Its A Revolution – Podcast – Episode 40

Its A Revolution – Podcast – Episode 40

Join us for this week’s instalment of the RPM Online Podcast Episode 40 no less. This week’s show opens on a sad note with the awful news that 60ft Dolls drummer passed away recently so it seemed fitting that we kick off with the awesome ‘Happy Shopper’ from ‘The Big 3’ album. I witnessed the band at the peak of their powers when they played to a packed-out house in the next village on the same road effectively that we broadcast from. A band that should have been as big as the Manics no question about it but alas they burned brightest rather than fading away, this one is for Carl may he rest in peace.

After such a sad note to begin with the show starts with the original kick-off and the most excellent Turbonegro cover of The classic ‘The Party Starts Now’ released in 2005, this is how to do a cover version deathpunk style. After Martin reviewed the Love Fiends album recently we had to include this Banger ‘Jimmy (Is An Agent)’. Power Pop done superbly.

Great to have UK Hardcore legends Chubby & The Gang ready to drop their new LP ‘And Then There Was One’, to loosen the juices they’ve dropped this new single ‘Theres A Devil In The Jukebox’ which is going down a treat at the pumphouse HQ. October seems so long away.

Cherry Red are continuing their tradition of releasing double album CDs of classic releases and this time its GBH so ‘Sick Boy the single version is our pick of the pack. Out in months time the band still play to this day with the same power and aggression.

A classic reissue with a superb mix was The Replacements ‘Tim: Let It Bleed Edition’ which came out a few years ago. ‘Kiss Me On The Bus’ (Ed Stasium mix) is our pick from this stunning box set that is well worth the price. Packed with goodies for the fair ear The Replacements always do quality reissues and this might well be the pick of the pack. Now if only they were to do some more reunion shows that would be most excellent. As far as remixes or remasters go this is night and day with the original release probably only outdone by the recent Senseless Things remix /remaster.

Another band we love at HQ is The Hillbilly Moon Explosion and with their most recent album getting a repress and launch in a few weeks it seemed right to play one of the best songs off the album ‘1979’ check em out. ‘Back In Time’ is a fantastic addition to the band’s catalogue and an underground band who have bazillion of plays on YouTube if you want to get a flavour of what to expect.

Now a band we’ve played before The Cavemen have a new album out and thankfully it’s more of the same from our favourite New Zealand reprobates. ‘Cash 4 Scrap’ is all killer and no filler (possibly because they don’t hang around long enough) They do a great line in zero fucks lo-fi garage punk even if this is the slowest song in their repertoire.

The first half of this week’s offerings is the brand-new single from the one and only Marilyn Manson who by the sounds of it is right back on form. With a new album hopefully in the pipeline being released on nuclear blast records it’s one to look out for.

With all the unrest around at the moment, it seems appropriate to drop this last live recording of the late great Joe Strummer when he did the firemen benefit and got Mick Jones up to blast off the cobwebs of ‘White Riot’.

Janes Addiction have been getting some great reviews from their live shows and having the four original members back in the fold ‘Imminent Redemption’ sound right back on form for the Californian rockers. Lets hope this new album is of the same strong output. It would be great to have them back making a noise and upsetting people.

Swansea upstarts Monet are busy recording their second album and after a quality live performance recently celebrating 30 years of Repeat Magazine/Records it would be foolish not to add them to the roster of excellent bands to look out for. We’ve also asked Richard to pop down to HQ and host the podcast with us so fingers crossed that comes off soon. Repeat are the kind of people we want to align ourselves with as we all sing off the same hymn sheet. Love Music Hate Racism.

Another band who played the Repeat party was West Wales noise makers Lacross Club and it might be the first song we’ve played twice but ‘Welsh Weather Heather’ is so good we could play it most weeks, get an album done gents those songs might go off if you leave them.

Chris informed me that Sepultura covered the New Model Army and I had to check it out as I didn’t know that one but they bloody well did. Good solid effort but not a patch on the original and hopefully they’ll play this when I go to see them in a few months, next up is ‘The Hunt’.

The Bellrays have a new album coming and its a banger so we’re playing ‘One More Night’ before they head off on a US tour with Social Distortion. One of the finest voices in garage rock no doubt about it. Another band to write a song influenced by a riot is The Damned who deliver ‘Thanks For The Night’ with Vanian on vocals as opposed to the Captain but regardless of who is singing this was and is a classic.

Tubthumper Dunstan Bruce has signed a contract with Heavy Medication Records to release his ‘Fucking Expensive’ single so it would be rude not to give it an airing. The penultimate track is an unreleased single from the late 70s by The Vibrators who have captain Oi reissuing ‘V2/pure mania’ and ‘Bad Time’ is the tune showcases just how bloody good The Vibrators were another very underrated band from the late 70s.

We end this weeks show with with another new song this time from the awesome Peter Perrett who dropped the news of his pending album and then released the first video off the record and what a banger to sign off with. ‘I Wanna Go With Dignity’ is a swashbuckling slice of classic Perrett. Adios amigos til next time.

The Alarm – ‘Alternative Declaration’ (The 21st Century Recording Company)

The Alarm – ‘Alternative Declaration’ (The 21st Century Recording Company)

How many copies or versions of one album does a man really need? Well the sensible amongst us would obviously say one. But since when is man sensible? I think this must be about the tenth copy of this album I now own. It’s fair to say I rate it, always have and always will. It’s raw and vital and for most of my life, it’s sung to me and still does. To be fair the alternative version I can do without, the live version of a few years ago I could also do without but the original and the rereleased double album along with the ‘Eponymous 81-83’ release I’d absolutely recommend. this one I have in my hands is also (no spoiler) a fuckin belter. ’68 Guns without the trumpet is raw and vibrant and a stone-cold classic. worthy of the ‘Alternative’ tag. The solo blows my mind and hearing versions of songs you’ve heard a bazillion times with different chord changes and drum parts as well as alternative lyrics is a mindfuck. It’s not necessarily the hits that were ever my favourites (Oh apart from where were you hiding) but the songs like ‘We Are The Light’ which is excellent here. I’m so used to the original production that hearing these versions is quite emotional and takes me back to a time when music was my everything and truly life changing. As I’ve gotten older and grown up with people like Mike Peters and gone somewhat on the journey with him and his music I don’t always get where he’s going but isn’t that the beauty of music its different things to different people and this was my time with the band and what I’d consider to be The Alarm.

Another of the album’s deep cuts that I always loved live has to be ‘Shout ToThe Devil’ and this version is immense from Sharpys contribution to Twist’s rhythmic beats I’m pleased I took the plunge and parted with my £50 to get hold of this and to be fair for a double album, Poster and double CD that’s a decent price for hardcore fans. I’m not sure the super deluxe version was worth the extra money but I was secretly desperate to hear these versions and the track list as it’s laid out over the two records.

The pound shop U2 and Clash tags always bugged the shit out of me sure I could see the comparisons or inspirations but ‘Declaration’ was something else and for a debut album right up there with the best of em. A blistering live rendition of ‘Tell Me’ seems out of place on ‘Alternative Declaration’ but the version of ‘The Stand’ is top tier and closing off LP one is a fresh sounding and youthful ‘Howling Wind’ without the sterile studio sheen of the original released version.

Sides three and four are more akin to that Eponymous album that came out (which is readily available on Amazon for a very reasonable price) If I’m being geeky and uber fan nerdy the ‘For Freedom’, ‘What Kind Of Hell?’,’ Up For Murder’ and ‘Unbreak The Promise’ are The Alarm in a nutshell, at their very best.

There’s a lot of music to get through (Twenty-Four tracks to be exact) with side four feeling like it has a few extras just in case you wanted to moan about VFM with a 2024 remix of ‘WWYHWTSB’ ’68 Guns having a 2023 remix complete with Trumpet and harmonica. A stonkin wander through The Whos ‘Legal MAtter’ which they always did very well to be fair. A hootin’ rootin’ tootin’ ‘Bound For Glory’. ‘Bells Of Rhymney’ always loved giving a cheers for Swansea even when it got boos in Cardiff (cheeky Sods). The album finishes with the 2013 part two piece of ’68 Guns’. Exhausted and happy an album I’ll take for a spin more than I probably should to be fair and one I’m glad I gave a chance to now for a run through the Abbey Road CDs that came with it and yet more versions of songs recorded in Dallas. what a band they were four lads who shook the world for sure.

For those not lucky enough to pick up a copy I noticed It’s got a barcode on the jacket so I presume soon enough the record will be readily available, most probably to coincide with the Autobiography that Peters has written. I’d like everyone to get a chance to hear this version of one of my favourite albums ever. When you’re young indeed, but when you’re old(er) you have all the memories and hopefully once more for the four lads from Rhyl to put a full stop on it for all those who didn’t go to Brixton or The Scala.

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Author: Dom Daley

Gene Loves Jezebel – Pizza Express Live 06.08.24- Holborn, London

Gene Loves Jezebel – Pizza Express Live 06.08.24- Holborn, London

Well I’ve been to thousands of live shows in some strange off-the-beaten paths and some most untraditional venues as well but tonight I find myself in Old London Town at the basement of Pizza Express for a full band Gene Loves Jezebel acoustic show. I like pizza I’m happy to sit at the table (I think) and take in an evening like no other.

Waiter two beers please and a pizza with pineapple (only joking about the pineapple obviously I’m not an animal) as we find our table and order some food and drinks in a very laid-back environment we await to band of Jay Aston, James Stevenson, Chris Bell and Peter Rizzo to take to the stage for what promises to be a very interesting and intimate experience. As the band take the stage it still feels a bit weird watching a rock n roll band in a jazz club/restaurant but hey I guess we’re all of a certain age these days and it’ll be rattle your jewellery rather than pogo and press against the stage these days.

A beaming Jay introduces the band to what might be a wonderful triumph or a brilliant catastrophe who knows either way we’ll all have been fed before bed looking around I don’t think it being a School night really matters to this audience never the less Chris counts in the band as we get underway for the first half. Promising some songs from the deep vaults and never before played to reimagined classics so I make myself comfortable sit back relax and float downstream let the music begin.

After a false start due to the (cough cough) over-rehearsed and always ready Jay forgets or needing the lyrics for ‘Lone Rider’ and goes to play ‘Love Keeps Dragging Me Down’ before deciding to hell with it its live and going back to the set list to open with ‘Lone Rider’ before the awesome ‘Love Keeps Dragging’ it was a wonderful pin drop moment as ‘How Do You say Goodbye’. As the evening settles in we are treated to a cover of ‘Inbetween Days’ that has James showcasing his wonderful touch and a fantastic interpretation of an already great song.

Jay is in a playful mood shuffling through half a dozen lyric sheets about fifty times seemingly unable to find the song he wants anyway it is familiar fan favourites of ‘Kick’ and ‘Georgious’ that go down really well. The first set is edging to a close but before halftime oranges and rub down its ‘Dancing Underwater’ off the album of the same name but not before James took lead vocals on the emotional ‘The Other Side Of The World’ which was one of those live show moments. the emotion of the lyrics and what it clearly meant to James was laid bare for all to see and the fragilities of the melody and delivery was genuinely a cwtch moment and one that wasn’t lost on everyone in attendance. Spectacular heartfelt stuff.

The second half gets underway with a rousing ‘Jealous’. ‘Who Wants To Go To Heaven’ and that tune ‘The Motion Of Love’ has them dancing at their tables as ‘Liquor Man’ continues to keep people smiling and the night has magic in the air along with Jays quips and tomfoolery ‘Every Door’ is played before ‘Break The Chains’ and Jay introduces the band before they prepare to leave the stage after a wonderful evening of song in the most unexpected of places but if the music is good enough it can happen anywhere any time any place and tonight Pizza Express could only have been topped had Prince Andrew walked round the tables handing out the bills. ‘Desire’ is the final curtain call and we’re done. It’s back to West Wales but not until we wander through the quieter streets of Soho and have a cheeky pint in the Ship Inn for old time’s sake. Until next time Gene Loves Jezebel delivered a Michelin star performance with a gentler acoustic hand. Full electric next time please gents.

Author: Dom Daley

Sister Morphine offer a limited 7″ of pure Rock n Roll pleasure

Sister Morphine offer a limited 7″ of pure Rock n Roll pleasure

Reanimated South Wales lowslung rock ‘n’ rollers SISTER MORPHINE follow up last year’s fifteen-track debut album, ‘Ghosts of Heartbreak City’, with an all-new double B-side single, ‘Werewolves of Suburbia’/’I’m Up For Letting You Down’, released on streaming platforms and limited edition white vinyl seven-inch via Big Egg Records on September 6th, 2024.

Written in 2024 and recorded over the Summer at RedRock Studios with Lyndon Price once again at the controls, these two new songs up the ante of the band’s signature sound: punk ‘n’ roll with killer hooks. ‘Werewolves of Suburbia’ is a dark, metaphorical calling-out of pathetic men who still treat women as pieces of meat, while ‘I’m Up For Letting You Down’, which has one creeper in the Seventies and the other in a Scandinavian rehearsal space, is an ode to those people who stick by you when you’re at your worst. Sure to be live favourites, both songs will make their debuts on a Sister Morphine setlist when the band play at the HRH Sleaze VII festival at Leicester’s O2 Academy on Sunday, September 8th.

The single will be available as a limited edition white vinyl seven-inch – one of the first releases from the Big Egg Vinyl Club – with cover artwork exclusive to this physical format. This will be Sister Morphine’s first-ever vinyl release.

Catch Sister Morphine live at: HRH Sleaze VII – Leicester O2 Academy – September 8th

The Pit – Newport – October 11th (with Deathtraps & Arizona Law)

Big Egg Records

Swami And The Bed Of Nails- ‘All Of This Awaits You’ (Rise)

Swami And The Bed Of Nails- ‘All Of This Awaits You’ (Rise)

Two years after the classic ‘Ride The Wild Night’, John Reis is back with nine, spanking new tunes. The man we used to call Speedo in the mighty RFTC changes his moniker with every release, but the quality of the songs never drops. His pedigree is beyond question, and lead single ‘Ketchup, Mustard And Relish’ is an instant ear worm which would be right at home next to ‘When In Rome’.

Album opener ‘How Are You Peeling?’ owes more to early RFTC, with its off-kilter rhythm, and it has that magic that draws you in. ‘Harbor Freight’ is a straight ahead rocker that you will want to play on repeat, while ‘Teen Hate’ is like the very best Ramones songs, with a bittersweet edge and a Fab Four ending. ‘Privacy’ rattles along before ‘Lost In Bermondsey’ claims its place as one of John’s best tunes.

‘Shock And Awe’ is a groover that Jim Jones would surely approve of, that begs to be played live. Righteous stuff, indeed. ‘Don’t Wait’ is a lesson in how to craft a canny pop song, complete with “woah, woah” refrain, and ‘Beware The Halo’ brings the album to an end in style, if all too soon.

Short and sweet, with no filler. The only downside being that, with no CD available, it’s an expensive purchase from the USA, what with postage fees being increasingly hefty now. That said, this is a fitting follow up to ‘Ride The Wild Night’ that you can listen to online now before deciding whether to increase your vinyl collection.

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Author: Martin Chamarette

SWAMI & THE BED OF NAILS LINKS
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Love Fiend – ‘Handle With Care’ (In The Red Records)

Love Fiend – ‘Handle With Care’ (In The Red Records)

Another band that are new to me, Love Fiend’s previous singles compilation is good, but this new, studio album takes things up a couple of notches. Hailing from California, ‘Just For Eddie’ reminds me of the late, great Roy Loney, which is a fine way to start. ‘Hard Feelings’, with keyboards upfront, is reminiscent of both Devo and The Cars, which is the overall sound across ten songs, but with much more as well.

‘Secret Cabals’ is the kind of song that Gary Numan used to excel at, addictive, pumping synths. You’ll be breaking out your Numanoid moves in no time. ‘Jimmy (Is An Agent)’ is equally catchy, more upbeat, while ‘Got Bad’ breaks out the sax and a riff that gives a nod to Slade. Which is a great idea, as it goes. Every song here works, they’ve obviously spent some time honing their sound, and it’s paying off. It sounds fresh, yet classic, like a lost album from your big brother’s record collection.

It has pretty much every great hook from the best American pop rock of the late 70s/early 80s, all the above plus Cheap Trick and The Knack. You can hear all this in ‘Neu Testament’, and yet they pull off synth pop with ‘One Forever’ that would please Soft Cell. It shouldn’t work, but it does.

‘C.K.I.L’ throws in a Ramones riff, and ‘Tied Up’ is just the right side of ripping off ‘Footloose’. These all sound like singles, which is a rarity these days. ‘Vacant Love’ evokes the melodies of The Paul Collins Beat. If, like me, you’re a fan of these influences, head straight over to Bandcamp and treat yourself to, potentially, one of the best albums of the year.

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Author: Martin Chamarette

Dangereens – ‘Chic'(Alien Snatch! Records)

Dangereens – ‘Chic'(Alien Snatch! Records)

The band Dangereens came to my attention back in 2021 with their mighty fine debut long player ‘Tough Luck’. “Hanoi Rocks meets The Georgia Satellites jamming in a smoky bar with The Rolling Stones” is how I described the debut long player from this Montreal based 5 piece. And I’m happy to report that with the surprise release of their sophomore album ‘Chic’, not much has changed in the Dangereens camp.

With the cool swagger of the Stones, the trashiness of The Dolls and the countrified twang of Tom Petty, Hugo Chartrand and his band return with a 13-track sophomore album that warms to the soul from the first digital drop of the needle. 

It all kicks off with ‘Fly By Nighter’, a 70’s glam rock stomp of an opener, with sleazy Faster Pussycat style low slung riffs, sneering vocalisin’ courtesy of main man Hugo Chartrand, and there’s even some cowbell thrown in for good measure.

The country twang of ‘Death On Two Wheels’ is a welcome addition and builds nicely, Tom Petty meets The Stones for the win. Three tracks in and ‘Kingdom Of White Lies’ shows singer and main songwriter Hugo’s knack for a catchy tune. A 50’s rock n’ roll feel to this with boogie-woogie piano stabs.

I mean, I’m pretty much sold already, The Dangereens didn’t have much to prove in my eyes (or ears) and they are holding up to the word ‘sophomore’ so far. The band take a deep breath and take things down with ‘Walk On Water, a laid-back tune that evokes ‘Black and Blue’ era Stones, as twin guitars fight for low down licks over a lazy but tight-ass rhythm section. In a similar vein, ‘Any Day Now’ sounds like it coulda come from the Ju Ju Hounds album sessions, did they give Izzy or Rick Richard’s a call for this one, I wonder?

The band records in analogue with minimal takes and there’s a lot to be said for that approach to recording a rock n’ roll record. ‘Chic’ just sounds like a classic 70’s record before you’ve even hit side 2. 

Talking of side 2, we’ll let the music do the talking, but a special mention goes out to the fantastic ‘Chlorine’ in all its boogie-woogie, glam glory and what a killer bass line! They don’t make ’em like anymore. That my friends is a strong tune with an overly catchy chorus. 

Elsewhere, with handclaps, twin guitars and a definite glam stomp, ‘Friday Night’ outdoes Tuk Smith in the T Rex meets Thin Lizzy meets Bryan Adams groover stakes. The title ‘Hallelujah’ suggests a rousing chorus to sing from the rooftops and Hugo and the boys deliver in spades.

13 tracks in 40 minutes leaves enough space on one side of a C90 to squeeze on a couple of tracks from their debut EP for good measure if anyone still does that sorta thing. 

Good times don’t go out of style and Dangereens have plenty to go around. I’ll give you one piece of advice, if you have even a smattering of interest in this band, head over to Alien Snatch Records Bandcamp page and order this bad boy on old school vinyl before it sells out, tell them RPM sent ya and we demand a UK Tour quick sharpish. ‘Chic’ could be my favourite album of the year and is certainly essential listening.

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Author: Ben Hughes

Dunstan Bruce – New Video

Dunstan Bruce – New Video

PRE-ORDER THE SINGLE HERE:

FUCKING EXPENSIVE is a new single fronted and performed by Dunstan Bruce, former singer in the band Chumbawamba, and current frontman in Interrobang‽, and known for his deep-rooted connection to political music. Always the agent provocateur, ‘Fucking Expensive’ is both a music single and an art piece, reflecting a commitment to creativity and expression.

The song addresses the societal perception of value, touching on themes relevant to both the UK, USA and worldwide, in particular highlighting self-worth and the cost of living. It’s a song, a piece of art, a point of view that is incredibly easy to understand and, if adopted, is simply saying that EVERYTHING and EVERYONE are important and relative. Never before in the history of human existence have we been able to see all the hard facts and information about how our civilisation functions and what we do to ourselves and our incredible planet.

Fucking Expensive is a mindset, a declaration of the inherent value of everything in life. From the mundane to the extraordinary, it recognises the priceless worth of existence. It’s not about monetary value; it’s about cherishing every moment, every relationship, and every experience as irreplaceable. Fucking Expensive reminds us that life’s richness lies in the appreciation of its infinite complexities. It’s a philosophy that transcends material possessions, embracing the profound truth that everything and everyone is fucking expensive.

“I know it seems counter-intuitive, but the song is actually a celebration of how we always find a way to connect, to enjoy, to revel in the good bits, to appreciate the moment, to simply be,” states Dunstan. “In a world where every-fucking-thing is monetised I’m saying, “Fuck that”. We don’t exist in this world to make money. That’s not the reason we’re here. I’m saying that this is your one chance, your one opportunity, your one go at life; so don’t wait; do it. Now!”

People say the simple ideas are the best and this new release pulls no punches, everything about this song holds your attention and that’s saying something these days. The orchestral strings add the tension, the huge beats pull the song along like a truck and Dunstan’s words and delivery hold everyone and everything to account. This is punk in every way but without the guitars. Dunstan’s punk roots still shine.

Dunstan has been working with producers and Oscar winning team Tarn Willers and Jimi Ogden who have been capturing Dunstan’s distinctive vocal delivery while producing tracks that have been crafted with original and inspired style. Dunstan recorded the track in Brighton in the studio of MY LIFE STORY frontman Jake Shillingford whose vocals also appear on both tracks.

From the start this song invites the listener to join in with every verse and chorus (it’s very hard not to) Dunstan’s history and much of his legacy comes from the original and constant band that was CHUMBAWAMBA. Selling more than 5 million albums attaining triple platinum status. Being one of the original DIY bands, from a squat in Leeds to touring the world shouting all the way with their AGITPOP. Dunstan is also a filmmaker and still playing gigs around the country with his creative projects.

Available July 26th via Heavy Medication Records, the single is a double A side and also features the track ‘Pin Number’ and will be available digitally and on limited coloured vinyl.

Pre-order ‘Fucking Expensive’ HERE:

Dinosaur Jr – ‘Farm’ Vinyl reissue on its 15th anniversary

Dinosaur Jr – ‘Farm’ Vinyl reissue on its 15th anniversary

Today, Dinosaur Jr. announce a 15th anniversary expanded reissue of their seminal second post-reunion album, Farm, originally released in 2009 to widespread critical acclaim. The limited lime-coloured vinyl reissue is released Aug 16th via the band’s long-term home of Jagjaguwar. Pre-orders are open now, here: https://dinosaur-jr.lnk.to/Farm-15th-Anniversary

This expanded deluxe edition of Farm features four songs never pressed to vinyl and never given worldwide release: ‘Houses‘, ‘Whenever You’re Ready‘ (The Zombies Cover), ‘Creepies‘ (Instrumental), and ‘Show‘. ‘Whenever You’re Ready’, a cover of classic pop-rockers The Zombies, is impossibly good for a hidden gem; Murph stomps in with a sledgehammer to the kit, J and Lou layer low-end and fuzz like two halves of one brain, and right when things feel biggest, airy and colossal, there’s J with a lightning bolt of a guitar solo. Pure electricity and melody like only he can make.

To celebrate the reissue’s announcement, you can stream ‘Whenever You’re Ready’ here: https://dinosaur-jr.lnk.to/Whenever-Youre-Ready

When Dinosaur Jr. reunited, more than 20 years after their formation and legendary dissolution, the worry was that these guys were just flogging the back catalog, taking the old show on the road as a marketing gimmick. But the 2007 release of Beyond gave a hearty Marshall-driven “F**K YOU!” answer to those inquiring ears. Restoring the sound established by the unassailable hat-trick gambit of their first three albums – Dinosaur, You’re Living All Over Me, and Bug – Beyond continued the band’s march into rock greatness by making old ears smile and new ears bleed afresh.
 
And then came Farm, the 9th full length record by the original line-up: J Mascis, Lou Barlow, and Murph. If Beyond was Dinosaur Jr.’s return to form, Farm is proof that Dinosaur Jr. could (and still do, to this day!) deliver timeless, exhilarating rock music.   Farm encompasses Dinosaur Jr.’s signature palette: soaring and distorted guitar, unshakable hooks, honey-rich melodies.  At times wholly 70’s guitar-epic, at times perfect for sitting by a babbling brook with Joni and Neil, these songs get into your head and stay there, bouncing happily around. The ear-catching ‘Plans‘ is nearly seven minutes of classic whipped-topping rock dessert, while ‘I Don’t Wanna Go There‘ is a meat-and-potatoes main dish, mixing unapologetic lead guitar with straight-ahead delivery a la James Gang or Humble Pie.

Recorded in J Mascis’ Bisquiteen studio in Amherst, Massachusetts, Farm was produced by Mascis himself, and delivers the singular, unique energy of one of America’s greatest living rock bands.

For more information, please visit www.dinosaurjr.com

Peter Murphy – ‘Live Volume One – Covers’ & Live Volume Two Blender Theatre NYC 2008′ (Cadiz/Silver Shade)

Peter Murphy – ‘Live Volume One – Covers’ & Live Volume Two Blender Theatre NYC 2008′ (Cadiz/Silver Shade)

Not really needing an introduction but here goes anyway, Bauhaus frontman Peter Murphy launches Silver Shade Records with two releases. The First is a short sharp poke to the temple of some covers that have helped shape the uber Goth vocalist and performer and he wastes no time in bastardising Iggys ‘Funtime’ into a heaving wall of distortion and wailing and it sounds fantastic and seeing as its live it has a very raw live feel to proceedings and what a way to kick off a record, spot on.

‘Transmission’ is performed in front of Hooky and Murphy owns it with his iconic and most distinctive vocal. To be fair who can forget his band’s cover of ‘Ziggy’ so hearing Murphy perform some iconic tracks in his own style is a joy to behold. He’s done nine studio albums on his own so this series of live recordings is most welcome for his championing some classic tracks and keeping their soul and spirit alive. The quality varies to be fair and the bootleg sound quality or straight from the board of ‘Final Solution’ is chaotic and head fucking in its delivery. Sure ‘Space Oddity’ isn’t exactly pushing the boundaries but so what it’s all about Murphy’s interpretation of the music that shaped him and its nine tracks that are absolutely nailed and his Bowie cover is spine-tingling and sparse.

One track I wasn’t expecting was his take of ‘Purple Rain’ and as we head to its conclusion ‘The Light Pours Out Of Me’ is Gothtastic before ending the record with a wonderful take of @Hurt’ that features the one and only Mr Reznor on Keyboards and sounds like it might have been recorded in his living room with its spine tingling vocal from Murphy worth it for this rendition alone, amazing. Oh, for the record, it was Rezner who wrote it, not Mr Cash as some might have you believe. A real treat even if it is a bit on the expensive side even if it is Pressed on very special Gold Nugget vinyl and housed in a deluxe, embossed and UV glossed sleeve, limited to 2,000 numbered copies.

Buy Here

‘Live Volume Two’ – The second release is still £40 but this time you get two LPs of live Murphy material which is nineteen tracks spread over the two records and is a wonderful recording from 2008. From the chilling intro to the howling feedback goth classic of ‘The Line Between The Devils Teeth’ that flows into the dark brooding chug of ‘Disappearing In Her Hand’ is Murphy at his very best from a whisper to a scream or a howl its engaging and powerful stuff as the listener is treated to a thrilling show that glides effortlessly through his career from Bahaus classics to the very best of his solo material up to the recording. ‘Marlene Dietrich’s Favourite Poem’ and a fascinating ‘A Strange Kind Of Love’ bleeding into ‘Bela Lagosi’s Dead’ and then following the acoustic version into a full electric ‘Shes In Parties’ that stutters into the fantastic ‘Be My Wife’. To release both albums at the same time is cool even at the price I fear these will be must-owns for any self-respecting Goths out there looking for a fix of one of the genre’s finest, most inventive and iconic artists at the very top of his game. Buy Vol Two Here

Author: Dom Daley