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A Place To Bury Strangers new Single

A Place To Bury Strangers new Single

New single / video “Bad Idea”

New album Synthesizer out October 4th via Dedstrange

 New-York based band A Place To Bury Strangers release their new single/video, “Bad Idea,” from their forthcoming album, Synthesizer, out October 4th via Dedstrange. Following lead single “Disgust,” described as “one hell of a feedback-ridden ride” (Consequence), and the “addictive” (New Noise) single “You Got Me,” “Bad Idea” showcases the raw creativity of bassist John Fedowitz. “He came to the studio with a simple looping drum beat, thinking he didn’t have any good ideas—thus, the song was his ‘bad idea,’” says frontman Oliver Ackermann. “We each penned some lines on paper, and he sang the ones that resonated. After a few instrumental passes, the recording was complete. The result is an innovative track born from spontaneous collaboration and a touch of self-doubt, turned into something uniquely captivating.”

The video director for “Bad Idea,” Nick Kulp says, “While touring with the band doing visuals and lighting since 2022,  I’ve been lucky enough to experience the band perform new songs and see the development of Synthesizer. In 2023, they started performing ‘Bad Idea’ and I was immediately hooked. It’s one of those live songs that really just takes you along for the ride and is really fun to do visuals and lights for. As the year went on we started talking about videos and elements for the new album and I was approached to do a video for this song and was immediately happy and grateful. I’ve been filming the band on tour and in their practice studio since December of 2023 and have been taking my Hi8 camera on the road and filming the shows. I tried my best to capture as much of the chaos of seeing the band live that I could — it’s an intense journey!


Synthesizer is the title of A Place to Bury Strangers’ seventh album. It is also a physical entity, a synthesizer made specifically for you to own, too, if you buy the record on vinyl. You can watch Ackermann demonstrate how to play the circuit board and functional synth album cover here. In an era of making music where so little is DIY and so much is left up to AI, to never setting foot in a practice room or a home studio, making something that feels deliberately chaotic, messy, and human, is entirely the point.

The writing sessions for Synthesizer started in 2022 in the band’s Queens studio, shortly after the release of See Through You. A Place to Bury Strangers re-formed with a new lineup, Oliver Ackermann still at the helm, now featuring friends John and Sandra Fedowitz. Synthesizer very much feels like a record of reinvention. And of course, to ever so slightly reinvent one’s sound, one must also build a new instrument, thus again the synth in question.

The resulting record is one that is romantic, colourful, loud as hell. This is a band that is meant to be witnessed in a live setting, where the songs take on a new energy in the presence of a crowd. Ackermann founded the storied DIY space (and now effects pedal factory) Death By Audio. DBA, as a venue, had a collaborative, creative spirit of chaos and collectivity. That essence appears all over the band’s work, and Synthesizer is a raw collection of songs, wild and loud and fucked up just like the instrument itself.

Pre-order Synthesizer

A Place To Bury Strangers Tour Dates:
Sat. Sep. 21 – Groningen, NL @ – Vicefest
Mon. Sep. 23 – London, UK @ The Shacklewell Arms
Tue. Sep. 24 – Wed. Sep. 25 – London, UK @ No90 Live Hackney Wick
Thu. Sep. 26 – Manchester, UK @ Deaf Institute %
Fri. Sep. 27 – Dublin, IE @ The Grand Social %
Sat. Sep. 28 – Belfast, IE @ Oh Yeah %
Sun. Sep. 29 – Glasgow, UK @ Stereo %
Mon. Sep. 30 – Bedford UK @ Esquire %
Thu. Oct. 3 – Berlin, DE @ Berlin Metropol [Record Release Show] %
Fri. Oct. 4 – Copenhagen, DK @ Loppen %
Sat. Oct. 5 – Oslo, NO @ Goldie %
Sun. Oct. 6 – Gothenburg, SE @ Fangelset %
Mon. Oct. 7 – Stockholm, SE @ Slaktkyrkan %
Wed. Oct 9 – Wroclaw, PL @ Lacznik %
Thu. Oct. 10 – Warsaw, PL @ Hybrydy %
Fri. Oct. 11 – Poznan, PL @ 2progi %
Sat. Oct. 12 – Bmo, CZ @ Kabinet Muz %
Sun. Oct 13 – Jena, DE KuBa Jena %
Fri. Oct. 25 – Washington, DC @ Black Cat &
Sat. Oct. 26 – Raleigh, NC @ Kings &
Sun. Oct. 27 – Asheville, NC @ Grey Eagle &
Mon. Oct. 28 – Atlanta, GA @ The Earl &
Wed. Oct. 30 – Houston, TX @ White Oak &
Thu. Oct. 31 – Austin, TX @ Levitation &
Sat. Nov. 2 – Phoenix, AZ @ Valley Bar #
Sun. Nov. 3 – Los Angeles, CA @ Teragram Ballroom #
Mon. Nov. 4 – San Francisco, CA @ GAMH Psyched Fest #
Thu. Nov. 7 – Portland, OR @ Mississippi Studios #
Fr. Nov. 8 – Seattle, WA @ Freakout Festival ^
Sat. Nov. 9 – Vancouver, BC @ The Pearl

% w/ Stella Rose
& w/ YHWH Nailgun
# w/ Pop Music Fever Dream
^ w/ The Black Angels, Martin Rev, The Black Lips & Shabazz Palaces

The Lemon Twigs/Tchotchke – Brudenell Social Club, Leeds – 11th September 2024

The Lemon Twigs/Tchotchke – Brudenell Social Club, Leeds – 11th September 2024

I think it was a certain Ginger Wildheart who first bought The Lemon Twigs to my attention, and it was not long before their 3rd studio album ‘Songs For The General Public’ was in my hands and on my turntable. There’s been two more studio albums since then and the Long Island power pop band, led by brothers Michael and Brian D’Addario have been top of my “bands I wanna see live” list for quite some time.

On the road promoting their latest long player ‘A Dream Is All We Know’, tickets were purchased the minute I spied a Leeds date at my favourite venue.

The Brudenell date has been long sold out, and it is already busy as the unpronounceable Tchotchke take to the stage. A 3 piece, all girl band with a drummer who happens to be the lead singer. With their 3-part harmonies, pop sensibilities and cool song dynamics they fit the bill like a glove. I’m sold after just a couple of tunes to be honest.

Thye have one album out, it happens to be produced by the D’Addario brothers and their melancholy and dreamy pop music comes across like a mix of The Shangri-Las meets Sleeper. Yep, 60’s girl group meets Brit Pop, its all jangly guitars, lush vocals and laid-back melodies that stick in your brain.

I don’t know any of their songs but I’ll tell you one thing, I don’t think a support band has ever left such an impression on me before. Their album has got to be my next purchase.

I’ve been looking forward to seeing The Lemon Twigs for what seems like an age. They open with ‘Golden Years’ and it’s all jangly guitars, lush vocals and smiles from the off. With skinny t shirts, perfect hair and even more perfect harmonies, the D’Addario brothers are on it from the word go. Leaning heavily on the latest album and its predecessor ‘Everything Harmony’, it’s pretty much a dream set with a few obscure covers thrown in for good measure. The first highlight follows a version of ‘Transparent Day’ by The West Coast Pop Art Experimental Band. My two favourite tunes from the new album are played together: ‘Church Bells’ is a glorious power pop ode that could’ve been penned by McCartney in the early 70’s, and the following ‘If You And I Are Not Wise’ sounds more like the Byrds than anything in recent history. Emotive, transcendent and fulfilling, I could go home happy right now, but there’s more to come.

The boys switch instruments throughout the set and take lead vocals on the songs they have written. ‘I Wanna Prove To You’ is another highlight, with Brian playing bass and Michael bashing the kit like Keith Moon, drummer Reza Matin takes on guitar duties and bassist Danny Ayala plays keyboards. It just goes a long way to show what accomplished musicians this whole band are.

The atmosphere is electric in the room tonight as we witness magic on the stage. ‘They  Don’t Know How To Fall In Place’ is killer and ‘Peppermint Roses’ is a new album favourite that is just as good live. The main set ends with the Beach Boys-esque ‘How Can I Love Her More’ before Brian returns with just an acoustic guitar to play 3 songs solo. His beautiful rendition of ‘Corner Of My Eye’ captivates the whole room, did I actually hear a pin drop? New song ‘Joy’ gets an airing, and ‘When Winter Comes Around’ is as emotive and possibly even more beautiful than the album version.

The full band return for a run through of The Beach Boys ‘You’re So Good To Me’ before ending on a high with a rocker. ‘Rock On Over and Over’ is as 70’s glam rock as you can get, T Rex meets Elton John for the win! What a finale.

I knew The Lemon Twigs were going to be good, but I wasn’t expecting them to be this good. The combination of perfectly executed pop songs delivered with an energetic performance, mixed with great sound and lights, by a band who are tight and look like they are really enjoying themselves. The benchmark gig of the year by far.

Author: Ben Hughes

Jack Jones new album & video

Jack Jones new album & video

South Wales songwriter/wordsmith Jack Jones releases a beautiful new single The Mountains (You & I) through Strap Originals today. The Mountains (You & I), a sticky tune anthem about overcoming the trials and tribulations of everyday life, is the fifth track to be lifted from Jack’s much anticipated debut solo album ‘Jack Jones’.

Jack’s previous singles Breathe , Peaches Out Of Reach ,  Who Let The Bass Pump Though The Floor and Gladysall picked up multiple plays on BBC6 Music, BBC Wales and Radio X.

Jack Jones says of The Mountains (You & I): “I went to live in a silent Buddhist monastery near Newcastle, trying to live a healthier lifestyle.  There’s so much of life where you’re expected to talk, but then if all of a sudden you decide not to for a bit, it really calms you, chopping wood for the monks, carrying stuff around and fixing the monastery, doing gardening and living together with other people in this hall. We’d listen to the monks singing in the morning, which was beautiful, and watch them living out their lives. In the past, I’ve struggled so much to meditate –  by the time I got out of the monastery I did feel like that normal anxiety that lives in me  felt less tight when I got back.”

The one-take video for Mountains (You & I) starring Jack and directed by Jack, was filmed by Jack on the emergency stairs at Covent Garden Tube station, using every single one of its 193 steps – the equivalent of a 15 storey building. Watch the video here:  The Mountains (You & I) .

Jack’s album ‘Jack Jones’ is available on vinyl in multiple colour formats, CD and digital download and was co-written, produced and mixed by Adam French. Also available will be Jack Jones’s new book ‘Tour Diaries’ Volume 1 featuring Jack’s time with Trampolene, The Libertines and Peter Doherty & The Puta Madres. They album and book are available here:  https://found.ee/JackJonesALBUM

Jack Jones is a compulsive wordsmith, an obsessive jotter-down of phrases, and weird things that people say. Across three studio albums and a hatful of singles and EPs since 2013, his work with TRAMPOLENE has always drawn from this humungous, ever-accumulating verbal resource. On his own, he has also published a novel (2023’s ‘Swansea to Hornsey’) and recited poems and delivered spoken-word onstage.

For this album Jack Jones has put away his guitar and embraced a fresh and highly contemporary sound in which to couch his hard-hitting state of the nation poems of existential fear and loathing.  His lyrics tackle many of today’s burning issues: mental health, drug addiction, mortality, and the tortuous demands of technology. There’s also joy and hope in there. The new direction arose out of an introduction to Mancunian artist/producer/songwriter/laptop warrior Adam French. For Jones, French’s way of composing and recording was like being teleported into a parallel dimension. 

Jack Jones will be  playing the following headline shows in November:

NOVEMBER

2nd SAT  Glasgow – The Poetry Club SWG3

3rd SUN Liverpool – Jacaranda

6th WED North Shields – Three Tanners Bank

7th THU  Manchester – YES Basement

8th FRI  Cambridge – The Six Six Bar

9th SAT Shrewsbury – Albert & Co Frankville

13th WED Bristol – The Exchange

14th  THU London – Old Blue Last 

15th FRI Swansea – Bunkhouse 

16th SAT Cardiff – The Moon 

Jack Jones alsoplays the following show with TRAMPOLENE: Salt Market Social – North Shields (28th September).Jack will be performing and signing at the following in-stores this week:

24 Tuesday Leeds Crash Records 5pm Doors 

25 WednesdaySouthampton Vinilo 7PM Doors

26 Thursday Kingston Banquet Records 6pm on stage, 6:45pm signing

Jack Jones has enjoyed Top 10 success with TRAMPOLENE on the Independent Album Charts with three Top 10 Albums, hit the road as special guest to Liam Gallagher at the personal request of the iconic frontman, supported The Libertines on an Arena Tour as ‘Tour Poet’ and had the honour of being the first act to headline Swansea Arena.

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Balaam And The Angel Celebrate 40th Anniversary With Release Of Brand New Material

Balaam And The Angel Celebrate 40th Anniversary With Release Of Brand New Material

Celebrated alternative rockers release first new material in over 30 years with ‘Forces Of Evil’ EP to be released October 25th via Darklands Recordings

Pre-order the EP HERE on 12-inch vinyl 

Balaam And The Angel are three brothers who were born in Scotland and grew up on a council estate in Cannock in Staffordshire. They played music together as teenagers but finally formed Balaam And The Angel in the early 80’s inspired at that time by the new scene that was developing around Bauhaus, The Sisters Of Mercy, Southern Death Cult, Theatre Of Hate etc. and a collective experience at the Futurama Festival in Bingley Hall, Stafford in 1981. The band achieved great success in the 80s alternative and rock scenes, signing to Virgin Records for their debut album ‘The Greatest Story Ever Told’, and touring the world with the likes of The Mission, Kiss, The Cult, Aerosmith and Iggy Pop until the release of their last album ‘Prime Time’ in 1993.

That period up to the present day has seen some intermittent activity from the band. All three of the brothers have taken time out to explore and develop successful careers outside of the music industry, have families etc, whilst at the same time maintaining some visibility with their very loyal UK fan base through social media and carefully selected performances and tours. The level of interest in Balaam And The Angel (and the early 80s alternative scene) has increased considerably in the last decade making the purpose of a new release seem much more relevant.

On Friday 25th October, Balaam And The Angel will release ‘Forces Of Evil’, a collection of recently recorded songs to celebrate the 40th anniversary of the band’s first 4-track EP World Of Light (released in Nov 1984). It is the first release of new material for over 30 years.

The EP will be released in the same format as its predecessor as a 4-track 12-inch single. There will be an option of a coloured vinyl or a vinyl picture disc. This will be the only physical format that will be released (there will be no CD or cassette). Fans will not be able to access a digital version until Friday 1st November when the songs will be released onto all the usual digital and streaming platforms.

The record will be released on the band’s newly created Darklands Recordings label (Darklands being one of the tracks that appeared on the 1984 EP).

The material was recorded in Oxygene studios Manchester with Christoph Bride (who has recently worked on albums by The Chameleons and Kirk Brandon/Theatre Of Hate/ Spear Of Destiny). The sound of the record marries the feel of the bands darker past with the punchier edge of their later releases.

The four tracks on the EP have been written by the band and demonstrate a more developed approach to the lyrical content which embraces some of the bands more common themes about how we navigate our daily lives alongside some more provocative themes such as mental health and the contradiction between religious belief vs religious intolerance and the way in which this are used as one of the reasons for the persecution of others.

“The process of creating this collection of songs has been incredibly unique and has prompted us to revisit some previously overlooked ideas. The track ‘Forces Of Evil’ had its origins way back in the start of our musical journey. It was a song that we had set aside because the lyrics seemed too naïve and simplistic however fast forward four decades and we have a set of lyrics and sentiment that could not be more current and universally appropriate,” says guitarist Jim Morris.

Watch the video for the opening track of the EP ‘Dancing Senseless’ HERE:

The band will go on tour in November to support the release of the EP taking in 8 cities throughout the UK (see below for tour dates). It is the first major outing since the “1984 – 1988 Singles And More” tour in April 2018.

The band have continued to perform intermittently since then choosing to play carefully selected headline shows and special events such as Tomorrows Ghosts Festival, Kirk Brandon Westworld Weekend, The Mission Shindig and most recently as special guest on the sold-out Almighty shows (Nov 2023).

Balaam And The Angel are one of the very few bands who can still claim to have maintained their original line up. They are three brothers born in Scotland and raised in the West Midlands.

Forces Of Evil track-listing:

1.Dancing Senseless

2. Forces Of Evil

3. Feel The Silence

4. Afterlife  

Pre-order ‘Forces Of Evil’ HERE:

Catch Balaam And The Angel live at the following dates:

Fri 8th Nov: Leamington Spa Assembly Hall

Sat 9th Nov: Reading Face Bar

Thurs 14th Nov: London Islington The Garage

Thurs 21st Nov: Glasgow Room 2

Fri 22nd Nov: Sheffield Network

Sat 23rd Nov: Hull The New Adelphi

Thurs 28th Nov: Birmingham Castle And Falcon

Fri 29th Nov: Bedford Esquires

Ticket links for all shows can be found via the band’s website: www.balaamandtheangel.co.uk

Balaam And The Angel are:

Mark Morris – bass/vocals

Jim Morris – guitar/keyboards

Des Morris – drums

The Peawees- ‘One Ride’ (Folc Records in Europe and Spaghetty Town Records in North America)

The Peawees- ‘One Ride’ (Folc Records in Europe and Spaghetty Town Records in North America)

Six years since their previous album, The Peawees are back with 11 corking new tunes of power pop goodness. Admittedly, I am more familiar with guitarist Dario Persi’s band, Radio Days, and while there are similarities between the two groups, Radio Days are a blast of sunshine while The Peawees sometimes have a darker edge to their melodies. That said, both bands have a pile of strong songs, proving once again that Italian bands currently have the upper hand, with the exception of The Speedways.

From ‘Banana Tree’ onwards, there are tunes to get you grooving, nodding or punching the air. This is a slinky number for the dance floor, as is first single ‘The Wolf’ (see video). ‘Drive’ is a radio friendly anthem, once heard, never forgotten. Simple, but very effective. And that’s what The Peawees specialise in; like Radio Days, they make familiar melodies sound fresh and exciting. ‘Plastic Bullets’ adds keyboards and a “woah, woah” refrain. It’s here that they sound most like The Speedways, as high a compliment as I can give. Two minutes fly by, and you’ll be playing it again.

‘Lost In The Middle’ has that hint of menace that John Reis does so well, currently my favourite track. ‘She Cries As She Kills’ is another slice of power pop, complete with handclaps. The production is excellent throughout, the guitars have just the right amount of crunch, without overshadowing the vocals. ‘Who’s The Enemy’ will get you swinging your pants, with a Beatlesque chord sequence. It’s infectious stuff. What can I add? The title track shares some DNA with Radio Days, no bad thing, obviously. With this album, they’re two of my favourite bands. Speaking of which, ‘You’ll Never Be Mine Again’ sees the band duetting with The Detroit Cobras. While the inimitable Rachel is sorely missed, fair play, it’s a beautiful song. If the above mentioned bands are your thing, you really need this album in your life.

Buy Here

Author: Martin Chamarette

The Shitdels – ‘Where’s Your Head?’ (Big Neck Records)

The Shitdels – ‘Where’s Your Head?’ (Big Neck Records)

Lo-Fi Garage rock baby! The Shitdels started as Jordan Wayne’s bedroom project with his wife, Katelyn, shortly after they moved to Nashville from Memphis in 2015. A handful of the songs were leftover from Wayne’s Memphis garage/psych band The Blackberries (aka Whoa, Blackberries or just Blackberries) and the rest were kind of written/recorded in that vein. It’s fuzzy and the vocals sound like they were recorded in a bucket using a pair of headphones for a mic but that aside it’s a whole heap of fuzzy fun and songs like the swinging groovy ‘Hold On’ have a tonne of charm and the melodies are infectious. 

It’s authentic and has the ingredients such as the honking Farfisa Organ adding layers to the already chaotic sound but in a Fuzztones kinda way it all adds to the charm of what they’re trying to achieve.

The record isn’t going to overtax your brain because the average song length is about two minutes and the pace and tempo goes from swinging to groovy baby in the eblink of an eye its psychedelic and fuzzy and the backbeat are grooving all over the place. the Lo-Fi production creates a feeling of claustrophobia and chaos but the melodies are often sooo pop like ‘Electric Cars’ its a punk rock Devo on acid.

‘All I Wanted Was You’ sounds like it’s hanging on by a thread but has a tonne of charm. it sounds like they left the faders open for a bunch of mics that weren’t being used but thought fuck it it adds warmth. The record is gone in the blink of an eye and the band works best on the faster buzz saw tracks such as the title track that races with an insanely hypnotic melody.

To be fair it’s a real good album and when played loudly its a real buzz and you can get into the sound and feel of the record it is raw as fuck and that is part of the appeal and charm. Get involved in some real authentic garage fuzz rock and on that note add The Shitdels to the top of your list.

The Shitdels Bandcamp / The Shitdels Instagram / Big Neck Records Bandcamp

Quireboys – ‘Wardour Street’ (Cadiz Music)

Quireboys – ‘Wardour Street’ (Cadiz Music)

The 19th of November 1988 will be forever etched into the RPM Online history books as the night I first met our esteemed boss, Sir Dominic of Daley, down the front at St Davids Hall in Cardiff catching the classic “There She Goes Again’ era line up of the Quireboys (supporting one Yngwie “fucking” Malmsteen would you believe) live. We bonded like brothers that night as it felt like the remaining 99.8% of those in attendance truly wanted to unleash the fury on us cowboy-booted ne’er-do-wells, and a decade or so aside (when our glorious leader went off to play Dick Whittington), we’ve been good friends ever since.  

This is why October 11th 2024 is such an important date for us here at RPM HQ, not only because it marks the release of the all new 11 track album from the mighty Quireboys, but it also sees the band’s frontman Spike reunited in a recording studio with bassist Nigel Mogg and pianist Chris Johnstone for the first time since 1993 and the band’s second album ‘Bitter Sweet and Twisted’. An album, which in hindsight, turned out to carry a pretty prophetic title, given the antics that followed its release and those that eventually unfolded during the band’s second shot at glory, when they returned in the early noughties with the release of their excellent ‘This Is Rock N Roll’ album and an additional “The” preceding their band name.

There’s been plenty written elsewhere about the last line up of The Quireboys’ acrimonious split and Spike’s subsequent battle to regain the band name, but the positives that came from that parting of the ways now sees Spike’s former bandmates treading the boards under the name Blue Eyed Sons and bandanaman himself not only reunited with his former “classic era” bandmates but also having secured the blessing of his ole six string sparring partner and band co-founder Guy Bailey to carry on, before his untimely passing in 2023.  Add into this 2024 Quireboys mix the return of American drummer Rudy Richman, and with Thunder guitarist Luke Morley stepping into the boots of Guy Bailey, with just one listen of the boisterous honky-tonk of lead single ‘Jeeze Louise’ you’d be forgiven for thinking that any of the intervening years since me and Daley first encountered the band had ever really happened, and yeah ‘7 O’clock’ was still without that chorus that would go on to make it a top forty hit here in the UK.

I’m reaching for my cowboy boots by the time I get to track two of the LP, the single flipside ‘Raining Whiskey’, only to realise that they have long since been replaced by Wellington boots (complete with the comedic L/R genius magic markered on the turn downs), and instead I’m just happy to relish in the obvious joy in Spike’s voice as he trades lines with his hero Franke Miller over this Bad Company/Stones-esque stomper. A sprightly opening one/two, and a real statement of intent for sure.

Things slow down slightly for ‘You & I’ the first of a few tracks that sound like smash hit singles in waiting and transport you back to an age when singles actually made musicians into bonafide stars, all before the tempo is back up to “in their prime” Faces pace, and the boogie of ‘I Think I Got It Wrong Again’ has me remembering why I first fell in love with the Quireboys all those years ago.

Elsewhere there’s the swaggering ‘Myrtle Beach’ for you to hum/whistle on the way home from the pub after a few shandies, and the immense Stones riffage of ‘Happy’ (no it’s not a cover) is custom built to get us all up on our feet dancing, add in the rather pointed strum of ‘No Honour Amongst Thieves’, and this trio fully demonstrates the light and shade of the Quireboys songwriting palette here in 2024.

Of the album’s remaining quartet of tracks the harp pumping strut of ‘Howlin Wolf’ reminds me of Horse London’s Gary Buckley’s streetpunk outfit The Terraces but still remains 100% Quireboys rock ‘n’ roll, whilst ‘It Ain’t Over Now’ is another of those potential hit singles I mentioned earlier, being not unlike a modern-day ‘I Don’t Love You Anymore’. Which just leaves the funky blues of ‘Like It Or Not’ and the images it immediately conjures up of what a Gary Moore and Spike collaboration might have sounded like if that were indeed still possible before it really is chucking out time as Morley’s acoustic guitar and Spike’s smoky half spoken vocals take us on one last nostalgic walk down ‘Wardour Street’.

I really must at this point take time to mention just how much of a positive impact Luke Morley has had on this set of songs, not only in his impeccable playing but also in his “spot on” production work. He really has captured the vibe and mood of the band and bakerboy caps are well and truly doffed here at RPM HQ.

I’ve enjoyed pretty much every album the Quireboys have released over the years, whatever the lineup, and ‘Wardour Street’ whilst an excellent addition to the band’s already impressive back catalogue is also like a shining beacon of light coming out of some very dark times indeed, and for that reason it makes it just that extra little bit (of what you fancy) special. I’m so glad Spike is once again back in control of all matters Quireboys and I look forward to seeing the band play some of these new songs live when they return to UK stages this November.

“What time is it?” It’s time for you to pre-order you copy of ’Wardour Street’ HERE.

https://www.spikequireboys.com

https://www.facebook.com/QuireboysOfficial

https://www.instagram.com/quireboysofficial

Author: Johnny Hayward

Swami and the Bed of Nails/Mudd Club – Beacon (Lantern Hall), Bristol – 18th September 2024

Swami and the Bed of Nails/Mudd Club – Beacon (Lantern Hall), Bristol – 18th September 2024

Playing their first show outside of the US less than an hour away from my home I was not about to miss seeing the Swami and his Bed of Nails for the very first time, not even when it’s taking place in a venue that’s really not suited to this kind of show.

Tonight, it’s not the only show in the venue either as in the main hall we have Elvis Costello and Steve Nieve reinventing that singer’s back catalogue (a show I’d caught a few nights earlier and found to be very interesting indeed) whilst here in the smaller Lantern side room we have John Reis (like you didn’t know he’s the Swami) ploughing through a set of tunes that whilst not a million miles away from his more fabled days fronting Rocket Front The Crypt are really drawn from a much wider influence gene pool. One listen to the band’s latest ‘All This Awaits You…’ record will prove this, as in the words of the man himself, they are “fanning the embers of rock n roll music.” So, you best stand back, because this five piece really are about to explode, and its only gig number one.

Before all that though, and warming things up nicely for the headliners are local trio The Mudd Club who only found out they had landed the gig a few days ago, not that they let it phase them, playing a set of at times Cramps-y influenced garage rock they utilised their 30 minute slot well, plugging their ‘Give Me A Thrill’ record and winning over some new fans in the process.

By contrast as John Reis comments late into his band’s set tonight, most of the people here to see Bed Of Nails have probably been with him for over three decades now, and the show actually ends with a song by the band I last saw him playing in Bristol with, ‘All Hits’ by The Night Marchers. That was God only knows how long ago. This is certainly no nostalgia set though, and a Sultan’s cover aside (the glorious ‘Just a Fool’) tonight’s set list is all about the frontman’s last two Swami records.

Kicking off with two tracks from 2022’s ‘Ride the Wild Night’ (the title track and ‘Do You Still Wanna Make Out?’) the band sound anything but jaded after their long trip over from the US, in fact if anything a slight timing misunderstanding with the sound guys ahead of the five piece taking to the stage only seems to fire the guys up even more.

It must be difficult for any band to promote a new album when it isn’t officially available in the country they are playing (the vinyl is available at the merch table folks for a very modest £25) but that doesn’t deter the guys as they rip through all the album’s  nine tracks with the keyboards of Joe Guevara really adding that extra dimension to the band’s distinctly rock ‘n’ roll missive. Highlights are aplenty but the furious ‘Ketchup, Mustard And Relish’ is the best Ramones song da bruddahs never wrote, and in ‘How Are You Peeling?’ Reis has possibly written one of his best songs ever…about fruit. Ha!

Outside of the new album there’s a further (I think) three belters from the Swami’s debut record with ‘Vape In The Dark Alone’ seemingly not complete without our leader’s hilarious preamble that fully explains the influence behind the song.

There are another eight shows on this tour (it all rounds off at the Oslo in London on the 28th of September) for you to not only discover this vape related secret but also pick up a copy of the band’s fantastic ‘All This Awaits You…’ record.

Don’t sleep on this one, because you will be seeing one of the gigs of the year if you do pick up a ticket or three.

Just do it!

Author: Johnny Hayward

Pizzatramp – ‘The Last Supper’ (TNS Records)

Pizzatramp – ‘The Last Supper’ (TNS Records)

The three-piece thrash punk band Pizzatramp have finally got their acts together and made a new album. No, really they have and it’s the “classic” lineup as well which might suggest they’ve had this recorded for ages but just didn’t get around to releasing it and waited for the right time and their management team had a plan and wanted to push it out at the optimum moment on the crest of a wave…oh wait, Pizzatramps innit bruv. Fuck it, scrap that. Start again…

The trio of ne’er-do-well herberts from just inside the Welsh border have finally got around to releasing their new record but to be fair it’s fucking excellent and not because it’s a weird colour or packaged in their usual most excellent artwork and has a lyric sheet but because they do indeed bang out the finest racket of Thrash punk on the planet let alone their corner of shit island. To be fair they wrote it three years ago, recorded it two years ago, and it’s finally coming out now all the song’s subjects and references are probably obsolete (Thatcher?) Also, it’s safe to assume the trio haven’t found religion either and God botherers might just be picketing outside their gigs from here on in for their blasphemous artwork. Maybe they’ll have to find a hideout in Norway with some kindred black metal spirits for the foreseeable who knows? Anyway.

So have Pizzatramp evolved? Uhm, Nope. Have they branched out? Uhn Nope. sigh of relief all around then. AAA kicks things off in a truly thunderous Pizzatramp way with foul-mouthed lyrics a plenty, Dan’s drumming is a marvel as is Jim spitting out his rhymes like some modern-day poet who never go the beat poet memo or was born in Monmouth so isn’t a rapper either bruv. Sammy fills the huge bass hole left by…um Sammy so people can’t complain about the new lineup not being as good as the old lineup and they’ve changed since Sammy left. I see what they’ve done there. It’s also noteworthy that a band have great lyrics but aren’t massive dicks they also have a social conscience and a moral backbone even if they joke about it and they have nothing but contempt for the Tories, Farage and Thatcher which is always a winner around here.

The title track is a gurgling monster with a Bass line from Hell and on a song entitled ‘The Last Supper’ if only NYHC sounded this good in 2024. ‘Cop Fetish’ is rampant whilst live classic ‘I Do My Own Research’ pokes fun at those morons who simply don’t or join cults like Farages mob or Trump in the States. This album made me want to revisit the M.O.D and Stormtroopers Of Death era metal and my hunch was correct none of them come close to ‘Mr Slam’ #Fact not even municipal waste are this good.

‘I Spotify’ gives a swift kick to the knackers of those who deserve it. ‘You Missed Billy Elliott’ is one of the best endings ever, only Pizzatramp could deliver this. ‘Flagshaggers United’ might just be Jim’s finest three minutes. Absolutely nailed it. We all know em – a bunch of cunts n all. Not satisfied with that have an earful of ‘Skeletons’ n weep, what a time to be alive and have suffered all that shite. Like the Nazis before the second world war these lessons should be thought in schools for generations to come to warn them about that lot and never forget nor forgive I’m with Pizzatramp but wait there’s more to come ‘Bring Back Margaret Thatcher’ is the albums adios amigos we’re out of here and what an absolute nuclear blast of it is. Of course, nobody wants to bring back Thatcher unless it is to drag her around every town and city in the UK on the back of a Chopper tied to a chain. What an album.

Hats off to you gents, it’s all killer and no filler and joking aside this should be the benchmark for others to follow as far as Hardcore Thrash and Punk records go in 2024. Whatever you’re drinking keep on drinking it and raise a glass to the baddest mofos in the pit Pizzatramp fuckin’ Rule! Buy this album! Right proofread what you just typed whilst playing this record for the tenth time in a row…nah fuck it they won’t mind what’s just spilt out of my head will they?

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Author: Dom Daley

M*ARX – ‘Green Ginger Jive’ (Wrecking Ball Sounds)

M*ARX – ‘Green Ginger Jive’ (Wrecking Ball Sounds)

So, former Sisters Of Mercy founder Gary Marx emerges from the onstage fog to release an album of unbridled joy and retro rock n roll with a pair of Glitter stack boots on to stomp on those fuzz pedals and he also brings a bunch of old pals along for the ride.  Wayne Hussey, Miles Hunt, and John Robb among others join in with vocals, handclaps and timely places high kicks in satin pants and boy make sure those belt loops are big enough to get man-size thumbs in for the dance-off.

Gary said he wanted to be fourteen again and do something joyful and silly but do it properly and boy did he nail that remit. Sweet, David Bowie, T Rex, Suzi Quatro, and Slade are all in there but with 2024 production values. Remember those TOTP albums we had in the 70s well this is the modern equivalent of original bangers from the Hussy vocals on ‘Stone Cold Solid Gone’ and an enthusiastic Miles Hunt adding to ‘Here Comes Seventeen’ I’m already all in and sold on this retrotastic jaunt back in time to when things seemed simpler and less stressful so on that front its mission accomplished.

Jane Murphy sings on the dreamy ‘Sugarcane’ Hell there’s even motorcycle engines on ‘Slingshot’. I’m sure satin gloves and shades were compulsory during the recording song titles like ‘Stardust #5’ leave you in no doubt where the mindset was but the songs are retro but fill your heart with joy and happiness and they’re excellently executed. Hussey returns for ‘Wicked Ways’ and delivers the album’s best song. A vibrant jive and some excellent arrangments going on beneath the 70s glam that give the whole trip a gloss and modern sheen. The album gets down n dirty for ‘Babylon Bop’ with added Evil Blizzards Filthy dirty also riffing it up on guitars.

You have a solid consistent rock n roll party for most of the album with only a fleeting detour into balladry for ‘All The Way From Munster’ tripping on its satin flares into some Mott The Hoople balladeering for a most welcome diversion complete with wonderful and sincere soloing.

Well, in conclusion, the MO is complete and it is a Slade sized thumbs up from RPM HQ for this sixteen-song trip down memory lane and a real tonic it’s been so get the Rothmans and Watneys party seven in were having a party and Marx is on the decks. Get involved kids you know you want to.

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Author: Dom Daley