what have i done indeed. i have started a zine. not the most original of ideas, and perhaps just a bit haughty of me... but never mind. should you ever be compelled to contribute, you are most welcome; use you skills to contact bellyache & say hello. & why not? i say...

hoping not to bore you senseless, in novembers issue (the first ever! *prrr, swoon*) belly ache presents you with some great artists (would you expect any less?), and some insane ramblings (sorry xx).

josh doyle & david fridlund both step out on their own: read an interview i did with david at the begining of the month, & an article on josh's new approach after a very long absence. a non-music related feature comes from the museum of childhood, presented by cherb & dot. belly ache chases goldie lookin' chain's recent rally, & stalks delays on their uk tour. we also make concise comments on new releases from death from above 1979, josh doyle, kaiser chiefs, pellumair, delays & the black velvets.

so have a read & take heed or ignore to your discretion. ta ta - ruth moog xx

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former dum dums front man josh doyle is bringing out a new ep, after what is 3 years of laying dormant following dum dums' split in 2001. the 5 track ep, which is only available to buy from his website joshdoyle.com entitled "the end of fear", josh says, is the next step on from where the dum dums' album "it goes without saying" left off.

with this in mind, the end of fear promises to be no ordinary record. something that separated dum dums from other bands at that time regardless of their music, was their ability to be more than a band, & yet to remain real people. never ones to fit into the pigeon-hole of rock band nor boy band, always having time to consider their fans as friends, and provide an ear and a voice to those who needed it, made them an exceptional example to the commercial music scene, & started a trend for younger bands to try & emulate their success. changing many peoples lives seemed to be all part of the job, as well as playing kickass post-punk-pop-rock gigs in many venues from the barfly clubs to wembley arena with bon jovi.

so from past achievments, you can assume that great music, strong melody, & touching lyrics all come with the territory, and though the end of fear is a departure from the usual format of josh doyle's music making, all the essential doyle elements are still there. so what's different? the most obvious new dimension to his work is the introduction of processed beats. he proudly proclaims that "this isn't going to be your usual band guy goes solo thing; it's electro, it's the future. it's beats made out of cameras and water."
indeed, tracks like boy racer for example present trip-rippling rhythms where sharp cutting beats remain somehow organic & acoustic sounding, making this work - some of the best work of his life he claims - a progression onto something new, again innovative, and again familiar.
solarstorm displays josh's beautiful writing in an acoustic track, atmospheric and vast, and a reflection of the perhaps unresolved astrological theme that josh seems to have been drawn to in the past.
the london session orchestra also make an appearence in final track, become beautiful, suggesting that on these 5 tracks alone is a varied & dynamic example of what is to come from this songwriter.

i managed to ask josh a few questions about the ep, just as the issue was going up ... here they are...

belly ache: it's taken a long time to create the ep after parting ways with the dum dums, so there was a considerable break inbetween the projects - when did you decide that a solo ep was the way to reintroduce yourself to the music scene?
josh doyle: actually it came to me in a flash of white light about the beginning of september!! which means from inception to the initial internet release has only been a mere two months - and that includes finishing writing, recording, mastering, taking the photos, designing the artwork, getting the sleeves printed up - but it all came to me that i needed to stop keeping this music to myself and get it out there and have faith and stop being so afraid of what people might think.
there was a considerable break because i needed to lay out what i wanted to do with my life and i needed to write and write until i had material that was as good and better as songs i had written in the past, and that just takes time. and the songs didnt all come in two months, they have been growing in the last three years.

ba: did all the time between dum dums & the end of fear ep shape how the ep sounds, or did you have a long break before thinking about writing the ep?
jd: the ep songs came sporadically - the last one to be written was solarstorms about two and a half months ago, but boyracer was started back in england three years ago (josh now lives in america -ed) and changed a whole lot when i went into the studio. actually none of the songs were completely finished by the time i went into the studio, i rewrote and rewrote them every night when i brought them home. in the original demo of solar storms theres a lot of weird nonsensical babbling instead of lyrics.
the sound of the ep was a lot of sam's input (sam shacklock produced the ep -ed), he comes from a "sounds" background, and i wanted to do something unexpected but still soulful, we worked great to bring out the best in eachother.

ba: you've said the ep is meant to start where the dum dums album left off, that this ep was the next step on for a certain moment of peoples lives - does this mean you expect the new material to be understood by a certain age group or type of person?
jd: yes and no - i think that people will take away what they bring with them, certain songs like solarstorms are universal, and each has themes that are universal, but if you get deeper into songs like aphrodite you'll see that it is from the perspective of maybe a twentysomething looking back on regrets and anxious about whats to come.

ba: how involved have you been at each stage of the making of the ep?
jd: the great thing is that i have been able to do exactly what i wanted to do, and i have made some mistakes, but it's fine 'cause i own those mistakes. production wise i didnt want to impose on sam, there were things i brought to the table from my studio experience but i wanted his talents to shine through too. but i did most of the photography (jenny (josh's wife - ed) did the sillhouette of me in the middle) and i coordinated everything - it was great because it broke me of my fears, going straight in at the deep end of the pool.

ba: you are incredibly devoted to your fans, which is a rare thing; what motivates you to keep the communication between artist & fan so open?
jd: well i dont know. i really try my best to be that way. i just care about people and i have heard how people are touched by the music i have been a part of in the past and i think how thrilled i would be if say eddie vedder or dave grohl would email me back or reply to my messages (not that i am those guys, but just they are people whose music i really identify with, which is how i relate to my situation). i know perhaps doing that i lose some of the "artist mystique" that guys have who sell a lot more records than i do. and maybe thats really dumb!!
but whatever, you know. i cant help it.

ba: what are you hoping to acheive following the release of the ep, and what will mean to you that this release has been successful?
jd: at first i want to break even, then i want to start making money so i can provide for my family doing music still. if people are touched by it, it will be a success, but deep down i just want to get my name out there, prove myself as someone with something to say. i want to get the word out because people could benefit from hearing these songs, and i say that because i put my own hurt and blood into these songs and they turned into something redemptive.

ba: has it been difficult combining your life as a rockstar (or songwriter) with your life as a dad?
jd: haha - no its been great i've been at home for the whole first year of lauren's life, and most dad's dont get that privilege. it will only suck when i am back out on the road missing things as she grows. but right now its great.

ba: you're planning to come to the uk to play in the not to distant future? how is josh doyle as a live act going to appear: how do you expect the live shows to compare with what the recordings acheive?
jd: i'm not sure so far. i want to do some shows over here with just me and a guitar, and other shows with me and a guitar, sam on his pc, a drummer and a bassist. i don't know which combination would come to england. if i went with a band i think it would be cool to use guys in england and practise for about a week before going out on tour. what people dont realise because they are spoilt with big record labels, is when youre doing it by yourself you are footing the bill, and it can be very expensive, so i have to be sure its not going to be a dismal failure - the only indications i have of that so far are how well the ep sells.

thanks for those josh

joshdoyle.com

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if you happened to be in the vacinity of london's leicester square on monday, you are likely to have witnessed an increased number of 'chavs' meandering about.
it's the day of release for goldie lookin' chain's current single, "your mother's got a penis", & to mark the occasion there is a fair amount of carnage going on, featuring bling cars, girls on rollerskates & the essential combination of burberry & leisure wear.

upon my arriving in a panic at missing the 1.00 kickoff, i was conviently directed to the source of the rally by random passers by, exclaiming "chavs! like 10 of 'em!" & "ho ho ho, baseball caps... chavs!". i'm serious: this happened. soon the call of "your mother's got a penis" reaches my ears & is heard gracing the streets of london, as the youngun's with a cause take to the streets.

i inconspicuously followed the goings on, camera in hand, in somewhat the style of a mysterious spy with a hysteria problem. i have compiled my evidence on this very page. you may find some scenes disturbing.

SCENE 1:
leicester square. bling cars.

SCENE 2:
virgin megastores, oxford street. rabble loiters. police car arrives.

girls on rollerskates hang on the back of a police car. then get told off...

SCENE 3:
hmv, oxford street. cries of "g l c loves h m v!", "you're welsh & you know you are!" confuse & entertain shoppers.

SCENE 4:
oxford circus station (it's hard getting a large body of people across a busy road with a bus in the way...)

by now, my ability to remain inconspicuous is wavering. i try to blend in with the crowd & continue "undercover". or not.

SCENE 5:
burberry, regent street. this is pure genius, clearly.

confirmation that my trying to look inconspicuous was pathetic comes as we leave piccadilly to head back to leicester square & a reporter attempts to interview me...
"can i ask what peoples reactions have been?"
i look shifty.
i wince.
i say: "errr... no."

SCENE 6:
back to leicester square for a spot of break dancing.

all in all, i'd say this was a very valuable experience, & a good source of nourishing entertainment. the single is taken from the outfits first major release album, "goldie lookin' chain: greatest hits".

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agents dot & cherb are sent out to the wild world of bethnal green museum of childhood, to view the newest exhibition at the museum: must-have toys, open from 23rd october 04 untill 9 january 05.

the exhibition is made up of toys from all decades from the last hundred years, all of the featured toys being the highly desirable talk of the times. this is the kind of tempting exhibition that causes you to wonder if making a visit is really such a good idea, as you can almost guarantee you will shortly after be pining for that one toy everyone else had in the playground & you never ever got. however, temptation may prove just too much, with the likes of early disireables such as teddy bears and um ...a combine harvester, to later toys mr potato head and the ultimate in playtime construction: lego. (well, in my opinion anyway...)

cherb explains:
there are glass boxes with must-have toys from the 00s backwards to some that were really old - maybe 30s or 40s. within that display is a small raggedy horse and board game. the 80s and 90s ones were like our young lives in a box - teenage mutant hero turtles to tamagotchis and, god forbid, tellytubbies!! dot was obsessed with those. they have boohbahs in the 00s as well - see, i'm not the only one! (the only boobah?! i'm worried for you - ed) i remember there being playmobil in either the 70s or 80s box. i got excited.

poly pocket cafe & dot's hand in action "we are playing this boardgame called goose" shot

being a museum aimed at children, there are plenty of activities for little hands, & cherb & dot's are no exception. one such example of the hands-on elements within the exhibition is this toys in space section, which caught a certain pair's eyes...

cherb manages to integrate interpol into her artwork without fail ... a pitbull in time you say?
judging by dot's attempt, she doesn't seem to understand the concept of the task... urrr. well done anyway!

more from cherb:
there is a little booth showing the transformers' cartoon clip, and apparently you can watch care bears and sylvanian families (!) ones as well, but we didn't know how to change it...and in the middle, there was a little yellow wigwam, a rocking horse, a shiny red chopper bike and a skateboard.
then we got distracted when i saw the sandpit...

a bionicle toy from the 00s case

the museum will be putting on events during the christmas holidays, so to find out what's going on, & check out what other exhibitions are on at the museum, visit their website at museumofchildhood.org.uk

where are all these swedish bands coming from? well, sweden, obviously. but those of you who cower in dismay shouting "how?! why?!", calm down a minute & notice that the reason for this scandinavian invasion is that there is some amazing music coming out at the moment, and you could do a lot worse than to hush up & have a little listen to one hidden gem in particular.

indeed, this is the band that gave belly ache it's name: possessors of brilliantly melodic songwriting, beauty-and-horror poetic lyrics, & a biting and kicking live show to boot. but don't worry; they wont hurt you.
not the punk fuelled garage rock of the hives or vintage hippy chic of the concretes, these are but five gentlemen, known by the enlightened as david & the citizens.

belly ache had the pleasure of talking to david whilst awaiting the release of his new solo album.

it's 1pm in london, & raining in malmö...
belly ache: so, you've been recording a solo album?
david fridlund: yes, my brother, sara and i have been working since early march on this solo album of mine. it's finished and should actually come to print today, hopefully... then i just have to wait for the reviews...

ba: if the citizens material is anything to go by the reviews will be excellent - how does the process of writing & recording work differently doing a project without the band? is there much difference apart from the number of people involved?
df: well, i don't have to compromise with anyone. not that it's usually a problem, but sometimes magnus and i have different opinions on things.
i've tried to think a bit differently in terms of arranging the songs this time: less power-pop and more basic piano songs. concentrating on the melodies more i guess.

ba: so we can expect a lot of piano then? have you done anything else interesting regarding instrumentation or production that you wouldn't usually do?
df: lot's of piano. i've worked a little on different ambient sounds, not a lot, but it's the first time i've used synthesizers at all. and a drum-machine on one track. johan (who co-produced the record) contributed some as well, since he's a computer-guy who knows those things...

ba: excellent! so where has the inspiration for the songs come from? or was this pure experimentation?
df: well, at first i thought i'd do an instrumental ep, with 4-5 songs, but then i got a scholarship and i bought a piano and wrote a lot of songs that didn't quite fit the citizens. i guess the theme on the songs are basically the same as always; that is, life and death and everything in between. you have a lot of time to think about things when you don't have to go to a job.

ba: & the choice to use synthesizers for the first time?
df: i don't know, but i wanted to do something that didn't sound excactly like the citizens. which is hard, since i do all the writing and singing there, as well...

ba: you definitely have a firm imprint on the citizens, including in the art work, so have you done the art for this release as well?
df: no - the cover for this one is actually from an embroidery my brother bought at a fleamarket.
ba: are there a lot of them in sweden? (you're going to tell me he doesn't live in sweden now aren't you?)
df: no, he lives in sweden. on the street round the corner actually and yes, there are some fleamarkets in sweden, but people from stockholm and germany buy all the good stuff, leaving only the poor leftovers for us mortals...

ba: sounds bad - how mean! but back to the album... will you be touring it soon?
df: i hope we'll be touring in jan-feb with my solo stuff. i've just spoken to my agent about that. the citizens might be doing a small tour in germany in march, however that's not decided yet.

ba: you seem to go to some pretty far out places that you wouldn't expect from bands in the uk; is that usual of artists in sweden? our music industry tends to be pretty sheltered really...
df: well, its almost impossible to get a good gig in the uk if you're not a huge band, which we're not. in germany it seems like any band can play just about anywhere; they're really interested in hearing new bands and they aren't spoiled, so they actually pay and stay the concert.

ba: so germany know where it's at. you've played in london a few times now though... it seems the majority of people who turn up are actually from sweden, but apart from that have you had the 'privilage' of the arms-crossed "entertain us" london crowds?
df: hmm, the london crowd is hard... me, magnus and sara played an acoustic gig at notting hill arts club about a year ago: that was really snobbish and a lot of crossed arms.
but i think people have liked us though. we played at the spitz once which was really nice... actually, we've played there twice.

ba: now that i did not know! how do people react to your music in other countries, & indeed sweden? do you have a nice home crowd?
df: in sweden, we've built a good, growing crowd. it seems more people like us every year. i guess anything from 500 to 3000 people would come to see us at festivals. or depending on the venue... but in general, people are surprised when they go to our shows - there's a lot of energy when we play live. and we do sound a bit different from most bands. people like the trumpet as well. it gets them going...
ba: good! and magnus flaunts it so well.
df: we're considered a party-band in germany. or at least the flyers said so everywhere we went. however, there's more to the music than party, and in sweden, or anywhere really, people really seem to like that.

ba: you do sound different - i think the closest comparison i've heard is bright eyes, but connor's live show doesn't have the same energy as the citizens...
df: tell me about bright eyes... we've heard that a million times. but it's ok; it's a good band, but a little too introvert on stage. i don't listen to them anymore, but i respect connor oberst and i think he's a brilliant songwriter. one of the rare ones that actually seem to live his music, like the citizens have always done.

ba: so you don't listen to them anymore, who are you listening to at the moment?
df: i don't listen to a lot of music, but as we speak we have lambchop in the stereo. also i like the postal service a lot. i'm impressed by the mixture of pop and electronica. very very good.

ba: we've come a long way since the 80s!
well, that's my questions exhausted, unless you have anything you want to mention?
df: no, i'm happy. however i hope to come to the uk to play, either with my solo stuff or with the citizens. if only it wasn't so hard to get a decent gig over there...

well when he does come over i for one will definitely be there & consider it your mission to be there yourself. for news of david's solo work, & more on david & the citizens, check onto their website at thecitizens.nu

mighty thanks to david, sara & jason

it's a very rare occasion that you happen upon a band that amaze & entice you so much that you find yourself having a little more than fond liking for them. a band that amaze & entice you so much so, that you find yourself gallivanting across the country simply to catch a glimpse of their ambience & melodic wonder. of course, it's entirely possible that they have actually hypnotised entire audiences in the past, but over the last month, southampton quartet delays have attracted many a new fan to their magical gigs across the uk, touring their debut album (faded seaside glamour) & new double a-side single release, lost in a melody/wanderlust.

the intricately produced album (released back in april) sparkles with spirit & ebbs with a sombre magic encapsulated within compact disc format, which although a beauteous entity in itself, does not hold the inexplicable affirmation of seeing the band perform before you. of course, i'm totally biased. but to look at their achievements in under a year, even if their giddying songs are not your preference, hard it is to convince us that they don't have something very special about them to share. but, a long way have they to go, when they set their aims high as they do...

they have ambitions to be the perfect pop band, and to look at them now, you can tell they have every intention of seeing out their plan without compromise. a notable change can be found in these guys, who've grown musically & in confidence of themselves after being on the road for an insane amount of time, in america with franz ferdinand & the futureheads, & still announcing more dates of their own in the uk as they go. nice it is then, to see them somewhat taken aback upon walking on stage to a sold out sheperd's bush empire, flattered smiles illuminating their faces.

thursday 21st october, & delays are playing loughborough student union. a momentus occasion, them being the first band to grace the unions stage in a very long time. support comes from the usual pellumair, and irish songsters hal, as with every date on the tour bar london, where clearlake take the honours.

as the four eagerly stroll onto the stage, i realise it has been far too long since i last saw them, & have a small break down. they open with b-side zero zero one and continue the night with album favourites such as bedroom scene, on (which aaron lovingly dedicates to the unions canteen), & stay where you are, with a hefty helping of amazing new tracks, including superb you see colours & of course the disco powered forthcoming single, lost in a melody.
greg kindly reintroduces the omitted overlover into the encore after pleads from the front, despite the fact you'd have trouble dancing to it (for it's prettiness stuns you into a trance. & um... it's quite slow too.) they wrap up with live favourites wanderlust & long time coming, where it seems no one can deny the excellence of their stiring performance.

friday 22nd october, the musical brilliance continues to london for the next date, where the set list remains the same, but with the addition of b-side quiet following wanderlust, making me very happy: one of my favourite tracks, with drums played astutely as ever by a flailing rowly.

wednesday 27th october, & onto wales to see them perform in bangor student union. though greg is unsure how to pronounce where they are, they are greeted by one loud mass of noise from before the stage. gregs voice here is crystal clear & astonishing, complimented better than ever by colin's warm vocals on this occasion, despite his earlier comment that he's "very nasal". seasonal illness may be plaguing the tour bus (aaron shared with us that awoke with man-flu) their attempts do not waver as they carry through their songs with conviction & grace on yet another occasion.

so now, it is essential that i see them again. luckily there are still more dates to come, listed on thedelays.co.uk, & they will be playing xfm's eddy temple morris' christmas party in aid of shelter at cargo in london come december & lost in a melody will be out on november 22nd.

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death from above 1979 - romantic rights
released: 01 nov 04
single: cd & 7" & 12"

now known as death from above 1979 the hairy duo unleash a grating track unto the world. guitar distortion dance music, with the power to have you trashing around your kitchen. or cowering grabbing your ears in discomfort, depending on your predicament. personally, i love it.

deathfromabove.ca

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josh doyle - the end of fear
released: 01 nov 04
ep: cd only available through website

the first to be heard from josh in a very long time, his new solo work wanders onto untrodden territory. 5 tracks to make you think about your life, this record wants to hold your hand. pretty, comforting & nice: you might just find you like it.

joshdoyle.com

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kaiser chiefs - i predict a riot
released: 01 nov 04
single: cd & signed 7"

catchy, bouncy & with silly lyrics, kaiser chiefs' first major release gets the toes tapping & suddenly the title makes complete sense. a disappointing b-side, but nice use of tambourine makes up for it. that & the "repeat track" button. we eagerly await the album...

kaiserchiefs.co.uk

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pellumair - iris
released: 15 nov 04
single: cd & 7"

the delicate & ambient sounding duo release their first single on rough trade's tugboat records. a perfect purchase for those suffering from ...insomnia. with it's calming & soothing properties, perhaps jaymie & tom should have considered titling the release "lavender" rather than iris?

pellumair.com

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delays - lost in a melody/wanderlust
released: 22 nov 04
single: cd & dvd & 7"

previously unreleased track lost in a melody is delays' poppiest effort so far. the throbbing disco beat & sing-a-long-ability of the chorus vigourous "runrunrunrun! ... lost in a melody" makes for a jolly fun time. on the other hand, the calypso wonderment of album track wanderlust ensures that should you be unable to catch a plane to some paradise, at least you can close your eyes & let them transport you there through the power of melody. beautiful.

thedelays.co.uk

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the black velvets - get on your life
released: 29 nov 04
single: cd & 7"

stalking onto the music scene with debut single "get on your life", the black velvets reintroduce the classic rock sound of led zeppelin & ac/dc (as you'll find should you read practically any review of them), with magnetic riffs ready to pounce on the unsuspecting public like a starved panther with an attitude problem.

theblackvelvets.tv

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