If Godzilla was Swedish he’d be playing hard, fast and nasty rock & roll in a band just like Scumbag Millionaire. He may even grow a moustache and change his name to Max.
Now you’ve got the picture, let me introduce you to “Poor and Infamous”, the second long-player from these four Gothenburg gutter deviants. The record that’ll get you safely through the rest of this Covid craziness.
From full-throttle opener, “Demi-God” to sleazoid closer “One For The Road”, “Poor and Infamous” is an ass-kicking classic. Think early ‘copters (obvs), think classic Motorhead and you’re almost halfway there. Where ever there is !?!
Lead single “Ain’t No Doubt” is everything The Backyard Babies used to be, totally Total 13 and a bang on dyed in the wool classic. Check out the video.
“You Had It Coming” gets a little Mick Taylor-era Stones groove on, while “Chasing Dawn” pummels you in the ears into submission.
The distorted bass intro to“Put A Price On My Soul” is pure Boss DS1 magic courtesy of the legendary Sunlight Studio. Tomas Skogsberg’s production is spot on, the man is the Phil Spector of the garage punk metal universe.
“Desperado” is a monster. A face-fucking distorted onslaught.
“Subterranean Twist” reminds me of the early Scumbag singles (check out US compilation “Fast Track Big Pack” if you missed them).
“Highway Blues” calls on those super sexy bass tones again. Not as full on as its “Poor and Infamous” bed fellows but it’s a tune that BYB would kill for.
“Trouble City” is pure Motorhead magic and “Dead Man’s Hand” ain’t no slacker either.
Rounding things off with the aforementioned Sea Hags-tastic “One For The Road”, “Poor and Infamous” is simply the bollocks.
Pre-order the album Here on limited transparent magenta vinyl, regular black vinyl or on ye-olde traditional CD.
While you’re at it grab the US comp “Fast Track Big Pack” along with debut album “Speed”. You won’t regret it. Guaranteed !!!
In the mid to late 90’s it seemed that bands in Scandinavia had sold their collective souls at the Cross Roads found at the Three-Country Cairn, where each member was given the complete discography of the Nomads, The Stooges and the MC5 and told to go away and learn them.
Paving the road were the three horsemen of the apocalypse; The Hellacopters, Gluecifer and the Flaming Sideburns. Following on in their wake were the just as important and influential second wave, never quite making it to the Arenas but packing out clubs across their home Countries, Europe and even as far afield as North America. One such band was the “DEMONS”. Strangely enough, the States, notably the Pacific Northwest, embraced the Scandinavian Invasion and for a while, “DEMONS” were the uncrowned Kings of it.
To celebrate the band’s 25th Anniversary a live album called “No Loitering” that was recordedbetween their second album “Stockholm Slump” and third “Demonology” on the 5th March 2004 at The Crocodile Cafe in Seattle is being released via Vitriola Recordings.
The press release says that “It by no means is pretty”, I’m not even sure if this is off the Soundboard or a very well recorded audience recording but it’s what we want, no scrub that, it’s what we need; fast, sweaty and furious without any compromises.The original classic four piece line-up kicking an eleven song set off with “Undertaker’s Lament” from the aforementioned “Stockholm Slump” but before you have time to register that fact the band are already ripping through “Devil In Me” but it’s not all past glories as the band road test the as yet unreleased “Lost Dog” and “What’s This Shit Called Love”, that both sit perfectly well in the set.The gig is the perfect length for us old school TDK 90merchants coming in at just under 40 minutes.
Back in the day if I did have this on a cassette on the other side would be the Ramones “It’s Alive”. The only gripe I have is no “Electrocute”. Over here in Dear olde Blighty gigs still seem a long way off. This is why “No Loitering” is so important;not only is it a band firing on all cylinders but it is a reminder of how good live gigs are.
Sweden’s much-loved and well-travelled charismatic rock ‘n’ rollers Diamond Dogs have returned to the scene and they are bringing re-releases of their first 5 albums with them. Released through the Wild Kingdom record label, these 5 LPs cover the first 10 years of their existence, which began in 1993 with the album Honked.
Honked set the scene for the coming years for the Dogs. Headed by the singer/songwriter Sulo, the band would at various points involve musicians from a worldwide spectrum of spectacular and influential bands. Honked was big news in Sweden, and it pushed their boundaries far beyond Scandinavia, with single ‘Blue Eyes Shouldn’t Be Cryin’’ making its way onto MTV rotation, back when the M meant Music and not Money. It would see them tour all over the world with some of the biggest household names.
The album now has been repackaged as Honked (All Over Again) and includes three additional tracks in Lucille (Richard’s, not Kenny’s), Sweet Sister Sunrise and Big Bayou (originally by Swampwater and then covered extensively). Many years following its original release, Honked is still brimming with that delightful charm that has always been instilled in the Dogs’ music. Raunchy and swaggering, the Dogs’ music is unapologetically 70s inspired rock ‘n’ roll, rolling in a sweet mix of the Faces and the Stones. The song writing and the energy captured in the production ensure that it still stands up now.
The Diamond Dogs have always delivered this music in the best way possible – with honesty and charisma. If you like the Black Crowes or the Quireboys, and for some cruel reason the Diamond Dogs passed you by, diving into these 5 re-releases should set you straight. And there’s no better place to start than right at the beginning with Honked.
I’m not a massive believer in fate or why things happen but I was asked to give a record a listen and possibly review it. The dilemma I had was it was originally released late 2019 but hey the world has been on stop for some months anyway sure I’ll listen. Then when I was putting together the pictures and links for this review I got a message from a label and asked if I’d ever heard a band named Stacy Crowne. Now here’s where it gets spooky up until a few weeks ago I hadn’t but they did a split with a band I love (Christmas as it goes) and I reviewed the single last month and was really impressed with the sounds coming outta Stacy Crowne and then things snowballed The singer got in touch I played the record and then the label got in touch over something else entirely and bang as I type I have one of those boxes pop up whilst I’m spinning the record on my laptop its only Stacy Fucking Crowne! now that might just be a coincidence but we all know the evil powers of Rock and Roll and how they work so it might well be a sign and horns up for the band because I took it as the rock and Roll Gods telling me to turn the fucker up and band out my review and let everybody know how damn good this slice of Hard Rockin’ action is!
Strap yourself in kid this might get bumpy! From the opening ring of the overdrive, this is most definitely in the same ballpark as the scene back a couple of decades that had Gluecifer and The D4 ruling the roost along with Hellacopters and a hint of Supersuckers and Turbonegro. If anything this is understated which is a shame (I missed it when it was released) because opener ‘Oblivion’ sets the tone but by no means is the standout track maybe its the loosener opening couple of shots to accompany the big one and you have to build up to that nobody dives straight in or you’ll crash and burn but its got all the vital ingredients to Rock and Fuckin’ Roll but ‘White Lies’ adds the tambourine which is nice as the band cruise through the gears with a song not a million miles from Captain Poon and Biff Malibu its loud got a cool hook and plenty of punch but remains cool as without a bead of sweat on their brow nor a hair out of place this is good no I mean Good!
There’s always time for a bit of Boogie along the lines of Backstreet Girls ‘Tightrope’ with a really tight chorus with layered BV’s almost power-pop wearing big boys leather gloves and mirror shades if you know what I mean? and the keys added really lift it. Great track.
When they just want to rock out they do so with consummate ease (‘Some Equals None’) they add some neat bass runs on ‘Get Loaded Now!’ Basically if you ever hankered after a record that has loud guitars but not for the sake of it loud and ever wanted riffs and plenty of crash bang wallop then ‘We Are Electric’ is an album you have to hear. The title track or ‘We Are The Rest’ delivers in spades and throw in some of that dirty rock that bands like American HEartbreak or The Four Horsemen touched upon but also delivered great records.
If I had to pick a standout track then it would have to be ‘Lovebite’ sure it sings from that classic Gluecifer hymnsheet but damn it’s a good song with gang vocals and laid back verses it’s quality and some splendid guitar playing, especially on the breakdown. It only leaves the power ballad of ‘Too Easy’ to cruise off into the sunset. Only joking its not a token power ballad but it is like one of the Hellacopters road movie tunes, a little more laid back than the others maybe, and with some dueling guitars noodling for good measure its been a blast.
I’m only gutted I didn’t pick this up late last year but hey we can’t be on top of everything and I’m glad I’ve had the pleasure of playing it over and over now. I won’t be making that mistake again. Just buy it.
Fontaine’s opener merely walks out of the traps. It hasn’t got its proverbial chest puffed up it just strides confidently with ‘I don’t belong’ coming across like a band weened on the reissues of Joy Division but hooked on melodies from Mozza but with that delightful Dublin lilt. The track never breaks sweat but neither does it want you to look away either.
In a world where bands don’t have to conform or look like they’re in a gang and often look as far removed from being in a band of uncompromising post-punk noisemakers that you could possibly imagine. Fontaines D.C are like that and I doubt they give a single flying fuck what you or I think as to what a band should look like in 2020. In a world where Idles and Sleaford Mods can seemingly walk on water and breakthrough into the mainstream then there’s always room for another and Fontaines might well be that band. this sophomore release rides the coattails of the debut in double quick time in case the streaming generation might forget who you are with the click of a mouse.
It’s not until ‘Televised Mind’ do they get out of that strut walk I mentioned and you can finally take a breath and maybe move if you want. It builds very much along the lines of a joy division with the guts being wrung out of the guitars effects.
Swirling Hawkwind effects signal ‘A Lucid Dream’ is taking hold. With some frantic drumming holding this number together this could be best described as space rock for the Covid generation as it ebbs and flows. Last year, Fontaines D.C. released their debut album Dogrel to widespread acclaim, garnering a legion of fans worldwide along the way. They toured behind it relentlessly. In another time, this would be nothing but a success story: A young band delivering on the hype rather than being swallowed by it. They should have been riding high; it should have been nothing but a triumphant year. But to hear the band speak of it, the whirlwind experience almost destroyed them.
‘A Hero’s Death’. It’s an album that has its moments of frantic, claustrophobic songs that gasp for air often challenging the listener in challenging times. At times there are songs full of charm like ‘You Said’ which is simple song as is the lite and beautifully simple ‘Oh Such A Spring’
‘A Hero’s Death,’ ‘I Was Not Born,’ and ‘Televised Mind’ all predate ‘Dogrel’ so if you liked that then there’s a fair chance this is going to ring your bell as well. They’ve not gone and done a Radiohead and cut their commercial throat deliberately here because they haven’t. Fontaines D.C. know what the do and what they’re good at and hammer it home and using those principles they’ll never go out of fashion nor turn in a bad record like Idles they aren’t always an easy listen and that’s good because different tunes will leap on you when you least expect them to and those records have longevity and I like that dip in and dip out but you know they’re there. ‘Difficult angular sharp sounds for difficult times possibly the perfect chaotic record for the chaotic times we live in. At times challenging and others soothing and just nice.
BLACK SABBATH CELEBRATE THE 50TH ANNIVERSARY OF THEIR ICONIC ALBUM ‘PARANOID’
VINYL DELUXE EDITION OUT OCTOBER 9th VIA BMG
Five-LP Collection Includes Original Album Plus Rare Quad Mix
Along With The Vinyl Debut Of Two 1970 Concerts
Also Available As A 4CD Set
PRE-ORDER THE ‘PARANOID: SUPER DELUXE EDITION’ HERE
Widely regarded as innovators of the musical genre which came to be known as Heavy Metal, legendary Birmingham-bred Black Sabbath celebrate the 50th anniversary in 2020 of their multi-million selling album Paranoid with a 5-LP/4CD edition released on October 9th, featuring the vinyl debut of two 1970 concerts.
PARANOID: SUPER DELUXE EDITION includes the original album, in addition to a rare 1974 Quad Mix of the album folded down to stereo, plus two concerts from 1970, from Montreux and Brussels, that are pressed on vinyl for the first time. The five-LP set comes with a hardbound book with extensive liner notes featuring interviews with all four band members, rare photos, and memorabilia, a poster, as well as a replica of the tour book sold during the Paranoid tour.
After the success of the band’s self-titled debut in early 1970, Ozzy Osbourne, Tony Iommi, Geezer Butler, and Bill Ward returned that fall with Paranoid. The record became the band’s first album to top the U.K. charts and has sold more than 4 million copies in the U.S. alone. Today, songs like “War Pigs,” “Planet Caravan,” “Iron Man,” and of course, “Paranoid,” continue to inspire a new generation of musicians around the world.
PARANOID: SUPER DELUXE EDITION first two LPs feature the original album plus a Quadraphonic Mix of the album. Originally released on vinyl and 8-track cartridge in 1974, but subsequently long out of print, the Quad Mix has now been made available as a fold-down to stereo mix on vinyl for this set.
The collection’s final three LPs mark the official vinyl debut of two 1970 live performances. The first was recorded on August 31 in Montreux, Switzerland shortly before the release of Paranoid. It captures the band, already a tight musical unit, thundering through new songs like “Hand Of Doom” and “Iron Man” while mixing in “N.I.B.” and “Behind The Wall Of Sleep” from their debut album. The second concert was recorded a few months later in Brussels during the band’s performance for Belgian television. Unofficial versions of this classic show have circulated in the past, but they’ve never sounded this good.
Pre-order the ‘Paranoid: Super Deluxe Edition’ HERE:
28.07.21 YORK Fulford Arms
29.07.21 NEWCASTLE Cluny
30.07.21 EDINBURGH Opium
31.07.21 GLASGOW Ivory Blacks
03.08.21 MANCHESTER Night People
04.08.21 NOTTINGHAM Rescue Rooms
05.08.21 WOLVERHAMPTON Slade Rooms
06.08.21 BRISTOL Exchange
07.08.21 LONDON Garage
tickets and information flagpromotions.co.uk / ticketweb.co.uk / fatsoma.com
Due to the ongoing Covid-19 crisis, Canadian post-punk goth act The Birthday Massacre have been forced to postpone a November 2020 UK tour to promote their new album, ‘Diamonds’, which was released in late March. All nine shows have now been rearranged for the summer of 2021, as per the itinerary above.
The tour will be the first opportunity for UK fans to see two recently installed group members, drummer Phil Elliott and bassist Brett Carruthers, perform with the band. Carruthers is also the frontman of fellow Toronto-based act A Primitive Evolution, who released an excellent album of industrial tinged rock entitled ‘Becoming’ on Metropolis Records in 2018 and have remained an ongoing concern.
SO EXCITED to announce a BRAND NEW ALBUM, “Nowhere To Go But Everywhere”! The album comes out Sept 18th, BUT, our new single, ‘Jesus & John Lennon’, is OUT NOW!
Swiftly following on from their Independent Music Award winning debut album, Ryan Hamilton & The Harlequin Ghosts are delighted to announce its follow-up: ‘Nowhere To Go But Everywhere’. Pre-order here.
Little over a year since the release of his enthusiastically received debut ‘This Is The Sound’, the Texan maestro backed by his trans-atlantic band will release 11 brand new tracks on 18th September 2020 in what will be their sophomore release for the Wicked Cool label.
& Here’s a handy link to listen to the new single, pre-order the album, and/or pre-save it on Spotify, iTunes etc…
Like some of the greatest records in history, the bittersweet and often beautiful songs of ‘Nowhere To Go But Everywhere’ have their basis in break-up. In the wake of a divorce and in urgent need of a new start, Hamilton hit the highway and embarked on a long, soul searching road trip across the US. Losing himself in the heartlands of old America, Hamilton found himself gazing upon the crumbling motels and diners that line fabled arteries like Route 66 and picturing what once might have been; their fading grandeur offering a unique sense of solace and inspiration. As the milometer ticked-on and new experiences began to ease those unshakeable notions of hurt and heartbreak, unexpectedly Hamilton felt himself writing some of the most intimate and personal music he has ever written.
“It’s a group of songs about heartbreak, and finding yourself.” says Hamilton of the new record. “It’s not like anything I’ve ever done. I am certain they’re the best songs I’ve ever written. When this album comes out, it will be like baring my soul… and I’m ok with that.”
Literature fans may be quick to identify the title as a quote from another creative work written “On The Road”, by a certain Jack Kerouac. Though a fan, Hamilton insists its pure serendipity in this case. Or, the influence of a lucky charm perhaps (also seen to feature on the upcoming album artwork)…
“I knew it had to be the title for this album.” he says. “Kerouac is a hero, and because of the way this album was written, his spirit is all over it. I actually own Jack Kerouac’s belt. That he wore in the 60s… It’s a cherished possession.”
With a lifelong adoration for the work of Tom Petty, listeners will no doubt detect the influence of the great man in the warm and radiant arrangements of album opener “Only A Dream” or the gentle Califonian kissed balladry of “Pick Yourself Up”. But it seems a final pit-stop and pilgrimage to the famed Norman’s Rare Guitars in LA, would play its part in determining the resultant sound of ‘Nowhere To Go But Everywhere’ too.
“Norman is the go to guy for a lot of big names out there. Including my hero, Tom Petty.” reflects Hamilton. “I went in the store at the end of that aforementioned road trip from Texas… and had no intentions of leaving with a guitar. But, Norm and I got to talkin’, and we talked about Tom… and before I knew it, I was leaving with a vintage Martin acoustic. That guitar feels like my child. I cherish it.”
Returning home filled with a sense of rejuvenation and alive with new ideas, Hamilton reconnected with The Harlequin Ghosts (aka Mickey Richards and Rob Lane) and a host of talented musicians to help recreate his journey in the songs of what would become: ‘Nowhere To Go But Everywhere’.
Taking a similar approach to the recording process of their debut, ‘This Is The Sound’, the new album was recorded using both Hamilton’s home studio in Texas and that of producer Dave Draper’s in the UK, who also produced, mixed & mastered the final cut. Hamilton laid down the bulk of the record whilst also touring his solo acoustic tour in February 2020, before the declaration of the global pandemic saw Hamilton forced to return home to add the finishing touches.
Not one to sit still for long, Hamilton even found time to write an additional EP’s worth of material, ‘Incommunicado‘. Connecting remotely with producer Draper, plus other fellow musicians in lockdown in the UK and France, the EP recorded and released completely in lockdown. Dropped without prior warning in May 2020 and with all proceeds going to the Music Venue Trust’s ‘Save Our Venues’ campaign, it shot straight up the charts to become Hamilton’s first number 1 album (iTunes Country Chart) and sets the precedent for a magnificent long player to follow this Autumn.
Wise with the experiences of life and glowing with the sense of adventure of his travels, ‘Nowhere To Go But Everywhere’ is an exceptional new chapter in the Ryan Hamilton & The Harlequin Ghosts story. Just make sure to save them a table at the awards ceremonies next year…
RYAN HAMILTON & THE HARLEQUIN GHOSTS – NEW ALBUM:
‘NOWHERE TO GO BUT EVERYWHERE’- OUT 18 SEPTEMBER 2020, VIA WICKED COOL
PRE-ORDER HERE || LISTEN TO JESUS & JOHN LENNON HERE
First up is the first single off the excellent Pardon Us. ‘Undertow’ sees the band release their lockdown social distanced video for the first track off their ‘Seamless’ album due out towards the end of August.
Another band we a loving here at HQ is Indonesian Junk who also have a new album ‘A Life Of Crime’ out on Rum bar records
Finally, we bring you Stay Voiceless who also have a new record ‘Lies To Tell Your Children’ and the review of said record will be online this week
If you suddenly have the desire to collect The Hip Priests 7 inchers, just forget it already! That’s tantamount to saying you are gonna start collecting Star Wars figures or Kiss merchandise…there’s just too damn many, they’re too expensive and you won’t find ‘em all! But lucky for you, those fuckin’ boys have saved you the trouble and gathered together the lost gems, the hard to find cuts and the curios for all The Hip Priest fanboys and fangals to salivate over.
Yes, if you are a fully-fledged member of the Spasm Gang or even just a casual fan, (ie you don’t wear black denim every fuckin’ day!) then you probably already own the comprehensive double album ‘A Decade Of Disdain’. An album that brought together the best of The Hip Priests singles released over 2 pretty coloured records. And if you don’t, then give yourself a slap and get it sorted before we have words!
Well, ‘Solid Gold Easy Option’ is The Hip Priests strike back! 17 hard to find tracks from singles and EPs released between 2017-2019. That’s 6 cover versions bastardised by the band, sandwiched between 11 glorious original jams previously unavailable to mere mortals until now.
If quality, high octane garage rock is your thing, if you dig sonically seductive sounds delivered with more filth and fury than a Johnny Depp/Amber Heard weekend bender, then ‘Solid Gold Easy Option’ is right up your street. The dirty, the clean and the truly obscene rub sweaty shoulders and bloody knuckles in a defiant “fuck you!” to society, with no hint of socially distancing going on.
The epic ‘No Time (Like Right Now)’ is present and correct. Clocking in at just under 10 minutes, it’s their punk rock masterpiece, channelling the power of the MC5 with the horns and suss of Rocket From The Crypt, while they rant a diatribe about political skulduggery and post Brexit fuckery. It’s a punk rock anthem for right now. The other 3 tracks from that EP are present and correct, but the punk and belligerent ‘All My Rowdy Friends Are Dead’ and album closer ‘I’m Too Good’ seems to pale in comparison to the overly cool ‘She’s A Queen’. It sounds like Ian Astbury jamming with The Hellacopters, with one finger piano stabs, overly fuzzy guitars and vocals delivered straight from the crotch. It could be my favourite Hip Priests song right now.
Covers-wise, the likes of Motorhead’s ‘The Hammer’ and Demons ‘ Hot Running Blood’ are perfect Hip Priests fodder and stay pretty true to the originals. The Stooges ‘Loose’ is suitably ramshackle, sped up and delivered with guts and glory. Saxon’s ‘Play It Loud’ follows the same path and sounds epic. It’s only Adam & The Ants classic ‘Press Darlings’ that doesn’t really benefit from the Hip Priests rough n’ ready, punk rock treatment for me.
Just because this is a b sides compilation, it doesn’t mean the quality has to suffer. ‘Nihilist Twist’ is a brutal, chanting 2 minute assault on the senses. ‘Dead By Sunday’ literally out ‘copters The Hellacopters and ‘I’m In Exile’ is all killer no filler. Wah-wah infused guitars fight with power chords as newest recruit Gentle Ben fills the right speaker and Austin the left, or is it the other way round? Who knows! But what I do know is the twin guitar attack sounds mighty.
27 singles, 3 EPs and 4 albums since their inception in 2007. It’s true to say that ‘Solid Gold Easy Option’ is more than just a stop-gap collection of odds and sods to keep their fanbase happy until album number 5 drops later this year. This is a quality collection of songs from shit island’s best-kept secret, and any self-respecting punk rock junkie should have it in their collection. The only trouble is do you choose green or blue vinyl?
If Godzilla was Swedish he’d be playing hard, fast and nasty rock & roll in a band just like Scumbag Millionaire. He may even grow a moustache and change his name to Max.
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