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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.

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Author: Dom Daley

Then Comes Silence – Ride Or Die

Then Comes Silence – Ride Or Die

pre-order LP | CD  |  pre-save/add digital

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’

Dinosaur Jr – ‘The Black Sessions’ (Cherry Red Records)

Dinosaur Jr – ‘The Black Sessions’ (Cherry Red Records)

dRecorded in Paris ‘The Black Sessions’ is nine Dinosaur Jr classics performed at arguably the band’s 90s peak as a live outfit.  Recorded at Maison De La Radio in Paris on March 2nd 93 this is pressed on coloured vinyl and this is the first record release. Produced in conjunction with the band and INA, France. A companion piece to 2022’s best-selling ‘Seventytwohundredseconds’ MTV EP. The record kicks off in style with an epic ‘Quest’ From the fuzzed up laid back Bass intro this is a pretty epic take on what should be a slacker anthem with a mind-blowing delivery thats as heavy as an anvil but velvet to touch courtesy of Mascis and co who it has to be said is on killer form throughout these sessions. ‘The version of ‘Just Like Heaven’ is rampant again driven in part by the huge thump of the overdriven Bass but the guitar playing is amazing. ‘Freak Scene’ has always been one of my favourite Dinosaur Jr songs and here it’s wild and barely in control but sounds vibrant the solo is insane. Where You Beens ‘Get Me’ is a particular highlight but closing off this recording with tracks from ‘Budge’ from the ‘Bug’ EP and closing with ‘Thumb’ off ‘Green Mind’ and none of the singles like ‘The Wagon’ or ‘Start Choppin’ in sight would love to know if they played more but what we do have from this session is a band absolutely flying and its worth it for the solo on ‘Thumb’ it’s like Mascis is trying to tame a rampant bull thats on steroids. Whipping the living shite out of his guitar its truly a thing of beauty. Obviously, if you’re a fan this is a no brainer and to go alongside what’s already been released this year as a solo offering it’s a reminder that Mascis’s day job as the voice and guitarist in Dinosaur Jr was and still is compelling and a magnificent thing and back in their heyday they were a magnificent beast

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Author: Dom Daley

The Zeros – ‘Right Now!’ (Bang Records)

The Zeros – ‘Right Now!’ (Bang Records)

The Zeros are an American Punk-Rock group formed in 1976 in California. The band was originally formed with Javier Escovedo (vocals/guitar) brother of The Dragons Mario, Robert Lopez (guitar), Héctor Penalothey (bass) and Baba Chenelle (drums). Often referred to as “the Mexican Ramones,” Right at the front of the queue when punk rock broke in the ’70s They released their first single on Bomp! for those cool kids who know . Alongside the likes of Black Flag, Circle Jerks or Germs The Zeros were more underground and probably didn’t get the headlines the others got. The band called it a day in 1981, but reformed sporadically for live shows, and recorded an album in 1999 “Right Now!”. There are a few sporadic releases like the live album and a few Bomp compilations but this is now the go to Zeros record.

The album “Right Now!” Hit the street on October 12, 1999. The band’s influences were firmly planted in proto-punk and garage rock. THE ZEROS make it evident on this album, by covering the New York Dolls ‘Chatterbox’ (which they do rather well it must be said). But the originals paint a much better picture of just how good the band is from the opening and title track ‘Right Now’ they’re students of mr Thunders in particular and are happy to write gritty rock n roll songs with a melody. With a tonne of energy and a great ragged Rock n Roll sound that for sure leans on The Dolls and the Stones as well its gritty street Rock n Roll check out ‘Do The Swim’ its got a 60s beat and melody but a tougher street sound.

There are also slower and melodic dirty Pop songs to satisfy all tastes. Remember when playing this album in the 70s when they were teenagers. By recording this album more than 20 years later, they have better control over their instruments and have gained experience and the beauty of hindsight. There are a lot of songs and music to get through here with eighteen songs to get through it is an excellent album.

‘Rico Amour’ sails close to The Ramones with the melody more than the tempo or sound. ‘Girl On The Block’ has a laid-back acoustic guitar strum that helps with the change of focus being a bit dreamy with lush backing vocals but ultimately it’s still rock n Roll baby. Twelve Bar punk rockin boogie also has songs like ‘Sneakin Out’ drawing those parallels to Da Bruddas but where they really hit their stride is songs like ‘Talkin’ pure rock n Roll with plenty of sneering and snot and the closing track that reminds me of the most excellent Gunfire Dance just pure sleazy punk rock n roll from the heart with soul. For those who don’t know THE ZEROS, this is an excellent introductory album. How different would it be if more bands revisited their songs so many years later. Nice move guys and a really nice album. Buy it!

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Author: Dom Daley

Scott Yoder -‘Scooter Pie’ (Self Release)

Scott Yoder -‘Scooter Pie’ (Self Release)

Now, I know that Spotify is divisive at best, but I use it to listen to an artist’s back catalogue before buying it direct from them. And, occasionally, it throws some music your way that you might have missed. So, ladies, gents and others let me introduce Scott Yoder to you.

How to describe him? His site says “Seattle-based glam folk singer”, and while this gives a vague impression, he is much more difficult to pin down. It might be easier to say that this is one of my favourite albums so far this year. Visually, he has a bold, striking image, but without the tunes, it wouldn’t add up to much. And what tunes! From lead single ‘Sing Your Broken Song’, I was hooked. I described it to Dom as “a happier Elliott Smith merged with George Harrison”, and this is one side of his sound, but there is so much more.

‘Half-Lived Phantasy’ is gorgeous, the strings and organ enhance what is already a special song. Which is part of his songwriting strength; these songs would sound great stripped back or with a full band. I’ve since listened to his previous albums, which are all good, but it’s clear he’s reached another level of writing here. ‘The Guttersnipe’ is equal parts sinister and euphoric, and I can imagine that it works well theatrically on stage.

‘Sweet Breath Of Love’ has a melody reminiscent of the great Dan Sartain, simple but addictive.

‘Canopy Of Night’ recalls the Theme To M.A.S.H, before taking a different turn. Some hooks are familiar, but Scott’s vision is unique. None of the songs feel overdone, it would be easy to take it too far, but nothing gets in the way of the songs themselves. Speaking of which, ‘Too Foolish’ is my current favourite. “Anything that is too foolish to be written down can be sung…”, what a fantastic line! There is a sly sense of humour at work here as well. And, rather than solos, the songs are peppered with simple, repeated melodies, which I always appreciate. In fact, this song really evokes the memory of Jonny Cola And The A-Grades, as well as Jonny and Jez’s Jukebox Headaches. High praise, folks.

There’s drama, beauty, melancholy and joy here. ‘Who Killed The Lights?’ has all these in one song.

For fans of? Bowie, Lou, Jobriath, Elliott Smith, Suede? Yes, but Scott’s voice and writing is his alone. A hard thing to achieve, so please explore this album and, if you agree, buy it from the artist.

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Author: Martin Chamarette

Dez Dare – ‘A Billion Goats. A Billion Sparks. Fin.’ (God Unknown Records)

Dez Dare – ‘A Billion Goats. A Billion Sparks. Fin.’ (God Unknown Records)

Australian born, Brighton based musical psychonaut Dez Dare is back with album number four ‘A Billion Goats. A Billion Sparks. Fin.’ This, his first long player for new label God Unknown Records (home to the likes of Duke Garwood and John J Presley) sees the garage rock renegade experimenting with wires, microchips and transistors and adding an element of electronica to his already trademark fuzzed out psychedelic stomp.

Fear not though diehard Dare fans, our musical anti-hero hasn’t gone full on Krautrock on us (well not just yet anyway) and produced an ambient drone record, as one listen to the excellent ‘Got A Fire In My Socket’ single/video will prove. Sounding not unlike John Du Cann covering ‘Kid’s In America’ it all comes together faultlessly to provide an inspiring auditory twist to the Dare sonic attack.

Bringing this new electronic tinged soundscape to full realisation three tracks into the album is ‘10,000 Monkeys + An Argument in Time’, a song that sounds like it’s been written over the soundtrack to a long lost ZX Spectrum game. It’s the near perfect antidote to the threat of AI enhanced music here in 2024 and whilst it shouldn’t really work it’s the best thing Dare’s written to date utilising 8 bit technology.

There’s still plenty of old school guitar driven head noise for us all to submerge ourselves in too, via the likes of ‘Matter v’s Matter’, ‘Call My City, Don’t Call My Telephone’, ‘Schrödinger’s Apocalypse’, and the album’s pulsating closer ‘A Billion Voices Screaming, Hello Void!’.

For me though, it’s when the metallic ping of ‘Gotta Cold Feeling’ and the pulsating throb of ‘Entangled Entropy’ unfurl themselves mid album to provide a creative high point and things move into almost Henrik Palm territory pushing ‘A Billion Goats. A Billion Sparks. Fin.’ into almost mainstream territory. Something I don’t think I’d ever thought I’d find myself writing about Dez Dare, but then with bands like King Gizzard and Osees (or whatever they are called this week) planning to take over the arena circuit here in the UK and Sleaford Mods already there, what the hell is considered mainstream these days anyway eh?

‘A Billion Goats. A Billion Sparks. Fin.’ Is released on March 1st 2024, St Dez’s Day, on CD, download and deluxe vinyl, complete with a comic album.

Hit the link below to order your copy.

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Author: Johnny Hayward

The Yalla Yallas – ‘A World At The End Of The World’ (Self-Released)

The Yalla Yallas – ‘A World At The End Of The World’ (Self-Released)

Leeds noisenicks The Yalla Yallas follow up their 2021 album ‘What It Means To Be Human’ with a thought-provoking 6th studio album entitled ‘A World At The End Of The World’. Self-produced and recorded at Loom studios in West Yorkshire, we join singer/songwriter and main protagonist Rob Galloway on a retrospective trip through the cosmos where he questions our whole existence, searches to find out what is real, declares undying love to at least one girl, and ends up hanging out with Elvis, or something, before the end of the world.

With an album title that gives a ray of hope in spite the impending doom, first single ‘Atomic Clock’ offers a ‘no fucks given’ approach, a welcome return to the uncompromising, high energy rock n’ roll the band are known for. But the interesting thing about this album is that The Yalla Yallas throw about some unexpected curve balls through the 9 songs on offer, and it starts right from the word go.

Opener ‘Dream Out Loud (Parts I,II and III)’ is a 5-minute plus, slow burning epic affair full of atmospherics and devious intentions. It builds on a sole, picked acoustic guitar and Rob’s lonesome vocal. A sound that immediately draws the listener in, demanding their full attention. The ebb and flow create cinematic vibes, whether it be the Slash-like guitar noodling from Will Grinder or the chilled outro, full of spacey, sound effects. It sets the scene for a journey of sorts.

Elsewhere, the Bad Seeds influenced ‘Down At The Zoo’ is a 12-bar blues anthem for outcasts and socials rejects. An instantly catchy hook, regimental beats and a laid back but confident swagger make it an early highlight. Some say it’s grim up North, but the band somehow manage to channel Ennio Morricone vibes creating their own West Yorkshire spaghetti western with ‘Drive Me Out Of Town’.

The likes of ‘Reset’ and ‘Hey Brian!’ are more in tune with what we have come to expect from The Yalla Yallas. Full of driving beats, rock guitars and a spoken word extract courtesy of The Rebel Poet (David Holmes), ‘Reset’ is the sound of a band on a charge, and ‘Hey Brian!’ is a low-slung rock n’ roll affair with Rob doing his best Bobbie Gillespie over a shoutathon of a chorus.

Taking things right down with a tinkling of the ivories, acoustic guitars and brushes on skins, is the delicate sounds of ‘Barcelona (Absolution)’. Cinematic in its approach and delivery, it’s a song that is as instant as it is fresh sounding. With a well thought out structure, a less is more approach and a cool outro hook with a spoken word diatribe Patti Smith would be proud of, it’s an album highlight for me.

With any Yalla Yallas album there’s gotta be a radio friendly potential single, and ‘(Baby Baby) I Love You’ is ‘AWATEOTW’s hidden gem. An upbeat song full of joy and positivity with an earworm of a chorus. Imagine the sound of early U2 with Steve Jones cranking out the guitars and you might get close.

The raucous punk n’ roll of ‘Elvis (You Gotta Shake)’ finishes things up nicely with cool bass runs, neat licks and added “uh-huh’s” for good measure.

‘A World At The End Of The World’ is a strong return from a Northern band that are well known for their high-energy, sweat-drenched live shows. Rob and his band of brothers have created an album that is raw and ramshackle and delivered from the heart. It sees the band challenge themselves as songwriters to step outside of their comfort zone and create a diverse sounding set of songs with themes of escapism and searching for new horizons. It’s good to have them back and look forward to catching these songs live in the near future.

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Authpr: Ben Hughes

Poison Boys/Jonesy – ‘Split’ (Ghost Highway Records)

Poison Boys/Jonesy – ‘Split’ (Ghost Highway Records)

Six of one and almost half a dozen of the other. Man I love a good split LP, Ghost Highway is good at delivering split records be it 7″ or 12″ they tend to get it right when they pick bands to split. First up one of our favourites at RPMHQ has to be Poison Boys not content with a new record of all their early singles in one convenient record they’re hitting Spain for a quick tour and it makes sense to hook up with one of the best labels dishing out Rock n Roll on the continent in Ghost Highway who’ve pulled in six tunes from Poison Boys being five originals and one from filthy rock n rollas Jonesy from outta Canada.

Of the original tunes they’ve included the most excellent ‘Knocked Down Again’ a tune RPM were pleased to have premiered for the band late last year alongside the opener ‘The Searcher’ with its bruising bovver boy punch rocker. The band are delivering that sleazy Johnny Thunders meets Toilet Boys Rock with plenty of attitude as good if not better than anyone else out there at the moment. The harmonica honkin down n dirty ‘Sleaze City’ is pure 100% Punk n Roll it’s like the dirtiest of early Aerosmith being kicked around the Lower East Side by some nasty punks and the wandering gob iron mixed with that barroom piano is the best night out in one three minute rock n roll song I’ve had the privilege of for a while.

By the time you reach their take on Jonesys ‘Messin Around’ you should get the picture for what these boys are about. truly fantastic, reckless rock n roll and taking an already top tune and owning it isn’t something anyone can do so this makes it top-notch and a winner every time it bursts out of the speakers.

Flip this bad boy over and enter Jonesy and their good time filthy Rock n Roll. ‘8 Track Mind’ begins with a lounge laid-back set of smooth keys and handclaps and then the party begins and builds up slowly and smoothly to the wonderful guitar solo. Not what I was expecting at all but hey it’s a touch of class. Then the shots get downed and someone let the gatecrashers in and the sleazy ‘Down’ turns the Amps up but not to a wrecking ball more a measured scarface coolness as Jonesy ease themselves into this split.

They then offer up their take on the Poison Boys ‘Can’t Get You Out’ and now were cooking. A class tune gets the Jonesy treatment like a proper yob job on those gang vocals and hey presto it’s like a long-lost Hanoi Rocks tune. Marvellous.

‘Only Shams’ is a beast of a lick before heading off like one of those Toilet Boys flaming guitars. Two very different bands doing their thing to a wonderful level and both offering the very best, say two sides of the same coin. It would be a split decision if it were a cage fight but I’d expect them both to fight dirty. If you’ve never heard either band now is the time to get involved and jump on board you won’t be disappointed in the slightest if you are I’d check for a pulse because you might just be dead. Buy It! Banger!

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FIZZ/Maya Delilah – Tramshed, Cardiff – 23rd February 2024

FIZZ/Maya Delilah – Tramshed, Cardiff – 23<sup>rd</sup> February 2024

Rewind to Christmas 2023 and RPM’s Albums Of The Year podcasts. During the second broadcast when the gang were running through Ben Hughes’ album list, he advised us all of a record called ‘The Secret To Life’ by a still relatively new band called FIZZ, which in his wise words, told us all “you’ll love this Johnny, its very Jellyfish like powerpop”. I of course immediately needed to know more as Ben certainly knows his stuff, so with Google at hand I went on a musical adventure to discover what the hell he was raving on about and after a couple of false starts (I rather foolishly watched the videos before listening to the album) I finally started to understand, and love ‘The Secret To Life’. It’s an album that truly transcends genres (hence why watching the videos first wasn’t exactly the best way to get to know them) and oozes positivity, and it’s safe to say if I had known back then what I know now, it would have plain sailed into the number 1 spot in my own albums of the year 2023. The rather obvious next step on my journey of musical discovery being to experience what the four members of the band (Greta Isaac, Orla Gartland, Martin Luke Brown and dodie) would do with such an extraordinary record in the live setting.

I’m apparently not alone in my quest either, as tonight the downstairs in the Tramshed is packed out, filled mainly with a much younger demographic than yours truly, a large contingent also dressed up in some way to resemble tonight’s headliners, and you know what, for the first time in years I feel like I’m experiencing something new and exciting scene wise. The PA might be blasting out Andrew Gold, ELO and Boney M (making it feel a bit like I’m back at one of my old school discos) but FIZZ and their community of fans are very much about how you can bin all the negativity in life here in 2024 and simply just enjoy yourself, and that right there is exactly what going to a live show should be all about.

There’s a stark contrast to some of the other audiences I’ve been in most recently, as not only have I’ve never seen the bar area quieter in the Tramshed, but also during the support set by singer/songwriter Maya Delilah there is a hushed reverence and respect for the artiste from the audience that is a model example of how one should behave during a solo show. And why shouldn’t there be, you’ve paid your hard earned to get in, so sit back (or stand back, in tonight’s case) and immerse yourself in a world outside of your own, you’ll never know what you might discover. As it happens Maya Delilah delivers a fine 30-minute set that in equal measure has me thinking of Pink Floyd (guitar tone) Jeff Buckley (in the dissonance of the songwriting) and early Amy Winehouse (in the vocal delivery), the later almost coincidently the last time I witnessed someone being told to “shut the fuck up” during a live show for talking during her set. There’s no need for any such warnings tonight though as Maya seems genuinely blown away by the respect and reaction she is afforded and I for one shall be looking to join her 300,000 monthly listeners online to find out more.

Looking at the stage set up complete with larger than life lollipops and candy canes and a backdrop not to dissimilar to the ‘Bellybutton’ album sleeve, part of me wants FIZZ to appear on stage in their own mode of transport just like the Banana Splits did when they first wowed me into loving pop music, and to some degree they do just this, albeit via the power of imagination as we are treated to an intro tape that has us all onboard a space ship set for Fizzvile just as its about to crash land in Cardiff, as the countdown commences I find myself grinning from ear to ear and that’s before the band (complete with additional rhythm section) have even played a single note. Bursting onto the stage like all conquering heroes the screams that go up remind me of when I saw King back in 1985 and you’ll have to forgive me if I get something in my eye as ‘High In Brighton’ literally takes the roof off the place.

For the next 60 plus minutes we are treated to pretty much all the band’s stellar debut album, a carefully selected track from each of the four members solo careers (which fit in seamlessly)   along with a FIZZ’ed up cover of Lily Allen’s ‘Smile’ and the time I spend in the band’s company simply flies by, largely in part due to the fact that the band themselves look like they are loving every second of their time up on stage, and its infectious, you know.

Highlights are plentiful, but for me it is main set closer ‘The Grand Finale’ in all of it’s Queen-like pomposity that illustrates just how talented this group really are, and then of course there’s the encore of the album’s title track complete with a bubble gun, a cat glove puppet and Thomas The Tank Engine outro tape to send us all of into the night not so much wondering what we’d just experienced as what an experience it was. If FIZZ had existed in the ‘70s, trust me, they would have had their own TV show, they are that kind of band, one much larger than life itself and the fact that they have tapped into the secret of this is what makes it all so bloody perfect. Tonight was the most I’ve enjoyed myself at a gig in years, and all I had to do was be in the moment. Joyous stuff!

Author: Johnny Hayward

Mala Vista – ‘Fun Time’ (Spaghetty Town Records)

Mala Vista – ‘Fun Time’ (Spaghetty Town Records)

NYC Punk’n’Rollers Mala Vista release their sophomore album ‘Fun Time’. Mala Vista (translates to bad view or bad sight) was formed in 2017 with Myke Miranda, Manny Dominguez, Erik LAMF and Ben Heyman, all sharing a love of the glory days of punk rock. Mala Vista stays true to legendary bands like Eddie and The Hot Rods, The Zeros, The Kids, Ramones and Johnny Thunders and boiled all these vital ingredients in their Rock n Roll mixing pot and poured it into their hearts and soul and then let it all spill out decades later into what you’re hearing right now.

There’s no fucking about, no trying to goof it up with some modern twist they just let all that Rock n Roll out and capture the energy and excitement that first hit us when the forefathers did it in the 70s and beyond.


They might not be alone in this pure ’77 punk n roll revival that’s gently gathering pace thanks to some great labels like Spaghetty Town outta the USA there are some other kindred spirits on the scene doing likewise and turning heads like Poison Boys, Ravagers to name a couple we’ve gotten on board with here at RPM over the last few years. Mala Vistas’ second record gets underway to the sound of that magic ‘9 Ball’ with its drum intro smoothly rolling out the beat with some gritty 70 glam rock before going through the gears on this hot rod record in a zero to sixty in the blink of an eye mixing the Ramones attitude with the swagger of those Heartbreakers and we’re off and running like our lives depend on it. Follow that up with the least single and things are grooving on nicely. Some sweet BVs and well-placed woo hoos and this party is cooking nicely.

They go for the time-honoured well rounded production not too smooth plenty of light and shade and letting the music do the talking. It works really well so if it ain’t broke don’t fix it. ‘Juana La Cubana’ is a cool slice of power pop rock n roll with a great hook and melody and the emphasis is on that with a great sparse arrangement letting the song take the strain and doing so delivering a timeless pop song. In contrast ‘Die Waiting’ is like some early Bon Scott boogie staying in the barroom and listening to Dr Feelgood rather than Rocking harder, this has got serious amounts of swing to add to the compulsion to dance and move your feet boys n girls.

Shaking the tambourine to nail the tempo as the guitars add some meat to the bone and some smokey late-night NYC downtown action ‘Dirty By The Dozen’. ‘Cabron’ shakes some action before bringing the house down with a ‘Riot’ It’s a hoot and keeps the album short and sweet it’s focused and right on the money delivering a timeless slice of NYC punk n roll. They could write and record an album like this for decades and get the reputation as a go-to band for punk n roll with great songwriting and music that’s energetic, timeless and a real Fun Time. Get on it!

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Author: Dom Daley

Look for them touring Europe in Spring of 2024!
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March 1-Star Community Bar (Atlanta, GA)
March 15th-TV Eye (Ridgewood, NY)