Carter The Unstoppable Sex Machine – ‘Worry Bomb (30th reissue)’ (Chrysalis Records) 

Carter The Unstoppable Sex Machine – ‘Worry Bomb (30th reissue)’ (Chrysalis Records) 

Think back some 30 years ago, and Carter The Unstoppable Sex Machine were still riding high and on Worry Bomb, their fifth album – the duo of Jim Bob & Fruit Bat were joined for the first time by drummer Wez, could still do no wrong. Even in a world of Britpop, Carter were a breath of fresh air, that the world needed.

So this humdinger of a reissue is a newly remastered edition of Worry Bomb, which comes complete with a plethora of B-Sides and rarities that a Carter fan needs in their life. This review is all about the main album’s remaster for its 30th anniversary,  which is a thing of aural beauty.

To say that this album was a bit of a departure at the time is stating the obvious, but for me, it is a snapshot of a group at possibly their best and one that is hard to beat to this day.

Kicking things off with the aptly named ‘Cheap ‘N’ Cheesy’ highlights Jim Bob’s wonderful, genius mind. Having not listened to this actual album in over a year, the newly remastered sound quality is the winner here, and the clarity is breathtaking.

How can any review of a Carter USM release omit the fact that Worry Bomb includes some of the group’s best singles in the form of Let’s Get Tattoos and The Young Offender’s Mum.

Some fans at the time missed the drum machine sound of their previous work, but for me that is what makes this one of my all-time favourite Carter releases.

From the almost metal/thrash-like riffing at the end of Aeroplane Food/Aeroplane Fast Food to the indie swagger of The Life and Soul of the Party Dies. This album was and is an indie classic that needs to be heard by everyone.

To contrast the full-on indie punk rock, the album also boasts some more experimental and acoustic tracks, as shown by the title track, Ceasefire, and My Defeatist Attitude.

Which, at the time, fans and critics alike were shocked by. The punk rock attitude and greatness still oozes out of every track here, even 30 years on from its initial release back in 1995.

One of the best things about this 30th anniversary remastered release is the extra disc that comes with it – These include a disc full of B-sides and rarities – which include their seminal cover of Shampoo’s Trouble, ‘Avon Calling!’ – a newly restored and remastered recording of the band at the Phoenix Festival on CD 3, and a DVD with music videos, a performance of ‘Let’s Get Tattoos’ from Top Of The Pops’, and exclusive new interview featurettes with Jim Bob and Fruitbat.

At the end of the day, this is a must-have purchase if you are a fan of the band, or even if you were a casual fan way back when. It is also a brilliant snapshot of the nostalgic power of music! So do yourself a favour and buy Worry Bomb – and bask in the glory of indie genius at work!

To mark the 30th anniversary of the album, ‘Worry Bomb’ is reissued for the first time. This expanded edition features the complete album across three sides of vinyl, plus a selection of bonus tracks on side four.

Newly remastered by Phil Kinrade at AIR Mastering and pressed on 180g translucent green (LP1) and black (LP2) vinyl, housed in a gatefold sleeve with poly-lined inner bags Whilst the CD includes live in Zagreb 94.

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Author: Dave Prince

Scene Killers – ‘Bare Hands And Bayonets’ (Brassneck Records)

Scene Killers – ‘Bare Hands And Bayonets’ (Brassneck Records)

As my Mate Hotshot would say, “Punk as Fuck” and he would be spot on here. Scene Killers release a lean mean punk as fuck machine with just your eight tracks on offer this is short, sharp and right to the fucking point set of tunes. Catchy as fuck, Loose, in your face racket that burrows down into your ear and refuses to leave.  

This is the 3rd record from Nottingham’s Scene Killers, a relentless onslaught of awesome tunes. It’s catchy, and the melodies and choruses stick with you. You can old school slam dance to this, evoking memories of the likes of prime Black Flag, Circle Jerks, Fugazi, they’re all in the DNA of the music and a whole host of greats condensed into these eight tracks. It’s a veritable feast of tunes that draw you in and have you wanting more from the crackle of ‘Pulling Teeth’, it’s a sweaty, heaving mass of underground rooms filled with like-minded punks having the best time listening to the best punk rock has to offer anywhere, anytime.

For those new to the band, Scene Killers is Austin (Hip Priests, Reduced) Jesse (Blatz, The Criminals), John (TV Crime, Lindow Moss) & Luke (TV Crime, The Headchecks) a bunch of bands you should check out but another time maybe, make a list for now its Scene Kilelrs that need your attention.

The rapid blast of ‘One Foot’ is breathtaking. Whilst my only complaint is that it’s only eight tracks. Flip it over and ‘Grab A Mop’ will wipe the floor with you (sorry, couldn’t resist it), the methodical thump of ‘Mind Waste’ is aggressive without having to shout about it – its intense as fuck but in the best possible way. hidden in the mix of side two, ‘Do The Math’ is a beast and possibly the highlight of this outstanding record.

‘Bare Hands And Bayonets’ catches a moment and sounds like it was recorded in one massive rush of energy, with all the bells and whistles put to one side and the honesty and energy taking this one home and capturing everything you want to hear from a modern punk rock band. Great tunes played with passion and excitement. I haven’t stopped playing it this past week since I had my copy and can honestly say I wont be far from it when I want to play some loud no bullshit Rock n Roll wrapped up with great lyrics wrapped up in awesome music with cover art that tells you everything about the music contained within. Buy this record, don’t think about it, and you can thank me later.

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Author: Dom Daley

The Wildhearts/Lewis Pugh – The Old Woollen, Farsley – 24th May 2025

The Wildhearts/Lewis Pugh – The Old Woollen, Farsley – 24th May 2025

The Old Woollen is a 500-capacity venue in sleepy Farsley, just a few miles from Leeds city centre. It may seem an unusual choice for a Wildhearts show, but this gig turns out to be a one-off in more ways than one. It’s certainly the most intimate setting I have seen Ginger and the boys play since sometime in the mid 90’s. I say ‘Ginger and the boys’, of course the newly revamped line-up features two guys who were mere babes in 1994. But by all accounts, the new blood has reinvigorated a band who seemed like they were ready to finally throw in the towel a couple of years back.

First up tonight though we have something completely different. Lewis Pugh walks on to the stage armed with just an acoustic guitar and a fistful of politically charged songs close to his heart. He proceeds to silence the entire room and get their full attention for the next 30 minutes or so.

While his songs cover serious subject matter, his between song chat is very witty and informative. He asks us to look him up online but be aware he shares his name with a swimmer who’s a cunt!

Drawing on his influences of folk and punk I immediately draw comparisons to the likes of Billy Bragg and Frank Turner. With songs like ‘The Featherstone Massacre’ he brings to life ancient tragedies that befell the coal miners, and anyone that throws in a Lindisfarne cover and a passionate version of Rancid’s ‘Olympia WA’ is alright by me. I’ll definitely be checking out Lewis Pugh (not the swimmer) online.

It all starts really well. The room is packed and the atmosphere electric as the lights dim, The Wildhearts take to the stage and blast into the aural assault that is ‘Suckerpunch’. The band are tight, loud and energetic from the off. Ginger looks fit and healthy, stage right new guitar slinger Ben Marsden grins like the cat that got the cream, stage left Jon Poole is just being Jon Poole and behind the kit is a flailing mass of hair and arms, I still have no idea who he is? The Wildhearts are on fire.

As the dust of the opening song settles it becomes clear that Ginger’s amp has blown and they don’t have a back-up. After a bit of conferring Ben plays the iconic riff to ‘I Wanna Go Where The People Go’ and we are off, Ginger gripping the mic with both tattooed fists, his stricken Hagstrom guitar dangling between his knees as a frantic roadie (Dunc) tries to fix the problem. A smiling Ginger sings this song he has sung a thousand times before with the passion of a band on their first tour, the joy etched on his face as he gestures for his crowd to sing back every word of that chorus. Is there a guitar missing? I never even noticed!

Turns out the problem can’t be fixed, but somehow, Dunc gets Ginger plugged into something. Yet the gremlins continue to dog Ginger for the entire show. Guitars are switched every song; they cut in and out at will. Does it make a difference to us punters? No, if anything it just makes it more exciting. The whole of ‘The Jackson Whites’ is a wall of feedback from Ginger’s guitar, but the man just smiles and battles through. A younger Ginger probably would’ve smashed the guitar to pieces and stormed off by now, but the Ginger of 2025 is older and wiser, he just smiles and says “bring it on!”. I love it when a band has to fight for it on stage, and tonight The Wildhearts, especially their leader, had to fight for every fucking song!

If you were at any of the recent shows, it’s the same set list, but tonight there is an element of danger, a sense of the unknown. What will happen next? Will they even make it to the end?  Highlights are plentiful, newbies ‘Troubadour Moon’ and ‘Eventually’ fit the set well, and ‘Failure Is The Mother Of Success’ is magnificently heavy in all the right places. ‘Diagnosis’ and ‘Mazel Tov Cocktail’ are greeted like old friends and sung with passion and volume by the crowd. Set closer ‘Chutzpah’ is extended and jammed out, giving both guitarists a chance to showcase their talents with ripping solos, and both seem to be in their element.

Due to curfew there is only time for one before the lights go out. ‘My Baby Is A Headfuck’ is as good a place as any for The Wildhearts’ last sweat-drenched hurrah, and the crowd know it.

Broken amps and broken guitars were never going to be enough to derail The Wildhearts tonight, the powers that be will have to do better than that! It’s safe to say in 30 plus year of Wildhearts shows, in different venues across the country, I have never seen one quite like this tonight, and I thoroughly enjoyed every second. Tonight was a definite case of triumph over adversity.

The Wildhearts treat us to another Northern show soon, this time at Holmfirth Picturedome. It would be rude not to, eh?

Author: Ben Hughes

House of Protection – ‘Outrun You All’ (Red Bull Records)

House of Protection – ‘Outrun You All’ (Red Bull Records)

Last year, I stumbled across House of Protection on YouTube and immediately became a fan, with their debut EP ‘Galore’ getting featured on repeat on a constant basis. They have been releasing new songs from this follow-up for several months now, with the full release of ‘Outrun You All’ dropping on May 23rd.  The band is made up of the duo Stephen Harrison and Aric Improta, who had previously been in Fever 333 together. The two of them have created a band where I don’t think they would rule out any musical idea.

After a mellow 30-second intro, the band launches into the electronic-infused ‘Afterlife’ that at times reminds me of ‘Pretty Hate Machine’ era NIN crossed with an infusion of extra heaviness on the methodical beat. The blend of their vocals across their songs works to perfection, and each of them has their own style when singing lead. The band transitions into ‘Godspeed’ where the tempo gets an infusion of adrenaline. The vocals sit in the middle of the mix of the chorus and remain incredibly catchy. The guitars squeal and rip through the mix. Headbanging or fist in the air is required throughout the song. There are just a few seconds at the very end of the song where the drums and guitar get to highlight how close they are to going into chaos. Last single ‘I Need More Than This’ slows things down to a cool groove with a very melodic verse featuring Harrison’s vocals. The song adds more elements as it reaches the chorus and creates a very cool hook. I think one of the factors that has drawn me to the band is that their music sometimes feels like a more listener-friendly ‘Endless Nameless’ album by the Wildhearts crossed with NIN, punk, and other electronic elements.

Starting the second half of the album is the frantic and surging ‘Fire’, which the listener will be singing by the end of the song. There is an energy that flows through the soul of this band that just immediately grabs hold of me. The band go straight for the jugular with the chorus hook here and destroys everything in their path. Lyrically, the band create an anthem for self-growth and determination. There is not a wasted moment anywhere with the cacophony of sounds coming together perfectly. The cheerleader section has not worked this well in a song for me since Faith No More did it many years ago on the ‘Angel Dust’ album. Changing gears completely with the mellow ‘Phasing Out’ provides a great contrast with a lot of digital elements bouncing around in the mix. The drums work great here with a killer beat raising the song to another level. ‘Slide Away’ closes the album out with the opening vocal providing a feeling of coming out of a dream that leads into the chaos of waking up in the middle of chaos. The chorus provides another strong hook with the verses pounding inside the listener’s skull trying to escape.

As much as I enjoyed their first EP, the band have exceeded it on their second release. I have not cited the band’s hardcore influences, but they are also baked into the band’s music and approach. There is a great chance this will end up my EP of the year, although I will likely spend a lot of time listening to both of their EP’s back-to-back to simulate an album. Turn the music up loud and dive into the experience. House of Protection or House of Perfection?

‘Outrun You All’ is available now on digital and vinyl. Here

Author: Gerald Stansbury

‘I Need More Than This’ video      https://www.youtube.com/watch?v=trzefJeYKkc

Fields Of The Nephilim – ‘Burning The Fields’ EP (Jungle Records)

Fields Of The Nephilim – ‘Burning The Fields’ EP (Jungle Records)

After being released in a limited quantity for RSD last year, it quickly sold out and became one of the hard-to-find deep-pocket releases, but the good folk at Jungle have repressed it with a green sleeve on vinyl and Red sleeve on CD as a double disc version for the reasonable sums of money you should pay fo ritems not what scalpers are asking.

When the band were formed back in 84, the debut release followed a year later, thus creating a loyal following and a near mythical release that EP has since been expanded into this double disc release and something of a must-have item of Goth history and a seminal genre-defining release.

Joined with the second EP and some Demos and remixes, ‘Burning The Fields’ is also completed with new sleeve notes and excellent pictures, making up a really impressive package you’d expect from Jungle. If you’ve kept up with releases, the band’s ‘Fallen’ also saw an RSD release this year, but due to rules, there may be a re-release on CD later down the line, but that’s for another day. Let’s look at the ‘Fields’ EP.

Burning the Fields was originally a four-track EP; ‘Returning to Gehenna’ mixes then-current singles and B-sides, most of them later appended to the UK CD of the quintet’s first full-length album, and to be fair these haven’t been available for over two decades, so a much welcome gem from the vault. The package comes in a gatefold sleeve and has new sleeve notes, interviews and unseen early photos by gothic commentator Mick Mercer to draw you in. I’m sure that they were both surprised and pleased with the demand for the early material since RSD released this originally and played loudly, it’s lost none of the drama and tension it had when it first hit the streets. The real gems here have to be the remixes and demos on the second disc, which are a must for fans old and new and with its release now on CD as well, it’s thanks to Jungle for this. To cap it all off, the band are back in the live circuit later this year with shows already announced for October and November 25 in the UK. Don your leather trench coat and hat and get out there, the Goths are back and taking no prisoners, and with this, you can learn the words to the likes of ‘Darkcell’ and the epic ‘Trees Come Down’ it’s like the 21st century had never begun.

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Stiff Little Fingers – The Singles 78-83 (Captain Oi!)

Stiff Little Fingers – The Singles 78-83 (Captain Oi!)

As the Bristolian lady said pre-general election, the same can be said for SLF and compilations. Not another one. Ok, so it might well be another SLF comp, but to be fair, this one has all the singles and a whole bunch of live curios for good measure.

The band who defy the odds and are still at it in 2025 and releasing new (inflamable) material deserve to have their epic back catalogue re issued from time to time to remind us just how fuckin good they are. Jake and Ali have a wealth of material to be proud of, and on this one, tracks like ‘Alternative Ulster’, ‘Suspect Device’ are still good enough to get the hairs on your neck standing to attention as they document a moment in time like no other. They sang about a time and place they came from like no other, which stood them apart from many of the punks of the time. These guys lived it and delivered their punk rock street poetry wrapped up in short, sharp blitzkrieg explosions of punk rock. They looked cool, sounded cool because they were cool.

Great songs keep on coming, and banger after banger deserve your attention, such as ‘At The Edge,’ their top 20 bothering tune still stands tall to this day. All the A sides and B sides are present and accounted fo,r and its hard to believe in a little over half a decade they kept churning out hits, yes hits. There is one exception, and that’s a certain cover that won’t get mentioned (ok ‘Runnign Bear’), but the live version is here, warts n all oh, and before I sign off there is the excellent cover of the Specials ‘Doesn’t Make It Alright’ that shows how interlocked these guys were with what was going on across the water. In one nicely packaged collection, The Best of SLF is right here. Come and get it.

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Author: Dom Daley

The Donnas – ‘The Atlantic Years’ (Cherry Red Records)

The Donnas – ‘The Atlantic Years’ (Cherry Red Records)

I started listening to the Donnas back around their ‘American Teenage Rock ‘n’ Roll Machine’ album and never stopped. As their sound became a little more developed through the years, their eventual signing with Atlantic Records after what is still my favourite album by them (‘The Donnas Turn 21’) was not a surprise. They had put in a ton of work over the years building a fan base and refining their sound. The Ramones inspired early singles had been incorporating more influences as the band found their own sound. I really thought the band would explode with the release of their major label debut ‘Spend the Night,’ but it never happened. This collection brings together both of the albums they released through Atlantic, as well as a disc of bonus tracks.  

At this stage, the band had somewhat blended a pop-punk and hair metal approach with their own special ingredients. ‘Spend the Night’ comes rocking out of the gate with one of my favourite songs on the album- ‘It’s on the Rocks.’ There is no let-up across the album as one gem after another comes next. The lyrics from the Donnas have always been cool as they are filled with attitude, sass, and cool. ‘Who Invited You,’ ‘Pass It Around,’ and ‘Too Bad About Your Girl’ are just three more examples of excellence across a great album. This disc is flushed out with a couple of bonus tracks. ‘Big Rig’ reminds me sonically of their previous album and features an effective but more subtle chorus. Finally, ‘Backstage’ provides a nice close to the first disc in the package with awesome vocals by Brett Anderson.

The second disc in this package is ‘Gold Medal’ with a bonus track. This was the first and really only time that I wasn’t hooked on a Donnas album. It remains my least listened to in their catalogue. I think the major factor for me was that the production seemed a little slicker and more polished. The first single, ‘Fall Behind Me’, didn’t jump out of the speakers to knock the listener around. It had a smooth feel that felt more radio-friendly. From the outside, it felt like the record label was exerting pressure, which is unfortunate, as I think I would have enjoyed these songs a lot more with more of a live feel. I have played the follow-up album ‘Bitchin” significantly more over the years. One of my favourites is ‘Don’t Break Me Down’ where the guitar work by Allison Robertson shines in the mix.  The title track reminds me more of something from the Nuggets era. I remember my new CD when this was released accidentally cut ‘Have You No Pride’ in about the middle of the song, and had to be replaced. ‘Lost and Found’ closes out the CD with a livelier feel than the album songs and will likely find its way onto my custom Donna’s playlist.

The last CD in the package is likely of more interest to long-term fans who are already familiar with the first two discs. ‘Hyperactive’ reminds me how awesome the ‘Get Skintight’ album is, with a much stronger punk influence. Maya Ford (bass) and Torry Castellano (drums) provided an awesome rhythm section for the band. Going back further with ‘Rock ‘N’ Roll Machine’ helps showcase the growth of a band that maintained their brilliance until they left us. The exuberance of youth is infectious and demands the body to move with the beat as we sing along at the top of our lungs. ‘Mama’s Boy’ comes kicking and screaming out of the speakers before we get the old album track ‘Play My Game.’  Now, we start getting some harder to find items with a lot of live songs included and some alternate mixes. An acoustic ‘Don’t Break Me Down’ delivers the goods and showcases in another way how brilliant the song is. The electric guitar solo works perfectly over the acoustic frame. The alternate mix of ‘Fall Behind Me’ provides a nice twist with the electric guitar riff mixing perfectly with rocking acoustic sections. Other standouts on this disc include ‘Done With You’ with the band delivering an attitude and hook-filled song that will also be on future Donnas’ playlists. Covering Billy Idol is not an easy proposition, but the Donnas deliver a fun version of ‘Dancing With Myself.’ The final ten songs are live recordings and showcase what a great live band the Donnas were.

I still rock my ‘The Donnas Turn 21’ shirt and get comments from strangers of what a great band they were. Their catalog still sounds fresh, and this release should be welcomed by long-time fans like me as well as the passers-by who want something by the band. For those looking for a place to start, I highly recommend this and all their other albums. You have a gold mine of music to discover.

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Author: Gerald Stansbury

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Midnight – ‘Steel Rust And Disgust’ (Metal Blade Records)

Midnight – ‘Steel Rust And Disgust’ (Metal Blade Records)

Anyone who knows the modern metal scene probably already recognises that Cleveland’s Midnight are the closest thing we have today to the classic punk metal blitzkrieg of Motorhead, Venom, Tank and Warfare. That main man Athenar should follow up the band’s incendiary 2024 ‘Hellish Expectations’ album with an album chock full of covers, and it does not feature a single track by any of those bands, though, had all of us at RPM towers scratching our heads. I mean, maybe we’d got Midnight’s influences all wrong after all. Then, I got to do some (grave) digging….

Originally conceived as ‘Throw Ups’, in homage to David Bowie’s very own album of covers ‘Pin Ups’, before then being retitled as ‘Steel Rust And Disgust’ to fit in with the band’s previously named six syllable back catalogue. This is a twelve-track album that brings together ten covers of songs written by bands who shared the same sights, sounds, and sewage as Athenar’s region of birth so hence why there are no British bands, adding in a couple of new Midnight cuts.

The first of these newbies is ‘Cleveland Metal’ a track that hammers home not only the record’s purpose but also proves why no one betters Midnight when it comes to writing three-minute blasts of pure punk metal…no one, and that’s a fucking fact.

The other new cut on offer is the album’s title track, ‘Steel Rust And Disgust’ and this beast is more of a pounding red hot slab of molten black rock ‘n’ roll. It’s classic Midnight, and I wouldn’t want it any other way.

It’s when we get to the cover versions that things get really interesting though as whilst (like me) you may be aware of the likes of ‘Final Solution’ (originally by Rocket From The Tombs), ‘3rd Generation Nation’ (originally by The Dead Boys) and  ‘Frenzy’ (originally by Screamin’ Jay Hawkins) what you have yet to hear is the total pummelling these tunes get in the hands of Athenar, the later in particular being delivered with the type of frenzied reverence that Lemmy used to have for the old classics.

Of the less familiar tunes on offer, take your pick from ‘Child Eaters’ (originally by Rubber City Rebels), ‘Iron Beast’ (originally by Kratos) or ‘Rock N Roll Fever’ (originally by David Allan Coe) with which to start your journey into a whole new world of great rock music. Of course, they are all given the compulsory Midnight mauling, but nonetheless, they are all made to sound like songs Athenar himself could have written, and that for me is the art of doing a great cover version, making it your own. 

Which just leaves me with ‘I’m Insane’ (originally by Synastryche) where I must admit I really was hoping for a cover of the Ratt classic of the same name (if only they were from Cleveland), the VoiVod-esque ‘Carrions Keep’ (originally by False Hope) plus the short sharp shocks of ‘Black Leather Rock’ and ‘Agitated’ (originally by Electric Eels) to round things off in truly chaotic fashion.

At times, cover albums can be something of a hit or miss affair (I mean, just look at ‘Pin Ups’), but ‘Steel Rust And Disgust’ is 100% underground hit after muthafuckin’ hit. BUY IT!!!!!

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Author: Johnny Hayward

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Wonk Unit – Hippos, Swansea 16.05.25

Wonk Unit – Hippos, Swansea 16.05.25

It’s been a while, but the Wonk Express was always going to show up at destination Swansea at some point, seeing as it’s been about eight years since their last visit, but it’s not like Alex hasn’t been busy conquering the world one town at a time.

The mighty Wonk Unit are a force for good, weaving their brand of Punk Rock into people’s ears, and it’s been a considerable length of time since I first clapped eyes on Alex and his band reciting poetry at one of the mighty Slugfest gatherings many many moons ago. With more than a handful of albums later, Wonk tonight are joined by Ed Wonk depping in on drums for I believe his debut performance however, it’s fair to say you’d never have guessed from his stellar performance behind the kit.

Now I’m aware my intro is almost as much waffle as Alex is capable of between the songs and tonight he’s joined by Vezzy, who’d obviously done her homework on tonights host city and rightfully informed anyone in doubt that the City was named after the birthplace of the majestic beast that is a Swan. Ok she might be ill informed or looking on the wrong website there but it fits into the world of Wonk perfectly with her hidden behind a stack of PA speakers almost obscuring Alex Wonks long standing partner in crime Pwosion on the bass but with the stand in drummer in situ we were off to an impressive start with ‘Day Job Wanker’ quickly followed by (when I say Quickly followed what I mean is ages between songs as Alex tries to coordinate the PA mix in his in ear foldbacks its the new album opening two tracks that burst out of the PA ‘Rapidly Declining Dignity’ and ‘Now That I’ve Grown Up’ then ‘Luxury Flats’ in fact the albums opening five songs spill out tight as a nats chuff to be fair and Alex’s praise for Eds performance is justified as he holds the engine room tempo and power perfectly well and sounds like has always sat in.

We get the awesome ‘Awful Jeans’ and an explanation for ‘Silly Voices’ before Alex enquires about any attendees who might have asked for the guest list, but pfew, nobody holds their hand up, not even I. Its a tight set as we steam into a middle section of absolute stone cold bangers like ‘Lewisham’ and ‘Go Easy’ and the evening progresses swimmingly they even stray from the tight setlist due to Ed not apparently knowing much outside of the list but it was thrown out the window momenterrily or rather Alex took his readers off to get involved with the mic in his paw and before we knew it the night was quickly racing to an end and the clock ticked past eleven the time when gigs used to end, and its a signing off with the quite brilliant ‘Kings Road Sporting Heroes’ followed by ‘Rambo’ and we are done.

The return to Wales’ premier rock n roll city is done, and Wonk Unit had delivered an epic set of top material from all corners of their repertoire,e and by the looks of it, Alex had thoroughly enjoyed himself as well, and hopefully it won’t be another seven or eight years before we get a return from one of the finest the UK punk scene has to offer. Wonk Unit came, saw and conquered. We left sweaty and smiling, having been thoroughly entertained again. Let’s all get wonked again sometime; that was honkingly good, you mad crazy bastards.

Aerial Salad – Roi de L’herbe ep

Aerial Salad – Roi de L’herbe ep

Aerial Salad release new track ‘Wires’ ahead of their ‘Roi de l’herbe’ 5-track EP to be released June 27th via Venn Records on 12” vinyl and digital

Pre-order the vinyl HERE

UK tour confirmed for June!

Following on from last year’s acclaimed ‘R.O.I.’ album, Manchester’s favourite sons Aerial Salad are set to return to the fray with a brand new 5-track EP titled ‘Roi de l’herbe’, to be released June 27th on 12” vinyl and digital via Venn Records.

No longer in the same line of spirit destroying day job work, with some seriously exciting gigs on the horizon, Aerial Salad wanted to kick off the next era of the band with a short, fast and hard EP and have served up five absolute bangers that sit somewhere between 2020’s ‘Dirt Mall’ album and ‘R.O.I.’

Today, the band have previewed another cut from the forthcoming EP with new single ‘Wires’, which is, as singer and guitarist Jamie Munro explains, “an aggressive dismantling of modern work/life culture. As we head ever deeper into the digital abyss. I’d rather be on fire than have to spend my life looking at spreadsheets.

“’Wires’ is an outcry to anyone following something in life, he continues. “The most ‘punk’ movement of my youth was the grime movement. It was ALL DIY, and it absolutely dominated British culture – there’s a lot of similarities between grime / punk/ hardcore. From the fashion to the beats. So, we thought we’d do a 50-pound music video ‘on a nostalgic backdrop’. ‘Wires’ picks up from where ‘Telekon 5’ left – you can’t keep drifting from what you believe in, and you can’t be tied by matters beyond what’s really important in life.”

“The EP is like the teaser for what’s next,” summarises Jamie. “The overall hook for this EP is one of hope, that by sticking to what you believe in you can do anything.”

Catch Aerial Salad live at the following dates in 2025: 

16/05/25 PERIGUEUX – LE MOULIN DE ROUSSEAU
17/05/25 MONTAIGU – FURY DANCE
18/05/25 RENNES – TY ANNA

UK TOUR
21/06/25 NEWCASTLE – ZEROX
22/06/25 GLASGOW – THE GARAGE (ATTIC)
24/06/25 BIRMINGHAM – SUNFLOWER LOUNGE
25/06/25 LONDON – THE SOCIAL
27/06/25 MANCHESTER – SOUP
28/06/25 SHEFFIELD – CORPORATION

FESTIVALS

6/08/25-10/08/25 BOOMTOWN FESTIVAL

31/07/20-03/08/24 Y-NOT FESTIVAL

Aerial Salad are:

Jamie Munro – vocals/guitar

Mike ‘Wimbo’ Wimbleton – vocals/bass

Jake Marshall – drums

Find Aerial Salad online at:

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