Released to coincide with their recent appearance on the Pavilion stage at Rebellion 2019 ‘Singing Our Souls’ is the second EP from Kid Klumsy the Coalville based five-piece who like to mix metal with punk and feature Weab ex-singer with Dirtbox Disco on lead vocals.

It still doesn’t feel quite right writing “ex singer with Dirtbox Disco” after Weab’s name but having seemingly not been happy fronting the band for quite some time at least here on the six tracks that make up ‘Singing Our Souls’ he sounds much more comfortable singing songs he’s written with his new bandmates.

I’d actually only heard a few older tracks by Kid Klumsy ahead of the recent Rebellion show and to be honest live they seemed to be much more metal than punk, but here on ‘Singing Our Souls’ the balance does switch back more in favour of the punky side of the street.

Lead track ‘Mr. Right Man’ is built on the type of thunderous uptempo guitar riff Dirtbox made their trademark and rumour has it is apparently autobiographical with Weab telling the story of how his larger than life clown figure became something he grew to hate, and true to that ethos Kid Klumsy are very much a jeans and T-Shirt band.

‘Slob’ is up next and this track is much more metal tinged especially on the double bass drum driven chorus breakdowns. ‘Dislexic Monkyz’ meanwhile is perhaps the most Dirtbox sounding track of the six on offer, largely because of Weab’s singing and even given the wacky subject matter it still manages to contain a really catchy hook.

‘Love Is a Battery Field’ is another tune that sticks in the head this time due to the infectious gang backing vocal whilst ‘She’s A Fuck’ is ostensibly a song about a stalker that is built on a thumping Krist Novoselic bass foundation which then adds huge slabs of 90s metal guitar to build its overall structure. Weab is also pushing himself into new areas vocally on this track and I for one certainly like this almost Ricky Warwick meets Dave Gahan style he has developed.

‘Singing Our Souls’ closes up with ‘Maisey’s Song’ a mid-tempo rocker that doesn’t really go anywhere and for me it’s the weakest track here.

Having been a fan of Dirtbox Disco since the days of their first EP at first I wasn’t exactly sure what to make of Kid Klumsy, in fact even after a good few plays of ‘Singing Our Souls’ I’m still not entirely sure. The EP does have the odd flash of brilliance and it certainly is great to hear Weab singing in styles he wants to sing in; it’s just I can’t help but miss that larger than life clown of old you know.

However, with extensive tours already booked both here in the UK and internationally and Kid Klumsy seemingly growing as songwriters the more they are together, I think I’ll reserve full judgement for when the debut album drops, in the meantime though ‘Singing Our Souls’ is certainly an interesting appetiser if you don’t mind a bit of metal mixed in with your punk that is.

Author: Johnny Hayward



Many years ago my love for Queensryche forced me into getting my first tattoo, the Pushead Empire Tri-ryche, which I had etched across my back after witnessing the band play another spectacular show on the Promised Land tour. Strangely after that things started to go slowly wrong. The band soon lost an integral part in guitarist-songwriter Chris DeGarmo and while several of the albums still had some great songs, they seemed to get into a rut of plodding repetition, that despite us being told were new and exciting, were often just dull and sometimes nothing short of terrible. Then the unthinkable happened and vocalist Geoff Tate was ousted from the band. That voice, gone.

While this would have been the final nail in the coffin for most bands, Queensryche aren’t most bands, and soon they were back with a new enthusiasm and with a new vocalist, Todd La Torre formally of Crimson Glory, who was more than man enough for the job. After the band’s third release with La Torre (the frankly magnificent ‘The Verdict’), I found myself snapping up tickets for their London show excited to see the band for the first time since 2010 when I left that show unsure if I would ever bother again. Luckily I did.

Kicking off with the opening track from ‘The Verdict’, Blood of Levant, it soon became apparent that the fire was back and despite now having only two original members, the soul of the band was still intact. With a setlist that spanned the years new material such as personal favourite ‘Light Years’ sat very comfortably between tracks as strong as ‘Jet City Woman’ and ‘Eyes of a Stranger’, and more tellingly even had fans singing it back word for word as well. This became more and more apparent throughout the gig with new material like Condition Human, Man the Machine and Propaganda Fashion being received as old favourites and seeing the busy venue head-banging along throughout.

While perhaps not the most active band on stage that you will ever see, Queensryche make up for it in sheer musicianship and Todd La Torre himself is something of a revelation, nailing everything with ease and also coming across warm, friendly and very humble. I found myself pretty much memorised by his performance, so much so when he hit “that note” at the opening of ‘Take hold of The Flame’, not only did I get goosebumps, I had a full lump in the throat and found myself welling up as I never thought I would experience that again.

Finishing with a sixteen song set with a rapturously received ‘Empire’, smiles were plastered across the faces of both band and crowd, and the newly announced UK dates later this year has left me checking to see who doesn’t deserve a Christmas present this year so I can afford another road trip to go and see a band that I can once again call one of my favourites!

Author: Nigel Taylor

Råttanson LP “I’d Much Rather Be with the Noise” (Open Mind Records) is now available for streaming and download on various platforms. On the menu, this time is a delicious Spectoresque garage pop tune, a mouth-watering musical dish that will take you through the late summer and beyond.


Råttanson is a Swedish garage rock/power pop/rock’n’roll DIY solo project that has been searching for that god damn rock’n’roll and supreme shakes since 2013. It’s all about three chords, guitars and self-penned tunes. On the fabulous self-produced debut album “Full-scale Shakeability”, released in 2017, Råttanson sang and played all instruments himself, but on the upcoming second album, he’s brought in the drummer extraordinaire Anders from the Turpentines/the HiJackers. The debut album was described as: “It’s like The Monkees on acid at rush hour, sucking in some Barracudas along the way and spitting it all out in the name of garage, beat and rock’n’roll” and the 14 new original songs follow the same explosive and guitar-saturated recipe.

LuxNoise is proud to announce the next “Bitch Queens” album “City Of Class”. Will be out 27th of September on vinyl, CD & on all digital platforms. It contains 11 straight death-punk songs and shows the band from their most energetic side so far!  Coming out on LuxNoise in Europe and spaghettytown in the USA.


Mel, Harry, Marcel & Danny have written Ten new tracks and have also included a cover of ‘Paso (The Nini Anthem)’ by Spanish DJ Sak Noel that needs to be heard. A review on RPM will be out nearer the release but needless to say, this is one hell of a loud record.  Fans will be pleased.


Christian Martucci, a name I wasn’t familiar with (other than playing in Stone Sour).  I recently discovered that he was the new guitarist in one of my fav bands the Black Star Riders. So I was excited to find out that he has a solo ep out titled ‘Negative Balance’.                                                                

Now anyone who knows me knows I love loud guitars with a punk edge and boy does the first track of this storming E.P. not just tick those boxes but blasts them wide open with the track ‘Black Dust’.   ‘Black Dust’ kicks us off with a hardcore sounding guitar riff but also with a melodic edge. Christian’s vocal is also impressive with plenty of melody and power in evidence.

Next up is the glorious ‘Printers Devil’ and the pace does not let up and this track bounces along with great intensity the running order is well-chosen as ‘Sounds and Silence’  has a slightly slower pace but plenty of melody in both the riff and Christian’s vocal. Yet again it’s very impressive.

‘Nothing In The Dark’ is a number with a great personal lyric and just oozes class but then you’d expect that from Acey Slade, Karl Rockfist and Christian Martucci.  ‘Bad Ghosts’ is up next and this track mixes acoustic and electric guitars with a great bouncy sing-along riff that will have you humming the tune and tapping your feet immediately and yet again I love the great lyrics.

‘Give Me Fire’ finishes off this E.P, in style and is a cover of the GBH track and is every bit as good as the original. This E.P. is a work of art and will appeal to fans of loud guitars as well as the other works this trio has been involved with. They’re seasoned Rockers who have got the chops and know-how to deliver. Trust me you need this E.P. in your collection as it just gets better on every listen.  pity, it is not a full album as it really is that good. Right I’m off to blast this again.

Author: Gareth ‘Hotshot’ Hooper

Check it out Here or on streaming services everywhere


Hot on the heels of storming sets at both Rebellion and Boomtown festivals, eclectic Kent punks Riskee and The Ridicule are back with a new single – ‘Cut Your Teeth’ – from their recently released ‘Body Bag Your Scene’ album via Bomber Music. An aggro, full-on sonic assault, ‘Cut Your Teeth’ is the perfect representation of the driving force behind Riskee and The Ridicule and where they’re at in 2019.

“Cut Your Teeth” is about our personal experiences with people whether they’re good or bad interactions,” explains frontman Scott Picking. “It’s about people who work hard to keep doing what they love in the face of adversity.”

It’s been an amazing year for the band, which saw the highly anticipated release of their third album well received by both fans and critics alike, with the band’s recent sets at Rebellion and Boomtown proving to be real highlights of the year so far.

“Playing two of the best UK festivals back to back, weekend after weekend, was one of our favourite experiences of the year,” continues Scott. “Rebellion is an amazing collection of people all celebrating punk in one place and Boomtown creates a whole other world to get lost in. We felt right at home and our shows couldn’t have gone better. Scott from Cancer Bats came up to us after our set at Boomtown and said it was sick. Definitely a highlight for us as we’ve grown up listening to them!”

Body Bag Your Scene was written and recorded at breakneck speed, a reflection of its reactionary nature to the daily uncertainty projected upon us. Taking aim at the powers that be (“Our Time”), sexual exploitation (“Sex”) and the barrage of contradictory news (“Black, White & Grey”) it’s a record that holds a mirror to the world with simultaneously acerbic and humourous analysis.

Catch the band live at the following dates:


25th – Ramsgate Music Hall, Kent

31st – The Palladium Club, Bideford


7th – Illusive Fest, Northampton

20th – Ramsgate Music Hall, Kent

27th – The London Stone, Staines


5th – Rich Mix, Shoreditch (w/ Ghouls)

12th – Turbulence Festival, Plymouth

18th – Exchange, Bristol (w/ King Prawn)

19th – Underworld, London (w/ King Prawn)


2nd – Electric Ballroom, London (w/ Booze & Glory)

Find Riskee and The Ridicule online at:

Recorded in nine days on a Norwegian island New Model Army return with an album steeped in their unique sound with the unmistakable figure of Justin Sullivan leading the charge. With a more traditional sounding or should that be classic sounding New Model Army on ‘From Here’. It seems like an age when the band first announced pre-sales for this record and after releasing a couple of videos for tracks such as ‘Never Arriving’ my excitement started to peak for what the album might turn out like. With a more earthy and classic sounding arrangments, New Model Army have thrown themselves wholeheartedly into another record and the reward for the listener is twelve songs as good as anything in the band’s arsenal thus far.  From the synth-laden opener ‘Passing Through’ it’s a slow burner as the intro fades and the band harks back to a feeling they first laid on audiences way back in the ’80s and Justins narrating vocal is as warm and weathered as ever and as engaging as you’d want it to be.  The track, however, doesn’t open up but merely sets the tone.  Maybe this is something of the mature big brother to ‘Thunder And consolation’ as the acoustic guitar midway through this six-minute epic opener links with the rhythmic drumming before the crunching heaving electric guitar joins the fray.

As far as openers go this is huge and the tone of ‘From Here’ is set. ‘Never Arriving’ is also over five minutes long as Sullivan takes us through his spoken rather than sung lyrics.  The band might have chosen a bleak environment to record in but this record sounds driven and whilst complex its a record that will take some investing in. Sure fans of the band will take that time and give it the attention it deserves but I doubt Justin is looking nor cares for instant fleeting engagement. If you know you know.

There are no two-minute pop songs here rather post four minutes as a rule but the sprightly tempo of ‘The Weather’ with its acoustic strumming is a different texture to the two previous numbers the instruments weave like knotted branches so NMA yet unique and bloody good.


I’ve alluded to the fact this record for some reason harks back to the classic heights of ‘Green And Grey’ period for the band although Sullivan is the sole torch-carrier of the band these days it’s in the makeup and ‘End Of Days’ is uptempo and the first track that was released from the record and is a great addition to the catalogue of thumpers written and released by the band.

‘Great Disguise’ builds and builds as Sullivan paints his landscape in your mind’s eye whereas ‘Conversation’ is big broad strokes of that familiar acoustic guitar mixed with rhythmic drums and a story unfolds of travel and landscape earth and water. Sullivan has always done well to paint bleak and cold portraits but in a warm and engaging way it’s what he does really well and this is a great example.

‘Hard Way’ is a darker slower introduction that spends the next four minutes building up and up to layered vocals and heaving bass throb but quickly drops back something of a bloodletting before ushering in ‘Watch And Learn’ with its more aggressive thrust.

‘Maps’ is timpani and cello and maybe driven by the recordings environment with a sense of where you are captured within its tracks as Sullivan sings about his surroundings.  Ending the record with the title track ‘From Here’ is eight minutes of soundscape and sparse piano before the familiar tribal drum patterns signal a rumbling Bassline but you’ll have to wait almost five minutes before an electric guitar chimes in and pierces the trance-like rhythm.

Like I mentioned earlier this might not be the record you want to make your New Model Army debut maybe lock into the best of then come and visit ‘From HEre’ and the experience will be far more rewarding.  Old fans – fill yer boots this is a journey that will take you through multiple emotions pick you up and put you down but always leave you coming back for more.  I’ve enjoyed thus far dipping in here and there and equally immersing from start to finish.  ‘From Here’ will not dissapoint.

Buy ‘From Here’: Here

Author: Dom Daley

Watching a concert from atop Brno’s fantastic Spilberk Castle is really a joy worth experiencing. From the grounds of the fortress which belongs to the Czech Republic’s second city, one can look far over the town and across the distant rolling hills of the South Moravian region. This experience is made the more valuable with the addition of some fine punk rock music.

An early kick-off means that the sun has barely begun to set by the time local boys Supertesla take to the stage. I’ve seen them a number of times, but this is the first with new guitarist, Marek, and as always they deliver a blinding set. Armed with a truck-load of great songs – such as, ‘Kluci obyčejní’ (Ordinary Boys) and ‘Tohle nemůžeš přežít’ (You Can’t Survive This) –  it’s their onstage professionalism that really sets them apart. In a relatively short time they’ve developed in to a well-oiled machine delivering a wealth of strong material. It’s a fantastic opening for the headliner tonight.

Denver bruisers Reno Divorce have been here before. In fact, the last time I saw them here they were supported by Bombs From Heaven, the punk band that somewhat developed into Supertesla. They delivered a decent set then, and perhaps an even better one this evening. Commenting on the incredible nature of the venue that they are lucky enough to play again, singer, Brent Loveday, certainly appeared to be enjoying it. With a rich back catalogue, Reno Divorce have a lot of good songs to choose from. Tracks such as ‘Ship of Fools’ and ‘She’s in Love with the Avenue’ are always going to go down well, but belters such as ‘How Long’s it Been’ and ‘Say It’ are particular crowd-pleasers that light up the castle gardens.

As the headliners closed up their set, I could see a storm breaking through the clouds far in the distance. As incredible as it looked from here, the positive vibes of this rock show seemed to keep it away from entering the city. A great double set from two in-form punk rock bands, at a wonderfully picturesque venue – not bad for a mid-week in Brno.


Author: Craggy Collyde

Down ‘n’ Outz, the project headed up by Def Leppard frontman and 2019 Rock and Roll Hall of Fame Inductee Joe Elliott, are set to release their third studio album in late 2019.

The band, completed by The Quireboys’ Paul Guerin (Guitar), Guy Griffin (Guitar) and Keith Weir (keyboards), plus Share Ross (Bass, Vixen) and Phil Martini (drums, Wayward Sons), take a different approach on “This Is How We Roll” to the previous album. The album only features one cover version (The Tubes “White Punks On Dope) – alongside eleven original Joe Elliott penned tracks.

Guitarist Guy Griffin says, “(“This Is How We Roll”) is absolutely fantastic, probably one of the best records I’ve worked on. It doesn’t sound like Leppard or the first two Down n Outz records. It’s kind of all the stuff Joe grew up with, a lot of piano type stuff, a bit Elton John, one track a bit 10cc, a couple of good rockers… a real mix of stuff. Joe’s voice sounds amazing and it’s great fun to do.”

Joe Elliott says,“Boy, has this has been a long time coming?! Recorded in infrequent bursts of activity over a 5-year period whenever our respective motherships allowed, I’m extremely proud of what we’ve achieved with this album. I’m blessed to have worked with such a superb bunch of musicians on this collection of songs. To a man, and woman (!), they completely got my vision of what I wanted us to convey on this record & as usual, working with a world-class producer/engineer in Ronan McHugh has guaranteed the sound of the record to be top-notch! I couldn’t be more proud.”

Along with the announcement of the new studio album, Down ‘n’ Outz also release the rock out of title track and lead single “This Is How We Roll”, available to listen to: Here

From breathless opener “Another Man’s War” to the lush “Last Man Standing”, to the epic six-minute “Let It Shine”, this is an album that draws on all the influences that have shaped both Joe Elliott and the previous Down ‘n’ Outz albums to create a stunning collection of original songs. “This Is How We Roll” was produced by Joe Elliott with co-production by Ronan McHugh. The album was recorded at Joe Elliott’s own studio Joe’s Garage.


“This Is How We Roll” will be released on via UMC on 11th October 2019. The album will be available on CD, LP, digitally and also on limited edition 12” Picture Disc LP.
“This Is How We Roll” is now available to pre-order: Here
The Down ‘n’ Outz project was born in 2009 when Mott The Hoople reformed and asked a long-time friend and fan Joe Elliott to get involved. Joe formed the Down ‘n’ Outz with Paul, Guy, Keith, and Phil. Together they looked to bring songs by Mott The Hoople and spin-off projects of Mott, Ian Hunter and British Lions to a wider audience.

In 2009 Down ‘n’ Outz supported Mott The Hoople at one of the band’s five Hammersmith Apollo shows. The fan interest eventually led to the band looking to put together an album and. 2011 saw the release of the critically acclaimed debut My Re-Generationthrough Mailboat Records (Joe Perry, Walter Becker, Chris Isaak, Jeff Bridges). My Re-Generation included the singles “England Rocks” and “Overnight Angels,” that reached No 4 and No 1 respectively on the US Media Base Rock chart -keeping Eric Clapton’s new single off the top of the chart for 2 weeks. The band then released a live DVD taken from those initial shows called “Live at Hammersmith Apollo.” A second studio album The Further Adventures of…was released in 2014 and featured the single “Rock and Roll Queen”. New bassist Share Ross (Vixen) debuted on 2017’s live album and DVD “The Further Live Adventures Of…”

A stunning live act – having toured with the likes of Paul Rogers across the UK (Including The Royal Albert Hall) and festival performances including High Voltage and Planet Rockstock, Down ‘n’ Outz are planning live dates to support “This Is How We Roll”.

“This Is How We Roll” track-listing is as follows

Another Man’s War
This Is How We Roll
Goodnight Mr. Jones
Last Man Standing
Music Box
Boys Don’t Cry
Walking to Babylon
Let It Shine
Music Box Reprise/Griff’s Lament
White Punks on Dope
The Destruction of Hideous Objects Part 3

LP / Picture Disc

Side One
Another Man’s War
This Is How We Roll
Goodnight Mr. Jones
Last Man Standing

Side Two
Music Box
Boys Don’t Cry
Walking to Babylon
Let It Shine
Music Box Reprise/Griff’s Lament*
White Punks on Dope
The Destruction of Hideous Objects Part 3

Official site

Spike Fuck releases this brief collection of rock and roll songs about drug addiction and self-reflection.  It has touches of Lou Reid in amongst the synth and guitars maybe its the storytelling style of the vocals but we recently featured the opener ‘Junkie Logic’ where Spike lays her cards on the table in a candid way and the soppy pop song works well with the duet vocals of works well over the synth drums. Dark yet quite light if that makes any sense at all?

‘Guts’ is like a pound shop David Sylvian from skid row but rolled in glitter.  Spike Fuck has a talent and through the frank and dark lyrics, she’s created something quite beautiful. Australia does it again and is churning out one great record after the other it would seem and this brief collection is another string to that bow of diverse dark yet creative folk down under. ‘Tomorrow We Get Healthy’ seems like a good place to be and I love the way it builds but always remains chilled.

My personal favourite track on offer is the guitar-driven duet of ‘3.30 Psychosis’ another from the lower east side around the turn of the ’70s vibe but the duet really works throughout and it’s refreshing that it doesn’t get loud or add other instruments to the sparse plucked guitar and organ chords.  Great song.   Elyse Beer, Claudette Justice-Allen & Elliot  Munn lend their voices well and Elliot also providing synth and programming this is a bleak yet warm slice of the wrong side of the street Get straight Spike Fuck and make more music your good at it and I’d like to hear more. final song ‘Body Crystal’ offers more of the same just alternative rock and roll done from the street and the heart.  go check it out.