Black Viiolet -‘Dark Blue’ (Adrenalin Fix)

Black Viiolet -‘Dark Blue’ (Adrenalin Fix)

Black Viiolet released their full-length debut only a year ago and has returned with an expansive and more realised second album. Nicole Laurenne created Black Viiolet to explore a musical world outside of the garage rocking Darts, who are also releasing a brand-new album at the same time as this one. Black Viiolet explores a jazzy, retro sound with trip-hop beats. Similar to their debut ‘After You,’ this album sounds best when the sun is setting or in the darkness of the night. This album is going to slip inside your soul.

The title track oozes out of the speakers and creates a feeling of sliding off Main Street into a dark alley with a couple of dim lights over a door where a small crowd has gathered. There is a cinematic feel as you go through the door and descend an old flight of stairs. As you enter, you see the band on a small stage playing a sultry song with the crowd hanging on each word that is sung. I have always thought Laurenne’s vocals work perfectly with horns, and the sax and trumpet here sound amazing. ‘One’ feels like it has been lifted from the 70’s with a great beat, and the horns again work perfectly, giving the song a great musical hook. Laurenne knocks out the vocals with a bit of a trip hop fee,l like she has been doing it for years. For those who just know her from a couple of her other bands, The Darts and The Love Me Nots. Her work as Black Viiolet will be quite the change for you. The spotlight shifts across the small stage to the bass for the start of ‘Take Me (Or Leave Me).’ The chorus brings in a Middle Eastern touch, and I love the drum work through the song. The groove in this song does not let go.

Jazzy ‘Gimme Your Love’ finds you at the bar getting your gin and tonic. The stage is closer. You can feel the heat from the stage lights as the vocals pick up some extra volume now, and the horns are right in your ear. You spot an open chair in the middle of the room and make your way there as the song ends. ‘Not Too Bad’ opens softly before the band surges forward. There is a friction between the verses and chorus that mixes beautifully, and the piano solo complements the song perfectly. Laurenne has performed ‘Why Don’t You Do Right’ all around the world and has finally included it on the album. There is a power to the song where you can see the smoke in the room clearing away from the piano and Laurenne giving way to her vocals. ‘Bye’ begins, and you see the couple arguing in the corner. The lady leaves, and the guy quickly finishes his drink, while stumbling back to the bar. You think of lost love and empathise with both as you finish your own drink.

The slinky groove of ‘Got Me Down’ finds you ordering your next drink. The interplay between the vocals and the band are divine. I love the vocal hook in the song, and, like earlier, the refrain from the horns is extremely catchy too. ‘Don’t Fade’ showcases the power of love through the best moments and the agony of being apart. There is an extra bit of pop in the drums to emphasise the vocals. The buzz from the drinks has brought a warmth to your soul as you know the time to leave is getting close. The soulful ‘No Fool Like Me’ again showcases the chemistry between all involved in the band. The backing vocals here take the song to another level as they are mixed deeper in the mix. Laurenne’s vocals build in power and determination as she sings to convince herself and not anyone else.

Last call at the bar is happening, and the band have launched into the jazz rocker (am I inventing a genre?) ‘Just Met.’ The vocal interplay on the stage keeps you in your chair a bit longer. This is the kind of night where you know you caught lightning in a bottle by witnessing an incredible band delivering a peak performance. As you start to think nothing could be better, the band launches into their final song of the night, a torch song called ’Whiskey Eyes.’ Laurenne’s vocals begin the song, and the entire club falls silent. She plays the piano and sings in the central spotlight while the lights slowly return to the whole stage. For me, this is my favourite Black Viiolet song we have received yet. Her vocals are beautiful and leap out of the speakers. With that, the house lights release their brightness, and the jukebox begins playing our bonus track ‘One’ with Blag Dahlia making it a duet with Laurenne. It’s a great end to a great night.

Nicole Laurenne has provided two great albums to begin 2026 with totally different feels. The garage rock of the Darts provides one outlet, while this jazzy soul album provides your soundtrack for the twilight and midnight hours. Black Viiolet continues to flesh out their sonic palette with an album I cannot wait to spin on the record player.

Buy Here

Facebook

Author: Gerald Stansbury

Large Mirage -‘Wings of Time’ (Self-Released)

Large Mirage -‘Wings of Time’ (Self-Released)

Time travel exists. Don’t ask me how it works, but I definitely have proof. I am going to urge you to check out the proof as well. Apparently, the event happened down under in Sydney, and the four-piece band Large Mirage found themselves transported from San Francisco back in the late 60’s to Australia in the 2020’s. A fortuitous rabbit hole one night on YouTube made me aware of Large Mirage. This second EP by the band stuck with me immediately, as I found myself wishing I could play multiple songs at the same time. The band takes a Nuggets approach to their music and is not afraid to put some pop filled choruses in them when needed.

‘Miss Okay’ kicks off the EP and was also the first song I heard by the band. The song reminds me of what was coming out of the garage nuggets from San Francisco way back in the day. The verses have very melodic, fuzzy pop vocals which give way to an even more harmony-filled chorus. The guitars have some bite to them as well. I can almost picture the Monkees watching them play back in the day, heck, maybe that is how they got transported to modern day. ‘Happy Now’ might be my favorite song from the,m as the song has more heaviness to it. The guitar riff could be lifted from the likes of Black Sabbath or Alice Cooper if it were cut out of the song and surrounded by some heavier drums. The chorus remains as catchy as the first song, but does so in a darker way.

Midway through the EP, ‘Wings of Time’ provides another catchy guitar riff with a hypnotic vocal. The guitar solo feels enormous and gets plenty of space in the song. When Rhino Records was releasing their Nuggets box sets (some of the greatest sets ever), I would expect to hear songs like this. That said, these songs sound fresh and vital today. The band then turn in a short acoustic ballad with ‘I Don’t Love Love.’ Everything turns technicolor while the song plays; I am pretty sure I just saw some dandelions sprout out of some really bright green grass when this song was playing. The band closes out the EP with a nearly five-minute rocker that delivers some epic passages and catchy vocals. The guitar solo rips through the speakers with all five songs leaving listeners wanting more.

Large Mirage delivers the goods, and I still maintain they are proof of time travel. The sound may come from many decades ago, but they feel current and essential today. I can see this band continuing to grow, and they won’t be a secret for long, especially when word is they are also an excellent live band. Tune in and crank this up!

‘Wings of Time’ is available now. Buy Here

Facebook

https://largemirage.com

Author: Gerald Stansbury

The Southern River Band ‘Easier Said Than Done’ (The Southern River Band/ Civilians)

The Southern River Band ‘Easier Said Than Done’ (The Southern River Band/ Civilians)

As the debates for album of the year begin and new releases start to slow down at the end of the year, the Southern River Band (SRB from here out in this review) have walked up to the table and threw a razor-sharp switchblade in the middle of it to command everyone’s attention. SRB has delivered some excellent songs in the past, and their last album (‘D.I.Y.’) was really good, even though it felt much more like a collection of songs than a proper album. The early songs from this album mostly grabbed me right away, but I had no idea that this would immediately be put on repeat. Do you ever listen to a new album and wish there was a way to listen to every song at once, because this is what this album does?

SRB kicks things off with one of the early singles, ‘Don’t Take It to Heart’, whose video showcases some of the humour the band incorporates. As a song, it is a hard rocker where the hook is huge with Cal Kramer’s vocals having a special quality of being infused with heart, soul, spirit, and a charisma all its own that allows him to deliver killer lyrics across this whole album. Being from Australia, there is an AC/DC influence in the musical mix, but I really think there must just be something in the water that makes that happen. The guitar solo blasts its way through the speakers. Great work by the rhythm section establishes ‘Something’s Gotta Give’ as the song is part blues rocker and part anthemic hard rocker. The guitar riff commands air guitar participation. There are some twists and wrinkles through the song that really elevate it to a whole other level. ‘Bad Luck Baby, Bye Bye’ slightly slows things down to really work a riff that is pure rock n roll from the same well as the Rolling Stones and Faces. The lyrics jump out here with the chorus being an immediate sing-along opportunity. 

Slowing things down with the semi-ballad ‘It’s What It’s,’ the band crafts an introspective journey about growing older and looking at life. I’m sure this will be a song in future live shows, where the crowd is ultimately who sings the song. The subtle musical touches provide the perfect counterpoint to the more rocking ‘One Last Dance.’ There is a strong ’70s influence in the verses, with a chorus that is somehow subtle and also hits the listener over the head. The band ends the first half of the album with the excellent ‘Suits Me, Just Fine.’ The lyrical reference to Van Halen seems appropriate for SRB as well. There are some David Lee Roth years touches across the album through both the vocals and lead guitars. These songs are timeless in their approach. At one point, I thought this could have been what Stillwater from the movie ‘Almost Famous’ would have done a few albums down their imaginary career.

Midway through the album, there has not been a moment or a song where I have not connected to the music. SRB provides a new wrinkle with acoustic guitar driving the opener of bluesy ‘All Over Town.’ It is a brilliant addition to the album and sets up the explosiveness of the rest of the song. The guitar work across the album is awesome, and there is some added slide in the mix here. There was one early single where I was not initially grabbed. I listened to it once or twice, but did not keep going back to it like I did with the other ones. My first time listening to the album thoug,h the song clicked in a big way. ‘No Such Time’ has a cool 70’s bluesy rocking groove, and I don’t know why it didn’t immediately click. I also cannot explain how it went from not clicking to a favourite among favourites. The dual vocals provide another atmosphere to the album, and this one also fits that earlier motif of Stillwater years later. The bass and drums are locked in an awesome groove. The band continue to throw in new elements with ‘Lay It On Me’ reminding me of the Rolling Stones when they incorporated some of those disco-type beats, or what Kiss could have done if they had made “I Was Made for Loving You’ a hard rock song first and then added the other elements. I could see a music video where the band is playing on American Bandstand back in the late 70s or early 80s.

The final quarter post of the album kicks off with the rocking ‘Fuck You, Pay Me’, where we once again see the humour the band incorporates into their lyrics when appropriate. It is another huge hook and sing-along song that fuses itself with the listener. This is where I suggest y’all buy something from the band so Cal doesn’t have to try and sell his gear or a kidney. ‘We’ve Got Plans Tonight’ cranks up the rock n roll and feels like the Quireboys (without the piano). At just over two minutes, the song demolishes the room in record time, with a harmonica solo being the cherry on top of this sonic jubilation. The band could have made this the album closer and had it swap slots with ‘One of These Nights (I’ll Be Gone),’ but this order works brilliantly too. They end with an epic ballad (and the current single) with a catchy ‘I’ll be gone’ refrain. It is not hard to see the live crowd swaying their arms with their cellphones, lighting up what should be an arena.

SRB deliver 12 outstanding songs without missing a moment across the album. Each element here really is lightning in a bottle as the album delivers killer songs, great mix and production, and a cohesiveness that brings everything together. The follow-up album will be a tall task filled with huge expectations now. That is for the future, though. Let’s take time to enjoy a very strong album of the year contender, but more importantly than that, an album to play continuously in the many years to come.

‘Easier Said Than Done’ is available now.

Facebook

Buy Here

Author: Gerald Stansbury

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

No Sugar – ‘Last Call’ (Sabotage/ La Angonia de Vivir/ Ladies & Ladys)

No Sugar – ‘Last Call’ (Sabotage/ La Angonia de Vivir/ Ladies & Ladys)

The world is blessed with so much new music that great music can slip right through the cracks without us even noticing. ‘Last Call’ was released upon the world in June, and I almost completely missed it. No Sugar comes to us from Germany, but I do not have much additional information about them. I have found an older full-length album from 2019 and an EP from 2018. What I do know is they have released an entertaining and engaging full-length album that will likely hit the sweet spot for a lot of you reading this right now.

Lead song ‘Time Without Money’ begins with a catchy beat that recalls the likes of the Hives or a rocking Royal Republic song. The chorus is catchy without being overbearing, and the final adrenaline rush over the final 30 seconds is done perfectly. ‘Freeway to the Firedome’ reminds me a bit of Frankie and the Studs who released a classic album of the year contender at the start of 2025. For those, like me, who miss Heavy Tiger, check out this song as your entry point. I swear there is another universe that features songs like this, so they are the huge hits they deserve to be. While I try to find a way to make that happen, let’s move on to the punky ‘Burn Both Ends’ where the band does not let up on the high-quality songs. Feeling a bit 77 influenced, the lead vocals fit perfectly and the transition into the guitar solo is sublimely done. The line of “I did it for the money, but I’m still broke” must be relatable for most of us.

‘A Scroll in the Park’ creates some awesome dynamics between the verses and the chorus where the chorus feels like the drums could move a mountain. The spoken word part in the song provides a cool change of pace. Wrapping up the first half of the album ‘We Need New Enemies’ showcases an album that moves from strength to strength. The guitar riffs recalling some action rock air guitar greatness. The mix on the album nestles the vocals right into the music providing a live feel, and it also allows the choruses to become stronger and stronger with each listen.

The flipside starts with the monstrous ‘Reverse Offender’ filled with guitar riffs and a beat demanding your fist go into the air. If you want some sort of comparison, thing back to the Glam Skanks first album mixed with some Gluecifer with excellent lyrics. The tempo continues to surge through ‘Indefinite Doomsday,’ and I cannot help but think how awesome this would all sound live in a dive bar where the sweat is dripping off the walls. ‘Brides of the Night’ slows the tempo slightly and feels like a manifesto. I love the guitar work through here. I could see Joan Jett doing this musically.

The album then throws two curveballs at the end. ‘Deep Fryer Blues’ slows the pace a bit more for a cool groove that feels like it is lifted from the Nuggets era with a different lead vocalist for the first half of the song. This song will get many glasses raised in the live setting. In an album that only reaches around 25 minutes, the band has worked in a great rock n roll album and leaves no clues that we will have an acoustic song with a banjo at the end. ‘No Song’ feels like a live singalong along the lines of the Wildhearts ‘Don’t Worry About Me.’  

No Sugar have delivered ten high quality songs that connect with me and form a great album. This is definitely one to seek out and then tell your friends AND enemies so more people can spread the word. Until someone lets me program a radio show, I will stand here on my soap box letting people know they need to listen to this album and others that deserve to be heard by the masses. No Sugar has served up a sonic delight.

‘Last Call’ is available now Here

Facebook

Author: Gerald Stansbury

Hot Milk – ‘Corporation P.O.P.’ (Music for Nations)

Hot Milk – ‘Corporation P.O.P.’ (Music for Nations)

Hot Milk’s full-length debut from 2023 was my co-album of the year alongside the debut by James and the Cold Gun. Before their debut, they had released several EPs which showcased a band developing sharper edges. Their debut album ‘A Call to the Void’ showcased their diversity and felt more like an album that was looking inward than this new one, where they turn their rage towards the current state of the world. What hasn’t changed is the band crafting songs with huge hooks that should appeal to a wide variety of music fans.

‘(How Do I) Make the Devil Fall Asleep’ kicks off the album with a beat that should get the live crowd’s fists in the air before Han’s vocals take control for the first verse over minimal instrumentation. Jim’s vocals then enter, and the intensity continues to grow until they reach a modern rock style chorus. Part of Hot Milk’s trademark has been the gift of having Han and Jim on vocals. They each have their own strengths individually and are easily identifiable from other vocalists, but the other magic is the way they blend together. The intensity continues with the rapid-fire intro of single ‘Insubordinate Ingerland’ where the band delivers killer hooks, a well-placed spoken word bit, and some intense vocals from Jim at the end. I anticipate this will be a live staple. Another single, ‘The American Machine’ follows and has become one of my favourite songs from the album. A modern sounding punk approach that tears into American policies regarding healthcare and the military. The shouty vocals of the chorus give way to a break in the song where the assault is given a reprieve before returning to a rage by the end of the song.

 While there is no let-up, the band channels a different means for the assault with ‘Hell Is on Its Way.’ A dance beat and electronic effects provide the skeleton of the verses, with the song reaching some rhythmical fury over its two-minute running time. It takes some of the early poppiness of the band and sends it through a metal blender to make it sharper and angrier. Another of the early singles follows, with ‘Swallow This’ being another modern-sounding rock song where there is more musical space in the verses to allow the vocals to be showcased. The chorus has more bite than some of their other songs. Han provides a spoken word bridge here that transitions the song into even more intensity before the chorus closes it.

A brief reprieve is provided through ‘Machine Elves (Interlude)’ that again showcases the early pop side of the band. I appreciate how they have kept that in their DNA and cleverly mixed it into their current music. This segues directly into the pounding start of ‘Chase the Dragon.’ The pre-chorus provides a solid hook and transitions into an even catchier chorus. It’s simply an outstanding song that deserves to be heard. The first single from the album ’90 Seconds to Midnight’ storms out of the gate and provides a great introduction to the album with a sonic assault akin to a straight-ahead Wildhearts’ rocker. The siren-style backing vocal in the chorus is an excellent touch, and Jim’s screams are on point.

The uniquely titled ‘Sunburn From Your Bible’ comes out of the speaker with a beat that feels a bit like Rage Against the Machine. I can see the waves of people bouncing up and down in the live setting. The song comes from a similar musical pool as their earlier song ‘Split Personality.’ Changing approach, ‘Warehouse Salvation’ channels back into their ability to deliver some killer pop songs with a song that could be seamlessly entered into a dance club’s rotation. I am interested to see how this one sounds live as the band has demonstrated an ability to make these songs more intense in the live setting. While not something in my usual mix of musical styles, this one has become one of my favourites with repeated listens. Hot Milk are masters of delivering a mix of styles while losing none of their authenticity or identity.

‘Sediments (Interlude)’ provides an electronic style break that sets up what I assume will be a future single in ‘Asphyxiate.’ This is as close as they get to revisiting something in the same musical approach to ‘Breathing Underwater’ from their debut. This song is made to be blasting out on pop and rock radio stations. The chorus is extremely catchy and one listeners will be singing in no time. Even though this is only their second album, their catalogue of songs is already extremely deep, and this album has provided an album’s worth of songs that deserve to be in their setlist. ’Payment of Pain’ suffered from following ‘Asphyxiate’ on initial listens, but has connected with me on multiple listens. The electronic elements in the mix give the song added depth, and the build in the back half of the song takes the song to another level. The distant backing vocals remind me of ‘I Was Made for Loving You’ by KISS. Closing out the album, ‘Sympathy Symphony’ is the most recent single released. Keyboards and an electronic beat usher in this slow builder. The transition from the chorus to strings provides a great connection between the first half and the second half with the album closing on a pretty epic note.

Hot Milk has delivered another album of the year contender for me, in a year with several very strong contenders. This album didn’t connect with me as immediately as their debut did, but it is stronger with every listen. ‘Corporation P.O.P.’ has more depth than the debut on a musical and lyrical level. Hot Milk has continued to evolve while retaining the essence of who they are. They should continue to see their audience multiply during this album cycle. If you spend a little extra for the Japanese version of the CD, you will also get non-album blinder ‘Where Does the Light Get In?’ and two live tracks.

‘Corporation P.O.P.’ is now available.

https://www.facebook.com/youlikehotmilk

https://hotmilk.co.uk

Author: Gerald Stansbury

House of Protection – ‘Outrun You All’ (Red Bull Records)

House of Protection – ‘Outrun You All’ (Red Bull Records)

Last year, I stumbled across House of Protection on YouTube and immediately became a fan, with their debut EP ‘Galore’ getting featured on repeat on a constant basis. They have been releasing new songs from this follow-up for several months now, with the full release of ‘Outrun You All’ dropping on May 23rd.  The band is made up of the duo Stephen Harrison and Aric Improta, who had previously been in Fever 333 together. The two of them have created a band where I don’t think they would rule out any musical idea.

After a mellow 30-second intro, the band launches into the electronic-infused ‘Afterlife’ that at times reminds me of ‘Pretty Hate Machine’ era NIN crossed with an infusion of extra heaviness on the methodical beat. The blend of their vocals across their songs works to perfection, and each of them has their own style when singing lead. The band transitions into ‘Godspeed’ where the tempo gets an infusion of adrenaline. The vocals sit in the middle of the mix of the chorus and remain incredibly catchy. The guitars squeal and rip through the mix. Headbanging or fist in the air is required throughout the song. There are just a few seconds at the very end of the song where the drums and guitar get to highlight how close they are to going into chaos. Last single ‘I Need More Than This’ slows things down to a cool groove with a very melodic verse featuring Harrison’s vocals. The song adds more elements as it reaches the chorus and creates a very cool hook. I think one of the factors that has drawn me to the band is that their music sometimes feels like a more listener-friendly ‘Endless Nameless’ album by the Wildhearts crossed with NIN, punk, and other electronic elements.

Starting the second half of the album is the frantic and surging ‘Fire’, which the listener will be singing by the end of the song. There is an energy that flows through the soul of this band that just immediately grabs hold of me. The band go straight for the jugular with the chorus hook here and destroys everything in their path. Lyrically, the band create an anthem for self-growth and determination. There is not a wasted moment anywhere with the cacophony of sounds coming together perfectly. The cheerleader section has not worked this well in a song for me since Faith No More did it many years ago on the ‘Angel Dust’ album. Changing gears completely with the mellow ‘Phasing Out’ provides a great contrast with a lot of digital elements bouncing around in the mix. The drums work great here with a killer beat raising the song to another level. ‘Slide Away’ closes the album out with the opening vocal providing a feeling of coming out of a dream that leads into the chaos of waking up in the middle of chaos. The chorus provides another strong hook with the verses pounding inside the listener’s skull trying to escape.

As much as I enjoyed their first EP, the band have exceeded it on their second release. I have not cited the band’s hardcore influences, but they are also baked into the band’s music and approach. There is a great chance this will end up my EP of the year, although I will likely spend a lot of time listening to both of their EP’s back-to-back to simulate an album. Turn the music up loud and dive into the experience. House of Protection or House of Perfection?

‘Outrun You All’ is available now on digital and vinyl. Here

Author: Gerald Stansbury

‘I Need More Than This’ video      https://www.youtube.com/watch?v=trzefJeYKkc

James and the Cold Gun ‘Face in the Mirror’ (Loosegroove Records)

James and the Cold Gun ‘Face in the Mirror’ (Loosegroove Records)

Take a second and think about a few bands that you started listening to before their first album dropped. I am sure many of you thought of bands you immediately loved and others who faded away after a great first single, EP, or album. I first checked out James and the Cold Gun (self-described as Wales’ loudest) after the release of their brilliant EP ‘False Start.’ It immediately connected with me and set up huge expectations for their debut full-length (also reviewed by me for RPM), which became my co-album of the year in 2023. Here we are two years later, after some non-album singles have been released as well as the release of some demos from the first album to tide us over while they finished this new album in hopes of avoiding the sophomore slump. For me, I think about the Wildhearts where they transitioned from the two early EPs to the brilliant debut of ‘Earth vs’ and then continued to excel with ‘Fishing for Luckies’ and ‘Phuq.’ The early singles from this new album all hit the spot, but had a slightly different feel to them. If we think about a band, the two Jameses (Joseph and Biss) in this band, enjoy- Soundgarden, they successfully adjusted their sound from album to album while maintaining their identity, also true of the aforementioned Wildhearts. James and the Cold Gun have been able to achieve a similar result here and continue to meet my high expectations of the band.

‘Face in the Mirror’ is one song and a few minutes shorter than the debut and leans back into the albums of the late 70s and 80s, where the focus was on great songs and not using every minute available on a given medium. In this case, we have 10 songs spread across 33 minutes, and the band is careful not to waste a minute of that running time. The title track gets things started with a great beat and plenty of space in the verses for Joseph’s vocals. Every instrument is crisp in the mix. The guitars have bite, and the rhythm section pops out of the speakers. A word I used to describe the EP and debut album was cathartic, and this album is no exception. I am not sure how the band channels into my soul, but they are uncanny at it. The chorus here is not over the top but extremely infectious. ‘Riding the Tiger’ increases the tempo a bit and feels like an old friend. The vocals are excellent, and there is excellent bass work by newcomer Gaby Elise. The guitar riffs have plenty of space to shine here too. The experienced production work of Brendan O’Brien creates an album with a live feel, but also has subtle touches to the songs. The breakdown in ‘Riding the Tiger’ near the end provides a great twist to set up the final chorus.

The lead single, ‘Guessing Games,’ has seemingly allowed the band to get in front of a lot more people, based on the number of YouTube views it has received. I know a lot of those views were mine, but not all of them. The band has taken a great riff and mashed with a cool groove to create a great song. When it was first released, I loved the song but thought it was a little odd as a single based on their earlier material. I think it works as a cool bridge now between the albums. The hook here is huge, and this one has a bit of the major label era Screaming Trees feel, and it also showcases the band taking an idea they had back around the demos of the first album and morphing it into something completely different. The subtle backing vocals by Elise near the end of the song are a sublime touch. The guitar work by Biss and Joseph are excellent. ‘Above the Lake’ follows with excellent lead vocals by Biss on top of just guitar before the rest of the band joins. This one is a bit more restrained (think maybe ‘Yield’ era Pearl Jam) and provides another texture to the album. The chorus is a little more subtle, but the building of the guitar in the song musically provides a strong hook. Wrapping up side one is ‘Twist the Knife’ where the band take a cool riff and again wrap it with a cool rhythm and chorus to deliver another excellent song. Elise’s backing vocals are subtle in the mix but again provide an awesome new element to the band. If you’re listening on vinyl, there is absolutely no reason to get up when you drop the needle down until all five songs have finished.

Flipping the record over to side two, the band continue to deliver the goods. The grinding start to ‘Cut the Brakes’ highlights the band’s ability to take inspiration from 90’s rock and infuse it with modern and original touches to create something fresh and awesome. The chorus here reminds me a bit more of the debut EP, and the changes in tempo provide a dose of adrenaline. As the drums slow to a close, you expect the guitar riff to start over again. The hard-rocking feel continues with ‘DNA’, where every musician gets a chance to shine. One of the other great elements about this album is that the band doesn’t rehash the same song over and over again. Each one has its own identity, with this one being a more straight-ahead rocker where the chorus jumps out a bit more, and the bridge slides perfectly into the song. Angst-fueled rocker ‘Blood Red Sky’ shoots out of the speakers with an awesome vocal in the chorus. I can hear a bit of a Soundgarden influence here, but the band ultimately makes this song all their own. While not what many would consider a typical single, I would love to see them release this one with its additional heaviness and earthquake-inducing chorus becoming one of the songs of 2025.

As we near the end of the album, the band changes gears completely with the mellow beginning of ‘A Way Out.’ The vocals here shine over the repeating melody. The band manage to transform this song several times within three minutes, with the ending providing a vital and insurgent chorus at the end. We then arrive at the closer, ‘Meet My Maker’, where the band provides a heavy dose of rock and powerful vocals in a midtempo beat. The bends in the guitar notes provide excellent nuances in the mix. The band go off on a bit of a jam that I can imagine can take on a life of its own in the live setting before giving us a final chorus on the way out the door. Like the end of side one, when you drop the needle to start side two, you do not have to get up until the whole side of the album has played.

I think the band has done an outstanding job taking the critical elements of who they are and creating something new that remains exhilarating and enticing to the listener. They have avoided the dreaded sophomore slump and moved the goalposts out, allowing them to continue to expand their sound in the future. If you enjoyed their earlier material, I imagine you are already jonesing for this one. If you are new to James and the Cold Gun, you have a wealth of amazing songs to hear, and this is a great place to start your journey. Your soul will thank you.

Buy Here

Facebook / Website

Author: Gerald Stansbury

Flaco Rodriguez – ‘Ultimamente Solo Hablo de Ti’ (Self-Released)

Flaco Rodriguez – ‘Ultimamente Solo Hablo de Ti’ (Self-Released)

YouTube rabbit holes pay dividends again. One night I received a notification that Camila Fernandez had released a new song and decided to see what else I might find. One of the discoveries was the song ‘Hey Marina’ (more on it later) by Flaco Rodriguez and Querida Margot (another highly recommended band) which I listened to probably ten times that night. I then wanted to see what else each of these bands had out there on YouTube. This self-released album by Flaco Rodriguez would appear after maybe a month with a collection of previously released and new songs. While it is not our usual music here (if we have a usual type of music here), I think there are lots of elements here that can appeal to fans of Jesse Malin’s solo work, Johnny Thunder’s acoustic albums, and just high-quality music in general. I don’t have a lot of details about the band I can share other than they are from Spain, but let’s dig into this recommended album.

The lead track ‘Todos Nos Rodea’ is an acoustic soft rocker that includes both sung and spoken word vocals. The song provides a nice opening to an album filled with some diverse sounds. The bluesy groove of ‘Soy un Rodriguez’ increases the tempo a little bit and features some tasteful guitar work, female backing vocals, and a nice catchy hook. Up next is one of my favourites from the album, ‘Ciudades, Garitos, Altares’ is a dynamite acoustic number with co-lead vocals by the delightful Monica Morado. The harmony and melody in the vocals work perfectly together. Again, I think the song could have snuck onto a Thunders album as an all-acoustic number. It provides a great build in the album as it probably ranks in my top three songs on the album.

Coming back to ‘Hey Marina’ now, the song takes on more of a rock ‘n’ roll feel that brings to mind the likes of the Rolling Stones, a catchy midtempo Tyla song, or again a Thunders song. It has a build in the music and turns into a glass in the air, put your arm around a person beside you, and all sing along quality. Querida Margot brings their rock influences to the forefront. The horns add an even more festive feel to the song. Wrapping up the first half of the album, ‘El Parque’ returns the album to an acoustic feel that features some nice subtle percussion. It’s easy to see someone sitting on a porch or out by a campfire singing this one.

The second half of the album begins with ‘Perdon por Anticipado’ where the band spends the first half of its under three-minute length as another acoustic number before it gets a shot of rock and swagger and then mellows back out for the close. ‘Que No Hay Que Trabajar’ could slip into a spaghetti western where we see the horses racing across a tumbleweed filled mesa with the slowed down spoken word parts being flashback scenes. ‘Mientra Tu Estes Aqui’ is a slow acoustic Spanish ballad that fits nicely within the album. The trumpet works perfectly in the mix.

‘Donde Esta el Teatro?’ gets us close to the finale with a great shuffle and catchy chorus. Diego Rodriguez’ vocals across the album work great with the different songs across the album with this one’s genuineness and sincerity being no exception. Closing the album is my 2nd favourite on the album. ‘Adios, Tomas’ would not be out of place on a Roger Clyne and the Peacemakers or Refreshments album. The harmonica adds a great element to a song packed with a chorus crafted from catchy goodness. As in a few of the other songs, there are some spoken words in the song as well. These are really utilized in a similar manner to what Hanoi Rocks did on the ‘Two Steps from the Move’ album where the songs would feel incomplete without them. At well over five minutes, it also provides an epic finish to an album that only reaches just over 35 minutes.

For those looking to break up their normal listening, I recommend giving this one a chance. My Spanish is not great, so I continue to dig deeper into the lyrics and try to remember all of the Spanish I have learned over the years. ‘Hey Marina’ served as the perfect first song for me to hear because of its rock feel and singalong chorus. I hope there is eventually a video for ‘Adios, Tomas’ as it deserves a chance in the spotlight. This album keeps staying in my listening rotation. While you are checking this one out, I recommend giving the new single and debut album by Querida Margot a spin as well.

Ultimamente Solo Hablo de Ti’ is available now.

Facebook

Buy Here

Author: Gerald Stansbury  

The Huntingtons – ‘Muerto, Carcel, O Rocanrol! Renacido!’ (Burnt Toast Vinyl)

The Huntingtons – ‘Muerto, Carcel, O Rocanrol! Renacido!’ (Burnt Toast Vinyl)

The Huntingtons, from Maryland, have been around for over three decades now but perhaps a little bit of history is needed as they have never really broken through to the mainstream. My first listen to them would have come back around 1997 with their ‘Fun and Games’ album. At that point, the main influence would have been the likes of the Queers or Screeching Weasel. One of the songs that grabbed me was a cover of the Ritchie Valens hit ‘Come On, Let’s Go’ which kept me coming back to the album and songs like ‘Alison’s the Bomb’ and ‘Losing Penny’ became band staples. The band would then quickly morph into a heavily influenced Ramones style band that has stayed with them over the years. In that time, they have released Ramones cover albums and numerous studio albums that have ranged from good to excellent. The band signed with Tooth and Nail Records early in their career, which unfortunately isolated them a bit from the mainstream, because the label was associated mostly with Christian bands. There has never been any gospel flavor to the band though, and they will say they are not a Christian band. Tooth and Nail did have a sizable reach for an independent label and worked with the band for many years.

About 25 years ago, the band released two full-length albums close together with the ’Plastic Surgery’ album including one of my favourite songs by them ‘Heartbreak at the Hardy Holly.’ The other ‘Get Lost’ contained another long-time favourite in ‘I’m Not Going Downtown.’ These excellent albums could have been future Ramones albums after ‘Adios Amigos’ and received a ton of play in my CD player. The band has continued to release albums over the years, but the reality of day jobs and responsibilities has reduced their output and the number of shows they play. Some things have not changed though including songs set in the world of the ‘Back to the Future’ movies that are extremely catchy. Back in 2020, the band released ‘Muerto, Carcel, O Rocanrol!’ for the first time. The band had written a bunch of excellent songs and nailed them in the studio. Unfortunately, the mix on the album just didn’t work well. It was an album that I liked, but it just felt off sonically. The band played fewer and fewer songs from it and realized it needed a remix after releasing an EP that sounded significantly better. Flash forward to today, the band has released the ‘reborn’ version which has greatly benefitted the album and finds me now playing it on repeat.    

The band holds tight to its Ramones stylings with Mikey still channeling Joey’s spirit. The first song ‘Too Old to Care’ kicks the album into gear with a sticky chorus that like many of their songs over the years includes some ‘woo ooh yeahs’ in the chorus. The band provide a nice nod to Iron Maiden in the CJ styled ‘The Slammer.’ The album really shines in this new lease on life. ‘Say Hi to Your Mom for Me’ provides another song for ‘Back to the Future’ in a stomper that lasts just over a minute and reminds me of their old song ‘Dies Saugt.’ ‘Be With You’ delivers a killer chorus using very few words but delivers them cleverly and catchily. The guitar work by Cliffy and Jonny hits the spot here and across the whole record.

The band has stretched out a bit as well with ‘Innocent’ stretching out to almost 4 minutes with an unexpected bridge that slows the song down from its mid-tempo beat and then returns to full strength in a way that makes the song more powerful in its use of dynamics. ‘Not Penny’s Boat’ delivers the goods and the unexpected bonus acoustic version works well too. The words in the chorus won’t all connect with you at once, but they will in time as the main version is a favourite among favorites here.

Lyrically, the band cover many facets of life. ‘Things Are Gonna Get Better’ provides a shot of optimism and hope in the dark times in life. As my Dad is struggling, it feels like the band is singing to me. ‘Liar’ provides another great hook in the chorus while addressing the deceitful people in our lives. Old album closer ‘I Don’t Wanna Die Alone’ provides a slower anthem that feels a bit like the Ramones ‘I Wanna Live’ and addresses something most of us have probably felt at some point in our lives. Mikey (bass) and Chris (drums) really create a great groove in the song.

I didn’t touch on all the songs, but there are no weak spots here now. This reborn version of the album has really helped save these songs from simply fading into the band’s catalogue as an afterthought. The added cover of ‘The Breakup’ provides another nice bonus. If you have never checked out the band, this isn’t a bad starting spot. Their run of albums from ‘High School Rock’ through ‘Songs in the Key of You’ would be where I would go next, but that is probably just personal taste for me as the recent live album ‘Ciao Italia! Live at Punk Rock Raduno 5’ is also highly recommended. This album? Revitalized, Reborn, and Recommended Listening!

‘Muerto, Carcel, O Rocanrol! Renacido!’ is available now.

Facebook

Buy Here

Author: Gerald Stansbury