Gigs of 2017 – part two


For Part One click here


The very next night following DORJA’s gig at Bilston, it was back down the M6 to Birmingham in order to see Swedish masked men (and woman!) Ghost. Although they’d been around for a few years they only came onto my radar the year before, with the catchy ‘Square Hammer’ getting a lot of airplay on rock radio. A sensible person would have planned to stay in the Midlands knowing there were two gigs on consecutive nights, but yours truly is neither sensible nor much of a planner! The venue (o2 Academy) was packed out when I arrived, even as support act Zombi did their stuff (not to my taste). A lengthy interval followed, with lots of ritual bowing to one another by the stage crew as they set things up, then the band themselves came on and surprised me at least by opening with the aforementioned ‘Square Hammer’. All the band members dressed in identical jumpsuits with masks completely covering their faces, save for the main man Papa Emeritus III. He made his spectacular entrance in a puff of smoke and proved to be the consummate showman. They played up the Satanic angle to the point of parody, but they were far from threatening, this was pure vaudeville entertainment (much in the style of Alice Cooper) complete with ticker-tape at the end! Shortly after this tour, several former members of Ghost launched legal action claiming they were excluded from royalties, this action unmasked Papa Emeritus III as Tobias Forge, the brains behind the act whose identity was already an open secret, but the lawsuit confirmed it.

A week later I decided to venture out to St Helens and the Citadel, a small theatre which often hosts some good bands. The band Frost* made a rare appearance on the 9th, this quartet is made up of virtuoso players throughout but all are busy with so many other projects, that they can only get together occasionally. Led by guitarist John Mitchell (Lonely Robot, It Bites, many others) and keyboardist Jem Godfrey (a famed producer) and also including bassist Nathan King (of Level 42; brother of Mark and just as adept on the four-string) and drummer Craig Blundell. They play long-form progressive rock, and their set included the epic ‘Milliontown’ which lasted at least half an hour with lots of complex passages. For £15 this was terrific value, especially seeing as a certain famous progressive Metal band were also touring at this time and asking about five times that for a ticket!

On the 14th (Good Friday) I took a run out to Whitchurch, where iDestroy were playing at Percy’s cafe/bar (a small bar with a stage set up out the back in the open). It was good to see Bec, Becky and Jenn again, this time close enough to almost play Bec’s guitar for her (!) and the evening was closed out by Italian hard rockers Atlantic Tides, who impressed me enough to get their album. A week later it was ‘hello Becky’ once again, this time at Rebellion in Manchester where she was performing with Triaxis, her melodic Metal band. This evening was an album launch for Yorkshire metallers Vice, and the bill also included Dakesis and Amethyst. I was there mainly for Triaxis, who annouced later in the year that they were to call it a day following some personnel changes. One of those was in the vocal department, as Greek singer Angel Wolf-Black was fronting the band when I saw them. The band were obviously influenced by European metal bands with many synchronised poses and technoflash guitar solos, but entertaining as anything Becky features in tends to be. Their setlist had ‘DIO’ written on it, I was expecting a cover of Tenacious D but it turned out to be ‘Don’t Talk To Strangers’ (!) I stuck around to watch Vice, who were good but weren’t holding my attention too much until they too did a Dio cover, or more correctly Sabbath’s ‘Heaven and Hell’.

Hot on the heels of that show was a completely different one – Bristol rockers Tax The Heat had a show at Chester’s Live Rooms. To my surprise this took place in the smaller L2 bar area, which I thought was odd for a band who had got themselves a reputation as ones to watch. It turned out tribute band UK Foo Fighters were booked into the main L1 hall, and that had drawn a big crowd. Those who plumped for this gig however got a stormer of a set, TTH play hard and really rocked this small room. For me this was one of the highlights of my gigging year, to see such a slammin’ band up close and personal was a real privilege. The month closed with yet another iDestroy gig, this time at Star and Garter in Manchester. By this point Becky must have thought she could not brush me off the doorstep (!)


On the first of this month (a bank holiday) I made the crazy decision to drive from Liverpool down to Maidstone just to see Holly Henderson’s debut live set with her newly-assembled solo band. Holly had at that time just come back from LA, having been invited over there by ace guitarist Pete Thorn after he’d heard her home-produced material (released as the ‘Opium Drip’ EP). At that time I had just finished a contract, and with some free time on my hands as well as a little money for once, I decided to do it knowing I wouldn’t get many other chances to see her live this year. She was playing as part of a one-day live music event at a bar in her home town, but as it was I made it there only minutes before her set was due to commence. I’d only ever seen her as a guitarist in bands before then, this time she was out front handling lead vocals too (although she was augmented by singer Katy Chellar) and her band, made up of musician friends of hers, were a powerful live unit who gave her excellent backing. I knew none of the songs she played that night (save for ‘Your Hands’ from that EP) but the track which lodged in my mind was ‘Loneliness’, a pacy rocker that she has now lined up as the lead-off single for that upcoming album. At that time she was still a member of DORJA, but her own solo project had gained legs so quickly that it soon became clear she couldn’t juggle everything, and shortly after this set she announced she was parting company with the hard rock band she co-founded. That was a little saddening for all involved but both she and her former band would go on to release more material this year.

My next gig was a little closer to home; original Whitesnake guitarist Bernie Marsden was playing at the fabled Buckley Tivoli. Although he remains best-known for those three years or so with Coverdale, he has ploughed his own bluesy furrow for decades now and as well as being a highly-respected guitarist, he is also a fine lead vocalist. He couldn’t get away without playing ‘Here I Go Again’ of course, the song he co-wrote with David Coverdale which took off so successfully five years after its initial release, that it probably set him up for life! Following that, I was invited to a birthday bash with a bit of a difference – a friend of mine I know from gig-going (Nigel) had arranged an evening featuring several acts he had seen and got to know. All performed acoustically, and the night was staged in a social club near Nottingham. Performers included Alisha Vickers, a singer from Yorkshire, the glamorous April Allen (a singer/songwriter who performs solo with an acoustic guitar), Nottinghamshire band Desensitised. (the full stop is part of their name!) who played as a duo with guitarist Libby and bassist/singer Charlotte, and Hands off Gretel, a grunge-inspired band featuring the striking Lauren Tate who also performed as a duo with Lauren accompanied by guitarist Sean McAvinue. It was HOG who stole the show, with Lauren Tate’s expressive performance seeing her climb chairs, her guitarist, or even just make shapes as she played and sang. I have yet to see her with the full band but intend to do so in 2018.

The next gig this month was a trip to Stoke-on-Trent, in order to see the Women in Rock act which, on this occasion, featured DORJA guitarist Rosie Botterill who guested in place of their regular guitar player. This act is fronted by two, sometimes three, female singers with a (usually!) male band and they play covers of rock songs made famous by the likes of Pat Benatar, Heart, Stevie Nicks and Joan Jett among many others. Rosie had only limited time to learn a long set and gave a great performance, as sole guitarist a lot sat on her shoulders. She is a big fan of Slash, so playing in his home city was a big deal for her.  A few days later, the month continued with another trip to Stalybridge, to see the SoapGirls who had just arrived back in the UK from their South African homeland. They spend the summer months in the UK playing anywhere and everywhere who will have them, and have gained a loyal following since first making themselves known to many of us in 2015. Comprising of sisters Camille (‘Mille’) and Noemie (‘Mie’) Debray on bass and guitar respectively, they split lead vocal between them and play hard punky guitar-orientated songs, some dealing with serious topics about the state of things in their native SA, others are more light-hearted party numbers. They perform as a trio, with a drummer locally recruited for live performances. Their shows tend to border on the anarchic, with audience participation not just encouraged but enforced sometimes! I found this out for myself as I was shoved up on stage by Sam Debray, their mother who acts as tour manager, driver, road crew, photographer, guitar tech, costumier and chaperone/security where necessary! She, like the girls, has got to know many people who attend regularly and decided to involve yours truly in the show! I won’t divulge what took place exactly other than to say it included water spray bottles and wax strips, with grateful thanks to Mie for going easy on a vulnerable ageing hippy (!) I’d hoped to see more of the SoapGirls this year, as it turned out this was one of only two of their gigs I’d get to for reasons I’ll get to later.

Things calmed down a lot the next week as I attended an in-store appearance by Inglorious, a UK hard rock band fronted by the flamboyant Nathan James, who had just released their second album (recorded at Liverpool’s Parr Street Studios). This took place at Liverpool HMV and saw the quintet perform a short acoustic set of songs from both their albums, followed by a signing and photo session with fans. During the appearance the singer let slip that they were touring in the autumn, when that came it clashed with a gig I had already lined up though, so I have yet to see them live other than this in-store. I saw enough to hear what a powerful voice he has, however.

Days before my next gig, one I was really looking forward to (Iron Maiden, at Liverpool Echo Arena) news broke of the death of Soundgarden/Audioslave singer Chris Cornell. That cast a shadow over the gig, with Brent Smith of support act Shinedown visibly shaken by that news, when he paid tribute to the fallen singer (a hero of his) during their set. Iron Maiden were, as expected, magnificent. They brought the full arena production to Liverpool, a spectacular show with songs from latest album ‘The Book Of Souls’ and a selection of back catalogue classics, all performed with the usual verve and with bassist Steve Harris and guitarist Janick Gers running around the big stage, the bassist as ever mouthing the song words alongside singer Bruce Dickinson.  The show fell on a Saturday evening, and from my prime spot close to the front I was surrounded by fans who had travelled from other countries including Italy, Brazil and Poland. That showed me just how much our city had needed this venue and shows like that to bring people to Liverpool. The gig was one of those real events we get precious little of in Liverpool, with this show having been such a success it is to be hoped there’ll be much more like it while your correspondent is still fit enough to enjoy these gigs!

The month ended on a dreadful note however, as news broke on the night of the 23rd May about the horrendous attack at Manchester Arena following a concert by pop singer Ariana Grande. As someone who knows that venue extremely well, and could have been there myself shortly before this attack had I decided to see Maiden play in Manchester too, it really hit home. It shook music fans of all stripes, especially as many of the victims were children. The arena was out of action until September as a thorough investigation commenced, with planned gigs from KISS, Ritchie Blackmore’s Rainbow and others cancelled.


The best laid-plans, and all that. I had several gigs in mind for this month but after seeing two, things all changed!  First of only two gigs I did see this month (both in Liverpool) was at the newly-opened 27 Club (a live venue and rehearsal space) where they kicked things off with a multi-band bill headlined by Californian all-girl glam punks the Glam Skanks. Before that there were some local bands (all female-fronted), including Last Reserves from St Helens, the Liverpool-based Figures, and Novacrow who delivered their usual mayhem including when bassist Freddy not only jumped off stage but ran out of the door – his radio link allowing him to play while out in the street!  Glam Skanks meanwhile, were playing in Manchester supporting The Skids, and as soon as their set was over they hightailed it down the M62 for this set in Liverpool. Arriving during Novacrow’s set, they had to set up quickly in this small bar area. They were very entertaining, more glam than skanky for sure with singer Ali Cat charming the punters with her cheerleader-inspired look. I’d definitely see these again if they came around my way, and it was a great start for a new venue that would be great for many bands of my acquaintance.

The only other gig I got to this month was by The Strypes. I’d heard of this Irish quartet from a few people I know, and they resonated with this old rocker who liked their modern-day take on Feelgood-esque rock ‘n’ roll played hard. Coming the day after the UK General Election feelings were still a little high, encouraged by support Man & The Echo, whose frontman was certainly no fan of the incumbent prime minister! The Strypes themselves avoided such things for the most part, preferring to concentrate on delivering their songs as hard as possible to an eager audience. They had as much energy and volume as any Metal band I’ve seen, more so if the truth be told, and had the crowd moshing all evening. Yours truly anticipated that and stood well clear, however it was after a splendid gig I suffered an injury that put me out of gig-going for some time. Walking back through the city I caught a step by the ruined St Luke’s Church (‘the Bombed Out Church’ as it is locally known). Falling to the ground, I could not stand up again and had to sit for several minutes to compose myself. My right ankle swelled up like the proverbial balloon in the meantime, and I still had to get back to my car which was parked several hundred metres away. To cut a long story short I made it somehow, drove home, thinking I’d just turned it and it’d be OK in a few days. In fact I’d fractured my ankle in the fall, which became clear once I had it looked at and was immediately sent to A&E at my local hospital! With my leg in a cast for several weeks, that meant no more gigs for a while. Ruled out for a start was an intended trip to Chester to see Tyler Brant & The Shakedown, also out of the question were two Manchester gigs by classic rock bands Blue Oyster Cult and Cheap Trick, neither of whom I’ve seen and was hoping to change that.  I’d also considered a run to Birmingham to see Ritchie Blackmore’s Rainbow, but that was also scrapped following the injury. In fact, the only ‘live’ music I got to see during that period was the Foo Fighters’ televised appearance at Glastonbury. That wasn’t bad, but I’d much rather have been at some actual gigs! Also ruled out were the DORJA dates, which were planned for July and would feature their newly-recruited guitarist Sarah Michelle, but I could not travel with my right leg in plaster. That was disappointing, but there was nothing to do other than wait this out and let it heal. Then I remembered – the SoapGirls were coming to Liverpool that month…!


I had no choice but sit out many tours I’d planned to get to, as my leg was in plaster all through this month. However, by the time of The SoapGirls gig at Maguire’s Pizza Bar (a small restaurant with a back room they hire out for bands) I’d decided that as they were coming to my city I would be there regardless. Some of their regulars were attending, and some were even helping out with merch, gear transportation, whatever. I was unable to stand properly and used a wall as support (!), but was still greeted warmly by tour manager Sam Debray. The performance space was very small, and that possibly affected the girls’ plans as they didn’t do many of the usual stunts such as getting audience members to drink dubious concoctions (!) or even spray champagne (or cheaper sparkling wine) and shaving foam everywhere, it was a more restrained performance by their standards. They still played hard, of course but it was not the full SoapGirls experience by a long way. Nevertheless it was a big deal for me at least to see a band I’d got to know play in my city, and when Mille and Mie saw my cast after their set they got why I wasn’t at the front jumping around as usual!

A week later I decided to go along to another gig in Liverpool, this time at long-established club the Krazy House who were staging a three-band bill including Tequila Mockingbyrd, Black Cat Bones and Aussie outfit Massive. I recognised only drummer Josie from Tequila Mockingbyrd; since their earlier gig singer/guitarist Estelle Artois had stood down from the band and taking over was Louisa Maria Baker. Also recruited for the bass position was Jacinta Jaye, who is a fair dinkum Aussie unlike the Bristolian Louisa. Unfortunately I got there in time to see them packing away – hobbling through the doors I saw Josie clearing away her kit for Black Cat Bones to take the stage. However, the girls let me know that they would reappear with Massive during their set. Black Cat Bones once again delivered a fine set of retro rock, vocalist Jonnie Hodson is a real talent although he does like to have a laugh on stage between songs. I’d little prior knowledge of Massive but was expecting a hard-hitting set, as befits an Aussie rock band. They didn’t disappoint in that respect, they smashed it and at the end, they did indeed bring members from both Black Cat Bones and Tequila Mockingbyrd on stage for a chaotic jam. That was my lot for gigs in July, I was barely getting back on my feet at this stage but without a live fix for weeks I was starting to go stir-crazy!

For Part 3 click here


Single: DORJA ‘Far Gone’ (download-only)

Those DORJA girls are adept at generating a buzz alright, with the release of their latest single ‘Far Gone’ after a lengthy teaser campaign involving cover art, snippets of the track and a brief taster of the accompanying video all leaked to social media over the past few weeks. The track itself is the first to feature new guitarist Sarah Michelle, who joined in the summer shortly before the group played a series of UK dates. One of those gigs was a return to PKD Festival, held in Scotland and where DORJA made such an impression upon that event’s organisers in 2016, that they booked the band again immediately for the following year. Footage from their 2017 appearance has been used for their promo video, which is linked at the bottom of this post.

‘Far Gone’ has been part of their live repertoire for some time; I saw them play it back in March, yet was only recorded in the summer while all the members were in the UK. The song is a blues-influenced hard rocker in their now-familiar style, gently led in by Sarah Michelle’s opening guitar and Aiym Almas’s throaty vocal, before the powerchords kick in, in true Whitesnake tradition (‘Break me, or take me as I am, I’m not giving in’). The arrangement is similar to the live rendition save for the absence of the brief drum solo – but they have simply replaced one Zeppelin nod with another, with ‘Whole Lotta Love’-styled atmospherics in its place (kept short).

If you liked the material on the earlier ‘Target Practice’ EP then you should enjoy this too. It wouldn’t surprise me if it were to appear in physical form on a future EP as they have more material ready to go, and have been writing again since Sarah Michelle joined up. She is a perfect fit for this band, and I look forward to hearing how she influences the writing of their future material.

For now though, this will keep we Dorjians going until they reconvene for more live dates, which are planned for early 2018. With the membership scattered far and wide, they have to plan things long in advance, but they’re gaining a loyal following which should mean we see and hear a lot more from them in the coming year.

The video for the single is now available on youtube, to get a high-quality download of this track please click this link to go to their online store.

4 – Deserving


All change in the DORJA camp; farewell Holly and welcome Sarah Michelle

Almost a year to the day since DORJA announced themselves with their track ‘Fire’, they have now had a change to the line-up. Founding guitarist Holly Henderson announced her departure last month, as her own solo career is set for lift-off. She has plans to play live with her new band, and with a new EP imminent and an album in the can for release later in the year she perhaps felt that she could no longer give her all to DORJA. With dates of their own booked for July, the remaining quartet (guitarist Rosie Botterill, drummer Anna Mylee, bass player Becky Baldwin, plus LA-based lead singer Aiym Almas) conducted an online search for a new guitarist, and they have today announced their new member.

Hailing from Dublin, Ireland, new six-stringer Sarah Michelle has several years’ experience touring the UK and Europe, most recently with tribute act ‘The Magic of Michael Jackson’. Her guitar influences include Eddie van Halen, Gary Moore, Jimi Hendrix and Paul Kossoff, and she maintains a channel on YouTube with over 1.2million views at the time of writing. She appears to be a natural fit for this band, and I was hoping to get to a show or two in order to see for myself what she will bring to the party. However I shall be out of action for most of July having sustained a fractured ankle (following a recent gig, note not during it!) therefore I cannot travel to any of the scheduled dates. Beyond disappointed at that, since I know the other four members well and would no doubt enjoy their set, but it will have to be another time.

The dates for DORJA’s upcoming tour are listed below, if a show is reachable I recommend attending, since the band members can only come together at irregular intervals (singer Aiym Almas is based in LA, with Sarah Michelle in Dublin and the other girls all based in England).

For further information please see the band’s Facebook page.

DORJA UK dates July 2017
Lastly, here is a clip of Sarah Michelle herself from her youtube channel:

DORJA guitarist Sarah Michelle

DORJA guitarist Sarah Michelle

Caught Live: Women In Rock, Eleven, Stoke-on-Trent May 12th 2017

There seems to be an increasing number of live acts celebrating a particular ‘theme’ of music; for instance the touring Supersonic 70s (aka ‘Solid Gold 70s’) is a live band with male and female vocal, who celebrate all things 1970s with a selection of hits from the decade taking in many different musical styles, and all presented with a dash of humour and period clothes for the performers. It is a welcome change from the number of tribute acts out there; almost any reasonably well-known band now will know they’ve arrived when they have their own copycat tribute act. While it can be enjoyable, the idea of doing a show based on a theme rather than a particular band is starting to become popular and so it is with this show.  It is exactly as it says on the tin, as far as I’m aware this is the only act of its kind on the circuit in this country. Once again a live band, but with two (sometimes three) female singers out front performing songs made famous by prominent female rockers.  The band musicians themselves aren’t necessarily female, but on the occasion I caught them their guitarist certainly was.  I was here mainly because DORJA guitarist Rosie Botterill was playing; she had been invited to guest on guitar for this show alongside their regular band.

Looking at the website for this act, they seem to have a revolving cast of singers who come in as and when available. They have been known to include The Duchess from the band Space Elevator in previous shows, but for this show the singers were Emily J Clark (who has appeared with ‘Vampires Rock’ among other shows) and Aussie vocalist Sara-Louise. Eleven is a bar and function room set in an industrial estate, which is easy to miss from the road (I drove past it myself before realising) with a not-very-obvious entrance up a flight of steps. However once inside, the room is spacious with a decent-sized stage. The group came on stage just before their scheduled start time of 9pm, with the singers and guitarist Rosie accompanied by male musicians: bassist Steve Clay, drummer Mick Neaves and keyboardist Jamie Brooks.  They kicked off with a rendition of Pat Benatar’s ‘Heartbreaker’ which introduced the powerful voice of Sara-Louise and ran through a series of rock favourites, including Joan Jett’s ‘I Hate Myself For Loving You’, Blondie’s ‘Atomic’ and Stevie Nicks’ ‘Edge Of Seventeen’. The songs were sometimes performed as duets, with the ladies taking the verses in turn, or sometimes one would step to the front of the stage while the other provided a backing vocal.

Not everything was obvious 1980s classic rock however; some surprises included Skunk Anansie’s ‘I Can Dream’ (which Sara-Louise described as more modern. It is, kind of – but it’s now 20 years old!) and ‘Remember My Name’ – a minor hit for Stevie Lange which is best remembered as a theme to a perfume ad from the early 1980s. Whatever they sang, the vocals were impressive from both women. These songs aren’t exactly crooned, after all! Sara-Louise took on the daunting ‘Alone’; described as a Heart song (it was a huge hit for them, but was originally written and recorded by the obscure act i-Ten) while the power ballad quota was maintained with Cher’s ‘I Found Someone’. After an impressive cover of ‘I Got The Music In Me’ (a 1970s hit for Kiki Dee) there was a short interval.

The band returned for their second set with the singers having changed costumes, picking up where they left off with ‘Hazy Shade Of Winter’; originally a Simon & Garfunkel song of course but included here on account of the fact that the Bangles had a hit with their 1980s cover. They went soulful with ‘Piece of My Heart’ next, though the arrangement was closer to the Joplin (Big Brother And The Holding Company, if we’re being pedantic!) version than the Erma Franklin original, once again demonstrating the sheer vocal power of these ladies. In this set they included a few more recent covers; Sara-Louise impressed particularly with her delivery of Evanescence’s ‘Bring Me To Life’ (which also meant bassist Steve Clay stepping to the mic in order to deliver the male vocal parts) and Halestorm’s ‘The Rock Show’. Other recent-ish covers were Pink’s ‘Just Like A Pill’ and ‘You Oughta Know’ – the Alanis song featuring the only F-bomb of the night courtesy of Sara-Louise (!)

The act did tread some more familiar ground, covering Tina Turner’s ‘What’s Love Got To Do With It’ and ‘Because The Night’, a song which was a hit for Patti Smith in the late 1970s but co-written with Bruce Springsteen (who has performed a version himself with different lyrics). They closed out with Suzi Quatro’s ‘Can The Can’, before ending as they started with a Benatar cover (this time ‘Love Is A Battlefield’). The encore was a Bonnie Tyler medley/mashup , starting off with ‘Total Eclipse Of The Heart’ they segued into ‘Holding Out For A Hero’, which saw both Emily and Sara-Louise come to the fore. And that was our lot!

Special mention must be made of Rosie, who had only a short time to learn a lengthy set and did a terrific job of filling in for their regular guitarist (Alex Ward). I got to speak to her afterwards (and get an obligatory photo!) and she said that she would be performing again with this act, although she didn’t know yet exactly when. She was concentrating hard on her playing, usually she is a little more expressive with her trademark ‘bounce’ as seen with DORJA and in her previous life in a punk cover band, but here she was more restrained, taking the lead when prompted but largely giving the singers the spotlight. She is a self-confessed fan of Slash and this show was therefore special for her to perform in his home town.

All in all then, a great night of female-fronted rock performed by two mightly powerful singers, and all for less than a tenner. They do a wide scope of material, but as a fan of the European symphonic metal scene I’d like to see that side of female-fronted rock represented too. They get close with Evanescence’s hit, but I did suggest to the girls afterwards that maybe one or two from the likes of Nightwish or Within Temptation would fit nicely in this show. Whether that’s taken on board remains to be seen, but your correspondent did wear a Delain T-shirt for the occasion, as their singer is my favourite when it comes to ‘women in rock’ (!)

This act plays frequently across the UK and so I will aim to see them again when they come to the North West.

4 - deserving

4 – Deserving

Caught Live: DORJA (supporting LiveWire AC/DC), Robin 2 Bilston 31st March 2017

Once again the dreaded Same Night Syndrome struck here, I had originally planned to go and see Blackberry Smoke this night but when the three dates for this all-girl band were announced things changed, since the only one I could possibly make was at this Black Country venue on that very night.  I’d long planned to go and see the band again after seeing them make an impressive debut last July in Birmingham, in the meantime I’d been following events closely as they demoed material and, at the beginning of the year finally went into a studio to put some of the songs they’d written down on tape. (Do they still use tape these days? 😉 )

When I saw DORJA last year I was already familiar with some of the band members, having seen them play on numerous occasions in their previous band (which performed covers of punk/new wave classics). At that time they had only recently left that act (and had shed the stage names I’d known them by until then); that, plus the fact that the new band would not only feature their own material but be in a more traditional hard rock direction, meant that I was still adjusting to the change when that gig took place. We were also introduced to a new face that night in vocalist Aiym Almas; a Kazakh-born, LA-residing singer who had been recruited by drummer and founding member Anna Mylee during her own time spent in LA. The band impressed those who’d come along, despite the singer suffering from illness which forced the other band members to take occasional vocal spots too.

By the time of this release and series of gigs I and others had got to know the band and their members better, mostly via a series of social media posts which provided updates on what they were doing. The girls (without the singer) met up in Anna’s Belgian homeland last autumn to demo material and also conduct an interview, while they had maintained regular contact with their US-based singer via the magic of Skype. When they played this time around, it was with Aiym firing on all cylinders, and I’d heard great reports from people who had attended the previous two dates. So, no pressure then, as I said to Anna during a pre-gig chat at their merch table…!

Anna’s kit was set up stage right (house left), as the LiveWire backline took up a lot of the stage. She came out first and pounded a rhythm reminiscent of Cozy Powell’s ‘Dance With The Devil’ before launching into opener ‘Reaching Out’. Straight away, it was obvious what a powerful and soulful singer Aiym is, this brought it home that last year we only saw about 30 percent of what she can do. In addition, she has real ‘stage presence’; almost regal in the way she carries herself. This band may be made up of attractive women (sorry girls, but you are!!) all of whom have confidence, ability and presence themselves (particularly dynamic bass player Becky Baldwin who is never stood still) but, I for one found it difficult to tear my eyes away from that captivating frontwoman.

All the tracks from the EP were performed, as well as some material that did not feature this time around including pacy hard rocker ‘Turn In All Around’ and ‘Far Gone’, a bluesier number that features a ‘Moby Dick’-style drum solo in the middle. (It’s kept short!) It is to be hoped that these do feature on another release in the near future.
Although the revelation for me was the singer, there was great playing from all concerned, and it was guitarist Holly Henderson who provided much of the backing vocal for the singer, their voices blended well together on the soulful ‘Not In My Shadow’. Across the stage, Rosie Botterill on the other guitar was responsible for my breaking out the air guitar, during ‘Fire’ 😉

They ended their set with a medley/cover, combining The Beatles’ ‘Helter Skelter’ with Zeppelin’s ‘Whole Lotta Love’, both with a raunchy and throaty vocal from Aiym.  They were given around 45 minutes by LiveWire and made the most of the opportunity, wowing the early arrivals and, judging by the amount of people at their stand afterwards, winning many new followers.

The band must surely be pleased with how these shows went; all the girls have plenty of other irons in the fire musically but when this five-piece do get together, they’ve showed in the few gigs they’ve performed so far that collectively, they’re really something special. LiveWire are to be commended for inviting them to support (they did a good -lengthy- set themselves, featuring two vocalists who cover both Bon and Brian material) and if DORJA can land themselves a support tour of this country opening for a ‘name’ band playing Academy-type venues, there’ll be no stopping them. I gave the EP four inflatable guitars, live they’re something else and therefore the five are awarded here 😀


5 – Delightful

EP: DORJA ‘Target Practice’ (self-released)

It has been a long time in coming, but finally there is a physical CD of material available from this hotly-tipped all-girl hard rock band who were last seen on these shores in July 2016.

DORJA launched in June last year; formed by Belgian drummer Anna Mylee during a spell in Los Angeles, she recruited fellow LA expat, Kazakh-born singer Aiym Almas before turning her attention back across the Atlantic to complete the line-up. She had worked with guitarists Holly Henderson and Rosie Botterill before, touring the UK extensively and gaining many admirers, and so both were drafted in from the covers band they had been part of previously. In turn, they invited bassist Becky Baldwin (one of the most active performers on the live scene currently, also a member of trio iDestroy and metallers Triaxis) into the fold, and the five initially conducted writing sessions via Skype before the whole group met up in LA in May 2016.  Whilst there, they recorded one of their new songs (‘Fire’) and released it as a download-only single. That track also features (unchanged) on this EP, while the three accompanying tracks were recorded at the beginning of 2017 in England, with the singer adding her vocal tracks from her LA base.

Those who have followed this outfit from the start will already know ‘Fire’; a hard-hitting number with chunky riffage and a powerhouse vocal. Lyrically, it also sets a tone (heard throughout this record) of empowerment (“No, you’re not winning this game; I’m not a prize that you can claim”) which gives this material more depth than a party-hard lyric often heard in hard rock of this style. (Not that I’m against a bit of hard partying, of course!)  The lyrical theme continues on ‘Not In Your Shadow’ (“Hear me speak, it’s louder than what you might remember”) but on this number, the guitars are dialled back a little allowing a more soulful, passionate vocal.  The heavier guitars are back on ‘Reaching Out’, with another defiant lyric (“And I will survive, because you don’t fight my fight”) delivered over Anna Mylee’s syncopated beat, accompanied by some tasty lead soloing from Holly Henderson. The title track ‘Target Practice’ closes this EP, a mid-paced rocker featuring nice vocal harmonies, which builds up into a guitar-heavy crescendo.

For such a new band, this is an accomplished first offering. All the material is self-written (credited collectively) and this outfit is already starting to fulfil its huge potential. In particular, they have a real star in that lead singer, she has both raunch and tenderness in her delivery and knows when (and when not!) to deploy either quality.

The logistics of having an international membership mean that they only get together and perform some of the time, however I believe that if they were given the chance to spend more time as a unit (even if that meant a wholesale decampment to Los Angeles) they could deliver a fantastic debut album, one that would stand the test of time. Certainly if given the backing their talent merits, they must surely become huge in the years to come.

DORJA have just performed a trio of UK dates to launch this EP; a writeup of their set supporting LiveWire (AC/DC tribute) at Bilston will follow. They will return in July for festival shows, be sure to go along and catch these girls live.


Click image or link to go to DORJA webstore including CD and other merch

4 - deserving

4 – Deserving

EP: The Sex Pissed Dolls ‘Maniac’ (Sex Pissed Dolls)

It’s been a turbulent month for all-girl punk/new wave cover band The Sex Pissed Dolls; first of all they parted company with both their guitarists only days after their much-anticipated appearance at the Isle of Wight festival, then they were struggling for a while as to what they should call themselves. They’d been shortening their name to ‘The Dolls’ on some bills, in order to allow themselves to be more easily advertised but for a brief period last month they were calling themselves ‘The Septic Dolls’. Fortunately the group’s management reconsidered that move and they reverted to their original name, having presumably decided that it just couldn’t be bettered.

In amongst all of that, they were also having to bed in two new guitar players. The new members have taken on the stage names of their predecessors and have had to hit the ground running, performing at several festivals and also at Silverstone, where they played for a crowd of Formula One fans following the recent British Grand Prix. Now they have finally released their debut EP consisting of three tracks of original material, produced by Steve Brown (who produced The Cult’s ‘Love’ album among many others) and recorded at Peter Gabriel’s Real World studio. The EP is available now as a download and will also be released on vinyl in strictly limited quantities.

It isn’t made clear on the information provided with the download who wrote these songs; the new tracks have been performed live since March, when the previous Connie Rotter and Kitty Vacant were still in the band. They did post a photo back in February showing the group in the studio (along with Tommy Scott of Liverpool indie-rockers Space), which suggests that the line-up as it was before June played on this EP. With all three tracks safely in my music folder then, let’s fire up the MP3 player and give them a (virtual) spin.

The first thing you’ll notice is that all these songs are short; no more than two-and-a-half minutes for any of them. Definitely true to the punk spirit in that aspect, then! Lead-off song ‘Maniac’ kicks in with a riff reminiscent of Zeppelin’s ‘Communication Breakdown’ and some strong vocals from Nancy Doll, with nice harmonies on the chorus. In this one, the lyric warns a ‘wannabe Ted Bundy’ just what he is dealing with here (‘you don’t realise, you’re kissing a maniac’). All these tracks are counted in by Anna Key’s drumsticks and next song ‘Shitty Old Town’ is one inspired by the experiences of one of their fans, living in a small provincial town which could be anywhere in Britain (‘living in a place with no energy’). Nancy’s vocal inflection here is Southern/Estuary English (she’s actually Northern!) and the guitar riffs here are harder and more jagged than on the first track. Last track ‘Sci-Fi’ is another chantalong designed to have you pogoing across your living room (if your knees are still up to it!). ‘Maniac’ is the pick of these three songs for me, although all have gone over well on stage when they’ve been played live.

The Dolls have always performed a selection of covers from a diverse range of bands coming under the punk/new wave umbrella, which has meant they’ve covered a huge range of styles. All of these are short, snappy high-tempo songs that remind me as much of their near-namesakes the New York Dolls as the Sex Pistols, which is no bad thing. Now that they have some new blood in the ranks, it will be very interesting indeed to see what direction their future material will take.

Sex Pissed Dolls 'Maniac' EP cover

Sex Pissed Dolls ‘Maniac’ EP cover (click image for Amazon link)

4 - deserving

4 – Deserving