Blacklist Union continue to create their own irresistible & shamanistic blend of Stone Temple Pilots, Guns N’ Roses, Malfunkshun, The Cult & Mother Love Bone. Following the 2024 singles ‘Horns & Halos’ & ‘Hey Mr Superstar’, new single ‘Mississippi Moonhound’, a swampy, swaggering anthem that captures the feeling of being haunted by your past while howling into the night for something more.. The debut single from the forthcoming LP ‘Slay the Dragon’, the band’s 6th studio album. Produced by Christopher Johnson (Evanescence, Hans Zimmer, Scott Weiland, Josh Todd, Bryan Adams, Phoebe Bridgers) Previous album ‘Letters from the Psych Ward’, racked up over two million streams.
Blacklist Union main man Tony West was raised in the Bronx on Ramones, Bad Brains, & the New York hardcore scene. ‘Go West young man’..Tony made his way to Los Angeles as a 19 years old, initially collaborating with guitarist Todd Youth (Murphy’s Law/Danzig) & Malfunkshun, who had been kept active by Andy Wood’s (Malfunkshun/Mother Love Bone singer) brother Kevin Wood. In 2006 Tony decided to pursue his own musical direction, and Blacklist Union were formed, the band’s debut album, ‘After the Mourning’ was released the same year. The band is currently managed by veteran industry pro Paul Crosby from the Grammy nominated, multi-platinum band Saliva. West also recorded with Saliva, and Jon E. Love (Love/Hate) back in 2014.
Blacklist Union has earned a reputation for their explosive live shows. Last November, they stormed the West Coast with punk legends Dead Boys, followed by a December tour with former Saliva frontman Josey Scott, hitting Tennessee, Colorado, & California with their trademark intensity. West says, ‘Our music will transport you from the gritty streets of the Bronx to the wild energy of Los Angeles..’
Welcome to the Wild Wild West…
Blacklist Union LIVE – Cruefest Hollywood @ the Whisky A Go-Go – 8901 W Sunset Blvd, West Hollywood Los Angeles – July 12th, 2025 Bar Sinister -1652 N Cherokee Ave, Los Angeles – September 13th, 2025 Social Media/Online
Seattle rockers The Drowns’ debut album ‘View From the Bottom’ gets the proper reissue it deeply deserves. In case you missed this first time round, Pirates Press have done the decent thing and given it a new lease of life and energy, and hopefully taken it further round this spinning rock than previously.
There is a gritty attitude in these songs that’s bursting with energy coming across like a youthful Handsome Dick meets Mike Ness on the vocals with a working class rock n roll feel bursting out of your speakers. The album sounds better than ever, thanks to the expert re-mastering job courtesy of legendary Seattle producer Jack Endino (Nirvana, Soundgarden, Murder City Devils…just to name a few)!
The Drowns have spent the last 7 years doing it their way, with a sound that’s part Rancid in places with the same kinda energy that they have with a dream in your heart and determination in your feet to carry you around the globe and back hoping that something resonates with an audience and within these tracks there is easily enough great songs bursting with passion and honesty Like ‘Time Slips’ which has that x factor in its melody that collides with those rough distorted guitars and they all marry with a gang vocal chorus that is made to endure.
This new version features all new art, with a minimalist, black on black spot-matte jacket with a metallic red foil-stamped pitchfork paying homage to the original album cover photo, this looks a little classier if I’m honest. Following the original album closer “Darkness” is an encore of a bonus track: a cover of ‘Satyagraha’ by 7Seconds. always good to mix up these re-releases and a new lick of paint and bonus tracks, it’s for everyone, old and new. Oh, and I hope Bobby’s doing ok after going back on the gear. I got on board with their excellent ‘Lunatics’, so this is great to see with a new makeover for 2025. Get on punk rockers, you won’t regret it.
View From the Bottom by The Drowns is available for pre-order via the Pirates Press Records
Right here’s the deal, Kirk Brandon has revisited Spear Of Destiny albums before with very favourable results, so why not continue that trend with a couple more and retitle them ‘Janus’ and re-record them with choice B Sides and left off the originals. What 2025 delivers is a modern sounding bells and whistles full bodied audio assault on plenty of Staple Spear Of Destiny classics and if you’d never heard of the band and their music with ‘Janus’ as your only reference you’d be fuckin delighted with a sonic modern sounding all killer no filler double album. To be fair, the lineup helps when they’re this bloody good, as well as adding their feel and take on these tracks.
There you go in a nutshell, if you are new to Brandon and his music, then work your way backwards with this bastard. Cast your mind back to the late 80s and ‘Outland’ in 87 followed by ‘The Price You Pay’ in 88 throw the running list in the air and start again in 2025, sure the songs have stood the test of time well and aged like affine wine as has Brandons vocals to be fair. The Distinctive style is intact, but a mature well well-rounded delivery is harnessed, and the sound of the band and production is excellent, and whilst a project of this nature could potentially fall flat, this most certainly doesn’t.
Two years in the making Brandon has alluded to the reasons why and why now. He went on to explain now was the time to deliver what he’d originally imagined the records to sound like and hes justifiably proud of how the project has turned out and so he sould be.
Not being a stranger to revisiting old music, this one has some proper bangers given a facelift and the sound is full blooded and much richer, take ‘Soldier Soldier’ for example, which has had the missing last verse put back in but to be fair hearing these songs like this for the first time in a long time has been a real pleasure.
Also, the CD version includes 6 bonus tracks. So raise a glass to Kirk and a special mention for Steve Allen Jones, Phil Martini, Craig Adams and Adrian Portas, and Clive Osborne deserve credit for their part in bringing these songs back to life. Quite simply, buy it!
A 28 date UK tour will commence on Wednesday 28th April 2025 and conclude on Sunday 1st June 2025 to support the release, including the now infamous Westworld Weekend in Wolverhampton UK, Kirk Brandon’s fan club weekender now in it’s 21st year!
So you’re prepared to stand in line this April for a copy of Bluey or the Dead Or Alive seven-inch single you never owned, or maybe some obscure soundtrack or Elvis compilation, it’s a broad church. Maybe RSD has lost its gloss and you won’t touch it with a barge pole. Me, I’m torn because there’s always something I’m after, but a lot of the 2024 list made it onto the mailorder lists and with a few exceptions, most were available at decent prices. This year is more of the same with a few eyebrow-raising listed costs thrown in just to upset us all. Heres a few in the mixed bag that I’ve come across and some I’ve been lucky enough to have got hold of to review. Sure there are hundreds more released this April 12th and you might not agree with my selections but good luck in whichever way you choose to spend your money and I can only apologise on some of the prices this year they are truly crazy and maybe the independent retailer has managed to begin canabalising itself and who knows where the cost of a new record in 2025 is heading but until the dust settles these are a few solid choices with the previously reviewed “utter Filth” choice of The Dwarves who won this years RSD 2025 release of the day challenge hands down.
The Adicts – Rockers Into Orbit (Jungle/Fallout Records) ‘Viva Le Revolution’ sounding like it’s old school bootleg meets brand new shiny tech for a close your eyes and let the music wash over you moment. Like it or loath it, RSD does throw up some curious releases, and this year is no exception with this one on clear vinyl, it’s The Adicts live and in the raw, where they’ve always worked best. Slamming from one into the next, it’s a great showcase for just how bloody good The Adicts are live. Sure, the theatrics from frontman and Ipswich Town fan Monkey the Adicts have some proper bangers in their repertoire from the opener and one of their most well-known song through the rapid ‘Lets Go’ to ‘Joker In The Pack’ ‘Chinese Takeaway’ and ‘Bad Boy’ they’re all here to be fair and a whole lot more besides. If you’re looking for VFM this RSD then this is a good bet with a whopping thirteen bonus tracks and a much improved jacket to house this splendid double album in. Pick one up, it’s excellent and has not been pressed for thirty-five years! My God, how time flies.
UK Subs – Japan Today (Jungle/ Fallout Records) The Subs in the 80s was a curious thing, and post Gibbs, Roberts, Harper and Garrett line up it was always going to be tough. The last few RSD have seen plenty of Subs action with comps n stuff and they are constantly havign a boost of the back catalogue with coloured pressings or different formats to keep the fans interested and maybe outside of the general consensus of “classic” subs albums I do like to revisit them from time to time so I have no problem with reissues on RSD because we do need to champion bands as good as the UK Subs. In fact the last reissue was the really good ‘Flood Of Lies’, so I’m not shocked that ‘Japan Today’ is next, although I do vaguely remember there being a gatefold version I purchased a few years ago of this album. The LP starts off with the excellent ‘Another Cuba’. I’ve always been a fan of Darrell Bath’s guitar work. The guy was so underrated. ‘Punk Rap’ always made me giggle and as the kids would say, WTF. Anyway, moving on, ‘Streets On Fire’ is Subs by numbers and something Charlie could write in his sleep and the likes of ‘Captain Scarlet’ might not be remembered as fondly as a ‘Warhead’ or ‘Limo Life’, but hey, it is what it is. Side two might be a little duller, but it does have ‘Hey Santa’ and that’s always welcome for an April released album, there’s always ‘Surf Bastard’ and the excellent ‘Street Legal’, something of a tip of the hat to Johnny Thunders, I always thought with its very Dolls like groove. It is remastered, so to be fair, it’s never sounded as good as this, and being RSD it’s pressed on Orange vinyl, so get in line Subs fans, this one’s for you.
Fields Of The Nephilim – Fallen (Jungle Records) Ah The Fields Of The Nephilim and their 2002 album ‘Fallen’ the bait on this particular hook is simple, its not been available for ages (over a decade to be exact) this gatefold double album contains an essay from Mick Mercer its on yellow vinyl (should have been smokey colour – missed a trick there) and the bonus disc is ‘Live In Roskilde’ from 2000. Always an album that took an eternity to get going with the intro and then the epic ‘From The Fire’, it’s an album that took a while to create an impact with me as well. It wasn’t until ‘Subsanity’ hit the speakers did I take notice, and it never had the impact of the very early days of the band, but this version is well worth picking u,p considering the bonus disc is so bloody good. The final two tracks being ‘Dawnrazor’ and the mighty ‘Psychonaut’ turning this maybe purchase into a must own.
With a few years between this albums release and the live show to now – this record and it’s dark offerings has been fermenting and a few things stood out such as the sonic scapes on this remastered version or maybe my equipment is just better now as I’m older but the depth of ‘Hollow Doll’ and the title track in particular sounded much better than I anticipated whoever did the job did it very well. As mentioned, the real gold here has to be the inclusion of the live material live at Roskilde. It’s sadly not the full ten track set but highlights of six of the best: ‘Preacher Man’, ‘Moonchild’, ‘For Her Light’, ‘Love Under Will’, ‘Dawnrazor’ and ‘Psychonaut’, which will justify about £30 of any self-respecting Goth’s money.
Neurotic Outsiders – ‘Self Titled’ (Rhino Records) Double LP that originally came out on Madonna’s label featured a superstar lineup of Duran Duran’s Andy Taylor, Steve Jones, Duff McKagan, Matt Sorum. An album of its time in the 90s that should have been huge and a base point for all budding rockers to check in on and learn how to hone their craft. Jones’ guitar tone and croon is the album’s high point – ‘Nasty Ho’ is what a rock album should open with. It sets the tone and lays down a marker for others to follow, and what a meaty riff it is too.
It never got the love it deserved and sort of crept out of the RSD 25 list rather than with a fanfare announcing its arrival. This is, for me, exactly what RSD is about. A record having its due respect paid and put on vinyl (finally) with the second disc being the Japanese-only bonus disc. Beautiful, now get the band back together and let’s get some proper touring done. It’s a great blend of covers and original songs penned by the individuals and interpreted by what is and was a real super group no doubt about it. Possibly my pick of the RSD class of 25.
The Dictators – D.F.F.D. (Mainman Records) Another of this year’s gems. Dictators Forever Forever Dictators was the last Studio album the band recorded with Handsome Dick Manitoba and what a fantastic set of songs it is. From the anthemic ‘Who Will Save Rock N Roll’ to the intimidating ‘Avenue A’ possibly the best two songs the band ever wrote.
‘I Am Right’ is a swift punch to the nose and ‘Pussy And Money’ is pure NYC. If you can find a copy out in the wild, then don’t hesitate. They might be in the throes of an irreparable feud of words between the band, but they can be proud of this awesome album – Buy It!
In the quarter of a century that the Teenage Cancer Trust has been putting on concerts at the Royal Albert Hall, over 300 bands have played over 132 shows, helping raise over £ 34 million for the charity. Cancer is something that unfortunately will pretty much affect all our lives in some way during our time on this planet and even though tonight I’m ultimately here to see Frank Carter fronting the Sex Pistols it’s why I also don’t mind breaking my ceiling limit for a gig ticket to in turn maybe help someone through their battle with this horrible group of diseases.
Anyway, once through the doors tonight my immediate take on the event and venue is they are both very impressive indeed, everyone from the door staff to the people collecting money for the charity are all happy to have a spot of playful banter and I’m in and out of the merch section (t-shirts ranging between £20-£30) with a handful of booty in double quick time. Given that this event sold out pretty much on the day the tickets were released, we managed to pick up a couple last minute, in the second-tier boxes, and I must say that the service afforded at this level is not too dissimilar to that at a Riu hotel, exceptional.
Everything runs like clockwork at these events too, and as such, bang on 7:30 after a brief introduction from a duo of Absolute Radio DJs I get to sample The Molotovs for the very first time. Not to be confused with the band of the same name singed to Fierce Panda back in the noughties, this lot are formed around the brother/sister duo of Mathew on guitar and vocals and Issey Carts on bass and specialise in the type of spikey late ‘70s mod revival choons that made The Jam household names. By the amount of Molotovs shirts visible here tonight they’ve certainly made a big impression in a relatively short space of time, and with debut single ‘More More More’ only hitting the shelves this week, it’s extraordinary to see some fans already mouthing every word to the likes of ‘Johnny Don’t Be Scared’ (I’m not, ouch) and ‘Today’s Gonna Be Our Day’ which bookend their short, sharp set. There’s even time to give Bowie’s ‘Suffragette City’ a mod makeover, much to my travelling companion’s chagrin (Mrs H is something of a Bowie purist), but it fits right in with the band’s own material, so kudos to them for making the song their own. Expect to see The Molotovs everywhere during the rest of 2025.
“I didn’t think they’d put that up,” laughs Kid Kapichi frontman Jack Wilson as he seems genuinely surprised that the band’s ‘kissing’ Putin/Trump backdrop is glaring out from the huge video screen hung up directly in front of the Albert Hall’s monumental grand organ. The Hastings four piece are certainly not afraid to wear their politics on their sleeves, and out on the road promoting their eclectic third album ‘There Goes The Neighbourhood’ they are right at the forefront of a movement of young UK bands eager to speak their minds when it comes to subjects like Brexit, racism and austerity. The guys waste no time kicking up a racket either, ploughing straight into the likes of ‘Artillery’, ‘Can EU Hear Me’ and ‘Rob The Supermarket’, along with the tune that first introduced me to the band, ‘New England’. Sadly, there’s no Bob Vylan on hand to guest on the mid-section tonight, but Dumb Bhoys Fishing Club add their own twist to proceedings in fine fashion. Kid Kapichi are one of those great British bands that straddle genres and defy being labelled with a genre, one minute they are heavy as Black Sabbath, the next the chorus has you singing your head off like you are watching Blur and it’s all topped off with a frontman who comes from the Terry Hall school of cool too. I’ve waited a long time to see Kid Kapichi live and the lads certainly did not disappoint. I just need to witness them in a headline capacity now.
Talking of which, before we get to our headliners tonight there’s a reminder of the great work that the Teenage Cancer Trust does for young people around the UK via a short film looking at their fantastic work, with some of the patients featured in the film then joining the Absolute Radio DJs on stage for a gigantic selfie with the Albert Hall audience this simply reinforces why, outside of the music itself, many are here tonight, to make this event a total sell out.
A friend of mine commented recently that there could possibly be more people in the Albert Hall when you go to see Sex Pistols with Frank Carter than saw the Sex Pistols back in the whole of 1976/77, and you know what, he’s probably not far off the mark. So for all the “there’s no Pistols without Johnny,” and “I saw them back in ’77” (yeah right) rhetoric that seems to make social media such a toxic and divisive place these days, when you look at the demographic of tonight’s crowd, for every one of those keyboard warriors there’s an army of younger people who weren’t just not born when ‘Never Mind The Bollocks’ was released, but also not born when ‘Orchestra Of Wolves’ was released, just waiting to snap up a ticket for tonight’s headliners in their place. The mix of young and old is something that is certainly not lost on Frank Carter as he enters the mosh pit for the first time tonight, the frontman urging the crowd to create the largest circle pit the Albert Hall has ever seen (I’d guess its possibly the first its ever seen too) during a mid-set ‘Silly Thing’, whilst making sure the audience leave just enough room for his “ego” (his words, not mine) at the very eye of the storm.
Look, if I’m totally honest I miss John Lydon fronting the Pistols just as much as the next person, but for the band to function here in 2025 Paul Cook, Steve Jones and Glen Matlock needed a shot of something different to make them smile and enjoy their Pistols legacy once more, and in Frank Carter they have found their man. From opener ‘Holidays In The Sun’ through to the euphoric show closing ‘Anarchy In The UK’, the bloke doesn’t stand still for a second, he might be dressed like he’s up on a charge and just off to court, but the ear to ear grin on his face when he spits out the lyrics to the likes of deeper ‘Bollocks’ cuts like ‘Seventeen’ and ‘New York’ along with single B-sides ‘Satellite’ and ‘No Fun’ speaks volumes about his love of the band he’s honoured to now be a part of.
‘Pretty Vacant’ sees Carter take his first of many trips into the audience (like he’s always done in all the bands he’s fronted) whilst his crowd walking/standing technique during a ferocious ‘Bodies’ (“this is my favourite song” he declares) is up there with an in his prime Iggy Pop, make no mistake. Which rather conveniently brings me back to ‘No Fun’ and the band introductions segment where each member of the band got their chance to shine, and Steve Jones chooses to play out a series of feedback Morse code notes, laughing his head off in the process. That’s the spirit within the Sex Pistols right now, and it’s rather wonderful to witness it. Then, via a tale of admiration for the guitarist, Carter coaxes Jonesy into admitting that this is his first time inside the Albert Hall, and he’s headlining the place in front of over 5,000 people. Who said you can’t still be winning at things in life even when you are almost seventy years of age, eh?
If I could have had a version of ‘Submission’ added to the set list too it would have rounded off a perfect night, and whereas I was perhaps looking at this gig as drawing a line under all matters Sex Pistols it’s got me looking at some of their other shows now too.
All in all then tonight was another fantastic success for everyone involved, it even made the nightmare detour laden road trip back to Wales seem worthwhile. Motorways? Who needs them eh? God save the Sex Pistols and God save the Teenage Cancer Trust.
Wow, that there John Reis, he be on fire people releasing records like it’s going outta fashion. No writer’s block for Speedo the former Rocket From The Crypt fella.
Celebrating 55 years in the music business! Swami John Reis is back with his second LP in eight months. ‘Time To Let You Down’ is a raw live melody man on a mission, blasting out raw feral punk rock like its going out of fashion and going to be outlawed by the federal government for being a threat to the kids. This is eleven tracks full of proper tunes from your fist in the air songs, to the nodding head collection, right through to the shit kicking department. Reis isn’t fucking about here just cashing in and phoning in a record because he has to he’s doing it because he needs to release these rabid beasts.
The album opens with the rabid title track and it never looks back from there. Its a dash to the finish with tempos raised and the melodies dialed in to the max. There’s a raw anthemic vibe Reis has struck upon, and he’s mining the seam to the limit, something he’s done all his career to be fair, but this one is bristling with vibrancy and a joy in such troubled times. It’s punk rock, baby, but with the attitude comes a maturity in the melodies that are here to take it somewhere fresh and ‘Basement Envy’ is proof enough to me that this is one hell of a band and Reis knows it. Kick out the jams you bastards, but don’t forget the Beach Boys melodies. ‘Boomer Rang’ is like a chainsaw ripping through your speakers until the soothing keys tickle your lobes like the ultimate audio sweet and sour. The first single ‘Feed The Dogs’ is a brooding bruiser in comparison to its predecessors, but that’s the beauty of this record, it sounds like it’s got the lot.
Flip the record and buckle up, this might get dangerous. ‘Prince Of Parade’ might be your typical Reis kinda song with a thumping driving beat and so much harmony and melody it makes you sick. It’s noticeable that only a couple of songs stray over the three-minute mark because Reis knows what captures the attention in the 21st Century, and time waits for no man. Get in – out and get the job done and if you can’t get the point across in under three minutes, you’re message is wrong.
Have I mentioned the melodies? sure as shit I have and disciples already know this but if this is your introduction to the world Of John Reis then let me reiterate that the guy loves a melody and here is an album packed to the gills with em and ‘Kamen Rider Theme’ is one huge melody and the only thing Stinking on here is the amount of talent on offer. ‘Because I Stink’ is fun and that keyboard is hypnotic and pinching melodies and lyrics is always cool, one of my favourites so far has to be the brilliant ‘Cold Feet’ the groove they hit is addictive and mention has to go to old comrades from Hot Snakes who make contributions Jason Sinclair, Bed OF Nails Joey Guevara is on those synths and of course Reis does a smart job on the production as well. I expect the next one before Christmas, and if it’s half as good as this, then Swami John Reis might well have a couple of albums in the shakedown for album of the year – just buy it!
Isn’t it a treat when you discover a “new” band via online friends? Especially when they really tick your boxes. So, may I introduce you to punk pop duo, Human Toys? They seem to have quite a following here in France. I mentioned them to my bandmate Mickey, who already knew their stuff, typically a man of good taste.
If you get your kicks from short, snappy Ramones-style pop tunes, then look no further. Poupée, on vocals and theremin and Jon Von on guitar and vocals bring you 13 new songs that grab your attention as they fly by. 2025 seems to be the year of great, short albums, but, as ever, it’s quality over quantity/time. You just know that Dee Dee would approve of ‘Devil’s Night’ and ‘Emma Peel Explosion’. There’s no time to think before ‘Generation Shit’ takes off, not unlike Cyanide Pills, and throughout the theremin does what Pete Shelley did so well, adding simple, addictive melodies.
Another similarity to, say, ‘Rocket To Russia’, is that if you love one song, you’ll love them all. It’s been done to death, but it’s not easy to write short, catchy songs, and the Toys really have nailed it. In fact, there’s no chaff on this or their debut, ‘Spin To Win’, so I felt compelled to buy ‘At The Poor Cow’ on vinyl (no CD available). As it’s from the EU, I’m not clobbered with 14€ customs tax! Rant over.
‘Breakin’ The Law’ isn’t the Judas Priest song (sorry Mr Hayward), and whether it’s ‘Go, Go, Alco’ or ‘Human Zoo’, your feet will be itching to get bopping. It’s not big, it’s not clever, and it’s all the better for it. It’s pure fun with great tunes, and there is a hint of The Rezillos here and there. I don’t know if there’s bass when they play live, but there’s plenty on the record, allowing the likes of ‘I’m Sick Of You’ to have the required clout. If Spotify is good for anything, you can listen to it and then order the album. What are you waiting for?
The Huntingtons, from Maryland, have been around for over three decades now but perhaps a little bit of history is needed as they have never really broken through to the mainstream. My first listen to them would have come back around 1997 with their ‘Fun and Games’ album. At that point, the main influence would have been the likes of the Queers or Screeching Weasel. One of the songs that grabbed me was a cover of the Ritchie Valens hit ‘Come On, Let’s Go’ which kept me coming back to the album and songs like ‘Alison’s the Bomb’ and ‘Losing Penny’ became band staples. The band would then quickly morph into a heavily influenced Ramones style band that has stayed with them over the years. In that time, they have released Ramones cover albums and numerous studio albums that have ranged from good to excellent. The band signed with Tooth and Nail Records early in their career, which unfortunately isolated them a bit from the mainstream, because the label was associated mostly with Christian bands. There has never been any gospel flavor to the band though, and they will say they are not a Christian band. Tooth and Nail did have a sizable reach for an independent label and worked with the band for many years.
About 25 years ago, the band released two full-length albums close together with the ’Plastic Surgery’ album including one of my favourite songs by them ‘Heartbreak at the Hardy Holly.’ The other ‘Get Lost’ contained another long-time favourite in ‘I’m Not Going Downtown.’ These excellent albums could have been future Ramones albums after ‘Adios Amigos’ and received a ton of play in my CD player. The band has continued to release albums over the years, but the reality of day jobs and responsibilities has reduced their output and the number of shows they play. Some things have not changed though including songs set in the world of the ‘Back to the Future’ movies that are extremely catchy. Back in 2020, the band released ‘Muerto, Carcel, O Rocanrol!’ for the first time. The band had written a bunch of excellent songs and nailed them in the studio. Unfortunately, the mix on the album just didn’t work well. It was an album that I liked, but it just felt off sonically. The band played fewer and fewer songs from it and realized it needed a remix after releasing an EP that sounded significantly better. Flash forward to today, the band has released the ‘reborn’ version which has greatly benefitted the album and finds me now playing it on repeat.
The band holds tight to its Ramones stylings with Mikey still channeling Joey’s spirit. The first song ‘Too Old to Care’ kicks the album into gear with a sticky chorus that like many of their songs over the years includes some ‘woo ooh yeahs’ in the chorus. The band provide a nice nod to Iron Maiden in the CJ styled ‘The Slammer.’ The album really shines in this new lease on life. ‘Say Hi to Your Mom for Me’ provides another song for ‘Back to the Future’ in a stomper that lasts just over a minute and reminds me of their old song ‘Dies Saugt.’ ‘Be With You’ delivers a killer chorus using very few words but delivers them cleverly and catchily. The guitar work by Cliffy and Jonny hits the spot here and across the whole record.
The band has stretched out a bit as well with ‘Innocent’ stretching out to almost 4 minutes with an unexpected bridge that slows the song down from its mid-tempo beat and then returns to full strength in a way that makes the song more powerful in its use of dynamics. ‘Not Penny’s Boat’ delivers the goods and the unexpected bonus acoustic version works well too. The words in the chorus won’t all connect with you at once, but they will in time as the main version is a favourite among favorites here.
Lyrically, the band cover many facets of life. ‘Things Are Gonna Get Better’ provides a shot of optimism and hope in the dark times in life. As my Dad is struggling, it feels like the band is singing to me. ‘Liar’ provides another great hook in the chorus while addressing the deceitful people in our lives. Old album closer ‘I Don’t Wanna Die Alone’ provides a slower anthem that feels a bit like the Ramones ‘I Wanna Live’ and addresses something most of us have probably felt at some point in our lives. Mikey (bass) and Chris (drums) really create a great groove in the song.
I didn’t touch on all the songs, but there are no weak spots here now. This reborn version of the album has really helped save these songs from simply fading into the band’s catalogue as an afterthought. The added cover of ‘The Breakup’ provides another nice bonus. If you have never checked out the band, this isn’t a bad starting spot. Their run of albums from ‘High School Rock’ through ‘Songs in the Key of You’ would be where I would go next, but that is probably just personal taste for me as the recent live album ‘Ciao Italia! Live at Punk Rock Raduno 5’ is also highly recommended. This album? Revitalized, Reborn, and Recommended Listening!
‘Muerto, Carcel, O Rocanrol! Renacido!’ is available now.
Tyla has soundtracked about 37 of my 51 years here on Earth. For me, it all started with ‘In the Dynamite Jet Saloon’ by the Dogs D’amour. The first time I heard them was a life-changing experience where the band resonated deep in my soul through their songs and music. I still vividly remember the moment. Over the years, Tyla has continued to create a catalogue of songs that I can tie to specific moments in my life. I am not sure what the total number of releases between the bands and his solo work currently is. I might need to do a count after writing this review since it will take a while and may require a calculator. Over the past few years, Tyla has continued to strike gold for me with the Balladmongrels and the latest version of Dogs D’amour where he has incorporated some new elements in the likes of ‘Tree Bridge Cross,’ magical acoustic moments like ‘Ghosts,’ and bluesy diamonds like ‘Serpents Kiss.’ After 40 plus years of writing and performing, the perceived expectation is often musical artists cannot continue to develop and expand. With Tyla, there has always been an ability to blend the familiar with some new tricks. I think back to the acoustic brilliance of his first self-release ‘Nocturnal Nomad’ which is another of my all time favorite albums. Why have I dragged on and on about all this? ‘Gilding the Lily’ showcases new twists into Tyla’s sound but also recalls magical moments from his musical past.
Tyla has described this as a ‘guitar album,’ and there is definitely an abundance of lead guitar across these 18 songs with Jamie Turnbull providing plenty of opportunities to break out an air guitar in a way that I have not done since the likes of the ‘Girl Behind the Glass’ and ‘Rollover.’ Ironically, the album starts off with one of a couple of songs that have not totally grabbed me in ‘Baptism of Fire.’ It has grown on me with each listen, but there is some vocal repetition that can distract from what is going on musically. There is great piano work in the song, and it does start the album off with a rocking feel. ‘Cadillac Man’ is another upbeat rocker with some excellent lead guitar weaved through the song. As the lead single from the album, it is an inspired choice. This is prime material that would be just as home back on ‘Errol Flynn’ as it is here and still sounds fresh. The backing vocals are excellent as well. Next up is another of my favourites in ‘Glory Days.’ This is an acoustic rocker that recalls ‘Nocturnal Nomad’ or ‘In Life In Love In Dreams.’ The strings provide great depth to the song, especially the violin that breaks up that first chorus from the second verse. Tyla’s vocals here are outstanding. The electric guitar provides great accents to the song and provides some brief tasteful air guitar moments as well.
The title track slows things down for another stellar vocal performance. Musically, it would not be out of place on ‘The Life and Times of a Ballad Monger’ or ‘A Graveyard of Empty Bottles.’ The mix allows each instrument space to breathe and paint the musical canvas. We return to more rockers with ‘Gunfight’ opening with a lot of electric guitar and musically akin a little bit to the ‘Bloody Hellfire’ album. It is noisy and hopefully has an opportunity to shine in the live setting. Writing this, it dawns on me that this one and ‘Baptism of Fire’ might have been swapped if I did the sequencing. ‘Killerstown’ showcases another excellent vocal on a midtempo rocker that again recalls the likes of ‘The Life and Times of a Ballad Monger’ album.
The first epic type number is next in ‘Don’t Ever Stop Loving Me’ which starts acoustically and builds in power. The electric guitar here takes the song to another level. I sound like a broken record, but Tyla’s vocals on this album are some of the best he has ever put on tape (or digital). ‘Mickey Roses’ reminds me a bit of the previously mentioned ‘Serpents Kiss’ from ‘Jack O Byte Bluesy Volume 1.’ This is another favourite from the album and inspires some air guitar work to go with my very poor singalong, which doesn’t worry I do where no one can hear me. Closing out the first half of the album with the one other song on the album that has not completely clicked with me ‘I Really Love You.’ It is an upbeat acoustic number that, for me, suffers a bit because of the repetition in the lyrics. It also falls victim to the songs that come before it and what follow it on the second half of the album.
Kickstarting the back half of the album, Tyla delivers an epic that when I first heard it reminded me of his classic ‘The Town’ with an electric feel. ‘Human After All’ is a showstopper of only electric guitar and vocals where the guitar notes and Tyla’s vocals intertwine with one another perfectly. How do you follow up a masterpiece? Cue excellent rocker ‘It’s a Shame’ that provides another singalong tune which hits me a little harder at the moment because of my Dad’s health. Raise a glass to those that you have lost in your life. ‘In Plain Sight’ slows things down a bit but also provides plenty of glorious noise. If you want a past comparison, this is one that recalls side B of the ‘Libertine’ album where something like ‘What If’ rose and fell in musical intensity. The difference here is the added tasteful guitar solo and nuances across the song, which is the longest on here by a hair.
‘Religion Kills’ follows and is our second longest on the album. The drum work is outstanding and really helps create a hard rocking epic song. There are some distorted vocals added at the beginning to give the song a different feel. Tyla’s vocals here slay. The guitar is upfront in the mix as well to create an urgency in the song’s feel. If I had to find a comparison, I might go with a full band and studio version of something from the ‘Mightier than the Sword’ albums. After two epic songs, Tyla delivers another excellent midtempo song with some brilliant lyrics in ‘The Special One.’ There are not many choruses that work something like ‘egocentric narcissist preoccupied with power’ into its hook, but this one does masterfully. ‘Do Anything’ is a slow bluesy rocker that showcases more excellent guitarwork and vocals.
Our final songs of the album begin with Tyla whistling over the music to start ‘River of Death.’ It bears repeating again that Tyla’s vocals on this album are incredible. This is another song that hits me deeply for personal reasons, and it hits harder and harder on me with each listen. Our last epic on the album is ‘Written in Heavy Blood’ and provides lots of opportunities for the air guitar to get a workout. The song has a great groove and vocal hook to it. Acoustic closer ‘Love Will Find You One Day’ works perfectly in its tight 90 second length to bring the album to an end.
I am sure one of the ‘complaints’ about the album will be its length at 18 songs in just over an hour. It is a lot to process over the first 5-10 listens, but I would not eliminate anything here. The two songs that didn’t initially connect with me have each continued to grow with every listen. I hate to think how many songs Tyla has written at this point and love that he continues to find new ways to innovate what he does and add new wrinkles. If you are a fan of his work, I think you will love this album. If you have never heard him, this serves as a really good starting point, and I don’t think I could say that about too many artists 40 years into their career. The first quarter of the year has seen a few dynamite releases already, and this one is another that will be challenging for my album of the year. ‘Glory Days’ are the here and now.
‘Gilding the Lily’ is officially released March 14, 2025.
Every now and then an album comes across your path that will have a real impact and knock you off your feet, almost a physical thing that can be awe-inspiring and breathtaking. Not to be too hyperbolic but Punter did that when I was sent this to review I was instantly blown away. The first play was exhilarating and I had to take a break and do something else then go back to it a day later just to see if I’d lost my senses or if my first impression lasted into the second and then the third and so on. Fuck me sideways, this album is the dog’s bollocks I liked their debut EP from a few years ago bu tthis is next level. I have no idea why, it’s not original nor is it so groundbreaking it’s genre-defying or something so new I can’t make head nor tales of it. It’s a loud rapid punk rock record from Australia (der the cue is in the title) but the delivery and passion contained within touched me like a visit to Lourdes and a dunk in the holy water of punk rock n roll.
‘Safe In The Bubble’ starts it all off with a simple scuff of the guitar before going in both feet first it’s hardcore but with bells and whistles and so much more. The vocal spit in with more venom than I’ve heard in a while all whilst the guitars slash and hack but the sum of its parts only goes to make the devastating racket that is my soundtrack for the last month or so. Hell, there’s even bagpipes for fucks sake. Bon Scott would have thrown his pipes in the Sydney Harbour if he’d heard this and how to wheeze that bag of air.
The title track is along next with a swift metaphorical kick to the nether regions to take your breath away. There’s something quite beautiful about a band that captures such beauty in such visceral and punishing styles. Punter have their collective finger on the pulse as the music gets faster and more manic but it explodes into a calming acoustic guitar outro that I didn’t see coming. If you think that was brutal ‘Turf Layer’ is up next just to poke you in the eye with a very blunt stick but you keep going back for more.
It’s the soundtrack to the best bar brawl ever and could power a fleet of electric cars for days on one frantic play. ‘The Golden Hour’ almost eats itself before ‘Chin Stroker’ is like a rabid dog out of control in a supermarket taking out anything in its path – frantic – brutal take your pick this shit is happening and I fuckin love it.
Its not all thrashing about smashing everything in its path, oh ok it is but ‘Bone To Pick’ is a bit more mild-mannered and more measured with its twelve-bar riffage and a solo that’s tap tastic and like a missile boring into your ear.
The fact there are thirteen songs on this album is mental it’s spoiling us to the point that anyone hearing this should do so on their own it’s dangerous. ‘No Normal’ is tub thumping tastic – oh fuck it you get the picture this record is the bomb and you should just get a copy its as if Clowns have joined forces with Bronx and a whole host of other great bands and joined forces to write an album that sets the tempo for all future punk rock releases.
‘Rise OF The Technocrat’ is a runaway bassline and hack n slash rampage on the guitar it’s bloody dangerous, seriously don’t drive whilst listening to this or your heading for a world of trouble. In fact this album’s thirteenth offering is the album’s finest and it would seem that everything to this point has been merely setting the way. @It Aint Pretty’ is spot on and the absolute zenith of how to do punk rock hardcore style in 2025. Buy this album right now, don’t think about it just trust me and get your grubby hands on a copy it’ll blow you away. Absolute fuckin killer!
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