Mini Skirt – ‘All That We Know’ (Fuzz Club/Bad Vibrations)

Mini Skirt – ‘All That We Know’ (Fuzz Club/Bad Vibrations)

All grit and no glamour, Mini Skirt are a no-nonsense noisy bunch of musicians, and this new album gets right into the mix with the driving ‘Pottville River’ battering the listener with a hypnotic riff and tub thumping that will crawl inside your head and make you crave it more and more.

Lean in and take in every lyric and bop til you drop, nailing the tone of the record to perfection as the vocals are spat out rathe rthan sung like a lullaby this is music for people who give a shit and know exactly what they want. Noise but not for the sake of it, lyrics that give a shit that aren’t shit and an overall album that will take you on a journey you don’t want to go on but are a willing victim. Mini Skirt are in killer form.

Australia is the epicentre of this sound and boy do they do it well, in fact, they do it better than anywhere else on the planet from Stiff Richards and Split System to The Outsiders and the sniffers through Civic, C.O.F.F.I.N. and Grindhouse right back to Birdman and The Saints this far away island rules.

Five years since their debut album ‘Casino’, this album follows on from where that left off, leaving the informed in no-brainer territory, knowing what they’re getting for their bucks. For the newcomers, just jump in, it’s loud, raw, but bursting with passion. ‘All That We Know’ is now ready to push Mini Skirt in front of more people around the world, and that’s a good thing. These Australian pub-punkers will probably not give two shiny shits about some writer on the other side of the world, but they should know that they’re on the right path, and for someone who loves this honest, raw, passionate rock n roll thing, they should continue to deliver their brand of jagged, raw political Aussie noise.

I love the Saints wrapped in their DNA on songs like ‘Smart Enough’ and then to punch harder on ‘Chew The Cud’. I can imagine being in a sweaty, dark club being thrown around to, this being an experience we all should be on board with.

I find the hypnotic rhythms married to the noise-overdriven guitars the perfect match and most engaging. There is a darkness happening that’s like musical voodoo casting a spell over the listener. Songs like ‘Mud’ weave their way into your brain and are most addictive. ‘Squeeze Down’ is epic, but saying that, this whole album is pretty epic and one that opens different moments on every play. Man, I love records like this, and my advice is you will too, so waste no more time and get some Mini Skirt on the turntable. You can thank me later.

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David Ryder Prangley – ‘If You Were To Kiss Me Now, All History Would Pour From My Lips’ (Self Released)

David Ryder Prangley – ‘If You Were To Kiss Me Now, All History Would Pour From My Lips’ (Self Released)

We’ve already been mulling over our potential favourite albums of 2025 at RPM Towers. It’s been a very strong year so far, and a pleasingly varied one. Yet, I’ve been patiently waiting for this, the third in the trilogy of solo albums by the glamtastic David Ryder Prangley. If you only know him from the mighty Rachel Stamp, his solo work may come as a welcome surprise. Understandably, the album release was put on pause after the tragic death of Stamp drummer Robin Guy. It’s inevitable that a period of reflection and reevaluation was necessary. I’d like to state here for the record that Robin played the only entertaining drum solos I’ve ever seen. An enormous talent, a gentleman and a huge loss.

If you already know ‘Black Magic And True Love’ and ‘Vampire Deluxe’, ‘If You Were…’ is the perfect ending. There is a dark, ethereal thread running through the trilogy, mixing fables and true-life events from throughout David’s life. I’m not here to dissect the stories, I prefer to let the music transport me to other places. While there are fewer big bangers like ‘Sweet Heartbreaker’ and ‘Black Magic…’ here, do not despair. Immerse yourself in the album as a whole, and you will reap the rewards. It has been worth the wait…

‘The Devil Has Come To Dinas Powys’ is a dream-like introduction. David’s home town sets the scene, acoustic guitar and the synths of Laurie Black evoke a haunted forest. ‘Die Alone’ was written as a duet for David and Nymphs singer Inger Lorre. Sadly, this wasn’t possible, but it stands as a beautiful tribute. Drew Richards returns for guitar and co-production, with a deft touch throughout.

‘Let’s Fall Apart Together Tonight’ does indeed have a similar mood to ‘Black Velvet’ by Alannah Myles, with a darker, dirtier edge to it. ‘Big, Bad Wolf’ brings out a low-slung, classic rock n roll riff, albeit with ‘flute’ solo. Trust me, it works! David was thinking about the Elvis films, often derided, which he was hooked on. “Elvis would just be walking around then suddenly burst into some really weird song with lyrics that sounded like a cross between a nursery rhyme and pornography, and I decided to write one of my own”. Pleasingly sleazy.

‘Jesus Christ Is Coming To Town’ is the closest thing to Americana on here, inspired by Rachel Stamp’s experiences at the South By Southwest festival. ‘Stained Glass Star’ with its smoky, film noir guitars, reminds me of the most sultry moments by The Hillbilly Moon Explosion. The fragility of stardom and temptation, in a suitably sensual style.

‘Box Of Dead Lovers’ is possibly the closest to Rachel Stamp, a crunching riff. Influenced by the Paisley Underground movement, but with much more swagger here, which is only to be expected. ‘Joanie Loves Davey’ is a paen to Joan of Arc/Jeanne d’Arc, another childhood obsession of David’s. It includes “a singalong coda in a made-up language”, which explains why I was initially confused. The Stonesy riff wouldn’t be out of place on ‘Tattoo You’. Very catchy from the first listen.

‘Falling From The Stars Down To Earth’ is the perfect ending to the trilogy. The first song that David wrote while Rachel Stamp were on hiatus in the 2000s, “ a song of acceptance and hope”. While the gentle acoustic guitars evoke Zeppelin’s eastern influences, the overall feel is otherworldly, another thread that links the albums. The stunning cover photo by Rowan Spray only adds to the atmosphere. No one else really makes music like David Ryder Prangley. With plans for a concert to cover the trilogy, and with Rachel Stamp back onstage with drummer and long-time friend Joe Holweger, let’s hope there’s a lot more music to come.

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Author: Martin Chamarette

Wolfsbane To Tour With The Almighty

Wolfsbane To Tour With The Almighty

Also, FINAL 2026 HEADLINE SHOWS

Wolfsbane, performing with their legendary original lineup, are proud to confirm a November tour with The Almighty, followed by three final headline shows to close out 2025.

“The last time we played together in 1989 was a total riot. This tour could cause a METAL REVOLUTION!!!

We’re really excited as it’ll be our first gig in Belfast since 1993, the first time we’ve ever played Glasgow Barrowlands, and we’re well overdue a Rock City Night in Nottingham. We also quite like Portsmouth….” – Wolfsbane

‘Live Faster‘ is a totally new re-recording of their debut album ‘Live Fast, Die Fast’.  

To order Live Faster on CD and vinyl go to: https://www.wolfsbaneband.com/webshop/

To stream Live Faster here:https://linktr.ee/wolfsbanehms

With a huge desire to do justice to the new version whilst respecting the old one, ‘Live Faster’ is splendidly IN YOUR FACE and everything the band had hoped it would be. “We are so pleased with the way it has turned out.” – Blaze

Wolfsbane dates in full 2025

November 22nd – Belfast, Ulster Hall*

November 28th – Portsmouth, Guildhall*

November 29th – Nottingham, Rock City*

November 30th – Glasgow, Barrowlands*

*As special guests to The Almighty 

December 5th – Sheffield – The Greystones

December 6th – Bradford – Nightrain

December 7th – Grimsby – Yardbirds

2026 

May 1st – Bonfest – Kirriermuir Scotland 

May 3rd – Roxoff Festival

May 29th – Call Of The Wild Festival 

Tickets for all the shows are available at https://www.wolfsbaneband.com/live/

Wolfsbane is 

Blaze Bayley on vocals

Jase Edwards on guitar 

Jeff Hateley on bass

Steve Danger on drums

Wolfsbane – Official Website

Various Artists – ‘Killed By Deaf (A Punk Tribute to Motörhead)’ (BMG)

Various Artists – ‘Killed By Deaf (A Punk Tribute to Motörhead)’ (BMG)

Motorhead mannaged to defy the boundaries set by the media and fans alike that it was unaceptable to be equally loved by punks and rockers but its fair to say the legacy of LEmmy is one that crosses many genres and to prove thepoint those peeps at BMG have only gone and gotten a bunch of top tier punk rockers to record their versions of Motorhead tracks be it classics or deeper cuts its all here for your indulgence and to be fair whilst a lot of tribute albums are bloated and very patchy this one is an absolute raging success and wall to wall bangers. Be it faithful interpretations or more twisted offerings it’s of a very high standard, and the addition of The Damned classic ‘Neat Neat Neat’ featuring Lemmy is a most welcome addition and barnstorming winner.

Sure, Motörhead’s impact on metal has long been acknowledged, but the punks like GBH, Discharge and the Damned is undeniable. There can be no doubt that because of Motörhead, these bands were faster, dirtier, louder, better, because of Motörhead.

Lemmy once said, “The punks loved us. The only reason we weren’t in that lot was because we had long hair, so obviously, we must be heavy metal. That was the thinking. But a lot of kids heard us without seeing a picture, so they thought we were a punk band.”

Of the fourteen tracks on this album, you’ll hear the passion and respect they have in their delivery and DNA for Motörhead. You have Rancid, Pennywise, Lagwagon, The Bronx and FEAR all contribute raucous versions of their favourite Motörhead tracks. I could go through them one by one, but that would spoil it for you, it’s that good. from his adopted home, later on in life, they just “get it” from the awesome opener from Pennywise, the good vibes just keep flowing… and also up-and-coming upstarts like Slaughterhouse contribute, because, let’s face it, Motörhead always loved and championed the underdogs.

Lemmy covered the Pistols’ ‘God Save The Queen’ and wrote ‘R.A.M.O.N.E.S’ for Da Bruddas, for the ‘1916’ album, so it seems only fair to put this beast together. It’s only fitting, then, that the only non-Motörhead song on this album is from when he teamed up with The Damned in 2002 for a previously unheard and blistering version of The Damned’s classic, ‘Neat Neat Neat’, which is the album’s crowning glory. Lemmy and the Damned have a shared history over many years and crossed paths, so this was the clincher for me.


‘Killed By Deaf – A Punk Tribute To Motörhead’ is well worth picking up, not in passing but you should make a concerted effort to track down a copy. Punk or Rocker, you need to hear this album, buy it!

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Querida Margot ‘Deuce’ (Querida Margot/ MusicAdders)

Querida Margot ‘Deuce’ (Querida Margot/ MusicAdders)

I came across Querida Margot earlier this year and really enjoyed their debut album ‘’Atentamente’ from 2023. Their sophomore release has been gradually coming together over the course of 2025 with several early singles showcasing a band whose style has continued to evolve and stretch into new areas. Some readers may remember the band from my review of the latest album by Flaco Rodriguez earlier in the year. There seems to be a vibrant rock scene in Spain, which I have begun to explore.

Opening the album with the first single, which seemed to be released many months ago now, ‘Todo al Rojo’ serves a catchy chorus with a rock n roll beat. If you don’t know Spanish, you will begin to learn some with this album. There is some nice guitar work mixed into the song as well. ‘Viviendo Gratis’ channels some Rolling Stones and early rock n roll influences into another singalong. The Chuck Berry-style riff is extremely contagious. Slow burner ‘Poco’ is one of my early favourites from the album. There is plenty of space in the song, with the guitar notes getting highlighted in the mix. While there are still hints of the Stones, I hear some more modern rock influences here as well. The subtle use of the piano adds an excellent touch to the song.      

‘Con el Alma Desnuda’ is a slow, bluesy song which slowly struts out of the speakers and creates its own vibe. As the song builds, it could be a less aggressive version of something by the Jim Jones All Stars. My favourite parts of the song are where the electric guitar cuts through everything else to give the song some extra punch. Wrapping up the first half of the album, the title track serves as another epic song at 5 minutes with a steady build into a catchy chorus. There are what sounds like some slide guitar mixed in as well to add flavour to the song. There are some excellent touches added with the drums too, to give the song some dynamics.

Turning up the tempo, the band launches into ‘De Nuevo’ to kickstart the second half of the album. After the twists of the past few songs, this one returns to the straight-up rock pop style with a catchy hook and a beat to get the body moving. The spoken word part near the end is a nice twist to lead into the final choruses. When ‘Siete’ was released as a single, my first thought was that the band was covering ‘Honky Tonk Women’ by the Stones. The chorus feels different, but those verses are definitely channelled from that well. Big ballad ‘Berlin’ builds beautifully over the course of its 4 minutes.

Approaching the end of the album, Cuarenta Grados’ features some great piano touches and feels a bit like glam era Bowie. The mix on the album really allows the guitars to pop out when needed, with this song being a great example. The guitar licks help create a hook for a chorus that feels bigger every time I hear the song. Closer ‘Mundo Raro’ feels like something we would hear playing as we walk down the streets in a busy Spanish town. The gentle acoustic guitar and vocals combine to deliver a softer but powerful moment.

‘Deuce’ provides a very enjoyable listen and showcases a band building off their debut album. I recommend giving it a listen if you are looking for a rock album with a hint of pop touches. Their third album will definitely be of interest to see which direction the band goes as they continue to grow.

‘Deuce’ is available now.

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Author: Gerald Stansbury

WitchDoktors – ‘Izzatso?’ (Bomber Music)

WitchDoktors – ‘Izzatso?’ (Bomber Music)

London rock n’ roll band WitchDoktors are back with a new album, ‘Izzatso?’, and what a bright slice of sunshine Rock n roll it is too. From the punchy opener ‘Lightning Strike’, you can lace up your creepers and get boppin. Featuring 11 tracks, WitchDoktors they refuse to stand still and incorporate styles outside of their comfort zone of rootsy punk rock n rolland on the opener, the breakdown is infectious and holds up the wonderful slide courtesy of Ruts DC Leigh Heggarty. Equal servings of Trashy glam rock n roll played loudly through amps with real instruments with big throaty gang vocals, it’s the perfect opener.

Hot on the heels is the punchy ‘Before The War’ with a fantastic chorus bursting with energy, it’s simply majestic, and the clincher is a hearty, warm, engaging production that’s elevating the songs into the next league.

Conceived during COVID and then delayed by the sad passing of their longtime collaborator and legendary recording engineer Pat Collier,  ‘Izzatso?’ is named thus for the listener to not take things on face value and to question everything. It’s no coincidence that the band are big fans of Mr Strummer, who’s woven into their DNA. See through the veils of bullshit or spins on stories or propaganda, and to think for yourself.” Wise words.

‘High Dry And Burn’ has a feel of Michael Monroe going on, and what a track it is from the backbeat, its exceptional songwriting and already the album is barely awake, and it’s pulling the listener in several directions and all of the highest order. Impressive stuff.

Heading into Strummer territory for ‘Freedom Fighter’, this could stand tall alongside tracks like ‘Tony Adams’ with its lively Bass run and inner city skank. Man, the horns on ‘Planet Of Pain’ with its energy are something else. The song is honkingly good and will deffo fuck you up!

WitchDoktors have hit a career high on this one, and the punch and zip of ‘Spanner In The Works’ is another side step into some ska skank with funky horns and twitching keys that a mid-70s Rolling Stones would have killed for. Whereas ‘God Knows’ has a pulse of Kinks in the song, at least that’s what I’m hearing mixed with some Small Faces for good measure, and the super strong vocal helps.

It’s an album full to bursting with potential singles left, right and centre, with a mixture of styles that work really well, making the best WitchDoktors album thus far. 2025 has been an awesome year for new albums and this is next level for these Londoners, showing that they can go toe to toe with anyone in this risky business. Kicking ass and doing it with a beaming smile, no doubt. Hell, they even don the sombreros and chew on cigars for a little mexicana on the album’s closer, ‘Kicking The Can’, complete with its squeezebox and trumpet, it’s making Paul-Ronney Angel blush, it’s so good. Andy and Tony, who write the songs, have really delivered without hesitation. I suggest you go and get a copy of this one right off the bat and demand they come to your part of town and bring the big guns, ‘Izzatso?’ is all killer and no filler, and you can tell I said so! Buy It! 

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Author: Dom Daley

The Living End – ‘I Only Trust Rock N Roll’ (BMG)

The Living End – ‘I Only Trust Rock N Roll’ (BMG)

Eight years, eight fuckin years! Has it really been that long? Damn, I did manage to see them live in that time to be fair, and the set was all the hits that just cemented the theory that the world needs new music from one of Australia’s finest musical exports, and it might have been a long time coming, but boy is it good to have them back. I also have to confess that the last few albums had their moment,s but they also had a few patchy tunes, unlike the first few albums that would certainly go in the All Killer No Filler category.

With ‘I Only Trust Rock n Roll’, I’m happy to report, is a rush of energy and a return to their early days of urgent tunes from a hungry, killer band. Right from the off, ‘Alfie’ is a powder keg of fire and fury. Harnessing that urgency, a few choice profanities and a big fuckin hook that snags the listener’s ear amid a thunderous bassline, melody that’s understated but a real earworm. Stripped back to basics, the band have ditched the layers of sounds and the multi-part layers that can distract from the core of what made them such a fantastic band and gone back to basics. Top tunes played hard and with something to say in a disposable age, it’s cool to have a band making lasting, memorable tunes.

It’s not that I forgot about my review, but I’ve been giving it plenty of plays and just enjoying listening to the band kick out the jams and forgot to upload it into the scheduler. To be fair, it was released with very little fanfare this side of the globe. ‘Alfie’ is quickly followed out of the gate by ‘Roller’ with the familiar thumping salamander stick slapping the big end of the speakers and Chaneys raw Gretsch scratching away at the tweeter, making such a wonderful noise.

‘Strange Place’ tells it like it is with some social commentary, with plenty of swing in the rhythm, wheras ‘Private Hell’ borrows from some 80s new wavers and a generous side of power pop for the verses. The poppier ‘Don’t Tell Me’ and ‘Public Holiday’, have groove and on the latter, a darker edge that has that build that Living End made their trade mark. ‘Camera’ is the sound of Cheney giving his six-string a good hiding, just rocking out plain and simple its the sound of a band on top of their game just havign a great time doing what they love doing it sounds like a band who’ve fallen in love with rock n roll and by trimming all the fat they’ve gotten in to sonic shape and are kicking it. Rock therapy indeed, and by the time they get to the timeless ‘Gypsy Blood’ it’s a thumping groove they’re jammin on right there, no pretence, just the sound of a band having it large and going for it.

Closing this return to form, they might just have saved the best till last, and the title track is raging into the night, and to be fair, you won’t go far wrong with only trusting Rock n Roll. Join us and turn the news off, and just turn the speakers up, and let’s Rock! The Living End are in the house and they only trust rock n roll, Amen brothers, Amen.

Senser / Collapsed Lung – Hanger 18 – Swansea 23/10/25

Senser / Collapsed Lung – Hanger 18 – Swansea 23/10/25

It was great to see a very busy venue on a school night when the wind and rain were lashing down outside but inside it was warming up rather nicely as Collapsed Lung were on stage entertaining the crowd with a set of bangers and by the time they got to ‘Eat My Goal’ the audience were caught in the moment moving with the break beats and the energy was excellent. I particularly liked the Grange Hill Just Say No in ‘New Song Old Band’, Zammo would have been proud as the vibes in the room were spot on and Collapsed Lung had achieved their Goal of warming up the audience well for Senser.

With the audience packed in and the clock just ticking past nine, the band took their respective places as Haitham and Kerstin brought the energy out on the battle line. ‘To The Capsules’ ‘Devoid’ signalled the intent to drain every last bit of energy the audience had was about to commence and the rhythmic beats began and the riffs were cranked up, and with a one and a two, we were off! Heavy as a bomb with all the finest ticks and scratches, making this anything other than straightforward. Senser are up and running, no, scrap that charging.  No time to pause for breath because a frantic ‘Resistance Now’ is drawing the pit closer as Haitham stares into the middle distance as he delivers the sermon of the hour, and Swansea is all in.

A special mention must go to the band here who put in a shift and were tight as delivering the intensity needed and mixing the Deckwrecka who weaved live scratches and some into the ferocious riffs from Nick whilst the rhythm section held it tight in the engine room it was spectacular and the old ‘Stacked Up’ tunes sounded as fresh as songs off the new album especially ‘Ryot Pump’ which was devastating in its deliver, intensity and execution. Senser were on fire tonight and showed that they are indeed a force to be reckoned with.

There is an intensity to Haithams delivery as he grips the mic but a smile is never far from his lips as the audience bounced to ‘State Of Mind’, ‘Switch’ or the new ones like ‘Full Body Rebellion’ or the frantic mosh of ‘Harbinger’ showing they have the chops to go toe to toe with any heavy band when they want to.

‘No Comply’, ‘The Key’ were all present and correct leading up to a frantic and energetic ‘Age Of Panic’ as the guitars were rinsed before the non encore of the epic ‘Chanel Zero’ which encompassed everything these guys are great at it was indeed a mash up of Slayer meets PE but giving it a sarf London twist and owning the sound better than most in this genre. Politically aware, sonically astute, and a thunderous live band, Senser 2025 are a force to be reckoned with, and if you get the chance, pick up the new album and get to a show, it will entertain you and give you a shot in the heart that bands can still kick it and are relevant today as they were in the early 90s. Oh, and of course, they finished the set with a brutal ‘Eject’ and then they were gone. Swansea, you were served. Let’s do this again in the not-too-distant future that was memorable.

Author: Dom Daley

Brainmaze – ‘When Your Demons Come’ (Self Release)

Brainmaze – ‘When Your Demons Come’ (Self Release)

Brainmaze is a groove/thrash metal project from Bulgarian musician Ivan Shishkov. Apparently, it has taken him a decade to put this album together. It’s pretty darn good! If you love a bit of technical thrash and power groove – think Annihilator meets Prong and you will get an idea of the huge sound of Brainmaze.

I have no idea who the other musicians are or if there are any. The album still sounds very cohesive, as if there has been some genuine collaboration. I could be completely wrong though! It could be AI…who knows these days? Let’s hope not…

Regardless of that, Shishkov has put something special together here. Crunchy staccato riffs, answering double kick drums, atmospheric solos, odd time signatures and some gnarly vocals make for some great heavy metal. The opening track ‘Fear’ kicks off the album with style. ‘Spite’ could be something unreleased by Jeff Waters, it screams ‘90s Annihilator – absolute quality. The entire album continues in this vein, it’s very well done. The production is huge. It sounds fantastic through my headphones with a perfect mix.

‘When Your Demons Come’ is a superb piece of work. Shishkov has done a wonderful job of combining heaviness while sprinkling some prog on top of his creation. It’s a great listen from start to finish. I’m off to listen to it again!

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Author: Kenny Kendrick

The Southern River Band ‘Easier Said Than Done’ (The Southern River Band/ Civilians)

The Southern River Band ‘Easier Said Than Done’ (The Southern River Band/ Civilians)

As the debates for album of the year begin and new releases start to slow down at the end of the year, the Southern River Band (SRB from here out in this review) have walked up to the table and threw a razor-sharp switchblade in the middle of it to command everyone’s attention. SRB has delivered some excellent songs in the past, and their last album (‘D.I.Y.’) was really good, even though it felt much more like a collection of songs than a proper album. The early songs from this album mostly grabbed me right away, but I had no idea that this would immediately be put on repeat. Do you ever listen to a new album and wish there was a way to listen to every song at once, because this is what this album does?

SRB kicks things off with one of the early singles, ‘Don’t Take It to Heart’, whose video showcases some of the humour the band incorporates. As a song, it is a hard rocker where the hook is huge with Cal Kramer’s vocals having a special quality of being infused with heart, soul, spirit, and a charisma all its own that allows him to deliver killer lyrics across this whole album. Being from Australia, there is an AC/DC influence in the musical mix, but I really think there must just be something in the water that makes that happen. The guitar solo blasts its way through the speakers. Great work by the rhythm section establishes ‘Something’s Gotta Give’ as the song is part blues rocker and part anthemic hard rocker. The guitar riff commands air guitar participation. There are some twists and wrinkles through the song that really elevate it to a whole other level. ‘Bad Luck Baby, Bye Bye’ slightly slows things down to really work a riff that is pure rock n roll from the same well as the Rolling Stones and Faces. The lyrics jump out here with the chorus being an immediate sing-along opportunity. 

Slowing things down with the semi-ballad ‘It’s What It’s,’ the band crafts an introspective journey about growing older and looking at life. I’m sure this will be a song in future live shows, where the crowd is ultimately who sings the song. The subtle musical touches provide the perfect counterpoint to the more rocking ‘One Last Dance.’ There is a strong ’70s influence in the verses, with a chorus that is somehow subtle and also hits the listener over the head. The band ends the first half of the album with the excellent ‘Suits Me, Just Fine.’ The lyrical reference to Van Halen seems appropriate for SRB as well. There are some David Lee Roth years touches across the album through both the vocals and lead guitars. These songs are timeless in their approach. At one point, I thought this could have been what Stillwater from the movie ‘Almost Famous’ would have done a few albums down their imaginary career.

Midway through the album, there has not been a moment or a song where I have not connected to the music. SRB provides a new wrinkle with acoustic guitar driving the opener of bluesy ‘All Over Town.’ It is a brilliant addition to the album and sets up the explosiveness of the rest of the song. The guitar work across the album is awesome, and there is some added slide in the mix here. There was one early single where I was not initially grabbed. I listened to it once or twice, but did not keep going back to it like I did with the other ones. My first time listening to the album thoug,h the song clicked in a big way. ‘No Such Time’ has a cool 70’s bluesy rocking groove, and I don’t know why it didn’t immediately click. I also cannot explain how it went from not clicking to a favourite among favourites. The dual vocals provide another atmosphere to the album, and this one also fits that earlier motif of Stillwater years later. The bass and drums are locked in an awesome groove. The band continue to throw in new elements with ‘Lay It On Me’ reminding me of the Rolling Stones when they incorporated some of those disco-type beats, or what Kiss could have done if they had made “I Was Made for Loving You’ a hard rock song first and then added the other elements. I could see a music video where the band is playing on American Bandstand back in the late 70s or early 80s.

The final quarter post of the album kicks off with the rocking ‘Fuck You, Pay Me’, where we once again see the humour the band incorporates into their lyrics when appropriate. It is another huge hook and sing-along song that fuses itself with the listener. This is where I suggest y’all buy something from the band so Cal doesn’t have to try and sell his gear or a kidney. ‘We’ve Got Plans Tonight’ cranks up the rock n roll and feels like the Quireboys (without the piano). At just over two minutes, the song demolishes the room in record time, with a harmonica solo being the cherry on top of this sonic jubilation. The band could have made this the album closer and had it swap slots with ‘One of These Nights (I’ll Be Gone),’ but this order works brilliantly too. They end with an epic ballad (and the current single) with a catchy ‘I’ll be gone’ refrain. It is not hard to see the live crowd swaying their arms with their cellphones, lighting up what should be an arena.

SRB deliver 12 outstanding songs without missing a moment across the album. Each element here really is lightning in a bottle as the album delivers killer songs, great mix and production, and a cohesiveness that brings everything together. The follow-up album will be a tall task filled with huge expectations now. That is for the future, though. Let’s take time to enjoy a very strong album of the year contender, but more importantly than that, an album to play continuously in the many years to come.

‘Easier Said Than Done’ is available now.

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Author: Gerald Stansbury