Admin

Total Post: 4120

A turbocharged Rock and Roll website.

Tokyo Blade – ‘Beware The Blade – Classic, Rare & Unreleased 1983 – 2025, 4CD Box Set’ (Cherry Red Records)

Tokyo Blade – ‘Beware The Blade – Classic, Rare & Unreleased 1983 – 2025, 4CD Box Set’ (Cherry Red Records)

I’ll tell you one thing, Cherry Red Records always do a bloody good job when releasing these here box sets of material from bands generally no longer performing or looking back on long lost careers, but for a fair sum of money you can delve deep into the vaults of a band’s catalogue and none more worthy than the mighty Tokyo Blade. Hailing from Wiltshire and formed in 1982, Tokyo Blade were initially considered part of the NWOBHM scene but quickly outgrew the tag, enduring over the course of 14 studio albums and 5 EPs. Several vocalists from the early formative years of Alan Marsh through the more Glam and American-inspired Vikki Wright’s ‘Black Hearts’ Era.

Spread over four discs, this comp features classics from all corners of the band’s career on discs one and two, as well as obligatory “Bootleg quality”, oh sorry I mean raw and rough around the edges live recordings and an inspired disc of unreleased material for the deep divers.

For me, I loved the first album and the artwork that accompanied it. It was fast, rough and ready. There was the obvious NWOBHM aesthetic, but these guys had something else going on, and they wrote memorable tunes. Hell, was it really 1982 when ‘Powergame’, the outrageous ‘Mean Streak’ with its mental drum break and breakneck borderline punk riffage. The acoustic intro of ‘If Heaven Is Hell’ and the bonkers cliché lyrics and power stabs nostalgia can be a wonderful thing. My God, I haven’t played some of these songs in decades, and although the production can often be a little thin and dated, the songs rage and that warmth I get around my heart is immeasurable. Of Course, the Mighty ‘Night Of The Blade’ with its thumping double Bass drum bonk signalled another era of the band and one I wholeheartedly got on board with. The addition of Wright on vocals added a little something that gave the band the edge over the Chariots of the world, and at the time, they were my go-to metal band, no doubt about it.

‘Love Struck’, ‘Warrior Of The Rising Sun’ and ‘Lightning Strikes’ still sound magnificent. They should have been fucking huge. Disc one is a stone-cold classic! Once Vicki James Wright went stateside and The Blade disappeared off my radar for a while, it was time for a reset and a new singer. Disc two is a more polished sound, less rough and ready and a better production if I might be so bold. These songs are taking a bit of getting used to. I’m hearing the slower, more Shy keyboard layered tunes of ‘Chains Of Love’, but there was still the heavy rock of ‘Friend In Need’ punching through. A lot of this disc gives the Dokken and Ratts of this world a run for their money, no doubt about it. George Lynch and Warren DiMartini, and Steve Vai should have looked over their shoulders because the Blade could hold its own.

The Accompanying booklet gives a great snapshot fag packet summary of the history of Tokyo Blade, or as some would have you believe, the curse of the blade. Their legacy is some awesome Hard Rockin’ albums, a lifetime of live shows and memories most mortals don’t ever get to have. You, however, can relive the halcyon days of one of the finest bands to come out of the 80s metal scene in the UK and a band who never got their dues and who, in my humble opinion, should have headlined festivals and sold a ton of platinum records.

Let’s not get carried away because disc three harks back to a moment in time with a live recording from Europe, the Earthquake Festival, Holland to be precise. Anyone who was into music then would have frequented record fairs and picked up bootlegs from their favourite bands, and this is of that quality. Not soundboard and certainly not polished and studio enhanced, but raw as fuck and loud as fuck, just how they should have been remembered from 1984. It would have been nice to hear some live material from the Black HEarts period and line up but hey ho, you can’t have everything.

Onto the final disc, and the one that will be the go-to for most Blade fans, the unreleased material. A whole album’s worth and a full throttle hard rockin assault it is too, from the wholesome thud of ‘Lie In The Sand’ to the riff-a-rama of ‘This Dying Light’ via the keyboard trip of ‘Shout At The Dark’.

A band that didn’t stand still and was ever revolving and evolving, which might have been their strength and their cryptonite. This Box Set does, however, shine a light on an awesome band, whatever era tickles your fancy, and I’m willing to state here and now that if they ever did a show in the UK with Vicki on vocals, then I’m there. Don your studded belt, stripey trousers and sweat bands and get your fist in the air for the Mighty Blade! Not that I want to be disrespectful to Andy Boulton who put this together and has always been true to the Blade throughout its 14 albums (And still going to this day), it would be a buzz revisiting such a glorious time for this writer, but ‘Black Hearts’ was and still is a banger. Buy It! All this music for less than £30 is an absolute bargain.

Buy Here

Author: Dom Daley

Earlier this year Tokyo Blade released their 14th studio album, ‘Time Is The Fire’ via Dissonance, to rave reviews.

Twisted Sister on a mountain in Wales? Yes please you SMF

Twisted Sister on a mountain in Wales? Yes please you SMF

Steelhouse XV

24-26th July 2026

Festival’s 15 year celebrations marked in style by  TWISTED SISTER as they celebrate half a century of Metal

Buy Tickets Here

Steelhouse – the festival on the top of a Welsh mountain – will welcome American metal legends, TWISTED SISTER, who will headline and close out the festival’s 15th year celebrations on Sunday, the 26th July 2026, as they themselves celebrate a milestone: an incredible half a century as one of most notorious names in rock, having re-formed after a 10 year hiatus. 

Also confirmed as part of a monster first announcement are Friday headliners, The Temperance Movement and Saturday night special guests, Reef. Alien Ant Farm, make their first trip to the Mountain with Tyketto, Von Hertzen Brothers, Darren Wharton’s Renegade, Mason Hill, Dan Byrne, Luke Morley, Anthony Gomes, Beaux Gris Gris & The Apocalypse, AMH, Parker Barrow, LN, King Kraken and Blue Nation all being added to the bill. 

“We thought 15 years was worth celebrating in the biggest possible way”, say Steelhouse promoters, Max and Mikey. “And what better way to do that with one of the most iconic names in metal – TWISTED F***** SISTER!! To have them come and celebrate their milestone 50 years with us is an absolute and unbelievable honour.” 

“When DEE SNIDER came and laid waste to Steelhouse a decade ago – and more than any other headliner, fundamentally got what we were trying to do as an independent rock festival – we hoped that perhaps he would one day return with the band he made his name with… In our 15th year and their 50th, this is coming to pass…TWISTED SISTER on The Mountain is going to be HUGE!!!! 

We’re also extremely excited that The Temperance Movement headline SHXV’s opening night. Their own return has been a hugely welcome and successful one. Their shows last year were akin to going to church! They have history with us which goes back to both our and their early days. We’re so happy they’re making another trip up that road…Get your singing voices ready!” 

2026 marks the 15th iteration of Steelhouse, a now essential fixture on the summer festival map. Tickets are on sale now. For those wanting to spread the cost, a monthly payment plan is available on weekend arena tickets.  VIP upgrades are also available for those wanting VIP bar access, luxury facilities, acoustic sets and more!
 
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.

SHXV – Come Out And Play!! 

THE SIDESHOWS -DEBUT SINGLE OUT NOW VIA EUROPEAN PHONOGRAPHIC

THE SIDESHOWS -DEBUT SINGLE OUT NOW VIA EUROPEAN PHONOGRAPHIC

This ain’t no sideshow baby, this is The Sideshows!

STREAM/DOWNLOAD THE SINGLE HERE

New Project from Members of Hanoi Rocks, The Digressions & The Loyalties—Straight-Up Rock ’n’ Roll with Heart

The Sideshows is a brand-new project featuring critically acclaimed songwriter Rich Ragany (Role Models, Rich Ragany & The Digressions, The Loyalties, solo), legendary musician Sami Yaffa (Hanoi Rocks, New York Dolls, Jesse Malin, Michael Monroe), and powerhouse U.K. drummer Simon Maxwell (Yo Yos, The Loyalties, Role Models). Their debut features Side A: “Brand New” and Side B: “The Start”—two anthemic rock ‘n’ roll tracks recorded at Yaffa’s own Red Mud Studios in Mallorca, Spain. Songs by Ragany; music by Ragany/ Yaffa/ Maxwell. Engineered by Puter and Sami Yaffa, produced by Yaffa and Ragany, mixed by Andy Brook, and mastered by Graeme Lynch.

Sami tells how it came to be…


I ran into Rags (Ragany) in NYC in the early 2000’s. Seems like a lifetime or two ago now. Rags was a newcomer to the Lower East Side’s music scene, talked a mile a minute, and poured me a couple of free drinks on Jesse’s tab at Niagara Bar, where he was working to make ends meet, while shooting for that glitter in the gutter. Once mutual friend Rich Jones joined our Michael Monroe can can troupe around 2012, Rags started turning up to our gigs in UK and even supported us on a tour there (Turns out he had fallen in love with a lady from the UK and moved after her to a new neighbourhood in London). Over the years of hanging occasionally it became apparent that Rich was a formidable song writer and made great records with The Digressions, Role Models, The Loyalties and solo. When Rags showed up recently at KK’s Steelmill gig in Birmingham to say hi to us (the Monroes that is) he said he had a buncha new songs and was itching to get ’em on 0’s and 1’s. Well hell, I told him I’d been building a small recording studio in my backyard in Mallorca, Spain and said, “Why don’t you come down and we knock a few out and see how the studio sounds? We made a plan, and Rags came over with his anchor, a superb drummer, Simon Maxwell, who had played on pretty much every recording Rich had done in the UK. We proceeded to record. Windows and doors wide open with a view of the Spanish countryside, all silent except for some roosters and lamb bells. Simon said it was a bit different than their usual recording spot, a room with no windows in Croydon. The studio ended up sounding pretty good. We knocked these two songs out in a couple of days, each session followed by a long dinner…and lots of stories. I think this is a beginning of something, I don’t know what, yet, but something. Stay tuned, and in the meantime enjoy these two great RnR songs!

Find The Sideshows online at:

INSTAGRAM

FACEBOOK

EUROPEAN PHONOGRAPHIC

84 Days – ‘Self Titled’ (SBÄM Records/Double Helix Records)

84 Days – ‘Self Titled’ (SBÄM Records/Double Helix Records)

84 Days has released their highly anticipated debut self-titled album, out now via Double Helix Records and in partnership with SBAM Records (EU) and Pee Records (AUS/NZ/JPN). The record is a collaboration of epic proportions; 84 Days is Randy Bradbury, bassist for legendary punk group Pennywise, and Grammy-winning producer Cameron Webb. The band also tapped in No Doubt’s Adrian Young to drum on the self-titled debut, in addition to supplemental guitar work from The Vandals’ Warren Fitzgerald. Without very much fanfare at all thats a pretty impressive line up right there, some serious unit shifters to be fair. But is it any good, I hear you call?

Bradbury spoke in the run up to the release of how much of a joy it was to write and make this record, gone were any pressures, and the record could flow in whatever direction the music would take them, and so it begins.

The eleven tracks begin with ‘Mockingbird Brains’, bursting with energy wrapped in a full, punchy production. Sure, there are, of course, elements of the day job coursing through this. But it’s a great opener that has your attention and will have you air drumming along by the second chorus, no question. To be fair, that energy runs from one to eleven and ebbs and flows really well. The aptly titled ‘Don’t Trust The Government’ puts a foot in a well-produced grungey territory as the tale unfolds of a tale old as time.

‘Wasting The Night’ taps into the Green Day melodies that have served them so well, but it’s the quality of the melodies and songs in general that carry this over the line from being a copycat kinda record to something a little left of centre but having the DNA of authenticity to carry it home.

If, say, Bad Religion made a record this strong, the American Music press would be having a fit and heralding the return of the great underground champs. The middle of the record settles into mid-tempo punk rock, mixing up harder rock elements for good measure, with ‘Never Find The Righteous’ being the best of a strong bunch, with an excellent riff that punches into the chorus.

There are no sing-along ballads, lighters in the air moments of tenderness, it’s a heartfelt bunch of escapisms with lyrics about nostalgia and real life narrating through some great playing and great riffs from an album that doesn’t disappoint from top to bottom. I believe there will be live shows to follow, which is where I expect these songs to really come to life and take them to the next level. 84 Days band and album is a winner and one you won’t regret spinning. sake!

This is a record that makes you feel alive and inspired, that makes you fall in love with music again, reminds you of the power and joy that can be found in hearing something for the sake of music no bullshit, just guys having a great time writing the best stuff they can and delivering. Trusting the process and riding the wave of PMA and the magic that can be rock and roll. Providing the escape from the often toxic world we live in today, Go make it happen and turn it up for fucks.

Buy Here

Babyshambles are the Dandy Hooligans

Babyshambles are the Dandy Hooligans

“He’s rude in temper rude in style

Him a wicked and a wild,

He loves an old hat shop

And a good punch up

Oh well he never punch down”

Babyshambles release a brand new song Dandy Hooligan, their first release in a dozen years, through Strap Originals on Wednesday November 5th. Stream/purchase Dandy Hooligan here:  https://ffm.to/dandy-hooligan 

Dandy Hooligan has a distinctive and extraordinarily infectious Caribbean flavour with a lyric that is loosely based on the escapades of sharply dressed band associate Bob Morris, who has for many years, served his time in the anti-nazi ranks.

Says Peter Doherty: “It’s a well turned-out, elegantly crafted; reggae-ska-pop song… with a sweet melody to bowl along to with your sharpened walking cane…. Word from the ‘shambles camp is that it’s a homage to a legendary National Front basher.”

Dandy Hooligan was recorded in Normandy and Manchester earlier this month and produced by Mike Moore (Baxter Drury) and mixed by Ross Orton (Arctic Monkeys / M.I.A / The Fall) in Sheffield. The video features the Dandy Hooligan himself, Bob Morris, and was filmed in Soho by Roger Sargent

As previously announced, Babyshambles are on the Dandy Hooligan Tour in November and December. Tickets are available fromhttps://www.tegeurope.com/events/babyshambles/ The full dates are:

NOVEMBER

13TH THU Coventry HMV Empire

14th FRI Norwich The Nick Rayns LCR

16th SUN London O2 Academy – Brixton SOLD OUT

24th MON Oxford  O2 Academy

25th TUE Stoke Keele SU

26th WED Birmingham O2 Academy

27th THU Cardiff Tramshed

29th SAT Liverpool Mountford Hall

30th SUN Manchester O2 Victoria Warehouse

DECEMBER

1st MON Middlesbrough Empire

2nd TUE Newcastle O2 City Hall

4th THU Glasgow  O2 Academy SOLD OUT

5th FRI Glasgow O2 Academy

7th SUN Leeds O2 Academy

8th MON Nottingham Rock City

9th TUE Bristol O2 Academy

15th MON London KOKO

To mark its 20th anniversary Babyshambles’ debut album Down In Album will be expanded, remastered and reissued, through Rough Trade Records on December 12th. The anniversary edition will include a number of sessions tracks, rarities and b-sides in a double vinyl edition. It will be available on limited edition cream-coloured vinyl. 

Additionally there will be a very limited number of blue vinyl copies personalised by Peter Doherty, to recreate the hand-draw artwork he sketched out for the album’s first release. These editions are exclusively available from Babyshambles and Rough Trade Records’ online shops and can be pre-ordered here: https://babyshambles.ffm.to/albion20 

Babyshambles have released three Top 10 albums: Down In Albion (2005), Shotter’s Nation (2007) and Sequel To The Prequel (2013)… scored four Top 10 Singles Killamangiro, Fuck Forever, Albion and Delivery. 

Babyshambles are Peter Doherty (vocals/ guitar), Mick Whitnall (guitar), Drew McConnell (bass guitar) and Adam Ficek (drums). 

SPOTIFY APPLE MUSIC INSTAGRAM FACEBOOK 

YOU TUBE TikTok SMART LINK X

Witkin -‘Things I Might’ve Said’ (Self-Released)

Witkin -‘Things I Might’ve Said’ (Self-Released)

Veronica Witkin’s resilience and tenacity have allowed her to climb back up a mountain most cannot climb once. The first album I ever reviewed for a site was ‘Glitter City’ by the Glam Skanks. If you have not ever heard the album, seek it out along with ‘Things I Might’ve Said’ when you get done reading. The Glam Skanks at that time were pure magic. They had a singer (Ali Cat) who could command a room just by being in it. The chemistry was extremely tight, even if their drummer situation made Spinal Tap look like a band that could keep a drummer. They toured with Adam Ant and had an absolutely incredible album that is one of my all-time favourites. The band would go through some changes before the next album was released, which was a good album, but not at the same level. The Glam Skanks would eventually go their separate ways, with Witkin looking for what comes next. Soul searching, perseverance, and strength have allowed her to pick up the pieces and rebuild her musical approach. ‘Things I Might’ve Said’ serves as a new introduction with Witkin not just playing guitars but singing and shifting her musical direction while remaining in a 70’s frame of mind. While a few of these songs have been released over the past few years, she has also excluded some previously released songs from the album.

She kicks off the album with the power-pop stylings of ‘Last Years Ashes.’ Her voice has some grittiness to it that makes it feel rougher than the Raspberries, but still poppy. One of the early songs released from the album ‘1973’ paints a picture lyrically and draws musically from the same year. Witkin’s voice is working perfectly with the approach. There needs to be more avenues for these kinds of songs and music to be heard, as I believe there is a huge audience out there who have no idea this exists. She uses her guitar brilliantly within the song. The song has more rock to it than the first song. She does a great job establishing a wide variety of musical approaches across the album, with ‘A Way Back to Myself’ dipping into an acoustic rock feeling that has Led Zeppelin elements. Her vocals showcase the work she has put into developing as a singer. She maintains some rasp and adds power to it. The guitar solo hits hard and establishes another high point on the album. Lyrically, these songs seem to draw inspiration from Witkin’s journey from the demise of the Glam Skanks to her phoenix-like rising here.

Furthering her musical scope, ‘I Hate My Brain’ delivers some straight-ahead rock n roll with some much-appreciated hand claps included. Her guitar work again is very impressive as she delivers the goods without overshadowing the song itself. From the first moment I heard ‘You’re So Cinematic,’ it has reminded me of early Alice Cooper. It has a dark, dreamy feel with some excellent guitar licks. Her ability to play guitar, I have never questioned, and the solo here provides proof. Vocally, though, she has done a great job employing different styles and approaches. Her vocals here are smoother and sound powerful. She closes out the first half of the album with the rocking ‘Hard to be Happy’, which features a chorus that pops out of the speakers. If you told me Witkin time-travelled here from the early 70’s, I would not be surprised, as she delivers these songs with a genuineness that jumps out of the speakers.

The flipside or back half of most albums do not begin with an ‘Intro.’ The very brief instrumental reminds me a bit of the circus, but it works well as an introduction to the glamtastic ‘Don’t Call It a Cult.’ If you remember the amazing ‘Velvet Goldmine’ soundtrack from many years ago, this song would fit perfectly on it. She has channelled her inner Bowie on this one, and I love the guitar work. The backing vocals are sublime, and I love the lyrics. ‘Chromatic Aberrations’ spreads out the musical landscape again with some tasty guitars on a spaced-out beat. Instrumentals can be hit and miss for me, but this one is definitely a hit with a lot of personality.

 ‘Conversations in My Head’ brings us back into the power-pop spectrum with another strong hook-filled chorus. Lyrically, this song will likely connect with most of us as she has channelled into something most of us do. The cleverly titled ‘Drowning in the Gene Pool’ turns up the fun musically with some piano added into the mix to join the party. The guitars pop in the mix, as do the hand claps. This feels like something Sass Jordan could have done back in the ‘Racine’ days.  All good things must end, and Witkin brings the curtains down with ‘These Days.’ What struck me most when I first heard the album is she chose the finale to showcase her vocals, more than her guitar. The confidence leaps out of the speakers as she sings about trying to fit into the world. This can be an anthem for any of us who have experienced moments where we don’t fit into what is happening or feel out of place.

The Glam Skanks drew a lot of influence from the 70’s but took it in a different direction. Witkin has shown an evolution in who she is and what she represents. This album feels like a piece of her soul. She came very close to having her rock n roll dreams come true and has established a solo career with this album that puts her heading in that direction again. The musical approach isn’t revolutionary in terms of forging a new genre. This musical approach is based on writing and performing great songs wrapped in authenticity.

‘Things I Might’ve Said’ is available now. Buy Here

Facebook

Website

Author: Gerald Stansbury

Levellers – ‘Zeitgeist – 30th Anniversary Edition’

Levellers – ‘Zeitgeist – 30th Anniversary Edition’

Have you ever changed your opinion on a band after seeing them live? I certainly have. I must admit I wasn’t a fan of the Levellers back in the early 90s, but my flatmate was. I wasn’t bothered about politics, Traveller culture or bands whose fanbase were mostly crusties with dogs on a bit of string (can you say that in 2025 or will I get cancelled?). After being persuaded to attend a free Anti-Nazi League march and festival in London back in 1993 featuring the likes of The Manic Street Preachers and Dreadzone, it turns out the band of the day just so happened to be the Levellers. You could say I was converted to the cause at that very moment.

Released in 1995 ‘Zeitgeist’ was the Levellers 4th album, and the first I was excited to hear. The previous year they headlined the Pyramid stage at Glastonbury and ‘Zeitgeist’ entered the album charts at the top spot, becoming their biggest selling album. Levellers were now big news, opening their brand of anarcho-punk/folk to a whole new audience.

Fast-forward 30 years, ‘Zeitgeist’ has been given the remix treatment by longtime collaborator and original producer Al Scott, and it sounds as fresh as the day it was released. Showcasing their heady mix of folky storytelling and angst-ridden punk energy, this album is the sound of a band reaching their commercial peak and hitting their stride live. Featuring 3 top 20 singles; ‘Fantasy’, ‘Hope Street’, and their very own drinking anthem ‘Just The One’, it also contains fan favourites ‘Men An Tol’ and ‘Exodus’. It’s a strong album that stands the test of time musically and sonically. It is also an album steeped in social commentary, as relevant today, if not more so than it was in 1995.

Of course, there is always a minority of die-hards who complain when their favourite band gets successful, and the Levellers were no different. Appearing on Top Of The Pops in suits, miming to ‘Just The One’ on the same show as Erasure and Mariah Carey probably didn’t help matters. Oh, the horror! Joking aside, as a stand-alone album, ‘Zeitgeist’ has aged remarkably well. I don’t remember it sounding this good to be fair. The opening’ Hope Street’ sounds massive, and the urgency of the following ‘The Fear’ takes it up a level. The well-known singles we don’t really need to cover, but it’s the lesser-known album tracks where the band and their songwriting shine. The subdued, folky charm of ‘Maid Of The River’ still hits in the feels, and the Strummer-inspired punk of ‘4AM’ kicks nicely. ‘Leave This Town’ is still up there as one of my favourite tracks by this band.

But that is not all we have with this celebratory version. The 2 LP edition features a bonus disc of remixed b sides; the CD box set adds a bonus disc choc-a-bloc with demos and other rarities that are well worth putting your hand in your pocket for.

Highlights are plentiful, from familiar b sides such as ‘Drinking For England’, ‘A Promise’ and ‘Your ‘Ouse’, to hard to find gems such as the acoustic live medley ‘Social Insecurity/Is This Art’ and a stripped back take of ‘Dylan’s ‘Hobo’, there is much to discover.

The Levellers were, and still are ‘rebels with a cause’, a band who refuse to conform and continues to do things their own way. And this 30th anniversary celebration highlights a timeless sounding album that stands tall with anthemic choruses and urgent beats from a little Brighton based band who went from cult status to festival headliners and on to national folk rock treasures.

Buy Here

Author: Ben Hughes

Lovers Left Alive – ‘How..’ (Today is Going Well / Xonoring Records)

Lovers Left Alive – ‘How..’ (Today is Going Well / Xonoring Records)

Sorry Finland… Lovers Left Alive don’t belong to just you anymore. They have been unleashed on the rest of the world, and with some promotion and breaks, they will get to see the rest of the world soon. I received a tip to check out the band (thanks, Graeme), and one of the first things I found was a live cover of the early Dogs D’amour song ‘Wired and Wide Awake.’ The band were immediately speaking my language. After a run of singles over the past few years, I believe this is their debut album, which makes an immediate impression and memorable introduction.

If we travel back in time, we can identify some of the influences in Lovers Left Alive. One of those would be very early Hanoi Rocks when they were crafting their debut album. Another one would be some early Stooges. The Rolling Stones would be one of the ingredients, and some early punk (Heartbreakers) as well. What’s special, though, is that the band has created their own identity out of these ingredients and influences. The mix on the album is beautifully messy and gives it a live sound. I recommend turning up the volume and losing yourself in the magic.

It would all mean nothing if the band didn’t have the songs, and they definitely have the songs. ‘All About Luv’ has a great sing-along section, an addictive beat, and a lead guitar that feels like it is going to go off the rails at any moment. The cacophony of sounds at the end feels a bit like the hot mix early Jim Jones Revue recordings had, think ‘The Princess and the Frog.’ Fuzzy backing ‘ooohs’ peek through the mix in ‘Haven’t Seen the Sun’, which showcases the band’s ability to write catchy songs with great riffs. ‘Want You There’ is built on an addictive beat with guitar licks dancing around it. There are some twists in the vocals, but this is one of those songs where I heard some early Stooges. The song feels like it can morph into different directions at any moment. When it does, we get an incredibly catchy chorus that is used minimally over the song’s five minutes.

Changing directions, the band unleash ‘Sum of These Young Hearts’ which feels a bit like ‘Roads’ by the Backyard Babies. The mix gives the song some grit, and the song provides another catchy moment that gets stuck in your head. ‘Let the Good Times’ gets the party started again with a rockabilly type beat that blends their influences and originality into a powder keg, with the guitars sounding pushed to the extremes. You can almost see the amps smoking and the sparks popping in the air. The too-short ‘Crackdown’ could pass as a missing song from ‘Self-Destruction Blues.’ The guitar riff works perfectly over the beat, and the band deliver a contagious infection that induces air guitar and sing-alongs.

The beginning of ‘Bedroom Talk’ feels like the band has just plugged in their instruments and then jumped into the song. The slower tempo provides another example of the diversity through the album. This is another one with excellent guitar work and musically in the same world as the New York Dolls. The album ends with two longer songs, with ‘Only Lovers Left Alive’ being the first one. There is a burning intensity to the beat and vocals. The guitar notes after the choruses work perfectly, and the feedback from the guitars adds more magic to the song. The way the song creates an inferno near the end could have been an epic closer to the album. Instead, the band found a way to build to an even better ending. ‘Out of My Reach’ may have a running time over nine minutes, but it never feels that long. The introduction and slow pace at the beginning feel a bit like early Jesus and Mary Chain- think ‘Darklands’ with ‘Psychocandy’ production. The song builds and adds elements as it goes, with an ending that is unexpected on first listen and becomes even better when you hit the 15th or 20th listen. If I had to single out a favourite song on the album, it would probably be this one.

Once again, with apologies to Finland, Lovers Left Alive belongs to the whole world now. This album has grit, finesse, barbed wire hooks, and great songs. They have taken their influences and infused them with their own originality to create an album that feels both exciting and familiar. What they need is exposure to begin their ascent to the next levels of popularity and hopefully live performances across the world.

Facebook

Buy Here

Gerald Stansbury                  

Millie Manders – Back To The FUTour 2026

Millie Manders – Back To The FUTour 2026
Photo credit: Tina

“Having been left with no option other than to pull out of a long-run support tour, our winter became a bit of a wasteland, We wanted to get back to working as a headline touring band, hence our Back To The FuTour was born. We are delighted to have Death Trails and All Ears Avow joining us – two bands we love working with, who we know our fans will love too.” MILLIE MANDERS | NOVEMBER 2025

Millie Manders and The Shutup have announced their return to touring with a UK tour for April and May 2026 following what has been, for them at least, a relatively fallow period. Full dates as follows:

APRIL

Wed 08 SOUTHAMPTON Joiners *

Thu 09 PLYMOUTH Junction *

Fri 10 BRISTOL Thekla *

Sat 11 LIVERPOOL Rough Trade *

Wed 15 EDINBURGH Bannermans *

Thu 16 DARLINGTON Forum *

Fri 17 NOTTINGHAM Rescue Rooms *

Sat 18 MANCHESTER Club Academy *

Wed 22 DOVER Booking Hall **

Thu 23 LONDON Lower Third **

Sat 25 NORWICH Waterfront Studio **

Wed 29 COALVILLE Bikers Pub **

Thu 30 NORTHWICH Salty Dog **

MAY

Fri 01 NEWCASTLE Cluny 1 **

Sat 02 LEEDS Key Club **

* with Death Trails

** with All Ears Avow

Tickets available from www.millie-manders.com

Millie Manders and The Shutup’s cross-genre punk rock has become increasingly hard to ignore over recent years. With main stage appearances at such notable festivals as Slam Dunk, Beautiful Days and Rebellion, and extensive support from the likes of BBC Introducing, Radio X and national press, the last two years have propelled the band into the public conscience and the music industry at large.

Fronted by Millie Manders, whose staggering vocal dexterity backed by grinding guitars and irresistible horns has huge pop appeal, their lyrics deliberate on themes of loss, betrayal, anxiety, heartbreak and bitterness, anger, environmental catastrophe and political unrest. With a conscience that ensures zero plastic wrapping on all merchandise and that limited edition artwork and clothing is sold to help raise money for charities, Millie Manders and The Shutup are striving to make a difference whilst keeping us uplifted and brilliantly entertained.

Their live shows are renowned for their power and contagious energy and 2026 sees MMATSU looking to release their eagerly anticipated third album.

ALBUM DISCOGRAPHY

Telling Truths, Breaking Ties (2020)

Wake Up, Shut Up, Work (2024)

Razorbats – ‘Anthems Of A Lost Century’ (Voices Of Wonder)

Razorbats – ‘Anthems Of A Lost Century’ (Voices Of Wonder)

My first encounter with Norway’s finest glamorous punks, Razorbats, was the debut album and in particular, the awesome single ‘Kids OF The 70s’ with an insane hook and chorus, but not just that, the overall production and song structure seemed big budget and not the work of some kids from Oslo with a dream in their head and a guitar. Several albums later and several line-up changes, the band are still going and with their style refined and more Glam than punk, they still take the finest of genres and run with i,t writing and recording insane hooks and stadium-filling choruses and melodies. 2025 and the latest Razorbats record is up and running.

The latest video from the album ‘Scars’ is a rapid punch affair with howling solos and razor sharp riffage and those layered vocals leading the charge. With one foot on the monitor wedge punching the air and the other firmly placed in the 80s Razorbats are safe in their wheelhouse writing loud anthems for an underground that wants to dance and shake their shit as well as break stuff.

I love the rumble of ‘Shadows’ that flows nicely into the power pop of ‘Turn It Up’, it’s then into some riff hard ‘I’m Not In Love’ with its layered chorus that’s all shoulder pads and big hair but with a muscular undercurrent with its 80s stabs and meandering guitar solos. The boys rock out on the epic ‘Hyperion’ with its big intro that builds into more dreamy power pop. Carrying the torch for big 80s rock ‘Love Comes Easy’ with its gentler sound and pace, with the multiple layers of vocals swaying in the breeze before the album closes off with the punchy ‘Kamikaze Casanova’ and were back to what the boys do best and that rock out with big riffs layers of vocals and a very polished production nodding the cap to their forefathers of yesteryear. Razorbats have fun and know that being in a rock band is living out your fantasies, and they do it oh so well. With a tongue firmly in the cheek, they clearly love hard rock and every genre from the ’80s and beyond. I raise a glass to them and their sheer determination to deliver the best record every time. Long live Razorbats – Horns up, kids, and watch out for the fireworks, Razorbats are in da house!

Buy Here / Vinyl