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‘Teenage Wasteland:The Who At Winterland ’68 & ’76’ by Edoardo Genzolini (Schiffer Books)

‘Teenage Wasteland:The Who At Winterland ’68 & ’76’ by Edoardo Genzolini (Schiffer Books)

This super glossy 250-plus-page hardback book documents The Who at Winterland in fabulous technicolour. there are few words in what is pretty much a pictorial record of the late 60s and mid-70s Who and some of these pictures captured are incredible. On and off stage There is no denying the Who were a very visual band full of larger-than-life characters who knew from very early on the power of what you looked like as much as what you sounded like.

In the opening pages strewn with some cool backstage pics, there are transcripts of long-lost interviews with people like Buck Munger who was Sunn Amps director. Also recollections from people who were there who commented on just how life-changing it was being at the front of a stage when The Who started to play and the volume they attacked the songs with. All Fascinating stuff from an era of music and performance that is being lost or forgotten. Plenty of backstage pics of The Ox smiling and laughing in the company of Moon The Loon. Backstage black and white montages take you right back and indulge the reader in the visual mood but it’s the often blurry frantic live shots that are most interesting capturing a band in full flight as they smash through their set with power and as much bluster as they can summon.

Chapter six covers the intervening years between the main focus of the two dates. For a photographer to be given access to The photographer’s pit in front of Townsend must have been a fantastic experience regardless of Daltrey’s showmanship and Moon’s flamboyant performances it has to be Townsend who wins the prize for some of the best photos of the late 60s and 70s live shots and this book certainly captures dozens and dozens of them for you to revel in at your leisure. The latter date this book focuses on is that of a quite different Who but one that was no less visual and the pictures taken behind the band looking down from a lofty position are different and offer another perspective.

All in all a fascinating book with hundreds of pictures and just the right amount of background and accompanying words capturing a perfect snapshot of a time when music was fresh and exciting and one of the world’s biggest bands evolving before your very eyes and wonderfully captured by some very talented photographers in a club that would have been such a memory. Buy it, It is a book of real beauty and worth every penny.

UK pre orders Here

USA Pre Orders Here

The Sweet Kill are Forbidden

The Sweet Kill are Forbidden

The Sweet Kill have just announced the release of their sophomore LP Nowhere with their latest video-single “Forbidden.” The new full length vinyl LP will arrive this spring via Young & Cold Records (Germany) as well as Shadow Zone Records (USA). The Sweet Kill is a one-man post-punk project which focuses on the more dark and gothic side of the genre. Perpetually recording and producing at his own studio SHADOW ZONE SOUND in Los Angeles, Pete Mills wrote The Sweet Kill’s sonic cinematic debut Darkness with the intent to inspire those lost in the shadows of life. The velvety crooning baritone Mills conducts a darkwave masterpiece of romantic sorrow echoing the laments of The Cure and Joy Division. With the newest offering from The Sweet Kill “Forbidden”, Mills creates a down tempo atmosphere that brings the listener into a melancholic realm. Describing the song Mills said, “Beneath the chilly glow of the moon, one might ponder, with a wry smile, the delicious conundrum of the forbidden. Ah, the thrill of diving into the depths of desire, to satiate an unnamable yearning! In the grand opera of life, some find their hearts drawn to the most enigmatic of duets, a dance shrouded in secrecy, away from the prying eyes of the world’s chorus”.

The eerie video, directed by Ellen Hawk, delves into this mystery realm with gusto, taking us on a strange sojourn into the moonlight. The haunting voice of Pete Mills serves as a guiding light through this shadowy adventure, cutting through the darkness with the intensity and warmth of a candle’s flame. His earnest croon adds a layer of depth and sincerity. Pete Mills delves into the depths of the human psyche, using an arsenal of cold synths, atmospheric guitar, and a melodic bass to sculpt an anthemic hook with bleeding-heart emotions. The protagonists, outcasts by nature, grapple with their desires in the shadows. Amidst secrets and whispers, their passion is intense yet prohibited, leading them to a paradise where they are exiled, consumed by a love both dark and irresistible.

Website: http://www.thesweetkill.com

Twitter: https://twitter.com/thesweetkill

Youtube: https://www.youtube.com/thesweetkill

Instagram: https://www.instagram.com/thesweetkill/

Facebook: https://www.facebook.com/TheSweetKill/

Bandcamp: https://thesweetkill.bandcamp.com/releases

Apple Music: https://music.apple.com/us/artist/the-sweet-kill/285070330

Spotify: https://open.spotify.com/artist/445d0aCtpY1jmpLO87SfNu?si=x7ivetUYQ_yXII25w5ydDg

Angry Itch – ‘Angry Itch’ (Self Release)

Angry Itch – ‘Angry Itch’ (Self Release)

Punk rockers latest long player might have dropped a coupple of weeks before 2023 fizzled out but its worth catching up early 2024. Housed in these here twelve tracks of angry (no shit) political (really?) but throughly enjoyable punk rock. The record gets off to a flyer and you don’t need to have a lyric sheet to get the blunt trouma force of ‘The Gammon Riots’. Now I know there are people out there who say you shouldn’t mix politics with Sport or politics with music or politics with friendships but politics is everything everywhere it impacts us all and some people are isolated and insular and closed off selfish people who don’t give two fucks about the wider society and think that it should be all about me myself and I but it didn’t take three minutes to hear that Angry Itch and myself are on the same page politically and by the sound of it we both like some hard hitting punk rock thats to the point and blunt as being smashed in the face by a coppers old wooden batton. Giving it to the tories on ‘Gammon Riots’ is a nice touch and as unapologetic as it is I’m sure the real snowflakes on the right will find it tough to swallow that some oiks from the wrong side of town could record such a thing. Fuck em they don’t like it up em but I like this opener its smashed it and got my attention from the off.

The topics covered are similar throughout and working class street punk is the name of the game with a bit of a more subtle folk edge thrown into the mix to break it up. ‘Beaten To Death’ has a wicked bass line that has got its Doc martin on your jugular whilst the guitar bites like a dog.

Theres a bit of Rancid in here as well and whats not to like about that? Straight down the line punk is their MO and why not it works and the album is most palatable as one song body slams into the next. I’m ok with the tempo being similar as the record unfolds thats who they are theres no point mashing up styles for the sake of it and they’d lose any authenticity if they tried hard to vary it up.

You get some big hard riffs like ‘Echo Chamber’ thats go ta bit of an old school glam stomp in there for good measure (when I say Glam I mean Slade of course). ‘Easily Offended’ is not a million miles from Dirtbox Disco melody wise but it also reminds me of some Bad Religion style US punk. ‘Its Not Right’ is like your conceince tapping you on the shoulder reminding you of some realities happing outside your front door and the garden isn’t all rosey. ‘Too Drunk To Die’ wipes the Steve Jones sweat off its brow on the opening lick before kicking back like a Roger Miret And The Disasters number which is a good place to be if you ask me.

Its not all darkness kids these punks aren’t all Anger and volume they ease up on the final track ‘Happy’ with its open chords before the inevitable snare roll and off like a rocket into oblivion and we’re done. An album I knew I was going to enjoy for simply being what it is unpretentious, in your face polical punk rock and all power to them they do it so well. Angry Itch deliver the goods and kick it like it is. Good on em and keep on keeping on. Punk as fuck!

Buy It Here

Author: Dom Daley

Aerial Salad – ROI

Aerial Salad – ROI

Pre Order Here

There’s a lot of talk in music and art of authenticity, truthfulness…the ‘real deal’. Many claim to have it, few actually do. Mancunians Aerial Salad have it in droves. This is the band that formed in 2016 with the sole intention of playing legendary punk festival FEST in Gainesville, which they did as teenagers. It didn’t matter that they could barely play, and it was an unmitigated disaster, they still had the front to do it. This is the band that embraced and cut their teeth in the DIY punk world, championed by scene kings Wonk Unit. They were poised on the brink of greatness with their epic debut album ‘Dirt Mall’ in February of 2020 and, well, you know what happened next, every band has the same story, so we’ll park that there…

Pic: Liam Maxwell

Instead, Aerial Salad got their collective heads down and pushed and developed their sound away from the three-chord blare of their formative years. This was always a band you were just as likely to see sporting a Stone Roses shirt as you would Snuff. Or a Cypress Hill top as you would see a Pizza Tramp. Aerial Salad describes their sound as ‘Madchester Punk’, a nod to their heroes in Happy Mondays, XTC, and Carter USM, spiced with the current furore spearheaded by burgeoning Brit-wave bands like Yard Act, Shame, and High Vis. Their second album ‘R.O.I’ (and first for highly regarded Venn Records) leans on these influences, driven forward by pure rock’n’roll swagger while conjuring a late-stage, capitalist hellscape through brutalist lyrical narratives. To put it mildly, Aerial Salad is the band you want to see play the breakdown of Establishments afterparty, and you already know you’re gonna love it! 

Today we get a fresh taste of ‘R.O.I.’ in new single ‘Big Business’, a song that singer and guitarist Jamie Munro says is about “a growing feeling that money is completely destroying entertainment, the idea came from a common notion that ‘all films are remakes’, it’s also inspired by any form of art, that is composed or created to serve the purpose only of capital. 

“In the same way that many feel ‘football is all about money”, it’s the same in music, film, TV,” continues Jamie. “Just about everything in the age we live in is purely for money. The song poses two questions. Has it always been this way? And does it have to be like this?”

Musically inspired by big, massive rock tunes from the 70s and Brazilian 60/70s samba/soul, as well as the usual XTC, The Fall and other brit new wave bands, ‘Big Business’ lulls the listener into a sedate false of security with the calm guitar finger picking intro before the song’s sharp and jagged riff lashes out and the band pile in, wide-eyed and full of intent and purpose.

Recorded lovingly in Vibe Recording Studio, Cheetham Hill in Manchester with Dean Glover, ‘R.O.I.’ is an album that moves seamlessly from pulsing post-punk beats to unstoppable stadium rock anthems. ‘The Same 24 Hours (As Beyoncé)’ is Britpop rallying against the fake facade of influencer culture, ‘All Yer Dreamin’ is Mark E Smith at the Hacienda, ‘Chances’ is Oasis taking on Talking Heads. Aerial Salad find space to explore new genres without losing the sense that this is a band born out of the hard touring, DIY punk scene, a community that continues to be close to their heart.

The northern three piece want us to know they’re as authentic as it gets. Injecting that raw chaos and violent charm from the stage straight into their recordings. Their goal is to make themselves known to everyone and anyone, from rave heads to indie kids, poets to rockers. ‘R.O.I’ is fantastical while acutely bedded in modern post-Brexit, Un-united Kingdom canon. We’re all trying to find our places in this new world, let Aerial Salad be the soundtrack.

Find Aerial Salad online at:

Instagram: Facebook: Twitter: Website:

Suzie Stapleton – Depeche Mode Warm-Up Dates

Suzie Stapleton – Depeche Mode Warm-Up Dates

HEADLINE UK WARM-UP SHOWS ANNOUNCED
24th of February – The Grace, LONDON
25th of February – Brighton Electric, BRIGHTON

www.suziestapleton.com/tour

Suzie Stapleton has been invited to open for Depeche Mode this March for a run of arena dates
in Spain, France, Germany, and Portugal as part of their Memento Mori World Tour. Two UK
warm up shows have been announced with Stapleton and her band set to headline London’s
The Grace on February 24th and Brighton Electric on February 25th. This is a triumphant
welcome back to the stage for the Brighton-based Sydney-born artist who independently
released her debut album ‘We Are The Plague’ in 2020.


Though unable to tour the album, ‘We Are The Plague’ received universal praise, landing on
multiple Albums of The Year lists including Louder Than War’s Top 20 Albums of 2020. LTW
lauded it as “A dazzling debut album of guitar rock, fused with the primal spirit of blues and
gospel. Blending the spirit of Patti Smith and PJ Harvey with the soul of Nick Cave and
Mark Lanegan”.


Stapleton busied herself connecting with fans online, shooting film clips in her house, and
working on new songs whilst taking long walks around the Sussex countryside. It was around this
time that the self-managed artist noticed a certain Dave Gahan from New York had joined her
mailing list. This Dave also purchased a vinyl copy of ‘We Are The Plague’ from her website, but
Stapleton just assumed that it was not the same Dave Gahan that fronted one of the most
influential synth-pop bands of the 80s and 90s.


Stapleton was also keeping occupied working on The Jeffrey Lee Pierce Sessions Project, a
labour of love which pays tribute to the late frontman of The Gun Club. Stapleton had met the
project’s producer Cypress Grove during a DIY UK tour in 2013 and he’d invited her to first
record some backing vocals for the project. These ended up on 2014’s ‘Axels & Sockets’ – a call
and response section shared with Mark Lanegan & Bertrand Cantat on the track ‘Constant
Limbo/Constant Rain’. The pair hit it off with Grove inviting Stapleton to contribute further to
the fourth album in the project series that was in the works.

SUZIE STAPLETON – HEADLINE WARM-UP SHOWS
Supports TBA
24th of February – The Grace, LONDON, UK
25th of February – Brighton Electric, BRIGHTON, UK


Tickets On Sale 10am Monday 22nd of January from
www.suziestapleton.com/tour


DEPECHE MODE + SUZIE STAPLETON
MEMENTO MORI WORLD TOUR MARCH 2024
3rd Accor Arena PARIS, FRANCE
5th Accor Arena PARIS, FRANCE
7th Olympiahalle MUNICH, GERMANY
12th WiZink Center MADRID, SPAIN
14th WiZink Center MADRID, SPAIN
16th Palau Sant Jordi BARCELONA, SPAIN
19th Altice Arena LISBON, PORTUGAL
21st Bizkaia Arena BILBAO, SPAIN

The Libertines – ‘Shiver’ Video

The Libertines – ‘Shiver’ Video

The Libertines are cock-a-hoop to announce the release a new single Shiver, taken from the band’s forthcoming new album, All Quiet On The Eastern Esplanade.

Shiver is co-written by Peter Doherty and Carl Barât:

Carl “Peter had a song and I had a song and we mashed them up and did it collaboratively.”

Peter “I would probably find it difficult to work out who did what because we were both there the whole time through its creation. It should really be called ‘The Last Dream Of Every Dying Soldier’, but everyone liked the title ‘Shiver’.”

The video for Shiver a Bergmanesque seaside funeral of a pearly king, shot in stark black and white, stars the Libertines in their sharpest charcoal threads alongside a cast of several characters who appear on the sleeve art for All Quiet On The Eastern Esplanade. The video was directed by Alex Brown (La Roux / James Blake) and shot in Cliftonville, Margate, and at The Libertines’ hotel The Albion Rooms. It is the third installment in a series of Margate-themed videos, following on from first single Run, Run, Run VIDEO and Night Of The Hunter VIDEO

The Libertines will also be recording a session at BBC Maida Vale Studios later this month for broadcast on Radio 2 ‘Piano Room’ in February. 

All Quiet On The Eastern Esplanade, The Libertines’ fourth album, is released on 8th March ’24 through EMI and is available to preorder here: TheLibertines.lnk.to/AQOTEEPR 

All Quiet On The Eastern Esplanade was produced by Grammy-nominated producer Dimitri Tikovoï (The Horrors/Charli XCX/Becky Hill) and recorded at The Albion Rooms in Margate. Recorded in just four weeks during February and March ’23 and finished over seven days at La Ferme de Gestein Studios in Normandy, with additional production and mixed by Dan Grech-Marguerat (Lana Del Rey/Liam Gallagher/Paul McCartney).

All Quiet On The Eastern Esplanade will be available on CD, deluxe CD, 12” vinyl in limited edition coloured variants, deluxe double vinyl cassette and digital download.

Having stormed the Lido in Margate for two shows in December, The Libertines play the following club shows over the next few months, all of which sold out within minutes of going on sale.

JANUARY

23rd TUE Stockton Arc

24th Wed Liverpool Cavern Club

25th THU Milton Keynes MK11

27th SAT Cardiff Clwb Ifor Bach

28th SUN Derby Hairy Dog

29th  Mon Lincoln Drill Hall

FEBRUARY

11th SUN Falmouth Pavilions

12th Mon Southampton Engine Room

14th WED Stoke Underground

15th THU Leeds The Wardrobe

16th FRI Glasgow Oran Mor

X/ Instagram/ Facebook/ Threads/ Youtube/ TikTok

Billy Idol – ‘State Line Live At The Hoover Dam’ (Vertigo Live)

Billy Idol – ‘State Line Live At The Hoover Dam’ (Vertigo Live)

Never one to shy away from a challenge Idol assembled his troops and descended upon the iconic landmark to shoot a live concert film with long-time guitar slinger Steve Stevens also featuring guest appearance from Generation Sex bandmate and Sex Pistol Steve Jones. To be fair it’s a pretty impressive setting for what was billed as a spectacular special event.

Billy Idol, makes history by playing the first-ever concert in front of the world-famous Hoover Dam. Kicking off his sell-out 2023 North American spring and summer tour, the once-in-a-lifetime performance, which illuminated the surrounding Black Canyon of the Colorado River and the Mike O’Callaghan-Pat Tillman Memorial Bridge, all the platinum-selling hits are present and correct, including ‘Dancing with Myself’, ‘Eyes Without a Face’, ‘Rebel Yell’ and ‘White Wedding’.

To be fair Idol looks in great shape and his performance is one of a confident frontman in what can only be described as an insane location for a concert it’s so over the top it is pure Idol to be fair. With over 40 million album sales and numerous platinum albums worldwide, it’s easy to forget how big an impact Idol has had on Rock music in a crowded industry, This mad performance also includes special guest slots from the Kills’ Alison Mosshart, No Doubt bassist Tony Kanal as well as Steve Jones. there are also a slew of bonus features bolstering this DVD such as a Q and A with both Stevens and Idol and a trio of acoustic tracks that to be fair sound fantastic. A must for fans and curious music fans alike. Play on Billy you’ve still got it. Oh and one last observation I have to say that Idol is like the peter pan of punk and Steve Stevens has a fantastic head of hair well done guys.

Buy Here

Saxon – ‘Hell, Fire and Damnation’ (Militia Guard Music)

Saxon – ‘Hell, Fire and Damnation’ (Militia Guard Music)

It doesn’t seem like five minutes ago that I was reviewing Saxon’s last fine collection of Heavy Metal tunes ‘Carpe Diem’ for this fine online publication. That was a bloody great album. I caught the band live twice in 2022 too, firstly when they stepped in and saved the day at the Steelhouse Festival after a certain American guitar player decided to pull out, and then at St David’s Hall in Cardiff with Diamond Head doing a great job in the support slot…. More about them shortly.

Much has happened in the Saxon camp in the last few years. Founding member Paul Quinn decided to step down from the band in 2023 much to the surprise and disappointment of many of Saxon’s die-hard fans. After all, Mr Quinn had been there since the ‘Son of a Bitch’ days. He’s kept himself busy though with his other project: The Cards, and it’s been great to see him join the other founding guitarist of Saxon – Graham Oliver on stage at some of Oliver’s gigs.

Stepping in as the new guitarist in Saxon is none other than Brian Tatler of Diamond Head, (told you there’d be more about them). He certainly fits in well with Biff and the boys. They share a long history as part of the NWOBHM movement back in the late ‘70s and early ‘80s and DH are arguably as influential as Saxon in inspiring a new era of metal with the speed and thrash boom in the mid to late ‘80s.

Saxon have been keeping themselves busy (as usual) and 2024 is off with a bang as their latest album ‘Hell, Fire And Damnation’ has landed. Incredibly, this is the band’s 24th studio album. Let that sink in…

The album kicks off with an atmospheric build up before Brian ‘Gordon’s Alive’ Blessed tells us all about ‘The Prophecy’, which rolls into the title track – a mid-paced chug fest with THAT guitar tone that producer extraordinaire Andy Sneap has nailed down to a fine art. Biff’s vocals sound superb as ever and Tatler puts his stamp on the new tracks alongside longtime guitarist Doug Scarratt.

‘Madame Guillotine’ is a muscular, slab of metal with lyrics about not losing your head. ‘Fire and Steel’ showcases the always amazing Nigel Glocker’s sizeable chops. Double bass barrages a plenty. Bass player and full-time head banger Nibbs Carter keeps up with ease. They really are a rhythm section to be reckoned with. Superb. ‘There’s Something in Roswell’ kicks in with an epic intro before we are off into another chugger with a UFO theme. I too believe there’s something there.

Saxon, along with Iron Maiden are one of those bands that taught me more about history than school ever did, and I’ve always been a fan of their historical lyrical content. ‘Kubla Khan and the Merchant of Venice’ is another of these historical masterpieces. ‘Pirates of the Airwaves’ is a nostalgic nod to Biff’s early days of listening to pirate radio stations.

We are back in history class for ‘1066’, a steady head nodder with more solid guitar work from the Tatler/Scarratt pairing. ‘Witches of Salem’ is a track close to my heart, well, I am married to a Wicca Witch after all…. Some of the riffs on this track are approaching death metal territory, impressive stuff.

Final track ‘Super Charger’ closes an album of fine-tuned Metal muscle. Saxon NEVER phone in any of their material, they really do want to deliver the best to their legions of fans, and they always deliver. The cover art from Peter Sallai is superb too. The next phase of the Saxon story has begun in style. I look forward to catching them live somewhere in 2024!

Buy Here

Author: Kenny Kendrick

The Almighty Head for the Steelhouse Mountain Top

The Almighty Head for the Steelhouse Mountain Top
The Almighty added as Sunday headliners in UK Festival Exclusive, plus Living Colour return, Phil Campbell & The Bastard Sons and Dan Byrne also confirmed

Ticket Here

Steelhouse Festival is ecstatic to announce The Almighty as Sunday headliners, in what is a UK festival exclusive. This will be the first show from The Almighty in Wales since their reconvening, and will in fact be their only date in Wales this year



Also, Living Colour are now confirmed to return to the Mountain to make their second Steelhouse appearance. Plus, Phil Campbell & The Bastard Sons will appear on Saturday July 27th alongside their Welsh comrades, Skindred. One of the UK’s most exciting new prospects, Dan Byrne will play on Sunday afternoon. As well as all of these additions to the bill, there are still more announcements to come!



The Almighty frontman, Ricky Warwick says, “Hey people of Wales and beyond… Sunday July 28th sees The Almighty headlining and closing out Steelhouse Festival. I’ve had the honour of playing here with Black Star Riders and Thin Lizzy, but this is going to be a wee bit special… This will be our only UK festival of 2024… It’s going to be amazing and we can’t wait to see you… The all loud, the wild, The Al-f******-Mighty!”

Max and Mikey said, “We’re really, really pleased with this one. When The Almighty announced they were getting back together for select shows, we knew we had to get them to Wales and headline Steelhouse. This is it, their only Welsh show, their only UK festival appearance, what a celebration it will be – maximum rock n roll, the absolute real deal”. 

Last year was the biggest Steelhouse Festival ever, and the signs are that 2024 will be even better.

Over a decade has passed since the inaugural Steelhouse in 2011, and the Festival at the top of the mountain boasts not only the best views of any UK rock event but one of the most passionate, friendly and loyal followings. With a reputation for not only bringing in the biggest and best names from the international world of Rock, Steelhouse also understands the role it can play in throwing open its prestigious stage to the best of the new breed of bands. It all adds up to a compelling mix of classic and cutting edge Rock, old and new.

“So, once again let’s get ready to Rocio y Mynydd / Rock the Mountain!”

New Model Army – ‘Unbroken’ (Ear Music)

New Model Army – ‘Unbroken’ (Ear Music)

Cue rough uptempo vigorous repetitive electric guitar lick quickly followed by the warm earthy tones of Justin Sullivan’s vocals soon to be joined by an acoustic guitar being attacked with venom and purpose before the drums join in with a ricocheting tribal rhythm and ‘First Summer After’ is burrowing into your brain with a sound and attack that is the first new New Model Army track of the 2024 album whilst also drawing on early sounds made by the band who on this opening evidence have lost none of the anger and attack that fuelled them over the past decades. The Bass line is struck with force that drives you into the second song which opens with an equally aggressive Bass line. ‘Language’ is a snarling throbbing uptempo slice of old school-stripped back New Model Army. I like where this is taking me, I’m liking it a lot with every play.

It’s unfussy bare boned NMA there are no strings no hushed tones or lush deliveries this is toe to toe in your face. You can feel the breath from the vocals being howled out in your ear being ably backed by the band’s most aggressive-sounding album for a while. ‘Reload’ is the sound of the UK or the parts of the UK that are tuned in and switched on and fed up to fuck with the current incumbents of parliament and their hollow rhetoric and constant bullshit. The Riff is a grunting poked beast that is salivating as it strains on the leash to be set free. A most excellent song and nails the mood of the lyrics.

Sullivan expressed the story behind ‘I Did Nothing Wrong’ and the latest miscarriage of Justice engulfing the UK for the past few weeks with every Tory jumping on the bandwaggon expressing outrage at the poor predicament of ex-postmasters who got fucked over by a corrupt system. some insight into the lyrics adds gravitas and weight to the song and elevates this body of work even further. ‘Cold Wind’ is the first hushed intro on the record with acoustic guitar and some twisted samples paving the way as the darker side of the record takes you on a journey that enables you to take stock and breathe in what’s already come before it.

The reflective mood of 2019s ‘From Here’ is swept aside on ‘Unbroken’ for a darker more aggressive edge none more evident than the Early Nirvana ‘Blew’ era post-punk of ‘Coming Or Going’ if you’re looking for an album to lift you for the political fights about to engulf the UK and USA then let this album take the strain. It’s punching and swinging haymakers that would terrify bands half their age and some. Sullivan is moving towards retirement age and is up for the fight on this record. The self-reflecting continues on ‘If I’m Still Me’ which might explain the sound of this album and I can assure you – Fuckin’ right you are still you. This album is a nugget of solid gold with eleven of the finest New Model Army songs you could wish to hear. To come up with an album this strong is a testament to the talent of the band and its main protagonist Justin Sullivan for continuing this journey over many decades and still having the ability to write the best most complete album for several decades (and I’m someone who loves this band and has always championed their records even in the years where they weren’t a chart bothering beat combo).

I love the delay and reverb on the bass line in ‘Legend’ proper ‘Vengence’ tip of the hat there. The more I’ve played this album the better it gets with different songs jostling for my attention every time. Uncomplicating their core sound and stripping it back wasn’t something I expected at all especially after ‘Sinfonia’.

As the album reaches its climax you are taken on a late night stripped bare ‘Idumea’ with harmonies that are rich and warm and after the softer intro, the tribal rhythms take you off on another journey with some folky melodies and a softer song to offer hope with big choir vocals. but hold onto your strides there is one last push as the record is signed off with ‘Deserters’ and its thumping bass-driven song.

New Model Army have delivered the good and an album that will be riding high in my end-of-year top album list without a shadow of a doubt. A band I’ve had playing in my ears since the mid-80s and who have delivered some of the best albums I’ve had in my collection on multiple formats for all of my youth and adulthood and I still get excited when a new album hits and having the privilege of hearing it before its release is an honor, and for me to try and do it justice and get you as excited as I was when I first heard it. Simple this one – Buy it!

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