Bad Sam – ‘Trauma’ (Property Of The Lost Records)

Bad Sam – ‘Trauma’ (Property Of The Lost Records)

It feels like an eternity since ‘Bring Me The Head Of…’ the last album by Newport punks Bad Sam was released into the world back in 2017, but when it comes to Dean Beddis and Richard Glover, the musicians behind this latest version of the band, it’s always been about quality tunes and never mind how long it takes to write them, which as a result means ‘Trauma’ is packed with 10 cuts of premium punk pomp from da Port….albeit with a 2025 twist.

Taking the live insanity of the Bad Sam line ups that have gone before and distilling it down to singer Beddis and bassist/guitarist/producer Glover might have been considered a risky move by some as the intensity of the band live had always a joy to behold – even if it was like taking your life into your own hands at times. Here though with ‘Trauma’ the “brains” behind the band have momentarily paused operations, observed what is going on around them, and then tweaked the Bad Sam songwriting formula to return angrier than ever before.

There’s been demo tracks released over the past couple of years on Bandcamp, tracks like ‘Pedigree Poor’ and ‘Terrable Dance’ (rechristened ‘Monster’s Dance’ for the album)  which hinted at what might be coming, and there’s also been a handful of chaotic local low key gigs that have seen the duo breaking in the new material to ascertain what songs best fit their twisted vision of the future, and as a result ‘Trauma’ is an all out attack on the senses, a record that actually makes you stop and think…”what the fuck is going on in this world?”

‘Emotional Hostage’ kicks things off in fine style as Slayer-esque riffage blends perfectly with industrial drum loops over which the immediately recognisable Beddis barks out his warning of living your life always looking for a return to “the good old days”.

‘Pedigree Poor’ quickly follows, remixed and rabid, it’s a grimy real-life tale of living well below the poverty line. This track demanding you to listen to it on headphones to truly absorb the avalanche of sounds that underpin this anthem for the less fortunate in our society.

Elsewhere, ‘The Van’ sounds just how Public Enemy jamming with a hardcore crossover band should have always sounded, whilst ‘Turn You Off’ is the first of a trio of tracks on ‘Trauma’ that are the closest to the Bad Sam sound of old, with a more straight-ahead punk rock approach.

As ‘Trauma’ reaches its midpoint ‘Silent Death’ comes out of leftfield sounding not unlike err Leftfield and Lydon and it’s almost Gothic chorus would instantly fill a club dance floor if the youth of today still did such things.  Recent single ‘Popcorn And Blood’ is a banger too, taking the Killing Jokey dark vibe further and giving it a savage lyrical twist courtesy of Beddis and his views on death tourism. Meanwhile if it’s a throbbing slab of industrial punk all about societal peer pressure you are looking for then you need look no further than ‘Perpetual Consumption’.

 ‘Trauma’ enters its final trio of songs with ‘Monsters Dance’ staggering out of the speakers like the perfect soundtrack to a zombie parade from a classic George A. Romero film. Then it’s time to return to the more direct Bad Sam sound of old via ‘Salute The Media’ and (the awesomely titled) ‘Tupperware Death Party’ that close the album down in spectacular full pelt punk rock fashion.

The bio that comes with this advance stream of the album sees Rich Glover comparing the band’s sound on ‘Trauma’ as having the energy of Reagan Youth mixed with the power of LARD, and whilst he’s not a million miles off with that description I think there’s actually loads more going on here than he gives himself and Beddis credit for, as ‘Trauma’ is a record that defies categorisation, and in 2025 we absolutely need bands like Bad Sam producing records like this, exciting, challenging, and above all, essential.

It would be Kriminal not to pick up a copy on vinyl or CD when ‘Trauma’ is released on the 28th of November, or you can preorder a copy NOW via the Bandcamp link below.

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Author: Johnny Hayward

Spøgelse – ‘Spøgelse II’ (Welfare Sounds & Records)

Spøgelse – ‘Spøgelse II’ (Welfare Sounds & Records)

Gothenburg’s drunk’n’roll/hardcore-punk wrecking crew Spøgelse are back to remind you what punk is supposed to feel like: loud, raw, and one beer away from total collapse. Their second album, Spøgelse II, lands this October via Welfare Sounds & Records, packing fifteen tracks that hit like a fist to the jaw for anyone sick of polished, overproduced punk.

Born in the deep Swedish woods but raised on Gothenburg afterparties, Spøgelse have spent the past five years cramming into beat-up cars, dragging gear across highways, and spilling beer on every stage reckless enough to host them. Their mission hasn’t changed: fast riffs, feral live energy, and no compromises.

Spøgelse II is my first taste of the band, so it’s a good jumping-off point, knowing I only have to dig a little for the back catalogue. No Bubblegum pop punk happening here. Right from the starting line its thunderous unleashing of hellfire and fury, and that just the opening three quarters of a minute it takes to put you right in the cross hairs of what Spøgelse are all about. It’s the fury of early Damned married to Motorhead with the volume stuck on eleven, no time to fuck about, otherwise these beers will get spilt and go warm. ‘All Go’ crashes into ‘Terrible Head’ before we all have a ‘Meltdown’.

Crash, Bang, Wallop, I love it when some punk bands just cut loose and fuck shit up and head down a Zeke path blasting out the tunes that get them excited, and if you dig it, then hop on for the ride, if not then don’t forget to shut the door on your way out. The guitars sound like they’re being flogged into oblivion with some brutal riff-a-rama being handed out. It’s a fine art to play this fast ‘Sober Curious’, ‘Beer’ ‘, Speedfreaks’. There’s a theme developing here, kids, so just don’t try this at home, leave it to the experts.

The energy is relentless, but the songs are of quality Hell, they even indulge in a bit of Thrash riffage on ‘Kick Them Where IT Hurts’ in all its prog-like length of just over two minutes, to be fair it might well be my favourite track on a very impressive album. The grunt on the bass guitar of ‘In My Way Again’ is stinkingly good. You also get your money’s worth as there are fifteen tracks on offer here, and as we head towards the inevitable come down when it’s all come to a shuddering halt, we get some pro skating lyrics before their tongue is firmly planted in their cheeks for ‘To Fat For Satan’

Stay pissed. Stay punk. But place this rampant mofo on your turntable to help you along the way, best zeked up punk album I’ve heard in quite a while, go get a copy, kids, it’s a beast. Cheers.

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The Mansters – ‘Snapshot From A Shitshow’ (Loyal Blood Records)

The Mansters – ‘Snapshot From A Shitshow’ (Loyal Blood Records)

Tønsberg, Norway — After more than a decade of carving their own unruly path, The Mansters return with ‘Snapshots from a Shitshow’, their most confident and unapologetic album to date.

Once firmly planted in hardcore, The Mansters have gradually stripped away genre constraints, letting instinct, irreverence, and raw energy lead the way. Sure, it’s still pretty rapid, and to the lazy listene,r it would still be simply hardcore without substance, but as soon as the needle drops and you get balls deep into the opener, there is a whole lot more besides going on under the hood of this hot rod rocket ride.

If there is a Scandinavian sound to a lot of these bands, then so be it. There is comonality between the harder edges of Turbonegro, Zugly and the mighty Gluecifer, and to absorb all of that and more, the result is a melting pot of goodness that spans the full spectrum of punk, metal and everything in between. Intense, melodic, raw, and Joyful, often all at once.

‘The World is My Ulcer’ sets the tone. A great sounding record would be the first thign I noticed before the songs unleashed some great playing and really well written songs.  ‘to the shoegaze-tinged closer, ‘Snapshots from a Shitshow’ delivers a self-aware, chaotic ride through punk, hardcore, and rock and to manage that to such a high standard isn’t easy nor is it easy to dish up such a strong set of songs. ‘Lessons In Giving Up’ has a wonderful gurgling bass thump with an excellent melody. The band don’t take themselves too seriously and takes aim at themselves, society, and everything in between.

Lyrically, the album dives into common themes but delivers them with a sense of humour and self-awareness, giving the record a warmth and big heart vibes. Living in the modern age, of course, it’s all about ‘I Should Be Getting More Likes’ (you and me bot,h guys, you and me both). Playing on words and song titles or well-known phrases seems to be a theme in that part of the world, so of course, there’s a song called ‘Run To The Pils.

In an era of noise and posturing, The Mansters prove that punk still thrives when it’s honest, self-aware, and free from pretension. Oh, and an album bursting with top tunes, so it’s a win-win there then go search this record out, it won’t disappoint pinky promise.


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Author: Dom Daley

The Covids – ‘Pay No Mind’ (Wap Shop Records)

The Covids – ‘Pay No Mind’ (Wap Shop Records)

Insert no end of infectious jokes here, like after infecting the European underground with their relentless live shows and a ferocious debut LP in 2023, Amsterdam punk outfit THE COVIDS are back for a second jab. Or an Infectious, catchy punk rock album number two from the Netherlands punk rockers. You can fill ’em in yourself from here on in.

‘Releasing on Wap Shoo Wap Records on September 25, their sophomore full-length “PAY NO MIND” ‘Pay No Mind’ is a 10-track barrage of melodic punk power pop influenced by a lifetime of listening and absorbing Buzzcocks, The Undertones and The Wipers, for example. There is a never-ending well of supplies for this happy-go-lucky punk, it’s not taking itself too seriously and can take on any subject for song matter, taking the time-honoured ‘Banned From The USA’ or ‘No Kids’ or punk classic ‘Waste Of Space’

‘No Kids’ is a sharp anthem in a similar vein as the daddies of the scene, The Briefs or Cyanide Pills. It’s catchy and powerful in a Briefs way and power. To be fair, that’s pretty much the MO for the album. Bouncy, catchy, rapid songs with big hooks and earworm choruses.

The Covids aren’t here to re-invent punk, its all about having a good time and making a noise that they can dance to and escape the real world and on that front its job done and a great big thumbs up from me because the main point is they have to be good and they score highly on that front which at the end of the day is all that counts doesn’t it?

The songs are short as well as sharp. I particularly liked ‘No Good Nothing’ and its punchy Bass line, then to collide into the brutal power pop of ‘Roots’ which, to be fair, is a dance floor banger guaranteed to get the pit pogoing and covered in beer and sweat.

It’s not a waste of space at all, and the Fergal Sharkey and co inspired song (Waste OF Space) is old school and another contender. Leaving the ‘Banned For The USA’ to finish this album off.

Top marks from me, I love this power poppin punk rock and the more bands doing it, the better, hopefully, the Covids will spread the word and leave their mark wherever they may roam. Thankfully, this catchy Covid is far better than getting contaminated by the other Covid. I suggest you ignore the name and go catch a show and listen to this most excellent record its got so much going fo rit I think it might pull through.

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Massive tour –

European Tour Dates: (More dates TBA)


BELGIUM

Oct 28: Antwerpen – Antwerpen Music City

SPAIN

Oct 30: Barcelona  – Sala Continental

Oct 31: Madrid – Fun House

Nov 1 : Puerto de Santa Maria – Milwaukee

Nov 2: Sevilla – Even

Nov 4: Algeciras – Sala Zero

Nov 5: Córdoba – Hangar

Nov 6: Ponferada – Cocodrilo Negro

Nov 7: Burgos – T.B.A.

Nov 8: Vitoria – Helldorado

FRANCE

Nov 10: Hossegor – 416 Crew

GERMANY

Nov 13: Dortmund – T.B.A.

Nov 14: Hamburg – Komet

Nov 15: Berlín – Kastanienkeller

Nov 17: Göttingen – Juzi Maren

Nov 18: Beiruth – Schokofabrik

Nov 20: Tübingen – Hausbar

Nov 21: Mannhein – JUZ

Nov 22: Kreuzlingen – Horst

SWITZERLAND 

Nov 23: Bern – Reitschule

FRANCE

Nov 30: Sorgues – T.B.A.

Dec 2: Montpellier – KJIBI

Dec 3: Toulouse – T.B.A.

Dec 5: Saint-Gille-Croix-De-Vie – Rock Sea

UNITED KINGDOM:

Dec 12: London – Hope and Anchor

Bad Sam – ‘Trauma’ and new video for ‘Popcorn And Blood’

Bad Sam – ‘Trauma’ and new video for ‘Popcorn And Blood’

“A bit like Sleaford Mods, but if Jason Williamson had spent the 80s and early 90s rolling about beer-soaked punk rock stages and community centre floors as front man of the legendary Cowboy Killers, and Andrew Fearn was a prolific bass player having toured the world gig circuit as part of the mighty Dub War. OK, nothing like Sleaford Mods then.”

“A glimpse into a dystopian future with executions as a public distraction and the  industry of entertainment and souvenirs built around them.”

 

A sonic shift from previous albums, bringing to mind the garage hardcore of Reagan Youth combined with the “Power of Lard”

Roots firmly in punk underground, previous albums “Working Class Holocaust” and “Bring Me The Head Of..” have sold out direct from Beddis’ Newport record shop and label Kriminal Records. This is the first material to make it onto streaming sites.

TRAUMA, the Welsh duo’s third albu,m is now pre-selling HERE 

Circle 60 – Mother Laudanum Video

Circle 60 – Mother Laudanum Video

CIRCLE 60 RETURN WITH NEW ALBUM ‘GODS OF DIMENSION’ TO BE RELEASED OCTOBER 24TH VIA OCTOPHONIC RECORDS

PRE-ORDER THE ALBUM HERE:

ALBUM LAUNCH GIG CONFIRMED FOR OCTOBER 23RD AT THE 229, LONDON. TICKETS AVAILABLE HERE:

Featuring thirteen tracks of future-drenched psychedelic Sci-Fi laden punk-rock n’ roll, following on from their (astounding) debut “SawnOff Shotgold” which landed a mere 5 short years ago, Circle 60 return once more with their new opus “Gods Of Dimension”, due for release October 24th via Octophonic Records.

CIRCLE 60 – once described as “a neuer Klang sonic assemblage of psychedelic-punk art and Sci-fi melodics” are composed of members and collaborators of Gorillaz, Muse, Delakota, Penguin Cafe, Senseless Things, Loup GarouX and more. Taking their “kaleidoscopic katalysts” from early British hallucinogenic pop and raw punk abandon – they deliver a “heady messy concoction of neural disturbance and explosive rock action, Verstehen?”

Today, listeners are treated to another sweet taste of the album’s charms in new single ‘The Sonic Invisible’. It’s an explosive melee that effortlessly manages, in less than three minutes, to perfectly encapsulate Circle 60’s union of punk frenzy and swirling garage psychedelia.

“The Sonic Invisible track is inspired by an underground club night that takes place in various clandestine locations around the UK. “A spiral staircase navigating your mind” – its members believe that there is a cogniscient force that pulses throughout, and outside of, all creation – an all-pervasive vibration that penetrates the totality of existence,” explains Circle 60’s spokesperson, The Octopus. “It is beyond thought and beyond definition. And it’s undetectable – unvisible – to us, physically, but most recognisable as…music. The Sonic Invisible is the very sound and essence of existence itself. We felt it was important to get its name out there. With music.”

Circle 60 were birthed out of the irradiated glow of late-night sci-fi reruns and cemented over their mutual love of discordance, technology and big filthy punk hits. The band – made up of Cass Browne, Morgan Nicholls, Ade Emsley and Des Murphy – are veterans of too many bands and numerous genres, but were compelled to combine everything they knew and loved into this one pure musical and unmedicated chemistry. And an overwhelming desire to make new technology scream. It’s rarer than Haley’s comet to get these four unique talents to collide at the same time, but it seems their time is now.

Early demos were sent to The Damned’s Captain Sensible who immediately stopped baking his Sourdough loaves and sent them something back hurtling through the crackling ethernet, in the form of a blistering set of guitar lines. This became “Mother Laudanum” – the first cut transmitted from the new album (watch the video HERE), which came accompanied with its own highspeed “tear-up-round-Paris” video. But of course, this was just a warning.

“Gods of Dimension” is an exceptional collection of superlative melodics, wildly gifted guitars, unfathomably talented bass and drums that would make Keith Moon himself scratch his head in complete bafflement. It’s real life-affirming frequency-filling stuff, designed to race the blood and lift the soul. Gods of Dimension explodes like a black hole swallowing a Moog synthesizer, spitting out choruses that sound like a riot big enough to sink a falling starship. And the message is delivered with crystal clarity: each track written and recorded at 432Hz, this single-loaded shotgun 12”, thirteen-track smart-bomb has been designed to cover every frequency known to man – the very loudest, clearest and most pristine piece of vinyl achievable. Circle 60 aren’t trying to paint the future —they’re trying to destroy the concept of time altogether. They’ve already outlasted several civilizations. Yours could be next.

Their last live activity – due to support The Who at arenas in Manchester and Dublin – got shutdown mere days before the concerts due to the wonderful gift of global lockdowns and Covid-19. The more suspicious would claim a deliberate sabotage of their mission.

But – now – they’re ready once more. They will be live. Their one and only album launch show now announced! – “Turn On, Tune In, Turn Tables”

Circle 60 play “Gods of Dimension” at the “The Sonic Invisible” 229 Great Portland St, London W1W 5PN on October 23rd.

Tickets available HERE:

Find Circle 60 online at:

YOUTUBE:

FACEBOOK:

INSTAGRAM:

Conflict – ‘The Collusion Exclusion’ Video

Conflict – ‘The Collusion Exclusion’ Video

CONFLICT RELEASE NEW SINGLE ‘THE COLLUSION EXCLUSION’ FROM THEIR RECENT ALBUM, ‘THIS MUCH REMAINS’.

DIGITAL OUT NOW

10” VINYL OUT 31ST OCTOBER 2025

PRE-ORDER HERE:

Pic: Simon Balaam

“The Collusion Exclusion – The Serenade is Dead for the modern generation.” Gav King

Conflict formed in 1981 in Eltham, a district of Southeast London, when frontman Colin Jerwood, inspired by early encounters with the Pistols ‘Spunk’ bootleg and following The Clash on tour, struck up a friendship with Crass and set about crafting a whole new kind of punk that totally upped the ante in terms anger and confrontation. Crass, the renowned anarchist punk collective, having got Conflict started by releasing their debut single ‘The House That Man Bult’ in 1982 on Crass Records, ended in 1984 as they had always intended. Now it was up to Conflict to pick up the baton and run with it. And they did, charging into the battle lines of authority. A genuine threat. An unstoppable battering-ram of power. THE UNGOVERNABLE FORCE.

The years that followed saw Conflict go from strength to strength, and from threat to threat, peaking on the 18th of April in 1987 at the London Brixton Academy for the ‘Gathering of the 5,000’ concert. It was an ambitious gathering of the tribes. A climax and explosion of rage and rebellion that inevitably ended up in a police provoked full-scale riot across Brixton with police injuries, arrests, and with the band hopelessly in debt and banned from the majority of major London and UK venues.

Undeterred, Conflict continued into the 90s with their acclaimed ‘Conclusion’ album and remained a mainstay of the live punk circuit throughout. However, after more than two decades since the release of their (2003) ‘There’s No Power Without Control’ album, the band finally released a new album, ‘This Much Remains’ in May this year through Mortarhate/Cadiz Music.

Unfortunately the album was only out for a few weeks before Colin passed away from a short illness.

“Colin had talked with us all over the past year or so about future plans and releases and this is one of them. We’re trying to honor as much of that as possible” states guitarist and long standing member Gav King.

The maddening insanity of global politics is never far from Conflict’s agenda. ‘The Collusion Exclusion’ is, says Fiona, “about how we are divided and set against each other in order to maintain control, unwittingly colluding in our own oppression. The more we fight amongst ourselves, the more they can exploit the situation to their advantage. Colin wrote the first verse and chorus, and I just finished it off, with my version of the chorus and a second verse. I wanted to use the imagery of a pantomime, as watching what’s happening feels like one sometimes. I mean, Boris Johnson and Donald Trump look like caricatures of human beings, it’s absurd that anyone would vote for them, but they did and have done again in the case of Trump. They are using the devices of turning people against each other. “Look over there! That other poor person is your enemy, not me, the billionaire”.

“Conflict are stronger than ever,” stated Colin Jerwood in May just before his premature passing, “and more relevant than ever.”

For this release they had some friends remix tracks including the legendary Youth (Killing Joke etc) and Sid Truelove (Rubella Ballet) who was one of Colin’s oldest & closest friends:

“I was more than honoured to be asked by Gav King to do a remix for Conflict as a tribute. ‘Take your pick’ Gav said, so I picked the track ‘When the lights go out’ as there was something in Colin’s words that spoke to me lyrically. This was the track.

Colin always said we would do a Rubella Ballet & CONFLICT Dub remix….. I just never imagined he wouldn’t be here to give me his loyal support and honest feedback.

We were always the greatest of friends from late ‘79 when me and Zillah Minx met him for the first time. I still hear his infectious laughter echoing around the house.

The lights may have gone out but Colin’s spirit remains strong in his music, his words, his and Conflict’s fight for human and animal rights everywhere.

Rest in peace dear friend.” – Sid Truelove (Rubella Ballet)

Conflict Website

Senser – ‘Sonic Dissidence’ (Imprint Music)

Senser – ‘Sonic Dissidence’ (Imprint Music)

It’s been twelve years since they dished up ‘To The Capsule’, fifteen years since ‘How To Do Battle’ and thirty-plus years since they stormed to providence with ‘Stacked Up’. Tough times call for bands like Senser to rise from the ashes and start lobbing musical Molotov cocktails. Mixing their trip hop, hip hop with metal and a whole heap of experimental rhythms and easter delights oh and a social conscience.

Senser should stay in the annals of history if they can’t walk the walk and talk the talk, and with ‘Sonic Dissidence’, it’s fair to say they still have the fever and that fire in the belly; otherwise, what’s the point? Kicking off the new album with the grunt of ‘Ryot Pump’, it’s a headfuck of noise from the guitars groovin’ away like they’re primed from the depths of Hell married with some superb rhythmic drumming like Jane’s Addiction used to do, and the vocal attack of Haitham and Kerstin is exactly what you want to hear from Senser in 2025.

Without a pause for breath, ‘Optimus’ is like a tank ploughing through buildings on the prowl. With tweeks and scratches, walking you through the side step. The hypnotic chorus is a real earworm.

I’d say ‘Old World’ is a slice of classic-sounding Senser with a brutal riff weaving around the dual vocals as Haytham raps and Kirsten sings her lush melody to the chorus. In a weird way, I always find Senser records dark and end-of-days-like like but they always leave me hopeful and uplifted and remind me that I’m on the right side of history as well. With tracks like the beligerant ‘Full Bodied Rebellion’ followed by the smooth adjit trip hop of ‘End Of Days’, then ‘Already Dead’, it’s no wonder I’m contradicting myself with my thoughts on the record. But it’s a journey and one I’m more than happy to take.

By the time you’re deep into the album, there is no escape, and ‘Bleak Division’ might just be the best so far. The lyrics are spot on, and the riff is like cycling into a brick wall face-first, but getting back on and keeping going. The band are on fire and married with the scratching and Public Enemy tweaks its fantastic stuff.

The album really takes hold, and instead of resting on their laurels or going into autopilot, ‘Air Loom’ is Haigh’s time to shine, and boy, does she deliver. The penultimate offering is an old school thrash banger; ‘Harbinger’ could be Exodus at their finest. If that doesn’t satisfy your needs, there’s still time to exhale as ‘Carrier Wave’ is the multi-sensory room come down to take this album home, and at the hands of Andy Brook at the desk, the sound is a complete sonic assault. The music landscape is a better place with new music from Senser now, don’t leave it so long next time, please, guys. Buy It! They head out on tour later this month as well

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Author: Dom Daley

Supersuckers – ‘Liquor, Women, Drugs & Killing’ (Hard Charger Records)

Supersuckers – ‘Liquor, Women, Drugs & Killing’ (Hard Charger Records)

When the title dropped, it was game over. Of course, this was going to be a killer album packed with cowpunk goodness, wicked solos, awesome licks and tricks and lyrics that would make me smile, smirk and howl. Twelfth studio album deep in almost four decades, I swear, as soon as the needle drops and ‘Maybe I’m just messing with you’ kicks me square in the temple, I’m hooked. Great tempo, familiar lick and gritty spaghetti vocals that hit the bullseye right from the get-go.

What next for these supersuckers? Well, how about a melodic mid-tempo rocker? Again, it’s a great hook for number two, and this one hits you between the eyes. Is it legal for a band to be this far into their rocky rockin’ career and still make records that sound this fuckin’ monsterously good? Already I’m punching the air and firing off my guns all at once, can I get a hell yeah! And a yee haw! Those supersuckers are killing it. If you ain’t digging this, then listen to Eddie when he says Go fuck yourself. Me I’m all in and loving life and loving the new long player from Supersuckers so all that’s gone to shit in the world, there are pockets of sunlight filtering through the cracks, and music can be one. Always with a great turn of phrase and married it to some memorable earworm guitar playing, it’s a comfort and the lifeblood to hear records this badass.

Let’s ease back a little and not get overexcited; it’s a marathon, not a sprint, so let’s get a shuffle on as ‘Unsolved Problems’ eases into my head and I can’t shift it. Gentle earworms are dangerous, like audio crack, be careful kids. On another point, whilst I remember, Eddie sounds magnificent on this record after his health issues, he sounds stronger than ever and sings like a seasoned pro, bloody marvellous.

Don’t become complacent or feel lulled into a false sense of security because Eddy and the boys turn it up and remind us it’s time to put it down.

The record ebbs and flows as we relax a little and Eddie whispers sweet nothings in our ear, and he explains how he tried to write a song. And boy did he write a song, in fact, he’s written a whole bunch of em right here right now. The playing on a Supersuckers record has never been this focused has it? At times it’s blistering, and I love the tone of those acoustic guitars on ‘Meaningful Song’, proving that these boys can turn their hand to whatever they like and pull it off.

If you’re umming and ahring, then stop right now. Buy this record because the Supersuckers are on fire and on this evidence are as good, if not better than ever. They don’t need to write another ‘Born With A Tail’ or ‘Pretty Fucked Up’, been there done that.  What you get for your hard-earned is eleven tunes of varying degrees of awesome, be it cowpunk shuffle, acoustic porch torches, or rock out with your cock out. Supersuckers do it better than most and leave a bloody awesome-looking trail of destruction behind them, and we can revisit this particular crime scene anytime we want. Now put that there song ‘Volunteer’ back on, grab a beer (and one for yourself) and turn it up. Hell, there’s even a stonkin take on Lee Harvey Oswald’s ‘Rocket 69’ (that reminds me to play that most excellent ‘Blastranaut’ album just because I can, and it fits right in amongst all this awesomeness.

Edward Carlyle Daly III, “Metal” Marty Chandler (guitar), and Christopher “Chango” von Streicher (drums) take a bow, you motherfuckers are trippin good, and I urge anyone who loves rock n roll to buy this motherfuckin’ record.

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Silver Dollar Room – ‘It Can’t Rain All the Time’ (Self Release)

Silver Dollar Room – ‘It Can’t Rain All the Time’ (Self Release)

Silver Dollar Room arrived on my radar near the end of last year with their debut full-length, which I meant to review until life got in the way. I have been familiar with their lead guitarist, Jamie Turnbul,l for several years through his production work for Tyla. The “difficult” second album is not a problem here, as the band has exceeded their debut across the board for my tastes. Their sound falls into the broad alt-rock genre, but their influences are quite diverse within that spectrum. My warning going into this album is that the first listen or two are subtle, with several moments that are cool and bring you back to it. Before I knew it, though, the album was on repeat with the songs burrowing deeply into me.

The first song on the album ‘Normal People’ takes some pensive grunge tendencies and uses them to let us know that we do not know where the album will initially go. This isn’t an album of upbeat songs. These songs reside in the darkness within us and society, with flashes of hope at times. The guitar solo by Turnbull provides that light in the first song. I also want to call out the drum work by Douglas McDonald, whose work is showcased across the whole album. On the opening song it helps take the song to another level. ‘Come Morning’ increases the tempo a little bit with a sound that recalls the 90’s grunge era mixed with a kaleidoscope of other influences to create one of those subtle choruses that just digs itself deeper and deeper into the listener. John Keenan’s vocals are full of heart and emotion. One constant across this album is that is should be played very loudly.

One of those initial glimpses of the excellence here happens next with ‘Breathe.’ There is almost a poppy style vocal over the first verse at the beginning, and then it gets more and more intense. We circle back to the poppier style for the second verse before crashing back into the intensity. There are so many awesome moments for me in this song that I cannot possibly highlight them all. I will focus on one of them, where McDonald’s drums and Ryan Shearer provide a breakdown that leads into a short but epic burst of a guitar solo that transitions into the end of the song. “Purple” begins with some uplifting guitar before transitioning into a darker-feeling song that is another album highlight. There are some grungy elements here as well as some Manics influence too. There are great dynamics between the breakdown and the guitar solo. Closing out the first half of the album is ‘Eyes.’ You may have picked up the song titles are very brief, and this is true throughout the album. While this rocker doesn’t hit the same highs for me as the previous two, it is a solid song with some excellent guitar work.

‘Crazy Eyes’ kicks off the second half of the album with a slow, moody approach that reminds me a bit of early Pearl Jam. Keenan’s vocals shine again here as the intensity builds. I would love to hear this song live as the guitar solo eases up some of the intensity momentarily before the surge at the end, without the song ever increasing the tempo. The catchy refrains and approach of ‘Can’t Rain’ remind me of a less mainstream Tonic. Musically, each member is hitting on all cylinders here to create an awesome song, especially the jam that I imagine can be stretched out in the live setting. Increasing the beat and intensity, ‘Smile’ feels like it was channelled from the 90s with a musical feel that reminds me of early Kerbdog and Seven Storey Mountain.

‘Monsters’ details some horrific subject matter and why everyone should listen to women. Musically, it is a hook filled song with some excellent intensity and a highlight among highlights here. Keenan uses his voice in some different ways across the song and just delivers a master class in singing. The band close out the album with the longest song ‘Broken’ on the album. This is a slow burning track that serves as an excellent closer with the easy going start giving way to a hard rocking epic feel. This song drips emotion.

Over the course of ten songs, Silver Dollar Room have created a second album that shines and demands a lot of listens. If you enjoy grungy alt-rock from the 90’s or current excellent acts like James and the Cold Gun, this is an album for you. I don’t know where it will be on my albums of the year list, but it will be on there somewhere. This is also one of those albums that I can see myself listening to in 15-20 or more years.

‘It Can’t Rain All the Time’ is available now.

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Author: Gerald Stansbury