The Alarm – Sigma (21st Century Recordings)

The Alarm – Sigma (21st Century Recordings)

So another record of new(ish) music from Mike Peters and his new version of the Alarm hits the shops this week with a little help from a few of the people in his very impressive address book.  The album is connected to last years album that came out in two parts.  Confused you will be.  If you think you’ve heard some of these before then you’d be right as they’ve been around for a while and avid Alarm disciples will have heard a lot of these over the last few years.

Life isn’t as simple as a band writing enough songs for a record. They can write and record quickly and release music almost straight away through the many available platforms that now exist.  The MPO has always (since the original Alarm ceased to exist post Brixton) been ahead of the curve as far as independent cottage industries go. A personal touch that was different and exciting and it certainly helped keep in touch with the fan base, that hardcore that was always loyal to team Peters.  Today the MPO is a different beast altogether they’ve certainly grown and become a well-oiled machine and through sheer hard work have grown the Alarm name and managed to keep it relevant in an ever-changing industry.

Influenced by his well documented off-field tribulations Peters is a force of nature and his pursuit of making music is enduring and endearing – his passion for his art is second to none and has evolved as a writer, kept a few musicians close and having such talented players like Smiley and James Stevenson by his side Peters is still able to pen some really impressive Rock and Roll (although I do think the sound lack that punch that Craig Adams always brought to proceedings live and on record).

I’m glad Peters still writes new material but have to admit to not always being keen on his latter work I do own every single release he’s ever put out so I always find it difficult to write a review for an Alarm record, a band I’ve seen in many guises (well into triple numbers over the years). Call me a fanboy (I’m not bothered but can a guy in his 50s be a fanboy?) I can also admit when I find some of his lyric wordy and a bit cliched whilst at other times I find his lyrics uplifting and beautiful –  warm and sincere. At the end of the day he’s human and it would be a little odd if I liked everything he ever wrote and he got it right every time.

Well, ‘Sigma’ kicks off in fine fashion with ‘Blood Red Viral Black’ which features fellow coloursound comrade Billy Duffy (of the Cult parish) The song is a good opener and certainly benefits from Duffy’s fretwork  (I wish he’d write more song in this vein) I loved Coloursound and it worked really well.

Always dogged by the poundshop U2 tag something that really used to bug me, but, as I’ve got older there are certainly elements of Peters songwriting where their paths do cross. maybe ‘Brighter Than The Sun’ would be one such tune. ‘Time’ is classic modern Alarm and uses the familiar bass line that he got a lot of success with on songs like ‘Rain In The SummerTime’.  ‘Psalms’ begins with a simple ‘Stand By Me’ guitar strum on the acoustic and builds gently.

‘Equals’ has a guest spot from original Alarm member Dave Sharp that will please some. Then ‘Love and Understanding’ which sound familiar like ‘Strength’ for the Jet Age.  Is self-plagiarism a thing?  I do like ‘Prisoners’ and first impressions are it’s a little different.

As far as love songs go ‘Heroine’ is Peters hitting paydirt with some of his better lyrics and the way the song builds is excellent and its a song I’ve always liked. It sounds sincere and is one of the records shining lights.

Before the album signs off with ‘Two Rivers’, ‘Armageddon In The Morning’ is a bit of a throwback to Peters and his Poets days its a seven-minute journey that builds well and the acoustic and harmonica works really well with smileys rhythm. Again Peters touches on moments throughout his history (intentional or not but you can deffo sing ‘Blaze Of Glory’ over parts) and this one works really well and makes for a great song as it passes quickly.

‘Two Rivers’ is stripped back to piano-driven reprise, fans who’ve seen the band live will be familiar with this set closer but not in this form an excellent way to sign off ‘Sigma’.

I’m not sure how many new fans will buy into ‘Sigma’ and being so familiar with a lot of the songs I find it hard to call as a whole new new record (if you know what I mean) I guess ‘Sigma’ is the final part of a several year journey for The Peters family and something they found themselves working through.

I still believe and still wish all the best for The Alarm and would love them to grab some headlines for their music and work their way into a larger audiences heart, they still have the talent and that unwavering belief in what they do and I fully support that they’re not some nostalgia trip – they’re not one of those has been bands who can’t let go.  They make new music and by and large deliver time after time after time.  Doing things their way against the odds in the face of adversity that would have sunk most mortals.

Buy ‘Sigma’ and start a voyage of discovery and don’t be put off by the size of the back catalogue because there is so much on offer that is right up there with the best of em.  Go the Alarm

Buy Sigma Here

Author: Dom Daley

UK Subs – Subversions II (Cleopatra Records)

UK Subs – Subversions II (Cleopatra Records)

I’ll put my cards on the table here and admit that when I heard there was a new Subs album coming out I got excited then when I heard it was more covers I wasn’t too bothered. Subversions was a pretty decent effort and there were some great takes on there but, when I saw the tracklist for this I think I was half way through reading and I found I was reading through my fingers and gasping at some of the suggestions.  However, I have a varied taste and it would be boring if they happened to take on songs you would, or could, associate with the band. So I waited for my copy to arrive and would make my mind up yay or Nay after I’d heard the interpretations.

OK here goes, nothing ventured nothing gained I guess. First up is ‘Diversion’ and a jolly uptempo ditty it is too they give it a right good seeing to so I guess I can sit back and relax – for the time being.  Once again Pat Collier has done a sterling job on capturing the band and pulling out a fantastic live feel where everything is crystal clear and super vibrant.   I guess ‘White Light White Heat’ isn’t too much of a stretch and then that riff chimes in as they take on Led Zepplin and ‘Immigrants Song’ and if for hearing Alvin’s bass playing alone this is a resounding success.  Now I obviously know who Led Zepplin are and I have heard them many times before but I can’t say I’ve heard them covered by a punk rock band and sounding so good.  I often joke that Zepplin had a great drummer and a few tidy riffs I might be joking I might not but quite why they get so many column inches is baffling to me but this is one of their better tunes and this version is very well delivered and has exceptional qualities.

Joe Jacksons snappy ‘One More Time’ is afforded similar respect as the Subs do justice with a decent interpretation but it’s not as much of a stretch from the original. Vanilla Fudge ‘Season Of The Witch’ is up next and again kudos to Charlie’s vocals as the band really turn up a few stones to find songs to cover and take ownership of.  Put this one down as one I didn’t see coming but quite enjoyed, in fact, its the ones I was having the sweats over are turning out to be the ones I’m most impressed with.

OK so Alvin toured with Iggy and not the stooges so one of the more predictable covers and an absolute stone-cold classic and one you just knew they would slay and could never fuck up – obviously they don’t disappoint and knock it right out of the park.

Side two kicks off in style with a thunderous take on ‘This Is Rock And Roll’ originally from The Kids closely followed by a suitably sloppy ‘My Generation’ that gives the rhythm section of the Subs a chance to stretch their legs with some awesome solo breaks.  Take a bow Alvin and Jamie – sensational work. I bet nobody saw the Subs tip the hat to Tom Petty and the other Heartbreakers on ‘You Wreck Me’ and what a ball this one is.  As a band the Subs show just how versatile they can be and taking on a song like this and take ownership of the track is a real testament to just how good these boys are.

As we head into the home straight there are three big uns starting with the Neil Young anthem that is ‘Rockin In The Free World’ and rolling it round in the dirt and giving it some right yob treatment on the chorus is a joy to hear.  We know what the Subs are good at and this is them purring like an illite sports car – sure its easy to cover a song like this but you still have to do the right job on it and Straughan owns the solo by leaving it understated rather than running riot over it.  and the Riff is meaty which is nice. Great song great cover.  Now the song I feared most but to be fair the rest of the album is so bloody good I’m not bothered how ‘We Will Rock You Sounds’ but once the band stretch their legs and rock the shit out of it I’m chuffed to report that Charlie might not be Freddie he gives it a right seeing to. what was I worried about  The subs fuckin’ smash it so by the time ‘The Last Time’ chimes in I knew they’d do the Stones justice so finishing on a real high.  I can safely say that when anyone askes what does the Subs sound like doing Queen I can say without any irony or piss taking they do it very well and treat a cover with respect and a challenge check it out.  All thats left to say is I hope it’s not the Last time and there are more more more to come.  Long live the UK Subs. Buy it!

Buy subversions 2 Here

Author: Dom Daley

Pat Todd & The Rank Outsiders – The Past Came Calling (Hound Gawd Records)

Pat Todd & The Rank Outsiders – The Past Came Calling (Hound Gawd Records)

Pat Todd And The Rank Outsiders don’t make bad records.  Might as well get that out there from the start. So, ‘Past Came Calling’ is no exception then and I spose before I’d dropped the needle I knew this but that’s not going to make much sense to anyone as far as a review goes – I knew it was going to be choc-o-bloc with top tunes that followed the time honoured tradition of Rock and Rollers.  Dan Baird, Jason and the Scorchers, Dr. Feelgood and Rockpile to namedrop a few fellow participants in the fine art of Rock and Roll. Pat and his Rank outsiders do like to kick up a shitstorm that’s a given but there is more to them than just Rockin’ out.

From the opening drum roll of ‘If Only I Could  Fly Backwards In Time’ right through its rollicking verses and chorus to the cool as guitar lick that takes us back to the verse this is a quality opener that shows real intent.  Recorded loud to be played loud as all good time Rock and Roll should be at its unkempt best.  ‘The Ballad Of Crystal Valladares’ ain’t no Ballad though folks its a bad assed Rocker, built around a rolling guitar lick and some country-tinged melody played, it’s like the soundtrack to a getaway drive by.  There’s no flash sound tricks or auto-tune going on here it’s just the sound of a kick-ass band cutting it up in a sweaty studio knowing that with every song they capture a little bit more magic than the last take.

The recording sounds like Mellencamp when he turned up the Les Paul Jr on ‘Whenever We Wanted’.  With songs like ‘Run’ which sounds like they’ve been here before such is the comfortable nature of Todd’s songwriting, it’s classic in its arrangement and one of the best songs on the record.

Todd’s cowpunk roots come to the fore on ‘Down In Old Boerne’ with its acoustic guitar and honkin’ mouth organ. ‘The Ring The Bottle And The Gun’ is pure cowpunk as we position the hay bails as we pour the moonshine ready for the yea – haws!

With fourteen songs on offer and never a let up in the quality on offer its a no brainer if you’re considering picking up a copy of this record its impossible to be disappointed you go from the gob iron of ‘Had A Bad Night’ to the smooth laid back rhythm and blues of ‘any Other Way’ straight into the acoustic jam of ‘Idle Time’ whatever style Todd chooses to write in it’s of the highest order Now if The Supersuckers wrote an album this strong – people would be salivating over it.

‘Just Between You and Me’ is the sign off in the style of Ronnie Wood doing Dylan and it just dawned on me I’ve not mentioned How good Todd’s vocals are throughout -Oh I just have.  Pick it up –  do yourself a favour and whack up the volume you can thank me later.  ‘The Past Came Calling’ is very much in the moment but I wouldn’t sit on it just go pick it up.

Buy ‘The Past Came Calling’ Here

The Membranes What Nature Gives… Nature Takes Away (Cherry Red Records)

The Membranes What Nature Gives… Nature Takes Away (Cherry Red Records)

The Membranes release the heaviest album of the year so far.  Not heavy in the way of an Iron Maiden (obviously) but heavy as in dense physical mass as it lurches from the shade into the light and back again like a beast that’s bee in the wilderness for decades and then suddenly it wanders into the metropolis as the opener will testify covering everything about this record in one track.

The title track is Robbs punchy throbbing bass line right front and center in the mix is a heaving throwback to the days when Joy Division was kicking up dust over the Northwest. These aren’t rounded soft and pleasant noises the band is throwing out there. ‘A Murder Of Crows’ is like the bastard child of Bow Wow Wow as the song jerks and leers towards the listener in an uncomfortable noise yet its compelling enough to keep you listening.  Like some sort of musical cooperative if you want in just turn up and shake a tambourine or blow a horn I’m sure there’s someone hitting a kitchen sink in there somewhere along with throwing a piano down a flight of stairs.

There has to be a Bauhaus influence in there as ‘Black Is The Colour’ about the dark epicenter of winter bloody well sounds it.  Not what you might call TOTP material for a single unless its the post-apocalypse TOTP with a chaotic reverb emanating of Robbs jagged bass line it’s uncomfortable yet listenable and they’ve got the levels spot on.

this double album is an ambitious project and it’s often dark yet alluring uninviting and cold yet warm at the same time one thing it is for sure and that’s epic.  If you’re trying to take it in in one sitting then strap yourself in it might be a bumpy ride just listening to the Janes Addiction sounding chaos of ‘The 21 St Century Is Killing Me’ from its choir on the chorus to the juddering riff its a whole load of epic in one track. the final track ‘Pandoras Box’ is like a headfuck with Choirs, strings, thumping bass, Dead Kennedy’s riff, at times it sounds like a lost Stranglers track and others it sounds like a gift from above its exhausting listening but in a good way.

Another feature of this record is the guest list Kirk Brandon (Theatre of Hate, Spear of Destiny) and 84-year-old folk singer Shirley Collins.  TV presenter Chris Packham also contributes to ‘Winter’, also Jordan turns up, yes she of the Kings Road and a woman who practically invented the punk Rock shock look in 1975. Half the tracks also feature the 20-piece Choir.  So you can’t fault the band for trying to include the Jewson lot into this record besides it doesn’t always work but what the hell they’re trying and that’s a strength.  when it works its a beautiful thing I can’t tell you where it works that’s for you to decide but I would suggest you at least give this a try you never know it might reel you in.

 

The band must have driven themselves half round the bend recording this but I bet once they had the record in their hands and dropped the needle in that first groove they’ll feel it was all most definitely worth it.

 

Buy What Nature Give Here

Author: Dom Daley

As of today, ‘What Nature Gives … Nature Takes Away’ will be available on vinyl and CD, and digitally from stores such as iTunes and streaming platforms. There is also a deluxe double vinyl ultra limited edition of 150 copies.

This summer, cosmetics company Lush will also release a Membranes perfume called ‘A Strange Perfume’ after the album’s opening track. I bet you weren’t expecting that were you?

Tyla’s Dogs D’amour ‘A Graveyard of Empty Bottles MMXIX 30th Anniversary Edition’ (KingOutlaw)

Tyla’s Dogs D’amour ‘A Graveyard of Empty Bottles MMXIX 30th Anniversary Edition’ (KingOutlaw)

Remaking albums can often go spectacularly wrong as the artist often runs into a barrier that cannot be overcome- the nostalgia factor of fans. Following up the brilliant ‘In Vino Veritas,’ Tyla and his Dogs have unleashed a celebratory new version of ‘A Graveyard of Empty Bottles’ that will be my new go-to version of the album. I know there will be some that will think I have to be wrong as the original version was perfect back at the end of the 80’s. For you, I ask that you approach the album with an open mind and give it a listen. While Tyla also redid the album back in 2012, this version soars above it by essentially finishing what that one started. The 2012 version now sounds like a painting that wasn’t complete with Tyla saying as much in his notes about this penultimate version.

This album originally came with a note that these were ‘soft songs for hard people’ as they were all largely acoustic and the best unplugged album that ever existed. This version contains the same 13 songs that made up the 2012 version and did make me start wondering what people would think if the band had changed the running order. The vinyl version will contain the original 8 songs though which would have likely made it impractical to change the running order on the other platforms. Lead song ‘I Think It’s Love Again’ should have been a hit single back in the day and sounds as magical today as it did 30 years ago. An excellent production and mix allow every instrument to be heard with a nice bit of guitar by Gary added into the chorus here. Tyla sounds excellent and like he is having the time of his life. ‘So Once Was I’ slows the pace (as most of you already know) with the piano (by Scotty) being a nice addition to the darkness and serving as a great complement to the slow bluesy guitar licks. Some haunting backing vocals give the song some additional depth.

Picking up the pace with ‘Comfort of the Devil,’ the band hits an awesome groove with an excellent bass line by Matty given plenty of space to burrow into the brain. This was one of my favorites 30 years ago and has become even better over the years. Back on the 2012 version, I felt that ‘Saviour’ truly lost something in its incarnation there. The additional instrumentation here, especially the prevalence of the piano has created something very special as the pace is increased too. It has a very different feel from the original with it feeling more like a midtempo rock song than the ballad on the original. Simon’s drum work is outstanding, and it provides an outstanding close to the first third of the album.

Old school side 2 opener ’Errol Flynn’ has been a constant in the setlist and for good reason. This version burns nicely with the band in exquisite form. Another one that has been a fixture is ‘Bullet Proof Poet.’ This is another one where the added instrumentation is used to great effect. There is a haunting feeling to the music with the added piano and drums. This paean for Charles Bukowski contains some of my favorite lyrics by Tyla. He paints a portrait of this character with his words that makes him extremely real and relatable.

One of the biggest changes back in 2012 was on ‘When the Dream Has Gone’ which went from a short acoustic song, essentially a coda to ‘How Come It Never Rains’ into a full band song that almost doubled the length of the song. The 2012 version serves as the jumping off point here. Tyla sounds excellent, and the bass line by Matty remains as catchy and sharp as barbed wire. The spacing in the song helps it grow with the refrain from ‘How Come It Never Rains’ being an excellent reward for the listener. Original closer ‘Angel’ has been a constant on my Dogs and Tyla mix tapes and CDs over the years. While I really enjoyed the 2012 version, there is a charm with the original for me that it did not quite capture. The changes they have incorporated here bring back that charm though with aplomb. I cannot even imagine how many times I have listened to this song over the years. These first eight songs by themselves formed a classic album which has lost nothing in this awesome remake.

We received the added bonus of 5 additional songs back in 2012, and those same songs are also included as a bonus here. The piano based version of ‘Just an English Outlaw’ has been even further developed to create the penultimate studio version of the song. It branches out from the 2012 version at the first chorus when the drums and electric guitar make themselves heard. There is a depth to the mix here too that has found me hearing new things with each listen. The guitar work by Gary and Tyla compliments the song perfectly, and it maintains the momentum of ‘Angel.’ When the 2012 version was released, ‘Gone Are All the Angels’ was an immediate hit with me in this format. After hearing only an acoustic version for years, the full band version was a revelation. They have improved it even more here for my tastes. Tyla’s vocal performance sounds like it was lifted from the early ’90s or late ’80s. There is a positive energy in this band that just exudes out of the speaker. It was apparent on ‘In Vino Veritas’ and just as evident here. ‘Died Fore She Got Young’ could have easily got missed in the big shadow of the previous songs as the band slows the pace back down at the start of the song. The pace picks up nicely though as the song progresses. The electric guitar licks are well placed in the mix, and the hook in the song locks onto you like gum on your favorite shoes.

‘Stealing from the Devil’ provides an acoustic bluesy showcase and really serves as the curveball epic to the album. The band plays with a delicate touch that conjures images of dark deserted buildings with only hints of flickering candlelight. The backing vocal really helps take the song to a whole other level with how it is placed in the mix. The story in the lyrics reminds me of local Texas legend Ray Wylie Hubbard. In some ways, I am surprised they did not make this the closer of the album as it casts a very different feeling, but ‘Won’t You Let Go’ then feels like a sunrise coming over the ridge after a dark cold night. There is a tangible warmth in the music that soothes the soul and lets the listener know that things will be alright.

I am quite aware there will be a handful of people that will not take the time to listen to the album and cling to the original. The original is a classic album, but this version by the current Dogs is also a classic that does not copy the original. In some ways, this feels like the electric version of the album as it carries a bit more of an edge. The additional songs add essentially a side 3 to the record and can stand toe to toe with the original 8 songs. It is a special time in Dogs D’amour camp as these 4 gentlemen have amazing musical chemistry. I may need to find a way to change the rules I impose on myself around Album of the Year nominees….

‘A Graveyard of Empty Bottles MMXIX 30th Anniversary Edition’ is available Here   

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Author: Gerald Stansbury

 

 

Duff McKagan – Tenderness (UMC)

Duff McKagan – Tenderness (UMC)

 

There was always more to Duff McKagan than just being the punk dude bassist from Guns n’ Roses. That much was evident on ‘Believe In Me’, his first solo album, released way back in 1993.

That album was recorded on downtime during the massive ‘Use Your Illusions’ world tour. Similarly, ‘Tenderness’ was written and recorded during Guns recent ‘Not In This Lifetime’ world tour. The difference? 25 years of sobriety, 25 years of losing friends to addiction and depression, and 25 years of life experiences and raising a family in a world that is increasingly dangerous and more fucked up by the day.

 

As the title suggests, ‘Tenderness’ is a much more sombre and reflective body of work than anything Duff has ever recorded. Observations of life on the road during Guns world tour gave the inspiration, and musically, it’s stripped bare. A rootsy, rock record, more akin to Exile-era Stones than the sleazy, Sunset Strip that made the band (and the man) famous.

Hooking up with Shooter Jennings to produce and shape his first solo album since those hedonistic days was a masterstroke. Like he did a couple of years back with Leroy Virgil from Hellbound Glory (check out the marvelous ‘Pinball’ album), Shooter used his own backing band to help sprinkle Nashville style magic all over the album.

Now, this backing band is like a modern day version of The Band, proper cool cats. I saw them perform 2 sets in a night at The Whisky-A-Go-Go, one with Hellbound Glory and then another with Shooter. They will be doing the same on Duff’s forthcoming European tour. When this rhythm section of bassist Ted Russell Kamp and drummer Jamie Douglass get together with fiddle player Aubrey Richmond and John Schreffler Jr on guitar, some sort of magic happens. It’s no surprise they are Shooter’s go-to guys. He knows what sound he needs and they deliver.

 

The title track opens the album and sets the scene. “Blackened days, we’ve lost our way” sings Duff over Shooter’s haunting piano, it sets the scene for the next 45 minutes. The country-tinged arrangement is perfection and the sentiment delivered with sincerity. The sparse musicianship never overplayed, just enough in all the right places to accentuate the melodies and the vocals.

By the time the last chorus is played out, you already have the desire to gather the ones you love and sing along in unison. Moving stuff indeed.

The social commentary Duff is laying out is perfect for these trying times and it’s something we can all relate to. “Turn off the screen, take a long walk and meet your fellow man…it’s not too late’ he sings on the following ‘It’s Not Too Late’, delivered with sincerity over mournful pedal steel and heartfelt violins.

The juxtaposition of the sweet music and the honest lyricism is on point and Duff is not afraid to tackle any subject, from addiction and homelessness to school shootings and abuse. Take ‘Last September’, a hard-hitting, yet beautifully delivered countrified look at the ‘#metoo’ movement.  A lone acoustic breaks the silence like a ‘Nebraska’ outtake, before haunting, choral backing vocals join the lead vocals. Fragile, almost to the point of breaking. “She said no, he said yes, he held her down and choked her neck”. The hard-hitting lyrics are brutal and to the point, sung over laid-back, bare-bones Americana.

 

On a personal highlight, Shooter teases out Duff’s Johnny Thunders influences on ‘Wasted Heart’. The soaring vocals and sweet brass courtesy of The Suicide Horn Section (featuring Duff’s brother Matt McKagan on trombone) is sublime to these ears.

The hard-hitting ‘Parkland’ name-checks the schools affected by shootings and highlights the crazy US gun laws. It could have easily come across as being cheesy, but it’s handled in just the right way by someone who has bought up daughters in that environment. The more upbeat ‘Chip Away’ has a killer Rolling Stones vibe, as Duff drawls about smoking crack over Hammond organ, skiffle beats and handclaps that take us to church…divine.

Elsewhere, the hickey, hard luck story of ‘Breaking Rocks’ is brilliant in its simplicity. It fits the bill nicely, as Duff’s wavering vocals meet in a great duet with Shooter himself. Mental wah-wah guitars seal the deal. A song to sit on the porch and drink moonshine too.

The album closes with the reflective ‘Don’t Look Behind You’. Riding on acoustic and sparse accompaniment, before veering into almost lounge territory as the brass section are left to their own devices, with even a saxophone solo for good measure.

 

Duff McKagan has nothing to prove. He’s been there and done it all. He’s been (right next door) to hell and back and survived to become a better man. But every great musician needs to create and right now Duff has something to say and recording this album is the best thing he could’ve done.

For me, it’s as good as, if not better than Izzy’s Ju Ju Hounds, and it’s up there with Gilby’s ‘Pawnshop Guitars’.

As with past Guns n’ Roses members solo albums, ‘Tenderness’ will go largely unnoticed by the music buying (or streaming) public, which is a crying shame, as it is one of the finest releases this year and probably the best thing the man has put his name to since ‘Appetite For Destruction’.

Buy ‘Tenderness’ Here

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Author: Ben Hughes

 

D-A-D – ‘A Prayer For The Loud’ (AFM Records)

D-A-D – ‘A Prayer For The Loud’ (AFM Records)

Being together as a band for almost 40 years now – I guess it’s safe to say that D-A-D would have to be very comfortable in their own skins to have survived quite so long.
It’s hardly surprising then that ‘A Prayer For The Loud’ the band’s first new studio record in eight years is grounded in this ethos, the band having graduated from their humble Disneyland After Dark cow-punk beginnings into major label arena rock contenders who then, through their own hard work and helpyourselfishness, managed to survive the onset of grunge when most hard rockers perished through to eventually becoming the band they are today and have been since the release of ‘Everything Glows’ back in 2000. An album which coincidently not only saw the band change their name to D-A-D but also saw the band’s newest member Laust Sonne join the core trio of the band (singer/guitarist Jesper Binzer, bassist Stig Pedersen and guitarist Jacob Binzer) behind the drum kit.
So, what does almost two decades of being (this version of) D-A-D actually sound like?
Well, remember those days when new albums by the likes of Aerosmith and AC/DC used to leave you thrilled and wanting more? That’s instantly how I felt about ‘A Prayer For The Loud’, as both those hard rock giants sprung to mind during the first couple of spins, but of course this is always going to be a D-A-D record what with the instantly recognisable rich and raspy vocal tones of Jesper Binzer ever present and ready to strike.
Of the eleven new cuts on offer here at least nine of them are total bangers, pure four to the floor rock n roll music, with even glimpses of the mighty Gluecifer and The Cult (circa ‘Electric’/’Sonic Temple’) creeping into the mix during the simply immense ‘The Real Me’.

The album itself gets off to a blazing start with ‘Burning Star’ and the throbbing ‘A Prayer For The Loud’ and I challenge anyone to listen to either of these tracks and not draw an immediate arc back to the band’s commercial peak (here in the UK) of ‘No Fuel Left For The Pilgrims’ and ‘Riskin’ It All’, two albums that any connoisseur of quality guitar-driven rock music will have had in their collections for decades now.

Elsewhere with ‘Musical Chairs’ which crops up just past the halfway mark, the guys have written the song Airbourne have been searching for since they floundered for a sound to take them to the next level, whilst ‘Nothing Ever Changes’ and ‘The Sky Is Made Of Blues’ are the perfect soundtrack for top-down summer driving.

Of the two slower moments on ‘A Prayer For The Loud’ album closer ‘If The World Just’ is my preferred choice over ‘A Drug For The Heart’ purely because the latter sails a little too close to a certain Backyard Babies track for its own good, albeit with Jesper at the mic this is much more Aerosmith than Social Distortion ballad territory.

Kudos must also be given here to the production team of Nick Foss and Rune Nissen Petersen who have taken heavy hitters like ‘No Doubt About It’, ‘Time Is A Train’ and ‘Happy Days In Hell’ and given then an enormous sound that instantly fills your head with rock ‘n’ roll melodies that will live with you for days, no make that years, to come.
I’m not entirely sure why I’m so surprised by how amazing ‘A Prayer For The Loud’ is because D-A-D have always produced quality albums, it’s just this one is right up there with their very best work and is as a said at the beginning of this review the sound of a band very comfortable in their own skins.

Hands down this is the best classic/traditional (label it what you will) album I’ve heard in 2019.
BUY IT!!!!

Author: Johnny Hayward

Buy ‘A Prayer For The Loud’ Here

Alvin Gibbs – ‘Your Disobedient Servant’ get Blood Red Re-press

Alvin Gibbs – ‘Your Disobedient Servant’ get Blood Red Re-press

One of the albums of the year gets a re-press on Blood Red vinyl for those who missed out on the initial press.  RPM  reviewed it Here and we urge you not to sit on your hands a second time as this will sell out as the first run did.  Go Go Go!
Alvin says, “For all you vinyl junkies that missed out on obtaining my solo album ‘Your Disobedient Servant’ on 12 inch vinyl earlier this year due the initial 300 being sold out in short order, Time & Matter Records have manufactured a new batch of 300, this time on blood-red vinyl and minus the accompanying CD and download code. This release will, therefore, be sold at the lesser price of £17 (the first pressing was priced at £22) and can be ordered from this Here”

It features twelve songs written by yours truly and an array of very talented guest musicians that reads like this: Brian James – The Damned / Lords Of The New Church; Leigh Heggarty – Ruts DC; Mick Rossi – Slaughter & The Dogs; James Stevenson – Generation X / Chelsea / The Cult / The Alarm; Barry ‘Barrington’ Francis – The Saints; Timo Kaltio – Johnny Thunders band/Hanoi Rocks / Cheap ‘N’ Nasty; Mel Wesson – Keyboard player & Ambient music designer – TV Smith’s Explorers/The Verve ‘Bittersweet Symphony’ / U.K. Subs ‘Diminished Responsibility’ LP / Films Mission Impossible 2, Batman Begins, Hannibal etc; Steve Crittall – The Godfathers; Jamie Oliver – U.K. Subs.

“I would advise interested parties to get their orders in sharp to avoid what occurred last time, which was a lot of people missing out due to the speed that the original batch sold at. In fact it was due to so many people voicing their disappointment at not being able to get a vinyl copy in time that persuaded T & M Records to go with this colour-altered second run. For those of you that are not so disposed to a bit of vinyl, there is also a CD version of the album available from the same link. Ta! A x”

Amyl & The Sniffers – ‘Amyl & The Sniffers’ (Rough Trade Records)

Amyl & The Sniffers – ‘Amyl & The Sniffers’ (Rough Trade Records)

When I saw Aussie punks Amyl & The Sniffers live recently, singer Amy Taylor launched herself into an excited and sweaty pit to sing and mosh with her fans for the first of several times…the band had been on stage less than a minute.

Part Yolandi Visser, part Wendy O Williams, Amy Taylor is a tiny, platinum-haired Aussie whirlwind of fun. Along with her mullet sporting flatmates; Declan (guitars), Bryce (drums) and Gus (bass) whom she formed the band with back in 2016. They have steadily been making waves since writing, recording and releasing their debut EP in the space of 12 hours.

These waves have made it across continents since the vinyl release of their ‘Giddy Up/Big Attractions’ EP, culminating with the band recently touring the States and the UK to rave reviews and packed clubs.

 

They don’t fuck around when it comes to music and live they are a high-octane blast of energy guaranteed to incite riots. That riot-inciting attitude is captured perfectly on their debut, self-titled album.

Just look at that goddamn album artwork and tell me you don’t need a piece of that in your life right now? Imagine a mash of The Rezillos, The Dead Boys and X-Ray Spex covering The Breaking Glass soundtrack and you might get close to their sound.

No one is doing late 70’s punk right now with as much balls, as much energy and certainly with as much authenticity as Amyl & The Sniffers are.

 

‘Starfire 500’ is simply one of the best album openers of the year, what a track! It blasts from the speaker with a statement of intent, riding on some out-of-this-world  Ramones-a-like riff. In Sniffers terms it’s an epic beast; Amy’s distinctive, snotty vocals don’t even start until the 1 minute 30 mark.

It’s clear from the off that the band have taken things up a level and they have come a long way since that lo-fi debut EP. While the production has improved, the songs are still full of raw, undiluted garage rock goodness.

If Kylie had been mentored by GG Allin instead of Pete Waterman she would probably have come out with a song like ‘Gacked On Anger’, a furious diatribe set to a wall of fat distortion.

Previously released singles are present and correct. The brilliant ‘Cup Of Destiny’ has a hook that will embed itself in your brain instantly and album closer ‘Some Mutts (Can’t Be Muzzled)’ is like some anti ‘I Wanna Be Your Dog’. A “fuck you!” song to an ex about his new bird (or dog in this instance). Amy even throws in some choice “woof-woofs” for good measure.

The band bashes out 3 chord bangers like they were born to do it, with every track worthy of 7” release, like old school punk classics. ‘Monsoon Rock’ rides on a stabbing Dr. Feelgood style riff before descending into a power trip of Dead Boys proportions. The vocals spat with venom and the dirty guitars delivered with the power of a DC 10. The Stooges-like ‘Control’ is a chaotic, death trip jam, and ‘Angel’ is as close as the band gets to a love song…at least I think it’s a love song, but it sure ain’t no ballad, folks!

‘Got You’ sounds like an early Adam & The Ants b side. Riding on a rumbling bass line and a great chanting chorus, the lead vocals delivered with a most nonchalant punk rock attitude. The accompanying video features the boys in the band on leashes being walked by their singer. You gotta love it, and I have so much love for this tune right now.

 

Garage rock bands are two a penny, but Amyl and The Sniffers are the dirty penny you want to scrub up and keep for good. They have the tunes, the style and the attitude to match. They also have a growing fan base, a ferocious live reputation and now a killer album to boot. How can they possibly fail? An essential purchase.

Buy Amyl And The Sniffers Here

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Author: Ben Hughes