Swami John Reis – ‘Navajo White’ (Swami)

Swami John Reis – ‘Navajo White’ (Swami)

Another Day Another John Reis album. This guy has hit a purple patch and is churning out records like they’re going out of fashion, but he always has his finger on the pulse. Be it Plosives, solo, Hot Snakes, Drive Like Jehu or Rocket From The Crypt, the guy knows how to write pretty damn awesome records.

This is his fifth solo album – featuring members of Hot Snakes, Delta 72, Drive Like Jehu, Jejune, Pinback, PLOSIVS and more (If it ain’t broke, don’t fix it). Navajo White is a colour. It’s the colour of off-white interior house paint. Throughout his teens into adulthood, John Reis was as a house painter by trade. So it makes sense to call the album after a shade of colour. Stick to what you know and Reis obviously knows paint and rock n roll.

This is the fifth Swami John Reis album and features Jason Kourkounis (Hot Snakes, Delta 72, Night Marchers) on drums as well as contributions from Rick Froberg (Hot Snakes, Drive Like Jehu, Obits) on guitar, Gar Wood (Hot Snakes, Tanner, Night Marchers) on bass, Joe Guevara (Jejune, Swami and the Bed Of Nails) on piano and keyboards and Rob Crow (Pinback, PLOSIVS) and Jacob Turnbloom (Mrs. Magician) on backing vocals. So it is his comfortable crew who don the rock n roll overalls and start spraying the familiar tones around the studio.

‘Its Not Fair’ kicks off proceedings with a sprightly tempo washing over the canvas with a melodic pop tune and melody building to a chorus via some smart backbeat and chiming guitars. It’s like a ray of sunshine in a dark world. Let it wash over you and turn it up you’ll be singing along in no time at all.

It’s eight songs in under half an hour, with the MO of writing awesome melodies and wrapping them in layers of alternative punk rock n pop. Hey presto, it’s not rocket science Reis has been doing this shit for his whole musical career to varying degrees, but his solo records are so strong. ‘Future Moods’ is more of the same with a dark edge like a Twin Peaks outro tune. Threatening to break out big time but always showing restraint, it’s a thin line to tread, but Reis knows this line like the back of his hand. Whereas the new Afghan Whigs are one morose tempo and don’t break out of the shackles Dulli puts on the band, Reis isn’t bothered by such likes he does wherever the melody takes him. He does the last knockings of summer late-night tunes like ‘From Here On Out’ superbly, and boy, he carries the melody as well and he does the older, more mature punk rocker tunes as well, as he easily goes through the gears.

‘Lies Don’t Lie’ sounds like something the Saints would have penned and shows how good a songwriter he is, Hell, The album closes with a song that reminds me of mid period Bailey Saints and all power to Reis for it, and it’s fair to say we’re lucky to have him as something of a constant making and releasing such great records with the minimum of fanfare and commercial pats on the back, which is where we come in. Buy this record it will brighten your days and make you fall in love with guitar alternative rock n roll again if you ever walked away from the fight, and if you’re still in the fight, then you know what to do. Buy or steal this record its a banger, or as the kids would say – pure fire.

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Author: Dom Daley

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The Bunnymen pre orders for new LP

The Bunnymen pre orders for new LP
Pic by Fritz

ECHO & THE BUNNYMEN release their first album of new music in twelve years on 18 September 2026. Apples For Isaac is the band’s 13th album and follows Meteorites in 2014 and the compilation The Stars, The Oceans & The Moon album in 2018. Apples For Isaac will be available on black vinyl, limited splatter vinyl (specialist shops exclusive), limited picture disc (D2C exclusive) and CD and digital formats.

Pre-order here

An untouchable voice singing lyrics that could well be poetry from the stars – set against a musical backdrop capable of levitating listeners without warning – Apples For Isaac is a monumental return from Echo & The Bunnymen. After years spent performing their immense catalogue of classics to audiences around the world, the Bunnymen have recorded an album that is bold and confident and at times even offers the listener a loving embrace. Across the eleven songs, Ian McCulloch, Will Sergeant and the band have created an utterly addictive collection that perfectly captures the very essence of what makes the Bunnymen so great.

Apples For Isaac features peerless drummer Clem Burke playing on ten of the eleven tracks and the Bunnymen have noted his contribution to the album: “The mighty, legendary Clem Burke – longtime friend of Mac – was integral to the making of the album, and heartbreakingly passed away during its completion. We love you, Clem x”

The first single from the album, Brussels Is Haunted, is a sublime three and a half minutes of music that swoops and soars over Belgium’s capital city and spies on the characters who have passed through it like ghosts, bringing the place to life in vivid detail.

The band play a select couple of dates to support the album –

SEPTEMBER

Tue 22 London Regents Park Open Air Theatre

Wed 23 London Regents Park Open Air Theatre

DECEMBER

Sun 20 Glasgow Barrowland Ballroom

Tue 22 Glasgow Barrowland Ballroom

EX- – ‘EX.21’ E.P (self-release)

EX- – ‘EX.21’ E.P (self-release)

For all it’s bad points, Spotify will occasionally play something randomly that surprises me, often while I’m in the shower. That’s how I discovered Scotland’s EX-. From that, I ordered this year’s ‘Imposter Syndrome’ album, and they are about to release their ‘EX.21’ E.P, hot on the heels of their recent Rebellion festival set.

While some of their songs are reminiscent of The Damned’s more melodic moments, they certainly have their own personality and way with a tune. On top of that, singer/guitarist Meek has a very distinctive voice; a deep croon, not far removed from Scott Walker, and these things combine to give them an unusual sound. ‘Do Or Die’ is the first of four tracks here, and, as usual, it’s an ear worm, from the chorus to the guitar melody. The songs are always well produced and mixed, without losing any punch. ‘Onward’ has moments that remind me of the Manics, no bad thing, while ‘If You Could See Me Now’ has more in common with Then Comes Silence; hints of gothic without being GOTH. Throughout, the playing of Tam, Scott and Nick is tight and powerful, allowing tunes like ‘Hope There’s Someone’ to really shine.

It’s always a pleasure to recommend a ‘new’ band, so go and check out their Bandcamp page and expand your music collection. EXcellent. 

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Author: Martin Chamarette

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The Family Business LTD – Floor Burner

The Family Business LTD – Floor Burner

SKA COLLECTIVE THE FAMILY BUSINESS LTD SHARE FIRST SINGLE “FLOOR BURNER”

DEBUT ALBUM THE FAMILY BUSINESS LTD OUT SEPTEMBER 25FEATURING JORDAN CARDY, PRESTON, AND ANTONEE FIRST CLASS

Ska collective THE FAMILY BUSINESS LTD shares “Floor Burner,” the explosive first single from their debut self-titled album,out September 25 on Hellcat Records. Packed with grooving drumbeats and the infectious energy of two-tone ska, “Floor Burner” is the first taste of the collective.

The group shared, “’Floor Burner’ is the blueprint for THE FAMILY BUSINESS LTD. It was pieced together from three separate ideas and evolved into this pure party-starter. The whole point is simple: get on the floor and dance.”

THE FAMILY BUSINESS LTD joins Jordan Cardy (RAT BOY), Preston (The Ordinary Boys), and Antonee First Class (The English Beat), with Operation Ivy’s Tim Armstrong and Jesse Michaels as additional creative collaborators. Bringing together multiple generations of ska, the collective combines Cardy’s genre-blurring energy, Preston’s 2000s UK ska revivalist spirit, and the legendary two-tone lineage of toaster Antonee First Class. Representing a unique cross-section of ska’s evolution, Antonee shares that his excitement came from “the opportunity to bridge the gap between generations, bringing together people who came to ska from different places.”

Cardy and Preston first met in Essex in 2014, and in 2023 ended up in Los Angeles writing together with Tim. “Everything clicked straight away in the studio, and the songs came together so naturally. Tim suggested bringing in Antonee, and before we knew it, the album was written and recorded in two weeks,” shares Cardy. They also brought fellow two-tone ska labelmates The Calamatix to back, “They really made everything feel like a proper band. They brought so much energy to the record, especially through the rhythm section and bass lines, helping round out the sound in a way that elevated every song.”  

Originating from the late-70s ska revival, two-tone embraced the danceable rhythms of Jamaican ska with the attitude and aggression of punk rock. Two-tone earned its name from The Specials’ Jerry Dammers label, 2 Tone Records, referencing the multiracial makeup of second-wave ska groups and their fanbases. While retaining Jamaican ska’s “skanking rhythms” and horn lines, two-tone blended socially conscious lyrics and propulsive Reggae bass lines.

On “A.S.B.O.,” rich horns and Antonee’s signature toasting underscore commentary on crime and mental health, while “Detonator” is a burst of high-energy escapism. Throughout the album, the trio balances the bright, bouncy melodies of Jamaican ska on tracks like “Still a Jamaican” with the two-tone punk commentary of the sharp, up-tempo “Shakedown.”

To the collective, ska remains one of music’s most enduring cultures, with Antonee stating, “Ska and two-tone doesn’t discriminate. The message of peace, love, unity, and standing together is just as relevant today as it was decades ago. The weather might have changed, but the struggles people are singing about haven’t.”

FOLLOW THE FAMILY BUSINESS LTD

Instagram | YouTube | Spotify

Zodiac Youth- ‘Carnival Of Souls’ (Creation Youth Records)

Zodiac Youth- ‘Carnival Of Souls’ (Creation Youth Records)

2026 is really throwing up some surprise releases. You may have seen the sad news regarding the ill health of Mark Manning/Zodiac Mindwarp. I won’t dwell on that here, other than to say we all wish him well. The ‘High Priest Of Love’ EP is still a firm favourite chez moi, since its release. Zod’s finest moment, just before fame and notoriety called. Their Bedford gig has gone down in legend, it was awesome. 

I didn’t expect to hear any ‘new’ songs from him, obviously, but here are 14 tunes,  collaborations with Youth/Martin Glover, recorded over a 15 year period and featuring luminaries such as Brian James on guitar and Nik Turner on sax.  Now, many bands cite the Stooges as an influence, but few come close. The best tracks here certainly rub up next to that sound, the sax contributions definitely help, but the attitude is also present throughout. 

Zod is at his poetic best, preaching to the perverted. ‘The Gun That’s In My Hand’ kicks off with a heavier, chugging riff, similar to the ‘We Are Volsung’ album, but it’s on ‘Electricity’ that the loose, Stooges style rears it’s head. Dirty, with added harmonica, minimal and hypnotic. ‘Atmosphere’ gets funkier, in a very greasy way, while ‘White Witch’ brings out the Bo Diddley drums and has much in common with the Jim Jones Allstars. 

Brian James brings the noise to ‘Romona’ as only he can, another highlight of primitive rock n roll. Fabulous stuff. ‘Burn Down Your House’ has Zod channelling the late John Sinclair, a musical riot. Whether it’s ‘Howl’ or ‘Texas Jesus’, if this is your bag, you are in for a treat. I listened to this once online, then ordered it. A no-brainer, from a character that too many wrote off as brainless. Zod/Mark is in fine voice here, strong and sleazy, which makes it bittersweet but also a real gem. If you own ‘High Priest Of Love’, this is an essential purchase. Hats off to Youth for putting this together with love and care. Go get some grease, baby…

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Author: Martin Chamarette

Gradience – ‘Anomaly’ (Metal Blade Records)

Gradience – ‘Anomaly’ (Metal Blade Records)

gradience /ˈɡreɪdiən(t)s/

(noun) the absence of a clear-cut boundary between one category and another

The name of the band encapsulates everything you need to know about Gradience. There’s so much going on here. The band is full on death metal one minute, hip hop the next. The obvious comparisons to Sleep Token are apparent here too.

Do I like Gradience? I wasn’t sure after my first listen. I felt that the constant jumping between genres was jarring. After revisiting Anomaly, I realised that Gradience are some kind of bastardised geniuses. You have to admire the seamless mixing of musical styles. In all of the madness though, there are well written songs with hooks that pull you in.

Opening track – Vermin is a perfect mix up of death metal, pop, and Linkin Park style rap interludes. It really is an assault on the senses. If you can get through Vermin, you’re set for the rest of the album. Blame Me is a heady mix of guitars, Prodigy style electronic stabs and a perfect blend of grunt vocals and pop sensibility.

Agony is my favourite track on the album. I can imagine a field full of festival goers losing their minds and jumping in unison to the tribal rhythms. The massive production from Chris Kreutzfeldt elevates the album’s intensity.

Anomaly is a short, sharp blast to the senses that delivers on every front. The band consists of guitarist Jakob Harris and vocalist Gavin Mistry. Drummer Frederik Kjelstrup Hansen and bass player Patrick Peterson complete the line up.

The duo met at a Copenhagen show for local deathcore heroes Cabal. They quickly found common ground and built a strong working relationship. Jakob and Gavin explain how Gradience was born:

“We found out we had many of the same musical influences in metal, even though neither of us had ever played in a metal band,” says Jakob. “We later found out we both were at a crossroads with the bands/projects we had going on, and we both felt an urge to create something new together.” As Gavin remembers, this inciting revelation took place on the most important day of his life, one way and another: “I invited Jakob to my wedding, where we talked over the idea of joining forces in a semi-drunken haze. I was searching for something where I could blend my honed skills in rap and rock, the right way.”

Gradience has come up with something that’s very rare these days – an album that’s completely original. If you’re looking for your new favorite band, you may have just found them.

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Author: Kenny Kendrick

Daily Thompson – ‘Glue’ (Noisolution Records)

Daily Thompson – ‘Glue’ (Noisolution Records)

Having been down something of a Seattle themed rabbit hole in my listening pleasures this past few weeks, when RPM head honcho Double Dee asked me if I fancied reviewing German Grunge trio Daily Thompson’s soon to be released seventh studio album ‘Glue’ I was like “pass me a Lucozade” (think about it), and I was off, albeit without the accompanying Iron Maiden soundtrack (got it now?).

Formed all the way back in 2012, whilst singer and guitarist Danny Zaremba, bassist Mercedes Lalakakis-Bee and drummer Thorsten ‘Babblz’ Stratmann can’t take any credit for ridding the music world of the 90s pop metal movement, the genre of music from which they draw their influences from most certainly can, hooking up once again with producer Tony Reed (he also worked on the band’s previous album ‘Chuparosa’) at APL Recording Studios in Port Orchard/Washington to get that full US West Coast feedback driven garage punk sound.

Kicking off with perhaps my favourite song of the album, ‘Heart of Bones’ is the type of track of you’d hear/see everywhere on early nineties music channels. A breezy, lilting Lemonheads-esque refrain that would be a surefire chart hit if those places still existed.

Talking of which, the band’s first video and single from ‘Glue’ is ‘BTK’ which also sees Mercedes Lalakakis-Bee take over the microphone for the first time, and also has more than a hint of US college radio about it, but this time more in Breeders/Pixies territory.

Likewise ‘Work Out’ and ‘Fake A Smile’ with Danny back on vocals both doff their trucker caps to Black Francis and Co, whilst of the album’s remaining four tracks these range from the Nirvana fuzz pop of ‘Here I Stand’ and ‘Lovebugs’ to the more straight up hard rock of ‘SIAM’ (which also boasts a close vocal harmony akin to Alice In Chains) by way of the epic (Pearl) jam that is, the just shy of 8 minutes, ‘Chains’.

Released on August 21st on Noisolution Records whilst ‘Glue’ is (most probably) never about to sell in the same amounts that the likes of ‘Nevermind’, ‘Ten’ or ‘Melon Collie’ ever did, it’s most certainly worth checking out even if just to give yourselves a break from the bland-ola “classic rock” the mainstream music media is constantly pushing these days.

With the band also gracing our shores for a series of six UK dates to promote the album in October starting in Bridgwater on the 12th, it’s time to hit the links below to find out more.

Pre-order the album HERE

Facebook / Daily Thompson (@dailythompson1) / X Daily Thompson / Music | Daily Thompson

Author: Johnny Hayward

Tokyo Blade – ‘Hoist The Colours’ (DISSONANCE)

Tokyo Blade – ‘Hoist The Colours’ (DISSONANCE)

Brand new album number 14-that has 14 tracks as it goes from British metal legends Tokyo Blade, featuring band mainstays Andy Boulton and Alan Marsh. Creatively, this is one of the most consistently high-quality periods inthe band’s long and storied history. ‘Hoist The Colours High’ is the latest effort in a purple patch for the band that has seen them issue a mammoth 4CD retrospective collection just last year (you should buy it), and the well-received ‘Time Is The Fire’ album at the beginning of 2026.

The Blade are on fire. From the opening Riff-tastic ‘Screaming Evil’ its heavy as an anvil yet steeped in history and bedding in the bands early style the sound is huge, with thunderous rhythms and guitars that see the band mix it up with old school riffs and that rumbling bass and with Alan Marsh handling the vocals there’s a comforting familiarity, and the guy doesn’t sound like he’s aged at all.

Hailing from Wiltshire, forming in 1982, Tokyo Blade was initially considered part of the NWOBHM scene but quickly outgrew the tag, enduring over the course of 14 studio albums and five EPs. Sure, it’s not the debut standard, nor is it the ‘Night Of The Blade’ but not may NWOBHM bands could repeat such outstanding rock. However, I’ll let you into a secret my period of Tokyo Blade was The Black Hearts era. I absolutely loved that period, and why not? they were fantastic. That my friends was many moons ago the band has reformed and evolved and reflected on who and what they are over many decades since and we arrive in the here and now with 2026 Blade, and they deserve all the credit they will get for penning fourteen top notch metal tunes.

The rockers will be impressed with the riffs of ‘Too Wired To Sleep’ with its thunderous double kick attack and Marsh screaming like a teen. ‘Get Me Outa This’ is more melodic, whereas the title track is epic with its surround sound cinemascope intro right through its six plus minutes. ‘I’m Gonna Rise’ is more measured and slower in its attack, but again the vocals are like their superpower. ‘Sweet Desolation’ is the closest to old school Blade from the licks to the tempo and vocals, its a real blast with yet more huge production.

If you want out and out raging metal, then look no further than the muscular ‘When The Hammer Falls’. To be fair, the ebb and flow is excellent, and if there is any criticism, then it would be the length of some of the tracks, with so many songs on offer to have five plus and six plus minute songs stretches my addled brain.

With no time for ballads, not even the closing slower number, are there any slushy tunes it’s all lean, mean rockin machines and Boulton and Marsh should take a bow after delivering a loud and proud slab of rock in 2026. Many bands from their origins are long gone or surviving as tribute bands showing up once in a blue moon, but not The mighty Blade they’re still hacking and slashing away at the coalface with a ton of new material and pushing themselves. Never give up lads, up the Blade now go buy this album it rocks.

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Author: Dom Daley

MC 16 – ‘We’re Gonna Need A Milkman’ (Neverlution)

MC 16 – ‘We’re Gonna Need A Milkman’ (Neverlution)

Following on from the band’s impressive ‘Machine Code’ album over eighteen months ago ( how time flies) Produced once again by the in-demand Dave Draper (Michael Monroe, The Wildhearts, Marc Valentine),

The album begins in fine form with the lead single ‘Standard Class’ a fine tune that’s got a most complimentary production that really packs a punch. Asking the question about quantity over quality in our arts and why we don’t champion our creative peeps more. Packing a punch, it sets the tone for what’s to come.

Claiming they’ve laid back on the politics for this record and have made the concise effort to look inwards and be more personal, either way MC16 deliver the goods.

Despite its sunnier outlook, the album does still paddle in the muddy puddles of modern life, covering subjects like helping a drug addict friend, the commercial exploitation of Mars, AI overtaking evolution, bias against regional accents, and how we are descended from apes yet treat them terribly. So there you go some easy listening for everyone.

Formed in Wolverhampton by three strangers who kept meeting at gigs, the original incarnation of MC16 didn’t last, with guitarist/singer Carson upping sticks for London after being burgled for the third time. Over time and distance, the band reformed, and this is the line-up that has lasted.

‘Help Desk’ tackles mental health with a huge Bass punch throbbing away whilst the guitar chop and hack around some Subs like melody. ‘Last Card’ is a complete change of gear, ushering in the Clash style Reggae vibes throughout the verses and creating a rather splendid track. ‘Red Lorry Yellow Lorry’ is a sprightly look at life and class with boundless energy it feels uplifting – should it? – fuck knows but it does.

‘Descended From My Victims’ asks the question of why man treats the animals that cohabit this spinning rock so badly. Another uplifting number, but the arrangement is exceptional, and the song is a poke in the chest and temple that I really like. ‘Mars’ is about why we need to migrate there and probably fuck that planet up as well thanks to the likes of the trillionaire spacemen we have making decisions on our behalf. Ah, this is where the milkman title comes into play because whoever inhabits Mars will need a milkie, they’re right. The penultimate track deals with AI and other such modern fandangles, ChatGPT, etc and what it all means, maybe dinosaurs like moire will be long gone when these things take over perish the thought and hark back to simpler times but the genie is well and truly out of the bottle now let’s inhale deeply and run with it or get run over.

To close this happier album, they leave us with this cheerful ditty ‘End On A High’, enjoy kids this album is a banger for sure. Stick your politics, your AI, your modern tech, just stick to rock n roll and turn it up it’s still the most fun you can have with your clothes on. Buy it!

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Gatecrash – ‘Gatecrash’ (Randale Records)

Gatecrash – ‘Gatecrash’ (Randale Records)

I don’t suppose it was ever going to be a case of “if” and always more of a “when” Cock Sparrer/Argy Bargy guitarist Daryl Smith and Russ Farrell (Aka Spunk Volcano) from Dirt Box Disco, Spunk Volcano & The Eruptions and Submit would end up recording music together. Firstly, a good few years back now, Daryl penned a piece in a Rebellion Festival programme where he shared his favourite Russ songs and subsequently could be seen side stage singing his head off at every available opportunity when the masked muse and his bands were playing across the weekend. Then Dirt Box got to gig around the UK with Sparrer, releasing a split single with them along the way, before Russ ended up getting involved with some ideas for songs for their last album ‘Hand On Heart’. It’s all been a bit of a journey (as those Saturday night UK talent shows all like to say), really, but finally we have the debut record from Farrell and Smith, and it’s time for one and all to experience Gatecrash.

Ably assisted by Russ’s Dirt Box/Eruptions brother in arms Maff on drums and ex Knock Off four stringer Andy Furr, I suppose all of us here at RPM towers kind of had an idea of what Gatecrash might sound like long before they ever recorded a note, as it was never going to be another musical curveball like the Farrell’s 90s flavoured alt rock studio only project Submit, that released their second album just a few weeks ago.

I will at this point admit though that I was a tad taken aback on playing ‘Gatecrash’ for the first time, largely because as the defiant ‘Still Standing’ rang out from my stereogram what I had forgotten was just how bloody good a singer Daryl Smith is. Of course, long before becoming guitarist in Cock Sparrer and in then turn Argy Bargy he’d fronted The Elite back in the early ‘90s, and whilst the opener might be not unlike Sparrer in some ways it’s when he takes the microphone for ‘Wind It In’ that I can’t help wonder if we’ll ever get to hear that long overdue new Argy Bargy album, I mean that really could be Watford Jon singing.

As for the Russ-fronted tunes like ‘Here We Go’ which quickly follows, these songs sound very much like the less “saucy” end of the prolific songwriter’s back catalogue, and it’s all about the killer hook, of which this album has many. The likes of ‘Av A Minute Mate’, ‘I Still Believe In You’ and ‘Sometimes I Wonder Where You Are’ are quite possibly my favourite non-Dirt Box, Dirt Box sounding songs ever, and if you give these a spin, you’ll be singing along to them at the top of your voice in just a couple of plays. These songs really are the stuff of ‘Legends’ (very bad pun intended).

For yours truly it’s when Smith and Farrell share the lead vocals during the likes ‘Pound For Pound’ and ‘Walk Away’ that I think Gatecrash truly “come of age” with the former a spiky pop punk poke in the eye complete with jagged Weller guitar and chorus to die for, whilst the latter is another rousing anthem that could very quickly become the band’s signature tune.

Then for those of you who are maybe looking for something a little off the streetpunk piste why not check out the acoustic lament to getting old that is ‘One Day’, the Goldblade-like rebel song rattle of ‘Go Big Or Go Home’ or the do-wop showaddywaddy foot stomper that is the bittersweet ‘Consolation Prize’, a song custom built to get us all up on our creepers and dancing into the night.

Written, recorded, released (initially via download/streaming only) and debuted live (at Rebellion 2026) all within a period of just four months, the sixteen songs that make up ‘Gatecrash’ are a true testament to the ability of the songwriters in the band to deliver hit after hit. Plus, for those of us longing to own these songs on CD and/or vinyl, it’s just been announced the album will soon get a full physical release via Randale Records, so make sure to watch the press and social media for more news about that.

In the meantime, grab yourself a bag full of cans, and go get pissed out your head listening to Gatecrash (via all the usual streaming platforms). Just don’t piss your jeans, right… right?

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Author: Johnny Hayward