred spirit in this little group of schoolkid runts.”Along with the Queen’ s head crew, The Fat Whites inspired and mentored them. “In a sea of mundanity the Fat Whites were exciting and dangerous,” says Steen. “It was like watching chaos explode in front of you.”As their foothold in the South London scene grew, Shame instigated the daredevil club night, Chimney Shitters and creating a politically outspoken, DIY ethos reflecting a punk spirit in today’ s world.
“We are not puppets. Everything we do, we do ourselves,” says former Camberwell student, Steen. “From our songs to our clothes to the artwork for the singles, T-shirts, and fanzines. It’ s all us. We are about creating a movement - it’ s all our blood, sweat and tears.”Shame’ s music is controversial, challenging, political and often unprintable. Visa Vulture (written two years ago) is a vicious indictment of Theresa May wrapped up in a happy love song. ‘ Gold Hole’ is a satire of rock narcissism, while ‘ Tasteless’ is about “Living in a world where nobody dares to say anything or do anything different.”.
But to be ‘ Shamed’ you have to see them live. Their appearance at The Great Escape last May so knocked out the editor of French magazine ‘ Les Inrockuptibles’ that he penned a two-page eulogy prompting a wave of Shamemania –a performance at Pitchfork Paris and on Le Grand Journal TV show in the slot usually reserved for the likes of Taylor Swift or Kanye West. A sign of how fast they are steaming their way to the top is this. Last year they gate-crashed Glastonbury (“It was insane, says guitarist Coyle Smith. “We got the directions wrong and ended up walking miles round the perimeter with our instruments before we found the right hole in the fence”) this year they have been invited to play by Billy Bragg on the Leftfield stage.
With a UK headline tour under their belt, 40-odd festivals this summer, their first album is being produced by Local Hero, aka Dan Foat and Nathan Boddy best known for techno music and work with James Blake. “As soon as we met them, it clicked,” says Steen. “They had ideas that a stereotypical person producing a guitar band might not necessarily think of. And we never want to be predictable. We always want to do something unexpected.”
Egrets on Ergot
Egrets On Ergot's sound has been described as versatile: from moody, gothy artpunk to funky rhythmic, pseudo-no wave with a smattering of industrial clamor. The four piece live in the Silverlake/Echo Park area of Los Angeles and will debut their fist full length album (vinyl and digital) this October through Cleopatra Records, produced by LA punk veteran Paul Roessler of The Screamers, 45 Grave, Nina Hagen Band.
" Egrets On Ergot, one of the most promising and original acts haunting the LA rock scene..."
- The LA BEAT
"This band’s commitment to the total rockist blitzkrieg aesthetic is a noble thing to hear in this watery pop-ridden age and the now-capacity crowd let go of them with loud reluctance."
- LA Record
"What transpired on stage that evening was a bit of a phenomenon that I am frankly at a loss to effectively describe. "
- The Art of LA
Goon is the project of LA-based musician and visual artist Kenny Becker. With a medical condition that periodically deadens his sense of smell and hearing, Becker began writing songs as a means of making the most of his life when those symptoms were absent. The results, Dusk of Punk, are a murky blend of smoldering guitars, melodic hooks, and batter-ram rhythms that serve as the musical translations of a mind that’s routinely betrayed by its own body.
Their debut EP Dusk of Punk pushes the boundaries of standard “lo-fi” music with both it’s diversity in songwriting and it’s somehow incredibly layered composition. The production is lo-fi but incredibly full and lush sounding. Their songs are loud and fuzzed out but are anchored down by beautiful harmonies. Even acoustic based songs are rounded out by delicate synths, drum machines or the occasional radio sample. The end result is a diverse and incredibly complex record that evolves with each listen.