UK Subs – ‘The Last Will And Testament of the UK Subs’ (Cleapatra Records)

UK Subs – ‘The Last Will And Testament of the UK Subs’ (Cleapatra Records)

Twenty Three studio albums plus seventeen live albums (from A-Z and beyond), thousands of live performances, countless band members and one legacy that will undoubtedly outlive us all. When they announced they were calling time on touring I think it’s fair to say many didn’t believe it or took it for granted it would never be an issue. When that day arrived I guess it seemed like a no brainer to document the final fling and capturing the current line up in full flight was a no brainer. I caught them earlier on the tour and they were on fire, in fine fettle firing on all cylinders its fair to say. When this album news dropped I was delighted to hear they had indeed captured the fire, fury and quality of what they’d been delivering night after night on this tour.

UK Subs have seen it all, done it all, and conquered all, becoming one of the most well-respected, most loved bands to come out of the original ’77 punk rock movement. Five consecutive sold out shows at London’s epicenter for the punk rock revolution the 100 Club was chosen and it seemed fitting that this live album was recorded there. Its raw but not bootleg raw but in being left untouched they’ve captured that fire and fury from the band and Charlie is in fine voice throughout.

Thankfully, this superb finale was captured on both video and audio and is set to be released as a multimedia CD/DVD set on May 3 also there is a vinyl record of the night coming as well. Alvin Gibbs and newer members Steve Straughan and Stefan Häublein are on fire from ‘Scum Of The Earth’ they own the songs and give them a twist as well as adding their own take throughout. sometimes when line ups change songs lose a little heart and soul but that can’t be said here as the rhythm section give the songs energy and a beating soul whilst Steve Straughans guitar rips some of these classics a new backside ‘New York State Police’, ‘Warhead’, ‘Tomorrows Girls’ are all owned and sound fresh and exciting and its that energy that shines throughlike a burning sun.

The banter is left in which shows that the band having fun is a vital ingredient and them having fun is infectious. I’ll miss the annual Subs tour but I’ll make the effort to travel if need be to see them play for the umpteenth time.

The Last Will and Testament is a fitting live full stop for one of the finest bands from the genre, make no mistake about that and if you were on the tour or at the 100 club or if you missed out quite simply buy it!

Buy Here

Author: Dom Daley

5 Years Of Strap Original Live shows

5 Years Of Strap Original Live shows

Peter Doherty

PRESENTS

5 YEARS OF STRAP ORIGINALS

artist performances & Q&A with Peter each night

MAY 28TH MANCHESTER THE WHITE HOTEL ANDREW CUSHIN / VONA VELLA 

MAY 29TH LONDON 100 CLUB TRAMPOLENE / EVAN WILLIAMS 

MAY 30TH LONDON 100 CLUB REAL FARMER / PREGOBLIN / JACK JONES  

To mark Strap Originals’ 5th anniversary, label boss Peter Doherty will host three special celebratory nights in Manchester and London in May. Each night will feature Strap Originals artists live in concert: Vona Vella/AndrewCushin (The White Hotel, Manchester 28th), Evan Williams/Trampolene (100 Club, London 29th) and Jack Jones/PREGOBLIN/Real Farmer (100 Club, London 30th). On all three nights Peter will do a Q&A with a journalist about his life, his music and his vision for the label. Tickets for these extra special shows are available here:

TICKETS Manchester – The White Hotel 28th May 

TICKETS London – 100 Club 29th May 

TICKETS London – 100 Club 30th May  

The full details are:

MAY

28th  Tuesday –  SALFORD – The White Hotel 

Live performances: VONA VELLA / ANDREW CUSHIN

Peter Q&A with Chris Hawkins

29th Wednesday – LONDON – 100 Club

Live performances: EVAN WILLIAMS / TRAMPOLENE

Peter Q&A with Sydney Lima

30th Thursday – LONDON – 100 Club

Live Performances: JACK JONES /PREGOBLIN / REAL FARMER

Peter Q&A with Matt Wilkinson

pic by ed cooke

Strap Originals was launched in 2017 with the release of Peter Doherty & The PutaMadres self titled album. The label has gone on to release six Top 10 Independent Albums by Andrew Cushin, Trampolene and Peter Doherty, along with critically acclaimed albums by Vona Vella, PREGOBLIN and Real Farmer. Strap Originals also entered the book publishing world at the end of last year with a novel by Jack Jones (Trampolene) entitled ‘Swansea To Hornsey’.

Strap Originals is a stand-alone Independent label owned by Peter Doherty and his manager Jai Stanley working alongside managing director Charlie Dilks. It is independently financed and is committed to signing new original artists and allowing them to evolve and have creative control.

https://strap-originals.com/

STRAP ORIGINALS ALBUM RELEASES 

PETER DOHERTY & THE PUTA MADRES – S/T SOLP001

TRAMPOLENE – Love No Less Than A Queen SOLP002

PETER DOHERTY & FREDERIC LO – The Fantasy Life Of Poetry & Crime SOLP003

ANDREW CUSHIN – You Don’t Belong SOLP004

TRAMPOLENE – Live From Swansea Arena SOLP005

TRAMPOLENE – Rules Of Love & War  SOLP006

VONA VELLA – Go Outside Forever SOLP007

VONA VELLA – S/T  SOLP009

ANDREW CUSHIN – Waiting For The Rain SOLP010

TRAMPOLENE – Swansea To Hornsey (Anniversary Edition) SOLP011

PREGOBLIN – PREGOBLIN II SOLP012

REAL FARMER – Compare What’s There SOLP013

Strap Originals is distributed by FUGA (digital) & Cargo (physical).

All albums are available on vinyl from all good record stores. 

The Speedways, Club Supersonic, Paris 24.04.24

The Speedways, Club Supersonic, Paris 24.04.24

For once, living in France pays off! A while ago I noticed that those kings of power pop, The Speedways, would be finishing their brief, European jaunt with a gig in Paris. I decided to tie this in with a visit to the UK, catching the band on my way back home. I know, aren’t I exotic?

It’s my first visit to Supersonic, a small but busy club in the Bastille district. With a typically ‘interesting’ hotel room booked a mere 10-minute stroll away, so far, so good. I just caught the end of the opening band’s set, Pink Balls Sister, who had some twin guitar parts to match the singer/guitarist’s Thin Lizzy t-shirt. Next up, The Not (Not) were more interesting. Hard to pin down, their brand of rock was improved by their keyboard player. They certainly held the crowd’s attention.

As for The Speedways, what can you say? Ostensibly touring their ‘Triple Platinum’ compilation album, their set shows that few of their contemporaries have such an arsenal of top pop tunes. I told Mauro Venegas that I was hoping to hear ‘Empty Pages’, which isn’t currently in the set list. No matter, when you have such gems as ‘Seen Better Days’, ‘Shoulda Known’, ‘Kisses Are History’ and ‘The Day I Call You Mine’.

Kris is certainly one very happy drummer, beaming and seemingly indefatigable. Nothing is going to stop the good vibes, not even when Matt breaks two strings near the end of the set. They play some extra songs, including a newie, as the crowd really are loving it. They are that kind of band; if you know their songs, it’s better, but if you don’t, they’ll win you over anyway.

I can’t pick a favourite song, all their albums are great. A rare thing indeed. They’ll be playing the UK again soon, so keep your eyes peeled and they will guarantee you a top night out.

Author: Martin Chamarette

Buy the new album Here

The Tony Slug Experience – ‘Self Titled’ (Suburban Records/Wap Shoo Wap/Alternative Tentacles)

The Tony Slug Experience – ‘Self Titled’ (Suburban Records/Wap Shoo Wap/Alternative Tentacles)

Posthumously released records tend to be hit or miss affairs, especially when they are put out by a major label looking to cash in on some unfortunate musicians untimely passing. Thankfully with ‘The Tony Slug Experience’ what we have is a record very much in the “hit” camp, not only because it features a dozen new tracks assembled by Slug himself but also because he’s dragged in a plethora of his showbiz mates to help hammer home his message and blow me if it isn’t one of the best things the man has ever been a part of too.

This isn’t some fleeting comment you should take lightly either, especially when you consider that during his time on planet Earth, Slug had been a part of such bands as The Nitwitz, B.G.K, Loveslug and (the band with whom I first encountered his mighty bass thump) The Hyrdomatics.

Having started out in punk rock all the way back in 1978 delivering fast and furious missives with the first two of those bands Slug immediately got to share European stages playing on bills with bands like the Dead Kennedys, whilst a decade on and long before grunge was a household term, as part of Loveslug, he got to work in the US with the likes of Jack Endino helping forge a hybrid punk/garage rock sound and quite probably turning a few plaid shirt wearers’ heads in the process. Then at the tail end of the 90s Slug got to record with both Scott Morgan and Nicke Andersson in The Hydromatics, starting with the awesome ‘Parts Unknown’ record before more recently picking up with both The Spades and Cheetah Chrome and The Knobs.

The reason for this potted history lesson is to fully understand the true spirit of what The Tony Slug Experience is all about. Recorded across a 2-year period during various sessions in both Europe and the US. The biggest chunk being recorded in Tony’s hometown Amsterdam with producer/musician Steven van der Werff, this album assembles 30 of Slug’s other musician friends, including Jello Biafra (Dead Kennedys), Jennifer Finch (L7), Nicke Andersson (Hellacopters), Jerry A. (Poison Idea) and Happy Tom (Turbonegro), to produce one of the most exciting swan song records of all time.

Blasting out the speakers with ‘Road Goat’ this is where the Slug story comes full circle with lead vocals provided by Jello Biafra (his first of two songs here). This song must surely have taken Slug all the way back to those early B.G.K days, whilst ‘If I Make The Gates’ which immediately follows (and featuring Nicke Andersson) is much more like the latter day garage punk music Slug would go on to be involved with. It’s Jeven De Groot (guitarist/singer with space rock outfit Temple Fang) who really shines on this tune though as he does on ‘Wreckerball’ a song that sounds like it’s just fallen out of The Hip Priests’ extensive back catalogue and is truly a world away from the singer’s day job. Exhilarating stuff indeed!

Elsewhere, Jerry A steps up to the microphone for a riotous ‘I’ll Never Forget’ and Jennifer Finch slips into ‘Someone to Blame’ with the utmost ease. The latter is a song that reminds me of US glam punks (and Dom Daley Rebellion faves) Glitter Trash which is kind of ironic as their ex-guitarist Paul Grace Smith (who also played with Slug in a host of bands) features on ‘Spy Satellite’ which immediately follows. Plus let’s not forget ‘Smile’ featuring Greta Brinkman on vocals that gives the record a full tilt rock n soul vibe at the midway point, she returns for the equally excellent ‘Dumb Things’ later too.

https://www.youtube.com/watch?v=g6d89eOapI

You know, with so many different musicians and styles involved ‘The Tony Slug Experience’ could really have ended up sounding like a patchwork quilt of tunes, but it’s true strength is that it doesn’t, it plays out as one set of interconnected songs, and that’s because Slug is at the heart of them all. Slug Rock to the very end!

Set for release on May 5th 2024 ‘The Tony Slug Experience’ will be released via Suburban Records and Wap Shoo Wap in Europe and via Alternative Tentacles in the US, the vinyl coming in a gatefold sleeve with a foreword by Turbonegro’s Happy Tom, accompanied by a fanzine-sized biography.

Buy Here

Author: Johnny Hayward

Steve Conte – ‘The Concrete Jangle’ (Wicked Cool Records)

Steve Conte – ‘The Concrete Jangle’ (Wicked Cool Records)

Now Steve Conte really caught my attention when he was drafted in to play guitar alongside Sylvain Sylvain in the Dolls and following that the solo career he was forging was all killer and no filler and even when he played in Michael Monroe band and wrote songs for someone as talented as Monroe to sing he couldn’t put a foot wrong it would seem. ‘Bronx Cheer’ was his last offering and to be fair I loved it I thought he had written some of his best material on that album and his vocals seemed to have been elevated to the next level as well. Fast forward a couple of years and after much social media jibber jabber about writing new material for another solo album I thought Conte can’t possibly top the last album but after running through this album for a couple of months I truly believe he’s mixed up his Rock album formula with a new found new wave pop seam and mined it to the maximum and taking a side step into some new territory works well and drafting in someone he really admires and holds in high regards a certain Andy Partridge from XTC is both interesting and unexpected but ultimately a fine move from the evidence of the co written tunes that make up the opening side of this album.

Clever clogs album title aside this might well prove to be Conte’s finest work to date which is no small feat for someone who has quite an impressive output over the last decade or so. Ian Hunter, Danko Jones, Steve Lillywhite, Nasty Suicide and Glen Matlock raise an eyebrow alongside several other impressive talents on show. The Melodies are constant and at every turn and the pop songs wear many outfits from bluesy rockers or more punky-edged songs Conte has covered all bases yet made a cohesive and truly wonderful album.

Ultimately Conte has evolved his repertoire and moved in another direction and quite possibly turned in his finest album thus far in an ever-impressive collection of mightily fine albums. Don’t just take my word for it check it out for yourself and immerse yourself in a fantastic album brimming with glorious songs where he goes from here, who knows, at this point, the world is his oyster and I’m happy to spend the next couple of years marvelling at ‘The Concrete Jangle’ my only complaint is it could have gone on and on, no should have gone on and on. Buy IT!

Buy Here

Author: Dom Daley

Haust – ‘Negative Music’ (Fysisk Format)

Haust – ‘Negative Music’ (Fysisk Format)

Norway’s finest have concocted another pure sonic assault, getting back to their roots musically while also looking forward and developing new aspects to their sound. 

New album Negative Music has the ear splitting extreme metal tones you would expect but with a raw underlying punk rock energy and ethos. Thudding bass lines akin to west coast hardcore but with shrieking and tortured vocals reminiscent of 80s Deathrock while also sharing the band’s issues and social concerns relating to their upbringing and the musical scenes they have navigated. 

Unrelenting and with absolutely no compromise, the black metal meets punk sound helps lend to a fresher more analogue sound to the record, getting away from the synthetic heavy metal pitfalls and tropes that can plague the genre but still remaining brutal. 

Particular stand out tracks are ‘dead ringer’ and ‘the burning’, a throbbing assault to the senses with the potential to upset any next door neighbours. 

In an industry and subculture that trades on shock value and over the top rorschach logo typography, Haust are refreshing due to their stripped down approach with their image, artwork and their level headed approach to interviews and promotion and as a result they’re a hell of a lot more approachable in their “scene”.

Author: Dan Kasm

HAUST:
Facebook: https://www. facebook.com/haustmusic
Instagram: https://www. instagram.com/haustmusic
Bandcamp: https://haustno.bandcamp.com

Fysisk Format:
Web: http://www.fysiskformat. no
Facebook: https://www. facebook.com/fysiskformat

Ian Hunter – ‘Defiance’ Part Two ‘Fiction’ (Sun Records)

Ian Hunter – ‘Defiance’ Part Two ‘Fiction’ (Sun Records)

The second part of Defiance is here for RSD 2024 and sees a vibrant Hunter rolling away the years as he assembles an impressive array of superstar friends to help narrate and navigate their way through this ambitious project, and boy does he hit the bullseye yet again. Take the vibrant opener ‘People’ performed by members of Cheap Trick as they rock n roll their way through some choppy guitar riffs for an excellent opener. Hunter certainly doesn’t sound his age as he belts out this worthy opener.

Sure I get the need to sit back and on the countrified balladeering of ‘The 3rd Rail’ that features the deft twang of Jeff Beck on a song that seems perfectly fitting for a tribute to a unique talent that is no longer with us. Hunters’ hushed tones are perfect as his well-worn yet warm vocal delivers. It must be awesome for people like the Def Lep Boys to feature on tracks on a record by someone they call a friend but also a main inspiration for what it is they do for a job. ‘This Ain’t Rock n Roll’ has shades of Once Bitten in the twelve-bar dalliance and Phil Collen sounds like he enjoyed adding his guitar part.

Whilst the subject of passed musicians this record also has a performance from Taylor Hawkins on ‘Precious’ that features Brian May and Joe Elliott which is some big boys clanging right there. ‘Kettle Of Fish’ also features a hefty thump courtesy of Hawkins but it also has the cool groove from Hunter as he hushes his way through the verses ably supported again by some Cheap Trickers. I do love the laid-back coolness of ‘Weed’ and Hunter’s storytelling vocals that sound like the smoothest single malt 20-a-day delivery that sounds great sitting on top of some cool slide playing.

Benmont Tench lends his wonderful keys on ‘What Would I Do Without You’ which sees Hunter duet with the velvet tones of Lucinda Williams but the penultimate track has Keith Richards rockin partner Waddy Wachtel throwing shapes alongside Tench effortlessly throwing out a record highlight on ‘Everybody’s Crazy But Me’ that also has Hawkins tub-thumping in fine fashion.

The record is brought to a close with the beautiful ‘Hope’ which could be described as the quintessential Ian Hunter ballad with great lyrics that fittingly closes off a fine record. If you’ve ever liked Hunter be it solo or with Mott then there will be plenty in here to please you and give you a warm glow as you turn up the speakers and pour a nice big glass of vino to while away the hours. There is also a RSD edition with three bonus cuts that feature some Black Crowes and a few Pearl Jammers to pique your interest in getting the complete edition. Defiant and oozing class, keep on rocking Mr Hunter and it’s great to hear that this project has enthused him to write Part Three – Buy it!

Buy Here

It’s A Revolution – Podcast 24

It’s A Revolution – Podcast 24

Episode 24 of the RPM Online Podcast is out in the wild and features plenty of Rock n roll old and new borrowed and blue to tide you over. The show begins with a track off the brand new Steve Conte album that’s released this Saturday on Wicked Cool Records entitled ‘The Concrete Jangle’. A great uptempo track from Steve. Following that up with a track off the forthcoming UK Subs album ‘The Last Will And Testament’ that is coming with a DVD of the show as well as audio.

It doesn’t stop there with new tracks as we play a RSD track by Keith Richards taken from the Tribute to Lou Reid album entitled ‘Power Of The Heart’ we also play Joan Jett’s contribution to that album later in the show.

Does anyone remember the blonde bombshells that were Birminghams Birdland from back in the late 80s? We ramp up the volume with ‘Hollow Heart’ before playing the new single from Killer Kin with the new single due out next week on Wap shoo Wap Records.

Carol Hodge also has a brand new single out entitled ‘Manoeuvres’ which we play and it’s quite the departure I’m sure you’ll agree and see Carol edge towards a harder guitar-based sound. Shes out on tour in a few months so check out the dates.

Next up we preview a track of the soon-to-be-released NOFX EP ‘Half Album’ five tracks due out this coming weekend.

There is a band from Liverpool called Yobs who have a record coming out of Fuzz Club, its self titled and coming out on May 3rd so we play the lead single ‘Head The Ball’ for all you noisy punks out there.

Hotshot takes to the decks for a hattrick of tunes from his favourite artists as he plays a classic Georgia Satellites track ‘Sheila’ before delving into the Lone Justice catalogue for ‘East OF Eden’ before closing off the handsome threesome with a classic Social Distortion track ‘When The Angels Sing’.

The Nomads are a band we love at RPMOnline HQ and their last studio album ‘Solna’ has just had a makeover courtesy of Bang Records so what better time to play ‘Hangmans Walk’ from the highly-rated album. it’s due for release in October but the CD is available now. the deluxe edition is expanded.

We also play a new track from Tommy Ray’s forthcoming album and a short blast of pure power pop-punk rock is the order of the day and a fine track on the playlist this week. Excited to hear what he delivers when the album drops.

L7 and Dispatch From MAr-A – Lago is up next from the I Came Back To Bitch EP and Hotshot got all excited to play an L7 track. the penultimate song this week is Michael Monroe and a Japanese bonus track from the ‘Sensory Overdrive’ album it was one of the 4 tracks added to the record when Svart did a re-release a short while back. check it out. We finish off this week’s Podcast with a new track from a band outta Texas called Generation Exit and their track ‘Let’s Go’. Like- Subscribe – Follow it makes us happy and keeps Hotshot off the streets.

The Meteors – ’40 Days A Rotting’ (Mutant Rock Records)

The Meteors – ’40 Days A Rotting’ (Mutant Rock Records)

THE METEORS were formed way back in 1980 post punk explosion and pre UK 82 to be more precise. They’ve released about a million albums both studio, live and compilation albums since then and its quite an achievement that in 2024 they are still enthusiastic and motivated to keep writing and recording original music and to be fair making music as good if not better than they were doing back in the 80s. To be fair doing this Rock N Roll lark for that many years they should be half decent by now.

Preferring their songs to contain topics about vampires, graveyards and radioactive kids, P. Paul Fenech, still the bands leader and six-string slinger and songwriter has vocals that are distinctively gravel chewing, whisky and cigarette-induced rasp and perfect for this style of Rock n stomp.

With fourteen tracks being wedged onto this latest offering it’s uncompromising and sounds like The MEteors doing it their own way as you’d expect. The surf Rock guitar and minimal tub thumping drumming and subdued salamander stick slapping of that stand-up Bass. They might have paved the way and inspired a whole scene along with a couple of other stalwarts of the scene but they do carve their own path through the scene. ‘The Swampy ‘Blood Moon’ has some sweet guitar licks and very rhythmic drumming taking centre stage.

The title track has a wandering almost folk rhythm going on through its heart with a great arrangement and use of instruments, excellent stuff. Fourteen songs is a lot to get through but there is quite a bit of variety on the theme and whilst its not variety for the sake of it songs like ‘Murder Party’, dare I say it there is a more mature feel to these songs or it might be the more restrained production but you wouldn’t say that on the lyrics which constantly made me chuckle. If you’re looking for a high point then look no further than ‘The Rage’, and ‘The Devil Take Me Highway’ truly majestic slices of the genre, no question about it.

There are the obvious rockabilly, country, surf and rock’n’roll aesthetics. A sound woven by Paul Fenech’s rockin’ guitar and bile-spitting Beelzebub-rousing lyrics. ‘40 Days a Rotting’ proves once again that form is temporary and class is permanent and The Meteors are indeed class. Buy It!

Pre-Order here 

Author: Dom Daley

Aerial Salad – ‘R.O.I.’ (Venn Records)

Aerial Salad – ‘R.O.I.’ (Venn Records)

When Manchester trio Aerial Salad set the date of late March 2020 for the release of their awesome ‘Dirt Mall’ album who could ever have predicted that their fierce barrage of spikey adolescent punk pop was about to run headlong into a metaphorical career brick wall known as a global pandemic. That record really should have seen the Salad boys (Jamie Munro on vocals and guitar, Mike ‘Wimbo’ Wimbleton on vocals and bass and Jake Marshall on drums) leapfrogging all comers on the global scene but as with anyone with musician as their job description back then they were largely forgotten overnight.

How any band reacts to such outside forces is always going to make or break them, and in the case of Aerial Salad having to seemingly “start over again” (for want of a better phrase) only seems to have further galvanised them as a musical tour de force. With time on their hands to further refine and define their songwriting formula, the band’s follow up record ‘R.O.I.’ is indeed a mighty fine return on investment for all the blood, sweat and tears shed in the intervening years.

Released on April 12th 2024 via Venn Records (the label run by Lags from Gallows and home to the likes of Bob Vylan, Clobber and Meryl Streek) ‘R.O.I.’ sees the post punk influences of the band’s early ‘Roach’ era tunes crashing headlong into the Seattle guitar rawk of ‘Dirt Mall’ whilst adding a whole new twist to the Aerial Salad sound, something the lads have been quick to dub Madchester Punk.

A quick listen to recent single ‘Tied To Pieces Of Paper’ will give you near perfect sounbite of the band’s angsty take on life in 2024, as it’s sounds not unlike Mark E Smith fronting The Jam before they are joined by Nirvana for the tune’s chorus crescendo, and it’s all over in 2 minutes and 40 seconds.  BOSH! ‘ave it!

The anger has certainly been dialled up on ‘R.O.I.’ and straight from the off with opener ‘Rottin’ n Shakin’ you can almost taste the frustration in Jamie’s vocal delivery thanks to a fantastically tight production from Dean Glover (who has also worked with The Membranes) as tunes like ‘MDRN LVN’, ‘As The World Eats Itself’ and ‘They All Lied To Me’ perfectly illustrate what it must be like to be young growing up in this post-Brexit disunited kingdom we call home. 

With a mission statement to appeal to everyone and anyone, from rave heads to indie kids, poets to rockers, you just need to give the album’s first single ‘Big Business’ a listen to fully understand how they are going to achieve this, and this tune is not alone in its genre-blending potential as tracks like ‘Do You Like Flowers Son’, ‘Same 24 Hours (As Beyoncé)’ and the almost psych pop of ‘Capo 2’ will have you stomping around your bedroom like a good ‘un.

There are times during ‘R.O.I.’ where I have to check that this is really is still the same band I once saw upstairs in a tiny Bristol boozer long before global pandemics were ever a reality, as this is a record that truly transcends the pub circuit, and the likes of Yard Act, IDLES and Frank Carter & The Rattlesnakes best be looking over their shoulders because if Aerial Salad do take their ‘Chances’ (groans)  there’s nothing to say they won’t be stealing those band’s fanbases during the summer as the trio look to promote their finest record to date via a series of explosive live shows.

You can get your copy of ‘R.O.I.’ HERE!

Author:Johnny Hayward