Los Angeles California so much to answer for but thankfully one of them isn’t Hammered Satin.  Taking Smash Fashion and Giuda to the next level and channeling the Gypsy Rollers. The next level is to time warp – time machine these four lifers in all their glam-tastic -high heeled stomping glittery rock n roll finery  ala sweet meets Bolan meets the glitter band with extra plumes of feather boa and I might add stints in some pretty cool bands form their CV’s such as  the Zeros, Flamin’ Groovies, Flytraps, S’cool Girls and Teachers Pet. this is going to be one hell of a ride!

Sure as shit stinks they have a track called ‘Dynamite’ that does indeed have sound effects of explosions with one with extra glitter for the finale and hand claps and added slap on that snare drum.  Man, this is unashamed retro Rock and Roll.  Fuck me song titles that include words like ‘Candy’ ‘Sugar’ ‘Velvet’ ‘Starchild’ ‘Silver’ Satin’ Stomp’ they just about tick every box that has been left unopened properly since the ’70s.  ITs like every Top Of The Pops album got warped in the sun and melted into one (not so) original album. Did he just say lollipop and bubblegum in the same sentence? Of course he did the songs entitled ‘Cand Sugar Baby’ for fuck’s sake!


Sure there’s nothing remotely original here its simply glam stomping fun.  a lot of that glam hasn’t been used this brazenly for decades and why not?  Damn, they take huge lumps of Bolan and Glitter and make it their own in 2019 and I’m good with that the title track is pure Bolan and why not they’ve even borrowed his lyric book and backing vocal tapes. Giuda went there but with double denim and tried to tough it out with a bit of street thrown in but Hammered Satin go the full hog mog and set fire to the double denim and go straight for the thrift store bellbottoms and silver platforms.

‘Silver Streak’ is about a bike (of course it is) and what a bottleneck guitar bruiser it is too.this one is the start of the albums purple patch because ‘Baby Vampire’ has the records best backing vocals and ‘Honey Squiss’ is Hanoi Rocks cool in the melody stakes and the albums golden nugget. I would say its a hidden gem but there’s nothing hidden or under the radar on this record no Sir not for a second.  By the time ‘Starchild’ has begun you realise that that’s it and the record is on its last legs and this slower acoustic led ode to Starchild is the curtain call and that a shocker because it went by so quickly.  So re-apply that eye shadow pull up those satin bellbottoms are flip this bad boy over and go straight back in for another round.  It’s a lot of fun and whilst its dredged the underbelly of the 70’s glam scene it’s a hoot a proper blast of glitter oh, and the last quarter of this record is excellent.  Get on it and ride that white swan til the end ‘Velvet Vortex’ is addictive as hubba bubba and space dust and about as much rock and roll fun as is legally permitted.



Author: Dom Daley

While many of his contemporaries and occasional sparring partners went on to play arenas, Adam Bomb’s own rock ‘n’ roll show has soldiered on relentlessly, doggedly frequenting the small clubs of the world – certainly in Europe anyway. Having played with the likes of Geoff Tate and Tommy Thayer, and rubbing shoulders with Kiss and Guns ‘n’ Roses, he could easily claim to have been hard done by. But that’s the just the way it goes. And rather than disappear into obscurity like many others from the era, he continues on with rock ‘n’ roll belief, delivering his show night after night.

Tonight in Brno is no different. The Mersey club is indeed small, but the atmosphere is great and the club is a local favourite among gig-goers. Unfortunately, due to the typical issue of people living near an old music club and complaining about it, the show must stop at 10pm. There are three bands on tonight so the show starts at a nice and early 7.15.

Understandably, I was a little late and entered the club to the electrifying Blue Movie. Hailing from New York City, this genre-bending metal band plays it loud, hard and intense. Their first time in Europe, Blue Movie weren’t about to let the early doors hold them back. Their show is full-on energy with relentless, solid metal riffing. The band tore through a crackin’ set of pummelling tunes before taking a well-earned rest. And their drummer is an absolute machine. She is fantastic.  Enjoy Europe guys!

Aside from Adam Bomb, the main reason I’d come tonight was to check out local band, Liquid Jesus. While described as glam punk, Liquid Jesus are just as much glam metal as punk – sometimes more on the side of Skid Row than New York Dolls, perhaps. Either way, there is a glam void in Brno and it is being delightfully filled by these guys. Fun and energetic, the Jesus have brought with them a loyal following who are enjoying every moment. The riffs are tight and the show is upbeat, with a great string of tunes before showing off their punk roots with a roaring cover of Dead Boy’s ‘Sonic Reducer’. Great stuff.

Another quick changeover and Adam Bomb is on stage in no time at all in order to meet the curfew. The last thing he needs is the police turning up again, judging by his recent Facebook posts about run-ins with the Swiss arm of the law. Never failing to put on a show, Bomb always looks the part no matter the size of the venue. Dressed in glitter and stars, the veteran and his band pour into his high-octane set, taking songs from throughout his rich career. Songs such as ‘I Want my Heavy Metal’, ‘Rock like Fuck’ and ‘DWI on the Info-Super Highway’ light up the stage almost as much as his pyrotechnics which had me looking for the most direct route out of there. A touching tribute to Johnny Thunders (his untimely passing remembered only days before this show) with ‘Johnny in the Sky’ is quickly followed by Thunders’ own ‘Little Bit of Whore’. A few more select numbers are wrapped up by ‘One Punch Can Change the Fight’ and more pyrotechnics, before Bomb and co move on to Prague to continue their 2019 trek around Europe. An early but great night all round.


“It is impossible to achieve the aim without suffering” – John G Bennett (Philosopher 1897-1974)


Frank Carter & The Rattlesnakes describe ‘End Of Suffering’ as their third and most important record, and they are not wrong. Following the success of their first two albums (‘Blossoms’ and ‘Modern Ruin’ were recorded back to back just 8 months apart) the band hit the studio in London during the record-breaking heat wave of 2018, with the intention of taking their time to create the biggest and best album they could.

To help achieve this, they roped in famed producer Cam Blackwood (Jack Savoretti/George Ezra) and the legendary mixing talents of Alan Moulder (NIN/QOTSA) to help turn their blood, sweat, and tears into something truly special.


The title ‘End Of Suffering’ comes from the Buddhist mantra for finding enlightenment, and the themes of this album document Frank’s struggles for the last 2 years. First single ‘Crowbar’ may have lulled fans into a false sense of security that this album was going to be choc-a-bloc with primal, fist-pumping anthems of empowerment’, but it’s safe to say Frank and songwriting partner/guitarist Dean Richardson have worked hard to take The Rattlesnakes to the next level. I believe their songwriting has matured beyond any of their previous work.

At the heart of this album is the song ‘Anxiety’, a highlight at the recent intimate shows. With a hard-hitting video and relatable lyrics, it’s a song that has already touched the hearts and souls of many fans. Dean’s lone, haunting guitar riff sets the tone for Frank to open up more than he ever has before. ‘Anxiety’ is an anthem for unity, a song to raise your hands to and stamp your feet along to.

You see, Frank Carter is a man who cares, and understands he is in a unique position where he can make a difference to people’s lives through his music. And if the message he gives out prevents just one person from shutting themselves off from the world, making them realise that they are not alone and that it is ok to not be ok, then his job is done.


Heavy talk aside, ‘End Of Suffering’ is introspective and puts out a positive message.  It is not a punk album, nor is it an indie album. ‘End Of Suffering’ is a modern rock record that perfectly bridges the gap between Gallows and Pure Love, much more successfully than either of their two previous albums did.

While the hardcore influence of Gallows that was still present throughout the first two albums is now all but a distant memory, ‘End Of Suffering’ is no less intense for it. Opener ‘A Butterfly Can’t Love A Spider’ sets the intensity levels high from the word go. Riding on a formidable, pulsating beat and brooding vocals that build to a soaring crescendo, as Dean bashes out a dirty riff. “When I’m high, I’m in Heaven, when I’m low I’m in Hell” sings Frank, and we believe every word.

The band then fire into the skulking beast that is ‘Tyrant Lizard King’. Featuring a cool, desert rock riff and a chorus that slithers from the speakers like a snake ready to inject its venom straight into the soul, it captivates and enraptures. A trademark off the wall solo from a certain Tom Morello fits the feel of the song perfectly. This tune is guaranteed to be a mainstay of The Rattlesnakes live set for years to come. 2 songs in, and it’s safe to say the band has taken things up a notch or two.

“I’m a punk rock renegade” drawls Frank on the opening line of the space age, indie punk hybrid ‘Kitty Sucker, before launching into another anthemic, high energy chorus that matches the intensity of Gallows at their finest.

With the likes of ‘Little Devil’ with its QOTSA feel and the regimental beats and high energy, post-punk vibes of ‘Heartbreaker’, The Rattlesnakes offer enough to satisfy all the cravings their fans desire. They even explore Portishead territory on the downbeat electronica soaked ‘Angel Wings’, a song that creates beautiful and cinematic imagery, if you just take the time to close your eyes and take it in.

The emotive closing title track offers yet more with acoustic guitars, a piano refrain and a recording of Frank’s four year old daughter laughing as the song fades out on singular ivory notes. “I’ll be waiting…even if I’m gone” Frank assures the listener in a near broken voice.


Between sorrow and beauty, where love and hate collide, the deeply personal ‘End Of Suffering’ could be the album to rocket Frank Carter & The Rattlesnakes into stadiums around the world. It has already been stated elsewhere that this is their ‘The Holy Bible’, that this could be their ‘In Utero’. The difference being…this album offers hope where the others only gave despair.

Funnily enough, the opening quote of this review was taken from the introduction of the U.S. mix of ‘She Is Suffering’ by the Manic Street Preachers. How’s that for a tenuous link, pop pickers!



Buy End Of Suffering Here 

Author: Ben Hughes








Dust down your dead man’s suit and lace up your dancing boots, ‘cause Daddy Long Legs are back with a new album, and may well be coming to your town. ‘Theme From Daddy Long Legs’ eases us in gently before new single ‘Pink Lemonade’ takes us down a slightly different route than you might expect. Not a drastic change, but it updates their traditional sound; if you heard it on the radio, you’d like it, but not necessarily think it was them.


‘Ding, Dong, Dang’, on the other hand, could have been recorded in 1939, and sounds exactly like the title suggests, which is no bad thing. Some fine twanging from Murat here. ‘Morning’, Noon, Night’ would have a nod of appreciation from Howlin’ Wolf; down and dirty blues, just the way it should be played. ‘Glad Rag Ball’ gets the hips shaking, “suited and booted” indeed. If this doesn’t get you moving, consult your local medicine man.


‘Bad Neighborhood’ is a scuzzy, acoustic riff, and ‘Celaphine’ keeps up the train-track rhythm, all handclaps and foot taps. ‘Winners’ Circle’ has a breezy, up-tempo Chuck Berry feel to it, while ‘Back Door Fool’ slows things down in a country style, worthy of Jason Ringenberg. Classy.


‘Snagglepuss’ berates a “mean old bag of bones”, ‘Be Gone’ brings a hoe-down flavour; shove your coffee table aside and prepare to move, before ‘Wrong Side Of The River’ brings it all to an end with a more somber tone. If you’re familiar with their work, you’ll know that Daddy Long Legs won’t let you down. Another fine album, but to capture their essence, see them on their upcoming U.K tour.

Author: Martin Chamarette

Buy ‘Lowdown Ways’ Here



Bruce Springsteen’s first new studio album in five years takes his music to a new place, drawing inspiration in part from the Southern California pop records of the late ‘60s and early ‘70s. The album was recorded primarily at Springsteen’s home studio in New Jersey with additional recording in California and New York. Columbia Records will release Springsteen’s 19th studio album on 14th June. ‘Western Stars’ will be available for pre-order on Friday 26th April.
“This record is a return to my solo recordings featuring character-driven songs and sweeping cinematic orchestral arrangements,” says Springsteen. “It’s a jewel box of a record.”
The 13 tracks on ‘Western Stars’ encompass a sweeping range of American themes, of highways and desert spaces, of isolation and community and the permanence of home and hope.
Ron Aniello produced the album with Springsteen and plays bass, keyboard, and other instruments. Patti Scialfa provides vocals and contributes vocal arrangements on four tracks. The musical arrangements include strings, horns, pedal steel and contributions from more than 20 other players including Jon Brion (who plays celeste, Moog and farfisa), as well as guest appearances by David Sancious, Charlie Giordano and Soozie Tyrell. The album was mixed by 13-time Grammy winner Tom Elmhirst.