The Good, The Bad & The Zugly – ‘Research And Destroy’ (Fysisk Format)

The Good, The Bad & The Zugly – ‘Research And Destroy’ (Fysisk Format)

The one and only time I saw GBZ was in a London pub basement a touch over six years ago and they blew the place a part. Then they were pushing their second and possibly finest album Hadeland Hardcore and as fantastic as they were that night, no one in that room would ever have thought that the press release for album number five, Research And Destroy would begin –

“The NEW ALBUM from the Kings of Scandipunk! Fronted by singer Ivar Nikolaisen from KVELERTAK!! “

It’s just bonkers!!!

These Norwegian punk rock terrors’ sound snuggles somewhere in the same ball park as fellow country men Turbonegro (both bands feature ex-members of Norwegian glamsters Silver) but with a far more aggressive and abrasive edge. Perhaps with album number five some of this jagged, raw hate has been polished away to appeal to the Kvelertak fan base, it’s still hard and heavy but maybe not as raw and hungry as the aforementioned  Hadeland Hardcore or even it’s follow up Misanthropical House but it’s still a fine12” slab of plastic that’ll sit deservedly in your top ten of 2022.

First up ‘What’s My Rage Again?’ Spends a good minute building up and up and up in full metal guitar grandeur before launching into a spite-filled bombastic banger. Maybe it gets a bit Maiden-esque in places but it’s a great place to start.


Hot on its heels comes ‘Song For A Prepper’, another great tune with another long intro. Less aggressive than previous stuff and maybe a nod to the expanded Kvelertak audience

Third up, ‘Bridge and Tunnel Guy’ gets its own video and is a fine balance of aggression and hooks.


‘The PKA Took My Money Away’ is far less metal than its predecessors and is by far my favourite tune so far. This feels like the most GBZ-like song so far.

‘Nostradumbass’ carries on the mid-album hump for me, a fine mid-paced tune not a million miles from Ivar’s previous band Silver. There’s a video for this bad boy too.


While ‘Diet 1-2-3′, may lean a little to Backyard Babies territory (not a bad thing at all), ‘The Power of Beer’ is the kind of GBZ banger that ‘Research And Destroy’ has been a little light on.


‘One-Dimensional Man’ is a nasty pop song and boasts one of the strongest choruses on offer. I guess Fysisk Format agrees too because there’s a video for it.


The penultimate track ‘The Original Incel’ is another banger. GBZ to the max, while closer ‘Here Come The Waterworks’ is a far more sedate affair. Decent enough, but like several of the tracks that have gone before it, maybe a bit too much of an offering to their expanding metal audience. But hey, good luck to them.

So there you have it. Ten tracks in just over half an hour, long enough to love but not quite enough to blow you away.

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Author: Fraser Munro

CHEMICIDE – ‘Common Sense’ (PRC Music)

CHEMICIDE – ‘Common Sense’ (PRC Music)

Costa Rica based thrashers Chemicide have been around since 2011 and have released three albums and an EP. Their latest release ‘Common Sense’ has the sound and feel of an old-school thrash album. Echoes of early Sepultura, Kreator, Death Angel, Exodus, Forbidden, Nuclear Assault, with a bit of Morbid Angel thrown in. Not bad eh?

If, like me, you’re a fan of the bands I’ve mentioned above, then you could much worse than check out Chemicide. This really is like stepping back to 1989. All I need is my Cosmic drainpipe (black, of course) jeans, Hi-Tec basketball boots, and a baseball cap worn backward to complete the picture! Big riffs, fast parts, mosh parts, breakneck double bass drumming, shouty vocals and song titles like; ‘Self Destruct’, ‘Barred Existence’, and ‘Strike as One’ just add to the nostalgic charm of the album.

The production from Juan Pablo Calvo has that classic Scott Burns feel to it, very raw and punchy. It really is a thrasher’s delight and it’s very comforting to know that thrash metal is alive and well thanks to bands like Chemicide. Great job guys! Mosh it up!!

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Author: Kenny Kendrick

Rainy Day & Mondays

Rainy Day & Mondays

First up today is the brand new video from Birmingham Garage rockers Black Bombers with their most excellent new single ‘Last Bite’. Released on April fools day through Easy Action Records there isn’t anything remotely funny about this slice of proto-punk, primitive Garage rock that goes straight for the jugular. Don’t delay kids because this one is backed by a most excellent version of the Damned classic ‘You Take My Money’.

This release comes as ‘UN-SCENE!’, Black Bombers’ drummer Dave Twist’s compilation album of Birmingham Post Punk, is receiving real acclaim and is already in short supply… 

The band have dates around the country in the coming weeks and play the DIE DAS DER benefit show for Ukraine on March 27th at the Hare & Hounds, Kings Heath Birmingham.

Pre-order here

To celebrate the Chats UK tour dates it seems fair to run with the video for their brand new single ‘Struck By Lightning’ Tour dates, tickets and merch available Here

Finally how about this banger to set your week up nicely. A track off her new EP out next week on pirates press Suzi Moon will release her second EP April 1st then the debut album this summer via pirates press. Check it out and pre order Here

FM – ‘Thirteen’ (Frontiers Music s.r.l.)

FM – ‘Thirteen’ (Frontiers Music s.r.l.)

While most bands of their ilk are resting on their laurels FM hit the road running with the release of Thirteen, coming hot on the heels of their double Tough It Out Live set from 2021. This album has no right in being as good as it is. Considering they are now only a few years away from hitting 40 years as a band. And the current line-up has been in place since 2008! With this album being produced by the band themselves, they having never sounded better or more on fire than they do over the 11 slabs of melodic rock gold.


Wasting no time, the album kicks into gear with a none more politically apt ‘Shaking The Tree’. When people mentioned singer Steve Overland’s voice it is normally in awe and this song proves that he can sing anything, no matter what the subject and make you want to fight, love and smile all at the same time. Single ‘Waiting for Love’ is more like what we have become accustomed too from the band, but even that sounds fresh and vibrant, especially in today’s musical climate. The flame is still burning for the page 7 stunner that is Steve Overland and I honestly do not think he has ever sounded this good.


As the band themselves continue to lay down some of the most awe-inspiring grooves, from Merv Goldsworthy’s tantalising bass lines, to Pete Jupp’s backbone drumming and Jim Kirkpatrick’s sizzling solos and last but least Jem Davis glorious keys of parp, the band can do no wrong.


Just like the big hitters of the AOR scene any of these songs could be singles as they are all, that good.
Clearly the band are enjoying and relishing their moment in the sun again. And so they should, as this album is up there with their best.

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Author: Dave Prince

Slyder Smith & The Oblivion Kids – Kickstarter Campaign

Slyder Smith & The Oblivion Kids – Kickstarter Campaign

Slyder Smith first swaggered onto the stage in the 90s as lead guitarist with glam-tinged power popsters, Last Great Dreamers. After releasing four studio albums and one live album on their own label, Ray Records, & having toured extensively throughout the UK & Europe with LGD, Slyder now takes centre stage leading The Oblivion Kids (Tim Emery, Bass and Rik Pratt, Drums) in an honest outpouring of grit, glamour and emotion.

With over an album’s worth of material written, the band have worked tirelessly in the rehearsal studio, whipping into shape a carefully curated, explosive mix of rock anthems, with a few surprises thrown into the mix. With lyrics that speak from the heart, Slyder has delved deep into his own psyche over lockdown and explored numerous new guitar styles, resulting in what can only be described as his best musical output to date.

The Oblivion Kids are chomping at the bit to head in the studio at the end of March with legendary Producer, Pete Brown (who has worked with George Harrison, Siouxsie & the Banshees, Marc Almond, The Smiths & Diamond Head as well as being musical director, vocal arranger & guitarist, in his father’s (Joe Brown) & sister’s (Sam Brown) touring bands & producing Sam’s platinum selling album Stop). 

Having raised the capital required for recording themselves, the band are reaching out to their fans on Kickstarter to help match fund the remaining 50% required to manufacture CDs, Vinyl and other promotional merchandise. In exchange for their support, pledgers can choose from a range of rewards and exclusive experiences.

Support the project on Kickstarter: Here

Vadge Moore – ‘My Life With the Dwarves -How I Drank, Fought & Fucked My Way Around The World’ (Babiana Publishing)

Vadge Moore – ‘My Life With the Dwarves -How I Drank, Fought & Fucked My Way Around The World’ (Babiana Publishing)

When the word was out Amazon was stocking copies of this filthy tome it was a no-brainer I was going to blag myself a copy (pun intended). Forward from Blag himself and page after page of on the road salacious stories of punk rock deprivation and the most un PC-like behaviour known to man.

I mean it did come with a warning so you wouldn’t just happen across this book whilst browsing for something to read and if you did then I have zero sympathies because, if you don’t know of the Dwarves then serves your right, not being a believer and fully being on board with what they’re about is a crime anyway and Vadge pulls no punches and doesn’t even attempt to flower this fucker up and goes straight for the bull’s eye. At times it comes across as like swearing in front of your nan and her friends from the church but another way of interpreting that is Vadge truly doesn’t give a flying fuck and just socks it to you the reader leaving no stone unturned and no doubt what he’s on about.

I did find myself giggling like a teenager at some of this shit like when you first read Viz on the school bus and got away with dropping a quote from the profanasaurus in a job interview Vadge is a degenerate, a randy, sexed-up, drunken pain in the arse and I’m sure he’d take that as a compliment (he should do).

If there is a cliche in rock and roll about hitting the road and having sex with groupies and drinking way too much and taking daft amounts of drugs off a stranger then you better believe it The Dwarves wrote the book (literally and wore the T-Shirt.

It’s a fairly compact book and Vadge doesn’t flower up any of his stories nor does he use a dozen words when one is enough. this book is one hundred and forty-five pages of sex, Drugs, and Rock and Roll, and anyone who has seen the band can testify that they certainly walk the walk always have and always will.

I won’t spoil the stories but it’s safe to say there are GG Allin, Rex Everything and HeWhoCannotBeNamed stories and tales of ladies (who were willing victims its fair to say). For all the depravity and Vadges bandmates were no angels either its fair to point out as well. Vadge was next level and how he’s lived to tell his tale is a mystery. He does point out that it’s only the first installment of his life and crimes and there is more to come but I’m not sure he has anywhere he could take this further but I stand to be corrected on that.

It’s not your typical autobiography there is no childhood hard-luck story about that kid who escaped and toured the world but more chapters that are recollections of random tales that might gross you out then make you giggle but remember where your reading this and what you’re laughing at and good luck explaining to a work colleague what it is your giggling at and just who the fuck Vadge Moore and the Dwarves are.

My advice is if you’re a fan just buy it before the book gets taken down and/or Vadge is slung down some bottomless pit never to be seen again. I would however love to see Vadge at some book signing in Waterstones or the Hay-on-Wye literary festival reading a passage or two out of this memoir – now that would be special whilst Netflix thing they’re being all edgy showing Tommy and Pam or the Dirt my God a drama based on the life and crimes of The Dwarves on the road would be explosive and make the Crue see like an episode of the Teletubbies.

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Author: Dom Daley

Charger – ‘Warhorse’ (Pirates Press Records)

Charger – ‘Warhorse’ (Pirates Press Records)

Having initially seen large numbers of Charger T shirts at punk shows here in the UK, before checking out their debut 7 track EP/mini album released back in 2019, and thinking it was pretty damn decent,  I can honestly say that I never realised that Rancid’s Matt Freeman, along with Jason Willer (from Jello Biafra and the Guantanamo School of Medicine), and Andrew McGee (from Wired All Wrong) were the people responsible for conjuring up the no-nonsense metal onslaught that the band specialise in.

I mean, I know Lars Frederiksen has dabbled with the odd AC/DC/Rose Tattoo riff over the years with The Old Firm Casuals, but Charger are full-on “rock out, with your cock out” (if you know, you know) heavy metal, specialising in the type of metal Hell’s Headbangers would have (dismembered?) kittens over, so perhaps that’s what initially threw me. Although knowing who is behind the unholy (yet rather splendid) racket Charger produce is neither here nor there at the end of the day, because if you like early ‘80s metal (think Motorhead, think Anvil, think early Tank and think Chariot) then you are going to absolutely love the band’s 11 track full length debut album, ‘Warhorse’.

“Fast and frantic” is the default setting for Charger, and for most of this record I’m in serious danger of having the worst case of headbanger’s neck I’ve had since the Youth Club Discos of my early teens. Tracks like opener ‘Devastator’, ‘Will To Survive’ and ‘Running Out Of Time’ simply thunder along, middle finger in the air and taking no prisoners in the process. Elsewhere there’s a whiff of early ‘80s Saxon in the riff that introduces ‘Rolling Through the Night’ and just a hint of Nashville Pussy at their dirtiest during ‘Stand Fight or Die’, all custom built to soundtrack your wildest of parties.

Its only when Charger switch direction slightly, venturing more into the dungeons and dragons world of metal, via album closer ‘Sword Of Dio’ and (with the aid of the air raid siren guest vocals of Jake Nunn from Hell Fire) on ‘Summon The Demon’ that I find myself drifting off. It’s not that the tracks are bad you understand, it’s just I’m not really a huge fan of that metal sub-genre, and I’d much rather have preferred to have heard a few more four to the floor barnstormers along the lines of ‘Forsaken Soul’ or the Motorhead chug-a-thon of ‘Black Motor’ instead.

Released on multiple formats on 18th March 2022 via Pirate’s Press Records, ‘Warhorse’ is a fierce slice of metal and perhaps one of the most radical sounding Rancid associated side-projects to date. Now someone get Charger out on the road with Midnight and give us THE metal gig of 2022.       

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Author: Johnny Hayward

Various Artists – ‘Post Punk Birmingham 1978-1982’ (Easy Action)

Various Artists – ‘Post Punk Birmingham 1978-1982’ (Easy Action)

First things first I’m looking at the artwork wondering what on earth it is and then after about a week I see the eggbox. It’s been like one of those early 90’s deep-sea pictures you have to stare at, or at least that’s what I felt like. Right onto ‘Un Scene’ and it’s important to document of 78-82 timeframe in England’s second city and how it was developing following the youf explosion of 76-77.

I guess considering Birmingham or the wider area of the middle part of England has generally been ignored or rather overlooked compared to the contribution to youth/pop culture of the 20th Century. the North West gave the world Merseybeat and Beatlemania then post-punk we had that jangly guitar of Icicle Works, Teardrop explodes, Pete Burns, The Bunnymen, and a whole load of other post-punk bands. Madchester (Still in the northwest) followed that with the whole Hacienda scene and Stone Roses. The East Midlands gave the world Two-Tone but what about Birmingham? Sure Slade was west midlands and the Duranies hailed from Brum in the wake of punk but once you scratch the surface there was a whole underground world of creative forces and this wonderful little time capsule offers up a small dark corner of Birmingham and shines a light on in with a very nice booklet documenting the featured bands with some fantastic pictures, live shots, band images, posters and magazine covers of the main protagonists of this featured record/CD.

Laid out over nineteen tracks this snapshot doesn’t always reach the dizzy quality of your modern recordings but often that’s the charm. No doubt these bands worked and played hard to scrape together the dosh to record these songs and it’s important that records like this exist. Maybe there’s a good reason why none of these bands achieved the same adoration some of the other midlands genres achieved but bands like Swell Maps, the Nightingales, Nikki Sudden and TV Eye had a modicum of success and remained firmly placed as underground heroes and icons.

Some of the live recordings are sort of tape deck quality and proper old school whereas other more notable inclusions such as Stephen Tin Tin Duffy’s The Hawkes have ‘Big Store’ included and Comedian Stewart Lees wonderful doc about The Nightingales sees them included with their new wave-like ‘Idiot Strength’. I guess it wouldn’t be complete without Swell Maps who see ‘Vertical Slum’ included. My personal favourite is obviously the inclusion of Nikki Sudden with ‘Channel Steamer’. But what really is the crowning glory is the booklet giving all the meat on the bone from Dave Twists’ own collection, with all the cuttings it’s a fascinating insight into a whole world that is captured in this wonderful time capsule (Besides Twist plays drums on a lot so as long as his memory is half decent his stories must be amazing). Stewart Lee says it perfectly as Birmingham in the UKs motor City and seeing as the likes of Dave Kusworth and John Taylors inclusion also here (Duranies take note), sudden and his brother are no longer with us and the recent passing of Dave Kusworth this is a wonderful artifact that serious fans need to absorb and marvel at what the cold concrete of England’s second city had going on beneath the city lights I implore you to hear and read this most excellent offering. buy it!

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Author: Dom Daley

SAVAK – ‘Human Error / Human Delight’ (Ernest Jenning Record Co/Peculiar Works Music)

SAVAK – ‘Human Error / Human Delight’ (Ernest Jenning Record Co/Peculiar Works Music)

It’s always something special when an album drops on your desk, you nothing about the band, and then said record proceeds to blow your socks off.

Take a bow then Brooklyn based post punk rockers SAVAK for being the first band in quite some time to do just this for me. They are a band I admit I almost skipped over, but thank God I didn’t, because ‘Human Error / Human Delight’ – the band’s upcoming FIFTH (yup I know) album – is an absolute cracker from start to finish.

‘No Blues No Jazz’ (which actually sounds like the record player rules in my house) kicks things off in fine style and with its’ chanted refrain of “No counties, no countries, no pledge of allegiance,” it could be a tribute to the fact that the dozen tracks contained on the album were recorded entirely over Zoom, although it’s not, I’ll leave you to go figure what it’s actually all about by hitting video link below, where all will soon be revealed.

Influence wise ‘Human Error / Human Delight’ really is all over the place, and that’s really what hooked me in, it also sets it well apart from the many other new “rawk” records I could have chosen to review. Be it the melodic Alt-rock delights of perhaps the most immediate track on the album (the truly excellent) ‘Empathy’, or the jammed-out Krautrock meets Detroit in a sleazy Manchester back-alley post punk of ‘Set Apart’, there really is something here for pretty much everyone…well everyone with an open musical mind that is.

As the album literally flies by song hooks come at you thick and fast with the likes of ‘Baltimore Moon’ and ‘Dealers’ bristling with overdriven guitar and glorious vocal harmonies, this really is American guitar rock par excellence. Well, when it wants to be. It’s the subtle twists the album throws you via the likes of the Angelo Badalamenti-tinged atmospherics of closing track ‘Dumbinance’ or the initial downbeat 4AD bass throb of ‘Oddsmaker’ that really take things to the next level and has me returning for multiple listens.

With a history of playing in bands like Obits, The Cops and Holy Fuck, Sohrab Habibion and Michael Jaworski, along with drummer Matt Schulz, have moulded the SAVAK sound (in their own words) as straddling the line between ‘Be Bop a Lula’ and ‘Wap Shoo Wap’ whilst connecting the dots between The Adverts to Bubble Puppy to The 101’ers to MDC, and you know what? They sound absolutely bloody amazing doing it!

‘Human Error / Human Delight’ is released on 15th April 2022, but you can check it out right now via the Bandcamp link below. Get on it folks – this album is very special indeed!

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Author: Johnny Hayward

Ghost – ‘Impera’ (Spinefarm Records)

Ghost – ‘Impera’ (Spinefarm Records)

Ghost first appeared on my radar when I saw them live at a festival, it may have been Download, or it may have been Sonisphere? Anyway…I didn’t really get them. I thought they were a little bit like Kiss, the image and the music don’t sit well together. I heard the odd song here and there; I loved the track Ritual from their debut ‘Opus Eponymous’ but didn’t really explore them much further at the time. It was with the release of the Rats video from 2018’s Prequelle that I really started to sit up and take notice of Papa and the boys. That album is never too far away from my turntable or CD player, it really is an exquisite piece of work, ‘Dance Macabre’ should have been a worldwide hit for the band, it’s their ‘I Was Made For Lovin’ You‘! I then delved deeper into Ghost’s back catalogue and loved it all. There really is no denying Tobias Forge’s genius, and I genuinely feel that Ghost is one of the only bands around now that can take the reigns from the old guard and headline big shows and festivals.

I did of course wonder how they could ever top the Prequelle album, it really is their ‘Master of Puppets’ or ‘Led Zeppelin IV‘. The first glimpse of the new material was sprung on us last October with the first single and video ‘Hunter’s Moon’ which was included on the soundtrack to ‘Halloween Kills’, (I waited for the end credits in the cinema to hear it in all its glory). While it’s a decent enough track, it does feel a little bit like Forge just phoned it in.

Next single ‘Call Me Little Sunshine’, however, is Ghost doing what they do best. Atmospheric, heavy when it needs to be and downright catchy. The video is great too. Let’s get to the new album then! ‘Impera’ is Ghost’s fifth studio album, and it gives us twelve new tracks to get our teeth into. Opener ‘Imperium’ is an atmospheric instrumental leading into ‘Kaisarion’ which jumps out of the speakers with abandon. A brilliant, up-tempo song with some superb guitar work from whichever of the latest ghouls are crunching the fretboards.

‘Spillways’ is next up, it really shows us the vocal acrobatics that Forge is capable of, he has a fantastic range. Another ear worm of a song with a keyboard riff that isn’t a million miles away from Bon Jovi’s ‘Runaway’! ‘Watcher In The Sky’ kicks off with a riff that George Lynch would be proud of, some lovely crunchy accents combined with another memorable chorus make this a real stand out track. Twenties is my favourite track on the album as I write this, just purely bonkers, it shouldn’t work but it works perfectly. A combination of prog, metal, and pop with some hilarious lyrics: We’ll be grabbing em’ all by the hoo – has. It’s just so damn catchy! Darkness ‘At The Heart Of My Love’ is one of those power ballads that Forge churns out effortlessly. It should be a major hit. Honestly, if Ghost could get mainstream airplay, I’m sure they would be huge, such is the quality of their songs. Griftwood sounds like something that would sit perfectly on a Ratt or Van Halen album from the 80s. I can imagine it on a montage from a Rocky film. The album closes with the epic ‘Respite On The Spitalfields’, a sprawling, atmospheric beast that enters a myriad of musical styles.

A solid album with everything thrown at bar the kitchen sink! Is ‘Impera’ as good as ‘Prequelle’? Not yet…But there’s still time.

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Author: Kenny Kendrick