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Mass Deception – ‘Resurrections’ (Gruesome Records)

Mass Deception – ‘Resurrections’ (Gruesome Records)

Dutch thrashers Mass Deception have been around since 2015 and have released three albums full of riffage. 2025 sees the release of their latest effort: Resurrections.

The album takes me back to a glorious time in heavy metal history, the late ‘80s. Think Flotsam & Jetsam, Testament, Sacred Reich, Sepultura, peak Metallica, and a little bit of Among the Living era Anthrax and you get an idea of what Resurrections sounds like. We get some stupendous riffs, mosh parts a plenty, and superb performances. Opener Gain of Function hits like a ton of bricks, no messing around, just full-on thrash loveliness. The breakdown riff in the middle part of the song is sublime. It had me pulling that thrash gurning face.

Selling Souls! Buying Lies! has a feel of classic Annihilator with its staccato riffs and double bass drums. Menticide starts with a melodic feel before we get more huge riffs. The production of the album is perfect, and it’s refreshing to hear the instruments sound real. No processed drums (I hate that!) and the album really does sound like it’s from the ‘80s.

Metropolis is a little interlude that could be a John Carpenter written theme from one of his films. Fantastic! 1984 kicks us back into thrasher territory with some fantastic twin guitar work from Waltmans and Banziger. Drummer Sanders plays a blinder throughout the album, his double kick drums blaze through the tracks.

The Road to Hell Leads to Rome has a more traditional heavy metal feel, with nods towards classic Judas Priest. Lyrics about religious hypocrisy are the order of the day here. Saturn is another moody instrumental piece, Ruins of Dominion highlights vocalist John Klaus, his vocal style fits perfectly in the framework of Mass Deception.

Blue Flame of Anger shows us a more melodic aspect of the band. We get some Helloween style guitar melodies as well as more Priest influenced metal. More superb drum work here from drummer Sanders. My favourite track from the album is V, superb chunky riffs, a short instrumental passage, but it’s so well done.

Resurrections is a fantastic listen, really well written songs executed in style. Get your ears around this, you won’t be sorry.

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Author: Kenny Kendrick

The Kowalskis – ’30 Years Of Goofballs’ (Rum Bar Records)

The Kowalskis – ’30 Years Of Goofballs’ (Rum Bar Records)

Now there’s a blast from the past, the God damn Motherfuckin Kowalskis are in the house! Rum Bar Records have the wonderful nowse to release an expanded retro ride from The Kowalskis in the shape of ’30 Years Of Goofballs’. I came across Kitty Kowalski many moons ago as part of the NYC punk n roll scene and her name was always linked with the likes of the continental and Coney Island High and of course for releasing some fantastic punk rock n roll music. The music is a simple enough idea of no nonsense rock n roll played on 11 whilst chewing out the rhythm on your bubblegum. You know the drill a steady diet of D Gen, The Ramones and all other good ole Noo Yawk DNA. ‘First Date’ is the first war cry on this epic 25 track release and what a joyful rock n rolla coaster ride. Melodies and hooks galore from the mid 90s still sound as fresh as an ice cold beer and twice the fun. ‘Depression Overdrive’, ‘Sunny Sunday Hangover’, ‘Meanest Guy’ are all accounted for and led from the front by Kitty and her sugar sweet vocals and bad girl riffola. ‘Detroit 442’ hangs a cool tail on what paved the way for female fronted sleazy punk n roll outta the big apple.

That debut album still sounds vital and packed with top tunes but its the inclusion on this retrospective of the unreleased material, all re-mastered. ‘Who doesn’t love the song for Dee Dee Ramone titled ‘Oh Dee Dee’ if it doesn’t touch your heart then you don’t have one and you can’t be friends with me. Exactly how a retro release should be constructed. It’s lovingly put together and shows what passion and a talent for writing songs can do. Its a blast of summer sunshine in a time when joy and blissful rock n roll is much needed. Hell, their take on the Dolls ‘Human Being’ is a blast and exactly how its meant to be done, sleazy and dripping with attitude, these cats just get it.

Buy this album and turn it up and if this your first date with Kitty and the gang then your welcome if you’ve been here before and this is a welcome reminder how bloody good The Kowalskis were then you’re also welcome. Lets sit around the pool crack open some beers and turn up the stereo and lets get this party started, when The Kowalskis say ‘100% Fun’ they bloody well mean it so lets go, the Kowalskis are in da house! Power Poppin punk rock at its finest.

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Author: Dom Daley

City Kidds – ‘South Glam Roxx’ (Steelheart Records)

City Kidds – ‘South Glam Roxx’ (Steelheart Records)

For some of the old-time glammies out there, especially those from the boulevard of broken eyeliner pencils and lipsticks – the arrival of this CD is a welcome time machine to when Bogiez ruled the rock scene of Cardiff and in general South Wales. 

Lovingly put together by the Kidds’ bass player extraordinaire Stevie C. Bright – ‘South Glam Roxx’ is the long-awaited official release of the various recordings, as part of ‘The Lost UK Jewels’ collectors series. The songs here feature a plethora of South Wales’ finest rockers! These include Jamie Kall, Josie St John, Kane, Kelly Valentine, Kerry Wild, Stevie ‘C’ Bright, Steve Marie, Johnny Evermore, Mick Vallace, TigerTailz drummer Matt Blakout and Ian Danter. As you can see there was something of a revolving door on the band’s line-up over the years.

Whilst the band are forever etched as the quintessential – should have been bigger or even came out at the wrong time – band. What this release finally achieves is that the potential of the City Kidds outweighs any doubt that this band actually had the songs to back up the outrageous image.

Many of the recordings here have been available on various unofficial bootlegs – it is great to finally have them all in one place and given the aural updating that truly highlights the magic of those original recordings, which were made in the late ‘80s and early ‘90. So to have them sound this great after over 30 years is truly remarkable and a testament to the music and songwriting.

Anyway, let’s get down to the music, as that is the reason we’re all here for. Starting the CD is the two tracks that made up their only other official CD release, and that’s the bubblegum pop whammy of ‘Generation Love’ and ‘Tonight’. I remember actually buying this CD single back in 1992 from Eccentrix in Cardiff, where it used to be advertised by the door alongside the shop’s usual merchandise of PVC and leather chaps. Also, I am a sucker for an over-the-top glam cover and this delivered on all accounts. So hearing this again after all these years was a pure nostalgia trip down the glam memory lane. Of the two songs, Generation Love has fared better, but they both are fantastic in their own right. 

After that kick-ass start, we go back to the band’s 1989 ‘Dressed To Kill’ demo and the demo’s title track and ‘Street Tease’. Which, back in the day, was hailed by the late Kelv Hellrazer as something really special. Kelv is also singled out guitarist Kelly Valentine – a possible new glam guitar god. Much praise from the glam pioneer.

Following on from there is the three songs that made up the Atomic demo from 1990. These songs – ‘Out For The Count’, Hit ‘N’ Run’ and ‘Atomic’, continue where the previous demo left off. Featuring new singer Josh Kane the demo took the promise of the first one and raised the bar again. 

The next batch of songs were recorded at the famous Rockfield Studios in 1992 and again show a new maturity in the songwriting amongst ‘Broken Glass Stare’, Nowhere’ and ‘Perfect 10’. It’s these songs that show how much promise the band were in control of and also highlight just how unfair the music business really is. For if these songs were released only a couple of years earlier, who knows where the Kidds or as they later became, Sons of God would be right now.

The last three bonus tracks are for me the hidden gems – with the band winning a Red Dragon FM Battle of the Bands contest back in 1988, the songs that were played are now released for the very first time – namely ‘Edge of the Night’ and ‘Lost Without your Love’. Both are clearly of their time and show a band in their infancy, but the potential was always there to be heard.

So basically, if you love the late ‘80s glam scene and the likes of Poison, TigerTailz, Tuff etc you need this in your collection. Be quick, though as there are only 500 copies being made. Not only that, in buying the CD you will be helping to raise money for Cancer Research UK and comes complete with liner notes by Rob Evans and Stevie ‘C’ Bright as well.

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Author: Dave Prince

Kevin K & The Bowery Kats – ‘Shadow Work 38’ (Vicious Kitten Records)

Kevin K & The Bowery Kats – ‘Shadow Work 38’ (Vicious Kitten Records)

Always a good day when the news drops that Kevin K has laid down some new tunes and today is that day. I’m sure Kevin wouldn’t mind me saying he’s a rock n roll survivor and has consistently churned out quality no fucks given zero bullshit rock n roll in the great time honoured fashion that the likes of Johnny Thunders and the Stones peddled. ‘Shadow Work 38’ does everything Kevin K has ever done with no fuss or experimental bullshit he’s just penned ten tracks of honest rock n roll with quality sing – a – long melodies and some sunshine guitar licks borrowed from the good and great.

The record kicks off with ‘Why She Cried’ with a bright melody it sounds familiar and like a comfortable slice of street punk n roll with a decent hook exactly what you want to hear. Turn up the speakers and dive in. ‘Hick From The Sticks’ shuffles along with something that reminds me of the loud bits when Neil Young gets in the groove. Kevin makes his guitar howl and sits right in the pocket with the shuffle on the drums. Nothing complicated just good tunes. ‘Crazy For You’ is a change of gears as the acoustic guitar is dusted off and strums big wide open chords accompanied by a few licks on the piano before the chorus where the rest of the band joins in. Top tune is this reflective wheeze.

‘Way Out West’ begins with a dirty Bass line before an equally dirty sleazy guitar lick gets involved again nothing to taxing just a good tune. It kinda sets the tone for ‘Shame’ one of the records strongest tunes. Kevin gets right in the groove in the middle of this record with some great licks. ‘Steel Rain’ and the tub thumping ‘Justify’ rip it up before ‘Melody’ raises the odds. ‘Out Of Touch’ sounds like an early Aerosmith lick borrowed and taken down a dirt track and given a good seeing to.

I do enjoy an acoustic guitar song from a rock n rolla especially when the band plays along ‘On Your Own’ is obviously going to get compared to the ‘Hurt Me’ era Thunders for its simplicity and style and it helps add variety and flavour to the record.

All in all another really good record from Kevin K and his last few have seen him raise his game on hitting a rich vein of form with his song writing and delivering another album that is some of his best work for decades he just seems to be getting better and better at this album writing thing, if you love some straight forward rock n roll then Kevin K is your man and ‘Shadow Work 38’ is an album I can highly recommend. buy It!

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Author: Dom Daley

Earth Eighteen – ‘Butterfly’ (Warner Bros.)

Earth Eighteen – ‘Butterfly’ (Warner Bros.)

Traveling back 30 years ago to 1995 when music had spun out into all kinds of genres, Earth Eighteen released their full-length debut which became a slow burner in my CD collection. Earth Eighteen really didn’t have a box to fit in at the time with the rock radio airwaves focused on the Foo Fighters, Smashing Pumpkins, Oasis, and No Doubt. Bands like Rocket from the Crypt, the Wildhearts, and Rancid released some of my all-time favourite albums that year. ‘Butterfly’ always seemed to be just on the periphery of what I had in heavy rotation. It seemed strange to my 21-year-old self that a band with a definite glam influence would appear with members from D.C. hardcore bands. My most listened to album from D.C. at the time was ‘Cruise Yourself’ by GvsB from 1994. Why am I writing about ‘Butterfly’ all these years later? It has grown in stature with me every year since it was released. I feel like it always gets more listens than the previous year, and it would be a shame if it fell completely off the radar of potential listeners.

They preceded this album with a five track EP with some album tracks and released a single from this album with exclusive B-sides which are also both your time and attention. ‘Butterfly’ starts slowly with the ‘La La Song’ feeling a bit like the caterpillar transforming into a butterfly at the very beginning. There is a definite Bowie and Bolan influence from the beginning. Piano helps move the song forward with its very slow beat. There is a fuzzy dreamlike audio quality to the song. It makes the explosive start to ‘Dolores Haze’ more impactful as it rages out of the speakers. The riffs stand out immediately, and the vocal hook in the song injects itself into the listener’s brain as something of a slow drip that doesn’t leave once it takes hold. The guitars really get to dominate the song and leave the listener wondering what could be coming next on first listen. The glam romp of ‘Mechanimal’ feels like Bolan with the instrumentation feeling similar to what Marilyn Manson would later do on ‘Mechanical Animals.’ The beats snap out of the speakers and the marching guitar riffs saw away at your brain. The jam session in the song makes me wish I would have seen them live. Even 30 years ago, I think part of what kept this album from crossing into mainstream success was they employed a lot of subtle choruses that become addictive over time but are not immediate earworms, like ‘On a Rope’ or I Wanna Go Where the People Go.’

‘The Fall Divine’ is a slow song with a hypnotic groove that takes its time getting to its first verse. The guitar weaves in and out during the middle. This has been one of my favorite songs by them over the years with the guitar solo at the end providing some angst and struggle to break out of the slower tempo in the song. They close out the first half of the album with the rocking ‘Goin Steady’ which recalls 70’s glam with some additional power surging through the instruments with the breakdown at the end of the song bringing Mott the Hoople to mind.

The second half of the album kicks off with ‘Dahlia’ which has a catchy riff and a chorus that features a lot of harmonies. I love the use of piano through the song as well. Side effects transition us from the end of ‘Dahlia’ into ‘Maximum Teenage Overdrive’ which again reminds me of the direction Marilyn Manson would later pursue, maybe Tim Skold was a fan of this album . The beat is big through the verses, and the almost robotic backing vocals through the chorus provide an extra hook without making the song poppy. The band again introduces a breakdown at the end of the song that makes a huge impact. This song would have fit seamlessly on the Velvet Goldmine soundtrack.

‘Girl of the Downward Spiral’ starts with a simmer and then blows out the speaker. This was the single from the album and definitely makes sense in that regard. It is loud and bombastic with a great hook in the chorus. Earth Eighteen really had their own sound which was probably a blessing and a curse. This did not sound like other songs on the radio, which probably worked against it. If it had received airplay, I have no doubt the band would have picked up a cross section of rock fans that would have purchased the album. The acoustic soft rocking ‘Long Gone’ immediately changes direction and showcases the variety across their sound. The contrast between it and the previous song work to the album’s advantage. ‘Blood Revival 99’ closes the album with a hypnotic riff that feels like it is channeled from outer space. The use of the keyboards in the chorus only adds to the out of this world feed. The band then going off on an extended jam which is the only way this album should have ended. As the guitar wails, it feels like there are spaceships flying all around you on some galactic highway. After the fadeout, we get a little acoustic passage that honestly feels like the alarm clock just went off and woke you up from an intense dream.

Can a record still have a life after 30 years if it was ignored by the public when it was released? It definitely can for those of us that purchased it back in the day. As I mentioned at the beginning, this album has been a lifelong grower over the past three decades with it gaining in stature for me with every passing year. There are quite a few copies of the CD currently available on Discogs for those that want to experience an excellent glam CD from the middle of the 90’s when ‘Lump’ was playing on the radio. There were tremendous albums released in the 90’s and now you have an opportunity to track down one of them that slipped away unnoticed at the time.

If anyone knows what happened to the members of the band and can connect me to them, please let us know as I would love to do a Q and A with them.

Author: Gerald Stansbury

The Libertines warm up show

The Libertines warm up show

Announce Special Gunnersbury Park warm up show at tiny club in West London on Thursday 31st July

‘THE LIBERTINES FESTIVAL’ 

Gunnersbury Park, London 

August 9th 2025

Final tickets available:

www.ticketmaster.co.uk

As a warm up for the final show, of their highly successful world tour, at Gunnersbury Park on 9th August, The Libertines have announced a very special one off live club show, at an undisclosed venue in West London, on Thursday 31st July. The band will take to the stage at 7.30pm and are straight on the bus afterwards for more sold out shows in France and Belgium.

Entrance to the show is on a first come first served basis with 250 tickets available priced at £22.50 (including booking fee)sign up for tickets here: https://festivalrepublic.jotform.com/252054684059966

The final final show of the world tour and indeed for the foreseeable future is at Gunnersbury Park with support coming from Supergrass, Soft Play, Hak Baker, The Lambrini Girls and Real Farmer.

This show brings to a close The Libertines world tour in support of their No.1 album All Quiet On The Eastern Esplanade that has seen them sell out shows across the world  from Australia – Mexico City, Seoul – France, Germany and now Shepherds Bush.

Peter Doherty says: “We are going to take a break, live life a little for a bit and enjoy some time in the wilderness communing with nature, and see where the muse takes us. Hopefully you can make it to the final night of the tour at Gunnersbury Park. It’s gonna be historic. If not, we’ll see you down the road some time. Love Peter X”

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Sick Visor – ‘Chuck a Sickie’ (Self-Released)

Sick Visor – ‘Chuck a Sickie’ (Self-Released)

Hailing from Melbourne, Sick Visor are a duo who released their first EP a few years ago. They have released several singles since then with this EP collecting some of those singles and a couple of new songs as well. I think the first word that always pops into my head when I think of this band is fun. Their pop-punk infused songs (‘skate music for nerds’ to quote them) make me smile and make me singalong (thankfully just in my head so no one is harmed by my singing). I wish they were releasing a full-length album but hopefully that will be coming at some point in the future.

Kicking things off with a ‘Piece of Cake,’ Alex Moses gets the song started with just his voice and his guitar. Moses’ voice fits the poppiness of the songs perfectly as it has a kindness to it that feels at odds with some of the expletives he lets fly. The drumming and backing vocals by Katie Lovelock stand out across these songs too. When they combine their vocals together, the harmonies are exquisite, and it feels the universe is in-sync which is remarkable given the state of the world. The beat picks up a bit on ‘Boring as Batsomething’ which tells us that if we are bored, we might want to look at ourselves to create some excitement. Lovelock’s vocals here as a call and response to Moses’ lead vocals showcase how well she sings on her own too. I have never been able to listen to this song without my head bopping, my foot tapping, or my fist in the air.  The musical smiles continue with ‘Better’ where the music and vocals are simply infectious. I cannot help but singalong to the song every time it plays, and it is my second favorite song on here.

Starting off the second half of the EP is a short 44 second look at ‘Nuggets.’ I am not going to give away the extremely profound thought the band expresses here, but I can assure you that I agree with them. The song is catchy and fun. ‘I NEED TO GO OUTSIDE’ was the first song I heard by Sick Visor back at the end of 2024 and is my favorite song on the EP. The song should be a summer hit on the radio, but the expletive laced chorus means it will not achieve that goal. The chorus is huge and reminds us to get off our butts and experience the world when we have been knocked down by life. My favorite part of the song is near the end when Lovelock’s voice gets showcased by itself. That moment works perfectly. If you remember in the movie Almost Famous when they are discussing the one random ‘woo’ in the Marvin Gaye song. Like that moment, it is simply magical and carries so much more weight that it only happens once in the song. Closing out the EP is ‘I don’t wanna go to the party if you go to the party.’ The tempo surges a bit here with the song bringing Blink 182 to mind.

Sick Visor struck musical gold in the chemistry between Moses and Lovelock who coincidentally also have romantic chemistry as husband and wife. These six songs serve as a musical infusion of joy and enthusiasm through the crap that life throws at us. They are a reminder to keep fighting and pushing forward to get to the sweet spots where we want to be. Have a listen and then purchase some of this sunshine for your collection.

‘Chuck a Sickie’ is available now.

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Author: Gerald Stansbury

Rise Against – ‘Ricochet’ (Lorne Vista)

Rise Against – ‘Ricochet’ (Lorne Vista)

To say that a new album from Rise Against is something to truly behold as great news in 2025 has quite an emotional punch to it, and with Ricochet, Rise Against have delivered a melodic punk/hardcore masterpiece.

Never one to shy away from unpopular topics. To these ears Tim McIlrath and band have recorded a classic, with the band sounding urgent and ready for the fight, and a big thanks goes to the new production team, made up of producer Catherine Marks and mixer Alan Moulder.

Coming some four years after the band’s last album – 2021’s Nowhere Generation, Ricochet kicks straight into proceedings with ‘Nod’ which was released at the start of the year. And in this case, the nod is more like a headbutt. Getting straight in there and to the point therefore silencing any naysayers with a no holds barred aural assault. Declaring that this is indeed Rise Against for 2025 and ready for the fight.

‘I Want It All’ thankfully isn’t the Queen cover I originally expected but a spectacular call-to-arms rocker that revolves around a riff so infectious that it should come with a health warning. Coupled with lyrics exclaiming ‘It’s a wrecking ball, it’s a tidal wave’. You know this will become a live classic on their live shows from now on.

Next up is the title track ‘Ricochet’, and takes me back to better times with its sublime melody. The maturity that the band are showcasing on this album is giving me the reason I needed to revisit their back catalogue, as with similar bands of their ilk I found that going back to their roots can be problematic. However, that is not the case here as there is a clear progression and the band are clearly firing on all cylinders.

Having listened to this album a few weeks now – one thing screams louder than anything else and that is how we are all connected and the ricochet effect that ripples through everything. So with that being the central theme – the band which consists of Tim McIlrath on lead vocals and rhythm guitar, Joe Principe on bass guitar, Zach Blair on lead guitar, and Brandon Barnes on drums – have created a wall of sound that has the ability to connect where other fear to tread.

Stand out songs for me are ‘Us Against The World’, ‘Forty Days’, and the urgency of ‘State of Emergency’ is captivating and asks why we are kept in a constant state of fear. It is this kind of thought provoking lyric matter that sets Rise Against head and shoulders above their peers and contemporaries.

One thing I did find strange was putting the second single out ‘Prizefighter’ as the last song on the album. But then again – nothing screams Punk Rock more than this! However, they may have saved the best until last here – the theme of mental health and community runs through each of these tracks but no more so here in this glorious ending to a great album.

So after all is said and done, Rise Against have created an album to be proud of, which going by their extensive back catalogue was always going to be the case. But I do honestly think that this can be held up there with their best! 

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Author: Dave Prince

Wolfsbane – ‘Live Faster’ (Self Release)

Wolfsbane – ‘Live Faster’ (Self Release)

Somewhere back in the mists of time, Tamworth terrors Wolfsbane were one of the bright young hopes of a burgeoning UK rock scene. Along with the likes of The Dogs D’amour, The Quireboys and The Almighty, they graced the covers of the UK music magazines and were destined for big things. With a fierce live reputation and a dedicated fanbase affectionately known as ‘The Howling Mad Shitheads’, it seemed Blaze Bayley and the boys could not fail; then they signed to Def American Records, the label run by the legendary Rick Rubin, mastermind behind The Beastie Boys and others. A producer who had turned around the careers of Slayer, Red Hot Chilli Peppers and The Cult to name but a few. But somehow, he managed to zap all the live energy from Wolfsbane’s debut album ‘Live Fast, Die Fast’.

While they redeemed themselves on the following Brendan O’Brien produced mini album ‘All Hells Breaking Loose…’, sadly the stars never aligned for the band, Blaze jumped ship for Iron Maiden and the rest as they say, is history.

Now, some 40-odd years later, Wolfsbane plan to right the wrongs and have completely re-recorded that debut album in full.

I always thought of Wolfsbane as the British Van Halen. My first introduction was their Friday Rock Show session, Blaze sounded like Roth and Jase Edwards had the guitar histrionics to match Eddie Van Halen, the live feel of those songs matched the energy of the Californian legends. Maybe if Dave & Eddie had started their days on a council estate a few miles from Birmingham, they too would’ve sounded just like Wolfsbane. In 2025 this re-imagined ‘Live Fast, Die Fast’ sounds raw, tight and exciting. With the same running order and the song structures staying faithful to the original recording, what stands out most is the production.

With that familiar hammer-on intro, ‘Manhunt’ fills the speakers like an old, lost friend. Is it faster? It sounds fast! The main change here is the drum sound, while the original was snare-heavy and polished, the drums overpowering and in your face, here the instruments all gel as they should. Next up, ‘Shakin’ sounds great, real ‘live in the studio’ vibes here. It’s the song that remains the most Van Halen-like to me. A classic tune given the sound it so rightly deserves.

With face-melting guitars and a killer hook, ‘Killing Machine’ was a live favourite back in the day, and it still holds up. ‘Fell Out Of Heaven’, again, has Roth vibes in the vocal department and another killer chorus, yet in my mind I still prefer the Friday Rock Show version.

Elsewhere, the live energy is captured magnificently by Jase Edwards’ stellar production, even the big MTV single ‘I Like It Hot’, with its sheen removed, is still as commercially pop-tastic as I remember. My only gripe would be the token ballad ‘Tears Of A Fool’, which would have been all well and good if they were The Dogs D’amour, but it didn’t fit the feel of the album in 1989, and it still doesn’t in 2025. Maybe they shoulda banged on ‘Paint The Town Red, instead.

While this re-recorded version of ‘Live Fast, Die Fast’ is unfinished business for the band, and is steeped in nostalgia, the songs stand the test of time and remind those who were there what a great band Wolfsbane were back in the late 80’s.

‘Live Fast, Die Fast’ remains a testament to the fact that not all the most exciting bands came from the Sunset Strip back in the late 80’s, some came from the Midlands too. Do yourself a favour and get reacquainted with a lost gem.

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Author: Ben Hughes

Hot Milk – ‘Corporation P.O.P.’ (Music for Nations)

Hot Milk – ‘Corporation P.O.P.’ (Music for Nations)

Hot Milk’s full-length debut from 2023 was my co-album of the year alongside the debut by James and the Cold Gun. Before their debut, they had released several EPs which showcased a band developing sharper edges. Their debut album ‘A Call to the Void’ showcased their diversity and felt more like an album that was looking inward than this new one, where they turn their rage towards the current state of the world. What hasn’t changed is the band crafting songs with huge hooks that should appeal to a wide variety of music fans.

‘(How Do I) Make the Devil Fall Asleep’ kicks off the album with a beat that should get the live crowd’s fists in the air before Han’s vocals take control for the first verse over minimal instrumentation. Jim’s vocals then enter, and the intensity continues to grow until they reach a modern rock style chorus. Part of Hot Milk’s trademark has been the gift of having Han and Jim on vocals. They each have their own strengths individually and are easily identifiable from other vocalists, but the other magic is the way they blend together. The intensity continues with the rapid-fire intro of single ‘Insubordinate Ingerland’ where the band delivers killer hooks, a well-placed spoken word bit, and some intense vocals from Jim at the end. I anticipate this will be a live staple. Another single, ‘The American Machine’ follows and has become one of my favourite songs from the album. A modern sounding punk approach that tears into American policies regarding healthcare and the military. The shouty vocals of the chorus give way to a break in the song where the assault is given a reprieve before returning to a rage by the end of the song.

 While there is no let-up, the band channels a different means for the assault with ‘Hell Is on Its Way.’ A dance beat and electronic effects provide the skeleton of the verses, with the song reaching some rhythmical fury over its two-minute running time. It takes some of the early poppiness of the band and sends it through a metal blender to make it sharper and angrier. Another of the early singles follows, with ‘Swallow This’ being another modern-sounding rock song where there is more musical space in the verses to allow the vocals to be showcased. The chorus has more bite than some of their other songs. Han provides a spoken word bridge here that transitions the song into even more intensity before the chorus closes it.

A brief reprieve is provided through ‘Machine Elves (Interlude)’ that again showcases the early pop side of the band. I appreciate how they have kept that in their DNA and cleverly mixed it into their current music. This segues directly into the pounding start of ‘Chase the Dragon.’ The pre-chorus provides a solid hook and transitions into an even catchier chorus. It’s simply an outstanding song that deserves to be heard. The first single from the album ’90 Seconds to Midnight’ storms out of the gate and provides a great introduction to the album with a sonic assault akin to a straight-ahead Wildhearts’ rocker. The siren-style backing vocal in the chorus is an excellent touch, and Jim’s screams are on point.

The uniquely titled ‘Sunburn From Your Bible’ comes out of the speaker with a beat that feels a bit like Rage Against the Machine. I can see the waves of people bouncing up and down in the live setting. The song comes from a similar musical pool as their earlier song ‘Split Personality.’ Changing approach, ‘Warehouse Salvation’ channels back into their ability to deliver some killer pop songs with a song that could be seamlessly entered into a dance club’s rotation. I am interested to see how this one sounds live as the band has demonstrated an ability to make these songs more intense in the live setting. While not something in my usual mix of musical styles, this one has become one of my favourites with repeated listens. Hot Milk are masters of delivering a mix of styles while losing none of their authenticity or identity.

‘Sediments (Interlude)’ provides an electronic style break that sets up what I assume will be a future single in ‘Asphyxiate.’ This is as close as they get to revisiting something in the same musical approach to ‘Breathing Underwater’ from their debut. This song is made to be blasting out on pop and rock radio stations. The chorus is extremely catchy and one listeners will be singing in no time. Even though this is only their second album, their catalogue of songs is already extremely deep, and this album has provided an album’s worth of songs that deserve to be in their setlist. ’Payment of Pain’ suffered from following ‘Asphyxiate’ on initial listens, but has connected with me on multiple listens. The electronic elements in the mix give the song added depth, and the build in the back half of the song takes the song to another level. The distant backing vocals remind me of ‘I Was Made for Loving You’ by KISS. Closing out the album, ‘Sympathy Symphony’ is the most recent single released. Keyboards and an electronic beat usher in this slow builder. The transition from the chorus to strings provides a great connection between the first half and the second half with the album closing on a pretty epic note.

Hot Milk has delivered another album of the year contender for me, in a year with several very strong contenders. This album didn’t connect with me as immediately as their debut did, but it is stronger with every listen. ‘Corporation P.O.P.’ has more depth than the debut on a musical and lyrical level. Hot Milk has continued to evolve while retaining the essence of who they are. They should continue to see their audience multiply during this album cycle. If you spend a little extra for the Japanese version of the CD, you will also get non-album blinder ‘Where Does the Light Get In?’ and two live tracks.

‘Corporation P.O.P.’ is now available.

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Author: Gerald Stansbury