Going back several weeks I found myself in a group chat with all four members of Autogramm where we spoke about the band’s new album (Released 17th November) ‘Music Humans Can Play’ as well as what made them expand to a four-piece as well as their plans for some live shows in Europe as well as a few around the release in North America. Hit the link and enjoy Autogramm…
I loved their debut album ‘Let’s Go’ when I heard it through No Front Teeth being of the glamorous rabid punk rockers variety These Baltimore Glam Punks were exactly what I like to hear and coming on like a Joan Jett with a velvet glove hiding a knuckle duster riding a Ramones Rocket To Russia. BBQT takes the simple yet effective approach to punk rock – write a pop song play it hard and fast and always do it with a melody and a hefty dose of attitude. Mix in some classic Glam from the likes of Debbie Harry the Dolls because That’s BBQT that is. It’s snotty pop songs played hard and fast with distorted guitars and a heap of swing.
You’ll be all in before you get to the end of the second track ‘Crashin’ with its bluster and bombastic thuggish vocals it’ll draw you in then hack n Slash you like a cat fighting with all claws on view with some sharp solos and rampant riffage just to ware you down. If that didn’t convince you then title track will, its rapid but a lot of fun and bristling with energy (much like the rest of this record) to be fair.
How good is ‘king of scum’ or ‘stranded’? Man, these cats have the attitude to back up the energy they put into the songs. One thing you won’t do is ‘Nod Out’, what a thumping slab of punk rock that is. Like the Dead Boys with dabbling with Texas Terri leading the charge through a whole-hearted set of tunes. Taking no prisoners and doing what the fuck they like, on their terms, just how punk rock n roll should sound – Dangerous Dames indeed.
Ten songs in twenty minutes – Bosh, Adios Amigos and thanks for the good time see you later, were done live fast and all that. I fuckin love it. Saving the fastest most snarling til the last Bbqt has produced an absolute cracker. Fill yer stilleto boots ye dirty punks. I can’t believe its taken me all Summer and Fall to get round to fully appreciating this album but its fashionably late and better late than never and it fully deserves to be exposed for the quality punk n roll it is. Quite simply buy it! Stream it or however you play your rock n roll music, just dont ignore it.
It might be Bonfire night but the only fireworks I’m interested in seeing tonight are those being generated by this stellar three band bill. It’s a line-up that has more than a hint of Slugfest about it too seeing as all the bands have shared the floor/stages at the (now thankfully, once again) annual event. There’s also more than a whiff of the UK’s number one free festival within the crowd tonight too with the X15 bus seemingly standing room only to ensure that Blaenau Gwent is very well represented early doors. And who can blame them for picking up a rover ticket?
Fresh from recent support slots with the likes of Discharge, Raw Brigade and a whole host of other bands, System Reset have certainly come a long way in there still relatively short time together (as a five piece) with their back catalogue of songs maturing with them. Songs like ‘Anxiety’, ‘Fail Safe’ (my fave song by the band) and ‘Big Business’ all sound huge played through Le Pub’s impressive sound system, and there’s an immediate smile on my face when they kick in with the “woah oh” gang backing vocals and an even bigger one when there’s a nod to James Williamson’s time with The Stooges creeping into the riffage at one point too. System Reset’s soon to be released new single ‘Gas Light’ is a cracker, which alongside a handful of additional live shows brings to a close a very impressive 2023 for the melodic punk rockers. A slot at Rebellion 2024 awaits methinks.
The Pleasures are not as you might first expect, being an avid reader of RPM, the German glam rockers of the same name. Nah, this four piece are from the Gwent valleys and are a world away from anything even remotely glamourous. These four lads hail from one of the most deprived areas in south Wales and as you might expect have the anger and attitude by the bucketload that comes with such a dubious claim to fame. There’s also something that I cannot quite put my finger on about this gang, something that I last felt when I witnessed IDLES open a three band bill in Bristol’s Exchange just a few years back and before that when The Guns first broke on the south Wales scene. Not that they necessarily sound anything like either of the bands you understand, it’s just they have that special ingredient some band’s simply don’t have… charisma.
Singer Caethan Tucker is literally all over Le Pub’s stage and dance floor, he’s also shirtless and dripping sweat after just one song, such is the intensity of the band’s performance, and then when it comes to songs, popping up mid-set they have this monster of a tune called ‘Grandfather’s Bones’ complete with a mantra of ‘Don’t bite the hand that feeds’ that literally sounds like it’s ready made for when the boys get their chance to wow a Glastonbury/Reading type of crowd. They have the same kind of breakthrough potential that I witnessed in HotWax when they played just a few yards up the road in McCanns cellar bar and are now touring enormodomes in the US with Royal Blood.
Go give the band’s single ‘Lies’ a listen on YouTube (with coincidently the video being directed by Alex from the aforementioned Guns) and turn the fucker up loud. Oh, and before I forget, any band that can cover the mighty LCD Soundsystem and make the song (‘Daft Punk Is Playing At My House’ in case you are wondering) sound like their own tune, really does deserve your attention. “Woo!”
Croydon’s Wonk Unit have always had a reputation for having great support bands on the bill with them, it’s almost like their singer Alex welcomes the challenge this poses his band, but when it comes to the current six piece band he has carefully assembled he’s more than capable of batting off any young shavers looking to steal the band’s crown as undisputed champions of the UK DIY punk rock scene.
I’ve seriously never heard Wonk Unit sounding as essential as they do here tonight, be it the classics like ‘Guts’, ‘Go Easy’ or ‘Lewisham’ that first introduced me to the band, or the tunes that immediately followed these like ‘Je M’appelle Alex’, ‘Awful Jeans’ and ‘Day Job Wanker’, tonight’s set has more bangers than the rain-soaked pyrotechnic display just over the river at Rodney Parade.
I also get to hear my first Christmas song of the year tonight, but when it comes all wrapped up in the shape of ‘Christmas In A Crackhouse’ you certainly won’t hear any complaints from myself or anyone else packed in down the front.
As always with a Wonk Unit their show is as much about Alex’s between song chats and tonight he’s on tip top form, sharing the hilarious back stories regarding tunes such as ‘She Cut Her Finger’ and ‘Horses’ whilst also displaying his more sensitive and private side ahead of new tune ‘Overwhelming’ (the first of two played) a song that keyboardist Vezzy insists could even have chart potential.
Of course, Wonk Unit live are anything but sensitive and the chaos that ensures once (Johnny) ‘Rambo’ enters Le Pub for the band’s finale is all you’ll ever need in your camouflage jacket pocket if you ever had to give evidence of this fact in a court of law.
I’ve said it many times before, but I’ll say it again, Wonk Unit really are something special, there’s no one else quite like them out there, and in fact they fast becoming something of a national treasure when it comes to DIY punk rock bands. They are no heritage band though, the new songs really sounded great tonight, and the current, settled, line up of Alex and bassist Pwoison, alongside Vezzy, drummer Max and guitarists AJ and Ryan really look like they are relishing every second of being in a band together.
Farewell to touring then as the long anticipated UK Tour hits the road and a sold out Globe is bathed in sweat in anticipation for the regular South Wales show which has always formed part of the bands UK tours from way back the Subs have never done the easy tours they’ve always shown up in the nooks and crannys of the UK in the far flung forgotten corners, not that Cardiff is a forgotten corner of the UK but you know what I mean. Charlie has obviously thought long and hard about how he should spend his retirment and one of the hardest working frontmen throughly deserves to put his feet up and enjoy his retirment but theres one last huraah as the band who’ve become one of the finest live bands anywhere on this spinning rock regardless of age because Charlie is proof that it is merely a number as he pogos on the stage in stupidly hot venues.
Menace are on the stage with their 77 punk rock anthems and they seem to be having a ball it has to be said and the nicely filling venue is reciprocating the love being given the punks dancing down the front. Reliving the days of the Roxy with songs like ‘GLC’ which are lapped up by many in attendance. It must be great being in a band who were on the fringes of punk back in its inception still being able to knock out the songs you wrote as young men and still seeing older people singing back like not a single day has passed – call it nostalgia call it heritage whatever but remember these songs meant something to the writers back in the 70s and they still mean something to the listeners now almost fifty years on.
Anyway, the reason why I’m in attendance is to witness the South Wales date of the end of the road tour tour by the magnificent UK Subs and as the band take the stage and rip straight into ‘Scum Of The Earth’ and without the blink of an eye were into the drum intro of ‘Born A Rocker’ this school night Globe audience is determined to lap up every single sweaty second of this and the band minus a few guitar hic ups are giving it back in spades knocking out what is effectivly the longest encore I’ve seen in a while. It’s pretty much the very best of the UK Subs played by a band who are right on it and sounding fantastic as well as looking like their having the best of times as well. ‘New York State Police’, ‘Barbies Dead’, ‘Emotional Blackmail’ are all dispatched with aplomb.
Its fair to say Charlie sounds good and when he says humbly, thank you it means a lot you genuinely know he means it and its fair to say tonights crowd are giving it everything and its a joy to witness. ‘Kill Me’ and ‘Limo Life’ take things to the next level but when Alvin introduces the best song Guns n Roses never wrote there is much merriment in the room as ‘Down On The Farm’ is despatched with menace and venom that Guns n Roses never mustered no matter how hard they tried but good on them fo rdoing a good job on a monster song.
By the time we reached the singalong of ‘Warhead’ even the walls of The Globe were soaking wet but ‘Riot’, ‘Stranglehold’ and ‘Disease’ brought the main set to a crushing stop its hard to believe that almost an hour had just been dispatched. This could or shold go on for hours but then signing off leaving your audience wanting more is always a good place to be. I’ve been lucky enough to see the band over 30 times and its fair to say that this is easily as good as they’ve been at anytime in that period and they are nailing it time after time and it’ll be good to see how they sound after laying back on the touring which Charlie explains several times hes no tdone yet just no tdoing these mental long “get in the van” tours across europe and the UK year in year out which is cool with everyone in here whos beaming from ear to ear after winessing a band on fire.
The encore delves right back into classic Subs territory as ‘CID’ makes way for an emotional ‘I Live In A Car’ a song my son used to love hearing when he was a toddler and struggling to speak and would nag to hear the subs car song, fair to say I rather enjoyed hearing that again. As we neared the finale of ‘I Couldn’t Be You’ and ‘Party In Paris’ the band bounded off only to be hauled back on by the baying masses to play a well deserved second encore that almost brought the roof in – ‘Squat 96’, ‘Keep On Running’ because sing-a-longs before the curtain finally fell on a fitting ‘Teenage’ and then a beaming and clearly emotional Charlie left the stage. It was done the final night in south Wales as part of one of their ever winding UK tours was done and dusted.
Thank you for some epic shows along the way and I for one can’t wait to see the UK Subs live again somewhere sometime in the reasonably near future. what a fuckin’ band, and what a way to sing off. Brilliant!
Whilst most of the rest of the UK is seemingly trying to cram itself into Cardiff tonight to watch some talent(less) show pop singer we’re (thankfully) heading in the opposite direction on the M4 (which is like a car park going the other way) as we breeze into Bristol unfashionably early, just in time to catch the first of tonight’s three band bill… which really is the antithesis of everything going on back home.
Seven Crowns from Bath who’ve been shoehorned onto the bill to give maximum value for mayhem get to give those of us in early doors an immediate bloody nose as their brand of punk/metal kind of reminds me of that time I once put an Eyehategod LP on at 45rpm by mistake (go on, try it). It’s fast., brutal and as heavy as a million burnt out suns. The fact that they have been together for 20 years and released multiple albums is quite staggering for yours truly as I really don’t think I’ve ever heard of them before, but in saying that when their singer Jonny Bainbridge admits they can’t be arsed to promote their new single, or in fact name it when they play it live, then perhaps I shouldn’t be that surprised after all. The locals must be aware of them though as they are all crammed around the doorway of The Exchange’s live room, making it almost impossible to get out for a pint or indeed a piss, all seeming positively terrified of the four piece, and there is an element of S.S.S meets Poison Idea like danger to their performance, but me I’m happy to be front and centre savouring every moment of discovering yet another great punk band.
I discovered The Hip Priests, Nottingham’s nefarious purveyors of black denim blitz-rock a long, long time ago. In fact, I’ve probably seen them live more times than any other band, but tonight is the first time I’ve seen them post the release of their fifth studio album ‘Roden House Blues’. Thankfully those who had been cowering in the corner of the venue for Seven Crowns pack the dancefloor for opener ‘Stand For Nothing’, the Jugend pleasing “woah oh woah-ing” chorus hitting the garage punk bullseye straight from the get go.
Whizzing through a set containing some of the band’s best singles (‘Jesus Died So We Could Ride’ and ‘Cheers To Me’ take a bow) along with a tasty smorgasbord of tunes from the aforementioned new album (‘The Best Revenge’, ‘Can’t Abide With Me’ and ‘Shakin Ain’t Fakin’ all getting the faithful dancing) it’s impossible to fault the boundless energy and commitment of the five guys up on the Exchange stage. Guitarists Austin Rocket and Gentle Ben trade licks like Kramer and Smith on speed at opposite sides of the venue whilst in-between them giant of the bass rumble Lee Love along with frontman Nathan Von Cruz tease and please those diehards draped over the monitors. The surprise performance award tonight though must go to drummer DP Bomber who is like an East Midlands Tommy Lee behind his kit, and as we all know great bands all start with a great drummer.
The Hip Priests most certainly have a tiger in their tank right now, but they save the best until last as they thrash through ‘Juiced Up And Loose’ and leave everyone hot, sweaty and wanting more. Now, talking of which, where was ‘Zero Fucks…..’ Only joking lads, I know it was a support slot and time was tight, although in saying that, tonight the world revolves around Zeke Time.
Zeke really are like no other band in the world right now, as tonight they play for around 40 minutes and in that time bludgeon their way through somewhere in the region of around 25 songs. It’s not fast, its fucking hypersonic hardcore, and the fact that they do all it without a single set list on the stage is nothing short of a modern musical miracle.
Whilst trying to track said set list for the purpose of this review I just had to give up and simply enjoy the moment, as the band, as always, chaperoned by singer guitarist Blind Marky Felchtone, thundered through the likes of ‘Holley 750’ ‘Two Lane Blacktop’ and their as always awesome cover of ‘Shout It Out Loud’ like they were on dreaded a club curfew (they weren’t by the way) and my fellow gig-goers hurtled past me with expressions on their faces like they were trying to escape a zombie apocalypse, by way of some sort of twisted appreciation.
BMF is certainly a man of few words between songs (its normally just a series of noises and grunts, that to my ears have always sounded positively West Country-like) but when he tells everyone that drummer (and band co-founder) Donny Paycheck is playing everything a little fast tonight, the affirmative roar he receives in response should be proof positive that what Zeke do they do very, very well indeed.
Special mention must also go to bassist Jason Freeman and guitarist Jeff Hiatt, who put in a towering shift on the opening night of this extensive European tour, and I can just feel it in my bones that the upcoming album that this line up has just recorded is going to be an absolute headfuck.
With The Exchange situated deep within Bristol City Council’s recently introduced Clean Air Zone I can’t help think the enforcement agency employed to collect the tariff for noxious vehicles travelling within it perhaps missed a trick with Zeke in town tonight, because this eight legged punk rock juggernaut is easily the most toxic thing on the road anywhere in the world right now, and we wouldn’t want it any other way.
The year is 2023 and I’m sat at home waiting for my Hanoi Rocks album to be delivered but with many things you simply have to wait and good things are worth waiting for and any original or should that be classic Hanoi Rocks album is well worth the wait.
I used to be a bit sceptical about bands doing a remaster or remix especially if its a classic album but as I’ve got older I’ve dug deep into some of my favourite records when they’ve had the overhaul treatment, especially some of those half speed jobs from Abbey Road and when I heard the difference Japans ‘Quiet Life’ had or some of the classic ‘Rolling Stones’ records sounding like a different album at times it can be a bit of a head fuck when they’re done well. What lowered my scepticism was hearing the Senseless Things overhaul of ‘The First Of Too Many’ and how much better the new version was compared to the muddy original I was converted and won over in one fell swoop and now I’d happily champion and shell out for a well-done remix/master which has brought us to this hallowed spot and the mighty, unparalleled, unrivalled Hanoi Rocks and this here Svart release of ‘Oriental Beat’.
Delays delays delays, I’ve put off reviewing this album and its re(al)mix but couldn’t wait any longer for my record to turn up so I’ve delved into the digital and sat back with my hands over my face as the virtual needle dropped and ‘Oriental Beat’ hit the ether and blew my fragile tiny mind. Wow, congratulations to Svart for doing something I didn’t think possible. ‘Oriental Beat’ sounds like an album that was released yesterday it’s got volume, punch, new clarity and moments I’d either forgotten about or were never listenable to the human ear. Sweet Baby Jesus! Hallalulija hark the herald angels sing. This is how Hanoi Rocks sound just listen to Sami Yaffa’s bass thumping its way through the title opening track it’s unbelievable. Truly a cut above and those BV’s are exceptional. I’ll admit it’s been a couple of years since I spun this album and when I heard it was being treated to an overhaul I wasn’t sure if Genius should be tampered with but on the evidence, Man I’m converted.
The strangest thing abou tthis version would be the track listing but dropping ‘Motorvatin’ deeper into the album is worth it because once you get your head around the sound the intro is a real highlight. The second Hanoi album saw them becomeing a real unique force sure they still leant on their heroes like the best song the Clash never wrote in ‘No Law No Order’ or the Mick n Keif locked in playing on the epic ‘Teenagels Outsiders’ where I think Monroe sounded amazing. Youthful exuberance and developing a unique style I think he’d really come into his own here and the saxophone use was and still is exceptional and I never understood why it wasn’t used more in punk rock when Hanoi used it it was brilliant as it was for bands like The Lords Of The New Church and Johnny Thunders but Hanoi were different, they used it best of all.
The groove and open-heart honesty of McCoys playing on ‘Sweet Home Suburbia’ is incredible the sustain is almost visual. I can’t express how much better this version is and once I get used to the track listing all will be well in the world and I will start to get on to whoever I have to to see if the master tapes for other albums are available for this sort of treatment. I don’t think I’m saying anything outrageous here but this album has only gone to cement how vital each member of the band was and how integral and truly amazing Yaffa was to the sound of the band. There are moments I haven’t fully appreciated before and some of the walking bass lines are majestic ‘Lightnin’ Bar Blues’ as is the harmonica of Monroe on ‘Devil Woman’. The band should be rightfully proud of this project its an emotional and exceptional piece of work that is an absolute must heart for any fan old or new it is worth every single penny and some. Special praise must also go to Petri Majuri for his input into this project and his exceptional work of drawing out the demons and replacing them with angels’ wings ‘Oriental Beat’ is already one of the best albums ever and is now even better – Buy this record!
Legendary punk band Subhumans announced a United States with support from Cop/Out and Upchuck on select dates!
This tour comes after a reissue of Subhumans’ first 6 LPs which were all remastered from the original tapes. These records were pressed on several different versions with fans from around the globe quickly snatching up copies. Additionally, a limited edition box set featuring all six records plus an exclusive 10”, slipmat, and 52 page book was released and sold out in a matter of hours.
Subhumans have more surprises and plans throughout the rest of 2023 and beyond so fans will be waiting with anticipation for subsequent announces from Dick Lucas and the rest of the band.
After last year’s successful dalliance with the old flame of Scabies – James – Vanian & Sensible it seemed about right and proper that the Modern Damned got back in the saddle for some live shows in support of their new album. This the first night of the UK tour sees the band return to Cardiff Uni the city of many great nights in Damned history being the city that had four Damned bassists on stage at once (The now long gone Point Venue) New Ocean Club was the venue where the MCA years took off and who could forget the Night Vanian decided not to go on tour and carnage ensued at the hippo club.
The Damned in 2023 are a more altogether (cough cough) professional unit. With New drummer Will Taylor sitting in the band launch into ‘Street Of Dreams’ to open the show with a sound system that is absolutely top of the shop and every clanging Paul Gray note and the deft touch of the new boy that was seamless and a pleasure to hear driving the songs on in the engine room letting Sensible do his usual sterling job on the guitar.
The second track was ‘The Invisible Man’ before shifting gears through some old classics from ‘Wait For The Blackout’ and an epic ‘Lively Arts’ Vanian then introduced the audience to tracks off the new album thats coming out next month but it wasn’t going to be one or two new tracks the band were going to showcse the flaming lot! Now I know there are your hardcore who will never be pleased with whatever they decided to delve into from their almost half a century of songs but we’ve done the original line up, The Paladium extravaganze the the Black Album anniversery or the Machine Gun in full sets so it seems right and fitting that the band throw a curve ball and play the whole new album. Me, I’m well up for that I’ve seen the band play almost 100 times and as much as I love a ‘Fan Club’ or a ‘Limit Club’ or recently getting a raft of ‘Music For Pleasure songs on the reunion shows this was something else and I love that about the Damned so bring it on.
‘Motorcycle Man’ sounded fantastic and overall I know it was live but the songs knocked spots off the lukewarm last album and they had more bite and energy about them. and before you knew it ten new songs out of the opening thirteen were done. If you left the venue then it’s your loss but the Damned audience can be a tough crowd sometimes but I think the majority were with me and love it.
There was still time as the band sounded tighter than usual and certainly looked to be enjoying the set and the reception they were getting new boy Will was certainly driving them on with a performance that was more Rat like than I was expecting and it only helped spur on the performance. ‘Born To Kill’ kicked into an epic ‘Love Song’ which in turn segued into ‘2nd Time Around’.
There was time for two encores consisting of ‘Eloise’before ‘Smash It Up’ was ruthlessly played before the excellent ‘Girl Stop’ bowed out, leaving us where it always began with ‘New Rose’ and we were done. Captain showed his appreciation and promised to return if they were all still alive at some point down the road and I left happy. Another day another impressive Damned show – Me I fuckin love em and if I could only see one band again it would be this bunch of rogues and their immense catalogue of songs.
South Wales noise merchants dish up a refined slimline seven smashers. South Wales is a hotbed of talent at the moment belching up bands left right and centre who are getting out there and delivering their tunes to audiences far and wide. Letting the music do their talking this three piece are hard at the coal face chiselling away their corner of the music scene. Working hard, playing shows refining your craft and dishing up the best songs you can muster is the MO and on this debut release it would appear to be paying dividends.
Kicking off with ‘Syls II’ with its jarring abrasive guitars not a million miles from Fugazi dragging Thrapy? along for the ride, it’s a rallying call where vocalist and guitar player Cameron McIntyre is barking his words into the void for anyone and everyone to hear.
‘Prince Plays At Funerals has one foot on the Idles monitor wedge whilst the other harks back to a time when Nirvana would push back boundaries in the mainstream making it possible for young men to fuck with our ears and people to enjoy that thumping bass that is cold angles poking away at your ears before driving into your head with the sharp guitars and drum assault because this is an assault – make no mistake. It’s not easy listening but once you dial in it’s pretty damn good stuff. The St Pierre Snake Invasion were and are dishing this stuff up across the border in Bristol and the popularity of Idles and their post-punk juggernaut have made post-punk and indy cross over a mainstream concern and the masses are now fair game. With old school alt-punk like Fugazi has to be an influence on the sound created here. It’s great to see and hear bands getting “it” and turning in great records that deserve to be heard far and wide.
The single ‘Swede’ is a great advert for whats coming. It’s not anew sound but boy is it a good one. But there is more going on here with some decent lyrics and great rhythms to go with the rage and passion on display. ‘Greenhouse’ being a great example of that chaos and roaring attitude making for a banging tune. ‘Cwffin Of Flowers’ has that dark melody that the Manics sailed close to when they were deep into the Holy Bible but not with this much rage to go with that darkness. That rumbling bass is excellent and it rings out loud and proud.
Signing off this excellent album is the slower, brooding ‘Malaise’ rising and chest beating before calming down and taking a breath. A fine collection of tunes on a fine platter of post-punk to rival its peers wherever they may be. Only Fools And Corpses by this time next year might not be millionaires but they’ll be out there in the dirt making music and taking names and dishing up some memorable performances on the strength of this very impressive debut offering – get on boys bach its a banger! Nothing vulgar about this Pissant.
Sacre farkin’ bleu, Brother and sisters, What a glorious album cover this is. Certainly grabbed my attention and made me want to investigate further. Cum Together? tell me more… RIGHT NOW! Bordeaux, France’s HEARTBEEPS have emerged from the ashes of TV KILLERS (Estrus Records / Dead Beat Records), for a punked-up orgy of noise with current and ex-members of Swindlers, Wild Zeros and Holeshots, and this their debut “Cum Together” LP is a fuckin’ hoot, 100 mph of joyful, reckless punk rock. Like a whirlwind of clashing guitars, and drums. It’s frantic garage-based punk rock n roll. Straight out of the bag marked The Saints, Pagans, DMZ, MC5, Radio Birdman, Dead Moon and more than a dash of Cavemen and of course those early Damned records.
From the opening few bars, you get the impression that Heartbeeps are here for a good time not a long time and with their amps dialled in to 11 there isn’t time to fuck about its crash bang wallop and hey ho let’s go!
It’s the kind of music that got Elvis and Jerry Lee into trouble back in the day. Hip-shaking sweaty rock n roll and from the lead track ‘Criminals’ you know just what’s going down. ‘Sick In Your Head’ is a runaway train heading for the buffers but who ever cared about that? Guitars being rinsed for all they’re worth and you can feel the exhaustion from the drummer’s snare as it rings out. Great opener and a signal of intent.
That’s pretty much the MO of ‘Cum Together’ it’s a rush of blood to the head crash, Bang Wallop! To be fair the minute I saw that artwork I knew I had to hear what was committed to wax because those faces tell a thousand stories and all of them great. ‘Aint No Crime’ is a more measured, slower beast but with a cool riff and a solo that could cut through steel. Hold still kids because you should buckle up for we’re off again running red lights with ‘Nightmare’ and thats wiped out with the grooving ‘Never Stop’ that had me thinking of Garage Rock royalty – Gunfire Dance, from the hip-shaking tambourine through the howling good time vocals this is top notch.
There is the belligerent and snotty ‘I Don’t Care’ but you could pick out any of the songs for praise because this is an absolute Banger of a record from start to finish. ‘Sake Blast’ rings out the chords in true Brian James style before signing the record off with the wonderfully titled ‘Trust No One And Fuck Everybody’, drop the mic and burn the studio to the ground it’s only fair right?
Heartbeeps have smashed out a rip-snorting Garage Punk and Roll Banger and shame on you if you don’t let this light up your life. Ok, Turn it up and let’s take it from the top one more time 1-2-3-4 Go!
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