Prophets Of Addiction – ‘Face The Music'(Bravewords Records)

Prophets Of Addiction – ‘Face The Music'(Bravewords Records)

Frontman Lesli Sanders put the band together in 2010 after finding sobriety, which he attributes to, “It was time for a change, time to get back to being me, time to make music, Time to make those people who cared proud, time to put a smile back on my face.”  The band released their debut effort, ‘Babylon Boulevard’ via Cargo Records UK the following year. but it’s taken him to the tail end of 2024 to find where he’s really at and deliver the album of his life.

Fast forward to 2024 and Sanders is back in the saddle and has his Prophets Of Addiction ready cocked and loaded. Kicking things off with ‘Flavor of the Danger’ is a more gentle less bombastic opener but the familiar raspy vocals are present and correct and the tone is set for the brand new album. They’re not reinventing the wheel here just rolling with it and drawing on a lifetime’s worth of tales and musical influences – having said that its mainly the 70s glam rockers and the offshoots that are the bass of the music with a darker edge coming to the front on ‘Let’s Get High’.  That darker softer edge continues through the reflective ‘Slipping Away’.

The band turn up the amps on ‘Walk The World’ with a really good production giving the overall big studio feel with the guitars cutting through a strong melody. Halfway through the album, we’re met with a sped up take on the Rod Stewart classic ‘Maggie May’ now there’s nothing wrong with the cover, the playing is on point but I do wonder why? Sure it’s a great song been covered to death but not quite sure it fits in here and besides I’d have preferred to hear another original song but maybe it’s just me here.

Onwards and upwards ‘Superhero’ is up next and a summery rocker with a nod to being a commercial hit the song builds well to the chorus and when it reaches the solo it sort of collides well all around with a top arrangement making for an all-round top tune. The songs keep flowing and the level of quality is high making it the best record Lesli has made thus far in his career. The gritty ‘I Want You To Know’ then followed by the smooth ‘Hollywood’ delving back in time to a laid-back Dogs’D’Amour feel and again maintaining the great songwriting and all-round production values that tap into the groove of the song and complement it really well.

To be fair on repeated plays this record gets stronger as it goes and the last few songs are possibly the strongest on offer sounding like the lyrics are Lesli wearing his heart on his sleeve and coming across as authentic and just in love with rock n roll and that’s always a great place to be. This is a record the band should be proud of stacked with honest rockers n chart toppers Prophets of Addiction might not get to stadium-filling levels but they delivered a really strong album that’s true and honest and well good. Never mind taking me to your leader just take me to the bar where these cats are paying and I’ll have the best damn time rockin out. Check it out!

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Author: Dom Daley

Frankie and the Studs – ‘Life’s a Glitch’ (Deadbeat Records)

Frankie and the Studs – ‘Life’s a Glitch’ (Deadbeat Records)

After many years, the anticipated moment has arrived with Frankie and the Studs finally releasing their full-length debut album. This album has kicked off 2025 with not just a bang but a massive detonation. I had high expectations coming into this one as I have liked the singles the band has released over the years which have showcased a band homing in on their sound. High-powered rock ‘n’ roll infused with helpings of glam and punk is perhaps the best general description I can give, but they also throw in some other cool wrinkles here. It’s not a stretch to think of them sharing a bill with DGeneration and the New York Loose in New York back in the 90’s, even with their California roots.

Storming out of the gate with the previous single ‘Hole in My Head’ works perfectly as the heavy rhythm leaves an immediate impression on the listener. Frankie Clarke’s vocals sit comfortably in the mix here to set up an awesome call-and-response type punk chorus with her bandmates to hammer the hook into your head. The guitar solo simply shreds too. Changing gears with the slightly slower ‘BiMiNi,’ this one has always reminded me a bit of a 90’s era type song a la the New York Loose and it again highlights one of the qualities of the band, they can pull from different eras and make it all work together. ‘Headrush” ups the tempo again with a catchy chorus that burns itself into your head.

‘Flash’ is another early single that is one of my absolute favourites, not just from this album but in general. This is a glorious song that feels like it was dipped in 70’s glam, 77 punk, the streets of NYC, and then sprinkled with extra helpings of what makes this band so special. The contrast between ‘Flash” and next song ‘Here I Lie’ is perfect with the dark and moody latter song providing a great contrast. ‘Monster’ closes the first half of the album with the band utilizing a tempo that sways from slower to faster with another chorus that begs for audience participation.

The flipside kicks off with the band’s new single which should be relatable to anyone who has worked a few different jobs in their life. ‘Fuck this Shit’ is a current audience participation number at their live shows with a high-powered rockabilly beat finding Clarke delivering an attitude-filled lead vocal that is simply perfect. The guitar solo fits the song like a glove and has inspired some air guitar over here. The band keeps the rock coming with ‘Can’t Stand You’ being another punky feeling song with a great hook. The band slow things down with the closest they come to a ballad in ‘Not This Time.’ I prefer to think of it as what the Dogs D’amour once described as ‘soft songs for hard people.’ The band has released some very cool slower songs in the past, but this is my favorite of those. I think it has been sequenced into the album at a great point too.

The band delivers another hook filled moment of gold in ‘Nothing to Do’ whose only crime is that it the chorus highly recalls the song of the same name by the Donnas. The rest of the song doesn’t with the quieter sounds of the verses being my favorite parts of the song. A very strong cover of ‘Venus’ follows which should induce immediate singing along. The rhythm section is again dialed in perfectly giving the song a very strong backbone throughout the song, and the guitar solo makes the most of its space. Closing out the record is another immediately catchy song in ‘Losing You.’ The band make all the hooks across the album look easy. The backing vocals compliment the chorus perfectly here.

For the CD version, two extra songs are provided with the first one ‘Some Kinda Love’ being a bluesy rocker that showcases another element of the band, and I really like the way Clarke uses her vocals here. Straight head rocker ‘She’s Insane’ then closes out the CD version which is another song that should already be very familiar to fans of the band. 

Best album of 2025? Well, so far for me it is of course. I anticipate in 12 months though that this album might still be claiming that title. This one has been on repeat since it arrived and highly recommended. The album was produced by Frankie’s Dad whose work as a producer has really evolved for me. I remember the old Beat Angels albums he produced back in the 90’s and felt they lost a lot of their rawness. This album has a great balance of being raw and polished which is a tricky combination. How much do I like the album? I bought both the record and the CD versions. Time to start rocking again!

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Author: Gerald Stansbury

Bad Nerves / Ultra Q – Thekla, Bristol – 21.12.24

Bad Nerves / Ultra Q – Thekla, Bristol – 21.12.24

It warms the cockles of my heart to hear the songs played between bands Johnny Thunders and the Heartbreakers, Dead Boys, Clash, Damned, and New York Dolls hopefully this is like subliminal indoctrinating of the kids and they’ll kickstart a new youf culture movement, or not and it’s just a band with impeccable taste. Just about all the good and the greats and whilst Santa is only a couple of days away the good ship Thekla fills up to capacity and beyond I would wager. It’s an excellent reception for Bad Nerves European tour pals Ultra Q who open tentatively before relaxing and cutting loose with a pretty impressive set of bristling modern Californian noise/modern punk rock.

But Tonight was all about Bad Nerves wrapping up a monumental year for these Essex Boys who released an excellent album, toured the USA also toured decent venues with The Hives, before zig-zagging around the globe honing their craft and spreading the word that indie punk rock n roll isn’t dead but in bloody good health and it’s bands like Bad Nerves who are up for the task and not afraid to put in the hard yards schlepping it around the toilet circuit of the UK and beyond knocking out a catchy tuneful buzz saw brand of rock and roll with equal measures of Buzzcocks and Ramones melodies and speed with a chirpy early Supergrass for the indie kids to jump on board with.

The Thekla is heaving, and the hull of this riverboat is full to bursting with anticipation for what we’re about to receive. Without further ado, the five-piece gets down to business with a verve and excitement that’s eaten up by a passionate audience welcoming every song like the Beatles have reformed and we’ve been invited to the first knocking of the comeback.

The band feeds off the energy and proceeds to spend the next sixty minutes rattling through their repertoire, showing the fans exactly why they’re currently at the top of their game. They have a hunger for more and a tightness that comes from a band that’s pushed out almost every other night of the last twelve months—impressive stuff indeed.

It’s awesome to see punk rock n roll in such capable hands. ‘Baby Drummer’ sets the pace and it’s a race through their catalogue of Songs like The Ramones fucking with the uptempo Supergrass material of their beginnings Bad Nerves have tunes, plenty of memorable tunes. ‘Don’t Stop’, ‘Radio Pink’ ‘Bad Kid’ and the excellent ‘USA’ are all dispatched with much aplomb. ‘Antidote’ and ‘The Kids Will Always Have Their Say’ close off a frantic set before the inevitable and much-deserved encore. The band are constantly on the move giving it everything they have and this is the final night of a seven-week Euro haul but you’d think it was the first.

‘You Got The Nerce’  ‘Can’t Be Mine’ and ‘Dreaming’ are the sound of a band who are bristling with confidence for an audience rabid for more Bad Nerves. 2025 will be a year where this band take the next step up the ladder and move on to bigger venues with more satisfied fans coming on board this crazy train isn’t slowing down any day soon and these boys are determined and capable of bigger and better things.

Punk as fuck, Bad Nerves are on the march and a more impressive live rock n roll band currently bursting out of the UK you will not find. Gimme, gimme more, more, more. Roll on 2025 and bigger and better things for Bad Nerves.

Author: Dom Daley

Eureka Machines/The Virginmarys/The Empty Page – Brudenell Social Club, Leeds. 14th December 2024

Eureka Machines/The Virginmarys/The Empty Page – Brudenell Social Club, Leeds. 14th December 2024

It must be Christmas time, The Eureka Machines are having a shindig at The Brudenell, and you’re all invited!

Yes, Chris Catalyst may well be everyone’s go-to sidekick these days, whether he’s playing with The Sisters Of Mercy, Ugly Kid Joe or even a Nameless Ghoul in Ghost, you may well have seen him play without even realising it. But the Leeds based singer/songwriter has his own “funny little band” called The Eureka Machines, and every now and then they come back to remind everyone how good they are. This is one of those times. 

Late additions to the bill are Manchester alt punks The Empty Page and they have the grand job of opening proceedings tonight. Ex Obsessive Compulsive duo Kel and Giz are back with an impressive new album entitled ‘Imploding’ and it’s nice to catch them live for the first time in many years. 

With hypnotic, effect-ridden guitars, throbbing goth bass and Siouxsie Sioux/PJ Harvey vocals the 3-piece band deliver an energetic set that veers from Sonic Youth/The Smiths style indie floor fillers such as ‘You’re Tame’ to energetic, punky blasts of noise like ‘Dry Ice’. 

There’s a punk poetry element to Kel’s lyrics and delivery, matched with Giz’s clever guitar lines it makes for an exciting live experience. 

This is the first time I’ve seen The Virginmarys perform as a two piece and I was wondering how the dynamic shift would work in a live setting.

With the duo stage front, drummer Danny Dolan grips his sticks tight and haunches over his kit, like a boxer waiting to throw the first punch, his eyes focused on his partner in crime Ally Dickaty, waiting for the signal to count in the opening barrage of beats and riffs that make up ‘You’re A Killer’. The pair are mesmerising to watch and the sound that emanates from a single guitar, a voice and a drum kit is as full and intense as any rock show I have seen. 

‘Lies, Lies, Lies’ follows. Rawer, yet just as powerful as the album version. Danny pounds seven shades of shit from his kit while Ally spits diatribes with the guttural rage usually reserved for the likes of Slipknot (who incidentally are playing a short walk from the venue tonight). Two songs in and The Virginmarys are sounding freaking intense. 

Tonight, they play pretty much the whole of their new album ‘The House Beyond The Fires’ which is a pretty brave move. There’s no between-song banter, Ally preferring to let the music do the talking, and the highlights are plentiful. Singles ‘Northwest Coast’ and ‘When The Lights Go Down’ shine brightly, but it’s the newer album tracks which really show an intensity to their live performance.

The sound in The Brudenell is usually spot on and it plays in The Virginmarys favour. Ally’s guitar sounds amazing, crystal clear in the opening strains of the likes of ‘White Knuckle Riding’ and when the distortion and effects kick in on the likes of ‘Dance To The City’, it sounds massive.

There are just two older tracks played tonight, the emotive ‘Look Out For My Brother’ and a killer ‘Just A Ride’ which close the set. The song choice just shows the belief Ally and Danny have in the new material.

Fresh off a European tour and with the new songs bedded in, the Virginmarys are a tight live unit with a fistful of killer tunes that pack a punch and they are a force to be reckoned with. 

“Anyone want….a biscuit?” asks Chris Catalyst mid-way through the Eureka Machines triumphant headline set, before happily handing over a box of Family Circle to a more than obliging front row. It’s a bit of a northern ‘in joke’, but Eureka Machines and a certain amount of their fanbase like a good cup of tea and a biscuit. Maybe Eureka Machines are the Rich Tea of the rock n’ roll world? It’s safe, it’s familiar, you know what you’re going to get with a Rich Tea, and when you have one for the first time in a while you forget how bloody good they are…that’s a Eureka Machines show right there! 

Enough of the analogies, Chris Catalyst and his band don’t play shows very often these days, which is a shame because his self-proclaimed “silly little band”are actually very bloody good, and they have some top tunes in their arsenal.

They’ve not played a show for 12 months, but it may as well be 12 hours. Tight, comfortable and energetic, it’s like they’ve never been away. Obligatory black suits and white ties, obligatory between-song banter from Chris Catalyst and obligatory power pop filled set list. 

Kicking off with ‘Champion The Underdog’ we have a set filled with ridiculously catchy tunes that could give any stadium-filling band a run for their money. ‘Pop Star’ is played early, ‘Being Good Is Ok, But Being Better’s Better’ and ‘Affluenza’ are proper earworms and ‘Wish You Were Her’ is an emotional highlight. Even a cover of The Bangles ‘Walk Like An Egyptian’ is perfection in their hands.

The good news is they have a new album recorded and a new single in the (virtual) shops, and they play that single tonight. ‘Back In The Back Of Beyond’ is typical EM fodder and bodes well for the new album in the new year.

They don’t do encores, but ‘Zero Hero’ rounds up a killer set from one of the country’s best kept secrets. Funny little band? Let’s give the Eureka Machines the credit they deserve. 

Author: Ben Hughes

Christmas – Fear Of Romance’ (TNS Records)

Christmas – Fear Of Romance’ (TNS Records)

On ‘FEAR OF ROMANCE’ might just see Christmas climb the greasy ladder of success and MAx might just have found himself the lineup to do the name justice because on ‘Fear Of Romance’ they’ve broken free of the pure hardcore sound and branched out and created a melting pot of punk rock n roll with influences from pure hardcore to Turbonegro and beyond. the songwriting has taken a step up as well and the production is really sympathetic to the music giving the instruments a bright and clear path to your ears. This isn’t a muddy lo-fi DIY project it’s one that’s been painstakingly poured over and a lot of hard work has been given to the songwriting and all-round mix making this head and shoulders the best record in the Christmas arsenal.

The album kicks off no it literally kicks off sounding like a serious contender to the likes of Zugly on ‘Always Keep Giving Up’ as they really do slam the hammer down, magnificent opener driven by the phenomenal rhythm section.

Power and a great arrangement make ‘Thirsty and Disgusting’ a brooding pounding co-pilot for the opening track. They’ve lost none of their hunger and passion that much is obvious. The metallic ‘Maggot’ is a real earworm (or should that be ear maggot) but the title track is up next with a blood curdling riff and groove.

‘This Means War’ is a speaker busting grunt of gargantuan proportions as the Bass and Drums ramp the album up a notch or two. The middle of the album does relent in its pace and bark and ‘Smart Jokes’ is melodic and twisting and turning on the intro with a champion intro leading to the albums finest moment thus far and that’s saying something when its been this good so far.

‘Big Fish’ mixes it up with the choppy guitars and piano intro before kicking right off. Theres a happiness in the guitar melody of ‘Trainwreck’ with its big chorus and party gang vocals another really good song. ‘Burn Piggy Burn’ is a masterclass in modern hardcore before ‘Over You’ cruises through the gears with another anthemic chorus for you to throw yourself around the pit to.

Leaving ‘I’m Not Alright’ to grind us home on a wave of Bass and Drums before the riff joins in swinging. Max has upped his lead vocals as well and conducted a real banger for the end of 2024. One of the last releases in the year and it’s fair to say one of the best hardcore punk rock albums you’ll hear all year no question, It’s short and oh so sweet with a slick and complimentary production that lifts these songs up high and I would be doing an injustice to the underground if I didn’t highly recommend ‘Fear Of Romance’ its a pit busting banger from one to twelve, there I zero chaff here just top tunes. Buy It! Merry Christmas ya filthy animals.

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Author: Dom Daley

Thronk – ‘Aggressively Dissapointing’ (Self Release)

Thronk – ‘Aggressively Dissapointing’ (Self Release)

The debut EP from DIY punk chancers, Thronk, is here! ‘Aggressively Disappointing’ brings you six anthems of raw, unfiltered, enthusiastic Newport punk rock..

No nonsense, minimal pfaf – full-blooded punk rock with an aggressive hardcore edge Thronk aren’t messing about. Singing songs about being Shit at your job figures and with a simple chant of the title you get the message this is easy to sing along to after a bottle of mad dog followed by 15 pints of Fosters and a Jager chaser with every pint.

Modern life might get depressing so why not turn up the stereo and get lost in some punk rock Thronk do and it works for them and what harm can it possibly do? The topics are gritty every day life in South East Wales and why a Bombay Hot Pot is fire whilst Freddo Bars costing as much as ten regal king size – the world has indeed gone mad and Thronk are here to address it.

‘Brownies On Crack’ has a cowbell and a grunt on the rhythm guitar with plenty of wellie on the riff and some well placed “woo-ohs” on the chorus. ‘Since Fucking When?’ isn’t messing about and delivers a swift kick to the testicles before scuttling off – sweet.

‘Inbetweeners’ is a headscratcher but I totally agree with the sentiment ‘Fuck Off Burnley’ is the mantra and everyone can agree with that, shirley? even full-kit wankers. Like the mighty Wonk Unit these boys have a song about Horses and this one is a banger to wrap up proceedings. Again it’s short and sweet much like the rest of this EP so it wont take you long to whip through it and press repeat so you can finish your can of Tennents super. So be good play nice and pop over to their Bandcamp ahead of the new year release and pick up a copy.

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Author: Dom Daley

UK Subs – The Globe, Cardiff. 15.12.24.

UK Subs – The Globe, Cardiff. 15.12.24.

I can’t think of anywhere I’d rather be than in The Globe Cardiff on a Sunday night just before Christmas to witness my umpteenth UK Subs show and as it turned out the final show to feature Stephen Straughan on guitar who bowed out on the morning after this final show of 2024.

Shame that because I thought Stephen was a great fit for the Subs and the last seven years might have flown by but he’s been a big integral part of the sound in his time and always a beaming smile to Charlies left, he will be missed but this is the UK Subs after all. anyway, the clock is ticking towards ten PM and Charlie leads the troops onto the stage for a blistering hour and some. It’s a set of classic Subs with the odd one or two deep cuts thrown in for good measure.

Having not long read Alvin’s third and final episode of his autobiography it certainly gave new insight into the band over recent years and much respect for the magnificently talented four stringer who delivers the solid thick rhythm this band thrives on and drives the songs onwards and upwards. I know it’s a cliche to say it but fuck me how does Charlie find the motivation to keep getting up and delivering the goods time after time at his age. He should have his trotters up enjoying doing a crossword or two and eating a mince pie in front of the TV at this time of year not sleeping around the UK in a van plying his trade to men and women who also should know better but continue to throw themselves around on a beer-soaked dancefloor but that’s what this music and this band does to you, God bless em.

Starting the set with an uptempo and rock solid ‘Rockers’ There’s no time for mucking about and straight into the business of the UK Subs who in 2024 are a lean operation, the chaos might never be that far away and Charlie might miss the odd lyric but when they’re on it they are a force to be reckoned with and when Stephen opened up the riff for ‘Kicks’ it just got even messier on the dancefloor. ‘Police State’, ‘Emotional Blackmail’ and ‘Rat Race’ sounded like the band was in a hurry and the Globe were appreciating what they were being served early on in this set. It was a band warming up and setting a blaze with a fury and verve that bands twice their size and half their age would do well to keep up with.

The setlist was a wonderful romp through a pretty spectacular catalogue spanning several lineups (obviously) and sounding as fresh as the day they were released an epic rendition of ‘Time And Matter’ alongside classics like ‘Down On The Farm’ (you know the Guns n Roses cover they do). There is also time to knock out ‘Kill Me’ from their last studio album ‘Reverse Engineering’ sitting in very nicely, its songs like this and ‘Quintessentials’ ‘Bitter And Twisted’ that I love hearing as much as the must-plays like ‘Warhead’ and ‘Live In A Car’.

After about a dozen songs its breaks off and classic after classic from ‘Limo Life’ through ‘Scum Of The Earth’ and ‘Barbies Dead’ the band are tight and really giving it some welly. Maybe slimming down their relentless touring schedule has made them a hungrier beast so when they do reconviene for these short bursts their batteries are fully charged and every second counts or that’s what it feels like tonight.

Charlie looks genuinely blown away by the rapturous reaction the band is getting from a very busy Sunday night in Cardiff. To be fair to the Subs they’ve always hit South Wales over the decades and that’s reason enough to bring me all this way and when they’re this good it’ll continue to be so.

Theres a quick encore to change the batteries and Charlie to put on his Santa hat before returning to the stage to lead the troops through a party favourite, potty-mouthed romp through ‘Hey Santa’ followed by the classics of ‘CID’ ‘Live In A Car’ and finally winding down with a blistering ‘Endangered Species’ and we were done. there are going to be some sore bodies in the morning but it’ll all be worth it when they remember how they got so sore thrashing around to the magnificent UK Subs.

Never give up gents and whilst there are some big creepers to fill on guitar these songs need to be sung. Have a break and see you in 2025. Oh, and good luck Stephen and thanks for your seven years as a UK Sub its been a blast.

Author: Dom Daley

Carol Hodge – ‘Effortless Insecurity’ (Self Release)

Carol Hodge – ‘Effortless Insecurity’ (Self Release)

‘Manoeuvres’ is a signal of intent with an explosion of styles from the strong melodies you expect from Hodge mixed with a heavy pounding groove. That’s an opener with intent.

Seconds out round two is a jarring piano riff mixed with a clashing guitar as Carol has a lush melody mixed with something you’d hear from someone like Sparks. With a fantastic production, this sounds huge. this album weaves and bobs like a peak fitness boxer but with a cheeky wink there’s a horseshoe in the glove adding a bit of oomph! to proceedings sure the keys and wailing guitar breaks lean into um, the dreaded p-word territory (prog) arch I’ve said it. However, it’s not standing on a shroom with one leg cocked tooting on a clarinet prog but progressive all the same. However ‘I’ll Do The Begging’ is a reprieve with a lush melody and a swooning multi-layered vocal that draws you in in a good way.

‘Small Crumbs’ is a throbbing bass line and heavy guitar lick. With a big chorus. We’re four songs deep and four very different offerings but there is a really nice flow to these songs. Carol loves a strong melody but is as comfortable taking it down n dirty or swooning with the angels.

Queen of fitting in is Hodge at her best in storytelling and balladeering mode. There is no stone unturned here Carol’s strength lies in her personal confessions and relatable worldly lyrics that touch many of us, covering topics such as Neurodiversity, Insecure Attachment, Self-doubt/Self-worth, and the Autistic Spectrum. This is her heaviest and strongest album to date no doubt about that and the strength is in the lyrics and being comfortable in her skin and head and that’s like a superpower here.

‘Temporary Interlude’ is a heaving beast as it is the sound of someone on a charger leading the fight and flying the flag for being different and embracing that difference such a captivating array of sounds a real headfuck but it works so well.

The bravery of this album is immense and Carol should draw strength from the fact that she’s pretty bloody good at this songwriting and delivering lark making it look like a piece of piss. The album then grinds to a juddering halt with the beautiful ‘Ever Reliable Pain’ to put a softer full stop on proceedings creating a superb atmosphere on a rollercoaster of a record. Be proud of this Ms Hodge its chuffin excellent, you are one talented songwriter. Buy It!

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Autor: Dom Daley

Deathtraps – ‘The Lust For Likes EP2’ (Spirit Of Disaster Records)

Deathtraps – ‘The Lust For Likes EP2’ (Spirit Of Disaster Records)

Newport’s finest are back swinging with their second helping of a trio of six-track releases. Rather than pump out an LP in these times of media saturation the band decided to go for the slow burn of three six-track EPs dripped into the ether over a twelve-month period which is a pretty good idea in this play today gone-tomorrow culture of entertainment and the slow carpet bombing approach has a longer lasting effect and I like that idea and having eighteen tracks in three instalments is like a double albums worth of Fraser’s gruff vocals whispering into your ear and who doesn’t want that?

Opening with the spirited ‘Private Vietnam,’ the band sticks to what they are good at and grinds out a mid-paced rifftastic punk’ n roll sing-a-long. Lasting a couple of minutes it’s everything Deathtraps do well in a bite-sized offering. ‘Your Time Is Gonna Come’ is a more measured song with a confident tempo and a punch on the pre-chorus. The band slip through the gears with the tracks being around the two minutes mark meaning there isn’t time to bloat out intros or extended solos, it’s cut the crap and keep it lean. ‘I Want Fun’ is like the Dead Boys if they were from the industrial South Wales wasteland with a very nice chug on the verse and a minimalistic solo that does the job on the EPs highlight and one of the best songs the band have penned to date.

They’ve got their collective ‘Eye On You’ which is born in the riffage of Rocket From The Crypt and whips up a maelstrom in its hypnotic chorus another excellent song. With all paths leading to ‘Repeat’ to close off the second EP and a very nice piece of work indeed. Dethtraps have mastered their art and craft songs that improve on every release. Enjoy this one for the foreseeable and it’ll prepare you for EP3 which should be along in next to no time just remember the name – Deathfuckintraps! Ave it!

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Author: Dom Daley

The Damned – Beacons theatre, Bristol 12.12.24

The Damned – Beacons theatre, Bristol 12.12.24

Without wanting to read spoilers about potential set lists it was always a no brainier for fans of the early 80s albums to work out it would be Black album and Strawberries heavy set from this lineup of the band that people have been clamouring for donkey’s years. We’ve been lucky enough to have had the original line up actually complex a run of very successful shows that in my humble opinion were bloody fantastic and where the band seemed to enjoy it as much as us fans.

The band have pretty much gone from strength to strength over the last decade or so and has turned in some very special evenings from the roundhouse to captain’s birthday party to the Royal Albert Hall and the magnificent palladium spectacle but when Pinch decided to walk away I did start to wonder what would become of this band I’ve followed since being a young man and low and behold it didn’t actually crumble to Shit.

From the minute the band strode onto the vast stage and looked at each other as to who was going to count them in for the one-two of ‘Love Song’ quickly chased out by ‘Machine Gun Etiquette’ the bar was set pretty bloody high. To follow it up with the magnificent ‘Wait For The Blackout’ was simply majestic. How bloody good and proper did it sound hearing those Rat rolls on the toms? I almost raised a smile.

For the next half a dozen songs it was flip-flopping between ‘The Black Album’ and ‘Strawberries’ and hearing roaring versions of ‘Lively Arts’, ‘Gun Fury’ and a welcome return of ‘Stranger On The Town’ This was turning into one of those special nights where the band sounded fantastic and looked like they were really enjoying what they were delivering. Those chaotic shows of the late 80s and 90s seem like a lifetime away (they were) Vanian not turning up and a revolving door of band members, Hell, I even chuckled about when there were about 54 Damned bass players on stage at once in Cardiff but this is an altogether different beast, one that’s focussed and delivering the goods big time.

‘Beware Of The Clown’ was greeted like an old friend and sat very nicely in the set, Hell I even enjoyed tonight’s rendition of ‘Eloise’ something I never thought I’d say. I loved hearing ‘Life Goes On’ and ‘Ignite’ and was fascinated with the interplay between Rat and Captain – now I couldn’t work out if the looks Rat gave Captain were ones of fondness, acceptance, and concentration or he wanted the ground to open up and swallow him. It was also funny when Captain told his story of Nirvana stealing the intro for ‘Life Goes On’ a song they wrote back in the day… cough cough interrupted by Rat correcting the Captain about who wrote it to which the Captain did correct himself and say Rat wrote the intro but it all seemed in good banter and when Rat went stage centre he seemed genuinely moved at the rapturous applause he received. it was ‘Neat Neat Neat’ before the band took a well-deserved break before returning for an epic run through ‘Curtain Call’ which included a masterclass from Rat to bring it to a conclusion.

‘New Rose’ signalled another exit stage left before a seasonal ‘Sanity Clause’ made way for the finale of ‘Smash It Up’ and we were done. I will never tire of seeing the Damned, regardless of how under-prepared or who is in the band its nights like this that make them so special. they always had the X Factor above any band I’ve ever seen I absolutely love them and what they do. It is however something special that this line up have decided to give these songs the respect they deserve and it warms the cockles of my heart to see them absolutely smash a UK tour of decent-sized venues. From The Roundhouse to the Palladium and the original lineup in Hammersmith to the Royal Albert Hall and Finsbury Park this was as good as I’ve ever seen them and the vast array of songs they have in a peerless repertoire is simply stunning. I’m sure Captain would agree they never got the commercial success they absolutely deserved for what they do, but I know, and everyone else who’s seen them on this run will testify that there is no better band on their day than The Damned – long live The Damned. Ninety minutes of absolute joy from a band who are turning back the clock and getting better with age so on that note same again next year please chaps, thank you kindly. Bloody Brilliant!

Author: Dom Daley