Ravagers – Call off the ‘Dogs’

Ravagers – Call off the ‘Dogs’

Ravagers are back with a new single and music video that cuts straight to the bone. The band will release “Dogs” on February 5th, the first single from their upcoming album “On The Loose”, due out April 5th via Spaghetty Town Records (US) and Wanda Records (EU). The song, a gritty, high-energy blast of punk and hard rock, tackles a darker side of urban life with an intense and visceral narrative.

“Dogs” is a song that was born out of the unsettling reality of constant citizen alerts about wild pit bulls attacking people in lead singer Alex Hagen’s Baltimore neighborhood. According to Hagen, the song is about always being on edge, and having to stay alert. “It’s a song about survival,” he says.

The accompanying music video, directed and edited by Hagen himself with cinematography by Danny Siebenhaar, mirrors the song’s raw, urgent energy. Filmed in a freezing urban environment at night, the band plays amidst trash can fires in city streets while a giant dog stalks in the background. The atmosphere is stark and cold, amplifying the song’s themes of danger and survival.

The track and video for “Dogs” will be available across all major streaming platforms starting February 5th, 2025. “Dogs” serves as the perfect introduction to On The Loose, the band’s upcoming album that’s set to take their signature blend of punk, glam, and hard rock into darker, more intense territories.

Formed in Baltimore, Maryland, Ravagers are known for their explosive mix of punk rock, glam, and hard-edged rock ’n’ roll. Their dynamic sound, combined with high-octane live shows, has earned them a dedicated following worldwide. The band’s 2022 release Badlands was well received for its raw energy and great hooks, establishing Ravagers as one of the most exciting bands on the underground rock scene today. With On The Loose, the band takes their music—and their message—into darker, uncharted territories.

Don’t miss Ravagers on their upcoming EU/US lives dates

03/01 Frostburg MD, City Place

03/2 Pittsburgh PA, The Government Center
04/08 BELGIUM • ARLON, L’entrepot

04/09 BELGIUM • Antwerpen, Antwerp Music City

04/10 GERMANY • Bochum, Wageni

04/11 GERMANY • Wermelskirchen, AJZ Bahndamm

04/12 GERMANY • München, Glocke (w/ DeeCracks)

04/13 AUSTRIA • Wien, Chelsea

04/14 GERMANY • Bamberg, Liveclub

04/15 GERMANY • Tübingen, Blauer Salon

04/16 GERMANY • Erfurt, Tiko

04/17 GERMANY • Leipzig, Bandhaus *

04/18 GERMANY • Halle, VL *

04/19 GERMANY • Dresden, Chemiefabrik *

04/20 GERMANY • Berlin, Wild at heart *

04/21 GERMANY • Mainz, Fanhaus *

04/23 GERMANY • Münster, Heile Welt

04/24 GERMANY • Saarbrücken, Tante Anna

04/25 SWITZERLAND • Rorschach, Treppenhaus

04/26 FRANCE • Montreuil, La Pêche

04/27 FRANCE • Nantes, AK Shelter

04/29 FRANCE • Perpignan, Le Nautilus

04/30 SPAIN • Santander, Rock Beer The New

05/01 SPAIN • Portugalete (Bizkaia), Groove

05/02 SPAIN • Gijón (Asturias), Acapulco

05/03 SPAIN • A Coruña, Mardi Gras

05/04 SPAIN • TBA

05/05 SPAIN • TBA

05/06 SPAIN • TBA

05/07 SPAIN • Donostia, Dabadaba

05/08 SPAIN • Madrid, Gruta 77

05/09 SPAIN • Gandia, The Dublin

05/10 SPAIN • Cox (Alicante), TNT Blues

05/11 SPAIN • Barcelona, Meteoro


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Bob Mould – ‘Neanderthal’

Bob Mould – ‘Neanderthal’
NEW ALBUM, HERE WE GO CRAZY, OUT MAR 7th ON GRANARY MUSIC/BMG RECORDS

 Having just announced a pair of special release week UK shows at Bristol Rough Trade and London’s The Lower Third, both of which sold out in a flash. Mould releass the new single ahead of the album release ‘Neanderthal’.

Pre-order the album here: https://rr.lnk.to/HWGCAlbum

Tilly Kingston – ‘Fairytales & Horror Stories’ EP (BCMG Recordings)

Tilly Kingston – ‘Fairytales & Horror Stories’ EP (BCMG Recordings)

In my review of the EP by Long Island, I mentioned Tilly Kingston and thought afterwards that no one here had reviewed this EP when it was released in the second half of 2024. I don’t know much about Kingston other than what I have been able to piece together online. She is based in Lichfield, United Kingdom, and this is her first EP. She grew up surrounded by music according to my research with exposure to 60’s and 70’s music as well as punk and emo. She has developed her own pop-punk style which could comfortably allow her to share bills with the likes of the Dollyrots, Yungblud, Bilk, Olivia Rodrigo, or State Champs. At around 18 or 19 years of age, she has released a fresh-sounding EP that lays a nice foundation for her to continue to refine and develop as an artist.

The title track has a modern sound with a lot of production, which might be the biggest drawback on the EP for me. I would prefer a rawer production style but think this is probably a generational thing, as this sound could sit comfortably on the radio. She incorporates some raspy screams during the breakdown which serve as a nice counterpoint to the melodic vocals in the song. She covers a lot of musical ground across these 6 songs with this being the ‘heaviest.’ She turns from this to a very melodic POP rock song in ‘Best Break Up Ever.’ I could see lots of people singing along to this song if she was opening for artists like Simple Plan or Lolo. While not my favourite genre, I really like this song, and she has packed an addictive chorus here that would make a lot of inroads on pop radio. This transitions to one of my most listened to songs of 2024- ‘Youth is Wasted.’ This one pushes to the pop-punk genre and contains another massive hook. She includes some terrific double-entendre lyrics in parts of the song. Again, this song should be garnering mass play on modern pop and rock stations. The song feels like a celebration and acts like a natural rush of adrenalin.

The second half of the EP begins with the acoustic ‘Too Broken.’ It is nice to get a song that shows vulnerability in her voice, and I love how her voice expands as the song goes. Again, the diversity in material here really gives her a lot of latitude in where she wants to go. Electronic beats and a modulated vocal usher in ‘Off My Meds.’ This is another hook heavy POP-punk song that could create some great singalong moments at the more commercial pop-punk festivals and would feel at home on a State Champs album. ‘Happy Now’ closes out the EP with another great vocal that gets to shine in the verses and leads into a chorus built on an uplifting hook. Again, this is another one that would seamlessly fit into modern pop or rock stations.

I am interested to see where she goes from here. She has demonstrated she can pack a song with massive choruses designed for the masses. The only song that really misses me is the opening track. As I see artists like Yungblud and Lolo garner lots of press and support from the likes of Kerrang, it would seem a natural that Kingston should connect with those fans in a big way. I would love to see a release down the road with some stripped back production to showcase her voice. After spinning ‘Youth is Wasted’ again and again over the past many months, I recommend checking out this release if you are open to the more mainstream pop-punk sound. I look forward to whatever she has up her sleeve next.

‘Fairytales & Horror Stories’ is available now.

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Author: Gerald Stansbury

The Clang Group – ‘New Clang’ (Fretsore Records)

The Clang Group – ‘New Clang’ (Fretsore Records)

Clive Langer might not be a household name to RPM Online readers but I’m pretty damn sure you’ve heard his production on some huge hits. ‘Come On Eileen’ anyone? Bowie ‘Absolute Beginners’, Costello, Madness, Morrissey and Teardrop Explodes to name a few. This ‘New Clang’ is my first foray into his performances as a musician and as soon as the first bar leapt out of the speakers I was impressed with the quality not just of the production that’s a given I guess but the music that it focusses on. ‘Know Me’ does have some Bowie coursing through its DNA and that’s always going to be a good thing.

The amps get turned up on the lively ‘Page 1’ then its sit back and let the music wash over you. ‘Lo-Hi’ cruises at a gentle pace maybe akin to late 80s Bowie in style dare I say Tin Machine for style with the big drums and harsh guitars mixed with the hushed spoken sung vocals with some impressive gang vocals. The record gently evolves via ’14th Floor’ and its piano driven melody I’m thinking Hunter and Ray Davies but more of that later.

‘Bulldozer’ is an angular rocker that jars whereas ‘Southend’ wheezes on the keys against a full-blooded bass line painting a musical picture of the Town perfectly. The album reaches a peak with ‘Its Wild Out There’ and its percussive chaos in the opening before easing back into a purposeful jaunt down some Mott the Hoople Rock.

The end of the record is the sound of a band and songwriter freewheeling towards the climax with the playful ‘Wrong House’ before the big reflective ‘Addiction’, this being the first time in almost 50 years he’s written sober and that’s some achievement accepting the past and moving on is always a good place to be and I guess that’s reflected in this album and its qualities. There’s a nod to the past and the influences but it doesn’t overshadow Clive Langer and The Clang Group and what they’ve achieved here.

Staying on the subject of booze, the album ends with a Ray Davies cover of ‘Alcohol,’ and then the album is done. I really enjoyed that. I went in blind, not knowing what to expect, but I ended up being impressed with the songs. So I guess I would recommend you go check this out. If any of the touch points I’ve mentioned here have raised an eyebrow of interest, you won’t regret it.

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Author: Dom Daley

Richard Davies & The Dissidents – ‘High Times And Misdemeanours’ (Gard du Nord Records)

Richard Davies & The Dissidents – ‘High Times And Misdemeanours’ (Gard du Nord Records)

Having seen Richard put in a pretty impressive shift slinging his six strings with Marc Valentine it has been something of a pleasure to have this album on heavy rotation for the past few weeks. It’s the second offering from Richard and this is another step in the right direction offering a gritty real-life view on the world be it through an acoustic guitar or the wheeze of a harmonica or some laid-back telecaster rock n roll its an album filled with twists and turns in a world just off the beaten track where everything polished and sanitised this is real campfire rock n roll with its big beating heart worn proudly on its collective sleeve. from the opening mid-tempo stroll of ‘Keep Your Fire Burning’ it breaks of moonshine Rock n roll with a chorus that digs in and refused to leave until you’ve chased that dragon one more time.

There’s a feeling of yesteryear as the guiding lights of Mott The Hoople and The South of France Stones collide with Thunders and Perrett. ‘Soldiers Of Fortune’ is a marvellously crafted song that’s pumping blood around the speakers with the likes of Thunders whispering melodies into Davies’s ear for inspiration without ever sounding like his heroes in a copycat way but leaning on their rich catalogues for inspiration.

I love the swagger of ‘Human On The Inside’ and the arrangement is excellent as the song soars toward the chorus you feel like you’ve been on a journey with the band and it was the best of times real roots rock n roll. Theres a lot to admire on ‘Born To Drown’ with its subtle keys sounding like a song Stuart and Prophet would have loved to have written in their Green On Red heyday.

‘Born To Drown’ is another unassuming earworm from the melody to the arrangement it’s not at all overcrowded even though there is a lot going on a great tune from what is unquestionably a talented band. ‘Lead Me Out Of The Wilderness’ is more laid back with a hint of Dylan and a great vocal. ‘Age Of The Blade’ is a sharp riff and ‘Higher Station’ has a hint of Americana in there and some great backing vocals to light up the Chorus. The album closes out with the Surprise cover of ‘Live For Today’ and what a pleasant surprise it is too. I always get a little worried when I hear people covering a Stiv Bator song because of the high regard I hold him in but this is spot on. Richard hasn’t tried to copy or mimic note for note rather he’s interpreted and handled it with kid gloves and paid respect to a classic in the interpretation and delivery and to be fair it just about caps off one of the strongest albums I’ve had the pleasure of in quite a while. Great effort all round and an album I highly recommend, While the world might be heading to hell in a handcart it’s reassuring to know that I can have an awesome soundtrack as I go down in flames and ‘High Times And Misdemeanours’ is right at the top of the playlist playing loud and proud. Simple one this – go Buy It!

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Black Eyed Sons – ‘Cowboys In Pinstriped Suits’ (Off Yer Rocka Records)

Black Eyed Sons – ‘Cowboys In Pinstriped Suits’ (Off Yer Rocka Records)

So they finally resolved the name issue and took the moral high and changed to Black Eyed Sons Whatever that means I dunno nor do I care quite frankly) they and we are way to old for squabbling for whatever reason I’m sure a collective mam would have bashed their heads together and told them all to get on with it but I am glad these guys didn’t persevere with The Quireboys title it would have killed them musically before anything could get off the ground but that’s just my opinion and I stayed out of the debate and refused to get drawn into the rights and wrongs of the whole saga all I was hoping for was some great music coming out the other end. Now not wanting to talk about the other band here but I have to admit I really enjoyed the recent album. There I said it, I also avoided any music until the album dropped from Black Eyed Sons and so here I find myself catching up on all the gossip and whats going on in these here grooves on the debut album of ‘Cowboys In Pinstriped Suits’ again not wanting to speculate about what that is all code for if it is indeed that but what I will say from the outset after all this here waffle is I had zero expectations for what this was going to sound like but in an instant I was really impressed by the quality of the songs and after several plays I feel they’ve really hit the bullseye and delivered a stonking rock n roll record.

Something of a Collective of big-time players and some not quite so big time but each and every “guest” has weighed in with a hefty contribution to proceedings from Steve Conte rockin out on ‘Foolin Yourself’ a total barnstorming harmonica Howlin rocker with a huge swagger and some fine guitar playing all round. Making an old format rather exciting I must say. To be fair this record is a celebration of good time rockin’ from seasoned professionals as the album swaggers forth and also has deft touches of emotional balladeering like ‘Autumn Reigns’ excellent flow and use of traditional instruments that punch in and out from the slide to the lap steel its countrified inner city blues for sure.

Treating it as something of a musical rebirth it’s clearly taken on a whole runaway train feel with all the guests but it’s not disjointed at all and like I said the flow is excellent. treating it as a stand-alone new project, Getting Def Leppard’s Joe Elliott alongside Alice Cooper guitarist Ryan Roxie and bass from Chip Z’Nuff is great but the likes of Alan Clayton alongside Steve Conte are the real gems for me turning in a stunner in the shape of ‘Savoir Faire’. Like the most comfortable rock n roll tune you’re likely to hear all year its got everything from the swagger to the musicianship to knock you off your socks its pure prime time Faces rockin up in 2025.

These guys have been playing together for over twenty years so having all the guests isn’t going to cause bruised egos which has helped the flavour of the record and whoever chose these players be it Mike Tramp Or Chips or Alan Clayton they chose rather well and each vocal adds that little sprinkle of magic a record needs to stand out and boy does this record stand out. It’s not the Down ’n’ Outz with Joe Elliott and it’s not the Quireboys mark two it’s more than those and something to stand alone on its own merit.

I even have respect and time for their cover of Johnny Thunders ‘Can’t Put Your Arms Around A Memory’ which they handle well and don’t try to be smart and change it for the sake of change but respect a classic and add another flavour. Hats off to Guy, Paul, Keith, Nick and Pip you guys have delivered a storming set of rock n roll to last the test of time I look forward to hearing it live and whatever you deliver next. Finally, we can all move on in the knowledge that some pretty awesome music has come out of the pain. Buy it.

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Author: Dom Daley

MILLIE MANDERS AND THE SHUTUP – ‘Me Too’

MILLIE MANDERS AND THE SHUTUP – ‘Me Too’

ME TOO // SINGLE & VIDEO – CHOOSE THE BEAR TOUR // SPRING 2025

MILLIE MANDERS AND THE SHUTUP have released their new single Me Too, taken from their acclaimed second album Wake Up, Shut Up, Work. The single is the fourth and final to be taken from the album and comes with an acoustic version on the B-side and an intensely powerful and emotional video directed by Ell Bobin. The release comes ahead of the band’s Choose The Bear Tour in the spring, which includes their biggest headline London show to date at Camden Dingwalls and will raise money for Sexual and Domestic Abuse charities along with a new Angry Ted Plushie bear. The bear will be strictly limited to 500 with £6 from each one being donated to The Survivors Trust, Refuge UK and Beyond The Streets with the aim of raising £1000 for each charity.

Pic: Tina K

The video features members of Ramona’s Tea Party, who supported Millie Manders and The Shutup on their headline UK tour in the autumn of last year, and members of the audience on those shows.

Speaking about the video, Millie says:

“Thank you to Ramona’s Tea Party for the excellent acting and for spending hours on set with us, and especially to Ramona for deeply immersing herself in the moment, making us all emotional. And thank you to the literally hundreds of people across our shows who chose to be filmed for this video. We are so sorry we couldn’t fit more in. It was staggering the number of you who wanted to be involved with this. Thank you so much for watching and for your support.”

Wake Up, Shut Up Work reached #2 in the UK Rock & Metal album chart and #6 in the UK Independent album chart upon its release in August, and is the follow up to their Telling Truths, Breaking Ties debut. The album is available on CD and vinyl from https://linktr.ee/milliemanders and a host of independent record stores alongside all major streaming and download platforms.

CHOOSE THE BEAR TOUR

FEBRUARY

Thu 13 LONDON Camden Dingwalls

Sat 22 LEEDS A Fistful Of Ska

MARCH

Thu 27 BLACKPOOL Bootleg Social

Fri 28 GLASGOW Audio

Sat 29 SCARBOROUGH Punk Festival

Sun 30 YORK Crescent

APRIL

Fri 18 MANCHESTER Punk Festival

Wed 23 MILTON KEYNES Craufurd Arms

Thu 24 ALDERSHOT West End Centre

Fri 25 HITCHIN Club 85

Sat 26 SWANSEA Sin City

MAY

Thu 01 HUDDERSFIELD Parish

Fri 02 BIRKENHEAD Future Yard

Sat 03 LEICESTER Musician

Sun 04 DERBY Hairy Dog

Tickets from www.millie-manders.com and the venues.

Black Viiolet – ‘After You’ (Adrenalin Fix Music)

Black Viiolet – ‘After You’ (Adrenalin Fix Music)

Fair to say, this album likely would not be getting reviewed here if the singer wasn’t Nicole Laurenne from garage rockers The Darts. My connection with Laurenne goes back many years when she was fronting the Love Me Nots whose third album ranks in my top 5 favourite records of all time. The Love Me Nots were also a garage rock band with mod influences and a flair for seductive sounding back-alley songs. While some of the early Darts songs rose from the ashes of the Love Me Nots, there are clear distinctions in the sounds of both bands. There have also been some side projects along the way, but Black Viiolet feels like it has equal standing with the Darts (who will be touring this year, releasing a split 7”, and a best of album called ‘Nightmare Queens. You might have read that here first). So what makes Black Viiolet different? Well, this has been described by Laurenne as torch-triphop, and I think that is a great description.

While the Darts crash down the doors where they play, this is insidious in how it penetrates your soul. The difference is clear in the first song ‘About a Woman’ where the keyboards and beat remind me of something that would perfectly soundtrack a film set in a dark club where the backdrop is dark, the carpet is shaggy, and the film itself is a little grainy. The camera pans in to find a band performing and then slowly goes around the rest of the room showing us a mix of people from glamour to gritty. Laurenne showcases a softer feel in her vocals. This opening song could have been sequenced into ‘Sexplosion!’ by My Life with the Thrill Kill Kult. Slinky bass introduces ‘Yin Yang’ where Laurenne sounds like she is commanding a burlesque show. I was a constant proponent of incorporating horns into some of the Love Me Nots songs, and they work perfectly here. They also have a prominent role in ‘Devil.’ The subtle keys in the mix are brilliant, and I love how the chorus has a surge of energy. I could see this song transformed into a garage rocker as well, but this just feels perfect. ‘Never Know’ has a nice groove and has been a grower on the album for me. My favourite part being near the end when the vocals rise in intensity level.

‘Don’t Leave Me (On the Dancefloor)’ doesn’t connect with me as much as other songs here. The introduction reminds me more of a 70’s era pop song with the main portion sounding more disco-flavored. The vocal work in the bridge provides a nice change even if this isn’t a song I rush to hear again and again. The album then serves up the piano-based ‘Not It’ which hits hard in its subtle musical touches. While the album in general provides Laurenne an opportunity to leave her vocals laid bare with no guitars or Farfisa to hide behind, this song showcases a wonderful emotion-filled voice front and centre. Side one comes to a close with the slinky ‘My Baby Just Cares for Me’ which caterwauls through the room with the horns and keys accentuating the song. The beat is hypnotic with the build-up to the close expertly done.

Flipping the album over, we start act two with the resilient ‘Not About You’ where Laurenne lays her soul bare over another cool rhythm and assures herself and anyone else listening that she is fine. The emotional dichotomy between how we end side one with love and jubilation and the ruins that open side two could not be more different. ‘New Day’ serves as the next morning where the past lays in ruins, but there is a new future laid out ahead. This is another great trip-hop song where the chorus pops out of the speakers with a renewed resolve. A song like ‘Outta My Mind’ is another great example where Laurenne really channels new directions from what she has previously done. The space in the verses to deliver the lyrics with the subtle transition to a chorus where the horns share space perfectly with the vocals. In fact, the horns might be my favourite touch in the song. ‘Stayin In’ feels like a throwback to an old romance movie from the 50’s or 60’s where we see a montage of the couple celebrating their newfound love.

As we begin the home stretch of the record, ‘When You Loved Me’ connects more through the verses than the chorus. This might be one where musically I could see it benefitting more from a garage rock overhaul in the chorus. With that said, I imagine this might be one of those songs that one day clicks for me. Horns and a trip-hop beat introduce ‘Drop’ where Laurenne again shows more flexibility in her vocal approach. This might be my current favourite from the album. I want to call out the great production work by all the producers involved as the album came together across multiple studios. ‘You Can’t Afford Me’ ends the album on another highlight and closes out the cinematic feel showcasing a performer as the burning epicentre of the club reminding everyone that she is always just out of reach.

For those that love the Darts and Love Me Nots, I anticipate you checking out this album already. If you want an album to get you pumped up in the morning, this would not be that album (cue Frankie and the Studs instead). When your day wraps though and you need to decompress, pour a glass of your favorite drink and drop the needle on this record. There have been Black Viiolet tours as well which I would also definitely recommend if you can go. With a back catalogue of awesome albums, ‘After You’ provides another one to be savoured in a whole other musical world.

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Author: Gerald Stansbury