When I read the band name I have zero clue what it all means but I do know it makes me happy on a purely childlike level and as soon as the needle drops on ‘Mr Barnaby’ and the band kicks in with a walloping good time, amps up loud a thumping bassline holding the rhythm steady and drums a crash bang walloping I can’t shake off the smile or has it turned into a shit eating grin? Banging good time with a crisp production that’s unfussy and on point. shitbaby Mammals don’t sound like a band who take themselves too seriously but just love making music and that’s what appeals to me with their excellent pop songs played with heart and soul through amps turned up loud n clear with just enough grit and dirt under those fuzzy pick ups and above of garage rock n pop, wonderful stuff.
‘Nostalgic Bliss’ is more of the same. A little more quirky, perhaps, with some interesting sounds and melodies that ricochet around the grey matter for ages. There’s enough pop and groove going on with these eight songs to satisfy any self-respecting rocker with a penchant for groove, grit, and inspired rock n roll.
The lyrics often mean nothing to me except for the melody they’re wrapped in, which is always on point and exactly what the song needs. Take ‘Carnegie Hall’, its pop music with loud guitars and a soppy melody, and oh yeah, some synths to add some more texture, and the chorus is hilarious. It’s power pop sunshine time on ‘The Joy Of Painting’ halfway between a Brian Wilson Beach Boys hoot and a Cheap Trick rocker.
‘Passport To Drive’ is a riot and the best house party you’ve crashed in your life with that rolling thunder of a bassline like Los Pepes covering the Knack with a fucked fuzzbox that’s being played to death. A wonderful song that makes me feel happy to hear every time I put it on. The band play out with one last dance, ‘Jeopardy’, that manages to get its funk on before bowing out. Another top album from those Shitbabys and a Scandinavian ray of garage rockin’, power popin’ rock n roll that manages to hit a real happy spot on any given rainy day. Keep on rockin guys you’re killing it and that cover makes me grin as well, fuck knows why but he looks so happy. Buy it!
At hi-octane speed, screeching straight out of Helsinki, the Scando-tastic Rokets are up to their eyeballs in adrenaline and rocket-fuel, and ready and waiting to purge your stereo and give your speakers a rock’n’roll laced enema.
With more than a nod to another Scandinavian rock outfit, Rokets certainly wear their hearts on their sleeves. But don’t let this put you off. Familiar territory this might be, but it’s trodden with gusto.
Straight out of the paddock with title track “Bad Choices”, it twists and turns, beating heavy on your chest. Deep and dirty, “Shackles without Chains” slinks in without missing a beat. Anthemic sing-along choruses guaranteed. “Overload” does exactly what it says on the tin, complete with a gorgeous guitar tone.
This is a record that definitely benefits from repeat listens, tracks like “White Raven” and “Law and Order” only get better once you get into their groove and have the potential for playlist stalwarts.
The record leaves us with a well-thought-out number, “Diamonds and Dust,” and the last track
“Lights Out”. The former is quite paced but will have you punching the air in no time, leaving the listener with the latter, speeding off like a getaway car, you’re whiplashed with adrenaline withdrawal coming up for air.
The wheel certainly has not been redefined on this LP, but Rokets have certainly engineered something special and engaging and keep on drawing you back in.
The mighty Saxon continues their journey as one of the UK’s most well-known metal bands. Their output still comes thick and fast, but never compromising on quality. They know what their rabid fan base wants and deliver every time. They are still a formidable live act even though original member Paul Quinn decided to step down recently. Never fear, though; Diamond Head founder Brian Tatler stepped up and is a fantastic addition.
Eagles Over Hellfest is an epic documentation of Saxon’s blistering performance at Hellfest in France last year. The band smash out a set of classics and material from their latest LP Hell, Fire and Damnation. With a career as long as Saxon has enjoyed, picking a set of material must be a task. Everything you would expect to hear at a Saxon show is here: ‘Motorcycle Man’, ‘Power and the Glory’, ‘Heavy Metal Thunder’, ‘Dallas 1PM’, ‘The Eagle Has Landed’, ‘Strong Arm of the Law’ all sound incredible. The new tracks sound great too, we have the title track from Hell, Fire and Damnation and Madame Guillotine.
The band are on fire as always, but Biff Byford sounds better than ever; he’s constantly whipping up the crowd to a frenzy and has them in the palm of his hand. He’s singing better than people half his age.
A special shout out must go to drummer Nigel Glockler too. His playing is exemplary, a showcase in heavy metal drumming. Simply brilliant. Doug Scarratt plays his arse of too and even though I can’t see bass player Nibs Carter while listening to the album, I can picture him going crazy and constantly banging his head in my minds eye!
The album blasts through blistering versions of And the Bands Played On, Denim and Leather, Wheels of Steel, 747 (Strangers in the Night), Crusader, and finishes off with the legendary ‘Princess of the Night’. Crystal clear production from Biff makes you feel like you were there at Hellfest, singing along.
Saxon shows us yet again why they are a constant in the lives of metal fans all over the world and have influenced so many.
Note to self and anyone listening: PLAY LOUD! It’s been described as sonic warfare, and that’s exactly what it is. Formed in 1985, The Young Gods are a Swiss electronic rock band whose influence reigns over such heavyweights as Bowie and Mike Patton. What they do is electronic guitar-driven heavy load dropped on the listener in pulsating heavy doses endlessly shifting from genre to genre, thus making them difficult to pigeonhole and defying labelling.
The album kicks off with the title track, with a sense of cool, calm and collected aggression with the riff overriding as it punches through. Sure, there are moments of stylistic similarities to bands like NiN, but it reaches further. Industrial textures, post punk edges, and softly spoken verses, it’s the air of confidence that really draws you in.
I hope you’re sitting comfortably as the stunning ‘Blue Me Away’, I’m also going to cite U2 around the time of the big Lemon as well, it certainly got elements of that majestic period about this, albeit a darker edge. ‘Hey Amour’ is a slow burner that has sharp guitar breaks with crackling overdriven solos, a twitching and pulsating bassline.
The first half of the album is drawn to a conclusion with the twitching thumping hum of ‘Blackwater’, an impressive track that is widescreen post punk spreading its wings over almost six minutes.
Opening the second half of the album, ‘Tu En Ami Du Temps’ finds me in a style I’m not familiar with, something of a trip hop vib,e reminding me of a few bands I came across in the early 90s like Tricky. Odd noises and underpinned by static and sampling, again the best way to describe the territory we’re in is a widescreen soundscape.
In contrast, ‘Intertidal’ finds me in Portishead or Massive Attack meets a softer Trent Reznor territory electronic ambience with shimmering soundscapes and loose guitars chopping away in the distance.
Penultimate track ‘Shine That Drone’ has a pulsating droning synth line before heading off into some heavy alt-rock territory, the guitars slash along to the metronomic percussion. With the album brought to its end, ‘the band have one last dark message to impart in the form of ‘Off The Radar’ seems very much in the latter day Bowie territory. The production is excellent and draws you in, but it’s an album that demands you give it your full attention and preferably in the dark and played loudly.
BLAST OUT THE 30 SECOND NEW SINGLE ‘DEAD ON THE WAY HOME’ HERE:
With an incendiary live show that’s chaotic, loud and in-your-face, FANTAZMAZ—Brazil’s fiercest new punk rock export—are about to drop a nuclear bomb. On July 4th comes their debut self-titled album, marking the beginning of what’s set to be a killer year for the band.
Formed in 2019 by frontwoman Thami and guitarist Raf Oliver, Fantazmaz found their raw, unrelenting sound with the addition of bassist Chokito and former U.K. Subs drummer Jamie Oliver. Blending blistering punk energy with a fearless stage presence, they’ve quickly built a reputation for their no-holds-barred performances.
Now based in the U.K., Fantazmaz are gearing up for a wild summer, hitting Rebellion Festival and a string of European shows before heading back to their homeland of Brazil for a run of explosive gigs. With their debut album on the horizon and a relentless tour schedule ahead, Fantazmaz are poised to make their mark in a very big way.
“The album is angry and frustrated, pretty much because we don’t see a future,” explains Thami. “Chances are slim that we’re getting out of this global mess, and honestly, we don’t care much about explaining why. It’s right there for everyone to see. That’s the sentiment — listen to the album.
“We recorded the whole thing in two days at Monolith Studio. It was straightforward and honest — first day for drums, second day for guitars, bass, and vocals. The songs had been written for a while, and we just thought, why the hell not drop a full album? So, we went in and laid it down, raw and real. This is our first full album, and we’re bloody excited for it to finally come out.”
Fantazmaz launched the album with the track ‘Dead On The Way Home’. At only thirty seconds long, it’s the perfect introduction to the album’s unbridled rage and fury. The song was inspired by a news report from Brazil about a group of young people mistakenly shot dead on their way back from a night out, which is sadly not an isolated case. The anger and frustration led to the idea of a 30-second track repeating: “Got shot dead on their way home.”
A short, sharp shock to the system, the album is crammed full of anger and energy, ranging from the 80s hardcore attack of ‘Scars Of Downtown’ (“about the loneliness of living in a metropolis like London, seen from a darker perspective,”) to the Dead Kennedys/Jello Biafra inspired ‘Corporate Behave’ (“dedicated to everyone sticking it to the capitalist rulebook,”). But Fantazmaz are no one-trick punk rock pony, the album is brimming with unique and fresh ideas. Album closer ‘Just Before Hell Comes Around’ bristles with dark hip hop beats, whilst ‘Are You Enjoying The Peaceful Skies?’ is fuelled by a decadent/bastard bossa nova, inspired by Chico Buarque’s epic song ‘Construção’.
And best of all, this is just the beginning. 2025 is going to be a very busy year for Fantazmaz. Hold on tight.
Celebrating the release of their brand-new and critically acclaimed album ‘Cvrses’, out now via Dark Riders/Cargo Distribution, Sheffield riff masters Black Spiders are keeping the party going with new single ‘Up All Night’.
“It’s an ode to Renfield, Dracula’s batman and an allegory for the RnR lifestyle, where there’s only one version of 3 o’clock,” says guitarist and vocalist Pete Spiby as the band set course on another vital, stomping, harmony laden rock monster.
Recorded once again at Axis Studios in Doncaster with producer Matt Ellis behind the wheel, ‘Cvrses’ is, and of course all bands say this, very possibly their best album yet. It successfully distils everything that is thrilling and life-affirming about Black Spiders unique brand of thumping heaviness. Massive riffs, massive hooks, massive beats. It’s all massive.
Always a thrilling and cathartic rock n ’roll experience live on stage, Black Spiders have set up another UK tour to commence in June. Following their dates with Australian rockers Airbourne, the band will embark, buckets and spades in hand, on a seaside venues tour of England’s finest coastal venues.
“We always like to play somewhere different, and a lot of these smaller grassroots venues don’t get a look in on the touring circuit, so we thought why not?” says Pete. “It’s gonna be a week of beer vs ice cream…”
Catch Black Spiders live in 2025 at the following dates:
Some bands are seemingly constantly on the road, while others release a studio album every 2-3 years. Demented Are Go are clearly in the former category, and, as any glance at their recent gigs on YouTube will testify, they are on fine form. So, a mere 13 years since ‘Welcome Back To Insanity Hall’, it is a pleasure to listen in advance to ‘Psychotic Mutilation’ (having preordered it, obviously).
No one can say that Mark ‘Sparky’ Phillips hasn’t lived an interesting life. That’s an autobiography I’d love to read, though I doubt he’s interested in putting pen to paper, memory notwithstanding. He’s too busy living it. And that’s one reason why it’s a pleasant surprise that his voice has matured into a wonderful thing. Battered and raw, but with a gravitas you can’t fake.
So, what do we have here? A slew of new songs, plus two covers. You may well have heard the lead track ‘Black Valium’ already. A swampy, mid-paced riff, until it picks up speed and rattles along. Dark and classy. And that, for me, is the thread between the tunes; even the faster ones have a more classic, less metallic edge than on the previous album. Don’t worry, the likes of ‘Out Of Reach’ and ‘Don’t Take Me Back’ would be at home on previous releases, yet ‘Chasing Rainbows’ (not the Shed Seven song) is almost optimistic in tone, musically not far removed from Johnny Cash.
And there are more country tinged tunes with a dark edge, like ‘Nasty Cindy’ with its acoustic intro, and ‘Wandering Hobo Blues’, with its story of “a gamblin’, travellin’ man”. And the cherry on top is, unsurprisingly for fans of Hillbilly Moon Explosion, ‘Cast A Lonesome Shadow’. Every time that Sparky and Emanuela Hutter duet, it is magical, and this even gives ‘My Love For Evermore’ a run for its money. Gothic in the old fashioned sense of the word, The Phantom Chords were the only other band who wrote songs of this quality.
Of the covers, ‘Spoonful’ is a gritty take on the Willie Dixon/Howling Wolf tune, while ‘Mr Pharmacist’ shows their garage credentials, being closer to the original by The Other Half than The Fall’s version. Throughout, they have gained maturity without compromising on power, when needed. ‘Dismembered Hand’ being a case in point; the lyrical imagery remains, but the riffs have a classic, 60s quality to them. And Holger, Grischa and Gaybeul are a line up to be reckoned with; tight, rocking and punchy. The solos are never overplayed and fit each song perfectly.
So, 2025 continues to surprise us. To these ears, Demented Are Go have come up with their best studio album to date. Fingers crossed they play somewhere near me soon.
The Canadian kings of technical thrash metal, Annihilator, have been on my radar ever since I saw the video for Alison Hell on Headbanger’s Ball back in 1989. Their blend of thrash, prog, and a touch of classical gripped me from the start. I bought their debut, Alice in Hell, as soon as I could get my grubby hands on it. I played it to death, but it was their next album, ‘Never Neverland’, released in 1991, that propelled Annihilator into the big leagues. I saw the band supporting Judas Priest in Newport, and their performance cemented my love for the band. These 2 albums are still considered their best releases, their next effort, 1993’s Set the World on Fire, had its moment,s but the line up changes seemed to be the beginning of the band becoming guitarist extraordinaire Jeff Waters’ solo projects, with him taking full control of Annihilator’s output. This was the band’s last release on Roadrunner Records.
We are now getting a revival of the band’s catalogue from the years 1994 – 1997 called The Annihilator Years 1994 – 1997 (catchy title, eh?) This was still a productive time for Annihilator despite the constant line-up changes and new record companies.
By the time we get to 1994 King of the Kill Jeff Waters had taken over on vocals, producing, and recording every instrument apart from the drums, which were recorded by Randy Black. Waters does a fine job, too. There are some fantastic songs on the album, including the title track, 21, Annihilator, Fiasco and my favourite track on the album, the Box. The remastered albums sound great; the tracks literally jump out of the speakers. We also get some demo tracks here, which are a nice insight into the creative process.
Refresh the Demon was released in 1996 on Music for Nations, and it contains one of my all-time favourite Annihilator tracks, Syn. Kill 1, what a tune that is! I do have a soft spot for this album, even though it isn’t held in such high regard as the earlier albums. The hilariously tilted The Pastor of Disaster is another highlight alongside Ultraparanoia. Refresh the Demon is an album that deserves another airing. A real solid metal album that holds up well.
I never delved into the next album, ‘Remains’ at the time of release in 1997, but bloody hell, I wish I did! It’s superb. Heavy, fast, with a touch of the industrial sound that was everywhere at the time. Tricks and Traps is a classic Annihilator track, crunchy riffs, pounding double bass drums, not sure if a drum machine was used here? Murder, Never Forget, Reaction, and the amazing Dead Wrong are some choice cuts from the album.
On the More Noise Vol.1 bonus CD, we get a real glimpse into the creative process of the albums in this era of Annihilator. Bonus tracks, demos and live tracks make a great addition to the albums. The 90s were an amazing time for metal despite the consensus that grunge killed it all. These albums by Annihilator are proof that metal was alive and well. These releases are the first of more remastered and revisited albums in the extensive Annihilator back catalogue to come.
If you’ve never heard these albums before, or if you are thinking of adding these shiny new versions to your Annihilator collection, go ahead, you won’t be disappointed.
The Rock and Roll show kept rolling, and Tonight it was the turn of Swansea to bear witness to the Rock and Roll phenomenon that is Michael Moroe and his band of merry men. I’ve seen the Monroes in many guises over the years in many venues, indoor and out, and the one thing I always testify is that this last one was better than the previous one. Regardless of whats in the set be it a Hanoi heavy set or a Monroe solo outing I’m always buzzing off the energy and heart and soul this band puts into every performance because that’s what they deliver folks, A performance of the highest order be it a festival slot or headline it matters not because they are going to give it everything they have for the duration. They have to, its in their collective DNA, they are the embodiment of Rock and Roll from the opening chord of ‘Dead Jail Or Rock and Roll’ it full tild zero fucks given zero bullshit Rock and Roll show.
First up to warm the punters was CJ, following on from an impressive turn last year when The Monroes did a whistlestop visit for ‘Two Steps’ and once again CJ and the band did a great job offering up plenty of solo material as well as ‘Lemonaide’ from The Jellys. ‘Go Away’ and ‘Sitting At Home’ from the wonderful Honeycrack. CJ seemed a little distracted by how dark the venue was, and it reminded him of a sex club panic room. Had the lights come on, he might have been terrified at the faces staring back at him, but the rock kept coming. Ending the set with a hat-trick of Wildhearts tracks and some amusing banter in the city of Dylan Thomas and Twin Town, the banter wasn’t lost on some of us.
The moment had come, and the intro tape of tribal drums rang out through the PA the time had come for Michael Monroe and his band to roll up their sleeves and get down to business.
Starting with his iconic hit from many moons ago its setting the bar at a height that most bands could never follow but tonight the Monroes simply ooze class and a set that meanders through the good and the great from a glittering career with added Hanoi for good measure and the best tracks Demolition 23 had to offer in a stunning one, two.
I love the rhythm section of Yaffa and Rockfist those guys play with such passion and swagger nailing it every time its a case of where do you look and have I missed anything as Monroe starts climbing the barrier and walking a tightrope and if the club had a high ceiling with tall PA he’d have been up there as well giving every breath in his body like he is playing to each and every person who truly believes in the power of Rock and Roll who came along to the show. ‘Last Train To Tokyo’ never sounded so good and was the perfect loosener for the magnificent ‘Motorvatin’ as Yaffa pounds out the rhythm to a bona fide classic.
Rich Jones and Steve Conte have developed into a formidable sonic foil bookending the Hanoi pair and keeping the repair on stage as they move across every inch of the stage seamlessly going from rhythm to lead with a cheeky smile and a nod and wink its a magnificent beast that I’ve not seen bettered for a long long time. My only thought is how the fuck are they only playing clubs its one of lives mysteries how these aren’t headlining arenas and selling millions of records. what a Fuckin mystery that is but I always feel its others loss that they’re missing out on such songs and a magnificent band.
The intensity continued with no fuckin about or bullshit between songs this group are on fire. Well, except when Michael forgot the words on ‘The Man With No Eyes’, but who cares it’s rock and roll, live in the moment. It just goes to show he is human after all. They might have struck a deal with the devil and drink from the fountain of youth, but from ‘Old Kings Road’ right through ’78’, ‘LES’, the pair of Demolition 23 classics it was nothing short of sensational.
‘Malibu Beach Nightmare’ and ‘Up Around The Bend’ signalled the end of the set as the audience gave a rapturous reception for what had just taken place, which only left an encore of the epic ‘Taxi Driver’ one of the best songs ever written followed by a tip of the hat to the much missed legend Johnny Thunders with a rapid take on ‘I Wanna Be Loved’ and we were done. A drenched in sweat band took the plaudits, and rightly so, that was exceptional and no matter how many times I see this band, I will always go back for more. Simply incredible and boy do they Rock Like Fuck!
In the latter half of the Eighties you’d have struggled to find a harder working group than INSTIGATORS. Tirelessly gigging up and down the UK, around mainland Europe, and even across the USA, on self-booked zero-budget tours, they inspired a new generation of young British bands to go blaze their own trails, often to great effect.
Now in 2025, the band are set to return for the first time in thirty years and are confirmed to play the legendary Rebellion Festival in Blackpool on August 8th, alongside further gigs and the much-anticipated coloured vinyl reissues of the 1986 ‘Phoenix’ album and ‘Shockgun’ from ’88, both ready for release on August 1st on the Boss Tuneage Retro Series imprint.
‘Phoenix’ was originally released in 1986 on legendary punk label Bluurg and was the first release from the classic second line up of the band, which featured original guitarist Simon Mooney teamed up with Andy Turner (ex XPOZEZ) on vocals, and the rhythm section of Andy Turnbull on bass and Steve Curran on Drums. It is this line up that started touring extensively throughout Europe, UK and the US. This is the first time in over a decade the album has been available on vinyl.
‘Shockgun’ saw Bob Gorlik replace Turnbull on bass, and the band extensively tour in promotion of the album on its release on three labels across UK, Germany and the US in 1988. The album has been commercially out of print for three decades, and this release represents the first time ever on coloured vinyl outside of the initial German release back in the late 80s.
Restored and enhanced by Andy Pearce, the reissues are complemented with artwork true to the original UK pressings, both with 24 x 12 card inserts, heavyweight board sleeves, and are the must own versions not only for existing fans of the band whose old copies are at breaking point, but also for those curious to seek out one of the most important bands to emerge from the late 80s UK underground punk scene, who paved the way for countless bands that forged a similar path in later years.
The first incarnation of Instigators can be traced to West Yorkshire in the early Eighties. A friendship with Subhumans Dick Lucas saw his label Bluurg release their debut EP in 1984 and an LP ‘Nobody Listens Anymore’ a year later. The records were well received, putting them on the cover of revered magazine Maximum Rock ‘n Roll. American artist Pushead also championed Instigators, including songs on his worldwide compilation ‘Cleanse The Bacteria’. And then the vocalist, bassist and drummer all walked out, leaving founder member Simon Mooney without a band. With touring commitments, and a determination to carry on, Simon immediately assembled a new line-up, with Andy Turner and Andy Turnbull drafted in as vocalist and bassist, their band Xpozez having recently split. With the addition of Steve Curran on drums the began touring Europe nonstop with the reinvigorated line-up debuting in Swansea, July ’85, officially marking the next era of Instigators.
Following another mainland jaunt in January ‘86 the band assembled at Woodlands Studio, in Castleford, during March and April to record their new album ‘Phoenix’. It was produced by the band with Bruce Treasure (Subhumans) and saw a subtle change in the bands musical direction that reflected the increasing influence of bands from North America on their listening habits.
With their new album out in the summer of ’86, the band now headed across the Atlantic for a North American tour commencing on 27th June at Lupos, Providence (Rhode Island) with The Adolescents and Murphy’s Law and finishing at On Broadway in San Francisco on 14th August.
The wheels were truly turning for this incarnation of Instigators, and they would continue with tireless tours across the UK and mainland Europe and kept their profile up with tracks on various compilations. 1987 saw them release the memorable ‘Full Circle / Sleeper’ single and with ‘88’s ‘Shockgun’ album moving the goalposts again and clocking up the mileage on what would eventually be over 16 lengthy European jaunts.
INSTIGATORS bowed out after two massive European tours at the start of the ’90’s in Milan, Italy. Now they’re back for the first time in over 30 years for three special nights beginning at the world renown Rebellion Festival in Blackpool with headline shows in London and Huddersfield. If you weren’t there to witness them in full flow back, then it’s time to see what you were missing.
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