Tonight is the opening night of the UK leg of Frank Carter And the Rattlesnakes’ tour in support of their recently released fifth studio album ‘Dark Rainbow’, and whilst there are no Sold Out signs on the posters by the time The Mysterines hit the stage midway through proceedings it’s certainly as full as when I saw The Cult here playing ‘Sonic Temple’ and that had Sold Out plastered all over it.

Granted it does take a while for Cardiff University’s Great Hall to fill up though, and that might be due in some part to the almost biblical amounts of rain falling outside, so when Hastings trio HotWax hit the stage at almost bang-on 7:30 the hall is still only about a third full. There are still a hell of a lot more people here than when me and my gig going buddy Nev Brooks last saw the band though when we encountered them playing a cellar bar in Newport back in April of last year and I rather bravely declared that they are “one amazing band in the making” in my review for RPM.

Spending most of the tail end of 2023 supporting Royal Blood around the enormodomes of the UK, Ireland and the US has seemingly only helped to reinforce my point, and now even the likes of Alexis Petridis are singing the band’s praises in the mainstream press. This might be down to the fact that where there was previously a degree of innocence within the still very young band’s sound, here tonight, the trio take their catalogue of fine post punk grunge infused tunes and literally ram them down our throats straight from the get-go. That time spent on big stages has certainly worked its magic with HotWax that’s for sure.  Catching up briefly with both vocalist/guitarist Tallulah Sim-Savage and bassist Lola Sam following their set, they both laugh when Nev mentions that Newport show, almost in a half-embarrassed way (they shouldn’t be though, it was great), and they immediately credit their newfound sonic intensity to “having much bigger amps now.” Whatever it is, HotWax are great fun and I’d suggest you experience the fury of their all-new backline too as they play pretty much all over the UK this spring/summer.   

A band who are certainly no stranger to larger stages is Merseyside alt-rockers The Mysterines, having not only played Cardiff University before headlining the building’s neighbouring Y Plas venue, they’ve also toured with the likes of the Arctic Monkeys and there’s also the not so insignificant fact that their 2022 debut album ‘Reeling’ not only landed them a number 9 spot on the UK album charts but also graced the RPM Online Albums for that year too. Yet somehow, I’ve never heard a single song by them, well, until tonight anyway.

Taking to the stage with (non-album track) ‘The Last Dance’ I’m instantly wrapped up in the band’s overdriven almost alt-country take on their genre, and it’s all topped off with the unique twist of Lia Metcalfe’s effortlessly cool vocal delivery, something that has me half wondering if this is what Lone Justice might have sounded like if they’d have formed a decade later and been signed to Sub Pop.  Throughout their 7 song set The Mysterines exude a sense of class above that of simply being a.n.other support act, and looking around me there does seem to be a large contingent of the crowd mouthing every word to the likes of ‘Dangerous’ ‘All These Things’ and set closer ‘Hung Up’. I must have been the last person at RPM to discover this band, but better late than never I always say, and the Mysterines were most certainly worth the wait.

In spite of the fact that ‘Dark Rainbow’ is Frank Carter And The Rattlesnakes most introspective and mature sounding album to date, and indeed, in spite of the fact that there are two keyboards being set up on stage during the changeover, Mr Brooks and I rather sensibly decide to take up a much safer position (for our aged bodies) on the edges of the by now packed out crowd ahead of tonight’s headliner’s arrival on stage. It’s whilst picking out our new spot that I get chatting to a young lad about what awaits us, and he shares with me the fact that the first time he’d seen The Rattlesnakes live was at Sin City in Swansea back in 2019, which also just happened to be the last time I’d seen the band live. It’s at this point I suddenly realise it’s been a full 17 years since I first saw Frank Carter grace a live stage, just around the corner in the still much missed Barfly venue, and just as I’m about to do my very best Colin Robinson impression and share this my new BBF the lights suddenly go down and it’s showtime. 

I guess the real relevance of recalling this, is that things in life change as do people, and just like the fact that last time I saw Frank Carter live he had the demeanour of a young offender about to commit a crime, tonight he bowls onto the stage looking like that same, now slightly older offender, coming out of prison after doing a five stretch. Thankfully, Frank’s only crime (as far as I’m aware) is that of writing some of his generation’s finest rock songs and alongside his longtime Rattlesnake writing partner Dean Richardson, with ‘Dark Rainbows’ they have penned their most musically brave set of tunes yet.

It’s obviously an album they are fiercely proud of too as evidenced by the fact that during the band’s 19 song set list they play all of the record’s 11 tracks, and as Frank seems acutely aware that this might be a bit of a stretch for some of those looking to come and stir up it up in the pit to the band’s anthemic back catalogue, he quickly promises following the opening 1-2 of ‘Can I Take You Home’ and ‘Brambles’ that the band is about to kick everyone’s arse by mid-set.

Me, I could happily have left after ‘Brambles’ as for me that is the band’s finest 3 minutes and 30 odd seconds to date. Of course, I don’t head for the doors, but whilst I might agree in principle with Mr Brooks that opening the set with new songs is somewhat risky when they are songs as strong as these then maybe for once its more about listening and soaking up the music rather than simply losing our shit to the oldies.

Talking of which ‘Kitty Sucker’ is the first of the older tunes played tonight, but it’s the Dr Who theme tune staccato riffage that introduces ‘Devil Inside of Me’ that generates the full-on frenzy I’ve become accustomed to whenever Frank Carter has been our ringmaster for the night. ‘Juggernaut’ quickly follows, and that glorious bastard of a tune truly steamrollers us all into submission. My new BFF returning to my side immediately after this soaked to the skin thankful, I guess, that the new album’s opening track ‘Honey’ is up next.

What strikes me most tonight (other than the fact that the band have seemingly inherited Mark Langan’s old red/blue light show) is just how fantastic a vocal performance Frank Carter turns in, something I can’t ever remember saying during my numerous previous live encounters with the singer where perhaps the showman aspect has always come first, or perhaps I’m just listening for once eh? Tonight, though the likes of ‘Lullaby’ and main set closer ‘Man of the Hour’ (a tune that is just as popular as the oldies I might add) sound gigantic, and custom built for arenas around the world.

Returning for a 2 song encore of ‘Thunder’ (perhaps one of the less obvious choices from the band’s formidable sophomore record) and ‘A Dark Rainbow’ (the sombre closing track from the band’s latest album) I do wonder what might be next for The Rattlesnakes though following this tour. As I mentioned earlier the band sound colossal right now, but by equal measure at times tonight they also seem like they might just fall apart at any time such is the fragility of the new material. Whatever happens, let’s just all enjoy the ride, because Frank Carter And The Rattlesnakes are one righteous celebration of everything that is good and great in rock music here in 2024.

Author: Johnny Hayward

With 3 top 10 albums under their belts, tours with the likes of the Foo Fighters, festival headline slots, and a formidable live reputation, you could call Frank Carter & The Rattlesnakes a success story, but there was a point after their last album ‘Sticky’ in 2001, when Frank Carter and guitarist Dean Richardson questioned whether they had another Rattlesnakes album in them.

Yet thankfully, following a period of sobriety on Frank’s part and a great deal of soul searching, the duo return with the 5th Rattlesnakes long player entitled ‘Dark Rainbow’. While ‘Sticky’ was a love letter to punk rock and a reaction to the ongoing pandemic, ‘Dark Rainbow’ is a dark and brooding beast full of electronica and atmospheric soundscapes that looks back on the last few years of tumultuous times with themes of reflection and introspection.

If, after exposure to the first two singles, you were left confused and wondering what the hell happened to the punk rock energy of The Rattlesnakes, my advice is to bear with it and expect the unexpected with ‘Dark Rainbow’. Frank went into this album with a newfound sobriety, an introspective headspace, and a desire to take The Rattlesnakes into unchartered territories. The duo dug deep, took stock of all that they had done, and even reworked old song ideas that didn’t fit at the time. The resulting album is a mature rock record that takes time to connect, but give it that time and the rewards are plentiful.

Album opener ‘Honey’ bursts with QOTSA desert rock spikey riffage and cocksure lyricism. It’s a statement of intent and a winner of an album opener, it seems like it’s business as usual for Carter and Richardson. But the second track and first single release ‘Man Of The Hour’ is where it starts to get interesting. A more laid-back affair brimming with electronica and introspection, it’s a welcome departure for the band, and about as far removed from the likes of ‘Go Get A Tattoo’ that you could ask for. It sees the frontman question the whole rock star persona that he found himself thrust into and his ongoing disillusionment with it.

The pulsing electronica of the second single ‘Brambles’ is a showcase for the seductive and sultry soundscapes of ‘Dark Rainbow’. A spikey take on the trials and tribulations of getting lost in love, it sort of hits a sound that puts me in mind of the first two Garbage albums.

They do hit familiar territory throughout the course of the album. The thumping urgent beats and dense, overdriven riffage of ‘Happier Days’ sounds great and the anthemic rocker ‘Self Love’ is classic Rattlesnakes fodder more in tune with the feel of Pure Love or the more upbeat moments of ‘End Of Suffering’. These are the sort of songs designed to energize festival crowds and create mosh pits, and they are welcomed with open arms.

But it’s the haunting piano chords and lonesome vocals of ‘American Spirit’ that stick in the mind, the heart-wrenching, atmosphere created in ‘Sun Bright Golden Happening’ that will linger long after the disc has ceased to spin, the brooding verses of ‘Superstar’ that skulk along like daggers in the dark. These are the moments that set The Rattlesnakes apart from their contemporaries in 2024.

The closing title track is a brooding cinematic epic full of atmosphere and effects. Soaring vocals over electronic beats and an understated guitar refrain as it ebbs and flows to a dramatic climax.

‘Dark Rainbow’ is a brave departure for Carter and Richardson and sees the duo take stock of who they were and where they want The Rattlesnakes to go in the future. By turning the microscope on himself, Frank Carter has maybe exorcised those demons and pathed a future for The Rattlesnakes that wasn’t on the horizon after the last album. ‘Dark Rainbow’ is not as instant or as anthemic as previous offerings and it may see them alienate a portion of their older fanbase, but it sees the Rattlesnakes constantly evolve, constantly be inventive, and always deliver something that is unexpected. 

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Author: Ben Hughes

Snake, rattle and roll campers, Frank is back with album number four and it is as tasty as its title suggests. Short and sweet, ‘Sticky’ comes hot on the tails of its predecessor ‘End Of Suffering’. This album was written during lockdown and as such, is less about metal health and anxiety, but more of a social commentary full of pent-up anger and small-town survival in Covid Britain.

“We all lost a year to the doldrums” Frank sings during ‘Rat Race’, the penultimate track on ‘Sticky’. Elsewhere in killer single “Go Get A Tattoo” he proclaims to “never want a lockdown again”. These are perfect examples of the relatability of Frank Carter’s lyricism and one of the reasons The Rattlesnakes have become one of the best live bands in the UK.

With each album release songwriters Frank Carter and guitarist Dean Richardson have pushed the bar higher and ‘Sticky’ is no different. Taking inspiration from pop and electronic music and collaborating with rock diva Cassyette, Rapper Lynks and Idles main man Joe Talbot, the band move further from the hardcore punk roots and dig deeper into commercial rock territory, yet always keeping it diverse and interesting at every turn and twist.

The fuzzy bass, processed beats and frenetic guitars of the opening title track bode well. The social commentary is rife from the start and Frank’s message, as ever, is never subtle. A wicked tale of late-night drunken antics “what the fuck is wrong with me? kicking around at half past 3” he yells. Musically it continues where ‘Kitty Sucker’ left us on the last album, yet lyrically it spirals out of a lockdown hell. 2 minutes and 34 seconds of introspection, self-loathing and punk rock power. Just what’s needed right now, yeah?

We then take a one-two trip following our man on an all-night bender. The dumb-ass punk feel of ‘Bang Bang’ fits the bill and the barking dogs and sonic boom bass of ‘Take It To The Brink’ are either designed to confuse or make the listener uneasy, and they both succeed. It’s hyper cool and well, when Frank is inciting you to bang your head off the wall and take another drink, what is a man to do?

Aided and abetted by Idles man Joe Talbot, the single ‘My Town’ is a social sidewinder that highlights the struggles of mental health many have experienced during lockdown. It’s an anthemic blast of punk noise straight from the street that could be just like the one where you live.

The tongue-in-cheek ‘Get A Tattoo’ could be the greatest single of the year. Bouncy bass and gritty lyrics lead to a frantic, killer chorus that most bands would die to have written. The inclusion of rapper Lynks adds cool street cred for the kids and makes it one of the standout rock tracks of the year, let alone of this album. If you aren’t singing that chorus over and over by the time you read this, or you seriously don’t get the urge to go out and get inked immediately, then you must be dead inside.

Again, collaborating with an edgy, current artist is a master stroke. The helium induced vocalisin’ of Cassyette adds a new dimension to the signature Rattlesnakes sound. The juxtaposition of the male/female lead vocals works well and adds intensity to an already electrifying tune.

They even drag in Primal Scream legend Bobby Gillespie to add his dulcet tones to album closer ‘Original Sin’.

‘Sticky’ is a release for all the pent-up anger, aggression and forced confinement of recent times. It may be relatable if you felt like smashing a bottle against a wall just to feel the release, it may be relatable if you feel the urge to get a tattoo just to feel the pain, it may even be relatable if you just wanna see Frank Carter and The Rattlesnakes live again and lose your shit like never before.

Many releases this year have been given the title ‘an album of the times’ and it’s no real surprise that Frank Carter and The Rattlesnakes have given us another with ‘Sticky’.

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Author: Ben Hughes

The Idolizers – ‘Riot Radio’ (Rum Bar Records) With a burst of energy this new choon released as part of the labels ‘New Believers in Rock n’ Roll’ Rum Bar campaign. The lead track from their album ‘Concretins’ which promises to be a must-have – full of bangers if this is anything to go by.  Just what you want to kickstart the recovery and soak up those rays of summer sunshine. Bright energetic and with a strong hook ‘Riot Radio’ leans on Da Brudas for the energy and the riff but there’s more to it than just tipping the hat to the Ramones.  It should be on the radio as you drive to the beach but you’ll have to do with buying it instead.

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The Hip Priests – ‘No Stranger To Failure/ Sounds A Lot Like War’ (Ghost Highway Records) The purveyors of the beautiful noise are back and as things promise to revert to some sort of normality the universe is reset. A double A side single sees one side belt out ‘No Stranger’ it’s off like the ghost of Lemmy is amped up to eleven and the Gods of thunder give their instruments a right good seeing to. Of course, I love it and can’t wait to hear it live and shake the foundations of whatever venue will welcome them back.  I love Von Cruz vocals on this one. Flip it over for ‘Sounds A Lot Like War’ and the ante has just been raised, what a belter.

Every single released sounds like a battle cry and a reason to give a fuck about Rock and Roll again. My faith in noisy punk rock n roll is reaffirmed and it’s another reason to get excited.  Get hold of a copy as soon as it’s released or you might regret it.  pressed on coloured vinyl it’s the bands 30th single! and the artwork is by none other than Hard-ons very own Ray Ahn.  Facebook


The Manges feat. Giuda – ‘Tootsie Rolls’ (Ltd Col 7″) (Damaged Goods Records) Yeah it’s handclapping one finger piano riffing rock and roll.   The Manges play Ramones-style punk rock and they are still doing to be fair but it’s not all they do so having played with Giuda and hung out with them this seems like a no-brainer. A glam stomping  Hand clapping smiling rock n roll song. Massimo from the Manges had this to say –   “One of our favorite songs for our new album is called ‘Tootsie Rolls’, and it kinda stands aside from the rest of the album, being a more pure rock tune. On this one, our producers could totally work on their favorite arrangements and structure, to the point that we ended up having two versions: one, the album song, and two, a remixed version featuring members of Giuda, called ‘Tootsie Rolls – Part II’. What a treat!”  He’s not wrong!



Alvin Gibbs & The Disobedient Servants – ‘State Of Grace’ (T & M Recordings) A new single from Alvin and more evidence of his superb songwriting abilities as three brand-new songs on gold and blood-red splatter vinyl is released.  In a picture sleeve exclusively designed once again by Gaye Black (The Adverts), a four-page colour lyric insert but is limited to 500 copies only.  Joining Alvin once again is Subs drummer Jamie Oliver and Ruts DCs Leigh Heggarty.  The title track leans on Gibbs previous employment with Iggy and I could also see this nestled as one of the best track if it were a Cheap & Nasty song.  Cool verses and toe-tapping chorus its a top tune.

‘Too Bad She’s In Love’ has got some real grit going on as we steam towards the chorus.  Great chorus and one I want to play over and over a real earworm of a song.  I love the way Heggertys guitar wraps itself around Gibbs vocal as it heads to the chorus.  Closing off this most excellent single is ‘Brother, Sister’ a jarring jabber of a rhythm offering something different to the other two tunes proving once again that there is some fantastic music being created out there – Buy it!  Bandcamp


The Culture Industry – ‘141′ (Riot Records)  Punk as fuck! Coming over like if Nirvana were from Australia and drank too much beer instead of facing their sneakers. ‘DK Stance’ is another slice of fire that’s more spat out than gently poured into the speakers.  Love that bass punch they have going on it really suits the sound. ‘Middle Aged Kids’ now there a phrase I could level at so many people and there’s nothing wrong with that and once this tune gets going the lyrics might be a bit cliched but the music is excellent and its a good tune. Fuck em all indeed.  Swearing might not be big or clever but who cares?  I’m sure The Culture Industry don’t give a flying fig but they can certainly knock out a decent slice of punk that’s a given. Facebook





SMASHED GLADYS – ‘Go To Hell’  (Golden Robot Records) Born from the embers of the vibrant Toronto punk scene, SMASHED GLADYS formed in 1984 and then headed to New York City. The band was headed by vocalist Sally Cato and was snapped up by Elektra Records, becoming part of the legendary glam/hair metal scene.

Cato sadly passed away in 2020 and in memory of her, Golden Robot Records bring you new material which they were recording as demos for their 3rd album. This the  2nd single, “Go To Hell” will see the light of day on the 31st of May, giving fans further insight into the unreleased material.  Following on from the crunchy guitars of that second album this is more of the same and just a great hard rockin tune and Ms. Cato sure did have a great voice that really suited the music perfectly. Find Smashed Gladys – Facebook /Twitter  Pre-order/pre-save “Go To Hell” HERE




Roxy Girls – ‘Roxy Girls Are In The Drink’ (Moshi Moshi Records)   Like a throwback to a time when singles from alternative bands and post-punk bands could dent the charts the complicated-sounding rhythms of ‘Like A Bouy’ come across as something between an abrasive Smiths and XTC. A chaotic mix that punctures the air behind a melodic vocal with harmonies galore and then it’s done rather abruptly.  This Sunderland band know what they want and how to deliver it.  ‘Roxy Girls Are In The Drink’ is out 27th August – Pre-order HERE

Charlie Harper & The Sub Machine – ‘Panic’  (Time & Matter Records)  Double A-sided, yellow vinyl release, adorned with a picture sleeve designed by Charlie himself, the single also boasts a double-sided colour lyric insert, each copy is individually hand-numbered and the release is limited to 300 copies only so you’ll have to be quick on this one. ‘Panic’ begins with a piano intro but don’t let that fool you as the snare hits it takes off. Features Marlon Payne on Guitar & Piano, Victoria Smith on Bass & Marley Perez on Drums.  The tracks ebb and flow is excellent as the heaviness of the verses pounds it does drop with a marching rhythm and Harpers Reverb laden vocal its engaging and intense and rather bloody good. ‘Post War Punks’ is perhaps more Subs like with its solid riff and Harper’s delivery is on point even if it did make me hungry whilst listening to its sandwich order list. Hurry whilst it’s still available – Here



Randy Savages / Razor Kids – ‘Split EP’ (Different Class Records) Randy Savages serve up a stellar pair of tunes opening with ‘Seagulls’ in all its big, loud, triumphant riffing with a tidy hook on the chorus and a melody that makes this something of a power-pop banger to be fair but hold on, their second offering is the sprightly ‘Delinquents & Dropouts’ as it puts on its collective shit kickers and gives this tune a good old rinsing.  Excellent tune from a band I want to hear more from.

Flip it over and Razor Kids do their best to duff up those Savages as they pound out their pogo tastic Ramones like ‘Abusive’. These Portuguese punks make a pretty noise as they chew out the rhythm they soften the riff with some sugary sweet backing vocals that work really well. Their second offering of ‘Perfect HArmony’ much like Randy Savage’s pair is the strongest of their two offerings with its understated lofi number its one-note guitar solo is pure Thunders and I love that.  It wraps up a very impressive EP from two quality bands I need to hear more of.  Get it!  Buy Here



Johny Skull Knuckles – ‘Shang-A-Lang’ (self Release)  Free music anyone?  Hell yeah! get yourself some of this.  Skullknuckles doffs his hat to the sad passing of Les McKeown. Johny has always wanted to do a cover version of this track and now seemed like such a fitting time. Johny said “It has actually turned out a lot more poppy than I had envisaged so at some point I may record a “punkier” version but this will more than do for now. I hope you think I have done the song justice”. Absolutely he’s done it justice.  Get it Here





The Riot Vans – ‘Scary Faces’ (Disobedient Records) Post-punk noisemakers the Riot Van release their first single after the ink dries on their deal with Disobedient Records and its a cold angular stabbing slice of post-punk with its jerking and grinding verses but that makes way for the blast on the chorus that’s like a loud blast of heat.  I’d imagine this would be a great tune to blast out in a packed club with sprung flooring.

Check it out here

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Dez Dare – ‘Dum Dum Dum’ (CH!MP RECORDS) Taken from the album ‘Hairline Ego Trip’ out this coming June Dez does Lofi Punk rock with added scuzz and a dash of alternative indieness Native of Victoria Australia Dez has done his years service playing in Warped and has released this frantic buzz saw riff-a-rama under lockdown to add chaos and noise to every avaialble corner.  check out the video below.

It conveys his strong distaste for nationalism. “I want to push against entrenched views, closed borders and minds of large groups of the human race. There are a lot of fights happening at present around the world from climate to right-wing hysteria to unfettered capitalism and we need to work together as an animal of the same kind rather than separated by space, colour and tradition.”


Suzi Moon – ‘Call The Shots’ (Pirates Press Records) Who?, if I were to tell you she’s the ball of energy behind Civet & Turbulent Hearts then it might make sense.  Pirates Press aren’t dummies and releasing this EP they know their stuff and anyone who’s seen her live knows what a performer she is. Kicking off with ‘Special Place In Hell’ its a real firestarter of an introduction but as good a song as this is this EP gets better and better.

For a debut solo record, this is setting the bar high with a slice of energy and thunderous tempo its got the lot.  Great sound, playing and memorable chorus. I love it but ‘I’m Not A Man’ is like she’s channeling the spirit of Texas Terri Bomb and the attitude of Wendy O Williams whilst having the cool of Joan Jett.  Honestly, it’s that good possibly the best track I’ve heard for a while at the singles club I love it.  It sounds so easy and like Moon is having the best of time with her Rock and Roll and then to cap it off with the attitude soaked rocker of ‘Nuthin’ To Me’ this is excellent stuff and if this is an indication of what’s to come then bring on an album of this stuff we need to hear it!
Find SUZI MOON online: Instagram / Facebook / Youtube


The Chelsea Curve –  ‘All in Time’ (Red On Red Records) a new single every month from this sensational band, culminating in a full-length album this coming fall! The Chelsea Curve bring their love of the sound and style of the 70’s mod scene and smash it up with the guitar leanings of their respective pasts. Linda Pardee (Orbit), Tim Gillis (Frigate), and Ron Belanger (The Winter Project) came together when Linda said no to being in Ron’s new band and instead asked him to be in her new band along with Tim. Accurately described as the sparks that fly when The Jam meets Husker Du, the trio blasts out bracing retro mod pop with hooks aplenty.

Follow The Chelsea Curve here: FacebookInstagram . Bandcamp

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Frank Carter & The Rattlesnakes feat Joe Talbot – ‘My Town’ (Self Release)  New single from Carter is barbed wire wrapped in a velvet glove plenty of aggression yet melody and a decent hook on the chorus.  With the humming synth throughout it’s an intense number that burrows into your ear and will have you craving it over and over – trust me.  Also, a great move getting Talbot on guest vocals as he suits the attitude of the lyrics perfectly – A banging song! Facebook  download it here


The Cocktail Slippers – ‘She Devil (Shout IT Out Loud)’ (Wicked Cool Records)  Norwegian rockers, The Cocktail Slippers, are releasing a brand new single digitally and on limited edition 7″ vinyl.  Both tracks are originals and are a taste of what’s to come. The lead track is a commercial slice of subtle Glam Rock – real glam rock with platform boot firmly planted in the 70s they do elsewhere but here this is their most commercial stab so far.  with killer harmonies – a real earworm of a tune and one we highly recommend. The flip sounds like the Go Gos jamming on some Blondie and has a pop smooth sound.  Not as good as the other side but hey it’s a grower, not a shower.  Pick it up Here
Clowns – ‘Does it Matter?’ (Fat Wreck Chords) “Does It Matter?’ is about breaking the law, says Clowns vocalist Stevie Williams. the hook-heavy raucous number that demonstrates the prowess of their current lineup. Now completed by drummer and founding member Jake Laderman, vocalist Stevie Williams, bassist/vocalist Hanny J and guitarists Rod Goon and Cam Rust.  On first blast, it’s not as raucous as previous offerings and might take some getting used to but it’s Clowns and they get a free pass because of previous recordings and live shows. I’m hoping it’s a bit of an earworm and the more I hear it the better it gets.  Just bring the album out already and get touring we need bands like Clowns full of menace and with a whole load of piss and vinegar in their performances be it on record or live. 
JIZZY PEARL’S LOVE/HATE – ‘Soul Mama’ (Golden Robot Records)  Lifted from his album that we won’t get until 2022.  Jizzy Pearl’s Love/Hate are up and rocking.  His vocals have always been capable of melting steel and he’s lost none of that power.  ‘Soul Mama’ is a retro trip back to when the metal Gods such as Zepplin roamed the earth with a laid-back beat its groove-laden with a raw and purposeful guitar lick all making way for Pearls commanding vocal.  
Pre-Save/Order ‘Soul Mama’ HERE

UK headline tour continues into Spring, including dates with Frank Carter & The Rattlesnakes and new video here

Debut album “You Say I’m Too Much, I Say You’re Not Enough”: Here

Photo credit: Imogen Forte 

Three months after the release of their critically acclaimed debut album “You Say I’m Too Much, I Say You’re Not Enough”, Estrons show no signs of slowing down, returning today to share a video for their brand new single “Strangers”. Filmed at The Globe in Cardiff, the site of a big sold-out homecoming show for the band at the end of 2018, lead singer Tali Källström says;

“Strangers is about self-acceptance and finding the strength to grow and be on your own. The song takes us on a journey of self-sabotage, redemption, failure and success and how all of these experiences meld together to make us who we are. This video represents the different facets, the flaws, the strengths and the disparities we feel about ourselves and others during our day to day lives. It was important for us that we kept the video as a genuine reflection of who we are and the real-life things that we do, breaking the fourth wall, allowing the audience to empathise with the genuine emotion and meaning of the song. We hope you like it.”

Estrons have brought their inimitable style of ferocious alt-rock to sold-out venues up and down the country, as well as appearing live on-air with Annie Mac and Huw Stephens on BBC Radio 1, and Julie Adenuga on Beats 1. Racking up millions of streams for the album, while taking on a successful run of festival appearances in the UK & EU, Estrons received invitations to join Garbage and Pussy Riot on the road, and dates with Frank Carter & The Rattlesnakes are up next. The band have been steadily collecting a swathe of new cult fans of all types with a live performance to justify their unique sound.

With many more UK live dates in the diary for 2019, a number of which are already sold-out, the upcoming tour also includes their biggest headline show to date at Scala, London, on Feb 7th.

Estrons UK Tour Dates
Tickets for Spring dates on sale Fri 25 Jan at 10am

28 Jan: Glasgow – Broadcast ^
29 Jan: Newcastle – Head of Steam ^
30 Jan: Cambridge – Portland Arms ^
31 Jan: Huddersfield – Parish ^
01 Feb: Sheffield – Record Junkee ^
02 Feb: Bedford – Esquires ^
07 Feb: London – Scala &
15 Feb: Stoke-on-Trent – Sugarmill**  SOLD OUT
16 Feb: Coventry – Empire**
18 Feb: Peddler, Sheffield**  SOLD OUT
19 Feb: Liverpool – Arts Club**
21 Feb: Newcastle – Think Tank**  SOLD OUT
22 Feb: Edinburgh – Liquid Rooms**
23 Feb: York – Fibbers**  SOLD OUT
28 Mar: Dundee – Beat Generator
29 Mar: Aberdeen – The Tunnels
30 Mar: Edinburgh – Bongo Club
03 Apr: Tunbridge Wells – Forum
04 Apr: Coventry – The Empire
05 Apr: Norwich – Arts Centre
06 Apr: Bridgend – Hobo’s
10 Apr: Southampton – Joiners
11 Apr: Stoke-on-Trent – Sugarmill
12 Apr: Aberystwyth – Arad Goch

13 Apr: York – Fulford Arms
19 Apr: Cardiff – Wales Goes Pop
04 May: Liverpool – Liverpool Sound City
12 Jul: Cheltenham – 2000 Trees

^ = Independent Venue Week
& = Support from Lucia
** = Supporting Frank Carter & The Rattlesnakes

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