Swedish hardcore outfit First In Line celebrates their 30th anniversary with the new album “Connect the Dots” with 19 frantic, raw, and energetic tracks showcasing the finest of the Linköping HC scene. First In Line has been flying the flag of fast, melodic hardcore since 1994, so maybe now is as good a time as any to catch up and admit this is my first – an introduction if you like and in time-honoured scandi hardcore the guys kicked my backside. Like Zugly before them, they remain true to the roots of the sound and scene and deliver an album that captures the spirit of Harcore and also delivers some exceptional playing and to be fair some great songs.

If you want loud in-your-face, gritty unrelenting energy then First In Line bang em out.

“Connect the Dots” kicks off in style with the brutal ‘What’ that sets the tone with a full frontal assault on your senses. They do mix it up but dive straight into the pit for ‘Cookies And Cream’ thrashing like motherfuckers.

F.I.L are so pissed off at all injustice and stupidity, we have to get it out of their heads and into the songs that they hope will hit right in the heart of you the listener, who can turn up the will to fight and maybe also be a tiny cog in a machinery that can change the world.” which is an admirable stance indeed.

Nineteen track of Hardcore is a lot to absorb in one take but this is the stuff that makes your day go by quicker and puts a spring in your step. It’s not a long album by any means and of course some of the songs are sub one minute so not exactly taxing. Songs like ‘Inbred’ is the sound of the walls collapsing in on you whilst your listening but you’d rather get through the song than worry about your house caving in.

I love it when an album comes out of the blue and asks you to review it and you just put it on in the background but soon enough you find yourself leaning in and paying attention well, First In Line just did that and this stands shoulder to shoulder with any Hardcore released in a decade and I’ll take that all day long. By the time you get to the uncompromising ‘Black And White’ and ‘Good Friends’ you will be nodding in approval these guys have a fire burning in their collective bellies and who doesn’t like that? It’s fast, furious and on fuckin fire. Get involved, you can thank me later Hardcore as fuck!

Connect with First In Line:
https://firstinline-fil.bandcamp.com/
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Author: Dom Daley

Tokyo Blade are back with their latest offering ‘Time Is The Fire’. Here, we have another collection of blistering heavy metal delivered in the usual fashion of the lads from Tokyo Blade. I’m not going to go on about their NWOBHM roots, blah blah, we’ve heard it all before. Let’s concentrate on the here and now, I reviewed their previous album Fury back in 2022 and loved that album. ‘Time Is The Fire’ follows on nicely from that, we have 14 tracks that deliver a masterclass in old-school metal. Alan Marsh’s vocals soar over the crunchy riffs spectacularly.

The opening track ‘Feeding the Rat’ kicks off with a mid-paced headbanger with some great lead work from Andy Boulton and John Wiggins.  Moth to the Fire has some hair metal-tinged riffs, ‘Man on the Stair’ begins with a spooky intro before we get more chuggerama and fist-pumping rhythms. Are You Happy Now is another great track with another pounding riff. ‘The Enemy Within’ starts with a Judas Priest feel, more lovely lead guitar work here and a catchy chorus. ‘Going With the Flow’ showcases some nice bass work from Andy Wrighton, a melodic intro builds into another powerful track. The 47 has some great lyrics about a historical event in Japan where a band of samurai avenged their former master. ‘The Devil in You’ is my favourite track on the album, muscular riffs, and some fine drumming from Steve Pierce drives the track along fantastically. ‘Soldier On‘ has a feel of old school Thin Lizzy with its twin lead attack.

Overall, it is a fantastic bunch of songs that show that Tokyo Blade is still a force to be reckoned with. My only gripe is the processed drum sound, this seems to be creeping in more and more into recordings.

The album is out now! You know what to do.

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Author: Kenny Kendrick

Well, did anyone really see this collaboration coming in 2025? Sweden’s finest boogie-woogie merchants Diamond Dogs joining forces with legendary 70’s producer/session player Chris Spedding (‘Motorbikin’ anyone?) to record a homage to the king of rock n’ roll Little Richard. With the album ‘Slap Bang Blue Rendezvous’ in 2022 and ‘About The Hardest Nut To Crack’ the following year, Sulo and the boys have certainly been keeping busy at this point in their career. I think after 30 years in the business and 13 studio albums down the road, they have earned the right to take it easy and record a tribute to one of their greatest influences.

Recorded live to tape, one hour per track is how Diamond Dogs roll, like the cool cats did back in the day, and it works in their favour. From the off the band have a live energy and a swagger only a true seasoned live band can command. Add to that the guitar talents of Chris Spedding, and we have a really cool match of flavours adding their take on Little Richard’s musical legacy.

These primal bursts of rock n’ roll damnation are perfectly delivered through the Diamond Dogs cannon. Top players, killer vocals and modern production breathe new life into some well-known, and some not so well-known timeless classics. Opener ‘King Of Rock n’ Roll’ is cocksure and full of bravado. Sulo’s raspy tones are on point, aided and abetted by The Duke Of Honk, Spedding on guitar, a cool boogie-woogie bass line and matching song dynamics. Close your eyes and you can just imagine the boys jamming it away in Dog Pound Studios.

The likes of ‘Hey, Hey, Hey, Hey’ and ‘Great Gosh Almighty’ go a long way to remind the listener where the roots of good time rock n’ roll lie, and just how pivotal in the history of music Little Richard truly was. Songs such as ‘Dew Drop Inn’ and ‘True Fine Mama’ lend themselves well to the Diamond Dogs brand of rhythm & blues, but the standouts for me are the killer ‘Poor Dog’, with its great dynamics and build to the chorus here. Also, the low-slung rock n’ roll of closer ‘Bama Lama Bama Loo’ certainly hits the spot.

It’s a good time to be a Diamond Dogs fan. Not only have a bunch of their albums been given the reissue treatment in recent years courtesy of Wild Kingdom (including Sulo’s first solo record) on glorious coloured vinyl, but they continue to write, record and be a touring band.

‘Macon Georgia Giants’ is not only a fitting tribute to the legend that is Little Richard, but it showcases a killer band playing songs they love, pretty much live in the studio. And the thing is, to me this album just sounds like the Diamond Dogs playing Diamond Dogs songs, and if you weren’t aware of the fact they were all Little Richard songs before spinning it, you wouldn’t know any different. And that says a lot for the writing talents of this band for me.

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Author: Ben Hughes

The solo albums broke up the Pixies way back in the day yada, yada, yada. Well, time proved that Frank could indeed combine both and his band was indeed only on hiatus. It’s hard to believe it’s thirty years since this album dropped just look at the catalogue we have to feast over since eh? This limited edition ‘Teenager of the Year 30th Anniversary Tour Edition’ on double gold vinyl is a joy to (be)hold It is remastered from the original analogue master tapes for all you audiophile geeks out there but it does sound as fresh as the day I first heard it. It was an album I played to death when it came out and got my first shiny Discman it was a constant companion on CD its also cut at 45 rpm for optimum playback and is pressed on double gold vinyl. The album also comes in a gatefold sleeve with liner notes by both Frank Black and producer Eric Drew Feldman, and is his usual lavish affair to be fair.

Its widely regarded as Franks finest solo album and an album maybe, the Pixies should have made but with hindsight maybe he needed to break free to actually record this album in this way and had it had the Pixies baggage it wouldn’t have had the lasting impact or sounded anything like it does.

Sprawling over twenty-two tracks and an hour of music it’s a joy to drop the needle and have the chaos of ‘Whatever Happened To Pong?’ blast out of my speakers. I’ll fess up and say I still think his debut self-titled record is my favourite but this is a pretty awesome follow-up by anyone’s standards. The single off the record was strong, ‘Headache’ had a memorable earworm of a melody that is as strong as anything he’d written previously or since to be fair.

If you are humming and arghing over shelling out on this reissue then let me try to soothe any fears and just encourage you to go and get it. It’s a beautiful thing. christ, The opening side is faultless offering a variety of Blacks styles from the rockin out of ‘Thalassocracy’ to the pop rock of ‘Calistan’ it doesn’t harm a record when it sounds like its captured live and the band are this freakin good. Oh by the way the same band are doing the live shows as well.

The lyrics have aged really well and having been able to play this record for it’s second birth has been a joy and something a thirty years older me has really appreciated more than I thought I would. The Bowie esk ‘Ole Mulholland’ never sounded so good. Viewing it through more mature eyes has thrown up different perspectives and had me leaning to tracks I previously dismissed – songs like ‘Fazer Eyes’ with its twists and turns and ‘SpaceIs Gonna Do Me Good’ with its parping horns and shakers left me hazy but a welcome return to the turntable for sure. Come Join me you won’t regret it and if it’s a first dabble with Frank Black then dive in you won’t regret it the guys a genius. Buy It!

Tickets for the Teenager Of The Year shows are available from here: https://blackfranc.is

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Author: Dom Daley

Having tinkled the ivories on the recent Quireboys tour, Willie Dowling will be touring the UK to promote his recent solo album ‘The Simpleton’, which got a rave review here at RPM. We’ve followed Willie’s career from The Grip onwards, including Honeycrack, The Sugar Plum Fairies, Jackdaw 4 and The Dowling Poole, and it’s likely he will be playing a selection of rarities from this cracking back catalogue.

Joining Willie for the nine dates are Andy Lewis on bass and Darby Todd on drums. You could even book tickets now for a romantic soirée on the 14th of February at the 100 Club for you and your paramour. From Bedford to Ballymena, check the tour dates below and williedowling.com for regular updates.

Tickets Here

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This band goes from strength to strength. We’ve had great shows over recent months throughout Europe, the UK, Ireland, the USA and Canada, and we can’t wait to play more JAH WOBBLE

The legendary bassist JAH WOBBLE continues his huge touring schedule over recent years with the announcement of a further UK tour for the Spring of this year. The dates will feature his band the Invaders Of The Heart and will include several Metal Box Rebuilt In Dub shows which feature former Siouxsie & The Banshees guitarist Jon Klein and rework the second Public Image Ltd album with additional tracks from the debut album First Issue.

JANUARY

Fri 24 BEDFORD Esquires

FEBRUARY

Thu 06 TUNBRIDGE WELLS Forum (METAL BOX)

APRIL

Fri 04 LICHFIELD Arts

Fri 11 BARTON UPON HUMBER Ropery Hall

Sat 19 LONDON Ska Festival @ 100 Club (METAL BOX)

Thu 24 NOTTINGHAM Metronome

Fri 25 TODMORDEN Unitarian Church

Sat 26 EDINBURGH La Belle Angele (METAL BOX)

Sun 27 GLASGOW St Luke’s Church (METAL BOX)

MAY

Sat 17 ST HELEN’S Citadel Theatre

Fri 23 SOUTHAMPTON Joiners

Sat 24 CANTERBURY Gulbenkian Arts Centre (METAL BOX)

Fri 30 BRADFORD ON AVON Live Music Festival

Tickets available from www.songkick.com

Jah Wobble has “a job of work to do,” he proclaims right from the off tonight but, first, “If you’re English, can we have a moment’s uncomfortable silence?”. Comedy silence over, the bass maelstrom begins …” LOUDER THAN WAR

Jah Wobble was born John Wardle in 1958 – renamed by Sid Vicious who, under severe influence one night, struggled to pronounce his name correctly – and is an English bassist, singer and composer. He began his incredible 45+ year career in music as a founding member of Public Image Limited in 1978 with Keith Levene and former Sex Pistols frontman John Lydon and quickly became known for his distinctive and trailblazing bass, combining elements of dub, funk and world music. During his time with PiL, he played on the band’s acclaimed albums First Issue and Metal Box and collaborated with Keith Levene and Martin Atkins on a variety of side projects. He left PiL in 1980 to pursue a solo career, releasing his debut album The Legend Lives On … Jah Wobble In Betrayal, followed by a succession of acclaimed solo albums and collaborations with the likes of Brian Eno, Sinead O’Connor, Bjork, Holger Czukay from Can, Chris Connelly from Ministry, The Edge from U2 and Geordie Walker from Killing Joke. His work showcased his unique style and his interest in world music, particularly that of Africa and the Middle East, and his ability to blend diverse styles into a cohesive whole continues to receive accolades.

Wobble is also a prolific writer and author, having published numerous books on music, politics and spirituality, as well his autobiography Dark Luminosity: Memoirs Of A Geezer which was expanded and reprinted by Faber last year, earning wholesome praise from The Times Literary Supplement and The Independent amongst others. He is also renowned for his interest in Eastern philosophy, having written extensively on the subject. As a musician and artist he remains highly influential and continues to make a significant impact on the world of music and beyond, ensuring his status as an original and important figure in the history of the arts. He has stories to tell and recounts them with charm, with humour and with honesty. One of his most recent solo albums, The Bus Routes Of South London, was written and recorded on … buses in South London. Of course it was.

Legendary hardly begins to cover it …

WEBSITE: www.jahwobble.com

TICKETS: www.songkick.com

BANDCAMP: https://jahwobble.bandcamp.com

INSTAGRAM: https://www.instagram.com/real_jah_wobble/

FACEBOOK: https://www.facebook.com/Jah.Wobble.Music/

TWITTER: https://twitter.com/realjahwobble

Indie music isn’t the first genre that comes to mind when we think of RPM Online, but there are times a band pops up and leaves such an impression that you want to let others know about them, especially when I know our readers also have diverse tastes. Long Island was a brand-new name for me in the last quarter of 2024. Based in Huddersfield, it appears they released their debut album two years ago which is now on my list of albums to hear. This mini album or EP came out a few months ago. The band had popped up as a YouTube recommendation one night when I was looking for new music. The algorithm on there and I have made some great discoveries over the years, and this has definitely been one of them.

The first songs I heard from this release carried a bit more power to them than others on here. Rhiannon Stephenson’s vocals carry a sense of urgency on the rocking ‘Want It More’ where Cameron Conner lets loose on lead guitar too. That was my first introduction to the band with the follow-up song on this release ‘Get Up and Go’ the next one. Stephenson’s lyrics hit the soul and remind us of times in the past (for me) when we didn’t feel like we were in the right place in life. She feels like the voice inside your head that helps us push forward when we feel the darkness around us. I love the guitar riff in the song, and this one currently stands as my favorite here. There is a pop sheen in the hook of the chorus and a wash of guitar that provides the perfect sonic backdrop for the vocals. Conner’s production and mix is stellar across the entire release.

I would not be recommending this whole EP if the two prior songs were the only standouts here. If we circle back to the beginning, this release starts with the poppy ‘It’s Our Time’ where the band unleash a lush sounding first track to bring casual listeners in to hear more. Ironically, I would say this has been more of a grower for me. Imagine one of the peppier songs by the Cure if they were having a good day and wanted to share the good news. I know that sounds off the wall but try to imagine it or better yet listen to this album. The backing vocals hit a sweet spot here too. Another of my favorites has grown to be ‘Just Another Day’ where the tempo is a swirly slower beat providing Stephenson an opportunity to shine. The organic feel across these songs feels very natural with Jan van Beem’s drums driving the songs and making me want to hear the band live. Bass duties have been split on this release between Jack Peters and Paddy Spence-Lewis.

If you read the title ‘Daydream,’ you may think of something that has a massive pop infusion, and you would not be wrong. If there is one song that does not fully connect with me, it is likely this one, but I don’t think I would be the primary audience here either. It is a solid song for me and one I would more expect to hear in a club before the lights come back on in full again. Things slow down for the beginning of ‘Homewrecker’ which is another emotional powerhouse. Emotion and genuineness drip off Stephenson’s vocals drawing you closer to the speaker. I am reminded of the time I was lucky enough to see the band Rural Alberta Advantage live, when they started a song in a similar manner, and you could have heard a feather hit the ground because of how enraptured the audience was. This song then surges forward in an adrenaline rush and another solid hook.

Those songs lead us back to where we began and then we have the band close with ‘Young,’ a de facto title track. The tempo is again quicker here with the band closing with another winner that can connect with rockers and probably a younger audience who appreciate the more rambunctious offerings of Olivia Rodrigo. The line in the chorus about ‘missing the freedom of being young’ connects with an older person like me and also strikes a similar vibe to Tilly Kingston’s song ‘Youth is Wasted’ in sentiment. I could see the audiences of each artist appealing to the other.

A couple months ago or so, I had never heard of Long Island but was pulled right in as a fan of the band and what they are doing here. It might be the slightly harder songs that brought me into the fold, but it is the entirety of the release that kept me listening to this over and over again. Give Long Island a listen and appreciate what this young band is already doing. I look forward to seeing where they go next.

‘The Freedom of Being Young’ is available now. Buy Here

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Author: Gerald Stansbury

Whilst purging the late runners and riders of 2024 several EPs landed on the RPM desk that were enjoyed over the festive period and even played on the podcast and one of these EPs happened to be from Scandinavia who’ve been around for ages but has recently gone through plenty of changes and a freshen up so they decided to reintroduce themselves with a bite-size EP where they perform three old tunes and a brand new one as an introduction to the new members and shake off the cobwebs on some old hidden gems.

Joining Miqu, Eco and Kupe are Junza formerly of fishface on guitar and Samer on Bass duties formerly from Lordi so on with the show and opening track ‘Motorhome’ which was originally done in 98 and sounds like it could have been written yesterday. With its carefree guitar lick and happy-go-lucky tempo is a great slice of sleazy Rock n Roll helped with a great production. ‘Bad Ballerina’ is a new song with some bad boy boogie and a fair sprinkling of piano for good measure to add some timeless Rock n Roll to proceedings.

‘Subway’ has a quicker tempo and was originally from Miqus band Indian Giver with plenty of swagger and a bad attitude it has groove and a killer chorus. the EP is closed off with ‘St Babylon’ that’s more Glam Rock than the others with a big hook and was written thirty years ago (Yikes) the breakdown would have seen this a chart bothering tune in the late 80s but we live in very different times in 2025. So there you have it, a new, old EP from Plastic Tears and a process that the band hints at possibly repeating in the future when old songs get a dusting down and reworked for the modern age.

I like Plastic Tears and hopefully, this new lineup can deliver a new LP and who knows some shows in this neck of the woods.

Buy Plastic Tears Here

Author: Dom Daley

Great things come to those who wait. I first heard Sons of Silver almost a year ago by my best guess when their video for ‘Tell Me This’ was released.  It has been a long process waiting for their debut full-length album to be unleashed into the world. There were an additional three songs released leading up to the album, with each single building high hopes for the album. The band pull influences from different parts of the rock genre but really bring rock ‘n’ roll in general to the forefront of the conversation.

‘Tell Me This’ kicks off the album and has reminded me a bit of an old band called the Royal Court of China from the 80’s who could never be really put in a specific musical box. The lead guitar (Kevin Haaland) here is excellent and does not let up throughout the song. Vocally, Pete Argyropoulos (also guitar) has a lower tone that may contribute to my musical comparison, but he could also be compared to the likes of Billy Idol or Ian Astbury as he showcases some different tones across the whole album. The previous singles from the album follow in the order they were released so the groovy ‘Just Getting Started’ follows as another punchy singalong winner. It was the third single that originally sent my expectations through the roof as ‘Giving it Back’ recalls the Cult crossed with prime Billy Idol type rock. The guitar work is subtle and masterful through the verses with a chorus that automatically connects with your memory.

As good as the first three singles were though, it is the last single released at the end of 2024 that connects at a primal level. ‘Running Out of Words’ slows the pace a bit and becomes a midtempo rocker that does not waste one second across its six-minute duration. The album always takes me more than its running time to play because this song keeps getting put on repeat. Musically, it builds into a monster of a chorus, and the lyrics really relate to all of us who spend our lives working as hard as we can and encountering tremendous challenges along the way. This song would fit perfectly on classic rock radio stations and modern rock stations. I can safely say this will be one of my favorite songs of the year. Incredibly, the band close out the first half with another gem that doesn’t suffer in the shadow of what comes before it. I would not be surprised to see Little Steven’s Underground Garage make ‘Baby Hang On’ one of its ‘Coolest Songs in the World’ at some point in 2025. The keyboards (Brina Kabler) pop up a bit more here in the mix, and the hand clapping at points in the song are an awesome touch.   

After a monster of a side one, the band faced an incredible challenge to deliver a worthy flipside. ‘Ghosts’ provides a great start with a slow build turning into a rocking song that channels a bit of the 80’s arena sound but with a very modern touch. The rhythm section of Adam Kury (bass) and Marc Slutsky (drums) are another strength as these songs all have a great foundation. It is also worth highlighting that the songs all sound like the same band without sounding like each other. There is a high note hit in the bridge here that gives the song an extra boost before the guitar solo. ‘Nobody Minds’ delivers another quality rocker with my favorite part of the song being the dynamics created by the transition from the verses to the chorus. The band increases the tempo a bit (still rock ‘n’ roll not metal or punk mind you) with ‘Warning Signs’ providing a catchy three-minute blast of fun.

As we approach the final two songs, the band decide there will be no let up in quality across these ten songs. ‘Hold Tight’ is another near six-minute epic that increases in intensity for over a minute before unleashing a melodic blast of a chorus that encourages solidarity with one another. The final minute of the song provides another slow build that ultimately leads to a furious close by Slutsky. The band save the ballad for the final song with the piano led ‘Friends’ providing a perfect close to the album. The subtle changes throughout the song are perfectly done as the lead vocals have great nuances when we transition through the verses and chorus. The band also wisely avoids the power ballad route here and provides just the right amount of build-up through the song.

Sons of Silver have gone for the jugular here with a rock ‘n’ roll album that combines the past, the current, and likely the future into a collection of 10 songs that sit perfectly together. The production work allows the players to shine and stand out in the mix. It’s only January, and I have two albums (Frankie & the Studs for those keeping track at home) that will probably be battling it out at the end of the year with only a few others in a year lined-up with anticipated albums. Check this album out when you get a moment, and, if you don’t have a moment, make the time to have one.

‘Runaway Emotions’ is available now.

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Author: Gerald Stansbury               

Clean Lines – when Steve E Nix says he wants to join your band you know you must be onto something right? Right Clean Lines are something of a supergroup in underground power pop punk rock circles and in a perfect world, they would be fuckin huge. From the opening slam dance of ‘Nuisance’ through its chaotic party on the patio vibes through the sloppy Thunders soloing it’s a joy to your eardrums. Described as Brat Rock is just about the perfect description for this ensemble of seasoned Rock n Rollas it’s a snotty, confident, joyful romp through four awesome tunes. Sure I’d have loved to hear a whole LP full of this shit but like the old adage says keep it lean and keep em keen and less is more and all of that.

The opener sets the tone and rattling out of the gate hot on the heels is ‘So Sharp’ which is exactly what it is. Sharp in name sharp in nature. You wanna pogo on the spot and you’ll be singing the chorus before the “ooh ahs” are done and the floor tom rattles that backbeat. Majestic stuff. The retro clock is turned back to the mid-70s for some Glitter band handclapping foot stomping thumb in yer jean loop dancing whilst the likes of Sweet n Rockpile fill yer stereo speakers.

We manoeuvre from the sub-two-minute burst of energy in the title track opener to this uber-cool groover that clocks in at over four minutes. Before we sign off with another burst of frantic bratty rock  ‘In The Way’ which is a song that gives you a swift clump around the ear as it flys out the door from the frantic twelve bar to the Chuck Berry licks and one-finger piano plonking its breathtaking stuff and exactly what you need to shake off the cobwebs from Christmas and new years and welcome to 2025 and hopefully, the first of many tunes from Clean Lines.  Just buy it!

Spaghetty Town Records Ghost Highway Records Wanda Records

Author: Dom Daley