As all of you gothic rockers out there know, it’s currently a very healthy, varied genre. Indeed, labelling music does it few favours; you either dig a band or you don’t. You can’t force it. But if we must define a genre, Then Comes Silence are, no offence, way ahead of their contemporaries. Perhaps in part because Alex Svenson has been writing and performing for a long time, honing the sound and range of the band. 

This, their seventh album, is the first on the Metropolis label, who were no doubt impressed by the ‘Hunger’ album released in 2022. From the opening notes of ‘Ride Or Die’, their sound is instantly recognisable, whilst across the album the keyboards are more prominent than before, which keeps it interesting and gives the band more scope. Alex refers to their bond, their dedication to each other; “you read my mind, I’m right behind, together we die”.

‘Like A Hammer’ is even more infectious, it’s on regular rotation chez moi. Apparently, each of their albums has “an ABBA moment, a Ramones moment and a  Judas Priest moment”, and this is their ABBA one. They certainly have a knack with addictive chord sequences, so there is that similarity. The metronomic drumming of Jonas really drives the song along.

‘Feel The Cold’ wraps layers of sound around your ears, pumping synths and simple, effective melodies. Since Mattias left, Hugo handles all the guitar parts, and as they’ve shown on their recent tours, this works really well live in conjunction with the backing tracks. ‘Tears And Cries’ is a dark, glam duet with shades of the Glitter Band. ‘Stay Strange’ melds a punchy riff to an unexpected middle-eight, and ‘Stiffs’, with its refrain of “if I can’t have your soul, I can take your bones” should alert the local mortician, with an end like a haunted merry-go-round.

‘Blind Eye’ is the kind of tune that longtime fan Wayne Hussey would be proud of; sinister and catchy. As he said, they’ve got the tunes and the looks. And, of course, Alex’s voice. But the ace up their sleeve (sorry) is that they are greater than the sum of their influences. They have created their own personality. ‘The Masquerade’ proves this by sounding only like Then Comes Silence.

‘Never Change’ has a chiming, spacious riff, similar to Killing Joke, while ‘Dead Friend’ gets a little heavier on the guitars. ‘Runners’ is one of their most atmospheric songs to date, a sign of their desire for progression without losing their identity. With ‘Ghost House’, the album ends on one of their most commercially accessible songs, worthy of radio play, in an ideal world. I’d already preordered, knowing that Then Comes Silence always deliver quality tunes. With every new release, more people are recognising that this band are special. Join us. W.O.O.O.U, as they would say.

Buy Here

Author: Martin Chamarette

After releasing the debut album at the beginning of the pandemic and with the squeeze on pressing plants That excellent debut took forever to reach my grubby hands which was a real shame and probably a massive ball ache for Helvete’s Kitchen and The Dirts it was probably the album that I had on pre-order that took the longest to get out so when I had notice that there was a follow-up but it was only digital I was pleased they hadn’t been put off by the experience and another bunch of lo-fi fuzzed up sleazy punk n roll was heading to my speakers and sure enough ‘2’ was here.

I can’t remember how I even stumbled across the band which I’m pretty sure is a one-man band from Sweden but I do know they make a beautiful noise and the (At times) almost inaudible fuzz of the first record is still evident on the follow-up but there is a clearer production (if production is the right word) it’s certainly got attitude and the fuzzed up guitars still sound magnificent. The album charges through your speakers in the shape of ‘Waste Of Time’ – all howling fuzz and distorted melodies form the vocals but it has a tonne of charm and boundless energy. Of the nine tracks that all pretty much hover around the two-minute mark, it’s impossible to get bored the record only clocks in at about sixteen minutes long anyway. Punk as fuck!

Buried underneath the avalanche of frantic guitars there are some cool melodies ‘They’re Talking’ is a real thrash and bang but the MC5 fuzz of ‘Don’t Think About It’ is a banger. ‘Mental Problem’ is a real highlight with its rapid nasty garage rhythm and the howling guitar licks reach a pinnacle.

‘Go To Hell’ has a dramatic opening tempo like early Sabbath mixed with some Alice Cooper and then when the drums kick in it’s as punk as you like. ‘End Of The Day’ is a real Rock and Rolla shaking its ass and getting its groove on it’s a great tune – simple as you like with the vocals fighting to be heard with that boogie Woogie guitar. The final few songs are like prog length in comparison all clocking in over two minutes, honestly. We end on a high with ‘All By Myself’ I’ll say the same conclusion as I did after the last album if this was polished and released with fanfare it would be a big winner but thats the loss of the mainstream because with The Dirts dirt its destined to stay in the underground and those of us lucky enough to have them stumble into our collections will be delighted with this second album.

Do yourselves a favour and invest in some of The Dirts music – you absolutely wont regret it. No time for filler this is all killer.

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Jakob Mind, mostly known as the singer and frontman of Swedish punk outfit Rotten Mind, has released his solo debut album ”The One Who Got Away”. Honest indie-punk with strong melodies and no-nonsense lyrics and themes of everyday life.

Jakob pretty much stays true to what he does with Rotten Mind but adds his own individual touches that I guess he can dictate goes in the mix on a solo record whereas in a band it has to be a little more democratic. The result is a blend of influences, from straight-up punk rock to more pop or that should be power-pop leanings.


The album begins with a sprightly jangly number and the title track. It’s got an 80s retro sound on the attack of the vocals but it’s engaging and an opener that kinda lays out what’s coming over the next half hour.  There aren’t really any surprises on offer here just uplifting power pop punk rock and if it leaves a smile across your chops then its job done isn’t it?  ‘7 Days’ is a dreamy melody but an uptempo number. ‘Let Them Know’ is even more upbeat as it scuttles along towards the chorus with a retro ’60s harmony that gets in my head and it’s The Buzzcocks where I’m finding my comparison with a great Chuck Berry guitar rip on the solo.


‘The Little Evil One’ sees Jakob throw in some guitar effects to shake up the mood of the record and it’s like an 80s alternative walkthrough maybe in line with some Early Cure or a bit of Banshees for good measure. I keep waiting for the vocals to arrive but they don’t which is a curveball for me.

‘Rock And Rolls Got Me All Messed Up’ is the one that could reach a wider audience with a neat chorus that’s simple to remember and join in with as we just roll with the good times that this song alludes to all its missing is the handclaps to go with the shuffle backbeat. The tempo is taken down a gear with ‘On The Floor’ whereas ‘You Wanted Me To Hang Around With You’ is one of the best songs if not my favourite on offer.  With a great heartbreak melody and some good lyrics and a chorus that I really enjoyed as the solo breaks through like the first sign of light in the morning, its got a great ragged feel to it.

With ten songs offering slightly different textures around a theme its a decent offering from Jakob and one I like and I’m sure power-pop-punk rockers will feel the same as the album ends strongly with ‘I Don’t Want To Be (Around) You’ so all in all a really decent offering and one that didn’t disappoint at all.


Buy Here

Author: Dom Daley

Woah! I wasn’t expecting that.

When the needle dropped and you get that initial feeling as you sit back and relax,  It was less than 20 seconds in and I was gripping the armrests and holding on for dear life as ‘Action Delivery’ handed me my ears ringing on a platter of feedback, wah! and a thunderous rhythm all wrapped in a majestic pop tune with melody and hooks galore.

I had no time to recover because ‘Friday Night Forever’ sent me over the edge.  Punky as fuck but in a HArd rockin’ sort of way, these jolly seamen don’t hold anything back in reserve and you get a shot right across the bow as the volume is relentless and the energy captured in these grooves is infectious, exciting and exactly what the noise doctors ordered.  Never mind ingesting bats full of mutating viruses this is my poison of choice and consumed in large quantities is most advisable to help get you through all the real life tribulations.


‘Blame It On Me’ is awesome, like the Hives jamming on some Turbo with an unhealthy amount of punk rock blaring through your ears. It’s like a violent headwind that’s out of control.  Then to serve up a steady dose of DC with added woo hoos! sees ‘The Thirst Song’ boogie and swing like a good un – they must know they’ve written a corker here and it must have been hard to record through such a ten-mile wide grin across their faces. I’m delighted they’ve still got a thirst and raise a glass in celebration of such an exciting record.


The Boatsmen have hinted at greatness but narrowly avoided it in the past or held back for one reason or another but now is their moment to shine and like a blazing sun they are right on the button. ‘Saved By Rock’ be fucked, they’ve picked up the flag and are carrying it to the top of the mountain triumphant in the knowledge that the Boatsmen are serving up a one-stop Rockin treat and covering all bases of loud in your face good time rock and roll that is this album.


It’s relentless in its quality and tune after tune it’s a twist and turn to emphasise how damn good these songs are. Just don’t get me started on ‘Even The Good Times Were Bad’ it’s like bottled lightning and ‘I Don’t Wanna Lose This Time’ is more restrained in comparison but then they up the ante again with the drinking song ‘When I’m Drunk’.


Put the beer down you might spill it as ‘Big Waves’ roll around and it’s a chance for us all to raise another glass and sing along. We get our groove on for ‘Clap Canon’ and some cock-rock and roll with a little tip to the 70’s glam stomp of a T Rex and Sweet. I hope you caught your breath as ‘Take Your Money’ is rapid and like a runaway train speeding toward the buffers without a care in the world.


It’s not all hard Rockin and Rollin and party party party.  ‘Better Man’ is a laid back brooding, grinding song that paints a darker atmosphere but no lesser quality, that’s a given and the harmonica is an awesome addition to the texture of the record. The temptation to throw in as many puns or going overboard, seamen and piraty themes is difficult but let’s let the music do the talking because, trust me here me hearties, these tunes are superb as is the whole albums feel, attitude and playing.  The Boatsmen ‘Versus The Boatsmen’ is going to be one of the albums of the year no question about it. so hoist the sails and get out there and purchase a copy because I wouldn’t want you to miss out – land ahoy! me hearties Boatsmen ahead.


Ghost Highway Records / Spaghetty Town Facebook / Bandcamp

Author: Dom Daley

If Godzilla was Swedish he’d be playing hard, fast and nasty rock & roll in a band just like Scumbag Millionaire. He may even grow a moustache and change his name to Max.

Now you’ve got the picture, let me introduce you to “Poor and Infamous”, the second long-player from these four Gothenburg gutter deviants. The record that’ll get you safely through the rest of this Covid craziness.

From full-throttle opener, “Demi-God” to sleazoid closer “One For The Road”, “Poor and Infamous” is an ass-kicking classic. Think early ‘copters (obvs), think classic Motorhead and you’re almost halfway there. Where ever there is !?!

Lead single “Ain’t No Doubt” is everything The Backyard Babies used to be, totally Total 13 and a bang on dyed in the wool classic. Check out the video.

“You Had It Coming” gets a little Mick Taylor-era Stones groove on, while “Chasing Dawn” pummels you in the ears into submission.

The distorted bass intro to“Put A Price On My Soul” is pure Boss DS1 magic courtesy of the legendary Sunlight Studio.  Tomas Skogsberg’s production is spot on, the man is the Phil Spector of the garage punk metal universe.

“Desperado” is a monster. A face-fucking distorted onslaught.

“Subterranean Twist” reminds me of the early Scumbag singles (check out US compilation “Fast Track Big Pack” if you missed them).

“Highway Blues” calls on those super sexy bass tones again. Not as full on as its “Poor and Infamous” bed fellows but it’s a tune that BYB would kill for.

“Trouble City” is pure Motorhead magic and “Dead Man’s Hand” ain’t no slacker either.

Rounding things off with the aforementioned Sea Hags-tastic “One For The Road”, “Poor and Infamous” is simply the bollocks.

Pre-order the album Here on limited transparent magenta vinyl, regular black vinyl or on ye-olde traditional CD.


While you’re at it grab the US comp “Fast Track Big Pack” along with debut album “Speed”. You won’t regret it. Guaranteed !!!


Bandcamp / Facebook

Author: Frazer Munro

As well as being added to the exciting HRH Sleaze line up in the UK in 2020 Bullets & Octane have a new album “Riot Riot Rock And Roll” coming out early 2020!! The “Riot Riot Rock And Roll” tour cycle begins this November!!

They will be hitting the road a lot to promote this album and are stoked to be starting in Eastern Europe and Scandinavia ‪on Nov 21st‬ in Stockholm! More dates for this run to be announced in the coming weeks.

Over the next few months we will be announcing more tours for all over the world!! Leave comments on the bands Facebook page as to what city you want them to come and play!!

Stay tuned as we have a big announcement coming ‪on September 17th‬ that can have you help them conquer the world!! So exciting!!

Nov. 21st – Pub Anchor – Stockholm, Sweden

Nov. 22nd – Backstage Rock Bar – Trollhättan, Sweden

Nov. 23rd – Bomber Bar – Motala, Sweden

Nov. 27th – Astra Strube – Hamburg, Germany

Nov. 29th – Club Eletkrownia – Żagań, Poland

Nov. 30th – Wild Fest/Voodoo Club – Warsaw, Poland

Dec. 1st – Maidan – Lutsk, Ukraine

Dec. 3rd – Republic Pub – Chernitvsi, Ukraine

Dec. 5th – Robot – Budapest, Hungary

Dec. 6th – S Pub – Teisendorf, Germany

Imagine if Zeke had a female at the front? Acid Blood from Sweden are that band.  Ferocious slabs of hardcore punk rock that’s uncompromising and right up in your grill with a stiff middle finger in your face.  ‘Dagger Eyes’ be fucked This band means business.’ Bleeding Out’, ‘Louder Than Death’ ‘Acid Blood’ I’m sure you get where they’re coming from.  It’s like they’ve taken The Cavemen and turned the dial-up or rather ripped it out and pissed on it. Acid Blood is the band and the album title and it would seem the opening track so don’t forget folks ‘Acid Blood’!  Beer, Nudity, Blood, Loud Guitars, frantic drums, vocals that have been mangled by gargling broken glass and barbed wire and dreamt that one day they can make a racket that marries Venom with Motorhead with Zeke With a pint of paint stripper and you’re almost there just toss in The Plasmatics on supercharge and you are on your way.

Acid Blood isn’t for the faint hearted its fast and furious punk rock as ‘Bullseye’ rips into a brutal ‘Bleeding Out’ and fuck you too. Gotta love their attitude and the fact they don’t sound like they are about to release an acoustic album or cover up for the censors. It might not be original in any shape or form but I love it. ‘Don’t You Die’ is good advice. Imagine seeing these go out on tour with The Good The Bad The Zugly and Clowns now that would be a devastating triple threat with guest appearances from the Dwarves for good measure.

They also get their rock on for ‘Wasted’ the album ebbs and flows from thrashing furiously (‘Harvest Day’) to… oh hang on its more a tsunami than an ebb and flow as the wall of guitars washes over you. Jojo Anderbygd is barking the orders from the microphone and I love it when they slow things down (just a smidgeon) like the Dead Kennedys like ‘Kill Screen’ – of course it doesn’t last before breaking out its what Acid Blood does. The closing marathon (ok so four minutes is long for these cats) of ‘Wartime’ has the feel and attitude of prime time Iggy and The Stooges absolutely stinking with attitude and the best song on offer here.

Fourteen songs – a shade under forty minutes – loose – reckless but very very tasty.  Get some Acid Blood in your life its a fuckin’ Blast!


Buy Acid Blood Here

Author: Dom Daley