Venom – ‘Blackened Priests’ (DISSONANCE)

Venom – ‘Blackened Priests’ (DISSONANCE)

After the departure of Cronos I sort of lost interest in one of my favourite punk metal band the mighty Venom. See I loved the trashy reckless noise the original trio made they always made me laugh with their interviews and their ott videos and the fact they were from the North East of England was the icing on the cake because obviously that was the entrance to the firey depths of Hell and to this day I stand by at war with satan as a masterclass in pure filthy metal punk noise. When they fell out and Cronos rode off into the depths of bealzibubs fold on his black station I turned my back on Mantas and what he was trying to do with the name and couldn’t bring myself to tune in and give them a chance but here we are many years later and a lot of water under the bridge and I ready myself for a deep dive into the depths of hades to experience and play catch up with this very nice Tony ‘The Demolition Man’ Dolan box set.

CD 1 features their 1989 full length recording ‘Prime Evil’, (including bonus tracks in the form of the ‘Tear Your Soul Apart’ EP) originally hailed as a triumphant return to form, while CD 2 features the follow up ‘Temples Of Ice’, originally released in 1991, whichincluded a Deep Purple cover. I know I balked at that one as well fellow metalhead and The final disc, CD 3, features the band’s 1992 full-length ‘The Waste Lands’.

True legends and trail blazers Venom were unique at a time when music was crying out fo ra twist on NWOBHM and Venom were it The media laughed at them and mocked whilst their core true believers loved the new Speed metal mixed with the harsher edges of punk that was venom.

‘Welcome To Hell’ (1981), ‘Black Metal’(1982) and ‘At War With Satan’ (1984). was a formidable trio before they began to run out of steam before the inevitable split in 1986.

Enter Atomkrafts Tony Dolan alongside drummer Abaddon and the mighty Mantas and new second guitarist Al Barnes. The four-piece signed with Music for Nations imprint Under One Flag and unleashed the ‘ Prime Evil’ record, which included a Black Sabbath cover. That album is bolstered here with the addition of six tracks from 1990s ‘Tear Your Soul Apart’ EP, including a Judas Priest cover .This release is complemented with the addition of liner notes from writer Darren Sadler, who conducted brand new interviews with Tony Dolan and Al Barnes. Barnes also contributed photos from his personal archive. Dolan, Abaddon and Mantas formed Venom Inc. in 2015 and have released two albums to date. The band continues to tour globally, although Mantas recently left the lineup. Cronos, meanwhile, tours under the Venom name with an alternative lineup (Confused? you will be), the two acts co-existing uneasily, but both keeping the Venom name alive and active and this catch all snapshot of the bands four piece line up is a fitting legacy of what they did next and to be fair I wish I’d given these records a go back in the day because to be fair they’re pretty decent even with all these years passing Dolan did a decent job to be fair whilst of course he was no Cronos replacement nobody could fill those Cherry red 96 hole doc martins but The Demolition Man was his own man and songs like ‘Parasite’ and ‘Skelital Dance’ are more than decent. He even holds his own on the bonus cuts of ‘Burstin Out’ and ‘Angel Dust’. Hell, ‘Temples Of Ice’ is decent enough as well, sure I can without all the keys n ambience, but when they get down to it, Venom 2.0 four-piece are a phat combo of rage, even on the final offering of ‘The Waste Lands’ they kicked up a stink, sure its not version Venom original nor is it as good as the disc one but they had fire in their bellies and if like me you never delved into these depths of Hell now is your chance and horns up, long live Venom whoever sails the good ship its been a hell of a ride and now my collection is complete, Hail santas, sorry typo, Satan!

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Author: Dom Daley

Saxon – ‘Eagles Over Hellfest’ (MILITIA GUARD MUSIC)

Saxon – ‘Eagles Over Hellfest’ (MILITIA GUARD MUSIC)

The mighty Saxon continues their journey as one of the UK’s most well-known metal bands. Their output still comes thick and fast, but never compromising on quality. They know what their rabid fan base wants and deliver every time. They are still a formidable live act even though original member Paul Quinn decided to step down recently. Never fear, though; Diamond Head founder Brian Tatler stepped up and is a fantastic addition.

Eagles Over Hellfest is an epic documentation of Saxon’s blistering performance at Hellfest in France last year. The band smash out a set of classics and material from their latest LP Hell, Fire and Damnation. With a career as long as Saxon has enjoyed, picking a set of material must be a task. Everything you would expect to hear at a Saxon show is here: ‘Motorcycle Man’, ‘Power and the Glory’, ‘Heavy Metal Thunder’, ‘Dallas 1PM’, ‘The Eagle Has Landed’, ‘Strong Arm of the Law’ all sound incredible. The new tracks sound great too, we have the title track from Hell, Fire and Damnation and Madame Guillotine.

The band are on fire as always, but Biff Byford sounds better than ever; he’s constantly whipping up the crowd to a frenzy and has them in the palm of his hand. He’s singing better than people half his age.

A special shout out must go to drummer Nigel Glockler too. His playing is exemplary, a showcase in heavy metal drumming. Simply brilliant. Doug Scarratt plays his arse of too and even though I can’t see bass player Nibs Carter while listening to the album, I can picture him going crazy and constantly banging his head in my minds eye!

The album blasts through blistering versions of And the Bands Played On, Denim and Leather, Wheels of Steel, 747 (Strangers in the Night), Crusader, and finishes off with the legendary ‘Princess of the Night’. Crystal clear production from Biff makes you feel like you were there at Hellfest, singing along.

Saxon shows us yet again why they are a constant in the lives of metal fans all over the world and have influenced so many.  

Fill your heads with Heavy Metal Thunder!!

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Author: Kenny Kendrick

The Young Gods – ‘Appear Disappear’ (Goodtogo Records)

The Young Gods – ‘Appear Disappear’ (Goodtogo Records)

Note to self and anyone listening: PLAY LOUD! It’s been described as sonic warfare, and that’s exactly what it is. Formed in 1985, The Young Gods are a Swiss electronic rock band whose influence reigns over such heavyweights as Bowie and Mike Patton. What they do is electronic guitar-driven heavy load dropped on the listener in pulsating heavy doses endlessly shifting from genre to genre, thus making them difficult to pigeonhole and defying labelling.

The album kicks off with the title track, with a sense of cool, calm and collected aggression with the riff overriding as it punches through. Sure, there are moments of stylistic similarities to bands like NiN, but it reaches further. Industrial textures, post punk edges, and softly spoken verses, it’s the air of confidence that really draws you in.

I hope you’re sitting comfortably as the stunning ‘Blue Me Away’, I’m also going to cite U2 around the time of the big Lemon as well, it certainly got elements of that majestic period about this, albeit a darker edge. ‘Hey Amour’ is a slow burner that has sharp guitar breaks with crackling overdriven solos, a twitching and pulsating bassline.

The first half of the album is drawn to a conclusion with the twitching thumping hum of ‘Blackwater’, an impressive track that is widescreen post punk spreading its wings over almost six minutes.

Opening the second half of the album, ‘Tu En Ami Du Temps’ finds me in a style I’m not familiar with, something of a trip hop vib,e reminding me of a few bands I came across in the early 90s like Tricky. Odd noises and underpinned by static and sampling, again the best way to describe the territory we’re in is a widescreen soundscape.

In contrast, ‘Intertidal’ finds me in Portishead or Massive Attack meets a softer Trent Reznor territory electronic ambience with shimmering soundscapes and loose guitars chopping away in the distance.

Penultimate track ‘Shine That Drone’ has a pulsating droning synth line before heading off into some heavy alt-rock territory, the guitars slash along to the metronomic percussion. With the album brought to its end, ‘the band have one last dark message to impart in the form of ‘Off The Radar’ seems very much in the latter day Bowie territory. The production is excellent and draws you in, but it’s an album that demands you give it your full attention and preferably in the dark and played loudly.

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Author: Dom Daley

BRAZILIAN PUNKS FANTAZMAZ ANNOUNCE DEBUT SELF-TITLED ALBUM

BRAZILIAN PUNKS FANTAZMAZ ANNOUNCE DEBUT SELF-TITLED ALBUM

BRAZILIAN PUNKS FANTAZMAZ ANNOUNCE DEBUT SELF-TITLED ALBUM DUE FOR RELEASE JULY 4TH VIA GHETTO BITCH RECORDS

PRE-ORDER THE ALBUM HERE:

BLAST OUT THE 30 SECOND NEW SINGLE ‘DEAD ON THE WAY HOME’ HERE:

With an incendiary live show that’s chaotic, loud and in-your-face, FANTAZMAZ—Brazil’s fiercest new punk rock export—are about to drop a nuclear bomb. On July 4th comes their debut self-titled album, marking the beginning of what’s set to be a killer year for the band.

Formed in 2019 by frontwoman Thami and guitarist Raf Oliver, Fantazmaz found their raw, unrelenting sound with the addition of bassist Chokito and former U.K. Subs drummer Jamie Oliver. Blending blistering punk energy with a fearless stage presence, they’ve quickly built a reputation for their no-holds-barred performances.

Now based in the U.K., Fantazmaz are gearing up for a wild summer, hitting Rebellion Festival and a string of European shows before heading back to their homeland of Brazil for a run of explosive gigs. With their debut album on the horizon and a relentless tour schedule ahead, Fantazmaz are poised to make their mark in a very big way.

“The album is angry and frustrated, pretty much because we don’t see a future,” explains Thami. “Chances are slim that we’re getting out of this global mess, and honestly, we don’t care much about explaining why. It’s right there for everyone to see. That’s the sentiment — listen to the album.

“We recorded the whole thing in two days at Monolith Studio. It was straightforward and honest — first day for drums, second day for guitars, bass, and vocals. The songs had been written for a while, and we just thought, why the hell not drop a full album? So, we went in and laid it down, raw and real. This is our first full album, and we’re bloody excited for it to finally come out.”

Fantazmaz launched the album with the track ‘Dead On The Way Home’. At only thirty seconds long, it’s the perfect introduction to the album’s unbridled rage and fury. The song was inspired by a news report from Brazil about a group of young people mistakenly shot dead on their way back from a night out, which is sadly not an isolated case. The anger and frustration led to the idea of a 30-second track repeating: “Got shot dead on their way home.”

Watch the video for ‘Dead On The Way Home’ HERE:

A short, sharp shock to the system, the album is crammed full of anger and energy, ranging from the 80s hardcore attack of ‘Scars Of Downtown’ (“about the loneliness of living in a metropolis like London, seen from a darker perspective,”) to the Dead Kennedys/Jello Biafra inspired ‘Corporate Behave’ (“dedicated to everyone sticking it to the capitalist rulebook,”). But Fantazmaz are no one-trick punk rock pony, the album is brimming with unique and fresh ideas. Album closer ‘Just Before Hell Comes Around’ bristles with dark hip hop beats, whilst ‘Are You Enjoying The Peaceful Skies?’ is fuelled by a decadent/bastard bossa nova, inspired by Chico Buarque’s epic song ‘Construção’. 

And best of all, this is just the beginning. 2025 is going to be a very busy year for Fantazmaz. Hold on tight.  

Midnight – ‘Steel Rust And Disgust’ (Metal Blade Records)

Midnight – ‘Steel Rust And Disgust’ (Metal Blade Records)

Anyone who knows the modern metal scene probably already recognises that Cleveland’s Midnight are the closest thing we have today to the classic punk metal blitzkrieg of Motorhead, Venom, Tank and Warfare. That main man Athenar should follow up the band’s incendiary 2024 ‘Hellish Expectations’ album with an album chock full of covers, and it does not feature a single track by any of those bands, though, had all of us at RPM towers scratching our heads. I mean, maybe we’d got Midnight’s influences all wrong after all. Then, I got to do some (grave) digging….

Originally conceived as ‘Throw Ups’, in homage to David Bowie’s very own album of covers ‘Pin Ups’, before then being retitled as ‘Steel Rust And Disgust’ to fit in with the band’s previously named six syllable back catalogue. This is a twelve-track album that brings together ten covers of songs written by bands who shared the same sights, sounds, and sewage as Athenar’s region of birth so hence why there are no British bands, adding in a couple of new Midnight cuts.

The first of these newbies is ‘Cleveland Metal’ a track that hammers home not only the record’s purpose but also proves why no one betters Midnight when it comes to writing three-minute blasts of pure punk metal…no one, and that’s a fucking fact.

The other new cut on offer is the album’s title track, ‘Steel Rust And Disgust’ and this beast is more of a pounding red hot slab of molten black rock ‘n’ roll. It’s classic Midnight, and I wouldn’t want it any other way.

It’s when we get to the cover versions that things get really interesting though as whilst (like me) you may be aware of the likes of ‘Final Solution’ (originally by Rocket From The Tombs), ‘3rd Generation Nation’ (originally by The Dead Boys) and  ‘Frenzy’ (originally by Screamin’ Jay Hawkins) what you have yet to hear is the total pummelling these tunes get in the hands of Athenar, the later in particular being delivered with the type of frenzied reverence that Lemmy used to have for the old classics.

Of the less familiar tunes on offer, take your pick from ‘Child Eaters’ (originally by Rubber City Rebels), ‘Iron Beast’ (originally by Kratos) or ‘Rock N Roll Fever’ (originally by David Allan Coe) with which to start your journey into a whole new world of great rock music. Of course, they are all given the compulsory Midnight mauling, but nonetheless, they are all made to sound like songs Athenar himself could have written, and that for me is the art of doing a great cover version, making it your own. 

Which just leaves me with ‘I’m Insane’ (originally by Synastryche) where I must admit I really was hoping for a cover of the Ratt classic of the same name (if only they were from Cleveland), the VoiVod-esque ‘Carrions Keep’ (originally by False Hope) plus the short sharp shocks of ‘Black Leather Rock’ and ‘Agitated’ (originally by Electric Eels) to round things off in truly chaotic fashion.

At times, cover albums can be something of a hit or miss affair (I mean, just look at ‘Pin Ups’), but ‘Steel Rust And Disgust’ is 100% underground hit after muthafuckin’ hit. BUY IT!!!!!

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Author: Johnny Hayward

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Aerial Salad – Roi de L’herbe ep

Aerial Salad – Roi de L’herbe ep

Aerial Salad release new track ‘Wires’ ahead of their ‘Roi de l’herbe’ 5-track EP to be released June 27th via Venn Records on 12” vinyl and digital

Pre-order the vinyl HERE

UK tour confirmed for June!

Following on from last year’s acclaimed ‘R.O.I.’ album, Manchester’s favourite sons Aerial Salad are set to return to the fray with a brand new 5-track EP titled ‘Roi de l’herbe’, to be released June 27th on 12” vinyl and digital via Venn Records.

No longer in the same line of spirit destroying day job work, with some seriously exciting gigs on the horizon, Aerial Salad wanted to kick off the next era of the band with a short, fast and hard EP and have served up five absolute bangers that sit somewhere between 2020’s ‘Dirt Mall’ album and ‘R.O.I.’

Today, the band have previewed another cut from the forthcoming EP with new single ‘Wires’, which is, as singer and guitarist Jamie Munro explains, “an aggressive dismantling of modern work/life culture. As we head ever deeper into the digital abyss. I’d rather be on fire than have to spend my life looking at spreadsheets.

“’Wires’ is an outcry to anyone following something in life, he continues. “The most ‘punk’ movement of my youth was the grime movement. It was ALL DIY, and it absolutely dominated British culture – there’s a lot of similarities between grime / punk/ hardcore. From the fashion to the beats. So, we thought we’d do a 50-pound music video ‘on a nostalgic backdrop’. ‘Wires’ picks up from where ‘Telekon 5’ left – you can’t keep drifting from what you believe in, and you can’t be tied by matters beyond what’s really important in life.”

“The EP is like the teaser for what’s next,” summarises Jamie. “The overall hook for this EP is one of hope, that by sticking to what you believe in you can do anything.”

Catch Aerial Salad live at the following dates in 2025: 

16/05/25 PERIGUEUX – LE MOULIN DE ROUSSEAU
17/05/25 MONTAIGU – FURY DANCE
18/05/25 RENNES – TY ANNA

UK TOUR
21/06/25 NEWCASTLE – ZEROX
22/06/25 GLASGOW – THE GARAGE (ATTIC)
24/06/25 BIRMINGHAM – SUNFLOWER LOUNGE
25/06/25 LONDON – THE SOCIAL
27/06/25 MANCHESTER – SOUP
28/06/25 SHEFFIELD – CORPORATION

FESTIVALS

6/08/25-10/08/25 BOOMTOWN FESTIVAL

31/07/20-03/08/24 Y-NOT FESTIVAL

Aerial Salad are:

Jamie Munro – vocals/guitar

Mike ‘Wimbo’ Wimbleton – vocals/bass

Jake Marshall – drums

Find Aerial Salad online at:

Instagram: 

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Website:

Blacklist Union ‘Mississippi Moonhound’ Video

Blacklist Union ‘Mississippi Moonhound’ Video

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.

Spotify –  HERE

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

https://www.instagram.com/blacklistunionofficial

https://www.facebook.com/BlacklistUnionRocks

https://blacklistunion.bandcamp.com

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Spear Of Destiny – ‘Janus’ (Eastersnow Recordings)

Spear Of Destiny – ‘Janus’ (Eastersnow Recordings)

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!

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Author: Dom Daley

Sex Pistols with Frank Carter/Kid Kapichi/The Molotovs – London, Royal Albert Hall – 24th March 2025

Sex Pistols with Frank Carter/Kid Kapichi/The Molotovs – London, Royal Albert Hall – 24th March 2025

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.

Author: Johnny Hayward

Human Toys- ‘At The Poor Cow’ (Soundflat/Topsy Turvy Records)

Human Toys- ‘At The Poor Cow’ (Soundflat/Topsy Turvy Records)

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?

Buy Here

Author: Martin Chamarette