The Idolizers – ‘Riot Radio’ (Rum Bar Records) With a burst of energy this new choon released as part of the labels ‘New Believers in Rock n’ Roll’ Rum Bar campaign. The lead track from their album ‘Concretins’ which promises to be a must-have – full of bangers if this is anything to go by. Just what you want to kickstart the recovery and soak up those rays of summer sunshine. Bright energetic and with a strong hook ‘Riot Radio’ leans on Da Brudas for the energy and the riff but there’s more to it than just tipping the hat to the Ramones. It should be on the radio as you drive to the beach but you’ll have to do with buying it instead.
The Hip Priests – ‘No Stranger To Failure/ Sounds A Lot Like War’ (Ghost Highway Records) The purveyors of the beautiful noise are back and as things promise to revert to some sort of normality the universe is reset. A double A side single sees one side belt out ‘No Stranger’ it’s off like the ghost of Lemmy is amped up to eleven and the Gods of thunder give their instruments a right good seeing to. Of course, I love it and can’t wait to hear it live and shake the foundations of whatever venue will welcome them back. I love Von Cruz vocals on this one. Flip it over for ‘Sounds A Lot Like War’ and the ante has just been raised, what a belter.
Every single released sounds like a battle cry and a reason to give a fuck about Rock and Roll again. My faith in noisy punk rock n roll is reaffirmed and it’s another reason to get excited. Get hold of a copy as soon as it’s released or you might regret it. pressed on coloured vinyl it’s the bands 30th single! and the artwork is by none other than Hard-ons very own Ray Ahn. Facebook
The Manges feat. Giuda – ‘Tootsie Rolls’ (Ltd Col 7″) (Damaged Goods Records) Yeah it’s handclapping one finger piano riffing rock and roll. The Manges play Ramones-style punk rock and they are still doing to be fair but it’s not all they do so having played with Giuda and hung out with them this seems like a no-brainer. A glam stomping Hand clapping smiling rock n roll song. Massimo from the Manges had this to say – “One of our favorite songs for our new album is called ‘Tootsie Rolls’, and it kinda stands aside from the rest of the album, being a more pure rock tune. On this one, our producers could totally work on their favorite arrangements and structure, to the point that we ended up having two versions: one, the album song, and two, a remixed version featuring members of Giuda, called ‘Tootsie Rolls – Part II’. What a treat!” He’s not wrong!
Alvin Gibbs & The Disobedient Servants – ‘State Of Grace’ (T & M Recordings) A new single from Alvin and more evidence of his superb songwriting abilities as three brand-new songs on gold and blood-red splatter vinyl is released. In a picture sleeve exclusively designed once again by Gaye Black (The Adverts), a four-page colour lyric insert but is limited to 500 copies only. Joining Alvin once again is Subs drummer Jamie Oliver and Ruts DCs Leigh Heggarty. The title track leans on Gibbs previous employment with Iggy and I could also see this nestled as one of the best track if it were a Cheap & Nasty song. Cool verses and toe-tapping chorus its a top tune.
‘Too Bad She’s In Love’ has got some real grit going on as we steam towards the chorus. Great chorus and one I want to play over and over a real earworm of a song. I love the way Heggertys guitar wraps itself around Gibbs vocal as it heads to the chorus. Closing off this most excellent single is ‘Brother, Sister’ a jarring jabber of a rhythm offering something different to the other two tunes proving once again that there is some fantastic music being created out there – Buy it! Bandcamp
The Culture Industry – ‘141′ (Riot Records) Punk as fuck! Coming over like if Nirvana were from Australia and drank too much beer instead of facing their sneakers. ‘DK Stance’ is another slice of fire that’s more spat out than gently poured into the speakers. Love that bass punch they have going on it really suits the sound. ‘Middle Aged Kids’ now there a phrase I could level at so many people and there’s nothing wrong with that and once this tune gets going the lyrics might be a bit cliched but the music is excellent and its a good tune. Fuck em all indeed. Swearing might not be big or clever but who cares? I’m sure The Culture Industry don’t give a flying fig but they can certainly knock out a decent slice of punk that’s a given. Facebook
SMASHED GLADYS – ‘Go To Hell’ (Golden Robot Records) Born from the embers of the vibrant Toronto punk scene, SMASHED GLADYS formed in 1984 and then headed to New York City. The band was headed by vocalist Sally Cato and was snapped up by Elektra Records, becoming part of the legendary glam/hair metal scene.
Cato sadly passed away in 2020 and in memory of her, Golden Robot Records bring you new material which they were recording as demos for their 3rd album. This the 2nd single, “Go To Hell” will see the light of day on the 31st of May, giving fans further insight into the unreleased material. Following on from the crunchy guitars of that second album this is more of the same and just a great hard rockin tune and Ms. Cato sure did have a great voice that really suited the music perfectly. Find Smashed Gladys – Facebook /Twitter Pre-order/pre-save “Go To Hell” HERE
Roxy Girls – ‘Roxy Girls Are In The Drink’ (Moshi Moshi Records) Like a throwback to a time when singles from alternative bands and post-punk bands could dent the charts the complicated-sounding rhythms of ‘Like A Bouy’ come across as something between an abrasive Smiths and XTC. A chaotic mix that punctures the air behind a melodic vocal with harmonies galore and then it’s done rather abruptly. This Sunderland band know what they want and how to deliver it. ‘Roxy Girls Are In The Drink’ is out 27th August – Pre-order HERE
Charlie Harper & The Sub Machine – ‘Panic’ (Time & Matter Records) Double A-sided, yellow vinyl release, adorned with a picture sleeve designed by Charlie himself, the single also boasts a double-sided colour lyric insert, each copy is individually hand-numbered and the release is limited to 300 copies only so you’ll have to be quick on this one. ‘Panic’ begins with a piano intro but don’t let that fool you as the snare hits it takes off. Features Marlon Payne on Guitar & Piano, Victoria Smith on Bass & Marley Perez on Drums. The tracks ebb and flow is excellent as the heaviness of the verses pounds it does drop with a marching rhythm and Harpers Reverb laden vocal its engaging and intense and rather bloody good. ‘Post War Punks’ is perhaps more Subs like with its solid riff and Harper’s delivery is on point even if it did make me hungry whilst listening to its sandwich order list. Hurry whilst it’s still available – Here
Randy Savages / Razor Kids – ‘Split EP’ (Different Class Records) Randy Savages serve up a stellar pair of tunes opening with ‘Seagulls’ in all its big, loud, triumphant riffing with a tidy hook on the chorus and a melody that makes this something of a power-pop banger to be fair but hold on, their second offering is the sprightly ‘Delinquents & Dropouts’ as it puts on its collective shit kickers and gives this tune a good old rinsing. Excellent tune from a band I want to hear more from.
Flip it over and Razor Kids do their best to duff up those Savages as they pound out their pogo tastic Ramones like ‘Abusive’. These Portuguese punks make a pretty noise as they chew out the rhythm they soften the riff with some sugary sweet backing vocals that work really well. Their second offering of ‘Perfect HArmony’ much like Randy Savage’s pair is the strongest of their two offerings with its understated lofi number its one-note guitar solo is pure Thunders and I love that. It wraps up a very impressive EP from two quality bands I need to hear more of. Get it! Buy Here
Johny Skull Knuckles – ‘Shang-A-Lang’ (self Release) Free music anyone? Hell yeah! get yourself some of this. Skullknuckles doffs his hat to the sad passing of Les McKeown. Johny has always wanted to do a cover version of this track and now seemed like such a fitting time. Johny said “It has actually turned out a lot more poppy than I had envisaged so at some point I may record a “punkier” version but this will more than do for now. I hope you think I have done the song justice”. Absolutely he’s done it justice. Get it Here
The Riot Vans – ‘Scary Faces’ (Disobedient Records) Post-punk noisemakers the Riot Van release their first single after the ink dries on their deal with Disobedient Records and its a cold angular stabbing slice of post-punk with its jerking and grinding verses but that makes way for the blast on the chorus that’s like a loud blast of heat. I’d imagine this would be a great tune to blast out in a packed club with sprung flooring.
Check it out here
Dez Dare – ‘Dum Dum Dum’ (CH!MP RECORDS) Taken from the album ‘Hairline Ego Trip’ out this coming June Dez does Lofi Punk rock with added scuzz and a dash of alternative indieness Native of Victoria Australia Dez has done his years service playing in Warped and has released this frantic buzz saw riff-a-rama under lockdown to add chaos and noise to every avaialble corner. check out the video below.
It conveys his strong distaste for nationalism. “I want to push against entrenched views, closed borders and minds of large groups of the human race. There are a lot of fights happening at present around the world from climate to right-wing hysteria to unfettered capitalism and we need to work together as an animal of the same kind rather than separated by space, colour and tradition.”
Suzi Moon – ‘Call The Shots’ (Pirates Press Records) Who?, if I were to tell you she’s the ball of energy behind Civet & Turbulent Hearts then it might make sense. Pirates Press aren’t dummies and releasing this EP they know their stuff and anyone who’s seen her live knows what a performer she is. Kicking off with ‘Special Place In Hell’ its a real firestarter of an introduction but as good a song as this is this EP gets better and better.
The Chelsea Curve – ‘All in Time’ (Red On Red Records) a new single every month from this sensational band, culminating in a full-length album this coming fall! The Chelsea Curve bring their love of the sound and style of the 70’s mod scene and smash it up with the guitar leanings of their respective pasts. Linda Pardee (Orbit), Tim Gillis (Frigate), and Ron Belanger (The Winter Project) came together when Linda said no to being in Ron’s new band and instead asked him to be in her new band along with Tim. Accurately described as the sparks that fly when The Jam meets Husker Du, the trio blasts out bracing retro mod pop with hooks aplenty.
Frank Carter & The Rattlesnakes feat Joe Talbot – ‘My Town’ (Self Release) New single from Carter is barbed wire wrapped in a velvet glove plenty of aggression yet melody and a decent hook on the chorus. With the humming synth throughout it’s an intense number that burrows into your ear and will have you craving it over and over – trust me. Also, a great move getting Talbot on guest vocals as he suits the attitude of the lyrics perfectly – A banging song! Facebook download it here
IDLES have shared a new animated video for album highlight “Kill Them With Kindness”. The video, which was directed and designed by James Carbutt and animated by Pip Williamson, is taken from the band’s critically-acclaimed UK number one album “Ultra Mono“, which was released in September via Partisan Records.
Here’s another beaut from the brand new awesome live Wildhearts album get into some ‘Urge’
Finally, we have Kilfeather with a track off the excellent album ‘Island Of Lost Toys’
Ok so it isn’t Christmas In A Crackhouse but it’s the new old school wonk we love round here. Get an ear full of some classic Wonk Unit. Oof!
Let’s not hang about here ‘War’ is the sound of bombs dropping from the sky and panic on the streets. Idles are on it and as a unit won’t be stopped by conventional weapons or pandemics it would seem. Taking it to the next level after the joy of the Glasto performance and it would seem being taken into the bosoms of the press beast and being hailed as the saviours of alternative post-punk rock and roll all by themselves. Idles have taken it in their stride and just gotten on with it, seemingly oblivious as to the outpouring of adulation currently being heaped upon them.
I liked ‘Brutalism’ and I liked what they offered as the next step on ‘Joy As An Act’ so it was with an intake of breath I pressed play on this their third long-player as the band lock-in and pour out what is inside them onto the black grooves.
Frontman Joe Talbot says of “Grounds”: “We wanted to write a song that embodied self-belief, and gave us self-belief – a counter-punch to all the doubt we build up from all the noise we so easily let in. We wanted to make the sound of our own hearts’ marching band, armed with a jackhammer and a smile. We wanted to make the sound of our engine starting. So we did. Thank you.” Talbot sounds like he knows the score. top tune and instantly recognisable and more honed in, more finely tuned. Sounds like they know exactly where they’re going with this lark.
If you thought the band had hit the peak on ‘Joy’ and the worm might turn from here on in, well, think again this album is more vibrant, focussed and raging than the previous offerings. Across all twelve songs, there is a brutality as the band continues the social commentary of their past work, with themes of class, gender inequality, nationalism, community, and toxic masculinity and empowerment and ultimately fighting back. Its not preachy it poignant and informative that there are people who think just like you!
Produced by Nick Launay (Nick Cave, Yeah Yeah Yeahs, Arcade Fire) and Adam ‘Atom’ Greenspan (Anna Calvi, Cut Copy), ‘Ultra Mono’ sounds huge. The album also features guest vocals from Jehnny Beth (Savages), and additional guest contributions from Warren Ellis (Nick Cave and the Bad Seeds), David Yow, and Jamie Cullum like it needed any.
The constant touring sounds like it has galvanised the band and they’re locked in as one and the twists and turns of the opening few tracks are epic and brutal but quite beautiful as well.
Safe it isn’t but I’m sure there will be a hipster backlash along anytime soon saying something along the lines of them selling out or commercial this and that and not being the same anymore (not with these lyrics). Tosh, I say this is where they’ve been striving to get for the last two albums and this is excellent. Even after a few plays I’m easily enjoying it as much as the previous offerings if not more due to the production and songs being a lot tighter.
I’ve not read any of the reviews yet but I’ve seen the comments to the videos released so far and I like it and it would seem so do the punters (those that matter anyway). Hopefully when all this pandemic strife is sorted and we can get back to live music being a thing I’m sure these songs will take on a new life as they get performed and dissected more by the public as we break them in.
Its a pummeling album and songs like ‘Mr. Motivator’ has taken things to the next level without a doubt. I’m sure reviews will champion them as the soundtrack to the revolution, Well, the likes of the Guardian and Mirror will and The Mail will hate it. Fuck em! This album is demanding another spin and I’m already liking it a lot “How D’you like them cliches?”. To be honest, Idles have managed to create music that is pretty much universally recognisable which is always a bonus and something bands strive to achieve – sure they borrow bits here and there who doesn’t but the magic when they are in full flight is awesome.
Ultimately ‘Ultra Mono’ is a document of its time and a bloody good one at that. They look destined to get bigger and bigger. From their Rebellion Festival appearance to their Glasto triumph and now this release and the raft of enormadomes they will play once it’s safe to do so is proof that alternative music is alive and kicking and screaming.
Crack on Idles I love it. Some will love join me – some just won’t get it and others will shy away because they’re too popular. fuck that if you can’t love ‘Anxiety’ then why not? Talbot hits the nail on the head lyrically and when he states our government does hate the poor he means it but not to be cool or trendy but because it matters and people need to wake up maybe this is the sound of the fightback.
It’s not all crash, bang, wallop mind. Well, I say that ‘Kill Them With Kindness’ has a polite intro before Talbot barks his best Iggy Pop. ‘Carcinogenic’ has a lovely throbbing bassline as does ‘Reigns’ as they push the envelope a little further again. A dozen songs later and I’m thinking that Idles have penned a classic of its kind it’s easily their best twelve songs thus far (no seriously) Check it out. Stream it (if you have to) buy it on tape if you’re hip but turn the volume up for others to hear and sing along. ‘Ultra Mono’ might only have just been born but it sounds like a band has grown in stature and become a real force to be reckoned with – alternative music always needs bands like Idles so let’s enjoy them here and now – Buy it!
Author: Dom Daley
Marilyn Manson’s latest album ‘WE ARE CHAOS’ has debuted at #8 on the Billboard Top 200. This album marks Manson’s eighth consecutively to reach the Top 10 on the Billboard Top 200. Internationally, WE ARE CHAOS debuted Top 10 in several countries. The album is produced by Manson and GRAMMY® Award winner Shooter Jennings [Brandi Carlile, Tanya Tucker] and includes previously released singles “WE ARE CHAOS”.
Manson releases the video for “DON’T CHASE THE DEAD”, which stars Manson alongside Norman Reedus.
Next up is this in the studio recording from The Bloodstrings. “Heavy Cross is something we should have written a long time ago”, says Celina, singer of the band that has been playing worldwide tours including legendary festivals like Wacken in Germany or Rebellion in England.
“It is about being a woman in the music industry or in society itself. It is about being treated differently, being sexualized. Every woman knows the feeling of having to defend herself in her job, in her relationship or in her everyday life. I personally have been treated different than my male band mates on shows and festivals and that song is a clear statement against that.”
The song, originally written to be a feature on the next album of The Bloodstrings, was part of a series of live sessions that also included a cover-song of The Interrupters hit “Gave You Everything”. The Bloodstrings are going new ways with their sound: They founded the band as a horrorbilly/trash-punk band and made their way through different influences, eventually ending up with a unique style of pop-punk meets rock n roll meets alt-rock.
Finally, the third video we bring is ‘War’ the opening cut from the new Idles album – Enjoy.
Fontaine’s opener merely walks out of the traps. It hasn’t got its proverbial chest puffed up it just strides confidently with ‘I don’t belong’ coming across like a band weened on the reissues of Joy Division but hooked on melodies from Mozza but with that delightful Dublin lilt. The track never breaks sweat but neither does it want you to look away either.
In a world where bands don’t have to conform or look like they’re in a gang and often look as far removed from being in a band of uncompromising post-punk noisemakers that you could possibly imagine. Fontaines D.C are like that and I doubt they give a single flying fuck what you or I think as to what a band should look like in 2020. In a world where Idles and Sleaford Mods can seemingly walk on water and breakthrough into the mainstream then there’s always room for another and Fontaines might well be that band. this sophomore release rides the coattails of the debut in double quick time in case the streaming generation might forget who you are with the click of a mouse.
It’s not until ‘Televised Mind’ do they get out of that strut walk I mentioned and you can finally take a breath and maybe move if you want. It builds very much along the lines of a joy division with the guts being wrung out of the guitars effects.
Swirling Hawkwind effects signal ‘A Lucid Dream’ is taking hold. With some frantic drumming holding this number together this could be best described as space rock for the Covid generation as it ebbs and flows. Last year, Fontaines D.C. released their debut album Dogrel to widespread acclaim, garnering a legion of fans worldwide along the way. They toured behind it relentlessly. In another time, this would be nothing but a success story: A young band delivering on the hype rather than being swallowed by it. They should have been riding high; it should have been nothing but a triumphant year. But to hear the band speak of it, the whirlwind experience almost destroyed them.
‘A Hero’s Death’. It’s an album that has its moments of frantic, claustrophobic songs that gasp for air often challenging the listener in challenging times. At times there are songs full of charm like ‘You Said’ which is simple song as is the lite and beautifully simple ‘Oh Such A Spring’
‘A Hero’s Death,’ ‘I Was Not Born,’ and ‘Televised Mind’ all predate ‘Dogrel’ so if you liked that then there’s a fair chance this is going to ring your bell as well. They’ve not gone and done a Radiohead and cut their commercial throat deliberately here because they haven’t. Fontaines D.C. know what the do and what they’re good at and hammer it home and using those principles they’ll never go out of fashion nor turn in a bad record like Idles they aren’t always an easy listen and that’s good because different tunes will leap on you when you least expect them to and those records have longevity and I like that dip in and dip out but you know they’re there. ‘Difficult angular sharp sounds for difficult times possibly the perfect chaotic record for the chaotic times we live in. At times challenging and others soothing and just nice.
Author: Dom Daley
The emotional centerpiece off the Bristol band’s forthcoming LP, ‘Ultra Mono’ (out Sept 25th via Partisan). The accompanying music video features the band driving with their parents through their hometown streets to the shops, providing a grey window into suburban English life that matches the song’s heavyhearted churn.
Frontman Joe Talbot says of the song: “‘A Hymn’ is a hymn that rejoices in the sinister flesh-eating virus of the pedestrian. It sings the tune of normal’s teeth sinking into your neck as you sleep stood up with your eyes open. Amen.”
“A Hymn” follows the release of other ‘Ultra Mono’ highlights “Mr. Motivator” and “Grounds,” the latter of which earned a spotlight in the NY Times (“What’s a British post-punk band to do at a moment of black American protest that has spread worldwide? Slam and declare solidarity.”)
Ahead of release, IDLES will host a series of three live performances from an iconic studio space (to be named later) on Aug 29 & 30, which will be professionally recorded, filmed, and livestreamed. Tickets on sale now, more info and link to purchase HERE.
Talbot also recently launched a new virtual talk show called BALLEY TV, rolling out new episodes every other Friday this summer. Guests have already included Mike Skinner (The Streets), Nadya Tolokonnikova (Pussy Riot), Lauren Mayberry (CHVRCHES), Hak Baker + more. Watch the most recent episode HERE featuring Arlo Parks and Billy Bragg. Subscribe to see more episodes HERE.
Produced by Nick Launay (Nick Cave, Yeah Yeah Yeahs, Arcade Fire) and Adam ‘Atom’ Greenspan (Anna Calvi, Cut Copy), with Kenny Beats (FKA Twigs, DaBaby, Vince Staples) providing additional programming, ‘Ultra Mono’ was sonically constructed to capture the feeling of a hip-hop record. The album also features guest vocals from Jehnny Beth (Savages), and additional guest contributions from Warren Ellis (Nick Cave and the Bad Seeds), David Yow, and Jamie Cullum.
On September 25th, IDLES will release their anticipated third album – ‘Ultra Mono’ – via Partisan Records. Accompanying this announcement, the band have shared album highlight and thunderous call-to-action – “Grounds” – alongside a music video (dir. by Rob French).
Frontman Joe Talbot says of “Grounds”: “We wanted to write a song that embodied self-belief, and gave us self-belief – a counter-punch to all the doubt we build up from all the noise we so easily let in. We wanted to make the sound of our own hearts’ marching band, armed with a jack hammer and a smile. We wanted to make the sound of our engine starting. So we did. Thank you.”
Ahead of release, IDLES will also host a series of three live performances from an iconic studio on Aug 29-30, which will be professionally recorded, filmed, and livestreamed. Upon purchase of a ticket, attendees will receive a unique link to access the performance live. Tickets on sale now, more info and link to purchase HERE.
Recorded in Paris and produced by Nick Launay (Nick Cave, Yeah Yeah Yeahs, Arcade Fire) and Adam ‘Atom’ Greenspan (Anna Calvi, Cut Copy), with Kenny Beats (FKA Twigs, DaBaby, Vince Staples) providing additional programming, ‘Ultra Mono’ was sonically constructed to capture the feeling of a hip-hop record. Across all twelve brutally relevant tracks, the band double down on the vitriolic sneer and blunt social commentary of their past work, with themes of active presence, inclusivity, class, gender inequality, nationalism, community, and toxic masculinity remaining ever-present. ‘Ultra Mono’ also features guest vocals from Jehnny Beth (Savages), and additional guest contributions from Warren Ellis (Nick Cave and the Bad Seeds), David Yow, and Jamie Cullum.
If their last record – 2018’s ‘Joy As An Act Of Resistance’ – was meant to detail IDLES’ manifesto, then ‘Ultra Mono’ is the sound of the band heading into battle, battering ram in hand, for those tenets. The phrase “momentary acceptance of the self” serves as spiritual guide and mantra throughout, as Talbot elaborates on further in an essay printed inside the album’s physical packaging.
In addition to sharing the tracklist for ‘Ultra Mono,’ the band have also made available the dates on which all upcoming album tracks + videos will be released (see below).
‘Joy As An Act Of Resistance’ was one of the best reviewed rock records of 2018, debuting top 5 on the official UK album charts. ‘Joy’ earned the band instantly legendary performances at Glastonbury, Jools Holland, NPR’s Tiny Desk, and sold out tours across the world. They were profiled by the NY Times and PBS NewsHour as part of a group of new bands tearing down outdated perceptions of masculinity, won the coveted Ivor Novello Award for Best Album, and were nominated for the Mercury Prize and a Brit Award last year. All 10,000 tickets to the band’s Dec 2019 headline performance at London’s Alexandra Palace sold out in under 24 hours.
Think post-punk think Joy Division, think a band who loves making a fuckin’ racket, barking like a dog and general anti-social antics like Pavement jarring rhythms riffing on Queen Zee songs. Think Idles think Slaves think Wonk Unit think Queen Zee for sure It’s out there but just a little further. Oh and of course Steve Lamacq loves em.
The collection will be the band’s first physical record and includes new single ‘Role Model’, as well as previously-released singles ‘Seeking Arrangement’ (Permanent Creeps), ‘Gayboy’ and ‘Total 90’, plus their limited edition cover of Peaches hit single ‘Fuck The Pain Away’, previously only released on a decomposing peach. Put that in your promotional ideas pipe and smoke it…
The quintet have released music irregularly, starting with a three-track EP in 2016 and then following on with a series of singles beginning in 2018. After the release of the EP, the band played constantly in their hometown and in London, honing their craft and growing together as a unit, waiting almost two years before hitting the studio again to record their follow-up, ‘Seeking Arrangement’.
DITZ released their single ‘Total 90’ at the tail-end of 2019 (the first for new label Alcopop! Records) picking up plays from BBC Radio One, The video for the track—which sees the band face off against a team consisting of members of friends from Slaves and FUR—was made to highlight discrimination and inequality within football. It was shot at The Dripping Pan, official ground for Lewes F.C. since 1885, and sees the band wearing Altrincham F.C.’s Football vs Homophobia rainbow coloured kit. They were also illustrated especially for the single release by badly-drawn sticker duo Panini Cheapskates. So whilst they might not have been prolific in recent years they are making up for it at the moment and might well ride this wave of enthusiasm from the likes of the Beeb.
The thumping bass throb is incredibly primal and on tracks like ‘Gayboy’ it hits you right in the chest and those guitar chords sound like riding a fuckin monster that’s awoken from a particularly nasty nightmare. They’d have fitted in nicely with the 90’s nomeansno and the Fugazi crowd who must have also been an influence?
‘Role Model’ is like a false intro before the huge avalanche of noise which is fleeting which only leaves that Peaches cover which I might add is nailed within an inch of its life. They should go on tour post-pandemic with Cabbage I think I’d enjoy that one. check em out, kids that’ll piss off anyone who lives within 200 feet of your stereo no joke.
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IDLES have returned with a new track – “Mr. Motivator” – a battering ram of positivity that’s also the first preview of their highly anticipated third LP due out later this year. The song doubles down on the (self-admitted) sloganeering and social commentary that’s become the band’s signature, yet here more than ever they’re able to take clichés and turn them into music that’s deeply complex and brutally relevant. Listen/watch the accompanying self-directed music video, which features fan-sourced exercise footage and the band members themselves.
IDLES frontman Joe Talbot says of the song: “We want to start this journey with a means to not only encapsulate the album’s sentiment, but to encourage our audience to dance like no one is watching and plough through these dark times with a two tonne machete of a song and the most beautiful community of scumbags ever assembled. Let’s go. All is love.”
IDLES last album ‘Joy As An Act Of Resistance’ was one of the best reviewed rock records of 2018, debuting top 5 on the official UK album charts. ‘Joy’ earned the band instantly legendary performances at Glastonbury, Jools Holland, NPR’s Tiny Desk, and sold out tours across the world. They featured on the covers of DIY, Loud & Quiet, NME, Kerrang!, CRACK and So Young, as well as earning high praise from many more. They also won the coveted Ivor Novello Award for Best Album, and were nominated for the Mercury Prize and BRIT Awards. All 10,000 tickets to the band’s Dec 2019 headline performance at London’s Alexandra Palace sold out in under 24 hours.
More info on LP3 coming shortly!