Singles Club – May Day May Day we have a singles club

Singles Club – May Day May Day we have a singles club

What a starting eleven this lot are (and a full bench) . From top to bottom, there are some real bangers here from punk rock to hard rock and plenty in between – What’s your favourite? This Singles Club is on fire this May & here’s the proof

Suzi Moon & Billy Hopeless – Nothing Left To Lose (Yeah Right! Records) Yeah Right! seems about the apropriate words to use or rather Fuckin’ Yeah Right! two awesome people rockin out the duet like a modern day peters and lee or renee and ronata these cats are awesome but together they go like punk rock peaches and cream. ‘Love Is A Stranger’ is a smokey barroom ballad that unfolds into a broken hearted call to arms. Beautifully captured from the swirling organ to the chaotic chorus. The second track is the uptempo ‘Communicado’ the yang to the flip sides ying. Suzi and Billy are a match made in punk rock heaven like that time Iggy and Debbie Harry made sweet music as a proper duet. this single is limited so don’t wait just get your mucky paws on a copy asap its the record of the month hands down! Yeah Right it is.

Throwing Stuff – ‘No Gods No Kings’ (TNS Records) I can get behind this banger from Throwing Stuff. We’re on the same page here and this is a grinding wonderful slice of hardcore. Resonating lyrics and pulverising rhythm – I like this a lot. Hailing from Manchester these guys are on it and turning in some impressive material. I look forward to catching up with them at some point because live is always the litmus test and this would sound huge. I like what I’ve heard so far and they’re on TNS so it must be promising.

Atomic Suplex – No Thanks (Self Release) Didn’t see this banger coming. Atomic Suplex recorded two banging albums several years ago and this new EP is a welcome return. what you have here is four previously unused demo tracks released via Bandcamp on Bandcamp Friday which We appreciate isn’t much help seeing as this is out on Sunday but I figure any sales are welcome sales so if you’re a longtime fan then dive in and if you’re looking for something new then what are you waiting for? Lo-fi Garage rockers Atomic Suplex have never made a bad record or rather released one. These four songs are a most welcome return to the fold. ‘I Come Alive’ is a prime slice of Garage Rock n Roll swinging from the chadeliers. But like all of these songs they’re brief and fleeting. ‘So Tough’ is Jon Spenser blues kinda vibe whilst ‘Denmark’ is a lovely romp of fuzzed up punk blooze before signing off with a suitably deranged ‘Louis Louis’. Job done, rock n roll as fuck, get some!

The Balladmongrels – ‘Evil Under The Moon’ King Outlaw Records) With the album ready to be birthed into the world the reprobates of Rock n Roll release the latest digital track from the album ‘Evil Under The Moon’. This barroom brawler lies deep in the LP and with a whippersnapper pace it’s off on its toes. With a rockin’ chorus and some swashbuckling guitar playing at work it’s a top tune from the dynamic duo.

Typical of the tracks on offer ‘Evil’ is a blood and thunder affair that will have your blood pumping and your fist shaking for more rock n roll. As good as it gets and great to hear such quality from such a talented pair.

Baby Schillaci – ‘So Bad’ (Lavender Sweep Records) The latest offering from impressive Swansea punks ‘Dead Wrestlers’So Bad’ is a heaving roller coaster through some industrial bass thumping whilst the guitars are brooding in the background before breaking out screaming and the darker edges of Manics Holy Bible era breaks through. married nicely with some more chaotic howling guitars before finishing up in a full frontal assault. These boys know their way around a top tune and with repeated plays this is certainly a contender and once the EP is out their reach will be far and wide. Excellent tune get on it.

Zeke – ‘Ride Hard Ride Free’ (Hound Gawd! Records) The tracks are not available on Spotify, Apple Music and other digital platforms. Going old school is Zeke and Hound Gawd! We love that shit and we love these songs. Pure high-grade rocket fuel flying out of the speakers like a rat-arsed slice of Slayer meets Motorhead whilst listening to some pissed-off punk al a Misfits. It’s the first glimpse under the hood of what’s coming from the full-length album due later in 2023 and to be fair if this is an indication then woohoo! bring it on – two excellent slices of bad-attitude Punk n Roll from the band that was always gonna survive a lockdown. I’m not sure which track I prefer – the full tilt no fucks given of ‘Ride Hard’ or the rough backstreet brawl of ‘Smokestack Lightening’ Hell they’re both killers – Buy It!

Rotten Mind – ‘Pointless Love’ (Lovely Records) A really catchy track sees Swedens Rotten Mind release a really nice earworm that has plenty o fdirt in the tracks and enough softer melodic shenanigans to draw you in. ‘Pointless Love’ is about never growing up. Sometimes it can actually be reassuring to think about life as something pointless. Then it’s up to you to make what you want out of it. and thats something we can all get on board with. If this is the soundtrack to not growing up then I’m in.

Chris Shiflett – ‘Dead And Gone’ (Snakefarm) Written back in spring 2020 during a time of reflection, is an ode to his hometown and some of the friends and characters that have influenced him along the way. It a countrified honkin good time with plenty of attitude and rock n Roll to help it on its way. Its got groove and some Fuzz for good measure and if its an indication of what we can expect from the long player due later this year then this is a good time to get involved. A modern day guitar hero Chris doesn’t just write songs to show off his six string talent but the othe rway around he writes good tunes and adds his considerable six string talent. ah you know where were at, get on it kids.

Kurt Baker – ‘Secrets’ (Wicked Cool Records) Man where do we start with Kurt Baker? He sure as hell knows how to write catchy power poppin’ rock n roll songs thats a given. influenced by classic Motown-James Jamerson basslines, mixed with a bit of Big Star high-volume guitar and a student of classic alternative music such as Costello and his attractions and some classic 80s pop Baker is a master mixologist and churns out 7″ bangers time after time and ‘Secrets’ is no exception. Get on it it’s got summer sunshine running all the way through it.

The Hard Ons – ‘Apartment For Two’ (Cheersquad Records) What a video this is. Hard-ons release the latest video off their new long player. , new album ‘Ripper 23’ out on 2nd June on Golden Robot Records. If this is an indication of what we can epect from these Oz icons then bring on that long player. Top notch punk rock – right here.
AVAILABLE FOR PRE-ORDER/ADD/SAVE NOW!

The Hives – ‘Bogus Operandi’ How great is it to see The Hives back in the ring swinging haymakers? Easily one of if, not Sweden’s best-ever export The Hives have a new single ahead of a new album and some live shows in some pretty cool venues. ‘Bogus’ is as sharp as they ever were and the video is top-notch. Welcome back gents its been a while

Desperate Measures ‘Back To The Rats’ (Wipe Out Music) – Keeping quality at an exceptionally high standard is the latest single from Desperate Measures. ‘Back To The Rats’ is a chugging heaving slab of in-your-face garage rock with a cool riff, wholesome punishing rhythm section topped off with a great chorus. I love the quality breakdown as the song begs to be played over and over, a real earworm.

Stream it on the usual platforms and share the love. Banger, plain and simple! and the band are playing some live shows which you can purchase tickets Here

The Empty Page – ‘Big Nasty Palpitations’ (Self Release) Continuing to release excellent singles on their terms in the best DIY fashion The Empty Page are back with a very personal song in ‘Big Nasty Palpitations’. putting their hearts and soul into everything they do it comes across in the music. It’s engaging and thoughtful and resonates through the music and words their passion shines through as does their love for the music they create. a twisting brooding slice of indie done in a really good way that draws you in and makes you think about the song. Really impressive song yet again from The Empty Page.

Grave Pleasures – ‘High On Annihilation’ (Century Media) The latest single from Finnish Goths whose brand new album gets reviewed tomorrow this is here to wet your apetite ahead of the review. Its a retro slice of pop Goth mixing some 80s synth pop from the likes of The Human League with their darker edge. It has chart bothering qualities yet still holds dear its underground roots. Catchy earworm from another quality record.

Les Lullies – ‘Zero Ambition’ (Slovenly Records) OH yeah lets put the drinks on ice baby Les Lullies are in the house and they’re bringing Zero Ambition to the party. Always with an upbeat persective on Garage punk rock n roll Les Lullies don’t do bad tunes and this one is further proof to back that up. You can pre order the new long player here if you have any sense.

Black Spiders – ‘Alright Alright Alright’ (Spinefarm) A three-and-a-half-minute rock stomper, it delves deep into the psyche of frontman Pete Spiby and takes a peek into what goes on inside his head when he’s fast asleep.

“I’ve had a few weird dreams that I actually remember, but only a few make it into song lyrics. ‘Alright, Alright, Alright’ is one of them, which was centred around Matthew McConaughey having an arm wrestle with the Devil, within some sort of crazy 80’s movie,” he says. We here at RPM can get down with those sorts of fucked up crazy dreams and to be fair at the end of it the band had a decent slab of rock out of it. Winner!

Lusitanian Ghosts – ‘The Long Train’  (European Phonographic) Fascinating instrumentations using traditional instruments to create their unique Rock n Roll ‘The Long Train’, is the first single from their impending third album and what a wonderful song it is. Not that this was ever in doubt as vocalist Neil Leyton has been consistently making superb music for decades, and this ensemble certainly know their way around their beautiful instruments and how to create excellent songs. they make it sound so easy (which I’m sure it’s not) the song builds and breaths and has the feel of a train breaking into the open countryside – fantastic song and if this is the standard for the third album then bring it on. On this evidence, it’s going to be fantastic and I love the gang-backing vocals towards the end, so enjoyable. Coming from this highly talented bunch of musicians who nail this folkey malarky every time they commit to tape. check it out.

ZAC – ‘It’s Only Words’ (Wild Honey Records) Switch on your Spector detector, turn your framed “Sergeant Pepper” LP to the wall and let ZAC’s quirky pop fuel your dancing shoes. Lorenzo Moretti (Giuda’s guitarist and creative mind) and Tiziano Tarli (multi-instrumentalist and music historian) have put together another surfeit of sensational songs. Pablo continues to provide the beats, and Sterbus returns on the bass guitar. It’s infectious power pop with added Synths with an emphasis on the melody and delivery. 80s pop at its finest.

Discharge / The Shunkos – The Bunkhouse. Swansea, 28.04.23

Discharge / The Shunkos – The Bunkhouse. Swansea, 28.04.23

Discharge in a 100-capacity living room what a prospect this is. D Beat, Crust punk top table diners Discharge. First up, those reprobates from Port Talbot The Shunkos are currently blowing away audiences in a pool of sweat and ringing ears for their full force no compromise slice of real life along the M4 in one of the most densely populated towns anywhere in Wales they play hard and fast and sing about ‘Meal Deals’ and ‘Uni Mates’ as well as bus rides up the valley.

Deranged Frontman Mal is up for this one slipping in the pit stomping on pedal boards and causing chaos that’s suitably off the hook for their frantic set. If you get the chance to see them they are getting better with every performance tighter and leaner and finding their feet – fine choice of opener for Discharge to be fair The Shunkos entertain and leave people with beaming smiles across their faces knowing they’ve just had a top time with good tunes and plenty of insanity.

There was another band on the bill but unfortunately I missed their set so it was into the small room to find a reasonably comfortable spot to enjoy the ensuing madness that was about to rain down on the heaving masses.

Without further ado Discharge hit the stage and immediately gets on with the job at hand, with their thrash meets punk noise they do a sterling job of grabbing ones attention and holding it for the duration of their time on the stage.

With JJ prowling the bijoux space that is his stage for tonight’s performance the audience en mass takes a sharp intake of breath (Which is at a premium tonight) in the sauna like room. The next hour and some is going to be an ordeal but a good one survival of the fittest and not one for the feint of heart. ‘Ain’t No Feeble Bastard’, ‘State Violence State Control’, ‘Molotov’ and ‘You Deserve Me’, ‘Hatebomb’, and ‘War Is Hell’ leave their mark and hit the spot the music is relentless as it should be and the intensity climbs leaving a crater in the pit that’s getting filled as bodies slip and slide on sweat and beer that’s been spilt in the name of a good time. Bodies literally fly through the air as the unrelenting onslaught hammers out crust punk anthems such as the majestic ‘Protest And Survive’. Discharge are killing it with every rapid D Beat and howl on the guitar solos its pulverising and at time quite beautiful.

To an unsuspecting onlooker, this scene must look insane, utter madness as the volume is ear-splitting and unrelenting, it’s song after song each one getting more intense as they collide into each other with razor-sharp procession from a band tighter than a gnats chuff. Discharge do what they do and if you don’t get it then simply move on people it’s not for everyone but if you do get it – it can be magical and a wonderful experience of extreme musical experiences. It’s like hearing Slayer go punk as fuck as they crisscross genres in pursuit of the ultimate high.

When you’re in the mood for some extreme metal punk then there is only one band that fills that void and tonight Discharge were on fire plain and simple – no-nonsense, loud, abrasive, uncomfortable, raging and devastating just as it should be. Love It!

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Author: Dom Daley

King’s X – ‘In The New Age (The Atlantic Recordings 1988-1995)’ (HNE Recordings)

King’s X – ‘In The New Age (The Atlantic Recordings 1988-1995)’ (HNE Recordings)

If you were to ask me to name a criminally underrated band, an artist that in an ideal world should’ve become a household name, I could give you a big list, but somewhere at the top of that list would be Texas 3-piece band King’s X.

Formed in Springfield, Missouri in 1979, the trio consisting of Doug Pinnick on vocals/bass, Ty Tabor on vocals/guitar and drummer Jerry Gaskill burst onto the rock scene in 1988 with their debut album ‘Out Of The Silent Planet’. Their heady mix of progressive rock with three-part vocal harmonies and clever arrangements was lauded by music critics and music lovers alike, they graced the cover of Kerrang! magazine and gained high profile tours with the likes of Cheap Trick, Robert Plant and Anthrax.

Their albums got stronger with each release, and with the advent of Grunge and their influence on the likes of Pearl Jam and Pantera, it seemed inevitable that success would be theirs. Yet even with high profile tours with the likes of Iron Maiden, AC/DC and Motley Crue, commercial success eluded them.

The excellent Cherry Red Records have stepped up to the task and cover their classic Atlantic period albums, with full sleeve artwork and extra bonus tracks.

With a mohawk-sporting singer who played a 12-string bass left-handed, bared a striking resemblance to Jimi Hendrix and had a gospel-tinged croon, King’s X were as far removed from the chart-bothering hair metal bands or the thrash heavyweights of the late 80’s, they stood out like a sore thumb and could not be pigeonholed.

With an album title taken from a CS Lewis book and lyrical themes of introspection and Christian beliefs ‘Out Of The Silent Planet’ was in a world of its own back in 1988. Complex arrangements, multi-layered Beatle-esque vocal harmonies, soulful lead vocals and a unique guitar tone laid the basis for their career and highlights such as the beautiful ‘Goldilox’, ‘King’ and ‘Shot Of Love’ remain firm fan favourites to this day. This led to the album being named ‘Album of the Year’ over at Kerrang! magazine.

The sophomore ‘Gretchen Goes To Nebraska’ was released in 1989. A concept album based on a short story written by drummer Jerry Gaskill, it is regarded by many as their defining album. The story follows a girl’s spiritual journey and all the obstacles and characters she encounters on her way to Nebraska.

The defining moment ‘Over My Head’ is a celebration of music, Doug welcoming all to the church of rock n’ roll with his soulful, gospel-tinged croon. The arpeggiated riff to beautiful ballad ‘Summerland’, a song full of whimsical mystery, Beatle-esque harmonies and an outstanding guitar solo, no rhythm guitar to fill the sound out, just the pulsing bass groove and the powerhouse beats.

The funereal ‘The Difference (in the Garden Of St Annes On The Hill)’ still sends shivers down my spine. About as ethereal and spiritual as music can get.

As every concept album should be ‘Gretchen..’ is a rapturous journey from start to finish. A musical journey that sucks you in, covering multiple moods and musical genres, yet always sounding like King’s X. An essential album in the history of rock let alone King’s X discography.

Even though it was their most commercially successful album, 1990’s ‘Faith Hope & Love’ is probably the weakest of the six on offer here. It was never going to be able to compete with its predecessor. While it contained some great tunes such as the killer rocker ‘We Were Born To Be Loved’ and the sublime Crowded House pop of ‘It’s Love’ and was as imaginative and ambitious as you came to expect from the band, it lacked the cohesion and direction of ‘Gretchen..’. In hindsight and with the musical tides turning, maybe the band were searching to find who they really were.

Their self-titled fourth album came out in 1992 and was the last to feature longtime producer Sam Taylor. ‘King’s X’ saw the band tighten things up songwriting-wise and things were getting a bit darker and heavier, maybe due to the rumblings in Seattle. The experimentation and the clever arrangements were back in force, the melodies on point and they had a newfound urgency and anger to their sound which was evident from the off on opener ‘The World Around Me’ and first single ‘Black Flag’.

The ambitious and clever ‘Chariot Song’ is like 10 songs in one and veers off on all sorts of tangents to itself with Queen-like reversed backing vocals.

The experimentation continued in the skulking ‘What I Know About Love’ and the beautiful ‘Dream In My Life’, a song that remains a career highlight. It is not average by any means.

1994 was a defining year for rock music. Alternative was mainstream and all the bands had to adapt to the musical and political climate. Music seemed more edgy, and it brought out the best in many bands, King’s X included.

‘Dogman’ is King’s X piece de resistance, their masterpiece if you like. From the massive riffage of the opening title track to the closing live in the studio version of Jimi Hendrix’ ‘Manic Depression’ it is an album of the time that stands the test of time itself. ‘Dogman’ is the sound of a band totally in tune with itself. Three men playing as one with years of experience, delivering one massive of act of defiance. With go-to Grunge producer Brendan O’Brien at the helm, King’s X sound pissed off, heavier and stripped back to a raw sounding live beast.

The powerful punch of ‘Complain’ hits right in the chest, Ty’s detuned guitar tone is sublime and the 3-part harmonies as beautiful as ever. That year they thrilled fans at Woodstock ‘94 and they played live in a tv studio to no audience when the LA riots were in full flow, that was what was going on in 1994.

The sublime ‘Flies And Blue Skies’ sends shivers down the spine and the band have never sounded as heavy as they do on ‘Black The Skies’. The raw anger and energy of the minute long ‘Go To Hell’ would never have worked on a King’s X album pre ‘94, but here it sounds just perfect.

This version adds live era versions of ‘Shoes’ and ‘We Were Born To Be Loved’, yet with the emphasis on groove and melody, bass that will rattle your bones and harmonies that will reach the depths of your soul, ‘Dogman’ set a high benchmark for all King’s X albums that would follow it.

The last of the Atlantic albums released in 1996 would mark the end of an era for the band and it’s a fitting benchmark. In complete contrast to ‘Dogman’, ‘Ear Candy’ draws on the more psychedelic influences of the band, here they tone down the heaviness and concentrate on a more commercial sound, veering on many songs into power pop territory.

While Ty took a back seat in the vocal department on ‘Dogman’, his lead vocals are more prolific on ‘Ear Candy’. From the psychedelic cover art, and the band members sporting short hair, it marked a change in direction. His 60’s influenced psychedelic pop songs like ‘Mississippi Moon’ and Jerry’s ‘American Cheese’ mark a nice direction for the band and album closer ‘Life Going By’ is filled with introspection and harmony as the band take a look deep inside their souls.

Fans who yearn for the King’s X of old are satisfied by the likes of ‘Looking For Love’ and ‘The Box’ is classic King’s X and has traits of the early albums, it remains a firm live favourite to this day.

While the addition of a few live tracks, alternate mixes and only one previously unreleased rarity (‘Freedom’) is not really much to attract hardcore fans into purchasing these albums again, ‘In The New Age’ is the perfect starting point for new or casual fans to find out what all the fuss was about and to have all of King’s X classic albums together in one nifty package. And while remastered versions of the albums and some extra updated interviews, notes or pictures would’ve been nice, this stunning collection of work is still an essential purchase in my book.

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Author: Ben Hughes

Therapy? – ‘Hard Cold Fire’ (Marshall Records)

Therapy? – ‘Hard Cold Fire’ (Marshall Records)

 Therapy?’s sixteenth album ‘Hard Cold Fire’, was written and pre-produced during an unprecedented time for music, but one the band insists isn’t a lockdown album but was rather done after lockdown and with a determination of not being another lockdown record. What it is is a hefty, yet accessible record, a concise distillation of everything that has made them what they are – hewn from County Antrim basalt, still possessed of their stoicism, but casting a renewed focus on catharsis and healing.

a spiralling, hypnotic grinding, pulverising cocktail of grunge-rock meets Hard Rock meets indie full of towering melody that sees the trio focussed and reinvigorated after their layoff. A fully charged Therapy? 

This ten track offering kicks off with the twisted energetic thrust of ‘They Shoot The Terrible Master’ that distills what Therapy? do so well wrapping melody in a thunderous rhythmic blast with a filthy guitar riff stomping over the insane rhythm section. The therapy? fans will love this openermade of pure adrenalin.

And so it begins, the record twists and turns those melodies from ‘Woe’ through ‘Joy’ which sits like a barking alsatian straining on its leash building to a lush chorus of dreamlike quality before dropping back into the rhythm. Cairns’s vocals are also in top form here. Neil Cooper is in top form it has to be said as he weaves some awesome patterns on ‘Two Wounded Animals’ as the band lays back for the first time on the album letting the song breath.

‘To Disappear’ is as heavy as Therapy? get with a monumental riff then follow it up with a Cairns whispered vocal on ‘Mongrel’ that opens up into a lush melody one of the albums most accessable songs on the album. As we head into the homestraight the bands single plays out as ‘Poundland Of Hope And Glory’ is unleashed telling the story of how a lie is told so many times it becomes ones truth and the myth telling becomes normalised. Classic Therapy? lyrics you’ll invest in when digging deep into this album.

‘Ugly’ enjoys a wonderful solo whilst a twisted melody scratches away in the background of what is quickly becoming one of my favourite songs on the album. Saying that the albums closer is a brooding beast of post Grunge and for me is the standout song from the whole record the melody is a real earworm, ‘Days Kollaps’ is as stronger song the band has ever finished with. Restrained in a sea of noise and chaos dark and wonderous showing that the band are still at the top of their game and the rich tapestry of ‘Hard Cold Fire’ is a beautiful thing offeing variety and style as well as ten top tunes. Buy it!

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Author: Dom Daley

Penny Rich – ‘If Everyones An Expert’

Penny Rich – ‘If Everyones An Expert’

Penny Rich, a three-piece punk band from Cardiff, Wales, Their Strong evocative melodies and lyrics to match speak to us all. They were formed in 2016 from a shared passion for 90’s Grunge and Noise, which isn’t a bad place to start in my book. The album opens with some raw cold guitars scratching at your speaker before a Therapy? Heavy explosion of Riffs. Their sound is dark, grey and very metallicly cold (not making sense? Once the sounds climb out of your speakers you’ll be on board – trust me)

The production is sparse in a concrete kind of way as the guitars weave hypnotic patterns. the band has a good energy in their songs like ‘Last Meal’ as it pulverises you into submission. there is obvious influential references musically all over the place none more evident that the ‘Bleach’ era Nirvana of ‘Sugar Pill’ they hit upon a good groove as well which helps the song throb.

I particularly like ‘S.P.A.’ its got some great energy and reminds me of the early 90s and listening to NomeansNo and Fugazi very loudly and just submerging myself into the music and seeing where it takes me. ‘P.C’ is a great riff and I love the recklessness of it thrashing about from the intro. I’m sure having that bass throb pounding your chest in a tight club would be impressive and to be fair it works on the stereo as well. ‘Stasis’ is something of an alternative interlude of punk rock poetry before handing the batton over to ‘If Everyones An Expert Then Whats Left To Be Learnt’ and its frantic dash to the finish line. only leaving ‘Down River’ to dust off a pretty impressive album and one that has depth and quality throughout.

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Author: Dom Daley

Deadwolff – ‘Heavy Rock ‘N Roll’ (Golden Robot Records)

Deadwolff – ‘Heavy Rock ‘N Roll’ (Golden Robot Records)

Toronto noise mongers Deadwolff (yes there’s two f’s) have released their debut album ‘Heavy Rock ‘N Roll’, after the band’s debut EP came out digitally which caught the ear of RPM Online.

Shortly after, Deadwolff signed with Metal Assault Records, based out of Los Angeles, and released their debut EP on cassette, which sold out.  As of recently, Deadwolff has been touring throughout Canada, bringing their catchy hooks, and eccentric live show to the masses. Building momentum quickly, Deadwolff sought out and was noticed by Golden Robot Records and there’s plenty to love about it. If you’re a fan of the Ramones, Motorhead, AC/DC and Airbourne then you’ll love Deadwolff. So what if vocalist/bassist Tommy Wolffe cant sing for toffee? It just adds to the charm of the band, Wolffe’s bass is a little too high in the mix for my liking but that’s totally subjective. More drums please!!

Deadwolff has songs about gangs, booze, and women. They certainly won’t win any prizes for being literary geniuses. The music is head down, arse up heavy rock. You get what it says on the tin. A good fun, rough-and-tumble album with some ropey production. I love it! A great soundtrack to a Friday night booze-up. You can smell Deadwolff just by listening to them. They stink of a combination of sweat, bad breath, whisky, cigarettes, and well-worn leather jackets. Big up Toronto Hard Rockers they know what time it is. It’s time to rock!

Go and give Heavy Rock ‘N Roll a spin, you can thank me later.

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Author: Kenny Kendrick

Hanoi Rocks – ‘Oriental Beat – 40th Anniversary Re(al)mix’ (Svart Records)

Hanoi Rocks – ‘Oriental Beat – 40th Anniversary Re(al)mix’ (Svart Records)

The year is 2023 and I’m sat at home waiting for my Hanoi Rocks album to be delivered but with many things you simply have to wait and good things are worth waiting for and any original or should that be classic Hanoi Rocks album is well worth the wait.

I used to be a bit sceptical about bands doing a remaster or remix especially if its a classic album but as I’ve got older I’ve dug deep into some of my favourite records when they’ve had the overhaul treatment, especially some of those half speed jobs from Abbey Road and when I heard the difference Japans ‘Quiet Life’ had or some of the classic ‘Rolling Stones’ records sounding like a different album at times it can be a bit of a head fuck when they’re done well. What lowered my scepticism was hearing the Senseless Things overhaul of ‘The First Of Too Many’ and how much better the new version was compared to the muddy original I was converted and won over in one fell swoop and now I’d happily champion and shell out for a well-done remix/master which has brought us to this hallowed spot and the mighty, unparalleled, unrivalled Hanoi Rocks and this here Svart release of ‘Oriental Beat’.

Delays delays delays, I’ve put off reviewing this album and its re(al)mix but couldn’t wait any longer for my record to turn up so I’ve delved into the digital and sat back with my hands over my face as the virtual needle dropped and ‘Oriental Beat’ hit the ether and blew my fragile tiny mind. Wow, congratulations to Svart for doing something I didn’t think possible. ‘Oriental Beat’ sounds like an album that was released yesterday it’s got volume, punch, new clarity and moments I’d either forgotten about or were never listenable to the human ear. Sweet Baby Jesus! Hallalulija hark the herald angels sing. This is how Hanoi Rocks sound just listen to Sami Yaffa’s bass thumping its way through the title opening track it’s unbelievable. Truly a cut above and those BV’s are exceptional. I’ll admit it’s been a couple of years since I spun this album and when I heard it was being treated to an overhaul I wasn’t sure if Genius should be tampered with but on the evidence, Man I’m converted.

The strangest thing abou tthis version would be the track listing but dropping ‘Motorvatin’ deeper into the album is worth it because once you get your head around the sound the intro is a real highlight. The second Hanoi album saw them becomeing a real unique force sure they still leant on their heroes like the best song the Clash never wrote in ‘No Law No Order’ or the Mick n Keif locked in playing on the epic ‘Teenagels Outsiders’ where I think Monroe sounded amazing. Youthful exuberance and developing a unique style I think he’d really come into his own here and the saxophone use was and still is exceptional and I never understood why it wasn’t used more in punk rock when Hanoi used it it was brilliant as it was for bands like The Lords Of The New Church and Johnny Thunders but Hanoi were different, they used it best of all.

The groove and open-heart honesty of McCoys playing on ‘Sweet Home Suburbia’ is incredible the sustain is almost visual. I can’t express how much better this version is and once I get used to the track listing all will be well in the world and I will start to get on to whoever I have to to see if the master tapes for other albums are available for this sort of treatment. I don’t think I’m saying anything outrageous here but this album has only gone to cement how vital each member of the band was and how integral and truly amazing Yaffa was to the sound of the band. There are moments I haven’t fully appreciated before and some of the walking bass lines are majestic ‘Lightnin’ Bar Blues’ as is the harmonica of Monroe on ‘Devil Woman’. The band should be rightfully proud of this project its an emotional and exceptional piece of work that is an absolute must heart for any fan old or new it is worth every single penny and some. Special praise must also go to Petri Majuri for his input into this project and his exceptional work of drawing out the demons and replacing them with angels’ wings ‘Oriental Beat’ is already one of the best albums ever and is now even better – Buy this record!

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Author: Dom Daley

Ryan Hamilton – ‘Haunted By The Holy Ghost’ (Wicked Cool Records)

Ryan Hamilton – ‘Haunted By The Holy Ghost’ (Wicked Cool Records)

We’ve been banging on about Texas singer/songwriter Ryan Hamilton since before RPM was even a thing, and for good reason. Ryan is an artist who always seems to be on the verge of breaking through with every new album, before some personal tragedy scuppers his plans and he’s back to square one.

They say what doesn’t kill you makes you stronger, well that all depends on what is trying to kill you, I guess. In Ryan’s case it could be a cheating first wife, addiction, divorce, online abuse, the record business, cancelled tours and most recently…a delayed album due to manufacturing errors. All the above have happened in the last decade and you really couldn’t make it up, but Ryan is still soldiering on, and thank your lucky stars he is.

‘Haunted By the Holy Ghost’ follows his 2020 break up album ‘Nowhere To Go But Everywhere’ and the following lockdown album ‘1221’. Produced by go-to-guy Dave Draper who also plays bass, along with Ben Marsden on guitar and Carol Hodge and Emily Ewing on backing vocals. It was recorded at Draper’s studio The Old Cider Press and Ryan’s home studio in Texas, making the whole album a transatlantic power pop affair.

The opening song ‘Asshole’ shows Ryan’s current attitude towards the music business. It was released on Valentine’s Day as an act of self-sabotage guaranteeing zero radio airplay, which is maybe a silly idea if you are a struggling artist wanting airplay, but I’m sure he knows what he’s doing…. but its ok, because this album is choc-a-bloc with singles!

The title track is classic Ryan power pop, a radio-friendly earworm inspired by his Catholic upbringing. With an infectious hook and a euphoric feel, it is an early highlight. ‘Paper Planes’ again, is the sort of song Ryan first showed promise with on ‘Hell Of A Day’, full of quirky, power pop goodness and a euphoric middle section that takes it up a notch.

Ryan is never shy to pen an 80’s style power ballad or two, and for this album he has outdone himself. There are two ‘lighter in the air’ moments that could end up on future teen lovers’ mixtapes. The first ‘Overdose’ is not about drug addiction, but about falling madly and deeply, like ‘first love’ deep or ‘marriage material’ deep. You know, right? We’ve all been there. Elsewhere the emotive ‘Absence Of Love’, lyrically is the complete opposite to the aforementioned ‘Overdose, while full of heartbreak and yearning, it is still as emotive though.

A cover of Splender’s ‘Yeah, Whatever’ is given a lick of aural magic by Ryan and Dave Draper. Indie beats and those quirky vocals give the turn of the century alternative hit a new lease of life, as they do with George Strait’s ‘All My Exes Live In Texas’. This fun run through was a past single but shows its face here as a hidden track (it’s a homage to the CD era, kids!) after the closing song of the album.

‘Sad Bastard Song’ officially closes the 12-track album, and it is the best song here for several reasons. For one, I just love the countrified acoustics and pedal steel guitar vibes, and secondly the tongue-in-cheek lyrics may on the surface make it seem like a throwaway, comedic song for losers, but the stark reality is that these lyrics are from the heart and probably ring truer than you would think, and it’s probably my favourite song on the goddamn record.

It’s a sad fact that some of my favourite artist from the last 30 years will never get the commercial success or the critical acclaim they so rightly deserve. Times are tougher than ever for the underdog, but only one thing can make a difference…you, the music buying public. It would be a tragedy for an album this good to slip under the radar when it should be up there with the Adele’s and the Tayor Swift’s of the world, but how can Ryan compete with those big guns? Who knows, but maybe if when you finish reading these words, you were to click a link and buy this album, that would help just a little. I mean, c’mon, it’s worth it just for that cover art of Jesus in shades, right?  

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Author: Ben Hughes

The Mission – ‘Razzmatazz’ – Barcalona, Spain. 25.04.23

The Mission – ‘Razzmatazz’ – Barcalona, Spain. 25.04.23

The sun is still blazing in the sky over a hot and sweaty Barcelona evening as a line of people zigzags up a metal staircase to Club Razzmatazz where a packed out room is bathed in dry ice as the PA creaks to ‘Tadeusz (1912-1988)’ and the already sweaty audience breaks out into a heaving mass of football sing-a-long excitement before the band walks on for one last hurrah around Europe on the Deja Vu tour.

The few times I caught The Mission last year they were on fine form breaking in the new drummer just ahead of the UK tour post covid lockdowns and they were (pardon the pun) on a Mission and full of energy. Barca expects and as the band winds up ‘Beyond The Pail’ the club is jumping and with hardly any room to breath its a heaving mass of swathing bodies singing along and I’m imediately taken back to the early days where packed clubs like Bristol Studio or New Ocean Club in Cardiff would see you carried along in a sea of bodies well this was like that. ‘Tomorrow Never Knows’ was played early doors before the band lashed out ‘Serpent’s Kiss’ and an enthusiastic ‘Over The Hills’ this was warming up to be something special.

The sound was good and the band sounded well rehearsed and full of energy. With a great mix of songs from way back to more recent offerings, it was ‘Within The Deepest Darkness (fearful)’ when we could take a breather and take in just how bloody good a band the Mission are. The show was taking shape in manageable chunks as the audience sang back every word from the epic ‘Kingdom Come’ and ‘Stay With Me’ it was ‘Butterfly On A Wheel’ where Wayne let the audience sing back to him and I think he was impressed how loud and in tune it was. the main set was brought to an end with an energetic ‘Wasteland’ before ‘Deliverance’ saw the band leave the stage for the first time. A dozen songs had just flown by and I’d found myself in a pocket of air towards the front as the band returned for a trio of songs culminating in an exhilarating ‘Crystal Ocean’ that was the highlight of the set for me. How or why I don’t know but tonight I was moved by this song even though I’d heard it live dozens and dozens of times the whole experience was uplifting and life affirming and I love that Rock and Roll can do that even in a sea of top tunes one will stand tall.

The band left the stage for a second time before Wayne returned alone to announce that one of the band needed a toilet break but would say who so it was left for a welcome return of ‘Love Me To Death’ which only left an epic rendition of ‘Tower Of Strength’ before it was done leaving only Wayne and Simon to twist out a feedback soaked ‘You’ll Never Walk Alone’ and then it was done. Off to Madrid for one last time as we filed out into the warm night air happy I’d once again seen The Mission deliver the goods and cement their place as one of the best live bands still treading the boards.

I know they’ve alluded to this possibly being their last foray into Europe but I’d ask they reconsider that and maybe do it one last time next year or the year after and I’ll be there and by the looks of it so will a lot of others. Another night of Deja Vu with the awesome Mission. Gracias amigos.

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Author: Dom Daley

Ravagers – Butyclan Music Bar, Barcelona 23.04.23

Ravagers – Butyclan Music Bar, Barcelona 23.04.23

I arrive at the sunny surroundings of Camp Nou on a match day where 100,000 supporters file past the salubrious surroundings of Butyclan Music Bar unaware that inside are four fearless Rock n’ Roll pirates navigating their way across Europe converting followers of sleazy punk n roll to their wild and wicked ways, but I know, for I’ve also travelled far and wide to be here for this show. So, imagine my horror when I enter the venue whilst local punks Black Babies are tearing into their LAMF retro punk sound but in Catalonian so I’m fucked if I know what they’re talking about anyway. It was downstairs to an underground lair housing a bar in a cage and not a lot else – a low ceiling and a shitty PA and that’s pretty much what you have. Hey, it’s only Rock n Roll right?

Ravagers take to the stage and immediately have sound problems and it looks like there isn’t a decent mic in the building let alone a PA that can handle some sleazy Rock n Roll hell it would struggle to handle a school sports day announcement but being the road dogs they are the band smash on regardless. They kick into the opening track with no vocals and the muddiest sound ever which is a shame because apart from all the problems not of the band doing they sound tight as fuck and the benefit of being on the road through mainland Europe is paying dividends. ‘Down The Road’ is their latest video so should be familiar to many in attendance but again no vocals it’s not until ‘Just Another Rat’ that we get some vocals in the mix which helps and finally we can relax and get on with some top-notch punk n roll. The band quickly get up to speed and is smashing songs old and new, ‘Blackout’ turns the temperature up a notch or two before ‘Drowning In Blood’ cuts the mustard and was dedicated to Baltimore knife crime and by now the band are flying.

Alex Hagen is doing a sterling job leading his gang somewhere between the swagger of Stiv Bator and a whippersnapper Johnny Thunders but he’s ably supported by Matt Gabs and Sam Hariss on Bass who along with the prince of pound Ray were stoking the heat in the engine room and pouring petrol on the fire out front as the tunes were coming thick and fast. ‘White Widow’, ‘Sick House’ and ‘Nasty Nights’ all sounded tight before they hit the jackpot with their cover of the Lord’s classic ‘Downtown’ showcasing the rhythm section and how tight they’ve become over this tour.

Before you know it we’ve hit ‘Cold Heat’ and the band is being told to get the hell out of dodge which only leaves time for them to rip through ‘High On Stress’ and we’re outta here.

With all the challenges of the room being inappropriate for a rock n roll show playing half the set in total darkness and the lights being a disco light and someone switching the house light on and off I kept waiting for Vim Fuego to fall down the stairs but hey ho oh and a 1980s PA, the band soldiered on and made light of their challenges and turned in an excellent set of Punk n Roll of the finest quality despite their testing surroundings.

Now, next time come to the UK at least for a couple of shows, I’ll be there singing along and championing some low down dirty, sleazy, punk n roll. God bless Ravagers for tearing it up across Europe on a proper tour playing Rock n Roll loud, fast n with the fury it deserves. Top turn, Top tunes top night out in sunny Barca. Gracias.

Author: Dom Daley

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