Exciter – ‘Kill After Kill’ (Cherry Red Records)

Exciter – ‘Kill After Kill’ (Cherry Red Records)

Canadian speed metal merchants Exciter, along with bands like Accept, Motorhead, and fellow Canadians Anvil, are widely regarded as one of the innovators of the speed metal movement. Speed metal was a precursor of thrash metal, and it has been argued that Exciter invented thrash, but for me, that title sits firmly on the shoulders of Metallica. I believe that Exciter was an influence on what would come later but they were never a thrash band.

Their debut album Heavy Metal Maniac was released through Shrapnel records in 1983 and they had a successful run throughout the eighties touring with the likes of Mercyful Fate, Motorhead and Manowar. The band split up in 1989 but reformed in 1991, the line up at the time consisted of drummer/vocalist Dan Beehler, bassist David Ledden and guitarist John Ricci. The album I am listening to right now – Kill After Kill was released in 1992 on Noise records. The album is being re issued by Cherry Red Records, it has been remastered and includes extensive liner notes and contributions from the band describing the recording process and the changing climate in the metal world at the time.

This is my first time listening to this album and I have to say it is an extremely enjoyable listen for an old school metal head like me. Pounding drums, screaming vocals, manic guitar riffs and song titles like Smashing Em Down and Rain of Terror give you a good idea of what is on offer here. There is nothing highbrow about Exciter, they absolutely deliver the goods here though. Dig out your studded wristbands and bullet belts, turn this up to eleven and worship at the metal altar of Kill After Kill!

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Author: Kenny Kendrick

Wendy O. Williams back on DVD

Wendy O. Williams back on DVD

WARNING: IF YOU DON’T LIKE IT LOUD, HEAVY AND IN YOUR FACE -DESTROY THIS IMMEDIATELY!


Nov. 18 is the explosive date of the release of this rare live concert footage of the indomitable High Priestess of Metal, Wendy O. Williams, featuring Special Guests Lemmy and Wurzel from MOTORHEAD, on DVD.


Shot at London’s Camden Palace in London in 1985 and originally broadcast on Sky TV, the footage captures Williams in a rare and pinnacle moment in her now iconic and legendary career – with trademarked backbend screams and scorching vocals at an unmatched, blood-pumping, high-energy athletic pace. The largely speed-metal set features an appearance by Lemmy and Wurzel from MOTORHEAD, who join Wendy onstage for the song “Jailbait,” as well as audience sing-alongs for “Bump and Grind,” with lead guitarist Michael Ray on Wendy’s shoulders, “Fuck and Roll,” the song “You’ll Succeed,” a crowd pleaser that never made it onto an album, Wendy’s “Banana Rap,” and much more.


Wendy’s musical career began in 1977, when she met radical counter-culture artist Rod Swenson in NYC and he created the PLASMATICS, a band of changing musicians around her that revolutionized American culture, creating a shockwave still felt today. “Way more than a rock band,” as John Levy said on VH1 some years later, “the Plasmatics were a phenomenon.” “The Ramones x10, the Sex Pistols x10, the Clash x10,” wrote Charles Young in Classic Rock. They introduced the mohawk to mass American culture, fused punk and metal when those groups hated each other, and produced stage shows that included Wendy chain-sawing guitars and blowing up full-size cars, among other things that have never been matched to today. Banned in London, busted in Cleveland and Milwaukee, Wendy and the Plasmatics were introduced in 1981 by Tom Snyder on his late-night TV show as “the greatest punk band in the world.”


By 1982, after the release of two albums (New Hope for the Wretched, and Beyond the Valley of 1984), and an EP entitled Metal Priestess, the Plasmatics released the landmark punk-metal fusion album Coup D’Etat, which the LA Times called “the best slice of heavy metal since the last AC/DC album,” with Wendy’s vocals so strong as to make the likes of “Pat Benatar sound like Judy Collins.” For the next two albums, Williams and Swenson decided not to use the Plasmatics name, eliminate the theatrics (“been there, done that”), and focus on Wendy’s vocals.


The first of those albums, the WOW album, was produced by Gene Simmons of KISS and got Wendy a Grammy nomination for Best Female Rock Vocal Performance of the year, and was picked by heavy-metal bible’s KERRANG’s Malcolm Dome as “Best Album of the Year.” Wanting to bring back the speed of the Plasmatics, Wendy’s next album, a full-out speed metal album, Kommander of Kaos (KOK), was released the next year. And it was during this period in 1985 that this concert was shot. The show was produced by Philip Goodhand-Taite and directed by Rod Swenson.

John Cale with Special Guests-Cardiff Millennium Centre 28/10/2022 (Llais) Festival of Voice)

John Cale with Special Guests-Cardiff Millennium Centre 28/10/2022 (Llais) Festival of Voice)

Sometimes gigs pop up and you just have to book, no thought necessary especially when it comes to a legend of the Underground, one of the original pioneers of Art Rock, a founder member of the Velvet Underground, appeared on Nick Drakes Bryter Later, as well as producing bands as diverse as Squeeze, Patti Smith and Sham 69!! I mean come on he even set out the score for Leonard Cohens Hallelujah that Jeff Buckley followed, only thing is this gig was initially logged as with an orchestra, and the special guests weren’t actually announced until the week before.

 Safe to say when Gruff Rhys (Super Furry Animals) James Dean Bradfield (Manic St Preachers) and Cate Le Bon (previous collaborator of both Gruff Rhys and John Cale) plus adding in a gospel choir were announced you knew it was going to be a bit special.

Before diving into the gig I have to say something about the setup in the Millenium center for the Festival, exhibitions, live acts in the foyer, and other acts in Smaller theatres if you get a chance to check it out next year it’s well worth a look (As a footnote Pussy Riot were playing in the other theatre).

The gig itself? Wow talk about a representation of an artist’s career, but reworked updated, and current. The first song that jumped out at me was the third track in Do Not Go Gently Into That Good Night, wow talk about emotional, next up Mercy more than held its own in fact the new stuff (LP is released in January) really sets a high bar. Then the first of the guests came on and just Wow, Cate Le Bon stole the show completely if anything I’d have loved to see her perform some Nico-era stuff but we made do with Gideons Bible and the stunning Ghost story.

Next up the superb Style it takes from the Songs for Drella collaboration with Lou Reed. After drifting through Hatred and Half past France we had the first of another two newies Hanky Panky Nohow and for me, the standout of the night “Moonstruck” both a tribute to and homage to Nico.

Gruff Rhys then entered stage left to bring us Dead or Alive and Jack the ripper returning us to an era of Psychedelia, before Guts cranks things up swiftly followed by a personal fave from the Velvets I’m Waiting for the man, now if only Cate Le Bon could have/had time allocated to perform All tomorrow’s parties or Femme Fatale, it would have been perfect (but what do I know).

Next up James Dean Bradfield brought a whole new dimension to Buffalo Ballet and Ship of Fools, before Cale’s interpretation of Heartbreak Hotel, if you’ve never heard it do yourself a favour!!! Then we’re into the last couple Hedda Gabler and Oh La La.

I have to say the orchestra, Brass section, and Gospel Choir all deserve a mention, adding huge depth and layers to the songs.

It’s not every day you get to see a Bonafide legend of the underground, it’s even less when the new unheard songs yet to be released show you how even now John Cale is shifting focus, bringing something new to the plate. Pity pussy Riot wasn’t the support act instead of playing in a separate theatre. Would have definitely made my night.

Author: Nev Brooks

The Damned – Smalltown Tigers, TV Smith, The Skids – Hammersmith Eventim Apollo 28.10.22

The Damned – Smalltown Tigers, TV Smith, The Skids – Hammersmith Eventim Apollo 28.10.22

As we gathered slowly in the cavernous Hammersmith Odeon at the ungodly hour of half six the Italian trio Smalltown Tigers strode onto the vast stage and proceeded to deliver an energetic set of power pop punk rock with some great hooks and plenty of tunes The Smalltown Tigers seemed to be loving life. It’s a shame there wasn’t a capacity crowd in already as I think that would have helped with the energy of going on so early but it would have been a tick off the bucket list to tell anyone they’d played the famous place and with The original Damned. I think had it been in a small tight club these three ladies would have enhanced their reputation tenfold so until next time…

Next up was the ever-enthusiastic TV Smith & The Bored Teenagers who proceeded to waste no time in taking out two mics, getting tangled with a third in the bass player guitar lead but still managing to race around like a teenager. TV delivered a really good set with an impressive catalogue of songs always opening with ‘No Time To Be Twenty One’ which set the tone. Playing with boundless energy and class and ending with a rather splendid hattrick of songs in ‘Bored Teenager’, ‘Gary Gilmores Eyes’ and ‘One Chord Wonder’ leaving the stage to rapturous applause to a now swelling audience.

TV was followed by The Skids who again rose to the occasion with an impressive ten-song set that included (the U2 song) (I know I’m only yanking your chain) ‘The Saints Are Coming’ an excellent ‘Circus Games’ some memorable as did the Hits of ‘Yankee Dollar’, ‘Masquerade’ and the most excellent ‘Into the Valley’ Jobson dancing and some very amusing banter from the frontman as well. By now the venue was packed and everyone seemed in a great mood up for it and joining in which was fed back from the stage before playing tribute to brothers’ fallen as a worthy rendition of ‘Complete Control’ was covered and they thoroughly deserved their ovation as they left the stage.

Finally, the moment had arrived and a show they said could never happen was upon us and the excitement was building. Well, It was just about to bloomingwell happen. when these four walked off stage back in the turn of the 90s I thoguht like many (the band included) that was that, never to be repeated but sometimes if you dream hard enough those dreams can come true.

Now I know Damned fans can be a funny old bunch and famously hard to please but not this bunny, nope me I thoroughly enjoyed turning back the clock. It was exactly what I’d hoped it would be, the incendiary debut album with a healthy splash of ‘Music For Pleasure’ teetering on the right side of under-rehearsed and as garage as fucking possible. Fuckin’ beautiful! So they’re a lot older and Brian was physically a bit shaky but fuck me the man has magic in those fingers and a tone to die for. Rat was never a drum tickler; more a smash-and-dash player who played with his heart on the inside of that snare he always felt his way through songs knowing when to give it some (al a Moon) and when to lay back and shuffle and you never lose that if you’re one of the great. Rat Scabies is one of the greats and tonight he played like he was actually enjoying it and the realisation that fuck me – The Damned could play and more importantly, they had the tunes to go with the chops.

sure right from the off Captain and Dave looked like they were on top of the brief and were enjoying being part of history and for this to work there wasn’t time to fuck about or scratch old wounds this was a celebration that they have endured and triumphed in the face of adversity and competing with a pandemic this day had finally arrived and it was spectacular.

Now I’ve never subscribed to the misconception that ‘Music For Pleasure’ was a dud and on the back of the spectacular debut they’d run out of ideas and tonight I was overdosing on the record getting my fill of tunes from the horn-honking ‘Alone’ to the MO of ‘You Take My Money’ via the non-album tracks like ‘Stretcher Case Baby’ and the splendid ‘Problem Child’ they should champion that bloody record and tonight it got a fair airing.

Brian delivered the abrasive garage chops with tone and panache and plenty of volume whilst the much-underrated rhythm section of Captain and Rat held it together in fine fashion. So it was hanging on by a thread at times but that was always part of the appeal, wasn’t it? This was punk rock with a huge dash of Garage just like Their heroes The Stooges this band could go toe to toe and in my humble opinion give Iggy and the gang a TKO on the song front as a friend once said to me The Damned were his Beatles and I have to agree having seen them dozen and dozens of times over many decades this one seemed special, after the pandemic and shall we say disagreements this seemed special, Cathartic, emotional and just about perfect.

The band was smiling and actually looked like they knew this was the right decision and playing these songs again together was absolutely the right thing to do and that shone through in their delivery. Vanian must have struck a deal with Beelzebub as he looked as lean as he’s always done, stalking the stage, sometimes in the wrong key sometimes not, but who actually cared it was never meant to be anything other than four men hammering out some of the finest songs ever written, their place and time in music should never be a footnote to the Pistols and Clash but the other way around they were the first to kick this off and trailblazers they have always been and paying tribute to their achievements as those trailblazers the set was perfect with a fine balance of debut album songs – hell, they even smashed out a brutal ‘Stab Your Back’ which might have been the tightest song of the night. From opening with ‘I Feel Alright’ this was more than alright this was beautiful right through to ‘New Rose’ but not before they delivered ‘Pills’ and as they’ve done before it was a poignant ‘the LAst Time’ and into the night the four heroes went. That was emotional just like Rock and Roll was intended to sound. Raw, electric, and dangerous. Fuck I love The Damned, can we do this again sometime, please?

Author: Dom Daley

Iggy Pop is in a Frenzy

Iggy Pop is in a Frenzy

Not one to retire quietly Iggy releases a video for a new song ‘Frenzy’ where he draws in some big hitters to accompany him on the recording. Duff McKagan who he hasn’t worked with since ‘Home’ is thumping the four string whilst Chad Smith pours petrol to fuel the fire in the engine room. I’d love to think this points to a new album in 2023 of raging garage rock n roll from Mr Pop that would be something to look forward to that’s for sure – until then this will more than do.

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Two For Tuesday

Two For Tuesday

Taken from the new album ‘I Live To Fast To Die Young’ – still drinking from the fountain of youth Monroe and his awesome band deliver this fantastic new video for ‘Derelict Palace’.

Seconds out round two how about this spooky banger from Swedens The Dahmers ‘On Halloween’ is the second spooktacular tune for this Tuesdays offerings.

The Dahmers, are a Swedish rock ‘n’ roll horror sensation that’s creeping up on you. With a tornado of influences like garage punk, classic rock and 60’s pop this band truly is a Frankenstein’s monster of music. This is a band who’s going their own way with colorful contrasts and still keeping the main essence of what they are all about. With their catchy tunes that get stuck to your brain like a leech, The Dahmers sucks you into their music and to a world filled with darkness. Their lyrics and aesthetics have a big inspiration from classic horror movies but you also find emotional exposures about frustration, solitude and alienation amongst other things in their songs. They are skeletons with attitude and put as much effort into the visual experience as in their music. 

Spaghetty Town Records (USA) along with Ghost Highway Recordings (Spain) will be releasing “On Halloween” as a vinyl single in 2023. 

The Black Halos – ‘… How the Darkness Doubled’ (Stomp Records)

The Black Halos – ‘… How the Darkness Doubled’ (Stomp Records)

The Black Halos are back and the Darkness has Doubled! since ’94 The Black Halos have been at the forefront of punk n roll when the world was shoegazing and not wanting to look or sound like they were in a gang or band of brothers, bands like The Black Halos were a much-needed shot in the arm and above all they had songs. Plenty of em and they were fan-fuckin-tastic!

The self-titled debut was a much-needed shot in the arm and to follow it up with the magnificent ‘The Violent Years’ the band could do no wrong. They were on MTV and all was good.

With two further albums and some line-up changes, they were still contenders and I loved those albums but something was missing. Now original members Billy Hopeless, Rich Jones (guitarist with Michael Monroe, Ginger Wildheart, AMEN), and Jay Millette, have got the mojo back for the band and that X Factor is right up front and centre on this new album. Joined by new boys John Kerns (The Age Of Electric) and Danni Action (ACIIDZ) the rhythm section is on fire and stoking the furnace in the engine room for the band to truly set ablaze these new songs.

After a few singles that came out ofver the last couple of globally troubled years, we need bands like The Black Halos out there doing it and leading the way for honest, beautiful punk n roll. when they released the singles the sound was there and the tunes were easily some of their best ever written and recorded – maybe their time apart was needed to rebuild and come back stronger and wiser.

The album, recorded in Toronto and mixed by Dave Draper (The Wildhearts, The Professionals), as the guitars kick in on the opener ‘A History Of Violence’ the years just peel back and twenty years melt away. Its got adrenalin, melody, and the familiar Black Halos gang vocals and we’re underway with a Cheshire cat grin knowing that shit just got serious and The Black Halos are in the fuckin Room!!!

the record sounds amazing and ‘Tenement Kids’ opening lick sounds like classic Manic Street Preachers if only they had the bollocks to turn up their guitars its a belter of a song that will leave the intro lick inside your head to just sit dormant before growing over time and before you know it your singing along – classic Halos. A couple of the previously released singles get a look in with the lyrically astute ‘Uncommonwealth’ that just rumbles along like a prowling hungry pissed-off beast. It was a great single but in the mix of this record, it sounds brilliant. The relentless slap of the snare and repetitive chant is pure Halos.

‘Forget Me Knot’ is a confident stab with some magnificent backing vocals and the whole arrangement is one of their finest – its fair to say these gents live it and love it and on songs like this champion it and so they should. They mix things up on the song ‘Better Days’ adding variety on the guitars and it has to be said Billy’s vocals are sandpaper wrapped in a velvet glove his melody is exceptional and again I have to return to the arrangement – its so well delivered it sounds like we’ve been playing it for years never mind a mere couple of weeks, these are better days indeed with a soundtrack like this.

With eleven originals and one amazing cover, this record is unquestionably one of the best records I’ve had the pleasure of all year and it’s so pleasing to hear a band I love absolutely deliver the goods and some. There isn’t one second that doesn’t deserve praise and I’ve heard a lot of music this year but this sounds special and the more I’m playing it the more songs are jostling for positions with a solo that stands out here or a melody there it’s honestly that good. ‘All My Friends Are Like Drugs’ or the epic and heartbreaking ‘Ain’t No Time To Say Goodbye’ written for Mr Chi Pig (SNFU frontman) it was and is one of the best singles I’ve heard for several years, I must have played this song a thousand times since it was released on yeah right! records back in August 2020 if you’ve never heard it then there is no better reason to get a hold of this album right now its one of the best songs the band has ever written and that’s not even up for debate.

In the belly of this here record, you have a cover of The Wanderers ‘Ready To Snap’ which was a fantastic tune, and roping in legend Michael Monroe to handle vocals alongside Billy makes perfect sense, and boy this is how to do a cover from the passion in both vocalists delivery to those backing vocals this song goes to the next level. If I haven’t done my job and whet your appetite for this album then I can only apologise to the band, the label, and to people who still believe in Rock and Roll and its amazing powers if you only buy one record this year then I suggest you beg, steal or borrow a copy of ‘How The Darkness Doubled’because it is a relentless, high-octane blast of classic Halos punk rock ‘n’ roll! and one of if not the best record released in 2022. How’s that for leaving on a ‘Positive Note’ now getoutofhere! you beautiful bastards! The Black Halos have just nailed it…again!

Buy Here / Amazon UK

Author: Dom Daley

Celtic Frost – ‘Danse Macabre’ (BMG/Noise Records)

Celtic Frost – ‘Danse Macabre’ (BMG/Noise Records)

Back in the mists of time when I was a young lad I had a friend at School who had been on a trip to London where he went to shades record shop and returned clutching an album by a band called Hellhammer, Remember this is pre-internet, no google, no Discogs, no amazon, no super internet it was a flick through Sounds, Melody Maker, NME or Kerrang for your fix of what’s hot or not and even then for us kids in the sticks it was a process of saving up and take a chance. That ‘Apocalyptic Raids’ was a gateway into a sound that was perfect for us kids who loved a bit of punk and also the allure of a bit of metal, it was dark, dangerous and fascinating, throw in some dark occult imagery into the mix and our parents would hate it so it was always a winner.

I read recently an interview with Tom G Warrior where he described their sound as musical anarchy (even though Warfare were metal anarchy) he wasn’t far off the mark the music was indeed extreme and mixing up the punk of UK82 hardcore and metal it was perfect. We already loved Venom and Motorhead and what was going on over the pond on the West coast was taking hold it was exciting to trade tapes and get to hear what was coming out of Europe.

Hellhammer became Celtic Frost and the rest is history alongside VoiVods ‘War And Pain’ a few of the Venom albums Celtic Frost was really pushing the boundaries and doing it better than most. For a few short years, Celtic Frost were the bees knees and released some seminal albums that became harder to find than hen’s teeth so ‘Danse Macabre’ is a much-anticipated release and when opening the box the package that’s been put together is of the highest order and right up there with the complete Venom boxset which is the absolute pinnacle of how to do a boxset this isn’t far behind.

Released as a plush five-CD set including all the albums from the period a smart pin badge, a patch double-sided poster and a really interesting book. Noise deserves some credit for delivering such a good set. ‘Danse Macabre’ vinyl set captures the raw excitment and new age dawning in extreme metal and the ambitious direction these Swiss and American band were taking their music. ‘Morbid Tales‘, ‘To Mega Therion’ and ‘Into The Pandemonium‘, the marble color vinyl box set also includes the ‘Emperor’s Return’, ‘Tragic Serenades’ and ‘I Won’t Dance’ EPs, along with ‘The Collectors Celtic Frost’ compilation, a 7″ of ‘Visual Aggression’ and a cassette of rehearsals recorded at the band’s Grave Hill Bunker. A 12″ x 12″, 40-page book, brings together photography — some previously unseen — from the era and brand new interviews with Tom Gabriel Warrior and Reed St Mark. A Heptagram USB drive contains MP3 audio of all the albums, including bonus tracks…and breath.

How’s that for a comprehensive round-up? Always pushing the envelope, it’s mad to think the band was still just snotty-nosed kids when Hellhammer was a thing then through ‘Morbid Tales’ and then the classic ‘To Mega Theron’ and ‘Emperors Return’ it was a blink of the eye and they were gone. Some of these haven’t been pressed on vinyl for the thick end of forty years (37 to be exact) so it’s a veritable feast for fans old and new the CD version are gatefold with vinyl-like mini inserts but people of a certain age-who will be on the end of the hook might need some reading glasses to appreciate fully the detail. that aside this set is an absolute no-brainer The omission of the third album might be an elephant in the room but had ‘Cold Lake’ been included it would have been complete, regardless – Go buy one – Now!

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Author: Dom Daley

The Cheats – ‘XXI’ (Screaming Crow Records)

The Cheats – ‘XXI’ (Screaming Crow Records)

Formed in the winter of 2001 from the ashes of Silver Tongued Devil, The Cheats decided to create the kind of band that was lacking in their hometown of Pittsburgh, PA – an old-fashioned, late-70’s-style punk rock ‘n roll band. Led by vocalist Todd Porter, aka Todd Cheat – former frontman of Silver Tongued Devil (People Like You/Century Media) and Eviction (Metal Blade), the ever-evolving line-up logged many miles on tour, adopting the DIY punk attitude that is crucial to the scene.  
 
2022 marks The Cheats 21st year as a band and they are celebrating with this compilation of 21 cover tunes. Some of these fun tunes have been released on early albums, compilations, 7”s, some were recorded and haven’t seen the light of day and some are fresh out of the studio. ‘XXI’ is not available in stores and is being released as a limited edition, fan club-only album.

Kicking off with an excellent sloppy party anthemic take on the Joneses classic ‘Pillbox’ and to be fair they absolutely nail it with the gang vocals and the punk n roll tones it has energy and the tune rings out loud and proud. To be fair The Cheats selection is stunning from Demolition 23 and The Joneses through Backstreet Girls and The Dogs D’Amour they also take ownership of the Quireboys classic ‘7 O’clock’ and who wouldn’t cover the Dead Boys?

‘Hammersmith Palais’ is snotty as fuck whilst their sprightly take on Cheap Tricks ‘Surrender’ is rapid and a heap of fun. ‘Hanging On The Telephone’ is excellent and these guys clearly just get it you know the whole punk n roll vibe they clearly love it and live it and I love that. It would be so easy to miss the point and deliver these songs (as good as they are) in a weak going through the motions but I’m delighted to report that the Cheats could never be accused of falling into that trap because there is nothing lame or going through the motions here they pretty mcuh nail every single track and take ownership of some pretty iconic tunes.

The fact they didn’t go for the most popular songs by these influential bands is a credit to The Cheats ‘I Don’t Want You To Go’ sounds joyous and they’re having the best of times running through such classics. ‘All this And More’ is a blinding tune anyway and they nail it. I didn’t know the Quireboys could sound so sleazy and punky and they hit their peak on those backing vocals. Hell, I’ll get the beers in if you come over to the UK and we’ll have the best house party ever. Sure songs like ‘Born To Run’ have been done and done really well before (Frankie Goes To Hollywood) but why not? you have to drop some big bombs every now and they it makes the lesser-known classic stand tall next to the big hitters.

Hearing Love and Rockets or Oasis next to The Dogs D’Amour and Demolition 23 is superb the Cheats I bow down to your exquisite taste in Rock and Roll and the fact you’ve been slogging it for over two decades is superb and I and RPM Online salute you. you deserve this moment and its fair to say you nailed it! Rock on brothers, Rock on!!

www.therealcheats.com
https://thecheats412.bandcamp.com/

Author: Dom Daley

The Gasölines – ‘Death or Eternal Glory’ (Speed Club Records)

The Gasölines – ‘Death or Eternal Glory’ (Speed Club Records)

The second album from the Norwegian high-octane rockers The Gasölines! The band embodies the whole greasy, dirty liquor-swigging Rock and Rollas. they embrace every cliche and wear it like a badge of honour and why the fuck not? They riff on a steady diet of what’s gone before them from the 1950s through the 1990s and into the 2020s. With a rigid middle digit in the air and smoke coming off the oil-soaked floors turn this sucker up!

“We didn’t invent the wheel on this album. There’s no need to. Rock will forever kick the elite hipsters’ asses with their man buns, fancy coffee, electric kick scooters and vegan smoothies. This is pure rock’n’roll with proper amps, only mics on drums, no autotune, just four guys having a blast in studio”, says Morten Gasöline. A big antagonistic claim that you just have to back up. Cars, Beer, Women, gambling all the ingredients that have been a staple of this genre.


The album kicks off with the DC riff-a-rama of ‘Rum Runner 500’ with its solid beat and wailing solo as the riffs come hard and fast. It’s exactly what I was expecting and true to their words the band pile in – it’s macho and whilst its not original at all its authentic and they certainly sound like they walk the walk. The pace is picked up on ‘Grand Prix’ as they shift through the gears and turn up the tempo for a much better song.

To be fair ‘Dragstrip Inferno’ is sort of a halfway house of the opening two songs with wailing guitar solos and more lyrics about fast cars it doesn’t take a genius to work out what these cats are all about. when they break away from singing about motors ‘Hellbreaker’ bursts into life on a rumbling bassline that is thick as a builders sandwich and they hit a decent groove. The track ‘Snakebite’ is more of the same (surprisingly) sounding like a Gene Simmons Kiss song with a growling gravelly vocal over a solid backbeat.

You also get some punk rock n roll in ‘Burning Dice’ and a little of what they were probably listening to before heading to the studio as some Dirty Deeds era DC filters through their DNA. Spread out over ten tracks it’s a heavy beast and at times laces a little variety but when they hit their groove they sound on fire. Turn it up kids it’ll annoy your parents as their forefathers did and that’s always a great starting point. Play Loud! Like the band obviously did when recording this beast and the artwork is awesome and reason alone why you should check these out.

Buy it Here

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