Honey Juice -‘Lend Me a Feeling’ (Helvis Elvis Keksis Records)

Honey Juice -‘Lend Me a Feeling’ (Helvis Elvis Keksis Records)

Sometimes, a band name really gives someone no idea what their musical approach will be. Honey Juice popped up in my YouTube feed when the video for their song ’Panic’ was released. I was curious, so I clicked on the link and immediately wanted to hear more from this new band. They just released their debut EP, which doesn’t waste a second across its 14 minutes. While the band appears to be based in Finland, three of the five members came from outside Finland. Their musical direction creates an interesting musical blend that deserves a listen.

On the band’s website, a couple of the musical influences the band lists are the drums of Megadeth and Paramore. I cannot say I have ever listened to Paramore, so my musical comparisons will be different. They launch with the highly melodic ’22 Again.’ This is most definitely not Life of Agony’s ‘Lost at 22.’ This has more of a modern rock feel, where the music opens up for the chorus. The guitar riff pops up in the mix where needed to propel the song. It provides an energetic start to the release. Up next is ‘Panic’, which again was my first exposure to the band. The band serves up a melodic verse with beautiful vocals before the chorus explodes with a visceral scream that comes out of nowhere. The song has a lot of musical elements going on in the mix, which are awesome, but each time that scream comes into the song, it makes it even better. This will be high on my favourite songs of 2026 list.

It would take an ‘Insane Amount of Energy’ to follow up ‘Panic,’ but that is exactly what the next song is called. I am reminded of Yours Truly from Australia here. Another band that has come to mind is recent Gunship and their song ‘Monster in Paradise’, where Milkie Way from Wargasm guested on the song. ‘Go Daddy’ brings something different with the lead vocals reminding me a bit of ‘Nurse’ or Troublegum’ era Therapy? with a hint of Senser. This song flies by way too quickly. There is a scream buried in the mix which pops out with repeated listens. Closing out the EP, ‘Blue Moon Ride’ provides a melodic blast of brilliance which should be a hit single.

Honey Juice should find a large audience with the right exposure, as all five songs on here are winners for me. I have put this on repeat several times this week and keep picking out new things in the songs. My biggest complaint is how fast it is all over. It feels a bit like back when a new Wildhearts’ single would appear, and the CD single would go on repeat. I look forward to watching Honey Juice continue to grow.

‘Lend Me a Feeling’ is available now on digital outlets.

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Author: Gerald Stansbury

The Melmacs – ‘EUPHANCHOLIA’ (Bakraufarfita Records, Wanda Records & Spaghetty Town Records,Beluga Records )

The Melmacs – ‘EUPHANCHOLIA’ (Bakraufarfita Records, Wanda Records & Spaghetty Town Records,Beluga Records )

Power Pop masterclass from the heart (beat) of Germany, Dresden to be precise, when you see Wanda and Spaghetty Town, you instantly know that Power Pop Punk with rock’n’roll guitar, organ, and sweet-and-sour melodies are on the menu and if its good enough for them then it’ll be more than enough to fill up my depleated levels of power pop punk rock.

The soppy keys with the sharp guitars and the Clem Burke style backbeat hits you right between the eyes after the misleading intro ‘The Tide IS High’ thunders on, and the F-U-N begins. Hold onto that mile-wide smile because it ain’t gonna stop there. ‘Falling’, is on hyperspeed as it crashes in with that summertime keyboard wheeze chasing off the sped up riff-o-la not to mention the immeasurable amount of joy they bring with the melodies and fun at a time when there isn’t a great deal of either to be had. Listen to The Melmacs, and that will rectify any pessimistic thoughts and turn your frown upside down.

The hits keep coming, one after the other, it’s just top-notch pop tunes wrapped in various shades of guitar riffs and lush melodies. ‘Deadbeat’ has a passing resemblance to some Stranglers keys and JJ Bass thump that walks all over the song, vying for the front and centre of your attention.

‘Run For Your Life’ has the step down from the Clash, but the pure power pop of 80s new wave and FM rock n roll radio coursing through their veins at the speed of light. Spread out over twelve tracks, they never stray from the gutsy sound that’s pure and honest as the day is long. I guess the format is simple: write a killer tune, play it hard like your life depends on it, then do it again over and over, Bingo!

If you want some snotty, zero bullshit, no fucks given punk rock old school, then head for a ‘Showdown’, it’s got attitude and plenty of street smarts to take you down. There’s plenty of variety on offer here in tempo and style, but not massive departures, but enough to keep you interested throughout its twelve tracks. Penultimate track ‘Crying My Heart Out’ is the acoustic strum off with spoken word intro into a poplicious melody and chorus that old school Johnny Thunders would really appreciate.

With one stack heel boot, stomp off before they’re out the door ‘Electric Night’ takes another turn with a killer tune the likes of The Biters would have given a kidney to have penned. I’m gutted it’s only two and a half minutes long. What a killer end to a killer album. Don’t take my word for it, get out there and pick it up, you won’t regret it. Power poppin punk rockin glam slammin records are back, and you can start with The Melmacs! Buy IT!

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Author: Dom Daley

Rachel Bolan is at war with himself

Rachel Bolan is at war with himself

After four decades as the driving force behind Skid Row, bassist and songwriter Rachel Bolan steps forward with his first-ever solo album under the name BOLAN. “Gargoyle of the Garden State” is a bold, deeply personal debut rooted in the grit, attitude, and storytelling spirit of his New Jersey upbringing.

Produced by multi‑Grammy winner Nick Raskulinecz (Foo Fighters, Skid Row, Rush, Evanescence, Alice In Chains)The album began as a simple conversation between friends. What started casually quickly evolved into a record that would ultimately define Bolan’s voice as both a songwriter and storyteller.

“Gargoyle of the Garden State is not a project, it is every bit of my soul,” says Bolan. “Like me, it knows when to be serious and also knows where the party is.”

PRE-ORDER THE ALBUM HERE

Musically, the album delivers hook-driven, anthemic songs that fuse punk energy with melodic sensibility, wrapped in swagger and raw edge what early listeners have already called “quintessentially New Jersey.” Among its standout moments is a surprising cover of Oasis’ “Rock And Roll Star”, reimagined through Bolan’s distinctive lens.

Expanding beyond his role as a bassist, Bolan performs the majority of instruments, shaping the record from the ground up. Drawing on influences from Brit Pop and Glam to Punk Rock and New Wave, the album represents a lifetime in music.

“Gargoyle of the Garden State” also features an impressive lineup of guests, including Corey Taylor, Danko Jones, Nuno Bettencourt, Damon Johnson, Steve Conte, and fellow Skid Row members Scotti Hill, Dave “Snake” Sabo and Rob Hammersmith.

“It was incredible to work with so many of my talented friends an experience I wish everyone could have at least once,” Bolan adds.

The album is out on June 12th and will be available as CD digipak, LP gatefold, as well as digital and download. PRE-ORDER THE ALBUM HERE

At its core, “Gargoyle of the Garden State” is Bolan at his most honest, a record full of attitude, melody, and personality unmistakably his own.

Marc Valentine – ‘Uncommon Side Effects’ (Wicked Cool Records)

Marc Valentine – ‘Uncommon Side Effects’ (Wicked Cool Records)

Some people just have a way with a tune, don’t they? You know that, when it’s time to release an album, it’ll be chock full of earworms. Step forward, Marc Valentine, former Last Great Dreamer, with his third long player, the second on Little Steven’s Wicked Cool label. After 2024’s ‘Basement Sparks’, it should be clear that he knows his stuff.

With ‘Uncommon Side Effects’, you get ten quality tunes, the kind you used to hear on the radio. From ‘NY UAP’, with its simple keyboard melody, we’re straight into territory from the notebook of The Boys. An understandable influence, given Marc’s recent tour dates with the band. ‘High On The Underground’ shamelessly nicks from ‘Sweet Jane’, and reminds these ears of ex-Boy, Duncan Reid. 

Marc knows the power of the key change outro, as ‘The Other Side’ shows. Simple, effective and very catchy. In fact, that is the thread throughout the album. Writing simple, memorable songs is anything but easy. Another top songwriter, Chris Catalyst, would, I suspect, enjoy these tunes. ‘Loneliest Part’ and ‘Tiger On Glass’ have echoes of his work and Eureka Machines. They’re responsible for some of my favourite songs ever, so this is no random comparison. 

‘Half Moon Pendant’ is a lovely, brief acoustic interlude, before ‘Temporary Buzz’ clouts you round the head like it’s shouting “potential hit single!”. ‘When The Light Has Gone’ ends on a glimmer of hope and a minimal, Buzzcocks-style melody; another EM motif, and a great song. Marc should be proud of this collection of songs. In troubled times, we need a little spark of optimism and joy. Preorder, and catch him on tour in April and May. 

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Author: Martin Chamarette

‘Poison’: Punk Lifer Justin Maurer Launches J MAU & THE KISS OFF

‘Poison’: Punk Lifer Justin Maurer Launches J MAU & THE KISS OFF

Los Angeles, California’s J MAU & THE KISS OFF emerge from what they lovingly call their “beloved hellhole” with their debut single “Poison,” out March 25. Founded in 2025 by Justin “J Mau” Maurer, longtime punk lifer and founder of Clorox Girls, Suspect Parts, L.A. Drugz, and Maniac, the project finds Maurer turning toward something darker and dustier without losing the bite that’s always defined him. “Poison” is a cinematic honky tonk murder ballad filtered through decades of West Coast punk history. It’s the first glimpse of a songwriter who’s always followed the feeling, even when it led somewhere uncomfortable.

Maurer’s story isn’t mythology. It’s messy and real. A CODA raised between Los Angeles and Bainbridge Island by a single Deaf mother, American Sign Language was his first language. Punk became his second. After surviving a turbulent childhood and helping put his abusive father in jail as a teenager, Maurer found autonomy in the underground. By fifteen he was booking shows and touring. By twenty he was releasing records and circling the globe with Clorox Girls. Along the way he built a parallel career as one of the country’s most respected ASL interpreters, working alongside prominent political figures like Michelle Obama, Bernie Sanders, Elizabeth Warren, Gavin Newsom, Kamala Harris, and Joe Biden, stage interpreting for punk legends like Alice Bag and The Avengers, interpreting Deaf actor Troy Kotsur’s historic 2022 Academy Award acceptance speech, and appearing with Kotsur on Curb Your Enthusiasm. His life has always moved between worlds.

After stints living in Madrid, London, and Baja California, and in the wake of a divorce that leveled him, Maurer found himself flat on his back in an East Hollywood apartment, cowboy boots still on, old country records spinning. Hank Williams. Buck Owens. Merle Haggard. Gram Parsons. Kris Kristofferson. Townes Van Zandt. He finally understood it. “Real country music is poetry,” Maurer says. “It’s about failure, heartbreak, and the tragic human condition. Music to laugh and cry and live and die by.” That rock-bottom clarity led him to write “Poison.”

Recorded at Savannah Studios in Boyle Heights with Ignacio “Iggy” Gonzalez and backed by Patrick “Butterworth” Vasquez and Kevin “Quake” Milner, the track moves like a slow-burning reckoning. Acoustic strum, restrained rhythm, and a haunted vocal that feels equal parts confession and warning. From his window in Pico Union, Maurer could hear children playing at the elementary school across the street. Listening to old country compilations full of doomed protagonists, he imagined himself as a man on the run whose days were numbered, watching that schoolyard and knowing he might never see it again. That’s where the line came from: “When will you see the children play / You never will again.” The refrain doesn’t comfort you. It circles back like a hard truth you can’t shake: “It’s got a way / That poison’s got a way / It’s got a say / It’s got the final say.”

The single arrives with an 8mm-shot video co-directed by Maurer’s former MANIAC bandmate Zache Davis and Marta Ribate Gracia-Davis. Grainy, sun-bleached, and edited with a careful hand, it plays like a spaghetti western fever dream, a corrido where the protagonist must confront how he’ll be remembered before the end comes calling. The artwork, designed by longtime collaborator Matthew “Snake” Davis, leans into vintage flash tattoo skulls and silent-film menace.

J MAU & THE KISS OFF Online

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Dead Pioneers – No Kings

Dead Pioneers – No Kings

DEAD PIONEERS ANNOUNCE NEW ALBUM ‘WAGON BURNER’ TO BE RELEASED JUNE 26TH VIA HASSLE RECORDS

PRE-ORDER HERE

NOW CONFIRMED TO PLAY THEIR FIRST UK FESTIVAL APPEARANCE AT 2000 TREES IN JULY

“No kings, No masters / Kick against fascist bastards”

Following their packed-out first EU and UK headline tour last month, Dead Pioneers, the Indigenous fronted band from Denver, are now preparing to unleash their third album ‘Wagon Burner’, set for release June 26th via Hassle Records.

Succeeding the album’s first statement with the initial single ‘Nazi Teeth’, a powerful attack on the upsurge of the far right and white supremacists, Dead Pioneers are back with a second single ‘No Kings’, which delivers an equally powerful punch to right-wing politics.

“Last summer, there were protests all over the United States called ‘No Kings’, in opposition of the current administration, the policies they’ve been implementing, and the rights they’ve been taking away from citizens,” explains frontman Gregg Deal. “While the issues are obvious, it’s important that we all say it out loud. It’s important that we show up and make our opinions known, that we won’t allow our inherent rights to be trampled upon for the benefit of the Epstein Class.

“Not unlike ‘Nazi Teeth’, ‘No Kings’ is meant to bring the points home,” he continues. “ICE, rights being taken away, mass shootings, greed over life, demonising immigrants, black, brown and queer people, widened economic gaps by the Epstein class, and the sincere frustration Americans feel over this. While this is happening, we realise that the right-wing politics coming out of the United States is emboldening conservative right-wing politics all over the world. We are against dictators, authoritarian regimes, Nazis, fascism or any other power structure, political, social or otherwise that seeks to take away the rights, freedoms or lives of human beings trying to live their lives. To that, we keep it simple: NO KINGS.”

Dead Pioneers is rooted in a 2020 piece called The Punk Pan-Indian Romantic Comedy, a deeply personal work that dealt with Deal’s upbringing. Following an embryonic performance of the piece, Deal secured a grant to expand it to include music created especially for the work. “The idea was to mix spoken word with punk music,” explains Deal, who hooked up with drummer Shane Zweygardt and guitarist Joshua Rivers during lockdown and began kicking the concept around.

A miraculous, natural chemistry made this supposed one-off project an actual band almost as soon as they cut what became their 2023 eponymous debut album (“We approached it like I approach my visual art: execute quickly, first thought is best thought,” Deal says), but they didn’t necessarily take it seriously until, unexpectedly, the outside world did. “I was like, we’ve made this record – what should I do with it? Put it online?” Deal remembers. The response was vigorously positive, and soon came demands to commit this noise to vinyl. A first thousand-copy pressing sold out in minutes. “So, then we pressed another thousand,” he adds, still marvelling at it all. “And then they were gone, too.”

What followed was “a series of strange accidents” that led to the group signing to Hassle, befriending Jello Biafra and touring with kindred spirits like Pennywise, Propaghandi, and even Pearl Jam. “Punk-rock had made everything seem so accessible when I was a kid,” says Deal. “Like, simply having the balls to get up on stage and stage dive and then be carried off by people that become your best friends once they get your feet back on the ground.” Now, punk-rock was reaching out its hands to Dead Pioneers and pulling them onto larger and larger stages. The group returned that favour by simply getting better and better: their second album, 2025’s PO$T AMERICAN, was sharper, angrier, funnier than the debut, a riot riveted with punch-a-Nazi thrills.

And now, Wagon Burner, their fearsome third album. Described by Deal as “more collaborative”, it’s a heavier, harder but also more accessible set, vicious hooks scattered among the punk-rock melee and guest appearances by kindred spirits Cheap Perfume (on the righteous ‘Nazi Teeth’), The Interrupters (on the shout-a-long anthem ‘Never Alone’) and, bringing it back to the group’s beginnings, Sleaford Mods (on the searing slow-burn of ‘The Worst Among Us’). The world might be darkening by the day, but Dead Pioneers are rising to that miserable occasion, casting their empowering light into the gloom.

Pre-order ‘Wagon Burner’ HERE

Co-produced by Dead Pioneers and Chris Beeble.

Recorded at The Blasting Room in Fort Collins, Colorado.

Dead Pioneers are:

Gregg Deal – vocals

Josh Rivera – guitar

Abe Brennan – guitar

Lee Tesche – bass

Shane Zweygardt – drums

See Dead Pioneers at the following dates in the UK and EU.

July

8 – IE Róisín Dubh, Galway

9 – IE The Workman’s Club, Dublin

11 – UK 2000 Trees Festival

16 – DE Back To The Future Festival

17 – DE Adieu Tristesse Festival

18 – DE Seepogo Festival 

Find Dead Pioneers online HERE:

Evil Blizzard – ‘Death Songs & Lullabies’ (Crackedankles Records)

Evil Blizzard – ‘Death Songs & Lullabies’ (Crackedankles Records)

Where exactly do I start to review an album where I’m hearing something new whenever I play it, something that spikes my interest repeatedly, yet it’s difficult (yet hopefully not impossible) to put my finger on exactly what that something is with each new play.

So, what about I start with a quick back story whilst I try to collect my thoughts?

Evil Blizzard are a six piece from Preston, who not only have multiple bass players within their ranks but also wear masks in all their publicity shots and when they play live. Their fourth studio record ‘Death Songs & Lullabies’ is being released via Crackedankles Records on March 27th 2026 and it’s this record that has me (almost) lost for words.

Why? Well where better to start than with album opener ‘Off With Their Heads’, it’s a track that opens (and closes) with a simple beat box rhythm that wouldn’t be out of place on a Sleaford Mods record that segues into a mystical PIL meets Hawkwind riff before finally erupting into a furious onslaught that is equal parts Rammstein and Killing Joke, and that’s all within the first four minutes and thirty six seconds of the LP.

Citing influences as diverse as Krautrock and Discharge listening to ‘Death Songs & Lullabies’ reminds me of the first time I heard legendary UK band Cardiacs or US art rockers Jane’s Addiction. It’s a demanding listen because it’s not a typical rock record, but in an age where rock is overrun with generic shite tailor made to fit into a particular audience demographic, this can only be a good thing, right?  

The punk rock influence is more than obvious during the just past one minute almost metal gallop that is ‘Four Letter Words’ and the head fuck that goes by the title of ‘Wake The Dead In Bedlam’ where Discharge’s current singer Jeff (JJ) Janiak pops up to hammer home the song’s hypnotic chorus. Meanwhile for those who maybe like things a little mellower, I’m sure the trance-like eight minute plus ‘Black Square’ would have most fans of progressive music stroking their goatees in appreciation.

As ‘Death Songs & Lullabies’ passes it’s midpoint ‘Questions//Answers’ rears its many heads like some majestic hydra, and whilst the teenage Sham 69 fan in me so wanted this to be more than just some grammatical reworking of their classic late ‘70s terrace anthem it is instead a track that wouldn’t be out of place on side two of ‘Ritual De Lo Habitual’ and my mind is once again well and truly blown when the songs hit’s it’s volatile mid-section. Boomshanka!!!!!

There’s not going to be many records like ‘Death Songs & Lullabies’ released in 2026 that’s for sure. It’s epic, it’s ferocious, it’s exhilarating, and above all, it’s fantastic.

Get your mind blown by ordering your copy HERE.

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Author: Johnny Hayward

Tyketto – ‘Closer to the Sun’ (Silver Lining Music)

Tyketto – ‘Closer to the Sun’ (Silver Lining Music)

This month sees the return of melodic rockers Tyketto with their 6th studio album, Closer to the Sun, their first in a decade. The Danny Vaughn-fronted band soar higher than they have gone before.

With 11 rip-roaring tracks, the album highlights everything fans have loved about the band ever since we first heard them back in 1991 with their classic debut ‘Don’t Come Easy’. Bearing in mind that a mind-blowing 35 years have passed since then. The fact that Danny and his merry band are still rockin’ and rollin’ is something that can not be taken away. 

First up is the single ‘Higher Than High’, which, please forgive me, left this reviewer a little cold when it was released last November. Having said that, I can thankfully say that, over time, it has grown on me, and I bet it is a crowd pleaser when played live. 

Then we get ‘Starts with a Feeling’, which, to these ears, reminds me more of Danny Vaughn’s solo output, but come the chorus, it instantly becomes a future Tyketto classic. One thing that is ever-present in anything featuring the dulcet tones of Mr Vaughn is the storytelling that takes you out of the misery of everyday life and transports you to a better place.

Up next is ‘Bad For Good’, which sees the new guitarist, Harry Scott Elliott, with a riff worthy of anything the band did in the ‘90s. The groove is still unmistakably Tyketto. That is one thing this album showcases: which is clearly a band honouring their past while looking to the future. 

The acoustic opening ‘We Rise’ again takes me on a whirlwind journey, which is always a trademark of the band, and when Danny Vaughn starts singing, the chest-thumping chorus is sublime. This is what the fans want from the band, and they deliver in bucketloads. Another hero of this song is Ged Rylands with his exquisite keyboard work.

The honkytonk swagger of ‘Donnowhuddidis’ is for me the only down note on the album, nothing to take away from the musicality on it. But it just doesn’t do anything for me. Compared that to the next track, the amazing title track ‘Closer to the Sun’, and it’s almost like a different band, but that is what I really love about this band, is that even though they might not hit the mark every time, it’s close enough. 

‘Harleys & Indians (Riders in the Sky)’ is up next, but be aware that this song is not on the vinyl version, which is a shame. This song is another example of a mid-paced rocker that rolls along nicely and with some great shoutouts to the greats.

The upbeat rocker that is ‘Hit Me Where It Hurts’ highlights the grooviness that this new line-up of the band are masters of. Harking back to some ‘Strength In Numbers’ era songs. One thing I’ve got to mention is the rhythm section of Chris Childs on Bass and Johnny Dee on Drums, which is tight and perfect. While also letting the songs breathe.

Now the next song up is for me one of the best that this band has ever released, and that is a high claim, considering the impressive back catalogue that Tyketto has released. ‘The Picture’ is just incendiary. Danny Vaughn has rarely sounded this good. You can tell that the band are firing on all cylinders, no more than on this beautiful song.

‘Far and Away’ is another classic example of the acoustic/ based jam before the band kicks in, which is their bread and butter, reminiscent of ‘Sail Away’ from the classic debut. But, hey, if it works, why mess with it? I do like the strings section, which adds some depth to the song.

The final track is rabblerousing ‘The Brave’, which is a fantastic way to end a great album and the musical equivalent of a cliffhanger, to the next album of the great line-up of the band. The decision to record the album at Flip Flop Studios and the legendary Rockfield Studios in Wales proves that the band are thinking ahead and, as always, thinking of the fans who deserve nothing short of perfection. 

Tyketto, with the release of ‘Closer to the Sun’, have achieved what many of their peers strive to: an album that boldly goes above and beyond in the name of musical evolution, all the while remembering where they came from. 

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Author: Dave Prince

The Black Crowes – ‘A Pound Of Feathers’ (Silver Arrow Records)

The Black Crowes – ‘A Pound Of Feathers’ (Silver Arrow Records)

Fresh off the GRAMMY-nominated success of ‘Happiness Bastards’ in 2024, The Brothers Grim Chris and Rich Robinson wasted no time getting back to work and mining this seam of Rock n roll they happened upon. Returning to Nashville to reunite with producer Jay Joyce and recapture the spark that powered their last record, they just got on with business in a much happier place these days and left all their bullshit and background noise in the rear view mirror. The result is another glittering prize that to their credit, is banger after banger. Gone are the long beards and dope fueled jams, and a leaner more back to their roots, rock n roll homage to the Keif and Ronnie and Faces days rock n roll are front and centre.

The Black Crowes have created a rock record that’s loose and loud, and from the off, ‘Profane Prophecy’ is as good a rocker as they’ve delivered in decades, and time will testify that it’s right up there with the really early rockers, all be it with a modern production. The record stays true to the rockier edges of the band’s sound with only a couple of fleeting forays into the acoustic world, but like the early days’ big ballads, they really don’t touch the style. Rich brings the Telecaster riffs on the opening songs, absolutely killing it, on the Keith Richards inspired ‘Cruel Streak’, leaving enough room for his Brother to wail and deliver a stonking vocal as good as anything he’s delivered for decades. It gets funky, dark and heavy with the girls helping out on the chorus and leaving enough room for some honking keys. The breakdown is huge and had me nodding with approval as the fuzzed-up licks keep coming.

We get the first acoustic haze much more in keeping with ‘Exile’ era Stones than any Deadhead workout. ‘Pharmacy Chronicles’ is another excellent performance from Chris as he seems focused and emotional in the best possible way. The arrangement with the keys is impeccable. The rock is then turned up with some fantastic riffage from Rich Robinson on ‘Do The Parasite’. We then have a couple of more laid-back moments for the listener to take stock and catch their breath, ending with the epic of the mellower moments being ‘Queen Of The B Side’, but another thing is that the songs are kept lean and to the point, and none overstay their welcome.

‘It’s Like That’ gets its groove on for a very loud and chaotic workout where the music bounces off the vocals and sparks fly as they jostle for the limelight with some awesome BVs just to make the song kick you even harder in the nuts. Jagged, rock n roll at its finest. The tempo is raised again as we head into the homestright ‘Blood Red Regrets’ makes way for classic riff n roll Crowes style ‘You Call This A Good Time’ before ‘Eros Blues’ picks its way through the intro before shaking any cobwebs away and being the only hippy tinged tune but in the best possible way as it twists and turns before signing the record off with ‘Doomsday Doggerel’ and a levvy breaking drum beat twists your mellon with some fucked up vocal melodies before clearing ones head and stamping a full stop on what is a mightily impressive record and a step up in quality forom their last mightily impressive offering of ‘Happiness Bastards’ and offers a record of variety and impeckable quality ‘A pound of feathers’ is heavy and light and shows that form is temporary but class is permanent and this is class – Buy it!

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Author: Dom Daley

Grade 2 Share New Single “Better Today”

Grade 2 Share New Single “Better Today”

New Album ‘Talk About It’ Out April 3 via Hellcat Records

EU / UK Tour Dates Confirmed

Grade 2 share new single “Better Today”, a track that explores the impact depression can have on relationships and the fragile process of recovery. The song contrasts the experience of hitting rock bottom with a more hopeful present, capturing both accountability and progress.

Guitarist Jack Chatfield explains:

“Better Today talks about the damage that depression can have on a relationship. It contrasts between the recent past of being at rock bottom to a now hopeful present.”

Listen to “Better Today” HERE.

The single is taken from the band’s fourth album Talk About It,setfor release on April 3rd viaHellcat Records. Over twelve years since forming as schoolmates, bassist Sid Ryan, guitarist Jack Chatfield, and drummer Jacob Hull reflect on growth, resilience, and the realities of life on and off the road.

Talk About It captures a defining chapter of growth for the band — shaped by touring through uncertainty, navigating relationships at home while building momentum on international stages, and channeling personal struggles into direct, honest songwriting. From festival appearances to sharing stages with longtime heroes, Grade 2 turn experience into urgency and reflection into songs built on grit and melody.

The album stands as a statement of survival and evolution — raw, focused, and forward-looking.

Grade 2 will hit the road in support of the new album, with UK dates kicking off at the end of the month before continuing across Europe throughout spring and early summer. The run spans Ireland, the UK, mainland Europe, and festival appearances, marking one of their most extensive touring periods to date. Please see below for the full list of dates. The tickets are available via the band’s Website.

Tracklisting – Talk About It

  1. Cut Throat
  2. Hanging Onto You
  3. Standing In The Downpour
  4. Better Today
  5. Talk About It
  6. Don’t Worry About Me
  7. Crash And Burn
  8. Smugglers Haven
  9. Rotten
  10. Wasteland
  11. Otherside

Grade 2 – 2026 Tour Dates

20.03 | The Deers Head | Belfast
21.03 | Lost Lane | Dublin
28.03 | The Bodega Social Club | Nottingham
29.03 | The Key Club | Leeds
30.03 | The Deaf Institute | Manchester
31.03 | The Garage Attic | Glasgow
01.04 | Exchange | Bristol
03.04 | O2 Academy Islington | London
04.04 | Strings | Isle Of Wight
25.04 | Zakk | Dusseldorf, Germany
26.04 | Don’t Panic | Essen, Germany
27.04 | Hansa39 | Munich, Germany
29.04 | Arena Wein | Vienna, Austria
30.04 | F-Haus | Jena, Germany
01.05 | BETA Club | Copenhagen, Denmark
02.05 | Bahnhof Pauli | Hamburg, Germany
03.05 | Mikropol | Berlin, Germany
06.05 | Paradiso | Amsterdam, Netherlands
07.05 | Hall Of Fame | Tilburg, Netherlands
18.06 | Graspop Metal Meeting | Belgium
20.06 | Letzigrund Stadium | Zurich, Switzerland

For more information:

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