The new album from Its Karma Its Cool is the bands fourth forray into long Player territory and is entitled ‘One Million Suburban Sunsets’. The band’s 4th is my first, and with an open mind, I ventured into their gentle guitar-led pop tunes, and my initial thoughts were grown-up rock music, not that there is anything wrong with that, but it has a mature edge to it in a grand way, touching on The Killers and possibly a U2 influence here and there. The title track’s breakdown has me feeling Killers vibes for sure, and I do like the guitar solo and rhythm that runs through it.
The band’s arrangements and production are big and paint big landscapes, especially on songs like ‘Swans’ and ’21st Century Meds’, which I particularly liked. It had a great burst of energy when the intro died down, taking me by surprise. In contrast, the melodic ‘Arcades’ follows with some big, almost 80s Then Jerico feel to it.
‘This is a more guitar-heavy album than our previous releases. It should help us shake off the power pop tag (though there’s nothing wrong with power pop)’Goliath’ is a mid-tempo melodic track with layered vocals that ebb and flow. Leaving the pop melody of ‘Explosion’ to take this LP home, and an enjoyable easy-going listen it was. Life isn’t always about wild, challenging music assaulting your senses not all the time anyway, and it’s nice to step out of that comfort zone and listen to something different, and this was a pleasurable jaunt into a guitar-based slice of power pop with big arrangements and cheerful melodies that take the listener to a very different place. It’s about living in this modern world, and what it means to be alive in the 21st century. And it’s nice to be alive and able to listen to well-crafted albums like this.
It’s been a long time coming, and it’s good to be back. As I head into the big smoke for the first Role Models show in many a moon, I’m excited to hear a bunch of songs I’ve not had the pleasure of hearing live for quite some time and in a venue I’ve not been in for even longer. Hell, Bob Dylan played here, and I also believe it was the first venue the Pogues played in, as well as Oasis, so no pressure, gentlemen.
First up are the ever-impressive Empty Page; however, I entered the venue as they were exiting, much to my shame, as I wanted to catch them, as I haven’t seen them since they last played in the Black Heart with Role Models and their latest album ‘Imploding’ was one of the best albums from a UK band last year. Onto Billy Liar, who was performing with his full electric band, which is something I’ve not seen before, as previously it was just Billy on his own, which is a pretty formidable spectacle in itself, but tonight it was a very different beast, and opening with the excellent ‘Righteous And The Rats’ from his debut album ‘Some Legacy’ the band sounded tight and full of energy. By the time they hit the excellent ‘Baltimore’ they were on fire and it was an impressive sight as Billy led the band through tracks off both his albums, putting a smile on the faces of those present with his storytelling lyrics oozing style and craft with his folk meets working class punk rock but it’s all about the songs, and Billy has a pocketful of em.
There’s even time for a rampant run through the Rancid classic ‘Olympia’, and by the time ‘I Still Struggle’ filled the room, it was almost done. Only time left for a barbaric romp through ‘Hogmanay’ and the night was perfectly poised with a short while before Role Models hit the stage, and the most excellent supporting cast had suitably warmed up the audience.
The lights dimmed as Rags moved centre stage before being joined by the rest of the band for tonight’s headlining set. Opening with a wild and raucous ‘Dance Moves’ before heading straight into ‘Lie For Today’, before ‘Saturday Night Sailor’ thumped through the speakers. It was commented to me how in step the rhythm section was, holding the energy of the songs with a really tight double punch courtesy of Simon and Dan, who were on fire.
It was clear that the spirit of Role Models was filling the room with a bunch of catchy power pop punk rock n roll tunes and keeping them loose is a fine line, but tonight these four walked that tightrope perfectly, and already we were flicking through the albums from ‘Go To Guy’ via ‘Dance Moves’, and ‘(I Broke My Back) Disappointing You’ was like being hit by a steaming train. Loud, fun and boundless energy, this is what rock ‘n’ roll should sound like.
For those who don’t know, there’s more Role Models material outside of the three albums, and tonight we had them hitting us from everywhere. ‘The Charity EP, ‘Fuck You, See You At The Talent Show’ it was coming from all corners tonight. Represented from that fantastic EP were ‘New Reason’ and ‘Little Let Down’, but they bookended the soulful and emotional ‘Bullshit Corner’, a real deep cut from the ‘Forest Lawn’ album, where Rags stood alone on the stage but filled the room with raw emotion before being joined by the rest of the band. Damn, how the fuck weren’t these songs on the damn radio and these four gentlemen playing sold-out shows across the country? If I could have hand-picked the set list, I’d have plumped for a mix of what’s come so far and the bangers that pepper the second half of the set, with the deep cuts like ‘Bullshit Corner’, this was opening up to be one hell of a night.
By the time we hit the homestretch, it was the sing-alongs of ‘Cherry Dear’ followed by ‘Manette Street’, Damn, why did I just look at the time? This awesome reunion was drawing to a close, so it was ‘Radio’ followed by the showstopper of ‘This Eventually Leads Nowhere’, and we were done. Rags said his thanks and left the stage. Still, we weren’t done yet; no, sir, the audience demanded they return to the stage for an encore that was genuinely deserved. There was no fake ending; it was done and dusted. Still, being the good go-to guys, of course, they were going to play one more, Whammo!!! Songs were shouted out, but it was deemed we needed to hear ‘Disappointing You’ one more time when Nick’s amp rebooted, obviously.
It was always a pleasure and never a chore watching these boys, and I was delighted to have made the journey up to London Town to catch them again, and I headed out into the cold London night, happy that once again they delivered the goods and zero bullshit rock ‘n’ roll was delivered, and people left with happy smiling faces. That’s job done, isn’t it? Now, one last request: Can we do this maybe every year, maybe just before Christmas? Pretty please? Whammo!!! It’s been a long time coming, and it’s good to be back.
It’s been twelve years since they dished up ‘To The Capsule’, fifteen years since ‘How To Do Battle’ and thirty-plus years since they stormed to providence with ‘Stacked Up’. Tough times call for bands like Senser to rise from the ashes and start lobbing musical Molotov cocktails. Mixing their trip hop, hip hop with metal and a whole heap of experimental rhythms and easter delights oh and a social conscience.
Senser should stay in the annals of history if they can’t walk the walk and talk the talk, and with ‘Sonic Dissidence’, it’s fair to say they still have the fever and that fire in the belly; otherwise, what’s the point? Kicking off the new album with the grunt of ‘Ryot Pump’, it’s a headfuck of noise from the guitars groovin’ away like they’re primed from the depths of Hell married with some superb rhythmic drumming like Jane’s Addiction used to do, and the vocal attack of Haitham and Kerstin is exactly what you want to hear from Senser in 2025.
Without a pause for breath, ‘Optimus’ is like a tank ploughing through buildings on the prowl. With tweeks and scratches, walking you through the side step. The hypnotic chorus is a real earworm.
I’d say ‘Old World’ is a slice of classic-sounding Senser with a brutal riff weaving around the dual vocals as Haytham raps and Kirsten sings her lush melody to the chorus. In a weird way, I always find Senser records dark and end-of-days-like like but they always leave me hopeful and uplifted and remind me that I’m on the right side of history as well. With tracks like the beligerant ‘Full Bodied Rebellion’ followed by the smooth adjit trip hop of ‘End Of Days’, then ‘Already Dead’, it’s no wonder I’m contradicting myself with my thoughts on the record. But it’s a journey and one I’m more than happy to take.
By the time you’re deep into the album, there is no escape, and ‘Bleak Division’ might just be the best so far. The lyrics are spot on, and the riff is like cycling into a brick wall face-first, but getting back on and keeping going. The band are on fire and married with the scratching and Public Enemy tweaks its fantastic stuff.
The album really takes hold, and instead of resting on their laurels or going into autopilot, ‘Air Loom’ is Haigh’s time to shine, and boy, does she deliver. The penultimate offering is an old school thrash banger; ‘Harbinger’ could be Exodus at their finest. If that doesn’t satisfy your needs, there’s still time to exhale as ‘Carrier Wave’ is the multi-sensory room come down to take this album home, and at the hands of Andy Brook at the desk, the sound is a complete sonic assault. The music landscape is a better place with new music from Senser now, don’t leave it so long next time, please, guys. Buy It! They head out on tour later this month as well
Silver Dollar Room arrived on my radar near the end of last year with their debut full-length, which I meant to review until life got in the way. I have been familiar with their lead guitarist, Jamie Turnbul,l for several years through his production work for Tyla. The “difficult” second album is not a problem here, as the band has exceeded their debut across the board for my tastes. Their sound falls into the broad alt-rock genre, but their influences are quite diverse within that spectrum. My warning going into this album is that the first listen or two are subtle, with several moments that are cool and bring you back to it. Before I knew it, though, the album was on repeat with the songs burrowing deeply into me.
The first song on the album ‘Normal People’ takes some pensive grunge tendencies and uses them to let us know that we do not know where the album will initially go. This isn’t an album of upbeat songs. These songs reside in the darkness within us and society, with flashes of hope at times. The guitar solo by Turnbull provides that light in the first song. I also want to call out the drum work by Douglas McDonald, whose work is showcased across the whole album. On the opening song it helps take the song to another level. ‘Come Morning’ increases the tempo a little bit with a sound that recalls the 90’s grunge era mixed with a kaleidoscope of other influences to create one of those subtle choruses that just digs itself deeper and deeper into the listener. John Keenan’s vocals are full of heart and emotion. One constant across this album is that is should be played very loudly.
One of those initial glimpses of the excellence here happens next with ‘Breathe.’ There is almost a poppy style vocal over the first verse at the beginning, and then it gets more and more intense. We circle back to the poppier style for the second verse before crashing back into the intensity. There are so many awesome moments for me in this song that I cannot possibly highlight them all. I will focus on one of them, where McDonald’s drums and Ryan Shearer provide a breakdown that leads into a short but epic burst of a guitar solo that transitions into the end of the song. “Purple” begins with some uplifting guitar before transitioning into a darker-feeling song that is another album highlight. There are some grungy elements here as well as some Manics influence too. There are great dynamics between the breakdown and the guitar solo. Closing out the first half of the album is ‘Eyes.’ You may have picked up the song titles are very brief, and this is true throughout the album. While this rocker doesn’t hit the same highs for me as the previous two, it is a solid song with some excellent guitar work.
‘Crazy Eyes’ kicks off the second half of the album with a slow, moody approach that reminds me a bit of early Pearl Jam. Keenan’s vocals shine again here as the intensity builds. I would love to hear this song live as the guitar solo eases up some of the intensity momentarily before the surge at the end, without the song ever increasing the tempo. The catchy refrains and approach of ‘Can’t Rain’ remind me of a less mainstream Tonic. Musically, each member is hitting on all cylinders here to create an awesome song, especially the jam that I imagine can be stretched out in the live setting. Increasing the beat and intensity, ‘Smile’ feels like it was channelled from the 90s with a musical feel that reminds me of early Kerbdog and Seven Storey Mountain.
‘Monsters’ details some horrific subject matter and why everyone should listen to women. Musically, it is a hook filled song with some excellent intensity and a highlight among highlights here. Keenan uses his voice in some different ways across the song and just delivers a master class in singing. The band close out the album with the longest song ‘Broken’ on the album. This is a slow burning track that serves as an excellent closer with the easy going start giving way to a hard rocking epic feel. This song drips emotion.
Over the course of ten songs, Silver Dollar Room have created a second album that shines and demands a lot of listens. If you enjoy grungy alt-rock from the 90’s or current excellent acts like James and the Cold Gun, this is an album for you. I don’t know where it will be on my albums of the year list, but it will be on there somewhere. This is also one of those albums that I can see myself listening to in 15-20 or more years.
When the title dropped, it was game over. Of course, this was going to be a killer album packed with cowpunk goodness, wicked solos, awesome licks and tricks and lyrics that would make me smile, smirk and howl. Twelfth studio album deep in almost four decades, I swear, as soon as the needle drops and ‘Maybe I’m just messing with you’ kicks me square in the temple, I’m hooked. Great tempo, familiar lick and gritty spaghetti vocals that hit the bullseye right from the get-go.
What next for these supersuckers? Well, how about a melodic mid-tempo rocker? Again, it’s a great hook for number two, and this one hits you between the eyes. Is it legal for a band to be this far into their rocky rockin’ career and still make records that sound this fuckin’ monsterously good? Already I’m punching the air and firing off my guns all at once, can I get a hell yeah! And a yee haw! Those supersuckers are killing it. If you ain’t digging this, then listen to Eddie when he says Go fuck yourself. Me I’m all in and loving life and loving the new long player from Supersuckers so all that’s gone to shit in the world, there are pockets of sunlight filtering through the cracks, and music can be one. Always with a great turn of phrase and married it to some memorable earworm guitar playing, it’s a comfort and the lifeblood to hear records this badass.
Let’s ease back a little and not get overexcited; it’s a marathon, not a sprint, so let’s get a shuffle on as ‘Unsolved Problems’ eases into my head and I can’t shift it. Gentle earworms are dangerous, like audio crack, be careful kids. On another point, whilst I remember, Eddie sounds magnificent on this record after his health issues, he sounds stronger than ever and sings like a seasoned pro, bloody marvellous.
Don’t become complacent or feel lulled into a false sense of security because Eddy and the boys turn it up and remind us it’s time to put it down.
The record ebbs and flows as we relax a little and Eddie whispers sweet nothings in our ear, and he explains how he tried to write a song. And boy did he write a song, in fact, he’s written a whole bunch of em right here right now. The playing on a Supersuckers record has never been this focused has it? At times it’s blistering, and I love the tone of those acoustic guitars on ‘Meaningful Song’, proving that these boys can turn their hand to whatever they like and pull it off.
If you’re umming and ahring, then stop right now. Buy this record because the Supersuckers are on fire and on this evidence are as good, if not better than ever. They don’t need to write another ‘Born With A Tail’ or ‘Pretty Fucked Up’, been there done that. What you get for your hard-earned is eleven tunes of varying degrees of awesome, be it cowpunk shuffle, acoustic porch torches, or rock out with your cock out. Supersuckers do it better than most and leave a bloody awesome-looking trail of destruction behind them, and we can revisit this particular crime scene anytime we want. Now put that there song ‘Volunteer’ back on, grab a beer (and one for yourself) and turn it up. Hell, there’s even a stonkin take on Lee Harvey Oswald’s ‘Rocket 69’ (that reminds me to play that most excellent ‘Blastranaut’ album just because I can, and it fits right in amongst all this awesomeness.
Edward Carlyle Daly III, “Metal” Marty Chandler (guitar), and Christopher “Chango” von Streicher (drums) take a bow, you motherfuckers are trippin good, and I urge anyone who loves rock n roll to buy this motherfuckin’ record.
Mile high rocker Micah Morris has had his hands in the international punk rock n’ roll circuit for a long time. From his family roots in the Austin, Texas music scene, to his humble beginnings playing in a punk band in the mountains of Colorado, to busking on the 16th Street Mall, to his first Denver band Six Shooter, and on to the prolific band Fast Eddy, Morris continues to push forward into new territory with his music.
The songs Morris has authored have already been acclaimed internationally, such as Fast Eddy’s 2022 release “Take a Look”, which earned the title of “Coolest Song in the World” on Sirius XM’s Little Steven’s Underground Garage.
As the latest generation of his family’s musical legacy, Morris is the cousin of The Monkees own Michael Nesmith. His father Gene Morris is an accomplished musician of the Austin, Texas scene who played with the likes of yacht rock legend Christopher Cross, critically acclaimed guitarist Eric Johnson, and various members of Stevie Ray Vaughn’s Double Trouble. His mother Anne Norman was a production assistant to Carole King in her later 70’s era of recording.
“Tortilla Soup” is the first single from his upcoming solo record performed under the moniker of MICAH AND THE MIRRORS. This new release was recorded and produced by Dan Dixon (credits with Doobie Brothers, Zac Brown, Ravagers, Queers) and produced by Randy Michael (The Booze, Solid State Radio) in Atlanta, Georgia. All songs were written by Morris himself.
The future is looking bright for MICAH AND THE MIRRORS as his new music will challenge the boundaries of his former works as a reflection of Morris’ musical journey thus far and also his illuminated path forward as a solo artist!
A message from Micah
There’s a lot to say about this, but first of all I’ll say that it’s been a long time coming. A lot has changed for me lately, and ultimately it has all led me to this. I’m finally putting out a solo album. The ability to explore my own mind, soul, and emotions in relation to my music unencumbered is something that I have needed to do since I first picked up an instrument. I feel like the time has finally come to chase that dream.
This may seem like a departure for some, but for me, it’s an arrival. I promise to deliver the most raw and real version of what I have to offer. I’ll do what I can to keep rock n’ roll alive, if for no one else, then at least for myself.
Live fast and prosper
First release from Micah Morris’ solo project Micah and the Mirrors. Full length record coming in April 2026 on Spaghetty Town Records.
London based WitchDoktors have been tearing up the UK live-scene across three decades, earning their reputation as one of the UK’s most enduring and electrifying garage punk rock’n’`roll bands. Described by UK Rock’n’Roll Magazine as “the missing link between rockabilly, blues, 1970s prime-time punk and 1960s garage,” their sound is a riotous blend of snarling guitars, infectious hooks, and raw energy.
Their incendiary live shows led to a six-year residency at London’s legendary 12 Bar Club, cementing their status as cult favourites on the UK rock’n’roll circuit. Over the years, they’ve shared stages with punk and rock icons including Ruts DC, Fleshtones, The Godfathers, Nashville Pussy, Revillos, The Wingmen, Steve Marriot, Dr Feelgood, The Damned and PIL etc.
Continuing their long-term UK collaboration with Bomber Music, 2025 sees the launch of their sixth LP ‘Izzatso?’. Somewhat appropriately, this release (on vinyl, CD and all major universal Digital Platforms) is set to drop on the ‘all-hallows eve’ – i.e. Halloween 31st October 2025. Featuring 11 bludgeoning tracks, WitchDoktors songwriting has evolved and branched into new territory in their continuing journey along the dirty road of rock’n’roll and whilst their roots are planted firmly in their upbringing that feasted on Punk, Glam, & Trash there is a bitter twist of Country/Americana thrown in for good measure!
Conceived during COVID and then delayed by the sad passing of their longtime collaborator and legendary recording engineer Pat Collier, ‘Izzatso?’ is a call in this age of misinformation to question everything. Echoing the sentiment of the late great Joe Strummer ‘see through the veils of bullshit or spins on stories or propaganda and to think for yourself.”
From incendiary opener ‘Lightning Strike’, an apocalyptic vision of the impact of climate change, featuring slide guitar by Leigh Heggarty (Ruts DC) to the twisted Mexicans of LP closer ‘Kicking the Can’, the band expertly explore a range of musical styles from their collective DNA. Written by longtime songwriting partners and lifelong friends Andy Last (vocals/guitar) and Tony Major (guitar/vocals), the songs explore and challenge the pressing social and environmental issues of our time. With killer melodies and thought-provoking lyrics, ‘Izzatso?’ strikes a poignant balance between reflection and hope in these often-difficult times.
Fans, followers and future devotees of this rousing band can now sample the album with the soaring, anthemic ‘Before The War’ single, which perfectly encapsulates the album’s life-affirming sounds and words.
“It’s a Post Covid PTSD hitting home like the scarred and broken minds of a victim of ‘active service’”, explains vocalist and guitarist Andy Last. “The masses subjected to ‘the beast’ created by the few. Cannon fodder all over again. Death and Destruction without a thought for the individual. Will we ever learn? Sign-up, Serve Up, mission completed, contract terminated and now it’s someone else’s problem. here’s your plastic medal and a shoe box to live in. Whatever happened to the sparkle in those beautiful eyes?”
The ‘Izzatso?’ album once again sees our beloved WitchDoktors in yet another collaboration with Producer/Mixer Tim Palmer who provided both sonic consultancy and steer from his villainous lair in ‘62 Studios, Austin TX to the rough mixes that Pat Collier started producing with the band at Perry Vale Studios, London UK before his sad departure. Coupled with more recent recordings made by the band with Grant Strang at the controls at Silver Shark Studios in South London, the entire album had morphed into a monster production that the band were proud to take the next step with. WitchDoktors looked Stateside again and forged a new relationship with Sterling Sound in Nashville TN, calling on the Mastering skills of Justin Shturtz to finalise this latest masterpiece.
With the decades of chaos behind them (and no signs of slowing down!), WitchDoktors remain a vital force in British punk! Legends!? Well….almost eh! With this latest offering they should be, quite rightfully, well-assured of attracting further accolades for their ever-expanding Hall Of Fame and giving a nod and a wink to the further doses of the rock’n’roll recognition they will gratefully suck-up! All hail the might of WitchDoktors because they just refuse to lie down!
And yes….it’s WitchDoktors with a fukin’ K!’
LP to be available on 12” Vinyl LP (coloured & splatter), CD and all digital platforms.
Kind of mind-blowing that we had to wait until now to get a live album representing all that Jim Jones has done over the past 40 years. I remember picking up ‘Come Down Heavy’ by Thee Hypnotics when it was released, and it stood out in my record (cassette) collection at the time. I lost track of Jim Jones after Thee Hypnotics went their separate ways. It wasn’t until a friend suggested the Jim Jones Revue that I put two and two together. Hearing ‘The Princess and the Frog’ for the first time was one of those moments in life that I have never forgotten; I frantically tried to hit the button to hear the song again. We have undergone some changes over the years to get to the Jim Jones All Stars, who are an awesome collective of musicians with a dynamite discography at their disposal. It would take a triple album to really represent everything; what we have here, though, is a terrific live album featuring 15 songs recorded at different shows between 2023 and 2025.
In a just world, these shows would be taking place in arenas, but I am not sure arenas could contain these gritty, bluesy, rocking songs. This music is designed for dimly lit venues where the sweat and condensation is bubbling up on the wall and bodies are packed together tightly as everyone is angling to see the stage. Each song on the album is a highlight, with Jones acting as the ringmaster for this extravaganza. ‘Troglodyte’ surges out of the speakers with an unrestrained sense of urgency. The sax cuts perfectly through the mix. The sudden transition to ‘Lover’s Prayer’ feels a little jerky since the songs are coming from separate shows, but the slow tempo allows the piano to shine before going into the rocking ‘Rock n Roll Psychosis.’
I am not going to go through all the songs here individually, but there are no misses in the set. ‘Gimme the Grease’ shines in the live setting and really highlights the quality of the album, as these songs feel more natural and alive in the live setting. My old favourite ‘The Princess and the Frog’ leaps out of the speaker and rips the listener’s head clean off. The sax solo makes a perfect song somehow even more perfect. I have been a proponent for a long time that every rock band needs a piano player and sax player. This album would probably be all I need to submit as testimony. ‘Shakedown’ feels like a James Bond theme if the movie was made independently with a noir style approach.
If you had any doubt about picking up this album, those should now be gone. This is a master class in delivering killer live performances of great songs. I hope one day I can catch these guys on my side of the pond. Get the album! Go see the show! Your heart will thank you.
‘Get Down- Get With It’ will be released October 24th.
Formed by two seasoned musicians with deep roots in the UK music scene, The Zaltan Peppers bring a rich and timeless sound to the stage. Fronted by Jay Pepper of glam metal legends Tigertailz and Lizzie Prendergast, former Blue Horses member and resident violinist with the Cardiff Philharmonic Orchestra, the band weaves together a vibrant tapestry of influences. Their music blends the raw energy of classic rock with touches of blues, folk, and classical, all underscored by a proud Welsh heritage.
After being mightily impressed with the self-titled debut, which was packed to bursting with absolute bangers. Huge melodies wrapped up in a spitfire volley of garage rock n roll. Energy and lo-fi garage rock n roll goodness tunes that burrowed into your ear, sticking to your brain like a huge happy virus. Of course I was gonna be all over this bad boy.
Join me as I lead you through the band’s “difficult” second album. Or as the case may be, the piece of piss second album that hits as hard as the first and is possibly more impressive due to them treading the same furrow and pulling out another bunch of delights. It can’t be this easy, can it? Why don’t all bands pay this much attention to detail and kick out the jams this wonderfully sounding?
‘Searching for the Truth’ opens the record with a rasping 100mph beaming smiling heartbeat packed with melody and handcaps, gang singalong vocals sounding like a long lost Gen X banger. Check out the guitar licks, they are fired from the heart of a band that loves what they deliver.
Basically, it’s a loud rock n roll album packed with great tunes played with joy and excitement and at ear-splitting volumes, or at least that’s where they are best played. ‘OUT IN THE NIGHT’ and ‘speedball are perfect examples, dripping with snot and sweat in equal measures.
It’s not all Crash Bang Wallop mind (Ok, mostly it is) ‘Let’s Go’ is cool as ice from its swaggering tempo to the finger clicks and hand claps it’s a beautiful thing. Like an avalanche of rock n roll, you don’t mind being crushed by it as the speakers are tested to the sonic max. Short and razor sharp, these tunes come thick and fast. Rapid snare rolls and clanging guitar chords, Angel Face ooze snotty rock n roll, and I for one love it.
Let’s keep it short and sharp, and let’s not give the game away. Come join me, get excited for a band that delivers the rock n roll. I mean, what else have you got planned? Whatever it is that’ll be this good, that lasts less than half an hour? ok, simmer down, you filthy animals. Put the beer in the fridge, turn the stereo up, then slip this bad boy on; it’ll make you fall in love with punk rock n roll. This is exactly how it should be done. Get these cats on tour with Cavemen, that would be one nuclear hot show right there, no holds barred wild ride rock n roll, Buy it!
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