Marc Valentine returns with a brand new single ‘You Are The Jet’ – an infectious 3-minute powerpop buzz, out Friday 5th December on Wicked Cool Records.
‘You Are The Jet’ is Marc’s first release since 2024’s critically acclaimed album Basement Sparks, which was also on Wicked Cool, the label founded by Bruce Springsteen guitarist Miami Steve Van Zandt, aka Little Steven.
‘You Are The Jet’ is a rip-roaring gem, giving a nod to Big Star and The Pixies – fuzz guitars, harmonies and what might be the biggest hook of the year. The song was produced once again by Dave Draper (Michael Monroe, Wildhearts, Professionals). Marc’s band is Richard Davies (guitar), Richie Poynton (bass), Neil Scully (keyboards) and Rik Pratt (drums).
“The chorus for ‘You Are The Jet’ came to me whilst staring at the back of a static bin lorry in a traffic jam,” Marc explains. “A week later we’d recorded the whole track, and it was ready to go.”
‘You Are The Jet’ and B-side ‘10th Street Incidentally’ are released on limited edition 7” vinyl and all streaming platforms on Friday, 5th Dec.
Catch Marc and his band live at two special Xmas shows:
Monday 15 December – Hope & Anchor, London (+ Continental Lovers & Electrics)
It’s been a while since we crossed paths with Swansea’s finest, and with the band expanding to a four-piece with Another Thomas Brother joining the ranks, the sound is beefier, and Jack has the support to wander where the fuck he likes and throw shapes without the sound dropping to just Wayne and Mr Williams.
Wearing his obligatory higher league and local rivals top Jack throws his head back and absorbes the chants of “You Jack Bastard” offered up by tonights hosts whilst casual non partizan gig goers might be wondering what the actual fuck is going on ‘Gotta Do More Gotta Be More’ wafts over the PA as the band go for the jugular from the opening second and to be fair fo rthe next half an hour deliver a thunderous set and sound like their right up for it and in the mood to take no prisoners. Adidas trainers are thrown into the audience as Jack is prowling the stage like a man possessed ‘Sort Me Out’ he says, ‘You Do Nothing For Me’ also sounds fantastic. It’s time for a breather as the band catches their collective breath with the more relaxed ‘Thinking Again’, the pace is put in recovery and shows they have the tunes to kick things off and chill situations out if they so choose. Jack’s smile is infectious and wins over the Cardiff crowd, who are eating out of his hand, which seems like a great time to air a brand new song.
This is as good as I’ve seen the band in a while and totally on focus and in match form, it’s an all too brief set as after the excellent new track is aired a certain Peter Doherty positions himself on the barrier in the front of the audience for a romp through an epic ‘Uncle Brians Abertoir’ Doherty appearing in the front row of the audience to contribute his vocals perfectly then tosses the mic back to Jones to seamlessly carry on almost like it was rehearsed.
With just enough time to get a pit going for ‘Alcohol Kiss’, them boyos done good and the heat of the Tramshed is turned up considerably and with Mr Williams to bow out with a timely cartwheel, Trampolene are back, and they’ve brought the goods. I look forward to more shows and a new record. Let’s have it, you fellow Jack Bastards.
On stroll Babyshambles to the strains of The Simpsons and immediately get down to business with a rambunctious ‘Killamangiro’, and onward we stumbled and puffed our chests out for a ‘Down In Albion’ heavy set. It was the confident ‘Delivery’ up next before we skanked our way through ‘I Wish’, and it was three very different offerings from three very good albums to ease us back into the experience that is a Babyshambles performance.
The band sounded tight as two rizzlas as they eased from the ska to the Strummer indie and back again via some perfectly formed balladeering. To be fair, Pete was kept on a tight leash, and his wandering off in the intro was kept to a minimum, and his jokes were kept under his pork pie hat.
‘À rebours’ was eased into proceedings via a welcome intro of Love Will Tear Us Apart’ only to make way for the set’s highlight as we reached a beautiful moment on ‘Albion’ as a visibly shaking Mr Williams joined the band for a Welsh language version, which was quite moving, and what a wonderful lilt Mr Williams has.
Pat was never far from proceedings with his action picture being the backdrop for a lot of the set, and mentions along the way, there was even time for a brand new Babyshambles song titled, fuck knows I Didn’t Hear It. However, time was of the essence, and we were in danger of having the house lights turned on, so it was an encore but no encore time.
‘Dandy Hooligan’ was the warm-up before we got the school night boppers all jumping around to a punchy ‘Pipedown’ before the curtain was drawn, but not before a sweaty ‘Fuck Forever’ really did signal time to cut the PA. Hopefully, tonight was a reminder to everyone that the magic was still in the air and Doherty and co had left everything on the stage after delivering a thoroughly enjoyable set. Until next time, that was excellent. Now onto some new music, and we can all do this again next year. The Shambles are back in the game and leaner and right on focus.
The self-proclaimed ‘Barons of high energy rock n’ roll’, otherwise known as Märvel, return with their 10th album, cunningly titled ‘Brain Drain Diaries’.
The Swedish three-piece have been in the game for 20 years now. King (vocals & guitar), The Burgher (bass) and The Vicar on drums play the sorta rock n’ roll we here at RPM adore, and their high-energy mix of Thin Lizzy, Hellacopters and Kiss is always something to get excited about.
Recorded and self-produced at the Sunshine Factory in their homeland, ‘Brain Drain Diaries’ is what we have come to expect from the masked trio who dress like evil henchmen from a 60’s Batman TV show.
Lyrically, the band have taken a more reflective approach here, with themes of resilience, honesty and songs straight from the heart. But musically, it’s all about catchy hooks and killer riffs, baby!
I’m pretty much sold on the album art to be fair, but the opening one-two of ‘Look It’s Rock n Roll’ and ‘A Beautiful Corpse’ seals the deal in magnificent style.
With the former coming on strong like latter-day Hellacopters, Märvel deliver a killer opener with a refrain to die for and a high-octane solo to boot. This is low-slung rock n’ roll at its finest.
The latter, with its twin guitar attack, urgent beats and vintage Kiss feel, is pure rock n’ roll energy guaranteed to get the heart racing and the vocal cords working. That opening chorus will catch ya, hook, line and sinker. It’s probably the best track on the album. But it’s got some stiff competition.
Märvel have a knack for wearing their influences on their sleeves with no shame. ‘Biding My Time’ drifts from a Lizzy-like verse to a Kiss-inspired chorus with ease, but just ends up sounding like Märvel to me. The glam rock stomp of ‘Time Has A Way’ has a very British feel, like Mud or The Sweet in their prime. It’s as instant as Instant Whip and twice as nice. You’ll be humming it before the second chorus kicks in, believe me.
The likes of ‘Brain Drain’ and ‘Take A Stand’ prove not only that Märvel stole the beat from the Lord, but they may well have improved on it.
Märvel may not have the same kudos as the likes of The Hellacopters, The Hives or Turbonegro in certain circles, but ‘Brain Drain Diaries’ continues a strong run of killer albums from a band who are up there with their contemporaries delivering the goods to the max.
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