Kevin K & The Bowery Kats – ‘Shadow Work 38’ (Vicious Kitten Records)

Kevin K & The Bowery Kats – ‘Shadow Work 38’ (Vicious Kitten Records)

Always a good day when the news drops that Kevin K has laid down some new tunes and today is that day. I’m sure Kevin wouldn’t mind me saying he’s a rock n roll survivor and has consistently churned out quality no fucks given zero bullshit rock n roll in the great time honoured fashion that the likes of Johnny Thunders and the Stones peddled. ‘Shadow Work 38’ does everything Kevin K has ever done with no fuss or experimental bullshit he’s just penned ten tracks of honest rock n roll with quality sing – a – long melodies and some sunshine guitar licks borrowed from the good and great.

The record kicks off with ‘Why She Cried’ with a bright melody it sounds familiar and like a comfortable slice of street punk n roll with a decent hook exactly what you want to hear. Turn up the speakers and dive in. ‘Hick From The Sticks’ shuffles along with something that reminds me of the loud bits when Neil Young gets in the groove. Kevin makes his guitar howl and sits right in the pocket with the shuffle on the drums. Nothing complicated just good tunes. ‘Crazy For You’ is a change of gears as the acoustic guitar is dusted off and strums big wide open chords accompanied by a few licks on the piano before the chorus where the rest of the band joins in. Top tune is this reflective wheeze.

‘Way Out West’ begins with a dirty Bass line before an equally dirty sleazy guitar lick gets involved again nothing to taxing just a good tune. It kinda sets the tone for ‘Shame’ one of the records strongest tunes. Kevin gets right in the groove in the middle of this record with some great licks. ‘Steel Rain’ and the tub thumping ‘Justify’ rip it up before ‘Melody’ raises the odds. ‘Out Of Touch’ sounds like an early Aerosmith lick borrowed and taken down a dirt track and given a good seeing to.

I do enjoy an acoustic guitar song from a rock n rolla especially when the band plays along ‘On Your Own’ is obviously going to get compared to the ‘Hurt Me’ era Thunders for its simplicity and style and it helps add variety and flavour to the record.

All in all another really good record from Kevin K and his last few have seen him raise his game on hitting a rich vein of form with his song writing and delivering another album that is some of his best work for decades he just seems to be getting better and better at this album writing thing, if you love some straight forward rock n roll then Kevin K is your man and ‘Shadow Work 38’ is an album I can highly recommend. buy It!

Buy Here

Author: Dom Daley

Sick Visor – ‘Chuck a Sickie’ (Self-Released)

Sick Visor – ‘Chuck a Sickie’ (Self-Released)

Hailing from Melbourne, Sick Visor are a duo who released their first EP a few years ago. They have released several singles since then with this EP collecting some of those singles and a couple of new songs as well. I think the first word that always pops into my head when I think of this band is fun. Their pop-punk infused songs (‘skate music for nerds’ to quote them) make me smile and make me singalong (thankfully just in my head so no one is harmed by my singing). I wish they were releasing a full-length album but hopefully that will be coming at some point in the future.

Kicking things off with a ‘Piece of Cake,’ Alex Moses gets the song started with just his voice and his guitar. Moses’ voice fits the poppiness of the songs perfectly as it has a kindness to it that feels at odds with some of the expletives he lets fly. The drumming and backing vocals by Katie Lovelock stand out across these songs too. When they combine their vocals together, the harmonies are exquisite, and it feels the universe is in-sync which is remarkable given the state of the world. The beat picks up a bit on ‘Boring as Batsomething’ which tells us that if we are bored, we might want to look at ourselves to create some excitement. Lovelock’s vocals here as a call and response to Moses’ lead vocals showcase how well she sings on her own too. I have never been able to listen to this song without my head bopping, my foot tapping, or my fist in the air.  The musical smiles continue with ‘Better’ where the music and vocals are simply infectious. I cannot help but singalong to the song every time it plays, and it is my second favorite song on here.

Starting off the second half of the EP is a short 44 second look at ‘Nuggets.’ I am not going to give away the extremely profound thought the band expresses here, but I can assure you that I agree with them. The song is catchy and fun. ‘I NEED TO GO OUTSIDE’ was the first song I heard by Sick Visor back at the end of 2024 and is my favorite song on the EP. The song should be a summer hit on the radio, but the expletive laced chorus means it will not achieve that goal. The chorus is huge and reminds us to get off our butts and experience the world when we have been knocked down by life. My favorite part of the song is near the end when Lovelock’s voice gets showcased by itself. That moment works perfectly. If you remember in the movie Almost Famous when they are discussing the one random ‘woo’ in the Marvin Gaye song. Like that moment, it is simply magical and carries so much more weight that it only happens once in the song. Closing out the EP is ‘I don’t wanna go to the party if you go to the party.’ The tempo surges a bit here with the song bringing Blink 182 to mind.

Sick Visor struck musical gold in the chemistry between Moses and Lovelock who coincidentally also have romantic chemistry as husband and wife. These six songs serve as a musical infusion of joy and enthusiasm through the crap that life throws at us. They are a reminder to keep fighting and pushing forward to get to the sweet spots where we want to be. Have a listen and then purchase some of this sunshine for your collection.

‘Chuck a Sickie’ is available now.

Buy Here

Facebook

Author: Gerald Stansbury

Wolfsbane – ‘Live Faster’ (Self Release)

Wolfsbane – ‘Live Faster’ (Self Release)

Somewhere back in the mists of time, Tamworth terrors Wolfsbane were one of the bright young hopes of a burgeoning UK rock scene. Along with the likes of The Dogs D’amour, The Quireboys and The Almighty, they graced the covers of the UK music magazines and were destined for big things. With a fierce live reputation and a dedicated fanbase affectionately known as ‘The Howling Mad Shitheads’, it seemed Blaze Bayley and the boys could not fail; then they signed to Def American Records, the label run by the legendary Rick Rubin, mastermind behind The Beastie Boys and others. A producer who had turned around the careers of Slayer, Red Hot Chilli Peppers and The Cult to name but a few. But somehow, he managed to zap all the live energy from Wolfsbane’s debut album ‘Live Fast, Die Fast’.

While they redeemed themselves on the following Brendan O’Brien produced mini album ‘All Hells Breaking Loose…’, sadly the stars never aligned for the band, Blaze jumped ship for Iron Maiden and the rest as they say, is history.

Now, some 40-odd years later, Wolfsbane plan to right the wrongs and have completely re-recorded that debut album in full.

I always thought of Wolfsbane as the British Van Halen. My first introduction was their Friday Rock Show session, Blaze sounded like Roth and Jase Edwards had the guitar histrionics to match Eddie Van Halen, the live feel of those songs matched the energy of the Californian legends. Maybe if Dave & Eddie had started their days on a council estate a few miles from Birmingham, they too would’ve sounded just like Wolfsbane. In 2025 this re-imagined ‘Live Fast, Die Fast’ sounds raw, tight and exciting. With the same running order and the song structures staying faithful to the original recording, what stands out most is the production.

With that familiar hammer-on intro, ‘Manhunt’ fills the speakers like an old, lost friend. Is it faster? It sounds fast! The main change here is the drum sound, while the original was snare-heavy and polished, the drums overpowering and in your face, here the instruments all gel as they should. Next up, ‘Shakin’ sounds great, real ‘live in the studio’ vibes here. It’s the song that remains the most Van Halen-like to me. A classic tune given the sound it so rightly deserves.

With face-melting guitars and a killer hook, ‘Killing Machine’ was a live favourite back in the day, and it still holds up. ‘Fell Out Of Heaven’, again, has Roth vibes in the vocal department and another killer chorus, yet in my mind I still prefer the Friday Rock Show version.

Elsewhere, the live energy is captured magnificently by Jase Edwards’ stellar production, even the big MTV single ‘I Like It Hot’, with its sheen removed, is still as commercially pop-tastic as I remember. My only gripe would be the token ballad ‘Tears Of A Fool’, which would have been all well and good if they were The Dogs D’amour, but it didn’t fit the feel of the album in 1989, and it still doesn’t in 2025. Maybe they shoulda banged on ‘Paint The Town Red, instead.

While this re-recorded version of ‘Live Fast, Die Fast’ is unfinished business for the band, and is steeped in nostalgia, the songs stand the test of time and remind those who were there what a great band Wolfsbane were back in the late 80’s.

‘Live Fast, Die Fast’ remains a testament to the fact that not all the most exciting bands came from the Sunset Strip back in the late 80’s, some came from the Midlands too. Do yourself a favour and get reacquainted with a lost gem.

Buy Here

website

Author: Ben Hughes

Fantazmaz – ‘Fantazmaz’ (Ghetto Bitch Records)

Fantazmaz – ‘Fantazmaz’ (Ghetto Bitch Records)

Don’t be fooled by the ambient intro ‘Are You Enjoying The Peaceful Skies’ because the roof is about to cave in. ‘Dead On The Way Home’ is a sonic kick to the jaw in just over half a minute. Christ, the song finished before I could type the title out. It’s swift, loud, to the point and bursting with energy. We’re off.

Brazil’s fiercest new punk rock export comes to the UK with their debut self-titled album, with the familiar machine pounding of Jamie Oliver on tub thumping and boy does he tub thump. Formed in 2019 by frontwoman Thami and guitarist Raf Oliver, Fantazmaz found their raw, unrelenting sound with the addition of bassist Chokito and former U.K. Subs drummer. They manage to mix blistering punk energy with a fearless presence; they sound like a band in a hurry, but to where Gawd only knows.

This record was recorded in two days, I’m reliably informed, and it sounds like it – not in a bad way, but the sound of a band who are raring to go and bursting to get out there and cause some trouble, where I think these songs will really come to life.

Rage and fury is one way to describe what follows over the ensuing ten songs, with one as ferocious as the last ‘You Owe Me A Fortune’ is rabid where ‘Distortion’ has a big Bass rumble and frantic fret flurries its as much about the energy they have created as it is about the songs because to be fair they aren’t over egged it is a lean mean war machine. They do reflect on global issues with lyrics such as those on the excellent ‘Does God Know Misery’; the melody is an earworm, and the guitar work is killing it.

This is proving to be a fresh lick of paint on a scene that is so overcrowded, but the music contained within is on fire and will grab your attention; rather, it will demand your attention.

‘Scars Of Downtown’ dissects the loneliness of metropolis and inner city London living, ‘Corporate Behave’ rages whilst looking at the nodding dogs with some post DKs guitar tricks thrown in for good measure. Hell, we’ve almost got to the finale, and it seems like it’s only just started. The thick production offers a real beefy sound that adds weight to the energy this record manages to own from the first to the last, with raging solos attempting to break out all over the place but being fought back by the solid rhythm section, none better than on the thrashing ‘Warheads’.

To close off, we have some weird trip hop beats melting on ‘Just Before Hell Comes Around’ just to fuck with your head before saying adios. A fine album, debut album to be exact, from Fantazmaz, a band I think we’ll be hearing about more and more in 2025.  

Buy HERE

Bandcamp

Jesus And Mary Chain – Tramshed, Cardiff 21.06.25

Jesus And Mary Chain – Tramshed, Cardiff 21.06.25

It’s been a while, best part of a decade, since I last clapped eyes on the brothers Reid in Cardiff across town in the second room of the Uni, and the time before that it was this very same venue but tonight was a one-off and not part of a tour, but something of a warm-up for the band’s appearance in Milton Keynes the following night at the Forever Now festival (at the time of writing I believe the stage at MK was beset with tech difficulties so its something of a relief to get this one in). The dry ice rolls across the stage like only a few other bands, such as the sisters of Mercy or the Bunnymen, engulfing the room to that of a post apocalyptic wasteland with just a dimly lit red mist as the band stride on stage to begin what was to amount to a pretty epic and mightily impressive set from Kilbride’s finest.

‘JAMCOD’ kicked off proceedings and Jim proceeded to remove his customary leather jacket due to it being one of the hottest days of the year and in a venue that seemed bereft of oxygen and even the gentlest of breezes but this didn’t stop the band smashing through songs like there was no tomorrow with merely silhoueted shadows on the stage with William swaying in front of his customary Orange wall of amplifiers as Jim holds onto his mic and stand like he’d fall over if it wasn’t there. The sound is clear and throbbing to the huge chords in the break before the second verse. Superb start as we were all hoping to OD on JAMC.

Like a fine wine, The Brothers Reid have matured and aged well sure they’re not the same band who kicked off all those years ago with a fire in their bellies and without a care in the world just a love of Garage rock n roll, art and creating some dark, bleak yet light and warm music that has most defiantly stood the test of time ably assisted currently by Mark, Scott and Justin. If anything, songs off the first album and EP (‘Psycho Candy’) have aged superbly well, but that’s for later in the set. The band’s most recent offering, ‘Glasgow Eyes’, is well represented, as is my personal favourite album, ‘Darklands’. To be fair, the set list is well designed and delivered impeccably, building to a glorious crescendo on the encore.

I’m presuming Jim is enjoying himself because he’s loosened up by removing the jacket, and the rest of the band sound amazing and right on it. ‘Head On’ was like a rabid barking dog, and from the awesome ‘Sidewalking’, it was glorious and possibly the best I’ve ever heard them. Connie from the support band Borrowed Atlas joined the band on stage for ‘Sometimes Always’ and a majestic ‘Just Like Honey’.

For the encore, it was a hat-trick of the impeccable guitar pop of ‘Darklands’, followed by ‘Taste Of Cindy’, and to bring a halt to proceedings and leave nobody in any doubt that they are still the masters of their craft and nobody has done the shoegazing pop noise better. Even when they left the field for hiatuses, their shoes couldn’t be filled and ‘Reverence’ was the perfect full stop to a pretty spectacular warm-up. It seems mad to think on this evidence, they even need to warm up. This was a blazing show of noisy guitar pop perfection. They can be as arrogant as they like, they always maintained how damn good they are and on this evidence it seems time has proven them right. Stunning performance. So until next time gents, nos da.

Turbulent Hearts – ‘All Out’ (Pirates Press Records)

Turbulent Hearts – ‘All Out’ (Pirates Press Records)

Suzi Moon seems to have been around for ages and has achieved some mightily impressive releases thus far. From Civet through Turbulent Hearts and into her solo career, Suzi has achieved a lot for a fiercely independent artist. From those aforementioned bands to the split with Billy from Black Halos, it was about time that her spell with Turbulent Hearts got the treatment it thoroughly deserved. ‘All Out’ sets out to achieve just that and maybe balance the scales by putting together a pretty comprehensive collection spread over two lovely slabs of vinyl.

the journey shes been on has been followed by RPM having reviewed Civet and Turbulent Hearts live and on CD as well as her recent escapadeses as a solo artist shes matured into a very impressive songwriter and awesome performer leaving nothing on the stage her performances were always captivating but the music was also the thing that drives her. Turbulent Hearts deserves this double LPand it’s an essential chapter in the journey to where we are now.

After starting off as a young teenager, Suzi spent years touring in the Long Beach punk band Civet (alongside her older sister Liza Graves) before stepping up to the center stage mic with Turbulent Hearts in 2014. She’d been writing her own songs since the age of 13, and she was ready.

The band made their mark in the mid- to late-2010s, and after they parted ways, Suzi moved on to the garage psych combo LA Machina and ultimately, recording under her own name. Across the four sides of  All Out, the band’s entire recorded output – 4 EPs and change over the course of 7 years – is collected in one place for the first time for fans old and new to enjoy.

Aided by the rhythm section of bassist Mark Johnson and drummer Jay Skowronek, Turbulent Hearts had the chops in the studio and on stage, letting Suzi take centre stage was right, and she shone brightest there, delivering the songs.  Suzi admits it was a prolific period, and the quality of the output will stand the test of time, no question about it. Something of a rite of passage, if you like, to get to where she is now.

From the rampant gallop of ‘Panic’ through the measured groove of ‘Never Getting Over You’, Suzi can rage with the best of em but also has an eye on crafting pop melodies that have mass appeal. Choruses and hooks a plenty take ‘Cryin’ or ‘Redwood Nights’ for contrast, but a songwriter who knows what it takes.

Hell, punks can cut loose on ‘On My Own’ and ‘Hangin Around’ but it’s not all crash, bang wallop of course. ‘Notice Me’ coulda, shoulda and all that. To be fair, the spread of material is excellent and an album I highly recommend, not just for completists but for people who love Rock n roll with sweat, snot and a heap of cool. Get yourself the complete Turbulent Hearts in one fell swoop; you won’t regret it. Buy It!

Buy Here

Author: Dom Daley



Venom – ‘Blackened Priests’ (DISSONANCE)

Venom – ‘Blackened Priests’ (DISSONANCE)

After the departure of Cronos I sort of lost interest in one of my favourite punk metal band the mighty Venom. See I loved the trashy reckless noise the original trio made they always made me laugh with their interviews and their ott videos and the fact they were from the North East of England was the icing on the cake because obviously that was the entrance to the firey depths of Hell and to this day I stand by at war with satan as a masterclass in pure filthy metal punk noise. When they fell out and Cronos rode off into the depths of bealzibubs fold on his black station I turned my back on Mantas and what he was trying to do with the name and couldn’t bring myself to tune in and give them a chance but here we are many years later and a lot of water under the bridge and I ready myself for a deep dive into the depths of hades to experience and play catch up with this very nice Tony ‘The Demolition Man’ Dolan box set.

CD 1 features their 1989 full length recording ‘Prime Evil’, (including bonus tracks in the form of the ‘Tear Your Soul Apart’ EP) originally hailed as a triumphant return to form, while CD 2 features the follow up ‘Temples Of Ice’, originally released in 1991, whichincluded a Deep Purple cover. I know I balked at that one as well fellow metalhead and The final disc, CD 3, features the band’s 1992 full-length ‘The Waste Lands’.

True legends and trail blazers Venom were unique at a time when music was crying out fo ra twist on NWOBHM and Venom were it The media laughed at them and mocked whilst their core true believers loved the new Speed metal mixed with the harsher edges of punk that was venom.

‘Welcome To Hell’ (1981), ‘Black Metal’(1982) and ‘At War With Satan’ (1984). was a formidable trio before they began to run out of steam before the inevitable split in 1986.

Enter Atomkrafts Tony Dolan alongside drummer Abaddon and the mighty Mantas and new second guitarist Al Barnes. The four-piece signed with Music for Nations imprint Under One Flag and unleashed the ‘ Prime Evil’ record, which included a Black Sabbath cover. That album is bolstered here with the addition of six tracks from 1990s ‘Tear Your Soul Apart’ EP, including a Judas Priest cover .This release is complemented with the addition of liner notes from writer Darren Sadler, who conducted brand new interviews with Tony Dolan and Al Barnes. Barnes also contributed photos from his personal archive. Dolan, Abaddon and Mantas formed Venom Inc. in 2015 and have released two albums to date. The band continues to tour globally, although Mantas recently left the lineup. Cronos, meanwhile, tours under the Venom name with an alternative lineup (Confused? you will be), the two acts co-existing uneasily, but both keeping the Venom name alive and active and this catch all snapshot of the bands four piece line up is a fitting legacy of what they did next and to be fair I wish I’d given these records a go back in the day because to be fair they’re pretty decent even with all these years passing Dolan did a decent job to be fair whilst of course he was no Cronos replacement nobody could fill those Cherry red 96 hole doc martins but The Demolition Man was his own man and songs like ‘Parasite’ and ‘Skelital Dance’ are more than decent. He even holds his own on the bonus cuts of ‘Burstin Out’ and ‘Angel Dust’. Hell, ‘Temples Of Ice’ is decent enough as well, sure I can without all the keys n ambience, but when they get down to it, Venom 2.0 four-piece are a phat combo of rage, even on the final offering of ‘The Waste Lands’ they kicked up a stink, sure its not version Venom original nor is it as good as the disc one but they had fire in their bellies and if like me you never delved into these depths of Hell now is your chance and horns up, long live Venom whoever sails the good ship its been a hell of a ride and now my collection is complete, Hail santas, sorry typo, Satan!

Buy Here

Author: Dom Daley

BRAZILIAN PUNKS FANTAZMAZ ANNOUNCE DEBUT SELF-TITLED ALBUM

BRAZILIAN PUNKS FANTAZMAZ ANNOUNCE DEBUT SELF-TITLED ALBUM

BRAZILIAN PUNKS FANTAZMAZ ANNOUNCE DEBUT SELF-TITLED ALBUM DUE FOR RELEASE JULY 4TH VIA GHETTO BITCH RECORDS

PRE-ORDER THE ALBUM HERE:

BLAST OUT THE 30 SECOND NEW SINGLE ‘DEAD ON THE WAY HOME’ HERE:

With an incendiary live show that’s chaotic, loud and in-your-face, FANTAZMAZ—Brazil’s fiercest new punk rock export—are about to drop a nuclear bomb. On July 4th comes their debut self-titled album, marking the beginning of what’s set to be a killer year for the band.

Formed in 2019 by frontwoman Thami and guitarist Raf Oliver, Fantazmaz found their raw, unrelenting sound with the addition of bassist Chokito and former U.K. Subs drummer Jamie Oliver. Blending blistering punk energy with a fearless stage presence, they’ve quickly built a reputation for their no-holds-barred performances.

Now based in the U.K., Fantazmaz are gearing up for a wild summer, hitting Rebellion Festival and a string of European shows before heading back to their homeland of Brazil for a run of explosive gigs. With their debut album on the horizon and a relentless tour schedule ahead, Fantazmaz are poised to make their mark in a very big way.

“The album is angry and frustrated, pretty much because we don’t see a future,” explains Thami. “Chances are slim that we’re getting out of this global mess, and honestly, we don’t care much about explaining why. It’s right there for everyone to see. That’s the sentiment — listen to the album.

“We recorded the whole thing in two days at Monolith Studio. It was straightforward and honest — first day for drums, second day for guitars, bass, and vocals. The songs had been written for a while, and we just thought, why the hell not drop a full album? So, we went in and laid it down, raw and real. This is our first full album, and we’re bloody excited for it to finally come out.”

Fantazmaz launched the album with the track ‘Dead On The Way Home’. At only thirty seconds long, it’s the perfect introduction to the album’s unbridled rage and fury. The song was inspired by a news report from Brazil about a group of young people mistakenly shot dead on their way back from a night out, which is sadly not an isolated case. The anger and frustration led to the idea of a 30-second track repeating: “Got shot dead on their way home.”

Watch the video for ‘Dead On The Way Home’ HERE:

A short, sharp shock to the system, the album is crammed full of anger and energy, ranging from the 80s hardcore attack of ‘Scars Of Downtown’ (“about the loneliness of living in a metropolis like London, seen from a darker perspective,”) to the Dead Kennedys/Jello Biafra inspired ‘Corporate Behave’ (“dedicated to everyone sticking it to the capitalist rulebook,”). But Fantazmaz are no one-trick punk rock pony, the album is brimming with unique and fresh ideas. Album closer ‘Just Before Hell Comes Around’ bristles with dark hip hop beats, whilst ‘Are You Enjoying The Peaceful Skies?’ is fuelled by a decadent/bastard bossa nova, inspired by Chico Buarque’s epic song ‘Construção’. 

And best of all, this is just the beginning. 2025 is going to be a very busy year for Fantazmaz. Hold on tight.  

Midnight – ‘Steel Rust And Disgust’ (Metal Blade Records)

Midnight – ‘Steel Rust And Disgust’ (Metal Blade Records)

Anyone who knows the modern metal scene probably already recognises that Cleveland’s Midnight are the closest thing we have today to the classic punk metal blitzkrieg of Motorhead, Venom, Tank and Warfare. That main man Athenar should follow up the band’s incendiary 2024 ‘Hellish Expectations’ album with an album chock full of covers, and it does not feature a single track by any of those bands, though, had all of us at RPM towers scratching our heads. I mean, maybe we’d got Midnight’s influences all wrong after all. Then, I got to do some (grave) digging….

Originally conceived as ‘Throw Ups’, in homage to David Bowie’s very own album of covers ‘Pin Ups’, before then being retitled as ‘Steel Rust And Disgust’ to fit in with the band’s previously named six syllable back catalogue. This is a twelve-track album that brings together ten covers of songs written by bands who shared the same sights, sounds, and sewage as Athenar’s region of birth so hence why there are no British bands, adding in a couple of new Midnight cuts.

The first of these newbies is ‘Cleveland Metal’ a track that hammers home not only the record’s purpose but also proves why no one betters Midnight when it comes to writing three-minute blasts of pure punk metal…no one, and that’s a fucking fact.

The other new cut on offer is the album’s title track, ‘Steel Rust And Disgust’ and this beast is more of a pounding red hot slab of molten black rock ‘n’ roll. It’s classic Midnight, and I wouldn’t want it any other way.

It’s when we get to the cover versions that things get really interesting though as whilst (like me) you may be aware of the likes of ‘Final Solution’ (originally by Rocket From The Tombs), ‘3rd Generation Nation’ (originally by The Dead Boys) and  ‘Frenzy’ (originally by Screamin’ Jay Hawkins) what you have yet to hear is the total pummelling these tunes get in the hands of Athenar, the later in particular being delivered with the type of frenzied reverence that Lemmy used to have for the old classics.

Of the less familiar tunes on offer, take your pick from ‘Child Eaters’ (originally by Rubber City Rebels), ‘Iron Beast’ (originally by Kratos) or ‘Rock N Roll Fever’ (originally by David Allan Coe) with which to start your journey into a whole new world of great rock music. Of course, they are all given the compulsory Midnight mauling, but nonetheless, they are all made to sound like songs Athenar himself could have written, and that for me is the art of doing a great cover version, making it your own. 

Which just leaves me with ‘I’m Insane’ (originally by Synastryche) where I must admit I really was hoping for a cover of the Ratt classic of the same name (if only they were from Cleveland), the VoiVod-esque ‘Carrions Keep’ (originally by False Hope) plus the short sharp shocks of ‘Black Leather Rock’ and ‘Agitated’ (originally by Electric Eels) to round things off in truly chaotic fashion.

At times, cover albums can be something of a hit or miss affair (I mean, just look at ‘Pin Ups’), but ‘Steel Rust And Disgust’ is 100% underground hit after muthafuckin’ hit. BUY IT!!!!!

Buy Here

Author: Johnny Hayward

https://www.facebook.com/midnightviolators

https://www.instagram.com/midnightviolators

Aerial Salad – Roi de L’herbe ep

Aerial Salad – Roi de L’herbe ep

Aerial Salad release new track ‘Wires’ ahead of their ‘Roi de l’herbe’ 5-track EP to be released June 27th via Venn Records on 12” vinyl and digital

Pre-order the vinyl HERE

UK tour confirmed for June!

Following on from last year’s acclaimed ‘R.O.I.’ album, Manchester’s favourite sons Aerial Salad are set to return to the fray with a brand new 5-track EP titled ‘Roi de l’herbe’, to be released June 27th on 12” vinyl and digital via Venn Records.

No longer in the same line of spirit destroying day job work, with some seriously exciting gigs on the horizon, Aerial Salad wanted to kick off the next era of the band with a short, fast and hard EP and have served up five absolute bangers that sit somewhere between 2020’s ‘Dirt Mall’ album and ‘R.O.I.’

Today, the band have previewed another cut from the forthcoming EP with new single ‘Wires’, which is, as singer and guitarist Jamie Munro explains, “an aggressive dismantling of modern work/life culture. As we head ever deeper into the digital abyss. I’d rather be on fire than have to spend my life looking at spreadsheets.

“’Wires’ is an outcry to anyone following something in life, he continues. “The most ‘punk’ movement of my youth was the grime movement. It was ALL DIY, and it absolutely dominated British culture – there’s a lot of similarities between grime / punk/ hardcore. From the fashion to the beats. So, we thought we’d do a 50-pound music video ‘on a nostalgic backdrop’. ‘Wires’ picks up from where ‘Telekon 5’ left – you can’t keep drifting from what you believe in, and you can’t be tied by matters beyond what’s really important in life.”

“The EP is like the teaser for what’s next,” summarises Jamie. “The overall hook for this EP is one of hope, that by sticking to what you believe in you can do anything.”

Catch Aerial Salad live at the following dates in 2025: 

16/05/25 PERIGUEUX – LE MOULIN DE ROUSSEAU
17/05/25 MONTAIGU – FURY DANCE
18/05/25 RENNES – TY ANNA

UK TOUR
21/06/25 NEWCASTLE – ZEROX
22/06/25 GLASGOW – THE GARAGE (ATTIC)
24/06/25 BIRMINGHAM – SUNFLOWER LOUNGE
25/06/25 LONDON – THE SOCIAL
27/06/25 MANCHESTER – SOUP
28/06/25 SHEFFIELD – CORPORATION

FESTIVALS

6/08/25-10/08/25 BOOMTOWN FESTIVAL

31/07/20-03/08/24 Y-NOT FESTIVAL

Aerial Salad are:

Jamie Munro – vocals/guitar

Mike ‘Wimbo’ Wimbleton – vocals/bass

Jake Marshall – drums

Find Aerial Salad online at:

Instagram: 

Facebook: 

Twitter: 

Website: