SICK SHOOTERS are a brand new four-piece garage rock ’n roll band from Utrecht, The Netherlands.The band members, all in their early 20’s, have already been battle-hardened by their experience playing in local punk bands like No Brains, Spurn and Ultragoblin.
This time, they decided to kill a punk for rock ’n roll and start a new band. SICK SHOOTERS are now ready to release their debut album titled “SUPER SONIC ROCK SAGA”. Out March 19th on vinyl and digital through Wap Shoo Wap Records.
The catchiness of the songs, the raw production and the complete lack of a bass-guitar give vibes of 90’s garagepunk bands like The Reatards and The Oblivians and gets mixed with hints of 70’s powerpop in the vein of The Nerves sure these guys aren’t reinventing the whell more like they’re just keeping it spinning and writing the best songs they can
The result is 11 sharp time-honoured power poppin’ snotty Garage rockers with hooks-a-plenty, ranging from straight-up punk rock blasters ‘Evacuation’, ‘Never Comin’ Home’ to more traditional garage-rock anthems like ‘Heartbreaker Soulshaker’, ‘Supersonic Lovin’ and the power pop love songs ‘Sweet Telephone’ and ‘Daisy’. The thing that shines through is the band’s passion and love for what they do – they wear it on their cut-off sleeve and carry it off with aplomb.
With the rain beating down outside and me waiting for the spring and some sunshine until then Rock n Roll will have to see me through, and honest to god, rockers like Sick Shooters will most definitely do. Go get some kids fill yer winkle picker boots.
Bright, bold and unashamedly glam with punchy synths but caustic time changes adding some Crass to the party. This is the second album from Daemönik Fonce. The album is my first introduction to the band, and whilst it doesn’t shy away from the Big Bowie Glam rock, it has hooks, big chords, swirling keyboards and a dramatic edge. Look no further than ‘Speck’, there is a 70s feel to proceeding, no doubt about it.
Whilst there is a dream-like quality to some of the arrangements, it doesn’t always agree with me, but that’s ok. It also has a down-to-earth working-class feel to proceedings, and if one can’t dream big, then why dream at all? The quirky sound on ‘On The Skids’ is very 70s in spirit, reminding me of Roxy Music and various hits from the Top Og The Pops albums you’d pick up in the 70s.
At the heart of Daemönik Fonce are twins Paul Summers (guitar) and Stewart Summers (vocals), whose rock ’n’ roll journey stretches far beyond the band itself. Raised on Welsh anarcho-punk, they cut their teeth in Shrapnel before moving through Ten Benson and The Sharp Tongues. Alongside this, they’ve travelled the world looking after countless other bands, from escapades in Lemmy’s dressing room to bowling with Jack White – sometimes reality can be more absurd than fiction.
But the brothers aren’t the only ones raised from the sewers of rock + roll. Bassist Sam Mansbridge was a member of The Rumblestrips, Keyboards and vocals Hannah Edgren previously served with the magnificently named Tits of Death and latest recruit Andy Prestidge weaves his drumming between Warning, Osiris Club and Angel Witch. All bringing their distinct personalities to the Fonce cat-faced table.
Imagine your influences are Thin Lizzy, Bowie, Bolan, Roxy Music and then the Pistols, maybe the energy of Stiff Little Fingers, and the edgy John Cooper Clarke, now the challenge is to mix these influences together and make a cohesive album that might not always make sense but offers the listener a good time and one they want to hear again and again. I particularly like ‘Solar Man’. It’s retro and nostalgic, and the time changes and sound changes can be bonkers, but in a good way. Besides, who doesn’t like hearing a wailing saxophone in their Rock n Roll?
The record is perfectly summed up by describing ‘DFII’ as a band embracing who they are: thinkers disguised as glam rockers, punks grown older but not quieter, and storytellers still in love with the noise that made them. Amen to that, go check em out at the link.
After signing with Serial Bowl, Dealing With Damage serve up their first helping of music on their ‘London Particular’ album. After making yourself comfortable, sit back, relax and let the introduction wash over you before we get down to some serious post-punk post hardcore business, call it what you like, it all sounds good to me. There are elements of what was happening in DC several decades ago, there is melody not too distant from early Lemonheads and No Means No, and of course, anything Bob Mould laid his hands on it’s that ballpark if you want references.
There sounds like a joy to the album as well as if the guys in the band know what they’re doing and are just dishing up the best they can as they go from straight edge hardcore to radio-friendly melodic harmonies of ‘Nickey Nickey’ where you can sing along as the band just gives it plenty of welly and the thumping Bass workout is a pleasure. Also, the keys help soften the sound and add flavour.
This record doesn’t sound like they had any difficulties with their third offering, and on ‘Wrong Sometimes’, with the keys, they stray into a very appealing International Noise Conspiracy territory, and that’s never going to be a bad thing, as the keys work well alongside the dirty riff.
It’s not all abrasive sounds and edgy moments ‘But Fear This Art’ is laid back, sprinkled with technology-enhanced soundscapes. Spread out over fifteen tracks, you absolutely get your money’s worth as the ebb and flow is excellent, going from the more aggressive ‘Be Careful’ and ‘Hate Can Set You Free’ where the Dads can get a pit going in their lounge and body slam to the rhythm section work out of ‘Headful Of Feedback’.
As we reach the album’s final breath, ‘The Off Switch’ meanders, taking you on a journey right to the album’s closing track ‘One Bump At A Time’, where you get eased back to reality with some soothing Acoustic guitar, reminding me of Jim Bob or TV Smith, which is never a bad thing. Get some Dealing With Damage in your ears and start with the here and now, ‘The London Particular’.
Venom needs no introduction, from their birth in Newcastle in ’79 they paved the way for extreme metal and created their own genre, Black Metal. Which is arguably more popular now than it has ever been globally, with their influence ever far reaching as the originators.
‘Into Oblivion’ is Venom’s sixteenth studio album and features the long-standing line up of Cronos (bass/vocals and founding member), Rage (guitar) and Dante (drums) and marks their first new recordings since 2018’s, ‘Storm The Gates’. Into Oblivion consists of thirteen songs that are signature Venom: heavy, evil and catchy. There’s a combination of their classic 80’s sound adjacent to a more modern, progressive approach but without losing any of their fire and brimstone of old.
The album has been in the works for some years now, but a number of factors held back its completion until now; the Covid pandemic, recording setbacks and the hunger to nail it to perfection, but in the words of Cronos ‘This album has really pushed the boundaries, but if you want to make a killer album, you pay for it in blood, sweat and tears.’ However, Venom true to form have overcome adversity to release an album worthy of their legacy as Rage affirms ‘I’m so proud of this album, it’s astounding! It feels so different, yet so familiar. The sonics are a step up, no song sounds the same, but they all work together.’
The lead single, Lay Down You Soul is a thunderous first offering and harks back to the band’s formative years, and the song Black Metal. While being slightly tongue in cheek, it bears all the hallmarks of a soon to be live classic with its rousing sing-along chorus. Cronos states, ‘I think it’s healthy to recognise things from back in the day and bring them into a new setting that gives it a whole fresh approach. The fans are going to go mental for it!’
The chemistry on ‘Into Oblivion’ is undeniable and is a musical testament to the longevity of this lineup, which now eclipses any other, clocking in at seventeen years. Dante clicks his fingers, ‘It’s gone like that, seventeen years! It’s all down to friendship and mutual respect.’
‘Into Oblivion’ will be released on 1st May 2026 via Noise/BMG and is available for preorder now and is available in these formats.
Double, gatefold smoke vinyl
Double, gatefold clear, black & red splatter vinyl (Limited Edition)
CD digisleeve with 16-page booklet
Digital
Preorders of both vinyl and CD will come with a limited photo card, signed by Cronos, Dante and Rage only from the Noise Records store, while stocks last!
Captured during their historic 2007 reunion, this definitive live version of “The Mob Rules” showcases the relentless power and new vigour of the Heaven & Hell lineup. While the 1981 original signalled a darker turn for the band, this Radio City Music Hall performance elevates the track with a precise and massive sonic weight that only decades of chemistry could produce. Watch the HD-upscaled video of “The Mob Rules” (Live from Radio City Music Hall) today.
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.
BMG 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.
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.
Led by Ukrainian-born singer/songwriter Eugene Hütz, gypsy punk collective Gogol Bordello have been thrilling crowds on the world’s stages since the turn of the century with their high-energy, theatrical live shows and political manifestos. Here, they follow up their defiant 2022 album ‘Solidaritine’ with the more optimistic new long player ‘We Mean It, Man!’, bringing a new sound with the help of Nick Launay & Adam Greenspan, who have produced such luminaries as Nick Cave, Amyl & The Sniffers and Idles.
First impressions stick like glue, and this opus exudes cool from every pore. With its street art-inspired album cover, assertive title, and impressive opening track, ‘We Mean It, Man!’ is an album that shouts its arrival from the streets with a clenched fist. The opening title track is a definite call to arms. Musical carnage where punk riffage and tribal beats collide with vocoder vocals and crazy sax. A killer refrain makes it an intense, instant and memorable opener. Gogol Bordello sure do mean it…man!
Next, ‘Life Is Possible Again’ brings it down with NIN electronica, euro pop vibes and optimistic lyrical suss. Then, ‘No Time For Idiots’ blends traditional rustic instrumentation with modern production values, the verses sound like early Hanoi Rocks meets The Clash and build to a catchy chorus that seizes the moment and triumphs.
Of course, Eugene Hütz is at his best when he is spouting political diatribes and the band is going off on one. Cue ‘Hate Liquidator’; a song that follows a familiar Gogol shaped path with disco beats, gang vocals and gypsy punk-tinged goodness. Its sure to be a live favourite, this is glorious stuff indeed.
While the ghosts of The Clash and The Pogues are always prevalent, there is a very definite European vibe to Gogol Bordello’s sound that makes them hard to pigeonhole into one particular genre. Take the gloriously upbeat ‘From Boyarka To Boyaca’ featuring the artist Puzzled Panther. What even is it? It could be the sound of a Tarantino crime thriller set in a Spanish tapas bar, or maybe it’s the sound of The Clash if Strummer & Co had been brought up on the Eastern Bloc rather than the East End? Whatever it is, it works.
Euro pop is prevalent on the likes of ‘Ignition’ where they mix up killer melodies with accordion, fiddle, big beats and thumping bass. Elsewhere, ‘Crayons’ amps up the guitars to 11 with frantic indie beats and an attitude to match.
The closing ‘Solidarity’ is an emphatic love letter to the Ukrainian people from one of their own, delivered with the passion and sincerity you come to expect from our ringleader.
On ‘We Mean It, Man!’, Gogol Bordello continue to do what they do best. I feel their brand of frenetic, gypsy punk is best experienced in a live setting, or at least with a glass of something strong in your hand. But the production team have managed to capture the live feel of this band well. Yes, Hütz and his band preach a serious message, and in these troubled time,s we need protest songs more than ever, but Gogol Bordello are also here to have a good time and ‘We Mean It, Man!’ is a testament to that.
An album that’s been a labour of love for way too long finally sees the light of day as South Wales one-man band Peter Squire finally completes his old school thrash epic, all about killing zombies and delivering swashbuckling old school thrash riffs.
Pete makes no excuses for his songwriting and love of all things Frash. He cuts his cloth trading riffs with the Kerry King, Jeff Hanneman, Blake Ibanez, Alex Skolnick, Kirk Hammett and Gary Holts of the world, and to be fair, his delivery and attention to detail is immaculate. Pete even took vocal lessons so he could do the best he could for this album, and did all the programming himself as well as produce and master.
Sometimes embracing the cliche is what makes something authentic and cool, and not trying to reinvent the wheel is exactly what’s needed. Pete is happy to announce that he wanted to write and record an album of old school thrash about slaying zombies and shit, and to be fair its exactly what he’s delivered.
The album, of course, opens with a shallow grave being dug whilst he noodles and picks his way through the early to mid 80s before all Hell breaks loose and the thrash begins. ‘No Known Cause Or Cure’ is early-day Metallica in the delivery of the vocals. Circle pits are compulsory accessories while listening to this and or banging that head that hasn’t banged for some time.
What you get is ten sets of really, really dumb lyrics (Pete’s words, not mine) written over a couple of nights, then recorded the music to complement and somehow managed to fit all the words on all the music. Oh, apart from the obligatory one instrumental, which has hallmark Thrash time changes galore. It’s all wrapped in dark artwork that looks like it was scratched on a prison wall, only using the overgrown nails on his feet (probably due to him always having a guitar in his hands, arpeggioing away for all his life’s worth before the zombies overwhelm him.
This works best when the Frash intensifies ‘Dead Eyes Don’t Remember’, ‘Field Of Tripwire’, but the widescreen ‘Go For The Head’ could and should be used in the next Netflix Zombie killing series, ‘Cutting It Off Won’t Help’ (complete with Hanneman like dive bombs) could be the themetune for the series on John Wayne Bobbit, perfect fodder for Zombie/Gore fans.
To be fair to Pete, his vision has been realised, and he’s absolutely nailed his MO and his passion and love for the origins of a mighty genre are here for all to hear. Go hit that link and sample some of what’s spilling out of EvilPetes head, but remember, don’t have nightmares. He’s a good boy, honest.
First Album In 8 Years Out March 27th via Hellcat Records
European Festival Tour This Summer
punk stalwarts The Casualties announce ‘Detonate’, their first new album in eight years, out digitally on March 27thvia Hellcat Records and on vinyl/CD on July 17th. On the new record, David Rodriguez (vocals), Marc “Meggers” Eggers (drums), Jake Kolatis (guitar) and Doug Wellmon (bass), reignite their rage and cement their status as one of punk’s most enduring and uncompromising acts.
The Casualties also share the lyric video to the blistering title track, a scathing hardcore-punk blast of fury and frustration, suggesting we should blow it all up and start anew. “It stems from being overloaded,” Meggerssays. “You feel like your head is about to explode, which I think is what everybody is feeling these days. You’re pounced on day by day with terrible news and social media, and you just feel like you’re going to snap.”
Politics. Hatred. Endless war. These are just a few of the reasons why the title of The Casualties’ new album is Detonate. Instead of tearing each other apart, The Casualties punch back at authorities and systems that seek to divide, taking the chance to promote unity and camaraderie to all who feel alienated by the cruel state of the world.
Kolatis adds, “There are continuous wars and internal political battles. Everybody’s tearing each other apart. Detonate is saying we’re tired of all this division. With this record, we have a chance to say something and promote some type of unity.”
Detonate is the second chapter in a new epoch for The Casualties. As their second album with Rodriguez at the mic, it solidifies the vocalist’s partnership with Meggers and Kolatis. “It’s like a new era for the band,” Meggers says. “It solidifies that Dave is here to stay.”
As the follow-up to 2018’s Written in Blood and their first record for Hellcat Records — the Epitaph subsidiary curated by Tim Armstrong of Rancid — Detonate sees this new version of The Casualties locking into place. “We were in the studio for Written in Blood about eight months after I joined,” Rodriguez says. “With this new record, we really grew together. For me, it’s the proud moment where we clicked the three Legos together.”
Amplifying the punk ethos that The Casualties have embodied since 1990, Detonate is a powerful installment in the band’s rich history as a voice for the voiceless. “I want people to feel empowered when they hear this record,” Rodriguez says. “I want them to feel like they have a voice. I want them to feel like they’re with like-minded people when they come to a Casualties show. They can be themselves and not watch the show but be part of the show—scream with us, jump off the stage. We want them to feel like they’re part of something.
Mar 29 – Scarborough, UK – Scarborough Punk Festival Jun 6 – Wels, Austria – Sbäm Fest Jun 12 – Hagen, Germany – Torgau Ain’t Like You Festival Jun 20 – Doneztebe, Spain – Ehuneko Bat Jun 26 – Rennes, FR – Superbowl of Hardcore Jun 27 – Münster, Germany – Vainstream Rockfest Jun 28 – Tábor, Czechia – Mighty Sounds Festival July 10- Prölsdorf, Germany – Krach Am Bach Jul 18 – Rowy, Poland – Festiwal Urwanych Filmów Jul 25 – Hohenems, Austria – Speedfest Jul 27 – Brasov, Romania – Rockstadt Extreme Jul 30 – Argenta, Italy – DLB Festival Jul 31 – Sant-maurice-de-gaurdans, FR – Sylak Open Air Aug 6 – Jaroměř, Czech Republic – Brutal Assault Aug 7 – Ancora, Portugal – Praia Sonic Blast Aug 8 – Duffel, Belgium – Brakrock Aug 11 – Tolmin, Slovenia – Punk Rock Holiday Aug 15 – Carhaix-plouguer, FR – Motocultor Festival Aug 20 – Loburg, DE – Spirit Festival Aug 22 – Oostkamp, Belgium – Parkpop
INCLUDING DOWNLOAD FESTIVAL AND LONDON HEADLINE SHOW
Orange County’s finest are back with a vengeance: Social Distortion’s long-awaited eighth album, ‘Born To Kill,’ will be released on 8 May 2026 via Epitaph Records. The hard-charging title track that’s been lighting up crowds at the band’s shows for the last several months is out now. Pre-order the new album here.
‘Born To Kill’ is more than the conclusion to a 15-year wait between Social Distortion albums, it’s a revelation: 11 songs of pure, unadulterated rock ’n’ roll fury, joy and catharsis, all imbued with the signature blend of defiance and world-weariness that has made founder Mike Ness a poet and sage to the dispossessed for more than 40 years.
The first Social Distortion album since Ness’ recovery from a bout with cancer, ‘Born To Kill’ brims with aggressive optimism. The album wastes no time letting the listener know where its heart is, with its title track and mission statement dropping nods to Lou Reed (“Rock ’n’ Roll Animal gonna come your way!”) and Iggy and the Stooges (“The agenda is yeah to Search and Destroy”) and an homage to David Bowie (“It’s a Rock ’n’ Roll Suicide”) following a few songs later on “Partners In Crime.” This is a man, a band and a record that wear their influences proudly while creating timeless anthems and ballads that both chart Social Distortion’s path forward and celebrate its storied past: “Tonight” and “The Way Things Were” are emotionally charged reminiscences in the vein of classics like “Story of My Life” from the band’s eponymous 1990 breakthrough and “I Was Wrong” from 1996’s White Light, White Heat, White Trash, the latter containing a potent distillation of the Social D ethos: “I wrote a song with a stolen riff / If you ain’t got a song you ain’t got shit.”
Co-produced by Ness and Dave Sardy, and featuring guest appearances from Benmont Tench of Tom Petty and the Heartbreakers and Lucinda Williams and collaborative cover art by Ness and Shepard Fairey, ‘Born To Kill’ is the latest installment in a remarkable catalog that spans nearly three generations, including Mommy’s Little Monster (1983), Prison Bound (1988), the RIAA gold-certified Social Distortion (1990) and Somewhere Between Heaven and Hell (1992), White Light, White Heat, White Trash (1996), Sex, Love and Rock ’n’ Roll (2004), and Hard Times and Nursery Rhymes (2011). Social Distortion will support Born To Kill with an extensive European tour this Summer, including two UK dates at Download Festival and London’s Koko. The tour will also cover Norway, Sweden, Germany, Czech Republic, Austria, France, Spain, Italy, Switzerland, Denmark, and Benelux.
03 June – Sentrum Scene – Oslo, Norway 04 June – Sweden Rock – Solvesborg, Sweden 06 June – Rock Im Park – Nürnberg, Germany 07 June – Rock Am Ring – Nurburg, Germany 09 June – Columbiahalle – Berlin, Germany 11 June – Rock For People – Hradec Králové, Czech Republic 12 June – Nova Rock Festival – Nickelsdorf, Austria 14 June – Download Festival – Donington, United Kingdom 16 June – Koko – London, United Kingdom 18 June – Hellfest – Clisson, France 20 June – Azkena Rock Festival – Vitoria-Gasteiz, Spain 23 June – Carroponte – Milan, Italy 24 June – Halle 622 – Zurich, Switzerland 26 June – Vainstream – Munster, Germany 27 June – Copenhell – Copenhagen, Denmark 29 June – Amsterdamse Bos Theatre – Amsterdam, Netherlands 30 June – Docks – Hamburg, Germany 02 July – Les Eurockéennes – Belfort, France 03 July – Rock Werchter – Werchter, Belgium 04 July – Rudolf-Harbig-Stadion – Dresden, Germany
Always a pleasure and never a chore to hear bands break through the underground and continue to grow organically and get better and better. One of those bands has to be Bruise Control from the North West of England. This self-titled EP is a jagged, physical, Emotional document of modern punk rock and counter culture born of who and what they are and channelled perfectly through the music and songwriting. It can be exhilarating, joyful and angry all at the same time, but above all its the quality of the songs that these guys create that carries them through.
Bruise Control explore give zero fucks and conveys perfectly their feelings on what’s going on in the world they live in, which translates well across many cities, countries and no doubt continents. In a world where everything is for sale at a price that seems relatively cheap, and what you get for your small investment is a band who are currently on fire and making some of the best music around, that is a fact.
Opener ‘Be Like You‘ is the perfect opener, full of excitement, no easing you in more, blowing off steam with your mates and kicking the living shit out of your speakers like it’s going out of fashion. The song mourns the erosion of creative communities as cities are stripped of character and sold to the highest bidder, driven by explosive rhythms and biting urgency. A super strong opener that sets the tone perfectly.
Not wanting to be a Debbie Downer, but the sense of hopelessness in some of the subject matter is juxtaposed with the brightness of the energy spilling out of the instruments being hit. ‘Gone To Ground’, ‘If You’re Not Mine’, and ‘Spinners Mill’ channel the grinding frustration of daily life, rising rents, stretched relationships, emotional labour and the quiet guilt of struggling to stay afloat while wanting to help others. The energy and excitement captured cannot be overstated. The band are in the moment and on superb form.
The Eps final offering, ‘Jumping Ship’, feels like the release of all that pent up anxst and emotion, and the fact you’re playing this is that very release from real life you need. Recharge and go again whilst disappearing in some awesome music that we all need in life and something very hard for bands to capture, but Bruise Control seem to have hit the pocket where they just get ‘it’ and are that very release with the tunes to back it all up. Live, they manage to deliver the energy these songs demand. It can be brutal, physical and relentless at times, but boy does it feel good and perfectly displayed on side C with th epair of live tracks.
Get hold of this before they’re all gone, and you have to sell a kidney to pick one up and catch them live if you can. Oh, and the vinyl has a whopping extra five songs on side C (yeah, I know side B for Bruise and C for Control, do keep up). Less “produced”, it’s more of the same, like standing in on a live rehersal ‘Nostalgia’ is like a barking rabid dog. A couple of live tracks that give you a flavour of what they deliver live. ‘Bruise Control’ and ‘Dead On Arrival’ (both off their first EP), No More’ sounds like a row in a kebab shop at midnight, and those guitars sound sharp as fuck, it’s all about the energy and pace that delivers in spades. Then we get ‘Left Behind’, the single version, not the EP version off side B, to see us out for what might just be the independent release of the year right here, right now. Bruise Control! Bosh! ave it, buy or be left behind.
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