Sweden’s finest purveyors of honky tonk flavoured rock n’ roll return with a new long player, just over 18 months after the luscious double album offering ‘Slap Bang Blue Rendezvous’ hit the shelves.
It seems nothing can keep Sulo and the boys from delivering good time rock n’ roll like the last 6 decades of musical innovation never happened. The Faces meets The Stones is a good rut to be stuck in and we wouldn’t want it any other way, not when the songs are this good.
Written and recorded over an 8-day period and recorded in old school analogue, ‘About The Hardest Nut To Crack’ sees the Swedish band in fine form from the word go.
12 bar boogie blues is the name of the game with opener ‘Get A Rock n Roll Record’ and the message is as simple as the three-chord progression it rides on.
Next up ‘Blight The Life’ is one of those life affirming, instantly familiar Sulo melodies. You’ve know you’ve heard it before, but you’re not quite sure where. Was it Rod, Jagger or Monroe? Who knows, or even cares as a mournful fiddle leads us down an emotive road, one we love to frequent again and again.
The low-slung rock n’ roll of ‘Wring It Out’ has plenty of Faces swagger and it’s a raucous party that Sulo and the boys are jamming, with gospel-tinged backing vocals, stabs of keys and a certain boogie-woogie swagger.
There are earworms aplenty on offer. The likes of ‘Gurus and Gangsters’ and ‘Desiree, Yet Another Lonely Mile’ are pure euphoric nostalgia, and about as 70’s as listening to the top 40 run down whilst scoffing a Sunday roast. Songs that groove in a certain way and insist you turn up that dial and dance like no one is watching.
Sulo’s reflective lyricism recalls the good times and the tight musicianship but loose delivery backs it all up in just the right way. The banjo action on ‘Old Timer’ gives a rustic, partisan feel that sits well with the low-slung guitars and gravelly vocals. The sloppy, but perfectly delivered solo as worn and weathered as the vintage gear it is played on.
The glam slam, foot-stomping closer ‘Rising From The Ruins Of Rock n Roll’ sees the band sign off by telling us to spin them records one more time and not to forget the reason they (and we) do this thing they call rock n’ roll anyway.
A new Diamond Dogs record is always cause for a celebration, and ‘The Hardest Nut To Crack’ does exactly what you would expect. Naysayers may argue that Sulo and the boys are doing nothing new and shock horror, may even be classed as ‘generic’, but you know what? Sometimes I want something familiar, something that doesn’t stray from the path and delivers exactly what I expect it to, and the Diamond Dogs do it every time. Get this rock n’ roll record, play it loud and spread the word.
(Atlanta, GA) Has it been 10 years of Ravagers already?! Those rabid Baltimore rockers are back with a 10 year anniversary release of their debut EP “Livin In Oblivion”. Originally pressed in 2013 on Virginia’s Cricket Cemetery Records, “Living In Oblivion” has been long out of print and we all agreed it needed to be back out there. No more paying exorbitant discogs prices anymore. Also, this EP has some Ravagers classics, that are also live staples, like “Suicide Bomber” and “Cold Heat”. These tracks set the tone for Ravagers follow up releases “Natural Instinct” (2015) and “Badlands” (2022).
“Livin In Oblivion” was produced in 2013 by longtime friend of the band and guitarist Matt Gabs (Biters/Fishnet Stalkers), who later joins the Ravagers, first appearing on their latest release “Badlands” (2022). The 2023 release comes with original art and insert. It was also remixed and remastered by “Badlands” producer Dan Dixon. The vinyl is available now in the US from Spaghetty Town Records and is available on all major streaming and download outlets.
First released as a limited run for RSD this iconic and memorable show is captured for the masses on vinyl and streaming with exceptional sound compared to the ropey less than perfect bootlegs that were available.
Recorded on November 15, 2002, the concert was a benefit for striking firefighters and would be one of Joe’s last performances (he passed away a month later). The performance features a three-song reunion with Strummer’s former bandmate from The Clash, Mick Jones, who reunited on stage for the first time in almost twenty years. When I first dropped the needle on this I was awash with emotion as I heard Strummer’s voice and it weighed heavily on my mind for a while just thinking about how I’d never hear his voice again nor get the chance to see him perform. Man I loved the Clash and I loved his solo output listened to more than most in my collection over the years and hearing his mid-song banter here is emotional. Dropping the C Bomb on Simonon and Topper before ‘Police And Thieves’ makes me smile even after hearing it for the umpteenth time. The band Strummer had put together under the Mescaleros banner were always loose yet tight and usually nailed the songs, even the old Clash classics when they opened that particular war chest.
It has to be said that the remastering and production on this official version is exceptional and every instrument has its space when played loudly through a good set of monitors or headphones it’s exceptional what you can hear spilling out. If it’s overdubbed later on I know not but frankly, I don’t care either – it’s a moment in time and one tinged with sadness and glory. the Clash penned some of their generation’s finest tunes no question and Strummer’s solo output isn’t too shabby either but I guess this release is all about the reunion however fleeting and brief. I’m glad it happened and they got to share this moment together and that it was captured for everyone to enjoy.
‘Johnny Appleseed’ and ‘Coma Girl’ sit very nicely alongside ‘Police On My Back’ and ‘I Fought The Law’ but truth be told I’d have paid £30 just for the encore with Jones ‘Bank Robber’, ‘White Riot’ and the appropriate ‘Londons Burning’ are killer, no doubt about it sloppy but oh so sweet. Rest In Peace Joe your body is sorely missed but your soul lives on and on. Buy It!
Ex-Humpers Scott Drake & Jeff Fieldhouse lead this group along with Saul Koll, guitarist also from Lovesores, 8-Foot Tender & The World’s Strongest Men bands with bassist Anna Andersen & drummer Tim Connolly. Vinyl and CD are coming down the track so until such a time we’ll have to go down the digital route. Now stop monkeying around and pay attention this is serious. What we have for you is ten whoppers bristling with energy, enthusiasm, and above all quality. Of course, when it carries that seal of quality that is Scott ‘Guerrilla Deluxe’ Drake you know it’s going to be good at the very least.
We’ve spent the last few years being drip-fed tunes from this beat combo but no full-length album and wondering with the changing times and pandemics maybe our expectations were too high but then it just dropped ‘Under The Dagger’ is a bit of a slow-burning beast. Ten slices of that wonderful garage Rock n Roll burning the punk rock at one end and the Rock solid timeless Rock n Roll the other, meeting in the middle for an explosive blaze of glory.
Guerrilla Teens are: Deaf Jeff (guitar – vocals) Teenage Tim (drums – vocals) Guerrilla Deluxe (vocals) Anna Bananas (bass – vocals) Saul Teen (guitar)
Swedish rockers release the retro rama-lama-retro album of the year. Put on your high heels and dust off the old TOTP albums the party is about to kick off.
Velvet Insane were formed in 2013 as a four piece outfit but by the time of their self titled debut album they were billed as a duo.
The first album took them around the world touring Europe, Japan, USA & Australia.
Their critically acclaimed debut was a fresh mix between classic rock, pop, inches of folk influences and it also contained traces of early 70’s British glam rock. And the band kept walking that glam track and now they’re back as a trio and this time it’s glam glitter boogie all over.
They hired the cult glamrockers Diamond Dogs frontman Sulo as a producer and together they’ve created a bright shining monster. You can hear the Sulo influence for sure in the epic opener ”Bamalama Breakout’ with all its mid seventies Glam rock n hollerbaloo going on its loud and proud and leaving you in no doubt that Rock and Roll is in the house now crack open the bubbly.
‘High Heeled Monster’ is certainly well titled if you’re looking for a description as to what this sounds like. ‘Boogie Star’ has a cowbell and a hoof footed Rock solid beat and big chorus its Mott The Hoople for the 21st Century and I’m down with that.
Smooth pop harmonies pumped up by heavy drums and barbed wire guitars and singer that wear it well. It brings back memories of a time when Slade, TREX, Bowie & Mott we’re topping the charts.
From the catchy singalong choruses of the pop gems “Velvet Tongue”, “Riding the Skyways” & “Sound of Sirens” to the frantic boogie energy in barroom stompers “Driving down the mountain”, “Backstreet Liberace” & “Spaceage DJ”, it’s the real thing.
You also get a glimpse of Ziggy Stardust in the acoustic ballad “Midnight sunshine serenade”.
Velvet Insane are a band that plays with their hearts on their sleeves and it’s satisfaction guaranteed.
Dregen and Nicke Andersson from The Hellacopters jumps in the backseat in “Backstreet Liberace” and just like Rolling Stones honored the tradition of Muddy Waters blues Velvet Insane takes on the job to keep rock ’n’ roll alive.
NEW ALBUM ‘LOST AT SEA‘ OUT OCTOBER 20TH VIA SNAKEFARM (UK / IRELAND) PRE-ORDER HERE
NEW SINGLE – ‘DAMAGE CONTROL’ Filmed around the UK from fan footage
Chris Shiflett has announced the release of his new album Lost At Sea, which will be coming out October 20th via Snakefarm in the UK & Ireland. Pre-order here.
To coincide with the announcement, he has released the sultry summer anthem ‘Damage Control’, which comes with a video of fan filmed footage from his triumphant sold-out UK headline tour earlier this year.
Most of the new album was recorded in Nashville, working with his producer and collaborator Jaren Johnston, frontman of The Cadillac Three, as well as the songwriter behind nearly a dozen Number 1 country hits.
“We wrote a lot of these songs during the lockdown,” recalls Shiflett, who spent much of the pandemic at home in Southern California. “Then I began making trips to Nashville to work with Jaren. He and I have a lot of overlap, in terms of the music we like. We made a guitar-centric record that encapsulates everything I’ve been listening to over the years, from the most country songs I’ve ever recorded to punk rock and even songs that sound like a California version of The Clash.”
‘Damage Control’ is the track he’s referencing, which strays further from the country influence than most of the album. It’s also the only ‘old’ tune that Johnston and Shiflett included on Lost at Sea.
“All the other tunes were written in the months leading up to recording, but when Jaren and I were sorting out which songs to do he mentioned something about The Clash and I remembered this old one I’d demoed about 15 years prior,” recalls Shiflett.
With its layers of reverb, pulsing percussion and Echoplex tape delay, ‘Damage Control’ went through a number of versions before reaching its final form in the studio with Johnston.
“I love that the musical inspiration on this one was late-stage Clash, but we wound up layering it with banjos and what-not. Definitely takes it somewhere else. Ska-mericana?” Shiflett laughs. “There’s nothing better than when influences converge taking you places you never expected.”
Caught halfway between the honky-tonk saloon and the punk rock dive bar, Lost at Sea is both eclectic and electric, making room for alt-country crunch, guitar-driven grit and sharp songwriting. Tying that mix together is Shiflett himself, a musical Renaissance Man whose influences are every bit as wide-ranging as his resumé.
The new album also features a stellar cast of Americana all-stars. Among them are fellow guitar slingers Charlie Worsham, Tom Bukovac, and Nathan Keeterle, all three of whom laced the record with fiery fretwork. Shiflett also teamed up with several co-writers, partnering with Kendell Marvel, Cody Jinks, and others to fill Lost at Sea with storylines that pack as hefty a punch as the music itself.
The new single follows the release of the two-steppin’ fuzz-fuelled ‘Dead And Gone’ and the southern rockin’ ‘Black Top White Lines’, both setting the flavour of the album with its signature honky-tonk-meets-rock-and-roll sound and blending the lines between his previous albums – 2017’s honky-tonk homage West Coast Town and 2019’s gritty Americana fuelled Hard Lessons.
Twenty Years of Hell, Speed & Sleaze Fuck Yeah! I’ll have some of that. As we gather in the live room of The Exchange it looks like the green room of the walking dead as old-school Thrashers congregate with full corpse-painted kids waiting for some Black Thrash punk courtesy of Devastatoooooooor and the mighty Midnight.
First up are four guys from Oop Norf called Devastator who ply their satanic Black Thrash from I believe the East Midlands. Sounding like proper early Slayer ‘Live Undead’ meets Kill em All with a healthy dose of Mantas licks, they do a sterling job of warming up tonight’s audience with songs such as ‘Worship The Goat’ and ‘Night Of The Witches’ simply because every Black Thrash combo should have either a challenge, fire, tombstones or of course a fuckin Goat! these mofos have the latter stuck to the mic stand as it goes. They also had time to throw out a splendid cover of the Motorhead classic ‘Iron Fist’ as the solos falling from Mr. R Batemans fretboard were mesmerising as his Alien-like fingers became a blur of fretboard fuckery (which I think if I’m not mistaken did burst into flames at one point such was the speed at which he maneuvered across the neck of his instrument) songs like ‘Baptised In Blasphemy’ and ‘Death Slut’ or ‘Hail Death’ went down a treat and before you know it their work was done. The audience was suitably warmed up and sweat began to fall down the collective brow. The live room was now a steaming heaving mass waiting for what was to follow, as if this shit couldn’t get any more bonkers – Hold onto your camo shorts kids this might get a little rough.
The last time Midnight played the Exchange it was a fantastic set of memorable black thrash punk but tonight there was a packed room expectant for the trio of noise bringers and boy did they bring the noise. I might be forgiven for thinking this was one of if not the loudest show I’ve seen for many many years not since Saxon on the Crusader tour back in the day, Biff would have been proud of the volume Athenar and his boys were playing at. This wasn’t just loud this was loosening the screws on your pacemaker volume. Every beat of the bass drum was like a gots hoof kicking you in the bollock’s two-footed, real nosebleed volume. Once you get the picture we shall begin. With Sisters of Mercy volumes of dry ice billowing across the dimly lit stage it was time for Midnight to spend the next hour kicking the living shit out of a sweaty heaving mess of metalhead who quite simply couldn’t get enough of this ridiculous Black Thrash assault.
It’s been twenty years of Hell, Speed, Sleaze, Goats, Fire, Dogs, Tombstones, Whips, Chains, Violators, Masks, and loud as fuck Black n’ Roll music. It’s a fact that you won’t this Metal/Punk hybrid beast done better anywhere else on the planet or in the firey pits of Hell. With only a degree of separation from the likes of Zeke or prime-time DKs, this metal take on Punk Thrash is an absolute joy to behold when it’s done as well as this. Athenar and Commandor Vanik cross the stage from mic to mic like a pair of demonic Hell hounds guarding the opening of Hades, throwing out shapes and headbutting their instruments with enough force to wake the dead. Did I mention that the volume they were playing at was filling rattling and could probably be heard in Helldom. No not probably, it absolutely could be, it was that loud. The frenzied pit was also exceptional considering how fuckin hot and busy it was in The Exchange bodies bouncing off eachother like oiled up battle tops it was a joy to behold.
‘Funeral Bell’, ‘All Hail Hell’, ‘Szex Witchery’, and ‘Fucking Speed And Darkness’ are all despatched early doors and with such aplomb Midnight are a well oiled machine and Much like other speed metal bands or the likes of The Dwarves and Zeke they absolutely go for it no holds barred. As the pace and ferocity in which these tunes are delivered is breathtakingly exceptional (as well as incredibly loud) By the time we reach ‘Satanic Royalty’ there isn’t even time to vomit due to the heat and volume inside The Exchange (did I mention it was loud?), ‘Lust Filth And Sleaze’ and ‘Evil Like A Knife’ are dished up with a ferocity that no other bands I’ve witnessed in a long long time could keep pace with. Midnight isn’t taking any prisoners tonight, I find my mind drifting, wondering how they are celebrating twenty years of Hell, Speed, And Sleaze in the back room of a Bristol club and not selling out huge venues all over this spinning rock. Is the metal and punk communities too afraid of Midnight? Are kids worried they wouldn’t handle the intensity of a live show like this? There aren’t enough bands willing to take it to the next level.
Athenar asks if the crowd are getting tired after about fifty minutes of unrelenting power and ferocity and then says he doesn’t care because he could go on for hours, something I don’t doubt for a second. Even the wall behind me is perspiring it’s that hot in here, and at any moment the floor could rip open and Satan himself could appear and beg the band to turn it down a few thousand decibels before his head explodes.
Before the band is done they take requests from the floor and proceed to play ‘Endless Slut’ before ‘Can’t Stop The Steel’ is brutally executed. Quite simply Midnight are the real deal, and taking the spirit of prime Venom and the likes of Motorhead and the speed punks ethos on board they are in a league of their own as well as being in league with Satan (obviously). If they ever make it to a venue near you – quite simply you have to make it to a show, you will not be disappointed or leave unimpressed. When they ask ‘Who Gives A Fuck?’ you will be compelled to reply – I do. Midnight rule and that my friends is a fact – no it’s the law! Now where is the merch table I want one of those well-priced T-Shirts with the flames, goats, nuns, and Chains on, please. What a wonderful night in the company of the kings of Blackened Rock and Fuckin’ Roll! Hail Midnight.
‘I Inside the Old Year Dying’ is PJ Harvey’s tenth album, and her first in seven years. Throughout her career, she has always ensured that each phase of her progress has taken her somewhere new, but her latest music is audacious and original even by her own standards. Full of a sense of a cyclical return to new beginnings, it combines its creative daring with a sense of being open and inviting, inthe most fascinating way. The new songs, Harvey says, offer “a resting space, a solace, a comfort, a balm-which feels timely for the times we’re in.”
And that intro from the press release is as good a place to start as any, I started listening to Polly Jean back in the time of 5OFT Queenie coming out, stocking Dry when I first opened my own record shop, have moved with her through virtually every stage of her career and watched and listened as every LP has unravelled each with their own personality each echoing a time in Polly Jean’s life making a statement from a snaphot, but always moving forward, the music itself constantly changing and adapting and very much as with people like Bowie and Nick Cave fans will be drawn to a specific era, a genre and sometimes not move forward with the artist happy in the now, unwilling to Embrace change, not something that can be levelled at artists such as Polly Jean.
So what does the LP give us again drawing on Polly Jeans words from the press release
” In the album’s liminal world, scattered with biblical imagery and references to Shakespeare, all these distinctions dissolve. “I’m somewhere where I’ve not been before,” Harvey says. “What’s above,what’s below, what’s old, what’s new, what’s night, what’s day? It’s all the same, really–and you can enter it and get lost. And that’s what I wanted to do with the record, with the songs, with the sound, with everything”.
Opening up with “Prayer at the gate” your instantly drawn into that world of Aural soundscapes faved by Warren Ellis and the Producer flood’s work really draws you in, this is a very different PJ Harvey, the voice an instrument in the whole rather than a lead. Next up “Autum leaves” has quite a Soulful almost funk feel in the backdrop, but the vocals push the song forward in a very different way almost sitting outside the music dipping into and weaving through the Sound. “Lonesome tonight” again has a very different feel a song that stops you dead and you just have to listen, the story unfolding takes me to a parallel with the Orianthi Poem written in old Cornish, this is probably my fave on the LP, it twists and turns and is I think one of the strongest PJ Vocal performances I’ve heard.
“Seen and I “ hints at past sounds but again the vocals move in a very different direction, the John Parish influence I think coming to the fore. “The Nether edge” weaves a very different soundscape almost industrial in its reverb and repetition, but again the vocals sit outside moving in and out, The acoustic guitar that introduces “I inside the old year dying” drifts away as that industrial soundscape takes over, the music changing and adapting to the story being told. “All Souls” enters almost hesitantly the piano and vocals overtaken as the distortion and reverb comes in. At this point you realise how strong the Vocals are throughout this LP I would definitely say this is one Of PJ’s strongest ever vocal performances,
Moving through the rest of the LP “A child’s question July” “I inside the old I dying” with its stop start animation led video, “August” with its initial Piano led soundscape, flows seamlessly into “a Child’s question July”which has an almost mystical feel weaving a fairytail picture, “A noiseless noise” finishes things up with again one of my faves of the LP tearing you back with power and intensity to earlier PJ Harvey works.
This is a powerful LP but in a number of ways, it holds your attention and is very definitely one to listen to all the way through, for someone new to PJ Harvey I’m not sure that it’ll set things up for you to explore the artists earlier work this Isn’t ‘Stories from the City’, ‘Is this Desire’, ‘Dry’ or ‘Pure’, its also a long way from ‘The Hope Six Demolition Project’ and ‘Let England shake’, but if you sit and listen you can pick up pieces from them all just re-interpreted. It might not hit you first listen, but stick with it I think it’ll creep on to my LP of the year list come December!!
A more spectacular setting for a Rock n Roll show you won’t find. Set inside the grounds of Cardiff Castle it’s a great place to watch live music. The date is Tuesday the 4th of July and one epic lineup of three of my favourite bands are gathered together for a show. I’ve had the privilege of seeing these three bands as a collective mass of well over three figures. Stretching back to the ‘Love’ days for tonight’s headliners and seeing them on several continents as it goes. I’ve seen some remarkable performances as well as the odd indifferent one it must be said. So, let it rain down, no, quite literally let it rain.
As I made my way through the gates the skies opened and we managed to get drenched for the first time. As Lili Refrain took to the stage for her performance which has to be said, is an acquired taste, she works her magic with loops, a floor tom, and telecaster. It’s certainly captivating as she weaves her way through her 30-minute set winning over new admirers looking for some ambient vibes. She also set the tone by looking delighted to be there rain or shine.
Next up, The Mission. I’ve had the pleasure of reviewing them at a recent show in Barcelona as well as reading the second installment of Wayne’s new autobiography. So believe me when I say that their addition to the lineup was a majestic announcment in my house. So Even if it was at the ungodly hour of before 7 pm when they took to the stage. Goths out in the wild before sundown? What sun I hear you say wasn’t it pissing down. Daylight and we’re treated to the intro of ‘Tower Of Strength’. Not a place any self-respecting Goth would be other than under such exceptional circumstances.
The Gods however held the sun back and instead decided to drench the audience just as the band took the stage. Opening with the big hitter that is ‘Tower Of Strength’ set us up nicely for what was to come over the next forty-five minutes. If I was to say I didn’t notice it was pissing down would be a bit of a fib but I couldn’t care any less as ‘Beyond The Pale’ collided into ‘Met-Amor-phsis’ before ‘Severina’ gave us a breather. Hussey and the band have been on the road for a while and looked and sounded locked in and battle ready and understanding that when playing for an audience, possibly made up of other bands’ fans (obviously there’s a decent cross-over tonight) its important to give em something they might know and a reminder that, Bloody Hell these are pretty bloody good at this Rock n roll lark.
With the clock ticking it was time to smash it out of the grounds with a hattrick of ‘Butterfly On A Wheel’, ‘Wastelands’, and finishing off with the punchy ‘Deliverance’ and just as they were hitting their stride it was adios amigos. Now that’s a way to take a short and sweet set early doors and lay down the gauntlet to the rest. Now follow that. See you in the Roundhouse in October – Can’t wait.
With the unenviable task of following a short sharp set from The Mission, Mike Peters and The Alarm seem up for the challenge, and whilst you’d think it was a no-brainer playing in Wales it’s not a foregone conclusion that someone elses audience will “get you”. Starting their set with ‘Coming Home’ there were no vocals or guitars in the PA and the rain had thrown a spanner in the works it would seem, what a bummer. Never undeterred the band carried on as you’d expect. Next up they went with their biggest hitter or at least a track that most people (unless they lived under a rock for the last 40 years) would at least be familiar with. Now I’m all for trying new things and I’ve seen Peters enough times to know he does like to rework old songs but not sure this was the place to do it, even if the vocals and guitar were restored I think it would have been better to just pile into the song as most would know it. A lost opportunity? Maybe, Who knows considering they only have 45 minutes to impress but that’s just my take on it.
Next up was ‘Warriors’ which offered something more aggressive and something with a bit of grunt that would grab the attention of the soaked masses, lifted from their recent(ish) ‘War’ album. It got the crowd involved with its rattling rhythm and tempo and sound problems seemed to have been sorted so nothing to distract the band further, just what the crowd needed.
‘Where Were You Hiding’ went down a treat and might have been responsible for the weather Gods being stirred again and the heavens opened once more. Some recent songs from ‘Sigma’ and ‘Equals’ were aired which is great for people like me who are happy to hear newer material pepper the set but for the casual fan there to see The Headliners maybe it was time to bang out a greatest hits set and do it with plenty of punch. But hey, I only want the best for the bands I love and I do love the Alarm. Peters was manouvering his way across the stage making full use of the four mics even if they were all set at different volumes and the sound guys seemed slow to react. Keeping the engineers on their toes is always nice.
As we headed into the final third of the set it was a great choice to play ‘Superchannel’ a song I’ve always loved and maybe one to open with it has a great energy and helped pick the soaked crowd up with some good crowd interaction. It was the home straight as ‘The Stand’ preceded the opening piece of ‘Spirit of 76’ which made way for the apt ‘Rain In The Summertime’ which then segwayed back into ‘Spirit’ and that was that over way too quickly but that’s outdoor events for you. I thought they could have run wth the Weather theme maybe included ‘Raindown’, ‘Two Rivers’, ‘Howling Wind’, ‘Only The Thunder’, ‘Sold Me Down The River’, there are several more water or rain based songs I never realised and ended with ‘Rescue Me’ ok I’ll get me coat (I wish I had).
Anyway, a set that was dogged by technical issues like when James Guitar just fell out of the mix for no reason that must have played a factor in the performance, but from the audience’s view, I found it frustrating. However, not a band that’s easily deterred they gave their all under trying circumstances. Had they stopped to sort out their issues it would have cut the set list which nobody wanted but them is the breaks at gigs like this.
Now if the Rain could fuck off for the rest of the evening I’d be very grateful, soaked to the skin I wasn’t going anywhere, thank you kindly.
Now, I saw The Cult play support to Alice Cooper and I have to admit it I found that particular performance a bit lackluster, a performance that seemed a little phoned in I believe is the term used. Maybe due to it being at the tail end of a huge North American tour where they played the same set night after night and ‘Sonic Temple’ heavy.
So, on that recent experience, I had dampened my expectations as I didn’t want to get carried away. I’ve seen The Cult over many years in several countries from America to Europe and a lot of shows from every tour, from the Marquee on Charing Cross Road to Wembley Arena or Fields at festivals. they’ve played a million places and rocked them all and to be fair they always pull me back in just when I think we’re done. I know they have it in their locker to dazzle as they’ve done so many times so the odd off night is alright.
The rain seems to have finished and the dark skies have drifted so it was time for The Cult and opening the set with the monster that is ‘Rise’ sort of set the tone for the next hour and a half. A crystal clear sound that was significantly louder than the other bands and the benefit of it going dark by the time they hit a wicked ‘King Contrary Man’ it was obvious to everyone inside the castle grounds that The Cult mean business and this set was so far from a phoned in tired set it seemed crazy that I could ever doubt them.
I also have to admit that one of my least favourite records by the band is ‘Sonic Temple’ I guess the early years were part of my impressionable youth and the likes of ‘Born Into This’ and ‘The Cult’ albums don’t get near enough airtime live or kudos from critics and fans alike. so seeing that ‘Sonic’ was kept to a minimum with the obvious big hitters in attendance I was delighted. The ‘Electric’ tracks sounded huge and it has to be said Astbury sounded better than he has live for decades, you’d possibly have to go back to the ‘Love’ era to hear him singing so well, and he seemed in a really happy place as he prowled the stage apron engaging with the crowd and sending out hugely positive vibes.
Whoever decided on the setlist should take a bow – it played into the very best of Billy Duffy who pulled all the shapes as the notes flew from his fretboard like cascading waterfalls ‘Aphrodisiac Jacket’ was a prowling beast bristling with energy and following ‘The Riff-a-rama of ‘The Witch’ this was turning into an epic night and showing why The Cult can still draw massive outdoor crowds.
With a new album in tow, they slid ‘Vendetta X’ and ‘Mirror’ in seamlessly. There was even time for the brilliant ‘Spiritwalker’ to ricochet off the castle walls before the home straight of the big hitters as the apt ‘Rain’ preceded ‘She Sells Sanctuary’ before leaving the stage for a well-deserved ovation.
For a thoroughly deserved encore of ‘Peace Dog’ the air guitarists in attendance tuned up and were pleased with the performance before finally setting the stage alight with a full tilt ‘Love Removal Machine’ and then they were gone. They’ve always been good to South Wales have the Cult from their debut show in Swansea all those years ago to this their biggest show on this epic performance in a Castle The Cult came, saw, and conquered, oh, and Rocked like fuck, Tonight the Cult left everyone in attendance in no doubt that they were the kings of this particular Castle and rightly so. What a line up, What a day, Fan-bloody-tastic!
The last time I can remember a band playing two sets in the same Welsh venue on the same night because the first gig sold out in nano seconds, was when Electric Six added a matinee show to their scheduled Barfly appearance just as ‘Danger! High Voltage’ exploded all over the nations’ music video channels (remember those) around about 20 years ago. Tonight, though that’s exactly what Canadian punk metallers Cancer Bats are doing for their most intimate (and obviously sold out) show/s on Welsh soil since their days of them also playing that same legendary (and sadly long since closed) downstairs bar in the heart of Cardiff city centre.
“Up close and personal” is always going to be the order of proceedings for the hundred or so of us lucky souls who managed to snap up a ticket for one (or perhaps even both) of tonight’s shows, and with the prospect of a two-band double slam dunk ahead of them it’s totally understandable that Le Pub need to run a tight ship here tonight.
So, it’s at 7:45 precisely that Southampton hardcore crossover outfit Grove Street are let off the leash with their own brand of metal meets hardcore by way of a hint of rap, and I can’t help but have a smile on my face that stretches from Town to George St bridge. That’s because there’s tonnes of chugging metal riffage to keep the headbangers happy, lashings of double time aggression to kick off the first circle pit of the night and yes that really is a lyric lift from Grandmaster Flash in the middle of ‘Lessons of The Past’. Grove Street look like they weren’t even born when some of tonight’s audience would have been first launching themselves off the nearby Newport Centre’s stage to the likes of Nuclear Assault, Dark Angel, and Sepultura, but the young guns can hold their heads high knowing that their performance tonight had more than one of my mates yelling in my ear that they reminded them of Suicidal Tendencies. I shall certainly be keeping an eye out for the band’s debut album ‘The Path To Righteousness’ when it’s released in September.
“The best thing about being Welsh has surely got to be you have a dragon on your flag” quips Cancer Bats frontman Liam Cormier mid set during the briefest of moments of between song respite, before adding “tonight we are going double fucking dragon on you guys, so who is with me?”
It’s been quite some time since I’ve crossed paths with Cancer Bats on the live front it’s certainly the first time I’ve seen them since guitarist Scott Middleton left their ranks, and Covid break aside I’m not exactly sure why. It’s great to see that nothing has really changed in that time though, Cormier is still the consummate showman cajoling, teasing, and maybe even terrorising the audience in equal parts, whilst his trio of bandmates literally pummel our senses into a mush thanks to their ridiculously heavy and indeed LOUD sound, and these guys do it night after night, and yes of course, twice nightly if need be.
I’ll also rather awkwardly admit that I’ve yet to add a copy of the band’s current album ‘Psychic Jailbreak’ to my Cancer Bats’ collection, but as one of the highlights in tonight’s set just happens to be ‘Radiate’ that album’s opener, I’ll most certainly be putting this matter to right first thing tomorrow.
The Cancer Bats I first fell in love though has always possessed the near perfect blend of stoner groove and punk rock attitude and there’s a point tonight where towards the end of their hour long set they unleash, ‘Hail Destroyer’, (their cover of) ‘Sabotage’, Bricks and Mortar’ and ‘Lucifer’s Rocking Chair’ all in quick succession and it feels like I’ve been swept up in some maelstrom of heavy metal excellence. It’s the near perfect way to get those with tickets all salivating for the band’s second set, but sadly I’m not one of those. So, at 9:45 exactly, I’m out the venue doors and on my way home green with envy for those lucky enough to be sticking around for the band’s late-night set.
Nights like these are very special indeed, make sure you take the time to experience them whilst you still can.
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