Brett Anderson and Charles Hazlewood with Paraorchestra + special guest Gwenno presents Death Songbook – Cardiff, Millennium Centre – 29th October 2022

Brett Anderson and Charles Hazlewood with Paraorchestra + special guest Gwenno presents Death Songbook – Cardiff, Millennium Centre – 29th October 2022

Originally streamed live via BBC Wales (from this very venue) during one of the UK’s Covid lockdowns, Death Songbook is a labour of love (and death) for Suede frontman Brett Anderson and renowned conductor Charles Hazelwood. Re-imaging their chosen roster of songs with the hugely talented composer/arranger and multi-instrumentalist Charlotte Harding to celebrate life’s ending and the transcendence of the soul via a rich tapestry of sound, provided by the world’s first integrated ensemble of virtuoso professional disabled musicians, the Paraorchestra.

The Millennium Centre, is certainly bristling with life tonight though, as the first live outing of Death Songbook is being staged midway through a 5 day festival of voice, brought together under the banner of Llais (which Welsh for Voice by the way), with the venue given over to such things as; the Welsh Music Awards, an exhibition celebrating the Cardiff music scene, whilst there are also topical debates and live performances from artists as diverse as Pussy Riot through to the combined choir of Cwmdare Voices and Pelenna Valley Male Voice Choir, who just happen to be opening proceedings, in their own imitable joyous fashion, here tonight.

With the sound of ‘Yma o Hyd’ setting the tone perfectly for what is about to follow, tonight is unlike anything I’ve ever experienced before in the live arena, not least because 1) it’s my first time of experiencing the bar setting and jaw dropping acoustics of the Millennium Centre’s Donald Gordon Theatre for a live music event, and 2) it’s the only time I can ever remember in my forty plus years of going to watch live music that I’ve been at an all seated event and not wanted it to just bloody end as soon as it started.

Why? Well Death Songbook is unique on so many different levels, not least in that it exposes the true power of Brett Anderson as a performer, and indeed voice of a (new) generation, and anyone who can deliver an almost acapella version of ‘My Death’ and make it sound their own, truly deserves all the plaudits they are due. It is also the fact that this isn’t just Anderson and Co. doing cover versions of songs they love and respect, no, these songs sound positively re-born in this format, and be it Skeeter Davis or Mercury Rev tunes (both of which featuring the additional vocal talents of Gwenno) given the Death Songbook treatment, they sound absolutely magnificent.

There are of course a few dalliances with Anderson’s very own back catalogue, and for me it is the orchestrated version of ‘She Still Leads Me On’ from, what has to be one of 2022’s best albums, ‘Autofiction’ that hits home hardest. Written as a tribute to the lasting effect his mother has had on his life, long after she has passed away, which is something that I’m not afraid to admit also resonates strongly with me. It’s during this version delivered without his usual Suede sidekicks that its noticeable just how much Anderson loves this new material and for once its also fantastic to savour his finely maturing voice without him seemingly having to shout over them too (as anyone who witnessed their recent appearance on Jools Holland will no doubt have observed).

With one foot well and truly placed in the ‘80s via the song selections from Depeche Mode and Echo & The Bunnymen and Japan (the stunningly beautiful version of ‘Nightporter’ has to be heard live to be believed) I do have to wonder why Talk Talk’s impressive back catalogue wasn’t considered for inclusion? Perhaps, it’ll be held over for Songbook 2? Something that must surely be on the horizon given that Anderson and Hazlewood have been writing together (‘Brutal Lover’ is premiered tonight) …and I for one certainly hope this to be the case.

Who ever thought death could be so much fun, eh?

Author: Johnny Hayward

Iggy Pop is in a Frenzy

Iggy Pop is in a Frenzy

Not one to retire quietly Iggy releases a video for a new song ‘Frenzy’ where he draws in some big hitters to accompany him on the recording. Duff McKagan who he hasn’t worked with since ‘Home’ is thumping the four string whilst Chad Smith pours petrol to fuel the fire in the engine room. I’d love to think this points to a new album in 2023 of raging garage rock n roll from Mr Pop that would be something to look forward to that’s for sure – until then this will more than do.

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Two For Tuesday

Two For Tuesday

Taken from the new album ‘I Live To Fast To Die Young’ – still drinking from the fountain of youth Monroe and his awesome band deliver this fantastic new video for ‘Derelict Palace’.

Seconds out round two how about this spooky banger from Swedens The Dahmers ‘On Halloween’ is the second spooktacular tune for this Tuesdays offerings.

The Dahmers, are a Swedish rock ‘n’ roll horror sensation that’s creeping up on you. With a tornado of influences like garage punk, classic rock and 60’s pop this band truly is a Frankenstein’s monster of music. This is a band who’s going their own way with colorful contrasts and still keeping the main essence of what they are all about. With their catchy tunes that get stuck to your brain like a leech, The Dahmers sucks you into their music and to a world filled with darkness. Their lyrics and aesthetics have a big inspiration from classic horror movies but you also find emotional exposures about frustration, solitude and alienation amongst other things in their songs. They are skeletons with attitude and put as much effort into the visual experience as in their music. 

Spaghetty Town Records (USA) along with Ghost Highway Recordings (Spain) will be releasing “On Halloween” as a vinyl single in 2023. 

The Black Halos – ‘… How the Darkness Doubled’ (Stomp Records)

The Black Halos – ‘… How the Darkness Doubled’ (Stomp Records)

The Black Halos are back and the Darkness has Doubled! since ’94 The Black Halos have been at the forefront of punk n roll when the world was shoegazing and not wanting to look or sound like they were in a gang or band of brothers, bands like The Black Halos were a much-needed shot in the arm and above all they had songs. Plenty of em and they were fan-fuckin-tastic!

The self-titled debut was a much-needed shot in the arm and to follow it up with the magnificent ‘The Violent Years’ the band could do no wrong. They were on MTV and all was good.

With two further albums and some line-up changes, they were still contenders and I loved those albums but something was missing. Now original members Billy Hopeless, Rich Jones (guitarist with Michael Monroe, Ginger Wildheart, AMEN), and Jay Millette, have got the mojo back for the band and that X Factor is right up front and centre on this new album. Joined by new boys John Kerns (The Age Of Electric) and Danni Action (ACIIDZ) the rhythm section is on fire and stoking the furnace in the engine room for the band to truly set ablaze these new songs.

After a few singles that came out ofver the last couple of globally troubled years, we need bands like The Black Halos out there doing it and leading the way for honest, beautiful punk n roll. when they released the singles the sound was there and the tunes were easily some of their best ever written and recorded – maybe their time apart was needed to rebuild and come back stronger and wiser.

The album, recorded in Toronto and mixed by Dave Draper (The Wildhearts, The Professionals), as the guitars kick in on the opener ‘A History Of Violence’ the years just peel back and twenty years melt away. Its got adrenalin, melody, and the familiar Black Halos gang vocals and we’re underway with a Cheshire cat grin knowing that shit just got serious and The Black Halos are in the fuckin Room!!!

the record sounds amazing and ‘Tenement Kids’ opening lick sounds like classic Manic Street Preachers if only they had the bollocks to turn up their guitars its a belter of a song that will leave the intro lick inside your head to just sit dormant before growing over time and before you know it your singing along – classic Halos. A couple of the previously released singles get a look in with the lyrically astute ‘Uncommonwealth’ that just rumbles along like a prowling hungry pissed-off beast. It was a great single but in the mix of this record, it sounds brilliant. The relentless slap of the snare and repetitive chant is pure Halos.

‘Forget Me Knot’ is a confident stab with some magnificent backing vocals and the whole arrangement is one of their finest – its fair to say these gents live it and love it and on songs like this champion it and so they should. They mix things up on the song ‘Better Days’ adding variety on the guitars and it has to be said Billy’s vocals are sandpaper wrapped in a velvet glove his melody is exceptional and again I have to return to the arrangement – its so well delivered it sounds like we’ve been playing it for years never mind a mere couple of weeks, these are better days indeed with a soundtrack like this.

With eleven originals and one amazing cover, this record is unquestionably one of the best records I’ve had the pleasure of all year and it’s so pleasing to hear a band I love absolutely deliver the goods and some. There isn’t one second that doesn’t deserve praise and I’ve heard a lot of music this year but this sounds special and the more I’m playing it the more songs are jostling for positions with a solo that stands out here or a melody there it’s honestly that good. ‘All My Friends Are Like Drugs’ or the epic and heartbreaking ‘Ain’t No Time To Say Goodbye’ written for Mr Chi Pig (SNFU frontman) it was and is one of the best singles I’ve heard for several years, I must have played this song a thousand times since it was released on yeah right! records back in August 2020 if you’ve never heard it then there is no better reason to get a hold of this album right now its one of the best songs the band has ever written and that’s not even up for debate.

In the belly of this here record, you have a cover of The Wanderers ‘Ready To Snap’ which was a fantastic tune, and roping in legend Michael Monroe to handle vocals alongside Billy makes perfect sense, and boy this is how to do a cover from the passion in both vocalists delivery to those backing vocals this song goes to the next level. If I haven’t done my job and whet your appetite for this album then I can only apologise to the band, the label, and to people who still believe in Rock and Roll and its amazing powers if you only buy one record this year then I suggest you beg, steal or borrow a copy of ‘How The Darkness Doubled’because it is a relentless, high-octane blast of classic Halos punk rock ‘n’ roll! and one of if not the best record released in 2022. How’s that for leaving on a ‘Positive Note’ now getoutofhere! you beautiful bastards! The Black Halos have just nailed it…again!

Buy Here / Amazon UK

Author: Dom Daley

Miles Hunt – ‘Things Can Change’ (Good Deeds Music)

Miles Hunt – ‘Things Can Change’ (Good Deeds Music)

Milo announced that this was probably his last studio record and my heart sank, But what if it’s a belter that needs a follow-up and Milo hits a rich vein of form and…and of course he’d record another alum won’t he? I then have a word with myself and relax I’ve not even dropped the fuckin needle on this one – I might not want him to make another record and then the lush laid back tone of ‘I Used To Want It All’ rushes in and that familiar vocal kicks in and all is well again from the mid-tempo melody to the wonderful saxophone courtesy of Glen Johnson, this sounds excellent and after several plays, it just gets better and better with the layers of Organ and guitars its classic Hunt and I love that.

‘And She Gives’ is like a mid-period Stuffies track all big sweeping acoustic chords and the usual engaging great vocals – Hunt is giving it his all. It’s like the sands of time have stood still and his vocals sound warm and engaging. In the sleeve notes, Hunt explains his own lockdown and how he survived relatively unscathed due to being at ease with his own company it features Laura Kid on vocals and the song works really well like a dusky summers eve with a great song being played elsewhere and you strain to listen and you like it but try to remember who it’s by.

I like that Hunt can write for The Stuffies and his solo work and although he obviously can’t change his voice the two sound quite different yet share the same DNA it might not be something I can explain well but those who like it know. The recordings were made from LA to Shropshire via London and various other locations and home studio setups Hunt handles the production and pulling that all together in a modern way must have been exhausting and daunting at the same time none more noticeable on ‘Lucid Is As Lucid Does’ featuring Billy Duffy Its certainly not how records used to be made but its the best of both worlds old and new and if you can phone in songs as good as this then lets roll into the future. Duffy doesn’t go Gonzo Rock but plays with sympathy to the song and even though his solo is pure Duffy it works really well. (What about a new Vent album guys?)

Side two kicks off with possibly my favourite track on the record with Mark Gemini Thwaite and Pete Howard lending their big talents as does Kidd again chip in with some vocals but the saxophone reminds me of Jamie Heath who played saxophone with Johnny Thunders and passed away some years ago but the feel of the playing is so similar and exceptional and it really adds to an already fantastic song.

‘We Can All Do Better’ has a filthy deep rolling bass line that thumps your acoustic wooden flooring and the relaxed groove makes for a great song. It’s got a real thump to the rhythm and Hunt explains that for the first time in decades three Vent 414 pleople were on the same song – now this bodes well doesn’t it Milo? Milo? The record just seems to get better and better play on play and Milo’s walking song ‘This Descent (Someone To Save Me)’ works well (for walking milo is bang on with his sleeve notes – good tempo). Stripped down to a four-piece Milo can indeed sing the blues on ‘Team Valentinos’ with a trippy San Fran kinda vibe on the organ solo. The record is lean and has not an ounce of fat on it. The songs are wonderfully arranged and this record is a real boon on the back of the recent Stuffies tour that was awesome as ever and to wrap up this ten-track diamond is something of a Vent 414 that I illuded to further up as ‘Que Viva La Soledad’ is a wonderful song to finish this record off. With a slower dreamy tempo with some exceedingly heavy guitar accents throughout and a hypnotic bass line, it’s a superb way to sign off the album but please maestro play on, the world needs more Miles Hunt records and on this form, there has to be more. I guess things can indeed change and I hope they will. What a beautiful record this is. My advice is obviously go buy this album…Now!

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Author: Dom Daley

Celtic Frost – ‘Danse Macabre’ (BMG/Noise Records)

Celtic Frost – ‘Danse Macabre’ (BMG/Noise Records)

Back in the mists of time when I was a young lad I had a friend at School who had been on a trip to London where he went to shades record shop and returned clutching an album by a band called Hellhammer, Remember this is pre-internet, no google, no Discogs, no amazon, no super internet it was a flick through Sounds, Melody Maker, NME or Kerrang for your fix of what’s hot or not and even then for us kids in the sticks it was a process of saving up and take a chance. That ‘Apocalyptic Raids’ was a gateway into a sound that was perfect for us kids who loved a bit of punk and also the allure of a bit of metal, it was dark, dangerous and fascinating, throw in some dark occult imagery into the mix and our parents would hate it so it was always a winner.

I read recently an interview with Tom G Warrior where he described their sound as musical anarchy (even though Warfare were metal anarchy) he wasn’t far off the mark the music was indeed extreme and mixing up the punk of UK82 hardcore and metal it was perfect. We already loved Venom and Motorhead and what was going on over the pond on the West coast was taking hold it was exciting to trade tapes and get to hear what was coming out of Europe.

Hellhammer became Celtic Frost and the rest is history alongside VoiVods ‘War And Pain’ a few of the Venom albums Celtic Frost was really pushing the boundaries and doing it better than most. For a few short years, Celtic Frost were the bees knees and released some seminal albums that became harder to find than hen’s teeth so ‘Danse Macabre’ is a much-anticipated release and when opening the box the package that’s been put together is of the highest order and right up there with the complete Venom boxset which is the absolute pinnacle of how to do a boxset this isn’t far behind.

Released as a plush five-CD set including all the albums from the period a smart pin badge, a patch double-sided poster and a really interesting book. Noise deserves some credit for delivering such a good set. ‘Danse Macabre’ vinyl set captures the raw excitment and new age dawning in extreme metal and the ambitious direction these Swiss and American band were taking their music. ‘Morbid Tales‘, ‘To Mega Therion’ and ‘Into The Pandemonium‘, the marble color vinyl box set also includes the ‘Emperor’s Return’, ‘Tragic Serenades’ and ‘I Won’t Dance’ EPs, along with ‘The Collectors Celtic Frost’ compilation, a 7″ of ‘Visual Aggression’ and a cassette of rehearsals recorded at the band’s Grave Hill Bunker. A 12″ x 12″, 40-page book, brings together photography — some previously unseen — from the era and brand new interviews with Tom Gabriel Warrior and Reed St Mark. A Heptagram USB drive contains MP3 audio of all the albums, including bonus tracks…and breath.

How’s that for a comprehensive round-up? Always pushing the envelope, it’s mad to think the band was still just snotty-nosed kids when Hellhammer was a thing then through ‘Morbid Tales’ and then the classic ‘To Mega Theron’ and ‘Emperors Return’ it was a blink of the eye and they were gone. Some of these haven’t been pressed on vinyl for the thick end of forty years (37 to be exact) so it’s a veritable feast for fans old and new the CD version are gatefold with vinyl-like mini inserts but people of a certain age-who will be on the end of the hook might need some reading glasses to appreciate fully the detail. that aside this set is an absolute no-brainer The omission of the third album might be an elephant in the room but had ‘Cold Lake’ been included it would have been complete, regardless – Go buy one – Now!

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Author: Dom Daley

The Cheats – ‘XXI’ (Screaming Crow Records)

The Cheats – ‘XXI’ (Screaming Crow Records)

Formed in the winter of 2001 from the ashes of Silver Tongued Devil, The Cheats decided to create the kind of band that was lacking in their hometown of Pittsburgh, PA – an old-fashioned, late-70’s-style punk rock ‘n roll band. Led by vocalist Todd Porter, aka Todd Cheat – former frontman of Silver Tongued Devil (People Like You/Century Media) and Eviction (Metal Blade), the ever-evolving line-up logged many miles on tour, adopting the DIY punk attitude that is crucial to the scene.  
 
2022 marks The Cheats 21st year as a band and they are celebrating with this compilation of 21 cover tunes. Some of these fun tunes have been released on early albums, compilations, 7”s, some were recorded and haven’t seen the light of day and some are fresh out of the studio. ‘XXI’ is not available in stores and is being released as a limited edition, fan club-only album.

Kicking off with an excellent sloppy party anthemic take on the Joneses classic ‘Pillbox’ and to be fair they absolutely nail it with the gang vocals and the punk n roll tones it has energy and the tune rings out loud and proud. To be fair The Cheats selection is stunning from Demolition 23 and The Joneses through Backstreet Girls and The Dogs D’Amour they also take ownership of the Quireboys classic ‘7 O’clock’ and who wouldn’t cover the Dead Boys?

‘Hammersmith Palais’ is snotty as fuck whilst their sprightly take on Cheap Tricks ‘Surrender’ is rapid and a heap of fun. ‘Hanging On The Telephone’ is excellent and these guys clearly just get it you know the whole punk n roll vibe they clearly love it and live it and I love that. It would be so easy to miss the point and deliver these songs (as good as they are) in a weak going through the motions but I’m delighted to report that the Cheats could never be accused of falling into that trap because there is nothing lame or going through the motions here they pretty mcuh nail every single track and take ownership of some pretty iconic tunes.

The fact they didn’t go for the most popular songs by these influential bands is a credit to The Cheats ‘I Don’t Want You To Go’ sounds joyous and they’re having the best of times running through such classics. ‘All this And More’ is a blinding tune anyway and they nail it. I didn’t know the Quireboys could sound so sleazy and punky and they hit their peak on those backing vocals. Hell, I’ll get the beers in if you come over to the UK and we’ll have the best house party ever. Sure songs like ‘Born To Run’ have been done and done really well before (Frankie Goes To Hollywood) but why not? you have to drop some big bombs every now and they it makes the lesser-known classic stand tall next to the big hitters.

Hearing Love and Rockets or Oasis next to The Dogs D’Amour and Demolition 23 is superb the Cheats I bow down to your exquisite taste in Rock and Roll and the fact you’ve been slogging it for over two decades is superb and I and RPM Online salute you. you deserve this moment and its fair to say you nailed it! Rock on brothers, Rock on!!

www.therealcheats.com
https://thecheats412.bandcamp.com/

Author: Dom Daley

Duster 69 get a new lease of life

Duster 69 get a new lease of life

Between 1999 and 2007, German stoner rockers Duster 69 released four full length albums, a handful of split EPs and singles with bands like Calamus, The Awesome Machine, Rickshaw, and House Of Broken Promises, and one final EP before splitting up. A collection of rare and unreleased stuff came out in 2008 and capped off the band’s initial run.

After 14 years, the band’s original lineup got together and recorded two new songs for a very limited single on No Balls Records appropriately titled 2021.

Knowing that all the original releases are long sold out and out of print, the band wanted to put together a career spanning collection. Here we have 13 tracks carefully selected from all those albums, EPs, and singles remastered just for this release.

Tracklist:

Side A:
1. Remember
2. Oppose
3. Upcoming
4. 50 Miles
5. Schoolbus

Side B:
6. Going Into Red (featuring John Hermansen)
7. Red Goat
8. Tornado
9. Pride
10. Bad Luck
11. Dust Crusher

CD Bonus Tracks:
12. A Triangle In An Empty Room Without Any Windows
13. Calling

ORDER NOW! ← click here to order

LP – $20 + postage
CD – $10 + postage

200 LPs pressed

  • 100 beige through Savage Magic for North America
  • 100 red through Ozium (Sweden) and Daredevil (Germany) for Europe

200 CDs pressed

This is a limited pressing of only 200 LPs. 100 were pressed on beige vinyl and are available only here through Savage Magic Records. Another 100 were pressed on red vinyl and made available only through Ozium Records in Sweden or Daredevil Records in Germany. 200 digipak CDs containing two bonus tracks have been pressed and are available in limited amounts from each label.

Visit savagemagicrecords.com for more info
or email info@savagemagicrecords.com to pre-order!

Check out Duster 69 here:

Frank Carter & The Rattlesnakes sign Golden Robot Deal

Frank Carter & The Rattlesnakes sign Golden Robot Deal

Golden Robot Records is proud to announce a licensing deal with sought-after and much-loved UK band, Frank Carter & The Rattlesnakes. 

Having already played on some of the biggest festival line-ups including Leeds Festival, Download Festival, Hellfest and Reading Festival, it is clear Frank Carter & The Rattlesnakes are here to write their own history, their way. 

In 2015 the band released their debut EP Rotten before releasing their first full-length album, Blossom, later that same year.  Their second album, Modern Ruin saw the band complete their current line up with Frank Carter on vocals, Dean Richardson on guitar, Tom ‘Tank’ Barclay on bass, Russell Elliot on guitar and Gareth Grover on drums. 

2019 brought their third album End of Suffering to life featuring single ‘Crowbar‘ and continued to cement the bands place in the industry before the untimely shutdown of the world. The time in lockdown allowed the band to meticulously work on their fourth album, Sticky, released in 2021 and featuring a guest appearance from Joe Talbot of Idles on lead track ‘My Town.’ 

2022 will see Frank Carter & The Rattlesnakes release two new singles via AWAL in conjunction with Golden Robot Records, before the band continues to work on their new album which will be released via Golden Robot Records, their new home label in US, Canada, Australia and NZ.

Golden Robot Global Entertainment Group CEO & President Mark Alexander-Erber has expressed his excitement at the deal coming to fruition after having the band in his scope for years, commenting “Frank Carter & The Rattlesnakes have been on our radar for many years and to finally have them as part of our international rock n roll family is a real achievement for Golden Robot Records. We are super excited to be involved with the band and their brilliant management team (ATC Management) in the UK. The next few singles are rippers and the album for 2023 will take the band again to another level globally.“

With global powerhouse company Golden Robot Global Entertainment now backing Frank Carter & The Rattlesnakes in the US, Canada, Australia and NZ, there is no telling what the band could do next.

https://www.facebook.com/frankcarterandtherattlesnakes/
https://www.instagram.com/andtherattlesnakes/
https://www.andtherattlesnakes.com/
https://twitter.com/therattlesnakes
https://goldenrobotrecords.com/golden-robot-records/frank-carter-and-the-rattlesnakes/

The Gasölines – ‘Death or Eternal Glory’ (Speed Club Records)

The Gasölines – ‘Death or Eternal Glory’ (Speed Club Records)

The second album from the Norwegian high-octane rockers The Gasölines! The band embodies the whole greasy, dirty liquor-swigging Rock and Rollas. they embrace every cliche and wear it like a badge of honour and why the fuck not? They riff on a steady diet of what’s gone before them from the 1950s through the 1990s and into the 2020s. With a rigid middle digit in the air and smoke coming off the oil-soaked floors turn this sucker up!

“We didn’t invent the wheel on this album. There’s no need to. Rock will forever kick the elite hipsters’ asses with their man buns, fancy coffee, electric kick scooters and vegan smoothies. This is pure rock’n’roll with proper amps, only mics on drums, no autotune, just four guys having a blast in studio”, says Morten Gasöline. A big antagonistic claim that you just have to back up. Cars, Beer, Women, gambling all the ingredients that have been a staple of this genre.


The album kicks off with the DC riff-a-rama of ‘Rum Runner 500’ with its solid beat and wailing solo as the riffs come hard and fast. It’s exactly what I was expecting and true to their words the band pile in – it’s macho and whilst its not original at all its authentic and they certainly sound like they walk the walk. The pace is picked up on ‘Grand Prix’ as they shift through the gears and turn up the tempo for a much better song.

To be fair ‘Dragstrip Inferno’ is sort of a halfway house of the opening two songs with wailing guitar solos and more lyrics about fast cars it doesn’t take a genius to work out what these cats are all about. when they break away from singing about motors ‘Hellbreaker’ bursts into life on a rumbling bassline that is thick as a builders sandwich and they hit a decent groove. The track ‘Snakebite’ is more of the same (surprisingly) sounding like a Gene Simmons Kiss song with a growling gravelly vocal over a solid backbeat.

You also get some punk rock n roll in ‘Burning Dice’ and a little of what they were probably listening to before heading to the studio as some Dirty Deeds era DC filters through their DNA. Spread out over ten tracks it’s a heavy beast and at times laces a little variety but when they hit their groove they sound on fire. Turn it up kids it’ll annoy your parents as their forefathers did and that’s always a great starting point. Play Loud! Like the band obviously did when recording this beast and the artwork is awesome and reason alone why you should check these out.

Buy it Here

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