The Wanderers – ‘Only Lovers Left Alive’ (Gutterwail Records)

The Wanderers – ‘Only Lovers Left Alive’ (Gutterwail Records)

By 1980 the UK’s finest purveyors of ‘erbert rock Sham 69 were all but a spent force. Singer Jimmy Pursey having long since become disillusioned with Sham chose the start of a new decade and the release of the band’s fourth album (‘The Game’) as a platform from which to announce his intentions to pursue a solo career (by way of a previously failed attempt to team up with Steve Jones and Paul Cook as Sham Pistols in 1979). Thus, leaving the remaining Sham members Dave Parsons (guitar), Dave Tregunna (bass) and (drummer) Rick (Goldstein) Rock singer-less and wondering what the hell to do next.

Quickly hooking up with (ex-The Dead Boys) frontman Stiv Bators (I’ll not share the story here of how this came about as the excellent Dave Parsons penned sleeve notes included in this reissue pick up on the finer detail) The Wanderers were soon born and signing to (Sham’s old label) Polydor they were dispatched to write and record what would become their one and only album ‘Only Lovers Left Alive’.

Having long since been out of print on any format (copies of the original LP and the reissue CD are currently going for around £40 online) and as such deemed very much a “collector’s item” amongst fans ‘Only Lovers Left Alive’ is thankfully now being given a long overdue reissue on vinyl (pressed up on a variety of random colours) by US label Gutterwail Records. I myself finally picked up a CD copy (released via Captain Oi! here in the UK) over a decade ago at Rebellion Festival for the princely sum of £5 and it’s still very much one of those go to albums in my collection, when someone asks that well-worn conundrum of “what band do you think should have been huge but never actually made it?”

Expanded here to fourteen tracks and finally including the (rumoured to be) lost track ‘They Made Me A Criminal’ which bizarrely had its lyrics printed on the original Polydor LP sleeve but was never included in the final track listing, this reissue offers up the chance for a whole new generation of fans to experience perhaps the definitive version of this much overlooked “cult classic”.

Sounding not unlike a poppier version of the band Bators and Tregunna would go on to form just a few years later it’s the Mick Glossop production on ‘Only Lovers Left Alive’ that immediately has me wondering if had been building himself up for the bass and drums onslaught he would bestow on Waysted’s classic ‘Vices’ album just a few years later,  as here it’s the keyboards and trebly edge on cuts like ‘It’s All The Same’ and the parp-tastic ‘A Little Bit Frightening’ that tend to catch the ear.

In fairness (keyboards aside) the same production does give the album a kind of “timeless” charm and cuts like the Sham Boys crescendo of opener ‘No Dreams’, the glorious two minute pogo-pop overload of ‘Beyond The Law’ plus the superb proto Lords punks of ‘Ready To Snap’ all have me wondering what it would have been like to have seen The Wanderers live with the energy levels cranked to the max. Likewise the likes of ‘Sold Your Soul For Fame’, ‘It’s All The Same’ and  the aforementioned (faithfully restored from cassette) ‘They Made Me A Criminal’ add a depth and maturity to the songwriting that belies the band’s fledgling tenure.

I’m not entirely sure where the source of this reissue was taken from but my promo MP3s feature a couple of light pops and crackles – something that the Captain Oi! CD never had – and this makes me think it must have been taken from the original vinyl or perhaps the promo itself is a rip from a re-pressed LP? Either way, ‘Only Lovers Left Alive’ is an excellent album, and is most certainly one every self-respecting fan of Sham 69 and The Lords Of The New Church should have in their collection.

Buy the record: Here (USA)

Buy the record: Here (Europe)

Author: Johnny Hayward

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
https://www.youtube.com/watch?v=Ncz9b2dIHkU&feature=emb_logo

Naked Six – ‘Lost Art Of Conversation’ (Silver Lining Music)

Naked Six – ‘Lost Art Of Conversation’ (Silver Lining Music)

Seb Byford (guitar/vocals) and Tom Witts (drums) formed Naked Six while still at school to a backdrop of fog and mist on the North Yorkshire moors. The self-proclaimed grunge/schizoid blues band have been on our rock ‘n’ roll radar for a number of years following gigs with the likes of The Virginmarys and The Temperance Movement. Originally a York based band they recently relocated to Manchester, following the release of their debut EP ‘No Compromise’. They then roped in Tom’s cousin Callum to play bass, and now the three piece band are ready to take on the world with their debut album ‘Lost Art Of Conversation’.

They may be a long way from Seattle and a generation after the Grunge movement, but that same feeling of isolation, working class struggle and small town angst is omnipresent in their sound and high energy live performance.

 

Naked Six specialise in 2 chord/2 minute blasts of high energy angst, delivered with the passion of newbies who have something to prove and yet the confidence of seasoned pros. A top notch production job courtesy of Thomas Mitchener (Gallows/Frank Carter & The Rattlesnakes ) only helps to capture their live energy. Urgent beats, buzzsaw guitars and vocals are spat with the aggro nonchalance of young punks who have something to say. And yeah, Naked Six do have something to say, lyrically they touch on highly topical subjects; our reliance on social media and mental health for starters.

The likes of ‘Song Of The City’, ‘Split’ and ‘Sticky Gum’ are their bread and butter. Coming on like The Vines meets The Virginmarys, this is the sound of a Naked Six gig captured on wax for all to experience. Elsewhere, if you had told me ‘Poison Apple’ was a lost Nirvana outtake, I would’ve tipped my hat in agreement. From the erratic spiky guitars to the spooky Cobain/Grohl style vocal harmonies, its quality stuff.

They take things down for a more 90s art rock, tripped-out vibe with ‘The Change’. Offbeat drums and effect-ridden guitars bring to mind the sonic sound of Perry Farrell’s side project Porno For Pyros, as the band take the listener on a trip to another plane.

Bouncy, distorted bass and jagged guitars introduce first single ‘Gimme Something’, a song that confirms the Foo Fighters meets Royal Blood comparisons I have used in the past. A confident and cocksure sound, and one that’s tried and tested.

 

While Naked Six promote a grungy, garage rock sound, there are hints that this band has the potential to be so much more when they think outside the box (or garage in this case!). The album is bookended by a couple of surprise tracks that confirm this for me. Album opener ‘21st Century Brawl’ is an atmospheric art piece, coming on like Jane’s Addiction in their prime, as Seb reels off descriptive lyrics, almost spoken word, over an alt rock backdrop of groovy bass and guitar harmonics. In complete contrast the introspective album closer ‘Outside Looking In’ showcases what this band is truly capable of. As they have proven in the past with ‘Broken Fairytale’, Seb Byford has a knack for penning heartfelt balladry as much as he does angst driven rock. The sentiment is real, as he delivers his most fragile, yet strongest vocal of the album over understated piano chords and atmospheric saxophone breaks. A winning combination that only helps accentuate the overall emotion of the song.

 

With lyrics that deal in social commentary, questioning our attachment to our screens, our actions and motives, and music that harks back to a time when the alternative was mainstream, edgy and downright essential, Naked Six seem to be on to a winner. ‘Lost Art Of Conversation’ is a modern rock record that is exciting, authentic and comes at the perfect time.

Times they are a changing, and while this album was of course written pre-lockdown, I can’t help but think the lost art of conversation is something a great deal of us are re-learning right now due to isolation and social media being our only form of communication.

“This is the dawn of a new age…” announces the singer in the title track. I wonder, did Seb Byford know how true those words would ring just a few months later?

Buy ‘Lost Art Of Conversation’ Here

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Author: Ben Hughes

 

 

 

 

 

 

 

 

 

 

Berlins PABST share video for ‘Skyline’ ahead of new album

Berlins PABST share video for ‘Skyline’ ahead of new album

Berlin power-trio PABST share video for new single Skyline and announce new album ‘Deuce Ex Machina’

Berlin power-trio Pabst are today sharing the video for brand-new single Skyline, a track that was born from their frustrations with living in a city that is being rapidly gentrified. In what they describe as a “post-grunge hymn” on which their rage is manifested in a muddy, fuzzed-out wall of distortion, they bemoan being priced out of their own town, and condemn homelessness, greed and profit. Pabst, being three of a dying breed of non-riches in their city, are watching the development of theirs and other cities in disbelief, with Skyline erupting into its hook, “This city is no place for losers like us.” The band explains further.

“Although more than half of the world’s population lives in cities (and the trend is rising), they seem to be becoming more and more hostile places as they increasingly develop into “locations”. Especially in Berlin, where we come from, we have noticed vast changes in this direction in recent years. High fluctuation determines the cityscape and the housing market, with more and more furnished apartments being built. If you want to live somewhere, you often have to compete with hundreds. Houses classified as dilapidated will be demolished or fully renovated (’cause otherwise the price will not rise).

Nobody who owns the apartments really lives in them: students live there who stay in the city for a comparatively short time, tourists stay there for whom the apartments are converted into holiday homes, and above all; for people who can afford it. Everyone else has to move out of the city to where it’s boring and cheap. You know that, it’s nothing new. And, of course, this affects not only living space, but also the rest of the infrastructure. Many clubs and other cultural venues have to close because their rental contracts are passed on to the highest bidder, or because of a few residents who seemingly realized too late that the city apartment is not a country house by the lake.”

After releasing the critically acclaimed debut album ‘Chlorine’, playing too many gigs to count, supporting the likes of Bob Mould (Hüsker Dü) and Kadavar on tour – as well as making over 30 festival appearances in 2019 alone – Pabst return in 2020 with the announcement of their new album Deuce Ex Machina for release June 19. Lead single Ibuprofen was accompanied by visuals reminiscent of classic ’90s MTV music videos with pastel-grunge scenes, directed by Constantin Timm. Watch Ibuprofen HERE.

Pre-save / Pre-order the album HERE.

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!

Bandcamp

Author: Dom Daley

Dystophian Future  Movies-‘Inviolate’ (Lasairfhíona Records)

Dystophian Future  Movies-‘Inviolate’ (Lasairfhíona Records)

Just over two years ago, snowed in and listening to new sounds I had a link bounced over to me by Pity my Brain’s main man Jamie Richards, that stopped me in my tracks, the LP was called Time the band was called Dystopian Future Movies. Looking into the background after duly ordering said LP I found that the band’s mainstays were Bill Fisher & Caroline Cawley from the rather tasty Church of the Cosmic Skull (If you haven’t discovered them yet I suggest you get a shift on!!).

For this album Bill and Caroline are joined in the band, by Guitarist, Rafe Dunn and Bassist Oisin O’Doherty. The rather stunning artwork comes from an image of an abandoned Tuberculosis Sanitorium in Caroline’s native Ireland.

Dark indeed and that’s where I want to start this review, opener “Countenance”, eases it’s way out of the speakers, at times Intense, at times sparse, leading with a dark brooding sense of decay, Caroline’s vocals adding an almost otherworldly ethereal feels. Being honest if you try and pitch a particular style of genre, you’d be wrong! Taking a stab I’d say post-Industrial at times? Highlighting a time in the future, where dark paths have been taken. There’s an underlying dread, but maybe a sense of hope?

Moving on next up “wreckage” draws you in, the discordant acoustic lead demanding attention before the vocals lift it up a gear you start to get the feel of a story being played out musically, the counterpoint vocals giving it a depth before we’re drawn into an industrial-style framework, with Bills drumming starting to become incessant, demanding almost. Before we get lost in the wreckage we’re moved forward into “Rules” almost a taking stock of what’s happening, vocally this is a powerful performance, the voice setting the tone for the at times sparse orchestration that eventually pulls you upwards and into the story unfolding. “All the Light” is a coming to terms song what’s come before and a movement away from where we’ve been. Again the vocals lead over a discordant, sparse musical background drawing you indefinitely less is more giving this track both an intensity and fragility. This fragility comes to the fore within next track “Kathleen”, a real stand out.

Moving or easing forward into “Black cloaked” and we’re drawn back into a haunted past, unable to break free from what we’ve experienced, this is a seriously good track and really pins you back, probably the most intense on the album, distorted, discordant and driving in equal measures. Before we’ve come to terms with what we’ve heard we come to a conclusion with “Ten years” we’re now the observer overseeing the whole, removed no longer part of the story.

This is a seriously good LP, bursting with ideas, and me for one will look forward to seeing it translated into the live arena.

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Author: Nev Brooks

 

 

 

 

 

 

The Broken Toys – Sugar ‘N Spice (Still Unbeatable Records)

The Broken Toys – Sugar ‘N Spice (Still Unbeatable Records)

The complete debut tape in full length + one bonus track! First time ever available on extremely limited vinyl! Remastered from the original tapes! that came out in the late ’80s An instant rarity for vinyl lovers and punk rockers alike. If you like your punk rock raw and without frills then this is for you its old school alright coming on like classic voidoids from the song titles to the subject matter ‘Junkie For You’ sets the tone of teen love then follow it up with the undertones like ‘I Want You To Be My Boyfriend’ it has shades of early Misfits as well like it was recorded together live on the hoof to save time and money and because its punk rock god damn it!

‘Waves’ is a more gentle meander down the rock and roll highway with piano and acoustic strumming happening a real NYC Lower East Side feel for sure. ‘Back Of My Hand’ is more upbeat with clashing clanging guitars accompanying the snotty lyrics its vibrant and has stood the test off time. ‘Love Story’ isn’t at all soppy or slow in fact its the one most likely to be used in some B movie Warriors street fight scene.  A decent melody and what’s not to love about those Thunders string bending skills a song born to pull big shapes to in front of the bedroom mirror with the tennis racket and hairbrush.

Flip this bad boy over and ‘The Lottery’ is up first full of piss and vinegar and a chorus even the most challenged glue bag fantatic can sing along to. The ante is upped on side two as ‘Let’s Have A Riot’ lights the oily rag in this Molotov cocktail.

As we Rock and Roll our way through side two there’s a bunch of energy still in these recordings and its a real trip checking out these tunes they deserve to see the light of day and be heard. The Broken Toys had it going on for sure and still don’t need ‘Drugs’ but we do need the snotty riffs and curled lips. We all have a debt to pay to the guys like Johnny Thunders and Broken Toys are paying it back with ‘Sugar ‘N Spice’ check it out its well worth it.

Buy Here  / Bandcamp

Author: Dom Daley

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

 

The Fuzztones- ‘Raw Heat’ (Bang Records)

The Fuzztones- ‘Raw Heat’ (Bang Records)

Before I start this review I have a confession to make, I’m a bit of a fan of the Fuzztones, Lysergic Emanations has been played to death as have virtually every other LP in their back catalogue, and my excitement levels went through the roof when this baby landed in my inbox, especially with the accompanying record company Blurb.

 

“The Real Sound of “In Heat“: the disclaimer on the album states, “NOT produced by Shel Talmy” (The Who, Kinks). The original version of the album “In Heat” as it was intended to sound.”

 

For the uninitiated, THE FUZZTONES have been around for over 30 years, call them under-ground, call them psychedelic?  Call them the band that brought Garage Rock back into fashion.  Though originally from New York City, they were massively embraced by Europe, where the fuzzed out retro vibe really hits home. Now remember when In Heat first came out it was back in 1989 at the peak of the garage revival, when bands like the Chesterfield Kings, Lyres and Cynics were all the rage.

 

So here we go polished up, fuzzed out re-mastered and everything you could want from a modern day masterpiece, as this now sounds. What hits you straight away is how fresh it now sounds, and on first listen there are things that jump out for example “What you don’t know” comes from that classic Lords of the New Church Blueprint, before it takes off and moves into a huge guitar laden climax.

 

As I’m pulling thoughts together, smiling to myself, influences start to come to mind, Chocolate Watch Band, 13TH Floor Elevators, Strawberry Alarm clock from the psychedelic sixties, early 70’s, but blend them into a Stooges led Iggy, add in a definite punk rock and roll attitude “ala” the Cramps and you end up with the classic “In Heat”, worth buying the LP for this track alone!!! I mean any tracks with the opening lyric “I’m a big bad wolf, can’t you here me howl?’ how much more rock and roll could you be.

 

This LP deserves a place in every ones collection!! the swamp boogie, New Orleans sound of “Nine months later” with it’s nod to the bubblegum pop of the 60’s chorus is a real thing of beauty. While  “You must be a witch” is just garage rock perfection, the organ tempered down sitting properly within the song. I suppose this LP keeps drawing me into Cramps style comparisons, if you’re a fan of one then the other will definitely appeal. I could go on talking through the other tracks, but if you’ve read this far, this LP is definitely for you, what an LP, re-mastered, up to date, vibrant and in your face, now lets get them back into the UK preferably with the resurgent Hypnotics on the same bill, what a double header that would be, Happy days.

But ‘Raw Heat’ Here

Author: Nev Brooks