Led by Ukrainian-born singer/songwriter Eugene Hütz, gypsy punk collective Gogol Bordello have been thrilling crowds on the world’s stages since the turn of the century with their high-energy, theatrical live shows and political manifestos. Here, they follow up their defiant 2022 album ‘Solidaritine’ with the more optimistic new long player ‘We Mean It, Man!’, bringing a new sound with the help of Nick Launay & Adam Greenspan, who have produced such luminaries as Nick Cave, Amyl & The Sniffers and Idles.

First impressions stick like glue, and this opus exudes cool from every pore. With its street art-inspired album cover, assertive title, and impressive opening track, ‘We Mean It, Man!’ is an album that shouts its arrival from the streets with a clenched fist. The opening title track is a definite call to arms. Musical carnage where punk riffage and tribal beats collide with vocoder vocals and crazy sax. A killer refrain makes it an intense, instant and memorable opener. Gogol Bordello sure do mean it…man!

Next, ‘Life Is Possible Again’ brings it down with NIN electronica, euro pop vibes and optimistic lyrical suss. Then, ‘No Time For Idiots’ blends traditional rustic instrumentation with modern production values, the verses sound like early Hanoi Rocks meets The Clash and build to a catchy chorus that seizes the moment and triumphs.

Of course, Eugene Hütz is at his best when he is spouting political diatribes and the band is going off on one.  Cue ‘Hate Liquidator’; a song that follows a familiar Gogol shaped path with disco beats, gang vocals and gypsy punk-tinged goodness. Its sure to be a live favourite, this is glorious stuff indeed.

While the ghosts of The Clash and The Pogues are always prevalent, there is a very definite European vibe to Gogol Bordello’s sound that makes them hard to pigeonhole into one particular genre. Take the gloriously upbeat ‘From Boyarka To Boyaca’ featuring the artist Puzzled Panther. What even is it? It could be the sound of a Tarantino crime thriller set in a Spanish tapas bar, or maybe it’s the sound of The Clash if Strummer & Co had been brought up on the Eastern Bloc rather than the East End? Whatever it is, it works.

Euro pop is prevalent on the likes of ‘Ignition’ where they mix up killer melodies with accordion, fiddle, big beats and thumping bass. Elsewhere, ‘Crayons’ amps up the guitars to 11 with frantic indie beats and an attitude to match.

The closing ‘Solidarity’ is an emphatic love letter to the Ukrainian people from one of their own, delivered with the passion and sincerity you come to expect from our ringleader.

On ‘We Mean It, Man!’, Gogol Bordello continue to do what they do best. I feel their brand of frenetic, gypsy punk is best experienced in a live setting, or at least with a glass of something strong in your hand. But the production team have managed to capture the live feel of this band well. Yes, Hütz and his band preach a serious message, and in these troubled time,s we need protest songs more than ever, but Gogol Bordello are also here to have a good time and ‘We Mean It, Man!’ is a testament to that.

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Author: Ben Hughes

Always a pleasure and never a chore to hear bands break through the underground and continue to grow organically and get better and better. One of those bands has to be Bruise Control from the North West of England. This self-titled EP is a jagged, physical, Emotional document of modern punk rock and counter culture born of who and what they are and channelled perfectly through the music and songwriting. It can be exhilarating, joyful and angry all at the same time, but above all its the quality of the songs that these guys create that carries them through.

Bruise Control explore give zero fucks and conveys perfectly their feelings on what’s going on in the world they live in, which translates well across many cities, countries and no doubt continents. In a world where everything is for sale at a price that seems relatively cheap, and what you get for your small investment is a band who are currently on fire and making some of the best music around, that is a fact.

Opener ‘Be Like You‘ is the perfect opener, full of excitement, no easing you in more, blowing off steam with your mates and kicking the living shit out of your speakers like it’s going out of fashion. The song mourns the erosion of creative communities as cities are stripped of character and sold to the highest bidder, driven by explosive rhythms and biting urgency. A super strong opener that sets the tone perfectly.

Not wanting to be a Debbie Downer, but the sense of hopelessness in some of the subject matter is juxtaposed with the brightness of the energy spilling out of the instruments being hit. ‘Gone To Ground’, ‘If You’re Not Mine’, and ‘Spinners Mill’ channel the grinding frustration of daily life, rising rents, stretched relationships, emotional labour and the quiet guilt of struggling to stay afloat while wanting to help others. The energy and excitement captured cannot be overstated. The band are in the moment and on superb form.

The Eps final offering, ‘Jumping Ship’, feels like the release of all that pent up anxst and emotion, and the fact you’re playing this is that very release from real life you need. Recharge and go again whilst disappearing in some awesome music that we all need in life and something very hard for bands to capture, but Bruise Control seem to have hit the pocket where they just get ‘it’ and are that very release with the tunes to back it all up. Live, they manage to deliver the energy these songs demand. It can be brutal, physical and relentless at times, but boy does it feel good and perfectly displayed on side C with th epair of live tracks.

Get hold of this before they’re all gone, and you have to sell a kidney to pick one up and catch them live if you can. Oh, and the vinyl has a whopping extra five songs on side C (yeah, I know side B for Bruise and C for Control, do keep up). Less “produced”, it’s more of the same, like standing in on a live rehersal ‘Nostalgia’ is like a barking rabid dog. A couple of live tracks that give you a flavour of what they deliver live. ‘Bruise Control’ and ‘Dead On Arrival’ (both off their first EP), No More’ sounds like a row in a kebab shop at midnight, and those guitars sound sharp as fuck, it’s all about the energy and pace that delivers in spades. Then we get ‘Left Behind’, the single version, not the EP version off side B, to see us out for what might just be the independent release of the year right here, right now. Bruise Control! Bosh! ave it, buy or be left behind.

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Dinked edition with signed poster from here