


For the last two years, The Lovely Eggs have sat back and watched England and the rest of the planet slowly eat itself. Their new album ‘I am Moron’ is the result of their observations, a relentless analysis of a modern culture that is bringing the world to its knees.
‘This Decision’ is the first taste of that new album – an outright attack on greed and mindless consumerism and a fierce defence of a no-frills lifestyle they have chosen to pursue. ‘This Decision’ goes further than capturing the zeitgeist of Brexit Britain. It’s about choice and the lack of choice in society. This decision is all mine. Is it?
Today we get to see the video for ‘This Decision’, a song that has already been supported on the airwaves by broadcasters of fine taste such as Iggy Pop, Marc Riley, Steve Lamacq, Chris Hawkins, Tom Robinson and John Kennedy at Radio X and the swirling, cacophony of images and psychedelic psychosis resonating from the video perfectly represent the song’s seething two-minute-and-fifty-seconds of rage.
“For the video we wanted something with the pedal to the frigging floor,” explains frontwoman Holly Ross. “The track is pretty intense so we wanted something to match that and to take a pop at the moronic relentless capitalist culture that we’re surrounded by these days.”
‘I am Moron’ is the follow up to their critically acclaimed 2017 album ‘This is Eggland’. It is their second album co-produced and mixed by Dave Fridmann (The Flaming Lips, MGMT, Tame Impala) and continues their journey through Eggland into the unknown.
Throughout their 13-year career, The Lovely Eggs have embraced isolation. Both metaphorically and geographically the married couple have chosen to shun the social conventions of normal life and dedicated their band and their life to the pursuit of what feels right.
Operating out of their hometown of Lancaster, The Lovely Eggs are lonely pioneers and self-confessed kings of idiocy. Working in an industry whose currency is money, success and nepotism, The Lovely Eggs want none of it. They call out everything fake and plastic about the music industry and demand you to re-evaluate on their terms.
They’re undoubtedly the most real band in Britain, operating in a world when true authenticity is hard to find. They have also spent more time on hold to the Working Tax credit hotline than any other band on the planet.
‘I Am Moron’ was self recorded by the band in Lancaster (“The Twin Peaks of Northern England”) between Lancaster Musicians Co-op and their home. During the recording, Lancaster Musicians Co-op was threatened with closure, so the band put their album on hold to fight the eviction.
While the band were writing the album, they became fascinated by the Mars One program- a global project which aims to establish a permanent human settlement on Mars. Applicants are offered a one-way ticket- never to see earth again. This fascinated Holly and David who drew parallels between this mission and their own isolation as a band.
Continuing the heaviness of ‘This is Eggland’. ‘I am Moron’ brings more depth to their sound bringing with it a mix of heavy psych, pop and strangeness. Some songs flicker between an earthly realism and the otherworldly loneliness of a one-way space mission. While in contrast, ‘Insect Repellent’ launches a gonzo-style attack against the middle classes and Bearpit questions the essence of working-class freedom.
With no booking agent, manager, record label or publisher The Lovely Eggs are truly independent. And this isn’t due to economics. This is by design. From day one. And support for them is snowballing. They are selling out bigger and bigger venues and more eggheads are joining them in their crusade against bullshit.
Their songs have been produced by Gruff Rhys (Super Furry Animals), remixed by Tjinder Singh (Cornershop) and sampled by Zane Lowe for Scroobius Pip. With releases in the UK, Europe, USA and Japan, The Lovely Eggs have played hundreds of gigs around the UK, USA and Europe.
Released on limited edition 7” vinyl and accompanied by mind melting artwork designed by Casey Raymond, This Decision is a powerful harsh hit at reality. The Lovely Eggs say it how it is. They’ve never been afraid to swim against the current and now they’ve got an army of fans behind them.
Welcome to their world. This Is Eggland!
Catch The Lovely Eggs live in April 2020 for the ‘I am Moron’ UK album tour:
April 2020
Thur 9 The Cluny, Newcastle
Fri 10 The Brudenell Social Club, Leeds *SOLD OUT*
Sat 11 The Castle and Falcon, Birmingham
Sun 12 The Bullingdon, Oxford
Mon 13 The Fleece, Bristol
Tues 14 The Loft, Southampton
Wed 15 The Portland Arms, Cambridge *SOLD OUT*
Thur 16 Komedia, Brighton
Fri 17 The Garage, London
Sat 18 Gorilla, Manchester *SOLD OUT*
May 2020
Fri 1 The Mash House, Edinburgh
Sat 2 CCA, Glasgow
Tickets available HERE:
Order the This Decision single HERE:
Physical pre-order link HERE:
Find The Lovely Eggs online at: WEBSITE / FACEBOOK / TWITTER / INSTAGRAM

Before I start this review I have a confession to make, I’m a bit of a fan of the Fuzztones, Lysergic Emanations has been played to death as have virtually every other LP in their back catalogue, and my excitement levels went through the roof when this baby landed in my inbox, especially with the accompanying record company Blurb.
“The Real Sound of “In Heat“: the disclaimer on the album states, “NOT produced by Shel Talmy” (The Who, Kinks). The original version of the album “In Heat” as it was intended to sound.”
For the uninitiated, THE FUZZTONES have been around for over 30 years, call them under-ground, call them psychedelic? Call them the band that brought Garage Rock back into fashion. Though originally from New York City, they were massively embraced by Europe, where the fuzzed out retro vibe really hits home. Now remember when In Heat first came out it was back in 1989 at the peak of the garage revival, when bands like the Chesterfield Kings, Lyres and Cynics were all the rage.
So here we go polished up, fuzzed out re-mastered and everything you could want from a modern day masterpiece, as this now sounds. What hits you straight away is how fresh it now sounds, and on first listen there are things that jump out for example “What you don’t know” comes from that classic Lords of the New Church Blueprint, before it takes off and moves into a huge guitar laden climax.
As I’m pulling thoughts together, smiling to myself, influences start to come to mind, Chocolate Watch Band, 13TH Floor Elevators, Strawberry Alarm clock from the psychedelic sixties, early 70’s, but blend them into a Stooges led Iggy, add in a definite punk rock and roll attitude “ala” the Cramps and you end up with the classic “In Heat”, worth buying the LP for this track alone!!! I mean any tracks with the opening lyric “I’m a big bad wolf, can’t you here me howl?’ how much more rock and roll could you be.
This LP deserves a place in every ones collection!! the swamp boogie, New Orleans sound of “Nine months later” with it’s nod to the bubblegum pop of the 60’s chorus is a real thing of beauty. While “You must be a witch” is just garage rock perfection, the organ tempered down sitting properly within the song. I suppose this LP keeps drawing me into Cramps style comparisons, if you’re a fan of one then the other will definitely appeal. I could go on talking through the other tracks, but if you’ve read this far, this LP is definitely for you, what an LP, re-mastered, up to date, vibrant and in your face, now lets get them back into the UK preferably with the resurgent Hypnotics on the same bill, what a double header that would be, Happy days.
But ‘Raw Heat’ Here
Author: Nev Brooks

US hard rock band, BULLETS AND OCTANE, have announced the release of their new full length album “Riot Riot Rock N Roll” worldwide physical and digitally on April 24th via Bad MoFo Records/Cargo Records UK. The new single and music video for the first single ‘Ain’t Gonna Be Your Dog‘, co-written with ex Buckcherry guitarist Keith Nelson will be available on March 20th, 2020.
Riot Riot Rock N Roll is the follow up release to 2018’s “Waking Up Dead” from LA rockers Bullets and Octane and can be pre-ordered here
Riot Riot Rock N Roll is a energetic take no prisoners rock and roll album with 10 new tracks.
Bullets and Octane did extensive touring for “Waking Up Dead” that included 5 European Tours and a US tour. Opening slots for CKY and festival appearances at Malmo Festival in Sweden and Call Of The Wild in the UK helped build an already rabid fan base.
During the time on the road the band wrote the new album “Riot Riot Rock N Roll” in which guitarist Felipe Rodrigo says “This is the heaviest and best Bullets album to date”.
BULLETS AND OCTANE is:
Gene Louis – vocals
Felipe Rodrigo – guitar, backing vocals
Zachary Kibbee – bass, backing vocals
Jonny Udell – drums
Bullets and Octane exploded onto the scene in 2003 with their debut EP “One Night Stand Rock N Roll Band” on Critereon Records. 2004 saw the 2nd EP “Bullets And Octane” and their debut album “The Revelry” produced by Gilby Clarke of Guns And Roses also on Critereon Records. In 2005-2006 they Supported Avenged Sevenfold in America and Europe on the City Of Evil Tour.
2006 was a big year for the band as they were signed to RCA/BMG Records. They released their first major label album “In The Mouth Of The Young“, which was produced by Page Hamilton of Helmet. They played The Download Festival and where on “The Family Values Tour” with Korn, Stone Sour, Flyleaf and Deftones. They headlined their own UK tour as well.
2007 saw them Leave RCA for Ares Records, released “Songs For The Underdog” album and tour with Unwritten Law. They had headlining UK Tour with The Knives that year as well. In 2009 they released “Bullets and Octane ” a full length album and Toured the U.K. with Gunfire 76 (Wednesday 13’s project).
In 2016 they played Lost Highway motorcycle show and concert with Social Distortion, Foghat and Eagles Of Death Metal as well as releasing a new song “Burning At Both Wicks“.
In 2017 back at it full time with a solid line up, released songs and videos for “Bad Mother Fucker” and “Waking Up Dead“, headlined a very successful tour of the U.K and Sweden. They finished the “Waking Up Dead” album and played a string of successful shows in Hollywood, Orange County and Las Vegas.
In 2018 they are looking to release the album “Waking Up Dead“. They are already slated to headline U.K. dates and Sweden dates in February to kick off the 20 Year anniversary of the band with what has been touted as the most solid line up in it’s history.

London trio Girls In Synthesis have today announced details of their debut album ‘Now Here’s An Echo From Your Future’, due to be released May 22nd on Harbinger Sound.
Following a steady stream of ultra-limited 7” singles, that were collated together in 2019 for the ‘Pre/Post: A Collection 2016-2018’ on Louder Than War, the bands highly-anticipated debut album, by those that know, arrives with the first bitter taste of new single ‘Pressure’; one-minute-and-fifty-four seconds of screeching feedback, tribal drums and unbridled rage that is exactly the shot in the arm and the boot up the arse this nation, if not the world, needs right now.
“In both music and lyrical content this song sets out to capture the unrelenting pressures of living in the modern world,” explains vocalist and guitarist Jim. “The pressures and expectations of which ‘they’ force upon you – with the apparent realisation that you will never be what they want you to be. “Pressure, the twist of the gut, as one door opens another fucking shuts”
Since forming in late 2016, Girls In Synthesis have quickly forged a fearsome reputation as one of the most exciting and volatile live acts in London. In equal parts frantic, considered, ear-splitting and melodic, the group take their cues from the early DIY punk and post-punk pioneers to keep everything in-house; artwork, videos, performances and recordings are created entirely by the group and their handful of trusted collaborators, under a bedrock of heavy, bludgeoning, dark, post-punk.
‘Now Here’s An Echo From Your Future’ is their first release for fabled experimental punk label Harbinger Sound and finds the band advancing their sound, making subtle but experimental shifts in texture and tone, helping to break free from the shackled straight-jacket of punk rock that, to be fair, never really held them down in the first place.
Across the album’s ten songs, Girls In Synthesis explore a wide range of sensations and sounds as the album detonates into life with opening track ‘Arterial Movements’ in a screeching flurry of over-driven guitar and hammering drums. The contrast between the slow, mesmerising look into aging and dying in ‘Human Frailty’ (‘The realisation that you cannot halt their impending death’), to the aggressive attack on the rise of the right-wing in ‘They’re Not Listening’ (‘The time-old tradition of the right wing accosting desperate working class people has returned’) shows a wide range of subjects and reactions aggressively tackled. Mental health in a fast-moving, unforgiving world, media control, the divide widening between the have and the have nots, the class divide, the blaming of the poor, NHAEFYF bristles with an unforgiving frustration and temper.
The recording of NHAEFYF started at Rockit Studio, Hull in April 2019 during days off on the UK tour to promote the ‘Pre/Post’ compilation album. The Hull sessions were engineered by studio owner and local musician Sean Tomlinson. The remainder of the album was recorded and engineered by the band throughout summer 2019 in a large rehearsal room at Gun Factory studios, Homerton. Production and finishing touches were completed at GIS bassist John’s S.I.C.K Studio in Hither Green. The album was mixed by long-time band collaborator and engineer, Max Walker (currently studying at Abbey Road). The album was mastered by Brett Shaw at 123 Studios, Peckham.
In their few years of existence, fans and critics alike have been stunned by the bands pure visceral and punishing wall of sound, as well as applauding the groups way of making a GIS show an all-inclusive experience; playing from within the crowd to create a unique and awe-inspiring spectacle.
Being hand-picked to support acts as diverse as Damo Suzuki, Slaves, Bad Breeding, Warmduscher and Wolf Alice has seen a widening of the groups fan base. Sold out headline shows across the UK have led to frantic and chaotic performances, and packed, sweaty venues, the word is getting out and spreading rapidly. Catch GIS while you can and witness the rise of one of the UK’s most original and unique underground bands.

The world needs stars. Real stars, self-made weirdos, who are forced to make their art because it’s a part of them. The downside is that the world at large ignores them nowadays. The gems glitter in the dark corners, hidden from view. David Ryder Prangley has always known this. Regardless, he helmed Rachel Stamp, and now Sister Witch. With this, his debut solo album, he is spoiling us.
While there are only seven songs, the quality demands your attention and cash. Yes, you can listen for free on Bandcamp, but if you love what you hear, grab a cd. Give me seven great songs over 30 minutes rather than another dull, drawn out album any time.
Yes, there is the anticipated, crunching glam sound, but also a broad palette of tunes. ‘They Came From The Stars To Capture Our Hearts’ opens the album, ethereal piano and vocals. I’m reminded of the stupendous Jonny Cola And The A-Grades, who, no doubt, owe a debt to Mr R.P. It’s beautiful.
‘Space Station Number Nine’ cranks up the riffs and drums, with some slinky, dual guitars. Music to pout to. ‘Trouble Every Day’, quite reasonably, sounds like Rachel Stamp. The production is great, proving that you don’t need a big budget if you know what you’re doing. ‘Forever In Starlight’ was the first track released with an accompanying video, plaintive and simple. I like to think that Bolan would be making music like this. Love the guitar tone.
‘The Apple’ is an instrumental interlude, which brings us to the hip-shaking title track. Unashamedly glam, guitar and sax vying for attention. Prepare to strut your stuff. ‘Captain Sugar’ reminds me of Roxy Music and Prince, which takes some doing. It starts like something from ‘For Your Pleasure’, before the vocals get all fruity and the solo kicks off.
11th March, you can witness this for yourself at Nambucca, London. Sadly, I’m the wrong side of the channel now, but what’s your excuse? You won’t regret it.
Buy Black Magic And True Love Here
Author: Martin Chamarette

How could we not give this banger some time all on its own? The answer is simple we couldn’t so here it is in its whole gory glory the brand new video from The Good The Bad And The Zugly and the man behiond the (Oxygen) Mask
If you want more then how about some Bombpops? Here they are with a track taken from the brand new album ‘Death In Venice Beach’ and the lead track ‘Notre Dame’

First up is the latest video offering taken from the brand new Lucifer Star Machine Album ‘The Devils Breath’. ‘Baby When You Cry’ is up first this week. Buy it at these retailers – Band / The Sign / Germany / UK / Bandcamp
Next up is David Ryder Prangley with a video from his latest solo album thats coming up on RPM
Finally how about the latest Tuk Smith & The Restless Heart with ‘Looking For Love, Ready For War’ video

So here it is boys and girls, the seventh (or eighth if you include the ‘Hooray! Hooray!’ compilation) studio album from those lovable punk rock anti-heroes Dirt Box Disco and it’s also their first since the departure of singer Weab.
With news of the frontman’s decision to leave the Disco sending shock waves through the punk rock community back in early 2019 masked guitarist and songwriting dynamo Spunk Volcano decided (with the help of his bandmates; Maff Fazzo on drums, Deadbeat Chris on bass and Danny Fingers on guitar) that the time was right for him to step forward and grasp the microphone with both hands and ‘TV Sex Show’ is the result.
I guess some of you will probably be thinking, “oh it’ll just sound like Spunk Volcano & The Eruptions now”, and yes, on one of two occasions like on the foot to floor mosh pit fight starter ‘VDTV’ and (the first of two bonus tracks on the CD version) ‘Tizwatitiz’ you might have a point, as both of these tunes could (to my ears at least) very easily have been written as Eruptions songs. But, and this is huge BUT, within the context of the fourteen songs (there’s twelve on the vinyl) on ‘TV Sex Show’ this is still very much a Dirt Box Disco record.
Kicking off with ‘Unstoppable’, this a song that is destined to be an immediate live hit. It actually reminds me in many ways of ‘Rum & Cola’ from the band’s ‘Are You Ready?’ EP released back in 2011. It’s a rousing call to arms, a song of solidarity, and a clear message that Dirt Box Disco are not going to be messed about with almost a decade into their career.
‘Insomniac’ which is up next is where ‘TV Sex Show’ really shifts up through the punk rock gears though, and coupled with the trademark Volcano/Fingers six string chugger that is ‘Barebones’ I have to admit that after thinking I might well me doing a Judy Collins by now and asking “where are the clowns?, send in the clowns”, I’m not, and this has to be down to the strength of the songwriting with the likes of ‘I Want Out’, ‘Reminisce’, ‘3 Bottles Down’ and ‘Bitch Full of Stitches’ being some of the catchiest songs the band have ever recorded, and I’m not joking when I say that the Disco sound positively supercharged during the likes of ‘Dickhead And Hype’ and album closer (well if you have the CD anyway) ‘Wake Up’.
There are a couple of tunes that I’ve still yet to fully get my head around, namely ‘The Count of Monte Cristo Lives in San Francisco’ which whilst insanely catchy still has the ominous spectre of ‘Reminisce’ looking over its shoulder, and the same could be said of ‘Ain’t Life Grand’ which is the LP closer that has me thinking I’ll have to buy the CD too just to hear ‘Wake Up’ which really is this set of songs very own ‘Dirtbox Days’.
It would have been all too easy for Dirt Box Disco to have called it a day after Weab left, but it is to Spunk, Maff, Danny and Chris’ credit that they have risen to the challenge by releasing their strongest set of songs since their err.. legendary 2012 album ‘Legends’. So, my advice to everyone is get off your arses check it out sharpish. Pre-sales for ‘TV Sex Show’ are live right now via and if you want to secure one of the mega limited 500 only vinyl LPs you best get your skates on and get clicking the linky.
Buy ‘TV Sex Show’ Here
Author: Johnny Hayward

Wayne Hussey & The Divine – ‘Live At Yellow Arch’. Recorded over 2 days – 31st October and 1st November – during the rehearsals for the one-off show at Whitby, the album comes in CD and limited clear vinyl. with the CD having more tracks.
An incredible group of musicians along with Hussey has produced a mesmerising interpretation of some of the best tracks from The Mission back catalogue but also something new from the recent ‘Beauty in Chaos’ release, a song that Wayne wrote in the 1970s, and a version of Mazzy Star’s ‘Look On Down From The Bridge’.
Wayne said Working with The Divine was one of the musical highlights of his life. Something he might well revisit in the future. To be honest, I’m not sure what I was expecting here, as I saw the tracklist there were songs I love that had been chosen and was certainly interested in hearing how they interpreted them but I can honestly hand on heart say I never expected them to sound quite so stunning.
I’ve long since admired Hussey and his music following the Sisters and then the Mission and collecting everything he’s ever recorded so I guess a bit of a fanboy if you like seeing him live many times over the years but I have also been critical along the way of what I thought didn’t work on times (very few I might add) and happy to hear what did.
These recordings came for the rehearsals for the Goth festival in Whitby and in True Mission-style Hussy invited some fans along for the rehearsals and had the foresight to record what took place in front of the thirty or so onlookers over those two nights in Sheffield.
live, no overdubs, no going back to fix ‘things’ as you can hear when the lyrics go wrong on a couple of songs. (Nothing new there then.) It’s all about the performance. For Hussey to suggest these songs would touch the listener in a way the originals didn’t is very astute because he was right on the money there.
The musical arrangements are nothing short of genius and interpretations stunning what the add and what to leave out is quite magical and you almost want to stop breathing so as not to miss one second of what’s going on. It must have been awesome to witness this happening let alone playing on it.
It’s a simple concept of a small ensemble of strings, percussion, a piano and guitar with a few voices t pull it all together. But don’t be fooled its as much about what gets left out as what you put in with the heartbreaking violin solo on the opening ‘Look On Down From The Bridge’ and the softly sung vocal its truly stunning from that opening drum shuffle. Of The Mish tunes songs like ‘Never Again’ are reborn as is the beautiful ‘Like A Child Again’ but the ones that are changed the most like ‘Crystal Ocean’ is where the gold lies. It must have taken forever to trawl through such a catalogue of songs to find what would work and to get it quite so spot on over all fourteen songs is extraordinary.
Of the more recent Mission songs ‘Swan Song’ is stripped bare maybe a more traditional interpretation but none the less dramatic in its delivery. Of course ‘Tower Of Strength’ is still epic it always was and always will be but the violin here is brilliant but it is overshadowed by the delivery of ‘Forevermore’. A diamond of a record all fans of Hussey’s work need to hear this. I am well aware that I’ve showered it in superlatives but hell, it deserves it. Uplifting and inspiring. there’s always room in the world for light and shade and this is going to be a staple of relaxation and calm and stunning music by a genuine talent whos delivered over many decades and continues to do so.
If you do want to do this again Wayne you can bring the divine round my house and do it all again it would be a pleasure and I’d even chill the blue nun.
Buy ‘Live At Yellow Arch’ Here
Author: Dom Daley
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