AFI – New Album due

AFI – New Album due

AFI announce new album
Silver Bleeds the Black Sun…

Out October 3rd via Run For Cover Records

AFI announce their new album Silver Bleeds the Black Sun… due October 3rd via Run For Cover Records, today. Silver Bleeds the Black Sun… marks the twelfth album from AFI and will include the lead single ‘Behind the Clock,’ which ushers in the bold new era for the iconic band. Alongside the new single, AFI share a music video directed by Gilbert Trejo.

Speaking about the ‘Behind the Clock’ video, director Trejo offers, “We wanted the video to feel like you’re seeing something you shouldn’t. In effect you are, because that’s how Davey writes lyrics. He’s expressing himself so openly, that you’re let behind this curtain. It’s a world that most artists don’t cut to, marrow deep.”

Sharing the experience working with Trejo, vocalist Davey Havok shares, “Gilbert’s video has sublimated the essence of ‘Behind the Clock.’ His vision and expertise is inspiring. Working with him was a privilege and utter joy. He is an artist of the purest form.”

Pre-order / save Silver Bleeds the Black Sun… HERE

For more than three decades, AFI has been in a nearly constant state of reinvention. The band have made it a point to evolve with every album – sometimes dramatically so – never allowing themselves to become too comfortable in one genre or rest on any of their impressive career laurels. It’s an approach that has grown their audience but also challenged it with a sonic identity that can shift in wild, unexpected directions. Now with Silver Bleeds the Black Sun…, AFI are once again at the start of an exciting new chapter, only this time they’ve even managed to surprise themselves.

The goal of Silver Bleeds the Black Sun… was to make an album with a singular mood, something dreamy and ethereal, and the band members found themselves diving headfirst into influences that had always been deeply embedded in AFI’s musical core, but now were being brought to the forefront. The result is an album that feels out of time, at once familiar and fresh, drawing on classic sounds and reinterpreting them through a modern lens. Silver Bleeds the Black Sun… is dark and otherworldly, but also grandiose and stately, biting and beautiful in equal measure—in other words, it’s very AFI, yet not quite like any version of the band you’ve ever heard before.

It’s this combination of endless creative daring, deftly wielded influences, and above all else, an unshakeable sense of self that’s allowed AFI to stay relevant for more than 30 years, often leading the way through emerging musical moments. From their scrappy roots as a high school hardcore band in the early ‘90s (Answer That and Stay Fashionable, Very Proud of Ya and Shut Your Mouth and Open Your Eyes), to their dark melodic punk reinvention at the turn of the century (Black Sails in the Sunset and The Art of Drowning), to their crossover into mainstream stardom in the early 2000s (Sing the Sorrow and Decemberunderground) and their years as shapeshifting alternative rock journeymen (Crash Love, Burials, The Blood Album, and Bodies), the band has survived and thrived by staunchly being themselves—no matter what that is.

This fall, AFI will embark on their headline North American tour with special guests TR/ST to celebrate the release of Silver Bleeds The Black Sun… The 24-date run will begin on September 30th in Madison, WI with stops in Chicago, Brooklyn, Boston, Atlanta, Dallas, and Denver, before wrapping November 5th in San Diego, CA. The tour marks AFI’s first full-scale outing since their celebrated 2021 release Bodies, and will offer fans the chance to experience songs from across their extensive catalogue, delivered with the band’s signature electrifying performance. Tickets available HERE.

Connect with AFI: Instagram | Website | Spotify | Apple Music

Michael Schenker announces new album

Michael Schenker announces new album

MICHAEL SCHENKER 

SURPRISE AT WACKEN OPEN AIR

NEW MSG ALBUM DON’T SELL YOUR SOUL ANNOUNCED!

Exclusive world premiere of the title track – Album out October 3rd

What was already a standout moment of this year’s Wacken Open Air, the world’s largest metal festival, turned into something even bigger when Michael Schenker pulled a surprise no one saw coming. After delivering a fierce My Years With UFO set to tens of thousands of attendees on Thursday night, the architect of hard rock used the world’s loudest stage to announce a brand-new Michael Schenker Group studio album: Don’t Sell Your Soul will be released on October 3rd via earMUSIC.To mark the occasion, Schenker and his band closed the show with a world-exclusive live premiere of the new album’s title track – a powerful encore that took the Wacken crowd by surprise and was met with instant enthusiasm on the muddy festival fields.PRE-SAVE THE SINGLE HERE!

Earlier in the set, the Wacken faithful had already been treated to a once-in-a-lifetime moment: Slash walked on stage as a surprise guest, joining Schenker on the UFO classic “Mother Mary”. Two of rock’s most iconic guitarists side by side – a scene few will forget.Don’t Sell Your Soul is the latest studio album by the Michael Schenker Group and the second part of an album trilogy that began with 2024’s My Years With UFO.The album was produced by Michael Schenker and Michael Voss, and recorded with Schenker’s longtime allies: Bodo Schopf (drums), Barend Courbois (bass), and Steve Mann (guitar, keys). On vocals: the impeccable Erik Grönwall – undoubtedly one of the finest rock voices of his generation. Guest appearances on vocals by Robin McAuley, Dimitri “Lia” Liapakis, and Michael Voss round out the cast.Don’t Sell Your Soul will be available on CD, LP, and limited transparent red vinyl.

Pre-orders start Friday, August 1st.PRE-ORDER THE ALBUM HERE!

Saxons Biff discusses his recent Cancer battle

Saxons Biff discusses his recent Cancer battle
FRONTMAN BIFF BYFORD ANNOUNCES HIS BATTLE WITH CANCER AND UPCOMING TREATMENT IN A SPECIAL POST TO FANS
In a special post on the band’s social media channels, SAXON frontman and singer Biff Byford discusses battling cancer following his recent diagnosis after the band’s Japanese Tour in late April and his upcoming ‘mopping-up’ chemotherapy treatment.

 Biff also discusses the postponement of SAXON’s imminent French and Spanish shows until April and May of next year while he undergoes a short period of chemotherapy but has been told by doctors that his prognosis going forward is positive. All tickets will remain valid for the new rescheduled dates which will be announced on SAXON’s socials imminently.
 
Sadly, Biff’s treatment also impacts on the band’s forthcoming festival performances at both Trutnoff Open Air, with the band’s appearance later this month having to be cancelled, and Neuborn Open Air, also later this month, now postponed until the festival’s 2026 edition. Biff would like to reassure fans that both the band’s special Hell, Fire and Steel UK & Ireland Tour this November will be going ahead as planned along with SAXON’s headline performance at Metal Hammer Paradise in Lübeck, Germany.  The band’s Hell Fire and Steel UK Tour is currently close to being SOLD OUT, so fans are advised to grab the last few tickets quickly to avoid disappointment, as this will be the last opportunity to see SAXON this year in UK and Ireland and to hear the band’s classic Wheels of Steel album played in full for the last time from start to finish.

Upcoming Shows:

NOV 4 – Ulster Hall, Belfast (UK)

NOV 5 – 3Olympia Theatre, Dublin (Ireland )

NOV 7 – O2 Apollo, Manchester (UK)

NOV 8 – Octagon Centre, Sheffield (UK)

NOV 9 – O2 Glasgow Academy (UK)

NOV 11 – O2 City Hall, Newcastle (UK)

NOV 13 – Beacon, Bristol (UK)

NOV 14 – Civic Hall, Wolverhampton (UK)

NOV 15 – Hammersmith Apollo, London (UK)

NOV 16 – Great Hall, Cardiff (UK)

NOV 28 – Metal Hammer Paradise, Lübeck (Germany)

For more information and last tickets for all shows go to www.saxon747.com/tourdates


Follow SAXON on: 

www.facebook.com/SaxonOfficial/ 
www.instagram.com/saxon.official
www.twitter.com/SaxonOfficial 
www.youtube.com/PlanetSaxon 
www.saxon747.com

Helloween -‘Giants & Monsters’ (Reigning Phoenix)

Helloween -‘Giants & Monsters’ (Reigning Phoenix)

Getting old provides some interesting context when it comes to listening to music. ‘Keeper of the 7 Keys Part One’ became my gateway into the world of Helloween almost 40 years ago. I had seen an ad for the album in Hit Parader (more specifically on the back page) and decided I needed to search out this cassette. As a young teenager, it never dawned on me that bands I loved would stop making music or that I would still be listening to them in my 50s. I worked backwards at the time and picked up ‘Walls of Jericho.’ When ‘Keeper… Part Two’ was released, I was waiting for them to put the cassettes out on release day to get the album. I had also previously picked up the cassette single for ‘Save Us’, which contained some awesome B-sides. After a mini live album, things then went pear-shaped (pumpkin shaped?) in Helloween world. Kai Hansen left the band and started Gamma Ray. Label issues would stall Helloween’s next album, which would not be released in the States so I tracked down ‘Pink Bubbles Go Ape’ on import. The album didn’t grab me like their first three did, which seemed to be a common consensus around the world. As Hansen released albums with Gamma Ray, Helloween struggled to find their footing with ‘Chameleon’ sounding like each of the songwriters made their own four-song EP with a focus on non-Helloween style music. I enjoy parts of ‘Chameleon’ but don’t really think of it as a Helloween album. At this point, the pumpkins were starting to fester, and the future didn’t look promising.

‘Master of the Rings’ reinvigorated Helloween with Andi Deris taking over on vocals. New and old fans celebrated this and subsequent releases with, of course, lots of debate if the new albums matched the excellence of the ‘Keeper..’ albums or ‘Walls of Jericho.’ For me, ‘Better Than Raw’ became a firm favourite while others were partial to ‘The Dark Ride.’ Band members continued to have some changes over the years, but there was consistency with Deris, Michael Weikath (guitar), and Markus Grosskopf (bass) forming the core of the band. Not every studio album was brilliant for me, but the band continued to release many more hits than misses. Ten years ago, the band released ‘My God-Given Right’ which I would say is an album that probably sits in the middle of their discography for me. Kiske had released some solo albums over the years and returned to the metal world with his Unisonic project. Hansen continued to release Gamma Ray albums, and I really enjoy those albums as well, even with some of them also not fully connecting with me.

Pumpkins United brought Kiske and Hansen back into Helloween without any members leaving. The plan at the time was a new studio song and a tour to celebrate Helloween’s history and present. Four years ago, we received something I never thought I would see in my lifetime- a new Helloween album with Kiske and Hansen. Neither one of them had left the band on great terms way back when, but bridges had been mended over the years. Even better, that self-titled album contained a plethora of great songs with it appearing on many best of 2021 year-end lists, including mine. That brings us to the current with the band releasing the second album to feature the extended band line-up. I would argue this one goes beyond the previous album because they do not shy away from different members contributing to another’s song. The self-titled album at times felt like there were still some lines in the sand where you could tell who wrote which song. The chemistry in the band appears to be at an all-time high right now. I have seen reports the band wrote 30 songs for this record, which makes me wonder if the sequel to this will arrive quicker than the four years between this and the self-titled album.  

‘Giants on the Run’ kicks off the album with a great example of the members blending their songwriting together. The beginning and end of the song provide a prime example of Helloween, where there is a lot of space in the verses and some tasteful guitar work. The song then segways into a section that has Hansen’s touch all over it, from the musical approach to his vocals. Part of me wanted to say it has a Gamma Ray feel as it makes me think of ‘Land of the Free’, but also has hints of ‘Walls of Jericho’ to it. It doesn’t feel recycled though. It fits perfectly within the song and highlights the diversity the band has in their writing while also complementing each other’s different styles. One of the areas where this album diverges from its predecessors is the number of instantly catchy songs on the album. Kiske gets solo lead vocals on ‘Saviour of the World’ where the band bring an aggressive musical attack and combine it with a hugely melodic chorus that begs for audience participation. The phrasing in the chorus reminds me of the ’Keeper Part 2’ album. I read a recent interview where a member said they did not want to just rewrite what they have done in the past, and don’t think they have done it on this album. I think there are always going to be things that are just part of the band’s DNA. If they were adding nu-metal or hip-hop features to their song, we would all complain that it is not who they are. Next up, ‘A Little is a Little Too Much’ showcases a commercial and catchy song with some great keyboards for added effect. The dual lead vocals from Kiske and Deris work extremely well together. This is poppier than anything off the last album and again makes a great sing-along song. My favourite moment from it though, may be the last few seconds of the keyboard being isolated at the end of the song.      

‘We Can Be Gods’ turns up the tempo to closer to a thrash level that again recalls the ‘Keeper’ era and maybe ‘Better Than Raw’ days. Each of the three singers contributes to the song. There are some keyboard touches here as well, but they are mostly subtle and get a cool space in the chorus of the song. The guitar work is excellent, and really that’s where I hear the ‘Keeper’ era on this one, with some great harmony work and then excellent solo work. This has been one of the initial favourites on the album. The first half of the album closes with the piano-based ballad ‘Into the Sun’ whose melody reminds me of something Queen would do. The back and forth between Kiske and Deris serves the song perfectly. The band keep the song on the shorter side at under four minutes. This song is one of the bonus tracks, with Kiske and Deris each doing solo versions.

Side Two, if you will, gets started with a Deris straightforward rock song and the first single ‘This is Tokyo.’ It has a huge chorus and will get the audience singing with Deris and Kiske blending lead vocals perfectly again here. I wonder if the break in this song will lead into a drum solo in the live setting before the band comes back for the guitar solo. The second song we heard from this album follows in ‘Universe (Gravity for Hearts)’ where all the lead vocals are handled by Kiske. Over eight minutes long, it assumes the role of one of the epic tracks on the album. Helloween show off where some of the roots of power metal and the band originated with a huge chorus set to the rapid-fire beat. If you recorded the ‘Walls of Jericho’ album today with Kiske on vocals, I think this could sit comfortably on the album. The guitar work by Weikath, Hansen, and Sascha Gerstner shines across the entire album with each of them delivering killer solos and also having those great moments where they play in harmony. After this multifaceted gem, ‘Hands of God’ could have easily paled in comparison if it had felt like a standard song. This one showcases just Deris on lead vocals. The midtempo approach here feels different than everything else on the album where the chorus has a strong hook, but the riff also keeps getting stuck in my head. It will be interesting to see if this one gets played live, as I think it would be a bit of a curveball in their set. 

We then transition into ‘Under the Moonlight’ where I am reminded of the likes of ‘Dr. Stein’ or ‘Rise and Fall.’ Kiske’s vocals shine here, and I like having a song in this style back on an album. It adds some fun and quirkiness into the album. The band then closes the album with the epic ‘Majestic.’ The intro into the main riff and first verse is awesome. Each of the three vocalists gets their spots here as well. Fists in the air and heads banging will be compulsory during the chorus in the live setting. This one was another instant favourite on the album, and I think it works better at eight minutes than it would have if they had tried to stretch it out to ‘Halloween’ or ‘Keeper of the Seven Keys’ type length. There are still twists and turns that do not feel too short or undeveloped.

After listening to the band for almost 40 years, I love that I still get a rush waiting for a new album and hearing it for the first time. I have been able to play this quite a few times now to review it. The band has changed their approach a little bit since the last album, but this is still quite clearly a Helloween album that draws from their history while also adding in new wrinkles to the sound. Utilising all three vocalists to their strengths has been done very effectively here. I imagine there will be some grumbles out there about the album, but each person’s preferences, of course, will vary. For me, I love how the album gives us a few epic songs, some straight-up catchy songs, some metal classics, and a great ballad. Initial impressions for me, this one will find its place securely in the top half of my discography, but it is too early to say how high it might climb.    

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Author: Gerald Stansbury

MEGADETH TO RELEASE FINAL ALBUM IN 2026

MEGADETH TO RELEASE FINAL ALBUM IN 2026



GLOBAL MUSIC ICON DAVE MUSTAINE
REVEALS NEXT ALBUM WILL BE FINAL STUDIO ALBUM
OF HIS MORE THAN FOUR-DECADE CAREER

BAND TO EMBARK ON
GLOBAL FAREWELL TOUR NEXT YEAR

MUSTAINE ALSO SET TO RELEASE NEW MEMOIR IN 2026

Today MEGADETH’s DAVE MUSTAINE revealed in a social post directly shared with his worldwide fanbase and Cyber Army that his forthcoming album (due out early next year) will be the final MEGADETH studio album of his career.  MUSTAINE shared the announcement via his alter ego Vic Rattlehead.  MUSTAINE also revealed that the multi-platinum superstar band will embark on a global farewell tour kicking off in 2026.  Also set for next year is a new memoir from MUSTAINE, details of which will be revealed in the coming months.

“There’s so many musicians that have come to the end of their career, whether accidental or intentional,” DAVE MUSTAINE says.  “Most of them don’t get to go out on their own terms on top, and that’s where I’m at in my life right now. I have traveled the world and have made millions upon millions of fans and the hardest part of all of this is saying goodbye to them. 

DAVE adds, “We can’t wait for you to hear this album and see us on tour. If there was ever a perfect time for us to put out a new album, it’s now. If there was ever a perfect time to tour the world, it’s now.  This is also a perfect time for us to tell you that it’s our last studio album.  We’ve made a lot of friends over the years and I hope to see all of you on our global farewell tour.  Don’t be mad, don’t be sad, be happy for us all, come celebrate with me these next few years.  We have done something together that’s truly wonderful and will probably never happen again. We started a musical style, we started a revolution, we changed the guitar world and how it’s played, and we changed the world. The bands I played in have influenced the world. I love you all for it. Thank you for everything.”

MEGADETH are set to release their forthcoming album via MUSTAINE’s Tradecraft imprint in partnership with Frontiers Label Group’s new BLKIIBLK label.  It will launch with the project’s first single (TBA) in tandem with global pre-orders this fall. 

Fans can click HERE to register for early access to exclusive information and offers surrounding the forthcoming final album and all MEGADETH news.  In addition, look for the initial run of farewell tour dates to be announced later this year.

WEBSITE | FACEBOOK | INSTAGRAM | X | YOUTUBE

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.

White Trash – A Q & A with Dave Alvin

White Trash – A Q & A with Dave Alvin

The band initially formed in the mid-80’s. What were the early days like, and how did the band’s sound come together?

We all lived in the same neighborhood and jammed together for years. We all listened to different styles of music, but we were all primarily metal heads. I brought in the Prince and Parliament influence, Ethan brought in the progressive rock elements and Mike & Aaron added the Chili Peppers to the mix. The horn players really filled out the sound when we added them in and made us stand out from the other bands on the scene.

Your debut album was released at a time when some monumental rock albums were released, such as Nevermind, the Black Album, Use Your Illusion, Ten… I can remember the ‘Apple Pie’ video getting the Buzz Bin with MTV, and it bummed me out that the song and album didn’t lead to a big surge in popularity. What are some of your memories from that first album?

The first album for me was a non-stop party. It was a dream come true to get signed and then be all over MTV. Lots of women and booze. It was liking living in a musical porno movie.

Who would you have liked to tour with to support that album? In my review of ‘Si O Si, Que?’ I suggest Ugly Kid Joe might have been a good match.

We played a bunch of shows with Scatterbrain while touring for the first album. I always liked playing with those guys.

Between the debut and second album, there is a massive change within the band where you continue as White Trash and other members form Hash. I remember “artistic differences” being the reason for the split, which appears to be the case based on the differences in Hash’s album and where White Trash went. What was it like rebuilding the band? What did you think of Hash’s album?

We split up because we couldn’t get along or agree. Ethan hated the funk aspect and the horns, so he quit and Aaron and Mike jumped into a different project because they hated me. They didn’t write any of the material in Hash, that was Seth’s project. They just wanted to do something different.

How did the recording of ‘Si O Si, Que?’ go? Was Elektra supportive? It seemed like there were consistent changes in who was working at each label back then.

Elektra was always supportive of us and the Si O Si Que recording sessions is still the best experience of my professional career. Getting to jam with Bernie Worrell was so fucking cool!

When ‘Si O Si, Que?’ was released, I liked the debut album more. I missed the full horn section and didn’t think the songs were as memorable. The album became a real grower though, and I probably play it more than the debut now. What was the response like to the record?

There are horns on Si O Si Que, just not as much, but I didn’t want to just go and try to make a sequel to the first album, especially with a different crew of musicians, that would have been really cheesy I think. We went out of our way to do things much differently on that album. That probably hurt us, but the scene had changed so much that we were going to be on the outside looking in no matter what. I am really proud of that album because we didn’t really give a fuck what anyone thought and we just did everything 100% the way we wanted to. It was a rare and special opportunity, but of course we wish that it had been more successful.

In my review, I mention ‘Come Tuesday’ as being an obvious choice for the label to release as a single. It’s not a ballad but a soulful rocker with a huge hook. I cannot remember what shows were on Tuesday night back in the day. Was there a specific character or actress you had in mind at the time?

I think the music industry had become adverse to releasing power ballads and even though I agree with you that Come Tuesday is not really that, it was classified that way by the label. That was a big mistake on their part. As far as what the title refers to, that would be Tuesday Weld, who I had a crush on ever since seeing the movie “Pretty Poison”

Is there anything you would have done differently with the album, if you could go back in time?

If I could have somehow gotten it released earlier by inventing a time machine or use the portal gun from Rick and Morty then I would have liked to have done that. The timing was all wrong.

Things went quiet after that record until 13 years later when a new album (‘3D Monkeys in Space’) was released, followed by another album. What brought you guys back together?

Well, I lost interest in the music industry and started pursuing other things. I move away to Florida, then I got a master’s degree and got involved in filmmaking for a while out in California. Eventually I moved back to NY and ran into the old gang and so much time had passed that we didn’t hate each other anymore. Our friend, DJ Bagel, worked at a club on Long Island and he asked us to do a reunion. That led to a bunch of other shows and we decided to start recording and gigging again.

Both of those albums are out of print. About a year ago on Facebook, I brought up the idea of releasing them on bandcamp, iTunes, etc, for download purchases. Are we any closer to making that happen as I still need both of those albums and am sure others do too?

I considered doing that, but the music streaming platforms really suck. I don’t want to participate in that. Bandcamp is ok for downloads and selling CD’s, but it doesn’t really provide the experience that most users want. In a digital age where everything is available immediately, I guess I am revolting against that. There is something cool about having an out of print CD or album.

Last year, we did get a new release with ‘C.O.C.K. in a Box’ being a compilation of unreleased songs and different mixes of previously released songs. How did you decide what songs to put on the album?

That was much harder than I thought it would be. I had to relisten to all of these old tapes and have them transferred and then listen through multiple takes and mixes. Ultimately, I picked what I thought sounded best and tried to release stuff that nobody had ever heard before.

I have seen it mentioned that there may be another release of some sort down the road. Are there any details you can share on that one?

Well prior to the band breaking up again, we had started recording a new album. I am hoping to finish that up and release it.

I know the band is gone. Are you still writing any music?

Yes, always. I jam all the time, mainly with the guys that I played with in Two Ton Turntable. I did a few side projects with those guys.

If you could only have five albums when stuck on a deserted island, what would they be?

Axis Bold As Love – Jimi Hendrix

The Black Album – Prince

Physical Graffiti – Led Zeppelin

Live at Ronnie Scott’s – Jeff Beck

The White Album – The Beatles

In addition to new releases, I have been doing a few retro reviews like I did for ‘Si O Si, Que?’ These have included controversial releases like ‘Endless Nameless’ by the Wildhearts and ones that did not have much success such as ‘Butterfly’ by Earth Eighteen. Is there an album you would nominate that needs to be spotlighted?

Neither Fish Nor Flesh – Terrence Trent D’Arby

Questions by Gerald Stansbury

The Unknowns – ‘Looking From The Outside’ (Bargain Bin Records / Drunken Sailor Records)

The Unknowns – ‘Looking From The Outside’ (Bargain Bin Records / Drunken Sailor Records)

Prior to ‘Looking From The Outside’ Australian punk rockers The Unknowns have released two stonking albums but with this their third they’ve surpassed all expectations and made an absolutely stunning platter of punk rock n roll tunes that harks back to the good old days of The Saints and prime Cosmic Psychos a fair dose of Birdman and of course Da Bruvers from NYC are infused as well but Hey Ho lets go. entwined in this music’s DNA it should be on the radar of every self respecting punk rock aficionado. Oh and the small matter the band consists of Some other Australian band people might have heard of called The Chats who made this record whilst on Smoko.


Garage rock from the early 70s is a big influence on these songs as we’d expect and from the power pop opening of ‘All Grown Up’ its hooligan rock n roll with melodies borrowed from The Boys its an album bursting with a joy of music and togetherness.

There’s an honesty about the music that is both endearing and alluring and its so addictive. ‘None To Me’, ‘Lost Me’ are great riffs with a heap of melody and the latter has some grunt on that Bass that sets the tone like a long lost Birdman song.

‘Hold My Shadow’ is so good big riffs and sounds like it fell off the coolest radio show from the 70s you could wish to hear. ‘I Know You Know’ is mixing it up with the Misfits before Aemon Sandwich leads the vocals on ‘Psychotic’. Trying ot pick a highlight is pretty tough when every song is as good as the last and that was your favourite. ‘Ain’t What You Want’ is pure Boys but if Stiff Little Fingers had written it. much like the title track and album closer Honest John Plain would be proud of this record.


The first single ‘Thunder In My Head’ should be heard everywhere. It’s the summer of The Unknowns for sure. Hell Chuck Berry would be proud of the chugg of ‘Crazy Eyes’ as would the dynamic due that was Lure and Thunders. What a wonderful record that you shouldn’t pass by this summer if you only make one purchase to soundtrack the summer then make it this bad boy you won’t regret it for a second. Go buy The Unknowns before everyone knows. Buy IT!

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Author: Dom Daley

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.

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Author: Dave Prince