Fake Names – ‘Punk Ruins’ (Epitaph Records)

Fake Names – ‘Punk Ruins’ (Epitaph Records)

Having been suitably impressed with the first two albums from Fake Names, getting familiar with ‘Punk Ruins’ was always going to be a no-brainer. Brian Baker (Minor Threat, Dag Nasty, Bad Religion) and Michael Hampton (S.O.A., Embrace, The Faith), vocalist Dennis Lyxzén (Refused, INVSN), bassist Johnny Temple (Girls Against Boys, Soulside) and new drummer Mario Rubalcaba (Rocket From The Crypt, Off!)—have managed to capture a moment once again and with a real organic-sounding slab of sound, it embraces a lot of subgenres and moulds them into further proof that if you have class, then that is permanent and not just fleeting. The album has mature, solid songs that burrow into your ear on every play, digging in a little further each play. From the opening one-two, ‘Until Normal and ‘Good Days’ you have pleasant ins that have a mass appeal before the punchy, ragged hook of the title track kicks you in the head with a catchy chorus that’s dragging the guitars by the snout as the rhythm section sounds like a mountain sliding out of your speakers.

That grunt of the bass is muscular and commanding whilst the melodies of the vocals often veer into power pop territory but wrapped in some pretty decent overdriven guitar chops. Instead of trying to recreate a certain era from their accumulated backgrounds, they’ve just picked up ideas from the ether and sped off with them, creating something exciting and one that has mass appeal.

Recorded at the legendary Electrical Audio studios in Chicago with producer Matthew Barnhardt (Superchunk, Bob Mould), like Fake Names’ 2020 self-titled debut, these recordings were originally planned to be demos but turned out to be so good they couldn’t stay on the shelves and demanded to be album number three.

Baker said the tracks were laid in a matter of days, with Lyxzéns vocals being laid down in a single day and therefore capturing that energy and excitement. They might even be sitting on a hit with ‘What I Tell Myself’, which is a hell of an earworm from the Bob Mould-like guitar lick to the subtle melody. Great stuff.

‘Diamond Buzz’ is hypnotic whilst ‘Language Lost’ is a thumping chest-beating slab of energy. Just when you think the album is settling down and getting comfortable, a heavy hitter comes out swinging, and that applies to ‘If You Could See Me Today’, where the vocal takes centre stage and has the listener hanging on to every word.

As the album heads into the homestretch, it’s ‘Little Wonders’ followed by the exceptional ‘Scream’ with a fantastic scything guitar riff. The album closes as it began with an impressive ‘Paradise’ with its dreamy, almost pop chorus complete with gang vocals I wasn’t expecting. What a fantastic album of banging tunes from one to twelve its top-notch songwriting and the overall sound of the record surely has mass appeal, and in a just world this should break out over the top of those post-punk barricades and be a resounding success. So my advice is don’t drag your heels get involved on album number three; it’s never too late. Buy this album.

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Author: Dom Daley

Sebadoh – ‘Harmacy’ (Sub Pop)

Sebadoh – ‘Harmacy’ (Sub Pop)

‘Harmacy’ (30th Anniversary Expanded Edition) finally makes Sebadoh’s seminal 1996 indie-rock album available again, and adds 16 bonus tracks, including alternate versions, rare B-sides, BBC sessions, and live material from the Harmacy era. Indie rock is now theres a genre that has passed me by and is not something I hear too often.

Sebadoh was formed in 1986 in Northampton, Massachusetts, by Eric Gaffney and Lou Barlow (Dinosaur Jr., The Folk Implosion), with multi-instrumentalist Jason Loewenstein completing the line-up in 1989, and Bob Fay taking Gaffney’s spot in 1994. By 1994, the band had released five albums. Taking the home demo style to the max, Sebadoh were the perfect companion band for the likes of the Lemonheads in as much as they could do the noise thing or the soft thing perfectly well next to one another, and it all made sense.

In 1996, ‘Harmacy’, album number six, arrived; slow burners Sebodoh saw Harmacy become the band’s first charting album in the U.S., and scored a hit single ‘Ocean.’ Critically acclaimed as it was, and deservedly so, the album is expanded in 2026 into a double album bursting at the seams with bonus material. Not to gloss over the fantastic record, but the bonus material is where fans will gravitate to first (I did), including 16 bonus tracks, alternate versions, rare B-sides, BBC sessions, and live material a real treasure trove of goodies from the masterful trio.

Sebadoh were the band that bridged the gap between Lemonheads and Pavement for me, I loved them all in equal amounts with collections that were equally sprawling its great to get one on such a deluxe slab of wax and it would be fine and dandy if this was the start of something and not just a one off. My advice is go pick it up its a classic from a bygone era when music was breaking barriers. Buy it!

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Author: Dom Daley

Derik And The Disasters, ‘Self-Titled’ (Damaged Goods)

Derik And The Disasters, ‘Self-Titled’ (Damaged Goods)

Maybe it’s genetic. Maybe it’s the music. It certainly can’t be 50 years of kipping on floors around the world. Whatever it is, the secret of Charlie Harper’s longevity and career is something to celebrate. No sooner had the UK Subs announced their final live dates when news came through about his current project. And, frankly, it’s amazing. 14 new songs, and from ‘Divide’ onwards, the band mean business. This would sit well on the final ‘Reverse Engineering’ album, it’s fresh, dark and angry.

Joined by Del Greening on guitar, Vicky (Ramonas) on bass, and grandson Marley on drums, it’s the perfect combination of the experience of age and the rush of youth. And it’s clear that Charlie and Del haven’t lost their hunger; ‘Lost’ is equally fierce. Understandably, the overall sound is similar to the Subs, but as their albums were extremely varied over the decades, this isn’t an issue. Upfront bass and walls of guitar. And, with so few musicians standing up for what they believe in, the likes of ‘New Palestine’ and ‘L.G.B.T’ are more important and relevant than ever, unfortunately. True, you’d expect nothing less from Charlie, but it’s heartwarming all the same.

Crucially, this is the sound of a band. ‘Deadlines’ and ‘Parasite’ are itching to be played live. The band were apparently conceived because “Charlie and Del will be unable to fly soon…”, so will be looking at playing in the UK. On the strength of these songs, keep your eyes peeled for dates, because this promises to be special. Most songs come in at under three minutes, they even have their theme song: ‘The Disasters’. ‘The Takeover’ has a great, tribal drum beat that flies by, and ‘Squirrel’ is like a slice of slinky, garage rock. 

‘Scars’ has echoes of Buzzcocks, and who else would end their debut with a jazzy instrumental called ‘Strait Of Hormuz’? 

So, yes, let’s celebrate the continued life and career of Charlie Harper. But let’s also celebrate this gem of an album by the band Derik And The Disasters. 

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Author: Martin Chamarette

Fervence – ‘Constructs’ (Metal Blade Records)

Fervence – ‘Constructs’ (Metal Blade Records)

Texas-based modern metallers Fervence have given us their most ambitious record to date with their latest album – Constructs. This is their debut for the legendary Metal Blade Records, and the band have delivered something that highlights the spectrum of sounds and emotions that 2026 Fervence are ready to give to the world.

Vocalist Stevie B. gives her all on the album. Her super impressive range of vocal dynamics hits us with full-on guttural screams one minute and haunting ethereal melodies the next. After seeing some of the band’s videos and live footage, she’s a force to be reckoned with on stage too. The rest of the band are no slouches either, the musicianship on display here is superb.

The track Zenith is a perfect example of the power of the band, and the lyrical content around the range of emotions that come with health issues and feeling like a prisoner in your own body really hits hard. Other highlights include the crushing Miasma, which still manages to have a chorus to die for, the huge riffs and thunderous drums elevate the track to monstrous levels.

The title track is another superb song, the band know how to craft a tune perfectly while ramping up the energy to fever pitch. Guitarist Austin Bentley describes the track as a “concluding thought to a note that I wrote to myself that began when we did the Ghost LP, we all take different paths that shape who we are and who we eventually become. But those paths are just constructs of thought stored in memory,” he says. “Some good, some terrible, but all of them contribute to the people we are now. Though these things can feel monumental or cosmically important while we’re living through them, they always collapse in the end. We still die. We still disappear. We live, we learn, we die.”

Constructs is a very well-written and produced album by a band that has definitely hit their stride. The sequencing of the album is perfect, and it’s a very cohesive listen. If you’re a fan of Sleep Token, Trivium, Bullet For My Valentine, etc., you really need to check out what Fervence is offering. You won’t be disappointed.

I’ll leave it to guitarist Trent Odneal to sum up Fervence’s objectives: “Our main goal has always been and will continue to be to create art and share human perspective,” he says, concluding, “if we can add value to other people’s existence, then we are accomplishing that goal.”

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Author: Kenny Kendrick

The Dirty Strangers – ‘Country ‘N’ West Ten’ (Dirty Stranger Records)

The Dirty Strangers – ‘Country ‘N’ West Ten’ (Dirty Stranger Records)

The latest slab of pure good time rock n roll from the mind n soul of Alan Clayton is with us, and this timeless sound of honest-to-goodness is a burst of sunshine on a rainy day, a kind gesture from an old friend, and, believe it or not, album number seven. Let’s be honest, we know what we’re in for, and that’s exactly why we’re here: it’s honest rock n roll from the heart, no pretence, no bullshit, no new sounds because that’s progress; it’s just the roots of rock n roll poured out of the instruments and into your ears through your speakers. Alan knows the power of rock n roll, and he’s not afraid to use it. In the right hands, it’s the best thing in the whole fuckin’ world, and right from the first song, the class is there to hear, and the good times rinse through the speakers. ‘Learning To Be Legal’ has Alan leading the band through the mid-tempo rocker with a ton of beautiful keys wheezing into the trading of licks before Alan’s slur caresses our ears with the charm of the best bar band in ole London town, dishing up the best night out you could hope for. The production is loose and loud, but the balance is spot on (I don’t know why it’s taken mr Stranger so long to get control of the desk and pull those faders.

‘Turn Of The Tide’ is a rocker borrowed from the best and just oozes class as Guy Griffin duels with John Rollason, ably supported by some wonderful honky tonk courtesy of Micky Gallagher, but hold onto your horses ‘If You Won’t Leave Me I’ll Find Someone Who Will’ is an acoustic tale of love and life with some electric guitar twisted through those big cowboy chords, with Marnie Rollason assisting Alan with some finely placed haunting vocals.

‘Pirates Don’t Get Pensions’ is the cheeky chappie adding some fiddle to his rock n roll elbow. Sure there are obvious Stones n Faces comparisons to be found round plenty of corners throughout the Dirty Strangers’ decades of service, but if you are going to lean on any band you might as well look to the top table and go main line some of the good stuff.

If it’s some dirty slide n roll you’re after, then turn the speakers up for ‘Shtum ‘, where the band is stripped back and cut loose. The ebb and flow of this album is prominent, and after the storm of ‘Shtum’, ‘Diamonds’ is something of a tough guy’s ballad or a gentler-paced cut. I didn’t see Ronnie Lane featured on the album, but ‘Weekend Treat’ is exactly that, with Lane’s scratch guitar leading the way. ‘Get Wild’ has Griffin back for some more riff-a-rama before the band really does cut loose on ‘Nothing Doing’, sounding like the bastard child of ‘Last Time’, and I love the sound of that rhythm guitar hacking away through an overdriven amp, wonderful stuff.

As we head into the final third, it’s that ebb and flow that really works, breaking up the album and changing gears is a beautiful thing. Remember early doors, I mentioned the acoustic ‘If You Won’t Leave Me’ Well, it’s back for the full band treatment, sounding like chucking out time in the best bar on the planet, and I have to mention the lyrics and how bloody charming they are. It’s time to pull up a bar stool, pour yourself another and let Alan tell you a story.

‘Turkey Bone’ is the penultimate offering, setting the tone for Crimbo before the album says adios with the wonderful tone of Brian James, Alan’s great friend, who we sadly lost not that long ago, as they romp through ‘Sheperds Bush City Limits’, adding texture and a fair amount of rock n roll dirt to proceedings and signing off another awesome record from The Dirty Strangers up the R’s n all that, and God bless The Dirty Strangers and all who’ve sailed on board delivering the noise, the beautiful noise over the last 45 years but who cares time is nothing but a number and Brian and Scott Mulvey playing on the closing number is fitting as delving back through those years picking out tunes to strip back and rework has been an absolute triumph and as they say the proof is in the pudding and here is your serving.

Of course, I’m going to tell you to buy this record it’ll make your collecting 100% cooler and better sounding, and this self-produced rework is a banger. Buy It!

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Author: Dom Daley

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

Wolfbrigade – ‘Howl From Underground’ (Metal Blade Records)

Wolfbrigade – ‘Howl From Underground’ (Metal Blade Records)

I have to admit that I’m not a big fan of the whole “Oi/Crust” punk movement. The music doesn’t move me at all. When I sat down to review the latest album from Swedish punk/metallers Wolfbrigade, I was pleasantly surprised to hear more of a hardcore sound. The band has elements of Sick Of It All, Nailbomb, ‘ 90s-era Exploited, Biohazard, and even early Motorhead vibes in their music. This made it much more comfortable, and I felt able to write a balanced review.

Wolfbrigade has been around for a long time. They were formed back in 1995 under the name Wolfpack, and Howl From Underground is their 12th LP. We get 12 short/sharp songs that all have immediate impact. Opener Caveman Motherfuck (catchy title!) soon gets underway with full pelt riffing and some fantastic up-tempo drumming from Dadde Starck. The band decided to use a producer on the album for the first time in a long time. As Wolfbrigade themselves explain: “As the songs started to fall into place, we decided to do something we hadn’t done in many years,” explains the band. “For the last decade we’ve recorded, produced and mixed our albums ourselves. This time we wanted to work with someone from outside the band whose work we respect and who we felt would understand what Wolfbrigade is about.”

The producer they used is Lawrence Mackrory (Meshugga/Paradise Lost), and he’s done a fantastic job. The band sounds huge. There are some real standout tracks, including the superb Doomrunner, Born To Rot, Headhunting, and the wonderfully titled Fat Man Hellscape. The title track is my favourite though, absolute carnage. Vocalist Micke Dahl is like a man possessed, barking and spitting out every word. Awesome.

The band explained the process of writing the songs for Howl From Underground: “Rather than building the songs layer by layer, we wanted to capture the band as a single unit, the push and pull that happens when five people are locked into the same moment. There’s a tension in those kinds of performances that’s difficult to recreate any other way. Without a safety net, the focus sharpens and something else takes over. Sometimes the songs begin to take on a life of their own. More than anything, it leaves room for the unexpected. We still work within the same narrow framework that has always defined Wolfbrigade, but we keep pushing against its edges,” asserts the band. “New melodies, new angles, new ways of getting where we’re going.” Among these new angles we may find the almost gothic melancholic melody underpinning When Dogs Cry; the crafty, atmospheric note patterns of Cold War Bootlicker; the long chords and rock-steady surge of Seeking Scapegoats. But each track is so steeped in the workings of the Wolfbrigade grinder, nothing sticks out as wildly diverse or out of place. “For us it’s never about sounding different for the sake of sounding different,” says the band. “If a song feels hungry, if there’s a primitive energy there, then it deserves to exist. That was the feeling we followed throughout the work on Howl From Underground.”

Howl From Underground is a superb record. If you’re a little weary of the punk tag, don’t be. Wolfbrigade easily navigate themselves into the metal/hardcore category. If you love some crusty punk, you’ll already know all about Wolfbrigade. Maybe don’t listen when there’s a full moon, though! AAAAWWWOOOOOO!!!

Howl From Underground is released on Oct 9th via Metal Blade Records.

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Author: Kenny Kendrick

Split Dogs- ‘Nice n Rough’ (Venn Records)

Split Dogs- ‘Nice n Rough’ (Venn Records)

At last! One of the most anticipated albums this year, chez moi and at RPM headquarters, no doubt. This was an immediate preorder, and, as ever, Split Dogs don’t disappoint. You already know the opening number ‘Be Somebody’, which is followed by the “Rick Parfitt on bad speed” rhythm of ‘Born Too Loose’. Very tasty, though I suspect some diehards aren’t sure about the band embracing some Quo/DC riffs. Too bad for them, because the Dogs haven’t lost anything. They know who they are, and that’s why it works. 

‘Breaker’ is 1 minute 30 seconds of pure rock, undiluted joy. If it doesn’t get you moving, you’re already dead, baby. ‘Get The Look’ should please the hardcore crew, and the band are obviously having a ball throughout. ‘Speed Demon’ sounds like a classic riff by now. Most traditional ‘rock’ bands could learn something here, few of them have this many addictive riffs. In fact, it’s so good, you could imagine they were Australian. 

And ‘Leave It Alone’ would make Bon Scott smile. The rhythm section is tighter than ever, and Harry’s vocals are fabulous. ‘Shake Sum Action’ (not that one) blasts by in just under 2 minutes, and ‘Rock N Roll Business’ still sounds magic, complete with piano rolls. One of the best songs of the year, for me. ‘Mama Said’ is dangerously close to 4 minutes long, but you won’t notice. 

You should also be aware of ‘Suffer’ by now, so let’s move on to ‘I Wanna’, which comes on like a punkier Hives. The energy levels don’t drop. There’s some ‘Dirty Denim’, which reminds this listener of The Sick Livers. Yes, I know that Ginge’s denims are immaculate. Not ones to end on a ballad, ‘Power Out’ clouts you one last time. I’ve nothing against shorter albums when they’re this good. An absolute belter from start to finish.

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Author: Martin Chamarette

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

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Brijitte West and the Greenowskis are doing alright

Brijitte West and the Greenowskis are doing alright

Release date: 13th November 2026 / Rum Bar Records

Pre-order HERE – Single – Doin’ Alright

Former NY Loose frontwoman Brijitte West returns with a brand-new album, Brijitte West and the Greenowskis.

Recorded in Italy with an all-Italian band, notably Wilko Zanni, guitarist and singer with Italian rock institution Rats, and Lester Greenowski, Italian singer, songwriter and bassist, the album features 14 tracks, including 12 new songs, a cover of the Dead Boys, All This and More, and an acoustic version of an NY Loose deep cut, The Luckiest Girl.

Brijitte West says, “A lot of people think of me as an omniscient character – I’m sort of there, but I’m not there. This new album, and particularly the single Doin’ Alright, is me saying: I’m still here, I’m still rocking. I’m still turning up the mains and breaking free from the chains that held me down.”

West first made her mark in New York’s Lower East Side, drawing on the explosive musical aesthetics of the Ramones, the Stooges and the wider New York punk scene. NY Loose developed a sound and persona that fused garage rock and punk with a glamorous edge, finding a loyal following among punk, glam and rock ’n’ roll fans that remains strong today.

Highlights of the new record include a track inspired by those early years: My Lower East Side is a vivid recollection of the gritty NY club scene, the excitement and the relentless competition between bands. Brijitte says, “There were poster wars. We would have to hit the streets at 3 a.m. because you had to be the last one to put your poster up, otherwise it would be covered over by other bands. We spent what money we had on rehearsal spaces and instruments, so I remember our shoes being held together with duct tape.”

West turns inward with Sorry I’ve Been a Stranger, a song about reconnecting with someone who once meant a great deal to her after years apart. On Don’t Hurt Yourself, she tackles the difficult subject of self-harm: “It’s a terrible illness that doesn’t get talked about enough – and one that affected someone very close to me, so it was a topic I really wanted to write a song about.”

The album closes with Nobody Won and The Luckiest Girl. Nobody Won looks back at the difficult final years of NY Loose, the tensions within the band and the brutal reality of the music business. West says, “It’s about how things were not working for us. It resulted in no one doing anything for a very long time because we were battle-scarred from everything. There was no prize.”

But for Brijitte, rock ’n’ roll will always be in her blood. Her lyrics remain a form of self-therapy and a defining strength, balancing sass and swagger with vulnerability.

Brijitte says, “In a lot of ways, I feel this is the best album I have ever made. It feels like the NY Loose album that never was, yet a seamless collaboration with the best band I have ever worked with.”

Brijitte West and the Greenowskis are:

Brijitte West - Lead Vocals
Wilko Zanni – Guitars, Vocals, Percussions
Lorenzo Vacondio – Guitars, Vocals
Lester Greenowski – Bass, Vocals, Piano, Lead Vocals On Brutta Bimba Bella
Davide Furlani – Drums
Nino –  Pedals and Noise

Brijitte West:     FACEBOOK  / INSTAGRAM / WEBSITE / www.rumbarrecords.com