On 2nd July 2022 JD & The FDCs debut LP ‘Recognise’ turns 10 years old. To celebrate They’ve decided to dust off the armbands and take to the stage one more time. OG line up! After all, real FDCs don’t die.

Ten years to the day since the original release they’ll be playing a very special one-off reunion show at The Rescue Rooms in Nottingham with support from good friends and the Shit Island’s very own The Hip Priests.

Presented by IKE Productions, tickets are on sale now: Here

For the first time ever on vinyl, 10 years after its original release, here is Recognise X!

Black and gold splatter 12″ vinyl, hand-numbered and limited to only 165 copies, so do NOT snooze on this one!

Featuring brand new artwork and a gold/black theme, a full colour insert and the first 50 orders come with an additional sleeve, signed by all members of the band!

Please note, this is NOT a pre-order: These records are here and they will ship immediately, with FREE UK SHIPPING!

Recorded by Jason Sanderson (Rolo Tomassi/Ginger Wildheart) and mastered by Howie Weinberg. (Nirvana/Public Enemy/Beastie Boys/The Clash/Ramones)

Side 1
1. Recognise
2. Ujpest Dozsa
3. Mirrors & Wires (featuring Rob Lane)
4. Burn This City Down
5. From The Shadows (featuring Dez Cadena and Amy Dumas)

Side 2
6. The Secret (featuring Acey Slade and Andee Blacksugar)
7. No Way Out (featuring Richard Bacchus)
8. This Town Of Infamy (featuring Johnny Bonnel)
9. Never Gonna Stop
10. Anti-Destination League (featuring Jesse Luscious)

It’s the opening night of Gary Numan’s long awaited Intruder UK Tour, and this time around its one of his largest in decades, not just in the number of dates (19 in all), but also the venue capacities (the tour sees Gary making a long overdue return to Wembley Arena).

It certainly doesn’t take a genius to see why Numan’s stock is on the up right now, he’s released two of the best albums of his 40 plus year career in the past five years, and in ‘Intruder’ the latter of those two albums, perhaps the best album he’s done since his initial late 70s/early 80s heyday, and it’s one that easily breezed into my RPM albums of the year list for 2021. I guess that’s also why Sky Arts are in the house tonight filming for an upcoming documentary about the enigmatic singer/songwriter, someone who helped influence a whole generation of bands worldwide during his 20 plus studio album career (including collaborations and Tubeway Army that is).

Not least tonight’s openers Divine Shade, a French trio who Gary himself seemingly picked for the tour just so he could see them live. They play darkwave, mixing the traditional industrial/electro sound of the likes of The Young Gods and KMFDM with a hint of early 90s dance along with the occasional blast of Killing Joke vocal intensity. They go down very well indeed with those in early doors, and whilst I’d only caught a few snippets on YouTube before tonight I have to admit I’d be interested to hear what the songs played tonight would sound like in the context of an album.

They may have actually been selling one at the merch stall, but with ongoing concerns over Covid and a strict queueing system in place that extended half way up the side of the (newish) swanky bars that the University have within its concourse, I instead decided to wait until I got home and let the internet once again take me on another musical adventure.

Which is something tonight’s headliner has most certainly been on since the first seeds of a Numan renaissance were  sown back around 1994 with the release of his ‘Sacrifice’/’Dawn’ album and whilst it was a good six years later that I first reengaged with the artist via his ‘Pure’ album (the title track of which making a mid-set appearance tonight) and live a year later during a rip-roaring Reading festival appearance in (of all places) the Dance Tent, tonight really is all about the triumph that is Gary’s nineteenth solo record, the aforementioned ‘Intruder’.

With Gary promising a breath-taking light show to complement the tour, it is the title track of ‘Intruder’ that brings everything to life amidst a fireball of energy. The video banks and lighting playing out the visual aspect of the music – whilst the audio is (as one has come to expect from Numan) technically brilliant from the get go.

There’s a real bite to the layers of sound and whilst the band numbers just five members (including Gary) they make the sound of a dozen thanks to swathes of synths and samples that swirl around in the Great Hall. Special mention must go out to the guitarist and bassist who duck and weave like champion prize fighters, and indeed Gary himself who at 64 years of age pirouettes, preens and sings like a person a third of his age. He was certainly never this stage confident first time around, albeit he still doesn’t say a single word to the audience tonight other than the odd off-mic thank you.

Set list wise I don’t really want to spoil it for those of you yet to still catch this tour as it winds its way through the UK for much of May. Me, I’d have been quite happy for Gary to play all of the ‘Intruder’ album, but for those of you who have also been on the musical adventure with the man himself then along with a handful of cuts from said album there’s also a smattering of deeper cuts, interspersed with the usual “must play” tracks, the highlights of which for me tonight are a cocksure run through of ‘We Are Glass’ and a mid-set pace resetting ‘Down In Park’ that directly followed a brief musical interlude where the band left the stage and let the samples set the tone.

Thankfully with Numan it’s not just about playing the hits though, and its tracks like ‘The Chosen’, ‘The Gift’ and the jawdropping ‘My Name Is Ruin’ that easily stand shoulder to shoulder with the ones people like to sing the riffs to.

This tour is indeed a triumph for Gary Numan both musically and visually, it’s something you really should dig deep to get a ticket for (and like many fans I see on social media commenting) maybe even for multiple dates, because remember as Numan himself has said they’ve learned 35 songs for this tour and only 19 of those were played on this the opening night.

Oh, what musical treats await you all. Enjoy!   

Author: Johnny Hayward

Southern Gothic hits the Wirral Peninsula as Bambara plays their last mainland UK date at the visionary Future Yard in Birkenhead, after an already formidable European jaunt. Delayed by almost two years and a few venue changes on the way, we’re finally here enjoying a much sought-after sonic assault.

The band brings with it a moody, introspective atmosphere akin to something you would expect from a David Lynch feature. Saturating the room with somber tones immediately on opening number ‘miracle’, until the latter half of the song, at which point frontman Reid Bateh kicks the door off the hinges vocally. Between most of the set, he moves effortlessly from cool and contemplative to frenzied and intense, unleashing his lyrical attack looking like a young Michael Shannon playing method in a crazed and epic role. 

The overall sound is explosive, hitting all the right spots and showcasing an accomplished live makeup without losing any of the dexterous qualities of the records. Although the group is ferocious yet brooding, they make it clear from the outset that they are a well-oiled machine, melding an impressive, galloping rhythm section with layers of lush Bayeux Esque synthesized backing tracks and gothic guitar lines, draping the audience in neo-noir darkness. 
Tonight we are given an array of the band’s ever-growing back catalogue, but with a focus on the latest album Stray, and the recent EP Love On My Mind. Stand-out tracks are ‘stay cruel’ from the former and ‘feelin’ like a funeral’ from the latter. We are even treated to the live debut of ‘little wars’, a definite plus for the Tuesday night crowd here this evening. 
With more dates on the other side of the Irish sea and a swift handful of shows in the US and Canada once they fly back, let’s hope they don’t tire themselves out too much and return to the UK sooner rather than later. 

Bandcamp Here

Future Yard

Author: Dan Kasm

The indelible Jon Spencer (Blues Explosion, Boss Hog, Pussy Galore, Heavy Trash, etc) is back in the room and this time he’s brought The Hit Makers whilst the Blues Explosion takes a break.

Well, What does it sound like man? Is it a departure for Jon has he gone pop? First off you get plenty of bang for your buck as this bad boy contains Thirteen phat beating, fuzzed up, Groovy Rock n Roll baby, and that right where you want to be. Hell, it’s Jon Spencer god damn it. ‘Junk Man’ is like the beastie boys got transported into Spencer’s head and he poured out that hustling groovy vibe with a paper thin synth lick on top of a big beat with added howling from your main man, Perfick innit!

Spencer sure does get things lit as he delivers his fucked up sounds and if you’re not on board by the time ‘Get It Right Now’ is in full flight your head is rumbling to the backbeat and Spencer’s whack vocals and lyrics. Gets It Lit delivers in spades, it’s exciting, Fucked up, depraved, and all in his inimitable gonzo style. It sure is a head fuck and ‘Death Ray’ is only the third track on offer. As the guitar flickers to life via a paper thin lick its a shuffle and some tweaking blinking synths as Spencer dishes out his sermon about God knows what (a second inside his head would terrify 99.9% of the population Who knows how he manages to get that shit out and onto tape at the best of times but I can’t help but feel that he’s got a cheeky grin in the booth when recording this record. It’s messed up for sure it’s a melting pot like no other but damn it’s good. fuzz guitar, fat synths, rhapsodises, Wild guitar breaks, and lyrics intended to mess with the most stable mind. Spencer Gets It Lit for sure. Whilst there is a lot going down it sounds like the best of times and a lot of fun melted into the plastic on this disc.

I’m loving ‘Primary Baby’ for its solid groove and great vocals. Playing this on jaw vibrating volumes takes it to the next level and is a lot of fun, even the neighbours would agree. I’d love to hear Jon do a collaboration with Bobby Gillespie I think they could make some sweet sweet music and ‘Bruise’ is what made me think of that musical marriage. “All I Want Is Everything” he shouts out but I think he’s already got everything, well, except the kitchen sink – This I know because I’ve been playing this record for days and to be fair it’s probably got the kitchen sink in here somewhere.

By the time we get to ‘Push Comes To Shove’ I need a time out and to sit in a field to gather myself before I dive back in for the rest of this beautiful noise. ‘My Hit Parade’ is about the straightest song on here just a twisted pop song with some twang on that guitar.

‘Strike 3’ is a stonker with a sharp guitar lick and some garage beats for good measure. The record signs off with ‘Get Up And Do It’ which is like he’s brought up the ghost of Lux and walks off into the sunset with a touch of Cramp. I hope the next offering isn’t too far off because this was a blast! Now lets all go get Lit!

Buy Here

Author: Dom Daley


It’s shaping up to be another busy year for New Zealand born, London based rockers Desperate Measures. Following their mini album ‘Rinsed’ on Easy Action Records and a full UK tour with Paul Cook’s post-Pistols rockers The Professionals at the end of last year, Desperate Measures have started recording their debut full length album, due early 2023. Working once again with Andy Brook (who has produced, engineered, and toured with the like of Status Quo, Ginger Wildheart, Wonk Unit, Hayseed Dixie…) at The Brook Studios in Wallington, Surrey, Desperate Measures have completed work on a new single titled ‘Thinking Of England’ that lyrically captures the yearning to escape from a place or a situation you might not want to be.

The single will be released in time for the Queens Jubilee on June 3rd. Desperate Measures will play a single launch show at London’s Water Rats Theatre on May 20th to coincide. Says Eugene Butcher, “we’ll be showcasing a few songs from our forthcoming album, plus the new single which has just happened to coincide with the Queens Jubilee. And we’ve got The Duel and Seven Days and Doesn’t Die along for the ride so expect a right Royal knees up!”

Tickets for Water Rats May 20th available HERE:

See Desperate Measures in 2022!

April 30                 Angel Weekender, Coalville

May 13                 London Powerhaus (*with Nashville Pussy)

May 14                 Westworld Weekender, Wolverhampton

May 20                 London, Water Rats

June 3                   Strummercamp Fest, Oldham

July 1                     229 Club, London (*with UltraBomb)

July 8                     Bedford Esquires (* with The Rose Of Avalanche)

July 9                     Manchester, Night People (* with The Rose Of Avalanche)

July 22                   Hope & Anchor, London (* with Sick On A Bus)

August 4              Blackpool, Rebellion Festival

August 20            Unity Festival, Corby

September 3      Banfest Festival, Banstead

Find Desperate Measures online at:



The Shits resumed live duties pre-pandemic when original member Pete Makowski decided to have another crack at playing with the Shits and they managed a few choice performances like Rebellion and support to Johnny Moped for Damaged Goods birthday bash. They managed one original album ‘I Can’t Come’ which was put out by Damaged Goods way back at the tail end of the eighties. but every band deserves a live album don’t they? Well, maybe not but the shits have a number two in them and here it is! ‘Shits Alive!’

Tom Crossley was persuaded to join the band on vocals who happened to be in Giovanni’s second band Famous Monsters after The Shits burned out the first time around. Pete roped in his mate James on the drums and Snivelling Shits mark two is all systems go. This record you could be lucky enough to hold in your sticky mitts was recorded when Damaged Goods got the tape machine rolling at their 30th Anniversary show at the Lexington and The Snivelling Shits were duly roped in to play. After playing a wonderfully chaotic show at Rebellion in 2019 the bloody pandemic stepped in to derail what was blossoming into something quite beautiful until sadly Pete passed away late on in 2021.

With all that’s gone on and circumstances conspiring against this record hitting the shelves what with Brexshit, vinyl shortage, pandemic and death etc. This record is a fitting tribute to Pete who oversaw the artwork and tape recordings, as well as all original members its a small peek into what a great band they were/are. Also it brings two demos from the original lineup that was briefly available at that Rebellion show (long gone now sorry) (on Brown Vinyl). It was also a fact that Pete wanted this recording also pressed on Brown Vinyl but with all, that’s going on Brown wasn’t available so all the colours of the rainbow would be the fitting alternative I’m sure Pete would approve. The record kicks off with ‘Terminal Stupid’ which is a punchy romp Buzzcocks style and Tom’s vocals are the perfect fit. The mid-song banter from Tom is quality as the band launch into ‘Only 13’ with that Steve Jones snarling riff it’s toe-tap-tastic. ‘Bring Me The Head Of Yokio Mishima’ is a belter of a tune be it live or the demo mix that’s included here on this record a real highlight. I did have a giggle at ‘Crossroads’ and I’m sure Benny would approve with its Lower East Side sleaze and snarl and that Lou Reid chug.

It’s not all fun and games they also ponder serious questions like ‘Isgodaman’ with its loose riff being punched down the line by James Sherry’s solid beat it happens to be a thumping good tune. The live songs are brought to a crushing end with the ode to pens everywhere with ‘I Wanna Be Your Byro’.

This only leaves room for the demos ‘Bring Me The Head’ and ‘Et Mo, Et Moi, Et Moi’ which is a fitting way to put a full stop on the magnificent Snivelling Shits. So if you want to join the cool kids then what are you waiting for? ‘Shits Alive!’ is a blast, a lot of fun and some top tunes, no seriously these tunes are where it’s at in 2022 and God bless Damaged Goods for getting to release it for our listening pleasure. If only they were flushed with success

Buy Here

Snivelling Shits Facebook

Author: Dom Daley

You can pre-order the new album ‘I Live Too Fast To Die Young’ and assorted goodies from Here. The album comes out on June 10th and is the first new music from the band since 2019 ‘One Man Gang’.

“It’s an ode to our wives and loved ones who have stuck by our sides through years of playing music and touring the world,” offers Monroe on the new single. “But this can also apply to any person working hard, away from home a lot of the time, who is lucky enough to have a loved one sticking by their side through thick and thin. So, it’s a celebratory song to our nearest and dearest who are always there for us.”

“It’s a big, 1970’s Slade-inspired glam stomper,” adds Rich Jones, “It celebrates our loved ones who support us through the ups and downs of being a touring musician”.

Throughout his latest (and greatest) venture I Live Too Fast To Die Young, Monroe tells tales of glory and observed stories, some pretty, some shitty, but all through a lens of eventual optimism, hope and a sense of dirty, cheeky late-night fun. Monroe’s lens has always been directed towards the upside, even after the greatest downs a man can suffer, and the sheer power of his positive energy infuses everything he comes into contact with.

The eleven lean, mean, raw power rock ‘n’ roll songs which make up I Live Too Fast To Die Young see Monroe swagger the streets like a rock-punk poet, a storyteller who’s seen it all from the hellholes of Helsinki to the late-nights in London’s St. Moritz with some trashy times in Tokyo to boot. Warm, funny, occasionally sad but ultimately upbeat, I Live Too Fast To Die Young brings the listener into the heart and soul of its creator.

The title track, ‘I Live Too Fast To Die Young’, is quintessential Monroe, playing with words and concepts in a playfully irreverent way and wrapping it all up in some proper ‘fuck you’ rock ‘n’ roll. A close friend of Monroe’s, Slash from Guns N’ Roses, throws down some lead guitar on the track.

Recorded at Inkfish Studios in Helsinki, Finland between November and December 2021 and produced by the band with engineer Erno Laitinen, the album features Monroe on lead vocals and harmonica, Steve Conte (guitars and vocals), Rich Jones (guitar, vocals), Karl Rockfist (drums) and Sami Yaffa (bass/vocals/guitar). With I Live Too Fast To Die Young, it is clear Michael Monroe is striding into the summer with a triumphant -and perhaps most importantly, defiant- roar to offer you a chance to let your hair down (or up!) and to once again enjoy the freedom of joyous celebration and expression.

The band is due to appear at a string of summer festival shows and will be touring in support of the album on the following dates:

04 Jun – ROCK HARD FESTIVAL, Gelsenkirchen (DE)

06 Jun – K.B. Hallen, Copenhagen (DK)*

9-11 Jun – SAARISTO OPEN AIR, Kaarina (FI)

10 Jun – ROCK IN THE CITY, Kuopio (FI)

11 Jun – SWEDEN ROCK, Sölvesborg (SE)

15 Jun – Dolina Charlotty, Charlotta (PL)*

17 Jun – Stadthalle, Zwickau (DE) *

18 Jun – AZKENA FESTIVAL, Vitoria-Gasteiz (ES)

21 Jun – Mitsubishi Electric Halle, Dusseldorf (DE)*

22 Jun – Jahrhunderthalle, Frankfurt (DE)*

25 Jun – HELLFEST, Clisson (FR)

29 Jun – Ippodromo San Siro, Milan (IT)*

07 Jul – SAUNA OPEN AIR, Tampere (FI)

08 Jul – ROCK IN THE CITY, Oulu (FI)

15 Jul – VAUHTIAJOT, Seinäjoki (FI)

16 Jul – ROCK IN THE CITY, Rovaniemi (FI)


03 Aug – WACKEN OPEN AIR, Wacken (DE)

06 Aug – VAASA FESTIVAL, Vaasa (FI)

27 Aug – HRH Sleaze, Sheffield (UK)

*Supporting Alice Cooper For tickets and more information please visit: http://www.michaelmonroe.com/

After witnessing Killing Joke in all their live magnificence just a few hours earlier I couldn’t wait to pick up ‘Lord Of Chaos’, the track that makes up the centrepiece of the band’s current live set, and heralds the arrival of the band’s first new material since 2015’s provocative yet still excellent ‘Pylon’ album.

 ‘Lord Of Chaos’ is the first of four songs contained on this EP and it is a masterclass in melancholic heaviness. As brutal in the studio as it was live, largely thanks to a razor-sharp mix from Tom Dalgety (Opeth, Ghost and Pixies), ‘Lord Of Chaos’ is perhaps the perfect soundtrack for our troubled times, soaring on a trademark Jaz Coleman vocal line that hooks you in and then spits you out bloodied and bruised in a little under four minutes.  This is the sound of classic Killing Joke.

As is ‘Total’, which is actually my favourite of the two new tracks showcased here, largely because whilst thundering along like some gothic destroyer it also hints at the slightly more melodic undertones of the band’s ‘Night Time’. If this is something that the band have also continued into their yet-to-be-released sixteenth studio album, then it’s going to make for some very interesting listening indeed.

The two tracks that make up the rest of this EP are reworkings of tracks from the aforementioned ‘Pylon’ album with ‘Big Buzz’ getting a dancefloor remix from Dalgety and Nick Evans whilst Killing Joke’s very own in-house production king Youth gets to dub-deconstruct ‘Delete’ as only he can.

Going back to the gig the night before in Cardiff what struck me most was about the night was the fact that 40 odd years into their career there’s still no-one out there like Killing Joke, others have tried certainly, but I take my hat off to Jaz, Youth, Geordie and Paul for being the original and true Lords Of Chaos. Cherish them while you still can!

Buy Here

Author: Johnny Hayward

“Baby! Hey! Won’t you give me another chance?”
With these words and the first single, Mudfight start the journey towards the release of their debut album. ‘Infant! Hey!’ While setting the tone to be expected on ‘Time For Revolution’, it also provides an antidote to remorse and lovesickness – all in the form of a high-energy punk anthem.

The young artists tell a story from the perspective of a person who apologizes for their behavior in a romantic relationship and asks for a second chance. Whether that person deserved it remains to be seen… but what is certain is Mudfighthave come to really shake up the punk scene! During the video for Baby! Hey! Inspired by classics like Sex Pistols’ ‘God Save The Queen’ or Green Day ‘s ‘Father Of All‘ , they are also concerned with getting the younger generation more enthusiastic about punk. This time, the newcomers from Upper Austria have specifically chosen a performance video to introduce themselves as a band and to show what they enjoy the most: namely being on stage and giving everything!

The video was created in cooperation with Klaus Winkler (Loprosh.tv). Fun Fact: It was filmed in a church!

Photo credit: Michael Wittig

Tonight sees the return to Clwb Ifor Bach of Ginger Wildheart, tonight he is flanked by the very talented Jon Poole on guitar and in tune backing vocals and the wonderful Carol Hodge on the keyboards and equally in tune backing vocals and beaming smiles.

Carol has put together a full live band on the back of her last album, ‘The Crippling Space Between’, tonight though it was just her and her piano with added fairy lights for that bit of glam razmatazz. I guess if its just avoice and a piano its tough to mix it up but Carol has a great on stage personality and spirit and when she introduces songs in South Wales entitled ‘The Witch is Dead’ about she who cannot be named around here who snatched milk from kids amongst other far more evil things, written on the day she died, was always going to be a crowd pleaser and to be fair those who turned up early enough were treated to some wonderful songs stripped bare and with respect you could hear a pin drop which was very nice. There was crowd interaction al-a- Mercury at live aid (only joking) maybe she could invest in a keytar and really take it to the audience – next level shit right there. Anyway, I digress. It was a great warm up tern and an artist who deserves investigating.

In a very casual fashion our acoustic warriors moved through the audience (who by now had filled out the venue on a school night), Carol now situated to the stage left Jon Poole on the stage right looking very dapper in his red Docs (only a 9 holer not your Cronos 666 holers) white jeans and fred perryand pop star shades whilst Ginger took the centre and wasted no time in getting on with the job at hand. It was Taxi/ Cheers opener to loosen up with. Then it was a brief introduction before launching into a deep cuts set that was most welcome.

It was a relaxed evening and the audience were very respectful with heckling and shouting for their favourite Wildhearts song and once the flavour of the night was locked in people just got into it and went with the spirit to just enjoy the evenings turn. Much like when Ginger played just down the road in a church with the sinners it was a spectacular evening with a different strand of Gingers music weavings tonight was yet another side and clearly the rehersals had paid off (even with Gingers cold) Jon is an excellent foil keeping the mood light hearted but never going amature and with Carol Hodge adding piano it was a really impressive sound.

I guess it was originally planned as a tour to promote (and flog) ‘The Pessimist’s Companion’ but sadly copies were delayed from the States but Ginger didn’t let that put a dampner on proceedings it was superb to hear songs like ‘Why Aye’, ‘Paying It Forward’ it was also great to hear songs from ‘Yoni’, ‘Gass’ in the shape of the suprisingly good acoustic working of ‘Punk Wars’. There was also supershit 666 and a Silver Ginger Five song thrown in for good measure.

When Jon took the mic for a punk rock workout and give Ginger a break from singing, by the way Gingers voice sounded rested and on point throughout reaching the high notes without it breaking due to his fever. All around were people singing along and beaming smiles it was just good times to be having a good time. We were out of the house and rocking out on a school night and being royally entertained by the trio of talented individuals before us and the Wildhearts fans even go tto sing along to ‘Geordie in wonderland’ but even that was overshadowed by the playing of the Linderfarm hit and according to Ginger the national anthem of Newcastle ‘Running Man’. It wasn’t the end of the covers tonight because there was still time for a wonderful moment as Ginger was joined on stage by his son for a run through ‘Cover Of The Rolling Stone’ by Dr Hook – I kid you not but boy it bloody worked!

After a big thank you for supporting live music and turning up it left just one song that was sung back loud and proud ’29 x The Pain’ and we were done. Always a pleasure never a chore and if these three rolls into your neck of the woods then don’t hesitate it’ll be a rewarding and life-affirming night out with some top tunes from a real genuine talent.

Nights like this where genuine enjoyment is physical and can be shared from the stage to the dance floor aren’t always the case and when Ginger commented how much he enjoyed certain songs when they finished, it was the same for us watching now when can we do this again I enjoyed that.

Carol Hodge Facebook

Ginger Wildheart Facebook