Hailing from Cheltenham, UK, 4ft Fingers is a powerhouse punk rock band that has been making waves in the music scene since their formation in the late 90s. Their signature sound is a blend of fast, melodic, and catchy punk rock, drawing inspiration from iconic bands like The Clash, The Damned, Snuff NOFX among others.
Throughout their career, 4ft Fingers has been known for their relentless work ethic and dedication to their craft. They embarked on extensive tours in the 2000s, solidifying their reputation as “the hardest working punk rock band” as hailed by esteemed publications such as Kerrang! magazine, Big Cheese magazine, and numerous DIY punk fanzines.
In 2025, 4ft Fingers continues to thrive, captivating audiences with their explosive live performances. Currently, they are working on their highly anticipated new album, which will mark their first full-length release since 2008, and are set to end the year on a high with a brand-new single called ‘Better Days’, due for release on December 12th via Disconnect Disconnect Records. Crashing in at just over three minutes, ‘Better Days’ instantly shows that the band’s talent for crafting high-energy melodically charged punk rock hasn’t dissipated one bit in their time away from the studio.
“The single is fuelled with all of the angst and emergency that 4ft Fingers are known for with the speed and melody of their punk rock ‘n roll with soul roots”, states guitarist Tom Saunders. “The song comes from a mature and experienced version of themselves and tackles the highs and lows of life.”
The stage is set for an exhilarating 2026 as 4ft Fingers promises to deliver a blistering and unforgettable punk rock experience. Fans of 4ft Fingers can expect an electrifying fusion of punk rock energy, memorable melodies, and a nod to their influences, creating an unforgettable experience that is both nostalgic and fresh. Stay tuned for their upcoming album and prepare for a blistering ride with 4ft Fingers at the forefront of the punk rock scene.
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.
TURNT UP IN EUROPE 2026- Here we go! Another European excursion.
Ravagers are looking forward to playing Sweden and Norway for the first time, along with all the usual spots in Germany, Belgium, France, and Spain. Sorry UK. They still haven’t gotten any offers to play over there, but who knows?.. to be continued!
We often say there’s something in the water in Sweden, with their glut of great, noisy bands with hooks aplenty. See also Australia. But I think of Wales in the same way. 60 Foot Dolls, The Sick Livers and Deathtraps, plus many others, have a habit of penning earworms that hit hard.
Just as you start making your Christmas list, Deathtraps release the third and final instalment in their ‘666’ EP collection. That makes 18 bangers, spread over 3 CDs. As expected, there’s no time to waste, no chaff, straight in with ‘People Like You’, and the chant of “people like you need people like me” is essentially Motörhead head-butting The Hives.
‘The One That Got Away’ has a poppier edge. “You can be my poster girl, I can be your dirty secret”, is like a Jonesy riff, as is ‘Freak Out’. A lot of bands try and fail at this stuff, but you can trust the boys to pull it off (ooer, e.t.c).
‘I Used To Read The NME’ manages to resurrect the line “do you wanna be in my gang?” without causing any trauma. ‘Pop Song Singalong’ is as catchy as Dirtbox Disco used to be, and ‘Kissy Face (Feel Bad Hit Of The Summer)’ is over four minutes long, but there’ll be no flute workouts here! “Sun’s out, scum’s out…” sets the tone.
So, head on over to Bandcamp for a listen. You can even order all 3 EPs if you missed out. The perfect stocking filler. Rock, actually recorded in a garage. Remember, it’s not available in the shops, so get your order in now.
CELEBRATING 50 YEARS IN MUSICWITH A CAREER-SPANNING RETROSPECTIVE SET
MANCHESTER ACADEMY, 4TH JUNE 2026
+ VERY SPECIAL GUESTS BUZZCOCKS
Next summer, Peter Hook & The Light will celebrate 50 years of music with a special set at Manchester Academy, spanning his work with Joy Division, New Order, Monaco and more.
On the 4th June 1976, Pete Shelley and Howard Devoto brought The Sex Pistols to Manchester for the first time for a night at the Lesser Free Trade Hall. The show attracted a modest crowd, with around 40 people in attendance, but amongst them were a disproportionate number of future legends of the Manchester scene. Future members of The Smiths and The Fall, Factory Records’ Tony Wilson, punk poet John Cooper Clarke, genius producer Martin Hannett and somewhere amongst that crowd was a young Peter Hook, with his friend & soon-to-be Joy Division bandmate Bernard Sumner.
Energised by the punk performance, Hook set out to buy a bass guitar the very next day. He went on to play in some of the most influential and iconic bands in British music history, pioneering post-punk with Joy Division before moving into more synth-driven soundscapes with New Order. Now, five decades on, Hook is set to celebrate the anniversary of that pivotal night with a special show in the city that shaped him.
On 4th June 2026, 50 years to the day since The Sex Pistols changed the Manchester music scene forever, Peter Hook & The Light are set to perform a retrospective set spanning his lengthy career at the Academy. Playing choice picks from his time in Warsaw, Joy Division, New Order, Revenge, Monaco, and Freebass, it’s a night not to be missed by fans of Hook and his wide-spanning, widely-influential projects. “On the evening of the 4th June 1976 my life changed forever,” shares Hooky, “I hope on the evening of 4th June 2026 yours will too.”
Hook will be joined by very special guests Buzzcocks, who were instrumental in putting the Sex Pistols on all those years ago. Since that night, the Buzzcocks have carved out their own place in British music history with hits like “Ever Fallen in Love (With Someone You Shouldn’t’ve)”, “What Do I Get?’ and “Harmony In My Head”, winning audiences over with their catchy punk songwriting and lovesick lyrics. Next June, they support Hook and celebrate their own 50-year anniversary in the process.
Pre-sale tickets for the show go on sale on Wednesday 3rd December here, while general on-sale kicks off on Friday 5th December. Tickets will be available here.
Live Dates
4th June, 2026 – Manchester Academy (with Buzzcocks)
Wolfsbane, performing with their legendary original lineup, are proud to unveil a brand new video ahead of their three final headline shows to close out 2025.
+
‘Live Faster‘ is a totally new re-recording of their debut album ‘Live Fast, Die Fast’.
With a huge desire to do justice to the new version whilst respecting the old one, ‘Live Faster’ is splendidly IN YOUR FACE and everything the band had hoped it would be. “We are so pleased with the way it has turned out.” – Blaze
Formed in Tamworth in 1984 after a couple of years with different drummers the line up of Blaze Bayley on vocals, Jase Edwards on guitar, Jeff Hateley on bass and Steve Danger on drums was established. This line up remains unchanged to this day. Gigging constantly anywhere that would have them Wolfsbane soon gained a reputation as one of the most incendiary live British Rock bands around, with an original sound fusing Hard Rock, Metal, Punk, Glam and Pop.
After receiving great reviews in Kerrang and Sounds magazines and support slots with King Diamond, Motorhead and Faith No More, Wolfsbane came to the attention of legendary record producer Rick Rubin, who signed them to his new Def American label. In 1989 their debut album ‘Live Fast Die Fast’ was released to rave reviews and included the (almost)hit single ‘I Like it Hot’. In 1990 Wolfsbane released the classic six track mini album All Hells Breaking Loose At Little Kathy Wilson’s Place. This was released to accompany a British and Irish tour supporting the mighty Iron Maiden! 91 saw the release of the ambitious and eclectic ‘Down Fall the Good Guys’ album, recorded at Abbey Road studios, produced by a young Brendon O’Brien and followed by the bands biggest and most successful British tour to date.
Wolfsbane toured across Europe, joining bands Motorhead, Anthrax and Public Enemy and Voivod in their tours, having excellent reactions and life changing escapades.
Wolfsbane then parted company with Def American and signed with the reactivated indie label Bronze Records. Their first release for Bronze was the raw raucous and legendary live album ‘Massive Noise Injection’, this was recorded on one sold out night at London’s Marquee club and captured Wolfsbane in all their unhinged glory and earned them a ten out of ten review in the NME!
Revitalised by the success of Massive Noise Injection, Wolfsbane recorded the eponymous stripped down, musically and lyrically hard hitting self titled album known as ‘The White Album’ but before it’s release Blaze Bayley left the band to replace Bruce Dickinson in Iron Maiden.
After a fourteen year hiatus, Wolfsbane reunited in 2007 at the Rock of Ages festival in Tamworth and then toured with the Wildhearts and Quireboys. In 2011 the reunion became permanent and Wolfsbane released their comeback album ‘Wolfsbane Save The World’ and this comeback was to last longer then the band had been together first time around.
This was followed by the ‘Rock’ ep and another live album ‘Wolfsbane Go Loco At The Asylum’ recorded in Birmingham.
In 2022 the band released the second full studio album of their now cemented comeback, the acclaimed ‘Genius’ album which epitomises the bands carefree attitude showing they will enjoy every minute of playing music together, with an infectiousness that can inspire others to do the same.
In 2025 Wolfsbane release ‘Live Faster ‘ a totally new re-recording of their debut album. It is a reclamation of the first album as the band would have wanted it.
Wolfsbane, still the same line up, are currently touring and played with The Almighty in November
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.
SO FAR FROM HOME, ED, IVOR & GANG WIND BACK THE CLOCK AND BLOW THE REST OF THE WORLD AWAY – AGAIN
In 1976 it was the English press who climbed on board with The Saints first. The weekly music newspaper Sounds in particular, with their multiple “The Single of This and Any Other Week” reviews, recognized that these Brisbane outcasts had beaten their homegrown punks to the punch. The US press also came on board, in particular Creemandthe punk zines like Slash and Bomp!; the yanks seemed to really recognize the Saints connections to pre-punk high energy outfits like the Stooges… All the while the Australian media of the day looked on with a fair amount of bemusement.
Fast forward 49 years, and with The Saints ’73-’78 having just completed a run of US dates and now on the UK & Euro leg of their world tour, it’s deja vu all over again in terms of the response in the upper hemisphere… This time it’s the American press who’ve taken the lead – natch, given the American shows came first – and who are hailing the band as something akin to the second coming, singling out the ferocity and brilliance of Ed Kuepper‘s guitar playing, the singular swing of Ivor Hay‘s drumming and Mark Arm‘s ability to fill the shoes of the late great Chris Bailey – or perhaps to wear different but equally as appropriate footwear – in particular:
Under The Radar: “Watching Kuepper play guitar is like watching someone at the very top of his game … do things with his right hand that humans shouldn’t be able to do… Kuepper always had a tone and sound that resonated with a heaviness that most punk bands couldn’t pull off. Therefore, it was just STUNNING to see it done live…. Out of everything I’ve seen this year, I can’t think of anything more exciting and thrilling. This was one of those performances that makes this longtime fan grateful to be there and to be alive!”
Backbeat Seattle: “Kuepper’s churning, propulsive rhythm guitar (every bit as essential to the Saints’ early acclaim as Chris Bailey’s vocals) has lost none of its razor edge and Hay’s solid drumming pushes the band along at a brisk clip. Mick Harvey’s tasteful leads added a nice bite and Mark Arm’s vocals were just what the punk rock doctor ordered.”
Illinois Entertainer: ‘“(I’m) Stranded” brought the audience to a fever pitch, inciting a full-throated singing from the fans as well as some semi-moshy behavior among rowdy older punks near the barrier. “Know Your Product”… maintained the crowd’s peak energy with the Saints’ influential blend of catchy brass licks and the jet-engine roar of Kuepper’s guitar.”
Spill Magazine: “They really had no choice but to perform “Nights In Venice,” a track from their debut album, (I’m) Stranded. The song explodes, and it’s no surprise that the crowd erupts at the end. Kuepper and Hay have formed an eight-piece band who perform a tight and rocking version of the song. The energy is incredible. This is followed by “No Time,” a track from the same album. Again, the band grabs the song and turns it into a force of nature.”
Chris Morris (esteemed LA music writer – RS, Variety, Billboard etc):“The Saints show at the Teragram tonight could not have been better if I had dreamed it myself… Beginning with “This Perfect Day” and ending with a second encore of the inevitable raver “Nights in Venice,” the band dug deep into the meat of their formidable early catalog… Kuepper… lashed the crowd with dense, intense, feedback-laced playing all night… Mark Arm … laid down a stupendous performance that deftly channeled the spirit and sound of the group’s co-founder Chris Bailey… A lot of friends were in the house, and at the end of the gig they unanimously talked about the show with excited ecstasy. Further words are failing me at the moment. ”
Hudley Flipside (Flipside magazine legend!): “Ed moved with his guitar like electricity. As Ivor drummed perfection and consistency as the full moon above us. The lights… made our eyes close and tune into that place of lyrics in our hearts when we sung loudly with Mark Arm…”
Falling James (of Leaving Trains & LA Weekly fame): “All around me at Teragram Ballroom, people were spinning and shaking and stomping and screaming and singing along or staring upward silently in rapt fascination, fully mesmerized and in a state of wide-eyed shock and sheer, unadulterated, pure, ever-loving joy… as founding guitarist Ed Kuepper summoned forth those monumental, incendiary, massive guitar riffs that frame some of the greatest songs of all time, all hammered home with stunning authority by founding Saints drummer Ivor Hay and such estimable all-stars as, you know, Mudhoney vocalist Mark Arm, the Birthday Party guitarist Mick Harvey and Sunnyboys bassist Peter Oxley…. “
Of course, the band’s audiences were star-studded too, with the likes of Jello Biafra, Thurston Moore, Steve Turner (Mudhoney), Stephen Malkmus (Pavement), Penelope Houston (The Avengers), Ian MacKaye, Guy Picciotto & Brendan Candy (all from Fugazi), Matt Sweeney (The Hard Quartet), Mac (Superchunk), Mary Timony (Wild Fang) and many others making the scene.
Not to be outdone, the Brits – who we should not let forget actually dumped on our boys a bit back in ’77 after the initial outpouring of adoration because Ed, Chris, Ivor and Kym did not give two f**ks about the rules that quickly bound the London punk scene – are also responding ecstatically to the band, who played their first shows their last week, and who did a live session for Mark Riley on BBC6 on the weekend from the BBC’s legendary Maida Vale studios.
The Yorkshire Post: “A judiciously chosen set pares down the catalogue to perhaps their 19 best songs which Arm delivers brilliantly in either an Iggy Pop-like drawl or full-throated rasp. This Perfect Day is especially brutal… All in all, a stunning reminder of the raw power of one of the finest punk bands ever.”
The band will have come off stage at the Electric Ballroom in London around the I hit send on this – we look forward to reading the responses to that.
For those of us who can’t be there, there are still copies of a new TheSaints ’73-’7812″ EPLive Nights in Venice Vol.1– released on In The Red and limited to a crazy 800 copies only – available (along with loads of cool merch) via The Saints ’73-’78 official website. But it before disappears forever or have a listen via the usual digital outlets.
“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
Recent Comments