The inimitable Ian McCulloch and fellow founding member and guitarist Will Sergeant are taking the Bunnymen out for their regular jaunt around the UK in a proper old-school tour under the banner of ‘Songs To Learn And Play’, which sees the legendary Scouse post-punk jangly pop sulks perform some of their biggest hits and some rather deep cuts to an appreciative audience that is packed into the Great Hall on a school night.

As the stage is bathed in enough dry ice to worry the Sisters Of Mercy at the peak of their powers This line up of Bunnymen amble onto the University stage to enthusiastic applause and proceed to get down to business. I’ll admit to breaking my own code by seeing some setlists of previous nights of this tour and they’ve pretty much stuck to the script give or take a track or two and tonight ‘Going Up’ kicked off the first half of proceedings. The mix was crisp and clear as McCulloch stood in the centre of the stage with his trade mark glasses leaning on his mic stand as he sang he doesn’t move a great deal – I’d worry he’d fall off stage because there’s no way he can see further than his hand so thick is the smoke.

To his right is Sergeant swapping guitars from one vintage classic to another depending on the song and its needs and playing his sparse but poignant lead breaks but the music is absolutely spot on and the balance is superb ‘All That Jazz’ sounded really good and the audience felt it too. Stephen Brannan – bass
Simon Finley – drums, Pete Reilly on guitar and Mike Smith – keyboards really added to the sound and proved to be an exceptional band. ‘Flowers’ provided a mellow moment that is perfect for the band’s minimalist backlight and shadow show it creates as the silhouette of Mac has always worked really well. The iconic guitar intro of ‘Rescue’ punctures the air. Of the songs in the First half of the set ‘Zimbo’ worked really well and sounded superb. but after the one-two of ‘Never Stop’ and ‘Bring On The Dancing Horses’ it was time for the half time team talk.

The spread of tracks was really good tonight and after forty-five minutes the band were to take a short break which seemed a little odd it’s not like they’ve just spent the first half charging around the stage like the youth team and needed a half-time team talk and orange and a brief rub down from the physio before going back out fo the second half but hey what do I know maybe they did.

Yet more dry ice is belched onto the stage and the second half is underway with a sprightly ‘Show Of Strength’. By the time we hit ‘Seven Seas’ my tiny brain is racing with memories of being in school and hearing the song for the first time and loving that bass line and string arrangement. This was and still is the sound of a perfectly arranged guitar pop song and The Bunnymen were the masters of it. ‘Nothing Lasts Forever turned into Walk On The Wildside’ and I was taken back to buying the comeback single in Woolworths of all places. time flies and whilst Woolies might be gone but the Bunnymen are still going strong and the audience is in fine voice and Mac seems to appreciate the backing vocals. His banter is a mumbling word soup for most as they either can’t understand his accent or he’s mumbling or the dry mic is so low most are shouting what? Not that Mac gives a fuck anyway but some of his banter is audible and makes me giggle. There is time for some more humour as the band cocked up the intro on ‘Unstoppable Force’ and have to restart the song which shows the human side of this live performance.

The second half is brought to an end with a hattrick of classics from ‘Bedbugs’ followed by the classic ‘Killing Moon’ and ended with the show-stopping genre topping ‘Cutter’ and we were done for the second half which led to a brief stage exit before returning to play through a blindingly good ‘Lips Like Sugar’ and then they were done with no t’ra or adios and there was no second encore tonight as the house lights went up and the entertained Cardiff audience made for the exit after being guided through another magnificent trip through the very best of Jangly post-punk guitar pop courtesy of the peerless Echo and The Bunnymen. Can we do this all again in say, another twelve months time after a new studio album please Mac? Ta very much fella its been wonderful. Always a pleasure and never a chore.

Author: Dom Daley

Every once in a while, an album comes along that doesn’t just exceed your expectations but totally blows them out of the water.  ‘Sublime Destruction’, the new 11 track album from London punk rockers Desperate Measures is one such record.

Recently inking a deal with Cadiz Music (home to the likes of Cockney Rejects and The Loveless) the signs were always promising regarding what Desperate Measures might do next after their excellent ‘Rinsed’ mini album came kicking and screaming into the post Covid world back in 2021. At the time I remember saying that the quartet’s particular twist on the punk rock genre was “delivered like a boot to the privates”, but with ‘Sublime Destruction’ there’s a whole lot more for you to worried about other than a kick to the coin purse. But hold on a minute, I’m getting ahead of myself here.

The immediate positives in the run up to the recording of this record where not only that the band retained a stable line up of vocalist Eugene Butcher, guitarist Gaff, drummer James Sherry and bassist Ricky McGuire but also that they were able to reunite with ‘Rinsed’ producer Andy Brook, the man who gave Gaff’s guitar more chunk than Fatty Jones’, err… and by that I of course mean his legendary sound.

That tone is there again straight from the off, albeit this time with the subtlest hint of ‘Sonic Temple’ era Billy Duffy as ‘Back To The Rats’ literally explodes out of the speakers.  This track is a perfect example of why Desperate Measures are such a revelation, the dual vocal between Butcher and Gaff is simply fantastic, as is the use of layered backing vocals during the half time breakdown which once again builds to add an extra level to the songwriting. This is something that is even more obvious on one of my favourite tracks on the album ‘Pockets’ which immediately follows. This cocky rocker could very easily have simply ploughed the UK Subs-like furrow of the opening riff and verses, but as soon as the pre-chorus hits you straight between the eyes, you’ll be humming it for weeks to come. Oh, and then there’s the just past the 3 minute “nah nah nah nah” mantra where the band joins in on vocals…there’s just so many hooks going on here its impossible not to take a bite. 

When the album’s title track thunders in next, driven largely by Butcher’s Billy Hopeless meets Vim Fuego bark you’ll perhaps be forgiven for thinking that all the sonic twists the band have to offer were already delivered, but nah ‘The Rich-tual’ is up next and if I called this brute “the best “Fuck The System” terrace anthem you’ll hear anywhere” back in 2021 then it’s even more relevant here in 2024. Oh, and yeah that “Woah oh” outro hook is still pure punk rock gold.

‘Enjoy The Ride’ follows and this turbo-charged Stooges-like stomper is just a one fingered piano riff away from absolute Pop perfection, it’s got the handclaps though, along with a bass sound to wreck your subwoofers, and then right out of left field there’s this almost angelic female backing vocal to send things to the next level once again. Righteous stuff indeed!

Having shared stages with the likes of The Professionals and The Dead Boys following the release of ‘Rinsed’ it’s the influence of the former that seems to have shaped the ‘Sublime Destruction’ version of ‘Lost Angels’ most, this is a song that started its life all the way back in 1988, and not for the first time here I’m thinking of the parallels between this record and Sister Morphine’s excellent (30 years plus in the making) debut album from last year. 

‘Untouchable’ must surely have been in contention for the album title as not only is a great track to place in the lucky number 7 slot but also pretty much sums up this record. Look out for the “I’m still waiting” backing vocals on this one too.

This is something which continues into ‘Thinking Of England’ one of the lead videos released in the run up to the album’s release and it’s a track that somehow manages to make me think of Towers of London and 3 Colours Red whilst still being 100% Desperate Measures.

The sublime Lords Of The New Church-tinged goth of ‘Rinsed’ tune ‘Flowers At Your Door’ ushers in the final 3 tracks on ‘Sublime Destruction’ and these tunes illustrate a slightly more introspective side to the band, via the pounding ode to North London that is ‘Seven Sisters’ and acoustic album closer ‘Still Got Me’ complete with string section!!!!!

And that, that right there folks, is what I was alluding to in the introduction to this review. There aren’t that many punk rock records that go the extra yard to add in that additional sonic dimension to push ahead of the pack, but here on ‘Sublime Destruction’ Desperate Measure (under the watchful eye of Mr Andy Brook) are not so much pushing ahead as out and out leading the pack.

Never mind the bollocks, this is THE bollocks.

‘Sublime Destruction’ is released on the 22nd of March 2024 via Cadiz Music on CD and (coloured vinyl) LP and you can order your copy – HERE!

Author: Johnny Hayward

Despite being a cold Welsh night in March, the Patriot in Crumlin saw the first date of a mini UK tour for Trixter Acoustic – Yes, THE Trixter that holds the accolade of being the last ever act to hit No.1 on Dial MTV, and one of last truly melodic rock bands of the early ’90s hair rock scene to release banger after banger, and many a Rock City dance floor filler.

So what does Trixter Acoustic look and sound like in 2024 – Well, the nucleus of PJ Farley & Steve Brown are present as well as drummer Martyn James, the musicianship that the crowd witnessed was breathtaking – given that the Farley & Brown only met the drummer that day and only had the one soundtrack to rehearse. But then what do you expect from half of a band that has rocked all over the world, as part of Trixter, and in Farley’s case Fozzy as well as Brown deputising for Def Leppard that saw him play Wembley Stadium over a few years ago,

Anyway, back to the first night of the tour, which saw local, well Swansea’s Casey Maunder warm up the crowd with his take on rock, which went down a treat. His songs telling the tales of yesterday with a modern twist and full of melodies – Definitely one to watch out for especially the banger that is Rolling At The Rathouse – which reminisces about Swansea’s own rock city – The Coachouse.

After what seemed like ages but in reality only 5 minutes of sound issues – the mighty Trixter hit the stage running with Rockin’ Horse and for the next hour plus – rocked the Patriot to the ground. Yeah, they might have been billed as acoustic but the electricity from the power trio was like lightning for the fans.

Interspersed with tales of their history together Steve along with quips from PJ, showcases the brotherly love and respect for each other and the music they created all those years ago. Stories from their heyday all the way to their last album ‘Human Era’ in 2015. This was an experience like no other for fans of the band.

How can one argue with a back catalogue and set list that included Heart of Steel, Road of a Thousand Dreams, Surrender, One In A Million, and from the reunion albums Tattoos & Misery and Human Era itself, which for me was the highlight of the night.

The set also featured 2 covers and a track from PJ’s debut solo album – Boutique Sound Frames  , i.e. Paul Simon’s 50 Ways to Leave Your Lover and KISS’s A Million To One and the aforementioned Farley solo track You’d Stick Out.

The power pop rock trio left their biggest hit for last in the form of their hit single Give It To Me Good and for this fan and the fans that witnessed this tremendous show, live and in the moment – it was well worth the 34-year wait!!!

Author: Dave Prince

With Keilan ‘Bass Thing’ Ryan back in the fold and with a fistful of tunes to get off his chest Episode 17 of the podcast is available to play it features a slimmed-down twelve tunes in this episode kicking off with a new song from Bloodclot from their soon to be re-released second album.

Brigatta Vendetta are also played with a banger from the debut album ‘This Is How Democracy Dies’ followed by Australian noise-bringers Clowns with a track off the new album ‘Endless’. A first on the podcast is American underground legends Dead Moon with a track off ‘Echoes Of The Past’.

With a new album in the bag Knock Off have a track aired off the album before Pirates Press recording artists Hunting Lions roar into view with a track off their new album ‘King OF The Avenue’ we play the rocker ‘The City’.

The Cavemen bring a track lifted off their brand new long player ‘Cash For Scrap’ these New Zealand reprobates survived the pandemic and are going stronger than ever as the track ‘Without You’ will testify. Banger!

Next up fuzztones rock up with a track off their Horny As Hell album with a track entitled ‘Johnson In A Headlock’ – Sleazy and fuelled by some cool wheezing organ work and a proper dreamy backing vocal. Kwilan got a little excited at the suggestion with the album title and song title but the youth can’t contain themselves anymore.

Pizzatramp has been long overdue a play so what better song to play than ‘Millions Of Dead Goths’ that was accompanied by a classic video you should really check out. Another band from the US of A is The Complicators with a track off their self-titled album ‘Pressure’ is a fantastic introduction to what the band is all about. Again released on Pirates Press who offer something of a seal of quality with every release such is their impressive roster of releases.

About the head out on tour in the UK of their soon-to-be-released new album The Meteors give ‘Please Don’t Touch’ a damn good seeing to. As people know we do love a cover version here at RPM and this is most decent. We’ve been lucky enough to hear the new album ahead of release day and its right up there with the best stuff they’ve ever done. Old fans will approve and new fans will will have a place to start as they delve into the impressive back catalogue.

Finally bringing this episode to a halt is Riskee And The Ridicule with ‘Body Bag your Scene; their about the play a show that host Keilan is playing on and with a new album in tow expect more from the band as the weeks fly by. chow for now as they say in llandow. yil next time bye the podcast team.




Returning this summer over four days from the 1st to the 4th of August at the Winter Gardens in Blackpool, Rebellion Festival has once again pulled together a line-up that runs the full length and breadth of worldwide alternative and punk rock culture. From the four iconic, genre-defining headline artists of The Stranglers, Sham 69, Cock Sparrer and Stiff Little Fingers to the young upstarts kicking up a racket in 2024 like The Chisel, The Meffs, Grade 2, Bar Stool Preachers, HotWax, and Meryl Streek, Rebellion Festival displays an ageless and timeless event annually that demonstrates just how big and welcoming our punk rock family continues to grow.

With over three hundred bands and artists playing and performing across the Winter Garden’s multiple stages, Rebellion Festival really does supply something for everyone with an interest in alternative culture. From the very roots of the movement with the proto 60s garage punk of Love guitarist Johnny Echols, performing with his version of the psychedelic legends, to 1970s glam stompers The Sweet who were a huge influence on the first waves of punk, Rebellion Festival goes from the very start to the wholly contemporary, and everything in between.

A recent and thrilling addition to the line-up this year is the eclectic and theatrical Gogol Bordello from the Lower East side of Manhattan, although they feature members hailing from Ukraine, Ecuador, Russia and Ethiopia for a truly worldwide sound. The band are notorious for their relentless touring, and they have lapped the world many times since their formation in 1999. Rebellion is excited to finally have them hitting the festival in 2024.

All this and so much more, these join many other highlights including Tom Robinson Band, UK Subs, Lydia Lunch, Toyah, Dead Boys, Ruts DC, GBH, Cockney Rejects, The Alarm, and The Men They Couldn’t Hang.

Got to Line Up ( for the full four-day line-up.   


Since its original inception in 1996 as the then named Holidays In The Sun festival, Rebellion has always aimed to bring together the best punk and alternative music from across the globe, and is still a family-run, family-orientated ALL AGES event and children under 12 are admitted free of charge (accompanied by an adult).

Head to for more information.

Instagram: @rebellionfest

Heavy as a tonne of bricks Landing on your head ‘Re: Generation’ kicks off with ‘Future Shock’ sounding like a female-fronted Senser when they were at their devastating best mixing it up in the mid-90s. but wait, the pace is changed like a full-speed handbrake turn on ‘No Man No Right’ as the band gets their ska on and goes in for some skanking. with a rather splendid saxophone break.

Breaking through during lockdown this ten-legged ska/punk/grime/dubstep/metal machine shouldn’t work at all but it does. Via some sparkling production and great arrangements.

This compilation pulls together some single mixes in the shape of ‘Virus’ and ‘Keep On Believing’ and playing with some new mixes as well as some brand new tunes its throwing the kitchen sink effect that will hit your ears in one huge loud production. Can’t say I’m up to date on my Grime or my dubstep but I do know when something is done very well and this is that. now the full-on punk rock I do get. ‘Learn TO Live With It’. The uplifting tone of ‘Sunny Side Of The Street’ works really well from the acoustic intro in the whole band joining in for a really good tune.

They speed it up and turn it up on the really bright ‘New Style Rocka’ Having several members of the band who can handle the vocals is a real asset from the fellas doing the hard rock to the sweet female rasp of ‘Train Leaves Tomorrow’ but don’t be fooled it’s like a steel fist inside a velvet glove Laila Khan delivers be it doing the hard rock or the punk stuff as well as she sings the pop stuff the do when they need a strong melody over whatever style they happen to pull off for each song. Doing this for a decade these guys aren’t some johnny come lately they know what they’re doing and do it very well indeed. It is no surprise to see they’ve worked with Skunk Anansie as well as drawing influence from the Streets and Dubwar as well as classic Ska bands it’s a real melting pot going on and ‘Re: Generation’ should put them in front of a much bigger audience no question.

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Author: Dom Daley

‘Oh Shit’ is the latest single from their forthcoming new album due in April listen here:

pic Ed Cooke

Oh shit ,oh shit

Lets make some money

Just enough to get us by

The Libertines release a fabulous new single (quite possibly the most Libertines single ever!) on Wednesday 6th March. Entitled Oh Shit it is an earworm anthem for these economically challenging times and is taken from their eagerly awaited new album All Quiet On The Eastern Esplanade which hits the streets on April 5th.

Written by Carl Barat and Peter Doherty, Oh Shit is the fourthsingle to be lifted from All Quiet On The Eastern Esplanade, following the release of Run, Run, Run VIDEO, Night Of The Hunter VIDEO and Shiver VIDEO  You can preorder the new album here: 

The Libertines’ UK/IRELAND tour all but sold out within hours of being announced – faster than any previous tours in their history – which nails the lie that no-one wants to see bands live anymore. To cater for the unprecedented demand, a third and final night has been added at Manchester’s Albert Hall on Saturday 9th November.

The full dates for the All Quiet On The Esplanade Tour are:


23rd MON Dublin  3Olympia Theatre SOLD OUT

24th TUE Belfast The Telegraph Building SOLD OUT


3rd THU Birmingham O2 Academy SOLD OUT

4th FRI Norwich UEA SOLD OUT

5th SAT Cambridge  The Corn Exchange SOLD OUT

7th MON Cardiff Great Hall FEW TICKETS

8th TUE Bristol O2 Academy SOLD OUT

17th THU Glasgow Barrowland Ballroom SOLD OUT

18th FRI Glasgow  Barrowland Ballroom SOLD OUT

19th Sat Liverpool Mountford Hall SOLD OUT

21st Mon Nottingham Rock City SOLD OUT

22nd  TUE Leeds O2 Academy SOLD OUT

30th WED London Roundhouse FEW TICKETS

31st THU London Roundhouse SOLD OUT


1st FRI London Roundhouse FEW TICKETS

4th MON Sheffield The Octagon FEW TICKETS

5th TUE Newcastle NX SOLD OUT

7th THU Manchester Albert Hall SOLD OUT

8th FRI Manchester Albert Hall SOLD OUT

9th SAT Manchester Albert Hall TICKETS ON SALE 9AM 8TH MARCH

The Libertines will be playing the following in/out-store shows on the week of release of the new album with a special Q&A happening at Rough Trade East.


5th  FRI  Coventry HMV Empire

6th  SAT Birmingham Acoustic

Manchester Academy w/ Crash Records

8th MON Rough Trade East Q&A w/ Rough Trade

9th TUE Pryzm Kingston w/ Banquet Records

As previously announced The Libertines will headline ‘On The Beach Festival’ in Brighton on Sunday, July 28th.

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After the innermost journey, it seems about right we should engage with ‘Satans helpers, War Lazer Eyes And The Money Pig Circus’. Confused? Relax, sit back, and take a deep breath its only an album title.

I’ll set the picture for you, Sami Yaffa managed to turn in the album of the year when he released his debut solo album in 2021. It had everything and confirmed with many of us how fuckin talented the guy is. Not content with being the coolest bass player on the planet or playing on some of the best records ever he had to go and write produce sing and play on a solo album that was so fuckin good it was almost unfathomable. Roll on a couple of years and Mr Yaffa is back in the ring and taking precision shots again like the heavyweight player he is.

The first glimpse into album number two was the Iggyfied ‘Crashing Down’ and with a confident swagger, Sami was on top of his game with another earworm that sounded so good it made me grin for days. Excited at what was coming down the line and the first taste was exactly what I wanted to hear. Such is Samis laid back demeanour is infectious and engaging and it puts the listener in the best frame of mind for listening to some of the finest music currently being laid down anywhere by anyone.

The title track rolls in on a cool countrified lick that gathers pace before exploding into widescreen as Yaffas well worn, warm vocal wraps itself around you like a warm comforting blanket and the opening of this much-anticipated album is done.

‘Silver Or Lead’ rattles in off the back of the widescreen opener with a sharp, stripped back song with plenty of punch and gang vocals on the chorus but it’s the arrangement that gives the song an air of excitement that draws you the listener in. ‘Hurricane Hank’ is one cool motherfucker by the swagger of his soundtrack. A cool bluesy lick is held by some cool keyboard rattling over a rapid fuzzed guitar.

One thing Yaffa is clearly gifted is the ability to change pace and style yet keep it perfectly on point whatever the style so ‘Death Squad’ is the first glimpse of the reggae skank we had on that first record and it’s here with the keyboard slap with rhythmic stabs to groove alongside the skank of that clean guitar with its bluesy licks.

‘Down Home’ is laid on a bed of acoustic guitar chords and a warm pained vocal. It’s not quite a ballad but has a gentler hand maybe more Americana in the vein of say Jesse Malin at the top of his game. In contrast ‘Shitshow’ is rockin’ out at its finest from the storming the gates guitar break that’s scorching the speakers as it bursts through. No time for finery or complicated arrangments it’s heads down and lets rock! Some wonderful piano fills and backing vocals to accompany this rocka.

Whilst we’re deep into the record we have the first single that dropped several weeks ago ‘Crashing Down’ and it still sounds like the best song Iggy never wrote anytime over the last thirty years. ‘Chemical Life’ has the funk pulsing through the bassline sounding like an adventure through the NYC underbelly from the keys and that funkified bass to the cool lyric and fucked up flavours created by the brass and percussion exploding all over the place. A fantastic song and even after so few plays it sounds like a track to delve into for years to come.

A more varied album than his debut and touching upon all his previous bands and roles within bands Sami Yaffa has really spread his wings on ‘Satans Helpers’ there is perhaps a supreme confidence happening here before our eyes and ears and the off-kilter groove of ‘Far Star’ is his most varied offering yet. It could have been offered up to Harry and Chris Stein around the time they were eating to the beat it has that LES charm as the mist rolls in off the Hudson it might turn out to be the record’s buried gem the more play I give this, Only time will tell.

The record is almost done and already I’m excited to do it all again and see what pops out of my speakers on the next play. ‘Faster Than Me’ has a carefree vibe that is like a ray of sunshine after the storm. You know that satisfying smug feeling when you’ve looked forward to a new record and it absolutely doesn’t disappoint, well, ‘Satans Helper’ is exactly that record. I think it’s safe to say that Sami Yaffa will once again be challenging for the album of the year title such is the quality of this album after only a few plays.

Now, go and ask your local record store to get you a copy of ‘Satans Helpers, Warlazer Eyes & The Money Pig Circus’ it might just be the best record you buy in 2024 and you can quote me on that!

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Author: Dom Daley

As night follows day the last few years have been peppered with album releases and UK tours from the mighty Cleveland noisemakers known as Midnight. such is their output and the quality of it I feel like a kid at Christmas waiting, knowing it’s coming. The album drops and I get the cans in the fridge and prime the stereo because the unholy racket is a coming. You know already that before you’ve clapped eyes on the artwork it’s going to tickle your pleasure receptors and have you nodding like head bobbler on an F1 car with your bullet belt and leather gloves on it’s time to give in and offer up your undivided attention because Athenar and the gang are on the stereo. Beelzebub is ying the bellows for some ‘Hellish Expectations’ and enough fast as fuck punk/metal to tide you over until the apocalypse or next years release and tour.

2003 was the year that Satan belched these bad boys out on an unsuspecting world all looking for a fix of Motorhead, Venom and Tank fuelled noise. Filthy, belligerent and obnoxious, Midnight makes music to start fights to and drink beer until you can’t physically carry on its slayer for scum. Athenar has been calling the shots for this ungodly racket, and ‘Hellish Expectations’ won’t disappoint – there are no curveballs, no letdown and plenty of life-affirming noise.

‘Hellish Expectations’ is blunt force trauma set to music – no nonsense, no mucking about just pure fuckin’ hell and some. Imagine all the previous albums thus far rolled into one concise record – Ten songs equally noisy and all as intense and rapid as the last.

Athenar alleges these songs were all written in a weekend after being pissed at the demos of the last album ‘Let There Be Witchery’ (Don’t be hard on yourself mate that album was a belter). Opening track ‘Expect Total Hell’ (Obviously, what else would we expect?) not so much creeps out of the speakers but builds up a head of steam sounding so raw and vital you can feel the head on your back as the chopper your on spews out of the ground as you burst out of Hell. The first thing you notice is how live it all sounds it has the feel of a one take deal and the energy is spot on. The song titles have long since had me properly laughing out loud and ‘Gash Scrape’ is no exception as Cronos must be looking over his shoulder upon his blackest stallion wondering how Venom at their peak never sounded so fuckin’ vital. As you get comfortable ‘Masked And Deadly’ has already been and gone before the old school ‘Slave Of The Blade’ has you windmilling in a pool of sweat.

Side two is underway with ‘Nuclear Savior’ is going through the gears and we’re just warming up never mind a tipper sticker this should carry a government health warning. It’s brutal, raw and insanely addictive like fentinal audio crack.

My heart pacemaker was put out of sync after the last tour and almost caved in my chest so loud was the PA I’m now turning this bad boy past 11 on the stereo as ‘Mercyless Slaughtor’ grinds my ears into submission before ‘Doom Death Desire’ has the Lemmy like a wall of noise hit me like dropping a breezeblock off a ten story building onto my chest but wait, there no time left except to thrash like fuck as ‘F.O.A.L’ races to the finish line and we’re done. It’s not long enough, clocking in at a ‘Reigning Blood’ length album. I mean one song on Venoms ‘At War With Satan’ is almost the length of the entire ‘Hellish Expectations’ album some will complain but I accept it for what it is pure fuckin armageddon in a nutshell and besides the music is top fuckin notch, that’s a given the artwork has two pencil drawn demon women with 70s bushes and a nun swinging from a Bell Midnight at truly Satanic Royalty and have to accept their place at the top of the Black heavy metal/punk ranking. They have no peers and as well as being in a league with Satan nobody can touch them. Vital album right here, buy and F.O.A.L. because you’re worth it.

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Having taken the last four years off (prob to drink more beer) the world is a pretty different place now as it was when they fucked off. But in many ways, it’s still the same fucked up, shit pit of a place so these Drunk Mums will feel right at home as they deliver ten relentless, no-holds-barred party hard anthems that leave you wanting another tinny and party to attend with zero chance of worrying about governments, world wars, terror threats, global warming. For now, we’ll concentrate on having a good time because we’re not here for a long time. Refreshed and ready to go with their zero BS, good-time rock ‘n’ roll explosion.

Recorded at the legendary Hot House studio with Jez at the helm and masterfully fine-tuned by the Bear, no expense was spared in crafting this comeback masterclass, aptly named “BEER BABY.” imagine a cocktail of loud guitars, gang vocals, uptempo anthems, zero bullshit and endless shots of Jager, Beer and good times. right, we’re in the right ballpark or on the same page. Anybody who knows their music already knows that Australia has been churning out top-notch guitar bands be it hard rock or garage rock or punk rock they continue to nock ’em out at a fantastic rate. Over the last few years, they seem to have gone into overdrive with bands like the mighty Stiff Richards, Civic, Amyl & The Sniffers, The Chats, TNSW and who can forget bands like Cosmic Psycos or Radio Birdman as well as a whole host of bands and artists. This year has already given us Split System and now you can revel in the comeback of Drunk Mums and their awesome new earworm ‘Beer Baby’ which crosses the great divide of being hard-rocking punkers and this record is on fire.

Spending their hiatus crawling through dive bars looking for inspiration this bunch of yobs are about to set off on a world tour with the chats and headline dates with ‘Beer Baby’ in hand to elevate themselves into the big league and now they’ve got a whole bunch of new tunes to consolidate that theory that Australia is leading the way with loud records.

Ten ragged glorious anthems kicking off with the snotty ‘New Australi’ it’s like they embodied the Roxy from 77 and when DC hit the UK back in the day. It’s rough riffs and drunken vocals hanging on a wicked melody that locks into your ears and doesn’t let go. ‘Slippin Up’ channels the Ramones hashing out a Chuck Berry riff at some yard party where the beer is going down nicely just before the cops show up. ‘Mutant’ is just nasty punk rock running amock in your head as the chasers do the damage You’re getting leary and the pit is getting treacherous and messy.

You should get the picture by now, the tempo is stuck on high with big riffs chopping away wearing you down as the melodies get stronger and the playing more intense but always of a high standard. ‘Apocolypse’ is an anthem and chorus that should be an instant hit and promote the band front and center. The early single ‘Living At Night’ is a little sprinkling of magic from the chorus and the guitar lick it’s wonderful stuff that should unite the punkers and the hard rockers such is its appeal. Hell, it’s even got some britpop running through its DNA in that hook and melody. and who doesn’t love a good ole Ramones breakdown, simple and to the point these guys just get it – plain and simple.

There aren’t any weak tracks here not a single skippable tune. ‘Magazine’ is a thumper with a heart full of power pop whilst ‘Not My Dad’ is the perfect crossover of The Undertones and The Chats and that why this is so good – as the cool kids would say this is so on point man its pure fire. By the time ‘From The Hip’ explodes to a crescendo and burns out like a blazing rocket all you want to do is drop the needle bac at the beginning and dive back in for another round. Fire up the Barbie and get the beers on ice because Drunk Mums and having it all their own way and you might as well surrender right now because once you give yourself up to this record you won’t be able to stop. Never mind a government health warning Drunk Mums are back and their throwing out the beer baby, baby and I’m all in, get involved boys n girls its futile resisting especially when it’s this good. As they say, embrace the chaos and join this rowdy bunch on a rock ‘n’ roll journey that’s bound to be nothing short of legendary.

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Author: Dom Daley