When the news initially broke earlier this year regarding this Limited Edition vinyl-only box set that brings together remastered editions of the four studio LPs and a double live album recorded by the original line up of Black Metal gods Venom, I was immediately intrigued.

Add into the mix a further double LP of previously unreleased demos, an exclusive shaped picture disc of ‘Bloodlust’, and a veritable cornucopia of memorabilia that includes amongst other things a stunning 40 page ‘History Of Venom’ hardback book along with (if you pre-ordered it from the band themselves) a 12×12 art print signed by Cronos himself, and before I could yell “C’MAAAAAAAAAAAN TURN IT UP’, I had bought a copy.

I actually received mine at the start of May well ahead of the official release date of May 31st but I wanted to really get to grips with this mammoth set before giving you my verdict simply because with a retail price of £150 this is never going to be an impulse purchase.

As I’ve mentioned the ‘History’ book already let’s begin with a little bit of my own history and how I first heard Venom. It was early 1983 and a close friend (who remains so to this very day) who first introduced me to ‘Black Metal’, oddly via a mate of his who had bought said LP (complete with poster) and as he thought it was shit, he had given it away. It wasn’t really like any of the other metal bands we were listening to at the time other than those noisy bastards Motorhead and Tank, in fact, it reminded me more of the relentless racket created by the UK82 punk bands my other school mates were listening to at the time like G.B.H and Discharge. I have to admit I wasn’t exactly an immediate fan but I did have a copy of ‘Black Metal’ taped for me (there’s a gag in there that I won’t need to explain to old school fans) so it did make numerous appearance on my Walkman over the summer of that year but it wasn’t until June 1984 when I just happened to buy a ticket on the door for the awe-inspiring Seventh Date Of Hell show at Hammersmith Odeon that I fully got what Venom were really all about.  

Picking up the “remastered from the original tapes” splatter and swirl LPs contained in this lavish box set (they all come with reproduction sleeves and inners) I actually begin my aural assault with ‘At War With Satan’ because that was the Venom record I first purchased for myself (on picture disc) at that legendary Seventh Date gig, and here pressed on heavyweight clear splatter vinyl it sounds absolutely magnificent. Okay, the gatefold doesn’t have the gold leaf cover of the original pressing or the original merch/poster inserts but that’s probably just me being a little bit too pernickety as otherwise this is stonking stuff.

I then go back to the band’s beginnings, with ‘Welcome to Hell’ and ‘Black Metal’ played back to back, and here the rumbling bottom end that bursts out the speakers is enough to wake the dead, or at the very least the neighbours. Both LPs come in embossed sleeves (and include replicas of the posters and lyric inners – here reproduced on the inner bags) and are again pressed on splatter vinyl, sounding as raw as they did back at the dawn of the eighties and equally just as ground-breaking.  The only small niggle I have here is my copy of ‘Black Metal’ came with nasty click on the run-in groove to side one, again I may be being over critical here but with the hefty price tag attached to this set I would expect nothing short of perfection.

Which is something I do get with the 74 tracks on offer here that’s for sure, with perhaps the real highlight for me being the chance to rediscover 1985’s (at the time) critically panned ‘Possessed’ LP. A record that has never sounded better than it does here, and coming as it does pressed upon splatter vinyl complete with the original inner bag and a huge poster it’s never looked as good either.

Moving on to ‘Eine Kleine Nachtmusik’ from 1986 and this double live LP for me has never really cut it, largely because some bright spark decided to leave silences between the tracks, so its not really like listening to a live album at all, and why would I want to listen to the band live just as they were falling apart at the seams when I could simply slip in my almost worn out VHS of The Seventh Date of Hell? The soundtrack of which I have always felt would have been a much better alternative as their official live album. Here ‘Nachtmusik’ is lovingly restored in a gatefold sleeve complete with the inner bags, so I’m sure I’ll get to play it more this time around.

With many Venom fans probably looking to buy this box set just for the 15 track ‘Sons Of Satan’ double LP I have to admit that if this were a standalone release I wouldn’t have been happy paying a top price for it. However, as a piece of Venom history contained within such an absorbing time capsule commemorating the band’s 40th anniversary it actually works well. Initially transporting us right back to 1979 via some very boomy cassette recordings of the band’s first line up complete with singer Christ, this is a world away from the Venom that would ultimately change heavy metal forever. However, by the time we get to the 1980 Impulse Studios demos that make up sides 2 and 3 of ‘Sons Of Satan’ the more recognisable “organised chaos” of the classic Venom sound is all but a few bottles of Jack Daniels away and waiting to take on the world. Something Cronos, Mantas and Abaddon were more than ready to do by the time they released the original ‘Bloodlust’/’In Nomine Satanas’ 7” single back in 1982 and thankfully it is included here as a shaped picture disc exclusive to this box set.

Whilst immersing myself in the satanic sounds of this box set I found the aforementioned ‘History Of Venom’ book to be the perfect accompanying piece, formed as it is from quotes from all the band members as well as being crammed with some of the cheesiest band photographs ever taken. This book for me is where this box set truly adds a bit of (black) magic to the mystery of Venom, as does the memory jogging reproduction tour programme.

Wrapping up the memorabilia part of this set you also get a huge Seven Dates Of Hell poster along with a Venom’s Legions back patch and if like me you order it from the band’s official store (linked below) you also get a very frameable art print signed by Count Cronos himself.

So, is it worth the £150 then I hear you cry?

Well, if you don’t already have these seminal albums on vinyl it most certainly is a must buy. If however you are a hardcore Venom collector and have these albums already a bazillion time over you’ll probably have done what I did and already have this box set filed away in your collection, in which case, “what the hell are you doing reading this review?” Ha!

‘In Nomine Satanas – 40 Years In Sodom’ will take a lot to top in the box set stakes that’s for sure and it once again proves that the devil really does still have all the very best tunes.

 

signed by Cronos Copy Here

Buy Here

Double CD best of book edition Here

Author: Johnny Hayward

With 2019 being the 40th anniversary of Venom, it’s well worth noting that it’s also the 10th anniversary of the band’s current line-up of Cronos (vocals and bass), Rage (guitar) and Dante (drums). Their recently released ‘Storm The Gates’ album is the band’s fifteenth to be bursting out with metal of the non-more black variety and thanks to a huge (very limited edition) Venom LP box set and 2 disc career retrospective being on the fire stoked horizon Spinefarm Records are giving this 13 tracker another push right now, which is great for me as this release somehow totally passed me by when it originally hit the shelves back in January of this year.

Which is something I can’t help but feel a bit annoyed with myself about really, simply because Venom are a band that not only reinvented heavy metal but also birthed a bazillion other subgenres, so why aren’t they lauded as all-conquering heroes and afforded multiple page tributes by the metal press like Motorhead always were every time they release a new record…and I then don’t end up missing them?”

Now there’s some food for thought eh?

In fact that Motorhead parallel is even more prevalent once you get to hear ‘Storm The Gates’ because just like what Lemmy did with the Mikkey and Phil line up, Cronos and Venom are doing pretty much the same here, by making some of the best full throttle black metal rackets they have made since their early to mid ‘80s heyday.

Opener ‘Bring Out Your Dead’ is an absolute barnstormer of a track with Cronos rattling his r’s over a pounding rhythm designed to get the heads banging and which seamlessly sets up the full on metal grind of ‘Notorious’ a track that sees Rage out Mantasing the band’s former guitar ninja with his use of the divebombing whammy bar, and the goodies don’t stop there either. ‘Dark Night (Of The Soul)’ is a fierce metal fist to the face as is the album’s title track ‘Storm The Gates’ a track that I can just see a pumped up Cronos stood arms folded 50 hole Dr Martins akimbo commanding his Legions to do his bidding in the live setting.

As a long-time fan of the band I have to admit I do find the flat out and nowt else approach the band take to their songwriting these days more than just a little relentless at times. So, for those of us who might still long an all new ‘At War With Satan’ or perhaps even a 21st century ‘Buried Alive’ you will not find anything remotely like that on ‘Storm The Gates’. In fact, tracks like ‘Over My Dead Body’ and ‘The Mighty Have Fallen’ are perhaps the most brutal the band have ever sounded, largely thanks to the superb almost out of control freight train drumming of Dante and the razor-sharp riffing of Rage.

‘Storm The Gates’ then is the sound of Venom heavier and angrier than ever before, I just hope that with this being such a special year for the band they finally get the credit and recognition they so rightly deserve as a truly ground-breaking metal band especially here in the UK where late-afternoon slots at Bloodstock aside we’re lucky to get to see them live at all.

C’MAAAAAAAAAAAAAN!!!!!!!

Buy Storm The Gates Here

Author: John Hayward

 

 

 

 

Lock the church doors Everyone’s favourite Black Metal band are back with a bruising tune.  Accept no substitute Venom are in the house and Cronos has a simple request – ‘Bring Out Your Dead’ and make it snappy here just for you lot is the brand new video hot off the press

You can watch the video here which also coincides with the band announcing a special double picture disc version of the album which is out on 19th April.

LATEST STUDIO ALBUM, ‘STORM THE GATES’, OUT NOW VIA SPINEFARM RECORDS
NEW DOUBLE PIC DISC PRESSING AVAILABLE FROM APRIL 19th 
Venom, the unholy trinity of CronosRage and Dante, closed 2018 with new studio album, STORM THE GATES, released on CD / digital in December, with the double coloured vinyl LP format following in January of this year…
 
 A classic call-to-arms, STORM THE GATES is a record from a legendary band who can legitimately be classed as both ‘original’ and ‘genre-defining’.
 
Now Venom have shared a lyric video for latest single ‘Bring Out Your Dead’, an anthem for blasphemers, fornicators and the forever cursed. Produced by the mighty Cronos himself, this is the raw sound of a band who don’t need tricks of technology to make their point. Watch now – 
Order STORM THE GATES –  Here
 

US rockers Anti – Mortem consist of members of Texas Hippie Coalition and Sign of Lies. This self-titled EP marks eight years since their last release of a bunch of singles. Here we have eight tracks full of spit and venom, and the sound is very much entrenched in the White Zombie, Corrosion of Conformity and Prong of the 90s. Crunchy riffs, screaming vocals and stabbing double bass drum flurries are very much the staple here. The bands logo doesn’t really sit with their sound though. I expected more of a Black Stone Cherry kind of vibe, but they are certainly not of that ilk.

The songs are short, tight, and straight to the point. With song titles like ‘STFU (Shut the Fuck Up)’, ‘Yeah Right’ and ‘Money’, Anti – Mortem attempt to address some of modern society’s issues and the lyrics are on point with their current themes.

An enjoyable listen with some interesting dynamics, the production values are great, the EP sounds relevant and old school at the same time. Check em out!

Author: Kenny Kendrick

Bitch Queens return with their follow up to the excellent ‘City of Class’ and continue to release well crafted albums that maintain high quality. They don’t tend to break out of the hard rock laced with punk attitude and catchiness category ( or is it punk rock with attitude and hard rock elements) that they have mined for several years. If you have liked the past couple of albums, this one is a no-brainer to purchase, and, if you have not heard them, start your journey here and enjoy a trip through their back catalog as well.

 

‘Burn It Down’ surges to life with an urgency that packs every second of its two minutes with vitality. The chorus doesn’t mess around and presents a simple refrain to immediately bring the listener into the album. The short breakdown in the song provides just enough of a break to create an impact when the hook comes back around for good measure. Slowing the tempo for ‘Con Man Contraband’ creates some dynamics as the verse then is given more power with the screaming vocals. A slithery guitar riff weaves its way through the song as the chorus is more subtle than the opener. Within the confines of the band’s sound is where they have expanded what they do as opposed to genre jumping. Sampling a warning announcement, they launch into ‘The Apocalypse’ and continue to ease just a little off the throttle here to create impactful moments. This is another chorus destined to be stuck in your head, and I like that we get the chorus before the first verse. The slow down at the end of the song fits perfectly too.

 

‘Don’t Be That Dude’ feels like a throwback to the mid to late 90’s a la Turbonegro, Supersuckers, Gluecifer, etc. It is catchy with lots of levity and will be one that will likely irritate you as you sing it in your head later. The title track provides an immediate switch with a balls to the wall race to the end of its frantic 40 second runtime. The band then immediately goes back to their super catchy hard rock with ‘The Worst Thing’ to close the first half of the album. It’s not a far reach from the Backyard Babies but contains a bit more exuberance and punkiness than BB have done for a while.

 

Kicking off the back half of the record, ‘Brainwash Radio’ is a solid classic Bitch Queens song with a large hook, excellent production, and made for air guitar riffs. This is the kind of song that should be getting played to death on the radio. The guitar to open ‘FU Emily’ provides more twists in the dynamics of the album. The song serves as a bit of a ballad here but is laced with so much attitude that it feels incredibly sinister and extremely catchy. ‘Ignorance is Bliss’ ups the tempo considerably and will either have your fist in the air or head banging in no time. This again highlights one of the greatest qualities of the band. They create albums that have a flow and take the listener on a journey. When the record ends, you want back on the roller coaster.

 

The final quarter pole of the album kicks off with ‘A Good Day to Forget’ which continues the hard rocking excellence. The chorus provides some moments to start singing immediately, but it is not one that will get boring. The guitar solo after the second chorus serves the song perfectly. ‘This is How We Roll in 2020’ provides another scream along moment as we recall the misery of the 2020 world. I don’t think someone could sit still during the song. Closing out the album, ‘Sugar Balls’ takes a step somewhat out of the ordinary but still sounds just like the Bitch Queens. The intensity builds up during the song to serve as the perfect ride out into the sunset moment for the album.

The Bitch Queens entered my world with the awesome ‘L.O.V.E.’ album back in 2017. I went backwards to catch up with their back catalog and have now been a fan since the start for their two most recent albums. If catchy hard rock laced with punk venom sounds like your thing, grab this new album and then start making your way through their back catalog too. You will not regret it.

Buy Here

 

Author: Gerald Stansbury

Late in 2020, Amyl and The Sniffers went into the studio with producer Dan Luscombe to record their sophomore album, ‘Comfort To Me’ and so entered Covid 19, much like the story that is being written all over the globe. Some bands began to put their feet up and ride it out and some bands knuckled down taking the opportunity to start writing some new tunes for a new album and seeing the pandemic as just something they have to deal with, an obstacle of how to record remotely or outside of the box.

Amyl &The Sniffers are no different to everybody else in that respect, maybe, some would say with a more primitive, feral sound perhaps they had a jump start on many others but it’s taken 18 months to get this record to the shops.

Not just being an Aussie band the Sniffers have been all over the globe since 2019 touring their debut and have expanded the gene pool they’re fishing in and it shows on this new album.  ‘Comfort To Me’ is still the same beast but with more clothes on figuratively speaking of course.  Written over a long year of lockdown, the album has more Hard Rockin’ influences to the fore, old-school rock’n’roll (AC/DC, Rose Tattoo, Motörhead and Wendy O Williams are there for all to hear but it’s more than that the Cosmic Psychos loom large in their influence), There is also the powerful throb of hardcore like the compelling ‘Choices’ but their tip of the hat to fellow Oz underdogs the Cosmic Psychos on ‘Security’  Lyrically,  it is captivating and Amy does have plenty of energy in her vocals.

 

Sure singing about fighting, lust, booze, chaos and a whole lot more besides she’s looking for love for gawds sake on ‘Security’ and the filthy bass throb on ‘Knifey’ shows a departure with a measured sleazy slog talking about social issues as the menacing tempo slowly grinds through the gears adding a new edge to the bands arsenal and I like it.

 

The opener is inspirational as they are ‘Guided By Angels’ but it leads into ‘Freaks To The Front’ and from the thuggish Bass riff we’re taken around the back and given a good seeing to and throwing the C Bomb isn’t something you often get to hear even on an anti-social punk rock record but here it seems wholly appropriate as the band grab you by the face and shake the listener around for a bit. What a stonking introduction to ‘Comfort To Me’.

 

‘Comfort To Me’ is unapologetic and leading the way in feral punk rock n roll where they don’t seemingly give a flying fuck if you like them or now because they’re playing the songs they’d love to hear in some late-night bar and anyone who’s seen them live can testify that hearing some of these songs like ‘Maggot’ with its melody and Captain Sensible style solo is excellent and full of hidden gems showing themselves if you invest the time to play this record the respect it thoroughly deserves – the rewards are plentiful and as far as writing and recording a little better each and every time you enter a studio then Amyl & The Sniffers are winning.  This is a notch up from the debut and the variety is here and when the band are rocking out in full flight its a thing of real beauty, ‘Capital’ is a beast of a track, and ‘Don’t Need A Cunt (Like You To Love Me)’ is a tip of the hat to Lemmy and Venom at their raucous best if they were punk as fuck. Regardless of the controversial title, it’s a blast and guaranteed to leave one’s ears ringing.

 

Before the record signs off Amyl gives ‘Laughing’ a good seeing to and puts down her line in the sand and be warned not to cross it.  RPM isn’t laughing at Her we’re laughing with her and tunes like this make us love her band a little more on each play.  Which only Leaves the thuggish ‘Snakes’ to sign off with a winning combination of power and attitude. Now snakes terrify me but maybe if I had the attitude of Amyl & The Sniffers then I’d be out stroking the fuckers but until then I’ll just familiarise myself with this serpent and slither off to play it again and probably again and when I’m done I’ll play it some more.  What a top record this is. If you haven’t already jumped on board then please take my advice and give it a whirl it’s a fuckin’ Banger! Stick with it it’s a record that keeps on giving and who doesn’t like a record like that?

Buy Here

Author: Dom Daley

Aah Warfare! The band that for the briefest of moments back in the mid-80s was out-thrashing even the mighty Venom, and doing it all with zero fucks given. They are to this very day the only band I’ve ever seen play a proper guerrilla gig, their legendary protest performance outside Metallica’s debut headline show at Hammersmith Odeon back in 1985 still ranks as one of the most “what the fuck” moments of total chaos I’ve ever had the “pleasure?” of experiencing in all of my 40 odd years of gig going.

 

Formed by drummer/singer Evo after he’d left Angelic Upstarts, his fine musical pedigree also included stints with Oi! stalwarts Major Accident and legendary shock rockers The Blood. Warfare might very well be considered the bastard sons of all those bands, albeit with a hint of metal shot through their sound due to the guitar histrionics of Gunner and thunderous bass rumble of Falken.

 

Warfare’s rather appropriately titled debut album, ‘Pure Filth’, was produced by one Algy Ward, and for me it’s still stands as one of the best albums Neat Records ever released, being right up there with ‘Black Metal’ in the noisy bastard stakes.

 

Subsequent Neat albums were produced by the likes of Lemmy (1985’s ‘Metal Anarchy’) and Cronos (1986’s ‘Mayhem Fuckin’ Mayhem’) but they never really topped the out and out musical carnage of their debut album and 1988’s ‘A Conflict Of Hatred’ aside by the time the ill-fated ‘Hammer Horror’ album finally crept out via FM Revolver in 1990 Warfare had somehow become a shadow of their former selves, sonically at least, with Evo retiring from the music business in 1992.

 

Returning some 20 odd years later for a trio of “demos” releases via German label High Roller Records. Albums that saw Evo reliving the magic of the band’s early days. The renewed interest in his band sparked Evo into re-joining the musical world once again, with him vowing to record the angriest Warfare record yet whilst drafting in the likes of Fast Eddie Clarke and Pete Way to help him make this dream come true. ‘Songbook of Filth’ then is the chance for us all to finally hear this material, something I couldn’t wait to get on the CD player.

 

Playing out in a non-chronological order, the 31 tracks spread out across three CDs (there’s also a twelve-track “highlights” vinyl LP available) and featuring some cracking demos, radio sessions, rare rehearsals/outtakes and live recordings, the set it meticulously curated by Evo via extensive track by track sleeve notes.

Highlights include new tracks ‘Black’ (featuring Fred Purser), ‘Cemetery Dirt’ (featuring Fast Eddie and Tom Angelripper) and ‘Misanthropy’ (featuring Fast Eddie and Pete Way). There’s also a brutal run through of ‘Burn Down The Kings Road’ recorded for Tommy Vance’s Radio 1 Rock Show, plus the ‘Metal City’ versions of ‘Metal Anarchy’ and ‘Rape’ which were previously only available on the dodgy as hell Neat Records compilation VHS of the same name. There’s a brutal version of GBH’s ‘Sick Boy’, a hilarious take on Robert Palmer’s Addicted To Love’ retitled as ‘Addicted To Drugs’, whilst the three-track tribute to Evo’s previous bands that bring the second disc to a close is topped off by an immensely trashy rehearsal version of ‘Degenerate’ by The Blood, a band who at the time of their legendary debut album (‘False Gestures For A Devious Public’) were writing better Damned songs than The Damned themselves.

 

So much more than just another compilation, or “best of” set, ‘Songbook of Filth’ offers even the most hardcore Warfare fan plenty of new listening material to get excited about. This most certainly is not just a re-hash of those old well-worn Warfare LPs from the ‘80s, and if you are quick enough you can even bag yourself a signed copy from the Cherry Red website (via the link below).

 

Get this bad boy on your “MUST BUY” list, because this is proper fucking Metal Anarchy.

 

Buy Here

Author: Johnny Hayward

 

 

 

The complete studio recordings Remastered from the original master tapes sees 31 tracks spread nicely over a double CD of all of their vinyl releases plus unreleased recordings.  includes their critically acclaimed and highly sought after debut album ‘Glasshouse’ from 1985 and the 1986 follow up ‘Simplicity’.  The lavish booklet is adorned with the artwork from the Glasshouse EP, which features in the Prints & Drawings collection at the Victoria & Albert Museum. 
Formed in 1981. Party Day, with their bass led rhythms and punchy drums along the lines of early Cure who must have been a big influence the band gigged extensively and released their debut single ‘Row The Boat Ashore’ in ’83.
So referencing the Cure is a bit of a give away as the bands Indie Rock with lashings of Gothic overtones will give comparisons to the likes of The Mission or more appropriately Gene Love Jezebel the band grabbed DJ John Peels attention which is never a bad thing and regularly featured in Sounds got tongues wagging.
The follow-up single ‘Spider’ from 1984 again received airplay from John Peel on the BBC and was well received by the national music press with the likes of the NME and Sounds stating – “Mouthy pellets of malevolence” NME “Excellent punk junk howl” Sounds.
The debut album ‘Glasshouse’ was released in 1985 with impressive reviews and has gained the band a decent audience with the indie and post-punk scene. Vinyl copies became collectible, it exchanges hands for decent sums on the second-hand market.
The Glasshouse EP followed later in 85 heralding a more commercial approach and widening appeal.
They followed up ‘Glasshouse’ with their second album ‘Simplicity’ which was released in 1986 and with much the same sound they were clearly more proficient musicians and the live shows had tightened any loose edges. It opened with a more solid rocker ‘She May Be Blind’ which sounds more like Skids meets Joy Division if that makes any sense?  With the bass being more in the mix than the previous album where it sat proudly on top.
The band consisted of; Martin Steele (gtr / vocals), Carl Firth (bass/vocals) Mick Baker (drums), Greg Firth (gtr) [who left in 1982]. The vocal were shared between Martin and Carl. This double CD is a very nice package with an extensive booklet that helps capture a time in the heady mid-eighties and pulls not just the bands two albums but the singles as well.  Martin left due to ill-health and was replaced by Dean Peckett.  Towards the latter half of the eighties just before the band called time on their existence, Carl left and, Paul Nash (of The Danse Society) (gtr / vocals), and Shaun Crowcroft  (bass) joined. They recorded two sessions, but these songs were later abandoned and not released.  Shortly afterwards the band folded.

Sadly Dean Peckett died in 2016, as the band began putting the collection ‘Sorted!’ together.

 

The 2006 release was in response to the resurgence of interest in Party Day through their song ‘Atoms’, which continued to be played at clubs throughout Europe. Since then, there has been further interest in their songs, with more airplay and Livestream shows.  Leads us to the here and now and some Forty Years on from their beginning…mid pandemic 2021 sees the release of ‘Sorted!’ (Optic Nerve Recordings). More than a nostalgic look back to a band who probably deserved more of a profile on the post-punk Goth scene who wrote some really decent songs of which you’ll hear when playing these loving constructed discs particular highlights for me are ‘Career’  from the second album and the Banshee like twist of the rhythmic ‘Carousel’ from the debut album and the darkness and venom displayed on ‘Row The Boat Ashore’  top tunes even now.  Enjoy

Buy Here

Website

Author: Dom Daley

Scumbag Millionaire / Upploppet – Split (Lux Noise) This is how a split should be done.  One band you know, in this case Scumbag Millionaire, and the other- a new one on me, Upploppet. and boy what an introduction.  Full tilt, no bullshit, heads-down rock and fucking roll.  What a pair of bangers we have here.

Scumbags do write shit tunes it would seem and their contribution is (Don’t Say) I Didn’t Say So’ thunderous drums howling guitars and distorted vocals springing to the finish line before they inhale is how a punk rock and fuckin roll single should be and these mofos absolutely nail it. Not wanting to be outdone Upploppet kick the shit out of their instruments for a thunderous romp through the imaginatively titled ‘Born To Lose’ but forgetting the title, of course, they’re from Sweden and of course we highly recommend you pick up a copy of this before they’re all gone with the wind.     Pick up here

 

 

Jerry Lehane – ‘Drinking Life’ (Rum Bar Records)  A heartfelt wholesome Rock and Roll tune wrapped in memory soaked lyrics with some six-string strumming pierced with some sweet barbed solo licks sees Jerry knock out a hard-edged road worn slice of Rock and Roll with some help from Bosstone Dicky Barrett.  Sure there are touches of Neil Young and Crazy Horse happening especially when the solo meanders through the chords.  But its Epic in every sense of the word from the arrangement to the storytelling lyrics all adds up to a really impressive tune.  Bosstones and Dogmatics couldn’t make a bad record if they tried and this is 100% proof.  Check it out here 

 

 

 

Electric Frankenstein / The Stripp – Split (Spaghetty Town Records) Whoever said rock is dead is definitely not listening to Spaghetty Town Records. They are back with a ripper of a split EP.  First up is New Jersey kings of hard rockin punk Electric Frankenstein.  If you aren’t familiar, where have you been?!  Founded by brothers Sal and Dan Canzonieri, they’ve been knocking out their punk attitude rock and roll since the 90s, they’ve lost none of their venom and passion as ‘American Lies’ is like a cannonball being fired.  Then they hit you in the guts with the beast of a tune ‘Everybody’s Dead Again’ which is an absolute banger of a tune.  Worth getting hold of this 7″ for this song alone.

Second up, Melbourne Australia’s The Stripp.   Who’ve created a buzz in the underground music scene down under. Fronted by Bek Taylor the band’s raw mix of high-speed sleazy hard rock with catchy riffs has had heads turning in the action rock community for their high-energy rock n roll. ‘Dice Man’ has the hallmarks of Girlschool meets something altogether more down n dirty. With their second offering being available in the video below.

Spaghetty Town has made a limited run of this 7″ on green, pink or black vinyl.  Of course it’s available on all streaming and download outlets and also available from the bands direct.

 Buy Here

 

 

Chubby & The Gang – ‘I Hate The Radio’ (Partisan Records) “I Hate the Radio” taken from the forthcoming album ‘The Mutt’s Nuts.’ sees a side step from the rip-snorting hard rockin new wave of hard core that you might have been expecting instead a soft song for hard men in the shape of I Hate The Radio.  Absolute corker it is too.  Check it out here in video form and then when you’re done go order the bloody album –  Listen/pre-order: Here

 

Smashed Gladys – ‘Never Take No’ (Golden Robot Records) A little rough round the edges this is a demo that was going to make up the bands third album that never saw the light of day back in the day.  With a familiar raunchy barroom rocker ‘Never Take No’ is classic Smashed Gladys.  this is the third track from the album thats yet to be released.  Sadly Cato sadly passed away in 2020 and Golden Robot Records are proud to bring you new material  in her honour. These songs as demos for their 3rd album, which has now been remixed.

Listen/Buy ‘Never Take No’ HERE

 

 

 

E.T. Explore Me – ‘President/Drug Me’ (Voodoo Rhythm Records)  How about a bit of scuzzy disco then kids?  Yeah we go tit right here from these Dutch loons.  They’ve got a bit of dodgy lo-fi disco happening in their lives and these powerful grooves will have you out on the dancefloor in those silk shirts bustin moves.  When they say columbia meets Trash Disco they aint messin wiv ya.  This is exactly whats on offer. ‘Drug Me’ is more of the same with a funky late 70s early 80s keith Richards guitar work happenin’  – what a pair of ace tunes but don’t get me started on the video it will blow your tiny mind.  Get on it here

 

 

 

The Chevelles – ‘Steve McQueen (I Wish I Was)’ (Wicked Cool Records)  What a banger this is.  From Western Australia, this is all flash guitar breaks Keith Moon drum beats and a top melody over some rip-snorting guitar riffing.  the Chevelles are power poppin garage rockers with a heap of stone-cold attitude.  A real sparkling single this is to be fair.

“Fuck just getting older, let’s get louder” said frontman Duane Smith and a big fat Amen to that we say.  Clearly not giving a fourX we like that from our rock n rollas.

 

 

 

Jizzy Pearl’s LOVE/HATE – ‘Wanna Be Somebody’ (Golden Robot Records) I remember watching Jizzy in a small club near my home town and so loud were his vocals I thought they’d blown my eardrums he’d lost none of the venom in his tone and it would seem he still has one hell of a set of pipes on him as the heavy groove-laden sounds of ‘Wanna Be Somebody’ hits you like a baseball bat.  Check it out by visiting Jizzy Here / Listen/buy ‘Wanna Be Somebody’ HERE
Listen to ‘Soul Mama’ HERE

 

 

 

 

Steve Conte – ‘Dog Days Of Summer’ (Wicked Cool Records) Lifted from his forthcoming new long-player Conte delves deep into the sounds of classic Rod Stewart when Rod the Mod was making better records than anyone ( well almost anyone) A real ‘Every picture’ vibe going on here.  The sound of summer tweeting in the intro and outro makes way for the carefree sounds of two brothers and an awesome drummer (Charley Drayton) who played with Keith Richards in his expensive winos.  A top summery tune – that’s for sure and if it’s the vibe that the album is hitting then this is the sweet spot of summer right here. It’s a Must have! Stream this bad boy here  and pre order the album (‘Bronx Cheer’)  from Wicked Cool Records. Website: www.stevecontenyc.com

 

Fake Names – EP (Epitaph Records)  Fake Names, the band featuring DC punk legends Brian Baker, Michael Hampton, and Johnny Temple, fronted by Dennis Lyxzen from Refused, have surprise-released a brand new 3-track EP. The EP features guest drummer Brendan Canty (Rites of Spring, Fugazi)! and a punchy catchy ep it is too. Its bright opener has a good hook on the chorus ‘It Will Take A Lifetime’ is a brightly produced slice of post-punk with emphasis on the melody.  ‘Running’ has a lot more punch as it steps into the Bob Mould, Bad Religion territory but has some great bv’s and a catchy breakdown. My pick of the three tracks is the laid back ‘Cuts You Down’ with a chilled verse leading to another catchy chorus.  A very decent ep and hopefully the start and not a one off.

‘Fake Names’ EP is available now // Stream & download: https://fakenames.ffm.to/fakenamesep

For more information on Fake Names, visit: WEBSITE | FACEBOOK | INSTAGRAM | YOUTUBE

DANKO JONES 

ANNOUNCE TWO ALBUM RELEASE LIVESTREAM PERFORMANCES FOR SATURDAY AUGUST 28TH
TICKETS & INFO HERE!

BAND RELEASES NEW SONG “START THE SHOW“
STREAM HERE

POWER TRIO OUT AUGUST 27TH VIA MATE IN GERMANY

PRE-ORDER HERE!

Rock icons Danko Jones announce two livestream performances in celebration of the release of their 10th studio album Power Trio, out August 27th via MATE in GermanyThe livestreams are set for Saturday, August 28th at 8:00PM ET / 5:00PM PT and at 8:00PM CET and will be streamed live from Bridgeworks in Hamilton, Ontario.

To add to the excitement, the band will also be doing a Q&A for viewers after the performances. Tickets & info can be found HERE

Along with the livestream show announcements, the band has also released a new song today, “Start The Show”. Stream it HERE! And watch the lyric video HERE!

Ironically the last song on ‘Power Trio’, it is essentially Danko Jones’ answer to Cheap Trick’s “Hello There” – i.e., a song tailor-made to be the first song played at a Danko Jones show. It’s a reaffirmation of everything he was put on this earth to do. But in the wake of this pandemic-plagued year, the song also makes for a surprisingly poignant album closer, because it’s a reminder of all the shows that Danko didn’t get to play this past year, and a reminder of how much we’ve all missed that goosebump-inducing feeling of being in a packed club when the house lights go down, the music playing over the PA cuts out, and your favourite power trio emerges from the darkness to kick into their opening tune.  And yet despite this bittersweet subtext, “Start the Show” is brimming with the promise that we will experience that feeling once again—and, after the black cloud of COVID clears, Danko Jones will be there ready to give it to you.

“Start The Show” follows previously released singles “Saturday” and “I Want Out“.  Hitting #1 at German Rock Radio and Top 15 at Canadian Rock Radio, “I Want Out” has seen success with airplay around the globe. In April the band also released a fan-only track “Flaunt It”.  Album pre-orders are available HERE!

Power Trio sees Danko Jones delivering each engine-revving riff, soul-shaking stomp, and shout-it-loud hook with a sniper’s precision. It’s such a simple, self-evident title, but one loaded with significance, as it speaks to the special triangular alchemy Danko shares with his trusty bass-slinging accomplice JC and drummer Rich Knox.  It also stakes out the band’s place on a storied lineage of three-piece titans Jimi Hendrix Experience, ZZ Top, Rush, Motörhead, Venom, Dinosaur Jr., and the Jon Spencer Blues Explosion, to name a few.

The album follows the band’s electrifying, world charting album, ‘A Rock Supreme’ released in 2019. It also sees the band once again tapping into the production prowess of Eric Ratz, who previously amped up the bone-breaking boogie of 2017’s full-throttle rocker ‘Wild Cat’ and 2015’s bloodlusty Fire Music.
Band Photo By Dustin Rabin

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