PETER HOOK & THE LIGHT – 50 YEARS IN MUSIC

PETER HOOK & THE LIGHT – 50 YEARS IN MUSIC

CELEBRATING 50 YEARS IN MUSIC WITH A CAREER-SPANNING RETROSPECTIVE SET

MANCHESTER ACADEMY, 4TH JUNE 2026

+     VERY SPECIAL GUESTS BUZZCOCKS

Next summer, Peter Hook & The Light will celebrate 50 years of music with a special set at Manchester Academy, spanning his work with Joy Division, New Order, Monaco and more.

On the 4th June 1976, Pete Shelley and Howard Devoto brought The Sex Pistols to Manchester for the first time for a night at the Lesser Free Trade Hall. The show attracted a modest crowd, with around 40 people in attendance, but amongst them were a disproportionate number of future legends of the Manchester scene. Future members of The Smiths and The Fall, Factory Records’ Tony Wilson, punk poet John Cooper Clarke, genius producer Martin Hannett and somewhere amongst that crowd was a young Peter Hook, with his friend & soon-to-be Joy Division bandmate Bernard Sumner.

Energised by the punk performance, Hook set out to buy a bass guitar the very next day. He went on to play in some of the most influential and iconic bands in British music history, pioneering post-punk with Joy Division before moving into more synth-driven soundscapes with New Order. Now, five decades on, Hook is set to celebrate the anniversary of that pivotal night with a special show in the city that shaped him. 

On 4th June 2026, 50 years to the day since The Sex Pistols changed the Manchester music scene forever, Peter Hook & The Light are set to perform a retrospective set spanning his lengthy career at the Academy. Playing choice picks from his time in Warsaw, Joy Division, New Order, Revenge, Monaco, and Freebass, it’s a night not to be missed by fans of Hook and his wide-spanning, widely-influential projects. “On the evening of the 4th June 1976 my life changed forever,” shares Hooky, “I hope on the evening of 4th June 2026 yours will too.” 

Hook will be joined by very special guests Buzzcocks, who were instrumental in putting the Sex Pistols on all those years ago. Since that night, the Buzzcocks have carved out their own place in British music history with hits like “Ever Fallen in Love (With Someone You Shouldn’t’ve)”, “What Do I Get?’ and “Harmony In My Head”, winning audiences over with their catchy punk songwriting and lovesick lyrics. Next June, they support Hook and celebrate their own 50-year anniversary in the process. 

Pre-sale tickets for the show go on sale on Wednesday 3rd December here, while general on-sale kicks off on Friday 5th December. Tickets will be available here.

Live Dates

4th June, 2026 – Manchester Academy (with Buzzcocks) 

Tickets available here. 

For more information:

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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 

Babyshambles/Trampolene – Tramshed, Cardiff 27.11.25

Babyshambles/Trampolene – Tramshed, Cardiff 27.11.25

It’s been a while since we crossed paths with Swansea’s finest, and with the band expanding to a four-piece with Another Thomas Brother joining the ranks, the sound is beefier, and Jack has the support to wander where the fuck he likes and throw shapes without the sound dropping to just Wayne and Mr Williams.

Wearing his obligatory higher league and local rivals top Jack throws his head back and absorbes the chants of “You Jack Bastard” offered up by tonights hosts whilst casual non partizan gig goers might be wondering what the actual fuck is going on ‘Gotta Do More Gotta Be More’ wafts over the PA as the band go for the jugular from the opening second and to be fair fo rthe next half an hour deliver a thunderous set and sound like their right up for it and in the mood to take no prisoners. Adidas trainers are thrown into the audience as Jack is prowling the stage like a man possessed ‘Sort Me Out’ he says, ‘You Do Nothing For Me’ also sounds fantastic. It’s time for a breather as the band catches their collective breath with the more relaxed ‘Thinking Again’, the pace is put in recovery and shows they have the tunes to kick things off and chill situations out if they so choose. Jack’s smile is infectious and wins over the Cardiff crowd, who are eating out of his hand, which seems like a great time to air a brand new song.

This is as good as I’ve seen the band in a while and totally on focus and in match form, it’s an all too brief set as after the excellent new track is aired a certain Peter Doherty positions himself on the barrier in the front of the audience for a romp through an epic ‘Uncle Brians Abertoir’ Doherty appearing in the front row of the audience to contribute his vocals perfectly then tosses the mic back to Jones to seamlessly carry on almost like it was rehearsed.

With just enough time to get a pit going for ‘Alcohol Kiss’, them boyos done good and the heat of the Tramshed is turned up considerably and with Mr Williams to bow out with a timely cartwheel, Trampolene are back, and they’ve brought the goods. I look forward to more shows and a new record. Let’s have it, you fellow Jack Bastards.

On stroll Babyshambles to the strains of The Simpsons and immediately get down to business with a rambunctious ‘Killamangiro’, and onward we stumbled and puffed our chests out for a ‘Down In Albion’ heavy set. It was the confident ‘Delivery’ up next before we skanked our way through ‘I Wish’, and it was three very different offerings from three very good albums to ease us back into the experience that is a Babyshambles performance.

The band sounded tight as two rizzlas as they eased from the ska to the Strummer indie and back again via some perfectly formed balladeering. To be fair, Pete was kept on a tight leash, and his wandering off in the intro was kept to a minimum, and his jokes were kept under his pork pie hat.

‘À rebours’ was eased into proceedings via a welcome intro of Love Will Tear Us Apart’ only to make way for the set’s highlight as we reached a beautiful moment on ‘Albion’ as a visibly shaking Mr Williams joined the band for a Welsh language version, which was quite moving, and what a wonderful lilt Mr Williams has.

Pat was never far from proceedings with his action picture being the backdrop for a lot of the set, and mentions along the way, there was even time for a brand new Babyshambles song titled, fuck knows I Didn’t Hear It. However, time was of the essence, and we were in danger of having the house lights turned on, so it was an encore but no encore time.

‘Dandy Hooligan’ was the warm-up before we got the school night boppers all jumping around to a punchy ‘Pipedown’ before the curtain was drawn, but not before a sweaty ‘Fuck Forever’ really did signal time to cut the PA. Hopefully, tonight was a reminder to everyone that the magic was still in the air and Doherty and co had left everything on the stage after delivering a thoroughly enjoyable set. Until next time, that was excellent. Now onto some new music, and we can all do this again next year. The Shambles are back in the game and leaner and right on focus.

Author: Dom Daley

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.

Buy Here

Author: Ben Hughes

The Saints wind the clock back

The Saints wind the clock back
THE SAINTS’ 73-’78 BLOW THEM AWAY IN THE US & UK

SO FAR FROM HOME, ED, IVOR & GANG WIND BACK THE CLOCK AND BLOW THE REST OF THE WORLD AWAY – AGAIN 

In 1976 it was the English press who climbed on board with The Saints first. The weekly music newspaper Sounds in particular, with their multiple “The Single of This and Any Other Week” reviews, recognized that these Brisbane outcasts had beaten their homegrown punks to the punch. The US press also came on board, in particular Creem and the punk zines like Slash and Bomp!; the yanks seemed to really recognize the Saints connections to pre-punk high energy outfits like the Stooges…  All the while the Australian media of the day looked on with a fair amount of bemusement.

Fast forward 49 years, and with The Saints ’73-’78 having just completed a run of US dates and now on the UK & Euro leg of their world tour, it’s deja vu all over again in terms of the response in the upper hemisphere… This time it’s the American press who’ve taken the lead – natch, given the American shows came first – and who are hailing the band as something akin to the second coming, singling out the ferocity and brilliance of Ed Kuepper‘s guitar playing, the singular swing of Ivor Hay‘s drumming and Mark Arm‘s ability to fill the shoes of the late great Chris Bailey – or perhaps to wear different but equally as appropriate footwear – in particular:

Under The Radar: “Watching Kuepper play guitar is like watching someone at the very top of his game … do things with his right hand that humans shouldn’t be able to do… Kuepper always had a tone and sound that resonated with a heaviness that most punk bands couldn’t pull off. Therefore, it was just STUNNING to see it done live…. Out of everything I’ve seen this year, I can’t think of anything more exciting and thrilling. This was one of those performances that makes this longtime fan grateful to be there and to be alive!” 

Backbeat Seattle: “Kuepper’s churning, propulsive rhythm guitar (every bit as essential to the Saints’ early acclaim as Chris Bailey’s vocals) has lost none of its razor edge and Hay’s solid drumming pushes the band along at a brisk clip. Mick Harvey’s tasteful leads added a nice bite and Mark Arm’s vocals were just what the punk rock doctor ordered.”

Illinois Entertainer:  ‘“(I’m) Stranded” brought the audience to a fever pitch, inciting a full-throated singing from the fans as well as some semi-moshy behavior among rowdy older punks near the barrier. “Know Your Product”… maintained the crowd’s peak energy with the Saints’ influential blend of catchy brass licks and the jet-engine roar of Kuepper’s guitar.”

Spill Magazine: “They really had no choice but to perform “Nights In Venice,” a track from their debut album, (I’m) Stranded. The song explodes, and it’s no surprise that the crowd erupts at the end. Kuepper and Hay have formed an eight-piece band who perform a tight and rocking version of the song. The energy is incredible. This is followed by “No Time,” a track from the same album. Again, the band grabs the song and turns it into a force of nature.”

Chris Morris (esteemed LA music writer – RS, Variety, Billboard etc):“The Saints show at the Teragram tonight could not have been better if I had dreamed it myself…  Beginning with “This Perfect Day” and ending with a second encore of the inevitable raver “Nights in Venice,” the band dug deep into the meat of their formidable early catalog…  Kuepper…  lashed the crowd with dense, intense, feedback-laced playing all night… Mark Arm … laid down a stupendous performance that deftly channeled the spirit and sound of the group’s co-founder Chris Bailey… A lot of friends were in the house, and at the end of the gig they unanimously talked about the show with excited ecstasy. Further words are failing me at the moment. ” 

Hudley Flipside (Flipside magazine legend!): “Ed moved with his guitar like electricity. As Ivor drummed perfection and consistency as the full moon above us. The lights… made our eyes close and tune into that place of lyrics in our hearts when we sung loudly with Mark Arm…”

Falling James (of Leaving Trains & LA Weekly fame): “All around me at Teragram Ballroom, people were spinning and shaking and stomping and screaming and singing along or staring upward silently in rapt fascination, fully mesmerized and in a state of wide-eyed shock and sheer, unadulterated, pure, ever-loving joy… as founding guitarist Ed Kuepper summoned forth those monumental, incendiary, massive guitar riffs that frame some of the greatest songs of all time, all hammered home with stunning authority by founding Saints drummer Ivor Hay and such estimable all-stars as, you know, Mudhoney vocalist Mark Arm, the Birthday Party guitarist Mick Harvey and Sunnyboys bassist Peter Oxley…. “

Of course, the band’s audiences were star-studded too, with the likes of Jello Biafra, Thurston Moore, Steve Turner (Mudhoney), Stephen Malkmus (Pavement), Penelope Houston (The Avengers), Ian MacKaye, Guy Picciotto & Brendan Candy (all from Fugazi), Matt Sweeney (The Hard Quartet), Mac (Superchunk), Mary Timony (Wild Fang) and many others making the scene. 

Not to be outdone, the Brits – who we should not let forget actually dumped on our boys a bit back in ’77 after the initial outpouring of adoration because Ed, Chris, Ivor and Kym did not give two f**ks about the rules that quickly bound the London punk scene – are also responding ecstatically to the band, who played their first shows their last week, and who did a live session for Mark Riley on BBC6 on the weekend from the BBC’s legendary Maida Vale studios. 

The Yorkshire Post: “A judiciously chosen set pares down the catalogue to perhaps their 19 best songs which Arm delivers brilliantly in either an Iggy Pop-like drawl or full-throated rasp. This Perfect Day is especially brutal… All in all, a stunning reminder of the raw power of one of the finest punk bands ever.”

The band will have come off stage at the Electric Ballroom in London around the I hit send on this – we look forward to reading the responses to that.

For those of us who can’t be there, there are still copies of a new TheSaints ’73-’7812″ EPLive Nights in Venice Vol.1 – released on In The Red and limited to a crazy 800 copies only – available (along with loads of cool merch) via The Saints ’73-’78 official website. But it before disappears forever or have a listen via the usual digital outlets. 

Website / Facebook

Ed Kuepper
Website | Facebook | Instagram

Matty James Cassidy – ‘Tell It To The Ghosts’

Matty James Cassidy – ‘Tell It To The Ghosts’

“Tell It to the Ghosts”, written and performed by Camden-based Northern Irish singer-songwriter Matty James Cassidy, is a brooding, acoustic-led track with a noir atmosphere. Channelling the shadowy storytelling and grit of Tom Waits and Nick Cave, it explores memory, loss, and the ghosts we carry. Intimate and cinematic in feel, this is indie rock with depth, character, and pulse.

Matty hits the road supporting the Quireboys on their UK tour — plus a few final solo shows to close out 2025 Here

Bandcamp

Stream Here

Website

Ist Ist see the ‘Warning Signs’

Ist Ist see the ‘Warning Signs’

FROM UPCOMING FIFTH ALBUM:
‘DAGGER’
OUT 6 FEBRUARY, VIA KIND VIOLENCE RECORDS

ON TOUR THIS NOVEMBER, 
PLUS FURTHER UK TOUR DATES IN 2026

One of the most urgent, immediate and irrepressible tracks the band have delivered to date, “Warning Signs” is a lightning bolt of realisation and unrequited love. 

Of the track, vocalist Adam Houghton says:

”I wanted to write from a place of regret — that gut-wrenching moment when you realise pride and fear have cost you the person you love. The song is a confession and a plea, filled with what-ifs and too-lates. I wanted the repetition and directness to feel desperate, like someone haunted by what they didn’t say soon enough. It’s about confronting the pain of being without the one who grounded you and understanding too late that love requires vulnerability. The goal was to make the emotion feel raw, honest, and painfully human.’’

New single “Warning Signs” is an unignorable reminder of the band’s highly awaited fifth album ‘DAGGER’, as produced by Joe Cross (Hurts, Courteeners, Slow Readers Club). It arrives on 6 February 2026, via the band’s own Kind Violence Records. 

The new track comes complete with an official video shot by Joyce Van Doorn and edited by Shaolin Pete. Featuring live and backstage footage from IST IST’s triumphant recent tour of Europe, it’s a tantalising reminder for what’s to come at their upcoming UK comeback shows, which kick-off this week in Leeds, Glasgow, London, and Birmingham (28th November – 6th December, check dates below). 

https://www.youtube.com/watch?v=9mXaLRyMlJM&feature=youtu.be


IST IST will also be hitting the road again in April 2026, with additional shows in Norwich, Exeter, Oxford, Newcastle, Sheffield, Nottingham, Bristol, and Brighton, paving the way towards their biggest hometown show to date, at Manchester’s Albert Hall in May. All dates are listed below, with all tickets on sale now.

Catch IST IST marking their decade-long career and playing new music from ‘DAGGER’ at the following UK shows: 

IST IST  – 2025/26 EUROPE & UK TOUR DATES


Friday 28th November – Leeds – Warehouse
Saturday 29th November – Glasgow – Oran Mor
Friday 5th December – London – 229
Saturday 6th December – Birmingham – O2 Academy2

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THURSDAY 9th APRIL – NORWICH – THE WATERFRONT ** JUST ADDED **
SATURDAY 11th APRIL – EXETER PHOENIX ** JUST ADDED **

SUNDAY 12th APRIL – OXFORD – 02 ACADEMY2 ** JUST ADDED **

THURSDAY 16th APRIL – NEWCASTLE – THE GROVE ** JUST ADDED **

SATURDAY 18th APRIL – SHEFFIELD • NETWORK  ** JUST ADDED **

THURSDAY 23rd APRIL – NOTTINGHAM • RESCUE ROOMS ** JUST ADDED **

FRIDAY 24th APRIL  – BRISTOL – THEKLA ** JUST ADDED **
SATURDAY 25th APRIL – BRIGHTON – QUARTERS ** JUST ADDED **


Friday 1st May 2026 – Manchester – Albert Hall
w/ Support from DESPERATE JOURNALIST + THE YOUTH PLAY

Tickets for all shows on sale here:
https://www.ististmusic.com/pages/live
*****

The Studio 68! – Need A Miracle

The Studio 68! – Need A Miracle

THE STUDIO 68! & DANI TURNER ANNOUNCE NEW ALBUM ‘ROLLIN’’ TO BE RELEASED FEBRUARY 20TH 2026 VIA DETOUR RECORDS

PRE-ORDER THE ALBUM HERE

SEE THE BAND LIVE AT THE 100 CLUB, LONDON ON JANUARY 28TH FOR THEIR ALBUM LAUNCH PARTY – TICKETS AVAILABLE HERE

Medicine music for the mind, spirit & soul

Imagine Janis Joplin jamming with the Small Faces, down at Withnail and I’s place. Charles Bukowski is manning the bar, Malcolm McLaren is handling the guest list, and Terence Stamp and Julie Christie are canoodling in a corner. Now you’re getting a sense of the weird and wonderful world of The Studio 68!.  A high-octane rock ’n’ roll band formed in North London steeped in late ’60s and early ’70s influences, they were destined for stardom in the early ’90s before their chaotic lifestyle derailed them. One explosive Camden performance caused MOJO magazine to remark, “It was the night the foundation stone of Britpop was laid.”

Regenerated, Doctor-Who style, in 2023 as a rollicking rock ’n’ roll outfit fronted by lead vocalist Dani Turner, the six-piece have since blown the doors off everywhere from the ‘Shiiine On’ festival to Camp Bestival and are now ready to unfurl their new album Rollin’ upon the world.

Set for release this coming February 20th, 2026, via the legendary UK mod and punk label Detour Records, the album will be available on CD, download and as a limited-edition bright orange vinyl Rizla-style sleeve, with a lush gatefold for paper Rollin’ ease. 

Recorded in London with legendary producer Brian O’Shaughnessy (Primal Scream/Rumer), Rollin’ sees the 68! fusing elements of funk, soul, jazz and blues to create a modern classic and this week the psychedelic express that is The Studio ’68! & Dani Turner rolls back into town in spectacular style with brand-new single ‘Need A Miracle’ – a gilt-edged rock ’n’ soul anthem, it fuses a relentless four-to-the-floor Northern Soul groove with a tune worthy of peak-era Fleetwood Mac. All welded to a lacerating lyrical examination of the pop process.

If that wasn’t enough, the whole thing is sent stratospheric by the extraordinary vocals of powerhouse lead singer Dani Turner. As powerful as P.P. Arnold and as raunchy as namesake Tina, Turner’s diamonds-on-sandpaper delivery on ‘Need A Miracle’ brings to mind the larynx-busting majesty of Merry Clayton’s vocals on the Stones’ Gimme Shelter’. 

“‘Need A Miracle’ is a cautionary tale for anyone thinking about entering this weird and wonderful business,” says band spokesman Paul Moody. “It’s a tribute to every band that has ever fallen foul of the music biz — an aural ragu for a dish served cold.”

Recorded at the iconic Bark Studio in Walthamstow, Rollin’ is a passionate love letter to rock ’n’ roll’s late ’60s and early ’70s heyday; it’s a 35-minute blast of grooviness, littered with sonic and lyrical nods to everyone from Brian Auger And The Trinity to Delaney & Bonnie, Bobbie Gentry to Deep Purple.

The standard of musicianship is, frankly, sickening — check out Thrill Heaven’s mesmeric Hammond playing on six-minute epic ‘Time Slips Through Your Hands’, while the one-in-a-generation vocal talent of Dani Turner brings to mind everyone from Elkie Brooks to Beth Ditto; Betty Davis to  Alabama Shakes’ Brittany Howard. And that’s just the Bs.

Each of the ten tracks is also constructed with an attention to detail worthy of the Brill Building. An epic ‘The Way It Is’ holds up a (black) mirror to Britain in 2025, a country where hope has been reduced to a game-show appearance or a betting slip, while ‘Seasons’ is an other-worldly meditation on loss reminiscent of Traffic at their most transcendental. ‘Turn Off Your Mind’ is a Fantastic Negrito-style groove decrying tech-consumerism, while ‘Wasn’t Ready’ is a breezy meditation on the fleeting nature of existence worthy of Rod’s Never a Dull Moment. The overall effect is an album which will stay on your turntable for months.

Musically there are nods to everyone from Rod Stewart and the Faces (Wasn’t Ready’) to Traffic (a sublime ‘Seasons’) to Stephen Stills’ Manassas (Funky People’), but lyrically Rollin’ is bang up to date. ‘The Way It Is’ holds up a (black) mirror to Britain in 2025 — a country where hope now comes in the shape of a TV game-show appearance or a betting slip — while ‘Hall of Mirrors’ addresses the distorting gaze of social media. ‘Turn Off Your Mind’, meanwhile, is a swampy mantra reminiscent of retro-centric fellow traveller Fantastic Negrito. All filtered through a Technicolor lens of good vibes and boundless positivity.

For the ’68!, it’s not just about the music. Their rock ’n’ roll travelling show is powered by an over-arching band philosophy, deeply rooted in the progressive social and cultural spirit of 1968. 

“We’re here to bring the joy — and the danger — back into rock ’n’ roll,” says band spokesman Paul Moody. “The psychedelic express is picking up speed and we’d love you to come along for the ride.”

Dani and the ’68! will be playing this and other choice cuts from Rollin’’ at their not-to-be-missed album launch at the legendary 100 Club on Wednesday January 28, which will see the band joined by XL, newcomers Raw Sonik, and an all-star DJ line-up of Jon ‘Mojo’ Mills (editor of Shindig!), Andy Lewis (Blow Up) and cult dancefloor mavericks Uncertain Ratio. Plus light show and a host of surprises!

Tickets available HERE

Find The Studio 68! & Dani Turner online at:

INSTAGRAM

YOUTUBE

Michael Monroe gets ‘Disconnected’

Michael Monroe gets ‘Disconnected’

MICHAEL MONROE

New Video/ Single

‘DISCONNECTED’

OUT NOW

New Album OUTERSTELLAR

OUT FEBRUARY 20

PRE-ORDER AT THIS LOCATION 

Michael Monroe releases the irresistibly anthemic second single ‘Disconnected’ from forthcoming new studio album Outerstellar, set for release on February 20th via Silver Lining Music. For pre-orders go to this location.

‘Disconnected’ speaks of something that Michael Monroe feels passionately about: that live music is a rare and vital space for people to find each other in the moment.

“Technology was supposed to bring people closer together, when, in fact, people are more disconnected than ever. They’re looking at their phones and their computers and downloading stuff” comments Michael Monroe. “And, you know, the Internet can’t take away the experience of being at a live show. You’re on stage, and you communicate with the audience who are there, in that moment. That‘s where the magic really happens, and absolutely no program or device or computer can reproduce that!”

The new album Outerstellar, is an experience as much as a collection of great songs, a sweet smelling, leathery, glitter-shimmered, sweat-soaked raunch and punch wrapped in one of the great voices in rock ‘n’ roll. The harmonies and vibes roll effortlessly in silk scarves, lounging in leather pants with liquor and a smile on a beat-up sofa in those small AM hours. And the sheer attitude, which screams carefree (not careless!) confidence (not arrogance!), a cocksure sense of self-bathed in the sheer joy of playing real rock ‘n’ roll the right way.

The recently released first video and single, ‘Rockin’ Horse’, is a defiant blast against critics and judges and comes with one of the craziest Michael Monroe videos you’ve ever seen. “I am who I am and I’m not going to edit myself for your benefit,” Michael says unequivocally for anyone who might doubt that fact.

From loud crashing guitars to harmonicas, to gorgeous acoustic moments, you’ll sing, you’ll dance, you’ll shiver, you’ll shake, and you’ll smell this wonderful exhilarating record in all its weathered biker jacket incense-coated glory and you’ll also realize that whatever the hell is going on in the world right now, when you put this album on, it’s an instant escape to carefree days and an emancipation from worries, fears and woes.  

Outerstellar will see a whole burst of life onstage when Michael Monroe and the band bring it to stages internationally over the next year. It is EXACTLY what rock ‘n’ roll in its truest sense is meant to be, in fact, just stop reading this, get off your ‘Rockin’ Horse’ and go see Michael Monroe on tour at your first opportunity! In support of the release of Outerstellar, Michael Monroe and band will embark on a UK co-headline tour with Buckcherry, kicking off in Southampton on February 24th. For a full list of upcoming shows and tickets visit: michaelmonroe.com – more dates to be announced.

2025:

24 Nov Rock Beyond Rock Vol. 2, Osaka (JP)

25 Nov EX THEATER ROPPONGI, Minato City (JP)

2026:

24 Feb The 1865, Southampton (UK)

25 Feb O2 Ritz, Manchester (UK)

27 Feb KK’s Steel Mill, Wolverhampton (UK)

28 Feb Northumbria Institute, Newcastle (UK)

1 Mar SWG3, Glagsgow (UK)

3 Mar Tramshed, Cardiff (UK)

4 Mar The Foundry, Torquay (UK)

6 Mar Rock City, Nottingham (UK)

7 Mar O2 Forum, London (UK)

8 Mar Chalk, Brighton (UK)

3-7 Apr Underground Garage Cruise, Miami (US) to Cozumel (MX)

Outerstellar will be available on Limited Edition 12” White Vinyl, 12” Turquoise Vinyl, 12” Black Vinyl, CD Digipak, Digital Download, Streaming and special D2C bundles. Available to pre-order now at this location 

Follow Michael Monroe:

www.facebook.com/michaelmonroeofficial 

www.x.com/michaelmonroe 

www.instagram.com/michaelmonroeofficial

www.michaelmonroe.com/web/

www.tiktok.com/@officialmichaelmonroe 

Sid Vicious – ‘Sid Lives’ (Jungle Records)

Sid Vicious – ‘Sid Lives’ (Jungle Records)

Sid Vicious ‘Sid Lives!’  A limited edition 2LP in blood-splattered coloured vinyl for the UK’s RSD Black Friday. A double-LP of four of Sid’s last ever shows, featuring 39 tracks. Sure, the quality is mixing desk minus and I’m sure the purists have already called the punk rock police on me for daring to even give platitudes to such a record. But, and that’s a bit, but it is so much more a document of the end of Sid and what might have been sure, there might be some Steve Dior shenanigans with overdubs, but the original material isn’t the best quality anyway. Be grown up and put that to one side. What I will say is this is a fascinating document of a snapshot in time about one of the most iconic punks of the first wave, and a moment in time that is a fascinating story, regardless of it being a cartoon or done to death, it’s still a fascinating story.

The gatefold sleeve has a comprehensive, detailed 8,000-word Sid timeline together with Steve Dior’s eyewitness Sid story. and whilst the font might be small fo rold punk rockers eyesight these days its well worth a read, and let’s be honest the band he assembled were world class and had they been able to mature or ferment, they might well have come up with some remarkable music becuase one fact is that Sid could hold a tune much better than he could play th eBass guitar and the likes of Nolan holding down the rhythm in the engine room he was in exceptionally good hands. Killer Kane might have been the only Bass player to hold a candle to Vicious. The songs they chose to cover were real top pop picks, and whatever the purists say about old Sidney, he had exceptional taste in music.

You get thirty-nine tracks for your RSD bucks, and the essay on the inner sleeve sadly just twelve days after these shows in NYC, Nancy’s life was ended in mystery and Sid’s life was thrown into the blender, which he never recovered from. As a snapshot of time and a record of what might have been, this is well worth having. A shambolic ‘Something Else’ married to a snotty ‘Belsen Was A Gas’ is worth it alone. Ramones, Stooges and Thunders tunes a plenty were the staple of Sid’s repertoire and what a trio of bands to borrow from. Rest in peace, Sid. May this be the definitive record of a moment in time. Now to barricade myself in before the punk police arrive.

Buy Here