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The Alarm Reunion – The Garage, Islington, London 29/30.08.26

The Alarm Reunion – The Garage, Islington, London 29/30.08.26

I’ve sat on this review for a week, trying to find the words- the right words to convey what it truly felt like seeing the three members of The Alarm on a stage on their own terms, playing songs that shaped my musical landscape for the past forty-plus years. When these dates were announced I just had to go to both nights partly due to FOMO and partly because I wanted to be there because I love hearing the music these guys make together regardless of whats gone on over the past few decades and the silly social media infighting he said she said which side are you on nonsense because deep down some of us care about both sides and above all love the music that those – our four lads who shook the world made so it was off to the big smke we went.

We’ve seen Alarm 2.0 several times, from the early knockings when Craig played some shows (and we thoroughly enjoyed the night in Birmingham) right up to as recently as last weekend when they did a few shows in South Wales. No Craig, but still a most enjoyable night with Eddie on vocals. So tonight we sort of knew what to expect from the opening act, who didn’t disappoint with a great set, especially the early songs pre and off ‘Declaration’ say what you like but Smileys smile and Eddies enthusiasm is infectious and God bless em their efforts are much appreciated and their respect for the songs shines through and anyone who doesn’t enjoy their set should have a word with themselves. People seemed up for it and sang along with every word. The energy was along the lines of early Alarm performances it was raw and infectious, and mistakes were made lyrics missed but that’s rock n roll, isn’t it? It was great to see James and Smiley playing a part in the evening because they contributed greatly to keeping the name alive and absolutely should have played a part, and for an opening act this was pretty bloody good stuff. ‘Knifedge’, ‘Absolute Reality’, ‘We Are The Light’ and ‘Deeside’ were spot on, and it wasn’t like the venue needed warming up, but this was pretty good.

Next up was Dave Sharp and The Hard Travellers, who are a seven-piece ensemble playing mostly other people’s music and doing it with a twist (no pun intended). Sharp looked well, and the band complemented him well as he did his Americana versions of some pretty big tunes that clearly mean a lot to the man. ‘Hard Rain’ and ‘Jungle’ sounded great, but it was the rework of ‘Last Smilin Villain’ that impressed the most. Damn, how I love that ‘Hard Travellin’ album how it never got a vinyl pressing is criminal. I think having the band back for these interpretations really worked, and it was a side of Dave maybe some had never witnessed, and it went down really well in the room.

Onto the main course, and with an open mind, of course, there was an elephant in the room: what was this Rob fella going to be like? But any concerns evaporated in the Garage heat within the first few verses of the set opener, ‘Newtown Jerico’. There was a huge expectation on the young man’s shoulders, and he took to the task at hand with class and enthusiasm and absolutely delivered the goods. He didn’t try to copy Mike, nor did he try to fill his shoes; he just went on with his job and delivered a pretty faultless interpretation of the songs we all love and cherish. The fella can sing, but he didn’t try to copy; he just delivered the vocals for the song and hit the notes in his own style, which was exactly as it should be, and he must have felt the room was 100% behind him and fully appreciated the job he was doing.

The band he had backing him were pretty amazing to be fair and any fears for what might have sounded rusty or a bit lame never reared its ugly head these guy sounded like they were halfway through a 100 dat eworld tour (ok so there were a few tightness issues and a few missed chord changes here and there and the odd bum note) but hey, this is rock n roll and I had th efeeling people were also living in the moment and enjoyign it for what it was, three qyuarters of a band we all took to our hearts and loved like they were the best band in the world and for two nights we lived that dream, sure I’d be lying if I said I didn’t miss Mike (I’m sure everyone in that room band inclueded didn’t also miss him and wished things could have been different) but this was about celebrating the music and it looked like everyone was on th esame page and magic was in the air and it was definatly something you could almost feel.

To be fair, I didn’t really have any expectations, nor did I give any type of setlist a second thought I just wanted to enjoy the evening and remember what made this band so special. I loved that it wasn’t the greatest hits, and songs like ‘Hardland’, ‘Permanence In Change’, and an exceptional ‘Devolution Working Man’s Blues’ fell off the Sharpie fretboard early doors, and it was great to see the chemistry between the guys was evident, and their enjoyment was there for all to see.

There was an edge to the sound, and the riffs were loose, but that was part of the magic that was factored in ‘Shelter’ was played with drive and passion and trying a duo version of ‘ Third Light’ between Eddie and Dave was worth a go it’s a great song, even reworked. By the time the band struck up ’68 Guns’, the place was rocking, and hearing the audience sing loud and proud was a real goosebump feeling, and I’m sure the band felt that back from the audience. Another thing that gave me goosebumps was hearing Twist play the drum lick on ‘Rain In The Summertime’ without any tapes or clicks, and when Dave joined with his drenched licks, it was a real moment. To be fair, Rob sang it really well, hitting every note perfectly, but I wouldn’t have doubted him after his delivery thus far into the evening.

The lyrics to ‘Spirit’ hit hard, and not for the first time this evening I thought about their fallen brother, a huge hole in my music journey that will never be forgotten, and as I looked at Eddie, I think he must have been having similar thoughts during the song, as he has when I’ve seen him sing it previously. Awesome.

As we headed towards the end of the first night, it was a full, bloodied ‘Sold Me Down the River’ that saw a decent duel between Rob and Dave before they encored with a ripping version of ‘Rocking In The Free World’, taking their much-deserved bow, we sauntered into the warm London night air beaming with the knowledge that the remaining Alarm had absolutely delivered the good and paid tribute to the bands legacy with a stonking performance that I was delighted to have witnessed. See you tomorrow.

Sunday.

With Smiley hotfooting it off to Dublin to play with Geldof and his Rats in some stadium with Bon Jovi, it was left for some Nigel bloke to fill his drum stool for the 2.0 set tonight, and to be fair, it was more of the same from the previous night, with a loose set that was thoroughly enjoyable and played with the spirit of Early Alarm all be it more relaxed knowing that the first night went so well. The same can be said for Dave Sharp and The Barnstormers it was more relaxed and a slightly longer set, but again thoroughly enjoyable, reminding me of Chuck Prophet and Dan Baird and what they do after Green On Red and taking the spirit of the Bob Dylan Rolling Review. Did I mention the version of ‘Last Smilin Villain’? Well, again, it was top of the shop in this set, with a special mention to the band Dave has assembled, who handled the songs really well with a fine touch, often reminding me of a certain Mr Strummer. I look forward to hearing the record, Mr Sharp. Bravo.

There’s no point in me going over what was a very similar set, with a few notable exceptions that made a difference to the second night mainly. That night two, we were treated to the epic (Mike’s Favourite Alarm Song) ‘One Step Closer To Home’, which was emotional, to say the least and was dropped in the set, replacing ‘Third Light’, which was, if my memory serves me well, the only change but one that was much appreciated and sounded awesome.

Maybe the band played more relaxed on the second night I’m not really sure. It was again terrific to hear the songs played again, and Rob once again did justice to the vocals and also paid tribute to the songs and the band, which sounded heartfelt and humble and was much appreciated and really genuine now my parting thoughts are these, this was a great idea and one that worked really well, there were no egos on display and people seemed genuinely happy to be there and the sound from the audience was everything I hoped it would be the bands did themselves and the name of the Alarm proud and I’d be well up for doing this again next year with a few songs added if I may be so bold. I bloody love The Alarm I do. Wrapping on the chocolate bar, my arse, these boys had the chops then and still have them today. Long live The Alarm and as Mikey Boy sang, the 68 Guns will never die. Amen to that!

Author: Dom Daley

Amyl & The Sniffers – ‘Truth Or Consequence’ (Rough Trade)

Amyl & The Sniffers – ‘Truth Or Consequence’ (Rough Trade)

A bit of a mad one from right out of left field is the latest offering from Australia’s punk rock sensations Amyl & The Sniffers, and to be fair, it’s live, where they’ve really excelled with their sloppy punk n roll. Waving a big middle finger to anyone and everyone who ever doubted them, they have only ever danced to their own drum beat, and with this latest offering they’re doing the same. Stripping things down with a cowpunk live in front of a handful of people album taken from a movie, it’s raw as fuck, and the songs are fast and loose.

From the low-key opener ‘Big Dreams’, the tone is set once the drums and Bass join in; it’s off like a wonky rocket. A band quite happy to strip everything bare and let it all hang out, and that’s what makes this a winner. Amy hasn’t got the best voice in punk rock, but she’s got one of the best attitudes and delivers in spades and can be absolutely captivating. ‘Hertz’ is a good example, total conviction in what she’s doing and having a ball delivering it.

The production is even wonky and not for the purists or audiophiles amongst us, but it is for anyone wanting something out of the ordinary and captivating and delivered with the fun that’s intended. Something of a stocking filler for sure and a stopgap before the serious business of delivering the next album. I love the intro on ‘Jerkin’ and the pitch is perfect; we all know who she’s talking about, spot on, sister, right on the money.

It’s a theme running through the record. Fun! Something that’s sometimes missing; rock n roll is meant to be enjoyed. Sure, there can be a serious message at times, but rock n roll has always been risky, from Elvis and Little Richard to the Stones and the Punk explosion bands have always taken risks and put a smile on people’s faces doing it, and Amyl and the Sniffers hit the spot. Amy sings on ‘Chewing Gum’, and we get the very early ‘Caltex Cowgirl’; could have fallen off Johnny Thunders ‘Hurt Me’ wheras ‘Snakes’ is just mental. The Cover, ‘Lights On The Hill’, is solid before the shindig is signed off with ‘Bag Of Cocaine’, the newest song from the band that skates into Pogues territory, which is never a bad thing.

Thirteen songs, rowdy, beer-soaked, and fun is the name of the game, and as the sleeve notes say, play this ruckus to your mates and kick up a stink when listening. Enjoy! I did.

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Ruckus – ‘Self-Titled’ (Drunken Sailor Records)

Ruckus – ‘Self-Titled’ (Drunken Sailor Records)

I love a good noisy record full of enthusiasm and clearly in love with the process of making music.

Ruckus hail from Boston via New York, centred around the vocals and lyrics of Kam Lindsey (once of oi faves, The Stance). They’re also former members of The New York Hounds (drummer Alex Palazzo and rhythm guitarist Brian Crozier), plus bassist Mario DaCosta, with more lead guitars from Nick Norrman (Ingrates) and Ethan Stahl (The Prize, Loose Lips).

I know there are only six tracks here, but it’s an introduction, and I like that, easing you in gently. Well, when I say gently, that’s not strictly true; it’s like a throwback to a land time forgot. ‘Talk Ain’t Cheap Enough’ has a rough house guitar with splendid guitar breaks from the Berry meets Thunders school of no-nonsense, as long as it fits shimmering through a distant reverb that’s wayyyy too loud and a walking bassline that’s doing the heavy lifting. All wrapped in a great pop song.

There’s a strut and confidence about ‘Pocket Full Of Cash’, all David Johansen meets Sylvain, and it’s infectious like they’re having the best time ever and making records is fun. ‘Hot In The City’ is more of the same with a great hook to reel you in. ‘Hello From Up Here’ sounds familiar without knowing what to put your finger on, but these cats would have had a ball playing the old Wardour Street Marquee with Hanoi and the Lords, with a dash of the craziness thrown in for good measure.

Where I’m from, a Rukus is a fight, and this would be a glorious punch-up in a bar as long as the women are beautiful and the beers cheap and everyone’s having the best of times. It’s only rock n roll, after all. Pick this up if you like your music catchy, rough, but a whole lot of fun.

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Author: Dom Daley

The Bar Stool Preachers – ‘Party Eternal’ (Self-Released)

The Bar Stool Preachers – ‘Party Eternal’ (Self-Released)

A decade on from the release of their self-financed ‘Blatant Propaganda’ debut Brighton ska punks The Bar Stool Preachers return with their fourth record ‘Party Eternal’, and this time around they add producer Cameron Webb (Motörhead, Sum 41, Kelly Clarkson, Megadeth, Limp Bizkit & Jack Johnson to name but a few) to the musical equation to well and truly get the par-tay started.

Obviously with someone of Webb’s stature behind the desk ‘Party Eternal’ sounds exactly like you might expect for a major label record, however it’s not, not this time around, it’s self-released, and with Pure Noise Records now very much in the rear-view mirror singer T.J. McFaull along with his Preachers are returning to their DIY roots for this all new 14 track album pursuing a (long since smashed) £15,000 crowdfunder target by which to get their music recorded, pressed and released.

On first hearing ‘Party Eternal’ though, I honestly had to check it wasn’t coming out on Hellcat Records, because opener ‘Sick World’ sounds like the guys had Tim Armstrong working with them, not Cameron Webb, and that’s also before realising that T.J. is also trading vocals with none other than Angelo Moore from the mighty Fishbone. What an introduction!!!

It’s when ‘Plastic Romantic’ chimes in next, though, that I really get a sense of how high the songwriting bar is being set for this record. It’s a song with a very serious social message yet is also enormously catchy stuff and along with a few others like ‘Want To Know’, ‘Singing Along’ and ‘You’re Killing Me Eve’ the band take the more contemporary sounds of their genre-busting ‘Above the Static’ opus and once again deliver the goods with the fearlessness that we’ve all come to expect from a band now four records and countless worldwide gigs into their career.

Having also released a couple of videos in the drive to promote the record and in turn help them hit their crowdfunder target it was ‘Pick A Side’ that first got things up and running for many of us back in early 2026 and this track not only comes complete with a HUGE singalong chorus but also a message that maybe not all your musical heroes might be all they are cracked up to be.

Speaking of which, it’s obvious that T.J. still holds Mike Skinner in very high regard, as ‘Hand Grenade Heart’ and ‘The Closed Door’ both feature the BSP frontman in a more reflective, half-spoken vocal mode which not only helps break up the pace of the record but also adds another shade of colouring to the band’s extensive songwriting palette. Plus, for those of us still craving the ska punk band that gave us ‘Blatant Propaganda’, we have ‘Time Of Our Lives’, ‘Heartbeat Baby’, the riotous ‘SOS’, and the almost Marilyn Manson-esque stomp of ‘Party Eternal’ for us all to have a right proper knees up to.  

In an age when audience strive to hear “the hits” by any band, it’s testament to the Bar Stool Preachers songwriting that any of the fourteen songs on ‘Party Eternal’ could be just that, a hit, in fact two of the strongest contenders are left right till the end, with the infectious “dah, na, na, na, nana, na na, nah” hook of ‘One For The Weekend’ and then ‘This Is Goodbye’ complete with “Oi! Oi! Oi!” help from The Rumjacks helps round things off in the finest of piratey fashions.

‘Party Eternal’ is an album that exudes a cocky confidence and bowls its way out of the speakers like it’s very much on a mission, that mission I guess being to get us all singing, dancing and, yes indeed, thinking. 

So, when the Preachers return to stages around the UK this October to help promote this record, you best get your best your dancing shoes on and loosen up those singing voices, ready to ‘Party Eternal’.

You can pre-order your copy plus buy a load of other things by visiting the band HERE

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Authopr: Johnny Hayward

Killer Kin – Gryphon, Bristol 26/08/26

Killer Kin – Gryphon, Bristol 26/08/26

Well, it was a quick dash up the M4 from HQ in deepest West Wales to catch New Havens finest scantily clad punk n rollers Killer Kin who just happened to wander over to Shit Island as part of their European tour this time after missing us on their last jaunt a couple of years ago so it was a no brainer to trot up the motorway to catch one of their no bullshit fast n furious rock n roll sermons and Bristol was the nearest so off to the upstairs bar of the Gryphon which is somesort of rock bar live room thats smaller than my lounge at HQ so in we squeeze to what was soon to become a sauna like experience thanks to the loud n furious rock n roll Killer Kin dish out and the bottle rocket energy of the granite cut manic frontman that is Mattie Lea whos looking relaxed tonight in some short shorts and tarzan like leapard skin headband as he gets amongst it from the off. With only one album and a couple of singles under their belt I was strapped in ready to rock as the next forty five minutes was like riding concorde at top speed in a no fly zone. These cats dont fuck about its on with the punk n roll and let Mattie give the sermon acording to Killer Kin between songs if he stands still long enough for you to catch what hes saying as the songs pour out of the speakers and into your ears.

The self titled debut album obviously features heavily as they kick the living shit out of the epic ‘Mr Dynamite’, ‘Damned And Doomed’ before playing the brand new single ‘One Way’ it seems like this band are on fire regardless of if they were playing like shit (which I think is never going to happe anyways) or right on one because they play hard and fast and are a blur of amped up high adrenalined punk n roll thing the Stooges on steroids or MC5 if their 33s were played on 45. Killer kin are a force of nature and their stripped down sound is highly infectious and I was bitten by the disease tonight as the sweat was running down the walls the audience were lovign every minute of what they were hearing, no bells and whistles just straight down the line rock n roll with amps on 11 and a frontman giving it large like his life depended on it.

There was some top banter with regards to metalheads being the new hippies and trump supporters which I’m sure Killer Kin aren’t fans of only cemented my love for this band. The guitars were tight and the rhythm even tighter which only helped drive their already intense sound and when they reached the penultimate tune it was onyl a hyperspeed take on motorhead self titled thrasher and if you are wondering if they nailed it? of course they did, it was a heaving salivating beast of a cover just as cover versions should sound in a frenzied, manic sweltering atmsphere.

Just check out ‘Cross The Line’, or my favourite ‘Shock Collar’ that would make little richard and jerry lee blush and Matties screams were right on the money as he’s carried around the room like a triumphant emperor returning after battle (which is what it felt like at times in there).

It’s Great to see American bands actually coming to shit island taking a risk playing small venues and trying to build a following and with insanely good performances next time it’ll be in bigger venues with more people getting on board the crazy train. Who doesn’t love seeing bands coming and actually delivering the goods and giving it great big guns, and leaving everything on the floor in a puddle of sweat, and C Bombs – Killer Kin delivered a killer set that will go down long in the memory of the people who were there on a hot, sweaty school night after dark to witness a band who truly believe in the evil powers of rock an dfuckin roll, God bless Killer Kin lets do it again sometime.

Slaughter And The Dogs – ‘White Heat’ (Cadiz Music)

Slaughter And The Dogs – ‘White Heat’ (Cadiz Music)

Proto-punk icons Slaughter and the Dogs are set to embark on a new chapter of their long and influential career with a brand-new album titled ‘White Heat’, Put aside all the off-the-field wrangling and conflict that has gone hand in hand with the band for decades and let’s tackle this on the merits of what’s in the grooves.

Originally formed in 1975 in Wythenshawe, a notoriously rough council estate in Manchester, Slaughter and the Dogs’ name was inspired by legendary David Bowie guitarist Mick Ronson’s 1974 solo album ‘Slaughter on the 10th Avenue’ and Bowie’s own ‘Diamond Dogs’ from the same year, showing exactly where the band were coming from in that pre-punk era in Britain (more Bowie Later). They supported the Sex Pistols at their infamous Manchester Free Trade Hall gig in 1976 and went on to pen some top tunes and release a few really decent albums.

Founder Mick Rossi is the driving force behind ‘White Heat’ and easily demonstrates why he’s still relevant in 2026 with a style and swagger when strapped onto his six-string guitar. He comes from a school of players who just get it and know that often less is more, and let the player play the song and not get bogged down with layers of effects, much like a Steve Jones and, dare I say Keith Richards.

Featuring twelve new songs written by Rossi, ’White Heat’ gives you the feeling that this dog has plenty of bark left in its existence The title ‘White Heat’ refers to the extreme physical temperature when a substance glows and emits white heat, a perfect metaphor and album title for the highest possible stage in intensity, whether emotional, physical or creative; everything Rossi and his Dogs strived for on this album. Rossi is joined by Howard Bates, alongside core member Phil Rowland, who have aggressively pursued a new era for the band, successfully expanding their punk and pre-punk influences intact and trying their best to spill some of that DNA onto the grooves of this record.

The album was recorded at the famed Winslow Ct. Studios in Los Angeles, with some guest musicians that include Billy Duffy fellow mancurian and long time supporter of Rossi and the Dogs, Morgan Fisher (Keyboards, Mott The Hoople, Queen), Jerry Evans (Keyboards, Mick Rossi’s Gun St, The Duellists), the production team of Mick Rossi and twice grammy nominated Craig Parker Adams is a winning combination and a partnership that has produced over ten albums together.

Mick Rossi handles the vocals and guitars whilst fellow founder Bates takes care of the bass, with Rowlands making up the other part of the engine room and rhythm section. The album kicks off with the energetic ‘Get A Life’ before the cover of Lou Reed’s ‘White Light White Heat’ is given a thorough workout and a respectful reworking in the best possible way. The one thing you pick up instantly is how loud this record is recorded it’s like an avalanche of guitars, and that in itself is cleansing. The production is well spread out and uncluttered, with the songs being given the room to breathe for the greater good of this album.

‘Shut Your Mouth’ is a groove that’s brooding toward those guitars as they scream in with a big chugging riff that prime Duffy to be fair, but it ebbs and flows really well. ‘City of Rain’ has a New York groove about it, and the MO of this record is loud guitars delivered in a swashbuckling style, it’s no-nonsense and gets to the point without having to pad it out or litter it with filler. It’s lean and mean and rockin’. You have to wait until the eleventh track for a little acoustic, Bowie-esque musing, and Rossi turns in a very good vocal, carrying the melody through a dreamy, slow-march song right to the wonderful solo that sets the song alight but never overstays its welcome.

You also get a few bonus cuts with ‘Calling Out To You’ and ‘Lust ‘, with the latter being a quiet verse followed by a much louder chorus and a very decent song added to the tail end of this impressive record. But before we’re done, there’s a great rip through the Bowie classic ‘Diamond Dogs’ which puts a great big full stop to proceedings and the band are off. A really decent record, if you like loud rock n roll guitars, then this is right up your alley, but they always work for the songs and not the other way round. Slaughter And The Dogs still have plenty of bite, and ‘White Heat’ is the proof.

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Author: Dom Daley

Ricky Warwick – ‘Fire and Vengeance’ (Earache Records)

Ricky Warwick – ‘Fire and Vengeance’ (Earache Records)

Ricky Warwick has been a constant in my life since the late ‘80s. Like every other metalhead, I loved The Almighty. I saw them live many times and loved their music. There was something about the sneer and swagger that drew me in. Ricky was, of course, the biggest part of that whole greasy attitude and hard-living lifestyle that appealed to young rockers like me. Their outstanding performance at 1992’s Monsters of Rock festival has stayed with me ever since.

Since then, Ricky’s career has taken many turns – solo artist, frontman of the reformed Thin Lizzy and their subsequent incarnation, Black Star Riders, Ricky has kept himself busy and relevant. The Almighty’s recent reformation has proved very successful, and they have been hitting some big stages.

Ricky’s latest solo effort, ‘Fire and Vengeance’ is his ninth solo record. We get some great guest appearances from Def Leppard’s Phil Collen, Blackberry Smoke frontman Charlie Starr, ex-Dio and Whitesnake guitarist Doug Aldrich and Darren Holden of the High Kings.

The album is a mixture of high-octane rockers, bluesy ballads, and some Irish-tinged tunes that no doubt hark back to Ricky’s adolescent days growing up in Northern Ireland. Lyrically, Ricky likes to tell a story, and he has things of relevance to say. As Ricky himself says: “My favourite artists are the ones who have something to say. I enjoy a party rock n roll song as much as the next person, but the artists I continually return to are those who reach out to something I believe in and can connect with. That’s what I’m striving to do with my music.”

The ten songs that make up Fire and Vengeance have an energy that’s infectious. The opening title track has that undeniable Thin Lizzy vibe. Lyrically, it highlights the hardships that so many people are going through in this fucked up world at the moment. A catchy, sing-along chorus pulls you in after just one listen.

Hellbent & Heaven Sent has an almost Clash-like quality. Punky and in your face, the track is elevated by a shredding solo from Doug Aldrich. Seek Zen and Destroy, featuring Phil Collen, has a cool, funky vibe. When the King Falls shows Warwick’s diversity, a haunting ballad that the Stones would be proud of. You Just Lie uses guitars and synths to fantastic effect. The Angel’s Share is classic Warwick, he really knows how to paint a picture with words.

Last Chance to Dance shows Ricky channelling the late, great Phil Lynott, like only he has the right to do. After all, he filled his shoes with the reformed version of Thin Lizzy. Ricky is quoted as saying, “I always say that I never learned so much from a dead man.”  Sweet County Down is a love letter to his homeland, as Ricky explains: “My family is from here, and we go way back. I viewed the song as my nod to that. And yeah, I borrowed the line “Sweet home County Down” from Sweet Home Alabama.”

Overall, Fire and Vengeance is a fine, solid addition to Warwick’s solo material. A thoroughly enjoyable listen. The production from Keith Nelson is bright and potent, the songs are memorable, and Warwick’s performance and sentiments are real. Great stuff. Go and get it!

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Author: Kenny Kendrick

Dinosaur Jr – ‘There Near’ (Jagjaguwar)

Dinosaur Jr – ‘There Near’ (Jagjaguwar)

Finally! The sixth studio album Dinosaur Jr. have recorded in the 20 years since their hibernation rebirth. They made this record over the course of a year at Amherst’s Bisquiteen Studio, ‘There Near’. Murph, Lou Barlow and of course the inimitable J Mascis make up these godfathers of a scene that they are becoming one of the last bands standing and remaining relevant.

It’s an album that should come as no surprise to fans old and new, in as much as it is loud and unapologetic, as you’d want a Dinosaur Jr. record to be. It roars from start to finish. Mascis’ vocals are an instantly recognisable point, and to be fair, so are his trademark howling guitar breaks that sound like the amp is about to overheat or give up the ghost due to being rinsed, and this has been relentless throughout the band’s existence.

It’s their first album of new material in five years, and this one took a year to record, so there has been plenty of time to nail this one. The album has a great energy and tempo from the off ‘Several Got Away’ actually sounds like a band who’s happy in its own skin. ‘No Friends’ has a ‘Rockin In The Free World’ vibe to it from the chord structure and the way it plays out, which is no bad thing.

I’ve not had the album long enough to declare an outright winner in the best track, but overall it could be right up there as the songs ebb and flow really well. Spread out over eleven tracks and early frontrunner is ‘Take Me With You’ wheras ‘Blowin Up’ is a more relaxed song but with a carefree melody That is the first to be written and sung by Lou.

Side two begins with a fuzzed-out solo on ‘Clam Along’ and ‘Read The Room’ is also an early claim for my favourite track, with a great classic Dino melody baked in. The penultimate song is a last dance mirrorball slow dance ramble before the album signs off with the other Lou number, ‘No One’s Ready ‘, and the contrast in vocals makes for an interesting listen. Always great to have a new Dinosaur Jr album to digest and this is already right up there as some of their finest songwriting to date. Nice one.

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Author: Dom Daley

The Night Eternal – ‘Cold Velvet’ (Metal Blade Records)

The Night Eternal – ‘Cold Velvet’ (Metal Blade Records)

German melodic metallers The Night Eternal are ready to unleash their latest long player: Cold Velvet. The band formed in 2018 and since then have built a solid following. The band has had two previous releases: Moonlit Cross (2021) and Fatale (2023). Cold Velvet is the band’s debut for the iconic Metal Blade Records.

What does The Night Eternal sound like? Think of early Ghost, Ultravox, Paradise Lost, Type O Negative, and Depeche Mode being mixed up in a blender, and you get the idea.

Cold Velvet is a very interesting listen. As the band themselves explain: “With this album we set out to open a new musical chapter in the story of The Night Eternal. Each song stands strong on its own, yet together they form a cohesive narrative – unfolding through rising tension, shifting atmospheres, and unexpected twists and turns that guide the listener from beginning to end.”

The songs are extremely catchy and have an almost dream-like feel. Big guitar hooks, melancholy vocals and wonderful production from Michael Zech – guitarist of black metal band Secrets of the Moon, make Cold Velvet a wonderful atmospheric experience for the listener. The band’s individual performances are superb, vocalist Ricardo Baum gives the listener a haunting experience.

Standout tracks include the superb ‘Where This World Ends’, ‘Caught In a Spell’, ‘Shape of Sorrow’ and the epic ‘Dance on Crimson Ground’. The Night Eternal should be very proud of ‘Cold Velvet’, it’s a fantastic record.

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Author: Kenny Kendrick

The Limit – ‘Another Drop’ (Silver Lining Music)

The Limit – ‘Another Drop’ (Silver Lining Music)

Sonny Vincent of Testors, Pentagram frontman Bobby Liebling, Slime drummer Alex Schwers, Dawnrider guitarist Hugo Conim and U.D.O./Dirkschneider guitarist Dee Dammers, with Alex Farrar on bass, this, ladies and gentlemen, is indeed a super group, with the emphasis being super. Loud, in your face, zeor fuck given, The Limit are a collision of punk, hard rock and metal produced with care and attention to detail and bringing the finest out of the performers.

The emphasis is on the songs that are ringing with attitude and a menace in the delivery – Christ, if a former heavyweight like, for instance, Guns N ‘ Roses released ‘Calling Card,’ the fan base and media would wet their collective panties with excitement and praise. Vincent is on fire- no, make that FUCKIN FIRE! In-your-face hard rock being rinsed from his fretboard with passion for what he’s doing and a belief in the music. It’s not predictable in fact, it’s unpredictable, flying by the seat of its pants. It’s dangerous, but most importantly of all, it’s great songs.

Every chord matters; every vocal is delivered like they truly mean it. The other great thing is this album has fifteen of the bloody bangers for your consumption. I’ll say it here I’ve always been a fan of Sonny Vincent, especially his solo stuff and the various guises he’s released records with. My introduction to Liebling was the debut Litmit record, and to be fair, I saw the fly-on-the-wall doc about his struggles, and it’s great to hear him in such fine fettle here. ‘Another Drop’ is feral, carefree and defies age. Let’s be honest, these aren’t kids here, but they teach the kids a thing or two about how it’s done. ‘Stalemate’ is full of boundless energy and a great melody its like a runaway train careering right into your ears.

If you want snotty punk n roll, then look no further than ‘Sidetracked ‘. What a tune this is; it’ll be in your head for days and reignite your love for loud, energetic punk n roll.

These guys don’t follow; they lead. It’s a record void of studio trickery masking the talent. It’s all out there for you to hear. The Limit have once again delivered an exceptional record that any discerning rock n rolla should hunt down immediately: no bullshit, just steaming hot rock n roll played from the heart and kicking out the motherfuckin’ jams, baby – buy this record!

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