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BLACK SPIDERS – NEW ALBUM & VIDEO

BLACK SPIDERS – NEW ALBUM & VIDEO

BLACK SPIDERS TO RELEASE NEW ALBUM ‘CVRSES’ DUE FEBRUARY 28TH, 2025 ON THE DARK RIDERS LABEL VIA CARGO DISTRIBUTION.

PRE-ORDER ‘CVRSES’ HERE:

UK TOUR DATES CONFIRMED FOR APRIL 2025

www.blackspidersband.com

Nothing is ever easy for Black Spiders, never straightforward, there’s always a plethora of circumstances, bad luck and karma. Their last album, released in 2023, was titled ‘Can’t Die, Won’t Die’ and here we are at the dawn of 2025 and they’re still not fucking dead. Back with a brand-new album of high-voltage smashers, the Sheffield righteous rockers are set to release new album ‘Cvrses’ this coming February 28th on Dark Riders via Cargo Distribution.

Featuring twelve new tracks of exactly the kind of soaring rock ‘n roll action we’ve all come to expect, love and demand from Black Spiders, their intentions are the same now as they were from the very moment they started back in 2008 – be true to yourself, no compromise. 

“Stick to that formula and everything will be alright is what we hope and then with a little bit of luck life might surprise you,” says guitarist and singer Pete Spiby. “It’s our fifth album, from the point of view of myself and Irwin. It’s our best. Our statement of intent has not changed from day one.”

Recorded once again at Axis Studios in Doncaster with producer Matt Ellis behind the wheel, ‘Cvrses’ is, and of course all bands say this, very possibly their best album yet. It successfully distils everything that is thrilling and life-affirming about Black Spiders unique brand of thumping heaviness. Massive riffs, massive hooks, massive beats. It’s all massive.

Today listeners can get a taste of just how rockin’ the new Black Spiders songs are with their rousing new single ‘Out Of Order’. The band are in such rude health that this tune is not even on the album, but it’s by no means an offcut, instead ‘Out Of Order’ shows us all exactly where Black Spiders are at right now; maximum amped-up rock ‘n roll with a fun video to boot.  

“We wanted to give people a vibe of where the new album may be heading and have some fun with the video. We didn’t really have any budget, so we took inspiration from many places and paid homage to the old ‘United States of Whatever’ (Sifl & Olly version) single by Liam Lynch,” says Pete. “The song itself is a rant against God. For when things go wrong or not the way you planned and giving us such a shitty life.”

“As long as that drive is in the tank, we will keep going, because that’s what we need to do,” summarises Pete and Cvrses to anyone that tries to stop them.

Catch Black Spiders live in 2025 at the following dates:

19/04 Birmingham – Asylum

20/04 Derby – Hairy Dog

21/04 Manchester – Rebellion

22/04 Exeter – Cavern

23/04 London – Signature Brew

24/04 Newcastle – Newgate Social

25/04 Sheffield – Corporation

26/04 Crumlin – The Patriot

27/04 Leeds – Key Club

The Damned – Beacons theatre, Bristol 12.12.24

The Damned – Beacons theatre, Bristol 12.12.24

Without wanting to read spoilers about potential set lists it was always a no brainier for fans of the early 80s albums to work out it would be Black album and Strawberries heavy set from this lineup of the band that people have been clamouring for donkey’s years. We’ve been lucky enough to have had the original line up actually complex a run of very successful shows that in my humble opinion were bloody fantastic and where the band seemed to enjoy it as much as us fans.

The band have pretty much gone from strength to strength over the last decade or so and has turned in some very special evenings from the roundhouse to captain’s birthday party to the Royal Albert Hall and the magnificent palladium spectacle but when Pinch decided to walk away I did start to wonder what would become of this band I’ve followed since being a young man and low and behold it didn’t actually crumble to Shit.

From the minute the band strode onto the vast stage and looked at each other as to who was going to count them in for the one-two of ‘Love Song’ quickly chased out by ‘Machine Gun Etiquette’ the bar was set pretty bloody high. To follow it up with the magnificent ‘Wait For The Blackout’ was simply majestic. How bloody good and proper did it sound hearing those Rat rolls on the toms? I almost raised a smile.

For the next half a dozen songs it was flip-flopping between ‘The Black Album’ and ‘Strawberries’ and hearing roaring versions of ‘Lively Arts’, ‘Gun Fury’ and a welcome return of ‘Stranger On The Town’ This was turning into one of those special nights where the band sounded fantastic and looked like they were really enjoying what they were delivering. Those chaotic shows of the late 80s and 90s seem like a lifetime away (they were) Vanian not turning up and a revolving door of band members, Hell, I even chuckled about when there were about 54 Damned bass players on stage at once in Cardiff but this is an altogether different beast, one that’s focussed and delivering the goods big time.

‘Beware Of The Clown’ was greeted like an old friend and sat very nicely in the set, Hell I even enjoyed tonight’s rendition of ‘Eloise’ something I never thought I’d say. I loved hearing ‘Life Goes On’ and ‘Ignite’ and was fascinated with the interplay between Rat and Captain – now I couldn’t work out if the looks Rat gave Captain were ones of fondness, acceptance, and concentration or he wanted the ground to open up and swallow him. It was also funny when Captain told his story of Nirvana stealing the intro for ‘Life Goes On’ a song they wrote back in the day… cough cough interrupted by Rat correcting the Captain about who wrote it to which the Captain did correct himself and say Rat wrote the intro but it all seemed in good banter and when Rat went stage centre he seemed genuinely moved at the rapturous applause he received. it was ‘Neat Neat Neat’ before the band took a well-deserved break before returning for an epic run through ‘Curtain Call’ which included a masterclass from Rat to bring it to a conclusion.

‘New Rose’ signalled another exit stage left before a seasonal ‘Sanity Clause’ made way for the finale of ‘Smash It Up’ and we were done. I will never tire of seeing the Damned, regardless of how under-prepared or who is in the band its nights like this that make them so special. they always had the X Factor above any band I’ve ever seen I absolutely love them and what they do. It is however something special that this line up have decided to give these songs the respect they deserve and it warms the cockles of my heart to see them absolutely smash a UK tour of decent-sized venues. From The Roundhouse to the Palladium and the original lineup in Hammersmith to the Royal Albert Hall and Finsbury Park this was as good as I’ve ever seen them and the vast array of songs they have in a peerless repertoire is simply stunning. I’m sure Captain would agree they never got the commercial success they absolutely deserved for what they do, but I know, and everyone else who’s seen them on this run will testify that there is no better band on their day than The Damned – long live The Damned. Ninety minutes of absolute joy from a band who are turning back the clock and getting better with age so on that note same again next year please chaps, thank you kindly. Bloody Brilliant!

Author: Dom Daley

Deathtraps – ‘The Lust For Likes EP2’ (Spirit Of Disaster Records)

Deathtraps – ‘The Lust For Likes EP2’ (Spirit Of Disaster Records)

Newport’s finest are back swinging with their second helping of a trio of six-track releases. Rather than pump out an LP in these times of media saturation the band decided to go for the slow burn of three six-track EPs dripped into the ether over a twelve-month period which is a pretty good idea in this play today gone-tomorrow culture of entertainment and the slow carpet bombing approach has a longer lasting effect and I like that idea and having eighteen tracks in three instalments is like a double albums worth of Fraser’s gruff vocals whispering into your ear and who doesn’t want that?

Opening with the spirited ‘Private Vietnam,’ the band sticks to what they are good at and grinds out a mid-paced rifftastic punk’ n roll sing-a-long. Lasting a couple of minutes it’s everything Deathtraps do well in a bite-sized offering. ‘Your Time Is Gonna Come’ is a more measured song with a confident tempo and a punch on the pre-chorus. The band slip through the gears with the tracks being around the two minutes mark meaning there isn’t time to bloat out intros or extended solos, it’s cut the crap and keep it lean. ‘I Want Fun’ is like the Dead Boys if they were from the industrial South Wales wasteland with a very nice chug on the verse and a minimalistic solo that does the job on the EPs highlight and one of the best songs the band have penned to date.

They’ve got their collective ‘Eye On You’ which is born in the riffage of Rocket From The Crypt and whips up a maelstrom in its hypnotic chorus another excellent song. With all paths leading to ‘Repeat’ to close off the second EP and a very nice piece of work indeed. Dethtraps have mastered their art and craft songs that improve on every release. Enjoy this one for the foreseeable and it’ll prepare you for EP3 which should be along in next to no time just remember the name – Deathfuckintraps! Ave it!

Buy Here

Author: Dom Daley

Headswim – ‘Despite Yourself’ (Sony/Trapped Animal)

Headswim – ‘Despite Yourself’ (Sony/Trapped Animal)

Formed in Essex in 1989 by brothers Daniel and Tom Glendining, Headswim released their debut album ‘Flood’ in 1994. Following the death of their brother Matthew after a long battle with leukaemia, the band went on hiatus and re-emerged in 1987 with their sophomore album ‘Despite Yourself’. 

Veering away from the grunge sound of their debut, ‘Despite Yourself’ was a reflective album, exploring themes of death and spirituality, taking the band in a more alternative rock direction.

Now, almost 20 years down the line, Trapped Animal reissue this stunning body of work, with 7 bonus tracks, on vinyl for the very first time.

Headswim were a band I was certainly aware of at the time.‘Tourniquet’ was a top 30 single and saw the band appear on mainstream UK shows such as TOTP and TFI Friday, but maybe it was the Radiohead comparisons that put me off purchasing the album at the time. My bad, as ‘Despite Yourself’ has much broader influences than Thom Yorke’s crew, but that said, it certainly is not an easy listen.

The mid 90’s was such a rich breeding ground for rock music, a time when alternative was mainstream, and music had a dark edginess to it. Given the lyrical themes, ‘Despite Yourself’ fits the musical landscape perfectly.

Lead single ‘Tourniquet’ opens proceedings. It is the perfect mid 90’s alt rock single. The falsetto vocals and the moody backing builds to an abrasive chorus that owes as much to Soundgarden and U2 as it does Radiohead. 

‘Hype’ comes on like a grungy U2, Dan’s vocals certainly have a Bono feel to them here.

The acoustic led ’Clinging To The Wreckage’ is emotive and heartfelt. Dan pouring his heart on his sleeve and not for the last time during the course of this album.

It’s no surprise that the radio friendly ‘Better Made’, with its soaring strings and uplifting chorus was a single, it’s rich and instantly gratifying. Elsewhere, ‘Old Angel Midnight’ sounds like something off The Cult’s self-titled ‘94 album, which makes sense. The acoustic led, stripped-back ‘Holy Ghost’ is simple and full of harmony. It builds with strings and keys that just help to accentuate the beautiful feel of the song. 

As a whole ‘Despite Yourself’ is a deep album that keeps giving the more you scratch beneath the surface. The soaring vocals and instrumentation give an ethereal feel and the abrasive guitars add punch. The trip-hop beats of ‘Wishing I Was Naive’ and ‘Moving On’ are the only thing that ages the album, yet as a whole it sounds pretty fresh in 2024.

The Radiohead comparisons are realised on the bonus tracks rescued from the Sony archives. The haunting ‘Last Subway Coma’ and the rockier, Soundgarden feel of ‘Plagued’ are certainly worth exploring more than once.

I was also surprised that I knew ‘No Ticket’ really well, is it a cover? A bit of digging and turns out it was previously available on ‘Summer Slam’, a compilation CD given away free with Kerrang! Remember, that was one of the only outlets for new music pre-streaming days for us music junkies. It’s the strongest of the bonus cuts for sure and should’ve been on the album. 

An alternative version of ‘Tourniquet’ with strings recorded at Abbey Road wraps the album up and adds even more cinematic soundscapes to a 90’s classic. 

1998 may seem like a lifetime ago, yet ‘Despite Yourself’ holds up well after all these years.

Hats off to Trapped Animal for the latest in their Headswim reissues, reacquainting those who were fans with the band, hopefully gaining some new ones along the way, and ultimately giving this lost 90’s classic the treatment it truly deserves. 

Buy Here

Author: Ben Hughes

The Chats/The Prize – The Marble Factory, Bristol 11.12.24

The Chats/The Prize – The Marble Factory, Bristol 11.12.24

Boy it’s cold, these guys n gal from down under must be feeling it as the UK recovers from the storms and its just pre Christmas cold we have to deal with. Which to be fair is fine by me, on entering the Marble Factory its like entering the set of The Texas Chainsaw Massacre but this time its packed to the rafters as The Chats are here for two nights of flat out punk rock and this time they’ve brought fellow Australian power poppers the Prize along for the ride, and to be fair they put in an excellent shift as support with their Boys meets a lighter Ramones meets Thin Lizzy but with a tripple guitar attack.

They have half an hour and this five piece do their best to just fill their time with tunes and pretty bloody decent tunes at that.  lead vocals shared between drummer Nadine Muller and guitarist Carey Paterson who both do a sterling job weaving these nifty tunes to a very appreciative Marble Factory who dig what they do with impressive rapture which bodes well for the future of alternative punk rock n roll.

Hailing from Melbourne the band have been together since 2021 and it can only be a good thing playing to sold out audiences night after night who clearly like what they hear should see the band follow up their recent single with more music soon. Being unfamiliar with their song titles I throughly enjoyed what I heard and anyone who throws out a Boys melody or two is going to get a big thumbs up from me. Honest John Plain would certainly approve.

Enter The Chats with nothing to promote other than having a night out and playing some rapid party time punk rock, no records to promote, no festivals to push just doing it for shits and giggles. The Chats are ready to rock big time.

As they amble on stage Eamon lets the audience know the house rules of have a good time and look out for each other this ones called ‘Nambored’ the entire floor became a sweaty heaving swirling mess. By the time they steamed into the epic ‘6l GTR’ and then the epic ‘Emperor Of The Beach’ I feared they’d shot their bolt early and gone all in to quickly but fear not these boys are professionals.

The energy is relentless and you know that for the next hour they are going to give the set list a good seeing to and give nothing short of 100% wham bang thank you mam! we’re outta here. Tonight was no exception except to be fair I felt the songs weren’t so hurried tonight and they kicked back a fraction and not turning it into a whole we are Australias answer to Zeke now ave it! It wasn’t far behind but noticably more chilled.

Theres equal amounts of ‘High Risk Behaviour’ with the snotty ‘Stinker’ and ‘Drunk And Disorderly’ beign the glue in the middle of the set whilst ‘Get This In Ya’ ‘Nazi March’ is a belter. Of course ‘Smoko’ is present and played like its going outta fashion but tonight something happened and they had to stop it in the middle maybe there was a crowd safety concern because it went fuckin’ nuts when the bass riff kicked in or they just decided to go on Smoko mid tune.

‘The Price Of Smokes’ saw a complaint about JPS now being too expensive first world problems I guess. Eamon gives his fourstring a proper seeing to on ‘Struck By Lightening’ and its fair to say the band are tight as a soaking wet pack of Rizlas with Josh layign down some mighty fine licks on his guitar. For one hour these boys are untouchable and this was as good as I’ve seen them since they’ve been coming to Blighty a really excellent hour of non stop punk rock n roll that has boundless energy and never overstays their welcome theres even time to crucify Kiss’ ‘Rock N Roll All Nite’ in the best way possible before its brought to a crushing end with a wholesome bargain ‘Pub Feed’, and we’re done.

Like the best Bargain Bin Records tour package I absolutely appreciate touring for shits n giggles its the best way possible now get back down under, record a new record and head back over with Stiff Richards, COFFIN and Civic on one of those travelling revue tours that would be fuckin smashing lads until then this will more than do. Merry Fuckin Christmas all and get off Smoko and back to work.

Author: Dom Daley

Cock Sparrer/Dirtbox Disco/4Ft Fingers – Bristol, Marble Factory – 8th December 2024

Cock Sparrer/Dirtbox Disco/4Ft Fingers – Bristol, Marble Factory – 8th December 2024

“Brooksy, I got a feeling we’re not in south Wales anymore.”

It’s been blowing a gale outside for what feels like forever now, so much so I half expect to not have to leave the house to travel across the River Severn tonight and instead arrive Dorothy style for my last gig of the year.

Nothing was going to stop me being here tonight though, not the wind and most certainly not the Bristol traffic and the persistent road closures around the venue situated on an industrial estate on the outskirts of Bristol city centre.

Unfortunately, it does mean I get to the venue just as Cheltenham punkers 4ft Fingers are delivering their final chords of the evening to rapturous applause, as those in early doors (and it was early doors at 6pm) appear to have enjoyed every minute of their set.

It was exactly a year ago to the night that I was in Aberdare watching Dirtbox Disco deliver a fabulous headline set to an appreciative yet drenched (I’m starting to see a pattern here) audience, tonight the crowd are thankfully mostly dry on the outside seemingly full of early festive cheer (and beer) ready for a good singalong and dance. Even Santa has made it down to the barrier, much to Spunk Volcano’s amusement.

“I remember 1987 you fucker, I had minus presents!” teases Spunk. “You were a very bad boy” replies Santa. “I’m always a very bad boy” cackles Spunk, as opener ‘Punk Rock N Porno’ sets the smut bar at just the right level for the band’s fast and furious set.

Mixing (g)oldies like ‘Tragic Roundabout’, ‘Buring’ and ‘I Dont Wanna Go Out With You’ with the anthemic ‘Unstoppable’ (“Cock Sparrer offered me a lot of money for this song, I turned them down” jokes Spunk) and the total filth of newie ‘Second Hand Sex Toys’, Spunk, Maff, Danny and Chris ensure that everyone goes home tonight with at least one of their choruses stuck in your head, with “you’re a dirty dirty, dirty dirty, bastard” being my particular earworm of choice tonight.

For many though it’ll always be set closer ‘My Life Is Shit’, and a decade or so on from it first making it into the Dirtbox set it’s still as relevant (and insanely catchy) today as it’s always been.

It’s fantastic to watch Dirtbox Disco playing to such an appreciative and substantial audience outside of Rebellion weekend, and long may it continue.

Cock Sparrer are now some fifty two years into their career, and if recent album ‘Hand On Heart’ is anything to go by we’ve never had it so good in terms of Sparrer activity. Returning to Bristol for the second time post lockdown, the Marble Factory (whilst colder than an east end villain’s abattoir) is a near perfect venue for Cock Sparrer to entertain their west country troops. The sound in this place is always spot on due to the building’s old stone construction and the volume at which Mick Beaufoy’s police siren guitar intro to ‘Riot Squad’ blasts out the PA is enough to immediately stop any potential crimes happening around the Redcliffe area of Bristol tonight.  The crowd, of course, promptly goes nuts and for the next 75 minutes we all (and I do mean ALL) sing our hearts out to banger after banger from the Sparrer back catalogue.

Having seen Sparrer back in April of this year deliver a double shift of sets, firstly in the shape of new tracks and deep cuts and then follow that with a headline set of greatest hits, what we have tonight set list wise is a mash up of the two with the opening trio of ‘Riot Squad’, ‘Watch Your Back’ and ‘Working’ quickly followed by ‘With My Hand On My Heart’ and ‘Mind Your Own Business’ from the band’s latest LP. New cuts ‘Take It On The Chin’ (guitarist Daryl Smith jokingly reassuring us all that “Spunk Volcano got his £10 for helping us write this one”) and ‘Here We Stand’ also get included, as does the magnificent ‘One By One’ from 2017’s ‘Forever’, but it’s during ‘Because You’re Young’ and ‘Take ‘Em All’ that we really get to hear the Bristol faithful in full voice, something that seems to genuinely take frontman Colin McFaull aback, and the smile on his face as the crowd can clearly be heard over the band says it all really.

With no time for the rigmarole of an encore tonight the band thunder through ‘England Belongs To Me’ and ‘We’re Coming Back’ to conclude proceedings, closing things out as only Cock Sparrer can by promising they will be coming back …soon. Lovely jubbly!!!

Author: Johnny Hayward

The Wonder Stuff – Hup 35th Anniversery Tour -O2 Academy, Bristol 07/12/24

The Wonder Stuff – Hup 35th Anniversery Tour -O2 Academy, Bristol 07/12/24

“Is that a smile that hangs beneath your nose”, That lyric kept entering my head as Mylo in 2024 seems to grin and smile quite a lot these days. Maybe maturity or finding comfort in one’s space has mellowed the once provocative, angst-ridden frontman. To be fair I used to love it when he’d pour scorn on someone or show his contempt but as we all grow older I’m also loving seeing Milo so damn happy and halfway through the first set he did say with some enthusiasm that he was really enjoying himself and it shone through like a lighthouse. The enthusiasm was infectious and the quality of songs on offer helped, obviously.

Now getting to Bristol from deepest darkest West Wales was not an easy thing to do seeing as half the place was without electricity and it seemed that every tree wanted to block a road and river burst its bank not forgetting that all trains, planes and busses were cancelled. But this was ‘Hup’ and a full rendition as promised by Milo as well as some other chosen cuts from their arsenal. Maybe a while longer than it should have taken us but we did get there unscathed and boy were we glad I made the effort.

The lights dimmed and a packed O2 cheered as the intro tape rolled as the last thirty-five years were peeled away in seconds and the word was indeed out! ’30 Years In The Bathroom’ sounded every bit as vibrant and decadent as it did all those years ago. So a couple of the main protagonists are still cutting it and as the album unfolded in sequence it was an absolute joy to hear especially the songs that don’t get brought out often or the absolute bangers that have been stapled and then banished to the naughty step. ‘Golen Green, an epic ‘Cartoon Boyfriend’ was simply majestic. No wonder Milo was enjoying himself he bloody well should be this band sounds superb.

‘Don’t Let Me Down’ followed by ‘Can’t Shape Up’ had me reminiscing in my head of dozens of shows around the time like it was yesterday and I wasn’t some knackered old(er) man but it was that bass thump of ‘Goodnight Though’ that used to conclude Wonder Stuff Shows this was weird but man I absolutely love that song and the intro on the bass thing. As Milo howled into his megaphone set one was very much concluded and all around were beaming – that boys n girls was fucking ace! Malc just got on with business cutting his shapes on the left of the stage next to Erica who always adds much sparkle to proceedings with her impeccable fiddle skills. and on the other side of the stage, Mark Gemini Thwaite stuck to the six-string and played his part impressively whilst the rhythm section certainly kept the engine stoked with all the power and finesse the songs deserved.

After a brief break and a quick call home to see if our house had taken flight al a Wizzard Of Oz, it was back in for a run through some awesome tunes that were selected for the second half of the set both old classics and more recent but still excellent tunes and a much under-appreciated album being ‘Better Being Lucky’ and its prime cut of ‘Don’t Anyone Dare Give A Damn’ but it kicked off with a couple of groovy machine picks in ‘Red Berry Joy Town’ and a carefree ‘Ruby Horse’. Of course, there were a few ever presents in the shape of ‘On The Ropes’ the amazing ‘Mission Drive’, followed by ‘Caught In My Shadow’ before the ho-down of ‘Size Of A Cow’ preceded ‘Give, Give Give’ as the crowd took over the vocals. The band left the stage for a second time only to return for a much-deserved encore of two which left ‘Ten Trenches Deep’ as the fairwell ringing in my ears for the journey home and the knowledge that The Wonder Stuff 2024 still cut the mustard and delivered a totally thrilling and enjoyable live show.

To be fair that was as good as anyone old or new cutting some shapes on the live circuit. Now can we do this again next year with another South Wales date, pretty please Milo? If there’s no anniversary to celebrate let’s just call it the nothing to celebrate except we’re still here Tour. I’ll have a shirt and a mug thanks. That was as good a show as anything I’ve seen the band do in the last thirty-plus years, I fuckin’ love The Wonder Stuff.

Author: Dom Daley

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