The Dahmers are heading out on the European roads to support The Dwarves.
As a warm-up, they bring us a brand new video!

“DEMON NIGHT…IT’S ALRIGHT!
Oh boy, check out our brand new thriller.
A stop motion nightmare of the song “Demon Night” from our latest album “Down in the Basement”.
– The Dahmers

 

Tour Dates:

2/5 – Grand – Malmö, SWE
13/6 – Kraken – Stockholm, SWE *
14/6 – Røverstaden – Oslo, NO *
15/6 – Musikens Hus – Gothenburg, SWE *
16/6 – Underwerket – Copenhagen, DK *
18/6 – Patronaat – Haarlem, NL *
19/6 – Club Vaudeville – Lindau, GER *
12/7 – Midnight Light Festival – Vilhelmina, SWE

* supporting The Dwarves

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THE DAHMERS takes their high energy horror rock n’ roll out on the European roads again, supporting US legends THE DWARVES! You can also catch them on their own at two Swedish spots.  Wow, those lucky peeps in Mainland Europe are in for a treat – I’d love to see this show hit the UK that’s for sure. Us UK mortals have to wait until Rebellion to catch The Dwarves

                                                                                 Live Dates:

2/5 – Grand – Malmö, SWE
13/6 – Slaktkyrkan – Stockholm, SWE *
14/6 – Røverstaden – Oslo, NO *
15/6 – Musikens Hus – Gothenburg, SWE *
16/6 – Underwerket – Copenhagen, DK *
18/6 – Patronaat – Haarlem, NL *
19/6 – Club Vaudeville – Lindau, GER *
12/7 – Midnight Light Festival – Vilhelmina, SWE

* supporting The Dwarves

It’s been 5 long years since The Hip Priests’ last studio album, but as some wise old sage once said “good things to those who hate”.

During that time events have certainly seen the UK become a more divisive place to live and as such ‘Stand For Nothing’ has never felt like a more perfectly timed record. It’s one the band said they’d never release but now felt compelled to, plus it’s also one that contains not a single song about the old in out … a true first in Priests terms.

But wait just a minute, because I’m getting ahead of myself here and forgetting you just might be someone discovering The Hip Priests for the very first time, sat there all comfy on your toilet (I mean where else would you read about the Hip Priests?) thinking that in those intervening 5 years the band’s core trio of bassist Lee Love, guitarist Austin Rocket and vocalist Nathan Von Cruz must have been hidden away on some tropical island paradise recording a masterpiece in studio fuckery with Muff Flange. Well, you’d of course be very wrong indeed, because during the past 5 years what The Hip Priests have actually been doing is working their arses off by relentlessly touring (with the likes of Zeke, The Dwarves and The Bitch Queens) whilst releasing a bazillion independently funded and released limited edition 7” singles. Whilst in the process of doing all this they also managed to lose 2 drummers (before arriving at current sticksman D.P. Bomber), decided to turbocharge their sound via the addition of a second guitarist (via the enigmatic Silent Mike – who has subsequently moved on to pastures new), and then came within a hair’s breadth of finally getting themselves signed to a major label. Something that would ultimately come to nothing when the A&R guy signing them was “let go” by the label.

Phew! That potted history reads like a draft film script doesn’t it, but this boys and girls is the harsh reality of being in a proper rock ‘n’ roll band, one that is driven to succeed at all costs.

So, after all that does ‘Stand For Nothing’ live up to my heady expectations as the record to propel them into 2019 as the number one independent rock band on the UK scene?

Well, it takes exactly one line of the album’s blistering opener ‘Welcome To Shit Island’ to answer this conundrum as Nathan Von Cruz venomously spits out “Small minds, dumb pricks – drop a bomb on this isle of shit” and I can immediately feel myself grinning from ear to ear whilst punching the air with absolute joy. YES! Someone is finally not afraid to speak the truth and there really is no time like right now (excuse the pun) to celebrate it. In fact, all joking aside if ever there was a sign that The Hip Priests were evolving into a much bigger and angrier sounding beast than ever before it was that 10 minute epic (which curiously doesn’t make the final track listing here) that well and truly pissed the line in the sand regarding the band’s musical ambitions.

The expansion of sound that was so evident during the horn-driven ‘No Time (Like Right Now)’ is thankfully driven headlong into this album too and the aforementioned addition of a second guitarist gives tracks like the stunning ‘Losers Of The Faith’ (which I must admit is my favourite track here) and the glorious one-finger piano-driven ‘Stand For Nothing’ an additional melodic edge, something that just might have been missing from previous Priests’ records where the band chose to simply bulldozer you into aural ecstasy.

Fear not though fellow Spasm Gangbangers because that old school Priests sound is still very much here in abundance during tracks like the caustic ‘Social Hand Grenade’, and the thundering album closer ‘Rock N Roll Leper’ plus let’s not forget the already firmly established live favourite ‘Cheers To Me’. It’s just that this time around I’m finding myself going back to the likes of the pounding ‘Deja F.U.’ and the dare I say it the “gothic sounding” ‘How Do You Get Off?’ (is that a hint of Farfisa I here in there lads?) time and time again as The Hip Priests truly spread their musical wings…sonically speaking of course.

What also really stands out on this record are the lyrics, and on the vinyl only track ‘U Okay Hun’ we get to rejoice in Lee Love’s lightning fast take on the world of the vacuous self-centred fucks that litter social media, a track which is without doubt one of his finest moments yet, and he’s written quite a few of those that’s for sure.

At the start of this review I stated that ‘Stand For Nothing’ contained no tracks about sex, which will be a total shock to any Priests fan’s moral system I know, but for those of you hankering for the ‘Saints Of Excess’ of old there’s still ‘Last Train Wrecks’ to look forward to, a glorious tale of self-destruction that comes complete with an intro from Happy Tom and actually revolves around some of the very people who will no doubt be rushing to buy their copy of this album when it goes on pre-sale on Feb 4th via the various labels involved and linked below.

Look, in ‘Stand For Nothing’ The Hip Priests have written one of, if not THE most important garage punk albums of 2019. Buy it now (via the links below) and help the band save Shit Island from forever falling into the sea of musical mediocrity.  Essential!

Spasm Gang

Buy Music Here

Author: Johnny Hayward

Along with the recent announcement that Trigger McPoopschute will  be making their festival debut, The Damned have also been added to this summers bill along with a whole list of other great bands really strengthening these years line up after the early announcement of Cock Sparrer then The Stranglers

For all the latest updates and additions to the bill like the facebook page Here or their website Here

 

Also announced today was the inclusion of The legends that are The Dwarves and also from the USA Descendents.  We’re sure you’ll agree that this years festival is really beginning to take shape now.  for tickets Here

February 2018

Foulmouthed Filthy February or something like that.

February began with a road trip to see a band who for me has been my go-to pilgrimage in North Wales for The Gathering weekend for the last quarter of a century (almost). A weekend celebrating the music of Mike Peters & The Alarm reached a high point on the Saturday night as a Four-hour performance rounded off an impressive weekend. I’ve enjoyed going for almost quarter of a century where special guests have included Billy Duffy, Craig Adams, Steve Diggle, Pete Wylie, Dave sharp, Ian McNabb, Eddie McDonald and a whole bunch of other musicians I’ve forgotten and I’ve managed to attend without missing a single year.

I must admit the thought of such a marathon performance on a Saturday night filled me with dread can any fans watch for four hours? The answer is a resounding yes! It flew by and was one of the best Saturday night shows I’ve ever seen Peters perform especially when he was joined on stage by Craig Adams for the final hour (that still doesn’t sound right – the final hour). Roll on February 2019 when I can do it all again.

 

Staying on the live front, Other RPM scribes went to some far-flung countries to catch their Rock n Roll with Craggy taking in an excellent show from Fertile Hump live at Kabinet Muz, in Brno. but a large gathering of writers took in a show or two when the Damned went around the UK this time with the added excitement of Paul Gray back in the fold for the first time in decades which was rather nice.  Seeing the Damned with a new album in tow and playing sold out shows all across the UK in decent sized venues was awesome and it has to be said so were the band.  Gray seemed to give them a right shot in the arm just in time for this stint of dates was easily the highlight of February. But with the recent news of our Brother Scott Sorry battling a serious illness the Rock and Roll community rallied and a series of benefit shows were arranged to raise funds for Scott at such a difficult time what with the American Health system being what it is  The likes of Role Models, Main Grains and  The Empty Page rocked out at The Parish to rave reviews whilst Wakefield Warehouse saw the Professionals, the Wildhearts, Massive Wagons and Sonic Boom Six take care of business and send Positive vibes across the ocean as well as money raised at these spectacular shows.

Before Feb was done The UK also saw the return of Bullets And Octane and Ben attended a memorable show in York that proved that Gene Louis had lost none of the fire he had inside his beating heart when he first toured the UK.

 

As for recordings to hit the shelves, historically early in the year, things open slowly in the music business and January being about new resolutions before finally seeing new releases hit the shelves, so, Feb saw an avalanche of really big hitters for RPM writers.  We had the release of Imperial State Electric’s Live album ‘Anywhere Loud’ as well as some garage awesomeness from the likes of the Cavemen and The Bellrays getting round to release records. 

Several writers were also impressed by the latest Buffalo Tom long player ‘Quiet And Peace’ with Craggy picking it as one of his albums of the year. February belonged to a few foul-mouthed releases, the first came in the shape of Jonesey with their self titled long player with its down n dirty sleazy punk rock n roll and song titles and lyrics that would make a sailor blush no doubt about that. But one of the years highlights hit us like a sledgehammer between the eyes has to be Motherfuckin’ Motherfuckers with ‘MFFFMF’ (I think that’s the correct amount of F’s) inspired by Supershit 666 and the idea of some friends from the most splendid Bitch Queens and Oz and Lee from the mighty Hip Priests recording a mini album packed full of songs that were written in the shortest of times. I’ll let Lee Love tell you, good people, what happened, ” Ah the dumb Lee Love story. Well, me ‘n’ Oz went To Basel for a few days to hang out with our mates from Bitch Queens and we ended up getting pissed (as you do) and I was winding them up saying I could write and get em to record a mini album in a day. So we went into the Queens studio the next day and played through everything once maybe twice and hey presto it was done”.  Creating that Copters supershit 666 vibe.

To be fair this pack of loons rose to the occasion and absolutely knocked it out of the park in fact they didn’t just knock it out of the park they followed out tied it to the back of their pick up truck dragged it around the wood then kicked any life left in it out then did it all again for shits and giggles.  An absolute giant of punk rock n fuckin roll – make no mistake about that! Motherfuckin’ Motherfucker should and one day will rightfully be seen as a classic of its genre.

 

Also, The motherfuckin’ Dwarves were taking back the night in February as well and a jolly fine record that was.  Maybe it should be renamed Fuckin’ foulmouthed February from now on.  What a month. Outstanding stuff.

 

Billed as an incredible rock ‘n’ roll freakshow there will never be any chance of Helldorado being done for false representation. With over 30 live bands, live wrestling, burlesque acts and a whole lot more besides the 40 odd Euros I shelled out for early bird tickets made me feel like I’d bagged myself one of the gig bargains of the year. But would it really live up to my expectations?

Arriving at the Klokgebouw (an arts/theatre venue in a huge multi room warehouse complex situated on an industrial park within a bicycle kick’s distance of PSV’s ground) with about half an hour to spare before the doors were due to open this gave one or two of our travelling group the chance to walk off their fragile states following the previous night’s Turbojugend meet up in the city’s Café The Jack (steady on Daley there were no retrievers in sight here) which had proven to be as colourful an introduction to the city as the Glow art event that was also taking place that same evening.

After finally making our way through the airport style security (which was done as quickly as possible by very friendly staff who seemed to be able to speak a multitude of languages all at the same time) I finally made my way into the venue and hit the main Cobra stage just as Prima Donna were launching into the 2nd song of their set.   With just 30 minutes on stage there was no time for banter or messing about so Kevin Preston and his prima donnas (ouch) just do what they do best and play a set packed full of infectious rock ‘n’ roll anthems largely drawn from their excellent ‘S/T’ album. A better sound mix (something which you’ll see becomes of a recurring theme throughout the day) might have drawn out some of the band’s poppier saxophone driven moments but at 1pm in the afternoon, warming up a largely still hungover crowd, the boys did mighty fine indeed. Now make sure you catch them on the road with Danko Jones right now!

Moving over to the adjoining Lion stage for a little bit of fun with Cirque Du Mort’s Trashy Pandas and it’s somewhat confusing to discover that after travelling all this way this UK troop’s lead hostess speaks with the broadest of Welsh accents. Alright butt. Then just as The Devils (no not the Nick Rhodes pre-Duran act) prepare  to take to their makeshift stage in the middle of a wrestling ring situated mid dancefloor one of our group (whose been on a proper walkabout around the complex) points out we best make our way over to the Tarantula stage as it’s a tad smaller than the other two stages and the buzz surrounding the arrival of The Hip Priests complete with their very own trashy panda on lead vocals might just see us left out in the cold (and boy was it cold outside) if we’re not sharpish. On our way over though we just have time to check out the doom drone of Monolord on the Cobra stage which on another day in another venue might have inspired me to throw my horns in the air, however today I’m all about the Priests. 

Getting into position a few rows behind the Spasm Gang diehards who follow The Hip Priests all over the globe the most rewarding thing for me (and I’m sure the band too) was to glance around and see the venue was indeed fully packed out. If ever there was a reason for this band to exist then there really was no time like right now to fully deliver on their musical promise. With the Fuck Cancer t-shirted Von Cruz dedicating their set to Kathy Rocker this just seemed to light their fuse as they sped off through a set littered with career defining tunes that just exploded right in our faces. The ever present ‘Instant Delinquent’ got the first proper pit of the day going whilst in ‘Zero Fucks Given’ I still say the band have the best Stooges song Iggy never wrote, and it’s not just me that thinks this as the crowd literally hollered the song’s title back at them during the extended coda outro. ‘Stand For Nothing’ might be the ironic(?) title of the band’s soon to be released fourth studio record, but for the thirty minutes spent in their company today they stand for everything, so cheers to you guys you really are muthafucking superior.

It’s almost impossible to get my bearings after such an incendiary set so I drift between Death Alley and The Rock N Roll Wrestling and then Vintage Caravan (none of them able to get anywhere near what had preceded them) and in the meantime I also manage to somehow miss The Dahmers (who talking to someone later were apparently excellent) altogether. Bollocks!

It was the lure of witnessing Nicke Andersson back behind a drum kit (for the first time since his days spent with the mighty The Solution) playing with Lucifer over on the Cobra stage that dragged me out of my stupor, and as the band unfurled its very own fringed tops take of Psych-Doom I suddenly started to have flashbacks to a few years back when a good mate of mine made me watch Uncle Acid & The Deadbeats and Witchcraft back to back at Hellfest and I honestly thought I’d just woken up in 1972. In many ways I feel Lucifer are perhaps not unlike an Andersson’s Night for the Scando-Doom generation, and whilst I personally don’t dig it the many people around me who headbanged constantly throughout the band’s 45 minutes set treated them like headliners in waiting. I’ll stick with my Blues Pills LPs thanks.

Price pointing their merch at 10 and 15 Euros a pop the muthafuckin’ Dwarves really were living up to their rock legends tag long before they had even played a note today. It’s simple acts of punk rock genius like this that see most people either sporting or carrying a cross-boners themed item of  merch by the time the band hit the Cobra stage, and initial dodgy sound aside Blag and his gang of reprobates simply could do no wrong as they stampeded their way through the likes of ‘Way Out’, ‘Sluts Of The USA’, ‘Back Seat Of My Car’ and ‘Devil’s Level’ leaving me with barely time to take a gulp of my beer between the classic tunes crammed into the set list this afternoon. With added human fireball, smurf and a bevvy of lovelies providing visual stimulation for a mosh pit seemingly set on self-destruct (especially during a frenzied ‘I Will Deny’) the only thing that was really missing was more tunes from the band’s superb ‘Take Back The Night’ LP. Then again when you’re as good looking as these fucks you can do whatever the fuck you want and still end up being one of the best bands of the day.

Moving back to the Lion stage for the highly anticipated return of Supersuckers, out on the road promoting the (almost) 20th anniversary of ‘Evil Powers Of Rock N Roll’, it actually took me 2 or 3 songs before I realised this was the same band that totally blew me away all those years ago. The current 3-piece version of the band seem to favour the type of flat-out wall of noise approach to gigs that Motorhead pretty much made their trademark, and to be honest it all kind of goes over my head, especially early doors. Couple this with an Eddie Spaghetti who is obviously trying to warm up and not over stretch his voice (for obvious totally understandable reasons) I simply found the whole thing very frustrating indeed. Yes of course the band still soared majestically when they aired the likes of ‘Born With A Tail’ and ‘Pretty Fucked Up’ but I’d be gobsmacked if anyone went out and bought a copy of ‘Suck It’ as a result of hearing any of the songs aired from that here this evening, and that’s a crying shame because it’s actually a very good album.

Jogging back over to the Cobra stage to find Zeke were just about to into ‘All The Way’ from their ‘Hellbender’ LP the packed out room then proceeded to just totally lose it. This being my third time of seeing the band on this tour meant I knew what was about to come and the odd beer shower was an almost welcome relief from the already oppressive heat being generated by the Olympic sized pit moving at pace stage front and centre. With side stage also packed full of other bands all keen to experience the Zeke-effect it was reassuring to finally put to rest the urban myth that Nick Oliveri and Blind Marky Felchtone were in fact the same person, Oliveri screaming most of the band’s back catalogue from the wings like their number one fan whilst the more eagle eyed amongst us also spotted Austin Rocket from The Hip Priests revealing himself as a closet KISS fan by singing along to the Zeke-ified version of ‘Shout It Out Loud’. If you’ve seen Zeke live yourself recently, you’ll get what I mean when I say they are impossible to critique, they just are muthafuckin’ Zeke end of.

With prospect of the night turning into a progressive/psych type of affair if I hung about in the main stage areas to watch DeWolf and then Kadavar, I instead plumped for the much more sensible (and less satin flared) option of checking out Nick Oliveri – Death Electric back in the Tarantula stage. Backed by his Dwarves bandmates and dedicating his set to Todd Youth, from the opening ‘Tension Head’ to the final chords of ‘Millionaire’ what we were given tonight was a simple lesson into why Nick is so badly missed by Josh Homme in his now piss weak stadium filling version of the once great band. I could have listened to this stuff all night but with barely an hour before the first of the two!! headliners were set to take the stage it was time to finally catch my breath.

Chatting with friends old and new in the food concourse for the best part of that hour the highlight of which involved us people watching two lads trying to get a 12” record into a 10” locker that eventually ended up with said record being bent slightly in half in order to get it in (yeah I’m still cringing writing about it here) it was thankfully the sound of Rich Knox’s kick drum heralding the arrival of  Danko Jones over on the Lion stage rather than the snap of an LP that brought us back into reality with a bump.

Now having mentioned how off the mark the sound had been for a number of bands earlier in the day the immediate thing that impressed me when I took up my place on the barrier for Danko was just how clear and powerful it now was. Could the curse of Castle Donington have made its way all the way to the Netherlands? Oh, what the hell, I’d last seen the band about 5 or 6 years ago at Hellfest struggling a little bit to get a reaction from an audience only looking to throw devil horns and headbang but here at Helldorado Danko Jones (the band) really were in their element, plundering their extensive back catalogue to keep people dancing and humming their tunes long after their hour long set had ended. ‘The Twisting Knife’, ‘Had Enough’, ‘Play The Blues’ and of course ‘Sugar Chocolate’ (which took me right back to 2001 and the band’s  debut UK support slot with Backyard Babies) were all present and with Danko (the frontman) on top form banter-wise tonight really was theirs for the taking and just like with The Hip Priests earlier in the day it was absolutely fantastic to see a band with originality high on their menu (even if it’s the bits they steal from other bands) getting the reception they so justly deserve. Karma indeed!

Having released an album that has caused some pretty diametrically opposite reactions from their diehard fans the Turbonegro of 2018 have certainly come a long way since I first saw them live back in the early noughties playing a small club in Birmingham promoting their then reunion LP ‘Scandinavian Leather’. However, whilst I’m man enough to admit to quite liking ‘RockNRoll Machine’ it’s the distinct possibility of Queen covers (something they have been doing more recently) being played that found me entering into this Cobra stage headline set with more than just a bit of unease. I shouldn’t have worried though because here tonight the band blended the post-Hank and pre-Tony years into a set of high-octane stadium rock that must have had even the out and out haters of ‘RocknRoll Machine’ nodding along. I mean how can you sing along to the likes of ‘Wasted Again’, ‘All My Friends are Dead’ ‘Get It On’ and ‘Back To Dungaree High’ and then not also be drawn in by the likes of ‘Hurry Up & Die’ or the hilariously titled ‘Hot For Nietzsche’ (the pereft counterpart to the band’s love letter to Van Halen’s ‘1984’ that is ‘Chrome Ozone Creation’)?

With an encore consisting of 2 more classics from ‘Apocalypse Dudes’ (‘The Age Of Pamparius’ and ‘Selfdestructo Bust’) before the ultimate vinegar stroke of ‘I Got It Erection’ was dispatched to send some of us off into the cold night air night, I’m not entirely sure where all the anxiety I had about seeing Turbonegro in 2018 came from, they are still the same fun loving bunch, they’ve just polished the whole thing up a bit that’s all.

So as the party raged on hard well into the wee small hours back at the Klokgebouw I walked back to the hotel reflecting on the fact that with hotel, train and gig tickets plus flights, this trip worked out around £275 for each of our party. That’s for a weekend in a fantastic city we’d never been to before, the chance to meet some great new mates plus catch up with some great old ones, plus watch a shit load of superb bands in the process. I just know I’m gonna wake up feeling like I want to do it all over again next year. That’s because you gotta live life people – take some risks- because you never know what you might discover just around the corner even on an industrial park somewhere near PSV Eindhoven’s stadium.

Thank you Helldoardo for being so fucking amazing!!!!!

Author : Johnny Hayward

Helldorado

 

 

Do you love The Dwarves? Do you love punk rock? The people at God’s Candy Records do and so should you.

He Who’s back, balls out and rocking with album number four, “The Good, The Bad, and The Brutal” and guess what – half the tunes have “good” in the title and the other half have “bad” in the title…… and they’re all great!!!

Masks on, balls out, let’s go.

Side one kicks off in sick-as-fuck pop-punk style with “A Good Problem” and “Bad Day”. Maybe my favourite two tracks on offer here and both about being pissed off! In fact my 9-year-old has had “Bad Day” on repeat for the last couple of weeks. Target audience bull’s eye!

You know what to expect from the slab of plastic and you get exactly what you need to make your life that little bit better for at least 30 minutes anyway. Not a million miles away from Blag and the mothership and not too far from the likes of NOFX and the gang.

Trundling along merrily, there’s not a stinker in the pack; all twelve tunes are as hooky as fuck. “Bad Means Good” is another stand out punky-poppy workout, while  “Good Guys Of the Wild West” launches you into a Spaghetti Western barn dance bounce-along, proving that punk rock needs more “Yippee-ki-yays”.

‘Bad Decisions” has the sound of an extra fucked up Tom Waits, while “Good Gestapo” makes you chuckle. No ones is trying to re-invent the wheel here. Let’s face it, HeWho’s been writing and playing punk rock for almost 30 years with the Dwarves – subtle he is not!

Buy The Good The Bad And The Brutal

Seeing as there isn’t a video for the album here enjoy this kids! it one of his best

Author:Fraser Munro

Ben Hughes

Now here’s a crackin’ combo if ever I saw one. Dwarves guitarist He Who Cannot Be Named and our very own punk rock faves The Hip Priests joining forces for a string of UK shows. A trip to the Brudenell in Leeds was a given for me, The Hip Priests were mighty with Thee Hypnotics earlier this year and He Who Cannot Be Named…well, how can you not be intrigued by a guy who wears just a ski mask and a codpiece on stage? I can’t wait to battle through the punk rock hordes to the front for a magnificent hot and sweaty punk rock show.

 

Hang fire a minute! Have I got the wrong night or even the wrong venue? There’s some shite indie band called 77:78 on in the main room and this show is in the Community Room tonight. Ok, I’ve seen bands in there before, it’s not the same atmosphere, more of a school gym feel, but hey ho…let’s go!

It’s 8.30pm, The Hip Priests are due on and there is nobody here, literally nobody! What the hell Leeds, is there some other show going on I don’t know about?

They give it 15 minutes before cracking on as the Spasm Gang Leeds massive finally filter in, 25 people at a stretch and it doesn’t get any busier for the whole night. If this was York, I could understand it, but Jesus, this is Leeds! We are in the heart of studentville with the Uni just around the corner and the bar next door is jam-packed with alternative looking dudes and dudettes who seem none the wiser about some punk rock show going on next door.

 

Zero fucks are given by The Hip Priests, they play a blinder anyways. From the opening salvo of ‘Livin’ Breathin’ Lightning’ and ‘Instant Delinquent’ to the closing ‘Sonic Reproducer,’ they deliver 40 minutes of high octane rock ‘n’ roll with all the thrills and spills you could desire.

The black denim clad brothers, led by panda eyed singer Nathan Von Cruz, blast their way through a selection of 7 inch singles and choice album cuts from their very strong back catalogue of Stooges/Hellacopters influenced rock ‘n’ roll.

To Von Cruz’s left, bassist Lee Love keeps the low end tight and guitarist Silent Mike keeps the riffs coming, giving Austin Rocket the freedom to pull all the rock guitarist shapes he can muster stage right. With his back arched and his guitar pointed to the stars, he peels off sonically powered licks and wah-wah induced solos on the likes of ‘MF Superior’.

With chanting choruses aplenty, the likes of ‘Jesus Died So We Could Ride’, ‘Sha Na Na Na Nihilist’ and latest single ‘Cheers To Me’ would make even the most staid of observers nod their heads and sing along.

The Hip Priests look and sound fantastic, and with more than a handful of glorious anthems to get high and get wasted to, can you really deny them their claim to be “the best band on shit island”?

 

When you come on stage with nothing but a studded leather codpiece, a Mexican wrestler mask and an arsenal of quirky punk rock anthems such as ‘Getting Pissed’ and ‘Duct Tape Love’, the chances are you will not fail to entertain. And Dwarves guitar slinger He Who Cannot Be Named does just that, with the help of a very tight band.

Running through his solo back catalogue and a few Dwarves songs for good measure, the band veer between catchy Ramones styled goodness and fast as fuck hardcore. They even chuck in a fantastic cover of ‘Commando’ for good measure. Rarely have songs about drinking, fucking things and killing things sounded so uplifting!

While HWCBN handles lead vocals, quirky moves and switching between two battered road worn guitars, its bassist Bobby Wilcox who takes center stage and does most of the talking. With his bass hanging from his knees and sporting a Ramones shirt, he looks and plays the part to perfection. To his side, Keith Mueller plays the leads and Eric Borst seems to be having the time of his life bashing away on them skins behind them, what a drummer!

Talking of behinds, the drummer wasn’t the only one to get an eyeful of bare punk rock arse. The moment HWCBN bends over to change his amp settings will be embedded in my mind for some time. Let’s just say that codpiece was a little on the loose side. Unfortunately, you can’t un-see some things!

‘I Eat Babies’ sounds amazing, pure pop-punk goodness, and there’s plenty of “oi oi” style chanters thrown in for good measure. ‘Good Problem’ from the newly released album ‘The Good, The Bad and the Brutal’ is instant and fits the set perfectly.

To be honest, He Who Cannot Be Named were the most entertaining band whose songs I don’t really know, that I have seen in a long time (if you catch my drift?).

 

The Leeds punk massive may have stayed at home, but the faithful few were treated to two great bands tonight that truly deserved a bigger crowd. I just hope the crowds are bigger for the rest of the dates, as I don’t believe this is just a Northern thing, is it?

I am trying not to be too downhearted about gig attendances, but with disappointing turnouts at the last 4 gigs I have attended, it does make me worry about the future of underground music. I feel for the bands, I really do, it must be soul destroying playing to empty rooms, but the likes of The Hip Priests and He Who Cannot Be Named are consummate professionals and continue to play every show like its packed, and it’s up to all of us to continue supporting live music before the bands we love disappear for good.

 

Buy He Who Cannot Be Named Here

Buy The Hip Priests Here

Photos courtesy of Neil Vary Photography