The Middlenight Men announce new album ‘Issue #2’ to be released April 12th via Middlenight Records

Pre-order the album HERE:

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 BatsBongripperAcid 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, MaseratiMonkey3DomkraftWet 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 GodfleshOzric TentaclesMonolordUfomammut & 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, DVNENightstalkerAstroqueenStinking 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 TongBorracho,NoisepickerGramma VedettaLodestar, KulkEarth TongueSkypilot, WolfsheadWeedsnake, Orsak:OsloWAXY,Horndal, Silverburn, Fires In The DistanceSleemo,Midwich Cuckoos, Akersborg, Grand Atomic, Voidlurker, Under The Ashes and Fuz Caldrin.

Weekend & Day Tickets for the event are on sale now via

Full line-up

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.

‘From the Dark’ is available now.

Buy Here


Author: Gerald Stansbury

It was Christmas week and RPM Online was lucky enough to have a video chat across the ocean with none other than Blag Dahlia about his recent records ‘Ralph Champagne’ and the brand new Dwarves album ‘Concept’. Blag also spoke about a new release that completes the ‘Concept’ collection set to come out before they hit the European touring circuit this summer.

We also talk about being cancelled, Vadge Moore, and what’s next. Hit us up at the link for the edited interview along with plenty of music both old and new.

Listen Here




Taken from their new album ‘Beer Baby’, to be released March 7th via LEGLESS, Gaga Music and Bachelor Records (UK).

They’re back after a four-year hiatus, with their fourth studio album and a UK tour confirmed for March and April. Drunk Mums formed in 2011 and were a huge influence on The Chats and Amyl and the Sniffers etc, so it’s a timely return and time to reclaim their crown as Australia’s rowdiest, dumb-fun party garage band.

Filmed and edited by WILD ROSE PICTURES in the streets of Melbourne, this video is a hot mess. A wild ride featuring E Scooters, a pit stop at the bottle shop, cheeky park session, New Guernica and a ride in a stretch limo that screams, “We made it… sort of.”

So, if you’re ready to witness the chaotic masterpiece that is “LIVIN AT NIGHT,” buckle up and join Drunk Mums on a journey through the absurdity of their latest party anthem. Let’s face it, we all need a bit of Drunk Mums-induced mayhem in our lives. Cheers to chaos!

Catch Drunk Mums live at the following dates in the UK:

March 29 Bristol, The Lanes

March 30 London, The Trinity

March 31 Bantham, Outside

April 1 Manchester, Big Hands April 2 Brighton, TBA


The hottest ticket in town had to be The Libertines playing the compact and frankly undersized venue Clwb Ifor Bach. Could probably have sold it out ten times over and demand would still have been feverish. With doors being delayed by a good ninety minutes the queue snaking down Womanby Street was like the entrance to Wonkas factory as people clutched their golden tickets. The band has been loyal to Cardiff with several shows in the city over the last few years and then with a new album set for delivery towards the end of March it was time for the boys in the band to regroup and test out some of the new songs on audiences around the country and what better way than in small grassroots venues that would be packed to the rafters and boy was Clwb Ifor packed.

Arriving on stage fashionably late The fab four waste no time in getting on with business. It’s a work through ‘Up The Bracket’ and ‘Vertigo’ to warm things up and loosen the voices of the semi-inebriated audience who were all looking to make the best of this opportunity to catch the band this close and personal. The recent single ‘Run Run Run’ was the first song off the new album to be aired and the masses were already throwing themselves around and singing along like it had been in the set for years. it wasn’t long before a couple of other new songs were played in the shape of ‘Night Of The Hunter’ and ‘Shiver’ with the former being the chance to grab an early breather as the wall I found myself pressed against was actually perspiring I swear it and on Stage right Pete was still wearing his Crombie buttoned up and a hat with a rather fetching Rosary bead wrapped around his forehead for dramatic effect no doubt not something I can see catching on but hey, you never know. Pete and Carl were their usual busy selves on stage interacting as they took the mic for their lines like a well-oiled machine and as the set developed the audience began to fall over itself at the lip of the low stage. There were calls for people to take a step back which fell on deaf ears and instead whilst nobody was injured the security did a decent job in refreshing the audience with bottles of cold water.

The middle of the set eased back with ‘Shiver’ from the new album before a rousing sing-a-long of ‘Can’t Stand Me Now’ and ‘What Kate Did’ before the cool swagger of ‘Mustang’ played out the last of the new songs. It was heads down and time to get busy before the curfew was ignored and ‘Death On The Stairs’ lit a torch under a magnificent run through ‘Time For Heroes’ and the main set was done.

A swift towel down and it was ‘Gunga Din which happens to be my favourite song off the last album before ‘The Good Old Days’ loosened the audience up for one last hurrah of an epic ‘Don’t Look Back Into The Sun’ and this sweaty mess was over and we could all wander out into the cool January night and some much-needed oxygen. I’d almost forgotten what it was like to go to a sold-out sweaty show by a big band in a small club and it was indeed one of those nights where you’re grateful to have discovered this thing we all love called Rock n Roll because The Libertines are one of the best if not the best live band the United Kingdom has produced in decades and these sweaty gigs are where they shine brightest. It’s their natural habitat From the magnificent rhythm section of Gary Powell and John Hassall who never drop a note and pour petrol on the fire in the engine room of The Libertines that enables Carl Barât and Peter Doherty to weave their merry notes like they are two sides of the same person yet very different in their delivery and approach and that’s where the magic of nights like this lies. A Magnificent night of music pure and simple.

Now then, Can we do this all again sometime it was a blast and I’m sure every single person who is lucky enough to attend one of these shows will testify just how bloody good The Libertines are. OK, maybe bigger venues so more people can witness how damn good a night out should be.

New album pre order Here


Author: Dom Daley

Radio Birdman, legendary outsiders of Australian rock and roll and ARIA Hall of Famers, celebrate their 50th anniversary in 2024 with shows in June and July 

Radio Birdman, legendary outsiders of Australian rock and roll, celebrate their 50th anniversary in 2024.

This truly landmark achievement will see the ARIA Hall of Fame inductees take the stage for a series of special farewell performances around the country in June and July.

In a time when absolutely everything is deemed iconic, Radio Birdman remain the real deal. They rewrote the rules of the Australian music industry by sheer force of will and carved out their own path which many others have since followed.

Their logo, still mysterious even after half a century, is now emblazoned on the bodies of a global legion of fans, their cars, surfboards and much more. These final performances in June and July will underscore why.

To mark the occasion, the explosive 2014 album, Live At Paddington Town Hall 12th December 1977 will be reissued by Citadel Records.

You need to be there, anyway anyhow.

SUNDAY JUNE 23: THE GOV – ADELAIDE – with special guests

Check out this interview with The Damneds Bass maestro Paul Gray. Starting his career back in the 70s Paul first crossed paths with his current bandmates in The Damned when his band’s picture was printed on the flip side of the debut Damned album (good luck finding a copy) since then Paul has thumped his Rickenbacker in Eddie And The Hot Rods, Played with Motorheads Larry Wallis, Johnny Thunders around the time of his classic ‘So Alone’ sessions. He then followed Algy Ward into the Damned lineup and recorded two hugely impressive studio albums ‘The Black Album and ‘Strawberries’ as well as the iconic ‘Live At Shepperton’ record that captured the often chaotic but always exciting sound of The Damned live.

After quitting The Damned he had a stint with hard rockers UFO followed by stints with Andrew Ridgely as well as stints with the musicians union and tutoring Gray then returned to public prominence with Damned bandmate Captain Sensible as one-third of the wonderful Sensible Gray Cells.

Gray was also diagnosed with Throat Cancer before returning to the live stage he played with another Damned bandmate this time Rat Scabies in Professor and the Madman in 2017 before stepping back into the Damned following the departure of Stu West where he’s been an ever-present as the band have raised their profile and delivered several studio albums bringing you up to date with the impressive ‘Darkadelic’. He’s also found the time to record and tour with Wingmen alongside a Moped, Strangler and a Ruts DC. Without further fanfare let me introduce Martin Chamarette our intrepid interviewer and the one and only Paul Gray who it was once said if he was paid by the notes he hit he’d be a millionaire.

Brigata Vendetta are a new band to be reckoned with in the famed Bay Area punk rock scene, but the three members are anything but newcomers! Frontman & bassist Darrel Wojick and guitarist Mike Caputo will be familiar due to their involvement with Harrington Saints – well, they are joined by Bum City Saints drummer Brian Zobel. Those familiar with the Harrington Saints won’t be disappointed when the needle drops on Brigata Vendetta rather they’ll be suitably impressed and thoroughly pleased with this offering.

This is How Democracy Dies’ is the debut LP on Pirates Press Records. It’s 13 songs of smarting rapid uncompromising hardcore punk rock and boy does it get the blood pumping. Written over the course of 3 months and recorded in workmanlike marathon sessions at Oakland’s Sharkbite Studios in a single weekend, with frequent Harrington Saints collaborator Scott McChane manning the board it sounds like it was a band on a mission bristling with energy and ideas and finding the vehicle to let it all out. It’s like being hit in the face with an anvil but enjoying it so much you want to do it again.

What began as a side project for Darrel and Mike became their prime focus after Harrington Saints went their separate ways, and despite their familiarity playing together, the new band brings with it fresh sounds and fresh perspectives. Make no mistake this is punk as fuck and as hardcore as the likes of Bloodclot or any of the Agnostic Fronts of this world. Park The Saints and Suede Razors this is fuckin’ brutal and in your face. The likes of ‘1000 Cuts’ or the epic ‘Nothing Left’ would give a raging Lemmy a run for his money at his most aggressive best.

Straight from the get-go ‘Get The Spirit’ is the battle cry and a howling good time thereafter. Rapid and galloping but the guitar breaks are superb. It all makes for a really exciting record that doesn’t stop from the opener right through to the closing punch of ‘Greenies’ Which opens with the most filthy bass riff and sound I’ve heard in ages. Wham bang thank you man. This shit is on Fire and I love it.

If OFF! or the likes of MDC light a fire in your heart then this is for you. ‘Tempers Flare’ sounds like a band who just discovered Bloodclot and AC/DC and wrote a song including the two beasts. This record is relentless in its quality and delivery ‘Bodies’ is punishing and before we’re done ‘Into The Ground’ will leave you buried under an avalanche of noise that is hard as nails, heavy as hell but fuck me sideways it sounds good, no sounds fantastic! They say you can’t teach an old dog new tricks. Brigata Vendetta completely dispels that myth because ‘This Is How Democracy Dies’ is an absolute Banger! Buy It!

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In the Fall of 2019, First Boy On The Moon set out on a journey to create catchy songs and perform live shows around Malmö, Sweden. Fronted by singer-songwriter David Pedroza, this quartet is inspired by 80s alternative music and continues to explore the different sides of Rock with cerebral lyrics, kick-in-the-guts guitars, bass, and drums and I thoroughly enjoyed their first offering when David got in touch to say that ‘Cybergirl’ was in the bag I was looking forward to hearing what the band would come up with next.

The moment the needle dropped on ‘Dreamer’ I felt a smile crawling over my face and as my head nodded to the rhythm my foot was compelled to join in this wave of happiness as the uptempo modern alternative rock was pounding through my speakers. The production is unfussy and lets the music breathe, be it through headphones or speakers. This is excellent. Like a fusion of the Manics meeting the guts of early Suade as a starting point but to be fair there’s a healthy Bolan swagger going on and more of that 70s glam is infused into the DNA of Pedroza’s songwriting with small parts or just the attitude and delivery it’s all in here.

‘Hot Fun In The City’ is more of a groove and a more relaxed pace but it’s a wonderful slice of guitar-driven pop again the feeling that this is unfussy and that punchy Bassline can have room to be heard is something loads of bands miss. ‘Room Full Of Junk’ stalks in the shadows ushering some new wave tones to proceedings a louder guitar-based Teardrop Explodes with that post-punk feel.

When Iggy did ‘Bla Bla Bla’ he still had guts but wanted a more accessible style and ‘High On The Beast’ comes from the same place. The first side ends on the more dreamy ‘Afterlife’ with acoustic guitars and drum toms and the use of an Ebow for added atmosphere. Influenced no doubt by 80s Bowie, Pop, and Reid which is a fine place to draw inspiration from as anywhere as well as touching on the style of the Furs or Bunnymen it’s in that guitar-based ballpark.

Side two begins with the upbeat ‘Taste The Rainbow’ followed by the gritty title track. ‘I’m Alive’ and ‘Eyes On You’ are more proof that First Boy On The Moon are onto something. The album closes with the handclapping atmospheric ‘Generation Suicide’.

This record sounds fantastic, the songs are really good and a varied but a very enjoyable listen it is too and I still can’t help but feel good listening to these songs. In these uncertain times, it’s always good to have some sunshine and First Boy On The Moon delivers that in spades. Something steeped in the good old days but feeling brand new. Hit ’em up on Bandcamp or Facebook and crank it up.

Buy Here

Author: Dom Daley