What in the name of Joey DeMaio’s bonk eye has been going on in UK this past couple of weeks whilst I’ve been off giving my xenomorph cranium some much needed sunshine?

I arrive back over the weekend to find the country baking in Caribbean style temperatures, Man City winners of the treble, the Tory party (once again) openly imploding and Buckcherry in the Top 20 official UK album chart.


Thankfully (for me) the latter wasn’t that much of a surprise as having the band’s tenth studio record pretty much on constant loop during my sabbatical I’d have been disappointed if it hadn’t been an instant success with the fans, as (for yours truly) ‘Vol.10’ really is the sound of Buckcherry at the top of their game once again.

Okay, I’m a bit of an old school Buckcherry fanboy, loving both their ‘Self-titled’ debut from 1999 and (still my favourite album by them) 2001’s ‘Time Bomb’, and as such have travelled far and wide to see the band live, but I must admit that ever since the ‘Rock N Roll’ album kind of “appeared” in my CD collection back in 2015, I haven’t really been that enthused by what the band have come up with.  Until now!

I think it’s safe to say that when Jetboy/American Heartbreak guitarist Billy Rowe joined the Buckcherry ranks frontman Josh Todd was looking to restore the song writing balance in favour of the liquor and poker bar band tunes that they had always excelled in writing, and 2021’s ‘Hellbound’ (the band’s first record for Earache Records in Europe) was a major step back in the right direction for the band following the decent if rather disappointing ‘Warpaint’ album, a record you must remember that had been preceded by Todd and guitarist Stevie D venturing off into the world of rock/rap crossover via their Spraygun War project.  

“So, what’s so great about ‘Vol. 10’? I hear you cry.

Well, this eleven tracker picks up pretty much where ‘Hellbound’ left off, with Marti Frederiksen reuniting with the band as producer, and the band line up of Todd, D, Rowe along with drummer Francis Ruiz and bassist Kelly LeMieux all seemingly gelling well together for their second album.

With Frederiksen at the helm the Aerosmith influence is never going to be too far away and here it’s evident from the get-go via opener ‘This And That’, a track that swaggers along with all the sartorial elegance of the late 80s version of the Toxic Twins. This is BIG, balls-out, rock music baby!

The album’s lead video/single ‘Good Time’ which is up next is the type of ‘Next 2 You’ rocker Buckcherry have become synonymous for writing, it’s perfect music to be played in your car with the top down enjoying the current heatwave, or if like me you like to walk everywhere, it’s a tune that’ll see you reach your destination a good three minutes quicker than you did last time.

Likewise, ‘Keep On Fighting’ is knockout stuff, a tune that actually harks back to the sonic fury of the ‘Time Bomb’ album, and if you like your music to come with a bite, this one is designed to take chunks out of your earlobes. Be careful with those anc headphones folks.

Elsewhere ‘Turn It On’ returns to the sassy swing of the record’s opener, and is that a hint of classic Guns N’ Roses I detect on the song’s mid-section? I’ll let you make your mind on that one, because up next we have ‘Feels Like Love’ a tune that whilst being 100% Buckcherry also has me thinking of Def Leppard, Whitesnake, Ozzy Osbourne (or should that be FM/Wildlife) and John Waite. Yes, it’s a love song, but it’s also possibly one of the best the band have ever written.

The thumping ‘One & Only’, and perhaps my favourite track on the album, ‘Shine Your Light’ make the mid-section of ‘Vol. 10 fly-by, and just when you think you have time for a breather (because Buckcherry always put a ballad in around this point in a record, don’t they) up pops ‘Let’s Get Wild’ a party anthem ready made for 2023.

 I seem to recall that there was a point during ‘Hellbound’ where I detected a hint of ‘80s Scorpions creeping into the song writing, and here on ‘With You’ I do feel like I wasn’t going completely mad after all. Go on, give the video a spin above and tell me otherwise.

After all these rockers there was always going to be a big piano lead ballad and this comes in the form of ‘Pain’, here Todd turns in a fantastically warm sounding performance using his lower vocal register to maximum effect before the band complete with orchestration take the tune off into the enormodome stratosphere.

Which just leaves the much talked about cover of Brian Adams’ ‘Summer Of 69’ to round off ‘Vol. 10’. Me, I don’t mind it, but never mind how many times I hear this song I can never get over how much Waysted were influenced by (as in ripped it off) for their 1985 single ‘Heaven Tonight’, but that is indeed a story for another day.

‘Vol. 10’ then, is a record chock full of feelgood anthems and alongside Sister Morphine’s long overdue debut they are easily my favourite sleazy rock ‘n’ roll albums of the year so far.

Check it out, you will not be disappointed.

Buy Here


Author:Johnny Hayward



Photo Credit: Charles Peterson

Duff McKagan has shared the song LIGHTHOUSE, the title track from his third solo album, LIGHTHOUSE, arriving everywhere on Friday, October 20. Pre-orders are available now. The album will be available in several variations, including CD, deluxe CD with fold-out photo print, cassette, standard black vinyl, and deluxe vinyl in a host of colors, each with lithographs, booklet, sticker, and guitar pick. Signed versions and exclusive store versions will be available as well. For more information, please visit: duffonline.com.

“The crashing….the cresting waves, the falling through of all that surrounds you. Life sometimes tosses us around, and we feel the want of comfort and the pull of home.  A ship tossed like a toy through the Cape, sails ripped and the wood groaning with the scraping of its ballast….a soul trying with all its might to find peace and a center.  Find a lighthouse. I have my lighthouse….its beacon swirling in the darkness with her warmth and promise of nurture, love, laughter, and all that is true.  Won’t you be my lighthouse, give me light,…and bring me home.” – Duff


For more than 40 years, Duff McKagan has been an unstoppable creative force, spanning a multitude of bands, tours, collaborations, and writings. Now, with his long awaited new solo album, LIGHTHOUSE, the veteran musician proves to be, at his heart, a gifted singer-songwriter with a distinctive knack for authenticity and introspection.

In 2019, McKagan opened his own recording studio, allowing him a long hoped-for opportunity to “finally explore songs that I may have written the night before or some of those old riffs from years ago. This is a big deal for me.” He spent much of the next two years working with longtime producer/collaborator Martin Feveyear (Mark Lanegan, Brandi Carlile), chipping away at a series of intensely personal new songs. 

LIGHTHOUSE now marks the first full length collection born in McKagan’s studio. Songs like HOPE (featuring veteran Paul McCartney drummer Abe Laboriel Jr and melodic lead guitar from Slash) and the philosophical I JUST DON’T KNOW (featuring contributions from McKagan’s longtime friend, Jerry Cantrell of Alice in Chains) see McKagan baring more of his artistic spirit than ever before, fusing acoustic elements with hard-edged rock ‘n’ roll to land at the sweet spot between soul-searching reflection and pure energy. The 11-song collection is further highlighted by an additional take on the title track, LIGHTHOUSE (REPRISE), joined by the one and only Iggy Pop

McKagan first unveiled his new music earlier this year with THIS IS THE SONG, a three-song EP honoring Mental Health Awareness Month alongside a call to action on Propeller. The EP – which was met by critical applause in Rolling StoneConsequence of SoundLoudwire, and American Songwriter, to name just a few – includes the deeply moving title track, THIS IS THE SONG, joined by an official companion video streaming now on YouTube.


Try these brand new bangers for size. Whilst the UK is enjoying some sizzling sunshine we’re sat indoors searching new tunes for you lovely lot. first up is this ripper from down under as Clowns prepare for the release of their new album ‘Formalydahide’ turns up the heat. Clowns Facebook

Next out of the traps is ‘Nuage Fractal’ From the forthcoming VOIVOD “Morgöth Tales” 40th Anniversary album, out July 21st, 2023. Pre order Here

We all know the story by now of how this record came to life whilst the main protagonist and only original member Mike Peters was in Hospital fighting pneumonia after a breakdown in his medication against his long-term leukaemia battle. Armed with a ward of Doctors a guitar and a headful of ideas as well as some PMA, Peters wasn’t sure his voice would hold up so set about recording the latest Alarm record as a way of fighting the good fight and probably for his own sanity and way of dealing with his latest battle.

‘Forwards’ begins with the Title track and on first impression, it’s a fairly standard Alarm sounding song. Nothing wrong with settling into a record and easing in on familiar ground (call it safe, unsure or just setting out one’s stall). It’s ‘The Returning’ that dials up the Rock with another big chorded song, with plenty of digital tweaks and buzz flyovers adding texture to the song. The lyrics grab your attention where Peters, staring into the abyss of his predicament needs to let it out to exercise the demon in the room. and for such a positive man, maybe, negative thoughts have infiltrated. Feelings that he’s reached the end of the road and a terrifying reality winds up in his lyrics. Chilling and a moment where I’m stopped in my tracks, however, I’m still waiting for this record to really grab me musically. sure the backstory is nuts and most mortals wouldn’t even contemplate picking up a guitar.

I love that Mike Peters still writes and releases new music and through a chequered career he’s had very high highs, from the humble beginnings of the originallineupp through an upward trajectory they amassed a hardcore following that was steadfast through some savage attacks in the press butgalvanizedd them somewhat until that night in Brixton. Then a solo output that released records like ‘Breathe’ and ‘Rise’whicht were exceptional records along with the incredibly creative poppy fields project he’s kept me coming back for more through decades and projects like Coloursound and Jack Tars or Dead Men Walking Every time you think thats it he’s come back with something special.

By the time I’ve reached ‘Love And Forgiveness’ with a gentler song with hushed vocals, Peters has hit paydirt. Without a recognised bass player in the lineup or should that be a traditional lineup of Bass, Drum, Guitar, and vocal its definitely a talking point, however, whoever is playing the bass lines throughout the track should pat themselves on the back it’s a real draw and pulls you in on an excellent song and one of the records real high points.

Side one closes with the rockin’ ‘Next’ and again with some exceptional solos and fills it’s a smooth uptempo song that is really good. I like the attack and the production from George Williams it’s just the right side of “Big production” and has enough dirt under its fingernails to appeal to the cool kids it’s a winning formula that Peters should do more of, no doubt about it.

Side two opens with the rush of ‘Whatever’ a great up-tempo electric meets acoustic intro that breaks down that’s anthemic but steering far enough away from being lush and delving into cliché territory with lyrics that can be interpreted to light at the end of the tunnel of the dreadful time this record began its life in. It is alright as Peters leads the gang vocals and whatever gets you through is always good.

New technology meets old as ‘Transition has its throbbing technology layered beneath the Baritone guitar as it licks around the throb whilst the layers of electric guitars fall like an avalanche into the chorus before the solo but its Peters vocals that hit front and center and any fear he might have had whilst in his Hospital cell are put to bed with an exceptional sounding delivery.

‘Love Disappearing’ is the most sounding Alarm song on offer with its ‘Strength’ like intro but when it gets going its got an aggressive edge that’s good to hear sure it’s polished and big but it’s like its been given all the knobs and whistle treatment but then been wiped with sandpaper to give it grit and edge and that works and the frailties of Peters limits on his vocals works well and the harmonica honk is well placed.

‘New Standards’ is possibly the most Alarm sounding song of the lot and will play to the gallery and that’s fine. I hope it’ll grow on me like a lot of this record which to my ears is a whole step up from the last few that were ok but didn’t enthuse me apart from the odd track. This is far better on first impressions and even though I’ve only had a few plays but my first impression is, it’s got a lot of excellent songs and avoids cliches that people like to hammer Peters for. I look forward to hearing some of these songs live and giving them the live test but ‘Forwards’ is a record that does have some instant appeal but I hope it’s got depth that will keep me coming back for more.

The record finishes with ‘X’ as the band wrestles to tame a beast that twists and turns and meanders through its verses with layered vocals and a scuffing riff. Some excellent sounding and prominent drum fills that work well through some very wordy verses its a top tune to close off the record. Peters empties what’s in his head and does it well as he puts a life into some sort of perspective reaching clarity as the song unfolds. I love the use of harmonica and where the verse breaks with the chaotic loops and keys layer add something different and then we go back in and rise again. an exceptional song to close off a thoroughly enjoyable album.

I kept an open mind about ‘Forwards’ as I didn’t want to reach unrealistic highs for one of my favourite recording artists and I think my strategy has paid off. I can reap the rewards of a really impressive album. I haven’t enjoyed an Alarm album this much since ‘Under Attack’ and I know its early doors. I hope that this album grows and gets better with every play and I still feel the love in months to come as the earworms burrow down and take hold. Buy it!

Buy Here


Author: Dom Daley

Sweet Relief Fund

Friend of the site and all round incredible artist Jesse Malin has opened up about his recent health isseues and why he cancelled his UK and Europe tour and he needs our help.

Just a few weeks after his triumphant Webster Hall gig, a 20th anniversary celebration of his solo debut ‘The Fine Art of Self Destruction’, Malin suffered a rare spinal-cord stroke — a stroke in his back — while at dinner in the East Village. Gathered with friends to mark the anniversary of the death of Howie Pyro, Malin’s former D Generation bandmate and best friend, he felt a burning pain in his lumbar region that slowly moved down his hips, through his thighs, and into his heels. He collapsed onto the floor of the restaurant, unable to walk.

“Everybody was standing above me like in Rosemary’s Baby, saying all these different things and I was there not knowing what was going on with my body,” Malin says during a phone call from his room at an NYU rehab facility.

Immobilized and numb, Malin was carried by Murphy’s Law singer Jimmy G from the Italian restaurant into the hallway of a nearby apartment, where an ambulance was called to take him uptown to Mount Sinai Hospital. That was May 4, and the notoriously physical, high-energy performer — his first public stage dive was at 14 on national TV during a Saturday Night Live performance by Fear — has been paralyzed from the waist down since.

Jesse told Rolling Stone that it was the hardest six weeks of his life,  “I’m told that they don’t really understand it, and they’re not sure of the chances. The reports from the doctors have been tough and there’s moments in the day where you want to cry, and where you’re scared. But I keep saying to myself that I can make this happen. I can recover my body.”

Malin’s manager David Bason and some of his friends have launched the Jesse Malin Fund on Sweet Relief to raise money for his care and expenses, which include daily physical therapy, outpatient rehab once he’s discharged from an NYU rehab center later this month, and relocating from his current walk-up apartment to one with an elevator to accommodate his wheelchair.

Sweet Relief Fund

Anyone who knows Jesse will tell you he is always the one who gives, the one always there for those in need, as evidenced by his work with various charity efforts. Among them: Sweet Relief, MusiCares, Light of Day Foundation, Joe Strummer Foundation, Save Our Stages, Joey Ramone Foundation for Lymphoma Research, Joey’s Song, Black Lives Matter, Howl Helps, Positive Panther Benefit (Natalie Beaverstock/fan for a wheelchair), Rock The Night Foundation, Rock Against Racism, Jail Guitar Doors, The Bowery Mission, Road 2 Recovery Foundation, Little Kids Rock Foundation, and food banks around New York City.




Returning this summer over four days from the 3rd to 6th of August at the Winter Gardens in Blackpool, Rebellion Festival, respected the world over for bringing together the best new and iconic punk and alternative bands annually, it’s now that exciting time to start planning and working out what bands you want to see as all stages and band times have been announced.

Who gets ten minutes before you dash off to another venue or celebrate that you can see everyone you want or kick off that there’s a clash of your favourite bands. It’s the nature of the beast folks!

In the coming weeks there will be spreadsheets, clashfinders and other kind people posting their ways of displaying and seeing the many bands.

To see the schedule for this year head over to: https://www.rebellionfestivals.com/line-up

TICKETS STILL ON SALE: https://rebellion.keekmerch.com/ 

This year’s headliners include a Henry Rollins spoken word set, The Damned, New Model Army and Steel Pulse for what is one of the best and most eclectic Rebellion Festival line-ups so far. Other highlights include Descendents, Big Country, The Exploited, Neville Staple from The Specials, Die Toten Hosen, The Only Ones, The Dickies and many more.

These join a host of vibrant new talent as Rebellion Festival continues to champion exciting and fresh music including Bob Vylan, Lambrini Girls, I, Doris, Mille Manders & The Shutup, Bar Stool Preachers, Pizza Tramp, Yur Mum and many more.

Since its original inception in 1996 as the then named Holidays In The Sun festival, Rebellion has always aimed to bring together the best punk and alternative music from across the globe, and is still a family-run, family-orientated event that celebrates punk in all its forms. 2023 is without doubt, one of the strongest line-ups yet.

Head to www.rebellionfestivals.com for more information.

Rebellion Festival is an ALL AGES, family friendly event and children under 12 are admitted free of charge (accompanied by an adult). More information and tickets are available at:

Website: www.rebellionfestivals.com 

Twitter: @rebellionfest

Facebook:  www.facebook.com/RebellionPunkMuskFestival

Confession time. The nearest I’d ever come to listening to renowned Grammy-nominated Southern rock jam band Gov’t Mule was when I just happened upon their Rolling Stones live tribute record ‘Stoned Side Of The Mule Vol.1 &2’ a few years back. The most impressive thing about that record for me was the band didn’t just perform the usual big hitters, instead they chose to play deeper cuts like ‘Monkey Man’ and ‘Ventilator Blues’ and the band’s performance was truly exceptional.

So, what am I doing here sharing my views on the band’s all new twelfth studio record ‘Peace… Like A River’, and not someone else at RPM towers perhaps more au fait with their work? Well, the simple answer to this is when I first came across the lead track/video for the record, ‘Dreaming Out Loud’, I was literally floored by it, and I just had to hear more.

I’m getting ahead of myself here though, as if like me you’ve never really heard of Gov’t Mule then you’re going to need some backstory to provide some context.

Initially formed almost three decades ago as a power trio side project by then Allman Brothers/ex-Dickey Betts’ guitarist Warran Haynes, who also handles lead vocals, along with fellow Dickey Bett’s band cohort Matt Abts on drums (the original line up being completed by bassist Allen Woody), the version of the band that has recorded ‘Peace… Like A River’ sees the original duo once again joined by Danny Louis on keyboards, guitar, and backing vocals, along with Jorgen Carlsson on bass guitar.

Trying to pigeonhole (as most people like to do) exactly what the Mule sound like though is not exactly as easy as listing the ingredients that go into making up their rather unique musical offerings. Haynes himself has stated that the record is a showcase of “the golden era of rock, soul, jazz and blues,” and he’s pretty much spot on with that statement.

Losing myself within the many twists and turns contained with the album’s dozen tracks, it conjures up a crystal-clear image of the band entrenched in studio with producer John Paterno (who I seem to recall working on Elvis Costello’s excellent ‘Brutal Youth’ album) shaping what strikes me as a record that really does sound completely “out of time”. For a perfect example of this simply give the aforementioned ‘Dreaming Out Loud’ featuring the stellar vocal talents of Ivan Neville and Ruthie Foster a listen.

At this point I should perhaps point out that this track alongside the ‘Head Full Of Thunder’ (where Hayes does in fact remind me of one Danny Bowes vocally) are the only tracks here that last under five minutes in length. So, alongside the band’s more concise songcraft there are also ten shining examples of the band’s trademark instrumental journeys, where they call upon such luminaries as Billy Gibbons on the boogie-tastic ‘Shake Our Way Out’ and Billy Bob Thornton on the expansive latter-day Zeppelin-esque ragga jam of ‘The River Only Flows One Way’ to help provide some additional punch to proceedings. The songs may be longer than pop convention but it’s only during the uncompromising mantra of ‘Peace I Need’ that I ever feel that perhaps the co-producers maybe should have reached for the faders a minute or so earlier.

Rather ironically ‘Your Only Friend’ the album’s major foray into the Mule’s Floydian influences (they also tour a Dark Side of the Mule show where they play the classic Pink Floyd album in full) could perhaps have benefitted from a few extra minutes as here Haynes guitar playing whilst understated is quite breath-taking, and I’d like to have heard more. 

During the Hammond driven intro to ‘After The Storm’ there’s a point where Abts’ ride cymbal cuts through the mix crystal clear and at that particular point it struck me that this really is the sound of a band living and breathing their music, and I’m willing to put my mortgage on the fact that these guys would view the term “plugin” as some kind of musical profanity (okay I cheated and watched the “in the studio” video below before writing this), and given the sterile sound of many rock records released these days’. ‘Peace… Like A River’ really is the real deal, and it’s a record I have frequently had on repeat since it first dropped on my desk a few weeks ago.

You can share in the magic of ‘Peace… Like A River’ when it hits your local record shop.

Buy Here


Author: Johnny Hayward

Following their EP ‘Grotesque Radio’ in 2021 Golem Dance Cult are back with their debut long player. Coursing through its experimental black heart of Gothic Electro post-punk n pop, this due of Laur, and Charles have pulled in the services of some like-minded fellow musicians to add depth and flavour to their already assorted box of tricks. Adding riffs and tricks to create a sprawling collection of diverse tunes of twisted Goth pop. From the opening twitches and samples of ‘Prologue: Kill The Radio Brat’ you hit the twisted distorted thump of the bass thing before being whisked off on a siren synth entitled ‘Dalek Rhetoric’. The journey takes you around a bleak dark Bauhaus/Daniel Ash like city that doesn’t sleep and everything you touch bursts into song or a pulsating rhythm – Dark, Noisy and twisted rhythms – I like it especially when it can be heard at volume several streets away.

The album moves in mysterious ways lurching from darkened corners of your mind with a tick here or a stray riff there. ‘Schadenfreude Addict’ is like Heaven 17 if they were a resurected Zombie surviving on a steady diet of Phil Oakey and MManson if he went pop and not metal.

‘Carpe Noctem’ has a rolling riff whilst ‘Ghost of Las Vegas’ is bleak and laid back whilst ’21st Century Dogs’ bubbled with mischief. The album is fairly space even with the synths and sampling its the big dark guitar chords or mermering basslines that make it dark and different sure there are influences like Joy Division and Numan which make it accessable but the pop meets dark Goth is where the gold lies not an easy feat marrying the various genres that can be abrasive but when it works its glorious and I find myself visiting this album and opening a door on any particular song to find something drawing me in be it strange creepy bird whistsles or broken guitar riffs over shuffling backbeats on ‘Dark Breakers’ or the fractured stomp of ‘Going Warpath’ its all good.

‘She/He My Kryptonite’ is like a MDMA enduced Cramps attack put through the mixer and spat out. They do hit pop paydirt on the darkend ‘Feels Like Tuesday (Deja Vu)’ and the Cello is spine tingling – most excellent. Topped off and drawn to a close with the charming ‘Demi-Monde’ with its dreamy melody its a great way to sign off a really impressive album of darkened tones that will impress anyone with a blackened heart and a twisted pop desire. Go check em out – after dark of course.

Buy Here

Author: Dom Daley

Destination Dusseldorf is the brand new studio album from Scotland’s legendary Skids. The band note Europe as an ongoing inspiration for the new LP; “from the beauty of the Renaissance to the savagery of many wars, the highs and lows have been there as an ongoing and ever-evolving influence. This new album follows in the footsteps of ‘Days In Europa’ as a celebration of friendship and shared experiences.” Boy, what a celebration it is. The whole album is an absolute triumph from the opening chord to the final crescendo there is clearly a lot of love, respect, craft and quality bled into the grooves of Destination Dusseldorf’.

Right from the off and the opening few bars you get the confident vibe oft opener ‘Open Your Eyes’ it’s a confident opener that like a ray of morning sunshine screaming through the curtains from Jobson’s vocal its a stomping thumping slice of Rock n Roll. The rolling drum beat and dirty riff it’s exactly what you want to hear the Skids doing. It’s a wide open broad brush stroke in vivid technicolour. It thumps straight into ‘Tidal Wave’ from the gushing opening riff and gang vocals its seconds out round two. It’s sunshine Rock n Roll, chest-beating and I have a feeling the band know they’re onto something and the trademark Celtic chimes on the guitar are kept on the down low which is great in my book and helps brand Skids.

After a cracking opening salvo, ‘Don’t Stop’ turns up the heat further with Jobson howling out the lyrics like a man who knows he’s performing some of the finest work of his career as the outwardly looking vocalist delivers knockout song after knockout song.

The title track keeps the overall vibe of the record ticking over nicely with a laid back slice of post-punk new wave. The band collaborated with some impressive artists from Youth and Hugh Cornwall to fellow Scottish artist Martin Metcalfe – who were all happy to lend a hand on various tracks not because they were being paid but because of their respect and love for the music.

‘How To Be Free’ opens with a big power chord and smoulders as it meanders through the first verse to the big chorus its not an in-your-face anthem but it has one foot on the wedge and one fist raised in an anthemic way its a rockin album that deserves to be heard and the louder the better especially on tracks like this.

‘Destination Dusseldorf’ is a body of work that is confident and epic in equal measures and easily some of the band’s best songs to date. Throughout a pretty impressive career, they have made records with a certain amount of filler but this one has none of what you might call album cuts or filler tracks, it’s lean and fit and once you indulge yourself you’ll have to agree. I was expecting a solid record but was really pleased when it exceeded my expectations and then some. Buy this record it’s a summer sizzler.

Buy Here


Author: Dom Daley

This year marks the 40th anniversary of Glasgow’s garage-rockers The Primevals, ‘so we’re excited to be releasing their 12th album “The Dividing Line” in conjunction with Ghost Highway Recordings (Spain) and the band’s own Triple Wide imprint.’The Dividing Line’ is the band’s twelfth album believe it or not. With their soulful traditionally bluesy garage rock style ‘The Drop’ oozes class sounding like a cool North of the Border Lords Of Altamont without the Leather jackets and long hair this is the work of a gritty Glasgow gang and it is a very decent opener.

The harmonica honking ‘Sonic Pathway’ with its organ stabs and smouldering feedback is a howling good time giving the fantastic Fuzztones a run for their farfisa money. I must admit this is my first foray into the bands material and most enjoyable it is too. God knows how I’ve never crossed paths with them before now but its better late than never right? Right! I do wonder how even as an avid underground hipster I’ve not heard them before seeing as the Garage Rock scene in the UK isn’t exactly huge.

The recording is crystal clear and gives the band the space to show us what they’ve got ‘Drifting Away’ has more than a melodic kissing cousin to ‘Brown Eyed Girl’ on the verses but I like the ragged glory of the riff and the keyboard swirl on the pre-chorus. I’m sure some of the bands I’ve already associated them with are influences and the excellent ‘Don’t Cry’ is an uptempo rocker with some cool guitar breaks and confident stomp, much the same mantra for most of the album to be fair. Of course, these guys know what they’re doing and they are more than capable of turning in some cool tunes throughout even when they kick back like ‘High Street’ its engaging and theres a warmth about the songwriting.

The ultra fuzzed ‘WTFHTU’ is a wheeze from that speaker bothering bass to the organ whirling layer its a top tune and I can imagine a lot of fun live. Things get dark on ‘Sucking On Nothing Sweet’ with its Doors like intro before heading uptown its got a driving tempo and a decent arrangement.

‘The Dividing Line’ shows there’s still plenty of Rock and Roll left in this old dog and be it uptempo ‘Grit And Grime’ or signing this album off with a couple o frockers mixed withtheir more soulful garage style The Primevals do Rock and Roll really well and although they’re not here to reinvent the wheel this bad boy rolls nicely. Check em out Brothers And Sisters you might just dig their sound and get onto the right side of the dividing line.



Author: Dom Daley