Gradience – ‘Anomaly’ (Metal Blade Records)

Gradience – ‘Anomaly’ (Metal Blade Records)

gradience /ˈɡreɪdiən(t)s/

(noun) the absence of a clear-cut boundary between one category and another

The name of the band encapsulates everything you need to know about Gradience. There’s so much going on here. The band is full on death metal one minute, hip hop the next. The obvious comparisons to Sleep Token are apparent here too.

Do I like Gradience? I wasn’t sure after my first listen. I felt that the constant jumping between genres was jarring. After revisiting Anomaly, I realised that Gradience are some kind of bastardised geniuses. You have to admire the seamless mixing of musical styles. In all of the madness though, there are well written songs with hooks that pull you in.

Opening track – Vermin is a perfect mix up of death metal, pop, and Linkin Park style rap interludes. It really is an assault on the senses. If you can get through Vermin, you’re set for the rest of the album. Blame Me is a heady mix of guitars, Prodigy style electronic stabs and a perfect blend of grunt vocals and pop sensibility.

Agony is my favourite track on the album. I can imagine a field full of festival goers losing their minds and jumping in unison to the tribal rhythms. The massive production from Chris Kreutzfeldt elevates the album’s intensity.

Anomaly is a short, sharp blast to the senses that delivers on every front. The band consists of guitarist Jakob Harris and vocalist Gavin Mistry. Drummer Frederik Kjelstrup Hansen and bass player Patrick Peterson complete the line up.

The duo met at a Copenhagen show for local deathcore heroes Cabal. They quickly found common ground and built a strong working relationship. Jakob and Gavin explain how Gradience was born:

“We found out we had many of the same musical influences in metal, even though neither of us had ever played in a metal band,” says Jakob. “We later found out we both were at a crossroads with the bands/projects we had going on, and we both felt an urge to create something new together.” As Gavin remembers, this inciting revelation took place on the most important day of his life, one way and another: “I invited Jakob to my wedding, where we talked over the idea of joining forces in a semi-drunken haze. I was searching for something where I could blend my honed skills in rap and rock, the right way.”

Gradience has come up with something that’s very rare these days – an album that’s completely original. If you’re looking for your new favorite band, you may have just found them.

Buy Here

Author: Kenny Kendrick

Daily Thompson – ‘Glue’ (Noisolution Records)

Daily Thompson – ‘Glue’ (Noisolution Records)

Having been down something of a Seattle themed rabbit hole in my listening pleasures this past few weeks, when RPM head honcho Double Dee asked me if I fancied reviewing German Grunge trio Daily Thompson’s soon to be released seventh studio album ‘Glue’ I was like “pass me a Lucozade” (think about it), and I was off, albeit without the accompanying Iron Maiden soundtrack (got it now?).

Formed all the way back in 2012, whilst singer and guitarist Danny Zaremba, bassist Mercedes Lalakakis-Bee and drummer Thorsten ‘Babblz’ Stratmann can’t take any credit for ridding the music world of the 90s pop metal movement, the genre of music from which they draw their influences from most certainly can, hooking up once again with producer Tony Reed (he also worked on the band’s previous album ‘Chuparosa’) at APL Recording Studios in Port Orchard/Washington to get that full US West Coast feedback driven garage punk sound.

Kicking off with perhaps my favourite song of the album, ‘Heart of Bones’ is the type of track of you’d hear/see everywhere on early nineties music channels. A breezy, lilting Lemonheads-esque refrain that would be a surefire chart hit if those places still existed.

Talking of which, the band’s first video and single from ‘Glue’ is ‘BTK’ which also sees Mercedes Lalakakis-Bee take over the microphone for the first time, and also has more than a hint of US college radio about it, but this time more in Breeders/Pixies territory.

Likewise ‘Work Out’ and ‘Fake A Smile’ with Danny back on vocals both doff their trucker caps to Black Francis and Co, whilst of the album’s remaining four tracks these range from the Nirvana fuzz pop of ‘Here I Stand’ and ‘Lovebugs’ to the more straight up hard rock of ‘SIAM’ (which also boasts a close vocal harmony akin to Alice In Chains) by way of the epic (Pearl) jam that is, the just shy of 8 minutes, ‘Chains’.

Released on August 21st on Noisolution Records whilst ‘Glue’ is (most probably) never about to sell in the same amounts that the likes of ‘Nevermind’, ‘Ten’ or ‘Melon Collie’ ever did, it’s most certainly worth checking out even if just to give yourselves a break from the bland-ola “classic rock” the mainstream music media is constantly pushing these days.

With the band also gracing our shores for a series of six UK dates to promote the album in October starting in Bridgwater on the 12th, it’s time to hit the links below to find out more.

Pre-order the album HERE

Facebook / Daily Thompson (@dailythompson1) / X Daily Thompson / Music | Daily Thompson

Author: Johnny Hayward

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?

Facebook

Gatecrash UK (@gatecrashofficial) • Instagram photos and videos

Buy Here

Author: Johnny Hayward

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

Conflict – ‘There Must Be Another Way’ (singles 2LP) (Jungle Records/Mortarhate)

Conflict – ‘There Must Be Another Way’ (singles 2LP) (Jungle Records/Mortarhate)

All of Conflict’s studio singles from 1982-2003 on a limited blue double vinyl 2LP, released for Record Store Day 2026.  The gatefold sleeve includes lyrics to all 24 tracks (which is 4 extra tracks than the CD version).  In tribute to Conflict frontman Colin Jerwood.

Sadly, main-man Colin Jerwood died in May 2025, shortly after the release of their first album in 20 years, ‘This Much Remains’. Conflict are one of the world’s foremost activist anarchist punk bands, who were first heard on their mentors Crass’s label. Their ‘To a Nation of Animal Lovers’ EP inspired anti-vivisection and anti-hunt campaigns, laying down the band’s stance in no uncertain terms. It was the perfect union, Crass and Conflict.

Espousing direct action and numerous political causes, on their own Mortarhate label (through Jungle) they dominated the top of the singles and albums indie charts through the eighties. Gigs turned into full-scale riots, with hundreds arrested, leading to national outrage headlines. Police banned them from performing in the UK, so they went underground and abroad. The music is as uncompromising as their lyrics espoused, and with Jerwood leading the charge, they had a vocal that walked the walk.

They kept touring; a resurgence of interest in the punk movement reactivated them in the 21st century. Following Colin’s death, they continued to gig in tribute to Colin’s legacy. With this, the perfect double album of singles spread over two blue records, it’s an ungovernable force and shows why the band always sat at the top table of crust punk, hacking and slashing their way to people’s consciences, forcing their ideologies and direct action approach from the pure hardcore of ‘To Whom It May Concern’ through the skanking of ‘Climbing The Stairs’. Conflict were a thorn in the side of the powers that be and the industries they campaigned against, and had the soundtrack to accompany it.

It’s mad to think that Conflict can hit over a million plays on the streaming platform Spotify for ‘The Serenade Is Dead’, but it’s the more extreme tracks that I remember, like the incredible ‘Berkshire Cunt’ that always struck me even as a youngster, being impressed that they would be so blunt about their lyrics and who they had targeted with their fury and ire. Saying that it’s not all crash bang wallop mind ‘Meat Means Murder’ is much more restrained as is the intro for ‘Whichever Way You Want It’ before kicking off with some proper punk drumming.

‘These Colours Don’t Run’ is a brutal thump from the opening slash to the chorus that got a subtle melody buried beneath the chaos and noise all around it. ‘Statement’ sounds like it could have beern written by The New Model Army if instrumentals were their thing (Crustpunk royalty going instrumental who’d have thought that?). ‘Conflict’ by Conflict is what I would play someone if they wanted to really know what Crust punks sounded like and its a purely British thing like Fish and chips or Coronation Street this style or band couldn’t have come from anywhere else and conflict were the masters of their craft. Its great that labels like Jungle put out records like this becuase where else are you going to draw in 24 tracks that made up their singles if you tried to track em down then good luck and how scratched would that collection be? ‘There Must Be Another Way’ is the perfect tribute to the life of Colin Jerwood a true believer and a man with a passion and platform that he used to great effect now pick up a copy and preserve the music of Conflict long into the 21st Century – punk as fuck! Buy it!

Buy Here

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.

Buy Here

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?

Buy Here

Author: Ben Hughes

  • News
  • Closed
  • 3 min read

THRASHERS THORNS ARE ‘READY TO STRIKE’ THE UK IN JULY

THRASHERS THORNS ARE ‘READY TO STRIKE’ THE UK IN JULY

OHIO THRASHERS THORNS HIT THE UK IN JULY – TOUR DATES CONFIRMED INCLUDING AN APPEARANCE AT 2000 TREES FESTIVAL

NEW EP ‘READY TO STRIKE’ TO BE RELEASED 26TH AUGUST VIA THESE GO TO ELEVEN RECORDS

US thrash upstarts Thorns have erupted out of an Ohio basement and into the global metal conversation, becoming one of the fastest-rising new forces in heavy music. Armed with the same uncompromising DIY spirit that fuelled Black Flag and D.O.A., they skipped the industry queue entirely — building their own studio, self-recording and self-releasing two albums and multiple singles and rallying a worldwide following in under a year.

Tapping into the same high-velocity energy surge that spawned the first wave of 80s thrash metal with the likes of Exodus, Nuclear Assault, Anthrax and early Metallica etc, Thorns are a much needed, turbo charged, heads down, head banging assault to the senses. Their new four song EP ‘Ready To Strike’ is set for release August 26th via These Go To Eleven Records and Thorns have come straight out the traps with new single ‘Bad Business’. Coming in at just under two and a half minutes, ‘Bad Business’ is short and fast and lean and mean!

“It’s the standout track from our original demo, but we re-recorded it to fit the vision we originally had. Faster, tighter, and heavier than before… ‘Bad Business’ is the definition of Thrash,” state the band.

“As a band, we’re looking to bring back elements of Metal that we feel have been forgotten over time. Not just heavy riffs but catchy hooks, meaningful lyrics, impressive solos, and the old school energy of it all. We want to put our music in front of as many people as possible.”

That relentless work ethic has paid off: 3.5+ million streams, a rapidly growing international fanbase, and a reputation for resurrecting the ferocity of peak-’80s thrash with a modern edge. Their new EP ‘Ready to Strike’ drops across four monthly singles from May to August, setting the stage for a breakout summer. July sees the band hit the UK for a full run of shows, culminating in their festival debut at 2000 Trees.

Catch Thorns on tour in the UK at the following dates in July:

3rd       Green Door, Brighton

4th       Ifor Bach, Cardiff

5th       1865, Southampton

7th       Basement, Tunbridge Wells

9th       Chinnerys, Southend

11th     2000 Trees Festival, Cheltenham

15th     Blach Heart, London

16th     The Horn, St. Albans

17th     The Parish, Huddersfield

18th     Satan’s Hollow, Manchester

Find Thorns online HERE

Ultrabomb – ‘The Bridges That We Burn’ (Virgin Music Group) 

Ultrabomb – ‘The Bridges That We Burn’ (Virgin Music Group) 

A couple of years ago I was introduced to Ultrabomb for the first time by being recommended their album Dying to Smile “Chris this is right up your alley, you will love it” and oh how DD was right, turns out that it ended up being one of my albums of the year, roll on a couple of years and Ultrabomb are back with album number three the absolute banger “The Bridges That We Burn” 

Legendary Hüsker Dü bassist Greg Norton has been on fire now for the last few years with three fantastic albums. This time, however, the supergroup has had a few lineup changes, now on lead vocals and guitar is Ryan Smith (Soul Asylum) and the man with the sticks, Derek O’Brien (Social Distortion, Adolescents). For any fan of the alternative punk scene, there is no chance this was going to disappoint and that, my friends, it does not. 

Opening the album, we have a mega riff and thundering bassline into the extremely catchy “Darwin Awards” I’ll be amazed if there’s a better opening song on an album this year. 

Straight away, I know that even though the line-up has changed, the quality hasn’t at all, the production here is very clean and loud, and the band are on fire. “Divert/Deflect” is a pounding beast that will have fists pumping during the chorus. 

Next album is the first single off the album and one of the many album highlights, “Artificial Stars”. This could be taken right out of a Soul Asylum classic, the Melodies are everywhere throughout, it’s nearly impossible to get the guitar licks out of your head on this one. 

My favourite song on the album is just around the corner with the excellent “No Cap” with verses that Dave Pirner would be proud of before exploding into a prime Supersuckers-like chorus at breakneck speed. This will have audiences jumping around like lunatics, no doubt about it. 

With a resume from these three musicians it should be no surprise that this album is so good but yet somehow it does, Greg had been away from the music business for so long to have come back this strongly is no joke, his songwriting here is on top top form, Ryan really shines here as well as his voice is so infectious with guitar harmonies all over the place and Derek keeps everything so tight, fantastic stuff. 

We’re on the flip side of the album now and we get another few album highlights the absolute brilliant “Checked Out” which boasts a anthemic chorus followed with a stunning guitar solo and then we go straight into a pounding bassline from Greg in the equally fantastic “Look Forward In Anger” another one that will get fans off their feet around venues (hopefully in the UK as well please).

We’re coming close to the end now, and we are given the smile-raising “BSS” which stands for Bull Shit Song, which had me grinning from ear to ear, and to close out the album, we have the brutal “Mosquito Crucifixion” which is a monster of a song with a huge riff throughout to end a brilliant album on a massive high note!!!

There we have it, Ultrabomb album #3 ‘The Bridges That We Burn’ in the bag, it’s safe to say it will be high up on my end of year list, give it a listen and make sure to buy it!!! 

Buy Here

Author: Christian Davies  

Cyanide Pills – ‘Singled Out’ (Damaged Goods Records)

Cyanide Pills – ‘Singled Out’ (Damaged Goods Records)

Cyanide Pills could be the greatest punk band in the world; they’re surely the greatest punk band to drag their arses outta Leeds. A self-proclaimed “gang of cunts from a desolate land” consisting of Phil Privilage on vocals, Sy Pinkeye on guitar, Alex Arson on another guitar, Alarick on bass and Chris Wrist beating the drums. These lively lads from Leeds have been exciting audiences across Europe and beyond for the past 17 years, and with 5 albums under their studded belts and a whole bunch of single releases, it’s about time they released a greatest (s)hits record, right?

Well, here you go, you lucky fuckers! Here’s a tasty treat courtesy of Damaged Goods for ya. ‘Singled Out’ is all their 7” releases and the corresponding B sides (plus a couple of new unreleased singles) on double vinyl and shiny CD. That’s 33 tracks to devour. Are you excited yet?

You should be, just check out that track list. The A sides are worth the entry price alone. Spikey, power pop-infused punky goodness with buzzsaw guitars and choruses to die for, that is the signature Cyanide Pills sound, and they’ve got the songs in spades. From The Clash meets The Toy Dolls sound of debut single ‘Break It Up’ to the pogoing power pop of newbies ‘Amalia’ and ‘Second Best’, it’s a wild and melodic ride.

You’ll laugh along at the tongue-in-cheek lyricism, from the tale of forbidden love that is ‘Suicide Bomber’ to the political diatribe of ‘Government’, the band remain confidently relevant and humorous in equal measures. You may even ponder if Johnny Thunders did actually live in Leeds.

Highlights include the killer earworm ‘Conquer The World’, the ridiculously catchy ‘Big Mistake’ and recent single ‘Hope You’re Having Fun’. Songs that prove this band ages like a fine red wine.

Then we get to the really tasty stuff. If you’re a fan, but like me don’t collect 7” records, disc 2 is the place to begin. ‘Mail Order Bride’ and ‘Stick Em Up’ were on the flip side of the debut single, and to be fair, either of them could have been the chosen A side. High energy punk n’ roll with distorted riffs and choruses that most bands would die for. Elsewhere, the standouts are plentiful. For me, the ska-infused ‘Lock Me Up’, the Green Day-esque ‘Hooked On You’, and the 70’s glitter stomp of ‘I’m Celebrating’ are winners. These songs go a long way to show Cyanide Pills B-sides stand tall against the A-sides. And just wait until you hear ‘My Mind’s On Strike’, the flip side of the upcoming new single ‘Amalia’. With a verse that pummels the senses and a killer gang vocal chorus, it’s up there with their best.

It is said that true music fans don’t buy ‘best of’ albums, but this collection is a great starting point if you are new to the band, and is essential if you are a fan but don’t collect 7” records. Sequenced in release order, it’s an album that flows well and shows the progression of a band who get stronger song by song. ‘Singled Out’ is a worthy addition to any music lover’s collection from a homegrown band who are up there, standing tall against their contemporaries.

Buy Here

Website

Author: Ben Hughes