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Wonk Unit – ‘Good Good Glad to Hear It’ (Pirates Press Records)

Wonk Unit – ‘Good Good Glad to Hear It’ (Pirates Press Records)

There’s no one quite like Wonk Unit, and with the release of ‘Good Good Glad to Hear It’ their eighth studio record to date (and first for new label Pirates Press) they are back to prove it all over again.

I really don’t think there’s any other band out there that can deal with the subjects of; the downward spiral of addiction, the thrill of watching late night horror films, the reality of 14 years of right-wing politics in the UK (“SodaStream fuck off”), and the joys of being a father, within the first four songs on their record, and still have you guessing what might be next (it’s another song about horses just in case you were wondering). Then again, that’s exactly why each new Wonk Unit record is such a unique event on the release calendar.

It’s been four years since ‘Uncle Daddy’ so ‘Good Good Glad to Hear It’ has been a long time coming, and the fact that it’s being released in the run up to Christmas actually makes me feel like this year is perhaps going to be one the best in many a year.

That’s because Wonk Unit are a band that can connect with their audience on so many different levels, be it the rage of those opening trio of tunes the (debut single from the record ‘Rapidly Declining Dignity’, ‘Now That I’ve Grown Up’ and ‘Luxury Flats’) or the fragile vulnerability of ‘Overwhelmed’ (the song about fatherhood), there is pretty much something for everyone on ‘Good Good Glad to Hear It’.

Now settled as a six piece with guitarists Ryan and AJ along with drummer Max locking in with keyboardist Vez and Wonk Unit lifers Alex and Pwoison this time around the gang switch effortlessly from the country honk of ‘Shiny Horses’ to the double time synthy powerpop of ‘The Thickest Skin’ before the almost music hall lament of ‘Complicated Girl’ brings to mind Madness at their chart bothering best, and all within the space of eight minutes on a record packed full of  Wonkness.

Longtime co-producer/engineer Andy Brook once again works his EQ magic within the groves of ‘Good Good Glad to Hear It’ helping the band to retain an underlying pop edge on tunes as they flip between musical styles as the jaunty cockney knees up of ‘True To Who I Am’ followed by my favourite song on the record ‘The Oldest Chiche’ fully illustrates.

In saying that, I get a new favourite song with each new listen to ‘Good Good Glad to Hear It’, so just like with the last few Wonk Unit LPs there’s more than just the mosh pit bangers for you to get your teeth into, and in album closer ‘Stage Fright’ the band have written perhaps their most audacious tune to date.

As I said at the top of this review there’s no one quite like Wonk Unit, now what I wouldn’t give to hear St Winifred’s School Choir singing that, at this time of year, eh? Perhaps we could have them doing it on the next Wonk album – what do you think Alex? If you can get them out of the crack house that is.

Either way, ‘Good Good Glad to Hear It’ is out now on CD and vinyl, and you can buy it here

Author: Johnny Hayward

‘The Clash: A Photographic Monograph’

‘The Clash: A Photographic Monograph’

Rufus Publications is pleased to announce the publication of ‘The Clash: A Photographic Monograph’ featuring the photographs of Adrian Boot and the words of Chris Salewicz. 

As Chris Salewicz says in his introduction, “The Clash were the garage band that grew to stadium status. The Clash – as befitted the art school backgrounds of Joe Strummer, Mick Jones and Paul Simonon, the three front men – lived in the gap between art and life. Spearheading – at first with the Sex Pistols – that huge shift in the culture of the British music scene brought about by punk rock in 1976, The Clash exploded a colossal artistic change that lingers to this day, virtually half a century later. 

Joined by drummer Topper Headon, an enduring part of their truth, they became one of the very greatest of British groups; with an abiding and palpable impact on global youthful rebellion, through the course of five extraordinary classic albums, the highly intelligent The Clash changed how people thought, laterally educating them through their own broad interests. 

Driven by the unique skills of Joe Strummer, Mick Jones, Paul Simonon and Topper Headon, their shows were the best, the warmest, the most involving and the most enjoyable rock’n’roll shows you had ever seen. They were also the most human. 

The band’s popularity and influence has grown significantly over the last 20 years, continuing to win new followers with every generation of music fans. ‘The only band that matters,’ cleverly ran their American record company’s tagline for The Clash. And guess what? They were. 

Adrian Boot had honed his photographic skills in the early 1970s in Jamaica, shooting not only local roots artists but also the Rolling Stones when they were recording their Goats Head Soup album on the island. In other words, he had his feet in two of the camps that were The Clash’s foundations; reggae music and outlaw rock’n’roll. 

He was the ideal photographer to shoot The Clash. Judge for yourself. Here it is.”

‘The Clash: A Photographic Monograph’ features hundreds of carefully scanned and restored images, documenting the band on location shoots in London and Belfast, live on stage, relaxing with family and friends and the period after when Joe Strummer appeared in the film, Straight to Hell and Mick Jones formed Big Audio Dynamite.

The 260 page hard back book is available to order in three editions: The standard hardback book edition, measuring 246 x 346mm and printed on 170gsm art paper, sells for £89 plus shipping. The Deluxe Edition is quarter bound in pink Skivertex® Galuchat, a leather substitute material,  and is a numbered edition of only 300 copies personally signed by Adrian Boot and Chris Salewicz, presented in a luxury slipcase with a unique giclée print, created by photographer Adrian Boot. Each book is page edged in pink and sells for £199 plus shipping. Finally an ultra limited Super Deluxe Edition is also available, with just 100 numbered copies worldwide. This super sized A3 book comes with an A3 print and is housed in a beautiful Clamshell case with a large giclée print created by Adrian Boot and sells for £399 plus delivery.

The book can be pre-ordered at https://www.rufuspublications.com/punk-alternative/theclash 

Will ship at the end of March 2025. All pre-orders placed before the end of January 2025 will be discounted by 10%.

Thin Lizzy release ‘Slow Blues E.B. (Acoustic Version)’ from their forthcoming ‘Acoustic Sessions’ Album (out Jan 24th 2025)

Thin Lizzy release ‘Slow Blues E.B. (Acoustic Version)’ from their forthcoming ‘Acoustic Sessions’ Album (out Jan 24th 2025)

THIN LIZZY RETURNS WITH FIRST NEW ALBUM IN OVER 40 YEARS: ACOUSTIC REWORKS OF THEIR CLASSICS

‘ACOUSTIC SESSIONS’ TO BE RELEASED JANUARY 24TH, 2025 VIA DECCA 

WATCH THE NEW VISUALISER FOR ‘SLOW BLUES E.B (ERIC BELL ACOUSTIC VERSION)’ HERE: 

Limited Edition Marble Vinyl Now Available – Pre-Order all formats HERE:

Thin Lizzy is back with a fresh take on some of their most iconic tracks, marking their first new release in over four decades. This unique acoustic album reimagines beloved songs, offering a stripped-back sound that exposes the core of their songwriting. Original vocals from Phil Lynott are paired with brand-new guitar parts from founding member Eric Bell, creating an entirely new listening experience for fans. ‘Acoustic Sessions’ is released January 24th, 2025 – via Decca.

Producer and mixer Richard Whittaker, working alongside Eric Bell, went to huge lengths to use the original tapes, vocals and instrumentation with the only new addition being Eric’s fresh acoustic guitar parts which were recorded with him in Belfast at the Oh Yeah! Centre Studios, a unique celebration of Irish artists and their craft.

Each track on the album is a freshly created version of songs featured on either the 50th-anniversary super deluxe editions of ‘Vagabonds Of The Western World’, considered Thin Lizzy’s breakthrough, alongside their self-titled debut and ‘Shades of a Blue Orphanage’.

Following the recent unveiling of the new acoustic version of ‘Whiskey In The Jar’, their first UK Top 10 hit, Thin Lizzy are releasing a brand-new version of ‘Slow Blues’, originally featured on the band’s 1973 album ‘Vagabonds Of The Western World’. Drummer Brian Downey, the only member to have played in every iteration of the band alongside Lynott, co-wrote the original version of ‘Slow Blues.’ His powerful, orchestral drumming created a distinctive bridge in a song that fused gritty blues with subtle jazz influences.

The newly recorded ‘Slow Blues E.B (Eric Bell Acoustic Version)’ showcases a seamless blend of past and present, featuring fresh electric and acoustic guitar parts recently laid down by founding member Eric Bell at the Oh Yeah! Centre studio in Belfast. These new recordings are layered with Phil Lynott’s original vocal takes and Brian Downey’s authentic drum tracks, creating a rich and timeless sound. This innovative approach reimagines Thin Lizzy’s classic material by combining period-correct elements with modern production, delivering a unique listening experience that fans have never heard before. It’s a groundbreaking way to breathe new life into the band’s legacy while staying true to their roots.

This album marks the first time since Bell’s exit that he has recorded under the Thin Lizzy name. Fans can now experience what might have been their “MTV Unplugged” moment—a chance to hear the band’s timeless music in its most intimate form.

For dedicated fans, a D2C edition includes an exclusive bonus track, “Slow Blues G.M,” a tribute to Gary Moore, alongside acoustic versions of these classic tracks:

• Mama Nature Said (Acoustic Version)

• A Song For While I’m Away (Acoustic Version)

• Eire (Acoustic Version)

• Slow Blues (Acoustic Version)

• Dublin (Acoustic Version)

• Whiskey In The Jar (Acoustic Version)

• Here I Go Again (Acoustic Version)

• Shades Of A Blue Orphanage (Acoustic Version)

• Remembering Pt. 2 (Acoustic Version)

• Slow Blues G.M (Gary Moore) (Acoustic Version)

The album will be available in both CD and limited-edition marble vinyl formats, along with an ultra-limited vinyl edition featuring an exclusive bonus track. Don’t miss out on this once-in-a-generation release from one of rock’s most beloved bands.

Order Now:  https://thinlizzy.lnk.to/TheAcousticSessions 

CJ Wildheart – ‘Slots’ (Self Release)

CJ Wildheart – ‘Slots’ (Self Release)

He may be out of the Wildhearts for good, but CJ Wildheart still

carries that monicker for good reason. He was always more than just Ginger’s sideman and has proven over the years that he can hold his own as a songwriter, a singer and a frontman.

From the likes of Honeycrack, The Jellys and his decade of solo albums, CJ has carried a torch for punky, pop music, where the guitars are loud & raw, the vocals abrasive and the melodies are as sweet as a sugar-coated lollipop. 

With not an acoustic guitar in sight CJ Wildheart offers us an early look at his brand-new long player ‘Slots’, and with long time drummer Jason Bawld behind the kit and Dave Draper on production duties, I am expecting good things. 

Opener ‘Another Big Mistake’ is an anthem that sets the bar at a frantic pace. Pummelling beats and a wall of distortion lead to an earworm of a chorus you’ll be shouting from the rooftops for weeks. 

If you’ve any doubts about CJ’s songwriting suss then first single ‘The Baddest Girl In The World’ will put you straight. With crunchy riffs aplenty and a chorus as instant as a Costa cappuccino, it’s an instant (sorry!) winner. 

Raw, snotty and unadulterated, yet always melodic, the 70’s punk influence is prevalent throughout ‘Slots’, especially on the likes of ‘Beg’ and ‘Coma’. Side 1 ends with the more commercial feel of ‘The Kids’, with CJ giving more than a hint of a cockernee snarl going on, which is nice.

Drop the virtual needle on side 2 and we are treated to a cover of The Jam classic ‘In The City’. An Iconic riff and an iconic song. This is a raw version brimming with an energy that fits the feel of the album perfectly.

‘Bent’ is an acerbic assault on the senses, as vocals and pummelling drums flail around and vocals are spat with defiance. 

‘You Got The Best Outta Me’ is an instant classic on first listen for me. A euphoric burst of energy with a memorable chorus that nods to the likes of Stiff Little Fingers or The Clash at their ferocious best, love it.

The title track could be a Wildhearts B side (and we all know how good they could be). With a hypnotic refrain, a certain juxtaposition of heaviness and melody that only the likes of The Wildhearts can capture, it’s no real surprise it became the album title. A glorious noise indeed. 

The album closes on a high with the familiar riff of ‘I Don’t Know What It Is’. A killer chorus refrain brings the party to a close with cheering and shouting to fade. 

It’s certainly a short, sharp shock to the system. 10 songs delivered in 30 minutes, job done!

Holding the flag high for independent artists, it’s another killer collection of songs from a man standing out from the shadow of his former band. 

Treat yourself to an early Christmas present and hit that link below to pre-order. I know I will.

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Author: Ben Hughes

The Flaming Sideburns – ‘Rocket Science!’ (Svart Records)

The Flaming Sideburns – ‘Rocket Science!’ (Svart Records)

Way back in the day Garage rockers The Flaming Sideburns made records for fun and they are as hard to find as hens teeth so having them all on one neat compilation album is a no brainer and seeing as the band is on ice for the foreseeable This will do just nicely.

This carefully curated collection, put together by the band and Svart Records, features a total of 13 studio recordings from 1996–1999, three of which are previously unreleased, while the rest appeared on sold-out limited releases around the turn of the millennium.

Back in 1999 and The Flaming Sideburns went to New York for a recording session before returning to Finland. While on tour, they verbally signed a record deal with Bad Afro in Bellingham at the Garageshock festival. As a result, we had that first ‘official’ album the classic ‘It’s Time To Testify…Brothers & Sisters’ the band’s singer Eduardo Martinez, points out that this release is something of a watershed moment for the band which is why it’s finally getting a release in January 2025.

There’s such a cool live vibe on the opening four tracks that were recorded in sessions back in NYC they absolutely nailed the reckless abandonment and garage rock sound perfectly hitting the familiar groove that sounds so cool and fresh even to this day all these years later. ‘Spanish Blood’ hit the ground running with a loose feel but those guitars hit the spot. There might be every garage MC5 cliche known to man happening here along with some (Flamin) Groovie licks and melodies ‘Do The Bama Lama’ is a band having fun.

By the time the band headed back to Helsinki and recorded a magnificent version of ‘Lucille’ they were getting the groove on and the saxophone on this one is super sleazy to accompany Martinez’ awesome screams. The first three songs on side two are previously unreleased with ‘Walking Dynamite’ giving early Hives a real run for their money. To be fair when they covered ‘Suzie Q’ it’s a feedback howling jam of the highest order from Martinez Iggy drawl to the guitars trading licks n fills its a banger as the kids would say.

It’s a no-brainer for Garage Rock fans or Flaming Sideburns fans, sure its not polished and very much Lo-Fi stuff but a fascinating and exciting collection for sure with the band nailing their covers to the mast and showing what’s inside their soul to great effect. I hope the band are chilling whilst being put on ice but don’t leave it too long before they reconvein and kick out the jams once more. I love some Flamin’ Sideburns. Buy It!


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Author: Dom Daley

Ugly Mac Beer – ‘Broken Ill’ – ‘(X Ray Production)

Ugly Mac Beer – ‘Broken Ill’ – ‘(X Ray Production)

French hip-hop producer Ugly Mac Beer, has been in music for over twenty years and on ‘Broken Ill’ he decided to go back to the beginning and his passion for synth punk. Three decades later, he brings to fruition an album he has dreamed of making since the age of 16, adopting a “Rick Rubin style” in its creation and production. “Broken Ill” is all over the place musically but its roots are very much in Gothic post-punk with a throbbing bassline front and centre whilst breakbeats and synths pepper the songs in every direction. post-punk, electro-punk, darkwave, and ew wave, while still maintaining its roots in US hip-hop, with a significant touch of rap rock is how Ugly Mac describes it and who am I to disagree?

Often a headfuck but a compelling and interesting listen it reminds me of Suicide (of Course) as well as a playful Joy Division in parts and darker Marc Almond whilst the throbbing Basslines are ever present like the glue that holds this all together whilst the synths twitch and ding from speaker to speaker messing with your head.

Mac Beer’s influences are heard throughout the album, from the Beastie Boys to The Cure, and including Kraftwerk and Sleaford Mods. In terms of collaborations, Ugly Mac Beer has enlisted a diverse array of rappers from various backgrounds. Among them is the iconic Princess Superstar, a prominent figure in the 90s underground scene, whose hit track “Perfect”, released two decades ago, unexpectedly resurged on TikTok, sparking excitement and eventually securing a place on the 2024 Billboard Charts. It even underwent a remix by David Guetta himself. Additionally, Mac Beer has teamed up with French rapper signed to Kitsuné, Mynameisleonidas, who has contributed to a significant portion of the album. Other collaborators include the singer from the French punk band Frustration and Mac Beer’s longtime collaborator and friend, The Real Fake MC a.k.a OP18. With “Broken Ill”, Ugly Mac Beer, hip-hop beatmaker par excellence, surprises and delivers a solid rap rock album with a pervasive UK influence, inviting listeners into his ever-evolving, creative, and audacious universe.

Stepping well outside ones comfort zone is often a rewarding and terrifying move but on occasions, it will mess with your head and reward your heart – join me and check this one out.

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Author: Dom Daley

Inca Babies – ‘Ghost Mechanic Nine’ (Self Release)

Inca Babies – ‘Ghost Mechanic Nine’ (Self Release)

“Swamp rock, death rock, Gothic post-punk…?” As Inca Babies say themselves, they’re not easy to pigeonhole. But, as ever, all that matters with a new album is “is it any good?”. Well, just as 2024 is coming to an end, this is another release that should be in your Top Ten of the year. Thankfully, I’d seen drummer Rob Haynes’ online post, proudly holding a vinyl copy of ‘Ghost Mechanic Nine’.

And the band should be proud. I’ll admit to being more familiar with Rob’s ‘other’ bands; Membranes and Gold Blade. And there’s some shared DNA with Membranes’ dark, brooding tunes here, though the riffs are perhaps more of a rock nature. I dived in, with no expectations, always useful. I was hooked straight away, from the title track onwards. There’s something here for fans of The Gun Club, Kid Congo and the aforementioned Membranes. I’m also reminded of Bone-Box, another link to Gold Blade, and it’s a relief that bands like this still exist.

I’m probably guilty of overusing “hypnotic”, but the tunes here really do get under your skin. ‘Insect Symphony’ being a prime example, with a lyrical nod to The Cramps and a way with a tune that recalls The Righteous Mind. ‘Augustus Tympan’ slinks along, dirty bass line and angular guitar, and ‘I’m Stayin Put’ has another upfront bass melody from Jim Adama. Harry Stafford has a great line-up here, it’s just tight enough while keeping a groove throughout.

‘The Exhaust Of Broken Dreams’ adds organ to the sound, it’s like a dream of Ennio Morricone twinned with The Specials. Special, indeed. ‘Spacewalk’ brings the twang, a darker version of The Hillbilly Moon Explosion, and ‘Mercury Is Down’ is punchier, a dark tale, “time to take a heavy ride…”

‘Deck’ is a shipwreck lament hooked to yet another effective bass line. It’s nice to hear the bass up in the mix, the interplay between bass and guitar across the album is one of its strengths. ‘Opium Dub’ broadens the soundscape, Spaghetti Dub, perhaps?

I don’t know what long term followers of the band will make of it. I have yet to explore their back catalogue. But with this, their ninth album, they have a new fan. Judged on its own merits, it’s a dark gem.

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Author: Martin Chamarette

Michael Monroe tours UK in 2025

Michael Monroe tours UK in 2025

After a handful of well-received shows this winter Michael Monroe and his band of merry men will return to the UK for a proper tour hitting Scotland, Wales, Northern Ireland and England. Tickets will be out Friday 6th December for what will be an awesome run of shows next Summer. Let’s sell out these dates and show the band that the support is out there for one of the most exciting bands currently treading the boards. Links for tickets below.

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22nd May 2025 – Newcastle University

23rd May 2025 – Glasgow

24th May – Belfast

26th May – Southampton

27th May – Brighton

28th May – Bristol

30th May – Swansea

31st May – Buckley

1st June – Call Of The Wild Festival, Lincoln

Bad Shout – ‘Volatile’ (Repeat Records)

Bad Shout – ‘Volatile’ (Repeat Records)

The sound of the underground is alive and well in South Wales and spearheading this particular charge are Cardiff Punks Bad Shout who gallop into pole position with this absolutely stonking EP ‘Volatile’.

Based in Cardiff, Formed in April 2022, influenced by the likes of DKs and classic 77 punk to DC hardcore and garage rock bands the list is exhaustive but I’m drawing parallels to Londons Los Pepe who also play Frantic, Frenetic riffs, snapping melodic vocals, hard-hitting Rat Scabies on Speed drums (with a feeling it could all fall apart at any second but its exciting whilst this runaway train steams down the tracks) and a Bass line that is like the glue to the whole thing. there are also comparisons to what has been going on down under with the likes of Grindhouse and The Chats. Its an attitude and a shared love in loud rapid rock n roll.

Frontman/guitarist Callum moved to Cardiff in 2021, with the aim of starting a band in a new city, having played in bands in London for five years. Things really started to click after meeting drummer Nathan. Since then, the band have played all across South Wales and the West of England and this new Repeat released EP should spur them on to bigger and brighter things and get them (more importantly) in people’s ears and on stages further afield.

Melody, Fuzzed Frantic riffs, thrashing manic drums and thumping Basslines is Bad Shouts MO. It sounds like they carry on what they do live into the studio it’s like a kid who’s had way too many Haribo sweets washed down with Energy drinks from Spar before drinking their first bottle of Mad Dog 20/20 then doing it all again because they can. ‘Do It Right’ is punk as fuck setting down a marker for the kids in the pit to build up a sweat. Don’t hang about though because these kids don’t have time to fuck about and hit the groove from the off. It’s like the Australian punk scene of Grindhouse and the souped-up Chats have rubbed off in old South Wales. Rather than do a guitar solo they have a groove on and jam at breakneck speed Bosh! done!

‘Find Out’ is faster again whereas ‘DoubleCross’ is as infectious as Covid with an insane melody. ‘Building ridges’ is the sound of a band in a hurry and if you snooze you will absolutely lose. ‘Keep Diggin’ is ninety seconds of sprinting on the spot whilst banging your head as hard as you can. Then to bring this to a close the title track is a progbustin two minutes plus of energy that sums up this band. If you could bottle the infectious good time that these songs create you’d be worth a fortune. Punk as fuck and producing the receipts to prove it Bad Shout are a good shout now get on board before they leave you behind. Buy It!
Time to hop on Bad Shout’s ‘Volatile’ Party Bus next stop oblivion! ding ‘fuckin’ ding!

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Author: Dom Daley

Lifer – ‘Lifer’ (Self Release)

Lifer – ‘Lifer’ (Self Release)

Keep A Good Heart Son is the opening track on what is a thoroughly impressive album from South Wales Old School Thrashers Lifer. Now I’m no expert on the genre of Thrash but sometimes it’s nice to step out of your comfort zone and dip your toe into some shark-infested waters and I do like Slayer and a few of the other heavier offerings and this is right in the same wheelhouse with some superb galloping riffs and well placed diabolical screams. Lifer are the real deal.  If these gentlemen were from Northern California then they would be a sensation however they’re not they hail from various parts of South Wales that have a rich heritage of knocking out some top Heavy Rock. These boys can chop those riffs with the best of em and if they need to slow it down like on ‘Man And Pigs’ they can chug out the Iommi riffs when it suits and in the vocal department they have a contender to the Bush-era Anthrax which isn’t a bad thing either.

From the opener they nail their colours to the mast and head into battle. The production is spot on with every corner carpet-bombed with riff-a-rama and pounding drums Lifer are having it large here. The grunt on ‘Imperious Delirious’ is huge and they effortlessly glide from the thrash to a more measured grunt. ‘Different Kind Of Plan’ is rapid and the intensity intensifies on ‘Born To Lose’ the Thrash reaches its pinnacle on ‘Rise Above’ which gives the listener a proper seeing to. Fuck you all indeed, a stinking attitude and all the better for it. Thrash with all the old school attitude and a breakdown to rival the mighty Hanneman n King for intensity – music to run through brick walls and face the toughest days.

‘Hallowed Be Thy Pain’ opens with some cotton-picking harping n delta blues before having a shot of defribulation for a mid-paced slice of metal where the twin guitars shine. To be honest I don’t want the Metal I just want to Thrash and these boys do it as good as anything Stateside here and when they let their hair down (Cough Cough) they cut loose and make some most excellent noise. ‘No Good Deed Goes Unpunished’ is battered out of the way by the steamrolling ‘Fire In The Hole’ which is truly Metal Thrashing Mad and I love the riff makes me want to invite the neighbours round for a circle pit followed by a wall of death before I chug some beers. I’m not even taking the piss I’m sold right here and Satan can’t have my soul because Lifer have got it.

After all the madness and Pwoper Frash it’s ‘Stone Widow’ that’s left to take this bad boy home in true Metal style from the dusty opening of voice and clean guitar the song winds its way home through stormy seas building with some monster riffs and soaring vocals taking us to the roots of Metal via some Sabbath patented Riffs and the last forty years of the heaviest Rock out there Lifer have delivered a compelling case for Metal album of the year and in time for Christmas as well. When these boys turn up the heat and Thrash like fuck they absolutely nail it. Get involved and get those horns in the air. These gents are so nice they’ve even recorded clean versions of four of the songs so they’re not totally satanic.

Lifer

Distrokid

Author: Dom Daley