Celebrating the release of a 10th anniversary edition of their debut album, Nottingham based Celtic punks Ferocious Dog announced a special one-off gig at The Barbican in York following their appearance at the Scarborough Punk Festival. This unique event would see the band play a 2-hour show including a performance of the whole of the debut album with a full orchestra.

Being veterans of the festival circuit and with a formidable, energetic live reputation, it would seem to be a no brainer to witness this event.

Not only are Ferocious Dog influenced by the Levellers, but they can also call them friends. Both bands have toured together extensively and shared festival stages over the years, so it seems fitting that Levellers frontman Mark Chadwick has offered his services to warm up an already slightly inebriated and rowdy crowd.

Armed with just an acoustic guitar and with a full house watching his every move, he proceeds to have the whole place in the palm of his hands as he plays a 40-minute set of Levellers hits and deep cuts. You could literally hear a pin drop during the opening ‘Liberty Song’, and what follows is not just mini greatest hits set, but also a masterclass in how to work a crowd with ease, not only proving what a charismatic frontman Mark is, but what a great discography the Levellers have.

Having captured the band’s recent acoustic tour I know these songs work well in an acoustic setting, but what I didn’t realise is, stripped of a band and laid bare, how good Mark Chadwick is.

The fluttery folk of ‘The Boatman’ is perfect, ‘Julie’ is as beautiful as the studio version and even the usually upbeat and powerful ‘15 Years’ sounds magnificent given the stripped-back acoustic arrangement.

“Is anyone drunk yet?” Mark hollers to great cheers, he has the crowd where he wants them and they sing every chorus back to him. Classic singles like ‘Just The One’, ‘Beautiful Day’ and ‘One Way’ were always going to go down well tonight, but it was the rousing and emotive ‘Carry Me’ that sent shivers down my spine and got possibly the biggest reaction from a crowd that were on his side before he even played a note. Mesmerising stuff indeed.

With the orchestra in their seats, Ferocious Dog take to the stage to massive cheers, and frontman Ken Bonsall, looking all Peaky Blinders in his white shirt, waistcoat and flat cap, takes to the mic to sing the poetic ‘Verse For Lee’ before blasting into album opener ‘The Glass’. A sense of euphoria is evident from the off, as the whole crowd sings as one. Ferocious Dog class their fans as family and the Hell Hounds, as they are affectionately known, are in fine voice tonight, as the band deliver a high energy set that never falters. The album is played through in sequence and while the orchestra adds an expanse to the sound, this ain’t no laid-back affair. But then you can’t really give the mellow treatment to a song as dancey and upbeat as the instrumental ‘Lee’s Song’, can you?

The band seem to be loving it as much as their fans, bassist Nick Wragg is all over the stage mouthing the words, as is recently reinstated guitarist Kyle Peters, who shares lead vocals on a few songs tonight. Shout out to multi-instrumentalist Sam Wood who shines on banjo and mandolin all night and all so brings a comedy element to the show.

Recently re-recorded single ‘Too Late’ is a live anthem for sure and gets the rowdy down the front dancing. There is no let up in the energy levels from start to finish, except maybe the dub reggae vibes of ‘Freeborn John, and even that erupts into a dancefloor skank.  It’s all killer no filler for an hour.

After a short break the band return to the stage, minus the orchestra, to play another hour set of their standards. Like Chadwick before him, Ken is no stranger to working a crowd and getting audience participation. The likes of ‘Spin’, ‘Broken Soldier’ and closer ‘Slow Motion Suicide’ are crowd favourites that the audience devour like old friends. 

Both artists bought the festival vibes to the Barbican tonight with a special event that will probably never be repeated. The drinks did flow, the songs were sung and there will be a few sore heads and throats in the morning. But you what? It was all worth it. 

Author: Ben Hughes

Buy Ferocious Dog 10th anniversery Here

The fiercely independent Celtic punk collective Ferocious Dog mesh traditional instruments such as fiddle, banjo and mandolin with distorted guitars, punk, ska and folky goodness. They mix politics and music well and have a fiery live reputation that makes them regulars on the festival circuit.

Although the Nottingham based 6 piece have been around since the late 80’s, their debut album was not released until 2013. A debut album born out of tragedy after Lee, the son of singer Ken Bonsall, tragically took his own life in 2012 at just 24 years of age.

With main man Ken having a working class, miners upbringing and taking influence from political artists such as Billy Bragg, New Model Army, and the Levellers, it’s no surprise that the band is a platform to tackle and raise awareness to social issues from history and spread the message of justice and solidarity.

This remastered version of their debut album comes packaged with a second disc recorded live at Leeds O2 Academy last year, with the addition of a 6-piece orchestra.

Ferocious Dog have a habit of leading you into a false sense of security with a mournful fiddle introduction, a wistfully picked mandolin, or a strummed acoustic chord progression before they take things up several notches. For there is as much power in their music as there is in the lyrics. This debut album doesn’t leave much room for balladry, the emphasis is on passion, anger and the themes of liberty and justice for all.

Opener ‘The Glass’ documents Lee Bonsall’s last day on earth, yet musically is an upbeat and euphoric blast of Celtic punk. It rides on a cool banjo riff to an urgent rhythmic backing and is as anthemic as anything I have heard in recent years, a perfect album opener and a perfect introduction to Ferocious Dog.

Yes, the Levellers comparisons are justified, but there is a bit more to Ferocious Dog than that. There are raucous upbeat drinking songs such as the instrumental ‘Lee’s Tune’ and the classic fan favourite ‘Hell Hounds’ that are fantastic examples, but elsewhere, there are dub vibes on the likes of ‘Freeborn John’ and heavy ska influences in the excellent ‘Pocket Of Madness’. There is also traditional folk, ‘Paddy On The Railways’ is as close to the Pogues you can get without having a whiskey with Shane McGowan.

Mixed and mastered superbly by Al Scott, who brings out the best in the songs especially the vocal department, ‘Ferocious Dog’ is as fresh and vibrant as the day it was released and lyrically it probably means even more in these trying times.

If you are already a fan or have even just caught Ferocious Dog live in the past 10 years, then the real gem of this release lies in the bonus disc, a full gig recorded at the O2 Academy in Leeds last year with a 6-piece string section. A full set of their songs reimagined with a different, orchestral soundscape.

Opener ‘Landscape Artist’ lets the listener know that this is not to be a laid-back affair. The mass of strings weave their magic over the melodies and Ken’s raw, but perfectly delivered vocals.

Stripped of electric guitars, the folk inspired ditties lose none of their power, in fact as with other orchestral rock albums of the past (Metallica for example) it adds a cinematic depth which can be just as powerful as a bank of Marshall stacks.

The strings amplify the emotion in the beauty. The likes of ‘A&B’ and ‘Justice For 96’ benefit immensely and the euphoria created in ‘Broken Soldiers’ will make the hairs on the back of your neck stand to attention.

Ken Bonsall’s loveable charm as a frontman comes across well, and his ability to engage with his audience is second to none, even teasing the local crowd to a ”Yorkshire, Yorkshire!” chant.

The addition of a new studio recording of ‘Too Late’ is tagged on at the end for good measure.

If you are a longtime Hell Hound or a curious Furious Dog virgin, there is much to enjoy in this 10th anniversary edition. A debut album that is as urgent and vital as the day it was released, backed with a document of a magical evening in Leeds that may make you check out why this band have a great live reputation.

Author: Ben Hughes



With the release of this their seventh album on the then-new label Epic, The Stranglers wanted to shake things up a bit, veer off on a tangent and explore new sounds and push back those punk boundaries they never felt a part of anyway.

This expanded reissue on coloured vinyl and two-disc CD is celebrating the band’s 40th anniversary I thought that this day would even be of any significance in the band’s rich tapestry of a career.

With the synthesisers and electronic drums to the fore, ‘Feline’ delved into a much more diverse career path for the band, with a more European feel to proceedings. Recently departed David Greenfield is very prominent in the mix.

So that’s the early 80s with synths and acoustic guitars over electric, a new wave was certainly in the air. The press at the time was most unkind probably because it didn’t fit into any comfortable genre of convenience and we still know that that is never good. It did, however, follow on from the absolute monster crossover hit that was ‘Golden Brown’ which might have signalled the band’s shift into new more comfortable shoes perhaps?

The opener ‘Midnight Summer Dream’ with its mellow intro and snapping 80s synth the transformation was underway. The spoken vocals of Hugh Cornwell were also supported by Jean-Jacques Burnells lead vocals on the single ‘European Female’, via the acoustic-driven ‘Small World’. Maybe looking back and the power of hindsight it’s now no big deal to hear this twisted New Wave experimental Stranglers but back in the day it was a big deal and punk rock points were most certainly removed.

Whilst still very much a Stranglers album, with the power of hindsight there are a lot of chances taken by a brave band who didn’t follow convention nor pay lip service to the press its an experiment that clearly didn’t really hamper the band at all and looking back possibly with more grown-up eyes and ears there is a bigger appreciation for this brave new world the men in black stepped into.

The initial press of ‘Feline’ had ‘Aural Sculpture Manifesto’ single sided single which is part of the second disc along with a plethora of different mixes, like ‘Savage Breast’ and ‘Pawsher’ and the reggae-infused ‘Permission’ so there are no excuses not to get the full picture of where the band were at in 1983.

If you passed this by the first time around now is the chance to play it back and have a newfound appreciation for the band spreading its creative tentacles far and wide and not just churning out the thumping bass-driven alternative rock they were known for.

order here 👉https://stranglers.tmstor.es/

Author: Dom Daley

official limited edition splatter vinyl and deluxe  CD reissues ‘Nobody’s Fools &The Amazing Kamikaze Syndrome’ released 3rd March.

Pre Order Here

BMG Records continue their new series of limited edition vinyl reissues and deluxe CDs from Slade, with the release ofNobody’s Fools,and The Amazing Kamikaze Syndrome on 3rd March. 

These beautifully presented reissues will see Nobody’s Foolsreleased on limited edition transparent clear & red vinyl and The Amazing Kamikaze Syndrome released on limited edition orange and yellow splatter vinyl. While both CDs are housed in deluxe mediabooks with bonus tracks and each includes an original extended essay.

Prior to the original release of Nobody’s Fools, Slade relocated to New York in 1975 and toured there constantly with the likes of Aerosmith, Black Sabbath and ZZ Top before writing the album. 

Nobody’s Fools,  which when released in March 1976 reached No.14 in the UK, and features the singles; In For A PennyLet’s Call It Quits and Nobody’s Fool.

The new expanded CD version now includes 16 songs, including 5 additional bonus tracks.

The Amazing Kamikaze Syndrome Slade’s eleventh studio album includes two UK Top 10 singles; My Oh My, which reached No.2 and Run Runaway which made No.7. First released on 3rd  December 1983 The Amazing Kamikaze Syndrome led Kerrrang! to write  “Slade have lost none of their old wicked touch.”, while Sounds commented “Slade are still capable of rocking harder and catchier than most bands half their age.”

This new CD features 8 bonus songs,  including two tracks never before available on CD; Run Runaway (7” Version ) and Slam The Hammer Down (Hot Mix).

Slade are without doubt one of the most exciting bands to come out of Great Britain. With their unique blend of perfect pop-rock’n’roll, outrageous flamboyance and pure fun, and no less than 23 Top-20 singles of which 6 were No.1 smash hits…plus multiple hit albums. 

With a chart career that has spanned 3 decades Slade have become a firm favourite in the hearts of pop fans all over the world.

To pre-order  Nobody’s Fools  and The Amazing Kamikaze Syndrome  Hit this link

To order other releases in this series of limited edition vinyl reissues and deluxe CDs, including Sladest’, Slayed?’, Old New Borrowed And Blue’Slade In Flame’ andSlade Alive!’ , head Here

Also, available the ‘All The World Is A Stage’ 5 live CD box: https://slade.lnk.to/alltheworldPR

Wicked Cool Records are proud to announce the release of ‘Wasted Times’ the debut single by Ginger Wildheart & The Sinners.

Wasted Times is pure rock n roll, peppered with country touches, while the lyrics have an honesty traditionally found in folk music and It’s just a good time song played by a killer band.” exclaims Ginger Widlheart.

Ginger Wildheart & The Sinners were formed in August 2019 when Ginger joined forces with Neil Ivison and Nick Lyndon from the band Stone Mountain Sinners. The line up was completed with drummer Shane Dixon (Tri-City Fanfare) and as Ginger explains “I actually met the band at the studio where we recorded the debut album. We hadn’t even rehearsed prior to setting up in the live room of the studio. Wasted Times was the first song we played together.”
Wasted Times is taken from their forthcoming album recorded at Mwnci studios in Pembrokeshire, Wales, with Dave Draper producing.

To celebrate the release Ginger Wildheart & The Sinners play 7 UK shows in June, starting Friday 3rd at Oran Mor in Glasgow and concluding at Esquires in Bedford on Sunday 19th.

Despite the turmoil in which we find ourselves, Ginger with his Sinners gives us all hope.  ‘Wasted Times’, backed with a live version of ‘The Words Are Gonna Have To Wait’, is available to stream/purchase here

Ginger Wildheart & The Sinners June UK shows 

Fri 3rd Glasgow Oran Mor

Sat 4th Sunderland  Pop Recs Ltd

Sun 5 Manchester  Night & Day Cafe 

Thu 16th Wolverhampton KK’s Steel Mill 

Fri 17th Newport  Le Pub – Tickets Here

Sat 18th Winchester  The Railway Inn

Sun19th Bedford  Esquires

Ginger Wildheart & The Sinners:Ginger Wildheart, Neil Ivison, Nick Lyndon, Shane Dixon

Flood #Redux released October 7th, 2022

original line up reform for an intimate album launch show


Trapped Animal Records is proud to announce the return of 90’s legends Headswim, with a reissue of their seminal psych-grunge masterpiece, ‘Flood’, on October 7th.  Released on double vinyl and double CD, this deluxe re-issue will feature previously unreleased BBC sessions, studio B sides, and experiments by the band and their mad scientist friends on disc two! 

To celebrate the release, Headswim’s original lineup will be performing Flood in its entirety at The Camden Underworld on Friday, October 7th. This will be the Headswim’s first performance in over two decades!

“If you’d told me 28 years ago that in 2022 Headswim would be performing the entirety of their debut LP at The Camden Underworld, I’d have eaten my hat. Pass the salt.” exclaimed Clovis Taylor.

To pre-order Flood #Reduxon three different double vinyl formats, double CD and download go to  headswim.co.uk 

There are also bundles available and tickets for the Underworld.

We will be raising money for C.A.L.M – The Campaign Against Living Misery and donating 5% from the sales on headswim.co.uk to the charity. https://www.thecalmzone.net/

Asian Dub Foundation play five UK shows in April and proudly release deluxe remastered editions of ‘Enemy Of the Enemy’ and ‘Tank’ on through X-Ray records; both albums are released with bonus tracks and will be available on CD and for the first time ever 12” vinyl.

Remastered by Kevin Metcalfe, ‘Enemy Of the Enemy’ and ‘Tank’ are both lovingly issued as 140g on limited edition double vinyl records and are housed in a gatefold sleeves with printed inners, Tank also includes a poster. 
We’re very happy that X Ray have put together these magnificent packages, the remasters sound crisp and a lot of the subject matter is still relevant, such as the opening lines of “Fortress Europe” exclaims Steve Chandra Savale.

First released in 2003 ‘Enemy of the Enemy’ Asian Dub Foundation’s fourth album opens with the lyrically prophetic ‘Fortress Europe’; “2022, a new European order. Robot guards patrolling the border. Cybernetic dogs getting closer and closer. Armoured Cars Immigration Officers.” . The album also includes ’1000 Mirrors’, featuring the inimitable Sinead O’Connor, and Ed O’Brien who also played the title track. This new edition includes three bonus tracks: ‘Illegal Minds’ featuring Mark Stewart, plus two remixes by Adrian Sherwood and The Bug.

‘Tank’ their fifth studio album released two years later sees the original twelve tracks joined by three bonus tracks including; “Easy Man’ ft Perry Farrell, plus two remixes by San J and Shiva Sound System.

Asian Dub Foundation are a genre unto themselves. Their unique combination of tough jungle rhythms, dub bass lines and wild guitar overlaid by references to their South Asian roots and militant high-speed rap has established them as one of the best live bands in the world. During their long and productive career Asian Dub Foundation have shared the stage with the likes ofRage Against The Machine, the Beastie Boys and Primal Scream also collaborating on record with the likes of Radiohead, Sinead O’ Connor, Iggy Pop and Chuck D.

On top of that X-Ray has managed to secure Brexit-busting shipping rates, so treat yourselves to these ADF classics today! The remasters by the legendary Kevin Metcalfe sound fantastic as well.To pre -order / pre save ‘Enemy Of the Enemy’ and ‘Tank’ go to: https://bit.ly/3tswlVq

Asian Dub Foundation April UK showFri 1st Bristol  TrinityFri 8th Manchester  Band On The Wall Sat 9th Glasgow Studio Warehouse Fri 15th London  Earth Hackney Fri 22nd Brighton Chalk

Hot on the heels of the Edsel box set ‘Black Francis: 07 – 11’ comes the vinyl debuts of ‘The Golem’ and ‘Nonstoperotik’. Color vinyl, 2LP, Remastered, Gatefold is just about right for this series of Black Francis releases on wax for the first time.

‘The Golem’ is (for those who are unaware) a soundtrack album written and performed by Black Francis for the San Francisco International Film Festival screening of the 1920 silent horror film ‘The Golem: How He Came Into The World’. Of the concept, Francis said “Film fest wants a soundtrack to be performed at a screening… I don’t know how to do that exactly, but the idea that me and some buddies hang out at a studio and make a record I understand. So that’s what we do.” This vinyl reissue features the “rock songs” version of the album across two 140g grey vinyl and very nice it is too. I guess having a decade of distance between the release and the re-release is great as you can really put some love into the detail. I’ve not seen the film and have no inkling to do so but I might after hearing this record. from the first real track ‘Makanujo’ with its jazzy saxophone my brain is bouncing. ‘Bad News’ is like something the Eels produce. eighteen tracks splashed out over two slabs of Vinyl is great and don’t feel intimidated by the “Soundtrack Album” tag because as Francis fans will know all his albums are more like a journey anyway and some of the songs here are excellent and some of his finest to date off any album.

It’s a lot of music to get through but the experience is rewarding and the songs are great even out of context or sequence I raised an eyebrow and chuckled at ‘Little Star Theme’ when I first heard it on CD and still do on record with its dramatic pauses and flute work. I guess as a record Francis was able to throw the kitchen sink at this project and from Flutes to harpsichords and loud distorted crazy horse guitars, its all in here The acoustic strum of ‘Stars’ to the chaotic ‘You’re Gonna Pay’ its a great bunch of tunes and well worth picking up.

Buy Here

‘Nonstoperotik’ – First released in 2010, NonStopErotik is the final Frank Black Francis solo album. It was written in the back of a Cadillac whilst being driven around the “crispy brown hills of Cali”. It was then Recorded in Los Angeles, Brooklyn, and RAK Studios in London. producer and frequent collaborator Eric Drew Feldman was at the controls. Black said of the recordings “I had the title of the record and decided that was the theme, so I guess it’s supposed to be an erotic record. For me, I think it’s more of a weird record.” Here it is on wax for the first time on coloured vinyl.

Two months after The Golem, ‘NonStopErotik was done and dusted. The album was recorded in double quick time much like a lot of Francis’ records with cohort producer Eric Drew Feldman.

A lot of this record feels like it could have been Pixiefied and flows really well. tracks like ‘Corina’ are just rock n rollas plain and simple but with that lose feel. Again a record I perhaps overlooked when it came out and one I’ve not played in a few years but have throughly enjoyed revisiting it here. Sure I go back to the first three solo albums that were Frank Black but maybe these re releases have sprinkled a bit of magic in these here grooves and this one has benefitted from the straight rockin feel. ‘Six Legged Man’ is majestic lofi fuzzed up and to the point which is uncomplicated and spot on. Between two and three minutes long makes for a cool album I’m not sure its erotic but Frank was right calling it a little weird but not too weird except for maybe ‘Wild Son’ and the mental picture of ‘When I Go Down On You’ and the title track is piano heavy epic and dark all without being any of those things if you catch my drift? it never builds into a loud ending but maybe a touch jazzy and smouldering before ‘Cinema Star’ closes off a really good record maybe ut of step clocking in at almost six minutes sounding like a Sonic Youth song especially the first third but then veering off with the querky keys at the end.

Tip of the hat to Mr Francis / Black hes a great songwriter and releaser of records with a hefty and impressive back catalog that has now been rightly released on vinyl. Do yourself a favour and get involved and dive in. Quality!

Buy Here

Author: Dom Daley

This is the first time there has been a promotional video for the ultimate festive anthem.
‘The video is very unusual and comical. It does sum up the band’s characters HO HO HO!’ exclaims Noddy Holder.

Originally released in 1973 Merry Xmas Everybody was the band’s sixth number-one single in the UK and sold over a million copies upon its first release.  

A Christmas standard Merry Xmas Everybody has spent an incredible 105 weeks in the Official UK Singles Chart and entered the charts for an amazing 26th time this week. In 2009, PRS for Music announced that up to forty-two percent of the world’s population could potentially have listened to the song!

BMG conclude a new series of limited edition splatter vinyl reissues from Slade, with the release of ‘Slade Alive’, on 28th January 2022. Slade Alive’the fourth release in the series, will be released on red and black splatter vinyl. 
The first release in this beautifully presented re-issues collection ‘Slayed? debuted at #7 in the Official Vinyl Charts.

Slade’s first live album ‘Slade Alive!’, originally released on 24th March 1972, entered the UK album chart at #2 and remained in it for 58 weeks. Featuring the anthems ‘Get Down and Get With It’ and ‘Know Who You Are’, today ‘Slade Alive!’ is considered one of the greatest live albums of all time. “Sounds better, the louder you play it” – Los Angeles Times.

To pre order Slade Alive!’ go to: https://slade.lnk.to/sladealive-splatterPR released 28th January 2022

Slade Alive’ follows the release of Slade’s third, fourth and fifth studio albums ‘Slayed?’, ‘Old New Borrowed And Blue’ and Slade In Flame’.
Slayed?’ features ten songs including Number One single, ‘Mama Weer All Crazee Now’  and ‘Gudbuy T’Jane’ which reached Number two in the charts. While Old New Borrowed And Blue’, features the singles ‘My Friend Stan’ and ‘Everyday’ and  The Times to retrospectively state: “This is joyous, unshackled and unpretentious stuff that reminds you how they rattled off six No.1’s.” Slade’s first soundtrack album ‘Slade In Flame’, includes the singles ‘Far Far Away’ and ‘How does it Feel’ and their seminal film was hailed as ‘the Citizen Kane of British pop movies” by Mark Kermode, BBC.
Slade are without doubt one of the most exciting bands to come out of Great Britain and were unstoppable throughout the Seventies becoming one of the biggest bands; releasing six smash hits albums, including three UK Number Ones, a run of 17 consecutive Top 20 singles and their hits provided a soundtrack to the Glam Generation.

To order ‘Slayed?’ go to: https://slade.lnk.to/slayedPR

To order Old New Borrowed And Blue’ go to: https://slade.lnk.to/onbabPR 

To order ‘Slade In Flame’go to: https://slade.lnk.to/sladeinflamePR

Another day another Wildhearts album to review (it seems like only a few months since the last album and subsequent follow-up EP, even though it wasn’t) Along with a UK tour that actually tours the UK, imagine that folks. Anyway, where was I?  Oh yeah, The Wildhearts.  A great British institution in their own right, never mind if Motorhead moved next door and killed your lawn imagine what your lawn would look like with these likely lads rocking up and sonically blasting this bad boy out – every blade of grass on your garden and any other surrounding properties would be gary gonners.   It’s time for them to mellow out and do an album of ’21st Century Love Songs’ or something like that (Not!) One look at the superb artwork might be a glimpse into whats coming.

’21st Century Love Songs’ is opened by the title track and like a pack of rabid dogs, they’re all over you, barking and straining at the leash – kicking the living crap out of your ears before you have time to get comfortable and settle into the bloody record. Sonically speaking, it’s a full-frontal assault but the melodies herein are lush and totally at odds with the aural barrage you’re getting from the thunderous rhythm section and dart attacks off Ginger and CJ who, let’s be honest, are on fuckin’ fire!  I’m not kidding its like hearing an album in one song – like a rollercoaster of riffs and melodies that feel like your head is going to explode you wonder where the hell this is heading and can it be sustained.  A fantastic opener and a real statement of intent – Ladies and Gentlemen you are now experiencing the new Wildhearts record, and its intense, beautiful, wonderfully loud and fuking exciting. Welcome!


Now get ready for some serious Wildhearts Bop with some fine bass runs that make your feet move on ‘Remember These Days’ with some great harmonies and gang vocals which the band does so well. The song twists and turns throughout filling every corner with music like an explosion of colour.

Take a sharp breath folk because the grunt on ‘Splitter’ is off the scale.  The mix is nuts with the lead vocals way down and competing like battling tops for space which adds to the controlled chaos that’s burrowing into your head.  fan-fucking-tastic tune and one that will go down well live as the slide guitar spins round and dive bombs through the mix and this is only a few songs deep.

If you thought the band touched on heavy on ‘Renaissance Men’ then hold on to your knickers because ‘Institutional Submission’ hacks and slashes like a frenzied killer. It’s like early Mayhem but done by big boys who aren’t wet behind the ears as it goes in for the kill with an underlying melody that Ginger does so so well as it drops and takes a breather.  I think it was Wayne who said intensity intensified he must have been onto something because that’s what this is.  Wildhearts disciples will love it and as the song meanders back up to speed.

We’ve all seen the video for ‘Sleepaway’ right?  now I went to boil the kettle at the start and even though the neighbours closed their curtains I thought it sounded like a Who track with a swinging pair of bollocks and plenty of clout but that might just be me but it has a bit of boogie in it as well, great track.

It would be fair to say that ‘You Do You’ is the closest the record gets to what one might consider a Wildherts album track.  Nothing wrong with it at all and I’m sure it will grow and melodies and lyrics will jump out on me but its sandwiched between the two tracks that I’d already heart dozens of times so I might revisit it in due course but ‘Sort Your Fucking Shit Out’ is a belter and a song I loved the first time I heard it.  Big chug on the riff-o-la and some terrific vocals to be fair.  As far away from the grunt and rowdiness elsewhere perfected on the album but here is what one might describe as a toe-tapper.


With three tracks left the band crank it up with some filthy guitars cranking out the riffs on ‘Directions’ it’s like showing off the way the band goes from heavy as a breeze block to the head to lush melody and back again with a change in tempo and direction like twisting the top off a pop bottle and then the fizz gushes – well, that ‘Directions’ that is.  Calling the penultimate track ‘A Physical Exorcism’ it’s pretty much what you’ve just experienced my friends an exhausting, mentally draining, emotionally uplifting, life-affirming, joyous listening experience courtesy of these four Wildhearts bastards.  Rock and Roll can be all things to all men and women but it’s fantastic that we still have functioning bands like The Wildhearts who just keep rolling with the punches and churning out albums that challenge and bring happiness and something to look forward to in tough times.  A cheeky smile here, a wink there and some heads down go for it loud Rock and Roll bringing it all together.  Thank the lord for the Wildhearts and another most excellent album.

Buy Here


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Author: Dom Daley