In the time-honoured old lady at the thought of an election, “Not Another One?” yup, it’s another one, but this is the definitive Boys Singles Collection just in case you’d forgotten how bloody good the band is.
The 2CD Digipak features the ‘A’ & ‘B’ sides of every physical (7″ vinyl /CD) Single release from both The Boys & The Yobs from 1977 to 2025. The release includes a 20-page booklet with detailed linear notes and pictures of all the relevant sleeves. Just in case you fancied trawling Discogs looking to track down the elusive original 7″ before the brand new 2026 album drops from The Boys.
What’s not to love about such classics as ‘I Don’t Care’, ‘Sick On You’ ‘, First Time’, and the legendary ‘Brickfield Nights’, which are all very much part of the current Boys live set. But it’s also a chance to wrap up the latter Boys singles like ‘I’m A Believer’ and ‘Punk Rock Girl’, which, to be fair, are distant enough to be joining the first wave classics because time has fallen favourably on songs like those off ‘Punk Rock Menapause’. The liner notes are suitably detailed and offer fantastic value with their twenty pages. Every festive period you can offer up ‘Run Rudolph Run’ or ‘The Worm Song’ just to offend your nan.
Drawing in their footy anthem ‘Svengerland’ and demos as well as unplugged B Sides, this is a comprehensive set and trawling through the good old days in the late 70s to the here and now, it’s a wonderful two-disc showcase to the endurance and downright class of the Boys and all who sailed with them. Forty songs over two discs is one hell of a legacy to Rock n Roll. Buy It!
You can pre-order the collection from Cherry Red – click here
What happens when you take two teenage siblings from the heart of London town with a rock n’ roll dream and something to say, force feed them a diet of Sex Pistols sneer, The Jam’s sharp suss and a heady dose of The Libertines? The Molotovs are what happens. Singer/guitarist Mathew and bassist Issey are just 17 and 19, respectively and have been making a name for themselves the past 2 years, gigging hard.
With more than 500 shows under their belts, The Molotovs have put in the hard work, and it seems to be paying off. Following support slots with The Sex Pistols and Blondie, a slew of high-energy anthemic singles that nod to the glory days of ‘77 and a debut album due at the end of the month, their time is now….right now.
First up tonight, though, are local lads Garage Flower, who have the task of warming up the growing crowd. Presumably named after The Stone Roses album of the same name, the four-piece band deliver a high-energy set of guitar-driven, garage rock. Don’t let the baggy jeans, the floppy fringes and their youthful looks deceive you, these boys are no shoegazing indie pretenders.
With gravelly lead vocals, effect-ridden guitars and a tight rhythm section that gives a funky feel, Garage Flower have more in common sound-wise with the likes of Senseless Things and Mega City 4 than their Manchester heroes. The angst and rawness of ‘Jammy and’ Garage Flower’ also remind me of Aussie rockers The Vines, so they have that grungy, guitar rock thing going on, which is always a good thing.
With a high-energy, animated set and plenty of crowd interaction from the singer, these hometown boys are worth checking out. Always make it in time for the support band.
It’s sold out tonight at this, the second date of a UK tour promoting the yet-to-be-released debut album ‘Wasted On Youth’, and The Molotovs are firing on all cylinders from the moment they hit the stage. Singer Mathew spits, snarls and bashes his Rickenbacker like the bastard offspring of Rotten and Weller. Stage left, his sister Issey is a fervent ball of energy as she pulls off moves most couldn’t match, let alone whilst playing an instrument. Behind them, their latest drummer is a blur of flailing arms and urgent beats.
With a fistful of songs some will know and a set of largely unfamiliar material, the band must rely on raw energy and their ability to entertain to win over a notoriously hard-to-please Leeds crowd, and they pull it off with ease. Opener ‘Urbia’ and the following ‘Newsflash’ are unfamiliar, yet sound mighty. The killer boy/girl “woah-woah’s” add a touch of class to the latter. Bowie’s ‘Suffragette City is up next, it sounds great, but they don’t really need it, their own material stands up.
‘Johnny Don’t Be Scared’ and ‘More More More’ are modern, mod-tinged anthems that carry some clout and staying power. ‘Rhythm Of Yourself’ was one of the best tunes of last year, it pogos on a bouncy bass line and a very catchy chorus, it was bound to be a live highlight. Of the unfamiliar songs, ‘Wasting My Time’ is gloriously post-punk and ‘No Time To Talk’ sounds like early Manics, which is no bad thing.
Chat is kept minimal, although we do get the odd quip from a seemingly nonchalant singer who does try to get a reaction from the crowd. Maybe tonight’s demographic was a bit higher than the band are used to, and while the audience may have lacked some energy, the band certainly didn’t.
Between Mat’s raw, acerbic delivery, Issey’s relentless energy and the drummer’s Keith Moon-esque power, the trio deliver a faultless set of a seasoned touring band. After an incendiary hour set, they wrap things up with a two-song encore, including new single ‘Get A Life’, which was probably my highlight of the night.
What a way to start off the gigging this year. For me, the Molotovs are the real deal and the full package. They look good, they sound great and are an exciting and entertaining live band. It’s hard to believe they are not even in their 20s yet.
‘Wasted On Youth’ is a highly anticipated debut album, and I believe you will not get the chance to see them in small venues like this for much longer. The Molotovs are the sound of youth and the world is theirs for the taking. This is just the beginning.
Brand new album from punk pioneers Buzzcocks is here and I’ve been lucky enough to have had it on rotation at RPM Towers for a while and whilst I’ve dealt with the name and Petes passing I know there will be departments of the punk rock police who will be all over this but I’m ok with the elephant in the room and respect Diggle and co for continuing as Buzzcocks, sure from a marketing perspective its a no brainer and they’ll get a lot more tracktion with th eband name over Diggle solo (no disrespect intended but its a fact) Anyway, Lets move on its a new year and a new album is in hand and to be fair pound for pound its a slow burning slab of puk rock that deserves a lot of credit from Diggle stepping out of his comfort zone of penning a few tunes on a Buzzcocks album to being the captain of the ship and to his credit he handles it like a master of his craft. The vocals are like a fine wine and matured from the Diggle of yesteryear, and I’m sure there would have been conversations in the recording studio as to how Shelley would have handled a verse or melody and treated it respectfully without trying too hard to mimic or force it.
The record begins with the opening single ‘Queen Of The Scene’, and hats off, it’s a bloody good song, and it grows over time to be a very impressive dark melody with a good hook on the chorus. The band know what they’re doing, and whilst there are album tracks present, they are few and far between, and some of the subtle moments and interplay are exquisite at times ‘Tear Of A Golden Girl’ and ‘Heavy Street’ both spring to mind.
Sure, it’s not a ‘Love Bites’ or ‘Singles Going Steady’, but it’s a standalone collection and is a really strong collection of tunes. I particularly like the arrangement of the acoustic-driven ‘All Gone To War’. Diggle handles the vocals throughout the record really well and does a great job being the “vocalist” in the band.
It’s 2026, and Buzzcocks are still relevant, and this record is a mature statement of intent and with songs as good as the big strumming riffs of ‘Jesus At The Wheel,’ why shouldn’t we still be applauding them for their efforts Diggle sounds like latter-day Bowie here, which is impressive. Fearlessly diving into the unknown but with a bunch of top tunes. To be fair, as the album charges towards the finish line, the songs get louder and the final fling is excellent, with some familiar one-string licks on ‘Just A Dream’ and then the vibrant ‘Feeling Uptight’ and talking of uptight the penultimate song ‘Break That Ball And Chain’ has a distinct Motown backbeat feel to it which is a surprise and a very pleasant one at that. Then the dark curtain call of ‘The Greatest OF Them All’ leaves you wanting more.
Fourteen songs is value for money and easy to see why they needed an outlet for the music. Still writing sharp tunes, delivering them with attitude, it’ll do for me and long may it continue. Buzzcocks Forever Forever Buzzcocks! Buy It!
A belated Happy New Year to you all. It should come as no surprise that there are still some gems waiting to be heard from 2025. Equally unsurprising is that this one comes from Australia. I saw the video for ‘Flippin’ Stomp’ by chance on YouTube recently, and this was enough to have me searching out the album, ‘Introducing The Gnomes’ online.
The above song is unashamedly 60s influenced, regardless of their penchant for mullets and moustaches. But there are even more Beatlish tunes on the album; ‘I’ll Be There’ would almost be considered too close to The Rutles for comfort, were it not such a great song. The same can be said for the opening song, ‘Better With You’. And throughout this, their third long player, they show that, while their influences are blatant, their talent with a melody and their obvious love for what they do rises above kitsch. Not to mention their infectious energy, in a Monkees style.
‘Open Your Eyes’ could give The Speedways a run for their money, veering towards power pop territory, while ‘Won’t Quit You’ sits somewhere between The Pretty Things and The Yardbirds. You can’t fault their taste, and they have the tunes to back it up. ‘I Like It’ is a two-minute slab of Kinks-style joy, but ‘Stung’ takes us on a groovy, 6 minute journey of a paisley print nature. It’s as if the previous albums have been leading to this point, where The Gnomes can branch out their 60s roots but retain an identity. It’s really impressive stuff. Initially, the solo project of Jay Millar, this has become a band to be reckoned with. 12 great tunes, no filler, played with a ton of enthusiasm. I’ve found a late contender for one of my favourite albums of 2025. Fab gear, indeed.
Seattle’s all-women garage-rock wrecking crew The Darts kick off their new album cycle with “Midnight Creep,” the first advance single from their upcoming LP Halloween Love Songs, out March 3 on Adrenalin Fix Music. The single drops Tuesday, January 13 and finds the band slipping deeper into the spooky, swagger-heavy garage-trash universe they’ve been flirting with since day one. If you’ve ever wished the Back From the Grave comps came with a dance craze, you’re already in the right neighborhood. The Darts have spent the last decade carving their name into the global underground with Farfisa-first garage chaos, sold-out shows across Europe, the UK, and North America, and multiple sold-out vinyl runs. They’re known for genuine, close-to-the-crowd performances and Nicole’s honest connection with the room, a band that brings people into the show and plays from real joy rather than polish. They’ve landed sought-after KEXP live sessions and hit major festivals like Punk Rock Bowling, Binic Folk and Blues, SJOCK Festival, and Bear Stone Festival, earning fans ranging from Dave Vanian to Stephen King to Jello Biafra. With Nicole Laurenne (vocals and keys), Rebecca Davidson (guitar), Lindsay Scarey (bass), and the returning Rikki Watson (drums), this lineup feels like the most dialed, dangerous, and joyfully unhinged version of the band yet.
“Midnight Creep” started as a surprise curveball when Lindsay brought Nicole a demo called “Phantom Creep.” Nicole was already quietly writing a Halloween-themed album and immediately heard a chance to chase something different: an honest-to-ghoul old-school monster dance, the kind that might’ve aired on a haunted Shindig episode taped in a basement full of fog machines and paper-mâché bats. She rebuilt the tune into a slinky, organ-driven earworm; Lindsay created a simple, go-go-friendly choreography; and suddenly The Darts had a Halloween banger that felt both brand-new and weirdly familiar.
They’ve been testing it on the road for months, from Switzerland to Cincinnati, and everywhere in between. The reaction has been instant every night. Whole rooms start doing the dance without needing to be shown. It’s instinctive, like the ghosts of old 45s are moving people around by the hips. To bottle that energy, they teamed up with Frogman director Anthony Cousins, who shot a gloriously campy video steeped in B-movie mood: basement gloom, creature-feature attitude, and the dance front and center for anyone ready to join the creep. It looks like the lost midnight-movie segment some long-gone TV station forgot to broadcast.
As a first glimpse of Halloween Love Songs, “Midnight Creep” nails the album’s split personality. Side A is built for the golden-hour trick-or-treat crowd, ghoulish fun, jangling keys, kitsch with teeth. Side B is the after-midnight bonfire: darker, heavier, fuzzier. Recorded at Station House Studio in Los Angeles with Grammy-winning producer Mark Rains, the album mixes The Darts’ signature garage-punk snarl with vintage horror-pop swagger, landing somewhere between the feral swing of The Cramps, the surf-trash bite of The Trashwomen, and the modern fuzz of bands like Death Valley Girls or Dead Weather, all wired together with that unmistakable Darts voltage. “Midnight Creep” isn’t just the first chapter, it’s the spark. A resurrected retro dance craze. A late-night slither with claws out. A Halloween party starter that already feels like it’s been living under the floorboards for decades.
For press inquiries, interviews, and review copies, please reach out. -Chad
The Darts On Tour 2026
1.22 Waimea, HI – Blue Dragon Tavern 1.23 Kailua-Kona, HI – Kona Elks Club 1.24 Wailuku, HI – Request Music 1.25 Honolulu, HI – Proof Social Club
3.27 Amiens, FR – Péniche Celestine 3.28 Lauzach, FR – Festival Bouge Ton Cube 4.01 Rouen, FR – Fury Défendu 4.03 Vitré, FR – Very Rock Trip Party 4.05 Montaigu, FR – Le Zinor
5.01 Sacramento, CA 5.02 Reno, NV 5.03 Chico, CA 5.06 Eugene, OR 5.07 Portland, OR 5.08 Tacoma, WA 5.09 Seattle, WA 5.10 Bellingham, WA 5.12 Yakima, WA 5.14 Salt Lake City, UT 5.15 Grand Junction, CO 5.16 Denver, CO 5.17 Albuquerque, NM 5.19 Tucson, AZ 5.20 Phoenix, AZ 5.21 El Centro, CA 5.22 Los Angeles, CA 5.23 Long Beach, CA 5.24 Oceanside, CA 5.25 Pioneertown, CA 5.27 Las Vegas, NV 5.28 Palmdale, CA 5.29 Santa Cruz, CA 5.30 Oakland, CA
6.10 Jersey City, NJ 6.11 Washington, DC 6.12 Richmond, VA 6.13 Raleigh, NC 6.14 Wilmington, NC 6.17 Savannah, GA 6.18 Athens, GA 6.19 Atlanta, GA 6.20 Nashville, TN 6.21 Louisville, KY 6.23 Indianapolis, IN 6.24 Cleveland, OH 6.25 Rochester, NY 6.26 Lake George, NY 6.27 New Haven, CT 6.28 Brooklyn, NY
8.26 Eugene, OR 8.27 Portland, OR 8.28 Seattle, WA 8.29 Vancouver, BC
8.30 Olympia, WA
US venues, and more dates in the EU, Australia, and New Zealand to be announced soon
As their highly anticipated fifth album ‘DAGGER’ rears into view, IST IST have shared its final pre-emptive single “Obligations”.
With its pulsating bassline, driving beats, and synth throbs, “Obligations” is the enlivening new track from Manchester’s finest. Embodying the metamorphosis of IST IST as they gear-up for the next stage in their evolution, this latest cut is fittingly all about transformation and sacrifices that can come with it.
As vocalist Adam Houghton says:
“With “Obligations,” I wanted to capture the feeling of being bound to someone who represents both your salvation and your undoing. It’s about how love can feel like duty — something you can’t walk away from even when it hurts. I wanted to explore memory as something that both comforts and strangles, showing how the past can shape who we become. By the end, the narrator isn’t whole anymore, but they’ve accepted that pain and change are part of survival. It’s about transformation through loss — the quiet resilience of being altered by love.”
The new single arrives with a thought provoking official video featuring artist and longtime friend of the band Oliver Marson. Tuning into the track’s integral lyric “What is left is a different version of me”, we find Marson portraying an alternate version of the IST IST frontman.
With IST IST’s Joe Cross (Hurts, Courteeners, Slow Readers Club) produced fifth album ‘DAGGER’, now just four weeks away (out 6 February 2026, via Kind Violence Records), the track is a resolute reminder of its imminent release. Completely self-funded, self-recorded, and due to be released completely independently via their own Kind Violence Records imprint, five albums in, ‘DAGGER’ is the band’s most direct album yet and symbolises the driven DIY ethic that has been programmed into IST IST’s DNA since day dot.
Following a short stretch of European and UK shows this Autumn, IST IST will be hitting the road again in April this year, with upcoming shows in Norwich, Exeter, Oxford, Newcastle, Sheffield, Nottingham, Bristol,Brighton, PLUS recently added dates in Glasgow, Edinburgh, and London. These shows will pave the way towards their biggest hometown show to date, at Manchester’s Albert Hall in May. All dates are listed below, with all tickets on sale now.
In addition, IST IST are delighted to confirm a short series of intimate in-store/out-store shows as they launch their new album ‘DAGGER’. Catch them at these dates and venues:
IST IST – 2026 UK & IRELAND TOUR DATES
UK IN-STORE ALBUM LAUNCH SHOWS
Leeds – Headroom House – 07.02.26
Bury – The Met – 08.02.26
Edinburgh – The Caves – 09.02.26
Nottingham – Rough Trade – 10.02.26
London – Rough Trade East – 11.02.26
EUROPEAN SHOWS
Antwerp – Kafka Oudaan – 11.03.26
Cologne – Luxor – 12.03.26
Amsterdam – Paradiso – 14.03.26
Frankfurt – Das Bett – 15.03.26
Zurich – Werk 21 – 16.03.26
Milan – Santeria Toscana 31 – 17.03.26
Budapest – Durer Kert – 19.03.26
Bratislava – Pink Whale – 20.03.26
Krakow – Klub Zascianek – 22.03.26
Warsaw – Hydrozadka – 23.03.26
Berlin – Hole 44 – 24.03.26
Esbjerg – Tobakken – 26.03.26
Oslo – Parkteatret – 27.03.26
Stockholm – Kollektivet – 29.03.26
Hamburg – Logo – 31.03.26
UK HEADLINE SHOWS
Norwich – Waterfront – 09.04.26
London – The Garage – 10.04.26
Exeter – Phoenix – 11.04.26
Oxford – O2 Academy 2 – 12.04.26
Newcastle – The Grove – 16.04.26
Glasgow – Oran Mor – 17.04.26
Sheffield – Network – 18.04.26
Nottingham – Rescue Rooms – 23.04.26
Bristol – Thekla – 24.04.26
Brighton – Quarters – 25.04.26
Dublin – The grand Social – 28.04.26
Belfast – Ulster Sports Club – 29.04.26
Manchester – Albert Hall – 01.05.26
(w/ Support from DESPERATE JOURNALIST + THE YOUTH PLAY)
Warsaw-based Heavy Medication Records announces their first release of 2026, a six-song e.p. Ex-Lazy Cowgirl frontman Pat Todd, jhas always had his heart and soul dipped in the good stuff and he’s wrung every last drop from that heart through his music on this his umpteenth release he’s only gone back to the well of Dolls legends Thunders and Johansen and tipped his hat in the form of three cuts from each songwriter as a thank you for the music they gave him he’s passing on the batton to the next generation who might not have heard the Dolls.
The vibe of the release is perfectly summed up by Pat, “This record is something I’ve been wanting to do for 20 years or so, but never seemed to have the time to record. To me, the New York Dolls are in the pantheon of all-time greats, right along with Dylan, the Stones, Chuck Berry, Muddy Waters, the Velvets, etc. And just like those people, I thought Johansen & Thunders wrote many great songs after what is thought of as their prime period. The Rankoutsiders started this record way before we knew that David Johansen was ill, and we finished it after his death. I personally owe David and Johnny a lot for all the inspiration and love I got out of their music and being. For me, they will always be around.”
Of the three Thunders tracks, side one kicks off with a barroom take on ‘Dead Or Alive’ where the energy and trade mark Tunders slides are all intact, as is the tone of that lead guitar, nailed it! To be fair, it’s a no-brainer, isn’t it? Of course, Todd and his rank outsiders were always going to nail it. Of the three Johansen tunes, maybe lesser known to be fair, ‘Wreckless Crazy’ has a ton of DJ’s magic in the delivery, and it sounds like a load of fun was had in the performing of this much underrated gem. ‘Melody’ probably being the more sophisticated track on offer (is that fair? Who knows), again, having new life breathed into these tracks is a joy to hear.
The EP closes with a snotty raising of the glass to ‘The Rope (The Let Go Song)’. I guess if the point was to tip the hat and pass on the baton, then job done all round. Another fantastic release from Heavy Medication and Pat Todd, and a real joy to review. My advice is just pick up a copy and turn it up!
History has proved that live albums can be hit and miss affairs. Even when it’s your favourite band, there’s no guarantee it’ll hit you in the feels like you expect. Some bands get it right; some get it wrong. Especially now, with an oversaturated market and low attention spans, music, like all media, has become a throwaway commodity, like it or not. Musicians must up their game to compete, survive and ultimately gain the attention of a potential new fanbase. We all know it shouldn’t be that way, but here we are in 2026.
That’s where Delila Paz & Edgey Pires (otherwise known as The Last Internationale) come in. Remember when getting hold of a new album was an event? When you would queue at the record shop on a Saturday to get something no one else, or very few others had. The excitement of peeling off the film and perusing the artwork while listening for the very first time…a ritual. Delila & Edgey do, and one of the pros of being an independent artist is having total control of your music. At the time of writing, ‘Live In Europe’ is not on streaming services, you can’t buy it on Amazon, and you can only purchase it directly from the artist. Yes, it’s more expensive, yes, it takes longer than 24 hours to get to you. But they will sign the cover, ship a beautiful looking record to your house and believe me, you will listen to, appreciate and spend more time with that album than you ever will on Spotify.
With just 7 tracks, ‘Live In Europe’ is not a sprawling, career-defining double live album, and it doesn’t outstay its welcome. The fat has been stripped back, and Delila, Edgey and the band are presented in the raw, as they are live, night after night, whether it be in clubs or on festival stages across Europe.
“Kick out the jams, motherfuckers!” is a statement of intent and a killer intro for any live album, and their version of the MC5 classic is done justice here as it sets the scene for one of the finest live acts currently treading the boards. ‘Life, Liberty & The Pursuit of Indian Blood’ is a live favourite with a chanting refrain designed to ignite a festival crowd; the added Hammond organ and guitar-wielding chaos make it an exciting live version. The 70’s rock swagger of ‘1984’ and recent single ‘Hero’ comes across great live too.
Side two takes it down a notch with the emotive ‘Soul On Fire’. A piano introduction and a stunning lead vocal that leads nicely into an extended and quite mesmerising intro to ‘Wanted Man’, where Delila shines as one of the strongest live voices around. A powerful statement of intent from a band with a political agenda as strong as its musical one. The rhythm section pumps the beat along to Delila’s faultless and emotive vocal until Edgey’s effect-ridden guitar takes centre stage. The crowd participation section may be lost on the listener, but I can assure you the singer is in the crowd with the whole room in the palm of her hand, as she makes a whole room sit on command.
It ends as it began with a punk rock fury. ‘1968’ is their very own anthem of defiance and revolution, a long-time set closer that is extended with crowd interaction, yelling the “freedom” refrain. It builds to a marvellous climax that will see the guitarist literally rip the string from his guitar night after night.
The Last Internationale are an independent band who live for the stage and fights to survive night after night, and ‘Live In Europe’ captures the power and emotion of a high-energy, entertaining live band and is a fine example of how to do a live album in 2026. Support independent music and spend your Xmas money on something worthwhile.
Punk Rock Power Trio ULTRABOMB Release New Single “Artificial Stars”Out January 2, 2026 — First Single from Upcoming AlbumThe Bridges That We Burn — Out April 3, 2026
Band Consists of Greg Norton (Hüsker Dü), Derek O’Brien (Social Distortion, Agent Orange, Adolescents) and Ryan Smith (Soul Asylum)
“After a pair of LPs over the past four years, Utrabomb is back with “Artificial Stars,” a swift blow to the sternum that harnesses both the speedy energy of Norton’s early Minneapolis days and the ragged hard-rock sensibility of Twin Tone-era Soul Asylum.” – Magnet
Minneapolis, MN — Punk rock power trio Ultrabomb have released their new single “Artificial Stars.” The track marks the first release from their forthcoming full-length album The Bridges That We Burn, arriving April 3, 2026 via DC-Jam Records/Virgin Music Group.
“Artificial Stars” delivers Ultrabomb’s signature blend of urgency, melody, and grit — drawing on decades of lived punk experience while confronting themes of isolation, endurance, and the drive to keep reaching forward even in uncertain times.
Greg Norton explains: “Sitting in our bunkers, we only have artificial stars to look at. We are all scarred, but we keep reaching for those stars.”
Release Dates • The Bridges That We Burn (album): April 3, 2026
Rock music is about to get louder, bolder, and more alive than ever.
To order / stream The Line single with Ian Gillan hit Here
UROCK have released The Line, an electrifying new single featuring legendary Deep Purple frontman IAN GILLAN.
A bold and thrilling anthem, The Line bursts to life with thunderous riffs, fierce intensity, and unstoppable momentum. From the very first note, it seizes your attention and never lets go. But The Line isn’t just another collaboration—it’s a fusion of rock generations, built on molten guitars, unfiltered emotion, and Ian Gillan’s unmistakable vocals riding the storm. UROCK channels the raw, defiant energy that once shook stadiums to their foundations—and they’re doing it all over again.
Lyrically, the song confronts a system that controls and manipulates everyone to think and live the same way, daring listeners to break free and get out of the line.
“I would say to all the rock fans out there, you’ve just got to get yourself tangled up with The Line and with UROCK. It’s fantastic. I wouldn’t have got involved in this had it not been a great tune, had they not been a great band—and I’m very proud to be on the video and on the recording. So get out there and get involved.”
— Ian Gillan
“Ian poured his heart into The Line, contributing melodies, harmonies, and arrangements, truly co-writing the piece. His passion and work ethic were inspiring, both in the studio and during the video shoot. Ian’s generosity and enthusiasm, even as a rock legend collaborating with a self-produced band, were extraordinary—a story I’ll cherish forever.” — Umberto UROCK
The Line single is just the beginning—a powerful preview of UROCK’s full-length album, The Line, coming in early 2026.
UROCK’s eagerly awaited newalbum brings together an exceptional unparalleled lineup of rock icons. From Ian Gillan to Alan Parsons, the sonic architect behind Pink Floyd’s most iconic sounds, and Jack Endino, the producer who discovered Nirvana and helped shape the grunge revolution, this project is a masterclass in rock history. Adding to the star power is special guest Alastair Greene, a modern blues-rock virtuoso whose fiery guitar work bridges the gap between rock’s golden era and its future. This album isn’t just music—it’s a landmark moment in the genre.
Featuring eight original tracks, the album showcases UROCK’s exceptional musical talent and infectious energy. Each song delivers a compelling blend of melodic choruses, hard-hitting riffs, and dynamic guitar solos, creating an exhilarating listening journey that both honours and expands the band’s signature sound. Drawing inspiration from classic rock roots while embracing contemporary influences, The Line offers a fresh perspective on the genre. For anyone craving a unique and unforgettable musical experience, this is an absolute must-listen.
With The Line, UROCK proves that rock is eternal—raw, unfiltered, and unstoppable. This is what rock ’n’ roll sounds like when it’s alive, loud, and unapologetically theirs. The future of rock starts here—with UROCK.
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