The Courettes – New Record coming late September

The Courettes – New Record coming late September

‘The Soul Of The Fabulous Courettes’ out September 27th via Damaged Goods Records

A rock’n’roll sensation from the word go, Danish-Brazilian The Courettes are back with their fourth and best album to date – ‘The Soul Of The Fabulous Courettes’. And this time, they’re bigger, wider and deeper than ever before as they add more to the blistering ramalama that’s seen them cause pandemonium across the venues, festivals and airwaves of the UK, Europe, USA and Japan. Hitting the sweet spot that straddles garage rock, girl groups, doo-wop harmonies, heartache and all points in between, here The Courettes build on the momentum of predecessor ‘Back In Mono’ with a collection of songs that opens up their sonic scope while confronting dark, emotional matter to reveal ‘The Soul Of The Fabulous Courettes’.

“We didn’t want to do ‘Back In Mono 2’,” stresses drummer Martin Couri.

“We always try to put ourselves into a zone of discomfort, which I think is where exciting things happen rather than just doing the same thing over again,” agrees singer, guitarist and multi-instrumentalist Flavia Couri. “I mean, I know some bands can do that but we don’t see ourselves making the same album for the next 20 years. We thought ‘Back In Mono’ was our best album until this one!”

She’s not wrong. Having evolved with each album release, ‘The Soul Of The Fabulous Courettes’ draws inspiration from many of the duo’s numerous idols that have only previously been hinted at.

“We wanted to show our love of the Spector Wall Of Sound and Motown,” reveals Flavia. “It was a clear mission and we’ve absolutely nailed it.”

From the glorious opening beats and stabbing fuzz honks of ‘You Woo Me’ to the closing emotional tugs of ‘For Your Love’ via ‘Shake!’’s fuzzed-up urgency and ‘California’’s celebratory warmth, The Courettes have broadened their sound with an increased musical instrumentation and overall sophistication that’s evident in both their sound and songwriting. And crucially, they’ve achieved this without sacrificing any of the rock’n’roll grit that’s been scraped from Flavia’s guitar strings and Martin’s battered and pummeled drums. And aiding them in their quest for sonic perfection are a few guest musicians and back room wizards playing some very specific roles.

“We had La La Brooks of The Crystals singing on ‘California’ and ‘Run Run Runaway’, which for us was totally a dream come true!” enthuses Flavia. “I mean, the voice of ‘Da Doo Ron Ron’, which is for us is one of the best produced songs in the entire universe and this is something that we’re really proud of.”

Further magic was applied by direct connections to the source of all that The Courettes hold dear.

“We asked Darian Sahanaja, who worked on the production of Brian Wilson’s ‘Smile’, to mix the vocals on ‘California’ and ‘Run Run Runaway’, which he did in a Beach Boys style and we really dig it. And we also worked with Richard Gottehrer, who for us is like a songwriter god! He worked at the Brill Building and co-wrote ‘I Want Candy’. A mutual friend played him ‘Keep Dancing’ and he left a message on my phone saying, ‘I love your track and I really dig the lyrics’ and he mixed ‘Keep Dancing’ and ‘Boom Boom Boom´.”

“We also had Peter Kehl and Kasper Wagner from Danish band Black Tornado playing horns on ’Shake!’, ‘Better Without You’ and ‘Stop! Doing That’,” says Martin. “We had a session with them where they played trumpets and a lot of overdubs with tenor and baritone saxophones. That was really cool.” 

And joining The Courettes at their own StarrSound Studios in Denmark once again is multi-instrumentalist Søren Christensen who contributes Mellotron, organ, piano and backing vocals while producing the album together with C.T. Levine.

While the music has opened up to include acoustic and 12-string guitars, bass, E-bows, castanets and timpani, so have the kind of emotions that might not ordinarily be associated with The Courettes.

“Because I’m the one most responsible for the lyrics, I actually allowed myself to open up to some personal things,” admits Flavia. “And so that means that our souls are in the album both musically and also lyrically.”

She continues: “We lost both of our fathers. My father died of COVID. But my relationship with my father was non-existent. He abandoned me and my sister. It was a very difficult relationship and it’s not so easy for me to talk about it. ‘I Don’t Want You Back’ and ‘Keep Dancing’ are about his death and how he still has a power over me and bringing me down and what it’s like to break free from that. You know, some parents are cruel.”

“It’s a special subject to sing about and to make pop music out of,” says Martin. “It’s actually celebrating moving on and I think that’s really fantastic. ‘Keep Dancing’ is absolutely smashing.” 

“’The Soul Of The Fabulous Courettes’ blends two things,” explains Flavia. “First, of course, are the nods to the soul music and especially Motown, which is pop music the way we like it. But I think for the first time, lyrically, we actually open up to some deeper topics. It’s not disguised as teenage heartache songs anymore.”

Reflecting ‘The Soul Of The Fabulous Courettes’, the album’s monochrome album cover was shot by celebrated photographer Søren Solkær, who’s previously immortalised Amy Winehouse, The White Stripes and Paul McCartney among many others. 

“It’s such a cool contrast to the pop songs,” says Martin of the cover art, “but it’s also hand-in-hand with the album’s dark themes. He really goes into your soul. I think it’s amazing.”

For all that, ‘The Soul Of The Fabulous Courettes’ is an album aimed as much for what’s below the neck as above it, for this is an album that dances through the darkness to celebrate the joy that is living.

“Life is so fragile,” smiles Flavia. “But what are you supposed to do? I’d rather dance.”

And what better album to do that to?

Jerry T Jones And The Chosen Few – ‘Back From Tomorrow’ (Self-Release)

Jerry T Jones And The Chosen Few – ‘Back From Tomorrow’ (Self-Release)

2024 has certainly been full of surprises so far. What with One The Juggler releasing a fabulous new album in ‘Memoir Days’, now it’s the turn of their bassist, Jerry T Jones, to spoil us with twelve new songs. And it’s no surprise that they are of equal quality, given that he wrote ‘Talking To Ourselves’ and ‘Andy’s Bar’ on ‘Memoir Days’.

The opening song, ‘Only Time Will Tell’ crafts a beautiful tune that tries to remain optimistic in the face of climate disaster. While reminiscing about Bowie’s ‘Five Years’, the sound is more in line with The Kinks, perhaps not surprising given Jerry’s Kinks tribute band, The Konks. But, this is far from being a rip off; his canny use of influences is tempered by his own talent as a songwriter.

‘Demons Fly Away’ has echoes of classic Mott, and Colin Minchin’s solo has touches of Ronno, which is no mean feat. ’20 Years’ describes how songs can touch us and form part of our lives, with a keyboard sound that evokes John Grant. ‘Diamonds In The Rain’ namechecks Major Tom, and again there is a Ronno moment, this time on acoustic guitar, fleeting but classy.

‘Mood Swing/Time Bomb’ is in quirky, Cockney Rebel territory, while ‘Back From Tomorrow’ with its  slick pop stylings and barbed lyrics reminds me of The Dowling Poole. ‘Communal Sun’ starts off like Al Stewart’s ‘Year Of The Cat’, but with a more melancholy storyline. ‘She’s On A Trip’ is a slice of mature, summer pop, so dig out your espadrilles and enjoy. ‘Toy Town’ is a reworking of the One The Juggler song, with added sax, and ‘Sleep Over’ is a nicely woozy slice of gentle psychedelia, from sleep to new beginnings.

‘Second Skin’ almost sounds like it was written for Bowie, the vocal phrasing is such that you can imagine Dame David singing it. It’s a lovely tune. And, suddenly, ‘Just One More Song (Until We Meet Again)’ brings our journey to an end. Much more than the sum of it’s influences, ‘Back From Tomorrow’ is the culmination of a life devoted to music and songwriting that deserves your attention.

Author: Martin Chamarette

Millie Manders & The Shutup – ‘Wake Up Shut Up Work’

Millie Manders & The Shutup – ‘Wake Up Shut Up Work’

Millie Manders & The Shut Up have been around for a while in one guise or another and my first encounter of her was when she jumped on stage with The Barstool Preachers to sing a duet with Tom as a stand-in for Amiee Interupter and I admired the young ladies powerful performance and equally powerful vocal. Well as the months and years unfold Millie Manders & The Shut Up are on album number two and have truly found their niche and position that they are comfortable in. They deliver a life-affirming alternative mash-up of Ska, punk, rock and a pop sensibility that bands often miss when pressing their message by trying to be something their not but no sir Millie Manders do things on their own terms and do it very fucking well.

From the opening salvo of ‘Angry Side’ the horns toot and the feet can’t stand still. That momentum continues with ‘Shut Your Mouth’ as the weeks and fills tick away over a funky bass line whilst Millie does her thing with ao confidence through a strong melody. The song meanders and twists n contours to its conclusion and already I’m sold. This promises to be a real contender come the end of the year with strong song after strong song. ‘Me Too’ opens with a crisp riff before it bubbles under the vocals and lyrics before breaking out on the chorus. Stirring stuff. The band cuts lose those punk n ska chains on ‘Fun Sponge’ Millie Manders & The Shut Up on the surface are having it large but there is a serious side but they deliver it without coming across as sanctimonious or preachy, these are subjects they hold close to their identity and I guess so will the listener or anyone with a moral fibre running through their soul. Me Too” tackles sexism and body autonomy, while “Threadbare” tackles poverty. “Can I Get Off?” has a conversation on the dividing topics of the minute such as the war in Palestine and the rise of the far-right, MM&TSU confront these difficult subjects and I admire them for that.

‘R.I.P.’ is an excellent vocal from Millie. The other thing I take from this album is that it is not all smash, crash and burn or fist-pounding there are as many quieter moments where the band’s musicianship comes into play such as ‘Halloween’ The run-in is as strong as the opening introduction and a triumph it is closing with the punchy ‘Pressure’.

Pressure?, What pressure Millie Manders & The Shutup have delivered a proper album that ebbs and flows and is bursting with tunes of substance and humility. Buy It – you won’t regret it.

Buy Here

Facebook

Author: Dom Daley

Its A Revolution – Podcast – Episode 40

Its A Revolution – Podcast – Episode 40

Join us for this week’s instalment of the RPM Online Podcast Episode 40 no less. This week’s show opens on a sad note with the awful news that 60ft Dolls drummer passed away recently so it seemed fitting that we kick off with the awesome ‘Happy Shopper’ from ‘The Big 3’ album. I witnessed the band at the peak of their powers when they played to a packed-out house in the next village on the same road effectively that we broadcast from. A band that should have been as big as the Manics no question about it but alas they burned brightest rather than fading away, this one is for Carl may he rest in peace.

After such a sad note to begin with the show starts with the original kick-off and the most excellent Turbonegro cover of The classic ‘The Party Starts Now’ released in 2005, this is how to do a cover version deathpunk style. After Martin reviewed the Love Fiends album recently we had to include this Banger ‘Jimmy (Is An Agent)’. Power Pop done superbly.

Great to have UK Hardcore legends Chubby & The Gang ready to drop their new LP ‘And Then There Was One’, to loosen the juices they’ve dropped this new single ‘Theres A Devil In The Jukebox’ which is going down a treat at the pumphouse HQ. October seems so long away.

Cherry Red are continuing their tradition of releasing double album CDs of classic releases and this time its GBH so ‘Sick Boy the single version is our pick of the pack. Out in months time the band still play to this day with the same power and aggression.

A classic reissue with a superb mix was The Replacements ‘Tim: Let It Bleed Edition’ which came out a few years ago. ‘Kiss Me On The Bus’ (Ed Stasium mix) is our pick from this stunning box set that is well worth the price. Packed with goodies for the fair ear The Replacements always do quality reissues and this might well be the pick of the pack. Now if only they were to do some more reunion shows that would be most excellent. As far as remixes or remasters go this is night and day with the original release probably only outdone by the recent Senseless Things remix /remaster.

Another band we love at HQ is The Hillbilly Moon Explosion and with their most recent album getting a repress and launch in a few weeks it seemed right to play one of the best songs off the album ‘1979’ check em out. ‘Back In Time’ is a fantastic addition to the band’s catalogue and an underground band who have bazillion of plays on YouTube if you want to get a flavour of what to expect.

Now a band we’ve played before The Cavemen have a new album out and thankfully it’s more of the same from our favourite New Zealand reprobates. ‘Cash 4 Scrap’ is all killer and no filler (possibly because they don’t hang around long enough) They do a great line in zero fucks lo-fi garage punk even if this is the slowest song in their repertoire.

The first half of this week’s offerings is the brand-new single from the one and only Marilyn Manson who by the sounds of it is right back on form. With a new album hopefully in the pipeline being released on nuclear blast records it’s one to look out for.

With all the unrest around at the moment, it seems appropriate to drop this last live recording of the late great Joe Strummer when he did the firemen benefit and got Mick Jones up to blast off the cobwebs of ‘White Riot’.

Janes Addiction have been getting some great reviews from their live shows and having the four original members back in the fold ‘Imminent Redemption’ sound right back on form for the Californian rockers. Lets hope this new album is of the same strong output. It would be great to have them back making a noise and upsetting people.

Swansea upstarts Monet are busy recording their second album and after a quality live performance recently celebrating 30 years of Repeat Magazine/Records it would be foolish not to add them to the roster of excellent bands to look out for. We’ve also asked Richard to pop down to HQ and host the podcast with us so fingers crossed that comes off soon. Repeat are the kind of people we want to align ourselves with as we all sing off the same hymn sheet. Love Music Hate Racism.

Another band who played the Repeat party was West Wales noise makers Lacross Club and it might be the first song we’ve played twice but ‘Welsh Weather Heather’ is so good we could play it most weeks, get an album done gents those songs might go off if you leave them.

Chris informed me that Sepultura covered the New Model Army and I had to check it out as I didn’t know that one but they bloody well did. Good solid effort but not a patch on the original and hopefully they’ll play this when I go to see them in a few months, next up is ‘The Hunt’.

The Bellrays have a new album coming and its a banger so we’re playing ‘One More Night’ before they head off on a US tour with Social Distortion. One of the finest voices in garage rock no doubt about it. Another band to write a song influenced by a riot is The Damned who deliver ‘Thanks For The Night’ with Vanian on vocals as opposed to the Captain but regardless of who is singing this was and is a classic.

Tubthumper Dunstan Bruce has signed a contract with Heavy Medication Records to release his ‘Fucking Expensive’ single so it would be rude not to give it an airing. The penultimate track is an unreleased single from the late 70s by The Vibrators who have captain Oi reissuing ‘V2/pure mania’ and ‘Bad Time’ is the tune showcases just how bloody good The Vibrators were another very underrated band from the late 70s.

We end this weeks show with with another new song this time from the awesome Peter Perrett who dropped the news of his pending album and then released the first video off the record and what a banger to sign off with. ‘I Wanna Go With Dignity’ is a swashbuckling slice of classic Perrett. Adios amigos til next time.

The Alarm – ‘Alternative Declaration’ (The 21st Century Recording Company)

The Alarm – ‘Alternative Declaration’ (The 21st Century Recording Company)

How many copies or versions of one album does a man really need? Well the sensible amongst us would obviously say one. But since when is man sensible? I think this must be about the tenth copy of this album I now own. It’s fair to say I rate it, always have and always will. It’s raw and vital and for most of my life, it’s sung to me and still does. To be fair the alternative version I can do without, the live version of a few years ago I could also do without but the original and the rereleased double album along with the ‘Eponymous 81-83’ release I’d absolutely recommend. this one I have in my hands is also (no spoiler) a fuckin belter. ’68 Guns without the trumpet is raw and vibrant and a stone-cold classic. worthy of the ‘Alternative’ tag. The solo blows my mind and hearing versions of songs you’ve heard a bazillion times with different chord changes and drum parts as well as alternative lyrics is a mindfuck. It’s not necessarily the hits that were ever my favourites (Oh apart from where were you hiding) but the songs like ‘We Are The Light’ which is excellent here. I’m so used to the original production that hearing these versions is quite emotional and takes me back to a time when music was my everything and truly life changing. As I’ve gotten older and grown up with people like Mike Peters and gone somewhat on the journey with him and his music I don’t always get where he’s going but isn’t that the beauty of music its different things to different people and this was my time with the band and what I’d consider to be The Alarm.

Another of the album’s deep cuts that I always loved live has to be ‘Shout ToThe Devil’ and this version is immense from Sharpys contribution to Twist’s rhythmic beats I’m pleased I took the plunge and parted with my £50 to get hold of this and to be fair for a double album, Poster and double CD that’s a decent price for hardcore fans. I’m not sure the super deluxe version was worth the extra money but I was secretly desperate to hear these versions and the track list as it’s laid out over the two records.

The pound shop U2 and Clash tags always bugged the shit out of me sure I could see the comparisons or inspirations but ‘Declaration’ was something else and for a debut album right up there with the best of em. A blistering live rendition of ‘Tell Me’ seems out of place on ‘Alternative Declaration’ but the version of ‘The Stand’ is top tier and closing off LP one is a fresh sounding and youthful ‘Howling Wind’ without the sterile studio sheen of the original released version.

Sides three and four are more akin to that Eponymous album that came out (which is readily available on Amazon for a very reasonable price) If I’m being geeky and uber fan nerdy the ‘For Freedom’, ‘What Kind Of Hell?’,’ Up For Murder’ and ‘Unbreak The Promise’ are The Alarm in a nutshell, at their very best.

There’s a lot of music to get through (Twenty-Four tracks to be exact) with side four feeling like it has a few extras just in case you wanted to moan about VFM with a 2024 remix of ‘WWYHWTSB’ ’68 Guns having a 2023 remix complete with Trumpet and harmonica. A stonkin wander through The Whos ‘Legal MAtter’ which they always did very well to be fair. A hootin’ rootin’ tootin’ ‘Bound For Glory’. ‘Bells Of Rhymney’ always loved giving a cheers for Swansea even when it got boos in Cardiff (cheeky Sods). The album finishes with the 2013 part two piece of ’68 Guns’. Exhausted and happy an album I’ll take for a spin more than I probably should to be fair and one I’m glad I gave a chance to now for a run through the Abbey Road CDs that came with it and yet more versions of songs recorded in Dallas. what a band they were four lads who shook the world for sure.

For those not lucky enough to pick up a copy I noticed It’s got a barcode on the jacket so I presume soon enough the record will be readily available, most probably to coincide with the Autobiography that Peters has written. I’d like everyone to get a chance to hear this version of one of my favourite albums ever. When you’re young indeed, but when you’re old(er) you have all the memories and hopefully once more for the four lads from Rhyl to put a full stop on it for all those who didn’t go to Brixton or The Scala.

Buy Here

Author: Dom Daley

Gene Loves Jezebel – Pizza Express Live 06.08.24- Holborn, London

Gene Loves Jezebel – Pizza Express Live 06.08.24- Holborn, London

Well I’ve been to thousands of live shows in some strange off-the-beaten paths and some most untraditional venues as well but tonight I find myself in Old London Town at the basement of Pizza Express for a full band Gene Loves Jezebel acoustic show. I like pizza I’m happy to sit at the table (I think) and take in an evening like no other.

Waiter two beers please and a pizza with pineapple (only joking about the pineapple obviously I’m not an animal) as we find our table and order some food and drinks in a very laid-back environment we await to band of Jay Aston, James Stevenson, Chris Bell and Peter Rizzo to take to the stage for what promises to be a very interesting and intimate experience. As the band take the stage it still feels a bit weird watching a rock n roll band in a jazz club/restaurant but hey I guess we’re all of a certain age these days and it’ll be rattle your jewellery rather than pogo and press against the stage these days.

A beaming Jay introduces the band to what might be a wonderful triumph or a brilliant catastrophe who knows either way we’ll all have been fed before bed looking around I don’t think it being a School night really matters to this audience never the less Chris counts in the band as we get underway for the first half. Promising some songs from the deep vaults and never before played to reimagined classics so I make myself comfortable sit back relax and float downstream let the music begin.

After a false start due to the (cough cough) over-rehearsed and always ready Jay forgets or needing the lyrics for ‘Lone Rider’ and goes to play ‘Love Keeps Dragging Me Down’ before deciding to hell with it its live and going back to the set list to open with ‘Lone Rider’ before the awesome ‘Love Keeps Dragging’ it was a wonderful pin drop moment as ‘How Do You say Goodbye’. As the evening settles in we are treated to a cover of ‘Inbetween Days’ that has James showcasing his wonderful touch and a fantastic interpretation of an already great song.

Jay is in a playful mood shuffling through half a dozen lyric sheets about fifty times seemingly unable to find the song he wants anyway it is familiar fan favourites of ‘Kick’ and ‘Georgious’ that go down really well. The first set is edging to a close but before halftime oranges and rub down its ‘Dancing Underwater’ off the album of the same name but not before James took lead vocals on the emotional ‘The Other Side Of The World’ which was one of those live show moments. the emotion of the lyrics and what it clearly meant to James was laid bare for all to see and the fragilities of the melody and delivery was genuinely a cwtch moment and one that wasn’t lost on everyone in attendance. Spectacular heartfelt stuff.

The second half gets underway with a rousing ‘Jealous’. ‘Who Wants To Go To Heaven’ and that tune ‘The Motion Of Love’ has them dancing at their tables as ‘Liquor Man’ continues to keep people smiling and the night has magic in the air along with Jays quips and tomfoolery ‘Every Door’ is played before ‘Break The Chains’ and Jay introduces the band before they prepare to leave the stage after a wonderful evening of song in the most unexpected of places but if the music is good enough it can happen anywhere any time any place and tonight Pizza Express could only have been topped had Prince Andrew walked round the tables handing out the bills. ‘Desire’ is the final curtain call and we’re done. It’s back to West Wales but not until we wander through the quieter streets of Soho and have a cheeky pint in the Ship Inn for old time’s sake. Until next time Gene Loves Jezebel delivered a Michelin star performance with a gentler acoustic hand. Full electric next time please gents.

Author: Dom Daley

Sister Morphine offer a limited 7″ of pure Rock n Roll pleasure

Sister Morphine offer a limited 7″ of pure Rock n Roll pleasure

Reanimated South Wales lowslung rock ‘n’ rollers SISTER MORPHINE follow up last year’s fifteen-track debut album, ‘Ghosts of Heartbreak City’, with an all-new double B-side single, ‘Werewolves of Suburbia’/’I’m Up For Letting You Down’, released on streaming platforms and limited edition white vinyl seven-inch via Big Egg Records on September 6th, 2024.

Written in 2024 and recorded over the Summer at RedRock Studios with Lyndon Price once again at the controls, these two new songs up the ante of the band’s signature sound: punk ‘n’ roll with killer hooks. ‘Werewolves of Suburbia’ is a dark, metaphorical calling-out of pathetic men who still treat women as pieces of meat, while ‘I’m Up For Letting You Down’, which has one creeper in the Seventies and the other in a Scandinavian rehearsal space, is an ode to those people who stick by you when you’re at your worst. Sure to be live favourites, both songs will make their debuts on a Sister Morphine setlist when the band play at the HRH Sleaze VII festival at Leicester’s O2 Academy on Sunday, September 8th.

The single will be available as a limited edition white vinyl seven-inch – one of the first releases from the Big Egg Vinyl Club – with cover artwork exclusive to this physical format. This will be Sister Morphine’s first-ever vinyl release.

Catch Sister Morphine live at: HRH Sleaze VII – Leicester O2 Academy – September 8th

The Pit – Newport – October 11th (with Deathtraps & Arizona Law)

Big Egg Records

Swami And The Bed Of Nails- ‘All Of This Awaits You’ (Rise)

Swami And The Bed Of Nails- ‘All Of This Awaits You’ (Rise)

Two years after the classic ‘Ride The Wild Night’, John Reis is back with nine, spanking new tunes. The man we used to call Speedo in the mighty RFTC changes his moniker with every release, but the quality of the songs never drops. His pedigree is beyond question, and lead single ‘Ketchup, Mustard And Relish’ is an instant ear worm which would be right at home next to ‘When In Rome’.

Album opener ‘How Are You Peeling?’ owes more to early RFTC, with its off-kilter rhythm, and it has that magic that draws you in. ‘Harbor Freight’ is a straight ahead rocker that you will want to play on repeat, while ‘Teen Hate’ is like the very best Ramones songs, with a bittersweet edge and a Fab Four ending. ‘Privacy’ rattles along before ‘Lost In Bermondsey’ claims its place as one of John’s best tunes.

‘Shock And Awe’ is a groover that Jim Jones would surely approve of, that begs to be played live. Righteous stuff, indeed. ‘Don’t Wait’ is a lesson in how to craft a canny pop song, complete with “woah, woah” refrain, and ‘Beware The Halo’ brings the album to an end in style, if all too soon.

Short and sweet, with no filler. The only downside being that, with no CD available, it’s an expensive purchase from the USA, what with postage fees being increasingly hefty now. That said, this is a fitting follow up to ‘Ride The Wild Night’ that you can listen to online now before deciding whether to increase your vinyl collection.

Buy Here

Author: Martin Chamarette

SWAMI & THE BED OF NAILS LINKS
Instagram | Facebook | Swami Records

Love Fiend – ‘Handle With Care’ (In The Red Records)

Love Fiend – ‘Handle With Care’ (In The Red Records)

Another band that are new to me, Love Fiend’s previous singles compilation is good, but this new, studio album takes things up a couple of notches. Hailing from California, ‘Just For Eddie’ reminds me of the late, great Roy Loney, which is a fine way to start. ‘Hard Feelings’, with keyboards upfront, is reminiscent of both Devo and The Cars, which is the overall sound across ten songs, but with much more as well.

‘Secret Cabals’ is the kind of song that Gary Numan used to excel at, addictive, pumping synths. You’ll be breaking out your Numanoid moves in no time. ‘Jimmy (Is An Agent)’ is equally catchy, more upbeat, while ‘Got Bad’ breaks out the sax and a riff that gives a nod to Slade. Which is a great idea, as it goes. Every song here works, they’ve obviously spent some time honing their sound, and it’s paying off. It sounds fresh, yet classic, like a lost album from your big brother’s record collection.

It has pretty much every great hook from the best American pop rock of the late 70s/early 80s, all the above plus Cheap Trick and The Knack. You can hear all this in ‘Neu Testament’, and yet they pull off synth pop with ‘One Forever’ that would please Soft Cell. It shouldn’t work, but it does.

‘C.K.I.L’ throws in a Ramones riff, and ‘Tied Up’ is just the right side of ripping off ‘Footloose’. These all sound like singles, which is a rarity these days. ‘Vacant Love’ evokes the melodies of The Paul Collins Beat. If, like me, you’re a fan of these influences, head straight over to Bandcamp and treat yourself to, potentially, one of the best albums of the year.

Buy Here

Author: Martin Chamarette

Dangereens – ‘Chic'(Alien Snatch! Records)

Dangereens – ‘Chic'(Alien Snatch! Records)

The band Dangereens came to my attention back in 2021 with their mighty fine debut long player ‘Tough Luck’. “Hanoi Rocks meets The Georgia Satellites jamming in a smoky bar with The Rolling Stones” is how I described the debut long player from this Montreal based 5 piece. And I’m happy to report that with the surprise release of their sophomore album ‘Chic’, not much has changed in the Dangereens camp.

With the cool swagger of the Stones, the trashiness of The Dolls and the countrified twang of Tom Petty, Hugo Chartrand and his band return with a 13-track sophomore album that warms to the soul from the first digital drop of the needle. 

It all kicks off with ‘Fly By Nighter’, a 70’s glam rock stomp of an opener, with sleazy Faster Pussycat style low slung riffs, sneering vocalisin’ courtesy of main man Hugo Chartrand, and there’s even some cowbell thrown in for good measure.

The country twang of ‘Death On Two Wheels’ is a welcome addition and builds nicely, Tom Petty meets The Stones for the win. Three tracks in and ‘Kingdom Of White Lies’ shows singer and main songwriter Hugo’s knack for a catchy tune. A 50’s rock n’ roll feel to this with boogie-woogie piano stabs.

I mean, I’m pretty much sold already, The Dangereens didn’t have much to prove in my eyes (or ears) and they are holding up to the word ‘sophomore’ so far. The band take a deep breath and take things down with ‘Walk On Water, a laid-back tune that evokes ‘Black and Blue’ era Stones, as twin guitars fight for low down licks over a lazy but tight-ass rhythm section. In a similar vein, ‘Any Day Now’ sounds like it coulda come from the Ju Ju Hounds album sessions, did they give Izzy or Rick Richard’s a call for this one, I wonder?

The band records in analogue with minimal takes and there’s a lot to be said for that approach to recording a rock n’ roll record. ‘Chic’ just sounds like a classic 70’s record before you’ve even hit side 2. 

Talking of side 2, we’ll let the music do the talking, but a special mention goes out to the fantastic ‘Chlorine’ in all its boogie-woogie, glam glory and what a killer bass line! They don’t make ’em like anymore. That my friends is a strong tune with an overly catchy chorus. 

Elsewhere, with handclaps, twin guitars and a definite glam stomp, ‘Friday Night’ outdoes Tuk Smith in the T Rex meets Thin Lizzy meets Bryan Adams groover stakes. The title ‘Hallelujah’ suggests a rousing chorus to sing from the rooftops and Hugo and the boys deliver in spades.

13 tracks in 40 minutes leaves enough space on one side of a C90 to squeeze on a couple of tracks from their debut EP for good measure if anyone still does that sorta thing. 

Good times don’t go out of style and Dangereens have plenty to go around. I’ll give you one piece of advice, if you have even a smattering of interest in this band, head over to Alien Snatch Records Bandcamp page and order this bad boy on old school vinyl before it sells out, tell them RPM sent ya and we demand a UK Tour quick sharpish. ‘Chic’ could be my favourite album of the year and is certainly essential listening.

Buy Here

Author: Ben Hughes