The Chats/The Prize – The Marble Factory, Bristol 11.12.24

The Chats/The Prize – The Marble Factory, Bristol 11.12.24

Boy it’s cold, these guys n gal from down under must be feeling it as the UK recovers from the storms and its just pre Christmas cold we have to deal with. Which to be fair is fine by me, on entering the Marble Factory its like entering the set of The Texas Chainsaw Massacre but this time its packed to the rafters as The Chats are here for two nights of flat out punk rock and this time they’ve brought fellow Australian power poppers the Prize along for the ride, and to be fair they put in an excellent shift as support with their Boys meets a lighter Ramones meets Thin Lizzy but with a tripple guitar attack.

They have half an hour and this five piece do their best to just fill their time with tunes and pretty bloody decent tunes at that.  lead vocals shared between drummer Nadine Muller and guitarist Carey Paterson who both do a sterling job weaving these nifty tunes to a very appreciative Marble Factory who dig what they do with impressive rapture which bodes well for the future of alternative punk rock n roll.

Hailing from Melbourne the band have been together since 2021 and it can only be a good thing playing to sold out audiences night after night who clearly like what they hear should see the band follow up their recent single with more music soon. Being unfamiliar with their song titles I throughly enjoyed what I heard and anyone who throws out a Boys melody or two is going to get a big thumbs up from me. Honest John Plain would certainly approve.

Enter The Chats with nothing to promote other than having a night out and playing some rapid party time punk rock, no records to promote, no festivals to push just doing it for shits and giggles. The Chats are ready to rock big time.

As they amble on stage Eamon lets the audience know the house rules of have a good time and look out for each other this ones called ‘Nambored’ the entire floor became a sweaty heaving swirling mess. By the time they steamed into the epic ‘6l GTR’ and then the epic ‘Emperor Of The Beach’ I feared they’d shot their bolt early and gone all in to quickly but fear not these boys are professionals.

The energy is relentless and you know that for the next hour they are going to give the set list a good seeing to and give nothing short of 100% wham bang thank you mam! we’re outta here. Tonight was no exception except to be fair I felt the songs weren’t so hurried tonight and they kicked back a fraction and not turning it into a whole we are Australias answer to Zeke now ave it! It wasn’t far behind but noticably more chilled.

Theres equal amounts of ‘High Risk Behaviour’ with the snotty ‘Stinker’ and ‘Drunk And Disorderly’ beign the glue in the middle of the set whilst ‘Get This In Ya’ ‘Nazi March’ is a belter. Of course ‘Smoko’ is present and played like its going outta fashion but tonight something happened and they had to stop it in the middle maybe there was a crowd safety concern because it went fuckin’ nuts when the bass riff kicked in or they just decided to go on Smoko mid tune.

‘The Price Of Smokes’ saw a complaint about JPS now being too expensive first world problems I guess. Eamon gives his fourstring a proper seeing to on ‘Struck By Lightening’ and its fair to say the band are tight as a soaking wet pack of Rizlas with Josh layign down some mighty fine licks on his guitar. For one hour these boys are untouchable and this was as good as I’ve seen them since they’ve been coming to Blighty a really excellent hour of non stop punk rock n roll that has boundless energy and never overstays their welcome theres even time to crucify Kiss’ ‘Rock N Roll All Nite’ in the best way possible before its brought to a crushing end with a wholesome bargain ‘Pub Feed’, and we’re done.

Like the best Bargain Bin Records tour package I absolutely appreciate touring for shits n giggles its the best way possible now get back down under, record a new record and head back over with Stiff Richards, COFFIN and Civic on one of those travelling revue tours that would be fuckin smashing lads until then this will more than do. Merry Fuckin Christmas all and get off Smoko and back to work.

Author: Dom Daley

Cock Sparrer/Dirtbox Disco/4Ft Fingers – Bristol, Marble Factory – 8th December 2024

Cock Sparrer/Dirtbox Disco/4Ft Fingers – Bristol, Marble Factory – 8th December 2024

“Brooksy, I got a feeling we’re not in south Wales anymore.”

It’s been blowing a gale outside for what feels like forever now, so much so I half expect to not have to leave the house to travel across the River Severn tonight and instead arrive Dorothy style for my last gig of the year.

Nothing was going to stop me being here tonight though, not the wind and most certainly not the Bristol traffic and the persistent road closures around the venue situated on an industrial estate on the outskirts of Bristol city centre.

Unfortunately, it does mean I get to the venue just as Cheltenham punkers 4ft Fingers are delivering their final chords of the evening to rapturous applause, as those in early doors (and it was early doors at 6pm) appear to have enjoyed every minute of their set.

It was exactly a year ago to the night that I was in Aberdare watching Dirtbox Disco deliver a fabulous headline set to an appreciative yet drenched (I’m starting to see a pattern here) audience, tonight the crowd are thankfully mostly dry on the outside seemingly full of early festive cheer (and beer) ready for a good singalong and dance. Even Santa has made it down to the barrier, much to Spunk Volcano’s amusement.

“I remember 1987 you fucker, I had minus presents!” teases Spunk. “You were a very bad boy” replies Santa. “I’m always a very bad boy” cackles Spunk, as opener ‘Punk Rock N Porno’ sets the smut bar at just the right level for the band’s fast and furious set.

Mixing (g)oldies like ‘Tragic Roundabout’, ‘Buring’ and ‘I Dont Wanna Go Out With You’ with the anthemic ‘Unstoppable’ (“Cock Sparrer offered me a lot of money for this song, I turned them down” jokes Spunk) and the total filth of newie ‘Second Hand Sex Toys’, Spunk, Maff, Danny and Chris ensure that everyone goes home tonight with at least one of their choruses stuck in your head, with “you’re a dirty dirty, dirty dirty, bastard” being my particular earworm of choice tonight.

For many though it’ll always be set closer ‘My Life Is Shit’, and a decade or so on from it first making it into the Dirtbox set it’s still as relevant (and insanely catchy) today as it’s always been.

It’s fantastic to watch Dirtbox Disco playing to such an appreciative and substantial audience outside of Rebellion weekend, and long may it continue.

Cock Sparrer are now some fifty two years into their career, and if recent album ‘Hand On Heart’ is anything to go by we’ve never had it so good in terms of Sparrer activity. Returning to Bristol for the second time post lockdown, the Marble Factory (whilst colder than an east end villain’s abattoir) is a near perfect venue for Cock Sparrer to entertain their west country troops. The sound in this place is always spot on due to the building’s old stone construction and the volume at which Mick Beaufoy’s police siren guitar intro to ‘Riot Squad’ blasts out the PA is enough to immediately stop any potential crimes happening around the Redcliffe area of Bristol tonight.  The crowd, of course, promptly goes nuts and for the next 75 minutes we all (and I do mean ALL) sing our hearts out to banger after banger from the Sparrer back catalogue.

Having seen Sparrer back in April of this year deliver a double shift of sets, firstly in the shape of new tracks and deep cuts and then follow that with a headline set of greatest hits, what we have tonight set list wise is a mash up of the two with the opening trio of ‘Riot Squad’, ‘Watch Your Back’ and ‘Working’ quickly followed by ‘With My Hand On My Heart’ and ‘Mind Your Own Business’ from the band’s latest LP. New cuts ‘Take It On The Chin’ (guitarist Daryl Smith jokingly reassuring us all that “Spunk Volcano got his £10 for helping us write this one”) and ‘Here We Stand’ also get included, as does the magnificent ‘One By One’ from 2017’s ‘Forever’, but it’s during ‘Because You’re Young’ and ‘Take ‘Em All’ that we really get to hear the Bristol faithful in full voice, something that seems to genuinely take frontman Colin McFaull aback, and the smile on his face as the crowd can clearly be heard over the band says it all really.

With no time for the rigmarole of an encore tonight the band thunder through ‘England Belongs To Me’ and ‘We’re Coming Back’ to conclude proceedings, closing things out as only Cock Sparrer can by promising they will be coming back …soon. Lovely jubbly!!!

Author: Johnny Hayward

The Wonder Stuff – Hup 35th Anniversery Tour -O2 Academy, Bristol 07/12/24

The Wonder Stuff – Hup 35th Anniversery Tour -O2 Academy, Bristol 07/12/24

“Is that a smile that hangs beneath your nose”, That lyric kept entering my head as Mylo in 2024 seems to grin and smile quite a lot these days. Maybe maturity or finding comfort in one’s space has mellowed the once provocative, angst-ridden frontman. To be fair I used to love it when he’d pour scorn on someone or show his contempt but as we all grow older I’m also loving seeing Milo so damn happy and halfway through the first set he did say with some enthusiasm that he was really enjoying himself and it shone through like a lighthouse. The enthusiasm was infectious and the quality of songs on offer helped, obviously.

Now getting to Bristol from deepest darkest West Wales was not an easy thing to do seeing as half the place was without electricity and it seemed that every tree wanted to block a road and river burst its bank not forgetting that all trains, planes and busses were cancelled. But this was ‘Hup’ and a full rendition as promised by Milo as well as some other chosen cuts from their arsenal. Maybe a while longer than it should have taken us but we did get there unscathed and boy were we glad I made the effort.

The lights dimmed and a packed O2 cheered as the intro tape rolled as the last thirty-five years were peeled away in seconds and the word was indeed out! ’30 Years In The Bathroom’ sounded every bit as vibrant and decadent as it did all those years ago. So a couple of the main protagonists are still cutting it and as the album unfolded in sequence it was an absolute joy to hear especially the songs that don’t get brought out often or the absolute bangers that have been stapled and then banished to the naughty step. ‘Golen Green, an epic ‘Cartoon Boyfriend’ was simply majestic. No wonder Milo was enjoying himself he bloody well should be this band sounds superb.

‘Don’t Let Me Down’ followed by ‘Can’t Shape Up’ had me reminiscing in my head of dozens of shows around the time like it was yesterday and I wasn’t some knackered old(er) man but it was that bass thump of ‘Goodnight Though’ that used to conclude Wonder Stuff Shows this was weird but man I absolutely love that song and the intro on the bass thing. As Milo howled into his megaphone set one was very much concluded and all around were beaming – that boys n girls was fucking ace! Malc just got on with business cutting his shapes on the left of the stage next to Erica who always adds much sparkle to proceedings with her impeccable fiddle skills. and on the other side of the stage, Mark Gemini Thwaite stuck to the six-string and played his part impressively whilst the rhythm section certainly kept the engine stoked with all the power and finesse the songs deserved.

After a brief break and a quick call home to see if our house had taken flight al a Wizzard Of Oz, it was back in for a run through some awesome tunes that were selected for the second half of the set both old classics and more recent but still excellent tunes and a much under-appreciated album being ‘Better Being Lucky’ and its prime cut of ‘Don’t Anyone Dare Give A Damn’ but it kicked off with a couple of groovy machine picks in ‘Red Berry Joy Town’ and a carefree ‘Ruby Horse’. Of course, there were a few ever presents in the shape of ‘On The Ropes’ the amazing ‘Mission Drive’, followed by ‘Caught In My Shadow’ before the ho-down of ‘Size Of A Cow’ preceded ‘Give, Give Give’ as the crowd took over the vocals. The band left the stage for a second time only to return for a much-deserved encore of two which left ‘Ten Trenches Deep’ as the fairwell ringing in my ears for the journey home and the knowledge that The Wonder Stuff 2024 still cut the mustard and delivered a totally thrilling and enjoyable live show.

To be fair that was as good as anyone old or new cutting some shapes on the live circuit. Now can we do this again next year with another South Wales date, pretty please Milo? If there’s no anniversary to celebrate let’s just call it the nothing to celebrate except we’re still here Tour. I’ll have a shirt and a mug thanks. That was as good a show as anything I’ve seen the band do in the last thirty-plus years, I fuckin’ love The Wonder Stuff.

Author: Dom Daley

Wonk Unit – ‘Good Good Glad to Hear It’ (Pirates Press Records)

Wonk Unit – ‘Good Good Glad to Hear It’ (Pirates Press Records)

There’s no one quite like Wonk Unit, and with the release of ‘Good Good Glad to Hear It’ their eighth studio record to date (and first for new label Pirates Press) they are back to prove it all over again.

I really don’t think there’s any other band out there that can deal with the subjects of; the downward spiral of addiction, the thrill of watching late night horror films, the reality of 14 years of right-wing politics in the UK (“SodaStream fuck off”), and the joys of being a father, within the first four songs on their record, and still have you guessing what might be next (it’s another song about horses just in case you were wondering). Then again, that’s exactly why each new Wonk Unit record is such a unique event on the release calendar.

It’s been four years since ‘Uncle Daddy’ so ‘Good Good Glad to Hear It’ has been a long time coming, and the fact that it’s being released in the run up to Christmas actually makes me feel like this year is perhaps going to be one the best in many a year.

That’s because Wonk Unit are a band that can connect with their audience on so many different levels, be it the rage of those opening trio of tunes the (debut single from the record ‘Rapidly Declining Dignity’, ‘Now That I’ve Grown Up’ and ‘Luxury Flats’) or the fragile vulnerability of ‘Overwhelmed’ (the song about fatherhood), there is pretty much something for everyone on ‘Good Good Glad to Hear It’.

Now settled as a six piece with guitarists Ryan and AJ along with drummer Max locking in with keyboardist Vez and Wonk Unit lifers Alex and Pwoison this time around the gang switch effortlessly from the country honk of ‘Shiny Horses’ to the double time synthy powerpop of ‘The Thickest Skin’ before the almost music hall lament of ‘Complicated Girl’ brings to mind Madness at their chart bothering best, and all within the space of eight minutes on a record packed full of  Wonkness.

Longtime co-producer/engineer Andy Brook once again works his EQ magic within the groves of ‘Good Good Glad to Hear It’ helping the band to retain an underlying pop edge on tunes as they flip between musical styles as the jaunty cockney knees up of ‘True To Who I Am’ followed by my favourite song on the record ‘The Oldest Chiche’ fully illustrates.

In saying that, I get a new favourite song with each new listen to ‘Good Good Glad to Hear It’, so just like with the last few Wonk Unit LPs there’s more than just the mosh pit bangers for you to get your teeth into, and in album closer ‘Stage Fright’ the band have written perhaps their most audacious tune to date.

As I said at the top of this review there’s no one quite like Wonk Unit, now what I wouldn’t give to hear St Winifred’s School Choir singing that, at this time of year, eh? Perhaps we could have them doing it on the next Wonk album – what do you think Alex? If you can get them out of the crack house that is.

Either way, ‘Good Good Glad to Hear It’ is out now on CD and vinyl, and you can buy it here

Author: Johnny Hayward

‘The Clash: A Photographic Monograph’

‘The Clash: A Photographic Monograph’

Rufus Publications is pleased to announce the publication of ‘The Clash: A Photographic Monograph’ featuring the photographs of Adrian Boot and the words of Chris Salewicz. 

As Chris Salewicz says in his introduction, “The Clash were the garage band that grew to stadium status. The Clash – as befitted the art school backgrounds of Joe Strummer, Mick Jones and Paul Simonon, the three front men – lived in the gap between art and life. Spearheading – at first with the Sex Pistols – that huge shift in the culture of the British music scene brought about by punk rock in 1976, The Clash exploded a colossal artistic change that lingers to this day, virtually half a century later. 

Joined by drummer Topper Headon, an enduring part of their truth, they became one of the very greatest of British groups; with an abiding and palpable impact on global youthful rebellion, through the course of five extraordinary classic albums, the highly intelligent The Clash changed how people thought, laterally educating them through their own broad interests. 

Driven by the unique skills of Joe Strummer, Mick Jones, Paul Simonon and Topper Headon, their shows were the best, the warmest, the most involving and the most enjoyable rock’n’roll shows you had ever seen. They were also the most human. 

The band’s popularity and influence has grown significantly over the last 20 years, continuing to win new followers with every generation of music fans. ‘The only band that matters,’ cleverly ran their American record company’s tagline for The Clash. And guess what? They were. 

Adrian Boot had honed his photographic skills in the early 1970s in Jamaica, shooting not only local roots artists but also the Rolling Stones when they were recording their Goats Head Soup album on the island. In other words, he had his feet in two of the camps that were The Clash’s foundations; reggae music and outlaw rock’n’roll. 

He was the ideal photographer to shoot The Clash. Judge for yourself. Here it is.”

‘The Clash: A Photographic Monograph’ features hundreds of carefully scanned and restored images, documenting the band on location shoots in London and Belfast, live on stage, relaxing with family and friends and the period after when Joe Strummer appeared in the film, Straight to Hell and Mick Jones formed Big Audio Dynamite.

The 260 page hard back book is available to order in three editions: The standard hardback book edition, measuring 246 x 346mm and printed on 170gsm art paper, sells for £89 plus shipping. The Deluxe Edition is quarter bound in pink Skivertex® Galuchat, a leather substitute material,  and is a numbered edition of only 300 copies personally signed by Adrian Boot and Chris Salewicz, presented in a luxury slipcase with a unique giclée print, created by photographer Adrian Boot. Each book is page edged in pink and sells for £199 plus shipping. Finally an ultra limited Super Deluxe Edition is also available, with just 100 numbered copies worldwide. This super sized A3 book comes with an A3 print and is housed in a beautiful Clamshell case with a large giclée print created by Adrian Boot and sells for £399 plus delivery.

The book can be pre-ordered at https://www.rufuspublications.com/punk-alternative/theclash 

Will ship at the end of March 2025. All pre-orders placed before the end of January 2025 will be discounted by 10%.

Thin Lizzy release ‘Slow Blues E.B. (Acoustic Version)’ from their forthcoming ‘Acoustic Sessions’ Album (out Jan 24th 2025)

Thin Lizzy release ‘Slow Blues E.B. (Acoustic Version)’ from their forthcoming ‘Acoustic Sessions’ Album (out Jan 24th 2025)

THIN LIZZY RETURNS WITH FIRST NEW ALBUM IN OVER 40 YEARS: ACOUSTIC REWORKS OF THEIR CLASSICS

‘ACOUSTIC SESSIONS’ TO BE RELEASED JANUARY 24TH, 2025 VIA DECCA 

WATCH THE NEW VISUALISER FOR ‘SLOW BLUES E.B (ERIC BELL ACOUSTIC VERSION)’ HERE: 

Limited Edition Marble Vinyl Now Available – Pre-Order all formats HERE:

Thin Lizzy is back with a fresh take on some of their most iconic tracks, marking their first new release in over four decades. This unique acoustic album reimagines beloved songs, offering a stripped-back sound that exposes the core of their songwriting. Original vocals from Phil Lynott are paired with brand-new guitar parts from founding member Eric Bell, creating an entirely new listening experience for fans. ‘Acoustic Sessions’ is released January 24th, 2025 – via Decca.

Producer and mixer Richard Whittaker, working alongside Eric Bell, went to huge lengths to use the original tapes, vocals and instrumentation with the only new addition being Eric’s fresh acoustic guitar parts which were recorded with him in Belfast at the Oh Yeah! Centre Studios, a unique celebration of Irish artists and their craft.

Each track on the album is a freshly created version of songs featured on either the 50th-anniversary super deluxe editions of ‘Vagabonds Of The Western World’, considered Thin Lizzy’s breakthrough, alongside their self-titled debut and ‘Shades of a Blue Orphanage’.

Following the recent unveiling of the new acoustic version of ‘Whiskey In The Jar’, their first UK Top 10 hit, Thin Lizzy are releasing a brand-new version of ‘Slow Blues’, originally featured on the band’s 1973 album ‘Vagabonds Of The Western World’. Drummer Brian Downey, the only member to have played in every iteration of the band alongside Lynott, co-wrote the original version of ‘Slow Blues.’ His powerful, orchestral drumming created a distinctive bridge in a song that fused gritty blues with subtle jazz influences.

The newly recorded ‘Slow Blues E.B (Eric Bell Acoustic Version)’ showcases a seamless blend of past and present, featuring fresh electric and acoustic guitar parts recently laid down by founding member Eric Bell at the Oh Yeah! Centre studio in Belfast. These new recordings are layered with Phil Lynott’s original vocal takes and Brian Downey’s authentic drum tracks, creating a rich and timeless sound. This innovative approach reimagines Thin Lizzy’s classic material by combining period-correct elements with modern production, delivering a unique listening experience that fans have never heard before. It’s a groundbreaking way to breathe new life into the band’s legacy while staying true to their roots.

This album marks the first time since Bell’s exit that he has recorded under the Thin Lizzy name. Fans can now experience what might have been their “MTV Unplugged” moment—a chance to hear the band’s timeless music in its most intimate form.

For dedicated fans, a D2C edition includes an exclusive bonus track, “Slow Blues G.M,” a tribute to Gary Moore, alongside acoustic versions of these classic tracks:

• Mama Nature Said (Acoustic Version)

• A Song For While I’m Away (Acoustic Version)

• Eire (Acoustic Version)

• Slow Blues (Acoustic Version)

• Dublin (Acoustic Version)

• Whiskey In The Jar (Acoustic Version)

• Here I Go Again (Acoustic Version)

• Shades Of A Blue Orphanage (Acoustic Version)

• Remembering Pt. 2 (Acoustic Version)

• Slow Blues G.M (Gary Moore) (Acoustic Version)

The album will be available in both CD and limited-edition marble vinyl formats, along with an ultra-limited vinyl edition featuring an exclusive bonus track. Don’t miss out on this once-in-a-generation release from one of rock’s most beloved bands.

Order Now:  https://thinlizzy.lnk.to/TheAcousticSessions 

CJ Wildheart – ‘Slots’ (Self Release)

CJ Wildheart – ‘Slots’ (Self Release)

He may be out of the Wildhearts for good, but CJ Wildheart still

carries that monicker for good reason. He was always more than just Ginger’s sideman and has proven over the years that he can hold his own as a songwriter, a singer and a frontman.

From the likes of Honeycrack, The Jellys and his decade of solo albums, CJ has carried a torch for punky, pop music, where the guitars are loud & raw, the vocals abrasive and the melodies are as sweet as a sugar-coated lollipop. 

With not an acoustic guitar in sight CJ Wildheart offers us an early look at his brand-new long player ‘Slots’, and with long time drummer Jason Bawld behind the kit and Dave Draper on production duties, I am expecting good things. 

Opener ‘Another Big Mistake’ is an anthem that sets the bar at a frantic pace. Pummelling beats and a wall of distortion lead to an earworm of a chorus you’ll be shouting from the rooftops for weeks. 

If you’ve any doubts about CJ’s songwriting suss then first single ‘The Baddest Girl In The World’ will put you straight. With crunchy riffs aplenty and a chorus as instant as a Costa cappuccino, it’s an instant (sorry!) winner. 

Raw, snotty and unadulterated, yet always melodic, the 70’s punk influence is prevalent throughout ‘Slots’, especially on the likes of ‘Beg’ and ‘Coma’. Side 1 ends with the more commercial feel of ‘The Kids’, with CJ giving more than a hint of a cockernee snarl going on, which is nice.

Drop the virtual needle on side 2 and we are treated to a cover of The Jam classic ‘In The City’. An Iconic riff and an iconic song. This is a raw version brimming with an energy that fits the feel of the album perfectly.

‘Bent’ is an acerbic assault on the senses, as vocals and pummelling drums flail around and vocals are spat with defiance. 

‘You Got The Best Outta Me’ is an instant classic on first listen for me. A euphoric burst of energy with a memorable chorus that nods to the likes of Stiff Little Fingers or The Clash at their ferocious best, love it.

The title track could be a Wildhearts B side (and we all know how good they could be). With a hypnotic refrain, a certain juxtaposition of heaviness and melody that only the likes of The Wildhearts can capture, it’s no real surprise it became the album title. A glorious noise indeed. 

The album closes on a high with the familiar riff of ‘I Don’t Know What It Is’. A killer chorus refrain brings the party to a close with cheering and shouting to fade. 

It’s certainly a short, sharp shock to the system. 10 songs delivered in 30 minutes, job done!

Holding the flag high for independent artists, it’s another killer collection of songs from a man standing out from the shadow of his former band. 

Treat yourself to an early Christmas present and hit that link below to pre-order. I know I will.

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Author: Ben Hughes

The Flaming Sideburns – ‘Rocket Science!’ (Svart Records)

The Flaming Sideburns – ‘Rocket Science!’ (Svart Records)

Way back in the day Garage rockers The Flaming Sideburns made records for fun and they are as hard to find as hens teeth so having them all on one neat compilation album is a no brainer and seeing as the band is on ice for the foreseeable This will do just nicely.

This carefully curated collection, put together by the band and Svart Records, features a total of 13 studio recordings from 1996–1999, three of which are previously unreleased, while the rest appeared on sold-out limited releases around the turn of the millennium.

Back in 1999 and The Flaming Sideburns went to New York for a recording session before returning to Finland. While on tour, they verbally signed a record deal with Bad Afro in Bellingham at the Garageshock festival. As a result, we had that first ‘official’ album the classic ‘It’s Time To Testify…Brothers & Sisters’ the band’s singer Eduardo Martinez, points out that this release is something of a watershed moment for the band which is why it’s finally getting a release in January 2025.

There’s such a cool live vibe on the opening four tracks that were recorded in sessions back in NYC they absolutely nailed the reckless abandonment and garage rock sound perfectly hitting the familiar groove that sounds so cool and fresh even to this day all these years later. ‘Spanish Blood’ hit the ground running with a loose feel but those guitars hit the spot. There might be every garage MC5 cliche known to man happening here along with some (Flamin) Groovie licks and melodies ‘Do The Bama Lama’ is a band having fun.

By the time the band headed back to Helsinki and recorded a magnificent version of ‘Lucille’ they were getting the groove on and the saxophone on this one is super sleazy to accompany Martinez’ awesome screams. The first three songs on side two are previously unreleased with ‘Walking Dynamite’ giving early Hives a real run for their money. To be fair when they covered ‘Suzie Q’ it’s a feedback howling jam of the highest order from Martinez Iggy drawl to the guitars trading licks n fills its a banger as the kids would say.

It’s a no-brainer for Garage Rock fans or Flaming Sideburns fans, sure its not polished and very much Lo-Fi stuff but a fascinating and exciting collection for sure with the band nailing their covers to the mast and showing what’s inside their soul to great effect. I hope the band are chilling whilst being put on ice but don’t leave it too long before they reconvein and kick out the jams once more. I love some Flamin’ Sideburns. Buy It!


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Author: Dom Daley

Ugly Mac Beer – ‘Broken Ill’ – ‘(X Ray Production)

Ugly Mac Beer – ‘Broken Ill’ – ‘(X Ray Production)

French hip-hop producer Ugly Mac Beer, has been in music for over twenty years and on ‘Broken Ill’ he decided to go back to the beginning and his passion for synth punk. Three decades later, he brings to fruition an album he has dreamed of making since the age of 16, adopting a “Rick Rubin style” in its creation and production. “Broken Ill” is all over the place musically but its roots are very much in Gothic post-punk with a throbbing bassline front and centre whilst breakbeats and synths pepper the songs in every direction. post-punk, electro-punk, darkwave, and ew wave, while still maintaining its roots in US hip-hop, with a significant touch of rap rock is how Ugly Mac describes it and who am I to disagree?

Often a headfuck but a compelling and interesting listen it reminds me of Suicide (of Course) as well as a playful Joy Division in parts and darker Marc Almond whilst the throbbing Basslines are ever present like the glue that holds this all together whilst the synths twitch and ding from speaker to speaker messing with your head.

Mac Beer’s influences are heard throughout the album, from the Beastie Boys to The Cure, and including Kraftwerk and Sleaford Mods. In terms of collaborations, Ugly Mac Beer has enlisted a diverse array of rappers from various backgrounds. Among them is the iconic Princess Superstar, a prominent figure in the 90s underground scene, whose hit track “Perfect”, released two decades ago, unexpectedly resurged on TikTok, sparking excitement and eventually securing a place on the 2024 Billboard Charts. It even underwent a remix by David Guetta himself. Additionally, Mac Beer has teamed up with French rapper signed to Kitsuné, Mynameisleonidas, who has contributed to a significant portion of the album. Other collaborators include the singer from the French punk band Frustration and Mac Beer’s longtime collaborator and friend, The Real Fake MC a.k.a OP18. With “Broken Ill”, Ugly Mac Beer, hip-hop beatmaker par excellence, surprises and delivers a solid rap rock album with a pervasive UK influence, inviting listeners into his ever-evolving, creative, and audacious universe.

Stepping well outside ones comfort zone is often a rewarding and terrifying move but on occasions, it will mess with your head and reward your heart – join me and check this one out.

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Author: Dom Daley

Inca Babies – ‘Ghost Mechanic Nine’ (Self Release)

Inca Babies – ‘Ghost Mechanic Nine’ (Self Release)

“Swamp rock, death rock, Gothic post-punk…?” As Inca Babies say themselves, they’re not easy to pigeonhole. But, as ever, all that matters with a new album is “is it any good?”. Well, just as 2024 is coming to an end, this is another release that should be in your Top Ten of the year. Thankfully, I’d seen drummer Rob Haynes’ online post, proudly holding a vinyl copy of ‘Ghost Mechanic Nine’.

And the band should be proud. I’ll admit to being more familiar with Rob’s ‘other’ bands; Membranes and Gold Blade. And there’s some shared DNA with Membranes’ dark, brooding tunes here, though the riffs are perhaps more of a rock nature. I dived in, with no expectations, always useful. I was hooked straight away, from the title track onwards. There’s something here for fans of The Gun Club, Kid Congo and the aforementioned Membranes. I’m also reminded of Bone-Box, another link to Gold Blade, and it’s a relief that bands like this still exist.

I’m probably guilty of overusing “hypnotic”, but the tunes here really do get under your skin. ‘Insect Symphony’ being a prime example, with a lyrical nod to The Cramps and a way with a tune that recalls The Righteous Mind. ‘Augustus Tympan’ slinks along, dirty bass line and angular guitar, and ‘I’m Stayin Put’ has another upfront bass melody from Jim Adama. Harry Stafford has a great line-up here, it’s just tight enough while keeping a groove throughout.

‘The Exhaust Of Broken Dreams’ adds organ to the sound, it’s like a dream of Ennio Morricone twinned with The Specials. Special, indeed. ‘Spacewalk’ brings the twang, a darker version of The Hillbilly Moon Explosion, and ‘Mercury Is Down’ is punchier, a dark tale, “time to take a heavy ride…”

‘Deck’ is a shipwreck lament hooked to yet another effective bass line. It’s nice to hear the bass up in the mix, the interplay between bass and guitar across the album is one of its strengths. ‘Opium Dub’ broadens the soundscape, Spaghetti Dub, perhaps?

I don’t know what long term followers of the band will make of it. I have yet to explore their back catalogue. But with this, their ninth album, they have a new fan. Judged on its own merits, it’s a dark gem.

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Author: Martin Chamarette