BRATAKUS RELEASE NEW ALBUM ‘HAGRIDDEN’ FEBRUARY 13th, VIA VENN RECORDS

BRATAKUS RELEASE NEW ALBUM ‘HAGRIDDEN’ FEBRUARY 13th, VIA VENN RECORDS

PRE-ORDER THE ALBUM HERE:

Formed in 2015 by two Scottish sisters Brèagha Cuinn (Guitar and vocals) and Onnagh Cuinn (Bass and vocals) outside a small whiskey village called Tomintoul in the Highlands, Bratakus have been fiercely DIY since their inception.

Following the release of their incendiary ‘Final Girls’, ‘Tokened’ and ‘Turnstile’ singles earlier this year, which marked their first recordings for Venn Records, (the label ran by Laurent ‘Lags’ Barnard of UK punk band Gallows, and previously the home of artists like High Vis, Bob Vylan and Witch Fever), Bratakus are ready to release their new album ‘Hagridden’, which is set for release February 13th.

Despite Bratakus’ staunch resistance to mainstream music industry practices, the young band quickly built up a following. Their unique approach to creating their art drew the attention of BBC Scotland who featured the band in two documentary shorts, Hidden Lives’ and ‘TUNE’. Author and musician, Ian Glasper wrote about the sisters in his book The Scene That Would Not Die, a deep dive into post-millennial punk in the UK. Meanwhile in the USA, legendary punk zine Maximum Rock’n’Roll wrote about the band and even BBC radio DJ Vic Galloway added the duo to his “Ones to Watch” list.

Word was spreading, and before they knew it, Bratakus were being booked for live performances in countries as far as Japan. Support slots for bands like Propagandhi, Bis, and Discharge helped the sisters turn into a ferocious live combo. If there was ever any doubt that a punk band could pull off not having a live drummer, these two sisters are here to prove you wrong.

Once described by the BBC as “the most remote band in the UK”, the isolation of their surroundings made it impossible for the duo to find a drummer in their small hamlet, let alone the neighbouring villages mostly inhabited by Highland cattle, as Brèagha explains.

“We programmed some drum tracks, plugged in for our first practice and instantly it just felt like we already had a band, so we’ve been playing like that ever since! What started out as a logistical issue now feels like a big part of our identity and we just love playing as a two piece.”

Heavily influenced by the garage rock scene and bands like The Distillers, The Donnas and X-Ray Spex, Bratakus went on to perform their first ever gig at a fundraiser for the Glasgow Rock ‘n’ Roll School for Girls in the Glasgow School of Art. 

“As this was a kid friendly show there were lots of young girls in attendance, which meant the front half of the venue was filled with little girls spinning around in dresses during our set. It was unusual for a punk gig but made for a really fun atmosphere.”

From that moment, Bratakus were a real band, and with that, Screaming Babies Records was born. Unlike other record companies, Screaming Babies Records would be a family run DIY label, not only a platform for Bratakus to launch new music but also a place to revisit their father’s catalog, Angus Quinn of the influential Scottish Anarcho punk band Sedition. No publicists, no streaming services, no photo shoots, just straight up word of mouth, limited edition vinyl releases, and anti-establishment anthems for generations old and new as Brèagh explains the label’s origin.

“Our Dad was always in punk bands when we were growing up, so we were raised in the DIY scene. When we started the band, it just seemed like the most natural step to start the label with him and put our own releases out. He thought of the idea of calling it Screaming Babies Records after the Crass lyric because our logo is a screaming baby.”

Fast forward to the start of 2026 and the band are thrilled to be finally getting ‘Hagridden’ out into the world. They originally recorded the album themselves some three years ago, then lost everything they’d worked on when their laptop broke. From there they just decided to make a fresh start and go back into the studio again to finally get it finished, emerging with ten songs of essential and beautifully cathartic punk rock.  

“We decided to call the album ‘Hagridden’ before we even recorded it, but it’s been a bit of a self-fulfilling prophecy because so many barriers came up when we were trying to get it recorded and released that it turned into a bit of a nightmare, so the next album might be called  ‘Smooth Sailing’ to avoid cursing ourselves again,” laughs Brèagh. “It definitely sounds way better than the first version, so in a way I’m glad it worked out this way, but we were so gutted when it happened,” exclaims Brèagh.

Lyrically, the album’s ten sharp songs cover a wealth of subjects close to their hearts; feminism, animal rights, media brainwashing and how normalised sweatshops have become in our society are all tackled on ‘Hagridden’ with raw, raging vocals, barbed-wire guitars and pounding rhythms.  

Whilst the band still play live with programmed drums, ‘Hagridden’ features live drums for the first time. 

“Our first record is all programmed drums, and that’s what we were planning for this album too,” explains Brèagh. “We actually recorded every song with a drum machine, but our producer Tommy Duffin (renowned Scottish drummer and recording engineer) played with us and drummed on the album. He recorded our first album, so it was great to work with him again.” 

‘Hagridden’ is released February 13th via Venn Records and the band tour the UK this February. 

You can pre-order ‘Hagridden’ HERE

See Bratakus live at the following dates:

18/02/2026 – Supersonic, Paris (FRANCE)

19/02/2026 – The Grace, London

20/02/2026 – The Exchange, Bristol
21/02/2026 – Star & Garter, Manchester
29/02/2026 – McChuills, Glasgow

Find Bratakus online at:

FACEBOOK

INSTAGRAM

YOUTUBE

The Damned – ‘Not Like Everybody Else’ (Ear Music)

The Damned – ‘Not Like Everybody Else’ (Ear Music)

Like ’em or loath them, one thing is for sure: the title is spot on. The Damned have been a constant pretty much throughout my music listening life, and as they reach the twilight of a glittering career, they’ve lost another of their own, and this one hurt big time. Brian James shaped my youth from The Damned through The Lords and his solo output right through the first reunion dates that ended in tears to the triumphant second coming and a much more harmonious band that seemed to have reached some semblance of maturity and adulthood (god forbid) and returned to the stage as the original four piece whilst they still had time and nailed a series of shows that had the fire and fury of the early years as well as a much older and wiser beast they did it and came out far better and bigger than they went into it. Sadly, that was the last time they would play as a four-piece as Brian passed away last year, which motivated the remaining three, plus the long-time Paul Gray to turn in a set of covers that Brian was inspired by to put together The Damned as we knew it.

With Rat back in the seat for the last couple of years its wonderful to see and hear the Damned from The Black Album and Strawberries knock it out of the park time after time and show the youth exactly how it’s done. Forward we move to the here and now, and this here tribute to the tunes of their youth that inspired Mr Brian James and a mixed bag it is. Sure, you’ll have your stalwarts and gatekeepers protesting and professing to not touching this with a barge pole, but The Damned have form for this with the awesome ‘Give Daddy The Knife Cindy,’ which was a pretty awesome covers album, albeit without the name The Damned. Fast forward a few decades, and we’re here paying respects to Brian in a way he’d appreciate. Ten tracks from various continents, there are the ones we would all have guessed, which are done to perfection for one reason or another, like ‘Gimme Danger’, but it’s tracks like the title track that suit Vanian’s vocals, and he manages to hit the notes to perfection, serving up a rousing rendition.

Rats drumming is so recognisable, and his long hiatuses from the fold missed his swagger and formidable rolls, even Monty’s keyboard wheeze on songs like ‘Heart Full Of Soul’ nails it. The big takeaway I got from this record is how bloody good Paul Grey is and how he plays the songs for what they are, driving the tunes like a finely tuned Rolls-Royce. Of course, I love Captain’s off-the-cuff style where he sounds like he’s winging it (which he’s not, of course, but it’s always added excitement), just take ‘You Must Be A Witch’ which had me raising an eyebrow to mr Vanians high notes (well done, sir).

Of course, there are a few lulls here and there, but let’s not get carried away here. This is The Damned paying their respects to Brian James and playing the guts out of some left of centre (at times) songs, of course it’s not ‘Neat Neat Neat’ or ‘New Rose’, but for some unearthly inexplicable reason this is what got us those songs. The inclusion of ‘last Time’ gives me goose bumps, and like Captain says Without Brian, etc., etc..

The message on the inner sleeve is heartfelt and touching – long live Brian James and long live The Damned, the greatest band to ever walk the planet bar none. Another case of hit and miss, but I’ll take it because they’re not like anyone else and the likes of which we’ll never see again.

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Author: Dom Daley

The Godfathers – Double A Side and tour dates

The Godfathers – Double A Side and tour dates

The Godfathers kickstart 2026 with a brand new double A-side single. The release – featuring the band’s first new music since 2022’s acclaimed Alpha Beta Gamma Delta album – comes ahead of a previously announced trio of UK dates

Set for release on 6th February, vinyl and digital versions of the new single will comprise the tracks ‘Going Wrong’ and ‘Lesbian Café’, the latter number featuring guest contributions from Devo’s Josh Hager on guitar and synthesiser.

There will also be a 4-track CD EP release, which includes the single tracks plus a special remix of ‘Lesbian Café’ by Hager and an alternate acoustic version of ‘Going Wrong’.

The single is the first taste from a highly anticipated brand new album from the band, expected in early 2027. Godfathers’ front man and founder member Peter Coyne has described both new songs as “truly exciting rock & roll social commentary and another sonic leap forward for the group.”

Coyne has cited ‘Lesbian Café’ as a genuine tribute to his LGBTQ heroes, influenced in part by his visits to the legendary Club Louise in London in early ’77, which he’s said provided “a non-judgmental home from home for many people on the punk scene in the ‘70’s.”

The vinyl single and CD EP are both available to pre-order now exclusively from Here.

All four tracks will also be available to download from all the usual online digital platforms.

As previously announced, The Godfathers play three UK gigs in February – Edinburgh, Leeds and their traditional Saint Valentine’s Day Massacre concert at the iconic 100 Club in London…

11 Feb -EDINBURGH – Voodoo Rooms Tickets

12 Feb -LEEDS – Brudenell Social Club Tickets

13 Feb -LONDON – 100 Club Tickets

Tickets for all three concerts are available NOW!!

Megadeth – ‘Megadeth’ (BLKIIBLK)

Megadeth – ‘Megadeth’ (BLKIIBLK)

We all know the Metallica story… I’m not going to talk about that, well, maybe later. Megadeth has been a constant in the heavy metal story since back in 1983, when Dave Mustaine swore that he would put together a band faster and heavier than that other band that I said I wasn’t going to talk about.

Since then, there have been many lineup changes and some history-making music. The one constant is, of course, “MegaDave” himself. The controversial guitarist/vocalist/lead songwriter has made sure that every single heavy metal fan in the world owns at least one Megadeth album in their collection. This has been achieved by hard work, phenomenal talent and of course, Dave’s unwillingness to fail.

My first run-in with Megadeth was courtesy of a Kerrang! Compilation VHS with the video to the song Peace Sells. I loved it and got a friend to copy the album onto a C90 cassette for me. The power, the musicianship, and the snarl all made sure this teenage thrasher was hooked (in mouth?) Of course, the “classic” lineup of Megadeth came a few years later with the 1990 Rust In Peace album. This is when the world really saw Mustaine’s vision in full. I saw the band live for the first time on this tour with a little-known band called Alice in Chains opening. The fury of their live shows became legendary; they never disappoint in a live setting.

Megadeth became global superstars after the success of the 1992 release ‘Countdown to Extinction’, but this was the start of the band’s decline. Some ill-fated direction changes on the 1999 album Risk and the collapse of the “classic” line-up before that saw Megadeth’s popularity dip. This isn’t to say that the band weren’t out there making new records or playing live, they just never got another Countdown moment.

This latest LP, simply titled ‘Megadeth’, is set to be their last ever album. Mustaine has had health struggles over the last few years and has decided to hang up his guitar for good. 2022’s ‘The Sick, the Dying…and the Dead’ was a great album, and this follows on in a similar vein. Latest guitar wizard Teemu Mantysaari has a strong presence with songwriting credits on nine of the ten tracks. Drummer Dirk Verbeuren feels like he’s been around forever, and his contribution is a noticeable one. Bass player James LoMenzo still feels like a hired gu,n though, he plays a blinder here, as you’d expect.

The album opens strongly with the lead single ‘Tipping Point’. Virtuoso guitar work, machine gun double kick drums and Mustaine’s trademark love it or hate vocal style are all over the song. A brilliant opener. The production is great, too, from Mustaine and Chris Rakestraw. ‘I Don’t Care’ is a bit more throwaway, although some fun lyrics rescue the track. ‘Hey God?!’ Is a mid-paced chugger, which is a real grower. ‘Let There Be Shred’ does what it says on the tin, a real showcase of Mustaine and Mantysaari’s incredible prowess. Puppet Parade reminds me of the Youthanasia era. Another strong track. Another Bad Day chugs along nicely with lyrics that all of us can relate to. ‘Made to Kill’ kicks off with a superb drum intro before we are off into very familiar Megadeth territory, stabbing riffs, answering kick drums, and guitar solos aplenty make this one of the strongest tracks on the album. ‘Obey the Call’ has a great crunching riff. Mustaine’s vocals are more melodic here, another solid tune. ‘I Am War’ has a nice sing-along chorus which sticks in your head almost instantly.

The Last Note gives us Megadeth fans the final nod from our illustrious leader. The lyrics are actually quite moving: “I can’t outrun the spinning hands of time” and “the guitar got heavy, time to lay it down” gave me a lump in my throat. Is this really the end of the road for Megadeth? It seems to be true. We can never be sure, though, how many comebacks have Kiss, Motley Crue and even fellow Big 4 thrashers Slayer have had? I get the feeling that Mustaine is genuine in his sentiment. Rest easy, Megadeth, we salute you. Megadeth is no game-changer but it’s a good way to bow out.

I wasn’t going to mention the cover of Metallica’s ‘Ride the Lightning’. I get that Mustaine says that it’s “full circle” for him, and he wanted to put a Metallica track (that he co-wrote) on the album. It seems like a pointless exercise to me. Mustaine has nothing to prove, he’s a metal legend, and there really was no need to add this. I mean, it’s ok, Mustaine’s vocals don’t sound great, musically it’s obviously played well, but I just can’t help but feel that it blights the album rather than adding anything. My advice is, don’t bother listening to it, just end the album with ‘The Last Note’.

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Author: Kenny Kendrick

The Molotovs/Garage Flower – Lending Room, Leeds – 7th January 2026 

The Molotovs/Garage Flower – Lending Room, Leeds – 7th January 2026 

What happens when you take two teenage siblings from the heart of London town with a rock n’ roll dream and something to say, force feed them a diet of Sex Pistols sneer, The Jam’s sharp suss and a heady dose of The Libertines? The Molotovs are what happens. Singer/guitarist Mathew and bassist Issey are just 17 and 19, respectively and have been making a name for themselves the past 2 years, gigging hard. 

With more than 500 shows under their belts, The Molotovs have put in the hard work, and it seems to be paying off. Following support slots with The Sex Pistols and Blondie, a slew of high-energy anthemic singles that nod to the glory days of ‘77 and a debut album due at the end of the month, their time is now….right now. 

First up tonight, though, are local lads Garage Flower, who have the task of warming up the growing crowd. Presumably named after The Stone Roses album of the same name, the four-piece band deliver a high-energy set of guitar-driven, garage rock. Don’t let the baggy jeans, the floppy fringes and their youthful looks deceive you, these boys are no shoegazing indie pretenders.  

With gravelly lead vocals, effect-ridden guitars and a tight rhythm section that gives a funky feel, Garage Flower have more in common sound-wise with the likes of Senseless Things and Mega City 4 than their Manchester heroes. The angst and rawness of ‘Jammy and’ Garage Flower’ also remind me of Aussie rockers The Vines, so they have that grungy, guitar rock thing going on, which is always a good thing.  

With a high-energy, animated set and plenty of crowd interaction from the singer, these hometown boys are worth checking out. Always make it in time for the support band. 

It’s sold out tonight at this, the second date of a UK tour promoting the yet-to-be-released debut album ‘Wasted On Youth’, and The Molotovs are firing on all cylinders from the moment they hit the stage. Singer Mathew spits, snarls and bashes his Rickenbacker like the bastard offspring of Rotten and Weller. Stage left, his sister Issey is a fervent ball of energy as she pulls off moves most couldn’t match, let alone whilst playing an instrument. Behind them, their latest drummer is a blur of flailing arms and urgent beats. 

With a fistful of songs some will know and a set of largely unfamiliar material, the band must rely on raw energy and their ability to entertain to win over a notoriously hard-to-please Leeds crowd, and they pull it off with ease. Opener ‘Urbia’ and the following ‘Newsflash’ are unfamiliar, yet sound mighty. The killer boy/girl “woah-woah’s” add a touch of class to the latter. Bowie’s ‘Suffragette City is up next, it sounds great, but they don’t really need it, their own material stands up. 

‘Johnny Don’t Be Scared’ and ‘More More More’ are modern, mod-tinged anthems that carry some clout and staying power. ‘Rhythm Of Yourself’ was one of the best tunes of last year, it pogos on a bouncy bass line and a very catchy chorus, it was bound to be a live highlight. Of the unfamiliar songs, ‘Wasting My Time’ is gloriously post-punk and ‘No Time To Talk’ sounds like early Manics, which is no bad thing. 

Chat is kept minimal, although we do get the odd quip from a seemingly nonchalant singer who does try to get a reaction from the crowd. Maybe tonight’s demographic was a bit higher than the band are used to, and while the audience may have lacked some energy, the band certainly didn’t. 

Between Mat’s raw, acerbic delivery, Issey’s relentless energy and the drummer’s Keith Moon-esque power, the trio deliver a faultless set of a seasoned touring band. After an incendiary hour set, they wrap things up with a two-song encore, including new single ‘Get A Life’, which was probably my highlight of the night. 

What a way to start off the gigging this year. For me, the Molotovs are the real deal and the full package. They look good, they sound great and are an exciting and entertaining live band. It’s hard to believe they are not even in their 20s yet.  

‘Wasted On Youth’ is a highly anticipated debut album, and I believe you will not get the chance to see them in small venues like this for much longer. The Molotovs are the sound of youth and the world is theirs for the taking. This is just the beginning. 

Author: Ben Hughes

Ultrabomb reach for the ‘Artificial Stars’

Ultrabomb reach for the ‘Artificial Stars’
Punk Rock Power Trio ULTRABOMB Release New Single “Artificial Stars”Out January 2, 2026 — First Single from Upcoming AlbumThe Bridges That We Burn — Out April 3, 2026

Band Consists of Greg Norton (Hüsker Dü), Derek O’Brien (Social Distortion, Agent Orange, Adolescents) and Ryan Smith (Soul Asylum)

“After a pair of LPs over the past four years, Utrabomb is back with “Artificial Stars,” a swift blow to the sternum that harnesses both the speedy energy of Norton’s early Minneapolis days and the ragged hard-rock sensibility of Twin Tone-era Soul Asylum.” – Magnet

Stream “Artificial Stars”– Here

Minneapolis, MN — Punk rock power trio Ultrabomb have released their new single “Artificial Stars.” The track marks the first release from their forthcoming full-length album The Bridges That We Burn, arriving April 3, 2026 via DC-Jam Records/Virgin Music Group.

“Artificial Stars” delivers Ultrabomb’s signature blend of urgency, melody, and grit — drawing on decades of lived punk experience while confronting themes of isolation, endurance, and the drive to keep reaching forward even in uncertain times.

Greg Norton explains: “Sitting in our bunkers, we only have artificial stars to look at. We are all scarred, but we keep reaching for those stars.”

Release Dates • The Bridges That We Burn (album): April 3, 2026

Label – DC-Jam Records – Here

Follow Ultrabomb – Here

My Ruin – ‘Declaration of Resistance’ (Magick Room Recordings)

My Ruin – ‘Declaration of Resistance’ (Magick Room Recordings)

My Ruin are back, and they are not fucking around… After a decade-long break, their latest release, ‘Declaration of Resistance’ is a damning statement on the right-wing agenda that’s engulfing US politics (the UK is not far behind!). The album is ferocious and grabs you by the bollocks from the start. Opening track (and first single) Compromised pins you to the floor. Mick Murphy’s monstrous riff, combined with Tairrie B’s spitting vocals, set up the rest of the album perfectly. Declaration of Resistance is more than just an album, it’s an assault on fascism, hate, religious radicalism and the complicity of the Western world in genocide. It’s brutally honest, as heavy as fuck, and quite possibly the most important album of 2026…and it’s still 2025.

What does it sound like, I hear you ask… Think of Rage Against the Machine at their most powerful, add in some Biohazard, throw in some Public Enemy, and sprinkle on riffs that Tony Iommi would be proud of, and then you’re somewhere near the pummelling assault of My Ruin in 2025. Seriously, tracks like The Audacity burst out of the speakers with urgency. The production is perfect, every note and lyric snaps at your heels like a rabid dog. Murphy is one of those supremely talented individuals who can play any instrument. He plays guitar, bass and drums on the album. The drum sound is a breath of fresh air. The drums sound like drums, none of that processed, sampled bullshit. Call to the Void’s Jack Osborne duets with Tairrie B on the crushing True Allies. ‘Contempt’ bumps along with a Kyuss vibe, with lyrics focusing on the vile disregard for anything tasteful by the current US President.

‘Infinite Connection’ has a doomy and dreamy atmosphere; this sounds so good in my headphones. More superb guitar work from Murphy here. ‘Fragile Like A Bomb’ blends hip hop and metal effortlessly. There is so much going on that you need a few listens to really appreciate the effort that has gone into the making of this record. ‘HHRL’ is my favourite song on the album, a down-tuned belter of a riff with more thought-provoking lyrics from Tairrie B. HHRL stands for Hitler Hated Red Lipstick – “but I fucking love it!” she screams.

‘Dark Eyes of London’ is another full-on riff-driven track, there really isn’t a weak song on the album. It’s just banger after banger. Lady Liberty is told from the perspective of Lady Liberty herself. Tairrie B mostly speaks the lyrics until she changes tack to screaming “WHY?” Why indeed…. Lady Liberty rots away as Sacred Reich said back in 1990… nothing much has changed. Muzzle Velocity is an epic track; Murphy plays a blinder here. More chugging riffs and powerhouse drumming…excellent stuff. Truth or Consequences ends the album in style with another powerhouse riff and some fantastic tribal drumming. We also get treated to a fantastic cover of L7’s ‘Shitlist’, which totally fits the vibe of the album.

To summarise, ‘Declaration of Resistance’ does exactly what it says on the tin. Extremely powerful music backed up with the most honest and relevant lyrical content. Some bands say they are not political and that it would alienate their fan base if they wore their politics on their sleeve. I say EVERYTHING is political and we should all be shouting from the rooftops as our humanity is being eroded before our eyes. My Ruin are not scared to show their colours. They speak the truth.

Buy Here

Author: Kenny Kendrick

Celebrity Telethon – Exclusive new single ‘Undercover’

Celebrity Telethon – Exclusive new single ‘Undercover’

Listen to ‘Undercover’ Here

Celebrity Telethon shares the third and final single ahead of their upcoming self-titled record! ‘Undercover’ springs from the murky waters of protopunk (New York Dolls, Velvet Underground, and Flamin’ Groovies all come to mind) with a distinctly DIY home-recorded patina. Roughly hewn overdriven guitars, dungeon-like reverb and crackling vocals offset the song’s pop sensibilities in a manner not unlike Wreckless Eric’s homespun production style. Come to think of it, the tune’s marriage of pub rockin’ R&B (the riff calls to mind James Brown’s “I Got You”) and the chiming freakbeat jangle of the Kinks would have been right at home on Stiff Records’ early roster. However, according to The Gizmos’ Eddie Flowers in his liner notes, “This ain’t no retro fashion show.” 

“Undercover” arrives on the heels of two prior singles, Rock ‘N’ Roll Matinee and Skin Flicks, which both appeared with accompanying music videos co-directed by the band and Mark Habegger. The noir-tinged single art was designed by the EMMY-winning animator Dan Riba, well known for his directorial work on Batman: The Animated Series, Freakazoid!, and Justice League. 

The full Celebrity Telethon album is available for preorder now and will be released digitally and on vinyl December 31st. The tracklist runs the gamut from sleazy punk, garage-inflected roots rock, and even moments of no-wave chaos. Jo Dog Almeida from The Dogs D’Amour makes a slide guitar appearance on the Jacobites-indebted “Latkes & Brisket” while Mike Wilcox (veteran guitarist who’s collaborated with Dave Vanian and Sylvain Sylvain, among others) guests on multiple tracks. 

The band is celebrating with two release shows, in Hollywood and their native Portland, OR. The Los Angeles show is a New Year’s Eve bash at The Roxy with soul legend Swamp Dogg, Tom Kenny & The Hi Seas (yes, THAT Tom Kenny, the voice of SpongeBob), and DJ Lance Rock (of Yo Gabba Gabba fame). On January 10th, the Portland release show at The Six Below Midnight will feature recently reformed ‘90s garage rockers The Statics, Suprr Powrr (featuring Seattle underground hero Rob Vasquez), and danceable art punks Dirt Twins. 

Pre-Order New Album Here

Instagram | Bandcamp | Spotify

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

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
*****