If you’re going to bow out after almost half a century then you might as well go out windmilling slinging out banger after banger and no sign of going out with a whimper at all. It might have gone under the radar a little or rather slipping out of the party without fanfare which is unfair really because Knox and the band have endured and managed to leave behind them a fantastic catalogue of albums and singles and recent output has also been worthy of carrying the name and produced some of the bands best offerings. Every time I think this is it and maybe the latest album will be the death knell and they go and dish up an album full of excellent tunes. over twenty full-length albums, a heap of live recordings, eps, singles, compilations, and a whole lot more besides. You can add ‘Fall into the sky’ to the illustrious list and the band can bow out with their heads held high and bursting with pride.
What you have here is quintessentially a Vibrators album – it’s classic – it’s a fuckin’ Rock and Roll record – no reinventing the wheel, no drop in standards, no bullshit just fourteen tunes with melody, distorted guitars and a band who bloody-well know what to do with it. From the opening hard rocker ‘The Owl And The Kangaroo’ you know all the vital components are present and raring to go. ‘He’s A Psycho’ continues with an agressive punch then ‘Burning Me Up’ wraps up an impressive triple threat to open up the album. They might not have been ‘Whips And Fur’ or ‘Baby Baby’ but they have the upper eshelons of Vibrators tunes happening.
The pace drops but the quality reains for ‘Battlefield’ and ‘Rock My World’. But then we have ‘Dry Down Under’ which is amazing with its Bowie-like melody and vocal delivery and the Rono guitar break is exquisite. To be fair I thought ‘Mars Casino’ was excellent and had they bowed out there and then – then so be it. This however is next level. The title track closes out side one of the album and with Knox’s vocal sounding warm and engaging the ebow howling on the solo is a great arrangement and send the song soaring with a really warm yet raw guitar chord sequence chopping out the rhythm.
Side two begins with the measured ‘Tomorrow’ before getting in a more rapid frame of mind with the groovy ‘Devils Playground’ where they certainly show “the Kids” a thing or two in delivery of a great Rocker. ‘Love Changes’ is one of those Knox melodies that enters your head on a subtle melody then the riff twists and turns towards the chorus before laying back down. Theres a familiarity with some of the riffs but theres no denying they have energy and with the usual great production sound fresh and vibrant especially on ‘Part Of Your World’ before we reach the end of The Vibrators road and ‘So Long’ is a teary acoustic number which might have been predictable and a check of the rear view mirror of a career that had its ups and downs but is going out in style. You can’t stop time we know that but bowing out with your head held high isn’t something a lot of bands do and havign the grace to know when to go shows their class. Thanks for the music guys its been a blast and this set of songs will be as cherrished as ‘Pure Mania’ is. My advice is buy it, its a time capsule of class songs by a class band. Goodnight Vibrators its been a pleasure and never a chore.
The Candy Snatchers – ‘Shame Shivers’ / ‘Must Be The Cocaine’ (I-94 Recordings) Formed in 1992 in Virginia Beach Their first new recordings in over 10 years! Hans Molnar (of The Hellbenders) steps in to fill the big shoes of the dearly departed Matthew Odietus. Larry May wails over it all. Larry’s unmistakable voice has held up perfectly well. This shit sounds like vintage Candy Snatchers even on a Trash Brats tune. It’s frantic punk rock and roll kids but you knew that didn’t you?
The Candy Snatchers need to make a new record, a long player like now. So, Larry get those pipes in order and get to work the world needs a new album from Candy Snatchers. This is their first newly recorded material in 12 years! way too long! but they’ve lost none of their piss and vinegar and knock their tribute to the Trash Brats right outta the park. Fill yer boots with quality Rock n Roll Here Available in a bazillion colours of wax this is the shit we all need Get on it!
Michael Des Barres and Prima Donna – ‘Aint Nothing You Can Do About It’ (Wicked Cool Records) Wicked Cool Records label-mates Michael Des Barres and Prima Donna have teamed up for a single release, ‘Ain’t Nothing You Can Do About It’. Co-written by Des Barres and Label Owner Steve Va Zandt has shades of a Springsteen rocker going on from the choppy chords and the party going on in the rhythm section of course its quality. ‘Waves’ is another uptempo rocker with plenty of foot-stomping Stones meets The Faces via the Georgia Satellites vibes going on its sunshine on a 45 kids upbeat, smiling and a rock n roll hoot. Pretty much everything a 45 should be! Go get it!
Killer Hearts – ‘Doctor, Doctor / Demolition Love’ (Screaming Crow Records) Next in the Action Rock Jukebox 45 series are one of the best exponents across the pond of sleazy punk rock n roll the Killer Hearts. One cover one original that’s the deal and boy have they got a treat in store for you 45 rpm lovers. Doctor fucking Doctor sure it’s a tough one to get anywhere near the original but if anyone can this bunch of sleazy reprobates can and for a take on a classic they come pretty darn close. Monster version is done with all the respect and tribute to such an underrated band.
Killer Hearts dont need me telling you how fanfuckintastic they are they let the music do the talking and on ‘Demolition Love’ they knock out a cock sure slab of sleazy punk n roll from the vocals oozing with attitude and menace the band are killing it for sure. Had Larry May not been delivering a single this month then this would have been my pick of the pack for sure. Maybe it should be in for next month when it actually hits the streets but hey were punk as fuck round here.
Hell, they even have the shithousery to steal Motley Crue’s best riff and fuck with it! Killer 45. Killer Heart 45! Fuckin right it is.
The Penetrator’s-‘Time Is Mine’ (CODE 213RECORDS) What a banger this is. With a sound that’s as cool as Iggy the Penetrators cut the mustard with ‘Time Is Mine’ with its driving rhythm and slashing overdriven guitars its got a cool spoken sunk lyric that’s top drawer. the kings of basement rock is about right on the money having been doing this whole garage punk rock since the latter half of the 70s their endurance is admirable and their craft is of the highest standard.
The Speedways – ‘A Drop In The Ocean’ (Snap!!/Hurrah Musica & Beluga Records) Lifted from ‘Talk Of The Town’ which is released in November, this lush slice of power pop is more of the same from The Speedways who can’t put a foot wrong when releasing records they love and believe in starting out as a vehicle for Matts songs they’ve grown into the finest purveyors of the genre in the UK and probably wider world with a steady line up that really compliment the songs and never fail to deliver the good. Instant and long-lasting they understand what it takes to write genuine top-notch tunes as you can tell from this retrotastic video.
No Fun At All – ‘See The Splendor’ (SBÄM Records) Coming on like a European Bad Religion No Fun At All see the splendor in taking on the Swedish Royal Family. This track is their second single off their upcoming album. Founded in 1991, split up and re-united over the years, the 2022 album will be the first album since 2018. SBÄM Records based in Austria is releasing their new album exclusively since they have already re-released “EPs Going Steady” in 2021.
The album “Seventh Wave” will be released exclusively via SBÄM Records on October 14th.
Soraia – ‘I Seek Fire’ (Wicked Cool Records) Upcoming Shows with Joan Jett and Tours With Josie Cotton and Hayley and The Crushers Announced for these exciting Philly rockers. They’ve also go ta pretty cool take on the Kiss classic ‘Strutter’ coming this month that you should check out.
The Slackers – ‘Second Best’ (Pirates Press Records) NYC ska vets The Slackers released their first album in six years, ‘Don’t Let the Sunlight Fool Ya’, and now they’ve got a new video for one of its songs, ‘Second Best’ It’s a dreamy groove and one of the album’s slower songs, and the video is an animated deal that was directed and illustrated by Paulo Rocker and animated and edited by Fabricio Timm.
The Prize – ‘Easy Way Out’ (Anti Fade Records) Second single from young Melbourne champs ahead of their September tour with The Chats. It’s classic ’70s punk/70’s power pop style, with killer dual male/female lead vocals, twin leads and skills that bands who’ve been at this game for many more years would kill for. The ‘Wrong Side Of Town’ EP that this is lifted from is a killer addition to your collection and one that we highly recommend you check out.
It bears comparisons to a mash-up of quality from the likes of The Boys, Thin Lizzy and the Flamin Groovies they’re all in there somewhere coursing through the veins of The Prize and there is a fire raging in their guts as well. Single of the month? Hell yeah!
Wax On Water – ‘Mexicola’ (Self Release) didn’t see this coming. Wax On Water cover QOTSA with their interpretation of ‘Mexicola’. The song is uniquely crafted by singer Maya Damaris to be a kind of ‘response’ to the protagonist in the original Josh Homme penned track Facebook
Paradise Alley – ‘Bad Timing And Silver Lining’ (Bombshell Records) Not content with releasing an excellent solo album Steve Vincent has got Paradise Alley in the studio for a four-track EP that shakes its shit from the off they ask if you dare close your eyes and be transported back – Hell, I can’t open my eyes from late night flashbacks from the early 90s and this slice of Rock n roll hits the spot with some nice gob iron honking from Steve on ‘Soho Daze’ the solo is straight outta Thunders guitar case for what makes a great opening tune.
To be fair this isn’t your bubblegum LA hairspray glam pop this is dirty fingernails sleazy late-night Rock n Roll its got silver-tipped cowboy boots on and staggering round Soho in some nice Chelsea boots vibe. ‘Backstabber’ sees the lyrics going for some rock n roll therapy sit back relax and let it all come out. ‘Walk Away’ introduces some acoustic strumming to add some variety to the EP and it works well with the gang vocals. Wrapping up this most enjoyable EP is the title track that’s the time and memorial hard lick story about exactly that Bad Timing and Silver Lining at least Steve has perspective and can look back fondly on what he did and not what he didn’t achieve. These songs are now out there forever and along with the other music released nobody can take that away from the boy. Take my advice and grab a copy and get the Thunderbird on ice. It’s only Rock and Roll but I love it! Buy Here
The Chevelles – ‘Something About You’ (Wicked Cool Records) Super cool garage rock from down under has a have love will travel vibe about it. the song is a slow burner that hangs on a cool garage rock vibe its got shades of Chesterfield kings about it and being on wicked cool shows exactly how good this is because the label doesn’t have duds amongst its ranks. Pick it up Here
Hell Diablo – ‘Push Comes To Shove’ (Self Release) OK so the name lacks originality but hey it’s just a name. You can imagine this foursome of Canadian reprobates get into mischief and love booze beer and birds Hell Yeah! they do. Fuck it I love a cliche who doesn’t? It’s got a dirty riff, tub-thumping and a freaking cowbell. It’s sleazy rock n roll kids don’t be afraid to throw them horns aloft and just enjoy it. I did. Hell Diablo – Nice. I like the piano hammering away and I love those Stonesy WooHoos. get on it! Lifted from the second album their upcoming album “Bad News Travels Fast” I bet it does. Bandcamp
Berlin has always been a Punk Rock n Roll City and it shows no sign of stopping post-pandemic with these new long players courtesy of punk n power pop n rollers Not The Ones. It’s not rocket science it’s a simple formula – just write top tunes and lay em down on a record and get a super cool label like Wanda to release them out into the wild.
To show how serious they are they’ve even recruited the services of power pop punk rock n roll legend Matt Dangerfield to turn in some Backing Vocals & guitars. It kicks off with the jangly ragged guitars in sprightly fashion as they take it ‘On The Chin’ which sort of sets the tone for what’s to come. Choppy guitar chords over a melodic pop song with a rhythm section that keeps surging on sounding like it could all fall apart at any moment and just nick off down the pub instead but it doesn’t – obviously. ‘Remote Control’ is possibly the finest example of this. Stabbing electric guitars over a punchy backbeat and melodic vocals.
It has a feeling of early 80s post-punk or New Wave as we used to call it. the charts always churned up some interesting tunes that would hang around for a lifetime inside our heads popping up every now and again ‘Out To Sea’ is a great reminder of this time period for me – it’s super catchy and feels like you’ve heard it before even though you know you haven’t.
The title track comes with added snot even with the quirky keyboard stab it’s a thrilling rip snorting white knuckle ride with great boozy gang vocals and then it just ends, great stuff. as the album lists from side to side spitting out tunes, it’s ‘Tightrope’ that kicks back and moves slower with a cool purposeful riff adding something different to most of this record. This only leaves ‘Let’s Go Psycho’ to close off the record which holds a candle for a Boys melody and is a fine way to end the record.
New wave, old wave, power pop, punk rock, who cares what label it has – Not The Ones dish up a sweet platter that matters – get on it kids it’s a good time on 33 1/3 revolutions per minute.
Indiana based thrash/death metallers Assimilator unleash their self-titled album on Sep 16th. Mixing up a myriad of influences ranging from Kreator to Deicide, the band delivers a pummelling nine tracks of metal fury. It’s not all death metal grunts and breakneck speed though, I can hear some doom influences too. The light and shade of the songs work well, the band have obviously tried to construct the songs in such a way that you don’t lose interest. The songs aren’t too long either, I really like the way that the album flows. I can even hear some NWOBHM influences, Angel Witch for sure.
The production is slightly too muddy for my taste but it’s more than adequate. The band are extremely talented musicians and delivers some blistering performances. There are lots of melodic moments too, with some fantastic guitar work. The band have shared stages with the likes of Suicidal Tendencies, Phil Anselmo and the Illegals and Obituary to name but a few. I’m sure they deliver the goods live.
All in all, a solid album, if you love your metal on the heavier side, check out Assimilator, you won’t be disappointed.
Eye eye what do we have here then? A new Eye-inspired release from Germany’s finest Berlin Blackouts. If you’ve not already seen it they have put together eleven Eye inspired tunes on this eye-catching new record. It’s twenty-five minutes of punk rock inspired by your peepers. splattered amongst the original tunes they have some right spectacles covered like the classic ‘Gary Gilmore’s Eyes’. but more eye-opening is their take on the ‘Dirty Dancing’ slushy pomp rock-lite that is ‘Hungry Eyes’.
So it’s not just a lame cover album, it’s not patchy either, the Blackouts deliver quality melodic power pop, punk rock and from the off, they dish it up from the punchy ‘Kubrick Eyes’. They then kick in with the sultry saxophone intro of ‘Hungry Eyes’ and you won’t be able to look away they’ve covered a tune perfectly. Sure it’s a huge melody overload and the Ramones-like chorus is simply delicious. Ten out of Ten for having the balls and for the interpretation. Nail, head, hit! Hell, when you’re on a roll why stop? ‘Bette Davis Eyes’ is tackled next and again it’s sublime in its delivery and interpretation.
They sound like it was the best of fun to have recording an album and speeding through ‘In The Eyes Of’ and ‘Eyes Of 84’ before smashing ‘Dead Dogs Dancing In Your Eyes’. The ebb and flow of the record is excellent and out there from the punk rock smashers to the pop-like bop n roll of ‘Doctor My Eyes’ taking us back to the ’70s and a pair of creepers with some teddy boy drapes for added authenticity this could and should be a leg up record to bigger and better things and radio bods should be all over this album filling the airwaves with these tunes.
I loved Radio Dead Ones and Berlin Blackouts are a fine post project I’ve gotten my beady eye on what the band were up to and have the records and this is the finest project the Blackouts have managed thus far and its great to hear they still have the chops to stay in the game and deliver excellent music. Take the plunge and check out these tunes and delve headfirst into the Berlin Blackouts they deserve it – They rock and love to make a spectacle of themselves and eye think this album can and will be enjoyed far and wide – get on it kids this album is a banger!
Born from the Red Bank of New Jersey, the early days of Monster Magnet were a cosmos away from the major-label, alternative rock boom that would suck the band into the shiny MTV world of the early to middle 90s. Originally formed by Dave Wyndorf, John McBain and Tim Cronin, Monster Magnet lysergic oozed into the world in 1989 with two demo tapes – ‘Forget About Life, I’m High On Dope’ and ‘I’m Stoned, What Ya Gonna Do About It?’ – making it perfectly clear from the start where they were coming from. This was a band revelling in bad trips and the death of the hippy dream with a Manson Family stare, playing squelchy lo-fi psychedelic music with a rabid punk rock sneer, like The Stooges terrorising Hawkwind at the most unpleasant free festival imaginable. There were tales of entire audiences at their gigs being spiked with LSD. It didn’t matter if this was true or not, it all added to the mystique. This was indeed a satanic drug thing, you wouldn’t understand.
Those two demos formed the base of what would become their pivotal ‘Spine Of God’ album from 1991 and the ’25…Tab’ EP, which featured the mesmerising 32-minute opus itself, ‘Tab’.
Long considered to be the true essence of Magnet’s early psychedelic voyages, ‘Tab’ is finally returning to earth’s stratosphere with the release of ‘Test Patterns: Vol.1’, available November 11th via God Unknown Records on 12” vinyl.
‘Test Patterns: Vol. 1’ features a 2021 remix of ‘Tab’ by John McBain, alongside the original demo, recorded in 1988 and then released on the aforementioned ‘Forget About Life, I’m High On Dope’ in 1989.
“When Magnet started, John and I worked in record stores in Red Bank and Dave worked in the comic bookstore and we made a lot of tapes for each other,” recalls Tim Cronin. “A lot of ‘check this shit out’ kind of stuff…Hawkwind, early UFO, Amon Duul, Can, Skullflower, Morgen, Loop, Crystalized Movements, early Alice Cooper, Walking Seeds, Butthole Surfers, Spacemen 3. When we recorded the first demo and got to TAB, we just beat the shit out of it until it became heavy, noisy, weird, mean and either too long or not long enough, depending on your mood. Everything we wanted in a song (at least everything I wanted in a song), punishingly psychedelic. Jersey Shore krautrock.”
‘Test Patterns: Vol. 1’ will be available in two 12” vinyl editions – a deluxe gatefold sleeve with acid blotter inner sleeve and a special Rough Trade Super Deluxe edition with gatefold sleeve, limited to 300 copies with 4 postcards, blotter inner sleeve, ‘orange sunshine’ coloured vinyl and alternative cover artwork.
The band Midnight’s alter ego tribute to Motörhead! is a 10-track monster. Midnight makes no apology for paying tribute to one of the greatest loud Rock and Roll bands ever. Think Bomber think Ace Of Spades think the classic trio of Kilmister, Taylor, and Clarke this could be the album they never made but should have.
If you’re on board with all things Midnight, and you know what a talent Athenar is then you’ll not have any doubt about how good this album is. With song titles like ‘Leatherbound Glory’, ‘Below The Law’ and ‘On The Loose’ you know where this is coming from. Its NWOBHM with bite, its denim nut huggers and leather gloves its stripped down and loud – fuckin lovely!
‘Thundercharger’ is the opener Charger wish they had in their arsenal. Riff hard recycle used old school riffs and middle eights the odd drum fill that you think you’ve heard before (you have) and always raise a fist and yell for Lemmy when you thump the four string low end make it distorted and punchy but always remember to Roll with your Rock. that’s Whitespade.
‘Below The Law’ is the tip of the hat that the classic Motorhead deserve its an absolute beast and proves that Athenar has the chops and has the suss to deliver this with a tonne of authenticity and make it sound essential listening like he’s invented Hard Rock.
There isn’t a bad track on here from front to back it’s a banger. ‘Fast Lane To Nowhere’ slows things down to a ‘Metropolis’ speed where the tempo is more of a groove and is a great tune in the middle of the set.
Of all the tracks ‘On The Loose’ is a familiar riff as is the riff of ‘The Strangler’ but that’s the deal it’s a tribute to how Motorhead used to do things back in the late 70s – God, it’s been a while over forty years, maybe the time is right for a resurgence of hard n heavy Rock n Roll and if this is the benchmark then bring it on. Let’s have a new Tank and Warfare push through. They did save the best til last but holy moly ‘Leatherbound Glory’ is the jewel in the crown an absolute stone-cold champion of a track from the lick to the breakdown all the way to those lyrics, Greasy and slick! fuckin right it is and Lemmy, Phil and Fast Eddy would all have got it and been touched with the tribute. Now don’t delay get over to Bandcamp and pick up a copy on whatever format is left.
Probably in a time when punk rock was still able to shock and could on occasion be seen as dangerous and offensive GG and Antiseen roamed American wastelands offending every pair of ears they came into contact with.
“Murder Junkies” was the seventh studio album by G.G. Allin and featured ANTiSEEN. It was GG Allin’s final studio album to be released during his lifetime, originally released in 1991. Jeff Clayton, lead singer of ANTiSEEN, has described this album as a mixed blessing. Although he is very happy with the way it turned out, he thinks that a lot of people got the impression that they are nothing more than a backing band for G.G. Allin. Clayton has stated that G.G. Allin was very professional during the recording of the album, and he wonders how much of G.G. Allin’s stage act was real and how much of it was “For The Marks”. Something I guess many people asked of the man.
Now, this album is being released for the first time as it was originally conceived, and it has been remastered in order to deliver the aggressive sound it was recorded with. From the opening chords and roll on the drums ‘Murder For The Mission’ bursts into venomous life. If you don’t know GG then look up his tumultuous life on youtube and be amused and repulsed in equal measures. There was a time however when he was a serious punk rocker and glam punk rocker and he actually made decent records when he put his twisted mind to it without all the circus hullaballoo that was GG Allin.
The sound is aggressive, raw and like a box of pissed-off snakes. Ten Tracks in the blink of an eye lurching from one thumper to the other ‘Stab Wound’ and ‘War In My Head’ rattle past towards ‘Violence Now’ which can never have too much cowbell.
I guess in a world where cancel culture and scrutiny of the arts are front and center maybe GG would never have survived even in the murky underground of Punk Rock, songs like ‘Rape, Torture, Terminate & Fuck’ would not have got past the sensors.
‘I Hate People’ probably sums up this release with self-destruction being the order of the day. I guess the image outshone the musicians at play and the cartoon character that was GG Allin definitely overshadowed the songwriter and when he actually put his mind to it could pen decent tunes. If you want to piss yourself and others off then get stuck into this slice of Scum Punk and remember to turn it up the neighbours three doors down might want to sample a touch of Murder Junkies.
The last few albums from Godfathers, I think it’s fair to say were absolute belters. Mainstay Godfather Peter Coyne assembled some fine musicians to hold high the legacy worthy of the band’s rich tapestry and history. Post pandemic and it all changed with a fresh raft of Godfathers to carry forward the sound and fury. Two former Heavy Drapes Billy Duncanson (drums) and Richie Simpson (guitar) alongside former Damned bass player Jon Priestley with guitarist Wayne Vermaak from The Great St Louis completing the lineup for this album.
Written and recorded during the course of the Covid pandemic, the album was produced by The Godfathers’ bassist (and former Damned member) Jon Priestley giving it a glossy yet unfussy production leaving the songs room to breathe and punch their weight. A new band can offer a new lease of life for bands who’ve existed for several decades not necessarily changing the direction but shifting lanes if you like and this is no exception. Adding an exciting, darker tone to the catalogue. ‘OCD’ borrows a riff and then proceeds to shake the foundations with a rock-solid tour de force. The chorus is simple and will get the heart rate up during live performances.
Coyne has said previously that you don’t have to like the artist to appreciate the art and constantly rotating the musicians might not endear him to many but you can’t deny the guy employs some fantastic players who buy into the music and from ‘Big Bad Beautiful Noise’, ‘Jukebox Fury’ and the superb live album ‘This Is War!’ the players brought the best out of Coyne and the tunes and I’m happy to report that this album follows suit with some very good songs being elevated by a band who gets the MO and buys into the attitude and delivers exactly what The name Godfathers legacy deserves.
‘Bring On The Sunshine’ eases you in rather than beating you over the head with volume and attack its got a cool effortless feel-good about it which is strange for Godfathers as I often feel like picking up a brick and launching it through a window but the chorus and the layers of BV’s works a treat. ‘You Gotta Wait’ is more like it from the power chords to Coyne’s spoken delivery this is what I was expecting. the chorus again is infectious before motoring back into the vverse. The rhythm is rock solid and powers the song leaving space for the guitars to weave an excellent tune.
Song titles like ‘I Hate The 21st Century’ is more like it and the jolting Clash-like melody twists towards the gang vocals that again add a texture that isn’t something I was expecting but works really well giving the song a commercial edge and a really good break down. ‘Midnight Rider’ has an arrangement and delivery that could be Iggy ‘Bla Bla Bla’ period or Bowie’s ‘Lodger’ even. Love those subtle backing vocals – whoo whoos! are always a winner. This is a commercial songwriting edge I wasn’t really expecting and am pleasantly surprised with it. The restraint shown on the playing is really good and works with the music and rather than just Rocking out (which I wouldn’t have complained about) holding back works in the song’s favour.
There is obviously a time and a place where turning the distortion up and just kicking out the jams works and that time is ‘Lay That Money Down’ where the production shines with a clear distorted guitar that hits the sweet spot whilst Billy hits that ride and drives this machine hard.
To be fair the more plays and the deeper you delve into the cuts the better this album gets. Giving some really great songs like ‘Tonight’ and the blistering ‘I’m Not Your Slave’ Hell, the acoustic ballad that is ‘There’s No Time’ is simple in its delivery and adds another texture to the flow of this record before we head into the home straight that is ‘Dead In Los Angeles’ with its brooding hazy delivery even manages something of a West coast feel to the backing vocals as the song twists and turns like the Hollywood Hills.
Closing the album is ‘I Despair’ with its Sonic Temple feel it’s a rocker that has plenty of punch from a band that is delivering throughout the album on every level. Individually these songs are as good as anything the Godfathers have delivered for the past thirty-plus years, worthy songs added to their impressive repertoire. Yet another impressive Godfathers album.
The self-styled kings of South Wales Action Rock are back. Two years after ‘Stole Your Rock N Roll’, Deathtraps release their fourth long player in October, but preorder now and you can dive in via Bandcamp. The previous album was a highlight of the confinement (lockdown) period in my adopted France, belting you round the ears in no uncertain terms.
And, even with the minor involvement of one Johnny H Bomb, the boys could not be persuaded into spandex and synths. Phew! No, it’s business as usual, with Veej supplying yet more addictive riffs. Some things don’t need changing. Fraser’s vocals occasionally wander into Lemmy territory, which is no bad thing, and ‘Let’s Kill Rock N Roll’ is the ideal opener. At just over two minutes long, Uncle Ginge would approve.
‘Red Eyes, Black Kisses’ rattles along, “I’m rooting for the bad guy”, while ‘What If Jesus’ wouldn’t be out of place for prime-era Turbonegro. Very nice. Eleven tracks of lean rock n roll, not a ballad in sight, but ‘Candy Darling’ changes the pace a little. An ode to the Warhol Factory legend; “she’s a bad boy”. As pop as Deathtraps are capable of being and very catchy.
‘Let It Burn’ and ‘Rip Em Off’ are back to their brutal side, with some nice Ron Asheton-style licks in there for good measure. ‘Press Darlings’ isn’t the Ant’s song of the same name, but has some sweet, melodic touches. ‘Too Much Is Never Enough’ is a suitably foot-on-the-floor song to end on.
Sharp, snappy, but with some satisfying, unexpected moments, the album passes by in a flash, and you’re pressing ‘play’ again. You want some quality Action Rock? Then Get it here. Get it now!
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