Compilation of released and unreleased material between 2014-2018 sees Chicago punk n rollers Poison Boys Front Man Matt Dudzik has settled on a three-piece but there have been several past members who’ve come and gone but leant a helping hand during the recordings of this album in the four years these songs are lifted off. The band recorded on White Zoo Records as well as London’s finest No Front Teeth Records as well as some early self-released demo tapes. this is essential listening if you’ve gotten into the band via their two mighty fine albums that followed but it’s a great way to kill some time before the new album drops as it shows how the band honed their skills and went from a rough round the edges punk n roll outfit with plenty of attitude coursing through these songs. Besides, some of these records as 7″ singles are like rockin’ horse shit so it’s tough to track down if you’re late to the sleazy party.
The No Front Teeth singles were where I joined the Poison Boys train and mightily impressed I was too. ‘Bad Mouth’ still sounds fuckin awesome but you might want to start this trip from back to front because the demo is nasty in the best possible way. All Johnny Thunders riffs n licks and the sound of some punks kickin’ back and dropping sound bombs in your ears. ‘Turn’ sounds like it was found in some ditch next to a body with no ID but a Lewis Leather Jacket and some cool worn creepers.
Anyways heading back to the top and the two tracks from the White Zoo Single ‘Bustin’ Out’ and ‘Run And Hide’ with their cock of the walk Chuck Berry licks and JAgger puffed out chest is a great place to start with this compilation. If wrapping up the band’s output is what you’re after then hop on board it’s a wonderful fifteen-track that kicks ass and is pure rock n roll with attitude with hidden gems like the leftover session cut that is the sleazy acoustic smokey ‘In The Night’ sounding like they were channeling The south of France Stones Exile sessions.
Head over to Bandcamp and show Poison Boys some love and support this record and look forward to what they do next. these pirates are sailing the choppy waters of Rock n Roll and taking no prisoners but leaving a fantastic trail of destruction in their wake. Hail, Hail Punky, sleazy Rock n Roll Its alive and well and living in the shadows of Chicago.
Well, whatever your tastes, 2023 was chock full of great albums. So much so, that this year I’ll be reviewing some that slipped through the net. In terms of scope, vision and melody, ‘Sanity Fare’ by The Blood Rush Hour is up there with the best of them. Essentially the project of Robert DeStefano, this is their fourth long player, for fans of smart, beautifully arranged pop. If you love Sparks, XTC, Supertramp or The Dowling Poole, this will definitely float your boat.
And, yes, that is the deft touch of Mr Dowling at the mixing desk. This makes perfect sense, as it’s clear that he and Robert share some musical DNA. ‘No One’s There (At All)’ has much in common with The Dowling Poole; intelligent, radio-friendly, with a gorgeous melody that requires repeated listening. This is partly why this review is so late; it’s an album that you can immerse yourself in.
It works equally well in the car. ‘Watching You Make Love’ will get your hips moving, with its samba rhythms. You can enjoy the tunes or pay attention to the lyrics. ‘Fashioned Footsteps’ initially reminds me of ‘Everybody’s Got To Learn Sometimes’ by The Korgis. The similarity is that it’s quality pop music that won’t date.
‘Billy Boy’ is almost like Cardiacs at half-speed. I don’t know who’s playing bass, but it’s fabulous throughout. ‘Tunnel’s End’ hooks you like The Feeling are capable of doing at their best. The backing/harmony vocals really are outstanding, worthy of prime era Queen.
‘Song For My Father’ is brief but touching, while ‘(No More) Happy Ending’ marries a joyous tune to darker lyrics. There is much more here, 14 songs that you will want to keep coming back to. Don’t take my word for it, listen on Bandcamp then place your order. Class never goes out of fashion.
NEW ALBUM ‘A BILLION GOATS. A BILLION SPARKS. FIN’ OUT MARCH 1ST VIA GOD UNKNOWN RECORDS – PRE-ORDER HERE:
Dez Dare launches 2024 with ‘Got a Fire In My Socket’, his first song from new album ‘A Billion Goats. A Billion Sparks. Fin.’ due March 1st via God Unknown Records.
‘A Billion Goats. A Billion Sparks. Fin.’ features 11 songs that delve further into the void than previous records, leaving the sardonic frustration behind for sarcastic existentialism, zeroing in on the big philosophical questions, and the pedantic shards of nonsense that make up our existence.
‘Got a Fire In My Socket’ is a fuzzed up, bass and synth driven, stomper that tackles the biggest question of all… as the wires fray from the burden of existence + the last sparks shimmer in your consciousness, the void has one simple question… “What tunes do you want playing on the way out?”.
The Stooges ‘Real Cool Time’?
The Triffids ‘A Trick of the Light’?
Judy & the Jerks ‘Good Time’?
Nicki Minaj ‘Red Ruby Da Sleeze’?
Whatever your taste, the small things matter. Make it a strong choice!
The self-produced Australian has spent over 3 decades producing music, releasing and touring bands, and doing live sound for z-grade metal bands. Growing up in the coastal town of Geelong (Djilang) in Australia, he was introduced to the DIY punk and rock scene at 15 and this community and the ideas rooted in the underground music scene have guided his output and ethics throughout his career.
This year Dez will be joining forces with label titans God Unknown (Cassels / Duke Garwood / James Johnston + Steve Gullick / KLÄMP / Oneida / Laura Loriga / Monster Magnet / Wellwater Conspiracy [Soundgarden + Monster Magnet]) and will be producing a deluxe version of the release that will include a 12 page comic illustrated by long-time collaborator Mike Keane.
‘Got A Fire In My Socket’ out now. ‘A Billion Goats. A Billion Sparks. Fin.’ out March 1st on God Unknown Records.
It’s easy to forget it’s been 25 years Since Frank unleashed his hard rockin’ Catholics debut on the world and they carried on for some years making a right proper good din. getting a royal half-speed remaster it’s even louder than the original and the stripped-back band sounds sooo damn good. I’ll admit it’s been a while since I dived in on this album but when I do I still thoroughly enjoy it and this heavyweight version pays its rightful dues to the band and their output.
This is the first-ever re-issue of their self-titled album as a stand-alone vinyl release. The record has been mastered from the original tapes by Phil Kindrade at Air Studios, and this beautifully presented album is accompanied by a 5-page booklet and an Obi Strip.
Originally released in 1998, the backing group on this album performed on Frank Black’s previous album, ‘The Cult Of Ray‘ but the group name was first adopted on this release. Raw garage punk energy recorded live to two-track tape over the course of two days was initially intended as a series of demos. Black decided that they couldn’t be improved upon and released them as they were. This was the first album by a major artist to be commercially released on the Internet. Sounds bizarre now but it was.
All of the tracks are original Frank Black compositions except “Six-Sixty-Six”, which is a cover of a song by Larry Norman. Frank Black had long admired Norman, naming the first Pixies mini-album ‘Come On Pilgrim’, after a line in a Norman song.
From the opening chords of ‘All My Ghosts’ the album rattles along and it’s not a stretch to find out these were live recordings intended to be demos but Frank didn’t want to mess with them or redo them in the studio so happy was he with the result of the sessions. the album feels like you’re sitting in on a session and the final cut of ‘Man Who Was Too Loud’ is my pick of the pops from this album. One of Franks’s best songs in my opinion but it is pushed close by the heavy riff-a-rama of ‘Solid Gold’ and Franks’s easy-going delivery on the lyrics is blissful.
It has been a joy these past few years seeing all the Black solo material getting dripped out with remasters and bonus material and never before on vinyl treats this is another that guitar rock fans should be all over like a rash. Bless you, Mr Black and all who plug in beside you.
The undisputed kings of swampy wild n wreckless garage rock n roll from New Zealand are in da house motherfuckers and they’ve brought a brand spanking new long player with them. ‘Ca$h 4 Scrap’ is everything you want it to be and some. It’s not all crash bang wallop (well, Almost) but I wouldn’t suggest for one minute that these four reprobates have lost any of that spark nor would I suggest old age is slowing them down. Songs like ‘Leather Boys’ is more a groovin slice of junk rock done in the best sleaziest way.
Start your record as you mean to go on. ‘Children Of The Dead’ rattles off with the band’s usual vim and vigour with plenty of Thrashing around. A sharp intake of breath and ‘Without You’ is climbing over broken glass to get heard. With a party kicks off in the speakers as Paul Caveman takes a drag from the 40 a day no filter smokes and gurgles neat whisky and broken glass as the boogie rages in support.
Hold onto your strides mates because these cats are grooving hard on the growling ‘Night Of The Demon’ where you can all join in on the chorus. It’s ‘Night Of The Demon’ x3 but clear your throat first this one needs some oomph.
‘Booze Ciggies n Drugs’ might be the thrasher up next but it might just be the band’s shopping list whilst they remember the essentials. Rapid, punk n roll at its dirtiest but finest. Get in the pit and start barking
y’ bastards.
I love the sleazy glam punk of ‘Isn’t Remember Your Name’ It’s trashy and beautiful with a melody knocked off from Los Pepes. Side One takes a kicking on ‘Personal WWIII’. Closing off with ‘Drug Man’ is a case of singing what you know being the mantra. So why not, with the sleazy solo and Iggy piano tonk it’s a beauty. That’s seven tracks in, about ten minutes of crash, bang, wallop! And closing off with a song almost three minutes long is decadent as fuck almost mature proto-prog.
If this was played out in a live setting you’d just have witnessed one of the best shows for ages so get a refill and flip this bad boy over. ‘Hanging Up’ has just done a bump in the toilet and the band comes out swinging complete with Groovy handicaps. Now that’s what I call music. ‘One Leg and a Waterbed’ has some trippy organ squealing throughout behind its fantastic lyrics. And as you head towards the end you realise the Cavemen have bashed you over the head with their club called rock n roll it feels great.
If only all albums sounded this good. Fuck the sound levels, the production, the tightness this is rock n fuckin roll baby and it sounds fantastic. Rough n raw, wild n reckless, and I fucking love it. Go get some Caveman Rock n Fuckin Roll its the way to start off 2024. Buy it!
Well, discussion one went yesterday and this wraps up our brief chats with the writers of RPM Online. Drop in on the chatter between Gordy, Martin, Ben, Nev John & Dom as they discuss what records shaped their 2023 and what live shows they took in as well as what they might be looking forward to in 2024
As 2023 draws to a shuddering halt the writers here at RPMHQ got together from their bases around the globe to offer up some suggestions as to what has shaped their playlists for 2023 and also the shows that left impressions on this fine body of men.
The podcast was done in two sittings with four of the handsome beasts sitting in for the first episode and five sitting in on the second. Without any spoilers hit the link and sit back – relax and pour a cold one as the RPM Online mob dishes the dirt on what’s hot in 2023. The first episode of the “Best of” features a motley crew of Kenny who also does a roaring trade in second-hand and new vinyl from his vinyl vault. Craggy from Brno also fronts the most excellent Craggy Collyde who released their debut album in 2023.
Sadly the internet gremlins got hold of the opening exchange where Kenny gave his favourite albums of 2023 which also included the latest Metallica album Thankfully the mercy of the UK internet didn’t take more of the exchange but I’m sure you’ll join me in thanking this bunch for their input in the last twelve months and it’s a pleasure to edit their contribution to RPM Online seeing as they all know their shit when it comes to music. So Thanks Kenny, Craggy, Dan & Gerald for your contributions thus far, and here’s to an even better 2024. Enjoy checking out their bands, fav records and what live shows they check into, and keep on contributing to the revolution because music goes round and round in this broad church.
With a few live shows set for early 2024, we interviewed the band back in the summer and kept it until now closer to the shows to whet your appetite for what’s to come in 2024. Get your pancake 13 corpsepaint on and paint those nails black. As the dry ice wafts under the door ladies and gentlemen the finest modern Goth band currently making records are in the house and the best way to bring the curtain down on 2023. Ladies & Gentlemen we bring you…Then Comes Silence
Can you take us back to the beginning of the band? Where did it start and what was it like playing the kind of music you do, was there a supportive scene back home?
Alex
The band was formed in 2012 and released its debut album the same year, a slightly forgotten record these days. We don’t play any of the songs from that album live. In the beginning, the music was more noise rock-ish with a lot of psych influences. The sound was gritty and more doomy than gloomy. The scene wasn’t big up here. If it hadn’t been for the Germans who started embracing us in 2015 we probably would have broken up the band.
Jonas
I joined the band 2015, after the release of Nyctophilian. The scene in Stockholm is relatively small but supportive for sure. I remember very well when we recorded the music video for Strangers at a live show in Stockholm. Good times!
The band has evolved over the years and had several line-up changes or additions to the band. Did you feel it needed to grow to get the sounds you wanted?
Jonas
The sound is constantly evolving, it would be boring otherwise. The changes in our lineup did not have anything to do with the sound, but It had an impact on it later on. Different people, with different ideas and musical backgrounds. It’s a part of the growing process I guess.
During lockdown, you did a series of eps with some exceptional covers. How did you choose what to record and is there a particular favourite looking back? I love your Lords cover do you think the eps will ever get a vinyl pressing? Did the lockdowns help your writing or was the isolation a hindrance you appeared to adapt really well to working in a new way.
Jonas
Our tour for ‘Machine’ was canceled because of the lockdowns, it was way too early to start working on a new album, and with nothing else to do, we started to make some covers, just for fun. It turned out good so we released them on digital platforms. We basically chose songs we liked, and that we thought would be interesting to make our version of.
Alex
We decided quite early to not let the lockdown stop us. We had a new album out and had to find a way to promote it. The live streams turned out to be our salvation. The EPs go hand in hand with the rest of the situation around the lockdowns and restrictions. The tours were constantly being postponed so we came up with the idea of making a digital project. It was some kind of way to improve the songwriting for the band. A study of other people’s music.
You have a tonne of videos on the Internet. Do you enjoy the process of making music videos? How important to the band are the accompanying videos?
pic by Jonas Fransson
Jonas
It’s a lot of work, but fun indeed. Visuals are very important for spreading the songs.
Hugo
I don’t think making videos is something very enjoyable, but they are very important. For me music is very visual, I need to see how the band looks, and if I don’t like it, probably i’ll never enjoy their music. Also, a music video is like a mini movie that takes you into the band’s world, to me it’s a much more complete experience that just listening to the record. I mean, when you go to a concert, you don’t close your eyes, right?
You’ve been touring pretty solidly since lockdown was lifted. How do audiences differ from say the UK to the USA to Europe? Is the scene stronger in certain countries?
Alex
We’ve experienced an exciting and growing goth scene in the US. I hope it spills over to the EU and the UK.
Jonas
The scene in Europe is very supportive and awesome, but it needs new blood or it will be gone in 20 years. When we toured in USA with Vision Video we got to experience a young and hungry crowd of baby bats. I hope we can have the same in Europe soon.
As far as songwriting goes how is that split between the band? Do you write all the time or just in the lead-up to recording an album?
Alex
I basically make music all the time. I bring my “book of lyrics” everywhere I go and the gear is always set up for recording back home in my writing studio.
Jonas
Alex writes the songs, and we make the finishing arrangements and touches together.
You’ve been going over a decade and have released records solidly over that period. The sound has evolved through each record do you think you have settled on the definitive “Then Comes Silence” sound now?
Jonas
No, as stated in the previous question, that would be boring. TCS will always be and sound like TCS, but it’s fun to try new things and we can’t make the same albums over and over again.
Alex
The sound has to change because we constantly change a bit as people. The places we go to and stay in change a lot too. The music is an expression of the world we live in.
You’ve announced some UK shows for 2024 is it more difficult to come here since Brexit compared to getting into the States or playing mainland Europe?
Hugo
Of course, it’s more difficult to tour in the UK since Brexit. That’s the reason why many bands don’t tour in the UK anymore. It’s not like they don’t want to go, it’s Brexit that doesn’t make it easy. We’re making four shows in the next round, but we would like to make many more. About the States, it has always been difficult and expensive to tour there for us, even more than in the post-brexit UK.
Will there be a new album by the time you hit the UK?
Alex
We’re working on new music as we speak, but it won’t be released until later unfortunately, but who knows… if we’re lucky and finish in time we might have a single for the UK in January.
Where will people get the best of Then Comes Silence live or on record where are you most comfortable? Studio or live.
Jonas
I believe we’re fine in both situations, but we prefer live.
The artwork is very striking on all the albums is the visual side of your art something you enjoy creating?
Alex
I’m quite privileged and know how to work with ink and paper, so we have to use that for the band. It’s complementary to the band’s music. Jonas has a great eye for graphics and design so nothing passes without his approval.
Jonas
Yes, everything is connected. The music, the videos, the artwork. We enjoy creating. Alex is a talented illustrator and I have a background as a graphical designer/artworker, and am also a hobby photographer. Alex is the nonstop working mastermind, full of ideas, and me and Hugo are doing our best to keep up
Homage to the legacy of Tony Slug (1963-2023) – first single out now, feat. members of Temple Fang, Peter Pan Speedrock & The Spades
We are excited to present the first single of the all-star album by Dutch rock’n’roll pioneer Tony Slug, featuring members of Temple Fang, Peter Pan Speedrock and The Spades.
Taken from the forthcoming self-titled album, to be released 22/03/2024 by Suburban Records, Wap Shoo Wap & Alternative Tentacles, the album is an adequate homage to Tony’s legend. Featuring over 30 players/writers, including Jello Biafra (Dead Kennedys), Jennifer Finch (L7), Nicke Andersson (The Hellacopters), Jerry A. (Poison Idea), Happy Tom (Turbonegro), and many more!
“And this is what we know: Tony Slug is hands-down plain & simp the most bad-ass rock’n’roller to ever emerge from the European Continent” — Happy Tom, Turbonegro
As you should know, Tony Slug has been shaking the earth with his riff-driven punk rock since ‘78. He has tirelessly toured with his bands BGK, Loveslug, The Nitwitz, and The Hydromatics. Throughout these crusades, Tony has built a vast network of friends in every corner of DIY rock’n’roll. As a tribute to his legacy, this international group of friends has contributed to what would unfortunately become his final record; right after all recordings were on tape, Tony died at the age of 60 after a brief battle with cancer.
Today, we are proud to present the album’s first single: “Wreckerball“. Intertwining mythology with heartfelt contemplations and guitar riffs on life and mortality, Wreckerball encourages listeners to connect with The Tony Slug Experience. Featuring Tony Slug on guitar, Jevin de Groot (Temple Fang) on vocals, Bart Geevers (Peter Pan Speedrock, Speedmobile) on bass, Ries Doms (The Kik, The Sha-La-Lee’s) on drums, and additional vocals by (producer) Steven van der Werff.
“The lyric idea was based on the notion that Tony may not be around for much longer… I made up a semi-fictitious character who builds a spaceship out of an old wreckerball and flies around ridding the planet of unwanted non-rock related humans and things. Based on the idea that death brings life and it’s an inevitable part of living… sacrifice, alchemy, destruction and rebirth. Like the mythology of Shiva, Mahadeva: he creates, destroys and sustains.” – Jevin de Groot
More than just an album, this release is a testament to years of enduring friendship, encapsulating the musical artistry and camaraderie that define The Tony Slug Experience. Created with love and shared history, it pays homage to the legacy of Tony Slug.
The Tony Slug Experience album will be released on 22/03/2024 (Suburban Records, Wap Shoo Wap, Alternative Tentacles). The record comes in a gatefold sleeve with a foreword by Turbonegro’s Happy Tom, accompanied by a fanzine-sized biography. Choose between the classic 180g Black Vinyl or 180g Chilli Whacker Red vinyl edition.
Following a fantastic 2023 where West Yorkshire, Keighley-bred ska punk icons Random Hand celebrated their 20th anniversary as a band with a chart topping new self-titled album for Bomber Music, and a sold-out HandFest at The Dome in North London, the band are primmed to hit 2024 with two more huge HandFest events in both London and Leeds.
First up, the Leeds HandFest is confirmed to take place at the Brudenell Social Club over three days on the 23rd-25th August 2024. Three days, two stages, no clashes, over thirty bands. Weekend tickets £58.
London HandFest will follow over two days on the 20th – 21st of September 2024 at The Dome & Boston Music Room in Tufnell Park, North London with over twenty bands. Weekend tickets £50.
“After the all-round success of the first HandFest, it seemed rude not to do it again,” state the band. “More bands, more fun! That’s the way it works, right? The weekend will feature two Random Hand sets. For the first set Random Hand will be performing their debut album ‘CHANGE OF PLAN’ in FULL! The second set will be a full banger, spanning the whole career. Expect the cream of the crop from the UK punk & Ska scene, and maybe some other surprises! Keep your eyes peeled for lineup announcements!”
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