The Mary Tyler Whores – ‘As Filthy As We Wanna Be’ (Cadiz Music)

The Mary Tyler Whores – ‘As Filthy As We Wanna Be’ (Cadiz Music)

Not since Gay For Johnny Dep or Jodie Fasters were kicking up a stink on my stereo has a band had such a great name as The Mary Tyler Whores – Somewhere between sleazy early pre-appetite Guns n Roses and The Dictators. TMTW are kicking up a shitstorm, and boy, do they know it.

Hailing from the swamps of Florida, this five-piece, ten-legged groove machine are on it from the opening riff of ‘American Sex Fiend’ to the closing chords and cymbal fizz of ‘World Against Me’. That opener has a filthy Zodiac mindwarp riffola opening. It’s all Billy big balls and struttin like they’re something special it screams of a punk rock party, and we’re having the best of times doing this, and if you don’t like it, go F yourself; we have a party to attend, and besides, we’re here for a good time, not a long time, so hurry the fuck up.

Hells Bells, the third track, is a sleazy, hard-rockin ‘ take on the Lords Of The New Church classic, less dark and gothic and certainly stripped back and loud ‘Dance With Me’ wasn’t a song I had down as being covered anywhere or by anyone, well done, gents, top tune. It’s certainly not as good as the original, but I’ll take it, when any band takes on such a magnificent track, I’ll get behind it for sure.

‘Savage World’ is a party on its own, and why wouldn’t I approve of that? That’s sort of the MO for a while on the record. Make a band and come on part Guns, part Duane Peters, and part Handsome Dick is sure a recipe for an interesting record. There’s a lot of music to plough through with fifteen songs on offer it’s certainly value for money ‘Edge Of Insanity’ is almost a Rancid-sized skank, but it never goes there instead, it heads off into a punk rock gang vocal charge off by the chorus. I love the horns honkin’ out ‘Clamjacked’ it’s a real blast, and that’s not just the horns it’s a rowdy step to the left, and I love it.

To be fair, there’s a lot going on all over this record that sounds fantastic, courtesy of Greg Hetson (Circle Jerks/Bad Religion. It’s a bright-sounding record, and the bigger riffs are elevated and put right in your face, ‘Isolation’ being a great example that also has a filthy Bassline clunking away throughout.

I guess with fifteen songs mostly going full tilt you’re wondering which one is the power ballad. Well, worry not, folks, but there is some acoustic guitar work on ‘Phantom Love’ as the opening sort of crashes in before taking you down a twisting lane that is loose and meandering. Before we end the record, there is time for another cover, and this time they fuck with your head as ‘Whip It ‘- yeah, the Devo tune has the Mary Tyler Whores treatment to add another string to the bow.

The album closes on the collaboration with Riff Raff and Mike G as ‘World Against Me’ is the final offering from a very entertaining record. When it’s on it’s right on it, and that’s a great place to be. Get on the Mary Tyler Whores; they aren’t just a fantastic name they have the chops.

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The Molotovs – Leeds Beckett SU, Leeds – 17th September 2026

The Molotovs – Leeds Beckett SU, Leeds – 17th September 2026

What a difference 9 months makes. Back in January, I caught these young upstarts, The Molotovs, up the road at The Lending Room, it has a capacity of 200. They hadn’t even released an album yet. Now, the London-based trio are in the midst of a (mostly sold-out) UK tour promoting their debut album ‘Wasted On Youth’. This venue is an upgrade from The Wardrobe due to demand; it holds around 1000. The Molotovs are blowing up, and for good reason.

Siblings Mathew & Issey Cartlidge have been gigging hard for a few years now and deliver a ferocious Mod-tinged racket that’s part Weller, part Gallagher. The debut album is choc-a-bloc with tunes and the follow-up ‘Welcome To Urbia’ is already in the bag.

The room is packed by the time they walk on and blast into ‘Johnny Don’t Be Scared’. It’s an older song, and not even on the debut, that’s how confident they are. Dressed sharp, with a bleached buzz cut, singer/guitarist Mathew may still be a teenager, but his vitriolic vocals and ringing power chords are those of a seasoned punk rock pro. The years of constant gigging have paid off in spades. Stage left, his older sister Issey is a haze of blonde hair and flailing limbs as she pulls perfect rock n’ roll chic poses, the sort only years of bedroom mirror action can create. Behind them, drummer Noah Riley bashes like the bastard son of Keith Moon. It’s all going exceedingly well, The Molotovs are mesmerising to watch, and a photographer’s dream to shoot.

Anthemic single ‘Rhythm Of Yourself’ follows, proving these upstarts have the teenage kicks needed to thrill the youth of today. If only the Leeds crowd could return the energy the band put out. I know a Leeds audience is notoriously hard to win over, but it seems somewhere along the way, we have lost the ability to lose ourselves at a gig and actually have fun.

The Molotovs have made the transition from small stage to large with ease. The trio look comfortable up there, they play tight and have buckets of energy. They look like they’ve been doing it for years. The hour-long set covers most of the debut and a selection of future hits from the upcoming album. Brit Pop-tinged rockers like ‘Daydreaming’ and ‘More More More’ thrill, and the more emotive ‘Geraldine’ with its quirky backing vocals is a set highlight. Recent single ‘Urbia’ might not have the instant feel of past singles, but it bodes well for what is to come. Its B-side ‘Down At The Café’ also gets a live airing, it may be a better song, sounds like early Antmusic to me.

Modern radio-friendly anthem ‘Today’s Gonna Be Our Day’ and the punked-up energy of ‘Get A Life’ wake the Leeds massive, and ‘Wasted On Youth’ builds to become a massive beast.

The main set closes with the obligatory raw and punky take on ‘Suffragette City’ before they return with newbie No Time To Talk’ and closer ‘Come On Now’.

The Molotovs are an exciting proposition. A band who have the songs, the energy and the aura of a real rock n’ roll band. Mathew’s ability as a writer to blend vintage Mod sounds with Britpop and deliver it with a punk energy makes most of his contemporaries look beige as fuck. If The Molotovs’ upcoming second album lives up to expectations, then they are destined to be one of the bands of 2027 and beyond. Remember where you heard the name first.

Author: Ben Hughes

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Lorne Behrman’s New Single, “They Won’t Take Us Alive,” On Spaghetty Town Records

Lorne Behrman’s New Single, “They Won’t Take Us Alive,” On Spaghetty Town Records

Cancer and Cinematic Punk Rock N’ Roll Collide on Lorne Behrman’s Urgent New Single, “They Won’t Take Us Alive,” Out Now, On Spaghetty Town Records

“They Won’t Take Us Alive” Spotify

Art imitating life is a cliché, but it’s still crazy when it happens. When punk rock n’ roll singer-songwriter Lorne Behrman was putting the finishing touches on his third album, If Heaven Didn’t Hurt, out September 25th on Spaghetty Town Records, he found himself thrust into the narrative of its first single, “They Won’t Take Us Alive.” 

The anthemic punk rock song tells the story of a couple unravelling while they watch a loved one die of cancer. It’s a fictional account of two people bonded together by their past and a shared death. Shortly before releasing the single, though, Behrman found himself facing his own cancer diagnosis. 

“A year ago, I found out I had prostate cancer. At the time it was so minimal, that it didn’t require treatment. Over the year though, it progressed a lot, and I had to have surgery. It’s been a challenging time for me, with a lot of uncertainty and pain,” Behrman says. “The punky spirit and resilience of this song have stuck with me.”

A lone set of hooky punctuated chords sets off the song before a driving Ramones-style groove sets in. The chorus boasts a catchy minor-key chant, as the three protagonists admit their fate: they won’t take us alive. Nothing is spared in the song. 

Thankfully, Behrman is on the mend and is expected to make a full recovery. “I thought I was too young for this, but I realize cancer goes after everyone and anyone,” Behrman says. “I’m getting through a dark time with a lot of love and support from my wife, my kids, my family, and my friends. Plus, I had an incredible medical team who I am very thankful for. Shout out to Dr. Al Hussein and his staff!”

The duality of heartbreak and humor define Behrman’s upcoming album, If Heaven Didn’t Hurt. The 10-track album stumbles through New York’s East Village in a hungover stupor, tripping down the avenues, pondering the lives of two women, their husbands, and how the artist’s own story felt spiritually intertwined with their narratives. Here, Behrman has curated a cinematic sleaze-o’sphere of gritty 1970s New York, the kind you see in Taxi Drive, Mean Streets, and The Panic At Needle Park, and superimposed imaginative tales of desperation, depravity, and, ultimately, a kind of burnished salvation. 

Behrman has previously issued two critically-acclaimed full-lengths and an EP. His releases have garnered accolades and features in The Aquarian, Classic Rock Magazine, Vive Le Rock Magazine, Metronome, Glide Magazine, New Noise, Goldmine, and taste-making punk mag Razorcake. Behrman has played shows with Richard Lloyd (Television), Jeremy & the Harlequins, Lenny Kaye (Patti Smith Group), Jonny Polonsky, Adam Masterson, Lulu Lewis, and Diane Gentile, among many others. Outside of his solo career, Behrman has toured and recorded with The Dimestore Haloes, L.E.S. Stitches, The Dead Tricks, The Sweet Things, and The Outlaw Vinnie Stigma. 

If Heaven Didn’t Hurt was produced and mixed by Matt Chiaravalle (Warren Zevon, Courtney Love, Debbie Harry, Joe Bonamassa), and features Howard Alper on drums (Cory Glover, Laura Branigan, $yndrm), Matthew Jacob Dougherty on bass, Rob Clores on keyboards (Black Crowes, Jesse Malin, Tom Jones), Danielle McCullough on backing vocals, and The Uptown Horns (James Brown, Tom Waits, The Rolling Stones).


Lorne Behrman Socials
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Dave Delinquent &The IOUs – ‘Scandal’ (Self Release)

Dave Delinquent &The IOUs – ‘Scandal’ (Self Release)

Imagine a band who plays their instruments drenched in sweat through overdriven amps, influenced by a whole heap of goodness from The Wildhearts through the Ramones via some prime time Dirtbox Disco and a having a real blast whilst doing so. Horns a honkin’, pianos tonkin’, whilst the band are whipping up a storm, using melodies to sing your hearts out to that’s about where I hear Dave Delinquent and his iou’s.

The album is the emobiment of all kiiler and no filler as they go through the handbook of genres and influences and toss it away and just go with their gut and what comes out of their hearts and heads.

Ten tracks on offer from the opening razor sharp ‘Rocksteady Girl’ through the melodic ‘Alleycats In Love’ complete with its horn honkin gold. The hooks are aplenty and they use every bit of catchiness they can muster. Sure its not original but so what they are knockin out killer tunes at every turn it sounds like a party on wax ‘Everybody Loves You’ is excellent and the first half closer is ‘Shame Of My Youth’ with its Big Country influenced melody which I didn’t see coming but is a most welcome shift of gears.

Side two just keeps on rockin throwing up catchy melody and riffs all over the place its like a sensless things meets The Wildhearts overload and I do love the saxophone taking it into different directions when you wern’t expecting it. ‘Not A Fan’ leaves just the uptempo rocker ‘Todays A Drag’ to close the album off and what a great way to sign off. If you want an album packed with hooks and catchy melodies then look no further Dave Delinquent and his IOU’s is here to prove that rock n roll isn’t dead its alive and kickin out the jams. Buy it!

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Author: Dom Daley

Echo & The Bunnymen – ‘Apples For Isaac’ (BMG Music)

Echo & The Bunnymen – ‘Apples For Isaac’ (BMG Music)

The Bunnymen seem to have been around forever and continue to trudge the circuits, plying their brand of post-punk goodness, and McCulloch doesn’t seem to age. With this the band bazillionth release they’ve continued to evolve and turn out great guitar pop, with Apples containing eleven intriguing and enthralling tunes weaving their way into your noggin and leaving their mark, beginning with the vibrant ‘Take Me By The Hand’ that has the superb, inventive guitar work of Will Sergeant at the forefront of this record, the band’s first in over a decade. It also features much-missed Blondie sticksman Clem Burke adding his considerable talent to proceedings, driving this record on with his flair and style.

This seems to be grittier than previous offerings. Sure, there are some subtle strings dotted around the record, but it seems more guitar- and bass-driven, with the first single ‘Brussels Is Haunted’ lighting the way with its sprightly tempo, throbbing bass line and riff-based guitar breaks whilst Ian peels away the years with his distinctive tone and delivery. It’s nestled next to the gentler ‘I’ll Be Your Sunshine’ with those aforementioned lush strings layering the tune.

‘Hijacked’ has a thumping Bassline driving the song with the minimal chorus whilst Will meanders and weaves his guitar chops in the available quiet, filling every space with a rush of energy. Great Stuff. There seems to be an uplifting, upbeat feel to the album, with a few shaded areas where classic echo-drenched vocals fill the void, ‘An Unstoppable Force’ being a great example of a classic Bunnymen slower song. It’s a very hopeful-sounding record, ‘The Light That Surrounds You’ sounds youthful and like something that could have been written around the ‘Porcupine’ days. There’s an innocence about it that is both charming and engaging.

Bring on the dancing horns for ‘Lab Rat Ran’ which has the sound of a top live song in a packed uni hall. The other thing I should mention is that this album has the feel that it’s stacked with potential singles all over the place so many songs that would, in days gone by, have ruled the singles charts. Great songwriters never lose it, and the Bunnymen have a pair of em. Great song and great saxophone blasting out. ‘Asimov’ has a grunt about the Bassline driving it on, and it’s only then I notice this is track number ten on the album it’s flown by. Leaving only the kiss-off of ‘We Prayed In The Dark’, a more leisurely song that’s doing its own victory lap to close off a rather splendid album. I always hope for a great record from bands who have grown older with me, but like The Mary Chain, The Bunnymen seem to have delivered a real diamond when not many would have given them the accolade they probably deserve.

If you’ve ever thrown yourself around to ‘The Cutter’ or marvelled at ‘Dancing Horses’, then you’d be foolish to pass this latest offering by. Echo And The Bunnymen have delivered one of 2026’s finest alternative records, no question about it. Buy it!

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Author: Dom Daley

Gary Marx – ‘Red Planet Blue’ ( Infrasons E.Y. Records)

Gary Marx – ‘Red Planet Blue’ ( Infrasons E.Y. Records)

Gary Marx is best known as the co-founder of The Sisters of Mercy, with singer Andrew Eldritch. Marx was there from day one. His trademark musical contributions provide many of the highlights on the Sisters’ early recordings. After parting ways, he went on to enjoy success with the band Ghost Dance, before they split in 1990. Since then, Marx has steered his own peculiar course as a solo artist, with this, his second offering, in which he comes full circle with 72 minutes of music, rounding off a symbolic coincidence. Marx never strays far from his influences from the 70s, the likes of Bolan and his T Rex and other glam rock luminaries who dominated the music scene for so many impressionable youngsters. This new album is spread over four sides of thick plastic, and while Gary alludes to each side having particular traits, he also points out it’s not in any way a concept album.

After the intro and soundscape of the opener, it’s more upbeat Roxy meets Bolan with the handclapping and whooping and hollering of ‘High Brighton Rock’. The album has a summer feel to it, with plenty of saxophone and swing, as the record is like a great big beaming smile, void of any baggage or stress and just wedged to bursting with top pop rock songs. Marx has a knack for knowing how to write sugar-sweet, rough-around-the-edges pop tunes in a similar vein to Nick Lowe and several other great songwriters.

There is a lot of music to get through, but just let it play and wash over you. On occasion, it dips a toe in pure pop like ‘Hang Up’, which reminds me of the lighter side of the Boomtown Rats. If modern kids wanted to know what it was like in the 70s diving into the TOTP albums and how it felt, then give em a blast of this bad boy. The title track begins with some cinematic spoken words before bursting out with a groove The Happy Mondays cooked up on a good day with a shuffle backbeat and some shakers for good measure.

There’s so much going on here as well; every play I hear another instrument that snuck in under the radar. ‘Next Stop’ sounds like a fucked up Tom Waits number if he escaped from his pain and wrapped himself in a feather boa and some stack heels. ‘Starsky And Hutch’ messed with my head like an early Depeche Mode song if they introduced distorted riffs n power chords. As it goes, I’m drawn to the last side of the album, where I think the songwriting is raised a notch or two and the album closes on a ballad that reminds me of the softer moments of a Julian Cope record. There is nothing not to like on this offering, and like I said earlier, you get a lot of bang for your buck and so many songs that keep vying for your attention over four sides of mighty fine music. Go on, treat your ears and squeeze into those sequined pants one more time and dance the night away to ‘Red Planet Blue’

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Author: Dom Daley

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RUTS DC TO RELEASE NEW EP

RUTS DC TO RELEASE NEW EP

‘BOUND IN BLOOD’ OUT SEPTEMBER 11TH VIA SOSUMI RECORDINGS ON CD AND 10” VINYL

PRE-ORDER HERE

Ruts DC have been extraordinarily prolific since the release of their last studio album ‘Counterculture?’ back in 2022. With their creative juices flowing freely, they cut two further volumes of their acclaimed ‘ElectrAcoustiC’ series, with volume two arriving in 2023 and volume three in 2024. Now the band are set to return again with a brand new four-song EP titled ‘Bound In Blood’, set for release September 11th via Sosumi Recordings. Due for release on CD and green and black smoke 10” vinyl, the EP leads with the song ‘Bound In Blood’, that first appeared in acoustic form on the aforementioned ‘ElectrAcoustiC’ Volume 3, followed by another brand new song titled ‘Wear The Crown’, although there are no A and B side preferences, leaving the listener or DJ to decide according to their mood and/or choice.

A message from Segs …

“Greetings all. We decided to make our first ever 10-inch EP! 4 tracks,3 songs 2 dubs.”

And here’s what’s on it:

BOUND IN BLOOD – “Some of you will know the song from ElectrAcoustiC vol.3 but here it is re-recorded in its full electric glory.”

BORN INNOCENT – Mitt’s Immortal Mix “A new mix featuring and dedicated to Mitt Gamon: This is one of the final records that Mitt played on before moving on to other realms. Glad to say that he actually heard and approved it before leaving us.”

WEAR THE CROWN – “The music had been circulating for some time, but lyrics finished following our Kings coronation “I pledge allegiance to autonomy”

DUB THE CROWN – “Time to think for yourself.”

“We hope you love it…”

Lovingly crafted for their own Sosumi Recordings label: the EP is packaged in stunning artwork based on an original painting by Oliver Howard thereby continuing the RuTs legacy of “Howard Artwork” (Rupert Howard who created the artwork for The Crack, Grin and Bear It, Rhythm Collision etc  that was initiated on RuTs debut LP “The Crack” in 1979.  (original painting now owned and cherished by Henry Rollins).

As they move towards the RUTS 50th anniversary tour in 2027, the solid trio of Segs, Ruffy and Heggarty are joined on this release by Rhythm Collision collaborator Mitt Gamon on harmonica and Boz Boorer on extra guitars to make this a very special one-off release.

Segs – “Keeping it real with an EP that is close to our hearts. One song about forgiveness, one about equality and one about Autonomy – it’s a must have.”

Bound In Blood EP track-listing:

  1. Bound In Blood
  2. Born Innocent (Mitt’s Immortal Mix)
  3. Wear The Crown
  4. Dub The Crown

Live Shows in 2026

Sept 22 Göteborg Sweden, Sept 24 Upsala Sweden, Sept 25 Stockholm Sweden, Sept 26 Nörrkoping Sweden

Nov 14 Morcombe Festival, Nov 20 Southampton 1865, Nov 21 Brighton Chalk,

Nov 22 London Electric Ballroom

Find Ruts DC online at:

www.rutsdc.com

Daddy’s Boy – ‘Four Hombres’ (Drunken Sailor Records)

Daddy’s Boy – ‘Four Hombres’ (Drunken Sailor Records)

2022 saw Daddy’s Boy’s debut hit the shelves, well, buckle up, kids they’re back to kick the living fuck into your senses and eardrums with their nosebleed loud hardcore noise. ‘Four Hombres’ is a magnificent racket – a no-means-no style assault: angular, sharp guitar noise filling every void imaginable. It’s an intense sonic kicking your given through the medium of hardcore punk. The Chicago-based quartet push the boundaries of what’s acceptable as the songs ramble on with often hypnotic unison riffage and lick after lick whilst the rhythm section hypnotises through their instruments.

‘Four Hombres’ was recorded in Chicago with longtime friend Greg Norman. According to drummer Neal Markowski, the band were keen to ‘break any habits’ they’d developed, and sure enough, they turn in an intense record. The opener is nothing short of sensational, and my advice would be to turn it up, get your head in those speaker bass bins and take it on the chin. ‘Divorce’ sounds like a fuckin avalanche with rocks tumbling down all around you with no chance of escape. The songs are short and oh so sweet, and with no chance of any fat settling on this lean, mean machine, Daddy’s Boy are killing it.

Reflecting the current climate in America, it’s sometimes chaotic, loud, brutal, confrontational, but unlike America, this is bloody good. They should get together with Dead Pioneers and hit the road it would be glorious. ‘Crows Feet’ lends itself to the band declaring war on your senses, the vocals sound distant before abruptly ending.

The title ‘Four Hombres’ is a ZZ Top nod that was chosen, Markowski adds, because “we’re four dudes who like making music together.” This is where any link to ZZ Top ends, hell, these guys would have terrified tres hombres. Eighteen minutes of brutal sensory assault, but in the best possible way, hardcore never sounded so essential. Get a hard hat and step away from the speakers, but do remember to turn it up but at a safe distance.

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Author: Dom Daley

Ruckus – ‘Self-Titled’ (Drunken Sailor Records)

Ruckus – ‘Self-Titled’ (Drunken Sailor Records)

I love a good noisy record full of enthusiasm and clearly in love with the process of making music.

Ruckus hail from Boston via New York, centred around the vocals and lyrics of Kam Lindsey (once of oi faves, The Stance). They’re also former members of The New York Hounds (drummer Alex Palazzo and rhythm guitarist Brian Crozier), plus bassist Mario DaCosta, with more lead guitars from Nick Norrman (Ingrates) and Ethan Stahl (The Prize, Loose Lips).

I know there are only six tracks here, but it’s an introduction, and I like that, easing you in gently. Well, when I say gently, that’s not strictly true; it’s like a throwback to a land time forgot. ‘Talk Ain’t Cheap Enough’ has a rough house guitar with splendid guitar breaks from the Berry meets Thunders school of no-nonsense, as long as it fits shimmering through a distant reverb that’s wayyyy too loud and a walking bassline that’s doing the heavy lifting. All wrapped in a great pop song.

There’s a strut and confidence about ‘Pocket Full Of Cash’, all David Johansen meets Sylvain, and it’s infectious like they’re having the best time ever and making records is fun. ‘Hot In The City’ is more of the same with a great hook to reel you in. ‘Hello From Up Here’ sounds familiar without knowing what to put your finger on, but these cats would have had a ball playing the old Wardour Street Marquee with Hanoi and the Lords, with a dash of the craziness thrown in for good measure.

Where I’m from, a Rukus is a fight, and this would be a glorious punch-up in a bar as long as the women are beautiful and the beers cheap and everyone’s having the best of times. It’s only rock n roll, after all. Pick this up if you like your music catchy, rough, but a whole lot of fun.

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Author: Dom Daley

The Bar Stool Preachers – ‘Party Eternal’ (Self-Released)

The Bar Stool Preachers – ‘Party Eternal’ (Self-Released)

A decade on from the release of their self-financed ‘Blatant Propaganda’ debut Brighton ska punks The Bar Stool Preachers return with their fourth record ‘Party Eternal’, and this time around they add producer Cameron Webb (Motörhead, Sum 41, Kelly Clarkson, Megadeth, Limp Bizkit & Jack Johnson to name but a few) to the musical equation to well and truly get the par-tay started.

Obviously with someone of Webb’s stature behind the desk ‘Party Eternal’ sounds exactly like you might expect for a major label record, however it’s not, not this time around, it’s self-released, and with Pure Noise Records now very much in the rear-view mirror singer T.J. McFaull along with his Preachers are returning to their DIY roots for this all new 14 track album pursuing a (long since smashed) £15,000 crowdfunder target by which to get their music recorded, pressed and released.

On first hearing ‘Party Eternal’ though, I honestly had to check it wasn’t coming out on Hellcat Records, because opener ‘Sick World’ sounds like the guys had Tim Armstrong working with them, not Cameron Webb, and that’s also before realising that T.J. is also trading vocals with none other than Angelo Moore from the mighty Fishbone. What an introduction!!!

It’s when ‘Plastic Romantic’ chimes in next, though, that I really get a sense of how high the songwriting bar is being set for this record. It’s a song with a very serious social message yet is also enormously catchy stuff and along with a few others like ‘Want To Know’, ‘Singing Along’ and ‘You’re Killing Me Eve’ the band take the more contemporary sounds of their genre-busting ‘Above the Static’ opus and once again deliver the goods with the fearlessness that we’ve all come to expect from a band now four records and countless worldwide gigs into their career.

Having also released a couple of videos in the drive to promote the record and in turn help them hit their crowdfunder target it was ‘Pick A Side’ that first got things up and running for many of us back in early 2026 and this track not only comes complete with a HUGE singalong chorus but also a message that maybe not all your musical heroes might be all they are cracked up to be.

Speaking of which, it’s obvious that T.J. still holds Mike Skinner in very high regard, as ‘Hand Grenade Heart’ and ‘The Closed Door’ both feature the BSP frontman in a more reflective, half-spoken vocal mode which not only helps break up the pace of the record but also adds another shade of colouring to the band’s extensive songwriting palette. Plus, for those of us still craving the ska punk band that gave us ‘Blatant Propaganda’, we have ‘Time Of Our Lives’, ‘Heartbeat Baby’, the riotous ‘SOS’, and the almost Marilyn Manson-esque stomp of ‘Party Eternal’ for us all to have a right proper knees up to.  

In an age when audience strive to hear “the hits” by any band, it’s testament to the Bar Stool Preachers songwriting that any of the fourteen songs on ‘Party Eternal’ could be just that, a hit, in fact two of the strongest contenders are left right till the end, with the infectious “dah, na, na, na, nana, na na, nah” hook of ‘One For The Weekend’ and then ‘This Is Goodbye’ complete with “Oi! Oi! Oi!” help from The Rumjacks helps round things off in the finest of piratey fashions.

‘Party Eternal’ is an album that exudes a cocky confidence and bowls its way out of the speakers like it’s very much on a mission, that mission I guess being to get us all singing, dancing and, yes indeed, thinking. 

So, when the Preachers return to stages around the UK this October to help promote this record, you best get your best your dancing shoes on and loosen up those singing voices, ready to ‘Party Eternal’.

You can pre-order your copy plus buy a load of other things by visiting the band HERE

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Authopr: Johnny Hayward