A string of rarely seen online festival replays to be broadcast in full through the summer
Starting this week Placebo will premiere full festival performances from across their career. In the wake of a whole summer of festival appearances being unfortunately cancelled due to Coronavirus, the Placebo vaults have been opened to unveil a string of iconic festival sets, rarely seen since their first recording. Footage dates all the way back to their debut album era in 1996 and, running for the next 6 weeks, completes in 2015 as the band toured their most recent album Loud Like Love.
The first of the festival sets to premiere will be Phoenix Festival ’96, which took place in Stratford Upon Avon, UK. Placebo had just released their self-titled debut album and took to “The Phoenix Stage” itself, ahead of that day’s headliner – future friend and collaborator – David Bowie. The set premieres on the band’s YouTube channel this Friday August 14th – subscribe to the band’s channel HERE and make sure to set a reminder for each following premiere. Exclusive merch will also be available for fans HERE.
The full schedule for the festival sets is as follows Aug 14 – Phoenix UK, 1996
Aug 21 – Belfort France, 1997
Aug 28 – Paleo Switzerland, 2009
Sept 4 – Guadalajara Mexico, 2009
Sept 11 – Sziget Budapest, 2012
Sept 12 – Arenal Spain, 2014
Sept 18 – Viva Latino, Mexico 2014
Sept 19 – Positivus Latvia, 2015
The band offered the following comment about the upcoming online tour: We were very disappointed that we couldn’t play live for you this summer, but even so we wanted to go on tour. To replace us playing in person, we dug out some videos from the archives and are hosting our own ’summer tour.’ These are the ‘Lost Tapes’, a series of festival concerts spanning 24 years, some never seen before. Each will premiere on YouTube so subscribe, set reminders and whatever else you need to prepare. We’ll see you there!!
In the mid to late 90’s it seemed that bands in Scandinavia had sold their collective souls at the Cross Roads found at the Three-Country Cairn, where each member was given the complete discography of the Nomads, The Stooges and the MC5 and told to go away and learn them.
Paving the road were the three horsemen of the apocalypse; The Hellacopters, Gluecifer and the Flaming Sideburns. Following on in their wake were the just as important and influential second wave, never quite making it to the Arenas but packing out clubs across their home Countries, Europe and even as far afield as North America. One such band was the “DEMONS”. Strangely enough, the States, notably the Pacific Northwest, embraced the Scandinavian Invasion and for a while, “DEMONS” were the uncrowned Kings of it.
To celebrate the band’s 25th Anniversary a live album called “No Loitering” that was recordedbetween their second album “Stockholm Slump” and third “Demonology” on the 5th March 2004 at The Crocodile Cafe in Seattle is being released via Vitriola Recordings.
The press release says that “It by no means is pretty”, I’m not even sure if this is off the Soundboard or a very well recorded audience recording but it’s what we want, no scrub that, it’s what we need; fast, sweaty and furious without any compromises.The original classic four piece line-up kicking an eleven song set off with “Undertaker’s Lament” from the aforementioned “Stockholm Slump” but before you have time to register that fact the band are already ripping through “Devil In Me” but it’s not all past glories as the band road test the as yet unreleased “Lost Dog” and “What’s This Shit Called Love”, that both sit perfectly well in the set.The gig is the perfect length for us old school TDK 90merchants coming in at just under 40 minutes.
Back in the day if I did have this on a cassette on the other side would be the Ramones “It’s Alive”. The only gripe I have is no “Electrocute”. Over here in Dear olde Blighty gigs still seem a long way off. This is why “No Loitering” is so important;not only is it a band firing on all cylinders but it is a reminder of how good live gigs are.
24CD DISTORTION: 1989-2019 & 8LP DISTORTION: 1989-1995 BOXES RELEASED OCT 2nd 2020 ON DEMON
THREE FURTHER VINYL BOXES TO ARRIVE IN 2021
On October 2nd, 2020, Demon Music Group will release Distortion: 1989-2019, a chronicle of the solo career of Bob Mould and his band Sugar. This massive anthology compiles for the first time the entirety of Mould’s recorded work from 1989 onwards: 18 studio albums, plus four live albums and two albums of rarities and collaborations. Assembled with Bob Mould’s full involvement, and featuring new sleeve notes from legendary UK music critic Keith Cameron plus exclusive new artwork, this is the definitive portrayal of an American rock icon.
“It’s called Distortion because it describes the music and it fits the world we live in,” says Mould himself. “In this new age, everybody shares their life in real time. But I’m not done yet. If I didn’t have a constantly active career, this anthology might feel like the proverbial dirt landing on top of my coffin — though somehow I seem to be able to crawl my way out of the dirt every time!”
Today’s news comes accompanied by audio and video of Mould performing ‘Could You Be the One?’ – a latter Hüsker Dü classic, drawn from the trio’s 1987 swansong Warehouse: Songs and Stories – at Washington D.C.‘s 9:30 Club in October 2005, in the process bringing it back to dynamic, electric life. It features on the CD anthology’s Distortion Plus: 1989-2019 rarities and collaborations discs alongside other highlights from the show.
Speaking of the show, Mould offers: “For years, I didn’t play Hüsker Dü material with my subsequent touring bands.” He continues: “This was the first time my longtime friend and colleague Jason Narducy (bass) played in my touring band.Rich Morel (keys) was my work partner for 11 years in BLOWOFF, and the 9:30 Club was home for our monthly dance party.Brendan Canty (drums) nudged me out of my self-imposed ‘rock retirement’ after the 1998 Last Dog and Pony Show tour (which is also chronicled in the box set).Brendan’s company Trixie Productions filmed and edited the show.”
As Mould’s musical trajectory enters its fifth decade, now is the perfect moment to reflect on the journey so far. Distortion’s 24-CD box set edition features 295 tracks, mastered by Jeff Lipton and Maria Rice at Peerless Mastering in Boston, and includes every solo album from 1989’s Workbookto 2019’s Sunshine Rock, the entire Sugar catalogue, Mould’s long out-of-print electronica projects LoudBomb and Blowoff, and four live albums spanning the period 1989-2008. Also included is Distortion Plus: 1989-2019, a new and exclusive collection of rarities and collaborations, featuring such highlights as ‘Dear Rosemary’, Mould’s 2011 collaboration with Foo Fighters, his fabled Golden Palominos contribution ‘Dying From The Inside Out’, plus a previously unreleased demo version of ‘Dog On Fire’, his theme tune for Comedy Central’s The Daily Show.
Beautiful new artwork has been created by illustrator Simon Marchner, while the 72-page booklet features sleeve notes by Cameron, new interviews with Bob, a foreword by writer and actor Fred Armisen, testimonials by Richard Thompson, Shirley Manson and Best Coast’s Bethany Cosentino, plus lyrics and unseen memorabilia. A1,000-limited edition includes an exclusive print hand-signed by Bob himself.
[Distortion: 1989-1995 8LP boxset]
Truly then, this is the definitive guide through the career of one of the most storied, creative and consistent voices in the American underground. As Cameron offers:
“In 1989, Bob Mould was already a renowned figure, thanks to his trailblazing work with Hüsker Dü: the Minneapolis trio which refracted ’60s pop melody through the discord of hardcore punk, creating a new language that Pixies and Nirvana would subsequently teach the world to sing. With his debut solo album Workbook, however, Bob Mould amazed his audience with its pastoral beauty and contemplative tone.
“It would be the first in an ongoing series of artistic transformations, each profoundly shaped by Mould’s sensitivity to his environment. In 1992, he formed Sugar, a band whose debut album Copper Blue earned both critical plaudits and a long overdue popular dividend. Just three years later, with Sugar at its commercial peak, Mould ended the band and made a self-titled solo record mapping the most nakedly personal path down a road already hallmarked by unsparing self-expression. He shocked then confounded fans by announcing his retirement from rock music in 1998 and re-emerging in the new century as an experimental electronica artist and successful DJ, whose club night Blowoff became a phenomenon across the US. By the end of the ’00s, Mould had found a harmonious accommodation between his musical selves, and in 2012 released the catalytic Silver Age, made with his latest power trio configuration, and heralding a resurgent decade. A succession of albums up to 2019’s Sunshine Rock followed, each one a real time/real life distillation of fearless artistic vision and a master craftsman’s skill.”
Owner of a raspy voice and a battered acoustic guitar, a writer of words and a singer of songs, Matty James Cassidy started plying his trade at an early age in the bars and clubs of his native Northern Ireland. Years of banging the skins for Cadaver Club, and then more recently playing bass for Tyla’s Dogs D’amour have seen him gain a higher profile in the UK. Up until recently, you would most likely see him doing a set of his own material opening for his boss at many a gig in the bars and clubs of the UK.
Following the unexpected and well-received ‘The Isolation Tapes’ acoustic album, recorded and released during the lockdown, the man in black releases his new album proper ‘Old Souls’.
There’s a heart-warming familiarity to the laidback rock ‘n’ roll sound that Matty creates. He straddles outlaw country, folk and blues with confidence and ease. Simple structures and chord progressions are the name of the game, the emphasis on melody, feel and telling a story or two.
The recent singles are present and correct, showing a snapshot of the troubadour’s sound. The raucous, rogue rock of album opener ‘Said & Done’ sets the scene nicely. It’s always good to open with a fast one, innit? The brooding, folk-rock of ‘Rosary’ hits the spot, and the upbeat and balladic ‘Anodyne’ floats by on a summer breeze.
There is more than a passing nod to The Dogs D’amour, which is to be expected and is never a bad thing. But Matty adds his own inimitable style to the heartfelt tunes on offer. The mix of harmonica and stabs of piano give ‘Contradiction In Terms’ a barroom boogie feel, and he soothes the soul with the late-night smoky blues that is ‘The Art Of Falling Down’, a standout cut for sure.
Being a multi-instrumentalist, Matty handles all instruments, although his Dogs bandmate Gary Pennick adds some guitars, as does former Main Grains/Spangles guitar slinger Ben Marsden.
Upbeat rockers such as ‘Leave Your Heart At Home’ mix well with the sentimental ballads, but there are a couple of tracks that stand out from the crowd instantly for me. The title track comes on like The Specials meets Hanoi Rocks doing a Tarantino movie soundtrack. A killer, ska-styled groove skulks along at a deathly pace, as emotive sax wails away in the background behind Matty’s distinctive raspy tones. You gotta love it. You also have to love the album closer ‘Born Ancient’. A gloriously folk-tinged’, foot-stomper that will have you hitting the repeat button and swinging the bottle until the sun comes up!
For those that dig lullabies for tough guys or those that desire a little romance in their rock ‘n’ roll, Matty James Cassidy has a song or two for ya! Lyrics that are reflective and observational, set to tunes you will have heard before but can’t quite place, and it’s all drenched in sweet guitars, bluesy harmonica and soulful sax. Music that will appeal to fans of The Dogs D’Amour, lovers of rock ‘n’ roll or just the pirates, vampires and the outlaws of this crazy world we live in.
Sweden’s much-loved and well-travelled charismatic rock ‘n’ rollers Diamond Dogs have returned to the scene and they are bringing re-releases of their first 5 albums with them. Released through the Wild Kingdom record label, these 5 LPs cover the first 10 years of their existence, which began in 1993 with the album Honked.
Honked set the scene for the coming years for the Dogs. Headed by the singer/songwriter Sulo, the band would at various points involve musicians from a worldwide spectrum of spectacular and influential bands. Honked was big news in Sweden, and it pushed their boundaries far beyond Scandinavia, with single ‘Blue Eyes Shouldn’t Be Cryin’’ making its way onto MTV rotation, back when the M meant Music and not Money. It would see them tour all over the world with some of the biggest household names.
The album now has been repackaged as Honked (All Over Again) and includes three additional tracks in Lucille (Richard’s, not Kenny’s), Sweet Sister Sunrise and Big Bayou (originally by Swampwater and then covered extensively). Many years following its original release, Honked is still brimming with that delightful charm that has always been instilled in the Dogs’ music. Raunchy and swaggering, the Dogs’ music is unapologetically 70s inspired rock ‘n’ roll, rolling in a sweet mix of the Faces and the Stones. The song writing and the energy captured in the production ensure that it still stands up now.
The Diamond Dogs have always delivered this music in the best way possible – with honesty and charisma. If you like the Black Crowes or the Quireboys, and for some cruel reason the Diamond Dogs passed you by, diving into these 5 re-releases should set you straight. And there’s no better place to start than right at the beginning with Honked.
I was quite excited to go and see Buzzard Buzzard Buzzard live in my home town back in April but then the world decided to go tits up and the show never took place. There is however a bill poster at the venue that I plan to liberate when all these baddie germs finally fuck off.
Now, after being tipped off by friend and colleague Mr. H Bomb Hayward that there was a new band in town and they played Rock and Roll and weren’t afraid to wear double denim. Then hearing the first couple of tunes I and seeing them strut their stuff on TV I was rather looking forward to the live experience having already paid upfront for my album pre-sale and finally mid pandemic it duly arrived.
Now, first things first. When the packet was left on the doorstep by my friendly Royal Mail person he duly backed off. Now, was this a sign? was he just pandemic virus fearful and following guidelines? or who knows, maybe, he knew what was lurking inside the 12″ x 12″ cardboard mailbox. I have to say dai yawn diolch, Buzzard Buzzard Buzzard, for daring to run with such a confident album cover. I just hope it was done with a straight face and there was no giggling taking place. Boy, its a statement album cover if ever there was one I’ll give you that. Like Jaggers crotch with the zipper or Lords Of The New Church and their ‘Like A Virgin’ picture sleeve, this bad boy is right up there.
Anyway enough shenanigans what are the fucking tunes like? I mean, they could have gone with a Dwarves cover or a pose of Ian Botham proportions but if they didn’t have the chops to back it up they were going to look a little daft mun as they say around these parts.
Fear not my Rock and Roll comrades for as soon ‘Double Denim Hop’ is counted in the confidence of the sleeve is instantly matched with a ’70s Bolan Boogie-woogie, glam rock stomper, to rival any of the pretenders to the retro crown. For on this evidence alone, Buzzard Buzzard Buzzard (so good they named them thrice) have it sewn up as they stomp and Rock right out the door and back again. The dueling solos and the chorus is so spot on its one of those earworms you simply can’t shake out of your head for days. What an opener.
This ten-track behemoth has got it all. They are like a little band of magpies as they nick a riff from over there off that Kinks record and they were clearly paying attention to the Bolan Boogie. I’d wager they have more than a passing hankering for a small faces record or two. To be fair for the first few tracks they just Take Care Of Business and kick out the jams.
They even entertain with the slight interlude of audio widescreen panoramic views entitled ‘Theme From Early Morning’. Before chilling out with the acoustic ‘Long Day/Free Day’ with its simple arrangement and sparse vocal that grows and grows but never goes too far.
They head off into “we’ve joined a cult” tune with the breezy ‘John Lennon Is My Jesus Christ’ as they tip their hat to the people who clearly inspired them to pick up their instruments and play. Penultimately they head off into a sixty second Fleetwood Mac noodle but sound like they lost interest as well. This only leaves the ‘Sugarloaf Mountain Crucify Me’ when they set a foot into Neil Young territory, briefly, Which is cool even if it does take almost four minutes to raise its pulse.
In the main, this is a breath of fresh air, the sound of a band enjoying making music and playing with passion, heart and a cheeky grin. Just get a copy and turn it up mun – Right up!
Is it really six years since the last album from Bristol thrashers Onslaught?
Wow, how time flies eh?
Perhaps more shockingly though is the fact that 2020 also marks the 35th anniversary of me first getting to hear the band via their awesome self-released debut album ‘Power From Hell’.
Throughout the intervening years and with a myriad of band members passing through their ranks one thing has always remained a constant for me, and that is the simple fact that Onslaught always have been and perhaps always will be the UK’s number one thrash metal outfit. Likewise, the one band member who has been the driving force (see what I did there?) behind the band’s career is guitarist Nige Rockett, and here on the band’s seventh studio album he is joined by long standing bassist Jeff Williams, drummer James Perry, guitarist Wayne Dorman along with new(ish) vocalist Dave Garnett who had previously stood in for then frontman Sy Keeler when he was unable to play live back in 2019.
I must admit the thought of a Keeler-less Onslaught did initially have me a bit worried, I wasn’t exactly blown away by the Steve Grimmett fronted line up and when the band initially re-grouped back in 2005 it was a joy to see Keeler back alongside his old bandmates.
So, where my concerns warranted?
Well, if videos premiered by the band mid UK lockdown were anything to go by perhaps not. ‘Religiousuicide’ was/is like an unsuspected stab in the eye from a band sounding hungry and angry as fuck, whilst ‘Bow Down To The Clowns’ sounds like a lesson to all the Bay Area bands still thrashing in how to take your A game to a whole new generation of headbangers. Garnett I must admit rising to the challenge and then some.
One listen to album opener proper ‘Strike Hard Strike Fast’ (which shoots straight out the blocks after the scene setting ‘Rise To Power’) will immediately have you windmilling and throwing horns like there is no tomorrow and to follow this with the aforementioned ‘….Clowns’ really does make for as impressive an introduction as you could hope from Onslaught in 2020.
‘Generation Antichrist’ fits nicely into the gap in the thrash metal world left vacant by the recently semi-retired Slayer whilst ‘All Seeing Eye’ feels not unlike a 21st century reboot of the mighty Priest’s ‘Electric Eye’, well in the subject matter at the very least.
‘Addicted To The Smell Of Death’ continues the breakneck pace of the record with gang vocals cementing the band’s toxic call to arms. ‘Empire’s Fall’ is up next and this for me is perhaps the sound of Onslaught at their finest, seamlessly blending old school rifferama with a slightly more modern melodic chorus, this is a song that actually makes me want to listen to metal again…something I don’t say too often these days.
Closing things out we have a reworking of the band’s 2019 tribute to Motorhead ‘A Perfect Day To Die’ this time around with Garnett barking out the vocals and making it the almost perfect way to end the record.
‘Generation Antichrist’ is perhaps Onslaught’s finest album since their 1986 thrashterpiece ‘The Force’. So, Trash Till The Death brothers and sisters – this beast of a record is OUT NOW!
Mickey Leigh has been a fixture on the New York rock scene since the late 1970s, fronting the Rattlers and Stop, appearing regularly at CBGB, joining Lester Bangs in Birdland and his brother, Joey Ramone, in Sibling Rivalry. The guitarist, keyboard player and singer has become something of an elder statesmen. In addition to being an author (‘I Slept With Joey Ramone’) and an all-around swell guy, he organizes the annual Joey Ramone Birthday Bash charity concert. Here he is with his brand new video for ‘Little Cristine’.
Whilst not strictly a video but a great track off the new EP. Ships from Europe and the UK and can be purchased Here and as you know RPM Online loves to champion independent artists who write and play great music and Craggy Collyde does that. check out ‘Dead Refrain’ from ‘Wrapped Up In Ribbons’.
Finally it’s pop-punkers Catholic Guilt from Melbourne Australia. Taken from the upcoming EP ‘This Is What Honesty Sounds Like’ out at the end of the month on Wiretap Records. Website / Facebook
I’m not a massive believer in fate or why things happen but I was asked to give a record a listen and possibly review it. The dilemma I had was it was originally released late 2019 but hey the world has been on stop for some months anyway sure I’ll listen. Then when I was putting together the pictures and links for this review I got a message from a label and asked if I’d ever heard a band named Stacy Crowne. Now here’s where it gets spooky up until a few weeks ago I hadn’t but they did a split with a band I love (Christmas as it goes) and I reviewed the single last month and was really impressed with the sounds coming outta Stacy Crowne and then things snowballed The singer got in touch I played the record and then the label got in touch over something else entirely and bang as I type I have one of those boxes pop up whilst I’m spinning the record on my laptop its only Stacy Fucking Crowne! now that might just be a coincidence but we all know the evil powers of Rock and Roll and how they work so it might well be a sign and horns up for the band because I took it as the rock and Roll Gods telling me to turn the fucker up and band out my review and let everybody know how damn good this slice of Hard Rockin’ action is!
Strap yourself in kid this might get bumpy! From the opening ring of the overdrive, this is most definitely in the same ballpark as the scene back a couple of decades that had Gluecifer and The D4 ruling the roost along with Hellacopters and a hint of Supersuckers and Turbonegro. If anything this is understated which is a shame (I missed it when it was released) because opener ‘Oblivion’ sets the tone but by no means is the standout track maybe its the loosener opening couple of shots to accompany the big one and you have to build up to that nobody dives straight in or you’ll crash and burn but its got all the vital ingredients to Rock and Fuckin’ Roll but ‘White Lies’ adds the tambourine which is nice as the band cruise through the gears with a song not a million miles from Captain Poon and Biff Malibu its loud got a cool hook and plenty of punch but remains cool as without a bead of sweat on their brow nor a hair out of place this is good no I mean Good!
There’s always time for a bit of Boogie along the lines of Backstreet Girls ‘Tightrope’ with a really tight chorus with layered BV’s almost power-pop wearing big boys leather gloves and mirror shades if you know what I mean? and the keys added really lift it. Great track.
When they just want to rock out they do so with consummate ease (‘Some Equals None’) they add some neat bass runs on ‘Get Loaded Now!’ Basically if you ever hankered after a record that has loud guitars but not for the sake of it loud and ever wanted riffs and plenty of crash bang wallop then ‘We Are Electric’ is an album you have to hear. The title track or ‘We Are The Rest’ delivers in spades and throw in some of that dirty rock that bands like American HEartbreak or The Four Horsemen touched upon but also delivered great records.
If I had to pick a standout track then it would have to be ‘Lovebite’ sure it sings from that classic Gluecifer hymnsheet but damn it’s a good song with gang vocals and laid back verses it’s quality and some splendid guitar playing, especially on the breakdown. It only leaves the power ballad of ‘Too Easy’ to cruise off into the sunset. Only joking its not a token power ballad but it is like one of the Hellacopters road movie tunes, a little more laid back than the others maybe, and with some dueling guitars noodling for good measure its been a blast.
I’m only gutted I didn’t pick this up late last year but hey we can’t be on top of everything and I’m glad I’ve had the pleasure of playing it over and over now. I won’t be making that mistake again. Just buy it.
Hooray some good things happen in the face of adversity like we have incompetent Governments like the Tory party and their cabinet of chaos and the states have Trump and his fucked up and incestuous administration and they both have some things in common like fucking up dealing with a pandemic but out of such adversities we’ve had some great music and Stateside has seen Portland dish up some good old public civil disobedience against the corrupt man and they’ve also given us Guerrilla Teens and over on the East Coast whilst NYC has been swamped we eventually get this blinding collection of in your face fuck you covers from the inimitable and uncompromising Chesty Malone & The Slice EM Ups.
Right let’s get this out there from the top Chesty Malone & The Slice Em Ups are busting a gut to try and blow my speakers with this awesome rip-snorting fucked off and fucked up six-track digital release. Fuckin Hell if Discharge and 4 Skins covers don’t get you in the mood check this shit out! – Venom and Slayer are taken to task in the slice em ups style but wait they even dismantle a Madonna cover and kick the living shit out of it, to be honest and it never sounded so good.
Let’s start from the top and their opener, Discharge and ‘State Violence / State Control’ oh, of course, they do a nigh-on perfect rendition of this banger they could cover the likes of Discharge in their sleep. It’s got power passion and clarity that this is done from a place of love and respect. Same for ‘Evil’ by the 4 Skins – no brainer job done. but then the fun begins. Who saw a Madonna cover being part of Chestys repertoire? well, believe it boys and girls it happened and owned it they did. Whether it sounds like the original I haven’t a single clue nor do I give a flying fuck this version is killer!
Void and ‘Time To Die’ is the noise that a serial killer must hear when they’re off it which only leaves two tracks the penultimate is a blistering take on ‘In League With Satan’ from the mighty Venom the chorus is slung out as if they know something we don’t. In league with Satan, I’ve no doubt they are. Which only leaves me with the final song and what a belter this one is. ‘South OF Heaven’ by Slayer is owned, dethroned, and tossed out like Beelzebub himself has channeled his thoughts through the medium of a well oiled, well-drilled bunch of Noo Yawk reprobates turning punk into metal and metal into punk and doing it well. I bow down to Chesty Malone & The Slice Em Ups you have created a small slice of magic and in a just non-pandemic globe this would be the marker of how to cover a song or songs. Brilliant!
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