Milo announced that this was probably his last studio record and my heart sank, But what if it’s a belter that needs a follow-up and Milo hits a rich vein of form and…and of course he’d record another alum won’t he? I then have a word with myself and relax I’ve not even dropped the fuckin needle on this one – I might not want him to make another record and then the lush laid back tone of ‘I Used To Want It All’ rushes in and that familiar vocal kicks in and all is well again from the mid-tempo melody to the wonderful saxophone courtesy of Glen Johnson, this sounds excellent and after several plays, it just gets better and better with the layers of Organ and guitars its classic Hunt and I love that.

‘And She Gives’ is like a mid-period Stuffies track all big sweeping acoustic chords and the usual engaging great vocals – Hunt is giving it his all. It’s like the sands of time have stood still and his vocals sound warm and engaging. In the sleeve notes, Hunt explains his own lockdown and how he survived relatively unscathed due to being at ease with his own company it features Laura Kid on vocals and the song works really well like a dusky summers eve with a great song being played elsewhere and you strain to listen and you like it but try to remember who it’s by.

I like that Hunt can write for The Stuffies and his solo work and although he obviously can’t change his voice the two sound quite different yet share the same DNA it might not be something I can explain well but those who like it know. The recordings were made from LA to Shropshire via London and various other locations and home studio setups Hunt handles the production and pulling that all together in a modern way must have been exhausting and daunting at the same time none more noticeable on ‘Lucid Is As Lucid Does’ featuring Billy Duffy Its certainly not how records used to be made but its the best of both worlds old and new and if you can phone in songs as good as this then lets roll into the future. Duffy doesn’t go Gonzo Rock but plays with sympathy to the song and even though his solo is pure Duffy it works really well. (What about a new Vent album guys?)

Side two kicks off with possibly my favourite track on the record with Mark Gemini Thwaite and Pete Howard lending their big talents as does Kidd again chip in with some vocals but the saxophone reminds me of Jamie Heath who played saxophone with Johnny Thunders and passed away some years ago but the feel of the playing is so similar and exceptional and it really adds to an already fantastic song.

‘We Can All Do Better’ has a filthy deep rolling bass line that thumps your acoustic wooden flooring and the relaxed groove makes for a great song. It’s got a real thump to the rhythm and Hunt explains that for the first time in decades three Vent 414 pleople were on the same song – now this bodes well doesn’t it Milo? Milo? The record just seems to get better and better play on play and Milo’s walking song ‘This Descent (Someone To Save Me)’ works well (for walking milo is bang on with his sleeve notes – good tempo). Stripped down to a four-piece Milo can indeed sing the blues on ‘Team Valentinos’ with a trippy San Fran kinda vibe on the organ solo. The record is lean and has not an ounce of fat on it. The songs are wonderfully arranged and this record is a real boon on the back of the recent Stuffies tour that was awesome as ever and to wrap up this ten-track diamond is something of a Vent 414 that I illuded to further up as ‘Que Viva La Soledad’ is a wonderful song to finish this record off. With a slower dreamy tempo with some exceedingly heavy guitar accents throughout and a hypnotic bass line, it’s a superb way to sign off the album but please maestro play on, the world needs more Miles Hunt records and on this form, there has to be more. I guess things can indeed change and I hope they will. What a beautiful record this is. My advice is obviously go buy this album…Now!

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Author: Dom Daley

Back in the mists of time when I was a young lad I had a friend at School who had been on a trip to London where he went to shades record shop and returned clutching an album by a band called Hellhammer, Remember this is pre-internet, no google, no Discogs, no amazon, no super internet it was a flick through Sounds, Melody Maker, NME or Kerrang for your fix of what’s hot or not and even then for us kids in the sticks it was a process of saving up and take a chance. That ‘Apocalyptic Raids’ was a gateway into a sound that was perfect for us kids who loved a bit of punk and also the allure of a bit of metal, it was dark, dangerous and fascinating, throw in some dark occult imagery into the mix and our parents would hate it so it was always a winner.

I read recently an interview with Tom G Warrior where he described their sound as musical anarchy (even though Warfare were metal anarchy) he wasn’t far off the mark the music was indeed extreme and mixing up the punk of UK82 hardcore and metal it was perfect. We already loved Venom and Motorhead and what was going on over the pond on the West coast was taking hold it was exciting to trade tapes and get to hear what was coming out of Europe.

Hellhammer became Celtic Frost and the rest is history alongside VoiVods ‘War And Pain’ a few of the Venom albums Celtic Frost was really pushing the boundaries and doing it better than most. For a few short years, Celtic Frost were the bees knees and released some seminal albums that became harder to find than hen’s teeth so ‘Danse Macabre’ is a much-anticipated release and when opening the box the package that’s been put together is of the highest order and right up there with the complete Venom boxset which is the absolute pinnacle of how to do a boxset this isn’t far behind.

Released as a plush five-CD set including all the albums from the period a smart pin badge, a patch double-sided poster and a really interesting book. Noise deserves some credit for delivering such a good set. ‘Danse Macabre’ vinyl set captures the raw excitment and new age dawning in extreme metal and the ambitious direction these Swiss and American band were taking their music. ‘Morbid Tales‘, ‘To Mega Therion’ and ‘Into The Pandemonium‘, the marble color vinyl box set also includes the ‘Emperor’s Return’‘Tragic Serenades’ and ‘I Won’t Dance’ EPs, along with ‘The Collectors Celtic Frost’ compilation, a 7″ of ‘Visual Aggression’ and a cassette of rehearsals recorded at the band’s Grave Hill Bunker. A 12″ x 12″, 40-page book, brings together photography — some previously unseen — from the era and brand new interviews with Tom Gabriel Warrior and Reed St Mark. A Heptagram USB drive contains MP3 audio of all the albums, including bonus tracks…and breath.

How’s that for a comprehensive round-up? Always pushing the envelope, it’s mad to think the band was still just snotty-nosed kids when Hellhammer was a thing then through ‘Morbid Tales’ and then the classic ‘To Mega Theron’ and ‘Emperors Return’ it was a blink of the eye and they were gone. Some of these haven’t been pressed on vinyl for the thick end of forty years (37 to be exact) so it’s a veritable feast for fans old and new the CD version are gatefold with vinyl-like mini inserts but people of a certain age-who will be on the end of the hook might need some reading glasses to appreciate fully the detail. that aside this set is an absolute no-brainer The omission of the third album might be an elephant in the room but had ‘Cold Lake’ been included it would have been complete, regardless – Go buy one – Now!

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Author: Dom Daley

Formed in the winter of 2001 from the ashes of Silver Tongued Devil, The Cheats decided to create the kind of band that was lacking in their hometown of Pittsburgh, PA – an old-fashioned, late-70’s-style punk rock ‘n roll band. Led by vocalist Todd Porter, aka Todd Cheat – former frontman of Silver Tongued Devil (People Like You/Century Media) and Eviction (Metal Blade), the ever-evolving line-up logged many miles on tour, adopting the DIY punk attitude that is crucial to the scene.  
2022 marks The Cheats 21st year as a band and they are celebrating with this compilation of 21 cover tunes. Some of these fun tunes have been released on early albums, compilations, 7”s, some were recorded and haven’t seen the light of day and some are fresh out of the studio. ‘XXI’ is not available in stores and is being released as a limited edition, fan club-only album.

Kicking off with an excellent sloppy party anthemic take on the Joneses classic ‘Pillbox’ and to be fair they absolutely nail it with the gang vocals and the punk n roll tones it has energy and the tune rings out loud and proud. To be fair The Cheats selection is stunning from Demolition 23 and The Joneses through Backstreet Girls and The Dogs D’Amour they also take ownership of the Quireboys classic ‘7 O’clock’ and who wouldn’t cover the Dead Boys?

‘Hammersmith Palais’ is snotty as fuck whilst their sprightly take on Cheap Tricks ‘Surrender’ is rapid and a heap of fun. ‘Hanging On The Telephone’ is excellent and these guys clearly just get it you know the whole punk n roll vibe they clearly love it and live it and I love that. It would be so easy to miss the point and deliver these songs (as good as they are) in a weak going through the motions but I’m delighted to report that the Cheats could never be accused of falling into that trap because there is nothing lame or going through the motions here they pretty mcuh nail every single track and take ownership of some pretty iconic tunes.

The fact they didn’t go for the most popular songs by these influential bands is a credit to The Cheats ‘I Don’t Want You To Go’ sounds joyous and they’re having the best of times running through such classics. ‘All this And More’ is a blinding tune anyway and they nail it. I didn’t know the Quireboys could sound so sleazy and punky and they hit their peak on those backing vocals. Hell, I’ll get the beers in if you come over to the UK and we’ll have the best house party ever. Sure songs like ‘Born To Run’ have been done and done really well before (Frankie Goes To Hollywood) but why not? you have to drop some big bombs every now and they it makes the lesser-known classic stand tall next to the big hitters.

Hearing Love and Rockets or Oasis next to The Dogs D’Amour and Demolition 23 is superb the Cheats I bow down to your exquisite taste in Rock and Roll and the fact you’ve been slogging it for over two decades is superb and I and RPM Online salute you. you deserve this moment and its fair to say you nailed it! Rock on brothers, Rock on!!

Author: Dom Daley

The second album from the Norwegian high-octane rockers The Gasölines! The band embodies the whole greasy, dirty liquor-swigging Rock and Rollas. they embrace every cliche and wear it like a badge of honour and why the fuck not? They riff on a steady diet of what’s gone before them from the 1950s through the 1990s and into the 2020s. With a rigid middle digit in the air and smoke coming off the oil-soaked floors turn this sucker up!

“We didn’t invent the wheel on this album. There’s no need to. Rock will forever kick the elite hipsters’ asses with their man buns, fancy coffee, electric kick scooters and vegan smoothies. This is pure rock’n’roll with proper amps, only mics on drums, no autotune, just four guys having a blast in studio”, says Morten Gasöline. A big antagonistic claim that you just have to back up. Cars, Beer, Women, gambling all the ingredients that have been a staple of this genre.

The album kicks off with the DC riff-a-rama of ‘Rum Runner 500’ with its solid beat and wailing solo as the riffs come hard and fast. It’s exactly what I was expecting and true to their words the band pile in – it’s macho and whilst its not original at all its authentic and they certainly sound like they walk the walk. The pace is picked up on ‘Grand Prix’ as they shift through the gears and turn up the tempo for a much better song.

To be fair ‘Dragstrip Inferno’ is sort of a halfway house of the opening two songs with wailing guitar solos and more lyrics about fast cars it doesn’t take a genius to work out what these cats are all about. when they break away from singing about motors ‘Hellbreaker’ bursts into life on a rumbling bassline that is thick as a builders sandwich and they hit a decent groove. The track ‘Snakebite’ is more of the same (surprisingly) sounding like a Gene Simmons Kiss song with a growling gravelly vocal over a solid backbeat.

You also get some punk rock n roll in ‘Burning Dice’ and a little of what they were probably listening to before heading to the studio as some Dirty Deeds era DC filters through their DNA. Spread out over ten tracks it’s a heavy beast and at times laces a little variety but when they hit their groove they sound on fire. Turn it up kids it’ll annoy your parents as their forefathers did and that’s always a great starting point. Play Loud! Like the band obviously did when recording this beast and the artwork is awesome and reason alone why you should check these out.

Buy it Here


Golden Robot Records is proud to announce a licensing deal with sought-after and much-loved UK band, Frank Carter & The Rattlesnakes. 

Having already played on some of the biggest festival line-ups including Leeds FestivalDownload FestivalHellfest and Reading Festival, it is clear Frank Carter & The Rattlesnakes are here to write their own history, their way. 

In 2015 the band released their debut EP Rotten before releasing their first full-length album, Blossom, later that same year.  Their second album, Modern Ruin saw the band complete their current line up with Frank Carter on vocals, Dean Richardson on guitar, Tom ‘Tank’ Barclay on bass, Russell Elliot on guitar and Gareth Grover on drums. 

2019 brought their third album End of Suffering to life featuring single ‘Crowbar‘ and continued to cement the bands place in the industry before the untimely shutdown of the world. The time in lockdown allowed the band to meticulously work on their fourth album, Sticky, released in 2021 and featuring a guest appearance from Joe Talbot of Idles on lead track ‘My Town.’ 

2022 will see Frank Carter & The Rattlesnakes release two new singles via AWAL in conjunction with Golden Robot Records, before the band continues to work on their new album which will be released via Golden Robot Records, their new home label in US, Canada, Australia and NZ.

Golden Robot Global Entertainment Group CEO & President Mark Alexander-Erber has expressed his excitement at the deal coming to fruition after having the band in his scope for years, commenting “Frank Carter & The Rattlesnakes have been on our radar for many years and to finally have them as part of our international rock n roll family is a real achievement for Golden Robot Records. We are super excited to be involved with the band and their brilliant management team (ATC Management) in the UK. The next few singles are rippers and the album for 2023 will take the band again to another level globally.

With global powerhouse company Golden Robot Global Entertainment now backing Frank Carter & The Rattlesnakes in the US, Canada, Australia and NZ, there is no telling what the band could do next.

Between 1999 and 2007, German stoner rockers Duster 69 released four full length albums, a handful of split EPs and singles with bands like Calamus, The Awesome Machine, Rickshaw, and House Of Broken Promises, and one final EP before splitting up. A collection of rare and unreleased stuff came out in 2008 and capped off the band’s initial run.

After 14 years, the band’s original lineup got together and recorded two new songs for a very limited single on No Balls Records appropriately titled 2021.

Knowing that all the original releases are long sold out and out of print, the band wanted to put together a career spanning collection. Here we have 13 tracks carefully selected from all those albums, EPs, and singles remastered just for this release.


Side A:
1. Remember
2. Oppose
3. Upcoming
4. 50 Miles
5. Schoolbus

Side B:
6. Going Into Red (featuring John Hermansen)
7. Red Goat
8. Tornado
9. Pride
10. Bad Luck
11. Dust Crusher

CD Bonus Tracks:
12. A Triangle In An Empty Room Without Any Windows
13. Calling

ORDER NOW! ← click here to order

LP – $20 + postage
CD – $10 + postage

200 LPs pressed

  • 100 beige through Savage Magic for North America
  • 100 red through Ozium (Sweden) and Daredevil (Germany) for Europe

200 CDs pressed

This is a limited pressing of only 200 LPs. 100 were pressed on beige vinyl and are available only here through Savage Magic Records. Another 100 were pressed on red vinyl and made available only through Ozium Records in Sweden or Daredevil Records in Germany. 200 digipak CDs containing two bonus tracks have been pressed and are available in limited amounts from each label.

Visit for more info
or email to pre-order!

Check out Duster 69 here:

First up today is the brand new tune from Ming City Rockers with ‘Jill Was An Anarchist’ its the first Single from their upcoming album ‘LIME’ out Jan 26th 2023.

Next up is the recent offering from the mighty Black Halos who have a brand new record released next month on Stomp Records. We review the album next week and trust us when we say the wait will be worth it. Stunning stuff from the kings of Punk n roll.

Finally, the much anticipated third album from the Bar Stool Preachers is almost here! With help from Kevin Bivona (The Interrupters), Ted Hutt (Dropkick Murphy’s/Flogging Molly) and Ben Hannah (Nosebleed),

The Bar Stool Preachers (friends of the site) are back with a bang, bringing you some of the biggest new tunes, in Spring 2023, they’re bringing them to a town near you. To celebrate this new release and to continue their mission of bangers, power and unity, the band are hitting the road hard – and bringing their one of kind incendiary live show to lucky clubs around the world. Described as having the “perfect blend of intelligent punk anthems and poignant, unsentimental love songs, both combined with the most infectious songs you’ll hear this decade”, these shows are long-awaited, and not something you’re gonna want to miss.

Get your tickets Here

The long-awaited third album is coming out on Pure Noise Records, and it’s going to be out in the Spring of 2023!

It’s called ‘Above the Static’ and it’s a beautiful collection of raucous rock and roll, dancing ska and huge heartfelt punk anthems. Nowadays, it’s hard to get heard above the noise. The shows, are the only shows they have booked so far in the UK for 2023, which means they are the only shows they have booked in the UK – as it stands – forever!


Part of a short 3 gig sprint across Bristol and south Wales this 3-band bill comprising of Nottingham’s noisy as fuck hardcore mob Scene Killers, Newport’s Action Rock champions Deathtraps, and Abertillery’s melodic hardcore punkers System Reset, is the perfect solution for anyone pissed off with soaring gig ticket prices. 3 quality bands, all with new vinyl to promote, and its £5 on the door. What more could you want?

The Pit, which is downstairs at McCanns Rock Bar in Newport, is about 2/3 full for the arrival of System Reset, for what turns out to be, Stan, the band’s constantly bouncing frontman’s birthday celebrations. Having gigged like bastards throughout the summer their short 30 odd minute set packed with tunes from their recently released ‘Many Hands Make Lies Work’ EP literally flies by, and whilst the songs on the surface are full of melodies you can’t get out of your head, you only have to stop and listen to the subject matters being tackled to realise that the five-piece are one pissed off bunch. Playing ‘Big Business’ as a middle finger to what I alluded to in my intro above, System Reset are the perfect soundtrack for grey Britain, and as if to further reinforce that point it’s also pissing down outside tonight as I step out to get a quick breather between bands.

Taking the stage (or floor as is the case in The Pit) to the strains of Toto’s ‘Hold The Line’, Deathtraps are the Action Rock filling in this mini tour’s otherwise hardcore sandwich, and with album number 3 fresh out the box they waste no time in introducing the crowd to the delights of ‘Appetite For Prescription’ via a blistering ‘Red Eyes and Black Kisses’, and what follows is a lesson in foot to the floor punk rock ‘n’ roll. Vaughan and Fraser spitting out the lyrics to the likes of ‘Rip Em Off’ and ‘Press Darlings’ in venomous fashion, whilst peppering the set with tracks from their ‘Stole Your Rock N Roll’ album via ‘Cool Kids’ and ‘Let’s Fall Out Of Love’ and keeping the travelling fans (of which there are quite a few) very happy indeed. Closing things out with an impromptu cover of Turbonegro’s ‘Denim Demon’ during which Sutton from System Rest and Jesse from Scene Killers join them, Deathtraps are the true shitty sound of south Wales’ steel towns and they sound absolutely fucking glorious.

As the rock world waits with baited breath for the arrival of the next Hip Priests album, their band members have been keeping themselves busy with other musical adventures, frontman Nathan releasing his Hate EP whilst bassist Lee Love went back to his NWONW roots for the ‘Hold Me Down’ EP. Drummer Des popped up providing the backbeat to one of my favourite records of 2021 with Silent Like A Bomb, and guitarist Ben has been depping on second guitar for Swedish metallers Bullet across a series of summer festival shows. Meanwhile, his partner in six string crime, Austin Rocket has assembled a crack unit of musicians to give us Scene Killers, who in the process, have released 2 filthy dirty slabs of hardcore in the shape of 2020’s ‘Rev It Up’ and this year’s ‘Beat Beat Beat’ (an album seemingly so bowel shakingly disturbing in its ferocity that RPM gaffer Dom Daley even managed to get its title wrong in his recent review…ha!).

Joined by members of the awesome TV Crime and fronted by eccentric singer Jesse Luscious (ex of Blatz, The Criminals) Austin’s silhouette provides the only visual link to his other band as sonically speaking Scene Killers are a world away from the Priests’ black denim blitz. Instead, Scene Killers strike a discordant balance between punk and metal, producing short, sharp, 2-minute blasts of music that sound like they might just fall apart at any minute whilst also stabbing you in the eye in the process. Tonight, the initial sound mix in The Pit doesn’t really do the band any favours with ‘Rev It Up’ sounding more like ‘Reverb It Up’, however once that is sorted the tracks from the band’s all new 9 track platter sound absolutely stunning.  It’s impossible to avoid Luscious (who surely would be re-christened “lush hun” here in Newport) as he provokes the audience one on one to singalong to the likes of ‘Gimme Gimme’, ‘Immigrant Eyes’ and savage set closer ‘We’re All Decay’. It’s all over way to quickly in a blur of feedback, distortion and sweat, but it’s the only way we want our gigs to end here at RPM. “Leave them wanting more”, that’s what was say….and at just a deep sea to get in tonight I feel like I’ve just witnessed one of the gig bargains of the year. Result!!!

SK Facebook

Deathtraps Facebook

System Reset Facebook

Author: Johnny ‘ZooportHC’ Hayward!

Right now in 2022 they may not openly want to admit this, but there was a time back at the start of the ‘80s when the uber cool indie Spillers Records emporium in Cardiff, Wales, really was the place to go for all your US metal needs. If you wanted to hear Y&T’s immense ‘Earthshaker’ record, or be knocked bandy by The Rods self-titled platter following both of them getting rave reviews in Sounds that record shop was where you would find them. You could keep the NWOBHM, that was already old hat by 1982, especially when copies of the “life changing” (not only for the band, but for us too) self-financed debut record from a certain LA based band known as Motley Crue finally made its way across the Atlantic and into the window of a certain shop on the Hayes.

I remember it like it was only yesterday, looking in the right-hand window of the shop and seeing that leather groin cover staring right back at me. It’s import price tag would certainly have meant me forgoing a few other music purchases that month, but following yet another rave review in Sounds just a few weeks earlier for said album I just had to have a copy, and boy oh boy was it ‘Red Hot’…no wait, that came a couple of years later didn’t it. Ha!

Let’s face it, Motley Crue never topped that self-released debut record, in fact they then went on to completely ruin it just a few months later with a godawful Roy Thomas Baker remix of it pre the release of ‘Shout At The Devil’. However, via that legendary 10 track Leathür Records version they introduced a whole new generation of cool kids to the visual and aural delights of glam rock, their influence stretching all the way from the Starwood, Whisky a Go Go, and Roxy music venues of their home county right through to Bogiez in Cardiff, where if you asked the likes of Rankelson and Tigertailz who they really wanted to be, Motley Crue would have been top of the list.

So, what the hell has all of this got to do with ‘Bound For Hell: On The Sunset Strip’ I hear you ask? Well, this 21-track compilation of the LA bands that didn’t quite have the same worldwide influence as Motley Crue, takes you on a journey back in time to a place where there weren’t all the sub-genres that metal/hard rock is plagued with today and every new band was seemingly just looking to have a good time, whilst making, what they thought was, awesome music in the process.

Of course, the reason a majority of the bands captured here never got further than playing mainly local shows was because they only had maybe one or two great songs at most, but just like the four amazing, ‘JobCentre Rejects’ albums proved for the lesser-known bands of the NWOBHM scene, there’s certainly nothing wrong with doing a deep dive into the underbelly of a scene, as you never know quite what long lost musical gems you might find.

Case in point here being the opening double whammy (bar) of ‘Going To The City’ by Stormer and ‘Cocaine’ by L.A. Rocks, the former a glorious slab of Van Halen influenced rock shot through with some angelic (as in Punky Meadows’ band not Mensi’s mob) vocal harmonies whilst the latter could very easily have come from an early Tygers of Pan Tang release, and in the process sounds like the start of the NWOLAM movement that never quite got past the release of this 1979 released single.

The juxtaposition of these lesser known bands and how they deserved (in some cases) to sit alongside those that then made it to the next level by signing major label deals is exemplified well here via the likes of Lizzy Borden, Armored Saint, a very raw sounding Black N’ Blue, and Rough Cutt all getting a look in alongside the likes of Odin, V.V.S.I and Knightmare II, and if you were wondering if the female end of the scene is represented then the likes of (the Rock Goddess sounding) Jaded Lady, (the Maiden-esque) Hellion, (the more new wave/Benatar sounding than I expected) Bitch, Leather Angel (who featured Terry O’Leary who then went on to write better material with Jaded Lady) and the melodic rock of Lisa Baker are all here to show you it wasn’t just the men who got to wear the eyeliner and Aqua Net back in early 80s LA.

There are a few possible turkeys included, because not everyone is going to be the next Van Halen, but I’ll let you decide which tracks you might want to flick through, as I found myself compelled to listen the whole 21 track onslaught, largely due to the brilliant 144-page coffee table book written by Katherine Turman (co-author of Louder Than Hell: The Definitive Oral History of Metal) that accompanies the deluxe 2LP box set. This is a book that takes you on a band-by-band rollercoaster ride through the LA scene, and unveils many interesting facts along the way, like Black Sabbath’s Bill Ward once briefly being a member of Max Havok as were Quiet Riot’s Carlos Cavazo and W.A.S.P.’s Tony Richards. Who knew that eh? Not me.

The perfect companion piece to Deadline Music’s excellent 2005 released ‘Hollywood Rocks’ box set ‘Bound For Hell: On The Sunset Strip’ is available to pre-order right now across a multitude of formats to suit all budgets, starting from an entry price point download or CD and going right up to the 500 only coloured vinyl Poser Proof edition wallet buster.

This is not just a set for heritage rock fans though as ‘Bound For Hell: On The Sunset Strip’ awaits a whole new generation of rock fans to influence and corrupt.

But it Here

Author: Johnny ‘Aquanet’ Hayward