Killing Joke are proud to announce ‘Killing Joke – Follow The Leaders’, a very special UK show at the Royal Albert Hall on March 12th, 2023. Killing Joke will be performing their first two albums in their entirety; 1980’s self-titled debut album followed by their second album “What’s This For…!” “We are living in the most dangerous period in human history in which extinction from nuclear war could happen in the next twelve months. If we make it, then Killing Joke at the Albert Hall in 2023 will give great meaning and comfort to all of us. Come share a moment in history with the prophetic and legendary Killing Joke.” Dr. Jaz Coleman.
Killing Joke is very much music as ritual – raw, uncompromising and precisely-targeted lyrically; proof that Jaz Coleman, Geordie, Youth & Big Paul, the original Killing Joke personnel, are currently delivering the best and most relevant material of their career, with no mellowing or softening of the edges getting in the way. With collective nostrils flared and righteous anger carried torch-high, Killing Joke continues to take their music of resistance to fresh levels, both in the studio and out on the road. Follow the leaders……………..
“And now the end is near and so we face the final curtain”… or something like that. After completing the A-Z and then having a bazillion compilation albums come out, Two A-Z complete CD box sets, singles comps, live comps, covers Albums, 10” reissues. It’s certainly been a fantastic time to be a UK Subs fan (Even if it’s been heavy on the bank balance) we’ve arrived at the point where I believe the band has said time is being called on their recording career. Live shows are coming thick and fast and showing no sign of relenting.
If this is indeed to be the final record under the UK Subs monicker for Charlie and the boys then it’s fair to say they are going out in style and leaving us with a piece of work that stands tall next to their very best album and I sincerely mean that because ‘Reverse Engineering’ is an absolute fucking belter.
Charlie sounds better than he has for 20 years (the covid downtime must have helped his voice recover from all those hundreds of shows he didn’t have to sing at and if Alvin was paid by the note he’d be a millionaire. The songwriting is shared out and Straughan steps up and delivers one of my favourite Subs songs for many a year in ‘C60 Audio’ but more of that laters. The middle section of this album is some of the best Subs writing for years with the thumping ‘Hoist The Sail’ with its raw guitar intro and gang vocals as Admiral Harper rallies the shipmates for a battering ram of a verse that hacks and slashes towards the solo. Great stuff. It’s only the starter for the upbeat ‘Kill Me’ I know you wouldn’t think it by the title or the lyrics but the tempo and playing are excellent. It’s one of those happy-go-lucky Subs tracks. ‘Political Amo’ is an Oliver penned track that rushes out the blocks. As you’d imagine it’s a sprightly number with a modern feel to it with a strong melody.
There are a pair of Alvin-sung songs next with a smoldering ‘Slavery’ hitting you like a HGV. If you’re not familiar with Alvin’s style of songwriting now then let’s just say this one is uncompromising and full of big groove as the rhythm is rock solid and Alvin’s vocal is similar to his former employer Mr Pop and if this was to appear as a new Iggy single people would go nuts about it, the reality is, it’s laid to rest at the thick end of a UK Subs album that’s how good this record is.
The UK Subs aren’t signing out quietly with a whimper as ‘Statement’ testifies. They’re out of the trench and taking it to the enemy leading the charge, galloping along with this as the soundtrack again with some mighty fine musicianship with the guitar right up in the mix hacking and slashing away like a maniac – exciting stuff!
It’s not all galloping charging about mind. The intro for ‘The Night Holds The Key’ is low-key and restrained but it’s short-lived. The vocals leading to the chorus are superb and another classic Subs song unfolds. The record signs off with a real thumper written by Charlie. ‘Waiting For Godot’ with a cool verse-chorus set up where the band joins on the title repeat. its a more measured tempo that’s a fantastic way to wrap this album up. Go out with a track every bit as strong as the opener ‘Bad Acid’ that shows the UK Subs are still one of the very best the UK has to offer on studio recordings. They came out swinging over 40 years ago and sign off an incredible catalogue of records with ‘Reverse Engineering’ every bit as vital as at any period of their illustrious career. Trust me when I say ‘Reverse Engineering’ is an essential purchase. Get your mitts on a copy by any means necessary. Superb stuff just Buy it!
Buy Here or for those in the UK Time and Matter have limited copies Here
When a band goes on hiatus, however brief, it’s usually a reliance on the back catalogue to get the fans through the downtime; not so Last Great Dreamers, the once-antiquated dandies of the UK rock scene dusted off and rebooted in the last decade. No, the merry band of loyal supporters of this regenerated outfit revolving around the core of mainstays Marc Valentine and Slyder Smith has not one, but two new spin-off albums to get excited about while the Dreamers catch up on some much-needed beauty sleep.
Slyder Smith & the Oblivion Kids (Dreamers’ rhythm section, bassist Tim Emery and drummer, Rik Pratt) have a debut long player, ‘Charm Offensive’, released on 19th August through Ray Records, but first out of the last great gate is Marc Valentine and his ‘Future Obscure’ album, coming to a stereo near you on 8th July.
In the short space of time that news of this new, ten-track (twelve-track if you get the bonus-track-riddled compact disc) album has been with us Marc has wasted little time by releasing four (count ‘em!) tracks as digital singles: album opener, ‘Last Train Tonight’; ‘Mornington Avenue’, featuring Matt Dangerfield from The Boys; and double A-side, ‘Death Is Overrated/Break My Heart Anyway’, the latter featuring a guest appearance from Wreckless Eric. So, I have to approach this review from a slightly different angle: listeners already know what to expect from the album, I simply have to reassure them that the best tracks haven’t already been lifted from the tracklisting leaving nothing but filler. Spoiler alert: everything is going to be okay…
A Summer release is perfect for ‘Future Obscure’; the tracks blurring between that expected lilting power pop that is trademark Valentine and a hazy, lazy sentimentality, both conspiring to make a perfect soundtrack to long, hot days and cooler nights of reminiscence.
With synths set to stun, some of the power pop tunes that litter the tracklisting – the glorious ‘Swiss Launderette’, the great ‘Ghosts of Amsterdam’ – have every chance of filling a Fountains Of Wayne-shaped hole in the New Releases section of your record collection, while the more emotional-button-pushers – the terrific throwback that is ‘Arcades’, the fine ‘Fade Out In Blue’ for example – will have you questioning if that funny feeling that you have in your head as the sun sets is from the Summertime cider or the inevitable clawing back of memories. There’s even a tip of the bowler hat to the LGD day job via the lowslung rock ‘n’ roll of the fantastic ‘Zodiac Hotel’.
Mixed and produced by Dave Draper, that ‘Future Obscure’ sounds great should come as no surprise. That goes for the musicians that Valentine has surrounded himself with too: Richard Davies on guitar, and a return for former Last Great Dreamers rhythm section, bassist Steve Fielding and drummer Denley Slade, the latter so consistent in his work that he sounds almost robotic. Catch these guys backing Marc on a UK tour that starts on album release day.
We need great nights out at rock shows with friends and bright and breezy rock ‘n’ roll records like ‘Future Obscure’ at times like these. That three minute songs and small rooms full of sweaty people can help save us from the stresses of modern life is testament to the true power of music. Forget what that man from Sheffield with a creaking voice once (almost) told us; you CAN stop the hurt inside, when love and hiatus collide…
Alright, all you groovy cats out there on this spinning rock just waiting for some cool tunes to float by. Well, the wait is over because Frisco’s coolest cats The Richmond Sluts have only gone and turned in a long-player jam-packed full of bangers with howling Organs, string bending trickery and gang vocals for you to bark at the moon along with.
Twelve tracks of wicked twists and turns and cosmic whig-outs right from the super cool off. ‘Top Of The Night’ will ease you gently before the overdriven six-string trickery clashes with that Organ wheeze to great effect. they might be on a hyperdrive mission and if this is in the 8-track cartridge then I want to be on board for the journey.
The vocals are dripping in reverb with enough dirt and whisky soaked into every breath the delivery is perfect from the cool drawl of ‘Satisfaction (I want you)’ through the cheeky handclaps of ‘Chasing Tail’ to the smokey dream-like state of ‘The Third Eye’ its oozing quality.
There’s some Stooges gimme danger captured in the heart and soul of ‘Used’ it reminds me of The mighty Chesterfield Kings and when the band joins in it reaches a giddy high and is a mighty fine tune with all its swirling drama whats not to love?
I love it when the band just rock out like on ‘What You Gonna Do Now’ No frills just kicking back and doing what they do best. They go straight into the choppy ‘Who Knew’. They throw their own spin on the classic ‘I Don’t Need No Doctor’ and sign off a really impressive record with the road worn groove of ‘Lights Go Out’ that builds like the best groove rock Primal Scream mustered which is a cool place to nestle down in and just play from the heart and soul and leave nothing behind with its cool rhythm and building wah soloing its a top tune to end with.
Ladies and Gentlemen, The Richmond Sluts are back in the groove, and that’s good news for us all. Get on it – Tune in – turn up and whig out!
Dawes have released another track from their forthcoming new album MISADVENTURES OF DOOMSCROLLER (out July 22nd on Rounder Records)
Acclaimed Los Angeles-based rockers Dawes have shared “Everything Is Permanent,” available now via Rounder Records at all DSPs and streaming services. An official performance video – directed by Caitlin Gerard at Hollywood, CA’s historic EastWest Studios – premieres today via YouTube.
“Everything Is Permanent” marks the latest single from Dawes’ upcoming eighth studio album, MISADVENTURES OF DOOMSCROLLER, arriving everywhere on Friday, July 22. Pre-orders are available now. In addition, a number of exclusive bundles – including Limited Edition Preferred Pink Vinyl w/Optional Exclusive 11×11 Signed Band Photo, Turntable Slipmat, Black Hoodie, White Pocket T, and Socks – are available now at the official Dawes webstore.
“This is a song (about how everything about us is tracked, documented, recorded, filed, mined, bought, sold, etc. etc. on some level) that is wrapped around a molten core of a breakdown/freakout/majorminorinterweave that is probably the moment I’m most proud of on the whole record,” says singer/guitarist Taylor Goldsmith. “After showing you the blood and guts, we gently sew the song back together again and end with what could be the tagline for all of social media and the screen-life-culture that we subscribe to these days to varying degrees: ‘Did you really need to cry? Or be seen crying?’”
Dawes will celebrate MISADVENTURES OF DOOMSCROLLER with a non-stop live schedule getting underway with a very special Independence Day event with Phil Lesh & Friends, set for Monday, July 4 at Asbury Park, NJ’s Stone Pony Summer Stage. A jam-packed international itinerary follows, including headline shows, festival performances, a summer run with The Head and The Heart, and a just-announced co-headline tour with GRAMMY® Award-nominated Canadian artist Bahamas. “An Evening with Dawes and Bahamas” will see both acts performing together for two unique live sets, with Dawes backing Bahamas and Bahamas then joining Dawes for an unprecedented collaborative performance. The tour begins September 7 at Knoxville, TN’s Bijou Theatre and then travels the US through the month. For complete details and ticket availability, please visit dawestheband.com/tour.
Produced by longtime collaborator Jonathan Wilson (Billy Strings, Father John Misty, Angel Olsen), MISADVENTURES OF DOOMSCROLLER represents an adventurous new turn for Dawes, evincing a more ambitious, exploratory approach towards recording than ever before. The album includes such recently released singles as “Comes In Waves” and the epic opening track, “Someone Else’s Café / Doomscroller Tries to Relax,” both available now at all DSPs and streaming services. Official performance videos are streaming now via YouTube.
MISADVENTURES OF DOOMSCROLLERmarks Dawes’ first new LP following 2020’s Rounder Records debut, GOOD LUCK WITH WHATEVER. Produced by 7x GRAMMY® Award-winner Dave Cobb (Chris Stapleton, Brandi Carlile, Jason Isbell and the 400 Unit) at Nashville’s famed RCA Studio A, the album earned critical applause around the world, with Esquire declaring it “their liveliest, most visceral set yet.” Dawes celebrated with a range of high profile TV appearances, including ABC’s Jimmy Kimmel Live! and CBS’ The Late Show with Stephen Colbert #playathome series as well as CBS This Morning: Saturday Sessions.
Sounding like the best night out on the wrong side of town, Dalston’s finest and dandiest vagabonds The Urban Voodoo Machine return with their long awaited and much delayed fifth long player ‘$nake Oi£ Engin€’.
Led by the vivacious Mr. Paul-Ronney Angel, the black n’ red wearing collective have been wowing audiences for well over 15 years with their self-proclaimed “bourbon-soaked gypsy blues bob ‘n’ stroll”. Some say they are the best live band in the country, others say they are just a bunch of drunken ne’er-do-wells. Both could be right, but one thing’s for sure, you cannot ignore them.
Recorded back in early 2020 at Space Eko Studios by The Future Shape Of Sound main man Alex McGowan (who also produced alongside PR and drummer J-Roni-Mo), ‘$nake Oi£ Engin€’ captures the relentless live energy of a band who have been described as The Pogues meets Gogol Bordello playing the last damn party at the end of the universe.
Paul-Ronney Angel writes songs about living in London as an outsider. Relatable issues such as the struggles of addiction, depression, mental health problems and being fuckin’ skint! With a love of The Clash, Tom Waits and AC/DC, these swampy blues jams, New Orleans jazz inspired ditties and mournful murder ballads have been lovingly crafted by the ringleader and his crew over a bevvy or three, and a few smokes along the way.
Four of the eleven songs have been previously released as singles and soundtrack the Covid/Brexit years better than the frontman could ever have imagined. The prophetic ‘Living In Fear’ was written as a dig at the Windrush scandal and the Grenfell disaster, and took on new meaning post-Covid when we actually were living in fear. The Caribbean feel created with the addition of steel drums and brass is upbeat and fresh, and a memorable hook is always going to win me over.
‘Empty Plastic Cup’ is an ode to the rich getting richer and the poor getting fucked! It has ‘Goodbye To Another Year’ vibes, with typical bombastic, UVM backing vocals, a killer sloppy guitar riff and enough brass to kick your ass! It builds and builds to a climactic finish; you just know it’s gonna be a live favourite.
The big band vibes of ‘Johnny Foreigner’ fit the bill and the lyrics hit home even with the raw, tongue-in-cheek vocal delivery. A larger-than-life tune delivered by a larger-than-life band. The reflective ‘January Blues’ is the morning after the night before comedown. Again, with hindsight it could be a prophetic reaction to Covid as the singer drawls “last year you can fuck right off, and this year, I’ve had enough of you” over mournful violin and acoustic guitar.
Of the new songs on offer, opener ‘Little Jimmy & The Wrong Crowd’ is an early favourite. The unmistakable PR vocal drawl is omnipresent, the blasts of brass and primal beats glorious as ever. But the surprise vocal rap is sung by James Brown II and the overall Cuban feel of the track give a new dimension to The Urban Voodoo Machine killer sound.
‘Pill Popping Cross Dressing Copper’ is 2 minutes of musical insanity, another high-energy party song to add to the arsenal. ‘Hell’s Caravan’ is a sombre, death march with regimental drums and killer voodoo backing vocals, ‘Dropping Like Flies’ an ode to lost friends, while the ringleader takes us to church with the gospel-tinged sermon ‘Carry Your Weight’.
There’s enough diversity and familiarity to please fans old and new and something to whet the appetite for those who are yet to capture the band live.
Live, The Urban Voodoo Machine channel gypsy punkabilly rave-ups, mariachi marches, outlaw country and bluesy jams, with a heady dose of burlesque and circus sideshow craziness when available. These are the sights and sounds of The Urban Voodoo Machine, and ‘$nake Oi£ Engin€’ is the perfect soundtrack to the crazy world of the band who just refuse to die.
the title track, and first single, from Lornes, first-ever solo album, out on Spaghetty Town Records on September 16, 2022.
Coming off his acclaimed 2021 four-song EP When I Hit The Floor–which prompted the esteemed Jesse Malin to praise it as “Real blood and guts rock and roll that bleeds with soul and redemption”–NYC punk rock n’ roll singer-songwriter-guitarist LORNE BEHRMAN today (June 9) shares the video for “A Little Midnight.” It’s the first single (out digitally this Friday, June 10) from his debut album of the same name, available September 16 on Spaghetty Town Records. Watch the video, directed by David J Barron, here and read a new Q&A below. It was premiered yesterday (June 8) by Glide which noted that the song “features a blackened riff howl of punk bands like The Damned and The Gun Club mixed with pop sensibilities of The Replacements. When Behrman sings “A little midnight/ it’s alright/A little midnight/does you right,” listeners get a gracious sense of rock and roll escapism at its most pure form.”
The “A Little Midnight” single is a slice of dirty rock n’ roll scrapped off of the streets of the Bowery with an introspective heart from the artist who previously played in The Dimestore Haloes, L.E.S. Stitches, The Dead Tricks and most recently The Sweet Things. “The moonlight looks on good you/Not darkness just silver blue/A little midnight/it’s alright/A little midnight/does you right,” sings LORNE on the song.
A LITTLE MIDNIGHT is a 10-song collection is a series of New York City vignettes haunted by shadows but guided by light. The words here are literate and lacerating, recalling the street poetics of Lou Reed, Richard Hell, and Television. The songs feature stark and fluid guitar playing in the spirit of The Stooges’ James Williamson, Johnny Thunders, and Lou Reed.
“This album is about struggling to be reborn,” LORNE shares. “Wanting to run back to the arms of toxic people or the patterns of self-destruction. It’s about clawing your way to a new existence while acknowledging all the causalities, and all you’re letting go. You glimpse a new life, but you don’t feel it yet.”
The album’s raw but polished production aesthetic is courtesy of producer Matt Chiaravalle (Warren Zevon, Joe Bonamassa, Spacehog). A LITTLE MIDNIGHT was mastered by Grammy-nominated engineer Joe Lambert. Wyldlife bassist Spencer Alexander designed the album artwork, and it is a subtly playful homage to the cover of Tom Petty and the Heartbreakers’ Damn the Torpedoes.
New video for ‘You Shouldn’t Be Lonely on a Saturday Night’ by Diamond Dogs of their album, ‘Slap Bang Blue Rendezvous’. The Duke of Honk comments on the video: “Yes! We still have time to feel good all night with friends! We still have time for rock’n’roll! – Big Love” Facebook Buy the album Here
Finishing off this most Rock n Roll of ‘Rainy Days’ is the new video from the awesome Slyder Smith & The Oblivion Kids. ‘When The Rain Comes’ is taken from their debut album ‘Charm Offensive‘, which will be out on 19th August 2022 through Ray Records on 12” black vinyl, digipak CD and digital, distributed worldwide via Cargo Records You can pre-order this album Here
What we’ve got here on ‘Kover All Over’ is a collection of Kiss covers recorded by Lester Greenowski during the pandemic. Each song features different line-ups and different guests on each track and adds a little bit of Lester’s heart and soul to each and every track. Now I’m not the biggest Kiss fan that’s for sure but I can’t deny they have a healthy back catalogue, especially the first few albums and up until the mid-80s when I first saw the band without the makeup but when people cover their songs they often miss the point where the earlier tunes were proper Rock n Roll songs and that’s something Lester gets, well and truly embracing the true spirit of what made them such a good band early on.
Back in his pre-teen years, Lester learned about the 70s New York City music scene through Kiss. Soon that scene will become one of Lester’s main passions and musical influences. Right from the opening salvo of ‘Radioactive’ you absolutely get that but he also manages to infuse what other greats poured out of the city that doesn’t sleep making this album more than just run-of-the-mill kiss covers this has plenty of Blondie and Dolls running through its heart and soul and you can hear that in these interpretations.
Sure there are some tracks that are (to this day) staple Kiss klassiks and it’s a brave move for a fan to tackle such tunes but Lester has a punk-n-roll beating heart and such a challenge must have been a buzz and the love shines through like lady liberty’s torch. ‘Got To Choose’ is a blast and the backing vocals have really captured the feel of the original and absolutely reeks of NYC, great job!
Of the biggies, I feel ‘New York Groove’ is a blast of energy, and the same can be said of ‘Cold Gin’ with a razor-sharp riff perfectly captured and my favourite Kiss tune ‘Strutter’ is thumpingly good. What’s not to like on the riff of ‘Parasite’ and Gene’s vocal is delivered with style. The power-pop swing of ‘It’s My Life’ clearly left a mark and as is the case for the whole of this album the quality of covers is exceptional and a real homage to Lester’s heroes and he does it so well.
Lester clearly loves it loud and this collection of Kovers serves him well for he has taken that passion and paid his dues and turned in a very respectable record. If you are a Kiss Kollector or just Kurious kome on in and get an earful of these fantastik Kiss Kovers now where are my stack boots and Kiss Korpse paint? Lester has got me diggin out me old Kiss rekords – I love it (loud)
Whilst they might not be clocking up the 25th Anniversary editions these three more recent Subs platters are still almost a decade old and went out of print on vinyl as soon as they were released such was the collectability of Subs albums amidst the return of vinyl buying people, In fact, it’s been eleven years since ‘Work In Progress’ was issued amidst richly deserved critical acclaim (I know I was very complimentary at the time of its quality).
This new double vinyl edition comes with one gold-coloured disc and one silver coloured disc in a very nice repro of the original artwork but in a gatefold sleeve again pressed on 10″. It’s still got the fourteen Tracks. Kicking off a new era of Subs where Jet was on six strings and the rhythm section of Alvin and Jamie really hit their stride with some of the band’s finest songs coming into existence like opener ‘Creation’ which really set the tone.
I remember interviewing Charlie around the time and his enthusiasm for the album was infectious and on hearing the songs it’s easy to see why he’d be proud of this record. ‘Tokyo Rose’ was something a bit different from the band and the Alvin Gibbs sung tracks are some of his finest writings even to this point today ‘Hell Is Other People’ is such a banger of a tune. Their cover of The Sonics ‘Strychnine’ was also a glimpse of what was to come with their covers album (post-a-z). It was a real call to arms and this reissue of sorts is a most welcome addition to any Subs collection.
As the band headed towards the end of their epic 40-plus year project who ever thought they’d even make it to X let alone surpass the lot and head into new territory. ‘xxiv’ was a stunning follow-up to ‘Work In Progress’ and showed that the band were really locking into gear as a unit with all the incredible shows they were putting in around the time covering every inch they possibly could of this planet ‘XXiv’ is a limited edition double 10” that comes in a gatefold sleeve on green vinyl (disc one) and clear vinyl (disc two). It finds itself expanded to 15-tracks over two LPs with the addition of the previously unreleased album out-take ‘Workers Beer Company’.
Originally coming out in 2013 again, it sold out on its initial release on vinyl so this will please many fans and with the bonus of the extra track it isn’t just a cash cow or pension plan. (maybe they missed a trick, not including the bonus acoustic songs or reworkings on the original double CD that came out at the time now that would have been something special) this one took what the band did on the previous release and took it up a notch or two with the barnstorming opener ‘Implosion 77’ and then led us into the harmonica honking stomper that is ‘Coalition Government Blues’. I must admit I’d not played this album in a while and have played it over several times for review purposes I have a newly found affection for it. Maybe, with the passing of time I’d rate this one right up there with the best UK Subs album through any line ups and any album. ‘Speed is punk as fuck only to be outdone by ‘Rabid’ absolute blitzing it! The thrust of ‘Monkeys’ and its backing vocals giving it a softer edge is excellent. Again the Gibbs sung songs are top quality and there is no weak spot on any side of these new 10″ records and worth every penny.
Tying up the trio of 10″ records is the penultimate A-Z ‘Yellow Leader’. This one originally came out in 2015 and the album track listing has been restored to its full running order of 18 tracks as previous vinyl editions had to cut four tracks due to running times. So again, it’s not just a reissue cashing in as anyone who picks up a copy will realise that the heavyweight records in their gatefold sleeves and pressed on colored vinyl are well worth having a lot of care and attention to detail has been put into these and it shows. ‘Sick Velveteen’ follows a long line of super-strong opening tracks on albums and it showed that there was no sign of fatigue in the Subs camp nor writer’s block. The songs were coming thick and fast and if anything better and better.
The variety on the eighteen-track album is fantastic from the punk bangers to the reflective acoustic ‘Rebellion Song’ to the riffy ‘Slave’ and the Stooges-inspired ‘Suicidal Girl’ ‘Yellow Leader’ is the third in this trilogy release and one that to my shame I’ve not played in a while but that has been rectified and one I will play more often.
The artwork reproduction is most welcome as is everything about the feel of these reissues. Lyrics, Bonus tracks, coloured vinyl – Man, I love the UK Subs, and with a new album imminent this is a great time for us fans. Sadly, I’m informed there are no plans to reissue ‘Ziezo’ but maybe that will change when these sell out. Trust me when I say these 10″ double albums are the dog’s bollocks and well worth getting your hands on.
With a CV that name-checks both the legendary Auckland garage rockers the D4 and professional noise hitmen A Place to Bury Strangers, it is no surprise that Dion Lunadon’s solo offerings are so impressive and sonically abrasive.
Much like the debut, Dion’s follow-up Beyond Everything contains a vast genre appraisal of his career to date. Treating the listener to reams of heavy psych, post-punk, the dirtiest garage guitars, and even some Hammond organ, all delivered in a fresh captivating production that is a frenzy for the senses.
The record, although high quality and engaging are very sporadic in its delivery. In recent interviews, Dion has stated that the record has been written on and off since 2017. The overall package is a formidable one. Going from ‘one punch punk killers’ like By My Side and It’s The Truth to ‘Suicide style’ synth and distorted fury such as Elastic Diagnostic and Glass Doll, this album feels more like a series of EPs and 45s. Not to diminish any of the actual content. As with the first record, the compositions are provoking and make the hair stand on the back of your neck, it’s just not as uniform as album one. But in my book, this is a good thing, the experiments being thrown on the wall are rewarding for the listener, always exciting and balls to the wall, it’s also giving Dion a great reputation as a solo artist that can throw his hand at anything.
With too many to mention, stand-out tracks would have to be garage standard Living and Dying With You, smooth Stooges Esque mover and groover Screw Driver. But if you want something a bit special that will energise you and weird you out all at the same time, Nothing But My Skull is one to have on repeat this summer. With the tempo of Flipper and dirgey guitar and howls of Thurston Moore all wrapped up sounding like some bastardised alternative rock Wings number.
The album is certainly a journey, but one of tremendous highs and pleasing curveballs. Currently, on tour in the US, Mr. Lunadon is hitting the UK in November. Sadly only doing the all too familiar London-only gig. In the meantime let’s make some noise with this record and give him a reason to expand that date and turn it into a tour.