Streaming on Spotify now

Manic Street Preachers have posted the second in a series of career spanning Spotify playlists specially curated by the band. 

Sleep Next To Plastic focuses on the cover versions Manic Street Preachers have performed over the years. It includes new/lost recordings, B-sides and album tracks. Fifteen of the covers have previously been unavailable officially through streaming services; the version of Madonna’s Borderline was recorded in the band’s Door To The River especially for this playlist. 
Covers have away been central to Manic Street Preachers ethos, whether playing raw versions of Happy Mondays or Clash songs at early gigs or adding inspirational classics written by Guns N’Roses or Echo and the Bunnymen to recent live shows. 
Manic Street Preachers on Sleep Next To Plastic: “Cover version have always offered us  a chance to pay direct, public tribute to records we grew up obsessing over, be that C86 bands or artists as diverse as Madonna, John Cale and Paul Robeson. Collectively, these covers are a heartfelt musical tribute to our formative influences.”

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That tracklisting in full: 

1. Borderline (Madonna, new recording) 

2. Take The Skinheads Bowling (Camper Van Beethoven)

3. Red Sleeping Beauty (McCarthy)

4. Jean’s Not Happening [featuring Finlay George] (The Pale Fountains, lost recording)

5. The Endless Plain of Fortune (John Cale – new to Spotify)

6. Feels Like Heaven (Fiction Factory – new to Spotify)

7. Umbrella (Rihanna)

8. Out Of Time (The Rolling Stones)

9. Train in Vain (The Clash)

10. Pennyroyal Tea (Nirvana, recorded live at the BBC – new to Spotify)

11. Let’s Stay Together (Al Green, recorded live at the BBC – new to Spotify)

12. Theme From M*A*S*H [Suicide Is Painless] (Johnny Mandel/Michael Altman/The Ron Hicklin Singers)

13. Vision Blurred (The Horrors – new to Spotify)

14. Working Class Hero (John Lennon)

15. Wake Up Alone (Amy Winehouse – new to Spotify)

16. Bright Eyes (Art Garfunkel, previously unreleased full band version) 

17. Been A Son (Nirvana)

18. Foggy Eyes (Beat Happening)

19. This Is The Day (The The)

20. Inbetween Days (The Cure, recorded live at the BBC – new to Spotify)

21. Sweet Child O’ Mine (Guns N’Roses, live recording – new to Spotify) 

22. All Or Nothing (The Small Faces recorded live at the BBC – new to Spotify)

23. Didn’t My Lord Deliver Daniel (Paul Robeson)

24. Can’t Take My Eyes Off You (Andy Williams)

25. Bring On The Dancing Horses (Echo & the Bunnymen, recorded live at the BBC – new to Spotify) 

26. Wrote For Luck (Happy Mondays)

27. What’s My Name (The Clash)

28. We Are All Bourgeois Now (McCarthy)

29. Under My Wheels (Alice Cooper, recorded live at the BBC – new to Spotify)

30. Rock’n’Roll Music (Chuck Berry)

31. Damn Dog (Sleaze Sisters)

32. Velocity Girl (Primal Scream)

33. The Instrumental (The June Brides – new to Spotify)

34. Summer Wind (Frank Sinatra – new to Spotify)

35. Last Christmas (Wham!)

36. Raindrops Keep Fallin’ On My Head (B.J. Thomas)

37. Primitive Painters (Felt – new to Spotify)

This years “Bitch Fest” line up! 6 bands, 2 stages, weird and freaky stuff to discover – just one night of pure punk-rock madness. Tickets are up for sale now for a more than fair price of 32CHF (about 30€) here:

Wanna give some extra love? Then be sure to buy a “Bitch Love”-Ticket. They recommend to party hard through the night with DJ Danny Ramone to save money for drinks. But if you need a good place to stay close by then ibis budget Basel City is probably the easiest and cheapest way to go. 

They hope to see you there! 

Shop: http://bitchqueens.bandcamp.com/merch
Page: http://www.bitchqueens.com

Somewhere between the B52s and Devo lurks The Meat Sweaters. (hailing from Brighton and London, via Stockholm, Sweden) release their debut EP ‘Paranoid and Sweaty’ on July 22nd and have a new track from it available today called ‘Body Yoghurt’.

The Meat Sweaters are a trio (Wahoo Samuels, Pete Fraser and Jon Palmer) of friends who appreciate sounds that are very far removed from what most would consider conventional. Embarking on a thrillingly bizarre synth-punk journey with their debut four-track EP, ‘Paranoid and Sweaty’, released July 22nd via Hype Music (a sub label of Extreme Music), today sees the release of disturbing new single ‘Body Yoghurt’. A manic, twitching, rampant, glorious mess of deranged experimental punk, ‘Body Yoghurt’ never takes its foot off the accelerator pedal.

But what’s it all about?

“What does yoghurt taste like? How do you know the flavours? Which do you like? Which are best to apply to your body? Let us tell you about the best and worst ways to Body Yoghurt,” states Wahoo Samuels.

None the wiser? Good. The Meat Sweaters aim to confuse.

lenceIn direct contrast we also have one from the new Then Comes Silence album ‘Hunger’ it’s like night and day (see what I did there?) kings of the dark Goth are back with a new album ‘Hunger’

Ahhhhh, Towers Of London, the band whose singer once proudly proclaimed they could dick on the Sex Pistols are back. Returning with their first new music in ages, and the first to feature the band’s re-united original ‘classic’ line up.

Yes siree, after those well received support shows with The Wildhearts back in 2019, Donny, Dirk, Rev, Snell, and Tommy are finally back with ’Yet To Be’, an all-new 5 track EP that’s coincidently released in the same month as, (and sixteen years after) their classic ‘Blood Sweat & Towers’ debut first made them the band many seemed to love to hate back in the noughties.   

I’ll include myself in that category as I’ve had my own love/hate relationship with them through the years too, initially catching them in Cardiff Barfly around 2005 and absolutely loathing them, Towers then seemed to end up supporting every band I was going to see, before around the time of the release of their debut I finally “got it” and simply couldn’t get enough of them. Then, just as quickly as the band they so famously thought they could dick on, they were out of the spotlight and releasing the way too Indie leaning. ‘Fizzy Pop’ (the band’s second album), and whilst that record does indeed still have some fans out there, without Rev and Snell in their ranks they just weren’t the same incendiary live act, and without that underlying tension that seemed to be the band’s catalyst for musical catastrophe, the band slowly withdrew into the shadows.

Somewhere they then ended up spending quite a bit of their time, working with various other musicians exploring potential new avenues for the band to pursue musically and releasing such singles as ‘Shake It’ and ‘Shot In The Dark’ along the way. Then in 2019 news finally broke that the original line up was getting back together for one last crack at this thing called the music biz. Returning as a much more ‘grounded’ group of people, the thing that perhaps struck me most about those Wildhearts support shows was just how much each member appeared to have grown up during their time apart, and Donny in particular seemed genuinely humbled not only by the enthusiastic reception they received night after night but also by just how powerful the band still sounded after all those years away.

‘Yet To Be’ picks up on the spirit of bonhomie from those reunion shows and actually includes a couple of the tunes from that set too, however it’s the track that’s recently been included in TNT’s ‘Animal Kingdom’ series that gets the EP out the starting blocks and for me it’s perhaps the track I actually like least here. That’s not to say it’s a bad song, it’s just that to my ears the anthemic ‘Jump’ actually sounds like ‘Fizzy Pop’ era Towers colliding headlong with the Rev’s post-Towers band The Howling, and whereas elsewhere within this EP elements of electronica are used to superb effect to ultimately add a new dynamic to the Towers sound, here, whilst the synthy tribal beat is insanely catchy, it doesn’t really make me want to err jump…not like ‘Get Yourself Outta Here’ anyway. Initially premiered on the Wildhearts tour, this is the Towers of London sound I first fell in love with, a ferocious slice of guitar rock, complete with one-finger Stooges piano and a sneering chorus, this track alone should have the band’s diehard fans drinking, fighting and fucking like there teenage-selves all over again.

Likewise, ‘Free Your Love’, the other track that was aired live back in 2019, which has a kind of ‘Towers Waltz’ stop/start feel about it, and possesses a soaring middle 8 that shows just how much the band has also matured in the songwriting department. Something that becomes abundantly clear when ‘Push It The Same Way’ chugs in on a powerpop riff to die for. This is easily my favourite song of the five on offer here, and whilst there are hints of the Towers of old during the chorus, it’s the use of the aforementioned synths during the verses that really do make this song a true work of genius, and if this is the sound of things to come from the band then, just like Noddy, I’m all (big) ears.

‘Amazing’ which ends the EP is another Towers songwriting curveball, as it somehow manages to remind me of Blur, Abba, Ozzy and U2 all at once, yet it’s still immediately recognisable as Towers Of London, and the chorus on this one really is, ahem, amazing in its simplicity, and as well know now, sometimes less can indeed be more.

True to Towers’ form ‘Yet To Be’ surprised me, so much so I initially hated it, and now (after a day of playing it non-stop) I absolutely love it, however, as it’s only available on streaming platforms at the moment, who really knows what’s next? Will we get to finally hear the third album, or get to see the long overdue Towers’ documentary, and with the UK live scene slowly returning to as normal as it can be right now, what about a coast to coast tour to promote it all?

Whatever happens next, I can’t fucking wait!   

Stream Here


Author: Johnny Hayward

Now I must start this review with a bit of a confession early doors RHCP were one of my favourite bands, I’m talking freaky style, Mothers Milk, even into Blood sugar sex magic, where cracks started to appear, the latter-day LP’s, to be honest, I could take or leave.

Looking back the last time I saw the RHCP was around 20 years ago with James Brown as support, it was in that period when John Frushanti had just re-joined (he’s left and re-joined again since then) truth be told (again) the LP they were touring at that point Stadium Arcadium was probably the worse LP they would record, but live in Hyde park at that gig, when they turned up the heat all the funk, power and intensity was still there.

So again, this time I really did not know how they were going to come across, and what didn’t lighten the mood was this gig was right in the middle of the train strikes (I have no problem with the strikes and stand fully behind what the Union are trying to do). However, the actual infra-structure around the stadium was pretty piss poor as was the cashless systems and the Queues for everything owing to the terminals taking forever and a day to connect.

But hey-Ho, let’s get on to the music I missed Thundercat (stood in a queue) so your guess is as good as mine, and the gig took off for me with Anderson Paak and the free nationals, and what a feast of funk to start things off!! Hinting at Sly Stone but pushing Primetime Prince and the revolution to the max, they were great and apparently the crowd knew a lot more than me about them with the response and sing-a-longs to some tracks, even including a blinding version led by the two female backing singers of Nasty girl (If you’re a funk fan, you’ll know it) a great start to the day. Now my daughter with me today has grown up with the Chilli Peppers she was 5 when we attended the Hyde park gig and has followed the RHCP religiously, the band hold a lot of joint-memories for both of us.

Kicking off with a jammed intro the sound has moved up, as usual, a whole gear, before they kick in with Can’t Stop, then into Dani California and you couldn’t help but smile and get dragged in to the event, the first of the ballads Scar tissue prompted the mass singalong that could be expected, and the track that took my breath away in the early part of the set Snow from that afore-mentioned worse LP (oops), Then for me the highlight of the set, back to the old school RHCP, with Nobody Weird like me from Mothers milk and in fairness from that point the band were bang in the groove hitting hard with Californication, Black summer and from Blood Sugar sex magic Give it away, Then we move straight into the encore to the rarely played nowadays Under the Bridge and By the Way.

Are the Chilli Peppers still the band I fell in love with in their early days? Absolutely not, can they still kick Ass? Absolutely!!! Let’s hope that there’s an anniversary for ‘Mothers Milk’ due and they play the LP in its entirety (I can only dream)

Author: Nev Brooks

East meets West as Vancouver’s Rebel Priest and Toronto’s Deadwolff are joining forces for “The Rebel Wolff Tour” from June 24th to July 2nd across British Columbia and Alberta. The tour will kick off in Vancouver, BC on June 24th, which will not only be the first date of the seven-show trek, but also the release date of Rebel Priest‘s new EP “Lesson In Love”.

Tommy Wolffe of Deadwolff adds:

“Here we go! We’re fresh off the road from our east coast tour and couldn’t be more excited to be hittin’ west coast Canada with our good buddy’s Rebel Priest! We’ve got a loud time of a tour lined up, so get ready to Double up with The Rebel Wolff Tour!

Jayme Black of Rebel Priest adds:

“More than stoked to hit the road with our East coast rock n roll family! Gonna be a greasy road trip fueled on octane and blood! Get ready western Canada! If you want blood!? YOU GOT IT!”

The Rebel Wolff Tour w/ Rebel Priest and Dead Wolff
June 24 – Vancouver, BC – Have A Good Laugh Festival. *Afternoon show – Deadwolff only
June 24 – Vancouver, BC – Lana Lous
June 27 – Maple Ridge, BC – The Wolf Bar
June 28 – Kamloops, BC – Pogue Mahones
June 29 – Kelowna, BC – Missions Tap House
June 30 – Lethbridge, AB – Theoretically Brewing
July 1 – Calgary, AB – The Palamino
July 2 – Edmonton, AB – Starlite Temple

Rebel Priest New EP “Lesson In Love” Out June 24th

Deadwolff’s Self-Titled EP (Metal Assault Records/ Boonsdale Records) Out Now!

For more info:

Rebel Priest – Batcaverecords.com | RebelPriestofficial.com | Facebook.com/rebelpriestofficial | Instagram.com/rebelpriestofficial

Deadwolff – Facebook.com/officialdeadwolff | Instagram.com/deadwolff.official

The original KILLING JOKE line up announce “Follow The Leaders”

Royal Albert Hall show on March 12th 2023

performing their first two albums


Killing Joke are proud to announce ‘Killing Joke – Follow The Leaders’, a very special UK show at the Royal Albert Hall on March 12th, 2023. Killing Joke will be performing their first two albums in their entirety; 1980’s self-titled debut album followed by their second album “What’s This For…!”
“We are living in the most dangerous period in human history in which extinction from nuclear war could happen in the next twelve months. If we make it, then Killing Joke at the Albert Hall in 2023 will give great meaning and comfort to all of us. Come share a moment in history with the prophetic and legendary Killing Joke.” Dr. Jaz Coleman.

Tickets for “Killing Joke – Follow The Leaders” at the Royal Albert Hall go on sale on Friday 1st July via:- myticket.co.uk/artists/killing-joke

Killing Joke are currently working on a new album, following the release of ‘Lord Of Chaos’ EP via Spinefarm Records, their first new material in over seven years. 

To purchase/stream the ‘Lord of Chaos’ EP Here

Killing Joke is very much music as ritual – raw, uncompromising and precisely-targeted lyrically; proof that Jaz Coleman, Geordie, Youth & Big Paul, the original Killing Joke personnel, are currently delivering the best and most relevant material of their career, with no mellowing or softening of the edges getting in the way. With collective nostrils flared and righteous anger carried torch-high, Killing Joke continues to take their music of resistance to fresh levels, both in the studio and out on the road. Follow the leaders……………..

It’s got to be close to two and a half years since many of us originally purchased tickets for tonight’s show. Such are the unprecedented circumstances that tonight’s headliner is now touring a completely different album to the one we would have seen him touring originally, but such is the sense of joy that surrounds us all tonight that this is all finally happening I bet Jesse could have played a set of countrified acoustic Clash covers (more of which later) and no one would have batted an eyelid.

Tonight’s line up is indeed an all-acoustic affair, and I’ve never seen the Le Pub stage look quite so barren, resembling something more akin to the set up for a stand-up comedy show than a rock show. But rock it most certainly does (there’s an obvious Val Doonican gag right there but tonight I’m bigger than it), especially when we have local lad James Mattock opening up proceedings. James, you may or may not know, has been in bands such as White Trash, The Computers and Sharks and is currently fronting post punk outfit The Violent Hearts. So, to see James sans band (and normally a quite raucous one at that) is something of a unique situation indeed, however as soon as he opens his mouth any initial concerns I may have had about him maybe not connecting with an audience here largely to enjoy music with (shall we say) a more American bent, are promptly put to bed.

Yes, the largely all new set of songs are pretty much unknown to both myself and the audience, but that doesn’t stop James from receiving very healthy applause for his repertoire, which subject matter wise ranged from songs specifically designed for the lovers in the audience through to his rather obvious (and quite understandable) loathing of Tory politicians, something which manifests itself in the shape of the glorious gothic loop pedal driven tirade that is ‘The Lure’. There are times during James’ relatively short set when I can still clearly hear the underlying punk influence, but this is all topped off with a pop sensibility that actually has me thinking of Dog Man Star’ era Suede, especially during the sombre ‘Anything But Evil’.

Apparently, the songs aired tonight are going to be forming the base for the next Violent Hearts album, which on the strength of this performance promises to be a very interesting proposition indeed.

Having already received a rave review on these hallowed pages from brother Ben Hughes I have to admit that the prospect of seeing a singer/songwriter probably more at home in the surroundings of the Grand Ole Opry than CBGB doesn’t exactly fill me with excitement, but then as I’ve never seen Kelley Swindall live before I’ve never experienced the absolute joy her music can bring to an evening. Straight out of NYC but born and raised in the American south Kelley’s live show is (structure-wise at least) not unlike tonight’s headliner, in so much as its not just about the songs, but the story behind those songs, so forgive me if I almost choke on my beverage when set opener ‘Alight Alright’ has Kelley quoting Milton and talking about life’s many paradigms. I mean this is Le Pub right? All joking aside, this balls out approach immediately has me won over, even before a note is honked on the spit ruined first harmonica of the night. The storytelling brings a real punk rock spirit to the likes of ‘Spring Street Dive’ whilst during ‘Refuse to Be Blue’ Kelley clearly wears her Georgia-born heart on her sleeve, sounding not unlike a modern-day Patsy Cline. 

There’s a point during ‘You Can Call Me Darlin’ If You Want’ where you could hear a pin drop, such is the power of Kelley’s performance (and I must give credit to tonight’s audience who were in the very best of order for all three acts) and what better way to end a show than by celebrating the fact we are all, whether we like it or not,  going to die. Kelley Swindall made many new friends here tonight, myself included and I’m sure she’ll make many more as her UK tour extends through to the middle of July.    

Author: Johnny ‘Honky Tonk’ Hayward

Jesse Malin is a performer that can do this live business anyway, anywhere, anyhow. Be it rockin out with a band or with his buddy Derek Cruz on keys and guitar or all on his lonesome. I’ve seen him do all permutations and in all sorts of venues from intimate clubs like tonight or in a field at Hyde Park or in bigger venues and he never gives less than 100% with varied sets of deep cuts and crowd-pleasers Jesse is an awesome performer with a heart as big as Manhatten and it beats out the rhythm any pace he wants.

Tonight is the opening night of his tour that takes in Glastonbury and with himself and Derek Cruz taking to the stage at 9.15 prompt Jesse was one of the first Americans to fly the nest post covid and along with his band turned in the finest live performance of 2021 bar none. Tonight whilst it was stripped back to the duet it was nonetheless powerful as he flew through his repertoire of solo records dipping in with stories that both made us laugh and with his tributer to the recently departed legend that was Howie Pyro before dedicating ‘Broken Radio’ to our fallen brother. His introduction was heartfelt, sincere and truly emotional and it was an inspired choice to dedicate to Howie. RIP.

The evening kicked off in style with ‘Hotel Columbia’ followed by a chilling rendition of ‘Cigarettes And Violets’ and you could hear a pin drop from the packed-out audience who to be fair were a refreshing School night crowd who were respectful for Malin & Cruz and there was pretty much no chatter and very little mobile phone distractions just people taking snaps which is cool. the pair cooked up a rousing rendition of the Pogues classic ‘Fall From Grace With God’ before dipping in to the pre covid album ‘Sunset Kids’ and the beautiful ‘Room 13’. The pair were locked in and creating some majestic sounds between them as the first of the Covid ‘Sad And Beautiful’ record as ‘Crawling Back To You’ was aired as Malin said the last time he saw Tom Petty was days before he passed away it was his last ever performance. The stories were coming thick and fast and really added weight to the songs before they were played. ‘Turn Up The Mains’ rocked and Rolled even without the electric band kicking it out of the speakers.

Jesse then aired a golden oldie in the shape of ‘Wendy’ from the superb debut. Malin also alluded to a rerelease of the debut with bonus tracks etc even though One Little Indian re-issued this as a double album in 2016 I’ll happily take it with new fresh ears on some of his finest post D Generation tunes. It was then Malin told us about his time spent with Howie Pyro and his emotional recollections of their time spent in NYC and JEsses feelings when he found out he passed whilst Jesse was touring Europe. It added weight to the evening and some extra depth to an already awesome song in ‘Broken Radio’ the single that featured Springsteen which also came with a pretty humorous tale about its release.

‘She Don’t Love Me Now’ was a song I always thought was when Malin really hit the Strummer vein in feel more than anything else maybe as he was writing it Strummer tuned in his antenna from his celestial Ghetto Box and sent PMA over the ether. With time ticking on and Cruz moving from piano to guitar adding different flavours to the sweet music we were getting ‘The Year I was Born’ sounded beautiful and countrified. It was easy to get lost in the music tonight another of those “Special” Jesse Malin nights its becoming a thing.

I absolutely love his last studio album and tonight ‘State Of The Art’ never sounded so damn good and it was weird that there were only two of them on stage and no rhythm section kicking this one down the line. We had a fake end of the set before the fake encore where we’re treated to a bit of acoustic boogie as ‘Meet Me At The End Of The World’ made way for a rather splendid rendition of the Mick Jones classic ‘Stay Free’ before leaving us with ‘Solitare’ that was played to an epic respectful silence, spellbinding stuff.

These are weird times kids but it’s fantastic that we still have regular visits from artists as talented as this, who roll into town, do their thing sprinkle a bit of Rock n Roll magic, kick out the jams then get the hell out of dodge but, promise to return with a band in tow and play the whole of the debut album. Bring it on I say and I’m already counting down the days. It’ll be another emotional evening and 100% entertaining and 100% PMA paid on til the next time. Brilliant stuff, I love live music I do.


Author: Dom ‘The Capital Offender’ Daley

photo credit: Martin Pollard

Following on from the success of last year’s “I’m A Believer” CD single, which reached the Top 10 of the UK Heritage Chart, Finnish label Woimasointu will release a new double “A” side 7 inch vinyl single from The Boys on Friday 8 July 2022. 

The single will come in three different versions including two Special Limited Editions.

Version One: “SHE’S THE REASON” c/w “(There Ain’t No) Just One Beer” & “I’m A Believer”. Green vinyl with free Boys sew on patch and new picture sleeve, individually numbered 1-100.

Version Two: “I’M A BELIEVER” c/w “She’s The Reason” & “(There Ain’t No) Just One Beer”.Blue vinyl individually numbered 1-100.

Version Three: “I’M A BELIEVER” c/w “She’s The Reason” & “(There Ain’t No) Just One Beer”.Regular black vinyl issue.

Copies of all three versions of the single are currently available to order in advance from Woimasointu Records by emailing Hannu at info@woimasointu.com

*To promote “She’s The Reason” a new promo video of the single has been recorded, featuring The Boys legendary rhythm guitarist/vocalist Honest John Plain.  The video is due to be released on 18 July.*

*The Boys will be performing electric & acoustic sets at Rebellion 2022 – They will also be interviewed on the Literary Stage at 7.50pm on Thursday 4 August*

“And now the end is near and so we face the final curtain”… or something like that. After completing the A-Z and then having a bazillion compilation albums come out, Two A-Z complete CD box sets, singles comps, live comps, covers Albums, 10” reissues. It’s certainly been a fantastic time to be a UK Subs fan (Even if it’s been heavy on the bank balance) we’ve arrived at the point where I believe the band has said time is being called on their recording career. Live shows are coming thick and fast and showing no sign of relenting.

If this is indeed to be the final record under the UK Subs monicker for Charlie and the boys then it’s fair to say they are going out in style and leaving us with a piece of work that stands tall next to their very best album and I sincerely mean that because ‘Reverse Engineering’ is an absolute fucking belter.

Charlie sounds better than he has for 20 years (the covid downtime must have helped his voice recover from all those hundreds of shows he didn’t have to sing at and if Alvin was paid by the note he’d be a millionaire. The songwriting is shared out and Straughan steps up and delivers one of my favourite Subs songs for many a year in ‘C60 Audio’ but more of that laters. The middle section of this album is some of the best Subs writing for years with the thumping ‘Hoist The Sail’ with its raw guitar intro and gang vocals as Admiral Harper rallies the shipmates for a battering ram of a verse that hacks and slashes towards the solo. Great stuff. It’s only the starter for the upbeat ‘Kill Me’ I know you wouldn’t think it by the title or the lyrics but the tempo and playing are excellent. It’s one of those happy-go-lucky Subs tracks. ‘Political Amo’ is an Oliver penned track that rushes out the blocks. As you’d imagine it’s a sprightly number with a modern feel to it with a strong melody.

There are a pair of Alvin-sung songs next with a smoldering ‘Slavery’ hitting you like a HGV. If you’re not familiar with Alvin’s style of songwriting now then let’s just say this one is uncompromising and full of big groove as the rhythm is rock solid and Alvin’s vocal is similar to his former employer Mr Pop and if this was to appear as a new Iggy single people would go nuts about it, the reality is, it’s laid to rest at the thick end of a UK Subs album that’s how good this record is.

The UK Subs aren’t signing out quietly with a whimper as ‘Statement’ testifies. They’re out of the trench and taking it to the enemy leading the charge, galloping along with this as the soundtrack again with some mighty fine musicianship with the guitar right up in the mix hacking and slashing away like a maniac – exciting stuff!

It’s not all galloping charging about mind. The intro for ‘The Night Holds The Key’ is low-key and restrained but it’s short-lived. The vocals leading to the chorus are superb and another classic Subs song unfolds. The record signs off with a real thumper written by Charlie. ‘Waiting For Godot’ with a cool verse-chorus set up where the band joins on the title repeat. its a more measured tempo that’s a fantastic way to wrap this album up. Go out with a track every bit as strong as the opener ‘Bad Acid’ that shows the UK Subs are still one of the very best the UK has to offer on studio recordings. They came out swinging over 40 years ago and sign off an incredible catalogue of records with ‘Reverse Engineering’ every bit as vital as at any period of their illustrious career. Trust me when I say ‘Reverse Engineering’ is an essential purchase. Get your mitts on a copy by any means necessary. Superb stuff just Buy it!

Buy Here or for those in the UK Time and Matter have limited copies Here

Author: Dom Daley