Now you know we don’t normally approve of Rush making it onto the pages of RPM but we do approve of Autogramm being here and when they covered Rush how could we say no. Check out this cheeky cover and admit Rush never sounded so good.
Autogramm recorded this RUSH cover just for fun, when they were bored and stuck at home (in Chicago and Vancouver) because of COVID social distancing and quarantining. All proceeds from sales going to local non-profit RAVEN Trust (Respecting Aboriginal Values and Environmental Needs) a legal fund that defends Indigenous rights in Canaduh. Find it on all of your favorite digital platforms now!
When Vancouver’s infectious power-pop-trio Autogramm found themselves separated (with drummer the Silo moving to Chicago) and locked down during the global pandemic, they decided to keep their spirits up by recording a Canadian classic; by RUSH no less. The song “Working Man” keeps with Autogramm’s tradition of crafting singalong pop anthems, and adds a twist of DEVO to help personalize the tune in classic Autogramm style. The song is the first single by the band in advance of their sophomore album, to be released in early 2021 on Los Angeles’ Nevado Records.
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.
Hit ’em up on Bandcamp to buy the single and check em out
When Little Angels called it a day in 1994, singer and main songwriter Toby Jepson was left feeling heartbroken, confused and betrayed by his band. What do you do when your whole world has crumbled in front of you? How do you find the strength to carry on, when everything you have worked so hard for is taken from you?
Well, Toby retreated to a cottage in Guilford, set up a makeshift studio in a derelict Oast House with money from Sony and recorded his first solo album ‘Ignorance Is Bliss’. While he didn’t know it at the time, the set of songs he wrote, recorded and self-produced were a direct reaction to the break-up of Little Angels and would result in an album so steeped in retrospection and soul searching it would resonate so strongly some 25 years later.
To me, the mid 90’s was the best period for rock music, period. The musical climate had changed, the glory daze of Hair Metal had been wiped out by Grunge, yet even that genre itself was fading fast following the suicide of its main protagonist. Bands had to adapt to change or die, Alternative was the new mainstream and everything seemed just more edgy.
Many great songs and many great albums have been born from heartache and break-ups and Toby Jepson’s coping mechanism was to channel his feelings into ‘Ignorance Is Bliss’. It’s a dark album, ironically the complete antithesis of what Little Angels were all about. In trying to make sense of where it all went wrong, who to blame and what to do next, Toby found himself stepping back and looking inside himself for the answers, whether it be examining his recent divorce (‘Better Off Without Me’), class divide and struggle (‘Some People Are More Equal Than Others’) and in the case of most of the songs, directing his anger and confusion towards his former band mates.
What strikes me about ‘Ignorance Is Bliss’ 25 years down the line is how remarkably current it actually sounds. From the crystal clear production to the dark, questioning lyricism, it sounds like an album destined for release in 2020. Take opening song ‘Some People Are More Equal Than Others’, a slow burning, sombre opener that sets the mood, exploring the struggle of class divide to a background of crisp drums and weaving, sonically seductive guitars.
Co-penned with songwriting legend Russ Ballard, ‘Slipping Through Your Fingers’ not only continues the exploration of his marriage break-up but also the demise of Little Angels. Production-wise Toby creates space, the instrumentation at a bare minimum, the song riding on melody and a sense of determination. The dampened guitars build during the verse to be let loose as the anthemic chorus breaks out.
Anthemic choruses have been a Toby Jepson trademark over the years and album centrepiece ‘I Won’t Be With You’ is a prime example. This is the big rock song and an even bigger ‘middle finger’ to his former band mates. The guitars are maxed out and the passion overflows as Toby channels his anger and confusion into a song that stands the test of time. In stark contrast, the acoustic-driven ‘All Heal In Time’ is Toby’s Led Zep 3 moment. The heartfelt lyrics work perfectly with the interestingly, offbeat drums, and the beautiful folk inspired guitar picking. A great melody carries a song that offers a ray of light in troubled times.
The influence of the 90’s alternative musical climate is prevalent throughout this album. The grungy ‘Haven’t Got Your Strength’ is the sound of a man defeated, laid bare over Jerry Cantrell guitar riffage. The euphoric, radio-friendly ‘Save Me From Myself’, almost certainly a cry for help. Toby cites Lenny Kravitz as an influence on this album and this is certainly obvious on the tripped-out, psychedelia of ‘Open Your Mind’ and the funky, unfinished demo version of ‘Get Your Feet On’.
While ‘Ignorance Is Bliss’ is a snapshot of Toby Jepson’s mindset in his darkest hour, it is a testament to his songwriting prowess and a true example of the fact that anger truly is an energy. Toby channeled that anger in the right direction and produced an album that stands the test of time. And while he continues to enjoy great success with his band Wayward Sons, ‘Ignorance Is Bliss’ remains a lost gem of an album he is rightly proud of and arguably, it is his finest work.
the project brings together for the first time ever the long-running Los Angeles punks and the London-based singer and ex-Million Dead frontman, for many years now both friends and fans of each other’s music. With supporting live shows also shortly to be announced, the 10 strong track-listing of ‘West Coast vs Wessex’ captures NOFX tackling five selections from Turner’s sizeable solo back catalogue, with Frank reciprocating with recordings of five of his personal favourites picked from NOFX’s 37-years-and-counting career.
Both artists have sizable followings it would be hard to predict who’d still be standing if they were to slug it out. To be fair maybe Fat Mike wouldn’t get past the drug test but he’d probably hide a horseshoe in his glove anyway but the walk-in music is sorted as they could both play one of these tracks. Now to be fair I have to say I’ve seen Frank live a few times and although I enjoyed what I heard and I also have some of his records I’ve never been drawn in and become a fully-fledged fanboy but I do love ‘Thatcher Fucked The Kids’ and although NOFX do a sterling job its way below the original even if they’ve taken it somewhere dark and pulled its pants down and spanked it with a ska trombone and I’m good with that. And The same has to be said of NOFX I’ve seen them a few times and own the records but no fanboy and would it rude to say the best or rather my favourite release was the split they did with Rancid! (Flame me now NOFX fanboys) Not ‘Punked in Drublic’ and I do like Fat Mikes alter ego Cokie The Clown a lot. Anyway, I digress.
First half lets introduce tracks one to five and in the USA corner its NOFX and five Frank Turner tracks that manage to have their melons twisted (quite considerably at times) yet they still maintain the vital “Frank” ingredient which isn’t easy and they treat the songs rather well before devouring them NOFX style. ‘Substitute’ is skanked and the harmonies are great and when it breaks out it sounds fantastic. Angry love songs always work.
‘Worse Things Happen At Sea’ is no longer the picked melancholy its a slobbering beast that builds really well and Fat Mike and co have really worked on these and I’m impressed, no I’m really impressed. MAn these guys should do a collaboration and be done with it they are in tune – seriously. ‘Thatcher’ gets the ska skank treatment and to be fair it really works I’d never have called it as the keys dance and that horn bows almost as much as Thatcher did. Let’s not forget either kids, these lyrics are so spot on and what’s more depressing when it was written Frank never could have predicted Cameron and his austerity and then May before Boris well and truly fucked everyone not just the kids. Respect.
‘The Ballad Of Me & My Friends’ isn’t a folky sing-along its a blast through NOFX style. They get Turner in for a rip through ‘Glory Hallelujah’ like they’re Queen writing a musical for the west end big bold and quite beautiful. You have to take your hat off to Fat Mike hes reconstructed five of turners songs and given them a NOFX makeover and most enjoyable they are too.
In The ‘Wessex’ Corner is the very English Frank Turner and his band the Sleeping Souls and to be fair they’ve also entered into the spirit of things and taken five NOFX tunes and given them a “this side of the pond” English make over.
It is indeed the ying to Fat Mikes yang as ‘Scavenger Type’ get the punked-up acoustic style treatment as the ‘Punked In Drublic’ gets a good shoeing. I guess ‘Bob’ was a free hit for Turner but he takes ownership and if I was to pick a knockout blow on this release then this might well be it. Sublime, to be fair a great song handled with much love and respect.
‘Eat The Meek’ is taken somewhere totally different and reinvented and to be fair I didn’t see that coming either. That’s the pattern though and like ‘Perfect Government’ is another uppercut from Turner who winning this on points. Finally bowing out with his rendition of ‘Falling In Love’ this caps off a pretty impressive split. Exactly how it should be done and much respect to Frank Turner and NOFX who manage to knock each other out at the same time Rocky style. Give it a try then go check out the originals and then give them both a round of applause for their bravery, talent and execution.
Let’s hope for a rematch somewhere down the line or how about a full-on collaboration ‘West Coast vs Wessex’ has been an emotional box office success. Get on this pay per view kids its a big hitter for sure.
It seems to me that during these strange times 3 types of musicians have emerged during forced exile from live gigs, and these are as follows.
1 – The Hibernator (the artist on a major label who has done absolutely nothing) 2 – The Performer (the artist who does online gigs ranging from the totally unprofessional to the bloody sublime.) 3 – The Creator (the artist that records and releases music to their fanbase).
Former Biters frontman Tuk Smith emerges triumphant from category 2 and sticks his Cuban heeled boot firmly into category 3 with the release of his ‘Covers From The Quarantine’ EP. With the imminent release of Tuk Smith & The Restless Hearts debut album on hold and a high profile summer tour opening for Motley Crue, Poison and Def Leppard now postponed until next summer, the mop top singer with the cheek bones to die for finds himself at a loose end. Recorded in his attic studio, with just acoustic guitar, keys and drum samples, Tuk takes five classics from different decades back to their bare roots for all to digest.
Opener ‘Don’t Change’ is a lesser known INXS tune that was released back in 1982. The writing partnership of Michael Hutchence & Andrew Farriss was then still in its infancy and this is a perfect example of what would rocket them to superstar status before Hutchence’ tragic and untimely death in 1997. Arguably their first true classic, it’s a powerful song that has been covered by the likes of Everclear and The Goo Goo Dolls in the past, but in the hands of Tuk and his acoustic guitar, this is a more stripped back affair that somehow carries even more power and sentiment than the original.
Next up he tackles Bowie’s ‘Life On Mars’ with great effect. It may be a predictable choice, but it’s also an inspired choice. Tuk doesn’t mess with the structure or the delivery as his voice fits the song just right. The simple stabs of keys and the bombastic beats add atmosphere and drama to a classic we all know and love.
The Faces vibes are intact with his take on the Kiss classic ‘Hard Luck Woman’. I guess that figures, seems as Paul Stanley wrote it with Rod Stewart in mind, even if drummer Peter Criss ended up singing the definitive version. The picked, folky chord progression sound sublime, the vocals delivered with sentiment and passion in equal measures. It’s not trying to be Kiss or even Rod Stewart, it’s just Tuk being Tuk, playing a classic his own way.
Lana Del Rey’s ‘Summertime Sadness’ is the curveball of this collection. Tuk’s version retains the cinematic quality and the melancholic feel of Del Rey’s work, but it still has that sleazy, 70’s glam edge that the sadly missed Biters delivered in spades. Dreamy pop given a good rigorous drag through the hedge backwards…nicely done.
Now, if Fred Durst can manage a decent version of ‘Behind Blue Eyes’, then Tuk Smith should be able to crack The Who classic without breaking a sweat, right? He does it justice of course. A beautiful song delivered with sincerity that truly hits you in the feels.
When the world finally returns to some sort of normal, I think 2020 will be remembered in music circles as the year of the lockdown EP. There has been a fair few already, some are good, some not so good. ‘Covers From The Quarantine’ is one of the good ones and should keep fans of Tuk happy until his Restless Hearts album finally sees the light of day.
Here’s a couple of proper rainy days songs taken from a new split we’re reviewing this week on RPM its Frank turner & NOFX.
NOFX and Frank Turner will release a split covers album, ‘West Coast Vs. Wessex’ on July 31, 2020. Due for release via Fat Mike’s own Fat Wreck Chords label, the project brings together for the first time ever the long-running Los Angeles punks and the London-based singer and ex-Million Dead frontman, for many years now both friends and fans of each other’s music. With supporting live shows also shortly to be announced, the 10 strong track-listing of ‘West Coast vs Wessex’ captures NOFX tackling five selections from Turner’s sizeable solo back catalogue, with Frank reciprocating with recordings of five of his personal favourites picked from NOFX’s 37-years-and-counting career.
Just how often does the leader of one of your favourite bands ask you to do a split album? One where his band covers your songs? It’s the situation Frank Turner found himself in last year, when Fat Mike of NOFX asked if he wanted to do a split covers album. “And I shit the bed and said, ‘Fucking of course I do! That sounds incredible,” Turner recalls.
‘West Coast Vs. Wessex’ does sound incredible: NOFX filtering five of Turner’s songs through their singular sensibility, with Turner doing the same on five NOFX songs. But these aren’t simply double-time versions of Turner’s folk-punk tunes or slow, acoustic re-workings of NOFX’s iconic SoCal punk anthems. Both NOFX and Turner took time to play with the possibilities each other’s music presented.
“I listened to all his records, and I picked the ones that I thought I could make more interesting,” notes Fat Mike. “What I did is change a lot of chords. Frank, he beats me in the singing department. So I can’t sing better than he can, but I can maybe throw in a melody here or there or chord that he hadn’t thought of.”
Turner took a similar approach. “I didn’t want to just do straight covers of anything. I wanted to try and pick songs where I felt like me and my band could bring something different to the table,” he says. “But it did strike me that it would be cool to demonstrate to the casual NOFX fan, who doesn’t know who I am, that I am actually a fan. I didn’t just go to Spotify and pick the five most-listened-to songs.” For the record, only one of his choices appears on Spotify’s top five for NOFX: ‘Bob’, which Turner here transforms into a wistful country song. He pulled from deeper album tracks for his other covers: a punk-ed up ‘Scavenger Type’, a barroom singalong ‘Perfect Government’, the post-hardcore ‘Eat the Meek’, and a spare, haunting ‘Falling in Love’.
“Everything he picked was from the ’90s, so I took that as it’s okay to mostly do his early stuff too,” says Fat Mike, who channeled ‘90s NOFX for their interpretations. “People who hear it, they all say it sounds like old NOFX.” The band’s climactic take on ‘Substitute’ could’ve fit on ‘Punk in Drublic’, whilst ‘Worse Things Happen at Sea’ simmers with an ominous portent. The jaunty ‘Thatcher Fucked the Kids’ sounds like a companion to NOFX’s ‘Philthy Phil Philanthropist’. ‘The Ballad of Me and My Friends’ – lilting and bittersweet in Turner’s original – goes balls-out here. “Glory Hallelujah” sounds like a lost track from Fat Mike’s Broadway musical, ‘Home Street Home’.
Turner and his band, The Sleeping Souls, recorded their songs between their rehearsal space and during tour commitments, with Frank tracking his vocals from his bunk on the bus. NOFX recorded at Fat Mike’s Six Floggs studio, with production by the D-Composers (Fat Mike, Johnny Carey, BAZ Bastien, Yotam Ben Horin).
“It’s difficult to describe quite how it feels to hear back a song that you wrote played by NOFX, one of your favourite bands, in a style that is unmistakably theirs,” Turner says. “It tends to make me just laugh in a really elated kind of way. It’s just like, ‘Holy shit, this is ‘Substitute’ done by NOFX! This is fucking insane!’” Fat Mike was similarly psyched. “When Frank picked ‘Falling in Love,’ I was so fucking stoked,” Mike says. “Then I heard it, and I go, ‘Holy shit, he just kicked our ass.’ I was pleased with all of them. I thought he did a really good job – and not such a good job that we couldn’t beat him on a few songs.”
But there are no losers on West Coast Vs. Wessex. The Frank Turner-Fat Mike Mutual Admiration Society has produced 10 hooky re-imaginings of each others’ music. The novelty may pique listeners’ curiosity, but the songs will keep them coming back.
“I have always thought and always maintained, well before we were friends, that Mike is a great, classic songwriter,” Turner says. “And that’s what sets NOFX apart from many of their peers.”
What about him?
“Just for me to be able to stand up in front of the mirror and look at myself and say, ‘You’re doing a fucking split with NOFX’—that is an absolute dream come true for me,” he says, laughing. “I mean, I don’t quite know where my career goes from here.”
Punk in Drublic Festival 2021 European Tour Dates Feat. NOFX and Frank Turner & The Sleeping Souls
13 May FRANCE Chemillé, Théâtre Foirail à Chemille
15 May BELGIUM Boom, De Schorre Open Air
16 May GERMANY Berlin, Zitadelle
21 May AUSTRIA Wiesen, Wiesen Open Air
23 May ITALY Milan, Carroponte
4 June GERMANY Oberhausen, Turbinenhalle
5 June GERMANY Hannover, Faust Open Air
10 June FINLAND Turku, Vanha Surrtori 5
12 June NORWAY Oslo, Oslo Spektrum
13 June SWEDEN Malmö, Folkets Park
Well as we ease out of lockdown why not have a playlist to accompany July. Here we offer up fifteen of the bands we’ve reviewed during this pandemic its just some of the awesome bands and records that have found their way to RPM Online and some of them have new records on the way but we’ve not been able to share them quite yet but hang on they’re coming.
Canadian Label Yeah Right Records have put together a pretty impressive compilation album to download and today is the last chance to download it as they’re tallying up the proceeds to send off to the charity so don’t hesitate.
There’s a common saying that goes back centuries which states that evil prevails when good people do nothing. We’re witnessing the culmination of years of outrage at a lack of justice as it spills out into the city streets. Things have to change. We stand in solidarity with Black Lives Matter, and we step aside so that their voice may be more clearly heard.
Cover art features an iconic image of Tommie Smith from the 1968 Olympic Games, raising a black-gloved fist on the medal podium while receiving his gold medal for the 200 metre dash.
If you want a few pretty good rock and roll reasons to dig deep then let’s not shy away from 31 bands from 15 cities, each artist appears courtesy of themselves. The exclusive songs on offer like the Awesome Black Halos demo of ‘For You’ or The Streetwalkin Cheetahs who bring ‘Scorpio Rising’ now if that’s not enough reason to part with $7 I don’t know what is. But hold your horses because there’s more Sick Things add some much-needed cowbell with ‘You Know It Aint Right’. But wait the excellent ancient Shapes rock up with ‘Separation Anxiety’.
Christ, Red Army are on here as well as Tricky Woo damn this might just be one of the best compilation albums ever never mind this year. Dboy and The Spitfires have entries as well haha! I’m laughing as I think its a steal at such a low buy-in as you get so much bang for your buck and it would be remiss of me to not let you know that Biters are on here as well as the super sleazy rock and roll bubblegum rock of Midnight Towers.
There’s a whole host of new bands on me as well that now need investigating and if they’re on a comp as good as this and a label as cool as Yeah Right then I’d be pretty fuckin stupid to not check em out. Don’t delay folks as this supports a great cause which is really the main thrust of it but to get this much cool music is a bonus.
Never stop fighting good causes and a huge amount of kudos to all the bands and the label for getting behind this. Rock for good causes kids you know it makes sense.
What do we want? Dinosaurs. When do we want them? Now, What do we want? Action rock! When do we want it? Now! with a side of werewolves please waitress. Thanks kindly.
Formed in the winter of 2001, The Cheats decided to create the kind of band that just wasn’t happening in their hometown of Pittsburgh, PA – an old-fashioned, late-70’s-style punk rock ‘n roll band.
Around 2017 the “Pussyfootin/Rockamania” line-up started falling apart as some band members grew tired of living in a van and playing the dive bars and probably getting paid peanuts. Instead of cashing in his chips and getting a real job Todd decided to put together a band of like-minded musicians that loved to tour and play live. Since the band now had some national notoriety, he didn’t necessarily have to recruit local musicians. The band now features guitarists from two well know rock towns, Devin Holiday from Atlanta, GA and Rob Senomar from Cleveland, OH.
The new line-up immediately started playing shows and writing songs for a new record. After a few short tours, the band hit the studio in the fall of 2019 to create the new album, “Cussin, Crying N’ Carrying On.” Originally slated for a spring release, but due to the pandemic it had to be put on hold for a little while. But at long last, it’s ready to go.
Straight from the off the sleazy loud rock and Roll crashes in as ‘Give Up The Ghost’ signals just what’s to come. It’s thirteen slabs of hard n heavy punk n roll or fourteen if you pick up the Cd as it has a bonus cover of ‘Juniors Bar’ Todds deep too many smokes and bourbon baritone vocals are suited to a tee.
It’s a record full of Steve Jones crunchy guitar licks and solid rhythms and when they hit the groove they do it really well like on ‘Got Lucky’. Its got a clear production and songs that contemplate the whys and wherefores like ‘FDF’ or (Fight Drink Fuck) must have taken an age pouring over the deep lyrics not. It’s in yer face and fist in the air not a million miles from the UK’s very own Anti-Nowhere League to be fair in sound and attitude.
If yer looking for highlights then the dirty sleazy ‘Too Much Too Late’ is good as is ‘Stabbed In The Heart’ in all it mischievous glory from the bass rumble to the gang vocals. If yer looking for a slow late-night love song or even a street ballad then you’re looking at the wrong band. The Cheats just play loudly and live it like they love it and tomorrow’s another day – today they shall play and do it at 100 miles an hour – live fast n all that. Get on it action rockers before they’re gone.
Pre-orders and limited edition pink vinyl available exclusively…Here
Van Dammes, the garage punk miracle from Helsinki, just released a new music video for their guaranteed summer hit ‘Tax Free World’. The song, blessed with a killer chorus, is from their fourth record ‘Risky Business’. They might be a big noise outta Helsinki but they’re a new one on us here at RPM and they open our new feature ‘Introducing’. We loved the song and they had a video so we thought it deserved an introduction.
In the video, the band keeps rocking in the (tax) free world when it was still possible. The video features footage filmed in the band’s record label’s annual summer camp in the Canary Islands.
Also, Van Dammes have ended up as a victim of the coronavirus outbreak and needed to cancel their European tour, including a performance at the opening of the European football championship in Copenhagen. New dates are fortunately already planned for 2021.
The song and the whole record is released by German Rockstar Records, ‘Risky Business’ came out at the beginning of 2019 and features six tracks including the one featured in the video above. According to the band’s statement, ”Tax-Free World’ is the best music that the Nordic countries can produce at the moment”. Who are we to disagree?
The band is a four-piece – Ilkka Hildén (bass guitar), Markus Kujawa (vocals, synth), Jussi Roine (drums), Juho Talja (vocals, guitar) and they play organ fueled snotty garage punk if you’re a fan of records put out by the likes of No Front Teeth then these might just be for you. Go check em out and tell em RPM sent you.
I love a good compilation especially when I’ve never heard of any of the bands (ok almost all of em) and all of a sudden there are a dozen or more bands I’m checking out. It might be good for my soul but it’s not good for the old bank balance I know that much.
Now the label has turned out bands I’ve got a record or two from and I’ve not been disappointed yet so I’m going in tell my wife and kids I love them I might be a while.
First up are the Italian language Alieni with ‘più giù’ which I’m reliably informed is translated into ‘Further Down’ thank god for that. A convincing and sprightly Giuda style yob rock anthem and pretty good it is too.
Alex Dissuader – ‘I’m Gonna Loose My Job’ is a wonderful Boys power poppin’ slice of punk rock call it what you like its got a real early ’80s feel and some Geldof snot in those lead vocals. Maybe I shouldn’t be so lazy and dig deeper into whats going on in other countries because this comp is excellent and I should make it my job to investigate. Plutonium Baby would have fitted into the Max’s scene for sure with those cool vocals and swirling Iggy keyboards hailing from Rome this is a really catchy tune and I like it a lot. In contrast Blood ’77 are darker more street punk and sound like a blunt instrument attack rather than anything more sophisticated which is fine we need variety.
If you want to hear what Italy has to offer the world of uncompromising hardcore in the vein of say Fugazi or No means No then in contrast Taxi knock out a convincing return to the Giuda style boot boy rock and roll with a track entitled ‘Gloves’.
Hooray, at last, a band I know and like a lot it’s the snotty ’77 punks Idol Lips and they bring ‘Don’t Need Your Love’ and of course its got that Thunders lick of quality and thunders along like a long lost Dead Boys track with a tonne of energy and a chorus you can easily sing along to, top tune. Well now we’re on a roll a rock and roll and the full-bloodied Tigers In Furs are up next with a real energetic bit of punk n roll entitled ”Tigers In Furs’. To complete a hattrick of really good tunes Mad Rollers turn up and shake their collective shit with the excellent ‘Rock Lovers’.
Well I tip my hat to the cool bands from Italy who have proven that they can rock and roll with the best of them and have their own scene happening and its thanks to cool labels like these for letting the rest of us know what’s on offer out there. Do yourselves a favour and check out ‘Rock These Ancient Ruins’ its well worth it, trust me.