Ruckus – ‘Self-Titled’ (Drunken Sailor Records)

Ruckus – ‘Self-Titled’ (Drunken Sailor Records)

I love a good noisy record full of enthusiasm and clearly in love with the process of making music.

Ruckus hail from Boston via New York, centred around the vocals and lyrics of Kam Lindsey (once of oi faves, The Stance). They’re also former members of The New York Hounds (drummer Alex Palazzo and rhythm guitarist Brian Crozier), plus bassist Mario DaCosta, with more lead guitars from Nick Norrman (Ingrates) and Ethan Stahl (The Prize, Loose Lips).

I know there are only six tracks here, but it’s an introduction, and I like that, easing you in gently. Well, when I say gently, that’s not strictly true; it’s like a throwback to a land time forgot. ‘Talk Ain’t Cheap Enough’ has a rough house guitar with splendid guitar breaks from the Berry meets Thunders school of no-nonsense, as long as it fits shimmering through a distant reverb that’s wayyyy too loud and a walking bassline that’s doing the heavy lifting. All wrapped in a great pop song.

There’s a strut and confidence about ‘Pocket Full Of Cash’, all David Johansen meets Sylvain, and it’s infectious like they’re having the best time ever and making records is fun. ‘Hot In The City’ is more of the same with a great hook to reel you in. ‘Hello From Up Here’ sounds familiar without knowing what to put your finger on, but these cats would have had a ball playing the old Wardour Street Marquee with Hanoi and the Lords, with a dash of the craziness thrown in for good measure.

Where I’m from, a Rukus is a fight, and this would be a glorious punch-up in a bar as long as the women are beautiful and the beers cheap and everyone’s having the best of times. It’s only rock n roll, after all. Pick this up if you like your music catchy, rough, but a whole lot of fun.

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Author: Dom Daley

The Bar Stool Preachers – ‘Party Eternal’ (Self-Released)

The Bar Stool Preachers – ‘Party Eternal’ (Self-Released)

A decade on from the release of their self-financed ‘Blatant Propaganda’ debut Brighton ska punks The Bar Stool Preachers return with their fourth record ‘Party Eternal’, and this time around they add producer Cameron Webb (Motörhead, Sum 41, Kelly Clarkson, Megadeth, Limp Bizkit & Jack Johnson to name but a few) to the musical equation to well and truly get the par-tay started.

Obviously with someone of Webb’s stature behind the desk ‘Party Eternal’ sounds exactly like you might expect for a major label record, however it’s not, not this time around, it’s self-released, and with Pure Noise Records now very much in the rear-view mirror singer T.J. McFaull along with his Preachers are returning to their DIY roots for this all new 14 track album pursuing a (long since smashed) £15,000 crowdfunder target by which to get their music recorded, pressed and released.

On first hearing ‘Party Eternal’ though, I honestly had to check it wasn’t coming out on Hellcat Records, because opener ‘Sick World’ sounds like the guys had Tim Armstrong working with them, not Cameron Webb, and that’s also before realising that T.J. is also trading vocals with none other than Angelo Moore from the mighty Fishbone. What an introduction!!!

It’s when ‘Plastic Romantic’ chimes in next, though, that I really get a sense of how high the songwriting bar is being set for this record. It’s a song with a very serious social message yet is also enormously catchy stuff and along with a few others like ‘Want To Know’, ‘Singing Along’ and ‘You’re Killing Me Eve’ the band take the more contemporary sounds of their genre-busting ‘Above the Static’ opus and once again deliver the goods with the fearlessness that we’ve all come to expect from a band now four records and countless worldwide gigs into their career.

Having also released a couple of videos in the drive to promote the record and in turn help them hit their crowdfunder target it was ‘Pick A Side’ that first got things up and running for many of us back in early 2026 and this track not only comes complete with a HUGE singalong chorus but also a message that maybe not all your musical heroes might be all they are cracked up to be.

Speaking of which, it’s obvious that T.J. still holds Mike Skinner in very high regard, as ‘Hand Grenade Heart’ and ‘The Closed Door’ both feature the BSP frontman in a more reflective, half-spoken vocal mode which not only helps break up the pace of the record but also adds another shade of colouring to the band’s extensive songwriting palette. Plus, for those of us still craving the ska punk band that gave us ‘Blatant Propaganda’, we have ‘Time Of Our Lives’, ‘Heartbeat Baby’, the riotous ‘SOS’, and the almost Marilyn Manson-esque stomp of ‘Party Eternal’ for us all to have a right proper knees up to.  

In an age when audience strive to hear “the hits” by any band, it’s testament to the Bar Stool Preachers songwriting that any of the fourteen songs on ‘Party Eternal’ could be just that, a hit, in fact two of the strongest contenders are left right till the end, with the infectious “dah, na, na, na, nana, na na, nah” hook of ‘One For The Weekend’ and then ‘This Is Goodbye’ complete with “Oi! Oi! Oi!” help from The Rumjacks helps round things off in the finest of piratey fashions.

‘Party Eternal’ is an album that exudes a cocky confidence and bowls its way out of the speakers like it’s very much on a mission, that mission I guess being to get us all singing, dancing and, yes indeed, thinking. 

So, when the Preachers return to stages around the UK this October to help promote this record, you best get your best your dancing shoes on and loosen up those singing voices, ready to ‘Party Eternal’.

You can pre-order your copy plus buy a load of other things by visiting the band HERE

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Authopr: Johnny Hayward

Slaughter And The Dogs – ‘White Heat’ (Cadiz Music)

Slaughter And The Dogs – ‘White Heat’ (Cadiz Music)

Proto-punk icons Slaughter and the Dogs are set to embark on a new chapter of their long and influential career with a brand-new album titled ‘White Heat’, Put aside all the off-the-field wrangling and conflict that has gone hand in hand with the band for decades and let’s tackle this on the merits of what’s in the grooves.

Originally formed in 1975 in Wythenshawe, a notoriously rough council estate in Manchester, Slaughter and the Dogs’ name was inspired by legendary David Bowie guitarist Mick Ronson’s 1974 solo album ‘Slaughter on the 10th Avenue’ and Bowie’s own ‘Diamond Dogs’ from the same year, showing exactly where the band were coming from in that pre-punk era in Britain (more Bowie Later). They supported the Sex Pistols at their infamous Manchester Free Trade Hall gig in 1976 and went on to pen some top tunes and release a few really decent albums.

Founder Mick Rossi is the driving force behind ‘White Heat’ and easily demonstrates why he’s still relevant in 2026 with a style and swagger when strapped onto his six-string guitar. He comes from a school of players who just get it and know that often less is more, and let the player play the song and not get bogged down with layers of effects, much like a Steve Jones and, dare I say Keith Richards.

Featuring twelve new songs written by Rossi, ’White Heat’ gives you the feeling that this dog has plenty of bark left in its existence The title ‘White Heat’ refers to the extreme physical temperature when a substance glows and emits white heat, a perfect metaphor and album title for the highest possible stage in intensity, whether emotional, physical or creative; everything Rossi and his Dogs strived for on this album. Rossi is joined by Howard Bates, alongside core member Phil Rowland, who have aggressively pursued a new era for the band, successfully expanding their punk and pre-punk influences intact and trying their best to spill some of that DNA onto the grooves of this record.

The album was recorded at the famed Winslow Ct. Studios in Los Angeles, with some guest musicians that include Billy Duffy fellow mancurian and long time supporter of Rossi and the Dogs, Morgan Fisher (Keyboards, Mott The Hoople, Queen), Jerry Evans (Keyboards, Mick Rossi’s Gun St, The Duellists), the production team of Mick Rossi and twice grammy nominated Craig Parker Adams is a winning combination and a partnership that has produced over ten albums together.

Mick Rossi handles the vocals and guitars whilst fellow founder Bates takes care of the bass, with Rowlands making up the other part of the engine room and rhythm section. The album kicks off with the energetic ‘Get A Life’ before the cover of Lou Reed’s ‘White Light White Heat’ is given a thorough workout and a respectful reworking in the best possible way. The one thing you pick up instantly is how loud this record is recorded it’s like an avalanche of guitars, and that in itself is cleansing. The production is well spread out and uncluttered, with the songs being given the room to breathe for the greater good of this album.

‘Shut Your Mouth’ is a groove that’s brooding toward those guitars as they scream in with a big chugging riff that prime Duffy to be fair, but it ebbs and flows really well. ‘City of Rain’ has a New York groove about it, and the MO of this record is loud guitars delivered in a swashbuckling style, it’s no-nonsense and gets to the point without having to pad it out or litter it with filler. It’s lean and mean and rockin’. You have to wait until the eleventh track for a little acoustic, Bowie-esque musing, and Rossi turns in a very good vocal, carrying the melody through a dreamy, slow-march song right to the wonderful solo that sets the song alight but never overstays its welcome.

You also get a few bonus cuts with ‘Calling Out To You’ and ‘Lust ‘, with the latter being a quiet verse followed by a much louder chorus and a very decent song added to the tail end of this impressive record. But before we’re done, there’s a great rip through the Bowie classic ‘Diamond Dogs’ which puts a great big full stop to proceedings and the band are off. A really decent record, if you like loud rock n roll guitars, then this is right up your alley, but they always work for the songs and not the other way round. Slaughter And The Dogs still have plenty of bite, and ‘White Heat’ is the proof.

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Author: Dom Daley

Ricky Warwick – ‘Fire and Vengeance’ (Earache Records)

Ricky Warwick – ‘Fire and Vengeance’ (Earache Records)

Ricky Warwick has been a constant in my life since the late ‘80s. Like every other metalhead, I loved The Almighty. I saw them live many times and loved their music. There was something about the sneer and swagger that drew me in. Ricky was, of course, the biggest part of that whole greasy attitude and hard-living lifestyle that appealed to young rockers like me. Their outstanding performance at 1992’s Monsters of Rock festival has stayed with me ever since.

Since then, Ricky’s career has taken many turns – solo artist, frontman of the reformed Thin Lizzy and their subsequent incarnation, Black Star Riders, Ricky has kept himself busy and relevant. The Almighty’s recent reformation has proved very successful, and they have been hitting some big stages.

Ricky’s latest solo effort, ‘Fire and Vengeance’ is his ninth solo record. We get some great guest appearances from Def Leppard’s Phil Collen, Blackberry Smoke frontman Charlie Starr, ex-Dio and Whitesnake guitarist Doug Aldrich and Darren Holden of the High Kings.

The album is a mixture of high-octane rockers, bluesy ballads, and some Irish-tinged tunes that no doubt hark back to Ricky’s adolescent days growing up in Northern Ireland. Lyrically, Ricky likes to tell a story, and he has things of relevance to say. As Ricky himself says: “My favourite artists are the ones who have something to say. I enjoy a party rock n roll song as much as the next person, but the artists I continually return to are those who reach out to something I believe in and can connect with. That’s what I’m striving to do with my music.”

The ten songs that make up Fire and Vengeance have an energy that’s infectious. The opening title track has that undeniable Thin Lizzy vibe. Lyrically, it highlights the hardships that so many people are going through in this fucked up world at the moment. A catchy, sing-along chorus pulls you in after just one listen.

Hellbent & Heaven Sent has an almost Clash-like quality. Punky and in your face, the track is elevated by a shredding solo from Doug Aldrich. Seek Zen and Destroy, featuring Phil Collen, has a cool, funky vibe. When the King Falls shows Warwick’s diversity, a haunting ballad that the Stones would be proud of. You Just Lie uses guitars and synths to fantastic effect. The Angel’s Share is classic Warwick, he really knows how to paint a picture with words.

Last Chance to Dance shows Ricky channelling the late, great Phil Lynott, like only he has the right to do. After all, he filled his shoes with the reformed version of Thin Lizzy. Ricky is quoted as saying, “I always say that I never learned so much from a dead man.”  Sweet County Down is a love letter to his homeland, as Ricky explains: “My family is from here, and we go way back. I viewed the song as my nod to that. And yeah, I borrowed the line “Sweet home County Down” from Sweet Home Alabama.”

Overall, Fire and Vengeance is a fine, solid addition to Warwick’s solo material. A thoroughly enjoyable listen. The production from Keith Nelson is bright and potent, the songs are memorable, and Warwick’s performance and sentiments are real. Great stuff. Go and get it!

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Author: Kenny Kendrick

The Limit – ‘Another Drop’ (Silver Lining Music)

The Limit – ‘Another Drop’ (Silver Lining Music)

Sonny Vincent of Testors, Pentagram frontman Bobby Liebling, Slime drummer Alex Schwers, Dawnrider guitarist Hugo Conim and U.D.O./Dirkschneider guitarist Dee Dammers, with Alex Farrar on bass, this, ladies and gentlemen, is indeed a super group, with the emphasis being super. Loud, in your face, zeor fuck given, The Limit are a collision of punk, hard rock and metal produced with care and attention to detail and bringing the finest out of the performers.

The emphasis is on the songs that are ringing with attitude and a menace in the delivery – Christ, if a former heavyweight like, for instance, Guns N ‘ Roses released ‘Calling Card,’ the fan base and media would wet their collective panties with excitement and praise. Vincent is on fire- no, make that FUCKIN FIRE! In-your-face hard rock being rinsed from his fretboard with passion for what he’s doing and a belief in the music. It’s not predictable in fact, it’s unpredictable, flying by the seat of its pants. It’s dangerous, but most importantly of all, it’s great songs.

Every chord matters; every vocal is delivered like they truly mean it. The other great thing is this album has fifteen of the bloody bangers for your consumption. I’ll say it here I’ve always been a fan of Sonny Vincent, especially his solo stuff and the various guises he’s released records with. My introduction to Liebling was the debut Litmit record, and to be fair, I saw the fly-on-the-wall doc about his struggles, and it’s great to hear him in such fine fettle here. ‘Another Drop’ is feral, carefree and defies age. Let’s be honest, these aren’t kids here, but they teach the kids a thing or two about how it’s done. ‘Stalemate’ is full of boundless energy and a great melody its like a runaway train careering right into your ears.

If you want snotty punk n roll, then look no further than ‘Sidetracked ‘. What a tune this is; it’ll be in your head for days and reignite your love for loud, energetic punk n roll.

These guys don’t follow; they lead. It’s a record void of studio trickery masking the talent. It’s all out there for you to hear. The Limit have once again delivered an exceptional record that any discerning rock n rolla should hunt down immediately: no bullshit, just steaming hot rock n roll played from the heart and kicking out the motherfuckin’ jams, baby – buy this record!

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NY Loose – Remastered Monolith Kids on LP & CD

NY Loose – Remastered Monolith Kids on LP & CD

NY Loose – Remastered Monolith Kids on LP & CD

Release date:  16th September 2026

Order here (UK/International) : HERE

Vinyl: £33.90 + shipping / CD: £13.90 + shipping

Order here (US only) : HERE

Vinyl: $38.99 + $8.00 shipping / CD: $14.99 + $5.00 shipping / Vinyl & CD: $68.98 inc shipping

Check out the video for a special acoustic version of ‘The Luckiest Girl’*: HERE

Brijitte West and NFA Promotions announce a long-overdue collection from one of the ’90s underground’s best-kept secrets. The newly remastered NY Loose – Monolith Kids LP & CD will be released on 16th September 2026.

This remastered collection features the complete Loosen Up! EP along with fan favourites from the band’s sought-after independent release Born to Loose. As a special bonus, the album concludes with NY Loose’s electrifying cover of ‘Cheap Tragedies’ by the iconic punk band The Avengers.

The collection highlights include ‘James’, co-written with Gary Sunshine of Circus of Power, and ‘The Late 20th Century Blues’, co-written with Richard Bacchus of D Generation.

More than three decades after its original release, Monolith Kids captures the raw energy, fearless songwriting, and attitude that made NY Loose one of alternative rock’s best-kept secrets.

‘James’ showcases Brijitte West’s gift for telling deeply human stories: vulnerable, powerful, and wrapped in the gritty, guitar-driven sound that made NY Loose stand out in the New York underground scene. Gary Sunshine’s collaboration adds another layer of authentic New York rock credibility to an already exceptional track.

‘The Late 20th Century Blues’ is a love letter and a farewell to the final days of twentieth-century rock culture, crackling with swagger, attitude, and razor-sharp guitars. It captures the excitement, uncertainty, and beautiful chaos of a generation living for the next great band and the next late-night club. It’s New York rock and roll distilled into four electrifying minutes.

One of the band’s most heartfelt performances, ‘The Luckiest Girl’ reveals the emotional depth behind NY Loose’s hard-edged exterior. Brijitte delivers one of her most captivating vocal performances, balancing tenderness with quiet strength in a song that lingers long after the final note. It’s a reminder that the band’s greatest weapon was never just volume—it was honesty.

‘The Desperate Hopeful’ explores the determination to keep believing when life keeps testing you, pairing introspective lyrics with soaring melodies and the band’s signature blend of grit and beauty.

Monolith Kids stands as the definitive collection of NY Loose’s independent years. This is a release for longtime fans, vinyl collectors, and anyone who appreciates discovering the artists that true music lovers have treasured for years. 

The remastering breathes new life into performances that have lost none of their urgency, reminding listeners why the band earned such a passionate following and why so many still consider them one of rock’s finest secret treasures.

*Please note – this acoustic (video) version of ‘The Luckiest Girl’ is not included on the album

Bandcamp: https://brijittewest1.bandcamp.com/

Facebook: www.facebook.com/brijittewestofficial

YouTube: https://youtu.be/NGH7Mgj1BFU

Swami John Reis – ‘Navajo White’ (Swami)

Swami John Reis – ‘Navajo White’ (Swami)

Another Day Another John Reis album. This guy has hit a purple patch and is churning out records like they’re going out of fashion, but he always has his finger on the pulse. Be it Plosives, solo, Hot Snakes, Drive Like Jehu or Rocket From The Crypt, the guy knows how to write pretty damn awesome records.

This is his fifth solo album – featuring members of Hot Snakes, Delta 72, Drive Like Jehu, Jejune, Pinback, PLOSIVS and more (If it ain’t broke, don’t fix it). Navajo White is a colour. It’s the colour of off-white interior house paint. Throughout his teens into adulthood, John Reis was as a house painter by trade. So it makes sense to call the album after a shade of colour. Stick to what you know and Reis obviously knows paint and rock n roll.

This is the fifth Swami John Reis album and features Jason Kourkounis (Hot Snakes, Delta 72, Night Marchers) on drums as well as contributions from Rick Froberg (Hot Snakes, Drive Like Jehu, Obits) on guitar, Gar Wood (Hot Snakes, Tanner, Night Marchers) on bass, Joe Guevara (Jejune, Swami and the Bed Of Nails) on piano and keyboards and Rob Crow (Pinback, PLOSIVS) and Jacob Turnbloom (Mrs. Magician) on backing vocals. So it is his comfortable crew who don the rock n roll overalls and start spraying the familiar tones around the studio.

‘Its Not Fair’ kicks off proceedings with a sprightly tempo washing over the canvas with a melodic pop tune and melody building to a chorus via some smart backbeat and chiming guitars. It’s like a ray of sunshine in a dark world. Let it wash over you and turn it up you’ll be singing along in no time at all.

It’s eight songs in under half an hour, with the MO of writing awesome melodies and wrapping them in layers of alternative punk rock n pop. Hey presto, it’s not rocket science Reis has been doing this shit for his whole musical career to varying degrees, but his solo records are so strong. ‘Future Moods’ is more of the same with a dark edge like a Twin Peaks outro tune. Threatening to break out big time but always showing restraint, it’s a thin line to tread, but Reis knows this line like the back of his hand. Whereas the new Afghan Whigs are one morose tempo and don’t break out of the shackles Dulli puts on the band, Reis isn’t bothered by such likes he does wherever the melody takes him. He does the last knockings of summer late-night tunes like ‘From Here On Out’ superbly, and boy, he carries the melody as well and he does the older, more mature punk rocker tunes as well, as he easily goes through the gears.

‘Lies Don’t Lie’ sounds like something the Saints would have penned and shows how good a songwriter he is, Hell, The album closes with a song that reminds me of mid period Bailey Saints and all power to Reis for it, and it’s fair to say we’re lucky to have him as something of a constant making and releasing such great records with the minimum of fanfare and commercial pats on the back, which is where we come in. Buy this record it will brighten your days and make you fall in love with guitar alternative rock n roll again if you ever walked away from the fight, and if you’re still in the fight, then you know what to do. Buy or steal this record its a banger, or as the kids would say – pure fire.

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Author: Dom Daley

Exhumer – ‘Death Mask Messiah’ (Metal Blade Records)

Exhumer – ‘Death Mask Messiah’ (Metal Blade Records)

Legendary German thrashmeisters Exhumer have returned with a brand-spanking-new slab of metallic deliciousness: Death Mask Messiah. Their first album since 2019, it showcases eleven relentless tracks of thrash metal at its finest.

After Exhumer reformed back in 2008, they have made it their mission to continue as a relevant force to be reckoned with. No nostalgia trips here, just top-quality riff-rama that’s as good (if not better) than anything they released back in the ‘80s.

The album opens with the title track, and we are off at full pelt. Superb musicianship, quality songwriting, and perfect production make DMM a very enjoyable listen. American politics and the demise of human existence are just some of the lyrical content on display here, as vocalist M. V. Stein explains: “The misinformation that the federal government used in the ’90s is the same playbook that is being used today and is the common denominator between leadership in the past and present.”

Songs like Sin Bleeder, Eradication and Ravishing Waste have more hooks than your local fishing supplier. Just because Exhumer plays full-on thrash, they still know how to pull you in. Some real earworms on display here, with some Exodus-style gang vocals. DMM really is excellent.

DMM is a wonderful collection of metal mayhem. The entire band are on fire here, but a special shoutout goes to the new rhythm section of bassist and drummer Alex Voss and Jerome Reil, who play their arses off. Supreme!

Brutal, catchy, heavy as fuck. That’s 2026 Exhumer in a nutshell. Go and buy it!!

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Author: Kenny Kendrick

Gatecrash – ‘Gatecrash’ (Randale Records)

Gatecrash – ‘Gatecrash’ (Randale Records)

I don’t suppose it was ever going to be a case of “if” and always more of a “when” Cock Sparrer/Argy Bargy guitarist Daryl Smith and Russ Farrell (Aka Spunk Volcano) from Dirt Box Disco, Spunk Volcano & The Eruptions and Submit would end up recording music together. Firstly, a good few years back now, Daryl penned a piece in a Rebellion Festival programme where he shared his favourite Russ songs and subsequently could be seen side stage singing his head off at every available opportunity when the masked muse and his bands were playing across the weekend. Then Dirt Box got to gig around the UK with Sparrer, releasing a split single with them along the way, before Russ ended up getting involved with some ideas for songs for their last album ‘Hand On Heart’. It’s all been a bit of a journey (as those Saturday night UK talent shows all like to say), really, but finally we have the debut record from Farrell and Smith, and it’s time for one and all to experience Gatecrash.

Ably assisted by Russ’s Dirt Box/Eruptions brother in arms Maff on drums and ex Knock Off four stringer Andy Furr, I suppose all of us here at RPM towers kind of had an idea of what Gatecrash might sound like long before they ever recorded a note, as it was never going to be another musical curveball like the Farrell’s 90s flavoured alt rock studio only project Submit, that released their second album just a few weeks ago.

I will at this point admit though that I was a tad taken aback on playing ‘Gatecrash’ for the first time, largely because as the defiant ‘Still Standing’ rang out from my stereogram what I had forgotten was just how bloody good a singer Daryl Smith is. Of course, long before becoming guitarist in Cock Sparrer and in then turn Argy Bargy he’d fronted The Elite back in the early ‘90s, and whilst the opener might be not unlike Sparrer in some ways it’s when he takes the microphone for ‘Wind It In’ that I can’t help wonder if we’ll ever get to hear that long overdue new Argy Bargy album, I mean that really could be Watford Jon singing.

As for the Russ-fronted tunes like ‘Here We Go’ which quickly follows, these songs sound very much like the less “saucy” end of the prolific songwriter’s back catalogue, and it’s all about the killer hook, of which this album has many. The likes of ‘Av A Minute Mate’, ‘I Still Believe In You’ and ‘Sometimes I Wonder Where You Are’ are quite possibly my favourite non-Dirt Box, Dirt Box sounding songs ever, and if you give these a spin, you’ll be singing along to them at the top of your voice in just a couple of plays. These songs really are the stuff of ‘Legends’ (very bad pun intended).

For yours truly it’s when Smith and Farrell share the lead vocals during the likes ‘Pound For Pound’ and ‘Walk Away’ that I think Gatecrash truly “come of age” with the former a spiky pop punk poke in the eye complete with jagged Weller guitar and chorus to die for, whilst the latter is another rousing anthem that could very quickly become the band’s signature tune.

Then for those of you who are maybe looking for something a little off the streetpunk piste why not check out the acoustic lament to getting old that is ‘One Day’, the Goldblade-like rebel song rattle of ‘Go Big Or Go Home’ or the do-wop showaddywaddy foot stomper that is the bittersweet ‘Consolation Prize’, a song custom built to get us all up on our creepers and dancing into the night.

Written, recorded, released (initially via download/streaming only) and debuted live (at Rebellion 2026) all within a period of just four months, the sixteen songs that make up ‘Gatecrash’ are a true testament to the ability of the songwriters in the band to deliver hit after hit. Plus, for those of us longing to own these songs on CD and/or vinyl, it’s just been announced the album will soon get a full physical release via Randale Records, so make sure to watch the press and social media for more news about that.

In the meantime, grab yourself a bag full of cans, and go get pissed out your head listening to Gatecrash (via all the usual streaming platforms). Just don’t piss your jeans, right… right?

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Author: Johnny Hayward

Dead Pioneers – ‘Wagon Burner’ (Hassle Records)

Dead Pioneers – ‘Wagon Burner’ (Hassle Records)

‘Wagon Burner’ is the band’s 3rd LP, and is a fiercely political and full-on attack on the rise of fascism and the far right at a much-needed time. It also makes indigenous American issues front and centre. With a sound that draws from the origins of US punk like The Dead Kennedys, Circle Jerks and Black Flag, they mix it with elements of more contemporary post-rock, punk and alternative rock sounds. They’ve also reached out to like-minded alternative artists on Wagon Burner, like Jason from Sleaford Mods and Aimee from The Interrupters, who have contributed to this record.

Frontman Greg Deal is a renowned artist and poet, whose words and art elevate the band’s music far above the standard punk fare. Taking on many subjects that put the band in the crosshairs of the far right, but the band fiercely defends their rights. The album kicks off properly with a raging ‘Nazi Teeth’ that also features Cheap Perfume with a thumping beat. The song rages as Greg lends his calming voice to proceedings over a really harsh, dirty riff as the song sets the tempo and is no doubt to become a thunderous live staple. The next “song” proper is ‘No Kings’ with its brooding, menacing backbeat grows into a heaving chorus that’s chest beating whilst you’re holding onto every word that’s spat out of Greg’s mouth.

The album ebbs and flows, and anyone new to the band should now reach back into their catalogue to see where they’ve grown from to fully appreciate their motivation and positive messages. Dead Pioneers have the potential to be huge on the alternative scene. Take the collaborations they’ve engaged with on this record, Sleeford Mods, who are also outspoken, especially on UK politics and punk throughbreds, the interrupers who join the band on ‘Never Alone’ with its melodic uptempo rager.

The band has branched out, adding variety and tempo to their album, and with the guest appearances, it should pull in a diverse audience who might not otherwise be enticed by Dead Pioneers. The production is big, and every space is filled with a big, bold peacock punk rock. The Sleaford Mods track is some slick new wave with the thumping rhythm before the collab chorus.

The second half of the album sees no change in the quality of songs offered. ‘Seeing Red’ begins with spoken words but builds into a heaving beast of a track, justifying seeing red, but Greg channels that anger into an awesome energy. What a tune. Then to follow it up with the pure rage of ‘Circle Jerk The Wagons’ is brutal, sounding more like Keith Morris than Keith Morris – superb stuff. But wait, they’re not done with the bass and drums intro of ‘Zealots’ takes that rage into another direction, thumping stuff.

Before we’re done, ‘Nobody’ lays it all out there, it had me thinking they should tour with Grail Guard, that would put a rocket under the backside of punk rock. Don’t mix politics with music, people say, but I say punk rock has always been political, and so it should be, but make sure you’re on the right side of history, and albums like ‘Wagon Burner’ are life-affirming slabs of punk rock that should be championed far and wide, so get in line, kids and get an earful of Dead Pioneers before they blow up. Another contender for album of the year, and this one speaks truths at every turn, lifting each other up and is a real positive record in some tough times. Buy this record, you won’t regret it.

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Author: Dom Daley