The Good The Bad And The Zugly – Algorithm & Blues (Fysisk Format)

The Good The Bad And The Zugly – Algorithm & Blues (Fysisk Format)

It’s always a good day when The Zuglys drop a new record of any description.  A bunch of Oslo natives kicking out the jams on their terms – dancing only to their own tune GBZ as we like to call them, are a force of nature and you need to let them into your life it must be pretty empty without them, that’s all I can assume? Besides I’m declaring right here right now that this is the finest Deathpunk album since ’98s ‘Apocalypse Dudes’ which is quite some gap.

Album number four (or five if you include the compilation of early releases) it would be fair to say that Zugly are one of the best-kept secrets in all of punk rock land.  How? Fuck knows is often a few words we use to describe the phenomena or just that people generally haven’t got a clue what’s good for them.  Over the next few paragraphs, I’m hoping to either put you off music for life or help persuade you to click the red words below and go investigate this band of maverick noisemakers.

Right, let’s do this. ‘Algorithm & Blues’ contains thirteen songs of varying levels of intensity mostly stressful full-on in your face punk rock Oslo style without compromise or a hint of wanting to conform to reach a wide audience of nodding dogs who wouldn’t know a good tune from a puddle of piss. The opening track is ‘Welcome To The Great Indoors’ which is nice. It begins with some Angus like scales working out up the fretboard before the rhythm section joins in building up to the crunch point then bosch! We’re off as the guitars pin you to the back of your seat and we’re careering downhill at a frantic rate of knots.  Fuck this is how to kick off your album. Ivar Nikolaisen leads the charge with his uncompromising vocals and what a thrilling four minutes that was.

 

Forget Turbonegro and Kvelertak this is how to rock out 2020 style.  this is where the bar gets set, these are the leaders and others will just have to follow, simples. ‘Fake Noose’ is intense and has a really haunting melody through the vocals it’s like audio crack it’s that addictive but then when you tackle the subject of elected dying and going to Switzerland to do it its gotta be a little intense right?.  The quality charge continues as ‘Staying With The Trouble’ is up next with its triumphant guitars and pop-savvy melody on those backing vocals its a lighter side of The Zuglys for sure. Have they finally decided to sell a little of their soul for success and chart acceptance?

 

After the slight interlude of ‘Follow Your Dreams’ were right back at it hammering away on ‘Kings Of Inconvenience’. ‘The Man Behind The (Oxygene) Mask’ is the Zuglys on top of their game it’s bold, it’s grand, it’s epic. It gallops from the off (no great shock there to be fair) but the melodies happening are fantastic and the more you play these songs the more things jump out you didn’t notice on the last play and this song is one of the best examples of that. Remember what you thought when you first heard Turbo knock out ‘Apocolpse Dudes’ well, this is like that.

 

‘Fuck Life…But How To Live It’ is hardcore heaven. Uncompromising and just full of boundless energy like the Beastie Boys tackling early Black Flag. The second single off the album ‘Corporate Rock’ is anything but.  Hounding out fake bands with a huge riff that belted out like a 30lb hammer landing on your temple. I’m standing firm behind these boys they know the score!

 

‘The Kids Are Alt-Right’ is tackling the hot potato of today’s global politics but I hope they’re wrong on this one I hope that Hope Not Hate prevails and the Kids are alright and our children don’t head down a wormhole of Trump and tory hate for anyone and everything except money and not 90% are nihilists.  C’mon Oslo’s finest offer us some hope?  whilst there is a darkness I have to believe the kids are generally all right.

 

Blimey, for some light relief from the last one ‘Fuck The Police’ raises the alarm, Doh! bollocks lets go with them. Use the intro to inhale then prepare to enter the pit as the intensity escalates. “Fuck, Fuck Fuck the Police” if you can’t beat them join them. That my friends is pretty much where we get off this trip except for ‘Requiem’ and its one last hurrah!  Rounding off an absolute belter to kick-off 2020.  The Good The Bad And The Zugly are everything you want them to be they make you think, Smile, Laugh, break things, give yourself over to the noise they make, be grateful you have them in your life and you also have impeccable taste in hardcore punk rock and roll Oslo style.

 

As they said it themselves on this record “Don’t tell me that the sky is the limit when there are footprints on the moon” Go The Zuglys I’m rootin’ for you to break on through.  Let’s make this go overground! Just go Buy it! it’s because you’re worth it!

Buy Algorithm & Blues Here

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Author: Dom Daley

The Boys – Matt Dangerfield Interview exclusive

The Boys – Matt Dangerfield Interview exclusive

Boy Oh Boy.  It’s always nice to have a few words off one of the Boys and with a couple of special shows coming up what better time to catch up with Matt and see what’s happening.  Ticket details and links are below the interview for their Lewes and London shows along with the posters with all the details.

 

Hi Matt.  The boys have been announced as headliners at Resolution Festival in the 100 Club this coming January. Having been two years since you headlined there was it an easy choice to say yes to doing it again?  It is a great line up as well with Last Great Dreamers and Menace playing as well.

Hi Dom. We’re always happy to play at the 100 Club. It’s almost a New Year tradition for us to play there now. It will also be great to hook up again with special guests Last Great Dreamers who we shared a festival stage with in Norway last year.

It’s already announced as the bands only show in London for 2020 is that an easy decision to make with it being so early on in the year?

Not at all, we’re usually planning gigs a year or so ahead and there are only so many gigs we want to do per year in any particular city or country as we don’t want to overplay anywhere. But we are playing Brighton before the London gig as well as Rebellion in 2020 and there might also be one or two other gigs in the UK later next year.

London is an ever decreasing hotbed of Rock and Roll with venues and gentrification closing down places is it harder to find suitable places these days compared to when the Boys started?

Sadly, I think that’s the truth, which is why I have a soft spot for the 100 club as one of the few surviving venues in London that have been around since the beginning of British rock ’n’ roll. When we started out in 1976, there were probably 100+ small music venues and pubs in London where we could feasibly get gigs as a new band, I doubt there’s more than a handful now.

It seems like a whole new world out there for bands what with the internet being so instant and making the world a smaller place.  Bands can record at home from anywhere is it a good or bad thing?  there seems to be less chance of there being a community or movement like when you opened up your flat in Maida Vale. Have those kinds of days totally gone do you think? 
The music business has always been changing. Other than live performance, income from music evolved from sales of sheet music to vinyl records, cassettes to CDs. and downloads to streaming. And even live performance evolved with the advent of music videos and once again with the arrival of the internet as well as audience smartphone recordings now all available online. The main problem now is that music is so easily available that it’s in danger of being taken for granted and devalued
Did you keep all the tapes from those recordings? Were there any particular people who impressed you who went on to great things in music that you could sense from the time? 

I have some early Boys’ recordings that I’d mixed down to cassette but all the original multi-track tapes went missing at some point and I don’t know who took them. If someone had stolen them to sell on or release as a bootleg I think they would have resurfaced by now so either they were stolen to record over or maybe removed by one of the bands who didn’t want their embarrassing early efforts aired. Who knows?

Most of the people that hung out in Warrington Crescent went on to greater things, including non-musicians like Magenta Devine, but one person who did impress me was the new guitarist with Chelsea who had only just started playing. I showed him a few guitar licks and he picked them up so quickly I thought this boy’s going to be a great guitarist. His name was Billy Idol.

A little bird tells me that The Boys in 2019 have also been busy recording is there any details you could reveal about that?

All I can say is that we’ve started recording and it’s sounding good – but at the moment it’s just new tracks with as yet no specific end-use and we’ll work on them and possibly more tracks in the New Year.

Going back to playing the 100 Club.  Its such an iconic venue for many reasons its steeped in history and one of the only remaining places still standing.  How does it stack up playing the 100 Club in 2018 or 2020 compared to 40 years ago and which of the venues hold the best memories and why?  The Roxy,  Marquee club when it was on Wardour Street.  I guess the Hope And Anchor which is also still standing.  Wasn’t that the venue the band made their live debut?  What do you remember about that?

Funnily enough, we never played the 100 club back in the day. I think after the first punk festival there when an audience member was hit by a thrown beer glass, they were a bit wary of booking punk bands for a while. Me, and I think Cas and John were in the audience for that gig. I also remember our debut at the Hope and Anchor shortly after, as it was such a relief to get our first gig safely under our belt after all the rehearsing. Mick Jones, Gene October and a lot of other fledgeling punk rockers were at the gig.

The Roxy was special because it was so short-lived. It was open only a couple of months but it that short time it gave punk its own home and helped to turn the UK music biz on its head and give the fledgeling punk bans the upper hand over the record companies, who were suddenly all desperate to sign a punk band. Also, venues, radio stations, recording studios, newspapers and music magazines were all forced to open up their minds to the punk phenomenon.

Re the Marquee, I saw so many great bands play there that it was a privilege for me to use the same stage and tiny dressing room. I’m still angry about the Marquee being lost forever after the developers promised there would still be a live music venue as part of the new development. I went to the opening of that ‘live music venue’ which was actually the basement area of a Conran restaurant. It was packed with tables and chairs for diners and had a tiny cabaret-style stage that you could just about fit a grand piano on. What really annoyed me was the ashtrays (you could smoke in restaurants back then), which were embossed with the names of some of the great bands such as Jimi Hendrix, Rolling Stones etc that had played the Marquee, implying that this was where they had played.

When I go there (Hope & Anchor that is)  I don’t know why but I’m always slightly taken aback how small it is. Again its got a lot of attachment to some bands history like the Stranglers and The Damned playing there. The 100 club seems palatial in comparison.
Are there any plans to play further afield again in 2020? the USA shows went down well and I know bands and fans were thrilled with the experience of hearing you guys play live.  What about china is that due for a return visit or are you now banned?

We are in talks about doing another South American tour and also Japan plus a few other things in the pipeline. I’d personally love to visit China again and tour there properly as we intended last time but it would be risky as we don’t know if we are still banned and probably wouldn’t know till we arrived there.

As for the band will John be playing the Resolution show?  It would be great to see him up there with you guys.

As you probably know John hasn’t been well for a long time. He is showing signs of improving. It’s a slow process so we don’t know if he’ll be able to be at the show but we do hope so.

I live in Swansea and the local museum recently had an exhibition to celebrate 50 years as a city and 50 years of music in the city and low and behold there is a feature from the 70s of Circles night club down the marina with pictures of yourself from when the Boys played on a Monday night. With a great bill poster advertising the show.  Do you have any memories of that show which was bootlegged and the first Bootleg I ever heard of the band.  Sounded like an electric night in an infamous local venue. Were they good memories of getting in a van with the band and togging it around the UK in the late ’70s.

With these memories in mind would you ever consider penning an autobiography?  The Boys history is an exceptional one and would make for a riveting read.

I’d like to have seen that exhibition. Do you have any photos of that feature? It was indeed great fun touring in the 70s because in many cases we were the first punk band that anyone had seen so it felt like we were trailblazing. As to an autobiography, no plans at present but if I get bored maybe.

Lewes Con Club 10 January –Tickets
Resolution Festival (100 Club) 11 January – Tickets

Michael Monroe /Electric Eeel Shock / Mother Vulture – The Fleece – Bristol 07/11/19

Michael Monroe /Electric Eeel Shock / Mother Vulture – The Fleece – Bristol 07/11/19

Last week we had Ben reviewing one of the early shows on this tour and by all accounts another memorable night in the company of one of music most exceptional performers. Catching the tail end of the tour there were no plans to run a review but when we have bands this good it seems only right we should cover them as much as possible. Damn this band should be playing bloody arenas and be a household name but we know the world doesn’t work like that. for now, the people who get rewarded are the ones who just know, right? right!

Tonight the Fleece is very busy which is always a good sign, the last time this band played here in Bristol was aboard the good ship Thekla and the attendance wasn’t great. Tonight, with a brand new album in tow it was already looking promising as the room was busy for the opening band – Mother Vulture. They took the stage but quickly they weren’t my cup of tea at all, from the soaring vocals to the new wave of classic rock schtick of the band’s repertoire it’s just not what I listen to but there are plenty of satisfied punters digging their thing.

Next up Electric Eel Shock. A three-man ’80s cock rock assault on the senses, sure it’s bordering on the Barron Nights comedy but these guys do have a song in the shape of ‘Bastard’ that is so ’80s it’s wearing its own spandex and coughs up its own hairnet hairspray can.  They throw in enough shapes to make a Whitesnake tribute band blush and Don Dokken’s hair would fall out (again) if he were to follow these guys on stage.  But they have the audience smiling and wearing a Hanoi Rocks t-shirt is always going to go down well. Job Done I guess they have fun paying their dues and the audience goes along with them. 

Now, the reason we’re all here. Michael Monroe band, strap in, its time to Rock Like Fuck! After hearing many reports of how good the band has been on the tour so far and with only three shows left on the tour surely this one was going to be off the scale with the Fleece being such a good venue even with the pillars running through the venue it’s steeped in Rock and Roll. (even if they make their bread and butter off bloody tribute bands but if that means that nights like tonight and bands like The Monroes can tour and play then even I’ll turn a blind eye).

With ‘One Man Gang’ on heavy rotation the albums growing in stature on every play,  it’s a breath of fresh air to hear the band blast off with the opening five songs all taken from the new record! A bold move for any band but one that gets my approval that’s for sure. From the frantic punky title track to the catchy chorus of ‘Last Train To Tokyo’ to the New York cool of ‘Junk Planet’ this is cooking up to be an exceptional performance. With the band locked in and moving like a cat on a hot tin roof its hard to keep up,  with plenty of smiles on stage it looks like they’re having an absolute ball in this band. Of the songs on the new record to hear them run through ‘In the Tall Grass’ is super cool and such a great song to take on so early on in the set is a supremely confident move from such a great band.

Monroe and Conte make themselves comfortable on the barrier for a nice run through ‘Ballad Of The Lower East Side’ before ripping up ‘Old Kings Road’.  the band were flying through a rapid set that had ’78’ up next before cooling things down with a mellow ‘Black Ties And Red Tape’ (Not)  I’ve seen Monroe many many times live and with many line ups and in many venues all over the UK and I have to say with the exception of Hanoi Rocks classic line up in the mid 80s this is by far the best line up he’s had and the entertainment value is off the scale (it does help having such a strong cannon of songs to pick from for sure) but tonight they are on fire.

Step forward Mr Yaffa as we get the first Hanoi song of the evening as he thumps his way through the intro of the classic ‘Motorvatin’. Always wearing some splendid headwear and playing his bass with such style and having a Perma-smile its such a pleasure to be in the company of such talent. We get another new one in the shape of ‘Hollywood Paranoia’  before we head into the home straight as another thumping rendition of ‘This Aint No Love Song’.

I could have stayed all night listening to new songs or solo material played with an energy most bands could only dream of achieving but its also always nice to hear that Saxophone and a couple of Hanoi rocks tunes so things do slow down for a minute or two as ‘Don’t You Ever Leave Me’ makes way for ‘Malibu Beach’ before they hit the cover that the band took ownership of on the ‘Two Steps’ album ‘Up Around the Bend’ sees people lose their shit as the kids say and there are going to be some saw heads come the morning. The main set is wrapped up with a pulsating ‘Dead, Jail Or Rock and Roll’.

Play Vi

I’m still scratching my head as to how fuckin’ good this show was and how the hell this band isn’t playing venue ten times this size. I will console myself in the fact that if the world won’t listen then that’s their loss and you can only lead a horse to water and all that. The night wasn’t quite done yet as we had the pair of tunes from Demolition 23  and ‘Nothing’s Alright’ followed by the high kicks that go with ‘Hammersmith Palais’ which only left a blistering duelling rendition of the Stooges classic ‘I Feel Alright’ and then they were finally done. Until the next time that is and the sooner the better.  If you get the chance to see this band then take it they have a superb new album they’re showing off and its raised the bar for everyone else to follow.
There aren’t many bands who can compete with this one on the kind of form they were on tonight and it’s why going to live shows is still so much fun. Great company, great venue, great band, great songs, great memories and great fun and always a frontman who Rocks Like Fuck! always a pleasure – never a chore.
Author: Dom Daley

Hard Wax – ‘This Is The Sound’ (Rebellion Records)

Hard Wax – ‘This Is The Sound’ (Rebellion Records)

There’s something gloriously familiar about this second long-player from UK bovver rockers Hard Wax, something that I can’t quite put my finger on, but it’s something that right from the very first spin has me beaming from ear to ear, so it must be something good right?

They say the make of any band is the strength of their tunes…and here on ‘This Is The Sound’ Wax main man Tom Boutwood (ably assisted by Paul Bond on drums, Tom Murphy on lead guitar and Matt Colton on bass) has penned some of the finest Oi! infused terrace anthems you’ll hear anywhere this year. Just like the recently released Michael Monroe album it’s not exactly groundbreaking or genre-bending stuff but sometimes I just need my punk rock music to be just that, straight ahead and no-frills, and right here on ‘This Is The Sound’ what you get for your entry money are ten premium cuts of bovver boy rock ‘n’ roll.

Kicking off with ‘Welcome To Bovver Rock City’ this just shy of two-minute long intro bears all the hallmarks of Hard Wax’s upcoming UK tour partners Giuda, albeit a Giuda fronted by someone who sounds a hell of a lot like Ginge Knievel.  And that right there is the familiar thing I couldn’t quite put my finger on at the top, because at times during ‘This Is The Sound’ it’s just like Mr Knievel has returned from his self-imposed exile and is finally fronting the band he’s always wanted to front. The similarity really is uncanny, but trust me, there’s a whole lot more to this record that the singer sounding a hell of a lot like the ex-Sick Livers/Nicotine Pretty frontman.

Things really kick off in style on ‘Living The Dream’, a proper piece of punk rock argy bargy designed to get your oxblood a-stomping. Elsewhere ‘This is The Sound’, ‘Days Of Glory’ (ooh hello Sailor) and ‘Razor Part Rebels’ (complete with an otherworldly Ace Frehley guitar riff) all steam out the blocks full of cock-sure 70s glam rock swagger and just a few spins later you’ll be singing along like you’ve had this album in your life since your childhood.
When the world outside your window is slowly turning to shit ‘This Is The Sound’ is the perfect pick me up record with tracks like ‘Have A Good Time’ and ‘Not Just a Pin-Up Girl’ guaranteed to make you smile once again, and in ‘Boys Of A Saturday Night’ and ‘Stomp All Over The World’ you have the near perfect soundtrack for a right proper tear up…on the dancefloor of course.

Which just leaves ‘In For a Penny’, a track I went straight to when I first got my copy of ‘This Is The Sound’ simply because I initially thought “wow a Slade cover that’s gonna take some balls”. Well, it’s actually not a cover, although the guitar riff is equal parts Hill and Holder and it’s the kind of glorious call to arms tune that would have seen Hard Wax on Top Of The Pops had it been released back in the 70s.
With a whole raft of great new punk rock records released by UK bands in 2019 (if you think otherwise then you really do need to read RPM more) I’m delighted to say that ‘This Is The Sound’ is right up there with the very best of them.

Now go get your boots on and get down your record shop and get yourself a copy.

Buy this is the sound Here

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Author: Johnny Hayward

The Wildhearts, Janus Stark – Komedia, Bath 16/10/19

The Wildhearts, Janus Stark – Komedia, Bath 16/10/19

Bath Komedia was a new venue for the intrepid travellers from South Wales but we love an adventure and tonight we had to get there on time to catch the support of Janus Stark seeing as we’ve heard the new album and loved what we heard and wanted to see if Gizz Butt could knock it out live. After negotiating the Bath one-way system and eventually finding a place to park by the time we reached the venue the band had already taken the stage and were knocking out songs old and new.  they reminded me of a punkier Eureka Machines and Gizz is something of a guitar players guitarist with a great sound in the venue they were entertaining and engaging and the catchy power pop/rock sounded great. these were the perfect opener for The Wildhearts and ending the set with the best track off ‘Great Adventure Cigar’ was a bonus because ‘Every Little Thing Counts’ is just about spot on.  I can look forward to hearing a lot more of the band when the album is released hopefully in December.

When it was announced that The Wildhearts were adding another string of dates and that there would be the Renaissance Men tour part 2 I couldn’t wait to get another slice of loud rock’n’roll live-action after catching the boys in Cardiff on the first leg of the tour earlier in the year.

The nearest venue to me was the Komedia in Bath with a couple of hundred miles round trip (on a school night) I planned my latest Wildhearts action. Around 9:15 pm I heard the opening guitar riff to the lead-off track to the bands latest great ep the title track ‘Diagnosis’ and bam the band were on stage and away we go. 

The band are tight and as the glorious noize of ‘Diagnosis’ comes to an end the band launch into another Renaissance men soon to be live classic ‘let em go’ and this anthem gets the Bath crowd jumping and singing along with Cj taking lead vocals on the bridge doing the Frank Turner vocals.  Next up we have that all-time classic hearts tune ‘I Wanna Go Where The People Go’ and Ginger is on top form with some blistering guitar work and those rough yet melodic vocals of his soaring loud and proud. Some familiar favourites such as ‘Sick Of Drugs’ is welcomed and this night is turning out to be a show and a half as both band and crowd are right up for it in the confines of a really nice tight venue tucked away in the narrow streets of Bath.

‘The Revolution Will Be Televised’ sees the white album being represented and this leads us into ‘My Kinda Movie’.  Ginger announces that each band member is taking his turn in picking a track to play live and tonight’s choice is by Danny and what has mister McCormack picked, well he’s treated us to a P.H.U.Q. b-side the stunning “Mindslide” and that throbbing bass of his leads us into a rare treat and what seeing The Wildhearts on form is all about. ‘Caffeine Bomb’ is up next and this fast as lightning track showcases what a machine of a drummer Ritch Battersby is and why he is one of my favourite drummers and boy does he hit those skins hard.

‘Dislocated’ is greeted by this reviewer with a huge smile on my chops as this is my favourite track off ‘The Renaissance Men’ album and the guys blast it out with some real punk rock fury.  Great also to hear “Jackson Whites” being blasted through again at a furious pace. A real fan favourite is “Red light green light” and already this set is proving to be an excellent reason to venture out on a School night for a shot of Rock and Roll – could this night get any better?

‘Vanilla Radio’ has the Bath crowd singing “where’s my Elvis” in unison and that leads us into the 5th ‘Renaissance Men’ track of the night ‘The Fine Art Of Deception’ which is another Ginger penned classic. Tonight seems like the night for the lesser-known rare track getting a good airing as we are treated to ‘Action Panzer’ Nestled in with all the classics you’d expect to hear at a Wildhearts show.

The lights come up and with that the band walk off to a thunderous roar of appreciation from the crowd  – you’d think there was a couple of thousand in tonight by the sounds of them and shouts of “more, more, more” and as if by magic the boys walk back onstage and launch into the mighty riff of ‘Greetings From Shitsville’ and this crowd goes nuts.  Part two of the encore we are treated to the icing on this particular party cake as the band unleash the stunning earth vs b-side ‘Beautifull Thing You’ and indeed it is a glorious racket of loud harmonic beauty. It’s not quite done yet as there is one last song of the night and the fan fav ’29 X The Pain’ and with both band and fans singing their hearts out it is truly a great end to a special night.

All that is left for this reviewer to say is if you can get to a Wildhearts show please do as the band are on top form and are tight and clearly enjoying themselves and you will not be disappointed. Bring on round three and the doubleheader of the Backyard Babies slugging it out with the in-form and on fire Wildhearts Bring it on! 2020 is shaping up nicely if tonight was anything to go by.

 

Author: Gareth ‘Hotshot’ Hooper

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‘Diagnosis’ Review Here

Tour Dates for 2020 Here 

‘Renaissance Men’ Review Here

 

Annihilator album pre sales and Euro tour dates

Annihilator album pre sales and Euro tour dates
Album Pre-Orders Available From Today  here


ANNIHILATOR– A name that should not need an introduction in the METAL World but, for those who need one: this is a METAL band that started in Canada in late 1984 and since then, ANNIHILATOR has been touring and releasing records (selling millions of Albums to date), non-stop, for 30 years.  January 24, 2020 marks the release of their 17thStudio Album, BALLISTIC, SADISTIC.

The belligerent and pugnacious first single, “I AM WARFARE”, is available now and can be streamed here
Cited by bands in the likes of Megadeth, Pantera, Dream Theater, Children Of Bodom, Lamb of God, Opeth, Trivium and many, many more as having some influence on their music, guitarist/vocalist JEFF WATERS (Annihilator’s founder, producer and song-writer) and ANNIHILATOR have continued to tour the world, year after year, whilst consistently putting  out high-quality true-metal music.
Written, performed, engineered and produced by none other than Waters himself, BALLISTIC, SADISTIC was recorded at the brand new, state of the art, WATERSOUND STUDIOS UK, in Durham earlier this year.
“Almost every artist, initially, loves the songs they create. They are like your babies! In my case, it is difficult to be the main writer/producer and stay fresh, come up with new ideas or make old one’s better and I am well aware of that. Since “we” love what we do, we can be blinded to just how good or bad a song or record really is. Time will tell.  Press, fans, band members, label, etc… They ALL will tell you what they think and, in their own ways, they are usually right!” Said Waters. “In this case, I throw that nonsense in the garbage and can tell you that we have made a record that is angry, technical, back to the first 3 records vibes and it is going to be difficult to continue writing another record after releasing this one!!  Best record I’ve made since 2005’s Schizo Deluxe and I think many will argue that this new one is in the top 3. From the ‘Stonewall-esque’ track “PSYCHO WARD” to the haunting “I AM WARFARE”, the pissed-off “THE ATTITUDE” to the aggression and old-school technicality of “OUT WITH THE GARBAGE”, the record is like this: take the Alice, Neverland and Set The World On Fire records, make them angry, combine the old-school production with modern hi-tech studio gear, then add the best guitar work I didn’t know I still had in me, and you’ve got the best we could possibly offer. I honestly cannot wait for everyone to hear this.”
It takes a long time to reach legendary status, and no one can dispute that ANNIHILATOR and Jeff Waters are inspirations, teachers, legends and a force showing what hard work and love of your craft can bring to the world.  It’s about the music. Nothing else.
BALLISTIC, SADISTICwill be available as a Limited Edition Digipak, Coloured Vinyl and Digital formats.
Unstoppable and relentless, ANNIHILATOR will now embark on a 43 date, 18 country, European Tour, which will kick-off at Newcastle’s Riverside on October 12th.

SEE ANNIHILATOR (JEFF WATERS, AARON HOMMA, RICH HINKS & FAIO ALESSANDRINI) ON TOUR:
12 OCT – Riverside –  Newcastle (UK)
13 OCT – Slay  –  Glasgow (UK)
15 OCT – Rebellion  –  Manchester (UK)
16 OCT – Steelmill  –  Wolverhampton (UK)
18 OCT – Pumpe  –  Kiel (DE)
19 OCT – Tivoli  –  Bremen (DE)
20 OCT – Zeche  –  Bochum (DE)
22 OCT – Luxor  –  Köln (DE)
23 OCT – Victorie  –  Alkmaar (NL)
24 OCT – Hedon  –  Zwolle (NL)
25 OCT – Biebob  –  Vosselaar (BE)
26 OCT – Underworld  –  London (UK)
27 OCT – Le Petit Bain  –  Paris (FR)
29 OCT – Illyade  –  Grenoble (FR)
30 OCT – Le Metronum  –  Toulouse (FR)
31 OCT – Santana 27  –  Bilbao (ES)
01 NOV – Sala Mon  –  Madrid (ES)
02 NOV – Rock City  –  Valencia (ES)
03 NOV – Razzmatazz 2  –  Barcelona (ES)
05 NOV – Locomotiv –  Bologna (IT)
06 NOV – Legend Club  –  Milan (IT)
07 NOV – Kofmehl  –  Solothurn (CH)
08 NOV – Kaminwerk  –  Memmingen (DE)
09 NOV – Explosiv  –  Graz (AT)
10 NOV – Boogaloo  –  Zagreb (HR)
11 NOV – SKC Fabrika  –  Novi Sad (RS)
13 NOV – Havana Club  –  Tel Aviv (IL)
15 NOV – Fuzz Club  –  Athens (GR)
16 NOV – Principal Club  –  Thessaloniki (GR)
17 NOV – Joy Station  –  Sofia (BG)
19 NOV – Quantic Club  –  Bucharest (RO)
20 NOV – Form Space  –  Cluj-Napoca (RO)
21 NOV – Barba Negra  –  Budapest (HU)
22 NOV – Szene  –  Wien (AT)
23 NOV – Kwadrat  –  Krakow (PL)
24 NOV – Proxima  –  Warsaw (PL)
26 NOV – Lido  –  Berlin (DE)
27 NOV – Colos Saal  –  Aschaffenburg (DE)
28 NOV – Hirsch  –  Nürnberg (DE)
29 NOV – F-Haus  –  Jena (DE)
30 NOV – Substage  –  Karlsruhe (DE)
02 NOV – Red Club  –  Moscow (RU)
03 NOV – Club Zal  –  Sankt Petersburg (RU)

For tickets visit: annihilatormetal.com

Produced, engineered, edited and mixed by: JEFF WATERS at WATERSOUND STUDIOS UK
Additional engineering and editing by RICH HINKS

ANNIHILATOR ARE:
Jeff Waters (vocals/guitar), Rich Hinks (bass), Aaron Homma (guitar), Fabio Alessandrini (drums)

FOLLOW ANNIHILATOR on: Facebook  Instagram   Twitter  Website

Jeff Dahl – ‘Mr Antlers I Presume?’ (Iwannabeahoople Records)

Jeff Dahl – ‘Mr Antlers I Presume?’ (Iwannabeahoople Records)

Ok, Heres the deal.  Limited to 100 copies then they’re gone as an appetizer to the new LP that’s on the way.  This CD only features Deniz Tek on a couple of tracks and is seven songs deep – Three Exclusive to this EP.  Two from the last Studio album (still available on vinyl from those good looking lifers at Ghost HighwayRecords) the to round it all off there are a pair of tracks from the forthcoming new long player ‘Electric Junk’. If thats not enough to get your Rock and Roll heart skipping a beat then I’d check for a pulse and thats before the virtual needle has dropped on this little lot.

Right then settle down as Deniz Tek joins our man Jeff on the first exclusive and rather intriguing ‘Mr. Antlers I Presume?’ imagine this a smokey barroom with some honky-tonk piano and a raw guitar riffing away before riding in on a sinister dark lick and the band crash in.  Well, that the opener with a spoken narration from Dahl before your mind get fucked with some Jazzy middle eight.  Don’t get too worried you punk rock kids because ‘Burned Out’ is like being punched in the face and enjoying it – More, please.  An Acoustic ‘The Wooo Girls’ which has the loose feel of capturing the vibe of some repeated listening to Bowie’s ‘Hunky Dory’ album. Laidback and cool Like a mid ’70s bit of NYC rock and roll Lou Reed would approve I’m sure of it.

A couple of beauties from the ‘Made In Hawaii’ album are up next the first is the catchy ‘Kailua 5 a.m.’ followed by the slide guitar rock and rolla of ‘Bang On’ with its Glam undertones inspired by The Faces and some excellent 70s BV’s that make you want to hand clap and stamp your feet. Oh shit, I’m getting ahead of myself here because the first glimpse into the new album is ‘Violence Squad’ and man they’re stomping their feet and handclapping alright.  Again Tek adds his six-string expertise to this stonking rocka that whets the appetite for what’s to come. Another taken from ‘Electric Junk’ is ‘Until We Bleed’ and Dahl once again shows his roar with a no-nonsense slab of punk rock.  That’ll do nicely sir until we can all get down and get with the new long-player and if this pair of tracks are anything to go by we’re in for a treat pop pickers.

Now, what are you waiting for get over on the link and secure a copy before they’re gone and cost you a fortune on some website in six months. Essential purchase!

 

Buy it from direct from Jeff Here

Author: Dom Daley

Andy McCoy – ‘21st Century Rocks’ (Ainoa Productions)

Andy McCoy – ‘21st Century Rocks’ (Ainoa Productions)

It’s been a while since we heard anything from the Sherriff McCoy. In fact, its 10 years since Hanoi Rocks performed their last hurrah and put the band to bed with a final show at the Tavastia in Helsinki. So what has Michael Monroe’s former partner in crime been up to? Well, if you believe the comments on YouTube, it appears he has been a lighthouse keeper for 10 years! While I would love that to be true, apart from the short-lived Grease Helmet and a few guest appearances, it seems he has done little musically to speak of and has spent more time on his artwork, clothes design and even a stint on Finland’s Celebrity Big Brother.

But the guitar legend is back with a 12 song slab of ‘21st Century Rocks’, his first solo album since ‘Building On Tradition’ that came out way back in 1995. And what a welcome surprise it is.

 

Lead single ‘Seven Seas’ came out of nowhere a month back and actually upstaged Monroe’s first offering from the highly anticipated ‘One Man Band’. Andy always had an ear for melody and ‘Seven Seas’ confirms he still has a trick or two up his sleeve. A definite classic Hanoi feel comes across, as it builds to a fantastic uplifting chorus that fills the ears and soul with a feeling of euphoria no drug can give. Can Andy McCoy possibly be the king of all comebacks? We will have to see if the rest of the album holds up to the same quality.

That familiar guitar tone blasts from the speakers as the title track sets the scene for the album. The even more familiar vocal drawl follows. Andy McCoy’s vocals are certainly an acquired taste, but let’s not forget Hanoi Rocks’ back catalogue would not be the same without those quirky ‘out of tune’ backing vocals of his. And that guitar solo… no one plays guitar quite like Andy McCoy! Killer stuff indeed.

 

The ghost of his bastard past is never far away. ‘Undertow’ comes on like ‘A Day Late, A Dollar Short’, there’s even a sax solo to boot. I wonder if it originated from those sessions. Whether it did or not, it’s a cool tune for sure. Then ‘Batteram’ takes things way back in time. That melody comes on like Hanoi’s ‘Desperado’ to these ears. And the way he sings “round” and “ground” in the chorus with an unmistakeable accent is cool as fuck.

Andy’s songwriting and guitar playing has always been more experimental, taking in eastern and reggae influences, and he certainly creates a few more mental beats to make a diverse album. While Monroe has stuck to his rock ‘n’ roll roots for his whole solo career, (and we wouldn’t want it any other way, right?) McCoy explores the obscure and recaptures the quirky influences that peppered Hanoi’s earlier albums.

‘Maria Maria’ is pure class. Mariachi vibes all over as trumpets and strummed acoustics take us into spaghetti western territory. The Urban Voodoo Machine comes to mind as Andy transports us to the Mexican border to smoke a doobie or two, down tequila and jam out in the scorching sun with a chiquita or two. That is what I imagine Andy has been doing in the wilderness years! While I don’t think Andy is even allowed anywhere near any US boarders anytime soon due to his past antics, the idea is spot on.

‘Soul Satisfaction’ is another track that is out there, even in Andy McCoy terms. A tripped-out pre chorus leads into a 70’s New York groove as the main man slurs his words like Keith Richards on his second bottle of Jack.

‘Bible and a Gun’ could sit nicely anywhere in his discography. A bluesy, Stonesy little number with honky tonk piano and a cool barroom boogie groove. Elsewhere, Andy makes his guitar gently weep on the opening riff of ‘The Hunger’. The laid back, jangly backing, harmonised guitars and the ‘Village Girl’ style breakdown to fade makes this a rapturous and satisfying ride.

As we reach the final stretch it comes to mind that Andy McCoy actually comes on like vintage Alice Cooper, which is something that I never realised.  Take away the smoky sax on ‘Gimme Time’ and listen intently to closer ‘This is Rock ‘n’ Roll’ with its gang backing vocals and Detroit garage rock delivery and maybe you’ll catch my drift.

 

Obviously, ‘21st Century Rocks’ will be measured up against ‘One Man Gang’ as they literally come out within weeks of each other. Michael Monroe has an established career as a solo artist and has one of the best live bands in the business, and Andy is…well he’s just Andy McCoy, the guitar-slinging outlaw! Let’s not take anything away from either camp. Both are living legends that together produced some of the greatest albums in my record collection and influenced a whole generation of bands.

While they made magic together, they continue to do the same on their own terms. ‘21st Century Rocks’ is a testament to that, a surprise hit on many levels. Who’s for a UK tour then?

Buy 21st Century Rocks Here  (Finland)

Buy 21st Century Rocks Here (Amazon)

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Author: Ben Hughes

 

 

 

EVIL SCARECROW hit the road for ‘Lost In Antartarctica’ shows beginning tomorrow

EVIL SCARECROW hit the road for ‘Lost In Antartarctica’ shows beginning tomorrow

EVIL SCARECROW hit the road for their final run of their fabulous ‘Lost In Antartarctica’ shows and kick off their run in Oxford this weekend!

Final run of ‘Lost In Antartarctica’ tour dates:
28th September, O2 Academy, Oxford
31st October, Asylum Birmingham
1st November, The Face Bar, Reading
2nd November, Corporation Sheffield
9th November, MACMILLAN FEST Bristol
7th December, The Live Rooms Chester
2020
4th January, Yadbirds, Grimsby

EVIL SCARECROW’s album ‘Chapter IV: Antartarctica‘ was released at the end of 2018.
Evil Scarecrow’s fourth album saw them take another giant leap forward with the release of the sumptuous monster of a record, blending metal and melodies with riffs, roars and razor wit, it was everything you would expect from these multi-talented and exceptionally creative musicians. Chapter IV: Antartarctica sees this unique band keeping their own surreal space-time continuum moving ever onwards & upwards, running as smoothly as only Evil Scarecrow can.

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Happy Birthday Joan Jett

Happy Birthday Joan Jett

Joan Marie Larkin better known as Joan Jett was born on this day in.1958. Parents James and Dorothy had their daughter in Pensylvania at Lankenau Hospital  Joan is the eldest of three children. Joan was fourteen when she got her first guitar then her family relocated to California and soon after moving her parents split when Joan took her mothers maiden name Jett and the legend was born after taking in Rodney Birgenheimers Disco where she was exposed to glam rock and nothing would ever be the same again.

Jett teamed up with drummer Sandy West. Jackie Fox, Lita Ford and Cherie Currie and The Runaways were born. Jett was originally the rhythm guitarist and occasional singer but took on songwriting credits the girl group got support slots with the likes of Cheap Trick, Van Halen and Tom Petty and also toured the UK and Japan where they became massive stars. The band managed to fit in five albums in their four-year reign at the second half of the ’70s.

Jett also got into punk rock in the late ’70s producing the Germs one and only album before singer Darby Crash lost his life.  the band also had one Pat Smear playing guitars who later went on to play with Nirvana and the Foo Fighters. Jett managed to team up with Cook and Jones when the Sex Pistols fell apart and managed to get them in the studio to record some classic tracks when in London with the most famous being the version of The Arrows classic ‘I Love Rock And Roll’ which would go on to become the one song Jett would be known for more than any other. after shooting an iconic video to accompany the tune.

When Jett was a solo artist she also added the band The Blackhearts who managed to recruit some class players in the line up over the years but the original included, Gary Ryan (Bass), Ricky Byrd on Lead Guitar, and Lee Crystal on drums. One Track from the early years that has seen itself pop up over the years in loads of films is ‘Bad Reputation’ which appeared on that debut solo album along with the classic ‘You Don’t Own Me’ that also features the Pistols Cook & Jones. It was a record that showed many sides to Jett and what she was capable of performing. the album missed out on entering the Billboard top 50 by one place but it was indeed a start.

 

hot on the heels was the album ‘I Love Rock And Roll’ whilst it never managed to reach the number one spot on the Billboard Charts it has managed an impressive ten million copies sold in its life. it did however spawn the singles ‘Crimson And Clover’ that hit the top ten and Jett had her first number one with the Arrows track that carried the same title as the album.  Jett is known for being happy to put a cover song on her records but this album was 50/50 original songs. Later Jett would pen and produce a lot of her records.

Jett still makes records and released ‘unvarnished’ in 2013 that was co-produced by Foo Fighter Dave Grohl who also co-wrote.  Also, it’s notable that Jett wrote and co-wrote nine of the ten tracks on the record. this time sneaking in the top 50 as well is no mean feat for a rock record. It was also Jetts first album since 2006s ‘Sinner’ and prior to that was the Japanese only album ‘Naked’ which also featured RPM favourite Sami Yaffa on Bass guitar.  Of the sixteen tracks Jett penned thirteen – one was a cover of the Replacements ‘Androgynous’ from their ‘Let It Be’ album.

Jett’s has her own model guitar which is a white Gibson Melody Maker, which she has played on everything since 1977. In 2008 Gibson released the “Joan Jett Signature Melody Maker”. which is some reward for being such an icon, not something Gibson hands out to just anyone. Jett is also happy to talk about animal welfares and is a big supporter of PETA, as she has been a vegetarian for over twenty years and is a supporter of environmental issues.  Still making music and touring Jett continues to play with a biography and an excellent documentary being released last year (entitled ‘Bad Reputation’), as well as continued interest in The Runaways her legacy, will forever be passed down through time as a real pioneer for women in Rock and judged for her music and not who or what she is Joan Jettalong with Debbie Harry are rightfully regarded as legends and all Joan Jett needs now is one of those flunko statues and my work here is done.  Put another (Joan Jett) record on the jukebox baby and raise a glass as we wish Joan Jett a happy birthday and here’s to another year and who knows maybe another album? That would be good.

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