Up today in our feature of Introducing a band you probably aren’t familiar with yet but should be we bring you all the way from Portland US of A….Guerrilla Teens. Read the feature and it’ll become apparent why you seriously need to check these out.

We asked a few questions and got a prompt reply it might not have been to answer our questions but its a reply none the less.  In full…

“This year, as a researcher for the Oregon Center for Musical Anthropology, I have been monitoring the activities of the “Guerrilla Teens”, a group of aggressive feral orphans living in the shadows of our state’s largest city, Portland. Upon release from an area juvenile detention facility (due to overcrowding during the pandemic) the youngsters set up camp under the Ross Island bridge. They were first noticed when a passerby heard the strumming of a rudimentary guitar coming from a lean-to near the river’s edge. Apparently subsisting on a diet of nothing more than twigs and berries, the Teens managed to build makeshift musical gear using only raccoon traps and discarded Rainier beer cans. Over the last three months, I’ve not managed to approach the Teens close enough to attempt communication for fear of being mauled (or worse) but I’ve been able to observe some of their bizarre habits. It quickly became obvious to me that they have created their own primitive religion and have entered into some sort of “blood-pact” which centers on the worship of high energy Rock and Roll.

They have created many of their own “songs”, the lyrics of which were at first only guttural shrieks and grunts but soon evolved to closely mimic modern English. These outbursts are oddly compelling and when heard at a loud volume can cause the listener to gyrate involuntarily and practice poor judgement. It is my expert opinion that it is in the best interest of public health that these “Guerrilla Teens” be watched closely. Very closely.
Phelan J. Hesperius, PhD
Research Coordinator
Oregon Center for Musical Anthropology
We did then however get a response to our probing questions later so here goes. Who the fuck are Guerrilla Teens?
Guerrilla Deluxe aka Scott Drake – Vocals
Anna Bananas aka Anna Anderson – Bass / Vocals
Deaf Jeff aka Jeff Fieldhouse – Guitar / Vocals
Tim Panzee aka Tim Connolly – Drums / Vocals
Saul Teen aka Saul Koll – Guitar
Where you from?
Portland, Oregon
How did the band come together?
The band came together during the quarantine…members of several bands
(Humpers, Lovesores, Suicide Notes, Magick Gardens, Epoxies, 8 Foot Tender, Sex Crimeetc…)
found each other huddling in the darkness of the apocalyptic wasteland
and concluded that the only way to survive was to rock!
Previous recordings available?  
The debut demo recordings of Guerrilla Teens are available on Bandcamp
Post pandemic what’s the plan?
Wed love to do an extensive tour of Europe and the UK and then get really drunk
and beat the living shit out of Boris Johnson
Well, There you go, kids, two tracks so far and a video on the way in a couple of weeks hopefully.  Hit em up on Bandcamp and Facebook and let them know you’re ready for some action so in the meantime how about some old school Humpers?

TOKKY HORROR (ex-Queen Zee) Sign To Alcopop! Records

Crash “Hyper-Masculine” Cultural Spaces On Debut Single ‘Girlracer’ Out Now

Liverpool/London collective TOKKY HORROR are pleased to announce they have signed to Alcopop! Records. Their debut single ‘Girlracer’ is out now and available to stream and purchase on all good DSPs.


Completed by joint-vocalists Mollie Rush and Ava Akira, the trio form the hotly-anticipated new project from ex-Queen Zee vocalist Zee Davine, marking a stark change in musical direction from Davine’s former outfit.

Commenting on the new project, Davine says: “For me, ‘Girlracer’ is a joyous return to the fun of creating and making music after falling out of love with it. The experience of creating Tokky Horror has helped me address what my priorities are with my creativity, and how I wish and need to express myself. Sonically we had no idea what we would sound like, except we wanted it to be intense, visceral and cathartic.”

Inspired by artists like Dennis Lyxzen (Refused, International Noise Conspiracy)—who has spoken and written in depth about wanting to create punk music for the present generation, instead of simply mimicking bands from the ‘60s and ‘70s—and Liam Howlett of The Prodigy— who would refuse to pinpoint their specific sound—culturally-speaking, the new material carries on where Queen Zee left off, by crashing headlong into traditionally less diverse spaces and firmly planting the flag for the LGBTQ+ community.


“I wanted to find my own sound, and my own way of expressing myself, that takes from all of our influences across dance culture, psychedelia and punk,” explains Davine of the process. “Lyrically the song addresses hyper-masculine spaces (which is very often dance culture itself) and inserts Tokky Horror with confidence. Girlracer’s unashamed appreciation of fast cars and loud music is a tongue-in-cheek to every boy who thinks they’re better than us.”


Written and recorded by TOKKY HORROR, ‘Girlracer’ was produced and mixed by Zee Davine, and mastered by Stephen Cole at WHAT STUDIO, Liverpool.


Hailed as LGBTQ+ icons in the making, and touted as “the next Iggy Pop” by Iggy Pop and Debbie Harry on the 2019 GQ Awards red carpet, with multiple BBC Maida Vale sessions and a raft of press and radio support under their belts Queen Zee announced their unexpected shock split following the release of their debut album in October 2019.


Over the space of their short career they appeared at Glastonbury Festival, Reading & Leeds, Download, Latitude, Rebellion, Kendal Calling, Beautiful Days and more, and toured alongside Marmozets, Dream Wife, Skunk Anansie, and The Zutons.


TOKKY HOROR will be revealing further details and announcing more new music over the coming months.


Girlracer is out now on Alcopop! Records

TOKKY HORROR online: Facebook / Twitter 


Riskee and The Ridicule honour New York singer-songwriter Lana Del Rey with their own unique take on her hit ‘Young And Beautiful’.


Not a band you can second guess, unpredictable Kent punks Riskee and The Ridicule follow-up their first lockdown release in May, the seething anger of the Brexit-baiting single ‘Blue Jacket’, with their own respectful take on New York pop singer-songwriter Lana Del Rey’s award-winning 2013 smash-hit, ‘Young And Beautiful’. This, however, is no guilty pleasure for the band, who are longtime fans of Lana’s work.


“Lana Del Rey is one of pop music’s best storytellers,” states frontman Scott Picking. “There’s something about her music that is so intense and descriptive that it’s movie-like and in these times of being locked down, that type of escapism has been a personal paradise. In choosing this song, I knew I could bring something different vocally and musically, we were excited about changing the song dynamically while staying true to the emotiveness of the original.”

Despite being isolated from each other at the time, Riskee and The Ridicule were able to create a video for ‘Young And Beautiful’ by recording their individual parts at home, allowing their former bassist David Thomas to collate them together with footage from one of the bands early hometown gigs.


“The video feels like a nod to both our early days as a band, just us and our own motivation, as well as where we are all at in this unique moment, one that we’re not likely to be in again any time soon (hopefully). ‘Young And Beautiful’ is a song I’ve wanted to do for a long time,” confesses Scott.


2019 was an amazing year for the band and saw the highly anticipated release of their third album ‘Body Bag Your Scene’ well received by both fans and critics alike, with their sets at Rebellion and Boomtown proving to be real highlights of 2019

Body Bag Your Scene was written and recorded at breakneck speed, a reflection of its reactionary nature to the daily uncertainty projected upon us. Taking aim at the powers that be (“Our Time”), sexual exploitation (“Sex”) and the barrage of contradictory news (“Black, White & Grey”) it’s a record that holds a mirror to the world with simultaneously acerbic and humorous analysis.


Growing up in Kent, Riskee and The Ridicule have always been a staple of the UK DIY scene, but their fervent attitude and unique “Grime-Punk” rallied troops of dedicated fans across the world. Musically, the band meld their genre-spanning influences with their intent to challenge preconceptions. On the surface they may appear easy to read, when in fact Scott Picking (Vocals), Jimbo Aglony (Guitars, Vocals), Jordan Mann (Guitars, Vocals) and Matt Verrell (Drums, Vocals) are a gang of progressive punks who form a powerhouse of change. Full of fierce energy, the Kent quartet have motives resting among The Clash with relentless streams of wit, literacy, and observational accuracy akin to The Smiths and a background in the UK Grime scene.


There is much more to come. You can be sure that Riskee and The Ridicule will be back onstage as soon as the world allows.


Buy ‘Young And Beautiful’ Here


Find Riskee and The Ridicule online at: Bomber Music / Band Website / Facebook / Twitter

Its been a while. No doubt about it.

This is the Eleventh studio album from Pretenders and I can honestly say I’ve not felt a real buzz off one of their records coming out since the second one came out way back in 1981 almost forty years ago! Gulp.  sure they’ve hit paydirt in the pop charts since but they’ve not really dished out a record bristling with top tunes, until now that is. Damn, On the second single off the album ‘The Buzz’ shes even managed to recreate the vibe of ‘Kid’ on that guitar break. It appears that the past might have been embraced and maybe explored in order to strip back those past forty years to create ‘Hate For Sale’ which seems an odd title because there seems to be an overwhelming “love” going on.

The other noticeable feature is a sparkling production that lets everything breathe where it needs to and the crunchy dirty bits are backstreet dirty and not polished into oblivion fake dirty.

Hyndes vocals are as good as they ever were sounding fresh and captivating and at times comforting.

In the first four tracks, you have everything that made the original line up such a great band. A roaring call to arms on the intro track and album title followed by the more pop-friendly ‘The Buzz’ Something different and maybe a little risky in ‘Lightning Man’ and the rock-solid handclap heavy ‘Turf Accountant Daddy’ then to close off side one the retro pop ballad of ‘You Can’t Hurt A Fool’ which might be the weakest on side one with its soul trappings but Hyndes vocal is exceptional and delivers a stunning performance that elevates the whole song which is anything but tokenistic.


It’s great to drop the needle onto side two and hear the power chords clash and strut on ‘I Don’t Know When To Stop’ enhanced with some great gob iron blowing and a bowery staggering solo. Then to bump straight into ‘Maybe Love Is In NYC’ which makes a great dive bar buddie maybe not as strong but great to hear those guitars being rinsed with passion and some attack.

Chrissie Hynde might well have found her Mojo and really delivered a great record.  there isn’t one weak track on offer and whilst side two might lack the variety that you have on the opening few songs they are immensely enjoyable like the punky hand jive of ‘Don’t Want To Be This Lonely’. To be fair the piano balladeering of the albums closer ‘Crying In Public’ had to be and the strings and big chords make it listenable without becoming lush or too polished and it retains the feel of the rest of the record and has grit and charm.

Pretenders have turned back the clock and knocked out one of 202s finest records without any shadow of a doubt.  It’s short, sharp and exactly the pick me up needed during this oddest of summers. Something new with an old feel that’s comforting and downright bloody entertaining. ‘Hate For Sale’? Yes please.


Buy ‘Hate For Sale’ Here


Author: Dom Daley


Ok Ok settle down you punks, power poppers & hard rockers It’s been a bumpy ride for the past few months and we’re not out of the woods quite yet what with some countries doing a hell of a lot better (Canada, New Zealand) than others (UK, USA take note).

RPM is really missing heading out to live shows right now so what we thought we’d do is introduce you to some new bands we like and who should be on your radar if you’ve been paying any attention to RPM Online.  First up from outta Canada we bring you the power poppin’ Autogramm.

Autogramm is a synth-driven, power-pop trio from Vancouver drawing influences from the likes of The Cars, The Go Go’s, Gary Numan, 20/20 and Devo. The band members are Jiffy Marx of Brooklyn’s Hard Drugs and Vancouver’s Blood Meridian, CC Voltage of Berlin’s Dysnea Boys, London’s Loyalties and Vancouver’s Black Halos and Spitfires, and The Silo of Vancouver’s Black Mountain, Lightning Dust and Destroyer. 

Just who the Hell are Autogramm?
Jiffy: Are any of us still who we were pre-COVID?!
C.C.: We’re three dudes who tried to make a song that sounded like 20/20 and it became a real band. Jiffy Marx, C.C. Voltage and The Silo.
Where you from?
Jiffy: Not sure if its official yet but we are from Vancouver Canaduh and Chicago “The Windy City” IL
C.C. I’m from a suburb of Vancouver called Abbotsford; the bible belt of Canada. Perhaps why I’ve also spent many years in Berlin and Cologne.
How did the band come together?
Jiffy: We’ve all moved around and traveled a lot but in 2017 we were all living in Vancouver and decided to start a New Wave/Post-punk/Powerpop band.
C.C. Jiffy was visiting Berlin and we decided we wanted to start something while we listened to a 20/20 LP in Kreuzberg.

Previous recordings available?  

 Jiffy: Jessica Don’t Like Rock’n’roll b/w Run Don’t T-Talk To Me 45rpm single (2017 Snappy Little Numbers Quality Audio Recordings) What R U Waiting 4? Album (2018 Nevado Records) Bad Day b/w Quiero Estar Sedado 45rpm single (2019 Jarama 45 RPM Records)
If you wanted to dig deeper we’ve been in bands like Dysnea Boys, Jiffy Marker, Black Mountain, The Spitfires, Destroyer, The Loyalties, Black Rice, Hard Drugs, Lightning Dust, Black Halos, etc….
Post pandemic what’s the plan?
C.C. Hug people, shake hands, go to bars, then release the new Autogramm LP (almost done!) and reschedule our Mexican and European tours.
The Silo: Please world, take us to Japan!


Website / Bandcamp / Facebook / Instagram / Twitter / Spotify


The new release opens with a package of news clips from the tragic shooting in the band’s hometown of Dayton Ohio, last year. Set to a guitar track, it offers a poignant tribute and affective intro to the first song proper ‘One Day Closer’. This song is brief but has the obvious makings of a future set opener with it’s ballsy pace that grabs you by the proverbial.

‘Where Ya Been’ showcases a sound that seems to be somewhere between ‘Dude Ranch’ Blink 182 and early 90s Bad Religion, with next track ‘Don’t Miss the Train!’ being a letdown by comparison. Sounding like an “edgy” Sum41 b-side.
‘Parole Violation’ kicks in, showing a righteous hardcore slap in the face with big singalong choruses and accomplished guitar chops.  ‘Signals’ further shows a fantastic guitar sound, almost Bob Mould esque framing a song that, for me, is everything that is good about pop-punk.
The album follows on with this formula of highs and lows, for the most part, stand out track of the remainder being ‘Stargazing’. The verses are a little bit saccharine but features a really interesting poppy – new wave sound, which is a nice addition to the record.
In short, if you like all facets of pop-punk you should purchase this album. If it had been recorded in 1994 with Jerry Finn it would be regarded as a classic.
Pre Order the album Here
Author: Dan Kasm

‘Lets Kill Rock and Roll’ is the umpteenth studio album from The Erotics but this one is with a twist and boy does the twist suit The Erotics.  In early 2020, The Erotics began writing and rehearsing a batch of new songs set to become the band’s next record. As the songs streamed out of Mike Trash’s fretboard, the band frantically rehearsed and defined all the details of the songs, working to batten down the hatches for the rapidly approaching studio date of Feb 20,2020.

Of course, never being a band to play it safe, The Erotics decided to do the only sensible thing: throw caution to the wind and invite a contingent of dedicated fans to Don Fury Studio to take part in a live recording of 12…no make that 13…wait, on second thought, how about 14 brand new songs! It’s rough, it’s raw but with a Rocky Balboa punch it’s sleazy, it’s glamourous but of course, its got that dirty punk rock attitude you want from The Erotics.  If you’re already a fan then you should know what to expect and if this is your first tentative footsteps into the world of Mike Trash and his band The Erotics then welcome on board. Opening with the title track proper notwithstanding the instrumental opening the invited guests howl their approval as the guitars get louder and a little rawer (if that’s possible)  It’s a brave move unleashing new tunes on fans live in the studio and capturing the performance like this but the DC inspired ‘Lie My Way Into Hell’ is hauling around a fair sized pair of rock and roll bollocks that swing to the beat right up to the middle eight and breakdown post dueling guitars.

I hope there were monitor wedges for these Rockers to put their feet on as they throw out the shapes as ‘Lie My Way’ leads into the powerful ‘Monday Morning Meltdown’ but there’s no time to rest as the band speed off with the ‘Head Of The Low Class’.  The beauty of The Erotics is they keep it simple and stick to exactly what they’re good at and are clearly comfortable with. Man ‘You’re History’ even has cowbell to go with the sleazy cockrock riffage and we all know you can’t get too much cowbell.  We head out on a rollercoaster ride of fast and more solid Rock tunes and when ‘Wrong Kind Of Love’ ends the audience sounds like they’re having a real blast.

Our Man Dan Kasm had this to say about the release,

“Live albums are a mixed bag really. The true greats are stand out bodies of work, an advert swaying the consumer to purchase tickets at their earliest opportunity, and the rest pale in comparison. Unfortunately, this particular release falls into category B.
I’m not very familiar with the Erotics apart from the odd track, but always liked what I had heard with a mental note to pursue them further. Hoping that a live album would make a good introduction to their work and overall sound. The album takes a few tracks to finally get going, ‘Monday Morning Meltdown’ having a fantastic groove but perhaps not selling itself in the best way on this recording. There are some great guitar licks here but they sound almost stifled in overly safe sound mix.
The strongest song on the album for me has to be ‘The Wrong Kind of Love Song’. A definite future single that wouldn’t sound out of place on a Michael Monroe album.
The album finishes with the introduction of the self-proclaimed heaviest song on the record ‘Fighting Like Cats and Dogs’. The riffs are pure AC/DC in parts but the song is a little too short and leaves you feeling short-changed.
I’d definitely consider seeing the Erotics live but this recording has left me lukewarm. Kiss Alice II it is not.”
Review: Dan Kasm

We’re going old school this monday with Mickey Leigh’s ‘Two Kinds Of Law’ the Legendary NYC musician (Birdland, The Rattlers, etc) and acclaimed author (“I Slept with Joey Ramone”) Mickey Leigh is debuting “Two Kinds of Law” a powerful and timely new single with his band MUTATED MUSIC.

The track (inspired by a line in Truman Capote’s ‘In Cold Blood’ and a quote from a Martin Luther King Jr. speech) and its newly-released music video are now streaming everywhere. Facebook

Second out the traps is Rob Moss and Skin-Tight Skin with ‘Push Back’.  Moss is back with his first recording in more than 35 years!  Along for the ride are musicians from Generation X, Government Issue, Wilco, Velvet Monkeys, Dinosaur Jr, Scream, Foo Fighters, Tav Falco’s Panther Burns, Fear, The Four Horsemen, Willie Alexander and the Boom Boom Band, Smash Fashion, The Slickee Boys and many more! Album review is coming!

Finally how about this absolute banger from The Raging Nathans




Hello again, RPM-people, it’s been a while. A limited skirmish with a failing hard drive meant that I lost the first attempt at this article for the cultured readers of this fine web-based tome and, as with all tortured artists, I found myself shaking a fist at the Gods of technology rather than simply getting back on the horse and writing it again while the effortless cool (possibly) was still fresh in my mind. This article’s featured item was going nowhere, however, so new words about old stuff came easy.
Now, if you’re hitting up this webzine regularly then I would imagine that you are well-versed in all forms of rock ‘n’ roll rebellion; trouble is, many of those rebels that litter our record collections are now asking for new dress socks on gig riders or peddling butter on shit TV channels. With that in mind I have had to roll back the decades to find, not only a true rebel of the music business, but also an item of music memorabilia that is as decadent as it is delicious.
And that’s where Andy Gibb comes in.
“Andy Gibb?!” I hear the RPM head honcho exclaim as this hits his inbox like the late Scott Columbus hit those cymbals in Manowar’s ‘Blow Your Speakers’ music video, the Double Diamond tearing at the neck of his Maiden shirt, Ozzy-style. Hear me out: Andrew Roy Gibb was a true rock ‘n’ pop tearaway, and the ultimate piece of merchandise released to tie-in with his all-too-short career is collectable excess par plastic excellence. But let’s not get ahead of ourselves…
Andy Gibb was the youngest of the Gibb kids: brother to Barry, Robin, Maurice, and forever-forgotten sister, Lesley. He was born in Manchester, was raised in Australia until the age of eight before the Family Gibb returned to the UK. When his brothers were looking nailed-on for pop stardom, Andy was looking for trouble: he quit school at the age of thirteen and, armed with an acoustic guitar given to him by big bro Barry, he toured the clubs of Ibiza and the Isle of Wight (both places where his parents lived at some point). He was married, divorced, and had fathered a child before he was even out of his teens. Minor pop stardom came a-calling when he returned to Australia, but it was when Bee Gees manager, Robert Stigwood, signed him to his label and persuaded him to relocate to Florida that things really started to take off for Andy Gibb.
With Barry producing, and Joe Walsh guesting on guitar for a couple of tracks, Andy’s debut album, ‘Flowing Rivers’, sold over a million copies and, by the time the lead single from his second long player, 1978’s ‘Shadow Dancing’, hit the top spot, he had become the first male solo artist to have three consecutive Number One singles on the Billboard Hot 100 chart. He dated Dallas star, Victoria Principal, starred on Broadway in Andrew Lloyd Webber’s Joseph and the Amazing Technicolor Dreamcoat, sang with Queen (on a version of the song, ‘Play The Game’, which has never seen commercial release, with some believing that a recording doesn’t actually exist), and co-hosted American television music show, Solid Gold. He would, however, be fired from both the television and Dreamcoat gigs due to absenteeism, with the blame laid firmly at the door of his cocaine binges. The fall was rapid. Guest appearances on US shows Gimme A Break! and Punky Brewster followed, as did gigs in Vegas, but Andy was now tabloid fodder; the Betty Ford Center now a date on his tour itinerary.
In early 1988 it was announced that Andy would become an official member of the Bee Gees – the six-legged tooth machine mutating into quite the quartet – but it was never to be: just two days after his thirtieth birthday in March of that year, Andy was hospitalized in Oxford complaining of chest pains. He died on March 10th as a result of myocarditis; an inflammation of the heart muscle caused by years of cocaine abuse.
Dying young is a sad by-product of rock ‘n’ roll excess the history of which many of you are well-versed in, I’m sure; but I am here to wax lyrical on music-related memorabilia (I had to get there eventually!) so I have to roll everything back to 1979, when Andy was on the covers of teen magazines, on the walls of pop-smeared children’s bedrooms, and on the Toy Fair brochures of the Ideal Toy Company.
Now, there’s a saying amongst the elite of vintage toy collectors that goes, and I’m paraphrasing here, “buy mint and you buy once, buy not mint and you buy many times.” I’m not sure of the exact words because I always scoff when I hear it as, in my humble opinion, it is utter bollocks. Who wouldn’t pick up something über-cool for their shelf because some bloke on the internet has one in better condition? Not me, and that’s why I back-flipped all the way to Nerdtopia when I found myself a vintage Andy Gibb doll.
In 1979, Ideal graced the toy shelves of the coolest US stores with the Andy Gibb ‘Disco Dancin’ With The Stars’ doll. There is, in collector circles, many a debate over whether a toy is a doll or an action figure: never call a middle-aged white guy’s Action Man a doll for Gawd’s sake! Well, let me tell you, the Disco Dancin’ Andy Gibb toy is a doll. He came packaged in neon-littered box art with the supreme tagline: “move him to a disco beat on his dancin’ disc!” Yes, the disco dance stand that came packaged with the doll would actually move mini-Andy’s feet so that it looked like he was actually disco dancing. Sublime Seventies innovation, right there.
Thing is, I don’t have the box. Or the stand. Forgive me, men in sensible footwear in village hall toy fairs the length and breadth of the UK. I do have a mint condition Andy Gibb ‘Disco Dancin’ With The Stars’ doll still attached to its original box inlay, though, so I guess I’m still a winner at life. Also, someone, in their confused wisdom, decided that penning “one of the Bee Gees” on the back of said box inlay was going to help with the identification of this toy. All it did, however, was make me love it even more. Who needed to read that curious inscription anyway? The doll is wearing a lurid pink waistcoat with the “Andy Gibb” logo printed on it!
So let’s recap: a mint condition (save for a few age-related garment marks) Andy Gibb doll, still attached to its original cardboard inlay, wearing a white jumpsuit and pink waistcoat, and with a piece of inked graffiti completely lacking in irony administered to its forever home? Who the frig wouldn’t want one of those?! Not me!
This toy sits happily in my collection alongside the Sonny Bono, Cher, ABBA, KISS, Boy George, Rob Zombie, Alice Cooper, Sex Pistols, and Elvis toys and, do you know what? They all get along. Now, if we all just got along a little better then this revolving rock that we call home would be a little easier to negotiate. Not those people who told me not to buy the Andy Gibb doll because it didn’t have the box, though – they can fuck off.
I’ll be back as soon as possible, technology permitting, with more curios from the Pop Culture Schlock collection. I might even get my studded wristband back out for the next installment. Thanks for reading, keep watching the skies and, most importantly, don’t be a twat!
Follow Pop Culture Schlock on Facebook, Twitter & Instagram

Its early March 2020 and Bristol based rock band Mother Vulture are really moving, fresh off hometown supports with Michael Monroe, Ugly Kid Joe and Bokassa, they’ve just played their 2nd only show in London to rapturous reviews (see below) and booked a bunch of Summer festivals including headlining the Rising Stage at Ramblin’ Man so it’s time to start planning the release of their debut album.

And then the world kinda stopped. They retreated to Bristol, some to key worker jobs, some to no jobs, and had a
think. Live is where they’d built their rep and back in September ’19 they’d been invited to Rockfield Studios in
Monmouth to record a session for the Abbey Road Institute France. They recorded the entire session completely live,
just pressed record and didn’t hold back, they performed a true MV show.  With no gigs meaning no income, all of the band’s remaining money have gone into producing 100 limited edition vinyl copies of this session, produced, mixed and mastered by the band. It’s rough and ready and not without its imperfections but they believe it most accurately represents what it’s like to experience their live sound and energy.  The album features 5 previously released tracks & 6 new tracks and is available to pre-order from www.mothervulture.uk Each vinyl ordered will be personalised / numbered, vinyl and digital purchases will also include an extended version of the album, not available through streaming. At a time where live music is virtually non-existent this a vital reminder of what’s on the other side of this.