Hey folks some news for these dark times and as we’re all self isolating Ryan Hamilton is gonna shine a little sunshine your way via some live performances. He had this to say,
“As you may have seen, all of our scheduled Festival appearances and Tour Dates this Summer have been canceled or postponed. Very strange, and difficult times right now. But, we’re doing our best to roll with the punches.
SO….. for the next few weeks I will be hosting online shows from my home in Texas.”
April 2nd – Songs from Hell Of A Day
April 9th – Songs from The Devil’s In The Detail
April 16th – Songs from This Is The Sound
April 23 – Songs from The New Album
(brand new songs from the forthcoming album)
All shows are “Pay What You Can”. We can’t let the virus stop the music!
Hound Gawd! Records will re-release Nikki Hill’s third album entitled “Feline Roots” on April 24, 2020 across Europe on vinyl and CD. We first brought Nikki Hill to you when Gerald Reviewed ‘Feline Roots‘
www.houndgawd.com is the home for some amazing releases hit the link to pre-order
Hill lets her soul rip on this new collection of songs, displaying her now well-known stance to champion for the pioneers of roots and rock n’ roll, while remaining in perpetual forward motion, inviting anyone who wants to come along for the journey. Johnny Thunders straddling guitar, Bad Brains’ rock meets reggae, Stonesy groove, Sister Rosetta Tharpe rave up rockin’ gospel power, all receive nods of recognition. Hill is unafraid of her past or experiences and puts it out there for the sake of the song. The songs imagine the southern soul rocker at times waving her flag in surrender, then in the next moment finding her way back into the climb, bending through supercharged blues, punk soul, revival tent gospel, rockabilly shouts, whatever it takes to get there. It’s her version of rock n’ roll that can only come from her stories. Nikki has never been afraid to take the road less traveled, and it’s clear with “Feline Roots” that she’s living every word.
Title track from the forthcoming album is available now at all digital retailers; pre-order the album at www.professorandthemadman.com
Séance will be the band’s fifth album. Agnew, Elliott, and Scabies are founding members and comprised the lineup on Good Evening, Sir! and Election (both 2016). Gray joined in 2017 and appears alongside the trio on Disintegrate Me (2018) and Live at the 100 Club (2019). All four albums — as well as the upcoming Séance— are released by Fullertone Records.
“A séance typically refers to a ritual used to make contact with a person who has died,” says Agnew. “We see the songs on our new album as attempting to re-establish contact with an era, a way of life, that has died. More specifically, our goal is to evoke the strong connection we felt toward music in our youth — the ritual of bringing home an album from the record store and totally immersing yourself in its journey. We love albums and this group exists to celebrate them. Our new songs tend to be reflective, as we remember former friends and band members who may no longer be along for the ride.”
Tying in with the séance concept, Professor and the Madman has created a new board game which will be available at various pre-order levels. The game is played with a pair of dice, cards, and miniature game pieces. The Séance CD will come with a fold-out paper insert which constitutes the gameboard. The Séance purple vinyl edition will have the gameboard as its gatefold.
“The new material is eclectic,” says Agnew. “It’s less punk-influenced than our previous albums. The 1960s and ‘70s musical influences are more pronounced. We’re big fans of the Kinks, the Beatles, Pink Floyd, David Bowie, Brian Wilson. Maybe even some Zep!”
My first encounter with Buffalo Summer was several years ago in Exeter when they were the support for one of the many incarnations of Heavens Basement. I came away from that gig thinking that Buffalo Summer were by far the better band on the night and their bluesy, ballsy rock n roll reminded me of a cross between Cry of Love and Silvertide (if you don’t know those bands check them out!). Since then I have seen the band on several other occasions and always found them to be a thoroughly engaging live band. However when it comes to their studio output I have always found they have fallen short of what they can do live, but will album number Three, ‘Desolation Blue’, change my mind?
The short answer is sadly no, and if anything I find ‘Desolation Blue’ a little bit more confusing than what has come before. The confusion comes from the band seeming to not know who or what they want to be. One minute they sound very soulful and bluesy, with the excellent ‘Dark Valentine’ being a standout track on the album, and then the next minute during ‘The Bitter End’, the band throw in big leanings towards grunge with the track having a very strong Alice in Chains feel about it, and this mixing of styles is quite noticeable throughout the entire album. Understandable considering the bands musical background. It’s fair to say they have the talent with Andrew having the perfect voice for this style and utterly convincing in his delivery whilst Johnny is up there with the best in this genre for riffs and solos whist the rhythm section holds everything together with class they clearly love what they do and do it with style.
It’s not to say that the album is bad (it is certainly not), there are some fine moments on it like the previously mentioned ‘Dark Valentine’, the hard-rocking and catchy ‘If the walls could Speak’ and the brooding album closer ‘Pilot Light’, but for every impressive moment, there are a lot of moments that while pleasant, are just easily forgettable. At this moment in their career, Buffalo Summer really needed to produce an album to open themselves up to more people outside of their current fan base, but with ‘Desolation Blue’ I don’t think they have done that, and while that won’t affect their ability to carry on as they are within their comfort zone, playing great live shows and impressing their fans, they have missed a chance to really push on. They have so much to offer as a band this, however, is still above average and maybe with time will be a grower.
Affectionately referred to as the ‘Baby Wildhearts’ back in the day, Scottish rockers Baby Chaos disappeared off the radar after 2 critically acclaimed albums and high profile tours with the likes of The Wildhearts and Terrorvision. Even re-inventing themselves before the turn of the century with a different line up as Deckard was a short-lived move, and we assumed Chris Gordon and his cohorts were assigned to rock ‘n’ roll history with all the other coulda-shoulda-woulda beens.
Luckily, a certain Ginger Wildheart persuaded then to reform for a few support gigs, which led to inspiration, new musical ideas and a re-emergence for one of Brit Rocks brightest hopes. In 2015 the band finally released their third album, the ambitiously titled ‘Skulls, Skulls, Skulls, Show Me The Glory’, which was as spectacular as the title suggests.
4 years have passed and they are back with ‘Ape Confronts Cosmos’. A new challenge for the band, now bolstered to a 5 piece with the addition of a third guitar player in Alan Easton. The slate has been wiped clean and Chris Gordon has written an album full of completely new and fresh musical ideas.
Once you get past the fact that ‘Ape Confronts Cosmos’ has possibly the worst cover art of the year, if not the millennium, once you pull out that beautiful slab of red vinyl, place it on the turntable and let the needle drop…that’s when the magic takes you. You see Baby Chaos are one of those bands that have the ability to take you on a journey. They are an album band, and by that I mean this album needs to be listened to as one piece of music to get the full, desired experience.
Words such as ‘epic’ and ‘grandiose’ are thrown about nonchalantly in reviews, but when it comes to Baby Chaos, they truly are justified. There are gargantuan walls off riffage, cascading harmonies and melodies to die for at every turn and in every song. Muse comparisons are rife, especially in the likes of ‘You Won, You Won’ and ‘Run Towards The Roar’, but don’t be scared! Yeah, Chris Gordon’s vocal style is not dissimilar to Matt Bellamy, but the triple guitar attack and clever song dynamics easily outsmart the Teignmouth trio in my opinion.
With a stabbing rhythm and an almost PIL style vocal delivery, ‘Out Of The Blue’ opens the album with a post punk influenced statement of intent. It leads into a euphoric, other-worldly chorus, then out again quick as a flash. The top notch production job courtesy of main man Chris Gordon just helps to accentuate the 3 way jagged guitar interplay, and it sounds quite frankly …massive!
Regimental riffage a-la The Wildhearts, layered Queen-like harmonies and urgent, precision drumming make the likes of ‘Mouse. Lion. Mouse.’, and the aforementioned ‘You Won, You Won’ and ‘Run Towards The Roar’ utterly essential listening in 2020 and we have only digested side one!
The picked acoustics of ‘I Belong In Battle’ give a respite from the hard rock assault, but its short lived. You see, Baby Chaos have a penchant for delivering a relentless refrain of guitars that just keeps on coming and they create soundscapes that put them right up with the best in their genre.
Side 2 opener ‘Orphans On The Moon’ has a grandiose, alt rock feel. Like The Smashing Pumpkins meets Thirty Seconds To Mars, it eyes up the stadiums of the world for recognition. They even come across like Sparks on ‘A Quiet Jubilation’ with one finger keyboard notes, as an underlying vocal melody weaves beneath the main operatic gang vocal. That then segues into the massive sounding ‘Everything I Counted On Has Been Proved Wrong’. A killer, power pop hook that’s up there with the likes of Silver Sun and guitars that crunch as heavy as Metallica, what more could any discerning rocker desire?
It’s not all an assault on the senses though; Chris Gordon is a diverse and creative songwriter. Just lay back, close your eyes and drift away to the dreamy, acoustic lullaby ‘The White Witch’. A tripped out ride to take the listener to another plane in these troubled times.
Elsewhere, the closing ‘Cut Through The Ocean’ sounds live in the studio and I wouldn’t be surprised if it was a one take recording, just the main man and a lone acoustic guitar laid bare, heart on sleeve for the world to see. It comes across like a reprise, the singing delivered in almost a whisper, with just haunting backing harmonies to accompany the frontman.
Baby Chaos return with an album that continues where ‘Skulls Skullls Skulls, Show Me The Glory’ left off. Chris Gordon’s trademark anthemic, guitar-driven noise has a tendency to go off on a tangent to itself and that is what keeps it interesting and sets Baby Chaos apart from the majority of their contemporaries. A wild and expansive sound is created by a band led by a songwriter up there with the best of his generation. Baby Chaos are my Radiohead and my Pink Floyd all rolled up into one gloriously heavy package.
The fact that ‘Ape Versus Cosmos’ will go largely unnoticed by the mass music buying public is a crying shame. I urge you to not let this happen to you. An early contender for album of the year makes ‘Ape Confronts Chaos’ an essential purchase.
Three decades after almost single-handedly taking the hard rock goes acoustic format mainstream Sacramento’s finest sons Tesla recently returned to the now well worn set-up for an intimate invitation only show at London’s Abbey Road Studios to record a set of songs in homage to the original ‘Five Man Acoustical Jam’.
Captured in 4K High-Definition both sonically and visually ‘Five Man London Jam’ is more than just a re-run of that Platinum selling 1990 opus though, with only five tracks common across both releases, although granted the more pedantic fan might argue its six if you want to include opener ‘Comin’ Atcha Live/Truckin‘ as two songs rather than one.
Once past the common ground of the introductory track what follows is a mixture of tracks from Tesla’s 2019 album ‘Shock’ (‘Tied To The Tracks’ getting a cowboy booted foot in early doors with ‘California Summer Song’ and ‘Forever Loving You’ forming the mid-set spine) all lined up alongside some of their perhaps lesser known tracks from their back catalogue such as ‘Miles Away’ and ‘Into The Now’ from the band’s 2004 by the same name. There are also three cuts from 1991’s much overlooked ‘Psychotic Supper’ album in the shape of ‘What You Give’, ‘Call It What You Want’ and ‘Stir It Up’ to look forward to. Whilst of the remaining five original ‘Acoustic’ tracks the re-visiting of The Beatles ‘We Can Work It Out’, recorded in the very studio it was first recorded in, plus the whole seven and half minutes of ‘Love Song’, which brings this set to a close, are both in equal measures enthralling and magical.
If I were to be slightly critical of the thirteen (look I’m counting the opener as one track okay) song set is that reviewing it as I am here without the visuals it does get a tad one paced towards the middle of the set, and it takes a fantastic version of ‘Into The Now’ to truly get me back in the groove, also though on a more positive note it’s great to hear the ‘Shock’ tracks live and devoid of the overproduction which I personally felt marred their last studio record.
Look, I once stayed up until 4 am in a freezing cold Centre Stage at Minehead Butlins to watch Tesla deliver a show stealing set of songs to an audience that by that time in the morning largely resembled how I would imagine a war zone might look. So me, I’ll take that rough memory with the smoothness of ‘Five Man London Jam’ any day of the week just for the pleasure of being able to hear the awesome vocals of Jeff Keith.
What I will never be able to get my head around though is how Tesla have never really become the arena rocking behemoths they so rightly deserved to be, a bit like their heroes UFO I guess.
Lancaster’s anthemic rock five piece, Massive Wagons, are thrilled to announce their new album ‘House Of Noise’ will be released on 17th July 2020, via Earache. To coincide with the announcement, the band is launching the video for the first single ‘In It Together’,
House Of Noise is the highly anticipated follow up to the chart-busting Full Nelson, a UK Top 20 hit in 2018; it is the band’s fifth studio album and easily their most accomplished work to date. Commenting on the forthcoming release, front-man Baz Mills says: “I’ve always said that you cannot lie to your fans because they can smell an impostor a mile away, I couldn’t do what I do knowing I’m feeding people bullshit, your songs, your stage show, interviews, ours are all 100% us, I’m 100% me and when I say this album is our best yet then I totally mean it! House Of Noise is absolutely our best song writing yet, it feels like 10 years in the making and through being signed with Earache we were able to record it at a dream studio with two of the best producers in the biz, Mr Chris Clancy and Mr Colin Richardson, these guys took our songs, our ideas and abilities and collectively we managed to capture the best sounds we have ever recorded, we could not be happier with the outcome, it’s been an absolute dream recording this album, and we cannot wait to give it to rockers and rollers all over the world.”
House Of Noise brings together all of the infectious elements that have endeared Massive Wagons to fans of maximum force rock n’ roll – a raucous rabble-rousing sense of community, straightforward from-the-heart lyrics, and an irresistible combination of pop melody and street-smart hooks. The album contains 12 tracks that vary from the high octane opener In It Together, to the anthemic title track and the frankly ludicrous, but hilarious, The Curry Song, via the brooding menace of Hero and bittersweet lament of Sad, Sad Song. The entire experience overflows with personality and passion, and sounds like nothing else. Massive Wagons have finally found their groove.
HOUSE OF NOISE OUT ON 17TH JULY 2020 VIA EARACHE
New albumHouse Of Noise will be released on 17thJuly 2020, via Earache Records.
Pre-orders are available Here
I had the pleasure of attending the first of what’s planned to be a new series of nights in Liverpool showcasing a mixture of local bands and those on tour. There is a strange atmosphere tonight as one may expect during the unprecedented times, we are all currently enduring. I am left retrospectively questioning my passion for supporting a local promoter’s fresh outing and the need for a night of entertainment, time will tell how great a decision it was.
Outpost (formally Maguires Pizza Bar) is a fantastic DIY venue offering an impressive array of beers, pizza and punk rock, what more is needed eh? I have had over the years the pleasure of seeing numerous great bands here notably The Cavemen and tonight is no different.
First up is Manchester based three-piece Tio Rico self-described as Noise Grunk, a very apt way of describing their in limbo style on this bill. Tio Rico definitely benefitted from having the best sound of the night, allowing the frontman’s lead guitar and vocals to shine through sitting on top of a faultless foundation laid down by the rhythm section. Mixing elements of New Day Rising era Husker Du and Nirvana’s Bleach, the band deliver a sound reminiscent of the harder edge of late 90’s Brit Rock. Think of Cable and heavier Six by Seven.
Local garage stalwarts Dry Retch kick off the next instalment, less Stooges but more reminiscent of the Sonic Rendezvous Band. The frontman gives the crowd between song banter, quipping on the current crisis in reliable Australian fashion. The sound is a bit rough for the guys tonight, despite this the solid four-piece still hold court and the crowd’s attention. Clearly the band of the night, persuading everyone to brave a small but busy venue. My only criticism would be to turn the lead guitar up in future as what wasn’t drowned out by the bass lines was absolutely Ron Ashton mind blowing shit! Certainly, check these guys out on their Bandcamp page, a great catalogue of material if you’re fan of guitar scuzz such as Mudhoney and Radio Birdman.
And finally, the Headliner Witchpunks Rites of Hadda. A very likable and animated band, engaging with the crowd at every opportunity. The make up of the band makes me think of parts of The Pop Group mixed with X-ray Spex, a post punk tour de force whether you want it or not… On paper I love this band, it ticks many boxes, in the flesh though I just can’t get past the vocalist. It takes real guts to front a band without any natural vocal ability or ferocity (I sincerely mean that), but unfortunately it does turn into a chore tonight. With art school none-vocals that would make Eddie Argos blush, I’m afraid I will not be going out of my way to catch Rites of Hadda again.
I spend my downtime currently anticipating a second Funhouse installment, or indeed any gig in the foreseeable future in hope of breaking life’s current monotony and to be safe in doing so. I hope you all stay safe too.
Buzzcocks should require no introduction. Forever embedded in pop culture of the late ’70s and to the punk and post-punk DIY movements, the group, led by frontman Pete Shelley and co-frontman Steve Diggle, brought an essential pop sensibility and sartorial style to the late last epic youth movement but are also tied to the last big youth explosion that was Grunge and Nirvana in particular.
Having disbanded in 1981, the band re-grouped in 1989 and continue to write, record and perform to this day, despite the saddening and untimely loss of Pete Shelley in 2018. This box set captures the eight albums and numerous singles the band produced with Shelley during a thirty-three year period, alongside previously unheard rarities, demos, outtakes & veritable treasures that lie under the lid. Dismiss at your peril ‘Sell You Everything’ is an essential purchase as you should make all year.
We’ll start at the beginning of these eight discs and number one sees the band present their 1991 demos of the album some of which made it onto ‘Trade Test Transmission a couple of years later. Thirteen demos of exceptional quality expanded to make a twenty-one song disc. Sure there is a small amount of repetition with songs like ‘Alive Tonight’ and ‘Succesful Street’ cropping up a couple of times but very different versions to be fair and different enough to deserve duplicating. Of course, this demo album isn’t up there with the first four albums lets not pretend anything other than what it is but to fans (of which I would consider myself one) it’s fantastic to have all these songs in this format together on the one disc. right, One down seven to go! Oh before we move on the demo version of ‘Succesful Street’ is far superior to the one on the EP!
Disc two is ‘Trade Test Transmission’ plus a few of Diggle’s home demos songs like ‘Energy’ which gives you a good idea of how the song came together even if this is much more like home recording territory god bless those Tascam4 tracks eh?
Disc Three is ‘All Set’ which was more in keeping with Buzzcocks from the sprightly opener ‘Totally From The Heart’ and I always loved ‘Without You’ it was the return of classic Shelley. As always when Diggle got behind the mic he always dished up a classic or two and his contribution here is the wonderful ‘What Am I Supposed To Do’. I always had a soft spot when Diggle got out the old acoustic as well and his contribution here was the albums closing number ‘Back With You’ but again its the demos at the end that hold the intrigue and a whole bunch of energy especially ‘Your Love’. Laying fresh ears on this album has been a joy and a bit of guilt for not picking it up sooner over the last decade or so I feel shame for the neglect and won’t let it be another decade before it gets played.
Disc Four sees the band hit the tail end of the ’90s and having been back at it for almost a decade by this point and ‘Modern’ hit the shelves. I loved how about this point the band were being referred to indie rockers and not punk pioneers or post-punk power-pop legends but they still had plenty of fizz on songs like ‘Rendezvous’. They did test my patience as well I won’t lie. ‘Don’t Let The Car Crash’ was a weird one as was ‘Doesn’t mean Anything’ and ‘Phone’ as well whilst we’re at it. I always thought it was better suited to the solo material with all the samples but now looking back maybe I appreciate the band experimenting more. I always loved the more straight aproach of ‘turn Of The Screw’ and ‘Sneaky’. Probably the lowest point of the band catalogue to be fair although adding the Townsend strum of ‘Autumn Stone’ Steves Buzz is very interesting as Diggle manages to sound hauntingly like Steve Marriott here.
The self-titled album of 2003 was a right return to form with fast songs that cut the crap from opener ‘Jerk’ and the thunderous ‘Keep On’ someone or something really lit a fire under the band who also were turning in some fantastic live shows around this time as well. ‘Sick City Sometimes’ is a blinding track courtesy of Mr. Diggle. ‘Buzzcocks’ was a stripped back bullshit-free bolt of thunder and lightning from the slashing hack of those guitars to the super-tight rhythm section a real beast of an album. With only three bonus tracks here one being the demo of ‘Never Believe It’ and the final two cuts being a live rendition of ‘Paradise’ and a haunting bootleg out of the desk take of ‘Oh Shit’ that’ll strip paint if you play it loud enough.
‘Flat Pack Philosophy’ I remember having mixed press around the time and having pledged on a copy I remember it ticking a lot of boxes around the time of its release and listening back here it still stands up with songs like the title track and ‘wish I Never Loved You’ being a pair of belters to open any album never mind the bazillionth album of an illustrious career. ‘Sell You Everything’ is another slice of Diggle gold but once again fans will be intrigued with the bonus cuts on offer sees ‘See Through You’ and ‘Darker By The Hour’ and its pop beauty before a filthy, raucous ‘Love Battery’ and ‘Sixteen’ – Job done another epic Buxxcocks album made even better by an abundance of additional material.
Now disc seven. Probably the disc I’ve played over and over again since getting my mitts on this treasure trove of Buzzcocks goodies twenty-Four reworks of classic songs from right across the existence of one of the most exciting innovative and downright brilliant bands ever. I absolutely love it some songs have matured and improved with age and some of the later ones like ‘Turn Of The Screw’ fit in like peas in a pod – bloody brilliant. HAving Shelley bark out the words and melodies on ‘Boredom’ is exciting and don’t get me started on the bass line of ‘Fast Cars’ or the mesmeric qualities of ‘Why Can’t I Touch It’. Anyone who witnessed the band performing over the last decade would have pretty much witnessed these songs played by this line up in this way and I can’t imagine one single person not bowing down to the majesty power, beauty and downright quality of what was on offer and hearing them rerecorded here gives nothing away as to the age of the songs in large nor is any quarter given by the band.
‘You Say You Don’t Love Me’ nestled next to ‘Turn Of The Screw’ or the bluster of ‘Breakdown’ preceding ‘Promises’ brings a tear to my eye. ‘Love You More’? I don’t think I could right now and the sadness that washed over me hearing an enthusiastic ‘What do I Get’ knowing I’ll never get that live again but I do have this blistering set to fall back on. ‘I Believe’ and then finally ‘Love Is Lies’ wraps up the disc that makes all this worth it. If you had any doubt about picking this up then take a butchers at this running order and tell me its not worth it? Absolutely bittersweet but sheer brilliance. and there’s still one more to go.
The box set of the year is wrapped up nicely with ‘The Way’ plus seven bonus cuts and the best box set to get released is done. A real joy to behold from the audio to the packaging its a winner and a must-have not just for the die-hard fans but for anyone whos has ever sung along to a Buzzcocks track at a disco, pub, wedding whatever this is a must-have lovingly compiled and expanded and everything you want from a box set that sells you everything and not just goes through the motions. 160 tracks – 29 previously unreleased, what’s not to want? Essential, simple as
Every now and then here in the UK a band connects with a generation and explodes into the mainstream. Nirvana, the Sex Pistols, Oasis, the Arctic Monkeys and Slaves are just a few who have achieved this, and this year I think we are very likely be adding the name of Aerial Salad to that stellar list too. Granted over the decades there have been scores of other bands I could have named but these bands perhaps have the most in common with where Aerial Salad’s heads are at, and it only takes a few bars of opener ‘Virtue’ to tick off the Seattle influence buried under a lyric from frontman Jamie Monroe that is designed to tear the clothes from off your backs and rip the flesh from your bones…quite literally.
I should perhaps admit that when I first witnessed Aerial Salad a few years back supporting Wonk Unit in Bristol they didn’t exactly blow me away, it was good yes, but to my ears it wasn’t really the second coming that their manager Daddy (Alex) Wonk would have us believe, not at the time anyway. Fast forward to early 2020 and witnessing the band supporting (who else but) Wonk Unit, and they were like an altogether different band. Playing songs largely drawn from ‘Dirt Mall’ this time Aerial Salad sounded every bit like the second coming, something that was quickly reinforced just a few days later when they premiered the video to ‘Romance?’, a song so amazing that it alone should have you hovering over the “Add to Cart” button on the band’s website.
This is dirty punk rock folks albeit a version that is never afraid to throw you a killer pop hook or two along the way and for that reason the likes of ‘Fever Dream’, ‘Lazy’ and the insanely catchy ‘Such A Pity’ could all very well have been hit singles had they been released when singles sold in their millions. For me it’s the likes of ‘Temp’ ‘State O’ Yer’ and ‘Dirt Mall’ that have me slamming and bouncing around the room like a teenager all over again, all of them perfectly capturing the frustrations and anger of someone growing up in this age of austerity. Oh, and whilst we are on that subject in album closer ‘Stressed’ we have perhaps the definitive anthem to be written about the Tory’s social cleansing initiative.
Just as Butch Vig did for Nirvana on ‘Nevermind’ producer Paul Tipler (allegedly hired by the band simply because they loved the work he did on Leatherface’s ‘Mush album but I’d like to think they were also aware of his awesome work with the mighty D4) allows each of the nine tracks on ‘Dirt Mall’ the space to breathe whilst simultaneously capturing an uncontrollable energy that is designed to cave in your cranium. Something that can be lethal in the right hands…and here it’s deadly.
‘Dirt Mall’ is released on 27th of March on a variety of different coloured and signed vinyl formats (all of which come with a free CD copy) via the band’s website linked below, and it’s a record that really should be in every self-respecting music fan’s collection.
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