I’m not sure if they themselves ever thought it would happen, but Minneapolis barnstormers The Rockford Mules have reunited and released the brand-new record ‘The Last Camaro’. This leg-stomping EP comes 13 years after the band’s last full-length album, the excellent ‘Ma, They Broke Me’, which saw the band at their hard-riffing best. Back then they shared stages with top names such as Soul Asylum, The Violent Femmes, Fu Manchu and many others.

Since then, members of the group have remained creative. Frontman Erik Tasa has produced some excellent contemplative and melancholic solo releases – sometimes under his own name, sometimes not, sometimes available on online platforms, and then sometimes not (I wrote a piece last year about the album ‘Murky’ under the name Mudfoot Barker, which has since disappeared – this is a reminder, Erik!). Guitarist Ryan Rud has also been releasing solo material under the name Frequency Collisions, where he has explored more instrumental and progressive paths. He also presents the podcast The Rabbit Hole.

All of their output has been great and deserves willing ears, but obviously, the need to rock is an itch that just has to be scratched – and there is a lot of scratching going on in these five tracks. The band describes this as “a 70s rock-infused ode and celebration to a time when your band was your family.” And that’s exactly what it is – a short but sweet selection of songs to get you up and dancing, from the ballsy opener and first single ‘Leave the Dirt On’ to the grooving ‘Honeydripper’.

The EP closes with the beautiful title track, a slow and moving piece that would sit perfectly among one of Erik Tasa’s solo offerings. After 13 years, supporters of the band may have been hoping for a few more songs – but these 19 and half minutes say everything that needs to be said. There is no lull, no weak spot or filler, just simply five songs that take you on a ride through everything that the Rockford Mules serve up best – a fist full of rock with more than a little soul.

Buy The Album:Here

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Author: Craggy Collyde

South Wales based noise mongers Valhalla Awaits are back with a bang. This latest EP: ‘Perdition builds on the rock-solid foundations of their previous offerings: Condemned and Reckoning.

As we all know, South Wales is firmly on the rock and roll map again with bands such as Florence Black, Those Damn Crows & Sister Morphine dominating the UK scene, and stalwarts such as Tigertailz still releasing great material. The boys from VA have their own distinctive sound though, think Alice in Chains morphed with Alter Bridge and you won’t be too far away. Huge riffs courtesy of Chris Green (Revoker) and Rhys Carter, melody and hooks that grab you from the first listen, and THOSE vocals from Andrew Hunt (Buffalo Summer) …. This is all held together by the rhythmic pairing of Sam Kilby and Gareth ‘Snoz’ Lawrence (The Blackout).

Opening track ‘Door of No Return’ kicks off the EP in style, razor-sharp riffing and epic drum pounding all rolled up with a huge chorus that grabs you from the first listen. Staring at the Gun is a mid-paced riff fest with more superbly executed vocal melodies, I really could listen to Andrew sing for hours, his vocals are just made for this band, and he soars beautifully over the top of the music. The first single that was released last year Is There Anybody Out There? feels like an old friend that has popped in to say hello, the band has a knack for creating earworms and this track is already etched in my musical mind bank.

We Remain is dominated by chugging riffs and uplifting lyrical content, the final track All Hope is Lost kicks off with a melodic intro before lunging into a riff that Tony Iommi would be proud of, drummer Snoz lays into his china cymbal like his life depended on it. Fantastic stuff.

The EP consists of five expertly crafted and recorded tracks that will further cement the band’s upward trajectory. 2024 is going to be a good one for Valhalla Awaits.

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Author: Kenny Kendrick

What a fascinating genre of extreme music Black Metal is, from the complicated riffs to the even more complicated lives of some of the individuals involved, it’s been a fascination of mine since I first read an article on Venom or heard one of their demonic riffs. Dayal Patterson has pawed his way through the most comprehensive compendium and go-to book of knowledge about this most out-there brand of extreme music available.

This tome is a hefty coffee table book with 340,000 words, over 650 pictures, and 23 new chapters that’s how well-researched this bad boy is. It lays out the movers and shakers of the scene and whilst it might be the go-to book for people drawn towards the genre it’s also a fascinating insight for those (like me) who find the whole scene fascinating but don’t necessarily like all the music. Sure the genre is vast and trawls through all corners of the genre it’s also one of those styles of heavy metal that is fiercely loyal and protective of its style. It’s not Death Metal it’s not NWOBHM it’s not hard rock and the arguments over who is in the club and who is outside the tent rage like teenagers arguing over their favourite bands since time began.

The layout of this revised edition is easy on the eye and an impeccable tribute to the style and depth of knowledge is exceptional. I first flicked through the amazing pictures and pawed over the fascinating bounty of band pics that pepper this tome it’s broken down into easy-to-navigate sections from the Venom, and Hellhammer origins right the way through the most known territories bursting with opinions and interviews it gives a cool overview of the main players and shakers whilst giving enough detail without boring the reader with detail but giving enough to expand one’s knowledge.

What Dayal has done is create the go-to book of everything and anything you need or didn’t need to know about Black Metal from its humble beginnings to the rise in Norweigan kids through the subgenres and all the jaw-dropping tales of murder and suicide as well as the subgenres within the scene. It really is the go-to book of its kind and whilst thumbing through bands I’d never listened to I found myself searching out their playlists to get a fuller picture of how they sound as well maybe a side project would be for Dayal to curate a compilation piece of audio to go with this paper book.

The book comes in at a very reasonable £35 of your British pounds and for something this hefty is a bargain but it is something that Dayal can be extremely proud of putting together. For example, I obviously knew the history of Mayhem and their twisted path to infamy and fame and I was well aware of the likes o fVenom and Hellhammer from the birth of the genre but I wasn’t at all clued up on the horrible tale of Dissection and main players horrible history and subsequent end it’s a dark tale and just one of many dark tales I also found myself chuckling at some of the evilest bands who have one or two fully committed corpse painted players allied alongside someone in shellsuit pants and grubby trainers truly a legion of doom and disciple of Beelzebub. It’s on my table in the lounge so if any visitor needs to flick through something then this is my offering to the metal gods to pass on the word and enthrall others with a book worthy of such a fascinating style of music. ‘Evolution Of The Cult’ is the go-to book on Black Metal and that’s a fact and its an exceptional read and wonderfully put together. There is even a deluxe edition available through Cult Never Dies website (Here) Buy It!

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Author: Dom Daley

Loved their debut album ‘Spare The Rod’ released (via the go-to punk label from London England No Front Teeth) from way back in 2020 it really hit the spot. When we heard on the grapevine that album number two was in the bag we turned up the speakers and waited. ‘Waiting To Die’ duly dropped and it slipped on our virtual turntable and away we flew. Right out of the traps, this bad boy with middle digits in the air and a spring in their step we were off motoring on cheap riffs, dog ends n cheap beers but as long as they’re cold all is good.

There’s no sleight of hand here its crash, bang, wallop – Get the beers in, and let’s throw ourselves around for thirty minutes like we used to. Its a good time baby and that’s the MO from The Dilrods – Don’t think about it for too long just turn it up and join in. ‘Black Sheep’ is the battle cry as the brawling opener is windmilling like fucko and then we’re done but wait ‘Awake Alert And Dying’ is thrashing in on its coattails and that’s sort of what happens. It’s not rocket science just a bunch of top tunes from a trio of gents just kicking out the jams motherfuckers. Sing along throw some shapes but remember to have a good time.

Only ‘Beer And Bandages’ is remotely over three minutes long and that’s because of its intro but the rest flash in at a 90-second mark and that’s how it is (the track sits very nicely in the TSOL pocket and that’s always a plus for me. uncomplicated but good.

‘Stab Vest’ could be from the bowels of Newport and Bad Sam this record crosses oceans and bounderies to get its messages across and if you fall between TSOL and Bad Sam then its a winner. 2024 gets off to a howling punk rock start and the Dilrods have got it going on. Get involved its only 20 minutes but what a top 30 minutes it is. Buy It!

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Compilation of released and unreleased material between 2014-2018 sees Chicago punk n rollers Poison Boys Front Man Matt Dudzik has settled on a three-piece but there have been several past members who’ve come and gone but leant a helping hand during the recordings of this album in the four years these songs are lifted off. The band recorded on White Zoo Records as well as London’s finest No Front Teeth Records as well as some early self-released demo tapes. this is essential listening if you’ve gotten into the band via their two mighty fine albums that followed but it’s a great way to kill some time before the new album drops as it shows how the band honed their skills and went from a rough round the edges punk n roll outfit with plenty of attitude coursing through these songs. Besides, some of these records as 7″ singles are like rockin’ horse shit so it’s tough to track down if you’re late to the sleazy party.

The No Front Teeth singles were where I joined the Poison Boys train and mightily impressed I was too. ‘Bad Mouth’ still sounds fuckin awesome but you might want to start this trip from back to front because the demo is nasty in the best possible way. All Johnny Thunders riffs n licks and the sound of some punks kickin’ back and dropping sound bombs in your ears. ‘Turn’ sounds like it was found in some ditch next to a body with no ID but a Lewis Leather Jacket and some cool worn creepers.

Anyways heading back to the top and the two tracks from the White Zoo Single ‘Bustin’ Out’ and ‘Run And Hide’ with their cock of the walk Chuck Berry licks and JAgger puffed out chest is a great place to start with this compilation. If wrapping up the band’s output is what you’re after then hop on board it’s a wonderful fifteen-track that kicks ass and is pure rock n roll with attitude with hidden gems like the leftover session cut that is the sleazy acoustic smokey ‘In The Night’ sounding like they were channeling The south of France Stones Exile sessions.

Head over to Bandcamp and show Poison Boys some love and support this record and look forward to what they do next. these pirates are sailing the choppy waters of Rock n Roll and taking no prisoners but leaving a fantastic trail of destruction in their wake. Hail, Hail Punky, sleazy Rock n Roll Its alive and well and living in the shadows of Chicago.

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Author: Dom Daley

Well, whatever your tastes, 2023 was chock full of great albums. So much so, that this year I’ll be reviewing some that slipped through the net. In terms of scope, vision and melody, ‘Sanity Fare’ by The Blood Rush Hour is up there with the best of them. Essentially the project of Robert DeStefano, this is their fourth long player, for fans of smart, beautifully arranged pop. If you love Sparks, XTC, Supertramp or The Dowling Poole, this will definitely float your boat.

And, yes, that is the deft touch of Mr Dowling at the mixing desk. This makes perfect sense, as it’s clear that he and Robert share some musical DNA. ‘No One’s There (At All)’ has much in common with The Dowling Poole; intelligent, radio-friendly, with a gorgeous melody that requires repeated listening. This is partly why this review is so late; it’s an album that you can immerse yourself in.

It works equally well in the car. ‘Watching You Make Love’ will get your hips moving, with its samba rhythms. You can enjoy the tunes or pay attention to the lyrics. ‘Fashioned Footsteps’ initially reminds me of ‘Everybody’s Got To Learn Sometimes’ by The Korgis. The similarity is that it’s quality pop music that won’t date.

‘Billy Boy’ is almost like Cardiacs at half-speed. I don’t know who’s playing bass, but it’s fabulous throughout. ‘Tunnel’s End’ hooks you like The Feeling are capable of doing at their best. The backing/harmony vocals really are outstanding, worthy of prime era Queen.

‘Song For My Father’ is brief but touching, while ‘(No More) Happy Ending’ marries a joyous tune to darker lyrics. There is much more here, 14 songs that you will want to keep coming back to. Don’t take my word for it, listen on Bandcamp then place your order. Class never goes out of fashion.

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Author: Martin Chamarette

NEW ALBUM ‘A BILLION GOATS. A BILLION SPARKS. FIN’ OUT MARCH 1ST VIA GOD UNKNOWN RECORDS – PRE-ORDER HERE:

Dez Dare launches 2024 with ‘Got a Fire In My Socket’, his first song from new album ‘A Billion Goats. A Billion Sparks. Fin.’ due March 1st via God Unknown Records.

‘A Billion Goats. A Billion Sparks. Fin.’ features 11 songs that delve further into the void than previous records, leaving the sardonic frustration behind for sarcastic existentialism, zeroing in on the big philosophical questions, and the pedantic shards of nonsense that make up our existence.

‘Got a Fire In My Socket’ is a fuzzed up, bass and synth driven, stomper that tackles the biggest question of all… as the wires fray from the burden of existence + the last sparks shimmer in your consciousness, the void has one simple question… “What tunes do you want playing on the way out?”.

The Stooges ‘Real Cool Time’?

The Triffids ‘A Trick of the Light’?

Judy & the Jerks ‘Good Time’?

Nicki Minaj ‘Red Ruby Da Sleeze’?

Whatever your taste, the small things matter. Make it a strong choice!

The self-produced Australian has spent over 3 decades producing music, releasing and touring bands, and doing live sound for z-grade metal bands. Growing up in the coastal town of Geelong (Djilang) in Australia, he was introduced to the DIY punk and rock scene at 15 and this community and the ideas rooted in the underground music scene have guided his output and ethics throughout his career.

This year Dez will be joining forces with label titans God Unknown (Cassels / Duke Garwood / James Johnston + Steve Gullick / KLÄMP / Oneida / Laura Loriga / Monster Magnet / Wellwater Conspiracy [Soundgarden + Monster Magnet]) and will be producing a deluxe version of the release that will include a 12 page comic illustrated by long-time collaborator Mike Keane.

‘Got A Fire In My Socket’ out now. ‘A Billion Goats. A Billion Sparks. Fin.’ out March 1st on God Unknown Records.

Pre-order here:

Catch Dez Dare live at the following dates in 2024.

  • Friday, 12 April 2024 / The Tin Music and Arts, Coventry w/ Hula Girls + guests [Sink or Swim Promotions]
  • Saturday, 13 April 2024 / The Dark Horse, Birmingham w/ Exotic Pets + guests [Die Das Der]
  • Wednesday, 17 April 2024 / The Prince Albert, Brighton w/ guests [The Séance
  • Friday, 19 April 2024 / Fish Factory Art Space, Falmouth w/ Ubiquitous Meh! + Broken Arrow
  • Saturday, 20 April 2024 / Underground, Plymouth w/ Ubiquitous Meh! + Broken Arrow [Damnsonic]
  • Thursday, 25 April 2024 / The Deco, Portsmouth w/ guests [Neu Waves]
  • More dates across the UK + EU to be announced… more info @ dezdare.com

Find Dez Dare at Dez Dare | Home

 It’s easy to forget it’s been 25 years Since Frank unleashed his hard rockin’ Catholics debut on the world and they carried on for some years making a right proper good din. getting a royal half-speed remaster it’s even louder than the original and the stripped-back band sounds sooo damn good. I’ll admit it’s been a while since I dived in on this album but when I do I still thoroughly enjoy it and this heavyweight version pays its rightful dues to the band and their output.

https://frankblack.lnk.to/catholics25

This is the first-ever re-issue of their self-titled album as a stand-alone vinyl release. The record has been mastered from the original tapes by Phil Kindrade at Air Studios, and this beautifully presented album is accompanied by a 5-page booklet and an Obi Strip.

Originally released in 1998, the backing group on this album performed on Frank Black’s previous album, ‘The Cult Of Ray‘ but the group name was first adopted on this release. Raw garage punk energy recorded live to two-track tape over the course of two days was initially intended as a series of demos. Black decided that they couldn’t be improved upon and released them as they were. This was the first album by a major artist to be commercially released on the Internet. Sounds bizarre now but it was.

All of the tracks are original Frank Black compositions except “Six-Sixty-Six”, which is a cover of a song by Larry Norman. Frank Black had long admired Norman, naming the first Pixies mini-album ‘Come On Pilgrim’, after a line in a Norman song. 

From the opening chords of ‘All My Ghosts’ the album rattles along and it’s not a stretch to find out these were live recordings intended to be demos but Frank didn’t want to mess with them or redo them in the studio so happy was he with the result of the sessions. the album feels like you’re sitting in on a session and the final cut of ‘Man Who Was Too Loud’ is my pick of the pops from this album. One of Franks’s best songs in my opinion but it is pushed close by the heavy riff-a-rama of ‘Solid Gold’ and Franks’s easy-going delivery on the lyrics is blissful.

It has been a joy these past few years seeing all the Black solo material getting dripped out with remasters and bonus material and never before on vinyl treats this is another that guitar rock fans should be all over like a rash. Bless you, Mr Black and all who plug in beside you.

Frank Black And The Catholics’ debut album go to https://frankblack.lnk.to/catholics25

Author: Dom Daley

The undisputed kings of swampy wild n wreckless garage rock n roll from New Zealand are in da house motherfuckers and they’ve brought a brand spanking new long player with them. ‘Ca$h 4 Scrap’ is everything you want it to be and some. It’s not all crash bang wallop (well, Almost) but I wouldn’t suggest for one minute that these four reprobates have lost any of that spark nor would I suggest old age is slowing them down. Songs like ‘Leather Boys’ is more a groovin slice of junk rock done in the best sleaziest way.

Start your record as you mean to go on. ‘Children Of The Dead’ rattles off with the band’s usual vim and vigour with plenty of Thrashing around. A sharp intake of breath and ‘Without You’ is climbing over broken glass to get heard. With a party kicks off in the speakers as Paul Caveman takes a drag from the 40 a day no filter smokes and gurgles neat whisky and broken glass as the boogie rages in support.

Hold onto your strides mates because these cats are grooving hard on the growling ‘Night Of The Demon’ where you can all join in on the chorus. It’s ‘Night Of The Demon’ x3 but clear your throat first this one needs some oomph.

‘Booze Ciggies n Drugs’ might be the thrasher up next but it might just be the band’s shopping list whilst they remember the essentials. Rapid, punk n roll at its dirtiest but finest. Get in the pit and start barking

y’ bastards.

I love the sleazy glam punk of ‘Isn’t Remember Your Name’ It’s trashy and beautiful with a melody knocked off from Los Pepes. Side One takes a kicking on ‘Personal WWIII’. Closing off with ‘Drug Man’ is a case of singing what you know being the mantra. So why not, with the sleazy solo and Iggy piano tonk it’s a beauty.  That’s seven tracks in, about ten minutes of crash, bang, wallop! And closing off with a song almost three minutes long is decadent as fuck almost mature proto-prog.

If this was played out in a live setting you’d just have witnessed one of the best shows for ages so get a refill and flip this bad boy over. ‘Hanging Up’ has just done a bump in the toilet and the band comes out swinging complete with Groovy handicaps. Now that’s what I call music. ‘One Leg and a Waterbed’ has some trippy organ squealing throughout behind its fantastic lyrics. And as you head towards the end you realise the Cavemen have bashed you over the head with their club called rock n roll it feels great.

If only all albums sounded this good. Fuck the sound levels, the production, the tightness this is rock n fuckin roll baby and it sounds fantastic. Rough n raw, wild n reckless, and I fucking love it. Go get some Caveman Rock n Fuckin Roll its the way to start off 2024.  Buy it!

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Author: Dom Daley

Well, discussion one went yesterday and this wraps up our brief chats with the writers of RPM Online. Drop in on the chatter between Gordy, Martin, Ben, Nev John & Dom as they discuss what records shaped their 2023 and what live shows they took in as well as what they might be looking forward to in 2024