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Ming City Rockers – ‘Clementine’ (Self Release)

Ming City Rockers – ‘Clementine’ (Self Release)

One of the most anticipated albums of 2025, two years on from ‘Lime’, I am very happy to have ten, new tunes from Ming City Rockers still ringing in my ears. There’s a lot of love for the Immingham trio here at RPM headquarters. Welcome to ‘Clementine’…

You should already be acquainted with the opening two songs, ‘I’d Like To Assist You (But My Head’s Too Small) and ‘Oh My God’, which set the tone nicely. Like the bastard offspring of Pete Shelley, they have a way with a simple, effective tune and catchy melodies, rather than overindulgent solos.

‘Plastic Recycling Facility’ continues their fine line in addictive “la, la, la” choruses. I first saw them at Rebellion festival in 2015, they were great then, and have gone on to hone their sound. ‘Seven Ate Nine’ is like an acerbic nursery rhyme, and ‘Window’ zips by in just under two minutes, complete with wonky keyboards.

‘Pounds And Ounces’ is even shorter, but you’re not being short changed, cause you’ll be playing it again and again. Believe it or not, ‘Blood In My Socket’ is even shorter, advert length but equally memorable, while ‘I Wanna Find A Way So I Don’t Feel Like Me Ever Again’ is reminiscent of The Only Ones. You can’t begrudge short songs when the tunes are this good.

‘Bad Luck Machine’ ups the volume and vitriol to pleasing effect. It’s easy to forget that some groups work and study whilst writing, recording and playing live. Obviously, making a living from your art is virtually impossible nowadays, but nevertheless they deserve credit for making music that is as good as its influences. ‘10, 3 Of 4’ sees Morley take lead vocals and the sound expand, showing that the band aren’t stuck in a corner, sonically speaking. It’s actually quite beautiful.

I missed out on owning a copy of ‘Lime’ as it sold out. I won’t be making the same mistake this time, and neither should you. Get your preorder in, you deserve it, as do Ming City Rockers.

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Author: Martin Chamarette

Punter – ‘Australianation’ (UK Drunken Sailor Records/ Australia via Televised Suicide Records, Green Noise Records (USA)

Punter – ‘Australianation’ (UK Drunken Sailor Records/ Australia via Televised Suicide Records, Green Noise Records (USA)

Every now and then an album comes across your path that will have a real impact and knock you off your feet, almost a physical thing that can be awe-inspiring and breathtaking. Not to be too hyperbolic but Punter did that when I was sent this to review I was instantly blown away. The first play was exhilarating and I had to take a break and do something else then go back to it a day later just to see if I’d lost my senses or if my first impression lasted into the second and then the third and so on. Fuck me sideways, this album is the dog’s bollocks I liked their debut EP from a few years ago bu tthis is next level. I have no idea why, it’s not original nor is it so groundbreaking it’s genre-defying or something so new  I can’t make head nor tales of it. It’s a loud rapid punk rock record from Australia (der the cue is in the title) but the delivery and passion contained within touched me like a visit to Lourdes and a dunk in the holy water of punk rock n roll.

‘Safe In The Bubble’ starts it all off with a simple scuff of the guitar before going in both feet first it’s hardcore but with bells and whistles and so much more. The vocal spit in with more venom than I’ve heard in a while all whilst the guitars slash and hack but the sum of its parts only goes to make the devastating racket that is my soundtrack for the last month or so. Hell, there’s even bagpipes for fucks sake. Bon Scott would have thrown his pipes in the Sydney Harbour if he’d heard this and how to wheeze that bag of air.

The title track is along next with a swift metaphorical kick to the nether regions to take your breath away.  There’s something quite beautiful about a band that captures such beauty in such visceral and punishing styles. Punter have their collective finger on the pulse as the music gets faster and more manic but it explodes into a calming acoustic guitar outro that I didn’t see coming.  If you think that was brutal ‘Turf Layer’ is up next just to poke you in the eye with a very blunt stick but you keep going back for more.

It’s the soundtrack to the best bar brawl ever and could power a fleet of electric cars for days on one frantic play. ‘The Golden Hour’ almost eats itself before ‘Chin Stroker’ is like a rabid dog out of control in a supermarket taking out anything in its path – frantic – brutal take your pick this shit is happening and I fuckin love it.

Its not all thrashing about smashing everything in its path, oh ok it is but ‘Bone To Pick’ is a bit more mild-mannered and more measured with its twelve-bar riffage and a solo that’s tap tastic and like a missile boring into your ear.

The fact there are thirteen songs on this album is mental it’s spoiling us to the point that anyone hearing this should do so on their own it’s dangerous.  ‘No Normal’ is tub thumping tastic – oh fuck it you get the picture this record is the bomb and you should just get a copy its as if Clowns have joined forces with Bronx and a whole host of other great bands and joined forces to write an album that sets the tempo for all future punk rock releases.

‘Rise OF The Technocrat’ is a runaway bassline and hack n slash rampage on the guitar it’s bloody dangerous, seriously don’t drive whilst listening to this or your heading for a world of trouble. In fact this album’s thirteenth offering is the album’s finest and it would seem that everything to this point has been merely setting the way.  @It Aint Pretty’ is spot on and the absolute zenith of how to do punk rock hardcore style in 2025. Buy this album right now, don’t think about it just trust me and get your grubby hands on a copy it’ll blow you away. Absolute fuckin killer!

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Author: Dom Daley

Tyla J. Pallas ‘Gilding the Lily’ (King Outlaw/ Cargo)

Tyla J. Pallas ‘Gilding the Lily’ (King Outlaw/ Cargo)

Tyla has soundtracked about 37 of my 51 years here on Earth. For me, it all started with ‘In the Dynamite Jet Saloon’ by the Dogs D’amour. The first time I heard them was a life-changing experience where the band resonated deep in my soul through their songs and music. I still vividly remember the moment. Over the years, Tyla has continued to create a catalogue of songs that I can tie to specific moments in my life. I am not sure what the total number of releases between the bands and his solo work currently is. I might need to do a count after writing this review since it will take a while and may require a calculator. Over the past few years, Tyla has continued to strike gold for me with the Balladmongrels and the latest version of Dogs D’amour where he has incorporated some new elements in the likes of ‘Tree Bridge Cross,’ magical acoustic moments like ‘Ghosts,’ and bluesy diamonds like ‘Serpents Kiss.’ After 40 plus years of writing and performing, the perceived expectation is often musical artists cannot continue to develop and expand. With Tyla, there has always been an ability to blend the familiar with some new tricks. I think back to the acoustic brilliance of his first self-release ‘Nocturnal Nomad’ which is another of my all time favorite albums. Why have I dragged on and on about all this? ‘Gilding the Lily’ showcases new twists into Tyla’s sound but also recalls magical moments from his musical past.

Tyla has described this as a ‘guitar album,’ and there is definitely an abundance of lead guitar across these 18 songs with Jamie Turnbull providing plenty of opportunities to break out an air guitar in a way that I have not done since the likes of the ‘Girl Behind the Glass’ and ‘Rollover.’ Ironically, the album starts off with one of a couple of songs that have not totally grabbed me in ‘Baptism of Fire.’ It has grown on me with each listen, but there is some vocal repetition that can distract from what is going on musically. There is great piano work in the song, and it does start the album off with a rocking feel. ‘Cadillac Man’ is another upbeat rocker with some excellent lead guitar weaved through the song. As the lead single from the album, it is an inspired choice. This is prime material that would be just as home back on ‘Errol Flynn’ as it is here and still sounds fresh. The backing vocals are excellent as well. Next up is another of my favourites in ‘Glory Days.’ This is an acoustic rocker that recalls ‘Nocturnal Nomad’ or ‘In Life In Love In Dreams.’ The strings provide great depth to the song, especially the violin that breaks up that first chorus from the second verse. Tyla’s vocals here are outstanding. The electric guitar provides great accents to the song and provides some brief tasteful air guitar moments as well.

The title track slows things down for another stellar vocal performance. Musically, it would not be out of place on ‘The Life and Times of a Ballad Monger’ or ‘A Graveyard of Empty Bottles.’ The mix allows each instrument space to breathe and paint the musical canvas. We return to more rockers with ‘Gunfight’ opening with a lot of electric guitar and musically akin a little bit to the ‘Bloody Hellfire’ album. It is noisy and hopefully has an opportunity to shine in the live setting. Writing this, it dawns on me that this one and ‘Baptism of Fire’ might have been swapped if I did the sequencing. ‘Killerstown’ showcases another excellent vocal on a midtempo rocker that again recalls the likes of ‘The Life and Times of a Ballad Monger’ album.

The first epic type number is next in ‘Don’t Ever Stop Loving Me’ which starts acoustically and builds in power. The electric guitar here takes the song to another level. I sound like a broken record, but Tyla’s vocals on this album are some of the best he has ever put on tape (or digital). ‘Mickey Roses’ reminds me a bit of the previously mentioned ‘Serpents Kiss’ from ‘Jack O Byte Bluesy Volume 1.’ This is another favourite from the album and inspires some air guitar work to go with my very poor singalong, which doesn’t worry I do where no one can hear me. Closing out the first half of the album with the one other song on the album that has not completely clicked with me ‘I Really Love You.’ It is an upbeat acoustic number that, for me, suffers a bit because of the repetition in the lyrics. It also falls victim to the songs that come before it and what follow it on the second half of the album.

Kickstarting the back half of the album, Tyla delivers an epic that when I first heard it reminded me of his classic ‘The Town’ with an electric feel. ‘Human After All’ is a showstopper of only electric guitar and vocals where the guitar notes and Tyla’s vocals intertwine with one another perfectly. How do you follow up a masterpiece? Cue excellent rocker ‘It’s a Shame’ that provides another singalong tune which hits me a little harder at the moment because of my Dad’s health. Raise a glass to those that you have lost in your life. ‘In Plain Sight’ slows things down a bit but also provides plenty of glorious noise. If you want a past comparison, this is one that recalls side B of the ‘Libertine’ album where something like ‘What If’ rose and fell in musical intensity. The difference here is the added tasteful guitar solo and nuances across the song, which is the longest on here by a hair.

‘Religion Kills’ follows and is our second longest on the album. The drum work is outstanding and really helps create a hard rocking epic song. There are some distorted vocals added at the beginning to give the song a different feel. Tyla’s vocals here slay. The guitar is upfront in the mix as well to create an urgency in the song’s feel. If I had to find a comparison, I might go with a full band and studio version of something from the ‘Mightier than the Sword’ albums. After two epic songs, Tyla delivers another excellent midtempo song with some brilliant lyrics in ‘The Special One.’ There are not many choruses that work something like ‘egocentric narcissist preoccupied with power’ into its hook, but this one does masterfully. ‘Do Anything’ is a slow bluesy rocker that showcases more excellent guitarwork and vocals.

Our final songs of the album begin with Tyla whistling over the music to start ‘River of Death.’ It bears repeating again that Tyla’s vocals on this album are incredible. This is another song that hits me deeply for personal reasons, and it hits harder and harder on me with each listen. Our last epic on the album is ‘Written in Heavy Blood’ and provides lots of opportunities for the air guitar to get a workout. The song has a great groove and vocal hook to it. Acoustic closer ‘Love Will Find You One Day’ works perfectly in its tight 90 second length to bring the album to an end.

I am sure one of the ‘complaints’ about the album will be its length at 18 songs in just over an hour. It is a lot to process over the first 5-10 listens, but I would not eliminate anything here. The two songs that didn’t initially connect with me have each continued to grow with every listen. I hate to think how many songs Tyla has written at this point and love that he continues to find new ways to innovate what he does and add new wrinkles. If you are a fan of his work, I think you will love this album. If you have never heard him, this serves as a really good starting point, and I don’t think I could say that about too many artists 40 years into their career. The first quarter of the year has seen a few dynamite releases already, and this one is another that will be challenging for my album of the year. ‘Glory Days’ are the here and now.

‘Gilding the Lily’ is officially released March 14, 2025.

Buy Here or direct from Tyla – https://www.tylasarttavern.shop

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Author: Gerald Stansbury

Crymwav – ‘Sense Of Adventure’ Video

Crymwav – ‘Sense Of Adventure’ Video

West coast rockers Crymwav (Pronounced ‘Crimewave’) release new single ‘Sense Of Adventure’, a blend of the energetic punk sound of Angel City with the gothic rock flair of The Damned. Itfollows the late 2024 release ‘Contagious’. Both singles produced by JJ Blair (Rod Stewart, Jeff Beck, Weezer) are a taste of what’s to come from the forthcoming album, slated for a summer 2025 release. The LA rockers are crossing the pond to play a show at the famous Iron Maiden pub the Cart & Horses in London England on 28th March, also on the bill Syteria, who feature Girlschool lead guitarist Jackie Chambers, and Star Circus.

Social Media/Online

Crymwav.bandcamp.com

http://www.instagram.com/crymwav

http://www.Facebook.com/Crymwav 

https://www.youtube.com/@Crymwav

Split Dogs – ‘Here To Destroy’ (Venn Records)

Split Dogs – ‘Here To Destroy’ (Venn Records)

We’re just heading into March, and already I’m reviewing my second potential album of the year. And both albums are virtually EP length, which may raise some eyebrows. The (slim) link to prog is that ‘Here To Destroy’ is the same length as ‘Supper’s Ready’ and they’re both fantastic, in very different ways.

The Dogs’ second album literally kicks off with ‘Stay Tuned’ and doesn’t let up for a moment of its 22 minutes, their intention is clear from the start. You should be familiar already with the likes of ‘Monster Truck’, which, on listening today, reminds me of the mighty Sick Livers. Now that would have been a great double headliner! ‘Lafayette’ has been on repeat chez moi since release, showing the band have range and a love of Northern Soul. What’s not to like? Similarly, ‘And What?’ and ‘Precious Stones’ are pleasingly familiar by now, the latter a ferocious tune and hypnotic video.

‘Animal’ is two minutes of focussed fury, “I’ll hunt you down and bite it off”, but what I love is that the band never lose sight of the tunes. Noise has to have great tunes to keep you hooked, and they’re all over ‘Here To Destroy’. ‘Be A Sport’ is like a rabid Giuda, while ‘Meg’ is one and a half minutes of pure adrenaline. ‘All In’, complete with cowbell, is even danceable, should you have the level of energy required. I’m there in spirit! You should have ordered this already, it’s vital, raging, inspiring and a lot of fun. Catch them on tour.

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Author: Martin Chamarette

Supersonic Deuces – ‘Deuces On The Loose’ (Screaming Crow Records)

Supersonic Deuces – ‘Deuces On The Loose’ (Screaming Crow Records)

Rome Italy’s Supersonic Deuces is the brain child of Andy Angelini (Stormlord) and Dave Scala (Enemynside). Formed in 2005 Andy and Dave started the sleazy rock band, Stick It Out (Sliptrick Records). Wanting to push further into the realms of Action and Garage Rock and drawing inspiration from the punk and Scandi Rock N Roll scenes, the band recruited Dave’s brother, Dan Scala, as well as Francesco “Franzi” Bucci and Supersonic Deuces were born.

After a debut EP, ‘Hey Now!’, released in 2022, My first introduction to the band was via a split 7” with Swedish action rock comrades Scumbag Millionaire.

Drawing influences from Action Rock legends like Backyard Babies, The Hellacopters and parts of Turbonegro, Supersonic Deuces highly anticipated debut album, “Deuce On The Loose” is set for a worldwide release on March 21, 2025. The album is exactly what you would imagine from four heavily tattooed, Trucker cap-wearing facial hair-sporting rockers with Orange amps turned up to the max and a penchant for Wah pedals there’s no escaping the Rock. From the off its full tilt Rockin as ‘Haze The Hides’ nails their colours to the mast with a bullet. Rapid rockin’ par excellence, they’ve obviously been paying attention and the songs come thick and fast. I particularly enjoyed the fucked up fuzzed-out ‘Hole Shot’.

It’s not until the mid-tempo of ‘Twenty-Four Seven’ that they ease up but it’s still every corner is filled with guitars and clocking in at over five minutes the band isn’t afraid to take you on a trip.

Keeping the tunes around the perfect three-minute single mark they ignite again for ‘Bored Stroked’ and the punchy Stooges-infused piano tonk that is ‘Hey Now’. ‘I’m Alright’ is a foot in Hellacopters land and the other splayed on the monitor drenched in beer and axel grease if only Backyard Babies still rocked this hard eh.

The ten-song salvo cuts and runs with ‘Knocks Off’ and leaving on a high is always good. I’ve not really played a tonne of Action Rock for a while and these guys box themselves in the category with a swagger and their heads held high – Supersonic Deuces rock like fuck and I’m sure if they were to turn up in a bar and plug in I’d thoroughly appreciate the cut of their jib and these Italians pass the test with flying colours and ‘Deuce On The Lose’ walks the walk. Check em out baby it’s only Rock n Roll and I like it!

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Author: Dom Daley

‘Status Quo – Live!’ – Super Deluxe Edition

‘Status Quo – Live!’ – Super Deluxe Edition

Across 8CDs, for the first time ever, the full live sets from the 3 legendary nights in 1976

Status Quo release ‘Status Quo – Live!’ on 16 May 2025 on Edsel Records as a super deluxe 8CD edition [Cat No EDSL0234] that has been described by Classic Rock as “The holy grail for fans of the ‘Frantic Four’ line-up”. This collection offers up – for the first time ever – the full live sets from each of those legendary nights at the Glasgow Apollo Theatre in 1976. The set is delivered in a deluxe 7” box format, with the 8CDs, fold out wallets, and a 24 page illustrated booklet. This edition contains the original ‘Live!’ album itself, newly mastered – plus the original mixes – as well as the full concert recordings from the 27th, 28th and 29th October 1976, which have never before been released in their entirety.
 
Additionally, for Record Store Day 2025, there will be 2LP coloured vinyl exclusive release of the full newly mixed and mastered concert audio from night one – 27th October 1976 – of the Glasgow Apollo Theatre run . This will be available on both ticket stub mint, and blue 140g vinyl, coming with a single sleeve, printed inners, and 5mm spine,


The first live album that they released commercially, the original ‘Live!’ album is an amalgam of those three performances: ‘Status Quo – Live!’ the Super Deluxe Edition offers up each of the concerts in full.
 
The audio for this release has been mixed and mastered from newly-discovered multi-track tapes (one was in a mislabelled box marked Peters and Lee!) that came to light after some forensic tape library work by Andy Gamble. Francis Rossi, who wasn’t fully happy with the audio quality of the original album, has since given this project his personal seal of approval. Originally recorded using the Rolling Stones’ Mobile Studio (also known as the RSM), a studio that was built inside a DAF F1600 turbo truck, the audio has been newly mixed from the source 24 tracks and remastered at AVP Productions Ltd.
 
The 7” boxset also contains new sleeve notes by Classic Rock’s Dave Ling, chronicling the making of the record, and the impact that it had upon release. The booklet is crammed with biographical information, photography and memorabilia relating to the shows, and is rounded off with a bonus article from Andy Gamble (AVP Studios) about the mastering processes and sound engineering behind the release.
 
‘Live!’ has long been regarded as the pinnacle of live rock albums of the seventies, and beyond. It was a Top 3 UK Chart hit for the band. This is Quo at their loudest; noisiest; and at their peak. The ‘Status Quo – Live!’ Super Deluxe Edition offers the full story, and the full experience, of a seminal moment in Rock history.

Pic Credit: Chris Craske

The Wildhearts – ‘The Satanic Rites Of The Wildhearts’ (Snakefarm Records)

The Wildhearts – ‘The Satanic Rites Of The Wildhearts’ (Snakefarm Records)

The ongoing saga of The Wildhearts: round 2025. Love him or loathe him, you’ve got to admire Ginger Wildheart for keepin’ on keepin’ on and delivering the goods. Whether it be under the guise of The Wildhearts or any of the solo/side projects, over the years he has united, divided and sometimes ostracised his fan base. But one thing we can all agree on is that life as a Wildhearts fan has never been boring!

I thought The Wildhearts were over (again) after the messy ‘21st Century Love Songs’ tour was done and dusted. By all accounts the other band members were done and not interested in doing another Wildhearts album. So, what does the main man do? He gets Jon Poole back on bass, former Main Grains/Spangles man Ben Marsden on guitar and Bonafide singer Pontus Snibb on drums to make the best sounding Wildhearts album since, well since at least ‘Chutzpah!’ in my humble opinion. 

I must admit, I didn’t get the last Wildhearts album ‘21st Century Love Songs’ at all. To me it sounds unfocused, a mash of second-hand ideas and ultimately the sound of a man going through the motions. The antithesis of a Wildhearts album for me. Maybe all his best moments HAD finally been used? I was expecting ’The Satanic Rites Of The Wildhearts’ to follow suit, and I am glad to report I was wrong…very wrong.

Billed as spiritually and sonically a throwback to the 1993 debut album ‘Earth Vs..’ (check out the cover art), ‘The Satanic Rites..’ has all the hallmarks you want from a Wildhearts record, but in all honesty, it doesn’t sound anything like that debut. 

With Ginger going through a transitional period from negative to positive mindset, and the sonic influence of Jon Poole’s bass playing, it sounds more like The Wildhearts circa 2003 or even the sprawling ‘555%’ triple solo album to these ears.

For all the purists saying it’s not a Wildhearts album without CJ, Rich or Danny, check out the history books, dudes! Drummers, bass players and guitarists have come and gone, all great and all bring their own thing to The Wildhearts, but the catalyst has always been Ginger, and if he says it’s a Wildhearts record then you best believe it is.

‘Eventually’ opens proceedings with a wall of jarring, regimental riffs and acerbic, guttural vocals that build to a killer, instant chorus. Upbeat and euphoric, with proggy bass leanings and more twists and turns than a Tarantino movie, it comes on like a ‘555%’ lost outtake, in a good way. The crisp production from Jim Pinder just seems to accentuate the mash of melody and crunching guitars. Fabulous stuff indeed.

The ‘Earth Vs’ influence rears its head on next track ‘Scared Of Glass’, a sure-fire future live favourite. That riff and the ensuing instrumental madness brings to mind ‘Everlone’ and the euphoric “woah-woah” build will lift your mood better than any drug could (maybe). Now that, my friends, is a bonafide Wildhearts song.  

‘Troubadour Moon’ is classic Wildhearts single fodder. Lyrically, it explores the dying breed of songwriters and travelling musicians we all fell in love with back in the day. Musically, it has one of those catchy, instant hooks that Ginger just seems to have in abundance, and leaves you wondering how you survived without it in your life. On first listen it sounded great to these ears. Now, in the context of the album it feels like revisiting an old friend. 

The snotty and defiant ‘Kunce’ (read it again and laugh) is a middle finger to all naysayers. A 3-minute stab of punky, pop music to round off side 1 nicely. Just what the doctor ordered.

Dropping the virtual needle on side 2 and ‘Maintain Radio Silence’ is far from silent and not really radio friendly at all! A bile-spitting fest of a verse builds to a sonically seductive hook. There’s plenty of tasty guitar work going on and it all sounds exciting and thoroughly exhilarating on the first few runs through. It’s sure to be a grower.

The urgent beats of ‘Blue Moon Over Brinkburn’ introduce another banger that harks back to the early solo albums in feel. With a chorus that will bury deep and all sorts of musical craziness going off on tangents, it’s an album highlight for me.

This album is not all perfect though, several songs, while I certainly wouldn’t call fillers, scream ‘album track’ if you know what I mean. ‘Hurt People Hurt People’ is the introspective and heartfelt curveball on the album that just seems to miss the mark, ‘Fire in The Cheap Seats’ sounds magnificent for the first minute but lacks that killer chorus, and ‘I’ll Be Your Monster’ doesn’t scare like its title suggests, although that crazy sax break was unexpected! Now, this could all change once the album beds in. Sometimes, my least favourite album tracks become winners in the end, that is the beauty of Ginger’s songwriting. 

Then we come to the epic album closer ‘Failure Is The Mother Of Success’. One of those Ginger compositions that grows with each play. A brave choice for a first single, it gets better with each listen, and you notice more with each listen. The killer hook, the proggy breakdown and the euphoric time changes. A mash of song ideas that give that experimental juxtaposition we have come to love and expect. It comes on like a ‘…Destroyed’ era b-side (and we all know how good they are!). The “you took a lot of knocks to get where you are today” refrain leaves a lasting impression long after it has faded out.

With ‘The Satanic Rites…’ my faith in The Wildhearts has been restored. For me, it’s a stronger and more focused album than the previous 2 releases. 

A new Wildhearts album needs time to bed itself in, and while it’s early days, I feel given time it’s going to be up there in the discography with the best of ‘em.

The moral of the story? Never give up on your heroes, as they need you as much as you need them and one day they may just surprise you when you least expect it. 

An (in)glorious return to form, buy or die. 

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Author: Ben Hughes

Bob Mould – ‘Here We Go Crazy’ (Rise Records)

Bob Mould – ‘Here We Go Crazy’ (Rise Records)

Album number bazillion from alt-rock noisemaker and all-round legend Bob Mould. Often his records are slow brain bombs that burrow in, hunker down then one by one they explode into technicolour and can’t be cured by conventional remedies or medical help you just have to live with them and enjoy them a little more every play. ‘Here We Go Crazy’ has sort of dropped from out of nowhere. His last album ‘Blue Hearts’ was released in 2020 I’m finding that hard to believe to be honest because I’ve played it consistently since its release and his box sets ‘Distortion’ isn’t far from my record player either.

For the uninitiated Mould came out of the Hardcore scene with Husker Du and became a firm favourite in the counter-culture music scene often sighted as a big influence on many bands that followed. Mould has carried that burning Hardcore soul inside throughout his career but has settled into the elder statesman of the alt scene with his strong melodies tied to some very loud guitars and his music is a feast when you latch on and drink it all in. From Husker Du to Sugar to his solo work the guy has high standards and is showing no sign of slowing down or losing the passion that drives his music.

‘Here We Go Crazy’ on the first play sounded raging and bursting with highlights, there is an energy that hasn’t been so instant. You wouldn’t say Mould has ever been a “singles” artist but boy this record has plenty jumping out of the speakers. The second track ‘Neanderthal’ is epic in the best possible way it rolls in like a streamlined jet fighter on one of Mould’s huge riffs as the snare snaps and snarls like a rabid dog, Bloody fantastic and almost breathtaking as it swoops down and fills your ears with the sharpest riffs.

It’s full of comforting familiarities and envelopes the listener with a warm wholesome feeling that no matter if the world is on fire and turning into a despotic shit show some things can ground you and one of those is the sound of a warm melody courtesy of Bob Mould. ‘Breathing Room’ is majestic its like a proud Dad giving a child a warm embrace – Mid tempo, big guitar, even bigger floor tom thump and a wall of harmony that’s simply awesome.

I often try and temper my excitement when listening to albums I’ve been anticipating just incase my first reaction is not one of gratifying enjoyment or a few plays in I still wrestle with the album and the flow but this is none of that it’s reaching every preconceived high bar and continuing to get better the more I live with it. Hell, ‘Hard To Get’ is my go-to cooking song and the louder the better singing the chorus is life-affirming.

There’s no lull at all the chaff isn’t here and considering the career and output Mould has delivered it’s remarkable that in 2025 he just gets better and exceeds expectations all over the shop. I always think an acoustic song would be nice here after he’s been raging for a few songs just to get my breathing back down so it was most welcome when ‘Lost Or Stolen’ took me on a detour of epic acoustic proportions and the acoustic bass is the clincher really setting the mood and as the song reaches its peak the tambourine is as aggressive as it gets. To bring it back into the electric sphere ‘Sharp Little Pieces’ snarls and snaps. As usual, the record is splattered with great lyrics and verses that hang on some wicked melodies sometimes I feel there’s some Bowie being channelled on ‘Thread So Thin’ and the high and low vocals crossover works wonders drawing you in and demanding your attention.

To take this one home the atmospheric ‘Your Side’ is Mould dealing with some deep feelings and philosophical outlook. A dreamy first ninety seconds before kicking in a huge wall of found and the album is done. Another fantastic offering from Bob Mould and continuing to amaze and surprise me with his twisting and turning throughout his albums that always turn in some of the finest songs and as he gets older he defies logic by getting better and refining his already amazing songwriting skills. Longtime fans will absolutely fall in love with ‘Here We Go Crazy’ and new fans will wonder how on earth they managed this far without this guy’s songs filling up their head. Buy it!

Dead Mint – ‘Dead Mint’ (Self Release)

Dead Mint – ‘Dead Mint’ (Self Release)

In early 2023, due to not being in active bands at the time, 4 likeminded friends got together to form DEAD MINT (featuring members of Grey Hairs, Bus Stop Madonna’s, Witches Mark and many more Nottingham bands over the years) Playing a self-styled brand of Garage / Psych / Grunge hybrid and turning up the fuzz is about the right sweet spot to aim for and by the sounds of it they fucking well nailed it.

The debut album is due for release on February 28th 2025 on vinyl and via the usual streaming sites so they really do mean business and aren’t fuckin about. If you mix in a bit of shoegazing with stoner and throw in a healthy (or unhealthy amount of Garage Rock) then you’re just about in that sweet spot and oh, don’t forget to turn it up then turn it up some more. For maximum effect the instrumental ‘FNUB’ is an unholy racket that will shiver yer core in the best/worst possible way and then ‘Rewind The Tape’ is like being lynched in a dark alley and thoroughly enjoying the experience of a good kicking.  

It is indeed a strange brew of musical genres melted together in one molten steaming pot of filthy howling feedback drenched Rock ‘n’ Roll. Hell ‘Dreamers’ is thunderous and could wake Lemmy from his tomb.

They’ve recently had the pleasure of Playing live with Kid Congo Powers, Swami John Reis and Death Valley Girls so you know the company they keep just to help put you in the picture of where these noisy fuckers come from. There might only be nine songs in attendance but when you start windmilling to this you’ll appreciate it’s about the perfect length to stick in your ears. To much of a good thing is often harmful and the headfuck that is the rapid ‘Ride It Out’ with the swirling synths droning in the background as Skintight Tim shovels along the backbeat at a frantic pace it’s like they’re in a rush before the world ends.

It doesn’t end there as ‘The Gift’ is indeed the gift from the volume Gods as you pant for breath before the album finishes the huge echo chamber drone guitar of ‘The Weir’ pours over you its at least respite from the aggressive attack of the previous bunch of songs. there are echos of John Squires if he consumed different drugs and had a cooler record collection. It’s not long before the song speeds up into a canter and then gallops to its conclusion and again another thoroughly enjoyable song pours over me consuming my ears with a wall of sound that I like a lot.

To put the full stop on this fine collection of tunes ‘Bulwell Bogs’ is like a dirtier cousin of Longpigs with the atmosphere and darkness I’ve not heard in a while and having a two-minute instrumental to close off this first chapter is right on point. Pray for me I’m putting on my gum shield and elbow pads and going back in for some more. Lets ave it!

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Author: Dom Daley