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Grail Guard – ‘Still No Future’ (TNS Records)

Grail Guard – ‘Still No Future’ (TNS Records)

Coventry has delivered some of the UK music scene titans in the past, such as The Specials and the whole 2 Tone movement, championing multiculturalism and the best of what we have to offer in the 70s. but there’s been a great gap and whilst its hard to whip up anything groundbreaking these days I never get let down with how damn good some albums are and how passionate some bands are about what they do and how they deliver it, Grail Guards ‘Still No Future’ a response to Rottens blank expression some fifty years ago this gives me goosebumps just how good an album this is, and how passionate they come across in the delivery of a tried and tested theme.

It’s hardcore played fast, loud and without any fuckin’ about or trying to be clever. Right from the off, ‘People Just Like You’ sets the tone. It’s like Argy Bargy with a fuckin’ migraine and a microphone, and they are about to speak their mind with direct delivery, and good on ’em. Right, strap yerselves in, this might get spikey.

‘Our Streets’ takes the Chisel meets Bob Vylan down a very dark alley and roughs them up into a riff-tastic home truth. Stay away from politics, I get told don’t mix politics and music, they say, but sometimes you have to make a stand and let it be known what side of the fence you are on, and I’m right on the side Grail Guard are on and hoisting them up. The lyrics might not be suitable for TOTP or BBC radio, but on my stereo, they are loud and proud. It’s awful that in 2026 there are still dinosaurs living in the dark ages and can’t get with the programme, we’re all equal, we are born, live a life and die. Prejudice and fascism shouldn’t be tolerated here, or anywhere and bands like Grail Guard feel compelled to sing songs like this is a great shame, but boy do they hit the nail on the head, fuckin awesome.

It doesn’t stop there, mind, and I can try and write witty quips, but I can’t sleep either when this is on my headphones at night. This is challenging music, it’s in your face and snarling like a rabid dog, and they absolutely hit the nail on the head with the style and delivery. This is a beast by any standard.

Over the ten tracks, the album ebbs and flows through various stages of anger and fury, and everything in between. The playing is spot on ‘Still Fucked Up’ is not a ballad, nor is it a gentle prod in the temple. It’s a boot to the temple and a piledriver to the throat. Inhale sharply because the thumping kick drum of ‘Anxieties’ is up next. The breakdown is immense, and the gang sing-along was unexpected but wholeheartedly endorsed.

With 2026 marking 50 years of UK punk, ‘Still No Future’ draws a stark and deliberate line between the 1970s and today. The Sex Pistols shouted “No Future” in 1977, and with this album, Grail Guard scream there is ‘STILL NO FUTURE’ (heartbreaking, isn’t it?) as many are facing the same traumatic experiences as those of the last fifty years. Holding a mirror up to society, Grail Guard deliver the goods and a message we fully endorse get angry, be angry, don’t normalise the bad guys and never make excuses for racism, prejudice, and hate. Stand up and endorse Grail Guard, they mean it, man. Buy this album!

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Author: Dom Daley

Annihilator – ‘Criteria For A Black Widow’/’Carnival Diablos’ (Earmusic)

Annihilator – ‘Criteria For A Black Widow’/’Carnival Diablos’ (Earmusic)

The back catalogue of influential Canadian thrashers Annihilator continues to get a fresh lick of paint, courtesy of earMUSIC. By the late ‘90s, Annihilator main man Jeff Waters had decided to get back to the band’s thrash roots. This resulted in the reunion of original frontman Randy Rampage, and drummer Ray Hartmann. Alongside guitarist Dave Davis, the band delivered the goods with the album ‘Criteria For A Black Widow’ in 1999.

There are some great moments on CFABW, the opening track, ‘Bloodbath’ is peak Annihilator, crunchy riffs, stabbing drums, “THAT” guitar tone, and Rampage spitting and snarling his way through the lyrics. Brilliant stuff.

‘Back to the Palace’ nods to the Alice in Hell and Never Neverland albums. At a time when most metal bands were questioning their existence with the rise of nu metal, Annihilator were forging ahead with their true calling. ‘Nothing Left’ is another full-on thrasher with an amazing performance from Ray Hartmann, he was always one of my favourite thrash drummers. Superb.

The title track is another high point of the album, technical, moody, with more superb performances from a band that’s as tight as it gets. We get some bonus tracks of early demos that are interesting. A must-have in your Annihilator collection.

The band’s momentum carried them into 2001 with the release of Carnival Diablos. This time, we get ex-Overkill vocalist Joe Comeau taking over frontman duties. Hartmann and Davis resume their roles, and we get another solid album in the Annihilator discography. The opening track ‘Denied’ gives us an instant insight into the quality of the material. ‘Comeau’ sounds great, it’s a shame he was just another member in the constant revolving doors at Annihilator HQ. Battered is another full-on thrasher, Jeff Waters should be way more revered than he is. Annihilator are a very important band in the thrash metal story, and their legacy should be cherished.

‘Carnival Diablos’ is solid from start to finish. World-class musicianship and well-crafted songs that remain comfortably in their genre. Waters should be talked about in the same conversations about Eddie Van Halen, Randy Rhoads, et al. It’s a travesty that he’s not a household name. Just ask Dave Mustaine what he thinks of Water’s talent.

We get some extra live tracks and a hidden track in a well put together package. Get these albums and remind yourself just how good Annihilator is.

Criteria For A Black Window Here

Carnival Diablos Here

Author: Kenny Kendrick

Honey Juice -‘Lend Me a Feeling’ (Helvis Elvis Keksis Records)

Honey Juice -‘Lend Me a Feeling’ (Helvis Elvis Keksis Records)

Sometimes, a band name really gives someone no idea what their musical approach will be. Honey Juice popped up in my YouTube feed when the video for their song ’Panic’ was released. I was curious, so I clicked on the link and immediately wanted to hear more from this new band. They just released their debut EP, which doesn’t waste a second across its 14 minutes. While the band appears to be based in Finland, three of the five members came from outside Finland. Their musical direction creates an interesting musical blend that deserves a listen.

On the band’s website, a couple of the musical influences the band lists are the drums of Megadeth and Paramore. I cannot say I have ever listened to Paramore, so my musical comparisons will be different. They launch with the highly melodic ’22 Again.’ This is most definitely not Life of Agony’s ‘Lost at 22.’ This has more of a modern rock feel, where the music opens up for the chorus. The guitar riff pops up in the mix where needed to propel the song. It provides an energetic start to the release. Up next is ‘Panic’, which again was my first exposure to the band. The band serves up a melodic verse with beautiful vocals before the chorus explodes with a visceral scream that comes out of nowhere. The song has a lot of musical elements going on in the mix, which are awesome, but each time that scream comes into the song, it makes it even better. This will be high on my favourite songs of 2026 list.

It would take an ‘Insane Amount of Energy’ to follow up ‘Panic,’ but that is exactly what the next song is called. I am reminded of Yours Truly from Australia here. Another band that has come to mind is recent Gunship and their song ‘Monster in Paradise’, where Milkie Way from Wargasm guested on the song. ‘Go Daddy’ brings something different with the lead vocals reminding me a bit of ‘Nurse’ or Troublegum’ era Therapy? with a hint of Senser. This song flies by way too quickly. There is a scream buried in the mix which pops out with repeated listens. Closing out the EP, ‘Blue Moon Ride’ provides a melodic blast of brilliance which should be a hit single.

Honey Juice should find a large audience with the right exposure, as all five songs on here are winners for me. I have put this on repeat several times this week and keep picking out new things in the songs. My biggest complaint is how fast it is all over. It feels a bit like back when a new Wildhearts’ single would appear, and the CD single would go on repeat. I look forward to watching Honey Juice continue to grow.

‘Lend Me a Feeling’ is available now on digital outlets.

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Author: Gerald Stansbury

The Melmacs – ‘EUPHANCHOLIA’ (Bakraufarfita Records, Wanda Records & Spaghetty Town Records,Beluga Records )

The Melmacs – ‘EUPHANCHOLIA’ (Bakraufarfita Records, Wanda Records & Spaghetty Town Records,Beluga Records )

Power Pop masterclass from the heart (beat) of Germany, Dresden to be precise, when you see Wanda and Spaghetty Town, you instantly know that Power Pop Punk with rock’n’roll guitar, organ, and sweet-and-sour melodies are on the menu and if its good enough for them then it’ll be more than enough to fill up my depleated levels of power pop punk rock.

The soppy keys with the sharp guitars and the Clem Burke style backbeat hits you right between the eyes after the misleading intro ‘The Tide IS High’ thunders on, and the F-U-N begins. Hold onto that mile-wide smile because it ain’t gonna stop there. ‘Falling’, is on hyperspeed as it crashes in with that summertime keyboard wheeze chasing off the sped up riff-o-la not to mention the immeasurable amount of joy they bring with the melodies and fun at a time when there isn’t a great deal of either to be had. Listen to The Melmacs, and that will rectify any pessimistic thoughts and turn your frown upside down.

The hits keep coming, one after the other, it’s just top-notch pop tunes wrapped in various shades of guitar riffs and lush melodies. ‘Deadbeat’ has a passing resemblance to some Stranglers keys and JJ Bass thump that walks all over the song, vying for the front and centre of your attention.

‘Run For Your Life’ has the step down from the Clash, but the pure power pop of 80s new wave and FM rock n roll radio coursing through their veins at the speed of light. Spread out over twelve tracks, they never stray from the gutsy sound that’s pure and honest as the day is long. I guess the format is simple: write a killer tune, play it hard like your life depends on it, then do it again over and over, Bingo!

If you want some snotty, zero bullshit, no fucks given punk rock old school, then head for a ‘Showdown’, it’s got attitude and plenty of street smarts to take you down. There’s plenty of variety on offer here in tempo and style, but not massive departures, but enough to keep you interested throughout its twelve tracks. Penultimate track ‘Crying My Heart Out’ is the acoustic strum off with spoken word intro into a poplicious melody and chorus that old school Johnny Thunders would really appreciate.

With one stack heel boot, stomp off before they’re out the door ‘Electric Night’ takes another turn with a killer tune the likes of The Biters would have given a kidney to have penned. I’m gutted it’s only two and a half minutes long. What a killer end to a killer album. Don’t take my word for it, get out there and pick it up, you won’t regret it. Power poppin punk rockin glam slammin records are back, and you can start with The Melmacs! Buy IT!

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Author: Dom Daley

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Rachel Bolan is at war with himself

Rachel Bolan is at war with himself

After four decades as the driving force behind Skid Row, bassist and songwriter Rachel Bolan steps forward with his first-ever solo album under the name BOLAN. “Gargoyle of the Garden State” is a bold, deeply personal debut rooted in the grit, attitude, and storytelling spirit of his New Jersey upbringing.

Produced by multi‑Grammy winner Nick Raskulinecz (Foo Fighters, Skid Row, Rush, Evanescence, Alice In Chains)The album began as a simple conversation between friends. What started casually quickly evolved into a record that would ultimately define Bolan’s voice as both a songwriter and storyteller.

“Gargoyle of the Garden State is not a project, it is every bit of my soul,” says Bolan. “Like me, it knows when to be serious and also knows where the party is.”

PRE-ORDER THE ALBUM HERE

Musically, the album delivers hook-driven, anthemic songs that fuse punk energy with melodic sensibility, wrapped in swagger and raw edge what early listeners have already called “quintessentially New Jersey.” Among its standout moments is a surprising cover of Oasis’ “Rock And Roll Star”, reimagined through Bolan’s distinctive lens.

Expanding beyond his role as a bassist, Bolan performs the majority of instruments, shaping the record from the ground up. Drawing on influences from Brit Pop and Glam to Punk Rock and New Wave, the album represents a lifetime in music.

“Gargoyle of the Garden State” also features an impressive lineup of guests, including Corey Taylor, Danko Jones, Nuno Bettencourt, Damon Johnson, Steve Conte, and fellow Skid Row members Scotti Hill, Dave “Snake” Sabo and Rob Hammersmith.

“It was incredible to work with so many of my talented friends an experience I wish everyone could have at least once,” Bolan adds.

The album is out on June 12th and will be available as CD digipak, LP gatefold, as well as digital and download. PRE-ORDER THE ALBUM HERE

At its core, “Gargoyle of the Garden State” is Bolan at his most honest, a record full of attitude, melody, and personality unmistakably his own.

The Four Horsemen – ‘Nobody Said It Was Easy’ (Cherry Red Records)

The Four Horsemen – ‘Nobody Said It Was Easy’ (Cherry Red Records)

Seems like every couple of years there is a reissue of this classic rock n roll record and you won’t hear any complaints from RPM. A Stone Cold classic and one that should have seen these bad boys go stratospheric easily, as good as ‘Electric’ by the cult and head and shoulders above anything else coming out at the time with that raw, no bullshit rock n roll. Produced by Rick Rubin, it had the hooks and swagger of classic DC. The band consisted of Swansea’s own (Stephen Harris), Haggis, formerly of the parish Zodiac Mindwarp and The Cult, who cut his teeth in punk band the Autonomes in the late 70s.

Haggis moved to the States and put together one hell of a line up that featured the immense vocals of Frank Starr who was the embodiment of the outlaw rock n rolla frontman who walked the walk and talked the talk Drummer Ken Montgomery passed away not long after the albums original release in 91 the band were aone and done with the classic line up mixing punk attitude with rock n roll barroom hard rock releasing a further album but without founder Haggis in the ranks and then they lost Starr on sunset strip to a drunk driver this album was Originally released in 1991 on Rubin’s Def American label, the album landed just as grunge was breaking and immediately faced an uphill battle for acceptance, despite widespread and justified critical acclaim. 

The band gained a reputation for being genuinely dangerous, resulting in drug charges and imprisonment, death and general debauchery. The Horsemen had the reputation that went hand in hand with the music, but most importantly, they had the chops and the tunes to back it up. If you’ve never heard this album, now is the chance to rectify that and join the smug and proud group who know exactly what time it is. From the iconic spoken intro where Haggis lays it on the line, it’s bad boy boogie. Clean, sharp, loud and infectious. A wonderful way to open any record, ‘Nobody Said IT Was Easy’ was to be the band’s opening salvo and something of a self-fulfilling prophecy. The crispness in the guitar tone, the vocal performance, it’s just about perfect for a hard-rockin’ record. The only way was up, and after such a strong opener to hit us with the epic ‘Rockin Is Ma Business’ it should have been enough already to catapult them into the top tier.

They weren’t a one-trick pony either because ‘Tired Wings’ had some sweet slide that those brothers Robinson would have killed for. Rip it up with some bad boy boogie on ‘Can’t Stop Rockin’ where Starr opened up his pipes. ‘Wanted Man’ reads like a confession as its sleazy, laid-back groove offers a late-night come-down midway through the record. Once you’ve caught your breath, we get back on it and ‘Let It Rock’ is riff-tastic.

Side two opened up with the band’s signature groove, ‘Hot Head’, whereas ‘Moonshine’ is a bit different, with a cool uptempo groove and the verse vocals sung from the bottom of a bottle of moonshine as the cop cars put on a chase before we get some of that boogie woogie on ‘Homesick Blues’. The album twists and turns towards the big finale of ‘I Need A Thrill/Something Good’, a magnificent way to close off a top-notch album spread out over eight minutes its an absolute classic full stop on a record that hasn’t aged at all and I still get a buzz when listening to it and if it was reissued every other year I’d still get behind it. Everything about it is a winner from the tone of those duelling guitars to the slap of that snare, all rounded off with killer melodies and stunning vocals, the Four Horsemen had all the credibility but none of the success. In a world that constantly looks over great talent and every now and again the starrs align, and a classic underground record gets released and keeps coming back and getting up off the canvas ready to take the plaudits for how damn good it is. Ladies and Gentlemen, The Four Fuckin Horsemen are back in the ring and still swinging, just go buy this fuckin record!

This release features extensive liner notes with a brand-new interview with guitarist Dave Lizmi. Both Lizmi and Haggis have endorsed this release and supplied personal archive material for the layout.

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Author: Dom Daley

Split Dogs/Wench!/Helle – Hyde Park Book Club, Leeds – 27th March 2026

Split Dogs/Wench!/Helle – Hyde Park Book Club, Leeds – 27th March 2026

Who’s up for a night of feminist shouty punk in a teeny, tiny venue at the arse end of Leeds then? Bristol punk n’ rollers Split Dogs certainly are. Riding high on a recent tour with Gogol Bordello, a new album to be released in September and a stonking new single in ‘Rock n’ Roll Business’ to promote. Tonight, they bring their wares to the ultra hipster Hyde Park Book Club, a prime student hangout filled with books, art, food, and a dark downstairs venue that is perfectly suited for sweaty punk rock debauchery.

Local band Helle are already halfway through their set as I arrive, and they seem to have guitar issues. It doesn’t phase singer Elsie, and she continues to smile and deliver her gothic-tinged riot grrl tunes, while the guitarist and soundman frantically try to fix the issue. The band continue to an already busy room with just bass, drums and an ethereal demeanour. Guitars reinstated, there’s a cool energy that makes me wish I’d turned up 15 minutes earlier. Imagine Siouxsie meets the Slits with a heady dose of Daisy Chainsaw for good measure. The girls look like rock stars, the boys look like…boys. Great stuff.

“Wench are not a girl band!” So states the blue-haired drummer from Hull-based shouty feminist punks Wench!, halfway through their set. I beg to differ as the 3-piece band are certainly girls. But I get it, when you’re playing to a largely male populated room, you gotta rage. And Wench certainly rage, with a raw and more visceral sound than the openers, their brand of aggro punk fits the bill nicely. The fact that the drummer and guitarist both handle lead vocals is pretty cool too, and gives some diversity. Two support bands that prove Northern grrls can riot with the best of ‘em.

Split Dogs are the rock n’ roll business from the moment they hit the stage. Dressed in a sparkly red number, singer Harry is the main focus, it’s difficult to take your eyes off her. Some singers just have a certain presence, and Harri is one of those singers who delivers. And by the time the new single “Rock n’ Roll Business” has floored us about 4 songs in, it’s clear they have the tunes to match.

Guitarist Mil Martinez wears his influences on his tattooed sleeves. The riffs sound like Sleazy Quo, the guitar tone is sublime, and the delivery is a Motörhead-style assault. Newish Bassist Suez is now broken in and holds down the low end, the new shirtless and moustachioed drummer already fits like a leather glove. 

“There’s room here at the front!” sneers Harry, beckoning those holding back to come forward and sweat. ‘Lafayette’ sounds killer, ‘Monster Truck’ is a beast and set closer ‘And What’ is as good as it gets. 

The relentless touring has paid off, it seems, as Split Dogs are a bit of a damn good live proposition. In a world where Amyl & The Sniffers are playing Enormodomes, it’s a travesty that a band as good as this are still playing small clubs. But hey, let’s keep it our little secret for now, ok. It’s 2026, and I watched 3 great bands for £12, now that’s a bargain night out in anyone’s book. 

Author: Ben Hughes

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Rachel Mayfield Group – History Aligned

Rachel Mayfield Group – History Aligned

Rachel Mayfield is joined by former Black Bomber Rhythm section Darren Birch and Dave Twist, and have created the video below, as well as new material that will make up the new album ‘Collect The Hearts’ to be released soon.

This song is taken from Rachel Mayfield’s previous album titled ‘Truth to Material’. The band brought it to their live set while forming and writing new material for ‘Collect The Hearts’, with an attitude not unlike Patti Smith Group, it’s not a solo album with hired hands, but a proper band and if you want to be as good as you can be, then who better to get involved with than Birmingham’s finest. Mayfield has assembled a formidable rhythm section that will help deliver whatever her vision might be.

The band are set to play a live instore in London on Saturday July 4th. Details will go on their Facebook page and, no doubt, Bandcamp. Bookmark the page and keep an eye on what happens next.

www.RachelMayfield.Bandcamp.com / Facebook

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Slyder Smith New Single “Killing The Machine”

Slyder Smith New Single “Killing The Machine”

Slyder Smith Unleashes New Single “Killing The Machine” on 10th April
A Powerful Anthem Confronting the Rise of Technology and Human Disconnection & unveils new line-up with a string of UK dates


UK rock singer-songwriter Slyder Smith returns with his explosive new single “Killing The Machine”, released on 10 April 2026 — a hard-hitting, thought-provoking track that tackles the growing fear and reality of technology overtaking human connection and control.

Blending gritty guitars, anthemic melodies, and his trademark raw lyricism, “Killing The Machine” channels both urgency and unease, capturing the tension between modern dependence on technology and the instinct to resist it. The track stands as one of Slyder’s most socially charged releases to date, reflecting a world increasingly dominated by screens, algorithms, and artificial noise.
“This one’s about that disturbing feeling that we’re losing control,” says Slyder. “We’ve built something that’s meant to serve us, but it’s starting to feel like it’s shaping us instead. It’s about fighting back — holding onto what makes us human.”

Produced by Robin Wynn Evans (Manic Street Preachers, The View, Sam Brown, Dodgy) at TPot Studio, the single showcases a bold evolution in Slyder’s sound — combining a modern sonic edge with the timeless energy of classic rock. Evans’ production brings clarity and punch to a track that is both sonically powerful and lyrically resonant.

Killing The Machine follows a string of acclaimed releases including “Plan To Fail” and “Nobody’s Listening”, further cementing Slyder’s reputation as an artist unafraid to confront uncomfortable truths – from self-doubt and addiction to isolation and societal disconnection. 
The release also comes as a limited edition numbered CD bundle. Including a signed CD, signed poster & lyric sheet featuring 2 tracks recorded live at a sold-out Forfar 10 Bar show last summer. 

The release coincides with a run of UK live shows:
10th April – Bannermans, Edinburgh
1st May – Audio (w/Bonifide), Glasgow
24th May – 10 Bar, Forfar
11th July – Rock Bottom, Falkirk
12th July – Trillians, Newcastle

Now fronting a powerful four-piece band featuring Brian Kerr (guitar), Kevin Skelly (bass, backing vocals), and John McAvoy (drums), Slyder continues to build momentum with electrifying live performances that have already seen sold-out shows and glowing praise from the UK rock press.
“The new band is sounding awesome in rehearsal; moving to a 4-piece was a great move that brings much more depth to the sound & we genuinely can’t wait to put it in front of a live audience”

Following the success of his critically acclaimed debut album Charm Offensive (2022), Slyder Smith remains a compelling voice in modern rock — delivering music that is fearless, honest, and deeply relevant to the times we live in.

“Killing The Machine” is available on all major streaming platforms from 10 April 2026.

Slyder Smith & the Oblivion Kids – Website

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George Thorogood and The Destroyers Final tour of the UK

George Thorogood and The Destroyers Final tour of the UK

The Baddest Show on Earth, 2 dates in June 2026

Final tour of the UK

George Thorogood and The Destroyers have announced the final tour of the UK, as part of The Baddest Show on Earth tour of North America and Europe. There will be just two shows:Monday 29th June 2026 at University of Wolverhampton at the Civic Hall, followed by Tuesday 30th June 2026 at indigo at The O2 in London. Tickets are on sale now [all links below]. This is the last chance to witness this incendiary performer live on UK stages.


For more than 50 years, George Thorogood and The Destroyers have remained one of the most consistent—and consistently passionate—progenitors of blues-based rock. And no one knows that better than the millions of fans who’ve seen them live. Formed in 1973 by guitarist, singer, and songwriter George Thorogood and drummer Jeff Simon, the Delaware-based band honed their sound on stages across the Northeast, building a devoted word-of-mouth following through their high-energy performances and blistering grooves.

Speaking about The Baddest Show on Earth, Thorogood says, “When the lights go down, the downbeat hits and the audience erupts; all bets are off. The Destroyers are at their best when we play for the people, and these are some of our favourite—and rarest—performances from the past five decades. You wanted the baddest, you got it.”

Today, George Thorogood and The Destroyers—which currently consists of Jeff Simon (drums, percussion), Bill Blough (bass guitar), Jim Suhler (rhythm guitar), and Buddy Leach (saxophone)—have played more than 8,000 live shows. Career highlights include their record-breaking 50 States in 50 Dates tour in 1981; numerous high-profile tours alongside The Rolling Stones, Sammy Hagar, and ZZ Top, among others; over 15 million albums sold worldwide; plus landmark performances at Live Aid and Saturday Night Live.