Daemönik Fonce – ‘DFII’ (Property Of The Lost Records)

Daemönik Fonce – ‘DFII’ (Property Of The Lost Records)

Bright, bold and unashamedly glam with punchy synths but caustic time changes adding some Crass to the party. This is the second album from Daemönik Fonce. The album is my first introduction to the band, and whilst it doesn’t shy away from the Big Bowie Glam rock, it has hooks, big chords, swirling keyboards and a dramatic edge. Look no further than ‘Speck’, there is a 70s feel to proceeding, no doubt about it.

Whilst there is a dream-like quality to some of the arrangements, it doesn’t always agree with me, but that’s ok. It also has a down-to-earth working-class feel to proceedings, and if one can’t dream big, then why dream at all? The quirky sound on ‘On The Skids’ is very 70s in spirit, reminding me of Roxy Music and various hits from the Top Og The Pops albums you’d pick up in the 70s.

At the heart of Daemönik Fonce are twins Paul Summers (guitar) and Stewart Summers (vocals), whose rock ’n’ roll journey stretches far beyond the band itself. Raised on Welsh anarcho-punk, they cut their teeth in Shrapnel before moving through Ten Benson and The Sharp Tongues. Alongside this, they’ve travelled the world looking after countless other bands, from escapades in Lemmy’s dressing room to bowling with Jack White – sometimes reality can be more absurd than fiction.

But the brothers aren’t the only ones raised from the sewers of rock + roll.  Bassist Sam Mansbridge was a member of The Rumblestrips, Keyboards and vocals Hannah Edgren previously served with the magnificently named Tits of Death and latest recruit Andy Prestidge weaves his drumming between Warning, Osiris Club and Angel Witch.  All bringing their distinct personalities to the Fonce cat-faced table.

Imagine your influences are Thin Lizzy, Bowie, Bolan, Roxy Music and then the Pistols, maybe the energy of Stiff Little Fingers, and the edgy John Cooper Clarke, now the challenge is to mix these influences together and make a cohesive album that might not always make sense but offers the listener a good time and one they want to hear again and again. I particularly like ‘Solar Man’. It’s retro and nostalgic, and the time changes and sound changes can be bonkers, but in a good way. Besides, who doesn’t like hearing a wailing saxophone in their Rock n Roll?

The record is perfectly summed up by describing ‘DFII’ as a band embracing who they are: thinkers disguised as glam rockers, punks grown older but not quieter, and storytellers still in love with the noise that made them. Amen to that, go check em out at the link.

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Author: Dom Daley

Dealing With Damage – ‘The London Particular’ (Serial Bowl Records)

Dealing With Damage – ‘The London Particular’ (Serial Bowl Records)

After signing with Serial Bowl, Dealing With Damage serve up their first helping of music on their ‘London Particular’ album. After making yourself comfortable, sit back, relax and let the introduction wash over you before we get down to some serious post-punk post hardcore business, call it what you like, it all sounds good to me. There are elements of what was happening in DC several decades ago, there is melody not too distant from early Lemonheads and No Means No, and of course, anything Bob Mould laid his hands on it’s that ballpark if you want references.

There sounds like a joy to the album as well as if the guys in the band know what they’re doing and are just dishing up the best they can as they go from straight edge hardcore to radio-friendly melodic harmonies of ‘Nickey Nickey’ where you can sing along as the band just gives it plenty of welly and the thumping Bass workout is a pleasure. Also, the keys help soften the sound and add flavour.

This record doesn’t sound like they had any difficulties with their third offering, and on ‘Wrong Sometimes’, with the keys, they stray into a very appealing International Noise Conspiracy territory, and that’s never going to be a bad thing, as the keys work well alongside the dirty riff.

It’s not all abrasive sounds and edgy moments ‘But Fear This Art’ is laid back, sprinkled with technology-enhanced soundscapes. Spread out over fifteen tracks, you absolutely get your money’s worth as the ebb and flow is excellent, going from the more aggressive ‘Be Careful’ and ‘Hate Can Set You Free’ where the Dads can get a pit going in their lounge and body slam to the rhythm section work out of ‘Headful Of Feedback’.

As we reach the album’s final breath, ‘The Off Switch’ meanders, taking you on a journey right to the album’s closing track ‘One Bump At A Time’, where you get eased back to reality with some soothing Acoustic guitar, reminding me of Jim Bob or TV Smith, which is never a bad thing. Get some Dealing With Damage in your ears and start with the here and now, ‘The London Particular’.

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Author: Ben Hughes

Venom – Lay Down Their Soul

Venom – Lay Down Their Soul

THE BLACK METAL GODS ANNOUNCE THEIR

BRAND-NEW ALBUM, ‘INTO OBLIVION’

RELEASED ON NOISE/BMG ON 1st MAY 2026

PLUS, PREORDERS HERE

Venom needs no introduction, from their birth in Newcastle in ’79 they paved the way for extreme metal and created their own genre, Black Metal. Which is arguably more popular now than it has ever been globally, with their influence ever far reaching as the originators.

‘Into Oblivion’ is Venom’s sixteenth studio album and features the long-standing line up of Cronos (bass/vocals and founding member), Rage (guitar) and Dante (drums) and marks their first new recordings since 2018’s, ‘Storm The Gates’. Into Oblivion consists of thirteen songs that are signature Venom: heavy, evil and catchy. There’s a combination of their classic 80’s sound adjacent to a more modern, progressive approach but without losing any of their fire and brimstone of old.

The album has been in the works for some years now, but a number of factors held back its completion until now; the Covid pandemic, recording setbacks and the hunger to nail it to perfection, but in the words of Cronos ‘This album has really pushed the boundaries, but if you want to make a killer album, you pay for it in blood, sweat and tears.’ However, Venom true to form have overcome adversity to release an album worthy of their legacy as Rage affirms ‘I’m so proud of this album, it’s astounding! It feels so different, yet so familiar. The sonics are a step up, no song sounds the same, but they all work together.’

The lead single, Lay Down You Soul is a thunderous first offering and harks back to the band’s formative years, and the song Black Metal. While being slightly tongue in cheek, it bears all the hallmarks of a soon to be live classic with its rousing sing-along chorus. Cronos states, ‘I think it’s healthy to recognise things from back in the day and bring them into a new setting that gives it a whole fresh approach. The fans are going to go mental for it!’

The chemistry on ‘Into Oblivion’ is undeniable and is a musical testament to the longevity of this lineup, which now eclipses any other, clocking in at seventeen years. Dante clicks his fingers, ‘It’s gone like that, seventeen years! It’s all down to friendship and mutual respect.’

‘Into Oblivion’ will be released on 1st May 2026 via Noise/BMG and is available for preorder now and is available in these formats.

  • Double, gatefold smoke vinyl
  • Double, gatefold clear, black & red splatter vinyl (Limited Edition)
  • CD digisleeve with 16-page booklet
  • Digital

Preorders of both vinyl and CD will come with a limited photo card, signed by Cronos, Dante and Rage only from the Noise Records store, while stocks last!

Find Venom online at venomslegions.com / FB @officialvenomband / IG @venom_band_official

HEAVEN & HELL – BREAKING OUT OF HEAVEN 2007-2009

HEAVEN & HELL – BREAKING OUT OF HEAVEN 2007-2009

RETROSPECTIVE CELEBRATES DIO’S THIRD ACT WITH MEMBERS OF BLACK SABBATH ON 4CD/BLU-RAY AND 7LP BOXED SETS

AVAILABLE MARCH 27

INCLUDES THE DEVIL YOU KNOW, LIVE FROM RADIO CITY MUSIC HALL, AND NEON KNIGHTS: 30 YEARS OF HEAVEN & HELL – LIVE AT WACKEN

ORDER NOW

Captured during their historic 2007 reunion, this definitive live version of “The Mob Rules” showcases the relentless power and new vigour of the Heaven & Hell lineup. While the 1981 original signalled a darker turn for the band, this Radio City Music Hall performance elevates the track with a precise and massive sonic weight that only decades of chemistry could produce. Watch the HD-upscaled video of “The Mob Rules” (Live from Radio City Music Hall) today.

Breaking Out Of Heaven 2007–2009, a new collection focusing on the final chapter of Ronnie James Dio’s celebrated tenure with members of Black Sabbath. Reuniting with Tony Iommi, Geezer Butler, and Vinny Appice under the name Heaven & Hell, the band returned to the stage and studio decades after their original run for an unexpected second act.

BMG presents Breaking Out Of Heaven 2007–2009, a new collection focusing on the final chapter of Ronnie James Dio’s celebrated tenure with members of Black Sabbath. Reuniting with Tony Iommi, Geezer Butler, and Vinny Appice under the name Heaven & Hell, the band returned to the stage and studio decades after their original run for an unexpected second act.

Breaking Out Of Heaven 2007–2009 will be available March 27 as 7LP and 4CD/Blu-ray boxed sets. Both editions include an illustrated book with new liner notes by Hugh Gilmour, along with a replica tour book and poster. Order Now.

The collection marks the first time the complete Live From Radio City Music Hall performance appears on vinyl, and features eight tracks making their vinyl debut, including studio recordings from The Dio Years and select live performances. The Blu-ray expands the set with video from Live From Radio City Music Hall and Neon Nights: 30 Years Of Heaven & Hell – Live at Wacken, plus band interviews.

The set follows the band’s reunion run, beginning with their triumphant 2007 New York performance, Live From Radio City Music Hall, followed by the Top 10 studio album The Devil You Know in 2009, and the live album Neon Nights: 30 Years Of Heaven & Hell – Live at Wacken, recorded later that year on tour in Germany.

Gogol Bordello – ‘We Mean It, Man!’ (Casa Gogol)

Gogol Bordello – ‘We Mean It, Man!’ (Casa Gogol)

Led by Ukrainian-born singer/songwriter Eugene Hütz, gypsy punk collective Gogol Bordello have been thrilling crowds on the world’s stages since the turn of the century with their high-energy, theatrical live shows and political manifestos. Here, they follow up their defiant 2022 album ‘Solidaritine’ with the more optimistic new long player ‘We Mean It, Man!’, bringing a new sound with the help of Nick Launay & Adam Greenspan, who have produced such luminaries as Nick Cave, Amyl & The Sniffers and Idles.

First impressions stick like glue, and this opus exudes cool from every pore. With its street art-inspired album cover, assertive title, and impressive opening track, ‘We Mean It, Man!’ is an album that shouts its arrival from the streets with a clenched fist. The opening title track is a definite call to arms. Musical carnage where punk riffage and tribal beats collide with vocoder vocals and crazy sax. A killer refrain makes it an intense, instant and memorable opener. Gogol Bordello sure do mean it…man!

Next, ‘Life Is Possible Again’ brings it down with NIN electronica, euro pop vibes and optimistic lyrical suss. Then, ‘No Time For Idiots’ blends traditional rustic instrumentation with modern production values, the verses sound like early Hanoi Rocks meets The Clash and build to a catchy chorus that seizes the moment and triumphs.

Of course, Eugene Hütz is at his best when he is spouting political diatribes and the band is going off on one.  Cue ‘Hate Liquidator’; a song that follows a familiar Gogol shaped path with disco beats, gang vocals and gypsy punk-tinged goodness. Its sure to be a live favourite, this is glorious stuff indeed.

While the ghosts of The Clash and The Pogues are always prevalent, there is a very definite European vibe to Gogol Bordello’s sound that makes them hard to pigeonhole into one particular genre. Take the gloriously upbeat ‘From Boyarka To Boyaca’ featuring the artist Puzzled Panther. What even is it? It could be the sound of a Tarantino crime thriller set in a Spanish tapas bar, or maybe it’s the sound of The Clash if Strummer & Co had been brought up on the Eastern Bloc rather than the East End? Whatever it is, it works.

Euro pop is prevalent on the likes of ‘Ignition’ where they mix up killer melodies with accordion, fiddle, big beats and thumping bass. Elsewhere, ‘Crayons’ amps up the guitars to 11 with frantic indie beats and an attitude to match.

The closing ‘Solidarity’ is an emphatic love letter to the Ukrainian people from one of their own, delivered with the passion and sincerity you come to expect from our ringleader.

On ‘We Mean It, Man!’, Gogol Bordello continue to do what they do best. I feel their brand of frenetic, gypsy punk is best experienced in a live setting, or at least with a glass of something strong in your hand. But the production team have managed to capture the live feel of this band well. Yes, Hütz and his band preach a serious message, and in these troubled time,s we need protest songs more than ever, but Gogol Bordello are also here to have a good time and ‘We Mean It, Man!’ is a testament to that.

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Author: Ben Hughes

The Casualties Announce New Album ‘Detonate’

The Casualties Announce New Album ‘Detonate’

First Album In 8 Years Out March 27th via Hellcat Records

European Festival Tour This Summer

punk stalwarts The Casualties announce ‘Detonate’, their first new album in eight years, out digitally on March 27th via Hellcat Records and on vinyl/CD on July 17th. On the new record, David Rodriguez (vocals), Marc “Meggers” Eggers (drums), Jake Kolatis (guitar) and Doug Wellmon (bass), reignite their rage and cement their status as one of punk’s most enduring and uncompromising acts.

The Casualties also share the lyric video to the blistering title track, a scathing hardcore-punk blast of fury and frustration, suggesting we should blow it all up and start anew. “It stems from being overloaded,” Meggerssays. “You feel like your head is about to explode, which I think is what everybody is feeling these days. You’re pounced on day by day with terrible news and social media, and you just feel like you’re going to snap.”

Pre-Order & Pre-Save The ‘Detonate’ Album Here

Politics. Hatred. Endless war. These are just a few of the reasons why the title of The Casualties’ new album is Detonate. Instead of tearing each other apart, The Casualties punch back at authorities and systems that seek to divide, taking the chance to promote unity and camaraderie to all who feel alienated by the cruel state of the world.

Kolatis adds, “There are continuous wars and internal political battles. Everybody’s tearing each other apart. Detonate is saying we’re tired of all this division. With this record, we have a chance to say something and promote some type of unity.”

Detonate is the second chapter in a new epoch for The Casualties. As their second album with Rodriguez at the mic, it solidifies the vocalist’s partnership with Meggers and Kolatis. “It’s like a new era for the band,” Meggers says. “It solidifies that Dave is here to stay.”

As the follow-up to 2018’s Written in Blood and their first record for Hellcat Records — the Epitaph subsidiary curated by Tim Armstrong of Rancid — Detonate sees this new version of The Casualties locking into place. “We were in the studio for Written in Blood about eight months after I joined,” Rodriguez says. “With this new record, we really grew together. For me, it’s the proud moment where we clicked the three Legos together.”

Amplifying the punk ethos that The Casualties have embodied since 1990, Detonate is a powerful installment in the band’s rich history as a voice for the voiceless. “I want people to feel empowered when they hear this record,” Rodriguez says. “I want them to feel like they have a voice. I want them to feel like they’re with like-minded people when they come to a Casualties show. They can be themselves and not watch the show but be part of the show—scream with us, jump off the stage. We want them to feel like they’re part of something.

The Casualties Tour Dates – Tickets On Sale HERE

Mar 29 – Scarborough, UK – Scarborough Punk Festival
Jun 6 – Wels, Austria – Sbäm Fest
Jun 12 – Hagen, Germany – Torgau Ain’t Like You Festival
Jun 20 – Doneztebe, Spain – Ehuneko Bat
Jun 26 – Rennes, FR – Superbowl of Hardcore
Jun 27 – Münster, Germany – Vainstream Rockfest
Jun 28 – Tábor, Czechia – Mighty Sounds Festival
July 10- Prölsdorf, Germany – Krach Am Bach
Jul 18 – Rowy, Poland – Festiwal Urwanych Filmów
Jul 25 – Hohenems, Austria – Speedfest
Jul 27 – Brasov, Romania – Rockstadt Extreme
Jul 30 – Argenta, Italy – DLB Festival
Jul 31 – Sant-maurice-de-gaurdans, FR – Sylak Open Air
Aug 6 – Jaroměř, Czech Republic – Brutal Assault
Aug 7 – Ancora, Portugal – Praia Sonic Blast
Aug 8 – Duffel, Belgium – Brakrock
Aug 11 – Tolmin, Slovenia – Punk Rock Holiday
Aug 15 – Carhaix-plouguer, FR – Motocultor Festival
Aug 20 – Loburg, DE – Spirit Festival
Aug 22 – Oostkamp, Belgium – Parkpop

The Casualties Online
INSTAGRAM | FACEBOOK | X | YOUTUBE

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!

Buy Here

Author: Ben Hughes

A Place To Bury Strangers – New rarities album

A Place To Bury Strangers – New rarities album

 ‘Rare And Deadly’

Out April 3rd via Dedstrange

Photo credit: Heather Bickford

New-York based band A Place To Bury Strangers announce their new rarities album, Rare And Deadly, out April 3rd via Dedstrange, and release the lead single, “Everyone’s The Same.” Following 2024’s Synthesizer, Rare and Deadly cracks open a decade-long vault of raw nerve and sonic chaos from A Place To Bury Strangers. Spanning 2015–2025, this collection of demos, B-sides, abandoned experiments, and forgotten fragments reveals the band at their most unfiltered—caught between breakthrough ideas and beautiful mistakes. Pulled from Oliver Ackermann’s personal archive of late-night recordings, blown-out tapes, and half-finished sessions, these tracks pulse with the unruly energy that has always defined APTBS, but here the interference is closer, the electricity more dangerous, the edges left jagged on purpose.

What makes Rare and Deadly truly unprecedented is that every format tells a different story. The CD, cassette, vinyl, and digital editions each feature their own unique tracklisting, a fractured release strategy that is almost unheard of. No single version contains the “complete” album. Instead, each format becomes its own window into the archive, revealing alternate paths, missing links, and parallel versions of the band’s inner life. It’s a deliberately unstable document: the album shifts depending on how you choose to hear it, mirroring the chaos of its creation.

Across these recordings, you can hear the evolution of Ackermann’s restless mind. Some pieces feel like prototypes for future chaos, seeds that later bloomed on studio albums. Others are dead ends—ideas too volatile, too strange, or too personal to ever fit the frame of a proper release. But together they form a secret history of the band, a parallel world of possibilities that existed just outside the spotlight. The tracks contain riffs mutated by malfunctioning pedals, songs born from gear pushed past its limits, or delicate melodies overwhelmed by walls of feedback until only their ghosts remain, as on today’s single, “Everyone’s The Same.”

Reflecting on the track, Ackerman says: “I had a dream where a man led me to a brook, peaceful and calm. When he turned his head slightly, I saw the most evil smile imaginable. But when I looked directly at him, it was just the back of his head again. Beauty and horror coexisting in the same space. It felt like hell leaking into something serene. Maybe that’s reality sometimes. And maybe pretending otherwise is a kind of survival.”

Stream “Everyone’s The Same”

Rare and Deadly is less a compilation and more a documentary—an aural snapshot of how sound takes shape before it hardens into something finished. You hear the room, the accidents, the restless experimentation, the immediacy of a moment being captured before it disappears. It’s a reminder that A Place To Bury Strangers has always thrived in this in-between space: the tension between control and collapse, melody and noise, beauty and distortion.

Pre-order Rare And Deadly

A Place To Bury Strangers Tour Dates:
Tue. April 7 – Hamburg, DE @ MS Stubnitz
Wed. April 8 – Leipzig, DE @ UT Connewitz
Thu. April 9 – Praha, CZ @ Futurum Music Bar
Fri. April 10 – Brno-město, CZ @ Kabinet múz
Sat. April 11 – Bratislava, SK @ PINK WHALE BAR
Sun. April 12 – Budapest, HU @ A38
Mon. April 13 – Belgrade, RS @ Karmakoma
Tue. April 14 – Sofia, BG @ Mixtape 5
Wed. April 15 – București, RO @ Control Club
Fri. April 17 – Thessaloniki, GR @ Eightball Club
Sat. April 18 – Athina, GR @ Gazarte
Mon. April 20 – Rome, IT @ Monk Club
Tue. April 21 – Florence, IT @ Ex Fila
Wed. April 22 – Bologna, IT @ Social Center TPO
Thu. April 23 – Milan, IT @ Santeria
Fri. April 24 – Zurich, CH @ Bogen F
Sun. April 26 – Brussels, BE @ Magasin 4
Mon. April 27 – Cologne, DE @ Gebäude 9
Wed. April 29 – Utrecht, NL @ De Helling
Thu. April 30 – Deventer, NL @ Burgerweeshuis
Fri. May 1 – Eindhoven, NL @ Fuzz Club Festival 2026


A Place To Bury Strangers online
 Website | Instagram | Twitter | Facebook | Bandcamp

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