Märvel are back with some Rock n Roll

Märvel are back with some Rock n Roll

The masked kings of Swedish rock ’n’ roll are back. After 23 years, nine acclaimed albums, and countless high-energy shows across Europe, Märvel return fired-up and ready to unleash their tenth studio album – a new chapter of thunderous riffs, massive hooks, and unapologetic rock glory.

Formed in 2002 when three Swedish exchange students – The King, The Vicar and Speedo – swapped classrooms for garages, beer, and rock ’n’ roll in Colorado, Märvel’s debut EP Marvellous lit up US college radio and set the stage for a career of high-octane riffs, larger-than-life personas, and unrelenting energy.

Over nine acclaimed studio albums, Märvel has built a loyal European fanbase through relentless touring and collaborations with rock icons like Dregen, Strings, and Michael Monroe. With evolving line-ups featuring The Burgher, The Aviator, and Marshall Lawman, Märvel has grown into a masked rock powerhouse, celebrated for both their infectious hooks and striking visual presence.

From the glam-charged Thunderblood Heart and bombastic Warhawks of War to the guilty-pleasure gems of Guilty Pleasures and their latest praised release Graces Came With Malice (2022), Märvel continues to deliver big riffs, massive choruses, and an irresistible groove.

In 2022, Märvel marked 20 years with the double album Double Decade and their own festival, MÄRVELFEST, uniting past and present members on stage and cementing their status as one of Sweden’s most distinctive rock bands.

Now, The King, The Vicar, and The Burgher are gearing up for the next chapter – their tenth album.

First up is the track “Look! It’s Rock’n’Roll”. Märvel describes the song:

On the surface, this track tips its hat to Ace Frehley’s iconic 1980 quote — “Look! It’s Rock ’n’ Roll!” But dig a little deeper and it’s a tongue-in-cheek jab at those who overanalyze music and take themselves way too seriously. At its core, this is a reminder: hey, relax — it’s just rock ’n’ roll!

The song was one of the first ones written for the new upcoming Märvel album, and it lit the fuse. It jump-started the entire creative process and set the tone for what was to come.

Look! It’s Rock’n’Roll is released through the band’s newly established own label- Leather Lake, and is available on most streaming platforms. Here

Senser break the silence with new single and tour

Senser break the silence with new single and tour

Senser tour dates in full

Sept 12th Exchange,  Bristol 

Sept 13th The Hope & Ruin, Brighton

Sept 20th Pop Recs Ltd, Sunderland 

Sept 21st Equinox Festoval, Grimsby 

Sept 27th Pelter Skelter, Pelu Belgium 

Oct 17th Intergalactic Circus, 1865, Southampton 

Oct 23rd Hanger 18, Swansea

Oct 24th The Castle & Falcon, Birmingham

Oct 25th The Garage, London 
Nov 14th Shine On Festival, Minehead

To purchase tickets go to: https://linktr.ee/senserband

Senser make a powerful return with ‘Ryot Pump’, their first new single in over a decade, released via Imprint Music. This is Senser at their rawest and most direct: no middlemen, no compromise—just 100% unfiltered Senser.

The in your face ‘Ryot Pump’ is the first taste of the band’s forthcoming studio album, ‘Sonic Dissidence’ released on 17th October—a project that’s self-funded, self-produced, and fiercely uncompromised.

“Ryot pump is the most direct and unambiguous call to action we’ve ever written. It’s an extremely lean song with the kinetic bounce of a pump action being loaded. It starts from the point of view of riot police, excited and amped up. Often bussed in from provinces and ready use state sponsored violence to protect corporate interests. It shifts perspective denounces fascism in all its current insidious forms. It finally breaks the fourth wall demanding the listener’s response.” – Senser 

To celebrate the release of ‘Ryot Pump’ and their upcoming album, Senser will hit the road this autumn, kicking off with a show at The Exchange, Bristol on September 12th and wrapping up at The Garage, London on October 25th.

“Senser has been in a period of intense focus creating the new album and the energy of the band is at full pressure. The gigs will be an explosion, delivering anthems like ‘Eject ‘and ‘Age of Panic’ alongside a whole new wave of songs that hit hard—challenging fear-based control systems, illuminating the dissonance of modern life – delivered with a seismic intensity that shakes you to your core.”

Senser emerged from the UK’s underground scene with an explosion that still echoes to this day. Fusing hip-hop, metal, electronica, and sharp-edged protest, the band quickly gained notoriety for their high-voltage shows and a sound that refused to be contained. Their 1994 debut album Stacked Up smashed into the UK charts at number 4, sparking a global wave of press, radio, TV and tours,—building a dedicated cult following along the way.

With a string of powerful album releases—including Asylum (1997), SCHEMAtic (2003), How To Do Battle (2009), and To The Capsules (2013)—Senser have continually evolved while keeping their revolutionary spirit alive. Collaborations with producers like Arthur Baker (Afrika Bambaataa), Neil McLellan (The Prodigy), and Scott Harding (New Kingdom, Wu-Tang Clan) have only sharpened their edge.

After the pandemic’s global pause, Senser roared back into action in 2023, selling out London’s iconic 100 Club. The gig marked a triumphant return, giving fans a first taste of new material destined for their upcoming album. The response was overwhelming—proof that Senser’s relevance and power remain as fierce as ever.

With a new album locked in for later this year, fans are fired up and counting down the days. Live shows are selling out fast as Senser fans rally behind a band that has always stood for something louder than just their sound. 

To pre-order the Sonic Dissidence album on CD and vinyl go to; https://linktr.ee/senserband

The countdown has begun.

Jim Bob – ‘Automatic’ / ‘Stick’ (Cherry Red)

Jim Bob – ‘Automatic’ / ‘Stick’ (Cherry Red)

Wow, can 2025 actually get any better – Well a new album from the great Jim Bob of Carter Unstoppable Sex Machine fame – is always something to cherish but up comes not only one new album but TWO brand new long players from undoubtedly the UK’s most underrated singer songwriter. With the release of Automatic and Stick, we are in indebted to Jim and his wonderful record company Cherry Red.

As always Jim Bob has been on somewhat of a golden era and the release of these two albums, his 13th + 14th respectively, show that if anything Mr Bob is riding the wave of a creative peak that shows no sign of slowing down anytime soon. First up is the bold yet mellow Automatic, which is followed up by the rockier Stick but no doubt about it – this isn’t a double album but two great albums both with 11 songs that deserve their time in the spotlight!

Either way ‘Automatic’ gets straight to the point with the opener and first single ‘Victoria Knits The Wars’ and doesn’t let up for a moment. All the ways to the last notes of ‘Our Forever Home’. Jim Bob takes us on a roller coaster ride of what it is to be living in 2025. 

One thing that I have always admired about James Robert Morrison (AKA Jim Bob) is his ability to turn even the most mundane story about the banality of living in the UK into a glorious pop/rock song that speaks to everyone and gives the listener a musical way into someone else’s life, yet most people will know someone like this, especially no more so in ‘Frank’s Bought A Drone’.

This happens again on the track ‘Baby On Board’ which regales us about an everyday tale about a day which features a commute and a fight and even Google Maps along with so much more, that you can not believe it hadn’t been sung about before.

However, with the Stick album, Jim Bob has given us a short sharp shock album that is brilliant and even though it features Jim Bob singing about even more everyday routines it’s the glorious ability he has to relate to pulse of the nation – for in ‘I Go To The Park’ he has written about easily most of the population and their need to just go for a walk and clear their head. Yet in doing so – it comes in the form of a pop-tastic song that will no doubt be a future earworm that you will be more than happy stuck with.

One of the more surprising songs on ‘Stick’ is ‘Lovers Rock’, which is a perfect example of the genius that is Jim Bob, which is a love story all wrapped up in a snarling punk rock serenade. Power Punk Pop perfection all in just a shade over 4 minutes! And we haven’t even mentioned the single from the album yet – which in ‘Every Day’s A Discotheque’ highlights the brilliance of Jim Bob in just shy of 3 minutes! 

Using an adage that has been utilised to death but in this case nothing truer can be said – these two albums are all killer and no filler which in 22 songs is practically unheard of. Just do yourself a favour and buy/pre-order these albums before they are released next month.

Buy Here

Author: Dave Prince

Mass Deception – ‘Resurrections’ (Gruesome Records)

Mass Deception – ‘Resurrections’ (Gruesome Records)

Dutch thrashers Mass Deception have been around since 2015 and have released three albums full of riffage. 2025 sees the release of their latest effort: Resurrections.

The album takes me back to a glorious time in heavy metal history, the late ‘80s. Think Flotsam & Jetsam, Testament, Sacred Reich, Sepultura, peak Metallica, and a little bit of Among the Living era Anthrax and you get an idea of what Resurrections sounds like. We get some stupendous riffs, mosh parts a plenty, and superb performances. Opener Gain of Function hits like a ton of bricks, no messing around, just full-on thrash loveliness. The breakdown riff in the middle part of the song is sublime. It had me pulling that thrash gurning face.

Selling Souls! Buying Lies! has a feel of classic Annihilator with its staccato riffs and double bass drums. Menticide starts with a melodic feel before we get more huge riffs. The production of the album is perfect, and it’s refreshing to hear the instruments sound real. No processed drums (I hate that!) and the album really does sound like it’s from the ‘80s.

Metropolis is a little interlude that could be a John Carpenter written theme from one of his films. Fantastic! 1984 kicks us back into thrasher territory with some fantastic twin guitar work from Waltmans and Banziger. Drummer Sanders plays a blinder throughout the album, his double kick drums blaze through the tracks.

The Road to Hell Leads to Rome has a more traditional heavy metal feel, with nods towards classic Judas Priest. Lyrics about religious hypocrisy are the order of the day here. Saturn is another moody instrumental piece, Ruins of Dominion highlights vocalist John Klaus, his vocal style fits perfectly in the framework of Mass Deception.

Blue Flame of Anger shows us a more melodic aspect of the band. We get some Helloween style guitar melodies as well as more Priest influenced metal. More superb drum work here from drummer Sanders. My favourite track from the album is V, superb chunky riffs, a short instrumental passage, but it’s so well done.

Resurrections is a fantastic listen, really well written songs executed in style. Get your ears around this, you won’t be sorry.

Buy Here

Author: Kenny Kendrick

Earth Eighteen – ‘Butterfly’ (Warner Bros.)

Earth Eighteen – ‘Butterfly’ (Warner Bros.)

Traveling back 30 years ago to 1995 when music had spun out into all kinds of genres, Earth Eighteen released their full-length debut which became a slow burner in my CD collection. Earth Eighteen really didn’t have a box to fit in at the time with the rock radio airwaves focused on the Foo Fighters, Smashing Pumpkins, Oasis, and No Doubt. Bands like Rocket from the Crypt, the Wildhearts, and Rancid released some of my all-time favourite albums that year. ‘Butterfly’ always seemed to be just on the periphery of what I had in heavy rotation. It seemed strange to my 21-year-old self that a band with a definite glam influence would appear with members from D.C. hardcore bands. My most listened to album from D.C. at the time was ‘Cruise Yourself’ by GvsB from 1994. Why am I writing about ‘Butterfly’ all these years later? It has grown in stature with me every year since it was released. I feel like it always gets more listens than the previous year, and it would be a shame if it fell completely off the radar of potential listeners.

They preceded this album with a five track EP with some album tracks and released a single from this album with exclusive B-sides which are also both your time and attention. ‘Butterfly’ starts slowly with the ‘La La Song’ feeling a bit like the caterpillar transforming into a butterfly at the very beginning. There is a definite Bowie and Bolan influence from the beginning. Piano helps move the song forward with its very slow beat. There is a fuzzy dreamlike audio quality to the song. It makes the explosive start to ‘Dolores Haze’ more impactful as it rages out of the speakers. The riffs stand out immediately, and the vocal hook in the song injects itself into the listener’s brain as something of a slow drip that doesn’t leave once it takes hold. The guitars really get to dominate the song and leave the listener wondering what could be coming next on first listen. The glam romp of ‘Mechanimal’ feels like Bolan with the instrumentation feeling similar to what Marilyn Manson would later do on ‘Mechanical Animals.’ The beats snap out of the speakers and the marching guitar riffs saw away at your brain. The jam session in the song makes me wish I would have seen them live. Even 30 years ago, I think part of what kept this album from crossing into mainstream success was they employed a lot of subtle choruses that become addictive over time but are not immediate earworms, like ‘On a Rope’ or I Wanna Go Where the People Go.’

‘The Fall Divine’ is a slow song with a hypnotic groove that takes its time getting to its first verse. The guitar weaves in and out during the middle. This has been one of my favorite songs by them over the years with the guitar solo at the end providing some angst and struggle to break out of the slower tempo in the song. They close out the first half of the album with the rocking ‘Goin Steady’ which recalls 70’s glam with some additional power surging through the instruments with the breakdown at the end of the song bringing Mott the Hoople to mind.

The second half of the album kicks off with ‘Dahlia’ which has a catchy riff and a chorus that features a lot of harmonies. I love the use of piano through the song as well. Side effects transition us from the end of ‘Dahlia’ into ‘Maximum Teenage Overdrive’ which again reminds me of the direction Marilyn Manson would later pursue, maybe Tim Skold was a fan of this album . The beat is big through the verses, and the almost robotic backing vocals through the chorus provide an extra hook without making the song poppy. The band again introduces a breakdown at the end of the song that makes a huge impact. This song would have fit seamlessly on the Velvet Goldmine soundtrack.

‘Girl of the Downward Spiral’ starts with a simmer and then blows out the speaker. This was the single from the album and definitely makes sense in that regard. It is loud and bombastic with a great hook in the chorus. Earth Eighteen really had their own sound which was probably a blessing and a curse. This did not sound like other songs on the radio, which probably worked against it. If it had received airplay, I have no doubt the band would have picked up a cross section of rock fans that would have purchased the album. The acoustic soft rocking ‘Long Gone’ immediately changes direction and showcases the variety across their sound. The contrast between it and the previous song work to the album’s advantage. ‘Blood Revival 99’ closes the album with a hypnotic riff that feels like it is channeled from outer space. The use of the keyboards in the chorus only adds to the out of this world feed. The band then going off on an extended jam which is the only way this album should have ended. As the guitar wails, it feels like there are spaceships flying all around you on some galactic highway. After the fadeout, we get a little acoustic passage that honestly feels like the alarm clock just went off and woke you up from an intense dream.

Can a record still have a life after 30 years if it was ignored by the public when it was released? It definitely can for those of us that purchased it back in the day. As I mentioned at the beginning, this album has been a lifelong grower over the past three decades with it gaining in stature for me with every passing year. There are quite a few copies of the CD currently available on Discogs for those that want to experience an excellent glam CD from the middle of the 90’s when ‘Lump’ was playing on the radio. There were tremendous albums released in the 90’s and now you have an opportunity to track down one of them that slipped away unnoticed at the time.

If anyone knows what happened to the members of the band and can connect me to them, please let us know as I would love to do a Q and A with them.

Author: Gerald Stansbury

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

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



The Young Gods – ‘Appear Disappear’ (Goodtogo Records)

The Young Gods – ‘Appear Disappear’ (Goodtogo Records)

Note to self and anyone listening: PLAY LOUD! It’s been described as sonic warfare, and that’s exactly what it is. Formed in 1985, The Young Gods are a Swiss electronic rock band whose influence reigns over such heavyweights as Bowie and Mike Patton. What they do is electronic guitar-driven heavy load dropped on the listener in pulsating heavy doses endlessly shifting from genre to genre, thus making them difficult to pigeonhole and defying labelling.

The album kicks off with the title track, with a sense of cool, calm and collected aggression with the riff overriding as it punches through. Sure, there are moments of stylistic similarities to bands like NiN, but it reaches further. Industrial textures, post punk edges, and softly spoken verses, it’s the air of confidence that really draws you in.

I hope you’re sitting comfortably as the stunning ‘Blue Me Away’, I’m also going to cite U2 around the time of the big Lemon as well, it certainly got elements of that majestic period about this, albeit a darker edge. ‘Hey Amour’ is a slow burner that has sharp guitar breaks with crackling overdriven solos, a twitching and pulsating bassline.

The first half of the album is drawn to a conclusion with the twitching thumping hum of ‘Blackwater’, an impressive track that is widescreen post punk spreading its wings over almost six minutes.

Opening the second half of the album, ‘Tu En Ami Du Temps’ finds me in a style I’m not familiar with, something of a trip hop vib,e reminding me of a few bands I came across in the early 90s like Tricky. Odd noises and underpinned by static and sampling, again the best way to describe the territory we’re in is a widescreen soundscape.

In contrast, ‘Intertidal’ finds me in Portishead or Massive Attack meets a softer Trent Reznor territory electronic ambience with shimmering soundscapes and loose guitars chopping away in the distance.

Penultimate track ‘Shine That Drone’ has a pulsating droning synth line before heading off into some heavy alt-rock territory, the guitars slash along to the metronomic percussion. With the album brought to its end, ‘the band have one last dark message to impart in the form of ‘Off The Radar’ seems very much in the latter day Bowie territory. The production is excellent and draws you in, but it’s an album that demands you give it your full attention and preferably in the dark and played loudly.

Buy Here

Author: Dom Daley