Tilly Kingston – ‘Fairytales & Horror Stories’ EP (BCMG Recordings)

Tilly Kingston – ‘Fairytales & Horror Stories’ EP (BCMG Recordings)

In my review of the EP by Long Island, I mentioned Tilly Kingston and thought afterwards that no one here had reviewed this EP when it was released in the second half of 2024. I don’t know much about Kingston other than what I have been able to piece together online. She is based in Lichfield, United Kingdom, and this is her first EP. She grew up surrounded by music according to my research with exposure to 60’s and 70’s music as well as punk and emo. She has developed her own pop-punk style which could comfortably allow her to share bills with the likes of the Dollyrots, Yungblud, Bilk, Olivia Rodrigo, or State Champs. At around 18 or 19 years of age, she has released a fresh-sounding EP that lays a nice foundation for her to continue to refine and develop as an artist.

The title track has a modern sound with a lot of production, which might be the biggest drawback on the EP for me. I would prefer a rawer production style but think this is probably a generational thing, as this sound could sit comfortably on the radio. She incorporates some raspy screams during the breakdown which serve as a nice counterpoint to the melodic vocals in the song. She covers a lot of musical ground across these 6 songs with this being the ‘heaviest.’ She turns from this to a very melodic POP rock song in ‘Best Break Up Ever.’ I could see lots of people singing along to this song if she was opening for artists like Simple Plan or Lolo. While not my favourite genre, I really like this song, and she has packed an addictive chorus here that would make a lot of inroads on pop radio. This transitions to one of my most listened to songs of 2024- ‘Youth is Wasted.’ This one pushes to the pop-punk genre and contains another massive hook. She includes some terrific double-entendre lyrics in parts of the song. Again, this song should be garnering mass play on modern pop and rock stations. The song feels like a celebration and acts like a natural rush of adrenalin.

The second half of the EP begins with the acoustic ‘Too Broken.’ It is nice to get a song that shows vulnerability in her voice, and I love how her voice expands as the song goes. Again, the diversity in material here really gives her a lot of latitude in where she wants to go. Electronic beats and a modulated vocal usher in ‘Off My Meds.’ This is another hook heavy POP-punk song that could create some great singalong moments at the more commercial pop-punk festivals and would feel at home on a State Champs album. ‘Happy Now’ closes out the EP with another great vocal that gets to shine in the verses and leads into a chorus built on an uplifting hook. Again, this is another one that would seamlessly fit into modern pop or rock stations.

I am interested to see where she goes from here. She has demonstrated she can pack a song with massive choruses designed for the masses. The only song that really misses me is the opening track. As I see artists like Yungblud and Lolo garner lots of press and support from the likes of Kerrang, it would seem a natural that Kingston should connect with those fans in a big way. I would love to see a release down the road with some stripped back production to showcase her voice. After spinning ‘Youth is Wasted’ again and again over the past many months, I recommend checking out this release if you are open to the more mainstream pop-punk sound. I look forward to whatever she has up her sleeve next.

‘Fairytales & Horror Stories’ is available now.

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Author: Gerald Stansbury

The Clang Group – ‘New Clang’ (Fretsore Records)

The Clang Group – ‘New Clang’ (Fretsore Records)

Clive Langer might not be a household name to RPM Online readers but I’m pretty damn sure you’ve heard his production on some huge hits. ‘Come On Eileen’ anyone? Bowie ‘Absolute Beginners’, Costello, Madness, Morrissey and Teardrop Explodes to name a few. This ‘New Clang’ is my first foray into his performances as a musician and as soon as the first bar leapt out of the speakers I was impressed with the quality not just of the production that’s a given I guess but the music that it focusses on. ‘Know Me’ does have some Bowie coursing through its DNA and that’s always going to be a good thing.

The amps get turned up on the lively ‘Page 1’ then its sit back and let the music wash over you. ‘Lo-Hi’ cruises at a gentle pace maybe akin to late 80s Bowie in style dare I say Tin Machine for style with the big drums and harsh guitars mixed with the hushed spoken sung vocals with some impressive gang vocals. The record gently evolves via ’14th Floor’ and its piano driven melody I’m thinking Hunter and Ray Davies but more of that later.

‘Bulldozer’ is an angular rocker that jars whereas ‘Southend’ wheezes on the keys against a full-blooded bass line painting a musical picture of the Town perfectly. The album reaches a peak with ‘Its Wild Out There’ and its percussive chaos in the opening before easing back into a purposeful jaunt down some Mott the Hoople Rock.

The end of the record is the sound of a band and songwriter freewheeling towards the climax with the playful ‘Wrong House’ before the big reflective ‘Addiction’, this being the first time in almost 50 years he’s written sober and that’s some achievement accepting the past and moving on is always a good place to be and I guess that’s reflected in this album and its qualities. There’s a nod to the past and the influences but it doesn’t overshadow Clive Langer and The Clang Group and what they’ve achieved here.

Staying on the subject of booze, the album ends with a Ray Davies cover of ‘Alcohol,’ and then the album is done. I really enjoyed that. I went in blind, not knowing what to expect, but I ended up being impressed with the songs. So I guess I would recommend you go check this out. If any of the touch points I’ve mentioned here have raised an eyebrow of interest, you won’t regret it.

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Author: Dom Daley

Richard Davies & The Dissidents – ‘High Times And Misdemeanours’ (Gard du Nord Records)

Richard Davies & The Dissidents – ‘High Times And Misdemeanours’ (Gard du Nord Records)

Having seen Richard put in a pretty impressive shift slinging his six strings with Marc Valentine it has been something of a pleasure to have this album on heavy rotation for the past few weeks. It’s the second offering from Richard and this is another step in the right direction offering a gritty real-life view on the world be it through an acoustic guitar or the wheeze of a harmonica or some laid-back telecaster rock n roll its an album filled with twists and turns in a world just off the beaten track where everything polished and sanitised this is real campfire rock n roll with its big beating heart worn proudly on its collective sleeve. from the opening mid-tempo stroll of ‘Keep Your Fire Burning’ it breaks of moonshine Rock n roll with a chorus that digs in and refused to leave until you’ve chased that dragon one more time.

There’s a feeling of yesteryear as the guiding lights of Mott The Hoople and The South of France Stones collide with Thunders and Perrett. ‘Soldiers Of Fortune’ is a marvellously crafted song that’s pumping blood around the speakers with the likes of Thunders whispering melodies into Davies’s ear for inspiration without ever sounding like his heroes in a copycat way but leaning on their rich catalogues for inspiration.

I love the swagger of ‘Human On The Inside’ and the arrangement is excellent as the song soars toward the chorus you feel like you’ve been on a journey with the band and it was the best of times real roots rock n roll. Theres a lot to admire on ‘Born To Drown’ with its subtle keys sounding like a song Stuart and Prophet would have loved to have written in their Green On Red heyday.

‘Born To Drown’ is another unassuming earworm from the melody to the arrangement it’s not at all overcrowded even though there is a lot going on a great tune from what is unquestionably a talented band. ‘Lead Me Out Of The Wilderness’ is more laid back with a hint of Dylan and a great vocal. ‘Age Of The Blade’ is a sharp riff and ‘Higher Station’ has a hint of Americana in there and some great backing vocals to light up the Chorus. The album closes out with the Surprise cover of ‘Live For Today’ and what a pleasant surprise it is too. I always get a little worried when I hear people covering a Stiv Bator song because of the high regard I hold him in but this is spot on. Richard hasn’t tried to copy or mimic note for note rather he’s interpreted and handled it with kid gloves and paid respect to a classic in the interpretation and delivery and to be fair it just about caps off one of the strongest albums I’ve had the pleasure of in quite a while. Great effort all round and an album I highly recommend, While the world might be heading to hell in a handcart it’s reassuring to know that I can have an awesome soundtrack as I go down in flames and ‘High Times And Misdemeanours’ is right at the top of the playlist playing loud and proud. Simple one this – go Buy It!

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Black Eyed Sons – ‘Cowboys In Pinstriped Suits’ (Off Yer Rocka Records)

Black Eyed Sons – ‘Cowboys In Pinstriped Suits’ (Off Yer Rocka Records)

So they finally resolved the name issue and took the moral high and changed to Black Eyed Sons Whatever that means I dunno nor do I care quite frankly) they and we are way to old for squabbling for whatever reason I’m sure a collective mam would have bashed their heads together and told them all to get on with it but I am glad these guys didn’t persevere with The Quireboys title it would have killed them musically before anything could get off the ground but that’s just my opinion and I stayed out of the debate and refused to get drawn into the rights and wrongs of the whole saga all I was hoping for was some great music coming out the other end. Now not wanting to talk about the other band here but I have to admit I really enjoyed the recent album. There I said it, I also avoided any music until the album dropped from Black Eyed Sons and so here I find myself catching up on all the gossip and whats going on in these here grooves on the debut album of ‘Cowboys In Pinstriped Suits’ again not wanting to speculate about what that is all code for if it is indeed that but what I will say from the outset after all this here waffle is I had zero expectations for what this was going to sound like but in an instant I was really impressed by the quality of the songs and after several plays I feel they’ve really hit the bullseye and delivered a stonking rock n roll record.

Something of a Collective of big-time players and some not quite so big time but each and every “guest” has weighed in with a hefty contribution to proceedings from Steve Conte rockin out on ‘Foolin Yourself’ a total barnstorming harmonica Howlin rocker with a huge swagger and some fine guitar playing all round. Making an old format rather exciting I must say. To be fair this record is a celebration of good time rockin’ from seasoned professionals as the album swaggers forth and also has deft touches of emotional balladeering like ‘Autumn Reigns’ excellent flow and use of traditional instruments that punch in and out from the slide to the lap steel its countrified inner city blues for sure.

Treating it as something of a musical rebirth it’s clearly taken on a whole runaway train feel with all the guests but it’s not disjointed at all and like I said the flow is excellent. treating it as a stand-alone new project, Getting Def Leppard’s Joe Elliott alongside Alice Cooper guitarist Ryan Roxie and bass from Chip Z’Nuff is great but the likes of Alan Clayton alongside Steve Conte are the real gems for me turning in a stunner in the shape of ‘Savoir Faire’. Like the most comfortable rock n roll tune you’re likely to hear all year its got everything from the swagger to the musicianship to knock you off your socks its pure prime time Faces rockin up in 2025.

These guys have been playing together for over twenty years so having all the guests isn’t going to cause bruised egos which has helped the flavour of the record and whoever chose these players be it Mike Tramp Or Chips or Alan Clayton they chose rather well and each vocal adds that little sprinkle of magic a record needs to stand out and boy does this record stand out. It’s not the Down ’n’ Outz with Joe Elliott and it’s not the Quireboys mark two it’s more than those and something to stand alone on its own merit.

I even have respect and time for their cover of Johnny Thunders ‘Can’t Put Your Arms Around A Memory’ which they handle well and don’t try to be smart and change it for the sake of change but respect a classic and add another flavour. Hats off to Guy, Paul, Keith, Nick and Pip you guys have delivered a storming set of rock n roll to last the test of time I look forward to hearing it live and whatever you deliver next. Finally, we can all move on in the knowledge that some pretty awesome music has come out of the pain. Buy it.

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Author: Dom Daley

MILLIE MANDERS AND THE SHUTUP – ‘Me Too’

MILLIE MANDERS AND THE SHUTUP – ‘Me Too’

ME TOO // SINGLE & VIDEO – CHOOSE THE BEAR TOUR // SPRING 2025

MILLIE MANDERS AND THE SHUTUP have released their new single Me Too, taken from their acclaimed second album Wake Up, Shut Up, Work. The single is the fourth and final to be taken from the album and comes with an acoustic version on the B-side and an intensely powerful and emotional video directed by Ell Bobin. The release comes ahead of the band’s Choose The Bear Tour in the spring, which includes their biggest headline London show to date at Camden Dingwalls and will raise money for Sexual and Domestic Abuse charities along with a new Angry Ted Plushie bear. The bear will be strictly limited to 500 with £6 from each one being donated to The Survivors Trust, Refuge UK and Beyond The Streets with the aim of raising £1000 for each charity.

Pic: Tina K

The video features members of Ramona’s Tea Party, who supported Millie Manders and The Shutup on their headline UK tour in the autumn of last year, and members of the audience on those shows.

Speaking about the video, Millie says:

“Thank you to Ramona’s Tea Party for the excellent acting and for spending hours on set with us, and especially to Ramona for deeply immersing herself in the moment, making us all emotional. And thank you to the literally hundreds of people across our shows who chose to be filmed for this video. We are so sorry we couldn’t fit more in. It was staggering the number of you who wanted to be involved with this. Thank you so much for watching and for your support.”

Wake Up, Shut Up Work reached #2 in the UK Rock & Metal album chart and #6 in the UK Independent album chart upon its release in August, and is the follow up to their Telling Truths, Breaking Ties debut. The album is available on CD and vinyl from https://linktr.ee/milliemanders and a host of independent record stores alongside all major streaming and download platforms.

CHOOSE THE BEAR TOUR

FEBRUARY

Thu 13 LONDON Camden Dingwalls

Sat 22 LEEDS A Fistful Of Ska

MARCH

Thu 27 BLACKPOOL Bootleg Social

Fri 28 GLASGOW Audio

Sat 29 SCARBOROUGH Punk Festival

Sun 30 YORK Crescent

APRIL

Fri 18 MANCHESTER Punk Festival

Wed 23 MILTON KEYNES Craufurd Arms

Thu 24 ALDERSHOT West End Centre

Fri 25 HITCHIN Club 85

Sat 26 SWANSEA Sin City

MAY

Thu 01 HUDDERSFIELD Parish

Fri 02 BIRKENHEAD Future Yard

Sat 03 LEICESTER Musician

Sun 04 DERBY Hairy Dog

Tickets from www.millie-manders.com and the venues.

Black Viiolet – ‘After You’ (Adrenalin Fix Music)

Black Viiolet – ‘After You’ (Adrenalin Fix Music)

Fair to say, this album likely would not be getting reviewed here if the singer wasn’t Nicole Laurenne from garage rockers The Darts. My connection with Laurenne goes back many years when she was fronting the Love Me Nots whose third album ranks in my top 5 favourite records of all time. The Love Me Nots were also a garage rock band with mod influences and a flair for seductive sounding back-alley songs. While some of the early Darts songs rose from the ashes of the Love Me Nots, there are clear distinctions in the sounds of both bands. There have also been some side projects along the way, but Black Viiolet feels like it has equal standing with the Darts (who will be touring this year, releasing a split 7”, and a best of album called ‘Nightmare Queens. You might have read that here first). So what makes Black Viiolet different? Well, this has been described by Laurenne as torch-triphop, and I think that is a great description.

While the Darts crash down the doors where they play, this is insidious in how it penetrates your soul. The difference is clear in the first song ‘About a Woman’ where the keyboards and beat remind me of something that would perfectly soundtrack a film set in a dark club where the backdrop is dark, the carpet is shaggy, and the film itself is a little grainy. The camera pans in to find a band performing and then slowly goes around the rest of the room showing us a mix of people from glamour to gritty. Laurenne showcases a softer feel in her vocals. This opening song could have been sequenced into ‘Sexplosion!’ by My Life with the Thrill Kill Kult. Slinky bass introduces ‘Yin Yang’ where Laurenne sounds like she is commanding a burlesque show. I was a constant proponent of incorporating horns into some of the Love Me Nots songs, and they work perfectly here. They also have a prominent role in ‘Devil.’ The subtle keys in the mix are brilliant, and I love how the chorus has a surge of energy. I could see this song transformed into a garage rocker as well, but this just feels perfect. ‘Never Know’ has a nice groove and has been a grower on the album for me. My favourite part being near the end when the vocals rise in intensity level.

‘Don’t Leave Me (On the Dancefloor)’ doesn’t connect with me as much as other songs here. The introduction reminds me more of a 70’s era pop song with the main portion sounding more disco-flavored. The vocal work in the bridge provides a nice change even if this isn’t a song I rush to hear again and again. The album then serves up the piano-based ‘Not It’ which hits hard in its subtle musical touches. While the album in general provides Laurenne an opportunity to leave her vocals laid bare with no guitars or Farfisa to hide behind, this song showcases a wonderful emotion-filled voice front and centre. Side one comes to a close with the slinky ‘My Baby Just Cares for Me’ which caterwauls through the room with the horns and keys accentuating the song. The beat is hypnotic with the build-up to the close expertly done.

Flipping the album over, we start act two with the resilient ‘Not About You’ where Laurenne lays her soul bare over another cool rhythm and assures herself and anyone else listening that she is fine. The emotional dichotomy between how we end side one with love and jubilation and the ruins that open side two could not be more different. ‘New Day’ serves as the next morning where the past lays in ruins, but there is a new future laid out ahead. This is another great trip-hop song where the chorus pops out of the speakers with a renewed resolve. A song like ‘Outta My Mind’ is another great example where Laurenne really channels new directions from what she has previously done. The space in the verses to deliver the lyrics with the subtle transition to a chorus where the horns share space perfectly with the vocals. In fact, the horns might be my favourite touch in the song. ‘Stayin In’ feels like a throwback to an old romance movie from the 50’s or 60’s where we see a montage of the couple celebrating their newfound love.

As we begin the home stretch of the record, ‘When You Loved Me’ connects more through the verses than the chorus. This might be one where musically I could see it benefitting more from a garage rock overhaul in the chorus. With that said, I imagine this might be one of those songs that one day clicks for me. Horns and a trip-hop beat introduce ‘Drop’ where Laurenne again shows more flexibility in her vocal approach. This might be my current favourite from the album. I want to call out the great production work by all the producers involved as the album came together across multiple studios. ‘You Can’t Afford Me’ ends the album on another highlight and closes out the cinematic feel showcasing a performer as the burning epicentre of the club reminding everyone that she is always just out of reach.

For those that love the Darts and Love Me Nots, I anticipate you checking out this album already. If you want an album to get you pumped up in the morning, this would not be that album (cue Frankie and the Studs instead). When your day wraps though and you need to decompress, pour a glass of your favorite drink and drop the needle on this record. There have been Black Viiolet tours as well which I would also definitely recommend if you can go. With a back catalogue of awesome albums, ‘After You’ provides another one to be savoured in a whole other musical world.

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MC 16 – ‘Machine Code’ (Neverlution Records)

MC 16 – ‘Machine Code’ (Neverlution Records)

Following several mini albums and a plethora of festival slots MC 16 decided to step up and finally release this debut album so here it is, Ten Sonic bombs dropped through your stereo speakers with skill and controlled aggression and from the opening song ‘Shoot Em Up’ with its pacey attack you are left in no confusion that these three are here to leave nothing behind and give your senses a good kicking. Taking five years to shape to their liking it’s at times a monster canine barking and drooling over your stereo like ‘One From Another’ with its barely subdued attack poking your cranium before the spikey ‘Ground Control’ loses control with a thumping Bassline and whip snap guitar riff being swung around like a rabid dog straining at the leash. Fantastic sound they really captured the mood and barking out the lyrics is the icing on the cake, most excellent stuff.

Having Dave Draper at the controls is a great move because he understands this style and gives it a hefty pair of boots to stomp around in. ‘Can’t Get No Fun’ is a slice of real life on any street with spit and love in equal measures. With songs that resonate with topics from The Anniversary of the Miner’s Strike to data Paranoia and modern warfare it’s not a light-hearted album by any stretch but don’t let that put you off the bark on these gentlemen is absolutely spot on and they gauge the tone of many perfectly well.

‘Tourist’ is shooting from The Clash and Ruts DC territory and that’s handled perfectly as not enough bands are treading that path with this much conviction and style. MC 16 are killing it and the five-year wait is perfectly justified ‘Polytechnic’ asks questions whereas ‘Bricks And Martyrs’ is a thumping no-holds-barred rocker, the guitars cut through the rhythm section and provides one of the album’s highlights. I wear my “still hate Thatcher” badge with pride and felt like knocking up a placard or two when Workers 40′ raged through my stereo – “Up The Workers” indeed. There the album finishes on a massive high and what a high to finish on. I highly recommend you check this album out its a Banger!

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Author: Dom Daley

THE WiLDHEARTS – ‘Troubadour Moon’

THE WiLDHEARTS – ‘Troubadour Moon’

‘Satanic Rites of The Wildhearts’ 

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Headline UK Tour, March 2025

TheWildhearts.lnk.to/SROTW

The Wildhearts release new single / video, ‘Troubadour Moon’, from their forthcoming studio album, ‘Satanic Rites of The Wildhearts’, out on March 7thvia Snakefarm. 

“I was reading an interview with a well-known musician recently, and he was talking about how there aren’t any troubadours anymore – people who play music purely for the love of it. I thought it was an interesting observation, so I’ve addressed it here, along with the idea of being yourself and not being swayed by trend or fashion, by the latest thing. If you allow that to happen, there’s the danger that you’ll always be one step behind or in someone else’s shadow…” – Ginger Wildheart 

“With the new ‘Satanic Rites…’ album reflecting both the spirit and the energy of the classic ‘Earth vs…’ debut, both musically and visually, it made sense for the video for ‘Troubadour Moon’ to contain a host of references – some very subtle and obscure – to the glorious early days of the band. Plus, acknowledging the past in this way will hopefully put a smile on the faces of longstanding fans, and underline the fact that those creating the videos, the artwork and the photos, all of the imagery, are true fans of the band with a passion for detail. And if anyone knows why there’s a blink-and-you’ll-miss-it nod to former Newcastle manager Kevin Keegan in the clip, then you really are a serious fan! Please take a bow!” – Dante Bonutto, Snakefarm

To purchase / stream ‘Troubadour Moon’ go to: https://thewildhearts.lnk.to/TroubadourMoon

The creatively brilliant Ginger Wildheart is arguably amongst the UK’s best and most prolific songwriters, and his band, The Wildhearts, recently signed a worldwide deal with Snakefarm / Integral. 

“The songs on ‘Satanic Rites…’ were written during a period of transition, from extremely negative to positive,” reflects Ginger. “I realised how much control I have over my mental health, and the songs came from that understanding. There’s everything here – catchy choruses, proper fuck-off riffs, anger, frustration, acceptance and revelation, with plenty of insane detours. The album starts pessimistic then ends up like ‘Ah, so I CAN turn my life around?’ It’s a hard rock album for people who love hard rock!” 

‘Satanic Rites of The Wildhearts’, their 11th studio album, was produced by Jim Pinder (Bring Me The Horizon, While She Sleeps, Bullet For My Valentine) and mixed by Jim Pinder & Carl Bown (Trivium, Machine Head, Bring Me The Horizon, While She Sleeps, Bullet For My Valentine), and the record is conceived as a belated follow-up to their classic debut, ‘Earth vs The Wildhearts’ (1993).

Along with the singles, ‘Failure Is The Mother Of Success’ and ‘Troubadour Moon’, the album features a further eight tracks, including glam stomper ‘I’ll Be Your Monster’ (featuring Shining / Emperor member Jørgen Munkeby on guest saxophone).

To pre-order / pre save ‘Satanic Rites of The Wildhearts’ go to: TheWildhearts.lnk.to/SROTW 

‘Satanic Rites of The Wildhearts’ will be available on coloured vinyl LP, CD (with exclusive bonus track) and cassette. The LP & CD formats contain lyrics hand-written by Ginger, a painting by Ginger, plus other Ginger-related graphics.

To celebrate this release, The Wildhearts will be undertaking four in stores and playing eight headline UK shows in March, starting on March 7that the Leadmill in Sheffield and concluding on March 16th at the 1865 in Southampton. 

“We’ll be taking a full evening’s entertainment on tour, kicking off with party-punks Dirt Box Disco, going to rock ‘n’ roll church with Jim Jones, then being flayed alive with The Wildhearts. The party starts when the doors open, so get a buzz on and get down early. Come join the Wildhearts’ community gathering. We guarantee you’ll leave with the spirit of rock ‘n’ roll firmly restored” – Ginger Wildheart

For three decades, The Wildhearts have remained at the forefront of the UK rock scene, and their incendiary live shows have cemented their reputation and legacy as one of the best band’s their homeland has produced, so miss these shows at your peril.

The Wildhearts dates in full 

March in stores 

8th Relevant Records – Cambridge – Live acoustic performance and signing

9th HMV Manchester – Live Acoustic Performance and signing

10th Liverpool – Jacaranda – Acoustic performance and signing

12th HMV Newcastle – Signing

The Wildhearts UK Tour, March 2025

07thLeadmill, Sheffield

08th  Junction, Cambridge

09th  O2 Ritz, Manchester

11th  Epic, Norwich

13th  Garage, Glasgow

14th  KK’s Steel Mill, Wolverhampton

15th  Rock City, Nottingham

16th  1865, Southampton

May

04th Bonfest, Kirriemuir, Scotland 

07th  Wolf, Barcelona, Spain

08th Loco Club, Valencia, Spain

09th Nazca, Madrid, Spain

10th Psilocybenea, Hondarribia, Spain

24th The Big Yard Party, Old Woollen, Leeds

July 

07th Time To Rock Festival, Knislinge, Sweden

25th Steelhouse Festival, Ebbw Vale, Wales

Tickets for the UK tour (7th March – 16th March)  can be ordered here: https://www.gigantic.com/enter-code?c=9BC111E6-FDCB-4B8C-AAE3-94BA07CF575D

http://www.thewildhearts.com/

https://www.facebook.com/TheWildhearts

Episode 56 – The Podcast – Goodbye Ed

Episode 56 – The Podcast – Goodbye Ed

Eddie Garritys Slaughter opens the show with ‘Hell In New York’ which is a fitting tribute to a very popular singer. Taken from the ‘Bite Back’ LP Ed will be missed by family and friends and it’s a privilege to play the song Rest In Peace Ed.

Starting Early outta Arlington USA offers some Alternative rock action with their new single ‘Do As I Do’. One of the best bands currently hitting the stages in the UK has to be Split Dogs who have a new album due for release next month and a brand new single ahead of their Venn Records release so here’s ‘Lafayette’.

We’re going in early with our cover this week and the Ratchets do a rather interesting take on Depeche Modes ‘Policy Of Truth’ from the ‘Under The Covers’ album (pirates Press) which is a rather diverse bunch of covers to say the least with Tom Robinson, Cock Sparrer being just a few of the songs to tickle your fancy.

Dharma Guns are back with a new single. This time they’ve brought ‘The Vipers’ with them with its excellent guitar lick and addictive tune.

The second instalment of our three-from-one connections this week is three of the four members of The Heartbreakers starting with a Johnny Thunders Demo of ‘Subway Train’ that came out a few years ago on Remarkable records which features The Damneds Paul Gray. Then it is the turn of Jerry Nolan & The Profilers and a track from his 1990s recordings with Greg Allen alongside Jerry and ”Chicago Vin” Earnshaw of the Delinquents. The recording were curtailed by the passing of Jerry. Then the final offering is a classic Walter Lure song from The Waldos album ‘Rent Party’ and my favourite track ‘Sorry’ sadly Walter has also passed away over four years ago. such a talented band who deserved so much more but a massive influence individually and collectively on so many.

Lords Of The New Church are up next but two very different incarnations of the band. Firstly ‘Young Don’t Cry’ which was previously unreleased until it appeared on a compilation album and more recently another USA comp on gutterwail Records. Always a pleasure to play some Lords. Then we follow it up with a track off the ‘Hang On’ album that was sold on the band’s 2003 tour dates under the name The Lords. Let’s not argue over the name but revel in the majestic tone of Brian’s guitar as he slashes out ‘Heaven Stepped Down’.

How about an exclusive track off the brand new Evil EP we air ‘Romulan Death Stomp’ from the EP which also has a rather tasty cover of ‘Cough/Cool’ by the Misfits details are scarce at the moment but there will be a sales page but until then go bug Nathan and he’ll send you the details to purchase a copy on Cassette for just your £7.50 in UK money plus postage but don’t sleep on it or they’ll be gone.

Mike Peters has a new single out which we think is under The Alarm banner (no arguing please) called ‘Chimera’ as he tackles Cancer at the Christie in Manchester. We dedicated three songs last week to Mike and his family and want to reiterate our admiration for the guy and send him all the PMA we have at this pivotal time and look forward to his recovery and posting the best news possible. We’d also like to extend our warmest wishes to his family at this tough time for them as well he’s got this Cancer didn’t see Mike Peters coming either.

Another new track this week is that from Ricky Warwick and ‘The Crickets Stayed In Clovis’ taken from his forthcoming album ‘Bloodties’ due soon on earache Records.

Guitar Wolf announced a tour of Australia so what better than to blast out a track from the legends so ‘Can Nana’.

We turn it up a bit with sludgy alt-rockers Pigs, pigs, pigs, pigs, pigs, pigs pigs and their Sabbath-heavy riff-a-rama that is ‘Death Hilarious’. The Phantom Chords featured three members of The Damned and had one class album that got a reissue a few years back and also recorded another LP that didn’t see the light of day so why not spin ‘Someone Up There’.

A fantastic UK band The Speedways recently opened for Billie Joe Armstrong and his Cover Ups on their whistle-stop show in London. I might be correct in saying it was also the bands new guitarist’s introduction as well which would be super cool. what a debut that is. The band did a digital-only live album ‘Sunday Will Never Be The Same – Live Radio Broadcast WFMU – “The Todd O Phonic Todd Show”‘ and on it was the fantastic ‘Just Another Regular Summer’.

Another UK power pop punk rock beat combo that we absolutely love here at RPM is Cyanide Pills. The band have a split EP coming out to coincide with their European tour. It’s on Damaged Goods Records and will be a very limited run so don’t hesitate to order a copy because it won’t be available digitally.  ‘Falling For You’ which is a leftover unreleased track recorded for their debut album back in 2010 Plus ‘I Don’t Wanna Dance’ which was recorded at the same time as their most recent album ‘Soundtrack To The New Cold War‘. Snooze and you’ll lose and to whet your appetite we play ‘Falling For You’.

Wrapping up another action-packed show we bring you the fantastic Trash Bags and their track ‘Trash’. Such a great debut from these New York punk n rollers seems like a great way to end the show.

Gyasi – ‘Here Comes The Good Part’ (Alive Records)

Gyasi – ‘Here Comes The Good Part’ (Alive Records)

Do you remember a time when music fans adorned their bedroom walls with posters of their heroes? Larger-than-life rock stars who seemed untouchable to a wide-eyed teen? Gyasi does. The West Virginia born and raised singer channelled those very same idols: Bowie, Bolan and Zep to the max on his debut album ‘Pronounced Jah-See’ back in 2022, unapologetically wearing his influences on his satin sleeves for all to see. We here at RPM fell for him, hook, line and sinker.

Now he follows up last year’s killer live opus ‘Rock n’ Roll Sword Fight’ with his sophomore studio album ‘Here Comes The Good Part. So, let’s dip right in and see if Gyasi hits the spot second time around.

Opener ‘Sweet Thing’ sets the scene with a Ziggy stomp and a laid back, bluesy Black Keys like groove. The instant hook of a chorus makes a b-line for your brain and Gyasi is well and truly back in business with a sure-fire anthem of self-expression.

The thing I dig about Gyasi is his ability to mix up the sound of his influences to great effect. 70’s glam rock is the order of the day, add to that a smattering of west coast 60’s psychedelia and a shot of Brit Pop for good measure, and we’ve got a good thing going. This is evident on the swaggering ‘Lightening’ and the more bluesy, high-energy stomp of ‘She Says’.

‘Snake City’ has cool dynamics and a stomper of a chorus, ‘Cheap High’ is high octane rock n’ roll done just right. A sleazy, low-slung Aerosmith riff and a cocksure demeanor makes it an early album standout. As is previous single ‘Baby Blue, a shameless T Rex stomp with a chorus to die for. Yes, you know exactly where he’s pilfered it from as much as I do, but fuck me, what a tune!

Some might say there’s blatant Bowie plagiarism going on here. Yes, that arpeggiated riff to ‘Sweet Thing’ certainly carries a passing resemblance to ‘Ziggy Stardust’, ‘American Dream’ with its regimental snare beat, acoustic guitar and sexy sax has a ‘Lady Stardust’ feel to it and stunning CD only bonus cut ‘Apple Tree’ is Gyasi’s ‘Oh! You Pretty Things’. But surely, he’s just embracing his influences, and it never hurt Noel Gallagher, right?

The piano led ‘23’ sees our sequin-suited hero banging to the beat of a different drum. With its laid-back, sexy sax accompaniment and dreamy vibes, its veering towards 80’s new age pop in a good way, hints of Roxy Music come to find here. And then album closer ‘Grand Finale’ comes on like some glam rock musical reprise. Picked acoustic chords, soaring strings and a self-assured vocal performance build with cleverly produced drums to give that authentic 70’s analogue feel.

With just the right amount of sleazy riffs & power chords, a good dose of lipstick & glitter and enough dirt under the fingernails, ‘Here Comes The Good Part’ straddles Bowie in his Hunky Dory/Ziggy Stardust years, it embraces Marc Bolan between ‘Electric Warrior’ and ‘The Slider’ and brings us right up to date for the kids by digging the sounds of Jack White and The Black Keys. It would all be so laughable and throwaway if the songs weren’t up to scratch, but guess what? The songs are good, they are very good.

I’ll tell you one thing for sure, if I was a wide-eyed teen discovering rock n’ roll right now, I’d proudly have Gyasi’s poster on my bedroom wall and this sophomore-long player would be blasting from the speakers day and night.

An eagerly anticipated album from a rising star, and an essential purchase for 2025. Get it on, pre-ordered and demand a UK tour quick sharpish.

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Author: Ben Hughes