Well, this is timely. Having just finished reading Sami Yaffa’s excellent autobiography, and whilst waiting for his upcoming second solo album, Svart Records have reissued Mad Juana’s debut album. Originally released in 1997, this project by Sami and Karmen Guy is perhaps better suited to today’s more tolerant musical climate. It certainly had people puzzled on release, as Sami mixed influences from around the world, having spent most of his life on the road.
From ‘6 Inch Ditch’ onwards, with its sparse, Bo Diddley rhythm and percussion, it is a hypnotic ride. If you like The Urban Voodoo Machine, you’ll want hear this. ‘Festival Of Dreams’ introduces fretless bass to the sound, another left-turn; Sami was keen to make music without the boundaries of his past, and this remains one of his proudest moments. With hindsight, you can understand why. Recorded on a shoestring budget between Mallorca and Finland, ably assisted by percussionist Affe Forsman, they successfully merged Hispanic, European and Arabic chords and scales; ‘Stronghand Mo’ creating a mantra-like riff.
The percussion on ‘Flesh’ is reminiscent of ‘Tin Drum’ era Japan, and Karmen has a vocal not unlike P J Harvey on ‘1000 x More’ and ‘No End’, the latter turning up the volume. It demands your attention. ‘Red Sea’ has a more traditional acoustic rhythm that could be The Waterboys, while closer ‘Spell’ is atmospheric enough to be a film soundtrack starring Harry Dean Stanton. If you understand what I’m blathering on about, search this out now. Remastered, and with 5 previously unreleased demos, this showed the world that Sami Yaffa was much more than “just a bassist”. We’re only just catching up with him now.
With the sad passing of Guy let’s celebrate his life and what he left for us to enjoy. Such a talented down to earth bloke and judging by the outpouring on social media a true gentleman with a heart of gold. Rock on brother wherever you may roam.
Celebrating the release of a 10th anniversary edition of their debut album, Nottingham based Celtic punks Ferocious Dog announced a special one-off gig at The Barbican in York following their appearance at the Scarborough Punk Festival. This unique event would see the band play a 2-hour show including a performance of the whole of the debut album with a full orchestra.
Being veterans of the festival circuit and with a formidable, energetic live reputation, it would seem to be a no brainer to witness this event.
Not only are Ferocious Dog influenced by the Levellers, but they can also call them friends. Both bands have toured together extensively and shared festival stages over the years, so it seems fitting that Levellers frontman Mark Chadwick has offered his services to warm up an already slightly inebriated and rowdy crowd.
Armed with just an acoustic guitar and with a full house watching his every move, he proceeds to have the whole place in the palm of his hands as he plays a 40-minute set of Levellers hits and deep cuts. You could literally hear a pin drop during the opening ‘Liberty Song’, and what follows is not just mini greatest hits set, but also a masterclass in how to work a crowd with ease, not only proving what a charismatic frontman Mark is, but what a great discography the Levellers have.
Having captured the band’s recent acoustic tour I know these songs work well in an acoustic setting, but what I didn’t realise is, stripped of a band and laid bare, how good Mark Chadwick is.
The fluttery folk of ‘The Boatman’ is perfect, ‘Julie’ is as beautiful as the studio version and even the usually upbeat and powerful ‘15 Years’ sounds magnificent given the stripped-back acoustic arrangement.
“Is anyone drunk yet?” Mark hollers to great cheers, he has the crowd where he wants them and they sing every chorus back to him. Classic singles like ‘Just The One’, ‘Beautiful Day’ and ‘One Way’ were always going to go down well tonight, but it was the rousing and emotive ‘Carry Me’ that sent shivers down my spine and got possibly the biggest reaction from a crowd that were on his side before he even played a note. Mesmerising stuff indeed.
With the orchestra in their seats, Ferocious Dog take to the stage to massive cheers, and frontman Ken Bonsall, looking all Peaky Blinders in his white shirt, waistcoat and flat cap, takes to the mic to sing the poetic ‘Verse For Lee’ before blasting into album opener ‘The Glass’. A sense of euphoria is evident from the off, as the whole crowd sings as one. Ferocious Dog class their fans as family and the Hell Hounds, as they are affectionately known, are in fine voice tonight, as the band deliver a high energy set that never falters. The album is played through in sequence and while the orchestra adds an expanse to the sound, this ain’t no laid-back affair. But then you can’t really give the mellow treatment to a song as dancey and upbeat as the instrumental ‘Lee’s Song’, can you?
The band seem to be loving it as much as their fans, bassist Nick Wragg is all over the stage mouthing the words, as is recently reinstated guitarist Kyle Peters, who shares lead vocals on a few songs tonight. Shout out to multi-instrumentalist Sam Wood who shines on banjo and mandolin all night and all so brings a comedy element to the show.
Recently re-recorded single ‘Too Late’ is a live anthem for sure and gets the rowdy down the front dancing. There is no let up in the energy levels from start to finish, except maybe the dub reggae vibes of ‘Freeborn John, and even that erupts into a dancefloor skank. It’s all killer no filler for an hour.
After a short break the band return to the stage, minus the orchestra, to play another hour set of their standards. Like Chadwick before him, Ken is no stranger to working a crowd and getting audience participation. The likes of ‘Spin’, ‘Broken Soldier’ and closer ‘Slow Motion Suicide’ are crowd favourites that the audience devour like old friends.
Both artists bought the festival vibes to the Barbican tonight with a special event that will probably never be repeated. The drinks did flow, the songs were sung and there will be a few sore heads and throats in the morning. But you what? It was all worth it.
Don’t get lulled into a false sense of security with the album’s opener drifting you downstream with its picked lush notes. ‘Spirit Trouble Flash’ kicks in on intros heels with its jarring shuddering rhythm and aggressive rolling riff it’s prime time punk rock with its thuggish bass run chasing you down and it’s Fugazi style vocals. Stirring stuff.
There’s a JJ Burnell vibe about the bass attack with its walking basslines front and centre but the same can’t be aimed at the melodies and vocals as they jarr and poke you uncomfortably at times (in a good way that retains your attention).
That rhythmic jarring bass and drum combo continues through ‘Not This, Not This’ as it builds with some choppy guitars. It’s dark in the same way the Gun Club were dark or Gallon Drunk when they would slay the dark corners of London.
Playing the smoky casino bars of Reno, Nevada sometime in the last decade is where only the lucky few would have come across Spitting Image. A few small run cassette tapes or 7″ records with cryptic art and far-out distortion, or at a party, they ritually summon to any warehouse, parking lot, basement, or Great Basin lake shore they can find, you didn’t. But thanks to Slovenly Recordings, who share a hometown with the band and have sought out this record to reward those around the world who crave the finest in underground alternative rock n roll of all persuasions. It’s fair to say this is a fuckin killer record. The gargling bassline of ‘Turn Person’ as it tribal drums its way to the headfuckin chorus is addictive like musical crack.
And it’s dark, but that in a good dark in a way the kind you appreciate afterwards. Donovan Williams’ merciless tribal drumbeats drive songs like ‘Devils Bloom’ and ‘Still Thing’, but it only works in conjunction with Jack Scribner’s basslines and guitarist Julian Jacobs’ schizophrenic and out-there guitar attack.
‘Not This Not This’ is like the very early Chuck songs of Faith No More if they were more like Gun Club and early Banshees spoon-fed as children. It’s also the charm of the live feel almost demo-like qualities of the songs like ‘Broadcast’ as they flirt with jazzy edges. With the driving drums and that sharp echoing guitar it’s often a beautiful thing when a band hits the bullseye.
‘Black Box’ is a more frantic offering with its uncompromising Fuzz from start to finish. The band pick up the pace on the blistering ‘Still Thing’ which sets the tone for the next few songs as the band kicks out the jams as ‘Devils Bloom’ is a frantic dash before the interlude then for the final furlong we get the trip out of ‘In Menace Meadow’ that grows and grows like a shadow creeping up a wall over its four-plus minutes. Then to sign off the band shuffle off on the altogether mellow ‘Full Son’ altogether a handsome album of psych alternative rock. The more I play it the more the songs mature inside my head with different parts jostling to the front and grabbing my attention twisting and turning this album into a very impressive journey that I will be taking time and time again. ‘Full Sun shines.
Hailing from Bologna in Italy Cut peddle a post punk garage rock n roll sound with sharp angular riffs rasping floor tom drum drills and decent vocals that remind me of International Noise Conspiracy as the songs unfold thats exactly who they remind me of, off kilter rhythms, delivered at pace.
This is their seventh album and the first in six years and the first with the “New” drummer Tony. You have thirteen songs of variety and I love the uneasy rhythmic ‘I Ain’t Got You’ as its jerkin’ rhythm evolves around the drums with a sharp guitar and jarring desperate vocals. Impressive stuff. The theme of the album deals with the pandemic and the ‘Dead City Nights’. The rhythm pattern of drum and bass works well on the head fuck of ‘Your Face’ which has a beating heart force-fed on classic Therapy? and other uncompromising bands who dish out cold angular rock n roll from all directions. More chanting at you than singing whilst the guitars attack from all corners.
To find out these three have shared the stage with th elikes of Iggy , Royal Trux and Guitar Wolf comes as no suprise and whover is pairing these up has done a great job and the quality of the songs ensures they are in good company and vice versa. Cut do a great line in rapid disjointed jarring punk rock n roll and tracks like ‘Dig It!’ work really well.
The album’s title track is a dark meandering pulverising song that works well in the middle of the record from the tortured intro to the hypnotic beat. Great stuff. An impressive album that works really well as a whole or diving in now and then.
For fans of live music, it’s the same the world over; venues are closing down every month. Here in Angoulême, our small local venue, Le Point Carré, which holds about 120 people, closed down in February. Mercifully, and thanks to France still giving grants to support the arts, La Nef is celebrating its 30th anniversary. It’s a lovely venue which holds up to 800 people, so, while not ideal for upcoming bands, has seen many great artists perform.
Today, 1st April, is an all-day, free event, kicked off by yours truly (as part of our choir). ‘Les Petits Chanteurs À La Gueule De Bois’, or ‘The Hungover Choir’, sing mainly in English. Imagine acapella versions of Muse, Beatles, Nirvana, and even ‘Holiday In Cambodia’. As Harry Hill said, you get the idea.
There were many local bands, but unfortunately due to time restrictions and commitments, I couldn’t watch them all. However, I was able to catch the two, main events. Reverend Beat Man, of garage rock legends The Monsters, entertained and disturbed the capacity crowd in equal measure. Part minimalist garage rock/blues, part warped voodoo priest, he is certainly unique. It was lovely to see some small children right down the front, with ear protectors, who were mesmerised rather than terrified. It’s safe to say people will be talking about his set for years to come.
What can you say about Jim Jones that hasn’t already been said? From The Swamps onwards, he hasn’t put a foot wrong in providing rock n roll with 100% commitment. I left the UK in October 2019, happy that my band had played their final gig supporting The Righteous Mind. I didn’t think I’d get the chance to see the All Stars without travelling to the UK, but here they are, on my doorstep.
The two sax players provide some added swing to the tunes, the joint is jumping, even if I’m the only one who knows the words. Rock n roll is a universal language, from the groin, and the band know exactly what to do. We get some Revue tunes, with Elliott Mortimer pummelling the keyboards, some Righteous Mind classics, ‘Satan’s Got A Hard On For You’ being a particular highlight, ‘Your Voodoo Talkin’, and some choice covers including the Velvets’ ‘Run, Run, Run’.
It’s very pleasing to see the audience reaction, Jim has played Angoulême a few times and this is his biggest crowd so far. He remembers to dedicate a song to the late founder of La Nef, which is the perfect way to end the celebrations. Yes, a righteous time was had, I danced and returned home sweaty and grateful for the healing power of rock n roll. We need it more than ever. If the All Stars are playing anywhere near you, you’d be mad to miss them. Testify!
Author: Brother Martin Chamarette
Catch Jim Jones Allstars somewhere in the coming months you simply have to its the law!
Our favourite Norweigan cock rockers Razorbats were so busy partying and celebrating they forgot to send the Promo for their new long player to their favourite UK website. Yeah, we know it’s only Rock n Roll baby but we should have been invited to the party.
This brand new album kicks off in true Razorbats style with fireworks and cheerleaders kicking high kicks whilst the band drive by in an open-top Cadillac covered in scantily clad ladies and dry ice with explosions left right and centre as they celebrate the opening track and first single we heard a while back of ‘Break Up The Band’ its bombastic – loud – cock fuckin rock o’clock baby and we love it! They love singing about Rock n’ Roll and the trappings as the twin guitars squeal and howl over the rock-solid rhythm – pure Razorbats. Big chorus’, even bigger harmonies and a sound somewhere between Twisted Sister and Turbonegro a heap of 70s glam for good measure some Cooper n T rex and just a sprinkling of Cheap Trick dancing to the best of Kiss will have you in just the right ball park.
They aren’t expanding their envelope or going techno to get new listeners they are playing to their strengths and writing solid rockers and radio-friendly hard rock none more evident than the second track ‘Only In America’ born to be played across the States. ‘Shotgun Wedding’ is a real shit kickers from the growling riff to the gang vocals on the beer soaked chorus its a winner all the way.
‘Edie’ is the slow dance retro classic stepping off the gas and cruising. Not a band to pander to gender sensitive modern times. Razorbats like to keep it simple and its leather jackets, denim jeans boy meets girl and wham bang thank you man. ‘Love Is For Suckers’ will take you back to the 80s if only you could get yer nan to sew on those beer towels to your jeans and your battle jacket still fitted you this would be one you’d turn up and wave those horns in the air like you just don’t care and swing your full head of hair like a windmill – drink it up boys ‘coz love is for suckers.
Doubleing down with ‘Scandinavian Girls’ sees Razorbats do what they do best with a filthy throbbing bass line humping away as the steady rhythm drives this sucker home. ‘Kiss Me’ is the penultimate offering on this impressive record with more big vocals and infectious chorus before the lighters go up for the whistle in the wind ballad of ‘Seventeen’ looks back on the good ole misty eyed days of yesteryear.
Once again congratulations to our favourite Oslo rockers living the dream and making music that puts a smile on your face exactly how it was meant to do. Buy It!
‘Through The Teeth’ sees canadian punks Brutal Youth make a video for the first track off their new album set for release via Stomp Records later this month.
‘Rebuilding Year’ is the bands fourth album and this the first single with interesting video for ‘Through The Teeth’.
After last year’s successful dalliance with the old flame of Scabies – James – Vanian & Sensible it seemed about right and proper that the Modern Damned got back in the saddle for some live shows in support of their new album. This the first night of the UK tour sees the band return to Cardiff Uni the city of many great nights in Damned history being the city that had four Damned bassists on stage at once (The now long gone Point Venue) New Ocean Club was the venue where the MCA years took off and who could forget the Night Vanian decided not to go on tour and carnage ensued at the hippo club.
The Damned in 2023 are a more altogether (cough cough) professional unit. With New drummer Will Taylor sitting in the band launch into ‘Street Of Dreams’ to open the show with a sound system that is absolutely top of the shop and every clanging Paul Gray note and the deft touch of the new boy that was seamless and a pleasure to hear driving the songs on in the engine room letting Sensible do his usual sterling job on the guitar.
The second track was ‘The Invisible Man’ before shifting gears through some old classics from ‘Wait For The Blackout’ and an epic ‘Lively Arts’ Vanian then introduced the audience to tracks off the new album thats coming out next month but it wasn’t going to be one or two new tracks the band were going to showcse the flaming lot! Now I know there are your hardcore who will never be pleased with whatever they decided to delve into from their almost half a century of songs but we’ve done the original line up, The Paladium extravaganze the the Black Album anniversery or the Machine Gun in full sets so it seems right and fitting that the band throw a curve ball and play the whole new album. Me, I’m well up for that I’ve seen the band play almost 100 times and as much as I love a ‘Fan Club’ or a ‘Limit Club’ or recently getting a raft of ‘Music For Pleasure songs on the reunion shows this was something else and I love that about the Damned so bring it on.
‘Motorcycle Man’ sounded fantastic and overall I know it was live but the songs knocked spots off the lukewarm last album and they had more bite and energy about them. and before you knew it ten new songs out of the opening thirteen were done. If you left the venue then it’s your loss but the Damned audience can be a tough crowd sometimes but I think the majority were with me and love it.
There was still time as the band sounded tighter than usual and certainly looked to be enjoying the set and the reception they were getting new boy Will was certainly driving them on with a performance that was more Rat like than I was expecting and it only helped spur on the performance. ‘Born To Kill’ kicked into an epic ‘Love Song’ which in turn segued into ‘2nd Time Around’.
There was time for two encores consisting of ‘Eloise’before ‘Smash It Up’ was ruthlessly played before the excellent ‘Girl Stop’ bowed out, leaving us where it always began with ‘New Rose’ and we were done. Captain showed his appreciation and promised to return if they were all still alive at some point down the road and I left happy. Another day another impressive Damned show – Me I fuckin love em and if I could only see one band again it would be this bunch of rogues and their immense catalogue of songs.
Sick of paying silly money for a major studio vinyl reissue of an album that you really don’t need to listen to ever again? Hail Satan, then, for a real splatter platter that matters; a long player thoroughly deserving of finally getting a vinyl release.
‘Torture Rock’, the second album from Brooklyn’s own Chesty Malone and the Slice ’em Ups (originally released in 2011), will be released on vinyl for the first time this April. Available on Red & White, Red & Black Splatter, along with Classic Black Vinyl, ‘Torture Rock’ is being reissued by Boise, Idaho’s most evil record label – 1332 Records.
The album was recorded in Fall 2009 at Queens, NY studio Wild Arctic by engineer, Shawn Kimon, and featured maniac drummer, Angel Cotte (Demolition Hammer) who said that recording ‘Torture Rock’ was “the best experience of my life!”
Originally released on just CD and streaming platforms, this long-awaited vinyl release has the band pretty excited. “‘Torture Rock’ is finally coming out on vinyl,” singer Jaqueline Blownaparte commented, “…just like the Devil intended!”
The album’s artwork has been faithfully recreated from the original elements of the CD release by artist, Anthony Allen Begnal: “Since that album was sized for a CD cover originally, it was obviously way too small so I had to go searching through all my various flash drives to find the original pieces that I used for the artwork back then. I still have the painting I did and the cover photos, and I reached out to an old friend, photographer Holly Neil, to get some band pics she took right around the time the album was recorded. It took some doing but I think it came out great – slightly different from the CD, but also completely faithful to the time that the album was recorded.”
‘Torture Rock’ saw the Slice ’em Ups expanding on the old school American hardcore vibe of the band’s first album, ‘Now We’re Gonna See What Disaster Really Means!’. Guitar player Anthony Allen Van Hoek commented, “Our first album was a total hardcore record at heart, and with ‘Torture Rock’ we had the perfect drummer in Angel Cotte to add a lot of our crossover and thrash metal influences too. We poured everything we had at the time into that album!”
As ‘Lucifuge’ was to Danzig, ‘Torture Rock’ is to Chesty Malone and the Slice ’em Ups. It slaughtered all who listened to it unlike any thrasher has done before. Available for the first time on vinyl, do yourself a favour and grab this iconic horror hardcore masterpiece and soak yourself in its bloody embrace!
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