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Levellers – ‘Zeitgeist – 30th Anniversary Edition’

Levellers – ‘Zeitgeist – 30th Anniversary Edition’

Have you ever changed your opinion on a band after seeing them live? I certainly have. I must admit I wasn’t a fan of the Levellers back in the early 90s, but my flatmate was. I wasn’t bothered about politics, Traveller culture or bands whose fanbase were mostly crusties with dogs on a bit of string (can you say that in 2025 or will I get cancelled?). After being persuaded to attend a free Anti-Nazi League march and festival in London back in 1993 featuring the likes of The Manic Street Preachers and Dreadzone, it turns out the band of the day just so happened to be the Levellers. You could say I was converted to the cause at that very moment.

Released in 1995 ‘Zeitgeist’ was the Levellers 4th album, and the first I was excited to hear. The previous year they headlined the Pyramid stage at Glastonbury and ‘Zeitgeist’ entered the album charts at the top spot, becoming their biggest selling album. Levellers were now big news, opening their brand of anarcho-punk/folk to a whole new audience.

Fast-forward 30 years, ‘Zeitgeist’ has been given the remix treatment by longtime collaborator and original producer Al Scott, and it sounds as fresh as the day it was released. Showcasing their heady mix of folky storytelling and angst-ridden punk energy, this album is the sound of a band reaching their commercial peak and hitting their stride live. Featuring 3 top 20 singles; ‘Fantasy’, ‘Hope Street’, and their very own drinking anthem ‘Just The One’, it also contains fan favourites ‘Men An Tol’ and ‘Exodus’. It’s a strong album that stands the test of time musically and sonically. It is also an album steeped in social commentary, as relevant today, if not more so than it was in 1995.

Of course, there is always a minority of die-hards who complain when their favourite band gets successful, and the Levellers were no different. Appearing on Top Of The Pops in suits, miming to ‘Just The One’ on the same show as Erasure and Mariah Carey probably didn’t help matters. Oh, the horror! Joking aside, as a stand-alone album, ‘Zeitgeist’ has aged remarkably well. I don’t remember it sounding this good to be fair. The opening’ Hope Street’ sounds massive, and the urgency of the following ‘The Fear’ takes it up a level. The well-known singles we don’t really need to cover, but it’s the lesser-known album tracks where the band and their songwriting shine. The subdued, folky charm of ‘Maid Of The River’ still hits in the feels, and the Strummer-inspired punk of ‘4AM’ kicks nicely. ‘Leave This Town’ is still up there as one of my favourite tracks by this band.

But that is not all we have with this celebratory version. The 2 LP edition features a bonus disc of remixed b sides; the CD box set adds a bonus disc choc-a-bloc with demos and other rarities that are well worth putting your hand in your pocket for.

Highlights are plentiful, from familiar b sides such as ‘Drinking For England’, ‘A Promise’ and ‘Your ‘Ouse’, to hard to find gems such as the acoustic live medley ‘Social Insecurity/Is This Art’ and a stripped back take of ‘Dylan’s ‘Hobo’, there is much to discover.

The Levellers were, and still are ‘rebels with a cause’, a band who refuse to conform and continues to do things their own way. And this 30th anniversary celebration highlights a timeless sounding album that stands tall with anthemic choruses and urgent beats from a little Brighton based band who went from cult status to festival headliners and on to national folk rock treasures.

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Author: Ben Hughes

Lovers Left Alive – ‘How..’ (Today is Going Well / Xonoring Records)

Lovers Left Alive – ‘How..’ (Today is Going Well / Xonoring Records)

Sorry Finland… Lovers Left Alive don’t belong to just you anymore. They have been unleashed on the rest of the world, and with some promotion and breaks, they will get to see the rest of the world soon. I received a tip to check out the band (thanks, Graeme), and one of the first things I found was a live cover of the early Dogs D’amour song ‘Wired and Wide Awake.’ The band were immediately speaking my language. After a run of singles over the past few years, I believe this is their debut album, which makes an immediate impression and memorable introduction.

If we travel back in time, we can identify some of the influences in Lovers Left Alive. One of those would be very early Hanoi Rocks when they were crafting their debut album. Another one would be some early Stooges. The Rolling Stones would be one of the ingredients, and some early punk (Heartbreakers) as well. What’s special, though, is that the band has created their own identity out of these ingredients and influences. The mix on the album is beautifully messy and gives it a live sound. I recommend turning up the volume and losing yourself in the magic.

It would all mean nothing if the band didn’t have the songs, and they definitely have the songs. ‘All About Luv’ has a great sing-along section, an addictive beat, and a lead guitar that feels like it is going to go off the rails at any moment. The cacophony of sounds at the end feels a bit like the hot mix early Jim Jones Revue recordings had, think ‘The Princess and the Frog.’ Fuzzy backing ‘ooohs’ peek through the mix in ‘Haven’t Seen the Sun’, which showcases the band’s ability to write catchy songs with great riffs. ‘Want You There’ is built on an addictive beat with guitar licks dancing around it. There are some twists in the vocals, but this is one of those songs where I heard some early Stooges. The song feels like it can morph into different directions at any moment. When it does, we get an incredibly catchy chorus that is used minimally over the song’s five minutes.

Changing directions, the band unleash ‘Sum of These Young Hearts’ which feels a bit like ‘Roads’ by the Backyard Babies. The mix gives the song some grit, and the song provides another catchy moment that gets stuck in your head. ‘Let the Good Times’ gets the party started again with a rockabilly type beat that blends their influences and originality into a powder keg, with the guitars sounding pushed to the extremes. You can almost see the amps smoking and the sparks popping in the air. The too-short ‘Crackdown’ could pass as a missing song from ‘Self-Destruction Blues.’ The guitar riff works perfectly over the beat, and the band deliver a contagious infection that induces air guitar and sing-alongs.

The beginning of ‘Bedroom Talk’ feels like the band has just plugged in their instruments and then jumped into the song. The slower tempo provides another example of the diversity through the album. This is another one with excellent guitar work and musically in the same world as the New York Dolls. The album ends with two longer songs, with ‘Only Lovers Left Alive’ being the first one. There is a burning intensity to the beat and vocals. The guitar notes after the choruses work perfectly, and the feedback from the guitars adds more magic to the song. The way the song creates an inferno near the end could have been an epic closer to the album. Instead, the band found a way to build to an even better ending. ‘Out of My Reach’ may have a running time over nine minutes, but it never feels that long. The introduction and slow pace at the beginning feel a bit like early Jesus and Mary Chain- think ‘Darklands’ with ‘Psychocandy’ production. The song builds and adds elements as it goes, with an ending that is unexpected on first listen and becomes even better when you hit the 15th or 20th listen. If I had to single out a favourite song on the album, it would probably be this one.

Once again, with apologies to Finland, Lovers Left Alive belongs to the whole world now. This album has grit, finesse, barbed wire hooks, and great songs. They have taken their influences and infused them with their own originality to create an album that feels both exciting and familiar. What they need is exposure to begin their ascent to the next levels of popularity and hopefully live performances across the world.

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Gerald Stansbury                  

Millie Manders – Back To The FUTour 2026

Millie Manders – Back To The FUTour 2026
Photo credit: Tina

“Having been left with no option other than to pull out of a long-run support tour, our winter became a bit of a wasteland, We wanted to get back to working as a headline touring band, hence our Back To The FuTour was born. We are delighted to have Death Trails and All Ears Avow joining us – two bands we love working with, who we know our fans will love too.” MILLIE MANDERS | NOVEMBER 2025

Millie Manders and The Shutup have announced their return to touring with a UK tour for April and May 2026 following what has been, for them at least, a relatively fallow period. Full dates as follows:

APRIL

Wed 08 SOUTHAMPTON Joiners *

Thu 09 PLYMOUTH Junction *

Fri 10 BRISTOL Thekla *

Sat 11 LIVERPOOL Rough Trade *

Wed 15 EDINBURGH Bannermans *

Thu 16 DARLINGTON Forum *

Fri 17 NOTTINGHAM Rescue Rooms *

Sat 18 MANCHESTER Club Academy *

Wed 22 DOVER Booking Hall **

Thu 23 LONDON Lower Third **

Sat 25 NORWICH Waterfront Studio **

Wed 29 COALVILLE Bikers Pub **

Thu 30 NORTHWICH Salty Dog **

MAY

Fri 01 NEWCASTLE Cluny 1 **

Sat 02 LEEDS Key Club **

* with Death Trails

** with All Ears Avow

Tickets available from www.millie-manders.com

Millie Manders and The Shutup’s cross-genre punk rock has become increasingly hard to ignore over recent years. With main stage appearances at such notable festivals as Slam Dunk, Beautiful Days and Rebellion, and extensive support from the likes of BBC Introducing, Radio X and national press, the last two years have propelled the band into the public conscience and the music industry at large.

Fronted by Millie Manders, whose staggering vocal dexterity backed by grinding guitars and irresistible horns has huge pop appeal, their lyrics deliberate on themes of loss, betrayal, anxiety, heartbreak and bitterness, anger, environmental catastrophe and political unrest. With a conscience that ensures zero plastic wrapping on all merchandise and that limited edition artwork and clothing is sold to help raise money for charities, Millie Manders and The Shutup are striving to make a difference whilst keeping us uplifted and brilliantly entertained.

Their live shows are renowned for their power and contagious energy and 2026 sees MMATSU looking to release their eagerly anticipated third album.

ALBUM DISCOGRAPHY

Telling Truths, Breaking Ties (2020)

Wake Up, Shut Up, Work (2024)

Razorbats – ‘Anthems Of A Lost Century’ (Voices Of Wonder)

Razorbats – ‘Anthems Of A Lost Century’ (Voices Of Wonder)

My first encounter with Norway’s finest glamorous punks, Razorbats, was the debut album and in particular, the awesome single ‘Kids OF The 70s’ with an insane hook and chorus, but not just that, the overall production and song structure seemed big budget and not the work of some kids from Oslo with a dream in their head and a guitar. Several albums later and several line-up changes, the band are still going and with their style refined and more Glam than punk, they still take the finest of genres and run with i,t writing and recording insane hooks and stadium-filling choruses and melodies. 2025 and the latest Razorbats record is up and running.

The latest video from the album ‘Scars’ is a rapid punch affair with howling solos and razor sharp riffage and those layered vocals leading the charge. With one foot on the monitor wedge punching the air and the other firmly placed in the 80s Razorbats are safe in their wheelhouse writing loud anthems for an underground that wants to dance and shake their shit as well as break stuff.

I love the rumble of ‘Shadows’ that flows nicely into the power pop of ‘Turn It Up’, it’s then into some riff hard ‘I’m Not In Love’ with its layered chorus that’s all shoulder pads and big hair but with a muscular undercurrent with its 80s stabs and meandering guitar solos. The boys rock out on the epic ‘Hyperion’ with its big intro that builds into more dreamy power pop. Carrying the torch for big 80s rock ‘Love Comes Easy’ with its gentler sound and pace, with the multiple layers of vocals swaying in the breeze before the album closes off with the punchy ‘Kamikaze Casanova’ and were back to what the boys do best and that rock out with big riffs layers of vocals and a very polished production nodding the cap to their forefathers of yesteryear. Razorbats have fun and know that being in a rock band is living out your fantasies, and they do it oh so well. With a tongue firmly in the cheek, they clearly love hard rock and every genre from the ’80s and beyond. I raise a glass to them and their sheer determination to deliver the best record every time. Long live Razorbats – Horns up, kids, and watch out for the fireworks, Razorbats are in da house!

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Pillbox NYC – ‘Calling from Nowhereland’ (Vicious Kitten Records)

Pillbox NYC – ‘Calling from Nowhereland’ (Vicious Kitten Records)

Pillbox NYC were a no frills RnR band, who we see here captured for prosperity on a freezing Vancouver night in February 1994. The band featured Mr Ratboy, Steve Mach and Screamin’ Joe Rizzo, who collectively blazed their own way through the grunge-filled ‘90s and with their one album – 1993’s ‘Jimbo’s Clown Room’ – became a cult classic, which this recording shows how raw and in your face this band really were!

For the glam-loving freaks out there, the late Steve Mach’s name rang bells for me, as I recognised the name from Skin N Bones, who released the glam classic ‘Not A Pretty Sight’ in 1990. And while that album is an entirely different being altogether, it does highlight the RnR side to the band! 

Many have likened Pillbox NYC to D-Generation, but truth be told, while they shared a post-punk/glam glunk style, these were more of a dirtier proposition and sound all the better for it.

With songs like ’Sinister Urge’ and ‘Holly’, you have two of the most obnoxious opening songs ever committed to tape and easily set the tone for the rest of the album. Follow that up with ‘5000 Miles’ and ‘Come Up Heroin’. You can almost feel the eyeliner, grit and filthy fingernails between your ears.

The standout track for me is the live show closer of ‘What She Wants’, which is clearly an undiscovered classic. Following the live show, which is an underrated gem of a show, we have another nine songs in demo format, which were recorded as Jimbo’s Basement tapes from 1992. Most of which appeared rerecorded on the aforementioned ‘Jimbo’s Clown Room’.

These demos are for me the true highlight of this release, showing how brilliant this band was and why they should have been massive! Again, this CD will be of interest mainly to the glunk purists out there, but every lover of glam, punk, etc should give this a spin, and you will be rewarded with a time capsule that delivers the glunk like no other.

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Author: Dave Prince

Electric Boys – ‘Shady Side Of Town’ EP (Mighty Music)

Electric Boys – ‘Shady Side Of Town’ EP (Mighty Music)

Following on from the release of their 8th studio album ‘Grand Explosivos’ in 2023, Sweden’s finest exponents of funk n’ roll, Electric Boys, return with a four-track digital-only EP made up of songs recorded in the same sessions. These are songs that were left to one side for whatever reason, the band feel these songs were too good to be left unheard and are sending them out into the wild.

If you’ve not heard Conny Bloom and his boys since their Funk O Metal Carpet Ride days, you may be surprised to find they are a harder rocking machine than they were in the late 80’s.

Years of being on the road, and a stint for Conny and bassist Andy in the reformed Hanoi Rocks at the turn of the century, has given the band a new lease of life and a harder, groove-heavy 70’s rock sound. Over the course of the last decade, they have released a series of quality albums and toured them extensively.

Opener ‘Head Honcho’ has a signature groove, with some tasty licks and that familiar sultry Conny Bloom vocal that leads to a stadium-sized chorus.

Next up is ‘Grand Explosivos’, and it leads me to wonder why this was not included on the album that shares its title. It’s a killer tune to be fair, with an almost mariachi feel to the verses and a bombastic rock chorus. It fits the eclectic and commercial feel of the last album. I guess it just shows the high quality of the songs on offer, that this was left by the wayside.

‘Looking For Vajayay’ is pretty cool too. It rides along on a heavy bass groove, has some crazy ass horns going on, but lacks a catchy chorus, feeling like more of a jam than a finished song. That said, it certainly warrants repeated plays, and you won’t be hitting that skip button anytime soon.

Closer ‘Keep It Dark’ takes things up a notch, it features the vocal talents of guitarist Martin Thamander, who comes on all Paul Stanley here, which adds a different flavour to the Electric Boys palette. It’s a strong closer to a groovy set of tunes.

The band claimed these songs were too good to be left unreleased, and they weren’t wrong. They stand tall against the songs already released on ‘Grand Explosivos’ and are the perfect companion. While it’s a shame it is only a digital release, ‘The Shady Side Of Town’ EP is a worthy set of songs to add to any playlist. 

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Author: Ben Hughes

The Chesterfield Kings – ‘Loose Ends’ (Wicked Cool Records)

The Chesterfield Kings – ‘Loose Ends’ (Wicked Cool Records)

With the Jagger Swagger going on the Chesterfield Kings have always been able to turn on on super cool to 11 and on this new record they’ve unearthed an LP of B Sides and rare unreleased cuts tying up any loose ends for sure.

When they rock out like on ‘Live Life’, they can certainly cut the rug with the best of them – raw, rockin, edgy and boundless energy. The Chesterfield Kings ooze class on songs like this. Hailing from Rochester, NY, these cats peddle garage-fueled rock n roll. To be fair, it’s a ferocious collection from one of rock & roll’s most enduring underground legends, even their rough cut of The Quos ‘Matchstick Men’ is rough and edgy, then they spill into some whigged out Hendrix on a pretty reckless ‘Hey Joe’ . Cracking open the vault to deliver a fuzz-drenched feast of rarities, forgotten gems, and unreleased recordings spanning the band’s wildest years is just what the doctor ordered as we head into winter and need some tunes to warm us up.

For the first time ever, these deep cuts and obscure one-offs — many previously scattered across hard-to-find vinyl and CD pressings — are being digitally remastered yet still feel rough and uncut or smoothed over with modern tech. It’s a time capsule of pure rock swagger: stomping rhythms, snarling guitars, and that signature Kings attitude that has influenced generations of garage revivalists and true believers.

Among the deep cuts is a version of ‘Roadrunner’ that has a fantastic rhythm, crashing, banging and a little wallop whilst the guitar sound sharp as hell. I could go through all ten tracks but I don’t want to spoil it lets just say theres a Beach Boys style on ‘Muscle Beach Party’ and we end with a lightening take on ‘White Christmas that soulds like The Boys at their snotty finest.

So in essence The Kings covering the likes of The Kinks, The Lyres, and others is a fine addition to any collection, ‘Loose Ends’ captures the raw energy and spirit that have always defined The Chesterfield Kings. Go get it and make yourself 27% more hip than you were previously.

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Author: Dom Daley

Johnny Thunders ‘Que Sera Sera’ 40th anniversary edition in PINK 2LP

Johnny Thunders ‘Que Sera Sera’ 40th anniversary edition in PINK 2LP

Also – an unreleased ‘Short Lives’ 7” & 12” single, limited test-pressings with printed sleeve art are made available for the very first time

The 1985 studio album – in PINK vinyl & sleeve for this 40th Anniversary Edition. Features Glen Matlock, Wilko Johnson, Mike Monroe, John Perry, Patti Palladin & many others.

It’s the superior remixed & revamped version from 2019 with many unheard tracks – two extra tracks were discovered on the album 2” tapes; along with six unreleased outtakes and six live versions.

Remixed by The Vibrators’ Pat Collier (RIP), who has brought the guitar properly up in the mix – Johnny missed the original mixing sessions, now it is heard as he originally intended.

Gatefold notes by Nina Antonia. Limited edition. Also on 3xCD, now at a new keen price.

**To coincide, a limited quantity of 1986 test-pressings of an unreleased Short Lives 7″ and 12″ single with an unheard mix are on sale at the Jungle Direct UK store.  It was planned as a single, and a sleeve featuring 98 famous people who’d had Short Lives was designed by then-resident artist and designer Blodgett Waxwing.  However, that release got aborted and the Que Sera Sera single was recorded and released instead.  Now we’ve printed copies of the sleeve design and put these together with the unreleased test-pressing, on sale now.**

Simultaneously, the 3xCD box set is reissued at a super-keen price.  It includes extras of twelve more live tracks and the original 1985 album version, along with remixes, and a 36-page booklet that features the lyrics and exclusive photos alongside Nina’s informed notes.

2xLP tracks:

DISC 1: Remixed: Alone in a Crowd, Countdown Love, Blame It on Mom, Talk About You, M.I.A., Little Bit Of Whore, Short Lives, I Only Wrote This Song For You, Cool Operator, Billy Boy, Endless Party, Que Sera Sera.

DISC 2: Outtakes & alternate versions: Copy Cat, Blame It on Mom (outtake), Taking You Up Avenue D, Short Lives (outtake), I Only Wrote This Song for You (outtake), Cool Operator (first version). Live: Countdown Love, Just Another Girl, Talk About You, Alone in a Crowd, It’s Alright (Blame It on Mom). First issued in purple, 2019

3xCD tracks:

DISC 1: Resurrected: Alone In A Crowd, Countdown Love, Blame It On Mom, Talk About You, M.I.A., Little Bit Of Whore, Short Lives, I Only Wrote This Song For You, Cool Operator, Billy Boy, Endless Party, Que Sera Sera. Extras: Copy Cat, Blame It On Mom (outtake),Taking You Up Avenue D, Short Lives (outtake), I Only Wrote This Song For You (outtake), Cool Operator (first version).

DISC 2: Live in Europe: Geneva: Blame It On Mom, M.I.A., Cool Operator, Personality Crisis, Countdown Love, Little Bit of Whore, Amsterdam: Short Lives, So Alone, Sad Vacation, Too Much Junkie Business, Little Bit of Whore, Born To Lose, Chinese Rocks, Lyon: Countdown Love, Just Another Girl, Talk About You, Alone In A Crowd, It’s Alright (Blame It On Mom). (74 mins)

DISC 3: The original album: Short Lives, M.I.A., I Only Wrote This Song For You, Little Bit of Whore, Cool Operator, Blame It On Mom, Tie Me Up, Alone In A Crowd, Billy Boy, Endless Party. Remixes & single: Cool Operator (Black Cat mix), Short Lives (Heavenly ver.), Short Lives (Johnny’s remix), Que Sera Sera               

Jungle Records

Puzzle Tree – ‘Kingdom’ (Self Release)

Puzzle Tree – ‘Kingdom’ (Self Release)

Welsh alternative progressive metal band Puzzle Tree returns with their sophomore album in the brilliant form of Kingdom. The band made a splash back in 2022 with their debut album, Every Broken Floor. However, this album builds upon where the debut left off and expands into a mighty kingdom (pun intended).

Featuring the talents of Rachel Thomas on vocals, Matt John on guitars, keys & vocals, Jamie Roberts on bass, Matthew Alexander Powell on vocals, guitars & new member, Tony Jones on Drums & Percussion. The band are truly stepping into the light; however, the darkness and heaviness that prevails upon hearing this opus belies the somewhat young age of the group.

The opening intro of ‘Portal’ does exactly what is expected of it, and takes you somewhere else before the unrelenting first single ‘Writhe’. The band wastes no time in pulling you into their world, which is equally heavy and doom-laden but with a touch of melody that is so infectious that you can not help but fall in love with the songs.

‘Deadfall’ is next with a full-on assault, before taking things down a notch. It is this style of drastic changes that endears the band and their music to me. Upon first listen, you really do not know where the song will go.

One thing I must mention is the production; while the debut sounds great, Kingdom is the sound of a band that knows what they want, truly believes in it, and delivers the goods. The sound and performance that Matthew Alexander Powell and Lee Howells have laid down sounds effortless and showcase the music within beautifully.

The angelic voice of Rachel Thomas is a musical highlight that shines brightly, especially on ‘Lost Another Day’, which is definitely one of my favourite songs off the whole album. The double punch of ‘Kingdom Pt 1’ and ‘Kingdom Pt 2& 3’. Takes the listener on a musical voyage that I didn’t want to end. Sublime, and it makes me want to listen to the album on a black slab of vinyl.

Another standout track for me is ‘Heartless’, which is another loud-quiet-loud melodic banger! This album is a clear statement from the band that shows they are a force to be reckoned with, and if they can get a helping hand/push – I believe that you will be seeing them decimate stages across the country with their face-melting aural perfection.

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Author: Dave Prince

The Lemonheads – ‘Love Chant’ (Fire Records)

The Lemonheads – ‘Love Chant’ (Fire Records)

Years before going overground with a cover of Mrs Robinson and The whole Shame About Ray’ upwards trajectory and superstardom king of the slackers Evan Dando was besties with Oasis and perenial clusterfuck of drama on the live scene through the pages of Melody Maker and NME but never stopped making records going from the early days of the rather excellent records that were ‘Hate your Friends’, ‘Lovey’,’Lick’, ‘Creator’ before going overground and offered up the iconic stuff and big chart hits like ‘Car Button Cloth’ ‘ Shame About Ray’ and ‘Come On Feel’ before disappearing back into the murky underground Dando never stopped making music doing cover albums playign live as a band or solo this is his first Lemonheads studio album in a couple of decades.

It’s been a long time promised, and a cast of collaborators came and went, it’s a bold, melodic return to form with flashes of all previous models of the ban,d from the soppy acoustic folkified ramblings to the chaotic, rough house punk rock ‘In The Margin’. Dando has certainly found his mojo.

Now based in Brazil, where much of the album was recorded, Dando’s relocation in recent years has given him time to focus his attention on getting this done and on our turntables. ‘Wild Thing’ is powerful with big guitar and his distinctive vocal delivery front and centre. The laid-back acoustic junk of ‘Be In’ sits nicely between the happy-go-lucky uptempo swagger of ‘Cell Phone Blues’, another great Dando tune.

If you want more wild, unhinged meanderings, then the Neil Young styleings on ‘Togetherness Is All I’m After’ with distorted guitars strumming big chords over a slow groove and big vocal melody is classic Dando.

J Mascis (Dinosaur Jr), Juliana Hatfield, and Tom Morgan rejoin the fold, alongside producer Bryce Goggin (Pavement, Antony and the Johnsons), Nashville’s Erin Rae, John Strohm of the Blake Babies and Nick Saloman of The Bevis Frond. Adam Green of cult New York favourites The Moldy Peaches also contributes as co-writer on the aforementioned country detour that is ‘Wild Thing’.

You’ve got the groovy bass-heavy ‘Marauders’ offering something funky, whilst the title track is darker and punchier. ‘The Key OF Victory’ is an acoustic meandering campfire jaunt before the dreamy ‘Roky’ kisses the listener goodbye, and a very well-received new album from The Lemonheads that will, in time, sit proudly alongside some of this band’s fine catalogue of releases. In a different time from the last time we got new Lemonheads material, Dando has delivered a strong album that is worthy of the name. Let’s not leave it another twenty years if there’s more of this in the tank.

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Author: Dom Daley