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Chris Masuak’s Dog Soldier – ‘Dog Soldier’ (Heavy Medication Records (Europe) / Savage Magic Records (North America))

Chris Masuak’s Dog Soldier – ‘Dog Soldier’ (Heavy Medication Records (Europe) / Savage Magic Records (North America))

Canadian-born Chris “Klondike” Masuak was a teenage prodigy guitarist when he joined pioneering ’70s Australian band Radio Birdman (it shows in his playing) and also contributed his remarkable guitar playing and songwriting skills in other now-legendary Sydney acts like The Hitmen, The Screaming Tribesmen and an early incarnation of the New Christs. Alongside this impressive CV, Chris has spent over five decades plying his trade to good effect.

Dog Soldier is his latest offering and what we have here before us. The Dog Soldiers’ self-titled debut album was released on CD in Australia in 2025 via I-94 Records, so here we are presenting these nine slices of hard-hitting melodic rock n roll before you.

Obviously, this will appeal to fans of Chris’s work with Radio Birdman, the Hitmen and the Screaming Tribesmen, sure, it’s in his DNA, and there are moments here and there that they break through, but it’s just a part of the record, as is the guitar playing.

It’s recorded loudly with a traditional garage rock set-up of guitar, Bass drums and vocals without the studio trickery or multi-layered instruments; it’s just rock n roll turned up, with plenty of strong melodies like ‘The Shiny Side’ and the beefy ‘Wicked Sailor ‘; it’s got a truckload of power behind it and layered melodies on the chorus to give it a lift as the tempo races off like a gatlin gun.

I guess it’s the AC/DC values as well, where the Bass locks in with the Drums and holds the tempo, driving the songs whilst the guitars take the limelight, leading the way, weaving with the vocal melody. ‘Gun Shy’ is a great example of this style. Side two has momentum with a couple of great hard-rocking songs back to back, with ‘Carny Marriage’ being led by a phat, grunting Bass line. Strap on your bullet belt because the spirit of Phil Lynott is coursing through ‘The Kiss Off’ with the galloping rhythm and riff on the verse. It’s not all wham, bang, thank you, ma’am, because there’s a hidden track that’s short and sweet fingerpicking balladeering. Get involved and turn those speakers up!

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Author: Dom Daley

Motorhead – ‘Orgasmatron’ (40th Anniversary Edition) (BMG)

Motorhead – ‘Orgasmatron’ (40th Anniversary Edition) (BMG)

Released originally back in 1986, Orgasmatron was the first (and only) Motorhead LP to feature the lineup of Lemmy, Wurzel, Phil Campbell and Pete Gill. This lineup had recorded a few new songs for the No Remorse compilation two years previously.

Orgasmatron was a brand new chapter for the band and the songs presented a heavier feel while retaining the trademark Motorhead sound. Tracks like Deaf Forever, Ain’t My Crime, Doctor Rock and the monstrous title track remain fan favourites to this day.

It’s a well-known fact that the band were never happy with the final mix of the album. Lemmy has gone on the record stating that the band had made a massive effort with writing the songs, but the final result fell flat. Fans and reviewers have also expressed their disappointment with the production that was originally handled by Bill Laswell. I always had a soft spot for the album, sure, the mix is muddy, but it’s what I’m used to.

Fast forward to 40 years later, Orgasmatron has been given a new lease of life. With this 40th anniversary edition, we get a newly remastered version of the original album, plus a remix and remaster from long-time Motörhead producer Cameron Webb. We also get the story of the album, written by Neil Perry, which is brought to life with rare photos and memorabilia.

The Motörhead team explain: “Orgasmatron is a special album. Part of that is down to the stylized production of Bill Laswell, who approached the work from a unique perspective. Bill’s work stands in its own right as something special in the Motörhead library, and Orgasmatron stands as one hell of an album. However, there was some controversy in the sense that both Lemmy and Phil Campbell felt that some of the power, bite and energy had been lost in Laswell’s final delivery.

“As old-school Motörhead fans, we found ourselves sitting around the coffee table one night several months ago, drinks in hand, pondering what Orgasmatron would sound like if it were to be remixed by Motörhead’s longtime producer, Cameron Webb. Cameron helmed six studio albums, and it’s fair to say he had the trust, love — and grumbles too! — of Lem, Phil and Mikkey. Would it be ‘right’ to ask him if he wanted a crack at remixing Orgasmatron? Would it be disrespecting the original album if we were to offer such a thing alongside Bill’s original work? We concluded a big fat ‘no’! It would be an added adventure if people wanted to take it. So we asked Cameron if he was up for it. And he screamed a rather enthusiastic ‘yes’!”

For Cameron, the opportunity was particularly personal: “My brother introduced me to Orgasmatron when I was 14 years old. I heard the song and thought, ‘Is this even music?’ It was like the devil coming through my cassette tape. And I loved it. That record and Rock ’N’ Roll were my Motörhead records, so being asked to work on this is incredibly special to me. I honestly don’t know anyone in the world who would be more excited than me to do it.”

The remaster of the original LP sounds fantastic, it highlights the quality of the songs and brightens up the sound completely. I found myself hearing things I had never heard before. It really sounds great.

 Let’s get to the remix… if I’m completely honest, the remix sounds worse than the original mix. The rhythm guitar is hard to hear, the vocals seem buried on occasion, the crushing heaviness of the title track remains and Lemmy’s bass sounds ever so slightly sharper, but I much prefer the original mix. There’s nothing in the Cameron Webb remix that jumps out and makes you think that anything he’s done actually improves the original version of the album.

The remaster of the version we all know and love is excellent, unfortunately, the remix is a massive letdown. I’m a fan of the Motorhead albums that Webb produced, but he has fallen flat here. I would 100% recommend the remaster of the original album, it’s superb. We also get some gems from the Motorhead vault. The Friday Rock Show session is brilliant, the band sounds so vibrant. I was always a big fan of drummer Pete Gill. His style fitted in with the Motorhead sound effortlessly, it was a shame he didn’t do more with the band.

We also get some studio outtakes, alternate versions and rehearsals added as interesting extras. Is it worth shelling out your hard-earned cash for? I would argue yes, the remastered album is great, as is the bonus material. Forget about the pointless remix, though….. It’s a shame, because the potential to blow people’s minds was there. Instead of that, the Webb remix is more like a wet fart.

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Author: Kenny Kendrick

Tongue Action – ‘Tongue Action’ ( Heavy Medication Records)

Tongue Action – ‘Tongue Action’ ( Heavy Medication Records)

Coming outta Colorado is Tongue Action, fronted by Pablo Ono, who served his apprenticeship cutting his teeth with Electric Frankenstein, Killer Hearts (Who happen to play on this here record) and the Guillotines. So flying into the opener ‘Kill City Riot’ is a full-throttled glam rockin slice of glunk rock. With its weird opening its riff-after- riff after motherfuckin riff with added Lords swirling keys that are layering the sound and not overpowering it. If the Dead Boys partied with early LA Guns, we’d be in the correct ballpark.

‘Hi-5′ is next out of the trap with a filthy, dirty, sleazy riff that’s taking no prisoners, with some well-timed woohoos in the B-vox department. This is raising my heart rate, and I like it. It’s got the Dolls’ attitude mixed in with some cool melodies, and the fact that it’s four tracks per side is a nod to the old school that I admire. ‘WTFDIK’ is a bit of a Ramones melody if they wore some David Johansen ladies’ clothes instead of the bomber jackets and denim jeans and Converse, but what the fuck do I know, right? right! And the Bass rumble is killer, giving it plenty of bark and grunt.

Side one closes with a hefty dose of Bowie Glam in the shape of the Sladeesque ‘Raunch City Romp’, and it does exactly what it says on the tin. It’s like the 70s never ended, and the Bolan-inspired lyrics give it that retro edge, but with a wholesome modern production. That saxophone howling on the chorus is dynamite and totally lifts this track.

Flip this bad boy over and ‘Emily Baby’ races off like it’s been bitten by a Hanoi Rocks deep cut, and it’s infecting the songwriting. ‘Shake Rattle And Die’ is uptempo sleazy rock n roll it’s not a complicated strategy; it’s just a band locked in and kicking up some dust, just playing what’s in their hearts.

The penultimate offering is ‘Oh Beast’, which begins with the howls of a…Beast before the band kicks in with a sleazy chug on the guitar before being joined by the rest of the band for some big riffs. Put the Jager on ice and let’s get this part started. The final offering might just be the pick of the record, and the saying they saved the best till last might ring true. ‘Wild Nights/Wild Rose’ is a kissing cousin to ‘Department OF Youth’ from classic-era Cooper, with more of that stomping Glam rock and a mighty fine song to close a record, fireworks, honkin horns, cool solos for the sake of it and plenty of floor tom thumping for good measure.

Get your tongue action working and head over to Heavy Medication for a retro-inspired album that will rock yer socks off. I fully endorse this record; now go buy it!

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Author: Dom Daley

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The Chats Are Off It

The Chats Are Off It

THE CHATS ANNOUNCE NEW ALBUM ‘HALF CUT’, OUT MARCH 5, 2027 VIA VIRGIN MUSIC GROUP

PRE-ORDER THE ALBUM HERE

The album pre-order link is here: Half Cut

Five years after telling the world to Get Fucked, Australia’s most gloriously unfiltered punk trio The Chats are back with their third studio album, Half Cut, arriving March 5, 2027 via Virgin Music Group. The announcement comes on the heels of a massive North American tour alongside punk legends Social Distortion and Descendents, as well as standout performances at Coachella 2026.

The Chats offer the first taste of Half Cut today with “Off It,” accompanied by a suitably bonkers new music video. Serving as the album’s opening track, the single sets the tone for the band’s next chapter, delivering the irreverent energy and unmistakably Australian attitude that have made them a global punk phenomenon.

“Half Cut is a fun rock and roll record, but it’s maybe a little more open than stuff we’ve written in the past,” says vocalist Eamon Sandwith. “I definitely hesitate to use the word ‘mature,’ but it’s a bit of a progression, I’d say.”

Recorded at Los Angeles’ Maple Sound Studio with Frenzal Rhomb’s Jay Whalley, the new LP sees The Chats’ sound shuffle into more expansive territory without losing any of its signature Australian lyricism, as evidenced by track titles “Half Arsed,” “Hanging Shit,” and “Brown Bottle Flu.” An exploration of hangovers, confrontation, reconciliation, and even rehabilitation, Half Cut is as introspective as The Chats have ever been.

A fair bit can change in five years. Since releasing 2022’s Get Fucked, The Chats have toured rather relentlessly for a trio who kicked off their career without a plan or a passport. They’ve supported Queens of the Stone Age, Foo Fighters, and The Hives across multiple continents, made their Coachella debut this year, and most recently traversed North America alongside Social Distortion and Descendents. Along the way, they’ve progressed from teenage upstarts to slightly more world-weary 27-year-olds, a transformation that comes with its own realisations and maturations, even if the band might hesitate to call it that.

Probably best known for their 2017 ditty “Smoko” — a track that can legitimately lay claim to the term “viral” — the Sunshine Coast trio have since proven themselves to be a once-in-a-generation band. A standalone entity that’s become a bullish rebuttal to the claim that Australia has “no culture,” The Chats have established themselves as a musical force, winning over audiences at home and around the world.

In October 2027, The Chats will embark on an extensive tour of Ireland and the UK. Catch the band live on the following dates:

9 Oct 2027 — 3Olympia Theatre, Dublin

10 Oct 2027 — The Telegraph Building, Belfast

12 Oct 2027 — Institute, Birmingham

13 Oct 2027 — 1865, Southampton

14 Oct 2027 — Prospect, Bristol

15 Oct 2027 — Academy, Manchester

16 Oct 2027 — Project House, Leeds

17 Oct 2027 — Rock City, Nottingham

19 Oct 2027 — Barrowland Ballroom, Glasgow

20 Oct 2027 — Electric Ballroom, London

21 Oct 2027 — Electric Ballroom, London

22 Oct 2027 — Electric Ballroom, London

Find The Chats online HERE:

Pic:JAMIE BORGHESANI (on insta @whitetrashjohnnycash)

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DEAD PIONEERS ANNOUNCE ‘WAGON BURNER’ TOUR

DEAD PIONEERS ANNOUNCE ‘WAGON BURNER’ TOUR

UK AND EU TOUR DATES CONFIRMED FOR MARCH 2027

TICKETS ONSALE FRIDAY 10AM FROM HERE

NEW ALBUM ‘WAGON BURNER’ OUT NOW VIA HASSLE RECORDS

pic:Derek-Bremner

Dead Pioneers, the Indigenous-fronted band from Denver, have announced that they will return to the UK and EU in March 2027 for the highly anticipated ‘Wagon Burner’ tour.

Released back in June this year on Hassle Records, ‘Wagon Burner’, Dead Pioneers’ third album, was critically acclaimed across the board. An explosive blend of incendiary art, words and ideas, the forward-thinking musical style and confrontational attack on the rise of far-right politics saw the album strike a defiant chord with people of all ages looking for a band with something to say.  The ‘Wagon Burner’ tour will be a celebration of everything the band have achieved so far.

“It feels repetitive to keep saying “we’re coming back”, but we are,” says frontman Gregg Deal. “We are so excited to be back in the EU and UK with a chance to spend time with those that would share space with us. New songs, new ideas, and the hope that comes with it. We’ve been building a community, and we are so grateful to have you in it and share it with us. Come out, sing, shout, dance and fill your cup with the indignation this world deserves! We can’t wait to see you!”

Tickets are available from 10 am this Friday from HERE

‘Wagon Burner’ Tour March 2027

22 Belfast, Voodoo

23 Dublin, Whelans

25 Bristol, The Fleece

26 London, The Dome

27 Manchester Punk Festival

29 Glasgow, G2

30 Leeds, Brudenell Social Club

Find Dead Pioneers online HERE:

Anderson from Crazyhead & the Headonists – ‘Sour Grapes’ (Self-Release)

Anderson from Crazyhead & the Headonists – ‘Sour Grapes’ (Self-Release)

Second album released by Greebo legend Anderson from Crazyhead, a band that made the legendary and single best song title ever, bar none. ‘What Gives You The Idea You’re So Amazing, Baby’. I’ll fight anyone who says otherwise. Having been away for a while and reappeared sporadically over the years, the last couple seem to have reinvigorated Anderson and all for the better in my ears anyway. Firstly, we had ‘Milk The Badger’ which saw a twenty-first-century take on those classic tunes, and then this was a whole album of new material that embraces the roots of Greebo and Garage rock n roll. Ably assisted by Pete Creed (ex Crazyhead) and Tom Stanley (ex Gaye Bykers), they play all guitars; 2nd bassist from Crazyhead, Christine Wigmore, plays bass on ‘Sister Double Happiness ‘, whilst John Barrow handles the brass on a whole bunch of the songs (ex Crazyhead, Fun Boy Three).

The album begins with the title track, a sleazy low-fi groove complete with honking saxophone, sounding like Ann Arbour has been repatriated in deepest Leicester. If you’re going to lean on the finest Garage rock n roll, then Iggy is the only place to go for divine inspiration. The second track is a meandering groove that is ‘Primitive Man’, built around a howling guitar just wandering through scales whilst the rhythm stays rock solid and Anderson does his thang over the top.

To be fair, if it’s in yer blood then it’s in yer blood, so this album is heavy on the grooves and songs like ‘Phoneface’ might be demo-like, but the music is super cool, and the melodies sound familiar, with ‘Phoneface’ being a particular favourite. ‘Sister Double Happiness’ is a dreamy pop song with a lovely tambourine shuffle, taking it back to the 60s for me in arrangement and style.

Think The Sonics or Fuzztones as ‘Tide Of Misery’ shakes its shit. The album as a whole grows from every play, with a subtle melody or guitar part grabbing the attention. It’s twelve songs that don’t stray from the roots embedded in garage rock n greebo, and a most welcome addition to my playlist it is too. There’s nothing not to like if you’ve ever donned a leather jacket and played a Stooges record and liked it. Songs like ‘Boozehound’, which is excellent by the way, from the subtle sax and whirling organ to the psychedelic guitar soloing, it’s a joy for the ears.

It’s not as bombastic or cocksure as those early Crazyhead records and why would it. Anderson’s low drawl on ‘Roses’ is hushed as he croons in front of a wall of sound that’s smoky and late-night. The penultimate offering is a 60s-fused, chaotic slice of rock n roll that fits right in and touches giants like Cream and Hendrix in delivery. The album closes with an out-and-out rocker, ‘That’s It I Quit,’ so I should just sign off right here, but before I go, I highly recommend this album and say make ‘Sour Grapes’ an album you go investigate and enjoy, it’s only rock n roll, baby.

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Märvel – ‘Sanctemonium EP’ (Leather Lake)

Märvel – ‘Sanctemonium EP’ (Leather Lake)

Everyone’s favourite masked marauders Märvel return with a spooky-themed EP just in time for Halloween. Following up their 2025 long player ‘Brain Drain Diaries’ the Swedish purveyors of action rock deliver 2 cover versions, 2 from their back catalogue and one new song sung in their native tongue for good measure.

Presumably a stopgap release between albums, ‘Sanctemonium’ is a whole lotta fun from the off. Alice Cooper’s classic 80’s single (from Friday the 13th Part IV) ‘He’s Back (The Man Behind the Mask)’ has been crying out for a modern rock n’ roll makeover, and Märvel have stepped up. It’s delivered in blood-splattered style, the added 70’s riffage and Paul Stanley-esque vocalising elevate this version beyond the original’s glam metal stylings, making it the song it shoulda/coulda always been. All memories of a guitar gun-toting Kane Roberts looking like Rambo are replaced with 3 masked evil henchmen sounding like classic Kiss at their best…Alice would be proud.

Next up, ‘Alla Helgons Blodiga Natt’ is the first song recorded in their native tongue. It translates as ‘The Bloody Night of All Saints’, and while I have no idea what The King is singing about, I get the gist from that title. A glorious 3-minute burst of 70’s-inspired rock with more riffage and guitar harmonies than you can shake a stick at, all delivered with a Euro Rock feel.

I’m unaware of The Poppy Family, apparently, they were a big deal in their native Canada back in the 60’s/70’s, where their song ‘Where Evil Grows’ was a top 10 smasher. Märvel give it a rock n’ roll update with rumbling bass, urgent drums and Marshall stacks. Now it sounds like an Imperial State Electric song…tidy! A good tune is a good tune, everything else is production and delivery. Right, music lovers?

‘Beautiful Corpse’ from Brain Drain Diaries is not only horror-themed, but it also happens to be one of their best, most urgent-sounding rock hits. As infectious as gonorrhoea but twice as fun, if you’ve not heard it before, you are in for a trick or treat! And finally, with all its evil intentions and dark intensity, ‘Slasher With A Broken Heart’ is a high-energy burst of action rock that embodies everything Märvel do. It just so happens to have been inspired by the story of ABBA singer Agnetha and her stalker as well.

While not an essential release compared to their expansive discography, ‘Sanctemonium’ is certainly worth a listen on your streaming platform of choice over the spooky season. If it gets a physical release, it’ll surely be on pumpkin orange vinyl. I’m now left wanting to hear more Märvel horror themed covers, how about the whole Fastway ‘Trick Or Treat’ album next year? I’d buy it.

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Author : Ben Hughes

Charger – ‘Last Call’ (Pirates Press)

Charger – ‘Last Call’ (Pirates Press)

The East Bay’s mighty Charger has returned with five new songs forged on their most metal of anvils. Getting straight down to business with ‘Plains Drifter’, they’re in a hurry. Rippin the tune from the depth of the fiery inferno and pouring it straight into the speakers – it’s rapid, it’s thunderous, it’s metal up your ass. ‘Last Call’ is the sound of a band that has the red-hot baton passed from beyond the grave, as Lemmy can’t be with us, so someone has to thunder a song through people’s speakers so why not Charger. Top tune.

In case you missed it, Charger hails from legendary punk bands such as UK Subs, Rancid, and Jello Biafra & The Guantanamo School of Medicine, just to name a few, but make no mistake, this band is its own entity with its own sound forged together on Hell’s Anvil of Rock n Roll ‘Last Call’ proves it. Hell, if you needed any more proof, then drop the needle on ‘Last Call ‘; it’s more loud rock n roll Motorhead style than punk or cheesy metal, but it’s got a hefty set of bollocks swinging and tunes like ‘Set In Stone’ is classic hard rock sure its MAtt Freemans signature Bass wandering on the opener that will like it to Rancid but thats pretty much where it ends – oh apart from the songs he sings with his whisky and razor blade vocal delivery.

The band laid down these tracks in July 2025 at Studio 2200 in Sausalito, California, previously known as the Record Plant – with Chris Dugan at the helm.

Giving you a chance to catch your breath, ‘Rolling Thunder’ is more of a slower groove where Freeman eases into it with his rasp, and it’s on the bridge before the solo takes off and the drums hit the double tap and the keyboard kicks in. Hell, did I just say keyboards? Hell yeah! It’s like John Lord just entered the building.

As I give my head a wobble, the closing track ‘Breakout’ has the most proggy-sounding keyboard solo ever, but it’s in the middle of some pretty heavy-duty metal punk, and my pea-sized brain is struggling to fathom what it’s hearing. This is nuts, and trying to categorise it is futile; let’s just all agree to say this is a top EP, and if you want your ears to have a workout, then Charger are at your service, and ‘last call’ is limited, so get on your marks and go! Buy this EP

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Author: Dom Daley

PLAY DEAD – ‘Complete Works’ (Jungle Records)

PLAY DEAD – ‘Complete Works’ (Jungle Records)

Deep breath, PLAY DEAD release a career-spanning 5x CD box set with 79 tracks.  Between 1980 and 1985, the band were one of the leading post-punk bands in the UK underground with regular indie chart hits and a loyal live following, thanks to people like John Peel, who recorded several sessions and plenty of live shows with the likes of UK Decay, Sex Gang Children, Killing Joke and The Cult, to name a few. They headlined UK and EU tours in their own right, and I first became aware of them via a spot on The Tube. 

Included in this extensive release is a very nice 36-page booklet with notes by Adi Vines & unseen photos, joining these five albums in the box ‘The First Flower’, ‘From the Promised Land’, ‘John Peel Sessions’, ‘Into the Fire‘ and ‘Company of Justice’, expanded with extra singles, remixes & related tracks, so fans of the band looking to complete the circle, this is your chance, and for people who might have been too young or just missed them for whatever reason (we’re talking pre-internet here, kids)

Clearly a real labour of love, the recordings have been tracked down from various labels. The band issued a series of singles and three studio albums: ‘The First Flower’, ‘From the Promised Land’ and ‘Company of Justice’, joining them are the three John Peel Sessions and the live album Into the Fire (now extended and remixed) and if that wasn’t enough, numerous singles, remixes, obscurities, etc. – and all remastered. So when it says complete works, be happy in the knowledge that it is absolutely complete.

These recordings were originally released on Jungle, Clay and Beggars Banquet, so if you have no idea what they sound like, then there’s more than a clue in those labels: they’re mixing post-punk with a dash of metal and then, of course, hitching their wagon to the tribal scene with some obvious Goth tones. When they toured with Sex Gang Children and Killing Joke, it’s easy to see how when you dig into the albums and sessions. With Joy Division also as an influence, Play Dead had plenty going on for widespread fame, and here it is all these years later in one neat box for your listening pleasure. So paint your nails black, practice your chicken dancing and turn up songs like ‘Walk Away’ from their second album or ‘Effigy’ from the Peel Sessions in its Goth-tastic majesty, brings back some fantastic memories and will be the perfect companion on the long drive to Whitby for Tomorrow’s Ghosts Festival. How cool would it be for this to also have been pressed on vinyl? Maybe next time, eh? Buy it!

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Author: Dom Daley

Ash – ‘1977’ 30th Anniversary Edition (BMG)

Ash – ‘1977’ 30th Anniversary Edition (BMG)

Ash have been on a brilliant run of form as of late in fact, when have they not? From the last few years new albums ‘Race The Night’ and last year’s fantastic ‘Ad Astra’ what better way to carry this on than revisiting an old classic!!!! 

Well ladies and gentlemen, it’s been 30 years (how did that happen?) since Ash released their debut full-length ‘1977’ and what a brilliant revisit this is.

The 90s was a superb decade for music, for me, it still is the greatest decade, from the massive breakthrough of grunge, the Britpop boom and the emergence of the pop-punk bands from the States, “1977” blends all those sounds together to make a perfect album that has stood the test of time and is just as enjoyable now as when it was released all those years ago. Do you want distortion with massive riffs? Do you want huge singalongs? Do you want Melodies stuck in your head for days? Well, you have it all here!!!

The songs, well, they speak for themselves, you have the brilliant opening of ‘Lose Control’ followed up by two classic singles ‘Goldfinger’ and perhaps the band’s biggest anthem of all ‘, Girl From Mars’ which still never fails to make me sing along every time I hear it. 

More great singles are littered throughout the album ‘Kung Fu’, ‘Oh Yeah’ and my personal favourite song off the album ‘, Angel Interceptor’. The band was truly on fire here, none more so than the epic album closer ‘Darkside Lightside’. As an added bonus, Ash have unearthed a long-lost song called ‘Bittersweet Blue ’, which is an absolute banger which has been 30 years in the making having been written but never recorded until now. 

On this 30th anniversary, we have been treated to two different editions: on double vinyl we get the album with a second record of B-sides, which has always been another strong point of Ash. We also get the 2 CD version which the second disc is a fantastic live recording from Stabal Studios of the album in full with some more great B-sides, this captures the bands raw live sound which is always a pleasure.

Speaking of which, the band is celebrating this anniversary by taking the album out on tour, which you’ll be lucky to get a ticket for, as most of the venues have sold out, so if you are lucky enough to catch them, you are in for a treat!!! 

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Author: Christian Davies