London post punk noise bringers Girls In Synthesis turn up the tempo on this EP? Mini Album? Extended single? Who knows what to quantify it as but once the needle drops and the hum of overdrive and distortion grinds through your speakers added to the metronomic beat ‘Pulling Teeth’ will certainly test your fillings from the constant steady beat that creates a solid platform for the synth and guitar drones to test the limits of your speakers its hypnotic qualities draw you in like a modern-day homage to Joy Division via some Gallon Drunk meets Germanic industrial – its a melting pot alright and pretty captivating it is too throughout its nine minutes lifespan. I can’t believe they haven’t fallen through a portal in time and left post-WWII Berlin and landed in wet south London on a freezing cold and damp November.

At about six minutes your head feels like it’s about to explode with the metallic feedback reaching a crushing climax before the bass thumps through the ether. Modern anarco punk is calling and its pulling teeth mantra is perfect as it escalates to its explosive conclusion. Intense and mesmerizing.

‘Enveloped’ is like a post-Bauhaus industrial banger – easy listening this isn’t. ‘Bypassing’ is a widescreen landscape of twitching noise and brass blasts as the waves of noise washes over you. From the nine-minute opener to the sub-one-minute ‘Interlude’ seems obvious before ‘The Engine’ crashes in to wrap up this record. With four minutes of dark bleak guitar clashing with a great tune to wrap proceedings up before lying in a darkened room to get over the end-of-the-world noise, I’ve just experienced. It’s great to test your head with some extreme noise terror and Girls In Synthesis do it as well as anyone I’ve heard recently. It’s like pushing a johnsons cotton bud through one ear and out the other without dying it’s not for everyone but those that get it will achieve immense enjoyment from their listening experience.

Digital downloads are available or direct from Hound Gawd! if you prefer the best experience on wax.

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Author: Dom Daley

Our beer ORANGE LIGHTNING will be available through Systembolaget in Sweden on August 1, 2022.
It is a wonderful fruity hard rocking IPA on 6,66% vol alcohol.


This is no brands for fans crap! We brewed this IPA ourselves under strict supervision from the amazing Lakeside Brewery in Uricehamn, Sweden. Beer me and cheers! More info soon!

Aug 5, 2022 – WTJT XVI Aftershow party, Molotow, Hamburg (DE)
Aug 26, 2022 – Garage Bar, Höganäs (SE)
Aug 27, 2022 – Eksjö Stadsfest (SE) w/Sahara Hotnights etc.
Dec 09, 2022 – Ajz Bahndamm, Wermelskirchen (DE) w/Stacey Crowne
Dec 10, 2022 – Mitsubishi Electric Halle, Düsseldorf (DE) w/Massendefekt
More info/tickets here>>

This years “Bitch Fest” line up! 6 bands, 2 stages, weird and freaky stuff to discover – just one night of pure punk-rock madness. Tickets are up for sale now for a more than fair price of 32CHF (about 30€) here:
https://www.seetickets.com/ch/tour/bitch-fest-v


Wanna give some extra love? Then be sure to buy a “Bitch Love”-Ticket. They recommend to party hard through the night with DJ Danny Ramone to save money for drinks. But if you need a good place to stay close by then ibis budget Basel City is probably the easiest and cheapest way to go. 

They hope to see you there! 

Shop: http://bitchqueens.bandcamp.com/merch
Page: http://www.bitchqueens.com

Here at RPM we pride ourselves on our diversity, like to think we cover a wide range of artists and we strive to step out of our comfort zone at every opportunity. So, taking a 2-hour car journey and seemingly stepping back in time a good 100 years or so, I head to The Toon for one of only five (mostly sold out) UK shows from Nashville’s best kept secret Sierra Ferrell.

Born and bred in West Virginia, Sierra Ferrell grew up on a diet of punk and grunge. She started busking in her 20’s and adopted a nomadic lifestyle, where she discovered a love for bluegrass and swing music, adopting her style to suit. She settled in Nashville and signed a 3 album deal with Rounder Records, releasing her debut album ‘Long Time Coming’ in 2021. Some say it’s her solo performances, preceding the album release and uploaded to YouTube, where this girl truly shines.

Sierra Ferrell has a voice that sounds like it should be on old, crackly vinyl, and in a live environment, as on record, she has the ability to transport the listener back to another time.

This is Sierra’s first visit to the UK and many of these long postponed European dates are sold out, so it’s no real surprise that there is an air of anticipation and excitement leading up to the performance. Its already hot in The Cluny as Sierra plucks the opening chords to ‘In Dreams’ and walks on to whoops and hollerin’ from the packed-out crowd. Wearing a red, flowery dress, matching cowboy boots and her hair up in rollers, she certainly looks old school country, yet it’s the septum ring, tattoos and ultimately the quality tunes that sets her apart from the usual Nashville country artists that come our way.

Flanked by Oliver Bates Craven on mandolin and fiddle, and upright bassist Geoff Saunders, the diminutive singer takes us back to another place, another time with her ageless, gypsy jazz and folky laments that incorporate as much calypso and Latin influences as they do country.

For an artist who has just one album, she seems to have a cult following in the UK. Looking around me the demographic is similar to an Alabama 3/Primal Scream sort of crowd, a mix of gig-hardened 50 somethings, alternative students and die-hard roots music lovers. A Glasto sort of crowd, a festival which funnily enough is happening as we stand here. How is she over here this weekend and not playing? She would be perfect at Glastonbury. Maybe next year.

A lot of people know all the words tonight and it’s a very vocal and upbeat crowd. There’s a lot of chat, a lot of foot-stomping and a whole lotta singing. Yet, a song like ‘Whispering Waltz’ stops everyone in their tracks and you could hear a pin drop while we are mesmerised by the near perfect rendition. Sierra transports the listener to the mountains of Virginia with mournful, rustic accompaniment and a stunning mandolin solo (not a phrase I ever thought I would say!).

They pretty much play the whole album, past singles and a few covers. Highlights for me would be the gypsy jazz of ‘The Sea’, the countrified ‘Bells Of Every Chapel’ and the heartfelt balladry of ‘West Virginia Waltz’ that was simply outstanding.

There was also a new song which will be on her next album called ‘Fox Hunt’. It featured Oliver and Sierra both on fiddle and had a foot-stomping, folk driven intensity that brought to mind The Levellers at their finest. This I liked a lot, instantly gratifying and judging by the whoopin’ and hollerin’ from the crowd, I was not the only one. A song that promises good things for album number two.

Between songs, Sierra sinks a large wine glass of something pink and makes use of the strategically placed fan to cool down. The main set closes with the finger-pickin’ delights of ‘Jeremiah’, one of those YouTube wonders that has the crowd singing along.

No drums, no electric guitars, just simple, honest songs played by 3 players on stringed, acoustic instruments and a voice that is effortless in its perfection.

They sure missed a trick not having any vinyl on sale tonight, as you can’t find the album for love or money over here, but the t shirts were cool, so that was a bonus.

As we always say at RPM, we strive to bring you the cool artists from the underground, the ones on the way up, the ones who bring something a bit different and edgy to the table. Sierra has something, from the first video I watched and the ensuing YouTube rabbit hole I went down. It was well worth a 2-hour trip and I will do it again when she returns. She will return, she expressed a wish to live here from the stage tonight. When she does come back, I highly recommend you check her out. In the meantime, has anyone got her record for sale please?

Author: Ben Hughes

Somewhere between the B52s and Devo lurks The Meat Sweaters. (hailing from Brighton and London, via Stockholm, Sweden) release their debut EP ‘Paranoid and Sweaty’ on July 22nd and have a new track from it available today called ‘Body Yoghurt’.

The Meat Sweaters are a trio (Wahoo Samuels, Pete Fraser and Jon Palmer) of friends who appreciate sounds that are very far removed from what most would consider conventional. Embarking on a thrillingly bizarre synth-punk journey with their debut four-track EP, ‘Paranoid and Sweaty’, released July 22nd via Hype Music (a sub label of Extreme Music), today sees the release of disturbing new single ‘Body Yoghurt’. A manic, twitching, rampant, glorious mess of deranged experimental punk, ‘Body Yoghurt’ never takes its foot off the accelerator pedal.

But what’s it all about?

“What does yoghurt taste like? How do you know the flavours? Which do you like? Which are best to apply to your body? Let us tell you about the best and worst ways to Body Yoghurt,” states Wahoo Samuels.

None the wiser? Good. The Meat Sweaters aim to confuse.

lenceIn direct contrast we also have one from the new Then Comes Silence album ‘Hunger’ it’s like night and day (see what I did there?) kings of the dark Goth are back with a new album ‘Hunger’

It’s been five years between ‘We’re Still Dead’ and ‘Please Chesty’ five years one pandemic, two presidents, a shit show in the UK, and Europe on fire but through all that bad shit we’ve had punk rockers burrowing away in lockdowns writing punk rock in different way but always coming back to what sounds best. thirteen songs in less than three-quarters of an hour every one as fast as the last, soaked in attitude and spat out ten to the dozen. the solos rage and the vocals are like a headbutt you weren’t expecting.

‘The Worthy And The Worthless’ sounds exactly like you’d expect. It’s got a razorblade raw guitar riff and Chesty is slicing up those vocals testing your tinnitus to the max. Now when I said every song was as fast as the last I meant it. Don’t get sucked in by the intro on ‘No One’s Dying’ its something of a false start before we have lift off!

‘The Fine Art Of Choking’ is right up there with the best songs the band has ever made. It’s toe tap tastic and the gang vocals are bruising. It’s a vicious song with lyrics that intimidate and deliver. Horror punk meets hardcore in one delicious three minutes banger.

There might be a small fascination with death and how to achieve it but the music matches the titles ‘Axing Doesn’t Hurt’ or so Chesty says but I wouldn’t like to put it to the test however, I’d like to speed down the high street on a busy Saturday with this busting out of the speakers pissing off ever man woman and child because I can and that’s how Chesty and the boys make me feel. Punk as fuck, never overcomplicating things and sometimes just giving those instruments a damned good hiding.

‘Antibiotic Death’ continues the horror but ‘Ticket Wallet Drugs & Chicken’ is like the Wildhearts if they were born on B movies and east coast punk rock it’s punk as fuck and winning the race to the bottom of the swamp. When you have a love of class punk and thrash metal and everything in between you can write songs like ‘Torture Rock’ and pull it off. It’s easy to miss the point and make a horrible mess of crossing over but these veterans of the East Coast make it sound easy.

They even go for some heavy as fuck Punk Rock Blues on ‘Satan Never Sleeps’ where the band just slays it with twisted licks whilst Chesty sounds like she’s finally gone insane. I’d love to be in a hot sweaty pit for ’13 Punks’ windmilling and slam dancing my way through a proper punk rock workout to this evil speedball of a tune.

Whisper this quietly but if the Misfits were to have recorded songs like ‘Flesh Peeling Angel or ‘Energy Vampire’ people would be going crazy for it. They didn’t because Chesty Malone & The Slice Em Ups have and people in the know will get it and love every second of this filthy and furious skull cracker of a record. They sign off with the pit-pleasing ‘Planet Impossible’ Hardcore as Fuck and a lot of fun. Chesty Malone & The Slice Em Ups have another killer platter of punk on their hands and I love it! Go stream this album to your heart’s content and when you’ve finished go delve into their back catalogue, oh and check out their covers EP – You’ve been warned or Chesty’s comin’ round to hurt ya!

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Author: Dom Daley

Ahhhhh, Towers Of London, the band whose singer once proudly proclaimed they could dick on the Sex Pistols are back. Returning with their first new music in ages, and the first to feature the band’s re-united original ‘classic’ line up.

Yes siree, after those well received support shows with The Wildhearts back in 2019, Donny, Dirk, Rev, Snell, and Tommy are finally back with ’Yet To Be’, an all-new 5 track EP that’s coincidently released in the same month as, (and sixteen years after) their classic ‘Blood Sweat & Towers’ debut first made them the band many seemed to love to hate back in the noughties.   

I’ll include myself in that category as I’ve had my own love/hate relationship with them through the years too, initially catching them in Cardiff Barfly around 2005 and absolutely loathing them, Towers then seemed to end up supporting every band I was going to see, before around the time of the release of their debut I finally “got it” and simply couldn’t get enough of them. Then, just as quickly as the band they so famously thought they could dick on, they were out of the spotlight and releasing the way too Indie leaning. ‘Fizzy Pop’ (the band’s second album), and whilst that record does indeed still have some fans out there, without Rev and Snell in their ranks they just weren’t the same incendiary live act, and without that underlying tension that seemed to be the band’s catalyst for musical catastrophe, the band slowly withdrew into the shadows.

Somewhere they then ended up spending quite a bit of their time, working with various other musicians exploring potential new avenues for the band to pursue musically and releasing such singles as ‘Shake It’ and ‘Shot In The Dark’ along the way. Then in 2019 news finally broke that the original line up was getting back together for one last crack at this thing called the music biz. Returning as a much more ‘grounded’ group of people, the thing that perhaps struck me most about those Wildhearts support shows was just how much each member appeared to have grown up during their time apart, and Donny in particular seemed genuinely humbled not only by the enthusiastic reception they received night after night but also by just how powerful the band still sounded after all those years away.

‘Yet To Be’ picks up on the spirit of bonhomie from those reunion shows and actually includes a couple of the tunes from that set too, however it’s the track that’s recently been included in TNT’s ‘Animal Kingdom’ series that gets the EP out the starting blocks and for me it’s perhaps the track I actually like least here. That’s not to say it’s a bad song, it’s just that to my ears the anthemic ‘Jump’ actually sounds like ‘Fizzy Pop’ era Towers colliding headlong with the Rev’s post-Towers band The Howling, and whereas elsewhere within this EP elements of electronica are used to superb effect to ultimately add a new dynamic to the Towers sound, here, whilst the synthy tribal beat is insanely catchy, it doesn’t really make me want to err jump…not like ‘Get Yourself Outta Here’ anyway. Initially premiered on the Wildhearts tour, this is the Towers of London sound I first fell in love with, a ferocious slice of guitar rock, complete with one-finger Stooges piano and a sneering chorus, this track alone should have the band’s diehard fans drinking, fighting and fucking like there teenage-selves all over again.

Likewise, ‘Free Your Love’, the other track that was aired live back in 2019, which has a kind of ‘Towers Waltz’ stop/start feel about it, and possesses a soaring middle 8 that shows just how much the band has also matured in the songwriting department. Something that becomes abundantly clear when ‘Push It The Same Way’ chugs in on a powerpop riff to die for. This is easily my favourite song of the five on offer here, and whilst there are hints of the Towers of old during the chorus, it’s the use of the aforementioned synths during the verses that really do make this song a true work of genius, and if this is the sound of things to come from the band then, just like Noddy, I’m all (big) ears.

‘Amazing’ which ends the EP is another Towers songwriting curveball, as it somehow manages to remind me of Blur, Abba, Ozzy and U2 all at once, yet it’s still immediately recognisable as Towers Of London, and the chorus on this one really is, ahem, amazing in its simplicity, and as well know now, sometimes less can indeed be more.

True to Towers’ form ‘Yet To Be’ surprised me, so much so I initially hated it, and now (after a day of playing it non-stop) I absolutely love it, however, as it’s only available on streaming platforms at the moment, who really knows what’s next? Will we get to finally hear the third album, or get to see the long overdue Towers’ documentary, and with the UK live scene slowly returning to as normal as it can be right now, what about a coast to coast tour to promote it all?

Whatever happens next, I can’t fucking wait!   

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Author: Johnny Hayward

PUNK SUPERGROUP’S NEW LINEUP WITH MEMBERS OF THUNDERCAT & …AND YOU WILL KNOW US BY THE TRAIL OF DEAD, READYING MUSIC AND FILM FOR RELEASE SOON

Pre order Here

OFF!, the punk brain trust formed in 2010 by Keith Morris (ex-Black FlagCircle Jerks) and Dimitri Coats (ex-Burning Brides), recently announced they’d signed to the meticulously curated indie powerhouse Fat Possum for both future releases and back catalogue reissues. Details of the latter have just surfaced, with vinyl reissues of the band’s acclaimed first three albums set for release in late July. Comprising deluxe colored vinyl editions of 2010’s First Four EPs (available for the first time ever on LP format, replete with gatefold sleeve), 2012’s OFF!, and 2014’s Wasted Years, the reissues are available for pre order now.

Recently OFF! unveiled their first new recording in seven years: a cover of Metallica’s “Holier Than Thou” that marked the debut of their powerful new rhythm section: bassist Autry Fulbright II (…And You Will Know Us By The Trail of Dead) and drummer Justin Brown (ThundercatHerbie Hancock). The injection of new energy into the band’s signature high-anxiety hardcore adds a potent swing to the trademark incendiary thrust. The band are currently working on a plethora of projects, including their first studio album with the new lineup and their long-gestating feature film Free LSD. More to come soon.

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JELLYFISH -‘ WHEN THESE MEMORIES FADE 7” VINYL SINGLES BOX SET’ RELEASED BY NEW LAND – 30 SEPTEMBER 2022

On 30th September 2022, reissue label New Land + celebrates the singles career of enigmatic ‘90s US rock band Jellyfish with the release of When These Memories Fade. This is the first-ever Jellyfish vinyl box set and is limited to 1,000 copies only. Inside are 7 remastered 7”s spanning the band’s original run of singles, a bonus ‘covers’ single exclusive to The Box Set, a deluxe 64-page booklet featuring interviews alongside previously unseen photographs, memorabilia, and for the Jellyfish completest, a 3D poster with custom Jellyfish glasses.

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While Jellyfish were only around for a short few years — they released two albums in the early ‘90s, which included some tracks from the singles collected here as well — their legend looms large some three-plus decades after their music first appeared in record shops.

Jellyfish formed in the late ‘80s out of the ashes of Beatnik Beatch, a power-pop band that included Bay Area high school pals Andy Sturmer and Roger Joseph Manning, Jr. That band released one album on Atlantic then split up, leaving Sturmer and Manning to their own devices. This resulted in the creation of Jellyfish and with it some of the most sublime pop music of the MTV era, featuring arrangements that demanded to be put under a microscope and witticism-laden lyrics that gazed at the world through a unique lens. Jellyfish existed both
within the rock trends of times and apart from them, meshing power pop, arena rock, and whatever other types of music fit a song’s mood in a way that turned each song into its own aural spectacle. “We don’t fit anywhere, and we’re up against a wall all the time,” Manning told the Los Angeles Times in 1993. “It would be very easy to slip into whatever the current fad is and cash in on that movement for as long as it lasts. Fortunately, we’re not associated with anything like that.” Their monster-sized hooks made them a pop band; their arch lyrics fit them in snugly alongside the too-cool-for-school modern rock crowd; they had a respect for the pop-rock titans who had preceded them, as proven with covers of Wings, Argent, Badfinger, Styx, Elton John, and other album-rock stars they’d stick into their live sets.


Jellyfish’s two albums, Bellybutton (1990) and their magnum opus Spilt Milk (1993), made clear that Sturmer and Manning were leaders of an album band—the songs flowed and crashed into one another, making each long-player its own self-contained universe. But their keen knowledge of pop’s inner workings, and the minute detailing that they gave to each song, made them undeniably a great singles band as well. Looking at them through this series of
seven 7-inches, we see a group who could create perfect power pop that had allegiances to the Beatles, ELO, Wings, XTC, Queen, Supertramp, and Todd Rundgren.

From their very first single ‘The King Is Half-Undressed’ through to gems like ‘Baby’s Coming Back’, ‘New Mistake’, ‘Bedspring Kiss’ ‘I Wanna Stay Home’, and ‘The Ghost At Number One’, these beautifully presented singles show us how on the money Jellyfish really were.

East meets West as Vancouver’s Rebel Priest and Toronto’s Deadwolff are joining forces for “The Rebel Wolff Tour” from June 24th to July 2nd across British Columbia and Alberta. The tour will kick off in Vancouver, BC on June 24th, which will not only be the first date of the seven-show trek, but also the release date of Rebel Priest‘s new EP “Lesson In Love”.

Tommy Wolffe of Deadwolff adds:

“Here we go! We’re fresh off the road from our east coast tour and couldn’t be more excited to be hittin’ west coast Canada with our good buddy’s Rebel Priest! We’ve got a loud time of a tour lined up, so get ready to Double up with The Rebel Wolff Tour!

Jayme Black of Rebel Priest adds:

“More than stoked to hit the road with our East coast rock n roll family! Gonna be a greasy road trip fueled on octane and blood! Get ready western Canada! If you want blood!? YOU GOT IT!”

The Rebel Wolff Tour w/ Rebel Priest and Dead Wolff
June 24 – Vancouver, BC – Have A Good Laugh Festival. *Afternoon show – Deadwolff only
June 24 – Vancouver, BC – Lana Lous
June 27 – Maple Ridge, BC – The Wolf Bar
June 28 – Kamloops, BC – Pogue Mahones
June 29 – Kelowna, BC – Missions Tap House
June 30 – Lethbridge, AB – Theoretically Brewing
July 1 – Calgary, AB – The Palamino
July 2 – Edmonton, AB – Starlite Temple

Rebel Priest New EP “Lesson In Love” Out June 24th

Deadwolff’s Self-Titled EP (Metal Assault Records/ Boonsdale Records) Out Now!

For more info:

Rebel Priest – Batcaverecords.com | RebelPriestofficial.com | Facebook.com/rebelpriestofficial | Instagram.com/rebelpriestofficial

Deadwolff – Facebook.com/officialdeadwolff | Instagram.com/deadwolff.official