Durry -‘This Movie Sucks’ (Big Pip Records/ Thirty Tigers)

Durry -‘This Movie Sucks’ (Big Pip Records/ Thirty Tigers)

Rock? Punk? Pop-punk? Indie? All the above? At the end of the day, it will be up to others to try and wrap a genre around this band if you want to put a label on them. For me, this is simply an outstanding band that writes killer songs that affect the heart and soul of the listener. Durry began during the pandemic as a brother (Austin- vocals & guitar) and sister (Taryn- guitar & backing vocals) combo who became a four-piece band with the addition of Ashley (bass) and Dane (drums). One of their early songs became popular on TikTok and pushed the band’s popularity. As someone who still thinks of a clock when I read TikTok (sic), I found Durry (or Durry found me) when they started releasing the pre-release singles from this album. It gave me the benefit of diving backwards into their first album and the earlier versions of those songs while eagerly anticipating this album. Their debut had a glossy pop sheen to the rocking songs and delivered some killer lyrics about life. The band has come back with a second album that easily avoids the second album curse or jinx by building on what they have done and expanding on it to create an album of the year contender.

Lead track ‘Bully’ gets the tempo going from the start and showcases a less polished production that wastes none of its two minutes. Austin screams out the words to be heard over the music as the band addresses bullies online by pointing out that sometimes the ones pushing back can become bullies as well. The humour they can inject into their lyrics is showcased immediately. Durry reminded me of n old band from San Diego called the Rugburns when I first heard them. The Rugburns were punky but also had these wonderful mellower songs filled with lyrical stories about characters they created. I would add the Refreshments/ Roger Clyne as another similar artist who writes in a similar manner. There is an exquisite talent to this approach, and Durry delivers the goods. The band keeps the rocking going with the nugget-styled ‘Monopoly Money.’ Austin’s vocals make me feel like I could almost sing along with him and be close enough in tune to be okay. The song has a nice bridge that feeds right back into a frenetic chorus.

Changing tempo and approach, the title track allows us to look back over our lives and wish things could have gone a little differently. The build into a chorus that would have sold millions of albums in the 90s explodes from the speakers. Austin’s lyrics again hit a sweet spot where they can be sad or tragic while planting a smile on the listener’s face. Looking back nostalgically will be revisited later through a slightly different lens. The quirky ‘Porcupine’ provides a midtempo rocker with an animal-filled chorus that has been a tongue twister I am still learning- not every band throw hippopotamus into a chorus. I think most of us have experienced those nights where there is no sleep to be had because the brain won’t be quiet. The build and release of ‘More Dumb’ works perfectly with clever lyrics about space dust, language creation, and the meaning of life, with perfect background vocals in parts singing ‘dumb, dumb, dumb…’

Shambolic rocker ‘Start a Band’ reminds us that we can all go start a band, and knowing how to play an instrument should not be a hindrance. Ashley and Dane could have easily lost control of this rhythm, but instead let us feel like we are in control as we bounce off the walls. The poppy ‘Wannabe’ pulls everything back under control and reminds me the most of their debut album. The chorus expands as the song goes, and Austin reinforces that we are all we need to be. ‘Polaroid’ feels a bit like an ’80s rocker that hits right in the feels. When we look back at all our photographs, do we mean all the smiles that we see, or do we also see all the darkness and challenges behind them as well?

‘Idk I just Work Here’ should be an anthem for anyone who has ever worked a retail job. This song is wacky and wonderful. One of Durry’s huge assets is Taryn, who tears it up on the guitar but also helps deliver some killer backing vocals that take songs to a whole other level of excellence. The song should also serve as a reminder to all of us on the other side of the counter that the person across from us may not care as much about the state of our pizza as much as we do (watch the video). This song should have been a huge summer hit with kids at their summer jobs. ‘Good Grief’ keeps us rocking with an anthem for living life to the fullest and making our guardian angels work overtime.

Closing out the album, Durry has delivered two more classic songs that contemplate what life is and what we do with it. The slower ‘The Long Goodbye’ feels a bit like Green Day’s ‘Good Riddance.’ The acoustic guitar gives way to a powerful lyric about the game of life we all play. This will be a song the band won’t need to sing onstage, as all of us in the audience will do it for the band. The band could have closed the album here and delivered an amazing album with a highly emotional closing moment. The band instead injects some humour into the rocker ‘Slug Bug.’ The song provides another look back at our lives, but with a wink and smile to tell us that our best days are ahead and not behind, as we might think. It leaves us with an uplifting message as we then reach to play the album all over again. As a bonus, we get one more golden rocker, ‘Fake Media’, with something of an electronic dance beat hidden after ‘Slug Bug’ on the CD. The vinyl packaging is also very cool as you can build your own VHS Durry case in keeping with the movie theme.

Durry have delivered a killer album that should continue to attract new fans in droves. Effortlessly blending genres and time periods while sounding fresh and made for all moments past and present, this is a timeless album that will provide years of enjoyment. It’s an instant classic for me that has become even better with repeated listens. Not sure why you are still reading when you should be finding this album to add it to your collection… on record and CD.

‘This Movie Sucks’ is available now.

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Gerald Stansbury   

Saxon Cancel summer shows

Saxon Cancel summer shows

SAXON ANNOUNCE CANCELLATION OF 10 SUMMER 
SHOWS & FESTIVAL APPEARANCES WHILE SINGER 
BIFF BYFORD UNDERGOES EMERGENCY PROCEDURE


Heavy Metal legends Saxon are sorry to announce the immediate cancellation of 10 Summer shows and Festival appearances while singer Biff Byford undergoes an emergency procedure. 

The recovery period for the operation will sadly mean the immediate cancellation/postponement of 10 shows across a six-week period.  As a result, the band will regretfully now not be performing at the below scheduled shows including their much anticipated upcoming performances at Wacken Open Air, Pol’And’ Rock, Summer Breeze, Ekenäs, Area 53 and Öland Rock Festivals.

A spokesperson for Saxon’s management company said: “Saxon were so looking forward to performing at all the below Summer festivals and events, but the health and wellbeing of the band obviously has to come first. It goes without saying that all in Saxon are gutted that they will be unable to perform but look forward to hopefully being back on stage in time to play both Trutnoff Open Air Festival in Czech Republic on August 23rd and Neuborn Open Air on August 29th.  The band are also very much looking forward to their upcoming tours of both Spain, France and the UK later this year too.”

Saxon will still be performing as planned at Rockharz Festival in Ballenstedt in Germany on July 2nd. 

JUL 12 – Area 53 Festival, Leoben (Austria)
JUL 24 – Lokomotivat, Ekilstuna (Sweden)
JUL 25 – Öland Rock Festival, Borgholm (Sweden)
JUL 26 – Garden, Linköping (Sweden)
JUL 27 – Furuvik, Gävle (Sweden)
JUL 29 – Turbinenhalle 2, Oberhausen (Germany)
JUL 31 – Pol’And’Rock Festival, Czaplinek (Poland)
AUG 1 – Wacken Open Air, Wacken (Germany)
AUG 9 – Stallörsparken, Ekenäs (Finland)
AUG 16 – Summer Breeze Festival, Dinkelsbühl (Germany)

Saxon are sorry for any inconvenience caused to fans and ask for everyone’s patience and understanding at this time. The band are currently working with all the promoters of the above events to see as to whether any of these shows and appearances can be rescheduled.

Area 53 Festival in Leoben (Austria) has already confirmed that the band will now be appearing at their 2026 edition instead. More details to follow.

The 3 club shows in Sweden on July 24th (Ekilstuna), 26th (Linköping) and 27th (Gävle) have all sadly been cancelled with immediate effect.  Tickets buyers should contact their point of purchase for a full refund.

Details of any other rescheduled shows will be announced on Saxon’s website in due course. 

For more information and updates go to www.saxon747.com 

Rival Sons/Creeping Jean – The Barbican, York – 24th June 2025

Rival Sons/Creeping Jean – The Barbican, York – 24th June 2025

Following on the release of the ‘Darkfighter’ and ‘Lightbringer’ albums in 2023, Californian 4-piece Rival Sons continue their non-stop touring schedule, which currently sees the band in a prime position opening arenas and stadiums across Europe for Guns n’ Roses.

8 albums into their career, and the retro rockers show no signs of slowing down. In between these big shows, they have fitted in a handful of UK headline dates; one such date brings them to York for the first time, before they head on to Wembley Stadium and beyond.

First up tonight, we have Brighton-based throwbacks Creeping Jean, who seem the perfect opening act for Rival Sons. The 5 piece certainly looks the part, they have the threads, the hair, the grooves and moves to match. Although they do have their very own Bez on tambourine and backing vocals, who seems to be trying just that bit too hard to be cool.

The tunes ain’t too shabby though, and the delivery is great, they go down well with the growing crowd. If you dig the likes of Free and Deep Purple, then you won’t go far wrong with this bunch of 70s-influenced dudes. Worth checking out for sure.

The scene has been set, and as the lights dim to great cheers, Rival Sons enter the room and deliver a masterclass of bluesy rock n’ roll, straight from a bygone era. The constant touring has made Rival Sons a well-oiled live machine, but they always have been, right? A band doesn’t get this good by luck. It’s all about putting in the hours, hard graft and loving what you do.

Opener ‘End Of Forever’ sets the scene nicely. The sound mix is pretty decent from the off, yet it takes a few songs for the vocals to bed in. Michael Miley’s bombastic drums sound massive, stage right, Dave Beste holds down the low end, stage left, the ever-cool Scott Holiday peels off effect-ridden riffs on the first of an impressive array of guitars he uses tonight. Centre stage, the suited and bare-footed frontman Jay Buchanan weaves his body, hits notes only dogs can hear and commands his audience with the stage presence and vocal delivery of all your favourite classic rock singers rolled into one.

It all wouldn’t be so impressive if they didn’t have the tunes, but Rival Sons do have the tunes. ‘Electric Man’ is one such song; it sounds fantastic and gets one of the biggest receptions of the night. Scott’s iconic riffage and Jay’s soaring vocals are the perfect pairing for this standout cut. Elsewhere, ‘Pressure & Time’ and ‘Manifest Destiny’ prove they are more than just a singles band, as they jam out album tracks with the energy and bravado of a hungry, young band on their first tour.

Although they only delve into the last two albums briefly, the new songs fit the set like a glove. I guess with 8 albums to draw on, you can’t have it all, but highlights are plentiful. ‘Rapture’ is stunning in the confines of this 1400-seater room, as is the emotive and beautiful ‘Mosaic’. Delving deeper, the likes of ‘Feral Roots’ and ‘Tied Up’ make me wanna rediscover those older albums I may haven’t given the time they deserve.

While their retro-tinged sound is drenched with modern, effect-loaded guitars, whatever they do, Rival Sons cannot escape the 70’s rock comparisons. There may well have been a drum solo tonight, just a small one. And of course, there are plenty of guitar histrionics from the dapper Holiday, as he switches guitars every few songs and peels off killer licks. It all comes across like a scene from ‘Almost Famous’, and I mean that in a good way.

Mid-set, the boys get a breather as Jay takes things down with an emotive and soulful solo rendition of ‘Shooting Stars’, just one man, one acoustic guitar and a room of fans to give the accompaniment it deserves.

There is no encore, the band preferring to end with a rousing and groove-heavy ‘Secret’ from the recently reissued ‘Great Western Valkyrie’ album.

I’ve seen Rival Sons several times over the years, and every time they own the stage the moment they walk on until the final note fades and blends with cheers of their adoring fanbase. Yes, the music is nostalgic, and you can only describe them as ‘Classic Rock’, but is that such a bad thing? In a sea of wannabe retro rock bands over the years, Rival Sons stand tall above their peers as one of the best live acts currently actively touring and releasing new albums. It’s no surprise they are opening the show for the GNR juggernaut; they fully deserve the exposure. Tonight, Rival Sons triumphed in York, and I for one hope they return sooner rather than later.

Author: Ben Hughes

Fantazmaz – ‘Fantazmaz’ (Ghetto Bitch Records)

Fantazmaz – ‘Fantazmaz’ (Ghetto Bitch Records)

Don’t be fooled by the ambient intro ‘Are You Enjoying The Peaceful Skies’ because the roof is about to cave in. ‘Dead On The Way Home’ is a sonic kick to the jaw in just over half a minute. Christ, the song finished before I could type the title out. It’s swift, loud, to the point and bursting with energy. We’re off.

Brazil’s fiercest new punk rock export comes to the UK with their debut self-titled album, with the familiar machine pounding of Jamie Oliver on tub thumping and boy does he tub thump. Formed in 2019 by frontwoman Thami and guitarist Raf Oliver, Fantazmaz found their raw, unrelenting sound with the addition of bassist Chokito and former U.K. Subs drummer. They manage to mix blistering punk energy with a fearless presence; they sound like a band in a hurry, but to where Gawd only knows.

This record was recorded in two days, I’m reliably informed, and it sounds like it – not in a bad way, but the sound of a band who are raring to go and bursting to get out there and cause some trouble, where I think these songs will really come to life.

Rage and fury is one way to describe what follows over the ensuing ten songs, with one as ferocious as the last ‘You Owe Me A Fortune’ is rabid where ‘Distortion’ has a big Bass rumble and frantic fret flurries its as much about the energy they have created as it is about the songs because to be fair they aren’t over egged it is a lean mean war machine. They do reflect on global issues with lyrics such as those on the excellent ‘Does God Know Misery’; the melody is an earworm, and the guitar work is killing it.

This is proving to be a fresh lick of paint on a scene that is so overcrowded, but the music contained within is on fire and will grab your attention; rather, it will demand your attention.

‘Scars Of Downtown’ dissects the loneliness of metropolis and inner city London living, ‘Corporate Behave’ rages whilst looking at the nodding dogs with some post DKs guitar tricks thrown in for good measure. Hell, we’ve almost got to the finale, and it seems like it’s only just started. The thick production offers a real beefy sound that adds weight to the energy this record manages to own from the first to the last, with raging solos attempting to break out all over the place but being fought back by the solid rhythm section, none better than on the thrashing ‘Warheads’.

To close off, we have some weird trip hop beats melting on ‘Just Before Hell Comes Around’ just to fuck with your head before saying adios. A fine album, debut album to be exact, from Fantazmaz, a band I think we’ll be hearing about more and more in 2025.  

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His Lordship – ‘Bored Animal’ (Psychonaut Sounds)

His Lordship – ‘Bored Animal’ (Psychonaut Sounds)

Following last year’s explosive, no frills self-titled debut album, in keeping with the fast-paced punk rock spirit that’s His Lordship’s dish up, the dynamic duo are back and have eleven sharp as a razor songs about love, life and everything in between. ‘I Fly Planes Into Hurricanes’ is a fiery single, combining hotrodding riffs with shambolic drums and fuzzed-out guitar. Hurtling along at breakneck speed, barely breaking for breath, it’s a sonic splash that will get the pulse racing and a smile on any self-respecting rock n roll chops.

Recorded live in under two weeks at Edwyn Collins’ studio in the Highlands of Scotland, with engineer Sean Reed and mixed by David Wrench (Manic Street Preachers, Let’s Eat Grandma, Blur, Baxter Dury), for ‘Bored Animal’ His Lordship decided to streamline their sound (is that even possible? there’s only the two of them) this record has a joir de vivre and a throw it in the air and see what happens about it knowing the bare facts that they have written som ebanging tunes so what will be will be.

On the opening title track, clanging guitars and loud drums rattle the speakers and set the tone for what’s heading the listeners’ way. James Walbourne and Kris Sonne race through the songs with clever lyrics, which lean into scorching anarchic destructive rock ‘n’ roll, ‘Old Romantic’, jabbing ‘Downertown’, distorted punk ‘Marc-Andre Léclerc’, noise rock ‘Weirdo in the Park’, garage-blues riffs galore complete with howling vocals ‘The Sadness of King Kong’, and even psychedelic headfuckery ‘Derek E. Fudge’. As with their debut, ‘Bored Animal’ makes room for an instrumental stripped bare with no vocals, my least favourite genre of music, but hey ho, you can’t have everything. It is vintage rock ‘n’ roll, but with edge and swagger, the album is decidedly not a retro rehash or homage to the past, but they sure respect where they’ve come from and who drove them to this point. It’s in their DNA and hear,t and not something you could ever manufacture to this degree.

Don’t be fooled by the 1950s spiv suits and serious faces. This pair of Herbert’s makes one hell of a roar from their instruments, warts n all, this album is fantastic. More than anything, His Lordship embraces the idea that they have to live in the here and now and not be clever because it’s only Rock n Roll baby and they have something to say. Bored Animal delivers on every level. They know who and what they are and dish it up with volume

By Here

Charlie Harper – ‘Harpers Road’ (Death Or Glory Records)

Charlie Harper – ‘Harpers Road’ (Death Or Glory Records)

Showing no signs of slowing down or easing back to retirement, Charlie Harper releases ‘Harpers Road’, an acoustic saunter down a leisurely road of traditional covers and Subs classics done to a very different beat indeed. Sure we’ve had an acoustic version of Subs releases previously, but not quite like this. A truly solo album of Charlie doing whatever Charlie wants.

Containing fourteen tracks of which over half are reimagined Subs classics from all over the band’s career, tracks like ‘C.I.D’ and ‘Stranglehold’ pepper side one. ‘Roll In My Sweet Baby’s Arms’ is a campfire hoedown with a very traditional performance. ‘Bottle Of Wine’ is more of the same, complete with fiddle courtesy of Duncan Menzie. Some traditional fuzzed up swampy blues in the shape of ‘Diving Duck Blues’ where Charlie gets to wheeze his harmonica.

Now Subs fans will have a hoot with these reworkings of ‘C.I.D.’, pretty much faithful to the electric version but the polar opposite., ‘Stranglehold’ is a campfire jam whilst ‘I Live In A Car’ is more a trad blues lick slowed down and knocked out on the porch in downtown Brighton, complete with hilarious ott police sirens for good measure.

I do like hearing old classics stripped bare, so ‘Tomorrows Girls’, ‘Kill Me’ are interesting skiffle jams not like anything you’ll hear Charlie do with his full electric band howling behind him. It’s great to hear Charlie enjoying himself and doing just what the hell he likes, not feeling he has to dance to anyone’s tune and knock out loud and aggressive punk rock, so songs like ‘Rat Race’ have the drive but with a very different flavour. ‘After Hours’ is a Ukulele ride you never thought you’d hear. My least flavour o music is an instrumental so ‘Ride In The Black Forest’ is next before the record signs off with a penny whistling romp through ‘Wild Rover’ now it might not be a polished Pogues take nor in the same league as a Wolftones but its loose and fun exactly what this album set out to achieve. Different takes and flavours of some well worn songs and a most welcome addition to the Charlie Harper catalogue. Never, ever retire, Charlie, you’re just too good at this to stop. This is a very limited pressing as well so snooze, you’ll probably lose.

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Jesus And Mary Chain – Tramshed, Cardiff 21.06.25

Jesus And Mary Chain – Tramshed, Cardiff 21.06.25

It’s been a while, best part of a decade, since I last clapped eyes on the brothers Reid in Cardiff across town in the second room of the Uni, and the time before that it was this very same venue but tonight was a one-off and not part of a tour, but something of a warm-up for the band’s appearance in Milton Keynes the following night at the Forever Now festival (at the time of writing I believe the stage at MK was beset with tech difficulties so its something of a relief to get this one in). The dry ice rolls across the stage like only a few other bands, such as the sisters of Mercy or the Bunnymen, engulfing the room to that of a post apocalyptic wasteland with just a dimly lit red mist as the band stride on stage to begin what was to amount to a pretty epic and mightily impressive set from Kilbride’s finest.

‘JAMCOD’ kicked off proceedings and Jim proceeded to remove his customary leather jacket due to it being one of the hottest days of the year and in a venue that seemed bereft of oxygen and even the gentlest of breezes but this didn’t stop the band smashing through songs like there was no tomorrow with merely silhoueted shadows on the stage with William swaying in front of his customary Orange wall of amplifiers as Jim holds onto his mic and stand like he’d fall over if it wasn’t there. The sound is clear and throbbing to the huge chords in the break before the second verse. Superb start as we were all hoping to OD on JAMC.

Like a fine wine, The Brothers Reid have matured and aged well sure they’re not the same band who kicked off all those years ago with a fire in their bellies and without a care in the world just a love of Garage rock n roll, art and creating some dark, bleak yet light and warm music that has most defiantly stood the test of time ably assisted currently by Mark, Scott and Justin. If anything, songs off the first album and EP (‘Psycho Candy’) have aged superbly well, but that’s for later in the set. The band’s most recent offering, ‘Glasgow Eyes’, is well represented, as is my personal favourite album, ‘Darklands’. To be fair, the set list is well designed and delivered impeccably, building to a glorious crescendo on the encore.

I’m presuming Jim is enjoying himself because he’s loosened up by removing the jacket, and the rest of the band sound amazing and right on it. ‘Head On’ was like a rabid barking dog, and from the awesome ‘Sidewalking’, it was glorious and possibly the best I’ve ever heard them. Connie from the support band Borrowed Atlas joined the band on stage for ‘Sometimes Always’ and a majestic ‘Just Like Honey’.

For the encore, it was a hat-trick of the impeccable guitar pop of ‘Darklands’, followed by ‘Taste Of Cindy’, and to bring a halt to proceedings and leave nobody in any doubt that they are still the masters of their craft and nobody has done the shoegazing pop noise better. Even when they left the field for hiatuses, their shoes couldn’t be filled and ‘Reverence’ was the perfect full stop to a pretty spectacular warm-up. It seems mad to think on this evidence, they even need to warm up. This was a blazing show of noisy guitar pop perfection. They can be as arrogant as they like, they always maintained how damn good they are and on this evidence it seems time has proven them right. Stunning performance. So until next time gents, nos da.

Desperate Fun – ‘Ready To Rot’ (Take The City)

Desperate Fun – ‘Ready To Rot’ (Take The City)

In these troubling global times, we’re all searching for some Desperate Fun, so it seems only right for us here at RPM to point you in the direction of some in the share of punk rock n rollers from London Town, Desperate Fun.

Raised on American and Australian ’77 punk rock. KBD addicts. Formed in London back in 2017. No Front Teeth records were obviously there with their finger on the pulse of this down n dirty loud n sleazy punk rock and released the bands debut album so fast forward a pandemic and some where we find ourselves confronted by a wonderfully loud, nasty, sleazy follow up in the shape of ‘Ready To Rot’. issued by Take The City Records (another label with their finger on the pulse of what’s hot in punk n roll) Let’s not muck about here, after a spoken intro, ‘Dead Love Sex’ bursts out of the speakers in a frantic Early Subs style kicking and screaming with a face full of snot n sweat it’s just what the punk n roll doctors ordered.

Six tracks in fifteen minutes kicking the living shit out of my speakers with the time honoured Johnny Thunders guitar licks (I’m Not) Going To Rot’ is a blast of energy and a swift kick to the groin…lovely stuff. As you can imagine there are no love songs or ballads to contend with just piss and vinegar steaming out of every pore. To be fair, it’s a lean, mean six of the best. sounding like thunder and brimming with energy its exactly what you need to be sticking in your ears this summer. My advice is to get hold of it now, while you can; it’s a banger.

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Author: Dom Daley

Turbulent Hearts – ‘All Out’ (Pirates Press Records)

Turbulent Hearts – ‘All Out’ (Pirates Press Records)

Suzi Moon seems to have been around for ages and has achieved some mightily impressive releases thus far. From Civet through Turbulent Hearts and into her solo career, Suzi has achieved a lot for a fiercely independent artist. From those aforementioned bands to the split with Billy from Black Halos, it was about time that her spell with Turbulent Hearts got the treatment it thoroughly deserved. ‘All Out’ sets out to achieve just that and maybe balance the scales by putting together a pretty comprehensive collection spread over two lovely slabs of vinyl.

the journey shes been on has been followed by RPM having reviewed Civet and Turbulent Hearts live and on CD as well as her recent escapadeses as a solo artist shes matured into a very impressive songwriter and awesome performer leaving nothing on the stage her performances were always captivating but the music was also the thing that drives her. Turbulent Hearts deserves this double LPand it’s an essential chapter in the journey to where we are now.

After starting off as a young teenager, Suzi spent years touring in the Long Beach punk band Civet (alongside her older sister Liza Graves) before stepping up to the center stage mic with Turbulent Hearts in 2014. She’d been writing her own songs since the age of 13, and she was ready.

The band made their mark in the mid- to late-2010s, and after they parted ways, Suzi moved on to the garage psych combo LA Machina and ultimately, recording under her own name. Across the four sides of  All Out, the band’s entire recorded output – 4 EPs and change over the course of 7 years – is collected in one place for the first time for fans old and new to enjoy.

Aided by the rhythm section of bassist Mark Johnson and drummer Jay Skowronek, Turbulent Hearts had the chops in the studio and on stage, letting Suzi take centre stage was right, and she shone brightest there, delivering the songs.  Suzi admits it was a prolific period, and the quality of the output will stand the test of time, no question about it. Something of a rite of passage, if you like, to get to where she is now.

From the rampant gallop of ‘Panic’ through the measured groove of ‘Never Getting Over You’, Suzi can rage with the best of em but also has an eye on crafting pop melodies that have mass appeal. Choruses and hooks a plenty take ‘Cryin’ or ‘Redwood Nights’ for contrast, but a songwriter who knows what it takes.

Hell, punks can cut loose on ‘On My Own’ and ‘Hangin Around’ but it’s not all crash, bang wallop of course. ‘Notice Me’ coulda, shoulda and all that. To be fair, the spread of material is excellent and an album I highly recommend, not just for completists but for people who love Rock n roll with sweat, snot and a heap of cool. Get yourself the complete Turbulent Hearts in one fell swoop; you won’t regret it. Buy It!

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Author: Dom Daley



Infamous Stiffs – The Ornery Six’ (Golden Robot Records)

Infamous Stiffs – The Ornery Six’ (Golden Robot Records)

California’s own Infamous Stiffs are back with a vengeance, A six-track rollicking good time barrage

Unapologetic and loud, ‘The Ornery Six’ stays true to the band’s roots, gritty and rough around the edges but honest and relevant. From start to finish, you have the sound of a band who knows what they’re doing and delivering it to the best of their ability and that, my friends, is considerable. From the frantic ‘No Static’ through the ‘Loose Screwz’, they mix early GnR with punk rock west coast style. With a mix of crunching guitars, pummeling drums, and no-nonsense vocals, the Stiffs deliver,r and that’s the whole purpose of this EP.

‘Evel Mann’ packs a punch, and the fact that it’s only six tracks is enough to digest in this ever-changing, fast-moving time. If you’re asking for a favourite track, then I’d go for the energy of the opener or the more restrained ‘Lonesome’, either way it’s a rock solid EP.

The EP closes with ‘Top Secret’, a tribute to LA punk legends Kaos and the late Johnny Stingray, tearing through the speakers like a high-octane homage to the scene that shaped them and a fitting tribute to a fallen comrade, nice touch and also hints of the Wildhearts and Ramones if that’s possible and quite some endorsement me thinks.

This is music to play loud, have a good time all of the time and get the horns up as the band says – either way, these are non-negotiable rules. Go get some

Pre-save The Ornery Six HERE