Formed in 1982, LA metallers Armored Saint have been well respected and revered by fans and peers alike throughout their colourful and sometimes tragic career. Vocalist John Bush was given the opportunity to sing for Metallica after the release of their debut Kill ‘Em All as James Hetfield wasn’t confident enough as a singer and wanted to concentrate on guitar duties. We all know how that story ended, but I’ve often wondered how that collaboration would have sounded. Bush left Armored Saint in the 90s to join Anthrax after Joey Belladonna exited and that was effectively the end of Armored Saint until they reformed in 1999.

Their fourth album ‘Symbol of Salvation’ was released in 1991, this was the first album featuring guitarist Jeff Duncan after original member Dave Prichard died from leukemia before the recording of the album. Prichard had demoed a lot of the material that would end up on SOS and one of his guitar solos was used on the track Tainted Past.  The album would go on to be well received and remains a fan favourite.

To celebrate the thirtieth birthday of ‘Symbol of Salvation’ we have been given a fantastic live recording and DVD of the album played in its entirety. Recorded in 2018 at New York’s Gramercy theatre, it captures the band in full flight. Bush sounds incredible (as always) and the band consisting of bassist Joey Vera, guitar duo Phil Sandoval and Jeff Duncan and Gonzo Sandoval on drums put in a fantastic performance. The album benefits from a punchy and clear mix and the album is available in various eye-catching formats. You can choose from a 2 CD/DVD digipak autographed by the band or a gatefold double vinyl ‘splatter’ LP. The vinyl version features demos from the 1989 writing of the album by Dave Prichard.

This is a great live album that really showcases one of metals most underrated bands that really should have crept up the ladder of success further than they did. Bassist Joey Vera sums up the album as follows – “All we’ve ever wanted was to make our own music, to take joy and take pride in doing it. The fact that we also have very loyal fans who continue to support what we do is the best icing on this cake. I try to look at our records as objectively as possible, and when I can do that, I’m very proud that this record is a huge part of the band’s legacy, and I am extremely humbled that I’m a part of that.”


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Author: Kenny Kendrick


“THE DRIP: Part 1” will be released 12th November 2021



“You’ll love the electro stylings of Camden newbies Wax on Water” – KERRANG! MAGAZINE ESSENTIAL PLAYLIST


Wax on Water are an Alternative Rock band hailing from Camden, London, UK, that draw from grunge, electronica, and industrial sounds, mixed together with layers of strings, piano and intense guitars, to make a heady and unique ‘Electro-Grunge’ sound that is all their own. All songs are written, performed and produced by lead singer Maya Damaris with Steven Blessing working his dark magic on guitar. The band are set to release brooding new single “Seventh Son” on 17th September 2021 with a strategic ‘drip, drip, drip’ single releases to follow, with “The Drip Part” EP being released on 12th November, followed by later releases, and culminating in their full album “The Drip” – set to land in May 2022.

Maya Damaris is a multi-faceted creative talent: not only is she a consummate singer, performer and a versatile multi-instrumentalist, she also writes and produces all the musical output for the band. Originally from London, Damaris was a classically trained pianist and singer but started Wax on Water in 2012 because she “…wanted to create music that causes a reaction in people, in the same way that the grunge, rock and industrial bands that I grew up loving did to me”.  Her influences are eclectic but classic: the Motown greats, Blues singers like Dinah Washington and Billie Holiday, pop and rock ground-breakers Bowie, Pink Floyd, Led Zeppelin, Kate Bush and Iggy Pop. Later, inspiration arrived in the form of experimental electronica: Kraftwerk, CAN, Laurie Anderson and Throbbing Gristle as well as metal, grunge and industrial bands My Bloody Valentine, The Cure, Soundgarden, Slayer and Nine Inch Nails. Maya expertly weaves all these formative influences to create the unique sound for Wax on Water.

Hailing from South-East London, prodigious guitarist Steven Blessing became a professional guitarist by the age of 15. After getting a music degree he started touring with the rock band Estrangor, for which he was the founder and main songwriter. Since then, he’s performed with a wide range of bands and worked in the studio with a variety of independent artists before joining Wax on Water in 2019. Steven’s guitar playing is heavily influenced by the classic rock and metal guitar greats Jimi Hendrix, Dimebag Darrell, Randy Rhoads and Jimmy Page.

Wax on Water’s 2018 debut album “Procession was a critically acclaimed album of seven songs of admirable diversity evoking the raucous grit of Queens of The Stone Age and Nine Inch Nails, to the rootsy goodness of The Black Crowes and beyond, all infused with Damaris’ inherent grungy flair. The positive reaction to this promising debut helped the band to secure a distribution deal with The Orchard/Sony Music for their own Record label, Howling Tempest Records.

Forthcoming album “The Drip” is a collection of 16 songs that takes the band’s previous successes and, with Blessing now firmly on board, adds an extra layer of guitar energy. Drums for the album were played by LA session drummer, Garren Orr (YolkLore, Tennis System) and the record was mixed at MooseCat Studios, LA and mastered by Will Borza at the Grammy Award Winning Howie Weinberg Mastering Studios, LA. 

The single “Seventh Son” was written by Damaris in a hotel room in Los Angeles and then recorded in London in the summer of 2020. The track follows the ambitious and intriguing reimagining of the O’Jays Philadelphia Soul classic “For the Love of Money” as the second release from the album and is about the dark descent of a relationship. As Demaris says herself: “Seventh Son is about how a relationship can turn from being something that makes you feel alive to making you feel less than…it’s about reclaiming yourself when you’re standing on the shadow side of love.”






There are many crazy ways I’ve discovered new bands over the years, but seeking out a band just because I liked a patch that I’d spied on a mate’s battle jacket had to be a first for yours truly. This is exactly how I first discovered London based pagan metallers Green Lung though, the patch in question initially sending me to their Bandcamp page, where just a few streams later I found myself securing a copy of their 2019 released ‘Woodland Rites’ debut on vinyl.


Given their love of all things Mother Earth, it’s no pun intended when I say that the band’s popularity right now appears to be completely “organic”, and there’s certainly no scene with which to badge this five-piece outfit, and for me that’s what makes them stand out on from the rest of the UK hard rock/metal scene right now.


‘Black Harvest’, the band’s second full length record, is one (if the rumours are to be believed) that could have seen Green Lung move to a major label, however appreciating exactly what Svart Records did for them with their debut release, the lads opted to stay with the Finnish independent instead for the release of their sophomore album, and it’s easy to hear why they decided to stay put.


For any of you who might be reading this and have yet to experience the heavy metal majesty of Green Lung I’ve always thought the best way to describe them is to imagine the soundtrack to The Wicker Man (1973 version) if it had been scored by the Ozzy fronted Black Sabbath. Now with ‘Black Harvest’ I’d actually be inclined to say its more like In The Earth scored by Ghost, as long-time producer Wayne Adams working with John Davis at Metropolis have certainly brought the band kicking and screaming into the 21st Century, well sonically at least. However, if I’m totally honest, that’s over simplifying the true depth of Green Lung’s appeal, and here’s why.


As with their debut album ‘Black Harvest’ kicks off with a short introduction, albeit unlike with the debut ‘The Harrowing’ is full of musical twists of turns and packs a Zeal & Ardor meets King Crimson with Brian May on guitar kind of progressive metal punch that immediately throws you headlong into Green Lung 2021.


The sound is simply colossal as the likes of ‘Old Gods Final’ and the staggeringly brilliant ‘Leaders Of The Blind’ relentlessly batter your eardrums. The initial Sabbath-y chug of the latter morphing seamlessly into a catchy as hell chorus delivered with suitable aplomb by the ever-excellent vocalist Tom Templar and all underpinned by a Hammond organ that simply reeks of an in their prime Uriah Heep. And that right there folks is why I say to try and compare Green Lung to any one band or style is actually doing the band (and you as a listener) a total disservice.


You try and pigeonhole the barnstorming ‘Reapers Scythe’ or the melancholic beauty of ‘Graveyard Sun’ and you run the risk of missing just what makes Green Lung so special…the fact that they are unlike any other hard rock/metal band in the UK right now.


Look, I’m actually going to let you to discover the rest of ‘Black Harvest’ for yourselves, simply because you will hear things that I probably haven’t when the album is finally released on 22nd of October. Hit the links below to secure your copy NOW!


Oh, and let’s not forget, Nazi Occultists Fuck Off!

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Website / Facebook / Svart


Author: Johnny Hayward








OK Rock n Rollers, the time is here, the time is now! Sleazy Punk Rock n Rollers Killer Hearts have teased us with their EP and a few compilation cuts but now they’ve dropped their bomb of a full-length record and it kicks like a mother fucking mule.  Imagine Cheetah Chrome and Stiv fronting a punk rock n roll band in 2021 with a history of sleazy rock and glam (no not the sunset strip glam – real glam) and they’ve gone and poured their molten sleaze on ten tracks on wax and then hit the explode button to supercharge this fucker with lipstick and a laced up iron fist – its full to the brim with Thunderbird fueled punk rock with the charm and borrowed gang vocal of The Boys, these cats can whip your ass if you throw them some shade and they’ll be the best damn party you’ve ever pushed a front door on.


With tried and tested titles like ‘Get Some’ and ‘Savage Heathen’ you just know instinctively what ‘Dead End Kid 4 Ever’ is going to sound like and if you’re still in doubt then maybe 24/7 Action’ and ‘Goodtime Motherfuckers’ should seal the deal.  Listen, if you’re looking for right on politically correct modern rock then you’ve opened the wrong review and we don’t cover Muse or Biffy Cliro this is Rock and Roll baby, with some cheap wine, a switchblade comb and a pack of lucky strike no filter. Marvel at the artwork and the fact it’s pressed on red-light district red vinyl.  It’s a late record for people who hanker after the Dead Boys, The Heartbreakers, and Hanoi on steroids these cats cut the crap and rock out using all the chords their heroes did and you’ll be damned if you think they’re going to apologise for it and why the fuck should they.

Right, the tunes. ‘Get Some’ is a thunderous downstroke killer of an opener.  Setting the tone with a rush of blood it’s kicking the door off the hinges and going for broke before the cops come. “Like a bad habit, use it take it” Get some indeed. From the bass throb in the breakdown to the tambourine joining in the rhythm to that killer solo that rips across your face it’s like when Guns and Roses burst on the scene with ‘Live Like a Suicide’ before they imploded and forgot their roots this is thunder and lightning in a bottle that’s been shaken and the top taken off.


I’ve been waiting for this album to get released for a while and I was hoping that the high expectations would be met and after the opening few tunes I’m loving it and those expectations have been reached and some. ‘Do Your Thing’ is full to bursting with Chuck Berry licks a plenty played at Dee Dee speed through fuck you speakers!  Take a breather kids because these punks are taking over the pit with the sonic reducer phaser and ‘Savage Heathen’ is having it both barrels and there ain’t nothing we can do about itas solos dive in through the speakers like bolts of lightning striking your ears and heart.


After ‘Dynamite Heart’ has muscled its way into the reckoning I was worried that they couldn’t maintain the standards but fuck me sideways this is the Sleazy Rock n Roll album the world has been waiting for its epic and exciting.  Sure it’s been done before but who really gives a fuck its Rock and Roll baby and I fuckin Like it!


You want punchy rockers then step up and take a swing at ‘Midnight Lucifer’ a thunderous powerhouse with an earworm chorus that will rip your ear off and throw up its rock down your canal straight to your pleasure receptors in that punch drunk brain of yours.  Hell, we’re only halfway through and this is showing no sign of letting up.


Play ‘Good Time Motherfucker’ to your nan she’d love it from the gang vocals through the verses and that piano tonk this is exceptional stuff.   Howling harmonica approaching in the name of ‘Scream and Shout’ now join in on those gang vocals kids you know you want to, hell they’ve even loaned The Boys gang ‘oh oh oh ohs’ and I’m sure Honest John and the lads would approve it would only get cooler if they had asked them to the recording and join the band to lend a hand.


If you’re asking for a favourite song then I’m at a loss really such is the quality of the album but if you held a gun to my head then maybe ’24/7 Action’ might get the nod for its dirty riff and sleazy vocals and the punch of the rhythm section.


Shit, we even had some acoustic guitars for the intro of ‘Dead End Kids 4 Ever’ but it was short-lived and the chorus is a killer (obviously) Damn we’re on the last track. ‘Buried In Leather’ is a dark romp that is full of harnessed feedback and has an aggressive punch.


Easily one of the finest records I’ve had the pleasure of hearing all year and one I’ve already played to death – on repeated plays (not something you can say these days) and there isn’t one single weakness I’ve heard thus far.  A beautiful noise if ever there was one and a crash and burn record if ever there was one, a vital, must-own if you’ve ever had a fire in your heart for loud, dirty, sleazy Punk Rock and Roll!  Buy it!  play Loud or else I’m sending the boys round.

Buy Here European rockers

Buy Here USA rockers



Apparently, Swedish metallers Manimal don’t like being called a power metal band and I must agree with them. To me they sound like a classic metal band, think of a combination of Judas Priest, King Diamond, Queensryche and Machine Head and you’re not far away from the sound of Manimal, named after the classic W.A.S.P. song maybe?


The imagery of the band lends itself to King Diamond and the whole Norwegian Black metal scene. Armageddon is a fitting title for the latest release for the band with its apocalyptic song themes. Before we get to the music though, I must mention the album covers amazing artwork by Stan W. Decker.  It’s a cross between Meat Loaf’s ‘Bat Out of Hell’ and the Terminator! A proper metal album cover. I would have bought the album for the cover alone!


Opening track ‘Burn in Hell’  begins with an atmospheric build up before a full-on metal assault with a huge riff, double bass barrages and some fantastic Halfordesque vocals from Samuel Nyman who really sounds incredible here. ‘Chains of Fury’ is a real highlight with its mid-paced chugging riff, more vocal acrobatics, and some fantastic melodic soloing from guitarist Henrik Stenroos. ‘Forged in Metal’ sounds like a track that could have been on Priest’s classic ‘Painkiller’ album. I really can’t emphasise enough how good Nyman sounds on this album. His range is incredible.

A strong metal album with plenty to keep hardcore metal fans happy. Great musicianship, songs that are not too long and great production from the band themselves make this a very enjoyable listen.


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Author: Kenny Kendrick

It’s been a strange 18 months for everyone, the lack of live music has knocked all  us music fans sideways. Looking back I started going to gigs at the age of 14 and don’t think I’d gone a month at most without seeing someone somewhere in the country. Couple that with Artists struggling to get vinyl pressed, and you’d think in this Tory led new world order, our Boris would have got all he ever wanted a populace without guidance, lost and looking for some respite.


Now as we step gingerly out into this new normal of Lateral flow testing, temporary restrictions and venue numbers up and down like yo yo’s depending on muddied guidance and the latest risk assessment, its great to see the chinks of light coming through, and some blinding new releases coming forward starting with this one From Ferocious Dog aptly titled “The Hope”.


I’ve caught Ferocious dog live a few times, usually standing in the shadows of the Levellers, last time being on the Anniversary of the classic Levelling the Land LP, and in fairness, they knocked me sideways, more of an edge than the Levellers, more to say and everything coming from a punk led heart.


With “The Hope they have stepped right out of that shadow, and what screams at you is a band hitting their stride. There are a number of tracks here, that just stop you dead, you just have to listen!! First single from the LP “Pentrich Rising” hammers home how powerful a live standard this is going to be, while “Victims” spirals inwards drawing you in, on point and right on the button. While next up “Broken Soldier”, hits you full in the face, lyrically superb, with The Taliban introduction sample as apt for present times as anything I’ve ever heard, coupled with the damage done within modern warfare.


This light and dark shades are present throughout but when there’s a message, a nod of knowing its tracks like “Khatyn” that hit the hardest, (look up the Khatyn massacre). As the LP moves through these stages of Dark and Light, what stands out is a band that are confident, not to these ears drawing comparisons to The Levellers or New Model Army anymore, this is one dog that is really starting to bare its teeth, a band for now as the music scene begins to re-awaken, relevant, in your face and kicking against the Lethargy induced by a Tory government and the Tim Martins of the world. “Punk Police” tears out of the speakers, guitar led, followed out of the traps by “Slayed the traveller” Closer “Parting Glass” invokes the Pogues at their peak, you can almost see Shane MacGowan, draped around the microphone, but it definitely beats its own Gallic Drum, with a very different vocalist.


One of the LP’s of the year so far.

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Author: Nev Brooks



Let’s cut to the chase here.  Has anyone or does anyone know of any sane human being who doesn’t like The Bronx and who can name a bad record they’ve released?  No, I didn’t think so either.


No point in asking if anyone has seen a below-par live show because that did not happen ever, or you’re just lying to impress people but that would be stoopid.

It’s been a long time coming and trying to forget it was still months away they kept dropping videos and hints here and there.  I asked one of my learned friends when was the release day and low and behold it was imminent and the wait was over ‘VI’ dropped and consuming it in manageable chunks began.  I could do a concise review by just saying it’s out and you should already own it and it’s everything and more but that wouldn’t be fair.  Some people forget things, and we’re all getting a bit older so it might have slid under the radar, Besides I’ve had a few sleeps to digest the record so here are my thoughts.

First up it’s been eighteen years since they first burst eardrums all over this planet and it’s been something of an upward trajectory since then with a little ebb and flow to be fair but nothing below par and a live phenomena.  We all have our favourite songs and albums (mine was 4 in case you’re wondering)  It’ll take a while for a ‘Heart Attack America’ to emerge from the wall of noise that’s bombarding my senses currently from Matt and the boys but never lose hope that the dizzy heights can be achieved on every record.


They might not look cool (like they give a fuck) they might not be the hippest dudes on the scene (like they give a fuck) they might not be on point with the latest trends (like they give a fuck) but what they clearly do give a fuck about is writing and recording the best eleven songs they can possibly muster. Making sure that the listener is tuned in properly then 100% of their time, energy and love is poured into every last damn groove and you will be left exhausted emotionally or physically and if you are not then you probably don’t deserve The Bronx in your life.  I pity you.


‘White Shadow’ opens the ‘VI’ in true Bronx style and is a bit of a free hit something of a loosener,  like slugging a few quick shots before heading out.  The sonic blanket of sound is both comforting and warm but don’t become a complacent listener because, the band are about to take a swerve here and there and sure, you’ll end up in the final destination – a satisfied customer – and all in this messed up world will feel fine, sweet and dandy.


Strap yourself in because ‘Superbloom’ is thunderous. Matt has some serious pipes, we all know that right?  just listen to those guitars and the thunder of that rhythm section – it is a thing of beauty and they’ve captured it on wax perfectly. Don’t go running with this in your wireless earbuds it’ll be dangerous kids and that solo is seriously out there.  Heavier than an anvil being pounded by a ten pound hammer.  Hit with subtlety (at times) and energy aplenty but it’s more than that.


‘Watering The Well’ is driving and those guitars are sharp as hell and the rhythm is a beast making the song sound epic and sprawling even managing some classic rock dueling guitars for good measure.  Nailing the feeling of a reset in society The Bronx are on fire and the record feels like it’s only just begun.  ‘Curb Feelers’ thunders along with a twisting and turning vibe from the melody to the heavy riff to the gang vocals – it’s epic!


‘Peace Pipes’ should be a chart topper with epic and lush gang vocals throughout the verses before the bass comes through like a smooth throwback to the 60s – it’s a belter and great choice for a single. It’s uplifting and a feeling of joy and happiness is pumping from the speakers.


The Mexicana shimmering of ‘Mexican Summer’ is groovy baby. It’s an expansive sound that has a real feeling of depth as it ebbs and flows. It’s unfair to say the Bronx doesn’t add any new frills because they do – it might be subtle shifts but the Bronx sands move but stay the same and that’s a beautiful thing to be able to do six albums deep into a several decade long career.  Not easy and not something many bands can achieve.  It’s not easy to mix Hard Rock with Punk Rock and make it seem effortless but The Bronx can and do.


Damn, ‘New Lows’ is a new high as it powers on and on like a boot to the temple but wait, because ‘Breaking News’ is hardcore as fuck and a real rush of blood.  Anyone who says the band aren’t as good as the early records isn’t listening because this is everything the early albums were and more. The Bronx have lost none of their punch and energy and have even added to it.

Finally ending with ‘Participation Trophy’ on one massive groove the Bronx nail it.  Long live the Bronx because they clearly still Rock like Fuck!

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Author: Dom Daley

Late in 2020, Amyl and The Sniffers went into the studio with producer Dan Luscombe to record their sophomore album, ‘Comfort To Me’ and so entered Covid 19, much like the story that is being written all over the globe. Some bands began to put their feet up and ride it out and some bands knuckled down taking the opportunity to start writing some new tunes for a new album and seeing the pandemic as just something they have to deal with, an obstacle of how to record remotely or outside of the box.

Amyl &The Sniffers are no different to everybody else in that respect, maybe, some would say with a more primitive, feral sound perhaps they had a jump start on many others but it’s taken 18 months to get this record to the shops.

Not just being an Aussie band the Sniffers have been all over the globe since 2019 touring their debut and have expanded the gene pool they’re fishing in and it shows on this new album.  ‘Comfort To Me’ is still the same beast but with more clothes on figuratively speaking of course.  Written over a long year of lockdown, the album has more Hard Rockin’ influences to the fore, old-school rock’n’roll (AC/DC, Rose Tattoo, Motörhead and Wendy O Williams are there for all to hear but it’s more than that the Cosmic Psychos loom large in their influence), There is also the powerful throb of hardcore like the compelling ‘Choices’ but their tip of the hat to fellow Oz underdogs the Cosmic Psychos on ‘Security’  Lyrically,  it is captivating and Amy does have plenty of energy in her vocals.


Sure singing about fighting, lust, booze, chaos and a whole lot more besides she’s looking for love for gawds sake on ‘Security’ and the filthy bass throb on ‘Knifey’ shows a departure with a measured sleazy slog talking about social issues as the menacing tempo slowly grinds through the gears adding a new edge to the bands arsenal and I like it.


The opener is inspirational as they are ‘Guided By Angels’ but it leads into ‘Freaks To The Front’ and from the thuggish Bass riff we’re taken around the back and given a good seeing to and throwing the C Bomb isn’t something you often get to hear even on an anti-social punk rock record but here it seems wholly appropriate as the band grab you by the face and shake the listener around for a bit. What a stonking introduction to ‘Comfort To Me’.


‘Comfort To Me’ is unapologetic and leading the way in feral punk rock n roll where they don’t seemingly give a flying fuck if you like them or now because they’re playing the songs they’d love to hear in some late-night bar and anyone who’s seen them live can testify that hearing some of these songs like ‘Maggot’ with its melody and Captain Sensible style solo is excellent and full of hidden gems showing themselves if you invest the time to play this record the respect it thoroughly deserves – the rewards are plentiful and as far as writing and recording a little better each and every time you enter a studio then Amyl & The Sniffers are winning.  This is a notch up from the debut and the variety is here and when the band are rocking out in full flight its a thing of real beauty, ‘Capital’ is a beast of a track, and ‘Don’t Need A Cunt (Like You To Love Me)’ is a tip of the hat to Lemmy and Venom at their raucous best if they were punk as fuck. Regardless of the controversial title, it’s a blast and guaranteed to leave one’s ears ringing.


Before the record signs off Amyl gives ‘Laughing’ a good seeing to and puts down her line in the sand and be warned not to cross it.  RPM isn’t laughing at Her we’re laughing with her and tunes like this make us love her band a little more on each play.  Which only Leaves the thuggish ‘Snakes’ to sign off with a winning combination of power and attitude. Now snakes terrify me but maybe if I had the attitude of Amyl & The Sniffers then I’d be out stroking the fuckers but until then I’ll just familiarise myself with this serpent and slither off to play it again and probably again and when I’m done I’ll play it some more.  What a top record this is. If you haven’t already jumped on board then please take my advice and give it a whirl it’s a fuckin’ Banger! Stick with it it’s a record that keeps on giving and who doesn’t like a record like that?

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Author: Dom Daley


To say I was looking forward to live music coming back would have been an understatement!!  After being starved for the last 18 months as the world reeled under the pandemic it was great to get back to whatever the new normal looks like, at this point lateral flow tests pre and post gig alongside sanitizing hand gels and respecting peoples personal space.


Arriving at the venue (a new one on me)  you can’t help but feel a bit of trepidation especially as the crowd swells out to sell out proportions, but in fairness what was noticeable was that everybody gave space to each other. First up was the Liverpool based band Faces of Sarah, and I had to immediately double take was that RPM’s own Gaz Tidey on vocals? (It wasn’t I think that’ll come with the Sister Morphine re-union shows.)

Moving on from musing, they in fact played a cracking set, straddling the genres between Rock/Goth and indie with a blinding vocal performance from Nick Schultz, the band have been around for a while originally forming in London Way back in 1999, before moving up North to their current base, and the stage craft and presence showed that experience, definitely a band worth checking out, delve backwards into Bandcamp there are some really interesting pieces of work there.


The Nephilim, I first caught live way back in the day around Dawn razor time and they really stood out from the Big three they were place within (The Sisters of Mercy and the Mission were the other two). I always gave them a more raw edge, an almost Motorhead like feel at times, as the band intro tape begins and atmosphere starts to build, you can feel the palpable excitement of the crowd, as the music fades out dry ice swirls and we’re into Harmonica Man and the first thing that stands out for me is how well  Carl McCoy’s voice has held up, especially if you compare it to the state of Eldrich’s .

Hats in place? Check, Dry ice swirling? Check, what a welcome back to live music and the gig just built driving into Preacher Man, and we start to get the crowd interaction we’ve all been waiting for, people are hoisted on to shoulders, arms are raised and it becomes the full live experience, the sense of trepidation, about contact with others leaving the room.  For me the gig took off with a blinding couplet of Dawn Razor and Moonchild but truth be told the drive from the band didn’t ease throughout the set and by the time closer Mourning Sun swirled out  just over an hour in, you couldn’t help but smile LIVE MUSIC IS BACK!!! Say it loud.

After the encore kicks in with a sublime version of  Last Exit for the Lost it really did feel that after the losses we’ve all experienced in the last 18 months, there is a pathway out of the chaos, the stage lights are back on, enjoy the ride.

Author: Nev Brooks

Albany New York please step forward and bring those Mystery Girls with you please. I always love getting the NFT newsletter because I always know there’s gonna be a couple of new rekids that I need to discover and spin the black circles repeatedly and low and behold this trashy retro Rock and Roll record pressed all my buttons for the 70s glam punk n roll.


‘A Little At  A Time’ got things off to a summery trashy start and instantly I’m looking for my cut-off denim and turning the collars up to get down with these cool cats.  What you get for your bucks is plenty of bang in a 60s meets seventies sloppy trashy rock n roll way.   Channeling the thunders solos and neat backbeat sitting upfront in the mix.


With an emphasis on strong melodies and heartbreak lyrics about girls, good times, and all teen trash staples. ‘Lipstick Traces’ being a timely example of all that and more.  Almost drunk slur vocals subtle gang vocals holding the lead up and some awesome trashy guitar breaks whilst the rhythm stays in control with plenty of ride – it’s the perfect summer slam heartbreak tune.  Follow that up with a tight ripper that’s all slicked-back hair and leather jackets with a solid switchblade riff and gang vocals. then it abruptly ends because that’s that – done and dusted no point in overstaying ones welcome.


I love the hooks that bands like the Mystery Girls just get – it’s not by design or trying hard I imagine this is all they know and it’s like falling off a log for these cats.  A steady diet of Disconnected and L.A.M.F and some sweet records thrown in with Lizzy and the runaways for good measure. In isolation songs like the Dolls heavy ‘Chandelier’ are real dance floor party bangers but as an album the flow is excellent just shifting gears gently here and there probably just enough for the band to refresh their bubblegum and smoke a lucky strike no filter and back at it.


There’s a dreamy quality to songs like ‘Head On A Stake’ just like The Cry did but more Blondie with additional textures with the organ in the mix.  Further heading down that 60s pop mix is ‘I Like Kissing’ well hello! who doesn’t and I’m sure being in the Mystery Girls is not something you have to worry about, maybe walk around town with the album under your arm and see what happens, I’m sure you’ll be fighting off admirers with a big stick.


Sure a lot of the riffs are recycled and the ideas are timeless but they work and this record is boss.  All snotty and kicking ass just like it should.  To take this sucker home the band rips through a particularly snotty ‘Six Bends’ before signing off with the wonderful ‘Sit And Cry’ sounding like they’ve struck a deal with old nick to get the Ramones to write them one of those ‘End Of The CEntury like pop tunes and just channelled it ending this record on a particularly high note.

Top album I highly recommend it.  Now, where do I get one of those flick knife combs to go in my back pocket?

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Author: Dom Daley