Levellers – ‘Levelling The Land – 35th Anniversary Edition’ (Warner Records)

Levellers – ‘Levelling The Land – 35th Anniversary Edition’ (Warner Records)

The Levellers breakthrough second album ‘Levelling The Land’ holds a special place in my heart. After growing up on rock music through the 80s, they were the first proper alternative band I got into in the 90s, opening my mind to a whole host of bands and genres that would soundtrack my formative years.


You may have forgotten how big The Levellers were back in the mid-90s. With little commercial success or radio play (‘One Way’ didn’t even reach Top 40), they were taken under the wing by the traveller and indie communities and enjoyed sold-out tours which culminated in headlining the Pyramid stage at Glastonbury in 1994 to a record-breaking 300,000 people.


‘Levelling The Land’ was originally recorded with certain production constraints leaving it sounding thin compared to modern production values. So, for the 35th anniversary, the band called on original producer Al Scott to remix the album, and what he’s done is quite remarkable. While there is not a duff tune anywhere on this album, it now sounds fresh and reinvigorated. The songs jump out and punch with a new sense of vigour. It’s like they’ve been transported from 1991 to the modern world in 4K. From classic opener ‘One Way’ to anthemic live favourites such as ‘The Game’, ‘Liberty Song’ and ‘The Road ’, everything sounds fresh and as vital as it was in 1991. There are instruments and parts I have never heard before; the strings are crisp, the rhythms pound deeper. Mark Chadwick’s vocals sound as fresh as the day he recorded them, and the bass rumble that opens ‘Sell Out’ is thunderous and full of extra intent. It’s like they’ve stepped the album up a gear, notched up the RPMs a touch.

The band’s political message has not changed, and the lyrics remain as vital and current as they were in 1991. The Levellers gave a voice to communities that were harassed by the authorities, the travellers, squatters and those who wanted a different, free way of life. This music brought them all together, whether it was at free festivals, dirty squats or dark, patchouli-filled bedrooms country-wide.

It’s crazy to think that a song as good and vital-sounding as ‘Fifteen Years’ wasn’t even on initial pressings of the album and was only added as track 3 after its success as a single. It’s true The Levellers were on a roll creatively, and the wealth of bonus material on this release is testament to that.

The expanded 3 CD version adds a disc of album-era B-sides and outtakes and another disc of recently unearthed demos that show the beginnings of greatness and the development of these songs. While any Levellers fans worth their salt already has the likes of ‘Dance Before The Storm’, ‘Last Days Of Winter’ and their raucous cover of The Charlie Daniels Band’s ‘The Devil Went Down To Georgia’, the demos are well worth exploring.

From folk rock battle cries to melancholic acoustic balladeering, The Levellers have given a voice to the alternative masses who chose their way of life over the norm. And 35 years down the road, ‘Levelling The Land’ remains a defining document of defiance and uprising in 1990’s Britain. A timeless classic that has been revamped to sound the way the artists originally intended it to sound. The album is essential
listening; the bonus discs are for the die-hards.

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Author: Ben Hughes

Warrior Soul/Gypsy Pistoleros – The Fulford Arms, York – 29th September 2026

Warrior Soul/Gypsy Pistoleros – The Fulford Arms, York – 29th September 2026

Here at RPM, there are many underground artists we admire and regard as legends, Warrior Soul mouthpiece Kory Clarke is one such dude. Kory has been keeping the Warrior Soul name alive for well over 3 decades. The politically charged band burst onto the scene back in 1990 with their debut album ‘Last Decade, Dead Century’, and their unique brand of outspoken, anarchic art rock saw a collection of great albums in the early 90s.

While the line-up has changed, the stiff middle finger of Kory Clarke is still raised in defiance as his band continue to release quality albums and tour extensively.

They celebrate the 35th anniversary of sophomore album ‘Drugs, God & The New Republic’ with a European tour playing the album in full. With a handful of UK dates booked, it would be crazy for me to miss the night when New York meets Olde York.

First up we have Gypsy Pistoleros who’ve undergone quite a transformation in recent years. The self-proclaimed ‘greatest flamenco glam punk band ever’ have now rebranded themselves as ‘the world’s only glam punk goth n’ roll outlaws’. Fair play, whatever the branding, Wolverhampton wonderer Gypsy Lee Pistolero is still at it, delivering sleazy rock n’ roll like all the (mostly) forgotten cool cats did back in the day. It’s clear he grew up on the same music as you and I.

They may look like a Temu Kiss (the bassist sports actual fairy wings), but the sound and delivery are dark, sleazy and the most fun you can have with leather clothes on. The onstage humour is as tongue-in-cheek as the stage costumes. “We don’t dress like this every day”, states Lee in one of many between-song monologues, before ripping the piss out of Adam Ant with his moves.

‘Dark Faerie Tales’ sounds like Faster Pussycat when Taime first went all goth and industrial on us, ‘The Ballad Of Thomas Shelby’ is a glitter-drenched stomper with more “woah-whoa’s” than an 80’s Bon Jovi single, and their cover of Dexy’s ‘Come On Eileen’ is the glam punk/pop crossover you didn’t realise you needed.

A full-on, high-energy rock n’ roll show with crowd participation, riffs and hooks aplenty- what’s not to like?

Warrior Soul take to the stage and jam out a killer intro piece. Kory Clarke swaggers through the crowd to the front of the stage, a bottle of red wine in his hand, and just watches his band rock out for a moment or two with his back to the audience.

He then grabs a mic, takes stage centre, a defiant fist in the air and shouts in that unmistakable raspy voice, “We are the government, and we rock n’ roll!”. They kick into ‘Interzone ’, and it’s clear from the off that this band mean business.

The diminutive frontman is a flash of blonde hair, gold shades and leather bellbottoms. He weaves rock n’ roll shapes and delivers that enigmatic, frontman thing like all good rock stars should. Next up ‘Drugs, God & The New Republic’ takes things down a notch before ‘The Answer’ takes it back up again. It seems we are getting the album in sequential order, nice!

Joining Kory are fellow New Yorker Adam Dubin, Italian guitarist Parker Barrow and Lowdrive guitarist John Hodgson. Longtime bassist Christian and drummer Ivan Tambac make up the ranks. The band are tight, and the staying power of these songs shines, reminding me what a great fucking album it is, all killer, no filler. Lyrically ahead of its time, musically powerful and still as relevant as it was in the last century.

Highlights are plenty: ‘Real Thing’ sounds great, those dynamics work well live, ‘Hero’ is as emotive as you like, and ‘The Wasteland’ is a surefire blast of 90’s punk metal.

All eyes are trained on the main man, making the most of the claustrophobic stage space he has. He eyes the audience as he spits and snarls his way through a killer set, gesticulating and articulating wildly and with as much passion as when he wrote those words.

Once the full album is done, we get more. ‘The Drug’ is a high-energy blast of acid punk, jammed out and extended, giving Kory time to drop to his knees, swig some wine and pass it to his bassist. ‘Punk & Belligerent’ is exactly what it says on the tin, and probably the best song of the night. ‘Losers’ is the all-encompassing anthem we all raise our hands and sing to, and set closer ‘Love Destruction’ is a sublime way to end a 1-hour 40-minute set, no encores needed.

Both bands had to work for it tonight. And at times both frontmen seemed a bit bemused about it. I’m sometimes left wondering if this is just a Northern thing or a national issue at gigs. Have we forgotten how to loosen up and have fun these days?

But in an age when people think nothing of paying £200 to see a nostalgia act on a big screen in an enormodome, I’m happy to say I saw a rock n’ roll legend give his all in a sweaty pub in my town for less than £20, and personally it was one of the gigs of the year.  

Author: Ben Hughes

The Molotovs – Leeds Beckett SU, Leeds – 17th September 2026

The Molotovs – Leeds Beckett SU, Leeds – 17th September 2026

What a difference 9 months makes. Back in January, I caught these young upstarts, The Molotovs, up the road at The Lending Room, it has a capacity of 200. They hadn’t even released an album yet. Now, the London-based trio are in the midst of a (mostly sold-out) UK tour promoting their debut album ‘Wasted On Youth’. This venue is an upgrade from The Wardrobe due to demand; it holds around 1000. The Molotovs are blowing up, and for good reason.

Siblings Mathew & Issey Cartlidge have been gigging hard for a few years now and deliver a ferocious Mod-tinged racket that’s part Weller, part Gallagher. The debut album is choc-a-bloc with tunes and the follow-up ‘Welcome To Urbia’ is already in the bag.

The room is packed by the time they walk on and blast into ‘Johnny Don’t Be Scared’. It’s an older song, and not even on the debut, that’s how confident they are. Dressed sharp, with a bleached buzz cut, singer/guitarist Mathew may still be a teenager, but his vitriolic vocals and ringing power chords are those of a seasoned punk rock pro. The years of constant gigging have paid off in spades. Stage left, his older sister Issey is a haze of blonde hair and flailing limbs as she pulls perfect rock n’ roll chic poses, the sort only years of bedroom mirror action can create. Behind them, drummer Noah Riley bashes like the bastard son of Keith Moon. It’s all going exceedingly well, The Molotovs are mesmerising to watch, and a photographer’s dream to shoot.

Anthemic single ‘Rhythm Of Yourself’ follows, proving these upstarts have the teenage kicks needed to thrill the youth of today. If only the Leeds crowd could return the energy the band put out. I know a Leeds audience is notoriously hard to win over, but it seems somewhere along the way, we have lost the ability to lose ourselves at a gig and actually have fun.

The Molotovs have made the transition from small stage to large with ease. The trio look comfortable up there, they play tight and have buckets of energy. They look like they’ve been doing it for years. The hour-long set covers most of the debut and a selection of future hits from the upcoming album. Brit Pop-tinged rockers like ‘Daydreaming’ and ‘More More More’ thrill, and the more emotive ‘Geraldine’ with its quirky backing vocals is a set highlight. Recent single ‘Urbia’ might not have the instant feel of past singles, but it bodes well for what is to come. Its B-side ‘Down At The Café’ also gets a live airing, it may be a better song, sounds like early Antmusic to me.

Modern radio-friendly anthem ‘Today’s Gonna Be Our Day’ and the punked-up energy of ‘Get A Life’ wake the Leeds massive, and ‘Wasted On Youth’ builds to become a massive beast.

The main set closes with the obligatory raw and punky take on ‘Suffragette City’ before they return with newbie No Time To Talk’ and closer ‘Come On Now’.

The Molotovs are an exciting proposition. A band who have the songs, the energy and the aura of a real rock n’ roll band. Mathew’s ability as a writer to blend vintage Mod sounds with Britpop and deliver it with a punk energy makes most of his contemporaries look beige as fuck. If The Molotovs’ upcoming second album lives up to expectations, then they are destined to be one of the bands of 2027 and beyond. Remember where you heard the name first.

Author: Ben Hughes

Friends Of Jesse Malin – ‘I Would Do It For You – Vol. 1’ (Wicked Cool Records)

Friends Of Jesse Malin – ‘I Would Do It For You – Vol. 1’ (Wicked Cool Records)

If you are reading this, then you are probably well-versed in the history and songs of NYC singer/songwriter Jesse Malin. Following his life-changing spinal stroke in 2023, the Ex-D Generation frontman has been unable to tour and earn a living, so his musical brothers & sisters have banded together to help Jesse cover the costs on his road to recovery. The fruits of their labour have produced not one, but two sprawling compilation albums in his honour.

The first, ‘Silver Patron Saints’ released in 2024, featured the likes of Bruce Springsteen, Butch Walker and Billy Joe Armstrong. Now his record label Wicked Cool Records follows suit with the first of two volumes featuring artists who may not carry the same kudos as the aforementioned big hitters, but deliver the same rich quality of music.

Label mates, bandmates, peers and heroes join forces on ‘I Would Do It For You’. This 26-track compilation, produced by Lyle Hysen, crosses genres and generations, each artist giving their interpretation of songs from Jesse Malin’s extensive career.

While most tribute albums are hit and miss, I’m glad to report this one is a good ‘un. Most of these recordings turn the original on its head to give a certain ebb & flow that keeps the listener coming back for more. From country to dance, punk rock and Americana to power pop, all bases are covered. Standouts for RPM readers would be Hanoi Rocks legend Sami Yaffa giving ‘Black Haired Girl’ an unusual reggae twist, Prima Donna right at home with a punked-up ‘Everybody Wants To Rock N Roll’, and Valley Lodge delivering a power pop rendition of D Generation’s brooding ‘Too Loose’, with killer doo-wop backing vocals and throbbing bass to boot.

Elsewhere, Gogol Bordello bring their gypsy punk craziness to ‘Here’s The Situation’, Randy Schrager turns ‘Burning The Bowery’ into a laid-back, lo-fi affair and Stephen Chopek strips ‘High Lonesome’ bare, with just a strummed acoustic and an emotive vocal.

The ladies of the music world have stepped up to the cause too. Album opener ‘Shining Down’ is a euphoric delight, Amanda Cross adding countrified Tom Petty-style vibes to a Malin classic. URSA MINOR deliver a faithful rendition of ‘Keep On Burning’ and Bebe Buell melds dance beats and electronica with sultry vocals on ‘Dance To The System’.

There is a lot to take in on a 26-song collection, but there are more standouts on the first few listens than there are duds. Davey La gives a memorable and upbeat version of ‘Ameri’ka’, and James Maddock elevates ‘Bar Life’, swapping piano out for acoustic guitars and a raspy, 20-a-day cigarette habit vocal. The Dead Milkman offer up another interesting twist with ‘She Don’t Love Me Now’, a gothic, new wave makeover was not on the cards, but there we go. Nashville country style is represented by Robinlee Garber and Kelly Swindell on ‘Cigarettes & Violets’ and ‘You Know It’s Dark When Atheists Start To Pray ’, respectively.

Available as a double CD and a vinyl version with just 12 choice cuts, ‘I Would Do It For You’ is a fitting tribute that not only shines as an album in its own right, but showcases the songwriting talents of a much-loved soul who has a knack for a catchy tune and a way of writing stories about characters, love and life that few can match.

There are probably a dozen or so artists here you’ve never heard before, and maybe through this release you will find your new favourite band. That’s how it works sometimes. But I digress, that’s just a bonus. Shine on Jesse Malin on his road to recovery, and if you can spare the loose change to purchase any or all formats of this album, then do it, every sale helps towards his recovery.

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Author: Ben Hughes

Tuk Smith & The Restless Hearts – The Key Club, Leeds – 24th July 2026

Tuk Smith & The Restless Hearts – The Key Club, Leeds – 24th July 2026

We here at RPM love the underdog, we all love an underdog, right? Atlanta-born and bred singer/songwriter Tuk Smith is a survivor, a rock n’ roll renegade who breathes and sweats it from every pore. From humble beginnings playing guitar with glam punk legends The Heart Attacks, through the major label years fronting The Biters and then going it alone with The Restless Hearts, Tuk has had his fair share of ups and downs, yet he comes back stronger each time.

Last album ‘Rogue To Redemption’ went a long way to prove his knack for a catchy chorus is up there with his contemporaries. The man and his band now pay a long overdue visit to the UK with a few festival dates and club shows to give us a taste of what they have to offer.

As local punks Cyanide Pills blast through the PA, Tuk and the boys waste no time getting down to business with opener ‘Little Renegade’ and immediately, the tone for the night is set. With his Telecaster slung low, fist in the air and power chords ringing in the ears, there is already that certain feeling in the air that this is going to be special. With the songwriting suss of Butch Walker and the rock power of AC/DC and Thin Lizzy, it was never going to fail to impress. It’s already hot in this room, but the temperature has just skyrocketed in line with the rush of adrenaline. A killer opener.

Tuk Smith writes songs that have the power to fill stadiums, with hooks aplenty and choruses to die for. His band look the part and are as tight as their denim strides. ‘Ballad Of A Misspent Youth’ has an urgency live, upbeat and instant, it pounds to a relentless, high-energy beat and has a chorus that begs to be sung loud…and sing we do.

‘Sadie Mae’ from last year’s ‘Troubled Paradise’ EP is played early. Is it a power ballad? It’s certainly not Bon Jovi, but it has an instant, emotive chorus that sticks and a ripping solo to boot, it’s a highlight from the EP and from tonight’s set. Tuk and guitarist Tobin trade licks and have a good stage rapport, in fact, Tuk is more engaging than I thought he would be. Informing us that he will keep chat to a minimum as there is a curfew, Tuk proceeds to chat and joke between every song. “Do not put that on the internet!” he says between questioning UK swearing etiquette, telling dad jokes and telling us his new drummer is the illegitimate son of Freddy Mercury.

Tuk claims to have blatantly ripped off Thin Lizzy for ‘Girls on The East Side Of Town’, but we’ll forgive him as it’s a killer tune. With trademark twin guitars and a chorus many bands would die for, it was never going to fail to be a highlight tonight, and it’s one that gets the crowd fired up.

“You wanna hear Glorybound or Troubled Paradise?” he shouts after informing us they only have time for one. With an equal response for both, Tuk shrugs his shoulders and plays both anyway. The Biters ‘Gypsy Rose’ follows, it’s a welcome surprise, as is their cover of The Replacements ‘Bastards Of Young’.

They close with the righteous anthem that is ‘Take The Long Way’, sending us off into the night to mingle with the Peter Kay fans who are just leaving Leeds First Direct Arena up the road.

Nothing beats the pure raw power and adrenaline of watching a small band fighting and giving their all like their life or their next meal depends on it. And the truth of the matter is that it probably does. Tuk Smith & The Restless Hearts may not be filling stadiums, but that doesn’t stop them from playing like they should be. After seeing a couple of big rock shows recently, namely Metallica and Sammy Hagar, it’s good to be back in my comfort zone. In a small club where you can see the whites of the artist’s eyes, the beads of sweat on their forehead and feel the bass reverberate through your bones. This is live rock n’ roll in its true, undiluted form, and Tuk Smith & The Restless Hearts play it like they mean it. A life-affirming rock show that keeps my faith in live music alive.

The Virginmarys/iDestroy – Hyde Park Book Club, Leeds – 31st May 2026

The Virginmarys/iDestroy – Hyde Park Book Club, Leeds – 31st May 2026

Macclesfield’s finest export, The Virginmarys, follow up their 2024 album ‘The House Beyond The Fires’ with a companion album ‘Beyond The House Of Fires’, a piano-led re-working where the songs have been stripped back and reimagined. Chords and structures have been changed, words have been rewritten, and it’s very much a different album sonically. To promote it, singer/songwriter Ally Dickaty and drummer Danny Dolan now take the show on the road for some intimate MTV unplugged-style shows. 

First up are Bristol band iDestroy. Bec on guitar and Nic on bass haven’t done acoustic shows before, but they embrace the format. Bec gets a bit of a rapport going, some crowd participation, and they have some great tunes. “All My Friends Are Plastic” and “Headphones” are particularly memorable. There’s a bit of Brit Pop and a smattering of Grunge going on, Elastica meets Hole could be a good starting point. They go down well and warm things up nicely.

The stage is set, iridescent candles shimmer, and pink LEDs draped across the amps glow as The Virginmarys take to the stage of an already hot n’ sweaty room. With guitarist and songwriter Ally taking on keyboards for this tour, The Virginmarys are joined by guitarist Gareth Price to boost the band to a 3-piece for this tour.

The thing I like most about this new album is that some songs that maybe didn’t stand out on the original album now come into their own. One such song opens the show tonight. Stripped of the jagged riffs and regimental beats, ‘My Nettle’ takes on a new lease of life, emotive and cinematic, it just hits in the feels. We watch in silence as Ally fingers a lush piano melody. Danny does not take his eyes off his musical partner’s fingers either, as he matches the raw and emotional vocal with a rousing beat. You could hear a pin drop for the entirety, and that’s not the only time that happens tonight.

‘Dance to the City’ follows, with its rousing chorus screaming the album title. It’s over in a flash. The songs flow by quickly, too quickly, they seem shorter somehow. ‘There Ain’t No Future’ still sounds as powerful without the killer power chords,  and ‘When The Lights Go Down’ is simply stunning, Gareth’s effect-ridden guitars adding a touch of Pink Floyd to proceedings. 

‘Urban Seagull’ is another that benefits from the reworking. Ally plays a lush arpeggio while Danny plays a regimental but subtle beat. A song that was made to be played in this setting. 

The set is mainly these new songs, none of the usual hits is to be heard in this format, but they fill it out with a few obscurities, just Ally solo. A cover of Leonard Cohen’s  ‘Everybody Knows’ fits the bill, ‘Sleep’ and ‘Cast The First Stone’ are heartfelt and beautiful and will make you want to revisit those early EPs. 

They capture that magical unplugged, laid-back vibe well, the intimate dark room helps magnify the cinematic, ethereal feel of these new reworked songs.

The only time the pace picks up is on the penultimate song, ‘Veteran Soldier’, an older song that was originally recorded acoustically and has been given the opposite treatment. The atmospheric intro leads into an almost Tarantino-esque spaghetti western vibe. A song of gratitude and undying friendship, it’s an album highlight and a gig highlight as well. But the best has been kept for last. ‘White Knuckle Riding’ for me is the kingpin of the whole album. Ally’s unfaltering vocals are sublime over the tinkling of the ivories, it builds with Danny’s gentle, regimented beats, just enough to accentuate things. Unsurprisingly, the emotive lyrics with the Northern references hit home in this intimate Leeds venue, and it’s a stunning end to a masterful set. No encores, no returns…job done.

The idea with this project was to recapture that 90’s MTV Unplugged vibe, and with both album and tour, The Virginmarys have succeeded. While this is more of a between-album project and not a new direction for the band, it was one of the most magical gigs I have seen them do. 

Author: Ben Hughes

The Future Shape Of Sound – ‘Heavy Load’ (Gypsy Hotel Records)

The Future Shape Of Sound – ‘Heavy Load’ (Gypsy Hotel Records)

From the nighttime, neon city wastelands of East London, there came a group, a collective of soul divas and rock n’ roll musicians led by the mysterious and enigmatic guitarist/producer Alex McGowan (aka Captain Future). This man without a tan has worked with the likes of Primal Scream, Jah Wobble, The Urban Voodoo Machine and Jim Jones. His band The Future Shape Of Sound could be the perfect festival band and over the years have been seen plying their trade at the likes of Red Rooster, Womad, Boomtown and even the Glastonbury festival. You can catch them occasionally, where society rejects frequent, dark, seedy bars and the occasional hometown Gypsy Hotel gig. They follow up their 2018 album ‘Shakedown Gospel’ with the long-awaited ‘Heavy Load’.

Keeping with tradition, ‘Heavy Load’ features several lead vocalists over the 10-track album, but predominantly it’s James Brown’s widow, Tomirae Brown, who not only takes the lead but also co-wrote most of the material with Alex.

Opener ‘I Want A Little Slow Blues’ is a low-key affair, a mid-paced groover featuring former Jim Jones Revue man Henri Herbert tinkling the ivories, backed by The Future Sisters gospel trio. This leads nicely into killer single ‘I’d Rather Be Alone’, where the band fully hit their groove. Tomirae adds raunchy Tina Turner vibes to the foot-stompin’ rock n’ roll party anthem. Co-written by The Urban Voodoo Machine mouthpiece Paul-Ronney Angel, it’s a surefire album highlight.

Claire Allen of The Guerilla Street gospel choir takes us to church on ‘Ain’t Standing By’ and Geraldine ‘Gee Gee’ Reid of The Divettes takes over for a couple of numbers too; the rhythmic gospel laced blues of ‘Ride’ sounds like an old forgotten traditional song and the more funky jam ‘You Can Change Your Mind’ showcases the tight and groovy rhythm section of bassist Duncan DeMorgan and drummer Doc Johnson.

Elsewhere, you’ll find a couple of beauties that encapsulate The Future Shape Of Sound vibe; the funk rock explosion of ‘Take The Money’ is trashy in a good way, it fits the Tomirae vocal delivery nicely, and the wah-wah guitars give added cool factor.  Tomirae & The Future Sisters return for the swampy blues anthem ‘Oh Mama’, and there is no surprise that it was a single. The slide guitar, the harmonica and the soulful backing vocals give depth to the catchy melody and footstompin’ vibes. You’ll add it to your playlist if you’re that way inclined. Me? I’ll just buy the record and play the whole damn thing the way the artist intended.  

Recorded at Alex’s own Space Eko East studio in East London, ‘Heavy Load’ captures the soulful rock n’ roll blues of a band that thrives in a live environment. With his congregation of multi-national and multi-talented musicians and singers, he takes the sounds of the streets and the dives of old London town, turns it into a celebration and takes us to pray at the church of rock n’ roll once again. It’s good to have them back. Now, where’s that vinyl pre-order button?

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Author: Ben Hughes

Cyanide Pills – ‘Singled Out’ (Damaged Goods Records)

Cyanide Pills – ‘Singled Out’ (Damaged Goods Records)

Cyanide Pills could be the greatest punk band in the world; they’re surely the greatest punk band to drag their arses outta Leeds. A self-proclaimed “gang of cunts from a desolate land” consisting of Phil Privilage on vocals, Sy Pinkeye on guitar, Alex Arson on another guitar, Alarick on bass and Chris Wrist beating the drums. These lively lads from Leeds have been exciting audiences across Europe and beyond for the past 17 years, and with 5 albums under their studded belts and a whole bunch of single releases, it’s about time they released a greatest (s)hits record, right?

Well, here you go, you lucky fuckers! Here’s a tasty treat courtesy of Damaged Goods for ya. ‘Singled Out’ is all their 7” releases and the corresponding B sides (plus a couple of new unreleased singles) on double vinyl and shiny CD. That’s 33 tracks to devour. Are you excited yet?

You should be, just check out that track list. The A sides are worth the entry price alone. Spikey, power pop-infused punky goodness with buzzsaw guitars and choruses to die for, that is the signature Cyanide Pills sound, and they’ve got the songs in spades. From The Clash meets The Toy Dolls sound of debut single ‘Break It Up’ to the pogoing power pop of newbies ‘Amalia’ and ‘Second Best’, it’s a wild and melodic ride.

You’ll laugh along at the tongue-in-cheek lyricism, from the tale of forbidden love that is ‘Suicide Bomber’ to the political diatribe of ‘Government’, the band remain confidently relevant and humorous in equal measures. You may even ponder if Johnny Thunders did actually live in Leeds.

Highlights include the killer earworm ‘Conquer The World’, the ridiculously catchy ‘Big Mistake’ and recent single ‘Hope You’re Having Fun’. Songs that prove this band ages like a fine red wine.

Then we get to the really tasty stuff. If you’re a fan, but like me don’t collect 7” records, disc 2 is the place to begin. ‘Mail Order Bride’ and ‘Stick Em Up’ were on the flip side of the debut single, and to be fair, either of them could have been the chosen A side. High energy punk n’ roll with distorted riffs and choruses that most bands would die for. Elsewhere, the standouts are plentiful. For me, the ska-infused ‘Lock Me Up’, the Green Day-esque ‘Hooked On You’, and the 70’s glitter stomp of ‘I’m Celebrating’ are winners. These songs go a long way to show Cyanide Pills B-sides stand tall against the A-sides. And just wait until you hear ‘My Mind’s On Strike’, the flip side of the upcoming new single ‘Amalia’. With a verse that pummels the senses and a killer gang vocal chorus, it’s up there with their best.

It is said that true music fans don’t buy ‘best of’ albums, but this collection is a great starting point if you are new to the band, and is essential if you are a fan but don’t collect 7” records. Sequenced in release order, it’s an album that flows well and shows the progression of a band who get stronger song by song. ‘Singled Out’ is a worthy addition to any music lover’s collection from a homegrown band who are up there, standing tall against their contemporaries.

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Author: Ben Hughes

CJ Wildheart – ‘DEViL’ (self release)

CJ Wildheart – ‘DEViL’ (self release)

You could say ex-Wildhearts six-string shouter CJ is more prolific than main Wildhearts mouthpiece Ginger right now. Since stepping away from the band, CJ has kept himself busy and upped the ante with his own solo career. Recent tours with Michael Monroe and Ricky Warwick now lead to the release of his 8th solo album ‘DEViL’, an album that was apparently a true labour of love and could well be his musical swan song.

CJ is a true DIY artist in every sense of the word. On ‘DEViL’ he has recorded and played all the instruments himself, bar drums, which are more than ably handled by long-time compadre Jason Bowld, and mixing duties are once again by go-to-guy Dave Draper. If it ain’t broke, don’t fix it!

Lead single ‘One Of The Boys’ is a great starting point. Lyrically, it’s introspective and tackles the doubts and questions of an uncertain future. Musically, it aims for the stadiums with a chorus so uplifting that the ensuing goosebumps will contradict the lyrical message. It’s up there with his best work.

‘DEViL’ follows the blueprint of CJ’s solo career to date, in-yer-face powerful punk ‘n roll, dripping with memorable hooks and killer choruses, no slow songs and no acoustic guitars. Opener ‘Nein Nein Nein’ is a punchy assault to the senses, a wall of urgent beats and distorted guitars leads the way for gnarly vocals. The following, ‘The Art Of Being Free’, is a glorious and instant earworm with a euphoric refrain that is just what the doctor ordered. Mark my words, you’ll be singing along from the opening chorus, and it’s a song that demands the replay button.

But don’t hit that button just yet, as there is more great ear candy to devour. You could say some artists mellow with age, and some bellow with rage, CJ is firmly in the latter camp. He has perfected that vocal sneer over the years, and ‘SOB’ sees our man firing on all cylinders with a track that could be a Wildhearts B-side from 20 years ago (and we all know how good those are, right?). Elsewhere, the regimental rifforama of ‘No More’ bridges the gap between punk and metal nicely, leaving those pop melodies by the wayside, it’s the perfect conduit for a punk vocal delivery. Yet it is bookended by ‘Rotten’ and ‘Twenty Two’, a pair of ridiculously catchy tunes that walk a familiar, catchy and more commercial path. Album closer ‘Fade’ then sees our man in an introspective mood again as he soul-searches one last time.

As it becomes increasingly difficult for artists of all levels to tour and release music, you can forgive CJ for feeling it’s time to step away from the music business and move on to other things. And with the recent sad loss of former Wildhearts bassist Scott Sorry and Ginger’s recent health diagnosis, it feels like we are coming to the end of an era for fans of all things Wildhearts.

But don’t feel sad just yet, Wildhearts fans, as CJ has given us a winner with ‘Devil’, and if it is his musical swansong, then so be it, it’s a fine way to bow out in style.

Now, go pre-order the thing and maybe bag some Devilspit hot sauce for your bacon butty while you’re at it.

Buy Here

Author: Ben Hughes

Split Dogs/Wench!/Helle – Hyde Park Book Club, Leeds – 27th March 2026

Split Dogs/Wench!/Helle – Hyde Park Book Club, Leeds – 27th March 2026

Who’s up for a night of feminist shouty punk in a teeny, tiny venue at the arse end of Leeds then? Bristol punk n’ rollers Split Dogs certainly are. Riding high on a recent tour with Gogol Bordello, a new album to be released in September and a stonking new single in ‘Rock n’ Roll Business’ to promote. Tonight, they bring their wares to the ultra hipster Hyde Park Book Club, a prime student hangout filled with books, art, food, and a dark downstairs venue that is perfectly suited for sweaty punk rock debauchery.

Local band Helle are already halfway through their set as I arrive, and they seem to have guitar issues. It doesn’t phase singer Elsie, and she continues to smile and deliver her gothic-tinged riot grrl tunes, while the guitarist and soundman frantically try to fix the issue. The band continue to an already busy room with just bass, drums and an ethereal demeanour. Guitars reinstated, there’s a cool energy that makes me wish I’d turned up 15 minutes earlier. Imagine Siouxsie meets the Slits with a heady dose of Daisy Chainsaw for good measure. The girls look like rock stars, the boys look like…boys. Great stuff.

“Wench are not a girl band!” So states the blue-haired drummer from Hull-based shouty feminist punks Wench!, halfway through their set. I beg to differ as the 3-piece band are certainly girls. But I get it, when you’re playing to a largely male populated room, you gotta rage. And Wench certainly rage, with a raw and more visceral sound than the openers, their brand of aggro punk fits the bill nicely. The fact that the drummer and guitarist both handle lead vocals is pretty cool too, and gives some diversity. Two support bands that prove Northern grrls can riot with the best of ‘em.

Split Dogs are the rock n’ roll business from the moment they hit the stage. Dressed in a sparkly red number, singer Harry is the main focus, it’s difficult to take your eyes off her. Some singers just have a certain presence, and Harri is one of those singers who delivers. And by the time the new single “Rock n’ Roll Business” has floored us about 4 songs in, it’s clear they have the tunes to match.

Guitarist Mil Martinez wears his influences on his tattooed sleeves. The riffs sound like Sleazy Quo, the guitar tone is sublime, and the delivery is a Motörhead-style assault. Newish Bassist Suez is now broken in and holds down the low end, the new shirtless and moustachioed drummer already fits like a leather glove. 

“There’s room here at the front!” sneers Harry, beckoning those holding back to come forward and sweat. ‘Lafayette’ sounds killer, ‘Monster Truck’ is a beast and set closer ‘And What’ is as good as it gets. 

The relentless touring has paid off, it seems, as Split Dogs are a bit of a damn good live proposition. In a world where Amyl & The Sniffers are playing Enormodomes, it’s a travesty that a band as good as this are still playing small clubs. But hey, let’s keep it our little secret for now, ok. It’s 2026, and I watched 3 great bands for £12, now that’s a bargain night out in anyone’s book. 

Author: Ben Hughes