The Damned – ‘Not Like Everybody Else’ (Ear Music)

The Damned – ‘Not Like Everybody Else’ (Ear Music)

Like ’em or loath them, one thing is for sure: the title is spot on. The Damned have been a constant pretty much throughout my music listening life, and as they reach the twilight of a glittering career, they’ve lost another of their own, and this one hurt big time. Brian James shaped my youth from The Damned through The Lords and his solo output right through the first reunion dates that ended in tears to the triumphant second coming and a much more harmonious band that seemed to have reached some semblance of maturity and adulthood (god forbid) and returned to the stage as the original four piece whilst they still had time and nailed a series of shows that had the fire and fury of the early years as well as a much older and wiser beast they did it and came out far better and bigger than they went into it. Sadly, that was the last time they would play as a four-piece as Brian passed away last year, which motivated the remaining three, plus the long-time Paul Gray to turn in a set of covers that Brian was inspired by to put together The Damned as we knew it.

With Rat back in the seat for the last couple of years its wonderful to see and hear the Damned from The Black Album and Strawberries knock it out of the park time after time and show the youth exactly how it’s done. Forward we move to the here and now, and this here tribute to the tunes of their youth that inspired Mr Brian James and a mixed bag it is. Sure, you’ll have your stalwarts and gatekeepers protesting and professing to not touching this with a barge pole, but The Damned have form for this with the awesome ‘Give Daddy The Knife Cindy,’ which was a pretty awesome covers album, albeit without the name The Damned. Fast forward a few decades, and we’re here paying respects to Brian in a way he’d appreciate. Ten tracks from various continents, there are the ones we would all have guessed, which are done to perfection for one reason or another, like ‘Gimme Danger’, but it’s tracks like the title track that suit Vanian’s vocals, and he manages to hit the notes to perfection, serving up a rousing rendition.

Rats drumming is so recognisable, and his long hiatuses from the fold missed his swagger and formidable rolls, even Monty’s keyboard wheeze on songs like ‘Heart Full Of Soul’ nails it. The big takeaway I got from this record is how bloody good Paul Grey is and how he plays the songs for what they are, driving the tunes like a finely tuned Rolls-Royce. Of course, I love Captain’s off-the-cuff style where he sounds like he’s winging it (which he’s not, of course, but it’s always added excitement), just take ‘You Must Be A Witch’ which had me raising an eyebrow to mr Vanians high notes (well done, sir).

Of course, there are a few lulls here and there, but let’s not get carried away here. This is The Damned paying their respects to Brian James and playing the guts out of some left of centre (at times) songs, of course it’s not ‘Neat Neat Neat’ or ‘New Rose’, but for some unearthly inexplicable reason this is what got us those songs. The inclusion of ‘last Time’ gives me goose bumps, and like Captain says Without Brian, etc., etc..

The message on the inner sleeve is heartfelt and touching – long live Brian James and long live The Damned, the greatest band to ever walk the planet bar none. Another case of hit and miss, but I’ll take it because they’re not like anyone else and the likes of which we’ll never see again.

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Author: Dom Daley

Megadeth – ‘Megadeth’ (BLKIIBLK)

Megadeth – ‘Megadeth’ (BLKIIBLK)

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’.

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Author: Kenny Kendrick

SKYRACER – ‘SKYRACER V1.0’ (Self-Released)

SKYRACER – ‘SKYRACER V1.0’ (Self-Released)

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.

Bandcamp

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Author: Dave Prince

The Boys – ‘The Singles Collection 77-25’ (Cherry Red Records)

The Boys – ‘The Singles Collection 77-25’ (Cherry Red Records)

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

Author: Dom Daley

The Gnomes- ‘Introducing The Gnomes’ (Piccadilly/Dogmeat Records)

The Gnomes- ‘Introducing The Gnomes’ (Piccadilly/Dogmeat Records)

A belated Happy New Year to you all. It should come as no surprise that there are still some gems waiting to be heard from 2025. Equally unsurprising is that this one comes from Australia. I saw the video for ‘Flippin’ Stomp’ by chance on YouTube recently, and this was enough to have me searching out the album, ‘Introducing The Gnomes’ online.

The above song is unashamedly 60s influenced, regardless of their penchant for mullets and moustaches. But there are even more Beatlish tunes on the album; ‘I’ll Be There’ would almost be considered too close to The Rutles for comfort, were it not such a great song. The same can be said for the opening song, ‘Better With You’. And throughout this, their third long player, they show that, while their influences are blatant, their talent with a melody and their obvious love for what they do rises above kitsch. Not to mention their infectious energy, in a Monkees style.

‘Open Your Eyes’ could give The Speedways a run for their money, veering towards power pop territory, while ‘Won’t Quit You’ sits somewhere between The Pretty Things and The Yardbirds. You can’t fault their taste, and they have the tunes to back it up. ‘I Like It’ is a two-minute slab of Kinks-style joy, but ‘Stung’ takes us on a groovy, 6 minute journey of a paisley print nature. It’s as if the previous albums have been leading to this point, where The Gnomes can branch out their 60s roots but retain an identity. It’s really impressive stuff. Initially, the solo project of Jay Millar, this has become a band to be reckoned with. 12 great tunes, no filler, played with a ton of enthusiasm. I’ve found a late contender for one of my favourite albums of 2025. Fab gear, indeed.

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Author: Martin Chamarette

Ultrabomb reach for the ‘Artificial Stars’

Ultrabomb reach for the ‘Artificial Stars’
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

Stream “Artificial Stars”– Here

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

Label – DC-Jam Records – Here

Follow Ultrabomb – Here

My Ruin – ‘Declaration of Resistance’ (Magick Room Recordings)

My Ruin – ‘Declaration of Resistance’ (Magick Room Recordings)

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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Author: Kenny Kendrick

Deathtraps- ‘Sympathy For The Denim’ (Spirit Of Disaster Records)

Deathtraps- ‘Sympathy For The Denim’ (Spirit Of Disaster Records)

We often say there’s something in the water in Sweden, with their glut of great, noisy bands with hooks aplenty. See also Australia. But I think of Wales in the same way. 60 Foot Dolls, The Sick Livers and Deathtraps, plus many others, have a habit of penning earworms that hit hard.

Just as you start making your Christmas list, Deathtraps release the third and final instalment in their ‘666’ EP collection. That makes 18 bangers, spread over 3 CDs. As expected, there’s no time to waste, no chaff, straight in with ‘People Like You’, and the chant of “people like you need people like me” is essentially Motörhead head-butting The Hives.

‘The One That Got Away’ has a poppier edge. “You can be my poster girl, I can be your dirty secret”, is like a Jonesy riff, as is ‘Freak Out’. A lot of bands try and fail at this stuff, but you can trust the boys to pull it off (ooer, e.t.c).

‘I Used To Read The NME’ manages to resurrect the line “do you wanna be in my gang?” without causing any trauma. ‘Pop Song Singalong’ is as catchy as Dirtbox Disco used to be, and ‘Kissy Face (Feel Bad Hit Of The Summer)’ is over four minutes long, but there’ll be no flute workouts here! “Sun’s out, scum’s out…” sets the tone.

So, head on over to Bandcamp for a listen. You can even order all 3 EPs if you missed out. The perfect stocking filler. Rock, actually recorded in a garage. Remember, it’s not available in the shops, so get your order in now.

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Author: Martin Chamarette

WOLFSBANE – ‘All Or Nothing’

WOLFSBANE – ‘All Or Nothing’

FINAL 2026 HEADLINE SHOWS

Wolfsbane, performing with their legendary original lineup, are proud to unveil a brand new video ahead of their three final headline shows to close out 2025.

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‘Live Faster‘ is a totally new re-recording of their debut album ‘Live Fast, Die Fast’.  

To order Live Faster on CD and vinyl go Here

To stream Live Faster:Here

With a huge desire to do justice to the new version whilst respecting the old one, ‘Live Faster’ is splendidly IN YOUR FACE and everything the band had hoped it would be. “We are so pleased with the way it has turned out.” – Blaze

Wolfsbane dates in full 2025

December 5th – Sheffield – The Greystones

December 6th – Bradford – Nightrain

December 7th – Grimsby – Yardbirds

2026 

May 1st – Bonfest – Kirriermuir Scotland 

May 3rd – Roxoff Festival

May 29th – Call Of The Wild Festival 

Tickets for all the shows are available at https://www.wolfsbaneband.com/live/

Formed in Tamworth in 1984 after a couple of years with different drummers the line up of Blaze Bayley on vocals, Jase Edwards on guitar, Jeff Hateley on bass and Steve Danger on drums was established. This line up remains unchanged to this day. Gigging constantly anywhere that would have them Wolfsbane soon gained a reputation as one of the most incendiary live British Rock bands around, with an original sound fusing Hard Rock, Metal, Punk, Glam and Pop.

After receiving great reviews in Kerrang and Sounds magazines and support slots with King Diamond, Motorhead and Faith No More, Wolfsbane came to the attention of legendary record producer Rick Rubin, who signed them to his new Def American label. In 1989 their debut album ‘Live Fast Die Fast’ was released to rave reviews and included the (almost)hit single ‘I Like it Hot’. In 1990 Wolfsbane released the classic six track mini album All Hells Breaking Loose At Little Kathy Wilson’s Place. This was released to accompany a British and Irish tour supporting the mighty Iron Maiden! 91 saw the release of the ambitious and eclectic ‘Down Fall the Good Guys’ album, recorded at Abbey Road studios, produced by a young Brendon O’Brien and followed by the bands biggest and most successful British tour to date.

Wolfsbane toured across Europe, joining bands Motorhead, Anthrax and Public Enemy and Voivod in their tours, having excellent reactions and life changing escapades.

Wolfsbane then parted company with Def American and signed with the reactivated indie label Bronze Records. Their first release for Bronze was the raw raucous and legendary live album ‘Massive Noise Injection’, this was recorded on one sold out night at London’s Marquee club and captured Wolfsbane in all their unhinged glory and earned them a ten out of ten review in the NME!

Revitalised by the success of Massive Noise Injection, Wolfsbane recorded the eponymous stripped down, musically and lyrically hard hitting self titled album known as ‘The White Album’ but before it’s release Blaze Bayley left the band to replace Bruce Dickinson in Iron Maiden.

After a fourteen year hiatus, Wolfsbane reunited in 2007 at the Rock of Ages festival in Tamworth and then toured with the Wildhearts and Quireboys. In 2011 the reunion became permanent and Wolfsbane released their comeback album ‘Wolfsbane Save The World’ and this comeback was to last longer then the band had been together first time around.

This was followed by the ‘Rock’ ep and another live album ‘Wolfsbane Go Loco At The Asylum’ recorded in Birmingham.

In 2022 the band released the second full studio album of their now cemented comeback, the acclaimed ‘Genius’ album which epitomises the bands carefree attitude showing they will enjoy every minute of playing music together, with an infectiousness that can inspire others to do the same.

In 2025 Wolfsbane release ‘Live Faster ‘ a totally new re-recording of their debut album. It is a reclamation of the first album as the band would have wanted it.

Wolfsbane, still the same line up, are currently touring and played with The Almighty in November 

Märvel – ‘Brain Drain Diaries’

Märvel – ‘Brain Drain Diaries’

The self-proclaimed ‘Barons of high energy rock n’ roll’, otherwise known as Märvel, return with their 10th album, cunningly titled ‘Brain Drain Diaries’.

The Swedish three-piece have been in the game for 20 years now. King (vocals & guitar), The Burgher (bass) and The Vicar on drums play the sorta rock n’ roll we here at RPM adore, and their high-energy mix of Thin Lizzy, Hellacopters and Kiss is always something to get excited about.

Recorded and self-produced at the Sunshine Factory in their homeland, ‘Brain Drain Diaries’ is what we have come to expect from the masked trio who dress like evil henchmen from a 60’s Batman TV show. 

Lyrically, the band have taken a more reflective approach here, with themes of resilience, honesty and songs straight from the heart. But musically, it’s all about catchy hooks and killer riffs, baby! 

I’m pretty much sold on the album art to be fair, but the opening one-two of ‘Look It’s Rock n Roll’ and ‘A Beautiful Corpse’ seals the deal in magnificent style.

With the former coming on strong like latter-day Hellacopters, Märvel deliver a killer opener with a refrain to die for and a high-octane solo to boot. This is low-slung rock n’ roll at its finest. 

The latter, with its twin guitar attack, urgent beats and vintage Kiss feel, is pure rock n’ roll energy guaranteed to get the heart racing and the vocal cords working. That opening chorus will catch ya, hook, line and sinker. It’s probably the best track on the album. But it’s got some stiff competition. 

Märvel have a knack for wearing their influences on their sleeves with no shame. ‘Biding My Time’ drifts from a Lizzy-like verse to a Kiss-inspired chorus with ease, but just ends up sounding like Märvel to me. The glam rock stomp of ‘Time Has A Way’ has a very British feel, like Mud or The Sweet in their prime. It’s as instant as Instant Whip and twice as nice. You’ll be humming it before the second chorus kicks in, believe me. 

The likes of ‘Brain Drain’ and ‘Take A Stand’ prove not only that Märvel stole the beat from the Lord, but they may well have improved on it. 

Märvel may not have the same kudos as the likes of The Hellacopters, The Hives or Turbonegro in certain circles, but ‘Brain Drain Diaries’ continues a strong run of killer albums from a band who are up there with their contemporaries delivering the goods to the max.

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Author: Ben Hughes