How many of us settle with the stuff we listen to, happy in our own little bubble don’t really think about what’s new, different, in your face, or just challenge our own perception of what music should sound like.
Who knew that through exploring the wonders of the internet, you’d find an exciting, vibrant underground music scene growing, allowing individuals/groups to challenge genres, re-imagine styles and most importantly find an audience.
When this band appeared in my inbox with a brief note from RPM Online’s head honcho, saying this one’s for you Brooks, my first thought was, it must be right out there, or maybe a standing Prog joke?
But ultimately absolutely nothing of the like that usually crosses the RPM doorstep, and boy was I right!!! But conversely I love it!!!!!
So welcome to the strange world of WolfWolf
And first up? Wolf Wolf- ‘Cryptid Zoo’ released in 2017, and boy was the world not prepared for it!!
This is absolutely nuts from the off even the press pack is off the scale for weird I mean check it out,
“They’ve left the protective gloom of the deep forest and are slinking around the towns, devouring hippies, hipsters and bass amplifers – and anyone unable to endure their howls is one-two-three-four pounded to pieces by Mr. Wolf, the stand-up drummer. Those able to withstand them are bombarded with trash by gitarrero Mr. Wolf. Anyone left standing after the onslaught is one of those real rock’n’roll creatures that WolfWolf yowl about in their latest album: socio-, psycho- and other -paths, yetis, aliens and swamp monsters. Only those able to survive the WolfWolf assault belong in the Cryptid Zoo”
I have to be honest listening I’m getting drawn more and more towards the Legendary Shack Shakers, and vocally there’s very much the Colonel’s style of delivery over what I would say is a mutated bluegrass skeleton, mutated as in intertwined with scuzzed up delta-blues . Now if you like the Shack Shakers, the Cramps and maybe from Europe, The Country Dark, then you will absolutely love this baby, as I’m smiling my way through the opening tracks number five up catches my attention with just the right amount of Urban Voodoo machine carny “Linzer Waltzer” is the title to look out for. I have to be honest from this point I’m hooked. Next up “Roswell” definitely heads towards Devo territory but going along a very strange path to get there, via the Cramps.
For “Tuzenak” I guarantee you will be taken by surprise, this raises the weirdness bar to an impossible level , what the fuck it is? I have no clue!! There have been way too many psychedelics consumed.
But before we head back towards the alternate reality of normality that this LP pushes, I just need to screw my reviewing head back on straight and stop dribbling. “The hunter from Hell” moves it right back into the Shack Shakers vibe, but pushing even their dark boundaries. The Cajun stomp that introduces “Leave This town”, actually turns into the easiest to pin down and potentially the most recognizable genre contained within this LP.
The cunning plan would have been to push this as a single, and then laugh when you imagine people realizing that it’s nothing like the rest of the album.
Finishing both me off and the LP, “Creepy things” comes on like the bastard son of The Cramps and the Fuzztones, that’s been listening to many alternative tentacles releases while consuming huge amounts of DMT!!
Go on you know you want to, peer into the strange distorted reality of WolfWolf, it’ll defiantly alter your perception of what music should sound like, be afraid, but be adventurous and willing to experiment.
But never one to bottle it I dived in further finding a brand new release from
WolfWolf- Metamorphosis
Not quite sure where this one would take me, I think whisky is called for “just to settle the nerves. Turns out that’s a very good choice as the drawn out blues of “Lucifer” introduces the lp in a very different way, who’d have thought it, this is a very different animal, maybe a band settling on a style or maybe just exploring a very different musical heritage. There’s almost a punk rock vibe to “Klaus” before some very strange things start to happen and we dip into Shamen territory all-be -it briefly.
There’s a picked acoustic blues entry to “The Gin Diary” and I’m sure that guitar run came straight out of the Doors –people are strange!!! As I’m taking stock and just drifting through the next couple of tracks I’m drawn back to the Legendary Shack Shakers before again I’m thrown into an industrial Ministry style Land of Rape and Honey track “Birdman”. Next up “Dark night” again is that track that will lull people into a false sense of security. “Crushed the Devil” scratches the Urban Voodoo Machine itch, before Fat Fly takes it off into another plain, the techno drum beat, holding the track together before we start to enter Young Gods territory with a blues twist. Boy was I not prepared for the jazz saxophone that opens “She’s a threat” there’s a hint of Tom Wait’s to this baby, but its buried deep!!!
Finishing up with the Alt-country vibe of “time to say goodbye” and your left with the thought on first listen of I’ve never heard anything like it before and probably will hear nothing like it again, it’s nuts, all over the place, but stands on it’s own because of it.
WolfWolf are not for the faint hearted, definitely not for your average Massive Wagons fan, but if your willing to challenge your boundaries and hear something totally different this band are 100% for you.
Difficult times call for direct action, and never having been a band to shirk their responsibilities Brighton ska/punks The Bar Stool Preachers have decided to use the current lockdown situation we find ourselves in here in the UK to not only lift the spirits of their fans via a couple of completely new (and FREE) songs but also seize the opportunity to help raise some money for healthcare workers here in the UK.
To be honest, I’d actually have been a little disappointed if the Preachers hadn’t jumped at the opportunity to try and help out during this ever-developing crisis, and it certainly never hurt anyone to have a social conscience. So, whilst they maybe can’t help the frontline directly if releasing some new music can help in any way then I salute the guys for having the minerals to stand up and be counted.
Of course, the Preachers will always look to do something a little differently and that’s why along with making these new songs FREE to download from their website from April 24th over the past couple of weeks they’ve also been busily piecing together a video for the lead track (the prophetically entitled) ‘When This World Ends’ that is set to feature their fans and friends from all over the world delivering their own particular take on the song’s rather poignant lyrics, something that will be sure put a much-needed smile on all our faces too.
The song itself (which has been slightly tweaked lyrically since I first heard it as ‘At The World’s End’) is a mid-tempo anthem with a huge commercial hook-driven but gang backing vocals that should have us all screaming along when we are finally able to go back to attending gigs once again. Speaking of which ‘State Of Emergency’ – the other FREE track available – is something of a live favourite with Bar Stool Preachers fans already. A blaring siren providing the perfect introduction to a tune that is easily one of the best songs that Tom and the lads have written to date.
Perhaps the single most exciting thing I can take away from hearing these tracks is that whilst the rough demos I got to briefly hear a few months back had all the early indicators that album number three would be the band’s best yet, these Jake Rousham engineered versions have taken those songs to an all new level completely, and I seriously cannot wait to hear what they will do with the likes of ‘Love The Love’ and ‘Late Night Transmission’ which were both played on the band’s recent UK tour and which rather ominously might also have been my last gig of 2020.
Look, if you are feeling a little stir crazy at the moment and are looking to get some positivity back in your life then you won’t go far wrong checking out the action Here because that’s where you’ll find the real ‘Soundtrack To Your Apocalypse’.
Minneapolis favourites Soul Asylum return with their 13th studio album, and their first since 2016’s ‘Change of Fortune’. The new album ‘Hurry Up and Wait’ was preceded by the single ‘If I Told You’, which gave a hint that Asylum fans could expect the band to return with their trademark romanticism, with melodies as delicate as ever, flowing in the line with Pirner’s vulnerable vocal delivery. While the ‘Change of Fortune’ album was a mixed bag, the new single ‘If I Told You’ was already perhaps a better song than anything from that album, up there with ‘Misery’ in terms of Soul Asylum ballads.
A good omen then for the new album, which was finally released 17 April 2020. And fans won’t be disappointed. Whereas ‘Change of Fortune’ was perhaps at times a little overblown and a little overproduced, ‘Hurry Up and Wait’ is more direct and earnest, following more in the footsteps of the inspiring ‘Delayed Reaction’ from 2012. The sound is instantly recognisable, but as with most later Asylum stuff, it’s more explorative in its sound, demonstrating Pirner’s expert song writing skills which have been present at least since the early days.
The album opens with the strong riffing of the aptly named ‘The Beginning’ before the song almost immediately swings into familiar territory, full of sweet melodies and catchy hooks. Going straight into the superb ‘If I Told You’, this is the Soul Asylum that fans have come to love. This of course permeates throughout the album with songs such as ‘Make Her Laugh’, and ‘Social Butterfly’, but there is enough variety on this album though to keep it interesting at every turn. The Slade-esque stomp of ‘Got it Pretty Good’ is a fine upbeat number, whereas ‘Dead Letter’ takes a decidedly folky turn. There’s also a lot of rock on this album, from the bluesy romp of ‘Landmines’ to the harder ‘Hopped up Feelin’’.
Every song on the album is a strong as the last, and the variety is refreshing. Less polished than ‘Change of Fortune’ and more consistent than ‘Delayed Reaction’, the record is certainly the best album since ‘The Silver Lining’, and maybe even before. For Asylum fans, ‘Hurry Up and Wait’ will definitely rank alongside their best.
The man behind the songs and sounds of Space Age Playboys, Queer For Girls, Tattooed Millionaires and Speed City Vipers returns with his latest offering…A solo album ‘Make Your Move’. So its been a while since we heard what Johnny Jetson was up to and being a fan of his previous bands, of course, I was interested in hearing what’s going on at the Jetsons these days and low and behold the years have been kind to Jetson and whilst he hasn’t overstretched himself he’s stayed true to what his Rock and Roll heart tells him and this solo album is choc-full of sleazy Rock and Roll. It’s fair to say there aren’t any sonic surprises and the tunes generally will please fans of any of his previous offerings this time he’s pretty much creator and player with just the drum stool left to Adam Hamilton who incidentally also Mixed the record.
What you get from Jetson in 2020 is ten songs from a true Rock and Rolla he walks the walk and talks the talk and has stayed true to what playing in his heart there are influences ranging from the 70s Bolan (obviously) but Alice Cooper is obviously an inspiration (‘Get High Rock Steady’) is certainly ’90s Coop done really well I might add.
Jetson never sold out and neither has he pandered to what’s on point, in vogue or politically correct. As long as the earth is spinning and he has strings on his guitar he’s gonna play. He has some decent melodies going on especially on the title track which has a tonne of spirit and one of the albums finer tunes. I can hear the virtual confetti cannons going off as he heads into the final riff from the solo. It sounds like Johnny Jetson is in a really good place and has hit a fine vein of writing he manages to keep his chosen calling sound fresh and vibrant and by keeping it to the ten tracks it never gets old or boring and there are no slushy ballads there ain’t no time we’re too busy having a good time. Get on it folks and tell Johnny that RPM sent you. Now strut off you beautiful rock and Roll peacocks and wear your nail polish and guyliner with pride This record rocks!
Everyone reacts differently to a crisis – some take flight, some freeze, and some say “What can we do to help?” hey take a look at the current situation, you know, like a global pandemic, and look at their skill sets and assess. Bar Stool Preachers aren’t nurses or doctors, but they are one of the newest bright lights in music, with drive and a social conscience to boot.
So, they did what they know how to do best, they took two of their songs that were being held for the much-anticipated new album and rewrote them to reflect their thoughts and feelings for what we are all experiencing right now. They called in favours, managed to get in the studio just a few days before the lockdown went into effect in the UK, and banged out these amazing tracks. Engineered by folk-punk wonder Jake Rousham (The Levellers) and the lads themselves, they have managed to produce some of the most real and best sounding punk/rock’n’roll of the last decade, whilst being fun, current, and politically scathing.
Knowing times are shit, but people are always going to need positive, strong music, they made the songs free to download Here. (And streaming from all your normal providers.) There’s a donate button for anyone with the resources to spare, for donations to the band, from which they will donate to healthcare workers and their families in the U.K (and possibly others when funds arrive, as this is an everchanging crisis). The band are doing what they can, raising money for the far underfunded NHS staff, providing their fans with anthems to see them through this incredibly difficult time, and doing what they do best – unifying our community with two amazing
songs!
Keeping with their normal ways of inclusivity, BSP then set out to make the most topical video possible and nearly a thousand fans submitted videos for the first of the two singles. Editing has been done at lightning speed and we’re so proud to be releasing a video for ‘When The World Ends’ along with the track. Showing the band, friends, and fans, in their quarantined environments, singing along to TJ’s topical and uplifting lyrics.
‘State Of Emergency’ is the riot track for the potential time to come. Heard on megaphones and sound systems across lands, from locked down gardens… BSP are proving to everyone that they’re here to stay, and they can help carry the weight of the world.
VISIT Here FOR MORE INFORMATION, MUSIC VIDEOS, TOUR DATES, & MORE!
Plastic Tears fourth album ‘Anthems For Misfits’ is almost ready.
The band though they could finish it in good time before their fall UK tour, but since the pandemic messed up almost everything the album release is delayed. It’s also possible that the tour gets canceled.
To keep themselves busy Plastic Tears is releasing a video for ’Communication’ tomorrow the 24th of April 17.00 UTC time. The song was originally released as the b-side of ‘Look of Lies’, the first single from the upcoming album. Besides clips from their native Finland there’s also video material from Sweden and the bands recent European tour. The video fits these times well, when traveling is just a beautiful memory and touring can’t be done.
Faithful to their style the video is a punk rocking package, and you might want to watch it a few times to notice all the details.
‘Anthems For Misfits’ is released first thing when the circumstances are right.
Earlier this week this all new nine track album from Portland Oregon’s Lovesores hit me completely out of the blue like some virtual hammer blow to the head, for three very differing reasons.
Firstly, cranking this baby up via Bandcamp I noticed I somehow totally missed their 2018 Thee Slayer Hippy produced ‘Gods of Ancient Grease’ album, yup I know that’s an epic fail on my part, especially as I had everything the band had released up to that point.
Then secondly, I check in with the band’s singer Scott Drake on Facebook only to see him sharing the news that Lovesores had split up and ‘Bats From Planet Skull’ would be their last record. Unless it made the band millionaires, then, and only then might they do one more…but only one!
Finally, there’s the all-important music that these guys produce. This is music that makes me recall a time when music lovers and musicians alike weren’t hell bent on being part of some here today gone today scene and we just went to gigs irrespective of genres simply because we loved the bands. Remember those halcyon days? Well opener ‘Some For Tomorrow (Some For Tonight)’ is a classic example of this – it’s like someone has just taken the stiletto sharp street spirit of The Cramps and the spit and sawdust savagery of Nashville Pussy put them in a blender alongside generous helpings of The Humpers back catalogue and the result immediately has me bouncing off the walls. Something that shows no signs of letting up for album’s twenty something minutes run time.
Highlights? Well, each of the nine tracks is a cold-blooded punk rock ‘n’ roll killer, but if I were forced to single out a few tunes of particular note then I would have to say that the nine pint swagger of ‘Belle In The Belfry’ (think Harrington Saints minus the hardcore influence and you won’t be too far away) coupled with insanely catchy ‘Bishop Of Worms’ which cleverly twists Smokey Robinson into the type of horn driven punk rock stomper that RFTC once excelled in writing, are immediate stand outs.
In some ways ‘Bats From Planet Skull’ reminds me of Spermbirds awesome ‘Go To Hell And Turn Left’ from just last year. That LP also appeared out of nowhere and blew all comers out of the water, and believe when I say it will take a lot to top this record for sheer unbridled low-slung guitar rock ‘n’ roll joy in 2020. Oh, and whilst I remember in ‘Hot Pants’ the band have penned perhaps the unintentional anthem for this summer, should we ever be allowed out of ours houses that is.
‘Bats From Planet Skull’ is available digitally right now via the Bandcamp link at the bottom of this review. It’s also up as a “name your price” download, so even if you are struggling for cash right now you can still get to hear this fantastic blast of punk rock music at a budget to suit you.
Go fill your Chelsea boots brothers and sisters and don’t forget to tell Scott that RPM sent you. Let’s make Lovesores millionaires so he then has to get the band back together for one more record, because the joyous racket that the Lovesores make is just sooooooo damn fine!!!
In the world of Rock, GILBY CLARKE needs no introduction. From crunching legendary chords on his beloved Gibson Guitar in the stadiums with Guns N’ Roses, to getting down into the Snakepit to with his GNR buddy Slash, gracing our TV Screens on the widely watched rock reality show Rockstar: Supernova or creating pure, heartfelt rock music as a solo artist GILBY CLARKE has done it all.
Gilby recently released his latest single ‘Rock n’ Roll Is Getting Louder’ via Golden Robot Record and now Gilby has now released the video for ‘Rock n’ Roll Is Getting Louder’. The video was shot inPalmdale CA and Downtown Los Angeles and band performance footage in Hollywood club Oh My Ribs! It was directed by Christopher C. Pearson. Gilby’s live band membersBass Player, EJ Curse (Silent Rage, White Lion) and Drummer, Jimmy D’Anda (Bullet Boys, George Lynch) both appear in the clip along with some great cameo’s by Slim Jim Phantom (Stray Cats), Taime Downe (Faster Pussycat), Jimmy Herald (Hillbilly Herald) and Teddy ‘Zig Zag’ Andreadis (formally of Guns N’ Roses, Carole King, Chuck Berry, Bo Diddley, Alice Cooper)
‘Rock n’ Roll Is Getting Louder’ is true stormer of a track in pure Gilby fashion. It is pure rock n’ roll doused in the influences that run through Gilby’s veins. It is a track that is set to become a true anthem and long-time fan favourite. Do we dare say it is an instant classic?
GILBY CLARKE has played in both Guns N’ Roses and The MC5. Who else can claim membership in two of the most life-altering and influential rock ’n’ roll outfits to ever exist on the planet?
But none of that overshadows the fact this guitarist, singer and songwriter was a 17-year-old punk from Cleveland whose Hollywood dues were paid in full. Before joining the Guns N’ Roses circus, Gilby was Kim Fowley’s go-to session guitarist and ghost writer. After playing with Hollywood bands Candy and Kill For Thrills a late-night call from Slash changed everything. Gilby joined Guns in ’91.
He appeared on the band’s Spaghetti Incident, Live Era ’88-’91and The Greatest Hitsalbums. Gilby spent years on the Use Your Illusion tour in the 90s.
After Guns imploded, armed only with his Les Paul, Gilby went back and launched his solo career. Receiving critical winks for his albums Pawnshop Guitars, The Hangover, Rubber, 99 Liveand Swag.Recording and/or touring over the lean years with Nancy Sinatra, Heart, The MC5 & his old bandmate Slash’s Snakepit, Gilby even snuck in videos with GNR, Michael Jackson and Fall Out Boy when MTV was de rigeur.
Clarke currently splits his services with Kings of Chaos led by Matt Sorum and an all-star alumni that has featured Steven Tyler, Joe Elliot and Gene Simmons and his solo band.
Clarke, who’s an old school mash-up of Keef, Johnny Thunders, and B.B. King, continues to write fist-jacking rock ’n’ roll songs with fat choruses, and appear on stages around the globe. He produces worthy bands too. He’s also one of the sweetest gents you’ll ever meet. He’s a guitar hero, certainly, but also a gentleman whose heart happens to rush at rock ’n’ roll speed.
So, you’re stuck inside twiddling your thumbs, you’ve watched everything on Netflix and eaten all the banana bread. What’s even worse is that Record Store Day has been postponed and you have some surplus cash to spend on records.
Fear not music lovers, for we at RPM have scoured the Interweb for our pick of the coolest EP’s around (and a few 7 inchers and digital delights for good measure). So what are you waiting for? Get reading, hit those links and panic buy like there’s no tomorrow!
Johnny Jetson – ‘Love Me For My Car’ / ‘Knocked Out’ (Minnie Apple Records) These are the first singles off the upcoming album ‘Make Your Move’ on Minnie-Apple Records from Johnny Jetson. If you’re wondering where he’s been then don’t he’s back in the saddle and ripping it up with a new record and music that bears his heart and soul and the former Tattooed Millionaire and Space Age Playboy might like to blow his own trumpet with his past achievements but in the here and now Has Jetson got the chops? does he cut the mustard? Hell yeah! Kids fear not Jetson has got the swagger and doesn’t stray far from his roots, ‘Love Me For My Car’ is full of the spirit of 70s glam Bolan style you can imagine him sliding on his knees to play the solo and its got handclaps so what’s not to like? as for ‘Knocked Out’ its a tougher beast with some street-tough rock and roll motoring along. ‘Make Your Move’ album is reviewed soon on RPM and fans of scuzzy Dirty Rock and Roll won’t be disappointed Jetson delivers the good – Simple as that! Facebook / Bandcamp / Twitter / Spotify / Youtube (Author: DD)
The Hÿss – ‘Extraterrestrial’ (Self Release) released through their own Bandcamp page you can stream the title track here: Bandcamp They take on some spooktacular topics like aliens and UFO’s which is a bit of a giveaway from the artwork but it does contain five tunes of the fuzzy Stoner variety. At times heavy as fuck and others quite psychedelic. I do like ‘Disco Frankenstein’ but could live without the keyboards swirling. They hit the heavy groove on ‘In Shadows’ and when it gets going its got some good energy. The guitars are turned up for the last two tunes as they get right into their groove and rock more metallic than Stoner if I’m being honest but it’s not a bad introduction and I’m sure post-pandemic hearing these in a crowded room would be much more appealing. Facebook / Instagram
(Author DD)
The Urban Voodoo Machine – ‘Living In Fear’ (Gypsy Hotel Records) Always with their finger on the pulse UVM hit the nail on the head once again and like some Bop n stroll gypsy rockin’ Nostradamus Paul – Ronney Angel penned this bad boy before Covid – 19 was even a thing and it was meant in an ideal world to come out to coincide with some tour dates but this not being an ideal world it is what it is. Regardless, it’s a banger all ragged rock and roll ‘Living In Fear’ is another prime slice of life the Urban Voodoo Machine way with astute observations of how the worlds gone wrong with its references to recent Great British scandals like Windrush (“they’re shipping them back”) and Grenfell (“it’s hard to sleep in a plastic tower”). But now with the current climate, bandleader Paul-Ronney Angel says of the release “Living in fear . . . wow, never in my wildest imagination did I expect to live through something like this – talking about literally the whole world LIVING IN FEAR!” He ain’t wrong kids you should listen to him. Check em out on Facebook
(Author DD)
Hands Off Gretel – ‘The Angry EP’ (Puke Pop Records) You’ve probably read the reviews and the comparisons lauded on Barnsley based grunge rockers Hands Off Gretel. A glorious, day-glo hot pot of riot grrl goodness, everyone from L7, Hole and even a ‘punk rock Pink’ has been referenced in regards to this four piece, and rightly so. Last year’s sophomore album ‘I Want The World’ exceeded all expectations, and following keyboard warriors ongoing online hate aimed at outspoken singer Lauren Tate, and her ongoing campaign to bring awareness to the way women are treated at gigs, (that includes performers as well as punters, so good for her!) they have had publicity in all the right places for all the wrong reasons.
But Hands Off Gretel are the real deal and this three track blast of angst-driven noise only helps to hit the message home. Opener ‘She Thinks She’s Punk Rock n Roll’ is a live favourite that has been crying out for the recorded treatment for a while now. A deliriously catchy hook, schizophrenic vocal delivery and pure, raw power make this an essential listen in 2020. Spiky, guitar-driven goodness.
‘Don’t Touch’ is all skulking bass, buzzsaw guitars and cool-as-you-like vocal interplay. The 90’s riot grrl influences to the fore and maybe more edginess than the band have shown up until now.
On ‘Bigger Than Me’ Sean Bonn’s grunge influenced guitars marry perfectly with Lauren’s sultry vocals, before breaking into a sludge-driven monster that is raw and untamed.
While it lacks the instant melodies of their previous singles, ‘The Angry EP’ makes up for it with sheer unadulterated, angry punk rock power. Clocking in at just under 10 minutes, ‘The Angry EP’ is a short, sharp shock, a middle finger raised to the naysayers, from one of the most colourful and exciting bands on the UK club circuit right now. The perfect cure for teenage angst if you ask me. Facebook
Saint Agnes – ‘The Family Strange’ (Death Or Glory Gang Records) Talking of teenage angst leads us nicely onto Saint Agnes, who follow up the release of their 2019 debut album ‘Welcome To Silvertown’ with an EP that could be the soundtrack for outcasts and degenerates the world over.
Lead by singer Kitty Austin and guitarist Jon Tuffnell, Saint Agnes claim “murderous sibling rivalry and wild rebellion” and with ‘The Family Strange’ they go a long way to shake the Dead Weather comparisons.‘Daughter Of Lucifer’ opens, all break beats, fat, fuzzy guitars and chanting vocals. Dark, sinister and a real slap in the face. Kitty’s “this is my family” refrain delivered with attitude. There’s a ‘Firestarter’ quality to this track, as in its pretty intense.
‘And They All Fall Down’ is like Gwen Stefani having a knife fight with Jack White. Sultry vocals build with the ‘I got a bigger gang than you’ refrain, delivered with a cocksure arrogance, in a good way. Playground chants, helium-induced almost rapped vocals, this is a killer tune that sees the band reach new levels, make no mistake. ‘Brother’ mixes up modern beats, scratchy, repetitive guitars and crazy ass vocals. But it’s ‘The Meanest Little Kid In Town’ that is the curve ball here. Swathes of hammond and electronic, hushed, effect-ridden vocals take it into Billie Eilish meets Garbage territory. This is dark pop music, and it works, it works really well.
Saint Agnes claim to like Satan, witches, B movies and leather. They look cool and the videos back it up. In their heads they exist in a Russ Meyers/Tarantino alternative reality. But in reality they come from the night-time, neon city wasteland we call London town and they sound like a gang ready to take on the world. Facebook
The Future Shape Of Sound – ‘It’s Gone All Wrong – Live EP’ (Gypsy Hotel Records) London based collective The Future Shape Of Sound deliver a live EP to soothe our isolated souls and remind us what we are missing. Lead by Captain Future (aka Alex McGowan) and a host of cool cats, their heady mix of primitive, gospel-tinged blues is perfect for the live sweaty venues (remember those?).
“It’s all gone wrong!” shouts Captain Future as he leads his band into opener ‘Gone All Wrong’. The lead vocals of the newest diva on the block Debbralee Wells steal the show on these choice cuts from their debut long player ‘Shakedown Gospel’. Replacing the departed Sister Cookie was going to be no easy feat, but she takes it in her stride, sharing the mic with Fay Francis.
The captain incites crowd interaction as the band blast into a high energy, gospel-tinged ‘Rise Up’, the full 3 piece backing harmonies that take us to church. Then, the groove heavy ‘Number One’ skulks along, with female vocals it sounds like a completely different beast to the album version.
Closer ‘Toe The Line’ goes a long way to capture the feel of a high energy rock ‘n’ soul show.
If you are missing your live music fix, if you desire to expel more energy than a walk around the block will suffice, then turn the volume up, hit play and get transported to a sweaty night in London town. You can literally feel the sweat, taste the whiskey and get up and dance to the sound of live rock ‘n’ roll music like they used to do back before Coronavirus changed the world as we know it. Dance like no one’s watching…The captain insists! Facebook
Jaeko – ‘How You Living?’ (self-released) Jaeko may be an unfamiliar name to most, but this young chap happens to be the eldest offspring of a certain Ginger Wildheart. Following on from his bands Alive With Eyes and JAW$, Jake has re branded himself as a solo artist going by the name of Jaeko.
Don’t expect a baby Wildhearts here, the sound of Jaeko is a more leftfield, sound of the streets. New single ‘How You Living?’ is a funky, punky trip full of gang vocals and guitars. Coming on like a Rage against Sugar Ray or something, but lacking the full power of either. It’s decent for sure, but nowhere near as good as his previous release ‘Cold Dark Killer’, a perfect mix of Bloc Party and Jamie T, with the added rawness and attitude that neither of those named artists posses.
Again, ‘Sometimes’ is a strong track, radio friendly and cinematic. Jake’s vocals a perfect match. Elsewhere, ‘Colder Than The Sea’ shifts between cool bass and noisy guitar breaks with vocals that show a confidence and maturity.
I’m sure if Ginger gave his son any advice it was to do what you want to do, be your own man and not to bow to what you think people expect of you, and I reckon Jaeko is proof of just that.
Jay Allen And The Archcriminals – ‘Little Daggers’ (Rum Bar Records) Now we head over the pond to the ever cool Rum Bar Records for the new EP from Boston garage punks Jay Allen and The Archcriminals. If you know Run Bar, you know what you’re gonna get here. ‘Little Daggers’ opens with a dirty, low slung riff and strung out vocals. This is the sound of rock ‘n’ roll that resides on the street and in the bars. Dirty and dangerous, coming on like The Dictators meets Uncle Sam.
‘Beautiful Chaos’ is more commercial pop/punk with cool backing harmonies, bouncy yet still raw and edgy. Jay Allen’s vocals cut through nicely in ‘Big Lie’, a definite Replacements vibe going on here which is always a bonus.
Hit the link to download this cool EP for free, that‘s no money whatsoever for some cool new sounds! What do you have to lose? Facebook
Jesse Malin – ‘Backstabbers’ (Wicked Cool Records) Recorded during the sessions for last year’s critically acclaimed ‘Sunset Kids’ album, ‘Backstabbers’ is the new single from our favourite New York troubadour Jesse Malin. The introspective, upbeat tune follows the same path as ‘Meet Me At The End Of The World’. It’s an autobiographical tale of leaving a small town for the big lights of the city, searching for something. Lucinda Williams and Tom Overby’s warm production bring out the best out of Jesse’s songwriting yet again.
Sweet acoustic guitar, keys and lush vocals make the added cover of Tom Petty’s ‘Crawling Back To You’ as the b side an essential purchase. The lyrics are delivered with the sentiment I imagine they were written with. If you don’t feel the goosebumps rise, you must be dead inside.
Jesse can currently be seen every Saturday night hosting ‘The Fine Art Of Self- Distancing’, playing songs and telling stories from his apartment in New York. If you’re a lover of live rock ‘n’ roll music, it’s the best thing on the internet right now, and this single is the perfect addition. Facebook
Alvin Gibbs And the Disobedient Servants – ‘History EP’ (Time & Matter Records) Following last year’s critically acclaimed ‘Your Disobedient Servant’ album, UK Subs bassist Alvin Gibbs returns with a new four track EP spilt over two 7 inchers. Recorded at Perry Vale studios in South London last year with ex-Vibrators bassist Pat Collier co-producing, Gibbs is ably assisted by fellow Subs drummer Jamie Oliver and Ruts DC guitar slinger Leigh Heggarty.
Ringing guitar chords introduce first track ‘History’ before Gibbs graces us with his low slung bass rumble and Iggy-like tones. A gang vocal chorus and sneering lead vocals seal the deal and its business as usual. There’s 40 years of punk rock history in every breath ladies and gentlemen.
The punk rock intensity of the rhythm sections day job comes through in ‘Pavlovian’, the overly cool ‘If Only’ sees the singer channel his inner Dave Vanian, as Heggerty’s high speed power chords match the frantic beats.
Haggerty then takes lead vocals for his self-penned ‘Bad About You’. A power pop melody shines through and there’s a cool little guitar hook going on.
With a handful of songs coming on like ‘Instinct’ era Iggy, it’s a no brainer what you need to do next right? This EP is available to pre order right now as a double 7” pack, one white and one black, housed in a lavish gatefold sleeve with artwork from ex-The Adverts man Gaye Black. Facebook
Ken Fox & Knock You Out – ‘S/T’ (Rum Bar Records) Yet another little gem from the Rum Bar roster is this new mini album from The Fleshtones bassist Ken Fox. His latest single is a blistering cover of The Pink Fairies classic ‘Do It’ which can be found smack bang in the middle of this recently released 5 track blast of garage rock goodness.
Lead track ‘One Less Step’ is a radio friendly single, full of power pop chops and handclaps. If you dig the sound of The Fleshtones or The Plimsouls, you won’t go far wrong with this record.
New single ‘Do It’ is a cover of the Pink Fairies classic released back in 1971 I believe. This version stays true to the garage rock roots, “It’s rock n roll!” shouts the singer in between the “d-d-d-d-do it!” stutterin’ goodness. A nice wah-wah infused guitar solo and cool gang vocals give it punk rock credentials. Yeah, it’s better than the Rollins Band version, fair play.
‘Love Is The Grave’ is a groover that could get the dead dancing. So instant and catchy you would swear it’s a cover…it’s not. A great, upbeat melody and a catchy chorus will remind us all that good times are just around the corner, it’s guaranteed to put a smile on your face. As is closer ‘Stranded (In The Heat). A full horn section, handclaps and a nice Thunders-esque low slung transport the listener to 70’s New York, which is a good way to bow out.
The BD3 – ‘Snowfake/Sypharus’ (Self-released) Going pretty much full circle, we end where we began in North Yorkshire. The BD3 are Yorkshire’s very own Peaky Binders, a trio of ne’er do wells with beards, tattoos and thrift store suits who deal in dark, punky rock ‘n’ roll. Led by the vivacious Ed Stones, they follow up last year’s ‘The Sick Of It’ 7 incher with a new double A side single.
Recorded in Keighley and mixed by legendary producer Dave Draper, these two tracks follow the same rock ‘n’ roll path The BD3 have been travelling for many years. Coming on like The Damned meets The Cramps with a good dose of The Blockheads thrown in for good measure. Clever lyrical interplay and a cool, dark punky vibe make ‘Snowfake’ a song of our times. Good use of space and fiery vocals delivered with intensity. “I don’t wanna live forever” sings our man Ed, as a dampened riff surges and drums crash around him.
‘Sypharus’ marries the dark, intensity of Joy Division with the craziness of The Cramps. Ed’s psycho ward vocals wail over fuzzy guitars and urgent beats that’ll make you either want to dance like no one’s watching or bang your head against the wall, making this a song that begs for the repeat button. Facebook
Just when I needed reminding; life can bring you pleasant surprises. Music continues to ease me along life’s bumpy road, and when I saw that One The Juggler were to release a new song, I was amazed. It’s been a while. It will be available as a separate download, but is also included on the re-release of their rare ‘Destination Planet Blue’ album, previously released in 2007 on CD. A collection of unreleased tracks, it passed me by, so I am doubly pleased.
New song ‘Clockwork Kitty’ was recorded by original members Sham Morris (vocals/guitar), Colin Minchin (guitar/b.vocals), and Jerry T Jones (bass/b.vocals), with Dave Lowe on drums. It’s pleasingly sleazy, as they wait in the Korova Milk Bar for said seductress. Lyrically not what I expected, as Sham hasn’t overtly referenced iconic literature before, but the melody and backing vocals put it clearly in OTJ territory.
The second extra track on the album, ‘Passenger’, is an absolute corker. I’m baffled as to why it wasn’t included anywhere before. Though, I have no information on when these tracks were recorded, so maybe it wasn’t possible at the time. Still, it’s got everything you want from the classic OTJ sound; an insistent melody, weird middle eight, great backing vocals. I’m immediately transported back to the first time I heard ‘Nearly A Sin’.
The majority of the ten other songs here are strong enough to have been on ‘NAS’ or ‘Some Strange Fashion’. I often puzzled as to why their first album sounded more like the Spiders From Mars than the second one did, which was produced by Mick Ronson. Pressure of time? ‘Conversations’ is a strong (original) opener. One of their strengths was always the importance of balancing both electric and acoustic rhythm parts, which ties most of these songs together. My first impression was of INXS, which gave way once the melody came in. It’s almost euphoric; “it’s good news week, let me see you smile”.
‘Body And Soul’ is a snappy number, hand-claps and “doo-doo-doo”s all present and correct. ‘Here Comes A Man’ is like two different songs; a slower, grinding riff gives way to a more complex chord sequence. The backing vocals are great throughout, but this does sound unfinished. ‘One Day At A Time’ should have made the grade, the sax under the vocal really lifts the song. A bright, optimistic tune.
‘Hallucination’ is simple, but effective, with the bouncing bass line urging it on. This is another common feature that separated them from their peers; quality and attention to detail. ‘The Party’ has a suitably woozy ambience, it sways along, a bit like ‘Bend It’ by Dave Dee, e.t.c, until the middle eight becomes more dramatic.
‘Get Up’ sounds like it might work better live, and does have more of a demo quality. But, ‘We Don’t Want No Love, ‘ The Sacred Thing’ and ‘One Hello’ are worth the admission fee. Reminiscent of Mott and Badfinger, but the spirit is pure OTJ. It’s a pleasure to hear these songs for the first time, and if One The Juggler meant anything to you, this is an essential purchase.
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