Having had the privilege of reviewing the brand new album from Bob Mould and being so impressed with it that I’d rank it right at the top of the man’s solo output having had it on constant rotation for a couple of months I wasn’t going to pass up the opportunity of seeing the guy play the pack room venue of Rough Trade Bristol on a Sunday afternoon the weekend the album is released. Cue the hottest sold-out room imaginable, even with the air-con working over time it was akin to being dumped into a sauna with 180 like-minded folk all having forgone their Sunday Lunch to be here for some sonic sustenance and a sermon according to Bob Mould.

Bob ambled on stage right on cue and proceeded to spend the next forty-five minutes wringing the neck of his guitar and sounding bigger and louder than 99.9% of bands with his one-man electric guitar assault. ‘The War’ opened proceedings before he dove into the archive and dished up a wonderful Husker Du classic in ‘Flip Your Wig’ but I wanted to hear some of the songs that have peppered the ether around HQ for weeks and so four of the next five tracks were as familiar to my ears as the Husker Du tracks he offered up. ‘Hard To Get’, the title track and the magnificent ‘Neanderthal’ followed each other into the red-hot Rough Trade Sauna Room. ‘Breathing Room’ was inappropriate because, by the midway point, there didn’t seem to be much oxygen in the building not with Mould cooking it. We were also treated to ‘Too Far Down’ and ‘Celebrity Summer’ from the hymn book of Husker Du but there was a poignant moment when Mould offered the Bristol audience an apology on behalf of the sane portion of his home nation with all the madness that’s coming out of the White House currently. It wasn’t needed because most if not all present are behind Mould but ‘When Your Heart Is Broken’ seemed appropriate but hopeful that things can and will change.

As we headed into the home straight and Mould headed outside for some air and to cap off this matinee performance with 180 signatures of his new record he entertained us with a magnificent rendition of ‘Hoover Dam’ before ending the show with a devastating ‘Makes No Sense At All’. It was then great to show Mould our appreciation personally and the chance to thank him for a stunning new LP my only disappointment is we won’t get the chance to do this again soon and/or hear these songs with a full band but we can wait for that. If you get the chance to catch any of his up-and-coming shows my advice be it full band or Bob and his electric guitar take it with both hands you absolutely won’t be disappointed. Bob Mould and ‘Here We Go Crazy’ rocked. Now, if only they had dry clothes facilities and a towel down it would have been perfect.

Author: Dom Daley

Sarf of the river punk rock n rollers The Phobics are back with a brand new collection of tunes that was released at the fag end of 2024 but we must have been still ou partying to notice this slip through the HQ cracks so its time to rectify and testify.

With the false sense of security that a very pleasant piano melody will lull you into its the rasping punk rock n roll that ushers the piano out of the window and moves the bastard kids of The Ramones and Heartbreakers into the room to fuck up your day or more to the point usher in the wonderful soundtrack to the rest of your week and turn every day into the weekend.

these Deptford chaps might well have been round the sun a few times but they’ve been paying attention to the good and the greats of some of the finest rock n rollas of the past five decades from the finer points of the Dolls to Da Bruthers and across the pond via The Joneses these cats have got the cream and they’re willing to share it with anyone whos prepared to offer up their time in return for some top tunes.

The mix of loud guitars with the phat lower end is not created by accident it’s a well-constructed beast by people who do know better and ‘Hang 10’ has the Thunders ring on the guitars as they get rinsed. It’s got melody and a swagger that runs through this album like a stick of Deptford rock. Tracks like ‘Dreamworld’ have that Jones crunch on the guitar and the Peter Perrett meets Pete Shelley daydreamin’ vocals. Before we reach the midway point the band crank it up with the delightful romp of ‘Sick And Tired Of The 21st Century’ where they hit the nail right on the head. It should replace the hokey Cokey on New Year’s eve as we all link arms and sing along.

It’s not all Crash Bang Wallop mind, ‘I Want You’ starts off with a nice picky guitar intro before going Crash Bang Wallop. To be fair when The Phobics do give it some Crash bang and a helping of Wallop they do it with style and panache and make it sound fresh and vibrant. ‘Brand New Jag’ has a swagger and leans on some fine cliches and the rhythm section gives it plenty of swing whilst the guitar rips it right up with some fine wah for good measure.

Oh shit get the piano we threw outta the window ‘News From The Sun’ needs it for the intro. What The Phobics do is write bloody good tunes, a load of melody and a sunny disposition that sounds like this band of brothers are having a great time knocking out punk rock n roll on their own terms. It’s timeless when it’s done well and this lot does just that. Hell they even leave the biggest earworm til last as they out Adicts the Adicts with ‘My Best Friend Has Died’ expect Tom to wear a cape and throw out magic tricks at their next show. If you want a fix of Punk rockin power poppin rock n roll then look no further because The Phobics have got us covered. Buy It!

Buy Here

Author: Dom Daley

Get Ready was a honeymoon record. Looking back now it was very enjoyable to make, and I think is massively underrated. It did sort the wheat from the chaff and led to a New Order mk2 which played better but had lost a naivety whilst gaining a maturity. Barney and I became a ‘power couple’ in Manchester during the making of the record but, sadly, the old problems recurred when we came to play live. The writing was on the wall from then on. The two of us worked very hard to make this a great record and I think we succeeded. I am looking forward to playing all the tracks, many of which have never been played live before. The Light will shine through … Get Ready! PETER HOOK

Following the announcement of three select UK dates for April where they will perform the New Order album Get Ready in its entirety, alongside a selection of the most seminal tracks from the rich back catalogues of both Joy Division and New Order, PETER HOOK & THE LIGHT have now announced they will play eight UK and Irish festivals throughout the spring and summer, including Shiine On, Chilfest, Forest Fest, Rebellion and Solfest.

The Get Ready dates will see the band play the 3,500 capacity Manchester O2 Victoria Warehouse, their biggest headline show to date in Manchester and their first in the city for two years; the 3,100 capacity London Troxy, their first date in the capital since October 2023; and the 1,350 capacity Bristol Marble Factory.

The Get Ready album was released in 2001, reached #6 in the UK chart and was the seventh studio album from New Order. The record was dedicated by the band to their friend Rob Gretton, manager of both Joy Division and New Order, who had died in 1999.

FULL UK AND IRISH DATES:

MARCH

Sat 29 SKEGNESS Shiine On Festival

APRIL

Thu 17 BRISTOL Marble Factory (Get Ready album in full)

Fri 18 LONDON Troxy (Get Ready album in full)

Sat 19 MANCHESTER O2 Victoria Warehouse (Get Ready album in full)

MAY

Sat 10 SCARBOROUGH Interzone Festival

JULY

Sat 05 TRING Chilfest

Sat 26 COUNTY LAOIS Forest Fest

AUGUST

Fri 08 DURHAM Stone Valley North Festival

Sat 09 BLACKPOOL Rebellion Festival

Sat 23 CUMBRIA Solfest

Sun 24 WARWICKSHIRE Camper Calling Festival

TICKETS: https://peterhookandthelight.live

The 2025 dates follow a mammoth run of live shows last year, taking in tours of Australia, New Zealand, South America and North America and a full UK and Ireland tour at the end of the year, all of which saw the band play the Substance albums by Joy Division and New Order in full. The band are continuing the Substance legacy on their current tour of Spain and France, then play a full North American tour in May and June before returning for UK and Irish festivals in the summer and an EU tour in the autumn.

Peter Hook first revisited the seminal Joy Division album Unknown Pleasures back in May 2010 for a commemorative charity concert and has followed it each year by performing subsequent albums from the repertoire of his bands, Joy Division and New Order. His dedication to his back catalogue has now seen him move through Unknown Pleasures, Closer, Still, Movement, Power Corruption & Lies, Low Life, Brotherhood, Technique, Republic and Substance to arrive at the Get Ready album this year. Having toured the albums extensively, the band have now amassed approaching 900 concerts.

Among the many highlights since he reintroduced his early repertoire to a legion of audiences across the world, both new and old, have been appearances at Benicassim, Primavera Sound, Kendal Calling, Bestival, Victorious and Rebellion, alongside extensive touring in Europe, North and South America, China, Japan, Australia and New Zealand to great acclaim from both fans and critics alike.

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Propagandhi Announce New Album At PeaceTo Be Released May 2nd via Epitaph Records

Following an eight-year hiatus, today, the Manitoba, Canada act Propagandhi announce their eighth studio album At Peace, due for release on May 2nd via Epitaph Records.

Speaking for myself, this record might be a snapshot of me deciding whether I’m going to live out the rest of my life as Eckhart Tolle or live out the rest of my life as Ted Kaczynski,” laughs guitarist and vocalist Chris Hannah.  In true Propagandhi fashion, At Peace is smart music for dangerous times. The ever-evolving standard-bearers of politically charged punk have actively kicked against musical confines and bro-punk conservatism, promoting a message of anti-fascism since 1986. Distilling their DNA of breakneck riffs, hardcore ethos, and radical consciousness, their message remains as vital, and volatile, as ever.

 “Everything I’m singing about is still coming from being the same person that wrote and sang our first record ‘How to Clean Everything’ in 1993,” Hannah recalls the band’s snarky skate-thrash origins. “But what we’re putting into the songs now, probably reflects more despair than 30 years ago when we had similar perspectives, but with strands of hope and naivete. Now it’s the existential dread of eking out a life worth living in this completely failed society.”

There’s no mistaking that on their first album in eight years, their frontline social activism has been supplanted by a deeper sense of reflection. Nearly a decade later, the members of Propagandhi have a lot on their minds. “We’re definitely not a band that responds well to someone telling us we need to put something out,” the frontman continues. “That happens when we have something to talk about – and now is definitely the time for that.”  

Marking their first release since 2017’s Victory Lap, At Peace was forged during the ominous political climate in the months before “Emperor” Trump’s ascent to power. Penned shortly before the American oligarch’s suggestion that Propagandhi’s home country become the U.S.’s 51st State, it was then mixed by Jason Livermore (Rise Against, Hot Water Music) at Blasting Room Studios in December 2024. This collection of poetic and polemic songs captures the anxieties and turmoil of the band’s four members, offering a powerful and poignant portrait of uncertainty.

Though at its core, At Peace is Propagandhi’s plea for hope against hopelessness. “Twenty years ago, we had a sense that things are fucked but that there could be a mass mobilization of people against the oligarchy, the billionaire class,” says Chris. “I don’t think that exists much in our music anymore and I don’t believe that mobilization is forthcoming. I hope to be proven wrong.”

The band will be touring in Europe coming May as part of the RECONSTRUCTION TOUR 2025 (also ft. Pennywise, Comeback Kid, The Iron Roses and Dead Pioneers. And with special guests Madball in Barcelona, Wizo in Augsburg and Dritte Wahl in Berlin)

See below for the full list of dates. Tickets are available here.

RECONSTRUCTION TOUR 2025 
16.05.2025 ES Barcelona, Poble Español
17.05.2025 IT Milan, Carroponte
18.05.2025 CH Zürich, X-tra
20.05.2025 SI Ljubljana, Kino Siska
21.05.2025 AT Vienna, Arena Open Air
23.05.2025 DE Augsburg, Gaswerk Open Air
24.05.2025 BE Berendrecht, Booswegske
25.05.2025 DE Wiesbaden, Schlachthof
27.05.2025 DE Cologne, Live Music Hall
28.05.2025 NL Amsterdam, Melkweg
29.05.2025 DE Hamburg, Docks
31.05.2025 DE Berlin, Zitadelle Spandau

Propagandhi is vocalist Chris Hannah, drummer Jord Samolesky, bassist/co-vocalist Todd Kowalski and guitarist Sulynn Hago.

Pre-order ‘At Peace’ HERE:


For more information on Propagandhi, visit:
WEBSITE | BANDCAMP | FACEBOOK | INSTAGRAM

I can already hear people on both sides taking up arms to talk about how this is an awful record drenched in noise while others shout what a brilliant album this is. The year was 1997. While the internet was alive, it wasn’t anything like it is today. A person couldn’t run to the computer to immediately head a song drop. The Wildhearts had seemed to be in danger of imploding according to the magazines at the time. They had to pull out of a tour in the U.S. with AC/DC. There was talk they had recorded demos for a new album but were unhappy with the direction they were going. These would later be released in 1998 against the band’s wishes. In 1997 though, the band released the infamous ‘Endless Nameless’ produced by the late Ralph Jezzard (R.I.P.) who just recently left this world way too soon. The band had signed with a new label (Mushroom Records) which gave me optimism as a fan that despite the stories the band’s trajectory was still moving higher.

I cannot recall what I received first. Kerrang usually ran at least a week late in the States, and Tower Records usually could get CD singles within about a week of their release. I also had a record store back in Albuquerque where I had previously lived (I miss you Merlin’s Record Workshop) that would order me everything Wildhearts related and mail the items to me. Good old mail order when I had to check the mail each day to see if I could finally hear music from across the pond… The first thing most of us heard was ‘Anthem.’ There was the initial thought of ‘Why is the music damaged like this?’ I think that was quickly followed by realizing Ginger wasn’t singing; Danny was. ‘Anthem’ is extremely catchy even through all of the racket that collides with the music. I mean it kind of had to be when you borrow a line from a chorus by the Clash to use as your hook. What I realized quickly was that there was still melody in there amongst the explosions and speaker rattling white noise and feedback. The other change that was immediately noticed was the b-sides were largely cover songs and not all originals. I can safely say that ‘He’s a Whore’ was the last one I heard because it took longer to get the 45. The production on the b-sides was the same as ‘Anthem’ with the things I loved about the band going through a noise blender. I was partial to the CD single version that contained ‘White Lies’ and ‘The Song Formerly Known as?’ ‘White Lies’ stormed out of the speakers or maybe I should say it Scorched out of the speakers. The memory is fuzzy now, but I think it was the cover of this song that helped make sense of this new sonic assault. The lyrics in the other song asked all kinds of interesting questions, and I still don’t know why we men have nipples…

I believe the ‘Urge’ single then snuck out right before ‘Endless Nameless.’ A song that continues to get louder and more destructive as it goes through its running time. This time we also received four new Wildhearts songs and only one cover song. I love all four of these originals and will talk in more detail about two of them later. What was clear upon hearing the second single was that the album was going to have a sound consistent with the noisy and abrasive sound of the singles.  I was feeling optimistic about the album overall even though I was missing the approach that had created the likes of ‘Sky Babies’ and ’29 x the Pain.’ The blend of crunch and melody had always been present in the band as I remember at one point the band was described as Metallica crossed with the Beatles which I don’t think would have been my description in those early days. Ginger has a gift for writing songs that can touch across a lot of genres, but the even greater gift is that they sound cohesive and recognizable as the Wildhearts or other dedicated projects. They don’t sound like a hodgepodge of ideas that are forced together. It never seemed odd that the band could include the old-time rock n’ roll feel of ‘Loveshit’ on the same album as the aggressive flurry of ‘Suckerpunch’ or the epic ‘Sky Babies’ from ‘Fishing for Luckies’ where Ginger incorporates what feels like several songs into a seamless epic.    

Released at the tail end of October 1997, I would not hear the album until early November when the CD appeared in my mailbox. Looking at the cover, the band had finally released an album with a picture of the band on the front cover. I don’t think I immediately noticed that they all seemed to be in their own little world and had no intention of being together as friends or bandmates. Looking back later, it became obvious that the cracks (Crack? Other drugs?) had broken the band and sent them towards an implosion. When I played the album the first time, I had initially wondered why ‘Junkenstein’ was mastered so much lower than other albums and had turned it up to a more desirable volume… For those who know, the song becomes a little bit louder as it goes. The song isn’t one with an immediate chorus that captures your attention like ‘Greetings from Shitsville’ or ‘I Wanna Go Where the People Go’ did. It felt more like my buddy’s car where you had to tap the screwdriver on the starter to get the thing to turnover. I cannot imagine another song starting the album though. This song which initially sounded like a twisted mess of noise rising to the surface gives way to a song that does feature a large hook. ‘Nurse Maximum’ roars to life in what feels like the middle of the first verse. The melody and the noise fight each other for control throughout the song in a glorious way that rewards the listener. There is nothing subtle here.

After the two singles, the band launch into ‘Pissjoy’ one of my favourite songs by the Wildhearts. It closes out the first half of the album with another anthem (no pun intended) where an opening riff without much distortion gives way to a swirl of feedback in the verses. I am not sure if my brain hears all the feedback and white noise in the mix here or somehow isolates the melodies and old crunch in the music. The kids screaming the title give it another nice element that jumps out of the mix. At the halfway mark, it is a chaotic and noisy mess of an album that really hits the spot for me on most days. There are those random moments where it may not connect as much.

The second half of the album is where I wish there were a couple of changes. ‘Soundog Babylon’ would not be one of those changes. It builds into a looped rhythm with a crushing guitar. A catchy pre-chorus sets up an even bigger chorus. In some other world, this was probably the lead track to the album, but I think it works better here. I remember a review slighting this song and have never understood it. The way it all dissolves into the breakdown with no feedback in the mix before the maelstrom at the end could not be done better. Next up, ‘Now is the Colour’ became a grower over the years. When the album was first released, I would have said the song was okay. The hook has become more ingrained in me over the years and that industrial-sounding (like a machine in a factory) rhythm section. I also hear a Lee Harvey Oswald Band influence in the way the vocals are placed in the mix. For those who cannot get past the approach the band took here, I understand feeling that way with this song filled with extra noise and sounds in the mix. There should be a warning that pops up in your car when any song includes sirens…

This is where I wish the album could have two changes. I am a huge Dogs D’amour fan with ‘In the Dynamite Jet Saloon’ being my number one album of all time. The Wildhearts cover of ‘Heroine’ just doesn’t work for me. The Dogs recorded a number of versions of it, and Tyla has released multiple solo versions of it as well. It has never connected with me as much as their other material. I don’t mind it, but it is not a song I ever really seek out to play. This is where I would have preferred seeing ‘Zomboid’ from the ‘Urge’ b-sides on the album as it is one of my favourite songs from the band at this time. It is abrasive, extremely catchy, and extremely heavy. If you want to play at home with a playlist, pull ‘Heroine’ off the album and insert ‘Zomboid’ here. The guitars seem to roar above the white noise and provide a major dose of adrenaline. Next, I make another change which could be correlated to hearing the songs back to back so often back in the day. I would include the Ritch sang ‘Genius Penis’ next. If you want to make the flipside of the album even more aggressive, you can switch that for the cover of ‘White Lies.’ I think ‘Genius Penis’ gives the album a brief break in the heaviness with a catchy chorus, spoken vocals, and gives Ritch a chance to lead a song like Danny did in ‘Anthem.’

I am not going to remove ‘Why You Lie’ from the album as I have always loved the song. I think it needs that separation of a song from ‘Zomboid’ so the additional song to the album gives more music and creates that separation. ‘Why You Lie’ initially sounds bit like a buzz saw in a machine shop with concrete walls amplifying every sound, and that is before the chorus where they see how loud they can make everything. For a record that is drenched in noise, there is a lot of dynamics used across the record. ‘Thunderfuck’ closes the proper album utilizing them to great effect. There are no ballads across the album, but I have always enjoyed that something with that title takes a very different approach musically than one might expect after the first nine songs. The slower beats and music at a lower volume to start the song to set up an awesome finale. The verses build slowly and don’t sound too far away from ‘In Lilly’s Garden’ with some different effects being used. There is a monster that is hiding in the mix though that begins to roar to life. More and more elements rise in the mix, and the beat increases until that moment when the record returns to more melodic and more traditional sounding chorus for a few moments that is still filled with all kinds of effects and just continues to get louder and louder. I have always viewed the album as whole as being a very dark journey whether it is through a metaphorical hell or our own darkness in our soul. The transition in the middle where that melody first comes out being our attempted separation from the darkness. The voices and continued chaos in the music being the back and forth as we try to find or stay in the light. That moment could not be placed in a better moment on the album. Just as ‘Junkenstein’ started the descent into this world, that melodic moment is our chance to move out of that world.

The Japanese version of the album added a loud white noise version of ‘Pump It Up’ that I have always enjoyed. Among the covers of this time period, it would only trail ‘White Lies’ for my tastes. I wish they would have moved it up in the playlist though so it didn’t come after ‘Thunderfuck.’ The band would implode not long after the album was released, and it felt like a very strange note for the band to have as its last release. When it was submitted to Mushroom Records, I can imagine their staff listening to the album and thinking something happened to the tapes before they were delivered, followed by wondering how to market these songs that will make people think they are not fully tuned into the radio station (anyone else remember turning the dial?). The following year would see the release of ‘Landmines and Pantomimes’ with the demo tracks the band had done before they started work on ‘Endless Nameless’ and some b-sides that could be found elsewhere. I would have loved to have heard a few of the six songs demoed done properly. The release was never sanctioned by the band.

The band was gone at this point, but the remnants from the Wildhearts would unleash some amazing material in the next couple of years. Ginger would decide he wanted to really see how diverse he could go musically. In 1999, we would receive the wacky and wild Clam Abuse album that I honestly don’t play much anymore. I am not sure if he ever did get that ‘Message to Geri.’ He would also release a great EP as part of SuperShit666 with Dregen, Nicke Andersson, and Tomas Skogsberg. It would be his next full album studio release though that became one of my favorite albums. Where ‘Endless Nameless’ pulled us through those dark depths that I detailed, Silver Ginger 5 captured the melodic choruses and brightness, even with some songs that remained darker lyrically such as ‘Inside Out’ and the long ago written ‘Church of the Broken Hearted.’ Danny released ‘Uppers and Downers’ the debut album by the Yo Yo’s which also still sounds incredible today. Ritch would return with the wonderful Grand Theft Audio who released the excellent ‘Blame Everyone’ album and would end up on a couple of movie soundtracks. Jef would return with Plan A. As a fan, there was solace in all of the music we were receiving, and I have not even mentioned that CJ had released music with Honeycrack.

Some things don’t stay dead though… A new ‘old’ version of the Wildhearts would rise back from the dead. Ironically, it is probably the band at their most commercial sounding with the shiny sheen of ‘Riff After Riff’ and ‘The Wildhearts Must Be Destroyed.’ When the Wildhearts imploded after ‘21st Century Love Songs,’ it seemed the band was going to remain gone again. Once again, we received multiple solo albums of new material. Ginger has created a new version of the Wildhearts. I have heard the three early release songs when I write this and am excited to hear the full album. The Wildhearts thankfully don’t ever remain dead… Satanic Rites indeed….

‘Satanic Rites of the Wildhearts’ is available now.

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Author: Gerald Stansbury          

Do you ever have one of those days where you look for something to play on the stereo or in your headphones and nothing in your collection hits the spot even if you have a vast collection from all flavours of Rock n Roll and then as if by magic the brand spanking new DeRellas album lands on your leopard print inbox and when you press play it just about hits the spot with the exact attitude you want as the world turns to shit it only punk rock n roll that can save us from going insane.

As the needle drops on the first track and first single the snarling beast that is ‘ Just Because I Smile Doesn’t Mean I Like You’ – charming I hear you whimper. The excellently balanced mix has the newest lineup of the band firing on all cylinders with a wonderfully sleazy crunch on the guitars whilst Timmy’s vocals snarl with the right amount of rasp and attitude you want from your sleazy punk n roll in 2025. With a middle finger in your face and a heart full of napalm, the band sets the tone with a wonderful opener that’s a fine earworm and perfect for setting you up for the day, lacing up your creepers, turn up the collar on your leather jacket and let’s go!

The album was Funded by a very successful Kickstarter campaign, and the world might be abalze with despots in the white house and meglomaniacs to the east the perfect escape is and always has been Rock and Roll. There isn’t much in the way of sunshine and lollipops here just a whole heap of attitude and loud guitars its an altogether darker bunch of songs than the previous ‘Something’s Got to Give’. This isn’t your Hollywood poser rock n roll this is grittier punk rock n roll cut from the same cloth as the original 77 punks like the Heartbreakers, its late-night dive bars and a morning full ashtrays and kicked over Special Vat cans, its got the DNA of The Dolls and Hanoi with the Soho Roses thrown in for good measure There might have been classic ere Alice on the VHS in the lounge but you might not have remembered the night out but the soundtrack is banging.

Its got the spirit of adventure and the gang mentality on the title track with some inspired guitar licks wrapped around the dirty chug. Thunders would approve. I’m reminded of their blood brothers from Canada, The Black Halos as the foot-stomping ‘Loveless Landslide Of Love’ is barked out. ‘Nightime’ is indeed the right time and the sleazy bass run with Iggy lyrics hitting home is a ghoulish encounter with bite. The playing of Jez and Luca is on point and in perfect harmony as the laid-back vibe is a slice of magic.

With the middle third of the album kicking off with a grubby ‘Fake It Til YOu Make It’ screaming for attention with a rollicking riff n lick as the rhythm holds tight on this punchy number comes out swinging.

‘A Shot Of Feeling’ gets revved up as it hacks and slashes in the best possible way. The Chorus is something of an anti-chorus with Timmy asking for “Healing” but I think he really wants another shot of whatever the band are drinking. The band are channelling their prime UK Subs on ‘If Your World Falls Apart’ with more of that attitude it’s the deep cuts that are holding this mighty fine album up and laying the ear bombs for later like landmines the tune will go off most unexpectedly and you’ll crave it when you least expect it. Whilst we head to Hell in a handcart it’s the beauty of ‘Empire Vultures’ that will give us a cheeky smile and close the curtains it’ll be all alright, honest just turn this up.

I’ve had the pleasure of reviewing all the band’s previous recordings and it’s fair to say they’ve been getting better with age I wouldn’t say maturing because there’s no sign of that here but they’ve honed their craft and with Jez and Steve on board I think they’ve finally got the puzzle worked out and The DeRellas are exactly where they are supposed to be – this is, without doubt, their finest set of tunes thus far and everything seems to be in the right place at the right time and maybe this is The DeRellas time to shine.

If you are looking for a fix of sleazy Glam Punk then here it is baby, bold as fuck and doing it on their own terms ‘Touch Me’ is a modern Rocky Horror theme tune before the snotty ‘Stop Living In My Brain’ closes things off and brings this excellent album to a full stop, Christ even I can remember all the lyrics to this one as it staggers to its conclusion. I strongly advise you to get an earful of this and PSST I’ll let you into a secret, It isn’t really gonna hurt but it will make the world a better place to live in. Buy It!

Buy Here

Author: Dom Daley

Join us for Episode 62 as we say bye to the legend, Brian James. This Episode begins with a tribute to the master of the telecaster the king of volume Brian James we begin with his version of ‘Neat Neat Neat’ from ‘Damned if I Do’ which best shows his genius style just listen to that solo it could cause earthquakes. ‘Born To Kill’, ‘Bad Timing’, ‘Method To My Madness’, ‘Portabello’, ‘Such a Lot Of Stars’, ‘Alone’ and finally we bow out with ‘Becoming A Neusance’ from all corners of Brians journey The Damned, Lords Of The New Church with Pigbag, Solo, Grande Cru with Mark Taylor it’s all here. Thank you for the tunes Brian it was one hell of a ride.

On with the show folks and we offer up Neverland Ranch Davidians with ‘The Gripper’ off their latest Heavy Medication Records Album ‘Shout It On The Mountain. Hot on the heels is David Delinquent And The ious with their track ‘Nobody Else’. Dundee’s premier punk rock n roll outfit delivers the goods that’s for sure.

Wanda Records released Flatheads album from Marseille/France, est. 2020, with their 9-song debut self-titled long player. a bright punchy song it is too.

Street Sweeper are up next with ‘Just Don’t Work’ from their new EP. This Melbourne band have certainly been a ray of sunshine at HQ over this past dark weekend and this single is on heavy rotation. Why are all the bands from down under so damn good? Add Street Sweeper to this long list.

The Gain released an album back in the early 2000s called ‘As BsCsDsand Es’ and it came up on our radar this past week so we offer up the opening track ‘Been Away Now’.

A-sides, B-sides, Comp tracks, Demos, and Extras! a most underrated 90’s power pop
band. This release is not only a retrospective but actually contains a LOST ALBUM – 9 remastered tracks, 5 of which were previously unavailable to you unless you happened to be in THE GAIN.

Autogramme are about to hit Spain for a slew of live shows and to coincide with the trip they’ve released a 7″ single ‘Randy’. LIVE IN SPAIN MARCH  2025 Sat March 22  COX – TNT BLUES  Sun March 23 GRANADA – PLANTA BAJA Mon March 24 SPAIN – TBA 

Tue March 25 SEVILLA – EVEN -Wed March 26 CÓRDOBA  – HANGAR 

Thu March 27 VALLADOLID – CIENTOCERO -Fri March 28 ALCALÁ DE HENARES – SALA EGO – Sat March 29 MADRID – FUN HOUSE

We’ve been featuring some of the albums we’ve got our eyes on this April RSD and one that we have on our must-have list is the Dwarves and their live in the studio ‘Sunshine, Lollipops & Rainbows’ album so it seems only right that we air ‘Detention Girl’ from the album right here right now!

Sarf London punks The Phobics release their second album on Time to be Proud Records outta Belfast City the follow up to ‘Burnt Rubber’ This is from a cracking album of original new wave punk rock n roll. Don’t take my word for it wait fo the review this week and jump on it and get a copy.

A blast from the past in the shape of the magnificent Soho Roses is up next with the single from back in the late 80s on Trash Can Records ‘So Alone’ was magnificent it was punk rock from the originals with a long-haired glammed up dolls style image that wasn’t to be fucked with. They were what happened in the void left by Hanoi Rocks and The BAbysitters and Lords in the mid 80s and along with Gunfire Dance they were the finest in the scene. If only we knew what they were up to now.

As regular listeners know we do like a cover version round at the pumphouse so what better time to air TSOL covering a Brian James riff that they took ownership of and do a very nice job of ‘Politics’ I’m sure you’ll agree.

Somebody call a medic Slumlord Radio have been ‘Snakebit’ Sef confessed Dirty Rock N Roll band knocking out excellent Action Rock for want of a label. Get on it kids.

With time for another cover, this one is The Mary TylerWhores and their rather tasty take on ‘Whip It’ from the mighty Devo.

Thee Headshrinkers are back on the Podcast this time with their brand new single from The ‘Head Cheese’ album. ‘Dallas Texas’ is the penultimate offering this week and a worthy garage rock stomper it is too.

Leaving just enough time for Smalltown Tigers from their ‘Crush On You’ album this is the latest video single from the ladies before they head to England for a few dates.

Thats all for this week folks thank you if you listened to the show and saved us for updates and extra big hugs and kisses if you share the link.

LATEST ALBUM ‘UNDEFEATED’ OUT NOW ORDER/STREAM HERE

Frank Turner & The Sleeping Souls are set to continue their relentless tour schedule this April with a number of headline shows in the UK.

After kick-starting the year with a series of dates in Mexico and a special, intimate gig for BRITs Week and War Child, Frank Turner returns to the road in the UK this spring as part of his ‘Undefeated’ tour. The tour kicks off at NX Newcastle on the 1st April, before making stops at Academy-size venues in Liverpool, Manchester, Leeds and more. 

The tour follows the release of Turner’s tenth studio album, ‘Undefeated’, last May. Described as “a jovial blast of defiance” by Kerrang and “a declaration of resilience” by Silent Radio, the record boasts some of Turner’s most honest songwriting yet. Now, audiences in the UK have the chance to hear the record live at a number of beloved venues across the country. 

Dark folk songwriter Amigo The Devil will join Turner on the road this spring, after previously supporting the band as part of their ambitious ‘50 States in 50 Days’ tour in 2022. “Danny and his gang are the best,” shared Turner upon the announcement of their support slot, “we’ve shared the road before, and we’re stoked to do it again.”

The dates will conclude at Leas Cliff Hall in Folkestone, just a couple of weeks before Turner embarks upon a tour of the United States in May. Tickets for the UK dates are already running low, with six dates completely sold out. Find the full list of dates below.

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“Now I’m surprised to report that as I enter my forties, I’ve returned to being an angry man,” Turner sings on No Thank You For The Music”. And that’s a concise statement as to what to expect from ‘Undefeated’, Frank’s follow-up to his first UK #1 album, 2022’s ‘FTHC’. Finding the sweet spot between youthful outspokenness and surviving midlife’s challenges, it’s a record that explores both emotionally compelling topics and lighter reflections on those troubles that eventually come to most of us. Who you are versus who you wanted to be in your youth; life-altering love; fading friendships; wistful nostalgia; the mental fallout and political consequences that still linger from the pandemic era; and the more prosaic issue of persistent backache.

Frank says,“There are no clichés about the difficult 10th album, so in some ways, that’s a liberating statement. But at the same time, I have a duty to justify writing and releasing a 10th album. That’s a lot of records for anybody. Also, I’m 42. Which is not a sexy, rock’n’roll age. But all through my career, I’ve been interested in writers like Loudon Wainwright III or The Hold Steady, people who write about adulthood, essentially.”

While thematically ‘Undefeated’ is informed by this time in life, sonically it’s full of echoes to influences that Frankhas touched upon at various moments in his kaleidoscopic career. It switches from Black Flag to Counting Crows, from Descendents to The Pogues, via Elvis Costello and Billy Bragg. Its freewheeling nature is reflective not only of his new-found independence, but also of the creative environment he found himself in. As usual, it was entirely written by himself, but this is the first album that he produced himself, recorded in the home studio that he and his wife, Jessica Guise, share on Mersea Island, Essex. It features his live band: Ben Lloyd(guitar), Tarrant Anderson (bass), Callum Green (drums) and Matt Nasir (piano).

The release of ‘Undefeated’ of course saw this punk-rock road-warrior tour with the tenacity and intense schedules that he’s renowned for (such as the sprawling 50 States in 50 Days North American tour). Now, he returns to the road alongside Amigo The Devil for a headline tour of the UK this spring.

‘Undefeated’ is now available to order or stream HERE

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UK tour dates (with support from Amigo The Devil):

Tuesday 1st April – Newcastle NX

Wednesday 2nd April – Leeds O2 Academy

Friday 4th April – Liverpool O2 Academy

Saturday 5th April – Manchester Academy

Sunday 6th April – Nottingham Rock City

Tuesday 8th April – Birmingham O2 Academy

Thursday 10th April – Cambridge Corn Exchange

Friday 11th April – Oxford O2 Academy

Saturday 12th April – Norwich UEA

Monday 14th April – Ipswich Corn Exchange

Tuesday 15th April – Swansea Sin City

Wednesday 16th April – Bristol O2 Academy

Friday 18th April – Southampton O2 Guildhall

Saturday 19th April – Folkestone Leas Cliff Hall

Full tour dates and ticket info HERE

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For more information:

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Not content with resurrecting his old band The Almighty and continuing to fly the Thin Lizzy flag with Black Star Riders in recent years, singer/songwriter Ricky Warwick returns with a brand-new solo album entitled ‘Blood Ties’, the follow up to 2021’s ‘When Life Was Hard and Fast’

Produced by friend, collaborator and former Buckcherry guitar slinger Keith Nelson, ‘Blood Ties’ is a personal and life affirming album that sees the Northern Irish troubadour amp up the guitars and deliver the goods, with the help of a few famous friends along the way.

‘Angels Of Desolation’ is a strong album opener for sure and sets the scene for this 10 track affair of the rock n’ roll heart (11 including the CD only bonus cut ‘Not My Circus’). Upbeat and euphoric in equal measures, it’s up there commercially with his best work. A punchy rocker of a tune with a killer chorus. The crisp production job highlight’s the crunching guitars and the powerhouse drums to the max. It’s a life affirming ride down a path of self-destruction and out the other side intact. “So, you think I’ve had enough?” Ricky begs the question as the instruments fade.

Next up, ‘Rise & Grind’ is a more poignant look at the homeless situation in L.A. and features the ripping, wah-wah infused guitar work of Blackberry Smoke main man Charlie Starr, sounding like he’s having the time of his life here, free from the constraints of his Southern Rock day job.

Enlisting Lita Ford to duet on ‘Don’t Leave Me In The Dark’ is a bit of a dream come true for Runaways fan boy Ricky. The jangly, 60’s guitar intro leads into a smouldering vocal before Lita’s unmistakable velvety tones take over. The male/female juxtaposition works like a dream on the killer hook, and with its instant commercial feel and poppy vibe, it’s no surprise it was chosen as the lead single.

The Thin Lizzy influence raises their head on ‘The Crickets Stayed In Clover’. Bittersweet, yet as catchy as the common cold, it’s a trademark Ricky Warwick style single and an instantly satisfying song that remains an album highlight after multiple plays.

Side one ends strong with ‘Don’t Sell Your Soul To Fall In Love’, a slow burner that builds to a chorus with the angst, the blood, fire and love of a classic Almighty tune.

So, turning the virtual needle and we are met with a more, dare I say, ‘contemporary modern rock’ feel with the likes of ‘Dead & Gone’ and ‘The Town That Didn’t Stare’. And while it doesn’t really hit the euphoric heights of side one, it certainly has its moments. The Cult legend Billy Duffy leads the way with his unmistakable guitar licks on ‘The Hell Of Me And You’. Here, Ricky delivers an effortlessly cool vocal while Mr. Duffy solos like its 1989! Top stuff indeed. Elsewhere, ‘Crocodile Tears’ has a killer chorus, with some sublime backing vocals that seal the deal. The kingpin of side two for sure, is it me or is there Bryan Adams vibes going on here? And bonus closing track ‘Not My Circus’ continues to embrace the ghost of Thin Lizzy to the max, a worthy addition to the album.

‘Blood Ties’ is a surprisingly upbeat and strong album from one of the UK’s original rock survivors. Whether you know him from Black Star Riders, The Almighty or from touring with his heroes Stiff Little Fingers, there is plenty to enjoy here. With not an acoustic guitar in sight, ‘Blood Ties’ is a full-blown rock album that sees the songwriter dig deep and bare his soul more than he ever has before. An outstanding record that is up there with the best of ‘em so far this year, get it while it’s hot.  

Buy Here

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Author: Ben Hughes

Italian punks SMALLTOWN TIGERS have unveiled a new video ahead of three UK shows at the end of March.

‘Meet Me In The City’ is the second single to be taken from last year’s full-length debut Crush On You.

The trio from the beachside resort of Rimini first came to the attention of UK audiences when they were chosen to open for The Damned on their 2022 original line-up reunion tour, and subsequent Euro dates, Captain Sensible declaring them “Absolutely lovely… genuinely full of the spirit of rock’n’roll.”

Reacting to the passing of longtime fan Brian James, who first brought the girls to his bandmates’ attention, the Tigers say “We want to dedicate this one to Brian James, a great guitarist and a true supporter of our journey. His passion and energy meant the world to us, and his music will live on.

This one’s for you, Brian.”

Smalltown Tigers play…

Fri 28 Mar – Hope & Anchor, London (w/ King Salami & The Cumberland Three) tickets

Sat 29 Mar – Saks Underground, Southend-on-Sea

Sun 30 Mar – Prince Albert, Brighton (matinee) tickets

Crush On You is available now through Area Pirata

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