Quireboys New Video Ahead of Album Release

Quireboys New Video Ahead of Album Release

QUIREBOYS RETURN WITH NEW ALBUM ‘WARDOUR STREET’

RELEASED OCTOBER 11TH VIA CADIZ MUSIC

Pic Rita D’Albert

ORDER HERE:

UK TOUR CONFIRMED FOR NOVEMBER

PRE-ORDER ‘WARDOUR STREET’ HERE:

Formed in the mid ‘80s in London, the Quireboys quickly established themselves on the thriving rock’n’roll scene of Soho, Camden and beyond. Always a great live band, they perfected their style and sold out the legendary Marquee Club and many other venues around the country, long before they made their first record.

When Parlophone/EMI Records released their debut album ‘A Bit Of What You Fancy’ on January 29th 1990 it went on to climb to the dizzy heights of number 2 on the UK National chart. The album featured many of the songs they had been performing live for some time. ‘A Bit Of What You Fancy’ is revered to this day. The second album ‘Bitter, Sweet And Twisted’ followed in 1993, after which the band entered a hiatus. 

Now in 2024, the Quireboys the band have come full circle with their highly anticipated new album ‘Wardour Street’ and original members Spike, Nigel, Chris and Rudy (augmented by old friend and multi-instrumentalist Willie Dowling) have kept true to their promise of making new Quireboys music after the sad passing of their best mate Guy Bailey. 

Stepping in on guitar is another of their oldest friends, the legendary Luke Morley from Thunder. Luke also produced the album.

The album consists of 11 new original songs that hark back to that famous Quireboys rock’n’roll sound. The album features the singles ‘Jeeze Louise’, ‘Raining Whiskey’ featuring Frankie Miller and the brand new single ‘I Think I Got It Wrong Again’, which is set for release on September 27th.

“The new single ‘I Think I Got It Wrong Again’ is Quireboys at their very best with our classic backing vocals, rock ‘n roll guitar and honky tonk piano. Just wait for it to kick in!” says singer Spike.

This is indeed timeless Quireboys getting back to their sing-along, rock ‘n roll best.

A message from Spike; “To our friends and fans, old and new, thanks for your amazing support. See you on tour and at the bar in a town near you!”

‘Wardour Street’ will be released October 11th via Cadiz Music. Pre-order HERE: 

Asian Dub Foundation – ’94 To Now – Collabourations’ (X Ray Productions)

Asian Dub Foundation – ’94 To Now – Collabourations’ (X Ray Productions)

A band I first became aware of when I worked in London in the ’90s I heard a single that mixed up some abrasive flavours full of easter rhythms and much heavier Western rock, these East London upstarts were making music on their own terms and were forging a brave and interesting path all of their own and with lyrics that made you take notice of what they had to say. The last I heard was via their ‘Tank’ album and they were still kicking up a Shit storm being unpredictable and powerful.

Fast forward a couple of decades and once again they appear on my radar and to be fair they’ve lost none of the youthful energy perhaps stinging it with a more mature and measured accents. They’ve most notably roped in some big hitters here to help achieve a wide-ranging melting pot of alternative music most notably Iggy for a full-on take of ‘No Fun’, this isn’t the only helping hand but for me, it’s the most enjoyable but not the most diverse. That goes to Stewart Lee whose spoken words get chopped for yet more heavy content, Sinéad O’Connor singing on ‘1000 Mirrors’ its a heavy dub tinged with a sense of sadness but played with volume its a powerful tune. 

You also get Radiohead, Nusrat Fateh Ali Khan, Primal Scream playing with your senses, and Chuck D and his public enemy chop shop of ‘Black Steel’, a tune I’ve not played for a while. Although it might not hit as hard as the original, it’s still an awesome version.

It all fits perfectly well in true ADF style not playing by anyone else’s rules besides their own, decades on they’re still going strong and mixing it up into the 21st century. Sure there are artists outside my comfort zone and who I’ve never heard of contributing but that’s the beauty of records like this from one track to the next you won’t have a clue and if a song doesn’t float your boat the next will.

Expand your mind and dive into some alternative, subversive mash-ups musically, but remember to always play ADF loud. You have been warned.

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Terrorvision/The Bar Stool Preachers – Project House, Leeds – 24th September 2024

Terrorvision/The Bar Stool Preachers – Project House, Leeds – 24th September 2024

Hands up who’s ever seen Terrorvision do a bad show? Didn’t think so, but can anyone tell me the last time they gave less than 100% live? I’m waiting….

Bradford’s finest export are the only band I’ve seen share a stage with The Wildhearts and come off the better band on the night, and I’m a big Wildhearts fan. Well, the Brit Rock survivors are back with their first album in a decade, it’s called ‘We Are Not Robots’, and it’s a bit of a banger. The band are rolling into Leeds for a (sort of) hometown show in celebration. Did I fancy it? Well, it’s certainly worth braving the shitty Leeds traffic on a damp and dreary Tuesday evening that’s for sure.

I’ve never been to Project House before. Run by the guys of The Brudenell apparently, it’s a bigger venue to cater for bigger bands, I guess. A 1000-capacity venue that has the feel of a warehouse gig. It’s spacious and has a cool vibe, perfect for RPM faves The Bar Stool Preachers to warm things up. Opening with a killer one-two of ‘Call Me On The Way Home’ and ‘All Turned Blue’ from last year’s ‘Above The Static’ album is a masterstroke, and frontman Tom McFaul has the Terrorvision crowd eating out of the palm of his hand from the off. The whole band are energetic from the first note until the last chord rings out. Tim especially, makes full use of the stage space and gets the crowd involved as much as possible. The room is pretty full by the time they hit ‘Flatlined’, and getting the crowd to chant the “woah woah” refrain is the perfect way to win over those who are not yet converted.

An exceptional live band flying the flag high and defiantly for British live rock music, proving that there is more to live music in the UK than Oasis and Coldplay stadium shows.

The last time I saw these two bands together was at Bradford St George’s Hall last year. That night I was in the rafters, tonight I’m four rows deep from the front of the stage. For me it makes such a difference to the feel of a gig. To be ‘in it’, to see the smiles on the band’s faces as they play, to see the sweat drip from their skin and just witness how they interact with each other on stage, this is my happy place.

Terrorvision have a strong greatest hits set that flows into double figures and they play them all and more tonight. As guitarist Mark Yates plays that opening riff to ‘Discotheque Wreck’ the place prepares to erupt, and erupt we do. Frontman Tony Wright, is all over the stage like a ball of energy, to his left bassist Leigh Marklew sports sportwear & shades and gurns like a loon for the entire set, to his right the effortlessly cool Mark flexes his tattooed and toned frame as he pulls all the cool guitar hero poses. With the addition of Milly Evans on keys, Chris Bussey on drums and a 2-piece horn section, the band are now bolstered to a 7-piece. Last time out they were all dressed in pink and black, tonight the theme is powder blue and white to match the album art.

Talking of the new album, there are new songs to be played, and punked-up single ‘The Night That Lemmy Died’ is next up, while a bit of a departure for the band it fits nicely and goes down well, not as well as the following ‘Alice. What’s The Matter?’ though, which sounds phenomenal. They then take us right back in time with ‘My House’, to great cheers. I remember first hearing this song in a club in Swansea when it was released, not knowing who the band was, and it always takes me back to that night when I hear it, that’s the power of music folks! Four high energy songs in, and Tony is sweating like a smackhead with a giro, you wonder whether he’ll make it through the set, but the boys only getting started.

You would be forgiven if you forgot how good ‘Still The Rhythm’ and ‘New Policy One’ are, or how ‘Josephine’, with its killer spaghetti western riff shoulda been the big hit off of ‘Shaving Peaches’, but the Terrorvision massive haven’t and show their appreciation in spades.

Newbies ‘Baby Blue’ and ‘You Gotta Want To Be Happy’ prove the band still have a knack for penning a catchy tune or two and they stand up well against the likes of ‘Middleman’, ‘Perserverance’ and ‘Celebrity Hit List’ tonight.

Set closer ‘Pretend Best Friend’ has the trumpets to the fore, the guitars to 11 and the energy levels off the scale, the band then return for a one song encore. It’s here where I’m thinking wtf haven’t they played? They’ve surely played all their aces, but then that iconic “doo-wop” refrain leads us into rock n’ roll ‘Oblivion ‘one more time, and those who feel they haven’t quite sweated enough get to do it one more time before the band bid farewell to Carly Simon’s ‘Nobody Does It Better’. And that is quite a fitting exit.

Author: Ben Hughes

DESPERATE MEASURES RELEASE NEW SINGLE ‘UNTOUCHABLE’

DESPERATE MEASURES RELEASE NEW SINGLE ‘UNTOUCHABLE’

OUT SEPTEMBER 27TH PRE-ORDER HERE:

‘SUBLIME DESTRUCTION’ IS OUT NOW VIA CADIZ MUSIC – ORDER THE ALBUM HERE:

“A level of skilled musicianship far exceeding the Fisher-Price punk of your average contemporary outfits.” Classic Rock 8/10

“Furious punk-infused rock ‘n’ roll with huge choruses. 12 tracks that prove the sulphate spirit never dies.” Daily Mirror Newspaper

Fresh from a UK tour with Australian punk legends the Cosmic Pyschos, and two sold out shows in Finland, New Zealand/London punk ‘n’ rollers Desperate Measures are primed to release a fifth single from their acclaimed ‘Sublime Destruction’ album, released via Cadiz Music earlier this year.

Titled ‘Untouchable’, the song finds Desperate Measures easing their feet a little off the accelerator pedals for a track that loses none of its intensity, despite its slower pace.

“‘Untouchable’ is a bit different for us. It was the last song we wrote for the album, and I guess it has shades of the Psychedelic Furs or Lords Of The New Church about it. Basically, it’s a ballsy, dark love song,” says singer Eugene.

Desperate Measures are busy working on new material for an EP release later this year and will be ripping up stages up and down the country for the rest of 2024. Look out!

Order ‘Sublime Destruction’ HERE:

Desperate Measures are: Eugene Butcher (vocals), James Sherry (drums), Michael Gaffney (guitar/vocals) and Phil Roadkill (bass/vocals).

CATCH DESPERATE MEASURES LIVE AT THE FOLLOWING DATES IN 2024.

October:

4th London, 100 Club (with Menace and The Outcasts)

13th London, 100 Club (matinee with Head South film screening)

November:

6th London, Water Rats (with Split Dogs and Dead Fun) UNTOUCHABLE SINGLE LAUNCH SHOW

9th Reading, Facebar (with Balaam & The Angel)

15th Peterborough, The Parkway (with UK Subs)

16th Corby, Steel House (with Wrathchild and Syteria)

22 Brighton, Daltons

December:

29th London, 100 Club

30th London, 100 Club

4th London, Water Rats (Vive Le Rock X-Mess party)

15th London, Dublin Castle (acoustic show)

Find Desperate Measures online at:FACEBOOK / BANDCAMP

The Peawees- ‘One Ride’ (Folc Records in Europe and Spaghetty Town Records in North America)

The Peawees- ‘One Ride’ (Folc Records in Europe and Spaghetty Town Records in North America)

Six years since their previous album, The Peawees are back with 11 corking new tunes of power pop goodness. Admittedly, I am more familiar with guitarist Dario Persi’s band, Radio Days, and while there are similarities between the two groups, Radio Days are a blast of sunshine while The Peawees sometimes have a darker edge to their melodies. That said, both bands have a pile of strong songs, proving once again that Italian bands currently have the upper hand, with the exception of The Speedways.

From ‘Banana Tree’ onwards, there are tunes to get you grooving, nodding or punching the air. This is a slinky number for the dance floor, as is first single ‘The Wolf’ (see video). ‘Drive’ is a radio friendly anthem, once heard, never forgotten. Simple, but very effective. And that’s what The Peawees specialise in; like Radio Days, they make familiar melodies sound fresh and exciting. ‘Plastic Bullets’ adds keyboards and a “woah, woah” refrain. It’s here that they sound most like The Speedways, as high a compliment as I can give. Two minutes fly by, and you’ll be playing it again.

‘Lost In The Middle’ has that hint of menace that John Reis does so well, currently my favourite track. ‘She Cries As She Kills’ is another slice of power pop, complete with handclaps. The production is excellent throughout, the guitars have just the right amount of crunch, without overshadowing the vocals. ‘Who’s The Enemy’ will get you swinging your pants, with a Beatlesque chord sequence. It’s infectious stuff. What can I add? The title track shares some DNA with Radio Days, no bad thing, obviously. With this album, they’re two of my favourite bands. Speaking of which, ‘You’ll Never Be Mine Again’ sees the band duetting with The Detroit Cobras. While the inimitable Rachel is sorely missed, fair play, it’s a beautiful song. If the above mentioned bands are your thing, you really need this album in your life.

Buy Here

Author: Martin Chamarette

The Shitdels – ‘Where’s Your Head?’ (Big Neck Records)

The Shitdels – ‘Where’s Your Head?’ (Big Neck Records)

Lo-Fi Garage rock baby! The Shitdels started as Jordan Wayne’s bedroom project with his wife, Katelyn, shortly after they moved to Nashville from Memphis in 2015. A handful of the songs were leftover from Wayne’s Memphis garage/psych band The Blackberries (aka Whoa, Blackberries or just Blackberries) and the rest were kind of written/recorded in that vein. It’s fuzzy and the vocals sound like they were recorded in a bucket using a pair of headphones for a mic but that aside it’s a whole heap of fuzzy fun and songs like the swinging groovy ‘Hold On’ have a tonne of charm and the melodies are infectious. 

It’s authentic and has the ingredients such as the honking Farfisa Organ adding layers to the already chaotic sound but in a Fuzztones kinda way it all adds to the charm of what they’re trying to achieve.

The record isn’t going to overtax your brain because the average song length is about two minutes and the pace and tempo goes from swinging to groovy baby in the eblink of an eye its psychedelic and fuzzy and the backbeat are grooving all over the place. the Lo-Fi production creates a feeling of claustrophobia and chaos but the melodies are often sooo pop like ‘Electric Cars’ its a punk rock Devo on acid.

‘All I Wanted Was You’ sounds like it’s hanging on by a thread but has a tonne of charm. it sounds like they left the faders open for a bunch of mics that weren’t being used but thought fuck it it adds warmth. The record is gone in the blink of an eye and the band works best on the faster buzz saw tracks such as the title track that races with an insanely hypnotic melody.

To be fair it’s a real good album and when played loudly its a real buzz and you can get into the sound and feel of the record it is raw as fuck and that is part of the appeal and charm. Get involved in some real authentic garage fuzz rock and on that note add The Shitdels to the top of your list.

The Shitdels Bandcamp / The Shitdels Instagram / Big Neck Records Bandcamp

Quireboys – ‘Wardour Street’ (Cadiz Music)

Quireboys – ‘Wardour Street’ (Cadiz Music)

The 19th of November 1988 will be forever etched into the RPM Online history books as the night I first met our esteemed boss, Sir Dominic of Daley, down the front at St Davids Hall in Cardiff catching the classic “There She Goes Again’ era line up of the Quireboys (supporting one Yngwie “fucking” Malmsteen would you believe) live. We bonded like brothers that night as it felt like the remaining 99.8% of those in attendance truly wanted to unleash the fury on us cowboy-booted ne’er-do-wells, and a decade or so aside (when our glorious leader went off to play Dick Whittington), we’ve been good friends ever since.  

This is why October 11th 2024 is such an important date for us here at RPM HQ, not only because it marks the release of the all new 11 track album from the mighty Quireboys, but it also sees the band’s frontman Spike reunited in a recording studio with bassist Nigel Mogg and pianist Chris Johnstone for the first time since 1993 and the band’s second album ‘Bitter Sweet and Twisted’. An album, which in hindsight, turned out to carry a pretty prophetic title, given the antics that followed its release and those that eventually unfolded during the band’s second shot at glory, when they returned in the early noughties with the release of their excellent ‘This Is Rock N Roll’ album and an additional “The” preceding their band name.

There’s been plenty written elsewhere about the last line up of The Quireboys’ acrimonious split and Spike’s subsequent battle to regain the band name, but the positives that came from that parting of the ways now sees Spike’s former bandmates treading the boards under the name Blue Eyed Sons and bandanaman himself not only reunited with his former “classic era” bandmates but also having secured the blessing of his ole six string sparring partner and band co-founder Guy Bailey to carry on, before his untimely passing in 2023.  Add into this 2024 Quireboys mix the return of American drummer Rudy Richman, and with Thunder guitarist Luke Morley stepping into the boots of Guy Bailey, with just one listen of the boisterous honky-tonk of lead single ‘Jeeze Louise’ you’d be forgiven for thinking that any of the intervening years since me and Daley first encountered the band had ever really happened, and yeah ‘7 O’clock’ was still without that chorus that would go on to make it a top forty hit here in the UK.

I’m reaching for my cowboy boots by the time I get to track two of the LP, the single flipside ‘Raining Whiskey’, only to realise that they have long since been replaced by Wellington boots (complete with the comedic L/R genius magic markered on the turn downs), and instead I’m just happy to relish in the obvious joy in Spike’s voice as he trades lines with his hero Franke Miller over this Bad Company/Stones-esque stomper. A sprightly opening one/two, and a real statement of intent for sure.

Things slow down slightly for ‘You & I’ the first of a few tracks that sound like smash hit singles in waiting and transport you back to an age when singles actually made musicians into bonafide stars, all before the tempo is back up to “in their prime” Faces pace, and the boogie of ‘I Think I Got It Wrong Again’ has me remembering why I first fell in love with the Quireboys all those years ago.

Elsewhere there’s the swaggering ‘Myrtle Beach’ for you to hum/whistle on the way home from the pub after a few shandies, and the immense Stones riffage of ‘Happy’ (no it’s not a cover) is custom built to get us all up on our feet dancing, add in the rather pointed strum of ‘No Honour Amongst Thieves’, and this trio fully demonstrates the light and shade of the Quireboys songwriting palette here in 2024.

Of the album’s remaining quartet of tracks the harp pumping strut of ‘Howlin Wolf’ reminds me of Horse London’s Gary Buckley’s streetpunk outfit The Terraces but still remains 100% Quireboys rock ‘n’ roll, whilst ‘It Ain’t Over Now’ is another of those potential hit singles I mentioned earlier, being not unlike a modern-day ‘I Don’t Love You Anymore’. Which just leaves the funky blues of ‘Like It Or Not’ and the images it immediately conjures up of what a Gary Moore and Spike collaboration might have sounded like if that were indeed still possible before it really is chucking out time as Morley’s acoustic guitar and Spike’s smoky half spoken vocals take us on one last nostalgic walk down ‘Wardour Street’.

I really must at this point take time to mention just how much of a positive impact Luke Morley has had on this set of songs, not only in his impeccable playing but also in his “spot on” production work. He really has captured the vibe and mood of the band and bakerboy caps are well and truly doffed here at RPM HQ.

I’ve enjoyed pretty much every album the Quireboys have released over the years, whatever the lineup, and ‘Wardour Street’ whilst an excellent addition to the band’s already impressive back catalogue is also like a shining beacon of light coming out of some very dark times indeed, and for that reason it makes it just that extra little bit (of what you fancy) special. I’m so glad Spike is once again back in control of all matters Quireboys and I look forward to seeing the band play some of these new songs live when they return to UK stages this November.

“What time is it?” It’s time for you to pre-order you copy of ’Wardour Street’ HERE.

https://www.spikequireboys.com

https://www.facebook.com/QuireboysOfficial

https://www.instagram.com/quireboysofficial

Author: Johnny Hayward

Pizzatramp – ‘The Last Supper’ (TNS Records)

Pizzatramp – ‘The Last Supper’ (TNS Records)

The three-piece thrash punk band Pizzatramp have finally got their acts together and made a new album. No, really they have and it’s the “classic” lineup as well which might suggest they’ve had this recorded for ages but just didn’t get around to releasing it and waited for the right time and their management team had a plan and wanted to push it out at the optimum moment on the crest of a wave…oh wait, Pizzatramps innit bruv. Fuck it, scrap that. Start again…

The trio of ne’er-do-well herberts from just inside the Welsh border have finally got around to releasing their new record but to be fair it’s fucking excellent and not because it’s a weird colour or packaged in their usual most excellent artwork and has a lyric sheet but because they do indeed bang out the finest racket of Thrash punk on the planet let alone their corner of shit island. To be fair they wrote it three years ago, recorded it two years ago, and it’s finally coming out now all the song’s subjects and references are probably obsolete (Thatcher?) Also, it’s safe to assume the trio haven’t found religion either and God botherers might just be picketing outside their gigs from here on in for their blasphemous artwork. Maybe they’ll have to find a hideout in Norway with some kindred black metal spirits for the foreseeable who knows? Anyway.

So have Pizzatramp evolved? Uhm, Nope. Have they branched out? Uhn Nope. sigh of relief all around then. AAA kicks things off in a truly thunderous Pizzatramp way with foul-mouthed lyrics a plenty, Dan’s drumming is a marvel as is Jim spitting out his rhymes like some modern-day poet who never go the beat poet memo or was born in Monmouth so isn’t a rapper either bruv. Sammy fills the huge bass hole left by…um Sammy so people can’t complain about the new lineup not being as good as the old lineup and they’ve changed since Sammy left. I see what they’ve done there. It’s also noteworthy that a band have great lyrics but aren’t massive dicks they also have a social conscience and a moral backbone even if they joke about it and they have nothing but contempt for the Tories, Farage and Thatcher which is always a winner around here.

The title track is a gurgling monster with a Bass line from Hell and on a song entitled ‘The Last Supper’ if only NYHC sounded this good in 2024. ‘Cop Fetish’ is rampant whilst live classic ‘I Do My Own Research’ pokes fun at those morons who simply don’t or join cults like Farages mob or Trump in the States. This album made me want to revisit the M.O.D and Stormtroopers Of Death era metal and my hunch was correct none of them come close to ‘Mr Slam’ #Fact not even municipal waste are this good.

‘I Spotify’ gives a swift kick to the knackers of those who deserve it. ‘You Missed Billy Elliott’ is one of the best endings ever, only Pizzatramp could deliver this. ‘Flagshaggers United’ might just be Jim’s finest three minutes. Absolutely nailed it. We all know em – a bunch of cunts n all. Not satisfied with that have an earful of ‘Skeletons’ n weep, what a time to be alive and have suffered all that shite. Like the Nazis before the second world war these lessons should be thought in schools for generations to come to warn them about that lot and never forget nor forgive I’m with Pizzatramp but wait there’s more to come ‘Bring Back Margaret Thatcher’ is the albums adios amigos we’re out of here and what an absolute nuclear blast of it is. Of course, nobody wants to bring back Thatcher unless it is to drag her around every town and city in the UK on the back of a Chopper tied to a chain. What an album.

Hats off to you gents, it’s all killer and no filler and joking aside this should be the benchmark for others to follow as far as Hardcore Thrash and Punk records go in 2024. Whatever you’re drinking keep on drinking it and raise a glass to the baddest mofos in the pit Pizzatramp fuckin’ Rule! Buy this album! Right proofread what you just typed whilst playing this record for the tenth time in a row…nah fuck it they won’t mind what’s just spilt out of my head will they?

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Author: Dom Daley

Split Dogs are ‘Here To Destroy’

Split Dogs are ‘Here To Destroy’

Bristol Punk Rock ‘n Rollers Split Dogs return with new single ‘Monster Truck’ out now via Venn Records

New album ‘Here To Destroy’ set for release on February 28th 2025 – pre-order HERE:

Rock’n’roll revivalists Split Dogs are not here to make 15 second viral videos, they’re not here to sell you a lifestyle, they’re here to destroy. Born from the frustration of seeing music become commodified and soulless, vocalist Harry Atkins and guitarist Mil Martinez had the idea to form a band as far back as 2015, with the name ‘Split Dogs’ pulled from the classic zombie film ‘Return of the Living Dead’.

In South London, a young Martinez would hear Status Quo, Bachman Turner Overdrive and Dire Straits on the car radio while his father drove him to school. At home he would invade his older brothers’ record collection which leaned towards the harder sounds of punk and heavy metal. Meanwhile in the Black Country, Harry’s mother instilled a love of Northern Soul, Slade and rock’n’roll, with stories of nights out at Club Lafayette and family singalongs at home. According to Martinez, “Our sound is a culmination of all those early influences and, to be honest, it really shows.”

It wasn’t until 2022 that Split Dogs officially arrived on the scene with bass player Suez Boyle joining the band in 2023. Already a prominent figure in the queer punk scene, Suez played the first ever Rebellion Festival at the tender age of 16 with her band The Walking Abortions. Up until that point, drummer Chris Hugall, an old friend of Martinez and former member of ska punks Mouthwash (signed to Rancid’s label Hellcat back in the day), was only on hand to help design artwork. It wasn’t until 2024 Hugall joined the band full time cementing the current line-up.

The raucous live shows and infectious lyrics saw the four-piece make a name for themselves among the punks of Bristol, a scene that has always welcomed LGBTQ+ and marginalised people. As word spread, so did the gigging, and soon enough Split Dogs were playing to sold out rooms in mainland Europe, eventually grabbing the attention of UK label Venn Records (Gallows, Bob Vylan, High Vis).

‘Here to Destroy’ was recorded over three days at Middle Farm Studios by producer Peter Miles. All tracks were laid straight to a 16-track reel-to-reel tape machine, no autotune, no effects pedals, no computers. To add to the music’s authenticity, the album was recorded live, with Harry singing along in a vocal booth. No cutting and pasting, just nailing takes. According to Martinez, “It was a blast! We fully immersed ourselves, sleeping in a small apartment below the studio, cooking meals and listening to Pete’s extensive record collection”.

Back in May of this year, Split Dogs fired out the first sample of these sessions with the ‘And What?’ single that rolled in like a freight train loaded with gravel, and now the band are back with another sucker punch in new single ‘Monster Truck’.

“Monster Truck Is about lessons learnt, seeing it coming but you keep on trucking,” says guitarist Mil Martinez. “Focus on yourself and the good stuff around you. Be strong, lead with an open heart. Don’t take kindness for weakness…. You better not tread on me!”

For the video, it was clear that Split Dogs needed some seriously big trucks to do justice to the song’s giant riffs, so they called on Big Pete Ltd, the UK’s most successful Monster Truck Team, and Big Pete did not let them down.

‘When we wrote our new single ‘Monster Truck’ it was a no brainier that we had to find the best Monster Truck team in the UK to join us for the video so on the hottest day of the year, we hit the road! Big riggs, big riffs and big moves, it’s time to grab your gear stick and get your mind out of the dirt!”

The Bellrays – ‘Heavy Steady Go’ (Sweet Gee Records)

The Bellrays – ‘Heavy Steady Go’ (Sweet Gee Records)

Californians The Bellrays release their brand new long player to coincide with their mega jaunt across the USA supporting Social Distortion and what a banging record it is too. In true Bellrays fashion it’s all killer and no filler. From the bellowing pure Rock n Roll vocals of Lisa Kekaula finely complimented by the sweet tones of Robert Vennum’s guitar. The record is split by two cities, two years and two rhythm sections pulled together to make another finely balanced Bellrays record where they walk the line of punk blues rock n roll.

The record kicks off with a brooding menacing ‘I Fall Down’ that pretty much encapsulates everything that’s good and great about the band. Lisa’s voice dominates the room with another commanding performance as the song builds to a mega solo a song of real cool class with a great chorus that gives you goosebumps.

Once the band have relaxed the record opens up firstly with the groove of ‘Hard Drive’ and the even groovier (is that even a word?) ‘Snakes’. ‘One More Night’ is the sound of a band playing a song they know will be a floor filler in any live setting as Lisa’s vocals take control and I’m wondering how the hell this band aren’t a household name. Every album is packed with bangers and they know what they’re good at and stick to that formula and just deliver every time. The playing is spot on as is the tone of the record it sounds so warm and inviting you must surrender and just enjoy the ride.

There’s a shimmering coolness about ‘California’, The record ebbs and flows really nicely in the middle section from all our rockers to the more laid back rollas but always filled with great tones and a mix that is so inviting. ‘Wolfs Sun’ is a brooding gutsy song with a super fuzz guitar going toe-to-toe with the vocals.

I love the all-out twelve-bar boogie of ‘Down On My Knees’ bollocks to reinventing this wheel let’s just roll with it and do it in style. It’s a peacock strut of a song that even dares to give it some cowbell. Before the record closes there’s time to turn it up with a raging ‘All The Rage’ with a shift of the gears the four to the floor is fired up with a dirty riff that just kills it right to the solo that’s unadulterated guitar hero stuff on a real album highlight wedged into the business end of the record.

Rather than signing the record off with a ballad or laid back song they go for some sidewalk strutting cool entitled ‘Whatever Turns you On’ and they are done. The Bellrays release a record that might just be their finest hour. It ticks every box you’d want from cool to classy to rock and fuckin rolling The Bellrays are in da house mofos and their bringing the PA and guitars and the air raid siren vocals of Lisa Kekaula this record is everything I was hoping it was going to be and some and my advice is don’t let it pass you by, get on the groovy train and lets boogie The Bellrays are once again bringing the party, Heavy Steady Go! cat go just simply Buy It!

Buy Here

Author: Dom Daley