Fantazmaz – ‘Fantazmaz’ (Ghetto Bitch Records)

Fantazmaz – ‘Fantazmaz’ (Ghetto Bitch Records)

Don’t be fooled by the ambient intro ‘Are You Enjoying The Peaceful Skies’ because the roof is about to cave in. ‘Dead On The Way Home’ is a sonic kick to the jaw in just over half a minute. Christ, the song finished before I could type the title out. It’s swift, loud, to the point and bursting with energy. We’re off.

Brazil’s fiercest new punk rock export comes to the UK with their debut self-titled album, with the familiar machine pounding of Jamie Oliver on tub thumping and boy does he tub thump. Formed in 2019 by frontwoman Thami and guitarist Raf Oliver, Fantazmaz found their raw, unrelenting sound with the addition of bassist Chokito and former U.K. Subs drummer. They manage to mix blistering punk energy with a fearless presence; they sound like a band in a hurry, but to where Gawd only knows.

This record was recorded in two days, I’m reliably informed, and it sounds like it – not in a bad way, but the sound of a band who are raring to go and bursting to get out there and cause some trouble, where I think these songs will really come to life.

Rage and fury is one way to describe what follows over the ensuing ten songs, with one as ferocious as the last ‘You Owe Me A Fortune’ is rabid where ‘Distortion’ has a big Bass rumble and frantic fret flurries its as much about the energy they have created as it is about the songs because to be fair they aren’t over egged it is a lean mean war machine. They do reflect on global issues with lyrics such as those on the excellent ‘Does God Know Misery’; the melody is an earworm, and the guitar work is killing it.

This is proving to be a fresh lick of paint on a scene that is so overcrowded, but the music contained within is on fire and will grab your attention; rather, it will demand your attention.

‘Scars Of Downtown’ dissects the loneliness of metropolis and inner city London living, ‘Corporate Behave’ rages whilst looking at the nodding dogs with some post DKs guitar tricks thrown in for good measure. Hell, we’ve almost got to the finale, and it seems like it’s only just started. The thick production offers a real beefy sound that adds weight to the energy this record manages to own from the first to the last, with raging solos attempting to break out all over the place but being fought back by the solid rhythm section, none better than on the thrashing ‘Warheads’.

To close off, we have some weird trip hop beats melting on ‘Just Before Hell Comes Around’ just to fuck with your head before saying adios. A fine album, debut album to be exact, from Fantazmaz, a band I think we’ll be hearing about more and more in 2025.  

Buy HERE

Bandcamp

Jesus And Mary Chain – Tramshed, Cardiff 21.06.25

Jesus And Mary Chain – Tramshed, Cardiff 21.06.25

It’s been a while, best part of a decade, since I last clapped eyes on the brothers Reid in Cardiff across town in the second room of the Uni, and the time before that it was this very same venue but tonight was a one-off and not part of a tour, but something of a warm-up for the band’s appearance in Milton Keynes the following night at the Forever Now festival (at the time of writing I believe the stage at MK was beset with tech difficulties so its something of a relief to get this one in). The dry ice rolls across the stage like only a few other bands, such as the sisters of Mercy or the Bunnymen, engulfing the room to that of a post apocalyptic wasteland with just a dimly lit red mist as the band stride on stage to begin what was to amount to a pretty epic and mightily impressive set from Kilbride’s finest.

‘JAMCOD’ kicked off proceedings and Jim proceeded to remove his customary leather jacket due to it being one of the hottest days of the year and in a venue that seemed bereft of oxygen and even the gentlest of breezes but this didn’t stop the band smashing through songs like there was no tomorrow with merely silhoueted shadows on the stage with William swaying in front of his customary Orange wall of amplifiers as Jim holds onto his mic and stand like he’d fall over if it wasn’t there. The sound is clear and throbbing to the huge chords in the break before the second verse. Superb start as we were all hoping to OD on JAMC.

Like a fine wine, The Brothers Reid have matured and aged well sure they’re not the same band who kicked off all those years ago with a fire in their bellies and without a care in the world just a love of Garage rock n roll, art and creating some dark, bleak yet light and warm music that has most defiantly stood the test of time ably assisted currently by Mark, Scott and Justin. If anything, songs off the first album and EP (‘Psycho Candy’) have aged superbly well, but that’s for later in the set. The band’s most recent offering, ‘Glasgow Eyes’, is well represented, as is my personal favourite album, ‘Darklands’. To be fair, the set list is well designed and delivered impeccably, building to a glorious crescendo on the encore.

I’m presuming Jim is enjoying himself because he’s loosened up by removing the jacket, and the rest of the band sound amazing and right on it. ‘Head On’ was like a rabid barking dog, and from the awesome ‘Sidewalking’, it was glorious and possibly the best I’ve ever heard them. Connie from the support band Borrowed Atlas joined the band on stage for ‘Sometimes Always’ and a majestic ‘Just Like Honey’.

For the encore, it was a hat-trick of the impeccable guitar pop of ‘Darklands’, followed by ‘Taste Of Cindy’, and to bring a halt to proceedings and leave nobody in any doubt that they are still the masters of their craft and nobody has done the shoegazing pop noise better. Even when they left the field for hiatuses, their shoes couldn’t be filled and ‘Reverence’ was the perfect full stop to a pretty spectacular warm-up. It seems mad to think on this evidence, they even need to warm up. This was a blazing show of noisy guitar pop perfection. They can be as arrogant as they like, they always maintained how damn good they are and on this evidence it seems time has proven them right. Stunning performance. So until next time gents, nos da.

Turbulent Hearts – ‘All Out’ (Pirates Press Records)

Turbulent Hearts – ‘All Out’ (Pirates Press Records)

Suzi Moon seems to have been around for ages and has achieved some mightily impressive releases thus far. From Civet through Turbulent Hearts and into her solo career, Suzi has achieved a lot for a fiercely independent artist. From those aforementioned bands to the split with Billy from Black Halos, it was about time that her spell with Turbulent Hearts got the treatment it thoroughly deserved. ‘All Out’ sets out to achieve just that and maybe balance the scales by putting together a pretty comprehensive collection spread over two lovely slabs of vinyl.

the journey shes been on has been followed by RPM having reviewed Civet and Turbulent Hearts live and on CD as well as her recent escapadeses as a solo artist shes matured into a very impressive songwriter and awesome performer leaving nothing on the stage her performances were always captivating but the music was also the thing that drives her. Turbulent Hearts deserves this double LPand it’s an essential chapter in the journey to where we are now.

After starting off as a young teenager, Suzi spent years touring in the Long Beach punk band Civet (alongside her older sister Liza Graves) before stepping up to the center stage mic with Turbulent Hearts in 2014. She’d been writing her own songs since the age of 13, and she was ready.

The band made their mark in the mid- to late-2010s, and after they parted ways, Suzi moved on to the garage psych combo LA Machina and ultimately, recording under her own name. Across the four sides of  All Out, the band’s entire recorded output – 4 EPs and change over the course of 7 years – is collected in one place for the first time for fans old and new to enjoy.

Aided by the rhythm section of bassist Mark Johnson and drummer Jay Skowronek, Turbulent Hearts had the chops in the studio and on stage, letting Suzi take centre stage was right, and she shone brightest there, delivering the songs.  Suzi admits it was a prolific period, and the quality of the output will stand the test of time, no question about it. Something of a rite of passage, if you like, to get to where she is now.

From the rampant gallop of ‘Panic’ through the measured groove of ‘Never Getting Over You’, Suzi can rage with the best of em but also has an eye on crafting pop melodies that have mass appeal. Choruses and hooks a plenty take ‘Cryin’ or ‘Redwood Nights’ for contrast, but a songwriter who knows what it takes.

Hell, punks can cut loose on ‘On My Own’ and ‘Hangin Around’ but it’s not all crash, bang wallop of course. ‘Notice Me’ coulda, shoulda and all that. To be fair, the spread of material is excellent and an album I highly recommend, not just for completists but for people who love Rock n roll with sweat, snot and a heap of cool. Get yourself the complete Turbulent Hearts in one fell swoop; you won’t regret it. Buy It!

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Author: Dom Daley



Venom – ‘Blackened Priests’ (DISSONANCE)

Venom – ‘Blackened Priests’ (DISSONANCE)

After the departure of Cronos I sort of lost interest in one of my favourite punk metal band the mighty Venom. See I loved the trashy reckless noise the original trio made they always made me laugh with their interviews and their ott videos and the fact they were from the North East of England was the icing on the cake because obviously that was the entrance to the firey depths of Hell and to this day I stand by at war with satan as a masterclass in pure filthy metal punk noise. When they fell out and Cronos rode off into the depths of bealzibubs fold on his black station I turned my back on Mantas and what he was trying to do with the name and couldn’t bring myself to tune in and give them a chance but here we are many years later and a lot of water under the bridge and I ready myself for a deep dive into the depths of hades to experience and play catch up with this very nice Tony ‘The Demolition Man’ Dolan box set.

CD 1 features their 1989 full length recording ‘Prime Evil’, (including bonus tracks in the form of the ‘Tear Your Soul Apart’ EP) originally hailed as a triumphant return to form, while CD 2 features the follow up ‘Temples Of Ice’, originally released in 1991, whichincluded a Deep Purple cover. I know I balked at that one as well fellow metalhead and The final disc, CD 3, features the band’s 1992 full-length ‘The Waste Lands’.

True legends and trail blazers Venom were unique at a time when music was crying out fo ra twist on NWOBHM and Venom were it The media laughed at them and mocked whilst their core true believers loved the new Speed metal mixed with the harsher edges of punk that was venom.

‘Welcome To Hell’ (1981), ‘Black Metal’(1982) and ‘At War With Satan’ (1984). was a formidable trio before they began to run out of steam before the inevitable split in 1986.

Enter Atomkrafts Tony Dolan alongside drummer Abaddon and the mighty Mantas and new second guitarist Al Barnes. The four-piece signed with Music for Nations imprint Under One Flag and unleashed the ‘ Prime Evil’ record, which included a Black Sabbath cover. That album is bolstered here with the addition of six tracks from 1990s ‘Tear Your Soul Apart’ EP, including a Judas Priest cover .This release is complemented with the addition of liner notes from writer Darren Sadler, who conducted brand new interviews with Tony Dolan and Al Barnes. Barnes also contributed photos from his personal archive. Dolan, Abaddon and Mantas formed Venom Inc. in 2015 and have released two albums to date. The band continues to tour globally, although Mantas recently left the lineup. Cronos, meanwhile, tours under the Venom name with an alternative lineup (Confused? you will be), the two acts co-existing uneasily, but both keeping the Venom name alive and active and this catch all snapshot of the bands four piece line up is a fitting legacy of what they did next and to be fair I wish I’d given these records a go back in the day because to be fair they’re pretty decent even with all these years passing Dolan did a decent job to be fair whilst of course he was no Cronos replacement nobody could fill those Cherry red 96 hole doc martins but The Demolition Man was his own man and songs like ‘Parasite’ and ‘Skelital Dance’ are more than decent. He even holds his own on the bonus cuts of ‘Burstin Out’ and ‘Angel Dust’. Hell, ‘Temples Of Ice’ is decent enough as well, sure I can without all the keys n ambience, but when they get down to it, Venom 2.0 four-piece are a phat combo of rage, even on the final offering of ‘The Waste Lands’ they kicked up a stink, sure its not version Venom original nor is it as good as the disc one but they had fire in their bellies and if like me you never delved into these depths of Hell now is your chance and horns up, long live Venom whoever sails the good ship its been a hell of a ride and now my collection is complete, Hail santas, sorry typo, Satan!

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Author: Dom Daley

Saxon – ‘Eagles Over Hellfest’ (MILITIA GUARD MUSIC)

Saxon – ‘Eagles Over Hellfest’ (MILITIA GUARD MUSIC)

The mighty Saxon continues their journey as one of the UK’s most well-known metal bands. Their output still comes thick and fast, but never compromising on quality. They know what their rabid fan base wants and deliver every time. They are still a formidable live act even though original member Paul Quinn decided to step down recently. Never fear, though; Diamond Head founder Brian Tatler stepped up and is a fantastic addition.

Eagles Over Hellfest is an epic documentation of Saxon’s blistering performance at Hellfest in France last year. The band smash out a set of classics and material from their latest LP Hell, Fire and Damnation. With a career as long as Saxon has enjoyed, picking a set of material must be a task. Everything you would expect to hear at a Saxon show is here: ‘Motorcycle Man’, ‘Power and the Glory’, ‘Heavy Metal Thunder’, ‘Dallas 1PM’, ‘The Eagle Has Landed’, ‘Strong Arm of the Law’ all sound incredible. The new tracks sound great too, we have the title track from Hell, Fire and Damnation and Madame Guillotine.

The band are on fire as always, but Biff Byford sounds better than ever; he’s constantly whipping up the crowd to a frenzy and has them in the palm of his hand. He’s singing better than people half his age.

A special shout out must go to drummer Nigel Glockler too. His playing is exemplary, a showcase in heavy metal drumming. Simply brilliant. Doug Scarratt plays his arse of too and even though I can’t see bass player Nibs Carter while listening to the album, I can picture him going crazy and constantly banging his head in my minds eye!

The album blasts through blistering versions of And the Bands Played On, Denim and Leather, Wheels of Steel, 747 (Strangers in the Night), Crusader, and finishes off with the legendary ‘Princess of the Night’. Crystal clear production from Biff makes you feel like you were there at Hellfest, singing along.

Saxon shows us yet again why they are a constant in the lives of metal fans all over the world and have influenced so many.  

Fill your heads with Heavy Metal Thunder!!

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Author: Kenny Kendrick

The Young Gods – ‘Appear Disappear’ (Goodtogo Records)

The Young Gods – ‘Appear Disappear’ (Goodtogo Records)

Note to self and anyone listening: PLAY LOUD! It’s been described as sonic warfare, and that’s exactly what it is. Formed in 1985, The Young Gods are a Swiss electronic rock band whose influence reigns over such heavyweights as Bowie and Mike Patton. What they do is electronic guitar-driven heavy load dropped on the listener in pulsating heavy doses endlessly shifting from genre to genre, thus making them difficult to pigeonhole and defying labelling.

The album kicks off with the title track, with a sense of cool, calm and collected aggression with the riff overriding as it punches through. Sure, there are moments of stylistic similarities to bands like NiN, but it reaches further. Industrial textures, post punk edges, and softly spoken verses, it’s the air of confidence that really draws you in.

I hope you’re sitting comfortably as the stunning ‘Blue Me Away’, I’m also going to cite U2 around the time of the big Lemon as well, it certainly got elements of that majestic period about this, albeit a darker edge. ‘Hey Amour’ is a slow burner that has sharp guitar breaks with crackling overdriven solos, a twitching and pulsating bassline.

The first half of the album is drawn to a conclusion with the twitching thumping hum of ‘Blackwater’, an impressive track that is widescreen post punk spreading its wings over almost six minutes.

Opening the second half of the album, ‘Tu En Ami Du Temps’ finds me in a style I’m not familiar with, something of a trip hop vib,e reminding me of a few bands I came across in the early 90s like Tricky. Odd noises and underpinned by static and sampling, again the best way to describe the territory we’re in is a widescreen soundscape.

In contrast, ‘Intertidal’ finds me in Portishead or Massive Attack meets a softer Trent Reznor territory electronic ambience with shimmering soundscapes and loose guitars chopping away in the distance.

Penultimate track ‘Shine That Drone’ has a pulsating droning synth line before heading off into some heavy alt-rock territory, the guitars slash along to the metronomic percussion. With the album brought to its end, ‘the band have one last dark message to impart in the form of ‘Off The Radar’ seems very much in the latter day Bowie territory. The production is excellent and draws you in, but it’s an album that demands you give it your full attention and preferably in the dark and played loudly.

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Author: Dom Daley

Midnight – ‘Steel Rust And Disgust’ (Metal Blade Records)

Midnight – ‘Steel Rust And Disgust’ (Metal Blade Records)

Anyone who knows the modern metal scene probably already recognises that Cleveland’s Midnight are the closest thing we have today to the classic punk metal blitzkrieg of Motorhead, Venom, Tank and Warfare. That main man Athenar should follow up the band’s incendiary 2024 ‘Hellish Expectations’ album with an album chock full of covers, and it does not feature a single track by any of those bands, though, had all of us at RPM towers scratching our heads. I mean, maybe we’d got Midnight’s influences all wrong after all. Then, I got to do some (grave) digging….

Originally conceived as ‘Throw Ups’, in homage to David Bowie’s very own album of covers ‘Pin Ups’, before then being retitled as ‘Steel Rust And Disgust’ to fit in with the band’s previously named six syllable back catalogue. This is a twelve-track album that brings together ten covers of songs written by bands who shared the same sights, sounds, and sewage as Athenar’s region of birth so hence why there are no British bands, adding in a couple of new Midnight cuts.

The first of these newbies is ‘Cleveland Metal’ a track that hammers home not only the record’s purpose but also proves why no one betters Midnight when it comes to writing three-minute blasts of pure punk metal…no one, and that’s a fucking fact.

The other new cut on offer is the album’s title track, ‘Steel Rust And Disgust’ and this beast is more of a pounding red hot slab of molten black rock ‘n’ roll. It’s classic Midnight, and I wouldn’t want it any other way.

It’s when we get to the cover versions that things get really interesting though as whilst (like me) you may be aware of the likes of ‘Final Solution’ (originally by Rocket From The Tombs), ‘3rd Generation Nation’ (originally by The Dead Boys) and  ‘Frenzy’ (originally by Screamin’ Jay Hawkins) what you have yet to hear is the total pummelling these tunes get in the hands of Athenar, the later in particular being delivered with the type of frenzied reverence that Lemmy used to have for the old classics.

Of the less familiar tunes on offer, take your pick from ‘Child Eaters’ (originally by Rubber City Rebels), ‘Iron Beast’ (originally by Kratos) or ‘Rock N Roll Fever’ (originally by David Allan Coe) with which to start your journey into a whole new world of great rock music. Of course, they are all given the compulsory Midnight mauling, but nonetheless, they are all made to sound like songs Athenar himself could have written, and that for me is the art of doing a great cover version, making it your own. 

Which just leaves me with ‘I’m Insane’ (originally by Synastryche) where I must admit I really was hoping for a cover of the Ratt classic of the same name (if only they were from Cleveland), the VoiVod-esque ‘Carrions Keep’ (originally by False Hope) plus the short sharp shocks of ‘Black Leather Rock’ and ‘Agitated’ (originally by Electric Eels) to round things off in truly chaotic fashion.

At times, cover albums can be something of a hit or miss affair (I mean, just look at ‘Pin Ups’), but ‘Steel Rust And Disgust’ is 100% underground hit after muthafuckin’ hit. BUY IT!!!!!

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Author: Johnny Hayward

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Aerial Salad – Roi de L’herbe ep

Aerial Salad – Roi de L’herbe ep

Aerial Salad release new track ‘Wires’ ahead of their ‘Roi de l’herbe’ 5-track EP to be released June 27th via Venn Records on 12” vinyl and digital

Pre-order the vinyl HERE

UK tour confirmed for June!

Following on from last year’s acclaimed ‘R.O.I.’ album, Manchester’s favourite sons Aerial Salad are set to return to the fray with a brand new 5-track EP titled ‘Roi de l’herbe’, to be released June 27th on 12” vinyl and digital via Venn Records.

No longer in the same line of spirit destroying day job work, with some seriously exciting gigs on the horizon, Aerial Salad wanted to kick off the next era of the band with a short, fast and hard EP and have served up five absolute bangers that sit somewhere between 2020’s ‘Dirt Mall’ album and ‘R.O.I.’

Today, the band have previewed another cut from the forthcoming EP with new single ‘Wires’, which is, as singer and guitarist Jamie Munro explains, “an aggressive dismantling of modern work/life culture. As we head ever deeper into the digital abyss. I’d rather be on fire than have to spend my life looking at spreadsheets.

“’Wires’ is an outcry to anyone following something in life, he continues. “The most ‘punk’ movement of my youth was the grime movement. It was ALL DIY, and it absolutely dominated British culture – there’s a lot of similarities between grime / punk/ hardcore. From the fashion to the beats. So, we thought we’d do a 50-pound music video ‘on a nostalgic backdrop’. ‘Wires’ picks up from where ‘Telekon 5’ left – you can’t keep drifting from what you believe in, and you can’t be tied by matters beyond what’s really important in life.”

“The EP is like the teaser for what’s next,” summarises Jamie. “The overall hook for this EP is one of hope, that by sticking to what you believe in you can do anything.”

Catch Aerial Salad live at the following dates in 2025: 

16/05/25 PERIGUEUX – LE MOULIN DE ROUSSEAU
17/05/25 MONTAIGU – FURY DANCE
18/05/25 RENNES – TY ANNA

UK TOUR
21/06/25 NEWCASTLE – ZEROX
22/06/25 GLASGOW – THE GARAGE (ATTIC)
24/06/25 BIRMINGHAM – SUNFLOWER LOUNGE
25/06/25 LONDON – THE SOCIAL
27/06/25 MANCHESTER – SOUP
28/06/25 SHEFFIELD – CORPORATION

FESTIVALS

6/08/25-10/08/25 BOOMTOWN FESTIVAL

31/07/20-03/08/24 Y-NOT FESTIVAL

Aerial Salad are:

Jamie Munro – vocals/guitar

Mike ‘Wimbo’ Wimbleton – vocals/bass

Jake Marshall – drums

Find Aerial Salad online at:

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Blacklist Union ‘Mississippi Moonhound’ Video

Blacklist Union ‘Mississippi Moonhound’ Video

Blacklist Union continue to create their own irresistible & shamanistic blend of Stone Temple Pilots, Guns N’ Roses, Malfunkshun, The Cult & Mother Love Bone. Following the 2024 singles ‘Horns & Halos’ & ‘Hey Mr Superstar’, new single ‘Mississippi Moonhound’, a swampy, swaggering anthem that captures the feeling of being haunted by your past while howling into the night for something more.. The debut single from the forthcoming LP ‘Slay the Dragon’, the band’s 6th studio album. Produced by Christopher Johnson (Evanescence, Hans Zimmer, Scott Weiland, Josh Todd, Bryan Adams, Phoebe Bridgers) Previous album ‘Letters from the Psych Ward’, racked up over two million streams.

Spotify –  HERE

Blacklist Union main man Tony West was raised in the Bronx on Ramones, Bad Brains, & the New York hardcore scene. ‘Go West young man’..Tony made his way to Los Angeles as a 19 years old, initially collaborating with guitarist Todd Youth (Murphy’s Law/Danzig) & Malfunkshun, who had been kept active by Andy Wood’s (Malfunkshun/Mother Love Bone singer) brother Kevin Wood. In 2006 Tony decided to pursue his own musical direction, and Blacklist Union were formed, the band’s debut album, ‘After the Mourning’ was released the same year. The band is currently managed by veteran industry pro Paul Crosby from the Grammy nominated, multi-platinum band Saliva. West also recorded with Saliva, and Jon E. Love (Love/Hate) back in 2014. 

Blacklist Union has earned a reputation for their explosive live shows. Last November, they stormed the West Coast with punk legends Dead Boys, followed by a December tour with former Saliva frontman Josey Scott, hitting Tennessee, Colorado, & California with their trademark intensity. West says, ‘Our music will transport you from the gritty streets of the Bronx to the wild energy of Los Angeles..’

Welcome to the Wild Wild West…

Blacklist Union LIVE –
Cruefest Hollywood @ the Whisky A Go-Go – 8901 W Sunset Blvd, West Hollywood Los Angeles – July 12th, 2025
Bar Sinister -1652 N Cherokee Ave, Los Angeles –  September 13th, 2025
Social Media/Online

https://www.instagram.com/blacklistunionofficial

https://www.facebook.com/BlacklistUnionRocks

https://blacklistunion.bandcamp.com

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The Drowns – ‘View From The Bottom’ (Pirates Press Records)

The Drowns – ‘View From The Bottom’ (Pirates Press Records)

Seattle rockers The Drowns’ debut album ‘View From the Bottom’ gets the proper reissue it deeply deserves. In case you missed this first time round, Pirates Press have done the decent thing and given it a new lease of life and energy, and hopefully taken it further round this spinning rock than previously.

There is a gritty attitude in these songs that’s bursting with energy coming across like a youthful Handsome Dick meets Mike Ness on the vocals with a working class rock n roll feel bursting out of your speakers. The album sounds better than ever, thanks to the expert re-mastering job courtesy of legendary Seattle producer Jack Endino (Nirvana, Soundgarden, Murder City Devils…just to name a few)!

The Drowns have spent the last 7 years doing it their way, with a sound that’s part Rancid in places with the same kinda energy that they have with a dream in your heart and determination in your feet to carry you around the globe and back hoping that something resonates with an audience and within these tracks there is easily enough great songs bursting with passion and honesty Like ‘Time Slips’ which has that x factor in its melody that collides with those rough distorted guitars and they all marry with a gang vocal chorus that is made to endure.

This new version features all new art, with a minimalist, black on black spot-matte jacket with a metallic red foil-stamped pitchfork paying homage to the original album cover photo, this looks a little classier if I’m honest. Following the original album closer “Darkness” is an encore of a bonus track: a cover of ‘Satyagraha’ by 7Seconds. always good to mix up these re-releases and a new lick of paint and bonus tracks, it’s for everyone, old and new. Oh, and I hope Bobby’s doing ok after going back on the gear. I got on board with their excellent ‘Lunatics’, so this is great to see with a new makeover for 2025. Get on punk rockers, you won’t regret it.

View From the Bottom by The Drowns is available for pre-order via the Pirates Press Records

Author: Dom Daley