Kevin K & The Bowery Kats – ‘Rosewood’ (Vicious Kitten Records)

Kevin K & The Bowery Kats – ‘Rosewood’ (Vicious Kitten Records)

Kevin K returns in 2024 with ‘Rosewood’ – a ten-song collection to backdrop a world set with tension, AI advances and an ever-decreasing circle of real honest Rock n Rollas. That’s what the Double K and his record label want you to believe but it’s not as bad a picture as that intro might suggest, no sir. We at RPM know that it’s out there still kicking and screaming but it might be harder to find which is why we’re here and I guess why you’re still reading this here review.

Prolific Punk Rock n Roll lifer The Double K loves a Riff and ‘Rosewood’ has plenty throughout its ten tunes. Rockers, steeped in da blooze baby plus the quieter moments that find KK at his most reflective and openhearted. The format of bittersweet songs leaning heavily on his heroes such as Big Star, Johnny Thunders, the Replacements and the Stones are present and accounted for which is the staple of Kevin’s repertoire and thank God for that keeping on keeping on.

Double K has always kept close to his NYC roots and sung about his early formative years and those halcyon days are still his staple call it retro or nostalgia, for lifers like Kevin K it’s all he knows and the well can never run dry due to its rich past. The record is probably Kevin K at his best to be fair and sounding live is a real benefit for these songs no longer having to lean on a drum machine Kevin has embraced the modern world and on ‘Rosewood’ delivered a kick-ass record and captured what’s in his heart really well.

The opener ‘Sometime In The Rain’ has a great hook and melody and the wall of guitars sounds vibrant and alluring. Sure Johnny Thunders would approve but that’s the point. ‘What Will I Do’ is aggressive whilst ‘Last Train Home’ is more laid back but the rawness carries the song home. ‘Moving On’ has plenty of swing from the hypnotic riff and the fact that he resisted the temptation to rock out with the rest of the band is what makes it.

‘How I Feel’ is a really dirty Steve Jones kinda riff built around a Stooges groove. It might share a title with The aforementioned Stooges but ‘I Feel Alright’ comes out windmilling those riffs and one of the best tracks on offer here. There’s room for a loose take on ‘Brand New Cadillac’ and I do like the Thunders inspired guitar solo – very nice.

The album closes on the reflective ‘My Time Has Come And Gone’ and we’re done. The only acoustic song on the album and classic Kevin K, wrapping up a really impressive album from the man which only leaves me to say if you know Kevin K and like what he does then this is a no brainer and if you’re here for your first time then this will impress. always good to hear new music from Kevin K and smile at his cat-inspired artwork. head over to Bandcamp without paws and pick up a copy and act like you’re the cat who go the cream.

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Author: Dom Daley

Satanic Rites Of The Wildhearts & UK Tour announcement

Satanic Rites Of The Wildhearts & UK Tour announcement

THE Wildhearts announce brand new studio album – ‘Satanic Rites Of The Wildhearts’ on Snakefarm  

and Headline UK Tour March 2025

https://thewildhearts.tmstor.es/

The Wildhearts are proud to announce that their new studio album, ‘Satanic Rites Of The Wildhearts’, will be released in spring 2025.

The creatively brilliant Ginger Wildheart is arguably amongst the UK’s best and most prolific songwriters, and his band, The Wildhearts, have just signed a worldwide deal with Snakefarm / Integral.

“The songs were written during a period of transition, from extremely negative to positive. I realised how much control I have over my mental health, and the songs came from that understanding. There’s everything here – catchy choruses, proper fuck-off riffs, anger, frustration, acceptance and revelation, with plenty of insane detours. The album starts pessimistic and ends up like ‘Ah, so I CAN turn my life around?’

Sometimes you have to start from the very bottom, your darkest point. We have more control over our emotions than we think. We control the outcome by how we respond. Once I started learning that, the songs came pissing out. It’s a hard rock album for people who actually love hard rock! We’ll be taking a full evening’s entertainment on tour, kicking off with party-punks Dirt Box Disco, going to rock ‘n’ roll church with Jim Jones and being flayed alive with The Wildhearts. 

The party starts when the doors open, so get a buzz on and get down early. 

Come join the Wildhearts’ community gathering. We guarantee you’ll leave with the spirit of rock ‘n’ roll firmly restored.” – Ginger Wildheart 

‘Satanic Rites Of The Wildhearts’ was produced by Jim Pinder (Bring Me The Horizon, Lotus Eater, While She Sleeps, Bullet For My Valentine) and mixed by Jim Pinder and Carl Bown (Trivium, Machine Head, While She Sleeps, Bullet For My Valentine, Bring Me The Horizon, While She Sleeps). 

“The first album I A&R’d was ‘Earth vs The Wildhearts’. What a magnificent, game-changing record! What a baptism of fire!! Very quickly, it became clear what a rare talent Ginger was, and is; to my mind, one of the great British songwriters of the past 30 years, and this new record underlines that point. 

The conversation here was simple – let’s rejoin forces, let’s complete the circle, with an album forged in the spirit of ‘Earth vs…’, both in terms of the music and the overall intent, and let’s reference the title and that memorable front cover photo, too. Which is what we have; the start of an exciting new chapter in the story of a band who have always been defined by the desire of one man to write songs that soundtrack our lives; songs where – to quote Wildhearts fave ‘Nita Nito’ – rules do not apply.” – Dante Bonutto, Snakefarm 

To pre-order / pre save ‘Satanic Rites Of The Wildhearts’ go to: https://thewildhearts.tmstor.es/
‘Satanic Rites Of The Wildhearts’ will be available on ltd coloured vinyl LP, CD with exclusive bonus track and cassette. There is also an album test pressing (limited to 50, customised & signed by Ginger). Plus, a signed bonus CD EP, with all bundle offers.
To celebrate this release, The Wildhearts will be playing 8 headline UK shows in March, starting on March 7th at the Leadmill in Sheffield and concluding at the 1865 in Southampton on 16th March. 
For three decades, The Wildhearts have remained at the forefront of the UK rock scene, and their incendiary shows have cemented their reputation and legacy as one of the best band’s their homeland has produced, so miss these shows at your peril.

The Wildhearts UK Tour March 2025

07th  – Leadmill, Sheffield

08th – Junction, Cambridge

09th – 02 Ritz, Manchester

11th – Epic, Norwich

13th – Garage, Glasgow

14th – KK’s Steel Mill, Wolverhampton

15th – Rock City, Nottingham

16th – 1865, Southampton
Tickets for the tour go on general sale at 10am Friday 25 October and can be ordered here

Willie Dowling- ‘The Simpleton’ (self Release)

Willie Dowling- ‘The Simpleton’ (self Release)

From The Grip onwards, one thing you can guarantee is that every Willie Dowling project will be packed with quality tunes. Fast forward to 2024, after Honeycrack, The Sugar Plum Fairies, Jackdaw 4 and The Dowling Poole, this is Willie’s debut solo album.

‘Let Us Begin’ manages to meld a slick, Queen-tinged melody to Willie’s customary smart, caustic lyrics. “We knew this was coming for most of our lives. Nobody wins, the anarchist sighs…”.

And sometimes it seems that the weight of having a social conscience sits heavily on his shoulders.

He’s joked about the Jeff Lynne comparisons, but musically the talent is at least equal here, though Willie is like the pessimist searching for a reason to remain hopeful. Understandably, given the warped nature of the world. It would probably be easier if he didn’t care, but he really does.

The piano-driven songs are beautifully played, and, as ever, the musicians are of impeccable quality (Andy Lewis and Jon Poole on bass, Darby Todd on drums). ‘Long Drop Down’ describes the idiocy of the “I’m not racist, but” keyboard warriors and the gutter press, while the title track is like Billy Joel with a rage of social ire.

‘Sadie Goldman’ “writes a line upon the wall; half of nothing equals nothing much at all”. This and ‘The Cure’ will appeal to those of us who appreciate the songwriting of The Feeling. The cello of Jo Lewis also adds another level to the melancholy. Jon’s bass playing on ‘The Gravy Train’ is fantastic, obviously, and Dowling Poole fans will find a lot to love here, unsurprisingly. It almost makes me want to buy a fretless. Almost.

‘Down The Slide’ gets its teeth into the world of the red top press, to a classy groove. “Don’t you let the truth get in your way. A retraction, but the damage is done anyway”. ‘I Killed My Imaginary Friend’ would be at home on a Sparks album (that’s high praise, by the way), and ‘In The Ocean’ perhaps saves the best for last. Willie’s voice has never sounded so good. “Regrets, you ask, I’ve more than just a few. They’re leaking out from places I once hid from view…”

While there are elements of the aforementioned artists, no one else but Willie Dowling could have written these songs. I hope that The Man Who Cared Too Much (copyright M. Chamarette) can feel some satisfaction in what he’s crafted here.

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Author: Martin Chamarette

The Courettes – ‘The Soul OF The Fabulous Courettes’ (Damaged Goods Records)

The Courettes – ‘The Soul OF The Fabulous Courettes’ (Damaged Goods Records)

The album title pretty much describes exactly what’s inside the moody stylish artwork. the duo have been slogging their wears around the globe toilet circuit for years honing their craft to this point and have delivered the record they’ve been promising from day one. ‘The Soul Of… is a stunning wall of sound with its Cuban heel boots rooted in the good and the great of decades of Rock n Roll and have dragged it by the beehive into the 21st Century kicking and swaggering. From the subtle fuzz of the opener, ‘You Woo Me’ they nailed it from the sound to the melody to the delivery this is a peacock of an opener and played loudly it’s exhilarating stuff. From the floor tom thump to the BVs and that subtle homage to Spector Wall Of Sound it’s a high bar they’re setting.

The pop wheeze of ‘Clifornia’ and the addition of La La Brooks should have seen this as the feel-good hit of the summer. It’s sunshine on wax folks as the fuzz accompanied by those happy-go-lucky keys is a recipe of pure gold and then you have the melody rolling round the Los Angeles seafront. The album is a little less dirty Garage and more of the melody and emphasis on the song rather than the style but saying that it’s hard to see past the nostalgia of a bygone era but when it’s done this well why not go retro from the orchestrations to the handclaps and the well-placed fuzz they’ve absolutely nailed it. from Shangri Las’s to the Ronettes to more modern garage rock the White Stripes never sounded this classy ‘Here I Come’ sounds like it’s had a back alley dust up and the pairs knuckle duster came in handy. Love the shuffle on that snare.

they can seamlessly glide from the uptempo dance floor fillers to the dramatic balladeering-like ‘Don’t Wan’t you Back’ shows that Flavia and Martin Couri have got the chops to deliver this rock n roll malarky in whatever tempo they choose. they don’t spend too long on the slow numbers nor do they just get their groove on but ‘Shake!’ is infectious as is ‘Better With You’.

La La Brook is back for her encore on the smooth ‘Run Run Runaway’. Throughout this bakers dozen it could easily be single after single and bringing the curtain down on this Fabulous record is the haunting ‘For Your Love’ as the guitar shimmers accompanied by some strings before Martin joins in and adds some vocals alongside his shuffling beat. If you want to know how to do retro in the best possible way with class and style but not forgetting to write top tunes then The Fabulous Courettes are ready and waiting and bearing their soul for everyone to enjoy and where they go next is anyone guess, the world is their oyster. Get on it right now!

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Author: Dom Daley

The Hip Priests – ‘We Become Nothing’ (Self Release/Ghost Highway Records)

The Hip Priests – ‘We Become Nothing’ (Self Release/Ghost Highway Records)

The time has come to say goodbye as shit islands loudest, filthiest, hardest rockin motherfuckers bow out having kicked against the pricks for over a decade. They’ve always shown Zero Fucks and always done it on their own terms, be it the prolific single releases with Spasm Gang rewards, the Long Players full of promise being thrashed to death around the toilet circuit of the UK indie scene they have decided to call time and move on to pastures new but not before delivering what might just turn out to be the bands finest piece of work ever, and that’s not something I say lightly.

Having seen them live countless times and being SG member number two its fair to say I’ve been all over every single record these gents have put out on whatever format they chose and this one rages against the machine big time and if they didn’t give a single fuck on the way in they most certainly aren’t holding back on the way out. ‘We Become Nothing’ is a ten-inch EP full of rage and then some, showing the ones that followed that they can deliver every mother fucking time. From the off ‘If You Can’t Beat Us…Join Us’ is a full-bloodied, open-throttle banger from the riffage that you’ve come to expect from Ricket and Ben but the Rhythm in the engine room, holding the beast on the leash is thunderous. To his credit Von Cruz has hit his stride here delivering his finest performance one last TIME Saving the best til last it would seem – fist punching, hard rockin, beer spilling bile at its loudest best.

Turn up those speakers and let the guitars slash and hack with a wonderful riff, ‘All You Never Wanted’ is the opener turned up to eleven. Pure unadulterated fuck you punk rock with top lyrics to boot, ave it! Love the breakdown which sounds like it’s having its own breakdown as it fucks your head, fans will love this one and wonder why these boys aren’t massive. Love the wah overload of ‘Home Is Where The Hate Is’ as side one is brought to a shuddering halt but not before I almost spilt my Molotov Cocktail when Meryl Streek kicked in with the spoken words, fuckin glorious stuff and I wholeheartedly endorse every mother fuckin word of it!. Going out in a blaze of glory be fucked they’re burning down the whole house and neighbourhood with this one. Now go take five, chill, get some air and get back to that stereo for the second half.

‘Lose Those Chains’ is a slower more melodic beast with a big chorus (in Hip Priest terms) but built on a big groove. ‘Thicken My Skin’ is, of course, a banger, I love that thumping groove and the melody is carrying this fucker home. The message is right on the money with Von Cruz again delivering the goods. This only leaves ‘I Wanna Live (Like I’m Gonna Die)’ which is it folks, hold back the tears and draw breath it’s not quite a ballad but it’s probably the closest you’re going to get in Hip Priests world. With a truckload of emotion poured into the playing here it’s the one to finish the sets in November before the final fireworks are set off and the instruments are thrashed into a heaving pile of burning wood in the middle of the stage. That’s it kids the Hip Priests are done and dusted and they bow out in a spirit of defiance and middle digits aloft. God bless every stinking one of you and thanks for the memories it’s been a hell of a ride and almost every turn it’s been a pleasure and most certainly never a chore. Adios Amigos it’s been a pleasure and quite literally that all folks…See you in November. Buy It!

Buy it off the band or Ghost Highway but be quick there aren’t many left I believe.

Author: Dom Daley

The Libertines – Great Hall, Cardiff University. Cardiff – 07.10.24

The Libertines – Great Hall, Cardiff University. Cardiff – 07.10.24

Once again we gathered in the great hall at Cardiff University watching Dead Freight use their twenty-five minutes to good effect with a solid sound much the same as when we were here the last time The Libertines played at this venue and Dead Freight supported Then I wasn’t familiar with much of the set but again the band impressed with their full bloodied sound of indie post-punk with the set closer of ‘Bat Man’ being the band standout track and a great way to end their set for a nicely filling up room.

Now last time The Libertines played here it was a Saturday night. The venue was heaving from the get go but tonight it’s a more chilled-out Cardiff Uni possibly due to it being a School night. Still, there aren’t the same level of pissed young men throwing themselves about which is quite nice and there is a time and a place for such uncontrolled behaviours. It would seem tonight wasn’t the time or place however from the opening song Cardiff was in fine voice as the band took the stage looking match fit and sounding like they’ve been rearing to go for weeks and with the set list bedded in the band were sounding fantastic having road tested some of the new songs earlier on their club tour that was fantastic to see the band at close quarters again.

Kicking off with ‘The Delaney’ it was evident after the opening three or four songs the band were in no mood to fuck about and it was down to some serious rocking business and ‘What Became, ‘Boys In The Band’ and ‘What Katie Did’ their telepathic frontmanship weave was in sync as Doherty and Barât interchanged vocals and guitar parts with a majestic telepathy that is a sight to behold and tonight in rather fetching fedoras they looked every inch the been there seen it done it Roc n Rollas that they are and The Libertines 2024 are all the better for it. Tonight, when they only need a glance across the stage from one to the other, they work as one no words necessary, just that innate bit of magic that not every band possesses but the Libertines do.

Again it’s the rhythm section that pushes our six stringing pirates all the way with a thunderous energy that is often the overlooked force behind the Libertines, Gary often seeming like he has about three pairs of arms and John Hassall holding everything in place that enables the two swashbuckling frontmen the room to do what they do.

We get the usual suspects off the first two albums with the odd song off their third album thrown in for good measure but tonight the new songs off their magnificent ‘All Quiet’ album that lifts the set and sit perfectly in the set alongside fan favourites I might as well point out here that they played every song off ‘All Quiet’ with the exception of ‘Barons Claw’ which is quite remarkable yet not surprising such is the band’s confidence and belief in this new material.

From ‘Horrorshow’ to ‘Run Run Run’ which is greeted like an old friend, the main set is brought to an end with a goosebump rendition of ‘Can’t Stand Me Now’ and the foursome exit stage left to a well-deserved rapturous applause.

Of course they were going to return to the stage to a seven-song encore that began with a cosy gather around the ole Joanna as ‘Man With The Melody’unfolds before ‘Oh Shit’ cleared the head before ‘Gunga Din and ‘Last Post’ enabled a quick intake of breath before we head into the home straight and the ‘Time For Heroes’ before we get a loose run through ‘Songs They Never Play On The Radio’ before we get the familiar fireworks of ‘Don’t Look back Into The Sun’ and we’re done. Cardiff has once again been thoroughly entertained by one of the UK’s finest bands currently making new records and touring. Always a pleasure and never a chore if you get the chance I can’t recommend seeing The Libertines highly enough. Wonderful band and probably better than you would imagine trust me I know these things. Same time same place next year gents thank you very muchly, you beautiful, talented bastards.

Author: Dom Daley

The Hard Ons – I Like You A Lot Getting Older’ (Cheersquad Records & Tapes)

The Hard Ons – I Like You A Lot Getting Older’ (Cheersquad Records & Tapes)

Hot On The heels of ‘Ripper ’23’ Hard Ons are mining a rich seam of songs for sure. Sure it’s a mixed bag of punk rock from the super melodic title track through the twelve tracks on offer of this latest album. The single ‘Buzz Buzz Buzz’ is a guitar noodling masterclass and once it’s in your head it’s tough to shake it off. The melody and harmonies are like crack and then they leave you only to kick on with some hardcore fast as fuck rock to fuck with you a little more. These Days are Gone is like a sixty-second interlude of punk prog. The band entered their 40th year and this is this lineup’s third offering and they show no sign of wear and tear, nor of slowing down due to writer’s block or anything like that.

its not all fast punk rock mind they slow things right down and rock out on ‘Finders Fee’ and duel those guitar licks on ‘Getting Older’ with its gentler melody and those Cosby Stills Nash and Young harmonies work well.

They always sound like they’re having the best time playing and making records ‘Operation Lightening’ is solid and ‘Ride To The Station’ with its backing vocals from the off and weird train effects only magnifies the thought that Hard Ons have a ball when recording and don’t take themselves too seriously and why should they. Before they’re done there’s time to put the foot on the monitor and bang the old noggin and thrash out on ‘Doesn’t Look Like Me At All’ leaving the loose ‘Pushover’ to wind down this latest offering. I guess we’ll meet again in twelve months with another Hard Ons record which will be bulging with more top tunes in whatever style they choose and we’ll like it as much as this one and the ones before it. Another day another quality album that ebbs and flows really well on the many turns and shifts in pace but always overflowing with melodies and headfucks. Who doesn’t love a hard on?

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D-A-D – ‘Speed Of Darkness’ (Afm Records)

D-A-D – ‘Speed Of Darkness’ (Afm Records)

Those crazy Danes D-A-D celebrated 40 years in the business with a greatest hits album earlier this year, and not ones to rest on their laurels, they return with their 13th studio album, and it’s a double album entitled ‘Speed Of Darkness’.

While the glory days of ‘No Fuel Left For The Pilgrims’ and ‘Riskin It All’ are long gone, the band are still big hitters in their home country and are a phenomenal live band (which I can confirm, after witnessing them blow all the competition away at Hair Metal Heaven at Hull City Hall back in 2017. They have released consistently strong albums with pretty much the original line up (drummer Laust Sonne joined the band 25 years ago), and with 40 songs amassed prior to recording this album, D-A-D show no signs of slowing down just yet.

Opener ‘God Prays To Man’ has an AC/DC riff-heavy groove, vocalist Jesper Binzer’s unmistakable growl to the fore and a great production that separates the instruments to perfection. It’s a slow burner of an opener, but we appear to be back in business. Up next, lead single ‘1st,2nd & 3rd‘ raises the bar and the energy levels and leads to an early highlight in ‘The Ghost’. This is classic D-A-D to my ears. More laid back, with haunting effect-drenched guitars courtesy of Jacob Binzer. The immediate melody takes us back in time to ‘No Fuel’ era D-A-D. It builds nicely to a rousing, passionate chorus that hits in the feels.

I must say the crystal-clear production job from Nick Foss shines in the likes of the slower, melancholy songs. The likes of ‘Head Over Heels’ and the stunning album closer ‘I’m Still Here’ sound massive and overall there is a stadium rock feel to this album, like The Cult somewhere between ‘Electric’ and ‘Sonic Temple’.

There’s great dynamics and loud/quiet moments to the title track. A powerful riff reminiscent of King’s X at their finest, and a cool hook that buries deep in the brain.

Elsewhere on this 14-track affair, the radio friendly ‘Live By Fire’ shines brightly, a pumping fist in the air rocker with killer guitars and an anthemic chorus that instantly hits the spot. ‘Crazy Wings’ is both upbeat and balladic, here that trademark Tarantino-esque guitar tone from ‘Sleeping My Day Away’ rears its beautiful head for the solo, and the angelic backing vocals and acoustic guitars help elevate the song to another plane.

The more I listen, the more momenst jump out. ‘Keep That MF Down’ is a solid classic rocker, that sounds a bit generic at first but grows with repeated listens. ‘Everything Gone’ sounds like Velvet Revolver, which ain’t a bad thing, and ‘Automatic Survival’ is a stand out with solid riffage and a cool swaggering vocal that is slowly becoming a favourite album track for me.

For a rock band celebrating 40 years in the business, D-A-D sound remarkably fresh and invigorated, putting bands half their age to shame. If you thought they were done back in the early 90’s like the majority of their contemporaries, then you were wrong. D-A-D are a musical tour-de-force and ‘Speed Of Darkness’ is a trip from beginning to end.

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Author: Ben Hughes

SWISS GARAGE-PUNKS THE JACKETS RETURN WITH BRAND NEW ALBUM AND DATES!

SWISS GARAGE-PUNKS THE JACKETS RETURN WITH BRAND NEW ALBUM AND DATES!

The Jackets unleash Intuition—a bold fusion of raw power, artistic depth, charisma and authenticity that strikes beyond the garage rock mold! 

Swiss garage-punk powerhouses The Jackets are back with their explosive new album Intuition. Formed in Bern in 2007, The Jackets have become a fierce force in the global garage rock scene, electrifying stages at top festivals and clubs across Europe, America and beyond.

Known for their high-octane performances and raw, infectious sound, this female-fronted trio—Jack Torera on vocals and guitar, Chris Rosales on drums and Sam Schmidiger on bass—delivers a fresh, bold mix of ‘60s garage rock, punk and psychedelic vibes, all wrapped up in their unmistakably unique style.

With Intuition, the band’s fifth full-length, The Jackets push their signature sound to new heights: the 10-track LP is packed with raw power, infectious hooks and a playful versatility. Each song is its own universe, weaving poetic, profound lyrics through a vibrant mesh of Jackie’s snarling vocals and fuzzed-out guitar riffs, Samuel’s driving basslines, and Chris’s groovy drum-beats.

Intuition was recorded by none other than garage-rock legend Jim Diamond (known for his work with The Dirtbombs, The Sonics and The White Stripes) at Strawberry Studios in Bern, mixed by Diamond himself, and mastered by Adi Flück at Centraldubs.

The album’s eye-catching cover art—painted by Olaf Jens (USA/NL)—mirrors the band’s vibrant and artistic soul, a reflection of The Jackets’ immersive world of music, art, theatre, and film. As the band explains, “‘Intuition’ isn’t just a track on the album, it’s a core theme that pulses through our lyrics, our music, and how we live. It’s the tension between rationality and gut instinct that drives us creatively.”

Beyond music, The Jackets are multi-talented creators. Torera is an award-winning filmmaker, a performer and visual artist, Rosales is a writer and radio host, and Schmidiger is a theatre producer and musician. This artistic versatility bleeds into everything they do—from their captivating live shows to their striking music videos and album artwork – propelling them forward over the years, in the company of such respected labels as Subversiv, Soundflat, Voodoo Rhythm, their own Wild Noise imprint, and now Portugal’s celebrated Chaputa! Records.

 Set for release on 18 October on black or milky clear vinyl, Intuition is available to pre-order here.


Tour Dates!

Oct 17 – Firebird – Shinmatsudo, Chiba, JAP 

Oct 18 – Disk Union Instore Live, Tokyo, JAP 

Oct 19 – Halloween Ball, Shinjuku Loft – Tokyo, JAP 

Oct 22 – Top Beat Club – Tokyo, JAP 

Oct 23 – Pop Pizza – Kyoto, JAP 

Oct 24 – TBA – Kobe, JAP 

Oct 25 – Namba Mele – Osaka, JAP 

Oct 26 – Halloween Ball, Huck Finn – Nagoya, JAP 

Oct 30 – Casbah – San Diego, USA 

Oct 31 – The Dive Bar – Las Vegas, USA 

Nov 01 – Gold Diggers – Los Angeles, USA 

Nov 02 – Ivy Room – San Francisco, USA 

Nov 03 – Torch Club – Sacramento, USA 

Nov 05 – The Twilight – Portland, Oregon, USA 

Nov 06 – Freakout Fest, Belltown Yacht Club – Seattle, USA 

Nov 07 – Freakout Fest, The Sunset – Seattle, USA 

Nov 08 – Freakout Fest, Tractor Tavern – Seattle, USA 

Nov 28 – Blau, Mannheim, D 

Nov 29 – Le Botanique, Brüssel, BE 

Dec 06 – Ecurie, Geneva, CH 

Dec 18 – Rössli, Reitschule, Bern, CH

https://linktr.ee/thejackets

THE JACKETS: Intuition LP

Johny And The Dead Girls – ‘The Need For Speed’ (Self Release)

Johny And The Dead Girls – ‘The Need For Speed’ (Self Release)

Kicking off in the 70s I’m already smirking and then ‘Sex And Drugs’ kicks in and my gums hurt from knawing at them in time with the kick drum and the lick on Johnys guitar. The opening headfuck of ‘Sex And Drugs’ is part Hanoi part Buzzcocks and part Motorhead and if that isn’t a good place to be then you’ve opened the wrong page. This is an adrenaline rush high octane trip and I always look forward to what Johny is releasing be it Kopek Millionaires or whatever guise it’s always right up my Strasse but this one hits the bullseye.

the songs hit hard n fast and are always wrapped in a great big hook n melody wrapped in some suitably sandpaper n whisky vocals but there are handclaps and a swagger that punk n roll needs to pull it off and Johny gets that and it pours out of the speakers like a pint of red Thunderbird with a Watneys chaser.

With a cheeky wink ‘Suck It And See’ is in your face whereas ‘Animal Attraction’ could have been the best track on the Yo Yos album. The production is crisp and in your face which suits the music it sounds vital and exciting but the one thing that stands out is it’s all about the art of songwriting and delivering an authentic slice of punk n roll and on that subject, its mission accomplished no doubt about it. There’s even a fitting run through the Subs classic ‘Limo Life’ that Johny takes ownership of giving it a twist and showing the guy bleeds rock n roll. if that’s not enough punk rock for you then get in the pit for ‘Masturbation Sensation’ in all its premature sub-40 seconds wham bang thank you mam. The album gets his head down and revs its engine for the closing songs as we get a cheeky run through ‘Talk Dirty To Me’ no we do and why the fuck not? Subs and Poison on the same record it all makes perfect sense in 2024.

I am not sure of the need for speed but I am adamant about the need for Johny And The Dead Girls in your life. It’s loud, it’s fast, it’s rock n roll baby and I fuckin like it! so will you. Long live the Dead Girls they rock like fuck! Buy IT!

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Author: Dom Daley