Thee Headshrinkers (Shrink Ray Records) slap on some reverb and hit those cymbals Thee Headshrinkers are here to ‘Save Your Life’ with a groovy lick on the guitar and a song that indeed lies somewhere between Mark E Smith fronting The Cramps and poison ivy joining The Fall and just rocking out without a care in the world. To flip this bad boy over you get more of the same with ‘Head On’ sounding like it was recorded by Ron, Scott, and the Iggster, and even they were too fucked up to remember where they left the tapes. Excellent songs and a great vibe coming out of thee Headshrinkers I particularly like ‘Head On’ they should tour with Thee Hypnotics when COVID fucks off they’d be a lot of fun methinks.  get it Here

 

WARRIOR SOUL – ‘Elected‘ (Livewire/Cargo Records), the track is taken from their covers album called ‘Cocaine and Other Good Stuff‘, out in November ‘Elected’ is the first peek into the album and to be fair to Kory who is no stranger to a cover after tackling some quality songs previously taking on the ‘Coop is a no brainer. Maybe bludgeoning down the smoother edges of the original Warrior Soul have left in those cool horns and knocked out a very decent ‘Elected’ to be fair. Kory turns in a very tidy vocal as well to be fair.  If you want to hear it before you pick up your copy of the album stream it here

 

Zodiac Panthers – ‘Black Leather Heart’ (Bandcamp)  Cheeky artwork to accompany a gloriously bubblegum Poppin slab of loud, fun punk rock n roll.  Zodiac Panther sounds like Turbonegro when they were kings of everything sleazy and garage punk rock. But there’s a healthy dose of Ramones going on as well but these cats have got it going on and if there is an album heading our way that pulls together this along with the Hexray Vision stuff then they are onto a winner and its something we would need to hear otherwise what’s the point this stuff could very well be the magic potion that fights off this pandemic. Rock and Roll baby and we fuckin’ like it!

zodiacpanthers.com / Facebook / Instagram

 

 

Teen Creeps – ‘Seeing Shapes’ (Pias)  Harking back to a sound that filled every student uni certainly in America with the likes of Dinosaur Jr or Buffalo Tom with a healthy dose of mid-period Lemonheads thrown in for good measure.  Teen Creeps have absorbed the lot and gone down the Teenage Fanclub route of writing a decent song with what they have and ‘Seeing Shapes’ is what spilt out in the studio.  this is the first single from the album ‘Forever’ that’s set for an early 2021 release and if this is the benchmark then I’ll be having some of that along with many others.  top tune. Facebook

 

Mad Caddies – ‘House on Fire’ (FAT WRECK CHORDS) 25 years and still standing this Californian band had some big plans for this year (Pre Pandemic) it’s not all bad though because the band were able to work on this EP (their first new music in six years) and finally they finished recording and got the damn thing released. Opening track is a gentle commercial number.  The band refers to it as punk rock turned ska and that’s about the size of it.  With one eye on the commercial success, they’ve hit a winning formula and the band’s horn section run riot here ‘Waiting For the Real Thing’ is pure pop.  I think they’ll be adding a whole heap more to their half a million sales with this. In these dark times, it’s a little ray of sunshine for sure.

 

 

J. Graves – ‘Deathbed’ (Illumin Records)  Call me lazy call me what you like but J Graves reminded me of PJ Harvey. Certainly on first play but there’s more to this than sounding like someone else because ‘Deathbed’ is a gutsy introduction from the repetitive guitar lick to the guttural howls on the chorus to the trashy drum beat its got something and I like it.

Portlands Jessa Graves has the talent and the post-punk rattle of ‘Time Travel’ has a real vibrant DIY feel to it and the X-Factor of it being a bloody good song.  ‘Lo The Morning’ is the third offering and proving that the first two are no flunk. wrapping up the EP is ‘331’. interesting, experimental and above all good. pick it up here at  Bandcamp

GILBY CLARKE ‘Tightwad’ (Golden Robot Records) ‘Tightwad‘ is the latest single from Gilby Clarke, and the follow up to his recent singles The Gospel Truth and Rock n’ Roll Is Getting Louder. It was written around a guitar riff he wrote while trying out a new fuzz pedal. Lyrically, it was inspired by deceit, treachery and the creative extremes people will go through to get ahead. Tightwad features Motley Crue’s Nikki Sixx on bass and Stephen Perkins (Janes Addiction) on Drums. Facebook

 

 

 

 

KING BULL – ‘What Happened Here?’ (Riot Records) Boundless energy and guitars that are louder than everything else x 10.  Nowt wrong with that for us.  Canada’s King Bull has got a pocket full of catchy hard rockin’ tunes born in the ’70s and fueled by a fuzz box guitar and a bad attitude.  ‘Secret Sauce’ reminds me of another tune but I can’t quite put my finger on it. This EP gets better the more you play it and the songs get better as the EP wears on ‘Dontcha Know’ is wonderfully flamboyant from the guitar lick to the vocals its a ripper.  I’m only disappointed there isn’t a full-blown ballad on here but these five will keep me going as they save the best ’til last with ‘B Side Baby’ being the pick of the bunch and makes you want to punch the air in some arena wearing the silk scarf you picked up off their merch table.  Thoroughly enjoyed check em out! Facebook  Pre-order/save What Happened Here? HERE

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.

 

Buy ‘West Coast vs Wessex’ Here

Author: Dom Daley

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

Frank Turner Website /   https://twitter.com/FrankTurner / http://instagram.com/frankturner / 

http://www.nofxofficialwebsite.com/ // https://twitter.com/fat_wreck // https://www.instagram.com/fatmikedude/

He was a Role Model and is a Big Head now Nick Hughes fires up The Middlenight Men on this debut video for the single B.A. Baby

The brand new video from The Godfathers ‘Wild And Free’

Finally, how about one from the brand new Bad Cop Bad Cop album

Man, I always have a soft spot for Californian pop/punk, especially when it’s a young band coming on like the 90’s never ended. And that’s where I introduce you to The Bombpops. Founded in 2007 by dual singer/guitarists Jen Razavi and Poli Van Dam, the 4 piece band take the title of their sophomore album ‘Death In Venice Beach’ from Thomas Mann’s celebrated novella about the price of artistic life.

The follow up to 2017’s ‘Fear Of Missing Out’ it sees the band explore dark themes of alcohol addiction, health problems, toxic relationships and suicide all wrapped up in high energy punk pop.

 

But the dark lyrical themes are certainly not the first thing that hits you about The Bombpops. The SoCal sound that inspires the band is prevalent throughout, you could say ‘Death In Venice Beach’ sounds like the lost 90’s soundtrack you need to fill the hole between ‘10 Things I Hate About You’ and ‘Josie and the Pussycats’.

Take latest single ‘Double Arrows Down’. Lyrically inspired by Poli Van Dam’s diabetes seizure and subsequent dice with death, it’s actually a euphoric blast of dual vocal melody and overdriven guitars, with a sugar-buzz pop melody that will inject sunshine into anyone’s dreary day. Sweet vocal melodies The Dollyrots would die for and the sort of catchy choruses Letters To Cleo perfected in their prime.

And so it continues for 30 minutes or so. 12 short, sharp, shocks of punk pop that do not overstay their welcome. Songs that would’ve bombarded the airwaves back in the day and singles that would’ve been vying for attention with the likes of Bowling For Soup and Sum 41 on your TV screens.

 

‘Dearly Departed’ name-checks doomed celebrity couples over high energy pop/punk. Sid & Nancy rub shoulders with JFK & Monroe as Jen & Poli deliver pitch perfect vocal harmonies and dirty guitars in unison. A tight rhythm section and a crisp production courtesy of (among others) NOFX’s Fat Mike only adds to the high quality.

With the likes of ‘Sad To Me’ and ‘Zero Remorse’ they have a knack of delivering a verse that create momentum and builds to what you just know is going to be an anthemic, killer chorus that will stay in your brain long after the song has ended. The girls’ vocals work well together and it is that, along with the top notch songwriting, which lifts this album high above the current competition.

The bouncy bass intro and the offset guitar riff in ‘Notre Dame’ will bring to mind The Offspring, ‘In The Doghouse’ comes on like The Creepshow at their most commercial and the raw tale of isolation and heartbreak that is ’13 Stories Down’ sounds like a female-fronted NOFX. Elsewhere you’ll swear you’ve heard the likes of ‘Radio Silence’ and ‘House On Fire’ before. And that my friends, is the knack of a catchy melody put to very good use.

 

There are lots of comparisons that can be made to lots of cool bands when listening to ‘Death In Venice Beach’ and that’s not a bad thing. The Bombpops wear their influences proudly on their sleeves and have their own imitable style and their own way of exorcising their own personal demons with a set of strong, bouncy tunes.

To be honest, you could imagine any of the 12 songs on offer to be featured on MTV, with the band playing next to a swimming pool or a frat house in California, surrounded by teens with nothing more on their mind than pulling the hottest cheerleader and downing a four pack. And while in these troubled times those sort of antics may seem as distant a memory as the 90’s actually are, it’s still the great escape some of us need right now.

Buy ‘Death In Venice Beach’ Here

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Author: Ben Hughes

 

 

 

 

 

What with lockdown entering its gazillionth week we scour the net for new tunes to brighten your day but I think we’ve reached the point where a little darkness might be the order of the day rather than sunshine and roses. so here’s NOFX to lighten the mood. Welcome to the darkness kids

Enough darkness how about some boot boy Rock and Roll courtesy of the new one from Faz Waltz?  OK, Here goes your wish is my command and up this week on RPM we review the brand new album from Faz Waltz.

Finally, we love Johny Skullknuckles round ere so when we see he has a video to accompany the song he wrote and recorded on less than 24 hours it would be rude of us not to show it.  So here goes. ‘This City’

It was in 2006 that Detroit punks The Suicide Machines called it a day after 15 years and six albums. The break didn’t last too long because in 2009, the four-piece reconvened to play the occasional show and embarked on some even less frequent touring. There was no sign of new material on the horizon that is until now.

‘Revolution Spring’, their seventh album, and the first new material since 2005’s ‘War Profiteering Is Killing Us All’, was released March 27th.

What you get for your buck is plenty of bang with some Dropkick Murphy style lead vocals driving the rousing songs.  The band sound energised from the break.  you get the full force on opener ‘Bully In Blue’ but there’s plenty of skank on ‘Awkward Always’

There are sixteen songs on offer here and the band say they had thirty written so it’s not like they were short of inspiration.  They continue to dish up sharp sounds with an excellent production that shines on songs like ‘Babylon Of Ours’.

The songs deal with real issues to the band and whilst they’re at it they also have a far wider appeal. Police brutality, American Imperialism and class war are all covered so not such a superficial record. they don’t hold back with opinions either ‘Flint Hostage Crisis’ being a good case in point. Some heavy topics covered as well like attempted suicide but I have to say that the overriding feeling I get from listening to the record is how up and positive it sounds and out of bad situations comes a positivity.  ‘Trapped In A Bomb’ has a rollicking bass line rumbling away urging this song forward. Punk rock isn’t just for the kids and the older wiser guys can give the young pups a run for their money and this is proof.  A very American feel to the record when they cut loose like on ‘Detroit Is The New Miami’ they really hit their stride mixing some hardcore with their skank and not sounding out of place.

Old and new fans alike will find Revolution Spring an energetic anthemic, hardcore, ska-punk roots mixing pot and it’s good to have the band back making music that sounds fresh and vibrant and there’s a lot of music to get through here.

Get it Here

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Author: Dom Daley

How could we not give this banger some time all on its own? The answer is simple we couldn’t so here it is in its whole gory glory the brand new video from The Good The Bad And The Zugly and the man behiond the (Oxygen) Mask

 

If you want more then how about some Bombpops?  Here they are with a track taken from the brand new album ‘Death In Venice Beach’ and the lead track ‘Notre Dame’

Cokie the Clown Limited Edition Throbblehead
Limited to 1000 hand-numbered figures
SHIPPING EARLY DECEMBER
 
**Not guaranteed for delivery by Christmas, although most US customers should be OK***
NOTE: For customers outside of the US, your order will take an average of 4-5 weeks to reach you via economy shipping, which does not have tracking. If tracking is needed, you can upgrade to priority shipping at an additional cost but must email us for details.

Cokie the Clown, Fat Mike’s alter ego, has now been elevated to Throbblehead status.  This figure is limited to just 1000 hand-numbered units, stands at 7″ tall, and is made of a high-quality polyresin.

Re-creating the cover art from Cokie’s first full-length album “You’re Welcome,” this Throbblehead comes complete with noose, squirting flower, and clown shoes.

“Punk rock was never just music to me, it was my life,” says Cokie. “My parents were just relatives, my family was always NOFX.”

I’d still describe Clowns a new band  but then they’ve been doing this hardcore rock n roll lark for six years which would hardly make them new really, it’s a tough one but one of the best records released this year without a doubt is ‘Nature / Nurture’ and its a great move on the face of it signing for Fat Wreck Chords. About eighteen months ago I stood in the Ballroom at Blackpool Winter Gardens in the early afternoon and watched Clowns own the day and turn in a pulverising and quite beautiful set and that was before we even had a sniff of the latest album (which, Incidently is their best by a country mile)  and before that I’d seen them in one of the smallest stages of the festival a year or two before that where they’d just released ‘Bad Blood’ and that was a brutal – pulverising performance that made those present sit up and take notice of these Australian loons kicking the shit out of our ears with their punk rock.  Wind forward to a cold November in Bristol as part of their jaunt around Europe in support of Nature/Nurture’ Clowns are in the motherfuckin’ house boys and girls and it’s a school night and the place – whilst not packed to the rafters is in decent shape and very busy indeed.  Anyway rewind the evening a little and first up is three-piece Glug.  Two ladies on guitar and Bass swapping vocals in the briefest of sets that was basically ten minutes and a bit but ten songs and plenty of between-song banter. they were never going to steal the show they knew it and we knew it but it was great to see them doing what they do on a school night.

Next up were the four-piece local lads The Broken Bones Gentleman’s Club. who to be fair have been around the block and are used to this kinda Monday night punk rock show as they proceeded to smash out their tight set of Hardcore punk rock for the next twenty-five minutes or so.  Flip is a bundle of energy and turns the screw on the rest of the band as they get pushed harder and faster and tonight it really works.  Cookie is our prowling the audience poking for a reaction and its working.  Tonight The Broken Bones Gentleman’s Club are smashing it (as the kids say) as for what they played I couldn’t even begin to break it down as song titles were irrelevant. Maybe they played ‘Reasons’ maybe they didn’t but what mattered was tonight they were on form and took no prisoners and impressed those who’d bothered to turn up on time and give these punks the time of day.  Great effort.

Finally, Clowns are ready as the busy venue is up for what is about to unfold and I’ve been looking forward to this since it was announced. Stevie has a sharp new haircut (since last time) and after a few stretches were ready to go and without any fanfare and ‘I Shaved My Legs For You’ is riffing the fuck out of the room and from the off this is going to be something special. Hanny J is a great foil for Stevie as they are both penned in by the dual riff maesters Rod and Will either side as they unleashing the venom. What a blistering opener, then it’s back to the rapid assault of ‘Infected’ off the uncompromising ‘Bad Blood’ album and that’s where they stayed for the title track and low and behold they open up ‘These Veins’ as well and the band sound on fire.

Next track up is ‘Freezing In The Sun’ which was released as a single prior to the last album but it only gave a slight glimpse into what was to come as the band took a giant leap sonically from the first two albums to ‘Lucid Again’ and then ‘Nature / Nurture’ where they seem to have really come of age and grown into something really special. Some of the songs steered them into Janes Addiction Territory (when Janes were on fire of course) and this single was their most accessible track to date and tonight it was pounding and they executed it to within an inch of perfection.

The band then flip-flopped between the most recent couple of albums with the pick of the tunes from both slotting in very nicely indeed. It took Williams a while to get into the audience but when he was comfortable he was like a cat on a hot tin roof not standing still for a second as the band hammered home the tunes giving him the space to do his thing and boy did he do it.  ‘Like A Knife At A Gunfight’  grew into a swirling beast that it is but it was overshadowed by the monumental ‘, I Wanna Feel Again’ that showed how much this band has grown over their short tenure and all those shows are paying off because I wouldn’t want to be in a band and follow these on stage on this evidence. To suggest it was epic isn’t an understatement at all.

By the time we hit ‘Soul For Sale’ and a quick check of the time we knew we were reaching melting point in the set, the whole place was twitching at the very least as some lost their collective shit it was only ‘Never Enough’ to wrap up the evening. A  fitting ending to a superb night of Hardcore entertainment from a band that was on fire and one I can’t recommend highly enough they were simply a sight to behold.

If you get the chance you really should check these Clowns out. It’s never too late to pick up one of the albums, hell even go for the first one that they sadly neglected this evening but I guess its fair that you can’t have everything. Now, these and Bronx on a doubleheader would be just the best idea if someone could make that happen in 2020 I’d be grateful.  Clowns from Australia I salute you, you came – we saw – you rocked.  Fuckin Awesome!

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Author: Dom Daley