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FEATURING COCKNEY REJECTS GUITARIST MICKY GEGGUS

As 2023 drew to a close, The Cockney Rejects’ guitarist and founder, Micky Geggus, after much soul searching, decided to leave the band that he created in 1979.

Along with original Rejects’ bassist, Vinny Riordan, Mick decided to break free from the confines of punk rock and to embark upon a project that encompassed his first love: hard, heavy, and at the same time, melodic, Rock. Mick’s love of rock music will be of no surprise to any fans of the Rejects, as the band confirmed their passion for more traditional rock sounds as far back as their Pete Way (UFO) produced album ‘The Wild Ones’ in ’82. 

Having already written several songs, Mick began a series of trips to producer Kevin Poree’s Canterbury studio where he began to lay down the tracks that would become the basis of the Punchdrunk Saints’ debut album.

Along with bassist, Riordan, and drummer, Reg Downer, the songs began to take on a distinct personality and feel, ranging from hard ‘n’ heavy anthems to searing, soulful ballads. This was exactly the mix that Geggus had envisaged. Now the search for a singer who could do justice to the material began.

Acting on a tip from Mick’s East London guitarist friends, (former Iron Maiden and Lionheart guitarist) Dennis Stratton, and Dave Edwards (who played in Remus Down Boulevard with Dennis Stratton and in Ramrod with Rory Gallagher), Mick discovered inexperienced but brilliant vocalist, Marc Salmon. The pair soon took the trip down to Poree’s studio in Canterbury and the results were phenomenal. “He’d done his homework,” said Geggus. “I was blown away by the control and power he demonstrated in that first session. I thought ‘fuck me, we really got something here. This band is gonna be incredible!’”

Fast forward a year, and the debut Punchdrunk Saints album is here. From the opening stomp of “Holy Mother” to the anthemic first single “I Wanna Know What It’s Like” and the heartfelt, uplifting “Come Home”, the Punchdrunk Saints debut is a 10-track masterclass in anthemic hard rock with every song a crafted gem in its own right. This album is refreshing, vital and new and if there’s any justice in this world it deserves to be heard at maximum volume in stadia across the globe!

Sadly, neither Vinny nor Reg could commit to the band long term, but Mick and Marc were soon blessed with the arrival of powerhouse drummer, Chris Nedzynski, and brilliant bass player for Leader of the Down, Tim Atkinson. Tim is the co-founder of Leader of the Down, who up until his passing in 2011, featured the late, great Würzel from Motörhead, and he has worked in the past with legends such as Lemmy, Whitfield Crane from Ugly Kid Joe and Bruce Foxton from The Jam, to name just a few). Tim and Chris both constitute a mighty rhythm section in what is now a unique outfit.

Punchdrunk Saints recently played their debut show at London’s legendary 100 Club to an ecstatic audience in an incendiary performance that surpassed already lofty expectations and included a guest appearance on guitar from former Iron Maiden six-stringer, Dennis Stratton.  

Make no mistake, the Punchdrunk Saints are here to stay. And then some.

Life is full of surprises. It seems like just the other day I was reviewing ‘Damn Right’, the first Dr Feelgood album to contain all original songs, and damn fine it is too. That was an unexpected treat. And in March, I finally got to see the band live, in France, with Robert Kane in his element. Now, after an illustrious career, I’m listening to his debut solo album, ‘Blues Is Blues’.

 The blues can be a tricky one. Simple, yes. Easy, no. I freely admit that, as a young man, I really overdid my blues obsession, and, rhythm and blues aside, don’t listen to that much now. I am, inevitably, a bit of a snob, musically speaking. I like my blues rough, economical and from the heart. Thankfully, this was pretty much Robert’s instruction to the musicians involved in the recording.

So, we have 11 songs, mainly originals that he hadn’t previously recorded, but felt that they deserved to be heard. Every track was nailed on the first or second take, predominantly live, and this is partly why they really stand out. Lead single, ‘Halfway To Memphis’, hits out with some slide guitar and his wailing harmonica, which are also both present on ‘Heart Attack Baby’. A fine way to start. ‘Staying Home’ really pares things back, just a lone vocal and a picked guitar melody. Suitably mellow for the subject matter; “Life ain’t easy, but life is good. Gonna stay home and live the way I should”. I hear you.

‘How Many Times’ uses a refrain you will indeed have heard many times before, but we are dealing with a medium that generally uses three chords, so it shouldn’t be a surprise. What counts is that, when done properly, as here, that’s all you need. ‘Man Who’s Got The Blues’ broadens the blues palette, with some classy keyboard playing, yet never overplayed. Perfect for a smoky club.

‘Baby, Please Come Home’ is essentially a rewrite of ‘Baby, Please Don’t Go’, and Robert’s version of ‘The Ballad Of Staggerlee’ has added some new verses to the blues classic. But, rawest of all is the album closer ‘Jawbone’. A lone vocal describes the mythical character, which could easily be a lost blues traditional. I’ve always said that Mr Brilleaux was the greatest white rhythm and blues singer ever. After 26 years and counting with Dr Feelgood, it’s clear that Mr Kane is a blues voice to be reckoned with. He is steeped in the music, assured in his place, and it’s a pleasure to hear.

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Author: Martin Chamarette

Monty has been a valued member of The Mighty Damned since 1996 and has contributed to the songwriting process, and has also written and played with the Captain, but did you know he is a trained Psychiatric nurse and Psychotherapist

Now its fair to say The Damned have been the pioneers of Punk since its inception and have easily weaved their magic through many of its subgenres as the pioneers never afraid to take a chance and always had diversity in th e records introducing keyboards and having songs with synths so it might only have been a matter of time before someone in the camp inspired Monty to get in a studio and lay down his parts or interpritations for many of the bands best loved songs adding another flavour to many classics and some not so classic. Join Monty on this magical mystery ride.

Now I’m not sure if his tongue is firmly in his cheek or this is a deadly serious project, either way I was intrigued to investigate all nineteen tracks. Sure, we would all agree there are some quite beautiful songs that either already have significant piano parts or involve keys in some fashion, so beginning with ‘Beauty Of The Beast’ is safe territory, but having no vocals and just piano and no synths is very interesting. ‘Blackout’ had me upright and not sure whether to laugh out loud or to appreciate the majesty of the melody or scratch my head at the blasphemy of hearing it like this. Sure, the breakdown sounds wonderful, but whatever gets you through, I guess.

Monty often has me scratching my head as he dances on the side of the stage or leaps up and down, but when the band do the huge songs like ‘Absinth’ I see his worth and like what I hear. There are some safe tunes like ‘History Of The World’ where it works, and others like ‘Smash It Up’ that sound like it belongs on Blackpool sea front, amusing old punks in their kiss me quick hats.

‘Life Goes On’ sounds fantastic, and is it rude of me to prefer Captain’s performance of ‘Just Can’t Be Happy’? ‘Shadow Of Love’ works as does ‘Limit Club’, a song the band should get back in the set and leave it there in place of ‘Eloise’ if anyone’s asking. ‘The Dog’, ‘Disco Man’, ‘Generals’, ‘Natures Dark Passion’ and the beautiful ‘Under The Floor’ make this all worthwhile.

Saying that the tribute pieces to end this album, dedicated to Cap, Dave, Paul, Stu, and Pinch, are lovely, but not something I will be returning to, (Jazz just goes over my head or on this case right through it) even if the one for Paul sounds like the same amount of notes Paul hits every song hes ever played on. For Damned completists, no doubt a lovely piece of curio from a maverick figure in the most glorious and wonderful punk rock band that ever made a note of music. Long live The Damned and everything they do, even the bat shit crazy piano lounge albums with no words just piano. Respect to Monty and whoever commissioned this crazy album. I await the tour dates as Monty heads out on a solo tour with this bad boy.

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Author: Dom Daley

The 2026 dates will be the first UK and EU headline solo shows since the band’s mammoth sold out tour run in 2023 alongside Mötley Crüe. The 2023 tour saw the band headline venues across Europe including selling out the iconic Wembley Stadium. That tour was part of a two year run that saw Def Leppard & Mötley Crüe selling over 2.1 million tickets across the globe while performing in 27 countries and on five continents!

Joe Elliott says, “We’re looking forward to playing Radio 2 in the Park in Chelmsford this week…our only UK date of 2025. But we’re also very buzzed to announce our UK and Euro dates in 2026! Playing to our home crowd and our fans in Europe is very important to us, and we’ll be bringing a brand new show that will feature some surprises as well as the classics! See you soon!!”

With more than 110 million albums sold worldwide and two prestigious Diamond Awards in the U.S., Rock & Roll Hall of Fame® inductees Def Leppard has produced a series of classic ground-breaking albums that set the bar for generations of music fans and artists alike. The group’s spectacular live shows and arsenal of hits have become synonymous with their name. Def Leppard’s influential career includes numerous hit singles and multi-platinum albums, including two of the best-selling albums of all time, Pyromania and Hysteria capturing the group’s legendary tracks such as “Rock of Ages”, Pour Some Sugar on Me”, “Animal” and “Foolin.” Testament to Def Leppard’s enduring and ever growing appeal is their 20 million followers across social media platforms.

This week see’s Def Leppard headline the final night of the Radio 2 In the Park Festival on Sunday 7thSeptember 2025 before returning to the USA in early 2026 for a month long Las Vegas residency.

Phil Collen says, “It’s a dream to be coming back to the UK and Europe in June and July next year. And to be coming back with our good friends, Extreme, is a bonus. It’s going to be an incredible night for all the fans!”

2023 also saw the band release their innovative last studio album, “Drastic Symphonies” alongside the Royal Philharmonic Orchestra. The critically acclaimed album charted at No 4 in the UK – the band highest UK chart position in 32 years. Recorded at the iconic Abbey Road Studios it led to the band performing a stunning set on BBC Radio 2’s Piano Rooms – their version of “Pour Some Sugar On Me” featuring Emm Gryner and the BBC Concert Orchestra is available to see HERE.

DEF LEPPARD CONFIRMED 2025 AND 2026 TOUR DATES ARE AS FOLLOWS:

2025

Sunday 7th September 2025 – Radio 2 In The Park, Chelmsford UK

Sat 11th October 2025 – Hard Rock Casino, Northern Indiana USA

2026

Tuesday 3rd February 2026 – The Colosseum at Caesars Palace, Las Vegas USA

Thursday 5th February 2026 – The Colosseum at Caesars Palace, Las Vegas USA

Saturday 7th February 2026 – The Colosseum at Caesars Palace, Las Vegas USA

Tuesday 10th February 2026 – The Colosseum at Caesars Palace, Las Vegas USA

Thursday 12th February 2026 – The Colosseum at Caesars Palace, Las Vegas USA

Saturday 14th February 2026 – The Colosseum at Caesars Palace, Las Vegas USA

Tuesday 17th February 2026 – The Colosseum at Caesars Palace, Las Vegas USA

Thursday 19th February 2026 – The Colosseum at Caesars Palace, Las Vegas USA

Saturday 21st February 2026 – The Colosseum at Caesars Palace, Las Vegas USA

Tuesday 24th February 2026 – The Colosseum at Caesars Palace, Las Vegas USA

Thursday 26th February 2026 – The Colosseum at Caesars Palace, Las Vegas USA

Saturday 28th February 2026 – The Colosseum at Caesars Palace, Las Vegas USA

Just Announced UK & EU Tour 2026. Dates announced so far:

Saturday 13th June 2026 – Dalhalla, Rättvik SWEDEN *

Tuesday 16th June 2026 – Veikkaus Arena, Helsinki FINLAND 

Thursday 19th June 2026 – Hallenstadion, Zurich SWITZERLAND

Tuesday 23rd June 2026 – Westfalenhalle, Dortmund GERMANY

Friday 26th June 2026 – Belsonic, Belfast UK

Sunday 28th June 2026 – OVO Hydro, Glasgow UK

Tuesday 30th June 2026 – Utilita Arena, Sheffield UK

Thursday 2nd July 2026 – The O2, London UK

Saturday 4th July 2026 – bp pulse LIVE, Birmingham UK

Monday 6th July 2026 – Co-op Live, Manchester UK

Thursday 30th July 2026 – Wacken Open Air, Wacken GERMANY 

All Dates With Special Guest EXTREME unless indicated

* An Evening With

▲ Festival

Sunday 2nd August 2026 – Coca-Cola Arena, Dubai UAE

UK and EU tour dates general onsale 10am local time Friday 5th September 2025For tickets and further information www.defleppard.com Mastercard cardholders have special access to presale tickets in Finland. Mastercard Presale starts on Wednesday, September 3 at 10am local. Plus, Preferred ticket access to some of the best tickets in Finland and the UK are available from Friday, September 5 at 10am local. Check out priceless.com/music for details.

So there will be blood, apparently. Not really, I’m sure they’re nice chaps, but it’s the full bloodied opening track from their brand new long player ‘Vandalheart’. Birmingham neerdowells The Liarbilitys play full tilt wholesome street punk n roll with a passion and belief in what they do, and there is a wholesome honesty about the brand of street punk they peddle. It’s loud and toe-to-toe with the listener. There are plenty of sing-alongs in a Bad Religion meets Frank Turner on full tilt happening here, and I like it. The Levellers, if they turned to electric guitars instead of bodhrans and fiddles and sped it up a few BPMs.

The arrangements are clear and have vocals that sing melodies with attitude, like a Dirtbox disco meets Cock Sparrer which really works to be fair. Take the title track as an example. Lived in lyrics that are relatable, singing about yesteryear, be in nostalgic or just to convey a story, works wel,l and hearing “Twats” used in a song is heart on the sleeve stuff.

I like the aggression of ‘Strangways’ whilst ‘Sin Em All’ has the heart and soul of a Sparrer old school glunk about the rhythm. The pace is varied like the heartfelt ‘Gutta Percha’ that breaks out in timely fashion before the upbeat call to arms of ‘Battering Wall’ and the closing time sing-a-long of ‘Daisy You’re Gonna Wind Up Dead’.

All in all, it’s a well-constructed, varied album of anthemic street punk n roll that’s well produced and arranged and played. It signs off with the pacey ‘The Armada’ it might be a safe path to tread but you still have to deliver it well and The Liarbilitys do exactly that. I’m sure live they’ll sound exactly like the record and if you’re looking for a good time and a sing song then you need to get on this one.

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Author: Dom Daley

Warsaw’s own punk’n’roll powerhouse Poison Heart are back and louder than ever with their new album, ‘Love, Lies and Hard Times’, Now I have to admit I’m not up to speed with the punk’n’roll scene in Poland, but if this is the quality on offe,r then maybe I should remedy that asap.

In 2018, Poison Heart released their Scandi-styled, high-energy punk & roll, maybe polski styled should be the way forward. It’s taken them a while to follow it up, but on the evidence I have before me it was time well spent.

Equal parts punk and hard rock they were obviously paying attention to the likes of Turbonegro, The Hellacopters, Gluecifer, and MC5, delivered with a twin-guitar, street punk vocals,

‘Love, Lies and Hard Times’, the band’s 4th long-player, features 10 brand-new tracks that balance fierce melodies with unflinching honesty. The themes might be well well-trodden paths of broken relationships, sleepless nights, and inner battles. The album has universal appeal for sure, but I admire the bravery of featuring three songs sung in Polish, which sound really good to be fair, and doesn’t take anything away from the flow of the record, even though I haven’t got a clue what they are about. All power to them for doing it.

I’d imagine what you hear is exactly what you get live from the band: a ton of energy and a passion for the style they deliver. Fans of The Almighty and The Cult and such like will find a lot to enjoy here from the opening brooding ‘Precedens’ and the Thin Lizzy delivery of the twin guitars a theme they lean on for sure.

‘Warsaw Blues’ is convincing and has a great driving rhythm, especially when the volume is up. The songs are kept lean with nothing overstaying its welcome, and some great tub thumping on ‘Saturday Night’ before ‘Mirror’ offers a change of pace as its brooding intro builds into an 80s feel of alt rock. Check ’em out if greasy rock n roll is your thing, you might just love some ‘Love Lies And Hard Times’.

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Author: Dom Daley

Holy fuck, I have to start by saying that my first spin was on ear-bleeding volumes, and as the title track burst through the ether, I felt quite emotional. The melody is exquisite and those gang vocals haven’t been heard since Turbonegro hit their zenith. Throughout the album trilogy ’Misanthropical House’, ’Algorithm and Blues’, and ’Research and Destroy’, were well above average, in fact, over ti.m,e I’d go so far as to say at times exceptional but his ‘November Boys’ is shaping up to be something else that blasts off into the red hot sun. The Good The Bad and The Zugly have limped their way through midlife crises and pubescent antics to release one mother fucker of a record from the opening pop sensible melodic bastards that ore the first two to ‘Norweigans Abroad’ which is a thrashing mother fucker of a track that is tight and raging and turning into everythinng you want it to sound like – turn it up please.

They might well be mediocre underachievers on the unglamorous Scandirock path to valhalla but fair play this eclipses everything they’ve done until here and maybe now people will take these slackers seriously and they will be championed for saving gumbo punk rock n roll single-handedly.

‘Dig A Ditch’ sounds like a heavy diet of UFO records and bad drugs for the length of the intro alone but man this record is making bad life choices seem like good ideas that have brought us to this point in life otherwise we’d have passed these nut jobs by and given them a wide birth, thankfully I’m not that sensible.

The bands press release is like it was lifted from a twin peaks script after some bad acid and too much vodka but the tunes will always be their saving grace when they’re this good. ‘Dig A Ditch’ could and should be a crossover radio hit anywhere and everywhere.

A snippet from the press kit reads as follows: “The fact remains: we have always been left behind ever since kindergarten (for those of us lucky enough to experience such a well-regulated institution). In sports, we were always picked last. Our finest effort was put into keeping the bench warm for all the tough and slick January boys whenever they got tired of scoring goals—and chicks. Our academic performances measured at impressively low standards. Lacking any ability to concentrate, our educational path was a fast track to the headmaster’s office and, eventually, special ed classes. Today, they would have stuffed us full of pills in no time.” Confused? Don’t be, join us and rejoice that we’ve got the best tunes just take the melody on ‘A Blazer In The Northern Sky’ and dance like nobody is watching and sing like nobody can hear you. It’s blissful, trust me.

‘Scandinavian CRISPR Brat’ is like their irresponsible hate anthem, but with a sweet melody and a riff to die for GBZ are on FIRE! The fact that there are only ten songs here fills me with sadness. I wish it were a double album with twenty tracks, such is the quality on offer, but he,y ten is fine and dandy. ‘FOMO’ is bone-crushing riff-a-rama as we’re almost at the finish line, it’s a burst on as we dash for the finish through a thrashingly good ‘Hadeland Hardcore’. The Stooges one-finger piano tonk on ‘All My Friends Are Dead Inside’ rings around my head before we sign off with the wonderful ‘New Kids on the Blockchain’ and we’re done. I’m going back in for more and might just play it on my headphones and see if I can just run as fast as I can for as long as I can to see if this album makes me go mental. What a fuckin monster of a record. Congrats GBZ, you have achieved a goal of writing and recording one hell of a record that is as good from the opening track to the closing track, and everything in between is pure fuckin fire (as the kids would say). Melodies to die for, riffs that are on point and life-affirming. The November Boys are here, and the summer isn’t even done yet. Buy this album; it might just be the best thing you hear all year.

Buy Here / Plastic Head in the UK: Here

Author: Dom Daley

The latest band hitting our collective ear drums on the Venn roster are Club Brat and what a punch to the ear drum they are. Joining the impressive Aerial Salad, High Viz, Split Dogs and Bob Vylan to name a few Club Brat have a pop sensibility about them but they wrap it in a velvet glove inside a boxing glove holding a sledge hammer.

’25 Cameras’ opens up this rapid four-track EP, and it’s everything you want to hear. Cool lyrics wrapped inside a hard-hitting, sharp guitar-driven song, is it indie post punk? Who knows who cares, it’s full of energy and packs a punch, that’s all you need to know, and once it’s in your ear, it’ll take something special to dislodge it.

A rich bass-heavy thump and volatile rhythmic urgency is the MO here. ‘Goodbye Pop Culture’ has the warm, rich Bass thump and those angular guitars chopping away through a twitching, crowded backdrop, excellent stuff and very accessible. Originally from Peterborough and now split between Bristol and London, the five-piece formed in 2023 and quickly earned a reputation for unpredictable live shows and a relentless DIY ethos, while still working with some of underground music’s most respected engineers. Club Brat has a statement EP, no question about it, now to follow it up with more live shows and then the album. On this evidence, they have nothing to worry about. ‘In It For The Money’ might not be what they’re about, but it’s like if Jane’s Addiction were from inner city UK and not Hollywood, California. It has the energy and drive, and most importantly, it has the tunes. The final cut is the rapid barking dog of a track, ‘Watch’ it’s heavy, fast but you can dance to it. Go pick up a copy and find out for yourself.

Fantastic EP buy it!

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Author: Dom Daley

Tour Dates – September

18 September — Leeds, Headingley Social Club

19 September — Stamford, Mama Liz’s Voodoo Lounge

20 September — Bristol, The Golden Lion

25 September — London, Hope & Anchor

26 September — Nottingham, JT Soar

October

2 October — Sheffield, The Washington

9 October — Birmingham, The Rainbow

10 October — Brighton, The Pipeline

We all have styles and bands that keep returning to our turntables, tablets, digital streaming or however we consume these days, and you can add to that labels that just get it and churn out reliably above-average music and new finds to add to our playlists and favourite new albums of the year list. One such label is the Scandi power poppin’ legends at Beluga who’ve done it again. If you are ever in doubt about your choices of music and bands to play, then I suggest you jump on board because the latest record off the quality-assured conveyor belt is the quirky named No Tears.

Now stay with me, it might have been originally released back in 2023 on  Luftslott Records. No Tears peddle pure Costello-infused Power Pop with added snot guitar pop. The whole shooting match is performed by the clever so-and-so called Christoffer Karlsson. The astute and top power poppers will know his day job is performing with the horror punkin power poppers The Dahmers as their lead vocalist, so the guy has pedigree.

Now you can check them another day because today it’s all about reengaging with No Tears and passing on the love and hopefully expanding the ownership of this fantastic record. The album kicks off with the rampant horn honkin’ blast that is ‘Dreamin’, and that’s it I’m all in. Energy, excellent playing and those honkin’ saxophone breaks laid over a wicked riff and thumping beat, it’s a freakin winner every day of the week. From the drum fills, the bass solo and then the rasping guitar break, this is kitchen sink rock n roll and some. Oh and handclaps

Once upon a time, this record would have been huge and hits galore all over the globe. There is a familiarity with the melodies in some of the songs, and the riffs are all borrowed from the good and great of history. Had Chris Stein penned some of the licks and arrangements around the time of ‘Eat To The Beat’, like ‘Get Away’. The sugar-sweet melodies are wrapped in raw guitars but smoothed over with some well-placed keys.

‘Same Old Story’ is banging and giving The Hives a good run for their money, and they’re playing arenas. The variety is excellent, pitching ‘Broken Mirror’ with its backbeat and dreamy breakdown alongside a good boogie ‘On 45’, then a curveball in the spaced out dreamy of the ‘Silence Is Speaking’ before signing off with the acoustic slide marching beat of ‘Without Your Love’ that features vocals from Beatrice Rosdahl adding some ye haw! to proceedings. What a fantastic breath of fresh air this record is, featuring eleven diverse songs making up a complete album that you should be checking out.

Get over to Beluga and tell em RPM sent you or else…

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Author: Dom Daley