There was always more to Chicago legends Enuff Z’Nuff than day-glo clothes, peace signs and drug problems. To a select few back in the day, singer Donnie Vie and bassist Chip Z’nuff were our generation’s Lennon & McCartney. And while they peaked commercially with their self-titled debut album, 1991’s follow-up ‘Strength’ was their masterpiece. Then along came Grunge and knocked them straight outta the ball park like many others. The following album ‘Animals With Human Intelligence’ sank without a trace, as did their career.

But unlike many of their contemporaries, the band battled through the subsequent line-up changes, legal issues and drug & alcohol addiction. Original guitarist Derek Frigo died of an overdose, long time drummer Ricky Parent succumbed to cancer. They changed labels more times than they changed drummers and guitar players, yet through all the tragedies, the one constant was that Chip & Donnie released quality music year after year. Even Donnie’s departure couldn’t stop the band. Now 15 albums into their career Enuff Z’nuff are back with a new album entitled ‘Brainwashed Generation’, the second to feature Chip as lead singer.

 

To be honest, I had little interest in hearing EZN’s last album ‘Golden Boy’. For me, EZN without Donnie is like Queen without Freddie, its peaches without the cream; it’s like a broken pencil…pointless! While their voices work well in harmony together, can Chip really compete with those golden Vie pipes, and does he even have the songwriting chops on his own? Well, I’m glad to report that ‘Brainwashed Generation’ goes a long way to prove me wrong.

Joining Chip on this latest excursion is long time guitarist Tory Stoffregen, drummer Daniel Hill and ex Life Sex & Death/AntiProduct legend Alex Kane (back in the band for the first time since 1987). Rick Nielsen’s son Daxx contributes drums for more than half of the album, along with Mike Portnoy and even estranged main man Donnie puts in a guest appearance.

With the basic tracks recorded back in November 2019, mixed and finished off by Chip at home during lockdown you could call ‘Brainwashed Generation one of the first ‘post lockdown’ releases?

 

Opener ‘Fatal Distraction’ sets the scene with hazy, lazy vocals and great power pop hooks to die for. Chip’s penchant for Cheap Trick is never far from his songbook, and the combination of loud, brash guitar work and a very hummable chorus takes this opener into classic EZN territory.

Ok, Chip you have my attention but any band can put their best tune as an opener, put your money where your mouth is and prove it! As if in reply, the punchy ‘I Got My Money Where My Mouth Is’ follows and puts to bed any doubts that the bassist needs Donnie Vie to carry his songs in 2020. This shows a band full of confidence, urgency and bravado. With continuing Cheap Trick vibes, trademark backing harmonies and a chorus that insists you sit up and take notice, I’m convinced just 2 songs in; they have already done enough to prove EZN are far from a spent force.

 

It’s impossible to do an Enuff Z’Nuff review and not mention The Beatles. Lennon-esque, sentimental balladry is rife in the likes of ‘It’s All In Vain’ and ‘Broken Love’. Chugging guitars, ringing chords and soaring vocal melodies take this listener to the same heights the likes of ‘Fly High Michelle’ and ‘Right By Your Side’ did back in the day.

Donnie Vie returns for ‘Strangers In My Head’ and it’s no surprise that its an album highlight. His lush tones carry the dark and foreboding tune to another worldly plain. It’s a powerful. riff heavy rocker that sees the writer delve deep inside his own head. So much so, it makes the following ‘Drugland Weekend’ sound like a just another dumb ass rock song, all style and no substance, but hey there’s nowt wrong with that sometimes!

 

Enuff Z’Nuff never got the breaks they deserved. But let’s face it, most of the greatest bands suffered the same fate! But put an Enuff Z’Nuff greatest hits package together and it stands tall quality wise with any band you would care to mention and that will be their legacy.

‘Brainwashed Generation’ is a surprisingly good album, which recalls their glory days and the best of their influences. Sure, it’s not as good as ‘Strength’ or even ‘Animals…’ song for song, but it’s on a par with anything the band put out after, and that is a good place to be 15 albums into your career.

Chip continues to fly the flag for Enuff Z’Nuff, writing quality tunes and touring the world. It’s all he’s done since the heady 80’s and no one’s gonna stop his love train now.

Buy ‘Brainwashed Generation’ Here

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Author: Ben Hughes

 

 

 

 

Bristol based four piece Mother Vulture have been making a name for themselves in the pits and dives of the South West music scene with their incendiary live shows over the past couple of years. In packed, claustrophobic venues, music fans watch jaws agape, as they witness guitarist Brodie Maguire and bassist Chris Simpson jerk about the stage like some invisible demon is prodding them with a red hot poker. Centre stage is a diminutive whirlwind of corkscrew hair, armed with just a microphone and the biggest voice this side of Mike Patton or even Rob Halford in his prime. I say centre stage, but take your eyes off him and Georgi Valentine is gone. Into the crowd, on his back on the dance floor singing his lungs out while his bandmates seemingly defy gravity, making a cacophony of noise as intense and brutal as anything you could wish for.

This is the world of Mother Vulture. But all this is inconsequential right now, as Coronavirus has put pay to this band taking off in 2020. So what does a band like Mother Vulture do while they await the go-ahead for their return to live-action? They only go and release a live album on an unsuspecting world!

 

Recorded live at Rockfield Studios in Wales, ‘Doing It Live’ comprises 10 tracks of high octane, rock ‘n’ roll music that captures the chaos and intensity of a Mother Vulture live show.

The singles are present and correct. Album opener ‘Tell Me’, ’Mr Jones’ and latest release ‘Fame Or Shame’ are all delivered with the confidence and bravado of seasoned pros. The musical chops of Rage Against The Machine, the bluesy howl of Wolfmother and the raw, punk intensity of The Stooges combine to create a glorious musical orgasm that leaves you longing to witness them in the flesh.

The between-song banter serves as a reminder that this album was cut in one take, live in the studio. Shit, this band is tighter than a duck’s arse! Tribal beats and big guitars are the order of the day in ‘Habits Die Hard’, Brodie’s inner Ron Asheton comes to the surface as cool lick follows cool lick. The playing is confident, the rhythm section of bassist Chris and powerhouse drummer Matt West deliver with precision throughout. Larger than life beats, a crackle of distortion and feedback lead off ‘Big Teeth’ before retro riffage and screamo vocals take it to another place entirely. In ‘Bleeding Feet Blues’ they take the genre and turn it upside-down. Not so much a blues lament, as a ‘rip your head off and shit down your neck’ kinda vibe!

Epic closer ‘Objectify’ shows a depth and maturity to a band greater than their years. Finger-picked guitar chords and haunting vocals lead the listener into a false sense of security before the band kick in with a wall of distortion and soaring vocals to make your ears bleed one final time before the (virtual) record stops spinning.

 

‘Doing It Live’ is not Mother Vulture’s debut album, they’ve not even got around to recording that yet! This is their career-defining live album, they just decided to release it before their career has been defined!

You want a reminder of the intensity of a hot and sweaty club show? You want a snapshot of a young, crazy and talented new band that are hungry to get back at it? Well, what are you waiting for? Hit the link and order this record. But be quick as there are just 100 copies up for grabs. You snooze, you lose, mofos!

Buy ‘Doing It Live’ Here

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Hailing from Oxfordshire and Berkshire, the Suicide Notes ooze gutter-trash rock n’ roll. With low-slung buzzsaw guitars and raw nicotine-soaked vocals, they play rock ‘n’ roll with a swagger.  The illegitimate sons of punk and sleaze, conceived on a bed of red wine, cigarettes, and back-alley attitude, in their ranks they featuring ex-Black Bullets vocalist Billy Tee and signed up with a management company in 2019 like most things it sort of ground to a halt with the Covid-19 Virus but they did manage to sneak out the very popular Acoustic EP before everything was locked down. But they’d already banked the Electric EP and with the UK currently unlocking humans from the pandemic its time for The Suicide Notes to get back to business and let the world know what they have to offer.  
On the evidence of the response after their acoustic EP came out the future looks very bright for The Suicide Notes. that debut acoustic EP sold out its initial limited art digipak edition in under 36 hours through pre-sale orders alone, and demand was such that a second edition had to be produced hence why we’re here now as they follow up February Acoustic with its more fierce alter ego ‘Pleasures Of Despair (Electric)’ but before that let me introduce the Suicide Notes or rather let Billy Tee Introduce The Suicide Notes…
Who are The Suicide Notes? 
The Suicide Notes are Billy T on lead vocals and harmonica, Holmes on lead and rhythm guitar and vocals, Dame on the four-string and sometimes guitar and vocals and Gav is on drums, pizza, and garlic bread. We play tragic rock n roll in a raw carefree and drink idled haphazard style.
How did the band come together?
I ( Billy ) wanted to form a band that reflected my music roots, the red wine stained shuffle of bands like The Faces, The Stones, The Quireboys and The Dogs D’Amour mixed the raw edge of the Izzy Stradlin GnR and the romantic tragi undertones of people like Nikki Sudden, Neil Leyton, The  Decedents and The Suicide Twins. I new Alex played guitar and Alex had played with Dame for years so they were a tuned to each other’s way of playing already. Getting the restless dynamo that is Gavin Hobbs to drum was the perfect final piece in our dirty little ramshackle outfit.
Where are the band from? 
The boys hail from Witney in Oxfordshire and I’m the posh tart from Berkshire
Whats in the name?
Gore Vidal once said, “Write something, even if it’s just a suicide note”.

So we did, we wrote a bunch of Suicide notes disguised as songs. It’s the only way I tend to write. I’ve spent a long time-fighting depressions and mental health issues, all of the band do, mine was brought on by long term substance abuse. I’ve been clean two years but I’m still one step from falling off the wagon, I can bloody taste it still, but things are looking good I’m keeping my head down and concentrating on the music and my art anyway …

 Recordings so far?

We released our first single ‘Smoke It Like A Cigarette’ for our acoustic four-track EP, ‘Pleasures Of Despair’ (Acoustic Demo’s Vol One) then we released the full EP as our debut (like you mentioned already) We then went into the studio and recorded a full almost live electric set.

Post-Pandemic Plans?

We’ve written a bunch of new tracks while in lockdown, Alex and I throwing stuff at each other via the wondernet. The plan is to pretty much start from scratch again, literally, we’d only managed four gigs before the whole ‘shithouse went up in flames’ but we had a solid year of festival appearances booked, so hopefully we can get back on the horse in 2021, record an acoustic E.P vol 2 from the new songs and try and find our feet and hopefully we ( all the bands and promoters and venues ) all find some kind of normal again.

As the bells chime on the dark ‘Black Dog Howlin’ it sleazy alright. it’s right in that pocket of early LA Guns sleaze but without the American polish this is genuine Sleaze with attitude from the rolling dirty riff to the chorus where the gang joins Billy Tee for the call back its good stuff.  A well-timed guitar solo fits right in the pocket as the three minutes fly by which is exactly as it should be.  Not for a second does it outstay it’s welcome and like a donkey punch you know its happened.
No doubt there will always be comparisons with Billy’s vocals and a certain Bard from the Black Country so it would come as no surprise to hear The Suicide Notes taking on ‘On The Rocks’ by The Dogs D’Amours. To be fair there’s no point messing with classic Dogs tunes so whilst it’s pretty much kept intact they do add their own twist on it and to be fair it holds up very well. I like the tone of Alex’s guitar licks its got bite but it isn’t dumb and has a swagger that doesn’t come over like he’s forcing his tone.
Having praised the band for their short sharp attack I did balk a little when I saw ‘Ragdoll’ was in excess of six minutes but once we got past the intro tape I was able to sit back and let the rock and roll flow over me.  sure its got the obvious comparisons but I like the chorus and the breakdown works really well and I’m always a fan of using a saxophone in my sleazy Rock and Roll. great stuff!
To wrap it up the Electric treatment of ‘Smoke It Like A Cigarette’ is really good and works better than the acoustic which was excellent to be fair. So all in all a four-track EP that gets better as the songs unfold.  The band has energy and style and can and will carve out their own niche as people get to hear them and appreciate what real proper sleaze should and could sound like.  Oh, and we need more cowbell – obviously.
Pick it up pronto if you want to get in on the ground floor before these guys climb that greasy totem pole of Rock and Roll and you miss out on the collectible early stuff. Now put on yer silken scarf slide into them boots n skinny jeans and get yerself involved.
Buy the EP Here

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Author: Dom Daley

Armed with a venomous swagger The Heat Inc. release their debut single ‘Raptors’, a caustic slice of vitriolic rock’n’roll through Melted Dino Records.
 
On this scorching debut, The Heat Inc. have delivered a visceral thrill, with Alain Johannes (Queens of the Stone Age) hailing ‘Raptors’ as “a perfect rock song.”.
 
Describing themselves as a “Rock and Roll band”, The Heat Inc. recorded ‘Raptors’ in the RYP Recordings Studio in North West London, with Michael Smith (Elvis Costello) producing.

 

So when I say I know rock ’n’ roll when I hear it, you best believe I know rock ’n’ roll when I hear it—and The Heat Inc. are good old-fashioned rock ’n’ roll, just like mother used to hate. You might have a good idea of how great The Heat Inc. sound—but don’t bother because The Heat Inc. are so cool they defy definition. There’s all kinds of heat. There’s the summer hot heat that’ll drive you crazy. There’s the in-ring heel heat that’ll get a wrestler over. And there’s the relentless hard heat that’ll track you down until you’re trapped. But ain’t none of them can compare to The Heat Inc you’re about to hear—and that’s not hyperbole, that’s a fact. Who you gonna believe, me or your own ears?”  exclaims Jeffrey Morgan – Creem journalist and biographer of Alice Cooper and Iggy & The Stooges.
 
The Heat Inc. is the suavest new band around and enough to make most God-fearing rockin’ rollers believe in miracles.
 
To purchase Raptors go to Bandcamp or Stream ‘Raptors’  Here
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Pic: Tom Ham

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.

More info:Official / Facebook / Twitter

Here we have the second outing from The Blinders, definitely one of the brighter stars of the modern day Post Punk revival. ‘Fantasies Of The he Stay At Home Psychopath’, the follow up to the fantastic 2018 debut ‘Columbia’.

The band are often compared to contemporaries Idles and more recently Fontaines DC, though this does not do them justice. The band themselves are quite young but certainly have something to say, as a result showing the others on the scene to be almost juvenile and of their time rather than timeless.

For me, the songs on this release give off a rare quality where the listener can already envisage what they’ll be like live. First track ‘Something Wicked This Way Comes’ sends me somewhere mentally akin to being a teenager at a festival experiencing these songs first hand with an ultimate sensory thrill.
If track one was euphoria the next, ‘Forty Days & Forty Nights’ is a call to arms ending it’s barrage as quick as it started. As the album goes on more and more I’m hearing riffs comparable to eighties Cow Punk, differing somewhat from their first album but adding further dimensions to what was already a solid sound.
The trio offers us a brief ‘Interlude’ to catch our breaths. A laid back Cool Jazz number that wouldn’t be out of place alongside Pulp’s ‘This Is Hardcore’. You have very limited time to dust yourself off before you’re back in the throng again with recent single ‘Mule Tracks’. This is certainly the standout song on the record, even with no apparent chorus it grabs the listener with vigor.
The second half of the record continues at this pace, never faltering the listener even for a moment. ‘Black Glass’, another remarkable single with almost ‘Heroin’ esque Velvet Underground guitars hitting you with a desolate psychedelia.
Final track ‘In this Decade’ opens as you have awoken from a surreal dream, entering a beautiful new tomorrow in the form of this early Dylan style number. It leaves you reflective of the fanatical decadence that has preceded it and wondering timidly whether you dare put yourself through it again….. but can you resist?

buy ‘Fantasies Of A  Stay At Home Psycopath’ Here

Riskee and The Ridicule honour New York singer-songwriter Lana Del Rey with their own unique take on her hit ‘Young And Beautiful’.

 

Not a band you can second guess, unpredictable Kent punks Riskee and The Ridicule follow-up their first lockdown release in May, the seething anger of the Brexit-baiting single ‘Blue Jacket’, with their own respectful take on New York pop singer-songwriter Lana Del Rey’s award-winning 2013 smash-hit, ‘Young And Beautiful’. This, however, is no guilty pleasure for the band, who are longtime fans of Lana’s work.

 

“Lana Del Rey is one of pop music’s best storytellers,” states frontman Scott Picking. “There’s something about her music that is so intense and descriptive that it’s movie-like and in these times of being locked down, that type of escapism has been a personal paradise. In choosing this song, I knew I could bring something different vocally and musically, we were excited about changing the song dynamically while staying true to the emotiveness of the original.”

Despite being isolated from each other at the time, Riskee and The Ridicule were able to create a video for ‘Young And Beautiful’ by recording their individual parts at home, allowing their former bassist David Thomas to collate them together with footage from one of the bands early hometown gigs.

 

“The video feels like a nod to both our early days as a band, just us and our own motivation, as well as where we are all at in this unique moment, one that we’re not likely to be in again any time soon (hopefully). ‘Young And Beautiful’ is a song I’ve wanted to do for a long time,” confesses Scott.

 

2019 was an amazing year for the band and saw the highly anticipated release of their third album ‘Body Bag Your Scene’ well received by both fans and critics alike, with their sets at Rebellion and Boomtown proving to be real highlights of 2019

Body Bag Your Scene was written and recorded at breakneck speed, a reflection of its reactionary nature to the daily uncertainty projected upon us. Taking aim at the powers that be (“Our Time”), sexual exploitation (“Sex”) and the barrage of contradictory news (“Black, White & Grey”) it’s a record that holds a mirror to the world with simultaneously acerbic and humorous analysis.

 

Growing up in Kent, Riskee and The Ridicule have always been a staple of the UK DIY scene, but their fervent attitude and unique “Grime-Punk” rallied troops of dedicated fans across the world. Musically, the band meld their genre-spanning influences with their intent to challenge preconceptions. On the surface they may appear easy to read, when in fact Scott Picking (Vocals), Jimbo Aglony (Guitars, Vocals), Jordan Mann (Guitars, Vocals) and Matt Verrell (Drums, Vocals) are a gang of progressive punks who form a powerhouse of change. Full of fierce energy, the Kent quartet have motives resting among The Clash with relentless streams of wit, literacy, and observational accuracy akin to The Smiths and a background in the UK Grime scene.

 

There is much more to come. You can be sure that Riskee and The Ridicule will be back onstage as soon as the world allows.

 

Buy ‘Young And Beautiful’ Here

 

Find Riskee and The Ridicule online at: Bomber Music / Band Website / Facebook / Twitter

Its been a while. No doubt about it.

This is the Eleventh studio album from Pretenders and I can honestly say I’ve not felt a real buzz off one of their records coming out since the second one came out way back in 1981 almost forty years ago! Gulp.  sure they’ve hit paydirt in the pop charts since but they’ve not really dished out a record bristling with top tunes, until now that is. Damn, On the second single off the album ‘The Buzz’ shes even managed to recreate the vibe of ‘Kid’ on that guitar break. It appears that the past might have been embraced and maybe explored in order to strip back those past forty years to create ‘Hate For Sale’ which seems an odd title because there seems to be an overwhelming “love” going on.

The other noticeable feature is a sparkling production that lets everything breathe where it needs to and the crunchy dirty bits are backstreet dirty and not polished into oblivion fake dirty.

Hyndes vocals are as good as they ever were sounding fresh and captivating and at times comforting.

In the first four tracks, you have everything that made the original line up such a great band. A roaring call to arms on the intro track and album title followed by the more pop-friendly ‘The Buzz’ Something different and maybe a little risky in ‘Lightning Man’ and the rock-solid handclap heavy ‘Turf Accountant Daddy’ then to close off side one the retro pop ballad of ‘You Can’t Hurt A Fool’ which might be the weakest on side one with its soul trappings but Hyndes vocal is exceptional and delivers a stunning performance that elevates the whole song which is anything but tokenistic.

 

It’s great to drop the needle onto side two and hear the power chords clash and strut on ‘I Don’t Know When To Stop’ enhanced with some great gob iron blowing and a bowery staggering solo. Then to bump straight into ‘Maybe Love Is In NYC’ which makes a great dive bar buddie maybe not as strong but great to hear those guitars being rinsed with passion and some attack.

Chrissie Hynde might well have found her Mojo and really delivered a great record.  there isn’t one weak track on offer and whilst side two might lack the variety that you have on the opening few songs they are immensely enjoyable like the punky hand jive of ‘Don’t Want To Be This Lonely’. To be fair the piano balladeering of the albums closer ‘Crying In Public’ had to be and the strings and big chords make it listenable without becoming lush or too polished and it retains the feel of the rest of the record and has grit and charm.

Pretenders have turned back the clock and knocked out one of 202s finest records without any shadow of a doubt.  It’s short, sharp and exactly the pick me up needed during this oddest of summers. Something new with an old feel that’s comforting and downright bloody entertaining. ‘Hate For Sale’? Yes please.

 

Buy ‘Hate For Sale’ Here

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Author: Dom Daley

 

Kool name that to be fair.  How was I ever not going to open the file with a name as good as that? But hey don’t even bother searching for their Facebook profile or their Instagram pics of them with cats and dogs n booze n birds coz you know it’s not ever there right? Right!

Sixteen snotty fucked off punk rock tracks for your delectation with minimal mix, no autotune, no studio trickery just blistering stabs of short and sweet punk rock that’s what Kool & The Gang Bangers offer at the altar of Punk Rock.

‘Night Of The Living Deadbeats’ is the Ramones playing Dead Boys it’s as simple as that kids and if you’re looking for the ray of sunshine I guess you won’t find it on ‘Hate Your Guts’ or ‘This City Sucks’ nor are you finding a rainbow on the snotty ‘Full Of Shit’.  However, you can pogo and you can chew on the inside of your gums whilst shaking your head along to the beat, that’ll comfort you.

 

These Swedish punks have got a natty line in raw riffola and catchy lyrics but it’ll take a few plays to tune into the lyrics so low down in the mix they are on times but that’s perfect for the attitude and it doesn’t take a lot of concentration to get into each song seeing as almost everyone is under one and a half minutes from start to finish ‘Drag Me Around’ even has a spot on guitar solo.  But wait ‘Rats Crawl Back’ tips over the two-minute barrier almost the perfect TOTP length but that’s never going to happen (mores the pity).  Hang up the phone reminds me of when The Hives kicked off with a good hook over a repetitive riff ‘cept this is far more punk rock.

’15 Minutes Of Pain’ starts on the bass and to be honest I wasn’t even sure there was one on there previously such was the raw lo-fi racket being kicked up. The album saves the best til last as ‘I Hate The World’ wraps up proceedings. I might leave it an hour before hitting repeat I might go out and pick some flowers or run through a field just to prove that it’s not all bad maybe I’ll cwtch a puppy or feed some birds then when I’ve had a tit full of being nice I’ll play some more ‘Feel Bad Music’.  Maybe you should too.

 

Buy ‘Feel Bad Music’ Here

Author: Dom Daley

Since their 2018 masterpiece ‘Here Come…’ Tommy and the gang have been knocking out their impressive Hooligan pop.  I like that, I like that a lot and I like Tommy & The Commies a lot as well and they play Hooligan pop for sure, its a perfect genre for their sound and captures what it is they do to a tee.

‘Hurtin’ 4 Certain’ is their time capsule to the global lockdown and kicks the shit outta any blues one might have for normal life being put into quarantine for the time being.  The opening track whilst the inevitable comparisons to Buzzcocks and The Jam ring out and so they should there is a real vintage Undertones clang happening here as well.  It’s like Tommy has slipped on some magical snorkel jacket and in the pocket there’s a magical mixtape to those that paved the way back in the ’70s & ’80s. but if you’re going to start your EP off with intent then ‘Hurtin 4 Certain’ is a bloody barnstormer.

‘Impulse Action’ is a snotty pogo with a chorus you want to punch the air too and lace up your martins and turn up the volume this is a blast.  From the Gatlin gun guitar chords being churned out the gang vocals are easy to remember and a lot of fun. ‘Power On Standby’ has a bit of a mod vibe about it imagine walking into a house party in Brighton in the ’60s and these goons are holding court in the backroom and ‘Power On Standby’ is churning the room as sweaty bodies cut loose.  Great stuff! This EP is shaking off any cobwebs or misery a pandemic can leave after three months.

Finally taking this bad boy home is the juddering riffola of ‘One Arch Town’ and I’m hearing early gen X going on as the song unfolds towards the chorus it’s a beautiful thing hearing a bunch of hooligans kick up a shit storm of Rock and Roll like this.  sure it’s nothing new and it’s not groundbreaking but you know what?  Sometimes, it’s nice to just kick out the jams motherfuckers and this hooligan pop lark has got me a buzzin’  Check em out they deserve that much at least.

 

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Author: Dom Daley