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Bad Nerves – ‘Still Nervous’ (Suburban Records)

Bad Nerves – ‘Still Nervous’ (Suburban Records)

We first got news of Bad Nerves a while back and waited til the wee small hours to see them perform at Rebellion a few years back and caught their support set when The Hives marauded around Shit Island recently with Bad Nerves in tow and they raised their game and kept The Hives on their toes night after night it would seem.

The last live 10″ wet the appetite for what was brewing in the Nerves camp and boom tour finished and record number two was announced. From the much-anticipated blast off Bad Nerves aren’t fucking about here. Time is of the essence and life is for the living so when you get the atomic blast of ‘Don’t Stop quickly followed by ‘Antidote’ you barely have time to catch your breath and I like it – No I love it!

Turn the speakers up because this isn’t for the faint-hearted and it’s rapid. ‘USA’ is a fuckin belter catchy like an STI and just as sleazy and dirty as Rock n Roll should be. The Bass rumble and thrashing guitars of ‘You Got The Nerve’ is exhilarating, sure, they are indeed the torchbearers of honest Punk Rock like The Ramones and they have the pop suss of that first Strokes album but these aren’t merely the bastard children of a Ramones/Strokes broken home, Bad Nerves are snotty like the Dead Boys and cool like Blondie they do play ferociously fast distorted pop songs and I hope they do know it.

We need another band to break through playing guitars, Bass And Drums just like Dee Dee and Stiv did It would appear that maybe the stars and planets have aligned to birth the next big thing

Suburban have a diamond in the palm of their hand and with the right promotion, these Essex boys can blast off to big things. When they take a breather they channel their inner Bolan Boogie on ‘Sorry’ its got a dreamy T Rex quality about it and it wreaks of pop suss.

I get the Ramones and Jay Reatard influences and I can see why The likes of Billy Joe are on board and why The Hives wanted them to tour together and having listened to this album over and over I can also hear why these boys have a big future. It’s music to get your pulse racing and your heart pumping ten to the dozen. ‘Television’ is thunderous whilst ‘Jimmy ThePunk’ is hoping like a cat on a hot tin roof with a wicked lick and Bassline. There are twelve potential singles on here I kid you not. ‘You Should Know By Now’ is simply fantastic and buried deep into the album is like a sleeping giant. Tight and melodic it just soars. Closing the record with the fantastic and punchy ‘The Kids Will Never Have Tier Say’ is excellent rolling on a rapid strong melody its a classic upbeat uptempo album closer – it’s like rockets and fireworks going off left right and centre in celebration of a fantastic album.

I love it when an album you are holding out for arrives and delivers everything you wanted and some. Well, ‘Still Nervous’ is one of those albums. Quite simply don’t fuck about just order it! Superb stuff!

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Author: Dom Daley

The Courettes return to North America in July and August!

<strong>The Courettes return to North America in July and August!</strong>

America & European Dates

Check out the tour posters and visit the band’s website for TICKET LINKS! A full list of the band’s gigs including their European and UK shows is at the bottom, just scroll down!

The band also have a new single lined up for release in July. ‘California’ b/w ‘Run Run Runaway’ will be available on a RED vinyl 7″. It features guest vocals from none other than La La Brookes of The Crystals! More info and pre-order details coming soon. Finally, don’t forget the band’s recent ‘SHAKE!’ 7″ is now available on BLACK VINYL. Just 500 copies on this pressing.

FULL TOUR DATES

23.05 Lux – Hannover, Germany

24.05 Sniester Festival – Den Haag, Netherlands

25.05 Botanique – Brussels, Belgium

12.06 Fermento in Villa – Bologna, Italy

13.06 Mocvara – Zagreb, Croatia

14.06 Bad Music Bogaloo – Belgrade, Serbia

15.06 Trash & Burn Fest – Sveti Martin na Muri – Croatia

20.06 Arena – Vienna, Austria

21.06 Club of Newchurch – Neukirchen A.G., Austria

22.06 Summer Live Fest – Lixing-lès-Rouhling, France 

18.07 Cafe Nine – New Haven, CT, USA

19.07 Robo Bar – Ottawa, ON – Canada

20.07 Le Festif – Baie-St-Paul, QC, Canada

21.07 L´esco – Montreal, QC, Canada

22.07 Monarch Tavern – Toronto, ON, Canada 

23.07 Lager House – Detroit, MI, USA 

24.07 Cafe Bourbon St. – Columbus, OH, USA 

25.07 Melody Inn – Indianapolis, IN, USA 

26.07 Portal – Louisville, KY, USA 

27.07 Liar´s Club – Chicago, IL, USA 

10.08 The Earl – Atlanta, GA 

11.08 Static Age – Asheville, NC 

12.08 Cobra Cabana – Richmond, VA 

13.08 Metro Baltimore – Baltimore, MD 

14.08 Pie Shop – Washibgton, DC, USA 

15.08 Kung Fu Necktie – Philadelphia, PA 

16.08 Hi-Tide Summer Holiday – Asbury Park, NJ 

17.08 Union Pool – Brooklyn, NY 

18.08 Askew – Providence, RI 

25.09 The Adelphi – Hull, UK 

26.09 The Night Owl – Birmingham, UK 

27.09 NE Volume Music Bar – Stockton, UK 

28.09 Acapela Studio – Cardiff, UK 

29.09 St Marys A Creative Space – Chester, UK 

30.09 The Cluny – Newcastle, UK 

01.10 The Caves – Edinburgh, UK 

02.10 Room 2 – Glasgow, UK 

03.10 Night & Day – Manchester, UK 

04.10 The Dome – London, UK 

05.10 Norwich Arts Centre – Norwich, UK 

06.10 Wedgewood Rooms – Portsmouth, UK 

Deathtraps – ‘The Golden Age Of Road Rage’ (Spirit Of Disaster Records)

Deathtraps – ‘The Golden Age Of Road Rage’ (Spirit Of Disaster Records)

EP1 of 3 for 2024! Thats the mantra and I don’t know why not in this age of disposable Rock n Roll and streaming etc etc etc more bands don’t go down this route of EPs every few months and not a splurge on an LP. See it as a three-course Rock n Roll meal deal Starter (this) main and dessert towards the end of the year maybe with a festive theme who knows?

With printing presses clogged up with Fleetwood Mac and Taylor Swift represses it is down to the streaming and CD market. So saying you can’t get them on streaming services might be a bit of a fib seeing as Bandcamp has them so you can get em digitally I guess and if you buy you also get a CD version to keep. EP number one sees our intrepid heroes expanded to a four-piece and as the noise seeps out of the speakers ‘You’re a Rat’ spitting its bile and infecting the air around you as it barks out of the speakers. Sure it has hints of Towers Of London but that isn’t a bad thing in the chorus and title but that’s where it ends Deathtraps are more Nashville Pussy than Noughties wannabee punks. As Veej and Fraser share vocals and guitar lick the sound is still brash and rough n dirty.

I like the idea of a year’s worth of new tunes trickling out rather than one hit-and-done ‘Do The Right Thing Wrong’ is a bit of a banger going full throttle and heading off into the distance with its rear end on fire.

‘Ready or Not’ is a solid thumper and even if you’re wishing for Fraser to count to ten or ten to one you can properly dad dance in any self-respecting mosh pit to this from the dirty riff to the finger flying solo going hell for leather on this one. ‘You’re The One I’m Talking About’ is more rapid than the previous offerings and I like the dirty Twisted Sister riff and the subtle melody on the vocals. It’s over in a flash but its a lot of fun.

The EP finishes with ‘Shut Up’ and your guess is as good as mine who it might be about but I like it and that’s all that counts. Weirdly Fraser channels his innermost Noddy Holder had he been a punk rocker and not a 70s glam icon. As your starter for six this will do very nicely and fill your soul nicely whilst waiting for the main course in a few months by the time dessert is served we’ll be gagging for more.

Compliments to the chef this one has been most enjoyable. Buy It!

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Author: Dom Daley

PETER MURPHY launches new record label Silver Shade Records

PETER MURPHY <strong>launches new record label Silver Shade Records</strong>

First two releases: ‘Peter Live – Vol One – Covers’ & ‘Peter Live – Vol Two – The Blender Theater NYC 2008’

To be released June 21st via Cadiz Music HERE:

‘Volume One Covers’ features a version of ‘Hurt’ by Nine Inch Nails featuring Trent Reznor on piano

pic – Jolene Siana

One of the icons of the post-punk years, Peter Murphy fronted the dark art house crew Bauhaus. His charismatic, devilish and dangerous personae, combined with his stunning voice and razor-sharp cheekbones, saw him become one of the pin-ups for what was to be mislabelled Goth. 

Post Bauhaus, he released a series of acclaimed solo albums and fronted the band on their intermittent back-from-the-dead reunions before the band collapsed in 2023.

Bauhaus were never short of giving a nod to their mentors with several well-executed covers that they made their own. The singer continues this tradition with ‘Peter Live – Vol One – Covers’, the

first of two albums for his own new Silver Shade label, showcasing his own solo interpretations. The albums are prefaced with ‘Peter Live’.  ‘Peter Live – Vol One – Covers’ and ‘Peter Live – Vol Two – The Blender Theater NYC 2008’. Silver Shade will release his live concerts and re-issue solo albums in future times.

There is more to a cover version than copying it note for note, and the ever-astute vocalist gets to the heart of the art of darkness of these songs by unzipping them inside out whilst giving a nod to the music that made him what he is.

He stamps his own authority all over them, from a thrilling take on Iggy’s ‘Funtime’ to a dramatic version of ‘Hurt’. There is a terrifying, sparse dynamic take on Pere Ubu’s iconic ‘Final Solution’ and a stomping and powerful nod to Howard Devoto’s Magazine with a brilliant take on their ‘The Light Pours Out Of Me’.

Theatrical embraces of Elvis’s ‘Love Me Tender’ and Prince’s ‘Purple Rain’ underline the eclectic spirit of Peter’s musical journey and, of course, being one of the generation of the children of Ziggy, there is the Bowie moment on the stunning take on David’s first hit, ‘Space Oddity’ that adds to the song’s sense of unease and isolation. 

The album concludes with ‘Hurt’ with the song’s writer Trent Reznor (NIN) playing the piano and Peter re-claiming the song from Johnny Cash’s version for power and emotion. 

Peter Murphy: “There’s no point in covering a song unless of course it’s got you somewhere in there. To have chosen ‘Purple Rain’ was at the time of the general expectation that I would opt for some lame purposely naff ‘alternative’ song was and is a stroke of genius in action. The audio might be wanting on a couple of songs, but if that puts you off, then go and listen to any of the thousand mediocre songs of some tiresome star.”   

The second release, ‘Peter Live Vol Two Blender Theater NYC 2008’, is an unreleased concert from the Blender Theatre at Gramercy on 27th June 2008 and Peter and the band are in shimmering form.

Includes Bauhaus and Peter’s career spanning solo highlights such as ‘Cuts you Up’, ‘I’ll Fall With Your Knife’, ‘Crystal Wrists’ and ‘Gliding Like a Whale’. 

The two albums are snapshots of something special, something spiritual and are full of a musical imagination creating hypnotic takes on key songs from Peter’s life. The live edge adds a frisson of excitement, and the iconic frontman proves he is far from undead with some of the best vocals of his long career in these two snapshots that harbingers further musical missives from the archive.

Peter Live – Vol One – Covers 

CADIZLP269 Sleeve artwork features original painting by Peter. Golden nugget coloured vinyl, limited edition. Embossed sleeve. 

Pre-order HERE:

Find Peter Murphy online HERE:

The Dirty Denims – ‘Party On!’ (Handclap)

The Dirty Denims – ‘Party On!’ (Handclap)

Hailing from The Netherlands, The Dirty Denims return with their 4th studio album entitled ‘Party On!’, where they continue the quest to bring their self-proclaimed brand of “happy hard rock” to the masses. 

If you dig the sounds of AC/DC, The Donnas and Sahara Hotnights, then you can’t go far wrong with ‘Party On!’. The Dirty Denims unapologetically live in a world of denim & leather, flying V’s and flicking horns, and why the hell not, it ain’t a bad place to be!

Straight from the off the title track sees the band, led by singer/guitarist Mirjam Sieben, firing on all cylinders. They play a no-frills, high-energy style of rock n’ roll that never gets tired and never feels old. Angus inspired riffs and licks courtesy of guitarist Jeroen Teunis, a bluesy breakdown led by the rhythm section of bassist Sebastiaan Verhoeven and drummer Suzanne Driesen, making up a raucous, high-energy racket.

Check out that uber cool artwork, that pretty much throws out the vibe of the album. It’s like Joan Jett hanging out with David Lee Roth, drinking beer at a frat party in California circa 1984, and there’s nothing wrong with that in my book.

They’ve pilfered all the best AC/DC riffs, channelled the rawness of garage rock and the melodies of the sleazy 80’s rock scene to great effect here.

There are hints of Suzi Quatro in ‘Devil In Me’, with its killer

glam rock hook and licks that Joe Perry would be proud of. It needs more cowbell though. Elsewhere,

‘Why Do I Wake Up In The Middle Of The Night’ channels Thin Lizzy style twin harmonies and a Sweet style glam rock stomp to great effect. With an infectious melody and an instant earworm of a hook, it’s a strong album closer and probably my favourite track on the album.

With strong singles like the title track, the groovy, guitar-driven   ‘Victory’ and the power pop nugget that is ‘Guestlist’, (it has a bass solo, for real!) the Eindhoven based band have already shown the world a taste of what they have to offer with ‘Party On!’. Are you ready to grab a four pack, spark up a Marlboro lite and join the party? 

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Author: Ben Hughes

Lodestar – ‘Zonen’ (Self Release)

Lodestar – ‘Zonen’ (Self Release)

formed in 1996 when Heitham Al-Sayed, John Morgan and “Haggis” put Senser on hold they recruited guitarist Jules Hodgson and set about recording their debut album. Following the release Senser reformed and it was back and fore with other projects taking precedence until 2018 Heitham, John and Haggis started cultivating the second Lodestar LP that we now know as ‘Zonen’ which features Haggis on Bass and Guitar, Heitham on Vocals and John on Drums with additional input from Charlie Beddoes ( Rub Ultra, Nasty Little Lonely) on Bass.

‘Zonen’ kicks off with ‘Surrender To The Tide’ a crushingly heavy Sabbath droning riff before Heitham starts singing and the sludgy doom-laden rock continues. It’s rightly supremely confident in its swagger as it pushes my speakers to the max. I love the breakdown in all its evil heaviness.

Woah I did say my speakers were beginning to creak under the strain and then the Bass throb of ‘Bring Me The Head’ enters the frey. it’s addictive in its heaviness and whirling swirling riff – it must be a blast to play with its hypnotic roll.

‘Be Ready’ is a grinding slog positively bursting with evil licks it sounds dark and full of menace much like the rest of this record. The breakdown gives a feeling of alchemy and aboding darkness in a good way of course before picking up the pace with a subtly solo that tears a hole in space and time and that guitar tone is filthy (should come with a health warning).

And breathe, ‘Hyperitual’ has Haitham going head-to-head with the solo as you ready for the inevitable break out and it doesn’t disappoint like dropping an anvil on your heart through the speakers it ebbs and flows wonderfully.

The first video lifted from the album is ‘Flame’ which has the heaviness but fucks with your head a little more with a crushing bass sound and a more, dare I say commercial melody.

‘1983’ opens with an acoustic-picked synth-laden slice of space rock making way as a brief interlude before ‘The Stranger’ steams in. ‘The Real World’ is like getting in the furious pit wearing old-school lead divers boots and kicking the shit out of anything and everything. The last of the original songs on offer is ‘Sigilis Burning’ which is the accumulated content of everything before it meted into one heaving riff that blows away the cobwebs of those near three decades before surrendering to ‘The Harp’.

Being almost thirty years between albums this is the sound of the 21st Century wreaking havoc for the past three decades of wait. Ten new originals and a head fuckin take on ‘The Harp’ from The Sensational Alex Harvey Band. I needed that, head well and truly cleaned by the heavy as fuck juggernaut that is Lodestar. Welcome back people let the riffs rain down.

Listen Here

Author: Dom Daley

To celebrate the release of Zonen, Lodestar play two shows, including the Desertfest, with more shows to be announced soon.

Lodestar UK shows

May 

Sat 18th Southampton Heartbreakers 
Sun 19th  Desertfest  London

Ferocious Dog – ‘Kleptocracy’ (Graphite Records)

Ferocious Dog – ‘Kleptocracy’ (Graphite Records)

A folk punk band from the midlands I’ve seen live supporting The Wildhearts several years ago are now on album number six and remaining true to their core sound of raging against the machine and other social injustices this wholesome ensemble like nothing more than rebel-rousing with a sound not a million miles from that of the Levellers using a multitude of instruments to accompany the message the lyrics are trying to put across and generally doing it well.

It doesn’t take a rocket scientist to work out from the song titles what the band’s MO is and with their hearts collectively on their sleeves. Now the first thing I notice before I get to the music is the vinyl is only your Twelve tracks however the CD version has a budget-busting sixteen songs and an impressive 20-page booklet.

The album kicks off with a ferocious ‘Witch Hunt’, a breakneck jig that has a wholesome pace and duelling banjo and fiddle to boot if their live set starts with this then that’s a high bar to get the pit whirling and reeling to. It even comes with a brief breakdown before hurtling off. ‘Sus Laws’ is of course a Tory thing about the police and the powers given to stop and search pretty much anyone (unless you’re of white privilege stock of course), 

Without pause for breath, the title track steams in. More New Model Army than Levellers to my finely tuned ears. We then take a breather (not) as ‘ Iron Mike Malloy’ is a rebel-rousing slice of prime time Pogues-style Irish folk.

‘Merthyr Rising’ is a historic tale that sways from traditional folk to thunderous punk rock in the blink of an eye.

‘A Place We Call Home’, is a penny whistle and acoustic guitar as the dreamy lyrics set the scene on a track that was Described by Ken as the band’s Fairytale Of New York, some song to aspire to but the vocal back and fore is a beautiful thing.

‘Blood Soaked Shores’, sees the band back on the jig with another upbeat romp mashing up the folk with something altogether more punk rock. Coming on like the Clash riffing on the Batman theme ‘Darker Side Of Town’ is the most excellent straight-down-the-line rocker. The other side of the band is ‘Matty Groves’ a straight folk tune.

‘Running With The Hounds’, grows from the strum of the acoustic guitar and snare to a rousing all in rapid climax. ‘Then there’s ‘Moby Dick’, complete with its lapping waves and seagull sound effects its a dark tale like a punk rock Sea Shanty (not my cuppa at all and the weakest track on offer thus far).

The vinyl album signs off with the fury of ‘Anger On The Streets’, a suitably thrashier affair and a full bloodied punk rock riffs no fuckin about here just full-on fury. Nice.

Now for those who pick up the CD deluxe edition, The first of the four extra songs begins with ‘Brixton’s Burning’ a Ferocious Dog kinda song or something you’d expect the band to dish up.  ‘Protest Singer’s Blues’, Wheezes into view with a gob iron work out only matched by the banjo plucking and the rapid snare rolls. The penultimate track ‘Tell God And The Devil’ is one of the album’s highlights and a shame it’s not accommodated on the wax press coming on like Prime Bad Religion. ‘The Protest Singer’ is a gentle acoustic number to close off the album and give the chance fo the listener to reflect on a band in full flight and hitting a career high which is what it’s all about isn’t it?

Ferocious Dog fans will be delighted with ‘Kleptocracy’ and the quality on offer and new fans will be drawn in on the strength of the songs individually or as a complete body of work. Get involved it’ll reward you in these tough times.

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Author: Dom Daley

Martin Savage And The Jiggerz – ‘Self Titled’ (Damaged Goods Records)

Martin Savage And The Jiggerz – ‘Self Titled’ (Damaged Goods Records)

It’s only May, yet it’s hard to keep count of the great albums released this year. As one of my favourite bands is King Salami, it’s no surprise that the debut from Martin Savage And The Jiggerz is up my street, featuring as it does the rhythm section of The Cumberland Three. The energy levels are similar, but this is twelve slices of barbed, garage rock.

‘Between The Lines’ races out of the starting blocks, like early Brian James. ‘On The Run’ doesn’t let up, veering close to the edge of the fretboard, complete with handclaps and police sirens. This, along with ‘Out Of This World’ is reminiscent of the great Larry Wallis, so, if that’s your bag, dive in. It sounds like the album was recorded in a day, a compliment in my opinion. “In, out, put the kettle on” as Monkfish used to say. And, indeed, much like ‘The Fast Show’, there’s no superfluous stuff here; fast, sharp, short songs that fly past.

‘Next In Line’ boogies at a now-expected frantic speed, and it’s on to ‘Eyes Of A Blind Man’ with no time to spare and some wailing harmonica. Put simply, if you like one song, you’ll like them all. ‘Fly By Night’ wouldn’t shame Johnny Thunders. Uncle Dom and I were saying only the other day that very few bands manage to pull off the ‘L.A.M.F’ sound convincingly, but this is an exception.

Single ‘Down The Line’ is slightly more laid back, before ‘Fast And Loose’ is exactly that. ‘On The Corner’ gives Wild Billy Childish a run for his money, and ‘Boomerang’ will hit you in the head.

What more do you want? If infectious, raucous garage rock is your thing, get your preorder in now.

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Author: Martin Chamarette

The Empty Page – ‘Imploding’ (Vociferous Records)

The Empty Page – ‘Imploding’ (Vociferous Records)

Manchester England, Wet (often) Grey Northern you know all those stereotypes yet the birthplace of Joy Division and The Smiths as well as The Happy Mondays and The Cult the home of some pretty bloody good music diverse, creative and memorable. The latest you should be aware of happens to be the excellent The Empty Page, The band has been around for a while and the two protagonists were part of Obsessive Compulsive prior to that and that was many moons ago. Plying their trade out of Manchester England they peddle a gritty post-alternative sound leaning on the likes of Sonic Youth less the more pretentious edges and their souls are filled with good honest Mancurian perceptions for whats going on around them and in the wider world. The lyrics are personal yet for everyone, they draw you in and make you feel welcome and dress it up in some great songs. ‘Imploding’ looks and sounds like it’s been a labour of love and had to come out in exactly the shape and form they intended and to the best of their ability or not bother to release it at all. These songs are honest and brimming with confidence and putting so much heart and soul into a record has paid off. If only all records could sound this authentic and full of quality music.

Their unwavering belief in what they do is infectious and heartwarming but the bottom line is the music warrants such levels of self-belief. the Empty Page ‘Imploding’ Is a worthy contender and full of great songs. Enough of my waffling let the music begin and wash over me.

The album opens with the bright ‘Dry Ice’ with its thumping wholesome Bassline and steady beat, Kel sounds fantastic both on Bass and the vocal is superb coming on as if Polly Jane Harvey had been on a steady diet of Alt Rock and wanted to cut loose and record an expansive loud record. This is the perfect opener with so much going on sonically it fills your heart with love for music.

One of the first songs I heard off the record is the excellent attitude-heavy ‘Cock Of The Fifth Year’ with its fuzzed-out guitar and thumping rhythm section driving the song right to the pleasure part of your brain. There is so much going on in the song from the great lyrics dripping with attitude as Kel screams “Its A Sense OF Entitlement” Something a lot of us can associate with this song is a blast as it comes to a screeching halt it’s only a couple of songs in and already you can hear that The Empty PAge have stepped up to the mic and forged one hell of an impressive record.

They’ve really nailed that warm Bass and electronic drum sound on the opening of ‘Life Is A Wave’ a song that sounds so focused and well written it’s a sidestep from the previous two tracks and one that showcases Kels vocals.

Sure the band lean on what they clearly love (90s Alt Rock) but they sound modern and marry it so well with where they’re from and what’s influenced them to this point and what continues to influence them. ‘Medication Nation’ is thumping whilst the more ambient and moody ‘I’m A White Hot Blade (Witches Are Wicked)’ on the verse building to the chorus that’s got hints of old Radiohead in how it soars then drops. the band have clearly been paying attention to the music that has influenced them and washed it into their DNA rather than ape what might sound good.

Side two opens with ‘Gorge (Oh Well)’ an uptempo steady rocker whilst ‘Level Sedentary’ is an off-kilter slice of American Alt Rock with the electric guitar at odd with the spoken vocals all pulling in the same direction its caustic yet calming and charming a mighty fine departure. ‘Big Nasty Palpitations’ sounds so Manchester to my ears mashing up everything that poured out of the fine City in the last 40 years from the driving rhythm to the pulsating synth to the chiming big guitars coming at you from all directions.

‘Leaf Thin’ is a welcome more moody darker song with somewhat hushed vocals and well-positioned fuzzed-out string arrangments with a smart ear for the atmospheric break whilst the drums add drama.

I can’t believe we’ve reached the end of the album and the twisted pop of ‘What Happens Now’ closes the record in fine style. Man, what a fantastic album that really takes you on a journey.

I’m not surprised how damn good this album sounds as I’ve always liked what Kel and Giz have done over the years but I am impressed with the overall quality and ebb and flow of the album it is truly on another level to what they’ve produced previously and that’s credit to them for their ability to capture what’s been inside and pour it out onto this record and take their time to offer up the best album they could possibly give and boy have they delivered. Easily one of the finest albums I’ve heard all year no question this will be an end-of-year contender. Buy IT!

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Author: Dom Daley

Clowns, March, Skin Failure, Pizzatramp – The Exchange, Bristol. 06.05.24

Clowns, March, Skin Failure, Pizzatramp – The Exchange, Bristol. 06.05.24

Four bands for less than £20 on a Bank Holiday school night I’ll have that especially when it’s Australias Clowns and the last-minute addition of Pizzatramp. Six thirty doors with a star of 6.45 is like a straight edge mega bill set up and only a few minutes late Pizzatramp take to the Exchange stage and proceed to plow through some of their best material and a few new ones. As per Jim is on form as he regales the Bristol crowd with how he’d carry out the demise of Suella Braverman to howls of laughter and much applause. Of course, we’re treated to the awesome ‘There’s Been a Murder’ and the awesome ‘Millions Of Dead Goths’ but it’s the intro and execution of ‘I Do My Own Research’ that gets the biggest cheer and once again Jim is spot on. It’s a short and brief set but it shows the best of Pizzatramp and their on-fire brand of Hardcore. Let’s wait no longer and have a new album of new material please gents. What a way to open a night of loud raucous punk n metal, now follow that!

Skin Failure have the unenviable task of following Pizzatramp and these southern thrashers waste no time in getting down to business and thrashing out. I was unfamiliar with these gents but they certainly do no harm by just turning up turning on and thrashing like fuck. Frontman Will got off the stage and in the pit to engage with the punters as drinks were spilt and bodies began to pile up. Their Slayer meets Power Trip with some municipal Waste thrown into the party is about as Thrash as you can get and they did it so well getting local metal heads out in force seemed like a good choice and to top it off they had some bangers and Will is in possession of one Hell of a thrashers scream at times he was truly remarkable – Great stuff. ‘Meat Pond Down By The River’ and if you doubt me check out ‘Give R By The River As Bridges Fell’ step aside Tom Arayer Will is in Da House.

The main support is the hard rockin’ March from those there Netherlands and a Belgian bass player I believe. Mashing up some hard rock with a bit of punk rock attitude they went about their work with diligence and a professionalism that the previous two bands might have been lacking but for some reason, their set seemed to go on longer and didn’t grab me like the previous two. Maybe its the lack of speed and thrash or that I wasn’t familiar with their music as with Pizzatramp, who knows? That’s not to say they weren’t any good because that wouldn’t be fair they did have some really good tunes. Fleur was a very able frontperson no doubt about it and the musicianship was good with Bass player Jeroen thumping some great runs like ‘All On Red’. ‘Second To Destroy’ and ‘Reapers Delight’ went down really well.

Onto tonight’s headliners and a band I’ve managed to see quite a few times over several of their albums and this is the second time supporting the new ‘Endless’ album and to be fair the highlights of the current set are indeed tracks off the epic album. ‘Formaldehyde’, ‘Deathwish’, and ‘Bisexual Awareness’ are all superb but the show stopper has to be a magnificent ‘I Gotta Knife’. Fear not long-term fans the band still chug out plenty of early tunes from ‘Bad Blood’ and ‘Lucid Again’ and even without Hanny J they are a formidable beast that rocks like fuck and Stevie Williams is still an amazing ball of energy spending time in the audience being carried around or screaming his lungs out its a beautiful thing.

I dare anyone to leave a Clowns show and not be exhilarated with what they’ve just seen and heard and Melbourne has birthed a beast of a hardcore that just seem to get better and better. Catch them in a sweaty club whilst you can – Clowns ain’t no joke they simply rule. Top night even if I didn’t get home until the wee small hours due to cancelled trains and then a train strike taking effect. but boy was it worth it, I’d do it again tomorrow.

Author: Dom Daley