IST IST – ‘Dagger’ (Kind Violence) 

IST IST – ‘Dagger’ (Kind Violence) 

Arriving hot on the heels of last year’s acclaimed Top 30 effort ‘Light A Bigger Fire’, ‘DAGGER’ is IST IST’s fifth full-length studio album from Manchester’s finest dark post punk pop groovers. 2026 could well be the year that IST IST finally move up on the festival bill ladder and reach into many more ears with their brand of post punk with the Depeche Mode synths and Joy Division darkness mixed in with the norther working class grit that eminates from the songs they sing (a reral identity is coursing through these songs and it would come as no suprise they’re Manchesters finest) IST IST have come of age and found their sound and made it accessable for everyone whilst keeping true to the spirit of where they’ve come from.  

The album’s opening is helped by the epic production and the instruments’ spatial awareness, whilst everyone working on the songs is not trying to be niche or cool, just writing great songs. ‘I Am The Fear’ begins with a twitching adjit synth that breaks out into a sprightly thumping bass groove before the guitars and Bass collide to create a huge sound. The oscillating synth throughout is like the best club anthem you’ve never heard, capturing a real moment as it builds towards the chorus that is a majestic earworm you won’t shake for the rest of the day ‘I Am The Fear’ indeed. Great stuff. To follow that with a louder, more anthemic song might be asking too much, but the danceable ‘Makes No Difference’ has touches of New Order but with The Cure playing the instruments, but again the chorus elevates the whole song. A really good tempo as the vocals whisper into your ear before the volume rises on the chorus.  

‘Warning Signs’ is classic Goth with a solid tempo, the band sound like they’re in a groove and sync up together and the chiming guitars sound cathedral-sized but always playing for the benefit of the song rather than trying to be cool because the end result is they hit all kinds of cool anyway. As the album lurches in tempo from solid toe tapper to a more measured groove like the excellent ‘Burning’, the band shifts through the gears effortlessly. The use of synths and live instruments is huge with regards to the bands identity, that throbbing Bassline is the core that anchors their sound whist the vocal style of Adam Houghton is a dark softly spoken vocal at the best of times when he needs to raise his voice it adds gravitas to proceedings and makes you want to listen intently as to what he’s saying.  

I’ve been lucky enough to have this in my ears for several months, and it’s become my go-to album so far in 2026. If you’re looking for highlights, look no further than the opener and the epic ‘Encouragement’ that builds into some cinematic beast with all the elements of the bands go to styles vying for the limelight, and it takes two minutes before a word is uttered. Awesome stuff.  

For all the modern technology on display, the stripped-back ‘I Remember Everything’ is also a standout, maybe due to its slow burn and subtle melody that wins you over. As the album descends to its finale, ‘Obligations’ showcases that thumping Bass again, sounding like darkness has stolen the torch from early Duran Duran through post punk leanings, and it really works. Leaving the penultimate offering ‘Song For Someone’ to bring the darkness and bleak Gothic romanticism before the album signs off with ‘Ambition,’ something the band clearly has, and it’s paying off big time here as ‘Dagger’ is brought to an end, kicking and screaming and the most complete and elevated album from the band thus far. They deserve success and a platform to reach more an dmore peole becuase this record has the receipts and the X factor to bring them everything they desire. Buy this album its a beautiful thing.  

Buy Here

Author: Dom Daley

OK GO return to the UK November ’26

OK GO return to the UK November ’26

Following the release of their fifth studio album ‘And the Adjacent Possible’ last year, OK Go are set to return to the UK for their first tour dates in over a decade this November.

Photo credit: Piper Ferguson

Shows in Nottingham, Glasgow, Manchester and London will go on sale to the general public this Friday 23rd January, but loyal subscribers to OK Go’s email list can access a pre-sale on Thursday Jan 22nd at 10am UK time. Subscribe here.

OK Go’s ‘And the Adjacent Possible’ was met with acclaim around the world in 2025, including two Grammy nominations. The album’s vinyl package, a two-LP set on 180-gram, 45RPM discs in a custom foil-stamped gatefold with full-colour inner sleeves and a 3-dimensional sculpture that pops up when listeners open it, was nominated in the ‘Best Recording Package’ category, while the band’s innovative one-take visual for ‘Love’, which features complex choreography between the band, 29 robots, and upwards of 60 mirrors, was nominated for ‘Best Music Video’.

The ‘Love’ video then went on to win ‘Best Rock Video – International’ at the UK Music Video Awards, with frontman Damian Kulash also receiving the ‘Icon Award’, continuing OK Go’s legacy and vast catalogue of mind-blowing ground-breaking music videos, which began with their iconic Grammy winning, treadmill dance-routine for ‘Here It Goes Again’.

The packaging for ‘And The Adjacent Possible’ was designed by Yuri Suzuki and Claudio Ripol, with the 3D sliceform design and pop-up structure by Wombi Rose, Hà Trịnh Quốc Bảo and Emilio LaTorre for Lovepop. OK Go are now also excited to announce that they have doubled down on their collaboration with Lovepop, this time for their very own Valentine’s Day greeting card collection.

The greeting card range is a unique take on the OK Go ‘And the Adjacent Possible’ album art and features a double pop-up sliceform heart in place of the album’s sphere. Amongst the available designs, is a limited edition of just 500 that have been produced with an embedded music player that plays ‘Love’ when the card is opened.

Buy tickets for OK Go’s 2026 November tour dates from 23rd January 2026 here:

11 Nov – Nottingham at Rock City

12 Nov – Glasgow at SWG3 TV Studio

13 Nov – Manchester at New Century Hall

14 Nov – London at O2 Forum

The Casualties Share New Single “People Over Power”

The Casualties Share New Single “People Over Power”

First New Music In 8 Years Via Hellcat Records

UK/EU 2026 Tour Dates Announced

Today, punk lifers The Casualties break an eight-year hiatus with their blistering new single “People Over Power”, the band’s first release via Hellcat Records. Starting off the year with a lethal right-hook to the chin of the system, the track’s roaring bark is a call to imploring us all to fight back against injustice.
“We’re getting stomped by the world, by the government, by the bad news,” vocalist David Rodriguez says of the new song. “We want systemic change, total transformation, degradation to the state. ‘People over Power’: It’s as simple as it sounds.”

“It’s a protest song through and through,” drummer Marc “Meggers” Eggers adds. “We want the vibe to be: You listen, get angry, get your crew together, and get out on the streets.”
The Casualties are the voice of the disenfranchised, the disillusioned and the dispossessed of this planet. The band originally formed in 1990, but these street fighters are still angry, still political and are still keeping the heart and spirit of punk alive. Founded on a mission to revive the sound of punk pioneers like The Exploited and The Sex Pistols, they lyrically weave in scathing denouncements of authority into frantic
anthems of resistance, totalling to eleven studio full-lengths, three EPs and three live albums so far.


The Casualties are David Rodriguez (vocalist), Jake Kolatis (guitarist), Marc “Meggers” Eggers (drums) and Doug Wellmon (bass).


In March, the Casualties will be coming over to the UK to play the Scarborough Punk Festival. In June, they will return to Europe for a run of festivals and headline shows.


See below for the confirmed dates so far, more dates will follow.
More info + ticket links are available HERE.
March 29 – Scarborough (UK) @ Scarborough Punk Festival
June 6- Linz (AT) @ Sbäm Festival|
June 12- Torgau (DE) @ Ain’t Like You Festival|
June 20- Etxebarri (ES) @ Ehuneko Bat
June 26- Rennes (FR) @ Superbowl Of Hardcore
June 27- Münster (DE) @ Vainstream Rockfest
June 28- Tabor (CZ) @ Mighty Sounds
July 10- Prölsdorf (DE) @ Krach Am Bach
July 25 – Hohenems (DE) @ Speedfest
July 30- Argenta (IT) @ DLB Festival
July 31- St Maurice de Gordans (FR) @ Sylak Open Air
August 6- Jaromer (CZ) @ Brutal Assault
August 7- Ancora Praia (PT) @ Sonic Blast Festival
August 8 – Duffel (BE) @ Brakrock
August 11- Tolmin (SI) @ Punkrock Holiday
August 15- Carhaix (FR) @ Motocultor
August 20- Loburg (DE) @ Spirit Festival
August 22- Oostkamp (BE) – Parkpop

The Casualties Online – INSTAGRAM | FACEBOOK | X | YOUTUBE

BRATAKUS RELEASE NEW ALBUM ‘HAGRIDDEN’ FEBRUARY 13th, VIA VENN RECORDS

BRATAKUS RELEASE NEW ALBUM ‘HAGRIDDEN’ FEBRUARY 13th, VIA VENN RECORDS

PRE-ORDER THE ALBUM HERE:

Formed in 2015 by two Scottish sisters Brèagha Cuinn (Guitar and vocals) and Onnagh Cuinn (Bass and vocals) outside a small whiskey village called Tomintoul in the Highlands, Bratakus have been fiercely DIY since their inception.

Following the release of their incendiary ‘Final Girls’, ‘Tokened’ and ‘Turnstile’ singles earlier this year, which marked their first recordings for Venn Records, (the label ran by Laurent ‘Lags’ Barnard of UK punk band Gallows, and previously the home of artists like High Vis, Bob Vylan and Witch Fever), Bratakus are ready to release their new album ‘Hagridden’, which is set for release February 13th.

Despite Bratakus’ staunch resistance to mainstream music industry practices, the young band quickly built up a following. Their unique approach to creating their art drew the attention of BBC Scotland who featured the band in two documentary shorts, Hidden Lives’ and ‘TUNE’. Author and musician, Ian Glasper wrote about the sisters in his book The Scene That Would Not Die, a deep dive into post-millennial punk in the UK. Meanwhile in the USA, legendary punk zine Maximum Rock’n’Roll wrote about the band and even BBC radio DJ Vic Galloway added the duo to his “Ones to Watch” list.

Word was spreading, and before they knew it, Bratakus were being booked for live performances in countries as far as Japan. Support slots for bands like Propagandhi, Bis, and Discharge helped the sisters turn into a ferocious live combo. If there was ever any doubt that a punk band could pull off not having a live drummer, these two sisters are here to prove you wrong.

Once described by the BBC as “the most remote band in the UK”, the isolation of their surroundings made it impossible for the duo to find a drummer in their small hamlet, let alone the neighbouring villages mostly inhabited by Highland cattle, as Brèagha explains.

“We programmed some drum tracks, plugged in for our first practice and instantly it just felt like we already had a band, so we’ve been playing like that ever since! What started out as a logistical issue now feels like a big part of our identity and we just love playing as a two piece.”

Heavily influenced by the garage rock scene and bands like The Distillers, The Donnas and X-Ray Spex, Bratakus went on to perform their first ever gig at a fundraiser for the Glasgow Rock ‘n’ Roll School for Girls in the Glasgow School of Art. 

“As this was a kid friendly show there were lots of young girls in attendance, which meant the front half of the venue was filled with little girls spinning around in dresses during our set. It was unusual for a punk gig but made for a really fun atmosphere.”

From that moment, Bratakus were a real band, and with that, Screaming Babies Records was born. Unlike other record companies, Screaming Babies Records would be a family run DIY label, not only a platform for Bratakus to launch new music but also a place to revisit their father’s catalog, Angus Quinn of the influential Scottish Anarcho punk band Sedition. No publicists, no streaming services, no photo shoots, just straight up word of mouth, limited edition vinyl releases, and anti-establishment anthems for generations old and new as Brèagh explains the label’s origin.

“Our Dad was always in punk bands when we were growing up, so we were raised in the DIY scene. When we started the band, it just seemed like the most natural step to start the label with him and put our own releases out. He thought of the idea of calling it Screaming Babies Records after the Crass lyric because our logo is a screaming baby.”

Fast forward to the start of 2026 and the band are thrilled to be finally getting ‘Hagridden’ out into the world. They originally recorded the album themselves some three years ago, then lost everything they’d worked on when their laptop broke. From there they just decided to make a fresh start and go back into the studio again to finally get it finished, emerging with ten songs of essential and beautifully cathartic punk rock.  

“We decided to call the album ‘Hagridden’ before we even recorded it, but it’s been a bit of a self-fulfilling prophecy because so many barriers came up when we were trying to get it recorded and released that it turned into a bit of a nightmare, so the next album might be called  ‘Smooth Sailing’ to avoid cursing ourselves again,” laughs Brèagh. “It definitely sounds way better than the first version, so in a way I’m glad it worked out this way, but we were so gutted when it happened,” exclaims Brèagh.

Lyrically, the album’s ten sharp songs cover a wealth of subjects close to their hearts; feminism, animal rights, media brainwashing and how normalised sweatshops have become in our society are all tackled on ‘Hagridden’ with raw, raging vocals, barbed-wire guitars and pounding rhythms.  

Whilst the band still play live with programmed drums, ‘Hagridden’ features live drums for the first time. 

“Our first record is all programmed drums, and that’s what we were planning for this album too,” explains Brèagh. “We actually recorded every song with a drum machine, but our producer Tommy Duffin (renowned Scottish drummer and recording engineer) played with us and drummed on the album. He recorded our first album, so it was great to work with him again.” 

‘Hagridden’ is released February 13th via Venn Records and the band tour the UK this February. 

You can pre-order ‘Hagridden’ HERE

See Bratakus live at the following dates:

18/02/2026 – Supersonic, Paris (FRANCE)

19/02/2026 – The Grace, London

20/02/2026 – The Exchange, Bristol
21/02/2026 – Star & Garter, Manchester
29/02/2026 – McChuills, Glasgow

Find Bratakus online at:

FACEBOOK

INSTAGRAM

YOUTUBE

Lithium Kicks – let rip with debut single

Lithium Kicks – let rip with debut single

Lithium Kicks present their debut digital double A-side single, “I Want Something I Don’t Care About” and “Catch Me When I Fall.” Recorded at Newport’s Le Pub and on location in Cardiff, the tracks lap up punk-rock anger with catchy power-pop sensibilities, delivering a ferocious and impassioned assault on the senses.

The band hail from South Wales and feature Ginge (vocals), Michael (lead guitar), Darren (rhythm guitar), Jonny (bass) and Dave (drums). Single available from 1st February on Bandcamp and all major streaming services. Gigs to follow in spring 2026

Something has been brewing on the windswept streets of South Wales. Something that some of us had been hoping might happen, should the right circumstances coincide. That time is now. This cat couldn’t stay in the bag for long, especially at RPM headquarters. It is the return of Ginge Knievil. 

From The Sick Livers to Nicotine Pretty, Ginge has left his mark on the South Wales scene, and further afield. At The Pipeline all-dayer some years ago, The Sick Livers were the most entertaining band on the bill, with the tunes to back it up.

He’ll hate me saying this, but people respect his music and his attitude. In 2026, the name to remember is Lithium Kicks. Fear not,  the tunes are BACK, butty! 

What a kick-off it is. From the opening riff, ‘I Want Something I Don’t Care About’ evokes early Manics pogoing recklessly with Tenpole Tudor, thanks to the gang vocals and a chorus that will have you “WHOOAH”ing in no time. And it could easily be Bradfield yelling out from ’92 at the beginning of ‘Catch Me When I Fall’. As for that final scream, I am a happy bunny. With ex-Liver Darren back on guitar duties with Michael, Jonny on bass and Dave on drums, they should be proud of what they’ve created here.

An album of songs this catchy would be much appreciated. And with live dates coming this spring, the future’s so bright, he’s gotta wear shades. Welcome back, we’ve missed you x 

Author:Martin Chamarette

https://linktr.ee/lithiumkicks

The Damned – ‘Not Like Everybody Else’ (Ear Music)

The Damned – ‘Not Like Everybody Else’ (Ear Music)

Like ’em or loath them, one thing is for sure: the title is spot on. The Damned have been a constant pretty much throughout my music listening life, and as they reach the twilight of a glittering career, they’ve lost another of their own, and this one hurt big time. Brian James shaped my youth from The Damned through The Lords and his solo output right through the first reunion dates that ended in tears to the triumphant second coming and a much more harmonious band that seemed to have reached some semblance of maturity and adulthood (god forbid) and returned to the stage as the original four piece whilst they still had time and nailed a series of shows that had the fire and fury of the early years as well as a much older and wiser beast they did it and came out far better and bigger than they went into it. Sadly, that was the last time they would play as a four-piece as Brian passed away last year, which motivated the remaining three, plus the long-time Paul Gray to turn in a set of covers that Brian was inspired by to put together The Damned as we knew it.

With Rat back in the seat for the last couple of years its wonderful to see and hear the Damned from The Black Album and Strawberries knock it out of the park time after time and show the youth exactly how it’s done. Forward we move to the here and now, and this here tribute to the tunes of their youth that inspired Mr Brian James and a mixed bag it is. Sure, you’ll have your stalwarts and gatekeepers protesting and professing to not touching this with a barge pole, but The Damned have form for this with the awesome ‘Give Daddy The Knife Cindy,’ which was a pretty awesome covers album, albeit without the name The Damned. Fast forward a few decades, and we’re here paying respects to Brian in a way he’d appreciate. Ten tracks from various continents, there are the ones we would all have guessed, which are done to perfection for one reason or another, like ‘Gimme Danger’, but it’s tracks like the title track that suit Vanian’s vocals, and he manages to hit the notes to perfection, serving up a rousing rendition.

Rats drumming is so recognisable, and his long hiatuses from the fold missed his swagger and formidable rolls, even Monty’s keyboard wheeze on songs like ‘Heart Full Of Soul’ nails it. The big takeaway I got from this record is how bloody good Paul Grey is and how he plays the songs for what they are, driving the tunes like a finely tuned Rolls-Royce. Of course, I love Captain’s off-the-cuff style where he sounds like he’s winging it (which he’s not, of course, but it’s always added excitement), just take ‘You Must Be A Witch’ which had me raising an eyebrow to mr Vanians high notes (well done, sir).

Of course, there are a few lulls here and there, but let’s not get carried away here. This is The Damned paying their respects to Brian James and playing the guts out of some left of centre (at times) songs, of course it’s not ‘Neat Neat Neat’ or ‘New Rose’, but for some unearthly inexplicable reason this is what got us those songs. The inclusion of ‘last Time’ gives me goose bumps, and like Captain says Without Brian, etc., etc..

The message on the inner sleeve is heartfelt and touching – long live Brian James and long live The Damned, the greatest band to ever walk the planet bar none. Another case of hit and miss, but I’ll take it because they’re not like anyone else and the likes of which we’ll never see again.

Buy Here

Author: Dom Daley

The Godfathers – Double A Side and tour dates

The Godfathers – Double A Side and tour dates

The Godfathers kickstart 2026 with a brand new double A-side single. The release – featuring the band’s first new music since 2022’s acclaimed Alpha Beta Gamma Delta album – comes ahead of a previously announced trio of UK dates

Set for release on 6th February, vinyl and digital versions of the new single will comprise the tracks ‘Going Wrong’ and ‘Lesbian Café’, the latter number featuring guest contributions from Devo’s Josh Hager on guitar and synthesiser.

There will also be a 4-track CD EP release, which includes the single tracks plus a special remix of ‘Lesbian Café’ by Hager and an alternate acoustic version of ‘Going Wrong’.

The single is the first taste from a highly anticipated brand new album from the band, expected in early 2027. Godfathers’ front man and founder member Peter Coyne has described both new songs as “truly exciting rock & roll social commentary and another sonic leap forward for the group.”

Coyne has cited ‘Lesbian Café’ as a genuine tribute to his LGBTQ heroes, influenced in part by his visits to the legendary Club Louise in London in early ’77, which he’s said provided “a non-judgmental home from home for many people on the punk scene in the ‘70’s.”

The vinyl single and CD EP are both available to pre-order now exclusively from Here.

All four tracks will also be available to download from all the usual online digital platforms.

As previously announced, The Godfathers play three UK gigs in February – Edinburgh, Leeds and their traditional Saint Valentine’s Day Massacre concert at the iconic 100 Club in London…

11 Feb -EDINBURGH – Voodoo Rooms Tickets

12 Feb -LEEDS – Brudenell Social Club Tickets

13 Feb -LONDON – 100 Club Tickets

Tickets for all three concerts are available NOW!!

Megadeth – ‘Megadeth’ (BLKIIBLK)

Megadeth – ‘Megadeth’ (BLKIIBLK)

We all know the Metallica story… I’m not going to talk about that, well, maybe later. Megadeth has been a constant in the heavy metal story since back in 1983, when Dave Mustaine swore that he would put together a band faster and heavier than that other band that I said I wasn’t going to talk about.

Since then, there have been many lineup changes and some history-making music. The one constant is, of course, “MegaDave” himself. The controversial guitarist/vocalist/lead songwriter has made sure that every single heavy metal fan in the world owns at least one Megadeth album in their collection. This has been achieved by hard work, phenomenal talent and of course, Dave’s unwillingness to fail.

My first run-in with Megadeth was courtesy of a Kerrang! Compilation VHS with the video to the song Peace Sells. I loved it and got a friend to copy the album onto a C90 cassette for me. The power, the musicianship, and the snarl all made sure this teenage thrasher was hooked (in mouth?) Of course, the “classic” lineup of Megadeth came a few years later with the 1990 Rust In Peace album. This is when the world really saw Mustaine’s vision in full. I saw the band live for the first time on this tour with a little-known band called Alice in Chains opening. The fury of their live shows became legendary; they never disappoint in a live setting.

Megadeth became global superstars after the success of the 1992 release ‘Countdown to Extinction’, but this was the start of the band’s decline. Some ill-fated direction changes on the 1999 album Risk and the collapse of the “classic” line-up before that saw Megadeth’s popularity dip. This isn’t to say that the band weren’t out there making new records or playing live, they just never got another Countdown moment.

This latest LP, simply titled ‘Megadeth’, is set to be their last ever album. Mustaine has had health struggles over the last few years and has decided to hang up his guitar for good. 2022’s ‘The Sick, the Dying…and the Dead’ was a great album, and this follows on in a similar vein. Latest guitar wizard Teemu Mantysaari has a strong presence with songwriting credits on nine of the ten tracks. Drummer Dirk Verbeuren feels like he’s been around forever, and his contribution is a noticeable one. Bass player James LoMenzo still feels like a hired gu,n though, he plays a blinder here, as you’d expect.

The album opens strongly with the lead single ‘Tipping Point’. Virtuoso guitar work, machine gun double kick drums and Mustaine’s trademark love it or hate vocal style are all over the song. A brilliant opener. The production is great, too, from Mustaine and Chris Rakestraw. ‘I Don’t Care’ is a bit more throwaway, although some fun lyrics rescue the track. ‘Hey God?!’ Is a mid-paced chugger, which is a real grower. ‘Let There Be Shred’ does what it says on the tin, a real showcase of Mustaine and Mantysaari’s incredible prowess. Puppet Parade reminds me of the Youthanasia era. Another strong track. Another Bad Day chugs along nicely with lyrics that all of us can relate to. ‘Made to Kill’ kicks off with a superb drum intro before we are off into very familiar Megadeth territory, stabbing riffs, answering kick drums, and guitar solos aplenty make this one of the strongest tracks on the album. ‘Obey the Call’ has a great crunching riff. Mustaine’s vocals are more melodic here, another solid tune. ‘I Am War’ has a nice sing-along chorus which sticks in your head almost instantly.

The Last Note gives us Megadeth fans the final nod from our illustrious leader. The lyrics are actually quite moving: “I can’t outrun the spinning hands of time” and “the guitar got heavy, time to lay it down” gave me a lump in my throat. Is this really the end of the road for Megadeth? It seems to be true. We can never be sure, though, how many comebacks have Kiss, Motley Crue and even fellow Big 4 thrashers Slayer have had? I get the feeling that Mustaine is genuine in his sentiment. Rest easy, Megadeth, we salute you. Megadeth is no game-changer but it’s a good way to bow out.

I wasn’t going to mention the cover of Metallica’s ‘Ride the Lightning’. I get that Mustaine says that it’s “full circle” for him, and he wanted to put a Metallica track (that he co-wrote) on the album. It seems like a pointless exercise to me. Mustaine has nothing to prove, he’s a metal legend, and there really was no need to add this. I mean, it’s ok, Mustaine’s vocals don’t sound great, musically it’s obviously played well, but I just can’t help but feel that it blights the album rather than adding anything. My advice is, don’t bother listening to it, just end the album with ‘The Last Note’.

Buy Here

Author: Kenny Kendrick

Brian James – ‘Kicks And Diabolik Licks’- pre order

Brian James – ‘Kicks And Diabolik Licks’- pre order

Release date 20 February 2026 – The Final album from a punk original!

This coming February sees the release of the final studio album by legendary The Damned founder Brian James, coming at the start of the band’s 50th Anniversary year and fortynine years to the week since the release of their classic debut album Damned Damned Damned.

Brian sadly passed away on 6 March 2025, a tragic event marked by an outpouring of love from across the punk and rock spectrum, from musicians, critics, fans and others; many of them having been on the receiving end of an electrifying epiphany, the first time they heard the needle click into the groove of ‘New Rose’ all those decades before.

In recent years, Brian had had his battles with illness, but remained active, taking to the stage in Autumn 2022 for a highly successful reunion tour with his Damned colleagues Messrs Sensible, Vanian and Scabies, followed by a performance with a reformed Lords Of The New Church, fronted by Michael Monroe in place of the departed Stiv Bators for the 2023 Vive Le Rock awards. Then he stepped up for two nights at London’s 100 Club in celebration of Lenny Kaye’s famous Nuggets compilation.

Throughout this period, Brian was putting together Kicks And Diabolik Licks. Inspired by his love of Italian culture, the album takes its title from Angela and Luciana Giussani’s popular comic character ‘Diabolik’. Several tracks, meanwhile, take inspiration from the Italian ‘Giallo’ movie genre; best exemplified in the works of directors Dario Argento and Mario Bava, the genre stems from the yellow-jacketed pulp crime novels common in Italy and denotes a trend in violent noir-style films, popular in the 60s/70s Italy and generally seen as a precursor to the 80s slasher genre. It also inspires the record’s vivid yellow sleeve art, by Brian’s longtime friend and noted film poster designer Graham Humprhreys, also responsible for the first two Lords album sleeves. The transposition of cinematic ideas to audio also gave Brian confidence to draw inspiration from his love of the more experimental jazz artists such as Coltrane, Mingus, Coleman and Derek Bailey – an influence only rarely glimpsed in Brian’s work, and never to such striking effect.

For the sessions, Brian was surrounded by friends, including longtime bassist and engineer Austen Gayton and drummers Malcolm Mortimore, Dave ‘Caveman’ O’Brien and Steve Murray, while Dirty Strangers frontman Alan Clayton sings backing vocals and ex-Mo-Dettes singer Ramona Wilkins Carlier takes the lead on a very different version of the Lords’ hit ‘Dance With Me’.

Let it suffice to say, in Brian’s immortal words, “You want some action, then… yeah?”


Pre-order –

Brian James ‘Kicks & Diabolik Licks’ LP

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The Boys – ‘The Singles Collection 77-25’ (Cherry Red Records)

The Boys – ‘The Singles Collection 77-25’ (Cherry Red Records)

In the time-honoured old lady at the thought of an election, “Not Another One?” yup, it’s another one, but this is the definitive Boys Singles Collection just in case you’d forgotten how bloody good the band is.

The 2CD Digipak features the ‘A’ & ‘B’ sides of every physical (7″ vinyl /CD) Single release from both The Boys & The Yobs from 1977 to 2025. The release includes a 20-page booklet with detailed linear notes and pictures of all the relevant sleeves. Just in case you fancied trawling Discogs looking to track down the elusive original 7″ before the brand new 2026 album drops from The Boys.

What’s not to love about such classics as ‘I Don’t Care’, ‘Sick On You’ ‘, First Time’, and the legendary ‘Brickfield Nights’, which are all very much part of the current Boys live set. But it’s also a chance to wrap up the latter Boys singles like ‘I’m A Believer’ and ‘Punk Rock Girl’, which, to be fair, are distant enough to be joining the first wave classics because time has fallen favourably on songs like those off ‘Punk Rock Menapause’. The liner notes are suitably detailed and offer fantastic value with their twenty pages. Every festive period you can offer up ‘Run Rudolph Run’ or ‘The Worm Song’ just to offend your nan.

Drawing in their footy anthem ‘Svengerland’ and demos as well as unplugged B Sides, this is a comprehensive set and trawling through the good old days in the late 70s to the here and now, it’s a wonderful two-disc showcase to the endurance and downright class of the Boys and all who sailed with them. Forty songs over two discs is one hell of a legacy to Rock n Roll. Buy It!

You can pre-order the collection from Cherry Red – click here

Author: Dom Daley