The Godfathers kickstart 2026 with a brand new double A-side single. The release – featuring the band’s first new music since 2022’s acclaimed Alpha Beta Gamma Delta album – comes ahead of a previously announced trio of UK dates
Set for release on 6th February, vinyl and digital versions of the new single will comprise the tracks ‘Going Wrong’ and ‘Lesbian Café’, the latter number featuring guest contributions from Devo’s Josh Hager on guitar and synthesiser.
There will also be a 4-track CD EP release, which includes the single tracks plus a special remix of ‘Lesbian Café’ by Hager and an alternate acoustic version of ‘Going Wrong’.
The single is the first taste from a highly anticipated brand new album from the band, expected in early 2027. Godfathers’ front man and founder member Peter Coyne has described both new songs as “truly exciting rock & roll social commentary and another sonic leap forward for the group.”
Coyne has cited ‘Lesbian Café’ as a genuine tribute to his LGBTQ heroes, influenced in part by his visits to the legendary Club Louise in London in early ’77, which he’s said provided “a non-judgmental home from home for many people on the punk scene in the ‘70’s.”
The vinyl single and CD EP are both available to pre-order now exclusively from Here.
All four tracks will also be available to download from all the usual online digital platforms.
As previously announced, The Godfathers play three UK gigs in February – Edinburgh, Leeds and their traditional Saint Valentine’s Day Massacre concert at the iconic 100 Club in London…
We all know the Metallica story… I’m not going to talk about that, well, maybe later. Megadeth has been a constant in the heavy metal story since back in 1983, when Dave Mustaine swore that he would put together a band faster and heavier than that other band that I said I wasn’t going to talk about.
Since then, there have been many lineup changes and some history-making music. The one constant is, of course, “MegaDave” himself. The controversial guitarist/vocalist/lead songwriter has made sure that every single heavy metal fan in the world owns at least one Megadeth album in their collection. This has been achieved by hard work, phenomenal talent and of course, Dave’s unwillingness to fail.
My first run-in with Megadeth was courtesy of a Kerrang! Compilation VHS with the video to the song Peace Sells. I loved it and got a friend to copy the album onto a C90 cassette for me. The power, the musicianship, and the snarl all made sure this teenage thrasher was hooked (in mouth?) Of course, the “classic” lineup of Megadeth came a few years later with the 1990 Rust In Peace album. This is when the world really saw Mustaine’s vision in full. I saw the band live for the first time on this tour with a little-known band called Alice in Chains opening. The fury of their live shows became legendary; they never disappoint in a live setting.
Megadeth became global superstars after the success of the 1992 release ‘Countdown to Extinction’, but this was the start of the band’s decline. Some ill-fated direction changes on the 1999 album Risk and the collapse of the “classic” line-up before that saw Megadeth’s popularity dip. This isn’t to say that the band weren’t out there making new records or playing live, they just never got another Countdown moment.
This latest LP, simply titled ‘Megadeth’, is set to be their last ever album. Mustaine has had health struggles over the last few years and has decided to hang up his guitar for good. 2022’s ‘The Sick, the Dying…and the Dead’ was a great album, and this follows on in a similar vein. Latest guitar wizard Teemu Mantysaari has a strong presence with songwriting credits on nine of the ten tracks. Drummer Dirk Verbeuren feels like he’s been around forever, and his contribution is a noticeable one. Bass player James LoMenzo still feels like a hired gu,n though, he plays a blinder here, as you’d expect.
The album opens strongly with the lead single ‘Tipping Point’. Virtuoso guitar work, machine gun double kick drums and Mustaine’s trademark love it or hate vocal style are all over the song. A brilliant opener. The production is great, too, from Mustaine and Chris Rakestraw. ‘I Don’t Care’ is a bit more throwaway, although some fun lyrics rescue the track. ‘Hey God?!’ Is a mid-paced chugger, which is a real grower. ‘Let There Be Shred’ does what it says on the tin, a real showcase of Mustaine and Mantysaari’s incredible prowess. Puppet Parade reminds me of the Youthanasia era. Another strong track. Another Bad Day chugs along nicely with lyrics that all of us can relate to. ‘Made to Kill’ kicks off with a superb drum intro before we are off into very familiar Megadeth territory, stabbing riffs, answering kick drums, and guitar solos aplenty make this one of the strongest tracks on the album. ‘Obey the Call’ has a great crunching riff. Mustaine’s vocals are more melodic here, another solid tune. ‘I Am War’ has a nice sing-along chorus which sticks in your head almost instantly.
The Last Note gives us Megadeth fans the final nod from our illustrious leader. The lyrics are actually quite moving: “I can’t outrun the spinning hands of time” and “the guitar got heavy, time to lay it down” gave me a lump in my throat. Is this really the end of the road for Megadeth? It seems to be true. We can never be sure, though, how many comebacks have Kiss, Motley Crue and even fellow Big 4 thrashers Slayer have had? I get the feeling that Mustaine is genuine in his sentiment. Rest easy, Megadeth, we salute you. Megadeth is no game-changer but it’s a good way to bow out.
I wasn’t going to mention the cover of Metallica’s ‘Ride the Lightning’. I get that Mustaine says that it’s “full circle” for him, and he wanted to put a Metallica track (that he co-wrote) on the album. It seems like a pointless exercise to me. Mustaine has nothing to prove, he’s a metal legend, and there really was no need to add this. I mean, it’s ok, Mustaine’s vocals don’t sound great, musically it’s obviously played well, but I just can’t help but feel that it blights the album rather than adding anything. My advice is, don’t bother listening to it, just end the album with ‘The Last Note’.
Release date 20 February 2026 – The Final album from a punk original!
This coming February sees the release of the final studio album by legendary The Damned founder Brian James, coming at the start of the band’s 50th Anniversary year and fortynine years to the week since the release of their classic debut album Damned Damned Damned.
Brian sadly passed away on 6 March 2025, a tragic event marked by an outpouring of love from across the punk and rock spectrum, from musicians, critics, fans and others; many of them having been on the receiving end of an electrifying epiphany, the first time they heard the needle click into the groove of ‘New Rose’ all those decades before.
In recent years, Brian had had his battles with illness, but remained active, taking to the stage in Autumn 2022 for a highly successful reunion tour with his Damned colleagues Messrs Sensible, Vanian and Scabies, followed by a performance with a reformed Lords Of The New Church, fronted by Michael Monroe in place of the departed Stiv Bators for the 2023 Vive Le Rock awards. Then he stepped up for two nights at London’s 100 Club in celebration of Lenny Kaye’s famous Nuggets compilation.
Throughout this period, Brian was putting together Kicks And Diabolik Licks. Inspired by his love of Italian culture, the album takes its title from Angela and Luciana Giussani’s popular comic character ‘Diabolik’. Several tracks, meanwhile, take inspiration from the Italian ‘Giallo’ movie genre; best exemplified in the works of directors Dario Argento and Mario Bava, the genre stems from the yellow-jacketed pulp crime novels common in Italy and denotes a trend in violent noir-style films, popular in the 60s/70s Italy and generally seen as a precursor to the 80s slasher genre. It also inspires the record’s vivid yellow sleeve art, by Brian’s longtime friend and noted film poster designer Graham Humprhreys, also responsible for the first two Lords album sleeves. The transposition of cinematic ideas to audio also gave Brian confidence to draw inspiration from his love of the more experimental jazz artists such as Coltrane, Mingus, Coleman and Derek Bailey – an influence only rarely glimpsed in Brian’s work, and never to such striking effect.
For the sessions, Brian was surrounded by friends, including longtime bassist and engineer Austen Gayton and drummers Malcolm Mortimore, Dave ‘Caveman’ O’Brien and Steve Murray, while Dirty Strangers frontman Alan Clayton sings backing vocals and ex-Mo-Dettes singer Ramona Wilkins Carlier takes the lead on a very different version of the Lords’ hit ‘Dance With Me’.
Let it suffice to say, in Brian’s immortal words, “You want some action, then… yeah?”
To many, the name Skyracer will be a new one, although for those with a love of nostalgia-fueled synthwave rock music, this Sheffield duo has been making massive waves in the retro scene. Which led me to order the duo’s album on the only physical release available on cassette.
Having a glance at their Bandcamp intro – SKYRACER is the sound of long-lost summers, glowing skies, and the bittersweet blur of growing up. Formed in Sheffield by two lifelong friends who hang, cook, write, and record every week, SKYRACER blends 90s pop-punk energy with nostalgic synth textures, cinematic storytelling, and the emotion of a midnight voicemail you never sent – screams everything you need to know about them.
The music comes from a place that is equal parts Busted alongside Funeral For A Friend, with some Saving Aimee thrown in for good measure. While never being anything new, the enthusiasm bursts through in the music’s feel-good nature.
Kicking things off with an Intro that is so wonderful and a call back to a better and easier time, that was a childhood that feels like a lifetime ago. This leads straight into the next monster single, ‘I Just Wanna Know’, which hints at a more hard rock-leaning hook but is a surefire hit if only it were released with a nostalgic-fueled promo.
This is followed by the debut single ‘Howling’, which, having lived with this song for a while, leads me to believe that this duo have struck gold on their first outing. So much so that since it was released back in May 2025, it hasn’t left my Bandcamp playlist.
Side A – is basically the first bunch of singles that the duo released over the last couple of months. These include: ‘Los Alamos’, ‘Under The Lights’, and ‘We’ve Been Alive’. Side B, on the other hand, is absolute gold – starting off with the unbelievable duet with House of Serpents/Jan, the amazing ‘Drenched in Blood’ – which has already been released and is no doubt a precursor to only more greatness from all the artists involved.
‘Champion’ Edition is up next and is one of the best singles I’ve heard recently. Basically, this album is the synthwave equivalent of local heroes Def Leppard’s Hysteria in that all of the songs are potential singles. Just check out the album closing duo of ‘Hung The Moon’ and ‘Last Token’. No closing songs of an album have the right to be this good. All 11 songs on SKYRACER V1.0 are proof of the old and overused adage – all killer, no filler.
The duo are also fresh from a couple of opening slots on the recent LeBrock 10-year anniversary tour, and if anything, I hope we will all be there to see a decade anniversary tour of SKYRACER! Yes, those retro boys from Sheffield have done a great job! Now it’s my turn to have a go at the old Nintendo Game Boy.
In the time-honoured old lady at the thought of an election, “Not Another One?” yup, it’s another one, but this is the definitive Boys Singles Collection just in case you’d forgotten how bloody good the band is.
The 2CD Digipak features the ‘A’ & ‘B’ sides of every physical (7″ vinyl /CD) Single release from both The Boys & The Yobs from 1977 to 2025. The release includes a 20-page booklet with detailed linear notes and pictures of all the relevant sleeves. Just in case you fancied trawling Discogs looking to track down the elusive original 7″ before the brand new 2026 album drops from The Boys.
What’s not to love about such classics as ‘I Don’t Care’, ‘Sick On You’ ‘, First Time’, and the legendary ‘Brickfield Nights’, which are all very much part of the current Boys live set. But it’s also a chance to wrap up the latter Boys singles like ‘I’m A Believer’ and ‘Punk Rock Girl’, which, to be fair, are distant enough to be joining the first wave classics because time has fallen favourably on songs like those off ‘Punk Rock Menapause’. The liner notes are suitably detailed and offer fantastic value with their twenty pages. Every festive period you can offer up ‘Run Rudolph Run’ or ‘The Worm Song’ just to offend your nan.
Drawing in their footy anthem ‘Svengerland’ and demos as well as unplugged B Sides, this is a comprehensive set and trawling through the good old days in the late 70s to the here and now, it’s a wonderful two-disc showcase to the endurance and downright class of the Boys and all who sailed with them. Forty songs over two discs is one hell of a legacy to Rock n Roll. Buy It!
You can pre-order the collection from Cherry Red – click here
What happens when you take two teenage siblings from the heart of London town with a rock n’ roll dream and something to say, force feed them a diet of Sex Pistols sneer, The Jam’s sharp suss and a heady dose of The Libertines? The Molotovs are what happens. Singer/guitarist Mathew and bassist Issey are just 17 and 19, respectively and have been making a name for themselves the past 2 years, gigging hard.
With more than 500 shows under their belts, The Molotovs have put in the hard work, and it seems to be paying off. Following support slots with The Sex Pistols and Blondie, a slew of high-energy anthemic singles that nod to the glory days of ‘77 and a debut album due at the end of the month, their time is now….right now.
First up tonight, though, are local lads Garage Flower, who have the task of warming up the growing crowd. Presumably named after The Stone Roses album of the same name, the four-piece band deliver a high-energy set of guitar-driven, garage rock. Don’t let the baggy jeans, the floppy fringes and their youthful looks deceive you, these boys are no shoegazing indie pretenders.
With gravelly lead vocals, effect-ridden guitars and a tight rhythm section that gives a funky feel, Garage Flower have more in common sound-wise with the likes of Senseless Things and Mega City 4 than their Manchester heroes. The angst and rawness of ‘Jammy and’ Garage Flower’ also remind me of Aussie rockers The Vines, so they have that grungy, guitar rock thing going on, which is always a good thing.
With a high-energy, animated set and plenty of crowd interaction from the singer, these hometown boys are worth checking out. Always make it in time for the support band.
It’s sold out tonight at this, the second date of a UK tour promoting the yet-to-be-released debut album ‘Wasted On Youth’, and The Molotovs are firing on all cylinders from the moment they hit the stage. Singer Mathew spits, snarls and bashes his Rickenbacker like the bastard offspring of Rotten and Weller. Stage left, his sister Issey is a fervent ball of energy as she pulls off moves most couldn’t match, let alone whilst playing an instrument. Behind them, their latest drummer is a blur of flailing arms and urgent beats.
With a fistful of songs some will know and a set of largely unfamiliar material, the band must rely on raw energy and their ability to entertain to win over a notoriously hard-to-please Leeds crowd, and they pull it off with ease. Opener ‘Urbia’ and the following ‘Newsflash’ are unfamiliar, yet sound mighty. The killer boy/girl “woah-woah’s” add a touch of class to the latter. Bowie’s ‘Suffragette City is up next, it sounds great, but they don’t really need it, their own material stands up.
‘Johnny Don’t Be Scared’ and ‘More More More’ are modern, mod-tinged anthems that carry some clout and staying power. ‘Rhythm Of Yourself’ was one of the best tunes of last year, it pogos on a bouncy bass line and a very catchy chorus, it was bound to be a live highlight. Of the unfamiliar songs, ‘Wasting My Time’ is gloriously post-punk and ‘No Time To Talk’ sounds like early Manics, which is no bad thing.
Chat is kept minimal, although we do get the odd quip from a seemingly nonchalant singer who does try to get a reaction from the crowd. Maybe tonight’s demographic was a bit higher than the band are used to, and while the audience may have lacked some energy, the band certainly didn’t.
Between Mat’s raw, acerbic delivery, Issey’s relentless energy and the drummer’s Keith Moon-esque power, the trio deliver a faultless set of a seasoned touring band. After an incendiary hour set, they wrap things up with a two-song encore, including new single ‘Get A Life’, which was probably my highlight of the night.
What a way to start off the gigging this year. For me, the Molotovs are the real deal and the full package. They look good, they sound great and are an exciting and entertaining live band. It’s hard to believe they are not even in their 20s yet.
‘Wasted On Youth’ is a highly anticipated debut album, and I believe you will not get the chance to see them in small venues like this for much longer. The Molotovs are the sound of youth and the world is theirs for the taking. This is just the beginning.
Punk Rock Power Trio ULTRABOMB Release New Single “Artificial Stars”Out January 2, 2026 — First Single from Upcoming AlbumThe Bridges That We Burn — Out April 3, 2026
Band Consists of Greg Norton (Hüsker Dü), Derek O’Brien (Social Distortion, Agent Orange, Adolescents) and Ryan Smith (Soul Asylum)
“After a pair of LPs over the past four years, Utrabomb is back with “Artificial Stars,” a swift blow to the sternum that harnesses both the speedy energy of Norton’s early Minneapolis days and the ragged hard-rock sensibility of Twin Tone-era Soul Asylum.” – Magnet
Minneapolis, MN — Punk rock power trio Ultrabomb have released their new single “Artificial Stars.” The track marks the first release from their forthcoming full-length album The Bridges That We Burn, arriving April 3, 2026 via DC-Jam Records/Virgin Music Group.
“Artificial Stars” delivers Ultrabomb’s signature blend of urgency, melody, and grit — drawing on decades of lived punk experience while confronting themes of isolation, endurance, and the drive to keep reaching forward even in uncertain times.
Greg Norton explains: “Sitting in our bunkers, we only have artificial stars to look at. We are all scarred, but we keep reaching for those stars.”
Release Dates • The Bridges That We Burn (album): April 3, 2026
What a fantastic end to another fantastic year of music for RPM Online, and I can’t think of a better place to be to send off the year than in a packed Empire watching the return of Vent 414and The Wonderstuff celebrating doing this malarky for 39 years!
With Milo and Peter putting in a double shift tonight, it seemed only fair that we make the effort to be in the venue early for this, and after making the 400-mile round trip, we wanted to get our money’s worth and boy did we achieve that. Vent 414 made an admission earlier this year that they were indeed in rehearsals and recording a follow-up album to their debut a mere 29 years ago, so it was a delight when Morgan, Milo and Pete wandered onto the stage and then proceeded to fill every conceivable space in the venue with their huge wall of noise beginning with ‘Laying Down With’. The band cranked out the tunes with a couple of brand new ones they’ve been recording, and Milo did inform us that the album was coming in 2026 and possibly more shows.
The first new song was built around a mega groove baby (aren’t they all) before ‘Fixer’ touched on familiar ground. By the time we locked into the volume control, it was Milo offering up the final song of the seven-song set, another new song entitled ‘Lucinda Comes In Many Colours’, I’m excited to hear the new album and what can only be described as something of a creative purple patch for the man from the midlands and this sounds bang on the money.
After warming his voice up with Vent 414, Milo marched on to the Stage, beaming from ear to ear and proceeded to kick the shit out of the finest tunes the Wonder Stuff has to offer in a manner that defies the years because not only did the band sound leaner and meaner they were on fire, and Milo’s vocals were absolutely outstanding. Little time for chit chat other than to introduce a few tunes and announce this was being recorded for a live album in 2026, it was ‘Red Berry Joy Town’ to kick off, and for the next 90 minutes plus, this ‘Eight-Legged’ heavy set list was nothing short of stunning. Malc and Mark weaved the riffs, and the rhythm was maybe tighter than ever, whilst Erica and Milo let proceedings with nicely timed riffs and licks.
The classics came thick and fast from ‘On The Ropes’ and ‘Cartoon Boyfriend’ to ‘Piece Of Sky’ and an epic ‘Mission Drive’. The Wonder Stuff 2025 were absolutely killing it and bringing the curtain down on one hell of a year for shows. I’ve thoroughly enjoyed the revisiting of albums over the past few years and the set lists have been pretty awesome, but for some reason, this one seemed extra special, not because it was being recorded for a live album but the energy from the stage was infectious, and to see post-covid era Milo smiling all the time is as infectious as a dose of flu. So much so that there were cheers for the couple of tracks of the last studio album ‘Don’t Anyone Dare Give A Damn’ and ‘The Guy With The Gift’.
Have I said already how incredible Milo sounded? The guy is singing better than ever, belting out the songs with passion and conviction, and as we headed to ‘Give, Give, Give Me More, More, More’, the clock was ticking, and the end wasn’t far off, even if I didn’t want this to end quite yet, bloody curfews.
The encore was a triple header of ‘Can’t Shape Up’ followed by the finest rendition of ‘Poison’ before a brilliant ‘Ten Trenches Deep’ brought the curtain down on a magnificent night of music that defied the years and absolutely nailed my belief that The Wonder Stuff on form like this are an unstoppable force and are getting better and never going through the motions not for a second. Can we do this again next year for the 40th Birthday, please? Simply stunning! Oh, and if you’re taking requests, chuck ‘Good Night Though’ back into the set, it would have capped off my night perfectly.
Next year marks 40 fucking years of The Wonder Stuff, and that in itself sounds ridiculous, but on this evidence, it would be insane to stop now. This band are on fire, and I say let the music flow and keep on flowing
Hailing from Cheltenham, UK, 4ft Fingers is a powerhouse punk rock band that has been making waves in the music scene since their formation in the late 90s. Their signature sound is a blend of fast, melodic, and catchy punk rock, drawing inspiration from iconic bands like The Clash, The Damned, Snuff NOFX among others.
Throughout their career, 4ft Fingers has been known for their relentless work ethic and dedication to their craft. They embarked on extensive tours in the 2000s, solidifying their reputation as “the hardest working punk rock band” as hailed by esteemed publications such as Kerrang! magazine, Big Cheese magazine, and numerous DIY punk fanzines.
In 2025, 4ft Fingers continues to thrive, captivating audiences with their explosive live performances. Currently, they are working on their highly anticipated new album, which will mark their first full-length release since 2008, and are set to end the year on a high with a brand-new single called ‘Better Days’, due for release on December 12th via Disconnect Disconnect Records. Crashing in at just over three minutes, ‘Better Days’ instantly shows that the band’s talent for crafting high-energy melodically charged punk rock hasn’t dissipated one bit in their time away from the studio.
“The single is fuelled with all of the angst and emergency that 4ft Fingers are known for with the speed and melody of their punk rock ‘n roll with soul roots”, states guitarist Tom Saunders. “The song comes from a mature and experienced version of themselves and tackles the highs and lows of life.”
The stage is set for an exhilarating 2026 as 4ft Fingers promises to deliver a blistering and unforgettable punk rock experience. Fans of 4ft Fingers can expect an electrifying fusion of punk rock energy, memorable melodies, and a nod to their influences, creating an unforgettable experience that is both nostalgic and fresh. Stay tuned for their upcoming album and prepare for a blistering ride with 4ft Fingers at the forefront of the punk rock scene.
My Ruin are back, and they are not fucking around… After a decade-long break, their latest release, ‘Declaration of Resistance’ is a damning statement on the right-wing agenda that’s engulfing US politics (the UK is not far behind!). The album is ferocious and grabs you by the bollocks from the start. Opening track (and first single) Compromised pins you to the floor. Mick Murphy’s monstrous riff, combined with Tairrie B’s spitting vocals, set up the rest of the album perfectly. Declaration of Resistance is more than just an album, it’s an assault on fascism, hate, religious radicalism and the complicity of the Western world in genocide. It’s brutally honest, as heavy as fuck, and quite possibly the most important album of 2026…and it’s still 2025.
What does it sound like, I hear you ask… Think of Rage Against the Machine at their most powerful, add in some Biohazard, throw in some Public Enemy, and sprinkle on riffs that Tony Iommi would be proud of, and then you’re somewhere near the pummelling assault of My Ruin in 2025. Seriously, tracks like The Audacity burst out of the speakers with urgency. The production is perfect, every note and lyric snaps at your heels like a rabid dog. Murphy is one of those supremely talented individuals who can play any instrument. He plays guitar, bass and drums on the album. The drum sound is a breath of fresh air. The drums sound like drums, none of that processed, sampled bullshit. Call to the Void’s Jack Osborne duets with Tairrie B on the crushing True Allies. ‘Contempt’ bumps along with a Kyuss vibe, with lyrics focusing on the vile disregard for anything tasteful by the current US President.
‘Infinite Connection’ has a doomy and dreamy atmosphere; this sounds so good in my headphones. More superb guitar work from Murphy here. ‘Fragile Like A Bomb’ blends hip hop and metal effortlessly. There is so much going on that you need a few listens to really appreciate the effort that has gone into the making of this record. ‘HHRL’ is my favourite song on the album, a down-tuned belter of a riff with more thought-provoking lyrics from Tairrie B. HHRL stands for Hitler Hated Red Lipstick – “but I fucking love it!” she screams.
‘Dark Eyes of London’ is another full-on riff-driven track, there really isn’t a weak song on the album. It’s just banger after banger. Lady Liberty is told from the perspective of Lady Liberty herself. Tairrie B mostly speaks the lyrics until she changes tack to screaming “WHY?” Why indeed…. Lady Liberty rots away as Sacred Reich said back in 1990… nothing much has changed. Muzzle Velocity is an epic track; Murphy plays a blinder here. More chugging riffs and powerhouse drumming…excellent stuff. Truth or Consequences ends the album in style with another powerhouse riff and some fantastic tribal drumming. We also get treated to a fantastic cover of L7’s ‘Shitlist’, which totally fits the vibe of the album.
To summarise, ‘Declaration of Resistance’ does exactly what it says on the tin. Extremely powerful music backed up with the most honest and relevant lyrical content. Some bands say they are not political and that it would alienate their fan base if they wore their politics on their sleeve. I say EVERYTHING is political and we should all be shouting from the rooftops as our humanity is being eroded before our eyes. My Ruin are not scared to show their colours. They speak the truth.
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