The Psychedelic Furs – ‘Made Of Rain’ (Cooking Vinyl)

The Psychedelic Furs – ‘Made Of Rain’ (Cooking Vinyl)
Their first album in almost 30 years, since releasing 1991’s World Outside and splitting up soon after. Reuniting early on in the Millenium, existing as a touring entity only, I was genuinely surprised to hear that the band had signed an album deal as I always assumed there was no appetite to record new material. With the bands last commercial peak being 1987s Midnight to Midnight they were seemingly destined to remain a nostalgia act spending a majority of their time on the road in the U.S.
 
A strong opener in “The Boy Who Invented Rock & Roll”, a great layer of brooding synth showing growth in their song output and even having a bit of a Dark Wave element. “Don’t Believe” is the established first single released back in January. It really sits in the foundations of classic non-pop Furs, which makes recent single “You’ll Be Mine” even more of a disappointment. It’s a limp number at best.
“Wrong Train” kicks off like a New Order football jingle though quickly detours into a bitter-sweet, epic confessional. Speaking of pills, car crashes and turmoil amid filthy guitar and sax duels. An absolute stand out track. The only low here being when it finally ends, though “This’ll Never Be Like Love” drags you into a somewhat beautiful pit of despair. The track really does hark back to the sound of their last two (criminally overlooked) albums.
“Ash Wednesday” has the same level of brood, but at over 5 minutes it never really goes anywhere and it’s a bit much to take. It’s the same case for “Come All Ye Faithful”, trying to be direct and edgy but coming across very much like filler material. “No-One” thankfully grabs us by the scruff of the neck and puts us back on course, giving us Richards Butler’s dark cacophony of lamenting croons.
“Tiny Hands” is very American rock radio commerciality straight out of the gates. It’s not terribly unpleasant, just very questionable production. The production here is provided by former member Richard Fortus (G’N’R fame). Not slighting Fortus’s role here, though I am disappointed the band didn’t go with someone who potentially could of put them to work. Someone with a similar background such as Flood or Alan Moulder?
“Hide The Medicine”, a very dreamy number that builds and builds but ends very abruptly almost as if it had never even begun? “Turn Your Back On Me” has really grown on me after several listens, revealing itself as a subtle but epic number. Album finisher “Stars” rolls in. Another dreamy composition, building in parts, taking us to a collage of sounds, distorted guitars and synths melding together only to disappear bluntly. A surprising track to place at the end, not really giving much as a send off.
Overall the album is a bit of a mixed bag. Not a classic but certainly not disappointing. My lingering thoughts only that I hope they try their hand at another release sooner rather than later. Definitely seek out this new album but be prepared to take the rough with the smooth.
Buy ‘Made Of Rain’ Here
Author: Dan Kasm
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Lusitanian Ghosts – ‘Lusitanian Ghosts’ (Lusitanian Music Publishing)

Lusitanian Ghosts – ‘Lusitanian Ghosts’ (Lusitanian Music Publishing)

The self-titled album from Lusitanian Ghosts is a rock ‘n’ roll experience of a different kind. The Deluxe Edition was released late last year and has just made its way to my door. This musical collective features Neil Leyton, who will be well known to many of the readers here, having previously worked with a wide range of rockers from The Dogs D’amour to Ginger. He also, of course, has his own glittering career, which has also seen contributions from rock royalty such as the Backyard Babies. Leyton is a man of many talents, and I personally remember him from the much-missed Changes One record label days, where we used to have the odd chat over email. A lot of time has passed since then and I must admit to having fallen out of the loop for a while. And from what I can gather this is his first full album of original material since 2010’s The Betrayal of the Self. As I have said, however, this is a collective and more than the work of one man – and with it comes an entirely new sound, interestingly making use of traditional chordophone instruments: guitar-like, stringed instruments which also includes the lutes or lyres that we may often see accompanying Shakespeare plays. The group includes Micke Ghost, João Sousa, Omiri, O Gajo, members of Primitive Reason and other artists.

This new Portuguese musical project utilises these instruments in a more modern way, mixing a blend of traditional and rock ‘n’ roll sounds. It’s an inspiring, folk/rock mix which needs to be heard to be understood. The album kicks off with a short acoustic folk affair, with the breezy ‘A Long Time Ago…’, which sets out the attitude of the album before heading into the more rocking ‘The World’. While I’m hesitant to draw a lazy comparison to Santana, this opening of this song certainly bears that resemblance, particularly with the fat, smooth tone of the electric guitar over the acoustic arrangement. The album itself doesn’t bear out the comparison. Being such a creative project, the Lusitanian Ghosts album takes many twists and turns while always maintaining a very singular thread throughout – a constant traditional sound underlying it. The light indie sounds of the flowing ‘Trailer Park Memories’, or the rousing chorus of ‘Past Laurels’ with its singalong of ‘we are the truth to power’, mark for an exciting and thoroughly enjoyable album. While personally other highlights include ‘Godspeed to You’, the Bowie-esque ‘Memories of a Once Familiar Future’ or the great ‘Our Own Light’, there is no filler here, as every song serves to support the next. Interestingly, alongside the album is a release of a documentary which explores the history of these wonderful traditional instruments which are used to craft this most interesting of records. Watching that is the next thing on my to-do list. Meanwhile, listening to this, it is certainly good to have Leyton back recording, and with such strong material.

 

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Author: Craggy Collyde

The Suicide Machines – ‘Revolution Spring’ (Fat Wreck Chords)

The Suicide Machines – ‘Revolution Spring’ (Fat Wreck Chords)

It was in 2006 that Detroit punks The Suicide Machines called it a day after 15 years and six albums. The break didn’t last too long because in 2009, the four-piece reconvened to play the occasional show and embarked on some even less frequent touring. There was no sign of new material on the horizon that is until now.

‘Revolution Spring’, their seventh album, and the first new material since 2005’s ‘War Profiteering Is Killing Us All’, was released March 27th.

What you get for your buck is plenty of bang with some Dropkick Murphy style lead vocals driving the rousing songs.  The band sound energised from the break.  you get the full force on opener ‘Bully In Blue’ but there’s plenty of skank on ‘Awkward Always’

There are sixteen songs on offer here and the band say they had thirty written so it’s not like they were short of inspiration.  They continue to dish up sharp sounds with an excellent production that shines on songs like ‘Babylon Of Ours’.

The songs deal with real issues to the band and whilst they’re at it they also have a far wider appeal. Police brutality, American Imperialism and class war are all covered so not such a superficial record. they don’t hold back with opinions either ‘Flint Hostage Crisis’ being a good case in point. Some heavy topics covered as well like attempted suicide but I have to say that the overriding feeling I get from listening to the record is how up and positive it sounds and out of bad situations comes a positivity.  ‘Trapped In A Bomb’ has a rollicking bass line rumbling away urging this song forward. Punk rock isn’t just for the kids and the older wiser guys can give the young pups a run for their money and this is proof.  A very American feel to the record when they cut loose like on ‘Detroit Is The New Miami’ they really hit their stride mixing some hardcore with their skank and not sounding out of place.

Old and new fans alike will find Revolution Spring an energetic anthemic, hardcore, ska-punk roots mixing pot and it’s good to have the band back making music that sounds fresh and vibrant and there’s a lot of music to get through here.

Get it Here

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Author: Dom Daley

The Damned – ‘Fiendish Shadows’ (Cleapatra Records)

The Damned – ‘Fiendish Shadows’ (Cleapatra Records)

This fully restored and expanded set from Woolwich Coronet This 2020 version has been newly remastered and includes several tracks that were left off the original release! Includes all-new artwork with full liner notes and a personal message from drummer Rat Scabies !

Available on both digipak CD and a 2LP vinyl set in your choice of either RED or BLUE vinyl! I had this when it first came out many moons ago and loved it.  It captured the band at the time perfectly.  whilst they might have been at a commercial career-high the studio albums were a bit beige around the time of MCA but live they still had it and that tour was a blaze of fun.

Expanded to nineteen tracks this is well worth tracking down and getting hold of from the opening keyboards of ‘Curtain Call’ they were on fire. The quality of the recording is good as well not overdubbed nor flat this is a picture of a band living it large and doing it well. As you would expect there is a decent smattering of tracks from ‘Phantasmagoria’ and ‘Shadow Of Love’ particularly sound great. As does the much-maligned ‘Grimly Fiendish’ that I quite enjoy hearing live these days and back in the day or the mid-’80s to be precise it was quite a departure. It seems odd to hear tracks like ‘There’ll Come A Day’ played so fast and full of energy. that tour with The Fuzztones was exceptional and I have such fond memories of Cardiff New Ocean Club.

‘Gun Fury’ makes me smile as does the version of ‘Lust For Life’ 1985 seems like yesterday but its also so long ago.  when the Damned could have been and should have been we are left nuggets of pure Gold like this recording to remind us that it doesn’t matter what happened commercially because they were always the best and still are capable of amazing shows and the odd record that ignites a fire inside my heart and it seems odd to hear them end the set with a one two of ‘Disco Man’ Val Doonigan style followed by a rip-roaring slash of ‘Born To Kill’  If only all bands were this good.  Don’t think twice just buy it and revel in it. Fiendishly good!

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Author: Dom Daley

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Manic Street Preachers reissue ‘Gold Against The Soul’ Finally

Manic Street Preachers reissue ‘Gold Against The Soul’ Finally

After many hints and teases Manic Street Preachers have confirmed the reissue of a deluxe edition of their 1993 second album ‘Gold Against The Soul’. Available as a 120 page  A4 book featuring unseen images from the bands’  longtime photographic collaborator Mitch Ikeda, many personally annotated by Nicky Wire and original typed and handwritten lyrics from the bands own archive. Pre-order now in CD Book, on Vinyl and in a bundle.

Pre Order Here

Therapy? – The Greatest Hits (Marshall Records)

Therapy? – The Greatest Hits (Marshall Records)

Enduring and endearing that’s the threesome that makeup Therapy? they’ve have never been ones to follow convention even when they do something quite conventional like releasing a greatest hits album.

‘The Greatest Hits’ takes tracks from throughout their career of highs and maybe not so highs. This their 30th-anniversary run sees this new album breathing a fresh breath of brutality into already fiery songs.  I’ve always seen Therapy? as an iron fist in a velvet glove kinda band.  they can write some right out and out abrasive in your face slabs of noise but they can also be touching and heartfelt whilst delivering that punch (if you know what I mean?)  Oh and before I forget it also comes with a bonus live album.  Always offering value for money. I always thought the old adage about Motorhead applied to Therapy? because they will survive after any holocaust along with the cockroaches then probably put on a show before feasting on the mites such is their dogged determination to push on and never stand still even when looking back at themselves and what they’ve achieved they twist it and push the boundaries rather than offering up some cut and pasted best of and that’s because they give a shit about their legacy, their fans and the future.

‘Teethgrinder’ is first up and with a sparkling production, it has to be said. The band worked with producer Chris Sheldon, who produced the original ‘Troublegum’ album as well as working on ‘Semi-Detached’, ‘High Anxiety’ and ‘Cleave’ so a safe pair of hands – someone who knew the band and what they were/are about and was able to give them that extra piece of x-factor needed on this project.  No cost spared as they headed for Abbey Road none the less and its paid off in spades.

The 12-track album includes all their UK hits including ‘Screamager’ and a reworking of ‘Diane’; Featuring James Dean Bradfield of the Manics.  I forgot how fuckin’ menacing ‘Turn’ sounds with that grinding bassline twisting the listener’s inner ear throughout.  The one thing that stands out is how damn fresh these songs sound.  They never suffered from a shit production but this is another level as 2020 sees songs reborn.  ‘Nowhere’ still sounds epic and a real rush of adrenaline.  I can’t help but feel there’s a little chuckle being made having James Dean Bradfield singing on ‘Die Laughing’  maybe they should have renamed it ‘Dai Laughing’.

‘Diane’ is one of my favourite song from the band and this new take is brilliant.  Welcome to the church of noise one and all and those old-timers this is a great celebration happening here and those new to this band you’re most welcome but where the fuck have you been you maniacs? Heres to the next milestone and something else from Therapy? Oh, I guess I should mention the bonus disc, well, that’s fifteen songs one from each album live as a bonus with the CD version. It’s a great time to be a fan of the band then with so much going on as they head out the door to promote their 30-year plan so you can see them after you’ve played this greatest hits package to death.

As far as greatest hits go this one is up there with the best in the noisy bastard genre. Still on fire – Still not compromising – Still doin’ the biz. Therapy? I love em

Greatest Hits (2020 Versions) here

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Author: Dom Daley

 

Wayne Hussey & The Divine – ‘Live At Yellow Arch’ (Self Release)

Wayne Hussey & The Divine – ‘Live At Yellow Arch’ (Self Release)

Wayne Hussey & The Divine – ‘Live At Yellow Arch’. Recorded over 2 days – 31st October and 1st November – during the rehearsals for the one-off show at Whitby, the album comes in CD and limited clear vinyl. with the CD having more tracks.

An incredible group of musicians along with Hussey has produced a mesmerising interpretation of some of the best tracks from The Mission back catalogue but also something new from the recent ‘Beauty in Chaos’ release, a song that Wayne wrote in the 1970s, and a version of Mazzy Star’s ‘Look On Down From The Bridge’.

Wayne said Working with The Divine was one of the musical highlights of his life. Something he might well revisit in the future.  To be honest, I’m not sure what I was expecting here, as I saw the tracklist there were songs I love that had been chosen and was certainly interested in hearing how they interpreted them but I can honestly hand on heart say I never expected them to sound quite so stunning.

I’ve long since admired Hussey and his music following the Sisters and then the Mission and collecting everything he’s ever recorded so I guess a bit of a fanboy if you like seeing him live many times over the years but I have also been critical along the way of what I thought didn’t work on times (very few I might add)  and happy to hear what did.

 

These recordings came for the rehearsals for the Goth festival in Whitby and in True Mission-style Hussy invited some fans along for the rehearsals and had the foresight to record what took place in front of the thirty or so onlookers over those two nights in Sheffield.

live, no overdubs, no going back to fix ‘things’ as you can hear when the lyrics go wrong on a couple of songs. (Nothing new there then.) It’s all about the performance.  For Hussey to suggest these songs would touch the listener in a way the originals didn’t is very astute because he was right on the money there.

The musical arrangements are nothing short of genius and interpretations stunning what the add and what to leave out is quite magical and you almost want to stop breathing so as not to miss one second of what’s going on.  It must have been awesome to witness this happening let alone playing on it.

It’s a simple concept of a small ensemble of strings, percussion,  a piano and guitar with a few voices t pull it all together. But don’t be fooled its as much about what gets left out as what you put in with the heartbreaking violin solo on the opening ‘Look On Down From The Bridge’ and the softly sung vocal its truly stunning from that opening drum shuffle.  Of The Mish tunes songs like ‘Never Again’ are reborn as is the beautiful ‘Like A Child Again’ but the ones that are changed the most like ‘Crystal Ocean’ is where the gold lies.  It must have taken forever to trawl through such a catalogue of songs to find what would work and to get it quite so spot on over all fourteen songs is extraordinary.

Of the more recent Mission songs ‘Swan Song’ is stripped bare maybe a more traditional interpretation but none the less dramatic in its delivery.  Of course ‘Tower Of Strength’ is still epic it always was and always will be but the violin here is brilliant but it is overshadowed by the delivery of ‘Forevermore’. A diamond of a record all fans of Hussey’s work need to hear this.  I am well aware that I’ve showered it in superlatives but hell, it deserves it.  Uplifting and inspiring. there’s always room in the world for light and shade and this is going to be a staple of relaxation and calm and stunning music by a genuine talent whos delivered over many decades and continues to do so.

If you do want to do this again Wayne you can bring the divine round my house and do it all again it would be a pleasure and I’d even chill the blue nun.

Buy ‘Live At Yellow Arch’ Here 

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Author: Dom Daley

Christmas – Hot Nights In Saint Vandal (TNS Records)

Christmas – Hot Nights In Saint Vandal (TNS Records)

Everything was better in the old days. Everything but Christmas who became more unstoppable from year to year. While other bands pop up and quickly burn away, CHRISTMAS just gets better and better. More resilient, more brutal and more like the cockroach after a nuclear holocaust.  It was said that if Motorhead moved next door your lawn would wither and die unless the next-door neighbour happens to be Christmas.  They wouldn’t give a shit the lawn was dead because they were going on tour anyway

Christmas has spent the last ten-year making music with over thirteen releases in those ten years, playing a mammoth 500 gigs across countless countries and gone through a spinal tap amount of band members. Rock ‘n’ Roll is said to be on its last legs and hardcore punk is a dying genre, funnily enough, nobody sent Christmas the memo and if they did they’d use it to light the stick of dynamite they’re about to throw into your speakers.

This album is ignited when ‘Turn Me Lewd’ kicks off in your speakers with a really addictive brass line running alongside the vocals and those guitars are white-hot like a rabid ‘Nasty’. I might be mistaken here but this seems to have upped a gear or two from previous recordings from Christmas ‘Hey Mate’ is cheeky whilst the title track is an exercise in how to riff.

‘Waterloo’ has a brown noise rumbling low end on that bass guitar before sounding like its been fired out of a cannon. Great stuff – classic Christmas.  Hold the front page ‘Elvis Is Dead’ if only he had sounded like this or he sang a song like ‘Fuck It Up’. Brutal and uncompromising Christmas go full tilt on us on ‘Born To Booze’. As we raise a glass to yet another top record from Max and co and if you were in any doubt ‘Go Hard Or Go Home’ is a rocket ride of pure aggression and pounding hardcore that is done exceptionally well. Man, we’ve reached the end as there is only ‘Candy Me’ to play out. Max has got this down to a fine art now and he knows what it takes to pen a Christmas record and not a sleigh bell anywhere just hardcore punk rock done to perfection.  How long will it be before these guys are treated the same way as Bronx or Zugly for being as good as punk rock gets in the motherfuckin’ roaring ’20s.

Get on it people because they’re going to keep on regardless but Max needs to crowd surf and the more people who get into them the easier it will be to be carried around like royalty. It’ll be a ‘Hot Night’ anywhere if Christmas are playing any of these top tunes.

 

Buy ‘Hot Nights In Saint Vandal’ Here

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Cockroach Clan – Songs About Blunt Knives and Deep Love (Fysisk Format)

Cockroach Clan – Songs About Blunt Knives and Deep Love (Fysisk Format)

One of Norway’s most legendary bands, (that you might be forgiven for never having heard of them, Right? Right) anyway Norway has a good history of knocking out some fantastic bands and a lot of them have been mentioned here on RPM.  Backstreet Girls, Turbonegro, Gluecifer, Good Bad the Zugly, Razorbats, and of course Mayhem.

Well, these punk/hardcore veterans are fronted by Billy Cockroach, one of the first vocalists of Mayhem he performed on the 1987 album “Deathcrush” under the moniker of Messiah and they offer us well-aged vintage punk rock full of cheerful aggression and infectious tunes. throwing in Mayhem is a bit of a red herring because its nothing like Deathcrush this is polished positively glistening in the production stakes compared to that Black Metal demo.

‘Songs about Blunt Knives and Deep Love’, has only taken 22 bloody long years to reach our ears kinda puts Axel to shame with his Chinese Democracy. They’re being heralded as one of Norway’s most legendary bands, it basically consists of new recordings of old hits as well as a handful of new tracks and a cover of Mountain Goat’s “Going to Georgia”. It started out as an idea from producer Hugo Alvarstein (The Good the Bad and the Zugly, Raga Rockers, etc…) Who suggested the band go rehearse their best songs from the 1990s then call him up and he’d take em into his studio and get them recorded and give the songs the justice they deserve. To be fair he’s clearly a man of his word and has recorded one hell of an album..

The band started out as far back as 1994, building a loyal fan base and a reputation of being a riotous live band along the way. Compared to the bands two previous offerings this one is the dog’s bollocks and one that should rightly exalt them to the top table of punk rock.

Having honed the tunes by sharing the stage with acts like The Toy Dolls, Discharge, UK Subs, The Exploited, Cock Sparrer, Anti-Nowhere League, Vice Squad and GBH through the years, now it’s about time they put their hat in the ring with a bunch of songs that justified their boast of being up there with the best of them.

The album begins with a cover, ‘Going To Georgia’ and it drops its music bombs right square in the middle of the speakers with it’s spoken/sung verses holding up rather well over a musical backdrop that just crackles along with a joy and sound of a band just killing it doing something they love for the love. ‘You Have A Bun’ is a breath of fresh air as it has plenty of bounce and whilst the vocals are aggressive (often quite shouty) what did you think he was going to sound like? Ian Gillan? that’s the thing its aggressive as fuck but it sounds content and dare I say it – Happy at the same time, oh and the production is great and really lifts the songs.

‘Fantasyland’ has a little bit of Thin Lizzy in those dueling guitars on the intro.  I did a little momentary gasp on the intro of the piraty ‘Three Wishes’ as I thought we were getting some h ho ho shanty music but worry not me hearties it was only a false intro. Still, it’s quite piraty its the good end of piraty.

‘On An Island’ is just a banger with its head down its one foot in the Motorhead camp and the other, say, Argy Bargy – Imagine that? To be fair the middle part of the album isn’t fucking about and gets stuck in like The Adicts on a good day.  ‘Facts On The Wall’ is Ramones rapid with a dumb yet happy melody and ripping solo this is shaping up to be an excellent record.  ‘Necktie Party’ has a bit of a Crass vibe about it. These boys and these songs would go down a storm at somewhere like Rebellion Festival.

A lot of the pace and tempo of the songs remind me of a Norweigan Sham 69 and none more so that ‘Do It Again’ which is one of the highlights of the record on the breakdown it’s like vintage high jinx Damned who always threw in some cool off the wall melodies in fact there are plenty of influences I am feeling here more than ripping off a band they dance to their own tunes and just let their influences just bleed through..

With twelve songs on offer, I would highly recommend you at least give these cats the benefit of doubt and check em out and once you do that I’m sure you’ll be convinced.  Great album I’m glad has seen the light of day and hope it’s given the band the energy and drive to do it all again except to say next time don’t leave it so fucking long. – Buy it!

 

 

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Subhumans – Crisis Point (Pirates Press)

Subhumans – Crisis Point (Pirates Press)

The first new record from Lucas and his Subhumans in a while (Twelve Years?) and with the current global situation its not like Lucas has had writers block or lacking the inspiration.  Everywhere you look there’s a meltdown – climate change, government leaders lying, despots taking over, smiling, lying and cheating yet it seems OK to the public. Nobody loses their jobs its all fair game. Summed up nicely on ‘Fear & Confusion’. A more polished sounding record that their last outing ‘Internal Riot’ but it every bit as sharp and relevant.

To be fair Subhumans have always released intelligent records their Anarcho leanings have always been dressed really well in big riffs, tight time changes and some sharp as fuck punk rock. ‘Crisis Point’ seems apt as Lucas starts the war cry with the flurry of opening punches on ‘Terrorist In Waiting’ great lyrics (as usual) thunderous drumming and riffs raining down on the listener with an energy and excitement that sets the album up really well.

throughout the albums eleven tracks the ebb and flow is excellent.  I love the attitude on ‘Atom Screen War’ emanating from the riff as it pounds away but it’s nicely pinned by the bass thats rumbling away underneath.  To be fair the sound is reminiscent of the last few UK Subs albums. ‘Follow The Leader’ takes that edginess up a notch as the album has warmed up and is really taking flight. Strange land has the feel and sound the band had back in the ’80s with that flange riff and repetitive beat its a really good tune and one that shows how bloody good a band Subhumans are.

Its no good looking for a weakness because there isn’t one.  Its a really consistent album its focused and as you’d imagine thought provoking with excellent lyrics and a great production. ‘Crisis Point’ is ticking all the boxes whats not to like? If you want fast no nonsense heads down punk rock then Subhumans do that ‘Poison’ if you want intricate musicianship Subhumans can do that for you, if you want lyrics that are well constructed and thought provoking to prick your conscience subhumans can do that. They were a big part of that early ’80s punk explosion and are still going strong along with the Subs,  they always turned in better records than Crass and Conflict in my humble opinion and this record is proof that they are as relevant now as they always were. ‘Crisis Point’ can cover all your modern punk rock needs as well as you old school punks wondering if Dick has still got it.  Of course he has. My advice is get hold of ‘Crisis Point’ now and get on board its never too late. Buy it!

Pick up a Copy Here 

Author: Dom Daley