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Midnight – ‘Hellish Expectations’ (Metal Blade Records)

Midnight – ‘Hellish Expectations’ (Metal Blade Records)

As night follows day the last few years have been peppered with album releases and UK tours from the mighty Cleveland noisemakers known as Midnight. such is their output and the quality of it I feel like a kid at Christmas waiting, knowing it’s coming. The album drops and I get the cans in the fridge and prime the stereo because the unholy racket is a coming. You know already that before you’ve clapped eyes on the artwork it’s going to tickle your pleasure receptors and have you nodding like head bobbler on an F1 car with your bullet belt and leather gloves on it’s time to give in and offer up your undivided attention because Athenar and the gang are on the stereo. Beelzebub is ying the bellows for some ‘Hellish Expectations’ and enough fast as fuck punk/metal to tide you over until the apocalypse or next years release and tour.

2003 was the year that Satan belched these bad boys out on an unsuspecting world all looking for a fix of Motorhead, Venom and Tank fuelled noise. Filthy, belligerent and obnoxious, Midnight makes music to start fights to and drink beer until you can’t physically carry on its slayer for scum. Athenar has been calling the shots for this ungodly racket, and ‘Hellish Expectations’ won’t disappoint – there are no curveballs, no letdown and plenty of life-affirming noise.

‘Hellish Expectations’ is blunt force trauma set to music – no nonsense, no mucking about just pure fuckin’ hell and some. Imagine all the previous albums thus far rolled into one concise record – Ten songs equally noisy and all as intense and rapid as the last.

Athenar alleges these songs were all written in a weekend after being pissed at the demos of the last album ‘Let There Be Witchery’ (Don’t be hard on yourself mate that album was a belter). Opening track ‘Expect Total Hell’ (Obviously, what else would we expect?) not so much creeps out of the speakers but builds up a head of steam sounding so raw and vital you can feel the head on your back as the chopper your on spews out of the ground as you burst out of Hell. The first thing you notice is how live it all sounds it has the feel of a one take deal and the energy is spot on. The song titles have long since had me properly laughing out loud and ‘Gash Scrape’ is no exception as Cronos must be looking over his shoulder upon his blackest stallion wondering how Venom at their peak never sounded so fuckin’ vital. As you get comfortable ‘Masked And Deadly’ has already been and gone before the old school ‘Slave Of The Blade’ has you windmilling in a pool of sweat.

Side two is underway with ‘Nuclear Savior’ is going through the gears and we’re just warming up never mind a tipper sticker this should carry a government health warning. It’s brutal, raw and insanely addictive like fentinal audio crack.

My heart pacemaker was put out of sync after the last tour and almost caved in my chest so loud was the PA I’m now turning this bad boy past 11 on the stereo as ‘Mercyless Slaughtor’ grinds my ears into submission before ‘Doom Death Desire’ has the Lemmy like a wall of noise hit me like dropping a breezeblock off a ten story building onto my chest but wait, there no time left except to thrash like fuck as ‘F.O.A.L’ races to the finish line and we’re done. It’s not long enough, clocking in at a ‘Reigning Blood’ length album. I mean one song on Venoms ‘At War With Satan’ is almost the length of the entire ‘Hellish Expectations’ album some will complain but I accept it for what it is pure fuckin armageddon in a nutshell and besides the music is top fuckin notch, that’s a given the artwork has two pencil drawn demon women with 70s bushes and a nun swinging from a Bell Midnight at truly Satanic Royalty and have to accept their place at the top of the Black heavy metal/punk ranking. They have no peers and as well as being in a league with Satan nobody can touch them. Vital album right here, buy and F.O.A.L. because you’re worth it.

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Drunk Mums – ‘Beer Baby’ (Bachelor Records/Legless Records)

Drunk Mums – ‘Beer Baby’ (Bachelor Records/Legless Records)

Having taken the last four years off (prob to drink more beer) the world is a pretty different place now as it was when they fucked off. But in many ways, it’s still the same fucked up, shit pit of a place so these Drunk Mums will feel right at home as they deliver ten relentless, no-holds-barred party hard anthems that leave you wanting another tinny and party to attend with zero chance of worrying about governments, world wars, terror threats, global warming. For now, we’ll concentrate on having a good time because we’re not here for a long time. Refreshed and ready to go with their zero BS, good-time rock ‘n’ roll explosion.

Recorded at the legendary Hot House studio with Jez at the helm and masterfully fine-tuned by the Bear, no expense was spared in crafting this comeback masterclass, aptly named “BEER BABY.” imagine a cocktail of loud guitars, gang vocals, uptempo anthems, zero bullshit and endless shots of Jager, Beer and good times. right, we’re in the right ballpark or on the same page. Anybody who knows their music already knows that Australia has been churning out top-notch guitar bands be it hard rock or garage rock or punk rock they continue to nock ’em out at a fantastic rate. Over the last few years, they seem to have gone into overdrive with bands like the mighty Stiff Richards, Civic, Amyl & The Sniffers, The Chats, TNSW and who can forget bands like Cosmic Psycos or Radio Birdman as well as a whole host of bands and artists. This year has already given us Split System and now you can revel in the comeback of Drunk Mums and their awesome new earworm ‘Beer Baby’ which crosses the great divide of being hard-rocking punkers and this record is on fire.

Spending their hiatus crawling through dive bars looking for inspiration this bunch of yobs are about to set off on a world tour with the chats and headline dates with ‘Beer Baby’ in hand to elevate themselves into the big league and now they’ve got a whole bunch of new tunes to consolidate that theory that Australia is leading the way with loud records.

Ten ragged glorious anthems kicking off with the snotty ‘New Australi’ it’s like they embodied the Roxy from 77 and when DC hit the UK back in the day. It’s rough riffs and drunken vocals hanging on a wicked melody that locks into your ears and doesn’t let go. ‘Slippin Up’ channels the Ramones hashing out a Chuck Berry riff at some yard party where the beer is going down nicely just before the cops show up. ‘Mutant’ is just nasty punk rock running amock in your head as the chasers do the damage You’re getting leary and the pit is getting treacherous and messy.

You should get the picture by now, the tempo is stuck on high with big riffs chopping away wearing you down as the melodies get stronger and the playing more intense but always of a high standard. ‘Apocolypse’ is an anthem and chorus that should be an instant hit and promote the band front and center. The early single ‘Living At Night’ is a little sprinkling of magic from the chorus and the guitar lick it’s wonderful stuff that should unite the punkers and the hard rockers such is its appeal. Hell, it’s even got some britpop running through its DNA in that hook and melody. and who doesn’t love a good ole Ramones breakdown, simple and to the point these guys just get it – plain and simple.

There aren’t any weak tracks here not a single skippable tune. ‘Magazine’ is a thumper with a heart full of power pop whilst ‘Not My Dad’ is the perfect crossover of The Undertones and The Chats and that why this is so good – as the cool kids would say this is so on point man its pure fire. By the time ‘From The Hip’ explodes to a crescendo and burns out like a blazing rocket all you want to do is drop the needle bac at the beginning and dive back in for another round. Fire up the Barbie and get the beers on ice because Drunk Mums and having it all their own way and you might as well surrender right now because once you give yourself up to this record you won’t be able to stop. Never mind a government health warning Drunk Mums are back and their throwing out the beer baby, baby and I’m all in, get involved boys n girls its futile resisting especially when it’s this good. As they say, embrace the chaos and join this rowdy bunch on a rock ‘n’ roll journey that’s bound to be nothing short of legendary.

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Author: Dom Daley

Gypsy Roller & The Strand – ‘Live At Dantes’ (Self-Release)

Gypsy Roller & The Strand – ‘Live At Dantes’ (Self-Release)

A ‘Live’ album from Gypsy Roller but also has bonus Demos / Outtakes. It’s not a band name I’ve heard from in quite a while way before the pandemic but it has to be said a proper throwback to when Glam meant Bolan Boogie and twin guitar attack. Gypsy Roller is essentially Gil Soliz and his vehicle for kicking out the jams.

What you effectively get is a couple of dozen songs with the first ten being a live performance from a proper Rock and Roll band who have it coursing through their veins. Just think the boogie and swagger of early Aerosmith and the street cred of Bon-era DC and you’re on the right path. Mix it up with the unmistakable street smarts of The Dolls and you might be in the right ballpark. The bad boy boogie of ‘City Of Angels’ messes about with the Noo Yawk sass of Lou Reed on ‘Waiting In Line’. These boys can obviously play and they’re quite happy to throw in some tightly woven jazzy breaks to compliment the groovy harder rock but it is clearly all about the music here and when you hit the demos you enter a world that indulges on 60s Kinks and some sleazy Stones on ‘She’s Got The Structure’.

Some of the demos double up which is cool to hear the difference in the recordings from some quite early on generic “live” demos to a much fuller production. ‘Whatcha gonna Do’ is Stonesy meets Primal Scream when they wanted to be Keith n Mick. The no-nonsense straight-up street vibe of ‘I Like It Like That’ is fantastic. There is even time to get a little laid back and sleazy on ‘Some Girls’ of course getting an LUV in somewhere is perfect something David Johannsen would be proud of. Don’t take my word for it Let the music do the talking and get onto Bandcamp for some previous recordings from Gypsy Roller you won’t regret it.

Get on it Here kids it’s a wonderful collection of songs from a very talented group of musicians.

Gil is ably supported by Ron Wesley on Lead guitar, Jonas Greene on Rhythm, Doug Reichard on Drums and Adam Bartell on bass Guitar and produced by Allan Davis. Check it out at the links.

Author: Dom Daley

Marc Valentine – ‘Basement Sparks’ (Wicked Cool Records)

Marc Valentine – ‘Basement Sparks’ (Wicked Cool Records)

Something must be in the air as we ready ourselves for the return of the Norwich troubadour Marc Valentine and his latest slab of power pop perfection. Yes, the voice of the power pop dandies the Last Great Dreamers is back with the successor to his 2022 debut long player ‘Future Obscure’.

Jumping straight in with the infectious ‘Complicated Sometimes’ – Marc continues doing what he does best – hook after glorious hook, without a breather, it is straight in with the new single ‘Tyrannical Wrecks’, which also highlights how much of the original sound of the ‘Dreamers’ Marc is.

Following up such a glorious single is last year’s single ‘Skeleton Key’, which shows off Marc’s storytelling prowess and blasts even more sunshine through my speakers, which is always a good thing.

As usual with Marc and anything he touches, all of the songs could easily be future singles. ‘Eve of Distraction’ is another fine slab of nostalgic magic. These songs all hark back to a carefree era, but the kicker is that the lyrics are on the ball, with what is current and a message that while bleak – we always have hope. 

‘I Wanna Be Alone’ is another power pop sensation, which is followed by a change of pace in the form of ‘3 AM Anderson Drive’, which takes me back to the Dreamers’ ‘Retrosexual’ debut of some 30 years ago.

Hitting the midway mark (no pun intended), is ‘Strange Weather’, which has seen love from none other than Stevie Van Zandt, who classed it as – The Coolest Song in the World back in ~January. Well, who can argue with a claim like that, not me?

‘You Are One Of Us Now’ features a chorus that is so catchy, that has seen me humming it, along with most of this album, since I’ve had it. Such a great earworm is a blessing and a true sign of music that will live on forever.

‘Opening Chase Theme’ does exactly what the title says and you can imagine it on a retro-tastic buddy cop show chase scene. Complete with more Na-na-na’s than any song should rightly have in this day and age. But with music so infectious, who cares?

‘Repeat Offender’ complete with its Honeycrack-esque intro is another sublime slice of pop perfection. And then without any warning, we are on the last track ‘Ballad of Walt’, the piano-led pomp-tastic tune that closes off an easy album of the year contender. 

This album picks up straight from the debut in every way, from sugar-infused pop. All of this features music that has no business in being as good as it is, but then I’ve always been a bit partial to the vocal stylings of the Valentine, back from the days of Silver Hearts, Last Great Dreamers and not forgetting their mid -’90s name change Jet. 

While his debut was ‘Future Obscure’, Marc is back with a future classic in the form of ‘Basement Sparks’. Do yourself a favour and grab a copy as soon as it hits the shelves. You can always thank yourself later.

Buy Here

Author: Dave Prince

Christmas/Deathtraps/System Reset/The Setbacks – The Cab, Newport – 29th February 2024

Christmas/Deathtraps/System Reset/The Setbacks – The Cab, Newport – 29<sup>th</sup> February 2024

It’s almost a year since I first set foot in The Cab, and it’s wonderful to see the team behind the place going from strength to strength and keeping the scene alive, it’s also a staggering 10 years since Christmas frontman Max Motherfucker first brought his band of deathpunk renegades over from Germany to play south Wales, as he is quick to remind us during his band’s headline set here tonight.

Where the hell does the time go eh? That’s why it’s perhaps always best to “live in the moment” as you’ll never know what’s around the corner. You might just be putting on your biggest show ever when Sick Of It All play for you this spring, or you might be just about to celebrate 15 years together as a band. Yup it’s all about the here and now folks and tonight is like a mini-Slugfest, but on tour, as four bands who have all played at south Wales’s finest DIY free festival share a stage at Newport’s finest DIY punk rock venue. Four bands, £6 entrance fee…bosh! How’s that for living in the now?

Kicking things off are The Setbacks from Bath and the five-piece fair rattle through their set finishing off with a riotous rendition of ‘Lulu’s Leaving’.  The healthy-sized crowd loving every minute of tonight’s starter for ten and I must admit it had been way too long since I last saw them live. Tidy!

That can’t be said of System Reset, however, as this popular combo seems to pop up wherever there’s a punk rock show occurring, and it shows in just how slick an outfit they have become. Tracks like opener ‘March’, ‘Anxiety’ and (still my favourite track by the band) ‘Fail Safe’ positively bounce along, containing almost as much spring in their step as frontman Stan, who just doesn’t stop. ‘Big Business’ is always how a Reset show ends and it’s a middle finger to the corporate world we all live in. Talking of which, rumour has it that Sutton and Shov from the Reset have got the original Trigger McPoopshute line up back together for one last hurrah! Perhaps a co-headline tour with Terry & The Idiots awaits, or maybe it’ll be Rebellion 2025?

A band that I feel have long since warranted a slot at Rebellion are Newport’s Deathtraps. Now a full year into being a quartet the band are currently recording album number five, and if tonight is anything to go by it’s going to be their most ferocious slab of wax yet. ‘Red Eyes And Black Kisses’, Too Much is Never Enough’ and ‘Cool Kids’ are all present and correct from the old trio days but it’s the new cuts like (please note I may have these titles slightly incorrect) ‘You’re The One’ and ‘Right Thing’ that positively hammer home why Deathtraps in this new expanded format truly are a mighty force to be reckoned with. 

It’s going to take a special kind of band to top the sonic fury of Deathtraps and thankfully Christmas (playing on a leap year day too, just to totally mess with my OCD mind) are just that band. Frontman Max has his shirt off and is in our faces before ‘Wolfpack’ has even had a chance to howl and throughout the band’s 20 odd song set he’s constantly in and out of the crowd cajoling those brave enough to stand in front of him to sing along with the band’s incendiary back catalogue. He’s such a blur of energy that even the Cab’s normally Tonka truck strong vocal PA (this is a set up that withstood Clobber and Conservative Military Image on the same bill remember) gives up the ghost just ahead of ‘Appetite for Selfdestruction’ and with a shorter microphone cable attached and Max finally partially tethered the likes of ‘Hot Nights in Saint Vandal’ ‘Nothing But  A Handjob’ and the immense ‘Candy Me’ all sound like firecrackers in the head. There’s just enough time for a run through of Turbonegro’s ‘Ride With Us’ before ‘Go Hard or Go Home’ sends me out into the cold night air loaded up on band merch, recognising the fact that any group that has driven for 15 hours and passed through 6 countries to get to play for you fully deserves our support.

“Oh I wish it could be Christmas every day…..”

Author: Johnny Hayward

Bad Nerves have got a nerve

Bad Nerves have got a nerve

The band just stood at a tram stop in Vienna for 15 minutes and filmed the video. In 20 years that tram stop will be the most famous tram stop in the world. Heading out on tour with The Hives is also next on the list of things to do for Bad Nerves and on the strength of the new song they’ll give the Hives a damn good run for their money

The new record is coming out 31st May. It’s called ‘Still Nervous’. They thought up that title in the car park out the back of Rotown in Rotterdam in 2021 and it stuck.

You can pre-order the record HERE.

One The Juggler- ‘Memoir Days’ (Real Vision Records)

One The Juggler- ‘Memoir Days’ (Real Vision Records)

Life’s full of surprises. My teenage self wouldn’t have believed that in 2024 I would be reviewing a new album by One The Juggler. Granted, 2020’s ‘The Ocean Man’ was a welcome return after the ‘Destination Planet Blue’ compilation. There were new, joyous tunes, but while ‘Memoir Days’ might occasionally be reminiscing of the pomp and ambition of youth, it holds together better as an album.

‘We Love It All’ is really an intro, full of optimism and positivity, leading into ‘Talking To Ourselves’. This song, along with lead track ‘Jennifer Heaven’, are the natural successors to ‘Nearly A Sin’; the mix of acoustic guitar and Ronno styled electric, with a touch of Bolan melodies. Yes, the Bowie influences are still here, but it’s the quality of songwriting that was always the band’s strength. Their debut was full of songs they’d already honed live, like many bands. ‘Memoir Days’ sounds like the true follow up album, with the title track urging “be sure to write it all down now, while it’s still fresh in your mind”.

Rokko/Sham’s vocals are as distinctive as ever, and a joy to hear. And with Jerry, he has crafted a fine set of songs here, worthy of the name One The Juggler. I regularly bore people with my enthusiasm for ‘Nearly A Sin’, but everyone I’ve recommended it to has loved it.

‘The Revolution’s On Your Phone’ is like a long-lost Mott classic, majestic stuff indeed.

‘Sylvia Strange’ is as catchy as the title deserves to be, a swoonsome slice of pop,  while ‘When We Get Home’ ups the pomp, an instant hook, like Suede’s dubious uncles who still know a trick or two. This one’s on replay.

‘Andy’s Bar’ has a similar melancholy to ‘(O No) You’re Not The Same’, lyrically I think Brel would approve, and the acoustic touches are beautiful. ‘Into The Blue Eternity’ is a bittersweet end. “Between the dishes and the laundry, her mind is planning an escape…”

Influences aside, this sounds like a One The Juggler album, and it’s all the better for it. Welcome to their world. It will improve yours.

Author: Martin Chamarette

It’s A Podcast – Episode 16 ‘These Pair Of Monkeys Can Swing’

It’s A Podcast – Episode 16 ‘These Pair Of Monkeys Can Swing’

Welcome to Episode 16 of our little Podcast where DD And Hotshot bring you some top tunes from the archives. We have some brand new tunes from current records that have either just been released or are about to be released as well as tunes from the archives such as Joe Strummers demo outtake of ‘Coma girl’ that is taken from his boxset 002.

First up in this Episode is a Steve Lillywhite recording of Johnny Thunders recording ‘Leave Me Alone’ recorded with current Damned bass player Paul Gray alongside drummer Steve Nicol. It was eventually released on a 10″ EP on Remarquable Records alongside three other tracks. It was a remarkable time for Thunders who went on to release ‘So Alone’ with a veritable host of bonafide Superstars, spawning his best work (arguably) that included the epic ‘You Can’t Put Your Arms Around A Memory’.

Next up Hotshot picked a Hanny J track ‘Days Felt Like Years’ From her 2019 EP ‘Possession’. HAnny is known for her bass playing in Melbourne punks Clowns but this change of pace offers an insight into her talents as a songwriter and singer.

Ming City Rockers have just completed a new album and whilst we wait for them to start dropping details of when we can expect to hear songs of fit you’ll have to make do with ‘Desperate’ from their last album ‘Lime’ which was released early in 2023. We’ve already had the one-track drop so hopefully, it’s soon when we’ll get news.

Guitar pop indie kids Ash released a great new album late last year and have just released it as an extended option ‘Race The Night’ comes out with an extra raft of tracks. If it’s classic tracks you’re after then look no further than Misfits classic ‘Hybrid Moments’ lifted from the Box set version ‘Static Age’. Digitally remastered from the band’s classic debut – You can’t argue that Early Misfits didn’t deliver and anyone whos seen them play recently can testify that they still have it.

Scandinavian punks The Good The Bad And The Zugly are about to release something of a compilation album based on B sides of singles and a new cut that we play spanning the band’s 15 years of doing this. ‘Decade Of Regression’ hits the shops on the 5th of April. Catch them on tour now!

Next up The Drowns knock out their single ‘Ketamine And Cola’ from the album ‘Blacked Out’ get it off Pirates Press and I can promise you – you won’t be disappointed.

Jumping back to Scandinavia the pair offer up The Backstreet Girls and ‘Boogie Woman’ lifted from their latest album of loud infectious rock n roll ‘In Lust We Trust’. If it ain’t broke don’t fix it which is the mantra the band adhere to and continues to turn out top tunes and top albums.

Joe Strummer gets aired and a demo of ‘Coma Girl’ lifted from his second box set ‘002’ The Mescaleros years. It’s hard to believe that Strummer passed in 2002 and those studio albums still sound fresh and relevant all these years later. This is one of the early outtakes of the track and still, I champion it as his most outstanding solo post Clash record. The box set is well worth investigating full of artefacts and really well designed.

Who doesn’t love Slade? I guess if you’re still reading and you hit the link to play the podcast then you’re going to love this live recording which was recently released on splatter vinyl. ‘Them Kinda Monkeys Can’t Swing’ is a barnstorming opener and this version is particularly good. After a quick check, I can correct myself and say this recording was made from a few nights at the theatre in 1975 so right smack in the middle of the band’s pomp. Captured for a BBC performance Slade are remembered by a slew of fine albums that have just had the rerelease treatment and this is one not to miss alongside the Reading performance that the pair chat about. If you’ve never delved into the Slade archive then what better place to start than a live album stacked with absolute bangers. there aren’t many frontmen with a set of pipes like Holders and on this song he gives his vocals a damn good workout.

Maverick Ryan Adams recently dropped five albums on the same day (now that doesn’t happen every day) one of those albums particularly piqued my attention and ‘Skulls’ is lifted from the album ‘1985’. A daunting and huge back catalogue maybe if you start from this recent album drop you have pretty much the whole sound of the guy in one day – five albums mind and all crammed with tunes. Try him.

Gene Loves Jezebel recently released an album on Cleopatra Records ‘x – Love Death Sorrow’ and it contained a very mixed bag in as much as there were Four covers with the originals and one that caught our ears in the classic post-punk/ New Wave ‘Another Girl Another Planet’ but put their Gothic twist and owned The Only Ones classic taking it somewhere we weren’t expecting but thoroughly enjoyed.

NWOBHM aficionados might baulk at our ignorance when we encounter the recent Cherry Red Records compilation ‘All Systems Go’ and the Crucifixion track ‘Jailbait’. The beauty of these retro boxsets is that you discover bands like this that you might have missed first time around. Don’t take my word for it hit the podcast and get on it.

I think it’s the first Replacements track we’ve dived into on the podcast certainly the first one lifted from the superb ‘Tim’ album box set that came out last year with a superb remix that elevates the album from what we were used to. Possibly hearing the one track in isolation doesn’t do it justice but ‘Kiss Me On The Bus’ is a belter and if you’re new to the Replacements then this is a quality album/box set to dive into it also includes some fantastic live recordings. one of Americas best gifts to music ever – you can take that to the bank.

Finally, on this episode, Laura Jane Grace closes off the show with the title track off her new solo album ‘Hole In My Head’ an album that offers the listener her usual variety of electric and acoustic songs as she rages against the machine. Its her fourth album and this is just a taste of what to expect from another fantastic album. Punk, Folk Rock, Acoustic, Rebel Rousing Grace is compulsive listening and this album maintains the super high standard of songwriting be it as a solo artist or fronting Against Me! or Laura Jane Grace & the Devouring Mothers.

I’m sure you’ll agree if you can understand our poetical Welsh voices we do have the gift of the best music available whatever variety it might be. Join in – let us know what you think. If you have a request or a topic you’d like us to play/discuss then get in touch.

Listen-Folow-Like-Share. Thanks from the pair of us.

T.S.O.L. – ‘A-Side Graffiti’ (Kitten Robot Records)

T.S.O.L. – ‘A-Side Graffiti’ (Kitten Robot Records)

True Sounds of Liberty started causing trouble way back in 1978 and the birth of punk rock/hardcore in Los Angeles. Playing with the fury of their hardcore contemporaries but with a goth rock/New Romantic image and sharp melodies.

T.S.O.L. quickly got a reputation as the band stood pretty much alone and were more than happy to furrow lone paths into different styles something which they’ve done right up to the present and certainly under Jack Grishams leadership.

This is the bands 12th long-player, and probably their most diverse and varied album to date. Still with the throbbing blackened heart they had when they kicked off in this scene but with much wiser more savvy heads. The band has released a handful of singles recently with the help of Paul Roessler at Kitten Robot Studio.

Jack Grisham has his trusty sidekicks, guitarist Ron Emory and bassist Mike Roche (all from the band’s first line-up), they are joined by longtime keyboardist Greg Kuehn and Antonio Hernandez on drums. and armed with twelve brand new tunes, well, when I say brand new tunes I mean new tunes to T.S.O.L. Eight original, and Four covers. Now you might think Four Covers is a bit cheeky but when you dig into them and hear how they take them on you’ll be delighted they bothered and you did as well.

The album’s opening track is a particularly punchy affair entitled ‘Low-Low-Low’, it’s vibrant and has a really bright and energetic production that helps motor the song along and once Jack’s distinguished vocal enters the fray there is a comfortable ease around proceedings. Ron’s guitar is wholesome and sharp just like you’d hoped it would be. Emery is one of those players who has a wonderful touch and tone and can whip up a hurricane through his amp when he needs to and can make you sit up and pay attention much like Brian James. That magical feeling when a band you love hits your ears with new music and it just takes off, well, thats ‘Low Low Low’ right there thundering along its a great opener.

Now I am one of those people who absolutely loved ‘The Trigger Complex’ and happen to think it contained some of the band’s finest material period. Not since ‘Code Blue’ or ‘Abolish Government’ I mean full stop ‘Why Can’t We Do It Again’ was majestic as was ‘Nothing Ever Lasts’ Well this album follows on with that strength of songwriting that I guess a youthful wild and reckless T.S.O.L. couldn’t have delivered and thats cool by me. I did raise an eyebrow when the band threw out the first cover. The Rhythm Of Cruelty’ from Magazine but to their credit its a killer version and they totally own it.

By track three the first curveball is thrown and after a few plays I get it and it makes me smile that Jack and fellow legend Keith Morris join forces on a raucous take on ‘Sweet Transvestite’ is undertaken. It’s epic and is perfectly camp as Jack turns in a spectacular performance alongside Morris. Now, thats how to do a cover.

The album coasts along with some vibrant and uptempo songs with Grisham sounding in fine form with some great melodies and choruses like ‘Never Go Home’. ‘Nothings Ever Right’ has a real earworm in the call back to Jacks barbs in the first verse but the energy thrown out by the band is fantastic. ic. ‘1 Thing’ originally by Amerie is a heaving beast with some great BVs and a huge guitar sound from Emery. ‘The Way You Groove’ and the infectious ‘Swimming’ are deep cuts of real quality particularly ‘Swimming’ built around a really good Ron Emery guitar riff but the subtle keys and handclaps take it somewhere else not to mention the thumping rhythm section who to be fair play a blinder throughout the record stoking the fire in the engine room.

Theres magic in these grooves and it fills my heart with joy that T.S.O.L. are in the mood to deliver such a fantastic album on the back of their documentary and live shows last year. It’s never too late to get into them if you’re not already a fan and this is a blindingly good record to start and maybe work your way backwards.

But wait there’s more. Before the finale, there’s a beautiful rendition of ‘What A Wonderful World’ complete with strings and piano to accompany Grisham at his crooning best. I hold my hands up when I first saw the track on the record I was prepared to close my eyes and hold my nose but by the time I got to it, it was like a great deep breath before signing off with ‘Can You Hear Me’ which is a wholesome slow burner like a wide screen Bowie-esque laid back smokey late-night ballad, yup I did say that and it’s like Jack always told us he loves his Motown and this fits right in the punkers will vomit but fuck em this is T.S.O.L. and they do what they want. Still taking risks, never playing it safe, and delivering a stunning album. Most definitely one of the albums of 2024 and it’s only March.

Buy Here

Author: Dom Daley

Then Comes Silence – Ride Or Die

Then Comes Silence – Ride Or Die

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Ride Or Die’ is the first single release in nearly two years by Swedish post-punk/goth icons Then Comes Silence. It is also an opening statement of intent from their stunning new album, ‘Trickery’, which is out on 5th April, with vocalist Alex Svenson stating: “Friendship is love. It is important and worth fighting for. It’s ride or die.”

Indeed, much of ‘Trickery’ celebrates friendship, unity and the feeling of belonging to a tribe, with TCS explaining that “being a part of the post-punk and goth scene is a great privilege. After being on the road for so many years, we have experienced caring and welcoming audiences, both old and young, some with a similar background and some just for the love of the music and the culture that comes with the lifestyle. Uniting and harmonising with other people, we feel an incredible community together and it is a feeling that is both priceless and a blessing.”

‘Trickery’ is also the audio definition of triumph over adversity. Backtracking to 2022, on the eve of their first-ever US tour and eager to promote their just released ‘Hunger’ album and its 2020 predecessor ’Machine’, TCS were suddenly and unexpectedly reduced to a three-piece. Would their famed darkwave wall-of-sound still work in a trio format? Fortunately, the answer was resoundingly positive, so much so that they resolved to continue with this slimmed-down line-up on a permanent basis, a period that has already included further US and European tours, followed by their return to the studio to make ‘Trickery’.

The inadvertent metamorphosis of the band has also led to a different way of creating new music. In order to capture the heart and essence of the trio’s live prowess, ‘Trickery’ was recorded in just three days in Kapsylen Studio in Stockholm. With Jonas Fransson (a band member since 2015) laying down an energetic punk backbeat and sleaze punk fan Hugo Zombie (a 2018 recruit) providing inventive and rhythmic guitar lines, the main focus remains on singer and bassist Svenson, the sole surviving founder member from the band’s 2012 debut album. His velvety croon and solid bass lines are enhanced on ‘Trickery’ by retro synth sounds reminiscent of his recent solo futurist wave project, Neonpocalypse. “The electronic elements are essential to ‘Trickery’,” he adds, “but are also a salute to punk music, the cradle of Then Comes Silence and the cradle of post-punk.”

Founded by Svenson in 2012 and touring frequently to promote three albums released in quick succession, TCS soon found a large audience in Germany. Signing to Nuclear Blast in 2016 for the release of ‘Blood’, their fanbase widened as they shared stages with artists such as A Place To Bury Strangers, Chameleons and Fields Of The Nephilim and performed at festivals all over mainland Europe. Firmly in the vanguard of the new generation of post-punk, darkwave and goth artists releasing high quality new material, they work hard to promote it and are recognised as a leading live act in their genre. They have also built a significant UK following and 2024 has already seen them play a sold out London show at the 229 venue.

TCS recently signed to Metropolis Records for the worldwide release of ‘Trickery’