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Warrior Soul/Gypsy Pistoleros – The Fulford Arms, York – 29th September 2026

Warrior Soul/Gypsy Pistoleros – The Fulford Arms, York – 29th September 2026

Here at RPM, there are many underground artists we admire and regard as legends, Warrior Soul mouthpiece Kory Clarke is one such dude. Kory has been keeping the Warrior Soul name alive for well over 3 decades. The politically charged band burst onto the scene back in 1990 with their debut album ‘Last Decade, Dead Century’, and their unique brand of outspoken, anarchic art rock saw a collection of great albums in the early 90s.

While the line-up has changed, the stiff middle finger of Kory Clarke is still raised in defiance as his band continue to release quality albums and tour extensively.

They celebrate the 35th anniversary of sophomore album ‘Drugs, God & The New Republic’ with a European tour playing the album in full. With a handful of UK dates booked, it would be crazy for me to miss the night when New York meets Olde York.

First up we have Gypsy Pistoleros who’ve undergone quite a transformation in recent years. The self-proclaimed ‘greatest flamenco glam punk band ever’ have now rebranded themselves as ‘the world’s only glam punk goth n’ roll outlaws’. Fair play, whatever the branding, Wolverhampton wonderer Gypsy Lee Pistolero is still at it, delivering sleazy rock n’ roll like all the (mostly) forgotten cool cats did back in the day. It’s clear he grew up on the same music as you and I.

They may look like a Temu Kiss (the bassist sports actual fairy wings), but the sound and delivery are dark, sleazy and the most fun you can have with leather clothes on. The onstage humour is as tongue-in-cheek as the stage costumes. “We don’t dress like this every day”, states Lee in one of many between-song monologues, before ripping the piss out of Adam Ant with his moves.

‘Dark Faerie Tales’ sounds like Faster Pussycat when Taime first went all goth and industrial on us, ‘The Ballad Of Thomas Shelby’ is a glitter-drenched stomper with more “woah-whoa’s” than an 80’s Bon Jovi single, and their cover of Dexy’s ‘Come On Eileen’ is the glam punk/pop crossover you didn’t realise you needed.

A full-on, high-energy rock n’ roll show with crowd participation, riffs and hooks aplenty- what’s not to like?

Warrior Soul take to the stage and jam out a killer intro piece. Kory Clarke swaggers through the crowd to the front of the stage, a bottle of red wine in his hand, and just watches his band rock out for a moment or two with his back to the audience.

He then grabs a mic, takes stage centre, a defiant fist in the air and shouts in that unmistakable raspy voice, “We are the government, and we rock n’ roll!”. They kick into ‘Interzone ’, and it’s clear from the off that this band mean business.

The diminutive frontman is a flash of blonde hair, gold shades and leather bellbottoms. He weaves rock n’ roll shapes and delivers that enigmatic, frontman thing like all good rock stars should. Next up ‘Drugs, God & The New Republic’ takes things down a notch before ‘The Answer’ takes it back up again. It seems we are getting the album in sequential order, nice!

Joining Kory are fellow New Yorker Adam Dubin, Italian guitarist Parker Barrow and Lowdrive guitarist John Hodgson. Longtime bassist Christian and drummer Ivan Tambac make up the ranks. The band are tight, and the staying power of these songs shines, reminding me what a great fucking album it is, all killer, no filler. Lyrically ahead of its time, musically powerful and still as relevant as it was in the last century.

Highlights are plenty: ‘Real Thing’ sounds great, those dynamics work well live, ‘Hero’ is as emotive as you like, and ‘The Wasteland’ is a surefire blast of 90’s punk metal.

All eyes are trained on the main man, making the most of the claustrophobic stage space he has. He eyes the audience as he spits and snarls his way through a killer set, gesticulating and articulating wildly and with as much passion as when he wrote those words.

Once the full album is done, we get more. ‘The Drug’ is a high-energy blast of acid punk, jammed out and extended, giving Kory time to drop to his knees, swig some wine and pass it to his bassist. ‘Punk & Belligerent’ is exactly what it says on the tin, and probably the best song of the night. ‘Losers’ is the all-encompassing anthem we all raise our hands and sing to, and set closer ‘Love Destruction’ is a sublime way to end a 1-hour 40-minute set, no encores needed.

Both bands had to work for it tonight. And at times both frontmen seemed a bit bemused about it. I’m sometimes left wondering if this is just a Northern thing or a national issue at gigs. Have we forgotten how to loosen up and have fun these days?

But in an age when people think nothing of paying £200 to see a nostalgia act on a big screen in an enormodome, I’m happy to say I saw a rock n’ roll legend give his all in a sweaty pub in my town for less than £20, and personally it was one of the gigs of the year.  

Author: Ben Hughes

Peter Hook & The Light play Joy Division

Peter Hook & The Light play Joy Division

UNKNOWN PLEASURES & CLOSER

SUNDERLAND FIRE STATION

FRIDAY 21 MAY 2027

PETER HOOK & THE LIGHT have announced a date at Sunderland Fire Station on Friday 21 May 2027 which will see the band play both Joy Division studio albums, Unknown Pleasures and Closer, in their entirety. The Sunderland date comes ahead of a full UK and Ireland tour next year, alongside further tours in North and South America, France and Asia, that will likewise celebrate both albums in full.

Sunderland tickets will go on sale at 10:00am on Monday 5 October HERE

Unknown Pleasures was released in 1979 and was followed by Closer in 1980, with recording for the latter completed shortly before Ian Curtis passed away and released shortly afterwards. The albums have since entered the folklore of musical history and regularly feature in the higher echelons of the Greatest Albums of All Time lists as compiled by both critics and public alike. They launched a legacy that refuses to fade, adorned with artwork that spawned a million t-shirts, production from Martin Hannett that sounds as precise and as ahead of its time today as it did back then, and both albums remain a constant influence on virtually every noteworthy band of the past four decades.

The Unknown Pleasures & Closer dates in 2027 follow another staggering run of live shows this year, taking in tours of the EU – visiting the Netherlands, Germany, Poland, the Czech Republic, Austria, Croatia, Slovenia and Belgium – an Australian and New Zealand tour in early summer and a 24-date tour of the USA and Canada in late summer, alongside numerous festivals in the UK and worldwide.

As a founding member of both Joy Division and New Order, Peter Hook was recently inducted into the prestigious Rock & Roll Hall of Fame for 2026, as voted for by fans of both bands. An award ceremony will be held in Los Angeles in November to mark the occasion.

Peter Hook first revisited the seminal Joy Division album Unknown Pleasures back in May 2010 for a commemorative charity concert and has followed it each year by performing subsequent albums from the repertoire of his bands, Joy Division and New Order. That dedication to his back catalogue has now seen him move through Unknown Pleasures, Closer, Still, Movement, Power Corruption & Lies, Low Life, Brotherhood, Technique, Republic, the Substance albums and Get Ready. Having toured each album extensively, the band have now amassed over 1000 concerts.

Among the many highlights since Peter Hook reintroduced his repertoire to a legion of audiences across the world, both new and old, have been appearances at Benicassim, Primavera Sound, Bestival, Kendal Calling, Victorious, Latitude and Rebellion, alongside extensive touring in Europe, the UK, China, Japan, North and South America, Australia and New Zealand to great acclaim from both fans and critics alike.

Pic – Rhona Murphy.

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Electron – ‘Is This Worth Living For?’ (Self Release)

Electron – ‘Is This Worth Living For?’ (Self Release)

Electron are a London-based duo who originally hail from Portugal. Their second album, Is This Worth Living For?, is about to be unleashed, and it’s a superb chunk of modern metal.

Jason Payne (guitar/vocals) and Joanna Hyde (bass/vocals) base their songs around the experiences of many young people these days…feeling detached, alone, and searching for some kind of purpose. The music is very well written with virtuoso performances. I’m not sure if the band has used an actual drummer on the album, or if the drums are programmed. The production from Romesh Dodangoda (Florence Black, Nova Twins, Bring Me The Horizon) is punchy and crystal clear.

Electron have a unique sound. They switch from crushing heaviness to Depeche Mode-style electronic moods with ease. There are plenty of singalong anthems in the mix too. Jason describes the inspiration behind the album: “The motivation behind these tracks came from hating the idea of a perfect life or world portrayed on social media,” begins Jason about the new album. “Everything and everyone seem to be so fake; it feels like we’re constantly being pushed towards what society expects us to be – there’s no room for individuality.

People have a hard time accepting and loving themselves for who they really are or look like. As we started writing, it propelled us to question: who are we? What are we doing here, and where do we go to? Metaphysics and existentialism are the strongest themes and emotions on this record. Because in a world that we can’t relate to, we’re left to wonder where we really belong.”

The album opens with the fantastic Trap. When it arrives, the heaviness is devastating, but the light and shade of the track is very effective. A catchy chorus makes the song memorable after the initial listen. Lie To Me mixes the electronic element of the band with monster guitar riffs perfectly. Brilliant stuff.

Jason sums up the next track: Dying To Feel Alive – “With all this modern-day disconnection, we’re left feeling increasingly isolated, day by day. We strive for meaningful connections, conversations, emotions… But sometimes everything feels fake and unreal.”

You Betray is a mid-paced epic with another earworm of a chorus. Electron mixes up the different foundations of their songs so well, you know they are essentially a metal band, but they could easily be an amazing dark electronic band. Toxic is another absolute banger of a track. A huge anthemic chorus and a Godzilla-sized riff make it a real standout tune. Another highlight of the album is the guest appearance of Skindred’s Benji Webbe on the track Taken. Benji’s ragga vocal delivery works perfectly. We get live versions of Burning Inside, Echoes Of A Dying World and You Betray to conclude the album.

Overall, Is This Worth Living For? is a very strong effort from Electron. The seemingly easy transition between musical styles makes for an interesting listen. I look forward to seeing what happens next for Electron. 

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Author: Kenny Kendrick

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FAKE NAMES RELEASE NEW SINGLE

FAKE NAMES RELEASE NEW SINGLE

MEMBERS OF BAD RELIGION, REFUSED,

ROCKET FROM THE CRYPT, GIRLS AGAINST BOYS & THE FAITH

TOUR KICKS OFF JANUARY 26

Today, epic punk collective Fake Names share new video for single “If You Could See Me Today” ahead of their upcoming album Punk Ruins, outOctober 23. The track finds jangle pop emerging from the band’s D.C. post-hardcore roots, crackling guitars meet gritty bassline, and effortlessly magnetic vocals, as the band reflects on remnants of a distant past.

Fake Names consists of punk mainstays Brian Baker (Minor Threat, Dag Nasty, Bad Religion), Dennis Lyxzén (Refused, INVSN),  Michael Hampton (S.O.A., Embrace, The Faith), Johnny Temple (Girls Against Boys, Soulside), and new drummer Mario Rubalcaba (Rocket From The Crypt, Off!). Punk Ruins was produced by Matthew Bernhardt (Superchunk, Bob Mould) at Chicago’s iconic Electrical Audio studios.

Despite each member’s celebrated status, their collaboration feels unforced. “There are no guardrails or perceived direction here and this just comes out,” shares Baker, emphasizing, “this album is a collective expression, and a lot of the fun is seeing how the hell it is going to turn out.” The band’s musicianship elevated Baker and Hampton’s initial ideas, while giving Lyxzen room to explore vocal styles. “I think that a lot of these songs give me an opportunity to sing in a way that nowadays I usually don’t,” he explains, “It’s always cool to be able to experiment with your voice, melodic sensibility and language.” That creative freedom shines on tracks like the groove driven “Diamond Buzz” and the title track’s undeniable D.C. hardcore sound, elevated by Lyxzén’s belting vocals and razor-sharp hooks.

Fake Names is a “mutual admiration society,” according to Baker, melding 70’s UK punk with classic hardcore energy and dynamic guitar-driven power-pop. The band released their classic rock-leaning self-titled debut in 2020, followed by 2023’s Expendables, produced by Adam “Atom” Greenspan (IDLES, Yeah Yeah Yeahs), who helmed a sonically cleaner, richer sound for the group.  

Fake Names will be heading out on tour in early 2027, with stops across Europe and the UK starting January 26. For additional information, visit: https://fakenamesofficial.com/tour.

Fake Names 2027 Tour Dates

Jan 26 – Umea, Sweden – Umea Stage

Jan 28 – Paris, France – Glazart

Jan 29 – Köln, Germany – Club Volta

Jan 30 – München, Germany – Backstage

Feb 1 – Milano, Italy – Legend Club

Feb 2 – Ljubljana, Slovenia – Kino Šiška

Feb 3 – Wien, Austria – Arena Wien

Feb 5 – Hamburg, Germany – Knust

Feb 6 – Berlin, Germany – Lido

Feb 7 – London, United Kingdom – Underworld

FOLLOW FAKE NAMES WEBSITE | INSTAGRAM  | YOUTUBE

NY Loose – ‘Monolith Kids’ (Self Release)

NY Loose – ‘Monolith Kids’ (Self Release)

Darlings of the New York underground punk scene in the mid-90s, NY Loose, led by blonde bombshell Brijitte West, shoulda been huge. They had the look, the attitude and most importantly, the songs. But their excellent debut album ‘Year Of The Rat’ failed to set the world on fire, and even high-profile support slots with L7 and Marilyn Manson on the infamous ‘Antichrist Superstar’ world tour didn’t give the band the traction they deserved.

It turns out their record company, Hollywood Records, didn’t really know what to do with a gritty rock n’ roll band who couldn’t give them the polished commercial success they desired. The lack of record company support and internal wrangling led to the band being dropped and ultimately their disintegration. NY Loose left us with one studio album and a few independently released EPs. Many of those early recordings have been lovingly restored here for fans and new admirers of all things 90’s rock n’ roll.

‘Monolith Kids’ is a 12-track affair featuring the full ‘Loosen Up!’ EP and tracks from the posthumous ‘Born To Loose’ compilation album. All tracks have been remastered and re-sequenced for your listening pleasure into one cohesive album.

The title track kicks things off in rollicking style, the bombastic rhythm section powering through a wall of distorted power chords as Brijitte delivers the refrain with guts and glory. This song showcases the energy this band would take onto that debut album.

With its low-slung Johnny Thunders licks and Ramones attitude, ‘Bitch’ is another early standout cut. Brijitte’s sugary sweet vocalisin’ is all Joan Jett meets Josie & The Pussycats, so good it should be illegal! The Thunders influence continues on third track ‘Green Light Semaphore,’ which veers more in the Heartbreakers territory like a motherfucker baby!

Considering these songs were all recorded on a shoestring budget prior to a major label contract, they sound pretty good. Don’t get me wrong, it’s pretty raw and ramshackle, but the songs shine through. The upbeat punk pop of ‘James’, co-written by Circus Of Power man Gary Sunshine, is a dreamy power chord-drenched blast of fun, and ‘The Late 20th Century Blues’, co-written by D Generation man Richie Bacchus, is raw, unadulterated punk rock straight from the streets of New York City.

‘Year Of The Rat’ favourite ‘Spit’ is included in its undiluted original form. At over 5 minutes, the dark and twisted tale skulks along in the shadows; it’s no wonder it was added to ‘The Crow 2’ soundtrack.

Elsewhere, the great ‘Loosen Up’ has a live-in-the-studio feel; the energetic vocals and pumping, bass-driven breakdown add to the jammed-out, delivered-on-the-fly feeling. This could’ve been on the debut album, make no mistake. The album concludes with their cover of The Avengers ‘Cheap Tragedies’, which was previously available on the ‘Tribute To The Avengers’ album back in 2010 alongside NOFX, Dwarves and Ramonas.

While ‘Monolith Kids’ ain’t gonna set the world on fire, it’s a snapshot of the early days of a band who coulda, shoulda, woulda…and in different circumstances probably woulda. In an era when glam punk bands were sneered at (in the wrong way), the likes of NY Loose and D Generation were flying the flag for sleazy rock n’ roll. And this release is essential for fans of either band or those who simply enjoy wearing leopard skin and creepers.

Buy International orders:

Order here: https://elasticstage.com/nylkids/releases/monolith-kids-album

US orders: 

Order HERE

Bandcamp: https://brijittewest1.bandcamp.com/

Facebook: www.facebook.com/brijittewestofficial

Author: Ben Hughes

Wolfbrigade – ‘Howl From Underground’ (Metal Blade Records)

Wolfbrigade – ‘Howl From Underground’ (Metal Blade Records)

I have to admit that I’m not a big fan of the whole “Oi/Crust” punk movement. The music doesn’t move me at all. When I sat down to review the latest album from Swedish punk/metallers Wolfbrigade, I was pleasantly surprised to hear more of a hardcore sound. The band has elements of Sick Of It All, Nailbomb, ‘ 90s-era Exploited, Biohazard, and even early Motorhead vibes in their music. This made it much more comfortable, and I felt able to write a balanced review.

Wolfbrigade has been around for a long time. They were formed back in 1995 under the name Wolfpack, and Howl From Underground is their 12th LP. We get 12 short/sharp songs that all have immediate impact. Opener Caveman Motherfuck (catchy title!) soon gets underway with full pelt riffing and some fantastic up-tempo drumming from Dadde Starck. The band decided to use a producer on the album for the first time in a long time. As Wolfbrigade themselves explain: “As the songs started to fall into place, we decided to do something we hadn’t done in many years,” explains the band. “For the last decade we’ve recorded, produced and mixed our albums ourselves. This time we wanted to work with someone from outside the band whose work we respect and who we felt would understand what Wolfbrigade is about.”

The producer they used is Lawrence Mackrory (Meshugga/Paradise Lost), and he’s done a fantastic job. The band sounds huge. There are some real standout tracks, including the superb Doomrunner, Born To Rot, Headhunting, and the wonderfully titled Fat Man Hellscape. The title track is my favourite though, absolute carnage. Vocalist Micke Dahl is like a man possessed, barking and spitting out every word. Awesome.

The band explained the process of writing the songs for Howl From Underground: “Rather than building the songs layer by layer, we wanted to capture the band as a single unit, the push and pull that happens when five people are locked into the same moment. There’s a tension in those kinds of performances that’s difficult to recreate any other way. Without a safety net, the focus sharpens and something else takes over. Sometimes the songs begin to take on a life of their own. More than anything, it leaves room for the unexpected. We still work within the same narrow framework that has always defined Wolfbrigade, but we keep pushing against its edges,” asserts the band. “New melodies, new angles, new ways of getting where we’re going.” Among these new angles we may find the almost gothic melancholic melody underpinning When Dogs Cry; the crafty, atmospheric note patterns of Cold War Bootlicker; the long chords and rock-steady surge of Seeking Scapegoats. But each track is so steeped in the workings of the Wolfbrigade grinder, nothing sticks out as wildly diverse or out of place. “For us it’s never about sounding different for the sake of sounding different,” says the band. “If a song feels hungry, if there’s a primitive energy there, then it deserves to exist. That was the feeling we followed throughout the work on Howl From Underground.”

Howl From Underground is a superb record. If you’re a little weary of the punk tag, don’t be. Wolfbrigade easily navigate themselves into the metal/hardcore category. If you love some crusty punk, you’ll already know all about Wolfbrigade. Maybe don’t listen when there’s a full moon, though! AAAAWWWOOOOOO!!!

Howl From Underground is released on Oct 9th via Metal Blade Records.

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Author: Kenny Kendrick

Mouth Ulcers – ‘Silent Pictures’ (Lab)

Mouth Ulcers – ‘Silent Pictures’ (Lab)

A few years ago, there seemed to be a really impressive uprising from the graveyard of Goth, as bands like The Bellweather Syndicate, Then Comes Silence, and even bands like Ist Ist were lighting up my record player with excellent releases. I know music tends to come and go like the ebbing of the ocean, and maybe now is the time for another wave to come crashing down out of the darkness, and Mouth Ulcers will be spearheading that from their London dungeon purely on the strength of this debut extended EP or short album (however you want to look at it), ‘Silent Pictures’, which was released in the thick of this past summer via LAB Records. Mouth Ulcers are a four piece London based bandand they lean heavily on the true spirit of the likes of The Mission (early doors), The Sisters, Early Cure and Bauhaus, to name a few. The record is dripping with atmosphere and dark imagery. Just take the Title track with its sharp, dank, haunting guitar chops and the dry drum production oozing Goth majesty, leaving enough room for whispered vocals that never get above a spoken hush. Just what the Witch Doctor ordered.

This fast-rising four-piece isn’t afraid to lean on the past to carve out a future, and I’m all in for that. It’s modern yet nostalgic at the same time as they create a post-punk cinematic atmosphere that would give me chills live as the dry ice wafts through a dimly lit room.

Formed in 2025 by vocalist/guitarist Zak Watson, alongside Josephine Rose (guitar/vocals), Jamie-Lee Culver (bass) and David Zbirka (drums), the group have quickly evolved from a studio experiment into a proper performing band and on this evidence they have the chops to back it up. ‘Closer To You’ is tub thumping and Daniel Ash-like wailing on that six-string plank, with a sound dripping in reverb and slicing through the mix and its frantic pace, considering this is the first record this is indeed impressive stuff.

None of the songs outstays their welcome, and they blend the barely in-control tempo on ‘Closer To You’ with the stark emotional minimalism of ‘Satisfy’ as it builds to its chaotic ending from the gloom of the first half of the song. As far as debut recordings go, this is right up there with Goth royalty for me, and I wanted to wait until my record arrived before reviewing, but I just couldn’t hold off. I’ll shout praise from the church rooftops for ‘Silent Picture’ and hope it’s not a one-off, and I can get to see them do this live before a long player hits the pressing plant. Then Comes Silence have serious challengers for the crown, as these Londoners have a beauty on their hands. Buy this record; it’s all killer and no filler.

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Author: Dom Daley

Split Dogs- ‘Nice n Rough’ (Venn Records)

Split Dogs- ‘Nice n Rough’ (Venn Records)

At last! One of the most anticipated albums this year, chez moi and at RPM headquarters, no doubt. This was an immediate preorder, and, as ever, Split Dogs don’t disappoint. You already know the opening number ‘Be Somebody’, which is followed by the “Rick Parfitt on bad speed” rhythm of ‘Born Too Loose’. Very tasty, though I suspect some diehards aren’t sure about the band embracing some Quo/DC riffs. Too bad for them, because the Dogs haven’t lost anything. They know who they are, and that’s why it works. 

‘Breaker’ is 1 minute 30 seconds of pure rock, undiluted joy. If it doesn’t get you moving, you’re already dead, baby. ‘Get The Look’ should please the hardcore crew, and the band are obviously having a ball throughout. ‘Speed Demon’ sounds like a classic riff by now. Most traditional ‘rock’ bands could learn something here, few of them have this many addictive riffs. In fact, it’s so good, you could imagine they were Australian. 

And ‘Leave It Alone’ would make Bon Scott smile. The rhythm section is tighter than ever, and Harry’s vocals are fabulous. ‘Shake Sum Action’ (not that one) blasts by in just under 2 minutes, and ‘Rock N Roll Business’ still sounds magic, complete with piano rolls. One of the best songs of the year, for me. ‘Mama Said’ is dangerously close to 4 minutes long, but you won’t notice. 

You should also be aware of ‘Suffer’ by now, so let’s move on to ‘I Wanna’, which comes on like a punkier Hives. The energy levels don’t drop. There’s some ‘Dirty Denim’, which reminds this listener of The Sick Livers. Yes, I know that Ginge’s denims are immaculate. Not ones to end on a ballad, ‘Power Out’ clouts you one last time. I’ve nothing against shorter albums when they’re this good. An absolute belter from start to finish.

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Author: Martin Chamarette

C.O.F.F.I.N – ‘Out In Oslo’ (p(doom))

C.O.F.F.I.N – ‘Out In Oslo’ (p(doom))

C.O.F.F.I.N are a hard rockin’ punk band from Sydney, Australia. The acronym stands for ‘Children Of Finland Fighting In Norway’. ‘Out In Oslo’ was produced by Declan Mehrtens of Amyl & the Sniffers, who they’ve toured with many times, so it’s no small jump to offer comparisons there but C.O.F.F.I.N are an altogether different proposition for a start the drummer is also the singer, and there’s no Amy prowling the stage heading this band they leave it to the music to do their talking and boy, have they got something to shout about. I wouldn’t like to call who’d win in a bar brawl either, but it would be close.

This is C.O.F.F.I.N’s fourth studio album and whilst they’ve barely moved the dial in sound or style, the songwriting might have had some subtle gear shifts and they’ve introduced different flavours to the delivery for sure.

I’d hazard a guess that what you see is what you get, and there is zero bullshit in C.O.F.F.I.N, and they certainly walk the walk and give zero fucks along the way – you either dig it or you move along; there are no half measures. This record kicks off in style after the sleazy intro it’s counted in, and boom, we’re off like a bottle rocket. If you want to let someone know exactly what this band is about, it’s captured in the opening salvo of sonic assault – three minutes and one second; there it is! Leaving the listener in no doubt what is occurring. Taking no prisoners right from the curtain drop, C.O.F.F.I.N are in the motherfuckin house.

‘Sleep In It’ is off like a boogie Woogie runaway train as Ben Portnoy hits those drums like he’s got a ten-pound lump hammer in his grip, and the drums are a red-hot anvil, but don’t be fooled, as the song charges on and the solos rage hard, the backing vocals are shaking things up like prime-time Hanoi Rocks, and I’m loving it.

Coming on a little more restrained, ‘Bad Thoughts’ is shifting on a rockin groove towards a gang vocal chorus that’s all muscle through the throbbing Bass rumble. Damn, what a record this is shaping up to be, and we’re barely a quarter in.

‘A Place To Stay’ rages on a thumping solid beat set on a wild, barely in control bass line. Hang on, an acoustic guitar and soulful harmonica? Yup, everybody needs to calm down a little and catch their collective breath, so ’13 Days’ is the perfect palate cleanser before we build up a sweat again. ‘Won’t Let You Down’ has the harmonica honkin’, and with a second wind blowing through its heads down and lets kick up a shitstorm for a few. ‘Fair Enough’ is steaming down the track before we’re thrown a curveball in the shape of the foot-stompin ‘, chest-beating ‘Gettin’ Down’ like prime-time Slade, with a guitar solo that just soars.

The penultimate track is the sound of a band confident in the knowledge that they’ve hit paydirt with this new record. From start to finish, this is an absolute banger, and I’ve already played it over and over and louder and louder; it just sounds better and better. To close the record off, Ben sounds like a rabid dog who’s been gargling razors and washing them down with petrol as the song builds and meanders to its conclusion, putting a full stop on proceedings with a middle finger to anyone who’s listening, leaving the stage in ruins.

C.O.F.F.I.N have delivered a beast, with no weak spots anywhere. It’s one of the finest albums you’ll hear from any continent on this spinning rock this year for sure. Get on board and strap yourself in: ‘Out In Oslo’ is here, and it’s fuckin special – Buy It!

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Author: Dom Daley

The Mary Tyler Whores – ‘As Filthy As We Wanna Be’ (Cadiz Music)

The Mary Tyler Whores – ‘As Filthy As We Wanna Be’ (Cadiz Music)

Not since Gay For Johnny Dep or Jodie Fasters were kicking up a stink on my stereo has a band had such a great name as The Mary Tyler Whores – Somewhere between sleazy early pre-appetite Guns n Roses and The Dictators. TMTW are kicking up a shitstorm, and boy, do they know it.

Hailing from the swamps of Florida, this five-piece, ten-legged groove machine are on it from the opening riff of ‘American Sex Fiend’ to the closing chords and cymbal fizz of ‘World Against Me’. That opener has a filthy Zodiac mindwarp riffola opening. It’s all Billy big balls and struttin like they’re something special it screams of a punk rock party, and we’re having the best of times doing this, and if you don’t like it, go F yourself; we have a party to attend, and besides, we’re here for a good time, not a long time, so hurry the fuck up.

Hells Bells, the third track, is a sleazy, hard-rockin ‘ take on the Lords Of The New Church classic, less dark and gothic and certainly stripped back and loud ‘Dance With Me’ wasn’t a song I had down as being covered anywhere or by anyone, well done, gents, top tune. It’s certainly not as good as the original, but I’ll take it, when any band takes on such a magnificent track, I’ll get behind it for sure.

‘Savage World’ is a party on its own, and why wouldn’t I approve of that? That’s sort of the MO for a while on the record. Make a band and come on part Guns, part Duane Peters, and part Handsome Dick is sure a recipe for an interesting record. There’s a lot of music to plough through with fifteen songs on offer it’s certainly value for money ‘Edge Of Insanity’ is almost a Rancid-sized skank, but it never goes there instead, it heads off into a punk rock gang vocal charge off by the chorus. I love the horns honkin’ out ‘Clamjacked’ it’s a real blast, and that’s not just the horns it’s a rowdy step to the left, and I love it.

To be fair, there’s a lot going on all over this record that sounds fantastic, courtesy of Greg Hetson (Circle Jerks/Bad Religion. It’s a bright-sounding record, and the bigger riffs are elevated and put right in your face, ‘Isolation’ being a great example that also has a filthy Bassline clunking away throughout.

I guess with fifteen songs mostly going full tilt you’re wondering which one is the power ballad. Well, worry not, folks, but there is some acoustic guitar work on ‘Phantom Love’ as the opening sort of crashes in before taking you down a twisting lane that is loose and meandering. Before we end the record, there is time for another cover, and this time they fuck with your head as ‘Whip It ‘- yeah, the Devo tune has the Mary Tyler Whores treatment to add another string to the bow.

The album closes on the collaboration with Riff Raff and Mike G as ‘World Against Me’ is the final offering from a very entertaining record. When it’s on it’s right on it, and that’s a great place to be. Get on the Mary Tyler Whores; they aren’t just a fantastic name they have the chops.

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