“Never Mind the bollocks, this is THE bollocks.” RPM Online

DESPERATE MEASURES, the high energy, London punk and rollers release their brand-new album ‘Sublime Destruction’ on March 22nd on Cadiz Music. Loaded with eleven personal and political, hook-laden anthems, the album was written over the last two years and during the pandemic. Featuring previous singles ‘Thinking Of England’, ‘Back To The Rats’, and the title track ‘Sublime Destruction’, the album was recorded with Andy Brook (who has produced, engineered, and toured with the likes of Status Quo, Ginger Wildheart, Wonk Unit, Hayseed Dixie) at The Brook Studios, Wallington, Surrey.

From the opening roar of ‘Back To The Rats’, the Sex Pistols riffarama of ‘The Rich-Tual’ and the danced-up Stooges grooves of ‘Enjoy The Ride’, through to the Psychedelic Furs like ‘Untouchable’, ‘Sublime Destruction’ is anything but sublime. Instead, it’s a huge statement of intent from a band that back up their in-your-face attitude 100% on the stage. Having just completed a roaring UK tour with Cleveland, Ohio punk legends the Dead Boys, and currently in the midst of a dual headline tour with friends Janus Stark, Desperate Measures have blasted out another smouldering track ahead of the album’s release next week in ‘Seven Sisters’, their epic ode to their North London manor.

“I live and work on Seven Sisters Road, one of London’s most deprived streets,” explains frontman Eugene Butcher. “There’s glimmers of hope against the odds but desperation and despair are always near.”

That sense of anguish is perfectly channelled in the song’s moody, fiery heaviness. “The money train never stops, and you never see the cops on Seven Sisters…”

Desperate Measures are celebrating the release of ‘Sublime Destruction’ with a special album launch gig at The Lexington, London on March 30th with The DeRellas and Thrill City. Tickets available HERE

The sun is still blazing in the sky over a hot and sweaty Barcelona evening as a line of people zigzags up a metal staircase to Club Razzmatazz where a packed out room is bathed in dry ice as the PA creaks to ‘Tadeusz (1912-1988)’ and the already sweaty audience breaks out into a heaving mass of football sing-a-long excitement before the band walks on for one last hurrah around Europe on the Deja Vu tour.

The few times I caught The Mission last year they were on fine form breaking in the new drummer just ahead of the UK tour post covid lockdowns and they were (pardon the pun) on a Mission and full of energy. Barca expects and as the band winds up ‘Beyond The Pail’ the club is jumping and with hardly any room to breath its a heaving mass of swathing bodies singing along and I’m imediately taken back to the early days where packed clubs like Bristol Studio or New Ocean Club in Cardiff would see you carried along in a sea of bodies well this was like that. ‘Tomorrow Never Knows’ was played early doors before the band lashed out ‘Serpent’s Kiss’ and an enthusiastic ‘Over The Hills’ this was warming up to be something special.

The sound was good and the band sounded well rehearsed and full of energy. With a great mix of songs from way back to more recent offerings, it was ‘Within The Deepest Darkness (fearful)’ when we could take a breather and take in just how bloody good a band the Mission are. The show was taking shape in manageable chunks as the audience sang back every word from the epic ‘Kingdom Come’ and ‘Stay With Me’ it was ‘Butterfly On A Wheel’ where Wayne let the audience sing back to him and I think he was impressed how loud and in tune it was. the main set was brought to an end with an energetic ‘Wasteland’ before ‘Deliverance’ saw the band leave the stage for the first time. A dozen songs had just flown by and I’d found myself in a pocket of air towards the front as the band returned for a trio of songs culminating in an exhilarating ‘Crystal Ocean’ that was the highlight of the set for me. How or why I don’t know but tonight I was moved by this song even though I’d heard it live dozens and dozens of times the whole experience was uplifting and life affirming and I love that Rock and Roll can do that even in a sea of top tunes one will stand tall.

The band left the stage for a second time before Wayne returned alone to announce that one of the band needed a toilet break but would say who so it was left for a welcome return of ‘Love Me To Death’ which only left an epic rendition of ‘Tower Of Strength’ before it was done leaving only Wayne and Simon to twist out a feedback soaked ‘You’ll Never Walk Alone’ and then it was done. Off to Madrid for one last time as we filed out into the warm night air happy I’d once again seen The Mission deliver the goods and cement their place as one of the best live bands still treading the boards.

I know they’ve alluded to this possibly being their last foray into Europe but I’d ask they reconsider that and maybe do it one last time next year or the year after and I’ll be there and by the looks of it so will a lot of others. Another night of Deja Vu with the awesome Mission. Gracias amigos.



Author: Dom Daley




Since re-assembling Avengers-style (though probably more Suicide Squad!) in 2020, Black Spiders have continued to make a loud and compelling case for heavy guitar music from the sin city streets, with three chords and the truth – revelling in the glories of the genre, its sacred lore, with a top-shelf collection of riffs, a sly dash of humour, plus an iconic logo that sits alongside the best.

It’s a cocktail fans have come to expect from the unexpected and it’s there in double-measure on the UK outfit’s latest / fourth studio album, ‘Can’t Die, Won’t Die’ – 42 minutes of back-street trouble, produced by regular studio compadreMatt Elliss, and set for worldwide release via Spinefarm May 12th, the band’s first campaign with the label.

As a taste of things to come, a shot before the pint, lead single / video ‘Hot Wheels’ is out now; it sees the band – led into action by frontman, Pete Spiby – in a variety of scenarios and settings, at one point surviving a close encounter with a rampant shark (sort of).

“It’s a party album from top to tail, everyone a banger! As usual there is something for everyone and maybe some surprises. We went all out, balls out on this record, each track is an ear worm…”

Noted for their unswerving dedication to the music, the middle finger (or two) and the rousing rock ‘n’ roll slogan (“EAT THUNDER, SHIT LIGHTNING!”), the Spiders are the perfect low-slung machine to raise a glass or clench a tattooed fist to, and ‘Can’t Die, Won’t Die’ – 12 new tracks including ‘Destroyer’ and ‘It Is What It Is’, all measured pace and power, and ‘Driving My Rooster’, a race towards the cliff edge – is sure to add more burnt tread to their tyres.

In support of their studio albums (the most recent of which hit the No. 7 spot on the UK Independent Albums chart), plus a fistful of EPs, Black Spiders have toured with a variety of rock’s most riff-hungry sons, the likes of Volbeat, Danzig, Airbourne and Monster Magnet, and appeared at all of the UK’s leading festivals, including Download, Sonisphere and Bloodstock.

Their plan is to spend much of 2023 out on the road, and it’s a strategy that is for once, going to plan. A full UK tour has been announced for September and pre-sale tickets will be available from Planet Rock on Wednesday March 15th at 10am, with general sale commencing Friday March 17th at 10am from here:

Catch Black Spiders live at the following dates on their September tour.

The Hot Damn! to support on all dates.

Fri 15 Sep – The Forum, Tunbridge Wells

Sat 16 Sep – New Cross Inn, London

Sun 17 Sep – Moonshine, Portsmouth

Mon 18 Sep – Rescue Rooms, Nottingham

Tue 19 Sep – The Warehouse, Leeds

Thu 21 Sep – Live Rooms, Chester

Fri 22 Sep – The Garage (Attic), Glasgow

Sat 23 Sep – Anarchy Brewery, Newcastle

Sun 24 Sep – The Patriot, Crumlin

Mon 25 Sep – The Junction, Plymouth

Black Spiders are also confirmed to play the following festivals with more to be added:

Friday April 7th

Uplift skate & music festival

Sunday May 28th

Call of the Wild festival

Sunday 23rd July

Maid in Stone festival

Sunday 13th August

Firestorm festival

A first time pressing on vinyl for this the twelfth Album released by the former Thin Lizzy guitarist. Gary Moore played with a style and passion for his craft that was heralded around the world for his style and songwriting ability. His virtuoso guitar playing and soulful voice being loved far and wide and his premature passing has been sadly missed by fans and musicians around the globe and from all styles.

Having played in numerous legendary bands including Thin Lizzy and Skid Row, alongside his own solo career, Moore is regarded as one of the most influential Irish musicians of all time. Having been honoured by both Gibson and Fender with signature guitars, the Northern Irish star is still regarded as one of the best guitar players of all time. Its funny when long after their passing people still crave the back catalogue of revered artists like Moore so it’s no surprise that ‘A Different Beat’ gets the vinyl treatment (finally) spread over two records it also includes a remix of ‘Can’t Help Myself’ (E-Z Rollers remix)’.

A Different Beat’ sees Moore exploring a new direction, in this case combining his love of the blues and his guitar work with contemporary dance beats. Fusing blues and dance music ‘A Different Beat’ stands as the boldest thing Moore ever did. A move too far for some and one giant step for others. From the off the distorted guitar work makes way for a beat more akin to the Happy Mondays guitar based dance music rather than trad Blues. I know Moore loved some Hendrix and there are moments throughout this record that have you imagining that this is something Jimi might have tried had he not left this earth as well it’s not like he hid his admiration for Hendrix because he funks up ‘Fire’. Moore also had a better singing voice than he possibly got credit for and had a fair set of pipes that are well worked on songs like ‘Lost In Your Love’. and his take on ‘Fire’.

Moore loved to turn it up but he also had a softer gentler touch. ‘Worry No More’ is more laid back but whilst pushing boundaries like the pure funk of ‘Fatboy’ with all its tricks and grooves. like on the I’m sure he’d have chuckled to himself when making this Marmite record but having it pressed on Vinyl might be the opportunity for fans to look back and show some love for a real guitar legend who really did mess with the Blues.

Buy Here

Author: Dom Daley

The word legend gets thrown around quite a lot but when it comes to Slash it definitely is justified as you would have to have lived under a rock for years not to have heard of the guitar slingers feral rock’n’roll band Guns N’ Roses which launched the guitarist into the public eye all those years ago but Slash is no one-trick pony and has released quality music with his own bands Slash’s snakepit, Velvet revolver and now the Conspirators.

So let’s get stuck into album 4.

The album’s first track roars out of the speakers and is titled “The river is rising” and it’s got a killer riff that is an instant earworm.

Up next we have “Whatever gets you by” that starts off with a nice rhythmic drum pattern before bass and guitars come crashing in and Myles’s voice soars beautifully over the top and this is another gem of a track.

“C’est la vie” is a hypnotic track with an instantly catchy melody and infectious chorus that will surely make this a crowd favorite when played live.

“The path less followed” and “Actions speak louder than words” are both great rockers that keep the album flowing nicely.

“Spirit Love” is a standout with a middle eastern sounding riff that drags the listener in and as always Myles vocals are on top form.

Just when you think how can this album get any better “Fill My world” pops up and is this reviewers personal favorite off this great album as it’s reminiscent of that classic GNR song “Sweet child of mine” with a gorgeous melody but never falls into the rehash category and sounds so fresh and vibrant.

“April Fool” and “Call off the dogs” are rollicking rock songs that keep this fast-paced album rattling along.

All great things must come to an end and what a way to finish off this triumphant album with the stunning “Fall back to earth” which is nearly 6 and a half minutes of pure musical bliss with epic guitar heroics and vocal gymnastics.

Slash with Myles Kennedy and the conspirators can hold their collective heads up high as album ‘4’ is quality from start to finish and is an album that just gets better with every listen.

Buy Here

Author: Gareth ‘Hotshot’ Hooper

With his Portland based band The Cry on hiatus, singer/songwriter Tommy Ray has been busy channeling his music into various projects over the last couple of years. Following an album release from his street punk side project The Decayed, and his most excellent 2020 long player ‘First Hits Free’, Tommy wastes no time delivering his sophomore solo album ‘Handful Of Hits’ to the rock n’ roll world.

Seen as a companion album to the aforementioned ‘First Hits Free’, this new collection of songs is as honest, gritty and 4 real as you wanna get.


So what does our leather clad, feather-haired rock n’ roll singer offer this time around?  Well, these are simple songs from the heart, with themes that cover his ongoing mental health struggles, and the trials and tribulations of modern life, and how to lose the girl you wanna love.

‘Handful Of Hits’ is a solo album in every respect. Tommy wrote everything, played everything and self-produced this album. And what a gloriously ramshackle collection of songs we have here. Going by his “Don’t bore us, get to the chorus” mantra, Tommy references The Exploding Hearts, Ramones and The Beach Boys as influences in his songwriting, and his love of 3-minute pop songs is always evident. You see Tommy Ray has a knack for penning a melody or two and understands the fine art of a catchy chorus.


Opener ‘In Love Again’ is a jangly, power pop anthem straight outta ‘77. It has an instant chorus and a sense of immediacy to it. There’s a sense of euphoria that goes perfectly with the lyrical theme of falling in love feeling like the first time every time.

The honest lyricism throughout the album is to the point. Getting laid (sometimes failing) and getting fucked up (never seeming to fail at that one!). You see like Johnny Thunders before him, Tommy Ray exudes the self-destruction blues, but you can tell he is just a soppy romantic at heart.

Rebelling with teenage kicks and trying to win the girl that is out of your league are the order of the day. The likes of ‘Closer To You’ and lead single ‘No, No, No, No’ are testament to that.

Tommy channels the likes of Hanoi Rocks and the New York Dolls to perfection on the likes of ‘On My Wall’, a Johnny Thunders inspired tale of wasting days and wasted love. Again, on the punky ‘Loser’s Anthem’ and the ode to one-night stands that is ‘Beer, Wine and Whiskey’. Urgent beats, one finger piano prowess and glam rock goodness are the order of the day.


‘Feel The Pain’ is killer power pop fodder, make no mistake. This is the sorta thing Tommy knocked out in The Cry day after day, no problemo. Instant, catchy and euphoric, this is a radio friendly hit that should be. You will be singing along wondering how you lived without this song in your life. Likewise, ‘Always Running’ will make you realise you needed someone to mash up the glorious retro sound of The Knack and XTC into one 3-minute pop song. We end with Tommy running from the law on ‘I Didn’t Do It’, one glitter boot stomping in front of the other. He tells us he didn’t do it in his wicked vocal drawl to an accompaniment of bombastic drums and handclaps and general 70’s retro glam rock vibes all over, what’s not to like here?


With a DIY ethos, power pop sensibilities and a punk rock attitude, Tommy Ray delivers another fine collection of songs that will fit nicely in your record collection alongside your heroes and possibly some of his too.

If songs about chasing love and getting fucked up from a guy who looks and sounds like he’s been dragged through the hedge of life backwards in his creepers, then look no further than ‘Handful Of Hits’. Like I said, a gloriously, ramshackle collection of tunes available on vinyl from the Bandcamp link below. Go fill yer boots!

Buy Beluga Records

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Author: Ben Hughes


The ‘Salvador Dali of rock n roll’ is back. Was it really only last year that David Ryder Prangley released ‘Black Magic And True Love’? I’ve played it so regularly, it seems like it must be longer. From Rachel Stamp to Sister Witch and all points in between, he’s cast a singular figure. “He puts the glam in Mid-Glamorgan”, as Simon Price said. David Ryder Prangley remains outside of time, and his music is all the better for it. He should, of course, be famous, and filthy rich. Nevertheless, he is a star.


‘In The Palace Of Dead Stars’ croons darkly, an apparent homage to an old Star Trek episode. Oddly, I watched them all again recently, so this seems to fit the mood. ‘Hello’ is the first single, you may have seen the video already. While not perhaps an obvious choice for a single, it could only be D.R.P, the guitars sounding as sleazy as ever.


‘Sweet Heartbreaker’ is a brazen chunk of 70s riffage. I’ve never really liked KISS, but this was how I thought they should sound, if they were actually as good as they think they are. Now THIS is a single.

An underrated guitarist, for sure, I love his choice of tones throughout the album. And an underrated songwriter, as ‘Never Grow Up’ proves his versatility. The light touch on the piano, a beautiful tune.


‘Saint David Of The Bleeding Heart’ reads like a lament to the artist’s doomed soul, complete with a towering solo. ‘Song For A Witch’ is, er, self explanatory and suitably ethereal. ‘Dreaming Spires And Crystal Steeples’ could easily have been a Tyrannosaurus Rex title, but sounds more like one of Donovan’s more inspired moments. “Flutey as fuck”, I believe our Mr Hayward would say. A compliment, of course.


‘Heart Full Of Love, Head Full Of Poison’ brings back the raunch, and I can forgive D.R.P for nicking his own lyrics here (see ‘Captain Sugar’). It would be a great double A-side with ‘Black Magic…’ for some hip-shaking glam stomping. ‘Hey Stargazer’ ends things on a gentler note, a piano led song of sci-fi visions, but once again with a beautiful solo.


This is certainly a similar album to ‘Black Magic…’, which is hardly surprising, but, if anything, the choice of track list is better, with light and shade, and I might even prefer it. Given that ‘Black Magic…’ was one of last year’s best albums (based on how many times I’ve played it), that’s quite a surprise. I’m really pleased that I preordered it. July is looking up…

Buy it Here

David Ryder Prangley plays live – 15th Aug at Lexington?


Author: Martin Chamarette

Intrigued to investigate further this EP from two (old) friends Charles Why (Losta Noise/Nexus/L-DOPA…) and Laur (Sparkling Bombs/Kevin K Band/Vague Scare/Other-ed…)  Its a great earworm as it crawls into your ear and enters your brain and takes up residence offering little snippets of bands you know you like and ones you know you don’t but the influences draw you in closer and you’ll definitely like what you hear.

Great name for a band as well and the album title is cool (pretty much every time I switch on the radio it’s pumping out Grotesque music) Anyway, the tunes. Apart from the opener being something of an introduction with native American chanting (which always give me the chills, I could listen to it all day) its ‘Capitol Blues’ that starts off the noise mashing up samples and a cool Jon Spenser Blues Explosion style riff over a drum loop its certainly very listenable and the louder the better the experience.   Pitched somewhere between Beck and Gary Numan and throwing in a whole heap of other influences this mashup is all over the place in a good way mixing some Urban Dance Squad with some horns and distorted guitars and some dance beats its certainly stretching your palet but succeeding in making you nod your head all in a good way.

‘Nosferatu Waltz’ is also out there pushing the boundaries of Gothic undertones as implied by the title it’s Daniel Ash and his old sparring partner Mr. Murphy dancing up some sisterhood.  Dark and mysterious but all very listenable for sure. On ‘Doppelganger’ there’s a big rolling riff on top of some sample coming on like some of Bowie’s work which must have been a bit of an inspiration here whilst the sound is heavy there is a lot going on but never too much.  It’s well constructed but has appeal and not too self-indulgent or unlistenable.  Again it’s a different texture to the other tracks with an air of spontaneity and a certain take it or leave it atmosphere.  Jump on board and get down with Golem Dance Cult it’s good stuff. LEaving only the video track we’ve included to close off the EP for your listening and viewing pleasures.  go to Bandcamp and check em out you really wont be dissapointed.

Buy it Here

Author: Dom Daley

Having just completed Doug Brod’s excellent ‘They Just Seem A Little Weird’ book, this third album for Rum Bar Records from Boston based rockers Watts couldn’t have dropped in my review stack at any more appropriate moment.




Well just like Brod’s book took me back to the magical days of discovering the likes of Cheap Trick, Starz, Aerosmith and KISS for the first time and making me go all gooey eyed in the process, this all new ten tracker celebrates that same glorious era of musical creativity whilst giving it an adrenalin booster shot just right for the 2020s.


‘Loud & Fast’ kicks things off in fine style conjuring up a kind of Blackhearts meets Motorhead vibe with vocalist/guitarist Dan Kopko’s instantly recognisable gravelly roar front and centre hammering home the song’s huge hook. ‘Queens’ is where the band’s underlying KISS influence really does get turned up to eleven, and it’s better than anything the New York glam veterans have written in the last four decades, plus it’s delivered with a Judas Priest lyrical nod that has me grinning from ear to ear every time I hear it. This is how I want MY rock ‘n’ roll that’s for sure.


The other great thing about Watts is that three of the four members can sing lead, so when bassist Tim McCoy takes the microphone for ‘Breaking Glass’ this leaves Kopko to deliver some soaring Lizzy-esque duel harmony guitar with his counterpart John Blout, plus when drummer John Lynch delivers ‘The Night The Lights Went Down’ his cleaner vocal delivery lends this Black Crowesy roots rocker a more power-poppy sheen and band in the process offers up a potential breakthrough radio hit.


Elsewhere ‘Shady’ would not sound out of place on a post-Bowie intervention Mott The Hoople album, whilst ‘Heavy Metal Kids’ has an instant “in his prime” (as in prior to 1985) Bryan Adams charm to it, that if this world has any justice to it will see it being sung in karaoke bars worldwide for decades to come, and I really do not mean that as a put down. Then there’s the incredible ‘Shocking Pink’, a song Blout/Kopko (who write seven of the ten tunes here) surely must have written whilst listening to Jellyfish, albeit here the glorious vocal hooks are all played out by a band who really are hooked on a Heartbreakers (Tom Petty version) trip rather than Supertramp and Wings.


And talking of breaking hearts, the sleazy Thunders/Dolls vibe of ‘Seventeen’ is a hellraising, fag in the corner of the mouth kind of rocker driven along by some brass stabs that will have you straight up and stomping your creepers, and if you’re looking for the perfect morning after soundtrack to counter that then ‘When the Party Ends’ is just what the doctor ordered for your hangover from hell (even if to my ears at least it’s got a bit of Stereophonics thing going on). Which just leaves the only track on here that has been previously available, the prophetic and Cars-like ‘All Done With Rock & Roll’, which kind of takes us full circle, ensuring as the final chords chime out you just have to press play again.


The world needs ‘Shady Rock & Rollers’ like Watts right now, and believe me when I say you need this record in your life.  It’s out now via Rum Bar Records and really is essential listening!!!!!


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Author: Johnny Hayward


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Sweet Oblivion is a project that was put together by Frontiers Music guru Serafino Perugino around two years ago to give veteran metal vocalist Geoff Tate another musical outlet. The self-titled debut album was written, performed (apart from vocals) and produced by DGM guitarist Simone Mularoni and was well received in metal circles. This time around another Italian metal legend Aldo Lonobile (Secret Sphere, Timo Tolkki’s Avalon, Archon Angel) has taken the reigns. Tate has been much more involved with the song writing on this latest effort and there is plenty here that fans of classic Queensryche (and classic metal in general) can sink their teeth into.

The idea is simple but effective, give Tate a vessel that echoes his early work with Queensryche. Let’s be honest here, anyone who is going to listen to this is a fan of the Ryche and they want to hear Tate in a familiar setting. Tate has one of those “Marmite” voices (I happen to love his voice) but I know plenty of people that aren’t fans.

His legacy is a strong one though, Queensryche were a multi-platinum selling band at their peak and they have influenced many with their “Thinking Man’s Metal”.  This project isn’t all about nostalgia though, there are some other musical influences at play here. There are elements of classical music as well as crunching riffs and European power metal. Tate sounds fantastic throughout the album and seems to have a new vigour to his voice. This is easily up there with his best vocal performances since the Empire album back in 1990.

The album has a similar direction to the debut and the change of producer/song writer doesn’t seem to hinder the material at all. Tracks like the single Strong Pressure, Remember Me, Let It Be and the fantastic Aria with Tate singing in Italian all hit the target. They are well crafted and performed, and the band who include Lonobile on guitar, Michele Sanna on drums, Luigi Andreone on bass and Antonio Agate on keyboards can quite easily be overlooked due to the emphasis being on Tate. Of course, without Tate there would probably be no Sweet Oblivion, even so, the band should get some well-deserved kudos.

Strong songs, great production and fantastic artwork makes the package a desirable one. Tate is back on top form, and the Sweet Oblivion name may even see the day when they won’t need the Featuring Geoff Tate tag.

Buy Sweet OBlivion Here



Author: Kenny Kendrick