Uni Boys – ‘Uni Boys’ (Curation Records)

Uni Boys – ‘Uni Boys’ (Curation Records)

The eponymous new album from Californian power pop four-piece Uni Boys is their third for Curation Records and a step up sonically for the band. Formed in high school by chief songwriters Noah Nash and Reza Matin, the band self-released a couple of albums before signing to Curation for their third long player, ‘Do It All Next Week’ and the following ‘Buy This Now!’, which gained attention with the production work of The Lemon Twigs duo Brian & Michael D’Addario.

This time, roping in Lemon Twigs knob twiddler Paul D. Millar, The Uni Boys recorded live to tape in analogue like the old cats did it, and the product of those 2-week sessions is this wonderful 12-track album.

If jangly guitars, multi-layered vocals and sugary sweet melodies are your thing, then Uni Boys have something for you. Lead single ‘I Don’t Wanna Dream Anymore’ is a great starting point for the uninitiated. Killer ’70s-inspired power pop perfection, with a great hook you’ll swear you’ve heard before. Millar’s vocal drawl and the instrumental dynamics bring to mind The Knack, not for the first time and surely not the last.

Album opener ‘Victim Of Myself’ with its infectious bubblegum melodies is Redd Kross on helium, ditto ‘Want You Back’. Elsewhere, the fantastic ‘You’ll Curse His Name Again’ is the epitome of ‘Beatlesque’. Do you catch the theme going on here? It’s all pretty upbeat, it’s all pretty catchy, and every song is a potential single.

The D’Addario brothers’ influence comes through on the likes of the quirky ‘Maybe I’m Wrong’ with its bouncy bassline and sugary sweet chorus, it’s a definite stand out track, and latest single ‘Your So (Phisticated)’ could be the greatest power pop song of recent times, and if not, it’s certainly got the best title! Those layered harmonies are so lush, you’ll be singing that chorus the second time round, and believe me, it won’t leave your brain anytime soon. Silver Sun, anyone? If you know, you know.

Everything about this album reeks of retro 70’s from the album art, the band’s fashion sense, and on to the simple girl meets boy lyrics to the crisp and simple production. I love everything about this record.

They take things down momentarily on a couple of occasions. The emotive ‘Abra’ is sorta dreamy shoegaze pop meets Cheap Trick. The layered backing vocal shines through, and the sublime key change takes it to another place entirely.  The quirky jangle of ‘Genevieve’ sounds like the Lemon Twigs had their way with it, and closer ‘Without A Broken Heart’ inches into Elvis Costello territory to nicely round things off in style.

Uni Boys make uncomplicated, upbeat and catchy power pop music like the last 40 years never existed, and make no apologies for being stuck in a bygone era when things seemed so much….better. This self-titled album is full of memorable hooks, retro throwback vibes and enough goodness for everybody. A step up from previous releases, in this genre, not many bands come close.

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Author: Ben Hughes

Annihilator – ‘Criteria For A Black Widow’/’Carnival Diablos’ (Earmusic)

Annihilator – ‘Criteria For A Black Widow’/’Carnival Diablos’ (Earmusic)

The back catalogue of influential Canadian thrashers Annihilator continues to get a fresh lick of paint, courtesy of earMUSIC. By the late ‘90s, Annihilator main man Jeff Waters had decided to get back to the band’s thrash roots. This resulted in the reunion of original frontman Randy Rampage, and drummer Ray Hartmann. Alongside guitarist Dave Davis, the band delivered the goods with the album ‘Criteria For A Black Widow’ in 1999.

There are some great moments on CFABW, the opening track, ‘Bloodbath’ is peak Annihilator, crunchy riffs, stabbing drums, “THAT” guitar tone, and Rampage spitting and snarling his way through the lyrics. Brilliant stuff.

‘Back to the Palace’ nods to the Alice in Hell and Never Neverland albums. At a time when most metal bands were questioning their existence with the rise of nu metal, Annihilator were forging ahead with their true calling. ‘Nothing Left’ is another full-on thrasher with an amazing performance from Ray Hartmann, he was always one of my favourite thrash drummers. Superb.

The title track is another high point of the album, technical, moody, with more superb performances from a band that’s as tight as it gets. We get some bonus tracks of early demos that are interesting. A must-have in your Annihilator collection.

The band’s momentum carried them into 2001 with the release of Carnival Diablos. This time, we get ex-Overkill vocalist Joe Comeau taking over frontman duties. Hartmann and Davis resume their roles, and we get another solid album in the Annihilator discography. The opening track ‘Denied’ gives us an instant insight into the quality of the material. ‘Comeau’ sounds great, it’s a shame he was just another member in the constant revolving doors at Annihilator HQ. Battered is another full-on thrasher, Jeff Waters should be way more revered than he is. Annihilator are a very important band in the thrash metal story, and their legacy should be cherished.

‘Carnival Diablos’ is solid from start to finish. World-class musicianship and well-crafted songs that remain comfortably in their genre. Waters should be talked about in the same conversations about Eddie Van Halen, Randy Rhoads, et al. It’s a travesty that he’s not a household name. Just ask Dave Mustaine what he thinks of Water’s talent.

We get some extra live tracks and a hidden track in a well put together package. Get these albums and remind yourself just how good Annihilator is.

Criteria For A Black Window Here

Carnival Diablos Here

Author: Kenny Kendrick

Honey Juice -‘Lend Me a Feeling’ (Helvis Elvis Keksis Records)

Honey Juice -‘Lend Me a Feeling’ (Helvis Elvis Keksis Records)

Sometimes, a band name really gives someone no idea what their musical approach will be. Honey Juice popped up in my YouTube feed when the video for their song ’Panic’ was released. I was curious, so I clicked on the link and immediately wanted to hear more from this new band. They just released their debut EP, which doesn’t waste a second across its 14 minutes. While the band appears to be based in Finland, three of the five members came from outside Finland. Their musical direction creates an interesting musical blend that deserves a listen.

On the band’s website, a couple of the musical influences the band lists are the drums of Megadeth and Paramore. I cannot say I have ever listened to Paramore, so my musical comparisons will be different. They launch with the highly melodic ’22 Again.’ This is most definitely not Life of Agony’s ‘Lost at 22.’ This has more of a modern rock feel, where the music opens up for the chorus. The guitar riff pops up in the mix where needed to propel the song. It provides an energetic start to the release. Up next is ‘Panic’, which again was my first exposure to the band. The band serves up a melodic verse with beautiful vocals before the chorus explodes with a visceral scream that comes out of nowhere. The song has a lot of musical elements going on in the mix, which are awesome, but each time that scream comes into the song, it makes it even better. This will be high on my favourite songs of 2026 list.

It would take an ‘Insane Amount of Energy’ to follow up ‘Panic,’ but that is exactly what the next song is called. I am reminded of Yours Truly from Australia here. Another band that has come to mind is recent Gunship and their song ‘Monster in Paradise’, where Milkie Way from Wargasm guested on the song. ‘Go Daddy’ brings something different with the lead vocals reminding me a bit of ‘Nurse’ or Troublegum’ era Therapy? with a hint of Senser. This song flies by way too quickly. There is a scream buried in the mix which pops out with repeated listens. Closing out the EP, ‘Blue Moon Ride’ provides a melodic blast of brilliance which should be a hit single.

Honey Juice should find a large audience with the right exposure, as all five songs on here are winners for me. I have put this on repeat several times this week and keep picking out new things in the songs. My biggest complaint is how fast it is all over. It feels a bit like back when a new Wildhearts’ single would appear, and the CD single would go on repeat. I look forward to watching Honey Juice continue to grow.

‘Lend Me a Feeling’ is available now on digital outlets.

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Author: Gerald Stansbury

The Melmacs – ‘EUPHANCHOLIA’ (Bakraufarfita Records, Wanda Records & Spaghetty Town Records,Beluga Records )

The Melmacs – ‘EUPHANCHOLIA’ (Bakraufarfita Records, Wanda Records & Spaghetty Town Records,Beluga Records )

Power Pop masterclass from the heart (beat) of Germany, Dresden to be precise, when you see Wanda and Spaghetty Town, you instantly know that Power Pop Punk with rock’n’roll guitar, organ, and sweet-and-sour melodies are on the menu and if its good enough for them then it’ll be more than enough to fill up my depleated levels of power pop punk rock.

The soppy keys with the sharp guitars and the Clem Burke style backbeat hits you right between the eyes after the misleading intro ‘The Tide IS High’ thunders on, and the F-U-N begins. Hold onto that mile-wide smile because it ain’t gonna stop there. ‘Falling’, is on hyperspeed as it crashes in with that summertime keyboard wheeze chasing off the sped up riff-o-la not to mention the immeasurable amount of joy they bring with the melodies and fun at a time when there isn’t a great deal of either to be had. Listen to The Melmacs, and that will rectify any pessimistic thoughts and turn your frown upside down.

The hits keep coming, one after the other, it’s just top-notch pop tunes wrapped in various shades of guitar riffs and lush melodies. ‘Deadbeat’ has a passing resemblance to some Stranglers keys and JJ Bass thump that walks all over the song, vying for the front and centre of your attention.

‘Run For Your Life’ has the step down from the Clash, but the pure power pop of 80s new wave and FM rock n roll radio coursing through their veins at the speed of light. Spread out over twelve tracks, they never stray from the gutsy sound that’s pure and honest as the day is long. I guess the format is simple: write a killer tune, play it hard like your life depends on it, then do it again over and over, Bingo!

If you want some snotty, zero bullshit, no fucks given punk rock old school, then head for a ‘Showdown’, it’s got attitude and plenty of street smarts to take you down. There’s plenty of variety on offer here in tempo and style, but not massive departures, but enough to keep you interested throughout its twelve tracks. Penultimate track ‘Crying My Heart Out’ is the acoustic strum off with spoken word intro into a poplicious melody and chorus that old school Johnny Thunders would really appreciate.

With one stack heel boot, stomp off before they’re out the door ‘Electric Night’ takes another turn with a killer tune the likes of The Biters would have given a kidney to have penned. I’m gutted it’s only two and a half minutes long. What a killer end to a killer album. Don’t take my word for it, get out there and pick it up, you won’t regret it. Power poppin punk rockin glam slammin records are back, and you can start with The Melmacs! Buy IT!

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Author: Dom Daley

Rachel Bolan is at war with himself

Rachel Bolan is at war with himself

After four decades as the driving force behind Skid Row, bassist and songwriter Rachel Bolan steps forward with his first-ever solo album under the name BOLAN. “Gargoyle of the Garden State” is a bold, deeply personal debut rooted in the grit, attitude, and storytelling spirit of his New Jersey upbringing.

Produced by multi‑Grammy winner Nick Raskulinecz (Foo Fighters, Skid Row, Rush, Evanescence, Alice In Chains)The album began as a simple conversation between friends. What started casually quickly evolved into a record that would ultimately define Bolan’s voice as both a songwriter and storyteller.

“Gargoyle of the Garden State is not a project, it is every bit of my soul,” says Bolan. “Like me, it knows when to be serious and also knows where the party is.”

PRE-ORDER THE ALBUM HERE

Musically, the album delivers hook-driven, anthemic songs that fuse punk energy with melodic sensibility, wrapped in swagger and raw edge what early listeners have already called “quintessentially New Jersey.” Among its standout moments is a surprising cover of Oasis’ “Rock And Roll Star”, reimagined through Bolan’s distinctive lens.

Expanding beyond his role as a bassist, Bolan performs the majority of instruments, shaping the record from the ground up. Drawing on influences from Brit Pop and Glam to Punk Rock and New Wave, the album represents a lifetime in music.

“Gargoyle of the Garden State” also features an impressive lineup of guests, including Corey Taylor, Danko Jones, Nuno Bettencourt, Damon Johnson, Steve Conte, and fellow Skid Row members Scotti Hill, Dave “Snake” Sabo and Rob Hammersmith.

“It was incredible to work with so many of my talented friends an experience I wish everyone could have at least once,” Bolan adds.

The album is out on June 12th and will be available as CD digipak, LP gatefold, as well as digital and download. PRE-ORDER THE ALBUM HERE

At its core, “Gargoyle of the Garden State” is Bolan at his most honest, a record full of attitude, melody, and personality unmistakably his own.

Split Dogs/Wench!/Helle – Hyde Park Book Club, Leeds – 27th March 2026

Split Dogs/Wench!/Helle – Hyde Park Book Club, Leeds – 27th March 2026

Who’s up for a night of feminist shouty punk in a teeny, tiny venue at the arse end of Leeds then? Bristol punk n’ rollers Split Dogs certainly are. Riding high on a recent tour with Gogol Bordello, a new album to be released in September and a stonking new single in ‘Rock n’ Roll Business’ to promote. Tonight, they bring their wares to the ultra hipster Hyde Park Book Club, a prime student hangout filled with books, art, food, and a dark downstairs venue that is perfectly suited for sweaty punk rock debauchery.

Local band Helle are already halfway through their set as I arrive, and they seem to have guitar issues. It doesn’t phase singer Elsie, and she continues to smile and deliver her gothic-tinged riot grrl tunes, while the guitarist and soundman frantically try to fix the issue. The band continue to an already busy room with just bass, drums and an ethereal demeanour. Guitars reinstated, there’s a cool energy that makes me wish I’d turned up 15 minutes earlier. Imagine Siouxsie meets the Slits with a heady dose of Daisy Chainsaw for good measure. The girls look like rock stars, the boys look like…boys. Great stuff.

“Wench are not a girl band!” So states the blue-haired drummer from Hull-based shouty feminist punks Wench!, halfway through their set. I beg to differ as the 3-piece band are certainly girls. But I get it, when you’re playing to a largely male populated room, you gotta rage. And Wench certainly rage, with a raw and more visceral sound than the openers, their brand of aggro punk fits the bill nicely. The fact that the drummer and guitarist both handle lead vocals is pretty cool too, and gives some diversity. Two support bands that prove Northern grrls can riot with the best of ‘em.

Split Dogs are the rock n’ roll business from the moment they hit the stage. Dressed in a sparkly red number, singer Harry is the main focus, it’s difficult to take your eyes off her. Some singers just have a certain presence, and Harri is one of those singers who delivers. And by the time the new single “Rock n’ Roll Business” has floored us about 4 songs in, it’s clear they have the tunes to match.

Guitarist Mil Martinez wears his influences on his tattooed sleeves. The riffs sound like Sleazy Quo, the guitar tone is sublime, and the delivery is a Motörhead-style assault. Newish Bassist Suez is now broken in and holds down the low end, the new shirtless and moustachioed drummer already fits like a leather glove. 

“There’s room here at the front!” sneers Harry, beckoning those holding back to come forward and sweat. ‘Lafayette’ sounds killer, ‘Monster Truck’ is a beast and set closer ‘And What’ is as good as it gets. 

The relentless touring has paid off, it seems, as Split Dogs are a bit of a damn good live proposition. In a world where Amyl & The Sniffers are playing Enormodomes, it’s a travesty that a band as good as this are still playing small clubs. But hey, let’s keep it our little secret for now, ok. It’s 2026, and I watched 3 great bands for £12, now that’s a bargain night out in anyone’s book. 

Author: Ben Hughes

Marc Valentine – ‘Uncommon Side Effects’ (Wicked Cool Records)

Marc Valentine – ‘Uncommon Side Effects’ (Wicked Cool Records)

Some people just have a way with a tune, don’t they? You know that, when it’s time to release an album, it’ll be chock full of earworms. Step forward, Marc Valentine, former Last Great Dreamer, with his third long player, the second on Little Steven’s Wicked Cool label. After 2024’s ‘Basement Sparks’, it should be clear that he knows his stuff.

With ‘Uncommon Side Effects’, you get ten quality tunes, the kind you used to hear on the radio. From ‘NY UAP’, with its simple keyboard melody, we’re straight into territory from the notebook of The Boys. An understandable influence, given Marc’s recent tour dates with the band. ‘High On The Underground’ shamelessly nicks from ‘Sweet Jane’, and reminds these ears of ex-Boy, Duncan Reid. 

Marc knows the power of the key change outro, as ‘The Other Side’ shows. Simple, effective and very catchy. In fact, that is the thread throughout the album. Writing simple, memorable songs is anything but easy. Another top songwriter, Chris Catalyst, would, I suspect, enjoy these tunes. ‘Loneliest Part’ and ‘Tiger On Glass’ have echoes of his work and Eureka Machines. They’re responsible for some of my favourite songs ever, so this is no random comparison. 

‘Half Moon Pendant’ is a lovely, brief acoustic interlude, before ‘Temporary Buzz’ clouts you round the head like it’s shouting “potential hit single!”. ‘When The Light Has Gone’ ends on a glimmer of hope and a minimal, Buzzcocks-style melody; another EM motif, and a great song. Marc should be proud of this collection of songs. In troubled times, we need a little spark of optimism and joy. Preorder, and catch him on tour in April and May. 

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Author: Martin Chamarette

Dwarves ready for June LP drop

Dwarves ready for June LP drop

New DWARVES LP drops JUNE 5! Hello, are you paying attention? ‘The JENKEM’ album harkens back to the hard, fast sound of the ‘Blood, Guts & Pussy’ era DWARVES! Thirteen short, sharp bursts of madness, and one mid-tempo classic to rope in the masses. Look for an avalanche of cool live and animated videos and a slew of cool 7″s! Get them all signed at thedwarves.com

Grade 2 – ‘Talk About It’ (Hellcat Records)

Grade 2 – ‘Talk About It’ (Hellcat Records)

Well, we’re a few months into a new year, and there’s already been plenty of quality new music, but I think there’s a big contender for album of the year already, up step Isle Of Wight finest the brilliant Grade 2 with the excellent ‘Talk About It’

This 3 piece are going from strength to strength and just keep getting better with every album. Being well into over a decade of making music from the earlier Oi!  And Street Punk influence Grade 2 are now fully cementing themselves as one of the UK’s finest melodic high-energy punk rockers. 

Sid (Vocals/Bass), Jack (Guitar/Vocals) and Jacob (Drums) are certainly honing their craft, and since singing to legendary Rancid frontman Tim Armstrong label Hellcat Records a few albums ago, they just keep stepping it up a notch. I could give lots more superlatives, but let’s get down to it, the new album. 

First up we get one of the singles ahead of the release and it’s a banger ‘Cut Throat’ starts with guitar feedback and you immediately sense this is going to be aggressive and in your face and that it is, a opening guitar lick that will be stuck in your head and a brilliant and prominent bass line throughout that Matt Freeman would be proud of. This sounds huge and brilliantly produced, these boys aren’t messing about here with the message being even in this Cut Throat world, Grade 2 are here to stay. 

Next up, we have the insanely catchy ‘Hanging On To You’ which showcases both Jack and Sid exchanging vocals on the verses, and with a chorus, I dare you to try not to sing along to. 

‘Standing In The Downpour’ will surely have audiences bouncing up and down on the band’s current UK and European tour. I’ve had a smile on my face every time I’ve heard it, it took a few listens to notice, but when the chorus kicks in, I’m sure fans of The Clash will also have that same grin as well. 

‘Better Today’ is up next and has a great message for anyone who’s struggling in this world, be it with mental health or loneliness. Speak to people, you are not alone, this is euphoric stuff. 

Title track ‘Talk About It’ comes in close to the halfway mark and is my personal highlight, with a brilliant opening riff that bursts into a “Nah Nah Nah” right out of the Lars Frederiksen playbook, with the surprise of piano playing throughout, this 2:37 song will have everyone pogoing around the room, no doubt about it. 

‘Don’t Worry About Me’ lyrically is brilliant and is a middle finger to the naysayers and people who try to push in certain directions. “I mean everything I say, I’m doing it my way, I never need anyone to validate me, so don’t worry about me”.

We’re getting deep into the album now and the next three songs “Crash And Burn”, “Smugglers Haven” and “Rotten” show off how tight this band have become, Jacob the man with the sticks keeps the pace up throughout and Sid’s bass-lines are right up front in the mix and of course there’s some monster riffs in here from Jack and some great vocal exchanges, this is like going back to the Rancid classic 2000 album and that’s a big compliment. 

And to finish this superb album, we get a double salvo of the dark, brooding atmosphere of ‘Wasteland’, which tackles the dying towns and cities of the UK, whether it’s the Isle of Wight or the country in general, it’s very apt. The writing is on the wall indeed. This is followed by the light at the end of the tunnel, the excellent ‘Otherside’, which is a song full of hope and looking forward, not backwards, overcoming difficulties. Grade 2 have made it through to the other side and is exactly where they should be!!!! 

There we have it, ladies and Gentlemen, 11 songs, 25 minutes, and we have one of the albums of the year with Grade2 and ‘Talk About It’. Once this album is in your head, it will be on repeat. Catch them on their current tour and buy yourself a copy, it’s an absolute banger. 

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Author: Christian Davies 

‘Poison’: Punk Lifer Justin Maurer Launches J MAU & THE KISS OFF

‘Poison’: Punk Lifer Justin Maurer Launches J MAU & THE KISS OFF

Los Angeles, California’s J MAU & THE KISS OFF emerge from what they lovingly call their “beloved hellhole” with their debut single “Poison,” out March 25. Founded in 2025 by Justin “J Mau” Maurer, longtime punk lifer and founder of Clorox Girls, Suspect Parts, L.A. Drugz, and Maniac, the project finds Maurer turning toward something darker and dustier without losing the bite that’s always defined him. “Poison” is a cinematic honky tonk murder ballad filtered through decades of West Coast punk history. It’s the first glimpse of a songwriter who’s always followed the feeling, even when it led somewhere uncomfortable.

Maurer’s story isn’t mythology. It’s messy and real. A CODA raised between Los Angeles and Bainbridge Island by a single Deaf mother, American Sign Language was his first language. Punk became his second. After surviving a turbulent childhood and helping put his abusive father in jail as a teenager, Maurer found autonomy in the underground. By fifteen he was booking shows and touring. By twenty he was releasing records and circling the globe with Clorox Girls. Along the way he built a parallel career as one of the country’s most respected ASL interpreters, working alongside prominent political figures like Michelle Obama, Bernie Sanders, Elizabeth Warren, Gavin Newsom, Kamala Harris, and Joe Biden, stage interpreting for punk legends like Alice Bag and The Avengers, interpreting Deaf actor Troy Kotsur’s historic 2022 Academy Award acceptance speech, and appearing with Kotsur on Curb Your Enthusiasm. His life has always moved between worlds.

After stints living in Madrid, London, and Baja California, and in the wake of a divorce that leveled him, Maurer found himself flat on his back in an East Hollywood apartment, cowboy boots still on, old country records spinning. Hank Williams. Buck Owens. Merle Haggard. Gram Parsons. Kris Kristofferson. Townes Van Zandt. He finally understood it. “Real country music is poetry,” Maurer says. “It’s about failure, heartbreak, and the tragic human condition. Music to laugh and cry and live and die by.” That rock-bottom clarity led him to write “Poison.”

Recorded at Savannah Studios in Boyle Heights with Ignacio “Iggy” Gonzalez and backed by Patrick “Butterworth” Vasquez and Kevin “Quake” Milner, the track moves like a slow-burning reckoning. Acoustic strum, restrained rhythm, and a haunted vocal that feels equal parts confession and warning. From his window in Pico Union, Maurer could hear children playing at the elementary school across the street. Listening to old country compilations full of doomed protagonists, he imagined himself as a man on the run whose days were numbered, watching that schoolyard and knowing he might never see it again. That’s where the line came from: “When will you see the children play / You never will again.” The refrain doesn’t comfort you. It circles back like a hard truth you can’t shake: “It’s got a way / That poison’s got a way / It’s got a say / It’s got the final say.”

The single arrives with an 8mm-shot video co-directed by Maurer’s former MANIAC bandmate Zache Davis and Marta Ribate Gracia-Davis. Grainy, sun-bleached, and edited with a careful hand, it plays like a spaghetti western fever dream, a corrido where the protagonist must confront how he’ll be remembered before the end comes calling. The artwork, designed by longtime collaborator Matthew “Snake” Davis, leans into vintage flash tattoo skulls and silent-film menace.

J MAU & THE KISS OFF Online

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