It is a remake of the “Hip To Be Square” scene from American Psycho in which Emily puts herself in the place of the axe-wielding Patrick Bateman.

 

It’s such a glossy track that sounds sort of like Mazzy Starr meets Nick Cave & Patti Smith. It was produced by Stew Jackson of Massive Attack and comes from Emily’s new album ‘Rituals’ which is due out on September 6th on Sugar Shack Records.

 

She’s also had BBC 6 Music and Radio X airplay recently as well as some great press acclaim so far.

The third single from forthcoming Emily Breeze album Rituals (Out September 6th) is a shimmering indie pop anthem entitled “Work”. The glossy sonic exterior and radio friendly chorus act as a foil for the ice cold cynicism and pitch black humour of the lyrics which were inspired by Patrick Bateman (American Psycho) and Emily’s own experiences of hauling herself out of bed every morning to make a pointless profit for somebody else.

 

The video for the single re-enacts the American Psycho “Hip To Be Square” scene with axe-wielding Emily taking the place of Patrick Bateman. The refrain ‘I’m dead inside’ repeats amidst washed out guitar noise as we’re left with Emily covered in blood, her victim laid out on the floor.

Emily’s first two singles “Limousines” and “Ego Death” received airplay from Radio X, BBC Introducing in the West, Tom Robinson (BBC Radio 6) and led to Emily being described as “Nancy Sinatra on Ketamine” (Louder than War) and “a 21st Century Patti Smith” (Tom Robinson BBC Radio 6).

Produced by Bristol luminary Stew Jackson writer, producer for Massive Attack, who has also worked with Tom Waits, Patti Smith and Nick Cave and performed by Emily’s Stellar Band of Rob Norbury (lead guitar), Andy Sutor (drums), Graham Dalzell (bass) and Duncan Fleming (keys/synth), “Work” is the soundtrack to the world gradually falling apart in an absurd state of late capitalism, insurmountable admin, antidepressants and unreachable targets.

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I’ve been a huge fan of Ricky Warwick for a long time and have enjoyed whatever music he has put out whether it’s the loud punk-metal of The Almighty or his storytelling solo albums and what we now come to know the great rock’n’roll of the Black Star Riders.

On the first trio of the Black Star riders albums, the songs have been largely co-written by Ricky and guitarists Damon Johnson and the legend that is guitar slinger Scott Gorham.

So it was a surprise when it was let known that Damon Johnson was moving on to pastures new and that the vacant guitar player slot was being filled by Christian Matrucci who is guitarist of Stone Sour and also to my delight I have discovered he has had various bands of his own over the years which I have found too have released top draw music but the question is  would he gell with Black Star Riders.

Fear, not Christian has not only fitted in but the music is all the better for it.

Starting off this new album titled “Another State Of Grace” we have the track “Tonight The Moonlight Let Me Down” and immediately the ears are treated to a great guitar riff and Ricky’s trademark gruff vocal. Scott and Christian’s guitar mesh together beautifully to create a great rock’n’roll sound and we even have some saxophone added into the mix which fits in perfectly.

On track two we get the song “Another State Of Grace” which was the first song to be released as a single and this song has a big Celtic sound to it with a backing chant of “hey” being shouted which really makes the track stand out.

Up next we have “Ain’t The End Of The World” which is the second single to be released and this track has what I would call the classic Thin Lizzy sound with Scott Gorham’s trademark guitar all over it yet has a freshness that while takes you back to the glory days of Thin Lizzy it also shows how the Black star riders are very much their own band with their own identity.

“Underneath The Afterglow” starts off with a great classic rock guitar riff with a great vocal by Ricky and what strikes me is how Christian’s backing vocals go together so well with Ricky’s that you would think they have been in a band together for years.

“Soldier In The Ghetto” is up next and this track adds a funky intro before relaxing back into a great Black Star riders chorus and shows a band that’s not afraid to mix things up a bit but when they do they do it well.

“Why Do You Love Your Guns” slows the pace down a bit with a beautifully crafted acoustic guitar intro before a crunchy electric guitar riff is introduced to build the song up and a great passionate vocal by Ricky makes this track another winner.

Next up we have “Standing In The Line Of Fire” and this track picks the pace back up with some pounding drums and driving bass and a shredding guitar solo that makes this a great rock song.

“What Will It Take?” is another track which features acoustic guitar mixed with electric to add to a song with great harmonies. Also, we have some great female backing vocals which yet again add another dimension to the Black star riders sound.

“In The Shadow Of The War Machine” is a awesome rocker of a track with some real biting guitar and lyrics that describe the troubled times we are living in yet even though this is a serious song it still has the great harmonies and an uplifting chorus that I hope to hear live on the upcoming tour.

Finishing off the album is the track “Poisoned Heart” and this is how an album should be finished off and that is with style with Ricky’s soaring vocals backed with great backing vocals from Christian and great all-round work from the rest of the band making sure this album goes out with a bang.

Overall words are hard to describe how great this album is because every song on here is a sure-fire crowd-pleaser with no weak tracks or filler to be heard anywhere.

This is a great album that on repeated listens is an album that will keep on giving and in this reviewer’s opinion is Black Star Riders finest work to date.

Buy ‘Another State Of Grace’ Here

Author: Gareth ‘Hotshot’ Hooper

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party music for the demise of the human race.  Hold onto that happy thought that came from one of this dynamic duo who once kidnapped a fleet of execs and subjected them to their world vision and immediately had every tom dick and harry begging to sign them which in this day and age is no easy task.  they have friends in high places as Space produces Idles and his able co-pilot Vibes are behind this headfuck slice of rock and roll.

The pair have absorbed their journey (and what a journey its been thus far) and poured every last drop into their music its fascinating – often compelling but never boring ‘ Never Not Nothing’ is what it is and maybe you should tune in turn on and drop out the Black Futures have go tit going on and from the opening heave of ‘Body & Soul’ it an intriguing journey as the pair involve their special guests such as Bobby Gillespie (no surprise that the Futures would collaborate with him there are large parts of the Screams in what Black Futures do.  A really impressive opener engages the listener as you move a little closer to the speakers (but not too close mind it could be dangerous)

Its like a headfuck of Suicide meets primal Scream meets Prodigy meets a heap of other influences that pile in when you least expect them to. Industrial electro-punks, krautrock, wooshing synths and wild vocals its got Idles danger and unpredictability a plenty on ‘Gutters’. whereas ‘Karma You Dig’ lulls you into a false sense of security before kicking you swiftly between the legs as it builds with menace.

‘Love’ could be Nine Inch Nails and to be fair there is a lot of Trent influence happening but its mixed with some of the more experimental Bowie if I might be so bold. ‘Trance’ will play with your head but then so much of this will do that to be fair.

 

I’m not sure how long I will play this album but when it’s playing I really enjoyed its uncontrollable edginess songs like ‘youthman’ would sound amazing live either in a huge field or in the tight confines of a small club.  Interesting album and enjoyable it has to be said. some really bleak sounds mixed with some really warm songs it will fuck with your senses and that’s always good fun.

 

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Author: Dom Daley

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So who’s doin’ the ragged Americana these days?  Gaslight Anthem went on hiatus Paul Westerberg has vanished outta sight I don’t know whos hitting the right notes and whos got that ragged guitar-driven story tellin’ Rock and Roll thing goin’ on?  the Hold Steady it would seem still like to turn up the amps, they still like to rock out they still haven’t gone full country or joined the balladeer circuit (well they might have individually but as a unit) these cats still make a noise.

Opener ‘Denver Haircut’ is just a great little uptempo story about the guy n gal next door but it’s done through a clean marshall amp and sounds mighty fine.  ‘You Did Good Kid’ is like Eels but louder or Waits with a better, less damaged voice.  Its got a lot of music going on under the storytelling with keyboards being hit and horn being honked damn there’s even tubular bells being struck if I’m not mistaken.  If Bruce hit writer’s block I know a band he could work with who would get him and what he does perfectly without becoming the E Street Band but no doubt were influenced by him especially on ‘Traditional Village’.

Finn is up there with the likes of Nick Cave for captivating an audience with his take on life and just scratching around surviving and the guy next door or down the street something someone like Mellencamp use to own. ‘Entitlement Crew’ is a class example of this whilst ‘T-Shirt Tux’ is like Costello when he started out with his Attractions.

The quality is maintained to the bitter end through the Lou Reed guitar clash of ‘Star 18’ and closing proceedings off with the jaunty ‘Confusion In The Marketplace’ I guess it is what it is and an album I was looking forward to picking up because I felt I trusted Finn and the band to just deliver a stone wall solid record and that’s just what I’ve got.  Whist its not going to change the world for half an hour it’ll make it a much brighter place and I love that.

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Author: Dom Daley

Everyone’s favourite Etonian punk poet Frank Turner is back in familiar territory on album number 8, musically anyway. Turner has stated that he does not want to repeat himself with each album and ‘No Man’s Land’ sees the troubadour approach writing an album from a different angle. ‘No Man’s Land’ is a concept album based on the tales of forgotten women in history. From a 17th century Camden landlady who poisoned and cooked her lovers, to a Dutch courtesan, executed by firing squad, onto the tale of an Egyptian feminist, history buff Turner has done his homework .

A series of podcasts entitled ‘Tales From No Man’s Land’ accompany each song, and the themes of strong women stretch further than just the lyrical content. Gone (for now) is his band The Sleeping Souls, replaced by a full female backing band and producer to boot.

 

Frank’s canny lyricism and his knack of telling a fine tale does have a tendency to draw you in, and you can’t help but immerse yourself in the lives of these women. Some you will have heard of, some you won’t have a clue about, but after a few listens you will find yourself reaching for Wikipedia to find out a bit more. While over the course of a 3 and a half minute song the songwriter can only say so much, the point is made, and it’s up to the listener to find out more. Sometimes it works a treat and other times… not so much.

Opener ‘Jinny Bingham’s Ghost’ is a mighty fine, upbeat drinking song. Fiddles and skiffle beats fill the air like The Urban Voodoo Machine partying with The Pogues, as Frank reels off the first of many tall tales. Interestingly, the story is set in Camden Town, at The Underworld, on the spot where Jinny Bingham ran the tavern where she committed her dirty deeds.

The following ‘Sister Rosetta’ is typical Turner radio fodder. A pop-laced, perfect single about the godmother of rock ‘n’ roll, who I first learned about through the teachings of Alabama 3. A nifty accompanying guitar riff and a crisp production job courtesy of Catherine Marks makes this song sparkle and shine.

The jazzy ‘Nica’ is a complete contrast from anything else and works really well. Full of brass, woodwind and smoky juke joint vibes, it mirrors the subject matter perfectly. Elsewhere, the album falters in just a few places. ‘Silent Key’, about tragic Challenger Space Shuttle astronaut Christa McAuliffe, is a song that first featured on the album ‘Positive Songs For Negative People’. It’s a bit of a (space) oddity to be honest. Frank just seems to be going through the motions here with a lazy vocal melody that doesn’t really go anywhere. And closing track ‘Rosemary Jane’, a song about his mum, while heartfelt and personal to Frank, is just plain dull.

But there certainly are flashes of brilliance to behold. The stripped back country of ‘Eye Of The Day’ closes side one ‘Nebraska’ style, just the man and his acoustic laid bare, recounting the tragic tale of Mata Hari and her untimely death. Simple, heartfelt and probably my favourite track right now.

Soaring choruses in the likes of ‘I Believed You, William Blake’, written through the eyes of his long suffering wife Catherine, and the epic feel of side 2 opener ‘The Death Of Dora Hand’ stay with me long after my white vinyl album has stopped spinning and I turn my attention to find more about these remarkable women.

 

‘No Man’s Land’ is a perfectly executed album, to be listened to from start to finish as a body of work. The podcasts are interesting, though not essential to enjoy the album to its fullest. Some have labelled the concept of this album as ‘gimmicky’ before even hearing the fruits of his labour, but I say this album is far from it. Is it Frank’s best album? No, but it’s up there with his best and has already had the most plays since ‘England Keep My Bones’ was released for me, so he must be doing something right. A lot of thought has gone into the production, the concept and the lavish packaging and it makes ‘No Man’s Land’ a welcome addition to anyone’s collection. Fascinating stuff indeed.

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Author: Ben Hughes

 

 

 

 

Airbourne will release their fifth studio album Boneshaker on October 25th via Spinefarm Records. The band revealed the cover artwork for BONESHAKER, which was a collaboration between Matt Read of Combustion Ltd, and Sean Tidy of Design House Studio Ltd.

On the topic of the artwork, guitarist Matthew Harrison states: “The whole sentiment we were after was about rock n’ roll for life. We wanted to create something tattoo worthy, and that the artwork was classic and stood the test of time.”

With the creation of Boneshaker, all-action Aussie rockers Airbourne decided to take the bolder path; to align with Nashville’s Number One producer, Dave Cobb, whose credits include both Chris Stapleton and the ‘Star Is Born’ soundtrack, as a way of staking out new turf away from comfort zones and safe havens…

“It’s a live gig in the studio. This is always something we wanted to do – find a way to bring the soul and power of an Airbourne live show into an album. Cobb caught our lightning and put it in a bottle.” states bandleader Joel O’Keeffe.

Relocating to historic Studio A on Nashville’s Music Row, six-time Grammy Award-winning producer Cobb’s natural home and one of Music City’s most prized creative hubs, the four musicians set themselves a challenge: to make a record cut from the same frayed cloth as those classic late-’70s recordings from Australia’s legendary Albert’s house of ‘Oz Rock’ that inspired the band so much.

There are no weird tangents here, no un-called for asides, no messin’ about. This is straight-down-the-line pure rock ‘n’ roll drama smelling of burnt rubber, spilt gasoline and valves glowing red hot. No ballads, no acoustic guitars, no keyboards. 10 tracks, 30 minutes of music. Everything lean an’ lethal, stripped to the bone, to those essential elements that rock ‘n’ roll requires to properly do its work: raging guitars, pounding bass ‘n’ bass, vocals packed full of real personality – the kind of passion that only comes from willfully pursuing a life on the line.

Pre-orders for Airbourne’s fifth studio album Boneshaker are now live, with an instant download of the first single & album title-track and special bundle options including t-shirts, hoodies, enamel badge and poster. Boneshaker was premiered live at Wacken 2019 in front of 80k+ people, their fourth time at the legendary festival, which felt like a homecoming for the band. Order your copy HERE.

 

As always, you can find Airbourne on the road. They will be crisscrossing the planet, in true Airbourne fashion until 2022.

“We are pumped about playing these new songs live, it’s always cool to do that first tour on the album cycle, especially that first run of shows. The first time you hear people singing the words back at you to a new song, it makes us really appreciate how much our Airbourne family around the world supports us. “ states drummer, Ryan O’Keeffe. “2020 is already shaping up to be a jam packed year.”

Airbourne Live Dates 2019:

23.08 – Reload Festival – DE

24.08 – Le Cabaret Vert – FR

24.09 – Ucho – Gdynia PL

25.09 – Proxima – Warsaw PL

26.09 – Kwadrat – Kraków PL

28.09 – Club Zal – St Petersburg RU

29.09 – Station Hall – Moscow RU

02.10 – Roxy – Prague CZ [SOLD OUT]

04.10 – Amager Bio – Copenhagen DK [SOLD OUT]

05.10 – Münchenbryggeriet – Stockholm SE

07.10 – Pakkahuone – Tampere FI

08.10 – Circus – Helsinki FI

10.10 – Rockefeller – Oslo NO

11.10 – Trädgår’n – Gothenburg SE [SOLD OUT]

12.10 – Voxhall – Aarhus DK [SOLD OUT]

15.10 – Melkweg – Amsterdam NL

16.10 – Trix – Antwerp BE

17.10 – La Laiterie – Strasbourg FR [SOLD OUT]

19.10 – La Cigale – Paris FR [SOLD OUT]

20.10 – La Cigale – Paris FR [SOLD OUT]

22.10 – Santana 27 – Bilbao ES

24.10 – Paris 15 – Málaga ES

25.10 – La Riviera – Madrid ES

26.10 – Razzmatazz – Barcelona ES

28.10 – La Paloma – Nimes FR [SOLD OUT]

29.10 – Alcatraz – Milan IT

31.10 – Komplex – Zurich CH

01.11 – Haus Auensee – Leipzig DE

02.11 – Orpheum – Graz AT

03.11 – Tonhalle – Munich DE [SOLD OUT]

05.11 – Barba Negra – Budapest HU

06.11 – Arena – Vienna AT

07.11 – Columbiahalle – Berlin DE

09.11 – Schlachthof – Wiesbaden DE [SOLD OUT]

10.11 – E-Werk – Cologne DE [SOLD OUT]

13.11 – UEA – Norwich UK

14.11 – Rock City – Nottingham UK

16.11 – Academy – Manchester UK

17.11 – O2 Academy – Newcastle UK

18.11 – Beach Ballroom – Aberdeen UK

20.11 – Ironworks – Inverness UK

21.11 – Barrowlands – Glasgow UK

22.11 – O2 Academy – Liverpool UK

24.11 – Cardiff University – Cardiff UK

25.11 – O2 Academy – Bristol UK

26.11 – O2 Forum – London UK

28.11 – O2 Academy – Sheffield UK

29.11 – O2 Guildhall – Southampton UK

30.11 – O2 Academy – Oxford UK

2020:

04.01 – Summernats – Canberra AU

08.02 – RAC Arena – Perth AU*

11.02 – AEC Theatre – Adelaide AU*

14.02 – Rod Laver Arena – Melbourne AU*

15.02 – Qudos Bank Arena – Sydney AU*

18.02 – Entertainment Centre – Brisbane AU*

20.02 – The Trusts Arena – Auckland NZ*

22.02 – Horncastle Arena – Christchurch NZ*

* Denotes Special Guest on Alice Cooper dates

For 2020 and beyond – watch this space…

“No one knows what lies Beyond the Door… but we’re all in front of it.”

So reads the PR blurb that accompanies the all-new eleven-track studio record from South Californian powerpop punk legends Redd Kross, their first new set of songs since 2012’s amazing ‘Researching The Blues’ album, and you know in many ways that opening statement pretty much summed up how I first approached ‘Beyond The Door’, largely because I really did not know what to expect from the band this time around.

With band mainstays Jeff and Steven McDonald promising their most collaborate record since their ‘Born Innocent’ debt from way back in 1981, would the inclusion of Anna Waronker (That Dog), the returning Geré Fennelly, Buzz Osborne (Melvins), and Josh Klinghoffer (Red Hot Chilli Peppers) really mess with the powerpop magic formula I have come to know and love the band forever since first discovering them via their genre-defining ‘Third Eye’ album released back in 1990?

Cautiously dipping into ‘Beyond The Door’ the most immediate thing that strikes me is that it is a very “UP” sounding album, in fact  the gangs total commitment to having the best fucking time they can have while they’re all still here is obvious during the stunning opening 1-2 of ‘The Party’ and ‘Fighting’, both tracks sounding like the natural progression to the sixties psych-pop perfection of ‘Researching The Blues’. Guitarist Jason Shapiro and drummer Dale Crover (Melvins, OFF!) are long-time members of the Redd Kross live band, and here they kick off their recording debut with the band in very fine fashion indeed, with both of the opening four to the floor rockers being what I would consider soon to be live favourites.

That live energy continues into the KISS meets Glitter Band swagger of ‘Beyond The Door’ whilst ‘There’s No One Like You’ could very easily be something the McDonald brothers recorded during their post-grunge ‘Show World’ days. ‘Ice Cream (Strange And Pleasing)’ meanwhile is the kind of sugar-sweet bubblegum pop that the band excelled at during their ‘Third Eye’ days as is the uptempo glam slammer ‘Fantastico Roberto’. Phew!! That’s one hell of a set of tunes right there. Tunes which whilst maybe not quite as refined as the ‘Researching The Blues’ album they do possess a vibrancy and unpredictability that record did miss at times.

‘The Party Underground’ is a classic example of this as it sounds like Bob Mould has just popped into the studio and cracked off a tune whilst the closing cover of Sparks’ electro-dance anthem ‘When Do I Get To Sing “My Way”’ really is a truly inspired choice, turning out to a perfect fit for the Redd Kross sound.

So, with that in mind what is the Redd Kross sound here in 2019? Well, it’s probably best summed up the trio of songs that remain for me to mention on ‘Beyond The Door’. ‘What’s A Boy To Do’ is yet another lesson in how to write bubblegum pop perfection whilst ‘Punk II’ thunders along like the Hamburg Beatles speeding their tits off before Lennon and McCartney then get whisked off to Seattle around the turn of the nineties for ‘Jone Hoople’ and all hell is duly let loose.

Look you can stand outside that door forever wondering “what if” but the real magic always lies beyond it.  Redd Kross are most certainly back with a bang with ‘Beyond The Door’ and with US dates already planned with the Melvins we here in the UK can but hope that they will finally return to these shores sometime soon.

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Author: Johnny Hayward

 

 

Hot Breath delivers a six track K.O that is set for release the 18th of October on The Sign Records. Blending immortalized classic rock with pure attitude, add a bit of just all those influences that you like and you get Hot Breath’s self-titled debut.

Guitar solos, side by side with Jennifer Israelssons (previously seen fronting Honeymoon Disease) cocky vocals and a brilliant rhythm section in Jimi Karlsson (ex Honeymoon Disease) and Anton Frick Kallmin (Hypnos). Its no doubt that Hot Breath is a guitar-based rock band, but Karl Edfeldt (Grand) and Jennifer’s guitar works are mostly a tease, that makes you want more. Hot Breath provides the soundtrack to the last drink sip that never ends. 

Recorded and mixed by Jamie Elton (ex Amulet) in Stockholm during the summer of 2019. Axel Söderberg (Horisont) have helped out on keys on the recording. Mastered by Hans Olsson Brookes at Svenska Grammofon Studion. Artwork by Jimi Karlsson. Cover photo by Marcus Eriksson. The release will be available on CD in Digipack, 180g Vinyl and Digital formats. Hot Breath is touring and kicks of their first Swedish tour joining a four date The Sign Fest making four stops in Sweden.

 

Pre-Order Physical Album
Pre-Save Album on Spotify/Apple
Hot Breath at Bandcamp

Live:
26th September – Gothenburg (With The Obsessed)
18 October – The Sign Fest Linköping (Festival/Tour)
19 October – The Sign Fest Stockholm (Festival/Tour)
25/26 Oktober – Skövde In Rock (Festival)
8 November – The Sign Fest Gothenburg (Festival/Tour)
9 November – The Sign Fest Malmö (Festival/Tour)
more live dates to be announced….

 

Hot Breath on Facebook:
https://www.facebook.com/hotbreathgbg/

The Sign Records on Facebook:
https://www.facebook.com/thesignrecords/

Released to coincide with their recent appearance on the Pavilion stage at Rebellion 2019 ‘Singing Our Souls’ is the second EP from Kid Klumsy the Coalville based five-piece who like to mix metal with punk and feature Weab ex-singer with Dirtbox Disco on lead vocals.

It still doesn’t feel quite right writing “ex singer with Dirtbox Disco” after Weab’s name but having seemingly not been happy fronting the band for quite some time at least here on the six tracks that make up ‘Singing Our Souls’ he sounds much more comfortable singing songs he’s written with his new bandmates.

I’d actually only heard a few older tracks by Kid Klumsy ahead of the recent Rebellion show and to be honest live they seemed to be much more metal than punk, but here on ‘Singing Our Souls’ the balance does switch back more in favour of the punky side of the street.

Lead track ‘Mr. Right Man’ is built on the type of thunderous uptempo guitar riff Dirtbox made their trademark and rumour has it is apparently autobiographical with Weab telling the story of how his larger than life clown figure became something he grew to hate, and true to that ethos Kid Klumsy are very much a jeans and T-Shirt band.

‘Slob’ is up next and this track is much more metal tinged especially on the double bass drum driven chorus breakdowns. ‘Dislexic Monkyz’ meanwhile is perhaps the most Dirtbox sounding track of the six on offer, largely because of Weab’s singing and even given the wacky subject matter it still manages to contain a really catchy hook.

‘Love Is a Battery Field’ is another tune that sticks in the head this time due to the infectious gang backing vocal whilst ‘She’s A Fuck’ is ostensibly a song about a stalker that is built on a thumping Krist Novoselic bass foundation which then adds huge slabs of 90s metal guitar to build its overall structure. Weab is also pushing himself into new areas vocally on this track and I for one certainly like this almost Ricky Warwick meets Dave Gahan style he has developed.

‘Singing Our Souls’ closes up with ‘Maisey’s Song’ a mid-tempo rocker that doesn’t really go anywhere and for me it’s the weakest track here.

Having been a fan of Dirtbox Disco since the days of their first EP at first I wasn’t exactly sure what to make of Kid Klumsy, in fact even after a good few plays of ‘Singing Our Souls’ I’m still not entirely sure. The EP does have the odd flash of brilliance and it certainly is great to hear Weab singing in styles he wants to sing in; it’s just I can’t help but miss that larger than life clown of old you know.

However, with extensive tours already booked both here in the UK and internationally and Kid Klumsy seemingly growing as songwriters the more they are together, I think I’ll reserve full judgement for when the debut album drops, in the meantime though ‘Singing Our Souls’ is certainly an interesting appetiser if you don’t mind a bit of metal mixed in with your punk that is.

Author: Johnny Hayward

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LuxNoise is proud to announce the next “Bitch Queens” album “City Of Class”. Will be out 27th of September on vinyl, CD & on all digital platforms. It contains 11 straight death-punk songs and shows the band from their most energetic side so far!  Coming out on LuxNoise in Europe and spaghettytown in the USA.

 

Mel, Harry, Marcel & Danny have written Ten new tracks and have also included a cover of ‘Paso (The Nini Anthem)’ by Spanish DJ Sak Noel that needs to be heard. A review on RPM will be out nearer the release but needless to say, this is one hell of a loud record.  Fans will be pleased.