Steelhouse Festival is excited to reveal the first elements of the line up to feature in 2022. And what a selection it is! With all bar one of these performers making their Steelhouse debut, there is a blend of freshness but also serious pedigree. This year the event will run 29th-31st of July and limited earlybird tickets are now available until midnight December 5th, after which they will go to full advance price for the weekend.
Without further delay, joining us at the top of the mountain will be: Original KISS guitar legend Ace Frehley, Orange Goblin, Diamond Head, H.E.A.T, Green Lung, Black Spiders, Anchor Lane and Ashen Reach. And of course there are more great names to be announced.
This line up offers the best of all possible worlds for lovers of classic rock and of Steelhouse. Ace Frehley is an undisputed icon of Rock, Diamond Head unrivalled as old school legends. Orange Goblin and Green Lung bring, in every sense, a burst of colour and verve – each pioneering their own way. Anchor Lane and Ashen Reach show once again that Steelhouse is always looking to provide meaningful support to the best new, exciting talent, whilst Black Spiders and H.E.A.T are making good on their commitment to return and play after not being able to do so this year.
Promoters Mikey and Max say, “It is with barely contained excitement that we can announce the one and only Spaceman, Ace Frehley will be flying in from Jendell to join us on the Mountain for Steelhouse 2022. Being co-founder and original lead guitarist of KISS as well as a Rock n Roll Hall Of Fame inductee, he is one of the most recognisable and influential players of all time…A true icon. Smoking guitars at the ready, we’re back!..Back in the Steelhouse Groove!”
2021, in the face of overwhelming odds, was a resounding success – marking as it did the 10th Steelhouse Festival. 2022 has a lot to live up to, but with this first announcement, we are well on the way to this being the best ever.
Swedens Ghost have returned with their first new song in two years & announced a string of arena dates – listen to ‘Hunter’s Moon’ below and links for tickets
Ghost will perform at the AO Arena in Manchester on April 9, with gigs following at London’s O2 Arena (April 11), Glasgow’s OVO Hydro (13) and Birmingham’s Resorts World Arena (15).
Uncle Acid & The Deadbeats and Twin Temple will support the band at the upcoming concerts. Tickets are on general sale – purchase yours from here.
APRIL 2022 9 – AO Arena, Manchester 11– The O2 Arena, London 13 – OVO Hydro, Glasgow 15 – Resorts World Arena, Birmingham
Ghost will then play in Rotterdam (April 17), Paris (18), Prague (24), Oslo (30), Brussels (May 3), Madrid (8), Vienna (11) and other European cities before wrapping up the tour in Budapest on May 18, 2022. See the full schedule here.
Arriving last month, ‘Hunter’s Moon’ was recorded by Ghost for the Halloween sequel ‘Halloween Kills’ and the band has announced they will begin on their new album set for a release in 2022.
A posthumous album is always going to be a double-edged thing. The artist’s death affects us, the listener, but the harsher reality is a wife without her husband, a daughter who will grow up without her dad. For that, I am truly sorry. Dan’s family wanted this album to be released, I believe it was already finished, with one video recorded for ‘People Throwing Stones In Glass Houses’. As such, it is a fitting tribute and document of a prodigiously talented songwriter.
Thirteen songs, starting with the ominously titled ‘You Can’t Go Home No More’, we’re in the guitar-led territory of ‘Join’ and ‘Dan Sartain Lives’. Simple, angular riffs with the trademark melody lines, somewhere between Link Wray and Poison Ivy. If that’s your bag, but you haven’t heard Dan before, this is your place to start.
‘I Heard Laughing’ could almost be Buddy Holly, both in rhythm and vocal tone. ‘Kisses In The Morning’ evokes Sun-era Elvis, simple but beautiful, ragged at the edges. As the sleeve notes state, it’s not a return to form, because Sartain never lost his form, merely tried a variety of styles, from pared-back rock n roll to electro. His songwriting always shone through.
‘True Love’ would be perfect for Ramones, complete with backing vocals. ‘My Best Fit’ is a love song to his hometown, Birmingham, Alabama. ‘Fires And Floods’ has that addictive, staccato way he had of playing. Even with a drum machine, it sounds more ‘organic’ than Jack White could ever hope to be.
‘Dumb Friends’ shares some DNA with The Urban Voodoo Machine, dripping reverb and a slinky menace. ‘Foreman Grill’ extols the virtues of the George Foreman grill. No, really. ‘Personal Injury Law’ adds some nicely wonky keyboards to the mix, while ‘Daddy’s Coming Home’ can’t help but bring a tear to the eye, regardless of the upbeat tune and handclaps.
With his roots in the 50s, yet remaining adventurous throughout his career, Dan Sartain was, for me, one of the best songwriters of his generation, a stylish dude, and a one-off. You are sorely missed.
With Christmas fast aproaching we thought it was time to swing open the doors of the RPM Online singles Club and see who strolls in. We weren’t disappointed as the mixed bag of miscreants waltzed in. With out most diverse bunch yet theres plenty to ponder from our staple favs to some wide ranging inclusions check em out at your leisure…
DIRT BOX DISCO – ‘Fuck me it’s all Gone Wrong’ (AVENUE RECORDZ) Hey Hey it’s a Dirtbox Day, Fuck Me its only Dirtbox Disco damaging my ears with their Motorhead infused punk rock n roll.
Of course its a banger as it lodges in your head and you can’t get rid of the gang vocal chorus for days and you find yourself saying fuck me at every oportunity. Its got a catchy chorus of course it has, It’s to the point and its got guitars that are razor sharp and Maff is kicking the shit out of his tubs. Dirtbox are back in the ring and doing what they do better than anyone else. Loud and proud and right on the money! Its all gone right more like.
Available in the following formats -
Digital download and streaming.
split 7" with issue 13 of SAFETY PIN MAGAZINE
JOHNNY CASINO -‘Another Girl’ (Golden Robot Records) This is the first single from his February 2022 release ‘5×7 the Days of Wine and Cola‘ ‘Another Girl’ started out as a moody acoustic piece until it found its way into the recording studio on the Costa Blanca in Spain. Here, a fire had been lit underneath it, a couple of bottles of wine poured all over it and an inspired electric guitar burned into it by Johnny and his band. There is a san fran vibe about it as well maybe is in the vocals but whatever its a great tune and if the rest of the record is up to this standard then bring it on. The solo is blistering.
Mickey Leigh’s Mutated Music – ‘No Fun Anymore’ (Wicked Cool Records) A thumping good tune. Though Mickey Leigh has been making music for over five decades, 2022 sees his first solo full-length release under the name Mickey Leigh’s Mutated Music. Growing up the brother of Joey Ramone, If this is the standard of what we can expect from his first solo album, ‘Variants of Vibe’, in February 2022 then bring it on. The first single, ‘No Fun Anymore’ is like the bastard child of Stiv Bators solo material and a real Rock and Roll tonic packed with energy and a strong hook get this on your new years wish list. hit it up here
Kurt Baker – Christmas In The Sand (Wicked Cool Records)The first of two singles from Kurt Baker this round-up ‘Christmas in the sand’ was inspired by Kurt and his longtime collaborator and bandmate, Wyatt Funderburk’s, experience writing the song in the cold weather of Maine. He said, “It’s a song about wanting to be at the beach during Christmas time! If only we lived in the southern hemisphere, haha!” The original version of the song was released in 2012, but 2021 saw the band revisit the song and “kick it up a notch.” I’m sure you’ll agree it has all the hallmarks of a crimbo classic. Get it on the playlist at the office party and turn it up its got sleigh bells n everything – Check it out Here
Night Courts! ‘Fractions’ (Snappy Little Numbers /Debt Offensive Records) Second video/single by Vancouver lo-fi indie/punk trio NIGHT COURT from their debut release Nervous Birds! is a right little earworm as it burrows in and unsuspecting throughout the day week you want to hear it again and again. Infectious? sure is. Check it out in the video below. Get into them here
https://www.youtube.com/watch?v=tifahzarjFQ&t=7s
Edweena Banger – ‘Let’s Do It’ (self Release) Album number two on the horizon this first glimpse of what to expect is a right banger (no pun intended) sizzling Rock and Roll with a big hook is the order of the day and one we fully endorse here at RPM Online. Connect with Edweena Here
https://www.youtube.com/watch?v=QL2ccPg6HOM
Kurt Baker – ‘Turn It Around’ (Wicked Cool Records) wow Kurt Baker is in da house and he’s burning it down with this banger of a tune. A rapid stab of powerpoppin punk rock oozing attitude with a thumping backbeat. Of course it’s got a bloomin’ great big hook on the chorus but it’s got a warm winter fuzz going on from the kickoff. Another day another thumping good song released from Kurt Baker
Swedish Magazines – ‘Head On Ice’(Rubber Records) If you know you simply know. Melbourne rockers Sweedish Magazines are dropping bombs off their new album ‘I Wish Life Could Be’ and this is the latest – full of barroom Malcolm Young fire it barrels along like a bouncing bomb with boundless energy before smashing in your ear with an explosive chorus that makes your toes tap and your head move back and fore. Fantastic tune and one that makes you want to hear more and on this track they hit a groove and ride the shit out of it. If you want a catagory for this then punk n boogie would be apt as they mix Bon era DC with some punk rock SLF style. Whats not to like – excellent stuff.
Cheap Cassettes – ‘She Aint Nothing Like You’ (Rum Bar Records) Hell Yeah! the first glimpse under the hood of the new album from Candas Cheap Cassettes is a slow grooving rock and rolla and with great subtle gang harmonies these cats are back in the saddle and make this grooving rock and roll seem effortless from the clear melodic guitar break to the subtle late night overdrive they make great bedfellows with The Speedways from the UK and mixing up some Georgia Sattelites its such a cool tune that gets me excited for the album when it hits the shelves.
Chew Manga – ‘Listless’ (Stray Cat Records) full phat and fuzzy. This rocket-fueled slice of alternative rock is the first glimpse into the world of Chew Manga. Not heard these guys before but this Manchester mob has got some cool ideas and mix it up on single with a catchy hook and some great playing making for a most listenable tune and a pretty good introduction to the band. Check it out Here
Tony Iommi – ‘Scent Of Dark’ It might not be a crimbo single (Thank god) but this is the new release from Sabbath Guitar God Tony Iommi and as the video testifies it’s a slow brooding grinding beast of an instrumental combining those riffs and some lush cello playing. Of course, there isn’t any singing just riff after riff after mother fucking riff from the originator of all that is heavy and dark. Get it Here
https://www.youtube.com/watch?v=Xala32PZ5vU
Wax On Water – ‘The Drip -Part 1’ EP This Camden ensemble kicks off this EP with a dark-stringed intro before their electro attack creepy crawls into your ear. ‘Don’t Bore Us’ builds slowly with a dark brooding tempo before breaking out with a menacing riff before falling back into the electro grunge fused twist.
‘The Sting In The Raw’ is a raw as razor blades riff that meanders through the song slashing away with menace. ‘Seventh Son’ is more haunting but again breaks out with a big raw riff that’s dark and brooding. ‘For The Love Of Money’ is a twitching electronic beast as it moves slowly but purposefully to the chorus with all the dark frills of an electro pulsating gothic slap but the vocal add some softer texture to the track and its better for it.
Hearts and Rockets – ‘TV Is Boring (EP)’ (Psychichysteria) Following from their recent single and video ‘Square Eyes’ and single ‘On/Off’, Naarm (Melbourne)-based bratwave duo Hearts and Rockets’ 5-track EP, ‘TV is Boring’, is out on cassette and digitally today and is available via their Bandcamp page, psychichysteria.com, and on all digital and streaming services.
The EP features 4 new originals, including recent singles ‘On/Off‘ with its hypnotic guitar lick, ‘Square Eyes‘ however is like a pulsating bass line and synth hook twitching like a metronome, plus the band’s longest track to date the title track ‘TV Is Boring‘ – which clocks in at almost 13 minutes. PLUS there’s a bonus cover of Black Flag’s classic anthem ‘TV Party’ and Hearts and Rockets’ post-punk anthem ‘Buy It’. Melbourne is having some cool tunes poured out of its backstreets with this really good post punk scuzzed up down n dirty rock n roll noise and we like it baby! Check it out Here
Finnegans Hell – ‘Happy Christmas’ (Sound Pollution) The second best Christmas song ever written? In any case “Happy Christmas” by Finnegan’s Hell qualifies as the second-best Christmas song coming from a Celtic punk band. – “Fairytale of New York” is still number one, but “Happy Christmas” contains enough social realism to make you reach for the bottle once the song is over, says lead singer Pabs Finnegan. His haunting whiskey voice takes the listener through three shades of black in a song that depicts anything but a happy Christmas. It might not be as good as The Pogues (Obviously) nor is it Slade or Wizzard but it shure as shit beats most of the insipid crimbo tunes we hear around this time.
Carrjam – 21 – ‘Can You Feel It’ (sound Pollution) A project started by Dregen to tip the hat to Kiss drummer Eric Carr who has passed 30 years ago! featuring Dregen (The Hellacopters, Backyard Babies), Gustav Kronfelt (video producer), Jolle Atlagic (Electric Boys, The Quill), Jesper Lindgren (Velvet Insane), Ryan Roxie (Alice Cooper/Slash’s Snakepit) Åge Sten Nielsen (WigWam), Philip Shouse (Accept, Ace Frehley, Gene Simmons), Jesper Binzer (D-A-D) and Martin Ekelund (Bonafide). It must be cock rock o clock judging by the style of this slow grooving rock song. Together with some of the most well-known and KISS-inspired musicians, Dregen has recorded 2 songs written by Carr plus 2 KISS related bonus songs.
https://www.youtube.com/watch?v=dN3X4mXfPFc
James Domestic – ‘Push On Through’ (KIBOU RECORDS) second single from James is an electronic departure from his day job with the Domestics. Lifted from James’ debut solo album ‘Carrion Repeating’, due out in April it’s a sparse ride that ends with a freak out of guitar noise broken down by a synth and the techo rhythm and drum beat. widescreen post punk for sure check out the video
https://www.youtube.com/watch?v=qd95SJQspDQ
Hanterhir – ‘Waiting For Bertie’ (Easy Action) Cornish alt.rockers HANTERHIR return with a brand new single and video ‘Waiting For Bertie’ An adventurous mix of post punk with psychedelic undertones as well as some flutey tones for good measure it seems like the time is right for the band to get back to releasing their album that is penned for early 2022 release Connect here
Hound Gawd! Records announced the new album by The Cutthroat Brothers and Mike Watt on the back of the RSD release that featured Watt and its fair to say I got a little excited. I love myself some Cutthroat Brothers anyway and the added Mike Watt was always a blast. Whilst having a bass guitar on the older tunes was quality it was always going to be interesting to see how that dynamic would work on hearing new tunes and it was a proper buzz and lived up to the hype and standard I’d imagined in my fuzzy head. ‘Devil in Berlin’ is set to drop in record stores in early December but it can’t come quick enough.
Might as well start at the top and ‘Bad Candy Girl’ kicks in like a motherfucker with a bass that’s growling like a Mack truck with no brakes doing 100. but after the sonic boom, it settles into a cool groove and already this record has my attention. The breakdown is like a dust-up at the crossroads and those Bad Candy Girls are twerking with old nick before leaving with these three cats.
Love the tunes as they roll off the record from the swirling grind of ‘Been Away’ Colliding with the jig of the title track that’s splendid with its fuzzed-up bass and finger-clicking goodness. Its like you’ve entered some late night tiki bar thats got harleys out the front and the band kicking out the james are these three reprobates oozing equal parts Gun Club, Stooges, Elvis, The Cramps and just about a dozen other cool as fuck bands from history all spilling out over the grooves of ‘Devil In Berlin’.
To be fair I could go through each track dishing the dirt and drooling over the coolness of this record as the Brothers have really hit their groove and found the missing piece of the jigsaw in Watt who adds that little something extra that the dynamic duo couldn’t quite reach without him. Sure, the tunes would have been good but not this freakin good. ‘Love, Drugs Etc’ has some wicked slide that’s got some cool 70s glam running through it like an unearthed Sweet song played by some punks who found it washed up on a beach in some bottle.
In contrast, the fuzz of ‘Cold Dead Night’ has some Grunge running through it, either via Sonic Youth or a bit of Husker Du with a smidge of Kobain for good measure. The vocals remind me of some Black Francis in his Pixie days. Without a single duff or remotely below par track on offer, this album is excellent as one track detonates the next and the band move through the gears so smoothly from one tempo to the next and tracks like ‘Cherry’ has the band so comfortable and confident they it just sounds so confident like they knew when recording these songs how damn good it was going to be once it was handed over for production. In three years The Cutthroat brothers have served up some fantastic music that has gotten better and better with each record right up to this point and there is no filler just all killer its a close shave as to the best track maybe its the swirling backbeat of ‘Like A Zombie’ that sounds like its being pounded with sledgehammers courtesy of Paychecks drumming as the overdriven fuzz of Watt compliments the licks of Jasons guitar and devilishly cool vocals.
But wait they sign off with a song that’s like the beyond the grave rumble of Lemmy beating up a sonic youth Goo period thumper before menacing its way to the close and the final notes of an extremely exciting and bloody good record. Never mind the King being dead The fuckin’ Devils In Berlin aparently and this is his soundtrack.
Just when I was thinking that Giuda ought to crack on with a new album, Mad Rollers have done it for them. Their debut album was recorded by longtime Giuda producer Danilo Silvestri at Green Mountain Audio, and, in places, you can’t see/hear the join. I’m divided; it’s a great set of mega-catchy songs, but it really does sound exactly like the first two Giuda albums.
Now, that is hardly a complaint. A lot of people are hoping Tenda and the boys return to their roots, after the slight experiment of ‘E.V.A’. But, it is weird hearing a fabulous Giuda album that Giuda didn’t make! I’d need to see Mad Rollers live to make a clearer distinction. That said, I will be buying this, postage notwithstanding because it is an absolute belter. You want 70s tinged, boot-boy-styled Glam anthems? (Glamthems?), step this way…
It’s all here. From opener ‘Black Days’, we have the backbeat, the driving bass lines, the perfectly crunchy guitar tone and the gang-vocal choruses. ‘Good Time’ is just that, you’ll be bopping along with thumbs in belt loops. ‘Keep Me Away’ has tastefully pilfered Slade. ‘I Trust Nobody’ is almost indistinguishable from Giuda. Is it the water supply in Rome? They certainly couldn’t be on the same bill, but I can’t fault the quality on show here.
‘Bish, Bash, Bosh’, and it’s like the 70s never ended, in the best way. One listen, and you’ll be convinced you’ve known it all your life. Silvestri has mastered the Chinn/Chapman hit factory sound. My heart goes out to any young bands in Rome; the benchmark , for this style, is immense. ‘Another Night’ adds some cheesy keyboards, but doesn’t stray into the 80s, so if Giuda’s brief flirtation with Duran Duran wasn’t your thing, you’ll be happy here.
‘Red Light’ and ‘Motherkilla’ have the joy of those early AC/DC riffs before they hired Eric Cartman and got too heavy (dodges bottles), and ‘Ukraine Girl’ doesn’t let up, so, no ballads here. What can I say? It’s a fantastic album, regardless of similarities. I hope they play some gigs soon, so we can experience it in it’s natural environment. You’d be mad not to.
Peter Doherty, now resident in Normandy the land of Calvados and camembert, has teamed up with composer/producer Frédéric Lo, and created a wonderful nouvelle vague slice of pop entitled ‘The Fantasy Life of Poetry & Crime’, which will be released as asingle through the Strap Originals label on Friday 19th November and is available now from: https://lnk.fu.ga/peterdohertyfrdriclo_thefantasylifeofpoetrycrime ‘The Fantasy Life of Poetry & Crime’ is another piece de resistance from this constantly evolving and challenging artist, showcasing Peter’s proudly European poetry and comment on la bete humaine married to Frederick’s delicious francophone musical arrangements. Written during lockdown and produced by Frédéric Lo ‘The Fantasy Life of Poetry & Crime’ wasrecorded in Étretat (Normandy) and Paris, with all words by Peter Doherty and music by Frédéric Lo.
Doherty drew inspiration for the lyrics to ‘The Fantasy Life of Poetry & Crime’ from French lettrist Maurice Leblanc, best known as the creator of the fictional gentleman thief and detective Arsène Lupin (recently an international sensation on Netflix).
Frédéric Lo is a French musician, musical director, composer, arranger, music producer and singer-songwriter. Living in Paris, Lo is most notably known for his work in duet with Daniel Darc and for his work with Pony Pony Run Run , Stephan Eicher , Maxime Le Forestier , Christophe Honoré and Alex Beaupain.
Peter Doherty has released three album with The Libertines (‘Up The Bracket’ (2002), ‘The Libertines’(2004) & ‘Anthems For Doomed Youth’(2015) and With Babyshambles ‘Down In Albion’ (2005), ‘Shotters Nation’ (2007) & ’Sequel To The Prequel’(2013), two solo albums ‘Grace/Wastelands’ (2009) &’Hamburg Demonstrations’(2017) and Peter Doherty & The Puta Madres (2019).
If that was too slow and easy on the ear for you then you must be looking for Seven Days And Doesn’t Die –
Dragged up from the gutters and back alleys of London’s ripe underbelly, the four members of Seven Days and Doesn’t Die have long formed alliances in the capital’s dark basements and back rooms, concocting sleaze infested riffs atop guttural beats, fists of bass and hungry vocals. Seven Days spit naked, armed truths from their salty incendiary rock n ’roll backdrop. They blaze an effusive assault that keeps going and keeps giving. This is music to burn your bridges to.
Their debut self-titled album is set for release this coming November 19th via Seven Days Records and today sees the single release of album opener ‘Snatching Defeat’ – four minutes of stonkingly powerful, high-velocity metallic rock n’ roll that hits suitably hard.
Finally, because their self titled album was finally pressed onto vinyl and my copy was shipped through the mail last week how about some classic Toilet Boys and their Ramones-inspired video.
Goth metal icon Jyrki 69 of The 69 Eyes prepares for international dominance on this brand new studio album, a follow-up to the widely praised solo effort, 2017’s ‘Helsinki Vampire!’. Jyrki has certainly been a busy boy releasing the 69 Cats album as well earlier this year and rather than sit back he’s gone right in deep with this ‘American Vampire’.
What can you expect from the dark gothic uberlord? Polished set of covers featuring some well-known names to accompany this batty project like Steve Stevens, yes he of The Billy Idol band, who turns up on a twisted take of ‘White Rabbit’. It’s hanging on by a thread compared to The mighty Damneds version of the psychedelic classic originally released by Jefferson Aeroplane. Sure it’s Gothic and polished to fuck by there’s something altogether more creepy about the original and the Damneds take will never be bettered besides they are the current owners of the best version of this. However, this isn’t bad at all in a weird mixed up headfuck sort of way. There’s pretty much no psycadelicness left in it as it’s been overhauled into some sort of metallic gothic industrial mindfuck never mind headfuck.
For this outing, Jyrki has teamed up with several named collaborators including fellow Fin Tim Skold, of the metal project Shotgun Messiah and industrial outfit Skold. I was intrigued as to how he was going to take on the mighty ‘Bite It You Scum’ from filth punk GG Allin. to be fair turning it into a techno goth anthem is really good and works well. I guess it could easily have played it straight up punk but giving it a twisted Mad Max feel is great – it sounds really fresh (doesn’t feel right using words like fresh when describing a GG Allin tune) and has plenty of punch and energy.
‘Don’t You Want Me’ featuring tiffany is bonkers, quite frankly. this Human League classic gets fucked up taken down the Soho bondage club and royally tied up and twisted. I’m not even sure if I like it or not but fair play to Jyrki for being brave and really thinking outside the box on this one and is that the innocent Tiffany? Really? Like I said bonkers.
‘Decision’ is like some twisted Iggy Pop fantasy played on some proto Gary Numan meets Soft Cell via Depeche Mode tip. It’s sparse and swirling but I like it. If that twisted your Mellon then ‘Deviant Carousel’ featuring Xiu Xiu is a headfuck again Jyrki goes dark and does his best Bla bla period Iggy and why the fuck not.
The album meanders through several genres and mixes it up from hard rock to synth-pop to techno punk it’s a swirling maelstrom of flavours to be fair and Jyrki can never be accused of playing it safe or taking the easy route because he doesn’t. I’m going to persevere with this album as I don’t dislike it at all but I can’t hand on dark heart say I love it either but I think it has potential to grow on you. Dark Goth fans will already love it regardless and thats fine but there is so much to take in here it might be a while.
To be fair none of the songs drag on and the length is kept fairly tight all around the three-minute mark give or take. The album closes with the dark brooding NiN like ‘Last Dance’ featuring Not My God and further down the spiral I descend. I’m gonna dim the lights and go back in for another twisted ride if I’m no tout in a day or two call the cops.
When he rocks it’s polished and huge sounding but that’s the safe 69 Eyes route and when he veers right off the route it’s more interesting and provocative and I’m sure Jyrki is comfortable with that not standing still and not compromising in what he creates. Good on him for that I say.
‘Neverland say die’ is A strange headline but let me explain. As a teenager in South Wales in the 80’s, it was almost mandatory to be a rocker, mod, or punk. I chose the rock camp and was obsessed with Black Sabbath, but then my world collapsed as Ozzy and Sabbath parted company and Dio came in. Can you see where we’re going? (Bear with me). Both entities continued but I was fully on Ozzy boy and never gave Dio’s albums even a curious listen (however, during lockdown I finally discovered and now love them after listening without prejudice). Fast forward a year or two and I discovered prog and my headbanging days were over. The older brother of a school friend left me the script and I was trapped in the web, joined the fan club, and the first two albums soundtracked by later teen years, cue the monstrosity that was ‘Kayleigh’ and I and the band was finished. It barely even registered with me, when Fish departed, and I had hardly ever listened to Fish or Marillion until lockdown gave me the free time to rediscover albums I hadn’t heard nor been exposed to for decades.
I have worked on local radio for seventeen years and have reviewed thousands of acts over the years, even my hero Fish who I saw perform at the Point in Cardiff and though I enjoyed it the spark of those heady teenage years was absent. A week or so my colleague Dan James had an interview with Pete Trewavis, I snaffled the review tickets and would finally get to witness Marillion’s new singer in the flesh. I say new he has been in situ for 33 years and sixteen albums, in fact, I saw a T-shirt on a fan which said Mr. H Marillions new Singer for over 30 years.
My next obstacle was I checked the setlist from earlier in your and apart from the Fish era classic Garden Party and a couple of early H singles I drew a blank so I called in my own Marillion expert Dave Purkiss to assist me in recognising obscurer tracks. This was prime cheating by me as Dave has seen the guys well over a hundred times and even drummed onstage with Ian Mosley at fan conventions.
After a War and Peace prologue, you are probably thinking, enough about your musical past was the show any good. Finally, the lights go down the guys stroll on to rapturous applause from this most partisan of fan bases and kick straight into the title track of Sounds That Can’t Be Made and a double from Afraid of Sunlight (title track and King). So far pleasant enough but not really grabbing me then The Party from Holidays In Eden blew me away, lyrically as well as musically. The show continued with tracks from Marbles (You’re Gone) and the dark The Bridge (Brave). The new album is coming, and they played Be Hard On Yourself and the crowd loved it. Seasons End was revisited with Berlin and then Neverland (hang on, the explanation to headline is coming, you’d forgotten about it by now I suppose) from Marbles.
Now for the encore and this is where I thought the band really stepped up to the plate with the Leavers suite from F.E.A.R which left me speechless and open-mouthed by its brilliance then a nice lesson in British and Irish history from a very “relaxed” H and a beautiful rendition of Easter, and the last encore I was getting ready to bounce along to Garden Party like those lucky souls in Hull but then I noticed Pete strapping on an acoustic, Dave smiled and correctly predicted Made Again from Brave and the lights came and the game was over (over)
Thoughts and reflections, firstly if Steve Rothery was a skinny chap with flowing locks from California he would be lauded as a guitar great, as it is because he is a paunchy, balding Yorkshireman he never gets the credit his unique talent merits. Pete and Ian are a tremendous Rhythm section especially the bouncing effervescent Cornishman and Mark Kelly will always be the enigmatic keyboard wizard. The “new” chap is a hoot, playing up to the crowd at every opportunity, berating wags in the crowd cheekily shouting out for Grendel and Kayleigh with tuts and “kids today.” I went as a one-eyed Fish devotee but emerged converted to the church of H. I have only seen them this once and for me it was an 8 out of 10 (Garden Party would have made it a 10, but would I compare and markdown who knows) but what of Dave who likes mentioned earlier seen the guys over a hundred times, a solid 7 not bad considering everyone been not playing shows for nigh on 2 years.
So back to Neverland Say Die, when Hogarth came out in white fringed leather for the encores I thought of Ozzy in a similar jacket on never say die tour, I now realise you haven’t got to choose, Sabbath with Ozzy or Dio and Marillion with Fish or H are both very different but equally excellent bands. They got their hooks in me and I will definitely BE checking out the 16 albums I neglected.
BOB VYLAN announces their brand new album ‘Bob Vylan Presents The Price Of Life’, set for release April 22nd through their own Ghost Theatre label – Pre-order the record – HERE
Live wise, the band have just completed a UK tour as main support to Biffy Clyro and start a tour supporting The Offspring this week
London two-piece BOB VYLAN can today announce details of their hugely anticipated forthcoming new album ‘Bob Vylan Presents The Price Of Life’, which is set for release through their own Ghost Theatre record label on April 22nd, 2022.
The record is now available to pre-order, which fans can do – HERE With these pre-orders, with each copy of the Gold or Silver vinyl (limited to 500 each), fans will be entered into a raffle to win either:
– A one-off Bob Vylan action figure made by Mr Cooke Customz + a signed test pressing – 5 separate, signed test pressings & unique signed instax – 10 separate signed instax
Talking a bit about the new single ‘GDP’, vocalist Bobby Vylan explains “This single explores a lot of the topics we’re known for, racism, class, social struggles in a way that may not be so obvious on first listen but when you hear lines about friends being stabbed because they come from a place and live a lifestyle that encourages violence to get what you want, you can’t help but ask yourself “well how did that environment begin?”. The chorus tells you outright, “what good is talking about the GDP if I’m struggling to get by?”
Having been a band for around 4 years, the BOB VYLAN sound is ever evolving and crosses genres and sonic dimensions. They incorporate these multiple styles in their music in an attempt to bridge genres and subcultures together. Bob explains a bit more about the album, it’s themes and ideas for this next phase for BOB VYLAN, “This project is allowing us the space to showcase different sides of our personalities. We don’t want to give the same thing over and over again, so we’re tackling topics in a different way this time. It’s serious and funny, it’s communal and obnoxious, it’s many things at any given time, and it’s a concept project. It explores the idea of paying your way through life and the expense of living in a society that places money above all else. It explores the places we’ve come from and the extremes we’ve seen people go to in order to survive. It also looks at the nuances around money in our society, the less obvious connections, like the world of advertising and art having to align with advertisers values in order to be given a platform, as well as the price of healthy eating, the cost of technology not necessarily on our pockets but on our lives.”
This band are all about community, and for them, their live show is a place where they can really express that. At each show, they start off with mediation and end with a group hug, but what’s between the meditative start and embracing end is a message delivered in a way that both Bobby and Bobbie feel has been missing. Live show wise, they have already been on a sold out UK headline tour (with support from Witch Fever and ZAND) in the summer, played at Reading and Leeds and ALT LDN festivals, been main support to Biffy Cylro through October/November and will be heading off to support The Offspring in arenas across the UK from later this week.
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