Swedish punk rockers City Saints are on album number six. formed in Gothenburg in 2012 they’ve toured all over Europe several times people in the UK will have no doubt seen them grace the stage at Rebellion Festival with their punchy street punk mixed with a bit of OI and some hard rock thrown in for good measure. The band have always played hard and turned in songs with attitude and always had a good sense of melody with catchy choruses, and terrace anthems if you like.
City Saints grew up with the Gothenburg punk scene in the late 70’s and early 80’s. “Explosiv!” kicks off with a surprise in the Ennio Morricone-inspired “Göta Älv”. A moody intro to lull you into a false sense of security before the high-paced anthems take you away. Sort of their own Derango 95 before songs like ‘Majorna’ and ‘På G’ are great examples of where they mix the rapid Ramones punk rock with a more dirty Rock n Roll and even though I don’t understand the lyrics I understand Punk Rock n Roll alright and this greasy punk n roll is right on the money. Sure if you mix some Sparrer with early Backyard Babies and Demons’ you might be with me in the very right place at the right time. ‘Smaken Av Blod’ just rocks out. they’re not taking prisoners and just get the foot on the monitor and go for it. ‘Stadden Brimmer’ has the gang vocal of Rancid and is a great example of that mix with a grunting bass run with some top-slashing riffage. Side one take a bow your work here is done.
Flip it over and it’s heads down for some boogie rock with the title track kicking out the twelve-bar rock n roll. Love the bridge with its thumping Bass solo and groove on the drums before some tasty harmonica honkin for good measure. It’s down and dirty rock’n’roll for sure and done really well. ‘Blod & Bly’ starts off with a measured Angus lick before it’s called to arms and rocks like fuck. Heads down the finish line is getting near so ‘Nitad’ cuts loose and just rock out before ‘Kranarnas Stad’ continues the party. The final song is something of an outro “Fan Ta Er” which is a short live cut done with vocals and harmonica like were stood around an open fire near the sea as we all stomp our feet but a great way to catch our breath before we dive back in and do it all again. Great effort from Swedoens City Saints ‘Explosiv’ by name explosive by nature. Get involved it is a cracker.
Having seen Richard put in a pretty impressive shift slinging his six strings with Marc Valentine it has been something of a pleasure to have this album on heavy rotation for the past few weeks. It’s the second offering from Richard and this is another step in the right direction offering a gritty real-life view on the world be it through an acoustic guitar or the wheeze of a harmonica or some laid-back telecaster rock n roll its an album filled with twists and turns in a world just off the beaten track where everything polished and sanitised this is real campfire rock n roll with its big beating heart worn proudly on its collective sleeve. from the opening mid-tempo stroll of ‘Keep Your Fire Burning’ it breaks of moonshine Rock n roll with a chorus that digs in and refused to leave until you’ve chased that dragon one more time.
There’s a feeling of yesteryear as the guiding lights of Mott The Hoople and The South of France Stones collide with Thunders and Perrett. ‘Soldiers Of Fortune’ is a marvellously crafted song that’s pumping blood around the speakers with the likes of Thunders whispering melodies into Davies’s ear for inspiration without ever sounding like his heroes in a copycat way but leaning on their rich catalogues for inspiration.
I love the swagger of ‘Human On The Inside’ and the arrangement is excellent as the song soars toward the chorus you feel like you’ve been on a journey with the band and it was the best of times real roots rock n roll. Theres a lot to admire on ‘Born To Drown’ with its subtle keys sounding like a song Stuart and Prophet would have loved to have written in their Green On Red heyday.
‘Born To Drown’ is another unassuming earworm from the melody to the arrangement it’s not at all overcrowded even though there is a lot going on a great tune from what is unquestionably a talented band. ‘Lead Me Out Of The Wilderness’ is more laid back with a hint of Dylan and a great vocal. ‘Age Of The Blade’ is a sharp riff and ‘Higher Station’ has a hint of Americana in there and some great backing vocals to light up the Chorus. The album closes out with the Surprise cover of ‘Live For Today’ and what a pleasant surprise it is too. I always get a little worried when I hear people covering a Stiv Bator song because of the high regard I hold him in but this is spot on. Richard hasn’t tried to copy or mimic note for note rather he’s interpreted and handled it with kid gloves and paid respect to a classic in the interpretation and delivery and to be fair it just about caps off one of the strongest albums I’ve had the pleasure of in quite a while. Great effort all round and an album I highly recommend, While the world might be heading to hell in a handcart it’s reassuring to know that I can have an awesome soundtrack as I go down in flames and ‘High Times And Misdemeanours’ is right at the top of the playlist playing loud and proud. Simple one this – go Buy It!
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
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).
‘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 UKshowsin 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
Swedish hardcore outfit First In Line celebrates their 30th anniversary with the new album “Connect the Dots” with 19 frantic, raw, and energetic tracks showcasing the finest of the Linköping HC scene. First In Line has been flying the flag of fast, melodic hardcore since 1994, so maybe now is as good a time as any to catch up and admit this is my first – an introduction if you like and in time-honoured scandi hardcore the guys kicked my backside. Like Zugly before them, they remain true to the roots of the sound and scene and deliver an album that captures the spirit of Harcore and also delivers some exceptional playing and to be fair some great songs.
If you want loud in-your-face, gritty unrelenting energy then First In Line bang em out.
“Connect the Dots” kicks off in style with the brutal ‘What’ that sets the tone with a full frontal assault on your senses. They do mix it up but dive straight into the pit for ‘Cookies And Cream’ thrashing like motherfuckers.
F.I.L are so pissed off at all injustice and stupidity, we have to get it out of their heads and into the songs that they hope will hit right in the heart of you the listener, who can turn up the will to fight and maybe also be a tiny cog in a machinery that can change the world.” which is an admirable stance indeed.
Nineteen track of Hardcore is a lot to absorb in one take but this is the stuff that makes your day go by quicker and puts a spring in your step. It’s not a long album by any means and of course some of the songs are sub one minute so not exactly taxing. Songs like ‘Inbred’ is the sound of the walls collapsing in on you whilst your listening but you’d rather get through the song than worry about your house caving in.
I love it when an album comes out of the blue and asks you to review it and you just put it on in the background but soon enough you find yourself leaning in and paying attention well, First In Line just did that and this stands shoulder to shoulder with any Hardcore released in a decade and I’ll take that all day long. By the time you get to the uncompromising ‘Black And White’ and ‘Good Friends’ you will be nodding in approval these guys have a fire burning in their collective bellies and who doesn’t like that? It’s fast, furious and on fuckin fire. Get involved, you can thank me later Hardcore as fuck!
Primed to grab 2025 by the scruff of the neck and give it a damn good shaking, high-octane boogie woogie punk rock ‘n rollers Split Dogs are set to embark on their first UK headline tour as they approach the release of their ‘Here To Destroy’ album, due for release on February 28th via Venn Records.
Today, Split Dogs offer up another cut with their new single ‘Lafayette’ which is, says guitarist Mil Martinez “a love letter to our families and the influence they’ve had on our love for music.
At a glance it tells the story of (singer) Harry’s mother growing up in Wolverhampton during the height of the 1970s/80s northern soul scene and the characters she encountered. It also tips a hat to my older brother that passed away in 2023, he played a major role in my song writing growing up.”
The video was shot by drummer Chris Hugall who admits that on the actual day of filming they had no real plan as all of their other ideas had fallen through, but they worked on the fly and the end result compliments the song perfectly.
“It takes you on a journey through the cobbled streets and back bars of the Black Country, Harry’s hometown Wolverhampton,” explains Mil. “From Chewing gum-stained carpets and pints of mild to stone faced locals and tar-stained fingertips. If you fancy a dance? Come out to the club and feel alive!”
Born from the frustration of seeing music become commodified and soulless, vocalist Harry Atkins and guitarist Mil Martinez had the idea to form a band as far back as 2015, with the name ‘Split Dogs’ pulled from the classic zombie film ‘Return of the Living Dead’.
In South London, a young Martinez would hear Status Quo, Bachman Turner Overdrive and Dire Straits on the car radio while his father drove him to school. At home he would invade his older brother’s record collection which leaned towards the harder sounds of punk and heavy metal. Meanwhile in the Black Country, Harry’s mother instilled a love of Northern Soul, Slade and rock’n’roll, with stories of nights out at Club Lafayette and family singalongs at home. According to Martinez, “Our sound is a culmination of all those early influences and, to be honest, it really shows.”
It wasn’t until 2022 that Split Dogs officially arrived on the scene with bass player Suez Boyle joining the band in 2023. Already a prominent figure in the queer punk scene, Suez played the first ever Rebellion Festival at the tender age of 16 with her band The Walking Abortions. Up until that point, drummer Chris Hugall, an old friend of Martinez and former member of ska punks Mouthwash (signed to Rancid’s label Hellcat back in the day), was only on hand to help design artwork. It wasn’t until 2024 that Hugall joined the band full-time cementing the current line-up.
The raucous live shows and infectious lyrics saw the four-piece make a name for themselves among the punks of Bristol, a scene that has always welcomed LGBTQ+ and marginalised people. As word spread, so did the gigging, and soon enough Split Dogs were playing to sold out rooms in mainland Europe, eventually grabbing the attention of UK label Venn Records (Gallows, Bob Vylan, High Vis).
‘Here to Destroy’ was recorded over three days at Middle Farm Studios by producer Peter Miles. All tracks were laid straight to a 16-track reel-to-reel tape machine, no autotune, no effects pedals, no computers. To add to the music’s authenticity, the album was recorded live, with Harry singing along in a vocal booth. No cutting and pasting, just nailing takes. According to Martinez, “It was a blast! We fully immersed ourselves, sleeping in a small apartment below the studio, cooking meals and listening to Pete’s extensive record collection”.
As the album title makes clear, Split Dogs are here to destroy, but they’re also here to rebuild and remind us of music’s essence. “We’re not beholden to the digital age, we don’t want to get famous on social media, we just want to show the world that rock’n’roll is alive and well”.
Whilst purging the late runners and riders of 2024 several EPs landed on the RPM desk that were enjoyed over the festive period and even played on the podcast and one of these EPs happened to be from Scandinavia who’ve been around for ages but has recently gone through plenty of changes and a freshen up so they decided to reintroduce themselves with a bite-size EP where they perform three old tunes and a brand new one as an introduction to the new members and shake off the cobwebs on some old hidden gems.
Joining Miqu, Eco and Kupe are Junza formerly of fishface on guitar and Samer on Bass duties formerly from Lordi so on with the show and opening track ‘Motorhome’ which was originally done in 98 and sounds like it could have been written yesterday. With its carefree guitar lick and happy-go-lucky tempo is a great slice of sleazy Rock n Roll helped with a great production. ‘Bad Ballerina’ is a new song with some bad boy boogie and a fair sprinkling of piano for good measure to add some timeless Rock n Roll to proceedings.
‘Subway’ has a quicker tempo and was originally from Miqus band Indian Giver with plenty of swagger and a bad attitude it has groove and a killer chorus. the EP is closed off with ‘St Babylon’ that’s more Glam Rock than the others with a big hook and was written thirty years ago (Yikes) the breakdown would have seen this a chart bothering tune in the late 80s but we live in very different times in 2025. So there you have it, a new, old EP from Plastic Tears and a process that the band hints at possibly repeating in the future when old songs get a dusting down and reworked for the modern age.
I like Plastic Tears and hopefully, this new lineup can deliver a new LP and who knows some shows in this neck of the woods.
Clean Lines – when Steve E Nix says he wants to join your band you know you must be onto something right? Right Clean Lines are something of a supergroup in underground power pop punk rock circles and in a perfect world, they would be fuckin huge. From the opening slam dance of ‘Nuisance’ through its chaotic party on the patio vibes through the sloppy Thunders soloing it’s a joy to your eardrums. Described as Brat Rock is just about the perfect description for this ensemble of seasoned Rock n Rollas it’s a snotty, confident, joyful romp through four awesome tunes. Sure I’d have loved to hear a whole LP full of this shit but like the old adage says keep it lean and keep em keen and less is more and all of that.
The opener sets the tone and rattling out of the gate hot on the heels is ‘So Sharp’ which is exactly what it is. Sharp in name sharp in nature. You wanna pogo on the spot and you’ll be singing the chorus before the “ooh ahs” are done and the floor tom rattles that backbeat. Majestic stuff. The retro clock is turned back to the mid-70s for some Glitter band handclapping foot stomping thumb in yer jean loop dancing whilst the likes of Sweet n Rockpile fill yer stereo speakers.
We manoeuvre from the sub-two-minute burst of energy in the title track opener to this uber-cool groover that clocks in at over four minutes. Before we sign off with another burst of frantic bratty rock ‘In The Way’ which is a song that gives you a swift clump around the ear as it flys out the door from the frantic twelve bar to the Chuck Berry licks and one-finger piano plonking its breathtaking stuff and exactly what you need to shake off the cobwebs from Christmas and new years and welcome to 2025 and hopefully, the first of many tunes from Clean Lines. Just buy it!
Sweden’s finest exponents of action rock The Imperial State Electrocopters are back and they are firing on all cylinders. Nicke Andersson’s 70’s drenched tribute to The Stooges/Kiss/Thin Lizzy/Motorhead (delete as applicable) follows up their 2022 comeback album ‘Eyes Of Oblivion’ with a new 11-track banger of an album in ‘Overdriver’, and there is not a Dregen to be seen or heard on this, the 9th long player from The Hellacopters. Which sort of makes it an Imperial State Electric sort of thing, doesn’t it?
Confused? Well don’t be. The livewire Backyard Babies guitarist may well have been instrumental in the sound of The Hellacopters classic ‘Supershitty To The Max!’ garage rock era, but that was a different band in a different century ladies and gents. Nicke and his gang progressed over the years, and while the gang members have come and gone, the song remains the same in 2025.
Seems as they are a four piece in the videos, we are to assume out illustrious leader handles guitar duties as well as vocals here. All is well and good and opener ‘Token Apologies’ delivers the Kiss/UFO influences to the max, and if you have, like me been rediscovering the ‘Head Off’ covers re-issue recently, then that is a good reference for where we are heading sound-wise.
‘Don’t Let Me Bring You Down’ is classic Nicke, and could’ve been a single from any of the early Imperial State Electric long players, or any 70’s Quo album come to think of it. A great memorable hook, and an early highlight for sure.
But then things get really tasty with the magnificent power pop single ‘I Don’t Wanna Be Just A Memory’. Methinks Ginger Wildheart would give his left bollock to have a hook that good for The Wildhearts in 2025. With its urgent beats and rousing chorus, it sounds like Benny & Bjorn penned it back in ‘78, Iggy stole the beat from the Lord and traded it to Nicke’s old man for a bag of blow and a bottle of Jack. Yes, it’s that good!
3 songs in and were flying in the right direction. The groovy punk n’ roll of ‘Wrong Face’ follows, the rousing and uplifting ‘Soldier On’, and the overly familiar ‘Doomsday Daydreams’ wrap up a very strong side 1.
Flipping the virtual disc and the high energy ‘Faraway Looks’ has riffs and a chorus to die for, latest single ‘Do You Feel Normal’ is classic 70’s rock at its finest and closer ‘Leave A Mark’, does exactly that with its throbbing bass line, driving rhythms and Starchild vocal delivery. It rocks you like a hurricane until the final note rings out.
For me, ‘Overdriver’ is a stronger album than its predecessor. It’s an album of two halves, side 1 pisses all over side 2, but it’s worth flipping the disc for the opener and closer alone. There’s a lot of familiarity of ‘Overdriver’, riffs you will have heard before…somewhere, and you’ll be wracking your brain to recall where the hell you have heard certain melodies before, but that’s half the fun of the listening experience. Who was it that said, “There’s nothing original in rock n’ roll these days”? That may well be true, but if it’s good and it makes you feel something, then who the fuck gives a fuck?!
The Hellacopters may not sounds as raw and exciting as they did in 1996, but they’ve mellowed like a fine red wine over the years and ‘Overdriver’ is a great return to form and one of the essential listens for 2025.
THE HARD-ONS RELEASE NEW VIDEO FOR SINGLE “RIDE TO THE STATION” AND ANNOUNCE US TOUR – WITH POISON IDEA’S JERRY A ON LEAD VOCALS!
NEWS FOLLOWS MASSIVE 40TH ANNIVERSARY YEAR AND ‘BEST DOCUMENTARY’ PRIZE FOR THE MOST AUSTRALIAN BAND EVER AT THE LOS ANGELES INTERNATIONAL PUNK FILM FESTIVAL
The Hard-Ons have followed a massive 2024 with the release of the new video for “Ride To The Station” – the single take from their new album ILike You A Lot Getting Older – and the announcement a May/June US tour with old friend Jerry A of legendary Portland punks Poison Idea!
The “Ride To The Station” video was produced by Sydney based studio Kapow Pictures. Director Mark Gravas has said, “I have been a fan of the band for almost 40 years. We have produced several videos in the past for The Hard-Ons and were very happy to produce this one for their 40th anniversary. I was inspired by my favourite zombie film ‘Train to Busan’ and my own experiences on public transport. We animated the video using Quill a software primarily used in VR.”
Kapow has also produced a poster of the video which is available to purchase on their website.
The US tour with Jerry A from Poison Idea on guest lead vocals will see The Hard-Ons joining the heavy weight double bill of Napalm Death and the Melvins for shows across the Mid-West and Western states in the USA. The complete run of dates is listed below.
The Hard-Ons first toured with Poison Idea back in the late ’80s, and first recorded with Jerry A as guest vocalist back in 1993 – Jerry wrote and sung the track “The Blade” on their Too Far Gone album. The track recently resurfaced on Jerry’s solo album From The Fire Into The Water. The Hard-Ons areset to release an album with Jerry on vocals later in 2025.
In addition to the new album, 2024 saw The Hard-Ons celebrating their 40th anniversary with extensive European and Australian tours and enjoying numerous screenings of (and international acclaim – including the ‘Best Documentary’ prize at the International LA Punk Film Festival 2024 – for) their feature length documentary, The Most Australian Band Ever, directed by Jonathan J. Sequeira for production companies Living Eyes and Play Vintage.
I Like You A Lot Getting Older was the third album by the band’s current line-up of Blackie, Murray, Ray and Tim, and follows 2021’s ARIA top 5 debuting I’m Sorry Sir, That Riff’s Been Taken and 2023’s the Top 30 debuting Ripper ’23.
For more info on the feature documentary, The Most Australian Band Ever, go to www.livingeyes.com.au
The Hard-Ons (with Jerry A) appear as guests of Napalm Death and the Melvins as part of their Savage Imperial Death March Part II tour at the following shows: May 22 – Minneapolis, MN @ First Avenue May 23 – Des Moines, IA @ Wooly’s May 24 – Kansas City, MO @ Madrid Theatre May 25 – Omaha, NE @ The Waiting Room May 27 – Denver, CO @ Summit May 29 – Salt Lake City, UT @ Metro Music Hall May 31 – Bozeman, MT @ The ELM June 1 – Spokane, WA @ Knitting Factory Spokane June 2 Seattle, WA @ The Showbox June 3 – Portland, OR @ Revolution Hall June 4 – Eugene, OR @ McDonald Theatre June 6 – Reno, NV @ Virginia Street Brewhouse June 7 – Berkeley, CA @ Cornerstone Berkeley
An EP always slips through the cracks, and goes undetected on the RPM radar and The Electric Shakes certainly falls into that category so the time has come to put it right. Released in 2024 the ‘Ten Years In Overdrive’ EP is here to testify that the UK can shake its shit up there with the best garage rock available anywhere on the planet.
From the off, your groove is on mofos ‘Breaking Me Loose’ is a sub-five-minute exhibition that what the mighty Thee Hypnotics didn’t fall on deaf ears with its strutting riff giving it large in time-honoured fashion is a smart and precise opener that sets the tone for some pretty impressive ROCK!
Riding on a groove that swings like billy big bollocks ‘Make It Last’ demands you turn up the stereo then when it’s loud enough to hear the windows rattle you’re good to go. With a spot-on production that embraces the old but also sounds modern and fresh it’s a toe-tapper for sure. Clocking in at a smudge over seven minutes won’t put you off once the guitars lock in and we have take off the mid-song breakdown with sing a long made for the live shows vocal is the signal to build into a whig ou frenzy that you can feel brooding. It reminds me in places of the early Datsuns records it’s certainly got elements of that in its DNA which is never a bad thing. ‘White Wine Psychosis’ is the real high point of the EP with an intro to rival some Bon era DC with the lick on that fuzzed-out geetah but it veers off with a psychedelic melody that is far removed from DC and into some pretty wicked MC5 territory and that’s always a good place to be. It’s got an attitude that compliments the music on offer and that’s what should raise it above other contenders.
The EP finishes with another bruising six-minute plus romp, ‘Take The Lid Off My Darkness,’ a song that doesn’t feel almost seven minutes long. I do like the split of the guitars, with one hypnotizing the listener while the other constantly jabs at your eardrums. Get your groove on, kids, and let some Electric Shakes into your collection. I can promise you won’t regret it—buy It!
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