On November 15th The Silverlites proudly release their self-titled debut album on Sunyata Records distributed by Sony Music.

You might think so what who are these new kids on the block? Well, They might be a new band but wet behind the ears they most certainly are not. In the great traditions of a supergroup, This quartet includes Peter Buck (R.E.M.), Rich Robinson (The Black Crowes)Barrett Martin (Screaming Trees and Mad Season) and Joseph Arthur, a singer-songwriter who was first discovered by Peter Gabriel. 

You’re gently eased into the world of Silverlites with ‘Still Don’t Know You’ which in a predominantly acoustic affair before the cool tones of an electric guitar fall in like rainfall on a misty evening. Sitting comfortably? ‘Forever And A Day’ has a dreamy Bowie-esk feel to it as it drifts in on a cool shuffle courtesy of Barrett Martin. Putting the supreme relaxed structure of the music as the interplay of the electric and acoustic guitars takes hold of the earworm that’s settling in nicely maybe its Arthurs vocals that are soothing and sounding like a hushed Scott Weiland to my ears.

The gentle laid back mood continues until the first single chimes in with a cool swagger, ‘Don’t Go Don’t Stay’ is the work of a band comfortable in their own skin who need to prove nothing and can therefore concentrate on making the best music they can together as a band. Excellent single and song that showcases their individual talents and their collective cool.

The Silverlites initial spark happened in 2015, when Barrett and Rich played together in the backing band for a tribute to Led Zeppelin guitarist, Jimmy Page. 4 years later, in 2019, Rich called Barrett to see if he was interested in assembling a new band that could create equally adventurous music. That’s when Barrett called Peter Buck, a long-time friend and collaborator, and Peter called Joseph Arthur, whom Peter had also worked with. The Silverlites debut album was recorded during the pandemic years between 2019-2021 in a series of recording stages. 

It began with Barrett recording Rich and Peter in a hotel room in Nashville when they took out their acoustic guitars to write the initial songs. Barrett literally ran down to the local music store, bought a portable recording rig, set it up in the hotel room, and started recording these initial basic tracks. The following year, in 2020, the band recorded overdubs and vocal arrangements from the Nashville sessions, and they also recorded a few more new songs at Jack Endino’s studio in Seattle, WA. Barrett then collected, organized, and edited all the final overdubs and prepared 18 songs for mixing.

Final mixing happened in New York City in the summer of 2021 with Barrett, Joe, and mixing engineer Daniel Sanint. When it came time to sequence this huge initial offering, the band had differing opinions, so Barrett sent the mixes to his former bandmate, Mark Lanegan, singer of the Screaming Trees. Mark loved the songs so much that he offered to create the sequence you now hear, which includes the 12 song album, and a 6 song EP. 

The album was delayed for release because of everyone’s incredibly busy touring schedules post-pandemic, but now the album is ready to be heard by everyone. The band has decided to release 2 singles in early October and early November, and then the full album will be released on November 15th, followed by the additional 6 song EP in March of 2025. 

You can see why they broke the flow of the songs into the EP and the 12-track LP. It’s a lot of music to get through and the beauty of these supergroup projects is to create something that is outside of their wheelhouse I guess and that is certainly achieved here. There are times I’m thinking of Neil Young with the keys and acoustic combinations but the laid-back restrained percussive drums take it somewhere different, especially on the excellent ‘No Time’ and the countrified ‘Dark And Magic Skies’. The production is massive and adds a grande and confident feel to the songs and songs like ‘Looking For A Friend’ it’s easy to see how Mark Lanigan was so impressed and wanted to be involved in some capacity.

The penultimate track on the LP is ‘No More’ which is the loudest track on offer and a nice contrast to the more laid back acoustic stuff. This will have intrigue and appeal to fans of their day job bands for sure and some will love it whilst others not so much but isn’t that the beauty of creating music? Me, I find it really impressive and very enjoyable now where did I leave those Josticks and my paisley rug? Catch you later you crazy kids, peace out!

The CD will be released with six more songs on January 10th.

The Party Punk Darlings of Madrid, AmyJo Doh & The Spangles, release their new album, Spangle Landia, through Strap Originals on Friday 8th November on Red Vinyl, CD and digital download. It is available to order Here. A new single, Rock n’ Roll, is released the same day.

AmyJo Doh says of Rock n’ Roll“This was originally called ‘Despedida Rock N Roll’… for me personally this is a goodbye to the past. The old fears and shadows and the parts of that person that no longer serve us. Whatever you are saying goodbye to, let’s give them a good squeeze, thank them for the lessons learned and then kiss them goodbye! No hard feelings! Just a lot of love, and of course…. A lotta LOTTA rock and roll!

The video for Rock n’ Roll, directed by Pablo Lopez, is a performance video with the song’s narrative brought to life by Spanish actress Raquel Saiz. Rock n’ Roll is the second single along with Arise to be lifted from the album.

In true Spangle style, the album brings together various EPs and members of the extended Spangle family, yet the energy and message remain coherent. It’s an eclectic mix of great songs which explore themes of love, rebellion, personal freedom, …and Jamón. The band remains unapologetically versatile. As AmyJo says, “Punk is not a musical style, it’s an attitude…..Every song is a universe in its own right.” 

AmyJo Doh & The Spangles have toured with The Libertines and Peter Doherty and will be announcing tour dates and festival appearances shortly. In the meantime, they will be playing the following shows in Spain:

NOVEMBER

16th Madrid – Vermut en FunHouse
DECEMBER

13th Madrid – Sala Siroco
FEBRUARY

20th Madrid – La Corriente
MARCH

1st Zaragoza – Sala Creedence

21st Valencia – Sala Black Note

AmyJo Doh & The Spangles were formed in 2016 and inhabiting the beautiful, sometimes grubby streets of Madrid, they have quickly become a force to be reckoned within the underground scene. Led by the dynamic AmyJo Doherty, Peter Doherty’s older and on occasions, wiser sister, they released their debut album, Calle de Spangles, in 2018 and have since carved out a unique space for themselves with their eclectic sound and captivating stage presence. AmyJo’s music is an exciting blend of punk, rock, and indie, infused with her distinctive voice and powerful lyrics.

AmyJo Doh & The Spangles’ message is a joyful one and they want to share it live and LOUD! So, listen to the album, buy it, sing it, and share it; but whatever you do, don’t miss their show when it comes to town. It’s an experience you won’t want to miss.  

The Spangles are: AmyJo Doherty (vocals) David Lancho (guitar) German Moderno (bass) Matty Tyack (drums)

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The second time I’ve seen The Allstars in the Earl Haig this year and about the umpteenth time I’ve seen Jim Jones in one guise or another and I keep going back and each time they seem to get better and better. With a new drummer Lawrence joining the All-Stars tonight for the first time you’d never have guessed and to be fair to him he grasped the opportunity with both hands (quite literally) and led from the..back.

In Allstars time-honoured fashion we begin proceedings with a quick instrumental right lets get you on your feet first few minutes then bosh! let’s go. Tonight we had several new songs as well as a romp through Jim’s back catalogue as well as plenty of covers both familiar and most welcome new additions to the repertoire. ‘

Its always a welcome sound hearing an impeccable ‘Human Fly’ and Jones does a sterling job honouring the sadly departed Lux but the real trump card of this lineup is the horns, never mind the honkingly good piano or the more traditional Bass, guitars and drums combo. the horn section is exceptional and hearing them literally tearing up songs like the epic and groovy Thee Hypnotic classic ‘Shakedown’ is a truly beautiful thing.

The hour and some when the band were on stage the near-capacity hall was having a blast as ‘Run Run Run’ honoured the Velvet Undergrounds whilst the revue tunes raised the temperature ‘Burning Your House Down’ is always a welcome romp as is the Righteous Minds ‘Satan Got His Heart Set On You’.

It’s the newer Allstar cover of the funky ‘Troglodyte’ that works up a sweat before ‘The Greatest Love’ eases the heart rate for five minutes whilst the band are put through their paces before having some ‘Rock n Roll Psychosis’ take us to the encore.

The briefest interlude is had before the band is called back to the stage and The Beatles ‘Me And My Monkey’ gets its collective groove on. The familiar ‘Big Bird’ slinks into view before we have one last hurrah and it’s done. Another night of awesome Rock n Roll courtesy of Jim Jones Allstars now let’s get off the road thank you very much and get this follow-up album in the can and in my gruby hands and then we can do this all again next year thank you very much. Jim Jones Allstars is an honest and fair reflection of what’s on offer. If there was a better show in town this midweek evening then I never knew about it and I was fully aware that Nick Cave was down the road but I’m confident I had the better deal Hell Yeah! another phenomenal night of Raw, unadulterated, top-class Rock n Roll.

Author: Dom Daley

Bristol Punk Rock ‘n Rollers Split Dogs hit back with new single ‘Precious Stones’ out now via Venn Records

New album ‘Here To Destroy’ set for release on February 28th 2025 – pre-order HERE:

Listen/Buy HERE:

Rock’n’roll revivalists Split Dogs are doing things the old way and the best way. This is not a band content to sit behind laptop screens, fifteen second viral videos or digital marketing campaigns to spread their noise. No, Split Dogs are true road warriors, almost physically incapable of turning down a gig, they’ve spent the last few months playing every conceivable stage, space and venue to spread the word as they approach the release of their second album ‘Here To Destroy’, due for release February 28th via Venn Records.

And it’s working. The reputation for their own firebrand of frenzied, high-voltage rock ‘n’ roll is spreading fast and wide throughout the punk rock community and beyond and Split Dogs gigs are fast becoming eagerly anticipated events.

Today, the band follow previous singles ‘And What?’ and ‘Monster Truck’ with a brand new two-minute killer titled ‘Precious Stones.’

“The song shines a spotlight on the people that imply false authority in society based on their job title or financial position,” explains guitarist Mil Martinez. “From the obvious traffic wardens all the way up to entitled yoga instructors, nothing burns worse than being falsely reprimanded by another adult so they can attempt to assume dominance over you.”

Musically ‘Precious Stones’ drives along at a storming rate, building in power as it progresses, with singer Harry Atkins the architect of the intensity. The accompanying video conveys just that. Focused solely on Harry’s face, it’s an unflinching, uncompromising experience. 

“The precious stones video was all about intensity, and hard intent,” continues Mil. “There’s no escape, feeling like it’s just you in the room and Harry has you cornered. Relentlessly demanding that you answer the question ‘why does it burn?’

Born from the frustration of seeing music become commodified and soulless, vocalist Harry Atkins and guitarist Mil Martinez had the idea to form a band as far back as 2015, with the name ‘Split Dogs’ pulled from the classic zombie film ‘Return of the Living Dead’.

In South London, a young Martinez would hear Status Quo, Bachman Turner Overdrive and Dire Straits on the car radio while his father drove him to school. At home he would invade his older brothers’ record collection which leaned towards the harder sounds of punk and heavy metal. Meanwhile in the Black Country, Harry’s mother instilled a love of Northern Soul, Slade and rock’n’roll, with stories of nights out at Club Lafayette and family singalongs at home. According to Martinez, “Our sound is a culmination of all those early influences and, to be honest, it really shows.”

It wasn’t until 2022 that Split Dogs officially arrived on the scene with bass player Suez Boyle joining the band in 2023. Already a prominent figure in the queer punk scene, Suez played the first ever Rebellion Festival at the tender age of 16 with her band The Walking Abortions. Up until that point, drummer Chris Hugall, an old friend of Martinez and former member of ska punks Mouthwash (signed to Rancid’s label Hellcat back in the day), was only on hand to help design artwork. It wasn’t until 2024 Hugall joined the band full-time cementing the current line-up.

The raucous live shows and infectious lyrics saw the four-piece make a name for themselves among the punks of Bristol, a scene that has always welcomed LGBTQ+ and marginalised people. As word spread, so did the gigging, and soon enough Split Dogs were playing to sold out rooms in mainland Europe, eventually grabbing the attention of UK label Venn Records (Gallows, Bob Vylan, High Vis).

‘Here to Destroy’ was recorded over three days at Middle Farm Studios by producer Peter Miles. All tracks were laid straight to a 16-track reel-to-reel tape machine, no autotune, no effects pedals, no computers. To add to the music’s authenticity, the album was recorded live, with Harry singing along in a vocal booth. No cutting and pasting, just nailing takes. According to Martinez, “It was a blast! We fully immersed ourselves, sleeping in a small apartment below the studio, cooking meals and listening to Pete’s extensive record collection”.

As the album title makes clear, Split Dogs are here to destroy, but they’re also here to rebuild and remind us of music’s essence. “We’re not beholden to the digital age, we don’t want to get famous on social media, we just want to show the world that rock’n’roll is alive and well”.

Split Dogs are:

Harry Atkins – vocals (they/them)

Mil Martinez – guitar (he/him)

Chris Hugall – drums (he/him)

Suez Boyle – bass (she/her)

Catch Split Dogs live at the following dates:


05/11 Exchange Bristol w/Zeke
06/11 Water Rats, London w/Desperate Measures
16/11 Phoenix, Exeter w/Sham 69
6/12 Railway inn, Redditch 
7/12 Workman’s Cellar, Dublin
20/12 King Arther, Glastonbury 
21/12 Cavern, Exeter w/GBH
29/12 Electric Bar, Bath

2025

11/01 100 Club, w/GBH

12/01 Con Club, Lewes w/Subhumans

26/02 The Hug and Pint, Glasgow

27/02 Gullivers, Manchester

28/02 Billy Bootleggers, Nottingham

01/03 The Grace, London

02/03 Daltons, Brighton

07/03 Rough Trade, Bristol

18/03 Supersonic, Paris

20/03 Café Central, Bruxelles

21/03 La Zone, Liége

22/03 Café The Jack, Eindhoven

23/03 Poppodium Volt, Sittard

9-12/07 2000 Trees Festival

Find Split Dogs online HERE:

When Janes Addiction first imploded Perry and Stephen Perkins formed Porno For Pyros and managed to release a couple of albums in the mid-nineties. I have to admit the first album had some very high moments but a couple of lulls and more so on the second album the highs were replaced by even more lows. I guess it’s why the band fizzled out. However, after RSD we now have Rocktober, and it would seem a whole host of reissues and so forth in the month of October so when I saw the Porno For Pyros release I had to check it out and indulge myself and reacquaint myself with the band. Firstly looking to see if ‘Packin .25’ was here but alas it’s not which is a shame but having dropped the needle on side one and ‘Pets’ breaks out I remember how good this song was. I have a faint memory of seeing the band play some enormadome with Velvet Revolver or was that Satellite Party even? Who knows (not me seemingly).

The album offers only nine songs or ten to be exact but the tenth is a remix of ‘Pets’. your two from the debut album the opener and ‘Cursed Female’ which also sounds better than I remember from the early 90s. with the rest being made up of ‘100 Ways’ and ‘ Tahitian Moon’ from the band’s follow-up album ‘Good God’s Urge’ whilst the rest are pretty decent songs to be fair with the exception of ‘The Cable Guy’ soundtrack, the only duff track here, saying that it’s not total pap but just a bit… grey, ‘Satellite Of Love’ is a Lou Reed Classic. It’s Not as good as the original at all, not even close which might be why it passed me by back in the day.

https://www.youtube.com/watch?v=ixe8Snxu3wo

A couple of digitally only releases pulled together here are also pretty decent songs but in the wake of the onstage Janes spat maybe Porno For Pyros isn’t quite done yet who knows unless Janes kisses and make up this could be the start of something who knows but to be fair this has a great flow to it and apart from the pretty grey version of Lou Reeds ‘Satellite Of Love’ well worth spending your pocket money on. Rocktober whatever next? Not a reunion it would seem after guitarist went to twitter to lay more heat on the beeagured frontman and his attitude and approach to music in general which were all deleted after the Janes spat. Pop stars eh whatever next one of them throws a tantrum?

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Steve might get his fonts from his Wordsworth word processor and his drapes from Showaddywaddy but he gets his songs from his rock n roll beating heart. Oh, and he wears the best boots no question.

Joking aside Steve comes from a world that should have ruled the airwaves in the mid-eighties from Hanoi to the Lords to the Quireboys to the Throbs, sleazy rock n roll wasn’t hair bands they were genuine rockers writing soft songs for tough guys and living the dream twenty-four seven. Here Steve spills ten songs onto the digital airwaves made with style and an unwavering dedication to his beliefs. Steve is true to those roots and continues to fly the flag for punky sleaze n roll with plenty of the real Glam carved out of the likes of Stiv, Monroe and the Dolls.

The album opens with the sprightly rocker ‘Baby Don’t Cry’ and Steve wheezes a pretty mean gob iron to boot. Steve not only has his name in lights but pretty much does the heavy lifting from the drum programming to guitars, harmonica and vocals and no doubt tea-making duties as well. Steve has a distinct gravel n whisky vocals but holds onto some decent melodies throughout and also adheres to the rules of the old school in making sure the songs have a strong chorus and melody and then you can dress it however you like from the barroom guitars to the big boy solos ‘Baby Don’t Cry’ has got the jewson lot.

Steve does a decent lyric in reminiscing about the good old days and it’s a question I often ask about where have all those people who used to frequent the Buttz n Spike Club, st Moritz, the marquee a well as the clubs across the country that would sell out for shows from some sleazy mofos. Just where have all those “cool Kids” gone? They didn’t all get jobs cut their hair and have families did they?

There’s a good energy about ‘Live For Today’ and that twelve bar boogie is made for a cowboy booted foot on the monitor and lots of man hugging whilst the guitar player windmills those solos out like their shots from a bottle of jack that’s going out of fashion. Whilst Steve does the heavy lifting throughout the record he does get a heft amount of help throughout especially on the guest solos which helps add different flavours to the songs and I do like the harp throughout ‘Forgive And Forget’ is another with a standout chorus and embracing modern technologies on ‘Living In The Digital Age’ is probably a place the likes of Steve Vincent never anticipated but has embraced and used to his advantage knocking out a couple of solo albums that might never have seen the light of day otherwise.

I think Steve kept the best til last and a vibrant ‘Stop Messing My Heart Around’, the penultimate track, enhanced with the good old underused handclaps and late-night tempo the perfect set ender before the encore gets called for. That encore is the barroom honky tonk title track. Last orders boys n girls and get your dancing slippers on. Had this been on the new Quireboys album people would be saying they’ve turned the clock back to the early days and knocked out a banger but it’s not Spikes its Steves and the honkin’ Saxophone only elevates it further in my humble opinion. Good on ya Steve this is worth keeping on on its own, a slice of pure good-time rock n roll to warm the cockles of your heart. Now whisper it quietly but the best kept secret in Rock n Roll is zipping up his best Cuban-heeled Chelsea boots and he’s ready to rock, so join him and get involved you know you want to. Buy IT!

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I do love a cover I’ll be honest and fess up from the off. Now sure I guess its all subjective and some bands have done killer covers that are better than the original but we all know that’s not always the case and a lot of the time its really hit or miss with bands either totally missing the point or just not getting it.

This concept was first released as stand-alone 45s where the label put out one cover and one original on a real 7″ single with a big hole so it could be uploaded on a real jukebox it also came with the jukebox cut out for the listener to request the track when they dropped their money proper old school and a great concept to be fair. Then rope in some of your favourite current artists and the jobs a good un then wrap them all together and make a big splatter disc of them all and some. This is only volume one mind so who knows the possibilities are endless.

Side one track one is a thunderous Stacy Crowe taking on Golden Earings ‘Radar Love’ and giving it a shot of energy its fair to say it’s a rampant take – very good but not a song I’m too fond of if I’m being honest I remember The Alarm doing it way back in the mid-80s and I wasn’t keen then but yup its a staple on jukeboxes everywhere cool take. Their original track is ‘Dead Of Night’ and a guitar noodling rocker it is. Solid opener.

The Cheats cover is a Bay City Rollers number ‘Rock n Roll Love Letter’ and what a jolly good effort it is too. Sure they roughed it up but did keep its melody and chorus is killer which was always the point with the tartan rockers. Now their original is a rampant bruising ‘Cussin Crying Carrying on’ and what an energetic belter it is too. Black Sherriff then knock out ‘Centerfold’ by J Geils Band and it sounds like they had a blast something that shines through on their recording no question. ‘Johnnys Fight’ is more of the same to be fair with a stomping rocker with big riffs and anthemic vocals.

Someone had to do it and give Mean Gene more credits on his seasonal royalties and Dirty Denims ‘Rock And Roll All Night’ is note for note on the money. I’m happy to admit I just don’t get the Kiss love in and whilst I’ll happily admit they have plenty of bangers I fail to see the massive stadium attraction, especially after all these years but this is an impressive take and I’m sure Gene n Paul are grateful and would certainly put another coin in the jukebox to hear this again. The band’s original is a rampant ‘Better Believe It’ that boogie woogies out of the speakers in sprightly fashion and in keeping with the high standards set thus far.

Now we’re talking, Scumbag Millionaire gives Abba a good seeing to. ‘So Long’ might not be a song most of us would name when asked to name an Abba tune but this is a rollicking good time from the Scumbags. The original is ‘Gluehead’ and what a barnstorming noise this is. So we’ve reached the hottest core of the record as Scumbag Millionaire kick the shit out of the speakers with the album’s finest moment thus far. Stonkin’ loud rock n roll (try not to slip on the spilt beer mother fuckers).

Killer Hearts give an impressive account of themselves as they rough up UFOs ‘Doctor Doctor’ whilst tipping the hat to the UK rockers they also boogie like fuck. The original track is ‘Demolition Love’ and they push Scumbags pretty hard for the top spot with a hard rockin banger that’s sleazy and would be the most requested side in any dive bar jukebox but Barman hid the pool cues quickly.

The album is brought to an end with the inclusion of Hollywood Creepers taking on the power pop of the Knack and ‘Good Girls Don’t’ and in keeping with the high standards of this comp it’s done with care and love and a heap of respect. Leaving only their original to take this baby home and ‘I Wanna Feel Your Bite’ does a splendid job wrapping this up with a cool riff and even cooler chorus.

Man on this evidence I can’t wait fo volume two it’ll be a tough act to follow volume one because every one of these bands do killer originals and pretty mich the same over fo their chosen covers. Hell, go buy a jukebox and pick these up otherwise settle for the long player from Screaming Crow Records you know it makes sense. Buy It!

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Author: Dom Daley

‘a true star… all-conquering like a Mancunian Jaynecounty’ Wired up! – Performing tracks from the critically acclaimed SLAUGHTER &THE DOGS album ‘BITE BACK’

LIVE –
Star & Garter – Manchester – 28th December 2024 – Doors 3.30pm – 8.30pm – Admission
£10 Advance – £12 OTD – PLUS Stuntface/ The Sewer Cats/Hospital Food


Fulford Arms – York – 24th January 2025 – Doors 7.30pm – Admission £12 Advance – £15
OTD – Plus supports – https://www.seetickets.com/tour/eddie-garrity-s-slaughter

Central Bar – Gateshead – 25th January 2025 – Doors 7.30pm – Admission £11 – Plus Heed
Case – www.wegottickets.com


Hope & Anchor – Islington London – 21st June 2025 – Doors 7.30pm – 11pm – Admission
£10 Advance – £12 OTD – Plus The Headhunters/The Phobics
More shows TBC

Performing tracks from the critically acclaimed SLAUGHTER & THE DOGS album ‘BITE BACK’
(Produced by Mott the Hoople drummer Dale Griffin) for the first time since the 40th anniversary
reunion shows of the original ‘Bite Back’ line up back in 2021, during which the band played a sold-out
show at Manchester’s Rebellion club (Released on Secret records as ‘Bite Back Live’ – CD+DVD
25th October 2024) and also gave a memorable performance at the Empress Ballroom during the
Rebellion festival in Blackpool the following year. Wired up! Summing up Ed’s festival performance
perfectly – ‘a true star…strong and soaring, all conquering like a Mancunian Jayne county…a strong
contender for front person of the weekend’

Eddie Garrity aka Ed Banger/Edweena Banger (Ed Banger & the Nosebleeds, Slaughter & the
Dogs/Slaughter) was born and raised in Wythenshawe, Manchester. Ed worked as a roadie for fellow
mancunians Slaughter & the Dogs, when supporting the Sex Pistols & Buzzcocks at the legendary
Manchester Lesser Free Trade Hall show on 20th July 1976. Following this Ed formed The
Nosebleeds and became a fixture in the 1977 punk wars, the Nosebleeds single ‘Ain’t Been To No
Music School’ was a schoolboy anthem around Manchester in 1977, selling 10,000 copies.
Ed Banger left the Nosebleeds in 1979, and joined Slaughter & the Dogs, after original singer Wayne
Barrett had left the band on the eve of a 1979 UK tour. The album ‘Bite Back’ was released in 1980
(Ed co-writing many of the songs) under the abbreviated name ‘Slaughter’, the band then embarked
on a sold out, nationwide tour of the UK. The original ‘Bite Back’ era came to an end in 1981. Now,
fans can once again enjoy the voice behind those iconic songs as Eddie Garrity revives his musical
journey by taking a new ‘Bite Back’ line up on tour..

Punk rock, but not as we know it. The future of rock n roll always smacks you square in the face when you least expect it. No prior knowledge whatsoever of John E Vistic but I am instantly grabbed in a chokehold by this provocative, shit-kicking set. They are hard to classify without straying away from the sheer fun of their output. Simply put, with a solid rocking rhythm section, bare-knuckle guitar lines, ear screeching saxophone solos and a frontman who can put any room in the palm of his hands, stop what you are doing and seek out John E Vistic and have a better life for it.

Hitting the stage to a rapturous crowd of varying ages, Mark Arm and lads waste no time and get straight down to business. Electrifying all those assembled with varied classics but also blending in and showcasing the latest release Plastic Eternity in this career-spanning set. 

In what must be their 5th decade as a touring band, still unrelenting and no sign of rust on this big fuzz machine. Particular standouts being “suck you dry” and the obligatory “touch me I’m sick”, still effortlessly making the crowd erupt like we’re stuck inside an early 90s time capsule. The mid-era stuff sounds killer too it has to be said, they certainly keep you on your toes with the array of material in their cannon.

What initially appeared to be a blown PA turned out to be a haphazard situation where the socket got pulled out of the wall. Potentially the closest we can get to seeing the lads joining their Seattle contemporaries with a set of Mudhoney Unplugged. No acoustic guitars in sight thankfully. The big muff lives to fight another day.

A real treat today in modern gig-going culture. Ethically priced tickets and merch and a band that can still deliver a stellar live show, much to the joy of this packed-out house and sea of Sub Pop t-shirts. Catch them while you can and treasure the experience.

Author: Dan Kasm

Balaam And The Angel Celebrate its 40th Anniversary With the Release Of Brand New Material the first new material in over 30 years. The three brothers who grew up on a council estate in Cannock played music together as teenagers and finally formed Balaam And The Angel in the early 80’s inspired by the scene that was developing around Bauhaus, The Sisters Of Mercy, Southern Death Cult, Theatre Of Hate etc.

The band achieved success in the 80s signing to Virgin Records for their debut album ‘The Greatest Story Ever Told’, and touring the world with the likes of The Mission, Kiss, The Cult, Aerosmith and Iggy Pop until the release of their last album ‘Prime Time’ in 1993. So the sands of time have passed but on first play the band sound energised and with a great production ‘Forces Of Evil’ sounds like time stood still and the years away have been good to the trio. The release sees almost to the day the band’s first 4 track EP World Of Light (released in Nov 1984) bookended nicely.

The four tracks on the EP have been written by the band and show a more developed approach to the lyrical content which embraces some of the bands more common themes about how we navigate our daily lives alongside some more provocative themes such as mental health and the contradiction between religious belief vs religious intolerance and the way in which this are used as one of the reasons for the persecution of others. Only coming out on Vinyl sees the band return to how it all began and opening song ‘Dancing Senseless’ there is an urgency and power to the riff that carries the song. Some might say classic Balaam sound that embraces their darker roots.

I guess my only complaint is it’s only a four-track EP and after such a lengthy gap and being greedy I’d have loved to have heard maybe ten tracks on an album but I guess that can wait.

The title track begins with some sci-fi glitches before the drums kick in with a thumping bassline signalling goths everywhere to get out the Petulia oil and start making those shapes whilst the dry ice wafts through the speakers and a really epic journey begins. Only the final track ‘After Life’ offers something more moody and darker with the synth pulse making way for the piano to chime in. To be fair its classic Balaam folks and that’s a good thing. It’s been a while but its a most welcome return and four really good songs that add to the band’s catalogue and hopefully open a new chapter that will bring in more songs and more live shows. Its good to have you back gents this will more than do for starters.

Pre-order the EP HERE on 12-inch vinyl 

Author: Dom Daley

Catch Balaam And The Angel live at the following dates in November:

Fri 8th Nov: Leamington Spa Assembly Hall

Sat 9th Nov: Reading Face Bar

Thurs 14th Nov: London Islington The Garage

Thurs 21st Nov: Glasgow Room 2

Fri 22nd Nov: Sheffield Network

Sat 23rd Nov: Hull The New Adelphi

Thurs 28th Nov: Birmingham Castle And Falcon

Fri 29th Nov: Bedford Esquires