It was Christmas week and RPM Online was lucky enough to have a video chat across the ocean with none other than Blag Dahlia about his recent records ‘Ralph Champagne’ and the brand new Dwarves album ‘Concept’. Blag also spoke about a new release that completes the ‘Concept’ collection set to come out before they hit the European touring circuit this summer.
We also talk about being cancelled, Vadge Moore, and what’s next. Hit us up at the link for the edited interview along with plenty of music both old and new.
Taken from their new album ‘Beer Baby’, to be released March 7th via LEGLESS, Gaga Music and Bachelor Records (UK).
They’re back after a four-year hiatus, with their fourth studio album and a UK tour confirmed for March and April. Drunk Mums formed in 2011 and were a huge influence on The Chats and Amyl and the Sniffers etc, so it’s a timely return and time to reclaim their crown as Australia’s rowdiest, dumb-fun party garage band.
Filmed and edited by WILD ROSE PICTURES in the streets of Melbourne, this video is a hot mess. A wild ride featuring E Scooters, a pit stop at the bottle shop, cheeky park session, New Guernica and a ride in a stretch limo that screams, “We made it… sort of.”
So, if you’re ready to witness the chaotic masterpiece that is “LIVIN AT NIGHT,” buckle up and join Drunk Mums on a journey through the absurdity of their latest party anthem. Let’s face it, we all need a bit of Drunk Mums-induced mayhem in our lives. Cheers to chaos!
Catch Drunk Mums live at the following dates in the UK:
March 29 Bristol, The Lanes
March 30 London, The Trinity
March 31 Bantham, Outside
April 1 Manchester, Big Hands April 2 Brighton, TBA
The hottest ticket in town had to be The Libertines playing the compact and frankly undersized venue Clwb Ifor Bach. Could probably have sold it out ten times over and demand would still have been feverish. With doors being delayed by a good ninety minutes the queue snaking down Womanby Street was like the entrance to Wonkas factory as people clutched their golden tickets. The band has been loyal to Cardiff with several shows in the city over the last few years and then with a new album set for delivery towards the end of March it was time for the boys in the band to regroup and test out some of the new songs on audiences around the country and what better way than in small grassroots venues that would be packed to the rafters and boy was Clwb Ifor packed.
Arriving on stage fashionably late The fab four waste no time in getting on with business. It’s a work through ‘Up The Bracket’ and ‘Vertigo’ to warm things up and loosen the voices of the semi-inebriated audience who were all looking to make the best of this opportunity to catch the band this close and personal. The recent single ‘Run Run Run’ was the first song off the new album to be aired and the masses were already throwing themselves around and singing along like it had been in the set for years. it wasn’t long before a couple of other new songs were played in the shape of ‘Night Of The Hunter’ and ‘Shiver’ with the former being the chance to grab an early breather as the wall I found myself pressed against was actually perspiring I swear it and on Stage right Pete was still wearing his Crombie buttoned up and a hat with a rather fetching Rosary bead wrapped around his forehead for dramatic effect no doubt not something I can see catching on but hey, you never know. Pete and Carl were their usual busy selves on stage interacting as they took the mic for their lines like a well-oiled machine and as the set developed the audience began to fall over itself at the lip of the low stage. There were calls for people to take a step back which fell on deaf ears and instead whilst nobody was injured the security did a decent job in refreshing the audience with bottles of cold water.
The middle of the set eased back with ‘Shiver’ from the new album before a rousing sing-a-long of ‘Can’t Stand Me Now’ and ‘What Kate Did’ before the cool swagger of ‘Mustang’ played out the last of the new songs. It was heads down and time to get busy before the curfew was ignored and ‘Death On The Stairs’ lit a torch under a magnificent run through ‘Time For Heroes’ and the main set was done.
A swift towel down and it was ‘Gunga Din which happens to be my favourite song off the last album before ‘The Good Old Days’ loosened the audience up for one last hurrah of an epic ‘Don’t Look Back Into The Sun’ and this sweaty mess was over and we could all wander out into the cool January night and some much-needed oxygen. I’d almost forgotten what it was like to go to a sold-out sweaty show by a big band in a small club and it was indeed one of those nights where you’re grateful to have discovered this thing we all love called Rock n Roll because The Libertines are one of the best if not the best live band the United Kingdom has produced in decades and these sweaty gigs are where they shine brightest. It’s their natural habitat From the magnificent rhythm section of Gary Powell and John Hassall who never drop a note and pour petrol on the fire in the engine room of The Libertines that enables Carl Barât and Peter Doherty to weave their merry notes like they are two sides of the same person yet very different in their delivery and approach and that’s where the magic of nights like this lies. A Magnificent night of music pure and simple.
Now then, Can we do this all again sometime it was a blast and I’m sure every single person who is lucky enough to attend one of these shows will testify just how bloody good The Libertines are. OK, maybe bigger venues so more people can witness how damn good a night out should be.
Radio Birdman, legendary outsiders of Australian rock and roll and ARIA Hall of Famers, celebrate their 50th anniversary in 2024 with shows in June and July
Radio Birdman, legendary outsiders of Australian rock and roll, celebrate their 50th anniversary in 2024.
This truly landmark achievement will see the ARIA Hall of Fame inductees take the stage for a series of special farewell performances around the country in June and July.
In a time when absolutely everything is deemed iconic, Radio Birdman remain the real deal. They rewrote the rules of the Australian music industry by sheer force of will and carved out their own path which many others have since followed.
Their logo, still mysterious even after half a century, is now emblazoned on the bodies of a global legion of fans, their cars, surfboards and much more. These final performances in June and July will underscore why.
To mark the occasion, the explosive 2014 album, Live At Paddington Town Hall 12th December 1977 will be reissued by Citadel Records.
You need to be there, anyway anyhow.
RADIO BIRDMAN – BIRDMAN 5-0! FRIDAY JUNE 21: CROXTON BANDROOM – MELBOURNE with CIVIC SATURDAY JUNE 22: CROXTON BANDROOM – MELBOURNE with CIVIC SUNDAY JUNE 23: THE GOV – ADELAIDE – with special guests FRIDAY JUNE 28: THE TRIFFID – BRISBANE with HITS SATURDAY JUNE 29: THE TRIFFID – BRISBANE with HITS FRIDAY JULY 5: MANNING BAR – SYDNEY with HARD-ONS SATURDAY JULY 6: MANNING BAR – SYDNEY with HARD-ONS
Check out this interview with The Damneds Bass maestro Paul Gray. Starting his career back in the 70s Paul first crossed paths with his current bandmates in The Damned when his band’s picture was printed on the flip side of the debut Damned album (good luck finding a copy) since then Paul has thumped his Rickenbacker in Eddie And The Hot Rods, Played with Motorheads Larry Wallis, Johnny Thunders around the time of his classic ‘So Alone’ sessions. He then followed Algy Ward into the Damned lineup and recorded two hugely impressive studio albums ‘The Black Album and ‘Strawberries’ as well as the iconic ‘Live At Shepperton’ record that captured the often chaotic but always exciting sound of The Damned live.
After quitting The Damned he had a stint with hard rockers UFO followed by stints with Andrew Ridgely as well as stints with the musicians union and tutoring Gray then returned to public prominence with Damned bandmate Captain Sensible as one-third of the wonderful Sensible Gray Cells.
Gray was also diagnosed with Throat Cancer before returning to the live stage he played with another Damned bandmate this time Rat Scabies in Professor and the Madman in 2017 before stepping back into the Damned following the departure of Stu West where he’s been an ever-present as the band have raised their profile and delivered several studio albums bringing you up to date with the impressive ‘Darkadelic’. He’s also found the time to record and tour with Wingmen alongside a Moped, Strangler and a Ruts DC. Without further fanfare let me introduce Martin Chamarette our intrepid interviewer and the one and only Paul Gray who it was once said if he was paid by the notes he hit he’d be a millionaire.
Brigata Vendetta are a new band to be reckoned with in the famed Bay Area punk rock scene, but the three members are anything but newcomers! Frontman & bassist Darrel Wojick and guitarist Mike Caputo will be familiar due to their involvement with Harrington Saints – well, they are joined by Bum City Saints drummer Brian Zobel. Those familiar with the Harrington Saints won’t be disappointed when the needle drops on Brigata Vendetta rather they’ll be suitably impressed and thoroughly pleased with this offering.
‘This is How Democracy Dies’ is the debut LP on Pirates Press Records. It’s 13 songs of smarting rapid uncompromising hardcore punk rock and boy does it get the blood pumping. Written over the course of 3 months and recorded in workmanlike marathon sessions at Oakland’s Sharkbite Studios in a single weekend, with frequent Harrington Saints collaborator Scott McChane manning the board it sounds like it was a band on a mission bristling with energy and ideas and finding the vehicle to let it all out. It’s like being hit in the face with an anvil but enjoying it so much you want to do it again.
What began as a side project for Darrel and Mike became their prime focus after Harrington Saints went their separate ways, and despite their familiarity playing together, the new band brings with it fresh sounds and fresh perspectives. Make no mistake this is punk as fuck and as hardcore as the likes of Bloodclot or any of the Agnostic Fronts of this world. Park The Saints and Suede Razors this is fuckin’ brutal and in your face. The likes of ‘1000 Cuts’ or the epic ‘Nothing Left’ would give a raging Lemmy a run for his money at his most aggressive best.
Straight from the get-go ‘Get The Spirit’ is the battle cry and a howling good time thereafter. Rapid and galloping but the guitar breaks are superb. It all makes for a really exciting record that doesn’t stop from the opener right through to the closing punch of ‘Greenies’ Which opens with the most filthy bass riff and sound I’ve heard in ages. Wham bang thank you man. This shit is on Fire and I love it.
If OFF! or the likes of MDC light a fire in your heart then this is for you. ‘Tempers Flare’ sounds like a band who just discovered Bloodclot and AC/DC and wrote a song including the two beasts. This record is relentless in its quality and delivery ‘Bodies’ is punishing and before we’re done ‘Into The Ground’ will leave you buried under an avalanche of noise that is hard as nails, heavy as hell but fuck me sideways it sounds good, no sounds fantastic! They say you can’t teach an old dog new tricks. Brigata Vendetta completely dispels that myth because ‘This Is How Democracy Dies’ is an absolute Banger! Buy It!
In the Fall of 2019, First Boy On The Moon set out on a journey to create catchy songs and perform live shows around Malmö, Sweden. Fronted by singer-songwriter David Pedroza, this quartet is inspired by 80s alternative music and continues to explore the different sides of Rock with cerebral lyrics, kick-in-the-guts guitars, bass, and drums and I thoroughly enjoyed their first offering when David got in touch to say that ‘Cybergirl’ was in the bag I was looking forward to hearing what the band would come up with next.
The moment the needle dropped on ‘Dreamer’ I felt a smile crawling over my face and as my head nodded to the rhythm my foot was compelled to join in this wave of happiness as the uptempo modern alternative rock was pounding through my speakers. The production is unfussy and lets the music breathe, be it through headphones or speakers. This is excellent. Like a fusion of the Manics meeting the guts of early Suade as a starting point but to be fair there’s a healthy Bolan swagger going on and more of that 70s glam is infused into the DNA of Pedroza’s songwriting with small parts or just the attitude and delivery it’s all in here.
‘Hot Fun In The City’ is more of a groove and a more relaxed pace but it’s a wonderful slice of guitar-driven pop again the feeling that this is unfussy and that punchy Bassline can have room to be heard is something loads of bands miss. ‘Room Full Of Junk’ stalks in the shadows ushering some new wave tones to proceedings a louder guitar-based Teardrop Explodes with that post-punk feel.
When Iggy did ‘Bla Bla Bla’ he still had guts but wanted a more accessible style and ‘High On The Beast’ comes from the same place. The first side ends on the more dreamy ‘Afterlife’ with acoustic guitars and drum toms and the use of an Ebow for added atmosphere. Influenced no doubt by 80s Bowie, Pop, and Reid which is a fine place to draw inspiration from as anywhere as well as touching on the style of the Furs or Bunnymen it’s in that guitar-based ballpark.
Side two begins with the upbeat ‘Taste The Rainbow’ followed by the gritty title track. ‘I’m Alive’ and ‘Eyes On You’ are more proof that First Boy On The Moon are onto something. The album closes with the handclapping atmospheric ‘Generation Suicide’.
This record sounds fantastic, the songs are really good and a varied but a very enjoyable listen it is too and I still can’t help but feel good listening to these songs. In these uncertain times, it’s always good to have some sunshine and First Boy On The Moon delivers that in spades. Something steeped in the good old days but feeling brand new. Hit ’em up on Bandcamp or Facebook and crank it up.
Genius, Mad as a box of frogs, show off, nutcase, prolific, has nobody to quality control him are all things people have said about Ryan Adams, and at some point, all of these would be true and we’ve barely scratched the surface of 2024 and Adams has already dropped not one, not two but Five albums! now drink that in music lovers Five albums. Four new studio albums and Prisoner live which is a bit lazy releasing a live album on the day he drops Four studio records. What was he thinking? Anyway, whilst trying to live with the new albums and intake all that new music as well as deal with a plethora of new releases January has gotten off to a headfuck of a start and none more noteworthy as ‘1985’ from Ryan ‘What me writer’s block?’ Adams.
A quick summary would say that ‘Heatwave’ is fourteen songs of Adams does… whilst Star Sign’ is ten songs of Adams doing… then ‘Sword And Stone’ aren’t Adams Goes Manowar (now that I could handle) but twelve songs deep whilst ‘1985’ is, wait for it, twenty-nine songs in half an hour of The Finger styley giving it some proper fuck you! punk rock hardcore. yup, we know he has it in him away from his takes of Oasis and Springsteen cover albums or his Taylor Swift take down this is nasty fuck you and the horse you rode in on punk rock. Something right up our alley (so to speak). One minute he’s Springsteen or Liam Gallagher goes acoustic the next he’s out Offin Keith Morris doing Hardcore with as much authenticity as Vinny Stigma.
‘1985’ kicks off with ‘Dark Places’ and away we go on a rip-snorting rocket ride. It’s not noise for the sake of it it is just wonderful Black Flag-style punk rock. ‘Waste Of Time’ is less bluster and more Replacements punk rock and who doesn’t like some of that? In fact, if this was announced as some long-lost Husker Du blast or Replacements demos I’d buy into that. The album lurches from the alt-punk rockers to the straight up Hardcore and ‘Forget Me Either Way’ is the latter whilst ‘No Flag’ is like a rabid dog barking out the chorus and its done.
The tone of the guitar is superb, ‘Skulls’ is a banger whilst the sharpness of the riff on ‘Toaster Face’ is like being hit in the face with a baseball bat and enjoying it. ‘You Are The Enemy’ is him chanelling his inner UK Subs. It’s all in here kids and by the time you reach ‘Midlife Crisis’ you might need a break its exhausting pogoing round your sofa to Ryan Fuckin Adams. ‘Down The Drain’ might offer the welcome break from all that chaos with its dark acoustic beauty. Then ‘Bag Of Trash’ could be a Fuzztones Psyche rock trip but then ‘What The Fuck’ draws you back into the punk rock maelstrome.
Before we’re done ‘Straight Edge Bookstore’ is his tip of the hat to Minor threat and the fucked up world of Straight Edge. The clock is rewound to the youthfulness of early punk with the comical ‘Punch Em In The Nuts’. I need a lie down, I’m exhausted Ryan Adams has almost broken my brain with his welcome to 2024 and this his ripsnorting kick up the backside that is one hell of a top record. My advice dont fuck about get in there and buy it. 1-2-3-4 Go!
Recorded by John Atkinson and produced by Jonah Falco (Chubby & The Gang, High Vis, Home Front) What A F*cking Nightmare is a high energy blend of Oi! hooks and hardcore stomp that’s sure to please fans of all things loud and catchy. “Bloodsucker” follows “Those Days,” “F*ck ‘Em” and “Cry Your Eyes Out” (which have drawn attention from the likes of Stereogum, BrooklynVegan, Revolver, Alternative Press, and more), and provides two minutes and fifteen seconds of melody, ferocity, and a big dose of personality. Vocalist Cal Graham explained the new track, calling it, “a song about that one punisher who doesn’t know when to fuck off, torturing you with their drivel.”
Emerging from the London punk scene, The Chisel have gained worldwide recognition as one of the most exciting new bands in the genre today. While their sound is rooted in aggression, it’s their ability to pack a melodic punch that’s allowed them to stand out from the pack. Across a whopping 16 tracks, What A F*cking Nightmare hones The Chisel into the keenest and most effective version of themselves. Graham’s biting-yet-tuneful delivery allows the band to swing from eye-bulging ragers to triumphant singalongs that even the most faint-of-heart rock and roll fan couldn’t help but enjoy, and his bluntly powerful lyrics paint vignettes of everyday frustrations, class divisions, exploitive authority figures, and the camaraderie of finding like-minded people in a tumultuous world. The result is a truly essential punk album that grabs the listeners by the head and never lets go. This is The Chisel‘s world and we’re just living in it.
This week The Chisel are hitting the U.S. for a sold out show in NYC at Bowery Ballroom, followed by an appearance at Baltimore’s Disturbin’ The Peace Festival. Then next month the band will be kicking off lengthy runs in the UK and EU. See full itinerary below.
Upcoming Shows:
26th January New York, NY @ Bowery Ballroom + 27th-28th January Baltimore, MD @ Disturbin’ The Peace 27th January Baltimore, MD @ Metro Baltimore (Disturbin’ The Peace Aftershow)
1st February Leeds, UK @ Key Club * 2nd February Newcastle, UK @ The Cluny 2 * 3rd February Edinburgh, UK @ The Wee Red * 4th February Manchester, UK @ Star & Garter * 5th February Birmingham, UK @ The Flapper * 9th February Cambridge, UK @ Portland Arms * 10th February St Albans, UK @ The Horn * 11th February Brighton, UK @ Green Door Store * 16th February Southhampton, UK @ The Joiners * 17th February Bristol, UK @ Exchange * 18th February Cardiff, UK @ The Globe * 23rd February Turnbridge Wells, UK @ Forum * 24th February London, UK @ 100 Club * 25th February Nottingham, UK @ The Bodega *
29th February Drachten, NL @ Iduna ^ 1st March Essen, DE @ Westadthalle ^ 2nd March Valenciennes, FR @ Salle Des Nympheas ^ 3rd March Maastricht, NL @ Muziekgieterij ^ 4th March Strasbourgh, FR @ La Laiterie ^ 5th March Heidelberg, DE @ Karlstorbahnhof ^ 6th March Munchen, DE @ Backstage ^ 7th March Ostrava, CZ @ Barrak Music Club ^ 8th March Warzawa, PL @ Proxima ^ 9th March Dresden, DE @ Tante Ju ^ 10th March Berlin, DE @ Astra Kulturhaus ^
Recorded back in April of 23 in Texas These Scranton punks promised everything but never quite broke into the major league alongside Green Day and other premier league punks but they did keep churning out consistently good and wholesome records. Sure there is an injection of Americana via the likes of Gaslight Anthem and this latest album kicks off in glorious chest-puffed-out anthemic style with the upbeat and uptempo ‘Hope Is A Dangerous Little Thing’. Theres a maturity here that’s not so much in the end product but an underlying feeling ‘Nobody Stays’ is big verse and chorus with layers of vocals and a wall of sound. Its as if they’ve taken a deep breath and decided they are ready to step up to the next level and fill a void of arenas that needs loud guitars and some shouty lyrics leaning on the Americana side of things, acoustic guitars are strumming big chords, a wall of distorted youthful guitars and wholesome snare snapping drumming and that’s good.
There is also a dreamy side like the title track that has a radio-friendly side to it something say a Goo Goo Dolls perfected before becoming totally consumed by FM safe radio this has a bit of an edge going on. Usher in ‘Try’ with its loud guitars and harmonic solo that licks the intro before the verse gets going proper. Big chorus declaring that they are ready after a decade and a half to take what they can.
The record falls back into a safer radio-friendly tempo with ‘Come On Heartache’ with its tale of love and loss. I’m still scratching my head that this is album number eight they’re at the point where they can reflect with credibility and look forward in several diverse directions but not come across as overtly earnest or sickly Americana they are none of those things and keep enough grit in the songs and delivery. ‘Take It To Heart’ has a cool lick and a good chorus that’s one of the best tracks on the record.
‘High Low’ is another slow-burning song where the intro reminded me that Ryan Adams used to make records this good but disappeared off my radar. Before the record closes you have the uptempo joyride of ‘I Didn’t Miss You’ and then the record finishes where it began with another acoustic-led mid-paced rocker. There’s a lot of music to get through on this album and the highs are certainly that whereas the lulls are few and far between and there is enough sunshine here to dive in or add to a mixtape to familiarise yourself with the songs because this one I feel could be a slow-burning success and one come to the end of the year will still be hitting the turntable.
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