It’s been four years since the world heard any new music from our heroes in psych-punk-power duo The Lovely Eggs. Four long years since the release of their Number 1 Independent Chart topper, ‘I Am Moron’. But it’s not like they’ve been lazy, oh no. They made their own TV series EGGS TV and hosted it on YouTube, they dueted with Iggy Pop, piled into their van and played a load of sold-out gigs and festivals, spent two years fighting to save Lancaster Music Co-Op (a community rehearsal rooms and recording studio where they live), and then they got their heads down and wrote a new album…
Due in May, the new Lovely Eggs album was recorded by the band at home in Lancaster with production work from Flaming Lips producer Dave Fridmann. They flew to America in December 2023 to mix the album in Fridmann’s studio in upstate New York and we’ll all get the chance to hear the first results of these sessions today, as the band unveil the album’s first single, ‘My Mood Wave’.
“My Mood Wave is kind of an internal thought monologue,” says Eggs singer and guitarist Holly. “It’s a brain on a surfboard, trying to navigate the barrage of daily shit that gets washed up each day. It’s a coping mechanism handbook for people who sometimes find the world too much.”
‘My Mood Wave’ has an uplifting contemporary feel, haunted by a West Coast retro vibe that pulses and shimmers with a gorgeously addictive melody that will float around your head for days. The single is already smashing it hard at radio, with multiple plays on 6 Music, Radio X etc.
Although the single is released digitally today, there will also be a physical 7” with the customary mind-bulging artwork from Casey Raymond, and an exclusive track tantalisingly titled ‘Crab Shell’ on the flipside. The 7” will be released on Aquamarine transparent vinyl and in true Lovely Eggs style, the first 250 copies ordered direct from the band’s website will come with a free Lovely Eggs air freshener, as reflected on the single artwork. Quite what the air freshener will smell of, we don’t know yet, but it might not be that fresh. You can buy the single HERE:
More details on The Lovely Eggs new album to follow, and of course the band will be back out on the road in May, full dates listed below.
“It is going to be frigging joyous to reunite with all our Eggheads across the UK and just have a big party each show,” exclaims Holly. “We’ve missed it! People know by now what to expect from us and we plan to bring it back with full force next May. Expect egg-shaped mayhem.”
GagBags are a London/New York project made from the twisted minds of members of the Gaggers and Trash Bags. This debut 12” delivers 6 slabs of ‘77 era punk from the bowels of New York City and London Town that is dripping with snot & bile.
I can’t imagine there would have been many takes of these songs in the studio it would have been a case of – is this mic on? 1-2-3-4 Go! The vocals are in the Stiv meets early GG bag whilst the razor-sharp fretwork of the guitars is suitably abrasive and distorted. There’s no time to fuck about nor warm up its wham bang thank you, mam. They’re coming out of the speakers swinging and with a middle finger in the air for anyone expecting some niceties or soft edges this shit is jagged and dangerous just as punk rock was meant to be.
It’s the Travis Bickle Taxi ride through 1970s LES and the groove and bite of Victorian London with the dirt and grit. From the off ‘Nowhere New York’ captures the excitement of The Gaggers when they kicked off with the guitar riff prowling round the speakers looking for trouble The handclaps add a little Glitter and Glam around the wall of guitars and howling lick. Cool stuff. More of the same as ‘She’s Got’ has a dash of Toilet Boys to proceedings and I like that.
With only six songs on offer there isn’t time for any filler and ‘Creeping Around’ does just that. Like being hit repeatedly over the head with a bat it’s got attitude galore. ‘Downtown Marauder’ has a hint of The Doll’s swagger as it hunkers down in your brain. the guitar lick /solo whatever you want to call it is simple and a lot of fun as you curl your lip like William Broad used to from the subway train and Bass thump its a banger. The penultimate stop on this little jaunt is ‘Judging Eyes’ and it would fit right in with the likes of Ravagers who are cut from the same cloth.
One last hurrah sees the rapid snotty ‘Rules Of Disorder’ that’s dripping with old school back street punk rock and that’s a joy to hear in 2024 there aren’t near enough rock n rollin’ punks making music like this. All power to the Gagbags and fingers crossed for more of this in the near future, Please. Buy It!
Iconic US-based label Metropolis Records is excited to announce the signing of beguiling Swedish post-punk outfit Then Comes Silence for the release of their seventh album, titled ‘Trickery’. This record celebrates friendship, unity and belonging to a group – your tribe. The first single – ‘Ride or Die’, which has already emerged in Germany’s authoritative DAC Charts, will be released on March 1.
“Metropolis Records is thrilled to announce the return of Then Comes Silence. The new album “Trickery” will be the band’s first worldwide release with us. It’s a fantastic album and we are excited to get to share it with you. It’s a refinement of the band’s signature sound, a focused distillation of everything TCS has released to date. Metropolis will be releasing the first single from the record, ‘Ride or Die’ on March 1st,” says Jim Smith of Metropolis Records.
Hailing from Stockholm, Then Comes Silence was founded by Alex Svenson in 2012, originally inspired by frequent touring with A Place To Bury Strangers and an attraction to horror and the occult. Today he is joined by drummer Jonas Fransson and Hugo Zombie (Los Carniceros del Norte) on guitar.
“For this forthcoming album ‘Trickery’, we had a change of deal and went full member of the Metropolis Records family. We are ready to embrace the crowd again with our heart and can’t wait to get the album out,” says frontman Alex Svenson.
Recorded by Jörgen Wall (Jay-Jay Johanson, The Hellacopters) over three days at Stockholm’s Kapsylen Studio and mixed by Tom van Heesch (Rammstein, Apocalyptica, Backyard Babies), this album was mastered by Svante Forsbäck / Chartmakers (Rammstein, Amaranthe, Ville Valo, The Rasmus, Apocalyptica).
These sessions capture the heart and essence of rock. With electronic elements being essential to the new recordings, ‘Trickery’ is also a salute to punk music, to which Then Comes Silence traces their roots.
After debuting with their eponymous album in 2012, Then Comes Silence put out two more albums before releasing ‘Blood’ via Nuclear Blast in 2016. Their subsequent ‘Machine’ album was jointly released via Oblivion/SPV and Metropolis Records in 2020.
Then Comes Silence unexpectedly became a three-piece just ahead of their 2022 US tour, then setting out to answer the question “could they continue with only three members”? Proving to work well, the band transformed into a trio, their metamorphosis leading to a different way of creating music and performing live.
Then Comes Silence has toured and played live with The Fields of the Nephilim, The Chameleons, A Place To Bury Strangers and most recently with The Bellwether Syndicate and Vision Video. With many festivals to their name, highlights include M’era Luna, Wave Gotik Treffen, Amphi Festival, Castle Party and W-Festival.
The ‘Ride or Die’ single will be unleashed digitally everywhere on March 1. The full ‘Trickery’ album will be released on vinyl and CD, as well as digitally, on April 5. In March and April, Then Comes Silence will be touring North America extensively with Vision Video.
Tonight is the opening night of the UK leg of Frank Carter And the Rattlesnakes’ tour in support of their recently released fifth studio album ‘Dark Rainbow’, and whilst there are no Sold Out signs on the posters by the time The Mysterines hit the stage midway through proceedings it’s certainly as full as when I saw The Cult here playing ‘Sonic Temple’ and that had Sold Out plastered all over it.
Granted it does take a while for Cardiff University’s Great Hall to fill up though, and that might be due in some part to the almost biblical amounts of rain falling outside, so when Hastings trio HotWax hit the stage at almost bang-on 7:30 the hall is still only about a third full. There are still a hell of a lot more people here than when me and my gig going buddy Nev Brooks last saw the band though when we encountered them playing a cellar bar in Newport back in April of last year and I rather bravely declared that they are “one amazing band in the making” in my review for RPM.
Spending most of the tail end of 2023 supporting Royal Blood around the enormodomes of the UK, Ireland and the US has seemingly only helped to reinforce my point, and now even the likes of Alexis Petridis are singing the band’s praises in the mainstream press. This might be down to the fact that where there was previously a degree of innocence within the still very young band’s sound, here tonight, the trio take their catalogue of fine post punk grunge infused tunes and literally ram them down our throats straight from the get-go. That time spent on big stages has certainly worked its magic with HotWax that’s for sure. Catching up briefly with both vocalist/guitarist Tallulah Sim-Savage and bassist Lola Sam following their set, they both laugh when Nev mentions that Newport show, almost in a half-embarrassed way (they shouldn’t be though, it was great), and they immediately credit their newfound sonic intensity to “having much bigger amps now.” Whatever it is, HotWax are great fun and I’d suggest you experience the fury of their all-new backline too as they play pretty much all over the UK this spring/summer.
A band who are certainly no stranger to larger stages is Merseyside alt-rockers The Mysterines, having not only played Cardiff University before headlining the building’s neighbouring Y Plas venue, they’ve also toured with the likes of the Arctic Monkeys and there’s also the not so insignificant fact that their 2022 debut album ‘Reeling’ not only landed them a number 9 spot on the UK album charts but also graced the RPM Online Albums for that year too. Yet somehow, I’ve never heard a single song by them, well, until tonight anyway.
Taking to the stage with (non-album track) ‘The Last Dance’ I’m instantly wrapped up in the band’s overdriven almost alt-country take on their genre, and it’s all topped off with the unique twist of Lia Metcalfe’s effortlessly cool vocal delivery, something that has me half wondering if this is what Lone Justice might have sounded like if they’d have formed a decade later and been signed to Sub Pop. Throughout their 7 song set The Mysterines exude a sense of class above that of simply being a.n.other support act, and looking around me there does seem to be a large contingent of the crowd mouthing every word to the likes of ‘Dangerous’ ‘All These Things’ and set closer ‘Hung Up’. I must have been the last person at RPM to discover this band, but better late than never I always say, and the Mysterines were most certainly worth the wait.
In spite of the fact that ‘Dark Rainbow’ is Frank Carter And The Rattlesnakes most introspective and mature sounding album to date, and indeed, in spite of the fact that there are two keyboards being set up on stage during the changeover, Mr Brooks and I rather sensibly decide to take up a much safer position (for our aged bodies) on the edges of the by now packed out crowd ahead of tonight’s headliner’s arrival on stage. It’s whilst picking out our new spot that I get chatting to a young lad about what awaits us, and he shares with me the fact that the first time he’d seen The Rattlesnakes live was at Sin City in Swansea back in 2019, which also just happened to be the last time I’d seen the band live. It’s at this point I suddenly realise it’s been a full 17 years since I first saw Frank Carter grace a live stage, just around the corner in the still much missed Barfly venue, and just as I’m about to do my very best Colin Robinson impression and share this my new BBF the lights suddenly go down and it’s showtime.
I guess the real relevance of recalling this, is that things in life change as do people, and just like the fact that last time I saw Frank Carter live he had the demeanour of a young offender about to commit a crime, tonight he bowls onto the stage looking like that same, now slightly older offender, coming out of prison after doing a five stretch. Thankfully, Frank’s only crime (as far as I’m aware) is that of writing some of his generation’s finest rock songs and alongside his longtime Rattlesnake writing partner Dean Richardson, with ‘Dark Rainbows’ they have penned their most musically brave set of tunes yet.
It’s obviously an album they are fiercely proud of too as evidenced by the fact that during the band’s 19 song set list they play all of the record’s 11 tracks, and as Frank seems acutely aware that this might be a bit of a stretch for some of those looking to come and stir up it up in the pit to the band’s anthemic back catalogue, he quickly promises following the opening 1-2 of ‘Can I Take You Home’ and ‘Brambles’ that the band is about to kick everyone’s arse by mid-set.
Me, I could happily have left after ‘Brambles’ as for me that is the band’s finest 3 minutes and 30 odd seconds to date. Of course, I don’t head for the doors, but whilst I might agree in principle with Mr Brooks that opening the set with new songs is somewhat risky when they are songs as strong as these then maybe for once its more about listening and soaking up the music rather than simply losing our shit to the oldies.
Talking of which ‘Kitty Sucker’ is the first of the older tunes played tonight, but it’s the Dr Who theme tune staccato riffage that introduces ‘Devil Inside of Me’ that generates the full-on frenzy I’ve become accustomed to whenever Frank Carter has been our ringmaster for the night. ‘Juggernaut’ quickly follows, and that glorious bastard of a tune truly steamrollers us all into submission. My new BFF returning to my side immediately after this soaked to the skin thankful, I guess, that the new album’s opening track ‘Honey’ is up next.
What strikes me most tonight (other than the fact that the band have seemingly inherited Mark Langan’s old red/blue light show) is just how fantastic a vocal performance Frank Carter turns in, something I can’t ever remember saying during my numerous previous live encounters with the singer where perhaps the showman aspect has always come first, or perhaps I’m just listening for once eh? Tonight, though the likes of ‘Lullaby’ and main set closer ‘Man of the Hour’ (a tune that is just as popular as the oldies I might add) sound gigantic, and custom built for arenas around the world.
Returning for a 2 song encore of ‘Thunder’ (perhaps one of the less obvious choices from the band’s formidable sophomore record) and ‘A Dark Rainbow’ (the sombre closing track from the band’s latest album) I do wonder what might be next for The Rattlesnakes though following this tour. As I mentioned earlier the band sound colossal right now, but by equal measure at times tonight they also seem like they might just fall apart at any time such is the fragility of the new material. Whatever happens, let’s just all enjoy the ride, because Frank Carter And The Rattlesnakes are one righteous celebration of everything that is good and great in rock music here in 2024.
One of the most fascinating books you are ever likely to pick up regarding the New Wave of British Heavy Metal (or NWOBHM) is John Tucker’s fact packed “Neat & Tidy – The Story of Neat Records”. Granted it might just focus on the evolution of one of the scene’s many influential players during the dawn of the 1980s, but what a player Neat Records were. The Northeast of England based label provides us denim and leather clad rockers both here in the UK and worldwide early exposure to such seminal names as Tygers of Pan Tang, Venom, Raven, Tobruk, and err Crucifixion, all supported by their groundbreaking (for the time) mail order business.
It’s perhaps no surprise then that HNE Recordings have asked Tucker to not only annotate but also compile this outstanding 4CD salute to the label, ‘All Systems Go – The Neat Singles Volume 1’.
Kicking off with Tygers Of Pan Tang’s 1979 debut ‘Don’t Touch Me There’, and taking us through to Venom’s mighty ‘Warhead’, released in 1984, this set takes in the 37 singles label boss (and studio owner) David Wood’s unleashed on the world during that timeframe (he also released 20+ albums in the same period). Which is an incredible amount of new music from an independent record label, and one that earned Neat Records the tagline of ‘Allegedly Britain’s No.1 Independent Heavy Metal Label’.
My first experience of the label came via a then mate of mine who had picked up a copy of Venom’s classic debut ‘Welcome To Hell’ upon its release back in 1981, which promptly confused the fuck out of us teenage rockers all crammed into his bedroom trying to get our heads around, and not really getting to grips with, just how much of a landmark recording that album actually was, and still is to this very day.
The likes of Tygers Of Pan Tang, White Spirit, and Fist – the first three NWOBHM bands to release singles via Neat (and all captured back to back here as the introduction to the set’s first CD) – had already been snapped up by MCA by this time, so for us, we were immediately playing catch up via records by like likes of Raven, Blitzkrieg, and of course from the very depths of hell, the mighty Venom.
It’s the lesser-known bands such as (the surprisingly very good, and Celtic Frost approved) Aragorn, Bitches Sin, and Raw Deal (again, all captured on the set’s first CD) that have me taking that same voyage of discovery all over again, albeit four decades on. Plus, as this set progresses it also throws up such other lesser known names (well they were to me anyway) as Steel (who somehow manage to blend Maiden riffs with KISS-like melodies and are fronted by a Jon Deverill wannabe), Valhalla, and the aforementioned Crucifixion, so there’s plenty to get stuck into within this set even if you consider yourself to be something of a die-hard (see what I did there?) fan of Neat Records.
If you have been around the NWOBHM block more than once or twice you may notice that this set is actually very similar to Sanctuary Records’ long since deleted ‘The Neat Singles Collection’ volumes one and two (both of which command an eye watering price on online auction sites right now), however, what this set does that those didn’t, is run the singles’ A and B Sides concurrently, so you’re not having to flip CDs or create playlists simply to play all of Venom’s ‘Warhead’ for example (sadly though the 12” extended version of ‘Warhead’ is once again missing here), plus with ‘All Systems Go – The Neat Singles Volume 1’ you also have a glorious 20-page booklet with John Tucker’s excellent sleeve notes expanded to forensic levels to completely fill in any knowledge gaps you might have regarding the releases.
If you were too young to experience the NWOBHM first time around, this 82-track collection (which hits the shops on 16th February 2024) is as fine a place as any to visit to inspire you to construct your first denim cut-off, or perhaps step out wearing a bullet belt or studded gauntlet, whilst for those of us with slightly more faded denim cut-offs (that no longer fit us) this is a most welcome trip down memory lane, one that stinks of fags, patchouli oil, Newcastle Brown and is the very birthplace of Black Metal.
What’s that you say? More posthumous live material from Motorhead? Do we really need that? Of course, you do! It’s fuckin’ Motorhead!! And there WERE rock and roll!
This collection consists of decades of shows from Motorhead’s long and illustrious career. The Lost Tapes have been coming at us in dribs and drabs over the last few years and this lovely box set has added the latest set from the Download Festival in 2008 to complete the collection… There may be more, who knows? I’m sure there’s plenty more live material floating around.
The first blistering set is from Madrid in 1995, it’s a varied set with a few gems such as Dog Faced Boy and Over Your Shoulder from the Sacrifice album that they were touring at the time. We even get a cover the Hawkwind classic Silver Machine that sounds great given the Motorhead treatment. Phil Campbell & his Bastard Sons still play Silver Machine to this day. There are 24 tracks here, granted, 2 of those are drum and bass solos but that’s fantastic value for money.
From Madrid we head to Norwich for the next batch of Motorhead madness. This set dates to 1998 and we get another quality set from Lemmy and the lads. All the standards are here including Iron Fist, Overkill, Ace of Spades, Killed by Death, as well as few numbers including Civil War and the title track from the Overnight Sensation album.
Next up, we head into the millennium with a show at the KB Hallen in Malmo, Sweden dated November 2000. Opening with We Are Motorhead, which was a mainstay in their set from this time onwards until Lemmy sadly passed away in 2015, the band delivered another noise-ridden cacophony littered with classics as well as their brilliant cover of the Sex Pistols God Save the Queen.
We go all the way to 1984 for the next disc of greasy goodness with a show from Heilbronn, Germany. Great to hear Nothing Up My Sleeve and Steal Your Face getting an airing here. The amount of material that Motorhead amassed over the years is incredible. We also get a turbocharged version of Ace of Spades; this is probably the fastest version of that song I’ve ever heard! Full on thrash pace!
Lastly, we get the set from Download in 2008. Opener Doctor Rock kicks the proceedings off with style, we have another full-on set of classics including In the Name of Tragedy, Metropolis, Going To Brazil, and a fantastic version of Overkill with ex-guitarist Wurzel putting in a guest appearance.
This box set gives you plenty of bang for your buck with 8 CDs chock a block full of Motorhead mayhem. It really is a must for any true Motorheadbangers collection. That’s the way I like it, baby!
They just don’t give a shit anymore. Nah, it’s a lyric of the new album, not their attitude to making music. Sounding like the bastard children of Evan Dando and Dee Dee Ramone Mean Jeans heads out of Portland to bring you a brand new fifteen-track album.
Of course, it’s not mentally taxing and the premise of the record is to have a good time all the time. Hell, the record is out in time for their jaunt around Oz with The Chats who seem just about the right touring partners for this three piece they’ve been at this for a decade and a half already and show no sign of relenting or running out of ways to write songs about having a blast.
From’ I Don’t Give A Shit Anymore’ through the Dee Dee thunderer ‘Diagnosis’ the band is killing it. Check out the melodies on ‘Lost My Mind’ as they ham it up on Judge Judy that came after a dream, yeah of course it did you nutters.
They unashamedly don’t stray far from the format of Da Brothers and they seem like a happy family cutting their shapes like the boys from Queens and why not if it ain’t broke don’t fix it. You do wait for the slowed-down number with brass section or the faux cod ska number but they don’t arrive (thankfully) if anything the songs get faster and more Ramonesy as the record gets in deep. ‘Brake Up With You’ will have Joey, Johnny, Dee Dee, and Tommy all giggling from the other side and asking where their cut of the songwriting credits are.
Mean Jeans probably don’t give one single flying fuck about any shape or form of criticism they might get for their take on punk rock and neither should they because you can do a lot worse than base your records of the Ramones that’s for sure and besides there will no doubt be some kids on those Chats dates who’ve never heard the Ramones and will fall in love with Mean Jeans. Again, that’s cool with me. An enjoyable romp of a record but not something I’ll be revisiting over and over because I’ve got its Alive and Ramones Mania. Enjoy them live and pick up the new album kids but remember wear sunscreen it might be hot throwing yourself around in the pit.
With some bands, you always know that a new album is worth the wait. It’s been five years since ‘The Sparky Sessions’, around the same time that I finally got to see them live. My final gig prior to the pandemic, and thankfully it was every bit as great as anticipated.
‘Back In Time’ sees the variety and class that we’ve come to expect from the band. ‘Sometimes Late At Night’ swaggers from the speakers, style and substance personified. Emanuela smolders as only she can on ‘Summerlove’, like the blackest velvet. As with many of their songs, it could easily be the soundtrack to a film noir classic.
‘Knocked Down’ you may already be familiar with, as the first video from the album. Oliver’s lead vocal is as smooth as ever, next to his slap bass and Emanuela’s ethereal backing vocals, while Duncan pulls all the right sounds from his Gretsch. ‘1979’ veers towards classic Blondie, clearly a good thing when you can pull it off with panache. Ideally, this would be playing on your radio on a regular basis.
‘I Live In My Head’ was made for dancing too, hopefully, we’ll get the chance again soon at a club near you. Short and sweet. ‘Sudden Ring’ is another fine, slow song from Emanuela, she makes it all sound effortless. In a word, seductive. ‘Jet Fuel Rock N Roll’ brings back the boogie to get your boots moving, and ‘Let’s Go (Back In Time)’ has a hypnotic, Cramps-style rhythm that you rarely hear anymore.
‘Nothing Takes The Place Of You’ appears to be the only cover version, proving that the band can take a reggae song and put their own stamp on it. ‘Always Just You’ sounds like an Elvis ballad, with Duncan’s guitar picking following Emanuela’s vocal melody, and ‘Death By My Side’ introduces some gothic country to the mix. Reminiscent of The Phantom Chords at their best.
‘Reno’ by Emanuela ends the album on a classy note, the tune seemingly already familiar, yet it sounds fresh and new. Class never dates, and The Hillbilly Moon Explosion never let you down. Long may they continue.
OK, so here we are already a month into 2024 and the first sitting of the Singles Club. Here are the first Movers and groovers of this year with their 7″ platters and new videos. Some real quality in here for you to dive into covering quite the spectrum of music as well. Enjoy…
Tuk Smith & The Restless Hearts – ‘Take The Long Way’ (Golden Robot Records) Anthemic Sing-a-long from Smith & The Restless Hearts draws inspiration from Smith’s turbulent experience of not only being kicked off the 2021 Motley Crue Stadium tour but also being dropped from both his label and booking agent amid the COVID era. The track encapsulates the classic self-sabotage meets redemption tale. It’s typical Smith but there’s a polish around this one. One foot in the past and one on the monitor wedge of the future Sith has it all to offer and if he were to hit it big I wouldn’t be shocked I loved his early stuff and this is more mature and a grower for sure bring on the album and what that has to offer.
Marc Valentine – ‘Strange Weather’ (Wicked Cool Records) Marc Valentine begins 2024 with the news that a new album is fast approaching and by the sounds of things it’s going to deliver the goods big time on the strength of this first glimpse into the new wave power pop majesty of ‘Strange Weather’ from the hooky chorus through the retro new wave of the verse this is fantastic and so catchy. If anything it’s way too understated this is a step up from ‘Skeleton Key’ which was a killer single. I’m really excited to hear what the album ‘Basement Sparks’ delivers purely on the strength of this one record so much so I promptly ordered the record. Single of the Month – yes sir, right here!
Willie Dowling, ‘The Simpleton’ (Self Release) – As a taster for the solo album of the same name, ‘The Simpleton’ is a fine showcase for the songwriting skills of Willie Dowling. For those of us who have followed his career since The Grip onwards, it’s no surprise that the melody hooks you from the start. While there’s naturally a similarity to his writing with The Dowling Poole, this song shares much with his Jackdaw 4 project.
On first listen, it sounds more personal and emotionally direct, a less complicated yet compelling tune, which suggests that the upcoming album is predominantly piano based, and this brings out an intimacy in Willie’s voice. Behind the ‘curmudgeonly’ persona is a kind, thoughtful and sensitive person, certainly someone who feels the injustices of the world very deeply.
And, put simply, his voice is beautiful here. Never sounded better. I always look forward to hearing his music, and this promises to be something special. Give it a listen now, and earmark the album for future purchase. Author: Martin Chamarette
Brigata Vendetta – ‘1000 Cuts’ (Pirates Press) Woah this is a banger courtesy of Brigata Vendetta featuring a couple of Harrington Saints this is right on the money hardcore punk rock. Short, sharp, and oh so sweet. The album was reviewed last week and this is a cracking representation of what you can expect. simply glorious – more please gents. This will wake you up on a Sunday morning an absolute stone-cold punk rockin’ banger!
The Courettes – ‘Shake’ Damaged Goods Records) Groovy baby. The Courettes deliver a dancefloor filler with ‘Shake’ its eased back on the wall of sound and went for some fuzzed-up groovin’ dance majesty. From the honkin’ organ to the swinging drum beat this shit is got some serious groove. Infectious and fantastic this band can do no wrong and the guitar solo is pure Fire! The exclusive B Side is less in your face but no less infectious more Fuzztones but damn this pair are cutting it up on record and can’t put a foot wrong they should be huuuuuge!
Mala Vista – ‘In The Dark’ (Spaghetty Town Records) Cool as a beer on ice Mala Vista rides a whirlwind of punk n roll on ‘In The Dark’ short sharp and sweet as from the punk rock rocket rie of the verse to the sweet gang vocal melodic chorus its new school doing old school and mixing it up.
The B Side is an altogether snottier slice of Dead Boys style punk rock from the throbbing Dee Dee style Bass line thumping the tempo down the line it’s lifted from their sophomore album ‘Fun Time’ due in March and from the Thunders’s licks to the Cheetah tempos this is a top single from what promises to be a killer album. More bands cutting records like Mala Vista, please.
Lorne Behrman – ‘The Blue Goes On Forever’ (Spaghetty Town Records) As cool as a summer breeze Behrman comes strollin’ in like a modern-day Lou Reed Its part spoken through a lucky strike no filter and softly sung like the voiceover on the Warriors radio link, Behrman does it again with a super cool earworm melody that you want to hear again and again. It’s rough around the edges like it could unravel itself but tight as two brothers sitting on the porch of their LES steps shooting the shit about times gone by. If the album is half as good as this then it’s going to be another treat for Rock n Roll fans who love a bit of Keith Richards, Johnny Thunders, Stiv, and miss the likes of Petty and some more radio-friendly Rockers. Top tune check it out.
Rob Moss & Skin Tight Skin – ‘Hey You (We’re Sick Of You)’ (Self Release) Old school punk n roll with plenty of gang vocals to power it along. With a snotty nod towards proto-punk royalty such as The Dictators. Rob Moss assembles a gang to power through this chuggin’ barroom slab of punk rock n roll. We’re not sick of this that’s for sure. Kick out those jams Rob.
Neil Leyton – ‘These Seeds’ (European Phonographic Records) Leyton brings his latest more somber offering to the table and this time he’s reflecting on the world at war and offers a little hope in this gentle acoustic song. originally recorded back in 2022 Leyton held back on its release but let this song wash over you as it builds into a more upbeat driven song without the bombast of his previous more indie rock styles this shows that Leyton loves to vary it up whilst retaining his identity in the music and his room-filling vocals stand out. The piano refrain is wonderful and fills your heart with hope around such desperate subject matter.
All proceeds from “These Seeds” will be paid from the European Phonographic label to Music Export Ukraine in support of Ukrainian artists and musicians.
Frank Turner – ‘Do One’ (Xtra Mile Recordings) The familiar tones of folk-punk troubadour Frank Turner is back with a brand new single from his brand new record ‘Do One’ is a smooth well produced catchy acoustic punk rock song that’s totally Frank Turner and pretty much exactly what I was expecting. He does his thing and does it really well and on this you can see exactly why he’s so popular. Short, sharp, and sweet. The new album is heading your way on the 4th of May and expect more of this for what will undoubtedly be a big hit.
Frank Carter & The Rattlesnakes – ‘Self Love’ (International Death Cult) You don’t get a Frank for months then all of a sudden two come along in the Singles ClubThe Second single from Carter is a melodic slice of modern alternative rock. He sings with a strong melodic melody over a more aggressive fuzz guitar but the surprise is the solo is of the guitar variety but a keyboard synth. The Rattlesnakes have bite as they mess with you on this intense new single. Catch em across the land over the next month before they head overseas. Also, in stores galore where you’ll hear this earworm no doubt – get on it.
KMFDM – ‘Airhead’ (Metropolis Records) Industrial mainstays KMFDM hit out with a fairly mainstream pop-infused single from their album ‘Let Go’. Harking back to ’80s pop on this one without the hint of distorted pounding guitars or white noise. Lead vocals are from Lucia Cifarelli which I’m sure won’t be a good representation of what the overall album will sound like. More New Order than Rammstein the VHS in the video is something that we used to watch films on kids, honest!
Wynona Bleach – ‘Swim In The Bay’ (Fierce Panda Records) Infectious new single from Grungey rockers Wynona Bleach who bring you the cool ‘Swim In The Bay’. With its big layered chorus burrowing into your ears sitting on top of a smooth cool grungey-styled rock song. Not afraid to layer their rock with pop melodies Wynona Bleach are aiming for plenty of radio play with this latest single.
WolfWolf – ‘Twenty-One’ (Lux Noise Records) In corona times WolfWolf started to experiment with keyboards and samples to keep them busy. The result was this single. A song that pushes the familiar boundaries of the band into new wave of the 80s. Nevertheless, the garage punk aspect remains. The new romance story of a young couple could also be set in the 80s. Maybe in West-Berlin or in the gritty industrial life of post-war Manchester. The song is an ode to youth and a mission to young people to enjoy life and dance the night away while they can. Captured perfectly by the dynamic duo.
The most pleasant and unexpected surprise of 2022 for me was being able to say “there’s a great new album from Dr Feelgood”. I admit that I’d not followed their recent releases closely, though I respected their decision to carry on flying the Feelgood flag. Quite by chance, I heard the first single from ‘Damn Right!’ and immediately my ears pricked up. ‘The guitar sounds familiar’, I thought to myself. And, sure enough, it was the return of Gordon Russell, one of my favourite guitarists. This was clearly a very good thing, as the tunes he wrote with Robert Kane are truly worthy of the Feelgood name and legacy.
And he seems to have given them a shot in the arm onstage as well. So, here we have 20 songs from stages around Europe, with the band sounding vital and sharp. From ‘Drives Me Wild’ onwards, it is a joy to hear them having a ball. The four new tunes fit in perfectly with the classics, ‘Mary Ann’ sounding particularly excellent next to ‘All Through The City’. Kane does his thing without sounding like Brilleaux, and I really like his style. It’s hard to believe that on joining the band, he didn’t play harmonica, because on ‘Going Back Home’ he’s obviously done his homework.
It’s no secret that The Big Figure and Sparko are my favourite rhythm section ever, but Phil and Kevin have been playing together for so long that they also have a special chemistry. ‘Damn Right I Do’ and ‘Keep It Undercover’ sound even better live, and with ‘Roxette’, ‘Milk And Alcohol’, ‘Down At The Doctors’ and ‘She Does It Right’, it’s one hell of a set list.
I’d love to hear them include ‘Dangerous’ one day, and keep my fingers crossed they’ll return to France this year. For all of you in the UK, make the most of a good thing and catch them on tour soon. Doctor’s orders!
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