Tag: Venn Records

Video by William Ruben Helms

New Video: Bratakus Shares Bruising Ripper “Tonight”

Based near Tomintoul, a small whiskey village in the Scottish Highlands, rising punk duo Bratakus — sisters Brègha Cuinn (guitar, vocals) and Onnagh Cuinn (bass, vocals) — formed back in 2015. And since their formation, they’ve been fiercely DIY. The duo ran their own label Screaming Babies Records and with no music on streaming services and no booking agent, they landed airplay on BBC Scotland and elsewhere, opened for The Hives and toured as far as Japan.

Last year, the band caught the attention of Venn Records, who signed the band and will be releasing their Johan Gustafsson co-produced album Hagridden, which is slated for a Friday release. Recorded at Stockholm-based Studio Gröndahl, the album, which will feature previously released tracks “Final Girls,” “Tokened,” and “Turnstile,” is ten tracks of screaming and cathartic punk.

“Tonight,” Hagridden‘s latest single is a bruising, old school punk ripper anchored around some incendiary guitar work and the duo’s howled lyrics., which focus on the timely subject of media manipulation. “It’s about how everyone is angry about the state of the world, but we are being thrown distractions to get us to hate the wrong people,” Bratakus’ Brègha Cuinn says. “The fact that some people are happy to just look the other way and let it happen if they perceive that it’s not going to affect them, but in reality, we’re all on this planet together, and if we don’t have compassion for each other, and help each other out, we’ll be left with nothing.”

Directed by Alice Black, the accompanying video for “Tonight” is split between the pair performing the song in a grungy, dungeon-like space and the duo walking about their town with creepy baby masks — the same baby masks the are featured on the album’s cover art. This is informed by the fact that the album thematically touches on the uneasy fact that life often feels like a waking nightmare.

“I’m an avid listener of the Blindboy podcast and one of the things he talks about that I find really interesting is how most adults nowadays aren’t really being offered the opportunity to actually grow up due to the current state of the world,” the band’s Onnagh Cuinn says. “The cost of living is so high that a lot of millennials aren’t even able to move out of their parents’ house, so it feels like a lot of the milestones that used to define adulthood are becoming more unattainable, so we’re left in this weird “in between” where technically we’re adults, but we still feel like kids. It’s something I think about a lot, and I think it ties in with the meaning of the song, so I wanted to try and create a kind of visual for that by going around doing a lot of regular day to day things while wearing the baby faces.”

Video by William Ruben Helms

New Video: Brighton’s Split Dogs Share Bruising “Lafayette”

Deriving their name from the classic zombie film Return of the Living Dead, Brighton, UK-based punks Split Dogs — founding members Harry Atkins (vocals) (they/them) and Mil Martinez (guitar) (he/him), along with Chris Hugall (drums) (he/him) and Suez Boyle (bass) (she/her) — can trace their origins back to around 2015 when its founding members had the idea to start a band and is fueled by its founders frustration over music seen as a soulless and commodified product made to sell more useless shit.

As a youngster in South London, Mil Martinez would hear Status Quo, Bachman-Turner Overdrive and Dire Straits on the car radio while his father drove him to school. At home, he would invade his older brother’s record collection, which leaned towards punk and heavy metal. In the UK’s Black Country, Harry Atkins’ mother instilled a love of Northern Soul, Slade and rock ‘n roll, with stories of nights out at Club Lafayette and family singalongs at home. According to Martinez, “Our sound is a culmination of all those early influences and, to be honest, it really shows.”

Split Dogs officially appeared on the scene in 2022. Suez Boyle, a prominent figure in the queer punk scene, best known for her work with The Walking Abortions joined the band in 2023. Up until that point, Chris Hugall, an old friend of Martinez and a former member of ska punks Mouthwash, an act that was once signed on Rancid‘s Hellcat Records, helped design the band’s artwork. Hugall joined the band full-time last year, cementing the band’s current lineup.

The quartet quickly won over Bristol’s accepting and tolerant punk scene, a scene that has always welcomed LGBQT+ folks and marginalized people, with raucous live shows featuring infectious lyrics. As word spread, the gigs increased and in short order, the Brighton-based punk outfit was playing sold-out rooms across the European Union, which caught the attention of British label Venn Records.

Split Dogs’ highly-anticipated full-length debut, the Peter Miles-produced Here to Destroy is slated for a February 28, 2025 release through Venn Records. Recorded over a three-day burst at Middle Farm Studios, the album was laid straight to a 16-track reel-to-reel tape machine without autotune, effects pedals, and computers. Adding to the authenticity of the proceedings, the album’s material was recorded live with Atkins singing along in a vocal booth. So no cutting and pasting; but everyone had to nail their takes. “It was a blast!” Split Dogs’ Martinez says. “We fully immersed ourselves, sleeping in a small apartment below the studio, cooking meals and listening to Pete’s extensive record collection.”

While the album title makes clear that the Brighton-based punks are here to destroy, they firmly believe that they’re also here to rebuild and remind the listener of music’s vital essence. “We’re not beholden to the digital age, we don’t want to get famous on social media, we just want to show the world that rock’n’roll is alive and well,” the band says.

Here to Destroy‘s latest single “Lafayette” is a bruising, gritty and anthemic bit of pub rock that brings back memories of Highway to Hell-era AC/DC and JOVM mainstays Amyl and the Sniffers with the song being featuring enormous power chords, a thunderous backbeat paired with Atkins’ feral, booze and cigarette-soaked delivery.

The band’s Mil Martinez explains that the song is “a love letter to our families and the influence they’ve had on our love for music. At a glance it tells the story of (singer) Harry’s mother growing up in Wolverhampton during the height of the 1970s/80s northern soul scene and the characters she encountered. It also tips a hat to my older brother that passed away in 2023, he played a major role in my song writing growing up.”

Shot by the band’s Chris Hugall, the video follows Harry Atkins through Wolverhampton’s cobbled streets, pubs and clubs while lovingly introducing the viewer to the town’s characters, desperate for a night out after a long week slaving away for the man. Hugall admits that on the actual day of filming, they had no plan as all of their other ideas had fallen through, but they worked on the fly and the end result compliments the song perfectly.

“It takes you on a journey through the cobbled streets and back bars of the Black Country, Harry’s hometown Wolverhampton,” the band’s Martinez explains. “From Chewing gum-stained carpets and pints of mild to stone faced locals and tar-stained fingertips. If you fancy a dance? Come out to the club and feel alive!”
 

 

 

 
Heads down, see you at the end.