Ultrabomb, the powerhouse international supergroup, is excited to announce the addition of acclaimed guitarist Ryan Smith to its lineup. A veteran musician, songwriter, and producer, Smith brings a wealth of experience from his work with Soul Asylum, The Melismatics, Ryan and Pony, and collaborations with The Rembrandts and Mark Mallman.Ultrabomb’s pedigree speaks for itself. Bassist Greg Norton, a founding member of the legendary Hüsker Dü, has left an undeniable mark on punk rock, influencing generations of artists including The Pixies, Green Day, and Foo Fighters. Drummer Derek O’Brien, known for his foundational role in Social Distortion and work with Agent Orange, Adolescents, and DI, continues to shape the genre both on stage and in the studio.With the release of their sophomore album, Dying to Smile (2024, DC-Jam Records), Ultrabomb is forging ahead with electrifying energy. Smith’s dynamic presence and deep-rooted passion for punk and indie music make him a natural fit for the band’s high-intensity sound.“It’s always a pleasure to hear punk and indie royalty still sounding as great and vital as Ultrabomb sounds here.” – If It’s Too LoudUltrabomb is set to continue its mission of delivering raw, unrelenting rock to audiences worldwide. Stay tuned for tour dates and more updates.
Tour dates Ultrabomb w Dead Bob:
6/6 Ray’s Golden Lion, Richland WA 6/7 Airport Tavern Music Hall, Tacoma WA 6/8 Dante’s, Portland OR 6/10 The Dip Redding CA 6/11 Harlow’s, Sacramento CA all ages 6/13 Stork Club Oakland CA 6/17 Zebulon Los Angeles, CA
Wow, that there John Reis, he be on fire people releasing records like it’s going outta fashion. No writer’s block for Speedo the former Rocket From The Crypt fella.
Celebrating 55 years in the music business! Swami John Reis is back with his second LP in eight months. ‘Time To Let You Down’ is a raw live melody man on a mission, blasting out raw feral punk rock like its going out of fashion and going to be outlawed by the federal government for being a threat to the kids. This is eleven tracks full of proper tunes from your fist in the air songs, to the nodding head collection, right through to the shit kicking department. Reis isn’t fucking about here just cashing in and phoning in a record because he has to he’s doing it because he needs to release these rabid beasts.
The album opens with the rabid title track and it never looks back from there. Its a dash to the finish with tempos raised and the melodies dialed in to the max. There’s a raw anthemic vibe Reis has struck upon, and he’s mining the seam to the limit, something he’s done all his career to be fair, but this one is bristling with vibrancy and a joy in such troubled times. It’s punk rock, baby, but with the attitude comes a maturity in the melodies that are here to take it somewhere fresh and ‘Basement Envy’ is proof enough to me that this is one hell of a band and Reis knows it. Kick out the jams you bastards, but don’t forget the Beach Boys melodies. ‘Boomer Rang’ is like a chainsaw ripping through your speakers until the soothing keys tickle your lobes like the ultimate audio sweet and sour. The first single ‘Feed The Dogs’ is a brooding bruiser in comparison to its predecessors, but that’s the beauty of this record, it sounds like it’s got the lot.
Flip the record and buckle up, this might get dangerous. ‘Prince Of Parade’ might be your typical Reis kinda song with a thumping driving beat and so much harmony and melody it makes you sick. It’s noticeable that only a couple of songs stray over the three-minute mark because Reis knows what captures the attention in the 21st Century, and time waits for no man. Get in – out and get the job done and if you can’t get the point across in under three minutes, you’re message is wrong.
Have I mentioned the melodies? sure as shit I have and disciples already know this but if this is your introduction to the world Of John Reis then let me reiterate that the guy loves a melody and here is an album packed to the gills with em and ‘Kamen Rider Theme’ is one huge melody and the only thing Stinking on here is the amount of talent on offer. ‘Because I Stink’ is fun and that keyboard is hypnotic and pinching melodies and lyrics is always cool, one of my favourites so far has to be the brilliant ‘Cold Feet’ the groove they hit is addictive and mention has to go to old comrades from Hot Snakes who make contributions Jason Sinclair, Bed OF Nails Joey Guevara is on those synths and of course Reis does a smart job on the production as well. I expect the next one before Christmas, and if it’s half as good as this, then Swami John Reis might well have a couple of albums in the shakedown for album of the year – just buy it!
Isn’t it a treat when you discover a “new” band via online friends? Especially when they really tick your boxes. So, may I introduce you to punk pop duo, Human Toys? They seem to have quite a following here in France. I mentioned them to my bandmate Mickey, who already knew their stuff, typically a man of good taste.
If you get your kicks from short, snappy Ramones-style pop tunes, then look no further. Poupée, on vocals and theremin and Jon Von on guitar and vocals bring you 13 new songs that grab your attention as they fly by. 2025 seems to be the year of great, short albums, but, as ever, it’s quality over quantity/time. You just know that Dee Dee would approve of ‘Devil’s Night’ and ‘Emma Peel Explosion’. There’s no time to think before ‘Generation Shit’ takes off, not unlike Cyanide Pills, and throughout the theremin does what Pete Shelley did so well, adding simple, addictive melodies.
Another similarity to, say, ‘Rocket To Russia’, is that if you love one song, you’ll love them all. It’s been done to death, but it’s not easy to write short, catchy songs, and the Toys really have nailed it. In fact, there’s no chaff on this or their debut, ‘Spin To Win’, so I felt compelled to buy ‘At The Poor Cow’ on vinyl (no CD available). As it’s from the EU, I’m not clobbered with 14€ customs tax! Rant over.
‘Breakin’ The Law’ isn’t the Judas Priest song (sorry Mr Hayward), and whether it’s ‘Go, Go, Alco’ or ‘Human Zoo’, your feet will be itching to get bopping. It’s not big, it’s not clever, and it’s all the better for it. It’s pure fun with great tunes, and there is a hint of The Rezillos here and there. I don’t know if there’s bass when they play live, but there’s plenty on the record, allowing the likes of ‘I’m Sick Of You’ to have the required clout. If Spotify is good for anything, you can listen to it and then order the album. What are you waiting for?
Thankfully, this week we can let the music do the talking without paying tribute to a fallen hero of ours, which is nice. So we concentrate on what’s been spinning on the RPM HQ turntable this week from new releases as well as some old classics.
Kicking off with the exciting news that Wyldlife have a new album to hawk around, and the second track released from this forthcoming Wicked Cool Records album ‘Sorted’ is out, so it would be rude not to open the show with the excellent ‘Bystander’. NYC rockers haven’t let us down yet with their snotty power poppin rock n roll. This one is further proof that 2025 is going to get messy with top records coming out every week.
Hot on the heels is the classic ‘Modern Age’ from The Strokes fantastic ‘Is This It’ album released in 2001, if you can believe it. Another new song this time from the raging Dinosaur Pile Up with their first new song in five years, ‘Bout To Lose’.
We were talking last week about the enigma that is Bobby Liebling, and I informed Chris I had the fantastic album he recorded with the awesome Sonny Vincent, so it seemed only fair that we delved into The Limit and their track ‘These Days’ from the Svart album ‘Caveman Logic’.
Jesus Lizard released their new album last year after a gap of decades well since 1998 to be exact ‘Rack’ was a real return to form and thirteen years since their last release and it being a live album doesn’t count for new music at least so here’s ‘Hide And Seek’ from ‘Rack’.
There was a time when the music business was treated to a bit of “Cool Cymru”, but to be fair, it wasn’t all that cool and besides, there have always been cool bands and records from Wales. 60ft Dolls we’re right up there as one of the finest bands Wales offered who never got their dues.
The Cramps are one of the most awesome bands ever – original, inventive and insanely catchy. ‘What’s Inside A Girl’ from their ferocious live album gets an outing, and what a stripped bare gem this is. A fine example of what the band were like live, other bands tried to be out there but often fell flat. The Cramps were a true breath of fresh air and one of the most inventive and original bands out there for decades. Try the band’s DVD from inside the Asylum for a gauge of how wild they were.
After seeing Bob Mould live in Rough Trade Bristol last weekend, it seems only right we drop ‘Neanderthal’ from his brand new LP ‘Here We Go Crazy’, then follow it up with the brand new record from Brad Marino out on Rum Bar Records. ‘I Want You’ is a rockin’ ditty filled with the right amount of power pop goodness and muscle riffage you’d expect from Brad.
Now seeing the lineup for this year’s Slugfest and reading Johnny’s review of Chuck Norris Experiment, it seems fair we play Razorbats (another band native to Scandinavia – Oslo to be precise) with the superb ‘Kids Of The 70s’ from their most excellent ‘Camp Rock’ album. We remain in Northern Europe for the next one, but further south – Netherlands to be exact, as Lo Lite release their new LP ‘Sidekicks’, so we’re offering ‘Sideshow’ next as the band showcase their two-man assault on the ear canal with some swampy blues based rock n roll.
One of our favourite artists over the last several decades would undoubtedly be Tyla J Pallas, frontman to the fantastic marauding Dogs D’Amour, as well as a superb solo artist and Balladmonger. His artwork is second to none, and his distinct vocals and Gretsch tone still resonates at HQ, and we look forward to his new music as and when it gets released. His latest album, ‘Gilding The Lily’, is amongst us, so why not play the track Written In Heavy Blood on that very record?
A staple of our show has to be a cover we think you lovely people deserve to hear. This week’s offering happens to be from another Norwegian band this time the mighty Turbonegro, who take on the classic OI! anthem ‘War On The Terraces’.
Anyone for a bit of SMASH and a track from the soundtrack of ‘Flawed Is Beautiful’ and BBC Session ‘Tidal Wave’ still sounds great today. Attitude aplenty here.
We always love hearing bands from down under and this week we bring you a right pair of contenders – firstly we bring the noise from Blowers outta Melbourne with their brand of spikey Garage Punk Power Pop then follow it up with the excellent Stepmother track ‘Vacant State’ it’s lifted from their second album ‘Vacant Life’ and is a belter from this trio.
Finally, we play one from the brand new Wildhearts album ‘The Satanic Rites’, so my favourite track is ‘I’ll Be Your Monster’ and follow it up with the original Thee Hypnotics track ‘Shakedown’ that features in the Jim Jones Allstars set closing off this week’s show in fine style. If you like any of the music we play, why not give us a share and subscribe it all helps increase our presence and circulate great music that doesn’t get near enough exposure. Until next time – Enjoy, and catch you next week for episode 65.
Ahhh…a Saturday night out in The Mitre, back in my old hometown of Abertillery. It must be a good three decades since I last stumbled up the stone steps that lead into this venue on a Saturday night, and during that time the building has changed hands many times over, even becoming an Indian restaurant at one point. Most recently though it’s reopened as a community-run pub (hosting events like still-life art classes and book clubs alongside weekend live music gigs) priding itself on being quirky, a little bit weird, and 100% inclusive, and you probably won’t be surprised to hear that some of the people helping make all of this happen are also involved in the town’s hugely popular annual SlugFest event….and that ladies and gentlemen is why for the second (and final) night of Swedish punk rockers (and friends of SlugFest) The Chuck Norris Experiment’s most fleeting of UK visits they have chosen to play Abertillery and not some handy airport city location in preparation for their return flight home.
Before we get to tonight’s headliners though we have a mighty fine undercard to enjoy, and first up we have Abertillery’s finest back door rock ‘n’ roll outfit and inhuman drinking machines Trigger McPoopshute. Recently reunited with original drummer Pix, we are but a dropped drumstick into opener ‘Hench’ and already it’s like he’s never been away, all the old faves (or “shits” as frontman Sutton lovingly refers to them) are back, and seeing as most of the set list is written about some of Abertillery’s most notable characters how could they ever go wrong playing a homer? ‘Sergeant Fitta’ is the obvious exception to that songwriting rule, penned as a tribute to Chuck Dakota, bass player of tonight’s headline act, it’s rather heartening to see the soon to be birthday boy stood in the crowd singing along to every one of Trigger’s Aber anthems. ‘American Manc’ makes a welcome return to the set tonight too and not having played this beauty in years it’s one of the night’s highlights even if guitarist Shov’s “fucking jackpot” backing vocals are sadly missing. With the promise of the band’s first new material in quite some time set to be premiered at upcoming shows I for one hope what we do get is an answer to the conundrum posed by Trigger guitarist Dean midway through tonight, asking “have you ever seen gulls in trees?” Hmmm, let me think about that.
Next up in double quick fashion are Deathtraps. With Veej, Fraser, Matty and Nooman now four albums, numerous compilations and EPs into their sonic crusade, this is a band who have now evolved to the point where their awesomely titled ‘Lust For Likes’ and ‘Golden Age of Road Rage’ CDs are without question their most accomplished releases to date. It should come as no surprise then that the songs from these EPs make up a large chunk of the band’s current set list with ‘You’re The One That I’m Talking About’ along with the likes of ‘Private Vietnam’, ‘You’re A Rat’ and ‘Your Time Is Gonna Come’ all custom made to shake the foundations of a music venue near you soon. That’s not to say that the “oldies” like ‘Cool Kids’ and ‘Red Eyes Black Kisses’ are slouches though, no way, in fact by the time we reach the latter Chuck Dakota has been joined by stage sidekick and singer Chuck Ransom and both are nodding along like proper Deathtraps fanboys. When playing SlugFest Deathtraps always try to add in a special cover version or two, and tonight is no exception with Trigger frontman Sutton joining them for a boisterous ‘Denim Demon’ before Chuck Dakota himself is lured up onto the stage for a raucous ‘I Got Erection’. Now if you’d told me three decades ago I’d be singing along to tongue in cheek homo-erotic classics like this in The Mitre on a Saturday night, I’d have called you crazy, but let’s get it on. Because I like it, love it, like it, love it. (ahem…I’ll get my coat)
It’s a full ten years since The Chuck Norris Experiment first flew in from Gothenburg to entertain the Abertillery faithful at SlugFest 8, and a lot has changed in that time, however the fact that Chuck Dakota chooses to wear a Sick Livers (who were also on the SlugFest bill back then) t-shirt on stage tonight speaks volumes for how much influence and impact the event has had on people’s lives over the years, and along the way helped raise lots of money for local charities too. The Chuck Norris Experiment get this 100% and like I said at the top of this review that’s why they are here tonight after playing the sold-out Hard Rock Hell Spring Ball in Great Yarmouth with the likes of Love/Hate and New Generation Superstars the night before.
Unfortunately, guitarist Chuck The Ripper isn’t along for the ride this time around due to him being unwell (get well soon fella), but that doesn’t stop his four CNE bandmates creating one hell of a party atmosphere during their allotted hour on stage playing songs from their 2024 album ’20’ like the frantic ‘Deadshot’ and broodingly sinister ‘Jason Voorhees’ alongside oldies like ‘The Roof Is About To Cave In’ and ‘Bullshit City’ as their set morphs into Chuck Dakota’s unofficial early fortieth birthday party complete with cake and a pre-taped Swedish Happy Birthday celebratory song piped over the venue’s pa. There’s plenty of time for some choice cuts from 2021’s ‘This Will Leave A Mark’ album too along with ‘Crashing Down The Stairs’ from 2019’s ‘Shortcuts’ record but as there is also have a strict 11 O’clock curfew to respect audience requests are kept to a bare minimum. This way CNE bow out bang on cue with an incendiary ‘You Go Boom!’ and just like that, it’s all over, and we’re left with a frantic dash for the merch table for some cut price vinyl and t-shirts as there’s no venue commission levy here that’s for sure folks.
All in all, a truly top-notch night of musical entertainment held in a venue that I hope goes from strength to strength in 2025.
Having had the privilege of reviewing the brand new album from Bob Mould and being so impressed with it that I’d rank it right at the top of the man’s solo output having had it on constant rotation for a couple of months I wasn’t going to pass up the opportunity of seeing the guy play the pack room venue of Rough Trade Bristol on a Sunday afternoon the weekend the album is released. Cue the hottest sold-out room imaginable, even with the air-con working over time it was akin to being dumped into a sauna with 180 like-minded folk all having forgone their Sunday Lunch to be here for some sonic sustenance and a sermon according to Bob Mould.
Bob ambled on stage right on cue and proceeded to spend the next forty-five minutes wringing the neck of his guitar and sounding bigger and louder than 99.9% of bands with his one-man electric guitar assault. ‘The War’ opened proceedings before he dove into the archive and dished up a wonderful Husker Du classic in ‘Flip Your Wig’ but I wanted to hear some of the songs that have peppered the ether around HQ for weeks and so four of the next five tracks were as familiar to my ears as the Husker Du tracks he offered up. ‘Hard To Get’, the title track and the magnificent ‘Neanderthal’ followed each other into the red-hot Rough Trade Sauna Room. ‘Breathing Room’ was inappropriate because, by the midway point, there didn’t seem to be much oxygen in the building not with Mould cooking it. We were also treated to ‘Too Far Down’ and ‘Celebrity Summer’ from the hymn book of Husker Du but there was a poignant moment when Mould offered the Bristol audience an apology on behalf of the sane portion of his home nation with all the madness that’s coming out of the White House currently. It wasn’t needed because most if not all present are behind Mould but ‘When Your Heart Is Broken’ seemed appropriate but hopeful that things can and will change.
As we headed into the home straight and Mould headed outside for some air and to cap off this matinee performance with 180 signatures of his new record he entertained us with a magnificent rendition of ‘Hoover Dam’ before ending the show with a devastating ‘Makes No Sense At All’. It was then great to show Mould our appreciation personally and the chance to thank him for a stunning new LP my only disappointment is we won’t get the chance to do this again soon and/or hear these songs with a full band but we can wait for that. If you get the chance to catch any of his up-and-coming shows my advice be it full band or Bob and his electric guitar take it with both hands you absolutely won’t be disappointed. Bob Mould and ‘Here We Go Crazy’ rocked. Now, if only they had dry clothes facilities and a towel down it would have been perfect.
Sarf of the river punk rock n rollers The Phobics are back with a brand new collection of tunes that was released at the fag end of 2024 but we must have been still ou partying to notice this slip through the HQ cracks so its time to rectify and testify.
With the false sense of security that a very pleasant piano melody will lull you into its the rasping punk rock n roll that ushers the piano out of the window and moves the bastard kids of The Ramones and Heartbreakers into the room to fuck up your day or more to the point usher in the wonderful soundtrack to the rest of your week and turn every day into the weekend.
these Deptford chaps might well have been round the sun a few times but they’ve been paying attention to the good and the greats of some of the finest rock n rollas of the past five decades from the finer points of the Dolls to Da Bruthers and across the pond via The Joneses these cats have got the cream and they’re willing to share it with anyone whos prepared to offer up their time in return for some top tunes.
The mix of loud guitars with the phat lower end is not created by accident it’s a well-constructed beast by people who do know better and ‘Hang 10’ has the Thunders ring on the guitars as they get rinsed. It’s got melody and a swagger that runs through this album like a stick of Deptford rock. Tracks like ‘Dreamworld’ have that Jones crunch on the guitar and the Peter Perrett meets Pete Shelley daydreamin’ vocals. Before we reach the midway point the band crank it up with the delightful romp of ‘Sick And Tired Of The 21st Century’ where they hit the nail right on the head. It should replace the hokey Cokey on New Year’s eve as we all link arms and sing along.
It’s not all Crash Bang Wallop mind, ‘I Want You’ starts off with a nice picky guitar intro before going Crash Bang Wallop. To be fair when The Phobics do give it some Crash bang and a helping of Wallop they do it with style and panache and make it sound fresh and vibrant. ‘Brand New Jag’ has a swagger and leans on some fine cliches and the rhythm section gives it plenty of swing whilst the guitar rips it right up with some fine wah for good measure.
Oh shit get the piano we threw outta the window ‘News From The Sun’ needs it for the intro. What The Phobics do is write bloody good tunes, a load of melody and a sunny disposition that sounds like this band of brothers are having a great time knocking out punk rock n roll on their own terms. It’s timeless when it’s done well and this lot does just that. Hell they even leave the biggest earworm til last as they out Adicts the Adicts with ‘My Best Friend Has Died’ expect Tom to wear a cape and throw out magic tricks at their next show. If you want a fix of Punk rockin power poppin rock n roll then look no further because The Phobics have got us covered. Buy It!
“Get Ready was a honeymoon record. Looking back now it was very enjoyable to make, and I think is massively underrated. It did sort the wheat from the chaff and led to a New Order mk2 which played better but had lost a naivety whilst gaining a maturity. Barney and I became a ‘power couple’ in Manchester during the making of the record but, sadly, the old problems recurred when we came to play live. The writing was on the wall from then on. The two of us worked very hard to make this a great record and I think we succeeded. I am looking forward to playing all the tracks, many of which have never been played live before. The Light will shine through … Get Ready!” PETER HOOK
Following the announcement of three select UK dates for April where they will perform the New Order album Get Ready in its entirety, alongside a selection of the most seminal tracks from the rich back catalogues of both Joy Division and New Order, PETER HOOK & THE LIGHT have now announced they will play eight UK and Irish festivals throughout the spring and summer, including Shiine On, Chilfest, Forest Fest, Rebellion and Solfest.
The Get Ready dates will see the band play the 3,500 capacity Manchester O2 Victoria Warehouse, their biggest headline show to date in Manchester and their first in the city for two years; the 3,100 capacity London Troxy, their first date in the capital since October 2023; and the 1,350 capacity Bristol Marble Factory.
The Get Ready album was released in 2001, reached #6 in the UK chart and was the seventh studio album from New Order. The record was dedicated by the band to their friend Rob Gretton, manager of both Joy Division and New Order, who had died in 1999.
FULL UK AND IRISH DATES:
MARCH
Sat 29 SKEGNESS Shiine On Festival
APRIL
Thu 17 BRISTOL Marble Factory (Get Ready album in full)
Fri 18 LONDON Troxy (Get Ready album in full)
Sat 19 MANCHESTER O2 Victoria Warehouse (Get Ready album in full)
The 2025 dates follow a mammoth run of live shows last year, taking in tours of Australia, New Zealand, South America and North America and a full UK and Ireland tour at the end of the year, all of which saw the band play the Substance albums by Joy Division and New Order in full. The band are continuing the Substance legacy on their current tour of Spain and France, then play a full North American tour in May and June before returning for UK and Irish festivals in the summer and an EU tour in the autumn.
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. His dedication to his back catalogue has now seen him move through Unknown Pleasures, Closer, Still, Movement, Power Corruption & Lies, Low Life, Brotherhood, Technique, Republic and Substance to arrive at the Get Ready album this year. Having toured the albums extensively, the band have now amassed approaching 900 concerts.
Among the many highlights since he reintroduced his early repertoire to a legion of audiences across the world, both new and old, have been appearances at Benicassim, Primavera Sound, Kendal Calling, Bestival, Victorious and Rebellion, alongside extensive touring in Europe, North and South America, China, Japan, Australia and New Zealand to great acclaim from both fans and critics alike.
Propagandhi Announce New Album At PeaceTo Be Released May 2nd via Epitaph Records
Following an eight-year hiatus, today, the Manitoba, Canada act Propagandhi announce their eighth studio album At Peace, due for release on May 2nd via Epitaph Records.
“Speaking for myself, this record might be a snapshot of me deciding whether I’m going to live out the rest of my life as Eckhart Tolle or live out the rest of my life as Ted Kaczynski,” laughs guitarist and vocalist Chris Hannah. In true Propagandhi fashion, At Peace is smart music for dangerous times. The ever-evolving standard-bearers of politically charged punk have actively kicked against musical confines and bro-punk conservatism, promoting a message of anti-fascism since 1986. Distilling their DNA of breakneck riffs, hardcore ethos, and radical consciousness, their message remains as vital, and volatile, as ever.
“Everything I’m singing about is still coming from being the same person that wrote and sang our first record ‘How to Clean Everything’ in 1993,” Hannah recalls the band’s snarky skate-thrash origins. “But what we’re putting into the songs now, probably reflects more despair than 30 years ago when we had similar perspectives, but with strands of hope and naivete. Now it’s the existential dread of eking out a life worth living in this completely failed society.”
There’s no mistaking that on their first album in eight years, their frontline social activism has been supplanted by a deeper sense of reflection. Nearly a decade later, the members of Propagandhi have a lot on their minds. “We’re definitely not a band that responds well to someone telling us we need to put something out,” the frontman continues. “That happens when we have something to talk about – and now is definitely the time for that.”
Marking their first release since 2017’s Victory Lap, At Peace was forged during the ominous political climate in the months before “Emperor” Trump’s ascent to power. Penned shortly before the American oligarch’s suggestion that Propagandhi’s home country become the U.S.’s 51st State, it was then mixed by Jason Livermore (Rise Against, Hot Water Music) at Blasting Room Studios in December 2024. This collection of poetic and polemic songs captures the anxieties and turmoil of the band’s four members, offering a powerful and poignant portrait of uncertainty.
Though at its core, At Peace is Propagandhi’s plea for hope against hopelessness. “Twenty years ago, we had a sense that things are fucked but that there could be a mass mobilization of people against the oligarchy, the billionaire class,” says Chris. “I don’t think that exists much in our music anymore and I don’t believe that mobilization is forthcoming. I hope to be proven wrong.”
The band will be touring in Europe coming May as part of the RECONSTRUCTION TOUR 2025 (also ft. Pennywise, Comeback Kid, The Iron Roses and Dead Pioneers. And with special guests Madball in Barcelona, Wizo in Augsburg and Dritte Wahl in Berlin)
See below for the full list of dates. Tickets are available here.
RECONSTRUCTION TOUR 2025 16.05.2025 ES Barcelona, Poble Español 17.05.2025 IT Milan, Carroponte 18.05.2025 CH Zürich, X-tra 20.05.2025 SI Ljubljana, Kino Siska 21.05.2025 AT Vienna, Arena Open Air 23.05.2025 DE Augsburg, Gaswerk Open Air 24.05.2025 BE Berendrecht, Booswegske 25.05.2025 DE Wiesbaden, Schlachthof 27.05.2025 DE Cologne, Live Music Hall 28.05.2025 NL Amsterdam, Melkweg 29.05.2025 DE Hamburg, Docks 31.05.2025 DE Berlin, Zitadelle Spandau
Propagandhi is vocalist Chris Hannah, drummer Jord Samolesky, bassist/co-vocalist Todd Kowalski and guitarist Sulynn Hago.
I can already hear people on both sides taking up arms to talk about how this is an awful record drenched in noise while others shout what a brilliant album this is. The year was 1997. While the internet was alive, it wasn’t anything like it is today. A person couldn’t run to the computer to immediately head a song drop. The Wildhearts had seemed to be in danger of imploding according to the magazines at the time. They had to pull out of a tour in the U.S. with AC/DC. There was talk they had recorded demos for a new album but were unhappy with the direction they were going. These would later be released in 1998 against the band’s wishes. In 1997 though, the band released the infamous ‘Endless Nameless’ produced by the late Ralph Jezzard (R.I.P.) who just recently left this world way too soon. The band had signed with a new label (Mushroom Records) which gave me optimism as a fan that despite the stories the band’s trajectory was still moving higher.
I cannot recall what I received first. Kerrang usually ran at least a week late in the States, and Tower Records usually could get CD singles within about a week of their release. I also had a record store back in Albuquerque where I had previously lived (I miss you Merlin’s Record Workshop) that would order me everything Wildhearts related and mail the items to me. Good old mail order when I had to check the mail each day to see if I could finally hear music from across the pond… The first thing most of us heard was ‘Anthem.’ There was the initial thought of ‘Why is the music damaged like this?’ I think that was quickly followed by realizing Ginger wasn’t singing; Danny was. ‘Anthem’ is extremely catchy even through all of the racket that collides with the music. I mean it kind of had to be when you borrow a line from a chorus by the Clash to use as your hook. What I realized quickly was that there was still melody in there amongst the explosions and speaker rattling white noise and feedback. The other change that was immediately noticed was the b-sides were largely cover songs and not all originals. I can safely say that ‘He’s a Whore’ was the last one I heard because it took longer to get the 45. The production on the b-sides was the same as ‘Anthem’ with the things I loved about the band going through a noise blender. I was partial to the CD single version that contained ‘White Lies’ and ‘The Song Formerly Known as?’ ‘White Lies’ stormed out of the speakers or maybe I should say it Scorched out of the speakers. The memory is fuzzy now, but I think it was the cover of this song that helped make sense of this new sonic assault. The lyrics in the other song asked all kinds of interesting questions, and I still don’t know why we men have nipples…
I believe the ‘Urge’ single then snuck out right before ‘Endless Nameless.’ A song that continues to get louder and more destructive as it goes through its running time. This time we also received four new Wildhearts songs and only one cover song. I love all four of these originals and will talk in more detail about two of them later. What was clear upon hearing the second single was that the album was going to have a sound consistent with the noisy and abrasive sound of the singles. I was feeling optimistic about the album overall even though I was missing the approach that had created the likes of ‘Sky Babies’ and ’29 x the Pain.’ The blend of crunch and melody had always been present in the band as I remember at one point the band was described as Metallica crossed with the Beatles which I don’t think would have been my description in those early days. Ginger has a gift for writing songs that can touch across a lot of genres, but the even greater gift is that they sound cohesive and recognizable as the Wildhearts or other dedicated projects. They don’t sound like a hodgepodge of ideas that are forced together. It never seemed odd that the band could include the old-time rock n’ roll feel of ‘Loveshit’ on the same album as the aggressive flurry of ‘Suckerpunch’ or the epic ‘Sky Babies’ from ‘Fishing for Luckies’ where Ginger incorporates what feels like several songs into a seamless epic.
Released at the tail end of October 1997, I would not hear the album until early November when the CD appeared in my mailbox. Looking at the cover, the band had finally released an album with a picture of the band on the front cover. I don’t think I immediately noticed that they all seemed to be in their own little world and had no intention of being together as friends or bandmates. Looking back later, it became obvious that the cracks (Crack? Other drugs?) had broken the band and sent them towards an implosion. When I played the album the first time, I had initially wondered why ‘Junkenstein’ was mastered so much lower than other albums and had turned it up to a more desirable volume… For those who know, the song becomes a little bit louder as it goes. The song isn’t one with an immediate chorus that captures your attention like ‘Greetings from Shitsville’ or ‘I Wanna Go Where the People Go’ did. It felt more like my buddy’s car where you had to tap the screwdriver on the starter to get the thing to turnover. I cannot imagine another song starting the album though. This song which initially sounded like a twisted mess of noise rising to the surface gives way to a song that does feature a large hook. ‘Nurse Maximum’ roars to life in what feels like the middle of the first verse. The melody and the noise fight each other for control throughout the song in a glorious way that rewards the listener. There is nothing subtle here.
After the two singles, the band launch into ‘Pissjoy’ one of my favourite songs by the Wildhearts. It closes out the first half of the album with another anthem (no pun intended) where an opening riff without much distortion gives way to a swirl of feedback in the verses. I am not sure if my brain hears all the feedback and white noise in the mix here or somehow isolates the melodies and old crunch in the music. The kids screaming the title give it another nice element that jumps out of the mix. At the halfway mark, it is a chaotic and noisy mess of an album that really hits the spot for me on most days. There are those random moments where it may not connect as much.
The second half of the album is where I wish there were a couple of changes. ‘Soundog Babylon’ would not be one of those changes. It builds into a looped rhythm with a crushing guitar. A catchy pre-chorus sets up an even bigger chorus. In some other world, this was probably the lead track to the album, but I think it works better here. I remember a review slighting this song and have never understood it. The way it all dissolves into the breakdown with no feedback in the mix before the maelstrom at the end could not be done better. Next up, ‘Now is the Colour’ became a grower over the years. When the album was first released, I would have said the song was okay. The hook has become more ingrained in me over the years and that industrial-sounding (like a machine in a factory) rhythm section. I also hear a Lee Harvey Oswald Band influence in the way the vocals are placed in the mix. For those who cannot get past the approach the band took here, I understand feeling that way with this song filled with extra noise and sounds in the mix. There should be a warning that pops up in your car when any song includes sirens…
This is where I wish the album could have two changes. I am a huge Dogs D’amour fan with ‘In the Dynamite Jet Saloon’ being my number one album of all time. The Wildhearts cover of ‘Heroine’ just doesn’t work for me. The Dogs recorded a number of versions of it, and Tyla has released multiple solo versions of it as well. It has never connected with me as much as their other material. I don’t mind it, but it is not a song I ever really seek out to play. This is where I would have preferred seeing ‘Zomboid’ from the ‘Urge’ b-sides on the album as it is one of my favourite songs from the band at this time. It is abrasive, extremely catchy, and extremely heavy. If you want to play at home with a playlist, pull ‘Heroine’ off the album and insert ‘Zomboid’ here. The guitars seem to roar above the white noise and provide a major dose of adrenaline. Next, I make another change which could be correlated to hearing the songs back to back so often back in the day. I would include the Ritch sang ‘Genius Penis’ next. If you want to make the flipside of the album even more aggressive, you can switch that for the cover of ‘White Lies.’ I think ‘Genius Penis’ gives the album a brief break in the heaviness with a catchy chorus, spoken vocals, and gives Ritch a chance to lead a song like Danny did in ‘Anthem.’
I am not going to remove ‘Why You Lie’ from the album as I have always loved the song. I think it needs that separation of a song from ‘Zomboid’ so the additional song to the album gives more music and creates that separation. ‘Why You Lie’ initially sounds bit like a buzz saw in a machine shop with concrete walls amplifying every sound, and that is before the chorus where they see how loud they can make everything. For a record that is drenched in noise, there is a lot of dynamics used across the record. ‘Thunderfuck’ closes the proper album utilizing them to great effect. There are no ballads across the album, but I have always enjoyed that something with that title takes a very different approach musically than one might expect after the first nine songs. The slower beats and music at a lower volume to start the song to set up an awesome finale. The verses build slowly and don’t sound too far away from ‘In Lilly’s Garden’ with some different effects being used. There is a monster that is hiding in the mix though that begins to roar to life. More and more elements rise in the mix, and the beat increases until that moment when the record returns to more melodic and more traditional sounding chorus for a few moments that is still filled with all kinds of effects and just continues to get louder and louder. I have always viewed the album as whole as being a very dark journey whether it is through a metaphorical hell or our own darkness in our soul. The transition in the middle where that melody first comes out being our attempted separation from the darkness. The voices and continued chaos in the music being the back and forth as we try to find or stay in the light. That moment could not be placed in a better moment on the album. Just as ‘Junkenstein’ started the descent into this world, that melodic moment is our chance to move out of that world.
The Japanese version of the album added a loud white noise version of ‘Pump It Up’ that I have always enjoyed. Among the covers of this time period, it would only trail ‘White Lies’ for my tastes. I wish they would have moved it up in the playlist though so it didn’t come after ‘Thunderfuck.’ The band would implode not long after the album was released, and it felt like a very strange note for the band to have as its last release. When it was submitted to Mushroom Records, I can imagine their staff listening to the album and thinking something happened to the tapes before they were delivered, followed by wondering how to market these songs that will make people think they are not fully tuned into the radio station (anyone else remember turning the dial?). The following year would see the release of ‘Landmines and Pantomimes’ with the demo tracks the band had done before they started work on ‘Endless Nameless’ and some b-sides that could be found elsewhere. I would have loved to have heard a few of the six songs demoed done properly. The release was never sanctioned by the band.
The band was gone at this point, but the remnants from the Wildhearts would unleash some amazing material in the next couple of years. Ginger would decide he wanted to really see how diverse he could go musically. In 1999, we would receive the wacky and wild Clam Abuse album that I honestly don’t play much anymore. I am not sure if he ever did get that ‘Message to Geri.’ He would also release a great EP as part of SuperShit666 with Dregen, Nicke Andersson, and Tomas Skogsberg. It would be his next full album studio release though that became one of my favorite albums. Where ‘Endless Nameless’ pulled us through those dark depths that I detailed, Silver Ginger 5 captured the melodic choruses and brightness, even with some songs that remained darker lyrically such as ‘Inside Out’ and the long ago written ‘Church of the Broken Hearted.’ Danny released ‘Uppers and Downers’ the debut album by the Yo Yo’s which also still sounds incredible today. Ritch would return with the wonderful Grand Theft Audio who released the excellent ‘Blame Everyone’ album and would end up on a couple of movie soundtracks. Jef would return with Plan A. As a fan, there was solace in all of the music we were receiving, and I have not even mentioned that CJ had released music with Honeycrack.
Some things don’t stay dead though… A new ‘old’ version of the Wildhearts would rise back from the dead. Ironically, it is probably the band at their most commercial sounding with the shiny sheen of ‘Riff After Riff’ and ‘The Wildhearts Must Be Destroyed.’ When the Wildhearts imploded after ‘21st Century Love Songs,’ it seemed the band was going to remain gone again. Once again, we received multiple solo albums of new material. Ginger has created a new version of the Wildhearts. I have heard the three early release songs when I write this and am excited to hear the full album. The Wildhearts thankfully don’t ever remain dead… Satanic Rites indeed….
‘Satanic Rites of the Wildhearts’ is available now.
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