The third vinyl installment of Bob Mould’s career-covering Distortion boxset series – this time covering 2008-2019 – alongside a series of Best Of compilations, all of which land Apr 16th on Demon.
The main vinyl box being announced includes: 2008’s District Line, 2009’s Life and Times, 2012’s Silver Age, 2014’s Beauty & Ruin, 2016’s Patch the Sky and 2019’s Sunshine Rock covering a particularly fruitful and resurgent period for Bob in which he penned some of his most beloved records. Alongside them is a bonus LP which features Bob’s collaborations with Foo Fighters and Butch Walker and his 2019 Buzzcocks cover single ‘I Don’t Mind’, as well as a 28-page booklet featuring liner notes by journalist Keith Cameron, contributions from J Mascis and Shirley Manson, lyrics and memorabilia.
DISTORTION: THE BEST OF 1989-2019 2LP, 2CD, 4CD + DIGITAL ALSO OUT APR 16th ON DEMON
On April 16th, 2021, Demon Music Group will continue their year-long Bob Mould reissue campaign with Distortion: 2008-2019, the third of four vinyl boxsets chronicling the solo career of the legendary American musician. It follows hot on the heels of October’s 8LP Distortion: 1989-1995 boxset, which took in Mould’s early solo outings as well as his records with the much-beloved Sugar, January’s 9LP Distortion: 1996-2007 boxset continuing through the next steps in Mould’s solo career and his outings as LoudBomb and Blowoff, and the 24CD Distortion: 1989-2019 box, which covers the entirety of his post-Hüsker Dü output.
Distortion: 2008-2019 follows Mould through a number of standout records that include some of his most celebrated work – collected here are District Line (2008), Life and Times (2009), Silver Age (2012), Beauty & Ruin (2014), Patch the Sky (2016) and Sunshine Rock (2019), as well as a bonus disc Distortion Plus: 2008-2019, which features Mould’s collaborations with Foo Fighters and Butch Walker plus the 2019 single ‘I Don’t Mind‘. It comes pressed on clear vinyl with an etched B-side.
Meanwhile, also seeing release on April 16th via Demon are 2LP, 2CD and 4CD Distortion: The Best of 1989-2019 compilations – the first career-spanning compilations of Mould’s solo recordings, all of which were compiled by the man himself. Gathering 24 tracks (2LP), 32 tracks (2CD) and 73 tracks (4CD) respectively, the sets collect the cream of the main Distortion boxes and offer a fascinating glimpse of a musician at the vanguard of his field for over four decades. The 2CD edition also includes a 16-page booklet with a new essay by Cameron and artwork by Marchner, while the 4CD version comes with a 32-page companion that includes all of the above alongside a foreword by Fred Armisen and contributions from Richard Thompson, Bethany Cosentino and Shirley Manson. Both compilations will also be available digitally via all DSPs and iTunes. The audio on the Best Ofs has been mastered by Jeff Lipton and Maria Rice at Peerless Mastering in Boston.
“It’s called Distortion because it describes the music and it fits the world we live in,” says Mould of the boxsets. “In this new age, everybody shares their life in real time. But I’m not done yet. If I didn’t have a constantly active career, this anthology might feel like the proverbial dirt landing on top of my coffin — though somehow I seem to be able to crawl my way out of the dirt every time!”
As Cameron offers:
“In 1989, Bob Mould was already a renowned figure, thanks to his trailblazing work with Hüsker Dü: the Minneapolis trio which refracted ’60s pop melody through the discord of hardcore punk, creating a new language that Pixies and Nirvana would subsequently teach the world to sing. With his debut solo album Workbook, however, Bob Mould amazed his audience with its pastoral beauty and contemplative tone.
“It would be the first in an ongoing series of artistic transformations, each profoundly shaped by Mould’s sensitivity to his environment. In 1992, he formed Sugar, a band whose debut album Copper Blue earned both critical plaudits and a long overdue popular dividend. Just three years later, with Sugar at its commercial peak, Mould ended the band and made a self-titled solo record mapping the most nakedly personal path down a road already hallmarked by unsparing self-expression. He shocked then confounded fans by announcing his retirement from rock music in 1998 and re-emerging in the new century as an experimental electronica artist and successful DJ, whose club night Blowoff became a phenomenon across the US. By the end of the ’00s, Mould had found a harmonious accommodation between his musical selves, and in 2012 released the catalytic Silver Age, made with his latest power trio configuration, and heralding a resurgent decade. A succession of albums up to 2019’s Sunshine Rock followed, each one a real time/real life distillation of fearless artistic vision and a master craftsman’s skill.”
Discover more about the boxsets including full tracklistings and FAQs: Here
The 7LP Distortion: 2008-2019 boxset and Distortion: The Best of 1989-2019 2LP, 2CD and 4CD compilations are all released Apr 16th, 2021, via Demon Music Group. The 24CD Distortion: 1989-2019, 8LP Distortion: 1989-1995 and 9LP Distortion: 1996-2007 boxsets are all available now.
Montreal-based good time rock ‘n’ rollers Dangereens came to my attention late last year by chance, on an Amazon playlist. I don’t even remember the song that made my ears prick up, I just remember looking at my phone, clocking the band name and praying I remembered it by the time I got home. I did, I listened to everything they had released that night and purchased their debut album ‘Tough Luck’ without a second thought.
Two singles and an EP released digitally, plus this 12-track album are all we have so far, but that will do me for now. But hell, I still don’t get how these boys slipped under our radar!
Led by singer/songwriter Hugo Chartrand, this 5-piece combo take us back to a time when hair was long, trousers were flared and doctors smoked as much as rock stars! It’s a cool mash-up of foot stompin’, 70’s glam, honky-tonk boogies, and garage rock n’ roll. If I were to throw band names in your direction, then I’d have to say this is prime Hanoi Rocks meets The Georgia Satellites, Jammin’ in a smoky bar with The Rolling Stones. Yes, it’s that good bruthas and sistas!
They got the look too. Skinny frames wrapped in skinny jeans; microphone stands draped in scarves and guitars slung from the knees. I mean, just look at the cover art…. that’s rock n’ roll debauchery right there, and I’m glad to say Dangereens sound as good as they look.
Opener and first single ‘Streets Of Doom’ is a frantic, fuzzy blast of energy. Full of sonically seductive licks, cool as you like Keef styled riffs and Hugo Chartrand’s laid-back drawl. It’s all held together by a pumping rhythm section. This band plays it like they mean it for sure.
‘Thieves’ melds the cool of New York punk with the edginess of UK punk and adds the danger of prime Guns n’ Roses. An ace mid-section takes the song to a different place for a moment before going off on a solo section to finish.
In every song, there are little snatches of stuff you know you’ve heard before, but can’t quite place. It’s like Dangereens are teasing you their influences one bar at a time and goading you into guessing. And if you do guess, they’ll just play it harder and faster and deliver you another winner.
The chorus in ‘Twelve Below Zero’ is familiar and that riff in ‘Love Jive’ is pilfered for sure. I can literally hear the singer snigger as he teases another line.
The boogie-woogie blues cuts are mighty and memorable. In ‘Hearse Driving Blonde’ they have captured the Englishness of mid 70’s Radio 1, I absolutely love this! The honky-tonk vibes of ‘Microwave Boogie’ sits well, channeling The Faces to perfection. And ‘Catpurse Blues’ is Joe Jackson jamming with The Stones, glorious power-pop with more doo-wops that you can shake a tambourine at.
Yet, Dangereens save their ace in the hole to sign things off. ‘(Bye Bye) Little Uptown Girl’ is a killer album closer. It’s got sax appeal and a tinkling of the ivories. It’s got killer backing vocals and a face-melting solo to boot. And the first time you hear it, it will sound like it’s been in your brain forever…and maybe it has.
It’s weird, but these songs sound like they’ve always been in my collection, and that my friends is the sign of a future classic album. Not since Scandinavian legends, Diamond Dogs has any band channeled this style of rock n’ roll so well, and for that, I commend Dangereens in all that they do.
In an ideal world, this band would be destined for greatness. Who knows what the future holds for rock n’ roll, but one thing’s for sure, ‘Tough Luck’ is the finest debut album I’ve heard in a very long time. Don’t let Canada’s finest new export slip under your radar!
On the story behind ‘Déjà Vu, Hamilton explains: “being in love, and in a relationship is a lot like a dance… and you need a good dance partner to be successful. When you’re with the right person, whether things are good or bad, having a sense of ‘I’ve been here before, and I know what this person wants/needs’ is an important thing to have. That’s what this song is about. It’s about that ‘dance’, and being able to weather the proverbial storm in a relationship.”
Boasting more hooks than a pirate convention, evoking the feel of classic Weezer thrown into a blender with the Killers, Déjà Vu instantly has the feeling of a song that will prove a live favourite, once in-person shows become a thing again.
Accompanying the new song, Hamilton sports a dizzying array of looks in his new video, some oddly unsettling, some downright hilarious. “Firstly, I’ve never had more fun making a video,” he says. “I wanted to portray different people from different walks of life, and love… But I don’t think I was quite ready for the level of ridiculousness. Haha. But, sometimes you just gotta embrace the fun. I think this is my favorite video I’ve ever made.”
Using present-day recording techniques over the internet, 1221 sees Hamilton continue to collaborate with UK-based producer Dave Draper. The pair recorded Hamilton’s solo EP of Country covers, ‘Communique’, during the very first lockdown of 2020, in isolation on two separate continents. Communique proved to be a winning formula, scoring Hamilton his first iTunes No. 1, a feat repeated with his subsequent release with the Harlequin Ghosts, ‘Nowhere To Go But Everywhere’, an album that also scored high on multiple Official UK Charts.
Hinting at what future 1221 releases have in store, Hamilton teases, “I am LOVING the diversity, and freedom of this ‘1221’ project. I’ve been in touch with some of my favorite music friends, and I’m excited to let folks know about upcoming collaborations. But, I better not say anything just yet.”
Until then, let’s experience a little Déjà Vu.
Each monthly ‘1221’ track will be released digitally across all regular platforms for download and streaming via Stevie Van Zandt’s ‘Wicked Cool Label.
With high profile tours and two well-received albums under their studded leather belts, Scottish rockers The Almighty found themselves at the pinnacle of the UK rock scene in the early ’90s. Not a week would go by without singer Ricky Warwick’s face peering moodily from the pages of Kerrang! or Metal Hammer. Leather jackets would be emblazoned with their skull & death wings logo at gigs, and hell, they even opened proceedings at Donington Monsters Of Rock ‘92. Their brand of dirty, biker rock n’ roll crossed rock genres and their shows would attract as many Poison t-shirts as it would Motorhead and Metallica.
But times they were a changin’ by the early ’90s, and the sound coming from Seattle was making waves across the world. An extensive tour with the up-and-coming Alice In Chains would inspire the band and take them in a heavier direction. Replacing original guitarist Tantrum with former Alice Cooper guitarist Pete Friesen would also mark a big change to the band’s sound and direction for album number 3.
With the onset of Grunge and having now found a new writing partner in Pete Friesen, Ricky Warwick and the boys relocated to a remote farm in Wales to write. Pete’s use of drop d tuning would inspire new ideas and a heavier sound that would take the band away from their punk roots.
‘The Almighty’s 3rd album ‘Powertrippin’ was released in April 1993 to rave reviews and would be their most successful release, reaching number 5 in the UK album charts. The first single ‘Addiction’ is the perfect example of where the band was heading. The one thing I remember from first hearing it is how heavy they sounded and how different the production values were compared to previous albums. Listening back now, to me those first two albums sound dated and ‘of their time’ (as many 80’s rock albums now do due to that drum sound). Whereas ‘Powertrippin’ sounds…. massive! This is due in part to producer Mark Dodson who obviously pushed the band hard in the studio and got the most out of them.
Don’t get me wrong, I love those first two albums, they had some great songs on there for sure, but to me, The Almighty had now come of age and morphed into the band I wanted them to be. ‘Powertrippin’ has a heavier, edgier sound that is more in tune with the times, yet still retains killer melodies and catchy anthemic choruses.
The following two singles continued the theme. ‘Over The Edge’ with its instantly familiar picked riff and gargantuan, anthemic chorus is pure The Almighty, a full-force, rock machine. Whereas ‘Out Of Season’ is a more subdued, moody affair that nods its head to what was coming out of Seattle, in particular Alice In Chains. ‘Sick and Wired’ could’ve been a single and the emotive ‘Jesus Loves You, But I Don’t’ surely should’ve been one. The title track is full of tribal beats and killer riffs, and that cool, effortless riff in ‘Instinct’ still gets me every time. Elsewhere, ‘Eye To Eye’ is a punchy closer, up there with the best. I can safely say there isn’t a bad track on ‘Powertrippin’ and it still sounds as fresh and vibrant today as it did in 1993.
Now of course, as this is a Cherry Red release, it’s been given the deluxe treatment. A bonus disc choc-a-bloc with rarities and curiosities from the era, makes this a worthwhile purchase for diehards and occasional fans alike. CD2 is a 16-track affair consisting of b sides, live tracks and demos. Most fans will probably have these tracks already, but it’s still great to have them collected in one pretty package.
Live tracks and covers versions from the ‘Liveblood’ EP are present and correct, including Neil Young’s ‘Fuckin Up’, The Sex Pistols ‘Bodies’ and their excellent version of ‘In A Rut’. Single b sides ‘Insomnia’ and ‘Blind’ are welcome additions and an acoustic version of ‘Hell To Pay’ sounds fantastic.
The demos are interesting as well, in that they show the progression of the songs from writing to finished product. ‘Out Of Season’ sounds like a completely different song in demo form, and is a great example of what a good producer can do for a band.
Also worth noting is the inclusion of ‘Soul Destruction’, the title track of the band’s second album, that was never actually recorded, so the inclusion of the previously unavailable demo is a nice throwback.
With extensive liner notes from the band and Malcome Dome, this 2-disc edition is a must have for fans of The Almighty and the perfect companion to the forthcoming ‘Welcome To Defiance (1994-2001)’ box set also available on Cherry Red records.
For me, ‘Powertrippin’ is the highlight of the band’s career, an album that came at a time when rock music was going through changes. Brit Rock was on the horizon, and with the likes of Terrorvision and The Wildhearts in the charts, the UK rock scene was very healthy and exciting. While The Almighty continued with a run of strong albums, I feel ‘Powertrippin’ remains a testament to how great and how powerful they were at the height of their career.
I have been fortunate enough here to be gifted with the task of reviewing the third album by Sydney noise-rockers Zeahorse. I feel like a broken record, but every alt-rock/punk tinged Australian act coming through of late has been a winner. In scope of exports, I hope the government nail down these sorts of trade deals to ensure it doesn’t dry up.
Leading track ‘Designer Smiles’ kicks in like a Steve Albini wet dream, an excellent distorted marriage of bass and guitar leaning towards Mclusky with some crossover appeal for rock radio while still maintaining the band’s dirgey ferocity.
As the album rolls out, the scope of the band’s sound develops greatly sounding fuzzier and with some great psych moments like the Butthole Surfers without the self-indulgent tendencies that plague their back catalogue.
Midway through the album, track ‘Cut The Slack’ reveals yet further dimensions, the whole track is melody led but with a seedy underbelly thanks in part to the killer bass line. The vocals on display here like a sleazy crooning Black Francis which is absolutely fantastic, ’90s tinged plaid shirt technicolour.
The album is very short and sweet, so quick-paced it takes you by surprise when it comes crashing down on the last track ‘Don’t Laugh’. Sounding like one of the more guitar-led numbers from Primal Scream’s ‘XTRMNTR’ with the added appeal of the jangling lead guitar lines akin to Lee Renaldo.
Zeahorse showcases a loyal depiction of a ’90s alternative rock sound but does so while also making ground on developing their own signature attributes. By all means, give these guys a listen to relive your glory days of the “Seattle Sound” etc. But you will be more than pleasantly surprised when you discover the original ways that our new friends are delivering this familiar formula.
Ed of Ed Banger & The Nosebleeds fame is something of a Manchester legend and with a history that embraced the first wave of punk via the Pistols at the Lesser Free Trade Hall. grew up listening to the likes of Bowie, Bolan, and all the glamour and glitz of the ’70s glam rock titans the UK had to offer along with the likes of Mott The Hoople and Suzi Quatro it would seem.
This album is indeed a homage to all things glittering and glamourous and if you’re looking for a feel-good album or just a little tickle of a feather boa of an album that might just tickle your fancy, If your answer is Hell Yeah! then this is very much what you’ve been looking for. Get you’re groove on and head on down to devil gate drive kids because the spiders might not be here but Edweena Banger is. From the first few chords of the excellent glam stomper that is ‘Getting High’ with a melody that reminds me of a bit of ‘Breaking The Law’ if Halford had embraced his glam side the melodies are certainly similar as they lead into the chorus. (That might just be me who knows?) it a great opener with energy and laying our your marker straight off.
Anyway, as the album unfolds it gets its jig on from the twelve-bar romp of ‘Wam Bam Thank You Mam’ and the lighter ‘Long Live The Queen’. Taking on all band roles Edweena does indeed embrace the trashy DIY punk feel especially on songs like ‘LLTQ’ with its drum machine timings but the energy of the more rockin’ numbers glosses over any of the rough edges. ‘Be Who You Wanna Be’ sends out a great message as does the Bowierific ‘Do You Know What I Mean’.
I just love the reminiscing of ‘Beautiful People’. It’s got the spirit of Mott The Hoople and Bolan – Hell, It’s got that true spirit of the British ’70s rock and roll with glamour and dirt coursing through the veins of this song and written and performed by a true believer. Whichever way you look at it it’s a glorious tune. So from track one through to twelve, this is a real feel-good factor of a recording. It’s glamtastic god damn it, with some really joyful tunes and some great playing as well ‘Diamonds On Tenth Avenue’ is guaranteed to put a big fat smile across your boat race, and to be fair to Edweena spending a pandemic lockdown pulling all this together is a fantastic achievement and one you should be proud of its a great piece of work from start to finish now excuse me whilst I go dust myself down and pull up my sequinned strides I’m gonna dance like its 1975 again. Check this out you might just fall in Love L-U-V!
Check out the brand new video from Dead Horse It’s for a radio edit version of their track ‘Creeper’, taken from their debut EP
Another brand new tune is this right banger from the fantastic Drippers. Live at the tilt they perform their latest single ‘Stuck With You’
finishing off is shit islands finest The Hip Priests ‘ Ain’t Ever Gonna Die Again’ taken from their last split with the mighty Supersuckers ahead of the new one they split with The Good The Bad And The Zugly. Get an eye full of this banger
Nick Hughes is a true modern-day guitar slinger. You might have seen him perform with the Yo Yo’s, Role models, Love Zombies, or in more recent years the incredible Duncan Reid and the Bigheads.
Now is the time that Nick has decided to step out on his own and bring his songwriting talents to the masses with his band The Middlenight Men and their debut album titled ‘Issue #1’.
“Rat Star” kicks off this impressive debut and it’s just a great slice of power-pop-punk with a great riff and a chorus that instantly lodges into the listener’s brain box.
“B.A. Baby” is another great melodic rocker guaranteed to get the listener jumping around and the lyrics, let’s just say, they give us an insightful look into Nick’s personal life.
‘You (getting over)’ is a song about lost love but with its uplifting melody, it is another fantastic track.
Now this reviewer likes to have a favourite track and ‘Heroine Heights’ is this albums top of the pops. With an album as good as this it’s hard to pick a standout we all like lists and categories (it helps make the world go round) but this epic slice of pop genius is a sure-fire winner. With a driving riff and some crashing drums, it is a real foot stomper. (Also, check out the epic video you will not be disappointed)
Pushing ‘Heroine Heights’ closely is ‘Prison of love’ another strong track with a driving rhythm that keeps the album flowing with quality.
‘Extro Intro’ slows the pace down a bit but it’s a truly beautiful song with some heartfelt lyrics and a gorgeous melody.
“We all need help before tomorrow” is a pop song on steroids and is a banger of a tune. ‘They’ll be the ones’ is a monster of a track with a sharp – brutal riff and with added brass shows Nick likes to shake things up as well as show off his talents as a multi-instrumentalist. It also shows the important quality of having a great chorus.
“Budapest Brawler” also fits in perfectly with the high quality of everything that has gone before it maintaining the flow really well.
Bringing this impressive album to a close is ‘Sleep’ and what a track to finish. With its stunning piano intro that leads the way into a truly beautiful guitar melody, it’s the perfect statement with which to finish the album.
As debut albums go I can safely say that Nick Hughes should take a bow, he has created a classic power pop rock album that will reward the listener with each repeated listen and has maintained the quality throughout, with each song brimming with stunning melodies and infectious choruses that will keep you going back for more, more, more.
Sick Thoughts – ‘Poor Boys’ b/w ‘Drug Rock’ (Goodbye Boozy Records) Punk as fuck! ‘Poor Boys’ is a roller coaster ride of buzzsaw guitar riffs that are sharp and in yer face and a guitar solo that would rival Angus Young at his best. Sick Thoughts’ massive discography – easily amassing to 20-something records is as impressive as it looks for this one man band and if you’re looking for sleazy, spit-riddled punk rock ‘n’ roll then my work here is done. Awesome adrenaline rush Punk Rock and Roll. BUY THE RECORD: Bandcamp Here / Big cartel Here
The Hip Priests / The Good The Bad And The Zugly – Split (Fysisk format) ‘Can’t Abide With Me’ is offered up to the Gods Of Rock and Roll from the champions of the 7″ single The Hip Priests. But this is no ordinary 7″ for it is a split with those Loons from Scandinavia who offer up the equally good ‘Going Postal’.
It’s been a while but having The Hip Priests deliver a single is when you know we can do this and the world is in a good (bad) place. I think Von Cruz speaks for us all in these fucked up times. When bands do split releases then The Hip Priests are a sure-fire benchmark of quality releasing new tunes every time and usually better than the last. Teaming up with Zugly for what will be a must-own collectors nugget of the future as both bands deliver absolute bangers. the single of the Week? The single of the Fuckin’ month more like – snooze you lose. Pick it up via The Spasm Gang if you join that is or from the label Here Or Bandcamp from the Zuglys Here
Jackson Reid Briggs & The Heaters – Been Waiting’ (Legless) When a band is getting released on LEgless such is their reputation for delivering top notch Rock N Roll it’s a no brainer we’re going to dig deep. Never heard of them until now but this Melbourne punk rock band have got a right earworm on their hands. IT buries itself in and like an attitude-drenched Fall track it takes a few plays to take hold but once in it’s safe to investigate further see what else they offer. Exactly what a single supposed to do right? Right! Buy Here
Indonesian Junk – ‘One More Try’ (Rum Bar Records) Taken from the forthcoming new album ‘Living In A Nightmare’ due out March 19th on Rum Bar Records CDs & Spiderbite Records Vinyl LPs & Digital!! Its power pop with some rocking guitars and sharp lyrics from Indonesian Junks songsmith Daniel James, for added inspiration they’ve recruited the awesome friend and member of the family, the one and only Kurt Baker who brings some additional vocals.
It’s got a great hook and chartable melody yet from these glam-punks, who have now added a fourth member. Guitarist Adam Turetzky gives it some welly on ‘One More Try’.
If there was such a thing as decent chart music this would be it. You know the drill it’s Indonesian Junk they write great tunes and this is another one and a brief taster of what’s to come on the new album and it’s on Rum Bar Records what else do you need to know. Gedoutta here and check it out.
Killer Ken – ‘Sonic Love’ / ‘Narrow Mind’ (Pig Baby Records) Wow! Love this bad boy, this is the sleaziest, dirtiest slice of protopunk I’ve heard in a long long time. They’ve obviously done a deal with the devil and summoned up the soul of The Stooges and MC5 and thrown it in the pot with some fucked up blues and beautifully chaotic Rock n Roll added a dash of The Cramps for good measure and Kerpow! ‘Sonic Love’ and the epic Dolls strut ‘n’ stomp of ‘Narrow Mind’, It come flying outta the speakers to steal your heart away and stomp you in the trash for good measure. It’s a real blast and a pair of tracks that we fuckin’ love, after some diggin’ off the back of their first EP, these cats and The Cavemen are injecting some excitement back into the Garage Punk Rock n Roll sound. It’s off the wall and sonically awesome – Buy this record or forever miss the boat. Bandcamp / Facebook
Eddie Mooney & The Grave – ‘Telephones’ (still-unbeatable-records) ‘Telephones’ has just been released digitally at the start of this month. Later this year there will also be a vinyl release together with another unreleased track from 1979. This one has been buried since the late ’70s and is a snappy melodic slice of power pop from Manchesters Eddie Mooney.
KOMBI KILLERS – ‘Don’t Start’ (Riot Records) Brisbane’s Old School Punk Rockers KOMBI KILLERS are set to release their new single Don’t Start via Riot Records on February 22nd. It is a classic punk anthem that delivers just the right amount of original old school punk attitude that will no doubt satisfy the most rabid Punk fan. Influences of Anit-Nowere League, Sex Pistols, GBH and The Misfitsecho throughout the track. With the Whealdstone Raider offering up the intro there’s only one place this quick steppin punk anthem is going. Shouty in yer face punk rock ave it!
Don’t Start – When everyday life gets in the way ‘Don’t Start!’
Pre-order/save Don’t Start HERE
Johny Skullknuckles – ‘Happier Days’ (self Release) A dreamy acoustic number as some ode to lockdown after lockdown and the inept Government that tried to be populist over saving lives and Skullknuckles hits the nail on the head. Sad but true and another essential song for you to invest in from the talented Johny Skullknuckles. Pick it up Here
Slander Tongue – ‘Ride’ (Slovenly Records) Berlin’s greasy glam stompers SLANDER TONGUE reenter the frey with a stonking 7″ of rock’n’roll with loud guitars and a great groove (not a million miles away from a certain mr Gilespie and his Primal Scream dish up).
It’s unfortunate that 2021’s first fist-shaking anthem has to be about screaming at one’s own walls, but here we are: “Now it’s May and I should be far away, But I do the same thing as yesterday, This shit goes all year long, And I keep playing that song.“ At least they managed to squeeze these two bangers out while stuck at home, and fortunately not stuck in a rut! Pick it up Here
Rest Easy – ‘Sick Day EP’ (Mutant League Records)Rest Easy is a newly formed punk rock band from Vancouver, consisting of members of Daggermouth and Shook Ones. This here four-track is rapid in your face punk rock. It’s got that thumping snare snap with the clicky bass and they’re fond of the in yer face screaming melodic vocals. The songs are short sharp and to the point. there isn’t really time for solos as such and all four tunes are over before you can get too comfortable. Decent effort especially when played loud! Remind me of Taking back Sunday at times Try the video for ‘Bad Idea’ which as it goes is a top video and the more I hear the songs the more I enjoyed them.
Psst, want some free Rock and Roll that I guarantee will help make the lockdowns go quicker and put a smile on yer face. don’t thank me thank Malibu Lou over at Rum Bar Records.
If it ain’t Rum Bar Records it ain’t worth the shot. Vol. 2
“FREE” yes, FREE bandcamp label sampler, pouring on tap today!!
Saddle on up to the stool and get your very OWN copy
Loaded with… 30 Big Hits
Featuring, in no particular order of awesomeness:
Brad Marino, Hayley and the Crushers, Indonesian Junk, The Nuclears, Travis Ramin (of Natalie Sweet Band, The Short Fuses, Tina & the Total Babes, Nikki and the Corvettes, Beebe Gallini), Electraluxx, French Girls, The Laissez Fairs, Curt Florczak (of B-Movie Rats, The Hi-End), The Cheap Cassettes, The Lemon Drop Gang, The Black Cheers, Nana, Heatwaves, Freddie Dilevi, Cromm Fallon, Pavid Verman, Classic Ruins, Stop Calling Me Frank, Jay Allen and the Archcriminals, Beebe Gallini, Marc Platt, Eric Alesi and The Laissez Fairs, Muck and the Mires, A Bunch of Jerks, Gallows Birds, The Short Fuses, Idolizers, The Hi-End & Watts
Garage, Punk, Glam, Greaser, Hard Rock, Power-Pop, Intoxicating Psychedelic, Heartland-Punk, Blue Collar Pub Rock, Poolside Glitter Trash,, tune in, turn on and soak it up!!
If it ain’t Rum Bar Records it ain’t worth the shot. Vol. 2 ‘FREE Bandcamp Download’ Winter 2021 Sampler from the Rum Bar Records Family including: new releases, unreleased material, catalogue, upcoming projects, and more.
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