Swami John Reis – ‘Navajo White’ (Swami)

Swami John Reis – ‘Navajo White’ (Swami)

Another Day Another John Reis album. This guy has hit a purple patch and is churning out records like they’re going out of fashion, but he always has his finger on the pulse. Be it Plosives, solo, Hot Snakes, Drive Like Jehu or Rocket From The Crypt, the guy knows how to write pretty damn awesome records.

This is his fifth solo album – featuring members of Hot Snakes, Delta 72, Drive Like Jehu, Jejune, Pinback, PLOSIVS and more (If it ain’t broke, don’t fix it). Navajo White is a colour. It’s the colour of off-white interior house paint. Throughout his teens into adulthood, John Reis was as a house painter by trade. So it makes sense to call the album after a shade of colour. Stick to what you know and Reis obviously knows paint and rock n roll.

This is the fifth Swami John Reis album and features Jason Kourkounis (Hot Snakes, Delta 72, Night Marchers) on drums as well as contributions from Rick Froberg (Hot Snakes, Drive Like Jehu, Obits) on guitar, Gar Wood (Hot Snakes, Tanner, Night Marchers) on bass, Joe Guevara (Jejune, Swami and the Bed Of Nails) on piano and keyboards and Rob Crow (Pinback, PLOSIVS) and Jacob Turnbloom (Mrs. Magician) on backing vocals. So it is his comfortable crew who don the rock n roll overalls and start spraying the familiar tones around the studio.

‘Its Not Fair’ kicks off proceedings with a sprightly tempo washing over the canvas with a melodic pop tune and melody building to a chorus via some smart backbeat and chiming guitars. It’s like a ray of sunshine in a dark world. Let it wash over you and turn it up you’ll be singing along in no time at all.

It’s eight songs in under half an hour, with the MO of writing awesome melodies and wrapping them in layers of alternative punk rock n pop. Hey presto, it’s not rocket science Reis has been doing this shit for his whole musical career to varying degrees, but his solo records are so strong. ‘Future Moods’ is more of the same with a dark edge like a Twin Peaks outro tune. Threatening to break out big time but always showing restraint, it’s a thin line to tread, but Reis knows this line like the back of his hand. Whereas the new Afghan Whigs are one morose tempo and don’t break out of the shackles Dulli puts on the band, Reis isn’t bothered by such likes he does wherever the melody takes him. He does the last knockings of summer late-night tunes like ‘From Here On Out’ superbly, and boy, he carries the melody as well and he does the older, more mature punk rocker tunes as well, as he easily goes through the gears.

‘Lies Don’t Lie’ sounds like something the Saints would have penned and shows how good a songwriter he is, Hell, The album closes with a song that reminds me of mid period Bailey Saints and all power to Reis for it, and it’s fair to say we’re lucky to have him as something of a constant making and releasing such great records with the minimum of fanfare and commercial pats on the back, which is where we come in. Buy this record it will brighten your days and make you fall in love with guitar alternative rock n roll again if you ever walked away from the fight, and if you’re still in the fight, then you know what to do. Buy or steal this record its a banger, or as the kids would say – pure fire.

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Author: Dom Daley

Exhumer – ‘Death Mask Messiah’ (Metal Blade Records)

Exhumer – ‘Death Mask Messiah’ (Metal Blade Records)

Legendary German thrashmeisters Exhumer have returned with a brand-spanking-new slab of metallic deliciousness: Death Mask Messiah. Their first album since 2019, it showcases eleven relentless tracks of thrash metal at its finest.

After Exhumer reformed back in 2008, they have made it their mission to continue as a relevant force to be reckoned with. No nostalgia trips here, just top-quality riff-rama that’s as good (if not better) than anything they released back in the ‘80s.

The album opens with the title track, and we are off at full pelt. Superb musicianship, quality songwriting, and perfect production make DMM a very enjoyable listen. American politics and the demise of human existence are just some of the lyrical content on display here, as vocalist M. V. Stein explains: “The misinformation that the federal government used in the ’90s is the same playbook that is being used today and is the common denominator between leadership in the past and present.”

Songs like Sin Bleeder, Eradication and Ravishing Waste have more hooks than your local fishing supplier. Just because Exhumer plays full-on thrash, they still know how to pull you in. Some real earworms on display here, with some Exodus-style gang vocals. DMM really is excellent.

DMM is a wonderful collection of metal mayhem. The entire band are on fire here, but a special shoutout goes to the new rhythm section of bassist and drummer Alex Voss and Jerome Reil, who play their arses off. Supreme!

Brutal, catchy, heavy as fuck. That’s 2026 Exhumer in a nutshell. Go and buy it!!

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Author: Kenny Kendrick

Gatecrash – ‘Gatecrash’ (Randale Records)

Gatecrash – ‘Gatecrash’ (Randale Records)

I don’t suppose it was ever going to be a case of “if” and always more of a “when” Cock Sparrer/Argy Bargy guitarist Daryl Smith and Russ Farrell (Aka Spunk Volcano) from Dirt Box Disco, Spunk Volcano & The Eruptions and Submit would end up recording music together. Firstly, a good few years back now, Daryl penned a piece in a Rebellion Festival programme where he shared his favourite Russ songs and subsequently could be seen side stage singing his head off at every available opportunity when the masked muse and his bands were playing across the weekend. Then Dirt Box got to gig around the UK with Sparrer, releasing a split single with them along the way, before Russ ended up getting involved with some ideas for songs for their last album ‘Hand On Heart’. It’s all been a bit of a journey (as those Saturday night UK talent shows all like to say), really, but finally we have the debut record from Farrell and Smith, and it’s time for one and all to experience Gatecrash.

Ably assisted by Russ’s Dirt Box/Eruptions brother in arms Maff on drums and ex Knock Off four stringer Andy Furr, I suppose all of us here at RPM towers kind of had an idea of what Gatecrash might sound like long before they ever recorded a note, as it was never going to be another musical curveball like the Farrell’s 90s flavoured alt rock studio only project Submit, that released their second album just a few weeks ago.

I will at this point admit though that I was a tad taken aback on playing ‘Gatecrash’ for the first time, largely because as the defiant ‘Still Standing’ rang out from my stereogram what I had forgotten was just how bloody good a singer Daryl Smith is. Of course, long before becoming guitarist in Cock Sparrer and in then turn Argy Bargy he’d fronted The Elite back in the early ‘90s, and whilst the opener might be not unlike Sparrer in some ways it’s when he takes the microphone for ‘Wind It In’ that I can’t help wonder if we’ll ever get to hear that long overdue new Argy Bargy album, I mean that really could be Watford Jon singing.

As for the Russ-fronted tunes like ‘Here We Go’ which quickly follows, these songs sound very much like the less “saucy” end of the prolific songwriter’s back catalogue, and it’s all about the killer hook, of which this album has many. The likes of ‘Av A Minute Mate’, ‘I Still Believe In You’ and ‘Sometimes I Wonder Where You Are’ are quite possibly my favourite non-Dirt Box, Dirt Box sounding songs ever, and if you give these a spin, you’ll be singing along to them at the top of your voice in just a couple of plays. These songs really are the stuff of ‘Legends’ (very bad pun intended).

For yours truly it’s when Smith and Farrell share the lead vocals during the likes ‘Pound For Pound’ and ‘Walk Away’ that I think Gatecrash truly “come of age” with the former a spiky pop punk poke in the eye complete with jagged Weller guitar and chorus to die for, whilst the latter is another rousing anthem that could very quickly become the band’s signature tune.

Then for those of you who are maybe looking for something a little off the streetpunk piste why not check out the acoustic lament to getting old that is ‘One Day’, the Goldblade-like rebel song rattle of ‘Go Big Or Go Home’ or the do-wop showaddywaddy foot stomper that is the bittersweet ‘Consolation Prize’, a song custom built to get us all up on our creepers and dancing into the night.

Written, recorded, released (initially via download/streaming only) and debuted live (at Rebellion 2026) all within a period of just four months, the sixteen songs that make up ‘Gatecrash’ are a true testament to the ability of the songwriters in the band to deliver hit after hit. Plus, for those of us longing to own these songs on CD and/or vinyl, it’s just been announced the album will soon get a full physical release via Randale Records, so make sure to watch the press and social media for more news about that.

In the meantime, grab yourself a bag full of cans, and go get pissed out your head listening to Gatecrash (via all the usual streaming platforms). Just don’t piss your jeans, right… right?

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Author: Johnny Hayward

Dead Pioneers – ‘Wagon Burner’ (Hassle Records)

Dead Pioneers – ‘Wagon Burner’ (Hassle Records)

‘Wagon Burner’ is the band’s 3rd LP, and is a fiercely political and full-on attack on the rise of fascism and the far right at a much-needed time. It also makes indigenous American issues front and centre. With a sound that draws from the origins of US punk like The Dead Kennedys, Circle Jerks and Black Flag, they mix it with elements of more contemporary post-rock, punk and alternative rock sounds. They’ve also reached out to like-minded alternative artists on Wagon Burner, like Jason from Sleaford Mods and Aimee from The Interrupters, who have contributed to this record.

Frontman Greg Deal is a renowned artist and poet, whose words and art elevate the band’s music far above the standard punk fare. Taking on many subjects that put the band in the crosshairs of the far right, but the band fiercely defends their rights. The album kicks off properly with a raging ‘Nazi Teeth’ that also features Cheap Perfume with a thumping beat. The song rages as Greg lends his calming voice to proceedings over a really harsh, dirty riff as the song sets the tempo and is no doubt to become a thunderous live staple. The next “song” proper is ‘No Kings’ with its brooding, menacing backbeat grows into a heaving chorus that’s chest beating whilst you’re holding onto every word that’s spat out of Greg’s mouth.

The album ebbs and flows, and anyone new to the band should now reach back into their catalogue to see where they’ve grown from to fully appreciate their motivation and positive messages. Dead Pioneers have the potential to be huge on the alternative scene. Take the collaborations they’ve engaged with on this record, Sleeford Mods, who are also outspoken, especially on UK politics and punk throughbreds, the interrupers who join the band on ‘Never Alone’ with its melodic uptempo rager.

The band has branched out, adding variety and tempo to their album, and with the guest appearances, it should pull in a diverse audience who might not otherwise be enticed by Dead Pioneers. The production is big, and every space is filled with a big, bold peacock punk rock. The Sleaford Mods track is some slick new wave with the thumping rhythm before the collab chorus.

The second half of the album sees no change in the quality of songs offered. ‘Seeing Red’ begins with spoken words but builds into a heaving beast of a track, justifying seeing red, but Greg channels that anger into an awesome energy. What a tune. Then to follow it up with the pure rage of ‘Circle Jerk The Wagons’ is brutal, sounding more like Keith Morris than Keith Morris – superb stuff. But wait, they’re not done with the bass and drums intro of ‘Zealots’ takes that rage into another direction, thumping stuff.

Before we’re done, ‘Nobody’ lays it all out there, it had me thinking they should tour with Grail Guard, that would put a rocket under the backside of punk rock. Don’t mix politics with music, people say, but I say punk rock has always been political, and so it should be, but make sure you’re on the right side of history, and albums like ‘Wagon Burner’ are life-affirming slabs of punk rock that should be championed far and wide, so get in line, kids and get an earful of Dead Pioneers before they blow up. Another contender for album of the year, and this one speaks truths at every turn, lifting each other up and is a real positive record in some tough times. Buy this record, you won’t regret it.

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Author: Dom Daley

Lithium Kicks – ‘The Black Cat Club’, Bridgend 05/06/26

Lithium Kicks – ‘The Black Cat Club’, Bridgend 05/06/26

As far as debut gigs go, it always helps to have some music out there in the ether and maybe make it a hometown show with another band on the up this time in the shape of Bambees from Merthyr. With a near capacity turnout, it’s Friday night in the canteena from Star Wars, where cans of Red Stripe or Stella are the cocktails of choice. With the band not hitting the stage until 10PM, it was a wise move to get everyone loosened up for the pop show.

It was a joy to see Darren and Ginge on stage again after a lengthy hiatus. As the band took to the stage and struck up their intro as the ringmaster marched on to signal that it was time for the audience to join in with the backing vocals of ‘I Want Something I Don’t Care About’, and we were up and running.  The band sounded tight, and the songs sounded upbeat and full of energy. Sitting somewhere between early Manics, 60 ft Dolls married with a healthy dose of Sorry & The Sinatras punk n Roll for good measure and top melodies turned up a notch or two and pretty much everything sitting on the shelves of Ginge’s record collection (apart from his copy of Jimmy Nails ‘Crocodile Shoes’) it was hook after hook, swapping songs about darkness and self loathing for songs of love and nice things, funnily enough a track entitled ‘L-U-V’ was an excellent tune and a real highlight alongside ‘I Was A Teenage Arsonist’ something Ginge openely admitted was a true story, these alongside the already released pair of songs these were right in the pocket of catchy, sleazy rock n roll that’s been missing from the scene and some real immediate earworms. Going home singing the woah ohs! can drive you nuts but what a way to go. The audience was loving it, and the joy was infectious, but having the band sound in such a great place was a bonus I’m glad I was part of. Bring on the EP and the next show Lithium Kicks have arrived boys n girls substance and alcohol free and all the better for it, straight edge punk n roll its the bloody future I’m telling you.

Being their debut show I’m sure they’ll find places to tighten up and sharpen, but from a punter’s point of view they were right on the money, and it was infectious with people singing along with unfamiliar choruses like they were well worn songs they’ve been listening to for years, which is always the sign of a top tune wrapping itself around you and making everything alright.

Being the beginning of the journey the set was short and oh so sweet with the music being the real highlight on display sure it was great to see Ginge back on stage making music but it has to be quality and to be fair with the new material he’s knocked it out of the park thus far and the other new songs that were played there’s no sign of it stopping quite yet this train is bound for glory baby and I’m sitting in first class. Hop on board as they stop in a town near you, because this should gather pace, and it’s always cool to say you were there at the beginning. Bring on the Lithium Kicks, we all need some rock n roll highs.

Lithium Kicks

Author: Dom Daley

Subhumans/ Only Fools And Corpses/ Bad Sam – The Bunkhouse, Swansea 04/06/26

Subhumans/ Only Fools And Corpses/ Bad Sam – The Bunkhouse, Swansea 04/06/26

Lovely to see a local venue packed to the gills on a school night in anticipation of three very fine bands all flying the flag for independent music. First up, Positive Reaction were a no-show, the reason unknown. So it is the trimmed-down but always ferocious and captivating Bad Sam. Now down to a two piece of Guitar and voice and a laptop, meaning there are only two people to disagree with, rather than a band of 4 with all that equipment. 

Don’t be fooled into thinking that Bad Sam have lost any of their edge or ferocity because that simply wouldn’t be true. With a brand new album to peddle, this was ‘Trauma’ time for Beddis as he climbed down off the stage and right into the thick of the packed audience. ‘Popcorn and Blood’ set the tone for the brief set. Rich was in charge of the laptop (prob for the best) and his guitar up on the rather high Bunkhouse stage whilst Dean prowled the audience barking out the lyrics.  Of all the new songs, ‘Tupperware Death Party’ brought all those in attendance of a certain age to a nostalgic tear or two, but the noticeable thing was the fact that there were only two of them they lost none of the punch or power the music needs to tear Swansea a new one.

Alas their time is too short so there isn’t any reworking of a ‘Snake With Tits’, ‘Mr Trump’ perhaps a ‘Dicks With Dogs’ or ‘I Love The Port’ but that’s ok like I said this was Trauma time and hearing new Bad Sam music is always a pleasure and hopefully with the reception they got this won’t be the last time they head down west maybe for a headline set where they can work in some of the old magic with this new found direction. Awesome stuff.

Next up was local(ish) lads Only Fools And Corpses that are part Newport part Swansea lads with their Helmet meets NomeansNo meets a brick to the temple punk /alt-hardcore noise they peddle, and to be fair, they do it oh so well.  This isn’t my first encounter with these gentlemen because we met at a chaotic performance in the tight surroundings of Afan Ales many moons ago but this was a much nicer experience with a decent and very loud PA and packed house the two guitarists traded vocals as they thumped their way through their set sadly for the last time as they’ve decided that tonight was the night to call it a day for Only Fools And Corpses but Cameron did announce that he’d been writing new material so hopefully it wont be long before they are back all be it under a new name and different guise again something different to Bad Sam but equally excellent which only meant it was time for the headliners to make their Swansea debut. Considering they’ve been at this since 1980 and played every village and venue under the sun around this spinning rock its quite remarkable that this was their first visit to this fair city, something that wasn’t lost on Dick.

Now, considering this was a midweek show, it was great to see the place packed to the rafters, and for such an occasion, it was great to see the reliably good Subhumans deliver a set of top-notch anarcho punk. Anyone who’s seen the band perform will know that anything less that 100% isn’t an option and if you were to see them play more than once in a run of shows you wont get the same set twice however you will obviously get ‘Micky Mouse IS Dead’, ‘Rats’ and ‘No’ but its always great to hear newer songs like ‘99%’ it wouldn’t’ seem right if you didn’t have a mixed set because Dick Lucas was born to do this and gives nothing short every performance as he flits across the stage not pausing or stopping for breath for a second of the hour plus they are on stage. The band sounds tight as and looks like they’re enjoying the rapturous applause they’re getting from the very appreciative venue.

Twenty-plus songs in an hour from gentlemen of a certain age giving it large, showing people a fraction of their age how it’s done with passion and purpose. That, my friends, was a wonderful evening in the company of three exceptional bands absolutely smashing it. Less than £15 a ticket, all for charity, I believe, which is unbelievable value for money in these tough times.  Please, whoever books shows in this city, let’s have all three back sometime in the not-too-distant future and seeing an audience that was a very healthy mix of teenagers to us older me, it was heart-warming to see and be part of.  Uppa Punx!

Author: Dom Daley

Pillarstone – ‘Mono Lit’ (Pillarstone Records)

Pillarstone – ‘Mono Lit’ (Pillarstone Records)

Coming out of Waterford, Ireland, Pillastone have a love for gentle lilts with fiddles and a waft of Americana running through their music. Think a gentler, less drunken/troublesome Green On Red and a lot of the good stuff, maybe some Jesse Malin and Ryan Adams for good measure. The album opens with the first single ‘Run Fox Run’, an electric run through the louder moments, whilst ‘September Sun’ is the gentler side with those fiddles and acoustic guitars cut up with some rim shots and lush melodies leaning into the countrier side of the Waterboys. Very well produced and superbly delivered and arranged. It’s rooted in the themes you might expect call it playing safe if you like but if you deal in Americana with some wholesome rock n roll then thats who you are and the amps are turned up for ‘Wait In This World’ maybe a dash of Brian Fallon is present jammign on some Mellencamp there are polenty of reference points jumping out all over the place and a late evening summer sunshine record it might be but the performances on show are excellent and the arrangments let the music shine bright.

‘Fog Of War’ is some roots rock n roll with a great sound and production, but it never all out breaks free from the restraints of the acoustic and lush, fulsome bass groove, but it does have a very nice guitar solo raging quietly. I also like ‘Wise Up’ and the more uptempo ‘Cry’, but the standout track is ‘Like A Fool’ with its picked acoustic guitar like a less miserable Ryan Adams, and the barroom piano dropping in and out lifts the track.

The loudest track has to be ‘Hammer That Nail as the band veers into Drive By Truckers territory, and it’s something they do really well. The closing track is ‘Call For Mercy’ which paints an upbeat vibe and closes off a very impressive record proving that light and shade are required in one’s palette and this worked really well on a Sunday morning or a late night listen. Go check ’em out.

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Cuddly Toys – ‘Guillotine Theatre’ (Jungle Records)

Cuddly Toys – ‘Guillotine Theatre’ (Jungle Records)

Cuddly Toys’ debut album was first released in Japan in 1979, then a revamped version in the UK in 1981. Not on vinyl since those original releases until this latest RSD drop.  This one has added bells and whistles. It’s an extended, limited edition double LP in red vinyl, with a Japanese obi-strip, and lyrics inside the gatefold sleeve- for Record Store Day 2026.  This 2xLP version adds a whole side of the different Japanese album mixes, a B-side, two tracks omitted from the UK version and three 1980 demos from the same line-up so a real treasure trove of Cuddly Toys.

Cuddly Toys are the theatrical glam-punk band that evolved from the London glam shock-punk band Raped (so 70s with a name like that). cross-dressing in an era when it was truly outrageous. An LP of Raped recordings was issued by US label Puke’n’Vomit in 2024. But holy shit, even now you wouldn’t touch a name like that, saying that CuddlToys is only marginally better.

Sadly, singer Sean Purcell died in 1996 from a brain tumour, so much of the story hasn’t been told for many years.  If you’re wondering what they sound like, there is the obvious Bowie influence, but I’d say Sparks and Tubeway Army weighs heavily in there, but saying that, they’re not too shabby influences, and you can throw in some Roxy Music as well.

‘Madman’ and ‘Universe’ are proudly Bowie in their delivery and structure, but there’s nothing wrong with that then nor now. ‘Slow Down’ is the bonus from the original on side one of the first LP, and again, the vocal leans heavily on Bowie, but the song is more aligned with Mott the Hoople and reminds me of Suede. ‘Astral Joe’ is a sprightly track with some parping synths over an energetic riff and melody. ‘My Commando’ is one of my favourite tracks with a great beat and riff and one the band executes really well, sounding like early Japan or even Hanoi Rocks before they were both a thing. The album’s title track is another uptempo banger with ‘Time Warp’ closing off the revamped record in style.

DISC 2 is made up of Japanese mixes for six of the tracks, as well as a clutch of bonus songs previously not aired and demo songs. ‘You Keep Me Hanging On’ is a fine version of a classic, maybe not as good as Rod Stewart’s take, but not far off it. The ‘Front Page News’ is an uptempo snotty track, and to be fair, side four might just be the jewel in the crown of this record, with some of the best songs from the whole release. So, a real treat for fans of real Glam Rock when it was fearless and innovative and bands like Cuddy Toys walked around like they owned the place, even if most of the world simply passed them by, until now that is. One of RSD’s best-kept secrets and a real joy to catch up with. Grab a copy whilst there are still a few available.

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Author: Dom Daley

Onlooker – ‘Cleveland’ (Serial Bowl Records)

Onlooker – ‘Cleveland’ (Serial Bowl Records)

Cleveland was recorded, mixed, and shaped entirely by the band in studios, lockups, and living rooms, with only the final mastering handed to Graham Thompson at Soundschitty. The fact that it’s on Serial Bowl is something of a badge of honour, and these guys fit in perfectly with Diaz Brothers and Dealing With The Damage. It’s a post-punk landscape mixed with a caustic garage rock thump. It’s got a thick Bass sound that fits right in with that abrasive, slashing guitar that sounds like a low-slung, battered Telecaster being given no respect. Think Hot Snakes, Minor Threat mixed with the New Wave CBGB scene, early Talking Heads, and that alt punk scene the Americans do oh so well, but the Brits have caught up and, to be fair, are delivering it in spades with a twist of originality.

‘Cleveland’ is packed with songs that move between anxiety, joy, protest, and how to make a cup of tea and some disco biscuits to dunk in to said tea, no doubt. The bottom line is it’s brimming with energy and well-constructed songs of everyday life, bristling with raw energy.

I can imagine a sweaty room with ‘Peaceful Protest thumping through a workhorse PA coming on like a cross between Fugazi and Jane’s Addiction is something special. It’s not all one pace or style either because the northern ‘Wishing Wellaye’ is taking on Hot Snakes and winning with its muscular thump, complete with some excellent screams. I’d even say something like ‘Carpool’ is influenced by the sparse bleakness of Joy Division in full flow.

Every song is a twist to the left or right. This record isn’t at all one-dimensional or bland, it packs a hefty punch and creates some mega colours with its brutal soundscape and smooth lows to complement those soaring highs. With most songs being served in your rapid, perfect couple of minutes, there is one curveball in the shape of the epic six-plus minutes of ‘Suburban Dreams’ with its lengthy intro before breaking out into a garage rock fever dream that Australia has captured the market of. Lurching one way then the other its a bit of a sleeper – stick with it, you shall be rewarded in spades.

Fast-paced, edgy, and frantic, Cleveland is an album full of twists and turns and doesn’t disappoint at all. Hit the link and get involved, this is one smart as fuck album full of top tunes.

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Author: Dom Daley

The Future Shape Of Sound – ‘Heavy Load’ (Gypsy Hotel Records)

The Future Shape Of Sound – ‘Heavy Load’ (Gypsy Hotel Records)

From the nighttime, neon city wastelands of East London, there came a group, a collective of soul divas and rock n’ roll musicians led by the mysterious and enigmatic guitarist/producer Alex McGowan (aka Captain Future). This man without a tan has worked with the likes of Primal Scream, Jah Wobble, The Urban Voodoo Machine and Jim Jones. His band The Future Shape Of Sound could be the perfect festival band and over the years have been seen plying their trade at the likes of Red Rooster, Womad, Boomtown and even the Glastonbury festival. You can catch them occasionally, where society rejects frequent, dark, seedy bars and the occasional hometown Gypsy Hotel gig. They follow up their 2018 album ‘Shakedown Gospel’ with the long-awaited ‘Heavy Load’.

Keeping with tradition, ‘Heavy Load’ features several lead vocalists over the 10-track album, but predominantly it’s James Brown’s widow, Tomirae Brown, who not only takes the lead but also co-wrote most of the material with Alex.

Opener ‘I Want A Little Slow Blues’ is a low-key affair, a mid-paced groover featuring former Jim Jones Revue man Henri Herbert tinkling the ivories, backed by The Future Sisters gospel trio. This leads nicely into killer single ‘I’d Rather Be Alone’, where the band fully hit their groove. Tomirae adds raunchy Tina Turner vibes to the foot-stompin’ rock n’ roll party anthem. Co-written by The Urban Voodoo Machine mouthpiece Paul-Ronney Angel, it’s a surefire album highlight.

Claire Allen of The Guerilla Street gospel choir takes us to church on ‘Ain’t Standing By’ and Geraldine ‘Gee Gee’ Reid of The Divettes takes over for a couple of numbers too; the rhythmic gospel laced blues of ‘Ride’ sounds like an old forgotten traditional song and the more funky jam ‘You Can Change Your Mind’ showcases the tight and groovy rhythm section of bassist Duncan DeMorgan and drummer Doc Johnson.

Elsewhere, you’ll find a couple of beauties that encapsulate The Future Shape Of Sound vibe; the funk rock explosion of ‘Take The Money’ is trashy in a good way, it fits the Tomirae vocal delivery nicely, and the wah-wah guitars give added cool factor.  Tomirae & The Future Sisters return for the swampy blues anthem ‘Oh Mama’, and there is no surprise that it was a single. The slide guitar, the harmonica and the soulful backing vocals give depth to the catchy melody and footstompin’ vibes. You’ll add it to your playlist if you’re that way inclined. Me? I’ll just buy the record and play the whole damn thing the way the artist intended.  

Recorded at Alex’s own Space Eko East studio in East London, ‘Heavy Load’ captures the soulful rock n’ roll blues of a band that thrives in a live environment. With his congregation of multi-national and multi-talented musicians and singers, he takes the sounds of the streets and the dives of old London town, turns it into a celebration and takes us to pray at the church of rock n’ roll once again. It’s good to have them back. Now, where’s that vinyl pre-order button?

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Author: Ben Hughes