Onlooker – ‘Cleveland’ (Serial Bowl Records)

Onlooker – ‘Cleveland’ (Serial Bowl Records)

Cleveland was recorded, mixed, and shaped entirely by the band in studios, lockups, and living rooms, with only the final mastering handed to Graham Thompson at Soundschitty. The fact that it’s on Serial Bowl is something of a badge of honour, and these guys fit in perfectly with Diaz Brothers and Dealing With The Damage. It’s a post-punk landscape mixed with a caustic garage rock thump. It’s got a thick Bass sound that fits right in with that abrasive, slashing guitar that sounds like a low-slung, battered Telecaster being given no respect. Think Hot Snakes, Minor Threat mixed with the New Wave CBGB scene, early Talking Heads, and that alt punk scene the Americans do oh so well, but the Brits have caught up and, to be fair, are delivering it in spades with a twist of originality.

‘Cleveland’ is packed with songs that move between anxiety, joy, protest, and how to make a cup of tea and some disco biscuits to dunk in to said tea, no doubt. The bottom line is it’s brimming with energy and well-constructed songs of everyday life, bristling with raw energy.

I can imagine a sweaty room with ‘Peaceful Protest thumping through a workhorse PA coming on like a cross between Fugazi and Jane’s Addiction is something special. It’s not all one pace or style either because the northern ‘Wishing Wellaye’ is taking on Hot Snakes and winning with its muscular thump, complete with some excellent screams. I’d even say something like ‘Carpool’ is influenced by the sparse bleakness of Joy Division in full flow.

Every song is a twist to the left or right. This record isn’t at all one-dimensional or bland, it packs a hefty punch and creates some mega colours with its brutal soundscape and smooth lows to complement those soaring highs. With most songs being served in your rapid, perfect couple of minutes, there is one curveball in the shape of the epic six-plus minutes of ‘Suburban Dreams’ with its lengthy intro before breaking out into a garage rock fever dream that Australia has captured the market of. Lurching one way then the other its a bit of a sleeper – stick with it, you shall be rewarded in spades.

Fast-paced, edgy, and frantic, Cleveland is an album full of twists and turns and doesn’t disappoint at all. Hit the link and get involved, this is one smart as fuck album full of top tunes.

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Author: Dom Daley

Getner are the Motormen

Getner are the Motormen

History, politics, punk and finding friends with whom to ‘drink pints and play instruments’, Manchester-based four-piece GETNER’s reputation has long since taken to the road prior to the release of their debut single, Motorman. Addressing a lost British squaddie on the streets of Derry, Strabane, Omagh or Belfast during an intense period of The Troubles, the track is the first recorded work from the determinedly non-English band made up of a punchline-baiting line-up of two charming Derry hoodlums, a Lancashireman and a Yorkshire émigré.
 
“Our songs are steeped in the history of Ireland, in particularly volatile times, that we heard stories, read about, seen the aftermath and passed down trauma surrounding it as we grew up,” says Derry-raised singer and songwriter, Quentin Wylie. “We hope that the songs help shed some light on events and experiences that, for the most part, people don’t know about.”
 
Operation Motorman took place on Mon 31 July 1972 as 22,000 British troops were engaged in reclaiming ‘no go’ areas in Northern Ireland’s cities and large towns. Their deployment included the neighbourhoods of Derry, Wylie and drummer/vocalist, Ruairi Coyle’s home city. It’s a place they recognise as being of “family but division, close-knit community but small-town mentality and a strong sense of cultural identity that’s plagued by its own history,” but also “the land of saints, scholars and the fucking Undertones.”
 
Choosing Manchester as a new home, a city they recognise not only for its deep historic links to Ireland, but also noting it’s insatiable race to open as many Irish bars as possible in the present day, GETNER was completed by Charles Barber (guitar) and Will Milton (bass) through the combined circumstances of exchanging style notes on Instagram and hanging out in “Ruairi’s grotty flat”.

Lyrically of Grian Chatten, Alex Turner and Bob Dylan and musically of IDLES, Gurriers or Viagra Boys, the overflowing plate completed by a serving of MF Doom, Frank Zappa and Captain Beefheart, the band’s documentarian intellect (Quentin being a former student of Irish History) is poured over an on-stage devotion for “the love of a groove” and high energy performance. As Ruairi turns to provide vocals while punishing his kit, Quentin enters the crowd and Charles and Will’s voices join the mix intermittently, strange comparisons to Beastie Boys haven’t been taken as fanciful or as complete madness.
 
All upcoming GETNER live dates are as follows:

  • Fri 5 June – Manchester, Yes Basement 
  • Sat 13 June – Manchester, Old Abbey Taphouse
  • Fri 19 June – London, The Elephants Head
  • Sat 20 June – Oxford, The Library
  • Fri 24 July – Sowerby Bridge, Puzzle Hall Inn
  • Wed 7 October – Salford, Beyond The Music Festival

Motorman’s video is upfront in its references, made by friend of the band, Harry Proctor. A jumble footage of bombings, funerals, marches and military presence depicts the chaos on the streets at a time of overbearing tension.
 
“If we were from Senegal or Vietnam, it might just be very similar scenes as you’re seeing here, but probably with better weather,” adds Quentin. While Ruairi says: “Irish History is something we are all still learning about. It reflects in all of our songs as we delve into it. Each one includes a snippet of Ireland’s history, past to recent.”
 
GETNER can be found online at:
 
Instagram / Facebook

The Future Shape Of Sound – ‘Heavy Load’ (Gypsy Hotel Records)

The Future Shape Of Sound – ‘Heavy Load’ (Gypsy Hotel Records)

From the nighttime, neon city wastelands of East London, there came a group, a collective of soul divas and rock n’ roll musicians led by the mysterious and enigmatic guitarist/producer Alex McGowan (aka Captain Future). This man without a tan has worked with the likes of Primal Scream, Jah Wobble, The Urban Voodoo Machine and Jim Jones. His band The Future Shape Of Sound could be the perfect festival band and over the years have been seen plying their trade at the likes of Red Rooster, Womad, Boomtown and even the Glastonbury festival. You can catch them occasionally, where society rejects frequent, dark, seedy bars and the occasional hometown Gypsy Hotel gig. They follow up their 2018 album ‘Shakedown Gospel’ with the long-awaited ‘Heavy Load’.

Keeping with tradition, ‘Heavy Load’ features several lead vocalists over the 10-track album, but predominantly it’s James Brown’s widow, Tomirae Brown, who not only takes the lead but also co-wrote most of the material with Alex.

Opener ‘I Want A Little Slow Blues’ is a low-key affair, a mid-paced groover featuring former Jim Jones Revue man Henri Herbert tinkling the ivories, backed by The Future Sisters gospel trio. This leads nicely into killer single ‘I’d Rather Be Alone’, where the band fully hit their groove. Tomirae adds raunchy Tina Turner vibes to the foot-stompin’ rock n’ roll party anthem. Co-written by The Urban Voodoo Machine mouthpiece Paul-Ronney Angel, it’s a surefire album highlight.

Claire Allen of The Guerilla Street gospel choir takes us to church on ‘Ain’t Standing By’ and Geraldine ‘Gee Gee’ Reid of The Divettes takes over for a couple of numbers too; the rhythmic gospel laced blues of ‘Ride’ sounds like an old forgotten traditional song and the more funky jam ‘You Can Change Your Mind’ showcases the tight and groovy rhythm section of bassist Duncan DeMorgan and drummer Doc Johnson.

Elsewhere, you’ll find a couple of beauties that encapsulate The Future Shape Of Sound vibe; the funk rock explosion of ‘Take The Money’ is trashy in a good way, it fits the Tomirae vocal delivery nicely, and the wah-wah guitars give added cool factor.  Tomirae & The Future Sisters return for the swampy blues anthem ‘Oh Mama’, and there is no surprise that it was a single. The slide guitar, the harmonica and the soulful backing vocals give depth to the catchy melody and footstompin’ vibes. You’ll add it to your playlist if you’re that way inclined. Me? I’ll just buy the record and play the whole damn thing the way the artist intended.  

Recorded at Alex’s own Space Eko East studio in East London, ‘Heavy Load’ captures the soulful rock n’ roll blues of a band that thrives in a live environment. With his congregation of multi-national and multi-talented musicians and singers, he takes the sounds of the streets and the dives of old London town, turns it into a celebration and takes us to pray at the church of rock n’ roll once again. It’s good to have them back. Now, where’s that vinyl pre-order button?

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Author: Ben Hughes

The Great St Louis – ‘Stay Right There’ (Brassneck Records/Boss Tunage Records/ Waterslide Records)

The Great St Louis – ‘Stay Right There’ (Brassneck Records/Boss Tunage Records/ Waterslide Records)

The Great St. Louis follow-up their 2010 LP ‘In Your Own Time’ sixteen years ago. Yup, I said sixteen years apart, so I guess it’s fair to say they’ve lived a life in that time and managed to perfect their wholesome alt punk sound coasting on a Gaslight Anthem edge with added Repacements and a whole lot besides. It’s one way around the Difficult next Album tag, as releasing this, their third album, ‘Stay Right There’, its a mighty fine record that grows and grows on each play.

The album gets going with a puffed-up chest and amps on ten. With songs brimming with optimism and a healthy pace, sounding like Buffalo Tom if Paul Westerberg was on vacation with them, ‘Swig’ is a great example. Imagine pre-Grammy nominated Goo Goo Dolls when they still had some edge its all in here.

The sound captured on the album is excellent, full-blooded and fist pumping its the general MO with the raw and emotional vocal delivery of one too many cigarettes washed down with some malt bourbon on the rocks for added gravitas. How the fuck are these guys from the UK with a sound born in some backwater town on the outskirts of town in some midwestern barroom?

There’s a warmth in the delivery that has the feeling of familiarity, like you’ve heard this record before, which is nuts, right? But it puts you at ease right away, and by the time the excellent ‘Warning Shots’ steams past you, this album is going to get plenty of airplay around here and deservedly so. The album has boundless energy in the songs, and I love some of the thumping, warm Basslines that shine through. Take ‘Old New Boots’ for example, with a subtle earworm melody that keeps chipping away until you press repeat to hear it again. As the album becomes familiar, I’m hearing joint tours with the likes of the Diaz Brothers and Frankie from Leatherface, who must have been an inspiration here.

The only disappointment is that there are only ten tracks on offer. I want to hear more and to close off the record with a thumping take on the classic John Leyton track (which I loved as a kid), ‘Johnny’, but it never sounded like this. What a fantastic album, one I would urge you to at least check out if not purchase it’s absolute Fire as the kids would say.

Buy Here DL Vinyl Here

Author: Dom Daley

Brigata Vendetta – ‘The Disease And The Cure’ (Pirates Press)

Brigata Vendetta – ‘The Disease And The Cure’ (Pirates Press)

Brigata Vendetta are primed to release The Disease and the Cure 12” on Pirates Press Records, the much-anticipated follow-up to the 2024 LP This is How Democracy Dies.

Brigata Vendetta are a force to be reckoned with in the famed Bay Area punk & hardcore scene. This Long Player, shit, sorry short player is fifteen minutes eight songs of muscular hardcore with no fat, just lean mean brutal zero fucks given loud rock n roll fast as a shark and as brutal as Motorhead at their very best.

Trust me on this one, frontman & bassist Darrel Wojick & guitarist Mike Caputo as well as Bum City Saints drummer Brian Zobel completed the trio that to simply call a power trio would be a massive injustice. This album rocks like fuck. Just listen to the second track ‘Killing Me’ with its groovy opening bar and hell for leather verse its a swift kick to the bollocks in the best possible way. Darrel always had an awesome, rough n ready rock n roll vocal, but here it is on fire. He barks out the lyrics like they’re spat onto a fist and punched right into the listener’s face, brutal but equally wonderful.

For sure its built around classic hardcore with the drive of a circle pit, like closing your eyes and being whisked away to a CBGB wall of death streetpunk barfight. The Brigata Vendetta sound is that of unrelenting rage against the power.

And how has that sound evolved since the first LP? If anything, both the lyrics and the music have gotten heavier & darker, reflective of a world of chaos & iniquity. ‘The songs are more intricate without sacrificing speed or aggression.’Modern Sins’ is to the point and puts a target on the real enemy

Lace up your bovver boots because the jewel in the crown is the rapid ‘Corporate Control’ from the filthy Bass line to the wild and reckless guitar solo, this is fuckin’ awesome! not a second to spare but delivers its message lyrically and musically sweeping everything aside, this is where it’s at in 2026.

If you’ve felt the seething fury at the greed & brutality we are all subjected to on a daily basis, then the 8 songs on this record are for you. You can take that to the bank or just turn it up and inject it into your veins via your speakers, but be prepared, this record takes no prisoners.

The Disease and the Cure by Brigata Vendetta is available from Pirates Press Records on 12” Evergreen Vinyl with Black Splatter, with a silkscreened B-side. It will be available wherever you buy your most pissed-off punk records. It might not be in the slightest original, but it raises the bar on what hardcore should sound like in 2026. Fuckin killer record now go buy it!

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Author: Dom Daley

Dwarves – ‘Jenkem’ (Greedy)

Dwarves – ‘Jenkem’ (Greedy)

As I looked through my collection to try and determine what number studio album this is, I lost count, and then you must determine if the likes of ‘Keep It Real’ count. At the end of the day, let’s just say the Dwarves have been releasing awesome music and doing it their way for over 40 years. They first crossed my path with the fantastic ‘Sugarfix,’ and I have remained a fan since that time. They have released albums I love, and some that have not connected with me as much. Their last main album ‘Concept Album’ received an expanded deluxe version when it was released on CD, which made it an extremely long album of 26 songs and bout 47 minutes. ‘Jenkem’ finds us returning to familiar territory as these 14 songs scream by in less than 20 minutes.

Irreverent lyrics have been a constant throughout their history, and nothing changes here. The album blasts off with the one-minute ‘Confused’ blowing by in a flash. If there is a difference between the likes of their ‘Blood, Guts…’ album and this new one, it is the production value the band has developed, where the songs receive an extra level of clarity. The guitars slice through the mix in all the right ways while the rhythm section also gets room. ‘We are the Scene’ is simply classic Dwarves; the hooks are deadly. ‘Drug Lust’ is another song that could have been released 35 years ago by the band.

‘Damned If I Do’ is one of the epics on the album where the band stretch the pop punker out to two minutes. The guitar work is outstanding, and it is one of those Dwarves’ songs where you know a radio station should be playing it. The killer guitar riffs of ‘I Must Confess’ induce mandatory air guitar and posing in front of the mirror. For ‘Too Messed Up,’ they add some female backing vocals on the chorus to elevate the song. Dahlia’s brilliant vocals are immediately recognisable. The intensity is very slightly lessened for ‘I’m Dead’, where the band deliver another quick hook to the brain.

We find ourselves quickly on the back half of the album and have a very brief acoustic introduction to ‘Bad Drugs.’ This is one you could drop onto one of their old Epitaph albums, and it would slot into place. The intensity gets cranked through the roof for ‘I Wish You Were Dead’, where the throat-ripping vocals still provide plenty of hooks to scream along to as you listen. ‘Psychosis Tripping’ was an initial surprise to me because I thought it would be more likely to be more rambling musically due to the title. Instead, this is another melodic masterpiece with a chorus you will not forget. ‘Melania’ reminds me a bit of the Supersuckers, who I think it is fair to say are contemporaries of the Dwarves and channel some similar punk n roll avenues.

The staggering beat of ‘Here We Come’ provides another diverse diamond to the record with its attitude and blend of screams and melody. The band delivers a wrecking ball with ‘Be Ruthless Destroy’, leaving nothing but ruins after its one-minute apocalypse. Another one that could have easily come from their early catalogue. Closing out the album, they provide a bit of a curveball with ‘Last Call Lily.’ This is an over-the-top chorus that you almost don’t want to let into your brain because it… does… not… go… away. Musically, there is a bit of early rock n roll flavour to the song.

In less than 20 minutes, you then start this journey all over again. Is it the best album the band has ever released? Most of us will probably say no due to nostalgic factors around certain albums, but this is really the Dwarves delivering a classic-sounding album filled with tremendous songs which make an immediate impact and others which will worm their way deep into your skull. So again, is it their best album? Let’s revisit the matter in a year or two, but I think this delivers a case for it and proves there will be no resting on their laurels.

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Author: Gerald Stansbury

The Dwarves are the scene

The Dwarves are the scene

the new DWARVES video by Lloyd Nickell is here! Enjoy this early teaser track from The ‘Jenkem’ LP dropping JUNE 5!

Pre-Save digital here! Get signed copies at thedwarves.com! Check out the Dwarves on tour soon in Portland,Seattle, Denver, San Francisco, Austin, Dallas and all over Europe this summer! And stay tuned for the ultra deluxe DAMNED IF I DO video June 5!!!

Ash ‘1977’ – 30th Anniversary Reissue

Ash ‘1977’ – 30th Anniversary Reissue

30TH ANNIVERSARY EDITION OF SEMINAL DEBUT ALBUM 1977 // OUT 16 OCTOBER

pic Roger Sargent

Originally released in 1996, the 1977 album is the #1 platinum-selling debut that launched Ash from teenage upstarts to Britpop-era icons. Three decades on, this 30th Anniversary Edition celebrates the album that defined a generation with its breakneck energy, razor-sharp hooks and unforgettable anthems including Girl From Mars, Goldfinger, Kung Fu and Oh Yeah. The 30th Anniversary Edition will be available on 2LP EcoRecord green and black ‘Inkplosion’ vinyl in gatefold sleeve; 2CD Digisleeve with booklet; and on all digital platforms. Pre-order / Pre-save HERE

Earlier this month the band played a very special live streamed concert direct from the Belfast Oh Yeah Centre on 6 May – 30 years to the day since the original release of 1977. The intimate live acoustic set of the album was hosted by Taylor Johnson from BBC Introducing, who also chatted to the band and delved into the stories and inspirations behind the music that helped define a generation.

The band have also announced a global 1977 tour from September with stops across Australia, New Zealand, South East Asia and Europe – with Japanese dates to be announced soon – before wrapping up in the UK and Ireland in December. General sale is from Friday 15 May HERE

JUNE

Sun 14 DOWNLOAD Festival (UK)

Fri 19 ISLE OF WIGHT Festival (UK)

JULY

Thu 30 Y NOT Festival (UK)

Fri 31 KENDAL CALLING Festival (UK)

SEPTEMBER

Fri 04 PERTH Rosemount (AUS)

Sat 05 FREMANTLE Freo Social (AUS)

Tue 08 ADELAIDE Lion Arts Factory (AUS)

Thu 10 BRISBANE The Tivoli (AUS)

Fri 11 MELBOURNE Northcote Theatre (AUS)

Sat 12 SYDNEY Metro Theatre (AUS)

Mon 14 AUCKLAND Tuning Fork (NZ)

Tue 15 WELLINGTON San Fran (NZ)

Mon 21 SINGAPORE Hard Rock Café (SG)

Wed 23 HONG KONG Portal (HK)

NOVEMBER

Tue 10 UTRECHT De Helling (NL)

Wed 11 COLOGNE Gebaude 9 (DE)

Thu 12 BERLIN Hole 44 (DE)

Sun 15 EINDHOVEN Effenaar (NL)

DECEMBER

Tue 01 TORQUAY Arena (UK)

Wed 02 SOUTHAMPTON O2 Guildhall (UK)

Fri 04 CARDIFF Tramshed (UK)

Sat 05 NORWICH UEA (UK)

Sun 06 NOTTINGHAM Rock City (UK)

Tue 08 MANCHESTER Albert Hall (UK)

Wed 09 DUBLIN Olympia (IE)

Thu 10 BELFAST Ulster Hall (UK)

Sat 12 NEWCASTLE Boiler Shop (UK)

Sun 13 GLASGOW Barrowland (UK)

Tue 15 BIRMINGHAM O2 Institute (UK)

Wed 16 LEEDS O2 Academy (UK)

Thu 17 LONDON Roundhouse (UK)

The digital and 2CD edition features the original album in full on Disc 1 – 12 tracks of high-voltage power-pop that still sound as urgent and melodic as ever – and four additional tracks: the long lost, near-mythical Bittersweet Blue, Oh Yeah (2026 Version), Girl From Mars (Demo 2026 Mix) and Gone The Dream (Acoustic 2026 Mix). Disc 2 captures a special live set from STABAL Studios in 2021 where the band perform 1977 in full, alongside fan favourites from the era including Oh Yeah, Coasting, Sneaker, American Devil and Silver Surfer.

The 2LP edition presents the original album across LP1 with a specially curated collection of B sides on LP2 that highlight the depth and creativity of the 1977 era. Standout tracks include Day Of The Triffids, Luther Ingo’s Star Cruiser, Astra Conversations With Toulouse Lautrec, Cantina Band, Sneaker and T Rex.

The Troubled Bones – Set Me Free

The Troubled Bones – Set Me Free

Anglo-French garage rock duo, based in Angoulême, France, share a love for Link Wray, Dr Feelgood, Vince Taylor, The Kinks, The Sonics and all that groovy stuff, are back with a brand new video for the earworm ‘Set Me Free’. The video is filmed by Joey Gaboriaud. Edited by Sami Karaali with Film clips taken from ‘Carnival Of Souls’ (1962), the Stooges groove of the thumping dirty Bassline drives the song into your brain and rock n roll shall indeed set you free.

Facebook / Bandcamp

THRASHERS THORNS ARE ‘READY TO STRIKE’ THE UK IN JULY

THRASHERS THORNS ARE ‘READY TO STRIKE’ THE UK IN JULY

OHIO THRASHERS THORNS HIT THE UK IN JULY – TOUR DATES CONFIRMED INCLUDING AN APPEARANCE AT 2000 TREES FESTIVAL

NEW EP ‘READY TO STRIKE’ TO BE RELEASED 26TH AUGUST VIA THESE GO TO ELEVEN RECORDS

US thrash upstarts Thorns have erupted out of an Ohio basement and into the global metal conversation, becoming one of the fastest-rising new forces in heavy music. Armed with the same uncompromising DIY spirit that fuelled Black Flag and D.O.A., they skipped the industry queue entirely — building their own studio, self-recording and self-releasing two albums and multiple singles and rallying a worldwide following in under a year.

Tapping into the same high-velocity energy surge that spawned the first wave of 80s thrash metal with the likes of Exodus, Nuclear Assault, Anthrax and early Metallica etc, Thorns are a much needed, turbo charged, heads down, head banging assault to the senses. Their new four song EP ‘Ready To Strike’ is set for release August 26th via These Go To Eleven Records and Thorns have come straight out the traps with new single ‘Bad Business’. Coming in at just under two and a half minutes, ‘Bad Business’ is short and fast and lean and mean!

“It’s the standout track from our original demo, but we re-recorded it to fit the vision we originally had. Faster, tighter, and heavier than before… ‘Bad Business’ is the definition of Thrash,” state the band.

“As a band, we’re looking to bring back elements of Metal that we feel have been forgotten over time. Not just heavy riffs but catchy hooks, meaningful lyrics, impressive solos, and the old school energy of it all. We want to put our music in front of as many people as possible.”

That relentless work ethic has paid off: 3.5+ million streams, a rapidly growing international fanbase, and a reputation for resurrecting the ferocity of peak-’80s thrash with a modern edge. Their new EP ‘Ready to Strike’ drops across four monthly singles from May to August, setting the stage for a breakout summer. July sees the band hit the UK for a full run of shows, culminating in their festival debut at 2000 Trees.

Catch Thorns on tour in the UK at the following dates in July:

3rd       Green Door, Brighton

4th       Ifor Bach, Cardiff

5th       1865, Southampton

7th       Basement, Tunbridge Wells

9th       Chinnerys, Southend

11th     2000 Trees Festival, Cheltenham

15th     Blach Heart, London

16th     The Horn, St. Albans

17th     The Parish, Huddersfield

18th     Satan’s Hollow, Manchester

Find Thorns online HERE