Idles – ‘UltraMono’ (Partisan Records)

Idles – ‘UltraMono’ (Partisan Records)

Let’s not hang about here ‘War’ is the sound of bombs dropping from the sky and panic on the streets. Idles are on it and as a unit won’t be stopped by conventional weapons or pandemics it would seem.  Taking it to the next level after the joy of the Glasto performance and it would seem being taken into the bosoms of the press beast and being hailed as the saviours of alternative post-punk rock and roll all by themselves. Idles have taken it in their stride and just gotten on with it, seemingly oblivious as to the outpouring of adulation currently being heaped upon them.

I liked ‘Brutalism’ and I liked what they offered as the next step on ‘Joy As An Act’ so it was with an intake of breath I pressed play on this their third long-player as the band lock-in and pour out what is inside them onto the black grooves.

 

Frontman Joe Talbot says of “Grounds”: “We wanted to write a song that embodied self-belief, and gave us self-belief – a counter-punch to all the doubt we build up from all the noise we so easily let in. We wanted to make the sound of our own hearts’ marching band, armed with a jackhammer and a smile. We wanted to make the sound of our engine starting. So we did. Thank you.”  Talbot sounds like he knows the score. top tune and instantly recognisable and more honed in, more finely tuned.  Sounds like they know exactly where they’re going with this lark.

If you thought the band had hit the peak on ‘Joy’ and the worm might turn from here on in, well, think again this album is more vibrant, focussed and raging than the previous offerings.  Across all twelve songs, there is a brutality as the band continues the social commentary of their past work, with themes of class, gender inequality, nationalism, community, and toxic masculinity and empowerment and ultimately fighting back.  Its not preachy it poignant and informative that there are people who think just like you!

 

Produced by Nick Launay (Nick Cave, Yeah Yeah Yeahs, Arcade Fire) and Adam ‘Atom’ Greenspan (Anna Calvi, Cut Copy), ‘Ultra Mono’ sounds huge. The album also features guest vocals from Jehnny Beth (Savages), and additional guest contributions from Warren Ellis (Nick Cave and the Bad Seeds), David Yow, and Jamie Cullum like it needed any.

The constant touring sounds like it has galvanised the band and they’re locked in as one and the twists and turns of the opening few tracks are epic and brutal but quite beautiful as well.

Safe it isn’t but I’m sure there will be a hipster backlash along anytime soon saying something along the lines of them selling out or commercial this and that and not being the same anymore (not with these lyrics).  Tosh, I say this is where they’ve been striving to get for the last two albums and this is excellent.  Even after a few plays I’m easily enjoying it as much as the previous offerings if not more due to the production and songs being a lot tighter.

I’ve not read any of the reviews yet but I’ve seen the comments to the videos released so far and I like it and it would seem so do the punters (those that matter anyway).  Hopefully when all this pandemic strife is sorted and we can get back to live music being a thing I’m sure these songs will take on a new life as they get performed and dissected more by the public as we break them in.

 

Its a pummeling album and songs like ‘Mr. Motivator’ has taken things to the next level without a doubt.  I’m sure reviews will champion them as the soundtrack to the revolution, Well, the likes of the Guardian and Mirror will and The Mail will hate it. Fuck em!  This album is demanding another spin and I’m already liking it a lot “How D’you like them cliches?”.  To be honest,  Idles have managed to create music that is pretty much universally recognisable which is always a bonus and something bands strive to achieve – sure they borrow bits here and there who doesn’t but the magic when they are in full flight is awesome.

Ultimately ‘Ultra Mono’ is a document of its time and a bloody good one at that.  They look destined to get bigger and bigger.  From their Rebellion Festival appearance to their Glasto triumph and now this release and the raft of enormadomes they will play once it’s safe to do so is proof that alternative music is alive and kicking and screaming.

Crack on Idles I love it.  Some will love join me – some just won’t get it and others will shy away because they’re too popular. fuck that if you can’t love ‘Anxiety’ then why not? Talbot hits the nail on the head lyrically and when he states our government does hate the poor he means it but not to be cool or trendy but because it matters and people need to wake up maybe this is the sound of the fightback.

It’s not all crash, bang, wallop mind.  Well, I say that ‘Kill Them With Kindness’ has a polite intro before Talbot barks his best Iggy Pop. ‘Carcinogenic’ has a lovely throbbing bassline as does ‘Reigns’ as they push the envelope a little further again. A dozen songs later and I’m thinking that Idles have penned a classic of its kind it’s easily their best twelve songs thus far (no seriously) Check it out.  Stream it (if you have to) buy it on tape if you’re hip but turn the volume up for others to hear and sing along. ‘Ultra Mono’ might only have just been born but it sounds like a band has grown in stature and become a real force to be reckoned with – alternative music always needs bands like Idles so let’s enjoy them here and now – Buy it!

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Author: Dom Daley

The Empty Hearts – ‘The Second Album’ (Wicked Cool Records)

The Empty Hearts – ‘The Second Album’ (Wicked Cool Records)

Strange… when I was assigned this album to review, I was vaguely familiar with the band and went to check out a couple of the early songs released from the album. I wasn’t blown away by them at the time. With that said, I approached the album with some apprehension, even knowing the members of the band have a wealth of greatness among them. It turns out I was either in the wrong frame of mind to hear the early songs, or they did not necessarily immediately translate in the video format to me. At the end of the day, this has become a very enjoyable album for me, which sounds fresh, even if it channels its sound from the glorious nuggets of the past.

Perhaps the difference in how this album came to life for me is the brilliance of opening song ‘Coat-Tailer,’ which I had missed on YouTube. The tasteful group vocals that open it with the classic feeling rock n roll guitar that is buoyed by the piano perfectly set the table for the album. The harmonies are outstanding, and there are multiple lines in the song that will get stuck in the listener’s brain. The guitar solo by Elliot Easton is right on the spot. Second song ‘Remember Days Like These’ features Ringo Starr and is a song that I have a feeling I will like more down the line. It has been a slow grower so far and really reminds me more of something Phil Spector would have produced. The band gets right back into the classic rock n roll vibe with ‘Well, Look at You’ featuring some great horns and a killer chorus. Wally Palmar’s smooth vocals are perfect for this music. They continue to mix things up with the bluesy ‘Jonathan Harker’s Journal.’ The sound effect laden intro suits the opening guitar perfectly. The rhythm work of Clem Burke (drums) and Andy Babiuk (bass) is razor tight and establishes an awesome groove. The vocal work here is awesome as well, especially throughout the chorus.

The up tempo ‘Sometimes Shit Happens for a Reason’ once again takes us back to a classic rock feel with a song that should feature on a cool indie romantic comedy. This song reminds me of everyone from John Cafferty to the rocking side of the Texas Tornados to the light hearted side of Bruce Springsteen such as ‘Glory Days.’ At this stage, this is probably my favorite song on the album. Follow up song ‘The Best That I Can’ keeps the rocking going but suffers in the shadow of the previous song for my tastes. Each member gets a chance to show off their musical chops here. Much like ‘Remember Days Like These,’ I think this one will benefit as the album gets more and more plays in the time to come. ‘If I Could Change Your Mind’ roars in as another nuggets style rocker that features more brilliant vocals by Palmar. This is another brilliant slice of poptopia that should receive a ton of plays on Little Steven’s Underground Garage.

‘Come On and Try It’ was one of the songs I heard before listening to the album, and it still really does not grab me. I think part of it is that refrain of ‘nah nah nah nah’ just feels repetitive in this rocker.  In the context of the album, I like it better, but this is not likely to be a song that I seek out to play on its own.  The ballad ‘The World as we Know It, Moves on’ definitely works better for me as a great change of pace song with some tasteful backing vocals in the chorus. It is also one that does not overstay its welcome either. ‘The Haunting of the Tin Soldier’ settles into a midtempo feel which features some great drum work by Burke but still one of the ones that doesn’t fully grab my soul.

The closing group of the album starts with the attitude filled ‘Death by Insomnia.’ The harmonica work here adds a great feel to the song with the slow bluesy groove designed to get the body moving. This is another one of my early favorites from the album. ‘The World’s Gone Insane’ was another song I heard on YouTube prior to the album, and I like it much more here. The rocking tempo serves to get the album in full rock n roll mode again with a classic feeling riff. The chorus is simple but hooky. I cannot see it ever being my favorite on the album, but it is one I look forward to hearing when I play the album. The closer ‘Indigo Dusk of the Night’ is also the longest song on the album with its acoustic introduction immediately different from everything else on the album. The lyrics paint a picture that you can experience throughout all of your senses. Musically, this one could sit on the Beatles ‘White Album’ and really makes a great finale to the album. The added instrumentation as the song moves forward is terrific, and I imagine it will sound even better on headphones. The closing of a door then ends the record.

This album really provided me with a nice surprise and hit that nuggets sweet spot while still sounding current and fresh. I am very glad that I did not let the first song or two I heard ahead of the full album form my impression of the whole record. This album will be receiving a lot of plays, and I anticipate several songs from the album will make their way onto monthly playlists of mine in the future.

‘The Second Album’ is available now. Buy Here

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Author: Gerald Stansbury

Mommy Sez No – ‘The Dwellers Below’ (Self Released)

Mommy Sez No – ‘The Dwellers Below’ (Self Released)
It’s been over a decade since I first discovered that even when Mommy Sez No you can still get your musical kicks from a trashy, crypt-cool beat combo souring airwaves with its self-soiled brand of “Spook ‘n’ Roll.”

 

 

From debut splatter platter, ‘Hotwaterburnbaby’, via the putrid poetry of follow-up, ‘Eeeeeeeeep!!!’, to the 2-4-5 Trioxin-addled new album, ‘The Dwellers Below’, the Saint Paul, Minnesota ghouls Mommy Sez No have traversed the gutters and gateways of the punk rock underground for so long that you’d probably be excused for thinking that this was a band destined to be stumbled across when lovingly fingering your wholly unfashionable physical media collection; the cobwebs blown from a disc or two decaying in the creepy corner labelled ‘Where Are They Now?’ But, no – this six-legged monstrosity (Jeff Arndt on guitar and vocals; Alex Smith on drums; Thomas White on bass) is back in the hunt; better, stronger, faster than it was before.

 

 

Okay, the enhancement might not be bionic, but it’s by some other ungodly advancement that finds the horror punk veterans kicking lumps out of the opposition with a thirteen-track (what else?!) long player that, actually, doesn’t play for that long given its frenetic pace, but oozes with a gooey, unexpected slap of, dare I say it, maturity.

 

 

Looking cooler-than-thou wearing its wraparound artwork skin courtesy of fellow Minnesota mayhem maker, artist Bill Hauser (creator of many a striking punk rock album cover), ‘The Dwellers Below’ takes the lowbrow splatter punk of Mommy Sez No out of the garage and into, well, at least the garage forecourt. With better production, better artwork, better just about everything to be honest, this is the band’s most accomplished work to date… but fear not horror punk purists, this record is still a wretched hive of scum and villainy.

 

 

From opening cut, ‘Take Me To The Hospital’, to the power ballad, ‘Maggots In Yer Guts’, via the chaos of ‘Hahahahahahaha’, Mommy Sez No is still as subtle as a killing spree and as manic as a final girl chase scene. The big difference is that the band doesn’t stumble at all throughout the entirety of this album.

 

 

Even when introducing more straight-ahead rock ‘n’ roll strut to the tracklisting with the likes of ‘Lil Bit Of Voodoo’, ‘Rock And Roll Death Patrol’ and the alternate reality KISS riff-led ‘Uh Oh… I Think…’ the band still has that unnerving way of making the listener feel like they need a good wash after partaking in an auditory exercise; the songs to die for (possibly literally) rather than a diversion.

 

 

The aforementioned artwork may give off a sense of the post-apocalyptic (doesn’t everything these days?!) but the album still has a hoof or two in the band’s tried, tested, and tortured peculiar amalgam of straight-to-video horror and no-budget punk rock… except there is a budget these days, but that shouldn’t put you off; think the upgrade from The Evil Dead to Dead By Dawn – better everything, but with that same, fierce independent spirit. ‘The Dwellers Below’ is a crazed, ass-kicker of an album that will easily force its way into my Top Ten albums list of a crazy, asshole of a year. Recommended.

 

Buy the album Here

Author: Gaz Tidey

The William Loveday Intention – ‘People Think They Know Me…But They Don’t Know Me’ (Damaged Goods Records)

The William Loveday Intention – ‘People Think They Know Me…But They Don’t Know Me’ (Damaged Goods Records)

Seemingly untouched by the global crisis as much as any passing trend, Billy Childish continues to swell his catalogue at an amazing rate. After CTMF’s ‘Last Punk Standing’, comes the first of four albums by his latest project, The William Loveday Intention. Yes; four albums, already in the can. Joined by James Taylor and Dave Tattersall, “People Think…” has the flavour of a western-themed record. The Medway Delta is augmented by tales from the saddle, while Billy’s voice remains firmly in the Kent marshlands.

 

The production is lush, as befits the ‘widescreen’ feel of most of the songs here. Violins and mariachi trumpets enhance songs like ‘My Love For You’, which has the richness of The Urban Voodoo Machine, while ‘Again And Again’ and ‘This Wondrous Day’ reminds me of Dan Sartain’s recent ‘Blue Prairie’ album, though I imagine that Billy has cast an influence on them already.

 

The richer sound suits the songs and the cinematic feel throughout, but there are still the Lo-Fi elements you’d expect; the insistent, monotone keyboard riff of the title track, which manages to name check Kylie Minogue, and the fiddle led lament of ‘The Bitter Cup’.

 

I’m guessing that it’s Julie singing on ‘You’re The One I Idolise’, though I don’t have all the details to hand. A sweet song that echoes some slower T Rex tunes. Then there’s the skeletal blues riff of ‘My Father Was A Railroad Man’, one of the oldest riffs, that John Lee Hooker must have heard as a child.

 

This is an interesting side-step from Billy, and bears repeated listens. What the next three albums will bring, only he knows, but this is very promising.

Damaged Goods Records

Buy ‘People Think They Know Me’ Here

Author: Martin Chamarette

Dirty Fences – ‘Hand Picked Melodies’ (Greenway Records)

Dirty Fences – ‘Hand Picked Melodies’ (Greenway Records)

If you were looking for a touring buddy or reference comparison for Dirty Fences I’d have to go for Los Pepes because both write upbeat, melodic, punk rock n roll songs that are full to bursting with catchy tunes and they churn them out with consummate ease or at least that’s how they make it appear.

 

This the third release from the NY combo is thirteen tunes from the recess of the Fences minds and something of a compilation of what they sum up as fondest memories and strange melodies and they’re not far wrong but the one abiding feeling I have after I play a Dirty Fences record or it crops up on a playlist is – Damn, what a tune and this is no exception from the runaway grinfest of the opening track and absolute Banger ‘Sid’ I’m lost in the music. But wait it’s not all bish bash bosh! as the laid back and a more dreamy affair that is ‘Kings Cross’ is nestled in neatly on side one. But wait the more ’80s inspired ‘Judy (Don’t Go)’ reminds me of an XTC melody even if XTC never sounded this daring or punchy.

Clearly The Bruddas are a big influence on bands all over the globe but the great bands that have some Ramones running through their DNA rather than ape Joey and co and you can add The Fences to the list of those who have some of that skill and craft in their DNA and touch on the melodies that Dee Dee might have penned and their influences are deeper like the acoustic-driven ‘Tommy & CC’.  There’s a great guitar lick workout going on via the down n dirty ‘High School RIP’  but I must admit to really liking the mellow Dirty Fences like ‘I’m Here’ just as much as the punk rock ‘n’ bop of ‘Teen Angel’ which just goes to make for a varied melting pot of Rock and Roll and yet another excellent release from a really really good band.  I know its only rock and roll but I love it! When the USPS sort themselves out I’m having myself one of those Mint Green Blob and neon purple splatter records they look awesome. That is if there are any left once the world catches on to some Dirty Fences.

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Author: Dom Daley

Ryan Hamilton & The Harlequin Ghosts – ‘Nowhere To Go But Everywhere’ (Wicked Cool Records)

Ryan Hamilton & The Harlequin Ghosts – ‘Nowhere To Go But Everywhere’ (Wicked Cool Records)

The break-up album can be an artist’s defining career moment. Time after time it has been proven that heartache and relationship breakdowns have fuelled the writing and inspired some of the greatest albums of all time. Whether we talk Fleetwood Mac’s ‘Rumours’, Nick Cave’s ‘The Boatman’s Call’ or Bob Dylan’s ‘Blood On The Tracks’, writing and recording music can be an exorcism of the pain, anger and confusion of a break-up. It has been said that when an artist is at their most vulnerable…they are at their best.

When Texan singer/songwriter Ryan Hamilton was faced with an unexpected divorce last year, he was a broken and confused man. He did the only sane/insane thing he felt he could do. He cut off his hair, packed up his troubles in the back of his car and took to the road with just an acoustic guitar and his dog Peaches for company. Travelling Route 66 and living in the back of his car, this time of solitude and soul searching was designed to ease the heartbreak and maybe help him find direction. Whether it made things better or worse, you would have to ask Ryan, but it certainly spawned new music and a new album.

 

Taking its title from one of Ryan’s heroes, Jack Kerouac, ‘Nowhere To Go But Everywhere’ is a trip through the mind of a man searching for answers and re-evaluating his life, to a soundtrack of radio-friendly Americana, backed by his transatlantic rock ‘n’ roll band. Recorded at his home studio in Texas and finished off back in the UK by his band and producer Dave Draper, this is a more introspective and emotional journey than we are accustomed to, from a man who deals in catchy, power pop ditties.

Opener ‘Only A Dream’ sets the tone with sweet acoustic guitars and Ryan’s even sweeter vocals. It has definite Tom Petty vibes as Americana marries dreamy, folk pop to perfection. Highlighted by swathes of keys and a rhythm section who know exactly how to take it where it needs to go. It builds nicely in the pre-chorus with great chord progression, to soaring vocals in the chorus. An emotive and harmony soaked introduction to the album.

Second track (and second single) ‘Oh No’ is a duet with Letters To Cleo singer Kay Hanley. Classic album titles make up pretty much all the lyrics in this clever celebration of musical influences. Upbeat and summery, this is more in the vein of what we know and love from the Texan songwriter. The juxtaposition of male/female vocals in the chorus is complete radio fodder. How many album references can you spot?

Yet, ‘Jesus & John Lennon’ is probably the most radio friendly single on offer. That “na-na-na-na” intro is an instant earworm, both euphoric and spiritual in equal measures. Co-written by Steven Van Zandt and featuring The Alarm’s Mike Peters on backing vocals, this could be the happiest sounding song about a break-up ever written. Referencing Brian Jones &The Rolling Stones and Martin Luther & the Catholic Church, it’s a break-up song about how some things were never meant to be.

 

The 11 track album feels like a journey, as we travel with Ryan through many emotions. From happy-go-lucky love songs such as ‘Out Of My League’ and Geordie anthem ‘Newcastle Charm’, onto the struggles of a religious upbringing and going back to the roots on the likes of ‘Can I Get An Amen’ and ‘Southern Accents’ respectively. Even though it is mostly upbeat, throughout there is a sense of yearning and heartbreak. It only hits home on the heartfelt ballad ‘Don’t Fall Apart’. Prime mixtape fodder for the girl you love, pedal steel gives a countrified, Americana vibe. A song overflowing with sentiment, as he sings the words of a man coming to terms with his whole world crumbling around him.

‘We Gave It Hell’ seems like the natural album closer. A goodbye and thanks for all the fish moment, as Ryan bids farewell to past love, and looks forward to pastures new to an accompaniment of pedal steel and understated percussion. Album closer proper ‘Pick Yourself Up’ seems like more of a reprise, as Ryan continues the theme of starting over accompanied by a lonesome piano.

It must be said that Dave Draper has done a great job of capturing Nashville vibes as he did on ‘Grand Ole Otley’, Ryan’s collaborative covers album with Terrorvision frontman Tony Wright. And as always the long time rhythm section of Rob Lane on bass and Mickey Richards on drums play their parts to perfection.

 

To avoid being consumed by the sadness of his marriage break-up, Ryan Hamilton has used songwriting as therapy and channelled his emotions into his art. This is not an angry album, it’s more of a cathartic look back over a failed relationship. Dissecting what was good and not dwelling on the bad, trying to figure out where it all went wrong and where to go from here.

As he bids farewell to one chapter of his life and looks forward to what the future brings, it seems through no fault of his own or any grand design, Ryan Hamilton has written a poignant and confessional album that could well be the best of his career.

Buy ‘Nowhere To Go But Everywhere’ – Here

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Author: Ben hughes

 

 

 

 

Indonesian Junk – ‘A Life Of Crimes (singles and rarities 2009​-​2018)’ (Rum Bar Records)

Indonesian Junk – ‘A Life Of Crimes (singles and rarities 2009​-​2018)’ (Rum Bar Records)

Man, I love some sleazy Punk Rock ‘n’ Roll. It would seem that these Bostonians otherwise known as Indonesian Junk do as well and as if by magic they write songs in that style with a bit, sorry a lot of swagger and no doubt a cocksure knowledge that what they’re doing is the best, they make it seem so effortless.

They’ve managed to absorb everything that’s good and great from the last 50 years plus and pour it into their tunes covering huge Rock behemoths in the shape of Kiss and one for the cool kids in the shape of The Joneses whilst adding some glam Starz style to their punk rock old school of Slaughter and the Dogs.

Man on the opener ‘Cmon and Love Me’ they throw in a cheeky Kiss number to draw you in but more impressively they follow it up with a super sleazy right on the money version of ‘Pillbox’ man that’s a great song but easy to get wrong but not the boys in Indonesian Junk they kill it! they take it to school and own the fucker! now that how to tip the hat to your forefathers and those who ploughed the furrow so we could all follow.

This is a compilation of curio B sides, singles and covers and they show us exactly what a tight little combo they are and you get to marvel at their swagger as they turn up the amps to 11 and just let rip. ‘Last Night Alive’ is basically a loosener, an aperitif if you like with the only lyrics being the title of the song shouted from the back of the room like a bunch of leary drunks but man it kicks your backside good and proper.

‘Now That Its Over’ comes on like a long lost Stiv Bater LA LA session and seamlessly the original tunes muscle in snugly with the covers and taking ownership of The Joneses, Kiss and Slaughter and The Dogs aren’t to be taken lightly but when you hear these version if you know you’ll know.  Bloody great stuff.

Finishing with a few unreleased numbers is cool as well this is a compilation that’s not just thrown together its been lovingly prepared for the discernable lover of all things sleazy, glamorous punk rock and roll and Starz never sounded this good on ‘Outfit’. Inspired choices for covers and inspired original tunes.  Give Indonesian Junk a chance you’ll love em then you can delve into their back catalogue knowing you’re in for a glam-punk treat, get it!

 

Buy A Life Of Crimes Here

Pussycat And The Dirty Johnsons – ‘Beast’ (Hound Gawd! Records)

Pussycat And The Dirty Johnsons – ‘Beast’ (Hound Gawd! Records)

Top of the list of “bands I should have seen live before I moved”, Pussycat And The Dirty Johnsons are back with album number four, ‘Beast’. Check out any live footage of the band, and you’ll see what I mean. Puss was born for the stage, and with the perfectly fuzzed riffs of Dirty Jake and tribal drums of Filfy Antz, they are a three-piece who command your attention.

 

Don’t panic, but some songs are over three minutes long, and one breaks the four-minute barrier. Almost prog length by their standards, but the music remains as feral as ever. As ‘Lying In My Bed’ batters your speakers with the fear of “existential dread”, yet you can still shake your bones to it.

 

There is much, righteous anger and venom across the twelve songs, which shouldn’t surprise anyone familiar with their work. Keeping an essentially live sound works well, ‘Doin It’ is perfect for a sweaty club, encouraging you to follow your dreams, regardless of the doubters. Zero tolerance of idiots and hidden agendas runs through ‘Not Your Baby’, ‘Knee Jerk’ and ‘Shit’, while ‘Stale’ despairs at the small town attitudes of “Basingstoke psychosis” (in itself a good title). ‘Abuser’ is plain talking, while the four plus minutes is devoted to ‘Do Ya Feel Me?’, their unique take on a love song, when you wait to see each other again.

 

‘Hey Honey’ builds from an almost hushed intro, a list of the inevitable judgements of others for carving out your own path. Puss and co. chose their own way long ago. It’s the only way to be happy, and they’re on fine form here.

Buy ‘Beast’ Here

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Author: Martin Chamorette

 

New York Junk – ‘Dreaming’ (Tarbeach Music)

New York Junk – ‘Dreaming’ (Tarbeach Music)

Nailing that quintessential NooYawk rock and roll sound but doing it in the Czech Republic is some feat but New York Junk nailed it.  It’s fair to say these cats are vets of the scene and been in the thick of the Bowery scene since its inception back in the ’70s and survived to tell the tail.  Getting Tarbeach Records to release the record of seven tunes recorded in the Czech Republic at the tail end of 2019 and mixed pre-pandemic these seven tunes are coming out on red vinyl.

It’s a simple formula.  Guitar, Bass and Drums and play from the heart, make it Rock and Roll – sing about what you see and believe in yourself then everything else is gravy.  You either have “it” or you don’t.  We know whos fakin’ it and who isn’t and on this evidence, you can take the people out of Noo Yawk but you can’t take the Noo Yawk outta the people.

New York Junk have released three previous records starting with ‘Passion of the 10th St Blues’ (2008), ‘Doing Time in New York City’ (2014), and ‘7 Train’ (2018). Their sound is somewhere between Thunders and The Stones with a bit of Lou Reed creeping in on some of the melodies but there are some real gems in here. I love side two from the more aggressive ‘Scared’ with a cool thump on the floor toms and strained vocals it’s fragile yet looking for trouble great opening tune to side two. The albums best track ‘Passion’ with its rather splendid Thunders dripping guitar solo the songs got a tonne of passion and it shines through.  They’re not reinventing the wheel here they’re just writing great tunes and relying on what’s pouring out of their hearts and spilling into the grooves of the record. Let’s stay with side two and the title track which is a repetitive riff that’s moving slowly and gently, for the most part, meandering through the cracks of the recording towards the solo sure it’s like a VU moment in time but that’s always going to be cool.

Anyway, Let’s continue as we flip flop back to side one and the opening blast of the ‘Gutter Angels’.  Like a poem to the Lower East Side leaning on the Voidoids or something Lou Reed might have penned. ‘She Don’t Care’ could have been borrowed from Walter Lure whilst ‘Walk My Dog’ is some Thunders homage and fairly standard. Closing off side one is ‘Don’t Cry For Me’ which sounds like we’ve just been dropped off in the early ’70s after finding out this time capsule is captained by Sylvain Sylvain and the cabin crew consists of Johansen and Killer Kane. Pure nostalgia done with care and a big smile – whats not to like?

All in all a really enjoyable seven tracks from New York Junk and for anyone who hankers for a slice of that time when giants walked the earth and strutted their stuff. Check it out if you’re smart enough and start ‘Dreamin’.

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Pretenders – ‘Hate For Sale’ (BMG)

Pretenders – ‘Hate For Sale’ (BMG)

Its been a while. No doubt about it.

This is the Eleventh studio album from Pretenders and I can honestly say I’ve not felt a real buzz off one of their records coming out since the second one came out way back in 1981 almost forty years ago! Gulp.  sure they’ve hit paydirt in the pop charts since but they’ve not really dished out a record bristling with top tunes, until now that is. Damn, On the second single off the album ‘The Buzz’ shes even managed to recreate the vibe of ‘Kid’ on that guitar break. It appears that the past might have been embraced and maybe explored in order to strip back those past forty years to create ‘Hate For Sale’ which seems an odd title because there seems to be an overwhelming “love” going on.

The other noticeable feature is a sparkling production that lets everything breathe where it needs to and the crunchy dirty bits are backstreet dirty and not polished into oblivion fake dirty.

Hyndes vocals are as good as they ever were sounding fresh and captivating and at times comforting.

In the first four tracks, you have everything that made the original line up such a great band. A roaring call to arms on the intro track and album title followed by the more pop-friendly ‘The Buzz’ Something different and maybe a little risky in ‘Lightning Man’ and the rock-solid handclap heavy ‘Turf Accountant Daddy’ then to close off side one the retro pop ballad of ‘You Can’t Hurt A Fool’ which might be the weakest on side one with its soul trappings but Hyndes vocal is exceptional and delivers a stunning performance that elevates the whole song which is anything but tokenistic.

 

It’s great to drop the needle onto side two and hear the power chords clash and strut on ‘I Don’t Know When To Stop’ enhanced with some great gob iron blowing and a bowery staggering solo. Then to bump straight into ‘Maybe Love Is In NYC’ which makes a great dive bar buddie maybe not as strong but great to hear those guitars being rinsed with passion and some attack.

Chrissie Hynde might well have found her Mojo and really delivered a great record.  there isn’t one weak track on offer and whilst side two might lack the variety that you have on the opening few songs they are immensely enjoyable like the punky hand jive of ‘Don’t Want To Be This Lonely’. To be fair the piano balladeering of the albums closer ‘Crying In Public’ had to be and the strings and big chords make it listenable without becoming lush or too polished and it retains the feel of the rest of the record and has grit and charm.

Pretenders have turned back the clock and knocked out one of 202s finest records without any shadow of a doubt.  It’s short, sharp and exactly the pick me up needed during this oddest of summers. Something new with an old feel that’s comforting and downright bloody entertaining. ‘Hate For Sale’? Yes please.

 

Buy ‘Hate For Sale’ Here

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Author: Dom Daley