Dion Lunadon – ‘Memory Burn’ (Beast Records)

Dion Lunadon – ‘Memory Burn’ (Beast Records)

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.

MIDWEST USA TOUR DATES:

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 @liars.club 

7.06 || DETROIT MI @lagerhousedetroit 

7.07 || TORONTO ON @monarchtavern  

EUROPEAN TOUR DATES:

24.7 || LUGANO CH @luganobuskers

25.7 || MANNHEIM DE – TBD

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

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Erzsebet – ‘Six Hundred and Fifty’ (Whispering Voice Records)

Erzsebet – ‘Six Hundred and Fifty’ (Whispering Voice Records)

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 – ‘Totentanz’ (Lux Noise)

WolfWolf – ‘Totentanz’ (Lux Noise)

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.

Buy Here

Author:Dom Daley

RADIO BIRDMAN BIOGRAPHY ANNOUNCED AHEAD OF SOLD-OUT BIRDMAN 5-0 TOUR

RADIO BIRDMAN BIOGRAPHY ANNOUNCED AHEAD OF SOLD-OUT BIRDMAN 5-0 TOUR

Those of us not in the Southern Hemisphere can only look on with envy as Radio Birdman head out across Australia.


RADIO BIRDMAN: RETALIATE FIRST BY MURRAY ENGLEHEART COMING FROM ALLEN & UNWIN ON JULY 2

BIRDMAN 5-0 TOUR KICKS OFF JUNE 21 IN MELBOURNE. ALL THREE SYDNEY SHOWS AND ONE OF TWO BRISBANE SHOWS HAVE SOLD OUT, OTHER SHOWS SELLING FAST!

With the start of their BIRDMAN 5-0 50th Anniversary tour only a couple of weeks away, iconic ARIA Hall of Famers and legendary outsiders of Australian rock’n’roll RADIO BIRDMAN are also the subject of a new biography entitled RADIO BIRDMAN: RETALIATE FIRST, authored by esteemed Sydney rock writer Murray Engleheart (AC/DC Maximum Rock & Roll, with Arnaud Durieux, and Blood Sweat and Beers – Oz Rock from The Aztecs to Rose Tattoo) and published July 2 by Allen & Unwin.

In a post on their socials Radio Birdman said.  
“Acclaimed author Murray Engleheart has written what promises to be, far and away, the most in-depth and complete history of Radio Birdman to date. Years in the making, Retaliate First is a compelling synthesis of thousands of hours of research, first-hand accounts and unique insights. It’s a must read for anyone who wants to know what really happened.”

The announcement comes as the tour closes in on being a complete sell out, with all three Sydney shows and one of two Brisbane shows having now sold out, only a handful of tickets left for the other Brisbane show and both Melbourne shows (with special guests Civic) and the one Adelaide show on track to also reach capacity. 
RADIO BIRDMAN – BIRDMAN 5-0!
 FRI JUNE 21: CROXTON BANDROOM – MELBOURNE with CIVIC – SELLING FAST
SAT JUNE 22: CROXTON BANDROOM – MELBOURNE with CIVIC – SELLING FAST
SUN JUNE 23: THE GOV – ADELAIDE with CULL THE BAND – SELLING FAST
FRI JUNE 28: THE TRIFFID – BRISBANE with HITS – LAST TIX
SAT JUNE 29: THE TRIFFID – BRISBANE with HITS – SOLD OUT!
FRI JULY 5: MANNING BAR – SYDNEY with HARD-ONS – SOLD OUT!
SAT JULY 6: MANNING BAR – SYDNEY with HARD-ONS – SOLD OUT!
SUN JULY 7: MANNING BAR – SYDNEY with HARD-ONS – SOLD OUT!

Tickets on sale via Oztix (except Brisbane shows, which are via Moshtix)
RADIO BIRDMAN: RETALIATE FIRST
By Murray Engleheart 
 
Publication date: July 2, 2024 

The ultimate in-depth biography of iconoclastic Sydney punk band Radio Birdman.‘Radio Birdman live brought loyalty as strong and powerful as their music. Yeah hup!’ – Anthony Albanese, PM and fan

‘Radio Birdman are analogous to dark matter: largely unseen yet profoundly 
influential.’ – Brad Shepherd, Hoodoo Gurus

‘Murray’s raw passion somehow doesn’t mess with his skill to present the story, the context and the truth.’ – Tim Rogers, You Am I and The Hard-OnsTales of Radio Birdman will be handed down through generations. Singer Rob Younger drinking from a human skull filled with sheep brains; fans unknowingly breaking limbs while dancing wildly at gigs; fighting off venue bouncers and hostile audiences with microphone stands, and having publicans cut the power in a desperate bid to halt their force-of-nature-like performances. Their riotous appearance at Paddington Town Hall in December 1977 drew an overflowing crowd of thousands, eclipsing the audience for AC/DC’s triumphant return to Sydney.

While Radio Birdman split after a disastrous UK and European tour in 1978, hunger for a reunion grew by the day, and their eventual regrouping was met with wild acclaim. In a series of electrifying shows at the 1996 Big Day Out, they drew the spotlight away from the likes of Nick Cave and the Bad Seeds, Rage Against the Machine and The Prodigy. Birdman continued to play sell-out gigs to devoted crowds both in Australia and across the globe and in 2007 were inducted into the ARIA Hall of Fame at a ceremony in Melbourne.

With 2024 marking their half century of existence, and publication of this book coinciding with a commemorative tour that may be their last, Radio Birdman have moved from clearing venues of punters at early gigs to being internationally worshipped, their mysterious logo now proudly emblazoned on skin all over the planet. Murray Engleheart’s Radio Birdman: Retaliate First is drawn from more than 150 interviews with the band members, their closest associates, and most devoted fans.

About Murray Engleheart
Sydney based journalist and author, Murray Engleheart has written millions of words about music over more than four decades with his work published from Moscow to São Paulo, Japan to New York. From first doing album reviews in a high school magazine in 1974, he has interviewed a virtual who’s who of rock and roll from Keith Richards, Lou Reed and Patti Smith to Bob Dylan, John Lee Hooker and David Bowie. His first book was the global best seller, AC/DC Maximum Rock & Roll with Arnaud Durieux (2006) and his second, Blood Sweat and Beers – Oz Rock from The Aztecs to Rose Tattoo (2010).
RADIO BIRDMAN: RETALIATE FIRST (Allan & Unwin)
Release date: 2 July 2024 in Australia.
Pre-order link:
https://bit.ly/AllenandUnwin

Light of Eternity (LOE) Set to release Debut EP

Light of Eternity (LOE) Set to release Debut EP

Big Paul Ferguson – drummer, cofounder, co-writer of the seminal UK band Killing Joke, and former member of Murder, Inc., Crush and The Orb, has joined forces with guitarist/writer Paul Williams, of UK industrial rock band Chaos 8; and Fred Schreck, vocalist/bass player/writer of NYC-based rock band The Ancients, Satellite Paradiso and Crush, to form a new project named Light of Eternity (LOE). 

Started in August of 2023 as a side project, LOE quickly became the focal point for the musical skills of each of these seasoned musicians. Their first release, Edge of Fate (downloadable on https://lightofeternity.bandcamp.com), is an impactful collection of four songs displaying a taste of their collective range. 

With plans to release new material every few months, their aim is to expand their audience with their musical power, depth, and emotional charge.  

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Quinn The Brain – ‘Bleed Me’ (Self Release)

Quinn The Brain – ‘Bleed Me’ (Self Release)

I met the driving force behind Quinn the Brain shortly before the world came to a complete stop over four years ago when I saw her wearing a Hands Off Gretel jacket at a show here in Houston. Come to find out, she and I had spoken previously on a Dogs D’amour forum. It’s a small world, and that interaction led me to learn about Arta’s band. They were on the verge of releasing their first EP at the time, the brilliant ‘Open Wide.’ That release was delayed a bit due to COVID turning the world upside down. A few months ago, Quinn the Brain released their second EP which feels like a slightly different beast from their first one. These four songs continue the sonic pummeling of the first though and still hit the mark.

Kicking things off with ‘Bad Friend’ brings a familiar start to the proceedings as this was released as a single a little while back. The music is ominous with a slow rolling bass heavy beat that feels like a sledgehammer destroying everything in its path. Arta Black’s vocals (also guitars) arrive from a dark dimension encompassing a pool of darkness with a haunting quality. This song has really grown on me since I first heard it. The ironically titled ‘Smile’ comes next with Clint Rater’s bass again receiving a lot of room in the mix. The guitar notes cut through the mix like jagged shards of pain with Black’s vocals presented with a twistedness to keep the cautious people away. This song really benefits from a speaker setup that allows the different layers in the mix to unfold. Black’s high-pitched final vocal serves as a perfect ending to this one.

Billy Kimmel has not been mentioned yet, but he does an excellent job on drums across the four songs. ‘Burnout’ starts with a slow and eerie pace before it feels like we are on a boat in danger of capsizing at night as the drums roll and pound in the mix. Black continues to channel a sect of demons to unleash a variety of voices that serve the song perfectly. Her guitar work in the back half of the song adds another dimension and sets up a great finish to the song. Our finish comes too quickly with ‘Serpent Hisses’ starting slowly before Black’s guitars smash everything in their way. Black unleashes a vocal fury here laced with anger, rage, and determination. When the guitar completely disappears, Black’s vocals and Kimmel’s drums slam together. The cacophony of everything comes back together for a final moment that ends this EP and leaves me wanting more songs.

When I reviewed their first EP, I name checked several bands, and many of those influences are also present here. Quinn the Brain really have their own sound though which has led me to limit delving into those too deeply. I think you can still imagine ‘Spine of God’ era Monster Magnet crashing into early Mudhoney via a pool of demons to get close to what we have here. In other words, give this great EP a listen and purchase as we wait to see what Black has in store for us next.    

‘Bleed me’ is available now.

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https://quinnthebrain.com/album/badfriend

Author: Gerald Stansbury

Frank Black to play two special shows in 2025

Frank Black to play two special shows in 2025

Frank Black is delighted to announce two very special shows for 2025, where he will be performing the ‘Teenager Of The Year’ album in full.

The Teenager Of The Year shows will see Frank Black play Le Trianon in Paris on Tuesday 4th February and the London Palladium on Thursday 6th February.

“Sometime in the early 80s, I’d have to look up the date, I matriculated high school. This school held an awards banquet for some of the departing students at the school. I received an award called the TEENAGER OF THE YEAR award; my brother received the same award the following year. Our award was a 50 dollar credit for textbooks, a TEENAGER OF THE YEAR medallion (my mother still has this), and also the banquet hall dinner, soup to nuts. My brother and I had no complaint about the award (it was given for being all-around-good-guy as best as we could determine). But for such a grand title to be given as TEENAGER OF THE YEAR, I felt the glory had not been amplified enough.

 In 1993, I was doing “solo recording” sessions with Eric Drew Feldman in Los Angeles. We had settled on a core band with Nick Vincent and Lyle Workman, occasionally augmented by Joey Santiago and Moris Tepper. Though we had to change studios numerous times for actual forest fires and earthquakes, the whole process was such an addictive musical buffet that Eric and I couldn’t stop. We did some vocals at a studio rumored to be owned by Sergio Mendes; in the control room was a wall of television screens broadcasting the brush fire which crept toward us. We eventually evacuated to someplace else. We never met Sergio but we saw him perform a few weeks later when we vacated to Las Vegas after the Northridge earthquake, which had trapped the TEENAGER OF THE YEAR tapes in a studio vault for some time.  Our zeal plus empathy from our financiers, they safely observing our travails from London, was enough to keep the money flowing until Eric and I relented and declared “Consummatum est”. 

We tried to make it grand. 22 in 62. I called it TEENAGER OF THE YEAR. It is 30 years old now, and the original band will perform the record at various venues in early 2025. 4AD has remastered the LP for a fresh printing. Enjoy.” Black Francis 2024 Meredith, New Hampshire.

Originally released in May 1994, Teenager of the Year, is now widely regarded as the defining statement of his solo career and the best album the Pixies never made. 

Pitchfork placed Teenager Of The Year in their Top 100 albums of the 90’s saying “beneath its veneer lie the moments brilliant enough to rival any of the Pixies’ 1990’s work, and Black’s greatest lyrical achievement.” The album is also included in the book “ 1001 Albums You Must Hear Before You Die”, while The Quietus in 2014 said “Teenager Of The Year feels like a lost Pixies album in the way Ram feels like a lost Beatles album. It’s colossal, it teems with innovation.”

“Initially it was a 14-song album. It was mixed. Eric Idle was staying nearby. He kept telling me to change the songs around. Al (Clay)had to run off and go to his next project. We weren’t completely happy with what we had. The solution: record more songs. Eight more were born. Whole shebang was remixed by David Bianco. The day before we were to start the remix, the 1994 Northridge earthquake occurred. Charles, Jean (Charles’ first wife) and I escaped to Las Vegas, ate many shrimp cocktails, and we saw Frankie Valli and the Four Seasons, and Sergio Mendes and Brazil ’99 perform. Sergio was especially good. After about five days we returned to the mixing studio and the deed was done.” Eric Drew Feldman.*

The new re-mastered version of Teenager Of The Year will be released by 4AD later this year.

Along with Frank Black, the band for the tour features Eric Drew Feldman, Lyle Workman and Nick Vincent who originally appeared on the Teenager Of the Year album.

Tickets for the Teenager Of The Year shows are available here: https://blackfranc.is

Bowie Debut set for vibrant revival in July

Bowie Debut set for vibrant revival in July

On 26th July David Bowie’s groundbreaking debut album is set for a vibrant revival on Deram with a reissue on both CD and coloured vinyl, boasting exclusive tracklists, plus a rare version of ‘Space Oddity’ on vinyl for the very first time.

These early recordings reveal an earnest young artist at the dawn of his career, working hard on material in which he passionately believed. David Bowie poured his young heart into this music – and it shows.

with a rare version of ‘Space Oddity’ on vinyl for the very first time order Here

On 26th July David Bowie’s groundbreaking debut album is set for a vibrant revival on Deram with a reissue on both CD and coloured vinyl, boasting exclusive tracklists.

Presented with the single B-sides the very first time on vinyl, including a rare version of Space Oddity, his breakthrough hit. 

Originally released on 1st June 1966  David Bowie was an artist on the cusp of genius, in the height of Swinging London. 

Critics of the time commented; with the NME praising Bowie’s fresh sound as “all very refreshing” and hailing him as “a very promising talent.” Melody Maker lauds the album as “a singularly rewarding collection” with “excellent” production, while expressing surprise that Bowie hadn’t yet made a bigger impact on the pop scene. Meanwhile, Disc & Music Echo raves about the album, describing it as “a remarkable, creative debut album by a 19-year-old Londoner” and declaring Bowie as “a new talent that deserves attention.”

With such illuminating reviews, this release promises to reignite Bowie’s early legacy and introduce his visionary artistry to a new generation of listeners.

This re-issue features the original stereo album, produced by Mike Vernon, with a further fourteen tracks, including the first fruits of Bowie’s long relationship with producer Tony Visconti; ‘Let Me Sleep Beside You’, ‘Karma Man’ ‘In The Heat Of The Morning’ and ‘London Bye Ta-Ta’, the last making its vinyl debut in this collection.

Looking back on his debut album many years later with characteristic self-deprecation, Bowie mused: “Lyrically I guess it was striving to be something – the short story teller. Musically it’s quite bizarre. I don’t know where I was at. It seemed to have its roots all over the place, in rock and vaudeville and music hall and I don’t know what. I didn’t know if I was Max Miller or Elvis Presley.”

These early recordings reveal an earnest young artist at the dawn of his career, working hard on material in which he passionately believed. David Bowie poured his young heart into this music – and it shows.

THE SLACKERS ANNOUNCE REISSUE OF “CLOSE MY EYES” & European Tour for later in 2024

THE SLACKERS ANNOUNCE REISSUE OF “CLOSE MY EYES” & European Tour for later in 2024

New York, NY – June 4, 2024 – Pirates Press Records is proud to re-release “Close My Eyes”, the 2002 album by NYC ska-reggae legends The Slackers – a complex and nuanced album that shows the band’s versatility and capacity for both commentary and introspection.

It is often said – to the point of cliche – that New York City is a “character” in the work of the city’s most noted filmmakers. A similar statement could be made about the artistic symbiosis between the city and The Slackers. From the Bronx-born accent of lead vocalist Vic Ruggiero to the band’s embrace of cosmopolitan musical traditions from a melting pot of cultural origins, New York defines The Slackers at least as much as the band have contributed to defining the sound of New York for well over 30 years.

Therefore, it bears mentioning that – aside from a 2002 collaborative album by “The Slackers and Friends” – “Close My Eyes” is the band’s first proper studio LP released after the traumatic terrorist attacks on their home city in 2001, and the band took enough time to process the global fallout of this tragedy. At first glance, the cover photograph might be mistaken for a mundane domestic slice of life, but upon closer examination, the television screen depicting a mushroom cloud and the newspaper showing explosive carnage speak of a darker world intruding on quiet home life. The lone person in the photo is turned away from both the TV and the newspaper, and, as the album title suggests, she has her eyes closed, but the implication is clear that sometimes the outside world is too big to ignore.

“So feel free go steal and rob, revolution ain’t my job,” sings Ruggiero on the title track. “And if I sing your happy song, please don’t tell me I am wrong.” It is the statement of an artist searching for a way to still sing about joy and life in uncertain times of great upheaval. And ultimately the band must reckon with these times. On “Real War,” toaster Marq Lyn takes lead vocals as the band addresses the march to war that was omnipresent in those early days of the 21st century, stating in no uncertain terms that it was “Time to fight the real war…Against hunger and poverty…For racial equality.” The Slackers make it clear that while the machinations of hawkish politicians grind on, the real needs of people all over the world are left behind.

This tension between a dangerous world and the struggles of one’s personal life are present throughout the record, and the band weaves stories from the whole spectrum of human emotion, war, heartbreak, joy, and everything in between. Bookended by instrumental tracks, opening with the energetic “Shankbon” and ending with moody dub reggae, these veteran virtuoso players ultimately take listeners on a masterful journey through the human experience.

Out of print on vinyl since its original pressing, “Close My Eyes” will be available for pre-order from the Pirates Press Records webstore on July 5th, 2024, and will be available everywhere on September 6th. It will be available on 2×12” Classic Black Vinyl as well as 2×12” Glass of Port Marble Vinyl. This new double LP pressing features 2 additional dub versions which are previously unreleased!

THE SLACKERS TOUR DATES:

06/07/2024 – Edmonton, AB – Starlite Room

06/08/2024 – Calgary, AB – Dickens Pub

06/09/2024 – Winnipeg, MB – Bulldog Event Center

06/14/2024 – New York, NY – Rocks Off Cruise

06/16/2024 – Boston, MA – Rock On Boat Cruise (afternoon boarding)

09/13/2024 – Hampton, VA – Fort Monroe – Supernova International Ska Festival

09/19/2024 – Breda, Netherlands – Mezz

09/20/2024 – Koln, DE – Gebauede 9

09/21/2024 – Kortrijk, Belgium – Wilde Westen

09/22/2024 – Amsterdam, Netherlands – Melkweg

09/24/2024 – Brighton, UK – Arches

09/25/2024 – London, UK – Underworld

09/26/2024 – Glasgow, UK – Audio

09/27/2024 – Sheffield, UK – Corporation

09/28/2024 – Southampton, UK – 1865

09/29/2024 – Bristol, UK – Exchange

09/30/2024 – Swansea, UK – Sin City

10/01/2024 – Boulogne Sur Mer, FR – La Cave de Monsieur Guy

10/02/2024 – Paris, FR – Glazart

10/04/2024 – Sittard, Netherlands – Poppodium

10/05/2024 – Madrid, ES – Gruta 77 (Night 1)

10/06/2024 – Madrid, ES – Gruta 77 (Night 2)

10/08/2024 – Vienna, AT – Arena Wien

10/09/2024 – Graz, AT – Explosiv

10/10/2024 –  Munich, DE – Feierwerk Hansa39

10/11/2024 – Winterthur, CH – Salzhaus

10/12/2024 – Leuven, Belgium – Het Depot

10/13/2024 – Berlin, DE – SO36

The Shunkos are Hungry For Success

The Shunkos are Hungry For Success

With the first video from their recently recorded debut album The Shunkos get themselves a chippy tea. They also return to the stage to celebrate a landslide Victory that kicks the Tories out of number 10 on Friday 6th July at the Bunkhouse alongside the excellent Lacross Club, Money and Red Red Red which will be the only show in town celebrating a momentous week.