Punk Rock Power Trio ULTRABOMB Release New Single “Artificial Stars”Out January 2, 2026 — First Single from Upcoming AlbumThe Bridges That We Burn — Out April 3, 2026
Band Consists of Greg Norton (Hüsker Dü), Derek O’Brien (Social Distortion, Agent Orange, Adolescents) and Ryan Smith (Soul Asylum)
“After a pair of LPs over the past four years, Utrabomb is back with “Artificial Stars,” a swift blow to the sternum that harnesses both the speedy energy of Norton’s early Minneapolis days and the ragged hard-rock sensibility of Twin Tone-era Soul Asylum.” – Magnet
Minneapolis, MN — Punk rock power trio Ultrabomb have released their new single “Artificial Stars.” The track marks the first release from their forthcoming full-length album The Bridges That We Burn, arriving April 3, 2026 via DC-Jam Records/Virgin Music Group.
“Artificial Stars” delivers Ultrabomb’s signature blend of urgency, melody, and grit — drawing on decades of lived punk experience while confronting themes of isolation, endurance, and the drive to keep reaching forward even in uncertain times.
Greg Norton explains: “Sitting in our bunkers, we only have artificial stars to look at. We are all scarred, but we keep reaching for those stars.”
Release Dates • The Bridges That We Burn (album): April 3, 2026
What a fantastic end to another fantastic year of music for RPM Online, and I can’t think of a better place to be to send off the year than in a packed Empire watching the return of Vent 414and The Wonderstuff celebrating doing this malarky for 39 years!
With Milo and Peter putting in a double shift tonight, it seemed only fair that we make the effort to be in the venue early for this, and after making the 400-mile round trip, we wanted to get our money’s worth and boy did we achieve that. Vent 414 made an admission earlier this year that they were indeed in rehearsals and recording a follow-up album to their debut a mere 29 years ago, so it was a delight when Morgan, Milo and Pete wandered onto the stage and then proceeded to fill every conceivable space in the venue with their huge wall of noise beginning with ‘Laying Down With’. The band cranked out the tunes with a couple of brand new ones they’ve been recording, and Milo did inform us that the album was coming in 2026 and possibly more shows.
The first new song was built around a mega groove baby (aren’t they all) before ‘Fixer’ touched on familiar ground. By the time we locked into the volume control, it was Milo offering up the final song of the seven-song set, another new song entitled ‘Lucinda Comes In Many Colours’, I’m excited to hear the new album and what can only be described as something of a creative purple patch for the man from the midlands and this sounds bang on the money.
After warming his voice up with Vent 414, Milo marched on to the Stage, beaming from ear to ear and proceeded to kick the shit out of the finest tunes the Wonder Stuff has to offer in a manner that defies the years because not only did the band sound leaner and meaner they were on fire, and Milo’s vocals were absolutely outstanding. Little time for chit chat other than to introduce a few tunes and announce this was being recorded for a live album in 2026, it was ‘Red Berry Joy Town’ to kick off, and for the next 90 minutes plus, this ‘Eight-Legged’ heavy set list was nothing short of stunning. Malc and Mark weaved the riffs, and the rhythm was maybe tighter than ever, whilst Erica and Milo let proceedings with nicely timed riffs and licks.
The classics came thick and fast from ‘On The Ropes’ and ‘Cartoon Boyfriend’ to ‘Piece Of Sky’ and an epic ‘Mission Drive’. The Wonder Stuff 2025 were absolutely killing it and bringing the curtain down on one hell of a year for shows. I’ve thoroughly enjoyed the revisiting of albums over the past few years and the set lists have been pretty awesome, but for some reason, this one seemed extra special, not because it was being recorded for a live album but the energy from the stage was infectious, and to see post-covid era Milo smiling all the time is as infectious as a dose of flu. So much so that there were cheers for the couple of tracks of the last studio album ‘Don’t Anyone Dare Give A Damn’ and ‘The Guy With The Gift’.
Have I said already how incredible Milo sounded? The guy is singing better than ever, belting out the songs with passion and conviction, and as we headed to ‘Give, Give, Give Me More, More, More’, the clock was ticking, and the end wasn’t far off, even if I didn’t want this to end quite yet, bloody curfews.
The encore was a triple header of ‘Can’t Shape Up’ followed by the finest rendition of ‘Poison’ before a brilliant ‘Ten Trenches Deep’ brought the curtain down on a magnificent night of music that defied the years and absolutely nailed my belief that The Wonder Stuff on form like this are an unstoppable force and are getting better and never going through the motions not for a second. Can we do this again next year for the 40th Birthday, please? Simply stunning! Oh, and if you’re taking requests, chuck ‘Good Night Though’ back into the set, it would have capped off my night perfectly.
Next year marks 40 fucking years of The Wonder Stuff, and that in itself sounds ridiculous, but on this evidence, it would be insane to stop now. This band are on fire, and I say let the music flow and keep on flowing
My Ruin are back, and they are not fucking around… After a decade-long break, their latest release, ‘Declaration of Resistance’ is a damning statement on the right-wing agenda that’s engulfing US politics (the UK is not far behind!). The album is ferocious and grabs you by the bollocks from the start. Opening track (and first single) Compromised pins you to the floor. Mick Murphy’s monstrous riff, combined with Tairrie B’s spitting vocals, set up the rest of the album perfectly. Declaration of Resistance is more than just an album, it’s an assault on fascism, hate, religious radicalism and the complicity of the Western world in genocide. It’s brutally honest, as heavy as fuck, and quite possibly the most important album of 2026…and it’s still 2025.
What does it sound like, I hear you ask… Think of Rage Against the Machine at their most powerful, add in some Biohazard, throw in some Public Enemy, and sprinkle on riffs that Tony Iommi would be proud of, and then you’re somewhere near the pummelling assault of My Ruin in 2025. Seriously, tracks like The Audacity burst out of the speakers with urgency. The production is perfect, every note and lyric snaps at your heels like a rabid dog. Murphy is one of those supremely talented individuals who can play any instrument. He plays guitar, bass and drums on the album. The drum sound is a breath of fresh air. The drums sound like drums, none of that processed, sampled bullshit. Call to the Void’s Jack Osborne duets with Tairrie B on the crushing True Allies. ‘Contempt’ bumps along with a Kyuss vibe, with lyrics focusing on the vile disregard for anything tasteful by the current US President.
‘Infinite Connection’ has a doomy and dreamy atmosphere; this sounds so good in my headphones. More superb guitar work from Murphy here. ‘Fragile Like A Bomb’ blends hip hop and metal effortlessly. There is so much going on that you need a few listens to really appreciate the effort that has gone into the making of this record. ‘HHRL’ is my favourite song on the album, a down-tuned belter of a riff with more thought-provoking lyrics from Tairrie B. HHRL stands for Hitler Hated Red Lipstick – “but I fucking love it!” she screams.
‘Dark Eyes of London’ is another full-on riff-driven track, there really isn’t a weak song on the album. It’s just banger after banger. Lady Liberty is told from the perspective of Lady Liberty herself. Tairrie B mostly speaks the lyrics until she changes tack to screaming “WHY?” Why indeed…. Lady Liberty rots away as Sacred Reich said back in 1990… nothing much has changed. Muzzle Velocity is an epic track; Murphy plays a blinder here. More chugging riffs and powerhouse drumming…excellent stuff. Truth or Consequences ends the album in style with another powerhouse riff and some fantastic tribal drumming. We also get treated to a fantastic cover of L7’s ‘Shitlist’, which totally fits the vibe of the album.
To summarise, ‘Declaration of Resistance’ does exactly what it says on the tin. Extremely powerful music backed up with the most honest and relevant lyrical content. Some bands say they are not political and that it would alienate their fan base if they wore their politics on their sleeve. I say EVERYTHING is political and we should all be shouting from the rooftops as our humanity is being eroded before our eyes. My Ruin are not scared to show their colours. They speak the truth.
Celebrity Telethon shares the third and final single ahead of their upcoming self-titled record! ‘Undercover’ springs from the murky waters of protopunk (New York Dolls, Velvet Underground, and Flamin’ Groovies all come to mind) with a distinctly DIY home-recorded patina. Roughly hewn overdriven guitars, dungeon-like reverb and crackling vocals offset the song’s pop sensibilities in a manner not unlike Wreckless Eric’s homespun production style. Come to think of it, the tune’s marriage of pub rockin’ R&B (the riff calls to mind James Brown’s “I Got You”) and the chiming freakbeat jangle of the Kinks would have been right at home on Stiff Records’ early roster. However, according to The Gizmos’ Eddie Flowers in his liner notes, “This ain’t no retro fashion show.”
“Undercover” arrives on the heels of two prior singles, Rock ‘N’ Roll Matinee and Skin Flicks, which both appeared with accompanying music videos co-directed by the band and Mark Habegger. The noir-tinged single art was designed by the EMMY-winning animator Dan Riba, well known for his directorial work on Batman: The Animated Series, Freakazoid!, and Justice League.
The full Celebrity Telethon album is available for preorder now and will be released digitally and on vinyl December 31st. The tracklist runs the gamut from sleazy punk, garage-inflected roots rock, and even moments of no-wave chaos. Jo Dog Almeida from The Dogs D’Amour makes a slide guitar appearance on the Jacobites-indebted “Latkes & Brisket” while Mike Wilcox (veteran guitarist who’s collaborated with Dave Vanian and Sylvain Sylvain, among others) guests on multiple tracks.
The band is celebrating with two release shows, in Hollywood and their native Portland, OR. The Los Angeles show is a New Year’s Eve bash at The Roxy with soul legend Swamp Dogg, Tom Kenny & The Hi Seas (yes, THAT Tom Kenny, the voice of SpongeBob), and DJ Lance Rock (of Yo Gabba Gabba fame). On January 10th, the Portland release show at The Six Below Midnight will feature recently reformed ‘90s garage rockers The Statics, Suprr Powrr (featuring Seattle underground hero Rob Vasquez), and danceable art punks Dirt Twins.
The self-proclaimed ‘Barons of high energy rock n’ roll’, otherwise known as Märvel, return with their 10th album, cunningly titled ‘Brain Drain Diaries’.
The Swedish three-piece have been in the game for 20 years now. King (vocals & guitar), The Burgher (bass) and The Vicar on drums play the sorta rock n’ roll we here at RPM adore, and their high-energy mix of Thin Lizzy, Hellacopters and Kiss is always something to get excited about.
Recorded and self-produced at the Sunshine Factory in their homeland, ‘Brain Drain Diaries’ is what we have come to expect from the masked trio who dress like evil henchmen from a 60’s Batman TV show.
Lyrically, the band have taken a more reflective approach here, with themes of resilience, honesty and songs straight from the heart. But musically, it’s all about catchy hooks and killer riffs, baby!
I’m pretty much sold on the album art to be fair, but the opening one-two of ‘Look It’s Rock n Roll’ and ‘A Beautiful Corpse’ seals the deal in magnificent style.
With the former coming on strong like latter-day Hellacopters, Märvel deliver a killer opener with a refrain to die for and a high-octane solo to boot. This is low-slung rock n’ roll at its finest.
The latter, with its twin guitar attack, urgent beats and vintage Kiss feel, is pure rock n’ roll energy guaranteed to get the heart racing and the vocal cords working. That opening chorus will catch ya, hook, line and sinker. It’s probably the best track on the album. But it’s got some stiff competition.
Märvel have a knack for wearing their influences on their sleeves with no shame. ‘Biding My Time’ drifts from a Lizzy-like verse to a Kiss-inspired chorus with ease, but just ends up sounding like Märvel to me. The glam rock stomp of ‘Time Has A Way’ has a very British feel, like Mud or The Sweet in their prime. It’s as instant as Instant Whip and twice as nice. You’ll be humming it before the second chorus kicks in, believe me.
The likes of ‘Brain Drain’ and ‘Take A Stand’ prove not only that Märvel stole the beat from the Lord, but they may well have improved on it.
Märvel may not have the same kudos as the likes of The Hellacopters, The Hives or Turbonegro in certain circles, but ‘Brain Drain Diaries’ continues a strong run of killer albums from a band who are up there with their contemporaries delivering the goods to the max.
“Tell It to the Ghosts”, written and performed by Camden-based Northern Irish singer-songwriter Matty James Cassidy, is a brooding, acoustic-led track with a noir atmosphere. Channelling the shadowy storytelling and grit of Tom Waits and Nick Cave, it explores memory, loss, and the ghosts we carry. Intimate and cinematic in feel, this is indie rock with depth, character, and pulse.
Matty hits the road supporting the Quireboys on their UK tour — plus a few final solo shows to close out 2025 Here
FROM UPCOMING FIFTH ALBUM: ‘DAGGER’ OUT 6 FEBRUARY, VIA KIND VIOLENCE RECORDS
ON TOUR THIS NOVEMBER, PLUS FURTHER UK TOUR DATES IN 2026
One of the most urgent, immediate and irrepressible tracks the band have delivered to date, “Warning Signs” is a lightning bolt of realisation and unrequited love.
Of the track, vocalist Adam Houghton says:
”I wanted to write from a place of regret — that gut-wrenching moment when you realise pride and fear have cost you the person you love. The song is a confession and a plea, filled with what-ifs and too-lates. I wanted the repetition and directness to feel desperate, like someone haunted by what they didn’t say soon enough. It’s about confronting the pain of being without the one who grounded you and understanding too late that love requires vulnerability. The goal was to make the emotion feel raw, honest, and painfully human.’’
New single “Warning Signs” is an unignorable reminder of the band’s highly awaited fifth album ‘DAGGER’, as produced by Joe Cross (Hurts, Courteeners, Slow Readers Club). It arrives on 6 February 2026, via the band’s own Kind Violence Records.
The new track comes complete with an official video shot by Joyce Van Doorn and edited by Shaolin Pete. Featuring live and backstage footage from IST IST’s triumphant recent tour of Europe, it’s a tantalising reminder for what’s to come at their upcoming UK comeback shows, which kick-off this week in Leeds, Glasgow, London, and Birmingham (28th November – 6th December, check dates below).
IST IST will also be hitting the road again in April 2026, with additional shows in Norwich, Exeter, Oxford, Newcastle, Sheffield, Nottingham, Bristol, and Brighton, paving the way towards their biggest hometown show to date, at Manchester’s Albert Hall in May. All dates are listed below, with all tickets on sale now.
Catch IST IST marking their decade-long career and playing new music from ‘DAGGER’ at the following UK shows:
IST IST – 2025/26 EUROPE & UK TOUR DATES
Friday 28th November – Leeds – Warehouse Saturday 29th November – Glasgow – Oran Mor Friday 5th December – London – 229 Saturday 6th December – Birmingham – O2 Academy2 ****
THURSDAY 9th APRIL – NORWICH – THE WATERFRONT ** JUST ADDED ** SATURDAY 11th APRIL – EXETER PHOENIX ** JUST ADDED **
SUNDAY 12th APRIL – OXFORD – 02 ACADEMY2 ** JUST ADDED **
THURSDAY 16th APRIL – NEWCASTLE – THE GROVE ** JUST ADDED **
SATURDAY 18th APRIL – SHEFFIELD • NETWORK ** JUST ADDED **
THURSDAY 23rd APRIL – NOTTINGHAM • RESCUE ROOMS ** JUST ADDED **
FRIDAY 24th APRIL – BRISTOL – THEKLA ** JUST ADDED ** SATURDAY 25th APRIL – BRIGHTON – QUARTERS ** JUST ADDED **
Friday 1st May 2026 – Manchester – Albert Hall w/ Support from DESPERATE JOURNALIST + THE YOUTH PLAY
BMG and Gary Moore will reissue four beloved titles from the legendary guitarist’s catalogue Ian 2026: the studio albums Old New Ballads Blues (2006), Close As You Get (2007), and Bad For You Baby (2008), along with the live album Live at Bush Hall (2014, recorded in 2007).
All titles will be available on CD from 27th February, with each release also presented on double vinyl, arriving 24th April.
Old New Ballads Blues, Gary Moore’s 15th solo album, continued his exploration of the blues with a mix of classic blues tracks—written by legends such as Otis Rush and Willie Dixon—and his own original compositions. The album also features Don Airey on keyboards.
One year later, Close As You Getwas released, reuniting Moore with his former Thin Lizzy bandmate, drummer Brian Downey, who performed on every track. Stripped down and raw, the album finds Moore delving as close to purist, traditional blues as he had ever ventured.
Released in 2008, Bad For You Babyis Moore’s seventeenth solo album and the final studio album released during his lifetime. It leans toward the hard-rock-infused blues style he had embraced in previous years and includes covers of two songs strongly associated with Muddy Waters. The album also features standout collaborations with Cassie Taylor and Otis Taylor. Gary Moore passed away on 6 February 2011.
Concluding this group of reissues is the live album Live at Bush Hall. Recorded in 2007 at an intimate, invitation-only show promoting Close As You Get, the 13-song set once again pairs Moore with drummer Brian Downey. Thin Lizzy’s “Don’t Believe a Word” is the only Lizzy track to make it into the setlist and the performance features rare live versions of several songs, including Chuck Berry’s “30 Days,” the self penned “Trouble at Home,” and Sonny Boy Williamson’s “Eyesight to the Blind.”
Gary Moore rocked the worlds of blues and rock with his virtuoso guitar playing and soulful voice. Best known for his evocative solo hits Parisienne Walkways and Still Got the Blues, as well as his on-and-off membership in Thin Lizzy, Moore’s solo career comprises more than twenty albums. Throughout the 1980s, he rose through the rock hierarchy, but ultimately turned his back on what he regarded as the empty flash of metal and returned to his true passion—the blues—where, ironically, he achieved his greatest commercial success with his blues albums of the 1990s and 2000s.
Alongside leading his own bands throughout a successful solo career, Gary Moore played with some of the greatest names in rock and blues, both live and on record, including George Harrison, Jack Bruce, Ginger Baker, Greg Lake, B.B. King, Albert King, Albert Collins, and many others. Widely regarded as one of the most influential Irish musicians of all time, Moore was honoured by both Gibson and Fender with signature guitars. The Northern Irish star remains celebrated as one of the finest guitarists in music history.
What can you say about one of the most legendary voices of Rock that hasn’t been said before – not much, but I will say that Graham Bonnet and his band, the imaginatively monickered Graham Bonnet Band, are soon to be releasing a new live album that celebrates and commemorates Graham’s voice as one of the most recognisable in rock. Up there with Ronnie James Dio and only a few others. This album is a touching, yet relevant showcase of what the 77-year-old singer can do.
Recorded back in August 2024, at the famous Whisky a Go Go in Los Angeles, the Graham Bonnet Band rocked and rolled, and it has all been captured here on this the Lost In Hollywood Again album.
Opening with ‘Eyes of the World’, then straight into ‘All Night Long’ – you know that this band mean business and for the 16 song setlist – prove that class doesn’t age and only gets better with time.
‘Love’s No Friend’, ‘Making Love’ and ‘Since You’ve Been Gone’ are up next, while many would keep the hits until last – Graham and band acerbate a confidence that is rarely seen these days.
Now would be a great time to introduce the band that is captured live here – Obviously, you know Graham Bonnet on the vocals, but the band, who are made up of Conrado Pesinato on guitars, Beth-Ami Heavenstone on bass, Alessandro Bertoni on the Keyboards and Francis Cassol on drums. This band have clearly reinvigorated Graham, and the audience must have been in their oils as the music washed over them.
However, up next – poses the age-old question of the live album and should guitar/keyboard/drums solos should be included. I’m of the opinion that they should, as it gives the listener the time for a toilet break, just like they do in the live setting. Wasting no time, the band kick straight into ‘Lazy’ and then ‘Imposter’. Which again only highlights how good a voice Graham still possesses.
The closing gambit of this live album is another lesson in Rock N Roll greatness. How can anyone argue that the following cluster of songs is nothing short of brilliance – ‘Night Games’, ‘Into The Night’, Assault Attack’, Too Young To Die, Too Drunk To Live’ and ‘Lost In Hollywood’.
While albums like this will undoubtedly gain the artist some new fans, it is clearly a love letter to the OG fans and a record that deserves to be heard and played loud.
DATELINE: November 12th 2025 – Silver Lining Music release No Life ‘Til Leather – A Tribute to Metallica’s Kill ‘Em Allthis Friday, November 14th. The fourth single from the all-star compilation is from the pioneering heavy metal legends Raven, the ear-splitting take on Metallica’s ‘Metal Militia’.
You can divide the history of heavy metal into two distinct chapters: ‘before Metallica’ and ‘after Metallica’. When the Four Horsemen galloped to the top of dozens of countries’ charts with their self-titled album in 1991, they became the new measuring stick for their genre, and their standard is one that no hard rockers since have matched, let alone outdone.
No Life ’Til Leather – A Tribute to Metallica’s Kill ’Em All unites Metallica’s favourites, their peers, and the generations that came next. Metallica’s first proper tour was with Raven in 1983, on the famous Kill ‘Em All For One venture. Thus, it is only fitting that Raven feature on the album with their powerfully unapologetic rendition of Metallica’s “Metal Militia”. With unrelenting energy and raw precision, Raven channels the ferocity of the original while stamping their own unmistakable identity on the track — a bold statement that captures the spirit and intensity of the entire album.
“We are very happy and honoured to have been asked to be part of this awesome tribute to our old sparring partners,” comments co-founding lead vocalist and bassist John Gallagher. “Our cover version is many things, as you will hear… in the best tradition of the guys themselves, but I think we captured that Metallica “snarl”…. Especially by changing a few key elements! Features Mark on vocals, today all is revealed!”
No Life ‘Til Leather – A Tribute to Metallica’s Kill ‘Em Allis a colossal celebration of the most propulsive debut album in heavy metal history, re-imagined by the legends who inspired it and the generations that came in its wake!
The veteran likes of Saxon, DiamondHead, and Motörhead, (three of Metallica’s favourite bands) are joined by rising stars such as Tailgunner and Swedish prog metallers Soen to create a who’s-who of heavy music, with each performer lending their unique sound to one classic track. Contributions from thrash giants Testament, ex-Megadeth bassist David Ellefson, and New Wave of British Heavy Metal linchpins Tygers of Pan Tang show the label looking beyond their own artists to amass the greatest lineup possible.
The first single, ‘The Four Horsemen’, a particularly confrontational cover by hard rockers The Almighty, which propelled the band to go back into the studio for the first time with the founding line-up since 1991, is out now. Watch/listen to ‘The Four Horsemen’ Here.
The second single ‘(Anesthesia) – Pulling Teeth’, is a monumental cover of Metallica’s instrumental epic by the legendary David Ellefson. Watch/ listen to ‘(Anesthesia) – Pulling Teeth’ Here – video by Pamela Parks, edit by Freakshot Film.
The third single ‘Seek & Destroy’, is a super-charged cover of the Metallica classic by thrash metal icons Testament.Watch/ listen to ‘Seek & Destroy’ Here – video by Freakshot Film.
No Life ‘Til Leather – A Tribute to Metallica’s Kill ‘Em Allis an ambitious achievement worthy of Metallica’s game-changing legacy. By the fans and for the fans, it reaffirms the Four Horsemen’s ironclad influence – and its stacked roster continues the band’s mission to shove metal up your ass!
“A project five years in the making, No Life ‘Till Leather, is more than a tribute, it’s a history lesson, a love letter, and a reaffirmation of heavy metal’s unbreakable spirit.” – FISTFUL OF MEAL
“No Life ‘Til Leather – A Tribute To Metallica’s Kill ‘Em All has to be given extra attention simply due to the impressive list of bands and their equally astounding performances.” – METAL-TEMPLE
“Isee it as a great tribute and an act of love towards a band that has now become immortal! And “Kill ‘Em All” isn’t just an album! It’s an institution! And we’re still here, with our fists raised, shouting: No life ’til leather!” – CHAOSZINE
No Life ‘Til Leather – A Tribute to Metallica’s Kill ‘Em All track-listing:
Hit The Lights (Tailgunner)
The Four Horsemen (The Almighty)
Motorbreath (Soen)
Jump In The Fire (Tygers Of Pan Tang)
(Anesthesia) – Pulling Teeth (David Ellefson)
Whiplash (Motörhead)
Phantom Lord (Saxon)
No Remorse (Diamond Head)
Seek & Destroy (Testament)
Metal Militia (Raven)
No Life ‘Til Leather – A Tribute to Metallica’s Kill ‘Em All will be available as a vinyl, CD, and on digital formats. Pre-order here
![Graham Bonnet Band- ‘Lost In Hollywood Again’ (Live) [Frontiers Records]](https://rpmonline.co.uk/wp-content/uploads/2025/11/81e7Ocg8iLL._AC_SL1500_-750x350.jpg)
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