Social Distortion New Album 8th May

Social Distortion New Album 8th May

‘BORN TO KILL’ 

NEW ALBUM OUT 8 MAY

 EUROPEAN TOUR THIS SUMMER 

INCLUDING DOWNLOAD FESTIVAL AND LONDON HEADLINE SHOW 

Orange County’s finest are back with a vengeance: Social Distortion’s long-awaited eighth album, ‘Born To Kill,’ will be released on 8 May 2026 via Epitaph Records. The hard-charging title track that’s been lighting up crowds at the band’s shows for the last several months is out now. Pre-order the new album here.

LISTEN HERE

‘Born To Kill’ is more than the conclusion to a 15-year wait between Social Distortion albums, it’s a revelation: 11 songs of pure, unadulterated rock ’n’ roll fury, joy and catharsis, all imbued with the signature blend of defiance and world-weariness that has made founder Mike Ness a poet and sage to the dispossessed for more than 40 years. 

The first Social Distortion album since Ness’ recovery from a bout with cancer, ‘Born To Kill’ brims with aggressive optimism. The album wastes no time letting the listener know where its heart is, with its title track and mission statement dropping nods to Lou Reed (“Rock ’n’ Roll Animal gonna come your way!”) and Iggy and the Stooges (“The agenda is yeah to Search and Destroy”) and an homage to David Bowie (“It’s a Rock ’n’ Roll Suicide”) following a few songs later on “Partners In Crime.” This is a man, a band and a record that wear their influences proudly while creating timeless anthems and ballads that both chart Social Distortion’s path forward and celebrate its storied past: “Tonight” and “The Way Things Were” are emotionally charged reminiscences in the vein of classics like “Story of My Life” from the band’s eponymous 1990 breakthrough and “I Was Wrong” from 1996’s White Light, White Heat, White Trash, the latter containing a potent distillation of the Social D ethos: “I wrote a song with a stolen riff / If you ain’t got a song you ain’t got shit.” 

Co-produced by Ness and Dave Sardy, and featuring guest appearances from Benmont Tench of Tom Petty and the Heartbreakers and Lucinda Williams and collaborative cover art by Ness and Shepard Fairey, ‘Born To Kill’ is the latest installment in a remarkable catalog that spans nearly three generations, including Mommy’s Little Monster (1983), Prison Bound (1988), the RIAA gold-certified Social Distortion (1990) and Somewhere Between Heaven and Hell (1992), White Light, White Heat, White Trash (1996), Sex, Love and Rock ’n’ Roll (2004), and Hard Times and Nursery Rhymes (2011). Social Distortion will support Born To Kill with an extensive European tour this Summer, including two UK dates at Download Festival and London’s Koko. The tour will also cover Norway, Sweden, Germany, Czech Republic, Austria, France, Spain, Italy, Switzerland, Denmark, and Benelux.

03 June – Sentrum Scene – Oslo, Norway
04 June – Sweden Rock – Solvesborg, Sweden
06 June – Rock Im Park – Nürnberg, Germany
07 June – Rock Am Ring – Nurburg, Germany
09 June – Columbiahalle – Berlin, Germany
11 June – Rock For People – Hradec Králové, Czech Republic
12 June – Nova Rock Festival – Nickelsdorf, Austria
14 June – Download Festival – Donington, United Kingdom
16 June – Koko – London, United Kingdom
18 June – Hellfest – Clisson, France
20 June – Azkena Rock Festival – Vitoria-Gasteiz, Spain
23 June – Carroponte – Milan, Italy
24 June – Halle 622 – Zurich, Switzerland
26 June – Vainstream – Munster, Germany
27 June – Copenhell – Copenhagen, Denmark
29 June – Amsterdamse Bos Theatre – Amsterdam, Netherlands
30 June – Docks – Hamburg, Germany
02 July – Les Eurockéennes – Belfort, France
03 July – Rock Werchter – Werchter, Belgium
04 July – Rudolf-Harbig-Stadion – Dresden, Germany

TICKETS AVAILABLE HERE 

PRE-ORDER/PRE-SAVE ‘BORN TO KILL’ HERE

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Bruise Control – ‘Bruise Control’ (Republic Of Music)

Bruise Control – ‘Bruise Control’ (Republic Of Music)

Always a pleasure and never a chore to hear bands break through the underground and continue to grow organically and get better and better. One of those bands has to be Bruise Control from the North West of England. This self-titled EP is a jagged, physical, Emotional document of modern punk rock and counter culture born of who and what they are and channelled perfectly through the music and songwriting. It can be exhilarating, joyful and angry all at the same time, but above all its the quality of the songs that these guys create that carries them through.

Bruise Control explore give zero fucks and conveys perfectly their feelings on what’s going on in the world they live in, which translates well across many cities, countries and no doubt continents. In a world where everything is for sale at a price that seems relatively cheap, and what you get for your small investment is a band who are currently on fire and making some of the best music around, that is a fact.

Opener ‘Be Like You‘ is the perfect opener, full of excitement, no easing you in more, blowing off steam with your mates and kicking the living shit out of your speakers like it’s going out of fashion. The song mourns the erosion of creative communities as cities are stripped of character and sold to the highest bidder, driven by explosive rhythms and biting urgency. A super strong opener that sets the tone perfectly.

Not wanting to be a Debbie Downer, but the sense of hopelessness in some of the subject matter is juxtaposed with the brightness of the energy spilling out of the instruments being hit. ‘Gone To Ground’, ‘If You’re Not Mine’, and ‘Spinners Mill’ channel the grinding frustration of daily life, rising rents, stretched relationships, emotional labour and the quiet guilt of struggling to stay afloat while wanting to help others. The energy and excitement captured cannot be overstated. The band are in the moment and on superb form.

The Eps final offering, ‘Jumping Ship’, feels like the release of all that pent up anxst and emotion, and the fact you’re playing this is that very release from real life you need. Recharge and go again whilst disappearing in some awesome music that we all need in life and something very hard for bands to capture, but Bruise Control seem to have hit the pocket where they just get ‘it’ and are that very release with the tunes to back it all up. Live, they manage to deliver the energy these songs demand. It can be brutal, physical and relentless at times, but boy does it feel good and perfectly displayed on side C with th epair of live tracks.

Get hold of this before they’re all gone, and you have to sell a kidney to pick one up and catch them live if you can. Oh, and the vinyl has a whopping extra five songs on side C (yeah, I know side B for Bruise and C for Control, do keep up). Less “produced”, it’s more of the same, like standing in on a live rehersal ‘Nostalgia’ is like a barking rabid dog. A couple of live tracks that give you a flavour of what they deliver live. ‘Bruise Control’ and ‘Dead On Arrival’ (both off their first EP), No More’ sounds like a row in a kebab shop at midnight, and those guitars sound sharp as fuck, it’s all about the energy and pace that delivers in spades. Then we get ‘Left Behind’, the single version, not the EP version off side B, to see us out for what might just be the independent release of the year right here, right now. Bruise Control! Bosh! ave it, buy or be left behind.

Buy Here

Dinked edition with signed poster from here

Michael Monroe – ‘Outerstellar’ (SILVER LINING MUSIC)

Michael Monroe – ‘Outerstellar’ (SILVER LINING MUSIC)

The Monroes are finally back! It’s been nearly 4 years since Michael Monroe’s last studio album, ‘I Live Too Fast To Die Young’, and while the man and his longtime cohorts have toured extensively in that time, it feels like some new music is well overdue, and I, for one, have certainly been missing their brand of high-energy rock n’ roll.

Now, while I feel that aforementioned last album certainly wasn’t his best, it sure had some fine stand-out moments, and I’m glad to report that their brand-new long player, ‘Outerstellar,’ certainly outshines its predecessor and holds a few surprises for those who are expecting more of the same as before. So, without further ado, let’s dig in and see what Monroe, Yaffa, Conte, Jones & Rockfist have in store for us this time around.

Opener and first single ‘Rockin Horse’ is a punked-up, defiant middle finger to the critics and the naysayers, job done. The following ‘Shinola’ rocks to a similar beat, although sounding more instant, more euphoric. The critics will scoff and call them “generic”, but hey, this band are just getting started.

On the first listen, its third track, ‘Black Cadillac’, where things really get tasty. With cool dynamics, NYC-style gang vocals and an uber cool riff, it’s got full-on Hanoi meets Demolition 23 vibes going on, and that, my friends, is exactly what we need from Michael Monroe in 2026. A song that truly makes you take heed and get excited for what else they have in store.

And there is a 1-2-3 of killer tunes on offer to get excited about; ‘Newtro Bombs’ is a frantic blast of punk energy with a Clash-inspired chorus and a nifty little, almost dub breakdown (Sami Yaffa’s influence no doubt). Next up, ‘Disconnected’ is the big, anthemic celebration of live rock n’ roll music, and then the infectious ‘Precious’ has a sugar-coated chorus that will embed in your subconscious after the first play and refuse to leave. Add to that a schizophrenic harmonica break courtesy of the main man, and you have a winner on yer hands.

Elsewhere, the radio-friendly ‘When The Apocalypse Comes’ has that unmistakable Monroe drawl, a chorus that is pure ear candy and killer guitars from Steve Conte & Rich Jones. A word on the production here, while I remember, as the whole album sounds crisp, clear and punchy as fuck, job well done.

They do take things down a notch and get reflective with Lords vibes on ‘Painless’, and the emotive, acoustic-led ‘Glitter Dust’ nods to those quirky Hanoi ballads. Both sound like they will be growers.

Album closer ‘One More Sunrise’ is the curveball many would never expect. An epic trip of a song clocking in at over 7 and a half minutes, it’s a brave attempt to think outside the box, and you know what?… I think it actually pays off!  Starting off like a ‘Nights Are So Long’ outtake, it wastes no time before kicking into a multi-part rocker that takes the listener on a Michael Monroe road trip you never knew you needed. It’s too much to take in with only a couple of listens, but let’s just say if you want an emotive sax solo, a piano breakdown with a killer chorus refrain to take you back to the glory days, then look no further. The Monroes are here to bring cinematic to those who inhabited (or still inhabit) the alleyways and sleazy bars at night, with just a bottle of Jack and a greasy eyeliner pencil for company. Insane, in a very good way.

‘Outerstellar’, the difficult 13th studio album from Michael Monroe, was apparently a labour of love, with some songs dating back to 2018, yet it sounds like it was a fucking breeze from start to finish! It feels like the band has pulled out all the stops here to prove this new album is more than just ‘another Michael Monroe record’. And I feel they have succeeded way beyond their expectations. The live energy has been captured to perfection with a top-notch production to boot. The band are at the top of their game, not only as players but as writers too, and it feels like ‘Outerstellar’ is the make-or-break album this band needed to make in 2026. Essential listening for those who like to rock like fuck!

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Author: Ben Hughes

Jay Buchanan – ‘Weapons Of Beauty’ ( Sacred Tongue Recordings)

Jay Buchanan – ‘Weapons Of Beauty’ ( Sacred Tongue Recordings)

Californian singer/songwriter Jay Buchanan retreated to a windowless underground bunker in the Mojave Desert to find inspiration for his first solo album. In isolation, with abandoned gold mines, rivers of sand and just coyotes for company, the Rival Sons frontman found his mojo, sought retribution and wrote a whole album’s worth of material which now comes to fruition in the form of ‘Weapons Of Beauty’.

Produced by long-time collaborator Dave Cobb at his studio in Savannah, Georgia, and featuring a host of Nashville’s finest musicians, ‘Weapons Of Beauty’ is a deeply personal album. The sparse instrumentation, clever use of space and depth of emotion of the melancholy opener ‘Caroline’ sets the scene perfectly. With a heartachingly haunting melody, Jay paints a picture of the emotion of love and loss with a wide-angle lens. This vibe continues on ‘High and Lonesome’ with stunning vocals backed by a gentle beat, slide guitar and piano. The players give just enough to accentuate, not enough to overpower the vocal.

Only on track 3 do things take a sudden upshift. Second single ‘True Black’ is a stunning song, make no mistake, a righteous sermon that embeds itself on first play. The overly familiar gospel-tinged chorus will leave you wondering how you lived your life without it such is the power.

There’s a cinematic feel to the Americana-tinged songs on offer, and the great songwriting and emotive playing will leave the listener enraptured and yearning for more. The stark feeling of isolation and introspection has been magically captured by Cobb, and brings to mind the feel of Springsteen’s ‘Nebraska’ or Bon Iver’s ‘For Emma, Forever Ago’. Nothing is overplayed, and it gives a very ‘live in the studio’ feel. The folky, almost Celtic ‘Tumbleweeds’ and ‘The Great Divide’ have a more commercial, radio-friendly feel with soaring, powerful vocals and life-affirming lyrics that will make the hairs on the back of your neck rise to attention. Elsewhere, ‘Deep Swimming’ brings to mind The Lumineers and ‘Sway’ is a beautiful love song to his wife with a stunning vocal performance.

Leonard Cohen’s ‘Dance Me To The End Of Love’ fits perfectly with the themes of love, loss and retribution and serves as a precursor to the title track that closes the album. The piano-led ‘Weapons Of Beauty’ is as emotive and dramatic as you could wish for. As you wait on Jay’s every word, at times his voice is on the verge of breaking, such is the power and emotion he pours into this performance.

‘Weapons Of Beauty’ is a deeply personal album, a true confessional told by a true storyteller. It is the sound of a man laying his heart on his sleeve and coming to terms with the burdens of loved ones and the reflections of time in self-imposed exile.

Jay Buchanan has created a cinematic landscape that takes the listener on a mystical journey through his soul, covering a range of emotions, and at times, you truly feel you are encroaching on something that wasn’t meant to be shared. And that is a rare thing for an artist to accomplish.

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Author: Ben Hughes

THE CHUCK NORRIS EXPERIMENT – ‘Hot Stuff Vol. 3’ (Ghost Highway Recordings and Chaputa! Records)

THE CHUCK NORRIS EXPERIMENT – ‘Hot Stuff Vol. 3’ (Ghost Highway Recordings and Chaputa! Records)

Hot Stuff Vol. 3 is the third instalment in a very specific side series within The Chuck Norris Experiment catalogue: a carefully curated collection of recordings spanning different sessions, years and contexts, bringing together covers, original songs and lesser-known tracks that sit outside the band’s regular studio albums. One thing we know from listening to this band for donkeys years is they always deliver, be it single splits or albums, they in fact have matured over the years, and since the 7-inch album, they’ve been on fire, delivering their best music in an illustrious career thus far.

Obviously in a band, there are going ot be common loves and styles but collectivly they also share a wide range of influences — from Blue Öyster Cult, Sex Pistols, Dead Moon, New Bomb Turks, Demolition 23 and Electric Frankenstein (all included here) but what they’ve mnaged to do is take these songs and own them knocking out CNE versions and interpretations and owning some very good songs. Alongside the covers, original tracks such as ‘When The Dust Settles’, ‘All Your Bridges Are Burning’ and ‘Let The Wheels Roll’ Showing that the band’s own output stands tall next to some pretty big hitters I guess someone not familiar with the covers or the bands own output would be hard pressed to split the tunes into covers or original. ‘Problems’ gives the Pistols a souped-up Scandi overcoat, and it fits really well. To be fair, the energy they’ve put into these tracks is a real joy to hear, especially when played loud! its what the wah pedal was made for.

The album also features a guest appearance by Jake Starr on ‘In The Doorway’, a name that needs no build-up or introduction to the well-researched Garage rock scene. I adore the Demolition 23 album, and to hear another band I also respect and have most of the music they’ve released covering ‘Hammersmith Palais’ is a highlight on this record. Also, you can add the Electric Frankenstein cover to my top picks. If you know the band’s previous releases, this is a no-brainer. If you’re looking for a new band to delve into, then this is still a no-brainer; Chuck Norris Experiment Hot Stuff is absolutely Hot Stuff. Don’t snooze its limited to only a few hundred copies.

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Author: Dom Daley

Kevin Steele – ‘One Thing Left to Do’ (Steele Records)

Kevin Steele – ‘One Thing Left to Do’ (Steele Records)

I was 14, and 99% of my music listening involved hard rock, metal, thrash, and what we now refer to as hair metal. Z-Rock was something of a pioneer at the time, as I believe it was a national radio station, instead of just being heard locally. I remember hearing a mix of hard rock and metal back then, where it might transition from Rigor Mortis to this new band called Roxx Gang. The first time I heard ‘No Easy Way Out’ by Roxx Gang was one of those magical moments where a song just flows through your soul. Kevin Steele’s vocals had a unique charisma all their own. I picked up their debut album ‘Things You’ve Never Done Before’ and put it on repeat. While I’m convinced someone could have just made a spark and sent them into a collective ball of fire with all the aqua net they had in their hair, they did provide some differences from their peers. Some of their lyrics were a little darker, but at other times, they were as juvenile as the stereotypes of the time. The musical world changed with grunge’s arrival in the mainstream. Roxx Gang continued on with an independent label, and I remember buying their second album through Perris Records, as well as the Mojo Gurus albums. That second Roxx Gang album has received more and more listens over the years. Steele has now delivered his first solo album, and, while I find it a frustrating listen at times, there is a lot I also enjoy.

The title track gets the album started with a bass-heavy mix that leaves me wishing the guitars had more presence in the mix. They pop up a couple of times but seem to get swallowed by the rhythm section in the overall mix. It’s always great to hear Steele’s vocals, but it’s a rocky start for me. Lead single ‘Snake Charmer’ has grown on me with repeated listens, but I didn’t connect with it at all on first listen. This one features a cool groove, and the mix allows the guitar to weave its way around the rhythm. Up next, ‘The Bedspring Boogie’ has a title which could have been used in the early Roxx Gang days. I love the piano here, and the swagger of the song. I get frustrated again when the guitar gets lost in the verse,s but really like the way it is used elsewhere.

‘I Know What Yer Up To’ turns up the blues, and the mix here really works for this song. My first few listens of the album, this was the song that really pulled me back and made me pay attention. Wrapping up the first half of the album is the ballad ‘Sad, Sad Song.’ Musically, I am reminded of the Dogs D’amour and Nikki Sudden here, which is always a good thing. There is a genuine vulnerability in the vocals, and it ends the first half of the album on a positive note.

One of my favourite Roxx Gang songs was ‘Nine Lives’ from their debut album, and side two kicks off with its sequel of sorts in ‘The 9 Lives Blues.’ A bluesy rock beat with some killer piano that incorporates some of the vocal melody from 38 years ago creates a great song. Every instrument feels present in the mix, and the album’s momentum continues building. ‘Fingers Crossed’ brings a rolling and rocking country vibe to the album, where acoustic and slide guitars get the focus. Musically, this would be at home on albums by Izzy Stradlin, the Black Crowes, Quireboys, Stones, or bands in the red dirt music scene here in the States. Steele’s drawl on the vocals shows another side to his voice, while also always sounding like himself.  A rocking soulful rhythm and blues groove, strengthened with horns, highlights ‘Nobody Tells Me When to Quit.’ I like the use of the backing vocals here. It doesn’t connect with me as much as the previous songs, but it adds some fun to the album.

Hard rock ‘n’ roll explodes out of the speaker through ‘My Baby Didn’t Come Home Last Night.’ It builds on the joyous spirit from the past couple of songs, and this is another one where I love the piano. Proper album closer ‘There’s a Better Day Comin’ utilises a midtempo beat. This is one of those everyone raise your glass for a toast songs. ‘Don’t You Worry About Me’ appears to be a bonus track, as I don’t see it listed on the vinyl version of the album. It is not a cover of the Wildhearts song, if anyone had that thought. This is an acoustic troubadour celebration with some excellent guitar picking. This is probably my favourite song from the album.

While the mix of the album doesn’t sit right for me, my appreciation for Steele’s previous work helped me persevere through the beginning of the album and encouraged me to keep playing the album. I would love to see the first few songs get a bit of a remix and add some guitar in there. If you find the first song a struggle, I recommend starting with the 3rd or 4th track and then working all the way back around. I will be mixing songs from the album into my monthly playlists, which will likely lead to the whole album getting more plays.

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Gerald Stansbury

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.

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Author: Gerald Stansbury

DEAD PIONEERS PUNCH BACK WITH POWERFUL NEW SINGLE ‘NAZI TEETH’

DEAD PIONEERS PUNCH BACK WITH POWERFUL NEW SINGLE ‘NAZI TEETH’

FEATURING STEPHANIE BRYNE FROM COLORADO FEMINIST PUNK BAND CHEAP PERFUME

STREAM/DL HERE

UK AND EU TOUR STARTS FEBRUARY 26

NOW CONFIRMED TO PLAY THEIR FIRST UK FESTIVAL APPEARANCE AT 2000 TREES IN JULY

TICKETS AVAILABLE HERE:

Dead Pioneers, the Indigenous fronted band from Denver, thump back into action this week with one of their most enraged, powerful and important pieces of work yet. As the upsurge of the far right and white supremacists continues to rise and come out of hiding, Dead Pioneers are ready to fight back with new single ‘Nazi Teeth’, the first track to be lifted from their forthcoming third album, further details to follow…

“While unfortunate that it needs to be done, we’ll never shy away from calling out the elephant in the room,” states frontman Gregg Deal. “Although we didn’t expect this elephant to be the revival of fascists on Amerikkkan soil. Maybe we should have. Frustrated and angry, ready and willing to fight, it’s not lost on us that the need to write a song like this or say these words out loud is grim, ironic, and disconcerting. Nevertheless, here we are, and we’re here to do it.”

The single features a fiery vocal collaboration from Stephanie Bryne of Colorado feminist punk band Cheap Perfume, reconnecting with their fantastic 2016 song ‘It’s Okay To Punch Nazis’. Stephanie’s voice breaks through the song, doubling down on confronting white supremacists throughout the world.

“We are witnessing in real time the violent and horrifying overextension of this administration, while many of our brothers and sisters have been suffering at the hands of white supremacy and colonialism for generations,” says Stephanie. “Nazi teeth is a call to action to hold the line with your friends, family, and community. Keeping Nazis down keeps us all free.”

“The United States of Amerikkka is in disarray, and ‘Nazi Teeth’ is not just our answer to what we’re seeing and experiencing in the streets of the so-called land of the free, but a call to action, fighting the continuing manifestation of forces our grandparents and great grandparents fought some 81-plus years ago,” continues Gregg. “It should be obvious, but for some people it seems this needs spelling out: Fuck Nazis, Fuck Fascism, Fuck ICE, Fuck Pedos, and Fuck Trump and his administration. If violence is the only language they speak, it’s okay to punch Nazi teeth.”

Dead Pioneers have never been afraid to use their art as a vehicle to express their beliefs and anger at the current political landscape in America. Over two albums – their self-titled debut in 2023 and ‘PO$T AMERICAN’ from last year, the band have concocted a unique blend of spoken word and hypnotic post-punk, mixed with the fury and anger of real punk rock.

Dead Pioneers are confirmed to play their first EU and UK headline tour, starting later this month.

Support for all UK shows comes from Yakkie, featuring Janey Starling formerly of Dream Nails.

Go HERE for tickets.

Dead Pioneers emerged as a dynamic extension of vocalist Gregg Deal’s performance art, seamlessly blending music with critical cultural commentary. Rooted in the same themes of identity and resistance that define his visual work, the band’s sound acts as a powerful platform for addressing the complexities of Indigenous experience. Deal harnesses the raw energy of post-punk and alternative influences to challenge prevailing narratives, using lyrics that provoke thought and evoke emotion. Just as his performance art confronts the legacies of colonization and systemic marginalization, Dead Pioneers – completed by Josh Rivera and Abe Brennan on guitars, bassist Lee Tesche (Algiers) and drummer Shane Zweygardt – engages audiences in a visceral dialogue about survival, resilience, and reclamation of voice. This musical endeavour not only amplifies his artistic vision but also creates a space for collective expression and solidarity, inviting listeners to reflect on the intersections of culture, history, and identity in a contemporary context. Through Dead Pioneers, Deal continues to assert that art, in all its forms, can be a powerful vehicle for activism and change. 

See Dead Pioneers at the following dates in the UK and EU.

February

26th UK Bristol, Strange Brew

27th UK Manchester, Rebellion

28th UK Leeds, Key Club

March

1st UK London, The Underworld

3rd NL Arnhem, Willemeen

5th DE Wiesbaden, Schlachthof

6th DE Stuttgart, Juha West

7th DE Cologne, Helios37

9th CH Zurich, Bogen F

11th AT Vienna, Arena

12th DE Munich, Backstage

13th DE Berlin, Cassiopeia

14th DE Hamburg, Hafenklang

Find Dead Pioneers online HERE:

Brian James – ‘Kicks And Diabolik Licks’ (Easy Action Records)

Brian James – ‘Kicks And Diabolik Licks’ (Easy Action Records)

Posthumous albums are always a touchy subject. Especially when the artist had true, legendary status. Brian James certainly fits this category; a one-off who kick started The Damned and influenced innumerable guitarists. There’s nothing I can say that hasn’t been said many times before. He had his moments, no doubt, but when I interviewed him a few years ago, he was generous with his time and happy to talk about any subject. His shadow looms large in my record collection, from The Damned, through The Lords, The Racketeers and his many solo albums.

These seven songs are the final ones he worked on. Let’s be clear, while they’ve been mixed, they are very rough and ready recordings. That should come as no surprise, but it needs stating. Some songs sound like the finished product, others are experimental/embryonic. That said, each one is undeniably ‘Brian’, so, if you “want some action?”, let’s jump in…

Joined by his regular comrades Malcolm Mortimer, Austen Gayton, Dave O’Brien and Alan Clayton, ‘In The Blood’ is the song that would fit in best on ‘The Guitar That Dripped Blood’. The familiar, knife-sharp guitar and Brian’s casual drawl is back like an old friend. ‘Soho’ is a bare-bones riff, “less is more”, but still captivating. 

‘Giallo Yellow’ is experimental meets chaotic, a hypnotic mess. The Italian ‘Giallo’ novels are apparently an influence on the album, the cover art by longtime collaborator Graham Humphreys echoing the distinctive, yellow book covers. ‘So Sad, Sonny’, with its funky piano, is reminiscent of the Blockheads at times, adding some groove to the mix. 

The version of ‘Dance With Me’ is pleasingly different to the original. Piano led, with touches of guitar, ex Mo-Dettes singer Ramona Wilkins-Carlier gives it a smoky, ‘Parisienne’ feel and a touch of class. ‘Ida Strong’ is another experimental groove, the farfisa keyboard sound keeping a primal feel, and ‘Happy Families/Zombie Song’ is practically free jazz, complete with duck quacks and Bo Diddley drums. Don’t say I didn’t warn you! The CD contains four extra songs, including ‘Living Doll’, which I haven’t had the chance to hear yet. 

Inevitably bittersweet, it is nonetheless a treat to hear Brian’s unique sound one more time.

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Author: Martin Chamarette

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

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Author: Gerald Stansbury