The Interrupters, The Skints, The Bar Stool Preachers – Bristol Marble Factory 21.08.22

The Interrupters, The Skints, The Bar Stool Preachers – Bristol Marble Factory 21.08.22

As we made our way to Bristol in plenty of time to make sure to catch Those Barstool Preachers we find out there is a curfew and by the time we rock up to the venue there is a queue almost back to the Severn bridge and then as we near the venue we hear the unmistakable tones of The Bar Stool Preachers strike up the chords to ‘Trickledown’ and to be fair we made it through bag check in quick time as the venue fills up with people being drawn to the main room to witness a band that is blowing up right now after signing a two-album contract and having recently played two huge sets at Rebellion before taking up their position on the Interrupters European dates the band are just about getting their second wind ready for the UK leg of the tour.

Tom is twisting and spinning across the stage as the band thump out a rather splendid set of older and new tunes enthused with their good news they soon find the empty room is now full and the people of Bristol are eating out of the palm of Mr. McFaul’s hand. They make the most of the short time they have on stage to entertain with a tight, short but oh so sweet ‘Chose My Friends Over You’ before knocking out ‘All The Broken Hearts’. By the time they were getting into their stride with the excellent ‘When The World Ends’ they could have been headlining such was the feedback they were getting from the appreciative crowd. Time was at an end and they only had time to give Bristol a cockney knees-up display as the anthemic sing-a-long of ‘Bar Stool Preacher’ played out to rapturous ovations. they came they saw and they bloody-well conquered – onwards and upwards next time they’ll be headlining venues like this.

Next up were The Skints from London Town. Not a band that features on my radar but I did catch their set last time the Interrupters played Cardiff just over the bridge they have the Ska chops and skank with the best of them with some added Space ska thrown in for good measure. Hell, they even throw in some flutey tones on ‘The Forest For The Trees’ (Rumours that Marcia was standing Tull style on a toadstool on the one leg was unfounded) they do look like they love it and play with a genuine smile on their faces, but again I don’t get it and the set washes over me – we can’t like everything and I appreciate them for what they do, I can see they do it really well and the drummer Jamie cuts the chops leaving the rest of the band to layer those Ska skanks and bass thumps well and they seem to be in their sweet spot as far as tonight’s audience goes, They give them a rousing ovation after every song, not so much punky-ska but I’d say experimental reggae ska for the most part its light and breezy.

Onto the main course and The sweat box that is the Marble Factory is now full to bursting and even the walls are perspiring – It’s insanely hot inside the venue as The headliners make their way onto the stage for a 90-minute set that is executed to a tee and tonight pretty much free from the patter of previous shows – tonight it was on with the show and as soon as one song finished it was pretty much into the next. Making up for the lost time due to covid the band sounded tight and like they were having the best of times. Running through their greatest anthems it was hit after anthem after hit and tonight The Interrupters were almost literally on fire. Barely pausing to breathe they sounded fantastic with added brass on stage tonight it was a welcome addition to their sound as they ran through their back catalogue including some of the new material off their number one album ‘ In The Wild’.

It was pretty much the same set they’ve been playing every night throughout Europe kicking off with ‘Take The Power Back’, into ‘Title Holder’ followed by the splendid ‘Judge Not’ where that trombone was put through its paces. It was relentless as ‘Raised By Wolves’ off the new record went down as well as ‘turntable’,’Arrested’ or ‘Got Eachother’ they were slaying the audience with the intensity and quality of their performance. Aimee and the twins criss-cross all night grinning from ear to ear and feeding off the positive vibes pouring out of the audience. this has to be one of the most positive touring circuses in a long time the PMA is level 11. the audience which is made up of children right up through punks, skins and everything in between The Interrupters have crossed many divides and are infecting city after city with their good time tunes.

We get told that having a ‘Friend Like Me’ is for everyone and I think they mean it, like genuinely mean it. ‘By My side’ was causing quite the party on the dance floor before it was time to run through some Cock Sparrer for their esteemed guest on the balcony before running through some snatches of Hellcat and Epitaph records legends ‘Keep Em Separated a bit of Rancid for good measure before settling on some Bad Religion ‘Sorrow’ for their cover of choice. I thought Covering Cock Sparrer was pretty good.

There was just enough time to wring out your clothes before heading into the encores with gusto ‘Gave You Everything’, ‘Family’ left them just enough time to squeeze in a rousing finale that was ‘Shes Kerosene’ and then we were done. Soaking wet yet beaming smiles all around, The Interrupters were fantastic and that was the best I’ve seen them. They’ve really hit their stride and are currently smashing it. If you’re feeling down catch a date on this tour or go see these bands it’ll sort out any dark clouds and fill your head with great music. Just what live music should be – excellent, can we do it again soon, please?

Author: Dom Daley

MANIC STREET PREACHERS SHARE PREVIOUSLY UNHEARD SONG ‘STUDIES IN PARALYSIS’

MANIC STREET PREACHERS SHARE PREVIOUSLY UNHEARD SONG ‘STUDIES IN PARALYSIS’

‘KNOW YOUR ENEMY’ REMIXED, RECONSTRUCTED AND RE-ISSUED AS TWO SEPARATE ALBUMS AS ORIGINALLY INTENDED. RELEASED 9TH SEPEMBER VIA SONY

Today, Manic Street Preachers have made available a brand new track recorded at the time of their sixth studio album ‘Know Your Enemy‘. ‘Studies in Paralysis‘ was recorded at Miloco Studios in London but left off the original 2001 release. It has remained unearthed until now and is available on the entirely remixed and reconstructed re-issue of the record available on 9th September on Sony Records. The song, which Nicky Wire incorrectly remembered as being released as a b-side to one of the album’s four singles, is a red raw rock’n’roll song with a none-more-classic Manics title celebrating the blankness and inertia that comes with the loss of belief.  Another lost track ‘Rosebud‘ came out last month  and was accompanied with a Kieran Evans film

“It started with an email from Wire (it always does!).  Would I be up for working on visualising two unheard tracks from the ‘Know Your Enemy’ sessions that were to feature in the beautifully expanded and reworked re-issue of the album?  Of course I would!  Both ‘Rosebud’ and ‘Studies In Paralysis’ landed an hour later and were stunning and took my breath away. Fuck me…They left these off the original album…what were they thinking???!!!
 
An hour later, another email landed from him – “I’ll send some DV footage of the Miloco sessions up to you”. But this footage was very different from previous recording sessions he’d filmed. There was a seriousness to everyone’s behaviour and recording performances. There was no frivolity or funny off camera ‘moments’. The atmosphere felt intense, you could feel the pressure they were under.
 
Cutting this footage to ‘Studies in Paralysis’ was a task. I went through many iterations and edits to get the right “feel” to reflect what is a truly glorious song… Thankfully…I think we definitely got there in the end“.
 
‘Know Your Enemy’ will be available as two separate albums as originally planned, ‘Solidarity’ and ‘Door To The River’ packaged as a 3 CD bookset, double CD and double album on 9th September 2022.

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‘Demolition 23.’ Self-Titled Album To Be Released on October 14 with 3 Bonus Demo Tracks

‘Demolition 23.’ Self-Titled Album To Be Released on October 14 with 3 Bonus Demo Tracks

“The Demolition 23. album is one of my favorite albums of my career and definitely one of the best.”- Michael Monroe

“Me and Michael were talking about how much we missed the original Punk music of the Ramones and Dead Boys and Sex Pistols and Clash and decided to do an album in that spirit.”- Stevie Van Zandt

Stevie Van Zandt’s Wicked Cool Records has announced plans to reissue the sole album from Demolition 23., digitally for the first time ever, and on CD + ‘Blue Smoke’ vinyl, on October 14. The band, which formed in NYC in 1993, consisted of former Hanoi Rocks frontman Michael Monroe, ex-Star Star guitarist Jay Hening, Monroe’s Hanoi Rocks bandmate Sami Yaffa on bass, and Jimmy Clark on drums.’Demolition 23.’ (which had a limited release in 1994, but has since been out of print for years) was produced by Van Zandt, and features collaborative songwriting efforts between Monroe, Van Zandt, and Jude Wilder, and one track (“Deadtime Stories”) co-written by Monroe/Stiv Bators. The album, a return to the members’ punk roots, also includes covers by Monroe’s influences and friends, including Stiv Bators (“Ain’t Nothin’ To Do”) and Johnny Thunders (“I Wanna Be Loved”). Many of the songs from the record have become staples in Monroe’s live sets, which recently have included festivals and a stint opening for Alice Cooper.The digital and CD release of ‘Demolition 23.’ includes all of the original songs, along with 3 bonus demos. See track listing below. The physical versions of the album include a booklet with photos and liner notes from Monroe, detailing each song — with additional notes written by all of the living band members. The vinyl also includes a download card for the bonus tracks. The band’s logo was designed by Yaffa, who continues to play with Monroe to this day.In advance of the self-titled album’s re-release, a track titled “Hammersmith Palais” has been released to streaming sites, along with a demo version of the song.
Pre-save the album here

Michael Monroe on the single “Hammersmith Palais”:

“Hammersmith Palais was this great club in London where we saw a lot of brilliant, legendary shows by some of the coolest bands ever. I played there once guesting on sax and harp with the Lords of the New Church. Unfortunately in later years, the place was closed down and replaced by a boring office building. The song also refers to some great, fun times in the past that will never return.”

Michael Monroe on the re-issue of ‘Demolition 23.’:

“The Demolition 23. album is one of my favorite albums of my career and definitely one of the best. I had the pleasure and privilege of having my great friend Little Steven as the producer. This was originally going to be a Michael Monroe solo album, but we had put together such a strong group with Sami Yaffa on bass, Jimmy Clark on drums and Jay Hening (RIP) on guitar, that I decided the band should have a name. Sami Yaffa suggested “Demolition 23” from the William Burroughs book “Exterminator” and it immediately hit a nerve.

Little Steven and I had been writing the songs with very much an authentic kind of Punky Rock& Roll attitude and style. We also wanted to pay homage to the late legendary unsung heroes and my friends Stiv Bators and Johnny Thunders by covering one song each– The Dead Boys’“Ain’t Nothin’ To Do” and Johnny Thunders & The Heartbreakers’ “I Wanna Be Loved.”

The album was recorded at the end of 1993 at the Power Station Studios in New York City by the great engineer Ben Fowler. This was one of the easiest and most fun times I’ve ever had recording an album. The comfort of having the production in the good hands of Little Steven allowed me to relax and enjoy doing my thing. Steven brought out the best in everybody and we didn’t waste any time. We laid down the basic tracks, drums, bass and guitars for the 10songs in 3 days and I did my lead vocals in 2 days. It was like 2 vocal takes per song, then Steven would say “Ok that’s good! Next!” After the 5 days of recording, we mixed one song per day, so the whole album took about 2 weeks to make. And it still sounds great today. This record was never officially released in the States, but now Little Steven is FINALLY releasing it on his Wicked Cool label for everyone’s enjoyment.

As bonus tracks, we’re including 3 demos that we recorded at New York’s Baby Moster Studio prior to recording the album. I remember when we finished our session there, the Ramones came in and started setting up for the next session to record their cover of “I Love You” for the Johnny Thunders tribute album “I Only Wrote This Song For You.” I’ll never forget when Johnny Ramone started hitting some chords on his Moarite guitar–it was so loud you could hear it in every room of the studio. Anyway, these 3 demos already indicate what a great chemistry Demolition 23 had as a band. Hope you dig this album as much as we all do!

Stevie Van Zandt on the Demolition 23. reissue:

“The Demolition 23. album is one of my favorite records. Me and Michael were talking about how much we missed the original Punk music of the Ramones and Dead Boys and Sex Pistols and Clash and decided to do an album in that spirit. It was written in two weeks and Produced in two weeks. Love it.”

James and the Cold Gun ‘False Start’ (Loosegroove Records)

James and the Cold Gun ‘False Start’ (Loosegroove Records)

Have you ever heard a band for the first time and felt like a part of your soul just became more complete than it had been? When I first heard James and the Cold Gun, that is the easiest way to describe the feeling. Hailing from Wales and with a string of singles prior to this debut EP, they have laid down an incredible EP that somehow becomes even better with each listen as more and more elements reveal themselves. EP of the year? The answer is an emphatic “yes” with me experiencing the same euphoria I felt when Quinn the Brain released their debut EP a couple of years ago.

What makes this band so special? Let’s start at the beginning of this release with ‘Seven’ which builds slowly before unleashing a killer rhythmic hook. They pack an urgency in the groove that gives way to an insidious chorus that sticks in the head like gum on your new shoes. Hints of bands like the Foo Fighters, 3 Colours Red, Ash, and others are present but really just serve as a reference point as James and the Cold Gun have captured their own identity. There is an awesome breakdown in the song which takes the musical dynamics to another level. They show no let up with a RFTC influence introducing ‘Around the Bend.’ The guitar work here is awesome with the mix really giving extra flashes to the guitar notes. This feels like having a freight train barreling down on you in the tunnel and hopping on for the ride at the last second.

‘Plug Me In’ might be my favorite among favorites here. The intro reminds me a bit of a harder-edged GvsB as the volume gradually increases over the first couple of verses before exploding to give way to the chorus. The vocals here have a vitality to them that showcases so much emotion and passion that it is hard to describe. If you could unleash some primal screams with melody while feeling your throat get pulled apart, that might get you close to the right spot. Next up is ‘It’s Mutual’ which brings some Queens of the Stone Age to mind but again James and the Cold Gun have really captured a magic and unique formula all their own. Here they use a sneaky great chorus that will have you singing along while trying to figure out what the actual title of the song is as it is seamlessly etched into the chorus lines. Wrapping up this bundle of sonic perfection is ‘The Long Way Home’ where a seesaw-type riff leads into a hit single in waiting. Some hand claps are added into the mix here which are perfectly placed in the mix as the guitars still lead the way. The bridge breaks the song down and creates a feeling of intense pressure building before it throttles all that tried to stand in its way. It brings to mind Refused around the time of ‘The Shape of Punk to Come.’

At this point, I hope you have ordered this album and are currently already listening to it as there is not much else I can say. This is an incredible release that has become a part of my soul. It’s a cathartic release that can be played again and again. The bigger question might be how the band follow up this release but, much the way the Wildhearts followed up their initial EP releases with an amazing full-length debut many years ago, I think James and the Cold Gun will do the same.      

‘False Start’ is available now.

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Author: Gerald Stansbury

Tyla’s Dogs D’amour ‘Dice Clown Man’ EP (King Outlaw Records)

Tyla’s Dogs D’amour ‘Dice Clown Man’ EP (King Outlaw Records)

After an unusually long silence (for Tyla), Dogs D’amour have returned with this new EP featuring songs that will not be on the new ‘Tree Bridge Cross’ album, which is also about to finally see the light of day following a very long delay due to issues pressing the vinyl. These songs are slightly rougher production-wise than the ‘In Vino Veritas’ album and the aforementioned ‘Tree Bridge Cross.’ The five songs plus the instrumental piece at the end work very well together and will have me tagging these onto a playlist of the new album when it is finally released.

The Dogs these days have been functioning as a tightknit unit for many years with Tyla joined by Gary Pennick (guitar), Matty James Cassidy (bass), and Simon Hanson (drums). ‘Blow on my Dice’ rings in the proceedings here with Tyla’s distinct voice serving up the first lines over the guitar notes before the rest of the gang crashes through the door. This midtempo song is extremely addictive and catchy with some tasty background vocals serving the song perfectly. This is not cutting edge by any means but a fun lighthearted singalong. What follows in ‘Every Scar’ I would say is essential and a killer epic at nearly 7 minutes. The spaghetti western acoustic guitar and whistling set the tone as a dark somber verse takes hold. The slow build in this song has made it a favorite on the EP for me. At times, I am reminded more of a song that would feel more at home on ‘Libertine’ or ‘Nocturnal Nomad’ than on a band release. Hanson’s drum work has to be noted as it is just perfectly executed. The haunting vocals executed perfectly. I am hoping this one will get translated over to the live shows.

Returning with the quicker tempo ‘Jimmy Moonblood’ next, the band shines in another hook-filled delicacy that reminds me of ‘Johnny Silvers’ in the chorus from way back in the day. My only issue with this one is it is over way too fast at just two and a half minutes. The band again slows the tempo way down on ‘Memphis’ featuring the last piano Scotty played with the guys before his passing. First time I heard this song, the comparisons that came to mind musically were Johnny Cash and Elvis. It’s a beautiful song that could be a close cousin of ‘Empty World’ in its feel and delivery.

The last proper song on the EP gets rocking and bluesy with ‘Nazarine.’ Cassidy’s bass work with these Dogs has always been top-notch, and the groove he and Hanson serve here is extremely tight. With Tyla and Pennick rocking out on the guitars over the top and adding a simple vocal hook that does not let go, it serves as the perfect closer. ‘Never Forget That Day’ then adds the musical ending as the credits scroll down the screen. This adds a very different touch to the EP that what we have seen Tyla and the Dogs do in the past.

Tyla’s Dogs D’amour are not going to revolutionize music or start any new trends in the mainstream. They deliver vital rock n roll packed with the blues, sincerity, spirit(s), and heart which have kept me hooked on Tyla’s music since the 80’s. This EP hits the mark and has constantly been in the rotation since it arrived. Now, I’m going to play it through all over again and enjoy the musical journey.

‘Dice Clown Man’ is available Here   / Tyla’s Art Tavern

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Author: Gerald Stansbury

Dystopian Future Movies- ‘War of the Ether’ (Septaphonic Records)

Dystopian Future Movies- ‘War of the Ether’ (Septaphonic Records)

I first came across DFM way back, having been bounced a you need to have a listen to these guys from Pity my Brain main man Jamie Richards, and was instantly blown away by the depth atmospherics and intensity of the music, that initial LP Time was followed on in 2020 by the superb Inviolate, stretching the intensity out, building on the first LP showing a band choosing a direction, both powerful, observational and more to the point drawing the listener in to a dark dystopian world created by none other that Caroline Cawley and Brother Bill Fisher from the Church of the Cosmic Skull, but music that shines as the complete antithesis of that body of work.

But on to the current release (War of the Ether), preceded by the self-titular single War of the Ether, again this is seriously powerful stuff. As the press release illustrates, “Lyrically, the album dives deep into a recent scandal surrounding 796 skeletons found on the grounds of the former Catholic-run Tuam Mother & Baby Home in Caroline’s native country of Ireland. To hide the shame of pregnancy out of wedlock, women were sent to homes like this all over the country. Forcibly separated from their mothers, many of the children died in infancy due to neglect, and some were trafficked for adoption to the US”.

First track up She came from up the Dromban Hill draws you in before the poetic spoken vocals lead you through the story unfolding. At times I get drawn back to some of the almost autobiographical work of Joolz, real time observational, an outsider recanting the story, looking in and backwards, the first thoughts I’m starting to build as we move into second track up Critical mass is how sharp the whole sound is, focussed, driven and intense. This feeling of intensity is an off set to the almost at time ethereal vocals, but the vocals form only part of the whole, all the parts twist and engage wrap around each other, cocooning you in an aural soundscape.

Next tracks up The Veneer and Walls of Filth and Toil, again lead you step by step engaging, driving and moving you inwards spiralling into the soundscape of the story unfolding. Then the Title track War of the Ether, hits in hard, the intensity ratcheted up another notch, the guitar work enhancing and pushing the vocals ever higher. License of their Lies maintains the intensity. By the time you reach No Matter, your held by the story unfolding, gripped by the soundscape and hit by an almost Primal Scream of emotion. Finishing the LP off A decent class of girl a fitting tribute and uplift to the sounds and story that we’ve been told.

This an LP that again draws you in, the subject matter, coupled with the intensity of the music and some staggering good ethereal vocals really demands your attention, well worth checking out released in October, with a tour following, this is the type of music that really needs to be witnessed live.

You can buy the LP here, keepin’ it independent!!

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Author: Nev Brooks

Two for Tuesday

Two for Tuesday

First up we have the first video off the brand new Baz Francis EP ‘Wake To The Morning’ check it out and pick it up at the links. Facebook / Pick it up Here

second time around we’d like to share the brand new video from Girls In Synthesis and ‘Watch With Mother’ the post punk outfit are set to release the eagerly anticipated follow-up to 2020’s incendiary debut, ‘Now Here’s An Echo From Your Future’. Entitled ‘The Rest Is Distraction’ it’s available this coming October via the band’s own label Own It/Cargo Records, it’s mix of fractured guitar, crushing drums and bass, intense vocals and lyrical content – create as challenging a record as you will hear this year! Pre order here

Steve Vincent – ‘Recovered From My Past’ (Bombshell Records)

Steve Vincent – ‘Recovered From My Past’ (Bombshell Records)

It’s been a while in the making but it’s finally here, Steve Vincent has assembled a cast of reprobate Rockers to assist in pulling this together and apart from writing and playing a lot of the instruments himself, he’s accentuated a lot of the tracks by drafting in the likes of Danny McCormack from the Wildhearts and Steve Conte from Michael Monroe band as well as Miqu December from Plastic Tears who also has a writing credit on a track he duets on (‘Fallen Wheel’).

Hailing back to a time when Grunge killed off glam and all strands associated rightly or wrongly struggled with the association people like Steve survived and moved on but never lost the passion and love for Rock n Roll. In a time (the early 90s) when London was alive with real rockers and genuine great bands like Gunfire Dance, Kill City Dragons, Cheap and Nasty to name a few who stood a fighting chance but never quite fitted in with the punk rock crowd nor the glam rock dandies it was a more gritty mid 80’s feel going on, Steve kept going with his band Paradise Alley who were also out of step with what was considered Glam and what would have cut it as punk.

The band limped on in various states playing towns and cities from America and beyond but burrowing away at home writing and recording Steve kept his powder dry and long after Grunge ate itself, Steve appears like a genie from a bottle (of thunderbird wine no doubt) and delivers a solo record that deserves being championed from these here pages as I wonder how or why it’s taken so long to get all this music out there. Steve does a sterling job on the harmonica he blows on up-tempo opener ‘Yesterdays Man’ with its layers of sound from the picked guitar and Danny McCormack throb on the bass. That sleazy Hanoi Rocks inspired swagger of ‘All I Wanna Do’ has Steve wheezing on that harmonica again for a barroom sing-a-long with some decent guitar licks courtesy of Mattias Johansson and some most welcome joanna tinkling courtesy of Matt Connor adding to a feel-good rocker. The late night come down flip side of ‘All I Wanna Do’ is ‘Last Train To Babylon’ with a laid-back tempo and groove with some tasty guitar playing courtesy of former New York Doll Steve Conte which seems apt as the New Yorker adds some real Noo Yawk flavour to the mix about the city that never sleeps.

Steve swaps his pixie boots for a pair of two-inch creepers and puts his foot to the floor for ‘Can’t Bring Me Down’ as the lyrics take a darker turn so does the groove – it shows a side that isn’t just good times and parties but real issues and a riff to boot on this well-constructed darker song.

Once dubbed as the “happy song”, ‘Falling’ is a standard rocker wearing a big smile and it shows – you certainly feel it. ‘Fortune wheel’ is co-written with Miqu from Plastic Tears and works well. Left to ferment from the 90’s it reached its vintage and this toe-tapper leads the charge into the home straight.

The penultimate song ‘Sleepwalking’ is a self-confessed homage to Stiv Bator who I’m sure would have approved of the songs meaning and story he’d also have enjoyed the meandering guitar work that underpins the riff that oozes glam punk not some powder puff Sunset Strip Glam Rock but a gritty authentic Punk Rock slice of Glam grafted from mid 80s wardour street to the here and now, excellent stuff.

To close off the album is the gentle and considered acoustic ballad that is ‘Lost Boys And Fallen Angels’ dedicated and inspired by a former bandmate who lost his life a decade ago and to people everywhere who’ve lost someone with a PMA and kind soul that’s never coming back – it’s a fine and fitting end to a really impressive album showing that Steve Vincent has many strings to his bow and an ability to write and record some excellent rock and roll. Long live real Glam Punk Rock n Roll and keep on keeping on Steve – this is a record that deserves to be heard and hopefully just the start.

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Author: Dom Daley

The Chats – ‘Get Fucked’ (Bargain Bin Records)

The Chats – ‘Get Fucked’ (Bargain Bin Records)

Coming across like a down-under Devitto era Buzzcocks meets AC/DC old Skool the Chats do anything other than getting Fucked on this their second offering of Aussie punk rock.

‘GET FUCKED’ opens with ‘6L GTR’, a takedown of a speed-crazed status-symbol driver – a critique piqued when Eamon spotted the titular license plate in an airport carpark. It’s an album that shows the band’s maturity from the off on this here 13 high-velocity punk tracks. To be fair they’ve hardly matured and started writing prog whilst playing a flute one-legged on a toadstool. This bad boy rips from start to finish, as they’d say down under. Lyrically it covers topics from panic attacks, junkies, prison breaks, the price of smokes, surf mafia, and being drunk in every pub in Brisbane amongst other heady big ticket topics.

There’s a rumor that Opener ‘6L GTR’ saw Eamon Sandwith nick a bit of Dave Lee Roth which was taken out of the tune after management got a knockback from Diamond Dave but hey ho them is the breaks they should have just done it and send double D the V sign with a sue us if you want letter. The non-PC album title came from a brainstorming session (imagine that one folks?) where Matt Boggis said imagine how funny it would be if kids go to the record store and ask for Get Fucked from the salesperson. Yeah pretty funny slinging it on yer Christmas list from your nan to pick up. But hey this isn’t Roxy Music or Genesis or some high-brow prog This is working-class Aussie punk rock yer Fuckers!

Anyway, where were we? Oh yeah, thirteen songs. The first single and album opener down The Chats have got sharper and tighter that’s for sure and all that touring has paid off for sure. Most of the album is your usual Australian HC one and a half minutes of rage then boom! but there are a couple of tracks that tickle the four-minute mark which in itself is almost Maiden-esque pro in length rather than Ron Jeremy Length in the puns and goofiness stakes. so good on ’em for that.

‘Struck By Lightening’ is a warning to take cover in storms maybe go inside and put this on the earbuds – thundering along with a rapid verse with sloppy doo wap backing vocals and a cautionary tale. the solo is majestic to be fair as the song hammers along. ‘Boggo Breakout’ is punk as fuck from the vacant riff to the snotty vocals it’s another banger and benefits from volume and multiple plays. ‘Southport Superman’ is just a heads-down race to the finish line in true punk as fuck style. ‘Panic Attack’ is more restrained from the intro with a military slap on the snare and pluck on the bass before Josh joins in with his Shelly meets Diggle meets the Undertones wall of punk rock guitars lifts the song up.

The first of the long songs is the excellent ‘ The Price Of Smokes’ which is about the economic cost of living stuff where the band thrust the cost of living to the forefront. It’s a cool bass and drum intro where they lock in and take this baby to the bridge then drop her off gently. An excellent song that asks the important questions of the day. Sidestep from the heads down crank it up that had preceded it, (See I said The Chats had moved on and matured). Oh hang on ‘Dead On Site’ is a razor-sharp riff delivering exactly what The Chats fans are clamoring for. Punchy, full throttle, punk rock mixed with some fine Angus Young inspired old school solos – magical stuff!

‘Paid Late’ is a fine slice of Smash and Grab punk rock before the let’s go to the pub banger that is ‘I’ve Been Drunk In Every Pub In Brisbane’. If I’m honest this album has added elements of Rock and old-school hard rock, even when they speed up proceedings it’s a great crossover full of energy and street punk rock n roll. Their no longer on Smoko their running the gaff. There’s no acoustic ballad but there’s lots of loud guitars. I think one of my favourite tracks is ‘Emperor Of The Beach’ with its cock sure riff that tips the hat to the daddy of tone Steve Jones and is a thumper of a track. The band signs off this second album with the punky ‘Getting Better’ and so they are. God bless these noisy cunts from down under for they’ve taught this old dog a few tricks on this album and tightened up the loose ends of the debut and thrown in a few curve balls but above all delivered a fantastic record that I’m thoroughly enjoying

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Author: Dom Daley

Grand Theft Audio – ‘Pass Me The Conch’ (Technical Foul)

Grand Theft Audio – ‘Pass Me The Conch’ (Technical Foul)

The small consolation fans of The Wildhearts can take from their favourite band being such a volatile unit, is I suppose, the amount of fantastic music the resulting side projects have produced every time a member leaves or, as is the case right now, the band goes on an extended hiatus.

Honeycrack, The Yo-Yo’s, The Jellys, Jackdaw4, Mutation, Silver Ginger 5, Sorry & The Sinatras, the list of quality just goes on and on.

There is one band however, that rose from the ashes the first time The Wildhearts crashed and burned that completely passed me by at the time, and that band is Grand Theft Audio.

I’m not exactly sure why this was, as formed around the creative nucleus of Wildhearts drummer Ritch Battersby, producer Ralph Jezzard and Realtv and Vive Finito frontman Jay Butler, the band quickly signed to London Records for their debut album ‘Blame Everyone’ and then found themselves pretty much everywhere, touring the world whilst also featuring on various movie and video game soundtracks. Then, almost as quickly as they burst onto the scene they were gone, as their label dissolved and the band fell apart.

Its two decades on from that implosion with Ritch and Jay now back in the ring with their second album ‘Pass Me The Conch’ that I first get to hear them, and praise the Gods (of Rock) that I’ve finally discovered them.

Effortlessly merging elements of electronica with balls out arena rock Grand Theft Audio sound like a whirlwind of positivity in a world that once again seems to love wallowing in the negative. Inspiring tracks like the gothic ‘Ruin Your Youth’, the anthemic ’Bad Instinct’, and the monstrous ‘Bury The Day’ take the bottom end thrust of The Wildhearts and give it a 21st Century twist, full to bursting point with melody and catchier than Covid-19 in a world that is now seemingly devoid of any conscience for its continued spread.

Elsewhere, there’s the pop-tastic rock/rap lead single ‘The Gods of Rock’ that has me thinking of Manson at his finest (that’s Marilyn not Charlie) and album opener ‘Scrub Up’ could very easily have been a long-lost GUN track written at the height of their 90s MTV fame.

It’s the darker and more reflective electronic tracks like ‘Trevor’ and ‘The Load’ that are the flipside of the Grand Theft Audio dynamic, and for me, this is where they stand apart from being just another rock band.  It’s exhilarating and genre smashing stuff!  

‘Pass Me The Conch’ is Grand Theft Audio’s statement of intent, its them taking control of their musical destiny and throughout the record’s ten tracks it sounds like they are loving every second of it.

Released on the 2nd of September with a twelve date tour starting a week later to help promote the release of the record, Grand Theft Audio will be sharing stages across the UK with CJ Wildheart and Scott Sorry and some might even be so bold as to say that a world without The Wildhearts is actually a musically much richer place to live in. ‘Pass Me The Conch’ is a leader not a follower- check it out!

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Author: Johnny Hayward