Levellers – ‘Levelling The Land – 35th Anniversary Edition’ (Warner Records)

Levellers – ‘Levelling The Land – 35th Anniversary Edition’ (Warner Records)

The Levellers breakthrough second album ‘Levelling The Land’ holds a special place in my heart. After growing up on rock music through the 80s, they were the first proper alternative band I got into in the 90s, opening my mind to a whole host of bands and genres that would soundtrack my formative years.


You may have forgotten how big The Levellers were back in the mid-90s. With little commercial success or radio play (‘One Way’ didn’t even reach Top 40), they were taken under the wing by the traveller and indie communities and enjoyed sold-out tours which culminated in headlining the Pyramid stage at Glastonbury in 1994 to a record-breaking 300,000 people.


‘Levelling The Land’ was originally recorded with certain production constraints leaving it sounding thin compared to modern production values. So, for the 35th anniversary, the band called on original producer Al Scott to remix the album, and what he’s done is quite remarkable. While there is not a duff tune anywhere on this album, it now sounds fresh and reinvigorated. The songs jump out and punch with a new sense of vigour. It’s like they’ve been transported from 1991 to the modern world in 4K. From classic opener ‘One Way’ to anthemic live favourites such as ‘The Game’, ‘Liberty Song’ and ‘The Road ’, everything sounds fresh and as vital as it was in 1991. There are instruments and parts I have never heard before; the strings are crisp, the rhythms pound deeper. Mark Chadwick’s vocals sound as fresh as the day he recorded them, and the bass rumble that opens ‘Sell Out’ is thunderous and full of extra intent. It’s like they’ve stepped the album up a gear, notched up the RPMs a touch.

The band’s political message has not changed, and the lyrics remain as vital and current as they were in 1991. The Levellers gave a voice to communities that were harassed by the authorities, the travellers, squatters and those who wanted a different, free way of life. This music brought them all together, whether it was at free festivals, dirty squats or dark, patchouli-filled bedrooms country-wide.

It’s crazy to think that a song as good and vital-sounding as ‘Fifteen Years’ wasn’t even on initial pressings of the album and was only added as track 3 after its success as a single. It’s true The Levellers were on a roll creatively, and the wealth of bonus material on this release is testament to that.

The expanded 3 CD version adds a disc of album-era B-sides and outtakes and another disc of recently unearthed demos that show the beginnings of greatness and the development of these songs. While any Levellers fans worth their salt already has the likes of ‘Dance Before The Storm’, ‘Last Days Of Winter’ and their raucous cover of The Charlie Daniels Band’s ‘The Devil Went Down To Georgia’, the demos are well worth exploring.

From folk rock battle cries to melancholic acoustic balladeering, The Levellers have given a voice to the alternative masses who chose their way of life over the norm. And 35 years down the road, ‘Levelling The Land’ remains a defining document of defiance and uprising in 1990’s Britain. A timeless classic that has been revamped to sound the way the artists originally intended it to sound. The album is essential
listening; the bonus discs are for the die-hards.

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Author: Ben Hughes

Derik And The Disasters, ‘Self-Titled’ (Damaged Goods)

Derik And The Disasters, ‘Self-Titled’ (Damaged Goods)

Maybe it’s genetic. Maybe it’s the music. It certainly can’t be 50 years of kipping on floors around the world. Whatever it is, the secret of Charlie Harper’s longevity and career is something to celebrate. No sooner had the UK Subs announced their final live dates when news came through about his current project. And, frankly, it’s amazing. 14 new songs, and from ‘Divide’ onwards, the band mean business. This would sit well on the final ‘Reverse Engineering’ album, it’s fresh, dark and angry.

Joined by Del Greening on guitar, Vicky (Ramonas) on bass, and grandson Marley on drums, it’s the perfect combination of the experience of age and the rush of youth. And it’s clear that Charlie and Del haven’t lost their hunger; ‘Lost’ is equally fierce. Understandably, the overall sound is similar to the Subs, but as their albums were extremely varied over the decades, this isn’t an issue. Upfront bass and walls of guitar. And, with so few musicians standing up for what they believe in, the likes of ‘New Palestine’ and ‘L.G.B.T’ are more important and relevant than ever, unfortunately. True, you’d expect nothing less from Charlie, but it’s heartwarming all the same.

Crucially, this is the sound of a band. ‘Deadlines’ and ‘Parasite’ are itching to be played live. The band were apparently conceived because “Charlie and Del will be unable to fly soon…”, so will be looking at playing in the UK. On the strength of these songs, keep your eyes peeled for dates, because this promises to be special. Most songs come in at under three minutes, they even have their theme song: ‘The Disasters’. ‘The Takeover’ has a great, tribal drum beat that flies by, and ‘Squirrel’ is like a slice of slinky, garage rock. 

‘Scars’ has echoes of Buzzcocks, and who else would end their debut with a jazzy instrumental called ‘Strait Of Hormuz’? 

So, yes, let’s celebrate the continued life and career of Charlie Harper. But let’s also celebrate this gem of an album by the band Derik And The Disasters. 

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Author: Martin Chamarette

The Lords OF Altamont – ‘Forever Loaded’ (Heavy Psych Sounds)

The Lords OF Altamont – ‘Forever Loaded’ (Heavy Psych Sounds)

Ten tracks, forty minutes of pure dirty rock n roll. Sure, they wear the uniform of the outlaw and keep the music down n dirty, but hell, The Lords of Altamont are a powerhouse rock n roll band that takes no prisoners and always delivers the good through the medium of lowdown dirty garage rock n roll from the overdriven amps and howling keys, all supported by the solid rhythm. There’s nothing not to like; these cats are the real deal and have proven it time after time.

From the head rush of the opening ‘Got A Hold On Me’ through the hypnotic lo-fi of ‘What’s Your Bag’, the Lords are on the money yet again. They sure as shit channel the howling fuzz of the Ashton Brothers and add the keys to take it down a darker road in their own inimitable style. Sure, there are flakes of original Zodiac Mindwarp via some early Greebo in there as well, but it’s impossible to ignore the melodies and haunting keys on the tracks like ‘Rusty Guns’ and once the album gets under your skin, it’s the twisted melodies mixing the likes of Primal Scream and JAMC for good measure on ‘Procession For A Groundhog’ before the filth of ‘Get Out Of My Head’ drifts in, then cuts loose, taking the record up a notch or two.

The album was released earlier this year, but it’s taken until now for the vinyl to hit the UK, bizarrely, but the wait has been well worth it as I test my speakers’ durability with some wicked garage rock n roll.

‘Got You On The Run’ is off like a steam train and tipping the hat to the wild and crazy side of classic Motörhead. ‘Disconnection’ is sleazy as fuck, from the crisp riff to the explosions going off in my speakers as the backbeat holds the song together and charges to the excellent gang vocal chorus.

It feels like the album builds all the way to an epic finale as the six-plus-minute ‘Twisted Black’ meanders and works its way into your brain and bores down with its wall of sound fizzing and howling, putting you in some sort of trance before ending in howls of feedback and looping sounds, leaving you exhausted, knowing you’ve just been party to a wonderful experience and smug in the knowledge that Rock n Roll has just left another mark on your black heart. Get involved with the lords of altamont, and they’ll repay you over and over again, and ‘Forever Loaded’ is another down payment on your rock n roll soul; take it.

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Author: Dom Daley

The Dirty Strangers – ‘Country ‘N’ West Ten’ (Dirty Stranger Records)

The Dirty Strangers – ‘Country ‘N’ West Ten’ (Dirty Stranger Records)

The latest slab of pure good time rock n roll from the mind n soul of Alan Clayton is with us, and this timeless sound of honest-to-goodness is a burst of sunshine on a rainy day, a kind gesture from an old friend, and, believe it or not, album number seven. Let’s be honest, we know what we’re in for, and that’s exactly why we’re here: it’s honest rock n roll from the heart, no pretence, no bullshit, no new sounds because that’s progress; it’s just the roots of rock n roll poured out of the instruments and into your ears through your speakers. Alan knows the power of rock n roll, and he’s not afraid to use it. In the right hands, it’s the best thing in the whole fuckin’ world, and right from the first song, the class is there to hear, and the good times rinse through the speakers. ‘Learning To Be Legal’ has Alan leading the band through the mid-tempo rocker with a ton of beautiful keys wheezing into the trading of licks before Alan’s slur caresses our ears with the charm of the best bar band in ole London town, dishing up the best night out you could hope for. The production is loose and loud, but the balance is spot on (I don’t know why it’s taken mr Stranger so long to get control of the desk and pull those faders.

‘Turn Of The Tide’ is a rocker borrowed from the best and just oozes class as Guy Griffin duels with John Rollason, ably supported by some wonderful honky tonk courtesy of Micky Gallagher, but hold onto your horses ‘If You Won’t Leave Me I’ll Find Someone Who Will’ is an acoustic tale of love and life with some electric guitar twisted through those big cowboy chords, with Marnie Rollason assisting Alan with some finely placed haunting vocals.

‘Pirates Don’t Get Pensions’ is the cheeky chappie adding some fiddle to his rock n roll elbow. Sure there are obvious Stones n Faces comparisons to be found round plenty of corners throughout the Dirty Strangers’ decades of service, but if you are going to lean on any band you might as well look to the top table and go main line some of the good stuff.

If it’s some dirty slide n roll you’re after, then turn the speakers up for ‘Shtum ‘, where the band is stripped back and cut loose. The ebb and flow of this album is prominent, and after the storm of ‘Shtum’, ‘Diamonds’ is something of a tough guy’s ballad or a gentler-paced cut. I didn’t see Ronnie Lane featured on the album, but ‘Weekend Treat’ is exactly that, with Lane’s scratch guitar leading the way. ‘Get Wild’ has Griffin back for some more riff-a-rama before the band really does cut loose on ‘Nothing Doing’, sounding like the bastard child of ‘Last Time’, and I love the sound of that rhythm guitar hacking away through an overdriven amp, wonderful stuff.

As we head into the final third, it’s that ebb and flow that really works, breaking up the album and changing gears is a beautiful thing. Remember early doors, I mentioned the acoustic ‘If You Won’t Leave Me’ Well, it’s back for the full band treatment, sounding like chucking out time in the best bar on the planet, and I have to mention the lyrics and how bloody charming they are. It’s time to pull up a bar stool, pour yourself another and let Alan tell you a story.

‘Turkey Bone’ is the penultimate offering, setting the tone for Crimbo before the album says adios with the wonderful tone of Brian James, Alan’s great friend, who we sadly lost not that long ago, as they romp through ‘Sheperds Bush City Limits’, adding texture and a fair amount of rock n roll dirt to proceedings and signing off another awesome record from The Dirty Strangers up the R’s n all that, and God bless The Dirty Strangers and all who’ve sailed on board delivering the noise, the beautiful noise over the last 45 years but who cares time is nothing but a number and Brian and Scott Mulvey playing on the closing number is fitting as delving back through those years picking out tunes to strip back and rework has been an absolute triumph and as they say the proof is in the pudding and here is your serving.

Of course, I’m going to tell you to buy this record it’ll make your collecting 100% cooler and better sounding, and this self-produced rework is a banger. Buy It!

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Author: Dom Daley

Wolfbrigade – ‘Howl From Underground’ (Metal Blade Records)

Wolfbrigade – ‘Howl From Underground’ (Metal Blade Records)

I have to admit that I’m not a big fan of the whole “Oi/Crust” punk movement. The music doesn’t move me at all. When I sat down to review the latest album from Swedish punk/metallers Wolfbrigade, I was pleasantly surprised to hear more of a hardcore sound. The band has elements of Sick Of It All, Nailbomb, ‘ 90s-era Exploited, Biohazard, and even early Motorhead vibes in their music. This made it much more comfortable, and I felt able to write a balanced review.

Wolfbrigade has been around for a long time. They were formed back in 1995 under the name Wolfpack, and Howl From Underground is their 12th LP. We get 12 short/sharp songs that all have immediate impact. Opener Caveman Motherfuck (catchy title!) soon gets underway with full pelt riffing and some fantastic up-tempo drumming from Dadde Starck. The band decided to use a producer on the album for the first time in a long time. As Wolfbrigade themselves explain: “As the songs started to fall into place, we decided to do something we hadn’t done in many years,” explains the band. “For the last decade we’ve recorded, produced and mixed our albums ourselves. This time we wanted to work with someone from outside the band whose work we respect and who we felt would understand what Wolfbrigade is about.”

The producer they used is Lawrence Mackrory (Meshugga/Paradise Lost), and he’s done a fantastic job. The band sounds huge. There are some real standout tracks, including the superb Doomrunner, Born To Rot, Headhunting, and the wonderfully titled Fat Man Hellscape. The title track is my favourite though, absolute carnage. Vocalist Micke Dahl is like a man possessed, barking and spitting out every word. Awesome.

The band explained the process of writing the songs for Howl From Underground: “Rather than building the songs layer by layer, we wanted to capture the band as a single unit, the push and pull that happens when five people are locked into the same moment. There’s a tension in those kinds of performances that’s difficult to recreate any other way. Without a safety net, the focus sharpens and something else takes over. Sometimes the songs begin to take on a life of their own. More than anything, it leaves room for the unexpected. We still work within the same narrow framework that has always defined Wolfbrigade, but we keep pushing against its edges,” asserts the band. “New melodies, new angles, new ways of getting where we’re going.” Among these new angles we may find the almost gothic melancholic melody underpinning When Dogs Cry; the crafty, atmospheric note patterns of Cold War Bootlicker; the long chords and rock-steady surge of Seeking Scapegoats. But each track is so steeped in the workings of the Wolfbrigade grinder, nothing sticks out as wildly diverse or out of place. “For us it’s never about sounding different for the sake of sounding different,” says the band. “If a song feels hungry, if there’s a primitive energy there, then it deserves to exist. That was the feeling we followed throughout the work on Howl From Underground.”

Howl From Underground is a superb record. If you’re a little weary of the punk tag, don’t be. Wolfbrigade easily navigate themselves into the metal/hardcore category. If you love some crusty punk, you’ll already know all about Wolfbrigade. Maybe don’t listen when there’s a full moon, though! AAAAWWWOOOOOO!!!

Howl From Underground is released on Oct 9th via Metal Blade Records.

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Author: Kenny Kendrick

C.O.F.F.I.N – ‘Out In Oslo’ (p(doom))

C.O.F.F.I.N – ‘Out In Oslo’ (p(doom))

C.O.F.F.I.N are a hard rockin’ punk band from Sydney, Australia. The acronym stands for ‘Children Of Finland Fighting In Norway’. ‘Out In Oslo’ was produced by Declan Mehrtens of Amyl & the Sniffers, who they’ve toured with many times, so it’s no small jump to offer comparisons there but C.O.F.F.I.N are an altogether different proposition for a start the drummer is also the singer, and there’s no Amy prowling the stage heading this band they leave it to the music to do their talking and boy, have they got something to shout about. I wouldn’t like to call who’d win in a bar brawl either, but it would be close.

This is C.O.F.F.I.N’s fourth studio album and whilst they’ve barely moved the dial in sound or style, the songwriting might have had some subtle gear shifts and they’ve introduced different flavours to the delivery for sure.

I’d hazard a guess that what you see is what you get, and there is zero bullshit in C.O.F.F.I.N, and they certainly walk the walk and give zero fucks along the way – you either dig it or you move along; there are no half measures. This record kicks off in style after the sleazy intro it’s counted in, and boom, we’re off like a bottle rocket. If you want to let someone know exactly what this band is about, it’s captured in the opening salvo of sonic assault – three minutes and one second; there it is! Leaving the listener in no doubt what is occurring. Taking no prisoners right from the curtain drop, C.O.F.F.I.N are in the motherfuckin house.

‘Sleep In It’ is off like a boogie Woogie runaway train as Ben Portnoy hits those drums like he’s got a ten-pound lump hammer in his grip, and the drums are a red-hot anvil, but don’t be fooled, as the song charges on and the solos rage hard, the backing vocals are shaking things up like prime-time Hanoi Rocks, and I’m loving it.

Coming on a little more restrained, ‘Bad Thoughts’ is shifting on a rockin groove towards a gang vocal chorus that’s all muscle through the throbbing Bass rumble. Damn, what a record this is shaping up to be, and we’re barely a quarter in.

‘A Place To Stay’ rages on a thumping solid beat set on a wild, barely in control bass line. Hang on, an acoustic guitar and soulful harmonica? Yup, everybody needs to calm down a little and catch their collective breath, so ’13 Days’ is the perfect palate cleanser before we build up a sweat again. ‘Won’t Let You Down’ has the harmonica honkin’, and with a second wind blowing through its heads down and lets kick up a shitstorm for a few. ‘Fair Enough’ is steaming down the track before we’re thrown a curveball in the shape of the foot-stompin ‘, chest-beating ‘Gettin’ Down’ like prime-time Slade, with a guitar solo that just soars.

The penultimate track is the sound of a band confident in the knowledge that they’ve hit paydirt with this new record. From start to finish, this is an absolute banger, and I’ve already played it over and over and louder and louder; it just sounds better and better. To close the record off, Ben sounds like a rabid dog who’s been gargling razors and washing them down with petrol as the song builds and meanders to its conclusion, putting a full stop on proceedings with a middle finger to anyone who’s listening, leaving the stage in ruins.

C.O.F.F.I.N have delivered a beast, with no weak spots anywhere. It’s one of the finest albums you’ll hear from any continent on this spinning rock this year for sure. Get on board and strap yourself in: ‘Out In Oslo’ is here, and it’s fuckin special – Buy It!

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Author: Dom Daley

Split Dogs- ‘Nice n Rough’ (Venn Records)

Split Dogs- ‘Nice n Rough’ (Venn Records)

At last! One of the most anticipated albums this year, chez moi and at RPM headquarters, no doubt. This was an immediate preorder, and, as ever, Split Dogs don’t disappoint. You already know the opening number ‘Be Somebody’, which is followed by the “Rick Parfitt on bad speed” rhythm of ‘Born Too Loose’. Very tasty, though I suspect some diehards aren’t sure about the band embracing some Quo/DC riffs. Too bad for them, because the Dogs haven’t lost anything. They know who they are, and that’s why it works. 

‘Breaker’ is 1 minute 30 seconds of pure rock, undiluted joy. If it doesn’t get you moving, you’re already dead, baby. ‘Get The Look’ should please the hardcore crew, and the band are obviously having a ball throughout. ‘Speed Demon’ sounds like a classic riff by now. Most traditional ‘rock’ bands could learn something here, few of them have this many addictive riffs. In fact, it’s so good, you could imagine they were Australian. 

And ‘Leave It Alone’ would make Bon Scott smile. The rhythm section is tighter than ever, and Harry’s vocals are fabulous. ‘Shake Sum Action’ (not that one) blasts by in just under 2 minutes, and ‘Rock N Roll Business’ still sounds magic, complete with piano rolls. One of the best songs of the year, for me. ‘Mama Said’ is dangerously close to 4 minutes long, but you won’t notice. 

You should also be aware of ‘Suffer’ by now, so let’s move on to ‘I Wanna’, which comes on like a punkier Hives. The energy levels don’t drop. There’s some ‘Dirty Denim’, which reminds this listener of The Sick Livers. Yes, I know that Ginge’s denims are immaculate. Not ones to end on a ballad, ‘Power Out’ clouts you one last time. I’ve nothing against shorter albums when they’re this good. An absolute belter from start to finish.

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Author: Martin Chamarette

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Brijitte West and the Greenowskis are doing alright

Brijitte West and the Greenowskis are doing alright

Release date: 13th November 2026 / Rum Bar Records

Pre-order HERE – Single – Doin’ Alright

Former NY Loose frontwoman Brijitte West returns with a brand-new album, Brijitte West and the Greenowskis.

Recorded in Italy with an all-Italian band, notably Wilko Zanni, guitarist and singer with Italian rock institution Rats, and Lester Greenowski, Italian singer, songwriter and bassist, the album features 14 tracks, including 12 new songs, a cover of the Dead Boys, All This and More, and an acoustic version of an NY Loose deep cut, The Luckiest Girl.

Brijitte West says, “A lot of people think of me as an omniscient character – I’m sort of there, but I’m not there. This new album, and particularly the single Doin’ Alright, is me saying: I’m still here, I’m still rocking. I’m still turning up the mains and breaking free from the chains that held me down.”

West first made her mark in New York’s Lower East Side, drawing on the explosive musical aesthetics of the Ramones, the Stooges and the wider New York punk scene. NY Loose developed a sound and persona that fused garage rock and punk with a glamorous edge, finding a loyal following among punk, glam and rock ’n’ roll fans that remains strong today.

Highlights of the new record include a track inspired by those early years: My Lower East Side is a vivid recollection of the gritty NY club scene, the excitement and the relentless competition between bands. Brijitte says, “There were poster wars. We would have to hit the streets at 3 a.m. because you had to be the last one to put your poster up, otherwise it would be covered over by other bands. We spent what money we had on rehearsal spaces and instruments, so I remember our shoes being held together with duct tape.”

West turns inward with Sorry I’ve Been a Stranger, a song about reconnecting with someone who once meant a great deal to her after years apart. On Don’t Hurt Yourself, she tackles the difficult subject of self-harm: “It’s a terrible illness that doesn’t get talked about enough – and one that affected someone very close to me, so it was a topic I really wanted to write a song about.”

The album closes with Nobody Won and The Luckiest Girl. Nobody Won looks back at the difficult final years of NY Loose, the tensions within the band and the brutal reality of the music business. West says, “It’s about how things were not working for us. It resulted in no one doing anything for a very long time because we were battle-scarred from everything. There was no prize.”

But for Brijitte, rock ’n’ roll will always be in her blood. Her lyrics remain a form of self-therapy and a defining strength, balancing sass and swagger with vulnerability.

Brijitte says, “In a lot of ways, I feel this is the best album I have ever made. It feels like the NY Loose album that never was, yet a seamless collaboration with the best band I have ever worked with.”

Brijitte West and the Greenowskis are:

Brijitte West - Lead Vocals
Wilko Zanni – Guitars, Vocals, Percussions
Lorenzo Vacondio – Guitars, Vocals
Lester Greenowski – Bass, Vocals, Piano, Lead Vocals On Brutta Bimba Bella
Davide Furlani – Drums
Nino –  Pedals and Noise

Brijitte West:     FACEBOOK  / INSTAGRAM / WEBSITE / www.rumbarrecords.com

Dave Delinquent &The IOUs – ‘Scandal’ (Self Release)

Dave Delinquent &The IOUs – ‘Scandal’ (Self Release)

Imagine a band who plays their instruments drenched in sweat through overdriven amps, influenced by a whole heap of goodness from The Wildhearts through the Ramones via some prime time Dirtbox Disco and a having a real blast whilst doing so. Horns a honkin’, pianos tonkin’, whilst the band are whipping up a storm, using melodies to sing your hearts out to that’s about where I hear Dave Delinquent and his iou’s.

The album is the emobiment of all kiiler and no filler as they go through the handbook of genres and influences and toss it away and just go with their gut and what comes out of their hearts and heads.

Ten tracks on offer from the opening razor sharp ‘Rocksteady Girl’ through the melodic ‘Alleycats In Love’ complete with its horn honkin gold. The hooks are aplenty and they use every bit of catchiness they can muster. Sure its not original but so what they are knockin out killer tunes at every turn it sounds like a party on wax ‘Everybody Loves You’ is excellent and the first half closer is ‘Shame Of My Youth’ with its Big Country influenced melody which I didn’t see coming but is a most welcome shift of gears.

Side two just keeps on rockin throwing up catchy melody and riffs all over the place its like a sensless things meets The Wildhearts overload and I do love the saxophone taking it into different directions when you wern’t expecting it. ‘Not A Fan’ leaves just the uptempo rocker ‘Todays A Drag’ to close the album off and what a great way to sign off. If you want an album packed with hooks and catchy melodies then look no further Dave Delinquent and his IOU’s is here to prove that rock n roll isn’t dead its alive and kickin out the jams. Buy it!

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Author: Dom Daley

Echo & The Bunnymen – ‘Apples For Isaac’ (BMG Music)

Echo & The Bunnymen – ‘Apples For Isaac’ (BMG Music)

The Bunnymen seem to have been around forever and continue to trudge the circuits, plying their brand of post-punk goodness, and McCulloch doesn’t seem to age. With this the band bazillionth release they’ve continued to evolve and turn out great guitar pop, with Apples containing eleven intriguing and enthralling tunes weaving their way into your noggin and leaving their mark, beginning with the vibrant ‘Take Me By The Hand’ that has the superb, inventive guitar work of Will Sergeant at the forefront of this record, the band’s first in over a decade. It also features much-missed Blondie sticksman Clem Burke adding his considerable talent to proceedings, driving this record on with his flair and style.

This seems to be grittier than previous offerings. Sure, there are some subtle strings dotted around the record, but it seems more guitar- and bass-driven, with the first single ‘Brussels Is Haunted’ lighting the way with its sprightly tempo, throbbing bass line and riff-based guitar breaks whilst Ian peels away the years with his distinctive tone and delivery. It’s nestled next to the gentler ‘I’ll Be Your Sunshine’ with those aforementioned lush strings layering the tune.

‘Hijacked’ has a thumping Bassline driving the song with the minimal chorus whilst Will meanders and weaves his guitar chops in the available quiet, filling every space with a rush of energy. Great Stuff. There seems to be an uplifting, upbeat feel to the album, with a few shaded areas where classic echo-drenched vocals fill the void, ‘An Unstoppable Force’ being a great example of a classic Bunnymen slower song. It’s a very hopeful-sounding record, ‘The Light That Surrounds You’ sounds youthful and like something that could have been written around the ‘Porcupine’ days. There’s an innocence about it that is both charming and engaging.

Bring on the dancing horns for ‘Lab Rat Ran’ which has the sound of a top live song in a packed uni hall. The other thing I should mention is that this album has the feel that it’s stacked with potential singles all over the place so many songs that would, in days gone by, have ruled the singles charts. Great songwriters never lose it, and the Bunnymen have a pair of em. Great song and great saxophone blasting out. ‘Asimov’ has a grunt about the Bassline driving it on, and it’s only then I notice this is track number ten on the album it’s flown by. Leaving only the kiss-off of ‘We Prayed In The Dark’, a more leisurely song that’s doing its own victory lap to close off a rather splendid album. I always hope for a great record from bands who have grown older with me, but like The Mary Chain, The Bunnymen seem to have delivered a real diamond when not many would have given them the accolade they probably deserve.

If you’ve ever thrown yourself around to ‘The Cutter’ or marvelled at ‘Dancing Horses’, then you’d be foolish to pass this latest offering by. Echo And The Bunnymen have delivered one of 2026’s finest alternative records, no question about it. Buy it!

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Author: Dom Daley