“Last House” is the third album from Sacramento’s Th’ Losin Streaks. Recorded in their backyard at Louder Studios in Grass Valley, California, with Tim Green (Nation of Ulysses, Fucking Champs) in the control room. Green also leant a hand on some finely placed keys as did Anton Barbeau – a friend of the band since their inception.

A proper band, with members – Tim Foster, Stan Tindall, Mike Farrell, and Brian Machado – co-contributing to the songwriting, as well as The Weeds classic ‘It’s Your Time’ making its way onto the record. they even got Bay Area legend Al Sobrente to shoot the cover picture. It’s groovy garage rock baby from the opening hoot of ‘I Mean You’ through the reverb hack and slash of the cover It is authentic and really well presented. It might be 2024 but sometimes you need the authentic analogue reverb and warmth to pull this Garage Rock n Roll off.

When asked the band said ‘Last House’ was about shaking it til you make it. It’s about EKO, Silvertone and Supro, Vox (Super Continental), and the Hohner Marine Band. It’s about 2” tape. It’s about the plague, and politics, and war or the hands of time. It’s about the ice cream man after the apocalypse. It’s a trans-world punk rave-up. It’s about Link Wray, The Sonics, and the Downliners Sect. It’s about The Rolling Stones covering Sam Cooke. That pretty much sums up exactly what they deliver, they absolutely nail it. For some Chelsea boot winkle pickin’ Rickenbacker riffin, they just get it and pull it off.

‘Last House On The Block’ is a super cool laid-back tambourine shakin slice of groovy time and it makes me smile when I hear it done so well. These cats are totally invested and you can feel it as much as you can hear it on tracks like ‘The Slink’ Man, this is oozing authenticity, and it’s an instrumental and do I need to remind you what I think of songs with no vocals? (what’s happening to me?)

you certainly get a lot of bang for your buck on this one with a full fifteen tracks squeezed into the grooves on this record. ‘Cake And Ice Cream Too’ is my pick of the pops with its cool lyrics and rhythm jerking back and forth before its sugar-sweet chorus and wild guitar lick. ‘Rue de Montrail’ is one winkle picker in the Cavern of the 60s whilst the other is Stradlin the early 76 snot of punk in the 100 club or roxy but it pulls you all over the place with that dirty honkin’ harmonica stealing the show from the guitar riff – excellent stuff.

There is time to chill with some good time acoustic strumming on ‘For A While’ easing you out of this time-warping record. With just ‘Mangalore’ to pull off into the sunset with the soft top down and head for the beach it is time to crack open another beer as the sun goes down – adios baby its rock n roll and I like it – a lot!

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Author: Dom Daley

Unless you spent last year living under a sizeable rock, you’ll know that the flame of righteous rock n roll is safely in the hands of His Lordship. Since their debut single ‘All Cranked Up’, they haven’t put a foot wrong, releasing two EPs, one of the original songs and another of greasy cover versions.

The dynamic duo, often a live three-piece, are easily in the running for album of the year, alongside Black Bombers. The quality of songs and the levels of energy have set the bar mighty high for their contemporaries. From ‘All Cranked Up’ onwards, it’s a joy. Alongside the songs that you already know, there are five new ones, plus the recent release ‘Jackie Works For The NHS’, which shows that while the tunes have their roots in the 50s, their subject matter is more varied.

Which, given James Walbourne’s writing partnership with Chrissie Hynde in Pretenders, should come as no surprise. He’s a busy fellow, but His Lordship stand on their own terms. And Kristoffer Sonne sure knows how to treat his minimal drum kit to his best advantage. If you don’t already know the likes of ‘Buzzkill’, ‘I’m So Bored Of Being Bored’ or ‘I Live In The City’, you’re in for a treat.

‘The Repenter’ shows that their musical palette is broader than some may have thought, ‘Joyboy’ is yet another raw slice of rock n roll, somewhere between Johnny Thunders and Link Wray at their most ferocious. Speaking of the great Link, their instrumental ‘Cat Call’ is pure class.

‘Rock, Fall, Echo, Dust’ has licks that Brian Setzer would surely approve of, and ‘Pixellated Polly’ is a grinding, hypnotic riff. ‘My Brother Is An Only Child’ adds a little Cramps to the mix, but nothing here sounds forced; they clearly love the music. It’s increasingly hard to make primal rock n roll that sounds fresh and exciting, but His Lordship have the talent and style required to pull it off. This is an essential purchase, folks. Get it ordered and catch them on tour.

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Author: Martin Chamarette

It’s not often I get excited about hearing a new album these days so cynical and jaded one can often feel when hearing so much new music (and old) but I did get a little flutter of the pulse when I saw that The Loveless had actually completed a full album of material and pre-sales were available through the Cadiz website. so as the saying goes a fool can often be parted with their money and I clicked the purchase button.

The band has previously released two very limited edition EPs which feature some of the songs featured on this thirteen-track album. The album kicks off in a raunchy style with an original composition ‘Wild In The Streets’ and their credentials are laid bare and the cards are on the table. X has form and once played with punks legendry icon Stiv Bator before his untimely death but will be most known for being an integral member of 80s punks  Sigue Sigue Sputnik as well as playing with Adam Ant. It should also come as no surprise that Almond has a history of post-punk even when his pop career took off as the vocalist for Soft Cell but this Bowie, Iggy & Reid-influenced garage rock adventure is a fresh and vibrant romp through the late 60s and 70s garage rock genre from the covers they take ownership of and the original songs they insert through this love letter to good time underground Garage/glam rock.

‘Wild In The Streets’ is the perfect uptempo opener and showcasing Almond and X’s songwriting and their love of some loud, raw guitars and all things sleazy Rock n Roll. ‘Putty In Your Hands’ is a groovy bubblegum blowing hypnotic slice of Rock n Roll. It’s the zipped up, collars-turned-up leather jacket we all wish we could pull off whilst leaning on the jukebox whilst chewing on a lucky strike, no filter of course. There’s more to these cats than just being a covers band, to be fair even if they were they’re one formidable and cool covers band. Having Iggy’s rhythm section along for the ride adds yet more authenticity and throw a guest appearance from Glen Matlock on ‘Pills’ and you have a covers band that knows a thing or two about garage punk n roll and they are cooking on gas and we’re only halfway through side one.

Their take on The Sorrows ‘Take A Heart’ perfectly suits Almond’s vocal style and to be fair running through The Kinks ‘I’m Not Like Anybody Else’ is a smokey and exceptional take and rather than going for a better know song from the Davies catalogue they’ve chosen well. The last track on side one is the smouldering slow burner ‘Dark Side’ that suits Almond’s crooner persona but the beauty is in the guitar breaks that pepper the track like shooting stars in a misty evening sky lighting up everything beneath it showcasing a band who are right on the money and in love with what they do adding authenticity and star quality to a fantastic side of music.

Flipping it over side two begins with another Almond and Neil X composition ‘Nothing At All’ and then a few cover tracks the first culled from their previously released EP ‘Hot Hard & Ready’ before chasing through another Alice Cooper band track the fantastic ‘Under My Wheels’ but then they delve into the 13th Floor Elevator Roky Erickson track ‘You’re Gonna Miss Me’ again pure garage rock goldust. In a moment of clarity and pardon my ignorance, but, the trippy take of ‘Shape Of Things To Come’ ties it all together in a homer moment because the original is from this fictional band Max Frost and the Troopers taken from the movie ‘Wild In The Streets’. There you go for anyone else (like me) who might be a bit slow on the intake. which only leaves ‘I’ll Be Gone’ and we’re out of here and a thoroughly enjoyable and authentic record is done and dusted and their love of the music shines through and infects anyone within listening distance of the speakers. What a way to draw 2023 to a close than with a really enjoyable Rock n Roll record that makes me warm and happy whilst a tip of the hat to the past and fist bump to the future we should never forget where we’ve come from and thanks to records like this we won’t – to the songwriters they’ve chosen to represent so well and who helped shape this record I thank because The Loveless just became my Christmas party album for 2023. Buy It!

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Author: Dom Daley

We’ve been on top of what’s coming out of Australia for a while and along with Stiff Richards we’ve championed Civic from their EP ‘New Vietnam’ (five years ago) to their debut album (Future Forecast) and the much anticipated ‘Taken By Force’.

The cassette ‘live on PBS’ was in on heavy rotation at HQ hipster mobile tape deck for ages until the tape snapped. Thankfully, Civic have their act together and their albums are now readily available on this side of the spinning rock which is marvellous. No more crazy import prices for our rock n roll imports all of that and a short UK tour this summer.

‘Taken By Force’ is eleven songs including the opener/intro with its siren and military snare march entitled ‘Dawn’ before the “rough as” punk rock snarl of ‘End Of The Line’ kicks in. It’s got an air of confidence about it – they know they’re onto something with songs that kick ass and rock and roll with the attitude of their forefathers the likes of The Saints, Radio Birdman and MC5 all obvious influences, Civic have most certainly got the chops and the tunes to back it up and go toe to toe with anyone. These guys walk the walk and talk the talk.

The title track has a rasping acoustic guitar lying underneath the electric guitar as the gang vocals spit out the verses toward the chorus before heading back to the start. It’s not rocket science its just the beauty of writing resonating Rock n Roll garage style and doing it oh so well. I love the guitar solo thats like tryign to ride a wild horse without any saddle and that beast is pissed but you do it anyway and do it with style.

The songs generally weigh in at the sub three minutes which is short enough for anyone to deal with especially when its got the tempo of a runaway train like ‘Fly Song’. Trick of The Light’ is the exception to the rule clocking in over five minutes long. Sounding like a masterclass in The Hangmen style as its brooding tempo and swagger its a real banger as it grows like a shadow engulfing a wall.

Hang onto your strides because ‘Born In The Heat’ comes in like a rampant jaguar galloping with menace. I’ve only had it to play for a few days and I feel like I’ve been playing it for months the ebb and flow are excellent and the songs change as to what’s better the slower numbers or the out-and-out rockers. ‘Neighbor Sadist’ slashes from slower menace to out and out swinger with Lou Reid New York era poking me but with a bit more venom in the delivery.

‘Time Girl’ is just wham bang thank you man as it races to a conclusion. ‘Blood Rushes’ has grown and grown on me with its measured tempo and melody before the record signs off with the lapping of the waves of ‘Dusk’ signs off quite left of centre but it does help sooth the savage beast after quite a workout leaping around to ‘Taken By Force’. If you’re not already on board then do yourself a favour and get on it – you wont regret it at all. Civic gotta love em the abslutely rock!

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Author: Dom Daley

As we gathered slowly in the cavernous Hammersmith Odeon at the ungodly hour of half six the Italian trio Smalltown Tigers strode onto the vast stage and proceeded to deliver an energetic set of power pop punk rock with some great hooks and plenty of tunes The Smalltown Tigers seemed to be loving life. It’s a shame there wasn’t a capacity crowd in already as I think that would have helped with the energy of going on so early but it would have been a tick off the bucket list to tell anyone they’d played the famous place and with The original Damned. I think had it been in a small tight club these three ladies would have enhanced their reputation tenfold so until next time…

Next up was the ever-enthusiastic TV Smith & The Bored Teenagers who proceeded to waste no time in taking out two mics, getting tangled with a third in the bass player guitar lead but still managing to race around like a teenager. TV delivered a really good set with an impressive catalogue of songs always opening with ‘No Time To Be Twenty One’ which set the tone. Playing with boundless energy and class and ending with a rather splendid hattrick of songs in ‘Bored Teenager’, ‘Gary Gilmores Eyes’ and ‘One Chord Wonder’ leaving the stage to rapturous applause to a now swelling audience.

TV was followed by The Skids who again rose to the occasion with an impressive ten-song set that included (the U2 song) (I know I’m only yanking your chain) ‘The Saints Are Coming’ an excellent ‘Circus Games’ some memorable as did the Hits of ‘Yankee Dollar’, ‘Masquerade’ and the most excellent ‘Into the Valley’ Jobson dancing and some very amusing banter from the frontman as well. By now the venue was packed and everyone seemed in a great mood up for it and joining in which was fed back from the stage before playing tribute to brothers’ fallen as a worthy rendition of ‘Complete Control’ was covered and they thoroughly deserved their ovation as they left the stage.

Finally, the moment had arrived and a show they said could never happen was upon us and the excitement was building. Well, It was just about to bloomingwell happen. when these four walked off stage back in the turn of the 90s I thoguht like many (the band included) that was that, never to be repeated but sometimes if you dream hard enough those dreams can come true.

Now I know Damned fans can be a funny old bunch and famously hard to please but not this bunny, nope me I thoroughly enjoyed turning back the clock. It was exactly what I’d hoped it would be, the incendiary debut album with a healthy splash of ‘Music For Pleasure’ teetering on the right side of under-rehearsed and as garage as fucking possible. Fuckin’ beautiful! So they’re a lot older and Brian was physically a bit shaky but fuck me the man has magic in those fingers and a tone to die for. Rat was never a drum tickler; more a smash-and-dash player who played with his heart on the inside of that snare he always felt his way through songs knowing when to give it some (al a Moon) and when to lay back and shuffle and you never lose that if you’re one of the great. Rat Scabies is one of the greats and tonight he played like he was actually enjoying it and the realisation that fuck me – The Damned could play and more importantly, they had the tunes to go with the chops.

sure right from the off Captain and Dave looked like they were on top of the brief and were enjoying being part of history and for this to work there wasn’t time to fuck about or scratch old wounds this was a celebration that they have endured and triumphed in the face of adversity and competing with a pandemic this day had finally arrived and it was spectacular.

Now I’ve never subscribed to the misconception that ‘Music For Pleasure’ was a dud and on the back of the spectacular debut they’d run out of ideas and tonight I was overdosing on the record getting my fill of tunes from the horn-honking ‘Alone’ to the MO of ‘You Take My Money’ via the non-album tracks like ‘Stretcher Case Baby’ and the splendid ‘Problem Child’ they should champion that bloody record and tonight it got a fair airing.

Brian delivered the abrasive garage chops with tone and panache and plenty of volume whilst the much-underrated rhythm section of Captain and Rat held it together in fine fashion. So it was hanging on by a thread at times but that was always part of the appeal, wasn’t it? This was punk rock with a huge dash of Garage just like Their heroes The Stooges this band could go toe to toe and in my humble opinion give Iggy and the gang a TKO on the song front as a friend once said to me The Damned were his Beatles and I have to agree having seen them dozen and dozens of times over many decades this one seemed special, after the pandemic and shall we say disagreements this seemed special, Cathartic, emotional and just about perfect.

The band was smiling and actually looked like they knew this was the right decision and playing these songs again together was absolutely the right thing to do and that shone through in their delivery. Vanian must have struck a deal with Beelzebub as he looked as lean as he’s always done, stalking the stage, sometimes in the wrong key sometimes not, but who actually cared it was never meant to be anything other than four men hammering out some of the finest songs ever written, their place and time in music should never be a footnote to the Pistols and Clash but the other way around they were the first to kick this off and trailblazers they have always been and paying tribute to their achievements as those trailblazers the set was perfect with a fine balance of debut album songs – hell, they even smashed out a brutal ‘Stab Your Back’ which might have been the tightest song of the night. From opening with ‘I Feel Alright’ this was more than alright this was beautiful right through to ‘New Rose’ but not before they delivered ‘Pills’ and as they’ve done before it was a poignant ‘the LAst Time’ and into the night the four heroes went. That was emotional just like Rock and Roll was intended to sound. Raw, electric, and dangerous. Fuck I love The Damned, can we do this again sometime, please?

Author: Dom Daley

The indelible Jon Spencer (Blues Explosion, Boss Hog, Pussy Galore, Heavy Trash, etc) is back in the room and this time he’s brought The Hit Makers whilst the Blues Explosion takes a break.

Well, What does it sound like man? Is it a departure for Jon has he gone pop? First off you get plenty of bang for your buck as this bad boy contains Thirteen phat beating, fuzzed up, Groovy Rock n Roll baby, and that right where you want to be. Hell, it’s Jon Spencer god damn it. ‘Junk Man’ is like the beastie boys got transported into Spencer’s head and he poured out that hustling groovy vibe with a paper thin synth lick on top of a big beat with added howling from your main man, Perfick innit!

Spencer sure does get things lit as he delivers his fucked up sounds and if you’re not on board by the time ‘Get It Right Now’ is in full flight your head is rumbling to the backbeat and Spencer’s whack vocals and lyrics. Gets It Lit delivers in spades, it’s exciting, Fucked up, depraved, and all in his inimitable gonzo style. It sure is a head fuck and ‘Death Ray’ is only the third track on offer. As the guitar flickers to life via a paper thin lick its a shuffle and some tweaking blinking synths as Spencer dishes out his sermon about God knows what (a second inside his head would terrify 99.9% of the population Who knows how he manages to get that shit out and onto tape at the best of times but I can’t help but feel that he’s got a cheeky grin in the booth when recording this record. It’s messed up for sure it’s a melting pot like no other but damn it’s good. fuzz guitar, fat synths, rhapsodises, Wild guitar breaks, and lyrics intended to mess with the most stable mind. Spencer Gets It Lit for sure. Whilst there is a lot going down it sounds like the best of times and a lot of fun melted into the plastic on this disc.

I’m loving ‘Primary Baby’ for its solid groove and great vocals. Playing this on jaw vibrating volumes takes it to the next level and is a lot of fun, even the neighbours would agree. I’d love to hear Jon do a collaboration with Bobby Gillespie I think they could make some sweet sweet music and ‘Bruise’ is what made me think of that musical marriage. “All I Want Is Everything” he shouts out but I think he’s already got everything, well, except the kitchen sink – This I know because I’ve been playing this record for days and to be fair it’s probably got the kitchen sink in here somewhere.

By the time we get to ‘Push Comes To Shove’ I need a time out and to sit in a field to gather myself before I dive back in for the rest of this beautiful noise. ‘My Hit Parade’ is about the straightest song on here just a twisted pop song with some twang on that guitar.

‘Strike 3’ is a stonker with a sharp guitar lick and some garage beats for good measure. The record signs off with ‘Get Up And Do It’ which is like he’s brought up the ghost of Lux and walks off into the sunset with a touch of Cramp. I hope the next offering isn’t too far off because this was a blast! Now lets all go get Lit!

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Author: Dom Daley

Holy shit! It’s been way too long since I stood in a room with these reprobates knocking out loud filthy anthems for the more discernable music lovers amongst us. But Saturday the 3rd of October with enough people doing the right thing this event was going to happen and boy did it.

Bournemouth’s The Electric Shakes opened proceedings with a most enjoyable set of rapid bad boy boogie and tinged with enough Garage rock n Roll to shake off any long overdue cobwebs it was a pleasure to hear a trio knock out tight tunes with songs like the excellent ‘Hound Dog’ riff-a-rama grinding away at your eardrum these gentlemen are well worth checking out and are a fantastic opener on tonight’s triple bill.


Next up were the local boy’s Deathtraps who had a whole bunch of new tunes to air from their Argos book of tunage. To be fair the new ones were instant toe-tappers and slotted in very nicely alongside the more well-worn numbers from their previous recordings and on the strength of tonight’s performance, I think fans old and new will be in for a treat when the new record gets released. The band sounds tight and the dual vocal attack works really well to add texture to their sound.



All you can ask for is that your favourite bands make every album better than the previous one before they inevitably break up or come to a messy end. Deathtraps have tunes kids and are carving out a style of their own by fusing the best parts of the ones that influence who and what they are. Rumours of an encore of ‘Tears Are Falling’ Newport style were sadly unfounded but they did leave the stage to beaming smiles and very warm applause from the discernable audience.  they did kick off proceedings with an excellent new song ‘Red Eye’ and peppered their set with new songs ‘Rip Em Off’ and the set closer ending on a real high ‘Never Had It So Good’ and to be fair it summed up the moment as lockdowns (fingers crossed are a thing of the past) and people get more comfortable with getting out and about with friends and fellow gig goers and its a pleasure seeing beaming smiles all over the venue as the bands entertain and blow off any cobwebs that might have gathered.  Deathtraps left us wanting more – great set (and more of that cowbell, please).

Onto the main course and Nottinghams finest The Hip Priests who have managed to not lose anyone through lockdowns and had enough pent up aggression to fuel five bands let alone one.  Never mind fuel crisis either because they could have got across country on the fumes of hatred for where we currently sit with Brexit and a continuation of tory lies and bullshit being the catalyst for some of the bands best most recent songs.


As always von Cruz was moving between guitar swings like he’s some fluid airbender punching and kicking his way through some classic Priests songs that seemed to get louder and louder as the set developed and the bookend duel guitar maestros of Ben and Austin compressed the energy and absolutely slaughtered Le Pub.  There were no signs of rust or the fact they’d not been doing this for so long it was as if they’ve been energised by the layoff and kicked the living shit out of the set as Priests classics from opening with the appropriate ‘Survival Of The Shittest’ then ripping headfirst into the latest albums title track ‘Stand For Nothing’ it was obvious the kings of Garage punk were on fire.


New track ‘Tiger In My Tank’ sounded fantastic and wedged between the epic ‘Zero Fucks Given’ and their thirtieth single ‘No Stranger To Failure’ was simply sublime and the band were hitting the groove lots of us know they’re capable of.  At times it seems effortless but the evening was moving through the gears and tonight the Hip Priests were simple on fire.   There were a few classic Priests track omitted from the set and an excellent flow to proceedings, sure ‘Jesus Died’ was played as was ‘Mother Fucker Superior’ and ending the evening with a sonic flying kick to the temple with ‘Juiced Up’ was nice.  


Still the champions of shit Island and still the best noisiest band in the underground, I know it, they know it and you know it but how long can they be our secret.  Post pandemic wish list is for these bastards to break out and show everyone how it’s done.  Fast, Loud, filthy and most definitely rocking. Nobody does it quite like the Hip Priests – Maybe not so young but definitely loud and always snotty! I fuckin’ love the Hip Priests and it’s great to be back! Newport as always delivered, see you next time.


Author: Dom Daley (spasm Gang member #3)


15 years of misanthropy, noise, confusion, hate, and contempt. Join the celebrations/commiserations on Saturday 4th December at Fiddler’s Elbow – Camden with FLASH HOUSE, Seven Days and Doesn’t Die and Continental Lovers.


Saturday, December 11th and you’re all invited (obvs) Bring the Xmas cheers and Liquid Light Brew Co Tap Room will bring the beers.

Yet another killer record of well crafted fuzzy punk rock has landed in my inbox from down under. Public transport companies worldwide should take heed of the Australian alternative rock scene due it’s sheer reliability and quality service. Lining up nicely with their fellow alumni of Zombeaches, Stiff Richards and the classic go-to benchmarks of the Saints and Radio Birdman, but also showcasing their album to album growth here on record number 5.

First track proper ‘if you only knew’ storms in with the rock radio potential of Gaslight Anthem but with it’s roots still heavily in a dirty garage rock sound, demonstrating enough force to make the purists take notice.
The release continues in this vein, with the sound having formidable presence like that of an big old folk ensemble or the outnumbering force of the E Street Band. Just as track ‘too many years’ rolls around, you think the bubble has burst and the pace has relented. But after a sublime intro the band shows even more intensity, a chest thumping rhythm, excellent guitar effects all combined with an infectious sing along chorus.
The whole record maintains this same trend without sounding repetitive or predictable while keeping a strong momentum, showing great promise and well deserving in getting their name out there on the national scene. The only dismissive I can say about the album is it comes to an end too abruptly, but when you look at the groups solid output of five releases in the past five years no one could ever accuse them of phoning it in.
With a physical UK release on the cards at the end of the month and recent gigs by the band in Australia, here’s hoping that we can all look forward to a tour to promote it when the world hopefully pulls out of this nosedive.
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Author: Dan Kasm

I first came across the work of Melbourne Garage Punks Civic when I happened to be browsing Bandcamp and ‘New Vietnam’ leapt out on me and I duly ordered the cassette tape (hipster) resisted growing a beard but had the EP on repeat for a while.  The band then emerged releasing a trio of singles over the past few years, including a cover of The Creation’s garage classic ‘Making Time’ Time really does fly by even during a pandemic as ‘New Vietnam’ was out in 2018 its now 2021.

They’ve made a considerable leap to the cleaner, sharper more purposeful sound on display here. the band brings a melodic edge to their muscular Garage punk without losing any of their intensity or grooves.

‘Future Forecast’ moves through the gears with ease from the more catchy songs like the single and opening ‘Radiant Eye’ through ‘As Seen On TV’ to the lap steel guitar and brutal riffs of ‘Tell the Papers’. It’s a really confident record that has a swagger and a cockiness that says Civic knows they’re good and ‘Future Forecast’ will have many people sitting up and paying attention to what they’re hatching down under.



If you (like me) loved ‘New Vietnam’ and are worried they might have moved on and left behind the punk and power then fear not because ‘Another Day’ is straight out of the ‘Young Loud and Snotty’ songbook,  ‘Hollywood Nights in Hamburg‘ with its retro proto-punk leanings is a real blast of energy, ‘Just a Fix‘ (with its raw riffage is a blast) and ‘Velvet Casino‘ all crackle along with the attitude and snot of their humble beginnings. Making this album an absolutely essential purchase.  If you love your music with riffs, attitude and above all great songs then this is for you.  It’ll breathe life into the Garage Punk Rock and Roll fraternity and give other bands a jolt and a tap on the shoulder because these boys are moving in and taking over.


Many of us have been heralding a new dawn for Australian music, ok sure The Chats and Amyl & The Sniffers grabbed a lot of overseas plaudits and rightly so but scratch the surface and there beats the heart of the beast and bands like Civic are rising up with killer albums like ‘Future Forecast’.


I’ll make a prediction, along with Stiff Richards, civic are the dingos danglies and more dangerous than 90% of the wildlife also residing on their island.  Get on it before it’s too late. Civic is the band ‘Future Forecast’ is the album so pour yerself a cold VB and get on it.  Now if they could get some UK and Europe Distro the job would be a good un and my work here would be done.

Buy Civic Here or Bandcamp


Author: Dom Daley

I have been spinning this album off and on for a little while now. When I first went to write my review, I wasn’t feeling it as much and then we had the great freeze in Texas where we lost our power and just tried to stay warm. The album clicked soon after that, and, while I don’t quite see it being in my top 10 at the end of the year, I am really enjoying the album more with every listen.


The Flaming Sideburns first came onto my radar when they did their split album with the Hellacopters many many years ago which I loved, with the band itself tracing its roots back over 25 years now. After many years, they have returned with this new album that finds the band staying true to their roots.

‘Silver Flame’ has proven to really be a grower as an opener. For whatever reason, it took me more time to really connect with this slice of action rock. The chorus contains a solid hook, and that guitar refrain does get lodged in the head. Follow up ‘Perfect Storm’ feels slightly more subdued until the chorus grabs you by the neck and pours itself into your head. Musically, this one swims in the same musical pool as the Hellacopters around the ‘High Visibility’ and ‘By the Grace of God’ period. The slow opener of ‘A Song for Robert’ hits the heart hard with the band turning the energy up as a celebration of life before settling back into a somber ending that just really works well for all the song is capturing.

Up next, ‘Cast Out My Demons’ has a beat that I really enjoy, but the song overall is not one of my favorites from the album. With the way the album has grown on me, I might be feeling different in the future. ‘Reverberation (Doubt)’ oozes out of the speakers with a slow groove that remains one of my favorites from my first listen. The vocal hook is simple but works incredibly well. Musically, it lives up to its title as it will take your mind and soul on a journey if you close your eyes and give into the music. Closing out the first half of the album, the guys channel some straight forward classic rock with ‘Lighthouse Keeper.’ The chorus is a grower while the musical hook will sink its teeth into the listener first, with the break in the song serving to make the end of the first half of the album rather special.

Kicking off the second half of the album, ‘Soulshaking’ explodes out of the speakers with a shot od adrenaline. The chorus induces everyone listening to sing, and I have found myself on occasion wondering if this album would have grabbed me right away if this were swapped with the album opener. The action rock continues with ‘Searching Like a Hyena’ keeping the musical urgency at a high level, even if I have found myself pondering how a hyena actually does search for things. It would be a cool world though to hear teenage boys dedicating this to girls on radio stations around the world. ‘Freak Out’ does not stay around long with its awesome groove making it another one of my favorites.

‘Neverending’ slows the pace a bit and feels like a slower brilliant nugget from the 60’s that ramps up more intensity as it progresses. It provides some great musical depth to the album as well. ‘Nibiru’ arises with a killer guitar riff and some backing vocals that perfectly set the tone. This is another of my favorites from the album, and I love how it leads into closer ‘Trance-Noche.’ If your body is not moving during the last two, I really don’t know what to tell you. My Spanish is rusty, but it doesn’t stop me from badly singing along while breaking out my air guitar.

As I said at the beginning, this one has been a grower of an album for me. Each listen brings out more and more from the album which is awesome for the listener. To borrow from the closing song- listen, listen now, give this album a few spins to worm its way into your musical world. You will be glad you did.



Buy ‘Silver Flames Here


Author: Gerald Stansbury


It’s Time to Testify (1999, Bad Afro Records, compilation)
Hallelujah Rock’n’Rollah (2001, Bad Afro Records)
Save Rock’n’Roll (2002, Ranch Records/Jetset, US version of Hallelujah Rock’n’Rollah)
Sky Pilots (2003, Ranch/Jetset; 2004 Bitzcore)
Keys to the Highway (2007, Ranch/Bitzcore)
Silver Flames (2021, Svart Records)

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