Long EP or short album you decide. For my sixpence on The Drowns blistering slab of Rock and Roll is this. ‘Live Like Yer Dyin’ just about does exactly what it says on the tin and has a healthy dose of Rock and Roll along the lines of label mates and stalwarts The Harrington Saints. their cut from the same blue-collar roots rock n roll. With a wonderful disposition and outlook of positivity and whatever doesn’t kill you only makes you stronger. It’s a blast straight out of the traps.
The title track is less Rockin in one respect but more upbeat in other respects as it touches on the Galic vibe with shades of SLF and maybe Dropkick Murphys feel with a great walking bass line throughout get your martins on and go for it.
‘The Working Dead’ is a happy-go-lucky thumper with PMA running through its core. It’s comfortable and familiar for sure but it also comes across as fresh and full of excitement.
This is the real deal. If you want some punk rock but a band that also adds some Rock n Roll and isn’t afraid to rock out (‘She’s The Knife’) then this is a band you should get behind, Possibly my favourite track on the album for those Malcolm young rhythm riffs and DC stabs (no pun intended) it’s a top tune full of energy.
Six tracks just isn’t enough I’m sorry but I want more and I love the vibe on the acoustic ‘Look What We’ve Become’ – resisting breaking it out after the opening verse is great. More Gaslight Anthem meets Downtown Struts for sure but that’s another string to the bow. Then to wind things down with the final cut of ‘Tokyo Red Alert’ which pulls several styles together with a social Distortion meets Green Day kinda thing that really works with a country jig vibe on the melody. Just buy the record and go play it – it’ll make perfect sense and you can thank me laters.
By no means a new record this bad boy was sent via the US mail and probably took the duration of lockdown to get over the big pond to RPM HQ. These gutter punk rockers hail from outta Ocean County New Jersey and are channeling the spirit of the Stooges, Dead Boys, Ramones, and a few other legendary punk rock bands.
From the opening riff-o-la of ‘Do The Whip’ you get the flavour of the Rippers MO and it’s a healthy dose of scuzzy punk n roll in places, they remind me of the epic legends that were Uncle Sam mixing up the punk rock with a bluesy vibe. ‘Brats’ being a great example.
Hell ‘White Lightning’ I hope its a tribute to the lovely drink of the same name but alas I think that refreshing drink never made it stateside but the Rock n Roll is like WL bottled and cut loose in the studio. then to follow it up with the Sleazy groove of the Stooges like ‘I’ve Had It’ with a good lick on that old guitar ringing out makes for a decent tune. The record gathers pace from there with ‘Born In Waco’ a thunderous ride on a hotrod fueled on moonshine.
Following that Stooges vibe Side two gathers pace and is ‘Never Coming Down’ with its meaty punk rock. The songs never outstay their welcome seeing as most clock in at less than two minutes even ‘Vomit Pig’ keeps me interested. ‘Rock N Roll Til I Die’ rocks out like a sped-up Cramps and I like that it would make for a hectic pit in a smelly boozy club. Get some O.C. Rippers whilst they’re still with us and not spontaneously combusting on some stage somewhere or a highway to hell.
SOPHOMORE ALBUM ‘BEYOND EVERYTHING’ OUT JUNE 10TH ON IN THE RED RECORDS ON ALL DIGITAL PLATFORMS & LIMITED EDITION COLORED VINYL (PRE-ORDER)
After releasing his self-titled debut album in 2017, Dion Lunadon (The D4, ex-A Place To Bury Strangers) is set to release his sophomore album ‘Beyond Everything‘ on June 10th via In The Red Records. Available for pre-order HERE. Today, Dion shares second track ‘It’s The Truth’, with a video directed by Alexander Barton. “This is one of my favorite songs on the record,” says Dion. “It started with the opening drum beat and the rest came together quickly. It’s about me writing songs in my little hovel of a studio and looking forward to my wife’s return home from work. A “distance makes the heart grow fonder” kind of thing”. Alexander Barton says; “In Dion’s live performance he has a wall of sound and noise, it’s very textural and real. About 3/4 of the way through his set, he drags a chain out of a bag like a snake wrangler presenting a cobra to the audience. It’s an exciting moment of the set where he breaks the routine of the rock formula and shares his experimental interests and the audience really laps it up. The cameras pop out and feed his exhibitionism. I make films that feel and use not only the beauty of film, but welcome the noise and error that come with the raw and naive nature of my tools. The chain as an object and material is a fully loaded symbol and historical icon which is a powerful character itself. I wanted to honor the chain for all its brilliance, referencing metal, design, rock n’ roll, violence, sculpture, industrialism, eroticism, and Jacob Marley. ‘It’s The Truth’ is about material and the spectacle.”
Photo cretdit: Ebru Yildiz
Dion continues; “The record was written and recorded sporadically between 2017 and 2019. I probably wrote about 100 songs during this period. The first album was pretty relentless which I liked, but I wanted to make something more dynamic for the 2nd record. Something that could be more conducive to repeated listens. I’d get in my studio, come up with a song title, and start working on any ideas that I had. For example, with Elastic Diagnostic, the idea was to create a hum that evokes the sound of life coursing through your body. Everything else kind of formed around that idea.”
‘Beyond Everything’ will be Dion’s first release on In The Red (an ideal match for his music), as well as his first full-length since departing A Place To Bury Strangers. Written, performed and recorded by Dion, the songs tap into a raw, palpable energy that blurs the line between the music and the person. Drums on the record were played by Blaze Bateh (Bambara) and Nick Ferrante (The Black Hollies).
Dion will be touring with a full band in North America and Europe/UK throughout 2022. The US tour begins in Denver (some of the dates are supporting The Black Angels), with European and UK dates in November. All dates are listed below with more TBA. Ticket links HERE.
US TOUR Sat May 14 – Bethlehem, PA – National Sokols +
Thur Jun 09 – Denver, CO – Ogden *
Fri Jun 10 – Salt Lake City – Metro Music Hall *
Sat Jun 11 – Boise, ID – Knitting Factory *
Sun Jun 12 – Seattle, WA – The Crocodile *
Mon Jun 13 – Portland, OR – Hawthorne Theatre Lounge
Wed Jun 15 – Arcata, CA – Miniplex
Thur Jun 16 – Petaluma, CA – Phoenix Theatre *
Sat Jun 18 – Oakland, CA – Elbo Room
Mon Jun 20 – Los Angeles, CA – Moroccan Lounge
Wed Jun 22 – San Diego, CA – Music Box *
EUROPE/UK TOUR
Thur Nov 03 – Reignier, France – La Poulpe
Fri Nov 04 – Gigors, France – Gigors Electric
Sat Nov 05 – Torino, Italy – Blah Blah
Sun Nov 06 – Zurich, Switzerland – Safari Bar
Mon Nov 07 – Fürth, Germany – Kunstkeller 027
Wed Nov 09 – Hamburg, Germany – Hafenklang
Thur Nov 10 – Berlin, Germany – 8mm
Fri Nov 11 – Regensburg, Germany – VOID CONCERT @ Alte Malzerai
Mon Nov 14 – Bristol, UK – Crofter’s Rights
Wed Nov 16 – Nottingham, UK – Chameleon
Thur Nov 17 – London, UK – Shacklewell Arms
Wed Nov 23 – Paris, France – Supersonic
Thu Nov 24 – Rennes, France – TBA
Fri Nov 25 – Nantes, France – Duchesse
Sat Nov 26 – Lyon, France – Le Sonic
* with The Black Angels+ with Haldol and Death Bag
With a howl of feedback and some inspiring floor tom thumping The Honeymoon Killers are thumping their way into my affection at a rate of knots. With levels that would give a modern sound engineer a heart attack The Honeymoon Killers’ final album gets its much-belated release on vinyl thanks to the good people at Bang!.
Noo Yawk City 91 is the place and all three Blues Explosion members join up with Jerry Teal to kick out the jams motherfuckers and what a beautiful noise they make.
From the wild and reckless ‘Guess I’m Falling In Love’ the line in the sand is drawn and the chaotic, unbridled abandon in which these Rock and Rollers create their beautiful noise is blasting through the speakers. Like the love child of The Stooges, Jesus And Mary Chain, early Damned, and a whole bunch more besides sees that Noo Yawk was still getting its groove on into the 90s. The choppy guttural punch to the throat that is ‘Love Man’ is brilliant in its simplicity and the fact that these cats just want to rock n roll and to hell with the fineries of obtaining a rounded mix – it’s all about the vibe and the moment and capturing the excitement of what’s being created and this is like lightning in a bottle.
They’ve even got time for a trashy romp through ‘Oh Oh I Love Her So’. It’s all about the love on side A and when they rip a hole right through the heart of Dead Boys classic ‘What Love Is’. IT’s a raging thumper of a track but a fine line to get it right and if you have it coursing through your veins then you’ll nail it every time and The Honeymoon Killers just gets it. ‘Love Love Love Love Love’ is pure Spencer magic. To finish up side one there’s even time for a cheeky ‘Love Is All Around’ that needs to be heard – tuning is for pussies or something like that.
Side two begins with da Blooze with a gob iron honking ‘Who’s Driving Your Plane’ that twitches and twangs like a cat on a hot tin roof. The guitar tone for ‘Dead Again’ is exceptional like a refined East Cost Brian James on a hack and slash mission to kill every other instrument other than the crisp snare.
Man, Noo Yawk City has spewed some amazing bands that didn’t get the coverage they deserved when they were taking names but thanks to labels like Bang! we can pick up some of those recordings for less than a mortgage on a house. This record crosses the T’s and dots the i’s on a top turn. Get on cool kids you wont regret it!
Slayer’s legacy is a strong one. Throughout their reign (see what I did there) as the undisputed kings of thrash metal, they influenced and inspired a whole generation of metal heads to pick up a (pointy) guitar or a pair of drumsticks. Unfortunately, that also means some of the bands that have inclusions on this pointless tribute album. There are (some very ropey) covers from bands such as the charmingly named Skull Fuckers Incorporated, Skrog, and Bloat Toad, and others you’ve never heard of. It really is about as welcome as a dose of crabs. Awful production values and poor performances just make for a total mess of an album that absolutely no one needs to hear. That’s not to say that some of the attempts here don’t have some merit, Eulogy of Blood’s version of Bloodline is half decent, along with Skrog’s attempt at a lesser-known Slayer track – Divine Intervention.
Apart from that, it’s all very forgettable. The least said about Slokill’s murdering of the track Disorder (which was nicked from the Exploited in the first place) the better… dreadful. If you’re a Slayer fan like me, do yourself a big favour and avoid Forever Reigning like the plague. Just go and listen to the genuine article, you really don’t need this in your life.
Of all the bands that I miss seeing live in these days of gig drought, Giuda are top of the list. Luckily, I saw them three times before moving to France. A guaranteed great night out, and always a friendly atmosphere. For me, there are two types of great live bands; the ragged, seat-of-the-pants variety, and the ones who manage to replicate their studio sound onstage. Giuda are clearly in the latter category, but lose none of their power in doing so.
So, the logical step was to release a live album. Thanks to Punk Rock Raduno Records, in collaboration with Wild Honey/Striped Records, there is a limited (probably sold out) run of 300 vinyl copies in black, pink or white. No details of a CD release yet. For once, I’m thankful for streaming services! If you can get yer mitts on a copy, have at it and quickly.
This is a fantastic sounding set of the “hits”; a smorgasbord of delights for the ardent Giuda fan. 14 songs at just over 40 minutes, from the opening salvo of ‘Tartan Pants’ and ‘Back Home’ to ‘Teenage Rebel’, ‘No.10’ and ‘Wild Tiger Woman’. Even ‘Interplanetary Craft’ is improved in concert. The Raduno punk rock festival in Bergamo, Italy, has been going since 2016, the next one is due 14-17th July. Giuda will be back on the road from 12th May in France, maybe I’ll get a chance to see them again. If not, this is as close as you’ll get to the real thing. So, turn it up, get your thumbs in your belt loops and get with it!
Southern Gothic hits the Wirral Peninsula as Bambara plays their last mainland UK date at the visionary Future Yard in Birkenhead, after an already formidable European jaunt. Delayed by almost two years and a few venue changes on the way, we’re finally here enjoying a much sought-after sonic assault.
The band brings with it a moody, introspective atmosphere akin to something you would expect from a David Lynch feature. Saturating the room with somber tones immediately on opening number ‘miracle’, until the latter half of the song, at which point frontman Reid Bateh kicks the door off the hinges vocally. Between most of the set, he moves effortlessly from cool and contemplative to frenzied and intense, unleashing his lyrical attack looking like a young Michael Shannon playing method in a crazed and epic role.
The overall sound is explosive, hitting all the right spots and showcasing an accomplished live makeup without losing any of the dexterous qualities of the records. Although the group is ferocious yet brooding, they make it clear from the outset that they are a well-oiled machine, melding an impressive, galloping rhythm section with layers of lush Bayeux Esque synthesized backing tracks and gothic guitar lines, draping the audience in neo-noir darkness. Tonight we are given an array of the band’s ever-growing back catalogue, but with a focus on the latest album Stray, and the recent EP Love On My Mind. Stand-out tracks are ‘stay cruel’ from the former and ‘feelin’ like a funeral’ from the latter. We are even treated to the live debut of ‘little wars’, a definite plus for the Tuesday night crowd here this evening. With more dates on the other side of the Irish sea and a swift handful of shows in the US and Canada once they fly back, let’s hope they don’t tire themselves out too much and return to the UK sooner rather than later.
It’s the opening night of Gary Numan’s long awaited Intruder UK Tour, and this time around its one of his largest in decades, not just in the number of dates (19 in all), but also the venue capacities (the tour sees Gary making a long overdue return to Wembley Arena).
It certainly doesn’t take a genius to see why Numan’s stock is on the up right now, he’s released two of the best albums of his 40 plus year career in the past five years, and in ‘Intruder’ the latter of those two albums, perhaps the best album he’s done since his initial late 70s/early 80s heyday, and it’s one that easily breezed into my RPM albums of the year list for 2021. I guess that’s also why Sky Arts are in the house tonight filming for an upcoming documentary about the enigmatic singer/songwriter, someone who helped influence a whole generation of bands worldwide during his 20 plus studio album career (including collaborations and Tubeway Army that is).
Not least tonight’s openers Divine Shade, a French trio who Gary himself seemingly picked for the tour just so he could see them live. They play darkwave, mixing the traditional industrial/electro sound of the likes of The Young Gods and KMFDM with a hint of early 90s dance along with the occasional blast of Killing Joke vocal intensity. They go down very well indeed with those in early doors, and whilst I’d only caught a few snippets on YouTube before tonight I have to admit I’d be interested to hear what the songs played tonight would sound like in the context of an album.
They may have actually been selling one at the merch stall, but with ongoing concerns over Covid and a strict queueing system in place that extended half way up the side of the (newish) swanky bars that the University have within its concourse, I instead decided to wait until I got home and let the internet once again take me on another musical adventure.
Which is something tonight’s headliner has most certainly been on since the first seeds of a Numan renaissance were sown back around 1994 with the release of his ‘Sacrifice’/’Dawn’ album and whilst it was a good six years later that I first reengaged with the artist via his ‘Pure’ album (the title track of which making a mid-set appearance tonight) and live a year later during a rip-roaring Reading festival appearance in (of all places) the Dance Tent, tonight really is all about the triumph that is Gary’s nineteenth solo record, the aforementioned ‘Intruder’.
With Gary promising a breath-taking light show to complement the tour, it is the title track of ‘Intruder’ that brings everything to life amidst a fireball of energy. The video banks and lighting playing out the visual aspect of the music – whilst the audio is (as one has come to expect from Numan) technically brilliant from the get go.
There’s a real bite to the layers of sound and whilst the band numbers just five members (including Gary) they make the sound of a dozen thanks to swathes of synths and samples that swirl around in the Great Hall. Special mention must go out to the guitarist and bassist who duck and weave like champion prize fighters, and indeed Gary himself who at 64 years of age pirouettes, preens and sings like a person a third of his age. He was certainly never this stage confident first time around, albeit he still doesn’t say a single word to the audience tonight other than the odd off-mic thank you.
Set list wise I don’t really want to spoil it for those of you yet to still catch this tour as it winds its way through the UK for much of May. Me, I’d have been quite happy for Gary to play all of the ‘Intruder’ album, but for those of you who have also been on the musical adventure with the man himself then along with a handful of cuts from said album there’s also a smattering of deeper cuts, interspersed with the usual “must play” tracks, the highlights of which for me tonight are a cocksure run through of ‘We Are Glass’ and a mid-set pace resetting ‘Down In Park’ that directly followed a brief musical interlude where the band left the stage and let the samples set the tone.
Thankfully with Numan it’s not just about playing the hits though, and its tracks like ‘The Chosen’, ‘The Gift’ and the jawdropping ‘My Name Is Ruin’ that easily stand shoulder to shoulder with the ones people like to sing the riffs to.
This tour is indeed a triumph for Gary Numan both musically and visually, it’s something you really should dig deep to get a ticket for (and like many fans I see on social media commenting) maybe even for multiple dates, because remember as Numan himself has said they’ve learned 35 songs for this tour and only 19 of those were played on this the opening night.
The indelible Jon Spencer (Blues Explosion, Boss Hog, Pussy Galore, Heavy Trash, etc) is back in the room and this time he’s brought The Hit Makers whilst the Blues Explosion takes a break.
Well, What does it sound like man? Is it a departure for Jon has he gone pop? First off you get plenty of bang for your buck as this bad boy contains Thirteen phat beating, fuzzed up, Groovy Rock n Roll baby, and that right where you want to be. Hell, it’s Jon Spencer god damn it. ‘Junk Man’ is like the beastie boys got transported into Spencer’s head and he poured out that hustling groovy vibe with a paper thin synth lick on top of a big beat with added howling from your main man, Perfick innit!
Spencer sure does get things lit as he delivers his fucked up sounds and if you’re not on board by the time ‘Get It Right Now’ is in full flight your head is rumbling to the backbeat and Spencer’s whack vocals and lyrics. Gets It Lit delivers in spades, it’s exciting, Fucked up, depraved, and all in his inimitable gonzo style. It sure is a head fuck and ‘Death Ray’ is only the third track on offer. As the guitar flickers to life via a paper thin lick its a shuffle and some tweaking blinking synths as Spencer dishes out his sermon about God knows what (a second inside his head would terrify 99.9% of the population Who knows how he manages to get that shit out and onto tape at the best of times but I can’t help but feel that he’s got a cheeky grin in the booth when recording this record. It’s messed up for sure it’s a melting pot like no other but damn it’s good. fuzz guitar, fat synths, rhapsodises, Wild guitar breaks, and lyrics intended to mess with the most stable mind. Spencer Gets It Lit for sure. Whilst there is a lot going down it sounds like the best of times and a lot of fun melted into the plastic on this disc.
I’m loving ‘Primary Baby’ for its solid groove and great vocals. Playing this on jaw vibrating volumes takes it to the next level and is a lot of fun, even the neighbours would agree. I’d love to hear Jon do a collaboration with Bobby Gillespie I think they could make some sweet sweet music and ‘Bruise’ is what made me think of that musical marriage. “All I Want Is Everything” he shouts out but I think he’s already got everything, well, except the kitchen sink – This I know because I’ve been playing this record for days and to be fair it’s probably got the kitchen sink in here somewhere.
By the time we get to ‘Push Comes To Shove’ I need a time out and to sit in a field to gather myself before I dive back in for the rest of this beautiful noise. ‘My Hit Parade’ is about the straightest song on here just a twisted pop song with some twang on that guitar.
‘Strike 3’ is a stonker with a sharp guitar lick and some garage beats for good measure. The record signs off with ‘Get Up And Do It’ which is like he’s brought up the ghost of Lux and walks off into the sunset with a touch of Cramp. I hope the next offering isn’t too far off because this was a blast! Now lets all go get Lit!
It’s shaping up to be another busy year for New Zealand born, London based rockers Desperate Measures. Following their mini album ‘Rinsed’ on Easy Action Records and a full UK tour with Paul Cook’s post-Pistols rockers The Professionals at the end of last year, Desperate Measures have started recording their debut full length album, due early 2023. Working once again with Andy Brook (who has produced, engineered, and toured with the like of Status Quo, Ginger Wildheart, Wonk Unit, Hayseed Dixie…) at The Brook Studios in Wallington, Surrey, Desperate Measures have completed work on a new single titled ‘Thinking Of England’ that lyrically captures the yearning to escape from a place or a situation you might not want to be.
The single will be released in time for the Queens Jubilee on June 3rd. Desperate Measures will play a single launch show at London’s Water Rats Theatre on May 20th to coincide. Says Eugene Butcher, “we’ll be showcasing a few songs from our forthcoming album, plus the new single which has just happened to coincide with the Queens Jubilee. And we’ve got The Duel and Seven Days and Doesn’t Die along for the ride so expect a right Royal knees up!”
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