As the guitar dive bombs into a familiar sound, I have to be honest I had a lump in my throat but as soon as ‘Wild West’ unleashed its histrionics on my ears, I quickly decided that it was a great way to celebrate an iconic and much-loved exponent of the six-string and what better way to celebrate a life loved than in his natural environment – on stage banging out great Rock n Roll at high volume. Bernie Tormé was a Rock n Rolla from the moment he stepped out right up to his untimely departure on the eve of his 67th Birthday.

Tormé chose to let his music do the talking and naming his final tour – ‘Final Fling’ seems hauntingly prophetic now. The shows each night proved time and again that the Irishman had lost none of his joy of playing live, every night was the same in that he gave his all and it was always  – loud, brash, energetic, and did I say loud? and honest.

What you had live was the definition of power trio and after the decision not to record any of the shows, the band regretted not doing so – so loaded the gear into a live room and set up one more time to run through a set of classics numbers, spanning Tormé’s career. Featuring classics from across his solo career, as well as nods to his days in Ozzy Osbourne’s band and Gillan, ‘Final Fling’ captures the essence of what made Bernie Tormé so special.

The set list is of such a high pedigree with barnstorming takes on classics like ‘No Easy Way’ from his Gillan era as well as a few excellent Ozzy takes on ‘Mr Crowley’ and especially ‘Crazy Train’ complete with some dazzling guitar wizardry from those fingers. But if I was to pick a favourite over all the covers and tips of the hat to his past I’d go for the stunning ‘Star’ but the band is on fire on ‘Can’t Beat Rock n Roll’ and the Gillan era Elvis track ‘Trouble’ and this take of ‘New Orleans’ which always lit up a Gillan set. To be fair Tormé’s CV is quite exceptional from Ozzy and Gillan through his solo work or having Phil Lewis do some of his best work with Bernie or his time spend with Dee Snider through his solo material and the quite exceptional GMT line up Torme certainly saw it, bought the t-shirt and quite possibly played on the record.

Blow off some cobwebs on your speakers by blasting out this ‘Final Fling’ its exactly how a live recording should sound and having no audience is as it should be so Rest In Peace Mr Tormé and make sure there’s a Marshall stack and plenty of speakers up there for when you need to plug in and play on. Turn this bad boy up and let it rip!

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Author: Dom Daley

Photographer Steve Gullick and musician-artist James Johnston join forces for a boundary-pushing dive into a world of soundscapes that won’t come as a massive surprise to fans of either work. The pair first met in 1991 and formed the Bender, but it was much later that they decided to work on some experimental music. ‘Everybody’s Sunset’ is the second album released under their own names and follows on from 2021’s ‘We Travel Time’. The pair throw in a melting pot of violin, organ, guitar, banjo, autoharp, harmonica, piano, synthesisers to create a mostly instrumental soundscape that is both warm and cold yet distant and claustrophobically intense and generally headfuckin experimental post-rock. 

Experimental, avant-garde and all the other cliches you can throw at them but these guys are pushing the envelope of the outer reaches of a genre not contained in the tight confines that we usually like to put our music in. I admit right here I’m a massive fan of Johnston be it his solo work and Gallon Drunk this is well outside of my comfort zone. One of my favourite albums is David Sylvian’s ‘Secrets Of The Beehive’ and this is way outside most of Sylvian’s soundscape work so fans of that would be able to picture where I’m at.

At times it sounds so fractured that it could be made up on the spot and improvised as the song unfolds especially the instrumental stuff. But it is dark and light and pretty much every other juxtaposed feelings it’s way beyond Reed’s darkness or Bowie’s Berlin records I like it when PJ Harvey takes you further away from the boundaries of indie or rock music. I admire what I would consider being a brave record and some artists draw you in and take you with them on that journey and James certainly has done that over the years. Songs with ‘Sleep’, ‘Silence’ and ‘Medevil Death Song’ in the title bring up all sorts of jovial connotations I’m sure but are all totally fitting on this record.

I admit Instrumentals on rock records are generally a big miss for me but at times on less conventional records I quite like a good soundscape here the songs are generally short except for the epic title track that clocks in a shade under ten minutes. Wheezing strings make way for a solemn piano and vocal and goes on endlessly towards its final breath, epic is the best word to describe it and a fitting song to end on. Outsiders looking in should give themselves up entirely and reap the rewards of the bleak darkness and glowing warmth of this record I’m sure at different times of the day it will be different emotions being pricked when ‘Everybody’s Sunset’ is spun. Check it out

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If power pop is your thing, The Speedways are already on your radar. And with this, their third ‘proper’ album, I’m running out of superlatives fast. Put simply, since ‘Just Another Regular Summer’, they haven’t put a foot wrong. Quite how Matt and the boys come up with so many ear worms, I have no idea.

‘Dead From The Heart Down’, from the first heartbeat, will have you hooked. It’s like the first time I heard the debut album by The Jags, the attention to detail is fantastic, but it’s the tunes that stay with you. ‘Secret Secrets’ is the kind of song that I wish Johnny Marr would write, the guitars weaving between the sweet backing vocals.

‘Shoulda Known’ is one of my favourite songs this year, another that should be on the radio. Here comes the key change…classic. 1979 was an amazing year for pop music, and The Speedways, while not chained to the past, have absorbed the very best bits of the era to create essentially timeless pop songs. ‘A Drop In The Ocean’ starts with a Kinks ‘So Tired’ which wrongfoots you before the song proper begins. Another slice of romantic pop.

Thirteen songs and no need to fast forward. That doesn’t happen often, and guitarist Mauro has plenty of experience in this from his time in Jonny Cola And The A-Grades. From ‘Kiss Me Goodbye’ to ‘Strange Love’, you can just immerse yourself in perfectly crafted pop. It sounds effortless, but really isn’t.

‘Weekend 155’ is this album’s ‘This Is About A Girl…’, taking the band in a slightly different direction, which satisfies more with each listen. The title track gets a bit funky, which reminds me of some of Hanoi’s early tunes, a big compliment! It’s subtle but classy. ‘A Song Called Jayne…’ is the kind of riff you try to write, but never quite manage. Unless you’re Matt or Mauro.

‘Monday Was The Start Of The Stars’, with its conversation intro, and ‘Summer’s Over’ provide melancholy, bittersweet moments, with a hint of Jimmy Scott in there somewhere. Class.

I’d be very happy to have written only ‘Taken’ or ‘Wrong Place, Wrong Time’, and would retire. The Speedways have written an album chock full of ‘em. You think I’m exaggerating? Listen, then order. Treat your ears. Undoubtedly ‘Power Pop Album Of The Year’.

Buy Here / Beluga Records

Author: Martin Chamarette

Beyond Nostalgia And Heartache –

One night around Gaff’s for a few drinks, Kit was sitting cross-legged on the floor and talking about an Aerosmith song she loved…the feeling it gave her…  “…it’s… it’s like… beyond nostalgia and heartbreak!” 

“What did you JUST SAY?” (all this over blasting tunes and half-filled glasses)

That struck me as an incredibly beautiful thing to say. I changed heartbreak for heartache so it sang better and there ya go…. I ran and wrote it!

It’s a song about yearning to find joy… the peaks and valleys of striving for something you love… the feeling of the chorus melody and those harmonies lift you to a place that reassures you… you can still reach out… even through the hard times… sometimes the idea is all you have. But it can be lifesaving and special.

Not losing the dream in the struggle.

Craig captured that feeling perfectly… with every first guitar there are a lot of papers to deliver AND a lot joy… To try… and love what we do.

The video has a lot of heart and special locations… like the street and area in Wood Green Jeannie was born into… the wonderful All Ages Records (allagesrecords.com) in Camden… Denmark Street’s Regents Sound (regent sounds.com) guitar shop in Soho right across the street from the 12 Bar Club where I once worked and played many times… Jeannie even plays a guitar close friend Olivia Airey (Bassist in Berlin metal band Maggot Heart) gifted her years ago… 

The band live footage was even shot in Camden Assembly (formerly The Barfly… where I  first met  my wife after a show on tour from New York)

It stars my daughter Jeannie… which brings it all full circle.

All in all a fitting last single and video for an album that has been so special for us… and sets up the forthcoming album nicely.

Album available at…

Bandcamp / Facebook  / Instagram – @richraganyandthedigressions

Rich Ragany & The Digressions are also playing SOME WEIRD SIN at The Finsbury this coming Friday alongside Continental Lovers and David Ryder Prangley … and it’s free!!!

Steelhouse Festival are elated to announce that the Saturday headliners for the 28-30 July 2023 weekend are now in place. Australian hard-rockers Airbourne are confirmed to make their Steelhouse debut, in their only UK festival show of 2023. With more truly exciting announcements still coming down the track, we also already have more incredible bands locked in right now, including Friday headliners Kris Barras, plus The Answer, Blues Pills, Florence Black, The Vintage Caravan, The Damn Truth, Austin Gold, Kira Mac, Empyre, The Cruel Knives and Jordan Red

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Over a decade has passed since the inaugural Steelhouse in 2011, and the Festival at the top of the mountain boasts not only the best views of any UK rock event but one of the most passionate, friendly and loyal followings. With a reputation for not only bringing in the biggest and best names from the international world of Rock, Steelhouse also understands the role it can play in throwing open its prestigious stage to the best of the new breed of bands. It all adds up to a compelling mix of classic and cutting edge, old and new, near and far –  in this announcement alone we have acts from Australia, Canada, Sweden, Northern Ireland, Iceland, England and the Steelhouse homeland of Wales.

Airbourne said, “Wales! What’s crackin!! Are ya ready to rock or what!! We’ve bloody missed you! We’re pumped to finally get our arses back up your way to rock your mighty Steelhouse! Tons of great bands on the bill, it’s gonna be a great summer weekend of boozin’ good times and Rock’n’Roll, can’t wait for it! See ya in July Welsh rockers!! Rock’n’Roll TO THE F*****’ MAX!!!”

Promoters Max Rhead and Mikey Evans said, “Australia – one of the hardest rocking countries on Earth…Its fine lineage of world-class artists is legendary, especially those whose names begin with the letter ‘A’!  And with that, we are so proud to bring Warrnambool, Victoria’s finest rock n roll machine, Airbourne to South Wales next summer… Theirs is a show that, in the greatest Antipodean tradition, carries maximum high-voltage, full-tilt, blood, guts and thunder… Everything is left on the stage. Their Steelhouse debut heads up this first round of announcements which is heavy on talent from around the globe. Canada’s The Damn Truth and Icelandic trio The Vintage Caravan also make their first trips up The Mountain whilst SH2023 sees the welcome return of Sweden’s Blues Pills and Northern Ireland’s, The Answer. Add to that the very best new talent from England as well as our very own local lads – the German stadium-strutting Merthyr massive, Florence Black, we’ve got a bill that rocks hard and that gathers the best of international talent in July 2023. There is a lot more to come, including another international, globally renowned artist who’ll be making their first Steelhouse headline appearance… 


So, once again let’s get ready to Rocio y Mynydd / Rock the Mountain!

As I load up the virtual player, I can’t help being drawn back to a time when oil lamps were/ are the thing, pulsing light shows that emphasized the psychedelic sounds coming straight out of the physical media. Those days of 60s Psychedelia where bands like The Chocolate Watch Band. The Strawberry Alarm clock, The 13th Floor Elevators, The Seeds, and even the Fledgling Stooges formed a real soundtrack to the times, songs for the Counter Culture, the coolest of Generations so to Speak.

Why am I waffling away about 60’s underground Psychedelia, lesser-known Garage rock on such a Hip website? Somewhere the cool cats browse? Somewhere bang up to date? The answers in the Title and the fault lies fully with the Fuzztones and this updated remixed and expanded version of Preaching to the Perverted. No this didn’t come out in the 60’s it was first released in 2011!!! And really should have formed part of everyone’s collection back then. But you now have the chance to reinvigorate your taste buds and enter the weird and wonderful world of the Fuzztones.

This LP as you listen now is really a teeny bit special and only with I think the passing of the 12 years almost since its release do you realise how important it’s impact has been on the underground now and how many bands have been influenced by The Fuzztones.

 It takes you through a history of Psychedelia, from the lighter opening tracks such as My Black Lines and Between the lines to the almost Garage Punk intro to Set me straight (It could really be Stiv Bators singing the opening), before we move into the Psychedelic Blues of Don’t speak ill of the Dead. That R&B and Psychedelia vibe further combines with a Harmonica straight out of Hell within Old. But when you slip into next up Leave your Mind Behind your fully in the Freak scene, before Bluegrass???? Takes the lead and the whole trip takes a really weird turn, this could have come straight out of The Legendary Shack Shakers songbook!!!!

Before you realise that time has stood still, the trips almost over and we’re dropping/sinking backward into Lust Pavilion. As the Music slows the pulsing images start to subside and we drift back into our own reality our time in the ether almost complete, we head to a finish with almost a gospel-led vibe within Bound to Please underpinned with some straight-up Garage Rock Soloing, before we flashback via a bastardised Jazz intro/outro via Come to Me.

Get on the Fuzztones trip baby, and become one of the converted but remember with every trip there’s an up and down time, this Bastard Pulses. Rises and falls and takes you to some really strange places, Enjoy the ride.

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Author: Nev Brooks

OUT FEBRUARY 17th 2023 ON HELLCAT RECORDS

UK punks Grade 2 announce their third studio album eponymously titled ‘Grade 2’ today, due for release on February 17, 2023 via Hellcat Records.

Their most representative work yet, the record is a thumping fifteen track tour-de-force melding the uncompromising ethos of punk with the howl of contemporary injustice, personal identity, and frustrations of Gen-Z youth, authentically told by three lads with punk coursing through their veins.

Grade 2 also share a new music video for “Under The Streetlight” ahead of the album. The high-energy track with a spirited, hopeful melody comes with a feel-good music video that praises the power of community. The band comments, “Even though there are times when life can feel stagnant or things aren’t going to plan, there will always be people there to support you whether it’s mates, a partner, or your family.” Watch the video below!

50 years after the genre turned the music world upside-down, UK based Grade 2 are bringing the raw power of old school punk to a new generation. United by a love of old-school punk, ska and oi, childhood friends Sid Ryan (vocals, bass), Jacob Hull (drums) and Jack Chatfield (guitar, vocals) formed the band at fourteen years old, honing their craft playing Clash and Jam covers before refining their own sound. With an album and EP already under their belts, in 2018 the trio signed to Hellcat Records – helmed by Rancid’s Tim Armstrong – and put out their 2019 record ‘Graveyard Island.’ After getting invited to work at Armstrong’s Ship Rec Studio for Grade 2, the band was stoked to be back.  “Returning to Ship Rec Studio resparked that magic dynamic,” says guitarist Jack Chatfield. “When we’re in there I feel like we reach our full potential. Tim would offer tweaks and tips for some songs, while others he’d compliment the first time we’d play them.”

Melding the near-mythical musical heritage of their native Isle of Wight with the humdrum reality of growing up in a tired seaside town, Grade 2 spit out blistering punk music laced with passion, angst, humor and despair. With a commitment to the cause, lead single ‘Doing Time’ is a thunderous hardcore punk track screaming “Spoon feed me corporate lies; I left that place with a noose to my neck.” Frontman Sid Ryan explains, “Like everyone else, 2020 left us proper fucked off.” He continues, “Yet we were able to channel every ounce of that despair into every second of this record.”

What results is a bone-crunching 35-minutes that agitates, intoxicates and liberates in equal measure. The trio is famed for blistering live performances and exceptional musicianship, and they have successfully packaged the essence of their live show in the limited format of an album. Tune in and turn up. Here’s a record to rattle your bones, stir your heart and have you singing till you’re hoarse like it’s the first day of punk.

Grade 2’ Tracklisting

1. Judgement Day

2. Fast Pace

3. Under the Streetlight

4. Doesn’t Matter Much Now

5. Midnight Ferry

6. Brassic

7. Gaslight

8. Don’t Stand Alone

9. Streetrat Skallywag

10. Parasite

11. It’s A Mad World, Baby

12. Doing Time

13. Celine

14. See You Around

15. Bottom Shelf

Watch Grade 2 live on tour at the following UK gigs in 2023. Tickets available now.

March 7th, 2023 – The Lexington, London

March 10th, 2023 – Louisiana, Bristol

March 18th, 2023 – Classic Grand, Glasgow

March 19th, 2023 – Star & Garter, Manchester

FOR MORE INFO ON GRADE 2 VISIT:

WEBSITE | INSTAGRAM | FACEBOOK

It’s been a while since I dipped into the Ruts DC sound, even longer since I caught them live, way back in the Melkweg in Amsterdam with Johnny H and in truth a break from a Brutal afternoon of Gimp Fist, Lions Law and Discipline!!!

But on to this baby, welcome to One of my Favourite LPs of the year so far in a year that’s had some real blinders. A reminder of the times we’re living in, while also reminding us that Punk has a voice, and sometimes it just has to be listened to.

Opener Faces in the sky is one of the strongest openers to have hit these ears in a while, then Caught in the Kill Zone just moves it up a gear!!! That guitar sound that we all love front and centre.

Next up X-Ray Joy, shifts sound and focus, much lighter before things again move up a gear the sound just washes over you, drawing you in deeper and deeper. There’s the merest hint of a reggae skank to the beginning of The Question is before that Bass run takes over and that stabbing punk guitar nudges you reminding you of where the Ruts come from, where the sound is grounded, a societal scream of anguish, a story waiting to be told. Born Innocent gives you that hint of a dub reggae opening before the message in the lyrics stands tall and we move into some gorgeous lead guitar work.

Next up Counterculture again draws on that Ruts heritage, the guitars picking at you, “Whatever happened to the Counterculture?!” standing tall as a vocal refrain, probably standing up as my fave track on the LP. Too Much has an almost soft rock intro before that’s put firmly in its place and we’re back into that guitar sound we all know so well.

Truth be told there isn’t a weak track on this LP!!! Definitely, an LP for the times we’re struggling to survive in, led by the latest Tory Austerity measures, paying astronomical bonuses to the bankers (Give it 5 years and we’ll be bailing them out again) with Energy suppliers bleeding us dry, more than ever we need to turn and embrace the Counterculture, giving that light of Hope that music provides.

Fair play what an LP!!! Get in there!!!

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Author: Nev Brooks

With a fevered local following, a slew of memorable shows with cult bands including Last of the Teenage Idols, Gunfire Dance, and Red Dogs, in much-missed U.K. venues like Cardiff Bogiez, Doncaster Jug, and Birmingham’s Edwards No. 8, and a deal agreed with South Bank Studio (who released the debut Manic Street Preachers single, ‘Suicide Alley’) for a four-track 12-inch single, South Wales lowslung rock ‘n’ rollers, SISTER MORPHINE, appeared to be about to climb onto the next rung on the ladder to success. As a song once told us, however, it’s a long way to the top (if you wanna rock ‘n’ roll) and, after operating from 1989 to 1991, the planets failed to align and the band members went their separate ways… until now!

Things got weird for everyone during the pandemic, so much so that the rediscovery of a bunch of three-decade-old audio cassettes didn’t seem that much of a big deal; but for the former members of Sister Morphine this find provided the catalyst for a most unlikely of reunions. The tapes contained long-lost songs – some only existing in rough rehearsal form – that the band members (guitarists, Jamesy and Jonesy – later of experimental collective, The Friday Night Sound System; drummer, Denley Slade – who has shared stages with everyone from Blondie’s Clem Burke to Cherie Currie of The Runaways, via Jetboy, The Quireboys, and Dan Baird, as a member of Sal and Last Great Dreamers; vocalist, Gaz Tidey – a founder of the Uber Rock website and co-author of ‘Til the Death of Rock and Roll’, the tie-in novel for The Loyalties album of the same name; and bassist, Mike DeSouza – now working in the film industry with credits including The Mummy, The Texas Chainsaw Massacre, and Men In Black: International on his IMDB profile) barely remembered.

An agreement was quickly put into place that the band would reunite to record the best ever versions of these songs, and that the recording would take place at RedRock Studios and be produced by Lyndon Price, a former member of Welsh metal legends, Wild Pussy; the first band that Sister Morphine ever supported! The planning, however, had to be done over a messaging app as the country was awash with regional lockdowns. The frustration felt at having to rein in the excitement resulted in not one, but three brand new songs being written over the same messaging app, ready to be fleshed out once the band members could hit the rehearsal room. Then, those three new songs quickly became four and a fifteen-track album tracklisting was fashioned, consisting of those four new songs alongside five never-before-heard songs from the tape archive, and six “classics” from the band’s vintage live setlist.

Those new songs (the high octane garage rock of album opener, ‘Holy City Zoo’, and ‘Nothing Dirty in the Truth’; the melodious melancholy of ‘90s hit that never was, ‘8-Tracks & Zodiacs’; the ‘70s glam stomp of title track, ‘Ghosts of Heartbreak City’) blend perfectly with the vintage tunes (including the punk ‘n’ roll banger that is ‘Red-Eye Juice’ and the horns-heavy ‘Seven Long Years’) with those previously unheard songs (including the irony-smeared ‘Do You Wanna Get Wasted?’ and the outlaw country tearjerker with a twist, ‘Get Back Home’) no doubt having you ask yourself why they were hidden away for so long.

Those fifteen gutter-dirty, lowslung rock ‘n’ roll songs now exist as the band’s long-threatened debut album, ‘Ghosts of Heartbreak City’; set to be released on digital platforms and digipak CD on 14th February, 2023 via Big Egg Records. Yes, there is going to be another St. Valentine’s Day Massacre!

‘Ghosts of Heartbreak City’ tracklisting:

1.) ‘Holy City Zoo’

2.) ‘Do You Wanna Get Wasted?’

3.) ‘Ghosts of Heartbreak City’

4.) ‘Cry the Rain’

5.) ‘Nothing Dirty in the Truth’

6.) ‘Waiting on Salvation’

7.) ‘8-Tracks & Zodiacs’

8.) ‘Red-Eye Juice’

9.) ‘Ain’t No Love Song’

10.) ‘Living With Snakes’

11.) ‘Sea of Love’

12.) ‘Black Hearts & Bruised Egos’

13.) ‘Days of Wine & Roses’

14.) ‘Get Back Home’

15.) ‘Seven Long Years’

For Fans Of: Dead Boys; New York Dolls; D Generation; Heartbreakers; Faces; The Dogs D’Amour; Radio Birdman; Hanoi Rocks; The Clash; The Damned; Gluecifer; Alice Cooper Group

‘Questionably a hardcore band’ is how Daddy’s Boy describe themselves, and one listen to their discombobulatingly brilliant debut LP should answer all your questions as to what that could possibly mean. Recorded with Steve Albini at Electrical Audio, GREAT NEWS! is the sound of punk folding in on itself and racing through sounds you might have previously identified with dumb genre tags like post-punk and possibly even no-wave – except this isn’t either of those things. When I first heard ‘Work Wont Love You Back’ I remembered hearing bands like NoMeansNo for the first time with the jarring guitars and the lecturing vocals that are an address rather than a melody. It’s Dischord and jarring across a hypnotic rhythm and frantic riffe-a-rama, eventually settling on something that’s… well, kinda uniquely Daddy’s Boy.

Crass meets NomeansNo America and UK noise makers clashing in the middle. The chaos rains down on you song after song it’s like a form of hypnosis raining down on you and you are powerless to stop it. poking you on the forehead with riff after riff but not in a uniform way either. ‘The Poster’ is experimental with the main rhythm filtering into the red and it sounds great louder and louder!

‘Superspreaders’ would have been born from out of the pandemic with clever rhythms ebbing and flowing nicely. ‘Eddie Says’ is just delightful hardcore- punishing the listener with frantic chords washing over you. There is no respite throughout the eleven tracks with some starting with the same splat of the snare before raging off into the distance with your soul.

Finishing off with a brutal mixture of throbbing bass on ‘Do You Like Music’ with its drilling snare explosions and ear-bursting noise before handing over the baton for a sub one-minute blast beat exercise in shock and awe entitled ‘New York City Jort Authority’ chaos is your friend and music that pushes the boundaries is always worth investing in like a palate cleanser Daddys Boy goes for the jugular and takes no prisoners – not for the faint hearted but well worth checking out.

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Author: Dom Daley