Indonesian Junk – ‘A Life Of Crimes (singles and rarities 2009​-​2018)’ (Rum Bar Records)

Indonesian Junk – ‘A Life Of Crimes (singles and rarities 2009​-​2018)’ (Rum Bar Records)

Man, I love some sleazy Punk Rock ‘n’ Roll. It would seem that these Bostonians otherwise known as Indonesian Junk do as well and as if by magic they write songs in that style with a bit, sorry a lot of swagger and no doubt a cocksure knowledge that what they’re doing is the best, they make it seem so effortless.

They’ve managed to absorb everything that’s good and great from the last 50 years plus and pour it into their tunes covering huge Rock behemoths in the shape of Kiss and one for the cool kids in the shape of The Joneses whilst adding some glam Starz style to their punk rock old school of Slaughter and the Dogs.

Man on the opener ‘Cmon and Love Me’ they throw in a cheeky Kiss number to draw you in but more impressively they follow it up with a super sleazy right on the money version of ‘Pillbox’ man that’s a great song but easy to get wrong but not the boys in Indonesian Junk they kill it! they take it to school and own the fucker! now that how to tip the hat to your forefathers and those who ploughed the furrow so we could all follow.

This is a compilation of curio B sides, singles and covers and they show us exactly what a tight little combo they are and you get to marvel at their swagger as they turn up the amps to 11 and just let rip. ‘Last Night Alive’ is basically a loosener, an aperitif if you like with the only lyrics being the title of the song shouted from the back of the room like a bunch of leary drunks but man it kicks your backside good and proper.

‘Now That Its Over’ comes on like a long lost Stiv Bater LA LA session and seamlessly the original tunes muscle in snugly with the covers and taking ownership of The Joneses, Kiss and Slaughter and The Dogs aren’t to be taken lightly but when you hear these version if you know you’ll know.  Bloody great stuff.

Finishing with a few unreleased numbers is cool as well this is a compilation that’s not just thrown together its been lovingly prepared for the discernable lover of all things sleazy, glamorous punk rock and roll and Starz never sounded this good on ‘Outfit’. Inspired choices for covers and inspired original tunes.  Give Indonesian Junk a chance you’ll love em then you can delve into their back catalogue knowing you’re in for a glam-punk treat, get it!

 

Buy A Life Of Crimes Here

Just Who the F*** are Governess – interview exclusive

Just Who the F*** are Governess – interview exclusive

Governess are a sleazy bunch of sexy sailors playing a glunky blend of all action rock n’ roll that would bring a tear of pride to the guy lined eyes of Johnny Thunders and Happy Tom. Hailing from Buffalo, NY in the late great USA, Governess share the balls of their mid-west neighbours and the guts of their NYC cousins. We had a word with guitar player Handsome Erik, an all American guy with an unhealthy love for UK 90’s indie bands.

Compete the following sentence “Governess sound like a cross between………..”

A cross between deathpunk, glam, and Scandi/action rock.  Big riffs, flamboyant swagger, sick guitars, and one hand gripping your crotch.  Our influences include Hanoi Rocks, NY Dolls, Turbonegro, The Hellacopters, and the Dead Boys, to name a few, and I think that comes out in our musical style.

It’s been 4 years single the debut album “Let Me Be Your Governess”. What have you guys been up to????

Writing songs, and hitting the road, mostly.  Getting out there, grinding, playing shows has always been at the forefront of our minds.  We didn’t really want four years to pass before putting out another record; it just kind of worked out that way.  The luxury of taking that time gave us a lot of material to choose from – the best we have from the last four years!

You’ve just unleashed new tune “Grime Time” what’s the response been like?

Oh man, the response has been great! Choosing the first single is a tricky thing.  We wanted to put a song out that gives the audience an idea of what the record sounds like, but we didn’t want to blow our load early and use the strongest tune(s).  I think we made the right decision; the song rips, and there’s still plenty of gems on the record.  Every lyric in that song is true, by the way.  It’s about our best bud, and 6th Governess – “Grime Time,” Matt.  Without blowing his head up too much, he’s become some sort of quasi-fabled legend.  He travels with us, partying his ass off the whole time.  Once he learned that we wrote a song about him, shit really popped off!

What can the world expect from the new album “Never Coming Home”?

Never Coming Home sounds HUGE.  Don’t expect some weak-ass, lo-fi, art-punk crap that was recorded on an old mixtape, or something.  There’s a lot of guitars, a lot of sing-a-longs, cool lyrics, and upbeat songs.  No snoozers.  It’s dark, it’s fast, and it’s loud.  In a lot of ways, we feel like Let Me Be Your Governess was kind of like our Ass Cobra, and this new one is our Apocalypse Dudes moment.  The band has evolved so much in four years.

Have you got a label lined up or will you set up your own label to get it out there?

We are currently doing everything ourselves, but we are definitely looking to shop this around and get label support.

What’s your plan, post-pandemic battle plan?

Staying in lock-down has everyone really dying to get out play shows.  Once we’re able to do that again, we’ll be pounding the pavement hard.  This pent up energy is going to make for some wild times ahead!  We’re trying to get this record released, in physical form, by the end of the year/early 2021.  We haven’t discussed an early digital release, but that’s a possibility as well.

Are there still any great undiscovered bands out there? Give your mates’ bands a push.

Absolutely! Punk’s not dead, it’s just down on the floor…  Through the years, we’ve met some great bands, and have made some great friends. Without a doubt, the best band in our scene is Hot Blood, from Asbury Park, New Jersey.  If you’re into hardcore punk, there’s no one doing it better.  They have two guitar players that shred, their lyrics are on point, and their hooks are strong as fuck.   In early 2019 they put out Fear of a Unified Public, and we’re still all talking about it!  Another great Asbury band (now in Los Angeles) is The Battery Electric. These beautiful babies are the hardest working band in the business.  100% rock n roll, sweet hooks, and another Jersey guitar shredder!  I would be remiss if I didn’t mention Rotten UK (Rochester, NY) and the Cheats (Pittsburgh, PA).  Both bands are incredible and should be way bigger than they are.  I hear the Hot Blood guys a Rotten boys don’t get along, though….

What five albums should no home be without?

I find it curious that you’re asking for five records, and it just so happens that those first five Oasis releases are pure fire!  Coincidence???  For real though, my favorite bands/records change on a daily basis, depending on my mood, or what Kinks record I’m listening to at the moment, so this is a tough question.  How about I tell you the five records that are getting the most spins in the Handsome household?

  1. Greater Than Ever, by Baseball Furies – Buffalo punk legends. I discovered this record about two years ago, and its been in regular rotation since.  I’m mad at myself for not discovering it sooner.
  2. Off the Rails, by Gino and the Goons – I just discovered these guys too!  Their entire catalog is great.  I thought I was a huge Heartbreakers fan; these guys really love them, L U V!
  3. Funhouse, by The Stooges – This record blows me away. It’s so loud, raw, and loose. Plus Ron Asheton is fucking MENTAL!!
  4. Crystal Gazing Luck Amazing, by Compulsive Gamblers – I love that 60s vibe. The singer has a sweet voice, and that song Two Thieves always makes me want to cry. I DON’T THOUGH!!!!!
  5. Algorithm & Blues, by The Good, the Bad, and the Zugly – Jesus Christ! What can I say? Its not only the best record of 2019, but it’s going in the Deathpunk Hall of Fame.

Governess are –

Robot Rob: Vocals & Bass
Handsome Erik: Lead Guitar
Fast Teddy Clarke: Lead Guitar
Jon Swayze: Rhythm Guitar
Matty Wild: Drums

Hurl them some abuse on their Facebook page Here

Check out the latest single “Grime Time” Bandcamp

Catch up and grab their debut album “Let Me Be Your Governess Here

Author: Fraser Munro

 

Moot – ‘Cultural Treason’ (Riot Records)

Moot – ‘Cultural Treason’ (Riot Records)

Australian garage punk rockers MOOT have released their new EP ‘Cultural Treason’ via Riot Records. Cultural Treason is the first proper release from the band.

A collection of songs poking fun and inspecting what’s going on in the world today. It’s fast, chaotic and good fun would be the best way to describe this record as it blitzes round the genres of Punk and Garage Rock.

Cultural Treason is trashy garage punk rock and roll. Australia is easily caning the rest of the rock and roll world over the last couple of years and are churning out potential breakthrough acts left right and centre. A lot of the better ones are hedging their amps down the Garage sloppy punk n roll street.  Moot are on of the contenders or they bloody-well should be

I Hate Hippies is MOOT’s summary of the modern phenomena of hipsters. The one that puts on the “I’m in touch with the earth and wellness” schtick, but really, it’s just mummy and daddy financing a self-absorbed arrogant hypocrite. ITs spat out as you’d expect.

 

‘1000 Words’ is old school punk and if you close your eyes you could imagine this was recorded in a rehearsal down the Roxy.  There isn’t much finery going on in the control room and the band seem more intent on capturing the spirit of the music rather than keeping up with modern studio dynamics.   ‘Sick Dog’ sounds like they just found an early pistols jam as they try to harness that Jonesy guitar riff.

Six tracks sounds like a great idea for a first release and knocking it on the head with the single ‘I Want TO Be Clint Eastwood’ has the feel of Dead Kennedys but not as rapid, unlike the record’s opener.

 

In the bands six years existence, they’ve played every dive bar in Australia and lived to tell the tale with a smile on their faces lyrics that tackle serious subjects as well as with a cheeky wink and who doesn’t want to be Clint Eastwood its about time someone wrote a tune worth playing twice about the Actor.

 

Buy ‘Cultural Treason’ Here

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Author: Dom Daley

Mötochrist ‎– ‘Greatest Hits Volume 1’ (Dr Wu Records)

Mötochrist ‎– ‘Greatest Hits Volume 1’ (Dr Wu Records)

Well here it is kiddie winkies the ‘Best Of’ album of the year and probably any other year if it were a competition, which it isn’t. But if it were Mötochrist has won.  From the artwork to the content and the cliche crammed melodies its an absolute steal at any price.  If you haven’t already ordered your own copy why not?

Originally released as one of those Kickstarter campaigns many many moons ago (at least 18 months if I’m honest) and for it being a Greatest Hits compilation fuck knows why it’s taken so long but it doesn’t even matter because it’s Mötochrist and they Rock and that can do what they want simple as that!

 

I know there’s a certain irony of it being a Greatest Hits seeing as they’ve only ever released one single on vinyl proper oh ok So ‘I Don’t Ride Bitch’ was a single-sided No Balls creation and they did release a three-track CD Ep. and that was on No Balls and not many will have ordered it anyway but truth being known everything Mötochrist has released is the Greatest anyway even when they’re not on top form its still the Greatest and way better than 99.9% of other bands records. Oh, and the artwork is a stroke of genius front and centre – absolute stone-cold classic. I’m lucky being a fanboy I got mine signed even during COVID because if it wasn’t already obvious there’s no way any Virus is taking Mötochrist down not now not ever- they are indestructible

So Whats on this Greatest Hits then I hear you say through salivating chops. Well, the only downside is its just the one record and not a double album or better still boxed set with everything they’ve recorded on vinyl – Fingers crossed eh?

It starts as it does at the start of the ‘Greetings’ album with the glorious ‘Hang Em High’ and the total heaviness of those Guitars man it’s fucking awesome and the tone of Diamond and Vodka is immense. Catchy tune after catchy tune with cheeky lyrics and big riffs this compilation is a must-have don’t take yourself too seriously and let your hair down ‘The Fist’ is a beauty and from the bands decade-old ‘Corvette Summer’ album (man it seems like yesterday)

Then it’s back to those ‘Salt Flats’ for ‘Super Sonic Speed Machine’ but its not all full throttle as the laid back ‘Holiday’ steps up with its ‘Strip club’ staple groove and killer chorus. Of course, the tribute to ‘Evel’ is present as is Marc Diamond penned ‘Pretty Girls’. Then to close off the first half, side one is drinking anthem ‘We Came We Saw We Drank’ and its TV Eye tip of the hat to Iggy and boozing and a fine way to take us to half time.

Side two opens with a pair from ‘Corvette Summer’ before their last album ‘Chrome’ rears its devil horned head.  I’m going through side two and by the time I hit ‘Hellbound’ and its wonderful lyrics of Shakespearian quality.  I guess having self-awareness is a good thing and guys I think Hellbound is the only option so well done for embracing your final destination but as the final thirteenth track ‘I Don’t Ride Bitch’ plays out I realise there’s no room for the epic ‘Marc Diamond’  or ‘El Diablo’ uh what? oh, I see Pfew Volume One. It just wouldn’t be fair to overload this one so you’re forgiven.

In short, just buy this album if you don’t have a record player, well, this is your excuse to get one.  A stone-cold winner of Greatest Hits album of the year and its only August for fucks sake!

 

Oh and to make this bad boy even more desirable (if that’s possible) my record came with a CD that features a whole heap of bands covering Mötochrist which is as we all know futile but worth a go and most definitely worth a listen from some pretty straight takes on classics and some that are well and truly fucked with oh and they have ‘Marc Diamond’ and ‘El Diablo’ so all not lost. Danny Christ!? Jesus wept I can’t stop looking at it and laughing.

Buy Here

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Author: Dom Daley

Walter Lure – R.I.P.

Walter Lure – R.I.P.

Your waking up to the sad news that Walter Lure, who was guitarist in iconic NYC punk band The Heartbreakers, has died after battle with lung cancer and liver cancer. He was 71.  Walter was diagnosed with liver and lung cancer in July 2020, which spread rapidly and he died from complications related to cancer at the age of 71, peacefully in the hospital, surrounded by family. He was very much loved and respected for all he contributed to the world of music. He will be dearly missed.  He last played Rebellion festival here in the UK last Summer and continued to perform songs from the classic L.A.M.F. as well as his solo material.  We’d like to send our best wishes to his family and close friends for their loss.  Rest easy Walter.

Lure was the last surviving member of The Heartbreakers  Walter leaves behind a lean but incredible musical legacy and will be missed by many. The perfect foil to Thunders onstage, Walter leaves behind the L.A.M.F album that spawned and influenced several generations of Rock and Rollers as well as a couple of classic solo records with the Waldos.  I was lucky enough to interview him many years ago and he was engaging, charming, humble and funny and it was great to meet one of your heroes who deserved to be on the pedestal you put them on. Rest In Peace Walter Lure – Rock and Roll Legend.

 

Diamond Dogs – ‘As Your Greens Turn Brown’ (Wild Kingdom Records)

Diamond Dogs – ‘As Your Greens Turn Brown’ (Wild Kingdom Records)

As my learned colleague, Craggy waxed lyrically when he reviewed ‘Honked’ the first of these Anniversary albums from Diamond Dogs, I went on a journey down the Rock and ROll highway and played every Diamond Dogs album released and the overriding thought I had was –  Damn this band was smoking hot when they got in that groove.

They were honking on the whole Faces early ’70s Stones vibe and they were killing it every time and the most important thing was they had the tunes to go with the swagger and if those five albums were my gift to the world I’d be so proud of my band and the songs we’d created. Its quite some collection and as the band aged like a good wine they changed taste but remained true to their roots and sound.

On reflection, it seems like yesterday the band were rolling into my small village and pitching up their amps in a restaurant at the rear of my local boozer on a Sunday night after having a show in the City cancelled they then proceeded to Rock the socks off the locals with a wonderful and impressive set. These sets are pressed on vinyl as well as CD and contain a plethora of bonus tracks (singles B Sides) to wrap up the tunes from that period in a perfect set.

As Your Greens Turn Brown: After the keys introduce the listener with a bit of ‘Bloodshot’ before kicking up a shitstorm in the shape of the fantastic no holds barred ‘Goodbye, Miss Jill’ even now it makes me smile a five-mile smile when the band kicks in and the harmonica starts honkin’.

The record ebbs and flows superbly with the highs being particularly high and when the band gets going man they sounded authentic and passionate.  The lulls when they’d kickback. Their blend of Hammond and Rock and Roll overdrive mixed with a few horns stabs here and there is timeless. Let the good times roll on the ballsy ‘Hardhitter’ and then they can drop a few gears as they venture off into Small Faces territory via ‘Singing With The Alleycats’ it’s easy to see how these guys got gigs with Punk rockers like the Damned or Rockers like The Cult and Nazareth when you hear the raw ‘Bite Off’ with its too fast to live riff and with that variety in mind you pick up the flavour of just how talented a songwriter Sulo is and he lives these songs and wears them on his sleeve you can’t bluff Rock and Roll this good which is why he attracted the likes of Darrel Bath and Steve Klasson into the fold.

 

The band were comfortable letting go and cutting loose as they were doing the jig is up country-tinged ‘Anywhere Tonight’ as they were doing the whole Thin Lizzy duel guitar kick-off that had songs like ‘Boogie For Tanja’ being so effortlessly good. Then when they needed to turn down the lights they could glide into ‘Yesterdays Nymph’ in one fell swoop. When Sulo took the mood down he has a wonderful tone on his voice and as far as taking on the Brits doing the whole R&B thing there’s no contest Diamond Dogs were more consistent than a lot of their contemporaries churning out albums of exceptionally high quality and this bad boy is right up there with the best of them and when your B Sides are as good as your A-Sides you know you’re onto something.

Fifteen songs of exceptional quality its like they once said Too much is never enough! Bring on the next one and I’ll get me filled up on more trips down memory lane and promise myself to play these records more often they deserve it and so do you – Buy it!

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Buy Diamond Dogs Here

Author: Dom Daley

Levellers – ‘Peace’ (On The Fiddle Recordings)

Levellers – ‘Peace’ (On The Fiddle Recordings)

In the wake of Coronavirus many albums being released are cited as “an album of the times” or “the soundtrack to lockdown”, yet most were written and recorded before lockdown was even a thing. It seems some musicians are just clued in to the right frequency for the times. One such band is Brighton folk heroes the Levellers.

Now, Levellers have been releasing “an album of the times” since their first album ‘A Weapon Called The Word’ was released on an unsuspecting world in 1990. Taking their name from the political movement, the band have always been outspoken with their left-wing political views and voicing change with their lyrics and in interviews.

They outgrew their humble, crusty beginnings, headlined Glastonbury in 1994 and even bothered the charts a few years later with the likes of ‘Just The One’ and ‘What A Beautiful Day’. The mid nineties saw the band go it alone, becoming independent with their own self-contained headquarters called The Metway. There they have their offices, where they run the fan club, it houses a rehearsal space and recording studio. And they continue to be self-sufficient to this day with their On The Fiddle record label.

 

While ‘Peace’ is their first new studio album in 8 years, the band has not been sitting on their laurels. 2008’s ‘We The Collective’ saw the band re-imagine an album of their songs acoustically, with an orchestra at Abbey Road. They continue to tour extensively and host their own Beautiful Days Festival. The recent deluxe vinyl reissues of their discography have kept fans content in the lead up to album number 11.

And album number 11 is a throwback to what the band does best. Produced by long time collaborator Sean Lakeman, ‘Peace’ sees the band in fine form, delivering the perfect mix of Celtic, guitar-driven anthems and folk-tinged balladry.

3 singles have whetted the fans appetites over the past months in lockdown. Opener and first single ‘Food Roof Family’ is an energised burst of noise, with driving bass and frantic fiddle and the same thought provoking lyricism that captures the same vibe as their early recordings. An instant anthem. With its retro keyboard refrain ‘Generation Fear’ sees a different, edgy direction. Still bold, brazen and relevant in 2020, it will surely become a future live favourite, guaranteed to get your inner crusty bouncing. ‘Calling Out’ sees guitarist Simon Friend take to the mic for a raspy tale of escaping the rat race. All 3 have their own merits but are very much Levellers in sound and feel.

Friend appears for lead vocals on several occasions, as he has done in the past. The emotive ‘Four Boys Lost’ is a sea shanty recalling the tragic tale of sailors lost at sea. ‘The Men Who Would Be King’ is raucous, punk fuelled noise-mongery, and for the first time he duets with singer Mark Chadwick on the marvellous ‘Albion and Phoenix’. The latter references the bands beginnings, Albion being a hill in Brighton and The Phoenix is the squat they used to hang out at. Full of choppy riffs and melodious fiddle, the juxtaposition of Chadwick and Friend’s vocals work perfectly on a song of reflection and sentimentality.

Elsewhere, the likes of Chadwick’s ‘Born That Way’ with its Clash-lite riff and fiddle refrain, along with Friend’s upbeat stomper ‘Our New Day’ show the more commercial mid-nineties Levellers along with the more poignant traditional laments of ‘Ghost In The Water’ and album closer ‘Our Future’.

 

 

Choc-a-bloc with their trademark observational lyricism and Celtic punk vibes, ‘Peace’ preaches a message of hope, which is nothing new for this band, but in these trying times the message seems just as relevant, if not more so than it was in the early nineties. They may be older, wiser and not the angry young punks they once were, but the Levellers still have something to say and in the current political and social climate, ‘Peace’ could well be the perfect soundtrack to our times.

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Buy ‘Peace’ Here

Author: Ben Hughes

 

 

 

 

 

Scumbag Millionaire – ‘Poor and Infamous’ (Suburban Records)

Scumbag Millionaire – ‘Poor and Infamous’ (Suburban Records)

If Godzilla was Swedish he’d be playing hard, fast and nasty rock & roll in a band just like Scumbag Millionaire. He may even grow a moustache and change his name to Max.

Now you’ve got the picture, let me introduce you to “Poor and Infamous”, the second long-player from these four Gothenburg gutter deviants. The record that’ll get you safely through the rest of this Covid craziness.

From full-throttle opener, “Demi-God” to sleazoid closer “One For The Road”, “Poor and Infamous” is an ass-kicking classic. Think early ‘copters (obvs), think classic Motorhead and you’re almost halfway there. Where ever there is !?!

Lead single “Ain’t No Doubt” is everything The Backyard Babies used to be, totally Total 13 and a bang on dyed in the wool classic. Check out the video.

“You Had It Coming” gets a little Mick Taylor-era Stones groove on, while “Chasing Dawn” pummels you in the ears into submission.

The distorted bass intro to“Put A Price On My Soul” is pure Boss DS1 magic courtesy of the legendary Sunlight Studio.  Tomas Skogsberg’s production is spot on, the man is the Phil Spector of the garage punk metal universe.

“Desperado” is a monster. A face-fucking distorted onslaught.

“Subterranean Twist” reminds me of the early Scumbag singles (check out US compilation “Fast Track Big Pack” if you missed them).

“Highway Blues” calls on those super sexy bass tones again. Not as full on as its “Poor and Infamous” bed fellows but it’s a tune that BYB would kill for.

“Trouble City” is pure Motorhead magic and “Dead Man’s Hand” ain’t no slacker either.

Rounding things off with the aforementioned Sea Hags-tastic “One For The Road”, “Poor and Infamous” is simply the bollocks.

Pre-order the album Here on limited transparent magenta vinyl, regular black vinyl or on ye-olde traditional CD.

 

While you’re at it grab the US comp “Fast Track Big Pack” along with debut album “Speed”. You won’t regret it. Guaranteed !!!

 

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Author: Frazer Munro

“Demons” – ‘No Loitering (Burn Down The Club)’ (Vitriola Recordings)

“Demons” – ‘No Loitering (Burn Down The Club)’ (Vitriola Recordings)

In the mid to late 90’s it seemed that bands in Scandinavia had sold their collective souls at the Cross Roads found at the Three-Country Cairn, where each member was given the complete discography of the Nomads, The Stooges and the MC5 and told to go away and learn them.

Paving the road were the three horsemen of the apocalypse; The Hellacopters, Gluecifer and the Flaming Sideburns. Following on in their wake were the just as important and influential second wave, never quite making it to the Arenas but packing out clubs across their home Countries, Europe and even as far afield as North America. One such band was the “DEMONS”. Strangely enough, the States, notably the Pacific Northwest, embraced the Scandinavian Invasion and for a while, “DEMONS” were the uncrowned Kings of it.

To celebrate the band’s 25th Anniversary a live album called “No Loitering” that was recorded between their second album “Stockholm Slump” and third “Demonology” on the 5th March 2004 at The Crocodile Cafe in Seattle is being released via Vitriola Recordings. 

The press release says that “It by no means is pretty”, I’m not even sure if this is off the Soundboard or a very well recorded audience recording but it’s what we want, no scrub that, it’s what we need; fast, sweaty and furious without any compromises. The original classic four piece line-up kicking an eleven song set off with “Undertaker’s Lament” from the aforementioned “Stockholm Slump” but before you have time to register that fact the band are already ripping through “Devil In Me” but it’s not all past glories as the band road test the as yet unreleased “Lost Dog” and “What’s This Shit Called Love”, that both sit perfectly well in the set. The gig is the perfect length for us old school TDK 90 merchants coming in at just under 40 minutes.

Back in the day if I did have this on a cassette on the other side would be the Ramones “It’s Alive”. The only gripe I have is no “Electrocute”. Over here in Dear olde Blighty gigs still seem a long way off. This is why “No Loitering” is so important; not only is it a band firing on all cylinders but it is a reminder of how good live gigs are.    

Buy it Here

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Author: Armitage Smith

*This album is a Bandcamp exclusive. It will not be found on Spotify or any of the other streaming services.
A limited-edition digipack cd with a bonus poster will be released by Vitriola Records and will be available at a later date*

   

Diamond Dogs – Honked (All Over Again)’ (Wild Kingdom Records)

Diamond Dogs – Honked (All Over Again)’ (Wild Kingdom Records)

Sweden’s much-loved and well-travelled charismatic rock ‘n’ rollers Diamond Dogs have returned to the scene and they are bringing re-releases of their first 5 albums with them. Released through the Wild Kingdom record label, these 5 LPs cover the first 10 years of their existence, which began in 1993 with the album Honked.

Honked set the scene for the coming years for the Dogs. Headed by the singer/songwriter Sulo, the band would at various points involve musicians from a worldwide spectrum of spectacular and influential bands. Honked was big news in Sweden, and it pushed their boundaries far beyond Scandinavia, with single ‘Blue Eyes Shouldn’t Be Cryin’’ making its way onto MTV rotation, back when the M meant Music and not Money. It would see them tour all over the world with some of the biggest household names.

The album now has been repackaged as Honked (All Over Again) and includes three additional tracks in Lucille (Richard’s, not Kenny’s), Sweet Sister Sunrise and Big Bayou (originally by Swampwater and then covered extensively). Many years following its original release, Honked is still brimming with that delightful charm that has always been instilled in the Dogs’ music. Raunchy and swaggering, the Dogs’ music is unapologetically 70s inspired rock ‘n’ roll, rolling in a sweet mix of the Faces and the Stones. The song writing and the energy captured in the production ensure that it still stands up now.

The Diamond Dogs have always delivered this music in the best way possible – with honesty and charisma. If you like the Black Crowes or the Quireboys, and for some cruel reason the Diamond Dogs passed you by, diving into these 5 re-releases should set you straight. And there’s no better place to start than right at the beginning with Honked.

Buy Honked Here

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Author: Craggy Collyde