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Michael Monroe / CJ Wildheart – Sin City, Swansea 30.05.25

Michael Monroe / CJ Wildheart – Sin City, Swansea 30.05.25

The Rock and Roll show kept rolling, and Tonight it was the turn of Swansea to bear witness to the Rock and Roll phenomenon that is Michael Moroe and his band of merry men. I’ve seen the Monroes in many guises over the years in many venues, indoor and out, and the one thing I always testify is that this last one was better than the previous one. Regardless of whats in the set be it a Hanoi heavy set or a Monroe solo outing I’m always buzzing off the energy and heart and soul this band puts into every performance because that’s what they deliver folks, A performance of the highest order be it a festival slot or headline it matters not because they are going to give it everything they have for the duration. They have to, its in their collective DNA, they are the embodiment of Rock and Roll from the opening chord of ‘Dead Jail Or Rock and Roll’ it full tild zero fucks given zero bullshit Rock and Roll show.

First up to warm the punters was CJ, following on from an impressive turn last year when The Monroes did a whistlestop visit for ‘Two Steps’ and once again CJ and the band did a great job offering up plenty of solo material as well as ‘Lemonaide’ from The Jellys. ‘Go Away’ and ‘Sitting At Home’ from the wonderful Honeycrack. CJ seemed a little distracted by how dark the venue was, and it reminded him of a sex club panic room. Had the lights come on, he might have been terrified at the faces staring back at him, but the rock kept coming. Ending the set with a hat-trick of Wildhearts tracks and some amusing banter in the city of Dylan Thomas and Twin Town, the banter wasn’t lost on some of us.

The moment had come, and the intro tape of tribal drums rang out through the PA the time had come for Michael Monroe and his band to roll up their sleeves and get down to business.

Starting with his iconic hit from many moons ago its setting the bar at a height that most bands could never follow but tonight the Monroes simply ooze class and a set that meanders through the good and the great from a glittering career with added Hanoi for good measure and the best tracks Demolition 23 had to offer in a stunning one, two.

I love the rhythm section of Yaffa and Rockfist those guys play with such passion and swagger nailing it every time its a case of where do you look and have I missed anything as Monroe starts climbing the barrier and walking a tightrope and if the club had a high ceiling with tall PA he’d have been up there as well giving every breath in his body like he is playing to each and every person who truly believes in the power of Rock and Roll who came along to the show. ‘Last Train To Tokyo’ never sounded so good and was the perfect loosener for the magnificent ‘Motorvatin’ as Yaffa pounds out the rhythm to a bona fide classic.

Rich Jones and Steve Conte have developed into a formidable sonic foil bookending the Hanoi pair and keeping the repair on stage as they move across every inch of the stage seamlessly going from rhythm to lead with a cheeky smile and a nod and wink its a magnificent beast that I’ve not seen bettered for a long long time. My only thought is how the fuck are they only playing clubs its one of lives mysteries how these aren’t headlining arenas and selling millions of records. what a Fuckin mystery that is but I always feel its others loss that they’re missing out on such songs and a magnificent band.

The intensity continued with no fuckin about or bullshit between songs this group are on fire. Well, except when Michael forgot the words on ‘The Man With No Eyes’, but who cares it’s rock and roll, live in the moment. It just goes to show he is human after all. They might have struck a deal with the devil and drink from the fountain of youth, but from ‘Old Kings Road’ right through ’78’, ‘LES’, the pair of Demolition 23 classics it was nothing short of sensational.

‘Malibu Beach Nightmare’ and ‘Up Around The Bend’ signalled the end of the set as the audience gave a rapturous reception for what had just taken place, which only left an encore of the epic ‘Taxi Driver’ one of the best songs ever written followed by a tip of the hat to the much missed legend Johnny Thunders with a rapid take on ‘I Wanna Be Loved’ and we were done. A drenched in sweat band took the plaudits, and rightly so, that was exceptional and no matter how many times I see this band, I will always go back for more. Simply incredible and boy do they Rock Like Fuck!

Author: Dom Daley

Annihilator – ‘King of the Kill, Refresh the Demon, Remains, More Noise Vol. 1’ (earMusic)

Annihilator – ‘King of the Kill, Refresh the Demon, Remains, More Noise Vol. 1’ (earMusic)

The Canadian kings of technical thrash metal, Annihilator, have been on my radar ever since I saw the video for Alison Hell on Headbanger’s Ball back in 1989. Their blend of thrash, prog, and a touch of classical gripped me from the start. I bought their debut, Alice in Hell, as soon as I could get my grubby hands on it. I played it to death, but it was their next album, ‘Never Neverland’, released in 1991, that propelled Annihilator into the big leagues. I saw the band supporting Judas Priest in Newport, and their performance cemented my love for the band. These 2 albums are still considered their best releases, their next effort, 1993’s Set the World on Fire, had its moment,s but the line up changes seemed to be the beginning of the band becoming guitarist extraordinaire Jeff Waters’ solo projects, with him taking full control of Annihilator’s output. This was the band’s last release on Roadrunner Records.

We are now getting a revival of the band’s catalogue from the years 1994 – 1997 called The Annihilator Years 1994 – 1997 (catchy title, eh?) This was still a productive time for Annihilator despite the constant line-up changes and new record companies.

By the time we get to 1994 King of the Kill Jeff Waters had taken over on vocals, producing, and recording every instrument apart from the drums, which were recorded by Randy Black. Waters does a fine job, too. There are some fantastic songs on the album, including the title track, 21, Annihilator, Fiasco and my favourite track on the album, the Box. The remastered albums sound great; the tracks literally jump out of the speakers. We also get some demo tracks here, which are a nice insight into the creative process.

Refresh the Demon was released in 1996 on Music for Nations, and it contains one of my all-time favourite Annihilator tracks, Syn. Kill 1, what a tune that is! I do have a soft spot for this album, even though it isn’t held in such high regard as the earlier albums. The hilariously tilted The Pastor of Disaster is another highlight alongside Ultraparanoia. Refresh the Demon is an album that deserves another airing. A real solid metal album that holds up well.

I never delved into the next album, ‘Remains’ at the time of release in 1997, but bloody hell, I wish I did! It’s superb. Heavy, fast, with a touch of the industrial sound that was everywhere at the time. Tricks and Traps is a classic Annihilator track, crunchy riffs, pounding double bass drums, not sure if a drum machine was used here? Murder, Never Forget, Reaction, and the amazing Dead Wrong are some choice cuts from the album.

On the More Noise Vol.1 bonus CD, we get a real glimpse into the creative process of the albums in this era of Annihilator. Bonus tracks, demos and live tracks make a great addition to the albums. The 90s were an amazing time for metal despite the consensus that grunge killed it all. These albums by Annihilator are proof that metal was alive and well. These releases are the first of more remastered and revisited albums in the extensive Annihilator back catalogue to come.

If you’ve never heard these albums before, or if you are thinking of adding these shiny new versions to your Annihilator collection, go ahead, you won’t be disappointed.

Buy Here

Author: Kenny Kendrick

THE DROWNS ANNOUNCE FIRST-EVER LIVE ALBUM -LIVE AT REBELLION

THE DROWNS ANNOUNCE FIRST-EVER LIVE ALBUM -LIVE AT REBELLION
SEATTLE PUNK ROCKERS SHARE LIVE VERSION OF FAN-FAVORITE SINGLE “THEM RATS”
CLICK HERE TO STREAM
Seattle, WA – May 30, 2025 – Fan-favorite punk rock ’n rollers The Drowns are proud to present their brand new live album Live At Rebellion, on Pirates Press Records. The album is available now for pre-order, and the first single, the live version of “Them Rats” is now streaming on all major platforms. Click here to listen.

This is the band’s first foray into recording a live performance, but it has been an idea on the table from very early on. While the band are rightfully acclaimed for their studio albums, the first thing anyone in the know talks about is their electrifying live shows.

“Within the first year of starting the band, we saw the reactions we were getting from people live, and we had the idea to record a live album,” says guitarist and singer Rev. “Almost a decade later now, we felt like the time was right.”

While a live album recorded during the first year may have captured the raw power of a hungry band kicking off their momentum, Live at Rebellion is the sound of a seasoned band playing in front of a veritable army of international fans on their largest festival stage at Rebellion Festival in Blackpool, UK – fans that they have earned one by one, sweating it out with relentless transcontinental touring.

“Rebellion has always been a highlight of our year, and we love the performances there because the energy from the crowd is raw and visceral,” explains Rev. “That’s why we made the choice to do it there in Blackpool.”

But lest you think this is the sound of a band resting on laurels and taking a victory lap, prepare to have those expectations blow away, because The Drowns are still proving the vitality of their brand of punk rock ’n roll with every performance.

As a matter of fact, there was a new face at this performance, making it all the more extraordinary. “This album was the second show of our guitar player, Christian Martucci,” says Rev. “He learned all of the songs essentially two weeks before weleft, played a sold out show with MXPX in the Pacific Northwest for his first show, then recorded this live album as his second show, and he totally crushed it. He’s a beast!”

While far from a “Greatest Hits Live” preserved in amber, the setlist features selections from every era of the band’s career, and was determined by the band’s knowledge of what songs get their audiences fired up – all killer, no filler, as the saying goes!

The gritty attack of “Them Rats” exemplifies the band’s streetpunk influences and lyrical calls to unite against abusive authoritarian power. Meanwhile, the vital ass-shaking boogie of “Live Like Yer Dyin’” was a direct result of the band fully embracing their collective appreciation of the energetic joys of both 70s glam and original 50s rock ’n roll! Their choice of cover song – “Ballroom Blitz,” – truly hits the Sweet spot, if you’ll pardon the pun, as one of the foremost glam-proto-punk-bovver rock masterpieces. It is executed here in masterful hands by The Drowns.

The band acknowledges Daz Russell & Daryl Smith, the organizers at Rebellion, for backing the making of the record. David Casey (Success, One Step Beyond) helmed the boards to capture the recording, mixing and engineering was done by Evan Douglas Foster (The Sonics, Boss Martians), and the final master was produced by Seattle legend Jack Endino (Nirvana, Mudhoney, Soundgarden), who also recently oversaw the re-master of The Drowns’ debut album View From the Bottom.

“This album was a cumulative effort between people who still believe in rock ‘n’ roll,” sums up Rev. “We couldn’t be more proud.”

Live at Rebellion is available for pre-order NOW from the PPR webstore on 12″ Eruption Marble Vinyl, 12″ Candy Corn Marble Vinyl, or 12″ Blood Red & Halloween Orange Pinwheel Vinyl. It will be available everywhere fine vinyl is sold August 8th…the very weekend the band will tear up the Rebellion stage once again!

In addition, the band recently re-pressed their fan-favorite album Blacked Out on 12” Black Ice Vinyl with Neon Yellow Splatter, as well as putting out a re-mastered re-issue of their debut album View From the Bottom. Both albums are available from Pirates Press Records.
The Drowns: drummer Jake Margolis, bassist/vocalist Andy Wylie, guitarist/vocalist Rev Peters, guitarist Christian Martucci
Photo by Alan Snodgrass
Catch the band on tour with The Adicts & Lower Class Brats this weekend and continent hopping on tour thoughout the rest of 2025!
THE DROWNS TOUR DATES:
w/ THE ADICTS, LOWER CLASS BRATS
05/30/2025 – Pomona, CA – The Glasshouse
05/31/2025 – Los Angeles, CA – Fonda Theatre
07/01/2025 – Hamburg, DE – Hafenklang (w/ SCHOOL DRUGS)
07/02/2025 – Hannover, DE – Lux (w/ SCHOOL DRUGS)
07/03/2025 – Weinheim, DE – Cafe Central (w/ MAID OF ACE)
w/ BILLY LIAR:
07/04/2025 – Berlin, DE – Wild At Heart
07/05/2025 – Erfurt, DE – Scheiß Hitze Open Air at AJZ
07/06/2025 – Hünxe, DE – Ruhrpott Rodeo (no BILLY LIAR)
07/08/2025 – München, DE – Unter Deck
07/09/2025 – Graz, AT – Music House
07/10/2025 – Petrovaradin, Novi Sad, SR – Exit Festival
07/11/2025 – Vienna, AT – Chelsea
07/12/2025 – Prölsdorf, DE – Krach Am Bach Festival
07/13/2025 – Gierle, BE – Poeyelhei – Sjock Festival
07/14/2025 – Kassel, DE – Goldgrube (w/ WALK THE PLANK)
07/15/2025 – Freiburg, DE – Crash
07/16/2025 – Karlsruhe, DE – Alte Hackerei
07/17/2025 – Glaubitz, DE – Back To Future
07/18/2025 – Trutnov, CZ – Pod Parou
07/19/2025 – Eggenthal, DE – Rotten Cat (w/ GUITAR GANGSTERS)
w/ NEW BOMB TURKS
07/25/2025 – Detroit, MI – Magic Stick
07/26/2025 – Cleveland, OH – Beachland Ballroom
07/27/2025 – TBA (no NEW BOMB TURKS)
07/28/2025 – Buffalo, NY – Buffalo Iron Works
07/29/2025 – Toronto, ON – Horseshoe Tavern
07/30/2025 – Rochester, NY – Bug Jar (no NEW BOMB TURKS)
07/31/2025 – Cambridge, MA – Sonia Live Music Venue
08/01/2025 – Brooklyn, NY – The Meadows
08/02/2025 – TBA (no NEW BOMB TURKS)
08/03/2025 – Pittsburgh, PA – The Crafthouse Stage & Grill
08/07/2025-08/10/2025 – Blackpool, UK – Winter Gardens – Rebellion Festivals
09/04/2025 – Brighton, UK – Prince Albert
09/05/2025 – Swindon, UK – The Vic  
09/06/2025 – Exeter, UK – Cavern
09/07/2025 – Newport, UK – Le Cab
09/08/2025 – Stafford, UK – Redrum
09/09/2025 – Blackpool, UK – Waterloo
09/10/2025 – Carlisle, UK – Brickyard
09/11/2025 – Glasgow, UK – Audio (w/ BILLY LIAR)
09/12/2025 – Dundee, UK – Beat Generator
09/13/2025 – Edinburgh, UK – Bannnermans (w/ BILLY LIAR)
09/14/2025 – Gateshead, UK – Central09/16/2025 – Leeds, UK – Brudenell
09/17/2025 – Hull, UK – The New Adelphi09/18/2025 – Derby, UK – Hairy Dog
09/19/2025 – Belfast, UK – TBA
09/20/2025 – Dublin, IE – Thomas House
09/21/2025 – TBA
09/22/2025 – Reading, UK – Club Velocity
09/23/2025 – London, UK – TBA
10/17/2025-10/18/2025 – San Francisco, CA – DNA Lounge – Crash Festival
w/ BOOZE & GLORY
12/11/2025 – Warsaw, PL – Hydrozagadka
12/12/2025 – Wroclaw, PL – Stary Klasztor
12/13/2025 – Bielsko Biala, PL – Rude Boy

For more information on The Drowns:

Home

https://www.instagram.com/thedrowns/
https://www.facebook.com/thedrowns/

https://thedrowns.bandcamp.com

UK PUNK LEGENDS – INSTIGATORS RETURN

UK PUNK LEGENDS – INSTIGATORS RETURN

CONFIRMED TO PLAY REBELLION FESTIVAL AUGUST 8TH AND MORE!

CLASSIC ALBUMS ‘PHOENIX’ AND ‘SHOCKGUN’ TO BE REISSUED BY BOSS TUNEAGE ON LIMITED COLOUR VINYL AUGUST 1ST

PRE-ORDER HERE:

WATCH THE TEASER HERE:

In the latter half of the Eighties you’d have struggled to find a harder working group than INSTIGATORS. Tirelessly gigging up and down the UK, around mainland Europe, and even across the USA, on self-booked zero-budget tours, they inspired a new generation of young British bands to go blaze their own trails, often to great effect. 

Now in 2025, the band are set to return for the first time in thirty years and are confirmed to play the legendary Rebellion Festival in Blackpool on August 8th, alongside further gigs and the much-anticipated coloured vinyl reissues of the 1986 ‘Phoenix’ album and ‘Shockgun’ from ’88, both ready for release on August 1st on the Boss Tuneage Retro Series imprint.

‘Phoenix’ was originally released in 1986 on legendary punk label Bluurg and was the first release from the classic second line up of the band, which featured original guitarist Simon Mooney teamed up with Andy Turner (ex XPOZEZ) on vocals, and the rhythm section of Andy Turnbull on bass and Steve Curran on Drums. It is this line up that started touring extensively throughout Europe, UK and the US. This is the first time in over a decade the album has been available on vinyl.

‘Shockgun’ saw Bob Gorlik replace Turnbull on bass, and the band extensively tour in promotion of the album on its release on three labels across UK, Germany and the US in 1988. The album has been commercially out of print for three decades, and this release represents the first time ever on coloured vinyl outside of the initial German release back in the late 80s.

Restored and enhanced by Andy Pearce, the reissues are complemented with artwork true to the original UK pressings, both with 24 x 12 card inserts, heavyweight board sleeves, and are the must own versions not only for existing fans of the band whose old copies are at breaking point, but also for those curious to seek out one of the most important bands to emerge from the late 80s UK underground punk scene, who paved the way for countless bands that forged a similar path in later years.

Pre-order both albums here:

The first incarnation of Instigators can be traced to West Yorkshire in the early Eighties. A friendship with Subhumans Dick Lucas saw his label Bluurg release their debut EP in 1984 and an LP ‘Nobody Listens Anymore’ a year later. The records were well received, putting them on the cover of revered magazine Maximum Rock ‘n Roll. American artist Pushead also championed Instigators, including songs on his worldwide compilation ‘Cleanse The Bacteria’. And then the vocalist, bassist and drummer all walked out, leaving founder member Simon Mooney without a band. With touring commitments, and a determination to carry on, Simon immediately assembled a new line-up, with Andy Turner and Andy Turnbull drafted in as vocalist and bassist, their band Xpozez having recently split. With the addition of Steve Curran on drums the began touring Europe nonstop with the reinvigorated line-up debuting in Swansea, July ’85, officially marking the next era of Instigators. 

Following another mainland jaunt in January ‘86 the band assembled at Woodlands Studio, in Castleford, during March and April to record their new album ‘Phoenix’. It was produced by the band with Bruce Treasure (Subhumans) and saw a subtle change in the bands musical direction that reflected the increasing influence of bands from North America on their listening habits.  

With their new album out in the summer of ’86, the band now headed across the Atlantic for a North American tour commencing on 27th June at Lupos, Providence (Rhode Island) with The Adolescents and Murphy’s Law and finishing at On Broadway in San Francisco on 14th August. 

The wheels were truly turning for this incarnation of Instigators, and they would continue with tireless tours across the UK and mainland Europe and kept their profile up with tracks on various compilations. 1987 saw them release the memorable ‘Full Circle / Sleeper’ single and with ‘88’s ‘Shockgun’ album moving the goalposts again and clocking up the mileage on what would eventually be over 16 lengthy European jaunts.

INSTIGATORS bowed out after two massive European tours at the start of the ’90’s in Milan, Italy. Now they’re back for the first time in over 30 years for three special nights beginning at the world renown Rebellion Festival in Blackpool with headline shows in London and Huddersfield. If you weren’t there to witness them in full flow back, then it’s time to see what you were missing.

INSTIGATORS ARE

Andy Turner – Vocals

Dan Le-Billon – Drums

Gary Jackson – Bass

Simon Mooney – Guitar

Follow the band on Facebook here:

Catch the band live in 2025 at the following dates:

AUGUST 8TH: REBELLION FESTIVAL, BLACKPOOL – TICKETS:

AUGUST 15TH : HUDDERSFIELD , PARISH – TICKETS:

AUGUST 16TH : LONDON CAMDEN UNDERWORLD – TICKETS:

AUGUST 23RD: POLAND –  BIALYSTOK BORDERLINE FESTIVAL – TICKETS:

Onslaught – ‘Origins of Aggression’ ( REIGNING PHOENIX MUSIC)

Onslaught – ‘Origins of Aggression’ ( REIGNING PHOENIX MUSIC)

My introduction to UK thrash legends Onslaught was the video to their ferocious cover of AC/DC’s Let There Be Rock on Headbangers Ball sometime in 1989. At this time in my life, I was fully immersed in the thrash genre, white baseball boots, drainpipe jeans, backwards baseball cap etc.  I loved the other UK thrash acts, Xentrix, Acid Reign etc were on constant rotation.

I bought ‘In Search of Sanity’ when it came out and loved it. That album featured the fantastic Steve Grimmet of Grim Reaper fame (RIP). For some reason, though, I never delved into the band’s back catalogue. I was aware of their output after 1989, but didn’t pursue much more from Onslaught after this. Unbelievably, it’s the 40th anniversary of their debut album Power From Hell, and to celebrate this they have released a fantastic package including reworked versions of their most revered classic songs and a full disc of cover versions from such luminaries as Motorhead, Black Sabbath, Judas Priest and an array of punk bands (Sex Pistols, Discharge and more)

The current line up of the band include original guitarist Nige Rockett, Dave Garnett (vocals), Wayne Dorman (guitar), James Perry (drums), and fellow Abertillerian Jeff Williams on bass. The production on the album is superb, the neck-breaking metal anthems such as Power From Hell, Metal Forces, Killing Peace, 66’Fucking’6, and Bow Down to the Clowns, Onslaught’s anthems still stand as ferocious, mosh-pit-inducing bangers across generations of dedicated metal maniacs. The only thing that lets the production down is the processed drum sound that unfortunately seems to be the norm now.

The covers are fantastic; my favourite is Killing Joke’s War Dance. The band bangs out great versions of Sabbath’s War Pigs, Motorhead’s Iron Fist, Dead Kennedy’s Holiday in Cambodia, Priest’s Freewheel Burning, Discharge’s Drunk With Power, A Look at Tomorrow and State Violence State Control. (Discharge is obviously a big influence.) as well as The Exploited’s UK 82, Holidays in the Sun by the Pistols and Give Me Fire by GBH.

Onslaught have put a great package together for their loyal fan base, and they will be out in support of the album with a world tour throughout 2025 and beyond.

Buy Here

Author: Kenny Kendrick

Carter The Unstoppable Sex Machine – ‘Worry Bomb (30th reissue)’ (Chrysalis Records) 

Carter The Unstoppable Sex Machine – ‘Worry Bomb (30th reissue)’ (Chrysalis Records) 

Think back some 30 years ago, and Carter The Unstoppable Sex Machine were still riding high and on Worry Bomb, their fifth album – the duo of Jim Bob & Fruit Bat were joined for the first time by drummer Wez, could still do no wrong. Even in a world of Britpop, Carter were a breath of fresh air, that the world needed.

So this humdinger of a reissue is a newly remastered edition of Worry Bomb, which comes complete with a plethora of B-Sides and rarities that a Carter fan needs in their life. This review is all about the main album’s remaster for its 30th anniversary,  which is a thing of aural beauty.

To say that this album was a bit of a departure at the time is stating the obvious, but for me, it is a snapshot of a group at possibly their best and one that is hard to beat to this day.

Kicking things off with the aptly named ‘Cheap ‘N’ Cheesy’ highlights Jim Bob’s wonderful, genius mind. Having not listened to this actual album in over a year, the newly remastered sound quality is the winner here, and the clarity is breathtaking.

How can any review of a Carter USM release omit the fact that Worry Bomb includes some of the group’s best singles in the form of Let’s Get Tattoos and The Young Offender’s Mum.

Some fans at the time missed the drum machine sound of their previous work, but for me that is what makes this one of my all-time favourite Carter releases.

From the almost metal/thrash-like riffing at the end of Aeroplane Food/Aeroplane Fast Food to the indie swagger of The Life and Soul of the Party Dies. This album was and is an indie classic that needs to be heard by everyone.

To contrast the full-on indie punk rock, the album also boasts some more experimental and acoustic tracks, as shown by the title track, Ceasefire, and My Defeatist Attitude.

Which, at the time, fans and critics alike were shocked by. The punk rock attitude and greatness still oozes out of every track here, even 30 years on from its initial release back in 1995.

One of the best things about this 30th anniversary remastered release is the extra disc that comes with it – These include a disc full of B-sides and rarities – which include their seminal cover of Shampoo’s Trouble, ‘Avon Calling!’ – a newly restored and remastered recording of the band at the Phoenix Festival on CD 3, and a DVD with music videos, a performance of ‘Let’s Get Tattoos’ from Top Of The Pops’, and exclusive new interview featurettes with Jim Bob and Fruitbat.

At the end of the day, this is a must-have purchase if you are a fan of the band, or even if you were a casual fan way back when. It is also a brilliant snapshot of the nostalgic power of music! So do yourself a favour and buy Worry Bomb – and bask in the glory of indie genius at work!

To mark the 30th anniversary of the album, ‘Worry Bomb’ is reissued for the first time. This expanded edition features the complete album across three sides of vinyl, plus a selection of bonus tracks on side four.

Newly remastered by Phil Kinrade at AIR Mastering and pressed on 180g translucent green (LP1) and black (LP2) vinyl, housed in a gatefold sleeve with poly-lined inner bags Whilst the CD includes live in Zagreb 94.

Buy Here

Author: Dave Prince

Scene Killers – ‘Bare Hands And Bayonets’ (Brassneck Records)

Scene Killers – ‘Bare Hands And Bayonets’ (Brassneck Records)

As my Mate Hotshot would say, “Punk as Fuck” and he would be spot on here. Scene Killers release a lean mean punk as fuck machine with just your eight tracks on offer this is short, sharp and right to the fucking point set of tunes. Catchy as fuck, Loose, in your face racket that burrows down into your ear and refuses to leave.  

This is the 3rd record from Nottingham’s Scene Killers, a relentless onslaught of awesome tunes. It’s catchy, and the melodies and choruses stick with you. You can old school slam dance to this, evoking memories of the likes of prime Black Flag, Circle Jerks, Fugazi, they’re all in the DNA of the music and a whole host of greats condensed into these eight tracks. It’s a veritable feast of tunes that draw you in and have you wanting more from the crackle of ‘Pulling Teeth’, it’s a sweaty, heaving mass of underground rooms filled with like-minded punks having the best time listening to the best punk rock has to offer anywhere, anytime.

For those new to the band, Scene Killers is Austin (Hip Priests, Reduced) Jesse (Blatz, The Criminals), John (TV Crime, Lindow Moss) & Luke (TV Crime, The Headchecks) a bunch of bands you should check out but another time maybe, make a list for now its Scene Kilelrs that need your attention.

The rapid blast of ‘One Foot’ is breathtaking. Whilst my only complaint is that it’s only eight tracks. Flip it over and ‘Grab A Mop’ will wipe the floor with you (sorry, couldn’t resist it), the methodical thump of ‘Mind Waste’ is aggressive without having to shout about it – its intense as fuck but in the best possible way. hidden in the mix of side two, ‘Do The Math’ is a beast and possibly the highlight of this outstanding record.

‘Bare Hands And Bayonets’ catches a moment and sounds like it was recorded in one massive rush of energy, with all the bells and whistles put to one side and the honesty and energy taking this one home and capturing everything you want to hear from a modern punk rock band. Great tunes played with passion and excitement. I haven’t stopped playing it this past week since I had my copy and can honestly say I wont be far from it when I want to play some loud no bullshit Rock n Roll wrapped up with great lyrics wrapped up in awesome music with cover art that tells you everything about the music contained within. Buy this record, don’t think about it, and you can thank me later.

Buy Here

Author: Dom Daley

The Wildhearts/Lewis Pugh – The Old Woollen, Farsley – 24th May 2025

The Wildhearts/Lewis Pugh – The Old Woollen, Farsley – 24th May 2025

The Old Woollen is a 500-capacity venue in sleepy Farsley, just a few miles from Leeds city centre. It may seem an unusual choice for a Wildhearts show, but this gig turns out to be a one-off in more ways than one. It’s certainly the most intimate setting I have seen Ginger and the boys play since sometime in the mid 90’s. I say ‘Ginger and the boys’, of course the newly revamped line-up features two guys who were mere babes in 1994. But by all accounts, the new blood has reinvigorated a band who seemed like they were ready to finally throw in the towel a couple of years back.

First up tonight though we have something completely different. Lewis Pugh walks on to the stage armed with just an acoustic guitar and a fistful of politically charged songs close to his heart. He proceeds to silence the entire room and get their full attention for the next 30 minutes or so.

While his songs cover serious subject matter, his between song chat is very witty and informative. He asks us to look him up online but be aware he shares his name with a swimmer who’s a cunt!

Drawing on his influences of folk and punk I immediately draw comparisons to the likes of Billy Bragg and Frank Turner. With songs like ‘The Featherstone Massacre’ he brings to life ancient tragedies that befell the coal miners, and anyone that throws in a Lindisfarne cover and a passionate version of Rancid’s ‘Olympia WA’ is alright by me. I’ll definitely be checking out Lewis Pugh (not the swimmer) online.

It all starts really well. The room is packed and the atmosphere electric as the lights dim, The Wildhearts take to the stage and blast into the aural assault that is ‘Suckerpunch’. The band are tight, loud and energetic from the off. Ginger looks fit and healthy, stage right new guitar slinger Ben Marsden grins like the cat that got the cream, stage left Jon Poole is just being Jon Poole and behind the kit is a flailing mass of hair and arms, I still have no idea who he is? The Wildhearts are on fire.

As the dust of the opening song settles it becomes clear that Ginger’s amp has blown and they don’t have a back-up. After a bit of conferring Ben plays the iconic riff to ‘I Wanna Go Where The People Go’ and we are off, Ginger gripping the mic with both tattooed fists, his stricken Hagstrom guitar dangling between his knees as a frantic roadie (Dunc) tries to fix the problem. A smiling Ginger sings this song he has sung a thousand times before with the passion of a band on their first tour, the joy etched on his face as he gestures for his crowd to sing back every word of that chorus. Is there a guitar missing? I never even noticed!

Turns out the problem can’t be fixed, but somehow, Dunc gets Ginger plugged into something. Yet the gremlins continue to dog Ginger for the entire show. Guitars are switched every song; they cut in and out at will. Does it make a difference to us punters? No, if anything it just makes it more exciting. The whole of ‘The Jackson Whites’ is a wall of feedback from Ginger’s guitar, but the man just smiles and battles through. A younger Ginger probably would’ve smashed the guitar to pieces and stormed off by now, but the Ginger of 2025 is older and wiser, he just smiles and says “bring it on!”. I love it when a band has to fight for it on stage, and tonight The Wildhearts, especially their leader, had to fight for every fucking song!

If you were at any of the recent shows, it’s the same set list, but tonight there is an element of danger, a sense of the unknown. What will happen next? Will they even make it to the end?  Highlights are plentiful, newbies ‘Troubadour Moon’ and ‘Eventually’ fit the set well, and ‘Failure Is The Mother Of Success’ is magnificently heavy in all the right places. ‘Diagnosis’ and ‘Mazel Tov Cocktail’ are greeted like old friends and sung with passion and volume by the crowd. Set closer ‘Chutzpah’ is extended and jammed out, giving both guitarists a chance to showcase their talents with ripping solos, and both seem to be in their element.

Due to curfew there is only time for one before the lights go out. ‘My Baby Is A Headfuck’ is as good a place as any for The Wildhearts’ last sweat-drenched hurrah, and the crowd know it.

Broken amps and broken guitars were never going to be enough to derail The Wildhearts tonight, the powers that be will have to do better than that! It’s safe to say in 30 plus year of Wildhearts shows, in different venues across the country, I have never seen one quite like this tonight, and I thoroughly enjoyed every second. Tonight was a definite case of triumph over adversity.

The Wildhearts treat us to another Northern show soon, this time at Holmfirth Picturedome. It would be rude not to, eh?

Author: Ben Hughes

House of Protection – ‘Outrun You All’ (Red Bull Records)

House of Protection – ‘Outrun You All’ (Red Bull Records)

Last year, I stumbled across House of Protection on YouTube and immediately became a fan, with their debut EP ‘Galore’ getting featured on repeat on a constant basis. They have been releasing new songs from this follow-up for several months now, with the full release of ‘Outrun You All’ dropping on May 23rd.  The band is made up of the duo Stephen Harrison and Aric Improta, who had previously been in Fever 333 together. The two of them have created a band where I don’t think they would rule out any musical idea.

After a mellow 30-second intro, the band launches into the electronic-infused ‘Afterlife’ that at times reminds me of ‘Pretty Hate Machine’ era NIN crossed with an infusion of extra heaviness on the methodical beat. The blend of their vocals across their songs works to perfection, and each of them has their own style when singing lead. The band transitions into ‘Godspeed’ where the tempo gets an infusion of adrenaline. The vocals sit in the middle of the mix of the chorus and remain incredibly catchy. The guitars squeal and rip through the mix. Headbanging or fist in the air is required throughout the song. There are just a few seconds at the very end of the song where the drums and guitar get to highlight how close they are to going into chaos. Last single ‘I Need More Than This’ slows things down to a cool groove with a very melodic verse featuring Harrison’s vocals. The song adds more elements as it reaches the chorus and creates a very cool hook. I think one of the factors that has drawn me to the band is that their music sometimes feels like a more listener-friendly ‘Endless Nameless’ album by the Wildhearts crossed with NIN, punk, and other electronic elements.

Starting the second half of the album is the frantic and surging ‘Fire’, which the listener will be singing by the end of the song. There is an energy that flows through the soul of this band that just immediately grabs hold of me. The band go straight for the jugular with the chorus hook here and destroys everything in their path. Lyrically, the band create an anthem for self-growth and determination. There is not a wasted moment anywhere with the cacophony of sounds coming together perfectly. The cheerleader section has not worked this well in a song for me since Faith No More did it many years ago on the ‘Angel Dust’ album. Changing gears completely with the mellow ‘Phasing Out’ provides a great contrast with a lot of digital elements bouncing around in the mix. The drums work great here with a killer beat raising the song to another level. ‘Slide Away’ closes the album out with the opening vocal providing a feeling of coming out of a dream that leads into the chaos of waking up in the middle of chaos. The chorus provides another strong hook with the verses pounding inside the listener’s skull trying to escape.

As much as I enjoyed their first EP, the band have exceeded it on their second release. I have not cited the band’s hardcore influences, but they are also baked into the band’s music and approach. There is a great chance this will end up my EP of the year, although I will likely spend a lot of time listening to both of their EP’s back-to-back to simulate an album. Turn the music up loud and dive into the experience. House of Protection or House of Perfection?

‘Outrun You All’ is available now on digital and vinyl. Here

Author: Gerald Stansbury

‘I Need More Than This’ video      https://www.youtube.com/watch?v=trzefJeYKkc

Fields Of The Nephilim – ‘Burning The Fields’ EP (Jungle Records)

Fields Of The Nephilim – ‘Burning The Fields’ EP (Jungle Records)

After being released in a limited quantity for RSD last year, it quickly sold out and became one of the hard-to-find deep-pocket releases, but the good folk at Jungle have repressed it with a green sleeve on vinyl and Red sleeve on CD as a double disc version for the reasonable sums of money you should pay fo ritems not what scalpers are asking.

When the band were formed back in 84, the debut release followed a year later, thus creating a loyal following and a near mythical release that EP has since been expanded into this double disc release and something of a must-have item of Goth history and a seminal genre-defining release.

Joined with the second EP and some Demos and remixes, ‘Burning The Fields’ is also completed with new sleeve notes and excellent pictures, making up a really impressive package you’d expect from Jungle. If you’ve kept up with releases, the band’s ‘Fallen’ also saw an RSD release this year, but due to rules, there may be a re-release on CD later down the line, but that’s for another day. Let’s look at the ‘Fields’ EP.

Burning the Fields was originally a four-track EP; ‘Returning to Gehenna’ mixes then-current singles and B-sides, most of them later appended to the UK CD of the quintet’s first full-length album, and to be fair these haven’t been available for over two decades, so a much welcome gem from the vault. The package comes in a gatefold sleeve and has new sleeve notes, interviews and unseen early photos by gothic commentator Mick Mercer to draw you in. I’m sure that they were both surprised and pleased with the demand for the early material since RSD released this originally and played loudly, it’s lost none of the drama and tension it had when it first hit the streets. The real gems here have to be the remixes and demos on the second disc, which are a must for fans old and new and with its release now on CD as well, it’s thanks to Jungle for this. To cap it all off, the band are back in the live circuit later this year with shows already announced for October and November 25 in the UK. Don your leather trench coat and hat and get out there, the Goths are back and taking no prisoners, and with this, you can learn the words to the likes of ‘Darkcell’ and the epic ‘Trees Come Down’ it’s like the 21st century had never begun.

Buy Here