The band Midnight’s alter ego tribute to Motörhead! is a 10-track monster. Midnight makes no apology for paying tribute to one of the greatest loud Rock and Roll bands ever. Think Bomber think Ace Of Spades think the classic trio of Kilmister, Taylor, and Clarke this could be the album they never made but should have.

If you’re on board with all things Midnight, and you know what a talent Athenar is then you’ll not have any doubt about how good this album is. With song titles like ‘Leatherbound Glory’, ‘Below The Law’ and ‘On The Loose’ you know where this is coming from. Its NWOBHM with bite, its denim nut huggers and leather gloves its stripped down and loud – fuckin lovely!

‘Thundercharger’ is the opener Charger wish they had in their arsenal. Riff hard recycle used old school riffs and middle eights the odd drum fill that you think you’ve heard before (you have) and always raise a fist and yell for Lemmy when you thump the four string low end make it distorted and punchy but always remember to Roll with your Rock. that’s Whitespade.

‘Below The Law’ is the tip of the hat that the classic Motorhead deserve its an absolute beast and proves that Athenar has the chops and has the suss to deliver this with a tonne of authenticity and make it sound essential listening like he’s invented Hard Rock.

There isn’t a bad track on here from front to back it’s a banger. ‘Fast Lane To Nowhere’ slows things down to a ‘Metropolis’ speed where the tempo is more of a groove and is a great tune in the middle of the set.

Of all the tracks ‘On The Loose’ is a familiar riff as is the riff of ‘The Strangler’ but that’s the deal it’s a tribute to how Motorhead used to do things back in the late 70s – God, it’s been a while over forty years, maybe the time is right for a resurgence of hard n heavy Rock n Roll and if this is the benchmark then bring it on. Let’s have a new Tank and Warfare push through. They did save the best til last but holy moly ‘Leatherbound Glory’ is the jewel in the crown an absolute stone-cold champion of a track from the lick to the breakdown all the way to those lyrics, Greasy and slick! fuckin right it is and Lemmy, Phil and Fast Eddy would all have got it and been touched with the tribute. Now don’t delay get over to Bandcamp and pick up a copy on whatever format is left.

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Author: Dom Daley

Probably in a time when punk rock was still able to shock and could on occasion be seen as dangerous and offensive GG and Antiseen roamed American wastelands offending every pair of ears they came into contact with.

“Murder Junkies” was the seventh studio album by G.G. Allin and featured ANTiSEEN. It was GG Allin’s final studio album to be released during his lifetime, originally released in 1991. Jeff Clayton, lead singer of ANTiSEEN, has described this album as a mixed blessing. Although he is very happy with the way it turned out, he thinks that a lot of people got the impression that they are nothing more than a backing band for G.G. Allin. Clayton has stated that G.G. Allin was very professional during the recording of the album, and he wonders how much of G.G. Allin’s stage act was real and how much of it was “For The Marks”. Something I guess many people asked of the man.

Now, this album is being released for the first time as it was originally conceived, and it has been remastered in order to deliver the aggressive sound it was recorded with. From the opening chords and roll on the drums ‘Murder For The Mission’ bursts into venomous life. If you don’t know GG then look up his tumultuous life on youtube and be amused and repulsed in equal measures. There was a time however when he was a serious punk rocker and glam punk rocker and he actually made decent records when he put his twisted mind to it without all the circus hullaballoo that was GG Allin.

The sound is aggressive, raw and like a box of pissed-off snakes. Ten Tracks in the blink of an eye lurching from one thumper to the other ‘Stab Wound’ and ‘War In My Head’ rattle past towards ‘Violence Now’ which can never have too much cowbell.

I guess in a world where cancel culture and scrutiny of the arts are front and center maybe GG would never have survived even in the murky underground of Punk Rock, songs like ‘Rape, Torture, Terminate & Fuck’ would not have got past the sensors.

‘I Hate People’ probably sums up this release with self-destruction being the order of the day. I guess the image outshone the musicians at play and the cartoon character that was GG Allin definitely overshadowed the songwriter and when he actually put his mind to it could pen decent tunes. If you want to piss yourself and others off then get stuck into this slice of Scum Punk and remember to turn it up the neighbours three doors down might want to sample a touch of Murder Junkies.

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Author: Dom Daley

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

The self-styled kings of South Wales Action Rock are back. Two years after ‘Stole Your Rock N Roll’, Deathtraps release their fourth long player in October, but preorder now and you can dive in via Bandcamp. The previous album was a highlight of the confinement (lockdown) period in my adopted France, belting you round the ears in no uncertain terms.

And, even with the minor involvement of one Johnny H Bomb, the boys could not be persuaded into spandex and synths. Phew! No, it’s business as usual, with Veej supplying yet more addictive riffs. Some things don’t need changing. Fraser’s vocals occasionally wander into Lemmy territory, which is no bad thing, and ‘Let’s Kill Rock N Roll’ is the ideal opener. At just over two minutes long, Uncle Ginge would approve.

‘Red Eyes, Black Kisses’ rattles along, “I’m rooting for the bad guy”, while ‘What If Jesus’ wouldn’t be out of place for prime-era Turbonegro. Very nice. Eleven tracks of lean rock n roll, not a ballad in sight, but ‘Candy Darling’ changes the pace a little. An ode to the Warhol Factory legend; “she’s a bad boy”. As pop as Deathtraps are capable of being and very catchy.

‘Let It Burn’ and ‘Rip Em Off’ are back to their brutal side, with some nice Ron Asheton-style licks in there for good measure. ‘Press Darlings’ isn’t the Ant’s song of the same name, but has some sweet, melodic touches. ‘Too Much Is Never Enough’ is a suitably foot-on-the-floor song to end on.

Sharp, snappy, but with some satisfying, unexpected moments, the album passes by in a flash, and you’re pressing ‘play’ again. You want some quality Action Rock? Then Get it here. Get it now!

vinyl/CD preorder, released 21st October 2022

Author: Martin Chamarette

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        

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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“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.”

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

The second single, ‘Terminal Love’, taken from the album Punch Drunk’. Sees More Kicks get back in the groove.

Kicking out the jams since 2017, More Kicks released their self-titled debut album in 2019 which we reviewed and hailed as a masterclass in power pop. Since the pandemic singer /guitarist James Sullivan managed to release a fantastic experimental solo album, ‘Light Years’ but this is his bread and butter and a most welcome return for the trio.

Following up the single ‘Animal’. ‘Terminal Love’ sees the band pack a bigger punch on this new single. After a quick jaunt across the USA More Kicks set a release date for September for the album from Dirtnap Records/Stardumb Records. pre order Here

You can find More Kicks on FacebookTwitterBandcamp and their website.

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!!

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Author: Nev Brooks