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The Sweet Things ‘In Borrowed Shoes, On Borrowed Time’ (Spaghetty Town Records)

The Sweet Things ‘In Borrowed Shoes, On Borrowed Time’ (Spaghetty Town Records)

 

To say I have been looking forward to this album would be a massive understatement, their early singles over the past two years should have been blasting on every rock radio station in the world, and these guys should already be huge from the likes of ‘Love to Leave’ and ‘Slather.’ To be clear, my anticipation for the album would have made it easy to be disappointed in it, but my faith has been rewarded with an album that could very easily be my album of the year and is sure to be one that will remain in constant rotation for years to come. The Sweet Things have distilled the essence of rock n roll’s primal ingredients and then added their own secret spices to make it all their own. Comparison points definitely include the Rolling Stones and Guns N’ Roses, but those are not the only ones, for example, as I would say the spirit of Chuck Berry is essential to the band as well.

Lead video ‘Liquor Lightning’ kicks off the album in fine style as we hear the sound of bottles clinking together before a riff that encompasses the shambolic spirit of something like the Black Crowes ‘Thick n Thin’ gives way to Dave Tierney frantically spilling the words from the first verse over the riff in a race to the finish line. Everything then falls perfectly in time as the band is in fine form with the addition of some excellent piano work included behind them to give the song even more flavor. The reprieve in the pre-chorus provides even more urgency to the chorus as the horns explode in the background. The guitar solo is razor sharp and captures the Chuck Berry spirit before the band slam the chorus at us again. If someone asks for a song in the spirit of rock n roll, this can be it. Follow up ‘Dead or Worse’ slows the beat a bit and features some excellent harmonica work. Sam Hariss (also bass) provides the first verse on this one with his rasp being a perfect fit, similar to Izzy’s vocals in GN’R. The production gives the music plenty of space with Tierney taking over for the second verse before they combine vocals at the end. I hate to think how many times I have heard the live version of this on YouTube. The excitement and the vibe have translated over to the vinyl in remarkable fashion.

The title track takes us on a mid tempo journey with a timeless classic rock epic that immediately grabbed me with the band again receiving support from piano, horns, and some harmonica. Simply put, I do not understand how fans of early Black Crowes, Dogs D’amour, Quireboys, Faces, Rolling Stones could not be drawn in with this song. I have this urge to lift a glass in the air and singalong with this one every time it plays.  Another of the early release songs follows with ‘Almost Faded’ being another perfect rock n roll song with some horn work that would do 80’s era Hanoi Rocks proud. It is not a stretch to think Tierney (also guitar), Hariss, Lorne Behrman (guitar/ vocals), and Darren Fried (drums) had a cryptic meeting with someone down at the crossroads to come up with this album. The time that has gone into creating these songs and this album has paid dividends. If you are not singing along with ‘Almost Faded,’ I really do not know what to tell you other than your rock n roll spirit is apparently dead. Hyperbole? Give it a listen and find out for yourself. Wrapping up the first half of the album is ‘Dr. Crazy Girl’ whose guitar riff slowly builds before the song starts moving and conjuring the spirit of the New York Dolls. While perhaps not as monumental as the first four songs, this one keeps the momentum going nicely.

Flipping the record over introduces the classic rock infused ‘Drained.’ Again the band has really thrown in all the bells and whistles…. Okay, maybe it is all the horns and piano to create something really special that will still kick butt in the live setting without them. The chorus begs for a singalong from all of us listening. ‘Coke’n’ has been one they have played live which was originally done by Izzy Stradlin back on his 2002 ‘On Down the Road’ album and fits the Sweet Things like it was written with them in mind.  The groove is timeless and shows in terms of the songwriting the heart and soul that Izzy provided GN’R. This is another one just made for blasting out the windows wherever you are as everyone around you should be listening to it too. ‘Through the Cracks of the City’ is another I am familiar with as the band originally released it a couple years ago and have played it live. The hook simply sticks to you and does not shake loose, and the guitar riffs throughout the song are awesome.

‘Fix to Kick’ brings us to the final stretch of the album with the band making another timeless riff look effortless. The Sweet Things simply rawk in all the right ways with this being another classic chorus that they smartly do not use to overwhelm the music. It falls right in line with the music in the mix, giving it a great live feel. This has future single written all over it. Finale ‘Feed My Dog’ slows things down a touch with another slow burner that does not waste one second of its five minutes. The guitar licks are perfectly done and the extended musical section in the song gives me chills before the vocals come back to wrap up the album.

I wrote in another piece here on the site how several huge albums have come out in May between the Wildhearts, the Darts, Glam Skanks, and the Sweet Things. I only have the Glam Skanks yet to hear, but every album in that group has simply killed. This stands tall as an Album of the Year contender and beyond that really as the album is simply a timeless piece of art and a testament to the band. World dominance should be next for them as long as you give this a listen, buy it, and then let your friends, acquaintances, and even your enemies know about it as everyone needs this rock n roll in their lives.

 

Buy ‘In Borrowed Shoes On Borrowed Time’ Here

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Author: Gerald Stansbury

 

 

Jesus Chrüsler Supercar – ‘Lücifer’ (Dr. Music Records)

Jesus Chrüsler Supercar – ‘Lücifer’ (Dr. Music Records)

 

“Do you believe in Jesus? Well, you’re gonna need him…”

Swedish death ‘n’ roll mofos Jesus Chrüsler Supercar blew me away with their debut long player, 2013’s ‘Among The Ruins And Desolate Lands’, and if that vicious slab of noise was a spree killing then its follow-up, 2016’s must-have ’35 Supersonic’, was a premeditated exercise in cold-blooded rock bludgeoning. How could the nefarious band members – Robban Bergeskans (vocals/bass), Nicke Forsberg (drums), Pär Jaktholm (guitar) and Tobbe Engdahl (guitar) – ever hope to top that? Well, they’ve gone for broke with their third album by being in league with Satan himself.

 

Named after the ultimate anti-establishment figure, ‘Lücifer’ is an eleven-track horned beast of a record that grabs the band’s grubby take on the legendary Stockholm Sound and rubs its nose ever-blacker in the filthiest, most glorious sonic hell this side of the Seven Gates.

 

That Stockholm Sound? It comes, as it did on the previous two albums, via the Scandinavian supremacy of über producer, Tomas Skogsberg (The Hellacopters, Entombed, I could go on for days). Drummer Nicke’s brother, Fred Forsberg, mixed the record and, in the search for a thuggish American tone to throw into the muscle car melting pot, Brad Boatright (Converge, Corrosion Of Conformity) undertook the mastering. The results are MASSIVE.

 

This record is housed within four gargantuan walls of guitar. From the opening seconds of the album’s opening (and title) track, no listener will dare keep his or her head still lest they be judged by El Diablo himself. Wood splinters, foundations shake, and auditory canals take an unholy amount of abuse as shit-kicking, brain cell-killing tracks like ‘Flesh ‘n’ Bones’, ‘High Times For Low Crimes’, ‘Never Sleep Again’, and ‘Boogeyman’ grab the speakers by the throat with zero intention of letting go.

 

Side One of the record – entitled ‘First Testament’ – motors along like Dennis Hopper has wired up a bomb to it, but Side Two – ‘Second Commandments’ – does offer the briefest moments of respite: the speeding strut smudged into a sludgier swagger on tracks like ‘Straight To Hell’. A major tour with heavyweights Clutch can do that to a band, I guess. Album closer ‘Black Blood’ is a revelation too: a murder ballad of grandiose proportions that I imagine few would have thought possible from this eight-legged, turbo-charged behemoth of a band. The impressively-titled ‘You Can’t Spell Diesel Without Die’ restores the balance on this fearsome flip-side, however.

 

For fans of Motörhead, Entombed, and Chrome Division, and just about anyone who likes their music as badass as Beelzebub, and their many guitars chugged like their many beers. It’s Death Race 2019 and this is the soundtrack. Buy it and play it like you stole it.

Buy Lücifer Here

Author: Gaz Tidey

C J Ramone – The Holy Spell (Fat Wreck Chords)

C J Ramone – The Holy Spell (Fat Wreck Chords)

Hooray, another day another new album from the Last Ramone in through the door to shout 1-2-3-4.  Solo album number four I believe and once again Fat Wreck Chords have got CJ Ramones back.

What does it sound like?  What do you think it’s going to sound like doofus! C’mon its like a guy who joined one of the best gangs ever, made some records with them, toured the world and lived the dream.  Sure when that all stopped it must have been weird – so take a break recharge the batteries and come back doing exactly what you do you’ve earned it (who wouldn’t) To be fair since being back in the saddle he has made consistently good records under the name CJ Ramone.

He never fell out of love with punk rock and I’m delighted to say that this one is more of the same.  I don’t want my Ramones to break new ground; do industrial, rap, murder ballads or grime.  Hell, I want a steady beat (‘This Town’) I want catchy sing-a-long Chorus and loud guitars.  The occasional hand clap and maybe a dozen songs that put a smile on my face and that’s exactly what CJ does.  Thank God for that.

There are covers like the awesome ‘Crawling From The Wreckage’ to be fair you have to go some to mess that one up and this is a particularly good take.  I mean Dave Edmunds is a legend around these parts so why not tip the hat and give it a good run through besides CJ know it a top tune.  There are highs such as ‘Waiting On The Sun’ wait what’s this an acoustic guitar and some brushes on a snare? Sure is, ‘Hands Of Mine’ is a curveball but man what a great song. CJ’s vocals are warm and the songs flows like a late night red.  A lovely tune and another string to the bow methinks.

Worry not punks ‘There Stands The Glass’ is fast and furious and back in the groove and a great cover it is too. Some Cowpunk al a Supersuckers on ‘Moving On’ and in the home straight CJ pumps a fist in the air on ‘Stand Up’ something he’s always done so well. ‘Blue Skies’ is timeless with a great hook and melody.

Closing this record with ‘Rock On’ is a beauty and a tribute to Steve Soto who passed away last year just before his band the Adolescents played Rebellion which was a moving performance and fitting tribute to their brother and bandmate and this is a heartfelt tribute and one I’m sure Steve would have been proud to hear and I’ve no doubt there will be a ray of sunshine shine down on CJ whenever he plays this live.

Another day another great record fro CJ Ramone and long may it continue. the Holy Spirit is with us all God Bless you CJ Ramone!

 

Buy The Holy Spell Here

Author: Dom Daley

Artmagic/ Caoilifhionn Rose- Hereford – De Koffee Pot 9/5/2019

Artmagic/ Caoilifhionn Rose- Hereford – De Koffee Pot 9/5/2019

Every now and again you pick up on something a bit left field, a bit different from the norm, not what you’d normally watch, but some-things sparked your interest now you might look at the line up and think Who? But when you look beneath the covers or under the skin of the bands playing you can find some connections that you might not necessarily been aware of, take opener Caoilfhionn (pronounced Keelin) Rose a singer, songwriter and producer from Manchester. Coming from a very diverse musical melting pot, she’s doing her best to draw elements of the past and link it to a rapidly changing music scene. Perhaps when you think she’s worked with among others Vini Reilly of Durutti Column:  She Collaborated on four songs on The Durutti Column – Chronicle LX:XL album.

 

Looking at the headliner would you think that it’s a side project of Richard Oakes from Suede, providing a foil to Sean McGhee, producer, vocalist and long term Alison Moyet collaborator. As well as spending time with Alannis Morrisette

 

The other link for yours truly? Over 10 years ago in 2008 I reviewed their first LP together under the Artmagic banner “Become the one you love”. One of my first ever music reviews!!!!

 

Richard who runs The Wild Hare club, whose banner this gig falls under certainly knows his musical underground, and its well worth giving The Wild Hare club alike and giving one of his gigs a shot, taking a chance on music you might not necessarily have been aware of, there’s a great scene building in Hereford around the events run by Wild Hare, with people who truly love music and appreciate new music regardless of the style.

 

But on to the gig, Keelin Rose is a multi-instrumentalist, playing guitar/piano and providing the vocal runs, there’s a really haunting fragility to the vocals, full of emotion, almost world-weary at times. Maybe you’d call it ethereal, but it’s much darker maybe dark pop would be a better description? Linking to the past there’s elements of this Mortal Coil, hints of The Cocteau Twins and a nod to Vini Reilly, going back even earlier to me there are hints of the 60’s production the wrapped itself around Marianne Faithful and even hints at Astrid Gilberto. Each track builds, with the music washing over you, the vocals weaving a spell, but don’t underestimate the guitar work, while you would probably say this could be classed as an acoustic performance, the layers within the music were pretty outstanding. Coming forward song by song you also started to get hints of another style, someone utilizing the past but presenting the music very differently, drawing you in leaving you scrambling to pick up the influence, Stand out tracks for me a blinding version of “Being Human” and the LP opener “Awaken”.

 

The great thing for me? I’ve gotten really pissed off lately with people talking through gigs, confronting a few over the last year, I mean why watch a gig, especially an acoustic performance and spend the whole time talking to your mate? Stay at home and watch the Fckin television”, inane dross doesn’t need your attention!! Anyway back to my point you could have heard a pin drop, which allows you to really pick up the nuances in the music and fully immerse yourself in the live experience. Definitely an artist I’ll be catching again when she returns with the Wild Hare experience with a full band.

 

On to the headliners, looking back to my review I would say there’s a very definite Beatles influence buried deep within the songwriting but you also begin to hear hints of more modern fare, Talk Talk and Field Music leap out at you. Where I found “Become the one you love” quite a dark multi-layered almost introverted LP, a band/person coming forward, comfortable within a new identity, this new LP The Songs of Other England has become more an observational dialogue of things happening around them looking outwards, not inwards.

 

Live, Richard Oakes I would always class as a feeling musician, the guitar tone very much his own, almost eastern at times, at others pulling parts of his own legacy through, both pop and Indie. While Sean McGhee has one of the most outstanding vocal range I’ve heard lately, weaving the stories/vignettes around the guitar while also at times leading with both Piano and Electronica. Again you could hear a pin drop in this most intimate of venues. There were many highlights tonight but what produced the spine-tingling moment was when they asked for the P.A. to be turned off and they performed the set closer “Love” truly acoustically.

 

Chatting to them both after what was apparent was a love of what they are creating, but also a love of this most intimate of environments as Richard said: “ you get to hear all your mistakes, it’s a bit different to my normal day job!”

 

This was the first night of the tour, and definitely one I’d out and out recommend.

Author: Nev Brooks

 

 

Stray Cats – 40 (Mascot Records / Surfdog)

Stray Cats – 40 (Mascot Records / Surfdog)

Setzer, Rocker and Phantom back together in the same room recording kick-ass rock and roll after forty years together.  who’d have thought that?

Whilst they might be plying their tried and tested trade they’ve never been about reinventing the wheel they just want to preserve 1950’s Rock and Roll as best they can and look cool as doing it.  Whilst techniques have changed and equipment has changed dramatically – Hell, how we listen to our music has also changed significantly over the last decade never mind forty years!

I guess it doesn’t matter what decade or timeline you’re preaching from if it ain’t got no soul it can’t Rock and Roll and the one things The Stray Cats can still do all the decades later is Rock and Roll and they’ve never forgotten how to write a tune or two either.

The album was recorded as a live band in a room in a couple of takes, pretty much as you’d hear them live I guess which in today’s money is a nuts way to do things and would puzzle a new bunch of kids.  Most people don’t even spend time in the studio together they post in their parts and record ’em at home for the most part. To go back to the old school is a brave move even for these cats but the rewards are a rich sound that full of vitality and vibrancy.

Twelve cuts of prime lean Stray Cats is expected and to be fair the trio duly delivers the goods  No special guests, no studio trickery – No autotune no sirs. It’s not so much the standard Rockabilly tunes that do it for me either, it’s the curveballs that I’m gonna champion.

Sure they kick off in super safe territory with the familiar shuffle of ‘Cat Fight’, ‘Rock It Off’ and ‘Got Love If You Want It’.  All fairly safe even if they’re done to perfection this is the stuff these three can do in their sleep.  It’s the rougher ‘Cry Danger’ that sets this record alight for me with its rolling guitar lick from Setzer and the cool backbeat that makes it a fine fine tune. Some impressive guitar playing from one of the greats but very understated.  A top tune.

To follow that with the excellent ‘I Attract Trouble’ which is the coolest song they’ve come up with for many a year.  again a great riff and throwing in a ‘pipeline’ riff as the swamp tone is smokin’.  You can settle down then for some classic rock and roll fifties style with ‘When Nothing Going Right’ being an uptempo song that’s cool as but I’m not sure there was any need to throw in a mid-tempo instrumental in the middle with ‘Desperado’ but hey nobody said it was perfect.

If you’re looking for that smoldering ballad to close this bad boy then have a word with yourself because ‘I’ll Be Looking Out For You’ is a mean uptempo scorcher and one of the best tunes on offer and its a joy to hear Setzer let rip on that old Gretsch of his but they leave no room for a soft song for tough guys instead ‘Devils Train’ is swashbuckling and a really good ending to a well above average record.  I was hoping it was going to be good but I think to be fair its exceeded my expectations, by including a few really good songs that aren’t so formulaic and honoring that traditional 50s structure is great to hear even after all these years that The Stray Cats can challenge themselves whilst keeping the quality of the songs so high.  So ’40’ is a big Yes from me and if you like a bit of old school teaching you new tricks in these fast-moving times then you won’t go far wrong with this new Stray Cats record.

Buy ’40’ Here

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Author: Dom Daley

The Making Of ’40’

Dboy/The Vega Bodegas/Nigel – Cardiff, Clwb Ifor Bach – 14th May 2019

Dboy/The Vega Bodegas/Nigel – Cardiff, Clwb Ifor Bach – 14th May 2019

I know what you’re thinking,” just who the fuck are Dboy?”

I thought exactly the same when just a few days before this gig I was instructed by the one and only Simon Phillips (yes he of Cheap Sweaty Fun fame) that I had to go to this show at all costs, “this band are the new Turbonegro” he boldly claimed, ”yeah Turbonegro or The Dead Boys”.

High praise indeed I’m sure you will agree…. but most importantly he had me intrigued.

A couple of Bandcamp listens later (I’ll never truly understand the anti-streaming brigade like multi-millionaire Steve Lukather I really won’t) and I’ve secured a ticket for tonight’s show, the last on the band’s debut UK visit. £6 is all it cost me and I feel like Charlie Bucket as I bowl up to Clwb Ifor sixth sensing I’m about to witness something very special indeed.

Also on the bill tonight are two local supports; Nigel, who plough a late 80s early 90s alt rock furrow seemingly intent of making me dig out my Chuck Mosely era Faith No More LPs when I get back home, by splicing the agit punk undertones of that band with some of the more “out there moments” from Pearl Jam into one glorious cacophony of sound. Plus there’s The Vega Bodegas who take the influence gene pool of their predecessors and add a twist of the pop suss of Grunge complete with the dry sense of humour that only growing up in the south Wales valleys can gift you. ‘Complete History of Witchcraft’ which comes complete with frontman/guitarist Jimmy telling a seemingly true story of sitting next to a witch on an Easyjet flight is for me the highlight of the band’s uber tight set. Before a frenzied ‘Monkey Ate The Monkey’ also sees Nigel re-join the band on stage for one last foray into the mosh pit. I can’t help but wonder what chaos these two might be able to conjure up if they were ever to head off on a tour of the UK’s fast diminishing smaller live venues.

The delights of which tonight’s headliners have been experiencing for themselves this past week or so, but then again when you have escaped the Gulags of Russia just to be able to deliver your debut record, I’m sure stomaching a few motorway breakfasts will seem like a dawdle by comparison.

Granted the Soviet refugees decamped to Canada back story that Dboy trade on might be bending the truth just a little bit, but the trio’s mission statement regarding “ending sonic austerity” is one we should all buy into. I mean just yards away there is a venue promoting tribute bands like they are the live music scene’s one and only salvation, and that brothers and sisters I can assure you they are fucking not, bands like Dboy are the salvation and their debut album   ‘Prove Your Love – Live in Belem’ is one I demand you all go out and buy! It’s brilliant in its ability to stun the listener.

Hitting the stage (okay make that floor) with their sublime ‘Dboy for President’ single, I’m immediately mindful of that original comparison Mr Phillips made regarding the mighty Turbonegro. Yes they sound like them (well early days Turbo anyway), yes they have an instantly recognisable image and yes they also have a horde of insane fans (all wearing balaclavas) who seemingly worship the band.  There’s no messing around either as the band take us on a rip ride of 13 songs in what must have been 20 minutes maximum, and as the masked bass player launches himself into his devoted Scouts (that’s what the band’s fans like to be known as) I can’t help adding the muthafucking Dwarves to the list of influences Dboy display.

Special mention must go to the band’s masked drummer who not only hammers his kit like he’s on a hand forging episode of Forged in Fire but also somehow manages to out mince the king of mincing the legendary Pål Pot Pamparius in the process.

Finishing with the double whammy of ‘Born With A Hard On’ and the awesome ‘Three Piece Band’ before then trashing their backline and this ensuring no encore, tonight once again reinforced the fact that great live bands playing original music are still out there, you just need to do the digging, or have your mates do it for you.

Simon Phillips, I owe you one.

Author: Johnny Hayward

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The Candy Snatchers – Moronic Pleasures (Hound Gawd! Records)

The Candy Snatchers – Moronic Pleasures (Hound Gawd! Records)

Double dumb and full of fun Larry Mays The Candy Snatchers have gone and done it again.  Not content with flushing out one great album after the next they only go and lose records and forget where they put them or whatever shape it’s in.  This moronic pleasure was a lost treasure of Mays and it’s gone and been resurrected by Jake Starr and all at RPM can say is thank fuck for that!

Listen, If it’s by The Candy Snatchers and features the full face melting vocals of one Mr. Larry May then we’re reviewing it and even before the needle has dropped and hit the plastic we just know what’s going down. – A full-throttle audio assault and by the titles alone we can’t stop that shit kicking grin that’s spreading over our chops like a cheap hooker. A quick squizz down the titles and ‘No Time To Waste’ is setting things off in true Candy Snatchers fashion.  After a quick once round the kit in rapid fashion say hello to the air raid siren Larry May as he screams like a hall full of students being chased by some maniac in a mask on a killing spree.

 

Recorded back in the ’90s by the original nihilistic foursome they hit their stride on the beautiful ‘Pissed Off Ripped Off’, it’s unbridled, out of control and totally kicking the shit out of everyone and everything.  Larry and the boys have got the Stooges groove ‘If You Can’t Have Fun You Aint No Fun’ that is owned by the unconventional playing style of Matthew Odietus (R.I.P)  I bet these sessions were fun they sure sound it.  Jesus Wept, even on record they sound unhinged – they managed to capture that magic no question about that.  Take ‘You Make It Hard’ it’s fast – furious – uncompromising, but it has rhythm – groove and a tonne of attitude and is a pleasure to listen to.

Hold onto your hat kids it’s not all out of control as you’ll find out when they get their twelve bar groove on to ‘Hard Up’ as May takes five and croons with the best of them. Whilst thinking about a highlight or something I can hang my hat on to reel in newcomers its such a tough choice as there are nineteen bangers on here and each one has merits for a recommendation.  ‘Real Thick Head’ has handclaps and Gregorian chanting backing vocals and some shake your ass tambourine so there. There is even time (of course there’s time) for May and the boys to throw in a couple of covers in the shape of The Stooges on ‘Fresh Rag’ not that you’d notice. ‘Such A Fool’ is from the household names that were Rubber City Rebels not.  But it’s a cool tune and in fact one of the slowest most purposeful songs on offer here. For the most part its full throttle High Octane Rock and Fucking Roll of which there isn’t enough of and when these boys are at it full tilt or grooving it doesn’t matter because it’s magical.

The sound takes a twist for the last few tunes which is fine but with titles like ‘Ass Casserole’ I dread to think and then you have the gentle plow through of ‘Bum’ and again lyrically I haven’t a clue nor would I be rude enough to ask but the chorus has more than a nod to the misfits.  I’m not even sad when track nineteen rocks up because when the song fades or rather crashes and burns I can flip it over and do it all again. Larry May, you sirs are the ringmaster supreme and a magician, apart from that rasp and scream you possess you have a rock and roll band who are true in spirit and kick seven shades of shit out of 99.9% of bands “having a go at Rock and Roll” Out – Fuckin – Standin’ – Buy It! and thanks in no small part to JAke Starr and Hound Gawd! for making this all happen what a pleasure and not Moronic at all!

Buy Moronic Pleasures Here

Author: Dom Daley

Skate Aid 6 and Wonkfest details

Skate Aid 6 and Wonkfest details

WONK UNIT @ Skate-aid 6
14 band benefit gig in Stamford, Lincs

14 acts, one massive all dayer of a punk gig!  The Scary Clown Present boys Skate-aid 6 all-dayer is one of the friendly DIY Punk gigs you can go to (Wonkfest excepted!),

Enjoy the June sun as you chill with a cold drink, decent food (vegan bbq by Resist!), great company, and 11 full bands, with 4 acoustic sessions.

Probably a specially brewed beer again,  possibly a few stalls too – and all in aid of Skate-aid charity, raising funds to put skate-parks in some of the worlds most deprived areas of the world.

 TICKETS ARE £15 for 14 acts – a quid a band is fantastic value for money!!

 

evening session…

WONK UNIT
The Crippens
The Menstrual Cramps
The Siknotes
The Long Game (aka Skaciety)
Swan Prince
The Deadites

acoustic session …

Mark Murphy (Croc Gods/No Marks)
Sam Maloney (Mixtape Saints)
Christian Smith
Arms and Hearts  

early session (12.30)…

Not for You
Punch Drunk
Sprainer

GET TICKETS HERE

WONKFEST 7

Time to get excited.. and a ticket!
IT’S WONKFEST, it’s the funnest, craziest day in the punk rock calendar. The best in music, the best in atmosphere, the best in people.

LINE-UP ANNOUNCED SO FAR:

WONK UNIT
HARDSKIN
GUNS AND WANKERS
FRANKIE STUBBS
GET DEAD
MAID OF ACE
YOUTH KILLED IT
THE DUB RIGHTERS
GOOBER PATROL
SECRET GUESTS NUMBER 1
SECRET GUESTS NUMBER 2
SECRET GUESTS NUMBER 3
GOOBER PATROL
AERIAL SALAD
THE MURDERBURGERS
PIZZATRAMP
THE HUMAN PROJECT
LASERCHRIST
BURNOUT
EASTFIELD
THE BARRACKS
PROJECT MORK
BEVERLEY KILLS
2 PEAS FROM THE POD

plus loads more xxx

We’ve got new bands, we’ve got buffet, T-shirt screening, badge making, BBQ, all included in the price of a ticket.

Please grab advance tickets ASAP. It really does help with the financial worry of staging an event like Wonkfest. Doors 11.15am – come for breakfast

Bullets And Octane / Disgraceland / Idestroy – Cavern Club Exeter May 16th 2019

Bullets And Octane / Disgraceland / Idestroy – Cavern Club Exeter May 16th 2019
Disgraceland frontman Ollie Stygal is possibly the South West’s version of Henry Rollins, perhaps with a slightly different physique. Like Rollins, Ollie is getting angrier as he ages and this is highlighted mid-set with the fantastically titled 100% Cunt which is dedicated with real vitriol to the Tories, Nigel Farage and Tommy Robinson, and let’s face it, it’s well deserved.
While being angry, Disgraceland are still an exceedingly tight punk rock n roll machine, playing fast, furious and very catchy tunes that wouldn’t be out of place alongside Dead Kennedy’s, early Damned and even Motörhead numbers. With gigs lined up around the country and their debut EP due on 1st June, Disgraceland are a band well worth keeping an eye on.
Following the storm kicked up by Disgraceland was never gonna be easy and despite their best efforts Bristol’s idestroy don’t really manage it. Songs tend to pass by without ever really grabbing you and it’s hard to understand just what the band is trying to be. One minute they are trying to get big crowd clapalongs going and then the next trying to get all aggressive, but it all seems a bit fake to these eyes and ears. Idestroy might be the band’s name, but on tonight’s showing, Imildlybruise might be more appropriate.

It has been 13 years since Bullets and Octane last graced the Cavern stage, and while they are a completely different beast now, with only madman frontman Gene Louis remaining from those days, they haven’t lost any of the fire or huge sense of fun that they had back then.

 

Louis remains that frontman that wants to connect with every single person in attendance, and that he does, spending as much time off stage as on it, hugging, high fiving and dancing with everybody and anybody and even getting one fan to take over vocals for him on a few occasions, which may or may not be due to him forgetting the lyrics!

 

The band themselves are no slouches though with the rhythm section of Jonny Udell (who strangely was in support band The Knives when B&O were last at the Cavern), and Zachary Kibbee holding the mayhem together while guitarist Filipe Rodrigo provides another focal point throwing himself around the room, while still delivering in spades.

Newer songs like ‘Bad Motherfucker’ and ‘When we were Young’ are greeted as enthusiastically as classics like ‘Caving In’ and ‘Pirates’ by the small but very appreciative, and often very drunk, crowd, who give back as much as they receive right up until the final chords crash out.

 

On leaving the venue I overhear someone say “that was the most fun I have had at a gig for ages”, and that sums up a Bullets and Octane gig better than I ever could! Keep singing that Song for the Underdog!

 

Author: Nigel Taylor
Buy ‘Waking Up Dead’ Here

The Hillbilly Moon Explosion – The Sparky Sessions (Jungle Records)

The Hillbilly Moon Explosion – The Sparky Sessions (Jungle Records)

Never mind Brexit this is the European Union, in session the Hillbilly Moon Explosion features two Englishmen currently residing in Switzerland A French Drummer and one Italian/Swiss to round it off oh and a guest from Deepest darkest Welsh Wales. Mixing up an eclectic blend of Roots Rock and Roll, some Dark Rock, a punk attitude at times with a healthy or should that be unhealthy dose of Rockabilly and throw in some swing, soul, ska, garage and pop  – I kid you not this really is a melting pot that can go anywhere they like and still come out sounding cohesive and well, bloody magic.

The ‘Sparky Sessions’ is the bands seventh album, yup I know what you’re thinking, I wasn’t sure how many I have either; a few but seven is remarkable. A band this good can’t go under the mainstream radar for so long (when I say so long the sixteen million views on youtube aren’t all bots I guess).  When I say mainstream, I mean I told a few people who I was listening to and they shrugged their shoulders, these are people who listen to a lot of underground music of all persuasions and they’d never heard the band.  So strap yourselves in and join me on a journey into the magic sprinkled ‘Sparky Sessions’ courtesy of The Hillbilly Moon Explosion.

What we have here is a whole long player of duets featuring the guest vocals of the one and only Mark Phillips he of the Demented Are Go parish here in South Wales. After dueting on the murder ballad from 2011’s ‘Beg Steal Or Borrow’ to be fair nobody in their right mind would have mixed the oil and water of Phillips vocal style with that of Emanuela Hutters – but it works and the choice of songs is inspired.  Forget Cave and Minogue or Jagger and Turner – its Phillips and Hutter that have the magic. This whole record will testify that from the rockers to the sultry smoldering murder ballads this is an exceptional piece of work. A magnificent eleven that is weaved into an exceptional record that is one of the finest I’ve heard all year thus far,  one I’m sure will be carried triumphantly into the end of year best of – easily.

 

The covers are stunning but the original songs stand shoulder to shoulder alongside such classics as ‘Can’t Take My Eyes Off You’ and ‘Baby I Love You’.  A total of seven new songs were recorded along with the four that had previously seen the light of day of the originals ‘Black Ghost’ builds and builds into a cacophony but it’s not the jarring racket but a harnessed noise that builds to an awesome climax.

 

It’s a bold and brave offering that has more than a sprinkling of magic throughout Hutter has a voice that can melt the ice caps of the north pole and Sparky has the vocal cords to rival a drilling from Thors hammer and put together it’s a beautiful thing brothers and sister trust me. ‘Northern Crown’ is smokey whilst ‘Jackson’ is just a total fuckin’ killer version.  I must have heard about a million covers of this one and this Hillbilly Moon Explosion take is head and shoulders the best yet even better than Carter and Cash in Fulsome Prison.  They absolutely take ownership and just kill it stone dead – sublime. and to end with that Murder Ballad ‘My Love For Evermore’ is still a spine-tingling classic that just works.

If there’s a better record released this month then I need to hear it but I seriously doubt it, folks, this is my album of the month maybe album of the summer – let’s see. Enough waffle from me pick it up and let the music do the talking this one just won’t shut up!  I only hope that this won’t be the end and one day like Skywalker on that mountain the Hillbilly Moon Explosion will come calling and Sparky will hear that call and once again record some new songs together but if that never happens (never say never) thank God we have this collection to live with. Love Songs And Murder Ballads a near-perfect collision of beauty and the beast, light and darkness.  Just buy it!

Author: Dom Daley

 

Buy the Sparky Sessions Here