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

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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https://largemirage.com

Author: Gerald Stansbury

The Molotovs – ‘Wasted On Youth’ (Marshall Records)

The Molotovs – ‘Wasted On Youth’ (Marshall Records)

The Molotovs came about through necessity and boredom during the heady days of Covid lockdown. Teenage siblings Mathew (vocals/guitar) and Issie Cartlidge (bass/vocals) started jamming, wrote some songs and formed a band. When the world opened up again, they gigged, and then they gigged some more. And they haven’t stopped since! 600 plus shows later, and they have a ferocious live reputation and friends in high places. A series of high-quality singles, gorilla gigs on flatbed trucks and shows with The Sex Pistols and Blondie finally led to the release of their highly anticipated debut album ‘Wasted On Youth’.

The Molotovs unashamedly flaunt their influences over the course of the album. There are many short, sharp nods to Mod, Punk & New Wave and a heady dose of Brit Pop going on. Punk is certainly prevalent on gnarly opener ‘Get A Life’, a one-minute and forty-second diatribe aimed at the naysayers and the detractors. This angst-ridden mash-up of Weller and The Clash is just the sort of anthem that the disenchanted youth need to get behind. A perfect album opener, a great single choice, and the perfect introduction to the band.

You can’t help but reference The Jam while listening to ‘Wasted On Youth’, their influence is all over the likes of ‘Newsflash’ and ‘Rhythm Of Yourself’, even the emotive ‘Nothing Keeps Her Away’ brings to mind ‘That’s Entertainment’. While there is already a long line of old punks and journalists ready to bring The Molotovs down, I see no problem with anything they do. If the songs are good, then it’s good enough for me. And The Molotovs have some good songs. For a songwriter who has barely left school, Mat shows talent beyond his years; he has a lyrical suss and an ear for a catchy melody. The poignant and emotive ‘Geraldine’ recalls early Manics, with great use of structure and melody. And the title track is Frank Turner at his acerbic best. All leave their mark and warrant repeat listening. If I really want to be picky, they lose it slightly on ‘Come On Now’ and ‘Popstar’. Although both sound like early Adam & The Ants, they do feel a bit like fillers compared to the other tracks.

But they make up for it elsewhere. With its ringing power chords and urgent beats, ‘More More More’ sounds vital. ‘Daydreaming’ is an anthemic Brit Pop pastiche, and album closer ‘Today’s Gonna Be Our Day’ is a call to arms from one youth to another, a song that earns its crown and should feature in playlists worldwide by the end of the year.

At 17 and 19 years of age, Mathew & Issie Cartlidge are still teenagers, yet the sharp-dressed duo somehow capture the bridge between Punk, Mod and Brit Pop with ease, spread over 11 tracks in just over 35 minutes. They are a testament to hard graft in a business that is getting increasingly difficult to make a living in, and if they can get past the Spinal Tap drummer issues and ignore the jealous old punks who refuse to give a new band a break, then maybe, just maybe, The Molotovs can truly make this day their day.

For now, though, ‘Wasted On Youth’ is essential listening as far as I’m concerned. The Molotovs have just booked a tour for later this year. My advice is miss them at your peril.

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Author: Ben Hughes

Jim Jones Allstars get into a Cat Fight

Jim Jones Allstars get into a Cat Fight

HEY ROCKERS!

We’ve got a trio of exciting announcements for you today with a new album, a UK tour and biggest ever headline show all coming your way.

On the 3rd of April, Jim Jones All Stars drop their second studio album, ‘CAT FIGHT’. Produced by The Black Crowes’ Chris Robinson and released on his label Silver Arrow Records, Robinson also provides backing vocals on the infectious lead track ‘Make It Rain’. With CAT FIGHT, the All Stars’ explosive sound has finally been captured and contained in twelve foot-stomping epic tracks, a true highlight of Jim Jones’ storied career. Chuck Prophet provides guest guitar, and there’s a special introduction from the Queen of Northern Soul herself, Gloria Jones!

You can pre-order the album as digital download here.
And physical copies on CD and blood red vinyl from our bandcamp.

CAT FIGHT UK TOUR

The band hit the road in April to support the release of the album. Tickets available here

Sat 4th – The Piper, Hastings
Sun 5th – Joiners, Southampton
Tue 7th – Hare & Hounds, Birmingham
Wed 8th – Bongo Club, Edinburgh
Thu 9th – The Cluny, Newcastle
Fri 10th – Future Yard, Birkenhead
Sat 11th – Parish, Huddersfield
Sun 12th – Esquires, Bedford
Thu 23rd – Waterfront, Norwich
Fri 24th – Cavern, Exeter

Look out for news about festivals and European dates coming soon.

ALL STARS AT THE SCALA

We’re proud to announce that tickets are now on sale for our biggest show to date at London’s legendary Scala venue on October 18th. Don’t hang about as tickets will go quickly for this, the band’s only London show for 2026. Expect an evening of high energy riotous rock ‘n’ roll, special guests and more! 

Grade 2 like to Talk About It

Grade 2 like to Talk About It

UK Punks Grade 2 Announce New Album ‘Talk About It’ Out April 3

via Hellcat Records

Pic By Christopher Bethell

British punks Grade 2 wrestle with a whirlwind coming-of-age on their rollercoaster fourth album Talk
About It, set for release on April 3 rd via Hellcat Records. Frontman Sid Ryan, guitarist Jack Chatfield, and
drummer Jacob Hull bring over a decade of experience to the table, crafting an album that’s both a
reflection of their personal struggles and a rallying cry for a generation. An unflinching exploration of
love, loss, and the emotional toll of growing up in a band, Grade 2 promise to deliver the grit, hooks, and
hard-earned clarity that has made them one of the UK’s most exciting young punk acts.
Today, the trio shares the defiant lead single “Standing In The Downpour,” a steadfast statement
asserting that even if the clouds burst, they’ll be happy to dance in the rain. The band explains:
“’Standing In The Downpour’ is a story through reminiscence, written in a conversational manner as if
between old friends. From a British seaside town upbringing, rowdy nights and reckless decision making,
to finding your feet in early adulthood.”

Pre-save Talk About It HERE

Grief. Growth. Grafting every step of the way. Twelve years since they first cranked amps as schoolkids
rattling their music room out on the Isle of Wight, Grade 2 have plenty to talk about. 
From seeing dreams dangling precariously during COVID, to blasting back with 2023’s self-titled third LP,
the band looked to have claimed their place on top of the world. But storming festivals like Rock am Ring
and rubbing shoulders with heroes like Rancid and Slipknot was only half the story. Offstage, the trio
were dealing with the quiet dissonance of island life back at their parents’ places, finding time for
romantic relationships and plotting the path forward through a world increasingly falling to pieces.
Turbulent fourth album Talk About It is a chronicle of every tribulation and triumph.
“The title-track was initially called Communication, a song about how men don’t talk about the things
that really matter to them,” explains Sid. “But it became ‘Talk About It’, which sums up the whole album,
touching on every emotion that you feel while being in a band, from love to loss to personal turmoil to
ambition. It’s a coming-of-age story about Grade 2 entering adulthood…”
A compelling first step in the next chapter from one of modern punk’s brightest lights, Grade 2 makes it
out of the darkness. “This is everything we’ve been through,” the lead singer smiles bittersweetly, “but
we’re here!”


Grade 2026 Tour Dates
March 20 – Belfast, IRE – The Deer’s Head
March 21 – Dublin, IRE – Lost Land
March 28 – Nottingham, UK – Bodega Social
March 29 – Leeds, UK – The Key Club
March 30 – Manchester, UK – The Deaf Institute
March 31 – Glasgow, UK – The Garage
April 1 – Bristol, UK – Exchange
April 3 – London, UK – O2 Academy Islington

    April 4 – Newport, Isle of Wight – Strings Bar & Venue
    April 25 – Dusseldorf, Germany – Zakk
    April 30 – Jena, Germany – F-Haus
    June 18 – Dessel, Belgium – Plein Air
    June 20 – Zurich, CH – Stadion Letzigrund

    Kevin Steele is the ‘Snake Charmer’

    Kevin Steele is the ‘Snake Charmer’

    KEVIN STEELE RELEASES THE LYRIC VIDEO FOR “SNAKE CHARMER” FROM HIS FIRST SOLO ALBUM “ONE THING LEFT TO DO”

    Kevin Steele recently announced his first solo album, One Thing Left To Do, which will be released on February 27, 2026, via Steele Records/Amplified Distribution. The first single, “Snake Charmer”, is out now on digital services, and Kevin now released the lyric video for the single.

    In a review of the entire album Sleaze Roxx had this to say about the track “Snake Charmer”: “Snake Charmer” is a hypnotic and very seductive dose of sleaze that was, quite rightly in my opinion, released as a single and is already a highlight on here.

    “Snake Charmer was one of the first songs we recorded, and it’s one of my favourite songs on the record. It’s a song about seduction, temptation and obsession. It’s a tale as old as the original sin. We went for a fuzz guitar sound ala Keith Richards when he slashed his speaker cones with a razor blade to get that kind of nasty distortion. It’s got a really good, sexy groove. It’s kind of hypnotising. That’s an actual Indian snake charming Punji flute at the beginning and end of the song.” – Kevin Steele

    Pre-save or Pre-order: Here

    The album features the first single “Snake Charmer”, with its sexy, hypnotic groove and killer guitar riffs it explores the age-old dilemma of female wiles versus a man’s blind obsession. The second single, “There’s A Better Day Comin’”, is a soaring Rock ‘n’ Roll anthem of hope. Its gospel-like arrangement is meant to convey a feeling of optimism in a world where we could all use some. In the third single, “Sad, Sad Song”, Steele delivers a poignant ballad recounting his hardscrabble life and tragic youth. Guaranteed to bring a tear to your eye.

    All of these songs showcase Kevin’s masterful songwriting across all the musical styles that have shaped his colourful career, including glam, punk, rock, blues, and even southern gospel. Kevin’s band, Roxx Gang were one of America’s great bands and the first rock band signed to Virgin Records in America. Their debut record, the classic “Things You’ve Never Done Before”, sold over 250,000 copies. In a way, they were the bridge between glam and grunge, and The Mojo Gurus played a vital role in keeping rock ‘ n ‘ roll alive in “The Tens”, working with legendary producers Jack Douglas (John Lennon, Aerosmith, New York Dolls) and Tommy Henricksen (Alice Cooper, Lou Reed, The Hollywood Vampires). With One Thing Left To Do, Steele brings his musical journey full circle with a truly remarkable record that you just have to hear.

    Joining Kevin on this new record is guitar phenom/co-producer Billy Summer (Florida, Luxury Mane, The New Brutarians), whose music has been heard on major TV shows and films such as Ted Lasso, The Affair, Harpoon, Life and Beth, Chicago Fire, Property Brothers and many others. The result is one hot slab of Rock ‘n’ Roll revelry covering several genres that showcase a track list of impressive playing and songwriting.

    “Billy and I made such a great team. Instant connection of the minds. He knew instinctively where I was going musically with each song before I would even tell him. That’s why they call us the Cosmic Twins”, said Kevin.

    The band is an allstar collection of Tampa Bay, Florida musicians playing at the top of their game. They formed an instant camaraderie and the good times had in the recording sessions shine across every track!

    Also, on Friday, February 27 he celebrates the release of his new record at Bayboro Brewing Company. Kevin will perform the new record in its entirety, backed by an all-star band of Tampa Bay musicians featuring guitarist Billy Summer.

    Bayboro Brewing Company Presents: Kevin Steele – Record Release Concert

    Special Guests: Saints of Saturn – Recent winners of Hard Rock Rising – Tampa

    Friday February 27, 2026

    Bayboro Brewing Company 2390 5th Ave. S., Saint Petersburg, FL (727) 767-9666

    Doors at 7:00 PM – Show at 8:00 PM – All Ages

    IST IST – ‘Dagger’ (Kind Violence) 

    IST IST – ‘Dagger’ (Kind Violence) 

    Arriving hot on the heels of last year’s acclaimed Top 30 effort ‘Light A Bigger Fire’, ‘DAGGER’ is IST IST’s fifth full-length studio album from Manchester’s finest dark post punk pop groovers. 2026 could well be the year that IST IST finally move up on the festival bill ladder and reach into many more ears with their brand of post punk with the Depeche Mode synths and Joy Division darkness mixed in with the norther working class grit that eminates from the songs they sing (a reral identity is coursing through these songs and it would come as no suprise they’re Manchesters finest) IST IST have come of age and found their sound and made it accessable for everyone whilst keeping true to the spirit of where they’ve come from.  

    The album’s opening is helped by the epic production and the instruments’ spatial awareness, whilst everyone working on the songs is not trying to be niche or cool, just writing great songs. ‘I Am The Fear’ begins with a twitching adjit synth that breaks out into a sprightly thumping bass groove before the guitars and Bass collide to create a huge sound. The oscillating synth throughout is like the best club anthem you’ve never heard, capturing a real moment as it builds towards the chorus that is a majestic earworm you won’t shake for the rest of the day ‘I Am The Fear’ indeed. Great stuff. To follow that with a louder, more anthemic song might be asking too much, but the danceable ‘Makes No Difference’ has touches of New Order but with The Cure playing the instruments, but again the chorus elevates the whole song. A really good tempo as the vocals whisper into your ear before the volume rises on the chorus.  

    ‘Warning Signs’ is classic Goth with a solid tempo, the band sound like they’re in a groove and sync up together and the chiming guitars sound cathedral-sized but always playing for the benefit of the song rather than trying to be cool because the end result is they hit all kinds of cool anyway. As the album lurches in tempo from solid toe tapper to a more measured groove like the excellent ‘Burning’, the band shifts through the gears effortlessly. The use of synths and live instruments is huge with regards to the bands identity, that throbbing Bassline is the core that anchors their sound whist the vocal style of Adam Houghton is a dark softly spoken vocal at the best of times when he needs to raise his voice it adds gravitas to proceedings and makes you want to listen intently as to what he’s saying.  

    I’ve been lucky enough to have this in my ears for several months, and it’s become my go-to album so far in 2026. If you’re looking for highlights, look no further than the opener and the epic ‘Encouragement’ that builds into some cinematic beast with all the elements of the bands go to styles vying for the limelight, and it takes two minutes before a word is uttered. Awesome stuff.  

    For all the modern technology on display, the stripped-back ‘I Remember Everything’ is also a standout, maybe due to its slow burn and subtle melody that wins you over. As the album descends to its finale, ‘Obligations’ showcases that thumping Bass again, sounding like darkness has stolen the torch from early Duran Duran through post punk leanings, and it really works. Leaving the penultimate offering ‘Song For Someone’ to bring the darkness and bleak Gothic romanticism before the album signs off with ‘Ambition,’ something the band clearly has, and it’s paying off big time here as ‘Dagger’ is brought to an end, kicking and screaming and the most complete and elevated album from the band thus far. They deserve success and a platform to reach more an dmore peole becuase this record has the receipts and the X factor to bring them everything they desire. Buy this album its a beautiful thing.  

    Buy Here

    Author: Dom Daley

    The Damned – ‘Not Like Everybody Else’ (Ear Music)

    The Damned – ‘Not Like Everybody Else’ (Ear Music)

    Like ’em or loath them, one thing is for sure: the title is spot on. The Damned have been a constant pretty much throughout my music listening life, and as they reach the twilight of a glittering career, they’ve lost another of their own, and this one hurt big time. Brian James shaped my youth from The Damned through The Lords and his solo output right through the first reunion dates that ended in tears to the triumphant second coming and a much more harmonious band that seemed to have reached some semblance of maturity and adulthood (god forbid) and returned to the stage as the original four piece whilst they still had time and nailed a series of shows that had the fire and fury of the early years as well as a much older and wiser beast they did it and came out far better and bigger than they went into it. Sadly, that was the last time they would play as a four-piece as Brian passed away last year, which motivated the remaining three, plus the long-time Paul Gray to turn in a set of covers that Brian was inspired by to put together The Damned as we knew it.

    With Rat back in the seat for the last couple of years its wonderful to see and hear the Damned from The Black Album and Strawberries knock it out of the park time after time and show the youth exactly how it’s done. Forward we move to the here and now, and this here tribute to the tunes of their youth that inspired Mr Brian James and a mixed bag it is. Sure, you’ll have your stalwarts and gatekeepers protesting and professing to not touching this with a barge pole, but The Damned have form for this with the awesome ‘Give Daddy The Knife Cindy,’ which was a pretty awesome covers album, albeit without the name The Damned. Fast forward a few decades, and we’re here paying respects to Brian in a way he’d appreciate. Ten tracks from various continents, there are the ones we would all have guessed, which are done to perfection for one reason or another, like ‘Gimme Danger’, but it’s tracks like the title track that suit Vanian’s vocals, and he manages to hit the notes to perfection, serving up a rousing rendition.

    Rats drumming is so recognisable, and his long hiatuses from the fold missed his swagger and formidable rolls, even Monty’s keyboard wheeze on songs like ‘Heart Full Of Soul’ nails it. The big takeaway I got from this record is how bloody good Paul Grey is and how he plays the songs for what they are, driving the tunes like a finely tuned Rolls-Royce. Of course, I love Captain’s off-the-cuff style where he sounds like he’s winging it (which he’s not, of course, but it’s always added excitement), just take ‘You Must Be A Witch’ which had me raising an eyebrow to mr Vanians high notes (well done, sir).

    Of course, there are a few lulls here and there, but let’s not get carried away here. This is The Damned paying their respects to Brian James and playing the guts out of some left of centre (at times) songs, of course it’s not ‘Neat Neat Neat’ or ‘New Rose’, but for some unearthly inexplicable reason this is what got us those songs. The inclusion of ‘last Time’ gives me goose bumps, and like Captain says Without Brian, etc., etc..

    The message on the inner sleeve is heartfelt and touching – long live Brian James and long live The Damned, the greatest band to ever walk the planet bar none. Another case of hit and miss, but I’ll take it because they’re not like anyone else and the likes of which we’ll never see again.

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    Author: Dom Daley

    Megadeth – ‘Megadeth’ (BLKIIBLK)

    Megadeth – ‘Megadeth’ (BLKIIBLK)

    We all know the Metallica story… I’m not going to talk about that, well, maybe later. Megadeth has been a constant in the heavy metal story since back in 1983, when Dave Mustaine swore that he would put together a band faster and heavier than that other band that I said I wasn’t going to talk about.

    Since then, there have been many lineup changes and some history-making music. The one constant is, of course, “MegaDave” himself. The controversial guitarist/vocalist/lead songwriter has made sure that every single heavy metal fan in the world owns at least one Megadeth album in their collection. This has been achieved by hard work, phenomenal talent and of course, Dave’s unwillingness to fail.

    My first run-in with Megadeth was courtesy of a Kerrang! Compilation VHS with the video to the song Peace Sells. I loved it and got a friend to copy the album onto a C90 cassette for me. The power, the musicianship, and the snarl all made sure this teenage thrasher was hooked (in mouth?) Of course, the “classic” lineup of Megadeth came a few years later with the 1990 Rust In Peace album. This is when the world really saw Mustaine’s vision in full. I saw the band live for the first time on this tour with a little-known band called Alice in Chains opening. The fury of their live shows became legendary; they never disappoint in a live setting.

    Megadeth became global superstars after the success of the 1992 release ‘Countdown to Extinction’, but this was the start of the band’s decline. Some ill-fated direction changes on the 1999 album Risk and the collapse of the “classic” line-up before that saw Megadeth’s popularity dip. This isn’t to say that the band weren’t out there making new records or playing live, they just never got another Countdown moment.

    This latest LP, simply titled ‘Megadeth’, is set to be their last ever album. Mustaine has had health struggles over the last few years and has decided to hang up his guitar for good. 2022’s ‘The Sick, the Dying…and the Dead’ was a great album, and this follows on in a similar vein. Latest guitar wizard Teemu Mantysaari has a strong presence with songwriting credits on nine of the ten tracks. Drummer Dirk Verbeuren feels like he’s been around forever, and his contribution is a noticeable one. Bass player James LoMenzo still feels like a hired gu,n though, he plays a blinder here, as you’d expect.

    The album opens strongly with the lead single ‘Tipping Point’. Virtuoso guitar work, machine gun double kick drums and Mustaine’s trademark love it or hate vocal style are all over the song. A brilliant opener. The production is great, too, from Mustaine and Chris Rakestraw. ‘I Don’t Care’ is a bit more throwaway, although some fun lyrics rescue the track. ‘Hey God?!’ Is a mid-paced chugger, which is a real grower. ‘Let There Be Shred’ does what it says on the tin, a real showcase of Mustaine and Mantysaari’s incredible prowess. Puppet Parade reminds me of the Youthanasia era. Another strong track. Another Bad Day chugs along nicely with lyrics that all of us can relate to. ‘Made to Kill’ kicks off with a superb drum intro before we are off into very familiar Megadeth territory, stabbing riffs, answering kick drums, and guitar solos aplenty make this one of the strongest tracks on the album. ‘Obey the Call’ has a great crunching riff. Mustaine’s vocals are more melodic here, another solid tune. ‘I Am War’ has a nice sing-along chorus which sticks in your head almost instantly.

    The Last Note gives us Megadeth fans the final nod from our illustrious leader. The lyrics are actually quite moving: “I can’t outrun the spinning hands of time” and “the guitar got heavy, time to lay it down” gave me a lump in my throat. Is this really the end of the road for Megadeth? It seems to be true. We can never be sure, though, how many comebacks have Kiss, Motley Crue and even fellow Big 4 thrashers Slayer have had? I get the feeling that Mustaine is genuine in his sentiment. Rest easy, Megadeth, we salute you. Megadeth is no game-changer but it’s a good way to bow out.

    I wasn’t going to mention the cover of Metallica’s ‘Ride the Lightning’. I get that Mustaine says that it’s “full circle” for him, and he wanted to put a Metallica track (that he co-wrote) on the album. It seems like a pointless exercise to me. Mustaine has nothing to prove, he’s a metal legend, and there really was no need to add this. I mean, it’s ok, Mustaine’s vocals don’t sound great, musically it’s obviously played well, but I just can’t help but feel that it blights the album rather than adding anything. My advice is, don’t bother listening to it, just end the album with ‘The Last Note’.

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    Author: Kenny Kendrick