the title track, and first single, from Lornes, first-ever solo album, out on Spaghetty Town Records on September 16, 2022.

Coming off his acclaimed 2021 four-song EP When I Hit The Floor–which prompted the esteemed Jesse Malin to praise it as Real blood and guts rock and roll that bleeds with soul and redemption”–NYC punk rock n’ roll singer-songwriter-guitarist LORNE BEHRMAN today (June 9) shares the video for “A Little Midnight.” It’s the first single (out digitally this Friday, June 10) from his debut album of the same name, available September 16 on Spaghetty Town Records. Watch the video, directed by David J Barron, here and read a new Q&A below. It was premiered yesterday (June 8) by Glide which noted that the song “features a blackened riff howl of punk bands like The Damned and The Gun Club mixed with pop sensibilities of The Replacements. When Behrman sings “A little midnight/ it’s alright/A little midnight/does you right,” listeners get a gracious sense of rock and roll escapism at its most pure form.”

The “A Little Midnight” single is a slice of dirty rock n’ roll scrapped off of the streets of the Bowery with an introspective heart from the artist who previously played in The Dimestore Haloes, L.E.S. Stitches, The Dead Tricks and most recently The Sweet Things. “The moonlight looks on good you/Not darkness just silver blue/A little midnight/it’s alright/A little midnight/does you right,” sings LORNE on the song.

A LITTLE MIDNIGHT is a 10-song collection is a series of New York City vignettes haunted by shadows but guided by light. The words here are literate and lacerating, recalling the street poetics of Lou Reed, Richard Hell, and Television. The songs feature stark and fluid guitar playing in the spirit of The Stooges’ James Williamson, Johnny Thunders, and Lou Reed.

“This album is about struggling to be reborn,” LORNE shares. “Wanting to run back to the arms of toxic people or the patterns of self-destruction. It’s about clawing your way to a new existence while acknowledging all the causalities, and all you’re letting go. You glimpse a new life, but you don’t feel it yet.”

The album’s raw but polished production aesthetic is courtesy of producer Matt Chiaravalle (Warren Zevon, Joe Bonamassa, Spacehog). A LITTLE MIDNIGHT was mastered by Grammy-nominated engineer Joe Lambert. Wyldlife bassist Spencer Alexander designed the album artwork, and it is a subtly playful homage to the cover of Tom Petty and the Heartbreakers’ Damn the Torpedoes.


New video for ‘You Shouldn’t Be Lonely on a Saturday Night’ by Diamond Dogs of their album, ‘Slap Bang Blue Rendezvous’. The Duke of Honk comments on the video: “Yes! We still have time to feel good all night with friends!  We still have time for rock’n’roll! – Big Love” Facebook Buy the album Here

Finishing off this most Rock n Roll of ‘Rainy Days’ is the new video from the awesome Slyder Smith & The Oblivion Kids.  ‘When The Rain Comes’ is taken from their debut album ‘Charm Offensive‘, which will be out on 19th August 2022 through Ray Records on 12” black vinyl, digipak CD and digital, distributed worldwide via Cargo Records You can pre-order this album Here

What we’ve got here on ‘Kover All Over’ is a collection of Kiss covers recorded by Lester Greenowski during the pandemic. Each song features different line-ups and different guests on each track and adds a little bit of Lester’s heart and soul to each and every track. Now I’m not the biggest Kiss fan that’s for sure but I can’t deny they have a healthy back catalogue, especially the first few albums and up until the mid-80s when I first saw the band without the makeup but when people cover their songs they often miss the point where the earlier tunes were proper Rock n Roll songs and that’s something Lester gets, well and truly embracing the true spirit of what made them such a good band early on.

Back in his pre-teen years, Lester learned about the 70s New York City music scene through Kiss. Soon that scene will become one of Lester’s main passions and musical influences. Right from the opening salvo of ‘Radioactive’ you absolutely get that but he also manages to infuse what other greats poured out of the city that doesn’t sleep making this album more than just run-of-the-mill kiss covers this has plenty of Blondie and Dolls running through its heart and soul and you can hear that in these interpretations.

Sure there are some tracks that are (to this day) staple Kiss klassiks and it’s a brave move for a fan to tackle such tunes but Lester has a punk-n-roll beating heart and such a challenge must have been a buzz and the love shines through like lady liberty’s torch. ‘Got To Choose’ is a blast and the backing vocals have really captured the feel of the original and absolutely reeks of NYC, great job!

Of the biggies, I feel ‘New York Groove’ is a blast of energy, and the same can be said of ‘Cold Gin’ with a razor-sharp riff perfectly captured and my favourite Kiss tune ‘Strutter’ is thumpingly good. What’s not to like on the riff of ‘Parasite’ and Gene’s vocal is delivered with style. The power-pop swing of ‘It’s My Life’ clearly left a mark and as is the case for the whole of this album the quality of covers is exceptional and a real homage to Lester’s heroes and he does it so well.

Lester clearly loves it loud and this collection of Kovers serves him well for he has taken that passion and paid his dues and turned in a very respectable record. If you are a Kiss Kollector or just Kurious kome on in and get an earful of these fantastik Kiss Kovers now where are my stack boots and Kiss Korpse paint? Lester has got me diggin out me old Kiss rekords – I love it (loud)

Buy it here

Author: Dom Daley

When is a new album not really a new album? Um, well this one to be fair. During lockdown, Mike Peters recorded a plethora of new tunes in the wake of insurrection day in Washington DC. The album came out under the title ‘WAR’ and was pressed individually on a lathe press. Each copy came with a hand-drawn cover from Peters’ fair hand nonetheless and was the singularly most expensive record I’ve ever bought.

Since Lockdown and Insurrection Day things have improved in as much as we have the ability to attend live shows, gather and travel and back to some sort of normal (if where we are now is normal then yup normal) After witnessing an impressive show on The Alarms recent jaunt around the UK, news of the impending Alarm record was exciting and something I was looking forward to.

Maybe I didn’t read the memo or wasn’t paying attention (nothing new there then) this new album (on a rather nice splatter variant might I add)is that rather expensive ‘War’ album at a much more affordable price and an added new track. Anyway, I was impressed with that album and the story surrounding its birth into the world so when I go this new variant home (Housed in a collage of insurrection debris) the packaging is nice compared to the ‘War’ lathe cut one so that’s a bonus. Anyway onto the music.

On first spin, I can’t notice any immediate mastering wizardry from the previous recordings (although I am now aware there are special bundled versions available from the Alarm central but having just splashed out on a bunch of reissued records and the recent coloursound album I couldn’t stretch my funds just far enough to get the alternative mixes). I stand by my review for the ‘War’ record and whilst I’ve not played it for a while the songs sounded great live.

Sure it’s not groundbreaking sound-wise but the concept and way the record was grown are excellent and a sense of urgency is captured in the songs from the opening energetic rush of ‘Protect And Survive’ it’s a style Peters does very well and one I love hearing. The Alarm are a very different beast to the 68 Guns line up and have never let the grass grow around their collective feet and whilst I love hearing the classics I also love hearing new music and like it or loath it challenging himself to write new music is whats kept Peters moving forwards. It seems weird saying these songs have stood the test of time as they’re on a new album albeit 18 months old. some of the songs have certainly stood that test – still sounding fresh and energetic. The cover featuring Benji Webbe of Dub War is one of the stand-out tracks doing a sterling job covering someone else’s tune but by no means the best on offer here.

Some of the songs have jumped the queue like ‘Crush’ which are vibrant slabs of rock even with their gregorian style backing vocals. It also reminds me of the first few early poet’s singles with the use of the harmonica and aggressive rhythm. the musicianship is again of exceptional quality and Smiley does his best Moon on ‘Crush’. You can hear the energy Peters has managed to capture throughout the songs as to the mood it draws from when the attack on the Hill was taking place in real-time. ‘War (It’s Not Over Yet)’ is a fine example of what was unfolding and Peters vocals are excellent in capturing the chaos and craziness of what went on.

Side two opens with the excellent ‘Warriors’ with its skanking rhythm on the verses and great use of the one-finger piano line that flows well into the anthemic chorus. A lot of bands used to front-load their albums and put the most impactful and instantly impressive tunes early doors and keep the “album tracks” for filling out an album but not here folks this album gets stronger and stronger as it unfolds. ‘Gods And Demons’ is a bruising affair with heavy guitars hacking and slashing as Peters howls at the moon with the punchy lyrics, another excellent song, especially as it’s in deep cut territory.

Covers, love them, or loath them most bands do them, and ‘Safe From Harm’ is a good shout in the concept of this record, and getting Benji Webbe on board works perfectly on this rocked-up version of the Massive Attack song. Leaving just the one song, the new song that wasn’t on the War album – ‘Time To Start Over’ closes the album with its modern rock feel, Peters delivers a strong vocal before signing off.

I will make the exception of owning two copies of the same album but with a different title here because I love The Alarm and to be fair this is a bloody good album be it ‘WAR’ or ‘Omega’ it’s one you should really check out. not because I say so but because it’s a damn good record and has some of Mike Peters best songs for a while on it and that’s always a good thing. Hopefully, Mike Peters can get back to full health and keep on marching on and pushing himself to make new music.

Buy Here

Facebook / Love Hope And Strength / The Alarm

Author: Dom Daley

Canadian progressive post-rock outfit Alex Henry Foster and The Long Shadows are back in the UK this June, following their tour with And You Will Know Us By The Trail Of Dead in early 2020, right before the pandemic hit (thankfully they were just able to complete the tour and make it home!), and they’re back this month to play the following gigs.

21st June: London – Oslo Club
22nd June:  Nottingham – Bodega
23rd June: Glasgow – Broadcast
24th June: Huddersfield – The Parish
25th June: Manchester – The Deaf Institute
26th June: Bristol – Thekla




Rebellion Festival, the largest punk and alternative festival in the world, is returning in 2022 even bigger and better with the launch of new outdoor event R-FEST – the festival within a festival.

Confirmed to take place this coming 4th to 7th of August 2022, in addition to Rebellion Festival at its annual home the Winter Gardens, R-FEST will be located slap bang in front of Blackpool Tower on the promenade, directly down from the Winter Gardens. The organisers are building an arena with the sea on one side and the town on the other, with a capacity for 15,000 punters and space for bars, food, and band merchandise.

Today, R-FEST can announce that English indie-rock legends The Wedding Present will be joining the line-up on Saturday August 6th. They replace the Chameleons who are sadly no longer able to perform, but the Leeds born John Peel favourites will join Gary Numan, Peter Hook & the Light, Pop Will Eat Itself, Spear of Destiny, Primitives and Pete Bentham & the Dinner Ladies for what is sure to be a fantastic day of classic music.

“Every time Rebellion Festival announces its line-up I say: “We have to go to that festival this time.” But we’ve sadly never made it. Until now,” exclaims singer and songwriter David Gedge. “I feel honoured that The Wedding Present have been invited to appear at this year’s brilliant-looking event.”

The full line-up for R-Fest is.

THURSDAY 4th AUGUST: Levellers, Hawkwind, Misty in Roots, Dreadzone, Ferocious Dog, Beans on Toast, Millie Manders and the Shut Up

FRIDAY 5th AUGUST: The Stranglers, The Undertones, The Skids, From the Jam, Toyah, Jilted John, The Vapors

SATURDAY 6th AUGUST: Gary Numan, Peter Hook & the Light, Pop Will Eat Itself, Spear of Destiny, The Wedding Present, Primitives, Pete Bentham & the Dinner Ladies

SUNDAY 7th AUGUST: Squeeze, Billy Bragg, Tom Robinson Band, Hollie Cook, Buzzcocks, Altered Images, I, Doris

R-FEST will quickly establish itself as the North West’s premier music festival and Rebellion Festival look forward to welcoming many fans that could be experiencing one of their events for the first time. We’re sure they will be welcomed by the Rebellion Family and soon realise why Blackpool is such a special place for our summer gatherings.

R-FEST is a standalone festival and day tickets are available at £50 per day. However, if you are a REBELLION weekend or REBELLION day ticket holder your ticket will get into R-FEST Free Of Charge!

R-FEST is all ages and there is re-entry available.

Rebellion Festival also looks forward to hosting the best punk from around the world in 2022 with the likes of Sham 69, Bad Religion, Circle Jerks, Cock Sparrer and Stiff Little Fingers confirmed to play the Winter Gardens August 4th-7th 2022.

Tickets for Saturday R-FEST are available HERE:

Rebellion Day & Weekend Tickets gets you in to R-FEST and the Winter Gardens full festival and are on sale HERE:

Head to for all info and tickets.  

‘Work In Progress’

Whilst they might not be clocking up the 25th Anniversary editions these three more recent Subs platters are still almost a decade old and went out of print on vinyl as soon as they were released such was the collectability of Subs albums amidst the return of vinyl buying people, In fact, it’s been eleven years since ‘Work In Progress’ was issued amidst richly deserved critical acclaim (I know I was very complimentary at the time of its quality).

This new double vinyl edition comes with one gold-coloured disc and one silver coloured disc in a very nice repro of the original artwork but in a gatefold sleeve again pressed on 10″. It’s still got the fourteen Tracks. Kicking off a new era of Subs where Jet was on six strings and the rhythm section of Alvin and Jamie really hit their stride with some of the band’s finest songs coming into existence like opener ‘Creation’ which really set the tone.

I remember interviewing Charlie around the time and his enthusiasm for the album was infectious and on hearing the songs it’s easy to see why he’d be proud of this record. ‘Tokyo Rose’ was something a bit different from the band and the Alvin Gibbs sung tracks are some of his finest writings even to this point today ‘Hell Is Other People’ is such a banger of a tune. Their cover of The Sonics ‘Strychnine’ was also a glimpse of what was to come with their covers album (post-a-z). It was a real call to arms and this reissue of sorts is a most welcome addition to any Subs collection.

Buy ‘Work In Progress Here


As the band headed towards the end of their epic 40-plus year project who ever thought they’d even make it to X let alone surpass the lot and head into new territory. ‘xxiv’ was a stunning follow-up to ‘Work In Progress’ and showed that the band were really locking into gear as a unit with all the incredible shows they were putting in around the time covering every inch they possibly could of this planet ‘XXiv’ is a limited edition double 10” that comes in a gatefold sleeve on green vinyl (disc one) and clear vinyl (disc two). It finds itself expanded to 15-tracks over two LPs with the addition of the previously unreleased album out-take ‘Workers Beer Company’.

Originally coming out in 2013 again, it sold out on its initial release on vinyl so this will please many fans and with the bonus of the extra track it isn’t just a cash cow or pension plan. (maybe they missed a trick, not including the bonus acoustic songs or reworkings on the original double CD that came out at the time now that would have been something special) this one took what the band did on the previous release and took it up a notch or two with the barnstorming opener ‘Implosion 77’ and then led us into the harmonica honking stomper that is ‘Coalition Government Blues’. I must admit I’d not played this album in a while and have played it over several times for review purposes I have a newly found affection for it. Maybe, with the passing of time I’d rate this one right up there with the best UK Subs album through any line ups and any album. ‘Speed is punk as fuck only to be outdone by ‘Rabid’ absolute blitzing it! The thrust of ‘Monkeys’ and its backing vocals giving it a softer edge is excellent. Again the Gibbs sung songs are top quality and there is no weak spot on any side of these new 10″ records and worth every penny.

Buy XXIV Here

‘Yellow Leader’

Tying up the trio of 10″ records is the penultimate A-Z ‘Yellow Leader’. This one originally came out in 2015 and the album track listing has been restored to its full running order of 18 tracks as previous vinyl editions had to cut four tracks due to running times. So again, it’s not just a reissue cashing in as anyone who picks up a copy will realise that the heavyweight records in their gatefold sleeves and pressed on colored vinyl are well worth having a lot of care and attention to detail has been put into these and it shows. ‘Sick Velveteen’ follows a long line of super-strong opening tracks on albums and it showed that there was no sign of fatigue in the Subs camp nor writer’s block. The songs were coming thick and fast and if anything better and better.

The variety on the eighteen-track album is fantastic from the punk bangers to the reflective acoustic ‘Rebellion Song’ to the riffy ‘Slave’ and the Stooges-inspired ‘Suicidal Girl’ ‘Yellow Leader’ is the third in this trilogy release and one that to my shame I’ve not played in a while but that has been rectified and one I will play more often.

The artwork reproduction is most welcome as is everything about the feel of these reissues. Lyrics, Bonus tracks, coloured vinyl – Man, I love the UK Subs, and with a new album imminent this is a great time for us fans. Sadly, I’m informed there are no plans to reissue ‘Ziezo’ but maybe that will change when these sell out. Trust me when I say these 10″ double albums are the dog’s bollocks and well worth getting your hands on.

Buy Yellow Leader Here

Author: Dom Daley

Monday night metal comes to Bristol, and The Exchange is celebrating by serving up not only a stellar three-band bill showcasing some of America’s finest underground bands but also (if the chalkboards outside are to believed) a black metal brunch too.

Sadly, local scene legend Big Jeff isn’t around to sample either tonight as he’s in hospital over in Swansea recovering from burns sustained during a fire in his flat. His image still looms large over all proceedings though thanks to the Banksy-like image of him painted on the outside of The Exchange, and raising our glasses high, everyone here at RPM would like to wish Jeff a speedy and full recovery.

Once inside the venue, it’s left to Sadistic Force, who are all the way from Austin, Texas, to kickstart proceedings and give those of us in early doors a lesson in what American blackened speed metal is all about. Taking elements of eighties thrash and adding a more modern extreme vocal twist via guitarist James Oliver and bassist Blaine Dismukes, the younger elements of the crowd (and it really is fantastic to see the teenagers in attendance getting into this kind of brutal stuff) go suitably apeshit. For me, it’s only when the trio (completed by drummer Jose Alcaraz) tear headlong into an almost recognisable cover of W.A.S.P’s ‘(Snow) Blind In Texas” that I fully engage with their particular brand of metal. Still, whatever I think, with 11 UK shows now under their collective (bullet) belts Sadistic Force has certainly made a lot of new friends, as the post-set hustle and bustle at their merch stall proves.

It’s at this point that I have to mention the between band music tonight, because whoever it is choosing the tunes they are bang on the money. Playing everything from Cock Sparrer through to MC5 by way of Van Halen, Judas Priest and UFO, it’s almost enough to make this 55-year-old gig veteran feel like a teenager once again. That task is fully completed though when Ventura, California’s Night Demon takes to the stage and unleashes the most infectious set of classic metal I’ve seen/heard since Bullet last toured the UK many, many full moons ago. Think NWOBHM meets classic Euro metal and you won’t be a million miles away from what this trio excels at. That being, putting smiles on everyone’s faces whilst also making you headbang like crazy. It’s all magnificently OTT stuff complete with anthems about chalices and Manticore, along with a demonised reworking of Thin Lizzy’s ‘The Sun Goes Down’, and an end-of-set appearance by “Rocky’ (the band’s mascot) during the band’s self-titled set closer. Night Demon themselves, made up of singer/bassist Jarvis Leatherby, guitarist Armand John Anthony (playing matching Flying V guitars) and powerhouse drummer Dusty Squires also look like they are loving every second of their sweat-drenched set, and in Letherby’s case, I love the fact he also brings a whole bunch of truly memorable tunes to proceedings via his great vocals, which in particular during the likes of set opener ‘Screams In The Night’ bring Sean Harris in his prime to mind.  Look at times tonight I was right back in 1982 just down the road in Colston Hall watching the likes of Wolf, The Rods, Tank, Motorhead, and Vardis, yet Night Demon never once sounded dated or contrived, as sometimes can happen with modern metal bands. I admit I (along with my traveling amigos) was really there to see only one band tonight, but Night Demon was definitely a most welcome studded wristband up the ass kind of surprise. Glorious stuff!  

Author: Johnny ‘Nosferatu’ Hayward

Sweet baby Jesus, what kind of Hell have I gotten myself into? Bristol on a school night getting all Satanic on this the most Metal Monday of the year. After a splendidly entertaining double support slot was done and dusted it was now time for some diabolical Metal in the shape of the mighty Midnight. As the trio hit the stage to a PA crackling with demonic debauchery the Exchange air is filled with the faint whiff of patchouli oil, fausty denim, and sweat-drenched leather as the evil children of the Severn are out in force, windmilling and headbanging with clenched fists and horned hands like whirly dervishes for what is, without doubt, the hottest ticket in punk/metal for decades. 

You can have your O2s full of trendy kids slamdancing to whatever safe noise is coming out of the pages of metal magazines, the underground is throbbing with dark energy and menace courtesy of this howling hellbound – demonic diabolical filth from Ohio we call Midnight.

Midnight goes full tilt right from the off its ‘Unholy & Rotten’ and the band just get on with handing Bristol their backside on a platter of rapid riffs, hacking and slashing and paying homage to the good and the greats who went before them from Motorhead and venom through Discharge and GBH this is a beautiful noise indeed.  With a set list littered with demonic tomes from all points of the pentagram and their illustrious career thus far, it’s relentless as ‘Fucking Speed And Darkness’ collides with ‘Sex Withcery’ there are no gimmicks other than the hoods as for the music it is savage and brutal as it is beautiful and of the moment as the world turns on itself and people turn inwards to bite at each other this is the soundtrack. Cronos would be proud of his legacy and influence.

This is pure ‘Satanic Royalty’ and ‘Black Rock And Roll’ is mesmeric and brutal as the trio kicks the living shit out of their instruments as they give it everything they have and don’t pause for breath nor stand still for a single heartbeat, Just over an hour with barely a pause to tune-up and on we speed. The audience takes it up a notch or two and gives as good as they get.

With steam rising from the pit, the kids go nuts as the band responds by playing faster and one feeds off the other. This is restoring one’s faith in hard and heavy music. When done right – when done with this level of passion and drive – when received in good faith – those who know just know and all around its Cheshire cat grins and devil horns raised aloft because tonight was as good as a Metal Monday night could possibly get with no exception (other than if Slayer had turned up to play Hell Awaits in its entirety Or Venom to whip through At War) this was pure unadulterated Filth and Joy all in one studded gauntlet. 

Hail Satan and Hail Midnight there are never enough bullet belts, chains, studded gauntlets, Dobermans, fishnets, fire, pentagrams, upside-down crosses, and rumbling thunder. I love it loud and Midnight is loud! If you can, go see them – it will make you happy and fill your soul with pure fuckin evil.

Author: Dom ‘The Blade’ Daley

Never loved Elvis? Me neither. The Stuffies have been threatening to hit the stages for several years but something happened and the anniversary tour hit the buffers a few times before it became the ‘Never Loved Elvis 31-year anniversary Tour’ Not quite the same ring to it but hey, what can you do about it other than get the pencil out and reschedule again.

With an early start due to the fact that Milo and the Stuffies wanted to give fans who’ve remained patient and loyal some bang for their buck this one kicked off at just twenty past eight! Playing the entire Number Three in the chart bothering mid-heyday album ‘Never Loved Elvis’ in its track listed entirety before then indulging in an epic greatest hits romp through an inspired back catalogue.

Tonight was one of those special performances, one that pops up for regular gig-goers every now and then and for many reasons it inspires, it confirms why we do this and tonight The Wonder Stuff was that performance. Now, I’ve seen the band many many times over the years in many places from football stadiums to festivals to nice-sized venues Like Tramshed. I’ve also seen several acoustic shows from Milo and Erica which were eventful and often fantastic but tonight the ‘Never Loved Elvis’ set was inspired. Sure they’ve done sets before that have been epic but this one was special. I pretty much love every album and have played them a bazillion times over the years and I have never been able to decide which is my favourite which is a good thing – it keeps listening healthy but from the opening shaker shake of Mission Drive to the sign off of ’38 Line Poem’ ‘Never Loved Elvis’ sounded incredible. The new (happy-go-lucky smiling) Milo is a revelation even finding time to reflect on his previous persona which made plenty giggle but it’s good, I like both. We’d never have had ‘Cartoon Boyfriend’, ‘Play’, On The Ropes’ had he been smiling and happy all the time.

The rehearsals had paid off and the band sounded tight and playing at a fantastically loud volume seemed to add an edge – a vitality to proceedings that was very much appreciated. ‘Never Loved Elvis’ was played as promised with nothing missing or reshuffled and it sounded awesome! Milo enquired why didn’t he write more ballads and why were the band in such a rush back in the day? After the thirteen-song opening salvo, the band retreated for a short interval before returning to the stage to plough through another nineteen songs from all corners of the band’s catalogue.

‘It was ‘Hups’ ’30 years In The Bathroom’ that kicked off the second half as the band sped from early songs (Eight Legged Groove Machines) ‘Red Berry’ to (Constructions) ‘On The Ropes’. I love the “hits” but I also love hearing new songs and ones from the more recent records so it was great to get ‘Feet To The Flames’ and ‘Don’t Anyone Dare Give A Damn’ off the most recent LP. It was then time to take in a sharp breath and race to the finish line. ‘Circlesquare’, ‘Radio Ass Kiss’ ‘Don’t Let Me Down’ and ‘Ten Trenches’ all flew by in an exhilarating set before leaving the sweat-soaked stage for a final encore and it was ‘Unbearable’, ‘Give Give Give Me More More More’ before shutting this incredible performance down with the headfuck of ‘Goodnight Though’ simply my favourite end of the show song ever! Take a breath, have a stretch and off into the cool night air we fled, grinning like Cheshire cats knowing we’d just seen one hell of a performance from a superb band who still cut the mustard. Oh and it was reassuringly loud which was nice, and I mean LOUD!

Can we do this again for the ‘Construction For The Modern Idiot’ 30th anniversary please Milo? Bring the new album as well, thanks. Epic!

Author: Dom Daley

With a CV that name-checks both the legendary Auckland garage rockers the D4 and professional noise hitmen A Place to Bury Strangers, it is no surprise that Dion Lunadon’s solo offerings are so impressive and sonically abrasive.

Much like the debut, Dion’s follow-up Beyond Everything contains a vast genre appraisal of his career to date. Treating the listener to reams of heavy psych, post-punk, the dirtiest garage guitars, and even some Hammond organ, all delivered in a fresh captivating production that is a frenzy for the senses.

The record, although high quality and engaging are very sporadic in its delivery. In recent interviews, Dion has stated that the record has been written on and off since 2017. The overall package is a formidable one. Going from ‘one punch punk killers’ like By My Side and It’s The Truth to ‘Suicide style’ synth and distorted fury such as Elastic Diagnostic and Glass Doll, this album feels more like a series of EPs and 45s. Not to diminish any of the actual content. As with the first record, the compositions are provoking and make the hair stand on the back of your neck, it’s just not as uniform as album one. But in my book, this is a good thing, the experiments being thrown on the wall are rewarding for the listener, always exciting and balls to the wall, it’s also giving Dion a great reputation as a solo artist that can throw his hand at anything. 

With too many to mention, stand-out tracks would have to be garage standard Living and Dying With You, smooth Stooges Esque mover and groover Screw Driver. But if you want something a bit special that will energise you and weird you out all at the same time, Nothing But My Skull is one to have on repeat this summer. With the tempo of Flipper and dirgey guitar and howls of Thurston Moore all wrapped up sounding like some bastardised alternative rock Wings number. 

The album is certainly a journey, but one of tremendous highs and pleasing curveballs. Currently, on tour in the US, Mr. Lunadon is hitting the UK in November. Sadly only doing the all too familiar London-only gig. In the meantime let’s make some noise with this record and give him a reason to expand that date and turn it into a tour.

Buy Here

Author: Dan Kasm