New for 2020, The Shang Hi Los brings together the talents of Jen D’Angora (Jen & The Delinquents), Dan Kopko (Watts) and Lee Harrington (The Neighbourhoods).
In the summer of 2019, Sacrilege released ‘Court of The Insane’, a shamelessly old fashioned metal album that managed to be one of the worst discs of the year. Workmanlike riffs dredged up from 1984 coupled with lyrics like “Am I guilty of the things what they say / And who are they anyway?” led to an unintentionally funny listening experience.
Moving forwards, the veteran UK metal band’s contribution to 2020 is a re-recording of an old song titled ‘In Hell’, for which they’ve shared a brand new video.
Black Sabbath’s debut LP turned 50 years old in February 2020. The band did not release an expensive box set to mark the occasion (they left that for the October anniversary of ‘Paranoid’, where the 5LP reissue was prohibitively expensive and the CD box set was just a quick repackaging of the 40th anniversary edition). There wasn’t even a notable vinyl reissue of the seminal debut recording – but to be fair, as welcomed as that would have been, no vinyl pressings sound anywhere near as good as the original Vertigo spiral label edition. Instead, fans and press were invited in limited numbers to go to a pre-arranged location in London and listen to the album in pitch darkness.
Indonesian Junk are one of those bands that, on the surface, have seemed to get better over time. Their self-titled debut album was a bit of a mess with rough production values. Hampered further by a sloppy vocal, it was the kind of record that would only ever find love among the most die-hard garage rock fans. Their second LP featured much sharper songs which truly showed a band with great promise and their third release (2018’s ‘Darkness Calling’), although essentially a stop-gap EP, demonstrated a world of sharp riffs and even sharper attitude. It resulting in a release that truly – and finally – showed Indonesian Junk to be a riff-heavy trio that could take on New York Dolls at their best. With 2019’s full length ‘Spiderbites’ more than keeping up momentum, it seemed as if Indonesian Junk had really hit their stride.
By the end of the 60s, jazz fusion band The Web had recorded and released two interesting but commercially unsuccessful albums. 1970 found the struggling musicians in a period of minor flux: a change in line-up saw frontman John L. Watson replaced by vocalist/keyboard player Dave Lawson (ex-Alan Bown) and a change of label took the newly christened Web [no longer the definitive; that was so last decade – just ask Pink Floyd] from Deram to Polydor. The new phase saw the release of their third and arguably best known LP, ‘I Spider’. ‘I Spider’ became their most famous work not through any increased exposure or notable sales, but by eventually becoming one of the era’s most sought after rarities.
By 1971, the final Web line-up changed their name to Samurai, switched record companies again and released one sole LP on the Greenwich Gramophone label. Like its predecessors, ‘Samurai’ failed to convince the record buying public and eventually faded into relative obscurity. Much like ‘I Spider’, the Samurai LP gained interest on the collectors’ market over the following quarter of a century, but never really got the mass re-appraisal it deserved. Despite the band showing lots of talents that should have found them mentioned in the same breath as Gentle Giant, King Crimson and early Soft Machine, the name Samurai is likely to be greeted with a shrug.