Brand new single from UK punks Grade 2 called Brassic, something we can all relate to!
The track opens with vigorously strummed power chords joined by a ripping bassline riff that introduces a maelstrom of sound. Crashing drums give way to gritty vocals that express the frustrations of the working class as the band aligns themselves with the vast majority of humans who seem to be always chasing down their next dollar.
“Brassic. Skint. Broke. On the bones of your arse,” Grade 2 explains. “The feeling too many of us feel day in day out. When you’re put on house arrest by your own bank balance, you have nothing to do but watch the world move while you stand still.”
United by a love of old-school punk, ska and oi, childhood friends Sid Ryan (vocals, bass), Jacob Hull (drums) and Jack Chatfield (guitar, vocals) formed the band at 14, honing their craft playing Clash and Jam covers before refining their own sound and songs. A European tour supporting Stomper 98 brought admiration and friendship from Rancid’s Lars Frederiksen, leading to introductions and the eventual signing to Rancid cohort Tim Armstrong’s legendary Hellcat Records in 2018.
Melding the near-mythical musical heritage of their native Isle of Wight with the humdrum reality of growing up in a tired seaside town, Grade 2 spit out blistering punk music laced with passion, angst, humour and despair. Fueled by a desire to be heard yet constrained by an ethos unsuited to daytime radio, Grade 2 ply their craft on the road, joining the likes of Dropkick Murphy’s, The Interrupters and Social Distortion to play their songs to fervent audiences around the world. Their stark authenticity, thunderous live performances and exceptional musicianship have garnered praise across the hardcore punk fanbase. Grade 2 are a band to be seen.
Watch them live on tour at the following UK gigs in 2023. Tickets available now.
Come and Join the Rejects they said and in the twenty-first century, they are still going strong making music and playing live always on their own terms and as uncompromising as they ever were. To think this is only their 9th album since the late seventies debut is perhaps the result of forces beyond the band’s will to record music and the myth that grew around them that perhaps held them back. It’s fair to say that number nine will indeed be their final offering and the band have put together some package to sign off in style. A box set, Guitar giveaway, CD, Vinyl the whole machonky as they say in these parts.
What Rejects will turn up for this final fling is quickly revealed after the opening track ‘We Were Never Bothered’ unfurls. Mick said in interviews that the record sounds like everything they’ve done for the past 45 years rolled into one which might strike fear into either their terrace anthems original fanbase or their love of Metal and hard rock fans that were turned onto them in the 80s. There are however many who like both anyone who denies not liking one or the other in my book is a bit weird or just a bit of a hipster.
Jeff is a no-nonsense talker and anyone who has seen his recent in-conversation performances knows that he’s always going to keep it real and this outing is no exception. You are taken off on a wistful acoustic intro before the Geggis riff book is opened and the ship sets sail. IT’s 21st-century terrace anthems with gang vocals and pounding rhythms all being held together by Mick’s hard rock riffs.
Sure they sing about ole London Tawn and having it but so what that’s who they are and like em or loathe them they’ve always been true to themselves. Hold onto your high tops kids because ‘Paper tiger’ is cock rock with sparks flying off those frets – so when they said its everything they’ve ever done rolled into one album they weren’t joking. Good on em!
However, I would point out that it’s more leaning toward the Rock side of the Rejects. ‘Same Ol Same Ol’ is more like FM thank classic Oi! The Metal years continue on ‘Up For The Fight’ and ‘Stab In The Back’. If AC/DC recorded ’40 Years Undefeated’ Kerrang would be championing them alright. Its late night boozer sing-a-long territory as well and Mick is pulling out all the stops with the rhythm section stepping up but not wearing spandex or high tops with one foot on the monitor it’s still the Rejects and not non ferrous maiden.
One thing you can’t level at Jeff Turner is he’s never faked what he does I’m sure if you did it would be Bosh! lights out and ‘My Heart Ain’t In It’ is like Tokyo Blade as Turner sings his cotton socks off God bless him. The title track is bordering on pomp Rock with Mick showing off his flashing blades guitar work with gentle verse picked chords and thunderous power chords on the chorus. Its like the Rejects should make a video where they’re on horseback riding into battle with their firm of ‘Ammers in tow slaying all before them. Noisy fuckers kicking up a shitstorm annoying the neighbours for all their worth doing exactly what they want to do. Love it, g’on son dish it out and turn it up. the Rejects aren’t taking prisoners and they’re going out in a blaze of Glory oh and a cover of The Stray Cats runaway Boys just to fuck up your head a bit more bet you weren’t expecting that bad boy were you? Bosh!
Best track? ‘That Thing We Do’ now that wraps up the Rejects in one three-minute song all their best sides in a bloody decent tune. they then hit the final furlong and ‘Mug’ turns up which might have me reassess the best song on the album with classic Turner lyrics. Their best song since ‘East End Babylon’, Bosh! I wasn’t going to mention the final offering but they do bow out with ‘Learning To Fly’ – Now you nor I was expecting a Tom Petty cover on a Cockney Rejects album but there you go there it is – Bosh! Ave it. Thanks for the records gents it’s been one hell of a ride that’s for sure and I’m glad you’ve made it to album number 9 and still doing it on your terms but Tom Petty? Leave it out me old chinas. Right I’m off before they come after me…The Cheeky chaps.
Alex has been busy helping rock-n-roller punks, THE DROWNS (USA) with their upcoming tour of Europe and the UK. He’s helped sort some nights on the close-knit UK DIY punk scene so they can play most nights of the tour. They are a fantastic band and well worth catching. Alex will join them on stage in Bradford as he’s a proper Yorkshireman these days 🙂 Tickets
They play a free-entry gig at the same pub in Peterborough Wonk Unit played this year, for those cheeky chaps the Scary Clown Presents. Facebook event here.
Bang! has been responsible for releasing some pretty awesome records over the years from bands that spearheaded an underground punk scene and whose records are rarer than hen’s teeth so it’s nice to see plenty get repressed like AntiSeen.
These tracks were originally released on their mid-80s EPs and are now all together for the first time on vinyl which saves a lot of ball ache if you are serious about delving into the past of punk rock. Newly remastered and with previously unreleased photography, this is the “Kings of Destructo-Rock” at their most primal!
According to Jeff Clayton’s words: “What you have here is a collection of the earliest releases of a band made up mostly of small southern town guys trying to make a name for themselves in the ‘big city’. With little help or guidance (with the exception of a few very influential cases) we created what became our sound and our attitude that would stay with us for four decades. Come hear the Dawn Of Antiseen.” and that’s about it in a nutshell. The quality of production is decent to ropey as you might expect and the same can be said of the songs on offer as well.
Opening with ‘Queen City Stomp’ its raw, rapid and punk as fuck which is exactly what you’d expect from these miscreants. They take their love of The Ramones and (probably) Motorhead to its punk rock extremes and run with it. The playing is fairly loose on tracks like ‘Nothings Cool’ and they often played the same riff at varying tempos and just wrote new lyrics about depraved subjects, teenage boredom, girls, booze, isolation and punk rock (what else were you expecting?)
what they do best is when they put their limited talent to good use and go for broke like on songs like ‘Destructo Rock’ it’s dumb and full of cum and they stumble to the finish line. What you do get is a lot of music to get through there are twenty-four tracks on offer here. Some of the lyrics are questionable and some of the production is Tascam demo at best but to some, that’s the charm right there. ‘Drug Throguh The Mud’ is like the DK’s on even cheaper amphetamines.
Side two opens with ‘Hammer Head’ totally exempt from any bottom end its scratching at your ears with a rusty nail and the chorus is hilarious going for a pound shop rob Tyner MC5 on the chorus but sounding more like the Barron nights doing motorhead shame really because with a beefed up bottom end songs like this would be brutal. ‘White Trash Bitch’ is more of the same, could be a banger with decent production and a low-end thump. Probably best to dip in because a one-sit-in trawl would be a trip only the hardcore could withstand. Again I’d reiterate that labels like Bang! provide a great service because I like many others wouldn’t have gotten hold of a lot of these early tracks and it’s great to hear a band’s career where it began and progressed from. Antiseen has always been punk as fuck and part of the underground of American punk rock that has always intrigued me from this side of the pond and it’s been a good trip delving into the origins of the band I’ve known about but not heard a great deal from until now. If you like this then get on some ‘Eat More Possums’ another Bang! reissue from one of punk rocks enduring bands who are still doing it in 2022 – creators of Destructo death punk at its finest noisy best.
Vive Le Rock is proud to be teaming up with legendary Los Angeles record label Cleopatra Records for their 30th Anniversary celebrations at London’s O2 Islington Academy on Wednesday October 26th for what promises to be an unforgettable night of punk and dub rock!
Gathering together three trailblazing Cleopatra artists to shake Islington’s foundations, the 30th anniversary night will be headlined by Public Image Ltd legend Jah Wobble who will perform his reimagining of the second PIL album ‘Metal Box Rebuilt In Dub’ for the very first time.
Those Rebellion festival and ‘Homicide’ favourites 999 will play a special anniversary set to mark the occasion while the kings of the Roxy club and 1976 punk, Eater will make a super rare appearance to open proceedings!
The ringmaster and compere for the nights shenanigans will be none other than the Anti-Nowhere League’s larger-than-life frontman, the one and only Animal. There will be an exclusive aftershow party until late for VIP ticket holders who will also receive a goodie bag of Cleopatra and Vive Le Rock swag and the whole night will be soundtracked by Vive Le Rock DJs!
Cleopatra founder Brian Perera says: “Thirty years has felt like just a few years because time has just flown by while we’ve been having fun working with all of these amazing artists! We’re looking forward to our big anniversary celebration in London where we have so many fun surprises planned for you. We could not have lasted without you!”
TRAMPOLENE will release their fourth album Rules Of Love & War on 17th March 2023. Rules of Love & War features 12 new TRAMPOLENE original songs and was produced by Mike Moore (Baxter Dury/Liam Gallagher), Richard Jackson (Super Furry Animals) & Jason Stafford (Albion Rooms)
Says singer and lead Tramp Jack Jones: “I can’t believe we’ve managed to stay together long enough to make 4 albums. That’s the miracle. Having been friends since school. That’s what means the most to me now. We wanted the album to have a psychedelic, cinematic feel to it with grandiose layers, brass, strings and distorted guitars. I’m delighted with how it’s turned out. We got the title from ‘Down & Out In Paris & London’ (George Orwell). It’s felt like we’ve been living in an Orwellian world recently.”
The first single to be taken from TRAMPOLENE’s new album, inspired by a CNN report on climate change, is Thinking Again, which is available now from all reputable digital music providers.
The video for Thinking Again was written and directed by film maker Ricky Allen, Rules of Love & War will be available on CD, cassette, digital download and 12” black or red vinyl, as well as exclusive formats and signed items. Preorder the album here
Fresh from opening and selling out the new Swansea Arena, TRAMPOLENE have announced a headline tour of the UK for April ‘23. Tickets for the Rules Of Love & War Tour are available to preorder now and go on general sale on Monday 17th October @ 10am from Here & Here
The full dates are:APRIL 7th Friday Glasgow – The Attic
8th Saturday Newcastle – The Cluny 2
11th Tuesday Nottingham – Bodega
12th Wednesday Manchester – Yes
13th Thursday Leeds – Brudenell Social club
14th Friday Bristol -Rough Trade
15th Saturday Swansea – Bunkhouse
20th Thursday London – 100 Club
TRAMPOLENE will also be playing six headline shows for Independent venue week in January and February 2023. Tickets are available now.
We live in an era of lockdown crafted, post-pandemic albums. With live performance taken out of the equation, in that dark period between 2020 and late 2021, musicians had to get creative. And get creative they did. Stripped of the ability to perform with their respective bands, Baz Warne (The Stranglers), Paul Gray (The Damned), Leigh Heggarty (Ruts DC) and Marty Love (Johnny Moped) joined together digitally and formed Wingmen; a musical union that somehow manages to sound like the sum of all of those legendary bands, yet also nothing like them. Say hello to Wingmen, a band formed in extraordinary circumstances.
Due to be released January 27th via Cadiz Music, it’s important to stress that at no point during the recording of this debut Wingmen album were the musicians ever in the same room playing together. And they still haven’t. This music has formed, as so much did in those explosive first waves of punk that these musicians were born from, out of boredom. To stop from going stir crazy during lockdown. And the results were instantly rewarding.
“I called Paul and suggested to him that we should have a go at a new project after enjoying working together on The Sensible Gray Cells record and if so, did he have anyone in mind,” explains drummer Marty on how Wingmen came to be. “And we both wanted to work with Leigh, and he was interested in the idea. I asked Leigh if he knew any vocalists that may fancy it and he said Baz Warne could be worth a call, and to my surprise Baz said yes! So, then there were four. We all started sending song ideas to each other. The first was ‘Brits’ from Baz and then ‘Starting Blocks’ from Leigh. After that the songs just kept coming…”
The proof of this is clear to hear in the ten songs that complete the project. The album is chock full of dynamic songwriting and performances, over-flowing with ideas and inspiration. You can clearly hear the styles and identities of each individual performer in the music, and the influences of their individual bands, but somehow, despite having never played in the same room together, Wingmen sounds like a band.
Bassist Paul Gray continues…
“Although we’d recorded various parts at our homes for our respective bands before, none of us had employed this process to make a complete album! Only Marty and I had worked together before, so it was a complete leap into the unknown. We all had loads of ideas to throw into the pot – some songs arrived completely fully formed that we simply added our own parts to, and others were more akin to musical sketches that ended up as co-writes. The album is a true collaboration inasmuch as none of us knew what parts or melodies or lyrics might be added by anyone else – it was an immensely exciting process! No rehearsals, no pre-production, just us winging ideas to and fro, with the drums going on last of all in the studio – which is completely the opposite of how things are usually done, of course.”
Today, we get to sample the first taste of Wingmen’s work in ‘Down In The Hole’, a song that channels the intense moods and feelings that lockdown created.
“This album may well have never come about were it not for the fact that our lives were suddenly put on hold,” explains Paul. “Some of us felt the effects of the enforced isolation from friends and loved ones that followed – and wondering when the hell it was all gonna end – more keenly than others. ‘Down in the Hole’ is a nod to them, and those that live with the effects of depression to a greater or lesser degree on a daily basis. Not a particularly jolly subject I know, but the music suggested a fairly dark lyric and the song just kinda ended up writing itself”.
Although unconventional in its creation, the good news is that Wingmen is not a just a studio project and will be a band that plays live. Dates are currently being booked and who knows what else the future holds for Wingmen. For now, we’ll leave the final words to guitarist extraordinaire Leigh Heggarty…
“If someone had told my teenage self that I’d know members of The Stranglers, The Damned, Eddie & the Hot Rods, Johnny Moped and for that matter The Ruts – let alone that one day I would be in a band with them – I’d have probably told them that they were mad. It’s worth having a dream sometimes.”
‘Wingmen’ will be released January 27th, 2023, via Cadiz Music. Live dates are to be announced.
A launch event is confirmed to take place December 11th at the Triangle Café & Bar, SE8 to feature an exclusive album playback, acoustic show, and meet and greet. Full details TBC!
1994 was a very good year for music. Everything was a bit edgy back then. Alternative was king, Grunge had killed hair metal and in turn was dying a death. Nu Metal and Industrial sounds were on the rise with Korn and NIN, Green Day and Rancid were spearheading a punk movement for the MTV generation and over in the UK Oasis were making waves, while The Wildhearts and Terrorvison were regularly seen bouncing around on Top Of The Pops.
Bands had to adapt to survive and those that did survive released arguably the best albums of their careers. From Manic Street Preachers and King’s X to Motley Crue and Warrior Soul, all with varying degrees of success but all had one thing in common and that is: those albums stand the test of time nearly 30 years on. And of course, Michael Monroe was in that mix as well with a band called Demolition 23.
Following the ill-fated Jerusalem Slim project with Steve Stevens, Michael Monroe went back to his roots, collaborated with Little Steven and wrote a punk rock album in the spirit of ‘77. Pulling in Hanoi Rocks bassist Sami Yaffa, Star Star guitar slinger Jay Hening and session drummer Jimmy Clarke, what started as a covers band jamming with friends, turned into a serious project.
Recorded in 5 days at Power Station Studios in New York City, produced and largely written by Little Steven along with Monroe and his first wife Jude Wilder, the eponymous 10 track album was a throwback to the Hanoi days and a tribute in spirit to lost friends and heroes such as Stiv Bators, Johnny Thunders and Charlie Harper.
To be honest, the production job back then was pretty spot on and you would have to play the original back-to-back with the remaster to spot the differences. But I’m pleased to say it sounds as crisp, fresh and damn right essential as it did back in 1994.
I always loved Monroe’s thought-provoking lyrics and album opener ‘Nothin’s Alright’ has always been a favourite. From the roaring, 3 chord riffage to the cool lyricism, each verse a love letter to the past 3 decades (at the time), it channeled the much-needed gap between the Sex Pistols raw energy and Hanoi’s penchant for a catchy tune.
The following ‘Hammersmith Palais’ again, is a retrospective look to times and places that are long gone. A theme that has continued through Monroe’s lyrics to this day. A punked up blast with an anthemic “oi-oi” chorus that is an instant earworm. It’s about as British punk as you can get, which is quite a thing considering its Finnish/USA writing heritage!
A killer one-two as good as any album before it, and a pair of songs that remain constants in Michael Monroe’s live set to this day. Demolition 23 sound energized, fresh and vital in 2022.
As Demolition 23 was initially a covers band, it makes sense that a few of those tunes they jammed would feature. The Dead Boys ‘Ain’t Nothin’ To Do’ and UK Subs ‘Endangered Species’ are suitably raucous and filled with attitude. But its Johnny Thunders ramshackle ‘I Wanna Be Loved’ that blows the cobwebs off, even by today’s standards. Hening’s guitar tone is perfection and the vocal delivery has enough spit and venom to better the original. It’s a glorious blast that the band make their own.
‘Scum Lives On’ was originally on the Jerusalem Slim album. The Demolition 23 version is rawer and more in tune with the punk attitude. Even the dumb ass, tongue in cheek ‘Same Shit, Different Day’ sounds vital.
The emotive ‘You Crucified Me’ showcases the Van Zandt/Monroe ability to pen radio-friendly hit singles, and you probably forgot how good it was until you listen to this remaster. It sounds like it was recorded last week, not a lifetime ago.
The included demos of ‘Hammersmith Palais’, ‘Dysfunctional’ and ‘Scum Lives On’ are curiosos and don’t vary too much from the originals, but surely must be a testament to the fact that these 10 songs were the full recorded legacy of one of the greatest forgotten bands of the 90’s.
Of course, good things never last. Hening was replaced by Nasty Suicide on guitar by the time they started touring, but he left in March 1995 and the band folded soon after. Hening tragically passed away not long after and while Sami continues to play in Michael Monroe’s solo band, as far as I am aware Demolition 23 have only reformed once for Monroe’s 60th birthday bash in Helsinki recently.
With only a limited release in 1994 on CD, this is an album that has been crying out for the vinyl remaster treatment for years. It remains a lost classic and hopefully, this remaster will give it the distribution and worldwide regard that this long-lost classic album truly deserves. An essential purchase folks.
South Wales has always been well known for producing serious talent. If you think back to the 90s, bands like Dub War, Flyscreen, 60-foot dolls, and of course Stereophonics and the Manics put South Wales on the musical map. We then had the likes of the Blackout, the Guns, Ruby Cruiser, Kids in Glass Houses etc who were also very successful. Now we have established acts like Bullet For My Valentine, Skindred, Phil Campbell & the Bastard Sons, and brand-new talent such as Florence Black and Those Damn Crows flying the Welsh flag around the world.
The latest of the Welsh dragons climbing the ladder are Valhalla Awaits. The band consists of ex members of The Blackout, Revoker, and the considerable vocal talents of Buffalo Summer frontman Andrew Hunt.
They have been gracing the stages of the summer festivals in recent months and they really are a force to be reckoned with live. After seeing the guys open proceedings at this year’s Steelhouse festival, I can confirm that Valhalla Awaits are the real deal. No egos or drama or fancy stage shows, just full-on heads down, stripped back riffage with a wonderful sense of melody that sets them apart from many of their contemporaries.
The guys are ready to drop their second EP Reckoning on an unprepared audience. I really hope you are ready to immerse yourself in the experience of this short, sharp collection of crushing tunes. Grab a cuppa, maybe a round of toast, put your headphones on and crank it up. The EP opens up with the first single Skin & Bone, a grungy, greasy, groovy number with a Machine Head tinged riff. Drummer ‘Snoz’ Lawrence plays a blinder here with some tasteful fills and he grooves along like a freight train.
Next up we have Rolling Thunder which is a more up-tempo affair with a massive chorus, I get a definite Alter Bridge vibe from this track. Some tasty guitar work helps to build the song along with Hunt’s velvety tones. The songs are more than heavy enough to satisfy the most hardened headbanger while never compromising melody. Where Do We Go? has an Alice In Chains feel to the vocal arrangement with another ear worm of a chorus. Guitarists Rhys Carter and Chris Green work incredibly well together, and there’s an air of confidence within the band that manifests strongly in the material found here on this EP.
The final of the four tracks Inside the Sun is my favourite by far, more crunchy riffs and superb soaring vocals melt into an extremely catchy chorus. The songs are well crafted, and the production is superb. The only downside is that there are only four tracks! Hurry up with an album boys!
If you haven’t already, check out Valhalla Awaits. If you’re a fan of any of the bands that I’ve mentioned above, you won’t be disappointed.
Reckoning is available on all streaming services on October 28th. You know what to do!
Power Grab is the ninth studio album from terrace rock legends the Cockney Rejects. Pre Order Here Bosh!
Having created the ‘Street punk’ phenomenon with their EMI released debut album ‘Greatest Hits Volume One’ in 1979 and its eponymous follow up, ‘Greatest Hits Volume Two’ in 1980, the band shifted direction to their preferred hard rock leanings with the Pete Way produced ‘The Wild Ones’ in 1982, to much critical acclaim. After the ‘Lethal’ album in 1990 the band called it a day, exhausted by the ‘Hooligan Rock’ accusations and the lack of live work. In 1999 they enlisted new bass player Tony ‘Van’ Frater and drummer Andrew Laing, and now a touring tour de force they played to ecstatic audiences all over the world and released several albums right until Tony’s untimely death in 2015.
After much soul searching, the band recruited former bass player Vinny Riordan (from the band’s classic first line-up) and powerhouse drummer Joe Perry Sansome (from Reigning Days) and the boys hit the road again, to even more rabid response than before. Then came covid, and like many thousands of bands the world over, they reluctantly had to down tools. Never a band to rest on their laurels, Mick and Jeff began to write, and the band spent long weekends in the studio with producer Kevin Poree creating their finest, and possibly last, studio album, ‘Power Grab.’
And what an album it is. It’s the culmination of 43 years on the road and in the studio (“it’s a microcosm of everything we have learned and loved since 1979,” says guitarist Mick Geggus) resulting in the most cohesive work they have ever done. From their fledgling Punk days to their Rock heyday, it’s all here; the hooks, heartfelt lyrics, searing guitar work and thunderous rhythm section, all in one package. From the gentle, acoustic intro to the blistering Punk snarl of the opener, ‘We were never bothered’ through the mighty title track, to the closer ‘MUG’, there isn’t any filler here- in fact the band jettisoned some six songs to make this collection the most vibrant and vital thing they have ever created.
“It’s 40+ years rolled into one. It’s the culmination of evolution. Everything is on this album” states drummer Joe Sansome.
At the end of 2023 the Cockney Rejects will be retiring from the touring scene. They will leave behind a legacy matched by very few of their contemporaries. Catch them while you still can. And listen to ‘Power Grab’- It’s what Rock ‘N ’Roll SHOULD sound like. The caged beast. And something so alive it hurts. If this indeed is going to be their swansong, they couldn’t go out on a bigger high.
Recent Comments