The Soda Poppers – ‘Testing A Theory The Shape Of Things To Come’ (Self Release)

The Soda Poppers – ‘Testing A Theory The Shape Of Things To Come’ (Self Release)

The only previous release from the snotty Soda Poppers was the Crimbo single until now that is… Ladies and gentlemen, put on your creepers, tease your hair up, and smudge on some guyliner because the Soda Poppers , Frida The Bleeder, Silent Sonia, Sticky Vikki on the big organ and Johny skullknuckles are here to entertain you all with their brand of sleazy punk rock n fuckin Roll!

Just turn it up, pour yerself a mocktail and let’s dance. Led by Freida The Bleeder, you’re in for a rockin’ time as they literally kick off with ‘Livin Doll’ no not the Cliff classic. This one’s got some stripped-back distorted guitars and a chunk of melody that is only enhanced through some poppers and Thunderbird wine. But wait it bleeds into a suitably sleazy romp through Bowie’s classic ‘Suffragette City’ and they nail it. Was there any doubt? Of course not.

The EP then put their collective creepers through their paces as they pogo through the potty-mouthed ‘Bad Girls Go To Hell’. What a banger this one is with a stinking attitude and some stellar guitar riffage, it’s all killer, zero filler. Catch your breath with a sharp intake because next up is a punked-up take on the classic pop of ‘I Think We’re Alone Now’. It’s pure Betty Blowtorch waving a middle digit in the air and having fun tearing up the pop of yesteryear and hocking a big fat snotty gob on its carcass. Nice.

‘The Only Way Is All The Way’ is a sleazy six-string mid-tempo fist-pumping slice of loud sleazy rock. The nonchalant breakdown is right on the money and time for Johny to show he can slap the four string as well.

Which takes us to the limit of this EP with just enough time for ‘FTW’ with its laid back tempo as the Soda Poppers are through messing about making friends and just torch the EP before heading off into the distance. Another great trip into the twisted Rock n Roll world of Skullknuckles and co, but wait, what’s this, a hidden track? Oh, keep that for the cool kids who pick up a copy of this most excellent EP. Just buy it.

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Ghost – ‘SKELETÁ’ (Loma Vista Recordings)

Ghost – ‘SKELETÁ’ (Loma Vista Recordings)

The long-awaited new long player from Swedish mega stars Ghost has finally hit the shelves. The band still divides people, but love ‘em or hate ‘em, you can’t ignore the huge success of the band. As we speak, their Skeletour is selling out arenas all over the world.

Ghost formed back in 2006, and since then, they have released 6 studio albums, two live albums, and four EPs. The band’s lore, based around their costumed appearance and their leader Tobias Forge’s various incarnations of “Papa’s” has led to a rabid fan base who hang on every move from Forge and the Ghouls.  Many metal puritans still hate on Ghost, for no real reason that I can see. They rock as hard as any other band that I have seen. Just last week, I was lucky enough to catch the band in their most ferocious setting: a live show (or ritual if you will). The band are on fire with one of the most ambitious stage shows I have ever seen.

Ghost have shown why they are one the most talked about bands time and time again. Their musical direction has changed from their initial releases. Their sound has evolved from a Blue Oyster Cult ‘70s vibe to full-on arena rock with a pop edge. Forge’s songwriting skills are unparalleled. While sitting in Birmingham’s Utilita Arena last week, I had a tear in my eye when they played the song, He Is. It was a profound experience, something I have never experienced before. This is how powerful their music can be. It’s also why Ghost’s legion of fans are so rabid and protective of their favourite band.

Ghost’s last two albums, ‘Prequelle’ and ‘Impera’, secured their place in metal superstardom. Both albums are filled with hit after hit. Incredible songwriting and musicianship, which is off the scale by the band of Nameless Ghouls that Forge keeps under his watchful eye, has propelled them into the stratosphere and cemented their place in musical history.

The latest incarnation of Papa is Papa V Perpetua. He seems to be more serious than he is predecessor Papa Emeritus IV. We have been given a taster of the latest album with the singles/videos for ‘Satanized’ and ‘Lachryma’. Both tracks have the trademark Ghost sound, catchy, poppy, heavy, with superb musicianship and production. All of us Ghost fans have been waiting patiently for the new album to land. The band have done a fantastic marketing campaign, Ghost have seemed to be omnipresent in the last few months. From slowly revealing the new look of the band to dropping the video for Lachryma where we finally saw the new incarnation of V and the Nameless Ghouls, the band have kept us all slowly salivating.

We finally get to hear the full album, and let me tell you, it’s been worth the wait. Dripping in ‘80s keyboards and full-on pomp, Skeleta is probably Ghost’s most commercial release so far. The album opens with the ethereal sounds of the epic Peacefield before it jumps into a track that has obvious comparisons to Journey’s Separate Ways it really is a fantastic song, and it sounded amazing live. Lachryma and Satanized follow suit. They are both punchy, super catchy songs that are already part of my DNA. Ghost somehow retains its heaviness and combines it with layers of pop goodness. They never come across as cheesy, you know that Forge has laboured over every note written and played. There’s no denying that Forge is a genius. Ghost are one of the only bands capable of continuing from the old guard of metal bands who are now gasping their last breaths. There’s no doubt that Ghost will be talked about in fifty years just as we are now talking about Sabbath, Maiden and Priest et al.

The next track on the album ‘Guiding Lights’ is another multi-layered wall of sound with another sing-along chorus. Forge’s vocal performance across the album is superb. He sounds stronger than ever. We do, of course, need to mention the Ghouls, huge guitar solos, thunderous drums, keyboard flurries left, right and centre. They are on fire! The production is lush and huge from producer Gene Walker (a pseudonym that Forge uses). De Profundis Borealis has more riffage on display with an up-tempo feel. We get another massive sing-along chorus that gets into your head instantly.

Cenotaph kicks off with a keyboard riff that screams ‘80s Tears for Fears before we get a crunchy riff (not unlike Sabbath’s Children of the Grave) and some almost Status Quo boogie woogie! Is there no style of music that Forge is afraid to touch on? Obviously not! It’s another banger of a track with more exemplary playing from the Ghouls. Missilia Amori gives us more fantastic ‘80s ness, with more of Forge’s trademark soaring vocals hitting the spot. Love Rockets!! Ooo err, Missus. The keyboards are always forefront with the rest of the instruments, they really ramp up the ‘80s feel to the entire album.

‘Marks of the Evil’ One gives us more incredible catchiness. A mid-tempo banger with some satanic lyrical content. The atmospheric breakdown in the middle of the track before the guitar solo elevates us back into the huge chorus is masterful. Umbra is one of my favourite tracks on the album. It begins with a keyboard intro that could be lifted from an ‘80s horror film before we get a riff accented by…wait for it… a cowbell! Yes!! This track was also played live last week, and I was blown away by it. The keyboard acrobatics answered by even more guitar virtuosity is a joy to behold. That’s without mentioning the chorus. I have no idea how Forge can write seemingly endless classics. Just incredible.

Excelsis ends the album superbly. With lyrical content about what comes to us all….death. It’s a remarkably moving song that everyone will be able to relate to. The album clocks in at around the 45-minute mark, so it’s a short, sharp blast of Ghost at their finest.

Forge could have easily written an Impera 2, but he’s gone down an ‘80s rabbit hole and delivered us something very different. Skeleta will prove without doubt that Ghost are here to stay. Let us all worship at the altar of Papa V Perpetua. Amen.

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Author: Kenny Kendrick

Jim Jones All Stars/US – The Crescent, York. Thursday 17th April 2025

Jim Jones All Stars/US – The Crescent, York. Thursday 17th April 2025

Fresh from a tour opening for The Wildhearts and with a new single in tow, garage rock revivalists the Jim Jones All Stars make a welcome return to The Crescent in York as part of a short run of headline shows of their own.

“A bubbling swamp curse of unholy rhythm” is how they describe themselves in the press blurb, and I couldn’t put it better myself. Whether he’s fronting Thee Hypnotics, The Jim Jones Revue, Jim Jones & The Righteous Mind or this, his latest incarnation, there is one constant with Jim Jones, and that is raw, primal rock n’ roll goodness. And with a new Chris Robinson produced album in the can and on the way soon, times are good for one of the UK’s finest new live bands.

Opening proceedings tonight is a young five-piece band (although there are four of them tonight) called Us. As you can imagine, it’s difficult to find any information online for a band with that name, but all I can say is, don’t let the baggy clothes and floppy fringes cloud your judgment, as these boys play killer rock n’ roll like their lives depend on it, and on this first listen they appear to have the songs too.

Turns out with a bit of digging they hail from Helsinki, which is a big surprise, as their retro sound straddles Dr Feelgood and The Stooges to these ears. They remind me of two other young bands that were doing the rounds a decade ago, The Strypes and the 45’s… remember them?

I mentioned they have the songs. The likes of ‘Night Time’ and ‘Snowball Season’ are great tunes that work well live and ‘Hop On A Cloud’ has cool 60’s pop vibes and an early Hanoi Rocks quirkiness to it. There was even an emotive guitar solo to rival Slash and Noel Gallagher. I also like the way they take a bow, Japanese style, right after every song.

Us have an album out called ‘Underground Renaissance’, which I will be checking out in due course, I urge you to do the same and go see ‘em live, you will not be disappointed.

The Jim Jones All Stars are on fire right now, but isn’t that always the case? I’ve seen Jim Jones in many of his incarnations over the years, and his bands never disappoint, but there’s something special about this one. The opening instrumental ‘Drink Me’ sets the scene with the duelling sax attack of Stuart Dace and Tom Hodges, a pair who bring funk & soul to the rock n’ roll party. Looking like outcasts from a 90s Guy Ritchie movie, the pair are mesmerising to watch, as animated as the frontman, and clapping to the beat and working the crowd when not blowing those saxes.

The unmistakable, raspy lead vocals are delivered with the fury of Little Richard and the raw power of Iggy Pop, as the frontman prowls the stage, preaching to the converted, behind him the band run through a set of career hits.

Joining him in this 7-piece collective are Jim Jones Revue survivors Gavin Jay on bass and Elliott Mortimer tinkling the ivories. Guitarist Carlton Mounsher and drummer Aiden Sinclair round off this bunch of cool cats that not only sound tight, but look tight as well.

‘Burning Your House Down’ is a bombastic highlight with cool dynamics and a killer delivery. They power on through with the ultra-cool anthem that is ‘Gimme The Grease’, where Dace & Hodge come into their own. ‘I Want You (Anyway I Can)’ sounds immense and ‘Troglodyte’ is jammed out and extended, yet never outsays its welcome, the frontman inciting a righteous singalong with the impossible-to-keep-up-with “sock it to me” refrain.

Oldies are greeted like old friends, who can deny the primal fury of ‘Rock n Roll Psychosis’ or the odd Thee Hypnotics classic? Newbies ’Born To Ride’ and latest single ‘Going Higher’ fit in perfectly and bode well for the upcoming new album.

Both musically and visually, it feels like you are witnessing something special at an All-Stars show. There’s a classic, ‘old school’ band feel, like they have just stepped out of a 60s juke joint and right into your local venue. They capture that certain live band energy, the sweat and the sawdust, the parts from movies you loved like The Blues Brothers or even The Commitments, maybe even the energy of those old Little Richard and Chuck Berry clips you watched as a kid.

As the last notes of the final encore ring out, the band hold their instruments to the sky in unison, like a triumphant warrior parading his kill. The Jim Jones All Stars came, they saw, and they conquered. Long may they reign.

Author: Ben Hughes

James and the Cold Gun ‘Face in the Mirror’ (Loosegroove Records)

James and the Cold Gun ‘Face in the Mirror’ (Loosegroove Records)

Take a second and think about a few bands that you started listening to before their first album dropped. I am sure many of you thought of bands you immediately loved and others who faded away after a great first single, EP, or album. I first checked out James and the Cold Gun (self-described as Wales’ loudest) after the release of their brilliant EP ‘False Start.’ It immediately connected with me and set up huge expectations for their debut full-length (also reviewed by me for RPM), which became my co-album of the year in 2023. Here we are two years later, after some non-album singles have been released as well as the release of some demos from the first album to tide us over while they finished this new album in hopes of avoiding the sophomore slump. For me, I think about the Wildhearts where they transitioned from the two early EPs to the brilliant debut of ‘Earth vs’ and then continued to excel with ‘Fishing for Luckies’ and ‘Phuq.’ The early singles from this new album all hit the spot, but had a slightly different feel to them. If we think about a band, the two Jameses (Joseph and Biss) in this band, enjoy- Soundgarden, they successfully adjusted their sound from album to album while maintaining their identity, also true of the aforementioned Wildhearts. James and the Cold Gun have been able to achieve a similar result here and continue to meet my high expectations of the band.

‘Face in the Mirror’ is one song and a few minutes shorter than the debut and leans back into the albums of the late 70s and 80s, where the focus was on great songs and not using every minute available on a given medium. In this case, we have 10 songs spread across 33 minutes, and the band is careful not to waste a minute of that running time. The title track gets things started with a great beat and plenty of space in the verses for Joseph’s vocals. Every instrument is crisp in the mix. The guitars have bite, and the rhythm section pops out of the speakers. A word I used to describe the EP and debut album was cathartic, and this album is no exception. I am not sure how the band channels into my soul, but they are uncanny at it. The chorus here is not over the top but extremely infectious. ‘Riding the Tiger’ increases the tempo a bit and feels like an old friend. The vocals are excellent, and there is excellent bass work by newcomer Gaby Elise. The guitar riffs have plenty of space to shine here too. The experienced production work of Brendan O’Brien creates an album with a live feel, but also has subtle touches to the songs. The breakdown in ‘Riding the Tiger’ near the end provides a great twist to set up the final chorus.

The lead single, ‘Guessing Games,’ has seemingly allowed the band to get in front of a lot more people, based on the number of YouTube views it has received. I know a lot of those views were mine, but not all of them. The band has taken a great riff and mashed with a cool groove to create a great song. When it was first released, I loved the song but thought it was a little odd as a single based on their earlier material. I think it works as a cool bridge now between the albums. The hook here is huge, and this one has a bit of the major label era Screaming Trees feel, and it also showcases the band taking an idea they had back around the demos of the first album and morphing it into something completely different. The subtle backing vocals by Elise near the end of the song are a sublime touch. The guitar work by Biss and Joseph are excellent. ‘Above the Lake’ follows with excellent lead vocals by Biss on top of just guitar before the rest of the band joins. This one is a bit more restrained (think maybe ‘Yield’ era Pearl Jam) and provides another texture to the album. The chorus is a little more subtle, but the building of the guitar in the song musically provides a strong hook. Wrapping up side one is ‘Twist the Knife’ where the band take a cool riff and again wrap it with a cool rhythm and chorus to deliver another excellent song. Elise’s backing vocals are subtle in the mix but again provide an awesome new element to the band. If you’re listening on vinyl, there is absolutely no reason to get up when you drop the needle down until all five songs have finished.

Flipping the record over to side two, the band continue to deliver the goods. The grinding start to ‘Cut the Brakes’ highlights the band’s ability to take inspiration from 90’s rock and infuse it with modern and original touches to create something fresh and awesome. The chorus here reminds me a bit more of the debut EP, and the changes in tempo provide a dose of adrenaline. As the drums slow to a close, you expect the guitar riff to start over again. The hard-rocking feel continues with ‘DNA’, where every musician gets a chance to shine. One of the other great elements about this album is that the band doesn’t rehash the same song over and over again. Each one has its own identity, with this one being a more straight-ahead rocker where the chorus jumps out a bit more, and the bridge slides perfectly into the song. Angst-fueled rocker ‘Blood Red Sky’ shoots out of the speakers with an awesome vocal in the chorus. I can hear a bit of a Soundgarden influence here, but the band ultimately makes this song all their own. While not what many would consider a typical single, I would love to see them release this one with its additional heaviness and earthquake-inducing chorus becoming one of the songs of 2025.

As we near the end of the album, the band changes gears completely with the mellow beginning of ‘A Way Out.’ The vocals here shine over the repeating melody. The band manage to transform this song several times within three minutes, with the ending providing a vital and insurgent chorus at the end. We then arrive at the closer, ‘Meet My Maker’, where the band provides a heavy dose of rock and powerful vocals in a midtempo beat. The bends in the guitar notes provide excellent nuances in the mix. The band go off on a bit of a jam that I can imagine can take on a life of its own in the live setting before giving us a final chorus on the way out the door. Like the end of side one, when you drop the needle to start side two, you do not have to get up until the whole side of the album has played.

I think the band has done an outstanding job taking the critical elements of who they are and creating something new that remains exhilarating and enticing to the listener. They have avoided the dreaded sophomore slump and moved the goalposts out, allowing them to continue to expand their sound in the future. If you enjoyed their earlier material, I imagine you are already jonesing for this one. If you are new to James and the Cold Gun, you have a wealth of amazing songs to hear, and this is a great place to start your journey. Your soul will thank you.

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Author: Gerald Stansbury

Conflict – ‘This Much Remains’ (Mortahate/Cadiz Records)

Conflict – ‘This Much Remains’ (Mortahate/Cadiz Records)

After a humongous hiatus, Anarco Punk Legends are back and believe me, they are coming out swinging. It’s been a considerable gap between albums, and it’s fair to say frontman Colin Jerwood is considered the elder statesman of the particularly abrasive genre of punk outer planets. Crust or anarco is was and will always be a confrontation lot, and to those outside the circle, quite an intimidating beast. So in 2025 and on ‘This Much Remains’ has Colin soothed the savage beast, or is it still a process of trying to control it and use it to one’s advantage? I somehow feel Colin wouldn’t give two fucks for any pigeonhole or comparison and he’d rather focus on the issues at hand and to be fair the scene they spawned from is still relevant today. Political dissatisfaction, unjust world, fascist powers, it’s all still here, maybe some would argue worse than ever, so whilst there is so much discourse, there should always be Conflict.

Fast forward from the last album several decades ago and Conflict 2025 are still a ferocious animal with heavy rapid riffs, potent jabbing lyrics and the inter woven vocals of Jarwood and Dragsters Fiona Friel works a treat and to be fair Fi is the perfect woman for the job knowing her way through the punk rock trenches with the best of em. Theres even a guest appearance from Benjamin Zephaniah on ‘Cut The Crap’ as the band lurches from punk to reggae seamlessly. My favourite track thus far has to be the brutal ‘Collusion Exclusion’, a modern update on the classic Conflict of yesteryear, and a song where the dual vocals work so well. Conflict are back, and they’re taking no prisoners from the synth whirl of the opening intro of ‘The Impossible Soul’ before the title track gives you a wake-up call. to the final hoorah of ‘Concluded’ Conflict are back in their uncomfortable space, taking names and unleashing punk rock bombs that always hit the target.

‘Masters Of The Race’ is poignant and relevant and somewhat depressing tale with thunderous drums and massive riffs, anarco punk at its finest. Thrashers will be delighted to hear songs like ‘Cut The Crap’ and ‘Shut The Fuck Up’ but they are broken up with the skank on ‘Statement Of Intent’.

To be fair, it’s been a while, and after hearing this album once,e any fears that Conflict don’t belong in 2025 punk rock scene evaporate in an instant. Conflict are back boys and girls and they are up for the fight, armed with an album bursting with excellent tunes. Buy it!

 Limited box set: White Vinyl LP, CD & Music Cassette of the album. Bottle of Conflict Vegan Chilli sauce, Conflict Sticker, Conflict Tote Bag, Signed Print, Signed Lyric Sheet, A3 Poster, Conflict Badge Set, Conflict Patch.

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Author: Dom Daley

Ghost – Utilita Arena, Birmingham. 20 04 25

Ghost – Utilita Arena, Birmingham. 20 04 25

It’s a sunny Easter Sunday when I leave for a trek up the M5 to attend a ritual with probably the most talked about rock band in modern times: Ghost.

The name Ghost sparks many conversations with the metal puritans. “They are not metal”, “they are just a novelty band”. This scribe feels very strongly that Ghost, or in essence, their leader Tobias Forge, has done more to keep the genre of heavy metal viable and relevant than any of the other bands that are snapping at their heels: Sleep Token et al.

Their last 2 albums, Prequelle and Impera are among my most played albums of the last few years. Their live album Rite Here Rite Now which accompanies the amazing film of the same name is up there with any classic live album you may care to mention. The full power of the band is in their live performance as I found out in a fully sold out Utilita Arena in the birthplace of heavy metal, Birmingham.

The band have been teasing us with a few singles/videos from their latest album Skeleta which is unleashed to the world on April 25th. The songs Satanized and Lachryma are already part of the congregations DNA. Catchy, poppy but still powerful with Forge’s masterful lyrical content that ropes the listener in after only an initial listen, makes the new material feel like it’s always been there. We also witness the introduction of a brand-new leader of the Clergy with the fantastically named Papa V Perpetua who has taken over from the fan favourite Papa Emeritus IV.

Tonight’s set list relies heavily on material from the bands masterful Meliora album. We get a new track to begin the ritual though: Peacefield kicks off proceedings with a bang, next up we have Lachryma, the band sound truly amazing, the visuals are incredibly well done. The huge screen behind the band changes with every song to portray every track to it’s fullest potential. You don’t know where to look, there is so much going on onstage. The nameless Ghouls need to be given as much credit as Forge. They are outstanding musicians and playing in their outfits must be a challenge. The volume is insane, fucking loud!!

Perpetua isn’t as chatty as his predecessor, but he still whips up the crowd with his witty banter and constant costume changes. We get the fantastic Spirit, Faith (from Prequelle), Majesty, and the brilliant The Future Is a Foreign Land. The no phones policy is proving to be a triumph. I take time to look around at the audience and everyone is engrossed in the band’s performance. It really is a wonderful atmosphere. We get more bangers from Meliora, Devil Church and the wonderful Cirice before an odd choice from Prequelle, Darkess at the Heart of My Love, I mean, it’s a great song but there are so many better tracks on that album, my only gripe!

 Satanized sounds brilliant and the crowd sing every word. The guitars sound so much crunchier live. Ritual from the band’s debut album Opus Eponymous sounds sooo much heavier here. We get another new song from Skeleta: Umbra, there’s some serious keyboard dynamics from Ghoulette Aurora with some answering guitars from Sodo. I must mention drummer Mountain who sounds incredible. His thunderous beats keep the band together and kick you in the guts constantly.

We get more fan favourites including Year Zero which has the most amazing visual backdrop, He Is, Rats, Kiss the Go – Goat, Mummy Dust (with its standard confetti bombs) and Monstrance Clock end the main set explosively.

V introduces the encores: Mary on a Cross, Dance Macabre, and Square Hammer. The place goes insane. This is a true masterclass in showmanship, musicianship and Forge and the Ghost entourage show why they are the true kings of metal in 2025. Truly astonishing.

Author: Kenny Kendrick

Los Pepes – ‘Out Of The Void’ (Beluga Records)

Los Pepes – ‘Out Of The Void’ (Beluga Records)

It’s always a great day when you get news that the mighty Los Pepes have a brand new album they want you to listen to. ‘Out Of The Void’ is Los Pepe doing exactly what Los Pepe does, they make rapid power pop punk rock n roll and do it as good as anyone has ever done it and have sailed through the choppy waters of Rock n Roll with consummate ease making records playing shows and never ever ever dropping the ball. In fact there aren’t as many underground bands currently kicking out the jams as well as these guys and in songwriter and vocalist guitarist Ben Perrier who has the gift that never seems to run dry of writing excellent tunes all the time every record is as good if not better than the last but never worse and thus far have never failed to deliver.

I know it’s a cliche, but ‘Out OF The Void’ is better than their last album, which I think to that point was the best record they’d ever made. Twelve songs that take you on a tried and tested journey, beginning with the sprightly ‘Thoughtless Boys’ right through to ‘Tomorrow And Today’, it weaves with slight variety on a theme that has served them well since their inception (I do wonder how Ben manages to write so many consistent tunes and melodies). ‘New Christians’ is a belter, elevating the power pop melody with some serious points, and when Ben states that New Christians make him sick, you pay attention,n and the twist in the down turn the Ramones intro turns into some Buzzcocks inspired melody on a fantastic song. He doesn’t just keep his distant for New Christians politicians and Nazis have some stick as well. This might just be my favourite song he’s written, and boy, has he written some songs.

There are many twists and turns present on this album, and the quality is relentless. ‘Sweet Appeasement’ is Los Pepes taking things easy, holding back on thrashing around and layering the song with keys and a shimmering reverb-soaked guitar. This is a slice of awesome new wave with some total 50s pop thrown in like a hand grenade with the pin pulled. Johnny Thunders would certainly approve. The sound is really complemented with a great production that lifts the songs in all the right places. ‘Future History’ is more power pop/new wave but still sounding modern and vibrant and not at all dated with a great time shift on the bridge leading to a killer solo that raises the game with its simplicity.

Much like fellow UK punk Rockers Cyanide Pills, they’ve both turned in superb new records that see them evolve and throw new directions into the mix without changing the band’s DNA but expanding their appeal. ‘Above And Beyond’ is rockin’ before ‘Short Term Solution’ kicks it up a gear as we head into the home straight.

2025 has thus far been one hell of a strong year for new albums, and it’s only getting stronger with albums as good as this one. ‘All I Got Is Time’ could be on a classic Blondie record from the early days, and that whirling keyboard is like audio crack. The album closes with the floor filler that is ‘Tomorrow And Today’, and we’re done. Los Pepe deliver a mature new album that sees them arrive at the point they’ve been chasing since day one. An album that has variety, but most importantly of all, excellent songs at every turn. Album of the year contender,r no doubt about it. Buy, steal or borrow ‘Out Of The Void’ is all killer no filler! Long Live Los Pepes!

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Author: Dom Daley

The Diaz Brothers – ‘The World Is Yours’ (Serial Bowl Records)

The Diaz Brothers – ‘The World Is Yours’ (Serial Bowl Records)

The Diaz Brothers hail from the Macem enclave way up in the North East of England and although you might be mistaken from the sound of the opening song and lead single ‘Be My Drug’ from Sunny California, think Bad Religion or Descendents but harder edged. This throbbing, melodic beast has the edge and power to compete with anything the Sunny Pacific coastline has offered in a Decade. A ferocious wall of guitars held up with excellent melodies and layers of backing vocals that paint a very different picture from the cliches of the North East of England.

‘Be My Drug’ has the melodies and harmonies of prime time Feeder, but with a much harder edge to the music if these guys were heading out on a world tour wedged between Bad Religion and their ilk. A hard punk style but with massive melodies and choruses full of twists and turns. If Epitaph had anything about them, they’d be picking this up and giving it a North America distro right now and get them on the Warped and Vans roster pronto.

‘Hourglass Full of Quicksand’ is frantic with a massive beat holding down the song as it charges straight for your ears. What really impresses me is they can take their foot off the gas like ‘As I Tear’ but still cruise along with an impressive air of confidence in the songs.

The ten songs are super strong from first to last, the heavyweights like ‘Ego’ offer riff after riff before ‘Anxiety landslide’ is off like a rocket with a ton of energy. If I were to pick a favourite, it might well be the peacock of a track, ‘Who Am I’ as it weaves from the strong arm heaviness to the groove on the verse before kicking up some dust on the chorus. I also felt the best way to get the whole experience was on a fast-paced walk with good earphones for the full dynamic range of what The Diaz Brothers are all about. The excellent play on words ‘The Great British Fake Toff’ is out of the traps like a rocket, so buckle up, kids (and us older folk alike). The Diaz Brothers are in control, and the world is their oyster on this, the difficult second album. Still, by the sounds of it they have nothing to worry about; they’ve got this covered. They should power on from strength to strength with an album so well-rounded with excellently crafted songs they’ll be playing decent venues far and wide to packed rooms of appreciative punk rockers and rockers alike.

The world is indeed theirs, and they have the tunes to take them around it several times and as for the difficult second album syndrome, puh! piece of piss these Sunlun lads have breezed it with this tight, on point, loud, modern sounding slice of punk rock that’s not snotty nor is it beginners luck played by guys who can’t carry a note in a bucket because The Diaz Brothers are modern and understand what constitutes punk rock in the 21st century and how to deliver it with a cherry on top. Buy It!

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RSD Recommendations

RSD Recommendations

So you’re prepared to stand in line this April for a copy of Bluey or the Dead Or Alive seven-inch single you never owned, or maybe some obscure soundtrack or Elvis compilation, it’s a broad church. Maybe RSD has lost its gloss and you won’t touch it with a barge pole. Me, I’m torn because there’s always something I’m after, but a lot of the 2024 list made it onto the mailorder lists and with a few exceptions, most were available at decent prices. This year is more of the same with a few eyebrow-raising listed costs thrown in just to upset us all. Heres a few in the mixed bag that I’ve come across and some I’ve been lucky enough to have got hold of to review. Sure there are hundreds more released this April 12th and you might not agree with my selections but good luck in whichever way you choose to spend your money and I can only apologise on some of the prices this year they are truly crazy and maybe the independent retailer has managed to begin canabalising itself and who knows where the cost of a new record in 2025 is heading but until the dust settles these are a few solid choices with the previously reviewed “utter Filth” choice of The Dwarves who won this years RSD 2025 release of the day challenge hands down.

The Adicts – Rockers Into Orbit (Jungle/Fallout Records) ‘Viva Le Revolution’ sounding like it’s old school bootleg meets brand new shiny tech for a close your eyes and let the music wash over you moment. Like it or loath it, RSD does throw up some curious releases, and this year is no exception with this one on clear vinyl, it’s The Adicts live and in the raw, where they’ve always worked best. Slamming from one into the next, it’s a great showcase for just how bloody good The Adicts are live. Sure, the theatrics from frontman and Ipswich Town fan Monkey the Adicts have some proper bangers in their repertoire from the opener and one of their most well-known song through the rapid ‘Lets Go’ to ‘Joker In The Pack’ ‘Chinese Takeaway’ and ‘Bad Boy’ they’re all here to be fair and a whole lot more besides. If you’re looking for VFM this RSD then this is a good bet with a whopping thirteen bonus tracks and a much improved jacket to house this splendid double album in. Pick one up, it’s excellent and has not been pressed for thirty-five years! My God, how time flies.

UK Subs – Japan Today (Jungle/ Fallout Records) The Subs in the 80s was a curious thing, and post Gibbs, Roberts, Harper and Garrett line up it was always going to be tough. The last few RSD have seen plenty of Subs action with comps n stuff and they are constantly havign a boost of the back catalogue with coloured pressings or different formats to keep the fans interested and maybe outside of the general consensus of “classic” subs albums I do like to revisit them from time to time so I have no problem with reissues on RSD because we do need to champion bands as good as the UK Subs. In fact the last reissue was the really good ‘Flood Of Lies’, so I’m not shocked that ‘Japan Today’ is next, although I do vaguely remember there being a gatefold version I purchased a few years ago of this album. The LP starts off with the excellent ‘Another Cuba’. I’ve always been a fan of Darrell Bath’s guitar work. The guy was so underrated. ‘Punk Rap’ always made me giggle and as the kids would say, WTF. Anyway, moving on, ‘Streets On Fire’ is Subs by numbers and something Charlie could write in his sleep and the likes of ‘Captain Scarlet’ might not be remembered as fondly as a ‘Warhead’ or ‘Limo Life’, but hey, it is what it is. Side two might be a little duller, but it does have ‘Hey Santa’ and that’s always welcome for an April released album, there’s always ‘Surf Bastard’ and the excellent ‘Street Legal’, something of a tip of the hat to Johnny Thunders, I always thought with its very Dolls like groove. It is remastered, so to be fair, it’s never sounded as good as this, and being RSD it’s pressed on Orange vinyl, so get in line Subs fans, this one’s for you.

Fields Of The Nephilim – Fallen (Jungle Records) Ah The Fields Of The Nephilim and their 2002 album ‘Fallen’ the bait on this particular hook is simple, its not been available for ages (over a decade to be exact) this gatefold double album contains an essay from Mick Mercer its on yellow vinyl (should have been smokey colour – missed a trick there) and the bonus disc is ‘Live In Roskilde’ from 2000. Always an album that took an eternity to get going with the intro and then the epic ‘From The Fire’, it’s an album that took a while to create an impact with me as well. It wasn’t until ‘Subsanity’ hit the speakers did I take notice, and it never had the impact of the very early days of the band, but this version is well worth picking u,p considering the bonus disc is so bloody good. The final two tracks being ‘Dawnrazor’ and the mighty ‘Psychonaut’ turning this maybe purchase into a must own.

With a few years between this albums release and the live show to now – this record and it’s dark offerings has been fermenting and a few things stood out such as the sonic scapes on this remastered version or maybe my equipment is just better now as I’m older but the depth of ‘Hollow Doll’ and the title track in particular sounded much better than I anticipated whoever did the job did it very well. As mentioned, the real gold here has to be the inclusion of the live material live at Roskilde. It’s sadly not the full ten track set but highlights of six of the best: ‘Preacher Man’, ‘Moonchild’, ‘For Her Light’, ‘Love Under Will’, ‘Dawnrazor’ and ‘Psychonaut’, which will justify about £30 of any self-respecting Goth’s money.

Neurotic Outsiders – ‘Self Titled’ (Rhino Records) Double LP that originally came out on Madonna’s label featured a superstar lineup of Duran Duran’s Andy Taylor, Steve Jones, Duff McKagan, Matt Sorum. An album of its time in the 90s that should have been huge and a base point for all budding rockers to check in on and learn how to hone their craft. Jones’ guitar tone and croon is the album’s high point – ‘Nasty Ho’ is what a rock album should open with. It sets the tone and lays down a marker for others to follow, and what a meaty riff it is too.

It never got the love it deserved and sort of crept out of the RSD 25 list rather than with a fanfare announcing its arrival. This is, for me, exactly what RSD is about. A record having its due respect paid and put on vinyl (finally) with the second disc being the Japanese-only bonus disc. Beautiful, now get the band back together and let’s get some proper touring done. It’s a great blend of covers and original songs penned by the individuals and interpreted by what is and was a real super group no doubt about it. Possibly my pick of the RSD class of 25.

The Dictators – D.F.F.D. (Mainman Records) Another of this year’s gems. Dictators Forever Forever Dictators was the last Studio album the band recorded with Handsome Dick Manitoba and what a fantastic set of songs it is. From the anthemic ‘Who Will Save Rock N Roll’ to the intimidating ‘Avenue A’ possibly the best two songs the band ever wrote.

‘I Am Right’ is a swift punch to the nose and ‘Pussy And Money’ is pure NYC. If you can find a copy out in the wild, then don’t hesitate. They might be in the throes of an irreparable feud of words between the band, but they can be proud of this awesome album – Buy It!

The Dwarves – ‘Sunshine, Lollipops, & Rainbows’ (Greedy Media)

The Dwarves – ‘Sunshine, Lollipops, & Rainbows’ (Greedy Media)

“TOTAL FILTH!!!!!”

That’s what the spoken introduction to ‘Gash Wagon’, which lacerates your speaker cones at the midway point of ‘Sunshine, Lollipops, & Rainbows’, the latest release from rock legends, The Dwarve,s is…. total and utter filth.

There are no spoilers here at RPM, but hearing this dialogue for the first time was enough to have our head honcho, Dom Dale,y snotting his breakfast porridge out of his nose, and if it had been 1977, I dare say he would have smashed up his stereo in outrage too.

This is the motherfuckin’ Dwarves, though, brothers and sisters and a fourteen-track slice of their kind of sleazy life is just what Record Store Day 2025 needs if you ask me (the price of the bloody thing here in the UK aside that is). Yup, as a special treat for all of us vinyl nerds, Blag Dahlia and co have decided to finally unleash these previously never-before-released tracks, recorded live in the studio in Seattle, Summer 1989. This is, by the band’s own admission, the missing link between the Dwarves classic 1990 Sub Pop release ‘Blood, Guts & Pussy’ and 1988’s ‘Toolin’ For a Warm Teabag’ which had been released on Nasty Gash Records.

Think of ‘Sunshine, Lollipops, & Rainbows’ then as a seedy glimpse behind the band’s heavily soiled cross boners backdrop curtain, as eleven of the original ‘Blood, Guts & Pussy’ tracks get a down and dirty, live in the studio, mauling. Highlights for me still include ‘Fuck You Up And Get High’, ‘Astro Boy’ (the tragic backstory behind which guitarist HeWhoCannotBeNamed once shared with me and brought a whole new meaning to the song) as well as their wonderful reinterpretation of ‘Surfin’ Bird’, here reworked/renamed/repurposed within the truly awesome ‘Motherfucker’.

Just like their debut Sub Pop album there’s no fucking around here – it’s fourteen songs in the same number of minutes and only ‘Back Seat of My Car’ and ‘Drug Store’ are missing from that album’s thirteen tracks. However, in their place we get ‘Eat You To Survive’, ‘She’s Dead’ and ‘Fuckhead/Shout’, the latter being similar to ‘Motherfucker’ albeit here the song morphs into The Isley Brothers classic before seemingly the tape runs out and we can all catch our breath once again.

Sex, drugs and rock n roll is what The Dwarves were all about back in 1989, and probably still are to this very day. They are the band the PMRC (remember those fuckers?) would have loved to have cancelled back then but they effectively did that to themselves in 1993 when choosing to fake the death of HeWhoCannotBeNamed ahead of the release of their ‘Sugarfix’ record and subsequently imploded after Sub Pop didn’t see the funny side of it and promptly dropped the band.

‘Sunshine, Lollipops & Rainbows’ is the missing gem from the dawn of that Sub Pop era, and it finally sees the light of day on April 12th 2025 as part of Record Store Day. It’s released as a full colour picture disc, in a full colour gatefold sleeve, complete with a full colour inner bag containing dozens of photographs from the infamous ‘Blood, Guts & Pussy’ cover shoot and live photographs of the band from Seattle around 1989/90.

Just make sure to take your own brown paper bag to the record store in which to carry the total filth back home in.

Buy Here

Author: Johnny Hayward

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