The Family Business LTD are a ska collective put together in 2023 by Rat Boy frontman Jordan Cardy and Preston from The Ordinary Boys. The duo headed across the pond and joined Rancid legend Tim Armstrong in LA to write material. Tim roped in Antonee First Class of The English Beat for some authentic ‘two-tone toast’ and Operation Ivy man Jesse Michaels as creative collaborator, and The Family Business LTD were born.
With the rhythm section of fellow Hellcat label mates The Calamatix providing the groove, Tim producing and adding guitars, the debut album was written and recorded over a two-week period.
With the two-tone-inspired cover art depicting Walt Jabsco captured in a Tim Timebomb-style leap, and the main man producing, it does sorta give the game away as to what to expect from this unusual collaboration, With less emphasis on punk and more on mixing up the roots of ska with modern street level punk of the 2000’s, it’s a refreshing listen from beginning to end.
If their intention was to make you move, then opener and lead single ‘Floor Burner’ delivers in spades. 1 minute and 33 seconds of pure energy, it’s a song designed to make you dance like no one’s watching. Imagine if Operation Ivy were on a two-tone label, and you’ll be close; with Tim’s guidance, it’s a perfect mix of British 70s two-tone with a 90s punked-up delivery. It could be the best song of the year.
And so it continues; Antonee First Class adds Jamaican sauce to the likes of ‘Detonator’ and especially ‘Still A Jamaican’, songs that bring to mind the heady days of The Specials and The Selector, with added Hammond and horns, and those essential ska grooves laid down by the tight rhythm section of Clarence Kid III on drums and Matty Taylor on bass.
Lyrically, they dip from party hard escapism (‘Floor Burner’ & ‘Detonator’) to deeper social commentary like on closer ‘A.S.B.O.’, highlighting the fact that the same political and social issues are still around some 40-odd years down the road. Elsewhere, ‘Armageddon’ builds to an earworm of a chorus. A street-level anthem with its heart deeply rooted in classic ska. ‘Bambi’ is very up the Rat Boy street of scuzzy, anthemic punk infused with added ska bite, coming on like The King Blues in full on Clash mode.
‘No Vacancy’ skanks along nicely, giving Antonee more freedom to give added toast to proceedings. Then, album closer ‘A.S.B.O.’ rounds things off nicely with a killer refrain and enough rude boy references to keep any long-time lover of sharp suits and pork pie hats happy.
The songs are short and sharp, with familiar melodies you’ll swear you’ve heard before and you’ll want to hear again. The Family Business LTD is another fine example that everything Tim Armstrong touches turns to gold. But let’s not give him all the credit, as this is Jordan and Preston’s baby, where two unlikely mates from Essex get a chance to step out from their other bands and share their influences with legends along the way.
Whether this is just a one-off studio project or a fully-fledged touring band remains to be seen, but I, for one, am sold on the idea of The Family Business LTD, I’ll buy the record and go to a show if it happens. Just let me know, and I’ll get my dancing shoes ready.
Fast’n’loose power-poppin punk rock to put a big fat smile on your chops whilst the band cut loose with some tasty sugarry tunes cut loosly with a great live feeling with the emphasis on the tune and melody the production is rough and ready and captures the moment perfectly letting the songs breath and display a big ray of musical sunshine outta your speakers.
They beg, steal and borrow from the good and great with familiar magpie loans from the likes of the Damned in the opener, The Saints and the likes of The Undertones, especially on ‘Coming Home’ which is almost ‘Teenage Kicks’ Australian style and why not. The BV’s are lush, and the overall vibe is uplifting and just sheer enjoyment. There are Riffs borrowed from Malcolm Young via Johnny Thunders and Walter Lure, and a whole lot more.
Melbourne, Australia’s LOOSE LIPS pour all their collective know-how into their debut album ‘Last Laugh’, released by Dig! Records, and self-released by the band from their home base in Melbourne, Australia. The world may be turning to shit, but snotty power pop seems oblivious. Turn the amps up to overdrive them, push the fader up to capture the magic and pour in some top melodies captured from the band’s extensive output with other bands, but if you know you know from the Prize to the Unknowns to The Chats via some Chubby, then of course this trio are more than capable of wonderful things and boy do they deliver. From the snotty foot stomper ‘Good Bye Johnny’ to the thoughtful DC horns aloft of ‘Tonight We Go’ via the delicious tub thumping Heartbreakers homage that is ‘Nothing I Wan’t’ its simply unadulterated live for today rock n roll. You just can’t fake this shit, and when done properly it’s just a majestic ten-track stonker.
Josh (guitar/ vocals; The Chats and the Unknowns), Ethan (bass/ vocals; Chubby and the Gang, The Prize, Street Sweeper) and Nadine (drums/ vocals; The Prize), you absolutely killed it here. ‘Last Laugh’ is the sound of some pals sharing the love they have for punk n power pop and turning in a DIY ear bomb that’ll be ringing in your head until they do it again on the next album this is uncomplicated wonderful songs laid bare waiting for you to pour it into your ears – just take it and enjoy being one o fthe smart kids in owning the debut album from Loose Lips – simply buy this record!
Ruts DC have been extraordinarily prolific since the release of their last studio album ‘Counterculture?’ back in 2022. With their creative juices flowing freely, they cut two further volumes of their acclaimed ‘ElectrAcoustiC’ series, with volume two arriving in 2023 and volume three in 2024. Now the band are set to return again with a brand new four-song EP titled ‘Bound In Blood’, set for release September 11th via Sosumi Recordings. Due for release on CD and green and black smoke 10” vinyl, the EP leads with the song ‘Bound In Blood’, that first appeared in acoustic form on the aforementioned ‘ElectrAcoustiC’ Volume 3, followed by another brand new song titled ‘Wear The Crown’, although there are no A and B side preferences, leaving the listener or DJ to decide according to their mood and/or choice.
A message from Segs …
“Greetings all. We decided to make our first ever 10-inch EP! 4 tracks,3 songs 2 dubs.”
And here’s what’s on it:
BOUND IN BLOOD – “Some of you will know the song from ElectrAcoustiC vol.3 but here it is re-recorded in its full electric glory.”
BORN INNOCENT – Mitt’s Immortal Mix “A new mix featuring and dedicated to Mitt Gamon: This is one of the final records that Mitt played on before moving on to other realms. Glad to say that he actually heard and approved it before leaving us.”
WEAR THE CROWN – “The music had been circulating for some time, but lyrics finished following our Kings coronation “I pledge allegiance to autonomy”
DUB THE CROWN – “Time to think for yourself.”
“We hope you love it…”
Lovingly crafted for their own Sosumi Recordings label: the EP is packaged in stunning artwork based on an original painting by Oliver Howard thereby continuing the RuTs legacy of “Howard Artwork” (Rupert Howard who created the artwork for The Crack, Grin and Bear It, Rhythm Collision etc that was initiated on RuTs debut LP “The Crack” in 1979. (original painting now owned and cherished by Henry Rollins).
As they move towards the RUTS 50th anniversary tour in 2027, the solid trio of Segs, Ruffy and Heggarty are joined on this release by Rhythm Collision collaborator Mitt Gamon on harmonica and Boz Boorer on extra guitars to make this a very special one-off release.
Segs – “Keeping it real with an EP that is close to our hearts. One song about forgiveness, one about equality and one about Autonomy – it’s a must have.”
Bound In Blood EP track-listing:
Bound In Blood
Born Innocent (Mitt’s Immortal Mix)
Wear The Crown
Dub The Crown
Live Shows in 2026
Sept 22 Göteborg Sweden, Sept 24 Upsala Sweden, Sept 25 Stockholm Sweden, Sept 26 Nörrkoping Sweden
Nov 14 Morcombe Festival, Nov 20 Southampton 1865, Nov 21 Brighton Chalk,
NEW ALBUM PUNK RUINS OUT OCTOBER 23 VIA EPITAPH RECORDS
FEATURING MEMBERS OF BAD RELIGION, REFUSED,ROCKET FROM THE CRYPT, GIRLS AGAINST BOYS & THE FAITH
FIRST EUROPEAN TOUR EVER STARTS JANUARY 2027
“FAKE NAMES are doing their own thing on their own time and doing it fantastically. Nobody said the revolution had to be boring.” – Distorted Sound Magazine
Punk mainstays Fake Names are back with their third studio album, Punk Ruins, out October 23. Their first new music in three years, today they share the new song/video for “Until It’s Normal,” the guitar-driven album opener that airs frustration with those who believe in today’s Fascist propaganda.
Punk Ruins finds guitarists Brian Baker (Minor Threat, Dag Nasty, Bad Religion) and Michael Hampton (S.O.A., Embrace, The Faith), vocalist Dennis Lyxzén (Refused, INVSN), bassist Johnny Temple (Girls Against Boys, Soulside), and new drummer Mario Rubalcaba (Rocket From The Crypt, OFF!) effortlessly merging D.C. post-hardcore with modern power-pop. Throughout, Punk Ruins dissects the political manipulation and social neurosis of modern life, while holding onto punk’s salvation.
Recorded at the legendary Electrical Audio studio in Chicago and working with producer Matthew Barnhardy (Superchunk, Bob Mould), Punk Ruins transcends genre as the ultimate amalgam of fury and fun. “We recorded twelve songs in five days, and all of them are on the album,” Baker explains, adding that Lyxzén tracked his vocals in a single day. “One of the advantages of us all working at home is there’s plenty of time to figure out what you’re going to do,” Baker says when asked how the band were able to create such a fully formed album in the time some of their other acts have spent solely on pre-production. “I know what the guitar solo is going to be because I’ve already done it at home and sent it to Michael to tweak it,” he adds. “It’s not as hard as you think.”
“This album is a collective expression and a lot of the fun is seeing how the hell it is going to turn out,” Baker shares, adding that the musicianship of the other players helped elevate his and Hampton’s initial ideas into something far beyond what they anticipated. Tracks like “Diamond Buzz” provide a hypnotic groove while the title track showcases the band’s undeniable D.C. hardcore sound, with Lyxzén belting out his vocals, elevating the song’s already razor-sharp hooks.
Fake Names is a “mutual admiration society,” according to Baker, melding 70’s UK punk with classic hardcore energy and dynamic guitar-driven power-pop. The band released their classic rock-leaning self-titled debut in 2020, followed by 2023’s Expendables, produced by Adam “Atom” Greenspan (IDLES, Yeah Yeah Yeahs), who helmed a sonically cleaner, richer sound for the group.
Fake Names will be heading out on their first European tour ever in January 2027, making stops in Sweden, France, Germany, Italy, Slovenia, Austria and the UK. For more information and to purchase tickets, visit: https://fakenamesofficial.com/tour.
2022 saw Daddy’s Boy’s debut hit the shelves, well, buckle up, kids they’re back to kick the living fuck into your senses and eardrums with their nosebleed loud hardcore noise. ‘Four Hombres’ is a magnificent racket – a no-means-no style assault: angular, sharp guitar noise filling every void imaginable. It’s an intense sonic kicking your given through the medium of hardcore punk. The Chicago-based quartet push the boundaries of what’s acceptable as the songs ramble on with often hypnotic unison riffage and lick after lick whilst the rhythm section hypnotises through their instruments.
‘Four Hombres’ was recorded in Chicago with longtime friend Greg Norman. According to drummer Neal Markowski, the band were keen to ‘break any habits’ they’d developed, and sure enough, they turn in an intense record. The opener is nothing short of sensational, and my advice would be to turn it up, get your head in those speaker bass bins and take it on the chin. ‘Divorce’ sounds like a fuckin avalanche with rocks tumbling down all around you with no chance of escape. The songs are short and oh so sweet, and with no chance of any fat settling on this lean, mean machine, Daddy’s Boy are killing it.
Reflecting the current climate in America, it’s sometimes chaotic, loud, brutal, confrontational, but unlike America, this is bloody good. They should get together with Dead Pioneers and hit the road it would be glorious. ‘Crows Feet’ lends itself to the band declaring war on your senses, the vocals sound distant before abruptly ending.
The title ‘Four Hombres’ is a ZZ Top nod that was chosen, Markowski adds, because “we’re four dudes who like making music together.” This is where any link to ZZ Top ends, hell, these guys would have terrified tres hombres. Eighteen minutes of brutal sensory assault, but in the best possible way, hardcore never sounded so essential. Get a hard hat and step away from the speakers, but do remember to turn it up but at a safe distance.
I’ve sat on this review for a week, trying to find the words- the right words to convey what it truly felt like seeing the three members of The Alarm on a stage on their own terms, playing songs that shaped my musical landscape for the past forty-plus years. When these dates were announced I just had to go to both nights partly due to FOMO and partly because I wanted to be there because I love hearing the music these guys make together regardless of whats gone on over the past few decades and the silly social media infighting he said she said which side are you on nonsense because deep down some of us care about both sides and above all love the music that those – our four lads who shook the world made so it was off to the big smke we went.
We’ve seen Alarm 2.0 several times, from the early knockings when Craig played some shows (and we thoroughly enjoyed the night in Birmingham) right up to as recently as last weekend when they did a few shows in South Wales. No Craig, but still a most enjoyable night with Eddie on vocals. So tonight we sort of knew what to expect from the opening act, who didn’t disappoint with a great set, especially the early songs pre and off ‘Declaration’ say what you like but Smileys smile and Eddies enthusiasm is infectious and God bless em their efforts are much appreciated and their respect for the songs shines through and anyone who doesn’t enjoy their set should have a word with themselves. People seemed up for it and sang along with every word. The energy was along the lines of early Alarm performances it was raw and infectious, and mistakes were made lyrics missed but that’s rock n roll, isn’t it? It was great to see James and Smiley playing a part in the evening because they contributed greatly to keeping the name alive and absolutely should have played a part, and for an opening act this was pretty bloody good stuff. ‘Knifedge’, ‘Absolute Reality’, ‘We Are The Light’ and ‘Deeside’ were spot on, and it wasn’t like the venue needed warming up, but this was pretty good.
Next up was Dave Sharp and The Hard Travellers, who are a seven-piece ensemble playing mostly other people’s music and doing it with a twist (no pun intended). Sharp looked well, and the band complemented him well as he did his Americana versions of some pretty big tunes that clearly mean a lot to the man. ‘Hard Rain’ and ‘Jungle’ sounded great, but it was the rework of ‘Last Smilin Villain’ that impressed the most. Damn, how I love that ‘Hard Travellin’ album how it never got a vinyl pressing is criminal. I think having the band back for these interpretations really worked, and it was a side of Dave maybe some had never witnessed, and it went down really well in the room.
Onto the main course, and with an open mind, of course, there was an elephant in the room: what was this Rob fella going to be like? But any concerns evaporated in the Garage heat within the first few verses of the set opener, ‘Newtown Jerico’. There was a huge expectation on the young man’s shoulders, and he took to the task at hand with class and enthusiasm and absolutely delivered the goods. He didn’t try to copy Mike, nor did he try to fill his shoes; he just went on with his job and delivered a pretty faultless interpretation of the songs we all love and cherish. The fella can sing, but he didn’t try to copy; he just delivered the vocals for the song and hit the notes in his own style, which was exactly as it should be, and he must have felt the room was 100% behind him and fully appreciated the job he was doing.
The band he had backing him were pretty amazing to be fair and any fears for what might have sounded rusty or a bit lame never reared its ugly head these guy sounded like they were halfway through a 100 dat eworld tour (ok so there were a few tightness issues and a few missed chord changes here and there and the odd bum note) but hey, this is rock n roll and I had th efeeling people were also living in the moment and enjoyign it for what it was, three qyuarters of a band we all took to our hearts and loved like they were the best band in the world and for two nights we lived that dream, sure I’d be lying if I said I didn’t miss Mike (I’m sure everyone in that room band inclueded didn’t also miss him and wished things could have been different) but this was about celebrating the music and it looked like everyone was on th esame page and magic was in the air and it was definatly something you could almost feel.
To be fair, I didn’t really have any expectations, nor did I give any type of setlist a second thought I just wanted to enjoy the evening and remember what made this band so special. I loved that it wasn’t the greatest hits, and songs like ‘Hardland’, ‘Permanence In Change’, and an exceptional ‘Devolution Working Man’s Blues’ fell off the Sharpie fretboard early doors, and it was great to see the chemistry between the guys was evident, and their enjoyment was there for all to see.
There was an edge to the sound, and the riffs were loose, but that was part of the magic that was factored in ‘Shelter’ was played with drive and passion and trying a duo version of ‘ Third Light’ between Eddie and Dave was worth a go it’s a great song, even reworked. By the time the band struck up ’68 Guns’, the place was rocking, and hearing the audience sing loud and proud was a real goosebump feeling, and I’m sure the band felt that back from the audience. Another thing that gave me goosebumps was hearing Twist play the drum lick on ‘Rain In The Summertime’ without any tapes or clicks, and when Dave joined with his drenched licks, it was a real moment. To be fair, Rob sang it really well, hitting every note perfectly, but I wouldn’t have doubted him after his delivery thus far into the evening.
The lyrics to ‘Spirit’ hit hard, and not for the first time this evening I thought about their fallen brother, a huge hole in my music journey that will never be forgotten, and as I looked at Eddie, I think he must have been having similar thoughts during the song, as he has when I’ve seen him sing it previously. Awesome.
As we headed towards the end of the first night, it was a full, bloodied ‘Sold Me Down the River’ that saw a decent duel between Rob and Dave before they encored with a ripping version of ‘Rocking In The Free World’, taking their much-deserved bow, we sauntered into the warm London night air beaming with the knowledge that the remaining Alarm had absolutely delivered the good and paid tribute to the bands legacy with a stonking performance that I was delighted to have witnessed. See you tomorrow.
Sunday.
With Smiley hotfooting it off to Dublin to play with Geldof and his Rats in some stadium with Bon Jovi, it was left for some Nigel bloke to fill his drum stool for the 2.0 set tonight, and to be fair, it was more of the same from the previous night, with a loose set that was thoroughly enjoyable and played with the spirit of Early Alarm all be it more relaxed knowing that the first night went so well. The same can be said for Dave Sharp and The Barnstormers it was more relaxed and a slightly longer set, but again thoroughly enjoyable, reminding me of Chuck Prophet and Dan Baird and what they do after Green On Red and taking the spirit of the Bob Dylan Rolling Review. Did I mention the version of ‘Last Smilin Villain’? Well, again, it was top of the shop in this set, with a special mention to the band Dave has assembled, who handled the songs really well with a fine touch, often reminding me of a certain Mr Strummer. I look forward to hearing the record, Mr Sharp. Bravo.
There’s no point in me going over what was a very similar set, with a few notable exceptions that made a difference to the second night mainly. That night two, we were treated to the epic (Mike’s Favourite Alarm Song) ‘One Step Closer To Home’, which was emotional, to say the least and was dropped in the set, replacing ‘Third Light’, which was, if my memory serves me well, the only change but one that was much appreciated and sounded awesome.
Maybe the band played more relaxed on the second night I’m not really sure. It was again terrific to hear the songs played again, and Rob once again did justice to the vocals and also paid tribute to the songs and the band, which sounded heartfelt and humble and was much appreciated and really genuine now my parting thoughts are these, this was a great idea and one that worked really well, there were no egos on display and people seemed genuinely happy to be there and the sound from the audience was everything I hoped it would be the bands did themselves and the name of the Alarm proud and I’d be well up for doing this again next year with a few songs added if I may be so bold. I bloody love The Alarm I do. Wrapping on the chocolate bar, my arse, these boys had the chops then and still have them today. Long live The Alarm and as Mikey Boy sang, the 68 Guns will never die. Amen to that!
A bit of a mad one from right out of left field is the latest offering from Australia’s punk rock sensations Amyl & The Sniffers, and to be fair, it’s live, where they’ve really excelled with their sloppy punk n roll. Waving a big middle finger to anyone and everyone who ever doubted them, they have only ever danced to their own drum beat, and with this latest offering they’re doing the same. Stripping things down with a cowpunk live in front of a handful of people album taken from a movie, it’s raw as fuck, and the songs are fast and loose.
From the low-key opener ‘Big Dreams’, the tone is set once the drums and Bass join in; it’s off like a wonky rocket. A band quite happy to strip everything bare and let it all hang out, and that’s what makes this a winner. Amy hasn’t got the best voice in punk rock, but she’s got one of the best attitudes and delivers in spades and can be absolutely captivating. ‘Hertz’ is a good example, total conviction in what she’s doing and having a ball delivering it.
The production is even wonky and not for the purists or audiophiles amongst us, but it is for anyone wanting something out of the ordinary and captivating and delivered with the fun that’s intended. Something of a stocking filler for sure and a stopgap before the serious business of delivering the next album. I love the intro on ‘Jerkin’ and the pitch is perfect; we all know who she’s talking about, spot on, sister, right on the money.
It’s a theme running through the record. Fun! Something that’s sometimes missing; rock n roll is meant to be enjoyed. Sure, there can be a serious message at times, but rock n roll has always been risky, from Elvis and Little Richard to the Stones and the Punk explosion bands have always taken risks and put a smile on people’s faces doing it, and Amyl and the Sniffers hit the spot. Amy sings on ‘Chewing Gum’, and we get the very early ‘Caltex Cowgirl’; could have fallen off Johnny Thunders ‘Hurt Me’ wheras ‘Snakes’ is just mental. The Cover, ‘Lights On The Hill’, is solid before the shindig is signed off with ‘Bag Of Cocaine’, the newest song from the band that skates into Pogues territory, which is never a bad thing.
Thirteen songs, rowdy, beer-soaked, and fun is the name of the game, and as the sleeve notes say, play this ruckus to your mates and kick up a stink when listening. Enjoy! I did.
I love a good noisy record full of enthusiasm and clearly in love with the process of making music.
Ruckus hail from Boston via New York, centred around the vocals and lyrics of Kam Lindsey (once of oi faves, The Stance). They’re also former members of The New York Hounds (drummer Alex Palazzo and rhythm guitarist Brian Crozier), plus bassist Mario DaCosta, with more lead guitars from Nick Norrman (Ingrates) and Ethan Stahl (The Prize, Loose Lips).
I know there are only six tracks here, but it’s an introduction, and I like that, easing you in gently. Well, when I say gently, that’s not strictly true; it’s like a throwback to a land time forgot. ‘Talk Ain’t Cheap Enough’ has a rough house guitar with splendid guitar breaks from the Berry meets Thunders school of no-nonsense, as long as it fits shimmering through a distant reverb that’s wayyyy too loud and a walking bassline that’s doing the heavy lifting. All wrapped in a great pop song.
There’s a strut and confidence about ‘Pocket Full Of Cash’, all David Johansen meets Sylvain, and it’s infectious like they’re having the best time ever and making records is fun. ‘Hot In The City’ is more of the same with a great hook to reel you in. ‘Hello From Up Here’ sounds familiar without knowing what to put your finger on, but these cats would have had a ball playing the old Wardour Street Marquee with Hanoi and the Lords, with a dash of the craziness thrown in for good measure.
Where I’m from, a Rukus is a fight, and this would be a glorious punch-up in a bar as long as the women are beautiful and the beers cheap and everyone’s having the best of times. It’s only rock n roll, after all. Pick this up if you like your music catchy, rough, but a whole lot of fun.
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