The Good, The Bad & The Zugly – ‘Research And Destroy’ (Fysisk Format)

The Good, The Bad & The Zugly – ‘Research And Destroy’ (Fysisk Format)

The one and only time I saw GBZ was in a London pub basement a touch over six years ago and they blew the place a part. Then they were pushing their second and possibly finest album Hadeland Hardcore and as fantastic as they were that night, no one in that room would ever have thought that the press release for album number five, Research And Destroy would begin –

“The NEW ALBUM from the Kings of Scandipunk! Fronted by singer Ivar Nikolaisen from KVELERTAK!! “

It’s just bonkers!!!

These Norwegian punk rock terrors’ sound snuggles somewhere in the same ball park as fellow country men Turbonegro (both bands feature ex-members of Norwegian glamsters Silver) but with a far more aggressive and abrasive edge. Perhaps with album number five some of this jagged, raw hate has been polished away to appeal to the Kvelertak fan base, it’s still hard and heavy but maybe not as raw and hungry as the aforementioned  Hadeland Hardcore or even it’s follow up Misanthropical House but it’s still a fine12” slab of plastic that’ll sit deservedly in your top ten of 2022.

First up ‘What’s My Rage Again?’ Spends a good minute building up and up and up in full metal guitar grandeur before launching into a spite-filled bombastic banger. Maybe it gets a bit Maiden-esque in places but it’s a great place to start.


Hot on its heels comes ‘Song For A Prepper’, another great tune with another long intro. Less aggressive than previous stuff and maybe a nod to the expanded Kvelertak audience

Third up, ‘Bridge and Tunnel Guy’ gets its own video and is a fine balance of aggression and hooks.


‘The PKA Took My Money Away’ is far less metal than its predecessors and is by far my favourite tune so far. This feels like the most GBZ-like song so far.

‘Nostradumbass’ carries on the mid-album hump for me, a fine mid-paced tune not a million miles from Ivar’s previous band Silver. There’s a video for this bad boy too.


While ‘Diet 1-2-3′, may lean a little to Backyard Babies territory (not a bad thing at all), ‘The Power of Beer’ is the kind of GBZ banger that ‘Research And Destroy’ has been a little light on.


‘One-Dimensional Man’ is a nasty pop song and boasts one of the strongest choruses on offer. I guess Fysisk Format agrees too because there’s a video for it.


The penultimate track ‘The Original Incel’ is another banger. GBZ to the max, while closer ‘Here Come The Waterworks’ is a far more sedate affair. Decent enough, but like several of the tracks that have gone before it, maybe a bit too much of an offering to their expanding metal audience. But hey, good luck to them.

So there you have it. Ten tracks in just over half an hour, long enough to love but not quite enough to blow you away.

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Author: Fraser Munro

CHEMICIDE – ‘Common Sense’ (PRC Music)

CHEMICIDE – ‘Common Sense’ (PRC Music)

Costa Rica based thrashers Chemicide have been around since 2011 and have released three albums and an EP. Their latest release ‘Common Sense’ has the sound and feel of an old-school thrash album. Echoes of early Sepultura, Kreator, Death Angel, Exodus, Forbidden, Nuclear Assault, with a bit of Morbid Angel thrown in. Not bad eh?

If, like me, you’re a fan of the bands I’ve mentioned above, then you could much worse than check out Chemicide. This really is like stepping back to 1989. All I need is my Cosmic drainpipe (black, of course) jeans, Hi-Tec basketball boots, and a baseball cap worn backward to complete the picture! Big riffs, fast parts, mosh parts, breakneck double bass drumming, shouty vocals and song titles like; ‘Self Destruct’, ‘Barred Existence’, and ‘Strike as One’ just add to the nostalgic charm of the album.

The production from Juan Pablo Calvo has that classic Scott Burns feel to it, very raw and punchy. It really is a thrasher’s delight and it’s very comforting to know that thrash metal is alive and well thanks to bands like Chemicide. Great job guys! Mosh it up!!

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Author: Kenny Kendrick

FM – ‘Thirteen’ (Frontiers Music s.r.l.)

FM – ‘Thirteen’ (Frontiers Music s.r.l.)

While most bands of their ilk are resting on their laurels FM hit the road running with the release of Thirteen, coming hot on the heels of their double Tough It Out Live set from 2021. This album has no right in being as good as it is. Considering they are now only a few years away from hitting 40 years as a band. And the current line-up has been in place since 2008! With this album being produced by the band themselves, they having never sounded better or more on fire than they do over the 11 slabs of melodic rock gold.


Wasting no time, the album kicks into gear with a none more politically apt ‘Shaking The Tree’. When people mentioned singer Steve Overland’s voice it is normally in awe and this song proves that he can sing anything, no matter what the subject and make you want to fight, love and smile all at the same time. Single ‘Waiting for Love’ is more like what we have become accustomed too from the band, but even that sounds fresh and vibrant, especially in today’s musical climate. The flame is still burning for the page 7 stunner that is Steve Overland and I honestly do not think he has ever sounded this good.


As the band themselves continue to lay down some of the most awe-inspiring grooves, from Merv Goldsworthy’s tantalising bass lines, to Pete Jupp’s backbone drumming and Jim Kirkpatrick’s sizzling solos and last but least Jem Davis glorious keys of parp, the band can do no wrong.


Just like the big hitters of the AOR scene any of these songs could be singles as they are all, that good.
Clearly the band are enjoying and relishing their moment in the sun again. And so they should, as this album is up there with their best.

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Author: Dave Prince

Slyder Smith & The Oblivion Kids – Kickstarter Campaign

Slyder Smith & The Oblivion Kids – Kickstarter Campaign

Slyder Smith first swaggered onto the stage in the 90s as lead guitarist with glam-tinged power popsters, Last Great Dreamers. After releasing four studio albums and one live album on their own label, Ray Records, & having toured extensively throughout the UK & Europe with LGD, Slyder now takes centre stage leading The Oblivion Kids (Tim Emery, Bass and Rik Pratt, Drums) in an honest outpouring of grit, glamour and emotion.

With over an album’s worth of material written, the band have worked tirelessly in the rehearsal studio, whipping into shape a carefully curated, explosive mix of rock anthems, with a few surprises thrown into the mix. With lyrics that speak from the heart, Slyder has delved deep into his own psyche over lockdown and explored numerous new guitar styles, resulting in what can only be described as his best musical output to date.

The Oblivion Kids are chomping at the bit to head in the studio at the end of March with legendary Producer, Pete Brown (who has worked with George Harrison, Siouxsie & the Banshees, Marc Almond, The Smiths & Diamond Head as well as being musical director, vocal arranger & guitarist, in his father’s (Joe Brown) & sister’s (Sam Brown) touring bands & producing Sam’s platinum selling album Stop). 

Having raised the capital required for recording themselves, the band are reaching out to their fans on Kickstarter to help match fund the remaining 50% required to manufacture CDs, Vinyl and other promotional merchandise. In exchange for their support, pledgers can choose from a range of rewards and exclusive experiences.

Support the project on Kickstarter: Here

Various Artists – ‘Post Punk Birmingham 1978-1982’ (Easy Action)

Various Artists – ‘Post Punk Birmingham 1978-1982’ (Easy Action)

First things first I’m looking at the artwork wondering what on earth it is and then after about a week I see the eggbox. It’s been like one of those early 90’s deep-sea pictures you have to stare at, or at least that’s what I felt like. Right onto ‘Un Scene’ and it’s important to document of 78-82 timeframe in England’s second city and how it was developing following the youf explosion of 76-77.

I guess considering Birmingham or the wider area of the middle part of England has generally been ignored or rather overlooked compared to the contribution to youth/pop culture of the 20th Century. the North West gave the world Merseybeat and Beatlemania then post-punk we had that jangly guitar of Icicle Works, Teardrop explodes, Pete Burns, The Bunnymen, and a whole load of other post-punk bands. Madchester (Still in the northwest) followed that with the whole Hacienda scene and Stone Roses. The East Midlands gave the world Two-Tone but what about Birmingham? Sure Slade was west midlands and the Duranies hailed from Brum in the wake of punk but once you scratch the surface there was a whole underground world of creative forces and this wonderful little time capsule offers up a small dark corner of Birmingham and shines a light on in with a very nice booklet documenting the featured bands with some fantastic pictures, live shots, band images, posters and magazine covers of the main protagonists of this featured record/CD.

Laid out over nineteen tracks this snapshot doesn’t always reach the dizzy quality of your modern recordings but often that’s the charm. No doubt these bands worked and played hard to scrape together the dosh to record these songs and it’s important that records like this exist. Maybe there’s a good reason why none of these bands achieved the same adoration some of the other midlands genres achieved but bands like Swell Maps, the Nightingales, Nikki Sudden and TV Eye had a modicum of success and remained firmly placed as underground heroes and icons.

Some of the live recordings are sort of tape deck quality and proper old school whereas other more notable inclusions such as Stephen Tin Tin Duffy’s The Hawkes have ‘Big Store’ included and Comedian Stewart Lees wonderful doc about The Nightingales sees them included with their new wave-like ‘Idiot Strength’. I guess it wouldn’t be complete without Swell Maps who see ‘Vertical Slum’ included. My personal favourite is obviously the inclusion of Nikki Sudden with ‘Channel Steamer’. But what really is the crowning glory is the booklet giving all the meat on the bone from Dave Twists’ own collection, with all the cuttings it’s a fascinating insight into a whole world that is captured in this wonderful time capsule (Besides Twist plays drums on a lot so as long as his memory is half decent his stories must be amazing). Stewart Lee says it perfectly as Birmingham in the UKs motor City and seeing as the likes of Dave Kusworth and John Taylors inclusion also here (Duranies take note), sudden and his brother are no longer with us and the recent passing of Dave Kusworth this is a wonderful artifact that serious fans need to absorb and marvel at what the cold concrete of England’s second city had going on beneath the city lights I implore you to hear and read this most excellent offering. buy it!

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Author: Dom Daley

SAVAK – ‘Human Error / Human Delight’ (Ernest Jenning Record Co/Peculiar Works Music)

SAVAK – ‘Human Error / Human Delight’ (Ernest Jenning Record Co/Peculiar Works Music)

It’s always something special when an album drops on your desk, you nothing about the band, and then said record proceeds to blow your socks off.

Take a bow then Brooklyn based post punk rockers SAVAK for being the first band in quite some time to do just this for me. They are a band I admit I almost skipped over, but thank God I didn’t, because ‘Human Error / Human Delight’ – the band’s upcoming FIFTH (yup I know) album – is an absolute cracker from start to finish.

‘No Blues No Jazz’ (which actually sounds like the record player rules in my house) kicks things off in fine style and with its’ chanted refrain of “No counties, no countries, no pledge of allegiance,” it could be a tribute to the fact that the dozen tracks contained on the album were recorded entirely over Zoom, although it’s not, I’ll leave you to go figure what it’s actually all about by hitting video link below, where all will soon be revealed.

Influence wise ‘Human Error / Human Delight’ really is all over the place, and that’s really what hooked me in, it also sets it well apart from the many other new “rawk” records I could have chosen to review. Be it the melodic Alt-rock delights of perhaps the most immediate track on the album (the truly excellent) ‘Empathy’, or the jammed-out Krautrock meets Detroit in a sleazy Manchester back-alley post punk of ‘Set Apart’, there really is something here for pretty much everyone…well everyone with an open musical mind that is.

As the album literally flies by song hooks come at you thick and fast with the likes of ‘Baltimore Moon’ and ‘Dealers’ bristling with overdriven guitar and glorious vocal harmonies, this really is American guitar rock par excellence. Well, when it wants to be. It’s the subtle twists the album throws you via the likes of the Angelo Badalamenti-tinged atmospherics of closing track ‘Dumbinance’ or the initial downbeat 4AD bass throb of ‘Oddsmaker’ that really take things to the next level and has me returning for multiple listens.

With a history of playing in bands like Obits, The Cops and Holy Fuck, Sohrab Habibion and Michael Jaworski, along with drummer Matt Schulz, have moulded the SAVAK sound (in their own words) as straddling the line between ‘Be Bop a Lula’ and ‘Wap Shoo Wap’ whilst connecting the dots between The Adverts to Bubble Puppy to The 101’ers to MDC, and you know what? They sound absolutely bloody amazing doing it!

‘Human Error / Human Delight’ is released on 15th April 2022, but you can check it out right now via the Bandcamp link below. Get on it folks – this album is very special indeed!

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Author: Johnny Hayward

Ghost – ‘Impera’ (Spinefarm Records)

Ghost – ‘Impera’ (Spinefarm Records)

Ghost first appeared on my radar when I saw them live at a festival, it may have been Download, or it may have been Sonisphere? Anyway…I didn’t really get them. I thought they were a little bit like Kiss, the image and the music don’t sit well together. I heard the odd song here and there; I loved the track Ritual from their debut ‘Opus Eponymous’ but didn’t really explore them much further at the time. It was with the release of the Rats video from 2018’s Prequelle that I really started to sit up and take notice of Papa and the boys. That album is never too far away from my turntable or CD player, it really is an exquisite piece of work, ‘Dance Macabre’ should have been a worldwide hit for the band, it’s their ‘I Was Made For Lovin’ You‘! I then delved deeper into Ghost’s back catalogue and loved it all. There really is no denying Tobias Forge’s genius, and I genuinely feel that Ghost is one of the only bands around now that can take the reigns from the old guard and headline big shows and festivals.

I did of course wonder how they could ever top the Prequelle album, it really is their ‘Master of Puppets’ or ‘Led Zeppelin IV‘. The first glimpse of the new material was sprung on us last October with the first single and video ‘Hunter’s Moon’ which was included on the soundtrack to ‘Halloween Kills’, (I waited for the end credits in the cinema to hear it in all its glory). While it’s a decent enough track, it does feel a little bit like Forge just phoned it in.

Next single ‘Call Me Little Sunshine’, however, is Ghost doing what they do best. Atmospheric, heavy when it needs to be and downright catchy. The video is great too. Let’s get to the new album then! ‘Impera’ is Ghost’s fifth studio album, and it gives us twelve new tracks to get our teeth into. Opener ‘Imperium’ is an atmospheric instrumental leading into ‘Kaisarion’ which jumps out of the speakers with abandon. A brilliant, up-tempo song with some superb guitar work from whichever of the latest ghouls are crunching the fretboards.

‘Spillways’ is next up, it really shows us the vocal acrobatics that Forge is capable of, he has a fantastic range. Another ear worm of a song with a keyboard riff that isn’t a million miles away from Bon Jovi’s ‘Runaway’! ‘Watcher In The Sky’ kicks off with a riff that George Lynch would be proud of, some lovely crunchy accents combined with another memorable chorus make this a real stand out track. Twenties is my favourite track on the album as I write this, just purely bonkers, it shouldn’t work but it works perfectly. A combination of prog, metal, and pop with some hilarious lyrics: We’ll be grabbing em’ all by the hoo – has. It’s just so damn catchy! Darkness ‘At The Heart Of My Love’ is one of those power ballads that Forge churns out effortlessly. It should be a major hit. Honestly, if Ghost could get mainstream airplay, I’m sure they would be huge, such is the quality of their songs. Griftwood sounds like something that would sit perfectly on a Ratt or Van Halen album from the 80s. I can imagine it on a montage from a Rocky film. The album closes with the epic ‘Respite On The Spitalfields’, a sprawling, atmospheric beast that enters a myriad of musical styles.

A solid album with everything thrown at bar the kitchen sink! Is ‘Impera’ as good as ‘Prequelle’? Not yet…But there’s still time.

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Author: Kenny Kendrick

ANTiSEEN – ‘Eat More Possum’ (Bang! Records)

ANTiSEEN – ‘Eat More Possum’ (Bang! Records)

This band has a catalogue of over 100 LPs, EPs, CDs, and DVDs recorded with various line-ups and have performed all over the world.  Eat More Possum is Antiseen’s most acclaimed album, originally released in 1993 and now remastered (honestly) for this vinyl reissue. 

Antiseen was formed in Charlotte, North Carolina by Jeff Clayton and Joe Young in 1983. These punks wanted to be outsiders from the start and I guess they managed to become so underground it was difficult to know what the hell they were up to even when the internet became a real thing we all had access to.

It’s fair to say Antiseen are influenced by the Ramones and Stooges, employing short, heavily distorted power chord-driven songs largely free of guitar solos or advanced musicianship, punk as fuck I guess.  

From a time when it was still possible to offend people and shock with your music and image Antiseen managed that alright even without the pull of GG Allin. ‘Eat More Possum’ (From the artwork) to the musical content was always going to offend people. described as “gun totin’, meat eatin’, society rejectin’ punk rock” isn’t far of the mark. 

Young’s guitar tone is nasty and primitive. Perfectly played on the Ramones cover of ‘Today Your Love’ Antiseen are relentless. On the verge of chaos somewhere between Motorhead and the Ramones ‘, ‘I Am Stormtrooper’ is a buzzsaw flying through your speakers with no pause for breath or any concept of compromise. It fighting music – drunk, nasty and dangerous.

Flip that with the cowpunk of ‘I’ve aged twenty years In Five’ then revert to the ultra-metallic punk of ‘Cactus Jack’

The extreme edges of punk rock have always been prolific, just ask Blag and the Dwarves but there’s something altogether uneasy like a dueling banjo about ‘Warning’ but the gargling razorblades vocals of the big Rock of ‘Animals Eat Em’ isn’t going to be used in any veganism campaign any day soon.

eighteen tracks not all musical but value for money that’s for sure. If some shock punk is your bag then you might already have a battered copy of this from your youth – Well, here’s your chance to get a clean-mint copy from those purveyors of garage punk rock n roll at Bang! Records. Christ, they even get funky and slap some bass on ‘Shittin In High Cotton’ but what they do best is the buzzsaw punk of ‘Star Whore’ and the super fuzz Garage Stooges style of ‘Break It Off’ or the chaos of ‘Trapped In Dixie’ and the albums final real offering of ‘Fuck all Y All’ that is the perfect sound of a Southern Motorhead fan channelling ole Lemmy, Yeah Haw! Motherfuckers! go get some antisocial Antiseen right now!

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Author: Dom Daley

Dub War release new video -‘Blackkk Man’

Dub War release new video -‘Blackkk Man’

Dub War share new single & lyric video “Blackkk Man”

Taken from new album “Westgate Under Fire”

Out 5th August via Earache Records

Fusion metal pioneers Dub War have released their brand new rousing single “Blackkk Man”, the first single off of their first album of all-new material in over 25 years, ‘Westgate Under Fire’.

The track packs a punch with jagged guitar, furious rhythms and tough vocals from founder and frontman Benji Webbe (who many will also recognise as the mighty Skindred’s frontman). Released in the midst of the celebration of Black History Month in the US, “Blackkk Man” is a furious revolt against racism and a bleak reflection of crucial events from this decade in particular, including the murder of George Floyd.

“This song is exactly how I was feeling at the time of Mr Floyd’s murder. This is a cry from my heart for equal rights and justice – and the other boys in the band feel the same as I do. No one chooses the skin they’re in – should the skin you’re in help you to win? It’s a question we all need to think about!” declares Webbe. “This racist injustice has been going on way too long and, unfortunately, even with all the cries and the pain, it still continues.”

The accompanying lyric video, compiled and edited by Aran Webster, serves to drive the critical message contained in the lyricism of “Blackkk Man” further, putting society’s outrageous double standards in plain sight via news footage and articles.

A thought-provoking statement song, “Blackkk Man” and the album it resides on launches Dub War back into the industry as the band who turned heads with their groundbreaking genre-bending once more. Alongside this potent punk rock-laced track, ‘Westgate Under Fire’ offers up dance infused metal, ragga-punk and sinister metal with exotic beats.

A band born and raised in Newport, ‘Westgate Under Fire’ shines a light on a crucial event in their hometown’s history, the Newport Uprising. An event which would play a role in transforming democracy in Britain and the world, the uprising in 1839 saw thousands from the Chartist movement march through south Wales, seeking social reform, including the right for men of all classes to vote. The marches ended in a bloody battle at the Westgate Hotel, which saw many of the Chartists dead or wounded. ‘Westgate Under Fire’ aims to embody the empowerment that Chartists took upon themselves and coincides with the local community resurrecting the derelict Westgate Hotel into an exciting new venue.

‘Westgate Under Fire’ is available for pre-order worldwide on signed, limited edition coloured vinyl, black vinyl, signed CD and limited cassette at earache.com/dubwar. Due for release 5th August 2022.

Peter Doherty & Frédéric Lo-‘The Fantasy Life of Poetry & Crime’ (Strap Original)

Peter Doherty & Frédéric Lo-‘The Fantasy Life of Poetry & Crime’ (Strap Original)

‘The Fantasy Life of Poetry & Crime’ sees Peter Doherty twist a melancholic turn down a path this time without his puta madres or his comrades in The Libertines but with Frédéric Lo as his companion and songwriting partner in crime. Doherty has been rather prolific over the last half-decade finding time to get hitched wander off on several tours with his various projects but above all, he’s managed to weave several different paths but remains very Peter Doherty if you catch my drift? Much like Strummer Doherty does what he wants when he wants and as long as the end result is of a suitably high standard then play on sir. Don’t write him off as a one-trick pony because he’ll rise to that challenge and keep on keeping on defying the odds. Tune in, switch off and float downstream as the majestic relaxed opener and title track sets the tone as the pair make sweet sweet music.

Doherty’s street poetry and lyrical meanderings are on the money as the dreamy ‘The Epidemiolagist’ is the wonderful sound of a hazy dash around some sleepy Parisian backstreets as the filter of the strings lifting you above the haze is majestic.

Written during lockdowns and produced by Frédéric Lo ‘The Fantasy Life of Poetry & Crime’ was recorded at Cateuil in Étretat (Normandy) and Studio Water Music in Paris and mixed by François Delabrière at Studio Moderne, Paris. All words are penned by the seemingly content Doherty whilst the music composed by Lo.

‘The Ballad Of…’ is lush in its string brush strokes and simple acoustic guitar strumming and Doherty’s hushed vocals are reassuring and comforting and reminiscent of Johnny Thunders ‘Hurt Me’ album with grander layers as it builds when the drums kick in but it lays back down gently in a very engaging manner.

The first video is for ‘You Can’t Keep It From Me Forever’ is probably the album’s most Doherty tune (if that makes sense) with a Smiths-like melody and uptempo poptastic beat. This record is like a huge sigh after a hard stressful day. It’s a gentle loving hand on the shoulder, reassuring you that everything will be alright.

The fact this record came together in six months is reflected in the uncomplicated arrangements. Sure there are strings and grande sweeping soundscapes but it doesn’t sound forced at all and very natural. The sweeping strings on ‘The Monster’ sound fantastic and Doherty’s vocals have never sounded so content and strong. He knows how to add enough emotion and where to display vulnerability and married with the talent of Lo’s arrangments make this a must-own record and loyal Doherty fans will love what they hear from one of the UK’s best indie songwriters.

when the duo keep it simple and just write a pop song like ‘Invictus’ then they nail it, what else did you expect? The Harpsichord on ‘The Glassblower’ is exactly what’s needed even though you couldn’t have guessed it. The 60’s alternative guitar-driven pop is relaxing yet exciting all at once. Then finally ending the album with the piano-led ‘Far From The Madding Crowd’ strangely reminds me of Dean Friedman and some New York late-night smokey jazz club from the late 70s and putting a full stop on a wonderful album of heartfelt and life-affirming tunes from an extremely talented pair of contemporary musicians right at the top of their game. ‘The Fantasy Life of Poetry & Crime’ is exactly what I needed to hear right here right now. Join me and let’s drift downstream with this as the soundtrack to better days.

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Author: Dom Daley

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