Album number three for these North American synth punks or should that be punx? Taking advantage of the pandemic to strengthen their numbers from three to four. Heavy on the power pop and expanding the sound Autogramm embrace the old wave New Wave if you know what I mean. Sure it’s tubeway army for the 21st century mixed in with a healthy dose of Buggles and The Cars. But let’s not forget these guys come from the punk rock backwaters and that grounding has served them well as they’ve taken the attitude into the modern age and embraced different instruments and how punk rock can be played. they once released ‘No Rules’ and they certainly apply that to their music. Instead of being tied to one style of post-punk or another, they embrace it all and turn it into something clearly defined as Autogramm.
The album opens with the 80s synth-pop of ‘Born Losers’ that breaks out into a real 80s crowd pleaser and is unashamedly dripping with pop played with guitars and synths and nailing their flag to the mast of the jocks target in high school but the chicks know these cats got the cream. The first single is the excellent ‘WannaBe’ with its barking synth guitar throb championing being who or whatever you want to be and as the song twists and turns from the sparse bass throb to the lush harmonies it is a real earworm and one I highly recommend playing at volume. Man, there are moments on this record that take me back to when Gary Numan was the real deal with his pencil leather tie and the synth run on ‘Why Do We Dance’ leads us into one of those Devo meets Cars tunes. Robotic and cool but with some snot on their sleeves and a bit of edge in the vocal delivery.
One thing I get the more I play the record is how good it makes me feel. I love the guitar chops on ‘Love Is For Fools’ It’s such a ray of sunshine and it’s infectious stuff. ‘Plastic Punx’ was one of the videos that was released before the album came out and it’s an energetic romp through synth punk rock so don your funky shades curl your lip up and let’s pogo. I love the retro new wave of ‘Yesterday’ it reminds me of the Teardrop Explodes.
After me championing the upbeat, lucky nature of this album ‘Always Gonna Be My Girl’ is a mellow moment with sparse arrangement and the last song of the disco when you grab your girl and cheek to cheek you slow dance before she has to go home. To close off the record we take another gear shift with the more punchy ‘Dive Right In’ It’s like they’ve emerged from hibernation switched on the Commodore 64 watched a rerun of Back to the Future and written some new wave tunes looking forward to a brighter future and with this, in the cassette deck the future is so bright I have to wear shades. I know it Autogramm knows it and now you know it. Don’t delay get in it, this is music that humans have played and they’re just like me and you and if you’re here you probably also have exquisite taste so get over to Beluga if you are this side of the pond and Stomp if you’re stateside. Great Scott get back to the future kids and get some Autogramm, like yesterday you’ll enjoy it.
Forming in 2018 – Guitarist Pete Greenway, drummer Keiron Melling and bassist Dave Spurr, formerly known as the last and longest serving line up of The Fall, were invited by Damo Sazuki to join him as “Sound Carriers” for a one-off performance at the White hotel in Salford. Rekindling their necessity for music, they set about searching for a vocalist. After a chance encounter at a pub in Colne and a lengthy conversation about the future of Imperial Wax, they decided to team up with Sam Curran, guitarist and vocalist from Leeds based punk band Black Pudding. Once Dave decided to leave the band in 2019 the obvious choice was to recruit another former black puddinger Shane Standrill on Bass
‘Less I Need’ is the first single from Imperial Wax’s forthcoming second album ‘Tranquilliser’. It’s a 4-minute post punk garage barrage, constantly changing keys and charging up into a furious krautrock barnstormer.
“Less I need was the first song written for the new album,” explains guitarist and vocalist Sam Curran. “The initial intention for the song was to simplify our writing format and concentrate more on one solid foundational groove and build upon that, rather than overloading the song with different parts, which in the end evidently went out the window. It was (drummer) Keiron’s idea to constantly change keys, which worked really well. It gave the song much more drive and purpose. The key changes were not planned out and probably technically incorrect to a trained musical ear. Wherever the hand landed on the guitar neck was where the key change went, which helped create that jarring unpredictable nature to the song.
“The actual chorus and eventual title of the song came as a total accident. I couldn’t come up anything good for the chorus, so while playing song with the band I just sang gobbledygook whenever it got to that part. That gobbledygook eventually refined itself and started sounding like words but was never anything proper. When recording the demos and listening back someone asked ‘what do you say during the chorus? Is it less I need?’ I said, It is now.”
As the pandemic ground the country to a halt, Keiron and Sam set about brewing the beginnings of the follow up to their 2019 debut, ‘Gastwerk Saboteurs’. In stark contrast to the writing style of their debut, where the songs were created all together, written and recorded in the same day. The bare skeleton of ‘Tranquilliser’ was written mainly as a two piece amidst the lockdown. Pete and Dave eventually adding their own parts later but overall allowing the band much more time to craft the songs into a cohesive, well-rehearsed, studio budget friendly collection of tracks. The forced contemplation of excess time gave an approach which was totally unfamiliar to what they were used to and naturally cultivated a more complex style of song, meaning more parts, more changes and less playing off of other band members. After Dave’s departure former Black Pudding bass player Shane Standrill stepped up to the oche, bringing with him a different playing style and thus changing the sound of the band even further. Dave had already laid the groundwork for the whole album, but after the failed first lot of recordings at their own practice space in Lancashire and with Shane’s new take on Dave’s parts, the band decided to go and re-record the whole thing properly at HOHM Studios in Bradford. Sam found himself working in a chateau in the south of France, who was also in the midst of a lockdown. Allowing him a plethora of time and solitude to begin writing lyrics. There wasn’t much else to do in the evenings except read and write. Not many opportunities can provide such an uninterrupted environment to immerse yourself in the writing process, which was something Sam took full advantage of. Inspired by the works of Joseph Conrad, William Burroughs, Herni Cherrier, Mashima, Olga Tokarschuk and many more. The main problem for any small band always boils down to money and that was certainly the case with Imperial Wax, so after a few failed label offers the band looked into releasing the album themselves. Upon realising the potential of having total control over your own release, the only problem was that no one had a clue what they were doing, hence the name Guesswork Records. It was a venture Keiron had long been keen on since his time in the Fall, after he and Mark had planned their own label which ultimately never came into fruition with MES’s untimely demise. Another unexpected blow was finding out that Pete had contracted the dreaded long covid. The band held out for a long time hoping that Pete would start showing signs of improvement which unfortunately never came and is still up in the air to this day. No doubt he will back in the saddle eventually but for now Imperial Wax have enlisted former Cabbage guitarist Joe Martin. After the fairly public collapse of cabbage along with his own personal struggles it was a case of right place and right time when Keiron bumped into Joe in Colne. They needed a guitarist and Joe filled that requirement. Along with the very recent addition of former the Fall/PJ Harvey bassist Ding, who has taken up the role of synth, Imperial Wax are well armed to take on many more year’s future musical ventures. FOLLOW IMPERIAL WAX SPOTIFY | BANDCAMP | INSTAGRAM | FACEBOOK
Fond of all things yuletide at Damaged Goods HQ, having released a fabulous collection of Christmas records over the years, even if they do say so themselves! This one is up there with the best of them and is sure to sell out quickly!
The Sensible Gray Cells are Captain Sensible (The Damned) on guitar/vocals, Paul Gray (The Damned) on bass/vocals, with Marty Love (Johnny Moped) on drums.
Join with them in celebrating all things that are daft and frustrating about the festive season. The band’s Xmas ditty ‘A Stupid Xmas’ captures everything you love to hate about this special time of year. It also has the catchiest chorus since Slade and Wizzard ruled the charts! AND wait till you see the video!
So, if you’re bored with watching endless repeats of Morecombe & Wise, or on the other channel Nigel Farage scoffing bugs on ‘I’m A Celebrity..’ and maybe fancy a crack at trying to solve a real, modern day ‘whodunnit’ then flip the record over for the somewhat darker flavoured ‘B’ side ‘Keep it to Yourself’ which sees the band in full on ‘armchair detective’ mode, taking a look at the as yet still unresolved Madeleine McCann mystery.
***VINYL FANS TAKE NOTE*** A certain number of records will have a deliberate mistake hidden.. well, somewhere or other – a jolly wheeze inspired by some of those old Stiff Records ‘instant collector’s item’ mispressings. We won’t say anymore!
Dion is quite the Prolific musician this past few years with albums and tours a plenty and this new release for 2023 is ten tracks of Garage Punk rock goodness. from the opening lo-fi smash n grab of ‘Secrets’ its off to the best possible start. With a wall of distorted guitars and a sparse floor tom beat and the lofi vocals its Garage ‘Rock goodness a plenty and just what I wanted to be hearing from mr D4 and place to bury stranger guy.
As well as the In The Red Versions of the LP (Black/Red Splatter) there are very limited numbers of a LEVITATION and FUZZ CLUB RECORDS “Shockwave” splatter version.
Lunadon leans on garage rock, punk and some power pop for good measure he doesn’t venture out of his comfort zone but his comfort zone has and is on the fringe of those genres and its a style he absolutely pulls off. In fact the openning single and lead track reminds me of The Boys in the melody and delivery of the vocals.
Lots of wrestling feedback on the guitars as ‘Nikki’ unfolds It is sparse and sounds like it was conceived in an underground tunnel with a solid consistent beat. That cold detatched feel continues on ‘Diamond Sea’ as Lunadon lets his vocals walk all over the song from screams to howls to melodic proper singing its all in here like a Bowie sketchbook thats been uncovered and I do like that piano thats holding it together whils tth eguitars are wrangled with.
‘I Walk Away’ is a bruising affair coming on like a distant cousin to fuck up Jon Spenser and Gallon Drunk chaotic and beautiful all at the same time. Its pretty much the MO of ‘Systems Edge’ as it lurches from raw to eve rawer material. Its a real attack on the senses as one track smashes into the next and so on it goes. ‘Shcokwave’ is like a feral Jesus and Mary Chain cut from the 80s heyday and then ‘Grind ME Down’ staggers in like the fucked up son of the Stooges.
‘I Don’t Mind’ is like a twisted pop song that has been out all night on a bender of Ket and cheap wine. The chorus is burrowed deep into my ear and I can’t shake it off I find myself singing the words I Don’t Mind over and over and tempted to march like Jagger as the song plays in my head.
The album then plays out via the sub eight minutes of ‘Room With No View’ and gone are the areratifs of the sub one minute songs or the two minute balsts of sonic ice and the fucked up trip of ‘Room’ as the guitars are put through the ringer and get absolutely rinsed fo rthe next seven minutes its the sound of the road to hell being trodden without a care in the world as Lunadon takes this impressive record home. I like it a lot and I knew that would be the case. I’ll venture in sparingly and I know it will drag me in much like when I get anew Dead Moon record and f this is half as good then its a winner all the way. Join me and get fucked by the sonic head fuck that is ‘Systems Edge’.
+ Collapse Into Never: Placebo Live In Europe 2023 double vinyl
+ This Is What You Wanted Blu-Ray feature length concert film
+ Live From The White Room live CD
PLACEBO announces the Placebo Live box set, an extensive collection of career-spanning performances captured in Mexico, Spain, and London. Remarkably, more than 25 years into their career, the set includes the first live album that the band have ever released – Collapse Into Never: Placebo Live In Europe 2023.
Placebo Live also marks the first time that any live performances from the band have been made available on vinyl. Across the whole collection, vinyl, Blu-Ray and CD formats are catered to from three special live sets titled Collapse Into Never, This Is What You Wanted and Live From The White Room. Each was recorded in the last year and a half as the band toured the world in support of new album Never Let Me Go, playing to over 1.5 million fans in the process.
Collapse Into Never, recorded live at Low Festival in Spain, comes as a clear double-vinyl gatefold. This Is What You Wanted was recorded live in Mexico City and the extended set is included here on Blu-Ray. Live From The White Room, recorded at Studio 1 Twickenham Studios, brings seven songs from the band’s acclaimed new album Never Let Me Go to life and is presented in a softpak gatefold CD.
The box set features songs from their eponymous debut Placebo, Black Market Music, Sleeping With Ghosts, Battle For The Sun, and Loud Like Love. Their acclaimed new album Never Let Me Go – which charted in the Top 10 in 13 countries on release last year – is also well represented here, including the album’s lead single ‘Beautiful James’ which currently has over 35 million streams across platforms. Beloved fan-favourite covers like Kate Bush’s ‘Running Up That Hill’ and Tears For Fears’ ‘Shout’ also feature.
In 2023, one of the great live bands of the last 25 years finally gets the live album release they deserve. Placebo Live reasserts why their show continues to be the essential experience that it always has been.
A truly defining artist in the Rock pantheon, Alice Cooper changed the way that rock music sounded and looked – forever – and sold over 50 million albums along the way. His incredible career – both with the original band and as a solo artist – has seen him pushing the boundaries of what is possible, both with the music and also the truly legendary live shows. He drew together music, art and theatre and created something unique and timeless. A seminal force within the rock world, Alice Cooper is a pioneer, an icon, a profound influence on everything that followed in his wake, but first and foremost an entertainer.
Each book will be individually signed, and “Starring Alice Cooper” will come in two major editions, including a huge, very limited, A3 version complete with 3D lenticular and some surprising treasures. The book boasts many rare photos and pictures of personal items throughout, and is full of incredible personal content and surprises.
As well as the superb photography, “Starring Alice Cooper” features essays on his career from several renowned writers, including former Creem Magazine editor Jaan Uhelszki, Rock et Folk’s Jerome Soligny, Katherine Turman (co-author of “Louder Than Hell”), and an exclusive introduction penned by acclaimed author and longtime Alice fan Neil Gaiman.
A truly defining artist in the Rock pantheon, Alice Cooper changed the way that rock music sounded and looked – forever – and sold over 50 million albums along the way. His incredible career – both with the original band and as a solo artist – has seen him pushing the boundaries of what is possible, both with the music and also the truly legendary live shows. He drew together music, art and theatre and created something unique and timeless. A seminal force within the rock world, Alice Cooper is a pioneer, an icon, a profound influence on everything that followed in his wake, but first and foremost an entertainer.
With a catalogue that spans seven (!) decades, Alice Cooper’s timeless calling cards include the albums that catapulted him to superstardom with the original Alice Cooper group, like ‘School’s Out’ and ‘Billion Dollar Babies’ in the early 70s. And then, going solo, an artist that constantly evolved, creating ‘Welcome To My Nightmare’ in 1975, his first record as a solo artist, the path on which he has continued to this day, including his 1989 smash hit album ‘Trash’ – featuring the mega-hit ‘Poison.’ Alice Cooper has continued to redefine the world in which he operates. 2023 saw him return to the album charts with ‘Road,’ repeating the 2021 success of the ‘Detroit Stories’ album as well as 2017’s ‘Paranormal.’
While creating a visual and sonic template that immediately and permanently sets him apart from his peers, the ever-changing Alice Cooper defies definition. “Starring Alice Cooper” celebrates a talent, and a life, of a true one-of-a kind icon.
For many years I would tell anyone with ears that Brixton based collective Alabama 3 were one of the best live bands on the planet. Their unique brand of “sweet pretty muthafuckin’ country acid house music” and incendiary, unforgettable live shows were legendary in my circles. But I must admit a run of less than spectacular albums and a few less than professional live shows saw (me at least) lose interest a few years back. The tragic death of co-founder Jake Black (aka The Very Reverend Dr.D Wayne Love) in 2019 seemed to seal the deal that it was all over for the Alabama 3.
But then something strange happened…Alabama 3 got their mojo back! Call it triumph over adversity, a rejuvenation even, but Larry Love and the boys unified, licked their wounds and released their 13th album ‘Step 13’ in 2021. A tribute to a fallen friend, the title referred to the next phase after death as quoted by A. Ron Hubbard, and was a return to past glories.
Now in 2013, with a new album (Cold War Classics Vol 2) on the shelves and the return of vocalist Devlin Love to the live outfit, it’s time to see if Alabama 3 can still deliver the goods live.
9 o’clock sharp and Alabama 3 hit the stage at the sold out Brudenell in style to newbie ‘North Korea’. Dressed in military jacket and shades, the ever cool Larry Love commands his audience from the off. Stage right is Devlin Love, the diminutive lady with a larger than life voice. She looks even cooler in a black fur coat, figure hugging dress and stack heels. Her vocals and her stage presence gives a different dynamic to the band now that Jake is gone.
But the ghost of the Very Reverend D Wayne is all over this show and he even makes an appearance, albeit a taped one on the overly cool set highlight ‘Hypo Full Of Love (12 Step Plan)’, which is a nice touch.
The set is a great mix of old and new, enough to satiate old fans and new recruits alike. It’s a very dance orientated show, the dub heavy bass throbs from the speakers and you can’t help but move to the groove. New tunes like ‘Petronella Says’ and ‘Whacked’ sound good, I mean really good, like they are A3 classics already after just a couple of years, maybe it’s just a testament as to how strong an album ‘Step 13’ is.
The pair of singers work the crowd like pros, inciting the crowd to get on their dancing feet and sing along to the choruses.
Long time core members keyboard player The Spirit looks suitably miserable all night and Nick Reynolds is always cool, switching between harmonica, backing vocals and sax all night. Larry informs us it’s his birthday and he takes lead vocals on the song the band wrote about his great train robbing old man ‘Have You Seen Bruce Richard Reynolds’. The harmonica induced countrified blues is a killer set highlight for me from one of my favourite A3 albums.
I must admit I’ve not seen them this good in many, many years. Other highlights like the awesome ‘Up Above My Head’, the countrified ‘Hello, I’m Johnny Cash’ and the obligatory ’Woke Up This Morning’ prove that Alabama 3 have the tunes and are an underground alternative institution we should be proud of.
The welcome return of singer Devlin Love seems to be what the band needed at the right time. While no one could ever fill Jake’s cowboy boots, her bluesy, soulful vocals and presence adds sex appeal and spice to the countrified, dance tunes tonight.
Her lead vocals on ‘U Don’t Dans 2 Tekno Anymore’ are frankly stunning, she rules that stage. Encore time sees her return with an acapella ‘Mercedes Benz’ before the full band return dedicating Aslan’s ‘How Can I Protect You’ to the ailing Shane McGowan.
I’ve seen Alabama 3 a bunch of times over the past 20 years, but this show was one of the best. Larry Love and his band have redeemed themselves in my eyes and take their rightful place as one of UK’s most exciting live bands currently doing the rounds. Long may they rule.
ECHO & THE BUNNYMEN, one of the most influential British bands in modern history, have announced a major UK tour for March 2024. The tour will celebrate the songs that have brought the band twenty Top 20 hits and nine Top 20 albums so far during their incredible 40+ year career. Tickets are available from https://gigst.rs/EATB2024 and www.ticketmaster.co.uk. The band’s seminal albums Crocodiles, Heaven Up Here, Porcupine and Ocean Rain have been a major influence for many groups such as Coldplay, The Killers, The Flaming Lips and Hole, whilst later albums Evergreen, What Are You Going To Do With Your Life and Siberia & Meteorites demonstrate what an amazing body of work the band has. Their latest studio album The Stars, The Oceans & The Moon was released in 2018 with Q Magazine calling it “Magical”. Echo & The Bunnymen recently completed a lauded sold out run of Ocean Rain concerts with The Royal Liverpool Philharmonic Orchestra which included a hometown show at Liverpool M&S Bank Arena. MARCH 2024 Sat 02 NORWICH UEA Sun 03 BRIGHTON Dome Tue 05 BOURNEMOUTH O2 Academy Wed 06 BRISTOL Beacon Fri 08 LONDON Roundhouse Sun 10 CARDIFF University Great Hall Tue 12 NOTTINGHAM Rock City Wed 13 BIRMINGHAM O2 Academy Sat 16 MANCHESTER Albert Hall Sun 17 MANCHESTER Albert Hall Tue 19 SHEFFIELD City Hall Wed 20 GLASGOW Barrowland Fri 22 LEEDS O2 Academy Sat 23 NEWCASTLE O2 City Hall Mon 25 LIVERPOOL Empire Theatre Tue 26 LIVERPOOL Empire Theatre
November is almost done and we can all get on the eggnog but before that there is time to squeeze in a right mixed bag of new singles and videos. From Kenny’s write-up of the brand new Valhalla Awaits track through some classic punk and pub rock to some balladeering and pop songs for you to get your heads around, Go check them out. But hold on Those cheeky chaps The Sensible Gray Cells begin the Crimbo madness before we unleash December’s festive tunes…Enjoy…
Valhalla Awaits – Is There Anybody Out There? (VA Records) The long-awaited new single from Welsh wonders Valhalla Awaits is finally unleashed and it’s been worth the wait. The band have been busy in the studio adding the finishing touches to their latest EP which will be released soon. The guys have had a busy summer with various festival performances, following on from their support slot with fellow Welshmen Those Damn Crows on their UK tour earlier in the year.
This taster from the EP has all the VA trademarks: A fantastic vocal performance, melody, riffs, tasteful guitar solos, powerhouse drumming and crystal-clear production values. A mid paced track full of atmospheric guitar melodies courtesy of Rhys Carter and Chris Green, a rock-solid performance from drummer Snoz Lawrence leaves bass player Sam Kilby to hold it all down on the bass front. The track builds beautifully and climaxes with some stunning guitar work.
Yet again, vocalist Andrew Hunt plays an absolute blinder. His velvet tones soar over the music with ease while giving us an ear worm of a chorus that has been in my head ever since my first listen to the track. The band just go from strength to strength, and I can’t wait to hear the EP and catch the lads in a live setting soon. Bravo guys!!
The track is available to stream/download now wherever you listen to your music. Author: Kenny Kendrick
The Sensible Gray Cells – ‘A Stupid Xmas’ (Damaged Goods Records) I couldn’t think of a better person to release the first christmas single than the good Captain and his Sensible Gray Cells. Join with them in celebrating all things that are daft and frustrating about the festive season. The band’s Xmas ditty ‘A Stupid Xmas’ captures everything you love to hate about this special time of year. It also has the catchiest chorus since Slade and Wizzard ruled the charts! The B side is classic Sensible a gentile romp with soe neat guitar work ably backed by Paul Gray and Marty Love.
***VINYL FANS TAKE NOTE*** A certain number of records will have a deliberate mistake hidden.. well, somewhere or other – a jolly wheeze inspired by some of those old Stiff Records ‘instant collector’s item’ mispressings. We won’t say anymore!
Christmas / Mrs. Anthrope – Split 7 (Self Release) Christmas drop their 19th release with this split 7″. The band are full of snot and anger on their side ‘Armageddon’ whilst the lyrics might be apocolyptical the music shows a way more melodic and softer side of Christmas and it really works for the band with a most excellent record. I certainly wasn’t expecting such a melodic gang vocal on the chorus. Also from St Wendel Mrs. Anthrope is a new band with their first song right here. ‘Squeezy Brains’ is a fast banger that just makes you wanna dance! oh and break stuff. Its punk rock baby and it rocks! Can’t wait to hear more from these guys as its always great to have new music from new bands. Great single!
FRANK CARTER & THE RATTLESNAKES – ‘Brambles’ (International Death Cult / AWAL) second song to be taken from their forthcoming album ‘Dark Rainbow’. With a palpable sense of foreboding and menace, and arrives as something of a plea for a perfect love With the first half of the song being some dark ballad like song it then enters a darker twist before some lush strings and hushed vocals. A melodic pop song from Carter moving in a different direction than I was expecting keeping fans on their toes.
Faz Waltz – ‘Rave A Comin’ (Spaghetty Town Records) Oh baby its coming on like the bastard children of Little Richard and Jerry Lee with its boogie woogie piano leading the way on Rave a Comin. Its full tilt get your party pants on and lets go. The B Side isn’t far behind with a trad bop n roll with plenty of swing. Pure Rock n Roll nothing more nothign less. Expect a new album in the early part of 2024 and on this evidence expect a whole bunch of Rock n Roll kids. Great stuff. Horns a honkin and ivorys tinkling get these cats on tour with Jim Jones Allstars or would that be Rock n Roll overload?
Jim Bob – ‘This Is My Mix Tape’ (Cherry Red Records) Hot on the heels of his most excellent long player released earlier this year Jim Bob has knocked together a 10″ EP of four classic covers from ‘Are Friends Electric’ to ‘Pretty In Pink’ but he also entertains a Squeeze cover and Dexys ‘Gino’. Of course, its quality its Jim Bob and he’s been in a rich vein of form as of late and this only adds to his quality catalogue and will have fans old and new beaming with his take on some pretty classic tunes. This might be his first mixtape but I hope it won’t be his last. I can think of a follow-up bunch of tunes right off the bat Go Jim Bob.
Greg Kuehn – ‘Medicine Man’ (DC-Jam Records)Greg Kuehn, (TSOL keyboardist and prolific composer) is releasing “Medicine Man” the first single off his upcoming EP on DC-Jam Records. ‘Medicine Man’ is a song about recovery and mental illness, a subject close to Greg’s heart. He has been in recovery for nearly 30 years. TSOL fans tak e a breath because this is a dark ballad from Greg but its dark and soulful and sincere. but most of all its damn good.
Bob Vylan – ‘Hes A Man’ (Ghost Theatre) Taken from the upcoming album ‘Humble As The Sun’ which is out in April of 2024. With just one vocalist (Bobby) and one drummer (Bobbie) they have created a unique and ever evolving sound, one that crosses styles and genres, doing away with the traditional and embracing new and uncharted sonic dimensions. They incorporate these styles within their music in an attempt to bridge and blend genres and subcultures together. It is this very unique style and sound that has found them embraced by rock, rap, punk, dance and alternative crowds alike.
Golem Dance Cult – ‘Ghost of Las Vegas‘ Taken from the bands latest album ‘Legend of the Bleeding Heart’. The idea was related to how we can feel alone even (especially) when surrounded by other people, like ghosts roaming in a casino…. in Las Vegas. The duo take chances and aren’t afraid to mix it up on their records but its sharp, captivating and interesting concepts. Besides if you don’t like a bit of Goth then getoutofhere. Here at HQ we love a bit of sparse bbuzzsaw guitar and low range vocals. Check it out.
Penny Rich ‘PC’ (self Release) Cardiff-based noise punks release a studio take and live version of ‘PC’ and it’s angry as fuck and comes out of the speakers swinging so get your dukes up and protect yourself. With a throbbing growling bass rumble, psychotic vocals, and that Grungy Punk riffage that served the likes of Nirvana really well. One to look out for for sure and hopefully I can catch them live soon and see how this brawler comes across – gumshields at the ready.
Johnny Moped – ‘Lockdown Boy’ (Damaged Goods Records) the loveable Lodon boys knock out a tuneful ragged slice of pub rock and they do it so well. Before you’ve heard it through once you’ll be spilling beer and singing along in your mates face with your arm tight around his neck moments before you either get turfed out of the boozer or you stumble and fall. Cheers guys its a belter and leaves me feelign warm and nourished. ‘The Other Side’ no the other side is like they left the tape running when they’re having a chat before the band kicks in with a short sharp burst of energy before fading away – strang? Yup but its Johnny Moped go check it out
Having seen The Cult play a blinding set in the summer when they announced Death Cult dates it seemed only fair to head to Duffys turf and catch the show in the spectacular surroundings of The Albert Hall. Once inside the old church after giving the merch a swerve due to the prices being £40 for a cap and £30 for a poster I put my wallet back in my pocket and headed for the bleachers as Lili Refrain who once again played a thirty minute set of Native chanting and floor tom loops. The minutes flew by and we were ready for what was promising to be an interesting evening of old school Cult. I’d seen social media posts complementing the band on how good they were but I’d avoided too many spoilers then the house lights went off and the swirls of dry ice engulfed the high room as the shadows took to the compact stage as ’83ed Dream’ creaked out of the PA system to howls of approval from the paced room. Duffy hunched over his White Falcon picked the chords whilst Asbury held the mic with a sturdy grip, some dark glassed his hair tied in a ball whilst wearing a leather jacket and black robe the clock was certainly turned back.
The pit was in full flight as ‘Christians’ punched into the ether and ‘Gods Zoo’ confirmed we were really doing this and the band sounded fantastic. I think its fair to say that live Asburys voice hasn’t always been as strong as it does on record but I have to say that in the summer and in Manchester he sounded unbelievable better than I’ve ever heard him. He looks in shape and his voice is strong and powerful and it really struck home on ‘Flowers In The Desert’ as the two bandmates stood alone on the stage and knocked out a really powerful rendition. It was the first sort of break in the set which had been full throttle up to that point.
Its fair to say that the next hal fof the set was spectacular and trying to think of superlatives to pour upon the set is tough because ‘Resurection Joe’ was huge sounding and it elevated the set to the next level but to follow it With the huge ‘Horse Nation’ I began to daydream as to why these songs went missing from the Cult setlist over the last few years of shows. Duffy seemed in the zone as he picked the opening riff from ‘Go West’ only to hit a hattrick of songs starting with ‘Loves’ ‘Hollow Man’ another they should play more often followed by ‘Dreamtime’ and the epic ‘Spiritwalker’ was magnificent and might well be up there as one of the pest live shows I’ve ever seen them do going back to the Love era tour.
It only left ‘Rain’ to finish the main set before the band retired, Earning a thoroughly deserved encore of ‘Moya’ and of course ‘Sanctuary’ and Manchester was now done. The Death Cult came, saw, and conquered and it felt a real privilege to have been there and witnessed such a special performance in such excellent surroundings. The band seemed to enjoy the show as much as the fans did and I hope this isn’t the last of these kind of tours because The Cult are on fire at the moment. They sound and perform better than they have done for decades and that is a fact my friends. Simply stunning.
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