Various Artists – ‘Killed By Deaf (A Punk Tribute to Motörhead)’ (BMG)

Various Artists – ‘Killed By Deaf (A Punk Tribute to Motörhead)’ (BMG)

Motorhead mannaged to defy the boundaries set by the media and fans alike that it was unaceptable to be equally loved by punks and rockers but its fair to say the legacy of LEmmy is one that crosses many genres and to prove thepoint those peeps at BMG have only gone and gotten a bunch of top tier punk rockers to record their versions of Motorhead tracks be it classics or deeper cuts its all here for your indulgence and to be fair whilst a lot of tribute albums are bloated and very patchy this one is an absolute raging success and wall to wall bangers. Be it faithful interpretations or more twisted offerings it’s of a very high standard, and the addition of The Damned classic ‘Neat Neat Neat’ featuring Lemmy is a most welcome addition and barnstorming winner.

Sure, Motörhead’s impact on metal has long been acknowledged, but the punks like GBH, Discharge and the Damned is undeniable. There can be no doubt that because of Motörhead, these bands were faster, dirtier, louder, better, because of Motörhead.

Lemmy once said, “The punks loved us. The only reason we weren’t in that lot was because we had long hair, so obviously, we must be heavy metal. That was the thinking. But a lot of kids heard us without seeing a picture, so they thought we were a punk band.”

Of the fourteen tracks on this album, you’ll hear the passion and respect they have in their delivery and DNA for Motörhead. You have Rancid, Pennywise, Lagwagon, The Bronx and FEAR all contribute raucous versions of their favourite Motörhead tracks. I could go through them one by one, but that would spoil it for you, it’s that good. from his adopted home, later on in life, they just “get it” from the awesome opener from Pennywise, the good vibes just keep flowing… and also up-and-coming upstarts like Slaughterhouse contribute, because, let’s face it, Motörhead always loved and championed the underdogs.

Lemmy covered the Pistols’ ‘God Save The Queen’ and wrote ‘R.A.M.O.N.E.S’ for Da Bruddas, for the ‘1916’ album, so it seems only fair to put this beast together. It’s only fitting, then, that the only non-Motörhead song on this album is from when he teamed up with The Damned in 2002 for a previously unheard and blistering version of The Damned’s classic, ‘Neat Neat Neat’, which is the album’s crowning glory. Lemmy and the Damned have a shared history over many years and crossed paths, so this was the clincher for me.


‘Killed By Deaf – A Punk Tribute To Motörhead’ is well worth picking up, not in passing but you should make a concerted effort to track down a copy. Punk or Rocker, you need to hear this album, buy it!

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WitchDoktors – ‘Izzatso?’ (Bomber Music)

WitchDoktors – ‘Izzatso?’ (Bomber Music)

London rock n’ roll band WitchDoktors are back with a new album, ‘Izzatso?’, and what a bright slice of sunshine Rock n roll it is too. From the punchy opener ‘Lightning Strike’, you can lace up your creepers and get boppin. Featuring 11 tracks, WitchDoktors they refuse to stand still and incorporate styles outside of their comfort zone of rootsy punk rock n rolland on the opener, the breakdown is infectious and holds up the wonderful slide courtesy of Ruts DC Leigh Heggarty. Equal servings of Trashy glam rock n roll played loudly through amps with real instruments with big throaty gang vocals, it’s the perfect opener.

Hot on the heels is the punchy ‘Before The War’ with a fantastic chorus bursting with energy, it’s simply majestic, and the clincher is a hearty, warm, engaging production that’s elevating the songs into the next league.

Conceived during COVID and then delayed by the sad passing of their longtime collaborator and legendary recording engineer Pat Collier,  ‘Izzatso?’ is named thus for the listener to not take things on face value and to question everything. It’s no coincidence that the band are big fans of Mr Strummer, who’s woven into their DNA. See through the veils of bullshit or spins on stories or propaganda, and to think for yourself.” Wise words.

‘High Dry And Burn’ has a feel of Michael Monroe going on, and what a track it is from the backbeat, its exceptional songwriting and already the album is barely awake, and it’s pulling the listener in several directions and all of the highest order. Impressive stuff.

Heading into Strummer territory for ‘Freedom Fighter’, this could stand tall alongside tracks like ‘Tony Adams’ with its lively Bass run and inner city skank. Man, the horns on ‘Planet Of Pain’ with its energy are something else. The song is honkingly good and will deffo fuck you up!

WitchDoktors have hit a career high on this one, and the punch and zip of ‘Spanner In The Works’ is another side step into some ska skank with funky horns and twitching keys that a mid-70s Rolling Stones would have killed for. Whereas ‘God Knows’ has a pulse of Kinks in the song, at least that’s what I’m hearing mixed with some Small Faces for good measure, and the super strong vocal helps.

It’s an album full to bursting with potential singles left, right and centre, with a mixture of styles that work really well, making the best WitchDoktors album thus far. 2025 has been an awesome year for new albums and this is next level for these Londoners, showing that they can go toe to toe with anyone in this risky business. Kicking ass and doing it with a beaming smile, no doubt. Hell, they even don the sombreros and chew on cigars for a little mexicana on the album’s closer, ‘Kicking The Can’, complete with its squeezebox and trumpet, it’s making Paul-Ronney Angel blush, it’s so good. Andy and Tony, who write the songs, have really delivered without hesitation. I suggest you go and get a copy of this one right off the bat and demand they come to your part of town and bring the big guns, ‘Izzatso?’ is all killer and no filler, and you can tell I said so! Buy It! 

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Author: Dom Daley

Senser / Collapsed Lung – Hanger 18 – Swansea 23/10/25

Senser / Collapsed Lung – Hanger 18 – Swansea 23/10/25

It was great to see a very busy venue on a school night when the wind and rain were lashing down outside but inside it was warming up rather nicely as Collapsed Lung were on stage entertaining the crowd with a set of bangers and by the time they got to ‘Eat My Goal’ the audience were caught in the moment moving with the break beats and the energy was excellent. I particularly liked the Grange Hill Just Say No in ‘New Song Old Band’, Zammo would have been proud as the vibes in the room were spot on and Collapsed Lung had achieved their Goal of warming up the audience well for Senser.

With the audience packed in and the clock just ticking past nine, the band took their respective places as Haitham and Kerstin brought the energy out on the battle line. ‘To The Capsules’ ‘Devoid’ signalled the intent to drain every last bit of energy the audience had was about to commence and the rhythmic beats began and the riffs were cranked up, and with a one and a two, we were off! Heavy as a bomb with all the finest ticks and scratches, making this anything other than straightforward. Senser are up and running, no, scrap that charging.  No time to pause for breath because a frantic ‘Resistance Now’ is drawing the pit closer as Haitham stares into the middle distance as he delivers the sermon of the hour, and Swansea is all in.

A special mention must go to the band here who put in a shift and were tight as delivering the intensity needed and mixing the Deckwrecka who weaved live scratches and some into the ferocious riffs from Nick whilst the rhythm section held it tight in the engine room it was spectacular and the old ‘Stacked Up’ tunes sounded as fresh as songs off the new album especially ‘Ryot Pump’ which was devastating in its deliver, intensity and execution. Senser were on fire tonight and showed that they are indeed a force to be reckoned with.

There is an intensity to Haithams delivery as he grips the mic but a smile is never far from his lips as the audience bounced to ‘State Of Mind’, ‘Switch’ or the new ones like ‘Full Body Rebellion’ or the frantic mosh of ‘Harbinger’ showing they have the chops to go toe to toe with any heavy band when they want to.

‘No Comply’, ‘The Key’ were all present and correct leading up to a frantic and energetic ‘Age Of Panic’ as the guitars were rinsed before the non encore of the epic ‘Chanel Zero’ which encompassed everything these guys are great at it was indeed a mash up of Slayer meets PE but giving it a sarf London twist and owning the sound better than most in this genre. Politically aware, sonically astute, and a thunderous live band, Senser 2025 are a force to be reckoned with, and if you get the chance, pick up the new album and get to a show, it will entertain you and give you a shot in the heart that bands can still kick it and are relevant today as they were in the early 90s. Oh, and of course, they finished the set with a brutal ‘Eject’ and then they were gone. Swansea, you were served. Let’s do this again in the not-too-distant future that was memorable.

Author: Dom Daley

The Southern River Band ‘Easier Said Than Done’ (The Southern River Band/ Civilians)

The Southern River Band ‘Easier Said Than Done’ (The Southern River Band/ Civilians)

As the debates for album of the year begin and new releases start to slow down at the end of the year, the Southern River Band (SRB from here out in this review) have walked up to the table and threw a razor-sharp switchblade in the middle of it to command everyone’s attention. SRB has delivered some excellent songs in the past, and their last album (‘D.I.Y.’) was really good, even though it felt much more like a collection of songs than a proper album. The early songs from this album mostly grabbed me right away, but I had no idea that this would immediately be put on repeat. Do you ever listen to a new album and wish there was a way to listen to every song at once, because this is what this album does?

SRB kicks things off with one of the early singles, ‘Don’t Take It to Heart’, whose video showcases some of the humour the band incorporates. As a song, it is a hard rocker where the hook is huge with Cal Kramer’s vocals having a special quality of being infused with heart, soul, spirit, and a charisma all its own that allows him to deliver killer lyrics across this whole album. Being from Australia, there is an AC/DC influence in the musical mix, but I really think there must just be something in the water that makes that happen. The guitar solo blasts its way through the speakers. Great work by the rhythm section establishes ‘Something’s Gotta Give’ as the song is part blues rocker and part anthemic hard rocker. The guitar riff commands air guitar participation. There are some twists and wrinkles through the song that really elevate it to a whole other level. ‘Bad Luck Baby, Bye Bye’ slightly slows things down to really work a riff that is pure rock n roll from the same well as the Rolling Stones and Faces. The lyrics jump out here with the chorus being an immediate sing-along opportunity. 

Slowing things down with the semi-ballad ‘It’s What It’s,’ the band crafts an introspective journey about growing older and looking at life. I’m sure this will be a song in future live shows, where the crowd is ultimately who sings the song. The subtle musical touches provide the perfect counterpoint to the more rocking ‘One Last Dance.’ There is a strong ’70s influence in the verses, with a chorus that is somehow subtle and also hits the listener over the head. The band ends the first half of the album with the excellent ‘Suits Me, Just Fine.’ The lyrical reference to Van Halen seems appropriate for SRB as well. There are some David Lee Roth years touches across the album through both the vocals and lead guitars. These songs are timeless in their approach. At one point, I thought this could have been what Stillwater from the movie ‘Almost Famous’ would have done a few albums down their imaginary career.

Midway through the album, there has not been a moment or a song where I have not connected to the music. SRB provides a new wrinkle with acoustic guitar driving the opener of bluesy ‘All Over Town.’ It is a brilliant addition to the album and sets up the explosiveness of the rest of the song. The guitar work across the album is awesome, and there is some added slide in the mix here. There was one early single where I was not initially grabbed. I listened to it once or twice, but did not keep going back to it like I did with the other ones. My first time listening to the album thoug,h the song clicked in a big way. ‘No Such Time’ has a cool 70’s bluesy rocking groove, and I don’t know why it didn’t immediately click. I also cannot explain how it went from not clicking to a favourite among favourites. The dual vocals provide another atmosphere to the album, and this one also fits that earlier motif of Stillwater years later. The bass and drums are locked in an awesome groove. The band continue to throw in new elements with ‘Lay It On Me’ reminding me of the Rolling Stones when they incorporated some of those disco-type beats, or what Kiss could have done if they had made “I Was Made for Loving You’ a hard rock song first and then added the other elements. I could see a music video where the band is playing on American Bandstand back in the late 70s or early 80s.

The final quarter post of the album kicks off with the rocking ‘Fuck You, Pay Me’, where we once again see the humour the band incorporates into their lyrics when appropriate. It is another huge hook and sing-along song that fuses itself with the listener. This is where I suggest y’all buy something from the band so Cal doesn’t have to try and sell his gear or a kidney. ‘We’ve Got Plans Tonight’ cranks up the rock n roll and feels like the Quireboys (without the piano). At just over two minutes, the song demolishes the room in record time, with a harmonica solo being the cherry on top of this sonic jubilation. The band could have made this the album closer and had it swap slots with ‘One of These Nights (I’ll Be Gone),’ but this order works brilliantly too. They end with an epic ballad (and the current single) with a catchy ‘I’ll be gone’ refrain. It is not hard to see the live crowd swaying their arms with their cellphones, lighting up what should be an arena.

SRB deliver 12 outstanding songs without missing a moment across the album. Each element here really is lightning in a bottle as the album delivers killer songs, great mix and production, and a cohesiveness that brings everything together. The follow-up album will be a tall task filled with huge expectations now. That is for the future, though. Let’s take time to enjoy a very strong album of the year contender, but more importantly than that, an album to play continuously in the many years to come.

‘Easier Said Than Done’ is available now.

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Author: Gerald Stansbury

MC 50 announce new album for December

MC 50 announce new album for December

earMUSIC proudly announces 10 MORE, the explosive new live album from MC50, out on December 5th, capturing the unrelenting energy of the 2018 world tour that reignited the spirit of one of rock’s most radical and influential bands.
 
The album – a companion piece to the 10 x MC5 record included in the bonus version of the 2024 MC5 Heavy Lifting release – is available for preorder via online retailers, and to presave now and on all major digital platforms.
 

Formed by MC5 founding member Wayne Kramer to celebrate the 50th anniversary of Kick Out the Jams, the MC50 lineup united an all-star ensemble of rock innovators – Kim Thayil (Soundgarden), Brendan Canty (Fugazi), Billy Gould (Faith No More), Matt Cameron (Pearl Jam) and Marcus Durant (Zen Guerrilla) – carrying forward the revolutionary power that made MC5 a lightning rod for change in the late ’60s and ’70s.
 
Captured live during the 2018 anniversary tour, 10 MORE roars through MC5’s most iconic songs – including “The American Ruse,” “Call Me Animal,” “Rocket Reducer No. 62 (Rama Lama Fa-Fa-Fa),” “Looking at You”, and “Starship”. With recordings from live shows in Seattle, WA, Cincinnati, OH and Hamburg, Germany, the album spans tracks from all three original MC5 albums – Kick Out The Jams, Back In The USA and High Time, along with a cover of Ray Charles “I Believe To My Soul,” which was a staple of the band’s sets in the late 1960s. These performances recall the same urgency that once echoed through Detroit’s underground, where MC5 fused rock, free jazz and political protest into a sound that challenged America’s status quo.
 
Following the acclaimed 2024 MC5 studio album Heavy Lifting – produced by Bob Ezrin and released shortly before MC5’s induction into the Rock & Roll Hall of Fame – 10 MORE continues the story of one of rock’s most influential bands with a powerful live recording that celebrates their lasting impact and uncompromising spirit. Stay tuned, new music is coming before the full release in December.

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Buzzcocks – ‘Attitude Adjustment’ set For January 2026

Buzzcocks – ‘Attitude Adjustment’ set For January 2026

Legendary Manchester punk pioneers Buzzcocks return with a brand-new studio album, Attitude Adjustment – their twelfth to date and another thrilling chapter in one of British music’s most enduring stories.

Bursting with 14 new tracks, Attitude Adjustment finds Buzzcocks doing what they do best: combining raw punk energy with melodic smarts and lyrical bite, all delivered with trademark heart and humour. As Steve Diggle puts it, “It’s punk rock with a Motown vibe! A new album should always have elements of surprise and create its own world, and this does. It avoids the cliché and expands the Buzzcocks’ magical journey.”

From the swaggering opener Queen of the Scene, the album is packed with spirit, invention and attitude — proving once again that Buzzcocks are far more than just a heritage act; they’re a living, evolving force.

Formed in Manchester in 1976, Buzzcocks’ influence on punk and independent music cannot be overstated. Their self-released debut EP Spiral Scratch sparked a revolution, paving the way for generations of DIY musicians and indie labels. Through classics like Ever Fallen In Love (With Someone You Shouldn’t’ve) and What Do I Get?, they helped define the sound and spirit of late-70s British punk.

Though the band sadly lost founding frontman Pete Shelley in 2018, co-founder Steve Diggle has kept the Buzzcocks flame alive — writing, recording and touring with the same passion and purpose that have always defined the group.

Attitude Adjustment stands as a celebration of resilience, creativity and pure rock ’n’ roll energy — proof that nearly five decades on, Buzzcocks still know how to hit hard, hook deep, and move fast.

The band will spend 2025 on the road, including a run of UK dates with The Stranglers this October:

BUZZCOCKS – TOUR DATES WITH THE STRANGLERS 2025

·       Fri Oct 17 – Leeds, O2 Academy

·       Sat Oct 18 – Manchester, O2 Apollo

·       Tue Oct 21 – Newcastle, O2 City Hall

·       Thu Oct 23 – Edinburgh, Corn Exchange

·       Fri Oct 24 – Aberdeen, Music Hall

·       Tue Oct 28 – Bristol, Beacon

·       Wed Oct 29 – Brighton, Dome

·       Fri Oct 31 – London, Roundhouse

·       Sat Nov 1 – London, Roundhouse

Stay in touch with Buzzcocks Here

Dealing With Damage – Free Gig, New Video & Album details

Dealing With Damage – Free Gig, New Video & Album details

DEALING WITH DAMAGE RETURN WITH NEW SINGLE ‘WRONG SOMETIMES’ – OUT OCTOBER 24TH VIA SERIAL BOWL RECORDS

NEW ALBUM ‘THE LONDON PARTICULAR’ DUE FOR RELEASE FEBRUARY 27TH, 2026

FREE ‘SINGLE RELEASE’ GIG AT ACES & EIGHTS, TUFNELL PARK, LONDON, SATURDAY OCTOBER 25th

Following the release of their second album ‘Use The Daylight’ in early 2023, London’s prime proto Next Wave band Dealing With Damage are now steadily on the path to album number three, with new single ‘Wrong Sometimes’.

The first single to be released through their new partnership with Serial Bowl Records, the DIY record label and music collective based in Sunderland, ‘Wrong Sometimes’ is a garage stomping, Sonics shocking blast of energy. It’s a response to the relentlessly depressing news cycle of the doomscroll era that pairs carefully crafted lyrics which weave a growing sense of unease over the top of an infectious, deceptively simple and joyous rocker of a tune. Disappointment, betrayal, isolation and alienation never sounded so good.

‘Wrong Sometimes’ is lifted from Dealing With Damage’s forthcoming third album due for release February 27th through Serial Bowl Records.  

Titled ‘The London Particular’, “which is the original name that people gave what came to be known as ‘pea souper’ fogs. This was because of all the particles in the air,” explains singer/guitarist Ed Wenn. “So hence The London Particular. It describes a dangerous smog, and it sounds like a newspaper title, so we thought it was a good vehicle for our take on the fog of shit that’s going on in the world at the moment with the added nod to our hometown where the album was written, rehearsed and recorded.”

Dealing With Damage play a Free Gig at Aces and Eights in Tufnell Park, North London on Saturday October 25th with support from Dinosaur Skull.

Find Dealing With Damage online at:

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BANDCAMP

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Michael Monroe – Gets On His ‘Rockin’ Horse’

Michael Monroe – Gets On His ‘Rockin’ Horse’

New Studio Album ‘OUTERSTELLAR‘

Set For Release February 20

New Single “Rockin’ Horse”

Surprises are rare and wonderful. When music decides to just show up and strut and rock and roll and stomp with swagger, swing and raw energy all over you, that’s the rarest surprise and Michael Monroe does not disappoint with his brand new studio album, Outerstellar, set for release via

Silver Lining Music on February 20th 2026.

“Rockin’ Horse is a cool, rockin’ song that we made a great fun video for with the fantastic director Leigh Brooks,” comments Michael Monroe. “We got into different characters on the so-called ‘Waking Up With Michael Monroe’ TV morning show, with me as the host.

And it’s the first time you have ever seen me without make-up (!). Great fun and good times. Hope you enjoy it!”

‘What ‘genre’ is Michael Monroe?’ Oh, go and throw yourself back into the shoebox you restrict yourself to if you need a genre… How about ‘sweet smelling leathery sweat wrapped in one of the greatest rock ‘n’ roll voices?’ How about ‘harmonies and vibes swimming in silk scarves and lounging on a beaten sofa in leather pants, with the AM hours alive and the melodies so, so intoxicating?’ And how about ‘attitude! Which screams carefree, not carelessness, confidence, not arrogance, a cocksure sense of self-bathed in the sheer joy of playing the religious experience of real rock ‘n’ roll.’

From loud crashing guitars to harmonicas, to gorgeous acoustic moments, you’ll sing, you’ll dance, you’ll shiver, you’ll shake, and you’ll smell this wonderful exhilarating record in all its weathered biker jacket incense-coated glory and you’ll also realize that whatever the hell is going on in the world right now, when you put this album on, it’s an instant escape to carefree days and an emancipation from worries, fears and woes.

It is EXACTLY what rock ‘n’ roll in its truest sense is meant to be, and Michael Monroe is handing you permission to get lost in the love of it. In fact, just stop reading this, get off your ‘Rockin’ Horse’ and go see Michael Monroe on tour at your first opportunity! In support of the release of Outerstellar, Michael Monroe and the band will embark on a UK co-headline tour with Buckcherry, kicking off in Southampton on February 24th. For a full list of upcoming shows and tickets, visit: michaelmonroe.com – more dates to be announced.

2025:

24 Nov Rock Beyond Rock Vol. 2, Osaka (JP)

25 Nov EX THEATER ROPPONGI, Minato City (JP)

2026:

24 Feb The 1865, Southampton (UK)

25 Feb O2 Ritz, Manchester (UK)

27 Feb KK’s Steel Mill, Wolverhampton (UK)

28 Feb Northumbria Institute, Newcastle (UK)

1 Mar SWG3, Glasgow (UK)

3 Mar Tramshed, Cardiff (UK)

4 Mar The Foundry, Torquay (UK)

6 Mar Rock City, Nottingham (UK)

7 Mar O2 Forum, London (UK)

8 Mar Chalk, Brighton (UK)

3-7 Apr Underground Garage Cruise, Miami (US) to Cozumel (MX)

Outerstellar will be available on Limited Edition 12” White Viny, 12” Turquoise Vinyl, 12” Black Vinyl, CD Digipak, Digital Download, Streaming and special D2C bundles. Available to pre-order now at Here

https://michaelmonroe.com/web

The Happy Fits – ‘Lovesick’ (The Happy Fits/ Diamond City/ Many Hats Distribution)

The Happy Fits – ‘Lovesick’ (The Happy Fits/ Diamond City/ Many Hats Distribution)

Imagine Silver Ginger 5 hooks baked into a power pop or guitar pop band that utilises all band members providing lead vocals at times across 15 brilliant songs that each have their own identity but still sound like the same band… This isn’t punk. It’s not metal. It is one of the best albums of the year for me. The Happy Fits have been around for over 7 years, with their debut album dropping back in 2018. I had never heard of them until I saw the lead video for this new album. There were some line-up changes, and I believe this is the debut of this formation of the band. I have not yet dug into their previous material, but will in time. These 15 songs deserve their own time to shine and showcase what a diamond they have released.

‘Lovesick’ starts with something of a curveball in the slow dreamlike ‘Do You See Me?’ where the band utilises adding layers to the song. The backing vocals are sublime, and the song becomes more powerful as it goes. ‘Everything You Do’ was the first song by the band I ever heard. It was a middle-of-the-night YouTube rabbit hole video that I put on repeat to hear it several times in a row. There is an Abba feel at the beginning, and the song just screams fun out of every pore. One of the cool things The Happy Fits have done to give them a unique sound is to replace the bass with a cello. Calvin Langman’s playing gives a unique feel to the songs, and on ‘Everything You Do’ he sings with such reckless exuberance that the listener cannot help but smile. Add in the scream by Raina Mullen after the minute mark and her lead vocals near the end to make it a song that should have been a huge hit in the late spring. ‘Cruel Power’ was another early single and was something of a grower for me. So much so, it is now one of my favourites on the album. The vocals become the showcase for much of the song, and the rhythm through the verse works perfectly. This song can make the crowd at a club dance and the crowd at a live show jump up and down. The band’s latest single, ‘Lovesick #1 (Misery)’ follows and is another brilliant song. The slow torch/ ballad gives way to a rocker that again showcases the vocal power the band has with Mullen getting the lead for most of the song. An awesome guitar solo by Nico Rose elevates the song even further. ‘The Nerve’ ends side A of the first vinyl and initially felt like a runt in the litter, given the first four songs. Multiple listens, though, demonstrate this is another rocking gem with Langman confessing to a lover ‘baby I’m a piece of shit and I’m the fucking worst.’ It is another huge chorus, and the up-tempo beat gets the listener moving.

After the initial five songs, it may take you a little bit to flip the first album over to dig into the flipside, as you keep dropping the needle back down to hear the first batch again. When you do flip it to side B, you are greeted with the infectious ‘Miss You’. At times, it feels like the verses could have been something Blondie would have done, and the chorus is as huge as an IMAX screen with some ’80s touches while still sounding current. This song is another one where the cello replaces the bass, giving the song a different, more cinematic feel. The gentle tempo of ‘I Could Stare at You for Hours’ provides an excellent touch and change of pace. As they did on the album opener, they utilise layering during the song to help it build, but here they utilise the build to let it all fall away and build again. The band pivot with ‘Sarah’s Song,’ which has struck me from my first listen as something like the Beatles with the harmonies shining brightly. It is a beautiful pop song where the beat conjures up images of the band performing in a field of flowers while the lyrics subvert expectations with lines like ‘and you know all the roses that bloom inside your mind, they all root from sordid sources and the thorns they leave behind.’ The band turn up the tempo again with ‘Shake Me’ (not a Cinderella cover). This is another vocal showcase that gets the foot moving and will have the listener singing along to the chorus quickly. Closing out side B is the brilliant ‘I Still Think I Love You.’ This is an instant power pop classic. The hook in the pre-chorus is huge, and the chorus is even bigger. This became one of my favourite songs when I first heard the album, and nothing has changed in that regard.

The third and final side of the vinyl has absolutely no let-up, with the previous single ‘Wild in Love’ getting it started. I have not spoken of Luke Graydavis on drums yet, but his playing across the album is stellar. Here, he also provides lead vocals. I love that all four members get to showcase their voices across the album. ‘Wild in Love’ has a different feel than the rest of the album, with a slightly electronic feel. The band get back to a pure rock approach on ‘Black Hole’ where the cello again provides some great riffs to add a hint of heaviness to the song. This is another early single and really gives an idea that the band knew they had recorded a classic album by putting two singles on the final side of the vinyl. ‘Superior’ brings back a torch song approach. The orchestration builds and builds throughout to deliver another excellent song. ‘Wrong About Me’ utilises a slow acoustic approach paired with a gorgeous melody. It would have been easy to make this the last song on the album, where it would end with this one really serving as a quiet note to draw the album to a close. If it were not such a great song, it could easily get lost on the album. The listener gets pulled into the song, and it sets up the epic closer ‘I Remember.’ The excellent guitar work by Mullen and Rose again showcased with the record mixed perfectly. The up-tempo beat is given time to manifest itself as everything in the song builds over the first two minutes. The vocal harmonies are beautiful throughout the song, and they end the album on arguably the best song on the album.

Fifteen songs, not a miss in sight. Fifteen beautiful, killer songs that showcase a band where pure magic is happening. The chemistry in the band is so impactful, I expect to see it bleeding out of the vinyl as it plays. One of the reasons I have not explored the back catalogue yet us I cannot get enough of these 15 songs. This is also the first album with Nico and Mullen, so it feels like a debut album to me, as their marks are all over these songs. As I said at the top, this is not a punk or metal album. What it is thoug,h is an album of the year candidate filled with the sounds of rock, pop, power pop, and incredibly huge hooks. These songs are timeless and essential.

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Author: Gerald Stansbury                   

Bad Sam – ‘Trauma’ (Property Of The Lost Records)

Bad Sam – ‘Trauma’ (Property Of The Lost Records)

It feels like an eternity since ‘Bring Me The Head Of…’ the last album by Newport punks Bad Sam was released into the world back in 2017, but when it comes to Dean Beddis and Richard Glover, the musicians behind this latest version of the band, it’s always been about quality tunes and never mind how long it takes to write them, which as a result means ‘Trauma’ is packed with 10 cuts of premium punk pomp from da Port….albeit with a 2025 twist.

Taking the live insanity of the Bad Sam line ups that have gone before and distilling it down to singer Beddis and bassist/guitarist/producer Glover might have been considered a risky move by some as the intensity of the band live had always a joy to behold – even if it was like taking your life into your own hands at times. Here though with ‘Trauma’ the “brains” behind the band have momentarily paused operations, observed what is going on around them, and then tweaked the Bad Sam songwriting formula to return angrier than ever before.

There’s been demo tracks released over the past couple of years on Bandcamp, tracks like ‘Pedigree Poor’ and ‘Terrable Dance’ (rechristened ‘Monster’s Dance’ for the album)  which hinted at what might be coming, and there’s also been a handful of chaotic local low key gigs that have seen the duo breaking in the new material to ascertain what songs best fit their twisted vision of the future, and as a result ‘Trauma’ is an all out attack on the senses, a record that actually makes you stop and think…”what the fuck is going on in this world?”

‘Emotional Hostage’ kicks things off in fine style as Slayer-esque riffage blends perfectly with industrial drum loops over which the immediately recognisable Beddis barks out his warning of living your life always looking for a return to “the good old days”.

‘Pedigree Poor’ quickly follows, remixed and rabid, it’s a grimy real-life tale of living well below the poverty line. This track demanding you to listen to it on headphones to truly absorb the avalanche of sounds that underpin this anthem for the less fortunate in our society.

Elsewhere, ‘The Van’ sounds just how Public Enemy jamming with a hardcore crossover band should have always sounded, whilst ‘Turn You Off’ is the first of a trio of tracks on ‘Trauma’ that are the closest to the Bad Sam sound of old, with a more straight-ahead punk rock approach.

As ‘Trauma’ reaches its midpoint ‘Silent Death’ comes out of leftfield sounding not unlike err Leftfield and Lydon and it’s almost Gothic chorus would instantly fill a club dance floor if the youth of today still did such things.  Recent single ‘Popcorn And Blood’ is a banger too, taking the Killing Jokey dark vibe further and giving it a savage lyrical twist courtesy of Beddis and his views on death tourism. Meanwhile if it’s a throbbing slab of industrial punk all about societal peer pressure you are looking for then you need look no further than ‘Perpetual Consumption’.

 ‘Trauma’ enters its final trio of songs with ‘Monsters Dance’ staggering out of the speakers like the perfect soundtrack to a zombie parade from a classic George A. Romero film. Then it’s time to return to the more direct Bad Sam sound of old via ‘Salute The Media’ and (the awesomely titled) ‘Tupperware Death Party’ that close the album down in spectacular full pelt punk rock fashion.

The bio that comes with this advance stream of the album sees Rich Glover comparing the band’s sound on ‘Trauma’ as having the energy of Reagan Youth mixed with the power of LARD, and whilst he’s not a million miles off with that description I think there’s actually loads more going on here than he gives himself and Beddis credit for, as ‘Trauma’ is a record that defies categorisation, and in 2025 we absolutely need bands like Bad Sam producing records like this, exciting, challenging, and above all, essential.

It would be Kriminal not to pick up a copy on vinyl or CD when ‘Trauma’ is released on the 28th of November, or you can preorder a copy NOW via the Bandcamp link below.

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Author: Johnny Hayward