Ginger Wildheart – ‘The Pessimist’s Companion’ (Wicked Cool Records)

Ginger Wildheart – ‘The Pessimist’s Companion’ (Wicked Cool Records)

A break-up album can be the most honest and personal album of a musician’s career. I feel an artist is at their best when they are going through the worst of times, it’s when they have something to truly write about. A relationship breakdown, like a bereavement, can open the emotional and creative floodgates like no other experience, and it can be the best of therapies in the darkest of times.

So, when Ginger Wildheart (and his faithful four-legged companion Maggie) retreated to a caravan in the wilds to write the follow up to the confessional ‘Ghost In The Tanglewood’ album, the pen did flow as did the whiskey, and ‘The Pessimist’s Companion’ was born.

Originally rush released as a 10-track album by Round Records back in 2018 to meet pre-order deadlines, this collection of heartfelt, soul-searching tunes has been lovingly re-mixed, re-sequenced and beefed up with 5 extra songs recorded at the same sessions, but not finished in time for release. The album now gets a proper worldwide release on Little Steven’s Wicked Cool Records label, a place that sees our man now rub shoulders with other RPM favourites such as Ryan Hamilton, Jesse Malin and Wyldlife.

Track wise and feel wise, the reshuffle turns this album on its head quite literally. The album now opens with the upbeat vibes of ‘Why Aye’, a song of hope and confidence in moving forward. That now leaves the beautiful, acoustic sermonette ‘May The Restless Find Peace’ to close things up. In hindsight, a more fitting epilogue to the story than an introduction. It now feels like the song has its rightful place and harmony has been restored in the world.

It’s interesting to note that a friend of mine (who is not a big Wildhearts lover) commented that Ginger sings in his natural accent on his solo material, and that’s something I never noticed before, but I must say the Geordie twang is more prominent on this album. And it maybe gives more of a sense of locality and a big dose of Northern charm that fits well with the country-tinged direction in which Ginger is heading.

‘I Love You So Much I’m Leaving’ is a euphoric high for dark times. A song that offers hope and contemplation in equal measures. A sound that features pedal steel and acoustic guitars, it’s the country-tinged direction we assume he will take further with The Sinners album (to be released later this year). Another album highlight is the acoustic driven ‘You Will Let Me Down Again’. Commercial and worthy of single status, it flows along on a summer breeze with lazy, hazy backing vocals courtesy of Emily Ewing.

Of the new songs, the standout is the newbie single ‘Stalemate’, which along with the title track could have fitted nicely on the ‘555%’ triple album. A signature Ginger melody and a radio friendly chorus that will stick in the subconscious, never to be removed. ‘Detachment’ has a similar melody to ‘The Words Are Gonna Have To Wait’ and ‘No Regrets’ has an almost Greg Lake seasonal feel to it.

Elsewhere ‘I Don’t Wanna Work On This Song No More’ is one of those fun, studio jams that pilfers from The Wurzels as much as it does from The Levellers, and ‘I Wanna Be Yours’ is a tongue-in-cheek romp that raises a smile or two.

Back sometime in the mid 90’s the Wildhearts leader claimed that “some of the best of me plans have been laid, and some of me best moments used”. Well, fast forward to 2022 and we find the man re-releasing his 7th (don’t quote me on that!) solo album and it seems he still has some of his best moments left in the bag.

The heart wrenching ‘A Better Love’ features a beautiful piano-led first chorus that is so gentle and fragile, it feels like any intrusion would destroy the song forever. Heart on sleeve, a love song pure and simple that implores you to hold on tightly to the one you love and never let them go.

‘Sweet Wonderlust’ is pure countrified pop with a killer chorus the likes of Nashville can never deliver. And ‘There Is A House’ is a contemplative, folky ditty along the same lines as ‘If You Find Yourself In London Town’. Full of tinkling ivories, stark percussion and creative space, it might just help heal the broken hearted…just a little bit.

While as standalone tracks the additional songs may not be the strongest on offer, they seem perfect in the context of ‘The Pessimist’s Companion’ as a whole listening experience. And now I feel relistening to the original record, it will always feel like there is something missing.

A release designed to get the talents of one of the UK’s best kept secrets out to a wider audience. ‘The Pessimist’s Companion’ is a country-tinged break-up album that is as much a therapy for the artist as it is joyful, masterful listen for fans both old and new. An album worth revisiting if you’ve been here before and also worth forwarding to those who haven’t. Let’s help spread the word.

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Author: Ben Hughes

Chip Z’Nuff – ‘Perfectly Imperfect’ (Frontiers/Avalon Japan)

Chip Z’Nuff – ‘Perfectly Imperfect’ (Frontiers/Avalon Japan)

The line-up history of Chicago Power Pop legends Enuff Z’Nuff is a complicated thing to follow. In a nutshell; After 15 years and 10 albums singer leaves band – guitarist (not original guitarist) becomes singer. Guitarist quits band – singer rejoins. Singer quits again – guitarist becomes singer again and subsequently quits…bassist and founding member becomes singer. In-between all this, add the usual band antics including drug addiction/stints in rehab, lawsuits, being shafted by record label/band members, and the tragic deaths of 2 band members. Are you still following?

Fair play, Chip Z’Nuff  is still holding the Enuff Z’Nuff flag flying high in 2022 and if he looks a bit disheveled in his trippy, hippy attire then, he has good reason to be. Not only is his third studio album as lead singer of Enuff Z’Nuff to be released later this year, he precedes that with this, his second solo album entitled ‘Perfectly Imperfect’.

You could be forgiven for being skeptical when Chip took over lead vocal duties from the estranged Donnie Vie. Yeah, the harmony vocals of Chip & Donnie were sublime, but could the bassist possibly pull it off without his longtime songwriting partner? Well, with 3 EZN albums under his diamond studded belt as lead singer and his second solo album on the shelves, it seems the rose-tinted bespectacled Chip is doing just fine on his own.

Of course, the ghost of his former singer is never far from any EZN related release and this album is no different. The first single ‘Heaven In A Bottle’ is an old Chip & Donnie tune that harks back to the early years of the band and has been doing the rounds in demo form for eons. It’s a typical, mid-paced ode to Cheap Trick, the sort of tune they could knock out in their sleep back in the day. Chip’s trippy, laid-back tones are more subdued compared to Donnie’s Lennon-like rasp, and that feel sets the pace for the whole album.

It’s impossible to review this album and not make comparisons to his past songwriting partner. And Chip doesn’t really help matters on ‘Doctor’ by pilfering the main hook from Donnie’s ‘Light Shine On’ from his 2014 release ‘The White Album’. But that said, the duo co-wrote so many tunes the original idea could be from either of them, I guess.

His reworking of ‘My Heroin’ (cunningly re-titled as ‘Heroin’ here) from EZN’s 1995 album ‘Tweaked’ is quite frankly the highlight of the album. I was skeptical on first listen, as its one of my favourite EZN tunes, but fair play, he somehow improves on it. The original was a bare bones recording, a masterpiece of the acoustic slide, harmonica and gut-wrenching sadness, an ode to the pitfalls of addiction. I didn’t think a full band version would improve it, but somehow, with just the addition of bass and drum tracks, it does.

Of the originals on offer, album opener ‘Welcome To The Party’ brings to mind ‘We’re Alright’ (again from ‘Tweaked’) and is a fine listen. It chugs along on the cool hook, again coming on like a long-lost Cheap Trick poptastic dittie that would not sound out of place on ‘Live at Budokan’. ‘I Still Hail Ya’ has a quirky vibe, it’s full of dreamy pop melodies and euphoric vocalisin’. And I’m still not sure if ‘3 Way’ is a driving song or a euphemism for kinky sex, but it’s one of the more upbeat Power Pop ditties on offer and I like it.

Still dressing like a late 60’s Carnaby Street reject at 53 years old, Chip Z’Nuff is flying high again with a selection of old melodies, reimaginings and new ideas.  But listening to ‘Perfectly Imperfect’, I’m left wondering why this album is released under the ‘solo’ moniker? It is no real departure from the signature Chip sound, but it is a departure from the Enuff Z’Nuff signature sound, as are the last 3 albums without his songwriting partner.

If you are an Enuff Z’Nuff fan you will love it I’m sure, but at just 9 songs, it speaks volumes to me that the strongest offerings are the last two on the album; the aforementioned ‘Heroin’, a song Chip wrote a lifetime ago, and a 48-year-old Mott The Hoople song called ‘Honaloochie Boogie’. Maybe it’s just a stop gap to keep the fanbase happy, or one of those ‘contractual obligation’ albums, but as the title suggests, this solo album feels a bit cobbled together, out of time and out of place. But you know what, I do quite like it.

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Author: Ben Hughes

The Chats, Chubby & The Gang, Dennis Cometti – Bristol O2 -Monday 28.03.22

The Chats, Chubby & The Gang, Dennis Cometti – Bristol O2 -Monday 28.03.22


The much-anticipated trip over the bridge to watch The Chats at the Bristol O2 had finally come, after being postponed a number of times due to COVID the place was finally packed full of mullets and Aussie brilliance.

The First support band Dennis Cometti (named after a retired sports commentator) started the carnage as a people crowd surfed their way to the front to ‘on the sauce’ (which is still on repeat in my head) A perfect setup for the evening to come.

After a stop at the bar, Londoners ‘Chubby & The Gang’ send the O2 mental with their souped-up UK HC. It seemed to go by in a flash of strobe lighting, dry ice and dimly lit red lights. With a mix of songs from both albums, Chubby led his band through a pulverising set that fitted in rather well with tonights up for it crowd. Chubby seemed really pumped and up for it feeding off the pit and onto the O2’s large stage, rather than some grubby little club where this style usually lives and thrives. Tonight Chubby & The Gang brought it on to Bristol and went down a treat.

Before placing ourselves out of the bear pit that is the front stalls and go for the safer option and prime spot on the balcony the lights dimmed and out they flew. In an absolute blur of limbs, The Chats hit the stage hard and the only thing moving faster than the songs was the lighting – strobing like crazy sending the pit wilder than a dozen boxing kangaroos. Everything was played at double, nah triple, nah quadruple speed, It seemed like a Chats classics masterclass. Favourites ‘nambored’, ‘temperature’ and ‘mum stole my darts’ sent the Kungfu kicking kids at the front absolutely mental.

With barely time to take a breathe Mr. Sandwith took a trip on some of the multiple liquids flung towards the stage and lay in the pool of beer that had gathered, in excitement he returned to his feet and smashed out a breakneck ‘smoko’ and their newest song, ‘struck by lightning’ and then it seemed to come to a crashing halt. Equipment was broken and chaos was all around which seems like the best way for a Chats show to go.

What felt like a prime frat house punk rock party Australian style – the set length was perfect it was all over and leaving the salivating mob with ‘Pub feed’ was about right. The crowd was duly told to fuck off and the band legged it. Soaked in beers and a cheerio-o their work tonight was done, Bristol was left to come down from The Chats tornado that just tore the O2 a new one. Until next time from a very, very sweaty O2 g’day and goodnight you bonza bunch of noisy swines.

Killing Joke/Imbeciles- Cardiff Tram shed 28/3/22

Killing Joke/Imbeciles- Cardiff Tram shed 28/3/22

As we move further into the new normal and as restrictions drop away and we begin the learning process of living in a “post pandemic world” as things move towards becoming endemic, live music has a huge part to play in the healing process, and re-invigorate our thoughts, attitudes and ability to function in a Tory led new world order. Thinking about new world order takes my thought straight to killing joke a band that have constantly pushed against the barriers of genre, attitude and predictability.

 I mean as scribes we constantly bounce our thoughts around look for influences get hooks to our writing and try and introduce the reader to band’s they might like based on their current listening, now ask yourself two questions

  1. Who are the influences that have helped build the Killing Joke sound?
  2. Who do Killing Joke sound like?

The answer to the first is there aren’t any, Killing Joke are constantly shifting the boundaries of music, they draw their power and intensity from fantastic musicians exploring the scope of their instruments with a frontman looking both inwards and  outwards from an almost visionary perspective pulling the threads together.

The answer to the second? No-One !! Killing Joke stand out on their own an enigma pulled together by an enigmatic frontman, present post punk/post modernist future reaching music, moving ever outwards and dictating where music can go rather than following the masses.

Pulling things back there is a support tonight Brooklyn based anglo-American ‘The Imbeciles’

The Imbeciles are: Butch Dante (guitar and backing vocals), Ben Rice (guitars, lap steel, backing vocals), John Kent (lead vocals, bass guitar, backing vocals, drums, percussion), Joshua Lattanzi (guitars and backing vocals), Charlie Culbert (drums).

Youth played bass guitar and co-write the songs on their new album ‘Imbelica’.

Now I have to hold my hands up I didn’t dive in and research them prior through choice, sometimes its worth making your mind up raw without prior influence in the live setting and myself alongside the crowd  really took to the band again not really a band you could pin down to a specific genre, at times hinting at REM, at times drawing on the grunge attitude Nirvana in particular, but staying in the Seattle sound with the Meat puppets and Soundgarden again coming through and all underpinned with almost a classic rock sound. The new LP will be well worth exploring and I would urge people to check them out live.

In all the times I’ve seen Killing Joke alongside the H Bomb’s experiences who provided tonight’s photos well into double figures between us ‘Love like Blood’ has only been  experienced once and never by yours truly and they only opened with it tonight!!! Fair play and then to follow it with ‘Wardance‘ and ‘The Fall Of Because’ I was a happy man, in fact the whole gig was both intense and relentless, presided over by a frontman on top form, engaging and driven, the intensity just continued to ramp up as the band locked in and by the time we’d gone through ‘Money is Not Our God’ and ‘This World Hell’ we were on fire and then ‘Bloodsport’ just tore the roof off. There were so many highlights until we got to the end of the main set with ‘The Wait’ and ‘Pssyche’.

Time to take a breath and we’re back with Requiem dedicated to Taylor Hawkins, ‘I am the Virus’ and ‘Pandemonium’.

So returning to my initial thoughts Killing Joke are still bang on point as relevant today as they were in the beginning moving and dictating what music should sound like tearing their own path Brutal, intense, challenging and forward thinking as all music should be standing alone an Enigma but one that needs to be experienced by one and all.  

Author: Nev Brooks pics Johnny Hayward

Warrior Soul – ‘Out On Bail’ (Livewire/Cargo)

Warrior Soul – ‘Out On Bail’ (Livewire/Cargo)

2 years on from their covers opus ‘Cocaine And Other Good Stuff’, Warrior Soul return with a brand new album, the title inspired by their enigmatic singer’s past stint in the slammer.

The fact that Kory Clarke has been in trouble with the law may come as no surprise. The mouthpiece of Warrior Soul has been spitting bile for well over 30 years. A band well ahead of their time, Warrior Soul shoulda took the world by storm back in the early 90’s with their politically-charged diatribes and apocalyptical forewarnings, but sadly the world wasn’t ready for Kory’s metallic-tinged rage.

Band members have come and gone; some have sadly shifted off this mortal coil (RIP bassist Pete McClanahan) but the warrior remains…punk and belligerent to the end.

‘Out On Bail’ is a collection of 8 songs that has a running time of around 30 minutes. It has been self-produced by Kory and features a host of players in the ever-changing Warrior Soul lineup that currently includes Dennis Post on guitar and Christian Kimmett on bass. No less than 3 guitar players and a matching number of drummers (Kory even plays drums on one track) lend their talents to an album that was recorded during various lockdowns.

An atmospheric intro piece sets the cinematic vibe, before blasting into topical opener ‘We’re Alive’, a song that builds on urgent beats and that unmistakable 40-a-day gritty vocal that has certainly weathered over the years. The no-frills production suits the raw, punked-up vibe and this opener is a statement of intent for one of New York’s most outspoken sons.

‘One More For The Road’ recalls the Warrior Soul of old in both style and delivery. Road stories and past glories are all wrapped up in dirty riffage and crashing drums. It’s a hypnotic cacophony of new age noise, and we wouldn’t want it any other way, would we?

3 tracks in and ‘Hip Hip Hurray’ again takes us back to the early 90’s alt-metal sounds. A politically-themed diatribe set to crashing primal beats, sonically seductive guitars, and a trademark, anthemic Kory chorus that will remind you just how satisfying it can be to fist-punch the air along to a song! Somewhat ironically, the title track is an 80’s rock throwback. Featuring a familiar-sounding riff straight from the sunset strip, and an instantly addictive hook, it’s a song you can’t help but like. It has a ‘live in the studio’ feel and an AC/DC style finale that sits well.

Closer ‘The New Paradigm’ is Kory at his finest doing something a little bit leftfield. It builds on a stark yet hypnotic bass riff, Kory’s poetic lyric, and a guitar riff reminiscent of prime Jane’s Addiction. An atmospheric, alt-rock feel permeates throughout as the instrumentation ebbs and flows nicely, Kory’s sandpaper vocals leading us into the new world.

So, it’s pretty much business as usual for Warrior Soul in 2022. ‘Out On Bail’ is a solid, no-frills punk n’ roll album, just as you would expect it to be. A short, sharp shock to the system that is as raw, messy, and undiluted as its frontman. And while there is nothing here as exciting as my personal favourite ‘Space Age Playboys’ era of the band, it’s a satisfying listen from an artist who has weathered the storm, come out the other end fighting, and still has something to say.

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Author: Ben Hughes

Asian Dub Foundation – ‘Enemy OF The Enemy’ / ‘Tank’ (X-Ray Production)

Asian Dub Foundation – ‘Enemy OF The Enemy’ / ‘Tank’ (X-Ray Production)

Politically charged upstarts and agitators Asian Dub Foundation first showed up on my radar in the late 90s when I saw one of their videos and whilst not a huge fan of any of the genres they touched upon the whole package intrigued me and collectively it struck a chord – lyrics, the hard rock, the ragga rhymes and that trip-hop all mixed with an Indian flavour was certainly something I’d never heard before or since. although Fun Da Mental and ‘Dog Tribe’ was a genre highlight and possible pinacle but thats for another review.

‘Enemy Of The Enemy’ is an album that crosses the path of Rage Against The Machine, Apollo 440 with a bit of Massive Attack The openers, ‘Fortress Europe’ and ‘Rise To The Challenge’ bring the energy and fist-pumping rage ADF seem to have going on. Whilst ‘La Haine’ that trip-hop Massive Attack vibe. it also had fellow rager and politically charged Sinead O’Connor on ‘1000 Mirrors’

This new version features a trio of bonus cuts including one non-album cut of ‘Illegal Minds’ feat Mark Stewart.

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Fresh from collaborating on an opera about Colonel Gadaffi (they did) alongside the English National Opera, The Asian Dub Foundation followed up ‘Enemy Of My Enemy’ with 2005s ‘Tank’ another altogether darker more menacing opus (if that’s even possible).

Asian Dub Foundation‘s certainly turned up the darkness on this album easy listening it isn’t, uncomfortable listening (if you happened to be a fan of George W Bush) – sure. Right from the off the opening riff of ‘Flyover’, a real crossover of ragga vocals and wild drums, it’s got more than a whiff of Killing Joke going on for good measure. in as much as its political – interesting and innovative.

ADF makes no apologies for their musical stance and being one of the most political music acts around they certainly did challenge the listener and the establishment. ‘Tank’ is their fifth album and by now had really found themselves and where they fitted in or where they didn’t fit in more like. Probably culminating in their most confident record thus far. Even if you didn’t want to engage on a political level the energy they create is intense and powerful something you can’t help but be impressed with. Hell, these are the guys who’ve collaborated with the one and only Chuck D what’s not to like?

They target Home Secretaries, on ‘Round Up’ Presidents on ‘Oil’ they collaborate with Mad Mike on ‘Powerlines’ and also include a collaboration with Perry Farrell on ‘Easy Man’ It’s an intense album named after the American soldier’s vehicle of choice as they blasted Metal through speakers as they drove through Iraq. The dub bass is infectious and the arrangements captivating.

In a world that just keeps on giving these albums are as relevant now as they were almost twenty years ago when they first came out. Have we learned anything? If anything politicians are the people who just keep giving and serving themselves up on a silver platter for bands as articulate as ADF. Not an album I want to listen to every day that would make me sad but an album I’m glad I have in my collection and can dip into every now and then when I want to rage against the machine.

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Soul Glo – ‘Diaspora Problems’ (Epitaph Records)

Soul Glo – ‘Diaspora Problems’ (Epitaph Records)

Philly-based hardcore band Soul Glo signed for Epitaph Records were always going to be challenging and thought-provoking and politically charged, it was a no brainer. with lines like: “Ain’t nothin’ as ugly as a balance in the red / I want bands on every politician’s head” and opening your record with the strained scream of ‘Gold Chain Punk (Whogonnabeatmyass?)’ has got my attention.

Moving straight into the raging screamer ‘Coming Correct Is Cheaper’ hasn’t just got my attention but I’m sat bolt upright looking for the volume control to turn this fucker up! Uncompromising – relentless – breathless and with a pulse going through the roof. Soul Glo are in da house! Fusing hip-hop, hardcore, and punk, the Philly outfit are fearless and brutal in their delivery. Taking no prisoners and most definitely no fucks given! Soul Glo aren’t looking for hipsters but people who want to jump on board ‘Thumbsucker’ mixes it up with some horn (I Think) and melody before diving back into the bearpit with their collective backside on fire for ‘Fucked Up If True’.

This is getting addictive as ‘Jump’ is outta control like a low flying drone with a saw blade attached taking no prisoners. To be fair once you lock into the vocals and a few repeated plays it makes perfect sense and the screaming is deffo addictive.

The artwork will give you an insight into what the album sounds like if that makes sense, But it won’t apologise for taking your mind on a headfucked journey into some bleak territory but the rewards are multiple. The bass on ‘The Thangs I Carry’ is filthy and reminds me of a more extreme Cerebral Ballzy clearly influenced by old school Bad Brains which is always a welcome sight for modern bands that they get where this scenes roots are. Soul Glo are blowing up and rightly so, the record is an explosion of sounds and ideas it’s harnessing those vital triggers and using them in a way people get it. It won’t be for everyone that’s how extreme music goes but given half a chance and this one can fly!

Check out Soul Glo if you dare but don’t blame me if you find yourself in a circle pit at the bus stop or moshing at the supermarket. Hardcore is here and it’s not always a bed of roses!

Buy Soul Glo Here

Author: Dom Daley

The Hellacopters – ‘Eyes Of Oblivion’ (Nuclear Blast)

The Hellacopters – ‘Eyes Of Oblivion’ (Nuclear Blast)

It’s been a while since The Hellacopters put out a new album and in some quarters the anticipation has reached fever pitch. Sure they’re not the band that got down to business all those years ago with the sonic headfuck of ‘Super Shitty To The Max’ Christ that was ’96 they’re a lot older and as for wiser? Fuck knows I do know a lot of water has gone under the bridge since then and not all of it has been good. ISE had their moments but the sound had evolved for sure like a lot of bands where the lineup has changed and careers moved left and right nobody would want them to stand still so trying to avoid the hype train and the fanboys can be an impossible task in the 21st century but here we are. April 2022 and it has arrived.

I find giving the records of Nicke Andersson time to breathe is best for me and dipping in or having them in a mix tends to grab me and the same has to be said about modern Hellacopters. I like that there are ten tracks and each one is almost perfect single in length and it didn’t become something of a ‘Chinese Democracy’ and whilst I wasn’t expecting ‘Action Now’ to rip out of my speakers I was pleasantly surprised with the howls of feedback ringing out of my speakers as the band kick out the jams with a strong opener. Big dirty riffs thumping low end and the Stooges piano tonking away in the background.

Andersson has a very distinctive vocal style and layers of vocals ring out on ‘Can It Wait’ and so many guitars scream out of the speakers in all directions courtesy of Dregen and Anders Lindstrom as well as Andersson Platow. It conjures up an image in my mind of a pirate galleon with Nicke in the crow’s nest moving through choppy waters with his pirate crew blasting out below him as they own the seas. It’s confident and punchy so far.

I was worried that this record was going to be Sweden’s answer to 38 Special but so far I’m delighted with what I’m hearing. The final dramatic refrain of the bluesy Ballad that is ‘So Sorry I Could Die’ which has an excellent performance from the frontman.

The title track is what I would say is comfortable Hellacopters territory and a track that brings up the bands arena Rock side. It’s a little like ‘Sonic Temple’ era Cult – One I’m hoping is a grower. I do however love the old school sleeve and with 180gm vinyl being the choice of the day the card sleeve must be at least 180gms as well which is nice.

Now ‘Plow And A Doctor’ is something I connected with right away. Reminds me of the modern Alice Cooper garage rock rather than the Stooges Garage that can be so alluring. the Piano is great and the overall production from Chips Kiesbye is spot on and just enough Kiss-like polish but a decent dose of rough assed distorted guitars n grit which really suits these songs none more so than this one.

‘Tin Foil Soldier’ veers into a bit of glam stomping territory and some Sweet (Pun intended) Slade like stomping. The breakdown is showaddy waddy on steroids and no filter cigarettes – I like it. ‘Beguiled’ is another 70s inspired rocker with hints of Lizzy in the lick and that’s always a winner.

As we race into the home straight I’m happy with what I’ve heard thus far and not having had a great deal of time to familiarise myself with these songs I’m impressed, and the acoustic rocker that is ‘The PRessures On’ is certainly not a ballad but more a late balmy night rolling through deserted streets in a big fat Cadillac with the top down and the stereo on loving life, it’s been that sort of journey. Leaving just ‘Try Me Tonight’ to take this bad boy home. With a cool lick the song stutters and jerks to life and hits that chorus in the sweet spot and we all join in on the chorus. Great song to close this off. I’m heading back to the beginning and going in again I think this might just be a grower. Get on it now and fill yer ears with ‘Eyes Of Oblivion’ it’s a bit tasty!

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Author: Dom Daley

Supersuckers, The Hip Priests, Deathtraps – Le Pub Newport – Sat 26 March 2022

Supersuckers, The Hip Priests, Deathtraps – Le Pub Newport – Sat 26 March 2022

oh, what a night. This one had been on the to-do list for quite some time some months. Fingers and toes were crossed that this would actually happen as the country opened up.

Tonight Le Pub was bouncing with anticipation for what was promising to be an explosion of energy and rock and roll that had been pent up for oh so long. Deathtraps are south Wales finest exponents of noisy Rock and fucking Roll, Nottinghams finest The Motherfucking Hip Priests and Supersuckers the self professed Greatest Rock and Roll band in the world. This motherfucker is trippin’ on what’s to come.

Deathtraps were first up and we saw Fraser sporting a rather fetching piece of headgear to rival Eddie’s cowboy hat and the band was on a mission to cram in as much music as possible in their tight thirty-minute set. The band went for it from the off delivering a thuggish set with some new tunes that showed they weren’t sitting idle during the past few years’ hibernation and got to write some more decent songs. ‘She Said’ was particularly striking and the set was wound up with a tribute to the departed Hank Von Hell with a frantic cover of ‘Denim Demon’ which went down very well to finish off a most pleasing set.

The Hip Priests have been on the whole tour around plague island with Supersuckers and hit that sweet spot where everything sounded tight and they were in their groove right from the off. Opening with ‘Black Denim Blitz’ ‘Survival OF The Shittest’ a fitting tune that signaled the avalanche of venom from the twin guitar attack of Austin and Ben as they bookend the sonic explosions that is Von Cruz, a man who can’t stand still for a split second whilst Brother Lee Love holds the bottom end that holds these tunes together along with Des the rhythmic pair sound like a carpet bombing of hard rockin punk attitude.

Supporting in a venue they often headline at saw the slimmed-down set bolstered with the sound of no less than four new songs that sounded exciting and if they’re anything to go by the new album is gonna burn. They’re about to finish off what will be a career-high and see this ten-legged groove machine burn a path to glory. By the time they hit ‘Zero Fucks Given’ they were on fire and exploding a stick of dynamite that Eddie and the boys have to try and follow.

Taking the Newport stage to the strains of EVH mr spaghetti is Looking well in his trademark cowboy hat and shades. Eddie Spaghetti was about to get down to business and shake the shit out of one of the best music venues around and show the good people present that Rock and fucking Roll was alive and kicking and in rude health. Taking in songs from all quarters of the band’s catalogue and shaking up the set from previous nights and therefore keeping it fresh my only complaint to the management would be this, With so many great songs of their own why three covers in a tight – compact set? Sure I love me some Michael Monroe and Thin Lizzys ‘Cowboy Song’ is a banger as is their tribute to ZZ Top but I think I’d have loved to hear a bunch of other classic Supersuckers tunes, just saying.

Whinge aside tonight the band was loud and proud and didn’t substitute any subtleties from the melodies with volume and Eddie was in great spirits with his banter. The Supersuckers love a cliche and why not? Rock and Roll is a celebration and not something everyone can do and do this well. They have songs with Rock and Roll in the title (and more besides) they love to let people know they are in the company of the Best band in the world and Metal Marty Chandler has the tone ringing through his les paul that would surely meet the approval of Jonesy whilst Christopher Von Streicher holds a tight ship in the engine room making it sound so effortless sure does make for a great band who sounded in fine form road worn and battle-ready. Tonight the Supersuckers have the Evil Powers of Rock and Roll well and truly harnessed and delivered the good.

It has been probably ten years since the last time I saw them live bar Eddie acoustic and whilst I regret not seeing the Evil Powers album in the full set this was a pretty damn perfect cross-section. Whilst there can and will be debating what is the perfect set there can be no debatin that when Supersuckers are on it they burn a hellbound trail and I’m always on board with that. Until next time hombres it was indeed a pleasure and not a second of a chore – three bands for less than £20 is an absolute bargain especially when they’ve been this damn good.

Author: Dom Daley

These Arms Are Snakes – ‘Duct Tape & Shivering Crows’ (Suicide Squeeze Records)

These Arms Are Snakes – ‘Duct Tape & Shivering Crows’ (Suicide Squeeze Records)

When you get an album to review that describes the band behind it as being; “a combination of synth-infused noise rock, bad-trip psychedelia, flamboyant proto-metal boogie, and unhinged basement-show hardcore.” I will challenge anyone not to have their interest immediately piqued.

I mean, what the hell did These Arms Are Snakes actually sound like when their spark burned brightly, albeit briefly, back in the noughties?

Well, ‘Duct Tape & Shivering Crows’, a thirteen track retrospective of the Seattle band’s seven year career, is certainly as good a place as any to find out.

With a tracklisting that runs in reverse order and kicks off with one of the last tracks the band recorded in the shape of the spikey ‘Meet Your Mayor’, These Arms Are Snakes immediately have me thinking of bands like Drive Like Jehu, Burning Airlines and Wales’s very own Midasuno.  This is music that is never going to get played on mainstream radio, but then again what music worth writing about actually does?

For me, it’s when the keyboards kick in during the Snakes’ take on Lost Sounds’ ‘Energy Drink And The Long Walk Home’ and the shadows of the grossly overlooked The (International) Noise Conspiracy are cast long over proceedings that the band fully ignite adding their own unique stamp to the song, something they then proceed to do with their almost Fall-esque take on Nirvana’s ‘Heart Shaped Box’. Interesting stuff indeed.

For the slightly more adventurous of you out there, it’s the likes of ‘Old Paradise’ with it’s almost Voivod like time changes and the mosh pit adrenaline rush of ‘Payday Loans’ that literally explodes from the speakers after an initial semi-ambient intro, that should get you grinning from ear to ear.

Finishing the set off with four songs from the band’s very first demo, ‘Duct Tape & Shivering Crows’ is only missing an overpriced can of beer, a perma-sticky dancefloor and the stench from the toilets to make it feel like the perfect night out at Newport’s Legendary TJ’s back in the early noughties, and as ‘The Blue Rose’ delivers the album’s watermelon Bubblicious influenced final notes, I can close my eyes and almost feel like I’m right back there.

You can sample the magic for yourselves (and maybe even recreate your very own favourite long lost music venue too) when ‘Duct Tape & Shivering Crows’ is released via Suicide Squeeze Records on CD, cassette, digital formats, and 2xLP on April 15th 2022.

Buy Here

Author: Johnny Hayward