‘Cassus Belli’ is the latest release from thrashers Archangel A.D. and there isn’t much going on in this collection of songs. Unfortunately for the band, there is much room for improvement. Dodgy lyrics and some ropey drumming really do distract you from some half-decent riffs and solos. The production suffers from a muddy mix which doesn’t propel the songs well at all.
Opening track ‘Bet On Death’ with its nod to Motörhead isn’t bad but we’ve heard it all before… there really isn’t anything on display that held my attention.
Archangel A.D. are doing their best to sound like some old-school thrash legends but they really do have some way to go. A good try from the band, but I really can’t ‘Show No Mercy’. This will end up buried ‘Beneath The Remains’ and I’ll be surprised if Archangel A.D. are ‘Among The Living’ for long.
The second release in as many months from New York underground group that is surely ready to bubble over into the general consciousness of the more concerned music aficionado. Signed to the UK’s Dirty Hit label, the same as mega concern Wolf Alice (which is where any lazy comparisons should start and finish).
‘Come Down’ is the follow-up to late 2020s ‘Deep Divine’, barely able to squeeze a rizzla paper between the two releases of quite frankly, exceptional material. I have been a little late to the party, only hearing Deep Devine in the past month or so. This has been a much unexpected but welcomed second helping so soon into discovering the group. The contrast in sound between the two recent releases is like a pendulum swaying to and fro from Noise Rock filth and exquisite Dream Pop melodies. Either way, there is no denying how accomplished this relatively young group is and very deserving of a much wider audience.
The record kicks off with the previous stand-alone single ‘dumb’, included here for the first time on an album. Hypnotic and abrasive, never quite thrashing the listener out of the blissful coma. Followed up by in comparison, the relatively new single ‘bet my blood’ which is reminiscent of the earlier, heavier offerings of PJ Harvey (make sure you check out the video).
Pretty Sick give older music fans like myself a lot of hope for the future, and by this, I don’t just mean rehashing well-established genres and trends appeasing those who are stuck in their ways and refuse to adapt and embrace. The band has a special way of presenting the familiar in ways that are new and fresh without sounding tired or obvious, taking the listener off on a journey, giving them that excitement of youth. Inspired and invigorated.
The record gives an excellent balance of being equal parts tranquil and dirgy in its sonic approach, showcased masterfully on tracks ‘ self-control’ and ‘pillbug’. The band really cuts its teeth lyrically on introspective songs such as ‘bare’, a very stripped-down affair musically, apt in its title. But also in the previous single ‘devil in me’, probably the most commercial-sounding song on the album. Presentation aside has great depth to the words and sentiment. All of this is rounded off with the last track ‘physical’, a very serene affair with an earlier post-punk Human League vibe about it, very peaceful, and a nice closer to the release.
I feel very fortunate to be able to review great records by groups like Pretty Sick, it’s also very refreshing to see that bands themselves have not slowed down as a result of the pandemic and to an extent unrelenting. Personally, I cannot wait to purchase some physical recordings, tickets, all of the above….
After numerous releases on Drunken Sailor, Total Punk, Neck Chop, then teaming up with The Beta Blockers for his last full release, Erk is back, this time on his own.
‘Bugs’ was released on cassette tape back in 2020, So it makes sense to follow it up a year later on vinyl. It might be a solo recording but damn, you wouldn’t think it, right from the total punk of the opening track ‘Our Hungry Fruit’ there is something of an outpouring a relentless no let-up – full audio assault from the weird headfuck opening introduction of ‘Bugs’ its full-tilt throw a grenade and see what happens musical journey.
Erik has that Devo influence, but with a “new new wave” sound Distorted, frantic, not afraid to run with a Bontempi synth rather than a thrashing guitar and the pots and pans drum machine as well, Erik knows what he’s doing. It’s punk for sure but with unashamed pop music thrown in with equal amounts of gusto.
It is packed with frantic schizoid punk like ‘Instant This Instant That’ followed by the more trad punk of ‘Futurekick Again’ ‘Bugs’ is the sound of another pandemic summer that’s equal amounts of shit and enjoying the isolation you didn’t think you would get. Erik sounds like he’s had the best of times every time be it 202 or 2021 it still sounds fresh and fantastic. ‘Wrong Weird’ probably sums up this record weird in a good heads fucked way of course and again followed it up with something completely different like the fantastically named ‘Piss Eyed Sleazoid’. We sort of end up where this record began with the ‘Bugs!!’ outro. a Weird and slightly wonderful slab of work from the talent that is Erik Nervous so if you’re looking for some punk rock that’s impressive whilst being different and left of center then ‘Bugs’ is for you.
NEW ALBUM ‘THE CRIPPLING SPACE BETWEEN’ is OUT SEPTEMBER 24th VIA MIDNIGHT STAMP RECORDS
“One of the best songwriters in existence at the moment”– Louder Than War
Yorkshire-dwelling singer-songwriter Carol Hodge is a wonderful musical dichotomy. With her roots and ethics firmly set in punk as keyboard player and long-term collaborator with Crass frontman Steve Ignorant and his current band Slice Of Life, Carol is also a uniquely gifted song-writer and as able to conjure up beautiful pop-infused, heart-wrenching melodies as she is screaming into the face of authority and injustice
Today sees the release of ‘THIS’, the first release from the forthcoming ‘The Crippling Space Between’ album, due September 24th via Midnight Stamp Records.
‘THIS’ is an uplifting rock anthem that packs a positive punch. Lyrically, the song references W.H. Auden’s Funeral Blues, and charts the deterioration of the spirit throughout 2020. Dramatic low-key verses give way to huge and heavy guitars in the choruses, reflecting the rollercoaster of uncertainty life has become of late. Carol explains:
“I’ve never felt such rage, such grief, such uncertainty. We all like to think we are in control of our own lives, and have a hand in our own destinies, but 2020 pulled the rug out from under us. It has absolutely taught me to accept that there are forces in the world beyond my control. I have dug deep and found the positives. When it seems like there is nothing left, there is hope. Always.”
Produced by Dave Draper (Jazmin Bean, The Wildhearts, The Professionals), ‘The Crippling Space Between’ is an unashamed exploration of the emotional rollercoaster that was 2020. Carol flits between musical styles, bridging the gaps with her astute lyricism. A fierce believer in remaining independent, the album will be released on Carol’s own label Midnight Stamp. Previous albums Savage Purge (2020) and Hold On To That Flame (2018) featured on several Top Album end-of-year lists, and 2020 single Stopped Believing In You received significant indie and online radio play, including from BBC Manchester and BBC Bristol.
Starting out in Cornwall with a box of cassette tapes, safely curated for 40 years by Stephen Duffy, then baked and extracted in London by acknowledged leaders in the field of music rescue FX, thereafter mastered for vinyl and CD in Los Angeles by Grammy Award winning engineer John Paterno, and finishing up in Warwick and Rugby with Seventeen Records, the Cassette-O-Sonic sound of The Hawks “Obviously 5 Believers” album is finally available on vinyl and CD.
Everybody knows the story of Steven ‘Tin Tin’ Duffy and Duran Duran right? Right. Everybody who readys RPM is familiar with The Jacobites or Dave Kusworth Right? right well lets introduce The Hawks from Birmingham back when Five nineteen year olds Stephen Duffy, Dave Kusworth, Dave Twist, Paul Adam’s and Simon Colley – The Hawks released just one single “Words Of Hope” in 1980 and then vanished without a trace into a world that through time created myths about lost tapes, unreleased diamonds etc etc well here are those myths – Busted!.
In 2021, with “O5B”, they have now released The Greatest Album Never Made by a ragamuffin, group of jangly guitared foppish haired rock and rollers who believed in the magic and mystery of what a band could produce. Something that seems to have been lost in the mists of time.
Born out of punk and a Stones infused Rock and Roll dream these post punkers are what time has deemed could have and should have beens. There are bands people have heard of but probably not heard that litter the diaries of music fans especially those in the Midlands of a certain age. Live they weren’t a mystery by people who were there and they did spawn one 7″ single but that’s it…until now. when Duffy and Kusworth last met, Duffy, as custodian of The Hawks’ ‘tape recordings’, promised that they would one day see the light of day. Sadly this was not soon enough for Kusworth who tragically passed away suddenly in September last year amidst this wretched pandemic.
True to his word Duffy has finally released these ten tracks Some forty years after they were made. Forty bloody years (where did it all go?) with all ten songs being penned by Duffy ‘cept for a handful co-written by Kusworth begins with the jangly ‘All The Sad Young Men’ without the modern fineries of digital recordings this earthy time capsule is more than listenable as it lies somewhere between early Waterboys and the obvious ingredients of what was to come from these teenagers.
‘Aztec Moon’ is a dreamy acoustic slice of balladeering but once the rest of the band breaks in it floats off. There’s a beautiful naivety or innocence about the arrangments and familiarity as well as ‘Big Store’ is a timeless melody even if the lyrics needed a little work.
Songs like ‘what Can I Give?’ give the likes of The Mighty Wah!, Teardrop Explodes, and Echo And The Bunnymen a royal run for their money, and the bass line at the start of ‘A Sense Of Ending’ is majestic. ‘Bullfighter’ could be something that the Lower East Side darlings of the late 70s such as the Voidoids would have fought over but there is a Britishness about it as well and considering this was the work of such young men its impressive stuff.
You do wonder after repeated listening how these songs weren’t picked up by some eager A&R bod looking to make a name for him/herself. Had The Hawks come from the heady northwest say a budding Liverpool scene or Manchester then things might have turned out differently, very differently. ‘What It Is!’ is somewhere between the beatniks from the 60s and the baggies from the late 80s maybe they were just too cool for school and this is the best way for those who know to get their hands on a copy and their best kept secret legacy to continue on into infinity, who knows. I’m glad I’ve heard these tunes it was well worth the wait. I’m just gutted Dave didn’t get to hold a copy.
BMG is proud to present a new series of vinyl reissues from Slade. On 3rd September the first release in this beautifully presented new series, ‘Slayed?’, is released on limited edition yellow and black splatter vinyl.
Slade’s third album ‘Slayed?’ was originallyreleased on 1st November 1972 and reached Number One in the UK charts. It remained in the charts for 34 weeks and was certified silver in early 1973.
‘Slayed?’ features ten songs including Number One single, ”Mama Weer All Crazee Now” and ‘Gudbuy T’Jane’ which reached Number two in the charts.
‘One of the greatest rock’n’roll releases ever’ hailed NME.
Slade are without doubt one of the most exciting bands to come out of Great Britain and were unstoppable throughout the Seventies becoming one of the biggest bands; releasing six smash hits albums, including three UK Number Ones, a run of 17 consecutive Top 20 singles and their hits provided a soundtrack to the Glam Generation.
Rock icons Danko Jones announce two livestream performances in celebration of the release of their 10th studio album Power Trio, out August 27th via MATE in Germany. The livestreams are set for Saturday, August 28th at 8:00PM ET / 5:00PM PT and at 8:00PM CET and will be streamed live from Bridgeworks in Hamilton, Ontario.
To add to the excitement, the band will also be doing a Q&A for viewers after the performances. Tickets & info can be found HERE
Along with the livestream show announcements, the band has also released a new song today, “Start The Show”. Stream it HERE! And watch the lyric video HERE!
Ironically the last song on ‘Power Trio’, it is essentially Danko Jones’ answer to Cheap Trick’s “Hello There” – i.e., a song tailor-made to be the first song played at a Danko Jones show. It’s a reaffirmation of everything he was put on this earth to do. But in the wake of this pandemic-plagued year, the song also makes for a surprisingly poignant album closer, because it’s a reminder of all the shows that Danko didn’t get to play this past year, and a reminder of how much we’ve all missed that goosebump-inducing feeling of being in a packed club when the house lights go down, the music playing over the PA cuts out, and your favourite power trio emerges from the darkness to kick into their opening tune. And yet despite this bittersweet subtext, “Start the Show” is brimming with the promise that we will experience that feeling once again—and, after the black cloud of COVID clears, Danko Jones will be there ready to give it to you.
“Start The Show” follows previously released singles “Saturday” and “I Want Out“. Hitting #1 at German Rock Radio and Top 15 at Canadian Rock Radio, “I Want Out” has seen success with airplay around the globe. In April the band also released a fan-only track “Flaunt It”. Album pre-orders are available HERE!
Power Trio sees Danko Jones delivering each engine-revving riff, soul-shaking stomp, and shout-it-loud hook with a sniper’s precision. It’s such a simple, self-evident title, but one loaded with significance, as it speaks to the special triangular alchemy Danko shares with his trusty bass-slinging accomplice JC and drummer Rich Knox. It also stakes out the band’s place on a storied lineage of three-piece titans Jimi Hendrix Experience, ZZ Top, Rush, Motörhead, Venom, Dinosaur Jr., and the Jon Spencer Blues Explosion, to name a few.
The album follows the band’s electrifying, world charting album, ‘A Rock Supreme’ released in 2019. It also sees the band once again tapping into the production prowess of Eric Ratz, who previously amped up the bone-breaking boogie of 2017’s full-throttle rocker ‘Wild Cat’ and 2015’s bloodlusty Fire Music. Band Photo By Dustin Rabin
It’s September 17th 2011; the sun is shining, the birds are chirping and Exit_International’s debut album ‘Black Junk’ was released into the world, and boy was it ready for it.
The critically acclaimed (Kerrang!, RockSound, Alternative Press, The Quietus) Welsh Music Prize-nominated debut album turns 10 on September 17th of this year, and to celebrate their baby turning double figures, Exit_International will be remastering and re-releasing the album on limited edition 180gm coloured vinyl for the first time, also including three brand spanking new, never heard before bonus tracks.
With Black Junk Exit_International have managed to create an album that, a decade on, has still managed to retain all of it’s, erm, charm? Still as shocking and hard-hitting now as it was 10 years ago, Black Junk is definitely not an album to take home to your Mother.
Since their formation in 2009, the dual bass-led three-piece have created their own brand of ear-shatteringly aggressive rock, whilst throwing in some singalong pop hooks for good measure.
Recorded with Carl Bevan (60 FT Dolls) at his home in a 72-hour chemical haze, their explosive debut Black Junk demonstrates just that. In a sound spectrum of their own, the band unapologetically shuns the use of guitars yet packs a double onslaught of bass into every bar for maximum carnage. Coming in at just over 30 minutes, this short, sharp shock of an album is an intense whirlwind of pummeling staccato bass riffs, brutal, pounding drums and salacious lyrics that are sure to make you blush. The exhilarating ride is topped off by Scott Lee Andrews whose voice effortlessly shape-shifts from ferocious screaming, sinister, demonic snarls and at times high pitched vocals that sound downright inhuman.
Speaking about the album’s re-release, bassist and vocalist Scott Lee Andrews says: “ ‘Black Junk’ still sounds to me as fresh as when we wrote and recorded it, we were not part of any scene and really doing our own thing. You can hear the absence of overthinking things. We wrote these songs really quickly – from what I recall it was on a rehearsal to rehearsal basis then gigging them to just tighten the performances. We spent 2/3 days in total tracking the songs with most of that time spent fixing broken studio gear with our producer Carl Bevan (Drummer of 60FT Dolls fame). Listening back reminds me how much we laughed and how fun that period was, with perfectly capturing that ridiculous lightning in a sonic bottle. It really does capture the absurd aspects of our personalities as people. It’s a fantastic debut and I’m still so proud of it, and the doors it opened for us”.”
Geezer Butler, a founder member of Black Sabbath, presents his entire solo records in one convenient place (A box Set) and doesn’t stop there as he also includes lost tunes and other unreleased material. What you get for your money is his three solo albums as well as a fourth bonus disc made up of tht largely unreleased material.
‘Plastic Planet’ was released back in 1995 under the name g/z/r and featured Burton C. Bell of metal titans Fear Factory on vocals and is considered something of a classic of 90s heavy metal. The album saw Geezer’s doomy primarily blues orientated mixed with the more industrial influenced metal sound that was just becoming a big thing in the nineties. This was heavy metal with a thud as songs like the brutal ‘Drive-By Shooting’ raised an eyebrow or two. Something of a departure from that Classic Sabbath sound this was Geezer taking a chance for sure and certainly not standing still. After the epic opener ‘Catatonic Eclipse’ had twisted and turned its six plus minutes into your ear people should sit more comfortably for what was to come.
With a relatively short turn around 1997’s ‘Black Science’ which had dropped the G/Z/R name and gone with the simple ‘Geezer’, this album sees Butler again work with drummer Deen Castronovo and guitarist Pedro Howse, and like ‘Plastic Planet’, was produced by Butler and Paul Northfield. Bell was unable to provide vocals this time due to commitments with Fear Factory, but his place on the mic was filled by the then completely unknown Clark Brown who delivered an impressively powerful vocal performance over the album’s high-energy and heavy power grooves. Opening with the ‘Man In The Suitcase’ the direction was similar to that of the debut with the emphasis being on powerful grooves and heavy guitar licks. There were forays into the unknown like on ‘Mysterons’ with samples and synths being used to enhance the alien and out-of-body experience as the main thrust of the album’s lyrical matter was that of aliens, mystery and that of the unknown. ‘Department S’ had its interesting intro before breaking out and making way for Geezer to open up his bass effects on ‘Area Code 51’ again with its grinding groove metal being the main player. there was ‘Northern Wisdom’ to enter a trip-hop territory with breakbeats before signing off with ‘Trinity Road’
It wouldn’t be until 2005 that Geezer would get the chance to continue his solo explorations, having returned to Sabbath for the 1997 edition of Ozzfest, remaining in the band ever since, but in 2005 he released ‘Ohmwork’, this time under the name GZR again. Once again the album featured Clark Brown on vocals and Pedro Howse on guitar, the difference this time being that drum duties were handled by Chad E Smith (the veteran St. Louis drummer, not the Red Hot Chili Peppers drummer).
With ‘Ohmwork’, it was less industrial metal influences that the previous albums were heavily influenced by, but Geezer still didn’t really lean on his past works with Sabbath although obviously, the influence is there it’s still more contemporary than Sabbath but less than his previous offerings and maybe a more traditional heavy rock sound. Above everything, Geezer was and is a music fan and was passionate about the genre that had served him so well drawing on influences from everything that was going on in rock at the time. The metal of ‘Aural Sects’ to the epic, psychedelia of ‘I Believe’ with its gentle acoustic intro that builds and builds into a swirling epic seven minutes. ‘Ohmwork’ was a welcome addition to Geezer’s solo work and a fine full stop to his trilogy that offered a journey of discovery and experimentation from the Bass player as he expertly weaved his songwriting on one hell of a journey and a decade of discovery.
The bonus disc here features material that will be the disc fans will gravitate towards as it’s taken from throughout the sessions of all three albums with rare and unheard material, including three live tracks lifted from his debut album and feature Burton C. Bell on vocals. There are plenty of demo versions, instrumentals, and rough mixes on offer spread out over fifteen tracks.
This brand-new collection brings together all three solo albums under one clamshell roof for the first time and also features a booklet with never-before-seen photos from the studio from when the original albums were recorded. wrapping up an impressive set to go with all the other excellent Sabbath packages that have recently been released. Again one not to miss from the very talented and capable hands of Mr. Terance Butler.
*There is also a seventeen-track compilation Best Off to accompany this release with tracks taken from all three solo albums. Obviously entitled ‘The Very Best Of Geezer Butler.
THE ICE ROAD SOUNDTRACK DEBUTS ROCK SUPERGROUP L.A. RATS
Nikki Sixx, Rob Zombie, John 5 and Tommy Clufetos Team for a Wild Ride on the
Iconic “I’ve Been Everywhere”
Legendary Track Executively Produced by Sixx
When Scott Borchetta called his friend Nikki Sixx, he knew he needed something with velocity, power, and speed. Charged with helming the soundtrack for Liam Neeson’s upcoming June 25 Netflix thriller The Ice Road, the visionary label founder wanted a rocking ‘psycho-billy’ track to anchor an eclectic collection of songs sampling the American roots music tableau. Talking to the full-tilt bass player and songwriter about a dream collaboration between Sixx, Rob Zombie and Zombie guitarist John 5 possibly writing and executive producing a song for the film, Sixx asked Borchetta to send him an example of the kind of song he envisioned for the soundtrack. Johnny Cash’s thumping “I’ve Been Everywhere” was already earmarked as a hopeful to be included in the film as it really synthesized everything the film was about. Nikki listened and then sent it to Zombie. Both rockers felt the iconic Cash track was the perfect song for them to record.
Sixx called Borchetta back and said, “Why don’t we just cut this?”
The guys were all in on the song that name-checks cities across the nation – and Zombie had the vocal gnarl to bring that weathered, long-haul tone to the song that spent 22 weeks at No. 1 for Hank Snow in 1962. Opening with an ominous audible cloud and industrial noise, a hellish train beat emerges from the lumbering aural wave. Zombie’s voice slices through the ballast, authoritative and churlish. Commanding the ride that begins “”I was totin’ my pack along the dusty Winnemucca road,” his guttural delivery morphs Cash’s intensity with drummer Tommy Clufetos’ crashing attack.
Laughing, Sixx says of the L.A. Rats and their affinity for this song of hard traveling, “Isn’t it ironic? This song that’s so Rock & Roll, that’s so Country, that’s so all of it – it’s the traveling circus, city to city, riff to riff, greasy cheeseburger, rinse and repeat. It’s poetry based on reality – and it’s something every one of us has lived.”
“We wanted to bring that fire that’s Johnny Cash, but it’s also how do we flip it? So John 5 and I brought in this Zeppeliny half-time thing from the beginning with Rob talking on the outro. But I also did some stuff (that suggested the original) like those big walks through the guitar parts upright player style, which is something I don’t do in Mötley or Sixx:A.M. We all had that freedom to go other places, and we did.”
Collaborating for the track, the union of Zombie, Sixx, Zombie guitarist John 5, who was raised on “Hee Haw” and Black Sabbath/Ted Nugent/Alice Cooper ringer Clufetos created a chemistry that was more than the sum of their parts. With a frisson that comes from equal parts rebellion, aggression, fierce musicianship and deep respect for the song, “I’ve Been Everywhere” embodies the intensity of The Ice Road and Neeson’s performance.
“We all grew up thinking great bands don’t follow the rules or drive the speed limit,” Sixx explains. “When I called Rob up, he said, ‘I’ve always loved Johnny Cash, and I’ve always loved this song.’ I think that’s what we all share: we all play live and know there’s this magic (that comes from that); there’s the swagger you can feel, that energy you can smell. This song has all that, and that’s what we went after.”
“I’ve Been Everywhere” is now available via Big Machine Records.
‘Cassus Belli’ is the latest release from thrashers Archangel A.D. and there isn’t much going on in this collection of songs. Unfortunately for the band, there is much room for improvement. Dodgy lyrics and some ropey drumming really do distract you from some half-decent riffs and solos. The production suffers from a muddy mix which doesn’t propel the songs well at all.
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