Here’s an exclusive sneak peek at “See Ya Later” a brand new Boys video from the forthcoming limited edition “Terminal Love” vinyl-only album,which will be released by Gutterwail Records on 29 May 2021.
The video is produced by Alan Shine and features vintage Boys footage alongside footage from their visit to Japan in 2015
The album comprises rare demos and alternate mixes alongside acoustic & live recordings from the period 1978-2015 and bears the band’s classic trademark blistering guitars, hard-edged melodies, killer hooks, and layered harmonies.
It will be available in a limited edition numbered alternate covers and coloured vinyl. To pick up a copy of the album sign up to the mailing list Here and copies will go onsale online at 8pm (UK time) on Saturday 29 May on a first-come-first-served basis.
Full tracklisting:
Side One
1. See Ya Later (Steel/Dangerfield)
2. Terminal Love (Plain)
3. You Can Give It (Walker)
4. I Love Me (Steel/Dangerfield)
5. Rue Morgue (Dangerfield)
6. Walk My Dog (Dangerfield)
Side Two 1. Punk Rock Girl (Steel/Dangerfield/Plain)
2. Waiting For The Lady (Penfold/Reid)
3. Brickfield Nights (Steel/Dangerfield)
4. Jimmy Brown (Steel)
5. Flies (Plain)
6. TCP (Plain)
Warped – ‘Match Fit’ (Golden Robot Records) Hailing from Geelong Australia, Warped are a 3-piece band that have been around the traps for 30 years and are highly respected scene veterans. ‘Match Fit’ is a right banger in the garage rock mould that those Stooges knocked out many moons ago that seems to have been embraced down under. ‘Match Fit’ is a bruising grinding slice of chaotic rock and roll that’s delivered to great effect by Warped who clearly know the score when pumping out loud uncompromising rock n roll in a similar vein to the likes of Bored and Asteroid B612. Out via Golden Robot Records, available on all digital platforms.
Steve Conte – ‘Recovery Doll’ (Wicked Cool Records) New music from the super talented Conte out on May 28 on Wicked Cool Records. This is Conte’s follow up to the rockin ‘Gimme Gimme Rockaway’. It features Conte’s 11 year old son, Zia, on backing vocals, the track has Conte’s brother, John on bass and Charley Drayton (The Replacements, Keith Richards’ X-Pensive Winos, Divinyls) on drums. The b-side is a demo of ‘Rock and Rye Queen,’ a track off of his ‘Steve Conte NYC’ album. Of course, it’s quality we wouldn’t expect anything less than exceptional here. I love the groove and vibe brought to the party by Drayton who added the Roll to the Keith Richards Expensive Winos Rock. It goes without saying this is a must buy single.
Kris Rodgers And The Dirty Gems – ‘I Can Still Feel It’ (Wicked Cool Records) Portland, Maine’s Kris Rodgers and the Dirty Gems Releasing Wicked Cool Records Label Debut ‘Still Dirty’ on July 23. The first single lifted from the record is the horn-heavy rootin tootin rock and roller that shows the very talented Rodgers who has busied himself in the past performing with the likes of RPM favourites Scott Sorry, Bullet Proof Lovers, and Kurt Baker. ITs a real blast of summer sunshine and we can all get excited for the summer when we have tunes like this to blast out. ‘Still Dirty’ Album Pre-Save link: Here
Velvet Insane feat Dregen & Nicke Andersson – ‘Backstreet Liberace’ (Wild Kingdom Records) Swedish rockers Velvet Insane goes wam bam glam and turns the clock back to 1973 in the new music video for “Backstreet Liberace” and with guest appearances from Dregen and Nicke Andersson of The Hellacopters. With a big sing-a-long chorus, Sulo has really captured the mood on this one. From the low horn honk to the rampaging keys its a real feel good banger.
If this is an indication as to where the album is going then bring it on – Great stuff. the upcoming album “Rock ‘n’ Roll Glitter Suit”is out soon!
City Saints – ‘Evil Conduct’ feat Han (Sunny Bastards Records) Oi Oi! A trio of tracks from another Swedish entry it’s like Eurovision but with decent tunes this weekend. City Saints pay tribute on this EP to Evil Conduct. With 3 tracks. One original and two covers it’s loud and proud (as you’d expect) The band mixes up rock and roll and some proper punk rock. It’s pretty much perfect Oi! and ‘Home Sweet Home’ (no not the Motley Crue tune) is respectfully delivered and justice is served by City Saints it also features Han from Evil Conduct. Facebook
Poison Boys – ‘Can’t Get You Out Of My Mind’ The third single from our upcoming second full length, “Don’t You Turn on Me,” out Summer 2021.
This is the anthemic Rock and Roll from these Chicago punk rock n rollers. It’s for everyone who’s ever had a missed connection and couldn’t shake the feeling that it could have gone better. Its a thumping tune and an indication of whats to come when this album drops its time to get excited kids – the world needs more bands as good as Poison Boys. A catchy hit brought to you by rock n roll punks the Poison Boys.
You Filthy Dog – ‘Dreamboats Annonymous’ Solo project from Liam Hill is like a welcome ray of power pop sunshine and from the opening salvo of ‘Face The Wave’ your attention is immediately grabbed. An excellent constructed tune that ebbs and flows wonderfully. With a hint of Wildhearts and a chorus that’s more Ash and that indie kid pop melodic goodness. ‘Loved’ is another melodic chunk of loveliness that’s pure summer sunshine.
The mood drops and becomes more sullen and dreamy on ‘Bitter Days’, halfway through it gets decidedly louder with a crescendo of goodness to go with the grandness it envokes – great stuff! Variety, beauty, melody everything you want when being introduced to a new band. A top EP to be fair and well worth checking out Here
SHLUG – ‘The Scent Of Roy Keane‘ (Disobedient Records) What a lovely noise this is from that thumping bass line to the qwerky chorus its a thrash, bang, wallop, and all in the best possible way for this Cardiff lot. The curious title is explained away by vocalist Ellis Acton-Dyer: “Written in a point of adolescence, ‘The Scent Of Roy Keane‘ tackles masculinity along with the question – what really turns a boy into a man? Is it through protein shakes? Or is it by pissing all over the seat? Either way, you decide. Just get the conversation going.” Another introduction to a new exciting band who makes a wonderful noise – check it out! Here
GOB PATROL – ‘Bad Vibes’ (Riot Records)inspired by bands such as Black Flag, GBH, and The Germs, Gob Patrol stay true to the genre it’s like a step back in time but its delivered with aplomb, and who doesn’t love the gurgling bass and a vocal spat out in true Dwayne Peters fashion. Gob Patrol knows what they’re about and delivers for anybody looking for a slice of retro punk 82 style. Facebook
8LP DISTORTION: LIVE BOX RELEASED JULY 16th ON DEMON
On July 16th 2021, Demon Music Group will conclude their year-long celebration of legendary musician Bob Mould with the fourth and final vinyl box in their ongoing Distortion series, Distortion: Live. The 8LP set includes live recordings from Mould’s solo career and his band Sugar.
Meanwhile, today Mould also announces his “Distortion and Blue Hearts!” tour starting September 16th 2021, in Boston at Paradise. The tour is in two parts. For the first three weeks, Bob will be joined by Jason Narducy on bass and drummer Jon Wurster. Beginning October 15th in Bloomington, IL, Mould will perform “Solo Distortion” electric shows.
The Distortion: Live box follows October 2020’s 8LP Distortion: 1989-1995 vinyl set, which took in Mould’s early solo outings as well as his records with the much-beloved Sugar, January 2021’s 9LP Distortion: 1996-2007 box set continuing through the next steps in Mould’s solo career and his outings as LoudBomb and Blowoff, April 2021’s 7LP Distortion 2008-2019 covering DistrictLine to Sunshine Rock, and the 24 CD Distortion: 1989-2019 box, which covers the entirety of his post-Hüsker Dü output (excluding last year’s Blue Hearts LP).
Mould’s live shows will span his entire 40+ year career, including songs from the Distortion collection and from his landmark band Hüsker Dü, as well as songs from the explosive and critically acclaimed Blue Hearts — about which Rolling Stone’s 4 out of 5 star review raved, “feels like a lost Hüsker Dü album with Mould howling invective over his buzzsawing guitar.”
Bob writes: “It’s been a year and a half away from the stage. I’ve missed the noise, the sweat, and seeing your smiling faces. I’m fully vaccinated, and I hope you are too, because this Fall will be a punk rock party with the band — and the solo shows will be loud and proud as well. It’s time to make up lost time, reconnect, and celebrate together with live music!”
As with the previously released box sets in the Distortion collection, each album has been mastered by Jeff Lipton and Maria Rice at Peerless Mastering in Boston and is presented with brand new artwork designed by illustrator Simon Marchner and pressed on 140g clear vinyl with unique splatter effects. This box set includes 4 live albums: Live At The Cabaret Metro, 1989; the Sugar album The Joke Is Always On Us, Sometimes; LiveDog98(first time on vinyl), and Live at ATP 2008 (first time on vinyl). In addition, the set includes a 28-page companion booklet featuring liner notes by journalist Keith Cameron; contributions from Bully’s Alicia Bognanno; rare photographs and memorabilia, and a bonus LP Distortion Plus: Live, which features live rarities including B-Sides and stand-out tracks from the Circle of Friends concert film.
The 8LP Distortion: Live boxset is released July 16th, 2021, via Demon Music Group. The 24CD Distortion: 1989-2019, 8LP Distortion: 1989-1995, 9LP Distortion: 1996-2007, 7LP Distortion 2008-2019 boxsets and Distortion: The Best of 1989-2019 2LP, 2CD and 4CD compilations are all available now.
RELEASED 25TH JUNE (PEACEVILLE) / PRE-ORDERS AVAILABLE NOW
As John Peel once said of The Fall, “Always different, always the same,” so too one could say the same of Darkthrone. Things change, times change, people change, and yet even when sounding fresh and new and delivering just five tracks in 45 minutes on their 19th album, ‘Eternal Hails’, the Norwegian black metal legends remain defiantly and eternally Darkthrone.
Since forming in 1986 as Black Death in Kolboton, Norway, Darkthrone have been masters of their art. Dropping the death metal of 1991’s ‘Soulside Journey’ debut album in favour of a more primitive, black metal sound on the following year’s ‘A Blaze In The Northern Sky’, they helped define black metal in the ‘90s through albums like 1993’s ‘Under A Funeral Moon’ and its follow-up ‘Transilvanian Hunger’. Truly, though, Darkthrone remain unique, even in their own canon.
On ‘Eternal Hails’, the longer, doomier songs reflect drummer Fenriz’s love of doom, taking their time to make their point. For Fenriz, what he and co-conspirator Nocturno Culto have concocted stretches back even further than discovering black metal, to the sounds of the ‘70s and the more freewheeling sounds of bands playing with more expansive themes. This didn’t just make the songs longer, it made them an entirely different beast from the ground up.
“When I was a kid growing up with metal I kept looking for bands with long songs. Black Sabbath had many, and Celtic Frost’s ‘Dawn Of Meggido’ had a long song, so I put that on in the record store and discovered another dimension of metal. Candlemass’ ‘Epicus Doomicus Metallicus’ had only long songs, so I think I bought that without even listening, and it was one of my best buys ever – an eternal inspiration for my entire career..”
“For us it has become a bit logical, hard to explain, but you get to build up for a different kind of listening,” says Nocturno Culto. “A three-minute song is nothing we think of at the moment. We like it this way. For now.”
Even a change of studio hasn’t really changed anything in Darkthrone’s DNA. Having recorded all albums since 2004 using their own Necrohell II studio – a portable 8-track recorder housed in an old bomb shelter, itself a replacement for the original Necrohell 4-track used for Transilvanian Hunger and Panzerfaust, until it became “too necro” and broke – for Eternal Hails the band went to Chaka Khan Studio in Oslo for the first time.
Though the material was almost all finished ahead of the session, something the new studio and new way of working did allow for on Eternal Hails, was the opportunity to experiment with ideas on the hoof.
In a world changing too fast for anything to stick, Darkthrone are both able to stay fresh, but also reassuringly reliable. And no matter where they record, what they do or what gear the use to do it – Fenriz actually ended up using a drum kit belonging to Carmine Appice when he was in Rod Stewart’s band this time around – this, it seems, will never and can never change.
As Fenriz himself puts it, “No matter what happens we will still sound like us, it seems!”
Eternal Hails will be released on Peaceville on 25 June on the following formats with PRE-ORDERS AVAILABLE NOW HERE
Ltd edition deluxe box set containing – Exclusive purple coloured heavyweight vinyl / CD in alternate digisleeve format / cassette tape / 12 page booklet containing a biography surrounding the creation of the album & studio experience / 10″ art print of David Hardy’s Pluto & Charon painting / handwritten letter print from Fenriz
When it comes to world class power pop, Italy is leading the way at the moment. And, with their new album, Radio Days are proving major competition against Giuda and Faz Waltz. While their previous releases are all good, ‘Rave On!’ is their strongest set of tunes. Or, should I say “TUNES!”. With bells on.
‘I Got A Love’ is the perfect opener, infectious from the off. This is how you write a great pop song. I’ve been listening to this album for a few weeks, but I never tire of this song, it’s full of energy and sunshine. ‘Lose Control’ gets the head nodding along, their closest compatriots here are The (mighty) Speedways.
‘Walk Alone’ is a slower scarf-waver of a tune, with pleasingly Ringo style drums. When people talk about “honing your craft”, this is what they mean. It’s a beautiful song. ‘Running Around’ is like your favourite obscure 70s classic; you’ve heard it done before, but rarely done so well. And ‘Til The End Of The Night’ is…I’m running out of superlatives. Gorgeous, that’s accurate. Macca would be proud.
‘What Is Life?’ is exactly what this upcoming summer ordered. Bright, optimistic and joyful. The perfect accompaniment to a little more freedom to see our friends again. ‘Meltdown’ is a slight left-turn, catchy like a long lost theme tune. ‘No One To Blame’ riffs it up like Eureka Machines on a sugar high, ‘When I’m With You’ reminds me of a cross between Slade and Badfinger; they know their stuff. ‘Between The Lines’ is a relaxed, classy way to end an album.
Seriously, there are some great bands out there doing this style of music at the moment, but it’s highly unlikely that anyone will release a better power pop album this year. Their peers had better watch out; Radio Days are the finished article now.
Having just completed Doug Brod’s excellent ‘They Just Seem A Little Weird’ book, this third album for Rum Bar Records from Boston based rockers Watts couldn’t have dropped in my review stack at any more appropriate moment.
Why?
Well just like Brod’s book took me back to the magical days of discovering the likes of Cheap Trick, Starz, Aerosmith and KISS for the first time and making me go all gooey eyed in the process, this all new ten tracker celebrates that same glorious era of musical creativity whilst giving it an adrenalin booster shot just right for the 2020s.
‘Loud & Fast’ kicks things off in fine style conjuring up a kind of Blackhearts meets Motorhead vibe with vocalist/guitarist Dan Kopko’s instantly recognisable gravelly roar front and centre hammering home the song’s huge hook. ‘Queens’ is where the band’s underlying KISS influence really does get turned up to eleven, and it’s better than anything the New York glam veterans have written in the last four decades, plus it’s delivered with a Judas Priest lyrical nod that has me grinning from ear to ear every time I hear it. This is how I want MY rock ‘n’ roll that’s for sure.
The other great thing about Watts is that three of the four members can sing lead, so when bassist Tim McCoy takes the microphone for ‘Breaking Glass’ this leaves Kopko to deliver some soaring Lizzy-esque duel harmony guitar with his counterpart John Blout, plus when drummer John Lynch delivers ‘The Night The Lights Went Down’ his cleaner vocal delivery lends this Black Crowesy roots rocker a more power-poppy sheen and band in the process offers up a potential breakthrough radio hit.
Elsewhere ‘Shady’ would not sound out of place on a post-Bowie intervention Mott The Hoople album, whilst ‘Heavy Metal Kids’ has an instant “in his prime” (as in prior to 1985) Bryan Adams charm to it, that if this world has any justice to it will see it being sung in karaoke bars worldwide for decades to come, and I really do not mean that as a put down. Then there’s the incredible ‘Shocking Pink’, a song Blout/Kopko (who write seven of the ten tunes here) surely must have written whilst listening to Jellyfish, albeit here the glorious vocal hooks are all played out by a band who really are hooked on a Heartbreakers (Tom Petty version) trip rather than Supertramp and Wings.
And talking of breaking hearts, the sleazy Thunders/Dolls vibe of ‘Seventeen’ is a hellraising, fag in the corner of the mouth kind of rocker driven along by some brass stabs that will have you straight up and stomping your creepers, and if you’re looking for the perfect morning after soundtrack to counter that then ‘When the Party Ends’ is just what the doctor ordered for your hangover from hell (even if to my ears at least it’s got a bit of Stereophonics thing going on). Which just leaves the only track on here that has been previously available, the prophetic and Cars-like ‘All Done With Rock & Roll’, which kind of takes us full circle, ensuring as the final chords chime out you just have to press play again.
The world needs ‘Shady Rock & Rollers’ like Watts right now, and believe me when I say you need this record in your life. It’s out now via Rum Bar Records and really is essential listening!!!!!
Swedish band Black River Delta are back with their third long player Shakin’. They have been on the scene for a few years now and have settled into their sound which mixes a range of influences from blues – rock Bonamassa style to having an air of Royal Blood and The Black Keys. I wasn’t surprised to find out that their music has been used in various TV shows. It would fit perfectly into something like Peaky Blinders.
The band are solid musicians and they certainly have style. Highlights include the muscular title track and Solitary Man with its harmonica blasts and dream-like feel. Black Gold mixes slide guitar with serious rock n roll swagger that needs to be accompanied by a JD and Coke (or two). This is a solid effort from BRD with passion aplenty and some great songs in an easy-to-digest package.
Open your mind and just let the music do the talking. That’s how I approached this album of covers from the Skids but it had to meet certain criteria before being considered for inclusion on this album and to be fair, they only bloody well pulled it off!
Veteran punk rock outfit Skids have returned with a powerful new studio album that pays tribute to the band’s hometown venue, the historic Kinema Ballroom in Dunfermline, Scotland. Both a live venue as well as a traditional dance club, the Kinema became a musical and cultural epicenter for the youth in Scotland’s Fife province, especially during the late ‘70s, early ‘80s punk rock movement. It would also become the home venue for Skids who played numerous shows at the Kinema as both a support act for such legendary bands as The Clash as well as the headliners for multiple sold-out events.
Now, Skids take a walk down memory lane, performing songs by the bands who influenced them in those early years. ‘Songs From A Haunted Ballroom’ includes versions of tracks by The Clash, The Adverts, Ultravox, Sex Pistols, and Magazine PLUS new versions of their own early hits “Into The Valley” and “The Saints Are Coming!” so laying themselves open by covering some iconic punk tunes. Let battle commence.
The first single from the album, a supercharged version of Ultravox’s ‘Young Savage’ is an eyebrow-raising moment because it’s both vibrant and has boundless energy. Then it’s one of those peek through your fingers moments as they take on ‘Complete Control’ and again I breathe a sigh of relief because they manage to stay on the right side of the cover version style and don’t do it cabaret style. Capturing a good sound on those guitar crunches that was Jones and Strummers style and Jobson does a convincing job on the vocals. Purists will no doubt be all over this complaining about one thing or another but I think they do a sterling job and pay tribute rather well.
As I relax a bit more it makes sense they do ‘Gary Gilmore’s Eyes’ it’s more Skids style and again it’s really well done. They even manage an energetic take on Rockpiles ‘Heart Of The City’ so its not quite there but to even take on such a top tune deserves some kudos.
What this record does do is send your mind back to what seems like better times when music was pouring out of every nook and cranny of the UK and everyone seemed to be indulging in pop culture in one way or another. I guess they were simpler times with fewer distractions for young people’s time and energy. I just hope Jobson will wear the Glove when they play ‘Rock On’ Live. Cool song and a cool respectful take. One of the best versions here is ‘violence’ (never have too much cowbell), not enough bands sound like Mott The Hoople anymore.
Some of the best tunes here are indeed the lesser-known covers or ones you weren’t expecting ’35mm Dreams’ springs to mind and to be fair the guitar sound captured on ‘Submission’ is most worthy then laying it side by side with ‘New York Groove’ is a great idea and two very different genres collide.
It’s hard to fuck up a cover of Iggys ‘I Wanna Be Your Dog’ such is the majesty of the track and Skids manage to avoid any embarrassment but making it a CD-only track is a little puzzling considering the vinyl revival going on.I guess it seems only fair that the band includes two of their most famous tunes as part of this look back at what made the band sound like they did and ‘Saints Are Coming’ is still a fantastic song as is ‘Into The Valley’ and fond memories of school discos come flooding back. This only leaves the final track which again is a CD-only affair with Vinyl lovers. ‘Christmas In Fyfe’ is their very Scottish affair and maybe one vinyl lovers won’t mind being omitted but don’t let that distract you from what is a really good album. On the back of the acoustic record which again I really enjoyed this will also nestle in nicely in my collection – Check it out and remember your own memories of when new bands and sounds were hitting your ears on a daily basis. Ah, the memories thanks skids this was a real tonic!
The Electric Boys are one of those bands who seem to have always been around. I, like many others, remember their debut record from 1989, ‘Funk – O – Metal Carpet Ride’ (still a great title). Unfortunately, by the time their second LP ‘Groovus Maximus’ was released in 1992, grunge had all but killed off bands like the Electric Boys. Since then I have heard the odd track here and there and caught them live at a few festivals. I was surprised to find that this latest LP is the bands seventh studio record. It features ten tracks of funk n roll, including the first single/video from the album Super God. The animated video is well worth a watch.
Instrumental opener ‘Upside Down’ Theme kicks off the album with swift boot to the nether regions. ‘Never Again Your Slave’ is another belting track with echoes of Zeppelin’s ‘Moby Dick’ in the main riff. ‘Globestrutter’ is another high point with some great lyrics sung with conviction by main man Conny Bloom – ‘Hard rock is in my DNA’, I must agree with that!
In ‘Twang Em – Kerrang Em’, the Electric Boys win the song title of the year hands down! It’s a great tune too with some great lead guitar work from Bloom. A fine record from an enduring band. It’s great to see the album is being released on all formats including four different coloured vinyl LPs. Go and get it!
Manic Street Preachers return with their 14th studio album ‘The Ultra Vivid Lament’ on 3rd September 2021 released on Columbia/Sony and have announced a tour for this autumn. ‘Orwellian’ – the first track to be released (today – 14th May) – is classic Manic Street Preachers, dissecting the misuse of words against cascading, glacial melody.
Manic Street Preachers on Orwellian: “The track is about the battle to claim meaning, the erasing of context within debate, the overriding sense of factional conflict driven by digital platforms leading to a perpetual state of culture war. As with many songs on the record, it was written on the piano by James Dean Bradfield.Musically, it echoes ABBA, the majesty of Alan Rankine’s playing in the Associates and Talk Talk’s ‘It’s My Life’ with a Lindsey Buckingham guitar solo. It felt like the perfect sonic and lyrical introduction to ‘The Ultra Vivid Lament’.”
‘The Ultra Vivid Lament’ is both reflection and reaction; a record that gazes in isolation across a cluttered room, fogged by often painful memories, to focus on an open window framing a gleaming vista of land melting into sea and endless sky.
‘The Ultra Vivid Lament’s’eleven tracks perfectly marry introspection, quiet rage and sublime, irresistible tunes. Those elements are there throughout, from the opening ambient hum of ‘Snowing In Sapporo’ to the galloping ‘The Secret He Had Missed’s’ push-and-pull duet imagining dialogue between Welsh brother and sister artists Augustus and Gwen John; via ‘Diapause’s’ sublime contemplation and ‘Happy Bored Alone’s’ stoic wishful thinking.
Musically, ‘The Ultra Vivid Lament’is inspired by a formative years record box (ABBA, post-Eno Roxy, the Bunnymen, Fables-era REM, Lodger) though the end result could only be the unique union of James Dean Bradfield, Nicky Wire and Sean Moore, collectively one of the UK’s most consistently brilliant rock’n’roll bands for over three decades.
A departure from their last release (2018’s Resistance is Futile), ‘The Ultra Vivid Lament’ is the first Manic Street Preachers album initially conceived on piano rather than guitar. It was recorded over winter 2020/21 in Wales at Rockfield in Monmouth and the bands’ Door to the River studio in Newport with long-time collaborator Dave Eringa (The Who), before being mixed by David Wrench (Blossoms, Frank Ocean, Arlo Parks). The album features two guest vocalists: Julia Cumming (Sunflower Bean) on ‘The Secret He Had Missed’ and Mark Lanegan on ‘Blank Diary Entry’. There are exclusive signed copies, picture disc vinyl and cassette on the official store, an exclusive version of the vinyl with alternate artwork available at HMV and an exclusive yellow version of the vinyl on Amazon.
Following Manic Street Preachers longest enforced break from playing live, the group will take the album on a 14 date cross-country tour. Prior to these dates, they play some previously announced festival shows. Support on all headline shows comes from The Anchoress (except Wembley).
Pre-order ‘The Ultra Vivid Lament’ from the official store (https://manicstreetpreachers.lnk.to/store) to get early access to tickets for the tour, with a pre-sale starting on Weds 19th May at 10am. Tickets go on general sale on Friday 21st May at 10am – further details here.
Manic Street Preachers – The Ultra Vivid Lament // Columbia/Sony – 03/09/21
UK Tour Dates
Newly Announced
26 September, Newcastle, City Hall 28 September, Edinburgh, Usher Hall 29 September, Dundee, Caird Hall 1 October, Stoke On-Trent, Victoria Hall 2 October, Manchester, Apollo 4 October, York, Barbican 5 October, Glasgow, Barrowlands 7 October, Leeds, Academy 8 October, Portsmouth, Guildhall 10 October, Bournemouth, Academy 11 October, Cambridge, Corn Exchange 13 October, Bath, Forum 14 October, Bristol, Dome 3 December, London, Wembley Arena
Previously Announced
16 July, Cardiff, Arena (NHS workers show)
17 July, Cardiff, Arena (NHS public show)
30 July, Pikehall, Y Not Festival
7 August, Linlithgow, Party At The Palace
29 August, Alcester, Camper Calling Music Festival
10 September, Halifax, Live at Piece Hall
18 September, Jersey, Electric Park Festival
Here’s an exclusive sneak peek at “See Ya Later” a brand new Boys video from the forthcoming limited edition “Terminal Love” vinyl-only album, which will be released by Gutterwail Records on 29 May 2021.
Full tracklisting:
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