Godfathers – ‘Alpha Beta Gamma Delta’ (GodfathersRecordings2)

Godfathers – ‘Alpha Beta Gamma Delta’ (GodfathersRecordings2)

The last few albums from Godfathers, I think it’s fair to say were absolute belters. Mainstay Godfather Peter Coyne assembled some fine musicians to hold high the legacy worthy of the band’s rich tapestry and history. Post pandemic and it all changed with a fresh raft of Godfathers to carry forward the sound and fury. Two former Heavy Drapes Billy Duncanson (drums) and Richie Simpson (guitar) alongside former Damned bass player Jon Priestley with guitarist Wayne Vermaak from The Great St Louis completing the lineup for this album.

Written and recorded during the course of the Covid pandemic, the album was produced by The Godfathers’ bassist (and former Damned member) Jon Priestley giving it a glossy yet unfussy production leaving the songs room to breathe and punch their weight. A new band can offer a new lease of life for bands who’ve existed for several decades not necessarily changing the direction but shifting lanes if you like and this is no exception.  Adding an exciting, darker tone to the catalogue. ‘OCD’ borrows a riff and then proceeds to shake the foundations with a rock-solid tour de force. The chorus is simple and will get the heart rate up during live performances.

Coyne has said previously that you don’t have to like the artist to appreciate the art and constantly rotating the musicians might not endear him to many but you can’t deny the guy employs some fantastic players who buy into the music and from ‘Big Bad Beautiful Noise’, ‘Jukebox Fury’ and the superb live album ‘This Is War!’ the players brought the best out of Coyne and the tunes and I’m happy to report that this album follows suit with some very good songs being elevated by a band who gets the MO and buys into the attitude and delivers exactly what The name Godfathers legacy deserves.

‘Bring On The Sunshine’ eases you in rather than beating you over the head with volume and attack its got a cool effortless feel-good about it which is strange for Godfathers as I often feel like picking up a brick and launching it through a window but the chorus and the layers of BV’s works a treat. ‘You Gotta Wait’ is more like it from the power chords to Coyne’s spoken delivery this is what I was expecting. the chorus again is infectious before motoring back into the vverse. The rhythm is rock solid and powers the song leaving space for the guitars to weave an excellent tune.

Song titles like ‘I Hate The 21st Century’ is more like it and the jolting Clash-like melody twists towards the gang vocals that again add a texture that isn’t something I was expecting but works really well giving the song a commercial edge and a really good break down. ‘Midnight Rider’ has an arrangement and delivery that could be Iggy ‘Bla Bla Bla’ period or Bowie’s ‘Lodger’ even. Love those subtle backing vocals – whoo whoos! are always a winner. This is a commercial songwriting edge I wasn’t really expecting and am pleasantly surprised with it. The restraint shown on the playing is really good and works with the music and rather than just Rocking out (which I wouldn’t have complained about) holding back works in the song’s favour.

There is obviously a time and a place where turning the distortion up and just kicking out the jams works and that time is ‘Lay That Money Down’ where the production shines with a clear distorted guitar that hits the sweet spot whilst Billy hits that ride and drives this machine hard.

To be fair the more plays and the deeper you delve into the cuts the better this album gets. Giving some really great songs like ‘Tonight’ and the blistering ‘I’m Not Your Slave’ Hell, the acoustic ballad that is ‘There’s No Time’ is simple in its delivery and adds another texture to the flow of this record before we head into the home straight that is ‘Dead In Los Angeles’ with its brooding hazy delivery even manages something of a West coast feel to the backing vocals as the song twists and turns like the Hollywood Hills.

Closing the album is ‘I Despair’ with its Sonic Temple feel it’s a rocker that has plenty of punch from a band that is delivering throughout the album on every level. Individually these songs are as good as anything the Godfathers have delivered for the past thirty-plus years, worthy songs added to their impressive repertoire. Yet another impressive Godfathers album.

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Author: Dom Daley

Stephen Pearcy Signs for Golden Robot Records. 

Stephen Pearcy Signs for Golden Robot Records. 

As the founder, lead singer, and songwriter of the metal rock band RATT, Stephen Pearcy led his creation to mega multi-platinum success year after year from 1984 – 1991. RATT climbed up the charts with singles from Out of the Cellar soaring past Prince’s ‘Lets Go Crazy,’ Van Halen’s ‘Panama,’ Madonna’s ‘Borderline‘ and David Bowies ‘Blue Jean.’ 
The record generated top ten singles followed by sold out tours throughout the world. This momentum remained with every proceeding RATT album to include their most recent release of Infestation in 2010. 
Throughout RATT’s nearly four decades of success with Pearcy at its helm, they released 8 albums and played thousands of shows worldwide all the while selling over 20 million records.



Given the mammoth success of RATT, Pearcy was looking for extraordinary when choosing a label and the only label deemed agile enough for the task was Golden Robot Global Entertainment headed by CEO and President, Mark Alexander-Erber with Pearcy explaining, “It is with great pleasure to announce my having signed on with Golden Robot Records. Choosing a label to handle my music spanning 40 plus years in the industry is no easy task. Although, Mark & Golden Robot have captured the modernization of the industry & marketing, as well as, held onto the old school style that has served me well for decades, both of which are needed to handle a catalog as mine and the new music I bring to the table. As an artist, songwriter, & performer, evolving is inevitable, therefore my team has to be on point & lightning quick to keep up. Mark & Golden Robot understand that concept and I look forward to our collaboration. With our first endeavor being the Stephen Pearcy Legacy album, this album will be a career retrospective from 1976 to date. I look forward to sharing never heard RATT classics in their infancy, early RATT with Jake E. Lee, Live RATT, Arcade, solo covers, the last song written with Robbin, the last song written with Warren, and so much more. This is the first time I’ve reached so deep into the archives and it’s truly been a labor of love. Cheers to Mark & Golden Robot, we are about to bring RATT & 80’s music fans the most authentic and thorough archive of music that was an interictal part of creating the 80’s Sunset Strip music scene!”

Alexander-Erber has also expressed his excitement at the finally getting Pearcy over the dotted line after years of courting “Out of the hundreds and hundreds of signings we have had over many years, I have to say after a long while courting Stephen I’m absolutely honoured he has joined our Golden Robot Family, helping us to bring rock back to the forefront. He truly is one of the best and to be part of our roster is wonderful, we have some fabulous releases planned for 2022/23.” 

Stephen Pearcy is expected to release new music via Golden Robot Records later this year. 

2 For Tuesday

2 For Tuesday

A Bubblegum Punk band from Brighton, England, Young Francis Hi Fi play 2-minute songs about talking to girls, getting high, and hanging out. Though not necessarily in that order.

Young Francis Hi Fi play a high speed, sugar-sweet mix of ’70s American Punk, ’60s Garage Rock, and Bubblegum Pop.

They aren’t just a band, Young Francis Hi Fi are a gang, like their heroes Ramones and The Monkees. Young Francis Hi Fi signs with Dirty Water Records! so expect new music any day now

Next up is the brand new video from power pop rock n rollers The Speedways, taken from the forthcoming LP ‘Talk Of The Town’ available on Snap!!/Hurrah Musica & Beluga Records in November thespeedways.bigcartel.com or thespeedways.bandcamp.com

Tyla’s Dogs D’amour ‘Tree Bridge Cross’ (King Outlaw/ Cargo)

Tyla’s Dogs D’amour ‘Tree Bridge Cross’ (King Outlaw/ Cargo)

Fee Fi Fo… Woah… Dogs D’amour have existed in various line-ups since the early 1980’s, but this current group featuring Gaz Pennick (guitar), Matty James Cassidy (bass), and Simon Hanson (drums) has been together for at least the last 7 years, which I believe is the longest active continuous streak of a line-up over all these years. This has allowed these Dogs to really form their own identity and explore some new musical territories on the new full-length ‘Tree Bridge Cross.’ On ‘In Vino Veritas,’ the band showed that they could channel the bluesy rock n roll brilliance of the late 80’s and early 90’s on songs like ‘Bottle of Red’ and ‘I Don’t Love Anyone.’ They also channeled a darker edge on a brilliant song like ‘Black Confetti’ and a classy embellishments on the gorgeous title track. The band followed up with another release of brand new material in the terrific ‘Jack O’Byte Bluesey Vol. 1’ where they pursued a darker bluesy direction. Now, after a lengthy delay due to issues getting vinyl pressed, Dogs D’amour have returned with a great album that channels from the spirit of the past at times but firmly plants itself in some new musical directions.

Many of our favorite songs and albums over the years have the gift of nostalgia and memories associated to those times that provide stories of our histories and who we are. I believe it is only natural that those songs take on deeper meaning over time as our youth moves further away than we would like. Why do I mention this? This album feels like bringing those memories together as people meeting in the darkness of a dive bar where new memories are formed to continue the journey forward. Starting off with the title track, the electric guitar gives way to a spoken verse by Tyla and introduces a song that I cannot really compare to any in the band’s background. The driving beat by Simon Hanson allowing everything to work around it, whether it is the tasty piano touches, the electric guitar, and the vocal hooks. If anyone remembers the Tyla song ‘Declaration,’ this has a similar vocal delivery but with a full band backing. The ending solo piano note is the perfect closing touch. ‘Journey to the Centre of the Soul’ has been one of the pre-release singles and showcases the depth of this release. I hesitate to use the words mature or grown up as some may take that in a negative sense. Self-reflective might be a good description lyrically. The warmness in the music is welcoming and feels like the greeting of an old friend. The rhythm can create a feeling like falling if you close your eyes and focus on it.

The band transition to the more acoustic based rock of ‘Steal Your Love Away’ with some extra vocals by Quireboys singer Spike (like it or not Griff). I can imagine a full room singing along to this one with a glass in one hand and the other one in the air helping bellow out the chorus in a show of solidarity with everyone in the room. ‘God Only Knows’ takes things in a heavier direction with awesome vocals preaching over some electrifying guitar. The closing mantra of ‘god bless ya’ winding things down and serving as the only initial vocal hook across the song. Repeated listens have since revealed me singing along across the entire song, but it is very subtle in its contagiousness. ‘Angel Lane’ closes out side one with a noisy semi-ballad featuring a big chorus that would not have been out of place on ‘More Unchartered Heights of Disgrace.’

Kicking off side two, rocker ‘Buried Alive’ sounds better to me as a full song than the sample clip did when the album was originally announced. While it is my least favorite on the album, it has grown on me with each listen. This is another one where the piano in the mix adds a great element to the song. For those that spring for the 2 CD version, there are acoustic versions of nine of the songs, and I prefer the acoustic bluesy version of this one. Let’s see if this becomes a grower over time.   ‘Raining Fire’ meanwhile has been a favorite since an extended version of the song was offered a couple years ago. Tyla opens with a spoken word piece with the song featuring the Dogs at their heaviest with a killer rhythm and chorus. I cannot listen to this song at a loud enough volume. Pennick and Tyla supply great guitar work throughout the song while Hanson and Cassidy supply the thundering rhythm. ‘Powder Dry’ should be familiar to most as the featured single prior to the album’s release. This is another mostly full band acoustic treat with some great piano work throughout the song. Strong backing vocals adding depths to the song and the mix. The electric guitar solo cuts brilliantly through the mix. Cassidy’s bass work gets to stand out and shine in the mix on ‘Moth to the Flame.’ This is another one that finds the Dogs learning new tricks and, to borrow an old phrase from Tyla’s past, perhaps best described as ‘a soft song for hard people.’ Closing the album is the freaking beautiful ‘Ghosts.’ Musically and lyrically, this is a classic on arrival as it is just Tyla on acoustic and vocals with Scotty on piano. I do not believe anyone else is playing on this one. My favorite Dogs album closer has always been ’She Put It in Here Arm,’ but this one has already transcended it. Tyla’s vocals are perhaps the best they have ever been on this one.

Another brilliant album for these Dogs who continue to showcase new wrinkles and refuse to live in the past. Lyrically, I reckon I speak for many of us who have been fans since the beginning who can relate to the more self-reflective thoughts here than thinking that we can still fall in love if we fell ‘down the stairs into the arms of a girl who really cared.’ Hopefully, these songs find their way in front of new listeners who can appreciate great rock n roll played from the heart.

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Author: Gerald Stansbury        

The Interrupters, The Skints, The Bar Stool Preachers – Bristol Marble Factory 21.08.22

The Interrupters, The Skints, The Bar Stool Preachers – Bristol Marble Factory 21.08.22

As we made our way to Bristol in plenty of time to make sure to catch Those Barstool Preachers we find out there is a curfew and by the time we rock up to the venue there is a queue almost back to the Severn bridge and then as we near the venue we hear the unmistakable tones of The Bar Stool Preachers strike up the chords to ‘Trickledown’ and to be fair we made it through bag check in quick time as the venue fills up with people being drawn to the main room to witness a band that is blowing up right now after signing a two-album contract and having recently played two huge sets at Rebellion before taking up their position on the Interrupters European dates the band are just about getting their second wind ready for the UK leg of the tour.

Tom is twisting and spinning across the stage as the band thump out a rather splendid set of older and new tunes enthused with their good news they soon find the empty room is now full and the people of Bristol are eating out of the palm of Mr. McFaul’s hand. They make the most of the short time they have on stage to entertain with a tight, short but oh so sweet ‘Chose My Friends Over You’ before knocking out ‘All The Broken Hearts’. By the time they were getting into their stride with the excellent ‘When The World Ends’ they could have been headlining such was the feedback they were getting from the appreciative crowd. Time was at an end and they only had time to give Bristol a cockney knees-up display as the anthemic sing-a-long of ‘Bar Stool Preacher’ played out to rapturous ovations. they came they saw and they bloody-well conquered – onwards and upwards next time they’ll be headlining venues like this.

Next up were The Skints from London Town. Not a band that features on my radar but I did catch their set last time the Interrupters played Cardiff just over the bridge they have the Ska chops and skank with the best of them with some added Space ska thrown in for good measure. Hell, they even throw in some flutey tones on ‘The Forest For The Trees’ (Rumours that Marcia was standing Tull style on a toadstool on the one leg was unfounded) they do look like they love it and play with a genuine smile on their faces, but again I don’t get it and the set washes over me – we can’t like everything and I appreciate them for what they do, I can see they do it really well and the drummer Jamie cuts the chops leaving the rest of the band to layer those Ska skanks and bass thumps well and they seem to be in their sweet spot as far as tonight’s audience goes, They give them a rousing ovation after every song, not so much punky-ska but I’d say experimental reggae ska for the most part its light and breezy.

Onto the main course and The sweat box that is the Marble Factory is now full to bursting and even the walls are perspiring – It’s insanely hot inside the venue as The headliners make their way onto the stage for a 90-minute set that is executed to a tee and tonight pretty much free from the patter of previous shows – tonight it was on with the show and as soon as one song finished it was pretty much into the next. Making up for the lost time due to covid the band sounded tight and like they were having the best of times. Running through their greatest anthems it was hit after anthem after hit and tonight The Interrupters were almost literally on fire. Barely pausing to breathe they sounded fantastic with added brass on stage tonight it was a welcome addition to their sound as they ran through their back catalogue including some of the new material off their number one album ‘ In The Wild’.

It was pretty much the same set they’ve been playing every night throughout Europe kicking off with ‘Take The Power Back’, into ‘Title Holder’ followed by the splendid ‘Judge Not’ where that trombone was put through its paces. It was relentless as ‘Raised By Wolves’ off the new record went down as well as ‘turntable’,’Arrested’ or ‘Got Eachother’ they were slaying the audience with the intensity and quality of their performance. Aimee and the twins criss-cross all night grinning from ear to ear and feeding off the positive vibes pouring out of the audience. this has to be one of the most positive touring circuses in a long time the PMA is level 11. the audience which is made up of children right up through punks, skins and everything in between The Interrupters have crossed many divides and are infecting city after city with their good time tunes.

We get told that having a ‘Friend Like Me’ is for everyone and I think they mean it, like genuinely mean it. ‘By My side’ was causing quite the party on the dance floor before it was time to run through some Cock Sparrer for their esteemed guest on the balcony before running through some snatches of Hellcat and Epitaph records legends ‘Keep Em Separated a bit of Rancid for good measure before settling on some Bad Religion ‘Sorrow’ for their cover of choice. I thought Covering Cock Sparrer was pretty good.

There was just enough time to wring out your clothes before heading into the encores with gusto ‘Gave You Everything’, ‘Family’ left them just enough time to squeeze in a rousing finale that was ‘Shes Kerosene’ and then we were done. Soaking wet yet beaming smiles all around, The Interrupters were fantastic and that was the best I’ve seen them. They’ve really hit their stride and are currently smashing it. If you’re feeling down catch a date on this tour or go see these bands it’ll sort out any dark clouds and fill your head with great music. Just what live music should be – excellent, can we do it again soon, please?

Author: Dom Daley

MANIC STREET PREACHERS SHARE PREVIOUSLY UNHEARD SONG ‘STUDIES IN PARALYSIS’

MANIC STREET PREACHERS SHARE PREVIOUSLY UNHEARD SONG ‘STUDIES IN PARALYSIS’

‘KNOW YOUR ENEMY’ REMIXED, RECONSTRUCTED AND RE-ISSUED AS TWO SEPARATE ALBUMS AS ORIGINALLY INTENDED. RELEASED 9TH SEPEMBER VIA SONY

Today, Manic Street Preachers have made available a brand new track recorded at the time of their sixth studio album ‘Know Your Enemy‘. ‘Studies in Paralysis‘ was recorded at Miloco Studios in London but left off the original 2001 release. It has remained unearthed until now and is available on the entirely remixed and reconstructed re-issue of the record available on 9th September on Sony Records. The song, which Nicky Wire incorrectly remembered as being released as a b-side to one of the album’s four singles, is a red raw rock’n’roll song with a none-more-classic Manics title celebrating the blankness and inertia that comes with the loss of belief.  Another lost track ‘Rosebud‘ came out last month  and was accompanied with a Kieran Evans film

“It started with an email from Wire (it always does!).  Would I be up for working on visualising two unheard tracks from the ‘Know Your Enemy’ sessions that were to feature in the beautifully expanded and reworked re-issue of the album?  Of course I would!  Both ‘Rosebud’ and ‘Studies In Paralysis’ landed an hour later and were stunning and took my breath away. Fuck me…They left these off the original album…what were they thinking???!!!
 
An hour later, another email landed from him – “I’ll send some DV footage of the Miloco sessions up to you”. But this footage was very different from previous recording sessions he’d filmed. There was a seriousness to everyone’s behaviour and recording performances. There was no frivolity or funny off camera ‘moments’. The atmosphere felt intense, you could feel the pressure they were under.
 
Cutting this footage to ‘Studies in Paralysis’ was a task. I went through many iterations and edits to get the right “feel” to reflect what is a truly glorious song… Thankfully…I think we definitely got there in the end“.
 
‘Know Your Enemy’ will be available as two separate albums as originally planned, ‘Solidarity’ and ‘Door To The River’ packaged as a 3 CD bookset, double CD and double album on 9th September 2022.

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‘Demolition 23.’ Self-Titled Album To Be Released on October 14 with 3 Bonus Demo Tracks

‘Demolition 23.’ Self-Titled Album To Be Released on October 14 with 3 Bonus Demo Tracks

“The Demolition 23. album is one of my favorite albums of my career and definitely one of the best.”- Michael Monroe

“Me and Michael were talking about how much we missed the original Punk music of the Ramones and Dead Boys and Sex Pistols and Clash and decided to do an album in that spirit.”- Stevie Van Zandt

Stevie Van Zandt’s Wicked Cool Records has announced plans to reissue the sole album from Demolition 23., digitally for the first time ever, and on CD + ‘Blue Smoke’ vinyl, on October 14. The band, which formed in NYC in 1993, consisted of former Hanoi Rocks frontman Michael Monroe, ex-Star Star guitarist Jay Hening, Monroe’s Hanoi Rocks bandmate Sami Yaffa on bass, and Jimmy Clark on drums.’Demolition 23.’ (which had a limited release in 1994, but has since been out of print for years) was produced by Van Zandt, and features collaborative songwriting efforts between Monroe, Van Zandt, and Jude Wilder, and one track (“Deadtime Stories”) co-written by Monroe/Stiv Bators. The album, a return to the members’ punk roots, also includes covers by Monroe’s influences and friends, including Stiv Bators (“Ain’t Nothin’ To Do”) and Johnny Thunders (“I Wanna Be Loved”). Many of the songs from the record have become staples in Monroe’s live sets, which recently have included festivals and a stint opening for Alice Cooper.The digital and CD release of ‘Demolition 23.’ includes all of the original songs, along with 3 bonus demos. See track listing below. The physical versions of the album include a booklet with photos and liner notes from Monroe, detailing each song — with additional notes written by all of the living band members. The vinyl also includes a download card for the bonus tracks. The band’s logo was designed by Yaffa, who continues to play with Monroe to this day.In advance of the self-titled album’s re-release, a track titled “Hammersmith Palais” has been released to streaming sites, along with a demo version of the song.
Pre-save the album here

Michael Monroe on the single “Hammersmith Palais”:

“Hammersmith Palais was this great club in London where we saw a lot of brilliant, legendary shows by some of the coolest bands ever. I played there once guesting on sax and harp with the Lords of the New Church. Unfortunately in later years, the place was closed down and replaced by a boring office building. The song also refers to some great, fun times in the past that will never return.”

Michael Monroe on the re-issue of ‘Demolition 23.’:

“The Demolition 23. album is one of my favorite albums of my career and definitely one of the best. I had the pleasure and privilege of having my great friend Little Steven as the producer. This was originally going to be a Michael Monroe solo album, but we had put together such a strong group with Sami Yaffa on bass, Jimmy Clark on drums and Jay Hening (RIP) on guitar, that I decided the band should have a name. Sami Yaffa suggested “Demolition 23” from the William Burroughs book “Exterminator” and it immediately hit a nerve.

Little Steven and I had been writing the songs with very much an authentic kind of Punky Rock& Roll attitude and style. We also wanted to pay homage to the late legendary unsung heroes and my friends Stiv Bators and Johnny Thunders by covering one song each– The Dead Boys’“Ain’t Nothin’ To Do” and Johnny Thunders & The Heartbreakers’ “I Wanna Be Loved.”

The album was recorded at the end of 1993 at the Power Station Studios in New York City by the great engineer Ben Fowler. This was one of the easiest and most fun times I’ve ever had recording an album. The comfort of having the production in the good hands of Little Steven allowed me to relax and enjoy doing my thing. Steven brought out the best in everybody and we didn’t waste any time. We laid down the basic tracks, drums, bass and guitars for the 10songs in 3 days and I did my lead vocals in 2 days. It was like 2 vocal takes per song, then Steven would say “Ok that’s good! Next!” After the 5 days of recording, we mixed one song per day, so the whole album took about 2 weeks to make. And it still sounds great today. This record was never officially released in the States, but now Little Steven is FINALLY releasing it on his Wicked Cool label for everyone’s enjoyment.

As bonus tracks, we’re including 3 demos that we recorded at New York’s Baby Moster Studio prior to recording the album. I remember when we finished our session there, the Ramones came in and started setting up for the next session to record their cover of “I Love You” for the Johnny Thunders tribute album “I Only Wrote This Song For You.” I’ll never forget when Johnny Ramone started hitting some chords on his Moarite guitar–it was so loud you could hear it in every room of the studio. Anyway, these 3 demos already indicate what a great chemistry Demolition 23 had as a band. Hope you dig this album as much as we all do!

Stevie Van Zandt on the Demolition 23. reissue:

“The Demolition 23. album is one of my favorite records. Me and Michael were talking about how much we missed the original Punk music of the Ramones and Dead Boys and Sex Pistols and Clash and decided to do an album in that spirit. It was written in two weeks and Produced in two weeks. Love it.”

James and the Cold Gun ‘False Start’ (Loosegroove Records)

James and the Cold Gun ‘False Start’ (Loosegroove Records)

Have you ever heard a band for the first time and felt like a part of your soul just became more complete than it had been? When I first heard James and the Cold Gun, that is the easiest way to describe the feeling. Hailing from Wales and with a string of singles prior to this debut EP, they have laid down an incredible EP that somehow becomes even better with each listen as more and more elements reveal themselves. EP of the year? The answer is an emphatic “yes” with me experiencing the same euphoria I felt when Quinn the Brain released their debut EP a couple of years ago.

What makes this band so special? Let’s start at the beginning of this release with ‘Seven’ which builds slowly before unleashing a killer rhythmic hook. They pack an urgency in the groove that gives way to an insidious chorus that sticks in the head like gum on your new shoes. Hints of bands like the Foo Fighters, 3 Colours Red, Ash, and others are present but really just serve as a reference point as James and the Cold Gun have captured their own identity. There is an awesome breakdown in the song which takes the musical dynamics to another level. They show no let up with a RFTC influence introducing ‘Around the Bend.’ The guitar work here is awesome with the mix really giving extra flashes to the guitar notes. This feels like having a freight train barreling down on you in the tunnel and hopping on for the ride at the last second.

‘Plug Me In’ might be my favorite among favorites here. The intro reminds me a bit of a harder-edged GvsB as the volume gradually increases over the first couple of verses before exploding to give way to the chorus. The vocals here have a vitality to them that showcases so much emotion and passion that it is hard to describe. If you could unleash some primal screams with melody while feeling your throat get pulled apart, that might get you close to the right spot. Next up is ‘It’s Mutual’ which brings some Queens of the Stone Age to mind but again James and the Cold Gun have really captured a magic and unique formula all their own. Here they use a sneaky great chorus that will have you singing along while trying to figure out what the actual title of the song is as it is seamlessly etched into the chorus lines. Wrapping up this bundle of sonic perfection is ‘The Long Way Home’ where a seesaw-type riff leads into a hit single in waiting. Some hand claps are added into the mix here which are perfectly placed in the mix as the guitars still lead the way. The bridge breaks the song down and creates a feeling of intense pressure building before it throttles all that tried to stand in its way. It brings to mind Refused around the time of ‘The Shape of Punk to Come.’

At this point, I hope you have ordered this album and are currently already listening to it as there is not much else I can say. This is an incredible release that has become a part of my soul. It’s a cathartic release that can be played again and again. The bigger question might be how the band follow up this release but, much the way the Wildhearts followed up their initial EP releases with an amazing full-length debut many years ago, I think James and the Cold Gun will do the same.      

‘False Start’ is available now.

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Author: Gerald Stansbury

Tyla’s Dogs D’amour ‘Dice Clown Man’ EP (King Outlaw Records)

Tyla’s Dogs D’amour ‘Dice Clown Man’ EP (King Outlaw Records)

After an unusually long silence (for Tyla), Dogs D’amour have returned with this new EP featuring songs that will not be on the new ‘Tree Bridge Cross’ album, which is also about to finally see the light of day following a very long delay due to issues pressing the vinyl. These songs are slightly rougher production-wise than the ‘In Vino Veritas’ album and the aforementioned ‘Tree Bridge Cross.’ The five songs plus the instrumental piece at the end work very well together and will have me tagging these onto a playlist of the new album when it is finally released.

The Dogs these days have been functioning as a tightknit unit for many years with Tyla joined by Gary Pennick (guitar), Matty James Cassidy (bass), and Simon Hanson (drums). ‘Blow on my Dice’ rings in the proceedings here with Tyla’s distinct voice serving up the first lines over the guitar notes before the rest of the gang crashes through the door. This midtempo song is extremely addictive and catchy with some tasty background vocals serving the song perfectly. This is not cutting edge by any means but a fun lighthearted singalong. What follows in ‘Every Scar’ I would say is essential and a killer epic at nearly 7 minutes. The spaghetti western acoustic guitar and whistling set the tone as a dark somber verse takes hold. The slow build in this song has made it a favorite on the EP for me. At times, I am reminded more of a song that would feel more at home on ‘Libertine’ or ‘Nocturnal Nomad’ than on a band release. Hanson’s drum work has to be noted as it is just perfectly executed. The haunting vocals executed perfectly. I am hoping this one will get translated over to the live shows.

Returning with the quicker tempo ‘Jimmy Moonblood’ next, the band shines in another hook-filled delicacy that reminds me of ‘Johnny Silvers’ in the chorus from way back in the day. My only issue with this one is it is over way too fast at just two and a half minutes. The band again slows the tempo way down on ‘Memphis’ featuring the last piano Scotty played with the guys before his passing. First time I heard this song, the comparisons that came to mind musically were Johnny Cash and Elvis. It’s a beautiful song that could be a close cousin of ‘Empty World’ in its feel and delivery.

The last proper song on the EP gets rocking and bluesy with ‘Nazarine.’ Cassidy’s bass work with these Dogs has always been top-notch, and the groove he and Hanson serve here is extremely tight. With Tyla and Pennick rocking out on the guitars over the top and adding a simple vocal hook that does not let go, it serves as the perfect closer. ‘Never Forget That Day’ then adds the musical ending as the credits scroll down the screen. This adds a very different touch to the EP that what we have seen Tyla and the Dogs do in the past.

Tyla’s Dogs D’amour are not going to revolutionize music or start any new trends in the mainstream. They deliver vital rock n roll packed with the blues, sincerity, spirit(s), and heart which have kept me hooked on Tyla’s music since the 80’s. This EP hits the mark and has constantly been in the rotation since it arrived. Now, I’m going to play it through all over again and enjoy the musical journey.

‘Dice Clown Man’ is available Here   / Tyla’s Art Tavern

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Author: Gerald Stansbury

Dystopian Future Movies- ‘War of the Ether’ (Septaphonic Records)

Dystopian Future Movies- ‘War of the Ether’ (Septaphonic Records)

I first came across DFM way back, having been bounced a you need to have a listen to these guys from Pity my Brain main man Jamie Richards, and was instantly blown away by the depth atmospherics and intensity of the music, that initial LP Time was followed on in 2020 by the superb Inviolate, stretching the intensity out, building on the first LP showing a band choosing a direction, both powerful, observational and more to the point drawing the listener in to a dark dystopian world created by none other that Caroline Cawley and Brother Bill Fisher from the Church of the Cosmic Skull, but music that shines as the complete antithesis of that body of work.

But on to the current release (War of the Ether), preceded by the self-titular single War of the Ether, again this is seriously powerful stuff. As the press release illustrates, “Lyrically, the album dives deep into a recent scandal surrounding 796 skeletons found on the grounds of the former Catholic-run Tuam Mother & Baby Home in Caroline’s native country of Ireland. To hide the shame of pregnancy out of wedlock, women were sent to homes like this all over the country. Forcibly separated from their mothers, many of the children died in infancy due to neglect, and some were trafficked for adoption to the US”.

First track up She came from up the Dromban Hill draws you in before the poetic spoken vocals lead you through the story unfolding. At times I get drawn back to some of the almost autobiographical work of Joolz, real time observational, an outsider recanting the story, looking in and backwards, the first thoughts I’m starting to build as we move into second track up Critical mass is how sharp the whole sound is, focussed, driven and intense. This feeling of intensity is an off set to the almost at time ethereal vocals, but the vocals form only part of the whole, all the parts twist and engage wrap around each other, cocooning you in an aural soundscape.

Next tracks up The Veneer and Walls of Filth and Toil, again lead you step by step engaging, driving and moving you inwards spiralling into the soundscape of the story unfolding. Then the Title track War of the Ether, hits in hard, the intensity ratcheted up another notch, the guitar work enhancing and pushing the vocals ever higher. License of their Lies maintains the intensity. By the time you reach No Matter, your held by the story unfolding, gripped by the soundscape and hit by an almost Primal Scream of emotion. Finishing the LP off A decent class of girl a fitting tribute and uplift to the sounds and story that we’ve been told.

This an LP that again draws you in, the subject matter, coupled with the intensity of the music and some staggering good ethereal vocals really demands your attention, well worth checking out released in October, with a tour following, this is the type of music that really needs to be witnessed live.

You can buy the LP here, keepin’ it independent!!

Dystopian Future Movies – Shop

Author: Nev Brooks