Posthumous albums are always a touchy subject. Especially when the artist had true, legendary status. Brian James certainly fits this category; a one-off who kick started The Damned and influenced innumerable guitarists. There’s nothing I can say that hasn’t been said many times before. He had his moments, no doubt, but when I interviewed him a few years ago, he was generous with his time and happy to talk about any subject. His shadow looms large in my record collection, from The Damned, through The Lords, The Racketeers and his many solo albums.
These seven songs are the final ones he worked on. Let’s be clear, while they’ve been mixed, they are very rough and ready recordings. That should come as no surprise, but it needs stating. Some songs sound like the finished product, others are experimental/embryonic. That said, each one is undeniably ‘Brian’, so, if you “want some action?”, let’s jump in…
Joined by his regular comrades Malcolm Mortimer, Austen Gayton, Dave O’Brien and Alan Clayton, ‘In The Blood’ is the song that would fit in best on ‘The Guitar That Dripped Blood’. The familiar, knife-sharp guitar and Brian’s casual drawl is back like an old friend. ‘Soho’ is a bare-bones riff, “less is more”, but still captivating.
‘Giallo Yellow’ is experimental meets chaotic, a hypnotic mess. The Italian ‘Giallo’ novels are apparently an influence on the album, the cover art by longtime collaborator Graham Humphreys echoing the distinctive, yellow book covers. ‘So Sad, Sonny’, with its funky piano, is reminiscent of the Blockheads at times, adding some groove to the mix.
The version of ‘Dance With Me’ is pleasingly different to the original. Piano led, with touches of guitar, ex Mo-Dettes singer Ramona Wilkins-Carlier gives it a smoky, ‘Parisienne’ feel and a touch of class. ‘Ida Strong’ is another experimental groove, the farfisa keyboard sound keeping a primal feel, and ‘Happy Families/Zombie Song’ is practically free jazz, complete with duck quacks and Bo Diddley drums. Don’t say I didn’t warn you! The CD contains four extra songs, including ‘Living Doll’, which I haven’t had the chance to hear yet.
Inevitably bittersweet, it is nonetheless a treat to hear Brian’s unique sound one more time.
Time travel exists. Don’t ask me how it works, but I definitely have proof. I am going to urge you to check out the proof as well. Apparently, the event happened down under in Sydney, and the four-piece band Large Mirage found themselves transported from San Francisco back in the late 60’s to Australia in the 2020’s. A fortuitous rabbit hole one night on YouTube made me aware of Large Mirage. This second EP by the band stuck with me immediately, as I found myself wishing I could play multiple songs at the same time. The band takes a Nuggets approach to their music and is not afraid to put some pop filled choruses in them when needed.
‘Miss Okay’ kicks off the EP and was also the first song I heard by the band. The song reminds me of what was coming out of the garage nuggets from San Francisco way back in the day. The verses have very melodic, fuzzy pop vocals which give way to an even more harmony-filled chorus. The guitars have some bite to them as well. I can almost picture the Monkees watching them play back in the day, heck, maybe that is how they got transported to modern day. ‘Happy Now’ might be my favorite song from the,m as the song has more heaviness to it. The guitar riff could be lifted from the likes of Black Sabbath or Alice Cooper if it were cut out of the song and surrounded by some heavier drums. The chorus remains as catchy as the first song, but does so in a darker way.
Midway through the EP, ‘Wings of Time’ provides another catchy guitar riff with a hypnotic vocal. The guitar solo feels enormous and gets plenty of space in the song. When Rhino Records was releasing their Nuggets box sets (some of the greatest sets ever), I would expect to hear songs like this. That said, these songs sound fresh and vital today. The band then turn in a short acoustic ballad with ‘I Don’t Love Love.’ Everything turns technicolor while the song plays; I am pretty sure I just saw some dandelions sprout out of some really bright green grass when this song was playing. The band closes out the EP with a nearly five-minute rocker that delivers some epic passages and catchy vocals. The guitar solo rips through the speakers with all five songs leaving listeners wanting more.
Large Mirage delivers the goods, and I still maintain they are proof of time travel. The sound may come from many decades ago, but they feel current and essential today. I can see this band continuing to grow, and they won’t be a secret for long, especially when word is they are also an excellent live band. Tune in and crank this up!
The Molotovs came about through necessity and boredom during the heady days of Covid lockdown. Teenage siblings Mathew (vocals/guitar) and Issie Cartlidge (bass/vocals) started jamming, wrote some songs and formed a band. When the world opened up again, they gigged, and then they gigged some more. And they haven’t stopped since! 600 plus shows later, and they have a ferocious live reputation and friends in high places. A series of high-quality singles, gorilla gigs on flatbed trucks and shows with The Sex Pistols and Blondie finally led to the release of their highly anticipated debut album ‘Wasted On Youth’.
The Molotovs unashamedly flaunt their influences over the course of the album. There are many short, sharp nods to Mod, Punk & New Wave and a heady dose of Brit Pop going on. Punk is certainly prevalent on gnarly opener ‘Get A Life’, a one-minute and forty-second diatribe aimed at the naysayers and the detractors. This angst-ridden mash-up of Weller and The Clash is just the sort of anthem that the disenchanted youth need to get behind. A perfect album opener, a great single choice, and the perfect introduction to the band.
You can’t help but reference The Jam while listening to ‘Wasted On Youth’, their influence is all over the likes of ‘Newsflash’ and ‘Rhythm Of Yourself’, even the emotive ‘Nothing Keeps Her Away’ brings to mind ‘That’s Entertainment’. While there is already a long line of old punks and journalists ready to bring The Molotovs down, I see no problem with anything they do. If the songs are good, then it’s good enough for me. And The Molotovs have some good songs. For a songwriter who has barely left school, Mat shows talent beyond his years; he has a lyrical suss and an ear for a catchy melody. The poignant and emotive ‘Geraldine’ recalls early Manics, with great use of structure and melody. And the title track is Frank Turner at his acerbic best. All leave their mark and warrant repeat listening. If I really want to be picky, they lose it slightly on ‘Come On Now’ and ‘Popstar’. Although both sound like early Adam & The Ants, they do feel a bit like fillers compared to the other tracks.
But they make up for it elsewhere. With its ringing power chords and urgent beats, ‘More More More’ sounds vital. ‘Daydreaming’ is an anthemic Brit Pop pastiche, and album closer ‘Today’s Gonna Be Our Day’ is a call to arms from one youth to another, a song that earns its crown and should feature in playlists worldwide by the end of the year.
At 17 and 19 years of age, Mathew & Issie Cartlidge are still teenagers, yet the sharp-dressed duo somehow capture the bridge between Punk, Mod and Brit Pop with ease, spread over 11 tracks in just over 35 minutes. They are a testament to hard graft in a business that is getting increasingly difficult to make a living in, and if they can get past the Spinal Tap drummer issues and ignore the jealous old punks who refuse to give a new band a break, then maybe, just maybe, The Molotovs can truly make this day their day.
For now, though, ‘Wasted On Youth’ is essential listening as far as I’m concerned. The Molotovs have just booked a tour for later this year. My advice is miss them at your peril.
Rhino presents Breaking Out Of Heaven 2007–2009, a new collection focusing on the final chapter of Ronnie James Dio’s celebrated tenure with members of Black Sabbath. Reuniting with Tony Iommi, Geezer Butler, and Vinny Appice under the name Heaven & Hell, the band returned to the stage and studio decades after their original run for an unexpected second act.
Breaking Out Of Heaven 2007–2009 will be available March 27 as 7LP and 4CD/Blu-ray boxed sets. Both editions include an illustrated book with new liner notes by Hugh Gilmour, along with a replica tour book and poster. Order now HERE
The collection marks the first time the complete Live FromRadio City Music Hall performance appears on vinyl, and features eight tracks making their vinyl debut, including studio recordings from The Dio Years and select live performances. The Blu-ray expands the set with video from Live From Radio City Music Hall and Neon Nights: 30 Years Of Heaven & Hell – Live at Wacken, plus band interviews.
The set follows the band’s reunion run, beginning with their triumphant 2007 New York performance, Live FromRadio City Music Hall, followed by the Top 10 studio album The Devil You Knowin 2009, and the live album Neon Nights: 30 Years Of Heaven & Hell – Live at Wacken, recorded later that year on tour in Germany.
We’ve got a trio of exciting announcements for you today with a new album, a UK tour and biggest ever headline show all coming your way.
On the 3rd of April, Jim Jones All Stars drop their second studio album, ‘CAT FIGHT’. Produced by The Black Crowes’ Chris Robinson and released on his label Silver Arrow Records, Robinson also provides backing vocals on the infectious lead track ‘Make It Rain’. With CAT FIGHT, the All Stars’ explosive sound has finally been captured and contained in twelve foot-stomping epic tracks, a true highlight of Jim Jones’ storied career. Chuck Prophet provides guest guitar, and there’s a special introduction from the Queen of Northern Soul herself, Gloria Jones!
The band hit the road in April to support the release of the album. Tickets available here
Sat 4th – The Piper, Hastings Sun 5th – Joiners, Southampton Tue 7th – Hare & Hounds, Birmingham Wed 8th – Bongo Club, Edinburgh Thu 9th – The Cluny, Newcastle Fri 10th – Future Yard, Birkenhead Sat 11th – Parish, Huddersfield Sun 12th – Esquires, Bedford Thu 23rd – Waterfront, Norwich Fri 24th – Cavern, Exeter
Look out for news about festivals and European dates coming soon.
ALL STARS AT THE SCALA
We’re proud to announce that tickets are now on sale for our biggest show to date at London’s legendary Scala venue on October 18th. Don’t hang about as tickets will go quickly for this, the band’s only London show for 2026. Expect an evening of high energy riotous rock ‘n’ roll, special guests and more!
KEVIN STEELE RELEASES THE LYRIC VIDEO FOR “SNAKE CHARMER” FROM HIS FIRST SOLO ALBUM “ONE THING LEFT TO DO”
Kevin Steele recently announced his first solo album, One Thing Left To Do, which will be released on February 27, 2026, via Steele Records/Amplified Distribution. The first single, “Snake Charmer”, is out now on digital services, and Kevin now released the lyric video for the single.
In a review of the entire album Sleaze Roxx had this to say about the track “Snake Charmer”: “Snake Charmer” is a hypnotic and very seductive dose of sleaze that was, quite rightly in my opinion, released as a single and is already a highlight on here.
“Snake Charmer was one of the first songs we recorded, and it’s one of my favourite songs on the record. It’s a song about seduction, temptation and obsession. It’s a tale as old as the original sin. We went for a fuzz guitar sound ala Keith Richards when he slashed his speaker cones with a razor blade to get that kind of nasty distortion. It’s got a really good, sexy groove. It’s kind of hypnotising. That’s an actual Indian snake charming Punji flute at the beginning and end of the song.” – Kevin Steele
The album features the first single “Snake Charmer”, with its sexy, hypnotic groove and killer guitar riffs it explores the age-old dilemma of female wiles versus a man’s blind obsession. The second single, “There’s A Better Day Comin’”, is a soaring Rock ‘n’ Roll anthem of hope. Its gospel-like arrangement is meant to convey a feeling of optimism in a world where we could all use some. In the third single, “Sad, Sad Song”, Steele delivers a poignant ballad recounting his hardscrabble life and tragic youth. Guaranteed to bring a tear to your eye.
All of these songs showcase Kevin’s masterful songwriting across all the musical styles that have shaped his colourful career, including glam, punk, rock, blues, and even southern gospel. Kevin’s band, Roxx Gang were one of America’s great bands and the first rock band signed to Virgin Records in America. Their debut record, the classic “Things You’ve Never Done Before”, sold over 250,000 copies. In a way, they were the bridge between glam and grunge, and The Mojo Gurus played a vital role in keeping rock ‘ n ‘ roll alive in “The Tens”, working with legendary producers Jack Douglas (John Lennon, Aerosmith, New York Dolls) and Tommy Henricksen (Alice Cooper, Lou Reed, The Hollywood Vampires). With One Thing Left To Do, Steele brings his musical journey full circle with a truly remarkable record that you just have to hear.
Joining Kevin on this new record is guitar phenom/co-producer Billy Summer (Florida, Luxury Mane, The New Brutarians), whose music has been heard on major TV shows and films such as Ted Lasso, The Affair, Harpoon, Life and Beth, Chicago Fire, Property Brothers and many others. The result is one hot slab of Rock ‘n’ Roll revelry covering several genres that showcase a track list of impressive playing and songwriting.
“Billy and I made such a great team. Instant connection of the minds. He knew instinctively where I was going musically with each song before I would even tell him. That’s why they call us the Cosmic Twins”, said Kevin.
The band is an allstar collection of Tampa Bay, Florida musicians playing at the top of their game. They formed an instant camaraderie and the good times had in the recording sessions shine across every track!
Also, on Friday, February 27 he celebrates the release of his new record at Bayboro Brewing Company. Kevin will perform the new record in its entirety, backed by an all-star band of Tampa Bay musicians featuring guitarist Billy Summer.
Bayboro Brewing Company Presents: Kevin Steele – Record Release Concert
Special Guests: Saints of Saturn – Recent winners of Hard Rock Rising – Tampa
Friday February 27, 2026
Bayboro Brewing Company 2390 5th Ave. S., Saint Petersburg, FL (727) 767-9666
Arriving hot on the heels of last year’s acclaimed Top 30 effort ‘Light A Bigger Fire’, ‘DAGGER’ is IST IST’s fifth full-length studio album from Manchester’s finest dark post punk pop groovers. 2026 could well be the year that IST IST finally move up on the festival bill ladder and reach into many more ears with their brand of post punk with the Depeche Mode synths and Joy Division darkness mixed in with the norther working class grit that eminates from the songs they sing (a reral identity is coursing through these songs and it would come as no suprise they’re Manchesters finest) IST IST have come of age and found their sound and made it accessable for everyone whilst keeping true to the spirit of where they’ve come from.
The album’s opening is helped by the epic production and the instruments’ spatial awareness, whilst everyone working on the songs is not trying to be niche or cool, just writing great songs. ‘I Am The Fear’ begins with a twitching adjit synth that breaks out into a sprightly thumping bass groove before the guitars and Bass collide to create a huge sound. The oscillating synth throughout is like the best club anthem you’ve never heard, capturing a real moment as it builds towards the chorus that is a majestic earworm you won’t shake for the rest of the day ‘I Am The Fear’ indeed. Great stuff. To follow that with a louder, more anthemic song might be asking too much, but the danceable ‘Makes No Difference’ has touches of New Order but with The Cure playing the instruments, but again the chorus elevates the whole song. A really good tempo as the vocals whisper into your ear before the volume rises on the chorus.
‘Warning Signs’ is classic Goth with a solid tempo, the band sound like they’re in a groove and sync up together and the chiming guitars sound cathedral-sized but always playing for the benefit of the song rather than trying to be cool because the end result is they hit all kinds of cool anyway. As the album lurches in tempo from solid toe tapper to a more measured groove like the excellent ‘Burning’, the band shifts through the gears effortlessly. The use of synths and live instruments is huge with regards to the bands identity, that throbbing Bassline is the core that anchors their sound whist the vocal style of Adam Houghton is a dark softly spoken vocal at the best of times when he needs to raise his voice it adds gravitas to proceedings and makes you want to listen intently as to what he’s saying.
I’ve been lucky enough to have this in my ears for several months, and it’s become my go-to album so far in 2026. If you’re looking for highlights, look no further than the opener and the epic ‘Encouragement’ that builds into some cinematic beast with all the elements of the bands go to styles vying for the limelight, and it takes two minutes before a word is uttered. Awesome stuff.
For all the modern technology on display, the stripped-back ‘I Remember Everything’ is also a standout, maybe due to its slow burn and subtle melody that wins you over. As the album descends to its finale, ‘Obligations’ showcases that thumping Bass again, sounding like darkness has stolen the torch from early Duran Duran through post punk leanings, and it really works. Leaving the penultimate offering ‘Song For Someone’ to bring the darkness and bleak Gothic romanticism before the album signs off with ‘Ambition,’ something the band clearly has, and it’s paying off big time here as ‘Dagger’ is brought to an end, kicking and screaming and the most complete and elevated album from the band thus far. They deserve success and a platform to reach more an dmore peole becuase this record has the receipts and the X factor to bring them everything they desire. Buy this album its a beautiful thing.
Following the release of their fifth studio album ‘And the Adjacent Possible’ last year, OK Go are set to return to the UK for their first tour dates in over a decade this November.
Photo credit: Piper Ferguson
Shows in Nottingham, Glasgow, Manchester and London will go on sale to the general public this Friday 23rd January, but loyal subscribers to OK Go’s email list can access a pre-sale on Thursday Jan 22nd at 10am UK time. Subscribe here.
OK Go’s ‘And the Adjacent Possible’ was met with acclaim around the world in 2025, including two Grammy nominations. The album’s vinyl package, a two-LP set on 180-gram, 45RPM discs in a custom foil-stamped gatefold with full-colour inner sleeves and a 3-dimensional sculpture that pops up when listeners open it, was nominated in the ‘Best Recording Package’ category, while the band’s innovative one-take visual for ‘Love’, which features complex choreography between the band, 29 robots, and upwards of 60 mirrors, was nominated for ‘Best Music Video’.
The ‘Love’ video then went on to win ‘Best Rock Video – International’ at the UK Music Video Awards, with frontman Damian Kulash also receiving the ‘Icon Award’, continuing OK Go’s legacy and vast catalogue of mind-blowing ground-breaking music videos, which began with their iconic Grammy winning, treadmill dance-routine for ‘Here It Goes Again’.
The packaging for ‘And The Adjacent Possible’ was designed by Yuri Suzuki and Claudio Ripol, with the 3D sliceform design and pop-up structure by Wombi Rose, Hà Trịnh Quốc Bảo and Emilio LaTorre for Lovepop. OK Go are now also excited to announce that they have doubled down on their collaboration with Lovepop, this time for their very own Valentine’s Day greeting card collection.
The greeting card range is a unique take on the OK Go ‘And the Adjacent Possible’ album art and features a double pop-up sliceform heart in place of the album’s sphere. Amongst the available designs, is a limited edition of just 500 that have been produced with an embedded music player that plays ‘Love’ when the card is opened.
Buy tickets for OK Go’s 2026 November tour dates from 23rd January 2026 here:
Today, punk lifers The Casualties break an eight-year hiatus with their blistering new single “People Over Power”, the band’s first release via Hellcat Records. Starting off the year with a lethal right-hook to the chin of the system, the track’s roaring bark is a call to imploring us all to fight back against injustice. “We’re getting stomped by the world, by the government, by the bad news,” vocalist David Rodriguez says of the new song. “We want systemic change, total transformation, degradation to the state. ‘People over Power’: It’s as simple as it sounds.”
“It’s a protest song through and through,” drummer Marc “Meggers” Eggers adds. “We want the vibe to be: You listen, get angry, get your crew together, and get out on the streets.” The Casualties are the voice of the disenfranchised, the disillusioned and the dispossessed of this planet. The band originally formed in 1990, but these street fighters are still angry, still political and are still keeping the heart and spirit of punk alive. Founded on a mission to revive the sound of punk pioneers like The Exploited and The Sex Pistols, they lyrically weave in scathing denouncements of authority into frantic anthems of resistance, totalling to eleven studio full-lengths, three EPs and three live albums so far.
The Casualties are David Rodriguez (vocalist), Jake Kolatis (guitarist), Marc “Meggers” Eggers (drums) and Doug Wellmon (bass).
In March, the Casualties will be coming over to the UK to play the Scarborough Punk Festival. In June, they will return to Europe for a run of festivals and headline shows.
See below for the confirmed dates so far, more dates will follow. More info + ticket links are available HERE. March 29 – Scarborough (UK) @ Scarborough Punk Festival June 6- Linz (AT) @ Sbäm Festival| June 12- Torgau (DE) @ Ain’t Like You Festival| June 20- Etxebarri (ES) @ Ehuneko Bat June 26- Rennes (FR) @ Superbowl Of Hardcore June 27- Münster (DE) @ Vainstream Rockfest June 28- Tabor (CZ) @ Mighty Sounds July 10- Prölsdorf (DE) @ Krach Am Bach July 25 – Hohenems (DE) @ Speedfest July 30- Argenta (IT) @ DLB Festival July 31- St Maurice de Gordans (FR) @ Sylak Open Air August 6- Jaromer (CZ) @ Brutal Assault August 7- Ancora Praia (PT) @ Sonic Blast Festival August 8 – Duffel (BE) @ Brakrock August 11- Tolmin (SI) @ Punkrock Holiday August 15- Carhaix (FR) @ Motocultor August 20- Loburg (DE) @ Spirit Festival August 22- Oostkamp (BE) – Parkpop
The Casualties Online – INSTAGRAM | FACEBOOK | X | YOUTUBE
Formed in 2015 by two Scottish sisters Brèagha Cuinn (Guitar and vocals) and Onnagh Cuinn (Bass and vocals) outside a small whiskey village called Tomintoul in the Highlands, Bratakus have been fiercely DIY since their inception.
Following the release of their incendiary ‘Final Girls’, ‘Tokened’ and ‘Turnstile’ singles earlier this year, which marked their first recordings for Venn Records, (the label ran by Laurent ‘Lags’ Barnard of UK punk band Gallows, and previously the home of artists like High Vis, Bob Vylan and Witch Fever), Bratakus are ready to release their new album ‘Hagridden’, which is set for release February 13th.
Despite Bratakus’ staunch resistance to mainstream music industry practices, the young band quickly built up a following. Their unique approach to creating their art drew the attention of BBC Scotland who featured the band in two documentary shorts, Hidden Lives’ and ‘TUNE’. Author and musician, Ian Glasper wrote about the sisters in his book The Scene That Would Not Die, a deep dive into post-millennial punk in the UK. Meanwhile in the USA, legendary punk zine Maximum Rock’n’Roll wrote about the band and even BBC radio DJ Vic Galloway added the duo to his “Ones to Watch” list.
Word was spreading, and before they knew it, Bratakus were being booked for live performances in countries as far as Japan. Support slots for bands like Propagandhi, Bis, and Discharge helped the sisters turn into a ferocious live combo. If there was ever any doubt that a punk band could pull off not having a live drummer, these two sisters are here to prove you wrong.
Once described by the BBC as “the most remote band in the UK”, the isolation of their surroundings made it impossible for the duo to find a drummer in their small hamlet, let alone the neighbouring villages mostly inhabited by Highland cattle, as Brèagha explains.
“We programmed some drum tracks, plugged in for our first practice and instantly it just felt like we already had a band, so we’ve been playing like that ever since! What started out as a logistical issue now feels like a big part of our identity and we just love playing as a two piece.”
Heavily influenced by the garage rock scene and bands like The Distillers, The Donnas and X-Ray Spex, Bratakus went on to perform their first ever gig at a fundraiser for the Glasgow Rock ‘n’ Roll School for Girls in the Glasgow School of Art.
“As this was a kid friendly show there were lots of young girls in attendance, which meant the front half of the venue was filled with little girls spinning around in dresses during our set. It was unusual for a punk gig but made for a really fun atmosphere.”
From that moment, Bratakus were a real band, and with that, Screaming Babies Records was born. Unlike other record companies, Screaming Babies Records would be a family run DIY label, not only a platform for Bratakus to launch new music but also a place to revisit their father’s catalog, Angus Quinn of the influential Scottish Anarcho punk band Sedition. No publicists, no streaming services, no photo shoots, just straight up word of mouth, limited edition vinyl releases, and anti-establishment anthems for generations old and new as Brèagh explains the label’s origin.
“Our Dad was always in punk bands when we were growing up, so we were raised in the DIY scene. When we started the band, it just seemed like the most natural step to start the label with him and put our own releases out. He thought of the idea of calling it Screaming Babies Records after the Crass lyric because our logo is a screaming baby.”
Fast forward to the start of 2026 and the band are thrilled to be finally getting ‘Hagridden’ out into the world. They originally recorded the album themselves some three years ago, then lost everything they’d worked on when their laptop broke. From there they just decided to make a fresh start and go back into the studio again to finally get it finished, emerging with ten songs of essential and beautifully cathartic punk rock.
“We decided to call the album ‘Hagridden’ before we even recorded it, but it’s been a bit of a self-fulfilling prophecy because so many barriers came up when we were trying to get it recorded and released that it turned into a bit of a nightmare, so the next album might be called ‘Smooth Sailing’ to avoid cursing ourselves again,” laughs Brèagh. “It definitely sounds way better than the first version, so in a way I’m glad it worked out this way, but we were so gutted when it happened,” exclaims Brèagh.
Lyrically, the album’s ten sharp songs cover a wealth of subjects close to their hearts; feminism, animal rights, media brainwashing and how normalised sweatshops have become in our society are all tackled on ‘Hagridden’ with raw, raging vocals, barbed-wire guitars and pounding rhythms.
Whilst the band still play live with programmed drums, ‘Hagridden’ features live drums for the first time.
“Our first record is all programmed drums, and that’s what we were planning for this album too,” explains Brèagh. “We actually recorded every song with a drum machine, but our producer Tommy Duffin (renowned Scottish drummer and recording engineer) played with us and drummed on the album. He recorded our first album, so it was great to work with him again.”
‘Hagridden’ is released February 13th via Venn Records and the band tour the UK this February.
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