The Black Halos – ‘… How the Darkness Doubled’ (Stomp Records)

The Black Halos – ‘… How the Darkness Doubled’ (Stomp Records)

The Black Halos are back and the Darkness has Doubled! since ’94 The Black Halos have been at the forefront of punk n roll when the world was shoegazing and not wanting to look or sound like they were in a gang or band of brothers, bands like The Black Halos were a much-needed shot in the arm and above all they had songs. Plenty of em and they were fan-fuckin-tastic!

The self-titled debut was a much-needed shot in the arm and to follow it up with the magnificent ‘The Violent Years’ the band could do no wrong. They were on MTV and all was good.

With two further albums and some line-up changes, they were still contenders and I loved those albums but something was missing. Now original members Billy Hopeless, Rich Jones (guitarist with Michael Monroe, Ginger Wildheart, AMEN), and Jay Millette, have got the mojo back for the band and that X Factor is right up front and centre on this new album. Joined by new boys John Kerns (The Age Of Electric) and Danni Action (ACIIDZ) the rhythm section is on fire and stoking the furnace in the engine room for the band to truly set ablaze these new songs.

After a few singles that came out ofver the last couple of globally troubled years, we need bands like The Black Halos out there doing it and leading the way for honest, beautiful punk n roll. when they released the singles the sound was there and the tunes were easily some of their best ever written and recorded – maybe their time apart was needed to rebuild and come back stronger and wiser.

The album, recorded in Toronto and mixed by Dave Draper (The Wildhearts, The Professionals), as the guitars kick in on the opener ‘A History Of Violence’ the years just peel back and twenty years melt away. Its got adrenalin, melody, and the familiar Black Halos gang vocals and we’re underway with a Cheshire cat grin knowing that shit just got serious and The Black Halos are in the fuckin Room!!!

the record sounds amazing and ‘Tenement Kids’ opening lick sounds like classic Manic Street Preachers if only they had the bollocks to turn up their guitars its a belter of a song that will leave the intro lick inside your head to just sit dormant before growing over time and before you know it your singing along – classic Halos. A couple of the previously released singles get a look in with the lyrically astute ‘Uncommonwealth’ that just rumbles along like a prowling hungry pissed-off beast. It was a great single but in the mix of this record, it sounds brilliant. The relentless slap of the snare and repetitive chant is pure Halos.

‘Forget Me Knot’ is a confident stab with some magnificent backing vocals and the whole arrangement is one of their finest – its fair to say these gents live it and love it and on songs like this champion it and so they should. They mix things up on the song ‘Better Days’ adding variety on the guitars and it has to be said Billy’s vocals are sandpaper wrapped in a velvet glove his melody is exceptional and again I have to return to the arrangement – its so well delivered it sounds like we’ve been playing it for years never mind a mere couple of weeks, these are better days indeed with a soundtrack like this.

With eleven originals and one amazing cover, this record is unquestionably one of the best records I’ve had the pleasure of all year and it’s so pleasing to hear a band I love absolutely deliver the goods and some. There isn’t one second that doesn’t deserve praise and I’ve heard a lot of music this year but this sounds special and the more I’m playing it the more songs are jostling for positions with a solo that stands out here or a melody there it’s honestly that good. ‘All My Friends Are Like Drugs’ or the epic and heartbreaking ‘Ain’t No Time To Say Goodbye’ written for Mr Chi Pig (SNFU frontman) it was and is one of the best singles I’ve heard for several years, I must have played this song a thousand times since it was released on yeah right! records back in August 2020 if you’ve never heard it then there is no better reason to get a hold of this album right now its one of the best songs the band has ever written and that’s not even up for debate.

In the belly of this here record, you have a cover of The Wanderers ‘Ready To Snap’ which was a fantastic tune, and roping in legend Michael Monroe to handle vocals alongside Billy makes perfect sense, and boy this is how to do a cover from the passion in both vocalists delivery to those backing vocals this song goes to the next level. If I haven’t done my job and whet your appetite for this album then I can only apologise to the band, the label, and to people who still believe in Rock and Roll and its amazing powers if you only buy one record this year then I suggest you beg, steal or borrow a copy of ‘How The Darkness Doubled’because it is a relentless, high-octane blast of classic Halos punk rock ‘n’ roll! and one of if not the best record released in 2022. How’s that for leaving on a ‘Positive Note’ now getoutofhere! you beautiful bastards! The Black Halos have just nailed it…again!

Buy Here / Amazon UK

Author: Dom Daley

L7 – ‘Wargasm – The Slash Years 1992-1997′ (Cherry Red Records)

L7 – ‘Wargasm – The Slash Years 1992-1997′ (Cherry Red Records)

Formed back in 1985 by Donita Sparks and Suzi Gardner, Californian rock hags L7 would release their debut album on Epitaph records in 1988. The band, now completed by bassist Jennifer Finch and drummer Dee Plakas would release the follow up album ‘Smell The Magic’ on the Sub Pop label and toured supporting Nirvana, sealing their Grunge status. But the band only gained widespread attention when their 3rd album ‘Bricks Are Heavy’ was released in 1992 on Slash Records.

 

Blasting on to our tv screens with the breakthrough single ‘Pretend We’re Dead’, L7 were the girl band we always wanted. Not only did they resemble 4 miscreants returning from a week at Glastonbury, live they were a ferocious, fully-charged rock n’ roll machine to be reckoned with. And they had the songs to back it up.

Produced by the legendary Butch Vig, ‘Bricks Are Heavy’ is choc-a-bloc with grunge anthems full of teenage angst and more hooks than you could pilfer from a salmon fisher’s bag. The aforementioned single was preceded by the anthemic ‘Everglade’ and the killer ‘Monster’ followed.

It’s an album you can truly call all killer, no filler. From album opener ‘Wargasm’ to closer ‘This Ain’t Pleasure’, L7 fire grunge-tinged, anthemic power punk on all cylinders. You can’t deny the pure rock power of a song like ‘Shitlist’ and it joins ‘Shove’ as possibly their finest and most memorable recordings.

Their spontaneous live performances gained as much press as the album (who can forget Donita pulling her pants down and exposing herself on The Word and throwing a used tampon into the audience at the Reading festival?) and these antics sealed the band’s legendary status. Included with this first disc are the b sides ‘Lopsided Head, ‘Freak Magnet’ and their gloriously ramshackle take on Guns n’ Roses ‘Used To Love Her’ (Re-titled here as ‘Used To Love Him’).

1994 follow-up album ‘Hungry For Stink’ saw the band riding a wave of commercial success, and while the album sold well, it didn’t really live up to expectations. But what it lacks in consistency it makes up for in sheer, punk rock rage.

Recorded in LA by Gggarth Richardson, ‘Hungry For Stink’ is a darker album lyrically and it lacks the tongue in cheek humour of its predecessor. Bask in the glory of lead track/single ‘Andre’, and ‘The Bomb’ is classic L7 for sure, but there’s nothing as immediate as ‘Shitlist’ or as powerful as ‘Shove’ going on here.

‘Baggage’ is all second-hand grunge riffs and shouting, with no discernable melody or actual chorus to write home about. But ‘Hungry For Stink’ has its moments for sure. ‘Stuck Here Again’ with its underwatery guitar riff and floaty, indified verse is a highlight that hints at the direction the next album would take and elsewhere ‘She Has Eyes’ sounds like Hole on a good day.

There was a lot of great albums released in 1994. Alternative music was edgy and dark. But ‘Hungry For Stink’ wasn’t quite the dangerous beast I wanted it to be.

Included with this 2nd disc we have a live version of ‘Baggage’, a great b side in ‘Punk Broke My Heart’ and an entertaining, if not weird 15 minute radio interview, which I can’t quite decide is real or a spoof. Either way, lets face it, you will only listen to it once.

 

1997 saw the band at a crossroads in their career. Bassist Jennifer Finch left the band during the recording of their 5th album ‘The Beauty Process: Triple Platinum’, so the album was recorded predominantly as a 3 piece and with 2 producers in Rob Cavallo and Joe Baressi. Friend and bassist Greta Brinkman was roped in to add bass parts in the studio and then Belly’s Gail Greenwood also joined them as a full time touring member.

The crisp, clean production and change in tone works well and the band sound fresh here. The grunge is toned down and the songwriting is amped up. There’s a new found confidence and a fresh approach.

First song proper ‘Drama’ is classic L7 with grungy riffs and sneering vocals. With a stripped back sound and cool gang vocals, ‘Off The Wagon’ is the obvious single. Indie vibes are prevalent throughout the album with the band coming on like contemporaries such as Belly and Veruca Salt on the likes of ‘Non-Existent Patricia’ and ‘Moonshine’ with its stripped back bass and drums verse, occasional surf guitar and a sweet chorus refrain.

While the band experimented and developed their sound, Donita had lost none of her knack for a screaming diatribe or two. Frustration and angst are continuing themes on the likes of ‘The Masses Are Asses’. Included on this 3rd disc are the b sides ‘Guera’ and ‘Worn Out’.

 

L7 would go on to release one more album before disbanding in 2001. Reuniting with bassist Jennifer Finch the band reformed in 2014 and following extensive touring released their 7th album ‘Scatter The Rats’ to critical acclaim.

This 3-album collection is lovingly presented with bonus tracks and extensive liner notes by Malcolm Dome and the band. It shows a band at the height of their career and remains a testament to what a tour de force L7 really were in the mid 90’s.

Buy ‘Wargazm’ Here

Author: Ben Hughes

Dry retch – ‘Cultural Backslidin’’ (Self Release)

Dry retch – ‘Cultural Backslidin’’ (Self Release)

The Merseyside Garage punks are getting out the starting gates early for 2021 with yet another solid mini-album release, fleshing out the previous single ‘12,000 miles from new’ with five new tracks. 2020’s ‘12,000….’ is a grinding ordeal with an L7-esque bassline that will seep into your subconscious, a welcomed guest that will never leave.

Like previous releases the lads have cranked out the Big Muff in spades, delivering their sonic assault of Proto-Punk. The second track ‘I never washed it’, sounding as dirty as it’s proclaiming all while channeling a masterful Lux Interior.

Stand out track here undoubtedly ‘condition 19’, painting a picture all too familiar for everyone in the past year. Whether you’re hitting the bottle or trying to appease yourself by learning Spanish, cabin fever is setting for all of us. The Covid theme continues with the fantastic Mudhoney tongue in cheek number ‘(Don’t) touch me, you’re sick!’.

Thrown into the mix, as if a cherry was even needed on the cake, a stripped-down cover of New York Doll’s ‘Vietnamese baby’. A much starker version delivered here with a little cheeky riff from other Dolls classic ‘Jet Boy’ tacked on at the end, a great tribute to the recently departed Dolls guitarist Sylvan Sylvan. Go get yourself a copy.

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Author: Dan Kasm

How Tragic Have A Deathwish – brand new video

How Tragic Have A Deathwish – brand new video

Post-riot grrrl quartet How Tragic is fronted by singer, songwriter, and guitarist Paige Campbell. She writes poetic and playful punk songs, teeming with cathartic hooks, buzz saw guitars, pummeling drums, and rubbery basslines

As a vocalist, Paige is emotionally dynamic; her range encompasses chilling-but-sensual phrasing, raspy and impassioned singing, gruff punk rock shouting, and powerhouse belting. Her lyrics are from the heart, and brim with clever turns of phrases, kitschy horror-punk imagery, and brazen sensitivity. The Brooklyn-based quartet’s tunes would fit comfortably on a Spotify playlist alongside artists such as L7, Lunachicks, Hole, The Distillers, The Gits, The Misfits, and The Descendents.

 

How Tragic’s debut EP, ‘Past Lives’, features four tight and tuneful tracks Paige co-produced alongside producer, engineer, and mixer Matt Chiaravelle (Courtney Love, Debbie Harry, Warren Zevon) at Flux Studios and Mercy Sound Studios. ‘Past Lives’ was mastered by Grammy-nominated mastering engineer Joe Lambert. How Tragic are currently writing new material as a band, and will be releasing new music in the near future. Instagram / Website