Earlier this summer, Mancunian alt-rock/pop-punk outfit The Minx shared their video clip for ‘Jesus and The Mary Chain’ (the full clip of which can still be watched here).
As promised, they’re back with a garish clip for that track’s A-side, ‘No Friends’, a bouncy tune worked around a meaty bassline and organ part recalling garage rock classic ’96 Tears’. Watch the new clip below.
Mancunian power-pop-punkers The Minx have a few shows upcoming over the rest of the summer, including an appearance at the Ramsbottom Festival. They also have a new single out (‘No Friends’), a video for which is in the pipeline.
In the meantime, you can watch a clip of the band performing their new b-side ‘Jesus & The Mary Chain’ below.
You can also read a review of their previous release ‘Hey! Mr. Warden’ here.
In the 1970s greatest hits collections were a quick way for record companies to bundle together previously released material under the pretence that it was a celebration of a band’s career up to a particular point. These were not usually so much a celebration as a way to make a quick buck, but whatever the justification, such releases rarely troubled the more serious record buyer. In the late 80s, the game changed when record companies began to pad such collections out with two or three unreleased tracks, not only ensuring the collection of singles would sell to a more casual listener, but also hoping it would tempt the long term fan into that extra purchase. Such practice became common.
Up and coming indie-pop band Kid Wave have issued a video for their new track ‘All I Want’, directed by Steve Glashier.
You can now watch the clip in full below.
The world has seen release of many tribute albums, many tossed off with casual indifference that miss the mark completely. Occasionally, one comes along that’s just so misguided you end up wondering how it came to be in the first place. The idea of thirteen different low-key French artists recreating Morrissey’s 1994 album ‘Vauxhall & I’ could easily sound like a bad one from the off, but somehow, through an array of reasonable talent – not to mention excellent source material and sheer balls – ‘Vauxhall & Us’ works. Without Morrissey’s distinctive croon adding to a many a black humour within his lyrics, these songs sound markedly different. Their charm is still often apparent, but in a wholly different way. The acoustic setting on some of the recordings allows Moz’s gift of words to remain the biggest draw of all, but the European slant evident from time to time also lends a certain charm.