The Libertines – ‘All Quiet On The Eastern Esplanade’ (EMI)

The Libertines – ‘All Quiet On The Eastern Esplanade’ (EMI)

The Fourth Libertines album has been on some journey. After being put back for one reason or another the release is finally upon us. All the anticipation and build-up has been an age but that wait is over and ‘All Is Quiet On The Eastern Esplanade’ is with us, and if it could be summed up in one sentence (Which it can’t) it is fair to say its the most Libertines album you could wish for in 2024 – predictable yet unpredictable it weaves a rich tapestry as the band deliver what might well turn out to be a career highlight.

After a short run of tiny club dates to wet the appetite of the salivating masses the album kicks off in true swaggering ragged glory with the albums lead single ‘Run Run Run’ but that is only the start of it. Buckle up kids this is one hell of an album and as the band open up the ragged ‘Mustang’ as they go through the gears they enter cruise control for the Carl-led song that is masterfully captured on wax, this truly sounds like the band has managed to bottle that spirit and jour de vivre and give it a sound as they weave their merry melodies.

‘Have A Friend’ is Docherty rattling off the vocals, but it’s the energy they’ve captured here from the tight rhythm to the heartfelt lyrics that fall from his mouth – it’s pure audio joy before the relaxed and trippy ‘Merry Old England’ enters the ether. With a slightly dreamy tempo and piano leading the way it’s like a mature (should I call it that?) trip with the solid beat as Pete tackles how people coming to this island might view this land and a song of hope that the real beating heart of a country is still welcoming and hospitable and a place where people can come and make it their own adding to its rich tapestry wherever they come from and its all wrapped up in a very busy arrangement from the backing vocals to the lush string in its undertow. great song.

‘Man With A Melody’ is the record’s first ballad-like track. With its pace slowed right down and the vocals intertwined perfectly as the song unfolds having all voices heard on the twisting vision of a busker (Carls Words) but possibly the most un Libertines track on offer here showing you can indeed teach an old dog new tricks.

Back on brand ‘Oh Shit’ is a blast, shaking off any cobwebs and sure to be a live favourite. On offer with this new album is essentially eleven songs that weave their merry way via uptempo rockers and the slower more thoughtful songs as well as the more jazzy ragged numbers such as the gentle ‘Barons Claw’ as its loose barroom number complete with jazzy trumpet and piano tinkling and hushed late-night vocals.

The second side of the record is certainly a more varied ensemble of tunes than the opening side as the Libertines spread their wings. ‘Shiver’ sounds like Pete opening another chapter of his soul then ‘Be Young’ picks up the pace as Carl spits out the lyrics the energy of the verses then a handbreak turn on the chorus before the bridge of a reggaefied verse before tearing up the solo. An excellent song which only leaves the final thoughtful ‘Songs They Never Play On The Radio’ as the band gently signs off a rather splendid album that twists and turns and draws out the best this band can offer which is so identifiable and original without being original and delivering an album that will be tough to ignore. Exactly the album you want from these four reliable, adventurous, unpredictable but thoroughly excellent – A massive big up The Libertines and ‘Alls Quiet’ their perfect album for this moment in time. A band that it would seem to have found peace with who they are and how and where they fit in, and a sort of maturity (Libertines and maturity? Never) to change it up yet still be those lads full of piss and vinegar who know how to deliver their craft better than pretty much everyone else out of their genre. ‘All Quiet On The Easter Esplanade’ will prove to be a bit of a masterpiece, mark my words – Buy It!


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Author: Dom Daley

MILLIE MANDERS AND THE SHUTUP Announce double AA Side single and Tour

MILLIE MANDERS AND THE SHUTUP Announce double AA Side single and Tour

ANGRY SIDE // CAN I GET OFF?

DOUBLE AA SIDE 7” SINGLE – 5 APRIL 2024

ANGRY SIDE UK TOUR – APRIL & MAY 2024

Fresh from their recent Slam Dunk Winter Jam tour in January with Zebrahead, Teenage Bottle Rocket and [Spunge] cross-genre punk band MILLIE MANDERS AND THE SHUTUP have announced a double AA side 7” single to coincide with their previously announced UK tour throughout the spring.

ANGRY SIDE and CAN I GET OFF? will be released on 5 April alongside a range of new T-Shirts to help raise funds for Mercy Without Limits: https://mwlimits.org

Talking about the single, Millie Manders says:

“Angry Side is, I guess, a letter from my teenage self, apologising for being so angry and wanting to burn down the world. I had a lot going on back then and I hid behind bravado a lot. I suppose it’s also me telling my younger self that it’s OK to have been that angry when I went through a bunch of trauma that I couldn’t process well enough to deal with it all. I was a kid.”

“The western world is privileged because it has pillaged resources from everyone else in the world. We need to unlearn what we know and recognise the suffering people are going through as a result of our greed. Can I Get Off? is an outpouring of my frustrations about that and, ultimately, the reason we are fundraising for Mercy Without Limits.”

7” single and T-Shirt bundles pre-order: https://milliemanders.bigcartel.com/category/double-a-side

Riskee & The Ridicule/Split Dogs/ The Shunkos – The Cab, Newport 29.03.24

Riskee & The Ridicule/Split Dogs/ The Shunkos – The Cab, Newport 29.03.24

A sold-out Cab in Newport on a Good Friday Bank Holiday seemed like the only place to be as the South Wales punk rock community welcomed Port Talbot neerdowells to the stage for their Newport baptism on this most holy of days as they proceeded to entertain the gathered congregation to the ways of the steel towns finest exponents of what has been best described as pub punk. For the next thirty-plus minutes the band stormed through their repertoire of zero fucks punks rock at an impressive speed. The mostly uninitiated seemed to very much appreciate the music being doled out by these young guns who’ve just recorded their debut album of working-class punk anthems. Ending the set with their party anthem ‘Beer & Gear’ most definitely made everything alright. The Shunkos don’t take themselves too seriously but their music is honest and they do it very well indeed and are a ray of sunshine on any bill. Sadly several of the bands pulled out of the originally advertised show meaning next up were South West punks Split Dogs.

Split Dogs made the short hop across the border to perform their uncompromising street punk and they wasted no time in delivering their blunt yet really enjoyable set kicking off with the stylish ‘Why Does It Hurt’. Split Dogs are the go-to band along this stretch of the M4 and it’s easy to see why. They get on with the job and play uncompromising punk rock – it’s no-nonsense but they do it with a cheeky smile whilst chomping at the bit and snarling like a rabid dog. Songs like ‘Prison Bitch and ‘Lafayette’ land solidly on your jaw and in Harry they have the frontwoman to captivate as she covers every inch of the stage like a fireball, leading the band through their brutal set. Is it hot in here or am I having some sort of episode? Such is the intensity of Split Dogs performance tonight the place is a sweaty den of noise. The band finishing off with an intimidating ‘Tears of a Clown’ which seemed on point and there was no way they could top that – Job done. Another day another really enjoyable set from the impressive Split Dogs.

Headlines Riskee & The Ridicule take no time at all hitting the tight stage of The Cab and get on with the job of following two worthy support bands as they rise to the challenge and pump out the title track of their latest album of Grime meets Street punk ‘Platinum Statue’ and with a half decent sound things get messy as frontman Scott oozes passion and a love for his job of leading the band through what amounts to four albums worth of honest impressive punk rock. Scott engages with the appreciative audience as the pit gets off right from the opening title track of that fourth album. I reviewed Body Bag many moons ago it would seem and have caught sets from the band when they went out with The Bar Stool Preachers as well as sets at Rebellion Festival. After warming up (not that the venue needed warming up) the band hit their stride when they blitzed out ‘Molotov Cocktail’ the excellent ‘Kaboom’ and a splendid rendition of Lana Del Rays ‘Young And Beautiful’ before closing with a fantastic ‘Our Time’.

No bullshit, No encore, No fucking about it was turn up get on with business, do it to the best of your ability and get the fuck out of dodge and tonight Riskee And The Ridicule certainly delivered another excellent set. Top night of punk rock from three quite different bands all doing their music proud and all with new records either just out or on the way, Proving punk rock is alive and well and in safe hands. Also cool venues like The Cab being the perfect venue for nights like this. I love nights like this and I love punk rock – long live the underground! The only complaint would be no ‘Blue Jacket’ not being in the set but hey ho you can’t have everything. Next time yeah?

Author: Dom Daley

Laura Jane Grace – ‘Hole In My Head’ (Big Scary Monster)

Laura Jane Grace – ‘Hole In My Head’ (Big Scary Monster)

Laura Jane Grace is back with her fourth solo album ‘Hole In My Head’, which has taken a while to land at RPM HQ even if it has been out in the wild for a few weeks. After absorbing the content it’s fair to say its top notch Grace with all the vim and vigour of previous outings and fury of Against Me rolled into one but with a softer sound, it reminds me more of the acoustic ‘White crosses’ release.

‘Hole In My Head’ has all the expected ingredients and some of it is pent-up anger mixed with equal amounts of anxiety and a fair sprinkling of fear to keep the listener on their toes. Having long been outspoken and confrontational Laura Jane Grace is a major player on the alt-rock scene and rightly so.

It was way back in 2012 when LJG went public with her gender transition in the pages of Rolling Stone. The journey has stayed true to the angst and political outspokeness continues alongside the gender journey and all that goes on with it politics and the in your face lyrics rightly continuing.

Less Rock and more Americana acoustic guitar driven with Folk and poetry pushing more to the fore on this outing makes for a really epic and highly enjoyable record. but worry not because the more easy and gentler sound dovetails well with the more anarchic and roudy attack takes the songs in a different direction by using a different approach but it all makes for a thoroughly enjoyable journey for the listener.

As far as alt rock goes this is pretty much as good as it gets and all the solo work has enabled Grace to reach this point. the title track is a roudy affair with muted distortion overdriven guitars thrashing away for the vibrant and attention grabbing opener. ‘I’m Not A Cop’ is a little T-rexified but the Dylanesque ‘Dysphoria Hoodie’ is simple and powerful.

The stripped back nature of ‘Birds Talk Too’ really works well and whilst it sounds so simple that’s because Laura makes it sound that way. ‘Punk Rock In /basements’ is like an American punk rock ‘brim full of asha’. This is where the album veers off into a more laid back stripped bare acoustic offering which really works culminating in the final cut of ‘Give Up The Ghost’ where a thoughtful Grace delivers a moving and through provoking final swansong on what is a sparkling album that has the lot. Rebel songs for people who want some weight in their music and for it to mean something whilst entertaining them from start to finish with variety and plenty of charm. Buy It!

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Author: Dom Daley

Tommy Hale – ‘Hideaway’

Tommy Hale – ‘Hideaway’

Eight years on from his critically acclaimed Magnificent Bastard album, Dallas roots-rocker Tommy Hale returns with new single, video and album.

The driving ‘Hideaway’ is the opening cut on Tommy’s forthcoming album All At Sea, out through Holiday Disaster Records on 12 April.

Once again, the album was recorded in England, at Wiltshire’s Mooncalf Studio with sometime members of London roots-rock band The Snakes (Simon George Moor, Johnny O’Sullivan and Dan Tilbury) along with guitarist Nick Beere, and was produced by Moor.

The band started the recording in November 2019 and were set to begin on a Monday morning. Tommy received a call on the Sunday evening informing him that his father had had a heart attack and was not expected to live. The recording sessions were abandoned. The following spring the pandemic began. Consequently, the album carries an unavoidable sense of loss, escape and finding solace in the quiet moments that came about because of the unprecedented circumstances.  

It would be easy to lazily bracket Hale’s oeuvre as ‘Americana’, but there’s quite a bit more going on here, with forays into power-pop, alt-rock and classic left-of-centre songwriting in the manner of, say, Randy Newman, Warren Zevon and Kevin Ayres, although Tommy would never be so bigheaded as to compare himself to any of those masters. What is certain, though, is that the clash of Texan and English cultures give them album an unique and vital energy.

“I went into making this album wanting to interpret other people’s songs alongside mine,” explains Tommy. “I’ve always enjoyed hearing a great Willie Nelson song that sounds like it came straight from his soul, only to find out another songwriter wrote it. The record contains two songs from friends of mine that I wanted to see if I could interpret – ‘Esperanza’ by Tex Smith and ‘Radio Towers’ by Greg Vanderpool. These songs always stood out to me as something I wanted to dive into. I also stepped back a bit on writing lyrics and Johnny O’Sullivan stepped forward. I think it added some depth and a different perspective that I couldn’t achieve on my own. I had grown a bit tired of my own thoughts.”

Tommy and his band will play three UK shows around the time of the album’s release:

11 Apr – The Beehive, Swindon

12 Apr – The Giffard Arms, Wolverhampton

13 Apr – Aces & Eights, Tufnell Park, London

Then Comes Silence – ‘Trickery’ (Metropolis Records)

Then Comes Silence – ‘Trickery’ (Metropolis Records)

As all of you gothic rockers out there know, it’s currently a very healthy, varied genre. Indeed, labelling music does it few favours; you either dig a band or you don’t. You can’t force it. But if we must define a genre, Then Comes Silence are, no offence, way ahead of their contemporaries. Perhaps in part because Alex Svenson has been writing and performing for a long time, honing the sound and range of the band. 

This, their seventh album, is the first on the Metropolis label, who were no doubt impressed by the ‘Hunger’ album released in 2022. From the opening notes of ‘Ride Or Die’, their sound is instantly recognisable, whilst across the album the keyboards are more prominent than before, which keeps it interesting and gives the band more scope. Alex refers to their bond, their dedication to each other; “you read my mind, I’m right behind, together we die”.

‘Like A Hammer’ is even more infectious, it’s on regular rotation chez moi. Apparently, each of their albums has “an ABBA moment, a Ramones moment and a  Judas Priest moment”, and this is their ABBA one. They certainly have a knack with addictive chord sequences, so there is that similarity. The metronomic drumming of Jonas really drives the song along.

‘Feel The Cold’ wraps layers of sound around your ears, pumping synths and simple, effective melodies. Since Mattias left, Hugo handles all the guitar parts, and as they’ve shown on their recent tours, this works really well live in conjunction with the backing tracks. ‘Tears And Cries’ is a dark, glam duet with shades of the Glitter Band. ‘Stay Strange’ melds a punchy riff to an unexpected middle-eight, and ‘Stiffs’, with its refrain of “if I can’t have your soul, I can take your bones” should alert the local mortician, with an end like a haunted merry-go-round.

‘Blind Eye’ is the kind of tune that longtime fan Wayne Hussey would be proud of; sinister and catchy. As he said, they’ve got the tunes and the looks. And, of course, Alex’s voice. But the ace up their sleeve (sorry) is that they are greater than the sum of their influences. They have created their own personality. ‘The Masquerade’ proves this by sounding only like Then Comes Silence.

‘Never Change’ has a chiming, spacious riff, similar to Killing Joke, while ‘Dead Friend’ gets a little heavier on the guitars. ‘Runners’ is one of their most atmospheric songs to date, a sign of their desire for progression without losing their identity. With ‘Ghost House’, the album ends on one of their most commercially accessible songs, worthy of radio play, in an ideal world. I’d already preordered, knowing that Then Comes Silence always deliver quality tunes. With every new release, more people are recognising that this band are special. Join us. W.O.O.O.U, as they would say.

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Author: Martin Chamarette

2024 VIVE LE ROCK AWARDS ADD POST PUNK LEGENDS THEATRE OF HATE TO LINE-UP

<strong>2024 VIVE LE ROCK AWARDS ADD POST PUNK LEGENDS THEATRE OF HATE TO LINE-UP</strong>

SHAM 69, RUTS DC, JIM JONES AND TOYAH JOIN A HOST OF PUNK ROCK N’ROLL ICONS AT THE 2024 VIVE LE ROCK AWARDS AT THE O2 ISLINGTON ACADEMY, APRIL 12TH


AWARDS TO BE HOSTED BY VICE SQUAD’S BEKI BONDAGE

TICKETS AVAILABLE HERE:

FIND VIVE LE ROCK ONLINE HERE:

After last year’s sensational Vive Le Rock Awards at London’s O2 Shepherd’s Bush Empire, which we said would be our last, well…it would be rude not to come back and do it all again!

Vive Le Rock magazine is extremely proud to announce that UK post punk legends Theatre Of Hate will celebrate their founder Kirk Brandon’s VLR award with a special 30-minute awards set at O2 Islington Academy on April 12th. Brandon and Theatre Of Hate are known for hits including ‘Do You Believe In The Westworld’ and ‘The Hop’ and recently completed a mammoth 32 date U.S tour. Theatre Of Hate tour the UK in April.

And in other post punk news, there will be a special tribute to the great Killing Joke guitarist Geordie Walker at the VLR’s, with contributions from Jaz Coleman and the Vive Le Rockers playing a special song for the greatly missed punk legend.

They join the already announced special 30-minute award sets from Hersham Boys Sham 69, and Ruts DC, who will feature very special guests in their one-off appearance, alongside special guest performances from the iconic TOYAH, rock n’ roll king JIM JONES and the one and only Saffron from REPUBLICA, plus Lily from fast rising punks THE MEFFS!

And that’s not forgetting the mighty VIVE LE ROCKERS all-star band, led by the inimitable Paul-Ronney Angel! 

A five hour show with a full programme of awards, winners and celebrity presenters, there’s only one place to be in April and that’s the 2024 VLRs! 

“It’s no exaggeration to say that last year’s Vive Le Rock Awards was many peoples show of 2023,” says Vive Le Rock editor Eugene Butcher. “And this year we have more unique collaborations, one off performances and special guests for a wild night for friends old and new to join together and celebrate these legends of rock n’ roll!”

Tickets and special VIP packages including aftershow party, VLR Two Tone Annual and special Awards T-shirt are available HERE:

Find Vive Le Rock online at vivelerock.net.

Ticket link is here: Tickets: Vive Le Rock Awards, London | Fri, 12 Apr 2024, 18:00 | Ticketmaster UK