Interrobang? – ‘Rethink Everything’ (FOAD Musick)

Interrobang? – ‘Rethink Everything’ (FOAD Musick)

Dunsten Bruces Interrorbang? are like marmite, some people love ’em, and some simply don’t, there can be no in between, or can there? Album number two is unleashed upon the world in 2026, and this messed-up-on-fire planet probably deserves a head fuck of a record right now to properly reflect what the hell is going on.

Featuring Dunstan Bruce, formerly of Chumbawamba, and Griff, formerly of the band Regular Fries, Interrobang haven’t just made a new record, they’ve basically rewired the engine and fundamentally rethought how urgency sounds.

This record marks a decisive move away from their previous guitar-led confrontational sound. It’s a reinvention of sorts toward something more rhythmic and propulsive. At the heart of that shift is Griff, whose full embrace of synths, samplers, loops and electronic production has reshaped Interrobang into something groovier, more unmistakably dance-driven. A fine example is the single ‘Manosphere’ and the headfuckin begins.

Dive in and get head fucked by punk rock, but not as we know it, right? right! Off you, jolly well, fuck Dunstan says. Ten years in the making, it sounds complex and all over the place, dipping in here, there and everywhere and spending an hour in the head of Dunsten and Griff its like Carter on steroids but not such a leap from the previous album just different I’m not even sure how this would work live but in the safety of my house on loud it is impressive agit synth pop with chopping guitars weighing in in spaces.

Songs like ‘My Name Is’ sounds retro and very dance club retro, whilst ‘Unorthodox’ has a danceable twitch with a Bowie-like guitar lick. ‘Defiance’ sounds like it could have been paired with the Disposable Heroes of Hiphopricy.

I’m not gonna lie and say I love it because there are songs that just pass me by, but there are moments I sit up and take notice, like the acoustic string-laden ‘Broken Heart’. I’d say if you’re looking for guitar adjit punk rock, then you might want to expand your mind and prepare for a palate cleanser, but maybe over time you will grow to love this direction and the soundscapes on offer.

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Author: Dom Daley

Cyanide Pills to release Double Album

Cyanide Pills to release Double Album

On gatefold sleeve, double colour vinyl or one shiny CD!

Thirty-three tracks! Rounding up all the band’s 7” single releases to date! That’s all their A- and B-sides!

Includes two soon-to-be-released singles, one which will appear as a free 7” with the next issue of SAFETY PIN MAGAZINE, and the other as a very limited-edition lathe cut 7”.

To excite/annoy completists, there will be a third (standard) 7” released at the same time, featuring an A and B-side that don’t appear here.

Cyanide Pills released their first 7” single, Break It Up’, in 2009, following it up with a further 14 fab 45s, the most recent being a split single with Switzerland’s Nasty Rumours early last year. Most of these releases featured exclusive non-album B-sides, which we’ve rounded up for Singled Out. Good to have them in one place, innit! All tracks were recorded at the Billiard Room in Leeds with producer Carl “Razorblade” Rosamond.

“Influences? Hmm, well, we don’t just listen to punk rock, neither did the early bands because there wasn’t any,” said lead singer Phil speaking with Vive le Rock magazine in 2023. “We like the usual suspects, obviously, our favourites are the Belgian band The Kids, X-Ray Spex and Buzzcocks. We like Satan’s Rats, The Tours, Knots, The Fingers, Panic, Kleenex, Crime, The Terrorways, Victims, Wipers, The Briefs, The Spits, The Plugz, Bad Nerves, Nasty Rumours, stuff like that, loads of stuff, Syd Barrett, The Kinks, MC5, Stooges, Bowie, Ruben and the Jets, Kim Fowley, John Lee Hooker, Howlin’ Wolf. The list goes on and on and on.”

We asked Phil a few questions to tie-in with the release of Singled Out…

All these tracks were recorded with Carl Rosamond as producer. What do you like about working with him?

 Mr Razorblade is a local legend around these parts. When we first went into his place we wanted to capture what we sounded like in the rehearsal room or live. He did more than that, he made us sound like a proper band. I don’t know what knobs he’s twiddling but it sure works! We are great friends and we wouldn’t work with anyone else.

What are your favourite A- and B-side tracks from this compilation and why?

For me, favourite B-sides are ‘Stick ‘em Up’ because it has the late great Jock on lead guitar, it’s our nod to glam rock. Also ‘Lock-up’. It was tradition back in the day for snotty punk bands to show their appreciation for reggae and dub by having a go themselves however crap it may be, this was our attempt.

A-sides, I like them all, maybe ‘Suicide Bomber’ because it’s becoming hard to find, I’ve heard that copies can change hands for over £8 these days! The new singles are pretty good too. 

Over the years, you’ve toured the world. What’s been your strangest gig? And what is your favourite venue to play?

Yes, we were lucky enough to meet Paul, who took us out on the road and with the help of Sandra, our booking agent, we have played in some amazing places. Highlight would be Heligoland, a small island in the North Sea, (look it up) two long boat rides away, the last boat was full of drunken punks, Conor turned green with sea sickness, bless him.

Also, a place we played just off Hollywood Boulevard called Madame Siam, I think it was once a nineteenth-century opium den. Our favourite haunts are Wild at Heart in Berlin and Freakshow in Essen, both incredible punk rock clubs. All the places we have played have been great, our tours have been eventful, and it’s been an adventure. 

How would you describe the other members of Cyanide Pills?

 Adorable! Ha, I’m not falling for that.

We asked the band members to nominate their favourite single…

Sy – ‘Waiting (For You To Call Me)’ because I’m a sucker for power-pop songs with a catchy chorus.

Chris – ‘Break it Up’ is my favourite single because it was the first one, and getting a 7” out on Damaged Goods was a big step up from playing at Batley Frontier Club. I think we put two songs on the B-side because we thought it might be our only release.

TOUR DATES 2026

1st May – Prince Albert, Brighton (with Quick Romance + Indignation Meeting)

2nd May – Punks Against Cancer @ Hairy Dog, Derby (with Skids + loads more!)

3rd May – Wharf Chambers, Leeds

20th May – Sonic Ballroom, Köln, GERMANY

21st May – Hafenklang, Hamburg, GERMANY

22nd May – Wild At Heart, Berlin, GERMANY

23rd May – Freakshow, Essen, GERMANY

7th November – Louisiana, Bristol (w/ The Briefs + Quick Romance)

8th November – Cons Club, Lewes, (w/ The Briefs + Quick Romance)

13th November – Ivory Blacks, Glasgow (w/ The Briefs)

14th November – Styx, Glenrothes (w/ The Briefs)

15th November – Morecambe Punk Festival

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Grail Guard – ‘Still No Future’ (TNS Records)

Grail Guard – ‘Still No Future’ (TNS Records)

Coventry has delivered some of the UK music scene titans in the past, such as The Specials and the whole 2 Tone movement, championing multiculturalism and the best of what we have to offer in the 70s. but there’s been a great gap and whilst its hard to whip up anything groundbreaking these days I never get let down with how damn good some albums are and how passionate some bands are about what they do and how they deliver it, Grail Guards ‘Still No Future’ a response to Rottens blank expression some fifty years ago this gives me goosebumps just how good an album this is, and how passionate they come across in the delivery of a tried and tested theme.

It’s hardcore played fast, loud and without any fuckin’ about or trying to be clever. Right from the off, ‘People Just Like You’ sets the tone. It’s like Argy Bargy with a fuckin’ migraine and a microphone, and they are about to speak their mind with direct delivery, and good on ’em. Right, strap yerselves in, this might get spikey.

‘Our Streets’ takes the Chisel meets Bob Vylan down a very dark alley and roughs them up into a riff-tastic home truth. Stay away from politics, I get told don’t mix politics and music, they say, but sometimes you have to make a stand and let it be known what side of the fence you are on, and I’m right on the side Grail Guard are on and hoisting them up. The lyrics might not be suitable for TOTP or BBC radio, but on my stereo, they are loud and proud. It’s awful that in 2026 there are still dinosaurs living in the dark ages and can’t get with the programme, we’re all equal, we are born, live a life and die. Prejudice and fascism shouldn’t be tolerated here, or anywhere and bands like Grail Guard feel compelled to sing songs like this is a great shame, but boy do they hit the nail on the head, fuckin awesome.

It doesn’t stop there, mind, and I can try and write witty quips, but I can’t sleep either when this is on my headphones at night. This is challenging music, it’s in your face and snarling like a rabid dog, and they absolutely hit the nail on the head with the style and delivery. This is a beast by any standard.

Over the ten tracks, the album ebbs and flows through various stages of anger and fury, and everything in between. The playing is spot on ‘Still Fucked Up’ is not a ballad, nor is it a gentle prod in the temple. It’s a boot to the temple and a piledriver to the throat. Inhale sharply because the thumping kick drum of ‘Anxieties’ is up next. The breakdown is immense, and the gang sing-along was unexpected but wholeheartedly endorsed.

With 2026 marking 50 years of UK punk, ‘Still No Future’ draws a stark and deliberate line between the 1970s and today. The Sex Pistols shouted “No Future” in 1977, and with this album, Grail Guard scream there is ‘STILL NO FUTURE’ (heartbreaking, isn’t it?) as many are facing the same traumatic experiences as those of the last fifty years. Holding a mirror up to society, Grail Guard deliver the goods and a message we fully endorse get angry, be angry, don’t normalise the bad guys and never make excuses for racism, prejudice, and hate. Stand up and endorse Grail Guard, they mean it, man. Buy this album!

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Author: Dom Daley

Uni Boys – ‘Uni Boys’ (Curation Records)

Uni Boys – ‘Uni Boys’ (Curation Records)

The eponymous new album from Californian power pop four-piece Uni Boys is their third for Curation Records and a step up sonically for the band. Formed in high school by chief songwriters Noah Nash and Reza Matin, the band self-released a couple of albums before signing to Curation for their third long player, ‘Do It All Next Week’ and the following ‘Buy This Now!’, which gained attention with the production work of The Lemon Twigs duo Brian & Michael D’Addario.

This time, roping in Lemon Twigs knob twiddler Paul D. Millar, The Uni Boys recorded live to tape in analogue like the old cats did it, and the product of those 2-week sessions is this wonderful 12-track album.

If jangly guitars, multi-layered vocals and sugary sweet melodies are your thing, then Uni Boys have something for you. Lead single ‘I Don’t Wanna Dream Anymore’ is a great starting point for the uninitiated. Killer ’70s-inspired power pop perfection, with a great hook you’ll swear you’ve heard before. Millar’s vocal drawl and the instrumental dynamics bring to mind The Knack, not for the first time and surely not the last.

Album opener ‘Victim Of Myself’ with its infectious bubblegum melodies is Redd Kross on helium, ditto ‘Want You Back’. Elsewhere, the fantastic ‘You’ll Curse His Name Again’ is the epitome of ‘Beatlesque’. Do you catch the theme going on here? It’s all pretty upbeat, it’s all pretty catchy, and every song is a potential single.

The D’Addario brothers’ influence comes through on the likes of the quirky ‘Maybe I’m Wrong’ with its bouncy bassline and sugary sweet chorus, it’s a definite stand out track, and latest single ‘Your So (Phisticated)’ could be the greatest power pop song of recent times, and if not, it’s certainly got the best title! Those layered harmonies are so lush, you’ll be singing that chorus the second time round, and believe me, it won’t leave your brain anytime soon. Silver Sun, anyone? If you know, you know.

Everything about this album reeks of retro 70’s from the album art, the band’s fashion sense, and on to the simple girl meets boy lyrics to the crisp and simple production. I love everything about this record.

They take things down momentarily on a couple of occasions. The emotive ‘Abra’ is sorta dreamy shoegaze pop meets Cheap Trick. The layered backing vocal shines through, and the sublime key change takes it to another place entirely.  The quirky jangle of ‘Genevieve’ sounds like the Lemon Twigs had their way with it, and closer ‘Without A Broken Heart’ inches into Elvis Costello territory to nicely round things off in style.

Uni Boys make uncomplicated, upbeat and catchy power pop music like the last 40 years never existed, and make no apologies for being stuck in a bygone era when things seemed so much….better. This self-titled album is full of memorable hooks, retro throwback vibes and enough goodness for everybody. A step up from previous releases, in this genre, not many bands come close.

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Author: Ben Hughes

Balaam And The Angel – Love Death Wealth Water & tour dates

Balaam And The Angel – Love Death Wealth Water & tour dates

Enduring alt-rockers Balaam And The Angel unleash a new 4-track EP – “Love Death Wealth Water” – alongside a series of single release shows and 40th Anniversary Tour

Pre-order the limited coloured 12” vinyl HERE:

The band continue their widely acknowledged return to form with another striking collection of powerfully dark and atmospheric tracks and embraces their musical legacy with an autumn tour to celebrate 40 years since the release of the classic “The Greatest Story Ever Told” album.   

On Friday, 1st May, Balaam And The Angel will release the ‘Love Death Wealth Water’ EP, a collection of 4 songs recorded as a follow-up to the enthusiastically received 2024 ‘Forces Of Evil’EP, which was the band’s first release of new material in over 30 years.

On that day, the new EP will be available to stream and download on all regular digital platforms.

In addition, a very limited-edition vinyl 4-track 12-inch single will be available on the band’s recently created Darklands Recordings label (Darklands being one of the tracks that appeared on their very first 1984 EP). Copies of the vinyl can be pre-ordered HERE:

Production of the record saw the band return to Oxygene studios in Manchester to record with Christoph Bride (who has recently worked on albums by The Chameleons and Kirk Brandon/Theatre Of Hate/ Spear Of Destiny). Reviews of the previous collaboration (“Forces Of Evil” EP – Oct 2024) were universally positive, making the return to Oxygene an obvious option for the band.   

The sound of the new record is a deliberate attempt to blend the ambience of the band’s darker past with the punchier edge of their later albums alongside some of the most interesting and exciting new approaches to songwriting and recording.

The four tracks on the EP cover a range of lyrical content from some of the band’s more common themes about how we navigate our daily lives and friendships alongside some more provocative themes such as the perception of poverty and the threat of online hacking, scamming and extortion to our daily lives and basic necessities.

“We were very pleased with the response to the “Forces Of Evil” EP and the clear appetite of the alternative rock audience in the UK to embrace our new songs. As a result, we went into the studio this time with a renewed sense of confidence that we were creating the type of energised and atmospheric rock that could resonate with current music fans. The desire to improve upon the previous EP did present us with a challenge, which we were keen to embrace through an elevated attention to detail in the recording process as well as a curiosity to embrace some more contemporary sounds and techniques,” says guitarist Jim Morris.

The band are keen to encourage audiences to search for and listen to the new material on streaming platforms or digital downloads, so will not be preceding the release with a video at this time.

They will, however, support the release of the EP and passionate audience response to their previous live work (sold out Kindred Spirits Day Fest show in London, support dates with Fields Of The Nephilim, a very positively received performance at Tomorrows Ghosts Festival) with a further series of dates across the UK.

Balaam And The Angel are one of the very few bands of their era who can still claim to have maintained their original line-up and, as a result, guarantee their audiences an authentic 80’s alternative live music experience. 

“Love Death Wealth Water” EP track listing:

  1. Wealth
  2. Fear Of Poison Water
  3. You Are Dead To Me
  4. Love Me Too

Pre-order the 12” vinyl HERE

Catch Balaam And The Angel playing tracks from “Love Death Wealth Water” EP live at the following dates:

Sat 9th May: Woking, Fiery Bird

Sun 10th May: Brighton, Concorde 2 – Kindred Spirits Day Fest

Fri 9th July: York, The Fulford Arms

Sat 10th July: Edinburgh, La Belle Angele – Deadinburgh Festival.

Ticket links for all shows can be found via the band’s website: www.balaamandtheangel.co.uk

“The Greatest Story Ever Told” 40th Anniversary Tour:

In August 1986, “The Greatest Story Ever Told” was released on Virgin Records. The album achieved a chart position of 67 in the UK and went on to be released worldwide throughout 1987. “She Knows”, one of three singles taken from the album, charted in the top 75 (peaking at 70), and the period saw Balaam And The Angel headlining shows at UK concert venues like The Town And Country Club, London (now The Forum Kentish Town) and embark upon tours of the USA, Japan and various European countries.

Tracks from the album have become firm live favourites, prompting the band to feel that it would be fitting to mark the album’s anniversary with a carefully curated UK tour during which they will play the album in its entirety.

“Through the years, we have come to appreciate the fact that “The Greatest Story Ever Told” album was a record that represented a very important part of the alternative rock scene in the mid-80s and was a body of work that connected with audiences across the world in a very deep and significant way. For many, it was the soundtrack behind the rights of passage that formed their individual views of life and, from the feedback we get, is still an album that they return to alongside other classics from that period. We are keen to be seen to be moving forward with new material, but think there is a clear responsibility on us to mark the anniversary of this release with some live performances,” said singer Mark Morris

Hear “The Greatest Story Ever Told” on the following dates:

November:

Friday 20th – Leeds, Warehouse

Friday 27th – London, Bush Hall

Saturday 28th – Birmingham, 02 Institute2

More dates to be announced over the coming weeks….

Balaam And The Angel are:

Mark Morris – bass/vocals

Jim Morris – guitar/keyboards

Des Morris – drums

Annihilator – ‘Criteria For A Black Widow’/’Carnival Diablos’ (Earmusic)

Annihilator – ‘Criteria For A Black Widow’/’Carnival Diablos’ (Earmusic)

The back catalogue of influential Canadian thrashers Annihilator continues to get a fresh lick of paint, courtesy of earMUSIC. By the late ‘90s, Annihilator main man Jeff Waters had decided to get back to the band’s thrash roots. This resulted in the reunion of original frontman Randy Rampage, and drummer Ray Hartmann. Alongside guitarist Dave Davis, the band delivered the goods with the album ‘Criteria For A Black Widow’ in 1999.

There are some great moments on CFABW, the opening track, ‘Bloodbath’ is peak Annihilator, crunchy riffs, stabbing drums, “THAT” guitar tone, and Rampage spitting and snarling his way through the lyrics. Brilliant stuff.

‘Back to the Palace’ nods to the Alice in Hell and Never Neverland albums. At a time when most metal bands were questioning their existence with the rise of nu metal, Annihilator were forging ahead with their true calling. ‘Nothing Left’ is another full-on thrasher with an amazing performance from Ray Hartmann, he was always one of my favourite thrash drummers. Superb.

The title track is another high point of the album, technical, moody, with more superb performances from a band that’s as tight as it gets. We get some bonus tracks of early demos that are interesting. A must-have in your Annihilator collection.

The band’s momentum carried them into 2001 with the release of Carnival Diablos. This time, we get ex-Overkill vocalist Joe Comeau taking over frontman duties. Hartmann and Davis resume their roles, and we get another solid album in the Annihilator discography. The opening track ‘Denied’ gives us an instant insight into the quality of the material. ‘Comeau’ sounds great, it’s a shame he was just another member in the constant revolving doors at Annihilator HQ. Battered is another full-on thrasher, Jeff Waters should be way more revered than he is. Annihilator are a very important band in the thrash metal story, and their legacy should be cherished.

‘Carnival Diablos’ is solid from start to finish. World-class musicianship and well-crafted songs that remain comfortably in their genre. Waters should be talked about in the same conversations about Eddie Van Halen, Randy Rhoads, et al. It’s a travesty that he’s not a household name. Just ask Dave Mustaine what he thinks of Water’s talent.

We get some extra live tracks and a hidden track in a well put together package. Get these albums and remind yourself just how good Annihilator is.

Criteria For A Black Window Here

Carnival Diablos Here

Author: Kenny Kendrick

Honey Juice -‘Lend Me a Feeling’ (Helvis Elvis Keksis Records)

Honey Juice -‘Lend Me a Feeling’ (Helvis Elvis Keksis Records)

Sometimes, a band name really gives someone no idea what their musical approach will be. Honey Juice popped up in my YouTube feed when the video for their song ’Panic’ was released. I was curious, so I clicked on the link and immediately wanted to hear more from this new band. They just released their debut EP, which doesn’t waste a second across its 14 minutes. While the band appears to be based in Finland, three of the five members came from outside Finland. Their musical direction creates an interesting musical blend that deserves a listen.

On the band’s website, a couple of the musical influences the band lists are the drums of Megadeth and Paramore. I cannot say I have ever listened to Paramore, so my musical comparisons will be different. They launch with the highly melodic ’22 Again.’ This is most definitely not Life of Agony’s ‘Lost at 22.’ This has more of a modern rock feel, where the music opens up for the chorus. The guitar riff pops up in the mix where needed to propel the song. It provides an energetic start to the release. Up next is ‘Panic’, which again was my first exposure to the band. The band serves up a melodic verse with beautiful vocals before the chorus explodes with a visceral scream that comes out of nowhere. The song has a lot of musical elements going on in the mix, which are awesome, but each time that scream comes into the song, it makes it even better. This will be high on my favourite songs of 2026 list.

It would take an ‘Insane Amount of Energy’ to follow up ‘Panic,’ but that is exactly what the next song is called. I am reminded of Yours Truly from Australia here. Another band that has come to mind is recent Gunship and their song ‘Monster in Paradise’, where Milkie Way from Wargasm guested on the song. ‘Go Daddy’ brings something different with the lead vocals reminding me a bit of ‘Nurse’ or Troublegum’ era Therapy? with a hint of Senser. This song flies by way too quickly. There is a scream buried in the mix which pops out with repeated listens. Closing out the EP, ‘Blue Moon Ride’ provides a melodic blast of brilliance which should be a hit single.

Honey Juice should find a large audience with the right exposure, as all five songs on here are winners for me. I have put this on repeat several times this week and keep picking out new things in the songs. My biggest complaint is how fast it is all over. It feels a bit like back when a new Wildhearts’ single would appear, and the CD single would go on repeat. I look forward to watching Honey Juice continue to grow.

‘Lend Me a Feeling’ is available now on digital outlets.

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Author: Gerald Stansbury

The Melmacs – ‘EUPHANCHOLIA’ (Bakraufarfita Records, Wanda Records & Spaghetty Town Records,Beluga Records )

The Melmacs – ‘EUPHANCHOLIA’ (Bakraufarfita Records, Wanda Records & Spaghetty Town Records,Beluga Records )

Power Pop masterclass from the heart (beat) of Germany, Dresden to be precise, when you see Wanda and Spaghetty Town, you instantly know that Power Pop Punk with rock’n’roll guitar, organ, and sweet-and-sour melodies are on the menu and if its good enough for them then it’ll be more than enough to fill up my depleated levels of power pop punk rock.

The soppy keys with the sharp guitars and the Clem Burke style backbeat hits you right between the eyes after the misleading intro ‘The Tide IS High’ thunders on, and the F-U-N begins. Hold onto that mile-wide smile because it ain’t gonna stop there. ‘Falling’, is on hyperspeed as it crashes in with that summertime keyboard wheeze chasing off the sped up riff-o-la not to mention the immeasurable amount of joy they bring with the melodies and fun at a time when there isn’t a great deal of either to be had. Listen to The Melmacs, and that will rectify any pessimistic thoughts and turn your frown upside down.

The hits keep coming, one after the other, it’s just top-notch pop tunes wrapped in various shades of guitar riffs and lush melodies. ‘Deadbeat’ has a passing resemblance to some Stranglers keys and JJ Bass thump that walks all over the song, vying for the front and centre of your attention.

‘Run For Your Life’ has the step down from the Clash, but the pure power pop of 80s new wave and FM rock n roll radio coursing through their veins at the speed of light. Spread out over twelve tracks, they never stray from the gutsy sound that’s pure and honest as the day is long. I guess the format is simple: write a killer tune, play it hard like your life depends on it, then do it again over and over, Bingo!

If you want some snotty, zero bullshit, no fucks given punk rock old school, then head for a ‘Showdown’, it’s got attitude and plenty of street smarts to take you down. There’s plenty of variety on offer here in tempo and style, but not massive departures, but enough to keep you interested throughout its twelve tracks. Penultimate track ‘Crying My Heart Out’ is the acoustic strum off with spoken word intro into a poplicious melody and chorus that old school Johnny Thunders would really appreciate.

With one stack heel boot, stomp off before they’re out the door ‘Electric Night’ takes another turn with a killer tune the likes of The Biters would have given a kidney to have penned. I’m gutted it’s only two and a half minutes long. What a killer end to a killer album. Don’t take my word for it, get out there and pick it up, you won’t regret it. Power poppin punk rockin glam slammin records are back, and you can start with The Melmacs! Buy IT!

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Author: Dom Daley

Rachel Bolan is at war with himself

Rachel Bolan is at war with himself

After four decades as the driving force behind Skid Row, bassist and songwriter Rachel Bolan steps forward with his first-ever solo album under the name BOLAN. “Gargoyle of the Garden State” is a bold, deeply personal debut rooted in the grit, attitude, and storytelling spirit of his New Jersey upbringing.

Produced by multi‑Grammy winner Nick Raskulinecz (Foo Fighters, Skid Row, Rush, Evanescence, Alice In Chains)The album began as a simple conversation between friends. What started casually quickly evolved into a record that would ultimately define Bolan’s voice as both a songwriter and storyteller.

“Gargoyle of the Garden State is not a project, it is every bit of my soul,” says Bolan. “Like me, it knows when to be serious and also knows where the party is.”

PRE-ORDER THE ALBUM HERE

Musically, the album delivers hook-driven, anthemic songs that fuse punk energy with melodic sensibility, wrapped in swagger and raw edge what early listeners have already called “quintessentially New Jersey.” Among its standout moments is a surprising cover of Oasis’ “Rock And Roll Star”, reimagined through Bolan’s distinctive lens.

Expanding beyond his role as a bassist, Bolan performs the majority of instruments, shaping the record from the ground up. Drawing on influences from Brit Pop and Glam to Punk Rock and New Wave, the album represents a lifetime in music.

“Gargoyle of the Garden State” also features an impressive lineup of guests, including Corey Taylor, Danko Jones, Nuno Bettencourt, Damon Johnson, Steve Conte, and fellow Skid Row members Scotti Hill, Dave “Snake” Sabo and Rob Hammersmith.

“It was incredible to work with so many of my talented friends an experience I wish everyone could have at least once,” Bolan adds.

The album is out on June 12th and will be available as CD digipak, LP gatefold, as well as digital and download. PRE-ORDER THE ALBUM HERE

At its core, “Gargoyle of the Garden State” is Bolan at his most honest, a record full of attitude, melody, and personality unmistakably his own.

The Four Horsemen – ‘Nobody Said It Was Easy’ (Cherry Red Records)

The Four Horsemen – ‘Nobody Said It Was Easy’ (Cherry Red Records)

Seems like every couple of years there is a reissue of this classic rock n roll record and you won’t hear any complaints from RPM. A Stone Cold classic and one that should have seen these bad boys go stratospheric easily, as good as ‘Electric’ by the cult and head and shoulders above anything else coming out at the time with that raw, no bullshit rock n roll. Produced by Rick Rubin, it had the hooks and swagger of classic DC. The band consisted of Swansea’s own (Stephen Harris), Haggis, formerly of the parish Zodiac Mindwarp and The Cult, who cut his teeth in punk band the Autonomes in the late 70s.

Haggis moved to the States and put together one hell of a line up that featured the immense vocals of Frank Starr who was the embodiment of the outlaw rock n rolla frontman who walked the walk and talked the talk Drummer Ken Montgomery passed away not long after the albums original release in 91 the band were aone and done with the classic line up mixing punk attitude with rock n roll barroom hard rock releasing a further album but without founder Haggis in the ranks and then they lost Starr on sunset strip to a drunk driver this album was Originally released in 1991 on Rubin’s Def American label, the album landed just as grunge was breaking and immediately faced an uphill battle for acceptance, despite widespread and justified critical acclaim. 

The band gained a reputation for being genuinely dangerous, resulting in drug charges and imprisonment, death and general debauchery. The Horsemen had the reputation that went hand in hand with the music, but most importantly, they had the chops and the tunes to back it up. If you’ve never heard this album, now is the chance to rectify that and join the smug and proud group who know exactly what time it is. From the iconic spoken intro where Haggis lays it on the line, it’s bad boy boogie. Clean, sharp, loud and infectious. A wonderful way to open any record, ‘Nobody Said IT Was Easy’ was to be the band’s opening salvo and something of a self-fulfilling prophecy. The crispness in the guitar tone, the vocal performance, it’s just about perfect for a hard-rockin’ record. The only way was up, and after such a strong opener to hit us with the epic ‘Rockin Is Ma Business’ it should have been enough already to catapult them into the top tier.

They weren’t a one-trick pony either because ‘Tired Wings’ had some sweet slide that those brothers Robinson would have killed for. Rip it up with some bad boy boogie on ‘Can’t Stop Rockin’ where Starr opened up his pipes. ‘Wanted Man’ reads like a confession as its sleazy, laid-back groove offers a late-night come-down midway through the record. Once you’ve caught your breath, we get back on it and ‘Let It Rock’ is riff-tastic.

Side two opened up with the band’s signature groove, ‘Hot Head’, whereas ‘Moonshine’ is a bit different, with a cool uptempo groove and the verse vocals sung from the bottom of a bottle of moonshine as the cop cars put on a chase before we get some of that boogie woogie on ‘Homesick Blues’. The album twists and turns towards the big finale of ‘I Need A Thrill/Something Good’, a magnificent way to close off a top-notch album spread out over eight minutes its an absolute classic full stop on a record that hasn’t aged at all and I still get a buzz when listening to it and if it was reissued every other year I’d still get behind it. Everything about it is a winner from the tone of those duelling guitars to the slap of that snare, all rounded off with killer melodies and stunning vocals, the Four Horsemen had all the credibility but none of the success. In a world that constantly looks over great talent and every now and again the starrs align, and a classic underground record gets released and keeps coming back and getting up off the canvas ready to take the plaudits for how damn good it is. Ladies and Gentlemen, The Four Fuckin Horsemen are back in the ring and still swinging, just go buy this fuckin record!

This release features extensive liner notes with a brand-new interview with guitarist Dave Lizmi. Both Lizmi and Haggis have endorsed this release and supplied personal archive material for the layout.

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Author: Dom Daley