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FAKE NAMES RELEASE NEW SINGLE

FAKE NAMES RELEASE NEW SINGLE

MEMBERS OF BAD RELIGION, REFUSED,

ROCKET FROM THE CRYPT, GIRLS AGAINST BOYS & THE FAITH

TOUR KICKS OFF JANUARY 26

Today, epic punk collective Fake Names share new video for single “If You Could See Me Today” ahead of their upcoming album Punk Ruins, outOctober 23. The track finds jangle pop emerging from the band’s D.C. post-hardcore roots, crackling guitars meet gritty bassline, and effortlessly magnetic vocals, as the band reflects on remnants of a distant past.

Fake Names consists of punk mainstays Brian Baker (Minor Threat, Dag Nasty, Bad Religion), Dennis Lyxzén (Refused, INVSN),  Michael Hampton (S.O.A., Embrace, The Faith), Johnny Temple (Girls Against Boys, Soulside), and new drummer Mario Rubalcaba (Rocket From The Crypt, Off!). Punk Ruins was produced by Matthew Bernhardt (Superchunk, Bob Mould) at Chicago’s iconic Electrical Audio studios.

Despite each member’s celebrated status, their collaboration feels unforced. “There are no guardrails or perceived direction here and this just comes out,” shares Baker, emphasizing, “this album is a collective expression, and a lot of the fun is seeing how the hell it is going to turn out.” The band’s musicianship elevated Baker and Hampton’s initial ideas, while giving Lyxzen room to explore vocal styles. “I think that a lot of these songs give me an opportunity to sing in a way that nowadays I usually don’t,” he explains, “It’s always cool to be able to experiment with your voice, melodic sensibility and language.” That creative freedom shines on tracks like the groove driven “Diamond Buzz” and the title track’s undeniable D.C. hardcore sound, elevated by Lyxzén’s belting vocals and 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 tour in early 2027, with stops across Europe and the UK starting January 26. For additional information, visit: https://fakenamesofficial.com/tour.

Fake Names 2027 Tour Dates

Jan 26 – Umea, Sweden – Umea Stage

Jan 28 – Paris, France – Glazart

Jan 29 – Köln, Germany – Club Volta

Jan 30 – München, Germany – Backstage

Feb 1 – Milano, Italy – Legend Club

Feb 2 – Ljubljana, Slovenia – Kino Šiška

Feb 3 – Wien, Austria – Arena Wien

Feb 5 – Hamburg, Germany – Knust

Feb 6 – Berlin, Germany – Lido

Feb 7 – London, United Kingdom – Underworld

FOLLOW FAKE NAMES WEBSITE | INSTAGRAM  | YOUTUBE

NY Loose – ‘Monolith Kids’ (Self Release)

NY Loose – ‘Monolith Kids’ (Self Release)

Darlings of the New York underground punk scene in the mid-90s, NY Loose, led by blonde bombshell Brijitte West, shoulda been huge. They had the look, the attitude and most importantly, the songs. But their excellent debut album ‘Year Of The Rat’ failed to set the world on fire, and even high-profile support slots with L7 and Marilyn Manson on the infamous ‘Antichrist Superstar’ world tour didn’t give the band the traction they deserved.

It turns out their record company, Hollywood Records, didn’t really know what to do with a gritty rock n’ roll band who couldn’t give them the polished commercial success they desired. The lack of record company support and internal wrangling led to the band being dropped and ultimately their disintegration. NY Loose left us with one studio album and a few independently released EPs. Many of those early recordings have been lovingly restored here for fans and new admirers of all things 90’s rock n’ roll.

‘Monolith Kids’ is a 12-track affair featuring the full ‘Loosen Up!’ EP and tracks from the posthumous ‘Born To Loose’ compilation album. All tracks have been remastered and re-sequenced for your listening pleasure into one cohesive album.

The title track kicks things off in rollicking style, the bombastic rhythm section powering through a wall of distorted power chords as Brijitte delivers the refrain with guts and glory. This song showcases the energy this band would take onto that debut album.

With its low-slung Johnny Thunders licks and Ramones attitude, ‘Bitch’ is another early standout cut. Brijitte’s sugary sweet vocalisin’ is all Joan Jett meets Josie & The Pussycats, so good it should be illegal! The Thunders influence continues on third track ‘Green Light Semaphore,’ which veers more in the Heartbreakers territory like a motherfucker baby!

Considering these songs were all recorded on a shoestring budget prior to a major label contract, they sound pretty good. Don’t get me wrong, it’s pretty raw and ramshackle, but the songs shine through. The upbeat punk pop of ‘James’, co-written by Circus Of Power man Gary Sunshine, is a dreamy power chord-drenched blast of fun, and ‘The Late 20th Century Blues’, co-written by D Generation man Richie Bacchus, is raw, unadulterated punk rock straight from the streets of New York City.

‘Year Of The Rat’ favourite ‘Spit’ is included in its undiluted original form. At over 5 minutes, the dark and twisted tale skulks along in the shadows; it’s no wonder it was added to ‘The Crow 2’ soundtrack.

Elsewhere, the great ‘Loosen Up’ has a live-in-the-studio feel; the energetic vocals and pumping, bass-driven breakdown add to the jammed-out, delivered-on-the-fly feeling. This could’ve been on the debut album, make no mistake. The album concludes with their cover of The Avengers ‘Cheap Tragedies’, which was previously available on the ‘Tribute To The Avengers’ album back in 2010 alongside NOFX, Dwarves and Ramonas.

While ‘Monolith Kids’ ain’t gonna set the world on fire, it’s a snapshot of the early days of a band who coulda, shoulda, woulda…and in different circumstances probably woulda. In an era when glam punk bands were sneered at (in the wrong way), the likes of NY Loose and D Generation were flying the flag for sleazy rock n’ roll. And this release is essential for fans of either band or those who simply enjoy wearing leopard skin and creepers.

Buy International orders:

Order here: https://elasticstage.com/nylkids/releases/monolith-kids-album

US orders: 

Order HERE

Bandcamp: https://brijittewest1.bandcamp.com/

Facebook: www.facebook.com/brijittewestofficial

Author: Ben Hughes

Wolfbrigade – ‘Howl From Underground’ (Metal Blade Records)

Wolfbrigade – ‘Howl From Underground’ (Metal Blade Records)

I have to admit that I’m not a big fan of the whole “Oi/Crust” punk movement. The music doesn’t move me at all. When I sat down to review the latest album from Swedish punk/metallers Wolfbrigade, I was pleasantly surprised to hear more of a hardcore sound. The band has elements of Sick Of It All, Nailbomb, ‘ 90s-era Exploited, Biohazard, and even early Motorhead vibes in their music. This made it much more comfortable, and I felt able to write a balanced review.

Wolfbrigade has been around for a long time. They were formed back in 1995 under the name Wolfpack, and Howl From Underground is their 12th LP. We get 12 short/sharp songs that all have immediate impact. Opener Caveman Motherfuck (catchy title!) soon gets underway with full pelt riffing and some fantastic up-tempo drumming from Dadde Starck. The band decided to use a producer on the album for the first time in a long time. As Wolfbrigade themselves explain: “As the songs started to fall into place, we decided to do something we hadn’t done in many years,” explains the band. “For the last decade we’ve recorded, produced and mixed our albums ourselves. This time we wanted to work with someone from outside the band whose work we respect and who we felt would understand what Wolfbrigade is about.”

The producer they used is Lawrence Mackrory (Meshugga/Paradise Lost), and he’s done a fantastic job. The band sounds huge. There are some real standout tracks, including the superb Doomrunner, Born To Rot, Headhunting, and the wonderfully titled Fat Man Hellscape. The title track is my favourite though, absolute carnage. Vocalist Micke Dahl is like a man possessed, barking and spitting out every word. Awesome.

The band explained the process of writing the songs for Howl From Underground: “Rather than building the songs layer by layer, we wanted to capture the band as a single unit, the push and pull that happens when five people are locked into the same moment. There’s a tension in those kinds of performances that’s difficult to recreate any other way. Without a safety net, the focus sharpens and something else takes over. Sometimes the songs begin to take on a life of their own. More than anything, it leaves room for the unexpected. We still work within the same narrow framework that has always defined Wolfbrigade, but we keep pushing against its edges,” asserts the band. “New melodies, new angles, new ways of getting where we’re going.” Among these new angles we may find the almost gothic melancholic melody underpinning When Dogs Cry; the crafty, atmospheric note patterns of Cold War Bootlicker; the long chords and rock-steady surge of Seeking Scapegoats. But each track is so steeped in the workings of the Wolfbrigade grinder, nothing sticks out as wildly diverse or out of place. “For us it’s never about sounding different for the sake of sounding different,” says the band. “If a song feels hungry, if there’s a primitive energy there, then it deserves to exist. That was the feeling we followed throughout the work on Howl From Underground.”

Howl From Underground is a superb record. If you’re a little weary of the punk tag, don’t be. Wolfbrigade easily navigate themselves into the metal/hardcore category. If you love some crusty punk, you’ll already know all about Wolfbrigade. Maybe don’t listen when there’s a full moon, though! AAAAWWWOOOOOO!!!

Howl From Underground is released on Oct 9th via Metal Blade Records.

Buy Here

Author: Kenny Kendrick

Mouth Ulcers – ‘Silent Pictures’ (Lab)

Mouth Ulcers – ‘Silent Pictures’ (Lab)

A few years ago, there seemed to be a really impressive uprising from the graveyard of Goth, as bands like The Bellweather Syndicate, Then Comes Silence, and even bands like Ist Ist were lighting up my record player with excellent releases. I know music tends to come and go like the ebbing of the ocean, and maybe now is the time for another wave to come crashing down out of the darkness, and Mouth Ulcers will be spearheading that from their London dungeon purely on the strength of this debut extended EP or short album (however you want to look at it), ‘Silent Pictures’, which was released in the thick of this past summer via LAB Records. Mouth Ulcers are a four piece London based bandand they lean heavily on the true spirit of the likes of The Mission (early doors), The Sisters, Early Cure and Bauhaus, to name a few. The record is dripping with atmosphere and dark imagery. Just take the Title track with its sharp, dank, haunting guitar chops and the dry drum production oozing Goth majesty, leaving enough room for whispered vocals that never get above a spoken hush. Just what the Witch Doctor ordered.

This fast-rising four-piece isn’t afraid to lean on the past to carve out a future, and I’m all in for that. It’s modern yet nostalgic at the same time as they create a post-punk cinematic atmosphere that would give me chills live as the dry ice wafts through a dimly lit room.

Formed in 2025 by vocalist/guitarist Zak Watson, alongside Josephine Rose (guitar/vocals), Jamie-Lee Culver (bass) and David Zbirka (drums), the group have quickly evolved from a studio experiment into a proper performing band and on this evidence they have the chops to back it up. ‘Closer To You’ is tub thumping and Daniel Ash-like wailing on that six-string plank, with a sound dripping in reverb and slicing through the mix and its frantic pace, considering this is the first record this is indeed impressive stuff.

None of the songs outstays their welcome, and they blend the barely in-control tempo on ‘Closer To You’ with the stark emotional minimalism of ‘Satisfy’ as it builds to its chaotic ending from the gloom of the first half of the song. As far as debut recordings go, this is right up there with Goth royalty for me, and I wanted to wait until my record arrived before reviewing, but I just couldn’t hold off. I’ll shout praise from the church rooftops for ‘Silent Picture’ and hope it’s not a one-off, and I can get to see them do this live before a long player hits the pressing plant. Then Comes Silence have serious challengers for the crown, as these Londoners have a beauty on their hands. Buy this record; it’s all killer and no filler.

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Author: Dom Daley

Split Dogs- ‘Nice n Rough’ (Venn Records)

Split Dogs- ‘Nice n Rough’ (Venn Records)

At last! One of the most anticipated albums this year, chez moi and at RPM headquarters, no doubt. This was an immediate preorder, and, as ever, Split Dogs don’t disappoint. You already know the opening number ‘Be Somebody’, which is followed by the “Rick Parfitt on bad speed” rhythm of ‘Born Too Loose’. Very tasty, though I suspect some diehards aren’t sure about the band embracing some Quo/DC riffs. Too bad for them, because the Dogs haven’t lost anything. They know who they are, and that’s why it works. 

‘Breaker’ is 1 minute 30 seconds of pure rock, undiluted joy. If it doesn’t get you moving, you’re already dead, baby. ‘Get The Look’ should please the hardcore crew, and the band are obviously having a ball throughout. ‘Speed Demon’ sounds like a classic riff by now. Most traditional ‘rock’ bands could learn something here, few of them have this many addictive riffs. In fact, it’s so good, you could imagine they were Australian. 

And ‘Leave It Alone’ would make Bon Scott smile. The rhythm section is tighter than ever, and Harry’s vocals are fabulous. ‘Shake Sum Action’ (not that one) blasts by in just under 2 minutes, and ‘Rock N Roll Business’ still sounds magic, complete with piano rolls. One of the best songs of the year, for me. ‘Mama Said’ is dangerously close to 4 minutes long, but you won’t notice. 

You should also be aware of ‘Suffer’ by now, so let’s move on to ‘I Wanna’, which comes on like a punkier Hives. The energy levels don’t drop. There’s some ‘Dirty Denim’, which reminds this listener of The Sick Livers. Yes, I know that Ginge’s denims are immaculate. Not ones to end on a ballad, ‘Power Out’ clouts you one last time. I’ve nothing against shorter albums when they’re this good. An absolute belter from start to finish.

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Author: Martin Chamarette

C.O.F.F.I.N – ‘Out In Oslo’ (p(doom))

C.O.F.F.I.N – ‘Out In Oslo’ (p(doom))

C.O.F.F.I.N are a hard rockin’ punk band from Sydney, Australia. The acronym stands for ‘Children Of Finland Fighting In Norway’. ‘Out In Oslo’ was produced by Declan Mehrtens of Amyl & the Sniffers, who they’ve toured with many times, so it’s no small jump to offer comparisons there but C.O.F.F.I.N are an altogether different proposition for a start the drummer is also the singer, and there’s no Amy prowling the stage heading this band they leave it to the music to do their talking and boy, have they got something to shout about. I wouldn’t like to call who’d win in a bar brawl either, but it would be close.

This is C.O.F.F.I.N’s fourth studio album and whilst they’ve barely moved the dial in sound or style, the songwriting might have had some subtle gear shifts and they’ve introduced different flavours to the delivery for sure.

I’d hazard a guess that what you see is what you get, and there is zero bullshit in C.O.F.F.I.N, and they certainly walk the walk and give zero fucks along the way – you either dig it or you move along; there are no half measures. This record kicks off in style after the sleazy intro it’s counted in, and boom, we’re off like a bottle rocket. If you want to let someone know exactly what this band is about, it’s captured in the opening salvo of sonic assault – three minutes and one second; there it is! Leaving the listener in no doubt what is occurring. Taking no prisoners right from the curtain drop, C.O.F.F.I.N are in the motherfuckin house.

‘Sleep In It’ is off like a boogie Woogie runaway train as Ben Portnoy hits those drums like he’s got a ten-pound lump hammer in his grip, and the drums are a red-hot anvil, but don’t be fooled, as the song charges on and the solos rage hard, the backing vocals are shaking things up like prime-time Hanoi Rocks, and I’m loving it.

Coming on a little more restrained, ‘Bad Thoughts’ is shifting on a rockin groove towards a gang vocal chorus that’s all muscle through the throbbing Bass rumble. Damn, what a record this is shaping up to be, and we’re barely a quarter in.

‘A Place To Stay’ rages on a thumping solid beat set on a wild, barely in control bass line. Hang on, an acoustic guitar and soulful harmonica? Yup, everybody needs to calm down a little and catch their collective breath, so ’13 Days’ is the perfect palate cleanser before we build up a sweat again. ‘Won’t Let You Down’ has the harmonica honkin’, and with a second wind blowing through its heads down and lets kick up a shitstorm for a few. ‘Fair Enough’ is steaming down the track before we’re thrown a curveball in the shape of the foot-stompin ‘, chest-beating ‘Gettin’ Down’ like prime-time Slade, with a guitar solo that just soars.

The penultimate track is the sound of a band confident in the knowledge that they’ve hit paydirt with this new record. From start to finish, this is an absolute banger, and I’ve already played it over and over and louder and louder; it just sounds better and better. To close the record off, Ben sounds like a rabid dog who’s been gargling razors and washing them down with petrol as the song builds and meanders to its conclusion, putting a full stop on proceedings with a middle finger to anyone who’s listening, leaving the stage in ruins.

C.O.F.F.I.N have delivered a beast, with no weak spots anywhere. It’s one of the finest albums you’ll hear from any continent on this spinning rock this year for sure. Get on board and strap yourself in: ‘Out In Oslo’ is here, and it’s fuckin special – Buy It!

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Author: Dom Daley

The Mary Tyler Whores – ‘As Filthy As We Wanna Be’ (Cadiz Music)

The Mary Tyler Whores – ‘As Filthy As We Wanna Be’ (Cadiz Music)

Not since Gay For Johnny Dep or Jodie Fasters were kicking up a stink on my stereo has a band had such a great name as The Mary Tyler Whores – Somewhere between sleazy early pre-appetite Guns n Roses and The Dictators. TMTW are kicking up a shitstorm, and boy, do they know it.

Hailing from the swamps of Florida, this five-piece, ten-legged groove machine are on it from the opening riff of ‘American Sex Fiend’ to the closing chords and cymbal fizz of ‘World Against Me’. That opener has a filthy Zodiac mindwarp riffola opening. It’s all Billy big balls and struttin like they’re something special it screams of a punk rock party, and we’re having the best of times doing this, and if you don’t like it, go F yourself; we have a party to attend, and besides, we’re here for a good time, not a long time, so hurry the fuck up.

Hells Bells, the third track, is a sleazy, hard-rockin ‘ take on the Lords Of The New Church classic, less dark and gothic and certainly stripped back and loud ‘Dance With Me’ wasn’t a song I had down as being covered anywhere or by anyone, well done, gents, top tune. It’s certainly not as good as the original, but I’ll take it, when any band takes on such a magnificent track, I’ll get behind it for sure.

‘Savage World’ is a party on its own, and why wouldn’t I approve of that? That’s sort of the MO for a while on the record. Make a band and come on part Guns, part Duane Peters, and part Handsome Dick is sure a recipe for an interesting record. There’s a lot of music to plough through with fifteen songs on offer it’s certainly value for money ‘Edge Of Insanity’ is almost a Rancid-sized skank, but it never goes there instead, it heads off into a punk rock gang vocal charge off by the chorus. I love the horns honkin’ out ‘Clamjacked’ it’s a real blast, and that’s not just the horns it’s a rowdy step to the left, and I love it.

To be fair, there’s a lot going on all over this record that sounds fantastic, courtesy of Greg Hetson (Circle Jerks/Bad Religion. It’s a bright-sounding record, and the bigger riffs are elevated and put right in your face, ‘Isolation’ being a great example that also has a filthy Bassline clunking away throughout.

I guess with fifteen songs mostly going full tilt you’re wondering which one is the power ballad. Well, worry not, folks, but there is some acoustic guitar work on ‘Phantom Love’ as the opening sort of crashes in before taking you down a twisting lane that is loose and meandering. Before we end the record, there is time for another cover, and this time they fuck with your head as ‘Whip It ‘- yeah, the Devo tune has the Mary Tyler Whores treatment to add another string to the bow.

The album closes on the collaboration with Riff Raff and Mike G as ‘World Against Me’ is the final offering from a very entertaining record. When it’s on it’s right on it, and that’s a great place to be. Get on the Mary Tyler Whores; they aren’t just a fantastic name they have the chops.

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Asomvel – ‘Set Your World On Fire’ (Self Release)

Asomvel – ‘Set Your World On Fire’ (Self Release)

Yorkshire hard rockers Asomvel are back with their latest album: Set Your World On Fire. I’ve been lucky enough to witness Asomvel live a few times. They put on a hell of a show. They are exceptional musicians and can write a tune or two.

Ok, let’s get the Motorhead comparisons out of the way… Yes, they can sound like them, and frontman/bassist Ralph Robinson is a dead ringer for the late Lemmy. The way I see it, though, if there’s a band doing their best to take the reins and carry on with the full – on Motorhead rock n roll assault, I’m all good with that!

‘Set Your World On Fire’ is a collection of twelve tracks that literally pin your ears back. Opener ‘King Of The World’ is an absolute banger… double kicks a plenty, searing riffs, and Ralph Robinson’s trademark growl make it the perfect way to kick off the album. Lone Wolf is another Motorhead-tinged track with another barnstormer of a riff. The title track has a more melodic feel and gives me AC/DC vibes. Yet again, superb performances from the entire band, drummer Ryan Thrackwell deserves a special mention, though. He is on fire throughout the entire record… amazing.

‘Back From The Dead (It’s Your Funeral)’ is a blast, a catchy chorus and some awesome licks from guitarists Lenny and Stel Robinson make it a real standout track. ‘World At War’ is a real change of pace. Subject matter that really hits home in this seemingly more fucked up than ever world gives the song substance. Blood Runs Cold is a mid-paced rocker with some tasty lead guitar work from Lenny…lovely stuff.

‘Eye Of The Storm’ takes into high-octane territory again. The kick drums are flying yet again, and more crunchy guitar carnage further tests my already hanging on for dear life Marshall headphones… Your Worst Nightmare is another standout tune, some nice chugging riffs ensure I’m nodding along while typing. Into The Fire is pure Motorhead style magic, that bass rumble, those vocals… 100% rock n roll mayhem. Brilliant.

The lads from the band sum up ‘Set Your World On Fire’ nicely: “Set Your World On Fire will launch a full-blown assault on your senses from the moment you press play, scorching your brain and leaving what’s left of it in a pool in your pants. This is non-stop hellfire raining down from your turntable, delivered by a band teeming with the kind of primaeval fury you can hear in every chord. It’s old-school rock without being a throwback, because to ASOMVEL, this is just how hard rock should sound. If this album doesn’t set your world on fire, nothing will.”

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Author: Kenny Kendrick

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RUTS DC Present: Fifty years of Ruts music – 1977-2027

RUTS DC Present: Fifty years of Ruts music – 1977-2027

RUTS DC Present: Fifty years of Ruts music – 1977-2027

The RuTs 50th Anniversary Tour

Tickets go on sale Friday September 25th 10am from AGMP.co.uk and SEETICKETS.com

rutsdc.com

In 1977, The Ruts emerged from London with a sound unlike anybody else around them – the raw urgency of punk colliding with reggae, dub and rock, driven by formidable musicianship and a fierce sense of purpose.

With Malcolm Owen, Paul Fox, Dave Ruffy and Segs Jennings, The Ruts created a body of music whose power has endured far beyond its original moment.

The Singles: In A Rut. Babylon’s Burning. Something That I Said. Jah War. Staring At The Rude Boys. West One (Shine On Me).

The Album: The Crack:  One of the defining British punk albums of its era: urgent, inventive, politically aware and musically fearless. These songs became part of the fabric of British punk — and a sound that refused to stay within punk’s boundaries.

After losing Malcolm Owen in 1980, the remaining members chose integrity over nostalgia by re-inventing themselves as Ruts DC, eventually losing the legend that was Paul Fox in 2007

But the story does not end there.

Ruts DC remain a living, evolving band to this day. But the time has come to celebrate the whole story…

RUTS DC present: 50 YEARS OF RUTS MUSIC  – 1977-2027

These shows are about taking the music that exploded out of a movement and bringing it onto a stage in 2027 with all its urgency and relevance intact.

Music made across five decades — from The Crack and Grin & Bear It, through Animal Now, Rhythm Collision, Music Must Destroy, and Counterculture?

“This ain’t no nostalgia trip, it’s a celebration”

The anniversary shows will embrace the entire history while putting Ruts music where it belongs: at the heart of it all.

The songs. The attitude. The energy. The Punk. Performed by the people that were there, ably abetted by Ruts DC guitarist of 14 years — Leigh Heggarty.

Honouring  the legacy — while doing what Ruts DC have always done: bringing it into the now.

Not a reunion.    Not a recreation.    Not a tribute band.

A celebration of fifty years of music, friendship, resilience and creative evolution — played in the present tense.

See RUTS DC Present: Fifty years of Ruts music – 1977-2027 at the following dates:

Tickets go on sale Friday September 25th at 10am.

2027

07 Apr NOTTINGHAM METRONOME

08 Apr LIVERPOOL THE CAVERN

09 Apr MANCHESTER BAND ON THE WALL

10 Apr BIRMINGHAM THE CROSSING

14 Apr NEWCASTLE THE CLUNY

15 Apr EDINBURGH LA BELLE ANGELE

16 Apr GLASGOW THE GARAGE

17 Apr LEEDS BRUDENELL SOCIAL CLUB

22 Apr CAMBRIDGE JUNCTION

23 Apr NORTHAMPTON ROADMENDER

24 Apr STOKE-ON-TRENT THE SUGARMILL

14 Oct CARDIFF THE GLOBE

15 Oct BRISTOL THEKLA

16 Oct EXETER PHOENIX ARTS CENTRE

21 Oct BRIGHTON CHALK

22 Oct SOUTHAMPTON THE 1865

23 Oct LONDON 229

28 Oct KINGSTON-U-HULL THE SOCIAL

29 Oct NORWICH ADRIAN FLUX WATERFRONT

30 Oct COVENTRY HMV EMPIRE

The Molotovs – Leeds Beckett SU, Leeds – 17th September 2026

The Molotovs – Leeds Beckett SU, Leeds – 17th September 2026

What a difference 9 months makes. Back in January, I caught these young upstarts, The Molotovs, up the road at The Lending Room, it has a capacity of 200. They hadn’t even released an album yet. Now, the London-based trio are in the midst of a (mostly sold-out) UK tour promoting their debut album ‘Wasted On Youth’. This venue is an upgrade from The Wardrobe due to demand; it holds around 1000. The Molotovs are blowing up, and for good reason.

Siblings Mathew & Issey Cartlidge have been gigging hard for a few years now and deliver a ferocious Mod-tinged racket that’s part Weller, part Gallagher. The debut album is choc-a-bloc with tunes and the follow-up ‘Welcome To Urbia’ is already in the bag.

The room is packed by the time they walk on and blast into ‘Johnny Don’t Be Scared’. It’s an older song, and not even on the debut, that’s how confident they are. Dressed sharp, with a bleached buzz cut, singer/guitarist Mathew may still be a teenager, but his vitriolic vocals and ringing power chords are those of a seasoned punk rock pro. The years of constant gigging have paid off in spades. Stage left, his older sister Issey is a haze of blonde hair and flailing limbs as she pulls perfect rock n’ roll chic poses, the sort only years of bedroom mirror action can create. Behind them, drummer Noah Riley bashes like the bastard son of Keith Moon. It’s all going exceedingly well, The Molotovs are mesmerising to watch, and a photographer’s dream to shoot.

Anthemic single ‘Rhythm Of Yourself’ follows, proving these upstarts have the teenage kicks needed to thrill the youth of today. If only the Leeds crowd could return the energy the band put out. I know a Leeds audience is notoriously hard to win over, but it seems somewhere along the way, we have lost the ability to lose ourselves at a gig and actually have fun.

The Molotovs have made the transition from small stage to large with ease. The trio look comfortable up there, they play tight and have buckets of energy. They look like they’ve been doing it for years. The hour-long set covers most of the debut and a selection of future hits from the upcoming album. Brit Pop-tinged rockers like ‘Daydreaming’ and ‘More More More’ thrill, and the more emotive ‘Geraldine’ with its quirky backing vocals is a set highlight. Recent single ‘Urbia’ might not have the instant feel of past singles, but it bodes well for what is to come. Its B-side ‘Down At The Café’ also gets a live airing, it may be a better song, sounds like early Antmusic to me.

Modern radio-friendly anthem ‘Today’s Gonna Be Our Day’ and the punked-up energy of ‘Get A Life’ wake the Leeds massive, and ‘Wasted On Youth’ builds to become a massive beast.

The main set closes with the obligatory raw and punky take on ‘Suffragette City’ before they return with newbie No Time To Talk’ and closer ‘Come On Now’.

The Molotovs are an exciting proposition. A band who have the songs, the energy and the aura of a real rock n’ roll band. Mathew’s ability as a writer to blend vintage Mod sounds with Britpop and deliver it with a punk energy makes most of his contemporaries look beige as fuck. If The Molotovs’ upcoming second album lives up to expectations, then they are destined to be one of the bands of 2027 and beyond. Remember where you heard the name first.

Author: Ben Hughes