Peter Doherty – The Battered Songbook Tour – Bristol O2 – 29.04.23

Peter Doherty – The Battered Songbook Tour – Bristol O2 – 29.04.23

Having been under the weather for the previous few days and still suffering from an infection a very busy O2 Bristol gives Libertines, Babyshambles frontman Doherty a very warm welcome in the spacious environment for an “intimate” acoustic performance. Peter is accompanied onstage by his two rather large dogs who stroll on and make themselves comfortable making the whole thing quite surreal.

I can’t help but feel that playing this kind of show would work so much better in a small compact venue but then a fraction of the people would get in but that’s the way it goes, the O2 is impersonal and cavernous for a one-man acoustic show even if it was a treat to hear some gems played this way by a writer who has written some of the best songs and lyrics over the last few decades. Doherty is a genius and it felt a treat and a privilege to witness the man perform in this way. Whilst he might well have been playign to a set list it certainly didn’t feel that way as Peter meanders through the songs finding a comfortable pitch and easing his vocal into the set whist interacting with the audience as shouts go out for favourite songs and classic cuts this is loose as Dylan and Richards and Wood at live aid (go find it) its Libertines heavy in the opening exchanges, ‘Music When The Lights Go Out’ is very early in the set along with a couple of Babyshambles choice cuts with ‘Bollywood To Battersea’ working really well.

Mid set we were treated to a fantastic ramshackled ‘Can’t Stand Me Now’ where the audience found its voice and joined Doherty for the best song written by anyone in the UK for decades. As we headed into the homestraight and Peters voice was showing little signs of wear that had him postpone a show a few days earlier ‘Don’t Look Back’, ‘Time For Heroes’, ‘What Katie Did’ went down a treat before ‘Last Of The English Roses’ was aired along with a new song entitled ‘The Barons Claw’.

Possibly the best song of the night was an epic version of ‘French Dog Blues’ before ‘Albion’ kissed goodnight to a really chilled night out where I witnessed people jostling in the pit to a one man acoustic evening which was cool. To be fair I love his lyrics and I’ll take his music be it with a rock and roll band or ensemble of musicians as well as on his lonesome. Peter Doherty is a poet and one of the United Kingdoms finest songwriters and to him stripped bare like this was a real treat.

Author: Dom Daley

Ryan Hamilton – ‘Haunted By The Holy Ghost’ (Wicked Cool Records)

Ryan Hamilton – ‘Haunted By The Holy Ghost’ (Wicked Cool Records)

We’ve been banging on about Texas singer/songwriter Ryan Hamilton since before RPM was even a thing, and for good reason. Ryan is an artist who always seems to be on the verge of breaking through with every new album, before some personal tragedy scuppers his plans and he’s back to square one.

They say what doesn’t kill you makes you stronger, well that all depends on what is trying to kill you, I guess. In Ryan’s case it could be a cheating first wife, addiction, divorce, online abuse, the record business, cancelled tours and most recently…a delayed album due to manufacturing errors. All the above have happened in the last decade and you really couldn’t make it up, but Ryan is still soldiering on, and thank your lucky stars he is.

‘Haunted By the Holy Ghost’ follows his 2020 break up album ‘Nowhere To Go But Everywhere’ and the following lockdown album ‘1221’. Produced by go-to-guy Dave Draper who also plays bass, along with Ben Marsden on guitar and Carol Hodge and Emily Ewing on backing vocals. It was recorded at Draper’s studio The Old Cider Press and Ryan’s home studio in Texas, making the whole album a transatlantic power pop affair.

The opening song ‘Asshole’ shows Ryan’s current attitude towards the music business. It was released on Valentine’s Day as an act of self-sabotage guaranteeing zero radio airplay, which is maybe a silly idea if you are a struggling artist wanting airplay, but I’m sure he knows what he’s doing…. but its ok, because this album is choc-a-bloc with singles!

The title track is classic Ryan power pop, a radio-friendly earworm inspired by his Catholic upbringing. With an infectious hook and a euphoric feel, it is an early highlight. ‘Paper Planes’ again, is the sort of song Ryan first showed promise with on ‘Hell Of A Day’, full of quirky, power pop goodness and a euphoric middle section that takes it up a notch.

Ryan is never shy to pen an 80’s style power ballad or two, and for this album he has outdone himself. There are two ‘lighter in the air’ moments that could end up on future teen lovers’ mixtapes. The first ‘Overdose’ is not about drug addiction, but about falling madly and deeply, like ‘first love’ deep or ‘marriage material’ deep. You know, right? We’ve all been there. Elsewhere the emotive ‘Absence Of Love’, lyrically is the complete opposite to the aforementioned ‘Overdose, while full of heartbreak and yearning, it is still as emotive though.

A cover of Splender’s ‘Yeah, Whatever’ is given a lick of aural magic by Ryan and Dave Draper. Indie beats and those quirky vocals give the turn of the century alternative hit a new lease of life, as they do with George Strait’s ‘All My Exes Live In Texas’. This fun run through was a past single but shows its face here as a hidden track (it’s a homage to the CD era, kids!) after the closing song of the album.

‘Sad Bastard Song’ officially closes the 12-track album, and it is the best song here for several reasons. For one, I just love the countrified acoustics and pedal steel guitar vibes, and secondly the tongue-in-cheek lyrics may on the surface make it seem like a throwaway, comedic song for losers, but the stark reality is that these lyrics are from the heart and probably ring truer than you would think, and it’s probably my favourite song on the goddamn record.

It’s a sad fact that some of my favourite artist from the last 30 years will never get the commercial success or the critical acclaim they so rightly deserve. Times are tougher than ever for the underdog, but only one thing can make a difference…you, the music buying public. It would be a tragedy for an album this good to slip under the radar when it should be up there with the Adele’s and the Tayor Swift’s of the world, but how can Ryan compete with those big guns? Who knows, but maybe if when you finish reading these words, you were to click a link and buy this album, that would help just a little. I mean, c’mon, it’s worth it just for that cover art of Jesus in shades, right?  

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Author: Ben Hughes

The Mission – ‘Razzmatazz’ – Barcalona, Spain. 25.04.23

The Mission – ‘Razzmatazz’ – Barcalona, Spain. 25.04.23

The sun is still blazing in the sky over a hot and sweaty Barcelona evening as a line of people zigzags up a metal staircase to Club Razzmatazz where a packed out room is bathed in dry ice as the PA creaks to ‘Tadeusz (1912-1988)’ and the already sweaty audience breaks out into a heaving mass of football sing-a-long excitement before the band walks on for one last hurrah around Europe on the Deja Vu tour.

The few times I caught The Mission last year they were on fine form breaking in the new drummer just ahead of the UK tour post covid lockdowns and they were (pardon the pun) on a Mission and full of energy. Barca expects and as the band winds up ‘Beyond The Pail’ the club is jumping and with hardly any room to breath its a heaving mass of swathing bodies singing along and I’m imediately taken back to the early days where packed clubs like Bristol Studio or New Ocean Club in Cardiff would see you carried along in a sea of bodies well this was like that. ‘Tomorrow Never Knows’ was played early doors before the band lashed out ‘Serpent’s Kiss’ and an enthusiastic ‘Over The Hills’ this was warming up to be something special.

The sound was good and the band sounded well rehearsed and full of energy. With a great mix of songs from way back to more recent offerings, it was ‘Within The Deepest Darkness (fearful)’ when we could take a breather and take in just how bloody good a band the Mission are. The show was taking shape in manageable chunks as the audience sang back every word from the epic ‘Kingdom Come’ and ‘Stay With Me’ it was ‘Butterfly On A Wheel’ where Wayne let the audience sing back to him and I think he was impressed how loud and in tune it was. the main set was brought to an end with an energetic ‘Wasteland’ before ‘Deliverance’ saw the band leave the stage for the first time. A dozen songs had just flown by and I’d found myself in a pocket of air towards the front as the band returned for a trio of songs culminating in an exhilarating ‘Crystal Ocean’ that was the highlight of the set for me. How or why I don’t know but tonight I was moved by this song even though I’d heard it live dozens and dozens of times the whole experience was uplifting and life affirming and I love that Rock and Roll can do that even in a sea of top tunes one will stand tall.

The band left the stage for a second time before Wayne returned alone to announce that one of the band needed a toilet break but would say who so it was left for a welcome return of ‘Love Me To Death’ which only left an epic rendition of ‘Tower Of Strength’ before it was done leaving only Wayne and Simon to twist out a feedback soaked ‘You’ll Never Walk Alone’ and then it was done. Off to Madrid for one last time as we filed out into the warm night air happy I’d once again seen The Mission deliver the goods and cement their place as one of the best live bands still treading the boards.

I know they’ve alluded to this possibly being their last foray into Europe but I’d ask they reconsider that and maybe do it one last time next year or the year after and I’ll be there and by the looks of it so will a lot of others. Another night of Deja Vu with the awesome Mission. Gracias amigos.

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Author: Dom Daley

The Atom Age/Bottlekids – Newport, Le Pub – 23rd April 2023

The Atom Age/Bottlekids – Newport, Le Pub – 23<sup>rd</sup> April 2023

There’s nothing better than the feeling of the sticky floor of your favourite local live music venue on a rainy Sunday evening, but just like the time just under a year ago when I first encountered tonight’s headliners live, I regret to say that once again the Covid social media warriors who swore they’d be at every gig if a venue would be brave enough to open during lockdown. appear conspicuous by their absence, I bet they’re probably all at home too busy posting about the national alert signal they didn’t want to go off on their mobile just a few hours earlier.

Ho hum, still those of us who are in da house, and I see quite a few new faces amongst those parting with their £8 (yup you can still do gigs for under a tenner folks) at the door, are in for a right rollicking night of live music make no mistake, and I can think of no netter way than starting things off than 30 odd minutes in the company of Chepstow based punk rockers Bottlekids.

Having not seen the trio live in quite a while it’s interesting to see (and hear) they’ve not only added a feisty cover of 3 Colours Red’s ‘Mental Blocks’ to their set, but also (to my ears at least) moved ever so slightly away from the more pop/punk edge or their earlier sound into a harder more aggressive direction. There’s still plenty of hooks and “woah ohs” to enjoy, but the band themselves appear have really grown as songwriters via their 2022 ‘Zilch!’ EP pushing the needles well and truly into the red and live they really are one hell of crack unit. Bottlekids really have been beavering away on the live front recently, playing gigs right across the country, and with plenty more shows on the itinerary for the rest of 2023, make sure you get out and support them, because as we all know, it’s always nice to discover a great new band you’ve never seen before (or in this case, not in a good while).

Which is exactly how I discovered tonight’s headliners, Californian R&B surf stompers The Atom Age. Sauntering in off the street eleven months earlier half realising a band I’d heard via a YouTube video a friend had sent me were playing Le Pub and then immediately being blown away, tonight, is going to be my first proper encounter with the 12 legged rock ‘n’ roll monster, as this time around I come prepared with a knowledge of the band’s back catalogue, but will it prove to be just as impressive as that initial encounter?

Well, it takes just a few seconds of opener ‘Honeybees’ to answer that question. Shake, rattle and rolling the always impressive Le Pub sound system The Atom Age launch themselves into action like an MC5 shaped musical torpedo and they aren’t about to miss the target. We, the audience. It’s fascinating to watch six musicians so seemingly different (visually at least) gel into such a formidable live force. From the Wilko Johnson meets Howlin’ Pelle Almqvist antics of singer/guitarist Peter Niven, to the Pål Pot Pamparius of the farfisa Fred Brott, there is an explosive edge to the band that is only balanced out by the uber cool saxophone licks of Brendan Frye and (and I’m still chuckling at the one) the young Jack Jarvis charms of anchor-man MC guitarist/singer Ryan Perras. Add to this the substantial bottom end powerhouse drummer Fat Tim and bassist Kevin Mohn and you have a band able to level audiences and venues in equal measure.

Set list wise the band are (perhaps understandably) still out on the road promoting their Covid impacted 2019 album ‘Cry ‘Til You Die’ (available tonight for just £10 on vinyl and £5 on CD folks…are you listening The Bronx?) as though it is a new record, and there are some actual newer tunes like ‘Til We’re Shakin’, a track custom made for any upcoming Tarantino soundtrack, plus the frantic BRMC-like set closer ‘I Was A Rock ‘N’ Roll Narcissist’ that indicate the future does indeed sound great for The Atom Age.

Of the older Atom Age tunes aired tonight it’s still ‘I Hypnotize’ that flicks all the switches for yours truly, the tune sounding not unlike an unreleased cut from ‘RFTC’ era Rock From The Crypt, and who couldn’t love that?

Elsewhere the aforementioned ‘Cry ‘Til You Die’ album gets represented by its soulful and sassy opener ‘Love Is A Numbers Game’, the strutting ‘Walk Through Walls’ and perhaps that record’s best cut, the glorious beetle crusher stomp of ‘Never Looking’ with its divine “woo-oo” vocal breakdown, all delivered to absolute perfection.

And if its something from the Blag Dahlia co-produced ‘Hot Shame’ album (also available for just £10 on vinyl and £5 on CD folks) you are looking for, then there’s the Hives on steroids blitz that is ‘It’s A Mess’ plus the album’s equally excellent title track for you to shake your Sunday night tail feather to.

The only downer for me tonight was it was all over way too soon. The Atom Age really are a very special band indeed, flying just under the punk rock cool radar (which at the moment seems to be distracted by any band coming out of Australia) but just the same delivering total annihilation wherever they play.

Catch The Atom Age wherever you can… they are incredible!  

Author: Johnny Hayward

Cock Sparrer – ‘The Decca Years’ (Cherry Red Records)

Cock Sparrer – ‘The Decca Years’ (Cherry Red Records)

Ah ‘The Decca Years’, It’s the first time on vinyl (other than the picture disc version), Finally Sparrers Decca years gets it’s dues.

Thanks to Cherry Red Records you can now add this fantastic record to your collection. Fourteen tracks pressed on black vinyl for the first time it features everything seminal Oi! band Cock Sparrer recorded during their time with Decca Records in the late 70s. Bosh!

Of course, it’s therefore crammed with classic live favourites, ‘Runnin’ Riot’ and ‘We Love You’ plus ‘Sunday Stripper’. It’s in great company here rather than just buried on the legendary ‘Oi! The Album back in the day. still revered as the go-to scene compilation and is often fondly talked about in punk rock circles because of the inclusion of songs as good as ‘Sunday Stripper’.

As with many Sparrer records this one is limited, so if you snooze you will lose. To draw you in, this version comes in a splendid gatefold sleeve complete with an inner picture collage and stacks of memorabilia from the era. Current guitarist Daryl Smith has overseen the artwork layout and therefore it has the authenticity it deserves from inside team Cock Sparrer. It adds to the release and you’ll love it when pouring over the pictures as the album blasts out of your speakers.

It’s hard to believe it was the bands 50th Anniversary recently and many of the tracks featured on this compilation are still the staples of their current live set and stand tall alongside more recent tunes.

‘Running Riot’ is a great opener and the aggressive punch of ‘Chip On My Shoulder’ sounds exactly as the title suggests. If you are new to Cock Sparrer then this is the perfect place to start your journey down that rabbit hole From the snarl in McFaulls vocals to the rawness of the riff, culminating in the solo that hacks and slashes, it’s such a great song. There is no chink in the armour of Decca era Cock Sparrer, not for a single seccond does the energy drop, nor does the quality of songwriting, Mixing punk rock with hard rock wasn’t easy back in the 70s but Cock Sparrer used their influences when songwriting from the hard rock of ‘Platinum Blonde’ and the twin guitar duelling to the amped up charge of ‘Teenage Heart’ these songs are simply brilliant and to say that after 50 years is not to be sniffed at. There aren’t many artists who can claim to have written songs that still sound fresh after four decades.

Had Slade or Thin Lizzy boogie Woogie like ‘I Need A Witness’ people would have championed it for many years no doubt about it. That’s not even going near the classics like ‘Sunday Stripper’ that had someone like Steve Marriott penned it would be huge, I kid you not but these influences are all in these songs even the snottier punk songs.

When you get to ‘What’s It Like To Be Old’ you can smile back and say it’s alright to be fair, even if I’ve waited this long to get these on one LP in their original state this old lark has such a great soundtrack. The Decca Years is an essential purchase for anyone who loves guitar-based Rock n’ Roll exactly how it should sound. But take my word for it you’ll have to be quick because these will be snapped up sharpish. Lace-up those Doc Martins and get a sprint on – this will sell out. Buy It!

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Author: Dom Daley

Danko Jones heads to Europe & the UK for winter tour 2023

Danko Jones heads to Europe & the UK for winter tour 2023

Hot on the heels of sharing the news of their upcoming album “Electric Sounds” last week, Danko Jones has now announced European & UK headlining tour dates for November and December 2023.

No band has ever sounded more ready to hit the road than the pumped-up threesome showcased on the hell-for-leather ragers featured on their forthcoming album. Armed with this collection of brand new bangers, Danko Jones launch themselves into 2023 on a renewed mission to rock the living shit-lights out of anyone and everyone that wants to join the party.

Frontman Danko declares: “We love touring in the UK and thankfully we are coming back! What’s not to love when you play in front of crowds that know their rock and know how to rock out?! Every day is just one more day we have to patiently get through until the tour starts. I think you can tell I’m already very ready to do this. Give me a guitar and get me to the stage NOW”!

Special guests for the dates will be US punk squad Radkey.

European & UK Tour Dates 2023:
11/14/23 Helsinki (FI) – Tavastia*
11/16/23 Zwolle (NL) – Hedon
11/17/23 Luxembourg (LU) – Den Altier
11/18/23 Leuven (BE) – Het Depot
11/21/23 Copenhagen (DK) – Pumpehuset
11/22/23 Oslo (NO) – Rockefeller
11/24/23 Stockholm (SE) – Debaser
11/25/23 Malmö (SE) – KB
11/27/23 Arnhem (NL) – Luxor Live
11/28/23 Cologne (DE) – Essigfabrik
11/29/23 Berlin (DE) – Festsaal Kreuzberg
12/01/23 Aschaffenburg (DE) – Colos-Saal
12/02/23 Leipzig (DE) – Täubchenthal
12/03/23 Porthcawl, Trecco Bay (UK) – Planet Rockstock
12/05/23 Lindau (DE) – lub Vaudeville
12/06/23 Zurich (NL) – Dynamo
12/07/23 Milano (IT) – Legend Club
12/09/23 Paris (FR) – Backstage by The Mill
12/10/23 Bergen op Zoom (NL) – Gebouw T
12/12/23 Bristol (UK) – Thekla
12/13/23 Glasgow (UK) – King Tuts
12/14/23 Nottingham (UK) – Rescure Rooms
12/15/23 Manchester (UK) – Rebellion
12/16/23 London (UK) – Garage
* (no Radkey)

Set your alarm! Pre-sales for tickets begin at 10am BST, Wednesday 19th April. Tickets go on general sale starting at 10am BST on Friday 21st April. For all ticketing links and more information, click here.

In addition, Danko Jones are confirmed as main support on Sunday 3rd December at the rifftastic extravaganza that is Planet Rockstock, taking place in Trecco Bay, South Wales and marking its10th anniversary this year. Tickets for that event are on sale now.

Toronto’s archbishops of amplification prove that even a global pandemic couldn’t stop Danko Jones. As first album single “Guess Who’s Back” clearly displays, it just made them even more unstoppable. “‘Guess Who’s Back’ is not only the lead-off track to our new album, ‘Electric Sounds’, it’s also the imperative sentence everyone is begging to answer – Danko Jones”, quips charismatic frontman Danko.

“Electric Sounds” promises to have the instant sound and feel of a classic. With no need to reinvent the wheel, the group have further honed and refined their craft – always at full volume – although Electric Sounds is a deceptively diverse affair. “Electric Sounds” was produced by Eric Ratz, and features guest spots from Tyler Stewart (Barenaked Ladies), Damian Abraham (Fucked Up) and guitarist Daniel Dekay (from Canadian thrash legends Exciter).

“Electric Sounds” was produced by Eric Ratz, and features guest spots from Tyler Stewart (Barenaked Ladies), Damian Abraham (Fucked Up) and guitarist Daniel Dekay (from Canadian thrash legends Exciter). Slated for a release on September 15th, 2023, through AFM Records, the album pre-sale has just started here.

Bayaz – ‘Bayaz’ (Fake Chapter Records)

Bayaz – ‘Bayaz’ (Fake Chapter Records)

So a long time ago almost another life pre-pandemic I got to hear a record by a band called Nuclears from the East Coast of America and they had a record that sounded fantastic. Well, during lockdown the main man Mike started another chapter in music with a new band Bayaz after covid pretty much killed Nuclears and some years later we find ourselves here in easter 2023 and a new dawn with a new record. I forgot to mention Mike pretty much has the gift of writing pretty fucking good rock n roll tunes that have catchy hooks riffs n everything that will brighten your day up a notch or two.

This record was recorded in Brooklyn and from the off its a sonic blast off with howling guitars racing off like a wild horse and you have Mike Dudolevitch riding this damn beast trying to tame that Stallion with hooks and melodies twisting and turning on opener ‘Someone Elses Dream’. The dueling guitar solo is a whip crack n smash as the album opener is an exciting song that sets the tone really well.

Don’t be judging just yet because ‘Running’ is a slower beast with some great percussion driving the song on. With a steaming 70s Rock heart beat this is another twist on the opener drilling down on the legacy left by the likes of Thin Lizzy for sure. But hold on to your hat because ‘I Wanna Be Oppressed’ is a snotty slice of glam slammin punk n roll where you get to have the chorus and song title rattle round your head within an instant and trust me it wont let go for a while. Excellently delivered Rock n Roll.

I wouldn’t be doing my job properly if I wasn’t championing records like this. An album you might never ever hve the pleasure of crossing paths withunless you are also down on those crossroads trading your soul for some Rock n Roll. This record continues to twist and turn as it navigates the middle part of an album from the uptempo rockers like ‘Found Money’ as it passes the more laid back deep cuts like ‘Up All night’ and the epic six minute plus workout that is ‘Circle’ that drifts through your speakers fucking with your head as the saxophone blows any cobwebs away as part of what can only be described as an album within an album and all in six minutes, mental.

‘Please Please Please’ just turns the amps up and rocks the fuck out like the spirit of Fast Eddie is with us. ‘Bayaz’ is the name of the band, the name of the album and the name of the penultimate track thats a beast of tune heavy as fuck and smashing it over the first few minutes before fucking with your head like some big cock rock guitar noodle fest. If that didn’t mess your head up enough the band sign off this album with three minutes of Rock n Roll with Little Richard piano and harmonies all over a flamin’ guitar lick ‘Spinning Bird Kick’ is a fine way to sign off a mighty fine record.

Hit the link and go check it out for yourself, Happy Easter rock n rollers heres a gift from me.

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Author: Dom Daley

The Courettes – Set to Rock the UK

The Courettes – Set to Rock the UK

Although The Courettes planned to have a much quieter 2023 while they work on the follow up to 2021’s sensational ‘Back In Mono’ LP, it’s almost impossible for this incendiary garage rock duo to resist the lure of the stage and the band have been working harder than ever. Fresh from kicking up a storm at SXSW, The Courettes are currently touring Europe and are set to arrive in the UK early next month for a string of live shows that will not disappoint!

Buy Tickets Here

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Jeff Dahl – ‘All My Friends Are Crows’ (I Wanna Be A Hoople Records)

Jeff Dahl – ‘All My Friends Are Crows’ (I Wanna Be A Hoople Records)

It’s always a good day when I hear that Jeff Dahl is in the studio recording a new album. You start to get word that its got that raw, aggressive punk rock that we often assosciate with people like Jeff and thats always a reason to get excited.

Album number bazillion and twenty lands on my doormat and as soon as the opening riff hits the ether via my CD player I’m smiling and nodding. The raw slash of that electric guitar kicks in and the steady beat crashes through as the title track is a throbbing, pumping, cutting slab of style and it has the swagger you want from a Jeff Dahl record.

As we exit one of the weirdest times known to man the tough get going and it seems a lot of writers were busing their downtime writing and recording via this wonderful internet. ‘All My Friends Are Crows’ is barking out the speakers and life just got a little calmer inside from the thundering drum rolls to that scratched riff its wearing an invisible coat of awesome like a forcefield, loving it. Essentially what you have here is ten slabs of old-school, no-bullshit punk rock n roll. From the Stooges via the Dolls and the Damned and a whole variety of others, the baton was indeed handed down to Mr Dahl who lit the fucker up and carried that burning torch with passion and a fistful of rock-solid punk rock records. After all these years that flame is still blazing. The likes of the mid-paced ‘Atomic Ant Invasion’ is more a stomping march than a casual stroll. Hold on though don’t get too comfortable because ‘We Must Destroy’ is thumping its way into the world from the gnarly guitars through the snotty lyrics it’s classic Jeff Dahl and if you’re not excited by this I’d get to the medical room and get checked for a pulse.

I love the infectious opening of ‘A Little Bird Said’ from the thumping drums it’s like Dahl is channeling the spirit and attitude of the Dead Boys into 2023 and who better than Jeff Dahl to take care of that spirit and use it great effect. The minamilstic guitar break hits the spot – why over play when all thats required is heart and soul.

With only ten songs on offer, Jeff has knuckled down and streamlined whats on offer and picked the perfect songs to maximise his kill count on this lean, mean rockin’ machine. It is all killer and no filler, there simply isn’t the time or space. Whether you dip in or just let it wash over you the energy is right up there ‘The Spider Sisters’ has plenty of attacks and just enough cowbell. Hell, wherever you dip in it’s the same result – ‘Manahampeetah’ or the sleazy ‘Let It Drool’ it is ‘Bat Shit Crazy’ how damn good this is.

The record is summed up on the penultimate cut of ‘Wild, Beautiful and Free’ ok it might not be free but it is Wild and Beautiful. I might heap the superlatives when I get excited over a record being released but sometimes when you get a record and have expectations that you try and dampen whats the poont? The days of tryign to be cool or not fussed are gone and after first play some records wipe you out. Why the fuck shouldn’t you rave over it? Dahl might have sold his soul to Lucifer for the quality on this record but the brooding slow builder that is the album closer ‘Saint Lucifer’ breaks out and speeds up with a hypnotic riff thats like being thumped repeatidly by a heavyweight before slowing down to a crawl and signing offwith a bye bye. I think both Lucifer and Jeff Dahl got good deals here.

The fact that Dahl does everything except hit the drums is brilliant he and Sam Bradley should be immensely proud of this album because, whilst I’ve loved the last few he’s done from ‘Electric Junk’, through the collaboration with “Demons” and ‘Made In Hawaii’ ‘this latest’All My Friends Are Crows’ top trumps the lot of them – The quality of the songs is noticable and if you can I strongly advise you to pick it up. Stateside you get in contact with Jeff for the CD and those over this side of the pond as soon as Ghost Highway drop the vinyl copies get stuck right in and pick up what will no doubt be one of 2023s best albums and you can take that to the bank as not so much an opinion but a fact! Buy It!

Buy direct from Jeff Here

Ghost Highway Store

Author: Dom Daley

Jeff dosn’t want to sell these CDs in Canada, Australia, Japan or Europe. The reason is that all of these places will cost over $15 just for postage (He’s sending from Hawaii) so you’re looking at a $26 CD, which is just too damn expensive and really, don’t order it unless you can’t live without it and you’re rich or something.

Also please note that a deluxe vinyl version will is being made in Spain on Ghost Highway

THE HIP PRIESTS NEW SINGLE ‘JUST TO GET BY’

THE HIP PRIESTS NEW SINGLE ‘JUST TO GET BY’

PRE-ORDER THE ALBUM HERE:

The Hip Priests. Zero fucks n’ less success since 2006. The most prolific band you haven’t heard of. High energy sweaty sermons of misanthropy, disillusion (self) loathing and despair. Get ready to have your ears torn clean off.

After 16 years some bands would be taking it easy but in spite of a global pandemic, there was no let-up in The Hip Priests determination and activity. Their fifth, and by far their best full-length album – ‘Roden House Blues’ – was written, rehearsed, and recorded during this period and will be released May 5th, 2023, via The Sign Records.

Rehearsed, recorded and mixed between the numerous U.K lockdowns in Roden House, one of Nottingham’s former lace factories where the Priests have their own space, and which spawned the album title. This is no Mississippi Blues but perhaps it makes more sense than you think: Howling laments, loss, self-reflection and revelation – alongside some recurring Priests lyrical themes: negativity, nihilism, rage and revolution. After 2019’s ‘Stand for Nothing’ the band were unsure whether they’d do another album – However, global lockdown inadvertently led to a renewed passion and realisation that, like Jagger said, ‘’what can a poor boy do’ – especially when feeling more lost in a world that increasingly resembles a dumpster fire. A few dozen demos were scrutinised of which, through a stricter than ever group consensus, 14 were recorded but then honed down, razor sharp, into the tightest collection of 11 low-fat, lean and mean banging tunes that could fit into 30 minutes.

This week we get to feel another white-hot blast straight from the album’s furnace in new single ‘Just To Get By’, which finds the band in rare reflective form.

“Every day can be a struggle and happiness really is an inside job. None of us are perfect. Every day we’re pitted against each other and ourselves by a world that increasingly looks like a dumpster fire that wants to incinerate us. What can we do to just get by?

Perhaps just trying to improve, rise above and be a better person is an act of revenge nowadays. A number one single in an alternate universe with a guitar riff of such hook and beauty it was surely dropped from the Rock heavens.  

We don’t JUST do Nihilism, Negativity, Rage and Revolution you know…”

This month also sees The Hip Priests team up with Northern Ireland’s The Dangerfields for an Irish tour. Having known each other for years and toured together back in 2010, when the bands paths crossed again last year, the idea of finally sorting that long talked about Irish tour was set in stone. And so The Hip Priests first time in Ireland kicks off in Derry on Weds 22nd March followed by four other shows all across the country.


Come along for an evening (or in Dublin’s case, afternoon) of face-ripping, ball-crushing, ass-immolating rock ‘n’ roll played by a bunch of doozies far too old to know any better!
There will be loud guitars and rock poses, bad words and everything!

‘Roden House Blues’ is released May 5th via The Sign Records and available to pre-order HERE:

FIND THE HIP PRIESTS ONLINE AT:

WEBSITE /FACEBOOK / BANDCAMP / TWITTER / INSTAGRAM

CATCH THE HIP PRIESTS LIVE AT THE FOLLOWING DATES:

March

Ireland (With The Dangerfields)

Wednesday 22nd Bennigans, Derry

Thursday 23rd Cellar Bar, Galway

Friday 24th Fred Zeppelin’s, Cork

Saturday 25th Hop House, Bangor

Sunday 26th Wild Duck, Dublin

April

Germany (With Lucifer Star Machine)

Thursday 27th Sonic Ballroom, Cologne

Friday 28th Freakshow, Essen

Saturday 29th Zollkantine, Bremen

Sunday 30th Indra Musikclub, Hamburg

May

UK (With Bitch Queens)

Thursday 25th The Pipeline, Brighton

Friday 26th Hope And Anchor, London

Saturday 27th Nice And Sleazy, Morecambe

Sunday 28th Old Angel, Notts

June

UK (With Zeke)

Tuesday 20th Exchange, Bristol

Wednesday 21st Parish, Huddersfield

Thursday 22nd New Cross Inn, London

September

UK

Thursday 28th Trillians, Newcastle

Friday 29th Bannermans, Edinburgh

Saturday 30th Waterloo, Blackpool