Dead Pioneers – ‘Wagon Burner’ (Hassle Records)

Dead Pioneers – ‘Wagon Burner’ (Hassle Records)

‘Wagon Burner’ is the band’s 3rd LP, and is a fiercely political and full-on attack on the rise of fascism and the far right at a much-needed time. It also makes indigenous American issues front and centre. With a sound that draws from the origins of US punk like The Dead Kennedys, Circle Jerks and Black Flag, they mix it with elements of more contemporary post-rock, punk and alternative rock sounds. They’ve also reached out to like-minded alternative artists on Wagon Burner, like Jason from Sleaford Mods and Aimee from The Interrupters, who have contributed to this record.

Frontman Greg Deal is a renowned artist and poet, whose words and art elevate the band’s music far above the standard punk fare. Taking on many subjects that put the band in the crosshairs of the far right, but the band fiercely defends their rights. The album kicks off properly with a raging ‘Nazi Teeth’ that also features Cheap Perfume with a thumping beat. The song rages as Greg lends his calming voice to proceedings over a really harsh, dirty riff as the song sets the tempo and is no doubt to become a thunderous live staple. The next “song” proper is ‘No Kings’ with its brooding, menacing backbeat grows into a heaving chorus that’s chest beating whilst you’re holding onto every word that’s spat out of Greg’s mouth.

The album ebbs and flows, and anyone new to the band should now reach back into their catalogue to see where they’ve grown from to fully appreciate their motivation and positive messages. Dead Pioneers have the potential to be huge on the alternative scene. Take the collaborations they’ve engaged with on this record, Sleeford Mods, who are also outspoken, especially on UK politics and punk throughbreds, the interrupers who join the band on ‘Never Alone’ with its melodic uptempo rager.

The band has branched out, adding variety and tempo to their album, and with the guest appearances, it should pull in a diverse audience who might not otherwise be enticed by Dead Pioneers. The production is big, and every space is filled with a big, bold peacock punk rock. The Sleaford Mods track is some slick new wave with the thumping rhythm before the collab chorus.

The second half of the album sees no change in the quality of songs offered. ‘Seeing Red’ begins with spoken words but builds into a heaving beast of a track, justifying seeing red, but Greg channels that anger into an awesome energy. What a tune. Then to follow it up with the pure rage of ‘Circle Jerk The Wagons’ is brutal, sounding more like Keith Morris than Keith Morris – superb stuff. But wait, they’re not done with the bass and drums intro of ‘Zealots’ takes that rage into another direction, thumping stuff.

Before we’re done, ‘Nobody’ lays it all out there, it had me thinking they should tour with Grail Guard, that would put a rocket under the backside of punk rock. Don’t mix politics with music, people say, but I say punk rock has always been political, and so it should be, but make sure you’re on the right side of history, and albums like ‘Wagon Burner’ are life-affirming slabs of punk rock that should be championed far and wide, so get in line, kids and get an earful of Dead Pioneers before they blow up. Another contender for album of the year, and this one speaks truths at every turn, lifting each other up and is a real positive record in some tough times. Buy this record, you won’t regret it.

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Author: Dom Daley

Lithium Kicks – ‘The Black Cat Club’, Bridgend 05/06/26

Lithium Kicks – ‘The Black Cat Club’, Bridgend 05/06/26

As far as debut gigs go, it always helps to have some music out there in the ether and maybe make it a hometown show with another band on the up this time in the shape of Bambees from Merthyr. With a near capacity turnout, it’s Friday night in the canteena from Star Wars, where cans of Red Stripe or Stella are the cocktails of choice. With the band not hitting the stage until 10PM, it was a wise move to get everyone loosened up for the pop show.

It was a joy to see Darren and Ginge on stage again after a lengthy hiatus. As the band took to the stage and struck up their intro as the ringmaster marched on to signal that it was time for the audience to join in with the backing vocals of ‘I Want Something I Don’t Care About’, and we were up and running.  The band sounded tight, and the songs sounded upbeat and full of energy. Sitting somewhere between early Manics, 60 ft Dolls married with a healthy dose of Sorry & The Sinatras punk n Roll for good measure and top melodies turned up a notch or two and pretty much everything sitting on the shelves of Ginge’s record collection (apart from his copy of Jimmy Nails ‘Crocodile Shoes’) it was hook after hook, swapping songs about darkness and self loathing for songs of love and nice things, funnily enough a track entitled ‘L-U-V’ was an excellent tune and a real highlight alongside ‘I Was A Teenage Arsonist’ something Ginge openely admitted was a true story, these alongside the already released pair of songs these were right in the pocket of catchy, sleazy rock n roll that’s been missing from the scene and some real immediate earworms. Going home singing the woah ohs! can drive you nuts but what a way to go. The audience was loving it, and the joy was infectious, but having the band sound in such a great place was a bonus I’m glad I was part of. Bring on the EP and the next show Lithium Kicks have arrived boys n girls substance and alcohol free and all the better for it, straight edge punk n roll its the bloody future I’m telling you.

Being their debut show I’m sure they’ll find places to tighten up and sharpen, but from a punter’s point of view they were right on the money, and it was infectious with people singing along with unfamiliar choruses like they were well worn songs they’ve been listening to for years, which is always the sign of a top tune wrapping itself around you and making everything alright.

Being the beginning of the journey the set was short and oh so sweet with the music being the real highlight on display sure it was great to see Ginge back on stage making music but it has to be quality and to be fair with the new material he’s knocked it out of the park thus far and the other new songs that were played there’s no sign of it stopping quite yet this train is bound for glory baby and I’m sitting in first class. Hop on board as they stop in a town near you, because this should gather pace, and it’s always cool to say you were there at the beginning. Bring on the Lithium Kicks, we all need some rock n roll highs.

Lithium Kicks

Author: Dom Daley

Subhumans/ Only Fools And Corpses/ Bad Sam – The Bunkhouse, Swansea 04/06/26

Subhumans/ Only Fools And Corpses/ Bad Sam – The Bunkhouse, Swansea 04/06/26

Lovely to see a local venue packed to the gills on a school night in anticipation of three very fine bands all flying the flag for independent music. First up, Positive Reaction were a no-show, the reason unknown. So it is the trimmed-down but always ferocious and captivating Bad Sam. Now down to a two piece of Guitar and voice and a laptop, meaning there are only two people to disagree with, rather than a band of 4 with all that equipment. 

Don’t be fooled into thinking that Bad Sam have lost any of their edge or ferocity because that simply wouldn’t be true. With a brand new album to peddle, this was ‘Trauma’ time for Beddis as he climbed down off the stage and right into the thick of the packed audience. ‘Popcorn and Blood’ set the tone for the brief set. Rich was in charge of the laptop (prob for the best) and his guitar up on the rather high Bunkhouse stage whilst Dean prowled the audience barking out the lyrics.  Of all the new songs, ‘Tupperware Death Party’ brought all those in attendance of a certain age to a nostalgic tear or two, but the noticeable thing was the fact that there were only two of them they lost none of the punch or power the music needs to tear Swansea a new one.

Alas their time is too short so there isn’t any reworking of a ‘Snake With Tits’, ‘Mr Trump’ perhaps a ‘Dicks With Dogs’ or ‘I Love The Port’ but that’s ok like I said this was Trauma time and hearing new Bad Sam music is always a pleasure and hopefully with the reception they got this won’t be the last time they head down west maybe for a headline set where they can work in some of the old magic with this new found direction. Awesome stuff.

Next up was local(ish) lads Only Fools And Corpses that are part Newport part Swansea lads with their Helmet meets NomeansNo meets a brick to the temple punk /alt-hardcore noise they peddle, and to be fair, they do it oh so well.  This isn’t my first encounter with these gentlemen because we met at a chaotic performance in the tight surroundings of Afan Ales many moons ago but this was a much nicer experience with a decent and very loud PA and packed house the two guitarists traded vocals as they thumped their way through their set sadly for the last time as they’ve decided that tonight was the night to call it a day for Only Fools And Corpses but Cameron did announce that he’d been writing new material so hopefully it wont be long before they are back all be it under a new name and different guise again something different to Bad Sam but equally excellent which only meant it was time for the headliners to make their Swansea debut. Considering they’ve been at this since 1980 and played every village and venue under the sun around this spinning rock its quite remarkable that this was their first visit to this fair city, something that wasn’t lost on Dick.

Now, considering this was a midweek show, it was great to see the place packed to the rafters, and for such an occasion, it was great to see the reliably good Subhumans deliver a set of top-notch anarcho punk. Anyone who’s seen the band perform will know that anything less that 100% isn’t an option and if you were to see them play more than once in a run of shows you wont get the same set twice however you will obviously get ‘Micky Mouse IS Dead’, ‘Rats’ and ‘No’ but its always great to hear newer songs like ‘99%’ it wouldn’t’ seem right if you didn’t have a mixed set because Dick Lucas was born to do this and gives nothing short every performance as he flits across the stage not pausing or stopping for breath for a second of the hour plus they are on stage. The band sounds tight as and looks like they’re enjoying the rapturous applause they’re getting from the very appreciative venue.

Twenty-plus songs in an hour from gentlemen of a certain age giving it large, showing people a fraction of their age how it’s done with passion and purpose. That, my friends, was a wonderful evening in the company of three exceptional bands absolutely smashing it. Less than £15 a ticket, all for charity, I believe, which is unbelievable value for money in these tough times.  Please, whoever books shows in this city, let’s have all three back sometime in the not-too-distant future and seeing an audience that was a very healthy mix of teenagers to us older me, it was heart-warming to see and be part of.  Uppa Punx!

Author: Dom Daley

Pillarstone – ‘Mono Lit’ (Pillarstone Records)

Pillarstone – ‘Mono Lit’ (Pillarstone Records)

Coming out of Waterford, Ireland, Pillastone have a love for gentle lilts with fiddles and a waft of Americana running through their music. Think a gentler, less drunken/troublesome Green On Red and a lot of the good stuff, maybe some Jesse Malin and Ryan Adams for good measure. The album opens with the first single ‘Run Fox Run’, an electric run through the louder moments, whilst ‘September Sun’ is the gentler side with those fiddles and acoustic guitars cut up with some rim shots and lush melodies leaning into the countrier side of the Waterboys. Very well produced and superbly delivered and arranged. It’s rooted in the themes you might expect call it playing safe if you like but if you deal in Americana with some wholesome rock n roll then thats who you are and the amps are turned up for ‘Wait In This World’ maybe a dash of Brian Fallon is present jammign on some Mellencamp there are polenty of reference points jumping out all over the place and a late evening summer sunshine record it might be but the performances on show are excellent and the arrangments let the music shine bright.

‘Fog Of War’ is some roots rock n roll with a great sound and production, but it never all out breaks free from the restraints of the acoustic and lush, fulsome bass groove, but it does have a very nice guitar solo raging quietly. I also like ‘Wise Up’ and the more uptempo ‘Cry’, but the standout track is ‘Like A Fool’ with its picked acoustic guitar like a less miserable Ryan Adams, and the barroom piano dropping in and out lifts the track.

The loudest track has to be ‘Hammer That Nail as the band veers into Drive By Truckers territory, and it’s something they do really well. The closing track is ‘Call For Mercy’ which paints an upbeat vibe and closes off a very impressive record proving that light and shade are required in one’s palette and this worked really well on a Sunday morning or a late night listen. Go check ’em out.

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Conflict – ‘There Must Be Another Way’ (singles 2LP) (Jungle Records/Mortarhate)

Conflict – ‘There Must Be Another Way’ (singles 2LP) (Jungle Records/Mortarhate)

All of Conflict’s studio singles from 1982-2003 on a limited blue double vinyl 2LP, released for Record Store Day 2026.  The gatefold sleeve includes lyrics to all 24 tracks (which is 4 extra tracks than the CD version).  In tribute to Conflict frontman Colin Jerwood.

Sadly, main-man Colin Jerwood died in May 2025, shortly after the release of their first album in 20 years, ‘This Much Remains’. Conflict are one of the world’s foremost activist anarchist punk bands, who were first heard on their mentors Crass’s label. Their ‘To a Nation of Animal Lovers’ EP inspired anti-vivisection and anti-hunt campaigns, laying down the band’s stance in no uncertain terms. It was the perfect union, Crass and Conflict.

Espousing direct action and numerous political causes, on their own Mortarhate label (through Jungle) they dominated the top of the singles and albums indie charts through the eighties. Gigs turned into full-scale riots, with hundreds arrested, leading to national outrage headlines. Police banned them from performing in the UK, so they went underground and abroad. The music is as uncompromising as their lyrics espoused, and with Jerwood leading the charge, they had a vocal that walked the walk.

They kept touring; a resurgence of interest in the punk movement reactivated them in the 21st century. Following Colin’s death, they continued to gig in tribute to Colin’s legacy. With this, the perfect double album of singles spread over two blue records, it’s an ungovernable force and shows why the band always sat at the top table of crust punk, hacking and slashing their way to people’s consciences, forcing their ideologies and direct action approach from the pure hardcore of ‘To Whom It May Concern’ through the skanking of ‘Climbing The Stairs’. Conflict were a thorn in the side of the powers that be and the industries they campaigned against, and had the soundtrack to accompany it.

It’s mad to think that Conflict can hit over a million plays on the streaming platform Spotify for ‘The Serenade Is Dead’, but it’s the more extreme tracks that I remember, like the incredible ‘Berkshire Cunt’ that always struck me even as a youngster, being impressed that they would be so blunt about their lyrics and who they had targeted with their fury and ire. Saying that it’s not all crash bang wallop mind ‘Meat Means Murder’ is much more restrained as is the intro for ‘Whichever Way You Want It’ before kicking off with some proper punk drumming.

‘These Colours Don’t Run’ is a brutal thump from the opening slash to the chorus that got a subtle melody buried beneath the chaos and noise all around it. ‘Statement’ sounds like it could have beern written by The New Model Army if instrumentals were their thing (Crustpunk royalty going instrumental who’d have thought that?). ‘Conflict’ by Conflict is what I would play someone if they wanted to really know what Crust punks sounded like and its a purely British thing like Fish and chips or Coronation Street this style or band couldn’t have come from anywhere else and conflict were the masters of their craft. Its great that labels like Jungle put out records like this becuase where else are you going to draw in 24 tracks that made up their singles if you tried to track em down then good luck and how scratched would that collection be? ‘There Must Be Another Way’ is the perfect tribute to the life of Colin Jerwood a true believer and a man with a passion and platform that he used to great effect now pick up a copy and preserve the music of Conflict long into the 21st Century – punk as fuck! Buy it!

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Author: Dom Daley

Cuddly Toys – ‘Guillotine Theatre’ (Jungle Records)

Cuddly Toys – ‘Guillotine Theatre’ (Jungle Records)

Cuddly Toys’ debut album was first released in Japan in 1979, then a revamped version in the UK in 1981. Not on vinyl since those original releases until this latest RSD drop.  This one has added bells and whistles. It’s an extended, limited edition double LP in red vinyl, with a Japanese obi-strip, and lyrics inside the gatefold sleeve- for Record Store Day 2026.  This 2xLP version adds a whole side of the different Japanese album mixes, a B-side, two tracks omitted from the UK version and three 1980 demos from the same line-up so a real treasure trove of Cuddly Toys.

Cuddly Toys are the theatrical glam-punk band that evolved from the London glam shock-punk band Raped (so 70s with a name like that). cross-dressing in an era when it was truly outrageous. An LP of Raped recordings was issued by US label Puke’n’Vomit in 2024. But holy shit, even now you wouldn’t touch a name like that, saying that CuddlToys is only marginally better.

Sadly, singer Sean Purcell died in 1996 from a brain tumour, so much of the story hasn’t been told for many years.  If you’re wondering what they sound like, there is the obvious Bowie influence, but I’d say Sparks and Tubeway Army weighs heavily in there, but saying that, they’re not too shabby influences, and you can throw in some Roxy Music as well.

‘Madman’ and ‘Universe’ are proudly Bowie in their delivery and structure, but there’s nothing wrong with that then nor now. ‘Slow Down’ is the bonus from the original on side one of the first LP, and again, the vocal leans heavily on Bowie, but the song is more aligned with Mott the Hoople and reminds me of Suede. ‘Astral Joe’ is a sprightly track with some parping synths over an energetic riff and melody. ‘My Commando’ is one of my favourite tracks with a great beat and riff and one the band executes really well, sounding like early Japan or even Hanoi Rocks before they were both a thing. The album’s title track is another uptempo banger with ‘Time Warp’ closing off the revamped record in style.

DISC 2 is made up of Japanese mixes for six of the tracks, as well as a clutch of bonus songs previously not aired and demo songs. ‘You Keep Me Hanging On’ is a fine version of a classic, maybe not as good as Rod Stewart’s take, but not far off it. The ‘Front Page News’ is an uptempo snotty track, and to be fair, side four might just be the jewel in the crown of this record, with some of the best songs from the whole release. So, a real treat for fans of real Glam Rock when it was fearless and innovative and bands like Cuddy Toys walked around like they owned the place, even if most of the world simply passed them by, until now that is. One of RSD’s best-kept secrets and a real joy to catch up with. Grab a copy whilst there are still a few available.

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Author: Dom Daley

Onlooker – ‘Cleveland’ (Serial Bowl Records)

Onlooker – ‘Cleveland’ (Serial Bowl Records)

Cleveland was recorded, mixed, and shaped entirely by the band in studios, lockups, and living rooms, with only the final mastering handed to Graham Thompson at Soundschitty. The fact that it’s on Serial Bowl is something of a badge of honour, and these guys fit in perfectly with Diaz Brothers and Dealing With The Damage. It’s a post-punk landscape mixed with a caustic garage rock thump. It’s got a thick Bass sound that fits right in with that abrasive, slashing guitar that sounds like a low-slung, battered Telecaster being given no respect. Think Hot Snakes, Minor Threat mixed with the New Wave CBGB scene, early Talking Heads, and that alt punk scene the Americans do oh so well, but the Brits have caught up and, to be fair, are delivering it in spades with a twist of originality.

‘Cleveland’ is packed with songs that move between anxiety, joy, protest, and how to make a cup of tea and some disco biscuits to dunk in to said tea, no doubt. The bottom line is it’s brimming with energy and well-constructed songs of everyday life, bristling with raw energy.

I can imagine a sweaty room with ‘Peaceful Protest thumping through a workhorse PA coming on like a cross between Fugazi and Jane’s Addiction is something special. It’s not all one pace or style either because the northern ‘Wishing Wellaye’ is taking on Hot Snakes and winning with its muscular thump, complete with some excellent screams. I’d even say something like ‘Carpool’ is influenced by the sparse bleakness of Joy Division in full flow.

Every song is a twist to the left or right. This record isn’t at all one-dimensional or bland, it packs a hefty punch and creates some mega colours with its brutal soundscape and smooth lows to complement those soaring highs. With most songs being served in your rapid, perfect couple of minutes, there is one curveball in the shape of the epic six-plus minutes of ‘Suburban Dreams’ with its lengthy intro before breaking out into a garage rock fever dream that Australia has captured the market of. Lurching one way then the other its a bit of a sleeper – stick with it, you shall be rewarded in spades.

Fast-paced, edgy, and frantic, Cleveland is an album full of twists and turns and doesn’t disappoint at all. Hit the link and get involved, this is one smart as fuck album full of top tunes.

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Author: Dom Daley

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

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THRASHERS THORNS ARE ‘READY TO STRIKE’ THE UK IN JULY

THRASHERS THORNS ARE ‘READY TO STRIKE’ THE UK IN JULY

OHIO THRASHERS THORNS HIT THE UK IN JULY – TOUR DATES CONFIRMED INCLUDING AN APPEARANCE AT 2000 TREES FESTIVAL

NEW EP ‘READY TO STRIKE’ TO BE RELEASED 26TH AUGUST VIA THESE GO TO ELEVEN RECORDS

US thrash upstarts Thorns have erupted out of an Ohio basement and into the global metal conversation, becoming one of the fastest-rising new forces in heavy music. Armed with the same uncompromising DIY spirit that fuelled Black Flag and D.O.A., they skipped the industry queue entirely — building their own studio, self-recording and self-releasing two albums and multiple singles and rallying a worldwide following in under a year.

Tapping into the same high-velocity energy surge that spawned the first wave of 80s thrash metal with the likes of Exodus, Nuclear Assault, Anthrax and early Metallica etc, Thorns are a much needed, turbo charged, heads down, head banging assault to the senses. Their new four song EP ‘Ready To Strike’ is set for release August 26th via These Go To Eleven Records and Thorns have come straight out the traps with new single ‘Bad Business’. Coming in at just under two and a half minutes, ‘Bad Business’ is short and fast and lean and mean!

“It’s the standout track from our original demo, but we re-recorded it to fit the vision we originally had. Faster, tighter, and heavier than before… ‘Bad Business’ is the definition of Thrash,” state the band.

“As a band, we’re looking to bring back elements of Metal that we feel have been forgotten over time. Not just heavy riffs but catchy hooks, meaningful lyrics, impressive solos, and the old school energy of it all. We want to put our music in front of as many people as possible.”

That relentless work ethic has paid off: 3.5+ million streams, a rapidly growing international fanbase, and a reputation for resurrecting the ferocity of peak-’80s thrash with a modern edge. Their new EP ‘Ready to Strike’ drops across four monthly singles from May to August, setting the stage for a breakout summer. July sees the band hit the UK for a full run of shows, culminating in their festival debut at 2000 Trees.

Catch Thorns on tour in the UK at the following dates in July:

3rd       Green Door, Brighton

4th       Ifor Bach, Cardiff

5th       1865, Southampton

7th       Basement, Tunbridge Wells

9th       Chinnerys, Southend

11th     2000 Trees Festival, Cheltenham

15th     Blach Heart, London

16th     The Horn, St. Albans

17th     The Parish, Huddersfield

18th     Satan’s Hollow, Manchester

Find Thorns online HERE

Ultrabomb – ‘The Bridges That We Burn’ (Virgin Music Group) 

Ultrabomb – ‘The Bridges That We Burn’ (Virgin Music Group) 

A couple of years ago I was introduced to Ultrabomb for the first time by being recommended their album Dying to Smile “Chris this is right up your alley, you will love it” and oh how DD was right, turns out that it ended up being one of my albums of the year, roll on a couple of years and Ultrabomb are back with album number three the absolute banger “The Bridges That We Burn” 

Legendary Hüsker Dü bassist Greg Norton has been on fire now for the last few years with three fantastic albums. This time, however, the supergroup has had a few lineup changes, now on lead vocals and guitar is Ryan Smith (Soul Asylum) and the man with the sticks, Derek O’Brien (Social Distortion, Adolescents). For any fan of the alternative punk scene, there is no chance this was going to disappoint and that, my friends, it does not. 

Opening the album, we have a mega riff and thundering bassline into the extremely catchy “Darwin Awards” I’ll be amazed if there’s a better opening song on an album this year. 

Straight away, I know that even though the line-up has changed, the quality hasn’t at all, the production here is very clean and loud, and the band are on fire. “Divert/Deflect” is a pounding beast that will have fists pumping during the chorus. 

Next album is the first single off the album and one of the many album highlights, “Artificial Stars”. This could be taken right out of a Soul Asylum classic, the Melodies are everywhere throughout, it’s nearly impossible to get the guitar licks out of your head on this one. 

My favourite song on the album is just around the corner with the excellent “No Cap” with verses that Dave Pirner would be proud of before exploding into a prime Supersuckers-like chorus at breakneck speed. This will have audiences jumping around like lunatics, no doubt about it. 

With a resume from these three musicians it should be no surprise that this album is so good but yet somehow it does, Greg had been away from the music business for so long to have come back this strongly is no joke, his songwriting here is on top top form, Ryan really shines here as well as his voice is so infectious with guitar harmonies all over the place and Derek keeps everything so tight, fantastic stuff. 

We’re on the flip side of the album now and we get another few album highlights the absolute brilliant “Checked Out” which boasts a anthemic chorus followed with a stunning guitar solo and then we go straight into a pounding bassline from Greg in the equally fantastic “Look Forward In Anger” another one that will get fans off their feet around venues (hopefully in the UK as well please).

We’re coming close to the end now, and we are given the smile-raising “BSS” which stands for Bull Shit Song, which had me grinning from ear to ear, and to close out the album, we have the brutal “Mosquito Crucifixion” which is a monster of a song with a huge riff throughout to end a brilliant album on a massive high note!!!

There we have it, Ultrabomb album #3 ‘The Bridges That We Burn’ in the bag, it’s safe to say it will be high up on my end of year list, give it a listen and make sure to buy it!!! 

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Author: Christian Davies