Legendary NWOBHM pioneers – Tygers of Pan Tang have done their best to keep the flag of true British metal flying for more than four decades. They have continued to tour and release new music regularly, and they have come back strong with their latest release: Electrifyed. The band influenced many who came after them, including some of the biggest names in metal. James Hetfield from Metallica is regularly pictured wearing a Tygers shirt. Their former guitarist John Sykes (RIP) went on to be a member of Thin Lizzy, Whitesnake and his own project, the wonderful Blue Murder.
The Tygers have given us ten solid (and heavy!) tracks on Electrifyed with some fantastic performances from the individual members. They come together to deliver a great package of traditional heavy metal. Vocalist Jack Meille sounds great, a hint of Robert Plant in his style, he belts out the tracks with gusto, while delivering catchy hooks. His clear articulation enables the listener to pick up the lyrics with ease.
The album kicks off with Rise Up! An atmospheric intro soon gives way to a full – on riff laden track with a huge chorus. Forevermore showcases more vocal gymnastics from Meille, while founding guitarist Robb Weir and fellow lead guitarist John Foottit crunch and shred away to their hearts content. The Powers That Be is another fist pumping anthem with a forceful drum intro courtesy of Craig Ellis. Lyrically, the song discusses the state of the world as it currently stands and the futility of war.
Dark Divinity is a mid paced chugger with some nice bass work from Huw Holding. The album’s title track is an absolute banger, lyrically it reminds me of Metallica’s: Ride The Lightning with its subject matter of the ever controversial electric chair. Some great riffs and vocal melodies help to make it a stand out track. A Shadow On Fire is another solid head banger, more great guitar work on display here. The Nail is another chugfest, a real head nodder.
The production from Marco Angioni is punchy and bright, and makes the album an enjoyable listen. The Fight Goes On has an early Saxon vibe to it, the riff has the NWOBHM all over it. Wonderful stuff. Dark Skies has an ear worm of a chorus that has stayed with me well after the initial few listens. The album closes with the Zeppelin – esque: Revenge Is Sweet. Overall, Electrifyed is a solid heavy metal album. The album’s cover art from Andy Pilkington is superb too.
I’ll leave it to founding member Rob Weir to give us his thoughts on the album: “It’s time to honour the musical movement that we helped to start – the ‘New Wave of British Heavy Metal’. This is a brand new Heavy Metal album from us, steeped in the late ‘70s, flavoured from the ‘80s and ready for consumption right now!”
THE MARY TYLER WHORES ANNOUNCE DEBUT ALBUM ‘AS FILTHY AS WE WANNA BE’ TO BE RELEASED OCTOBER 9TH VIA CADIZ MUSIC
PRODUCED BY GREG HETSON FROM CIRCLE JERKS/BAD RELIGION
“Whooooaaa! A glorious infection of pure punk chaos.” Iggy Pop
“One of the fiercest debuts in years! Their own savage mutation of punk rock & roll-twisted to perfection and proudly produced by yours truly.” Greg Hetson
The Mary Tyler Whores, notorious punk rock legends from Florida, are finally set to cement their reputation with their debut album ‘As Filthy As We Wanna Be’, due for release on October 9th via Cadiz Music.
It’s a long and treacherous story that starts in the back alleys of South Florida in 1999 where three degenerates with too much attitude and not enough sense accidentally sparked a cult-level punk phenomenon.
Front and centre was Frankie “Crime” Cassara — vocalist, ringleader, and certified public menace. Beside him, slinging riffs like Molotov cocktails, stood Doobie Tyler Whore, a six-string saboteur with a permanent snarl and a knack for turning any stage into a war zone. And behind the kit, pounding out the heartbeat of the apocalypse, was the late Joey Image — yes, that’s Joey Image of “The Misfits” — you know “Horror Business, Night of the Living Dead, Legacy of Brutality”, Proto-Hardcore Pioneers, Eternal Icons, R.I.P. Rest in Punk Joey.
The Mary Tyler Whores shared stages with punk royalty and longtime friends: The Misfits (R.I.P. Joey), Iggy Pop, GBH, Murphy’s Law, The Casualties, The Bouncing Souls, U.S. Bombs, and countless others. The road stories get carved into the annals of madness, even Iggy Pop would stand hysterically amused from the side of the stage when a fan ripped off his prosthetic leg, with a The Mary Tyler Whores sticker on it, and hurled it at Frankie from the front row — who immediately began bashing Doobie over the head with it, creating a legendary moment of punk rock theatre.
Fast-forward to 2023. After more than a decade running wild in California, Frankie decided it was time to dig up the corpse of The Mary Tyler Whores and shock it back to life. He rounded up his best offenders and the OG wrecking crew reported for duty.
With the band back together,Frankie called his old buddy and childhood mentor, Greg Hetson (Circle Jerks, Bad Religion), to sign on, witness, and produce their debut album“As Filthy As We Wanna Be” at his own Hetson Sound Studios in Encino, California.
The band have unleashed a high-octane and thrilling new single called ‘Hell On Wheels’ that comes with an equally disorientating and bewildering video!
“Hell on Wheels” came out of this off-the-wall spark from my partner in crime, Doobie Tyler Whore our rhythm guitar player and co-founder of The Mary Tyler Whores. This guy would roll into practice and just scream this one line over and over: “My grandma drives a ’58.” That was it. No explanation, no structure just that wild-ass line,” says Frankie.
“Turns out it was real. Doobie’s grandmother drove a ’58 Chevy beatnik lunatic, hot-rod savage, addicted to speed. Pure chaos energy. Completely unhinged in the best possible way. That DNA didn’t skip a beat, it went straight into Doobie, straight into this band. Full butterfly effect of noise, gasoline, and bad decisions. I took that one line and built “Hell on Wheels” around it. It became exactly what this band is loud, reckless and filthy. One of the hardest-hitting representations of The Mary Tyler Whores and yeah, a twisted love letter to Doobie’s grandma and everything she accidentally unleashed.
The “Hell on Wheels” video? Forget it. Faust, our visual madman, caught it in a net and burned it alive. No polish, no pretending, just raw unfiltered live energy, fractured edits, insane mixed-media chaos, and explosive SFX. It feels like a train off the rails at 100 miles an hour with no brakes, full-throttle sensory overload.”
In 2024 and 2025, The Mary Tyler Whores injected four rabid singles—and their brilliantly deranged videos—straight into the bloodstream of the underground: “White Trash Girl,”“American Sex Fiend,” “Savage World,” and their sweat-drenched, DEVO-devoted, buck-wild cover of “Whip It.” Each release slammed down like a slow-motion brawl in a bathroom— loud, idiotic, trashy and hypnotically addictive.
On March 2, 2025, fate swung full circle. Iggy Pop and his BBC Radio 6 producer from Iggy’s own “Confidential Show” in London heard “American Sex Fiend” blasting over the airwaves in the UK. Iggy recognized the chaos of his old friends and, without hesitation, added the track to his BBC show, locking it into his playlist and giving The Mary Tyler Whores a full transatlantic salute from the godfather of punk himself.
Shortly after, they were personally invited by Violent J and Shaggy 2 Dope of the legendary Insane Clown Posse to appear on the iconic stage at the 2025 Juggalo Festival: Gathering of Legends, where they absolutely annihilated the stage to a massive Juggalo crowd. Whoop Whoop! They torched 2025 with a filthy end-of-the-year riot in California supporting T.S.O.L., then headlined their Holiday Slam Festival downtown L.A., dragging fans into total Christmas carnage.
The Mary Tyler Whores will spend end of 2026-2027 tearing through the UK and Europe and hurled straight into the faces of a generation too soft to survive it. The Mary Tyler Whores come back hotter, meaner, and uglier than ever. They crash into the next wave of beaten-down, fucked-up, worn-out kids who need something filthy enough to bite back. Punk didn’t die, it mutated, sharpened its teeth and started laughing in your face!
Say hello to the next big thing. Hell, maybe the last thing standing.
The Mary Tyler Whores are:
Frankie “Crime” Cassara — Lead Vocalist Doobie Tyler Whore — Rhythm Guitarist Rob Deuce — Lead Guitarist George “Korky” Kokkoris — Drums Aaron “The Proj” Miller — Bass/Guitar
Originally formed in 1979 in Helsinki by iconic singer and multi-instrumentalist Michael Monroe, Finnish rock superstars Hanoi Rocks are proud to announce The Complete Collection 1981-1984, a deluxe compilation of their influential first five studio albums, set for release November 13th via BMG.
Featuring the bands much fabled albums Bangkok Shocks, Saigon Shakes, Hanoi Rocks (1981), Oriental Beat (2022 ”The RE(AL)MIX”), Self Destruction Blues (1982), Back To Mystery City (1983) and Two Steps From the Move (1984), the 6LP and 6 CD set includes a bonus album comprised of rare and unreleased tracks, titled Motorvatin’!!!. The bonus album includes songs from rare BBC live sessions as well as never before heard demos.
“The new Hanoi Rocks Box Set includes all the albums by the original band, including the ”Oriental Beat” 40th Anniversary release” The RE(AL)MIX”, which came out in 2022.
There’s also a special extra Bonus LP of rarities with even some previously unreleased tracks.
The artwork has been put together nicely, and it has a vast amount of great, rare and some never before seen photos. If someone is not familiar with Hanoi Rocks, this is a fantastic opportunity to get to know the band’s unique material. I recommend this Box Set to everybody!!”
– Michael Monroe –
The physical version of The Complete Collection 1981-1984 includes a 36-page photobook featuring many previously unseen and rare shots, as well as studio album art cards from Hanoi Rock’s legendary initial run as a band.
This set allows a timely reappraisal of Hanoi Rock’s hugely potent work. The first Finnish band to chart in the UK and get their music heard around the world, their fusion of punk rock energy and attitude with classic glam rock n’ roll quickly proved hard for the world to disregard. Frontman Michael Monroe was, and still very much is, an electric livewire of red hot energy, his shock of bleached blonde hair, all killer looks and killer hooks, made for an unforgettable live experience. This, combined with two sharp-shootin’ guitar gunslingers Nasty Suicide and Andy McCoy flanking left and right, whilst bassist Sami Yaffa and drummer Gyp Casino (later replaced by Razzle) held down the hefty rhythms, Hanoi Rocks had everything it takes to be one of the biggest rock bands in the world.
It will always be one of the biggest tragedies in the history of rock that by 1984, when the band were considered to be on the verge of international breakthrough with the release of their first major label album ‘Two Steps From The Move’, Hanoi Rocks had to disastrously cut their first US tour short when their drummer Nicholas ‘Razzle’ Dingley died in a tragic car accident. The band, reeling from the sudden loss, split in 1985.
Thankfully, the story didn’t end there and Hanoi Rock’s legacy lived on as a major influence on the glam metal era of Guns n’ Roses, Faster Pussycat, Skid Row and Poison etc, and the band reformed again in the early 2000s until 2009, reuniting their original line-up one more time in 2022 to celebrate Monroe’s 60th birthday at the Helsinki Ice Hall.
The Complete Collection 1981-1984 displays in full the enduring impact of Hanoi Rocks’ song-writing craft, ballistic energy and colourful glamourous flair for fans of old and future generations to discover and enjoy.
Imagine a band who plays their instruments drenched in sweat through overdriven amps, influenced by a whole heap of goodness from The Wildhearts through the Ramones via some prime time Dirtbox Disco and a having a real blast whilst doing so. Horns a honkin’, pianos tonkin’, whilst the band are whipping up a storm, using melodies to sing your hearts out to that’s about where I hear Dave Delinquent and his iou’s.
The album is the emobiment of all kiiler and no filler as they go through the handbook of genres and influences and toss it away and just go with their gut and what comes out of their hearts and heads.
Ten tracks on offer from the opening razor sharp ‘Rocksteady Girl’ through the melodic ‘Alleycats In Love’ complete with its horn honkin gold. The hooks are aplenty and they use every bit of catchiness they can muster. Sure its not original but so what they are knockin out killer tunes at every turn it sounds like a party on wax ‘Everybody Loves You’ is excellent and the first half closer is ‘Shame Of My Youth’ with its Big Country influenced melody which I didn’t see coming but is a most welcome shift of gears.
Side two just keeps on rockin throwing up catchy melody and riffs all over the place its like a sensless things meets The Wildhearts overload and I do love the saxophone taking it into different directions when you wern’t expecting it. ‘Not A Fan’ leaves just the uptempo rocker ‘Todays A Drag’ to close the album off and what a great way to sign off. If you want an album packed with hooks and catchy melodies then look no further Dave Delinquent and his IOU’s is here to prove that rock n roll isn’t dead its alive and kickin out the jams. Buy it!
RPM Online Podcast special has Kenny Kendrick interviewing filmaker Wes Orshoski who’s most recent picture was the compelling story of Paul Di’Anno but Wes also previously made the Damned movie ‘Don’t You Wish That We Were Dead’ and prior to that he made the Lemmy movie. Hit the link below and make yourself comfortable and check out Kenny’s excellent chat.
Ex-Speedways guitar-slinger returns with new solo project!
Former lead guitarist with UK powerpop favourites The Speedways, Mauro Venegas announces his first solo single, album and dates.
With a bulging CV to his credit as the capital’s go-to pop/rock guitarist – breaking cover with noughties artpunks The Rocks and Jonny Cola & The A-Grades before three years with The Godfathers plus stints in Duncan Reid’s Big Heads and Desperate Measures – Mauro played a key role in establishing the Speedways’ reputation, built on three studio albums, a swathe of international touring and hosting five increments of the annual Pump It Up! powerpop weekender, before departing the band last year.
“I was getting restless in The Speedways and wanted to explore new musical territory,” he says. “I feel like if you stand still musically, you go backwards, and that wasn’t for me. Most of the acts I admire (Bowie, Prince, Clash, Dexys) took risks and got out of their comfort zone. I wanted to make a more adventurous album, so as well as full-throttle rock’n’roll, you’ll get rousing soul stompers, moody postpunk and midnight confessionals – songs to make you sad, songs to give you hope, songs to blast in your car or to absorb in a darkened room.”
Since then, all eyes (and ears) have been on what Mauro would do next. Well. The wait is finally over!!!
Credited to Mauro & The Mob, new single ‘What Have I Got To Lose’ c/w ‘Don’t Look Now’ finds Mauro taking centre-stage on lead vocals and guitar, joined by Rachel Stamp’s David Ryder Prangley on bass, and drummer Steve Grainger (Chelsea, DeRellas, Last Great Dreamers).
Speaking of the new single, he says, “Trying to write a song on one chord, in the same way as New Wave classics like ‘Big Boys’ by Elvis Costello and ‘Whole Wide World’ by Wreckless Eric… Bit of a cheeky Bowie lift going on in the chorus but no one seems to have noticed it yet! Lyrically it’s about the dangers and frustrations of falling into patterns of destructive behaviour.”
Mauro’s currently preparing live dates for the Autumn as well as some dates in Europe in the New Year, where he’ll be joined by the musicians on the single plus his old A-Grades bandmate Simon Drowner. The as yet untitled debut album – due in the New Year – promises a diverse array of guests: “It’s basically a solo project with a collective of musicians/friends helping me out!”
Mauro & The Mob will be launching the project with a special show at London’s Aces & Eights on 2nd October.
They’ll also be opening for The Briefs and The Cyanide Pills at The Lexington on 11th November.
I’ll Dream Alone’ is the ninth studio album from Pat Todd & his Rank Outsiders, a guy who should be a household name in raw roots rock n roll if the world were fair and just and rock ‘ n ‘ roll music was rightly appreciated by those who tune in a /or drop out. For those who don’t know or care, I’m going to let you know that once you’re done listening to this bad boy, you’ll need to investigate the LAzy Cowgirls because that’s where Pat and some of his Rank Outsiders hail from, along with the LA Guns, it would seem. They play real, roots, raw rock n roll; it’s as simple as that. There isn’t a magic formula, just some guys who write and perform to the best blueprint there is. It’s loud and infectious and always produced really well, which should appeal to anyone with a sympathetic ear for the good stuff. On this here record, they’ve poured twelve chunks of that good stuff onto the wax and kick it off with the lead single ‘Desire Has Left Town,’ a foot on the monitor wedge, head-down slab of no-nonsense boogie-woogie with a subtle hook on the chorus that leans into the guitar break that is of classic vintage, and the subtle shift in gear and tempo is majestic. If you’re not punching the air when the song fades away, I’d call a medic.
The songs have been road-tested and recorded at the same Californian studio the last two albums have, so they must be comfortable as the good times pour through the speakers ‘Ambition Street’ starts like they’ve found the Johnny Thunders / Chuck Berry mainline from the next life, as that bass line walks as the finest heartbreakers’ basslines did whilst rampaging like the bastard child of ‘Mama Kin’.
The pace is a little bit measured on ‘We’re Outta Time’ compared to the openers, but it’s still as cool as a polar bear sitting on a fox’s glacier mint. Hell, it’s got handclaps and woohoo’s. ‘Mediocre Hearts’ is almost horizontal in its late night smokey grab your gal slow dance number, but it’s got a sweet harmonica solo in the middle of a wonderful, lazy tempo.
The tempo is picked up again as shots are fired and the backbeat gets the blood pumping before ‘The Last of Me’ starts a punch-up to end side one in fine style.
Replenish your glass because side two kicks off with ‘Blood And Gunpowder’, and that’s followed by ‘Night Beat’, dedicated to Randy Stone, with a thumping rhythm that drives the song on before Pat takes a breather and Guitarist Nick Alexander jumps onto the mic and delivers some cool licks and vocals. If you want some wholesome roots Americana, then ‘Can’t Get Arrested In This Town’ will have your cup overflowing. It’s Green On Red Dan Baird countrified balladeering with more of that sweet gob iron wheezing in all the right places, making it one hell of a song.
As the album slides to its natural end, the penultimate rocker is ‘The World Don’t Need You’ that kicks up some dust before the title track throws some petrol on proceedings and crashes and burns with one of the album’s finest rockers that also has some awesome keyboard flourishes adding to the chaos and final hurrah. It’s always a great day to review a Pat Todd And The Rank Outsiders record because you just know you’re gonna get an honest record full of fine tunes, well written, well recorded and bloody well delivered – if you love yourself some Rock n Roll, then grab ‘I’ll Dream Alone’ and get on board. Buy It!
Then Comes Silence has also just launched their European tour, which runs throughout September and October, bringing them to venues and like-minded music lovers in Belgium, the Netherlands, Germany, France, Italy and Czech Republic, before returning home to Sweden for the final show on this leg.
A tightly focused trio since 2022, Then Comes Silence was formed in 2012 by vocalist-bassist Alex Svenson in 2012. Drummer Jonas Fransson and guitarist Hugo Zombie, round out the band in its most direct, powerful and uncompromising form. One of the leading names on today’s goth, post-punk and darkwave scene, they are driven by a fascination with horror, the occult and the raw intensity of underground music, having forged a distinctive sound and a devoted international following.
The ‘Requiem Ballroom’ album itself is divided into two parts: ‘Ballroom’ was mixed by Jon Bordon (Nicole Sabouné, Melody Club, The Exploding Boy) and the ‘Requiem’ half was mixed byTom van Heesch (Rammstein, Apocalyptica, Backyard Babies). Svante Forsbäck / Chartmakers(Rammstein, Amaranthe, Ville Valo, The Rasmus, Apocalyptica) assumed mastering duties.
“‘Remaker Redeemer’ introduces the second part of the album ‘Requiem Ballroom’. It’s about new life, and being reborn with the old sins washed away. A kind of cleansing, a fresh start, and the feeling of beginning again. The choice of instruments and sound on this track is a way to explore something different this time,” says Alex Svenson.
“Death is generally regarded, across many cultures, as the final blackout where nothing follows. Yet in another sense, death can also serve as a metaphor for change and transformation. To take the next step, change is inevitable.”
Then Comes Silence earlier released ‘Judgement Day’, a driving anthem that embraces failure, reckless choices and the thrill of living without regrets, embracing a final celebration before the inevitable reckoning. The vivid behind-the-scenes documentary by Marzipan Moonlight offers a glimpse into the video’s creation and the thriving spirit of Stockholm’s goth community.
With the German post-punk scene their second home, Then Comes Silence has toured relentlessly for years. Continually expanding their geographic reach, they have cemented their reputation as one of the scene’s hardest working bands. With several releases through Metropolis Records, they have further strengthening their international presence. Their impending eighth album follows ‘Trickery’ (2024) and ‘Hunger’ (2022), jointly released by Metropolis and Nexilis Records / Schubert Music.
With dark atmospheres, driving rhythms, razor-sharp hooks and explosive performances, Then Comes Silence continue to push forward. They have earned their place at the forefront of the modern gothic rock and post-punk movement, proving themselves to be a vital contemporary live acts with frequent touring across North America, Latin America and Europe.
Then Comes Silence have shared the stage with acts such as The Fields of the Nephilim, Clan of Xymox, The Chameleons, A Place To Bury Strangers, Pink Turns Blue and The Bellwether Syndicate, while appearing at many of Europe’s premier alternative festivals, including M’era Luna, Wave-Gotik-Treffen, Amphi Festival, Castle Party, Tomorrow’s Ghosts Festival and W-Festival.
The Bunnymen seem to have been around forever and continue to trudge the circuits, plying their brand of post-punk goodness, and McCulloch doesn’t seem to age. With this the band bazillionth release they’ve continued to evolve and turn out great guitar pop, with Apples containing eleven intriguing and enthralling tunes weaving their way into your noggin and leaving their mark, beginning with the vibrant ‘Take Me By The Hand’ that has the superb, inventive guitar work of Will Sergeant at the forefront of this record, the band’s first in over a decade. It also features much-missed Blondie sticksman Clem Burke adding his considerable talent to proceedings, driving this record on with his flair and style.
This seems to be grittier than previous offerings. Sure, there are some subtle strings dotted around the record, but it seems more guitar- and bass-driven, with the first single ‘Brussels Is Haunted’ lighting the way with its sprightly tempo, throbbing bass line and riff-based guitar breaks whilst Ian peels away the years with his distinctive tone and delivery. It’s nestled next to the gentler ‘I’ll Be Your Sunshine’ with those aforementioned lush strings layering the tune.
‘Hijacked’ has a thumping Bassline driving the song with the minimal chorus whilst Will meanders and weaves his guitar chops in the available quiet, filling every space with a rush of energy. Great Stuff. There seems to be an uplifting, upbeat feel to the album, with a few shaded areas where classic echo-drenched vocals fill the void, ‘An Unstoppable Force’ being a great example of a classic Bunnymen slower song. It’s a very hopeful-sounding record, ‘The Light That Surrounds You’ sounds youthful and like something that could have been written around the ‘Porcupine’ days. There’s an innocence about it that is both charming and engaging.
Bring on the dancing horns for ‘Lab Rat Ran’ which has the sound of a top live song in a packed uni hall. The other thing I should mention is that this album has the feel that it’s stacked with potential singles all over the place so many songs that would, in days gone by, have ruled the singles charts. Great songwriters never lose it, and the Bunnymen have a pair of em. Great song and great saxophone blasting out. ‘Asimov’ has a grunt about the Bassline driving it on, and it’s only then I notice this is track number ten on the album it’s flown by. Leaving only the kiss-off of ‘We Prayed In The Dark’, a more leisurely song that’s doing its own victory lap to close off a rather splendid album. I always hope for a great record from bands who have grown older with me, but like The Mary Chain, The Bunnymen seem to have delivered a real diamond when not many would have given them the accolade they probably deserve.
If you’ve ever thrown yourself around to ‘The Cutter’ or marvelled at ‘Dancing Horses’, then you’d be foolish to pass this latest offering by. Echo And The Bunnymen have delivered one of 2026’s finest alternative records, no question about it. Buy it!
RELEASE A NEWLY EXPANDED 35TH ANNIVERSARY EDITION OF THEIR
INFLUENTIAL DEBUT ALBUM ‘RAISE’ ON OCTOBER 2ND – PRE-ORDER HERE
NORTH AMERICAN HEADLINE TOUR IS UNDERWAY – UK SHOWS START IN OCTOBER
“Heart-racing, horizon-bound psych-punk… the connective tissue between UK shoegaze and American alt-rock after grunge.” – Pitchfork, The Best 50 Shoegaze Albums of All Time
Swervedriver made an instant impact with their 1991 debut album ‘Raise’, a cult classic which infused the UK’s shoegaze scene with the furious intensity of American alt-rock and grunge. As new audiences discover the thrills of the ‘90s alternative scene, Swervedriver now announce that they will release an expanded double-vinyl 35th anniversary edition of ‘Raise’ on October 2nd.
The original album has been remastered, giving the supercharged attack of favourites such as ‘Rave Down’, ‘Son of Mustang Ford’ and ‘Sandblasted’ a fresh sheen. Now expanded to two discs, it also features two tracks from a limited 7” single that was packaged with the original ‘Raise’ vinyl. It is completed with bonus tracks that featured on the 2008 reissue. The tracks ‘Surf Twang’ and ‘Deep Twang’ have been digitised and remixed by vocalist/guitarist Adam Franklin, while the sleevenotes were compiled by the original bassist Adi Vines.
The double-vinyl set will be pressed on Neon Swirl and Blue Skies and is now available to pre-order HERE.
Adam Franklin says, “When we walk out on stage to perform the songs from Raise it feels like the songs have our back. It’s like four men with nine henchmen, with Sci Flyer as the leader of the gang”.
After ‘Raise’, Swervedriver continued to earn critical acclaim on both sides of the Atlantic with the albums ‘Mezcal Head’, ‘Ejector Seat Reservation’ and ‘99th Dream’ as well as touring with the likes of Soundgarden and Smashing Pumpkins. After their original run ended in 1998, they returned at Coachella in 2008, setting the path for the release of the albums ‘I Wasn’t Born To Lose You’ (2015) and ‘Future Ruins’ (2019). 2025 saw them release a new EP, ‘The World’s Fair’, and play their first shows in six years with a North American tour.
Still fronted by founder members Adam Franklin and Jimmy Hartridge (guitar), Swervedriver now feature Mick Quinn (bass, also of Supergrass) and Mikey Jones (drums). They have just commenced a North American headline tour, with UK shows to follow in October, causing a buzz that has already seen shows in London and Leeds sell out, Their UK dates are listed below, please see HERE for remaining tickets and a list of all North American gigs.
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