What’s that you say? More posthumous live material from Motorhead? Do we really need that? Of course, you do! It’s fuckin’ Motorhead!! And there WERE rock and roll!
This collection consists of decades of shows from Motorhead’s long and illustrious career. The Lost Tapes have been coming at us in dribs and drabs over the last few years and this lovely box set has added the latest set from the Download Festival in 2008 to complete the collection… There may be more, who knows? I’m sure there’s plenty more live material floating around.
The first blistering set is from Madrid in 1995, it’s a varied set with a few gems such as Dog Faced Boy and Over Your Shoulder from the Sacrifice album that they were touring at the time. We even get a cover the Hawkwind classic Silver Machine that sounds great given the Motorhead treatment. Phil Campbell & his Bastard Sons still play Silver Machine to this day. There are 24 tracks here, granted, 2 of those are drum and bass solos but that’s fantastic value for money.
From Madrid we head to Norwich for the next batch of Motorhead madness. This set dates to 1998 and we get another quality set from Lemmy and the lads. All the standards are here including Iron Fist, Overkill, Ace of Spades, Killed by Death, as well as few numbers including Civil War and the title track from the Overnight Sensation album.
Next up, we head into the millennium with a show at the KB Hallen in Malmo, Sweden dated November 2000. Opening with We Are Motorhead, which was a mainstay in their set from this time onwards until Lemmy sadly passed away in 2015, the band delivered another noise-ridden cacophony littered with classics as well as their brilliant cover of the Sex Pistols God Save the Queen.
We go all the way to 1984 for the next disc of greasy goodness with a show from Heilbronn, Germany. Great to hear Nothing Up My Sleeve and Steal Your Face getting an airing here. The amount of material that Motorhead amassed over the years is incredible. We also get a turbocharged version of Ace of Spades; this is probably the fastest version of that song I’ve ever heard! Full on thrash pace!
Lastly, we get the set from Download in 2008. Opener Doctor Rock kicks the proceedings off with style, we have another full-on set of classics including In the Name of Tragedy, Metropolis, Going To Brazil, and a fantastic version of Overkill with ex-guitarist Wurzel putting in a guest appearance.
This box set gives you plenty of bang for your buck with 8 CDs chock a block full of Motorhead mayhem. It really is a must for any true Motorheadbangers collection. That’s the way I like it, baby!
They just don’t give a shit anymore. Nah, it’s a lyric of the new album, not their attitude to making music. Sounding like the bastard children of Evan Dando and Dee Dee Ramone Mean Jeans heads out of Portland to bring you a brand new fifteen-track album.
Of course, it’s not mentally taxing and the premise of the record is to have a good time all the time. Hell, the record is out in time for their jaunt around Oz with The Chats who seem just about the right touring partners for this three piece they’ve been at this for a decade and a half already and show no sign of relenting or running out of ways to write songs about having a blast.
From’ I Don’t Give A Shit Anymore’ through the Dee Dee thunderer ‘Diagnosis’ the band is killing it. Check out the melodies on ‘Lost My Mind’ as they ham it up on Judge Judy that came after a dream, yeah of course it did you nutters.
They unashamedly don’t stray far from the format of Da Brothers and they seem like a happy family cutting their shapes like the boys from Queens and why not if it ain’t broke don’t fix it. You do wait for the slowed-down number with brass section or the faux cod ska number but they don’t arrive (thankfully) if anything the songs get faster and more Ramonesy as the record gets in deep. ‘Brake Up With You’ will have Joey, Johnny, Dee Dee, and Tommy all giggling from the other side and asking where their cut of the songwriting credits are.
Mean Jeans probably don’t give one single flying fuck about any shape or form of criticism they might get for their take on punk rock and neither should they because you can do a lot worse than base your records of the Ramones that’s for sure and besides there will no doubt be some kids on those Chats dates who’ve never heard the Ramones and will fall in love with Mean Jeans. Again, that’s cool with me. An enjoyable romp of a record but not something I’ll be revisiting over and over because I’ve got its Alive and Ramones Mania. Enjoy them live and pick up the new album kids but remember wear sunscreen it might be hot throwing yourself around in the pit.
With some bands, you always know that a new album is worth the wait. It’s been five years since ‘The Sparky Sessions’, around the same time that I finally got to see them live. My final gig prior to the pandemic, and thankfully it was every bit as great as anticipated.
‘Back In Time’ sees the variety and class that we’ve come to expect from the band. ‘Sometimes Late At Night’ swaggers from the speakers, style and substance personified. Emanuela smolders as only she can on ‘Summerlove’, like the blackest velvet. As with many of their songs, it could easily be the soundtrack to a film noir classic.
‘Knocked Down’ you may already be familiar with, as the first video from the album. Oliver’s lead vocal is as smooth as ever, next to his slap bass and Emanuela’s ethereal backing vocals, while Duncan pulls all the right sounds from his Gretsch. ‘1979’ veers towards classic Blondie, clearly a good thing when you can pull it off with panache. Ideally, this would be playing on your radio on a regular basis.
‘I Live In My Head’ was made for dancing too, hopefully, we’ll get the chance again soon at a club near you. Short and sweet. ‘Sudden Ring’ is another fine, slow song from Emanuela, she makes it all sound effortless. In a word, seductive. ‘Jet Fuel Rock N Roll’ brings back the boogie to get your boots moving, and ‘Let’s Go (Back In Time)’ has a hypnotic, Cramps-style rhythm that you rarely hear anymore.
‘Nothing Takes The Place Of You’ appears to be the only cover version, proving that the band can take a reggae song and put their own stamp on it. ‘Always Just You’ sounds like an Elvis ballad, with Duncan’s guitar picking following Emanuela’s vocal melody, and ‘Death By My Side’ introduces some gothic country to the mix. Reminiscent of The Phantom Chords at their best.
‘Reno’ by Emanuela ends the album on a classy note, the tune seemingly already familiar, yet it sounds fresh and new. Class never dates, and The Hillbilly Moon Explosion never let you down. Long may they continue.
OK, so here we are already a month into 2024 and the first sitting of the Singles Club. Here are the first Movers and groovers of this year with their 7″ platters and new videos. Some real quality in here for you to dive into covering quite the spectrum of music as well. Enjoy…
Tuk Smith & The Restless Hearts – ‘Take The Long Way’ (Golden Robot Records) Anthemic Sing-a-long from Smith & The Restless Hearts draws inspiration from Smith’s turbulent experience of not only being kicked off the 2021 Motley Crue Stadium tour but also being dropped from both his label and booking agent amid the COVID era. The track encapsulates the classic self-sabotage meets redemption tale. It’s typical Smith but there’s a polish around this one. One foot in the past and one on the monitor wedge of the future Sith has it all to offer and if he were to hit it big I wouldn’t be shocked I loved his early stuff and this is more mature and a grower for sure bring on the album and what that has to offer.
Marc Valentine – ‘Strange Weather’ (Wicked Cool Records) Marc Valentine begins 2024 with the news that a new album is fast approaching and by the sounds of things it’s going to deliver the goods big time on the strength of this first glimpse into the new wave power pop majesty of ‘Strange Weather’ from the hooky chorus through the retro new wave of the verse this is fantastic and so catchy. If anything it’s way too understated this is a step up from ‘Skeleton Key’ which was a killer single. I’m really excited to hear what the album ‘Basement Sparks’ delivers purely on the strength of this one record so much so I promptly ordered the record. Single of the Month – yes sir, right here!
Willie Dowling, ‘The Simpleton’ (Self Release) – As a taster for the solo album of the same name, ‘The Simpleton’ is a fine showcase for the songwriting skills of Willie Dowling. For those of us who have followed his career since The Grip onwards, it’s no surprise that the melody hooks you from the start. While there’s naturally a similarity to his writing with The Dowling Poole, this song shares much with his Jackdaw 4 project.
On first listen, it sounds more personal and emotionally direct, a less complicated yet compelling tune, which suggests that the upcoming album is predominantly piano based, and this brings out an intimacy in Willie’s voice. Behind the ‘curmudgeonly’ persona is a kind, thoughtful and sensitive person, certainly someone who feels the injustices of the world very deeply.
And, put simply, his voice is beautiful here. Never sounded better. I always look forward to hearing his music, and this promises to be something special. Give it a listen now, and earmark the album for future purchase. Author: Martin Chamarette
Brigata Vendetta – ‘1000 Cuts’ (Pirates Press) Woah this is a banger courtesy of Brigata Vendetta featuring a couple of Harrington Saints this is right on the money hardcore punk rock. Short, sharp, and oh so sweet. The album was reviewed last week and this is a cracking representation of what you can expect. simply glorious – more please gents. This will wake you up on a Sunday morning an absolute stone-cold punk rockin’ banger!
The Courettes – ‘Shake’ Damaged Goods Records) Groovy baby. The Courettes deliver a dancefloor filler with ‘Shake’ its eased back on the wall of sound and went for some fuzzed-up groovin’ dance majesty. From the honkin’ organ to the swinging drum beat this shit is got some serious groove. Infectious and fantastic this band can do no wrong and the guitar solo is pure Fire! The exclusive B Side is less in your face but no less infectious more Fuzztones but damn this pair are cutting it up on record and can’t put a foot wrong they should be huuuuuge!
Mala Vista – ‘In The Dark’ (Spaghetty Town Records) Cool as a beer on ice Mala Vista rides a whirlwind of punk n roll on ‘In The Dark’ short sharp and sweet as from the punk rock rocket rie of the verse to the sweet gang vocal melodic chorus its new school doing old school and mixing it up.
The B Side is an altogether snottier slice of Dead Boys style punk rock from the throbbing Dee Dee style Bass line thumping the tempo down the line it’s lifted from their sophomore album ‘Fun Time’ due in March and from the Thunders’s licks to the Cheetah tempos this is a top single from what promises to be a killer album. More bands cutting records like Mala Vista, please.
Lorne Behrman – ‘The Blue Goes On Forever’ (Spaghetty Town Records) As cool as a summer breeze Behrman comes strollin’ in like a modern-day Lou Reed Its part spoken through a lucky strike no filter and softly sung like the voiceover on the Warriors radio link, Behrman does it again with a super cool earworm melody that you want to hear again and again. It’s rough around the edges like it could unravel itself but tight as two brothers sitting on the porch of their LES steps shooting the shit about times gone by. If the album is half as good as this then it’s going to be another treat for Rock n Roll fans who love a bit of Keith Richards, Johnny Thunders, Stiv, and miss the likes of Petty and some more radio-friendly Rockers. Top tune check it out.
Rob Moss & Skin Tight Skin – ‘Hey You (We’re Sick Of You)’ (Self Release) Old school punk n roll with plenty of gang vocals to power it along. With a snotty nod towards proto-punk royalty such as The Dictators. Rob Moss assembles a gang to power through this chuggin’ barroom slab of punk rock n roll. We’re not sick of this that’s for sure. Kick out those jams Rob.
Neil Leyton – ‘These Seeds’ (European Phonographic Records) Leyton brings his latest more somber offering to the table and this time he’s reflecting on the world at war and offers a little hope in this gentle acoustic song. originally recorded back in 2022 Leyton held back on its release but let this song wash over you as it builds into a more upbeat driven song without the bombast of his previous more indie rock styles this shows that Leyton loves to vary it up whilst retaining his identity in the music and his room-filling vocals stand out. The piano refrain is wonderful and fills your heart with hope around such desperate subject matter.
All proceeds from “These Seeds” will be paid from the European Phonographic label to Music Export Ukraine in support of Ukrainian artists and musicians.
Frank Turner – ‘Do One’ (Xtra Mile Recordings) The familiar tones of folk-punk troubadour Frank Turner is back with a brand new single from his brand new record ‘Do One’ is a smooth well produced catchy acoustic punk rock song that’s totally Frank Turner and pretty much exactly what I was expecting. He does his thing and does it really well and on this you can see exactly why he’s so popular. Short, sharp, and sweet. The new album is heading your way on the 4th of May and expect more of this for what will undoubtedly be a big hit.
Frank Carter & The Rattlesnakes – ‘Self Love’ (International Death Cult) You don’t get a Frank for months then all of a sudden two come along in the Singles ClubThe Second single from Carter is a melodic slice of modern alternative rock. He sings with a strong melodic melody over a more aggressive fuzz guitar but the surprise is the solo is of the guitar variety but a keyboard synth. The Rattlesnakes have bite as they mess with you on this intense new single. Catch em across the land over the next month before they head overseas. Also, in stores galore where you’ll hear this earworm no doubt – get on it.
KMFDM – ‘Airhead’ (Metropolis Records) Industrial mainstays KMFDM hit out with a fairly mainstream pop-infused single from their album ‘Let Go’. Harking back to ’80s pop on this one without the hint of distorted pounding guitars or white noise. Lead vocals are from Lucia Cifarelli which I’m sure won’t be a good representation of what the overall album will sound like. More New Order than Rammstein the VHS in the video is something that we used to watch films on kids, honest!
Wynona Bleach – ‘Swim In The Bay’ (Fierce Panda Records) Infectious new single from Grungey rockers Wynona Bleach who bring you the cool ‘Swim In The Bay’. With its big layered chorus burrowing into your ears sitting on top of a smooth cool grungey-styled rock song. Not afraid to layer their rock with pop melodies Wynona Bleach are aiming for plenty of radio play with this latest single.
WolfWolf – ‘Twenty-One’ (Lux Noise Records) In corona times WolfWolf started to experiment with keyboards and samples to keep them busy. The result was this single. A song that pushes the familiar boundaries of the band into new wave of the 80s. Nevertheless, the garage punk aspect remains. The new romance story of a young couple could also be set in the 80s. Maybe in West-Berlin or in the gritty industrial life of post-war Manchester. The song is an ode to youth and a mission to young people to enjoy life and dance the night away while they can. Captured perfectly by the dynamic duo.
The most pleasant and unexpected surprise of 2022 for me was being able to say “there’s a great new album from Dr Feelgood”. I admit that I’d not followed their recent releases closely, though I respected their decision to carry on flying the Feelgood flag. Quite by chance, I heard the first single from ‘Damn Right!’ and immediately my ears pricked up. ‘The guitar sounds familiar’, I thought to myself. And, sure enough, it was the return of Gordon Russell, one of my favourite guitarists. This was clearly a very good thing, as the tunes he wrote with Robert Kane are truly worthy of the Feelgood name and legacy.
And he seems to have given them a shot in the arm onstage as well. So, here we have 20 songs from stages around Europe, with the band sounding vital and sharp. From ‘Drives Me Wild’ onwards, it is a joy to hear them having a ball. The four new tunes fit in perfectly with the classics, ‘Mary Ann’ sounding particularly excellent next to ‘All Through The City’. Kane does his thing without sounding like Brilleaux, and I really like his style. It’s hard to believe that on joining the band, he didn’t play harmonica, because on ‘Going Back Home’ he’s obviously done his homework.
It’s no secret that The Big Figure and Sparko are my favourite rhythm section ever, but Phil and Kevin have been playing together for so long that they also have a special chemistry. ‘Damn Right I Do’ and ‘Keep It Undercover’ sound even better live, and with ‘Roxette’, ‘Milk And Alcohol’, ‘Down At The Doctors’ and ‘She Does It Right’, it’s one hell of a set list.
I’d love to hear them include ‘Dangerous’ one day, and keep my fingers crossed they’ll return to France this year. For all of you in the UK, make the most of a good thing and catch them on tour soon. Doctor’s orders!
The Welsh onslaught and domination of the heavy music scene continue to build momentum. Bands such as Those Damn Crows, Skindred, Phil Campbell & The Bastard Sons are flying high, and other acts such as Valhalla Awaits and the fantastic Zac & The New Men are also snapping at the heels of their peers. Merthyr monsters Florence Black are about to enter the big leagues too. The lads have worked their way up from playing every shit hole in the country to currently playing a mostly sold-out UK Tour.
Their debut album ‘Weight Of The World’ introduced us to the band’s amazing ability to mix super heaviness with beautiful melodies and hooks that grab you instantly. The long-awaited follow-up ‘Bed Of Nails’ is finally here and it doesn’t disappoint. We have been drip-fed singles from the album and they are already part of my musical psyche. Songs like ‘Start Again’, ‘Don’t Hold Me Down’, ‘Look Up’, ‘Warning Sign’ and the title track are superbly crafted songs.
Vocalist/guitarist Tristan Thomas has developed into a mature frontman and his voice is a thing to behold. Jumping effortlessly between full-on screaming to crooning, not to mention his exemplary guitar work. There are riffs on display here that Messrs Iommi and Cantrell would be proud to have written. Take ‘Start Again’ for instance, With massive riff, huge chorus, drummer Perry Davies with his four-on-the-floor thump builds into a head-pounding crescendo. Superb. ‘Don’t Hold Me Down’ is another great example of what Florence Black do best, riffs for days and another earworm of a chorus. Let’s not forget what bass player Fozzy brings to the party, listen to the title track to hear him hold the song together with his low-end rumble. Together with Perry, they are a world-class rhythm section.
There’s not a weak track on display here, ‘Tax Man’ and mid-paced Chugger ‘Look Up’ are great examples of the lighter side of the band. ‘Beautiful Lover’ has some genuinely heartfelt lyrics and more wonderful guitar work from Thomas. ‘The Way Home’ gets us back onto more familiar territory, I love the way that drummer Perry Davies utilises the aforementioned four-on-the-floor technique, he really drives the band while still having a natural swing to his playing. Lovely stuff.
Solid 9 has a punishing groove and more of those wonderful vocal melodies, Rockin’ Ring is an absolute belter of a track, building from the gentle intro we get another neck-breaking riff that stinks of Alice In Chains inspiration. The Forest takes us in another direction with a chilled acoustic intro. The album closes with another highlight; Back To The End showcases Thomas’ vocal range beautifully.
The songs are of perfect length, the production values are crystal clear, and the album artwork is superb. In Bed Of Nails, we are hearing a band climbing into the stratosphere of their genre. A wonderful listen. We have been given twelve tracks of perfection. Get it now, you won’t be disappointed.
If you are lucky enough to be catching Florence Black on their current run of live dates, make the most of seeing them in smaller venues, they won’t be there for long.
Better known for his band Dinosaur Jr and his style of guitar-slinging mixed with his part croaky part winey vocal style he is often seen as the ultimate slacker with his long gray hair and quiet soft demeanor Mascis also has a solo career mainly steeped in acoustic folk rock style mixed with his searing solos often the two are inseparable and I dunno why one is his name whilst the other is Dinosaur Jr maybe it’s one of those things like chicken or the egg dilemmas.
On ‘What Do We Do Now’ you are greeted on entry by the upbeat ‘Can’t Believe We’re Here’ with its big acoustic chords and vibrant drum punches on what can only be described as classic Mascis. I love the body-swaying melodies and the middle eight where we drift off toward one of his trademark fuzzed-up solos that just soars. The title track offers more of the acoustic guitar being the lead instrument over the stripped-back band approach. J is joined on by keyboards by Ken Mauri of The B52s, and steel guitar by Canadian psych/folk/experimental musician Matthew ‘Doc’ Dunn and after only a few plays this is his brightest and most solid set of solo songs I’ve heard on first impressions. Five solo records in and this is instantly gratifying. On finishing the first couple of run-throughs from one to ten I feel refreshed and uplifted with the overall feel of this record. ‘Right Behind You’ is a joy. The format is solid and pretty much runs throughout the album with ‘I Can’t Find You’ being led by a bright piano and guitar in the intro with a twisting melody through the verse that takes the song somewhere different from what’s come before it and that’s the slight variety but the quality is front and center in all the songs on the record.
Halfway in and the strongest track in my humble opinion is ‘It’s True’ It’s like he is channeling his inner Neil Young and the groovy ‘Set Me Down’ follows like something the alt-country bands will swoon over. It’s Wilco meets Jesse Malin but totally J Mascis. I love that the format of Acoustic Guitars, Keys, Bass and basic drums have been the cornerstone throughout the record with the occasional fuzz solo and organ adding texture here and there making for a mellow yet really uplifting hopeful album and fans of MAscis will be delighted with what’s on offer and the fact he’s touring this is exciting I only hope I can get to hear these live that would complete ‘What Do We Do Now’ for me.
We’re only just breaking into February and I’ve heard some amazing records and J Mascis has certainly delivered one of them with this gentle offering compared to the full-force fuzz of his day job this is the perfect yang to the Dinosaur Ying. Beautiful record, Perfect for a wet rainy day just looking out the window as the world drifts by with the stereo turned up and a hot drink in your hand that’s what we do now. Buy it!
Album launch show confirmed May 3rd at the London Camden Underworld – Tickets HERE:
Although The Middlenight Men first came to life in 2019, singer and guitarist Nick Hughes has a long and rich history in music. Having attended Bretton Hall College in 2000 to study music, he formed a bond with drummer Leon Cave (who went on to join Status Quo as their full-time drummer in 2013), and the pair went on to play in many bands together throughout the early 2000s, before going their separate ways only for Nick to rejoin Leon in the band Crane Brothers in 2007. There has rarely been a break in twenty years where these two haven’t been in a project together since.
Nick then met producer Andy Brook (who has produced, engineered, and toured with the like of Status Quo, Ginger Wildheart, Wonk Unit, Role Models and Hayseed Dixie etc) upon joining the soho based power pop band The Role Models in 2015 and quickly a friendship was formed. Collaborations with the Danny McCormack led-UK rockers The Yo-Yos and Terrorvision (Nick has been a full-time touring member for the last eight years) soon followed, but after years of being told to write his own album, Nick finally found the inspiration when out on a South American tour with Duncan Reid and the Bigheads (featuring Duncan ‘Kid’ Reid of ’77 power-pop band The Boys). During a three-day stint in Buenos Aires, with no ability to speak the language, Nick found himself being driven to parties in the middle of nowhere and struggling to find his way from gig to gig. Out of this experience came The Middlenight Men…
The first Middlenight Men album ‘Issue #1’ was recorded with Leon and Andy at the end of 2019 and arrived in 2021, making an instant impression with its huge pop-rock licks and infectious melodies. Fast forward a global pandemic, and the last two years and The Middlenight Men are set to return with ‘Issue #2’, a second batch of songs with a heavyweight backbone, gelled perfectly with Nick’s unmistakable pop sensibilities. It features Leon Cave on drums once again and was produced largely by renowned producer Jason Perry, formally of Brit-rockers A.
Today we get to hear the first taste of ‘Issue #2’ in new single ‘The Middlenight Men Theme’, an irresistible song with an accompanying video that sees the band take a nostalgic look back at life in the 1990s, dreaming of starting a band.
“The Middlenight Men is somewhat of a cartoon band, and doesn’t every cartoon need a kickass theme tune? I’d always loved classic tv tunes accompanying animated series or old school 80s super-hero movies that had a bit of a rock edge,” explains Nick. “Even “the red car and the blue car had a race” from the milky way ads made a music appearance in one of our Issue 2 songs and then you looked at things like bananaman and turtles. It all [fucking] grooves. Plus, if they ever get picked up for sync, I’m one step closer to the guitar shaped swimming pool, huh? So, I decided I had to write my own. It just seems to be an apt song to say “HEY, We’re back, and we’re coming for you!”
Why The Middlenight Men? The Middlenight Men not only represents the thoughts that invade our dreams in the night, but it also signifies the philosophy of the band and all its collaborators. The band is greater than the sum of its parts. It’s the Marvel Avengers of the rock and roll world.
‘Issue #2’ is released April 12th via Middlenight Records and available to pre-order HERE:
Album launch gig confirmed for May 3rd at the Camden Underworld in London. Tickets HERE:
Friday 17th May – Sunday 19th May 2024 Weekend & Day Tickets now on sale
Desertfest London has revealed their day and stage splits for their 13th edition, taking place this May across multiple venues in Camden, London.
The festival proudly welcomes Masters of Reality as Friday’s Electric Ballrooms headliners, with Chris Goss at the helm providing a master-class in desert sounds. Plus, newly announced for this stage are Colour Haze and Frankie and The Witch Fingers who will join Brant Bjork Trio and Mondo Generator to kick off the weekend in true Desertfest style. Mantar and Raging Speedhorn will shake-up the Underworld, whilst Brume and Alber Jupiter psych-out at The Black Heart.
Saturday sees skate-punk legends Suicidal Tendencies back in London for the first time in seven years, as they decimate the equally legendary Roundhouse. Joined by Cancer Bats, Bongripper, Acid King and newest addition to the bill, Pest Control. Saturday’s Roundhouse stage is undeniably a melting pot of genres, but celebrating one common thread – insane live performances. Elsewhere, Maserati, Monkey3, Domkraft, Wet Cactus and many more will level Camden to the ground.
Back at the Ballroom on Sunday night, the festival enters its final day with a dose of experimental heaviness from Godflesh, Ozric Tentacles, Monolord, Ufomammut & Ashenspire. Additionally, Desertfest will be welcoming Bat Sabbath, the Black-Sabbath cover band formed by Cancer Bats to close out the entire weekend at our Underworld Stage after-party. Plus, DVNE, Nightstalker, Astroqueen, Stinking Lizaveta & The Grudge, with a hell of a lot more will be rounding off the weekend’s festivities.
Across the weekend, Desertfest has also newly announced the likes of Morag Tong, Borracho,Noisepicker, Gramma Vedetta, Lodestar, Kulk, Earth Tongue, Skypilot, Wolfshead, Weedsnake, Orsak:Oslo, WAXY,Horndal, Silverburn, Fires In The Distance, Sleemo,Midwich Cuckoos, Akersborg, Grand Atomic, Voidlurker, Under The Ashes and Fuz Caldrin.
If I say Romania and music it’s not the first thing that pops into your head, I get it. I can give you one reason to think of music now, and that is up and coming band The Voodoo Child. Different elements come into play here but think of a hard rock band that taps into the blues pool with an affinity for 70’s metal, 80’s rock, and current hard rock. They also combine an excellent guitarist with a great vocalist who can hopefully continue to develop and make a name for themselves. That is not a shot at the rhythm section who form the backbone of the music, but the guitarist and singer are the ones most likely to get pushed to the initial forefront a la Page/ Plant, Richards/ Jagger, and maybe in the future Cerbu/ Apostol (Rockmina). Ironically, the first song I heard by this band is the last song on the album thanks to a fortunate YouTube recommendation, and it has remained one of my favorites from the album.
Let’s start at the beginning though with ‘The Stalker’ where the first thing we hear is Rockmina telling the band to play her tune. This song has been a bit of a slow burner for me as the band combines a bit of a stop-and-go approach between verses and choruses. The initial spoken vocal when the music starts doesn’t provide proper warning to the vocals that are to come. Between the excellent lead guitar riffs and the rhythm section, they give Rockmina a stage to serve up a plethora of different voices from a raging scream to a soft touch at the end. It would likely not have been my lead track here, but it does set the stage for the album. ‘Poison’ features a great riff and turns the speed up a few notches. Rockmina’s attitude shines through in the vocals with the band grinding down to showcase a catchy chorus. Andrei Cerbu again provides a great riff transitioning out of the chorus to set up the next verse. The mellow breakdown in the middle of the song really takes the song to a whole other level by providing a great sense of dynamics. The guitar solo is phenomenal and makes this a standout song on the album.
The band finds a cool groove to establish ‘Mirror Mirror’ with Robert Ciubotaru (bass) and Teodor Cusnir (drums) getting an opportunity to shine. This song has a catchy chorus but also showcases a challenge on the record. The production is a bit rough and sometimes distracts from the songs as the drums here could have really popped in the mix. Instead, the song feels a bit more like a glossed-up demo. A producer also could have told the band the very short, rapped section by Cerbu should have either been scrapped or done differently. ‘Lost Train’ finds the band returning to excellence all around with a hard rocker that provides several hooks and reminds me a bit of Dorothy. Rockmina showcases excellent bluesy vocals that have a perfect touch of rasp to them. The lead work by Cerbu shines in the mix and closes the first half of the album on a high note.
The Voodoo Child shoot big to start the second half of the album with eyes on a Led Zeppelin style epic called ‘Summer Rain’ that is filled with a mellow start and end that sandwiches a ferocious beast of a middle section. I think my favorite part here is that Rockmina gets a chance to sing with softness and finesse as her voice glides over the music. The music slowly builds through the first chorus and then the song turns into a locomotive that again allows Rockmina to showcase her range before winding down for the end. This song also allows Cerbu a chance to showcase his guitar work. A ticking clock and exquisite guitar licks introduce ‘Stuck in Time.’ Vocally, this is another incredible piece of work with a bit of a power ballad feel. When I say power ballad, please think more 70’s style or early 80’s European style and not the standard hair metal style. Even with a bit of a muddy mix, this song is tremendous and one of my favorites of the album.
After the previous two songs, the band set a very high bar to end the album. The final one-two punch on the album is perfect. ‘Rise Again’ has likely become my favorite on the album because it is an absolute monster of a song. Cerbu’s work throughout the song is on another level with riffs that cut deep. The middle part of the song reminds me a bit of the quiet section of Whitesnake’s ‘Still of the Night.’ This leads to a more powerful guitar solo that makes it impossible for me to not go into air guitar mode. The band comes back to the main riff and Rockmina’s vocals sound otherworldly. Not just a favorite on the album, this is one of my favorite songs of 2024. Closing out the album is the first song I heard by the band with the hard-rocking blues of ‘I’m a Criminal.’ I love the feel of the song and the stellar drum work by Cusnir. Vocally, Rockmina’s vocals complement the song perfectly. The song also features excellent guitar work and solo by Cerbu.
While the album is not perfect, this serves as an excellent introduction by the Voodoo Child and should provide some progress into a global market. Ironically, I think I would like the album even more if I switched the running order and went from the closer to the opener. As I was listening to the album over the past couple of weeks, I acknowledged to myself that there will likely be a day when some of these songs get a chance to have a more professional recording and mix… and many of us will still prefer these rougher versions. It amazes me that Frontiers Records has not done everything possible to sign this band with the label showing some more diversity over the past few years. I can’t wait to hear more original music from the Voodoo Child.
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