I know some people will be grumbling about this version of the Dogs D’amour celebrating the 30 year anniversary of ‘A Graveyard of Empty Bottles.’ While I absolutely love the original, I actually tend to listen to the last version that was released seven years ago (how has it been that long?) which included 5 bonus songs more often. Now, we have the first double a-sided single from this current version of the Dogs whose musical chemistry is as hot as hellfire.
‘Comfort of the Devil’ has always been one of my favorites by the Dogs, and this version simply smokes from start to finish. It hits a groove with Tyla singing in prime form with solid guitar work here by Gary and Tyla. Tip of the hat to the band for the great slide guitar work as well. This is exquisitely produced with Matty’s bass and Simon’s beat being right on the money and expertly placed in the mix. This one sounds more like the version on the most recent version of the album than the original to my ears.
‘Errol Flynn’ is another Dogs’ classic that demands audience participation. Where the original version was acoustic, this one adds more electric power to the song, which makes me wonder if the upcoming version of ‘Graveyard’ will be this hard hitting across the board. This should have been a single 30 years ago so it is nice to see it getting that recognition now, even if it is something of a forgotten concept these days.
These two songs have me craving to hear the whole album as it appears the guys have followed up the brilliant ‘In Vino Veritas’ album with an energetic electrified classic version of an already classic album. Do you need a new version? Based on this, you most definitely do. Fall in love with these songs all over again. I suggest you get over to the Tavern and start placing your order.
Do you want Rock n Roll? Well, How about an amazing performance from Lou Reed from way back in ’78 recorded on the West Coast in San Fran and Ohio this is arguably the guy in his pomp tearing it up with an incredible band behind him it contains a set of some of his finest songs no question about that.
‘Gimme Some Good Times’ sounds huge with all the swagger of New Yawk City fizzing through the airwaves. With being way too young to even remember seeing any band in 78 let alone how it must have felt like seeing something like this from the saxophone and that carefree swing on the drum kit to Reed in his prime its a real pleasure to see Easy Action taking such good care of our musical history. It’s an immaculate recording and really capture the raw beauty that is songs as amazing as ‘Satellite Of Love’ never mind your Bono’s tucking up Reed’s legacy get an earful of this. Spread out over two records with either two or three tracks per side has really let the sound come flooding out on these pressings. Hell, You can close your eyes and get transported back in time. Reed could rock it up with the best of them as he demonstrates on ‘Leave Me Alone’ as the band kick seven shades out of the backbeat whilst the guitar (Stuart Heinrich) and saxophone courtesy of Marty Fogel duke it out – out front. Man, this band had groove and feeling. The ‘Street Hassle’ tour in support of that fine fine album is the order of the day and it’s hard not to love what was the guy on top of his game. It might get a little jazzy at times as the players take a turn in jamming out from the piano to sax to guitar but boring it certainly isn’t.
You also get the most incredible groove from this band hell I can understand Reed wanting to introduce them they’re so good they embrace the songs and own them whilst breathing unbelievable amounts of energy in them and with all that style they still maintain a grittiness and back street punch up if you want it attitude. Take ‘I Want To Be Black’ as a shining example. Amazing musicianship but attitude and toughness. Glossy and shiny it isn’t (thank god)
‘Walk On The Wildside’ is funked up and the title track of the tour ends the recording taken from Ohio there is a drop in audio quality for the Frisco show but the change in sound doesn’t detract from the performance that Reed and his band makes. To be fair side four does offer up ‘Coney Island Baby’, ‘Sweet Jane’ and album closer ‘rock and Roll’ which isn’t to be sniffed at by any means. Imagine being responsible for writing those three?! It’s commendable the love and attention Easy Action pour into their reissues and this is no exception with some great sleeve notes from Dick Porter perfectly summing up where Reed was at. 78 was the pinnacle of punk rock and Reed just did his own thing as he had always done and this collection shows he was right to continue to lead and never follow. Excellent live double album and one I’d safely recommend to anyone with even the slightest bit of taste and rock and roll in their soul. Love hasn’t gone away at all – buy it!
‘Nature/Nurture’, album number four from Australian punk rockers Clowns, not only sees the band further shape their unique twist on a well-worn genre but also get a (clown-sized?) shoe in the door of the mainstream by signing with Fat Wreck for distribution outside of Australia/New Zealand.
Not being what you might call “your typical Fat Wreck type of band”, I had feared that signing for such a well-known label might have meant that Clowns would be required to come up with more commercial tracks to suit their new paymasters, however it takes just a few bars of the explosive opener ‘Bland Is The New Black’ to put my mind at rest that this is certainly not the case. This is the sound of one angry bunch of muthafuckers as Stevie Williams spits out the lyrics with just as much venom and intensity, as he did on the band’s corrosive ‘I’m Not Right’ debut.
In the six years that have passed since that amazing debut album first impressed the hell out of most of us back over at our old Uber Rock haunt, Clowns have certainly broadened their palette of sound and in many ways ‘Freezing In The Sun’ (the lead single from the album which I first saw live back at last year’s Rebellion Festival) is the benchmark by which they are likely to be measured on subsequent releases. Largely because this track is the perfect example of how to play heart and soul punk rock music whilst adding your own identity into the mix.
I’ll admit there’s a moment during the intro to ‘I Feel Again’ where I fear that the five-piece may have taken the “light” (in their light and shade sound) a little too far and during the aural onslaught that is ‘May I Be Exhumed?’ they perhaps go a little too dark, but you know what, in the context of the album it all fits together perfectly, and that ladies and gentlemen is what makes ‘Nature/Nurture’ such a thrilling listen.
Influences fly at you thick and fast just like the eleven tracks that make up the album’s 35 minutes running time and you’d be pretty ambivalent to what constitutes great music if you didn’t get reminded of bands like The Bronx, Fucked Up, The Explosion or (yes I admit it) Jane’s Addiction along the way. The thing is Clowns don’t merely imitate these great bands they innovate and that is what makes them oh so special, whilst only adding to the ‘Nature/Nurture’ debate you could have about the band themselves.
Whether it’s the brutal Clowns of old that you are looking for (in which case check out ‘1:19’, ‘Soul For Sale’ or ‘Prick’) or the more “polished” Clowns of 2019 (which is perhaps best exemplified by album closer ‘Nurture’ which even contains a hint of The Verve about it) this a record designed to make you stop in your tracks and think. This is music for people who want to change the world, and if one listen to ‘Nature/Nurture’ doesn’t immediately make you appreciate these guys are the real future of rock music in 2019 then you might as well just go buy a fucking Greta Van Hire (or whatever the fuck they are called) album instead.
‘Nature/Nurture’ is quite simply essential listening.
Following on from ‘How The West Was Won’ Peter Perrett is back with a big vibrant slice of Rock and Roll and a stylish new video for ‘Once Is Enough’ taken from the soon to be released ‘Humanworld’ released through Domino Records on June 7th you can pre-order a copy Here
Denver trio The Yawpers fuse Americana and groove-heavy blues with raw punk aggression and have far outgrown their roots rock beginnings in recent years. Their last album, 2017’s ‘Boy In A Well’, was a concept album, a tragedy set in WW1 France, about a mother abandoning her newborn child. Ambitious and passionate, main songwriter Nate Cook took his songwriting skills to another level on this album.
But where do you go after such an ambitious project? Well, in contrast ‘Human Question’, their third album for the ever cool Bloodshot Records, was written and recorded over a 2 month period. Tracked live in a single room ‘Human Question’ has a live immediacy to it that perfectly suits the band’s dual guitar/drums set up. It sees Nate in a self-reflective mood rather than a self-destructive one, utilising his lyrical suss as a cathartic healing process.
Opener ‘Child Of Mercy’ builds on a nifty little blues riff over upbeat drums. Nate’s vocals reaching falsetto as the song builds and builds to a distortion-filled industrial climax that would make Trent Reznor proud. One song in and already The Yawpers sound like no one else, as they defy genre tagging with an opening salvo.
Nate has stated this album is therapy for past traumas rather than wallowing in depression and self-destruction. Yet, musically the band seems more diverse than ever before.
The psychedelic-tinged title track is a Beatles-esque trip that straddles indie territory, the sort of thing Kula Shaker pulled off with great success back in the late 90’s. They blend those same indie beats of new drummer Alex Koshak to great effect with garage rock power chords on ‘Earn Your Heaven’. A ramshackle breakdown full of scratchy noisemongering that takes the band into Blues Explosion territory, which is always a mighty fine place to be. And talking of such things, the dancefloor friendly ‘Dancing On My Knees’ has a Jon Spencer style smoothness about it too, and some crazy ass slide guitar goodness thrown in for good measure.
Elsewhere ‘Forgiveness Through Pain’ is 70’s boogie rock with Jack White dynamics thrown in, that gives a fresh modern twist.
The art of Springsteen style storytelling is ever present, Nate showing how much he has developed as a songwriter. Take the gentle, countrified vibes of the contemplative ‘Man As A Ghost’, where the mix of acoustics and hushed percussion are just enough to accompany his tale of a man with nothing left to give. ‘Can’t Wait’ is a perfect slice of Americana. The juxtaposition of upbeat drums and lazy, laid back Tom Petty style vocal harmonies works real good here, and the addition of ringing tremolo guitar is just sublime to these ears.
The eerie, yet exquisite ‘Carry Me’ has a ‘Nebraska’ quality to it. A laid bare and stripped back feel, just 3 guys in a room feeding of each other’s energy. Such a passionate, yet gentle delivery, you actually feel like you are intruding on the recording. The instrumentation is minimal, leaving space for the vocals to breathe and build. Here Nate comes on like prime Steven Tyler doing gospel as the song reaches a climax. The ensuing sax solo just seals the deal really. A song to close your eyes and drift away to.
The ten track album finishes with crisp, clean guitar tones and a Dylan-esque vocal delivery as Nate Cook takes us to church with ‘Where The Winters End’. He delivers his own personal redemption song, as uplifting and moving as it is solemn. It may leave you with a tear in your eye, but it will also leave with the feeling that everything is going to be ok.
The Yawpers cherry pick from folk, country and scuzzy blues. At times they are the MC5 or The Stooges, frantic and on edge, elsewhere they soothe the soul with acoustic led Americana, dark and desperate at times. Yet at all times they are cohesive and utterly captivating. I feel these Colorado rogues may well have delivered their most complete album to date.
Pizzatramp. what can one say about a band like Pizzatramp who’ve in fairness been around for ages done some amazing shows and done some shit shows that were amazing and written a tonne of songs that are short shorter and shortest and love to use a profanity or two and aren’t keen on Bono, bad backs and Goths but quite like booze punk rock and drugs.
You know what you’re going to get with a pizzatramp record and that’s lots of short sharp hardcore punk rock they were good when they first started doing this and to be fair ‘Grand Relapse’ they’ve pretty much nailed it in the sound – the songcraft – and the performance. when Dan didn’t turn up at Rebellion we did wonder but once we saw the videos for a couple of the new songs we just knew that these boys were on fire (I’m sure there are some who wish they were quite literally on fire).
The artwork is classic Pizzatramp and to open with the frantic drill down of ‘Captain Sea Org’ and the smattering of C Bombs appeals to my inner child and I love it its a fuckin’ rush of a song and in true Hardcore fashion it doesn’t hang about and with a massive FU Pizzatramp are in the house.
As we hurtle along the songs get better and better ‘Millions Of Dead Goths’ is a bit harsh but what a fuckin’ Banger of a tune Dan’s drumming is sensational as is the sound they ring out of those instruments. Sammy Two Cabs has perfected the hardcore glug and rumble on that bass guitar and captured it to perfection in the studio which is no easy task as ‘Gone Full Mitchell’. This is pure gold and Jimmy No Wammy is belching out those lyrics like Caldicot’s Beddis meets Tom Araya if Araya chose the Hardcore path and not the screaming diablo loving metal behemoth he chose (or chose him) ‘There’s bin a moida’ maintains the quality and I begin to wonder if they can continue this momentum or will they crash and burn? ‘137995’ is like their Van Halen I guess as Danny bang bang does his bang bang and if only Van Halen had played like this it’s almost prog-like clocking in at over two and a half minutes it’s like a pizzatramp rock – opera.
They manage to have two consecutive songs clocking in at 1:11 seconds which took some doing especially as ‘I Got Work In THe Morning’ sees the band take a mature turn as they get all conscientious and intro it with some trip hop boyzzz.
To be fair it doesn’t get boring at all and you’ll find yourself smirkin’ more and more as you realise the band has indeed maintained an incredible standard throughout the fifteen songs as ‘Neville Clartos’ thrashes into ‘Nappy Thrash’ which you won’t be hearing on the radio any day soon. and to finish the album with the brilliant left hook right hook of ‘Stop Being A Racist Cunt’ how nicely put and perfectly delivered (no say what you really think boys) I doff my cap and firmly jump inline with their view and it could only get better with ‘Nobhammer’ wrapping this fucker up with its bruising three and a half minutes of punk rock awesomeness. Pizzatramp have delivered the good make no mistake about that and anyone who doubts them needs to have a long hard look at themselves. A band who know what they like and know how to deliver on record exactly how Hardcore should sound whilst maintaining a sense of humour. Regardless of what they might tell you, They’ve been thoroughly professional about this record and I think it’s fair to inform you that there won’t be a better Hardcore album released all year I think I can safely predict that even this early into 2019. ‘Grand Relapse’ is the fuckin’ Biz!
In celebration of their 40th anniversary, we’re pleased to announce the reissue of our third album, ‘A Different Kind of Tension’, and the ‘Singles Going Steady’ compilation on Friday 14th June.
Restored from their original tapes for the first time, both titles feature newly curated booklets and unseen images, with Jon Savage contributing the liner notes for ‘A Different Kind of Tension’ and Clinton Heylin for ‘Singles Going Steady’.
Pre-order on deluxe edition coloured vinyl and CD:Here
Hear the newly re-mastered versions of ‘Love You More’ and ‘You Say You Don’t Love Me’: Here
In other Buzzcocks news –
We can confirm the contemporary line up of Steve, Chris & Danny, original band members and guest vocalists will be performing at London’s Royal Albert Hall on June 21st 2019 for our Celebration of the Life of Pete Shelley performance.
We expect to start announcing our guest vocalists in the next two weeks.
Please join us for what will be a very special and unique evening.
Another new album from Pup and another new album that’s a must-have. Canadian punks Pup have been causing a stir for the best part of a decade now and this is album number three. Not too shabby on the recording front to be fair.
A wall of pop-sensible punk rock with lyrics out of the teenage bedroom scrapbook raging against growing up its the modern progression of kids who grew up listening to Green Day and Weezer. The songs have an edge of the underground but I don’t know how long they’ll be able to hang out with the cool kids in the underbelly of entertainment because this is going to push these cats overground (I’m confident of that). I haven’t got a clue what they’re going to shout and scream about then. Whatever it might be I’m sure it’ll sound great as this does.
The title track is an excellent warmer upper with a smattering of angst profanities about not fitting in and being bored and a tad pissed off. It’s catchy and pissed off all at the same time – you get some lush gang vocals on ‘Free At Last’ and the chance to thrash around a bit as the song soars towards its abrupt ending. ‘See You At Your Funeral’ sounds like its Weezer meets My Chemical Romance and downs a vat of beer at the frat house then fucks off to act the nuisance and I like that – a lot.
‘Scorpion Hill’ begins with some piano and guitar all melancholy and a cotton picking cats choir before the inevitable take off. for a five minute song, you sort of knew it was coming but when it arrives it’s decent and that’s all you can ask for as it meanders its corse to the end. Are you real or Fake’ is the question they ask on ‘Bloody Mary, Kate And Ashley’ a real high point of the record with great vocals from all the gang as the noise builds. ‘Sibling Rivalry’ is a wall of noise on the intro but you’re almost lulled into a false sense of security as we reach the chorus and again you can’t help but move to the rhythm.
‘Full Blown Meltdown’ is just that, They knock out a perfectly acceptable slice of raging punk rock with everything turned up to 11 and sounding like a Bronx song (but they’re not Bronx I know but this is in that universe and that’s always a cool place to be). With only a couple of tracks left I felt the record flew by only noticing where I was because I had to flip the record over which is a compliment that this almost forty-minute album has flown by. Ending the record with ‘City’ their most diverse song to date with its melancholy first half then a feedback-laden middle while the bass turns up the noise before everything distorts and kicks the jams right out and fucking with the sound engineers headphones the band sign off in style and I can declare that indeed ‘Morbid Stuff’ is a roaring success make the most of this band because before long there will be an avalanche of fans demanding their attention and on the strength of this new record it will be thoroughly deserved.
Rock legends KING’S X are thrilled to announce that they are entering the studio to record their highly-anticipated new album – the first to be released in over a decade – scheduled to drop this year via Australia’s leading international independent record label, Golden Robot Records.
The label announced their global signing of KING’S X in December.
Today, KING’S X enters Blacksound Studio in Pasadena, California with renowned producer Michael Parnin – recognized for his work with a varied range of artists, from Rage Against the Machine and Missy Elliott, to Andrew Lloyd Webber and Barbara Streisand.
Commenting on how it feels to be returning to the studio after 10 years, dUg Pinnick says, “Good question! I haven’t thought about it much, been super busy. But got a ton of tunes to submit. I never know what to expect. I’m always surprised when it’s done and can see it as a whole picture. And we’re making a record after how long?! I’ve been waiting for this to happen for a very long time, and I’m totally looking forward to it.”
Jerry Gaskill adds, “It’s been a while since we’ve made a record together. I go back and forth between excitement and fear. But when it gets right down to it, I think excitement wins. I look forward to sharing all of our ideas together and seeing what comes of it all. If nothing else, it will be the next KING’S X record.”
Ty Tabor says, “I’m excited to see where we are at these days. We’re all bringing ideas in.”
Michael Parnin adds about recording the new album with KING’S X, “A great story in the making… As a huge fan of the band from the beginning, I am unbelievably excited to work on the next long-awaited chapter. Some of my favorite and most artistically rewarding projects have been working with dUg over the past 10 years, namely “Strum Sum Up” and the fun Hendrix Tribute Album we did together… Likewise, I’m honored and looking forward to working with Jerry and Ty who are each masters of their craft.”
Derek Shulman, Executive Chairman of Worldwide Expansion for Golden Robot Records adds, “I am delighted to finally be able to work with one of the most respected, creative rock bands of the past 30+ years. KING’S X is not only a superb rock band with an ardent fan base, but are also a ‘musician musicians’ band. Golden Robot Records is determined to finally help KING’S X receive the worldwide recognition it fully deserves.”
Since the release of their debut record, Out Of The Silent Planet, in 1988, KING’S X released over a dozen albums that have seen them rightfully earn their place on the rock royalty family tree. Fusing progressive metal, funk and soul grooves with vocal arrangements rooted in blues, gospel and even the British Invasion era influences, KING’S X created a style all their own which continues to be an inspiration for bands to this day.
Featuring vocalist and bassist Doug Pinnick, guitarist Ty Tabor and drummer Jerry Gaskill, KING’S X have never changed their line-up, a rarity in the music world and a testament to the band and musicians and friends.
Critically acclaimed from the start, KING’S X are musician’s musicians, name-dropped by everyone from Anthrax and Suicidal Tendencies to Iron Maiden and Blue Murder for their instrumental prowess. Pearl Jam’s bassist Jeff Ament even declared that “KING’S X invented grunge”. They also enjoyed a long life via the David Letterman Show with their track, “We Were Born To Be Loved” (from 1990’s Faith Hope Love), also a favorite of the Paul Shaffer’s CBS Orchestra to play during commercial breaks.
In 1992, KING’S X signed to Atlantic Records/Megaforce Records, released three albums and toured with bands as diverse as Scorpions, Type O Negative and Pearl Jam. In the early 2000’s, KING’S X released three studio albums and their first official live album via Metal Blade Records. In 2005, the band signed to German-based progressive music specialty label, InsideOut Music, and released Ogre Tones, an album described as a return to the bands classic sound. KING’S X forged ahead with new albums, DVD’s and tours up until 2012, when drummer Jerry Gaskill suffered a major heart attack. The band then quickly compiled an exclusive live release from their archives entitled, Burning Down Boston. The proceeds of which went directly to assisting Gaskill with his medical expenses. They rolled on for two more years until Jerry suffered another heart attack, which resulted in him having a double bypass operation and ultimately led to the band taking an indefinite hiatus.
This break didn’t last long, as they were back on the road in mid-2015, shortly afterward announcing they would begin work on a new studio album. This would be the band’s first since 2008’s XV. KING’S X began meetings with Golden Robot Records management in Los Angeles in early 2017, eventually signing a global deal in October 2018.
While it’s been a decade since KING’S X have released a new record, the wait has definitely been worth it! Watch this space for news on the forthcoming album in the very near future.
A ringing 12-string guitar introduction. A dreamlike lyric that seems to hold the cosmos in its hands. It’s still the most recognisable, covered and widely beloved song in the catalogue of a band that’s released a remarkable 26 albums. And it’s 30 years old this year. The song is ‘Under The Milky Way’, from The Church’s most successful album, the undisputed classic ‘Starfish’.
In 2019, the Australian paisley underground pioneers are still enjoying the unique celebrations, which started with a sold-out appearance at the Meltdown Festival in London on the personal invitation of curator, The Cure’s Robert Smith.
They return to British shores with the following tour dates in order to mark another remarkable anniversary:
Sat 8th/Sun 9th June – ‘Of Seance and Starfish’ – The Church Weekend, Bush Hall, London
Mon 10th June – Manchester Club Academy
Tues 11th June – La Belle Angele, Edinburgh
For these shows, ‘Starfish’ will be performed in its entirety, along with a selection of other gems from the band’s career, which now spans an incredible 38 years.
Starfish remains best known for its iconic singles ‘Under The Milky Way’ and ‘Reptile’. But like all classic albums, it’s a journey – and it starts with ‘Destination’, the six-minute opus which opens the album.
From there, the list of hits, band and fan favourites is long. ‘Myrhh’, which leader Steve Kilbey described in his memoir ‘Something Quite Peculiar’ as the definitive Church song. ‘Ripple’, from the masterful ‘Priest=Aura’. Almost anything from 1982’s ‘The Blurred Crusade’. Expect songs from ‘Hologram of Baal’, itself celebrating its 20thanniversary. And, of course, there’s ‘The Unguarded Moment’, the single that launched the band onto world stages on its release in 1981.
But this is not just a nostalgia trip. The Church have been revitalised since 2014 with the addition of guitarist Ian Haug, formerly of another iconic Australian band, Powderfinger. “Ian is a big part of the band now,” Fellow guitarist Peter Koppes says. “He’s a consummate, intuitive musician with fantastic tones.”
Koppes goes on to sum up the band. “Music is like inner space and we’re astronauts,” he says. It’s a spellbinding thing, it’s hypnotising. That’s why people like it. It takes them into another world and we’re here to open those doors.”
The Church’s strange journey remains an endless sea of possibilities. it’s time for the band to celebrate one of their crowning glories, not to be missed.
I know some people will be grumbling about this version of the Dogs D’amour celebrating the 30 year anniversary of ‘A Graveyard of Empty Bottles.’ While I absolutely love the original, I actually tend to listen to the last version that was released seven years ago (how has it been that long?) which included 5 bonus songs more often. Now, we have the first double a-sided single from this current version of the Dogs whose musical chemistry is as hot as hellfire.
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