A Look Back at ‘Endless Nameless’ by The Wildhearts

A Look Back at ‘Endless Nameless’ by The Wildhearts

I can already hear people on both sides taking up arms to talk about how this is an awful record drenched in noise while others shout what a brilliant album this is. The year was 1997. While the internet was alive, it wasn’t anything like it is today. A person couldn’t run to the computer to immediately head a song drop. The Wildhearts had seemed to be in danger of imploding according to the magazines at the time. They had to pull out of a tour in the U.S. with AC/DC. There was talk they had recorded demos for a new album but were unhappy with the direction they were going. These would later be released in 1998 against the band’s wishes. In 1997 though, the band released the infamous ‘Endless Nameless’ produced by the late Ralph Jezzard (R.I.P.) who just recently left this world way too soon. The band had signed with a new label (Mushroom Records) which gave me optimism as a fan that despite the stories the band’s trajectory was still moving higher.

I cannot recall what I received first. Kerrang usually ran at least a week late in the States, and Tower Records usually could get CD singles within about a week of their release. I also had a record store back in Albuquerque where I had previously lived (I miss you Merlin’s Record Workshop) that would order me everything Wildhearts related and mail the items to me. Good old mail order when I had to check the mail each day to see if I could finally hear music from across the pond… The first thing most of us heard was ‘Anthem.’ There was the initial thought of ‘Why is the music damaged like this?’ I think that was quickly followed by realizing Ginger wasn’t singing; Danny was. ‘Anthem’ is extremely catchy even through all of the racket that collides with the music. I mean it kind of had to be when you borrow a line from a chorus by the Clash to use as your hook. What I realized quickly was that there was still melody in there amongst the explosions and speaker rattling white noise and feedback. The other change that was immediately noticed was the b-sides were largely cover songs and not all originals. I can safely say that ‘He’s a Whore’ was the last one I heard because it took longer to get the 45. The production on the b-sides was the same as ‘Anthem’ with the things I loved about the band going through a noise blender. I was partial to the CD single version that contained ‘White Lies’ and ‘The Song Formerly Known as?’ ‘White Lies’ stormed out of the speakers or maybe I should say it Scorched out of the speakers. The memory is fuzzy now, but I think it was the cover of this song that helped make sense of this new sonic assault. The lyrics in the other song asked all kinds of interesting questions, and I still don’t know why we men have nipples…

I believe the ‘Urge’ single then snuck out right before ‘Endless Nameless.’ A song that continues to get louder and more destructive as it goes through its running time. This time we also received four new Wildhearts songs and only one cover song. I love all four of these originals and will talk in more detail about two of them later. What was clear upon hearing the second single was that the album was going to have a sound consistent with the noisy and abrasive sound of the singles.  I was feeling optimistic about the album overall even though I was missing the approach that had created the likes of ‘Sky Babies’ and ’29 x the Pain.’ The blend of crunch and melody had always been present in the band as I remember at one point the band was described as Metallica crossed with the Beatles which I don’t think would have been my description in those early days. Ginger has a gift for writing songs that can touch across a lot of genres, but the even greater gift is that they sound cohesive and recognizable as the Wildhearts or other dedicated projects. They don’t sound like a hodgepodge of ideas that are forced together. It never seemed odd that the band could include the old-time rock n’ roll feel of ‘Loveshit’ on the same album as the aggressive flurry of ‘Suckerpunch’ or the epic ‘Sky Babies’ from ‘Fishing for Luckies’ where Ginger incorporates what feels like several songs into a seamless epic.    

Released at the tail end of October 1997, I would not hear the album until early November when the CD appeared in my mailbox. Looking at the cover, the band had finally released an album with a picture of the band on the front cover. I don’t think I immediately noticed that they all seemed to be in their own little world and had no intention of being together as friends or bandmates. Looking back later, it became obvious that the cracks (Crack? Other drugs?) had broken the band and sent them towards an implosion. When I played the album the first time, I had initially wondered why ‘Junkenstein’ was mastered so much lower than other albums and had turned it up to a more desirable volume… For those who know, the song becomes a little bit louder as it goes. The song isn’t one with an immediate chorus that captures your attention like ‘Greetings from Shitsville’ or ‘I Wanna Go Where the People Go’ did. It felt more like my buddy’s car where you had to tap the screwdriver on the starter to get the thing to turnover. I cannot imagine another song starting the album though. This song which initially sounded like a twisted mess of noise rising to the surface gives way to a song that does feature a large hook. ‘Nurse Maximum’ roars to life in what feels like the middle of the first verse. The melody and the noise fight each other for control throughout the song in a glorious way that rewards the listener. There is nothing subtle here.

After the two singles, the band launch into ‘Pissjoy’ one of my favourite songs by the Wildhearts. It closes out the first half of the album with another anthem (no pun intended) where an opening riff without much distortion gives way to a swirl of feedback in the verses. I am not sure if my brain hears all the feedback and white noise in the mix here or somehow isolates the melodies and old crunch in the music. The kids screaming the title give it another nice element that jumps out of the mix. At the halfway mark, it is a chaotic and noisy mess of an album that really hits the spot for me on most days. There are those random moments where it may not connect as much.

The second half of the album is where I wish there were a couple of changes. ‘Soundog Babylon’ would not be one of those changes. It builds into a looped rhythm with a crushing guitar. A catchy pre-chorus sets up an even bigger chorus. In some other world, this was probably the lead track to the album, but I think it works better here. I remember a review slighting this song and have never understood it. The way it all dissolves into the breakdown with no feedback in the mix before the maelstrom at the end could not be done better. Next up, ‘Now is the Colour’ became a grower over the years. When the album was first released, I would have said the song was okay. The hook has become more ingrained in me over the years and that industrial-sounding (like a machine in a factory) rhythm section. I also hear a Lee Harvey Oswald Band influence in the way the vocals are placed in the mix. For those who cannot get past the approach the band took here, I understand feeling that way with this song filled with extra noise and sounds in the mix. There should be a warning that pops up in your car when any song includes sirens…

This is where I wish the album could have two changes. I am a huge Dogs D’amour fan with ‘In the Dynamite Jet Saloon’ being my number one album of all time. The Wildhearts cover of ‘Heroine’ just doesn’t work for me. The Dogs recorded a number of versions of it, and Tyla has released multiple solo versions of it as well. It has never connected with me as much as their other material. I don’t mind it, but it is not a song I ever really seek out to play. This is where I would have preferred seeing ‘Zomboid’ from the ‘Urge’ b-sides on the album as it is one of my favourite songs from the band at this time. It is abrasive, extremely catchy, and extremely heavy. If you want to play at home with a playlist, pull ‘Heroine’ off the album and insert ‘Zomboid’ here. The guitars seem to roar above the white noise and provide a major dose of adrenaline. Next, I make another change which could be correlated to hearing the songs back to back so often back in the day. I would include the Ritch sang ‘Genius Penis’ next. If you want to make the flipside of the album even more aggressive, you can switch that for the cover of ‘White Lies.’ I think ‘Genius Penis’ gives the album a brief break in the heaviness with a catchy chorus, spoken vocals, and gives Ritch a chance to lead a song like Danny did in ‘Anthem.’

I am not going to remove ‘Why You Lie’ from the album as I have always loved the song. I think it needs that separation of a song from ‘Zomboid’ so the additional song to the album gives more music and creates that separation. ‘Why You Lie’ initially sounds bit like a buzz saw in a machine shop with concrete walls amplifying every sound, and that is before the chorus where they see how loud they can make everything. For a record that is drenched in noise, there is a lot of dynamics used across the record. ‘Thunderfuck’ closes the proper album utilizing them to great effect. There are no ballads across the album, but I have always enjoyed that something with that title takes a very different approach musically than one might expect after the first nine songs. The slower beats and music at a lower volume to start the song to set up an awesome finale. The verses build slowly and don’t sound too far away from ‘In Lilly’s Garden’ with some different effects being used. There is a monster that is hiding in the mix though that begins to roar to life. More and more elements rise in the mix, and the beat increases until that moment when the record returns to more melodic and more traditional sounding chorus for a few moments that is still filled with all kinds of effects and just continues to get louder and louder. I have always viewed the album as whole as being a very dark journey whether it is through a metaphorical hell or our own darkness in our soul. The transition in the middle where that melody first comes out being our attempted separation from the darkness. The voices and continued chaos in the music being the back and forth as we try to find or stay in the light. That moment could not be placed in a better moment on the album. Just as ‘Junkenstein’ started the descent into this world, that melodic moment is our chance to move out of that world.

The Japanese version of the album added a loud white noise version of ‘Pump It Up’ that I have always enjoyed. Among the covers of this time period, it would only trail ‘White Lies’ for my tastes. I wish they would have moved it up in the playlist though so it didn’t come after ‘Thunderfuck.’ The band would implode not long after the album was released, and it felt like a very strange note for the band to have as its last release. When it was submitted to Mushroom Records, I can imagine their staff listening to the album and thinking something happened to the tapes before they were delivered, followed by wondering how to market these songs that will make people think they are not fully tuned into the radio station (anyone else remember turning the dial?). The following year would see the release of ‘Landmines and Pantomimes’ with the demo tracks the band had done before they started work on ‘Endless Nameless’ and some b-sides that could be found elsewhere. I would have loved to have heard a few of the six songs demoed done properly. The release was never sanctioned by the band.

The band was gone at this point, but the remnants from the Wildhearts would unleash some amazing material in the next couple of years. Ginger would decide he wanted to really see how diverse he could go musically. In 1999, we would receive the wacky and wild Clam Abuse album that I honestly don’t play much anymore. I am not sure if he ever did get that ‘Message to Geri.’ He would also release a great EP as part of SuperShit666 with Dregen, Nicke Andersson, and Tomas Skogsberg. It would be his next full album studio release though that became one of my favorite albums. Where ‘Endless Nameless’ pulled us through those dark depths that I detailed, Silver Ginger 5 captured the melodic choruses and brightness, even with some songs that remained darker lyrically such as ‘Inside Out’ and the long ago written ‘Church of the Broken Hearted.’ Danny released ‘Uppers and Downers’ the debut album by the Yo Yo’s which also still sounds incredible today. Ritch would return with the wonderful Grand Theft Audio who released the excellent ‘Blame Everyone’ album and would end up on a couple of movie soundtracks. Jef would return with Plan A. As a fan, there was solace in all of the music we were receiving, and I have not even mentioned that CJ had released music with Honeycrack.

Some things don’t stay dead though… A new ‘old’ version of the Wildhearts would rise back from the dead. Ironically, it is probably the band at their most commercial sounding with the shiny sheen of ‘Riff After Riff’ and ‘The Wildhearts Must Be Destroyed.’ When the Wildhearts imploded after ‘21st Century Love Songs,’ it seemed the band was going to remain gone again. Once again, we received multiple solo albums of new material. Ginger has created a new version of the Wildhearts. I have heard the three early release songs when I write this and am excited to hear the full album. The Wildhearts thankfully don’t ever remain dead… Satanic Rites indeed….

‘Satanic Rites of the Wildhearts’ is available now.

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Author: Gerald Stansbury          

The Wildhearts – ‘The Satanic Rites Of The Wildhearts’ (Snakefarm Records)

The Wildhearts – ‘The Satanic Rites Of The Wildhearts’ (Snakefarm Records)

The ongoing saga of The Wildhearts: round 2025. Love him or loathe him, you’ve got to admire Ginger Wildheart for keepin’ on keepin’ on and delivering the goods. Whether it be under the guise of The Wildhearts or any of the solo/side projects, over the years he has united, divided and sometimes ostracised his fan base. But one thing we can all agree on is that life as a Wildhearts fan has never been boring!

I thought The Wildhearts were over (again) after the messy ‘21st Century Love Songs’ tour was done and dusted. By all accounts the other band members were done and not interested in doing another Wildhearts album. So, what does the main man do? He gets Jon Poole back on bass, former Main Grains/Spangles man Ben Marsden on guitar and Bonafide singer Pontus Snibb on drums to make the best sounding Wildhearts album since, well since at least ‘Chutzpah!’ in my humble opinion. 

I must admit, I didn’t get the last Wildhearts album ‘21st Century Love Songs’ at all. To me it sounds unfocused, a mash of second-hand ideas and ultimately the sound of a man going through the motions. The antithesis of a Wildhearts album for me. Maybe all his best moments HAD finally been used? I was expecting ’The Satanic Rites Of The Wildhearts’ to follow suit, and I am glad to report I was wrong…very wrong.

Billed as spiritually and sonically a throwback to the 1993 debut album ‘Earth Vs..’ (check out the cover art), ‘The Satanic Rites..’ has all the hallmarks you want from a Wildhearts record, but in all honesty, it doesn’t sound anything like that debut. 

With Ginger going through a transitional period from negative to positive mindset, and the sonic influence of Jon Poole’s bass playing, it sounds more like The Wildhearts circa 2003 or even the sprawling ‘555%’ triple solo album to these ears.

For all the purists saying it’s not a Wildhearts album without CJ, Rich or Danny, check out the history books, dudes! Drummers, bass players and guitarists have come and gone, all great and all bring their own thing to The Wildhearts, but the catalyst has always been Ginger, and if he says it’s a Wildhearts record then you best believe it is.

‘Eventually’ opens proceedings with a wall of jarring, regimental riffs and acerbic, guttural vocals that build to a killer, instant chorus. Upbeat and euphoric, with proggy bass leanings and more twists and turns than a Tarantino movie, it comes on like a ‘555%’ lost outtake, in a good way. The crisp production from Jim Pinder just seems to accentuate the mash of melody and crunching guitars. Fabulous stuff indeed.

The ‘Earth Vs’ influence rears its head on next track ‘Scared Of Glass’, a sure-fire future live favourite. That riff and the ensuing instrumental madness brings to mind ‘Everlone’ and the euphoric “woah-woah” build will lift your mood better than any drug could (maybe). Now that, my friends, is a bonafide Wildhearts song.  

‘Troubadour Moon’ is classic Wildhearts single fodder. Lyrically, it explores the dying breed of songwriters and travelling musicians we all fell in love with back in the day. Musically, it has one of those catchy, instant hooks that Ginger just seems to have in abundance, and leaves you wondering how you survived without it in your life. On first listen it sounded great to these ears. Now, in the context of the album it feels like revisiting an old friend. 

The snotty and defiant ‘Kunce’ (read it again and laugh) is a middle finger to all naysayers. A 3-minute stab of punky, pop music to round off side 1 nicely. Just what the doctor ordered.

Dropping the virtual needle on side 2 and ‘Maintain Radio Silence’ is far from silent and not really radio friendly at all! A bile-spitting fest of a verse builds to a sonically seductive hook. There’s plenty of tasty guitar work going on and it all sounds exciting and thoroughly exhilarating on the first few runs through. It’s sure to be a grower.

The urgent beats of ‘Blue Moon Over Brinkburn’ introduce another banger that harks back to the early solo albums in feel. With a chorus that will bury deep and all sorts of musical craziness going off on tangents, it’s an album highlight for me.

This album is not all perfect though, several songs, while I certainly wouldn’t call fillers, scream ‘album track’ if you know what I mean. ‘Hurt People Hurt People’ is the introspective and heartfelt curveball on the album that just seems to miss the mark, ‘Fire in The Cheap Seats’ sounds magnificent for the first minute but lacks that killer chorus, and ‘I’ll Be Your Monster’ doesn’t scare like its title suggests, although that crazy sax break was unexpected! Now, this could all change once the album beds in. Sometimes, my least favourite album tracks become winners in the end, that is the beauty of Ginger’s songwriting. 

Then we come to the epic album closer ‘Failure Is The Mother Of Success’. One of those Ginger compositions that grows with each play. A brave choice for a first single, it gets better with each listen, and you notice more with each listen. The killer hook, the proggy breakdown and the euphoric time changes. A mash of song ideas that give that experimental juxtaposition we have come to love and expect. It comes on like a ‘…Destroyed’ era b-side (and we all know how good they are!). The “you took a lot of knocks to get where you are today” refrain leaves a lasting impression long after it has faded out.

With ‘The Satanic Rites…’ my faith in The Wildhearts has been restored. For me, it’s a stronger and more focused album than the previous 2 releases. 

A new Wildhearts album needs time to bed itself in, and while it’s early days, I feel given time it’s going to be up there in the discography with the best of ‘em.

The moral of the story? Never give up on your heroes, as they need you as much as you need them and one day they may just surprise you when you least expect it. 

An (in)glorious return to form, buy or die. 

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Author: Ben Hughes

THE WiLDHEARTS – ‘Troubadour Moon’

THE WiLDHEARTS – ‘Troubadour Moon’

‘Satanic Rites of The Wildhearts’ 

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Headline UK Tour, March 2025

TheWildhearts.lnk.to/SROTW

The Wildhearts release new single / video, ‘Troubadour Moon’, from their forthcoming studio album, ‘Satanic Rites of The Wildhearts’, out on March 7thvia Snakefarm. 

“I was reading an interview with a well-known musician recently, and he was talking about how there aren’t any troubadours anymore – people who play music purely for the love of it. I thought it was an interesting observation, so I’ve addressed it here, along with the idea of being yourself and not being swayed by trend or fashion, by the latest thing. If you allow that to happen, there’s the danger that you’ll always be one step behind or in someone else’s shadow…” – Ginger Wildheart 

“With the new ‘Satanic Rites…’ album reflecting both the spirit and the energy of the classic ‘Earth vs…’ debut, both musically and visually, it made sense for the video for ‘Troubadour Moon’ to contain a host of references – some very subtle and obscure – to the glorious early days of the band. Plus, acknowledging the past in this way will hopefully put a smile on the faces of longstanding fans, and underline the fact that those creating the videos, the artwork and the photos, all of the imagery, are true fans of the band with a passion for detail. And if anyone knows why there’s a blink-and-you’ll-miss-it nod to former Newcastle manager Kevin Keegan in the clip, then you really are a serious fan! Please take a bow!” – Dante Bonutto, Snakefarm

To purchase / stream ‘Troubadour Moon’ go to: https://thewildhearts.lnk.to/TroubadourMoon

The creatively brilliant Ginger Wildheart is arguably amongst the UK’s best and most prolific songwriters, and his band, The Wildhearts, recently signed a worldwide deal with Snakefarm / Integral. 

“The songs on ‘Satanic Rites…’ were written during a period of transition, from extremely negative to positive,” reflects Ginger. “I realised how much control I have over my mental health, and the songs came from that understanding. There’s everything here – catchy choruses, proper fuck-off riffs, anger, frustration, acceptance and revelation, with plenty of insane detours. The album starts pessimistic then ends up like ‘Ah, so I CAN turn my life around?’ It’s a hard rock album for people who love hard rock!” 

‘Satanic Rites of The Wildhearts’, their 11th studio album, was produced by Jim Pinder (Bring Me The Horizon, While She Sleeps, Bullet For My Valentine) and mixed by Jim Pinder & Carl Bown (Trivium, Machine Head, Bring Me The Horizon, While She Sleeps, Bullet For My Valentine), and the record is conceived as a belated follow-up to their classic debut, ‘Earth vs The Wildhearts’ (1993).

Along with the singles, ‘Failure Is The Mother Of Success’ and ‘Troubadour Moon’, the album features a further eight tracks, including glam stomper ‘I’ll Be Your Monster’ (featuring Shining / Emperor member Jørgen Munkeby on guest saxophone).

To pre-order / pre save ‘Satanic Rites of The Wildhearts’ go to: TheWildhearts.lnk.to/SROTW 

‘Satanic Rites of The Wildhearts’ will be available on coloured vinyl LP, CD (with exclusive bonus track) and cassette. The LP & CD formats contain lyrics hand-written by Ginger, a painting by Ginger, plus other Ginger-related graphics.

To celebrate this release, The Wildhearts will be undertaking four in stores and playing eight headline UK shows in March, starting on March 7that the Leadmill in Sheffield and concluding on March 16th at the 1865 in Southampton. 

“We’ll be taking a full evening’s entertainment on tour, kicking off with party-punks Dirt Box Disco, going to rock ‘n’ roll church with Jim Jones, then being flayed alive with The Wildhearts. The party starts when the doors open, so get a buzz on and get down early. Come join the Wildhearts’ community gathering. We guarantee you’ll leave with the spirit of rock ‘n’ roll firmly restored” – Ginger Wildheart

For three decades, The Wildhearts have remained at the forefront of the UK rock scene, and their incendiary live shows have cemented their reputation and legacy as one of the best band’s their homeland has produced, so miss these shows at your peril.

The Wildhearts dates in full 

March in stores 

8th Relevant Records – Cambridge – Live acoustic performance and signing

9th HMV Manchester – Live Acoustic Performance and signing

10th Liverpool – Jacaranda – Acoustic performance and signing

12th HMV Newcastle – Signing

The Wildhearts UK Tour, March 2025

07thLeadmill, Sheffield

08th  Junction, Cambridge

09th  O2 Ritz, Manchester

11th  Epic, Norwich

13th  Garage, Glasgow

14th  KK’s Steel Mill, Wolverhampton

15th  Rock City, Nottingham

16th  1865, Southampton

May

04th Bonfest, Kirriemuir, Scotland 

07th  Wolf, Barcelona, Spain

08th Loco Club, Valencia, Spain

09th Nazca, Madrid, Spain

10th Psilocybenea, Hondarribia, Spain

24th The Big Yard Party, Old Woollen, Leeds

July 

07th Time To Rock Festival, Knislinge, Sweden

25th Steelhouse Festival, Ebbw Vale, Wales

Tickets for the UK tour (7th March – 16th March)  can be ordered here: https://www.gigantic.com/enter-code?c=9BC111E6-FDCB-4B8C-AAE3-94BA07CF575D

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Satanic Rites Of The Wildhearts & UK Tour announcement

Satanic Rites Of The Wildhearts & UK Tour announcement

THE Wildhearts announce brand new studio album – ‘Satanic Rites Of The Wildhearts’ on Snakefarm  

and Headline UK Tour March 2025

https://thewildhearts.tmstor.es/

The Wildhearts are proud to announce that their new studio album, ‘Satanic Rites Of The Wildhearts’, will be released in spring 2025.

The creatively brilliant Ginger Wildheart is arguably amongst the UK’s best and most prolific songwriters, and his band, The Wildhearts, have just signed a worldwide deal with Snakefarm / Integral.

“The songs were written during a period of transition, from extremely negative to positive. I realised how much control I have over my mental health, and the songs came from that understanding. There’s everything here – catchy choruses, proper fuck-off riffs, anger, frustration, acceptance and revelation, with plenty of insane detours. The album starts pessimistic and ends up like ‘Ah, so I CAN turn my life around?’

Sometimes you have to start from the very bottom, your darkest point. We have more control over our emotions than we think. We control the outcome by how we respond. Once I started learning that, the songs came pissing out. It’s a hard rock album for people who actually love hard rock! We’ll be taking a full evening’s entertainment on tour, kicking off with party-punks Dirt Box Disco, going to rock ‘n’ roll church with Jim Jones and being flayed alive with The Wildhearts. 

The party starts when the doors open, so get a buzz on and get down early. 

Come join the Wildhearts’ community gathering. We guarantee you’ll leave with the spirit of rock ‘n’ roll firmly restored.” – Ginger Wildheart 

‘Satanic Rites Of The Wildhearts’ was produced by Jim Pinder (Bring Me The Horizon, Lotus Eater, While She Sleeps, Bullet For My Valentine) and mixed by Jim Pinder and Carl Bown (Trivium, Machine Head, While She Sleeps, Bullet For My Valentine, Bring Me The Horizon, While She Sleeps). 

“The first album I A&R’d was ‘Earth vs The Wildhearts’. What a magnificent, game-changing record! What a baptism of fire!! Very quickly, it became clear what a rare talent Ginger was, and is; to my mind, one of the great British songwriters of the past 30 years, and this new record underlines that point. 

The conversation here was simple – let’s rejoin forces, let’s complete the circle, with an album forged in the spirit of ‘Earth vs…’, both in terms of the music and the overall intent, and let’s reference the title and that memorable front cover photo, too. Which is what we have; the start of an exciting new chapter in the story of a band who have always been defined by the desire of one man to write songs that soundtrack our lives; songs where – to quote Wildhearts fave ‘Nita Nito’ – rules do not apply.” – Dante Bonutto, Snakefarm 

To pre-order / pre save ‘Satanic Rites Of The Wildhearts’ go to: https://thewildhearts.tmstor.es/
‘Satanic Rites Of The Wildhearts’ will be available on ltd coloured vinyl LP, CD with exclusive bonus track and cassette. There is also an album test pressing (limited to 50, customised & signed by Ginger). Plus, a signed bonus CD EP, with all bundle offers.
To celebrate this release, The Wildhearts will be playing 8 headline UK shows in March, starting on March 7th at the Leadmill in Sheffield and concluding at the 1865 in Southampton on 16th March. 
For three decades, The Wildhearts have remained at the forefront of the UK rock scene, and their incendiary shows have cemented their reputation and legacy as one of the best band’s their homeland has produced, so miss these shows at your peril.

The Wildhearts UK Tour March 2025

07th  – Leadmill, Sheffield

08th – Junction, Cambridge

09th – 02 Ritz, Manchester

11th – Epic, Norwich

13th – Garage, Glasgow

14th – KK’s Steel Mill, Wolverhampton

15th – Rock City, Nottingham

16th – 1865, Southampton
Tickets for the tour go on general sale at 10am Friday 25 October and can be ordered here

The Wildhearts – Cardiff Tramshed – 03.09.21

The Wildhearts – Cardiff Tramshed – 03.09.21

Well, what’s the old saying “you don’t know what you’ve got till it’s gone”. For this reviewer that’s certainly been the case as due to the pandemic it’s been 18 months without live music and to say I’ve missed it would be a huge understatement.

So what better way to get back in the saddle than a live concert by the mighty Wildhearts.

The lads come on stage to a huge applause and BOOM it’s the sound I’ve been missing for so long, Ritch’s room shaking drums, Danny’s thunderous bass and the sonic assault of guitars that only Ginger and CJ can muster.

The band start as they mean to go on with a stunning rendition of ‘Diagnosis’ that has the band and audience coming together beautifully, all of us singing “you are not your diagnosis” as one.

Up next we have “Vanilla radio” followed by “Sick of drugs” and what a glorious racket we are being treated to.

Today is also a great day as The Wildhearts cracking new album ’21st-century love songs’ has been released and we get a rip-roaring version of new song ‘Remember These Days’ which if that isn’t special enough the guys manage to squeeze in an old favourite in the shape of the epic ‘splattermania’ in the middle breakdown before returning to finish the above-mentioned song, breathtaking.

It is physically impossible not to jump around to ‘Caffeine Bomb’ and then there is no rest as then the band launch into ‘The Revolution Will Be Televised’ at breakneck speed.  ‘Dislocated’ was up next off ‘Renaissance Men’ which finds Ginger in great voice to be fair. Next the band aired another track off the new album in the shape of ‘Splitter’ and wow, what a riff! I knew it was going to be loud, brash and in your face punk’n roll.  But this takes no prisoners, what a gem of a song this is going to be and a live favourite.

‘Let ‘Em Go’ is dedicated to people we can all let go of in our lives a sentiment not lost on people I’m sure and ‘Mazel Tov Cocktail’ they’re both numbers with huge choruses and are sung along to by tonight’s enthusiastic audience.

Old fan favourite ‘Caprice’ is next and sounds huge with its colossal riffs echoing around the Tramshed which is turning into a bit of a theme tonight the band keep rolling out those big riff guns. Is it really that time? The band walk off the stage before returning for the encore as ‘Inglorious’ with its many twists and turns is ushered in.

Time for a ‘Suckerpunch’ which has the audience again going for it before sadly it’s time for the swan song of the night, the classic ‘I Wanna Go Where The People Go’ brings this splendid evening to a close.

As a first concert back I couldn’t have asked for a better performance from such a great band. It was truly a magical night of loud music and great entertainment. All that is left to say is do yourselves a favour go and see the beast that is The Wildhearts live.

If the last 18 months has taught us anything it’s that you never know what is around the corner so please support live music.

Author: Gareth ‘Hotshot’ Hooper

Rainy Days & Mondays

Rainy Days & Mondays
“Splitter was the first song that I wrote for the new album. The one where I thought “Oh fuck, I can hear us playing that, it’s gonna be filthy, especially live”.
I sent the riff to Ritch straight away, as I always do when I get an idea I’m excited about, and he was into it right off the bat. That’s the thing with new Wildhearts songs, until there’s a big, dirty riff in the bag you can’t move on and write the rest of the album. It all starts with a righteous riff and some shouting. And I hope it always begins that way. If you ain’t got the riffs then you ain’t got shit.” explains Ginger Wildheart.

With The Wildhearts classic line up of Ginger, CJ, Ritchie and Danny still holding strong, this creatively brilliant band who helped change the landscape of British rock through the 90’s are showing no sign of slowing down.
21st Century Love Songs is the follow up to Renaissance Men, their highest charting album since 1994’s P.H.U.Q, which debuted at number 11
To order and stream 21st Century Love Songs go to: https://ffm.to/21stcenturylovesongs 

Seconds out round two its the magnificent Bronx and a track off the new album.

Listen + Pre-order our new album ‘Bronx VI’ out August 27 here: https://thebronx.lnk.to/bronxvi

 

 

The new Dirty Denims video for their Action Rock Jukebox single “Rock N Roll All Night”

Screaming Crow Records have gathered up some of the best Rock N Roll bands from all over the world to bring you an awesome new 45 series call Action Rock Jukebox. Each band has submitted a rockin’ version of a song that would have been found on your local jukebox in the 70s & 80s backed with an original track from the band. These large holed 45s are perfect for that old jukebox in your basement. Each single comes with a jukebox title card and a custom 45 adapter in case you don’t have one of those cool old jukeboxes. Each release will feature 100 color vinyl  and 200 black vinyl versions. The first 50 copies sold will be autographed by the band. Right now the singles will only be available on Screaming Crow’s and the bands’ websites. (links below) There are 8 band scheduled right now. Once all the singles are out, Screaming Crow will compile them into one killer double LP and CD and release them through our normal retail channels.

The Wildhearts – ’21st Century Love Songs (Graphite Records)

The Wildhearts – ’21st Century Love Songs (Graphite Records)

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

The Wildhearts – brand new single ‘Sleepaway’ with tasty video.

The Wildhearts – brand new single ‘Sleepaway’ with tasty video.

Watch the ‘Sleepaway’ video here, but be warned this is not for the faint-hearted! Based on Ginger’s love of horror and gore movies, it’s a bit… DARK

 The Wildhearts release a brand new single ‘Sleepaway‘, the third single taken from the album 21st Century Love Songs, out September 3rd, 2021 via Graphite Records.
“Sleepaway is a song of hope, of fighting for improvement in ourselves. Locating the area of unhappiness and striving to fix it for a better quality of life. Physically, mentally, emotionally, positive changes can be made. It’s not too late…” exclaims Ginger Wildheart.
To purchase/stream Sleepaway go to: https://ffm.to/sleepaway 
With The Wildhearts classic lineup of Ginger, CJ, Ritchie and Danny still holding strong this creatively brilliant band who helped change the landscape of British rock through the 90’s are showing no sign of slowing down.
21st Century Love Songs is the follow up to Renaissance Men, their highest charting album since 1994’s P.H.U.Q, which debuted at number 11
To pre-order and pre save 21st Century Love Songs go to: https://ffm.to/21stcenturylovesongs
To celebrate the release of  21st Century Love Songs’ The Wildhearts play a 17 date UK tour. The tour will start in Cardiff on Friday 3rd September and concludes in Southampton on Saturday 25th September. Special guests on these dates at various venues include Those Damn Crows for nine of the shows, Raging Speedhorn, The Middlenight Men, Beach Riot, James And The Coldgun and Waco.
Their incendiary live performances over the last few years have seen the band’s popularity hit new heights as The Wildhearts continue to cement their reputation and legacy as one of the best bands the UK has ever produced. 
Live 2021 dates in full 
Festivals
August
13 Fri Bloodstock
Headline Tour 
September 
3 Fri Tramshed (Huggard Rocks), Cardiff
5 Sun Phoenix, Exeter 1
6 Mon Cheese & Grain, Frome
8 Wed Academy 2, Manchester 1, 3
9 Thu Electric Ballroom, London 1, 3
10 Fri Waterfront, Norwich 1, 4
11 Sat Chalk, Brighton 1, 4
12 Sun Madding Crowd, Bournemouth 1,
15 Wed KKs Steel Mill, Wolverhampton 1, 5
16 Thu Guildhall, Gloucester 5
17 Fri Boiler Shop, Newcastle 2, 5
18 Sat Stylus, Leeds 1, 3
20 Mon Mac Arts, Galashiels
21 Tue Tolbooth, Stirling
22 Wed The Lemon Tree, Aberdeen
24 Fri Foundry, Sheffield 1, 6
25 Sat Engine Rooms, Southampton 1, 6
October
1 Fri Great British Alternative Festival, Skegness
2 Sat MK11, Milton Keynes
15 Fri Roadmender, Northampton
16 Sat Cornwall Rocks, Cornwall
17  Sun The Fleece, Bristol
November 
4    Thu       Hard Rock Hell, Great Yarmouth
5 Fri MMH Radio 10 Year Birthday Bash, Birmingham
11 Thu Hedworth Hall, South Shields
12 Fri Monsterfest,  Inverness
December
9    Thu Tivoli, Buckley
10  Fri Brewery Arts, Kendal
11  Sat Georgian Theatre, Stockton
12  Sun Rock City, Nottingham
To purchase tickets please go to: https://bnds.us/yysup1
September special guests 
Those Damn Crows 1 
Raging Speedhorn 2
The Middlenight Men 3
Beach Riot 4 
James And The Coldgun 5
Waco 6 

Carol Hodge new video and album news

Carol Hodge new video and album news

CAROL HODGE RELEASES NEW SINGLE ‘THIS’ 

 

NEW ALBUM ‘THE CRIPPLING SPACE BETWEEN’ is OUT SEPTEMBER 24th VIA MIDNIGHT STAMP RECORDS

 

 

“One of the best songwriters in existence at the moment” – Louder Than War

 

Yorkshire-dwelling singer-songwriter Carol Hodge is a wonderful musical dichotomy. With her roots and ethics firmly set in punk as keyboard player and long-term collaborator with Crass frontman Steve Ignorant and his current band Slice Of Life, Carol is also a uniquely gifted song-writer and as able to conjure up beautiful pop-infused, heart-wrenching melodies as she is screaming into the face of authority and injustice

 

She describes herself as a ‘seven-fingered pianist’. Carol was born with a rare condition called cleft type symbrachydactyly, which means Carol has just two fingers on her left hand. This hasn’t held her back as her impressive CV is testament to. Carol also performs as a keyboardist/backing vocalist with various touring bands including Ryan Hamilton (signed to Stevie Van Zandt’s Wicked Cool Records), Crass/Steve Ignorant, and has also guested with Ginger Wildheart, Headsticks and The Membranes.

 

Today sees the release of ‘THIS’, the first release from the forthcoming ‘The Crippling Space Between’ album, due September 24th via Midnight Stamp Records.

‘THIS’ is an uplifting rock anthem that packs a positive punch. Lyrically, the song references W.H. Auden’s Funeral Blues, and charts the deterioration of the spirit throughout 2020. Dramatic low-key verses give way to huge and heavy guitars in the choruses, reflecting the rollercoaster of uncertainty life has become of late. Carol explains:

 

“I’ve never felt such rage, such grief, such uncertainty. We all like to think we are in control of our own lives, and have a hand in our own destinies, but 2020 pulled the rug out from under us. It has absolutely taught me to accept that there are forces in the world beyond my control. I have dug deep and found the positives. When it seems like there is nothing left, there is hope. Always.”

 

The official music video stars Nashville-based dancer Erik Cavanaugh. Erik’s unconventional style and crusade against the stereotype of the ‘dancer’s body’ (his philosophy: “Do you dance? Do you have a body? Then you have a dancer’s body”) has won him over 13 million likes on TikTok. He also features in music videos by The Avalanches (feat. Rivers Cuomo) and Tim Chadwick. He dances up a storm throughout the video, ending the finale in 5 inch heeled red latex boots.

 

 

Produced by Dave Draper (Jazmin Bean, The Wildhearts, The Professionals), ‘The Crippling Space Between’ is an unashamed exploration of the emotional rollercoaster that was 2020. Carol flits between musical styles, bridging the gaps with her astute lyricism. A fierce believer in remaining independent, the album will be released on Carol’s own label Midnight Stamp. Previous albums Savage Purge (2020) and Hold On To That Flame (2018) featured on several Top Album end-of-year lists, and 2020 single Stopped Believing In You received significant indie and online radio play, including from BBC Manchester and BBC Bristol.

 

Find Carol Hodge online Here