Looking for a fresh focus following a ninety-day stint in rehab in 2016, guitarist Tyler Harper formed Capra with drummer, Jeremy Randazzo. With bassist Ben Paramore and vocalist Crow Lotus completing the line-up, ‘In Transmission’ finds the Lafayette, Louisiana outfit hitting the ground running with a debut album that is as equally brutal as it is thought-provoking.
Fusing metal, punk, and hardcore, ‘In Transmission’ is, according to Harper, “like being trapped in a tiny room with an unforgiving monster.” Quite a novel USP, I’m sure you’ll agree. There is a viciousness to this album, yes, but also an intelligence courtesy of the lyrics of Crow Lotus. Being a woman and also the child of an immigrant, Lotus throws harsh truths at the listener from all lyrical angles; from the more personal on the heavy-duty ‘Paper Tongues’ – detailing the troubled relationship with her mother when growing up – to the tribulations that women face every day of their lives on ‘Red Guillotine’. Given the brutality of the music on offer here the fact that these lyrics can be picked out with ease is testament to not only her talent as a lyricist, but also a vocalist.
What impresses me most about this album is the fact that, although the majority of it was recorded in December 2019, three of the songs – ‘Deadbeat Assailant’, ‘Mutt’, and ‘Transfiguration’ – were recorded during lockdown (with the band members entering the studio individually to record their parts), yet fit the sound of the album perfectly. You thought that the sound of lockdown was 8pm clapping and the banging of pots and pans, right? Think again.
I am reminded of the angular uneasiness of Norway’s Blood Command at times here – no doubt because of Crow’s vocals – and I pick up a ‘Birthing the Giant’ era Cancer Bats vibe on certain tracks. All in all, this is a bit of a noisy gem.
I first came across the work of Melbourne Garage Punks Civic when I happened to be browsing Bandcamp and ‘New Vietnam’ leapt out on me and I duly ordered the cassette tape (hipster) resisted growing a beard but had the EP on repeat for a while. The band then emerged releasing a trio of singles over the past few years, including a cover of The Creation’s garage classic ‘Making Time’ Time really does fly by even during a pandemic as ‘New Vietnam’ was out in 2018 its now 2021.
They’ve made a considerable leap to the cleaner, sharper more purposeful sound on display here. the band brings a melodic edge to their muscular Garage punk without losing any of their intensity or grooves.
‘Future Forecast’ moves through the gears with ease from the more catchy songs like the single and opening ‘Radiant Eye’ through ‘As Seen On TV’ to the lap steel guitar and brutal riffs of ‘Tell the Papers’. It’s a really confident record that has a swagger and a cockiness that says Civic knows they’re good and ‘Future Forecast’ will have many people sitting up and paying attention to what they’re hatching down under.
If you (like me) loved ‘New Vietnam’ and are worried they might have moved on and left behind the punk and power then fear not because ‘Another Day’ is straight out of the ‘Young Loud and Snotty’ songbook, ‘Hollywood Nights in Hamburg‘ with its retro proto-punk leanings is a real blast of energy, ‘Just a Fix‘ (with its raw riffage is a blast) and ‘Velvet Casino‘ all crackle along with the attitude and snot of their humble beginnings. Making this album an absolutely essential purchase. If you love your music with riffs, attitude and above all great songs then this is for you. It’ll breathe life into the Garage Punk Rock and Roll fraternity and give other bands a jolt and a tap on the shoulder because these boys are moving in and taking over.
Many of us have been heralding a new dawn for Australian music, ok sure The Chats and Amyl & The Sniffers grabbed a lot of overseas plaudits and rightly so but scratch the surface and there beats the heart of the beast and bands like Civic are rising up with killer albums like ‘Future Forecast’.
I’ll make a prediction, along with Stiff Richards, civic are the dingos danglies and more dangerous than 90% of the wildlife also residing on their island. Get on it before it’s too late. Civic is the band ‘Future Forecast’ is the album so pour yerself a cold VB and get on it. Now if they could get some UK and Europe Distro the job would be a good un and my work here would be done.
In times like these we need bands like Reverend Peyton’s Big Damn Band. This fact is not lost on the band itself, and so now here we are with their latest album ‘Dance Songs for Hard Times’. If ever music can be the cure for anything, the Rev is here to deliver.
The band aren’t kidding when they declare these to be dance songs. The Rev’s bellowing voice (stronger here than ever before) and blues craftsmanship, backed up by the endless charm of Breezy’s washboard and backing vocals, and Max’s Senteney’s drum rhythm, are as solid as always. This album, however, really is brimming with bluesy, party numbers.
From the driving opener of ‘Ways and Means’, straight into the swinging ‘Rattle Can’, this record is crying out to be enjoyed loud. The rockabilly of ‘Too Cool to Dance’ perhaps symbolizes the carefree nature of this release more than any other song on the album – “we may not get another chance/please don’t tell me you’re too cool dance.” It really is a breath of fresh air in these tough and uncertain times. It just makes me sad that we really can’t get out there to dance.
The record still leans heavily on its traditional influences, and songs such as ‘No Tellin’ When’ carry the timeless and haunting sound that is so integral to folk & blues storytelling, whereas ‘Come Down Angels’ closes out the album with a raucous riot of gospel.
Reverend Peyton’s Big Damn Band is a band that just keeps improving – technically and creatively – without ever straying from the elements that make them easily one of the best blues bands of modern times. I fell in love with them upon listening to ‘Between the Ditches’ in 2012 and have rejoiced in everything they’ve released since; however, listening to ‘Dance Songs for Hard Times’ comes closest to that feeling of utter joy I experienced the first time around.
Following the recent announcement of their Summer Tour 2021 Norwich / London five-piece Millie Manders and The Shutup now announce their Autumn Tour 2021 which includes a number of O2 Academy headline dates. The tour follows their debut album, Telling Truths, Breaking Ties, released last October and which featured in countless Album of the Year lists at the end of 2020. Full dates as below.
CLASSIC 2001 PERFORMANCE FROM TOKYO, JAPAN KICKS OFF THE SERIES AVAILABLE ON TRIPLE VINYL, 2-CD & DIGITAL
To Be Released On June 11
LOS ANGELES, CA – April 23, 2021 – On June 11, rock legends KISS will launch their new official live bootleg series, KISS – Off The Soundboard, with Tokyo 2001, recorded by the band at the Tokyo Dome in Tokyo, Japan on March 13, 2001. This marks the first in a series of upcoming live releases through UMe and will be available as a 3-LP standard black vinyl set, a 2-CD set, digital downloads and available to stream. Off The Soundboard: Tokyo 2001 will also be available as an exclusive 3-LP set pressed on crystal clear vinyl with bone swirl via the Official KISS online store. All configurations can be pre-ordered HERE.
Tokyo has always held a special place of importance throughout the KISStory of the band and Off The Soundboard: Tokyo 2001 captures KISS giving the packed 55,000 seat venue the quintessential KISS live experience, direct from the soundboard with such classic anthems as “I Was Made for Lovin’ You,” “Heaven’s On Fire,” “Rock & Roll All Night” and the #7 1976 Billboard hit “Detroit Rock City,” as well as rarities such as “I Still Love You” from 1982’s Creatures Of The Night. The 21-track concert is a celebration of the band’s musical legacy and features co-founders Paul Stanley and Gene Simmons, with Ace Frehley on guitar and Eric Singer on drums.
KISS are globally recognized as one of the greatest live bands of all time and are the creators of what is universally considered the best live album ever, 1975’s gold-certified and No. 9 Billboard charting Alive!. KISS – Off The Soundboard continues their storied legacy of groundbreaking live albums with a document of the spectacular, larger than life extravaganza that is a KISS concert.
Known for their trademark larger-than-life blistering performances, KISS has proven for decades why they are hands down the most iconic live show in rock n roll. The Rock & Roll Hall of Famers who have sold more than 100 million albums worldwide have said this tour is devoted to the millions of KISS Army fans.
AEG Presents are delighted to announce that Britain’s best-loved rockers STATUS QUO are coming back to reclaim their position on the live circuit – with a brand new tour. The ‘Out Out Quoing’ UK & Eire Spring Tour in 2022 will visit 14 venues before the band head out into Europe. Tickets for the UK mainland shows went onsale from Friday 23rd from Here.
In September 2019, QUO performed a triumphant set at the massive Radio 2 ‘Festival in a Day’ event in London’s Hyde Park in front of 65,000 fans. That turned out to be their last UK show as the ‘Backbone’ Winter Tour of 2020 was cancelled in its entirety due to Covid-19. Now, STATUS QUO are delighted to be able to announce their long overdue return to the stage with the ‘Out Out Quoing’ tour.
Francis Rossi said, “We cannot wait to play again. Every gig is special for Quo but it’s been too long since we got to play anywhere. Going out is something that we all took for granted. Not any more. Going out, going out properly – ‘going out out’, as some would have it – became a bit of dream but now that dream can come true. The name of the tour is a bit of humour, but a celebration too. However, I’d urge fans not to overthink it and just prepare for all the hits and some serious live music energy!”
STATUS QUO is a band known for their live performances across their incredible fifty year career, it’s time to get back to doing what they do best. After such an unwanted layoff, the band is more ready than ever, making the ‘Out Out Quoing’ tour unmissable.
‘STRANGE FLASH – STUDIO & LIVE ’78-81’ – TO BE RELEASED JUNE 25 ON 2LP, 2CD AND DIGITALLY – CONTAINS ALL THE GROUP’S PREVIOUSLY RELEASED RECORDINGS PLUS LOADS OF UNRELEASED TRACKS. INCLUDES DENIZ TEK- PRODUCED CLASSIC 45 “HINDU GODS OF LOVE”, PREVIOUSLY UNHEARD, ALBUM-LENGTH LOBBY LOYDE-PRODUCED DEMO SESSION AND MORE
“The Lipstick Killers were easily one of the greatest live bands I’ve witnessed in my 65 yrs. on this planet” – Keith Morris (Black Flag/Circle Jerks/Off!!)
“The Lipstick Killers were the coolest and most original band on the independent Sydney scene of the late 70’s” – Deniz Tek (Radio Birdman)
HINDU GODS ARE CALLING YOU!!!Grown Up Wrong! Records is thrilled beyond belief to present the LONG-AWAITED anthology of material by the legendary Lipstick Killers, who blazed a trail in late ‘70s post-Radio Birdman Sydney before gigging with the likes of the Gun Club and the Flesh Eaters in Los Angeles where they crashed and burned in 1981. The Lipstick Killers released just one single in their life time – the perfect ’79 Deniz Tek-produced pairing of “Hindu Gods of Love” and ”Shakedown USA” on their own Lost in Space Records (and subsequently Greg Shaw’s Voxx Records out of LA) – but a posthumous live album and a couple of archival 7” releases followed. It was all incredible. All that material is included here, as is a plethora of additional stuff, all from the best-available sources (mostly the original masters).
Out June 25, Strange Flash– Studio & Live ’78-81 will be initially available in both black vinyl and orange vinyl – 500 copies of each edition of the 2LP is being pressed. Double-CD and digital editions, with the extended title of Strange Flash – Studio & Live ’78-81 + Psycho-Surgeons ’76-78and a significant number of extra tracks, will also be available.
The Lipstick Killers’ enigmatic and high-energy sound – heavily inspired by the Stooges and the ‘60s psychedelic punk sounds of bands like the Thirteenth Floor Elevators and the Chocolate Watchband – bridged the gap between Radio Birdman and subsequent Sydney groups like the Sunnyboys (whose first-ever show was opening for the Lipstick Killers), Lime Spiders, Hoodoo Gurus and Psychotic Turnbuckles. And of course they anticipated generation after generation of other bands with similar things in mind, right up to today’s ‘60s-inspired freaks like The Living Eyes and Thee Oh Sees. And they put it across with a wild-eyed intensity; so much so that Circle Jerks and original Black Flag frontman Keith Morris, having witnessed a couple of their LA shows, later described them as “easily one of the greatest live bands I’ve witnessed in my 65 yrs. on this planet “.
Esteemed American critic Byron Coley, then living in LA, was another fan. The collection includes a reproduction of a piece Coley wrote on the band for the legendary New York Rocker zine, in he which throws around terms like “high Six-Oh grunge consciousness” and “mind-churnin’ pieces of gunk” in the process of rhetorically asking what’s so great about the band. He answers himself by saying the Lipstick Killers play “some o’ the greatest stuff I ever heard, that’s what!”
Strange Flashwill be available in two formats. The double-LP includes the original 1979 single, the posthumous “Sockman/Pensioner Pie’ 45 plus additional studio masters from the same ’78 session, an unreleased album length 1980 demo session recorded by Australian guitar god Lobby Loyde, and the near-complete LA show that comprised the original live album “Mesmerizer” (taken from the original cassette that went in the mixing desk!), adding a number of additional tunes but losing a couple that one band member wasn’t really happy with. The set features liner notes by Ugly Things magazine and Grown Up Wrong! Records’ Dave Laing, some killer pix and flyers and repro’s of the stunning Lipstick Killers posters designed by highly collectable Sydney poster artist John Foy, alongside the previously mentioned Byron Coley piece.
The double-CD includes also this and more, including a near complete live show recorded in Adelaide in 1978, some of which was released on a handmade cassette by members of the band in the mid-‘80s (likely in very low double-digit or possibly even single-digit quantities) and a couple of the tracks of which appeared on a very limited run 45 also released by the band in later years. But a good chunk of it has never been heard, and it is wild. Additionally, the CD edition also includes the revered “Wild Weekend”/”Horizontal Action” 45 released in 1978 by the band that the Lipstick Killers formed out of, the Psycho-Surgeons, as well as a couple of 1976 rehearsal recordings from the Psychos’ very early days, which were released on a seriously limited edition 45 on Blank Records a number of years ago. The double-CD includes all the liners notes, images and repro’s that are included with the double-LP and adds further notes by Steve Lorkin of ‘80s Sydney zine 48 Crash fame, more clippings, including a ripper feature by Darcy Condon from Sydney’s RAM magazine, and loads more images, including some Psycho-Surgeons goodies.
With original copies of their material in high demand internationally amongst fans of both ‘70s punk and ‘60s-styled garage rock, Strange Flash– Studio & Live ’78-81 (or Strange Flash – Studio & Live ’78-81 + Psycho-Surgeons ’76-78) will allow fans to hear the full range of the Lipstick Killers’ enigmatic powers – a range that really hasn’t been witnessed since the band last took the stage. You’ll want to handle it with care; as Lipstick Killers frontman Peter Tillman liked to say, it might sever your torso from your legs.
I’ve been away for a while; does being a part of the “Classic Rock Revival” still consist of thinking you’ve made it because you’ve waxed your newly-grown moustache, purchased everything from the Joe Browns catalogue, and bought yourself onto a magazine’s cover-mounted disc? No? Maybe? To be honest, I don’t think the argument is really relevant in regards to this album review because, thankfully, authenticity, like natural talent, has a tendency to rise up and out of the quality control quagmire.
‘Mountain of Sugar’ is the second studio album from Swedish throwbacks, Heavy Feather, and it is a bit of a stormer. Recorded in Stockholm with producer Erik “Errka” Petersson at the controls (as was the case with the band’s debut album, 2019’s ‘Debris & Rubble’), with help from master masterer, Magnus Lindberg (Imperial State Electric, Lucifer), and Pink Floyd’s former mixer table, this eleven-track long player is a relatively faultless exercise in retro rock that throws out audio love letters to the roots rock scene of the Sixties and Seventies, hitting pretty much every mark.
Free, Cream, and Lynyrd Skynyrd are major influences that feature on the band’s press information and, yes, you’ll find that not just the sounds but also the spirit of those legendary outfits haunt proceedings here, but ‘Mountains of Sugar’ never falls into soundalike territory: there is a warm familiarity to every track on this great album more akin to meeting up with an old friend – something I’m sure we’re all desperate to do in these strange days.
Yes, this is record listening of a certain vintage; the dragging on of headphones, the pouring of a favourite beverage, and the losing of oneself in the grooves. Pulling the listener into the songs is, without question, the voice of Lisa Lystam. Hers is one of the most effortlessly wonderful rock voices that I have been lucky enough to hear in some time. Raw at times, siren song at others, this bluesy gift from the Rock ‘n’ Roll Gods is more than an impressive set of pipes – this is an art instillation.
Songs like opener, ’30 Days’, ‘Too Many Times’, and ‘Come We Can Go’ will make any earthy rock playlist with ease, while ‘Love Will Come Easy’, given half a chance, could be a breakout hit that catapults Heavy Feather up a division or two. Think about the cult status and love afforded prime Vintage Trouble and you’ll have an idea as to where this Swedish gem should find itself when this second album’s cycle has come to its natural conclusion.
Here’s what Hayley had to say about the track ‘Kiss Me So I Can’…
“This song is probably the most personal Dr. Cain and I have ever written together. We shot the video along the coast in our sleepy town of San Luis Obispo and attempted to show a little slice of our everyday lives together. The song is all about learning to slow down and enjoy the little things with the one you love (even if you’ve been cramped in a stinky van together for a few months). After a few years of non-stop touring, band practices and recording, we found ourselves a bit burnt out and feeling a little empty. “Kiss Me So I Can” was our recommitment to romance and fun. Sometimes all it takes is a simple kiss or singing along to the radio together to get that magic back. We’re glad this song came out in 2020 (originally on the full length album “Vintage Millennial” from Eccentric Pop Records) and now released for the first time on CD via Rum Bar Records (“Fun Sized,” Feb. 2021). We know that this kind of love song is needed now more than ever. Covid-19 presented a huge challenge for a lot of couples, but it also allowed romance to blossom in the most unexpected places, in the absence of the hustle and bustle of everyday life. Wherever you are–in the beach or in the city–whether you’re single or married for years–we hope this song makes your heart beat a little faster.” — Hayley Crusher Cain
“For the uninitiated, I urge you to familiarize yourself with Hayley and the Crushers. They know how to do it and do it right, while enjoying themselves, all along the way. With gripping hooks and colorful looks they prove it without question. Check out their music videos if you need more proof. Highly contagious and infectious, with no known cure. Exactly what we need to get us through these days. Be very generous with the volume and Welcome to the ‘Crusherverse’.” – “Boris” Boden (aka The Secret Weapon on Woody Radio)
“This band remind me of their Californian forebears The GoGo’s, with a great mix of punk, pop, new wave, surf and glam. Great melodic hooks and vocal harmonies compare-and-contrast perfectly alongside fuzzy guitars and a pounding rhythm section.” – Fear And Loathing
“Church of Flag” is one of the “punkest” tracks Hayley and the Crushers have ever done. And I love it! It captures the excitement of first discovering punk rock and how you may or may not hold on to that feeling as you grow up and grow old. That’s a timeless theme in our world, and “Church of Flag” will be tremendously inspiring to all of you who are still keeping the faith.” – Faster And Louder
One part punk-pop, one part sunny surf, all “poolside glitter trash,” San Luis Obispo, California’s Hayley and the Crushers offer up a tsunami of bold, bad girl fun. Fizzy, frothy, and still a little dangerous, be careful just how far you paddle out. There’s blood in the water and the mermaids in this part of the Crusherverse are known to nibble.
“Fun Sized” ie: A snackable treat! 2020 wasn’t fun” by any measure, but that didn’t stop California’s Hayley and the Crushers from bringing their sunniest, most infectious tunes to the world. Sticky hooks, surfy beats and soda-fueled sing-along moments ensued, transforming living rooms into dance floors, bedrooms into beach parties. Enjoy this perfectly- portioned snack, a Rum Bar exclusive! Featuring a half dozen of the band’s best 2020 hits never before collected onto one high fidelity coast- er-shaped compact disc! Comes with handsome mini poster!
If you like your rock in a mysterious ceremonial circle with a load of other rocks then ‘Vertigo’, the new album from Savonian occultists, Jess and the Ancient Ones, is for you.
The follow-up to previous album, ‘The Horse & Other Weird Tales’, ‘Vertigo’ may be seemingly simpler-titled but it is certainly not a simple rock record. This eight-track curio from the Finnish psych rock outfit is one of those rare albums that comprises solely of deep cuts, yet is strangely essential and vibrant.
The band’s previous brand of twin-guitar-led metal has mutated into organ-drenched heavy psych oddity rock that feels almost as old and certainly as ominous as the hooded figure that listeners will surely see in the corners of their eyes when listening to this audio excursion into ghostlore.
Wrapped in suitably jolly artwork – a crude, vintage photograph of a tornado laying waste to some mortals – ‘Vertigo’ features haunting, brooding tracks that could be the soundtrack to episodes of Hammer House of Horror, hauntings, or night terrors – possibly all three… and possibly within the same song.
Pop culture permeates the grooves at various intervals here: ‘Talking Board’ points its planchette in the direction of The Exorcist via the infamous “Captain Howdy” dialogue; ‘Summer Tripping Man’ steals a ‘Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb’ sample to great effect; while ‘Love Zombi’ could accompany an action montage in an episode of Space: 1999.
This is folk horror rock, not to be mistaken with folk rock; in fact, situated towards the end of the album is a pair of tracks – ‘Born To Kill’ and ‘What’s On Your Mind’ – that threaten to rock out in a more familiar fashion. They only threaten it, mind; normal for this band is still as off-kilter as the most curious thing you’ll see, and be troubled by, all year.
Recreating a soulful garage psychedelia from the late Sixties was the aim of Jess and the Ancient Ones on this album and, yes, the band members’ aim is true… even if they have paired those desired sounds with occult rock sonics of a certain vintage that are sure to give those of us from the haunted generation scare flashbacks and cold sweats.
The recreation of a bygone era’s sound and folklore exhibited here is quite remarkable, it has to be noted; inspiration found on woodcut, the ritual and ceremony faithfully recreated. This is the lysergic doom album that you were looking for. In the corner of your room. At 2am. It’ll be there again tonight. Watching. As you sleep. Fucking hell. Facebook /Bandcamp
Looking for a fresh focus following a ninety-day stint in rehab in 2016, guitarist Tyler Harper formed Capra with drummer, Jeremy Randazzo. With bassist Ben Paramore and vocalist Crow Lotus completing the line-up, ‘In Transmission’ finds the Lafayette, Louisiana outfit hitting the ground running with a debut album that is as equally brutal as it is thought-provoking.
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