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!
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.
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.
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 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!!!
THE MARY TYLER WHORES ANNOUNCE DEBUT ALBUM ‘AS FILTHY AS WE WANNA BE’ TO BE RELEASED SEPTEMBER 25TH VIA CADIZ MUSIC
PRODUCED BY GREG HETSON FROM CIRCLE JERKS/BAD RELIGION
The Mary Tyler Whores, notorious punk rock legends from Florida, are finally set to cement their reputation with their debut album ‘As Filthy As We Wanna Be’, due for release on September 25th via Cadiz Music.
It’s a long and treacherous story that starts in the back alleys of South Florida in 1999 where three degenerates with too much attitude and not enough sense accidentally sparked a cult-level punk phenomenon.
Front and centre was Frankie “Crime” Cassara — vocalist, ringleader, and certified public menace. Beside him, slinging riffs like Molotov cocktails, stood Doobie Tyler Whore, a six-string saboteur with a permanent snarl and a knack for turning any stage into a war zone. And behind the kit, pounding out the heartbeat of the apocalypse, was the late Joey Image — yes, that’s Joey Image of “The Misfits” — you know “Horror Business, Night of the Living Dead, Legacy of Brutality”, Proto-Hardcore Pioneers, Eternal Icons, R.I.P. Rest in Punk Joey.
The Mary Tyler Whores shared stages with punk royalty and longtime friends: The Misfits (R.I.P. Joey), Iggy Pop, GBH, Murphy’s Law, The Casualties, The Bouncing Souls, U.S. Bombs, and countless others. The road stories get carved into the annals of madness, even Iggy Pop would stand hysterically amused from the side of the stage when a fan ripped off his prosthetic leg, with a The Mary Tyler Whores sticker on it, and hurled it at Frankie from the front row — who immediately began bashing Doobie over the head with it, creating a legendary moment of punk rock theatre.
Fast-forward to 2023. After more than a decade running wild in California, Frankie decided it was time to dig up the corpse of The Mary Tyler Whores and shock it back to life. He rounded up his best offenders and the OG wrecking crew reported for duty.
With the band back together,Frankie called his old buddy and childhood mentor, Greg Hetson (Circle Jerks, Bad Religion), to sign on, witness, and produce their debut album“As Filthy As We Wanna Be” at his own Hetson Sound Studios in Encino, California.
Today, the band have unleashed a high-octane and thrilling new single called ‘Hell On Wheels’ that comes with an equally disorientating and bewildering video!
“Hell on Wheels” came out of this off-the-wall spark from my partner in crime, Doobie Tyler Whore our rhythm guitar player and co-founder of The Mary Tyler Whores. This guy would roll into practice and just scream this one line over and over: “My grandma drives a ’58.” That was it. No explanation, no structure just that wild-ass line,” says Frankie.
“Turns out it was real. Doobie’s grandmother drove a ’58 Chevy beatnik lunatic, hot-rod savage, addicted to speed. Pure chaos energy. Completely unhinged in the best possible way. That DNA didn’t skip a beat, it went straight into Doobie, straight into this band. Full butterfly effect of noise, gasoline, and bad decisions. I took that one line and built “Hell on Wheels” around it. It became exactly what this band is loud, reckless and filthy. One of the hardest-hitting representations of The Mary Tyler Whores and yeah, a twisted love letter to Doobie’s grandma and everything she accidentally unleashed.
The “Hell on Wheels” video? Forget it. Faust, our visual madman, caught it in a net and burned it alive. No polish, no pretending, just raw unfiltered live energy, fractured edits, insane mixed-media chaos, and explosive SFX. It feels like a train off the rails at 100 miles an hour with no brakes, full-throttle sensory overload.”
In 2024 and 2025, The Mary Tyler Whores injected four rabid singles—and their brilliantly deranged videos—straight into the bloodstream of the underground: “White Trash Girl,”“American Sex Fiend,” “Savage World,” and their sweat-drenched, DEVO-devoted, buck-wild cover of “Whip It.” Each release slammed down like a slow-motion brawl in a bathroom— loud, idiotic, trashy and hypnotically addictive.
On March 2, 2025, fate swung full circle. Iggy Pop and his BBC Radio 6 producer from Iggy’s own “Confidential Show” in London heard “American Sex Fiend” blasting over the airwaves in the UK. Iggy recognized the chaos of his old friends and, without hesitation, added the track to his BBC show, locking it into his playlist and giving The Mary Tyler Whores a full transatlantic salute from the godfather of punk himself.
Shortly after, they were personally invited by Violent J and Shaggy 2 Dope of the legendary Insane Clown Posse to appear on the iconic stage at the 2025 Juggalo Festival: Gathering of Legends, where they absolutely annihilated the stage to a massive Juggalo crowd. Whoop Whoop! They torched 2025 with a filthy end-of-the-year riot in California supporting T.S.O.L., then headlined their Holiday Slam Festival downtown L.A., dragging fans into total Christmas carnage.
The Mary Tyler Whores will spend end of 2026-2027 tearing through the UK and Europe and hurled straight into the faces of a generation too soft to survive it. The Mary Tyler Whores come back hotter, meaner, and uglier than ever. They crash into the next wave of beaten-down, fucked-up, worn-out kids who need something filthy enough to bite back. Punk didn’t die, it mutated, sharpened its teeth and started laughing in your face!
Say hello to the next big thing. Hell, maybe the last thing standing.
The Mary Tyler Whores are:
Frankie “Crime” Cassara — Lead Vocalist Doobie Tyler Whore — Rhythm Guitarist Rob Deuce — Lead Guitarist George “Korky” Kokkoris — Drums Aaron “The Proj” Miller — Bass/Guitar
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:
A couple of years ago I was introduced to Ultrabomb for the first time by being recommended their album Dying to Smile “Chris this is right up your alley, you will love it” and oh how DD was right, turns out that it ended up being one of my albums of the year, roll on a couple of years and Ultrabomb are back with album number three the absolute banger “The Bridges That We Burn”
Legendary Hüsker Dü bassist Greg Norton has been on fire now for the last few years with three fantastic albums. This time, however, the supergroup has had a few lineup changes, now on lead vocals and guitar is Ryan Smith (Soul Asylum) and the man with the sticks, Derek O’Brien (Social Distortion, Adolescents). For any fan of the alternative punk scene, there is no chance this was going to disappoint and that, my friends, it does not.
Opening the album, we have a mega riff and thundering bassline into the extremely catchy “Darwin Awards” I’ll be amazed if there’s a better opening song on an album this year.
Straight away, I know that even though the line-up has changed, the quality hasn’t at all, the production here is very clean and loud, and the band are on fire. “Divert/Deflect” is a pounding beast that will have fists pumping during the chorus.
Next album is the first single off the album and one of the many album highlights, “Artificial Stars”. This could be taken right out of a Soul Asylum classic, the Melodies are everywhere throughout, it’s nearly impossible to get the guitar licks out of your head on this one.
My favourite song on the album is just around the corner with the excellent “No Cap” with verses that Dave Pirner would be proud of before exploding into a prime Supersuckers-like chorus at breakneck speed. This will have audiences jumping around like lunatics, no doubt about it.
With a resume from these three musicians it should be no surprise that this album is so good but yet somehow it does, Greg had been away from the music business for so long to have come back this strongly is no joke, his songwriting here is on top top form, Ryan really shines here as well as his voice is so infectious with guitar harmonies all over the place and Derek keeps everything so tight, fantastic stuff.
We’re on the flip side of the album now and we get another few album highlights the absolute brilliant “Checked Out” which boasts a anthemic chorus followed with a stunning guitar solo and then we go straight into a pounding bassline from Greg in the equally fantastic “Look Forward In Anger” another one that will get fans off their feet around venues (hopefully in the UK as well please).
We’re coming close to the end now, and we are given the smile-raising “BSS” which stands for Bull Shit Song, which had me grinning from ear to ear, and to close out the album, we have the brutal “Mosquito Crucifixion” which is a monster of a song with a huge riff throughout to end a brilliant album on a massive high note!!!
There we have it, Ultrabomb album #3 ‘The Bridges That We Burn’ in the bag, it’s safe to say it will be high up on my end of year list, give it a listen and make sure to buy it!!!
written in response to a real-life story that emerged about a botched cyber-attack on the systems and databases of South Staffs water company. The criminals involved claimed that they were in a position to easily change the chemical balance of the water supply using the company’s own systems, making the domestic supply to thousands of customers poisonous. It exposed the way that criminals could now use digital systems to compromise the most basic of human needs to extort money. The dark and heavy soundscape of the track reflects the deeply threatening nature of the hacker’s activities.
The band continue their widely acknowledged return to form with another striking collection of powerfully dark and atmospheric tracks and embrace their musical legacy with an autumn tour to celebrate 40 years since the release of the classic “The Greatest Story Ever Told” album.
Following their recently released new four-track EP ‘Love Death Wealth Water’, enduring alt-rockers Balaam and the Angel have now issued a video for one of the EP’s key tracks. Titled ‘Fear Of Poison Water’, the sinister song was written in response to a real-life story that emerged about a botched cyber-attack on the systems and databases of South Staffs water company. The criminals involved claimed that they were in a position to easily change the chemical balance of the water supply using the companies own systems making the domestic supply to thousands of customers poisonous. It exposed the way that criminals could now use digital systems to compromise the most basic of human needs to extort money. The dark and heavy soundscape of the track reflects the deeply threatening nature of the hacker’s activities. “As an artistic experiment we decided to take an approach to creating the video that mirrored the actual incident,” explains guitarist Jim Morris. “So, we opted to use a random internet search to help us find and contact an unknown film maker who we provided with the track and a short brief as the starting point for the project. We were very keen to allow him/her/them to respond to this limited stimulus in their own way. Any communication that we had was made digitally (no person to person meeting, no zoom calls, no mobile calls etc). The video creator (Humanoire) remained a faceless and unknown person to us (as we did to him/her/them). The result is a piece of work that we feel perfectly complements the track and the very disturbing story that unfolds within the lyrics. A dark, dystopian, nightmare of a piece that packs a solid punch in the face to all of those who view it.”
Catch Balaam And The Angel playing tracks from “Love Death Wealth Water” EP live at the following dates:
Fri 9th July: York, The Fulford Arms
Sat 10th July: Edinburgh, La Belle Angele – Deadinburgh Festival.
“The Greatest Story Ever Told” 40th Anniversary Tour:
In August 1986 “The Greatest Story Ever Told” was released on Virgin Records. The album achieved a chart position of 67 in the UK and went onto be released worldwide throughout 1987. “She Knows”, one of three singles taken from the album, charted in the top 75 (peaking at 70) and the period saw Balaam And The Angel headlining shows at UK concert venues like The Town And Country Club, London (now The Forum Kentish Town) and embark upon tours of USA, Japan and various European countries.
Tracks from the album have become firm live favourites prompting the band to feel that it would be fitting to mark the album’s anniversary with a carefully curated UK tour during which they will play the album in its entirety.
“Through the years we have come to appreciate the fact that “The Greatest Story Ever Told” album was a record that represented a very important part of the alternative rock scene in the mid 80’s and was a body of work that connected with audience across the world in a very deep and significant way. For many it was the soundtrack behind the rights of passage that formed their individual views of life and, from the feedback we get, is still an album that they return to alongside other classics from that period. We are keen to be seen to be moving forward with new material but think it there is a clear responsibility on us to mark the anniversary of this release with some live performances” said singer Mark Morris
Hear “The Greatest Story Ever Told” at the following dates:
Sometimes it is a simple mention in the PR’s email that makes a difference. Here, it was a reference to Jesus and Mary Chain, which pushed this album up to the top of the listening stack. This trio from Los Angeles is all new to me, and they waste no time on this album, serving up 9 songs in under 25 minutes. They can deftly utilise distortion and feedback into their sound as an added musical element. For the old zine readers, this would be a band you would have read about in Flipside, Hit List, and others, as well as RIP magazine in the mid to late 90’s. This band have made an immediate impression on me.
The title track roars to life with that JAMC influence apparent, but the band still have their own identity. The chorus here is simple but effective. Musically, the album has a very live feel. ‘Don’t Fit Anywhere’ might be my favourite song here, with the urgent tempo and sound reminding me a bit of Bratmobile crossed with an old school Misfits type chorus. There is a cool rhythm to ‘Radio Smash’ that feels a bit hypnotic.
The middle third of the album reminds me again of JAMC where the band use a catchy chorus and feedback to create a hook-filled rocker. Cathartic chaos might best describe the awesome ‘Self Destruct with Me.’ Lyrically, this one also jumps out of the speaker. It’s probably not recommended to fill a pool with gasoline, but it makes quite the image in my head when Spencer Robinson describes it. I hear some Gun Club influences in ‘Without My Pills.’ I really like the drum fills in the chorus by Shawn Medina and really his work across the whole album is spectacular.
The final third of the album kicks off with the rapid-fire beat of ’My Brain is Poison.’ The chorus is again simplistic but powerful. The band switch things up a little with the lighter and still catchy cover of ‘Give Me Power’ where it sounds like bassist Tina Brugnoletti’s backing vocals are more noticeable in the chorus. The band closes out the album with the insurgency of ‘Coyote.’ The trio feels completely in sync musically with some well-placed ‘ooohs’ deep in the mix.
Black Market Heart serve up a statement of musical intent here, emphasising their arrival with dark hooks, waves of feedback, and songs that do not waste time. This one rewards repeat plays as well, and, at 25 minutes or so, I recommend letting it spin several times each time you play it. I look forward to hearing what they do next.
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