Swansea Sound: a band that came into being during lockdown and decided that fast, loud, political indiepop punk was the answer to being stuck indoors.  Who needs introspection?   


Hue Williams is reunited with Pooh Sticks singing partner Amelia Fletcher (ex- Talulah Gosh, Heavenly). Rob Pursey (also ex-Heavenly) and Ian Button (Wreckless Eric’s live collaborator) provide the noise.  
Swansea Sound are the funny, angrygleeful and savage past, present and future of indie.  The band has played just one gig in real life – but there will be more in 2022.


On debut album ‘Live at the Rum Puncheon’, the opening track ‘Rock N Roll Void’ catches you up on the past: a two-minute revision session to make sure you haven’t forgotten The Kinks, The Ramones, and the brief explosion of noise pollution that was C86 pop.


The second track ‘I Sold My Soul on eBay’, also two minutes long, savages the corporate piracy of our digital present, where anyone can earn plenty of ‘likes’, but no-one gets paid any money.


Next, I’m OK When You’re Around’ is a love song to all the people Swansea Sound would like to meet in the future. People they’ve fallen in love with in digital chatroomsnew allies all over the world who are standing up to the digital giants and the shit-stirring racist trolls everyone’s forced to share the internet with. 

Track 4‘The Pooh Sticks’.  Hue pays tribute to his former self in an apparently sincere tribute to one of the great lost indie bands of the 90s.  (No one else was going to do it.)  We have all become our own archivists these days.  We’ve all become our own covers bands...


This album whizzes by very quickly: you’re already near the end of Side One.  Four of the tracks have already been released as short-run singles on a variety of formats. ‘Corporate Indie Band’ was cassette-only. ‘I Sold My Soul on eBay’ was a one-off lathe cut 7” single that got auctioned on eBay (with a £400 winning bid). ‘Indies of the World’ was a 7” single/cassette, which briefly hit the UK physical Top Ten chart, before selling out.


Most recently, ‘Swansea Sound was released as a limited edition cassette/mini-CD on 1st September. This was the date, exactly one year ago when the much-treasured South Wales radio station, Swansea Sound, was re-branded by its new corporate owners and its old name became available.  The song is requiem for that lost radio station – a DJ describing his final day at work before his show is ‘rationalised’  but it’s also a wider protest about the culturally stultifying effect of corporatisation.


Some of the songs are reflexive – ‘Swansea Sound’ and ‘The Pooh Sticks’.  Others are searching for hope – ‘Let It Happen’, ‘I’m OK When You’re Around’, ‘Pasadena’, ‘Angry Girl’Whereas Je Ne Sais Quoi’ is pure pop throwaway fun.  The other songs are catchy too, they just happen to express sickness and a contempt for the state of things.  ‘Corporate Indie Band’ is about a group who have mortgaged their creativity to a major label and sold their identities to an online marketing team of public schoolboys.  Freedom of Speechtakes a look at three contemporary ‘alternative’ music stars and considers how they’ve responded to BLM, the pandemic and the rise of right-wing populism.   Like self-serving arseholes’, is the unfortunate answer.  (You won’t struggle to work out who the three ‘alternative’ stars are.) Backing vocals are provided by queer indie punk band The Crystal Furs (Portland, Oregon).


Swansea Sound took their name from a radio station, and they even use its abandoned logo.   Something modern, acidic, and angry has taken up residence in a familiar, borrowed frame, just as it has in these indiepunk pop songs.   You can throw yourself around to Swansea Sound like it’s 1986, but if you catch the lyrics you’ll remember you’re in 2021.  Sorry about that.


The Rum Puncheon, a notorious pub in Swansea, closed down decades ago.


The sleeve is designed by Catrin Saran James. Amelia, Roband Ian also perform in The Catenary Wires.


The album is released by – 
SKEP WAX (Vinyl, CD, Bandcamp)


In North America, it is released by – 
HHBTM (Vinyl, CD)


In Indonesia, it is released by – 


The album will not be released on streaming sites.


Swansea Sound: Instagram / Twitter / Facebook / Bandcamp


“It’s been a long time since I rock and rolled,” as some wise sage once sang.


It’s been way too long in fact, however, over the months of no gigs, I got this thing in my head that I really wanted my return to watching live music to be something special. What about Brighton upstart ska punks The Bar Stool Preachers playing a mini-festival at a rugby club literally a few miles from my front door then? The fact that The Bar Stool Preachers were also the last band I saw live before lockdown really did bring the whole thing full circle, but it was the “how the hell are they playing there?” part of this proposition that really hooked me in. So, tickets were duly purchased (£8 for four bands…Bargoed) and I sat around counting down the days until I could once enjoy that familiar ringing in my ears (which I must admit is the part of gig going I really had not missed).


In the hours leading up to Flemfest (the only slight disappointment of the night proving to be that the superbly named mini-festival had not derived its moniker from any punk rock notoriety but actually a local chap whose birthday it was nicknamed Flem), it became clear that; 1) it was going to be held outside, 2) that the bill had been reduced to three bands with Sister Yellow pulling out, and 3) it was a sold out show. That special twist I wanted from my first gig just got even more special as watching any band outdoors in the rain in the summer can be a tough ask here in the UK, but in September it would test even the hardest gig goer…perhaps the Sisters had some inside information on the weekend forecast?


Thankfully the weather turns out to be brilliant on the day of the gig and as I walk down Tram Road on the outskirts of Blackwood, the general bustle of people, the strong smell of street food vans and other festival-y substances, plus the throb of live music gives me goosebumps, but the first thing that really hits me as I enter the site is just how an impressive a set up Pontllanfraith Rugby Club have going on here. The stage and sound are so far removed from the back of a truck type of events I’d grown up knowing and it’s like someone has brought Red Rocks to a south Wales valleys town, there’s even a wall running out from the centre of the stage acting like a crowd control barrier for some mini version of Download Festival. I bet I know someone who will be making use of that as the night progresses.

To the music then, and whilst I missed the start of Pigeon Wigs set, what I did catch was mightily impressive. The band having recently played at the nearby Green Man festival exude a kind of quirky pop/rock charm that has me thinking Dexy’s Midnight Runners one minute and The Lemon Twigs the next. They are most certainly a world away from my old days of gig going in Blackwood when most Welsh bands I encountered wanted to be The Alarm. Pigeon Wigs are most certainly a name to look out for, and just like Buzzard Buzzard Buzzard before them they could very soon have the power pop world at their feet.


Dactyl Terra are a band I’ve seen before, supporting Pulled Apart By Horses in Le Pub in Newport, although the band have changed a lot since I last saw them live. Granted they still play the same brand of space rock as they did back in 2019, but adding an extra band member means their sound has also added an extra jammed out dimension, so for a majority of the people over 50 in attendance who remember the rock years of Reading Festival Dactyl Terra are the near-perfect early evening festival band.


As the clock hits 9:30 the sun has completely disappeared from the night sky and through the minimalist stage lighting I can just about make out the silhouettes of another band making their way onto the stage, it becomes apparent it’s The Bar Stool Preachers when a fully skanking line check erupts from the venue’s excellent sound system, and before I can even catch a breath, we are off double quick time into a eighteen – yup that’s EIGHTEEN song headline set via ‘One Fool Down’. TJ and the lads obviously delighted to be playing live once again then rip through the likes of ‘Trickledown’ and ‘Looking Lost’, before new track (written about the state of the homeless situation here in the UK) ‘Two Dog Night’ gets let loose and proceeds to tear everyone a new one.

There’s a lot of angry bite in the 2021 version of The Bar Stool Preachers and the addition of Karl Smith (ex-Jaya The Cat) on guitar means the likes of ‘Start New’, ‘DLTDHYOTWO’ and ‘Raced Through Berlin’ all pack a beefier chug than ever before. That’s not to say that any of the old skank appeal is lost though.


Of the other new songs previously aired pre-lockdown there’s sadly no ‘Late Night Transmission’ tonight, but ‘State Of Emergency’ sounds imperious, and the previously Strokes-like genius of ‘Heart Attack’ has now morphed into an almost totally different piece of music called ‘Flatlined’. Likewise, ‘Love The Love’ has taken a similar brave songwriting curve that had some us singing ‘Lonely This Christmas’ over the doo-wop intro.


Closing things out with ‘8.6 Days (All The Broken Hearts)’ TJ finally slips into full rock star mode, daring to negotiate the stage divide wall to deliver the song’s unforgettable chorus and thus ensuring that everyone leaves with a mandatory Cheshire Cat grin. That’s before the lads return for a much-deserved encore of the prophetic ‘When The World Ends’ and the always uproarious ‘Bar Stool Preacher’, and just like that, my first gig in eighteen months is over. What a great gig it was too, with The Bar Stool Preachers coming away from it like all conquering heroes and making many new fans along the way.


Make sure you check them out on the rest of their dates this September and on their full UK tour this December, because The Bar Stool Preachers are no longer just very strong contenders but in fact world champions in waiting. GET ON IT!!!!!

Author: Johnny Hayward



Rocking the music scene for over three decades, SPEAR OF DESTINY are not stopping. Today, they announce their ‘Worldservice@35’  tour, following their acclaimed lockdown album released last year. 
TICKETS HEREHard to believe we know but it is true, Kirk Brandon has now been leading SPEAR OF DESTINY for over 38 years.

Spear of Destiny were formed in 1983 after the demise of Kirk Brandon’s post punk iconic rockers THEATRE OF HATE. (Brandon had also, before TOH, been the main man in every punk rockers favourite band of that era The Pack)

The current line up of Spear is the longest serving to date and features Adrian Portas (New Model Army / Sex Gang Children), Craig Adams (Sisters of Mercy / The Cult / The Mission) and Phil Martini (Jim Jones and the Righteous Mindon drums. During 2019 the line up was boasted by Saxophonist Clive Osborne who will be staying in the line up for 2021.

On April 6th 2018 SPEAR OF DESTINY released their 14th studio album “Tontine” The album was been fully funded from a private fan pre-sale. The album is officially released for Brandon’s own Eastersnow Recording Company label imprint and is available on CD, Vinyl and Download across Europe. US label Cleopatra Records will be handling the North American release.

Just before the lockdown of 2020/1 the band went into the studio and re-recorded perhaps their best known album, 1985’s WorldService. Eventually releasing the album to much critical acclaim in November 2020. The upcoming ‘WorldService @35’ UK Tour set will feature the album + b-sides in full and the show will be finished with a career spanning extended SOD encore.


Wed 8th NORWICH Waterfront
Thur 9th NEWCASTLE The Cluny
Fri 10th DUNFERMLINE PJ Malloys
Sat 11th GLASGOW Oran Mor
Sun 12th NOTTINGHAM Rescue Rooms
Wed 15th EXETER Phoenix
Thur 16th BIRMINGHAM  Hare & Hounds
Fri 17th  BEDFORD Esquires
Sat 18th STOKE Underground
Sun 19th YORK The Cresent
Tue 21st LEEDS Brudenell Social
Wed 22nd DARWEN Library Theatre
Thur 23rd SOUTHEND The Venue @The Cricketers
Fri 24th LUTON Hat Factory
Sat 25th HULL The Welly
Sun 26th SOUTHAMPTON Joiners
Tues 28th BRISTOL The Fleece
Wed 29th  GRIMSBY Yardbirds
Thur 30th MANCHESTER Club Academy

Fri 1st  LONDON 229 THE CLUB
Sat 2nd  LEICESTER The Musician
Sun 3rd SKEGNESS GB Alt Fest
Sun 10th WOLVERHAMPTON WW-XVIII @ KK’s Steelmill

Feeder announce new album ‘Torpedo’, along with its title track. ‘Torpedo’ is due for release on March 18th via Big Teeth Music. you can Listen to “Torpedo” here.

The celebrated, multi-platinum-selling, rock band Feeder have hit a resurgent run of three consecutive UK Top 10 albums with 2016’s All Bright Electric, the 2017 Best Of, and 2019’s Tallulah. Looking ahead to 2022, it is with some momentum that the band will release new album Torpedo into the world.

Momentum has been something in short supply for many artists over the last 18 months. For Feeder, the ensuing numbness of early-stage lockdowns inevitably led to an uncharacteristically uninspired period for the band and songwriter Grant Nicholas. Feeder, however, have always been masters of marrying the light and the dark – illuminating the shadowy corners of their world to uncover something poignant and uplifting – meaning it was not long before conditions became a perfect storm for inspiration’s lightning to strike, and two albums’ worth of music materialised.

New track “Torpedo” arrives in a flurry of heavy and direct guitars, which are soon joined by an out-of-nowhere chorus delivered in glorious technicolour. It takes its power from hope and optimism, Nicholas’ vocals breaking through the heaviness like a streak of sunlight cracking through a leaden sky. It is a song about bringing your world back into focus again, as he elaborates below.

“After the frustration of not being able to perform live I really wanted to come back with a bang and a classic heavier but melodic Feeder song. All the emotion and frustration just caused a creative wave. Dynamically and musically Torpedo felt like the obvious choice for us to drop first. The chorus has a thread of positivity that brings light to the darker verses.

We are really looking forward to going out on the road again and playing the new album material. This will be the heaviest Feeder set we’ve played in a while so can’t wait. We may revisit some heavier old school Feeder classics also and touch on some Renegades and All Bright electric stuff.”

Torpedo will be available on digital, CD and vinyl. Pre-order here.

Listen to “Torpedo” on DSPs here and watch the lyric video below.

Torpedo tour 2022


23 Bexhill, De La Warr Pavilion
24 Oxford, Academy
26 Southampton, Guildhall
27 Bristol, Academy
29 Manchester, Academy
30 Glasgow, Barrowlands


02 Newcastle, University
03 Nottingham, Rock City
05 Birmingham, Institute
​06 London, Brixton Academy

Feeder: Website | Spotify | Facebook | Twitter | Instagram | YouTube

 2021 version of “I’m A Believer”.
The Boys released their new three-track EP/Single “I’m A Believer” on Friday (3 September), the band’s first new single for almost 20 years. Available as a Special Limited Edition Digipak CD it sold out immediately on release.  A Limited Edition vinyl release of the single is currently being planned.
The EP/Single comprises:
1. I’m A Believer – New 2021 Single Version
2. She’s The Reason – From the album “Punk Rock Menopause
3. (There Ain’t No) Just One Beer – Previously Unreleased
It is available now on all digital and streaming platforms.  Download and stream – Spotify /  Apple Music

More information: www.theboys.co.uk

Well, what’s the old saying “you don’t know what you’ve got till it’s gone”. For this reviewer that’s certainly been the case as due to the pandemic it’s been 18 months without live music and to say I’ve missed it would be a huge understatement.

So what better way to get back in the saddle than a live concert by the mighty Wildhearts.

The lads come on stage to a huge applause and BOOM it’s the sound I’ve been missing for so long, Ritch’s room shaking drums, Danny’s thunderous bass and the sonic assault of guitars that only Ginger and CJ can muster.

The band start as they mean to go on with a stunning rendition of ‘Diagnosis’ that has the band and audience coming together beautifully, all of us singing “you are not your diagnosis” as one.

Up next we have “Vanilla radio” followed by “Sick of drugs” and what a glorious racket we are being treated to.

Today is also a great day as The Wildhearts cracking new album ’21st-century love songs’ has been released and we get a rip-roaring version of new song ‘Remember These Days’ which if that isn’t special enough the guys manage to squeeze in an old favourite in the shape of the epic ‘splattermania’ in the middle breakdown before returning to finish the above-mentioned song, breathtaking.

It is physically impossible not to jump around to ‘Caffeine Bomb’ and then there is no rest as then the band launch into ‘The Revolution Will Be Televised’ at breakneck speed.  ‘Dislocated’ was up next off ‘Renaissance Men’ which finds Ginger in great voice to be fair. Next the band aired another track off the new album in the shape of ‘Splitter’ and wow, what a riff! I knew it was going to be loud, brash and in your face punk’n roll.  But this takes no prisoners, what a gem of a song this is going to be and a live favourite.

‘Let ‘Em Go’ is dedicated to people we can all let go of in our lives a sentiment not lost on people I’m sure and ‘Mazel Tov Cocktail’ they’re both numbers with huge choruses and are sung along to by tonight’s enthusiastic audience.

Old fan favourite ‘Caprice’ is next and sounds huge with its colossal riffs echoing around the Tramshed which is turning into a bit of a theme tonight the band keep rolling out those big riff guns. Is it really that time? The band walk off the stage before returning for the encore as ‘Inglorious’ with its many twists and turns is ushered in.

Time for a ‘Suckerpunch’ which has the audience again going for it before sadly it’s time for the swan song of the night, the classic ‘I Wanna Go Where The People Go’ brings this splendid evening to a close.

As a first concert back I couldn’t have asked for a better performance from such a great band. It was truly a magical night of loud music and great entertainment. All that is left to say is do yourselves a favour go and see the beast that is The Wildhearts live.

If the last 18 months has taught us anything it’s that you never know what is around the corner so please support live music.

Author: Gareth ‘Hotshot’ Hooper


While talking about the importance of staying unpredictable as an artist, Rob Carlyle, front man for The Compulsions, was recently asked by Podcast Chit Chat about the band’s drastic reworkings of “Dead Flowers” by The Rolling Stones and “Dust N’ Bones” by Guns N’ Roses on the New York group’s newest full-length, Ferocious. Below is an excerpt of Rob’s chat with host, Bob Huhn.

Huhn: “And another way that you show your unpredictability is [with the covers on The Compulsions’ latest album, Ferocious]. One’s a Rolling Stones ‘Dead Flowers’ cover, and then you do a Guns N’ Roses ‘Dust N’ Bones’ cover. You just did your own take on them. They’re completely different from what you’d expect for a cover. And it shows some balls to do that because everyone thinks, ‘Oh, I know that song. But that’s not the way it goes.’ But it worked out well.”

Carlyle: “Yeah, yeah – and they were both challenges for different reasons. ‘Dead Flowers’ has been covered so many times and some of the covers are really good. So, to try and do your own thing with it, that definitely took some balls, like you said. And then very few people seem to cover Guns N’ Roses because they’re really good at doing the definitive version of their tracks. It’s hard to imagine, at least for me, their songs being done any other way. But ‘Dust N’ Bones’ definitely seemed a little more elastic to me. The lyrics are so, I keep using the word ‘creepy’ only because they’re talking about burying things in the backyard and stuff like that, so it seemed like doing a creepy, almost Tom Waits-version of that song made sense. And the other thing challenging about both those bands is that their fan bases are so diehard that if you dare to tread on that territory, you’d better deliver the goods. And from all the reviews that we’ve gotten and the feedback that I’ve gotten, I think we passed with flying colors.”

You can now hear the rest of the conversation here.

The Compulsions’ third album, ‘Ferocious’, was released on November 13, 2020. The 10-track release, which includes covers of “Dead Flowers” by The Rolling Stones and “Dust N’ Bones” by Guns N’ Roses, was met with instant critical acclaim, including “I Prefer Compulsions Versions Of Guns N’ RoseRolling StonesSongs” (Get Ready To ROCK!), “Izzy StradlinGilby Clarke Fans Will Flat Out Love” (Sleaze Roxx), “Think Early ’70s Rolling Stones Transported To The Present Day” (Fear & Loathing) and “The Rock ’N’ Roll Record We Were Craving” (RPM Online), among many, many others.

Ferocious features front man Rob Carlyle expertly backed by a rogue’s gallery of highly formidable players: Brian Delaney (New York Dolls), Craig Dreyer (Warren HaynesKeith Richards), Frank Ferrer (Guns N’ Roses), Alec Morton (Raging Slab), Hugh Pool (New York Blues Hall Of Fame), Nicki Richards (MadonnaMariah CareyWhitney Houston), Ron “Bumblefoot” Thal (Guns N’ RosesSons Of Apollo) and Earl Slick (David BowieJohn Lennon), among many notable others. Ferocious is available now on all digital platforms via Compulsions Records.

For regular updates on Rob Carlyle & The Compulsions, keep an eye on thecompulsionsnyc.com.



Motörhead… a life force, an energy, an attitude and the loudest, meanest, dirtiest music to smash the 20th and 21st centuries. With a bastard sound comprising an unholy synergy of rock, punk and heavy metal, Motörhead comes coated in relentless, ear-curdling power. They were life-changing for millions, carrying a spirit and approach to life and music which proudly said, “Honey, we’re hoo-oome, pour us a drink, because we’re here to enjoy ourselves!” The ‘off’ switch was never employed in the Motörhead lust for life, and they became legends as a result.

Leading the charge for their entire 40 year career, was the cultural icon Ian ‘Lemmy’ Kilmister, who swashbuckled around stages, streets and over seas like a glorious Mad Max pirate truth-sayer, roaring for the good and screaming at the wankers. With his propulsive sound and lyrical might leading the charge, Motörhead released twenty-two studio albums over those four decades, amassing chart topping records worldwide, a Grammy award and racking up around 20 million sales. Their hit song, ‘Ace Of Spades’, became Motörhead’s anthem, perfectly capturing their attitude for millions, and punching giant holes in stereos worldwide to this day.

Nothing was harder, nothing was faster, nothing packed more raw attitude and certainly nothing was louder, making Motörhead a cultural elixir that was regularly imbibed across all genre lines. Don’t take our word for it, look around any heavy metal, punk or alternative gig, and you’ll see the indomitable warpig logo and Motörhead gothic script on a t-shirt, a jacket, even an arm or leg or back (Motörhead tattoos are everywhere), all sitting on the bodies of rockers, metalheads, punks, bikers, rebels, outcasts, freethinkers and even athletes all around the world.

Yeah, that’s right, Motörhead’s cultural reach remains virtually peerless to this very day (the one you’re living right now as you read this), and it continues to span fans young and old, igniting their adrenaline and giving them both entertainment and identity.

This collection is the definitive assembly of Motörhead songs which have created this cultural phenomenon, and represents the first time all eras of the band’s recorded history have been represented in one place.

And we feel that if in this mad mad world we’re living in, some aliens decide to drop by your house for tea and demanding an explanation as to, “what the fuck is this ‘Motörhead’ that we keep hearing and feeling bits of in our extra-terrestrial houses millions of miles away,” you could happily play Everything Louder Forever and know that the question will be thoroughly answered. Buy two copies though, because you know they won’t leave without taking one themselves! Or something like that anyway…

See below for full details of the Everything Louder Forever and be sure to visit www.iMotorhead.com for news and updates!

Iron Maiden are one of THOSE bands that need no introduction. I was a huge Maiden fan as a teenager but anything after 92’s Fear of the Dark album has left me mostly cold. I never listened to the Blaze Bayley era albums and only got interested again when the band got the classic line up back.  Don’t get me wrong, there have been some great moments after the 1999 reunion with vocalist Bruce Dickinson and guitarist Adrian Smith, such as the underrated A Matter of Life and Death album. I freely admit to having great admiration for the band for constantly releasing new material while keeping the fans of the glory days happy in a live setting by celebrating their most iconic moments on stage. On to the matter at hand; Senjutsu is Maiden’s seventeenth studio album and has again been produced by long term knob twiddler Kevin Shirley and co-produced by bassist and Maiden head honcho Steve Harris.

Maiden are a bit like many of the classic rock/metal bands still around and releasing new material, you kinda know what you’re gonna get. Epic overly long songs? Check. Riffs with a Celtic feel? Check. Widdly guitar solos? Check. Their formula works well though and there are a few surprising moments on this latest opus. Lead single ‘The Writing on the Wall’ is a marked departure from their usual style and it’s the stand out track for that very reason. I have to say that I’m not a fan of Shirley’s production on any of the Maiden albums he’s worked on. The mix is always muddy and dull and doesn’t reflect the bands power as a live act. On this latest effort however, Harris’s bass thunders through the speakers and Nicko McBrain’s drums are more prominent than usual which makes for a more interesting listen.

I think the main reason why I have struggled to connect with the most recent Maiden material is Bruce Dickinson’s voice. I fully understand that after having throat cancer his voice would never be the same, now it just grates on me and I really struggle to listen to it. The musicianship of the rest of the band is still great and even though I’ve never been a fan of Janick Gers, he plays a blinder on ‘Senjutsu’.  There are no real barnstorming tracks on offer here, most of the songs plod along at a mid-paced tempo and take a few listens to get under your skin.

The album opens with the title track and it has an almost hypnotic feel with McBrain’s tribal drumming and its chugging riff. Other stand-out moments include Stratego which is the most energetic song on the album with its familiar galloping feel. ‘Lost in a Lost World’ is another slow burner and the epic ‘The Parchment’ which clocks in at 12:39 and goes off in a variety of directions. It has to be said, for a band who are all in their sixties to be releasing any new material at all is a feat in itself. This isn’t the Iron Maiden of old by any stretch of the imagination and it takes time and effort to appreciate what’s being done here. Harris has always been open about his prog influences and that becomes more apparent with every new Maiden album. The songwriting credits are mostly penned by Harris with Smith/Dickinson, Harris/Gers and Smith/Harris splitting the rest.

One more thing to mention is the artwork by Mark Wilkinson which is spectacular. The samurai sword wielding Eddie really is fantastic. Yet again Maiden come up trumps with the packaging of the album. It’s available in the following formats – Standard 2CD digipak, deluxe 2CD book, deluxe heavyweight 180G triple black vinyl, special edition triple silver & black marble vinyl, special edition triple red & black marble vinyl and a super deluxe boxset featuring CD, Blu-Ray and exclusive memorabilia!

If you’re a Maiden fan you’ll probably enjoy the album for what it is. It’s an Iron Maiden album that will no doubt please the hordes of Maiden fans all over the world, for me it’s a reasonably enjoyable listen with some great stand out moments with ‘The Writing on the Wall’ being the unexpected highlight. Put it on, make yourself a cuppa, grab a couple of rounds of toast and take it all in. Up the irons!


Buy Here

Author: Kenny Kendrick

Splitter was the first song that I wrote for the new album. The one where I thought “Oh fuck, I can hear us playing that, it’s gonna be filthy, especially live”.
I sent the riff to Ritch straight away, as I always do when I get an idea I’m excited about, and he was into it right off the bat. That’s the thing with new Wildhearts songs, until there’s a big, dirty riff in the bag you can’t move on and write the rest of the album. It all starts with a righteous riff and some shouting. And I hope it always begins that way. If you ain’t got the riffs then you ain’t got shit.” explains Ginger Wildheart.

With The Wildhearts classic line up of Ginger, CJ, Ritchie and Danny still holding strong, this creatively brilliant band who helped change the landscape of British rock through the 90’s are showing no sign of slowing down.
21st Century Love Songs is the follow up to Renaissance Men, their highest charting album since 1994’s P.H.U.Q, which debuted at number 11
To order and stream 21st Century Love Songs go to: https://ffm.to/21stcenturylovesongs 

Seconds out round two its the magnificent Bronx and a track off the new album.

Listen + Pre-order our new album ‘Bronx VI’ out August 27 here: https://thebronx.lnk.to/bronxvi



The new Dirty Denims video for their Action Rock Jukebox single “Rock N Roll All Night”

Screaming Crow Records have gathered up some of the best Rock N Roll bands from all over the world to bring you an awesome new 45 series call Action Rock Jukebox. Each band has submitted a rockin’ version of a song that would have been found on your local jukebox in the 70s & 80s backed with an original track from the band. These large holed 45s are perfect for that old jukebox in your basement. Each single comes with a jukebox title card and a custom 45 adapter in case you don’t have one of those cool old jukeboxes. Each release will feature 100 color vinyl  and 200 black vinyl versions. The first 50 copies sold will be autographed by the band. Right now the singles will only be available on Screaming Crow’s and the bands’ websites. (links below) There are 8 band scheduled right now. Once all the singles are out, Screaming Crow will compile them into one killer double LP and CD and release them through our normal retail channels.