Released February 14th 2020 via BMG

Available as limited Lenticular vinyl edition, double vinyl, double CD and special Lenticular 3 CD set including 18 track rarities CD

Available to pre-order here

Extensive European live dates 2020

Having successfully outlasted their self-described ‘guaranteed real teenagers’ tagline when they first burst in earshot in 1994, ASH have today announced the release of Teenage Wildlife: 25 Years Of Ash released on 14th February 2020 through BMG and available in limited quantities with a special lenticular sleeve both on vinyl and CD.

Teenage Wildlife traces the band’s recording career from exuberant debut Jack Names The Planets through to the likes of BuzzKill from 2018’s top twenty album Islands whilst also including a brand new offering Darkest Hour Of The Night alongside thirteen Top 40 singles such as Girl From Mars, Gold Finger, Oh Yeah amid an array of the band’s recorded history. Teenage Wildlife also comes in a limited lenticular three CD set that will include an eighteen track collection of rarities including a version of The Buzzcocks’ classic Everybody’s Happy Nowadays (featuring Coldplay’s Chris Martin), the eternal Teenage Kicks and the collection’s infamous title track.

From their mini-album Trailer, a volley of intent with Jack Names The PlanetsUncle Pat and Petrol recorded whilst still at school debut album proper, 1996’s Number One album  1977, almost imploding with the follow-up Nu-Clear Sounds, the addition of teenage guitarist Charlotte Hatherley, 1998’s  historic Northern Irish Referendum show in Belfast before a return to the number one spot with the universally acclaimed Free All Angels seeing Tim Wheeler awarded with an Ivor Novello for Shining Light, consolidating a reputation for a run of extraordinary singles.

Whether the original trio or expanded four-piece with the multi-talented Hatherley, ASH have continually excelled both live and on record – an edited overview of reflection, Teenage Wildlfe encapsulates the past twenty-five years perfectly.

The release of Teenage Wildlife will be accompanied by extensive live itinerary throughout Europe and Scandinavia, re-visiting many of the towns, cities and venues they have previously played over the years. Dates are as follows:


21 Aeronef Club LILLE, FR
22 Botanique Rotonde BRUSSELS, BE
25 Universum STUTTGART, DE
26 Gebaude 9 COLOGNE, DE
28 Mascotte ZURICH, CH


01 Strom MUNICH, DE
03 Futurum PRAGUE, CZ
04 Hydrozagadka WARSAW,PL
05 Bi Nuu BERLIN, DE
07 Bar Brooklyn STOCKHOLM, SE
08 Vulkan OSLO, NO
10 Hulen BERGEN, NO
14 Knust HAMBURG, DE
15 Paradiso Noord AMSTERDAM, NL
17 Stylus LEEDS University, UK
18 O2 Academy NEWCASTLE, UK
24 O2 Academy BRISTOL, UK
25 Pyramids PORTSMOUTH, UK
27 The Roundhouse LONDON, UK

28 Gibus Club PARIS, FR
31 Razzmataazz 2 BARCELONA, ES


01 Kafe Antzokia BILBAO, ES
02 Joy Eslava MADRID, ES

Ticket information


Ash: Website / Facebook / Twitter / Instagram

Being a big Numaoid in the early days when I saw there were archive recordings of ‘Replicas’ and ‘the Pleasure Principle’ hitting the shelves there was no point ignoring it I just had to get my hands on the set. Coming in an Ampex sort of slipcase and pressed on heavyweight double coloured vinyl ‘Replicas’ Sessions was on.


In late 1978, Gary Numan was booked into a small studio in London’s Chinatown with the same musicians that had played on Tubeway Army’s debut album, released a month earlier. Two stereo master tapes were compiled of eleven tracks. A month later they again went to Gooseberry Studio and recorded an additional three tracks, including “Are ‘Friends’ Electric?” and “Replicas”. At the same time, the band recorded a session for the BBC’s John Peel show, taping alternate versions of three songs from the December recordings. Finally, Numan returned to an upgraded studio, Marthus Music, in February to overdub and remix the Gooseberry recordings into their released versions. Only one alternative outtake still exists (“Down In The Park”) which is included in this release.

Spread out over two discs most of this release has been issued before on CD in the Replicas Redux set but that’s a minor quibble if your one of the uber-nerds who are picky about that sort of thing.  Me, I’m not so fussy and to hear the original mixes of these songs gives me goosebumps.  I loved the Tubeway Army post-punk synth fallout and remember it like it was yesterday.  the synth stabs on ‘Down In The Park’ are exceptional and that tinny hi-hat on ‘Do You Need The Service’ with the treated electric guitar. The crispness of these recordings is amazing.  Numan was a pioneer and should be well proud of these recordings mixing the synths with more conventional musical instruments is brilliant.


I can remember my father sticking his head around the bedroom door wondering what the fuck we were listening to and knowing the lyrics to ‘The Crazies’ within the first couple of days of hearing it is still funny. Wondering how they managed to create the sounds on ‘Me I Disconnect From You’ is kinda funny looking back but even now its a real rush hearing it back. listening to how ‘Are Friends Electric’ grew into the beast it became on the proper release is interesting.  The Peel versions on the second LP show how bloody good those engineers working at the Beeb really were and they always managed to turn even the most primitive punk rock into some inspiring wall of sound.

If there is to be a complaint about this collection is the lack of some written booklet about the process we are listening to.  It would have been great to have a song by song memoir if such a thing exists. but that’s just the uber nerd in me again. Oh and don’t be put off by the repetitive song titles because these are very different in many ways even to the casual listener.

The Pleasure Principle.

Pretty much as you are.  Numan was no longer a weird post punk outsider he’d had hits and ‘Cars’ put him front and centre on TOTP as well as swap shop where kids would back off and parents would wonder what was going on. As for the early recordings on offer, over the hour and a bit of music again spread out over two coloured records kicks off with a great guitar, Bass and drum led ‘Cars’.

Before the single “Are ‘Friends’ Electric?” came out, Numan had a band consisting of a drummer and keyboard player and had demoed an album’s worth of songs and this was in  1979. They also recorded a session for John Peel the day after the single hit #1 on the UK charts. Rather than calling it Tubeway Army, the session was credited to just Gary Numan and the group name abandoned at the peak of its success. As before, rather than promote the current album, Numan chose to record four new songs. While the album Replicas hit #1, Numan was busy recording the follow-up.

From the surviving tapes, there were six separate out-takes and these have been included. The discs have been sequenced with the stronger, second demo but all tracks are in the order of the tapes. ‘Complex’ sounds like it could have been written and recorded yesterday so fresh sounding it is. I loved this album when it came out but there were some songs that didn’t stand the test of time so well even though I haven’t played them in ten years at least so playing ‘M.E’ here with fresh ears as it was had me wondering why I wasn’t so keen to play this album. ‘Tracks’ is the sound of a worn tape at play much like a spooled C90 you used to splice with sellotape when it got jammed not that I ever indulged in home taping because that was killing music!

‘Cars’ Demo 1 is weird and must be a buzz for Numan to playback knowing what it morphed into.  there are a bunch of the remastered in ’09 tracks that sound like 80s B movie soundtrack songs and have little interest to me I’ll be honest.  the second record is wrapped up as ‘Replicas’ with some Peel session tracks that just sizzle.  ‘Cars’ is brilliant from the wobbling synth to the punchy snare to the “da da da da boom boom!” and the splash of the cymbal makes the hair on the back of my neck stand up remembering what it was like travelling to Hammersmith Odeon to see Numan and wondering what the fuck I was watching.


If you were ever a Numanoid or played any of those singles then you really do need these records – trust me just get em!

Buy Replicas Here

Author: Dom Daley

PETE WAY (UFOWAYSTED) will release his solo album ‘Amphetamine‘ on a limited edition on white vinylsignednumbered and with an embossed sleeve – limited to 500 copies worlwide on December 13th, 2019 via Livewire / Cargo Records UK. The album will also be available as a signed CD. This release is a reissue of the original album from 2000 by the UFO legend.

The vinyl and CD can be pre-odered Here

PETE WAY is currectly touring with his new outfit – The Pete Way Band:

Thu 28th Nov 2019 : Eleven, Stoke

Fri 29th Nov 2019 : Winter Storm, Troon

Sat 30th Nov 2019 : The Church, Dundee

Sun 1st Dec 2019 : Waterloo, Blackpool

Fri 6th Dec 2019 : The Wharf Theatre, Tavistock
*Support : Burnt Out Wreck

Sun 26th Jan 2020 : Real Time Live, Chesterfield
*Support : Burnt Out Wreck

Tues 28th Jan 2020 : Robin 2, Bilston
*Support : Burnt Out Wreck


I guess the fact you’re here reading this means you have anything from a passing interest in Rock and Roll or you (like Us) love Rock and Roll.  We’re not here to give you our views on Brexit nor will we push our beliefs on you (not here anyway) but I’m sure we all agree that we love live music and the fact that bands outside of the megadomes need to make a living or its simply not possible to continue touring at all.  With the uncertainty with Leaving the EU we need to let politicians know that whilst it might not be a priority to them but letting touring bands continue to take merch and pay their way across a tour needs to remain otherwise it won’t be viable to do it.  so we urge you to sign the petition and pass it on and get as many of your mates to sign it as well.  Just click the link, Ta very much.


Sign The Petition Here

With a bunch of great live shows charging around the UK and the never-ending list of great albums being released RPM has a top 20 for you pop pickers and this list includes Michael Monroe and his ‘One Man Gang’ and one off the brand new More Kicks album the awesome ‘Blame It On The Satellite’. Giuda guitarist Lorenzo has an album ready to go entitled Zac and we have ‘Count On Me’.

There are some old-timers still kicking up a shitstorm like Necromantix who have a new DVD / CD out and Sonny Vincent has a Testors tribute album that’s available with all proceeds going to a great cause that we fully support and will be reviewing this coming month so we have a Testors original in our playlist.

Rocker Pete Way hits the road this month for some live shows and has a vinyl issue of his ‘Amphetamine’ album. After finishing another round of superb dates with The Wildhearts Ginger gets back on the saddle and begins an acoustic band run of shows entitled Ginger and The Sinners. Also on tour is Wayne Hussy whos doing the rounds with his guitar and passages from his autobiography.

Recently released was the awesome and intriguing 40th-anniversary demos and sessions of Tubeway Army’s ‘Replicas’ so we’ve added the classic ‘Down In The Park’ to our list. Recently Rebellion Festivals announced some cracking additions to 2020’s line up and that included some RPM favourites so how could we not include the likes of The Hip Priests who also have some shows this month so have an earful of ‘I Hate The City’ ponder the lyrics and remember it when you go to vote UK peeps.

A new album and some live dates on the way see a welcome return to the awesome Urban Voodoo Machine with their brilliant ‘Johnny Foreigner’.  Announcing tour dates for 2020 Redd Kross are a shoo-in for our playlist. Finally, with an official release and stock, The Brothers Steve make our playlist with ‘Angeline’ from the fantastic ‘#1’ CD.

This month also sees the New Model Army play every corner of the United Kingdom with a proper tour to back up their excellent new album so ‘Where I Am’ makes our playlist.

To finish off this November playlist and to highlight our diversity we have a hattrick of rock from South Wales to show the hills are indeed alive with the sound of music as Buck and Evans ‘Sunrise’ is up and there is the return of Forever Vendetta with ‘Come Alive’ and to close off the November RPM playlist we include Deathtraps who are busy putting the finishing touches to their new album so we’ve included ‘Get Loose’ so take their advice and ours and get loose and we’ll see you in December when we’ll have a splash of new tunes to rock the year out!

The Scaners follows-up on their 2019 LP  (Dirty Water Records/Adrenalin Fix Music) with a new 7″ featuring a little nugget off the long-player called “X-Ray Glasses: On.” An exact release date is yet to be announced but it is expected out in December via a consortium of labels including Adrenalin Fix MusicDangerhouse SkylabSpaghetty Town Records, and Ghost Highway Recordings. Below, you can watch the band’s video for “X Ray Glasses: On” directed by Hugo “Frogy” Reymond.

AIRBOURNE have unleashed an official music video for their current single, ‘Backseat Boogie’; shot at their sold-out Copenhagen show at Amager Bio just last month, this latest clip captures fans rocking out to new songs from the recently released studio album, ‘Boneshaker’, for the very first time.


The Swedish sextet Hellsingland Underground released their fifth full length studio album, called “A Hundred Years Is Nothing”, on August 30. The sound on this album is a big step forward for the band, both sound- and songwriting wise. You can still sense their early day folk and blues influences, but you’ll also hear echoes of Pink Floyd, Queen and The Doors. Mini-moogs, mellotron and accoustic guitars has been added into a perfect mix of great personal lyrics, and some of the finest songwriting to ever come from a Swedish rock band. “A Hundred Years Is Nothing” is their strongest album to date, no doubt


Having seen the Damned play well in excess of 50 times in all sized venues and festivals all across the land with various line ups and with varying end results to my evenings this was another of those must-attend shows from the never-ending list of must attend Damned shows from Original line up to seeing them perform with not on or two Damned bass players but four on stage at the same time to anniversary shows of varying years service in Circus tents to prestigious shows at the Roundhouse, Royal Albert Hall and Town and Country club to this the latest and most audacious project.  The Damned putting on a show at the Palladium in London on a school night with a thousand vampires and a troupe of Circus freaks performing whilst the band plays.  What could possibly go wrong?

On my way to the venue, I reminisce about the time Vanian didn’t turn up in Cardiff and how far we seem to have come from that shambolic night and what on earth was about to unfold.  I expect the unexpected as far as the Damned goes because whatever we thought might have happened was probably always going to be wide of the mark but with Hammer Horror and Circus of Horror on board at least they wouldn’t let the curse of the damned fuck this one up could they?

We emerge from Carnaby Street to the rear of the venue where the horse-drawn Hurst resided after the funeral procession and entered the prestigious sold-out venue and as we took our seat (yup seats) the circus of Horror were being put through their paces as they swallowed swords of varying lengths and swung on trapeze by their teeth or contorted their bodies into unimaginable shapes we witnessed the elaborate stage set that was more in tune with the likes of Dio or Iron Maiden but this was The Damned and immediately you knew this wasn’t going to be just another live performance by a band I’d loved all my life pretty much. 

Before Sensible, Gray, Pinch (sat atop of the castle entrance) and Monty took to the stage with elaborate makeup and costumes and immediately you knew this was going to be something else, something altogether different from the norm, something you hoped it was going to be – not just another great set but a show, a performance, something out of the ordinary. , A show so totally Damned like.

The opening song of the evening’s act one was the haunting ‘Beauty Of The Beast’ and then bang! ‘Wait For The Blackout’ was introduced and Vanian entered the set looking every inch the Vampire he’s spent his life preparing for.  Hammer Horror had their man prepped and looing the part with his badger strip back for the evening as he proceeded to prowl the Palladium stage as if he had done so for the last few decades.  A natural performer in his oils it would seem of course he dreamt up this evening – this was Vanians night.

‘Plan 9’ followed quickly then it was time for the last single and the backdrop screen was providing some superb footage and the lighting was exceptional giving these songs the drama they deserved this evening. ‘Grimly Fiendish’, ‘Dr Jekyl’, ‘Shadow Of Love’ all sounded excellent and then it was time to Ham(mer) it up with haunting renditions of ‘Absynth’ with added trapeze artist swinging by the hair followed by ‘Under The Floor’  I have to admit when they get stuck into the Gray era of ‘Strawberries’ and ‘The Black Album’ I’m more than happy. Of course we had ‘Nasty’ and ‘Eloise’ complete with a string quartet (no expense spared) but ’13th Floor Vendetta’ was amazing as was the finale to the first Act a stunning play through ‘Curtain Call’ complete with the violin duel that was exceptional theatre darlings as Vanian prowled and Captain used his lager can to great effect before the curtain indeed fell as act one was done and we could all toddle off to pay extortionate money for a beer and an ice cream before act two was to unfold and how could they possibly top that?

Act Two.

Top that they jolly well did. ‘Tightrope Walk’ opened up part two followed by ‘The Dog’ but where is Vanian?  we can hear him but see him we cannot.  alas, all is to be revealed as he emerges is Nosferatu full makeup from the long fingers to the bald head and big ears. Brilliant makeup and totally fitting with the evening. Considering the prosthetics I’m amazed how he even spoke let alone sing and the fact he forgot a few lines here and there was understandable. ‘Neat Neat Neat’ made way to the biggest twist of the evening as they pulled off a blinding cover of ‘Bela Lugosi’s Dead’ for the middle section of ‘Neat’ but this still wasn’t panning out as a typical Damned encore if you like sure they did ‘New Rose’ and ‘Love Song’ but they also added a vamped cover of ‘People Are Strange’ before ‘Smashing It Up’ before finally calling it a night with the new song from the new compilation ‘Black Is The Night’ and after a final bow and a few words of wisdom from the departing Pinch we left via the exits and streamed out into the cold London night air having witnessed the craziest most daring evening of Damned entertainment in all their years of making noise noise noise.  


I’m glad I made the effort to attend it was indeed one of those special nights it wasn’t a typical gig it wasn’t your typical setlist but it was your typical Damned experience.  I’m sure there will be more Damned gigs to come where we can all throw beer down our necks and pogo to Machine Gun Etiquette and marvel at ‘Fan Club’ but tonight they did something different and my God they bloody well pulled it off! Still original, still loud, still the best and still The Damned! Now, as pinch succinctly put it as his last words as a member of the band, “Now Fuck Off!”

Author: Dom Daley



picture of Vanian Nosferatu used by kind permission from Dave Mayes.

In the summer of 2006 Paul Di’Anno was asked if he would like to perform with his German band “Phantoms Of The Opera” at a city festival in the small Westphalian town of Waltrop.  At that time also with “Fury In The Slaughterhouse” and “Sydney Youngblood”. After initial scepticism about how to get the expected pop and disco fans, they decided to play the gig. Especially since the two “Re-Vision” musicians, bassist Gonzo and drummer Dom, who formed the rhythm foundation of the “Phantoms”, had a home game.  And that scepticism vanished and suddenly turned into pure magic at the moment the band entered the stage. The city festival crowd mutated into an enthusiastic metal crowd, celebrating Paul and his boys through their brilliant gig.


The show was also completely recorded by producer and FOH man Thomas Mergler. At home, however, he found that the recordings were unusable due to an error by the monitor crew.


After more than 12 years Thomas found the tapes again by chance. And he managed to save the old recordings with the help of more modern technical possibilities.


The result is 100% Kick Ass Rock without tricks and overdubs.


The band presents itself in top form and serves the audience various classics from the Maiden early phase and from the solo career of Paul Di`Anno.

Goth rock from the 80s plays London show for the first time in God knows how long and get all the balding former Goths out in force to pull shapes and sing their hearts out and remember what it was like in the good old days. Uh, nope not really to be fair to the brothers Morris.  Recorded almost twelve months ago this mammoth seventeen song set brings back memories for sure but boy do these songs sound just as good today as they did back in their heyday. Recorded back at the end of 2018 in the Islington Academy shows the strength of the band’s catalogue to fill a decent-sized venue

‘Sun Family’ that pulled in the first singles and EPs and ‘The Greatest Story Never Told’ (the first album proper) and ‘Live Free Or Die’ are the focus of this set and are well represented to be fair and a decent spread throughout the set although the band have played sets of the first two albums complete side by side but here that’s not the case and a good flow is captured.  It is awesome to hear ‘I Believe’ amongst the likes of the more atmospheric ‘She Knows’ whilst the harder rockers such as ‘Long Time Loving You’ from the Live Free album reminds me of the classic ‘Alright Now’ riff and I’m pretty sure Balaam and the likes of The Cult and The Mission were all listening to similar records around the time so it makes sense I guess but that’s not taking anything away from ‘Long Time Loving You’ because it sounds great . The band sound well-rehearsed and tight.

The sprightly ‘Slow Down’ reminds me a little of The Teardrop Explodes if they were more of a rock band. I always loved Des Morris’ rhythms it was very tribal and created an atmosphere that complemented what the rest of the band were doing.  ‘Light Of The World’ being a great example he could have just thumped out the rhythm but there’s more going on than that.

I’m torn as to what my favourite Balaam album was and after listening to this Live album I’m leaning towards the ‘Live Fast’ era it was more in line with a lot of what I was listening to at the time and its stood the tests of time really well. ‘Would I Die For You’ sounds excellent and to follow it up with a rousing ‘Big City Fun Time Girl’ followed by ‘Love The Things’ then ‘I’ll Show You Something Special’ rockin’ out before the finale of a stunning rendition of ‘Isabella’s Eyes’ and then they’re done.  It’s a great snapshot of a band playing songs that are over thirty years old and making them as relevant today as they were when they first hit the airwaves.

If you’ve not got those records anymore and want to rediscover your youth or you want to know what goth rock sounded like or you just want to impress your friends with a cracking live album (sure it’s still a thing) then ‘That’s Not The Real World’ is the real deal. Get yourself some Balaam And The Angels in 2019 it very good indeed.



Author: Dom Daley

For the third straight year, The Hold Steady will be returning to London for three back-to-back shows, taking place over the first weekend in March. Friday, March 6th and Saturday, March 7th will be at Camden’s Electric Ballroom, and Sunday 8th March will see the band hit Bush Hall in Shepherd’s Bush.



Tickets are available below – On sale Fri Nov 1st at 10am GMT

6th March [buy tickets here]
7th March [buy tickets here]
6th/7th March Combo Ticket [buy tickets here]
8th March Bush Hall [buy tickets here]

As with other weekend celebrations, fans will have additional ticketing choices, including a weekend ticket covering both Electric Ballroom shows and an option to buy a VIP Soundcheck ticket, as well as a limited-edition event merch bundle.

Earlier this year, The Hold Steady released their seventh studio album, Thrashing Thru The Passion, a collection of five brand new songs and five songs released digitally between November 2017 and March 2019. It was the band’s first album in five years and found fans throughout UK and US media. Pitchfork said “The Hold Steady treat rock the way Penn & Teller treat magic: They deconstruct it, demystify it and expose it warts and all, but do so out of love and a belief that its behind-the-scenes machinations are every bit as beautiful and intriguing as the polished final product.” It also achieved 4* reviews at The Guardian, NME and Uncut.

The Hold Steady: Website | Facebook | Twitter | Instagram