Moons Of Saturn- ‘Self Titled’ (Beluga Records, Stryckhnine Recordz, Ghost Highway Recordings,)

Moons Of Saturn- ‘Self Titled’ (Beluga Records, Stryckhnine Recordz, Ghost Highway Recordings,)

Now and again, YouTube brings a new band to your attention that is actually to your taste and has some excellent tunes. And that’s how I first heard Moons Of Saturn. A Swedish 3-piece of a certain age (like myself and Uncle Dom), yes, they are old enough to know better, but thankfully, they decided that rock n roll keeps you young.

Their debut album is chock full of classic riffs, from the opening crunch of ‘Never Get Invited’ onwards. ‘Biding My Time’ is garage rock with a touch of early Alice Cooper Band, soaked in wah-wah, that I keep coming back to. ‘She Doesn’t Call Me’ wouldn’t shame The Damned, and throughout there are some Brian James style licks; the solos are never overdone, sharp and stylish. The riff is what counts. ‘I Don’t Mind’ is another belter under 3 minutes long. “In, out, put the kettle on”, as Monkfish used to say.

‘Money And Submission’ is like a lost Godfathers song, if it doesn’t get you moving, consult your local pharmacist. Steeped in fine influences, Moons Of Saturn make it sound fresh thanks to their enthusiasm and way with a hook-line. ‘Give Me Some More’ is like the best Hellacopters riff, while I prefer Hakan’s voice; it has more of a garage rock edge to it.

‘Black Velvet Roses’ was the first song of theirs that I heard, and it still sounds great. Simple, effective and wildly catchy. ‘Donny And Marie’ is poppier, in a Ramones way, and ‘One By One’ hits you over the head before ‘Can You Believe It’ comes flying out, another hip shaker. ‘I Got No Time’ has another stabbing riff, reminiscent of Kris Dollimore, and we end with ‘The Road’, a perfectly distorted guitar tone, with added organ. You are unlikely to hear a better garage rock album this year, so check out their Facebook page for details and treat your ears to some righteous vinyl.

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Author: Martin Chamarette

Supergrass – Tunes On The Bay – Swansea Bay – 03.05.25

Supergrass – Tunes On The Bay – Swansea Bay – 03.05.25

Imagine a balmy bank holiday weekend on the sand in one of Europe’s most beautiful beaches sweeping out into the Atlantic and waiting for Supergrass to emerge as the sun sets behind the stage for only the second show on the band’s triumphant homage return to live action, celebrating the Britpop bohemoth that is ‘I Should Coco’ and true to their word the band amble on stage to kick things off with a loose run through said album as ‘I’d Like To Know’ sets the tempo and the large crowd gathered are well up for some rambunctious rock n roll.

The years are peeled away and I’m taken back to shows from their glorious beginnings and nights kicking out the jams in Newport Centre and universities leaping round like a salmon as ‘Caught By The Fuzz’ unfolds coincidentally as a group of his majesty finest amble through the crowd as the air is filled with wafts of super skunk bloody poetry in motion right there and a scene not lost on Gaz I should’t imagine.

The crowd sing along as expected to ‘Alright’, but it’s over as quickly as it began, but after the final restraints of ‘Late In The Day’ it’s a quick dust down of some of their other hits from susaquent records ‘Sun Hits The Sky’, followed by ‘Moving’ before we get all sweaty with ‘Richard iii’ and they leave us with a sing-a-long of ‘Pumping Up Your Stereo’ and they’re out of here. That was a fantastic reminder to just how good a band Supergrass are, they have some mighty fine songs and a clutch of great albums in their arsenal if you should be inclined to catch a show on their jaunt around the UK later this month then on this performance alone, I suggest you make the effort. Tunes on the Bay was a fantastic example of how to do a small festival well, and I look forward to next year’s showing. Will I be there? I should bloody well coco.

Author: Dom Daley

Jesse Malin & Band – Islington Assembley Hall – 02.05.25

Jesse Malin & Band – Islington Assembley Hall – 02.05.25

Nearly 2 years to the day since suffering a spinal stroke that paralysed him from the waist down, NY singer/songwriter Jesse Malin returns to the stage in London for 2 benefit shows at Islington Assembly Hall to help raise funds for his recovery and medical care. A Jesse Malin live show is something fans and friends hoped and prayed would happen again, and with the help of his band and a handful of special guests, the dream of returning to live music has become a reality.

Last night’s sold-out show was by all accounts a blast, and tonight we expect more of the same, albeit a different set list and special guests.

Great cheers ring out across the packed expanse of this beautiful, old school music hall as the curtains draw back to reveal the full band, seated ‘MTV Unplugged’ style. They break straight into a 1-2-3 from the oft-forgotten ‘New York Before The War’ opus. ‘I Would Do It For You’ may be a slow burner of an opener, but the following upbeat earworms of ‘Oh Sheena’ and ‘Addicted’ quickly show us this is not to be a laid-back, acoustic show by any means.

Sat centre stage, our man Jesse looks cool as ever, dressed all in black, shades covering his eyes, his trademark cloth cap perched sideways over his mop of curly locks. Although this is a full band electric show, it is clearly a different dynamic to any Malin show any of us have seen before. Jesse Malin is a very animated and energetic performer, yet the fact that he is confined to a chair does not take away anything from the performance tonight. His band are tight, the sound is crystal clear, and the vocals are spot on.

We head back in time with ‘Downliner’ before a rousing rendition of The Pogues ‘If I Should Fall From Grace’ rocks the house. The one thing I’ve always loved about Jesse Malin shows and the thing that keeps bringing me back is his storytelling and his engagement with his audience, and tonight is no different. We get tales of past loves, his first teenage attempts at paying for sex, stories of growing up in the streets of New York, his musical travels and recording experiences. Also, the ongoing journey of his recovery. One such tale about recording With Lucinda Williams leads into the emotive ‘Room 13’ which is just as joyous as the recorded version, then and a killer ‘Turn Up The Mains’ has the power and cool delivery of the recent ‘Silver Patron Saints’ version.

At this point in the show, a full-size microphone stand is placed in front of our man, and with both hands clutching it for support and with every effort in his body, he stands for the first time of the evening to a rapturous applause. This is what it’s all about: a goosebumps moment we all share. The band then break into ‘The Way We Used To Roll, and with growing confidence, Jesse performs standing for the next few songs before needing a breather.

What follows is a set that covers his whole career as a solo artist. Highlights are plentiful and memorable. ‘State Of The Art’ and ‘Black Haired Girl’ do it for me, then there’s oldies but goodies like ‘Brooklyn’ and the killer ‘All The Way From Moscow’. Jesse cuts a dramatic figure standing, draped over a mic stand that gives an ethereal Layne Staley vibe, but there is no heartache or mournfulness in tonight’s show, only hope and positivity. An extended and jammed out ‘Meet Me At The End Of The World’ transports us to 70’s New York, it is a set closer of sorts before the special guest slots. Billy Bragg joins the stage for the mellow but hard-hitting protest song ‘Ameri’ka’, before a rousing cover of The Clash hit ‘Rudy Can’t Fail’ that gets the whole room singing.

Then, just like the poster says, we are treated to Peter & Jamie Perrett of The Only Ones for a rocking rendition of their classic ‘Another Girl, Another Planet’. Now, that is a treat to behold; no one does it better. The band closes the night with the upbeat and countrified goodness that is ‘You Know It’s Dark When Atheists Start To Prey’. And as Jesse leaves the stage with the aid of a walker, I get the feeling it won’t be as long until he returns to these shores.

Jesse Malin has preached PMA (positive mental attitude) his whole career, and we will never quite understand how much he has needed that for himself these past 2 years. But tonight’s show was a true example of triumph over adversity, an artist who has given his all every night of his career, fighting for all he is worth to reclaim his life again. And judging by the response tonight and the fact that both shows were sold out, I think Jesse can be proud of his accomplishment and take comfort in the support he has from his fanbase.

We may only be 5 months into the year, but I can safely say that was hands down the best, and the most emotional show I’ll see this year. It’s a pleasure to have him back.

Author: Ben Hughes

Jesse Malin – Islington Assembley Hall 01. 05.25

Jesse Malin – Islington Assembley Hall 01. 05.25

Where do I start? Jesse Malin, after the couple of years, he’s had he needs a generous dose of the old PMA. As I hurriedly board my train for London Town, I’m looking forward immensely to what might unfold later in Islington Assembly Hall. It’s been a long time coming, and a spectacle I thought I wasn’t ever going to be seeing again if I’m honest.

After suffering a spinal stroke, the long road to recovery and adapting to life after such a traumatic event meant Jesse headed to Argentina for rehab. With a determination to return to the stage to perform, it’s been a long road and no doubt an often dark and hard one. Finally, the evening had arrived, and Jesse Malin and his band of Brothers were about to take the stage for the return to live Rock n Roll.

The moment the sold out audience cheered when the stage curtains were drawn, the expectation and anticipated celebration was one I rarely get at a rock and roll show but this somehow seemed different, the atmosphere was one of triumph and with all the challenges that life has thrown Jesses way his determination over adversity was felt in the packed room. So many people willing only good things for Jesse was amazing and the moment the house lights dropped and the Stones filled the PA as the curtain slowly began to open couldn’t come quickly enough. Jesse and his magnificent band began playing, it was like a football crowd where against the odds the underdog was winning and doing it in style, socking it to the man. ‘Memory Motel’ faded away, a beautiful ‘I Would Do It For You’ filled the Assembly Hall air as the audience sang and held onto every word It felt quite emotional, and time stood still. Jesse had won, and that goal to be back on stage had been fulfilled.

By the time the band hit ‘Oh Sheena’ it was like he’d never been away, and the fact they were all seated seemed immaterial. It was awesome to hear Jesse speak again and still have that spark that made him such a unique performer ‘Brooklyn’ sounded beautiful before a ragmuffin good time romp through ‘If I Should Fall From Grace With God’ and a funny story about performing with Shane who also was in a wheelchair that night made sense and the roar of joy when Jesse rose to his feet for ‘Turn Up The Mains’ was like the winner just being scored in a cup final.

As the set unfolded the audience loosened up and the band sounded like they were midway through a 12 month tour with no nights off ‘She Don’t Love Me Now’, ‘State Of The Art’ pierced through the balmy night air before his own tribute to the late great and fellow New Yorker we lost recently, the one and only  David Johansen ‘Heart Of Gold’ was a welcome tribute as was the excellent rendition of ‘Sway’. As we motored through the set from all corners of the Malin catalogue it was time to bring some friends up on stage with Jim Jones being welcomed up for a fiery rendition of ‘Russian Roulette’ and a tip of the hat to recently departed Brian James then we were treated to the one and only Chaz Harper from the mighty UK Subs as the band paid tribute with a ‘Party In Paris’ or was it now entitled Party In Islington (nah doesn’t have the same ring to it) it was great to see Charlie up there though.

Next was Ginger and Ben from The Wildhearts for a technically challenged ‘In The Modern World’, oh and a wander across the stage from Ginger’s dog, which many found amusing.  We needed time to catch our breath and what better than ‘Greener Pastures’ before a haunting ‘You Know Its Dark When Athiests Start To Pray’ and we were almost done with enough time for just one more as Jesse rose to his feet to deliver a wonderful finale of ‘Rudie Can’t Fail’ and we were done. The band and Jesse received an immense ovation from the capacity crowd who I think would have happily stayed all night and done it again for those lucky enough to be doing it all again the night after with more special guests we’ll bring you that review from Ben but until the next time Jesse Malin is bossing it and not letting his condition define him and he’s winning at life and doing exactly what makes him happiest and by the looks of it the audience is with him all the way after an emotional and thrilling performance it’s good to have Jesse Malin dishing out the PMA again, and with global happiness in short supply this was one of those special shows that don’t happen very often but when they do you never want them to end. So welcome back man, we’ve missed you. Until next time, take care and keep up the PMA – you got this! Jesse Fuckin Malin!

Sweet Relief

Author: Dom Daley

Spear Of Destiny – ‘Janus’ (Eastersnow Recordings)

Spear Of Destiny – ‘Janus’ (Eastersnow Recordings)

Right here’s the deal, Kirk Brandon has revisited Spear Of Destiny albums before with very favourable results, so why not continue that trend with a couple more and retitle them ‘Janus’ and re-record them with choice B Sides and left off the originals. What 2025 delivers is a modern sounding bells and whistles full bodied audio assault on plenty of Staple Spear Of Destiny classics and if you’d never heard of the band and their music with ‘Janus’ as your only reference you’d be fuckin delighted with a sonic modern sounding all killer no filler double album. To be fair, the lineup helps when they’re this bloody good, as well as adding their feel and take on these tracks.

There you go in a nutshell, if you are new to Brandon and his music, then work your way backwards with this bastard. Cast your mind back to the late 80s and ‘Outland’ in 87 followed by ‘The Price You Pay’ in 88 throw the running list in the air and start again in 2025, sure the songs have stood the test of time well and aged like affine wine as has Brandons vocals to be fair. The Distinctive style is intact, but a mature well well-rounded delivery is harnessed, and the sound of the band and production is excellent, and whilst a project of this nature could potentially fall flat, this most certainly doesn’t.

Two years in the making Brandon has alluded to the reasons why and why now. He went on to explain now was the time to deliver what he’d originally imagined the records to sound like and hes justifiably proud of how the project has turned out and so he sould be.

Not being a stranger to revisiting old music, this one has some proper bangers given a facelift and the sound is full blooded and much richer, take ‘Soldier Soldier’ for example, which has had the missing last verse put back in but to be fair hearing these songs like this for the first time in a long time has been a real pleasure.

Also, the CD version includes 6 bonus tracks. So raise a glass to Kirk and a special mention for Steve Allen Jones, Phil Martini, Craig Adams and Adrian Portas, and Clive Osborne deserve credit for their part in bringing these songs back to life. Quite simply, buy it!

A 28 date UK tour will commence on Wednesday 28th April 2025 and conclude on Sunday 1st June 2025 to support the release, including the now infamous Westworld Weekend in Wolverhampton UK, Kirk Brandon’s fan club weekender now in it’s 21st year!

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Author: Dom Daley

Michael Leslie Peters – 25 February 1959 – 28 April 2025

Michael Leslie Peters – 25 February 1959 – 28 April 2025

Love, Hope & Strength

Michael Leslie Peters Rest In Peace. The news broke today, and it was news I didn’t want to read.

I’ve seen hundreds of bands, but there is only one I’ve seen hundreds of times, literally hundreds, and that’s The Alarm and Mike Peters (people think I’m weird when I say I’ve seen his sing 68 Guns about 250 times maybe more but I don’t find it weird in the slightest). It’s been a well-documented battle with the big C, and he fought it until his dying breath. Sadly, the 30-year battle is over, following his diagnosis of lymphoma in 1995, and later having chronic lymphocytic leukaemia twice. Peters passed away on April 28th 2025.

I’ve been lucky enough to have met him on many occasions and laughed more times than I can remember at his shows, and considering his precarious health, he never let it get in his way or slow him down, trading his condition blow for blow. There were times after treatment when his voice was shot, but he played on delivering incredible, memorable performances I’m proud to have attended. At the young age of 66, he leaves behind his Wife, Jules, who has always been at his side and his two sons, Dylan and Evan. His story is not finished; he will always live on through his music and fans, who are amongst the most dedicated I’ve ever come across.

Rest easy, my friend and his family should be proud of his life and all the changes for good he’s had on so many people through his charitable work and his music, bringing love, hope and strength to so many. As he sang, the 68 Guns will never die. They’ll go marching on and on, no doubt about it.

Peters fought long and hard and shouldn’t be defined by his illness but by his talent and unwavering love of the life he had. he always seemed so positive, even when it was obvious times were tough on him and those in his family, but he fought long and hard. My head’s a bit in the shed at the moment, and I’m conscious of rambling on, but his impact has been immense, and it needed to be marked, and to say I’m gutted would be an understatement. My wife and I never missed a Gathering and travelled far and wide for shows and as the lyrics say, I bought the books, the records and the politics. Releasing some of the best music, Peters leaves an immense legacy and an incredible charity that deserves every bit of credit it gets far and wide. A real Rock n Roll hero whose race is sadly run now rest easy, Michael Leslie Peters, until we meet again, Love, Hope and Strength to you all. Dioch.

My thoughts are with his immediate family, who now have to carry on and find strength in each other and find some sort of comfort in the fact he was loved by many people around the globe and whose lives he touched with his art and campaigning. Don’t be sad for his passing but be happy that we’ve all had the pleasure of his company and music and will continue to carry those memories forward.

Love, Hope And Strength Charity

The Alarm

Peter Murphy – ‘Silver Shade’ (Metropolis)

Peter Murphy – ‘Silver Shade’ (Metropolis)

Forever the guy from the Maxell cassette ad and Bauhaus frontman, the mysterious figure that is Peter Murphy. With a solo output that far outweighs his work with that band, Murphy unleashes ‘ Silver Shade ‘ in 2025 after extensive live shows and recent reissues. It’s been a while since new material has emerged from Murphy, a decade to be precise, and rounding off the symmetry, this is his Tenth solo record and potentially his strongest work to date.

The production by Youth (Killing Joke, The Orb, Paul McCartney)  ‘Silver Shade’ is wrapped in a huge soundscape a panoramic cinematic sound if such a thing exists (if it didn’t it does now)the record opens with the dark, hypnotic, and totally Pete Murphy ‘Swoon’ with its electronic twitching beat and reptative sounds it sets the tone for whats to come.

With eleven tracks, Murphy delivers an epic record that marries his past with his present and no doubt his future with distorted guitars and twitching Rolands everywhere, ‘Hot Roy’ being an abrasive marriage of styles. I do like the undercurrent throb of ‘Sherpa’, and his voice sounds fantastic. There is a Bowie swagger about the title track, which is really appealing, and I do love the crisp antiseptic production; it’s so clinical. Threatening to cut loose but showing restraint. In contrast, ‘The Artroom Wonder’ is almost pop music with lush strings, making the whole epic journey something that draws you in over a simple melodic guitar line.

There is a slight undercurrent to his past abrasive sound, but oh so subtle beneath the twitching synths and pop smooth sheen, but the unique vocals are ever present front and centre, making it an unmistakable record of songs. ‘Xavier New Boy’ is a great example of the lush colliding with the abrasive, but with Flood being in control. ‘Cochita Is Lame’ could almost be something Numan would pen, only to be followed by the riffage of ‘Soothsayer’, a pretty straightforward Rock song complete with wailing licks and “woohoos”.

So what you have is a very flowing record that takes on several moods and textures as you’d expect, recorded beautifully and delivered with pride and style. Goths get the Merlot in and turn off the lights and turn up the speakers.

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The Soda Poppers – ‘Testing A Theory The Shape Of Things To Come’ (Self Release)

The Soda Poppers – ‘Testing A Theory The Shape Of Things To Come’ (Self Release)

The only previous release from the snotty Soda Poppers was the Crimbo single until now that is… Ladies and gentlemen, put on your creepers, tease your hair up, and smudge on some guyliner because the Soda Poppers , Frida The Bleeder, Silent Sonia, Sticky Vikki on the big organ and Johny skullknuckles are here to entertain you all with their brand of sleazy punk rock n fuckin Roll!

Just turn it up, pour yerself a mocktail and let’s dance. Led by Freida The Bleeder, you’re in for a rockin’ time as they literally kick off with ‘Livin Doll’ no not the Cliff classic. This one’s got some stripped-back distorted guitars and a chunk of melody that is only enhanced through some poppers and Thunderbird wine. But wait it bleeds into a suitably sleazy romp through Bowie’s classic ‘Suffragette City’ and they nail it. Was there any doubt? Of course not.

The EP then put their collective creepers through their paces as they pogo through the potty-mouthed ‘Bad Girls Go To Hell’. What a banger this one is with a stinking attitude and some stellar guitar riffage, it’s all killer, zero filler. Catch your breath with a sharp intake because next up is a punked-up take on the classic pop of ‘I Think We’re Alone Now’. It’s pure Betty Blowtorch waving a middle digit in the air and having fun tearing up the pop of yesteryear and hocking a big fat snotty gob on its carcass. Nice.

‘The Only Way Is All The Way’ is a sleazy six-string mid-tempo fist-pumping slice of loud sleazy rock. The nonchalant breakdown is right on the money and time for Johny to show he can slap the four string as well.

Which takes us to the limit of this EP with just enough time for ‘FTW’ with its laid back tempo as the Soda Poppers are through messing about making friends and just torch the EP before heading off into the distance. Another great trip into the twisted Rock n Roll world of Skullknuckles and co, but wait, what’s this, a hidden track? Oh, keep that for the cool kids who pick up a copy of this most excellent EP. Just buy it.

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Ghost – ‘SKELETÁ’ (Loma Vista Recordings)

Ghost – ‘SKELETÁ’ (Loma Vista Recordings)

The long-awaited new long player from Swedish mega stars Ghost has finally hit the shelves. The band still divides people, but love ‘em or hate ‘em, you can’t ignore the huge success of the band. As we speak, their Skeletour is selling out arenas all over the world.

Ghost formed back in 2006, and since then, they have released 6 studio albums, two live albums, and four EPs. The band’s lore, based around their costumed appearance and their leader Tobias Forge’s various incarnations of “Papa’s” has led to a rabid fan base who hang on every move from Forge and the Ghouls.  Many metal puritans still hate on Ghost, for no real reason that I can see. They rock as hard as any other band that I have seen. Just last week, I was lucky enough to catch the band in their most ferocious setting: a live show (or ritual if you will). The band are on fire with one of the most ambitious stage shows I have ever seen.

Ghost have shown why they are one the most talked about bands time and time again. Their musical direction has changed from their initial releases. Their sound has evolved from a Blue Oyster Cult ‘70s vibe to full-on arena rock with a pop edge. Forge’s songwriting skills are unparalleled. While sitting in Birmingham’s Utilita Arena last week, I had a tear in my eye when they played the song, He Is. It was a profound experience, something I have never experienced before. This is how powerful their music can be. It’s also why Ghost’s legion of fans are so rabid and protective of their favourite band.

Ghost’s last two albums, ‘Prequelle’ and ‘Impera’, secured their place in metal superstardom. Both albums are filled with hit after hit. Incredible songwriting and musicianship, which is off the scale by the band of Nameless Ghouls that Forge keeps under his watchful eye, has propelled them into the stratosphere and cemented their place in musical history.

The latest incarnation of Papa is Papa V Perpetua. He seems to be more serious than he is predecessor Papa Emeritus IV. We have been given a taster of the latest album with the singles/videos for ‘Satanized’ and ‘Lachryma’. Both tracks have the trademark Ghost sound, catchy, poppy, heavy, with superb musicianship and production. All of us Ghost fans have been waiting patiently for the new album to land. The band have done a fantastic marketing campaign, Ghost have seemed to be omnipresent in the last few months. From slowly revealing the new look of the band to dropping the video for Lachryma where we finally saw the new incarnation of V and the Nameless Ghouls, the band have kept us all slowly salivating.

We finally get to hear the full album, and let me tell you, it’s been worth the wait. Dripping in ‘80s keyboards and full-on pomp, Skeleta is probably Ghost’s most commercial release so far. The album opens with the ethereal sounds of the epic Peacefield before it jumps into a track that has obvious comparisons to Journey’s Separate Ways it really is a fantastic song, and it sounded amazing live. Lachryma and Satanized follow suit. They are both punchy, super catchy songs that are already part of my DNA. Ghost somehow retains its heaviness and combines it with layers of pop goodness. They never come across as cheesy, you know that Forge has laboured over every note written and played. There’s no denying that Forge is a genius. Ghost are one of the only bands capable of continuing from the old guard of metal bands who are now gasping their last breaths. There’s no doubt that Ghost will be talked about in fifty years just as we are now talking about Sabbath, Maiden and Priest et al.

The next track on the album ‘Guiding Lights’ is another multi-layered wall of sound with another sing-along chorus. Forge’s vocal performance across the album is superb. He sounds stronger than ever. We do, of course, need to mention the Ghouls, huge guitar solos, thunderous drums, keyboard flurries left, right and centre. They are on fire! The production is lush and huge from producer Gene Walker (a pseudonym that Forge uses). De Profundis Borealis has more riffage on display with an up-tempo feel. We get another massive sing-along chorus that gets into your head instantly.

Cenotaph kicks off with a keyboard riff that screams ‘80s Tears for Fears before we get a crunchy riff (not unlike Sabbath’s Children of the Grave) and some almost Status Quo boogie woogie! Is there no style of music that Forge is afraid to touch on? Obviously not! It’s another banger of a track with more exemplary playing from the Ghouls. Missilia Amori gives us more fantastic ‘80s ness, with more of Forge’s trademark soaring vocals hitting the spot. Love Rockets!! Ooo err, Missus. The keyboards are always forefront with the rest of the instruments, they really ramp up the ‘80s feel to the entire album.

‘Marks of the Evil’ One gives us more incredible catchiness. A mid-tempo banger with some satanic lyrical content. The atmospheric breakdown in the middle of the track before the guitar solo elevates us back into the huge chorus is masterful. Umbra is one of my favourite tracks on the album. It begins with a keyboard intro that could be lifted from an ‘80s horror film before we get a riff accented by…wait for it… a cowbell! Yes!! This track was also played live last week, and I was blown away by it. The keyboard acrobatics answered by even more guitar virtuosity is a joy to behold. That’s without mentioning the chorus. I have no idea how Forge can write seemingly endless classics. Just incredible.

Excelsis ends the album superbly. With lyrical content about what comes to us all….death. It’s a remarkably moving song that everyone will be able to relate to. The album clocks in at around the 45-minute mark, so it’s a short, sharp blast of Ghost at their finest.

Forge could have easily written an Impera 2, but he’s gone down an ‘80s rabbit hole and delivered us something very different. Skeleta will prove without doubt that Ghost are here to stay. Let us all worship at the altar of Papa V Perpetua. Amen.

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Author: Kenny Kendrick

Jim Jones All Stars/US – The Crescent, York. Thursday 17th April 2025

Jim Jones All Stars/US – The Crescent, York. Thursday 17th April 2025

Fresh from a tour opening for The Wildhearts and with a new single in tow, garage rock revivalists the Jim Jones All Stars make a welcome return to The Crescent in York as part of a short run of headline shows of their own.

“A bubbling swamp curse of unholy rhythm” is how they describe themselves in the press blurb, and I couldn’t put it better myself. Whether he’s fronting Thee Hypnotics, The Jim Jones Revue, Jim Jones & The Righteous Mind or this, his latest incarnation, there is one constant with Jim Jones, and that is raw, primal rock n’ roll goodness. And with a new Chris Robinson produced album in the can and on the way soon, times are good for one of the UK’s finest new live bands.

Opening proceedings tonight is a young five-piece band (although there are four of them tonight) called Us. As you can imagine, it’s difficult to find any information online for a band with that name, but all I can say is, don’t let the baggy clothes and floppy fringes cloud your judgment, as these boys play killer rock n’ roll like their lives depend on it, and on this first listen they appear to have the songs too.

Turns out with a bit of digging they hail from Helsinki, which is a big surprise, as their retro sound straddles Dr Feelgood and The Stooges to these ears. They remind me of two other young bands that were doing the rounds a decade ago, The Strypes and the 45’s… remember them?

I mentioned they have the songs. The likes of ‘Night Time’ and ‘Snowball Season’ are great tunes that work well live and ‘Hop On A Cloud’ has cool 60’s pop vibes and an early Hanoi Rocks quirkiness to it. There was even an emotive guitar solo to rival Slash and Noel Gallagher. I also like the way they take a bow, Japanese style, right after every song.

Us have an album out called ‘Underground Renaissance’, which I will be checking out in due course, I urge you to do the same and go see ‘em live, you will not be disappointed.

The Jim Jones All Stars are on fire right now, but isn’t that always the case? I’ve seen Jim Jones in many of his incarnations over the years, and his bands never disappoint, but there’s something special about this one. The opening instrumental ‘Drink Me’ sets the scene with the duelling sax attack of Stuart Dace and Tom Hodges, a pair who bring funk & soul to the rock n’ roll party. Looking like outcasts from a 90s Guy Ritchie movie, the pair are mesmerising to watch, as animated as the frontman, and clapping to the beat and working the crowd when not blowing those saxes.

The unmistakable, raspy lead vocals are delivered with the fury of Little Richard and the raw power of Iggy Pop, as the frontman prowls the stage, preaching to the converted, behind him the band run through a set of career hits.

Joining him in this 7-piece collective are Jim Jones Revue survivors Gavin Jay on bass and Elliott Mortimer tinkling the ivories. Guitarist Carlton Mounsher and drummer Aiden Sinclair round off this bunch of cool cats that not only sound tight, but look tight as well.

‘Burning Your House Down’ is a bombastic highlight with cool dynamics and a killer delivery. They power on through with the ultra-cool anthem that is ‘Gimme The Grease’, where Dace & Hodge come into their own. ‘I Want You (Anyway I Can)’ sounds immense and ‘Troglodyte’ is jammed out and extended, yet never outsays its welcome, the frontman inciting a righteous singalong with the impossible-to-keep-up-with “sock it to me” refrain.

Oldies are greeted like old friends, who can deny the primal fury of ‘Rock n Roll Psychosis’ or the odd Thee Hypnotics classic? Newbies ’Born To Ride’ and latest single ‘Going Higher’ fit in perfectly and bode well for the upcoming new album.

Both musically and visually, it feels like you are witnessing something special at an All-Stars show. There’s a classic, ‘old school’ band feel, like they have just stepped out of a 60s juke joint and right into your local venue. They capture that certain live band energy, the sweat and the sawdust, the parts from movies you loved like The Blues Brothers or even The Commitments, maybe even the energy of those old Little Richard and Chuck Berry clips you watched as a kid.

As the last notes of the final encore ring out, the band hold their instruments to the sky in unison, like a triumphant warrior parading his kill. The Jim Jones All Stars came, they saw, and they conquered. Long may they reign.

Author: Ben Hughes