Swedish sleaze merchants Dead Express are set to release their latest long player: Almost Forever. If you love a bit of Hanoi Rocks, the Almighty, the Stooges, or even our local heroes Sister Morphine, you will instantly fall in love with Dead Express.
Almost Forever is a perfectly formed package. Short and punchy, with memorable songs all wrapped up in perfect production. Dead Express delivers tasty guitar riffs, powerhouse drumming, great vocal melodies combined with lyrical themes around vampires, the mourning of the good times of the past, and following your true calling. The individual members of the band nail their performances. New vocalist Marcus Rylander fits perfectly.
Almost Forever is essential listening if you’re a fan of any of the bands I’ve mentioned above. Dead Express have certainly delivered the goods. I look forward to picking up a physical copy! Great stuff.
Last year, Babyshambles returned for a run of unforgettable shows, celebrating the bands music and the legacy.
Live at KOKO captures one of the standout nights from that run, recorded at the band’s sold-out show at London’s iconic KOKO in December 2025.
Kicking things off is a live four-track EP featuring the opening songs from the KOKO set — Killamangiro, Delivery, I Wish and Sedative.
To celebrate the release, watch the live video for Delivery, edited by long time friend Roger Sargent.
Live at KOKO will be available digitally, on CD and on limited edition Sky Blue, Tangerine and Black vinyl,with formats shipping on 9th October and in record stores from 16th October.
“Handmade Signed Art Deluxe Edition on White Splatter Vinyl”
The ultimate collector’s piece:
The Handmade Signed Art Deluxe Edition, strictly limited to just 100 copies, every record in this bespoke run has been hand-finished and individually signed by the band themselves.
The front sleeve features an uncoloured version of Drew McConnell’s artwork that will be stamped, sprayed, scrawled and adorned lovingly by the band before finally being hand-signed and numbered.
Stockholm-based post-punk trio Then Comes Silence makes a brazen return with their new single‘Judgement Day’, a dark and driving anthem that embraces failure, reckless choices, and the thrill of living without regrets. Along with a high-energy video by Damon Zurawski, this song celebrates those who burn brightly on borrowed time as doomsday looms. This is the first single from their ‘Requiem Ballroom’ album, to be released via Metropolis Records.
Formed in 2012 by vocalist-bassist Alex Svenson, Then Comes Silence has operated as a tightly focused trio since 2022, along with drummer Jonas Fransson and guitarist Hugo Zombie. Together, they have refined Then Comes Silence into its most direct, powerful and uncompromising form.
‘Judgement Days’ opens with a catchy Euro techno melody, contrasting with the band’s roots and signature sound. A brooding yet danceable collision of post-punk intensity and unexpected Euro-techno flourishes, it paints a portrait of sinners embracing their final celebration before the inevitable reckoning.
“‘Judgement Day’ was the first song I wrote for this album – an homage to our musical heroes Killing Joke. Hugo came up with the guitar sound early in the process. This song celebrates the wicked ones having a good run til their end days. In some people’s eyes, we too are rock ‘n’ rolling, beer drinking geezers that most likely will be the first to go. So be it. We had a good run,” says Alex Svenson.
Hugo Zombie adds, “The guitar is inspired by Killing Joke and is a little tribute to Geordie. We haven’t played it live, but we will perform it for the first time at M’era Luna Festival in August. It should go well.”
‘Judgement Day’ is about failure, bad decisions, and poor behavior – a nod to those who will be first in line on doomsday. The techno element is juxtapositional given the subject matter. Ultimately, the band “fails” by letting something completely unexpected and out-of-character takeover. A swaggering gothic rocker that turns self-destruction and the ticking of time into an irresistible celebration of the wicked,
“We gave a performance in the photo studio when shooting the music video. It was like a regular concert with the extras dancing around the band. People seemed to enjoy being involved in the making of this video – it’s easy to dance to and has a good dynamic,” says Alex Svenson.
Jonas Fransson shares, “We invited a bunch of friends to join us for the music video shoot, and one of them happens to be a 16-year-old Miniature Pinscher. He is almost completely deaf, so he didn’t mind walking around the studio while we were playing. The video isn’t cut and finished yet, but there’s a good chance he’ll end up in it.”
‘Requiem Ballroom’ is divided into two parts, the ‘Ballroom’ mixed by Jon Bordon (Nicole Sabouné, Melody Club, The Exploding Boy) and the ‘Requiem’ half mixed byTom van Heesch (Rammstein, Apocalyptica, Backyard Babies). This album was then mastered by Svante Forsbäck / Chartmakers(Rammstein, Amaranthe, Ville Valo, The Rasmus, Apocalyptica).
Then Comes Silence has become one of the leading names on today’s goth, post-punk and darkwave scene. Driven by a fascination with horror, the occult and the raw intensity of underground music, the band has forged a distinctive sound that has earned them a devoted international following.
With the German post-punk scene their second home, they have, for years, toured relentlessly. 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.
LIVE DATES AUG. 9 – Hildesheim, Germany @ M’era Luna Festival AUG. 20–22 – Torgau, Germany @ Stella Nomine 2026 SEP. 11 – Glain, Belgium @ Deux Ours SEP. 12 – Rotterdam-Albrandswaard, Netherlands @ Baroeg Open Air 2026 SEP. 13 – Rennes, France @ Brewklyn SEP. 14 – Paris, France @ Le Chinois SEP. 15 – Rezé, France @ Cold Crash SEP. 16 – Lyon, France @ Rock N’Eat SEP. 17 – Marseille, France @ Le Molotov SEP. 18 – Torino, Italy @ Ziggy Club SEP. 19 – Castelfranco Veneto, Italy @ Sale Improve SEP. 20 – Hlavní Město Praha, Czechia @ Subzero OCT. 24 – Stockholm, Sweden @ Kollektivet Livet
Thirsty Quireboys Celebrate A Stunning ‘God Bless America’ Album Launch And Video Premiere in London’s Soho
The Thirsty Quireboys lit up The Spice of Life, Soho with a sold‑out, high‑energy celebration for the launch of ‘God Bless America – Best of Thirsty’. The intimate basement venue was packed with fans, friends, industry and long‑time supporters, all there to honour the legacy of Guy Bailey and the new chapter brought to life by his friends Spike, Chris Johnstone, Irina D, Simon Hanson and producer Chris Kimsey.
The night opened with a blistering set from Bones of the City, setting the tone for an evening that blended nostalgia, storytelling and pure rock ’n’ roll spirit.
Guests were then treated to the world premiere of the brand‑new video for the title track ‘God Bless America’, a cinematic tribute to Bailey’s songwriting and the emotional core of the album, explained beautifully in detail by Chris Johnstone (featured below). The premiere was followed by a lively Q&A with the band and Chris Kimsey giving fans a rare behind‑the‑scenes look at the project’s creation, alongside a few laughs and memories from back in the day.
Pic: James Cochrane
The atmosphere surged again as Spike took the stage with Tom Golzen, Chris Johnstone, Matty Cassidy, and Simon Hanson, delivering a powerful, heartfelt performance, including poetic vocals from Guy’s songwriting partner, Irina D – that had the room buzzing long after the final chord. It was nothing short of intimate and moving.
The intimate 100-capacity venue was filled wall‑to‑wall with energy, emotion, and the unmistakable spirit of Guy Bailey, whose legacy powered the evening from start to finish.
With proceeds supporting Nordoff & Robbins in Bailey’s memory, the launch became more than an event — it was a celebration of community, legacy and the enduring magic of Thirsty’s music.
The album ‘God Bless America – Best of Thirsty’ is out now on all major platforms
The analysis of the track ‘GOD BLESS AMERICA’ – by Chris Johnstone
‘God Bless America’ is a song about a less well-known tragedy involving the Kennedy family.
The Kennedys are perhaps the best-known family in 20 century US political history.
Everyone knows about the assassinations of JFK and Bobby. Events Defining the 1960s.
Not so many know anything about the tragedy of their older sister Rosemary.
This song ‘God Bless America’ is her story.
Rosemary Kennedy grew up in the 1930s with mild educational and behavioural issues; and later with angry mood swings that embarrassed her father Senator Joe Kennedy.
Seeking a “cure” – in 1942 Senator Joe had her lobotomised whilst fully conscious by US surgeon Mr James Watts with tragic consequences.
The operation was botched and she was left with the mind of a two-year-old. Her father had her hidden away for over 20 years.
There are Only 10 lines in the Song. But Each of the lines is very specific – and each line reflects an entry on Rosemary Kennedy’s Wikipedia page.
“She had a gleaming smile” – Rosemary was not super intelligent, but she was sociable and known for her beautiful smile.
“She would escape at night” – as a teenager Rosemary used to run away from her convent boarding school to consternation of all the nuns
“Danced for the English queen” – when her father was in London as US ambassador – Rosemary was presented to Queen Mary and danced at the Debutante Ball in London
“Like a Lily of the valley” – this was the favourite flower of her famous sister-in-law Jackie Kennedy – wedding bouquet – White House flower arrangements- coffin
“The in Charge” this is her father Senator Joe
“Mr Watts said sing some notes for me ” God Bless America God Bless America ” Mr Watts was the surgeon who undertook the operation
These are Mr Watts’ own words describing what happened during the “operation”:
“We went through the top of the head,” Dr. Watts recalled. “She was awake. I made a surgical incision in the brain through the skull. We put an instrument inside”.
As Dr. Watts cut, his colleague asked Rosemary to sing ‘God Bless America’.
Watts continued: “We made an estimate on how far to cut based on how she responded.”
When Rosemary stopped singing – so did Mr Watts.
The operation was a total failure. Rosemary was left incontinent and with the mind of a two year old.
Joe Kennedy had her locked away in secret location for over 20 years.
What happened to Rosemary Kennedy – in the context of the Kennedy family – and what happened to her as she sang ‘God Bless America’ can be seen as a powerful parable about US politics and even the US itself .
Best known as the frontman of Californian rockers Rival Sons, singer/songwriter Jay Buchanan follows up the recent release of his solo album ‘Weapons Of Beauty’ with a series of intimate solo shows booked around Rival Sons headline slot at this year’s Steelhouse Festival in Wales. More used to lighting up festival stages and arenas around the world, this is a rare chance to see the singer get back to his (feral) roots, up close and personal in small venues.
Up first are London based duo Fire In Her Eyes. The words ‘psych folk/rock wizards’ may be enough to put most RPM readers off reading any further, and on paper it would me too, but there’s something a bit special about Topaz & Natasha Livingstone that makes them stand out from the crowd. The likes of ‘Too Late To Change’ and ‘Sooner Or Later’ are great tunes, their debut album ‘Look Into The Sky’ is produced by Flood, and it’s worth exploring for the trippy cover art alone.
“We are ‘Fire In Her Eyes’ and we are here to perform some original songs for you” or words to that effect states Topaz. With just an acoustic guitar & keyboard, the sisters perform acoustic renditions of the songs they have been writing and performing since they were ten years old. The vocal harmonies are lush, and the delivery has an ethereal, almost magical vibe. They could be the Mamas without The Papas, or they may even bring to mind Stevie Nicks fronting Clannad. So, if that sort of 60’s/70’s west coast, hippy vibe floats your boat, then they could be a bit of a treat.
There’s certainly a proggy element to the well thought out arrangements that put them in the same category as the likes of Rosalie Cunningham. And while songs such as ‘Never’ and ‘Look Into The Sky’ are great soundscapes, I feel they would probably benefit from having a full band to realise the full potential of Fire In Her Eyes as a live band.
It’s the first time they’ve played Leeds, and hopefully not the last, as their set was over quicker than I expected and I would like to see them again. Highly enjoyable and very colourful openers.
With the house lights still up and everyone chatting or staring at their phones, Jay Buchanan saunters on clutching a guitar, a wide brimmed hat on his head. He greets a surprised audience to massive cheers and a round of applause, then removes a can of something from his back jeans pocket, places it on the occasional table to his side and shrugs his shoulders. We laugh, it’s almost slapstick comedy, this is how it’s going to be then.
Jay proceeds to talk for maybe 10 minutes before he even strums a note. He sets the scene for the evening, explaining the background of the album, how he came to book the tour with no plan, and not really knowing what to expect. He admits to pretty much winging it every night so far, but it seems to work. What unfolds is a two-hour songs & stories show that gives a deep insight into a travelling musician’s life.
Opening song ‘High & Lonesome’ stuns from the first line, what a voice! I mean, I’ve seen Rival Sons live many times over the years. But that voice, laid bare with just one guitar, is something truly special. You could hear a pin drop as the whole room is enraptured by his performance.
Stripped of Dave Cobb’s big production, gospel-tinged single ‘True Black’ is as soulful as the recorded version and with Jay’s explanation of what its actually about, the song is given a renewed depth. As expected, the setlist weighs heavily on the album, with highlights being the aforementioned songs, along with the heartfelt and truly moving ‘Tumbleweeds’ and the magical ‘Sway’. But it’s the stories that give a true insight, a personal touch to tonight’s set. It’s like watching him perform in his living room with a few drinks amongst friends.
He brings out his treasured lap dulcimer for a couple of tunes and the story of how that instrument came to help in the purchase of his current home is as heartwarming as the songs he plays on it. Other set highlights include a cover of Black Sabbath’s ‘Changes’ and Rival Sons ‘Shooting Stars’ that are as emotive as it gets.
With so many years of touring fronting a rock n’ roll band, it’s easy to forget that Jay came from a singer/songwriter background, and maybe Jay forgot that too…for a time. ‘Weapons Of Beauty’ was a long time coming, 10 years in the making through good and bad times. The singer seems to be in a good place right now, and tonight was a testament to a true artist who has come full circle, it seems.
While Rival Sons are currently laying down a new studio album, I feel there will be more of these shows from Jay Buchanan in the future. A stunning, spiritual and life affirming evening of music and stories.
Bloodstain hails from Sweden, and we all know the pedigree of Swedish heavy metal. From Opeth, Bathory, Candlemass,Meshugga, Amon Amarth, Sabaton, Ghost, and of course, Europe, Sweden has produced some of the finest metal bands on the planet.
Where does Bloodstain fit in? Well, let me tell you, I was very impressed with this, their self – titled debut LP. The band formed in Stockholm in 2023, and have quickly built a solid reputation as a band to watch. They are unfeasibly young to be such superb musicians, I guess that’s the YouTube generation….
The album boasts crystal clear production, heavy (but catchy) songs, amazing musicianship and great cover artwork. Opening track – ‘Annihilation Line’ is a fantastic introduction to Bloodstain. Big riffs, an earworm of a chorus, and some superb guitar work from Oskar Lindroos and Tobias Lindström. ‘Something Sinister’ has a Megadeth feel to it, stabbing riffs, thundering bass courtesy of Jonathan Thyberg make this a real standout track, brilliant stuff.
I Am Death kicks off in blistering style, and some lovely double bass drum flurries from Benjamin Norgren really elevate the track. Carved Into Stone is the big power ballad on the album, it reminds me of classic White Lion, and that’s certainly no bad thing. ‘Taint Me’ is another heads-down, headbanger. Did drummer Benjamin Norgren just throw in Dave Lombardo’s classic double bass part from Slayer’s ‘Angel of Death’?? Possibly… Either way, it sounds great.
Disdained again showcases the band’s mastery of their instruments. EPIC! Lies Bleeding Through takes us down a thrashy route, chugging riffs, staccato double kick drums… Oh yes! Conspiracy takes the foot off the pedal slightly and takes us down a more hair metal path. Faceless Dealer reminds me of classic Annihilator, heavy as fuck, intricate rhythms and some off-the-charts guitar work.
The album closes with ‘Banner of Supremacy’, which is my favourite track on the LP. Think ‘Master of Puppets’ era Metallica…yes, it really is that good. Bloodstain are ready to join the ranks with their other Swedish metal brethren.
I absolutely loved this LP. I can’t wait to get my hands on a physical copy when it’s released in September. Remember the name Bloodstain… they are going to be huge!
Straight outta Cincinnati come fast-rising thrashers Thorns with their debut UK release, the four-track ‘Ready To Strike’ EP.
Designed as a follow-up to the quartet’s recent debut UK tour (which included a slot at this year’s 2000 Trees Festival), the tracks contained here will immediately have you reaching for your leather jacket, skintight black canvas jeans, bullet belt and Hit Tec bumper boots. That’s because after just one spin of this bad boy it really does feel like 1985 all over again.
What I love most about this EP is that, unlike many modern metal bands where pushing the genre to its most extreme edges is the aim, Thorns simply plug themselves into the old skool thrash vibe of the mid-eighties, turn everything up to eleven and sound like they are having an absolute riot in the process.
Driven by the same DIY underground spirit that birthed the original first wave of thrash bands like Exodus, Metallica, Slayer and Anthrax, Thorns, in their very short time together as a band, have already recorded two full albums (which you can hear via the Bandcamp link below), however, this EP is their first release here in the UK.
‘Bad Business’ kicks things off in mighty fine style, and to my ears at least, it’s early Metallica that Thorns sound most like here, especially in the vocals of Luke Schwarz (who, just like Papa Het, also doubles on guitar). Looking at the video that accompanies this lead track, I cannot help but be stunned by how mature the band sounds given the fact that age-wise they look like they cannot be long out of high school. Kudos indeed guys, because when I was a teenager all the bands my age sounded like piss poor versions of The Alarm (who themselves were a Poundshop U2 – ha! that should get Daley spitting feathers).
Of the rest of the EP, ‘Muzzle’ and ‘Headcase’ continue with the 3-minute short sharp thrash blast formula set out by the opener, whilst EP closer ‘Sickfit’ ploughs a more pulsating mid-tempo ‘For Whom The Bells Tolls’ kind of furrow, but it’s still full of that youthful energy and enthusiasm that makes ‘Ready To Strike’ such a compelling listen.
‘Ready To Strike’ is set for release on August 26th via These Go To Eleven Records, and is custom-built to (I know I’m being cheeky here) Bang That Head That Doesn’t Bang!!!!
Astoria, Oregon’s The Something Ain’t Rights release their debut EP Rotten In The Brain on July 22 via Hovercraft Records. Across nine tracks of punk, post-punk, country twang, and high-energy rock and roll, the band draws a crooked line from early hardcore matinees at CBGB to the current state of America. The result is a record that feels restless, sharp-eyed, and earned. Equal parts barroom philosophy, protest soundtrack, and backroad punk rock, Rotten In The Brain arrives from musicians whose roots stretch through decades of underground scenes in New York, Washington DC, Austin, New Orleans, Eugene, Portland, and now the Oregon coast. At the center of the band is vocalist and guitarist Mike Vasquez, longtime owner and engineer of Austin’s legendary Sweatbox Studio. Over the years, Vasquez recorded hundreds of independent artists, working with names like Mark Arm, Paul Leary, Alejandro Escovedo, Tim Kerr, Mooney Suzuki, Toys That Kill, and Lungfish while building a reputation throughout the punk and garage rock underground. After relocating to Astoria and assembling a lineup that includes drummer Carrie Beveridge, bassist Alpha Rasmussen, and guitarist Dan McClure, The Something Ain’t Rights emerged as an outlet for the band’s shared love of punk’s more adventurous corners. The quartet also performs together as Astoria punk outfit Beta Voids, swapping instruments here to explore a broader palette of influences. While the group pulls inspiration from icons like X, The Minutemen, Pere Ubu, The Gun Club, and Wire, Rotten In The Brain refuses to sit comfortably in any one genre. Country influences drift through angular post-punk rhythms. Hardcore urgency collides with roots rock grit. The songs feel less like nostalgia and more like a conversation between past and present.
That tension runs throughout the EP. Tracks like “Rotten In The Brain” and “Plymouth of Fury” channel frustration, urgency, and dark humor into wiry, high-energy punk, while “Gas Station Angel” and “Rainbow Alley” reveal a broader palette shaped as much by American roadways and small-town characters as underground clubs and DIY venues. The band’s chemistry comes from wildly different musical paths converging in the same room. Vasquez’s rhythmic guitar work carries traces of Texas punk and post-punk minimalism, while McClure’s playing brings the raw force of the West Coast hardcore scene that shaped him in the early 1980s. Rasmussen’s punchy bass lines and Beveridge’s swinging, unpredictable drumming give the songs a constant sense of motion.
Recorded and mixed by Vasquez at Cannon Deck Recording in Astoria during the winter of 2025-26, the project was originally intended to become a sprawling 29-song LP. Those plans changed abruptly when Vasquez was seriously injured in a highway accident midway through the process. During recovery, the band shifted course, deciding that the first nine completed songs would stand on their own as a debut release. The circumstances surrounding the recording left the band with a leaner, more focused statement than originally planned, one that captures the immediacy of the moment it was made.
The EP’s cover image provides another glimpse into the band’s origins. The photograph was taken by Vasquez across the street from CBGB during his first hardcore show in 1983, a formative moment that helped shape his lifelong connection to punk music and underground culture. That spirit still runs through The Something Ain’t Rights today. Their songs wrestle with frustration, uncertainty, and cultural decay, but they do so with wit, humanity, and the stubborn belief that music still matters. Rotten In The Brain is not the work of musicians revisiting old glories. It’s the sound of punk lifers continuing the conversation. Fueled by decades of experience, a deep connection to underground culture, and an unwillingness to look away from the world around them, The Something Ain’t Rights have delivered a debut that feels timely, unpredictable, and entirely their own.
Every now and again, you get sent an album that ticks all the boxes and is exactly what you want to hear. There are times when you get fatigued from listening to so much music and the batteries are low, and then – Bang! An album hits your ears that sounds like lightning in a bottle, and Trash Kickers is one of those wonderful bands to do that. It’s like being given a shot of ECT at the moment when you feel you’re becoming that person who claims there isn’t any decent new music being made, then Boom! Trash Kickers remind you it’s okay to love rock & roll, punk, and country and everything in between that has real wooden instruments and amplifiers. Tight but loose, aggressive but melancholy, and somehow drunk but sober, a wonderful Westerberg-like ear for a top melody and proud of the association and influence.
Let’s go! ‘Fly Or Die’ nails their colours to the mast and they fly their freak flag high and proud with a cool hook n melody and a barnstorming tempo. We’re up and running, and the tunes just keep flowing like good wine at the best barn dance you ever attended. Sure, they have more than passing resemblence in Westerbergs former band, but who gives a shit (I don’t). Rock’n’Roll needs more bands like this. Remember Beach Slang they had the chops but simply vanished off the face of the earth, so the Mats’ shoes need filling, and Trash Kickers have the chops.
The mood gets chilled as the band hits ‘Signage’ and every corner of your head is filled with pleasure explosions feeding the big chorus with beer being shaken everywhere as the sweat drips off your speakers, great stuff. ‘Angel’ takes the tempo right down, and the countrified twang rings out like the best Baird and Prophet Green on Red late-night duet. Man, this band fits right in the top pocket of this style, nailing it with a fistful of top tunage, and that’s not something that is easy to do, and just the fillup I needed.
The snotty rock n roll is back in full swing with ‘No Danger’, and that swagger continues through ‘Perfect Strangers’ before the heartfelt ‘Nothing Left’ reminds us that every time you feel like giving up, rock n roll will pull you through. Crack open the bottle of red and fire up the gob iron and acoustic guitar for ‘Wild Stab’, a splendid tune with a heart-melting cello taking the lead for good measure as this late-night hustle takes its toll another fine detour on an already most excellent record. The album closes with ‘Graduation Girl’, and we’re done. Me, I’m heading back for seconds and hoping it won’t be too long before others catch on and they tour shit island, and I get to see them play these tunes live in some sweaty dive bar.
Rock n Roll music is alive and well and its hard to believe this is their debut album but this is just about the finest new album I’ve heard all year Hell for a debut rock n roll record this is as good as I’ve heard in an age, join me in picking up a copy and let Trash Kickers into your ragged rock n roll life – Buy IT!
30th anniversary edition of debut album ‘1977′ out 16th October via BMG
World tour on sale now
Ash are today sharing a live session recording of ‘Girl From Mars’. It arrives as the band continue their plans to celebrate the 30th anniversary of their seminal debut album 1977, from the which the song has taken on legendary status.
Drummer Rick McMurray comments on the newly released session version:
“The past. Last year we took you on a space trip with the new Ash album Ad Astra.
The future. At the end of this year we bring you the live extravaganza that is the 30th anniversary of no. 1 debut 1977.
The present? We’re tying all this together to give you an updated live version of the single that propelled us to the stars this week in 1995. Taken from earlier live stream sessions we have an audio visual blockbuster on full thrust to get you all amped up for what’s going to be an explosive anniversary celebration jaunt around the planet. Strap yourselves in. Set controls to Mars and let’s ride this rocket through time and space!”
Originally released in 1996, 1977 is the #1 platinum-selling debut album that launched Ash from teenage upstarts to Britpop-era icons. Three decades on, this 30th Anniversary Edition celebrates the album that defined a generation with its breakneck energy, razor-sharp hooks and unforgettable anthems including ‘Girl From Mars,’, ‘Goldfinger’, ‘Kung Fu’ and ‘Oh Yeah’. The 30th Anniversary Edition will be available on 2LP EcoRecord Green & Black ‘InkPlosion’ vinyl in a Gatefold Sleeve, 2CD Digisleeve plus booklet, and digitally. Pre-save / Pre-order the new collection HERE.
The band are also adding more dates to their global 1977 tour which kicks off in September, with stops across Australia, New Zealand, Southeast Asia, Japan and Europe before wrapping up in the UK and Ireland in December. For more information, visit the band’s website HERE.
The digital and 2CD edition features on Disc 1 the original album in full – 12 tracks of high-voltage power-pop that still sound as urgent and melodic as ever, such as ‘Lose Control’ and ‘Darkside Lightside’. It also includes four additional tracks: the long-lost, near-mythical track ‘Bittersweet Blue’, ‘Oh Yeah (2026 version), ‘Girl From Mars (Demo 2026 Mix) and ‘Gone The Dream (Acoustic 2026 Mix)’.
Disc 2 captures a special live set from STABAL Studios in 2021, where the band perform 1977 in full, along with fan favourites from the era, including ‘Oh Yeah’ released as the first track from the performance, plus ‘Coasting’, ‘Sneaker’, ‘American Devil’, and ‘Silver Surfer’.
The 2LP presents the original album across LP1 with a specially curated collection of B-sides on LP2, that highlight the depth and creativity of the 1977 era. Standout tracks include ‘Day Of The Triffids’, ‘Luther Ingo’s Star Cruiser’, ‘Astra Conversations With Toulouse Lautrec’, ‘Cantina Band’, ‘Sneaker’, ‘T Rex’ and more.
ASH – GLOBAL TOUR DATES 2026
30th July – Y Not Festival, Pikehall, Derbyshire (UK) 31st July – Kendal Calling, Hackthorpe (UK) 4th Sept – Rosemount, Perth (AUS) 5th Sept – Freo Social, Fremantle (AUS) 8th Sept – Lion Arts Factory, Adelaide (AUS) 10th Sept – The Tivoli, Brisbane (AUS) 11th Sept – Northcote Theatre, Melbourne (AUS) 12th Sept – Metro Theatre, Sydney (AUS) 14th Sept – Tuning Fork, Aukland (NZ) 15th Sept – San Fran, Wellington (NZ) 17th Sept – Unit, Tokyo (JP) 18th Sept – Quattro, Tokyo (JP) – SOLD OUT 19th Sept – Meta Valley, Osaka (JP) – SOLD OUT 21st Sept – Hard Rock Cafe, Singapore (SG) 23rd Sept – Hong Kong Portal, Hong Kong (HK) 10th Nov – De Helling, Utrecht (NL) 11th Nov – Gebaude 9, Cologne (DE) 12th Nov – Hole44, Berlin (DE) – SOLD OUT 15th Nov – Effenaar (Small Room), Eindhoven (NL) – SOLD OUT 25th Nov – Electric Ballroom, London (UK) 26th Nov – Electric, Bristol (UK) 28th Nov – Spiegeltent, Limerick (IE) 29th Nov – Cyprus Avenue, Cork (IE) 1st Dec – Arena, Torquay (UK) – SOLD OUT 2nd Dec – O2 Guildhall, Southampton (UK) 4th Dec – Tramshed, Cardiff (UK) – SOLD OUT 5th Dec – UEA, Norwich (UK) 6th Dec – Rock City, Nottingham (UK) 8th Dec – Albert Hall, Manchester (UK) 9th Dec – Olympia, Dublin (IE) – SOLD OUT 10th Dec – Ulster Hall, Belfast (UK) – SOLD OUT 12th Dec – Northumbria SU, Newcastle (UK) 13th Dec – Barrowlands, Glasgow (UK) 15th Dec – O2 Institute, Birmingham (UK) 16th Dec – O2 Academy, Leeds (UK) 17th Dec – Roundhouse, London (UK) – SOLD OUT
Recent Comments