The Party Punk Darlings of Madrid, AmyJo Doh & The Spangles, release their new album, Spangle Landia, through Strap Originals on Friday 8th November on Red Vinyl, CD and digital download. It is available to order Here. A new single, Rock n’ Roll, is released the same day.
AmyJo Doh says of Rock n’ Roll: “This was originally called ‘Despedida Rock N Roll’… for me personally this is a goodbye to the past. The old fears and shadows and the parts of that person that no longer serve us. Whatever you are saying goodbye to, let’s give them a good squeeze, thank them for the lessons learned and then kiss them goodbye! No hard feelings! Just a lot of love, and of course…. A lotta LOTTA rock and roll!”
The video for Rock n’ Roll, directed by Pablo Lopez, is a performance video with the song’s narrative brought to life by Spanish actress Raquel Saiz. Rock n’ Roll is the second single along with Arise to be lifted from the album.
In true Spangle style, the album brings together various EPs and members of the extended Spangle family, yet the energy and message remain coherent. It’s an eclectic mix of great songs which explore themes of love, rebellion, personal freedom, …and Jamón. The band remains unapologetically versatile. As AmyJo says, “Punk is not a musical style, it’s an attitude…..Every song is a universe in its own right.”
AmyJo Doh & The Spangles have toured with The Libertines and Peter Doherty and will be announcing tour dates and festival appearances shortly. In the meantime, they will be playing the following shows in Spain:
NOVEMBER
16th Madrid – Vermut en FunHouse DECEMBER
13th Madrid – Sala Siroco FEBRUARY
20th Madrid – La Corriente MARCH
1st Zaragoza – Sala Creedence
21st Valencia – Sala Black Note
AmyJo Doh & The Spangles were formed in 2016 and inhabiting the beautiful, sometimes grubby streets of Madrid, they have quickly become a force to be reckoned within the underground scene. Led by the dynamic AmyJo Doherty, Peter Doherty’s older and on occasions, wiser sister, they released their debut album, Calle de Spangles, in 2018 and have since carved out a unique space for themselves with their eclectic sound and captivating stage presence. AmyJo’s music is an exciting blend of punk, rock, and indie, infused with her distinctive voice and powerful lyrics.
AmyJo Doh & The Spangles’ message is a joyful one and they want to share it live and LOUD! So, listen to the album, buy it, sing it, and share it; but whatever you do, don’t miss their show when it comes to town. It’s an experience you won’t want to miss.
The Spangles are: AmyJo Doherty (vocals) David Lancho (guitar) German Moderno (bass) Matty Tyack (drums)
Regular readers will need no introduction to Joe A Maddox and his merry men. Over the last couple of years, he’s been busy writing and developing his Continental Lovers from a project to a full band. In that respect, he shares some common ground with his ex-Breakdowns band mate Matt Julian, now of The Speedways.
One of the downsides of living in France is that I’m unlikely to see the Lovers boys on a stage any time soon. However, you lucky people can see them across the UK supporting Spike’s Quireboys and The Dogs D’amour in Nov/December, as well as performing some headline gigs.
Of the 13 tracks here, you may already be familiar with previous releases, such as ‘Tape Deck’ which well and truly kicks things off. “Take a C90 and put it in your tape deck..” There’s a hint of The Vapors, a whiff of 1979, which is fine by me. If they’d been around at the time, I’d probably have had ‘Continental Lovers’ scrawled on my pencil case.
‘St. Joan’ is their punchy tribute to Ms Jett, you can almost smell the black leather, while ‘Really Doesn’t Matter’ is two minutes of power pop that is reminiscent of early Cheap Trick and The Speedways, so, quite a treat. ‘Paraffin Lips’ and ‘Tattered Star’ have already done the rounds chez moi, short stabs that are fun to return to, but I’m really absorbed in the new songs, particularly ‘Connection’, which will give The Dogs D’amour a run for their money on the upcoming tour. With the legendary (round here) Willie Dowling providing keyboards and knob twiddling (in the studio), they’ve thrown everything at this tune; castanets, handclaps and a solo worthy of J D Bradfield, and it works in their favour.
‘Make Up Your Mind’ will keep Uncle Dom Daley happy in the cover version quota, a faithful take on the Stiv Bators classic. ‘Outta Sight’ throws a little Buzzcocks into the mix with the melody line solo. “These Lovers are outta sight” is their motto, young and full of it, as is only right. They also make the effort to look like a band, which people seem embarrassed to do nowadays. Flaunt it!
‘Wedding Song’ and ‘The Girl’ offer a more introspective, acoustic sound. Quality melancholy, with shades of Tom Petty. ‘Dale Arden’ is an ode to Flash Gordon’s paramour/heroine of the silver screen, another addictive tune, while ‘Let’s Go Out Tonight’ flys by in a blur of Ramones-style intent.
Available on digital platforms from 15th November, the CD is out on 13th December via Cadiz Music/Real Vision Records. Check their Facebook page for the upcoming tour dates, folks. These songs were made to be played live, so don’t miss out. You’re gonna love it.
Rock’n’roll revivalists Split Dogs are doing things the old way and the best way. This is not a band content to sit behind laptop screens, fifteen second viral videos or digital marketing campaigns to spread their noise. No, Split Dogs are true road warriors, almost physically incapable of turning down a gig, they’ve spent the last few months playing every conceivable stage, space and venue to spread the word as they approach the release of their second album ‘Here To Destroy’, due for release February 28th via Venn Records.
And it’s working. The reputation for their own firebrand of frenzied, high-voltage rock ‘n’ roll is spreading fast and wide throughout the punk rock community and beyond and Split Dogs gigs are fast becoming eagerly anticipated events.
Today, the band follow previous singles ‘And What?’ and ‘Monster Truck’ with a brand new two-minute killer titled ‘Precious Stones.’
“The song shines a spotlight on the people that imply false authority in society based on their job title or financial position,” explains guitarist Mil Martinez. “From the obvious traffic wardens all the way up to entitled yoga instructors, nothing burns worse than being falsely reprimanded by another adult so they can attempt to assume dominance over you.”
Musically ‘Precious Stones’ drives along at a storming rate, building in power as it progresses, with singer Harry Atkins the architect of the intensity. The accompanying video conveys just that. Focused solely on Harry’s face, it’s an unflinching, uncompromising experience.
“The precious stones video was all about intensity, and hard intent,” continues Mil. “There’s no escape, feeling like it’s just you in the room and Harry has you cornered. Relentlessly demanding that you answer the question ‘why does it burn?’
Born from the frustration of seeing music become commodified and soulless, vocalist Harry Atkins and guitarist Mil Martinez had the idea to form a band as far back as 2015, with the name ‘Split Dogs’ pulled from the classic zombie film ‘Return of the Living Dead’.
In South London, a young Martinez would hear Status Quo, Bachman Turner Overdrive and Dire Straits on the car radio while his father drove him to school. At home he would invade his older brothers’ record collection which leaned towards the harder sounds of punk and heavy metal. Meanwhile in the Black Country, Harry’s mother instilled a love of Northern Soul, Slade and rock’n’roll, with stories of nights out at Club Lafayette and family singalongs at home. According to Martinez, “Our sound is a culmination of all those early influences and, to be honest, it really shows.”
It wasn’t until 2022 that Split Dogs officially arrived on the scene with bass player Suez Boyle joining the band in 2023. Already a prominent figure in the queer punk scene, Suez played the first ever Rebellion Festival at the tender age of 16 with her band The Walking Abortions. Up until that point, drummer Chris Hugall, an old friend of Martinez and former member of ska punks Mouthwash (signed to Rancid’s label Hellcat back in the day), was only on hand to help design artwork. It wasn’t until 2024 Hugall joined the band full-time cementing the current line-up.
The raucous live shows and infectious lyrics saw the four-piece make a name for themselves among the punks of Bristol, a scene that has always welcomed LGBTQ+ and marginalised people. As word spread, so did the gigging, and soon enough Split Dogs were playing to sold out rooms in mainland Europe, eventually grabbing the attention of UK label Venn Records (Gallows, Bob Vylan, High Vis).
‘Here to Destroy’ was recorded over three days at Middle Farm Studios by producer Peter Miles. All tracks were laid straight to a 16-track reel-to-reel tape machine, no autotune, no effects pedals, no computers. To add to the music’s authenticity, the album was recorded live, with Harry singing along in a vocal booth. No cutting and pasting, just nailing takes. According to Martinez, “It was a blast! We fully immersed ourselves, sleeping in a small apartment below the studio, cooking meals and listening to Pete’s extensive record collection”.
As the album title makes clear, Split Dogs are here to destroy, but they’re also here to rebuild and remind us of music’s essence. “We’re not beholden to the digital age, we don’t want to get famous on social media, we just want to show the world that rock’n’roll is alive and well”.
Split Dogs are:
Harry Atkins – vocals (they/them)
Mil Martinez – guitar (he/him)
Chris Hugall – drums (he/him)
Suez Boyle – bass (she/her)
Catch Split Dogs live at the following dates:
05/11 Exchange Bristol w/Zeke 06/11 Water Rats, London w/Desperate Measures 16/11 Phoenix, Exeter w/Sham 69 6/12 Railway inn, Redditch 7/12 Workman’s Cellar, Dublin 20/12 King Arther, Glastonbury 21/12 Cavern, Exeter w/GBH 29/12 Electric Bar, Bath
“There ain’t no future, Halle-fuckin-lujah!” Spits Ally Dickaty two songs into the magnificent new opus from Macclesfield duo The Virginmarys. That diatribe sums up the frustration, the anger and the pent-up aggression of not just a small-town northern band, but the collective of a whole generation who face an uncertain future in 2024.
Right now feels like a time where bands with something to say will shine. Rubbing shoulders with the likes of Ren, Delilah Bon and Bob Vylan, The Virginmarys join a whole host of artists who are pissed off and shouting from the rooftops social/political commentary, tackling the subject paths others fear to tread.
For a band who came close to throwing in the towel a few years back, The Virginmarys sound invigorated and ready to take on the world with ‘The House Beyond the Fires’, their fourth album, produced by Ally and go-to-guy Dave Draper.
The picked chords and sweeping strings of cinematic opener ‘White Knuckle Ride’ creates atmosphere in the same way ‘Ends Don’t Mend’ closed the debut album ‘King Of Conflict’ over a decade ago. Intentionally or not, maybe The Virginmarys have come full circle in that time? Sonically at least the duo retain all the fire and energy of a band on their first record. The big riffs, melodies and powerhouse beats remain as solid as the friendship of singer/guitarist Ally Dickaty and drummer Danny Dolan.
‘The House Beyond the Fires’ is a viscous snarling beast from beginning to end. The singles released in the lead up shine strong on first listen. ‘Northwest Coast’ with its stabbing power chords and bombastic drums is full of northern grit and bleak desperation, like a band teetering on the edge, pulling the pin from a musical hand-grenade with their teeth. It’s glorious.
Second single and second track on the album ‘There Ain’t No Future’ is quite possibly the best rock song of the year. If MTV was still a music channel, that striking video would be on heavy rotation, it’s a song that should be a standard on rock radio right now. Punchy as fuck, both lyrically and musically. And most recently ‘When The Light’s Go Down’, with its hi hat count and crunchy riff is about as AC/DC as you get in 2024, but the infectious melody and songwriting suss of Ally takes it to a different place entirely. The duo weave their sonic tapestry to great effect, creating dark atmospheres with urgent rhythms, effect-ridden guitars and clever use of space.
Elsewhere, ‘You’re A Killer’ is dark and edgy, punky goodness, ‘Trippin’ New York City’ is a funky curveball with killer dynamics and guitars that are sloppy as fuck, right up my street.
The intensity builds song after song culminating mid-album with the acerbic ‘Lies Lies Lies’ a brutal assault on the senses that just makes you wanna turn it up and turn it on.
Ally is one of those songwriters that has a knack of creating imagery in his songs and putting you in a certain mind frame, ‘Where Are You Now’ is a tune that does just that. The loud/quiet/loud formula is delivered with passion, emotion and angst in equal measures. The epic ‘Dance To The City’ then veers towards Trail Of Dead territory, before closer ‘Urban Seagull’ throws one last curveball.
‘The House Beyond The Fires’ is dedicated to Danny’s father Tommy who passed away last year. He was a big inspiration to Ally in his songwriting and the boys have done him proud.
Equal parts emotive and raging, passionate and powerful, The Virginmarys have delivered a masterpiece with ‘The House Beyond The Fires’. A modern rock record that is up there with the best albums this year. Essential listening.
With another super strong line up this the first week of November we kick off with a banger from CJ Wildheart who seems to have hit on a seriously strong vein of form and ‘The Baddest Girl In The World’ kicks us off in style.
From Stockholm Devils Cigarette ‘Give It All You Got’ and a little glimpse into their debut album and maybe what it’s going to sound like.
Love Battery then give us a tour of the ‘Fuzz Factory’ before the excellent Continental Lovers tell us about the girl with the ‘Parafin Lips’ ahead of their UK tour they recently announced. Its always a good day when Scott Sorry drops new music so we’re super stoked to play ‘San Jose Sky’ from the super talented Scott Sorry.
Snarling Dogs are back with another track off their debut album this time ‘Enemy’ races out of the speakers. Hit up Drunken Sailor Records for a copy of this stunning debut album. Keeping the energy levels high we delve into the Ravagers back catalogue with ‘Just Another Rat’ before we let in those potty-mouthed punks Jonesy who are keen to play ‘Piece Of Shit’.
Following the announcement of the former Quireboys coming back with a new album they introduce ‘Foolin Yourself’ under the band name Black Eyed Sons and featuring a guest slot from Steve Conte this is a great track off an album that promises a lot.
We head off down a post Halloween route with the epic punk rock from Moron’s Moron and the B Side of their new single ‘I’m Afraid You’ll Die’ then a quick one two from Bart And The Brats with ‘Only Fair’ but not before The Budget Boozers announce ‘She Loves Me No More’, Bart hails from France and peddles a fine brand of Snot Rock.
Australias Alien Nose Job announce a ‘Bird Strike’ before we paint out nails black and corpse paint our mushes as Then Comes Silence are our cover band for the Episode with a wonderful take on The Damneds ‘Thrill Kill’.
Pinhead Gunpowder have a new album out entitled ‘Unt’ so what better time to play the title track. Royal Trux have reissued their first two albums and we chill out to ‘Junkie Nurse’ from the sophomore album ‘Untitled’.
With only two tracks left to play it would be rude not to play the brand new Spunk Volcano and the Eruptions offering ‘Giant Haystacks’ what a banging tune but to end the show we bring it down a few notches and play the brand new song from Jesse Malin and his new song ‘Argentina’ which is an emotional roller coaster to finish on. Catch you next week for more banging tunes.
Keeping it short and sweet. This month’s singles club is made up of a broad church of entries from raging Glam Rock to some Synth pop and the usual mix of Garage fuzz n hard rockin, one thing is for sure the digital pool of entries is never boring and we like to think we know a top tune or two so have this half dozen for starters…
Gyasi – ‘Sweet Thing’ (Alive Records) Unapologetic 70s Glam stomper from Gyasi. What a thumping beat it is too. Just the way a single should sound in 2024. Teetering around in stack heels and with a Bowie-soaked chorus it’s memorable and easy to sing along to. I expect big things from the new album when it drops and shall be shouting it out from the rooftops (or RPM HQ at least) Feb 2025 write it in your diaries kids and use your best lipstick.
Head Noise – ‘I Was A Teenage Video Nasty’ (Self Release) The brand new single ‘I Was A Teenage Video Nasty’ came out on 31st October (Obvs)! A love letter to the banned BBFC video nasty movies of the 70s/ 80s, also with b-side ‘80% Proof Apparition’ a song about people in the early 20th Century, holding seances at parties but only seeing ghosts because they are so hammered. It’s a synth throbbing slice of 80s synth scuzz but don’t be fooled by the quaint keys or gang vocals its a sleazy old school to rival SSS (or Sigue sigue Sputnk if you didn’t know) To coincide with the new single they will be releasing a LIMITED run of 7” singles on white vinyl with a special b-movie cover, inserts and label. Some bands do things properly and Head Noise certainly do that loud through a pumping PA this is the mutts nuttz.
The Briefs – ‘High Society’ (TKO Records) Been doing this for a quarter of a century The Briefs are elite top-tier punk rockers. That’s it folks in a nutshell they write banging tunes and they have the energy and suss to never put a foot wrong. Imagine that kids being that fuckin good well, that’s the Briefs. High Society is rapid with barking guitar solos and uber cool riffs and another perfect single. Released to coincide with a support tour it’s three awesome tunes. But if you think the A side or lead track is good wait til you hear ‘You Can Move Me’ in all its swaggering sleazy glory. Power Pop Punk n roll is the sound and these cats have got a tonne of swing to go with it. The final track is a rough mix of Ramones mid-paced punk rock, ‘I Gotta Go’ is cool as fuck and I hope it’s the precursor for the following long player because ‘Platinum Rats’ was awesome and the next is gonna be just as good. Buy It!
Chuck Norris Experiment – ‘The Knife’ (Self Release) The latest single release from the 2024 THE CHUCK NORRIS EXPERIMENT album “20”. The album version has this old-school almost trash metal-sounding acoustic intro but this edit comes straight in with the riff before breaking out old school with guitar noodling exploding everywhere. The band stay true to their wall of noise with big Riffs everywhere and a sonic overload CNE keep rotating the wheel not reinventing it but managing to sound fresh on every record. A top tune from a top album.
Thee Headshrinkers – ‘Sunday Driver’ (Property Of The Lost records) Buckle up kids this odd bod trio are about to head out on a garage rock scuzz outing and you’re invited along for the ride. from the album ‘Head Cheese’ this is a swaggering slab of Garage rock fuzziness with a heap of The Fall to boot it shifts through the gears very nicely and hits the breaks hard just to mess with your head. Get involved kids it’s a banger folks and the album is due in a few short weeks as well.
Gene Champagne – ‘Rock N Roll Boy’ (Rumbar Records) Sounding like a cross between ‘end-of-the-century’ Ramones and classic Boys this is an end-of-summer banger. Lifted from the album ‘Let’s Jet’ it’s got plenty of authentic swagger and a retro-tastic backbeat. Get on board boys n grrrls it’s happening. With a name like that, we raise a glass to his success and excess without his unteens this kinda tune always makes me happy.
When Janes Addiction first imploded Perry and Stephen Perkins formed Porno For Pyros and managed to release a couple of albums in the mid-nineties. I have to admit the first album had some very high moments but a couple of lulls and more so on the second album the highs were replaced by even more lows. I guess it’s why the band fizzled out. However, after RSD we now have Rocktober, and it would seem a whole host of reissues and so forth in the month of October so when I saw the Porno For Pyros release I had to check it out and indulge myself and reacquaint myself with the band. Firstly looking to see if ‘Packin .25’ was here but alas it’s not which is a shame but having dropped the needle on side one and ‘Pets’ breaks out I remember how good this song was. I have a faint memory of seeing the band play some enormadome with Velvet Revolver or was that Satellite Party even? Who knows (not me seemingly).
The album offers only nine songs or ten to be exact but the tenth is a remix of ‘Pets’. your two from the debut album the opener and ‘Cursed Female’ which also sounds better than I remember from the early 90s. with the rest being made up of ‘100 Ways’ and ‘ Tahitian Moon’ from the band’s follow-up album ‘Good God’s Urge’ whilst the rest are pretty decent songs to be fair with the exception of ‘The Cable Guy’ soundtrack, the only duff track here, saying that it’s not total pap but just a bit… grey, ‘Satellite Of Love’ is a Lou Reed Classic. It’s Not as good as the original at all, not even close which might be why it passed me by back in the day.
A couple of digitally only releases pulled together here are also pretty decent songs but in the wake of the onstage Janes spat maybe Porno For Pyros isn’t quite done yet who knows unless Janes kisses and make up this could be the start of something who knows but to be fair this has a great flow to it and apart from the pretty grey version of Lou Reeds ‘Satellite Of Love’ well worth spending your pocket money on. Rocktober whatever next? Not a reunion it would seem after guitarist went to twitter to lay more heat on the beeagured frontman and his attitude and approach to music in general which were all deleted after the Janes spat. Pop stars eh whatever next one of them throws a tantrum?
2025 marks the 14th iteration of Steelhouse, a now essential fixture on the summer festival map. This first wave of announcements includes the Friday and Saturday headliners, and proves once again that Steelhouse means business. There are more artist announcements to come soon, including the Sunday night headliners!
Legendary LA metal outfit, W.A.S.P. led by the inimitable Blackie Lawless make their Steelhouse debut appearance with a Saturday headlining set full of classics. It will be their only 2025 UK festival appearance.
Re-energized Brit-rockers, The Wildhearts plan to set the festival alight with their Friday headline appearance – their first Welsh date since their re-activation.
As ever the headliners are supported by an incredible array of the finest talent in rock. Steelhouse can already confirm that Wolfsbane make their first trip to the mountain appearing alongside Ginger’s men on Friday whilst former Runaways icon, Lita Ford makes it a double bill of Sunset Strip star names on Saturday as special guest. Wolfsbane said, “We’re so excited about the Steelhouse Festival. We love any excuse to do a Wolfsbane show!! It’s all our original members from the first album. We will be performing big hits, and a couple of new songs from our new album ‘Genius’. Jase says playing our song ‘Steel’ at Steelhouse is PERFECT! We just can’t wait”.
Asomvel, Kit Trigg, Marisa & The Moths, Muddibrooke, Tailgunner, These Wicked Rivers, The Treatment and Scarlet Rebels are all set to appear and represent the cream of the contemporary UK rock scene.
Tickets are on sale now. For those wanting to spread the cost, a monthly payment plan has been introduced on weekend arena tickets AND for the first time VIP upgrades have been introduced for those wanting VIP bar access, luxury facilities and other bonuses!
Max and Mikey say, “What a way to start! If you’re looking for artists who’ve done it their way and theirs alone then we’ve got them.
“We’re delighted to have W.A.S.P. finally make their Steelhouse debut. Blackie Lawless is the definition of ‘rock star’ – trailblazer, headline maker, showman and supreme songwriter… The real deal. That show, those songs ringing out over The Mountain on Steelhouse Saturday, you’ll scream and you’ll like it!”
“Then there’s Lita Ford, core member of the Runaways, solo star, a true icon and if you’re looking for a true original, then look no further than Ginger Wildheart. We’re delighted he’s re-activated The Wildhearts and the first show in the Land of our Fathers is Steelhouse. Their Friday headline show promises to be an absolute assault on the senses fired of course by Ginger-grade song power”.
Ginger Wildheart added, “We’re going to blow your mountain up and take some of it home to harness the hard rock power. Let’s fucking have this”.
The Festival at the top of the mountain boasts not only the best views of any UK rock event but one of the most passionate, friendly and loyal followings. With a reputation for not only bringing in the biggest and best names from the international world of Rock, Steelhouse also understands the role it can play in throwing open its prestigious stage to the best of the new breed of bands. It all adds up to a compelling mix of classic and cutting edge Rock, old and new.
“So, once again let’s get ready to Rocio y Mynydd / Rock the Mountain!”
Heading down the M62, high octane and fresh from last weekend’s sell out event, Liverpool’s own Funhouse has set up residency in Manchester for one night only. Hitting the Peer Hat this Saturday with a killer Northern line up for this unmissable premier event:
Introducing GÜTS, who are the filthiest purveyors of the finest Manchester serial killer blues this side of Waco! Expect X rated raunchy rock n roll with heavy grunge seeped riffs to boot. Imagine a sonic chainsaw on a rampage through your local discotheque and you’re halfway there….
Surface waves, a supersonic whack to the solar plexus, this rock and roll ensemble have been juicing up audiences up and down the country, even landing some plum support slots with the likes of the Scientists and the Skitzophonics.
The Dry Retch, the (Fun)House band. Hailing from Australia via the Wirral! They are exponents of a truly frightening noise, with their skull smashing fuzz these bastard sons of The Stooges take their sonic assault to the limit. Fast, heavy, real.
SONGS OF A LOST WORLD’ is the 14th studio release and their first in 16 years recorded in God’s own Country is this it? Finito, Uno Mas, Sayonara, goodbye dear friends. The album opens with the dreamy drifting ‘Alone’ with a smokey drifting swaying intro its a few minutes in before Smith sings the line, “This is the end of every song that we sing” Goths everywhere will be holding their collective breath wondering if this is really the swan song from the Bohemoths of a genre and how will they go out – in a triumphant chest beating death kneel or a whimper. Only you the listener can decide that my friends, but let’s paint our nails black one last time and take flight like a bat in the night ‘Alone’ is a grande opened, a reflective wheeze rather than a charge into battle.
‘SONGS OF A LOST WORLD’ was written and arranged by Smith, produced and mixed by Smith & Paul Corkett and performed by The Cure – who these days are of course Robert Smith: Voice/guitar / 6string bass/keyboard, Simon Gallup: Bass, Jason Cooper: Drums/percussion, Roger O’Donnell: Keyboard, Reeves Gabrels: Guitar. Smith created the sleeve concept, alongside Andy Vella, a long-time Cure collaborator, who handled the album’s art and design. The cover art features ‘Bagatelle’, a 1975 sculpture by Janez Pirnat. Its classic gothic imagery and the music begins in a soothing fashion, probably built for a dry ice-infested stage in some field for the band to play in its entirety as something of a deathbed goodbye. Surrounded by loved ones saying goodbye to their favourite band one last time to a beautiful Dolby Atmos surround sound soundtrack.
With only eight songs on offer (a deluxe CD featuring instrumental versions and Dolby do dahs with bells and whistles as an optional extra). Its ‘A Fragile Thing’ before Gallups bass really sits up front in the mix with another busy soundscape to accompany a gorgeous melody from Smith.
‘War Song’ closes out side one with a bruising post-battle reflective song. I feel exhausted and it’s only the end of side one. Side two begins with ‘Drone No Drone’ and an electric storm of cascading guitar solos courtesy of Gabrels sparring with Jason Coopers drums. I get the impression that this is more of a band record than Smith breast beating oh look at me it’s a bigger broader sound happening.
It’s the sound of a reflective band with a lot of gentler songs that are recorded exceptionally well it has to be said. A lot of what’s on offer are quite lengthy intros where the sound is massive there’s a sound of reflection and anxiety about the sands of time ebbing away in Smiths’ lyrics it’s reflective but never suggests any regret but tastefully done.
The penultimate track is ‘All I Ever Am’ and with its thumping percussion, it is probably the most “Cure” sounding track on the album as Smith speaks the lyrics with a melody raising the chorus to soar above the music. It’s what they’ve done for years and has crafted a fine niche for themselves but it’s by no means Cure by numbers in fact it’s one of the best songs on the whole album.
As we reach the end ‘End Song’ has something of a battlefield beat to it and as the song plays out its chest out boys and march on to a triumphant victory for The Cure have survived their detractors stuck true to their beliefs and plowed an often lonely furrow steadfast in everything they do. Not without a sense of humour but this album sounds serious and grown up and the finale is a massive wall of sound that marches on with the song growing more intense with every beat of the snare and swirl of the keyboards no doubt this record will be scrutinised over and over and ever breath from Smiths lips directed but the real test will be its longevity and in several years we’ll look back and declare it a masterpiece of songwriting and one of the finest goodbyes ever for a guitar band of this genre.
It might not reach out to a new audience but it will have the already sizable one salivating at the new songs and the package it comes in. If it is the last hurrah then they go out in some style, sombre, Gothic and sounding utterly huge and every dark shadowy corner is filled with sound. There will be tears shed over the closing lyrics. Now a lie down in a darkened room I think. What a stunning record. Goths assemble, The Cure have birthed a beast and the end game is here…maybe. Buy It!
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