Punk & Doom originators go straight to the soul of heavy rock on their new album Caveman Logic to be released via Svart Records on the 9th of April 2021. New single Black Sea out the 22nd of January 2021. Video out now!

More than a super-group, The Limit goes over the edge, to deliver real-deal, soulful Rock and Roll. Consisting of members of legendary Punk instigators The Stooges, the founders of Doom Rock Pentagram, legendary NYC Punk originators Testors and infamous Portuguese metal band DawnriderThe Limit break out from the foundations of heavy rock and defy all expectations, to show a new generation what doom and punk really means. On the new album Caveman LogicBobby Liebling, singer and main-man of Pentagram, one of the originators of early Doom Rock and an inspiration for generations of Heavy Rock fans, on vocals, gives the performance of his career, singing like his life depended on it. Sonny Vincent, enigmatic legend of the early NYC Max’s Kansas City, CBGB Punk scene with his band Testors, having been on the road and recording with members of The Velvet Underground, lays down the guitar driven songs, his writing bearing all the hallmarks of ground-breaking Rock history in it’s filthy DNA. Phenomenal bass playing from Jimmy Recca, ex- The Stooges, and Ron Asheton’s New Order, gives The Limit the intense and world-class, speaker-destroying bottom end. Joined by Hugo Conim on Guitar and João Pedro Ventura on Drums from Portugese band DawnriderThe Limit fuses star-dust pedigree with an organic incendiary chemistry that’s instantly raw and real. A dream come true to those that know their Doom/Punk history, The Limit brings the past right up to date on Caveman Logic, with an essential, burning passion at the heart of their songs. Seldom has a collaboration of well known stars in music sounded so vigorous and frenzied as The Limit’s caveman-like roar.
The Limit is an astoundingly fresh and hot-blooded shot to the veins that Heavy Rock needs in this day and age. Conjured forth by stone-age pioneers, Caveman Logic goes to the heart of impassioned Heavy Rock and Punk, to deliver the basic and vital elements often missing in so much of today’s music. If you want primitive and straight to the soul primal rock, fresh from the grave and exhumed for a new unwitting future, look no further than Caveman Logic. This is it. This is as far as it goes. The Limit!

Pre-save new single Black Sea (22nd of January 2021) now:
https://orcd.co/thelimit-blacksea

Recorded in Seattle in 1999, this monster record is now being reissued on vinyl remastered by Jack Endino.

As soon as the opening track of ‘Electric Children’ begins, you realize that The Monkeywrench have gotten much tighter in their second album, since their debut eight years before.

The production also seems rawer, possibly due to the fact that the band moved from Conrad Uno to veteran Seattle producer Jack Endino, who also engineered the first releases from bassist Steve Turner and vocalist Mark Arm‘s other band, Mudhoney.

Also contributing to the rawness of the record is the absence of Arm’s trademark piano and organ. This enhances the energy, causing you to notice a more frantic, electrified side of the band.

As on the debut album, Clean as a Broke-Dick Dog (1992), several genres of music are given equal time, including the country of “Thirteen Nights” and “The Empty Place“, the rockabilly of “The Weasel’s In The Barn“, the Eastern modal quality of “Around Again“, and the noise rock of the closing number, “In the days of the Five“.

The Monkeywrench have grown in their ability to craft a song, and the result is a masterpiece.

Info and orders: www.munsterama.com / shop@munsterama.com   

 The band that features – Mark Arm (Mudhoney, Bloodloss) / Steve Turner (Mudhoney) / Tim Kerr (Big Boys) / Tom Price (Gas Huffer, U-Men) /  Martin Bland (Bloodloss, Lubricated Goat)

 

Swampy Rock and Roll is the order of the day as The Luxurious Faux Furs are an enigmatic rock n roll duo based outta New Orleans, Louisiana.

Since their beginning in 2011 (supposedly in New York City), Luxurious Faux Furs have stripped their vision of garage rock down to the bone. Over the course of two LPs and a handful of seven-inches, Jessica-Melain (drums) and Josh Lee Hooker (guitar) approach their music with the howling, elemental minimalism of the Gories and Mississippi Fred McDowell. Yet they also embody the opulent absurdity of 70’s glam rock (a la Cockney Rebel), with stretched out songs, copious “ooh ooh” backup singing just like Jagger got his stones bandmates to do on the likes of ‘Gimme Shelter’. Their records have been issued by labels in Western Europe, South America, and Memphis, Tennessee, and especially at volume, it’s easy to see the attraction.

On this new LP,  the pair maintains their garage squall and dives even further into hypnotic blues riffs and throbbing insistent drum pulse—what one listener called the “car with one square wheel” rhythm. Their choice of cover songs—obscure blues and sanctified numbers—show them moving even further from anything like “listener expectations.”

Playing live on stage, the band cuts a memorable image. Behind her pair of stand-up drums, Jessica-Melain swings her hips in time to the trance-like beat. Her hair is a big black thunder cloud with blonde streaks of lightning; her expression a bubblegum snarl. Meanwhile, Josh Lee Hooker, saturnine and overdressed, mutters confusing jokes to the audience then abruptly careens into impassioned, expressive singing.

The Luxurious Faux Furs are defiantly un-modern and anti-traditional; they’re neither urban nor rural; they have no interest in “what’s going on” and they certainly don’t care what people say about them.  the tunes are unfussy and they delve deep into the blues but also keep it fairly contemporary with a borrowed riff here and there.  ‘Seat In The Kingdom’ sounds like it could be half-inched from Brian James when he was looking for new tunes for the Lords Of The New Church and to contrast the rough arsed vocal that can be chaotic and wild the BV’s are often quite lush and smooth in comparison whatever it is it works.

At times it can sound quite hypnotic and other times it sounds claustrophobic and chaotic.  I’m not too sure there was a great deal of quality control going on which helps keep it fresh but plays havoc with one’s OCD tendencies.  Whatever view you have you can’t deny it’s rock and roll and I’m sure live these cats would go down a treat in some sweaty dive bar where the PA is way too loud and the drinks are cheap.

I love the tone on ‘Joe Bird’ and then there’s the vibe they’ve hit upon for the video ‘Home Cooking’ which is great. move over Jon Spenser and Guitar Wolf look over your shoulder there are some new kids in town and I don’t think they play nice. Favourite track is the haunting ‘Sign Of Judgment’ – sparse and like a diamond in the rough worth checking out for this one alone. The more I play it the more I want to play it now if every album had those qualities.  Check em out – you’ll like em!

Buy on Bandcamp Here

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Author: Dom Daley

 

Following 2019 comeback album ‘Angel In The Flames’ former English Dogs and Prodigy guitar slinger Gizz Butt takes us back in time with a couple of curios from the Janus Stark archives that he has made available on CD, limited to 200 copies each, all hand-numbered. Both albums are actually a collection of demos, the first ‘Rewind To A’ is the full demo version of Janus Stark’s debut album ‘Great Adventure Cigar’ released back in 1997, and the second ‘Chez Wrong’, the lost follow-up album demoed in 2002.

Both albums come with 16-page booklets and extensive liner noted from Gizz explaining the history and background of each song and the circumstances surrounding the writing and recording of each.

 

If you are familiar with ‘Great Adventure Cigar’ then ‘Rewind To A’ is a good place to start and an interesting listen. These demos are the sound of a band finding their feet and finding their sound. Following the name change from English Dogs and guitarist Gizz stepping into the frontman role, the band trade in the punk sound for a more commercial, pop/punk feel.

During the time period these songs were demoed (1996-97), Gizz was playing guitar with The Prodigy on the ‘Fat Of The Land’ tour, and this influenced his songwriting. Utilising multi-effect processors, Gizz experimented with Dance music and it spawned some interesting tunes that veer in a different direction to the sound Janus Stark would eventually pursue. ‘Frayed Edges Of Sanity’ is a dark, trippy ride through the songwriter’s mind and a departure from the po/punk/ that would prevail on the debut. The following ‘Only One Can Know Me’ is more experimental, Prodigy style breakbeats and pulsating bass verse that leads to descending chords and a trademark Gizz melody.

Elsewhere. The thrashy blast that is ‘Wedding Bells’ is actually an old Desecrators tune. While it’s a fun run through, the hardcore style didn’t really fit the direction the band were heading.

‘200 Duty Frees’ though, did make the album. This version is a bit more dancey, yet it still has those full distorted guitars. Sonically, as with the other tracks that finally made the album, the songs benefit from a sweet production. ‘Every Little Thing Counts’ still sounds immense even in demo form, even if the extra verse throws me off for a second or two. It’s a perfect example of how a producer cuts the fat from a demo and makes it the song it should be.

For me ‘Great Adventure Cigar’ is up there with the great albums of the late 90’s Brit Rock movement and this collection is a great insight into the development of a band who should’ve got more attention at the time.

‘Chez Wrong’ is considered the lost Janus Stark album, the sophomore album that never was. These are the final demos from 2002 at a time when the band were shopping for a new record deal. Written during tough times, it’s a heavier, more edgy collection of songs influenced by the changing musical climate and the changes within the band.

The band had been touring heavily across Europe with Die Toten Hosen and Fear Factory while these songs were formed, and the likes of Slipknot and System Of A Down were the darlings of Kerrang! And MTV. These influences are evident from the off on the crunchy ‘Near Extinction’, a riff heavy beast that channels feelings of despair and struggle and maybe pre-empting the demise of the band.

The killer opening riff of the title track brings to mind Metallica before descending into more melodic sections and an uplifting chorus that harks back to the punk/pop of the debut. With its arpeggios and jarring riffage, the Nu Metal tinged ‘Paralysed’ could be a Papa Roach outtake.

Elsewhere the fiery ‘Back To Live’ and the brutal ‘The Child Deserves A Life’ are quality highlights. The band only take the time to breathe on the atmospheric closer ‘Empty Chair’, a song that shows a different side to the band with some cool, effect-ridden guitars and cool beats. It’s an album highlight and a great song to bow out with.

 

 

These 2 releases stand tall on their own as albums and also serve well together as the perfect accompaniment to ‘Great Adventure Cigar’. They help to tell the full picture of Janus Stark at the turn of the century before the band split and descended into the wilderness years.

‘Rewind To A’ shows the development of a band with new ideas and experimentation, including songs that for whatever reason, didn’t make the final cut, but are still worth your hard-earned cash.

‘Chez Wrong’ is the sound of what could’ve been. It shows a band on the edge, changing with the times and fighting a (losing) battle to survive. Strangely, even though it covers line-up changes and personal upheaval, I feel it’s the more cohesive of the two albums.

It’s also worth noting both albums are available to purchase directly through the Time & Matter Store as a package deal for 15 notes with an additional free four track digital EP of unreleased tunes. Now, if that’s not a bargain, I don’t know what is!

 

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Author: Ben Hughes

 

 

 

 

 

 

 

THE MIGHTY MIGHTY BOSSTONES SIGN WITH HELLCAT RECORDS

 ‘THE FINAL PARADE’ FEATURING MEMBERS OF RANCID, THE INTERRUPTERS, FISHBONE,

THE PIETASTERS, THE SPECIALS AND MORE

 

Hellcat Records is pleased to welcome the progenitors of ska, The Mighty Mighty Bosstones to the family.

Today, the band shares their new track “The Final Parade.” The track heralds the ups and downs of the band’s journey, the history of ska, and features vocal cameos and guest appearances from many ska-punk luminaries. At nearly 8-mintues, the track has been referred as “The Ska Summit” by Tim Armstrong, who co-produced the track with fellow Grammy award winner Ted Hutt. “It’s a love letter to Ska music and the people that make Ska music and it’s a whole lot of fun,” says vocalist Dicky Barrett.

The features on the track include Tim Armstrong (Rancid), Aimee Interrupter & The Interrupters, Stranger Cole, Angelo Moore (Fishbone), Jake Burns (Stiff Little Fingers), Jay Navarro (Suicide Machines), Chris DeMakes, Pete Wesilewski, Roger Lima (Less Than Jake), Jimmy G (Murphy’s Law), Toby Morse, Rusty Pistachio (H2O), John Feldman (Goldfinger), Laila Khan (Sonic Boom Six), Robert Hingley (Toasters), Dan Vitale (Bim Skala Bim), Dave McWane (Big D and The Kids Table), Sirae Richardson, Erin Mackenzie, Brie McWane (The Doped Up Dollys), Jesse Wagner (Aggrolites), Karina Denike (The Dance Hall Crashers), Christian Jaccobs (The Aquabats), Jon Pebsworth (Buck O Nine), Peter Porker (The Porkers), Steve Jackson (The Pietasters), Felipe Galvan (Los Skanarles), Jet Baker (Buster Shuffle), Fumio Ito (Kemuri), Glen “The Kid” Marhevka  (Big Bad Voodoo Daddy), and Roddy Radiation (The Specials).

Since their formation in 1983, the BossToneS have been credited as one of the forefathers of ska punk and the creators of its subgenre, ska-core. With a career spanning over 30-years Boston’s best dressed band has built and continued to build a devoted following with their unique brass-infused brand of punk rock. To date they have released ten studio records; Devil’s Night Out (1989), More Noise and Other Disturbances (1992), Don’t Know How to Party (1993), Question the Answers (1994), Let’s Face It (1997), Pay Attention (2000), A Jackknife to a Swan (2002), Pin Points and Gin Joints (2009), The Magic of Youth (2011), and While We’re at It (2018).

The Mighty Mighty BossToneS are vocalist Dicky Barrett, bassist Joe Gittleman, saxophonists Tim “Johnny Vegas” Burton and Leon Silva, Bosstone Ben Carr, drummer Joe Sirois, guitarists Nate Albert and Lawrence Katz, keyboardist John Goetchius, and trombonist Chris Rhodes.

Find Mighty Mighty BossToneS online at:

WEBSITE | TWITTER | INSTAGRAM | FACEBOOK

“Jo Carley and The Old Dry Skulls combine the voodoo rhythms of 1930’s ska and the blues with old-timey vaudeville cabaret. Music that makes people wanna shake their bones!”

Clearly influenced by fellow Londoners and majestic beat combo The Urban Voodoo Machine all be it with far fewer members and led by the wonderful Jo Carley who clearly walks it like she talks. The album kicks off with the rather endearing vaudeville of ‘Little Limbs Of Satan’ the sound is stripped back and sparse and uncluttered but Jo and the gang ham it up perfectly (especially in these current times).

 

I’ll take Jo’s word for it that the sound is inspired from the 30s. But how would I know.  I do like the arrangement and guitar picking on ‘The Devil’  its intriguingly stripped down and my favourite thus far. If making deals with old nick dishes up a penchant for kicking back and turning your hand to a musical genre that is fairly unique then go for it.  The arrangments are decent and the use of the reverb-laden guitar is old school rock and roll for sure and mixed with the other traditional instruments is cool and the rockabilly of ‘She Got Him’ is more contemporary, well compared to the 1930’s it is.  Its voodootastic for sure.

‘Voodoo Bones and Vaudeville Blues’ was recorded during the lockdown in the band’s shack of a house on the East Coast of England. When the pandemic hit, they threw out the couch and the TV, turning their living room into a recording studio, laying down twelve new songs using only old school techniques and a few good microphones. To be fair they’ve captured the instruments really well and when they’re cooking it sounds great however I’m not a fan of the more piraty elements but that’s a minor gripe.

The bands unique sound and the quality of the recording is excellent. I guess one should listen to this with not modern ears but ones from a bygone world. The attempts to mix up so many genres is admirable and it doesn’t always work for me but when it does its really good. Be it Voodoo or Black Magic I like it when bands try something different and sound authentic and good at what they are doing. Old Blues (Under Your Spell), Old Country (Dead But He won’t Lay Down), Skiffle, Piraty shanty vibes, Calypso and Rock n Roll its all here if you want it. 

 

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Nine singles, eleven bands.  Seems like a pretty decent way to ease yourself into 2021 post-Trump and hopefully with the worst of this pandemic behind us maybe 2021 will see us back in live music venues and more bands releasing more music for us.  Here’s hoping and in the meantime stay safe and enjoy…

 

Los Pepe /  Jibaros – ‘Together’ split(Self Release) Always a great day to discover Los Pepe has got a new record out be it a 7″ single or album.  today we bring you their side of this split that’s a pair of right bangers.  With their cover of the Testors and Spains Jibaros taking on Teenage Heads – ‘Picture My Face’ and turning in a rousing dance floor filler.  Los Pepe do what they do and that’s turn in some fast loud power pop, luckily for us, this is no difference and a rather impressive split we have on our hands but it’s very limited so don’t dilly dally or you’ll be disappointed.

Buy it now Here

 

 

The Spangles – ‘Boys Just Wanna Have Some Fun’ (Self Release) So off the back of the rather spiffin’ long-player Those Spangles have come back to the table with a very nice EP that does exactly what it says on the tin.  What you have here is five tunes written by other peeps knocked out in a Covid wasteland with as much emphasis on being loud and Rockin’ out as was possible in a socially distanced recording studio.  Kicking off with the rather splendid ‘Bad Reputation’ giving the manly frontwoman that is Polly Phluid the chance to belt out the classic and to be fair the chaps have done the classic proud.  It might be one of the most covered tunes ever but so what its all about the attitude and having fun right? Right!

To be fair its pretty much the MO throughout as the boys take on such pop dignitaries as Joan Jett, Kim Wilde, The Bangles and Wendy James and her Transvision Vamps, and if  ‘Walk like An Egyptian’ is given a good seeing to then the beastly ‘I Want Your Love’ is as camp as Christmas (it isn’t obviously) but I do want them to make a cover of the video for this one it’ll be glorious. Almost as glorious as a ‘Sex Sausage’.  What? ‘Sex Sausage’ you ask who the fuck wrote that bad boy?  Don’t ask just smile or grin, as I’m sure these gents are.  Fantastic EP from a fantastic band.  Now get that difficult second album done and we’ll all meet up again and Slamdance together.  Facebook / Bandcamp

 

 

Poison Boys – ‘Nothing But Darkness’ (unknown) The first single from the second album is upon us and what a banger it is too.  I love The Poison Boys they just get things done.  No-fuss or fanfare they just write kick-ass tunes and this glimpse behind the curtain of the second record is a joy. It’s a bruising affair all switchblade knives and dark alleys and the breakdown is a smoldering mass of sleazy Rock and Roll and if this is what coming then bring it on boys it’s gonna be a top record.

Buy it here

 

 

 

 

Eddie Mooney & The Grave – ‘Lockdown Baby’ feat Malte B (Still Unbeatable Records) Two track choc-full of sprightly power pop is the order of the day courtesy of Eddie Mooney Released at the death of 2020. With the spirit of ’77 coursing through their veins, it’s got the vital ingredients being some barbed wire guitar and some sugar-sweet melodies on the chorus’.  Extremely limited vinyl pressings so be quick or be gone.

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Chuck Norris Experiment / Scumbag Millionaire –  split (Strange Magic Records)    Pressed on super limited numbers of 100 solid red, 100 dirty white, 100 black of course this is gonna kick your backside.  Swedens finest exponents of hard rock are in the house and turning up the heat on this the first Singles club of the year and already owning it.  You know the drill two track each with the CNE tracks being exclusive to this 7″ whilst the Scumbag Millionaire contributes one exclusive track and a track from their debut LP Speed that was never released on a single (until now).

Loud and in your face is how CNE delivers their hard rock best and this pair of tunes is as good as they get. ‘Let The Wheels Roll’ is a pounding rhythm with sharp guitars and a chorus you can raise your horns to and chant along.  What’s not to like? then in direct contrast is the attitude-laden acoustic (of sorts) ‘Dinosaur Fire’ showing they don’t just do hard rock they can mix it up and when they do it’s never off the mark as for their fellow Gothenburg noise merchants Scumbag Millionaire it’s one exclusive and one from their last album.  ‘Too Much Is Never Enough’ is a slice of Motorhead meets Early Hellacopters and is an absolute banger! whilst their second contribution is lifted from their debut long-player ‘Speed’ in the shape of ‘White Flash’ another good reason to revisit that album another pair of great tunes making this a must-have EP of four excellent tunes.  Get a copy right sharpish or miss out and end up down the line paying some scalper a small fortune.  ORDER NOW by sending an e-mail to info@savagemagicrecords.com

 

 

 

Holy Death Trio – ‘The Killer’ (  )  The band says, “‘The Killer’ was written in the same vein as an old blues song from the early 1900’s.  It was originally written and performed as a one-man blues band and then it naturally worked well with a full band, so we made it Holy Death Trio standard.  This song is meant to feel like built up aggression with two killer guitar solos and just straight-up power trio heavy blues rock-n-roll.” More rock than your Jon Spenser Blues Explosion but it’s got a neat groove and it prefers to crash and burn than fade away and we like that especially when its played loud and this sounds like it was recorded loud!

Connect With Holy Death Trio Website / Facebook / Instagram / Bandcamp

 

 

Venus Grrrls – ‘Goth Girl’ (MonoMyth Records) Goth culture and witchcraft.  Oh, go on then.  Venus Grrrls release their new single on the back of last year’s EP and a dark brooding hybrid of dark pop and rock it motors along once you’re through the spooky kid intro with the pumping synth beat and vocal and hit the chorus and off they go.

The song tackle stereotyping and Goth culture and how trends come and go and with the big chorus it’ll wake the dead for sure as it rolls off with the pumping synth and soaring vocals before fading back and then pow! into a final chorus.  Stirring stuff from this Northern five-piece.

 

 

The Revox – ‘Talk About Her’ (Voodoo Rhythm Records)  Walking on the wild side is this raw and punchy 7″ from Swiss punks THE REVOX, reclusive mountain punks, they’re a blast from the past, and their music is inspired by the original Swiss garage and beat scene from back in the mid-’60s so I’m reliably informed and on this evidence, I’m impressed and love what they’ve got going on its like a fucked up Fuzztones howling drunk and just partying way too hard. ‘Talk About Her’ is a hoot with some super cool guitar and a trashy reverb-heavy rhythm where the cymbals are taking a pounding.  flip it over and ‘Sick Of You’ is more of the same as the riff rolls on and some garage racket is beaten out of the instruments for our listening pleasure.  Play on guys this is quality. Check it out Here

 

 

Saxon – ‘Speed King’  (Silver Lining Music)  Biff and the boys are in the house.  Tipping the hat to those that paved the way for Byford and his band to do what they’ve done for decades.  Check out their take on Deep Purples ‘Speed King’ if you like it then why not order it Here  Inspirations’ is a covers album, where in 2020 the band took residence at Brockfield Hall in York, to record cover versions of various songs which deeply influenced the band, engaging in a proper old-school live and recording process which was a hallmark of many old-school rock ‘n’ roll records.

 

So Death Rock, Garage Doom is upon us.  A couple of new genres to add to that list that people need to pigeonhole our Rock and Roll.  Black Totem are exponents of such sub-genres, you can call it what you like – I’ll just add right out the traps that this here new record is full of fine tunes and whatever pigeonhole it be this is gonna be one of the best albums of 2021 and its only January.

I’ll tackle the Danzig tag right here and now sure its there but so what if Glen released a record as good as this anytime post Misfits I’d tip my hat and herald his genius instead its Fins Black Totem and their second offering that we gather here today to champion and what a breath of fresh air it is too.

Heavy as an anvil, sharp as a tungsten dart, cool as a frozen moon.  Black Totem have moulded an album full of hard rock meets punk rock and jams on the best of the Cramps and Stooges for good measure.  Its a hell of a record with twists and turns aplenty as they jump from the bombastic opener ‘Begone Vampire’ with all its chilling dark Gothic overtones and Rock guitar work it’s as heavy as a breezeblock yet stylish as Elvis in black.  To be fair the whole record from the artwork to the delivery is Gothic and dark but it’s enticing and warm as the heaving ‘the Devil’ will testify. from the Stooges like intro to the chiming chorus that will have you chanting and throwing your arms in the air with approval.  It’s a brooding mauling slice of the dark stuff and I’m sold. Respect! top tune!

 

‘1990’s’ is up next and as the he vs she vocals works a treat to add another texture to the hellish howls as the guitar work is on point and very much appreciated. The record goes full throttle for ‘Black Nekro Gloves’ as the punk and metal worlds collide in a fantastic romp and Death Blues is a pretty decent description as all hell breaks loose.  Once I’ve finished getting this oof the player I’m digging into their back catalogue to see if this is a fluke or was the debut album leading the way and something I’m missing out on until then songs like the dark ‘Bloodstained Owl’ are dominating my stereo speakers.  Band members Spit Poison (don’t Laugh at the back) and Wera Wolf have appropriate names much like Guitarist Sam Hate who by the way owns this record with some fantastic breaks and diabolically heavy riffs that Ron Ashton would have been proud of its a delightful record to stumble upon.

‘Dead Meat’ is the perfect blend of what this album is about as the melting pot of styles works perfectly. Its not all full tilt mind as the doom-laden ‘Welcome Lucifer’ sails closer towards the Danzig mould as does ‘Warlock’ but like I said earlier if Danzig penned this record it would be being championed from the rooftops for what is essentially one hell of a record and for dark, heavy, bluesy Rock it’ll take some beating this year and I’ll confidently put that out there Black Totem – if you’ve never heard them well here’s your chance to familiarise yourself because they might just fly when the time is such that they can get out there and play live because on record they are most excellent. ‘ii: Shapeshifter’ is fuckin’ champion all hail Black Totem!

 

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Author: Dom Daley

THE NEW OK came out mere months after the release of the band’s highly acclaimed THE UNRAVELING. Drive By Truckers stayed prolific releasing more than most in 2020. Here’s the latest track with the accompanying video. CONNECT WITH DRIVE-BY TRUCKERS:  Website / FACEBOOK / INSTAGRAM / TWITTER / YOUTUBE

Second single from Tom Atkin ‘Honey Brain’ Former frontman of indie-punk pioneers The Paddingtons, Toms new music is innately matured and natured into a more diverse melting pot of creativity. The gritty, brutally honest storytelling of his past has pensively evolved, with the adolescent swagger replaced by stoic confidence.

An olden forgotten should be classic gets dusted down shaken up and released on vinyl here in Europe for the first time just prior to Christmas and thank Gawd! Nikki first came to our attention with her ‘Feline Roots’ album and we were impressed with her Blues meets Rock and Roll tunes and a voice that was as soft as Marshmallow and as loud as a clap of thunder.

As good as Nikki might be on record I’m sure she comes alive and playing Rock and Roll shows so Covid and all the shutdowns haven’t been good to her but we’ll have to make do and this delve into the back catalogue is a welcome relief from all these here lockdowns.

 

Think the obvious -Tina turner (for that soaring vocal), Joplin (for that raw blues n soul), DC (for the volume and Rock and Rolla) and hell yeah The Bellrays for lighting the touchpaper for all this noise.  All this talent would be irrelevant if Hill didn’t have the songs to back it all up and walking the walk as well as talking the talk is something Nikki Hill most certainly does.  Take ‘Oh My’ for some straight down the line boogie-woogie Rock and Roll that just kicks out the jams old school. or the Stonesy ‘Struttin’ ‘ that comes from the same school as The Black Crowes did.

The shake and shimmer of the more laid back darker ‘And I Wonder’ makes way for the glorious Faces barroom of (Let Me Tell You Bout) Luv’ it’s sunshine Rock and Roll that deserves to be heard and to compliment Hills vocals the rollicking barroom joanna playing is wonderful. It’s definitely the more swaggering staggering blues numbers that steal the show here.  ‘Hot Shot’ is gloriously confident and the lyrics “Too little ain’t enough for me” is about spot on.  The licks might be as old as time but the delivery is superb and that solo hits the spot.

 

It’s not all bluster and partying because tucked in the tail is the stingingly beautiful soulful ‘Nothing With You’ where Hill shows restraint again playing the song, which is excellent, rather than just wailing and less is certainly more here. But wait, the yang to the balladry is ‘Scratch Back’ that was surely written to be rocked out live which is where all this leads – Live has to be the place to hear this album much like the excellent ‘Feline Roots’ as an artist you can see Hill growing from one record to the next and this is a well-rounded place to start full of top tunes handled by professionals who clearly believe in what they do and if Rockin is their business then business is good…no business is great.  Check it out and come join us in twistin’ the night away.

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Author: Dom Daley