We head out to Scandinavia this morning for a great tune from Doojiman & The Explorers – ‘Milk’ from the album – ‘Doojiman & The Exploders II: Electric Boogaloo’. Buy the latest vinyl at these reputable music emporiums –Beluga records / Heavy Medication / Bandcamp / Facebook / instagram
Swedish punk band Acid Blood has a brand-new video out for the track ‘Harvest Day’, taken from their debut album ‘Acid Blood’ (JANML/MvL). The new video was directed by Nicklas Viberg and is the 6th video released from the album. Facebook / Instagram
Might as well stay in Scandinavia for a greased up rocket ride courtesy of those Scumbag Millionaires Hit them up at these social media hangouts – Facebook / Instagram / Bandcamp and pick up a copy of their brand new long player ‘Poor And Infamous’ that’s out in the next month on Suburban Records
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 !!!
Another week comes to a crashing end and another week of pretty impressive singles get dumped on the RPM Singles Club dancefloor. The finest in wax, digital and video are here to tickle your taste buds and hopefully inspire you into finding your new favourite band. From all corners and alleyways of the world we search
Jenny – ‘Same’ (Wanda Records) When we saw that this band was fronted by LA Drugz Justin Maurer we had to go and crack it open and crank up the volume and from the first clashing chords of the harmonious ‘Stupid Band’ we smiled knowing we were in the presence of a power pop genius. But with five tunes on this release, it could only get better as the dreamy ‘Rose City’ took us in an upwards trajectory as far as moods go towards that layered vocal chorus it was already a must-have new record. ‘Cockroach Tea’ is more power-pop goodies leaning more towards the pop and then the 60s infused acoustic Thunders melodic ‘Alright With Me’ it has a really early Who mod like quality if it’s possible to mash up some Thunders, meets The Who if it’s not possible then it has just been invented.
To round it off there’s the acoustic ‘Song For Sadie’ an old Suspect PArts track but redone here making this a more eclectic offering than Maurers LA Drugz or Suspect Parts but none the less desirable. Don’t dilly dally as they say in the olden days get it here or on one sided vinyl 12″ from Wanda Records Here
Stiff Richards – ‘Going Numb’ (Legless Records) With two albums in the bag Australias Stiff Richards are hot property. If you managed to get a hold of their debut album first time around then you’re good if you managed to pick up a repress then, well-done pat yourself on the back. Then came ‘Dig’ which was also pretty spectacular to be fair and seemingly unable to do any wrong they sneak out this digital single to let us all know they’re still alive and ready to go (hopefully) with album number three due in October it looks like a winter assault from Melbourne’s finest and we can’t get enough from the southern hemisphere who are leading the way with some awesome punk rock.
Death By Unga Bunga – ‘Trouble’ (Jansen Records) The second in a series of new singles set to be released in the coming months. These Norweigan Nutters have got a slice of summer sunshine in the shape of ‘Trouble’ With a great hook over that steady beat its catchier than a global pandemic. once this one lodges itself into your head it’s not coming out and you’ll be muttering the lyrics for days wondering just who the hell it is. That’s Death By Unga Bunga that is and with the news of more to come there is light at the end of this pandemic that’s for sure and it’s coming from Norway and not some lab in England it might be power pop it might be death metal but one thing for sure it’ll have the DBUB logo on it. Get it here
Killer Hearts – ‘Get Some’ (Spaghetty Town Records) Houston we have a problem. We’re not getting enough Rock and Fucking Roll and that’s a problem. What isn’t a problem is when Killer Hearts this is the first glimpse of what’s coming on their long player ‘Skintight Electric’. Lots of loose riffs and oohs and arghs and some of the best sleazy Rock and Roll since Flash Boys and The Adjusters were about. Go Get some high octane Rock and Roll if you know what’s good for you! Buy Here
Guerrilla Teens – ‘Tell Me What To Do’ (Self Release) Another day another Guerrilla Teens record gets released via Bandcamp. This week’s offering is a right thumper by the name of ‘Tell Me What To Do’ backed by ‘Hurry Up’. One is in your face and bouncing on its toes like a young hooligan the other is a more laid back confident slow burner but both ooze quality and will make for awesome tracks when these weekly offerings finally get pressed by some awesome record label onto a slab of plastic to nestle alongside Those Humpers, Lovesores records you’ve got. buy Here
14 Units – ‘Listen’ (Self Release) This is the lockdown-busting debut release from 14 Units who cram five tunes into this debut EP, Five songs about drinking, getting old, murder, regret, not drinking and Brexit (possibly). opening with a neat uptempo twelve-bar with melody and somewhere between Frank Turner vocally and a cowpunk Quo. They get their jig on from a sprightly ‘Can’t Unlike You’ its melodic and uptempo and carries a decent melody. They certainly like to boogie and then they turn down for a more mellow knocking on heavens door progression for ‘Looks Like Rain’ which heads off down a Buffalo Tom wormhole and its probably the best track on offer with the sparse verse with just percussion before the guitars rejoin for the build-up to the chorus which is a catchy sing-along. A decent EP and first offering from 14 Units. Buy Here
Grindhouse – ‘Ramma Damma’ (Tuff Cuff Records) Melbourne must have something in the water because over the last couple of years its turning up some smoking hot records and this summer has seen that continue with those purveyors of pounding Rock and Roll Grindhouse are back in the room with some sweaty flesh pressing high octane Rock and Roll. in the shape of ‘Ramma Damma’ and ‘City High’ with its bruising riff-a-rama and moon the loon like drumming this is the dogs bollocks. If there ever was a sleeve that best described what was going on in the grooves before you ever played it then it’s this bad boy. or should that be bad girl? Rock and Roll can get you high so fuckin high and Grindhouse has the goods baby!
Relentlessly good band and with a new album on the way these are good times for fans of high octane Rock and Fuckin’ Roll Grindhouse Style. Bring it on. Buy it here
Girls In Synthesis – ‘They’re Not Listening’ (Harbinger Sound) Taken from the debut album ‘Now Here’s An Echo From Your Future’ this video will guarantee you a head fuck from the Jesus and mary chain feedback and the repetitive pounding to the strobe on the video GIS are fucking with you and that’s always a good thing. turn it up and then some more and get lost in that caustic guitar riff before the bass rumble nails you to the floor. Extreme music for extreme times uncompromising and uncomfortable just like punk rock should be. Like crass for the 2020s the album is due the end of the month. Let’s hope this isn’t the soundtrack to the apocalypse like my neighbours think it is.
Cutters – ‘Cutters’ (Legless Records) Another day another slice of punk rock from Down under. This time labelmates of Stiff Richards Cutters are here with this tasty three-track EP. With howls of feedback and a frantic hoof around your ears, this is relentless. ‘Chewed Up Fortune’ is first up and lead throat Al insists he wants to fuck and sleep in that order I guess. Cutters aren’t fucking around either with their Lo-‘Fi take it to the edge of reason and give it a good fuckin’ thrashing. If you think they would be spent after that opener then you’d obviously be wrong. ‘Robo Debt Blues’ is like Motorhead in their late 70s heyday knocking out some ANL and uk82 anthems and dragging through the Melbourne back streets before dropping them off at the studio. Nice!
But then they get all proggy on the five-minute headfuck frenzy of Twister’. Only yanking your chain the intro is painless before they go fuckin’ ape-like Venom meets the Exploited. Its frantic, Nasty, out of control and fuckin’ champion – Buy it here
Zip Gun Bomber – ‘Paper Aeroplanes EP’ (Rum Bar Records) Outta Cambridge, Massachusetts Zip Gun Bombers have been a thing since 2011 and with this being a revisited yup, you guessed it its a new improved take on that EP. Sure its a Nostalgic trip for that early 90’s era Lookout! Records and all things Green Day. ZipGun Bomber’s ‘Paper Airplanes’ EP embraces and embodies all of that. From the opening of ‘Chase That Feeling’ to the acoustic closing of ‘Paper Airplanes’, its easy on the ear pop-punk where the lyrics are easy to embrace and before you know it you’ll be singing the songs like they’ve always been on your playlist. Well worth checking out if any of the previous words ever meant anything to you jump in and lose yourself in the tunes. Sure there is a familiarity here but it’s only pop-punk Rock and Roll and I like it! Oh and if you like you can download the EP for free or name your price. Pick it up Here
Science Man – ‘Match Game’ (Swimming Faith Records) Punk as fuck – a 7″ single with not 2 or 3 songs on it but nine slabs of uncompromising head mashing industrial hardcore. Science Man from Buffalo NY isn’t here to compromise he’s here to lay out his manifesto and from the opening repetitive thump of ‘Tiny Tower’ it’s game on through the frantic thirty-two seconds of ‘Steal The Street’. Don’t leave the fuckin room for gawds sake.
‘Surge’ sounds like the cassette on a Commadore 64 or finally, the aliens are coming. At times it sounds like out of control chaos but I suspect it’s far from that and the almost prog length of the final track ‘Cursed’ clocking in at almost two minutes is a challenge but industrial hardcore isn’t meant to be easy listening, I’m sure only the hearty punk amongst us will endure or even get this straight off. But its certainly interesting as well as a challenging listen.
S V & the Eruptions – ‘Tomorrows Promises’ (Avenue Recordz) An altogether more sombre and thoughtful SV & The Eruptions, It’s not all cheeky chappies and a bit of slap and tickle it can’t be. Here SV busts out a mid-paced thoughtful number with a big catchy chorus that drops back into the muted guitar work and into another tuneful verse. A most excellent twist and shows how versatile and downright bloody good these gents are. I have told him myself the tunes you aren’t expecting are some of his best work and this will grow and grow and in time will be one of those late in the set anthems you look forward to. Excellent song with great vocals.
Ryan Hamilton & Kay Hanley – ‘Oh No’ This dropped last minute so we thought we’d include it in the singles Club because we love some Ryan Hamilton.
The Fuzzstainz – ‘Sick! Sick! Sick!'(Beluga Records) How could we sign off this week’s singles Club without dropping in on Scandinavia Again. Always reliable, Always churning out quality Rock and Roll from all the corners of the world Beluga Records have released this banging 7″ platter with two tracks of sizzling Garage Punk courtesy of The Fuzzstainz. The lead track is sick – no it literally is sick! those guitars sound like razor blades trying to cut through some barbed wire. But it’s catchy and easy to sing along to but the best is yet to come in the shape of ‘Thinkin’ ‘Bout Me’ again the same standards are set but with added floor tom and is that a buzzsaw? Gawd knows but its got swagger and I love it. Pick it up here
We are four strong individuals who love coming together to play our songs. Every one of us has his own wheelhouse in terms of genre and at some point in our lives, we have all been part of different projects ranging from indie to stoner rock all the way to reggae and back. For me personally, soul is an important influence that breaks out of me in a James Brown kind of scream once in a while.
Where do you call home for the band?
Cologne, or as it is known in Germany, Köln, is our home. We are all born and raised here and apart from Pete we even sort of grew up together and went to the same school. Most notably, Cologne is known for the perfume 4711 (it stinks!) but is also full of history and culture. It is home to a couple of pretty good rock’n’roll bands and has/had some cool live music venues and festivals.
How did you come together?
I guess it all started in Dom’s parent’s basement. They are both musicians and were kind enough to put up with us butchering Turbonegro and Hellacopters songs. I always wanted to form a rock band with Dom but another friend beat me to the punch and formed an indie rock band with Dom on drums and Andi on lead guitar. I was always a little jealous but managed to poach them both for what later became Stacy Crowne. We went through a couple of line-up changes until, finally, we found the right drummer in Pete. That was around 2011, Stacy Crowne was founded a little later.
Previous recordings?
Our first release was an EP recorded at a local studio in 2014. We weren’t entirely sure what we wanted to sound like but the songs are still in our setlist today. At some stage Carey from Savage Magic Records got hold of one of the CDs and we’ve been working with him ever since. In 2016 we release a split 7″ with The Empire Strikes and last year we released our first LP, We Sound Electric. We also just made another split 7″ with hardcore punk band Christmas and have another release in the pipeline for later this year.
Post-pandemic – what are the plans?
Hit the ground running from where we left off, basically. A bunch of shows in Italy and Spain had to be cancelled due to the pandemic which we’d really like to make up for. Otherwise, we’ll just keep working on new material. Luckily we have a decent home studio where we can record and work on stuff in our own time. These ‘Corona Sessions’ have been very productive. So next year will see another few smaller releases and eventually our second LP.
Public Eye’s second album ‘Music For Leisure’. Written in the wake of the US presidential election in 2016, and surrounded by the sinister political voices that seemingly felt legitimised by Trump, it’s the sound of fury, Boredom, Alienation, exercised through repetitive solid basslines, raw guitar stabs that loop (‘Awful Questions’) and a production that sounds cold at times and angular, sharp and isolated. Arty punk if you like videos that would be black and white and feature urban landscapes apartment blocks and concrete you know the drill.
Formed in Portland, Oregon in 2016, Public Eye’s membership takes in three-quarters of notorious punks Autistic Youth, vocalist Nick Vicario delivers his words through a one-paced tone it remains melodic taking a leaf out of Joy Divisions Ian Curtis’ book (possibly) as he remains impassive throughout its tastefully melodic stuff. There is a certain amount of metallic industrial Buzzcocks going on as well like the borrowed licks on ‘New Years’ which is totally early Shelley and Diggle.
The vibe might be one of worry about how the world is turning to shit due to all the right-wing nonsense we’re currently experiencing in countries around the globe and not just America which helps resonate these songs. It’s not a warm fuzzy record but a jarring jolt and they encapsulate that on the excellent ‘Lost Dog’. I guess they’re preaching to the converted here because I can’t imagine a Make America Great again trucker hat-wearing no to immigrants or let’s help the less fortunate is going to gravitate towards a record of this nature anyway.
It does soften and the mood isn’t always one of despair honest! ‘Neat Machine / Red Flag’ is a great mid-paced song with great arrangement and I love the bv’s and gang vocals on the chorus. If you want to escape the madness tracks like the lo-fi riffs of ‘The Fiend’ is basic and simple but that doesn’t take anything away from the energy it creates. Certainly, the second half of this record gets warmer if you know what I mean and the penultimate slab of black and white ‘The Duet’ is excellent with its rolling bassline taking centre stage before the headfuck whig out of the saxophone comes crashing in. It only leaves the decidedly frosty but strongest track on the record ‘You’re Being Laughed At’ to wrap this up all the best bits of this record all poured into one three and a half minute song.
If all else fails and we’re indeed heading to Hell in a handcart thanks to governments who only serve themselves then we’ve got a pretty decent mixtape for the trip and this would make the cut.
A string of rarely seen online festival replays to be broadcast in full through the summer
Starting this week Placebo will premiere full festival performances from across their career. In the wake of a whole summer of festival appearances being unfortunately cancelled due to Coronavirus, the Placebo vaults have been opened to unveil a string of iconic festival sets, rarely seen since their first recording. Footage dates all the way back to their debut album era in 1996 and, running for the next 6 weeks, completes in 2015 as the band toured their most recent album Loud Like Love.
The first of the festival sets to premiere will be Phoenix Festival ’96, which took place in Stratford Upon Avon, UK. Placebo had just released their self-titled debut album and took to “The Phoenix Stage” itself, ahead of that day’s headliner – future friend and collaborator – David Bowie. The set premieres on the band’s YouTube channel this Friday August 14th – subscribe to the band’s channel HERE and make sure to set a reminder for each following premiere. Exclusive merch will also be available for fans HERE.
The full schedule for the festival sets is as follows Aug 14 – Phoenix UK, 1996
Aug 21 – Belfort France, 1997
Aug 28 – Paleo Switzerland, 2009
Sept 4 – Guadalajara Mexico, 2009
Sept 11 – Sziget Budapest, 2012
Sept 12 – Arenal Spain, 2014
Sept 18 – Viva Latino, Mexico 2014
Sept 19 – Positivus Latvia, 2015
The band offered the following comment about the upcoming online tour: We were very disappointed that we couldn’t play live for you this summer, but even so we wanted to go on tour. To replace us playing in person, we dug out some videos from the archives and are hosting our own ’summer tour.’ These are the ‘Lost Tapes’, a series of festival concerts spanning 24 years, some never seen before. Each will premiere on YouTube so subscribe, set reminders and whatever else you need to prepare. We’ll see you there!!
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.
24CD DISTORTION: 1989-2019 & 8LP DISTORTION: 1989-1995 BOXES RELEASED OCT 2nd 2020 ON DEMON
THREE FURTHER VINYL BOXES TO ARRIVE IN 2021
On October 2nd, 2020, Demon Music Group will release Distortion: 1989-2019, a chronicle of the solo career of Bob Mould and his band Sugar. This massive anthology compiles for the first time the entirety of Mould’s recorded work from 1989 onwards: 18 studio albums, plus four live albums and two albums of rarities and collaborations. Assembled with Bob Mould’s full involvement, and featuring new sleeve notes from legendary UK music critic Keith Cameron plus exclusive new artwork, this is the definitive portrayal of an American rock icon.
“It’s called Distortion because it describes the music and it fits the world we live in,” says Mould himself. “In this new age, everybody shares their life in real time. But I’m not done yet. If I didn’t have a constantly active career, this anthology might feel like the proverbial dirt landing on top of my coffin — though somehow I seem to be able to crawl my way out of the dirt every time!”
Today’s news comes accompanied by audio and video of Mould performing ‘Could You Be the One?’ – a latter Hüsker Dü classic, drawn from the trio’s 1987 swansong Warehouse: Songs and Stories – at Washington D.C.‘s 9:30 Club in October 2005, in the process bringing it back to dynamic, electric life. It features on the CD anthology’s Distortion Plus: 1989-2019 rarities and collaborations discs alongside other highlights from the show.
Speaking of the show, Mould offers: “For years, I didn’t play Hüsker Dü material with my subsequent touring bands.” He continues: “This was the first time my longtime friend and colleague Jason Narducy (bass) played in my touring band.Rich Morel (keys) was my work partner for 11 years in BLOWOFF, and the 9:30 Club was home for our monthly dance party.Brendan Canty (drums) nudged me out of my self-imposed ‘rock retirement’ after the 1998 Last Dog and Pony Show tour (which is also chronicled in the box set).Brendan’s company Trixie Productions filmed and edited the show.”
As Mould’s musical trajectory enters its fifth decade, now is the perfect moment to reflect on the journey so far. Distortion’s 24-CD box set edition features 295 tracks, mastered by Jeff Lipton and Maria Rice at Peerless Mastering in Boston, and includes every solo album from 1989’s Workbookto 2019’s Sunshine Rock, the entire Sugar catalogue, Mould’s long out-of-print electronica projects LoudBomb and Blowoff, and four live albums spanning the period 1989-2008. Also included is Distortion Plus: 1989-2019, a new and exclusive collection of rarities and collaborations, featuring such highlights as ‘Dear Rosemary’, Mould’s 2011 collaboration with Foo Fighters, his fabled Golden Palominos contribution ‘Dying From The Inside Out’, plus a previously unreleased demo version of ‘Dog On Fire’, his theme tune for Comedy Central’s The Daily Show.
Beautiful new artwork has been created by illustrator Simon Marchner, while the 72-page booklet features sleeve notes by Cameron, new interviews with Bob, a foreword by writer and actor Fred Armisen, testimonials by Richard Thompson, Shirley Manson and Best Coast’s Bethany Cosentino, plus lyrics and unseen memorabilia. A1,000-limited edition includes an exclusive print hand-signed by Bob himself.
[Distortion: 1989-1995 8LP boxset]
Truly then, this is the definitive guide through the career of one of the most storied, creative and consistent voices in the American underground. As Cameron offers:
“In 1989, Bob Mould was already a renowned figure, thanks to his trailblazing work with Hüsker Dü: the Minneapolis trio which refracted ’60s pop melody through the discord of hardcore punk, creating a new language that Pixies and Nirvana would subsequently teach the world to sing. With his debut solo album Workbook, however, Bob Mould amazed his audience with its pastoral beauty and contemplative tone.
“It would be the first in an ongoing series of artistic transformations, each profoundly shaped by Mould’s sensitivity to his environment. In 1992, he formed Sugar, a band whose debut album Copper Blue earned both critical plaudits and a long overdue popular dividend. Just three years later, with Sugar at its commercial peak, Mould ended the band and made a self-titled solo record mapping the most nakedly personal path down a road already hallmarked by unsparing self-expression. He shocked then confounded fans by announcing his retirement from rock music in 1998 and re-emerging in the new century as an experimental electronica artist and successful DJ, whose club night Blowoff became a phenomenon across the US. By the end of the ’00s, Mould had found a harmonious accommodation between his musical selves, and in 2012 released the catalytic Silver Age, made with his latest power trio configuration, and heralding a resurgent decade. A succession of albums up to 2019’s Sunshine Rock followed, each one a real time/real life distillation of fearless artistic vision and a master craftsman’s skill.”
Owner of a raspy voice and a battered acoustic guitar, a writer of words and a singer of songs, Matty James Cassidy started plying his trade at an early age in the bars and clubs of his native Northern Ireland. Years of banging the skins for Cadaver Club, and then more recently playing bass for Tyla’s Dogs D’amour have seen him gain a higher profile in the UK. Up until recently, you would most likely see him doing a set of his own material opening for his boss at many a gig in the bars and clubs of the UK.
Following the unexpected and well-received ‘The Isolation Tapes’ acoustic album, recorded and released during the lockdown, the man in black releases his new album proper ‘Old Souls’.
There’s a heart-warming familiarity to the laidback rock ‘n’ roll sound that Matty creates. He straddles outlaw country, folk and blues with confidence and ease. Simple structures and chord progressions are the name of the game, the emphasis on melody, feel and telling a story or two.
The recent singles are present and correct, showing a snapshot of the troubadour’s sound. The raucous, rogue rock of album opener ‘Said & Done’ sets the scene nicely. It’s always good to open with a fast one, innit? The brooding, folk-rock of ‘Rosary’ hits the spot, and the upbeat and balladic ‘Anodyne’ floats by on a summer breeze.
There is more than a passing nod to The Dogs D’amour, which is to be expected and is never a bad thing. But Matty adds his own inimitable style to the heartfelt tunes on offer. The mix of harmonica and stabs of piano give ‘Contradiction In Terms’ a barroom boogie feel, and he soothes the soul with the late-night smoky blues that is ‘The Art Of Falling Down’, a standout cut for sure.
Being a multi-instrumentalist, Matty handles all instruments, although his Dogs bandmate Gary Pennick adds some guitars, as does former Main Grains/Spangles guitar slinger Ben Marsden.
Upbeat rockers such as ‘Leave Your Heart At Home’ mix well with the sentimental ballads, but there are a couple of tracks that stand out from the crowd instantly for me. The title track comes on like The Specials meets Hanoi Rocks doing a Tarantino movie soundtrack. A killer, ska-styled groove skulks along at a deathly pace, as emotive sax wails away in the background behind Matty’s distinctive raspy tones. You gotta love it. You also have to love the album closer ‘Born Ancient’. A gloriously folk-tinged’, foot-stomper that will have you hitting the repeat button and swinging the bottle until the sun comes up!
For those that dig lullabies for tough guys or those that desire a little romance in their rock ‘n’ roll, Matty James Cassidy has a song or two for ya! Lyrics that are reflective and observational, set to tunes you will have heard before but can’t quite place, and it’s all drenched in sweet guitars, bluesy harmonica and soulful sax. Music that will appeal to fans of The Dogs D’Amour, lovers of rock ‘n’ roll or just the pirates, vampires and the outlaws of this crazy world we live in.
I was quite excited to go and see Buzzard Buzzard Buzzard live in my home town back in April but then the world decided to go tits up and the show never took place. There is however a bill poster at the venue that I plan to liberate when all these baddie germs finally fuck off.
Now, after being tipped off by friend and colleague Mr. H Bomb Hayward that there was a new band in town and they played Rock and Roll and weren’t afraid to wear double denim. Then hearing the first couple of tunes I and seeing them strut their stuff on TV I was rather looking forward to the live experience having already paid upfront for my album pre-sale and finally mid pandemic it duly arrived.
Now, first things first. When the packet was left on the doorstep by my friendly Royal Mail person he duly backed off. Now, was this a sign? was he just pandemic virus fearful and following guidelines? or who knows, maybe, he knew what was lurking inside the 12″ x 12″ cardboard mailbox. I have to say dai yawn diolch, Buzzard Buzzard Buzzard, for daring to run with such a confident album cover. I just hope it was done with a straight face and there was no giggling taking place. Boy, its a statement album cover if ever there was one I’ll give you that. Like Jaggers crotch with the zipper or Lords Of The New Church and their ‘Like A Virgin’ picture sleeve, this bad boy is right up there.
Anyway enough shenanigans what are the fucking tunes like? I mean, they could have gone with a Dwarves cover or a pose of Ian Botham proportions but if they didn’t have the chops to back it up they were going to look a little daft mun as they say around these parts.
Fear not my Rock and Roll comrades for as soon ‘Double Denim Hop’ is counted in the confidence of the sleeve is instantly matched with a ’70s Bolan Boogie-woogie, glam rock stomper, to rival any of the pretenders to the retro crown. For on this evidence alone, Buzzard Buzzard Buzzard (so good they named them thrice) have it sewn up as they stomp and Rock right out the door and back again. The dueling solos and the chorus is so spot on its one of those earworms you simply can’t shake out of your head for days. What an opener.
This ten-track behemoth has got it all. They are like a little band of magpies as they nick a riff from over there off that Kinks record and they were clearly paying attention to the Bolan Boogie. I’d wager they have more than a passing hankering for a small faces record or two. To be fair for the first few tracks they just Take Care Of Business and kick out the jams.
They even entertain with the slight interlude of audio widescreen panoramic views entitled ‘Theme From Early Morning’. Before chilling out with the acoustic ‘Long Day/Free Day’ with its simple arrangement and sparse vocal that grows and grows but never goes too far.
They head off into “we’ve joined a cult” tune with the breezy ‘John Lennon Is My Jesus Christ’ as they tip their hat to the people who clearly inspired them to pick up their instruments and play. Penultimately they head off into a sixty second Fleetwood Mac noodle but sound like they lost interest as well. This only leaves the ‘Sugarloaf Mountain Crucify Me’ when they set a foot into Neil Young territory, briefly, Which is cool even if it does take almost four minutes to raise its pulse.
In the main, this is a breath of fresh air, the sound of a band enjoying making music and playing with passion, heart and a cheeky grin. Just get a copy and turn it up mun – Right up!
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