They say that in life first impressions are everything, and when it comes to Oslo five-piece Gluecifer, for yours truly, that was most certainly the case.

I first encountered Gluecifer around a quarter of century ago, initially through a Rockpalast performance on (German TV channel) WDR early one Sunday morning after a night out in Abertillery Rock City. I was completely blown away by what I witnessed, not only by their rather unique take on the garage punk genre but also by the suave stylings of the band’s members, especially the ultracool onstage persona of singer Biff Malibu. I mean anyone who can wear white loafers and a red velour bowling shirt whilst ridiculing Joey DeMaio’s inability to drink a (piss weak) tin of beer is already a winner in life, right?

Having quickly taped this performance onto VHS for all my mates to see I then quickly invested in a copy of the band’s ‘Soaring With Eagles At Night To Rise With The Pigs In The Morning’ album and loved every second of it. Then, just a few short months later, me and my (pre) uber rockin’ amigo Gaz Tidey found ourselves stood stage front and centre watching the band live as they hit Newport’s Legendary TJ’s venue. This time around the guys were out on the road with Gaza Strippers promoting their then-new album ‘Tender Is The Savage’, and if they’d blown us away on TV playing live, nothing was about to prepare us for what they were like in the flesh. So, when drummer Danny Young decided that playing a gig in a fibreglass (pretend) cave somewhere in south Wales was also the best time to wear arseless leather trousers whilst at the climax of their set the guys also took a step back (they couldn’t take any more than that as they’d have been off the back of the stage) and unleashed an indoor firework display that must have set them back at least £3.50 of the tour budget, we fully understood why Gluecifer, really are the undisputed Kings of Rock.

Following on from that most eventful night, I went to see the band pretty much every time they toured the UK, and unlike some of my fellow Gluecifer fans who I have got to know through the years, I also thought they progressed as songwriters with each subsequent studio album they released, until in 2005 following the tour in promotion of their ‘Automatic Thrill’ album, they rather unexpectedly (to me at least) decided to call it a day. The world of rock was left with a giant Gluecifer shaped hole, something that not even the arrival of Bloodlights (guitarist Captain Poon’s excellent post Gluecifer band) could ever truly fill.

A posthumous Gluecifer compilation album ‘Kings Of Rock (B-Sides And Rarities)’ was released by Epic/People Like You back in 2008 and this is where the genesis of the idea behind the album I’m about to (finally) get around to reviewing first saw the light of day. That album (in their Norwegian homeland at least) took one album packed full of “hits” as its main selling point, then added a second album of deep cuts, whilst everywhere else in Europe it was that 16 track second album (with an added ‘Desolate City’ from LP number one) that hit the record shops as a standalone release.

Here in 2024 that rarities album has been expanded to a 24 track double LP/download, taking 14 of the tracks from the 2008 release and adding 10 new ones to the track listing, including some recorded during the sessions around the ‘Tender Is The Savage’ and ‘Basement Apes’ albums that have never previously been released.

Kicking off with (the aforementioned) ‘Desolate City’, which was the last track the band recorded together prior to them splitting up back in 2005, this track was penned for a Norwegian action movie named “Izzat” and since the guys reformed back in 2017 to play a series of live shows this tune has proven to be a particular set list favourite with fans. Listening to it again here in 2024 certainly reinforces my shock at the band splitting up back then, because as this tune proves, they really were going out on a high.

Not that there are any lows during the 23 other tracks that make up this compilation I trust you understand, as the band’s earlier tunes like the rip-roaring ‘Monoman’ (taken from the band’s debut ‘God’s Chosen Dealer’ single, which has all 3 of its tunes included here) sitting alongside the likes of  ‘Beg Like The Dog You Are’ (previously unreleased from the ‘Tender Is The Savage’ sessions) make for a fascinating sonic voyage through the band’s deep cut back catalogue and their development as songwriters.

The songs I was particularly interested in hearing were the 3 previously unreleased tunes that didn’t make the cut during the recording of the ‘Basement Apes’ album. With this being my (when pushed to choose one) favourite Gluecifer album the harmonica honking ‘All The Young Droogs’ is an immediate “why didn’t this make the final album?” standout, whilst the almost Saxon-esque thunder of ‘The Hammer & The Wheel’ is also a winner, which just leaves the sassy strut of ‘(Gimme That) Good Butter’ (complete with some Stonesy female backing vocals) to close out ‘B-Sides & Rarities 1994-2005’ and illustrate once again that at the very heart of Gluecifer there was always more than just a balls out garage punk band.

At just shy of 1 hour and 20 minutes long there’s a hell of a lot to get through within the grooves of ‘B-Sides & Rarities 1994-2005’ so I’m going to leave you to fully discover what Captain Poon himself calls “a nice little treasure hunt”. It’s well worth investing your time and money in that’s for sure.

‘B-Sides & Rarities 1994-2005’ is available now on “slightly” silver double vinyl, tucked snugly into a gatefold sleeve via the link below, and you never know, if enough of us in the UK go out and buy this, Gluecifer might even think about playing the UK again (I have everything crossed here anyway).

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Author: Johnny Hayward

The first taste of live music in 2024 is a trip across the border and into the Exchange for a night of Cider and black and guyliner n Goth for Swedens Agent Side Grinder are opening tonight’s show in support of the most excellent Then Comes Silence.

With a healthy turnout Agent Side Grinder takes to the stage bathed in a sea of Fog (as you’d expect) and turn up the electronic goth tones for a forty-five-minute take on some very impressive Soft Cell meets Depeche Mode whilst absorbing the Gary Numan back catalogue synth Goth (if you looking for a yardstick to measure their sound then these seem like the perfect touching point) This three piece (Two Keyboards and one vocalist) deliver a modern twist on ‘Speak and Spell’ meets ‘Non Stop Erotic Cabaret’ hailing from Stockholm and already having delivered six studio albums in their almost twenty year existence I’m almost ashamed to say this was my first time seeing the band.

Supporting their 2023 album ‘Jack Vegas’ the band got on with business and aided by the most excellent PA in the Exchange they were able to turn it up and dive in. Songs like ‘Waiting Room’, ‘Madeleine’ and ‘Wolf Hour’ sounded excellent and bringing Alex from Then Comes Silence up for a few tracks added another level to their sound that came to life with the additional bass guitar, giving the songs more depth and a big bottom end. Emanuel led this synth trio through an impressive set and I’m glad I was there early enough to catch the perfect opener to ease you back into the live arena after a few weeks off from live shows.

Then Comes Silence are back to a three-piece and take to the stage and proceed to spend the next hour or so delivering the perfect guitar-based Goth Rock currently doing the rounds anywhere. The three-piece kicks off with ‘Ticket To Funerals’ and roll straight into ‘Flashing Pangs Of Love’. Hugo is whirling in circles as he throws out the Brian James Lords-inspired riffs drenched in delay and chorus that evoked memories of a young Daniel Ash at his prime so much so that I commented he played the riff of ‘Fashing Pangs’ at about two o’clock that afternoon such was the delay on the overdrive. However, the sound as per usual in the Exchange is second to none, and Then Comes Silence are playing a blinder. A well-oiled machine that they are they throw out banger after banger touching on Goth greats Such as the aforementioned Lords Of The New Church as well as a host of other post-punk bands who dabbled in Goth. It’s no surprise that Wayne Hussey holds them in such high regard with songs like ‘We Lose The Night’ and ‘Warm Like Blood’ dripping with sheer class and a hint of The Mish in their DNA.

A frenzied pit of Gothness broke out mid-set and a more polite and gentile mosh pit you won’t find anywhere this side of Hades. The fuzz of ‘Strangers’ gave me goosebumps and the relentless attack on my senses was further heightened as the fantastic ‘Strange Kicks’ played out. There wasn’t much in the way of banter between songs more preferring to let the music do their talking and to be fair they sounded fantastic as we headed for the final Hurrah as ‘The Rest Will Follow’ made way for the inspired ‘Animals’ and without fanfare, we were done.

That was nothing short of awesome. How this band are playing small clubs is a mystery, they should be rolling through towns with trucks hauling their gear and large concert venues being laid waste with plumes of dry ice and the sound of distorted decaying riffs ringing through your ears.

This old Goth can go out into the cold winter air happy in the knowledge that 2024 got off to the best possible start gig-wise. I only hope 2024 sees a new album and more live shows from my favourite Swedish Goth Rock band. That set my friends will take some beating and its only just January.

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Author: Dom ‘Nosferatu’ Daley

Compilation of released and unreleased material between 2014-2018 sees Chicago punk n rollers Poison Boys Front Man Matt Dudzik has settled on a three-piece but there have been several past members who’ve come and gone but leant a helping hand during the recordings of this album in the four years these songs are lifted off. The band recorded on White Zoo Records as well as London’s finest No Front Teeth Records as well as some early self-released demo tapes. this is essential listening if you’ve gotten into the band via their two mighty fine albums that followed but it’s a great way to kill some time before the new album drops as it shows how the band honed their skills and went from a rough round the edges punk n roll outfit with plenty of attitude coursing through these songs. Besides, some of these records as 7″ singles are like rockin’ horse shit so it’s tough to track down if you’re late to the sleazy party.

The No Front Teeth singles were where I joined the Poison Boys train and mightily impressed I was too. ‘Bad Mouth’ still sounds fuckin awesome but you might want to start this trip from back to front because the demo is nasty in the best possible way. All Johnny Thunders riffs n licks and the sound of some punks kickin’ back and dropping sound bombs in your ears. ‘Turn’ sounds like it was found in some ditch next to a body with no ID but a Lewis Leather Jacket and some cool worn creepers.

Anyways heading back to the top and the two tracks from the White Zoo Single ‘Bustin’ Out’ and ‘Run And Hide’ with their cock of the walk Chuck Berry licks and JAgger puffed out chest is a great place to start with this compilation. If wrapping up the band’s output is what you’re after then hop on board it’s a wonderful fifteen-track that kicks ass and is pure rock n roll with attitude with hidden gems like the leftover session cut that is the sleazy acoustic smokey ‘In The Night’ sounding like they were channeling The south of France Stones Exile sessions.

Head over to Bandcamp and show Poison Boys some love and support this record and look forward to what they do next. these pirates are sailing the choppy waters of Rock n Roll and taking no prisoners but leaving a fantastic trail of destruction in their wake. Hail, Hail Punky, sleazy Rock n Roll Its alive and well and living in the shadows of Chicago.

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Author: Dom Daley

On 17th May Ferocious Dog proudly release their brand new studio album, ‘Kleptocracy’, on Graphite Records. Kleptocracy, features 12 songs and will be available on CD, Deluxe CD (with 4 bonus songs), transparent red vinyl (exclusive from the band’s website), clear vinyl and all digital platforms.

Kleptocracy, delves into themes of societal injustices and the enduring struggle against exploitation, echoing the band’s commitment to shedding light on the issues plaguing Broken Britain and our world today.

In typical Ferocious Dog fashion the album is a mix up of all sorts of genres! To name a few of the influences that appear: Celtic folk, gypsy folk, blues, dissident folk, pop punk, full on hardcore punk, and straight up rock. However, despite the many styles, primarily this album in particular goes back to a more classic folk punk sound.” – Ferocious Dog.

Kleptocracy is the follow up to The Hope which debuted at Number One on the Official UK & Ireland Folk Album Charts  and entered the National Album charts at Number 31.

With a righteous anger and a brand new line-up, Ferocious Dog “didn’t want this album to sound just like The Hope or previous albums, we wanted to put our own stamp on it. So even though this album has the same undercurrent as all Ferocious Dog albums, it is faster, more rocky and a closer reflection of our live shows. It has been a great venture all working together on this album amidst all the shows and tours.” 

Thought provoking and politically charged, Ferocious Dog seem to have the knack of evolving their dynamic and eclectic music, without losing any of the sound or attitude that made you fall in love with them in the first place. 

To preorder Kleptocracy go to: https://linktr.ee/FerociousDog

To celebrate the release of Kleptocracy, Ferocious Dog have announced 14 headline shows and two festival appearances; Stone Valley South and the Bearded Theory. The Kleptocracy tour starts on May 17th  at the legendary 100 Club in London, includes the Nottingham Rock City on 18th  May, before concluding at the Blackpool Tower on 9th  June. 

“These performances aren’t just about the music; they’re a rallying cry for change, a space to unite and amplify voices against corruption and injustice.” 

Tickets for the tour  can be ordered here: https://ferocious-dog.co.uk/live-events/

Ferocious Dog 2024 Kelptrocarcy tour dates:

May 

Fri 17th 100 Club  London 

Sat 18th Rock City  Nottingham 

Sun  19th The Globe  Cardiff

Mon 20th Phoenix  Exeter

Tue 21st Chalk  Brighton  

Wed 22ndBooking Hall Dover

Thu 23rd Mash  Cambridge

Fri 24th Nightrain  Bradford 

Sat  25th Stone Valley South Hertfordshire

Sun 26th Bearded Theory  Derbyshire  

Fri 31st MK11 Milton Keynes 

June

Sat 1st Guildhall  Gloucester

Sun 2nd The Drill Lincoln

Fri  7th The Georgian Theatre  Stockton-on-tees 

Sat 8th Old Fire Station Carlisle

Sun  9th Blackpool Tower Blackpool 

Those shirtless Swedish sailors, The Boatsmen, are back with the first single from their fifth, and perhaps greatest, album “Hard Livin’”.  Slated to be released on the 29th of December this year, we wanted to give you a taste of what The Boatsmen have cooking.  It’s less than three minutes, you have three minutes.  Why wait, go give it a listen!

“Hard Livin’” will be available on vinyl and on all major streaming/download services on December 29, 2023.  Available in North America from Spaghetty Town Records. In Europe from Ghost Highway Recordings or from The Boatsmen.

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“Hooray Hooray it’s Dirtbox day.”

It feels like a mighty long time since I had that melody line spinning around in my head in the run-up to a Welsh Dirt Box Disco gig, and correct me if I’m wrong, but this must be the first time the streamlined version of the band has ever played a show in the valleys.

So, with this in mind nothing was going to stop me from making the trip up to Aberdare to catch the band’s return to a Welsh stage, not the torrential rain, and given that the gig has a 2 pm start, not even my nephew’s ninth birthday celebrations. The latter does mean I’m about an hour late getting to the venue (my apologies to openers Jaws Of Life who I missed as a result), but leaving just as the birthday cake sugar rush starts to kick in also means I am fully in the mood for a party, and thankfully Split Dogs are on hand to provide the soundtrack. 

This is my fourth time of seeing Split Dogs this year and each time it’s been with a different line-up, this time around it’s my first time catching them with new bassist Suez, and the next time I catch them they’ll have a new drummer as this afternoon is also one of the band’s last shows with current drummer Rich. Not that any of this seems to phase singer Harry and guitarist Mil in the slightest, and it’s their belief in the dozen or so songs the band have behind them to date that burns brightest, and the moment these tunes explode on stage is a joy to behold, yet again. The likes of ‘Prison Bitch’, ‘Feeder’ or ‘Punch Drunk’ live (or on CD) just leave you breathless, and in ‘Tear Down The House’ the guys might just have written the natural successor to ‘Sunday Morning Nightmare’ by Sham 69. A Sunday afternoon nightmare (of a gig) though, this most certainly was not.  

I’ve said it before and I’ll say it again, I predict big things for Split Dogs in 2024.

These days there are not many things that can get me to do the Showaddywaddy swagger dance but the sounds of ‘Under The Moon Of Love’ blasting out of the PA as Dirt Box Disco take to the stage is enough for me to don my imaginary crapes and drapes and “waddle” my way to the front of the stage with a huge grin on my face, and it’s not just me either, as everyone around me is doing the same (smiling that is, not waddling) just as Spunk Volcano leads his gang of misfits into the opening a cappella of  ‘I Just Want To Be A Girl’ and off we go on a rollercoaster ride of a set packed full of punk rock bangers at every twist and turn. 

With the exception of two new tracks (these being the title track and the Finbarr Saunders approved ‘Up The Dirtbox’) drawn from the band’s 2023 record ‘Rokapokalips’ and ‘Unstoppable’ from their 2020 album ‘TV Sex Show’ the rest of this afternoon’s hour-long soirée focusses on the band’s first three albums and debut EP, and who can blame the lads when they have the likes of ‘Peepshow’, ‘Burning’, ‘Standing In The Queue’ and ‘My Girlfriends Bestfriends Sister’ just waiting to be screamed along to. What makes it even more perfect though is the fact that there’s a young lad in the crowd (wearing an ace battle jacket complete with a Twisted Sister back patch) singing along to these songs like they were written yesterday not a decade or so ago when he would have still been a baby.

It’s proper sunshine indoors stuff when ‘I Don’t Wanna Go Out With You’ gets us finishing off whatever is left of our voices, and not even a misjudged stage dive by one over excited punter during ‘Let’s Get Wasted!’ can’t spoil the atmosphere as ‘My Life Is Shit’ calls last orders on this most glorious of matinee shows.

Forget Whamageddon or whatever they call it, the Dirt Box Disco Armageddon is not about avoiding great music, it’s about celebrating it. I swear the guys could have played for 3 hours this afternoon and not a single person would have complained, not in the slightest. It’s just a shame they didn’t find time to slot in ‘I Don’t Want Anything For Christmas’, as I think deep cut gem would have been the real icing on the cake of one the most feelgood gigs I’ve ever been to.

Remember folks, Dirt Box Disco is for life, not just Rebellion, so get out there and support them in 2024, and let’s make every day a Dirtbox day.

Author: Johnny Hayward

It’s episode 11 of the RPM Online podcast and this episode begins with a tribute to the legends that are Shane McGowan and Geordie Walker who both passed on recently. As well as new tracks from the likes of Black Bombers, MDC, and Family Battenberg we play classics from the likes of Dead Kennedys and Frank Black. This Episode also features tracks from Ultrabomb who are touring with Bar Stool Preachers and both have albums released in 2023.

How about some Action Rock from the re-issued and first time on vinyl for the A-Bombs on Beluga Records which only leaves Wine Lips on our playlist.

In the coming episodes, we have a bunch of new songs played on episode 12 which is already recorded and coming next week before we have a couple of special interviews we’re cooking up over the festive period with some of our favourite artists as well as the writing team for RPM who are getting together to reveal their favourite releases of 2023 as well as some of the best live shows they witnessed this past year.

FROM NEW ALBUM 
WHAT DO WE DO NOW
OUT FEB 2nd ON SUB POP

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musical virtuoso J Mascis releases ‘Set Me Down’, the beguiling and electrifying new single from his forthcoming album What Do We Do Now which will be released worldwide via Sub Pop Records on February 2nd

Recorded at his studio Bisquiteen in Western Massachusetts, What Do We Do Now is J’s first solo album that features full drum and electric leads, although the rhythm parts are still all acoustic. It features a host of guest musicians including including Western Mass local Ken Mauri of The B-52s on keys and Ontario-based polymath Matthew “Doc” Dunn on steel guitar.

‘Set Me Down’ follows on from the record’s lead single, ‘Can’t Believe We’re Here‘, which features appearances from J and a few of his friends and foes. The video was edited by Adam Bale at Ballad Pictures.


J has scheduled two solo headline shows for 2024 in Australia, which coincidentally happens during a run with his other band, Dinosaur Jr. The dates include Sydney’s Liberty Hall on Tuesday, February 20th, and in Brisbane at The Triffid on Saturday, February 24th. Additional solo dates will be announced soon.
 
Mascis is currently on the road with Dinosaur Jr., who are touring to celebrate the 30th anniversary of their sixth studio album, Where You Been.

What Do We Do Now is the fifth solo studio LP recorded by J Mascis since 1996. This is obviously not a very aggressive release schedule, but when you figure in the live albums, guest spots, and records done with his various other bands (Dinosaur Jr.The FogHeavy BlanketWitchSweet Apple, and so on), well, to paraphrase Lou Reed“J’s week beats your year.”

What Do We Do Now began to come together during the waning days of the pandemic. Utilizing his own Bisquiteen Studio, J started working on writing a series of tunes on acoustic with a different dynamic than the stuff he creates for Dino. “When I’m writing for the band,” he says, “I’m always trying to think of doing things Lou and Murph would fit into. For myself, I’m thinking more about what I can do with just an acoustic guitar, even for the leads. Of course, this time, I added full drums and electric leads, although the rhythm parts are still all acoustic. Usually, I try to do the solo stuff more simply so I can play it by myself, but I really wanted to add the drums. Once that started, everything else just fell into place. So it ended up sounding a lot more like a band record. I dunno why I did that exactly, but it’s just what happened.”

Two guest musicians are playing this time out; Western Mass local Ken Mauri (of The B-52s) plays piano on several tracks. Since J himself has some experience with keys, when asked why he needed a hired gun, he says, “Ken is great, and he plays all the keys. I tried playing some keyboards on the first Fog album, but I’m really only comfortable playing the white notes, so it’s kind of limiting. [laughs] Nowadays, I could just turn the pitch on a mini Mellotron to play different sounds, but black keys just seem hard. For whatever reason, I just like banging on the white ones. Seems like it’s harder to figure out how to stretch your fingers around the other ones.”
 

Mauri has no such qualms and plays all the keys very damn well. He sounds especially great on ‘I Can’t Find You,’ where he is Jack Nitzsche to J’s Neil Young, creating one of the album’s loveliest tunes. The other guest musician, Matthew “Doc” Dunn, is also prominent on this track. Dunn’s steel guitar manages to both widen and soften the musical edges of the music, giving it a full classicist profile. Dunn is an Ontario-based polymath who J met through Matt Valentine. After J played on Doc’s great 2022 Sub Pop single, ‘Your Feel,’ he figured it was time for payback. Both Dunn and Mauri add beautifully to the songs here, helping to transform them from acoustic sketches into full-blown post-core power ballads.

What Do We Do Now is the finest set of solo tunes J has yet penned, and the way they’re presented is just about perfect. Asked if he would be touring to support the album, J says he’ll be doing some weekend dates, but he probably won’t be putting a band together. And I’m sure these songs will sound great solo and acoustic, but the arrangements on this album are truly great and put a cool, different spin on Mascis’ instantly recognizable approach to making music.

So, what do we do now? Not sure. But apparently, what J does is to make one of his most killer records ever. Hats off to him.

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As 2023 draws to a close it seems right that I find myself somewhere waiting for The Wonder Stuff to rock up and rock out with some anniversary shenanigans or other and tonight it just so happens to be a celebration for their fourth album ‘Construction For The Modern Idiot’. Now, where the fuck did those decades go? Thirty years and counting and one thing is some of us are still here (always a good thing) and again Milo seems to be in great spirits and the Milo of the past few years is a refreshing youngish man and it was commented how nice it is to be nice and Milo looks like he’s having a ball a disposition he’s had for quite a few tours now and we like it.

Anyway, a Late substitution for this evening in the Empire is Dodgy frontman with a wonderful full head of hair and a lovely smile and a fistful of happy-go-lucky songs that are befitting of a man from the midlands with such an engaging smile (must be something in the air round that way). Armed with an acoustic guitar and a few tales he did a sterling job of warming up the quickly filling Empire with some classic Dodgy like ‘Staying Out For The Summer’, ‘In A Room’, ‘Grassman’ and ‘Good Enough’. His voice sounded strong but in a flash, his job was done.

Just before nine the house lights go off and the band move purposefully to their starting blocks and ‘Construction’ begins. The magnificent ‘Change Every Light Bulb’ is the sound of the charge as every track off the much’ underrated ‘Construction For The Modern Idiot’ unfolds and as good as it is to always hear ‘On The Ropes’ or the brutal ‘I Wish Them All Dead’ its also a joy to hear ‘Storm Drain’ or ‘Hush’ in all their glory and boy did they sound good. By the time we reach ‘Sing The Absurd’ it’s a realisation that we’re almost done for the entire album. The introductions are short and sweet and we’re left with a few well-placed B sides like ‘Burger Standing’ and ‘I Think I Must Have Something Really Useful To Say’ before Milo takes the band off for a sneaky smoke and then some more of a best of set. However, if you ask me you’d need another two-plus hours to whip through the remaining “Best Of” set so the second portion begins with a sprightly ‘Ooh She Said’ and a rapid bounce-a-thon ‘No For The 13th Time’ it was like the old days with everybody warmed up it’s like the decades hadn’t passed and to be quite frank there will be a lot of people who might have some regrets come the morning but living for the moment this is like the eight-legged grooves are certainly on manoeuvres. ‘Mission Drive’ is followed by ‘Caught In My Shadow’ and then ‘Size Of A Cow’ wraps up the ‘Never Loved Elvis’ tracks and everyone is beaming (including Milo)

Erika who once again looks splendid in her golden gown moves her bow to signify its ‘Golden Green’ time as ‘Hup’ makes an appearance. Some of the usual suspects are then wheeled out closing the second set with a faultless ‘Give Give Give Me More More More’.

For a final encore and much deserved I might add Milo announces that this is definitely the last fuckin time we will get to hear ‘Dizzy’ but he said that last week. ‘Unbearable’ only leaves a magnificent ‘Ten Trenches Deep’ and we are now definitely done. Sadly no time for ‘Good Night Though’ which would have been the cherry on the icing on the cake for me but that can happen next time, right Milo? A triumphant return to the Empire and a magnificent set that paid respects to a much-underrated album that is ‘Construction For The Modern Idiot’ I only wish is we could do this all again in the not-too-distant future. Tonight the Wonder Stuff were once again dishing out the Wonderful Stuff. I know it’s only rock n roll but boy do I like it. Have I said it was magnificent? Well, it was.

Author: Dom Daley