In 1979, two school kids all hopped-up on punk-rock started their own group in their hometown of Hawthorne, Los Angeles (birthplace of the Beach Boys) and soon found themselves opening shows for notorious scene pioneers Black Flag. Jeff McDonald was fifteen, and his brother Steven McDonald was only eleven still an amazing story to this day maybe even more so today imagine an Eleven year old pulling his face off his phone to learn an instrument and go play a punk roc show.

Redd Kross’s forty-fifth birthday― an important anniversary for any group whose heart pulses at 45RPM―and the brothers celebrate the event with a veritable multimedia extravaganza. There’s a memoir, Now You’re One Of Us, due in November, with author Dan Epstein telling the group’s story in the McDonalds’ unmistakable (and occasionally contrary) voices. A brilliant rockumentary, ‘Born Innocent’, directed by Andrew Reich, will premiere later in the year. Most exciting of all, this new album―an eponymous double-album, no less, is packed with eighteen of their sharpest, most addictive songs thus far. The album is of course smattered with their now trade mark dayglo widescreen power chords, huge choruses with more layers than puff pastry rolls and tunes that will take up residency in your skull for weeks. Redd Kross are in the house ladies and gentlemen and thank fuck for that.

The record – oh didn’t I mention it’s a double LP? well, it is. Begins with one of the songs that was leaked out a few weeks ago with its gentle acoustic intro and those layered vocals I alluded to earlier then – Bang! we’re in the fuzzed-up Bass is leading the charge.

I don’t want a long drawn-out review I’ll just give a brief airbrushed overview and let you rush out and get your own copy. Hell, click the link and get the record it even comes with a download so you can get an instant hit.

‘Stunt Queen’ goes a little more aggressively which is nice before we head back into the gentler more melodic ‘The Main Attraction’. The album is a smidgeon under the hour mark which is nice and the ebb and flow is obvious from the off as ‘Cancion Enojada’ is louder whereas ‘Good Times Properganda Band’ is again more gentle with its psychedelic intro with the bass holding down the groove baby whilst the melody is classic Kross.

The album sounds like a slice of unabashed joy, really upbeat and packed with excitement. The middle of the record gets to the heart of the matter with ‘Terrible Band’ and ‘Stuff’ having its jangly moments and thick with melodies before ‘Too Good To Be True’ races off with my mind hitting on that dirty throbbing bassline before the guitar licks are choked out of the speakers, fantastic stuff.

There seems to be plenty of Ringo’s drum licks recycled here to great effect. ‘The Witches Stand’ is that a power ballad I hear? one of those late-night songs telling stories and catching everyone’s attention. Two albums worth of material wrapped into the one release is more than Redd Kross fans could have wished for and not for a second does it disappoint. There’s even time for a foot on the monitor rocker in the shape of ‘Lay Down And Die’ which is nice. All things considered, it’s a magical album with twists and turns and the vital Redd Kross non-negotiables included, we even have the sitar fused alt-rock of ‘Emanuelle Insane’ before the record is closed off with the fantastic first single off the record ‘Born Innocent’ now when is the film out again? and when can we get those UK tour dates put out again and the sooner the better please gents. Another must-own record courtesy of Redd Kross.

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Author: Dom Daley



Following the release of their second album ‘Use The Daylight’ in early 2023 and a raft of gigs with the likes of Girls Against Boys, Soulside, Moving Targets, Messthetics, Diaz Brothers, Danger!Man, Ruts DC amongst many others, London post-punk band Dealing With Damage are set to return afresh in 2024 with new music. Having spent the last few months working up new songs, and a new bass player in Owen Cox, Dealing With Damage are ready to release the first finished track from these sessions in new single ‘Head Full Of Feedback.

Recorded once again at Perry Vale Studios with the legend that is Pat Collier, then mixed at The Mix Dungeon by long-term collaborator Roop Coulson and mastered by Paul Yeadon, ‘Head Full of Feedback’ is dripping in melody, noise and propulsive drums and bass, clattering and swirling as it oozes out of your speakers directly into your head.

“It’s a somewhat elaborate thank you note to my daughter for chipping away over the past 5 years at my previous refusal to listen to Sonic Youth,” explains vocalist and guitarist Ed Wenn. “I had seen them a couple of times in the 80s and didn’t like what I saw or heard, so consigned them to the ‘Do Not Resuscitate’ pile. A couple of years ago I investigated the music that I heard coming out of her room and discovered that these off-kilter, twisted, intelligent, sometimes downright beautiful pop nuggets were from none other than Sonic Youth.

“As for the song itself, it was nice to write a story song about something light-hearted for a change. A lot of DWD lyrics walk along the serious side of the street, so it was great fun to write about art, music and memories of the 1980s when life was full possibilities and we had more than 3 weeks left to save the planet. We made full use of our new bass player, Owen’s playing style to come up with a solid bass/drums platform and built everything up from there. It’s an evolution of the DWD sound and I think reflects a growing confidence in our ability to spread our wings after the positive feedback (pun intended!) that the experimentation of the second album, “Use The Daylight” received in the press and from audiences.”

Following the new single release, Dealing With Damage will head out on a UK tour with friends Midway Still that starts July 9th in Sheffield. The band are working on new material for further releases throughout the year. Watch this space.

Catch Dealing With Damage on tour with Midway Still in July at the following dates:

July 9     Sheffield, Record Junkee

July 10   Birmingham, Sunflower Lounge

July 11   Portsmouth, The Edge Of The Wedge

July 12   London, The Hope & Anchor

July 13   Brighton, Prince Albert

July 14   Southampton, The Hobbit (*headline gig)

Tickets onsale at


Getting a rather swanky reissue on CD (sorry folks) ‘A Way Of Life’ is packed to the gills with thirteen Bonus tracks that’s two more tracks than were on the original album. they’ve pulled in songs off the ultra rare cassette single ‘Violence In Our Minds’ and tracks like ‘Johnny Barden’, ‘Working Class Kids’ and King OF The Jungle’ to properly flesh out this must-have slice of OI.

Restored with the iconic cover and all the lyrics in the booklet Roi has had a mighty fine tribute paid to the origins of the band who are still going to this day and in fact have a brand new album set for release soon. I’m presuming the new album will feature Rancids Lars Frederiksen who has played with the band for a while now. but going back to the album in hand these Skinhead Anthems haven’t been touched or messed about with a shiny new production (maybe it should have) but is restored to its glory and with it now being a twenty-four track all killer no filler package it’s a no brainer for the CD collectors out there or people looking to complete a collection.

To be fair when they released Skinhead Anthems Three I was mightily impressed with the songs and the sound mainly terminating from Beefys guitar on that record. Skinhead Anthems four was an altogether heavier beast but the beating heart of Oi and I hope the new album is along those lines but early Oi was a different beast and songs like ‘Skinheads In Stapress’ and ‘King OF The Jungle’ are classics. They were up there on the coattails of Sham and Sparrer and its great that this album gets a definitive release after all the other represses this one surely tops them all. Oi Oi lets be avin you.

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This Week I’m joined in the Pumphouse by Chris ‘Not Too Posh To Mosh’ Davies as Hotshot is on annual leave and we bring you some of the best releases around as well as a host of old classics from the RPM Online vault.

We begin with a record we reviewed on its 10th Anniversary as LA Drugz take us to the ‘Outside Place’ before we drop one of the new songs of the brand new album from Dion Lunadon that we reviewed last week as ‘Memory Burn’ is out soon on Beast Records and will be well worth the wait for fuzzed up garage rockers everywhere.

Blackwater popped into my head recently as one of those bands who promised so much but kinda faded off the radar and then the next thing you know they’ve called it a day so we bring you their finest track in ‘Moon On A Stick’. The Mighty Chuck Norris Experiment have a brand new album out and it features a cover of Zodiac Mindwarps ‘Prime Mover’ which we feature for your listening pleasure. Check out the review and head over to their Bandcamp page or the excellent Ghost Highway Records who have a veritable feast of records you need to own as do the American partners in this release over at Savage Magic Records. .

With a double damage headline tour set for next week Suede and the Manics are up next with a track each one being their most recent single and the Manics featured with their debut ‘Suicide Alley’ taking us down memory lane with a choice cut. We head further down the wormhole with a track from the mighty Tin Machine and their song ‘Under The God’.

One artist we miss at RPM Online is the constant presence of Jesse Malin and his UK tours but since he had his illness and his spinal Stroke diagnosis he’s obviously been putting his health first and rightly so. RPM Online sends Jesse all the PMA we can muster and are delighted to feature a track off his new Wicked Cool Records Album and its a stunning rip through ‘State Of The Art’, Hit up the link in his name and check out the review and get involved we need Jesse fighting fit and back doing what he was born to do. Maybe next week we’ll feature his version of the Bad Brains classic ‘I And I Survive’ featuring his good pal HR and its a stunning version.

We head down under for some C.O.F.F.I.N. and a cut off their amazing new album and this time its the epic ‘Fast Love’. A stunning song from a stunning album that’s still as fresh as the day it was released. Ruts DC have recorded volume three of their Elecra Acoustic albums and this one is equally as strong as the first two and this one also has a new track but we’ve chosen the awesome ‘Dope For Guns’ like you’ve never heard it before. We were super excited to get news that one of our favourite Noo Yawk bands has a new single recorded and we were lucky enough to be able to bring you the lead track ‘Fast Dreams’ a song that will be a real rush for fans of the band as they deliver their punked up power pop and do it like only Wyldlife can. Welcome back guys we’ve missed you and we look forward to the new album. No Pressure.

This summer has already seen some awesome touring festivals and Spain were treated to a set from Canada’s finest The Black Halos so it would be rude for us not to feature them with a track from their Bandcamp release of Demos and F.F.T.S. is a banger so it fitted right in with this week’s awesome line up. Wish we could have been at that festival with those guys Demolition 23 and Scott ‘Deluxe’ Drake Man, it would have been a blast.

South Wales’s finest and one of The RPM Online Its A Revolution team has only gone and recorded a brand new bunch of songs to make up their debut record. The Shunkos made us hungry with the first song off the album ‘Chippy Tea’ in all its battered glory. Keeping it in the UK it’s time to squeeze in Yobs and their dirty sleazy garage banger ‘Shitty Eye’ you could do a lot worse than check out these masked marauders and their fuzzed-up fucked up garage punk.

The Penultimate track is courtesy of the Japanese CD from Endorphiends featuring Damian Cullen and a couple of Kill City Dragons. Who knows why this album popped into my head but I’m glad it did and ‘Supersonic’ still sounds fantastic. Leaving just one track left to play and this week Chris lets of some steam with a short sharp blast of Noo Yawk Hardocre in the shape of the mighty Bloodclot with the pure Fire ‘Fire’. Until Next week keep it RPM Online – Turn it up and Horns Up! Follow (and don’t miss an episode)-Subscribe (keep updated)-Share(it would be selfish not to get these awesome songs and bands into as many ears as humanly possible. Its a jungle out there but it needs a soundtrack and we can provide it.

Is it really volume three of the Ruts going Acoustic? How time flies when you’re enjoying as the saying goes and to be fair the first two volumes were bloody excellent. Punks might no like it but it seems to be in vogue and when you have the songs and the talent then why the hell not. The Ruts and Ruts DC certainly had the tunes and the talent and giving these volumes a through listen it makes perfect sense to reimagine so many great songs.

Hearing bands like Ruts DC strip it back to the very bare bones and the essence of where the songs come from makes sense and gives another flavour or way of interpreting what the songs are all about it also gives further appreciation for the originally released format of the music. Johnny Cash, Woodie Guthrie, and Johnny Thunders they all used acoustics when they felt like it so why not?

What you do have with Ruts DC is the power and the attack still captured in the DNA of the songs as well as that deep Bass groove. there’s no bullshit just bare live rock n roll stripped of any pretentions or studio fuckery. From the off ‘Vox Teardrop’ through the superb ‘Dope For Guns’ you get the clarity of a band who clearly love what they create and are precision performers who leave nothing to luck. Alongside old classics and more recent numbers, you have a brand new song in the shape of ‘Bound InBlood’ with its haunting melody and vocal delivery its sheer class and alongside the diversity of ‘Jah War’ and the punk rock of ‘Human Punk’ what you have is a solid slab of loud acoustic rock n roll. It might not be for every taste bu those who have it will get on board and love this volume and as the band says play it loud because that is how it was intended and recorded melody, ideals, rhythm and bloody great songs is all the information you need now stop procrastinating and go get a copy. remember these guitars kill fascists and the Ruts DC knows how to use them.

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Author: Dom Daley

Ruts DC head out on tour –

ELECTRacoustic Tour 2024
Tue 9th July WALTHAMSTOW Trades Hall

Wed 10th July BRIGHTON The Albert
Thur 11th July BEDFORD Esquires
Fri 12th July HUDDERSFIELD The Parish

Sat 13th July NUNEATON Queens Hall
Sun 14th July DERBY Hound Dog
Tue 16th July WORCESTER Marrs Bar
Wed 17th July BRISTOL Fleece
Thur 18th July YORK Crescent
Fri 19th July DUNFERMLINE PJ Molloys 
Sat 20th July STOCKTON Georgian Theatre 
Sun 21st July  CARLISLE Old Fire Station
Fri 26th July WORCESTER Marrs Bar  
Sat 27th July DARWEN Library Theatre

Man, I love Jesse Malin’s work from the first time I heard D Generation through his solo work and side projects I’ve chased the lot also having seen the guy live with bands in D Gen and on his own his output is magical and nothing short of genius so when I heard he was cancelling his UK tour and had fallen ill to some debilitating illness that turned out to be a spinal stroke. I was worried for the guy and wished him a full and speedy recovery (and still do) I know the process is long and hard for Jesse but if anyone has got this then it’s him I still send him all the PMA in the world and hope he reschedules that tour of the UK so can welcome him back to the fold personally.

Tommy Stinson, Cat Popper, and Gogol Bordello’s Eugene Hütz, who sings with Malin on the Pogues’ “If I Should Fall From Grace with God.” The concert was filmed over two shows in January 2022 at the Sheen Center in New York City, a year before Malin suffered a spinal stroke that affected his ability to walk. He’s currently undergoing physical therapy and stem-cell treatments at a Buenos Aires, Argentina clinic. “I am getting some strength back in my legs, but it moves much slower than I would like. I don’t want to portray it like I’m ready to do the James Brown splits onstage,” he told RS in December. “I definitely have a long way to go, but I’m blessed and so grateful for the amazing fans and friends that I have.”

The record comes in a lovely gatefold and my copy also contains the Blue Ray of the show which is a nice bonus and it also comes with a really nice twelve-page picture booklet. the album spans Malin’s career thus far and the post-Covid electric band he was touring with that I was lucky enough to see when he hit the UK.

The album starts with a cool rendition of ‘State Of The Art’ its raw Baby and the songs benefit from that raw emotion and the production has really managed to capture that feeling perfectly, the Guitars are jumping out of the speakers with the mix coming across like you’re in the middle of the room as the show is unfolding. Awesome stuff.

Even on the slower more stripped bare songs like ‘Amerika’ the power of the song is fantastic. This isn’t Malin’s first live album but it just might be his finest. There are special guests like the legend that is Tommy Stinson from The Replacements and the incredible duet with H.R. from Bad Brains for a run-through ‘I and I Survive’ which gives me goosebumps as I type with the song blasting over the stereo whilst the guitar gently weeps on the solo – stunning isn’t hyperbole or a superlative over the top, its just that good. The rip through ‘If I Should Fall From Grace With God’ is as much fun as anyone has ever had covering the mighty Pogues and I’m sure Shane would most definitely approve.

The album ends with a rustic piano-heavy ‘Meet Me At The End Of The World’ which gives the Stones a run for their money post ‘Exile’ those Noo Yawk horns are magnificent and sleazy when they hit the spot. This only leaves an emotional and sultry ‘Greener Pastures’ with its shimmering guitar work it’s a behemoth way to end the record with my personal favourite from the last studio album.

‘Chasing The Light’ has got me daydreaming of the day we get to stand in the same room again as Malin and his band and we get to hear these songs once again live in the flesh but until that day I’ll take the superb ‘Chasing The Light’ as the next best thing. PMA Jesse, you go this and until we meet again keep on rocking and getting back to your old self. Buy It

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Author: Dom Daley

Seemingly having been around forever it’s right here right now that The Chuck Norris Experiment have reached their full loudest potential after spending the best part of two decades honing their skills and perfecting their song it’s finally here.

’20’ is the loudest heaviest and fuckin best record these Scandinavian marauding punk n rollers can offer. No longer just players in a scene these ruggedly handsome noisemakers are leading the scene after the Turbonegro sized void that has been needing filling CNE are here to poke their flag in the ground and stake their claim and after the metallic intro of ‘Fight’ has died down you are left in no doubt about how fuckin good this record is. Gothenburg is the place to be at the moment with CNE and Upploppet leading the charge both with new albums to champion.

Apart from sounding loud as fuck on the recording the riffs are huge and the band have never sounded so focussed. I thought ‘Shortcuts’ was on point but this is next level. ‘You Go Boom’ is sharp to the point and has a bassline to give the earth tremors and the guitars are sharp as samurai blades. Ok so I’m not so keen on their take on ‘Prime Mover’ sure it’s a no-brainer to cover and it fits right in but I’d have preferred they do another original not that there’s anything wrong with it mind its banging but a bit of a surprise.

With eleven tracks on offer played loud, this is exhilarating stuff. ‘Surprise (everybody Dies)’ is a blast as it goes through the gears but then so does ‘Hard Time/Easy Living’ and not a single fuck is given, true enough Chuck my man. Hell, ‘Life In Hypercolour’ is thrashing it taking no prisoners it’s like bloodletting from those razor-sharp riffs to the crisp backing gang vocals they nail this death punk hard rock crossover and it should see them play bigger shows across the globe they’ve worked their collective backsides off for it and nail it. If you thought they were taking it easy duck! ‘Deadshot’ is heading outta the speakers at breakneck speed and taking no prisoners.

If you’re waiting for the comedown and acoustic ballad to reset your heart rate then forget it. this record only ups the ante and the final cuts ‘Out Of Your League’ and ‘Bats!’ are killer cuts. In fact this record gets better and better the deeper you get into the record. Sublime and I truly mean that The Chuck Norris Experiment have finally delivered the good from start to finish this is absolutely top-notch punk n roll. Turn it up and fill yer boots you won’t regret it CNE are in da fuckin house and taking no prisoners. Buy IT!

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Order at the official CNE webshop here>>

EU orders here>>

US orders here>>
Big Cartel here>>

Author: Dom Daley

Lunadon is getting down to work these past few years with many record releases and this one kicks off with the storming sonic blast that is ‘Goodtimes’ and it’s Goodtimes indeed as the song sprints with a thunderous bassline driving this bad boy to Hell and back. There is a sense of purpose with laser-like focus at play because the sleazy ‘New York’ enters the fray next with a timewarp-like audio quality its LES from back in the day with teased guitar licks and tub-thumping behind another warped fuzzed-up bassline that cracks the whip on a most enjoyable number. It’s like Audio crack folks and before you know it Lunadon is crying out for your attention on ‘Out In My World’ as the song thrashes round like a bad trip in some sleazy garage bar everything is whirling around with the needles in the red and hunting you down. The guitars wail and the rhythm section crashes on with purpose and menace – excellent stuff before crashing and burning into silence.

The only problem I have with this EP is just that, it’s only an EP! Man, I want more and more of this please Mr Lonadon this is essential Rock n Roll kids and you need this in your ears right now! ‘Get Back To You’ is punching – no it’s swinging big haymakers and I love it. ‘Hollywood Blues’ is prime-time Garage Rock in the time-honoured Stooges fashion and its slower more menacing rhythm and tempo is right on the money.

To take this one home the amps are revved up and like a speeding hot rod there’s the smell of burning rubber and oil everywhere as ‘Zenith Forever’ thrashes its way to oblivion. What a cracking EP. Maybe with more plays this will turn out to be the high point of a solo career for me and Lunadon reaches the mighty high of that D4 debut. simply majestic. Buy IT!

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Author: Dom Daley

Dion will be touring the Midwest USA and Europe this summer with many more dates to be announced for 2024. 

Tickets for those shows are available HERE.


6.26 || COLUMBUS OH @cafebourbonstreet 

6.27 || CLEVELAND OH @happydogcleveland 

6.28 || CINCINNATI OH @motrpub &

6.29 || LOUISVILLE KY @portal_louisville 

6.30 || ST. LOUIS MO  @sinkholestl 

7.02 || KANSAS CITY MO @minibarkc 

7.03 || MINNEAPOLIS MN @firstavenue

7.04 || MADISON WI @mickeys_madison 

7.05 || CHICAGO  IL 

7.06 || DETROIT MI @lagerhousedetroit 

7.07 || TORONTO ON @monarchtavern  


24.7 || LUGANO CH @luganobuskers


26.7 || LUZY FR @rockabylette

27.7 || BINIC FR @binicfolksbluesfestival

29.7 || SEIGNOSSE FR @blackflag_bar

30.7 || PARIS FR @supersonicclub

31.7 || SAINT GILLES CROIX-DE-VIE @rocksea_live

01.8 || CHARLEROI BE @rockerill

02.8 || HAARLEM NL @slachthuishaarlem

03.8 || LEIGE BE @microfestival

04.8 || TBD




Hailing from Spain and brand new to me, Erzsebet have unleashed their full-length debut full of symphonic black metal and immediately made me take notice of the band. These songs have some solid hooks incorporated into them, and I think the biggest surprise for me is there are not any overly long epics. The band have not wasted a moment across the 36 minutes on the album. I do not have much information on the band, other than what I have pulled off their Facebook page. They released an EP back in 2021 which will likely be my next purchase. Our subject matter here appears to be solely focused on Elizabeth Bathory whose number of victims has been reported to be 650.

I appreciate that the band has crafted a few shorter instrumental pieces that lead into some of the songs with ‘Redemption of Evil’ providing an orchestra fueled start to the album. The pace increases and leads into the blast beat and scream to start ‘The Chest with the Thousand Spikes.’ One of the main comparisons that comes to mind is Cradle of Filth without Dani’s high pitch screams and shrieks. With the singer taking on the role of Erzsebet, she delivers a wide variety of vocals across the album (and this opening song) with her growls providing clear annunciation to some clean vocals and various screams. This first full song sees the band create a song with an epic feel in just four minutes. ‘The Cage the Torch and Corpses’ roars to life with an urgency and vitality. The guitar leads are used perfectly here, and the mix allows everything to be heard. The keyboards provide a nice contrast and add to the ambiance. The tempo makes the song feel like a march down into the depths of someone’s hell.

‘Crystalline Sparkles on Bluish Skin’ begins with a moment that reminds me of a slower moment from CoF’s ‘Dusk and Her Embrace.’ The band then go on a journey where the tempo varies considerably but partly settles into a mid-tempo rhythm that is extremely catchy. This is combined with a chorus that also hooks its way into the brain and has become one of my early favorites from the album.  This song surges past the four-minute mark but remains under five minutes; I am curious to see if the band slowly begin to expand their songs in the future. The band return to an instrumental passage with ‘Spectral Cortege’ providing a soundtrack to our journey through a dark passage deep underneath the castle where victims are kept… at least that is what I think is happening. Cutting guitar riffs ring in ‘Daughters of Zemans.’ The band up the tempo here with a few little twists along the way. Some haunting sound effects introduce instrumental ‘Lunar Liturgy’ which starts with a slower methodical pace and continues to build with some excellent drum work. In my mind, this sequence has Bathory committing some of her unspeakable acts.

Whispering vocals introduce us to ‘Somewhere in Csejthe’ where the band ramp up the intensity but keep the tempo slower. This has been a song that has really benefitted from every listen of the album as it has a lot of layers packed into it. One of the early singles follows in ‘Wherefore’ which has a great vocal hook built into it. Erzsebet receives her sentence of forever being in her castle at the beginning of the song. Musically, the band builds into some great crescendos throughout the song as well. It was a great choice for an introduction to potential listeners and speaks to the strength of the album that both singles appear near the very end of it. Fellow single ‘Domina Vestra’ comes next where the guitar hook is what got under my skin first. The mix of vocals in the song add extra layers of depth to the drama taking place in the story. ‘Sirfelirat’ provides our closing outro with the howling wind giving way to some spoken vocals that are placed deeper in the mix. The drums give the feeling of someone pounding on a heavy wooden door as their energy leaves them.

I am writing this review after only a handful of listens because it immediately captured me and will be garnering a lot of listens going forward. I am excited to watch the band continue to grow in the years to come, as they have released an excellent debut that immediately raises expectations moving forward. If you are looking for some symphonic black metal or love Cradle of Filth, I think this album will be one you want to give a listen. Now, I will dive back into the album!

‘Six Hundred and Fifty’ is available now. Buy Here


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Author: Gerald Stansbury          

WolfWolf, the dynamic Swiss duo renowned for their unbridled energy and unique blend of garage punk and blues trash, has just released their highly anticipated fourth album, ‘Totentanz’ (Dance of Death), showcasing their evolution as musicians and storytellers. They’ve been at this for over a decade, WolfWolf

Comprising Mr. Wolf and Mr. Wolf, the duo’s latest offering delves deep into themes of mortality, weaving tales of life and death with their signature comic flair. From the melancholic to the macabre, each track on the album offers a glimpse into the vibrant yet eerie world of WolfWolf that is if you dare to delve deep into their unsettling world. The opening track ‘Heidi Is Alive’ is an unsettling stomper – with garage rock at the forefront and a pounding riff and echo-laden vocals. With a fusion of new wave drum sounds, industrial elements, and the haunting melodies of the Mellotron, these guys are here to entertain and fuck with you both at the same time.

WolfWolf’s then twists things with a spooky lick and solid drum beat as they walk you down a haunting synth run offering a unique glimpse into the duo’s twisted universe before breaking out on the chorus. Not a million miles from the twisted works of Eels WolfWolf mix old school with the new and aren’t afraid to put the two together to see what happens. There’s the twisted blues with ‘Holy Water’ then in contrast you have the fuzz of ‘Lost’ that sounds…lost. ‘My Imaginary Friend’ sounds like a fucked up old school Alice Cooper melody with a raw sandpaper garage groove with synths swirling these so much going on sonically yet the sound sounds sparse. Wonderful headfuckery.

The simplicity of ‘The Devil Knows’ in the intro is excellent and the ebow solo is finely placed as is that pounding broken drum beat. ‘Twenty One’ then heads down a synth wormhole with its hacked drone towards the chorus. It’s like Numan on steroids. ‘Heavy Sick’, yup I dunno what it means either but it’s like a runaway train with its uptempo rhythm and frantic guitar duelling pushing your listening skills to the limits.

‘Vampire Love’ is like a garage waltz with its rhythm it’s a twisted distant relative to the epic Urban Voodoo Machine the album’s title track being a fuzzed-up beauty. We do then ease back with something of a softer side as ‘It’s Hot In Hell’ has an offbeat to guide you through the firey depths with a soothing melody it has a lot of charm. This album given the right amount of commitment and indulgence will reward the listener over and over. For fans of The Cramps, Eels, PJ Harvey and the Urban Voodoo Machine and people who like uncomfortable melodies wrapped in twisted tones with even more twisted themes and lyrics. Step up and let WolfWolf entertain which they will do from the artwork to the videos to the music it’s all in here if you give it the time.

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Author:Dom Daley