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Offline Head South Records  
#1 Posted : 05 September 2024 15:26:50(UTC)
Head South Records
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** Head South Celebrates Its 1st Anniversary with a Series of Unmissable Events in Brighton**

Brighton’s very own alternative music label, **Head South**, is marking its first anniversary with an eclectic lineup of events that showcase the city's creative energy and its thriving alternative music scene. From intimate live performances in secret locations to beachside DJ sets, Head South is taking over Brighton and Sussex this September and October. Whether you’re a vinyl addict, a fan of raw indie talent, or just looking for something different, there’s something for everyone in this unique celebration.

Expect performances by local artists, a one-of-a-kind pop-up CD and music poster flea market, a stop from the Voodoo Dolls tour, and much more. Don’t miss out the Q&A interview with label co-founders Eric Thompson and Cerys Nyland, who will reflect on the label’s journey so far and share exciting plans for the future.

Don't miss these events and follow them on this page. Get ready to dive into Brighton’s alternative sound in a way you’ve never experienced before!

Edited by user 05 September 2024 19:56:27(UTC)  | Reason: Not specified

Our Roster :
Cerys Nyland | Jack Dunn | Oona Clarke | Sigrún | Jugendstil | Voodoo Dolls | Mother of Tigers | Scream Team | Safiya Afolayan| Eireann Flannery | Harlow Reed | Hana Rahman
thanks 2 users thanked Head South Records for this useful post.
BrownSugar on 06/09/2024(UTC), C4AJoh on 06/09/2024(UTC)
Offline Head South Records  
#2 Posted : 05 September 2024 15:33:00(UTC)
Head South Records
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Join us for an exclusive Q&A session with Head South co-founders Eric Thompson and Cerys Nyland. They’ll be discussing the label’s first year and what’s next for Brighton’s alternative music scene. Don’t miss it—click here to watch live!



Our Roster :
Cerys Nyland | Jack Dunn | Oona Clarke | Sigrún | Jugendstil | Voodoo Dolls | Mother of Tigers | Scream Team | Safiya Afolayan| Eireann Flannery | Harlow Reed | Hana Rahman
thanks 1 user thanked Head South Records for this useful post.
C4AJoh on 06/09/2024(UTC)
Offline Head South Records  
#3 Posted : 11 September 2024 05:19:05(UTC)
Head South Records
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Joined: 18/08/2023(UTC)
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**Voodoo Dolls Celebrate Head South’s First Anniversary in the Most Unexpected Way**


On a windswept monday evening, about 200 fans gathered at the Shoreham Recycling Centre—yes, you read that right—to witness one of the most unconventional gigs of the year. The mysterious tweet from Head South's official account had sparked excitement and confusion in equal measure. "Shoreham Recycling Centre, monday 6pm" was all the invitation the label’s loyal following needed. After all, this wasn’t just any show—it was a celebration of the first anniversary of Head South, the indie label that had propelled post-punk icons Voodoo Dolls into the spotlight with their debut album, "Back Mutations".

Led by the duo of Jack Lai (vocals and drums) and Haru Shibata (vocals and guitar), Voodoo Dolls have made a name for themselves, playing guerilla gigs in supermarket car parks, it seemed only fitting that they would mark the occasion with a performance set against the backdrop of discarded furniture, broken appliances, and literal heaps of trash.

As fans entered the recycling centre, they were greeted by eerie voodoo dolls hanging from the gates, a grim but quirky welcome that set the tone for the night.

Inside, the setup was as raw as their music. Among piles of discarded material stood a lone drum kit and microphone, surrounded by a sea of waste. The message couldn’t have been clearer—this was a full-throated rejection of consumerism and waste culture. When Jack and Haru finally appeared, the crowd erupted. The band had arrived in their element.

Haru, guitar in hand, stepped up to the microphone with the kind of casual energy that has become her signature. “We are Voodoo Dolls, and this is a birthday party! 1, 2, 3, 4!” she shouted, launching straight into their opening number, a cover of "Garbage Truck" from "Scott Pilgrim vs. The World". The choice was brilliantly on-brand, the lyrics echoing the night’s trash-laden setting. Jack’s gritty vocals paired with Haru’s jangly guitar made for a raw, spirited performance that had the audience chanting along.




What followed was a typically Voodoo Dolls affair—gritty, chaotic, and bursting with energy. At one point, Jack gestured to the heaps of rubbish around them, deadpanning, "Welcome to Haru’s bedroom." The crowd exploded with laughter, while Haru, enigmatic , remained silent, offering only a sly smirk.

The atmosphere shifted when Haru stepped forward again. “This one’s called "Pay!” " she said in her soft-spoken voice. What followed was an intense rendition of their debut single, a blistering critique of human commodification. In the context of the recycling centre, it hit harder than ever, with the surrounding garbage acting as a brutal metaphor for modern life.

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Then came the highlight of the night—a performance of "Bullet Train", a track from "Back Mutations" that will soon be released as the band’s next single. The track, driven by Haru’s furious guitar work and the duo’s explosive chemistry, lit the room on fire. Fans thrashed in a pogo pit as the band ripped through the song, delivering its nihilistic lyrics with ferocity.

The lyrics:

Feeling like a bullet train
Racing straight ahead
I Lost my brain
Nothing in my Head

As far as I can go
I'm no hero,
As far as I can go
I'm no saint,
Just a loser with a ticket on a bullet train

Feeling like a bullet train
Racing straight ahead
I Lost my brain
Nothing in my Head

As far as I can go
I can't see
As far as I can go
I can't breathe
I'm Just a loser with a ticket
On a bullet train
On a bullet train
Bullet train
Bullet train

No destination, just a track,
Feels like I'm never coming back.
No destination, just a track,
Feels like I'm never coming back.
No destination, just a track,
Feels like I'm never coming back
.


Haru’s hypnotic delivery and the raw intensity of the music left the audience breathless.

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Of course, no Voodoo Dolls set would be complete without their viral hit, *Assassin Man*. As the familiar opening chords rang out, the crowd went wild, singing along not only to the lyrics but to the dialogue from the band’s now-infamous manga-style music video. Fans even chanted, “Use your Anti-Pop Paw attack now, motherf***er!” in perfect unison, referencing the video’s cult Pokemon-style showdown between Haru’s Punkpup and Jack. The sense of community was palpable; for a few brief moments, the crowd and the band were one.

Raw, rebellious, and real, they stayed true to their roots, using their unusually stage to make a statement while keeping their fans close. Head South couldn’t have asked for a better way to kick off their anniversary celebrations.

Edited by user 01 October 2024 15:07:54(UTC)  | Reason: Not specified

Our Roster :
Cerys Nyland | Jack Dunn | Oona Clarke | Sigrún | Jugendstil | Voodoo Dolls | Mother of Tigers | Scream Team | Safiya Afolayan| Eireann Flannery | Harlow Reed | Hana Rahman
thanks 3 users thanked Head South Records for this useful post.
BrownSugar on 11/09/2024(UTC), erich hess on 11/09/2024(UTC), C4AJoh on 05/10/2024(UTC)
Offline Head South Records  
#4 Posted : 02 October 2024 05:24:34(UTC)
Head South Records
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**Hana Rahman Heats Up Brighton Beach with Eclectic DJ Set Despite Gloomy Skies**


The skies over Brighton Beach may have been grey and unforgiving, but Hana Rahman, the rising artist from Head South, was there to bring the fire. With roots in Birmingham and Indonesian heritage, Rahman has made her debuts in the music industry in 2024. Her single “I Wanna Die in Birmingham” dropped earlier this year, introducing us to her unique, cross-cultural style. But it’s her years as a DJ that truly showcase her eclectic taste and skill in bringing diverse sounds together.

Head South celebrated its first anniversary in true alternative style this past weekend, inviting one of their freshest signees, Hana Rahman, to take over the decks on Brighton Beach. Rahman, a Birmingham native with Indonesian roots, has made her debut with her first single, "I Wanna Die in Birmingham," dropped earlier this year. Her DJ skills, honed since her teenage years, took center stage at the label’s birthday bash, and she didn’t disappoint.

As the crowd gathered under a grey grey sky, the vibe was more autumn windbreakers than bikinis, but Rahman’s genre-hopping set proved warm enough to chase the chill from the air. Starting with the underground classic "My Love For You" by ESG, Rahman signalled from the jump that her selections were going to be anything but predictable.

What followed was a whirlwind of cross-cultural, boundary-pushing tracks that spanned continents and genres. Rahman expertly mashed up vintage Asian funk, jamaican, ska, african, and tropical beats, keeping the crowd on its toes and delivering a wonderful performance.

Her set flowed seamlessly from track to track, mixing iconic anthems like Sister Nancy’s "Bam Bam" and M.I.A.’s "Boyz" with deeper cuts like [color=blue]"Jing Jing" by Okinawan legend Shoukichi Kina[/color] and the irresistible grooves of "Cairo Cairo" by Shawn Lee's Ping Pong Orchestra. Each song felt like a little revelation, a cool breeze of sound that kept the crowd swaying, dancing, and intrigued throughout.

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There were moments of pure brilliance, like when Rahman dropped Saigon Soul Revival’s "Nào Ta Cùng Hát" and followed it up with [color=blue]Altin Gün’s psych-funk take on "Doktor Civanim[/color]." From the bouncing rhythms of Reyna Tropical’s "Lo Siento" to the sun-soaked nostalgia of Kali Uchis’ "Nuestro Planeta," the set was an all-encompassing cultural trip, never once losing its pulse.

At the heart of it all, though, was Rahman’s ability to connect with the crowd. While Brighton Beach itself wasn’t exactly a packed festival ground—many attendees opted to lounge on the sand with beers in hand, chatting with friends—the energy surrounding her small stage was electric. The intimacy of the setting, combined with Rahman’s deft hand on the decks, created a sense of community, as if everyone was in on the secret that something special was happening, while the bouncing beats of Cornershop’s “Topknot and the haunting “Come on Home” by the Lijadu Sisters had the crowd moving in unison.

At the end of the performance, Rahman wrapped up her set on a perfect high note, the laid-back anthem "Uptown Top Ranking" by Althea & Donna, leaving the crowd both satisfied and hungry for more. And as the sun began to dip behind the clouds and the crowd settled into the final moments of Hana Rahman’s set, she closed with an instrumental by the Paradise Bangkok Molam International Band. The hypnotic rhythms and bright melodies of the track sent a huge wave of positive energy through the beach.

Despite the relentless wind, Hana Rahman’s performance proved why she’s one of the most exciting new names to come out of Head South. Her talent for blending genres, unearthing rare gems, and keeping listeners on their toes makes her a DJ to watch – and if her set on Brighton Beach is any indication, she’s only just getting started.

Edited by user 02 October 2024 21:59:16(UTC)  | Reason: Not specified

Our Roster :
Cerys Nyland | Jack Dunn | Oona Clarke | Sigrún | Jugendstil | Voodoo Dolls | Mother of Tigers | Scream Team | Safiya Afolayan| Eireann Flannery | Harlow Reed | Hana Rahman
thanks 2 users thanked Head South Records for this useful post.
erich hess on 03/10/2024(UTC), C4AJoh on 05/10/2024(UTC)
Offline C4AJoh  
#5 Posted : 06 October 2024 00:17:44(UTC)
C4AJoh
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Joined: 18/05/2009(UTC)
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Was thanked: 8685 time(s) in 2725 post(s)
Jack Dunn Live
October 05, 2024
Brighton Pier, Brighton, United Kingdom


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The buzz of excitement runs through the vast landscape as the Brighton Pier is packed out in celebration of Head South Records’ continued summer anniversary events, the combination of free tickets and the dying embers of the British Summer are enough to create a frenzied and joyful crowd and they hum and chatter ahead of the stage lights coming on. One roadie making a last minute sweep of the stage wrongly receives cheers from the crowd but as a couple of moments pass, the stage begins to fill with the arrival of a drummer, bass guitarist and keyboardist each receiving a smattering of cheer and applause as they begin playing their instruments. The arrival of Jack Dunn finally see’s the crowd get what they want and the volume levels increase as he confidently makes his way across the stage, guitar slung over his shoulders and a big beaming smile, he grabs both hands onto the microphone and yells, “BRIGHTON!!!!” which gets one huge roar from the crowd before they settle in anticipation, “You mad bastards! Let’s fucking go!!” he says as he strikes down aggressively and repeatedly on his guitar signalling the opening riff of his debut single “Lowlife”.

The sounding of the drums pounding in the background showcase the strong rock vibes to his work as he begins playing a highly energetic intro to his hit single, “Growing up around these parts, there’s fuck all for us to do/Council houses and council parks/Where they’ve let the grass grow too long to even walk through/So we get grief from the fuzz/For kicking a Football against a garage wall/Some stuck up prick that thinks he’s better than this/Calls it anti-social/And he’s reported us all.” which is sang back to him word for word from the vast majority of the crowd in front of him, increasing further as he drives through the song and into the chorus, “And they all think I’m just a lowlife/Because I talk with an accent/And I wasn’t brought up with a silver spoon/And I always tried my best to be polite, always tried my best to stay in school/And they all think I’m just a lowlife/Because I talk with an accent/And I wasn’t brought up with a silver spoon/And I always tried my best to be polite, always tried my best to stay in school.”

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As the opening song comes to an end, Jack takes a few moments to take in the sight in front of him. Despite being such a newcomer with only one single to his name, he’s an artist that has been on a lot of people’s radars in the UK due to the success of his debut single, with some viewing him as the next big music star to come out of the UK. As the cheers die down to a more reasonable level, Jack takes the time to introduce his backing band onstage and introduce his next track, revealing it as his second single due to be released soon, “Brighton, thank you all for being so fucking loud!” he laughs as he still can’t comprehend a crowd of this size in front of him, “We dropped ‘Lowlife’ earlier this year and we’ve been holed up in a recording studio ever since, just working on my debut album. I know it’s been a long wait, but I’d like to debut my next single for you here tonight.” As he says that the screams erupt from the crowd, knowing they get to hear this before anybody else as the drummer begins to play softly in the background and the bass begins to come through the speakers, “This is called “Silence So Loud”, hope you fucking like it!”

He begins the song with a beautiful and slightly sombre sounding guitar riff, setting the scene for an introspective and less energetic track, he leans into the microphone and sings with a passion and emotion in his vocal delivery, “Man, it’s so hard to have an actual conversation/Cause we’re raised on stiff upper lips and maintaining internal contemplation/Aye, the young lads a bit of a laugh/Life of the party and all of that/But where does he go when the laughter stops?/Left with his own thoughts/Thundering down like meteoric raindrops/And what was once just a caution/A casual wet floor sign/Has spent so long being ignored and unspoken/That it’s turned into/A fucking flash flooding warning.” and the energy increases ever so slightly as the opening verse closes out and leads into the pre-chorus and chorus combination, Jack showcasing his ability to captivate an audience and keep them in silence throughout, “And you feel like you’ve gone too far now from the beaten path/That there’s no real logical way to get back/Ignoring texts and rejecting the sesh/Cause you don’t want to be the lad that makes everybody else feel fucking depressed” he takes a pause before moving into the chorus, observing the view in front of him and allowing the emotion of the song to truly envelop itself in the moment, “Why can’t we just talk it out?/Why can’t we just talk it out?/Why can’t we just talk it out?/Why must the silence be so loud?.”
The song continues as Jack delivers another verse, making reference to losing friends to depression and toxic masculinity which has been a hot button topic over the last four or more years. He delivers the sombre lyrics and matching instrumentation with a subtlety, showing an ability to deliver energetic riff driven rock tracks as well as more introspective and thought provoking songs. One thing that’s clear from the opening track “Lowlife” and his latest offering is that this is an artist that has an ability to write very real songs that have the ability to captivate an audience as evidenced by the nearly silenced entirety of Brighton Pier as the songs comes to close, allowing the audience to applause in appreciation in response only once they know the song has come to it’s end.

Jack takes a step back from the centre of the stage, taking a drink from a plastic cup before setting it back down beside a flight case next to the drum riser, he makes a few signals to his backing band before heading back to the centre of the stage. He takes a couple of moments to compose himself before addressing the crowd, “Brighton, thank you so much for having me here today. It’s became a bit of a second home to me over this past year and a half. As a lot of you know, I’m not exactly from around these parts.” He says as the crowd laugh a little before he continues, “But I just want to take this time to say thank you to you all for welcoming me in as one of your own. I want to say thank you to Head South Records for the opportunity to really kickstart this music career, we’re here today as part of the Head South celebrations, they’ve given opportunities to so many artists over the past year and it can’t be underestimated how much they’ve done for all of us, allowing us to live out our dreams and do it in an authentic way. So thank you to Head South Records!”
The crowd cheer as he say thank you to the label, before he continues, “So I’m not going to go just yet, I’ve still got a couple of songs left to perform for you. I think I’m going to need your help for the next song.” He says with a beaming smile as he continues, “But I might even need somebody else’s help with this one. Lads and lasses, please give it up for the incredible CERYS NYLAND!” he says, the crowd erupting into cheers as she makes her way onto the stage.

UserPostedImage

As Cerys walks out onstage with a guitar over her shoulders, she smiles and waves at the crowd as they cheer her on. Placing a hand on Jack’s shoulder they give each other a half-hug and Jack gives her a friendly kiss on the cheek. Turning back to the crowd he shakes his head in disbelief, “CERYS NYLAND EVERYBODY!” he says once more before the pair begin the opening intro to a cover of “That’s Entertainment” by The Jam. The drums and the trading guitar riffs from Jack and Cerys showcase a highly energetic version of the track, as Jack steps up to the microphone to sing the opening “A police car and a screaming siren/A pneumatic drill and ripped up concrete/A baby wailing and stray dog howling/The screech of brakes and lamp light blinking.” as he primarily delivers the lyrics, Cerys takes over from him on the chorus of “That’s entertainment” drawing cheers each time she sings out as Jack covers the bulk of the songs lyrics and the pair share harmonies later on with the “La la la la la la’s” their chemistry completely evident as they both appear at ease with each other on stage, trading smiles and riffs with each other throughout the track.

As the song comes to an end, Jack raises his arm out in appreciation to Cerys to allow the audience to show their appreciation of her. After a couple of moments soaking in the response from the crowd Jack and Cerys nod to each other as she begins the opening riff to one final song. An extended version of the intro allows Jack to introduce another new track, “Brighton, we’ve got another brand new track for you. This ones called “Sleepwalking” he says as Cerys takes the lead on the guitar intro, again a slightly slower paced track although slightly more mid-tempo than “Silence So Loud” as Jack sings out into the microphone in a loud and assertive tone, “Oh, I know I’ve changed a little since we met/Shorter fuse, lower mood, battling demons and I’m full of regret/We used to drink for a good time/Now I’m drinking just to fucking pass the time/Chain smoking cigarettes/I know you’ve been there for me though all this shit/Hand in hand, standing by my side/I never thought before twenty-five she’d have me in a church, in a suit and tie/Unable to fight back the tears as I said goodbye/You tell me it’s all part of the process, you’ll let me do my grieving/You’ll still be there when the hurting passes/But I can’t shake the thought/Shake the thought/Of everybody fucking leaving.” and its clear to the audience that this is another introspective and emotive track as Cerys steps up to the microphone, her vocals beautiful, emotive and incredibly melodic as she sings, “I could be a shining light for you, shining light guiding you along the way/I won’t let go of my grip on your hand/Like I promised your mam that I’d make sure you’re okay/It gets dark sometimes I know/But I will never let go.” which leads into the chorus as Jack walks across to Cerys microphone and the two share microphones as they sing the chorus in harmony together, “I feel like I’m sleepwalking, sleepwalking my way through this dream/Every day is just passing, in the blink of an eye it seems/Every day just the same, same cycle of fucking pain and misery/I just wish someone would it give it back/All of the years that they took from both her and me.” showcasing their chemistry together once more as they trade vocals back and forth using the same microphone as one another, Jack can’t seem to shift the smile from his face.

As the song comes to a close, he places an arm around Cerys shoulder, the two embracing in a hug with each other before Jack leans into the microphone. “Brighton, you’ve been fucking amazing. Thank you so much for coming out tonight.” He thanks the crowd and his backing band, “Give it up for the outstanding Cerys Nyland.” He says as the crowd erupt, “I hope to see you again very soon, safe journey home. No scrapping with each other. Thank you!” he says one final time as he takes a few moments to take in the crowd, applauding them and giving a wave to handful of people near the front before exiting the stage with his backing band and Cerys Nyland alongside him as the crowd noise slowly begins to fade into the background.

Setlist;
“Lowlife”
“Silence So Loud”
“That’s Entertainment” (The Jam Cover) [feat. Cerys Nyland]
“Sleepwalking” [feat. Cerys Nyland]

Edited by user 06 October 2024 00:42:35(UTC)  | Reason: Not specified

thanks 2 users thanked C4AJoh for this useful post.
Head South Records on 06/10/2024(UTC), erich hess on 07/10/2024(UTC)
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