Like London busses Stevie is dorment for ages then several albums rock up in a short space of time. The title track breaks through the silence with its thick throbbing bass line and some overdriven hacking and slashing Rock n Rolling guitars and kicks over the stack before blowing up the speakers.

Its trashy and dripping in sleazy Rock n Roll Back in 2003, Steve had the chance to go back out and play with Faster Pussycat on a UK Tour and managed to pull together a band of musical acquaintances soon to run by the name The X-iDolls. Initially it was planned to do the tour and cut n run. Like a runaway train and musicians enjoying the trip quickly get down to writing and an album’s worth of material soon came together. After a host of other shows supporting Tuuli and The Quireboysit lived and breathed for a while longer than anticipated.

An EP was recorded early on with the album put together in late Summer 2003 but sadly the band was never destined to last and disintegrated before the end of that year, with the album never to see the light of day until now. ‘Some Things Never Fall’ is a Lords bassline borrowed and kicked around the seedy soho backstreets and clothed in some punky attitude its an enjoyable stomp. I like the energy Stevie puts into his music and its clear he believes in what he does and that energy is none more evident than ‘Smashed’ comple with nice gob iron blasts to add texture to the Rock n Roll.

‘For You’ has groove whilst ‘Cherry Bomb’ has a tonne of energy and would be great to hear live as Stevie kicks out his jams. ‘Cry’ is one of those hard soft(er) songs from the picked intro and harmonica wheeze and the shimmering first verse before building through its near six minutes. I like it and it has plenty of charm theres an honesty and lived in feel happening and Stevie does it really well.

This album isn’t polished and has a live energy and authenticity about it thats traceable throughout the seventies and eighties and has that very honest DNA coursing through its songs. The band motors through the latter part of the album from the sing a long of ‘Sixty Six Sick Chicks’ through the party anthem that is ‘Looking At You’ if the party consisted of twenty lucky strikes no filter and a watneys party seven and a bottle of blue and red thunderbird (the true drink of champions) a bevvy of beautiful women and your best mates all having the time of your lives and this pumping on your stereo. ‘Out With A Bang’ is what it says on the tin. A collection of really good tunes from The X-iDolls who do this sleazy punk n roll as good as anyone out there and have better shoes whilst doing it as well #Fact.

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Author: Dom Daley

First up this cold and wet UK morning is Autogramm, a synth-driven power-pop band from Seattle, Chicago and Vancouver. They have just announced their latest LP ‘Music That Humans Can Play’ with an advance single and video for the track “Plastic Punx”.

Their first album in over two years will be released on vinyl and digital formats world-wide on November 17th via Stomp Records and Beluga Records EU.

Autogramme – Bandcamp

New York City guitarist, singer-songwriter Steve Conte has released the music video for his latest single “Girl With No Name.”

The clip was shot on the streets of NYC & in studio by Natborn Productions’ Peter Perenyi & son Orion Perenyi, with motion graphics, lyrics & final touches by David Provan at 12 Inch Media.

The song follows the summer release of his single “Fourth Of July” (co-written with Andy Partridge of XTC).

Conte says, “This is a song of regret…about missed opportunity and lack of skills in meeting someone you’re attracted to.

When putting my new album together, I was looking for songs that would fit nicely alongside the songs that Andy Partridge and I had written for it and I kept thinking of this one. I wrote it back in 1984 and never forgot it – which was a good sign.

Because it came to me so long ago I can’t exactly remember my process for writing it, except that since I was young & single at that time I was probably experiencing these kinds of situations & feelings on a daily basis!

Musically, I can hear what was influencing me back then; mid 60s Beatles, mid 80s XTC, and that beloved Motown groove from a certain Diana Ross & The Supremes song…”

A follow-up LP to Conte’s acclaimed 2021 solo album Bronx Cheer, is expected in Spring 2024 via Steven Van Zandt’s Wicked Cool Records.

‘All Quiet On The Eastern Esplanade’ (8th March)

NEW SINGLERun, Run, Run (Out Now)

Plus intimate shows in Margate (9th/10th December)  

If you want the night to lastThe Libertines are excited to announce the release of their fourth studio album entitled, All Quiet On The Eastern Esplanade out 8th March 2024. The release marks the band’s first new album in nine years and opens with the infectious new single, Run Run Run out today Listen Here.

All Quiet On The Eastern Esplanade’ is available to preorder from: https://TheLibertines.lnk.to/AQOTEEPR
Anyone who preorders the album will be offered the chance to purchase tickets for “All Quiet On The Eastern Esplanade’ two days of special acoustic & electric live shows by The Libertines, at the 500 capacity Lido in Margate on Saturday 9th and Sunday 10th December. Also available both nights are VIP after party tickets at the Albion Rooms and Justine’s nightclub, which will include full band DJ sets.


Opening All Quiet On The Eastern Esplanade is the firstsingle Run, Run, Run, a huge singalong punk rock anthem, Carl says, “It’s about being trapped, and trying to escape your dismal life, a bit like the man in Bukowski’s ‘Post Office’. The worst thing for The Libertines would be to get stuck in a ‘Run-run-run’ rut, constantly trying to relive our past.”


On All Quiet On The Eastern Esplanade, the quartet of unlikely lads have gathered from their new-found homes in France, Denmark, Margate and London to solder a strongest-ever internal bond, and scale new creative heights resulting in the best music of their extraordinary career so far.
Featuring eleven new sparkling Libertines songs with songwriting credits shared among the four band members, the album was produced by Grammy-nominated producer Dimitri Tikovoï (The Horrors/Charli XCX/Becky Hill) and recorded at The Albion Rooms in Margate. Recorded in just four weeks earlier this year during February and March and finished over seven days at La Ferme de Gestein Studios in Normandy, with additional production and mixed by Dan Grech-Marguerat (Lana Del Rey/Liam Gallagher/Paul McCartney).


The story of the making of All Quiet On The EasternEsplanade goes like this – in September ’22 Libs glimmer twins Doherty and Barât decamped to Geejam in Port Antonio, Jamaica. Away from any distraction the chemistry between the infamous songwriting partnership began to bubble in earnest.
Fast forward to February ’23 and Peter and Carl regrouped with rock solid knaves to the rhythm, John and Gary, at The Albion Rooms, and, says Doherty“we really came together as a band. It was a moment of rare peace and unity, with all the members contributing.”For Carl, the whole Libertines journey has been leading to this moment. “Our first record was born out of panic, and disbelief that we were actually allowed to be in a studio; the second was born of total strife and misery; the third was born of complexity; this one feels like we were all actually in the same place, at the same speed, and we really connected.”
Peter proclaims: “We’re over the moon, and the ball is in the back of the net… and I’m chuffed for the lads!” He adds, more seriously, “I feel like we’ve completed a cycle of some kind as a band, and finally now we can add these songs to the set list, because we’ve got some bangers in there. Now we’ve opened the hotel and used the studio ourselves and it’s all worked out – more Libertines records? I should hope so!”
The album – named All Quiet On The Eastern Esplanade as a nod to their hotel’s street address and their enduring love of Erich Maria Remarque’s landmark anti-war novel – is an unequivocal triumph.
All Quiet On The Eastern Esplanade will be available on CD, deluxe CD, 12” vinyl in limited edition coloured variants, deluxe double vinyl cassette and digital download.

Pic courtesy of Ed Cook

Listen to ‘Oblivion’ Here

Edinburgh, ScotlandOctober 06, 2023 – Following up the announcement of BILLY LIAR’s new album “Oblivion,” he has just dropped his first single “Oblivion” on all streaming platforms! CLICK HERE to listen to the song. Additionally, his album “Crisis Actor” is available for pre-order on the Pirates Press Records website.


“Billy Liar is one of my favorite songwriters. Powerful and honest.” – Tim Armstrong (Rancid)

That’s one hell of a statement coming from Armstrong, a guy who knows his way around a tune as one of the most beloved songwriters in punk rock history.

A single listen to Billy Liar’s new album “Crisis Actor” will have any listener agree with Armstrong. With this album, Billy Liar showcases his outstanding talent for storytelling and his ability to capture raw, unfiltered emotions that resonate with listeners on a deeply personal level. These songs are bold, brash, and destined to be played loud in any size venue Billy steps into, from a solo show at a DIY space to a full-band set on a giant festival stage and everywhere in between…all with fans screaming back every word!

From the outset of “Crisis Actor,” Billy Liar commands the listener’s attention. From the opening track “Oblivion,” he pulls no punches when he sings “The only way I win is by not giving in to oblivion.”

Throughout the album, Billy intricately weaves anecdotes, scathing social commentary, and self-realization to craft a record that will please old and new punks alike. Drawing the inevitable comparison to the legendary punk troubadour Billy, Mr. Liar shares Mr. Bragg’s ability to address society, politics, and the world at large through the lens of lived experience and deeply personal, confessional emotion.

And just to put “Crisis Actor” over the top, a friend turns up to lend his familiar voice to one of the record’s highlights: the one and only Frank Turner joins Billy on “Negroni,” adding his trademark powerhouse grit to Liar’s boundless, exuberant energy.

With “Crisis Actor,” Billy Liar is poised to step up as a central voice in a new wave of singer-songwriters ready to tell their tales to listeners across the world. Clocking in at just 28 minutes, this album is a proverbial uppercut to the jaw. It hits you hard and fast, but it is intricate enough to reward close repeat listens. This is fortunate, because you’ll find yourself dropping the needle on this one again and again!

Whether armed only with his guitar or backed by a full band, Billy Liar will be traveling the globe, commanding stages of pubs, clubs, and arenas alike with this new set of tunes ready to catapult him into the hearts – and record collections – of punks worldwide!

For more information on Billy Liar:
https://www.billyliarmusic.com/
https://www.facebook.com/official.billy.liar/
https://www.instagram.com/officialbillyliar/

Ok folks sit up pay attention set your volume control at a respectably loud setting and pour yourself a cold one before slipping this bad boy on the turntable. Backstreet Girls are in the house and they are showing no sign of mellowing out or slowing down. From the get-go the boogie is set on the max and this Norwegian powerhouse is up for the gig.

This is the band’s 16th studio record since their 1984 debut and with the motto of If it ain’t broke don’t fix it, they boogie n Roll the living shit out of these ten songs. ‘Beef Chop Suicide’ gets proceedings underway with that familiar Petter Baarli raw overdriven tone and whisky and no filter cigarette rasp of Bjørn Müllers cool vocals the song ushers in the album by blowing off the doors rather than gently easing the listener in. Hell, the full-fat production from Stamos Koliousis is perfect for the DC meets Stones tones these boys love to knock out. It’s bullshit free baby and they’re up for a good time and not a long time. ‘Waste Side Story’ is bruising but the thunderous shuffle of ‘Boogie Woman’ (of course that’s what it is called) is like being clubbed over the head by a Les Paul and the guitar break at the end kind of stops which is a bit weird I wanted it to continue my tennis racket wasn’t finished yet and I was looking to do a knee slide for a finale. Shit, that is one dirty tone Baarli is chopping up on ‘Too Cool For You’ as the band eases back for one sloppy dorty fucker of a song, and who isn’t going to dig that riff on the chorus before easing back into the verse, quality overload beware anyone feeling a little feeble this might be too tough for you.

Sure theres nothing original going on here nothing at all its just a cadalac of style with the best sounding stereo on the strip ‘Sister Satan’ is a brooding beast of a song cruising round impressing the shit out of any impressionable young man or woman. The quality of whats on offer is right up there and ‘Norma Jean’ is like Lemmy fronting Cheap Trick using AC/DC’s equipment to impress a particularly good-looking lady.

The next few tunes are all about that guitar tone with ‘Rocky Lee’ cooking up a bitches brew that’s made with equal parts gasolene and gunpowder the licks n fills are fantastic at volume and on headphones it’s like being in the room as the band strikes up a chord knowing exactly how damn good at this they are.

Before we’re done ‘Not Sorry At All’ is a blast of fist-pumping before ‘Doomday Hell’ is a purposeful thump on the drums and the gang vocals to close it out are spot on, so put on your shades, buckle up the leather trousers and pour another cold one Backstreet Girls are dishing up a Rockin good time (of course they are) and it’s fantastic to hear a band just rockin out because that’s what they love hearing and nobody is gonna tell them there is anything cooler than this. Top band, Top album, Top class. Buy yourself ‘In Lust We Trust’ and rock the fuck out – you’re worth it.

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Author: Dom Daley

The former frontman of The Temperance Movement returns after a tumultuous period in his life with a solo album that has been decades in the making. Musical differences and personal issues saw the gravelly-throated singer leave not only The Temperance Movement in 2020, but also last year he parted ways with The Byson Family, the band he left to form and concentrate on.

But following a series of acoustic shows and a recent EP release, Philip has exorcised whatever demons he was carrying and is back stronger than ever with his debut long player.

Seeking redemption and filled with retrospection ‘City Lights’ is a journey of a storyteller who explores new territories while tipping his worn and tattered hat towards his past glories throughout its 12-track length. There’s a self-assured confidence and a sense of rejuvenation to leading track and first single ‘Magical West’ that sees Philip shed the heavy rock and americana leanings of his previous bands and embrace a more commercial and eclectic direction. Upbeat and euphoric in equal measures, it has a Springsteen style power and delivery with a rousing chorus that will excite the listener and induce goosebumps as well as repeated plays.

‘City Lights’ is an album filled with unexpected directions that take you on a definite journey. The liberating ‘Hasta Luego’ is a tale of eloping to Mexico, and you are with him on the road as he invites you to “get away through LA and San Diego”. Sound wise, with urgent beats and stabs of keys it builds like Hothouse Flowers to a rousing chorus worthy of Butch Walker.

The mellower, more soulful moments such as ‘Revelation’ and ‘Break The Curse’ nod their heads to Van Morrison with gospel-tinged backing vocals, brass and stabs of piano to accompany the stunning vocal delivery.

The needle drops on side two for the funky title track with a blast of horns, crisp drum beats and gospel harmonies, coming on like an outtake from The Black Crowes sophomore long player meets Paolo Nutini, and that ain’t a bad place to be. But if there is any one song that would be a showcase for Phil’s vocal prowess on this album, I would probably go for the celebration that is ‘Soul Fire’. The performance here exudes confidence, power and depth and just seems to flow perfectly. A killer guitar solo adds some fire. It’s worth noting that considering he plays most of the instruments and self-produced this album, it has a very ‘live in the studio’, full band sound.

Elsewhere, ‘Silent Symphony’ mixes up americana and soul with sweeping strings and gospel backing to create a heart-wrenching, cinematic soundscape. And that is something that continues on the honest and confessional ‘Sober Boy’.

He may have left TTM to get away from the screamers, but closer ‘Gut City Blues’ leaves us with a reminder of his past. Killer riffs and even more killer vocals give us a whiff of AC/DC meets Ike & Tina goodness, plus the addition of founding TTM guitarist Luke Potashnick, who turns of to lay down a tasty solo. A glorious rocker that is sure to be a live favourite when he hits the road later this year.

While I was saddened when he left TTM and The Byson Family, Philip Seth Campbell has risen like a phoenix from the flames and delivered an album that exceeds all expectations. ‘City Lights’ is an instantly familiar album that is hard to not fall in love with from the very first listen. With enough rockers, ballads and ravers to satiate his fanbase, it exudes the confidence and charisma of a songwriter who has been around the block and has lived to tell the tale.

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Author: Ben Hughes

If you prefer the US re-dubbed version of Mad Max, George Miller’s 1979 post-apocalyptic vision of the future, then hit the homepage button now, because C.O.F.F.I.N are about as Australian as every millimetre of Mick “Two Fingers” Simpson’s beer belly. Just take one look at the front cover of ‘Australia Stops’, the band’s fifth album to date, and there’s no disputing these madmen from the Northern Beaches of Sydney really do suffer for their art. I mean who has a mullet in 2023? Well, other than the members of Rough Gutts, obviously. (Ha!)

Yeah, these four guys are like a Cosmic Psychos and Asteroid B-612 jam band playing Bea Smith’s birthday bash at Boggo Road Jail, that’s how bloody Australian they are, and they sound totally bloody bonza too! Just take one listen to the album’s opening track (and lead video) ‘Give Me A Bite’ and tell me I’m wrong.  The opening guitar licks of this track slap you straight across the face before vocalist and drummer Ben Portnoy (no relation…I hope) literally spits the song’s lyrics in it too. There’s something very Hip Priests-like about the “spit in my wounds” refrain too, and that’s certainly no bad thing, eh pop pickers? 

I must admit that when the band released their ‘Children In Finland Fighting In Norway’ (think about it) album a few back, I was already balls deep into a playlist featuring the likes of Stiff Richards, Private Function and Civic, so that record’s dozen tracks kind of passed me by, but here in 2023 with no such distractions to take my (bonk) eye off the C.O.F.F.I.N shaped prize, I’m all about the mullet maaaaan.

‘Cut You Off’ reminds me of just how great Airbourne used to be before they recorded the same album four times over, mixing the Rose Tattoo riffage with Motorhead attitude to absolute perfection. ‘City Sun’ meanwhile appears to be an ode to a man with the head of a horse, so I’m always going to love it aren’t I?

‘Keep It Dark’ and ‘Lovers Leash’ quickly follow and continue this four to the floor approach before ‘Beasts’ chugs its harp beating black heart past the record’s midway point, and I can’t help but think of Stevie Young’s old band Starfighters and their classic debut album every time I hear this one.   

For the second half of ‘Australia Stops’ the album’s title track introduces us to a further five song knuckle sandwich of punch drunk rock ‘n’ roll, the highlight of which (for me anyway) is the blistering one – two of ‘Through The Sewer’ and ‘Faceless’ a fine duo of tunes for the children of Generation Z to truly lose their shit over, just like they have been to the likes of Amyl & The Sniffers and The Chats.

Hotter than a rollin’ dice, C.O.F.F.I.N will hopefully be back soon to rule the roads of the UK (they did a run of shows back at the start of the summer) and promote ‘Australia Stops’ to the max, In the meantime we can all get excited about this mighty fine record hitting the record shop racks on September 15th.

Play it loud folks, PLAY IT LOUD!

You can pre-order ‘Australia Stops’ via the following link; http://coffin.lnk.to/AustraliaStops

Social links: Facebook / Instagram

Author: Johnny Hayward

I always get excited when I hear news trickling through the grapevine that Californias Bryan Smalls has assembled The Hangmen to record some new music and when I got the PR to say ‘Stories To Tell’ was indeed done and in the can, I couldn’t wait to get me some.

Getting straight to business, ‘Broken Heartland gets ‘Stories To Tell’ off to a flier with its solid tempo and some cool slide driving this Rocker onward and upwards. With some really nice solo work. With very little fanfare it’s on with the show and always a band who simply let the music do their talking. As far as openers go this is a thumper, no messing about just good honest Rock n Roll with a decent hook sweet playing and a melody on the chorus that locks in to your good vibe receptors of your brain making this addictive and oh so sweet.

Play on. With a nice round ten tracks on offer Smalls laid back exterior and style is no more aparent than ‘Midnight Riders’ with its widescreen vision as the sun drops out of the sky its such a quality tune. You’ve gotta love the melody as it battles with the music for what grabs you most but this is where The Hangmen sit best for me – it sounds effortlessly cool as you’re drawn in. They turn up the amps for ‘Last Time I Saw You’ as the riff chimes the band are rockin out here just cruising through the gears.

Another shift in tempo sees the laid back ‘On The Outside’ go country roots rock. The acoustic guitars are out and its time to sip a beer on the porch whilst the Rock n Roll eases back. Four songs deep and four sides to The Hangmen painting broad strokes with a thread throughout thats totally recognisable which isn’t easy to do. That Hangmen tone is what captures your attention. It’s raw as a seeping wound but sweet as honey, ‘Sinister Purpose’ hangs its melody on a big riff thats classic and modern but always quality. The cowbell is out on ‘Bayou Moon’ as Smalls leads his troops down a Stones rabit hole that oozes class. As the groove takes hold I’m gazing into the sky hoping we can all get some of this ‘Bayou Moon’. In fact The Stones are lurking in the DNA of Stories To Tell as the acoustic rocker of ‘Behind The Wheel’ will testify.

With a title track being a mid paced mid day rocker stretching itself out building to the chorus its just classic Hangmen and if you get it you’ll dig it and admire their class. Its a very impressive album with variety and moments left right and centre that purr with quality from the rockin opener to the almost baladlike ‘Runnin Kind’ that brings the curtain down on this excellent album. Don’t take my word for it. Head out there and pick up a copy or if you’re modern and like to stream then get on and pre save it so you can also marvel in the majesty that is the most excellent Hangmen. Winner!

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Author: Dom Daley

Marc Valentine, the unmistakably British singer-songwriter whose powerpop-fueled debut album was released last year to critical acclaim, returns with ‘Jinx Of Finchley Road’ – a digital single scheduled for release through Little Steven’s Wicked Cool Records.

Produced by Dave Draper (The Wildhearts, Ryan Hamilton, The Professionals), the song hints at nefarious and uncanny happenings in North London. Nostalgia and mystery meet in a basement full of hooks to create a single that sounds as if it was
plucked from the charts during the glory days of Britpop.

Having honed his craft over four albums with cult pop-rockers Last Great Dreamers, Valentine launched a solo career in 2022, his album ‘Future Obscure’ delighting fans and picking up praise from an array of publications.

‘Jinx Of Finchley Road’ marks his return to the spotlight, which looks set to grow even brighter through 2024.

Upcoming live dates 

Friday 15 September – Trillians, Newcastle 

Saturday 16 September – Fulford Arms, York

All links to buy and hear Marc Here

Website /Insta /Facebook

Sweden’s finest purveyors of honky tonk flavoured rock n’ roll return with a new long player, just over 18 months after the luscious double album offering ‘Slap Bang Blue Rendezvous’ hit the shelves.

It seems nothing can keep Sulo and the boys from delivering good time rock n’ roll like the last 6 decades of musical innovation never happened. The Faces meets The Stones is a good rut to be stuck in and we wouldn’t want it any other way, not when the songs are this good.

Written and recorded over an 8-day period and recorded in old school analogue, ‘About The Hardest Nut To Crack’ sees the Swedish band in fine form from the word go.

12 bar boogie blues is the name of the game with opener ‘Get A Rock n Roll Record’ and the message is as simple as the three-chord progression it rides on.

Next up ‘Blight The Life’ is one of those life affirming, instantly familiar Sulo melodies. You’ve know you’ve heard it before, but you’re not quite sure where. Was it Rod, Jagger or Monroe? Who knows, or even cares as a mournful fiddle leads us down an emotive road, one we love to frequent again and again.

The low-slung rock n’ roll of ‘Wring It Out’ has plenty of Faces swagger and it’s a raucous party that Sulo and the boys are jamming, with gospel-tinged backing vocals, stabs of keys and a certain boogie-woogie swagger.

There are earworms aplenty on offer. The likes of ‘Gurus and Gangsters’ and ‘Desiree, Yet Another Lonely Mile’ are pure euphoric nostalgia, and about as 70’s as listening to the top 40 run down whilst scoffing a Sunday roast. Songs that groove in a certain way and insist you turn up that dial and dance like no one is watching. 

Sulo’s reflective lyricism recalls the good times and the tight musicianship but loose delivery backs it all up in just the right way. The banjo action on ‘Old Timer’ gives a rustic, partisan feel that sits well with the low-slung guitars and gravelly vocals. The sloppy, but perfectly delivered solo as worn and weathered as the vintage gear it is played on.

The glam slam, foot-stomping closer ‘Rising From The Ruins Of Rock n Roll’ sees the band sign off by telling us to spin them records one more time and not to forget the reason they (and we) do this thing they call rock n’ roll anyway.

A new Diamond Dogs record is always cause for a celebration, and ‘The Hardest Nut To Crack’ does exactly what you would expect. Naysayers may argue that Sulo and the boys are doing nothing new and shock horror, may even be classed as ‘generic’, but you know what? Sometimes I want something familiar, something that doesn’t stray from the path and delivers exactly what I expect it to, and the Diamond Dogs do it every time. Get this rock n’ roll record, play it loud and spread the word. 

PRE-ORDER: https://orcd.co/hardest-nut-to-crack

Author: Ben Hughes

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https://wildkingdom.se/artists/diamond-dogs/

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