#johnpower

[gavintatesmusicjournal]

Cast 'Live at Salon Perdu Spiegeltent, St Helier, Jersey C.I 09/12/22' (Live) Review

18/09/25

Quite possibly the coldest night out for a gig in Jersey I've ever encountered yet still happy that one of Liverpool's greatest exports are performing in my home town of St Helier none the less. As myself and my fiancée enter the Spiegeltent, it's only a few minutes until CAST grace the stage to a half capacity crowd. They open with 'Flying', which to their credit echo's the ghost atmosphere of the mid nineties past in true Britpop and Northern 90's rock fashion all while ensuring smiles and looks of pure satisfaction on every scale. John Power and his long curly hair guides his gang of working class hero's and immense musical messiah's to perform a blistering set of mammoth anthems and enormous sound. One song that really stands out is 'Magic Hour' with a chorus as big as the Great Wall of China. It's on another dimension and sounds better live than you could ever imagine. Like coming up off a billion E's and when you think there's no more height, you're catapulted back up there full steam ahead! Pure adrenalized musical fusion. A bit of light hearted banter from Mr Power as he giggles and say's "you all having a good time in the Spiegeltent then yeah la's???" He looks as stoned as a monkey on a bouncy castle. It's been a while since I've been to a live performance in my home island of Jersey due to all the Covid restrictions, though I'm in no way left disappointed here tonight. As they parade through a set full of screamer's such as 'Sand Storm, Free Me, Live The Dream, Walk Away, Beat Mama, and Fine Time, I can't help but feel nostalgic because these are the tunes I grew up with singing my heart out to as a young lad. These were the songs of my youth that I learned to play on an acoustic guitar and busked most of my life on the very same streets we'll walk down after the show. This band are in no way a run of the mill, they're to quote the essential group for creating songs for a generation, more than tour buddies Oasis as these guys were the true pioneers with John being one of the main members of The La's which gave Liam and Noel the leg up to speak. Never forget who was there smashing the globe in 1991 when Oasis were just a micro tick and not even a moth in a lamp shade at that point until about three years later. This has been one of my favourite Jersey gigs, not only for the greatness of the band and music, but for the sheer bizarre location and setting. It's almost like being at an Elizabeth Castle rave in the 90's but at the same time not cause you're freezing cold and can smell the Underpass more. Kudo's to Rockit Promotions and every gold star under the sun for CAST. Also an amazing DJ set from Clint Boon of Inspiral Carpets follows the show. Happy? YES VERY.

By Gavin Tate

for Gavin Tate's Music Journal

Remembering the victims of the Haut Du Mont Gas Explosion that took the lives of ten people over night after the show. RIP XXXXXXXXXX LIVE FOREVER

[thevinyldigest]

| Happy Birthday John Power | 14/09/1967 | 1990 | The La's - The La's Go! Discs #johnpower #thelas #godiscs @godiscs https://www.instagram.com/p/CTzf3cCMWw5/?utm_medium=tumblr

[mitsuyayam]

知ってる人は知ってるけど 知らない人は全く知らない（当たり前か）Castの名盤「ALLCHANGE」 ラーズ直系のギターロック。 もうちょっと評価されても良いかも知んない #cast #allchange #johnpower #peterwilkinson #liamtyson #keithoneill https://www.instagram.com/p/CG1SwwXpGsp/?igshid=1nwkycb29t1fr

[gigsoupmusic]

Blank Mass 'Animated Violence Mild'

These eight tracks are the diary of a year of work steeped in honing craft, self-discovery, and grief. With these words Blank Mass, aka  Benjamin John Power summarized his studio album titled Animated violence mild, that saw the light on the 16th of August this year, two years later the ground-breaking World eater, that had already consecrated him like one of the most innovative masterminds out there. Eight tracks that were recorded in a studio outside of Edinburgh which could be immediately classed as heavy striking heritage of Unesco. This undulating project clarifies its Easter egg from its eloquent cover: a blood-dripping apple that conjures up the Book of Genesis forbidden fruit, a concept herby stating how poisonous these dark times ended up being, with humanity slavering over nothing but money-driven desires and merciless ambitions, without any scrupulous. To portrait all this in music the member of the drone band Fuck Buttons swims across some cyberpunk pure wonder, that clearly has no intention to buck the audience’s spirit up. The record morphs with ferocity and thunderous beats, a territory in which Blank Mass unashamedly excels. And if the voice-only Intro seems to butter up what it’s next to come, Death drop immediately pitches up in a melodic topos smeared with astonishment, where its lexicon is as sharp as needed to grapple with the author’s emotional tsunami. https://www.youtube.com/watch?v=SXasTgAzc9s But as the perception undergoes its representation in music, we quickly find ourselves in a vigorous tour-de-force through the rippling waters of  human beings' rawest emotions: the abrasive Wings of Hate is a weighty sandstorm of layers and pulses. Nothing is rose-tinted, the baleful look of remorseless capitalism is reflected on tracks like No Dice,  the nightcore-fueled Hus Money and the  bewitching Love is a parasite. But the pathway is not sold to perennial, submissive negativity: the enlightening House vs House expels hope, turning out to be a liberating tune on a metaphysical, utterly transcendent level.  Creature/west Fuqua is heart-lifting, the melody is that faultless that easily embodies perfection. The atmosphere itself echoes Blak Mass’s versatile career: His misty bubble wrap songs tag along Moby’s early years of insanely electronic libertinage as much as they stir up his previous experience with ethereal landscapes made in Sigur Ros and Jon Hopkins. The result of such collective panic attack is a timeless masterpiece that is amber for any music lover, hands down, an album that exudes resin to cure everyday frustration as a social exorcism. And how fitting it is that the creator of all that named itself Blank Mass, a fascinating concept that finds its interesting roots in the Italian author Luigi Pirandello’s essay about transforming identity called Warning on the Scruples of the Imagination. What we really are, says the writer, is just an inadequate metaphor of ourselves, something mysterious that even we ourselves fail to understand beyond a certain point. Well, we don’t know if our hero feels this very same way about himself, after all he even gathered Ennio Morricone's consensus, approval and motivation, but what is crystal clear here is that with this strident album we discovered that the Apocalypse got infiltrated by a Genius and ladies and gentleman his name is Benjamin John Power. https://open.spotify.com/album/74tQiCbJ97DTI7zsRbj55f?si=sQqwFr21RM-maWYaO6ZqDw

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[c-hope-always]

I see it coming and I can nearly see where this is heading... it does no really matter since we have the #powers #whiskeypowers #irishwhiskey #powers12 #specialreserve #johnpower

[robertsjj2-blog]

[peoplearecelebratechaos]

Small collection from the greatest band #cast ! Hopefully #johnpower will release the solo debut album in Vinyl.

[thejewofkansas]

#MovieoftheDay: The Picture Show Man (1977) Movies I Want to See: 44/50 In the 20s, motion picture exhibitor Maurice Pym (John Meillon) tours rural Australia with his mobile cinema. He faces difficulties from a rival American exhibitor, Palmer (Rod Taylor), and his own son Larry (Harold Hopkins). But Pym is ready for the fight; as he says of Palmer, "If he wants war, we shall give him war." My beloved National Board of Review has a soft spot for films about film, with The Day of the Locust, The Last Tycoon, and Movie Movie all making appearances on their Top 10 lists in the 70s. This was the #9 film on their 1977 list, by far the most awards attention the film ever received outside of its native Australia. I'm not sure if it ever has received any kind of home video release in this country. (UPDATE: Apparently there is a Region 1 release out there, though it seems to be out of print.) Too bad, as I've seen the trailer several times and it looks like a charming little romp through cinema's adolescence. The critical reputation of the film is on the mixed side—some reviews chastise the film's lack of narrative drive—but as an NBR buff (and solid fan of Australian cinema), it's definitely of interest to me. #ThePictureShowMan #JohnPower #JoanLong #JohnMeillon #RodTaylor #Australiancinema #70sfilms