Fuck me sideways this has to be the rawest loudest punk rock n roll record recorded since the Damneds debut. Moron’s Morons turn everything into the red and hit those guitars hard. It’s fast it’s loud its uncompromising but above all its addictive. Punk as Fuck as one of my learned friends would put it. The drums are like St Angers biscuit tins if John Bonham was playing them until they turned to dust.
These Warsaw punks aren’t fucking about it’s full tilt from the first bass thump to the last howl of guitar on this their debut full length and boy what a rush. I’m not sure they’re looking for danger here because by the sounds of it they found it. ‘Wonderlust’ is a minute and a half of a band windmilling its way to the finish line. It’s not all out of control hanging on by a thread adrenalin Rock n Roll because ‘sidewalk Service’ is a little slower – more measured. It’s bordering on heading the way of the others but the scuff on the guitar riff and the steady beat of the drums is cool and are those handclaps I hear? that’s it, I fuckin’ love this record right there. Top tune.
‘Rate Your Teacher’ is fuckin’ terrifying then ‘You Put Hot In Psychotic’ is a blast with its distorted huge riff really tearing it up with the used and abused Chuck Berry licks but dipped in speed and driven like a demolition derby right through the speakers – Wonderful stuff.
An appropriate title if ever there was one is ‘Noise Addiction’ comes on like Motorhead but way more out of control and punk rock. There’s nothing new going on here it has been done a million times I guess, but every now and then you make a connection and man I’m glad ‘Looking For Danger’ found its way into my speakers. Like their fellow purveyors of filthy punk rock n roll The Cavemen Moron’s Morons don’t do half measures its all in or fuck off as they perfectly display on ‘Addicted To Homicide’ they’ve even got a rapid romp entitled ‘Suicide Motherfucker’ that’s relentless and tasteless but I guess that’s their MO anyway.
One that tickled my fancy is the wonderfully titled ‘Poor Man’s Riffs And Ten Years Too Late’ which got me thinking these cats should take The Hip Priests on tour of Poland and Eastern Europe that’ll be like a dream team of filthed up punk n roll right there. There’s even a minute (literally) to chuck in a heartfelt ode to the listener entitled ‘Fuck You’ before this record melts the wax it’s pressed on. Penultimately they go prog punk on us with a song clocking in at almost five minutes! Five fuckin’ minutes what are they thinking? Lucky for them it’s awesome. The break down is a slick of magic bass riffing and hail satan lyrics but I bet you weren’t thinking it was called ‘Driller Killer’ though were you?
To take this record home ‘The Man Who Drank Too Much’ is a lesson in boozing – it’s not straying from the tried and tested of the rest of this record but you do need to know its another bit of magic. Yobish, juvenile, obnoxious and totally wonderful for all those reasons and more. Moron’s Morons have knocked out one hell of a record and if you still have a beating heart and crave loud guitars played hard then what on Gawds earth are you waiting for go pick this up for fuck’s sake!
‘See You See Me’ the fantastic third studio album from The Dowling Poole is released this week. To mark the occasion, we got Johnny Hayward to dust off his notebook and vintage 70s Bush cassette recorder and sent him off to chat with the men behind the record, namely Willie Dowling and Jon Poole.
Hi guys thanks for chatting with me today. I just wanted to start by saying that I think the new album ‘See You See Me’ really is a fantastic album. How do you feel it’s turned out?
Willie Dowling: “Very happy that you like it. I’ve always felt that if you don’t think the latest thing you’ve done is your best work, then you probably shouldn’t release it… (with the obvious exclusions of live albums etc.) Invariably once a record is mastered and on CD, I won’t listen to that album for a while, sometimes years. It’s only after some time, with a bit of objective distance, that I can begin to evaluate an album’s merits and its weaknesses.”
Jon Poole: “Whenever we go into a creative burst of recording I don’t think we ever go into it with any master plan and with this album we weren’t even sure if we were recording an album as such. We were just recording songs as quickly as they came with no preconceived idea of what we’d do with the recordings. It did become apparent as we progressed with these recordings that they were starting to form an album-shaped pattern and it also became apparent that we both had no desire to create a carbon copy of what we’d done before and that we wanted to go places we hadn’t previously. But then maybe subconsciously that’s what we set out to do in the first place when we first became a band. I think, like Willie, I’ll be able to make more sense of it a few years down the line but I do know I’m very happy with where we are at this moment in time and I’m very proud of this album.”
It’s been four long years since your second album ‘One Hyde Park’, why did this one take so long, and what were you up to in-between?
Willie Dowling: “Is it four years? That does seem a long time. That said, churning out indifferent records with only one or two decent songs, just to boast about a remarkable annual output, seems counterproductive to me. We do have the issue that we live very far apart and it is always tricky to find times when we are both free to work together. I don’t think that we work particularly slowly but it does take a long time and a great deal of effort to be sure that every last detail of a song is working the way it was intended. Our songs tend to be very carefully constructed so that every listen reveals another layer of something that might have been missed before. Very often that means that we might review a song at some point, decide its not quite doing something or other and then start deconstructing and putting it back together again until we’re happy.”
Jon Poole: “Four years…fucking hell. But as Willie says, it’s not so much the rate we record at that takes all the time but more how long we spend on the mix, ensuring our intentions are realised effectively and as clearly as possible.
In some ways the geographical hurdles probably force us to switch off in between the bursts of work and to come back with a fresher approach each time we do. That’s my excuse and I’m sticking to it!”
Over the years I’ve seen you play in your own outfits like Jackdaw4 and God Damn Whores but I was wondering what influences/inspires you guys to write in the direction you do under The Dowling Poole banner? I mean it’s a long way removed from what people may be aware of you doing in those bands.
Willie Dowling: “Personally, I don’t really see a huge world of difference between my half of the contribution to The Dowling Poole and Jackdaw4. Jon may feel differently but of all the bands we’ve been in individually over the years, the closest to The Dowling Poole would probably be Jackdaw4. The difference would be in the brilliance of the songs that Jon writes, which means that I have to work that bit harder than I did with Jackdaw4 in a vain attempt to impress him with my songs in the same way he continually impresses me.”
Jon Poole: “Yeah, I’d agree that on the surface the jump from Jackdaw4 to The Dowling Poole would probably seem less of a drastic change of direction than say The God Damn Whores to The Dowling Poole, but speaking purely from my own perspective I don’t feel I’m writing to order with this stuff. You could say I was writing stuff that could be perceived as ‘more our sort of thing’ alongside the other stuff I was doing back then. For instance ‘Rebecca Receiving’ from our second album started out as an idea that dates back to 1999 but of course once Willie and myself worked together on it we came up with something ‘other’ which is the great thing about finally finding the songwriting/recording partner I wish I’d met many years earlier. Now, third album in, the fun is in trying to push ourselves further. We’ll never be 100% satisfied with every aspect of our stuff and that’s what drives us. The day we are will be the day we jack it all in… or ‘off’.”
The new record contains a real mish-mash of genres (even more so I think than the albums that preceded it) yet you still manage to bring it all together into your own unique vision. ‘Keeping The Stupid Stupid’ and ‘The Product’ being two classic examples. How do you do this?
Willie Dowling: “I’m always afraid that if I think too hard about this kind of question, I’d lose the ability to do it. I agree we have a far broader range of audible influences throughout our albums but equally, I hope they’re not too disparate. Whichever musical avenue we choose to disappear down and flirt with, I hope (and believe) we always sound like ‘us’.”
Jon Poole: “I think playing around with other sounds and directions certainly keeps it fresh for us and I’d certainly say that the beauty of a lot of my favourite bands is in the fact that they continue to push boundaries with ever-progressing ideas of sound and structure. But as far as ‘our vision’ goes, even with the experimentation, I feel like we’d never be able to dilute the essence of what/who we are…even if we wanted to. It’s all ‘our stuff’ in the end isn’t it?”
Lyrically too there aren’t many songs that reference ‘zero hours contracts’, what do you guys say to people who think rock music should stay away from politics… however subliminal the message?
Willie Dowling: “I generally say ‘fuck off’. I don’t tell others how to do their job, (actually, I do, all the time, but that’s hypocrisy for you) please don’t tell me how to do mine. It’s fine if you don’t like how we sound or what we have to say. Go find something that pleases you. But everything in life is politics in one form or another. Don’t confuse that with thinking that I mean British party politics. That’s a whole different issue. (but even so, not one I would necessarily shy away from). Look – none of our songs overtly say ‘go out and vote Green or Tory or whatever’, but it would be fairly obvious to most that I’m to the very left side of conventional politics. Song writing about anything other than love – in the usual mundane way that it’s written about – is usually the songwriter expressing a point of view in some way. How could that be anything other than a form of ‘the political’?”
Jon Poole: “There’s also that juxtaposition of paisley-tinted, loved-up poptones where underneath lurks the grim voice of doom. I’ve always been into that. The happiest tune accompanied by desperately sad lyrics or vice-versa. You only have to look at what’s going on in the world with the rise of technology and the decline of common sense to see there’s plenty of material out there to write about. There’s gotta be a few albums in that surely?”
Trudi Knight, Bands On Stage Photography
You’ve previously played live shows as The Dowling Poole, any plans to play more around ‘See You, See Me’? I hear Crowded House are touring the UK in June, that would be a great audience for you guys, don’t you think?
Willie Dowling: “That would be absolutely perfect for us. We’d love to do a support tour like that. Any ideas how we might get it?” (laughing)
Jon Poole: “Yeah and when we’ve done that can you get us on Jools Holland?”
Is there anyone out there you guys would drop everything for and love to tour with?
Willie Dowling: “Yes. Far too many to mention. Crowded House are a good start. Fuck me, anyone that would put us in front of an appreciative audience and I’d be there.”
Jon Poole: “Andy Partridge and Robyn Hitchcock are doing stuff together now aren’t they? I think we should organise a tour together then play in each other’s bands!”
Willie, I have to ask what you now feel looking back at that appearance The Grip did on ECT, and at the time did you ever think your music would be so widely heard on TV all these years later?
Willie Dowling: “TV music is a very different thing to The Dowling Poole and I do less and less these days because often it comes with so many constraints and is therefore far less rewarding than The Dowling Poole. Although I’d love to do something for TV or film with Jon if the right project came up.”
Jon Poole: My favourite cereal is actually Muesli.
You have obviously both worked with The Wildhearts over the years, what’s the single biggest thing you’ve taken away from your experiences of working with Ginger and Co?
Willie Dowling: “Mine would be Jon Poole.”
Jon Poole: “I have put on two stone in weight to be fair.” (laughing)
Getting back to the here and now, ‘See You See Me’ is out on Feb 28th on CD and digital download, but can we also expect to see it in the likes of HMV?
Willie Dowling: “We have distribution via Cargo Records, so the album should be available in HMV and other record shops.”
Jon Poole: “I tried to plant copies of our last album in HMV in Cardiff and the girl who works there recognised me and felt really sorry for me so took me into the office at the back of the shop and made me tea whilst I cried for a bit.
Then she let me go… eventually.” (laughing)
Just to finish things off an old colleague of mine (back in our Uber Rock days) once asked Rich Robinson (of the Black Crowes) the ‘would you rather fight a horse-sized duck or 100 duck-sized horses?’ question that was doing the round back then and was met with a total silence in response. What do you guys think of musicians who take themselves that seriously that they can’t be bothered to enter the duck/horse debate?
Willie Dowling: “I’m with Robinson. I don’t understand the question? It presupposes that I would have a preference for one or the other, or indeed any interest in a physical confrontation? What have either party done that so offends me I’d be inclined to fight them? Mind you, I’m notorious for having absolutely no sense of humour. Jon enjoys laughing. I may have laughed once but it was at someone else’s expense and not something I’m proud of.”
Jon Poole: “Could I go back to being friends with the duck-horses after the fight? I think I’d like the mini duck-horses. Can you buy them? Where can I get some? Do I have to buy 100? What was the question?”
Finally, I just wanted to wish you all the best with ‘See You, See Me’ and thank you for taking the time to chat with RPM.
Willie Dowling: “Thank you, and thank you very much for your very kind album review.”
Jon Poole: “Yes, thank you very much for your kind words.”
You can order copies of ‘See You See Me’ directly from the band via the link below or as Willie says above you can pop along to your local HMV when its released on February 28th.
After the tragic death of Scott Weiland, I (like many other STP fans) had no interest in new music from the band with a new singer, especially an X Factor contestant. The recruitment of Jeff Gutt just reeked of Rockstar INXS to me and it felt like a betrayal on the legacy of their enigmatic frontman. No one could replace Scott Weiland, surely?
But, look at it from their point of view. Dean and Robert Deleo, along with drummer Eric Kretz have a hell of a back catalogue, one that took them to the top of the charts back in the ’90s, and why should they not continue to write, record and tour as that band? Let’s face it, many bands have continued and even become more successful after the loss of their singer (AC/DC anyone?).
That said, I gave their last album a wide birth and had no interest in the band until word filtered through of an acoustic album they had recorded. Ever since their famous MTV Unplugged session back in 1993, it seems STP were destined to release an acoustic album, it was just a matter of when.
‘Perdida’ was self-produced by the band and recorded at Eric Kretz’ Bomb Shelter studios. Using vintage instruments and exploring themes of loss, death and goodbyes, (Perdida literally means loss in Spanish) the band has crafted an introspective album that sees them bare their souls, as they come to terms with the grief and sadness that has filled their lives in recent years.
Opener ‘Fare Thee Well’ is an uplifting, monumental song. Lyrically about lost love, yet full of sentiment and hope. The ghost of Scott Weiland is all over this track, Jeff’s vocals bare an uncanny resemblance, and there is no denying it. And it sort of makes me feel uncomfortable like I shouldn’t really be liking it…but I do, I really do, the hairs standing up on the back of my neck don’t lie.
Dean’s folk-inspired guitar intro leads to a heartbreaking melody that builds and builds to a glorious chorus, with almost gospel-tinged backing. The drums are powerful yet understated, giving a solid base for the instruments to breathe life into a song that is utterly beautiful after just one listen. It sets the tone for the album and sets the bar very high indeed.
With a ‘less is more’ approach to this album, the sparse arrangements create space and the rustic instrumentation is added only where needed to accentuate the songs. Here, the addition of flute, alt sax and guitarrone add another dimension to the STP sound.
The likes of ‘She’s My Queen’ could easily be a bombastic rock song with different production and arrangement, yet here stripped back to bare bones with open chords and lush harmonies, it shines.
‘Three Wishes’ could have sat nicely on the more experimental third album ‘Tiny Music..’. Dean’s signature slide guitar and Robert’s bass runs certainly hark back to that era of the band. Similarly, ‘I Didn’t Know The Time’ with its flute solo and jazzy, lounge feel is something the band has toyed with in the past and here it sits remarkably well.
Nylon string guitar takes precedence over the Spanish influenced title track, it comes on a bit too Euro-folk for its own good for me, but ‘Years’ with its lazy, sun-drenched California vibes, has an almost Beach Boys meets Simon and Garfunkel feel.
Big mention for the folky ‘Miles Away’ that flows on a killer vocal melody and swathes of mournful violin, giving a rustic Parisian feel, more in line with The Urban Voodoo Machine. This is a glorious song – make no mistake.
Stone Temple Pilots have delivered the album they have always hinted at making. And while ‘Perdida’ is a departure for the band and something that has been brewing for years, it is still very much Stone Temple Pilots by name and by nature. There’s a newfound vulnerability to the band that brings to mind Alice In Chains classic ‘Jar Of Flies’ acoustic album.
Hauntingly, the ghost of Scott Weiland looms over every chord they play and every note that Jeff sings, it probably always will. Haters are gonna hate, but I for one think that these songs are too good to ignore and am totally surprised and grateful that Stone Temple Pilots have delivered an album I never thought I would hear, and to be honest it has made me fall in love with this band all over again.
Seeing as they have a brand new album out this week and were reviewed last week and we’ve got a special interview exclusive up tomorrow we thought we’d dig into the back catalogue for a showing of ‘Rebecca Receiving’ from their ‘One Hyde Park’ Album ladies and germs The Dowling Poole.
Brighton based three-piece, Dramlove have a brand new video ‘Written In The Stars’ check out the video here Facebook
Finally, A new album set for early 2020 release and presales announced we thought we’d treat you to what we already knew and thats how damn good Wyldlife have always been. This beauty is from wayyyy back – Enjoy!
LeBrock are currently riding the synthwave between rock and 80’s pop rock to astonishingly great acclaim. Just coming off a fantastic headline tour – the duo comprising of Michael Meadows & Shaun Phillips are one of the shining lights in the current synthwave musical phenomenon.
With the guitars out front and centre, they capture the ’80s hard rock sound perfectly mixed with the aforementioned synthwave style of keyboards the duo are clearly onto a winner. This newly-released package of the remastered ‘Real Thing’ and ‘Action & Romance’ releases is one that should be snapped up as soon as possible. Starting with ‘Real Thing’, the hook-heavy songs are what is brilliant about this style of music. They marry both styles to perfection and I can happily say that LeBrock are easily one of the pioneers in synth-rock that are getting me excited about music right now and I honestly can not wait to see what these guys come up with next as these are one of the UK’s best-kept secret who should be going global any time soon. With songs as great as ‘Only the Brave’, ‘Galactic Shower’ and ‘Dangerous Dreams’, the latter has been my particular go-to earworm for the last few weeks, this CD needs to be bought and revered.
The old rockers out there who post things like I wish I had a time machine to go and see the greats are missing out on what is here and now. LeBrock are the band/duo for you as they have everything you need. Great hooksRockin’ guitarsParp-tastic synths/keysThis is a must-buy for fans of ’80/’90s melodic rock.
US glam rockers WILDSTREET have released their official lyric video for the new single ‘Born To Be‘, which is available today February 21th on all digital platforms. Download or stream the single here
‘Kings Of The World Tour 2020‘:
USA
FEB 21 – Harrisburg Midtown Arts Center, Harrisburg, PA, USA FEB 22 – Bar None, Uniontown, PA, USA FEB 23 – The Outpost, Kent, OH, USA FEB 25 – Sly Grog Lounge, Asheville, NC, USA FEB 26 – 529 Bar, Atlanta, GA, USA FEB 27 – Slim’s Downtown, Raleigh, NC, USA FEB 28 – Blue Fox Billiards, Winchester, VA, USA FEB 29 – The Tusk, Philadelphia, PA, USA MAR 19 – 37 Main – A Rock Cafe, Buford GA, USA MAR 20 – GroundZero, Spartenburg, SC, USA MAR 21 – Reggies 42nd Street Tavern, Wilmington, NC, USA MAR 27 – Tribble’s Bar & Grill Piedmont, SC, USA MAR 28 – The Milestone, Charlotte, NC, USA w/ Reason Define & Pröwess APR 25 – Frankie’s Inner City, Toledo, OH, USA APR 28 – Live Wire Lounge, Chicago, IL, USA APR 29 – Spicoli’s Reverb, Waterloo, IL, USA APR 30 – The Warehouse, Lacrosse, WI, USA MAY 01 – The Back Bar, Janesville, WI, USA MAY 02 – The Washington, Burlington, IA, USA MAY 07 – The Vortex, Akron, OH, USA MAY 16 – The Montage Music Hall, Rochester, NY, USA JUL 17 – Rockfest, Cadott, WI, USA
Canada
MAY 14 – Piranha Bar, Montreal, CA w/ Löve Razër MAY 15 – Cherry Cola’s Rock ‘N’ Rolla Cabaret Lounge, Toronto, CA w/ Löve Razër
United Kingdom
MAY 31 – Call of the Wild Festival, Lincoln, UK JUN 03 – Bannermans, Edinburgh, UK JUN 04 – The Waterloo Music Bar, Blackpool, UK JUN 05 – Club Decadence, London, UK w/ Strÿkenine
COLOMBIA
APR 01 – Sleaze ‘N Hardfest IV, Ace of Spades, Bogotá, CO w/ CRASHDÏET, Sunset Street
MEXICO
APR 03 – Foro Independencia, Guadalajara, MX w/ CRASHDÏET APR 04 – MDX Circus Bar, Mexico City, MX w/ CRASHDÏET
New York Punk Rockin Power Poppers Wyldlife announce pre-sales for their brand new album ‘Year Of The Snake’ on Wicked Cool Records. Available on yin and yang black/white vinyl. All pre orders get instant two track download. Bandcamp / Facebook
Album pre-orders have launched along with a bold new single titled “Kiss And Tell”.
Of the new single, frontman Dave Feldman says, “After listening to “Definitely Maybe” for more times than we can count, Sam and I wanted to make a song that was tough and angry but still confident and cool. The lyric “I’d rather be ignored than be adored” was a riff on another favorite Manchester band, the Stone Roses. Obviously we as a band want to be celebrated and have an impact on people’s lives, but most times I just want to be left the fuck alone. WYLDLIFE tends to have a larger than life personality, but most people don’t actually know anything about us. I’ve said “good to see you” to more people I don’t know than I’m comfortable with.“
“I feel like WYLDLIFE is kind of the biggest outlier band of our time,” says Dave Feldman, lead singer of the fierce four-piece NYC Rock ’n’ Roll machine that continues its stylishly anachronistic upending of Rock ’n’ Roll expectations with their fourth album and boldest artistic statement yet, Year Of The Snake, out April 17 on Wicked Cool Records.
Stuffed with catchy riffs and choruses, charmingly specific lyrics and a palpable love of ’70s punk, glam and power pop, Year Of The Snake is the long-anticipated follow-up to WYLDLIFE’s Wicked Cool debut, Out On Your Block. That 2017 release, featuring their breakthrough hit “Contraband,” made the upper half of the CMJ and NACC college radio charts and was hailed by Thrasher as “Rock ’n’ Roll that makes your heart beat faster and your fists scream.”
All 11 songs on the retro-fueled new album were co-written by Feldman with guitarist Sam Allen. The two are “the Mick and Keef of the band” as bassist Spencer Alexander puts it. Dave and Sam have been friends since age 11 and have been writing songs together for nearly two decades.
“A lot of times, I’ll have a melody in my head, usually with lyrics, and I’ll just have to sing the thing out to Sam since I can’t play guitar to save my life,” says Dave. “I’ll be frantically trying to explain, ‘It should sound like this Stooges song, but with this Oasis song for the drums and this bass line like The Rezillos or whatever. Sam will transform it into something that’s close to what I meant but even better.”
The childhood friends have been augmented for some time now by Spencer on bass and Stevie Dios on drums. Dave sings their praises: “Stevie is like a self-flagellating workhorse. After every take he’ll be like, ‘I fucked that up, let’s do it again,’ when he’s the only one who heard anything. Spencer is super fucking relaxed pretty much about everything in life. He’s a rocker, but he’s even more of a roller.” An in-demand illustrator and designer, Spencer is also the visual genius behind the album’s striking art direction.
The record and its title track drew naming inspiration from 1989, the year in which Dave, Sam and Spencer all were born, and the third most recent year of the snake according to the Chinese zodiac. “We’ve always been crawling for glory, unwilling to compromise and are considered to be mesmerizing while simultaneously dangerous,” Feldman offers, without a trace of venom.
“There may be listeners who think there’s a bit more negative energy or anger on Year Of The Snake,” says Feldman, “but there’s always been a hard truth to our songs. Topics include paranoia, anxiety, bad relationships with others, bad relationships with self, hustling in every sense of the word…but it’s not all good news! I guess the overarching theme is: ‘It’s 2020. Life is obviously fucked, nothing matters whatsoever, let’s party about it.’”
The album kicks off with “Deathbed,” in which Dave laments about “Joey and Bowie and little old me,” referencing departed heroes Joey Ramone and David Bowie. He explains: “Death seems like the easiest, fastest way to make your mark, like a cheat code to notoriety. There’s always been a fear in my head: ‘Will people remember you? Will they remember WYLDLIFE?’ I hope someday I die with a bit of certainty that the answer is ‘yes.’”
While packed with upbeat rockers in the classic three-minute WYLDLIFE mold, the album does find the band showing off some new tricks. The taut “Automatic,” a song both inspired by The Jesus and Mary Chain and named after one of their albums, features harmony vocals by friend of the band Sasha Cibic, the first woman to guest on a WYLDLIFE song. Barrier-breaking album closer “The Falcon” is an epic five-minute cocaine bender with ominous overtones, complete with tubular bells and perhaps Feldman’s most intense vocal to date.
“The track was recorded in December and it just so happened that there was a set of tubular bells on loan in the studio; we knew we had to use them and to be honest, it’s my favorite part of the track. Upon completion Spencer pointed out that the Falcons happen to be Atlanta’s NFL team. As it stands, this is the only time I feel like I’ve ever been in the absolute right place in the absolute right time: fucked up soaking wet in a parking lot in Atlanta, Georgia.”
The blistering “Neon Nightmare” was the first Snake track to see the light of the day when released as a single in late 2019. It quickly achieved Coolest Song In The World honors on Little Steven’s Underground Garage, heard on SiriusXM and internationally syndicated radio. “Kiss And Tell” is the band’s first single of 2020, with a typically madcap music video on the way. Both “Automatic” and the irreverent French travelogue “Sacré Bleu” are also slated for airplay.
Recorded in late 2019 at Renegade Studios, NYC, home base of Wicked Cool head Stevie Van Zandt, the album was produced by Sam with Geoff Sanoff, the engineer known for his work with Bruce Springsteen, Fountains Of Wayne, Dashboard Confessional and others.
The latest release in Wicked Cool Records’ ongoing partnership with The Orchard as distributor, Year Of The Snake is poised to sustain the label’s momentum on the heels of its 2019 Billboard Heatseekers Top 10 albums by Jesse Malin and The Dollyrots. Both Malin and The Dollyrots are releasing new music via the label in 2020, as are The Empty Hearts, Soraia and more.
WYLDLIFE is:
Dave Feldman — vocals
Sam Allen — guitar
Spencer Alexander — bass
Stevie Dios — drums
To give a sample of what to expect check out the youtube clip of the single ‘Neon Nightmare’ that’s taken from the album
Now on this his 12th studio album we see Richard Marx release what I think is a career-defining album. For what makes Limitless a definitive moment in his illustrious career is that Marx has worked with several different producers here and while you do notice the differences, the songs are so good and do exactly what is asked of them and that is to present Richard Marx as one of the best singer-songwriters who are still current and making music that bring happiness to so many people. The opening song of Another One Down which was initially release back in June 2019 and co-written with his son Lucas, who incidentally also produced it as well makes this album a bit of a family affair when you find out that Richard’s wife also co-wrote Let Go as well The next song is the title track Limitless which is a like a ray of sunshine and together with its modern production tweaks gives a new take on the classic Richard Marx sound that he is known for.
The aforementioned song that Marx co-wrote with his wife is the fantastic ‘Let Go’, after this, I hope we will see more writing credits for Daisy Fuentes. It is something of a mid-tempo song that gives the listener hope of what is to come.
However for me, one of the brightest highlights on the album is ‘All Along’ which is the other song co-written by Lucas Marx. Kicking things into gear with a drumbeat straight out of the eighties. The song is the most reminiscent of his early rock releases. The classic songwriting has been brought right up to date with the fantastic production courtesy of Lucas Marx. The sound reminds me of the recent synthwave revolution. but still retaining its own identity as a Richard Marx song.
‘Up All Night’ is up next and another is more reminiscent of his more recent releases, so, therefore, another great singalong which no doubt will sound amazing live as will any of the songs on this album.
At the halfway mark we get the Matt Scannell to co-write in the shape of ‘Front Row Seat’. Which would easily sit on any of the Richard Marx/Matt Scannell releases. The pairing of Vertical Horizon’s Scannell and Marc was a match made in heaven and continues to deliver the goods.
This leads us nicely to another highlight in the form of the ‘Strong Enough’ which is a duet with Jana Kramer. This song feels like the sequel to Lady Antebellum’s booty call anthem Need You Now. Now having only know Jana from her stint in One Tree Hill – I have now found another voice to look into as she and Marx sound amazing together and I will no doubt check her 2 solo albums out soon.
‘Not In Love’ is another in a long line of Richard Marx’s heartwrenching piano-led ballads that he delivers time and time again – which seems effortlessly. However this time I feel so bad for the person who this song is directed to, This song is co-written by Marx and Sara Bareilles and is another piece of melancholy that sounds like roses when sung by Marx. Last Thing I Wanted was first released back in 2016 and is included here and it feels like it was always meant for this album and fits in perfectly. The song which feels like it was written about his meeting with future wife Daisy Fuentes. I love the autobiographical feel of this song and I am glad it is included here.
This album will no doubt win Marx new fans but will also keep his old and current fan base happy that he is still releasing great new music. Now I for one can not wait for his dates at the Union Chapel, London which will feature a few of these soon to be classic Richard Marx songs.
Fascinating documentary from the makers of Last Shop Standing exploring the renaissance in all things vinyl
Arriving on DVD on April 10th via Wienerworld (UK)
Includes interviews from Nick Mason (Pink Floyd), Philip Selway (Radiohead), Ade Utley (Portishead), Joel Gion (The Brian Jonestown Massacre), The Orielles, CASSIA and many more
From the makers of the acclaimed Last Shop Standing, this new film, The Vinyl Revival, charts the amazing revival of vinyl over the past several years. The film explores the whys and hows with industry pundits, artists, record shop owners, vinyl fans and many more.
Directed and produced by Pip Piper, we hear from passionate new record shop owners as well the established die-hards still going and thriving. The film discusses the importance of the record shop and vinyl as a whole. We answer the why’s of vinyl’s revival, the human need for belonging, the love of history and the stories of how the humble little record shop has shaped so many lives.
Record collecting has lost its image as a hobby for middle-aged men and become instead a pursuit of the most fashion-conscious consumer. Will it last? What is the future for record shops when vinyl becomes less fashionable? Why are we in danger of another record shop decline? Why must we support these bastions of culture?
Features an 8 page booklet chronicling the making of the film, with contributions from director Pip Piper (Last Shop Standing) and author Graham Jones.
“The vinyl record is the equivalent of whether you have the tea bag or the Japanese tea ceremony; the tea ceremony is the right way to approach music.”
It’s the 14th of February 2020, so that can mean only one thing being marked in H-Bombz diary, right? Yup, its gig time as I head to Le Pub in Newport for Bad Sam’s all-new single launch party.
Braving storm Dennis along with what appears to be a head on collision of a Friends Reunited meeting for Arkham Asylum and a Pokemon Go adventure party gone a little off course I have just enough time to grab myself a quick pint before local alt-rock trio The Oversights kick off proceedings with a punchy selection of what we used to broadly describe as “indie music” back in those halcyon days of TJ’s.
With ‘Hello Adventure’ their debut 5 track EP available at the merch table and a healthy number of people already looking to catch them live I feel The Oversights just need to get some gig experience under their belts before they become true contenders, but at this very early stage in their career things are certainly looking more than just a little rosy.
With The Oversights idea of image being three Hawaiian shirts slung on quickly before they play it takes a mere glimpse out of the corner of my eye at Igam Ogam wandering through the crowd to really restore my faith in true musical eccentricity. These crazy fuckers look like a band formed by the cast of Psychoville and what’s more they actually sound like it too. It’s all a bit too Primus-y for my tastes but the between-song banter from drummer/singer General Waste is absolutely priceless and bassist Grotty the Clown and guitarist The Third Person look and sound absolutely amazing even if ole Clowny could do with losing about 5 strings off that 6 string bass of his. As I say it’s not my thing musically, but the packed audience seems to love the likes of ‘Happy Families’ so who am I to argue?
Any new music from the Newport’s favourite hardcore sons Bad Sam is worthy of a celebration so it seems completely right and proper that they have chosen tonight and Le Pub (the city’s venue renowned for welcoming lovers…not fighters) to act as the springboard for the band’s all new 3 track ‘Alcoholic’ 7” single. It also feels right and proper that the band should kick off their set with a track from said release, and as ‘Looking Back’ unravels in all its Sabbath meets Bad Brains glory, this sets the tone perfectly for what is to follow with Beddis and the boys playing eighteen tracks from throughout their back catalogue.
I’ve honestly never seen the band tighter or more focused than they are tonight as the likes of crowd favourites ‘Bastard Son Of A Teddy Boy’, ‘I’m A Terrorist’ and ‘Black John Wayne’ sit alongside deeper cuts like ‘3 Little Pigs’ and ‘Sweet Dreams’, and never mind how much Beddis claims to dislike playing these latter tracks live, they still sound absolutely amazing through the Le Pub rig. What is surprising is that ‘American Fat Fucks’ isn’t given a run out, albeit the long overdue reintroduction of ‘I Love The Port’ (which ends things in total chaos) almost makes up for this.
I’ve said it before, but it’s worth repeating, that in the times we find ourselves in the UK needs bands like Bad Sam to give us something to believe in. So get off your arses and drop Beddis a message to secure your ‘Alcoholic’ 7” for £5 plus P&P, or if you live in South Wales why not pop into Kriminal Records in Newport Market and pick one up first hand. These vinyl bad boys ain’t going to be around for long, do don’t be snoozing.
Fuck me sideways this has to be the rawest loudest punk rock n roll record recorded since the Damneds debut. Moron’s Morons turn everything into the red and hit those guitars hard. It’s fast it’s loud its uncompromising but above all its addictive. Punk as Fuck as one of my learned friends would put it. The drums are like St Angers biscuit tins if John Bonham was playing them until they turned to dust.
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