Hailing from Lockport NY, Handsome Jack plays a powerful and emotional fusion of boogie soul rock n roll that has earned the admiration of fellow rock travelers such as Chris Robinson (CRB, Black Crowes), Zachary Gabbard (Buffalo Killers), and Ben McLeod of All Them Witches, who produced their new record.

On “Everything’s Gonna Be Alright” the trio digs deeper into its soulful influences, brilliantly bringing back to life the classic sounds of Chicago, Memphis and Muscle Shoals, all rolled into one timeless record of American rock music for a new generation.

Handsome Jack is Jamison Passuite (guitar/vocals), Joey Verdonselli (bass/vocals), and Bennie Hayes (drums/vocals).

Buy Vinyl Here.

Oct 20 Buffalo Ironworks Buffalo, NY
Oct 26 Bug Jar Rochester, NY
Oct 30 Northside Tavern Cincinnati, OH

Oct 31 Saturn Birmingham, AL
Nov 1 One Eyed Jacks New Orleans, LA
Nov 2 White Oak Music Hall: Upstairs Houston, TX
Nov 3 Antone’s Austin, TX
Nov 4 Club Dada Dallas, TX
Nov 7 The Rebel Lounge Phoenix, AZ
Nov 8 Beauty Bar Las Vegas, NV
Nov 9 Echoplex Los Angeles, CA
Nov 10 The Casbah San Diego, CA
Nov 13 The Independent San Francisco, CA
Nov 15 Wonder Ballroom Portland, OR
Nov 16 Freakout Festival Seattle, WA
Nov 17 Rickshaw Theatre Vancouver, Canada
Nov 19 Neurolux. Boise, ID
Nov 20 The State Room Salt Lake City, UT
Nov 21 Bluebird Theater Denver, CO
Nov 23 The Riot Room Kansas City, MO
Nov 24 Blueberry Hill Duck Room St. Louis, MO


Gerald Stansbury


What if you took some great garage rock and added some sprinkles of the Hellacopters to the mix? You get a really tasty album by The Peawees from Italy. A band that has been going strong for over two decades now. The band does not spend time trying to push boundaries or take huge musical risks. They focus their time on crafting songs that would be as at home in the 60’s as they are now. This is a fun, addictive album that you can listen to in less than 30 minutes, which gives a good excuse to just play it all over again.

‘Walking Through My Hell’ crashes in all at once with the vocal of Herve’ Peroncini making an immediate impact as he sings with an edge created with years of experience but also a lot of melody. This song is direct and wastes no time in its two and half minutes and sets the stage perfectly for what is coming for the remaining 9 songs. Put this thing on your local jukebox and watch the people start moving to the beat. Tommy Gonzalez (drums) and Fabio Clemente (bass) ring in ‘A Reason Why’ on nice MOD beat with Carlo Landini (guitar) and Peroncini (also guitar) providing crunch to the beat and a fun guitar solo that you could almost be lifted from early Hanoi Rocks in tone and approach. The chorus leaves a hook in the brain. ‘Stranger’ is super catchy and features some awesome rocking piano that takes the song to a whole other level. The band keep the party going with some Hellacopters style adrenaline on the fast tempo ‘Christine.’ The bass and drums on the chorus sound awesome as do the Chuck Berry inspired guitar riffs.

Reaching the end of side one, ‘Justify’ offers an easy going rhythm and blues soulful type ballad that is extremely catchy. It ends the first half of the album in fine style. Current blues rockers Vintage Trouble would really appreciate this one. Peroncini shows another great side to his voice within the context of the album. Flipping the album over MP3 style, the band rips into ‘Leave This Place’ with some punk energy and razor hooks. The groove by Gonzalez and Clemente is awesome. ‘Phil Spector’ offers some classic rock n roll with a sticky like fly paper chorus featuring some terrific ‘yeah, yeah, yeahs.’ If this was the soundtrack of his hell as he describes it, hell is sounding really good.

‘The Matter’ offers some great vocal work to build the sneaky good hook as well as great guitar riffs by Landini and Peroncini. This has become possibly my favorite song on the album with repeated listens. ‘As Long As You Can Sleep’ offers a huge chorus that has kept drawing me back to this one. The Peawees do an awesome job of inserting musical breaks in their songs to provide diversity and really maximize the effects of the beats and riffs. I also really like the cool use of repetition in the vocals at the end of the song. Bringing the album to a close ‘Til My Mojo Works’ introduces some nice harmonica work and is a solid song for my tastes, but it does not reach the level of the others. I might have swapped it with ‘As Long As You Can Sleep’ as I think it would have offered a stronger closer to the album.

The Peawees sound great here and have done things the old school way with ten songs mostly under three minutes in length. The CD age tended to find bands trying to fill all 80 minutes with music while the transition to this digital world where albums do not have any restrictions in terms of length has really found bands returning to the past and falling in line with what works best on vinyl.  I have no doubt that this album would sound even better blasting on my turntable with the way it is made. This is a really fun rock n roll album that is best enjoyed at a loud volume. Highly recommended.

‘Moving Target’ is available now.




Shows are selling fast so remember to book in advance, all ticket links are over at www.thewonderstuff.co.uk


“I was in New York a few years back and was invited to guest at a Tom Robinson solo show. Tom has long been an inspiration to me and given the opportunity to perform with him… well, lets just say I couldn’t polish my boots quick enough. During our brief rehearsal together on the afternoon of the show Tom asked me who I felt now owned the songs that I have written over all these years. I answered that whoever the publishing company I signed with probably did, but ultimately, I did. Tom was quick to correct me pointing out that all of my songs now belonged to my audience. Going on to explain that the songs I have written have been part of the sound track to thousands of people’s live and it is those people that now truly own them. He said that my position was now of The Custodian, the person who’s job it is to see that the songs are treated and performed with the respect the audiences deserve. It was an incredibly important thing to have said to me and something I have not and will not ever forget.”



Bad Touch will play a UK Headline Tour in support of their new album Shake A Leg’ tonight its Glasgows turn to get down with the beardy rockers. The 5-piece rock band from Norfolk recently released their third studio album via Marshall Records. The album went to #23 in the Independent Album Charts.

Get a taste of the band’s live energy and watch the official music video for ‘Lift Your Head Up’ 

Their third studio album, ‘Shake A Leg’ was recorded in Bad Touch’s home county of Norfolk at Orange Tree Studios. Engineered, produced and mixed by Andy Hodgson, the new album follows their critically acclaimed 2016 release ‘Truth Be Told’ which featured the rock radio hit ‘99%’. The new album was mastered at Abbey Road Studios‘Shake A Leg’ takes a more personal and ambitious approach in both song-writing and production due to the bands choice to write more spontaneously within the studio itself resulting in more emotional ‘in-the-moment’ performances. ‘Shake A Leg’ features 13 hand-picked songs that originate from a collective of all the members influences which they proudly wear on their sleeve.

“We wanted to the album to embody songs that not only sounded fresh and exciting, but also communicated lyrics that meant something to us on a personal level that our fans could identify with,” says guitarist Rob Glendinning.

Known by fans and critics alike for having a reputation as a busy and hard-working band, Bad Touch continue to tour far and wide and are looking forward to playing tracks from the new album when they tour the UK in October and November.


Bad Touch’s new album click here


TICKETS: www.planetrocktickets.co.uk


Johnny Hayward.

For any new band starting out and looking for a role model on which to base their fledgeling career, they won’t go far wrong by looking at Canadian extra-terrestrial metallers Voivod. Now into their 35th year together, and having just released their 14th studio album, the rather splendid ‘The Wake’, the band appear to be at yet another creative high on their rollercoaster ride of a back catalogue, and judging by the very respectable midweek turn out in The Globe tonight I’m not the only one thinking this way.


Greek thrashers Bio-Cancer are certainly one of those bands who could learn a thing or two from their European touring counterparts, largely because playing traditional thrash over which singer Lefteris Hatziandreou delivers screaming death metal vocals is not exactly an easy first listen. So, for the first few songs I honestly think this all might be something of an elaborate in-joke, and if my memory banks serve me correctly isn’t that exactly how tonight’s headliners were also described in their very early days? This small point aside certainly doesn’t detract from the fact that the five-piece immediately win over the crowd who absolutely lap up the tight as hell and in your face brand of ear-piercing thrash that these young lads from Athens take great pleasure in blitzing us with. It’s, unfortunately, all pretty one-dimensional stuff for the uninitiated however by the time the guys reach set closer ‘Spread The Cancer’ even I’m nodding along in appreciation.


Tonight, is actually my first time of seeing Voivod indoors, it’s also the first time the progressive thrash giants have ever played in Cardiff (Bristol being the nearest they’ve ever gotten to crossing the River Severn previously), and as would be expected for such a momentous occasion stage front of The Globe is totally buzzing with anticipation as the band’s atmospheric intro tape kicks in.  Taking to the stage with the explosive punk metal of ‘Post Society’ from the 2016 EP of the same name the band are immediately firing on all cylinders and the sound is loud enough to totally piss the venue’s neighbours off once and for all. Led by perma-grinning singer Denis (Snake) Bélanger the enthusiasm with which the guys deliver their material simply acts as a means of drawing you into their headspace, then once you’re on board, whoosh you’re off on a musical trip that celebrates a huge chunk of the three and a half decades the guys (in various guises) have been producing some of the most direct yet challenging music ever to be released under the banner of Heavy Metal.

Across the next ninety minutes, we are treated to a set chock full of classics from the band’s back catalogue along with three of the very best tracks (‘Obsolete Beings’, IConspiracy and ‘Always Moving’) from the recently released ‘The Wake’ album. Admittedly it’s the earlier ground-breaking thrash thunder of tracks like ‘Ravenous Medicine’ and ‘Technocratic Manipulators’ that really get the audience chomping at the bit. It’s when the band delve into the more genre-busting aural nuggets like ‘Into My Hypercube’ from 1989’s ‘Nothingface’, ‘The Prow’ from be hugely underrated ‘Angel Rat’ album, plus ‘The Lost Machine’ from ‘The Outer Limits’ that I start to wonder why Voivod have never really achieved the same crossover success that a band like Mastodon has, and if you do have the answer to that one, please make sure to mail it to the usual RPM address, because I’d love to know why.



With drummer Michel (Away) Langevin being the only constant member of the band since their formation in 1982 it’s certainly worth highlighting that he is also one of the most technically proficient drummers I’ve seen performing in this genre in recent times. At the festivals I’ve seen that band at previously that wasn’t always so obvious but, in a venue, where you are literally standing eyeball to eyeball with the musicians he is nothing short of astonishing, especially on jackhammer fast blasts like ‘Order Of The Blackguards’.  Let’s also not forget the newer guys Daniel ‘Chewy’ Mongrain on guitar and Dominique ‘Rocky’ Laroche on bass who more than hold their own, in particular, Chewy who has been in the band since 2008 and is the almost perfect replacement for the seemingly irreplaceable Denis (Piggy) D’Amour.

With the band also dedicating their signature tune ‘Voivod’ to their lost brother before leaving us, albeit very briefly, ahead of the thoroughly deserved encore of ‘Overreaction’ which sends every one of us home buzzing with excitement and my ears ringing like when I was a teenager. On leaving the venue it was also heartening to see the whole band almost immediately hanging out around the merch table happily chatting away signing shirts and records for fans without the need for the whole VIP bollocks that is being exploited elsewhere in the business right now.  Thirty-five years in the business and these guys are still more punk rock than some punk rock bands are in 2018.


Unique, influential and above all absolutely fucking essential in an age of beige. Ladies and gentlemen, I give you Voivod.

Buy Voi Vod Here

Ginger Wildheart – solo artist and frontman of rockers The Wildhearts – has re-launched his own record label – the label he formed back in 1994.

And to celebrate, Ginger is releasing ‘G*A*S*S* MK II’ on double gatefold sleeve vinyl, Compact Disc and Direct Download.

The album features 13 songs recorded as part of Ginger’s 2014 year-long ‘G*A*S*S* project, which saw the prolific songwriter record and release three songs every month direct to fans who subscribed to the project (subscribers also received additional demos, artwork and stories written by Ginger).

After the year was up, Ginger released ‘Year Of The Fanclub’ a CD and vinyl which featured a collection of songs from the project.

‘G*A*S*S* Mk 2’ is the second coming.

Ginger Wildheart – GASS MK II

Says Ginger:

“‘Year Of The Fanclub’ represented some of the popular highlights but omitted some of my very favourite compositions. ‘G*A*S*S* Mk 2’ represents what I consider to be the best of ‘G*A*S*S*, those little gems where planets aligned, musicians excelled and words seem to hit targets.”

The 13-track album is only available direct from Ginger’s website and will be released on CD and double gatefold vinyl.  All the tracks have been remastered especially for the compilation by Dave Draper (Ginger Wildheart, Terrorvision, Ryan Hamilton) and the artwork has been realised by Rich Jones (Michael Monroe, The Black Halos, The Loyalties).

The album features hand written liner notes by Ginger too.

In addition to ‘G*A*S*S* Mk 2’, Round Records will also be shortly reissuing The Wildhearts’ 2007 self-titled album, as well as a brand new solo album from Ginger.

Pre-order for the ‘G*A*S*S* Mk 2’, album are here:

Round Records Here

The CoathangersAtlanta punks The Coathangers bring their live show to the UK and Europe, starting off in Leeds Tomorrow.

To celebrate, the band’s singer/guitarist Julia Kugel recorded a raw acoustic video of new material to share with their European fans. Step Back” is taken from a new album currently in the works.

Back in June, the band released a live album, originally entitled ‘LIVE’. Giving listeners a taste of what to expect on the forthcoming tour.

The Coathangers European tour dates:

18th Oct – Hyde Park Book Club, LEEDS (UK)
19th Oct – Moth Club, LONDON (UK)
20th Oct – Actress & Bishop, BIRMINGHAM (UK)
21st Oct – Sticky Mikes, BRIGHTON (UK)

24th Oct – DB’s, UTRECHT (NL)
25th Oct – Stengade, COPENHAGEN (DK)
26th Oct – Oceanen, GOTHENBURG (SE)
27th Oct – Bar Brooklyn, STOCKHOLM (SE)
28th Oct – Plan B, MALMO (SE)
31st Oct – Urban Spree, BERLIN (DE)
1st Nov – Nochwache, HAMBURG (DE)
2nd Nov – Conne Island, LEIPZIG (DE)
4th Nov – Arena, VIENNA (AT)
5th Nov – Kranhalle, MUNICH (DE)
6th Nov – Club Stereo, NURNBERG (DE)
7th Nov – Alte Hackerei, KARLSRUHE (DE)
9th Nov – Eden, CHARLEROI (BE)
10th Nov – Sonic City Festival, KORTRIJK (BE)
12th Nov – Supersonic, PARIS (FR)
13th Nov – Le Chabada, ANGERS (FR)
15th Nov – Gastropote Market, SAN SEBASTIAN (ES)
16th Nov – Wurlitzer Ballroom, MADRID (ES)
17th Nov – Sabotage, LISBON (PT)


Buy The Coathangers Here

Gerald Stansbury.

Hell Nation Army might be new to me, but they have been delivering their punk n roll since 2010. Based in Berlin, I have definitely been missing out over the years based on this new EP. On paper, I think an EP is often thought of as the safe alternative to an album. There are fewer songs so less of a chance that someone will perceive a song as filler. At the same time, a band needs to really deliver the goods on each song on the EP or we kind of write them off as incapable of writing a full album so there might actually be some extra pressure in that regard. Much like the Criminal Kids did earlier this year and Electric Frankenstein did back in the 90’s, Hell Nation Army delivers six songs that leave me wanting more and eager to explore their discography.

‘Gazoline’ gets us started but really any of the six songs here would have been a strong opener. Within the first 30 seconds, the guitar riff establishes itself, and the rhythm section amps up the adrenalin for a full-throttle assault. The call and response vocals on the chorus are mixed extremely well. Chris the Bliss may not have the most diverse voice or vocal talent, but he has character and an identity in his voice that makes for the perfect fit here. ‘Hell Sweet Home’ is based on an awesome guitar riff and a chorus that mandates audience participation. Special notice really must be given to both Beef and Simmi Sixx for their guitar work on this song as the riffs carry it for me.

Sounding like a locomotive roaring down the tracks, ‘Feed the Machine’ shows how to do shouty vocals right with some great early Nashville Pussy type guitar lines providing an additional hook underneath the chorus. If your foot and body are not moving, check your pulse STAT as the chorus is hammered into our brains. ‘Blackout’ features big drums from Ivil and a classic rock n roll riff turned up to 11 and played at maximum speed. The simple chorus works extremely well here, and the guitar solo is immense.

Hell Nation Army never really dial the tempo back at all, but the songs all have their own identities. ‘I Wanna Be Dead’ features some well-done backing vocals that add meat to the chorus. My favorite part of the song though is how the great bridge leads into the guitar solo. ‘Demon Girl’ is rhythm heavy with a chunky groove featuring some great work by Ivil and Kapt’n (bass). Based on the lyrics, I have concluded that Chris losing his soul has apparently turned out very well for all of us because we get these great songs out of the deal. In my notes on this song, I keep scribbling a bit of Motorhead in the mix.

Punk n roll seems to be a genre enjoying a rebirth, which is great for me as I have always loved the energy and approach of this style with the hooks and classic riffs designed for catchy short songs. Hell Nation Army has created an EP that can be played over and over again with more subtle elements rising out of the songs thanks to the great mix on the record. When Electric Frankenstein was releasing 10” vinyl EPs, I would play them until I was afraid the grooves were wearing off the album. It is probably a good thing that can’t happen digitally. Now, let’s crank up the volume and rattle the foundation by playing all six songs again.

‘Anthems for the Misanthropic’ is released October 13th




Oh, the joy of pegging it up the M4 on a Saturday evening to catch three bands who are playing on a five-band bill kicking off at 7 pm sharp. South Wales Deathtraps are first up on this autumnal evening and with a healthy audience in they get on with the task of shaking off any cobwebs and rattling a few bones with their take on all things garage punk. I believe bass player Fraser is trying his damnedest to lure punters into buying their brand new launched the day before second album ‘Gotta Get Some’ and as they preview choice cuts from the mentioned CD they sound tight and pretty bloody good if truth be told.  Playing to an audience who generally aren’t aware of their music up until this point they engage in some banter during the breaks and give it some welly when the instruments are hit. When songs like ‘Automatic Thrill’ and the laid back ‘Get Loose’ are aired the audience move and applaud in appreciation for what’s pounding out of the PA These boys know how to write this garage punk and clearly love it.  Benefitting from playing a few gigs the future looks rosy for this three-piece who have more than a decent tune or two in their arsenal and they’ll definitely get better and we need that in the UK right now.

Heading over to the UK for another round with their dysfunctional extended family The Hip Priests Basle based Bitch Queens (try saying that after a few dry ciders) haven’t got time to mess about and just get down to business and as previous encounters testified they really have the chops to pull off this garage hard rock dueling guitars gig to an absolute tee.  Starting with the lead track off their last studio album ‘L.O.V.E’, ‘Anti Social’ is the perfect floor filler as bodies right from the off get flung around the venue. With a set mainly populated with tunes  from their last long player it’s a joy to see and hear a band come to shit island and have their finger right on the pulse as  ‘Anti Social’ is a perfect song for early doors and as the band sound fantastic and right up for the challenge tonight as they prepare to duke it out with tonight’s headliners and show that there are bands out there who get this Rock and Roll lark and duel with the biggest and best No matter what venue or how many people are in attendance and this deadbeat generation has something to offer.

With time at a premium they proceed to smash out a really energetic set that is really well appreciated from ‘R-Rated’  through ‘Naked Or Denim’ singer Mel is crowd surfing with his guitar in tow and without dropping a note makes it back on the stage in time to close with the magnificent ‘Techno Is Dead’ that has the band purring like a finely tuned muscle car and if ever a band had a song that put a huge flag in the sand that said follow that fuckers then that was it.  A really excellent set to hand the baton over to tonight’s headliner.

Amazingly this was to be the first time I’m witnessing the Hip Priests as a five-piece after having witnessed them with several drummers also present when they performed as a three piece and after hearing firsthand accounts of how good this new line up is sounding I was getting excited.

With a new album in the bag and off the back of their finest 12” single and most ambitious release to date these were good time for the Hip Priests and having such an impressive undercard it was time for the band to come out swinging and that they duly obliged with a pulverising ‘Instant Delinquent’ followed by ‘Motherfucker superior’ and not even a broken lead instantly followed by a broken string can derail this juggernaut when its rolling and with the addition of Silent Mike this freight train was kept on the rails as ‘Zero Fuck’ were most defiantly given.  It only seemed to fuel Austin who played harder and flew the middle finger in the face of adversity.

The tunes kept coming in devastating frequency as ‘Jesus Died’ was the prelude to a filthy barking version of ‘Loose’ that I’m sure the brother Ashton would certainly have approved of. Always adhering to the old adage of always leave the punters wanting more and never outstay your welcome so ‘Cheers To Me’ made way to the classic that is ‘Sonic Reproducer’ which only left time for ‘Wired Amped Skulled’ and that ladies and gents was it. Adios Amigos and into the balmy night we trouped having witnessed yet another fantastic evening in the company of some awesome bands who are doing it their way and slowly but surely building quite the formidable repertoire and with the likes of Deathtraps and Bitch Queens offering their own takes on this garage punk business the future looks bright or it should do if there was any justice.Hip Priests Facebook 

Bitch Queens Facebook

Deathtraps Facebook

Johnny Hayward.


The only positive thing to come out of the demise of south Wales punk rock legends This System Kills is the fact that we now have three bands where we once we had just the one. Social Experiment are the first of these new bands to show their hand, and boy oh boy have they come up trumps with this debut eight tracker.

Self released on both gatefold digipak CD and 12” vinyl formats (both of which also contain a download code) the band really have delivered a premium looking package on what must have been a DIY budget, so you’d be forgiven for thinking that all their available readies might have gone into the artwork and the music might be little more than rehearsal tapes dressed up as a debut album.  Think again though brothers and sisters because once you drop this baby onto the turntable or into your CD player the aural onslaught that awaits you really is quite astonishing.

Expertly produced by ex-Dub War and current Bad Sam guitarist Jeff Rose the sound of Social Experiment is nothing less an all-out assault on your senses, and from the almost gothic throb of opener ‘Unlock The Cage’ to the metallic pounding thrash of ‘Tilikum’ that closes the record the 23 minutes you spend in the company of  Puddle (vocals), Newt (bass), Nicky (drums) and  Paul (guitar and backing vocals) are some of the most exhilarating you’ll spend with any UK hardcore band right now.

Given the ferocity of the band coupled with the bang on point social politics of the record, this is not exactly what you would call “a sit-down and relax after work type of record.” In fact, it’s more of a record for those who like to feel like you’ve just done eight rounds down at your local Fight Club but this time around it’s something you really must talk about, and not unlike those early records by the likes of Subhumans, Discharge and Extreme Noise Terror.

It’s when Social Experiment break ranks ever so slightly that they truly shine through, like on their second video release ‘Clones’ a track which has an almost RATM meets Motorhead thing going on, whilst in ‘It Makes No Sense to Me’ the ghost of Poison Idea looms larger than life in the hardcore rear-view mirror.

Eight tracks, eight short sharp shocks to the system and a virtual bloody nose for your troubles ‘Rumours of Our Demise Are Not Greatly Exaggerated’ is one of the most brutal records I’ve heard this year.