Christmas/Deathtraps/System Reset/The Setbacks – The Cab, Newport – 29th February 2024

Christmas/Deathtraps/System Reset/The Setbacks – The Cab, Newport – 29<sup>th</sup> February 2024

It’s almost a year since I first set foot in The Cab, and it’s wonderful to see the team behind the place going from strength to strength and keeping the scene alive, it’s also a staggering 10 years since Christmas frontman Max Motherfucker first brought his band of deathpunk renegades over from Germany to play south Wales, as he is quick to remind us during his band’s headline set here tonight.

Where the hell does the time go eh? That’s why it’s perhaps always best to “live in the moment” as you’ll never know what’s around the corner. You might just be putting on your biggest show ever when Sick Of It All play for you this spring, or you might be just about to celebrate 15 years together as a band. Yup it’s all about the here and now folks and tonight is like a mini-Slugfest, but on tour, as four bands who have all played at south Wales’s finest DIY free festival share a stage at Newport’s finest DIY punk rock venue. Four bands, £6 entrance fee…bosh! How’s that for living in the now?

Kicking things off are The Setbacks from Bath and the five-piece fair rattle through their set finishing off with a riotous rendition of ‘Lulu’s Leaving’.  The healthy-sized crowd loving every minute of tonight’s starter for ten and I must admit it had been way too long since I last saw them live. Tidy!

That can’t be said of System Reset, however, as this popular combo seems to pop up wherever there’s a punk rock show occurring, and it shows in just how slick an outfit they have become. Tracks like opener ‘March’, ‘Anxiety’ and (still my favourite track by the band) ‘Fail Safe’ positively bounce along, containing almost as much spring in their step as frontman Stan, who just doesn’t stop. ‘Big Business’ is always how a Reset show ends and it’s a middle finger to the corporate world we all live in. Talking of which, rumour has it that Sutton and Shov from the Reset have got the original Trigger McPoopshute line up back together for one last hurrah! Perhaps a co-headline tour with Terry & The Idiots awaits, or maybe it’ll be Rebellion 2025?

A band that I feel have long since warranted a slot at Rebellion are Newport’s Deathtraps. Now a full year into being a quartet the band are currently recording album number five, and if tonight is anything to go by it’s going to be their most ferocious slab of wax yet. ‘Red Eyes And Black Kisses’, Too Much is Never Enough’ and ‘Cool Kids’ are all present and correct from the old trio days but it’s the new cuts like (please note I may have these titles slightly incorrect) ‘You’re The One’ and ‘Right Thing’ that positively hammer home why Deathtraps in this new expanded format truly are a mighty force to be reckoned with. 

It’s going to take a special kind of band to top the sonic fury of Deathtraps and thankfully Christmas (playing on a leap year day too, just to totally mess with my OCD mind) are just that band. Frontman Max has his shirt off and is in our faces before ‘Wolfpack’ has even had a chance to howl and throughout the band’s 20 odd song set he’s constantly in and out of the crowd cajoling those brave enough to stand in front of him to sing along with the band’s incendiary back catalogue. He’s such a blur of energy that even the Cab’s normally Tonka truck strong vocal PA (this is a set up that withstood Clobber and Conservative Military Image on the same bill remember) gives up the ghost just ahead of ‘Appetite for Selfdestruction’ and with a shorter microphone cable attached and Max finally partially tethered the likes of ‘Hot Nights in Saint Vandal’ ‘Nothing But  A Handjob’ and the immense ‘Candy Me’ all sound like firecrackers in the head. There’s just enough time for a run through of Turbonegro’s ‘Ride With Us’ before ‘Go Hard or Go Home’ sends me out into the cold night air loaded up on band merch, recognising the fact that any group that has driven for 15 hours and passed through 6 countries to get to play for you fully deserves our support.

“Oh I wish it could be Christmas every day…..”

Author: Johnny Hayward

One The Juggler- ‘Memoir Days’ (Real Vision Records)

One The Juggler- ‘Memoir Days’ (Real Vision Records)

Life’s full of surprises. My teenage self wouldn’t have believed that in 2024 I would be reviewing a new album by One The Juggler. Granted, 2020’s ‘The Ocean Man’ was a welcome return after the ‘Destination Planet Blue’ compilation. There were new, joyous tunes, but while ‘Memoir Days’ might occasionally be reminiscing of the pomp and ambition of youth, it holds together better as an album.

‘We Love It All’ is really an intro, full of optimism and positivity, leading into ‘Talking To Ourselves’. This song, along with lead track ‘Jennifer Heaven’, are the natural successors to ‘Nearly A Sin’; the mix of acoustic guitar and Ronno styled electric, with a touch of Bolan melodies. Yes, the Bowie influences are still here, but it’s the quality of songwriting that was always the band’s strength. Their debut was full of songs they’d already honed live, like many bands. ‘Memoir Days’ sounds like the true follow up album, with the title track urging “be sure to write it all down now, while it’s still fresh in your mind”.

Rokko/Sham’s vocals are as distinctive as ever, and a joy to hear. And with Jerry, he has crafted a fine set of songs here, worthy of the name One The Juggler. I regularly bore people with my enthusiasm for ‘Nearly A Sin’, but everyone I’ve recommended it to has loved it.

‘The Revolution’s On Your Phone’ is like a long-lost Mott classic, majestic stuff indeed.

‘Sylvia Strange’ is as catchy as the title deserves to be, a swoonsome slice of pop,  while ‘When We Get Home’ ups the pomp, an instant hook, like Suede’s dubious uncles who still know a trick or two. This one’s on replay.

‘Andy’s Bar’ has a similar melancholy to ‘(O No) You’re Not The Same’, lyrically I think Brel would approve, and the acoustic touches are beautiful. ‘Into The Blue Eternity’ is a bittersweet end. “Between the dishes and the laundry, her mind is planning an escape…”

Influences aside, this sounds like a One The Juggler album, and it’s all the better for it. Welcome to their world. It will improve yours.

Author: Martin Chamarette

T.S.O.L. – ‘A-Side Graffiti’ (Kitten Robot Records)

T.S.O.L. – ‘A-Side Graffiti’ (Kitten Robot Records)

True Sounds of Liberty started causing trouble way back in 1978 and the birth of punk rock/hardcore in Los Angeles. Playing with the fury of their hardcore contemporaries but with a goth rock/New Romantic image and sharp melodies.

T.S.O.L. quickly got a reputation as the band stood pretty much alone and were more than happy to furrow lone paths into different styles something which they’ve done right up to the present and certainly under Jack Grishams leadership.

This is the bands 12th long-player, and probably their most diverse and varied album to date. Still with the throbbing blackened heart they had when they kicked off in this scene but with much wiser more savvy heads. The band has released a handful of singles recently with the help of Paul Roessler at Kitten Robot Studio.

Jack Grisham has his trusty sidekicks, guitarist Ron Emory and bassist Mike Roche (all from the band’s first line-up), they are joined by longtime keyboardist Greg Kuehn and Antonio Hernandez on drums. and armed with twelve brand new tunes, well, when I say brand new tunes I mean new tunes to T.S.O.L. Eight original, and Four covers. Now you might think Four Covers is a bit cheeky but when you dig into them and hear how they take them on you’ll be delighted they bothered and you did as well.

The album’s opening track is a particularly punchy affair entitled ‘Low-Low-Low’, it’s vibrant and has a really bright and energetic production that helps motor the song along and once Jack’s distinguished vocal enters the fray there is a comfortable ease around proceedings. Ron’s guitar is wholesome and sharp just like you’d hoped it would be. Emery is one of those players who has a wonderful touch and tone and can whip up a hurricane through his amp when he needs to and can make you sit up and pay attention much like Brian James. That magical feeling when a band you love hits your ears with new music and it just takes off, well, thats ‘Low Low Low’ right there thundering along its a great opener.

Now I am one of those people who absolutely loved ‘The Trigger Complex’ and happen to think it contained some of the band’s finest material period. Not since ‘Code Blue’ or ‘Abolish Government’ I mean full stop ‘Why Can’t We Do It Again’ was majestic as was ‘Nothing Ever Lasts’ Well this album follows on with that strength of songwriting that I guess a youthful wild and reckless T.S.O.L. couldn’t have delivered and thats cool by me. I did raise an eyebrow when the band threw out the first cover. The Rhythm Of Cruelty’ from Magazine but to their credit its a killer version and they totally own it.

By track three the first curveball is thrown and after a few plays I get it and it makes me smile that Jack and fellow legend Keith Morris join forces on a raucous take on ‘Sweet Transvestite’ is undertaken. It’s epic and is perfectly camp as Jack turns in a spectacular performance alongside Morris. Now, thats how to do a cover.

The album coasts along with some vibrant and uptempo songs with Grisham sounding in fine form with some great melodies and choruses like ‘Never Go Home’. ‘Nothings Ever Right’ has a real earworm in the call back to Jacks barbs in the first verse but the energy thrown out by the band is fantastic. ic. ‘1 Thing’ originally by Amerie is a heaving beast with some great BVs and a huge guitar sound from Emery. ‘The Way You Groove’ and the infectious ‘Swimming’ are deep cuts of real quality particularly ‘Swimming’ built around a really good Ron Emery guitar riff but the subtle keys and handclaps take it somewhere else not to mention the thumping rhythm section who to be fair play a blinder throughout the record stoking the fire in the engine room.

Theres magic in these grooves and it fills my heart with joy that T.S.O.L. are in the mood to deliver such a fantastic album on the back of their documentary and live shows last year. It’s never too late to get into them if you’re not already a fan and this is a blindingly good record to start and maybe work your way backwards.

But wait there’s more. Before the finale, there’s a beautiful rendition of ‘What A Wonderful World’ complete with strings and piano to accompany Grisham at his crooning best. I hold my hands up when I first saw the track on the record I was prepared to close my eyes and hold my nose but by the time I got to it, it was like a great deep breath before signing off with ‘Can You Hear Me’ which is a wholesome slow burner like a wide screen Bowie-esque laid back smokey late-night ballad, yup I did say that and it’s like Jack always told us he loves his Motown and this fits right in the punkers will vomit but fuck em this is T.S.O.L. and they do what they want. Still taking risks, never playing it safe, and delivering a stunning album. Most definitely one of the albums of 2024 and it’s only March.

Buy Here

Author: Dom Daley

Poison Boys/Jonesy – ‘Split’ (Ghost Highway Records)

Poison Boys/Jonesy – ‘Split’ (Ghost Highway Records)

Six of one and almost half a dozen of the other. Man I love a good split LP, Ghost Highway is good at delivering split records be it 7″ or 12″ they tend to get it right when they pick bands to split. First up one of our favourites at RPMHQ has to be Poison Boys not content with a new record of all their early singles in one convenient record they’re hitting Spain for a quick tour and it makes sense to hook up with one of the best labels dishing out Rock n Roll on the continent in Ghost Highway who’ve pulled in six tunes from Poison Boys being five originals and one from filthy rock n rollas Jonesy from outta Canada.

Of the original tunes they’ve included the most excellent ‘Knocked Down Again’ a tune RPM were pleased to have premiered for the band late last year alongside the opener ‘The Searcher’ with its bruising bovver boy punch rocker. The band are delivering that sleazy Johnny Thunders meets Toilet Boys Rock with plenty of attitude as good if not better than anyone else out there at the moment. The harmonica honkin down n dirty ‘Sleaze City’ is pure 100% Punk n Roll it’s like the dirtiest of early Aerosmith being kicked around the Lower East Side by some nasty punks and the wandering gob iron mixed with that barroom piano is the best night out in one three minute rock n roll song I’ve had the privilege of for a while.

By the time you reach their take on Jonesys ‘Messin Around’ you should get the picture for what these boys are about. truly fantastic, reckless rock n roll and taking an already top tune and owning it isn’t something anyone can do so this makes it top-notch and a winner every time it bursts out of the speakers.

Flip this bad boy over and enter Jonesy and their good time filthy Rock n Roll. ‘8 Track Mind’ begins with a lounge laid-back set of smooth keys and handclaps and then the party begins and builds up slowly and smoothly to the wonderful guitar solo. Not what I was expecting at all but hey it’s a touch of class. Then the shots get downed and someone let the gatecrashers in and the sleazy ‘Down’ turns the Amps up but not to a wrecking ball more a measured scarface coolness as Jonesy ease themselves into this split.

They then offer up their take on the Poison Boys ‘Can’t Get You Out’ and now were cooking. A class tune gets the Jonesy treatment like a proper yob job on those gang vocals and hey presto it’s like a long-lost Hanoi Rocks tune. Marvellous.

‘Only Shams’ is a beast of a lick before heading off like one of those Toilet Boys flaming guitars. Two very different bands doing their thing to a wonderful level and both offering the very best, say two sides of the same coin. It would be a split decision if it were a cage fight but I’d expect them both to fight dirty. If you’ve never heard either band now is the time to get involved and jump on board you won’t be disappointed in the slightest if you are I’d check for a pulse because you might just be dead. Buy It! Banger!

Buy Here

Bandcamp

FIZZ/Maya Delilah – Tramshed, Cardiff – 23rd February 2024

FIZZ/Maya Delilah – Tramshed, Cardiff – 23<sup>rd</sup> February 2024

Rewind to Christmas 2023 and RPM’s Albums Of The Year podcasts. During the second broadcast when the gang were running through Ben Hughes’ album list, he advised us all of a record called ‘The Secret To Life’ by a still relatively new band called FIZZ, which in his wise words, told us all “you’ll love this Johnny, its very Jellyfish like powerpop”. I of course immediately needed to know more as Ben certainly knows his stuff, so with Google at hand I went on a musical adventure to discover what the hell he was raving on about and after a couple of false starts (I rather foolishly watched the videos before listening to the album) I finally started to understand, and love ‘The Secret To Life’. It’s an album that truly transcends genres (hence why watching the videos first wasn’t exactly the best way to get to know them) and oozes positivity, and it’s safe to say if I had known back then what I know now, it would have plain sailed into the number 1 spot in my own albums of the year 2023. The rather obvious next step on my journey of musical discovery being to experience what the four members of the band (Greta Isaac, Orla Gartland, Martin Luke Brown and dodie) would do with such an extraordinary record in the live setting.

I’m apparently not alone in my quest either, as tonight the downstairs in the Tramshed is packed out, filled mainly with a much younger demographic than yours truly, a large contingent also dressed up in some way to resemble tonight’s headliners, and you know what, for the first time in years I feel like I’m experiencing something new and exciting scene wise. The PA might be blasting out Andrew Gold, ELO and Boney M (making it feel a bit like I’m back at one of my old school discos) but FIZZ and their community of fans are very much about how you can bin all the negativity in life here in 2024 and simply just enjoy yourself, and that right there is exactly what going to a live show should be all about.

There’s a stark contrast to some of the other audiences I’ve been in most recently, as not only have I’ve never seen the bar area quieter in the Tramshed, but also during the support set by singer/songwriter Maya Delilah there is a hushed reverence and respect for the artiste from the audience that is a model example of how one should behave during a solo show. And why shouldn’t there be, you’ve paid your hard earned to get in, so sit back (or stand back, in tonight’s case) and immerse yourself in a world outside of your own, you’ll never know what you might discover. As it happens Maya Delilah delivers a fine 30-minute set that in equal measure has me thinking of Pink Floyd (guitar tone) Jeff Buckley (in the dissonance of the songwriting) and early Amy Winehouse (in the vocal delivery), the later almost coincidently the last time I witnessed someone being told to “shut the fuck up” during a live show for talking during her set. There’s no need for any such warnings tonight though as Maya seems genuinely blown away by the respect and reaction she is afforded and I for one shall be looking to join her 300,000 monthly listeners online to find out more.

Looking at the stage set up complete with larger than life lollipops and candy canes and a backdrop not to dissimilar to the ‘Bellybutton’ album sleeve, part of me wants FIZZ to appear on stage in their own mode of transport just like the Banana Splits did when they first wowed me into loving pop music, and to some degree they do just this, albeit via the power of imagination as we are treated to an intro tape that has us all onboard a space ship set for Fizzvile just as its about to crash land in Cardiff, as the countdown commences I find myself grinning from ear to ear and that’s before the band (complete with additional rhythm section) have even played a single note. Bursting onto the stage like all conquering heroes the screams that go up remind me of when I saw King back in 1985 and you’ll have to forgive me if I get something in my eye as ‘High In Brighton’ literally takes the roof off the place.

For the next 60 plus minutes we are treated to pretty much all the band’s stellar debut album, a carefully selected track from each of the four members solo careers (which fit in seamlessly)   along with a FIZZ’ed up cover of Lily Allen’s ‘Smile’ and the time I spend in the band’s company simply flies by, largely in part due to the fact that the band themselves look like they are loving every second of their time up on stage, and its infectious, you know.

Highlights are plentiful, but for me it is main set closer ‘The Grand Finale’ in all of it’s Queen-like pomposity that illustrates just how talented this group really are, and then of course there’s the encore of the album’s title track complete with a bubble gun, a cat glove puppet and Thomas The Tank Engine outro tape to send us all of into the night not so much wondering what we’d just experienced as what an experience it was. If FIZZ had existed in the ‘70s, trust me, they would have had their own TV show, they are that kind of band, one much larger than life itself and the fact that they have tapped into the secret of this is what makes it all so bloody perfect. Tonight was the most I’ve enjoyed myself at a gig in years, and all I had to do was be in the moment. Joyous stuff!

Author: Johnny Hayward

Slade – ‘The New Victoria’ / ‘Till Deaf Do Us Part’ (BMG Records)

Slade – ‘The New Victoria’ / ‘Till Deaf Do Us Part’ (BMG Records)

2024 sees no let up in the re-release of the Slade back catalogue many on vinyl for the first time or at least wonderful coloured variant represses. Let’s take a wander through Studio album number god knows how many Slade were turning the amps up there with the best of em and ear-shattering powerful boogie hard rock had shifted the Glam stomping of what made the band such a household name in the 70s. With Holder’s vocals in fine fettle, they could certainly go toe to toe with the biggest and best. the previous releases prove that from the Reading LP, they were a formidable live act and in the studio, they could turn out hit after hit.

The power that was ushered to the forefront through the barnstorming opener ‘Rock n Roll Preacher’ Followed by the bluesy ‘Lock Up Your Daughter’ the band could still deliver and probably deserved more respect than they got. I’m still not convinced with the keyboards and after all these years I’m still of the same opinion Slade didn’t need to move with what was hip or trendy they had the tools to rock n roll in the vocals and guitar department anyway never mind the super tight rhythm section that was a match for any band on either side of the Atlantic.

The title track reminds me of The Who, Super Yob was certainly in form throughout this record. I’d love to hear a mix without the keys especially on the bluesy ‘M’hat M’Coat’ it sounds more like Gary Moore than Slade. But to be fair when they just got on with the Rock n Roll they still cut it. Their sense of humour is still intact through the lyrics and the song titles ‘Knuckle Sandwich Nancy’ is a particular highlight. Sure it’s not as good as some of the earlier releases but worth shelling out for the collection for sure.

To be fair the real beacon of light out of these pair of releases from Slade has to be the live concert LP recorded in the ‘New Victoria’ It did come out on CD as part of the Worlds A Stage Box set that came out recently and alongside the Reading tapes, this is one Hell of a concert. Recorded in 75 at the peak of the bands powers. Its twelve tracks from a 1975 show on vinyl for the first time and packs a rather splendid punch from the opening ‘Them Kinda Monkeys Can’t Swing’ is the signal for a riotous performance from one of the world best live bands at the time. No question they were at the zenith of what a party could be had at a Rock and Roll show.

The tracklist is packed with dance floor fillers and mile-wide grin guarantees. ‘Gudbuy T’Jane’ a spectacular ‘Far Far Away’ from ‘In Flames’ and the breather that is ‘How Does It Feel’ before the roof gets blow off with the awesome ‘Let The Good Times Roll’ before closing off what sounds like a spectacular night with the chart-topping legendry ‘Mama Weer All Crazee Now’ and for any aspiring rock and roll band wondering how to turn in some top tunes bristling with energy and delivered with the utmost professionalism then look no further than Slade live at the new Victoria. Its a keeper just buy it!

Buy New Victoria Here Buy Till Deaf Here

Author: Dom Daley

Hunting Lions – ‘King Of The Avenue’ (Pirates Press’)

Hunting Lions – ‘King Of The Avenue’ (Pirates Press’)

Of course its on Pirates Press for they’re the perfect label for some excellent polished oi meets street punk rock n roll. From the opening verse and chorus of ‘The City’ you’re already singing along with the gang on this rather fine slice of street punk.  Including past and present members of The Swingin’ Utters, The Beltones, Roadside Bombs, Hometown Addiction, Resilience, The Burdens, and more. They were formed at the beginning of the pandemic, and have the mission statement of playing roots rock n roll with a bootstomping rhythm and a fistfull of top tunes. You know what, they delivered exactly that.

Its got a spit and polish of some guys who’ve been around the block once or twice and know how to make a gret sounding record. Each of the ten tracks is powerfully delivered and arranged to perfection. Early doors you have the bass thumping runaway train that is ‘War’ I get shades of Living End in the arrangment but by the halfway point the songs are varied from the uptempo rock of ‘BNO’ to the melodic ‘Dead Generation’ with its strong message and gang vocal chorus it sounds like the perfect band for a good saturday night out with mates checking out the rock n roll show.

They even have time to slow things down for the intro of ‘Little Girl’ before it soars like a good SLF song. The upside of those long arduous lockdowns was a lot of bands were forced to work on their craft and out of all that isolation we have albums like this. ‘Good Riddence’ is a strong rock song no fuss or pretentions just five guys kicking out the jams. ‘King Of The Avenue’ is a strong avenue from top to bottom and they even find the time for a punk rock roots take on ‘Hungry Heart’ which they do very well to be fair leaving only ‘Nothing Wrong’ to sign this project off with as they ride off into the distance with a hot rod snarling rocker. If you like your Californian Punk Rock n Roll loud and full of melody with uplifting choruses that the gang can all get involved in then Hunting Lions might just be your new favourite band.

Buy Here

Dez Dare has 10,000 Monkeys + An Argument With Time

Dez Dare has 10,000 Monkeys + An Argument With Time

The 2nd single from Dez Dare’s forthcoming album is released, ‘10,000 Monkeys + An Argument With Time’.

‘A Billion Goats. A Billion Sparks. Fin.’ features 11 songs that delve further into the void than previous records, leaving the sardonic frustration behind for sarcastic existentialism, zeroing in on the big philosophical questions, and the pedantic shards of nonsense that make up our existence.

Tying beats, lo-fi electronics and a bass sound that will implode your speakers into a ball of anxiety, Dez looks at how we experience time and the perspective we need for change.

Dez says “time is kicking us all while we scramble around this rocky mass. If time passes slower closer to the mass, get HI to get perspective!” The concept stems from the elasticity of time as a dimension and where we sit within it. Someone living at the top of a mountain will experience time faster than someone on the ground as they are closer to the mass. Maybe if we all took a step back, took to the hills or even further… we might just see the world a bit clearer.

The self-produced Australian has spent over 3 decades producing music, releasing and touring bands, and doing live sound for z-grade metal bands. Growing up in the coastal town of Geelong (Djilang) in Australia, he was introduced to the DIY punk and rock scene at 15 and this community and the ideas rooted in the underground music scene have guided his output and ethics throughout his career.

This year Dez will be joining forces with label titans God Unknown (Cassels / Duke Garwood / James Johnston + Steve Gullick / KLÄMP / Oneida / Laura Loriga / Monster Magnet / Wellwater Conspiracy [Soundgarden + Monster Magnet]) and will be producing a deluxe version of the album on blob colour vinyl and includes a comic book illustrated by Mike Keane. In true nerd fashion the comic also features top 10s by Dez, Jason Stoll (God Unknown), Matthew Barnhart (Chicago Mastering Service), Mike Keane, and the album illustrator MALMALL.

‘A Billion Goats. A Billion Sparks. Fin.’ out March 1st on God Unknown Records.

TOUR DATES

  • Friday, 12 April 2024 / The Tin Music and Arts, Coventry w/ Hula Girls + Trojan Pony [Sink or Swim Promotions]
  • Saturday, 13 April 2024 / The Dark Horse, Birmingham w/ Exotic Pets + Empty Cut [Die Das Der]
  • Wednesday, 17 April 2024 / The Prince Albert, Brighton w/ Frixon Klatt + YOU&TH [The Séance]
  • Friday, 19 April 2024 / Fish Factory Art Space, Falmouth w/ Ubiquitous Meh! + Broken Arrow
  • Saturday, 20 April 2024 / Underground, Plymouth w/ Ubiquitous Meh! + Broken Arrow [Damnsonic]
  • Thursday, 25 April 2024 / The Deco, Portsmouth w/ The Usual Boys + guests [Neu Waves]
  • More dates across the UK + EU + Australia to be announced… more info @ dezdare.com

‘Bullets’ firing on all cylinders with new video

‘Bullets’ firing on all cylinders with new video

BULLETS AND OCTANE has once again set the stage ablaze with their latest release, “Space Lord Symphony.” This electrifying single is accompanied by a visually stunning music video that promises to captivate audiences worldwide.

“Space Lord Symphony” is a sonic journey that combines the band’s signature high-energy sound with a cosmic twist. Known for their powerful riffs, anthemic choruses, and relentless energy on stage, Bullets and Octane takes their music to new heights with this intergalactic-inspired anthem.

The accompanying music video, directed by Christine Fullwood, is a cinematic masterpiece that transports viewers into a mesmerizing, surreal odyssey. With mind-bending visuals and a narrative that complements the song’s theme, the “Space Lord Symphony” music video is a visual feast for fans and newcomers alike.

“‘Space Lord Symphony’ is the first single from the new Bullets And Octane album (TBD) due out in 2024. The band, firmly lead by the sober singer and main songwriter GENE LOUIS, is still as raucous, energetic and melodic as ever. The new music will punch you in the face and kick you in the nuts at the same time. Just good time hard rock n roll delivered with a punk snarl.” – UVT ENTERTAINMENT / BULLETS AND OCTANE

BULLETS AND OCTANE has consistently pushed the boundaries of rock music, earning them a dedicated global fanbase. “Space Lord Symphony” is a testament to the band’s evolution and their commitment to delivering fresh, innovative music.

The single is now available on all major streaming platforms, and the music video can be viewed on the band’s official YouTube channel.

Pre Order Here

Episode 14 The Podcast

Episode 14 The Podcast

The latest edition of the podcast brings a bunch of banging tunes from some of our favourite new, old, borrowed and blue albums. With exciting new tracks from Sami Yaffa, the Tony Slug Experience, Gagbags and T.S.O.L to name a few, as well as some fantastic covers from Then Comes Silence and The Hillbilly Moon Explosion.

The pair of neirdowells take you on a journey through some of the bands making the world a much better place