Ruts DC have been extraordinarily prolific since the release of their last studio album ‘Counterculture?’ back in 2022. With their creative juices flowing freely, they cut two further volumes of their acclaimed ‘ElectrAcoustiC’ series, with volume two arriving in 2023 and volume three in 2024. Now the band are set to return again with a brand new four-song EP titled ‘Bound In Blood’, set for release September 11th via Sosumi Recordings. Due for release on CD and green and black smoke 10” vinyl, the EP leads with the song ‘Bound In Blood’, that first appeared in acoustic form on the aforementioned ‘ElectrAcoustiC’ Volume 3, followed by another brand new song titled ‘Wear The Crown’, although there are no A and B side preferences, leaving the listener or DJ to decide according to their mood and/or choice.
A message from Segs …
“Greetings all. We decided to make our first ever 10-inch EP! 4 tracks,3 songs 2 dubs.”
And here’s what’s on it:
BOUND IN BLOOD – “Some of you will know the song from ElectrAcoustiC vol.3 but here it is re-recorded in its full electric glory.”
BORN INNOCENT – Mitt’s Immortal Mix “A new mix featuring and dedicated to Mitt Gamon: This is one of the final records that Mitt played on before moving on to other realms. Glad to say that he actually heard and approved it before leaving us.”
WEAR THE CROWN – “The music had been circulating for some time, but lyrics finished following our Kings coronation “I pledge allegiance to autonomy”
DUB THE CROWN – “Time to think for yourself.”
“We hope you love it…”
Lovingly crafted for their own Sosumi Recordings label: the EP is packaged in stunning artwork based on an original painting by Oliver Howard thereby continuing the RuTs legacy of “Howard Artwork” (Rupert Howard who created the artwork for The Crack, Grin and Bear It, Rhythm Collision etc that was initiated on RuTs debut LP “The Crack” in 1979. (original painting now owned and cherished by Henry Rollins).
As they move towards the RUTS 50th anniversary tour in 2027, the solid trio of Segs, Ruffy and Heggarty are joined on this release by Rhythm Collision collaborator Mitt Gamon on harmonica and Boz Boorer on extra guitars to make this a very special one-off release.
Segs – “Keeping it real with an EP that is close to our hearts. One song about forgiveness, one about equality and one about Autonomy – it’s a must have.”
Bound In Blood EP track-listing:
Bound In Blood
Born Innocent (Mitt’s Immortal Mix)
Wear The Crown
Dub The Crown
Live Shows in 2026
Sept 22 Göteborg Sweden, Sept 24 Upsala Sweden, Sept 25 Stockholm Sweden, Sept 26 Nörrkoping Sweden
Nov 14 Morcombe Festival, Nov 20 Southampton 1865, Nov 21 Brighton Chalk,
2022 saw Daddy’s Boy’s debut hit the shelves, well, buckle up, kids they’re back to kick the living fuck into your senses and eardrums with their nosebleed loud hardcore noise. ‘Four Hombres’ is a magnificent racket – a no-means-no style assault: angular, sharp guitar noise filling every void imaginable. It’s an intense sonic kicking your given through the medium of hardcore punk. The Chicago-based quartet push the boundaries of what’s acceptable as the songs ramble on with often hypnotic unison riffage and lick after lick whilst the rhythm section hypnotises through their instruments.
‘Four Hombres’ was recorded in Chicago with longtime friend Greg Norman. According to drummer Neal Markowski, the band were keen to ‘break any habits’ they’d developed, and sure enough, they turn in an intense record. The opener is nothing short of sensational, and my advice would be to turn it up, get your head in those speaker bass bins and take it on the chin. ‘Divorce’ sounds like a fuckin avalanche with rocks tumbling down all around you with no chance of escape. The songs are short and oh so sweet, and with no chance of any fat settling on this lean, mean machine, Daddy’s Boy are killing it.
Reflecting the current climate in America, it’s sometimes chaotic, loud, brutal, confrontational, but unlike America, this is bloody good. They should get together with Dead Pioneers and hit the road it would be glorious. ‘Crows Feet’ lends itself to the band declaring war on your senses, the vocals sound distant before abruptly ending.
The title ‘Four Hombres’ is a ZZ Top nod that was chosen, Markowski adds, because “we’re four dudes who like making music together.” This is where any link to ZZ Top ends, hell, these guys would have terrified tres hombres. Eighteen minutes of brutal sensory assault, but in the best possible way, hardcore never sounded so essential. Get a hard hat and step away from the speakers, but do remember to turn it up but at a safe distance.
I’ve sat on this review for a week, trying to find the words- the right words to convey what it truly felt like seeing the three members of The Alarm on a stage on their own terms, playing songs that shaped my musical landscape for the past forty-plus years. When these dates were announced I just had to go to both nights partly due to FOMO and partly because I wanted to be there because I love hearing the music these guys make together regardless of whats gone on over the past few decades and the silly social media infighting he said she said which side are you on nonsense because deep down some of us care about both sides and above all love the music that those – our four lads who shook the world made so it was off to the big smke we went.
We’ve seen Alarm 2.0 several times, from the early knockings when Craig played some shows (and we thoroughly enjoyed the night in Birmingham) right up to as recently as last weekend when they did a few shows in South Wales. No Craig, but still a most enjoyable night with Eddie on vocals. So tonight we sort of knew what to expect from the opening act, who didn’t disappoint with a great set, especially the early songs pre and off ‘Declaration’ say what you like but Smileys smile and Eddies enthusiasm is infectious and God bless em their efforts are much appreciated and their respect for the songs shines through and anyone who doesn’t enjoy their set should have a word with themselves. People seemed up for it and sang along with every word. The energy was along the lines of early Alarm performances it was raw and infectious, and mistakes were made lyrics missed but that’s rock n roll, isn’t it? It was great to see James and Smiley playing a part in the evening because they contributed greatly to keeping the name alive and absolutely should have played a part, and for an opening act this was pretty bloody good stuff. ‘Knifedge’, ‘Absolute Reality’, ‘We Are The Light’ and ‘Deeside’ were spot on, and it wasn’t like the venue needed warming up, but this was pretty good.
Next up was Dave Sharp and The Hard Travellers, who are a seven-piece ensemble playing mostly other people’s music and doing it with a twist (no pun intended). Sharp looked well, and the band complemented him well as he did his Americana versions of some pretty big tunes that clearly mean a lot to the man. ‘Hard Rain’ and ‘Jungle’ sounded great, but it was the rework of ‘Last Smilin Villain’ that impressed the most. Damn, how I love that ‘Hard Travellin’ album how it never got a vinyl pressing is criminal. I think having the band back for these interpretations really worked, and it was a side of Dave maybe some had never witnessed, and it went down really well in the room.
Onto the main course, and with an open mind, of course, there was an elephant in the room: what was this Rob fella going to be like? But any concerns evaporated in the Garage heat within the first few verses of the set opener, ‘Newtown Jerico’. There was a huge expectation on the young man’s shoulders, and he took to the task at hand with class and enthusiasm and absolutely delivered the goods. He didn’t try to copy Mike, nor did he try to fill his shoes; he just went on with his job and delivered a pretty faultless interpretation of the songs we all love and cherish. The fella can sing, but he didn’t try to copy; he just delivered the vocals for the song and hit the notes in his own style, which was exactly as it should be, and he must have felt the room was 100% behind him and fully appreciated the job he was doing.
The band he had backing him were pretty amazing to be fair and any fears for what might have sounded rusty or a bit lame never reared its ugly head these guy sounded like they were halfway through a 100 dat eworld tour (ok so there were a few tightness issues and a few missed chord changes here and there and the odd bum note) but hey, this is rock n roll and I had th efeeling people were also living in the moment and enjoyign it for what it was, three qyuarters of a band we all took to our hearts and loved like they were the best band in the world and for two nights we lived that dream, sure I’d be lying if I said I didn’t miss Mike (I’m sure everyone in that room band inclueded didn’t also miss him and wished things could have been different) but this was about celebrating the music and it looked like everyone was on th esame page and magic was in the air and it was definatly something you could almost feel.
To be fair, I didn’t really have any expectations, nor did I give any type of setlist a second thought I just wanted to enjoy the evening and remember what made this band so special. I loved that it wasn’t the greatest hits, and songs like ‘Hardland’, ‘Permanence In Change’, and an exceptional ‘Devolution Working Man’s Blues’ fell off the Sharpie fretboard early doors, and it was great to see the chemistry between the guys was evident, and their enjoyment was there for all to see.
There was an edge to the sound, and the riffs were loose, but that was part of the magic that was factored in ‘Shelter’ was played with drive and passion and trying a duo version of ‘ Third Light’ between Eddie and Dave was worth a go it’s a great song, even reworked. By the time the band struck up ’68 Guns’, the place was rocking, and hearing the audience sing loud and proud was a real goosebump feeling, and I’m sure the band felt that back from the audience. Another thing that gave me goosebumps was hearing Twist play the drum lick on ‘Rain In The Summertime’ without any tapes or clicks, and when Dave joined with his drenched licks, it was a real moment. To be fair, Rob sang it really well, hitting every note perfectly, but I wouldn’t have doubted him after his delivery thus far into the evening.
The lyrics to ‘Spirit’ hit hard, and not for the first time this evening I thought about their fallen brother, a huge hole in my music journey that will never be forgotten, and as I looked at Eddie, I think he must have been having similar thoughts during the song, as he has when I’ve seen him sing it previously. Awesome.
As we headed towards the end of the first night, it was a full, bloodied ‘Sold Me Down the River’ that saw a decent duel between Rob and Dave before they encored with a ripping version of ‘Rocking In The Free World’, taking their much-deserved bow, we sauntered into the warm London night air beaming with the knowledge that the remaining Alarm had absolutely delivered the good and paid tribute to the bands legacy with a stonking performance that I was delighted to have witnessed. See you tomorrow.
Sunday.
With Smiley hotfooting it off to Dublin to play with Geldof and his Rats in some stadium with Bon Jovi, it was left for some Nigel bloke to fill his drum stool for the 2.0 set tonight, and to be fair, it was more of the same from the previous night, with a loose set that was thoroughly enjoyable and played with the spirit of Early Alarm all be it more relaxed knowing that the first night went so well. The same can be said for Dave Sharp and The Barnstormers it was more relaxed and a slightly longer set, but again thoroughly enjoyable, reminding me of Chuck Prophet and Dan Baird and what they do after Green On Red and taking the spirit of the Bob Dylan Rolling Review. Did I mention the version of ‘Last Smilin Villain’? Well, again, it was top of the shop in this set, with a special mention to the band Dave has assembled, who handled the songs really well with a fine touch, often reminding me of a certain Mr Strummer. I look forward to hearing the record, Mr Sharp. Bravo.
There’s no point in me going over what was a very similar set, with a few notable exceptions that made a difference to the second night mainly. That night two, we were treated to the epic (Mike’s Favourite Alarm Song) ‘One Step Closer To Home’, which was emotional, to say the least and was dropped in the set, replacing ‘Third Light’, which was, if my memory serves me well, the only change but one that was much appreciated and sounded awesome.
Maybe the band played more relaxed on the second night I’m not really sure. It was again terrific to hear the songs played again, and Rob once again did justice to the vocals and also paid tribute to the songs and the band, which sounded heartfelt and humble and was much appreciated and really genuine now my parting thoughts are these, this was a great idea and one that worked really well, there were no egos on display and people seemed genuinely happy to be there and the sound from the audience was everything I hoped it would be the bands did themselves and the name of the Alarm proud and I’d be well up for doing this again next year with a few songs added if I may be so bold. I bloody love The Alarm I do. Wrapping on the chocolate bar, my arse, these boys had the chops then and still have them today. Long live The Alarm and as Mikey Boy sang, the 68 Guns will never die. Amen to that!
A decade on from the release of their self-financed ‘Blatant Propaganda’ debut Brighton ska punks The Bar Stool Preachers return with their fourth record ‘Party Eternal’, and this time around they add producer Cameron Webb (Motörhead, Sum 41, Kelly Clarkson, Megadeth, Limp Bizkit & Jack Johnson to name but a few) to the musical equation to well and truly get the par-tay started.
Obviously with someone of Webb’s stature behind the desk ‘Party Eternal’ sounds exactly like you might expect for a major label record, however it’s not, not this time around, it’s self-released, and with Pure Noise Records now very much in the rear-view mirror singer T.J. McFaull along with his Preachers are returning to their DIY roots for this all new 14 track album pursuing a (long since smashed) £15,000 crowdfunder target by which to get their music recorded, pressed and released.
On first hearing ‘Party Eternal’ though, I honestly had to check it wasn’t coming out on Hellcat Records, because opener ‘Sick World’ sounds like the guys had Tim Armstrong working with them, not Cameron Webb, and that’s also before realising that T.J. is also trading vocals with none other than Angelo Moore from the mighty Fishbone. What an introduction!!!
It’s when ‘Plastic Romantic’ chimes in next, though, that I really get a sense of how high the songwriting bar is being set for this record. It’s a song with a very serious social message yet is also enormously catchy stuff and along with a few others like ‘Want To Know’, ‘Singing Along’ and ‘You’re Killing Me Eve’ the band take the more contemporary sounds of their genre-busting ‘Above the Static’ opus and once again deliver the goods with the fearlessness that we’ve all come to expect from a band now four records and countless worldwide gigs into their career.
Having also released a couple of videos in the drive to promote the record and in turn help them hit their crowdfunder target it was ‘Pick A Side’ that first got things up and running for many of us back in early 2026 and this track not only comes complete with a HUGE singalong chorus but also a message that maybe not all your musical heroes might be all they are cracked up to be.
Speaking of which, it’s obvious that T.J. still holds Mike Skinner in very high regard, as ‘Hand Grenade Heart’ and ‘The Closed Door’ both feature the BSP frontman in a more reflective, half-spoken vocal mode which not only helps break up the pace of the record but also adds another shade of colouring to the band’s extensive songwriting palette. Plus, for those of us still craving the ska punk band that gave us ‘Blatant Propaganda’, we have ‘Time Of Our Lives’, ‘Heartbeat Baby’, the riotous ‘SOS’, and the almost Marilyn Manson-esque stomp of ‘Party Eternal’ for us all to have a right proper knees up to.
In an age when audience strive to hear “the hits” by any band, it’s testament to the Bar Stool Preachers songwriting that any of the fourteen songs on ‘Party Eternal’ could be just that, a hit, in fact two of the strongest contenders are left right till the end, with the infectious “dah, na, na, na, nana, na na, nah” hook of ‘One For The Weekend’ and then ‘This Is Goodbye’ complete with “Oi! Oi! Oi!” help from The Rumjacks helps round things off in the finest of piratey fashions.
‘Party Eternal’ is an album that exudes a cocky confidence and bowls its way out of the speakers like it’s very much on a mission, that mission I guess being to get us all singing, dancing and, yes indeed, thinking.
So, when the Preachers return to stages around the UK this October to help promote this record, you best get your best your dancing shoes on and loosen up those singing voices, ready to ‘Party Eternal’.
You can pre-order your copy plus buy a load of other things by visiting the band HERE
Proto-punk icons Slaughter and the Dogs are set to embark on a new chapter of their long and influential career with a brand-new album titled ‘White Heat’, Put aside all the off-the-field wrangling and conflict that has gone hand in hand with the band for decades and let’s tackle this on the merits of what’s in the grooves.
Originally formed in 1975 in Wythenshawe, a notoriously rough council estate in Manchester, Slaughter and the Dogs’ name was inspired by legendary David Bowie guitarist Mick Ronson’s 1974 solo album ‘Slaughter on the 10th Avenue’ and Bowie’s own ‘Diamond Dogs’ from the same year, showing exactly where the band were coming from in that pre-punk era in Britain (more Bowie Later). They supported the Sex Pistols at their infamous Manchester Free Trade Hall gig in 1976 and went on to pen some top tunes and release a few really decent albums.
Founder Mick Rossi is the driving force behind ‘White Heat’ and easily demonstrates why he’s still relevant in 2026 with a style and swagger when strapped onto his six-string guitar. He comes from a school of players who just get it and know that often less is more, and let the player play the song and not get bogged down with layers of effects, much like a Steve Jones and, dare I say Keith Richards.
Featuring twelve new songs written by Rossi, ’White Heat’ gives you the feeling that this dog has plenty of bark left in its existence The title ‘White Heat’ refers to the extreme physical temperature when a substance glows and emits white heat, a perfect metaphor and album title for the highest possible stage in intensity, whether emotional, physical or creative; everything Rossi and his Dogs strived for on this album. Rossi is joined by Howard Bates, alongside core member Phil Rowland, who have aggressively pursued a new era for the band, successfully expanding their punk and pre-punk influences intact and trying their best to spill some of that DNA onto the grooves of this record.
The album was recorded at the famed Winslow Ct. Studios in Los Angeles, with some guest musicians that include Billy Duffy fellow mancurian and long time supporter of Rossi and the Dogs, Morgan Fisher (Keyboards, Mott The Hoople, Queen), Jerry Evans (Keyboards, Mick Rossi’s Gun St, The Duellists), the production team of Mick Rossi and twice grammy nominated Craig Parker Adams is a winning combination and a partnership that has produced over ten albums together.
Mick Rossi handles the vocals and guitars whilst fellow founder Bates takes care of the bass, with Rowlands making up the other part of the engine room and rhythm section. The album kicks off with the energetic ‘Get A Life’ before the cover of Lou Reed’s ‘White Light White Heat’ is given a thorough workout and a respectful reworking in the best possible way. The one thing you pick up instantly is how loud this record is recorded it’s like an avalanche of guitars, and that in itself is cleansing. The production is well spread out and uncluttered, with the songs being given the room to breathe for the greater good of this album.
‘Shut Your Mouth’ is a groove that’s brooding toward those guitars as they scream in with a big chugging riff that prime Duffy to be fair, but it ebbs and flows really well. ‘City of Rain’ has a New York groove about it, and the MO of this record is loud guitars delivered in a swashbuckling style, it’s no-nonsense and gets to the point without having to pad it out or litter it with filler. It’s lean and mean and rockin’. You have to wait until the eleventh track for a little acoustic, Bowie-esque musing, and Rossi turns in a very good vocal, carrying the melody through a dreamy, slow-march song right to the wonderful solo that sets the song alight but never overstays its welcome.
You also get a few bonus cuts with ‘Calling Out To You’ and ‘Lust ‘, with the latter being a quiet verse followed by a much louder chorus and a very decent song added to the tail end of this impressive record. But before we’re done, there’s a great rip through the Bowie classic ‘Diamond Dogs’ which puts a great big full stop to proceedings and the band are off. A really decent record, if you like loud rock n roll guitars, then this is right up your alley, but they always work for the songs and not the other way round. Slaughter And The Dogs still have plenty of bite, and ‘White Heat’ is the proof.
Ricky Warwick has been a constant in my life since the late ‘80s. Like every other metalhead, I loved The Almighty. I saw them live many times and loved their music. There was something about the sneer and swagger that drew me in. Ricky was, of course, the biggest part of that whole greasy attitude and hard-living lifestyle that appealed to young rockers like me. Their outstanding performance at 1992’s Monsters of Rock festival has stayed with me ever since.
Since then, Ricky’s career has taken many turns – solo artist, frontman of the reformed Thin Lizzy and their subsequent incarnation, Black Star Riders, Ricky has kept himself busy and relevant. The Almighty’s recent reformation has proved very successful, and they have been hitting some big stages.
Ricky’s latest solo effort, ‘Fire and Vengeance’ is his ninth solo record. We get some great guest appearances from Def Leppard’s Phil Collen, Blackberry Smoke frontman Charlie Starr, ex-Dio and Whitesnake guitarist Doug Aldrich and Darren Holden of the High Kings.
The album is a mixture of high-octane rockers, bluesy ballads, and some Irish-tinged tunes that no doubt hark back to Ricky’s adolescent days growing up in Northern Ireland. Lyrically, Ricky likes to tell a story, and he has things of relevance to say. As Ricky himself says: “My favourite artists are the ones who have something to say. I enjoy a party rock n roll song as much as the next person, but the artists I continually return to are those who reach out to something I believe in and can connect with. That’s what I’m striving to do with my music.”
The ten songs that make up Fire and Vengeance have an energy that’s infectious. The opening title track has that undeniable Thin Lizzy vibe. Lyrically, it highlights the hardships that so many people are going through in this fucked up world at the moment. A catchy, sing-along chorus pulls you in after just one listen.
Hellbent & Heaven Sent has an almost Clash-like quality. Punky and in your face, the track is elevated by a shredding solo from Doug Aldrich. Seek Zen and Destroy, featuring Phil Collen, has a cool, funky vibe. When the King Falls shows Warwick’s diversity, a haunting ballad that the Stones would be proud of. You Just Lie uses guitars and synths to fantastic effect. The Angel’s Share is classic Warwick, he really knows how to paint a picture with words.
Last Chance to Dance shows Ricky channelling the late, great Phil Lynott, like only he has the right to do. After all, he filled his shoes with the reformed version of Thin Lizzy. Ricky is quoted as saying, “I always say that I never learned so much from a dead man.” Sweet County Down is a love letter to his homeland, as Ricky explains: “My family is from here, and we go way back. I viewed the song as my nod to that. And yeah, I borrowed the line “Sweet home County Down” from Sweet Home Alabama.”
Overall, Fire and Vengeance is a fine, solid addition to Warwick’s solo material. A thoroughly enjoyable listen. The production from Keith Nelson is bright and potent, the songs are memorable, and Warwick’s performance and sentiments are real. Great stuff. Go and get it!
Sonny Vincent of Testors, Pentagram frontman Bobby Liebling, Slime drummer Alex Schwers, Dawnrider guitarist Hugo Conim and U.D.O./Dirkschneider guitarist Dee Dammers, with Alex Farrar on bass, this, ladies and gentlemen, is indeed a super group, with the emphasis being super. Loud, in your face, zeor fuck given, The Limit are a collision of punk, hard rock and metal produced with care and attention to detail and bringing the finest out of the performers.
The emphasis is on the songs that are ringing with attitude and a menace in the delivery – Christ, if a former heavyweight like, for instance, Guns N ‘ Roses released ‘Calling Card,’ the fan base and media would wet their collective panties with excitement and praise. Vincent is on fire- no, make that FUCKIN FIRE! In-your-face hard rock being rinsed from his fretboard with passion for what he’s doing and a belief in the music. It’s not predictable in fact, it’s unpredictable, flying by the seat of its pants. It’s dangerous, but most importantly of all, it’s great songs.
Every chord matters; every vocal is delivered like they truly mean it. The other great thing is this album has fifteen of the bloody bangers for your consumption. I’ll say it here I’ve always been a fan of Sonny Vincent, especially his solo stuff and the various guises he’s released records with. My introduction to Liebling was the debut Litmit record, and to be fair, I saw the fly-on-the-wall doc about his struggles, and it’s great to hear him in such fine fettle here. ‘Another Drop’ is feral, carefree and defies age. Let’s be honest, these aren’t kids here, but they teach the kids a thing or two about how it’s done. ‘Stalemate’ is full of boundless energy and a great melody its like a runaway train careering right into your ears.
If you want snotty punk n roll, then look no further than ‘Sidetracked ‘. What a tune this is; it’ll be in your head for days and reignite your love for loud, energetic punk n roll.
These guys don’t follow; they lead. It’s a record void of studio trickery masking the talent. It’s all out there for you to hear. The Limit have once again delivered an exceptional record that any discerning rock n rolla should hunt down immediately: no bullshit, just steaming hot rock n roll played from the heart and kicking out the motherfuckin’ jams, baby – buy this record!
Check out the video for a special acoustic version of ‘The Luckiest Girl’*: HERE
Brijitte West and NFA Promotions announce a long-overdue collection from one of the ’90s underground’s best-kept secrets. The newly remastered NY Loose – Monolith Kids LP & CD will be released on 16th September 2026.
This remastered collection features the complete Loosen Up! EP along with fan favourites from the band’s sought-after independent release Born to Loose. As a special bonus, the album concludes with NY Loose’s electrifying cover of ‘Cheap Tragedies’ by the iconic punk band The Avengers.
The collection highlights include ‘James’, co-written with Gary Sunshine of Circus of Power, and ‘The Late 20th Century Blues’, co-written with Richard Bacchus of D Generation.
More than three decades after its original release, Monolith Kids captures the raw energy, fearless songwriting, and attitude that made NY Loose one of alternative rock’s best-kept secrets.
‘James’ showcases Brijitte West’s gift for telling deeply human stories: vulnerable, powerful, and wrapped in the gritty, guitar-driven sound that made NY Loose stand out in the New York underground scene. Gary Sunshine’s collaboration adds another layer of authentic New York rock credibility to an already exceptional track.
‘The Late 20th Century Blues’ is a love letter and a farewell to the final days of twentieth-century rock culture, crackling with swagger, attitude, and razor-sharp guitars. It captures the excitement, uncertainty, and beautiful chaos of a generation living for the next great band and the next late-night club. It’s New York rock and roll distilled into four electrifying minutes.
One of the band’s most heartfelt performances, ‘The Luckiest Girl’ reveals the emotional depth behind NY Loose’s hard-edged exterior. Brijitte delivers one of her most captivating vocal performances, balancing tenderness with quiet strength in a song that lingers long after the final note. It’s a reminder that the band’s greatest weapon was never just volume—it was honesty.
‘The Desperate Hopeful’ explores the determination to keep believing when life keeps testing you, pairing introspective lyrics with soaring melodies and the band’s signature blend of grit and beauty.
Monolith Kids stands as the definitive collection of NY Loose’s independent years. This is a release for longtime fans, vinyl collectors, and anyone who appreciates discovering the artists that true music lovers have treasured for years.
The remastering breathes new life into performances that have lost none of their urgency, reminding listeners why the band earned such a passionate following and why so many still consider them one of rock’s finest secret treasures.
*Please note – this acoustic (video) version of ‘The Luckiest Girl’ is not included on the album
Another Day Another John Reis album. This guy has hit a purple patch and is churning out records like they’re going out of fashion, but he always has his finger on the pulse. Be it Plosives, solo, Hot Snakes, Drive Like Jehu or Rocket From The Crypt, the guy knows how to write pretty damn awesome records.
This is his fifth solo album – featuring members of Hot Snakes, Delta 72, Drive Like Jehu, Jejune, Pinback, PLOSIVS and more (If it ain’t broke, don’t fix it). Navajo White is a colour. It’s the colour of off-white interior house paint. Throughout his teens into adulthood, John Reis was as a house painter by trade. So it makes sense to call the album after a shade of colour. Stick to what you know and Reis obviously knows paint and rock n roll.
This is the fifth Swami John Reis album and features Jason Kourkounis (Hot Snakes, Delta 72, Night Marchers) on drums as well as contributions from Rick Froberg (Hot Snakes, Drive Like Jehu, Obits) on guitar, Gar Wood (Hot Snakes, Tanner, Night Marchers) on bass, Joe Guevara (Jejune, Swami and the Bed Of Nails) on piano and keyboards and Rob Crow (Pinback, PLOSIVS) and Jacob Turnbloom (Mrs. Magician) on backing vocals. So it is his comfortable crew who don the rock n roll overalls and start spraying the familiar tones around the studio.
‘Its Not Fair’ kicks off proceedings with a sprightly tempo washing over the canvas with a melodic pop tune and melody building to a chorus via some smart backbeat and chiming guitars. It’s like a ray of sunshine in a dark world. Let it wash over you and turn it up you’ll be singing along in no time at all.
It’s eight songs in under half an hour, with the MO of writing awesome melodies and wrapping them in layers of alternative punk rock n pop. Hey presto, it’s not rocket science Reis has been doing this shit for his whole musical career to varying degrees, but his solo records are so strong. ‘Future Moods’ is more of the same with a dark edge like a Twin Peaks outro tune. Threatening to break out big time but always showing restraint, it’s a thin line to tread, but Reis knows this line like the back of his hand. Whereas the new Afghan Whigs are one morose tempo and don’t break out of the shackles Dulli puts on the band, Reis isn’t bothered by such likes he does wherever the melody takes him. He does the last knockings of summer late-night tunes like ‘From Here On Out’ superbly, and boy, he carries the melody as well and he does the older, more mature punk rocker tunes as well, as he easily goes through the gears.
‘Lies Don’t Lie’ sounds like something the Saints would have penned and shows how good a songwriter he is, Hell, The album closes with a song that reminds me of mid period Bailey Saints and all power to Reis for it, and it’s fair to say we’re lucky to have him as something of a constant making and releasing such great records with the minimum of fanfare and commercial pats on the back, which is where we come in. Buy this record it will brighten your days and make you fall in love with guitar alternative rock n roll again if you ever walked away from the fight, and if you’re still in the fight, then you know what to do. Buy or steal this record its a banger, or as the kids would say – pure fire.
Legendary German thrashmeisters Exhumer have returned with a brand-spanking-new slab of metallic deliciousness: Death Mask Messiah. Their first album since 2019, it showcases eleven relentless tracks of thrash metal at its finest.
After Exhumer reformed back in 2008, they have made it their mission to continue as a relevant force to be reckoned with. No nostalgia trips here, just top-quality riff-rama that’s as good (if not better) than anything they released back in the ‘80s.
The album opens with the title track, and we are off at full pelt. Superb musicianship, quality songwriting, and perfect production make DMM a very enjoyable listen. American politics and the demise of human existence are just some of the lyrical content on display here, as vocalist M. V. Stein explains: “The misinformation that the federal government used in the ’90s is the same playbook that is being used today and is the common denominator between leadership in the past and present.”
Songs like Sin Bleeder, Eradication and Ravishing Waste have more hooks than your local fishing supplier. Just because Exhumer plays full-on thrash, they still know how to pull you in. Some real earworms on display here, with some Exodus-style gang vocals. DMM really is excellent.
DMM is a wonderful collection of metal mayhem. The entire band are on fire here, but a special shoutout goes to the new rhythm section of bassist and drummer Alex Voss and Jerome Reil, who play their arses off. Supreme!
Brutal, catchy, heavy as fuck. That’s 2026 Exhumer in a nutshell. Go and buy it!!
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