Six of one and almost half a dozen of the other. Man I love a good split LP, Ghost Highway is good at delivering split records be it 7″ or 12″ they tend to get it right when they pick bands to split. First up one of our favourites at RPMHQ has to be Poison Boys not content with a new record of all their early singles in one convenient record they’re hitting Spain for a quick tour and it makes sense to hook up with one of the best labels dishing out Rock n Roll on the continent in Ghost Highway who’ve pulled in six tunes from Poison Boys being five originals and one from filthy rock n rollas Jonesy from outta Canada.

Of the original tunes they’ve included the most excellent ‘Knocked Down Again’ a tune RPM were pleased to have premiered for the band late last year alongside the opener ‘The Searcher’ with its bruising bovver boy punch rocker. The band are delivering that sleazy Johnny Thunders meets Toilet Boys Rock with plenty of attitude as good if not better than anyone else out there at the moment. The harmonica honkin down n dirty ‘Sleaze City’ is pure 100% Punk n Roll it’s like the dirtiest of early Aerosmith being kicked around the Lower East Side by some nasty punks and the wandering gob iron mixed with that barroom piano is the best night out in one three minute rock n roll song I’ve had the privilege of for a while.

By the time you reach their take on Jonesys ‘Messin Around’ you should get the picture for what these boys are about. truly fantastic, reckless rock n roll and taking an already top tune and owning it isn’t something anyone can do so this makes it top-notch and a winner every time it bursts out of the speakers.

Flip this bad boy over and enter Jonesy and their good time filthy Rock n Roll. ‘8 Track Mind’ begins with a lounge laid-back set of smooth keys and handclaps and then the party begins and builds up slowly and smoothly to the wonderful guitar solo. Not what I was expecting at all but hey it’s a touch of class. Then the shots get downed and someone let the gatecrashers in and the sleazy ‘Down’ turns the Amps up but not to a wrecking ball more a measured scarface coolness as Jonesy ease themselves into this split.

They then offer up their take on the Poison Boys ‘Can’t Get You Out’ and now were cooking. A class tune gets the Jonesy treatment like a proper yob job on those gang vocals and hey presto it’s like a long-lost Hanoi Rocks tune. Marvellous.

‘Only Shams’ is a beast of a lick before heading off like one of those Toilet Boys flaming guitars. Two very different bands doing their thing to a wonderful level and both offering the very best, say two sides of the same coin. It would be a split decision if it were a cage fight but I’d expect them both to fight dirty. If you’ve never heard either band now is the time to get involved and jump on board you won’t be disappointed in the slightest if you are I’d check for a pulse because you might just be dead. Buy It! Banger!

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2024 sees no let up in the re-release of the Slade back catalogue many on vinyl for the first time or at least wonderful coloured variant represses. Let’s take a wander through Studio album number god knows how many Slade were turning the amps up there with the best of em and ear-shattering powerful boogie hard rock had shifted the Glam stomping of what made the band such a household name in the 70s. With Holder’s vocals in fine fettle, they could certainly go toe to toe with the biggest and best. the previous releases prove that from the Reading LP, they were a formidable live act and in the studio, they could turn out hit after hit.

The power that was ushered to the forefront through the barnstorming opener ‘Rock n Roll Preacher’ Followed by the bluesy ‘Lock Up Your Daughter’ the band could still deliver and probably deserved more respect than they got. I’m still not convinced with the keyboards and after all these years I’m still of the same opinion Slade didn’t need to move with what was hip or trendy they had the tools to rock n roll in the vocals and guitar department anyway never mind the super tight rhythm section that was a match for any band on either side of the Atlantic.

The title track reminds me of The Who, Super Yob was certainly in form throughout this record. I’d love to hear a mix without the keys especially on the bluesy ‘M’hat M’Coat’ it sounds more like Gary Moore than Slade. But to be fair when they just got on with the Rock n Roll they still cut it. Their sense of humour is still intact through the lyrics and the song titles ‘Knuckle Sandwich Nancy’ is a particular highlight. Sure it’s not as good as some of the earlier releases but worth shelling out for the collection for sure.

To be fair the real beacon of light out of these pair of releases from Slade has to be the live concert LP recorded in the ‘New Victoria’ It did come out on CD as part of the Worlds A Stage Box set that came out recently and alongside the Reading tapes, this is one Hell of a concert. Recorded in 75 at the peak of the bands powers. Its twelve tracks from a 1975 show on vinyl for the first time and packs a rather splendid punch from the opening ‘Them Kinda Monkeys Can’t Swing’ is the signal for a riotous performance from one of the world best live bands at the time. No question they were at the zenith of what a party could be had at a Rock and Roll show.

The tracklist is packed with dance floor fillers and mile-wide grin guarantees. ‘Gudbuy T’Jane’ a spectacular ‘Far Far Away’ from ‘In Flames’ and the breather that is ‘How Does It Feel’ before the roof gets blow off with the awesome ‘Let The Good Times Roll’ before closing off what sounds like a spectacular night with the chart-topping legendry ‘Mama Weer All Crazee Now’ and for any aspiring rock and roll band wondering how to turn in some top tunes bristling with energy and delivered with the utmost professionalism then look no further than Slade live at the new Victoria. Its a keeper just buy it!

Buy New Victoria Here Buy Till Deaf Here

Author: Dom Daley

Of course its on Pirates Press for they’re the perfect label for some excellent polished oi meets street punk rock n roll. From the opening verse and chorus of ‘The City’ you’re already singing along with the gang on this rather fine slice of street punk.  Including past and present members of The Swingin’ Utters, The Beltones, Roadside Bombs, Hometown Addiction, Resilience, The Burdens, and more. They were formed at the beginning of the pandemic, and have the mission statement of playing roots rock n roll with a bootstomping rhythm and a fistfull of top tunes. You know what, they delivered exactly that.

Its got a spit and polish of some guys who’ve been around the block once or twice and know how to make a gret sounding record. Each of the ten tracks is powerfully delivered and arranged to perfection. Early doors you have the bass thumping runaway train that is ‘War’ I get shades of Living End in the arrangment but by the halfway point the songs are varied from the uptempo rock of ‘BNO’ to the melodic ‘Dead Generation’ with its strong message and gang vocal chorus it sounds like the perfect band for a good saturday night out with mates checking out the rock n roll show.

They even have time to slow things down for the intro of ‘Little Girl’ before it soars like a good SLF song. The upside of those long arduous lockdowns was a lot of bands were forced to work on their craft and out of all that isolation we have albums like this. ‘Good Riddence’ is a strong rock song no fuss or pretentions just five guys kicking out the jams. ‘King Of The Avenue’ is a strong avenue from top to bottom and they even find the time for a punk rock roots take on ‘Hungry Heart’ which they do very well to be fair leaving only ‘Nothing Wrong’ to sign this project off with as they ride off into the distance with a hot rod snarling rocker. If you like your Californian Punk Rock n Roll loud and full of melody with uplifting choruses that the gang can all get involved in then Hunting Lions might just be your new favourite band.

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I’m always a bit miffed when I see a Japanese glam scuzzy punk rock n roll band breaking through in the West. I know a lot of bands who tour Japan always say how awesome it was touring the land of the rising sun and how energetic and cool the place is especially for lo-fi punk n roll so why aren’t we deluged with household names? Hell knows because I don’t. Well, slovenly know a thing or two about scuzzy punk n roll because they’ve been dishing it up for a couple of decades and rarely do they not hit the mark with the bands they introduce you to. Add Angel Face to that impressive list because from the off these cats are struttin like peacocks knocking out Generation X meets Hanoi meets Dead Boys meets The Parkinsons style punk n roll.

This record is crammed full of banging melodies and hooks by the time you hit the earworm ‘USA’ you’ll be spilling beers and pogoing like a good un. ‘Big City’ is as snotty as those early Hanoi tunes but this one has a borrowed Waldos riff. Man, side one is done and dusted and it flew by and I absolutely loved it!

Come on everybody clap your hands, ‘I Can’t Stop’ is a decibel raising party in your speakers. I hope they were suss enough to get their band name from the Glitter Band track. The fact I can’t find anything on the World Wide Web about them only makes me like them more.

‘Bring Me Back’ unleashes some nasty Cheetah Chrome riffage that we should all love and it also evokes some of that Cavemen recklessness, I bet these would dish up one hell of a party in your pad if they were invited. There is a freshness and innocence about this and thats alluring but they’re tight in the right places like the snotty Thin Lizzy riff-a-rama that is ‘That’s Enough’. Hell, we’ve reached the end and all thats left is a speed enthused ramage through ‘Slippin and Slidin’ which is wonderful and sounds like the perfect take to bring this riot to an end. Lie down in a darkened room for five then put it on again but another notch louder let’s do shots to go with the beers that we’re chuggin’ whilst pogoing. Angel Face is the band rockin’ and fuckin Rollin is their game – Get involved its a no-brainer and one of the most enjoyable records you’ll hear all year – Fact!

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Author: Dom Daley

The 2nd single from Dez Dare’s forthcoming album is released, ‘10,000 Monkeys + An Argument With Time’.

‘A Billion Goats. A Billion Sparks. Fin.’ features 11 songs that delve further into the void than previous records, leaving the sardonic frustration behind for sarcastic existentialism, zeroing in on the big philosophical questions, and the pedantic shards of nonsense that make up our existence.

Tying beats, lo-fi electronics and a bass sound that will implode your speakers into a ball of anxiety, Dez looks at how we experience time and the perspective we need for change.

Dez says “time is kicking us all while we scramble around this rocky mass. If time passes slower closer to the mass, get HI to get perspective!” The concept stems from the elasticity of time as a dimension and where we sit within it. Someone living at the top of a mountain will experience time faster than someone on the ground as they are closer to the mass. Maybe if we all took a step back, took to the hills or even further… we might just see the world a bit clearer.

The self-produced Australian has spent over 3 decades producing music, releasing and touring bands, and doing live sound for z-grade metal bands. Growing up in the coastal town of Geelong (Djilang) in Australia, he was introduced to the DIY punk and rock scene at 15 and this community and the ideas rooted in the underground music scene have guided his output and ethics throughout his career.

This year Dez will be joining forces with label titans God Unknown (Cassels / Duke Garwood / James Johnston + Steve Gullick / KLÄMP / Oneida / Laura Loriga / Monster Magnet / Wellwater Conspiracy [Soundgarden + Monster Magnet]) and will be producing a deluxe version of the album on blob colour vinyl and includes a comic book illustrated by Mike Keane. In true nerd fashion the comic also features top 10s by Dez, Jason Stoll (God Unknown), Matthew Barnhart (Chicago Mastering Service), Mike Keane, and the album illustrator MALMALL.

‘A Billion Goats. A Billion Sparks. Fin.’ out March 1st on God Unknown Records.


  • Friday, 12 April 2024 / The Tin Music and Arts, Coventry w/ Hula Girls + Trojan Pony [Sink or Swim Promotions]
  • Saturday, 13 April 2024 / The Dark Horse, Birmingham w/ Exotic Pets + Empty Cut [Die Das Der]
  • Wednesday, 17 April 2024 / The Prince Albert, Brighton w/ Frixon Klatt + YOU&TH [The Séance]
  • Friday, 19 April 2024 / Fish Factory Art Space, Falmouth w/ Ubiquitous Meh! + Broken Arrow
  • Saturday, 20 April 2024 / Underground, Plymouth w/ Ubiquitous Meh! + Broken Arrow [Damnsonic]
  • Thursday, 25 April 2024 / The Deco, Portsmouth w/ The Usual Boys + guests [Neu Waves]
  • More dates across the UK + EU + Australia to be announced… more info @

new album “Skinwalker” + EU headline tour dates announced for April 2024

UK headline tour to begin March

New album out 12th April via Communion Records

Cardiff-based four-piece Buzzard Buzzard Buzzard return with the announcement of their highly anticipated second album “Skinwalker”. Following closely on the heels of their critically acclaimed single “Therapy”, which came out just before the turn of the year, the new album is due for release on 12th April via Communion Records. It will come shortly after the band’s forthcoming UK tour which is set to take place across March 2024.

Following on from their Welsh Music Prize nominated debut album ‘Backhand Deals’ in 2022, the band wrote and recorded the album at frontman and producer Tom Rees’s Rat Trap studio, the room where Rees has previously recorded and produced tracks for emerging talent – Panic Shack, Do Nothing and The Bug Club. The material – as previewed on “Therapy” and their earlier single “Chew” – showcases a heavier and more disquieting sound than anything the band have released to date.

This darker sound and aesthetic take inspiration from found-footage horror and the Navajo concept of the Skinwalker – a legendary malevolent shapeshifter – from which the album takes its name. Thematically, each track on the record is designed to take you through descending floors of Rees’s mind each becoming more horrific than the last with the Skinwalker at the final floor, representing his inner fears, self-sabotage, hatred, and self-doubt. It’s a deeply intimate record of self-analysis and personal growth told through heavy fuzz-drenched guitars, a crushing rhythm section, and fevered vocals.

The band still carry that same the fast-paced energy and subtle trademark ‘70s references from their earlier releases though, and this is particularly evident on the danceable, indie-funk inflected new single “National Rust”, which was premiered last night by Huw Stephens on BBC Radio 6 Music.

Speaking on the single Rees says, “‘National Rust’ was my attempt at consolidating my 2020 obsession with Sly and the Family Stone with my 2021 obsession with David Bowie’s album ‘Low’. It was the first song that really paved the way for the new album, it broke a lot of the sonic boundaries that I was writing within when starting the second album, “I AM NOT AFRAID OF PLAYING FUNKY GUITAR!”, I exclaimed, mu-tron in hand.

Lyrically, it made a statement that informed my songwriting moving forward as well, being a flagrant rejection of my previous political song writing, and an admission of alienation amongst a plethora of information. ‘National Rust’ acts as a bridge between my younger, more political perspective, and my more recent, more apathetic one.”

Elsewhere on the record, the harmony-filled “In My Egg” sees Rees sing about the struggles to force yourself out of your comfort zone, whilst “Human Compression” see the band delve into an almost desert-rock sound with hazy, unrelenting guitar work supporting Rees’s lyrics about the pressure he puts on himself. The psychedelic glam-tinged “Night Of The Skinwalker” – a song which centres around his struggles with self-doubt- marks the albums opus, melding a number of styles and genres across almost six minutes.

Buzzard Buzzard Buzzard – Rees, guitarist Zac White, drummer Ethan Hurst and Rees’ brother and bassist Eddie – have been going from strength-to-strength since releasing their debut EP “The Non-Stop” in 2020. They’ve since made of end-of-year lists with NME, DIY, and Dork; earned plaudits from the likes of the Guardian, The Telegraph, MOJO, Uncut, Record Collector, The Needle Drop, The Independent, CLASH, The Line Of Best Fit, and So Young; and have amassed significant radio support with plays across worldwide radio, and live session appearances across BBC Radio 1, BBC Radio 2, NPR, Radio X, and more.

The band’s frenetic live sets have seen the band make fans in tourmates from The Magic Gang to Miles Kane and were set to support Noel Gallagher – another in a growing list of fans – at the Royal Albert Hall before the coronavirus struck. They’ve also performed widely across the festival circuit appearing at Glastonbury, Eurosonic, Latitude, All Points East, SXSW, and Green Man, and have toured extensively including a packed-out headline date at Scala. The band will go out on tour again next March hitting 16-dates across the UK where the band will continue to debut new material.

Full dates are as follows:

24 – Swansea, Swansea Arena House Party

MARCH 2024
01 – Oxford, Jericho Tavern
03 – Exeter, The Cavern
04 – Falmouth, Cornish Bank
06 – Norwich, Voodoo Daddy’s
07 – Chelmsford, Hot Box
08 – Ipswich, The Smokehouse
10 – Tunbridge Wells, Forum
12 – Milton Keynes, Craufurd Arms
13 – St Albans, The Horn
14 – Ramsgate, Music Hall
16 – Peterborough, Met Lounge
17 – Birmingham, Hare & Hounds
18 – Hull, Adelphi Club
20 – Stockton, Ku Bar
21 – Sunderland, Independent
22 – Edinburgh, Voodoo Rooms
24 – Grimsby, Docks Academy
25 – York, The Fulford Arms
26 – Clitheroe, The Swan & Royal
27 – Frome, The Tree House
02 – Rotterdam, Netherlands, V11
03 – Paris, France, L’International
04 – Hasselt, Belgium, Café Café

Tickets are on sale now – buy HERE
“Skinwalker” is out 12th April via Communion Records – Pre-order HERE

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One of the most fascinating books you are ever likely to pick up regarding the New Wave of British Heavy Metal (or NWOBHM) is John Tucker’s fact packed “Neat & Tidy – The Story of Neat Records”.  Granted it might just focus on the evolution of one of the scene’s many influential players during the dawn of the 1980s, but what a player Neat Records were. The Northeast of England based label provides us denim and leather clad rockers both here in the UK and worldwide early exposure to such seminal names as Tygers of Pan Tang, Venom, Raven, Tobruk, and err Crucifixion, all supported by their groundbreaking (for the time) mail order business.

It’s perhaps no surprise then that HNE Recordings have asked Tucker to not only annotate but also compile this outstanding 4CD salute to the label, ‘All Systems Go – The Neat Singles Volume 1’.

Kicking off with Tygers Of Pan Tang’s 1979 debut ‘Don’t Touch Me There’, and taking us through to Venom’s mighty ‘Warhead’, released in 1984, this set takes in the 37 singles label boss (and studio owner) David Wood’s unleashed on the world during that timeframe (he also released 20+ albums in the same period). Which is an incredible amount of new music from an independent record label, and one that earned Neat Records the tagline of ‘Allegedly Britain’s No.1 Independent Heavy Metal Label’.

My first experience of the label came via a then mate of mine who had picked up a copy of Venom’s classic debut ‘Welcome To Hell’ upon its release back in 1981, which promptly confused the fuck out of us teenage rockers all crammed into his bedroom trying to get our heads around, and not really getting to grips with, just how much of a landmark recording that album actually was, and still is to this very day.

The likes of Tygers Of Pan Tang, White Spirit, and Fist – the first three NWOBHM bands to release singles via Neat (and all captured back to back here as the introduction to the set’s first CD) – had already been snapped up by MCA by this time, so for us, we were immediately playing catch up via records by like likes of Raven, Blitzkrieg, and of course from the very depths of hell, the mighty Venom.  

It’s the lesser-known bands such as (the surprisingly very good, and Celtic Frost approved) Aragorn, Bitches Sin, and Raw Deal (again, all captured on the set’s first CD) that have me taking that same voyage of discovery all over again, albeit four decades on. Plus, as this set progresses it also throws up such other lesser known names (well they were to me anyway) as Steel (who somehow manage to blend Maiden riffs with KISS-like melodies and are fronted by a Jon Deverill wannabe), Valhalla, and the aforementioned Crucifixion, so there’s plenty to get stuck into within this set even if you consider yourself to be something of a die-hard (see what I did there?) fan of Neat Records.

If you have been around the NWOBHM block more than once or twice you may notice that this set is actually very similar to Sanctuary Records’ long since deleted ‘The Neat Singles Collection’ volumes one and two (both of which command an eye watering price on online auction sites right now), however, what this set does that those didn’t, is run the singles’ A and B Sides concurrently, so you’re not having to flip CDs or create playlists simply to play all of Venom’s ‘Warhead’ for example (sadly though the 12” extended version of ‘Warhead’ is once again missing here), plus with ‘All Systems Go – The Neat Singles Volume 1’ you also have a  glorious 20-page booklet with John Tucker’s excellent sleeve notes expanded to forensic levels to completely fill in any knowledge gaps you might have regarding the releases.

If you were too young to experience the NWOBHM first time around, this 82-track collection (which hits the shops on 16th February 2024) is as fine a place as any to visit to inspire you to construct your first denim cut-off, or perhaps step out wearing a bullet belt or studded gauntlet, whilst for those of us with slightly more faded denim cut-offs (that no longer fit us) this is a most welcome trip down memory lane, one that stinks of fags, patchouli oil, Newcastle Brown and is the very birthplace of Black Metal.  

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Author: Johnny ‘Double Denim’ Hayward

What’s that you say? More posthumous live material from Motorhead? Do we really need that? Of course, you do! It’s fuckin’ Motorhead!! And there WERE rock and roll!

This collection consists of decades of shows from Motorhead’s long and illustrious career. The Lost Tapes have been coming at us in dribs and drabs over the last few years and this lovely box set has added the latest set from the Download Festival in 2008 to complete the collection… There may be more, who knows? I’m sure there’s plenty more live material floating around.

The first blistering set is from Madrid in 1995, it’s a varied set with a few gems such as Dog Faced Boy and Over Your Shoulder from the Sacrifice album that they were touring at the time. We even get a cover the Hawkwind classic Silver Machine that sounds great given the Motorhead treatment. Phil Campbell & his Bastard Sons still play Silver Machine to this day. There are 24 tracks here, granted, 2 of those are drum and bass solos but that’s fantastic value for money.

From Madrid we head to Norwich for the next batch of Motorhead madness. This set dates to 1998 and we get another quality set from Lemmy and the lads. All the standards are here including Iron Fist, Overkill, Ace of Spades, Killed by Death, as well as few numbers including Civil War and the title track from the Overnight Sensation album.

Next up, we head into the millennium with a show at the KB Hallen in Malmo, Sweden dated November 2000. Opening with We Are Motorhead, which was a mainstay in their set from this time onwards until Lemmy sadly passed away in 2015, the band delivered another noise-ridden cacophony littered with classics as well as their brilliant cover of the Sex Pistols God Save the Queen.

We go all the way to 1984 for the next disc of greasy goodness with a show from Heilbronn, Germany. Great to hear Nothing Up My Sleeve and Steal Your Face getting an airing here. The amount of material that Motorhead amassed over the years is incredible. We also get a turbocharged version of Ace of Spades; this is probably the fastest version of that song I’ve ever heard! Full on thrash pace!

Lastly, we get the set from Download in 2008. Opener Doctor Rock kicks the proceedings off with style, we have another full-on set of classics including In the Name of Tragedy, Metropolis, Going To Brazil, and a fantastic version of Overkill with ex-guitarist Wurzel putting in a guest appearance.

This box set gives you plenty of bang for your buck with 8 CDs chock a block full of Motorhead mayhem. It really is a must for any true Motorheadbangers collection. That’s the way I like it, baby!

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Author: Kenny Kendrick

Better known for his band Dinosaur Jr and his style of guitar-slinging mixed with his part croaky part winey vocal style he is often seen as the ultimate slacker with his long gray hair and quiet soft demeanor Mascis also has a solo career mainly steeped in acoustic folk rock style mixed with his searing solos often the two are inseparable and I dunno why one is his name whilst the other is Dinosaur Jr maybe it’s one of those things like chicken or the egg dilemmas.

On ‘What Do We Do Now’ you are greeted on entry by the upbeat ‘Can’t Believe We’re Here’ with its big acoustic chords and vibrant drum punches on what can only be described as classic Mascis. I love the body-swaying melodies and the middle eight where we drift off toward one of his trademark fuzzed-up solos that just soars. The title track offers more of the acoustic guitar being the lead instrument over the stripped-back band approach. J is joined on by keyboards by Ken Mauri of The B52s, and steel guitar by Canadian psych/folk/experimental musician Matthew ‘Doc’ Dunn and after only a few plays this is his brightest and most solid set of solo songs I’ve heard on first impressions. Five solo records in and this is instantly gratifying. On finishing the first couple of run-throughs from one to ten I feel refreshed and uplifted with the overall feel of this record. ‘Right Behind You’ is a joy. The format is solid and pretty much runs throughout the album with ‘I Can’t Find You’ being led by a bright piano and guitar in the intro with a twisting melody through the verse that takes the song somewhere different from what’s come before it and that’s the slight variety but the quality is front and center in all the songs on the record.

Halfway in and the strongest track in my humble opinion is ‘It’s True’ It’s like he is channeling his inner Neil Young and the groovy ‘Set Me Down’ follows like something the alt-country bands will swoon over. It’s Wilco meets Jesse Malin but totally J Mascis. I love that the format of Acoustic Guitars, Keys, Bass and basic drums have been the cornerstone throughout the record with the occasional fuzz solo and organ adding texture here and there making for a mellow yet really uplifting hopeful album and fans of MAscis will be delighted with what’s on offer and the fact he’s touring this is exciting I only hope I can get to hear these live that would complete ‘What Do We Do Now’ for me.

We’re only just breaking into February and I’ve heard some amazing records and J Mascis has certainly delivered one of them with this gentle offering compared to the full-force fuzz of his day job this is the perfect yang to the Dinosaur Ying. Beautiful record, Perfect for a wet rainy day just looking out the window as the world drifts by with the stereo turned up and a hot drink in your hand that’s what we do now. Buy it!

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Author: Dom Daley

Regarded as something of old hands at this Hard Rockin nonsense The Boatsman have gotten to album number four and ‘Hard Livin’ is exactly where I’d hoped they’d be. They’ve always turned in decent tunes and were working hard at wearing in these guitars and being the best they could be in a crowded field and on ‘Hard Livin’ my goodness I think they’ve blasted off into the next league up. This is big boys hard rock and these four hairy fuckers have absolutely nailed it.

Sure they’re not sailing far from the mother ship Action Rock but they’re armed to the teeth with better tunes and a more confident sound than ever before and like their Scandi neighbours Scumbag Millionaires they’ve upped their game noticeably and written better songs than ever before. Yes, it’s a lovely mixture of Motorhead, Turbonegro, Thin Lizzy, AC/DC, MC5, and a few snotty punk bands that they’ve cut their cloth trying to be as good as, and once the needle drops and the big entry of ‘Livin’ On Lust’ is off like a stray rocket. The thrashing of the riff is wild and reckless and I love that shit. It’s tight and set for maximum excitement and that’s the way to open your album, set your stall out get off to a fuckin’ flyer whatever superlative you like it’s a belter and the solo just kills.

If you think it’s a one-off buckle up mother fuckers because the gonzo punk rock of ‘I Wanna Clone’ is frantic and heading straight for the bull’s eye. ‘Why Wait’ is the first video off the album and sounding like The Hives feasting on a heavy diet of Hard Rock and Ramones melodies is a decent place to start full stop. It’s a decent representation of what the album sounds like but it’s not the best song on the album no sir. Nor is the rapid foot to the floor of ‘Foggy Man’ it’s like the European bastard son of The Hip Priests. ‘Take Me’ is riff after mother fuckin riff and cool as wearing a pair of aviators whilst cruising down the freeway in a Cadillac cabriolet with a bevy of beautiful babes in the back laughing at all your dad jokes.

The title track is like the Four Horsemen have just called you out and handed you a battle jacket and you need to go out and get stuck in for the team. It is a complete record and one that has plenty of exciting riffs and ideas within the songs and boundless energy all tied in with plenty of melody. The Boatsmen have landed and ‘Hard Livin’ is one hell of an album. Buy it!

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Author: Dom Daley