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Ryan Adams – ‘1985’ (Pax-AM)

Ryan Adams – ‘1985’ (Pax-AM)

Genius, Mad as a box of frogs, show off, nutcase, prolific, has nobody to quality control him are all things people have said about Ryan Adams, and at some point, all of these would be true and we’ve barely scratched the surface of 2024 and Adams has already dropped not one, not two but Five albums! now drink that in music lovers Five albums. Four new studio albums and Prisoner live which is a bit lazy releasing a live album on the day he drops Four studio records. What was he thinking? Anyway, whilst trying to live with the new albums and intake all that new music as well as deal with a plethora of new releases January has gotten off to a headfuck of a start and none more noteworthy as ‘1985’ from Ryan ‘What me writer’s block?’ Adams.

A quick summary would say that ‘Heatwave’ is fourteen songs of Adams does… whilst Star Sign’ is ten songs of Adams doing… then ‘Sword And Stone’ aren’t Adams Goes Manowar (now that I could handle) but twelve songs deep whilst ‘1985’ is, wait for it, twenty-nine songs in half an hour of The Finger styley giving it some proper fuck you! punk rock hardcore. yup, we know he has it in him away from his takes of Oasis and Springsteen cover albums or his Taylor Swift take down this is nasty fuck you and the horse you rode in on punk rock. Something right up our alley (so to speak). One minute he’s Springsteen or Liam Gallagher goes acoustic the next he’s out Offin Keith Morris doing Hardcore with as much authenticity as Vinny Stigma.

‘1985’ kicks off with ‘Dark Places’ and away we go on a rip-snorting rocket ride. It’s not noise for the sake of it it is just wonderful Black Flag-style punk rock. ‘Waste Of Time’ is less bluster and more Replacements punk rock and who doesn’t like some of that? In fact, if this was announced as some long-lost Husker Du blast or Replacements demos I’d buy into that. The album lurches from the alt-punk rockers to the straight up Hardcore and ‘Forget Me Either Way’ is the latter whilst ‘No Flag’ is like a rabid dog barking out the chorus and its done.

The tone of the guitar is superb, ‘Skulls’ is a banger whilst the sharpness of the riff on ‘Toaster Face’ is like being hit in the face with a baseball bat and enjoying it. ‘You Are The Enemy’ is him chanelling his inner UK Subs. It’s all in here kids and by the time you reach ‘Midlife Crisis’ you might need a break its exhausting pogoing round your sofa to Ryan Fuckin Adams. ‘Down The Drain’ might offer the welcome break from all that chaos with its dark acoustic beauty. Then ‘Bag Of Trash’ could be a Fuzztones Psyche rock trip but then ‘What The Fuck’ draws you back into the punk rock maelstrome.

Before we’re done ‘Straight Edge Bookstore’ is his tip of the hat to Minor threat and the fucked up world of Straight Edge. The clock is rewound to the youthfulness of early punk with the comical ‘Punch Em In The Nuts’. I need a lie down, I’m exhausted Ryan Adams has almost broken my brain with his welcome to 2024 and this his ripsnorting kick up the backside that is one hell of a top record. My advice dont fuck about get in there and buy it. 1-2-3-4 Go!

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Author: Dom Daley

The Chisel are Bloodsuckers

The Chisel are Bloodsuckers

New Album
‘What A F*cking Nightmare’
Due Out 9th February 2024 via Pure Noise Records

Pre-orders Available Now

pic: Nick Suchack

Recorded by John Atkinson and produced by Jonah Falco (Chubby & The Gang, High Vis, Home Front) What A F*cking Nightmare is a high energy blend of Oi! hooks and hardcore stomp that’s sure to please fans of all things loud and catchy. “Bloodsucker” follows “Those Days,” “F*ck ‘Em” and “Cry Your Eyes Out” (which have drawn attention from the likes of Stereogum, BrooklynVegan, Revolver, Alternative Press, and more), and provides two minutes and fifteen seconds of melody, ferocity, and a big dose of personality. Vocalist Cal Graham explained the new track, calling it, “a song about that one punisher who doesn’t know when to fuck off, torturing you with their drivel.”

Emerging from the London punk scene, The Chisel have gained worldwide recognition as one of the most exciting new bands in the genre today. While their sound is rooted in aggression, it’s their ability to pack a melodic punch that’s allowed them to stand out from the pack. Across a whopping 16 tracks, What A F*cking Nightmare hones The Chisel into the keenest and most effective version of themselves. Graham’s biting-yet-tuneful delivery allows the band to swing from eye-bulging ragers to triumphant singalongs that even the most faint-of-heart rock and roll fan couldn’t help but enjoy, and his bluntly powerful lyrics paint vignettes of everyday frustrations, class divisions, exploitive authority figures, and the camaraderie of finding like-minded people in a tumultuous world. The result is a truly essential punk album that grabs the listeners by the head and never lets go. This is The Chisel‘s world and we’re just living in it. 

This week The Chisel are hitting the U.S. for a sold out show in NYC at Bowery Ballroom, followed by an appearance at Baltimore’s Disturbin’ The Peace Festival. Then next month the band will be kicking off lengthy runs in the UK and EU. See full itinerary below. 

Upcoming Shows:

26th January New York, NY @ Bowery Ballroom +
27th-28th January Baltimore, MD @ Disturbin’ The Peace
27th January Baltimore, MD @ Metro Baltimore (Disturbin’ The Peace Aftershow) 

1st February Leeds, UK @ Key Club *
2nd February Newcastle, UK @ The Cluny 2 *
3rd February Edinburgh, UK @ The Wee Red *
4th February Manchester, UK @ Star & Garter *
5th February Birmingham, UK @ The Flapper *
9th February Cambridge, UK @ Portland Arms *
10th February St Albans, UK @ The Horn *
11th February Brighton, UK @ Green Door Store *
16th February Southhampton, UK @ The Joiners *
17th February Bristol, UK @ Exchange *
18th February Cardiff, UK @ The Globe *
23rd February Turnbridge Wells, UK @ Forum *
24th February London, UK @ 100 Club *
25th February Nottingham, UK @ The Bodega *

29th February Drachten, NL @ Iduna ^
1st March Essen, DE @ Westadthalle ^
2nd March Valenciennes, FR @ Salle Des Nympheas ^
3rd March Maastricht, NL @ Muziekgieterij ^
4th March Strasbourgh, FR @ La Laiterie ^
5th March Heidelberg, DE @ Karlstorbahnhof ^
6th March Munchen, DE @ Backstage ^
7th March Ostrava, CZ @ Barrak Music Club ^
8th March Warzawa, PL @ Proxima ^
9th March Dresden, DE @ Tante Ju ^
10th March Berlin, DE @ Astra Kulturhaus ^

11th May Daytona Beach, FL @ Welcome To Rockville 

+ w/ Home Front, Abism, Beton Arme
* w/ Rifle
^ w/ Madball, Scowl, Sunami, Mindwar


The Chisel online:
Bandcamp / Twitter / Instagram

The Menzingers – ‘Some Of It Was True’ (Epitaph Records)

The Menzingers – ‘Some Of It Was True’ (Epitaph Records)

Recorded back in April of 23 in Texas These Scranton punks promised everything but never quite broke into the major league alongside Green Day and other premier league punks but they did keep churning out consistently good and wholesome records. Sure there is an injection of Americana via the likes of Gaslight Anthem and this latest album kicks off in glorious chest-puffed-out anthemic style with the upbeat and uptempo ‘Hope Is A Dangerous Little Thing’. Theres a maturity here that’s not so much in the end product but an underlying feeling ‘Nobody Stays’ is big verse and chorus with layers of vocals and a wall of sound. Its as if they’ve taken a deep breath and decided they are ready to step up to the next level and fill a void of arenas that needs loud guitars and some shouty lyrics leaning on the Americana side of things, acoustic guitars are strumming big chords, a wall of distorted youthful guitars and wholesome snare snapping drumming and that’s good.

There is also a dreamy side like the title track that has a radio-friendly side to it something say a Goo Goo Dolls perfected before becoming totally consumed by FM safe radio this has a bit of an edge going on. Usher in ‘Try’ with its loud guitars and harmonic solo that licks the intro before the verse gets going proper. Big chorus declaring that they are ready after a decade and a half to take what they can.

The record falls back into a safer radio-friendly tempo with ‘Come On Heartache’ with its tale of love and loss. I’m still scratching my head that this is album number eight they’re at the point where they can reflect with credibility and look forward in several diverse directions but not come across as overtly earnest or sickly Americana they are none of those things and keep enough grit in the songs and delivery. ‘Take It To Heart’ has a cool lick and a good chorus that’s one of the best tracks on the record.

‘High Low’ is another slow-burning song where the intro reminded me that Ryan Adams used to make records this good but disappeared off my radar. Before the record closes you have the uptempo joyride of ‘I Didn’t Miss You’ and then the record finishes where it began with another acoustic-led mid-paced rocker. There’s a lot of music to get through on this album and the highs are certainly that whereas the lulls are few and far between and there is enough sunshine here to dive in or add to a mixtape to familiarise yourself with the songs because this one I feel could be a slow-burning success and one come to the end of the year will still be hitting the turntable.

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Author: Dom Daley

The Wildhearts announce a special London Show

The Wildhearts announce a special London Show

The Wildhearts are proud to announce they will be headlining O2 Shepherds Bush Empire, London, on June 6th. 

“Join me, Jon Poole, Ben Marsden and Pontus Snibb for a world exclusive show, for which I promise you the biggest production the Wildhearts have ever put on. We couldn’t have got this far without the loyalty and support of you, The Wildhearts community. Come and celebrate the new beginning with us”. Ginger Wildheart.

For three decades The Wildhearts have remained at the forefront of the rock scene, and their incendiary shows have cemented their reputation and legacy as one of the best bands the UK has ever produced, so miss this show at your peril.

Tickets for the O2 Shepherds Bush Empire show go on general sale at 10am Friday 26th January and can be ordered here: https://www.ticketmaster.co.uk/event/3E006037A54F0E93

Frank Carter & The Rattlesnakes – ‘Dark Rainbow’ (International Death Cult)

Frank Carter & The Rattlesnakes – ‘Dark Rainbow’ (International Death Cult)

With 3 top 10 albums under their belts, tours with the likes of the Foo Fighters, festival headline slots, and a formidable live reputation, you could call Frank Carter & The Rattlesnakes a success story, but there was a point after their last album ‘Sticky’ in 2001, when Frank Carter and guitarist Dean Richardson questioned whether they had another Rattlesnakes album in them.

Yet thankfully, following a period of sobriety on Frank’s part and a great deal of soul searching, the duo return with the 5th Rattlesnakes long player entitled ‘Dark Rainbow’. While ‘Sticky’ was a love letter to punk rock and a reaction to the ongoing pandemic, ‘Dark Rainbow’ is a dark and brooding beast full of electronica and atmospheric soundscapes that looks back on the last few years of tumultuous times with themes of reflection and introspection.

If, after exposure to the first two singles, you were left confused and wondering what the hell happened to the punk rock energy of The Rattlesnakes, my advice is to bear with it and expect the unexpected with ‘Dark Rainbow’. Frank went into this album with a newfound sobriety, an introspective headspace, and a desire to take The Rattlesnakes into unchartered territories. The duo dug deep, took stock of all that they had done, and even reworked old song ideas that didn’t fit at the time. The resulting album is a mature rock record that takes time to connect, but give it that time and the rewards are plentiful.

Album opener ‘Honey’ bursts with QOTSA desert rock spikey riffage and cocksure lyricism. It’s a statement of intent and a winner of an album opener, it seems like it’s business as usual for Carter and Richardson. But the second track and first single release ‘Man Of The Hour’ is where it starts to get interesting. A more laid-back affair brimming with electronica and introspection, it’s a welcome departure for the band, and about as far removed from the likes of ‘Go Get A Tattoo’ that you could ask for. It sees the frontman question the whole rock star persona that he found himself thrust into and his ongoing disillusionment with it.

The pulsing electronica of the second single ‘Brambles’ is a showcase for the seductive and sultry soundscapes of ‘Dark Rainbow’. A spikey take on the trials and tribulations of getting lost in love, it sort of hits a sound that puts me in mind of the first two Garbage albums.

They do hit familiar territory throughout the course of the album. The thumping urgent beats and dense, overdriven riffage of ‘Happier Days’ sounds great and the anthemic rocker ‘Self Love’ is classic Rattlesnakes fodder more in tune with the feel of Pure Love or the more upbeat moments of ‘End Of Suffering’. These are the sort of songs designed to energize festival crowds and create mosh pits, and they are welcomed with open arms.

But it’s the haunting piano chords and lonesome vocals of ‘American Spirit’ that stick in the mind, the heart-wrenching, atmosphere created in ‘Sun Bright Golden Happening’ that will linger long after the disc has ceased to spin, the brooding verses of ‘Superstar’ that skulk along like daggers in the dark. These are the moments that set The Rattlesnakes apart from their contemporaries in 2024.

The closing title track is a brooding cinematic epic full of atmosphere and effects. Soaring vocals over electronic beats and an understated guitar refrain as it ebbs and flows to a dramatic climax.

‘Dark Rainbow’ is a brave departure for Carter and Richardson and sees the duo take stock of who they were and where they want The Rattlesnakes to go in the future. By turning the microscope on himself, Frank Carter has maybe exorcised those demons and pathed a future for The Rattlesnakes that wasn’t on the horizon after the last album. ‘Dark Rainbow’ is not as instant or as anthemic as previous offerings and it may see them alienate a portion of their older fanbase, but it sees the Rattlesnakes constantly evolve, constantly be inventive, and always deliver something that is unexpected. 

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Author: Ben Hughes

DESPERATE MEASURES NEW ALBUM ‘SUBLIME DESTRUCTION’ OUT MARCH 22ND VIA CADIZ MUSIC

<strong>DESPERATE MEASURES NEW ALBUM ‘SUBLIME DESTRUCTION’ OUT MARCH 22<sup>ND</sup> VIA CADIZ MUSIC</strong>

PRE-ORDER THE ALBUM HERE:

UK TOUR STARTS FEBRUARY 14TH WITH THE DEAD BOYS!

DESPERATE MEASURES, the high energy, London punk and rollers release their brand-new album ‘Sublime Destruction’ on March 22nd on Cadiz Music. Loaded with eleven personal and political, hook laden anthems, the album was written over the last two years and during the pandemic. Featuring previous singles ‘Thinking Of England’, ‘Back To The Rats’, and the title track ‘Sublime Destruction’, the album was recorded with Andy Brook (who has produced, engineered, and toured with the like of Status Quo, Ginger Wildheart, Wonk Unit, Hayseed Dixie) at The Brook Studios, Wallington, Surrey. From the opening roar of ‘Back To The Rats’, the Sex Pistols riffarama of ‘The Rich-Tual’ and the danced-up Stooges grooves of ‘Enjoy The Ride’, through to the Psychedelic Furs like ‘Untouchable’ and the epic ode to North London, ‘Seven Sisters’, ‘Sublime Destruction’, is anything but sublime. Instead, it’s a huge statement of intent from a band that back up their in-your-face attitude 100% on the stage.

Pre-order ‘Sublime Destruction’ HERE:

Desperate Measures are: Eugene Butcher (voctals), James Sherry (drums), Michael Gaffney (guitar/vocals) and Ricky Mc Guire (bass/vocals).

pic: Louise Phillips

Desperate Measures promote the album in the company of U.S punk legends The Dead Boys and the U. K’s Janus Stark at the following venues:

CATCH DESPERATE MEASURES ON TOUR IN 2024!

THE SUBLIME DESTRUCTION TOUR!

February

14 London Underworld w/ Dead Boys

15 Leeds Boom w/ Dead Boys

16 Manchester Rebellion w/ Dead Boys

17 Glasgow Ivory Blacks w/ Dead Boys

18 Birmingham The Asylum w/ Dead Boys

March

1 Stamford Mama Liz’s w/First Wave

2nd Gateshead the Black Bull w/Loudmouth

7th Coventry The Arches w/ Janus Stark

8th Liverpool the Outpost w/ Biteback

9th Cambridge Six Six Bar w/Janus Stark

15 Northampton-The Lab w/Janus Stark

16th Nottingham- The Old Salutation w/Janus Stark

21st Norwich-Bricklayers w/ Janus Stark

22nd London Koko w/Buzzcocks and Neville Staple

30th London Lexington w/The DeRellas, Thrill City

April

6th Bradford On Avon The Three Horseshoes Boa w/The Setbacks

June

21 London New Cross Inn w/Blitzkrieg

August

10 Turku, Finland.

October

Oct 4 London 100 Club with Menace & the Outcasts

Find Desperate Measures online at: FACEBOOK / BANDCAMP

The Boatsmen – ‘Hard Livin’ (Ghost Highway Records)

The Boatsmen – ‘Hard Livin’ (Ghost Highway Records)

Regarded as something of old hands at this Hard Rockin nonsense The Boatsman have gotten to album number four and ‘Hard Livin’ is exactly where I’d hoped they’d be. They’ve always turned in decent tunes and were working hard at wearing in these guitars and being the best they could be in a crowded field and on ‘Hard Livin’ my goodness I think they’ve blasted off into the next league up. This is big boys hard rock and these four hairy fuckers have absolutely nailed it.

Sure they’re not sailing far from the mother ship Action Rock but they’re armed to the teeth with better tunes and a more confident sound than ever before and like their Scandi neighbours Scumbag Millionaires they’ve upped their game noticeably and written better songs than ever before. Yes, it’s a lovely mixture of Motorhead, Turbonegro, Thin Lizzy, AC/DC, MC5, and a few snotty punk bands that they’ve cut their cloth trying to be as good as, and once the needle drops and the big entry of ‘Livin’ On Lust’ is off like a stray rocket. The thrashing of the riff is wild and reckless and I love that shit. It’s tight and set for maximum excitement and that’s the way to open your album, set your stall out get off to a fuckin’ flyer whatever superlative you like it’s a belter and the solo just kills.

If you think it’s a one-off buckle up mother fuckers because the gonzo punk rock of ‘I Wanna Clone’ is frantic and heading straight for the bull’s eye. ‘Why Wait’ is the first video off the album and sounding like The Hives feasting on a heavy diet of Hard Rock and Ramones melodies is a decent place to start full stop. It’s a decent representation of what the album sounds like but it’s not the best song on the album no sir. Nor is the rapid foot to the floor of ‘Foggy Man’ it’s like the European bastard son of The Hip Priests. ‘Take Me’ is riff after mother fuckin riff and cool as wearing a pair of aviators whilst cruising down the freeway in a Cadillac cabriolet with a bevy of beautiful babes in the back laughing at all your dad jokes.

The title track is like the Four Horsemen have just called you out and handed you a battle jacket and you need to go out and get stuck in for the team. It is a complete record and one that has plenty of exciting riffs and ideas within the songs and boundless energy all tied in with plenty of melody. The Boatsmen have landed and ‘Hard Livin’ is one hell of an album. Buy it!

Buy Here

Author: Dom Daley

FRANK CARTER & THE RATTLESNAKES -New Single ‘Self Love’

FRANK CARTER & THE RATTLESNAKES -New Single ‘Self Love’

Watch the video for ‘Self Love’ HERE

‘Self Love’ follows recent new album cuts ‘Brambles‘ and ‘Man of the Hour‘, which set the tone for Dark Rainbow’s path of self-evaluation and reflection. ‘Self Love’ finds its narrator steering along dark and twisting tracks in their attempts to forgive themselves, let go of guilt and pain, accept what can’t be changed, and look forward to a more compassionate existence. Frank Carter explains further:

“Self Love is a mantra to live by in honour of the relationship that truly matters, the relationship you have with yourself.

It can be easy to neglect yourself while spending energy fighting to win love from other people.

If you really care for yourself you realise you don’t need anyone else to be happy, and quite often when you stop looking for what you want the universe gives you exactly what you need.”

Hear new single ‘Self Love’ on streaming services here and watch the video below.

Pre-order the new album Dark Rainbow here.

The last time that many UK fans will have witnessed the band will have been at their sold-out Alexandra Palace show in London, or on the mainstages at Download and Reading & Leeds festivals, or headlining last summer’s 2000 Trees Festival. With the album’s release coming up this Friday, the band will take on a sold-out run of UK instores before embarking on their biggest tour to date. From February, they will headline shows through the UK, Europe, Australia and USA.

All tickets are on sale now from the band’s website here.

Frank Carter & The Rattlesnakes World Tour 2024

06 Feb – The Great Hall, Cardiff, UK
07 Feb – O2 Academy, Bristol, UK
09 Feb – Academy, Manchester, UK
10 Feb – Northumbria Uni Student’s Union, Newcastle, UK
11 Feb – Barrowland, Glasgow, UK
13 Feb – O2 Academy, Leeds, UK
14 Feb – Wulfrun Hall, Wolverhampton, UK
15 Feb – Roundhouse, London, UK
16 Feb – Roundhouse, London, UK
22 Feb – Metropol, Berlin, DE
23 Feb – Live Music Hall, Cologne, DE
24 Feb – Le Bataclan, Paris, FR
26 Feb – AB Main Hall, Brussels, BE
27 Feb – 013 Poppodium, Tilburg, Netherlands, NL
16 Apr – Magnet House, Perth, AUS
18 Apr – The Gov, Adelaide, AUS
19 Apr – 170 Russell, Melbourne, AUS
20 Apr – Barwon Club, Geelong, AUS
23 Apr – Triffid, Brisbane, AUS
24 Apr – Crowbar, Sydney, AUS
13 May – The End, Nashville TN, USA
14 May – Subterranean, Chicago IL, USA
17 May – Horseshoe Tavern, Toronto, ON,CAN
20 May – Foundry, Philadelphia PA, USA
21 May – The Gramercy Theatre, New York NY, USA
22 May – Atlantis, Washington DC, USA

Slade set to re-release two more albums

Slade set to re-release two more albums

Slade continue the official deluxe vinyl album reissues series with the never before released on vinyl with ‘Live At The New Victoria’ and ‘Till Deaf Do Us Part’. Pre Order Here

SLADE and BMG Records proudly continue their new series of limited edition vinyl reissues and deluxe CDs, with the release of Live At The New Victoria and Till Deaf Do Us Part onFriday 23rd February 2024.

These new beautifully presented album reissues find Live At The New Victoria, made available on vinyl for the first time ever, when it is released on double blue and white splatter vinyl, and Till Deaf Do Us Part will be available on white with black splatter vinyl. Live At The New Victoria will also be available as a CD digipack and the Till Deaf Do Us Part CD is housed in a deluxe mediabook, which includes an original extended essay and two bonus tracks.

Live At The New Victoria recorded on April 26 1975, captures the band as they toured the UK promoting their feature film, In Flame. Still riding high on their successes of the early 70’s, Slade rode into London’s New Victoria Theatre for two nights. The second of these shows was recorded for posterity and retained in the band archive for over 4 decades.

Live At The New Victoria features the highly regarded ‘How Does It Feel’, as well as classic hits ‘Gudbuy T’Jane’, ‘Far Far Away’ and ‘Mama Weer All Crazee Now’ plus long time stage favourite ‘Just A Little Bit’. The album presents a fitting snapshot of the group’s powerful live performances. 

Following the success of 1981’s We’ll Bring The House Down, Slade continued their new found resurgence with Till Deaf Do Us Part. 

The album features the single Lock Up Your Daughters as well as other tracks that were to become staples of the Slade live set over the years including ‘Rock and Roll Preacher’ (which became the band’s new opener) as well as Ruby Red and Knuckle Sandwich Nancy.

Formed in Wolverhampton in 1966, the iconic Slade are without doubt one of the most exciting bands to ever come out of Great Britain. The sensational songwriting partnership of Noddy Holder and Jim Lea wrote no less than 23 Top-20 singles, of which 6 were No.1. Slade with their unique blend of perfect pop-rock’n’roll, outrageous flamboyance and pure fun, also produced multiple hit albums. 

With a chart career that has spanned 3 decades Slade have become a firm favourite in the hearts of pop fans all over the world.

To order Live At The New Victoria and Till Deaf Do Us Part  go to: slade.lnk.to/newvicdeaf

To order other releases in this series of limited edition vinyl reissues and deluxe CDs, including ‘Sladest’, ‘Slayed?’, ‘Old New Borrowed And Blue’, ’Slade In Flame’ , ‘Slade Alive!’ , Nobody’s Fools andThe Amazing Kamikaze Syndrome go to:https://slade.lnk.to/OfficialStore

NEW ALBUM RELEASED FEBRUARY 9th VIA GUESSWORK RECORDS

NEW ALBUM RELEASED FEBRUARY 9th VIA GUESSWORK RECORDS

PRE-ORDER THE ALBUM HERE:

Forming in 2018 – Guitarist Pete Greenway, drummer Keiron Melling and bassist Dave Spurr, formerly known as the last and longest serving line up of The Fall, were invited by Damo Sazuki to join him as “Sound Carriers” for a one-off performance at the White hotel in Salford. Rekindling their necessity for music, they set about searching for a vocalist. After a chance encounter at a pub in Colne and a lengthy conversation about the future of Imperial Wax, they decided to team up with Sam Curran, guitarist and vocalist from Leeds based punk band Black Pudding. Once Dave decided to leave the band in 2019 the obvious choice was to recruit another former black puddinger Shane Standrill on Bass

As the pandemic ground the country to a halt, Keiron and Sam set about brewing the beginnings of the follow up to their 2019 debut, ‘Gastwerk Saboteurs’. In stark contrast to the writing style of their debut, where the songs were created all together, written and recorded in the same day. The bare skeleton of ‘Tranquilliser’ was written mainly as a two piece amidst the lockdown. Pete and Dave eventually adding their own parts later but overall allowing the band much more time to craft the songs into a cohesive, well-rehearsed, studio budget friendly collection of tracks.

The forced contemplation of excess time gave an approach which was totally unfamiliar to what they were used to and naturally cultivated a more complex style of song, meaning more parts, more changes and less playing off of other band members. After Dave’s departure former Black Pudding bass player Shane Standrill stepped up to the oche, bringing with him a different playing style and thus changing the sound of the band even further.

Dave had already laid the groundwork for the whole album, but after the failed first lot of recordings at their own practice space in Lancashire and with Shane’s new take on Dave’s parts, the band decided to go and re-record the whole thing properly at HOHM Studios in Bradford.

Sam found himself working in a chateau in the south of France, who was also in the midst of a lockdown. Allowing him a plethora of time and solitude to begin writing lyrics. There wasn’t much else to do in the evenings except read and write. Not many opportunities can provide such an uninterrupted environment to immerse yourself in the writing process, which was something Sam took full advantage of. Inspired by the works of Joseph Conrad, William Burroughs, Herni Cherrier, Mashima, Olga Tokarschuk and many more.

The main problem for any small band always boils down to money and that was certainly the case with Imperial Wax, so after a few failed label offers the band looked into releasing the album themselves. Upon realising the potential of having total control over your own release, the only problem was that no one had a clue what they were doing, hence the name Guesswork Records. It was a venture Keiron had long been keen on since his time in the Fall, after he and Mark had planned their own label which ultimately never came into fruition with MES’s untimely demise.

Another unexpected blow was finding out that Pete had contracted the dreaded long covid. The band held out for a long time hoping that Pete would start showing signs of improvement which unfortunately never came and is still up in the air to this day. No doubt he will back in the saddle eventually but for now Imperial Wax have enlisted former Cabbage guitarist Joe Martin. After the fairly public collapse of cabbage along with his own personal struggles it was a case of right place and right time when Keiron bumped into Joe in Colne. They needed a guitarist and Joe filled that requirement. Along with the very recent addition of former the Fall/PJ Harvey bassist Ding, who has taken up the role of synth, Imperial Wax are well armed to take on many more year’s future musical ventures.

FOLLOW IMPERIAL WAX – SPOTIFY | BANDCAMP | INSTAGRAM | FACEBOOK