Of course its on Pirates Press for they’re the perfect label for some excellent polished oi meets street punk rock n roll. From the opening verse and chorus of ‘The City’ you’re already singing along with the gang on this rather fine slice of street punk. Including past and present members of The Swingin’ Utters, The Beltones, Roadside Bombs, Hometown Addiction, Resilience, The Burdens, and more. They were formed at the beginning of the pandemic, and have the mission statement of playing roots rock n roll with a bootstomping rhythm and a fistfull of top tunes. You know what, they delivered exactly that.
Its got a spit and polish of some guys who’ve been around the block once or twice and know how to make a gret sounding record. Each of the ten tracks is powerfully delivered and arranged to perfection. Early doors you have the bass thumping runaway train that is ‘War’ I get shades of Living End in the arrangment but by the halfway point the songs are varied from the uptempo rock of ‘BNO’ to the melodic ‘Dead Generation’ with its strong message and gang vocal chorus it sounds like the perfect band for a good saturday night out with mates checking out the rock n roll show.
They even have time to slow things down for the intro of ‘Little Girl’ before it soars like a good SLF song. The upside of those long arduous lockdowns was a lot of bands were forced to work on their craft and out of all that isolation we have albums like this. ‘Good Riddence’ is a strong rock song no fuss or pretentions just five guys kicking out the jams. ‘King Of The Avenue’ is a strong avenue from top to bottom and they even find the time for a punk rock roots take on ‘Hungry Heart’ which they do very well to be fair leaving only ‘Nothing Wrong’ to sign this project off with as they ride off into the distance with a hot rod snarling rocker. If you like your Californian Punk Rock n Roll loud and full of melody with uplifting choruses that the gang can all get involved in then Hunting Lions might just be your new favourite band.
The 2nd single from Dez Dare’s forthcoming album is released, ‘10,000 Monkeys + An Argument With Time’.
‘A Billion Goats. A Billion Sparks. Fin.’ features 11 songs that delve further into the void than previous records, leaving the sardonic frustration behind for sarcastic existentialism, zeroing in on the big philosophical questions, and the pedantic shards of nonsense that make up our existence.
Tying beats, lo-fi electronics and a bass sound that will implode your speakers into a ball of anxiety, Dez looks at how we experience time and the perspective we need for change.
Dez says “time is kicking us all while we scramble around this rocky mass. If time passes slower closer to the mass, get HI to get perspective!” The concept stems from the elasticity of time as a dimension and where we sit within it. Someone living at the top of a mountain will experience time faster than someone on the ground as they are closer to the mass. Maybe if we all took a step back, took to the hills or even further… we might just see the world a bit clearer.
The self-produced Australian has spent over 3 decades producing music, releasing and touring bands, and doing live sound for z-grade metal bands. Growing up in the coastal town of Geelong (Djilang) in Australia, he was introduced to the DIY punk and rock scene at 15 and this community and the ideas rooted in the underground music scene have guided his output and ethics throughout his career.
This year Dez will be joining forces with label titans God Unknown (Cassels / Duke Garwood / James Johnston + Steve Gullick / KLÄMP / Oneida / Laura Loriga / Monster Magnet / Wellwater Conspiracy [Soundgarden + Monster Magnet]) and will be producing a deluxe version of the album on blob colour vinyl and includes a comic book illustrated by Mike Keane. In true nerd fashion the comic also features top 10s by Dez, Jason Stoll (God Unknown), Matthew Barnhart (Chicago Mastering Service), Mike Keane, and the album illustrator MALMALL.
‘A Billion Goats. A Billion Sparks. Fin.’ out March 1st on God Unknown Records.
Friday, 12 April 2024 / The Tin Music and Arts, Coventry w/ Hula Girls + Trojan Pony [Sink or Swim Promotions]
Saturday, 13 April 2024 / The Dark Horse, Birmingham w/ Exotic Pets + Empty Cut [Die Das Der]
Wednesday, 17 April 2024 / The Prince Albert, Brighton w/ Frixon Klatt + YOU&TH [The Séance]
Friday, 19 April 2024 / Fish Factory Art Space, Falmouth w/ Ubiquitous Meh! + Broken Arrow
I’m always a bit miffed when I see a Japanese glam scuzzy punk rock n roll band breaking through in the West. I know a lot of bands who tour Japan always say how awesome it was touring the land of the rising sun and how energetic and cool the place is especially for lo-fi punk n roll so why aren’t we deluged with household names? Hell knows because I don’t. Well, slovenly know a thing or two about scuzzy punk n roll because they’ve been dishing it up for a couple of decades and rarely do they not hit the mark with the bands they introduce you to. Add Angel Face to that impressive list because from the off these cats are struttin like peacocks knocking out Generation X meets Hanoi meets Dead Boys meets The Parkinsons style punk n roll.
This record is crammed full of banging melodies and hooks by the time you hit the earworm ‘USA’ you’ll be spilling beers and pogoing like a good un. ‘Big City’ is as snotty as those early Hanoi tunes but this one has a borrowed Waldos riff. Man, side one is done and dusted and it flew by and I absolutely loved it!
Come on everybody clap your hands, ‘I Can’t Stop’ is a decibel raising party in your speakers. I hope they were suss enough to get their band name from the Glitter Band track. The fact I can’t find anything on the World Wide Web about them only makes me like them more.
‘Bring Me Back’ unleashes some nasty Cheetah Chrome riffage that we should all love and it also evokes some of that Cavemen recklessness, I bet these would dish up one hell of a party in your pad if they were invited. There is a freshness and innocence about this and thats alluring but they’re tight in the right places like the snotty Thin Lizzy riff-a-rama that is ‘That’s Enough’. Hell, we’ve reached the end and all thats left is a speed enthused ramage through ‘Slippin and Slidin’ which is wonderful and sounds like the perfect take to bring this riot to an end. Lie down in a darkened room for five then put it on again but another notch louder let’s do shots to go with the beers that we’re chuggin’ whilst pogoing. Angel Face is the band rockin’ and fuckin Rollin is their game – Get involved its a no-brainer and one of the most enjoyable records you’ll hear all year – Fact!
Check out the video Interview that Kenny recently had with Dane from Phil Campbell & The Bastard Sons. Dane is the powerhouse in the engine room of one of the best albums that was released last year so it was down to Kenny to pin down his mate and get into talking all things Rock n Roll – Hit the YouTube line and check out this video and what makes Dane one of the nice guys in Rock n Roll.
Getting a ringing endorsement from the legend that is Jesse Malin is always going to get heads turning around RPM HQ and when you hear Lorne was the gunslinger in Dimestore Halos and the influences of Johnny Thunders stand out then we’re all in.
This is his sophomore album, ‘Blue Love’, released on Spaghetty Town Records. Is an 11-song collection. It’s steeped in the heart and soul of New York City of old and the first glimpse was the single, ‘The Blue Goes On Forever’.
Following up the debut record can be a daunting prospect but not for Lorne The stories on Blue Love are literate and totally in keeping with his surroundings, the ghosts of Lou Reed, Jim Carroll, Johnny, and Sylvain are felt. There’s a live old-school Replacements meets Reid vibe on the opening track ‘So I Think Of You’, especially through the Lalala part I’m thinking lofts in the LES and a ghostly thin and pale Reid chewing on a cigarette reading Kerouac. It’s loose and sparse and carries such a cool carefree vibe. The single follows and that laid-back summer breeze vibe carries on but it’s carried through the ether on a vibrant and uplifting beat and tempo.
‘The Bellevue Song’ has me daydreaming about Johnny Thunders and his sidekick Sylvain. give her a great big kiss man. It’s a story about falling in love while in a mental hospital and why not? ‘Blue Eyes Gone Green’ is an acoustic-driven jam.
Get the ladies in for some shuffling call and reply backbeat smokey barroom balladeering on ‘Barbara’. ‘Ferris Wheel’ is a stomping big chords and funky Bass lines whilst Lorne cuts out some tasty chops that a prime Keith Richards would be proud of. ‘You Don’t Know Me’ gets a little funky with some whistling on the intro. I remember my first visit to NYC and coming out of the Port Authority near Maddison Sq Gardens this song could have been playing in my head as my wide eyes tried to take it all in as I was hit with the horns and balmy summer sunshine daydreaming of Travis Bickle and the Ramones music can do that to you.
The album closes with the brushes shuffle on the snare as the acoustic guitar picks away on the chords as Lorne leaves his mark dovetailing the record where we came in. Totally NYC in the same way Jesse Malin is forever entwined in the city and all its stories and history of Rock and Roll there must be something in the water there to keep churning out super cool records like this. A cool album with plenty of top tunes that will grow old with you and one that will mature like a fine wine. Check it out you won’t be disappointed it’s a grown-up album for people who are still in love with their rock n Roll.
BULLETS AND OCTANE has once again set the stage ablaze with their latest release, “Space Lord Symphony.” This electrifying single is accompanied by a visually stunning music video that promises to captivate audiences worldwide.
“Space Lord Symphony” is a sonic journey that combines the band’s signature high-energy sound with a cosmic twist. Known for their powerful riffs, anthemic choruses, and relentless energy on stage, Bullets and Octane takes their music to new heights with this intergalactic-inspired anthem.
The accompanying music video, directed by Christine Fullwood, is a cinematic masterpiece that transports viewers into a mesmerizing, surreal odyssey. With mind-bending visuals and a narrative that complements the song’s theme, the “Space Lord Symphony” music video is a visual feast for fans and newcomers alike.
“‘Space Lord Symphony’ is the first single from the new Bullets And Octane album (TBD) due out in 2024. The band, firmly lead by the sober singer and main songwriter GENE LOUIS, is still as raucous, energetic and melodic as ever. The new music will punch you in the face and kick you in the nuts at the same time. Just good time hard rock n roll delivered with a punk snarl.” – UVT ENTERTAINMENT / BULLETS AND OCTANE
BULLETS AND OCTANE has consistently pushed the boundaries of rock music, earning them a dedicated global fanbase. “Space Lord Symphony” is a testament to the band’s evolution and their commitment to delivering fresh, innovative music.
The single is now available on all major streaming platforms, and the music video can be viewed on the band’s official YouTube channel.
It’s been a long time since uncompromising Manchester alt-punks The Empty Page first unfurled their debut album ‘Unfolding’ back in 2016. It was never their intention to leave it that long, but founding member and original drummer Jim Cattell left the band during the recording process due to ill health, then there was the pandemic, then life stuff got in the way. Some one-off songs and seven-inch single releases kept the fire and desire to play burning, signalling the path to stunning new album ‘Imploding’, due for release this coming May 10th via the bands own Vociferous Records.
Drummer John Simm (who also serves as percussionist for Stockport indie band Blossoms) plays on the record and at current live shows alongside frontwoman Kel Page and guitarist Giz as The Empty Page prepare to enter their exciting next phase, which starts today in the guise of new single ‘Cock Of the Fifth Year’, the first track to be released from ‘Imploding’. The band waste no time getting established with conviction and power. The new single bristles with attitude and energy and hits hard from the moment it leaves the speakers and wallops your ears and guts.
“Cock of the fifth year is what we called the biggest jock types when I was in high school,” explains Kel. “Cocky, brash loud and overly confident. Puffed up and swaggering and often quite intimidating. I liked the name for a song and wrote it initially about a cartoonish bloke who unselfconsciously uses up all the space available and makes others feel shoved out of the way. Unfortunately, there are still a lot of blokes like that I encounter when walking around my home city of Manchester. Swaggering, mouthy bellends who can be pretty intimidating when you’re a woman just trying to get from a to b. I was thinking about the idea that being a big deal in high school is the peak of some people’s lives. I hated school with a passion and my own Ife has got better and better as my school days have receded in the rearview. Seems a weird flex now to have been a big deal in high school.”
For ‘Imploding’ the band worked with producer Morton Kong and for the first time found themselves with the luxury of not having to rush the recording process and took full advantage of the creative space, utilising the studios vintage gear and experimenting with sounds and fresh ideas (“we hit massive bells with hammers, dicked around with walkie-talkies, created elaborate bass feedback set ups,” laughs Kel) and generally pushed themselves and their music further than it has ever gone before.
“People often describe our sound as anxious, urgent, angular,” summarises Kel. “I think it’s all of those things because that’s what the inside of my brain looks like. But I think it’s lush and beautiful at times too. I hope people can hear the whole gamut of emotions in this record. It’s political, personal, passionate and, I hope, important.”
‘Imploding’ is out May 10th via Vociferous Records. Pre-order the album HERE:
new album “Skinwalker” + EU headline tour dates announced for April 2024
UK headline tour to begin March
New album out 12th April via Communion Records
Cardiff-based four-piece Buzzard Buzzard Buzzard return with the announcement of their highly anticipated second album “Skinwalker”. Following closely on the heels of their critically acclaimed single “Therapy”, which came out just before the turn of the year, the new album is due for release on 12th April via Communion Records. It will come shortly after the band’s forthcoming UK tour which is set to take place across March 2024.
Following on from their Welsh Music Prize nominated debut album ‘Backhand Deals’ in 2022, the band wrote and recorded the album at frontman and producer Tom Rees’s Rat Trap studio, the room where Rees has previously recorded and produced tracks for emerging talent – Panic Shack, Do Nothing and The Bug Club. The material – as previewed on “Therapy” and their earlier single “Chew” – showcases a heavier and more disquieting sound than anything the band have released to date.
This darker sound and aesthetic take inspiration from found-footage horror and the Navajo concept of the Skinwalker – a legendary malevolent shapeshifter – from which the album takes its name. Thematically, each track on the record is designed to take you through descending floors of Rees’s mind each becoming more horrific than the last with the Skinwalker at the final floor, representing his inner fears, self-sabotage, hatred, and self-doubt. It’s a deeply intimate record of self-analysis and personal growth told through heavy fuzz-drenched guitars, a crushing rhythm section, and fevered vocals.
The band still carry that same the fast-paced energy and subtle trademark ‘70s references from their earlier releases though, and this is particularly evident on the danceable, indie-funk inflected new single “National Rust”, which was premiered last night by Huw Stephens on BBC Radio 6 Music.
Speaking on the single Rees says, “‘National Rust’ was my attempt at consolidating my 2020 obsession with Sly and the Family Stone with my 2021 obsession with David Bowie’s album ‘Low’. It was the first song that really paved the way for the new album, it broke a lot of the sonic boundaries that I was writing within when starting the second album, “I AM NOT AFRAID OF PLAYING FUNKY GUITAR!”, I exclaimed, mu-tron in hand.
Lyrically, it made a statement that informed my songwriting moving forward as well, being a flagrant rejection of my previous political song writing, and an admission of alienation amongst a plethora of information. ‘National Rust’ acts as a bridge between my younger, more political perspective, and my more recent, more apathetic one.”
Elsewhere on the record, the harmony-filled “In My Egg” sees Rees sing about the struggles to force yourself out of your comfort zone, whilst “Human Compression” see the band delve into an almost desert-rock sound with hazy, unrelenting guitar work supporting Rees’s lyrics about the pressure he puts on himself. The psychedelic glam-tinged “Night Of The Skinwalker” – a song which centres around his struggles with self-doubt- marks the albums opus, melding a number of styles and genres across almost six minutes.
Buzzard Buzzard Buzzard – Rees, guitarist Zac White, drummer Ethan Hurst and Rees’ brother and bassist Eddie – have been going from strength-to-strength since releasing their debut EP “The Non-Stop” in 2020. They’ve since made of end-of-year lists with NME, DIY, and Dork; earned plaudits from the likes of the Guardian, The Telegraph, MOJO, Uncut, Record Collector, The Needle Drop, The Independent, CLASH, The Line Of Best Fit, and So Young; and have amassed significant radio support with plays across worldwide radio, and live session appearances across BBC Radio 1, BBC Radio 2, NPR, Radio X, and more.
The band’s frenetic live sets have seen the band make fans in tourmates from The Magic Gang to Miles Kane and were set to support Noel Gallagher – another in a growing list of fans – at the Royal Albert Hall before the coronavirus struck. They’ve also performed widely across the festival circuit appearing at Glastonbury, Eurosonic, Latitude, All Points East, SXSW, and Green Man, and have toured extensively including a packed-out headline date at Scala. The band will go out on tour again next March hitting 16-dates across the UK where the band will continue to debut new material.
Full dates are as follows:
FEBRUARY 2024 24 – Swansea, Swansea Arena House Party
MARCH 2024 01 – Oxford, Jericho Tavern 03 – Exeter, The Cavern 04 – Falmouth, Cornish Bank 06 – Norwich, Voodoo Daddy’s 07 – Chelmsford, Hot Box 08 – Ipswich, The Smokehouse 10 – Tunbridge Wells, Forum 12 – Milton Keynes, Craufurd Arms 13 – St Albans, The Horn 14 – Ramsgate, Music Hall 16 – Peterborough, Met Lounge 17 – Birmingham, Hare & Hounds 18 – Hull, Adelphi Club 20 – Stockton, Ku Bar 21 – Sunderland, Independent 22 – Edinburgh, Voodoo Rooms 24 – Grimsby, Docks Academy 25 – York, The Fulford Arms 26 – Clitheroe, The Swan & Royal 27 – Frome, The Tree House APRIL 02 – Rotterdam, Netherlands, V11 03 – Paris, France, L’International 04 – Hasselt, Belgium, Café Café
Tickets are on sale now – buy HERE “Skinwalker” is out 12th April via Communion Records – Pre-order HERE
The latest edition of the podcast brings a bunch of banging tunes from some of our favourite new, old, borrowed and blue albums. With exciting new tracks from Sami Yaffa, the Tony Slug Experience, Gagbags and T.S.O.L to name a few, as well as some fantastic covers from Then Comes Silence and The Hillbilly Moon Explosion.
The pair of neirdowells take you on a journey through some of the bands making the world a much better place