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Kevin K & The Bowery Kats – ‘Rosewood’ (Vicious Kitten Records)

Kevin K & The Bowery Kats – ‘Rosewood’ (Vicious Kitten Records)

Kevin K returns in 2024 with ‘Rosewood’ – a ten-song collection to backdrop a world set with tension, AI advances and an ever-decreasing circle of real honest Rock n Rollas. That’s what the Double K and his record label want you to believe but it’s not as bad a picture as that intro might suggest, no sir. We at RPM know that it’s out there still kicking and screaming but it might be harder to find which is why we’re here and I guess why you’re still reading this here review.

Prolific Punk Rock n Roll lifer The Double K loves a Riff and ‘Rosewood’ has plenty throughout its ten tunes. Rockers, steeped in da blooze baby plus the quieter moments that find KK at his most reflective and openhearted. The format of bittersweet songs leaning heavily on his heroes such as Big Star, Johnny Thunders, the Replacements and the Stones are present and accounted for which is the staple of Kevin’s repertoire and thank God for that keeping on keeping on.

Double K has always kept close to his NYC roots and sung about his early formative years and those halcyon days are still his staple call it retro or nostalgia, for lifers like Kevin K it’s all he knows and the well can never run dry due to its rich past. The record is probably Kevin K at his best to be fair and sounding live is a real benefit for these songs no longer having to lean on a drum machine Kevin has embraced the modern world and on ‘Rosewood’ delivered a kick-ass record and captured what’s in his heart really well.

The opener ‘Sometime In The Rain’ has a great hook and melody and the wall of guitars sounds vibrant and alluring. Sure Johnny Thunders would approve but that’s the point. ‘What Will I Do’ is aggressive whilst ‘Last Train Home’ is more laid back but the rawness carries the song home. ‘Moving On’ has plenty of swing from the hypnotic riff and the fact that he resisted the temptation to rock out with the rest of the band is what makes it.

‘How I Feel’ is a really dirty Steve Jones kinda riff built around a Stooges groove. It might share a title with The aforementioned Stooges but ‘I Feel Alright’ comes out windmilling those riffs and one of the best tracks on offer here. There’s room for a loose take on ‘Brand New Cadillac’ and I do like the Thunders inspired guitar solo – very nice.

The album closes on the reflective ‘My Time Has Come And Gone’ and we’re done. The only acoustic song on the album and classic Kevin K, wrapping up a really impressive album from the man which only leaves me to say if you know Kevin K and like what he does then this is a no brainer and if you’re here for your first time then this will impress. always good to hear new music from Kevin K and smile at his cat-inspired artwork. head over to Bandcamp without paws and pick up a copy and act like you’re the cat who go the cream.

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Author: Dom Daley

Satanic Rites Of The Wildhearts & UK Tour announcement

Satanic Rites Of The Wildhearts & UK Tour announcement

THE Wildhearts announce brand new studio album – ‘Satanic Rites Of The Wildhearts’ on Snakefarm  

and Headline UK Tour March 2025

https://thewildhearts.tmstor.es/

The Wildhearts are proud to announce that their new studio album, ‘Satanic Rites Of The Wildhearts’, will be released in spring 2025.

The creatively brilliant Ginger Wildheart is arguably amongst the UK’s best and most prolific songwriters, and his band, The Wildhearts, have just signed a worldwide deal with Snakefarm / Integral.

“The songs were written during a period of transition, from extremely negative to positive. I realised how much control I have over my mental health, and the songs came from that understanding. There’s everything here – catchy choruses, proper fuck-off riffs, anger, frustration, acceptance and revelation, with plenty of insane detours. The album starts pessimistic and ends up like ‘Ah, so I CAN turn my life around?’

Sometimes you have to start from the very bottom, your darkest point. We have more control over our emotions than we think. We control the outcome by how we respond. Once I started learning that, the songs came pissing out. It’s a hard rock album for people who actually love hard rock! We’ll be taking a full evening’s entertainment on tour, kicking off with party-punks Dirt Box Disco, going to rock ‘n’ roll church with Jim Jones and being flayed alive with The Wildhearts. 

The party starts when the doors open, so get a buzz on and get down early. 

Come join the Wildhearts’ community gathering. We guarantee you’ll leave with the spirit of rock ‘n’ roll firmly restored.” – Ginger Wildheart 

‘Satanic Rites Of The Wildhearts’ was produced by Jim Pinder (Bring Me The Horizon, Lotus Eater, While She Sleeps, Bullet For My Valentine) and mixed by Jim Pinder and Carl Bown (Trivium, Machine Head, While She Sleeps, Bullet For My Valentine, Bring Me The Horizon, While She Sleeps). 

“The first album I A&R’d was ‘Earth vs The Wildhearts’. What a magnificent, game-changing record! What a baptism of fire!! Very quickly, it became clear what a rare talent Ginger was, and is; to my mind, one of the great British songwriters of the past 30 years, and this new record underlines that point. 

The conversation here was simple – let’s rejoin forces, let’s complete the circle, with an album forged in the spirit of ‘Earth vs…’, both in terms of the music and the overall intent, and let’s reference the title and that memorable front cover photo, too. Which is what we have; the start of an exciting new chapter in the story of a band who have always been defined by the desire of one man to write songs that soundtrack our lives; songs where – to quote Wildhearts fave ‘Nita Nito’ – rules do not apply.” – Dante Bonutto, Snakefarm 

To pre-order / pre save ‘Satanic Rites Of The Wildhearts’ go to: https://thewildhearts.tmstor.es/
‘Satanic Rites Of The Wildhearts’ will be available on ltd coloured vinyl LP, CD with exclusive bonus track and cassette. There is also an album test pressing (limited to 50, customised & signed by Ginger). Plus, a signed bonus CD EP, with all bundle offers.
To celebrate this release, The Wildhearts will be playing 8 headline UK shows in March, starting on March 7th at the Leadmill in Sheffield and concluding at the 1865 in Southampton on 16th March. 
For three decades, The Wildhearts have remained at the forefront of the UK rock scene, and their incendiary shows have cemented their reputation and legacy as one of the best band’s their homeland has produced, so miss these shows at your peril.

The Wildhearts UK Tour March 2025

07th  – Leadmill, Sheffield

08th – Junction, Cambridge

09th – 02 Ritz, Manchester

11th – Epic, Norwich

13th – Garage, Glasgow

14th – KK’s Steel Mill, Wolverhampton

15th – Rock City, Nottingham

16th – 1865, Southampton
Tickets for the tour go on general sale at 10am Friday 25 October and can be ordered here

Willie Dowling- ‘The Simpleton’ (self Release)

Willie Dowling- ‘The Simpleton’ (self Release)

From The Grip onwards, one thing you can guarantee is that every Willie Dowling project will be packed with quality tunes. Fast forward to 2024, after Honeycrack, The Sugar Plum Fairies, Jackdaw 4 and The Dowling Poole, this is Willie’s debut solo album.

‘Let Us Begin’ manages to meld a slick, Queen-tinged melody to Willie’s customary smart, caustic lyrics. “We knew this was coming for most of our lives. Nobody wins, the anarchist sighs…”.

And sometimes it seems that the weight of having a social conscience sits heavily on his shoulders.

He’s joked about the Jeff Lynne comparisons, but musically the talent is at least equal here, though Willie is like the pessimist searching for a reason to remain hopeful. Understandably, given the warped nature of the world. It would probably be easier if he didn’t care, but he really does.

The piano-driven songs are beautifully played, and, as ever, the musicians are of impeccable quality (Andy Lewis and Jon Poole on bass, Darby Todd on drums). ‘Long Drop Down’ describes the idiocy of the “I’m not racist, but” keyboard warriors and the gutter press, while the title track is like Billy Joel with a rage of social ire.

‘Sadie Goldman’ “writes a line upon the wall; half of nothing equals nothing much at all”. This and ‘The Cure’ will appeal to those of us who appreciate the songwriting of The Feeling. The cello of Jo Lewis also adds another level to the melancholy. Jon’s bass playing on ‘The Gravy Train’ is fantastic, obviously, and Dowling Poole fans will find a lot to love here, unsurprisingly. It almost makes me want to buy a fretless. Almost.

‘Down The Slide’ gets its teeth into the world of the red top press, to a classy groove. “Don’t you let the truth get in your way. A retraction, but the damage is done anyway”. ‘I Killed My Imaginary Friend’ would be at home on a Sparks album (that’s high praise, by the way), and ‘In The Ocean’ perhaps saves the best for last. Willie’s voice has never sounded so good. “Regrets, you ask, I’ve more than just a few. They’re leaking out from places I once hid from view…”

While there are elements of the aforementioned artists, no one else but Willie Dowling could have written these songs. I hope that The Man Who Cared Too Much (copyright M. Chamarette) can feel some satisfaction in what he’s crafted here.

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Author: Martin Chamarette

Singles Club – About Bloody Time Eh?

Singles Club – About Bloody Time Eh?

After some time since the last singles club, enough banging singles have come through the door of Daley Towers to warrant having a singles club get-together so let’s get it on. Oh, you bands pull yer fingers out and press some 45s we love em and miss them very much so, without further ado…

Zeke – ‘Snake Eyes’ (Hound Gawd! Records) No shock that the mighty Zeke have found a home on Hound Gawd! Records seeing as they both share other projects and a love of all things outside the box and underground. Zeke lies dormant and without prior warning strike. First the single then the tour followed by the album – fuckin’ hell yeah! No, you can’t stream it or download it this is Zeke motherfuckers. ‘Snake Eyes’ is pure 100% proof Zeke with pounding reckless drums, howling solos riff after riff after riff and a melody that Lemmy would approve of ‘Snake Eyes’ is a majestical thing. Like prime DC cutting up a Motorhead song whilst out raising hell – Flip it over and ‘The Knife’ is cutting up the dance floor like a bat out of Hell. I had to check that I didn’t have it on 78bpm such was the ferocity hurtling out of the speakers like Slayer doing Discharge but faster – Buy it!

Dirt Box Disco / Aerial Salad (Safety Pins Magazine) Always a good read and the fact they give away a fine slab of wax with every issue is always a welcome bonus and this one is particularly special. Firstly Those scamps in Dirt Box Disco have broken the Babs Woodhouse tombstone and there wouldn’t be a tipper Sticker big enough to cover their side of this split and its fair to say I almost spat my cornflakes over my turntable when I dropped the needle on this 7 inches (oh ere mrs) absolute potty mouth from Spunk Volcano and the boys but what a banging tune it is easily one of their finest songs for a long long time. Inspired by a true story no doubt and it’s not every day you hear the words Dong, a fair sprinkling of C Bombs and the line one in the pink and one in the stink just about finished me off (Cough Cough). It’s a rip-snorter of a track, and it’s well worth picking up the Mag for this bad boy. Flip it over (sorry that the last one) Aerial Salad hail from oop North and this track ‘Fever Dream’ is a down n dirty chugging slab of snotty punk n roll. If you’ve never heard them then this is a smart introduction right here. Top melody on a top tune what a split this is truly magnificent stuff – congrats to Safety Pin and these fine pair of bands.

Stiff Richards – ‘GFC’ / Empty Barrels’ (Legless Drunken Sailor Records) It’s fair to say Stiff Richards do a fine line in intros. ‘GFC’ kicks off with a snare roll like a warning bell for what’s to come then all hell breaks loose and a thunderous song kicks in. Fuckin majestic stuff indeed. Of all the amazing bands falling over themselves in Australia Stiff Richards might well be the finest of the lot and ‘GLC’ is another in a long line of barking bonkers tunes from Australia’s finest. Their first new material in 4 years and the B side is a rapid, frantic manic slaughterhouse of a song for its entire one minute and fifteen seconds its pure bliss on wax. Get this new album out asap the world needs it as of yesterday. Record of the week? absolutely, Record of the month? fuckin right it is. Melbournes finest do it again – buy it!

Sister Morphine – ‘Werewolves Of Suburbia’ Big Egg Records) Having reformed after an eternity to finally get around to recording and releasing songs from a lost moment in time Sister Morphine didn’t stop there and not wanting to be pigeonholed as one of those there heritage bands, Sister Morphine couldn’t stop the momentum and wrote some new songs and bloody well recorded them onto wax via their label, who purchased one of those there Lathe cutting machines so it seemed only fair that the band would cut a two-track single and the lead track is a rockin’ number. With sleazy riffs and a thumping bass line, it’s a dark and dangerous opener and a howling good time too. The other track on offer is ‘I’m Up For Letting You Down’ which is my pick of the two tracks on offer and a classic snotty low-slung rocka. An impressive double A-side single in the classic time-honoured tradition and hopefully enough of a driver for the band to not stop there and follow up this single with more recordings and not leave it for another couple of decades. Great stuff and one of the summer’s finest offerings. Go get one, they’re cutting them up one at a time so before they run out of ice white wax get involved. oh, I have to say the solo on this second track is a belter.

Head Hunters – ‘Hour x Hour’ / ‘You Go tMe Hummin’ (Head Hunter Records) If the opening singles aren’t enough how about this bad boy from earlier this summer Birminghams Head Hunters put out a single on their own label and what an impressive pair of tunes they were too. Jez Miller on guitar and vocals, Ray Birch on bass, Ozzie on drums and Martyn “Nelsta” Nelson on lead guitar. (ex King Adora )are names that should be familiar to RPM Online regulars so it comes as no shock how bloody good these songs are. From the jungle drum intro and the feedback howl to Birchys floor trembling bass lines, this is a beast of a song ‘Hour x Hour’ is a no-nonsense high-quality offering along the lines of classic Gunfire Dance but so much more to boot and the guitar soloing is a most welcome wall of chaos and a maelstrom of proto-punk goodness.

‘You Got Me Hummin’ is like a throwback to a beatnik 60s pill party with a dancefloor full of beauties all shaking their shit to the sound of the day which just happens to be a head fuck of a groove from Head Hunters. love the vocals and the gang vocal callback makes for a fantastic song. Man, I want more of this from Head Hunters its a beautiful noise and a pair of tunes you shouldn’t pass by. Go pick it up as it’s a single that will sit pride of place in any self-respecting rock n rollas collection. Buy It!

M*arx – ‘Teenage Prayer’ (Wrecking Ball Sounds) After taking fifteen Years to pu this record together and released former Sisters Of Mercy guitarist Gary Marx goes back to his roots and cranks out an album Bolan would have boogied to and Bowie would have flown to Mars to be involved in. Well, the twelve track album was reviewed a while ago and the CD had more tracks than the LP but hidden in the sleeve of the record is a 7″ banger. Free ffs not something every band is racing to do I can tell you. Well, those who are rewarded with the purchase of the initial copies of the aforementioned LP can get this retro tastic Glam slammin ‘Teenage Prayer’ and ‘Chain Store Mascara’ are worthy of nestling right into the track list of the record. Super fun and totally authentic Mark and his friends nail the style and the songs every time and this 7″ bonus is most welcome. Easily one of the best record released over the summer. Get on it kids it top pop pickers innit!

The Courettes – ‘The Soul OF The Fabulous Courettes’ (Damaged Goods Records)

The Courettes – ‘The Soul OF The Fabulous Courettes’ (Damaged Goods Records)

The album title pretty much describes exactly what’s inside the moody stylish artwork. the duo have been slogging their wears around the globe toilet circuit for years honing their craft to this point and have delivered the record they’ve been promising from day one. ‘The Soul Of… is a stunning wall of sound with its Cuban heel boots rooted in the good and the great of decades of Rock n Roll and have dragged it by the beehive into the 21st Century kicking and swaggering. From the subtle fuzz of the opener, ‘You Woo Me’ they nailed it from the sound to the melody to the delivery this is a peacock of an opener and played loudly it’s exhilarating stuff. From the floor tom thump to the BVs and that subtle homage to Spector Wall Of Sound it’s a high bar they’re setting.

The pop wheeze of ‘Clifornia’ and the addition of La La Brooks should have seen this as the feel-good hit of the summer. It’s sunshine on wax folks as the fuzz accompanied by those happy-go-lucky keys is a recipe of pure gold and then you have the melody rolling round the Los Angeles seafront. The album is a little less dirty Garage and more of the melody and emphasis on the song rather than the style but saying that it’s hard to see past the nostalgia of a bygone era but when it’s done this well why not go retro from the orchestrations to the handclaps and the well-placed fuzz they’ve absolutely nailed it. from Shangri Las’s to the Ronettes to more modern garage rock the White Stripes never sounded this classy ‘Here I Come’ sounds like it’s had a back alley dust up and the pairs knuckle duster came in handy. Love the shuffle on that snare.

they can seamlessly glide from the uptempo dance floor fillers to the dramatic balladeering-like ‘Don’t Wan’t you Back’ shows that Flavia and Martin Couri have got the chops to deliver this rock n roll malarky in whatever tempo they choose. they don’t spend too long on the slow numbers nor do they just get their groove on but ‘Shake!’ is infectious as is ‘Better With You’.

La La Brook is back for her encore on the smooth ‘Run Run Runaway’. Throughout this bakers dozen it could easily be single after single and bringing the curtain down on this Fabulous record is the haunting ‘For Your Love’ as the guitar shimmers accompanied by some strings before Martin joins in and adds some vocals alongside his shuffling beat. If you want to know how to do retro in the best possible way with class and style but not forgetting to write top tunes then The Fabulous Courettes are ready and waiting and bearing their soul for everyone to enjoy and where they go next is anyone guess, the world is their oyster. Get on it right now!

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Author: Dom Daley

Baby Schillaci – ‘The Soundtrack’ (Self Release)

Baby Schillaci – ‘The Soundtrack’ (Self Release)

I always ponder what’s in an album title, what it says about a band, and where are they sending us purely on the title before you hear a single song or note in fact. The ‘Soundtrack’ is obviously a widescreen title and conjures up all sorts of images without tying the band to a particular genre. No photo to go off, no artwork drawing or such like more a blank canvas or a burnt orange with some typewriter text hidden in the background to feint for these old eyes but not wanting to pigeonhole them into a field that they don’t belong or that they can’t escape but as soon as the opening ‘Title Sequence’ fades it’s like a headfuck from a Saw cut scene filmed in a Townhill basement is unfolding in your ears before ‘Ultra HD Happy Face’ kicks off. With its tribal floor toms signalling the fire is lit under what is a heaving, weaving mass of sound from the chanted vocals to the chaotic guitar soloing to the thumping throbbing bass line this is good stuff and I like it a lot. Its like Helmet and therapy? using Marilyn Mansons rhythm sections while off its tits on Ket and racing around in a stolen car like an audio headfuck of Twin Town meets Saw. Whats not to like?

‘Brainfreeze’ is a modern twist on The Fall pissed up and looking for trouble with the lightweights of Fontains and Idles sounding lame in comparison. the raging vocals work well and the chorus is right on the money. All nicely pulled together to make perfect sense with a really full-blooded production that this record needed. Imagine Janes Addiction heading out in 2024 with the whole world of alt noise bringers doing whatever the hell they like well that will bring you to the same curve as the chaotic ‘tHe AnTi SuNcrEAM LeaGUe’ is the wrong two ends of a magnet trying to gel but you know they can’t but you still try. Kicking off over its three-plus minutes of pure rage n chaos like being kicked in the head and loving it especially when it rattles your jaw. Tom Richards & Richie Lewis both play guitars and both handle vocals and it works really well throughout but its the rhythm of Drummer Tom Williams pouring petrol on the fire that being ably fanned by the Bass walking of Andrew Evans that holds Baby Schillaci together making it a tight machine enabling all the chaos to make perfect sense on this post-punk noise rock soundtrack.

They’ve considerately thrown in an eery ‘interval’ so you can go get some more psychotics to help get you through side two and help it make perfect sense static, keyboard stabs and howls make up the filler but hurry up deadbolt the locks because ‘Disintegrating Small Talk’ is about to begin with its heavily treated drum beat and dripping bass lick before gaining momentum once the vocals kick in. Not a million miles from something the Manics might have had in mind at their darkest ‘Holy Bible’ moments or Gary Numan ventured down after working with Trent Rezner.

so as to further mess with your genre-obsessed label ‘Jackie’s Girl’ might just be the absolute pinnacle of this fine record. The band are chests out head high kicking out the jams and owning it.

‘Flatliners’ paints a dark space that very quickly escalates into a full-blooded aural assault before falling back with a bulging bass line and some lush vocals before scorching earth and taking off in all directions. It ebbs and flows filling every corner with sounds that are harsh and loud but juxtaposed with a nicely sung vocal and melody playing with your head. In confusing times this is indeed the soundtrack and the theme is headfuck, the vocals escalate and the song is raging in the bleak night with an exceptional production and sounds bouncing off every corner there is no blank space left unfilled before finally calming down to a conclusion. Fantastic again but we’re no nearer a pigeonhole or a genre we can nail these South Walians to.

This could be a massive hit but it wouldn’t be a fluke on this records showing thus far before giving the listener a raging circle pit of riff a rama that is ‘Kumite’. Leaving ‘Blunt Force Trauma’ to lose off what has been a mightily impressive album that just gets better with every play. these boys can play and these boys can write top tunes. They’ve left nothing behind and for an opening record, it’s got the lot – melody, style, chaos and confidence and a pocket full of tunes. Blunt Force Trauma is the anthem they leave you with from the brushed acoustic to the phat bass lines with the Astbury hushed vocals it’s a mightily impressive offering. Don’t just take my advice think for yourself and get an earful of the mighty Baby Schillaci don’t worry about the after effects just enjoy the moment – rock n roll comes in all shapes and sizes and this has been ‘The Soundtrack’ Embrace it!

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Author: doM DAle_y

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The Hip Priests – ‘We Become Nothing’ (Self Release/Ghost Highway Records)

The Hip Priests – ‘We Become Nothing’ (Self Release/Ghost Highway Records)

The time has come to say goodbye as shit islands loudest, filthiest, hardest rockin motherfuckers bow out having kicked against the pricks for over a decade. They’ve always shown Zero Fucks and always done it on their own terms, be it the prolific single releases with Spasm Gang rewards, the Long Players full of promise being thrashed to death around the toilet circuit of the UK indie scene they have decided to call time and move on to pastures new but not before delivering what might just turn out to be the bands finest piece of work ever, and that’s not something I say lightly.

Having seen them live countless times and being SG member number two its fair to say I’ve been all over every single record these gents have put out on whatever format they chose and this one rages against the machine big time and if they didn’t give a single fuck on the way in they most certainly aren’t holding back on the way out. ‘We Become Nothing’ is a ten-inch EP full of rage and then some, showing the ones that followed that they can deliver every mother fucking time. From the off ‘If You Can’t Beat Us…Join Us’ is a full-bloodied, open-throttle banger from the riffage that you’ve come to expect from Ricket and Ben but the Rhythm in the engine room, holding the beast on the leash is thunderous. To his credit Von Cruz has hit his stride here delivering his finest performance one last TIME Saving the best til last it would seem – fist punching, hard rockin, beer spilling bile at its loudest best.

Turn up those speakers and let the guitars slash and hack with a wonderful riff, ‘All You Never Wanted’ is the opener turned up to eleven. Pure unadulterated fuck you punk rock with top lyrics to boot, ave it! Love the breakdown which sounds like it’s having its own breakdown as it fucks your head, fans will love this one and wonder why these boys aren’t massive. Love the wah overload of ‘Home Is Where The Hate Is’ as side one is brought to a shuddering halt but not before I almost spilt my Molotov Cocktail when Meryl Streek kicked in with the spoken words, fuckin glorious stuff and I wholeheartedly endorse every mother fuckin word of it!. Going out in a blaze of glory be fucked they’re burning down the whole house and neighbourhood with this one. Now go take five, chill, get some air and get back to that stereo for the second half.

‘Lose Those Chains’ is a slower more melodic beast with a big chorus (in Hip Priest terms) but built on a big groove. ‘Thicken My Skin’ is, of course, a banger, I love that thumping groove and the melody is carrying this fucker home. The message is right on the money with Von Cruz again delivering the goods. This only leaves ‘I Wanna Live (Like I’m Gonna Die)’ which is it folks, hold back the tears and draw breath it’s not quite a ballad but it’s probably the closest you’re going to get in Hip Priests world. With a truckload of emotion poured into the playing here it’s the one to finish the sets in November before the final fireworks are set off and the instruments are thrashed into a heaving pile of burning wood in the middle of the stage. That’s it kids the Hip Priests are done and dusted and they bow out in a spirit of defiance and middle digits aloft. God bless every stinking one of you and thanks for the memories it’s been a hell of a ride and almost every turn it’s been a pleasure and most certainly never a chore. Adios Amigos it’s been a pleasure and quite literally that all folks…See you in November. Buy It!

Buy it off the band or Ghost Highway but be quick there aren’t many left I believe.

Author: Dom Daley

The Libertines – Great Hall, Cardiff University. Cardiff – 07.10.24

The Libertines – Great Hall, Cardiff University. Cardiff – 07.10.24

Once again we gathered in the great hall at Cardiff University watching Dead Freight use their twenty-five minutes to good effect with a solid sound much the same as when we were here the last time The Libertines played at this venue and Dead Freight supported Then I wasn’t familiar with much of the set but again the band impressed with their full bloodied sound of indie post-punk with the set closer of ‘Bat Man’ being the band standout track and a great way to end their set for a nicely filling up room.

Now last time The Libertines played here it was a Saturday night. The venue was heaving from the get go but tonight it’s a more chilled-out Cardiff Uni possibly due to it being a School night. Still, there aren’t the same level of pissed young men throwing themselves about which is quite nice and there is a time and a place for such uncontrolled behaviours. It would seem tonight wasn’t the time or place however from the opening song Cardiff was in fine voice as the band took the stage looking match fit and sounding like they’ve been rearing to go for weeks and with the set list bedded in the band were sounding fantastic having road tested some of the new songs earlier on their club tour that was fantastic to see the band at close quarters again.

Kicking off with ‘The Delaney’ it was evident after the opening three or four songs the band were in no mood to fuck about and it was down to some serious rocking business and ‘What Became, ‘Boys In The Band’ and ‘What Katie Did’ their telepathic frontmanship weave was in sync as Doherty and Barât interchanged vocals and guitar parts with a majestic telepathy that is a sight to behold and tonight in rather fetching fedoras they looked every inch the been there seen it done it Roc n Rollas that they are and The Libertines 2024 are all the better for it. Tonight, when they only need a glance across the stage from one to the other, they work as one no words necessary, just that innate bit of magic that not every band possesses but the Libertines do.

Again it’s the rhythm section that pushes our six stringing pirates all the way with a thunderous energy that is often the overlooked force behind the Libertines, Gary often seeming like he has about three pairs of arms and John Hassall holding everything in place that enables the two swashbuckling frontmen the room to do what they do.

We get the usual suspects off the first two albums with the odd song off their third album thrown in for good measure but tonight the new songs off their magnificent ‘All Quiet’ album that lifts the set and sit perfectly in the set alongside fan favourites I might as well point out here that they played every song off ‘All Quiet’ with the exception of ‘Barons Claw’ which is quite remarkable yet not surprising such is the band’s confidence and belief in this new material.

From ‘Horrorshow’ to ‘Run Run Run’ which is greeted like an old friend, the main set is brought to an end with a goosebump rendition of ‘Can’t Stand Me Now’ and the foursome exit stage left to a well-deserved rapturous applause.

Of course they were going to return to the stage to a seven-song encore that began with a cosy gather around the ole Joanna as ‘Man With The Melody’unfolds before ‘Oh Shit’ cleared the head before ‘Gunga Din and ‘Last Post’ enabled a quick intake of breath before we head into the home straight and the ‘Time For Heroes’ before we get a loose run through ‘Songs They Never Play On The Radio’ before we get the familiar fireworks of ‘Don’t Look back Into The Sun’ and we’re done. Cardiff has once again been thoroughly entertained by one of the UK’s finest bands currently making new records and touring. Always a pleasure and never a chore if you get the chance I can’t recommend seeing The Libertines highly enough. Wonderful band and probably better than you would imagine trust me I know these things. Same time same place next year gents thank you very muchly, you beautiful, talented bastards.

Author: Dom Daley

James Taylor Quartet – ‘Hung Up On You’ (JTI Records)

James Taylor Quartet – ‘Hung Up On You’ (JTI Records)

My first impression of this album was the bold statement to just have a white sleeve with a blue border and JTQ – Hung Up On You in the top corner but looking through the band’s previous offerings its perfectly normal and in keeping with their tradition for minimalist artwork. No Picture, artwork, label nada, zilch, nuffink. So without any misconceptions, I crack open the sleeve and put the crisp white platter on the turntable and let the title track fill the air and to be fair having a clean palette might be a smart move because the title track is a wicked slice of garage rock. It’s got groove and a nice edge to it. Then the first single off the album the 60s-tinged psych rocker with a big hook ‘She Dreams In Crimson’ wafts through the speakers before the funky instrumental ‘Chicken Legs’ gets groovy baby and fills the dancefloor with the honkin’ organ whirling around over some funky loose drum fills.  

The next track that really grabs my retro attention is the uptempo ‘Miss Your Life’ which is the best track thus far and side one is brought to a rocking end with ‘Perch Non Vsi Da Lui’ and a really good rocker with a cool retro vibe and who doesn’t love a breakdown where the drums hold a steady beat and we chase the keyboard off into the end of the first act, good stuff.

Side two begins with a generous helping of garage rock with a great melody and hook as you’re told to ‘Put Your Hands Up’. An album full of Medway-style punky/new wave Rock’n’Roll, ‘Hung Up On You’ is a fast and furious roller coaster of a record that touches on a whole load of groovy styles. Since covid James has been working again, writing and playing, for his original band from the 80’s, The Prisoners and making albums of late with Billy Childish. “The track (Hung Up On You) was left over from a writing session for my his other band ‘The Prisoners’The band are traditionally from a funk background but you’d never tell and when they say they had a lot of fun in the studio you can hear that in the recordings throughout as they challenge themselves and deliver a really impressive album sure I could live without a couple of instrumentals but when they kick back and rock ou they really hit the spot ‘My My My’ could easily be prime time Townsend jamming on the Stones and that’s always a good thing.

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Author: Dom Daley

The Hard Ons – I Like You A Lot Getting Older’ (Cheersquad Records & Tapes)

The Hard Ons – I Like You A Lot Getting Older’ (Cheersquad Records & Tapes)

Hot On The heels of ‘Ripper ’23’ Hard Ons are mining a rich seam of songs for sure. Sure it’s a mixed bag of punk rock from the super melodic title track through the twelve tracks on offer of this latest album. The single ‘Buzz Buzz Buzz’ is a guitar noodling masterclass and once it’s in your head it’s tough to shake it off. The melody and harmonies are like crack and then they leave you only to kick on with some hardcore fast as fuck rock to fuck with you a little more. These Days are Gone is like a sixty-second interlude of punk prog. The band entered their 40th year and this is this lineup’s third offering and they show no sign of wear and tear, nor of slowing down due to writer’s block or anything like that.

its not all fast punk rock mind they slow things right down and rock out on ‘Finders Fee’ and duel those guitar licks on ‘Getting Older’ with its gentler melody and those Cosby Stills Nash and Young harmonies work well.

They always sound like they’re having the best time playing and making records ‘Operation Lightening’ is solid and ‘Ride To The Station’ with its backing vocals from the off and weird train effects only magnifies the thought that Hard Ons have a ball when recording and don’t take themselves too seriously and why should they. Before they’re done there’s time to put the foot on the monitor and bang the old noggin and thrash out on ‘Doesn’t Look Like Me At All’ leaving the loose ‘Pushover’ to wind down this latest offering. I guess we’ll meet again in twelve months with another Hard Ons record which will be bulging with more top tunes in whatever style they choose and we’ll like it as much as this one and the ones before it. Another day another quality album that ebbs and flows really well on the many turns and shifts in pace but always overflowing with melodies and headfucks. Who doesn’t love a hard on?

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