For the first time on vinyl, a great Australian high-energy classic from Brother Brick, led by Stew Cunningham, one of the best guitarists to emerge from the antipodes. It is held in the same regard as Bored!, Asteroid B612, and New Christs—a real underground gem of OZ rock. Thanks to Bang Records this is the vinyl debut of ‘A Portable Altamont’ – Fully Remastered Edition to capture the raw power and energy that defined their high-octane sound.

This release showcases the band’s grit, the superb rhythms, and all held together with some sumptuous melodies clearly students of Detroit’s finest The Stooges and MC5, but with that unmistakable Aussie magic sprinkled in the mix.

Something of a staple in the Sydney underground. I’m happy to admit this is my introduction to the band and better late than never this is a superb introduction. Originally only available on CD, ‘A Portable Altamont’ has all the high-energy you’d expect from down under officiandos of the garage rock sound, with blistering guitars at every opportunity and melodies. As with most Australian bands from the alternative genre, there is a beautiful raw, unapologetic aura a nievaty maybe of a band just kicking out the jams. If you’re a fan of loud guitars, powerful melodies, and pure rock ‘n’ roll attitude, this is another Bang release that’ll tick all those boxes you’ve come to expect. From the opening thump of ‘The Same’ it’s absolutely raging. There are plenty of absolute belters like the riff-ola of ‘Chip On My Shoulder’ that would give any Steve Jones aficionado a run for their money. The tone is like a bomb going off in the speakers and it doesn’t end there its a beast of a song and like I said one of many.

It’s not all about the wall of raw guitar attack mind because the rhythm section goes toe to toe with some thumping hypnotic grooves like ‘Beyond My Hands’. The breakdown in so simple yet absolutely killer and when the band kicks back in its awesome.

There isn’t a bad song on here and even the more mellow moments sound like a fuckin landslide ‘Derelict Eyes’ on the back of the brawling ‘Chokito Bar’ that is as close to a bar brawl as you’re likely to hear. Side one closes with a bluesy rampage ‘No Turning Back’ and it’s time to flip this one over and get stuck into side two.

More of the same please gents as ‘Rock n Roll Marie’ comes spitting out of the speakers looking for trouble. ‘Feel Strung Out’ is the only way feeling strung out is appetizing in any shape or form. They do kick back a little on ‘Drives Me Wild’ but the filters are open and everything is set to the loudest possible setting. After one play of this, you are left wondering what it would be like stumbling across these cats in a barroom – it would be dangerous for anyone of a nervous disposition and if you’re like me with a dicky ticker get the defribulator on speed dial you might just need it. Hell, even the instrumental ‘Help Yourself’ doesn’t deter me from starting a one-man mosh pit. Before we check out and take a lie in a dark room we are treated to the full on fuzzed out fucked up ‘We’re Not Like You’ before we have to say goodnight with one final triumphant song entitled ‘Rock Action’ (of course it is). Brother Brick delivering the goods and if you’re looking for a fix of the good stuff then this is the one you need to get on. Buy It!

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NO DRINKS ON STAGE – “that’s Luke Morley’s doing” jokes Quireboys’ frontman Spike as he spots the large warning signs stuck onto the front of the venue’s on-stage monitors. “He’s had me and Nigel practising too”. But what are the band going to sound like when they have rehearsed and not had too many sherries beforehand?

We’d been chatting in the pub beforehand about the times we’d all seen the Quireboys over the years, and the one thing we all said was “We’ve never seen a bad Quireboys gig”, but would a line up featuring two ex-members of Terrapin (thank you Spike for that little gem) on guitar and drums and the one time bassist/singer from (“remember the name”) The Grip match those high standards already set? Might tonight actually end up being an exception to that golden rule, even if ‘Wardour Street’ the album the lads are out on the run of shows to help promote is indeed a little bit of what every Quireboys fan should fancy?

Before all of that palaver though I’m in early doors tonight to catch the RPM approved Continental Lovers, who are playing some carefully selected Quireboys shows to help promote the upcoming release of their all new ‘Self Titled’ thirteen track debut album. Having last played Newport’s nearby McCanns basement venue just over a year ago the four Lovers instantly look just at home on this venue’s more expansive stage, the gigs they’ve played in between obviously reaping them full reward, as opener ‘St Joan’ crashes headlong into (my favourite tune by the band) ‘Tape Deck and we’re three songs in with barely the same number of minutes on the clock. It’s glam punk rock ‘n’ roll played fast and a hell of a lot of fun to (Chelsea) boot. 

As the crowd begins to fill out, I move back towards the mixing desk to take in proceedings, and as new single ‘Connection’ chimes in I can sense the levels of excitement rising through those lucky enough to get in early. In fact, from the number of Continental Lovers’ 7” singles I later see in people’s possession I’d say my glam punk senses were bang on point.

Closing things out with a cover of ‘Dead Flowers’ (think more the Dogs version than the Stones original) is perhaps something of an open goal, especially given tonight’s headliners, but every goal counts in this game and tonight Continental Lovers come away with all three points. “Victoire”.

At this point I have something of a confession to make, I’ve really struggled to get my head around ‘The Simpleton’, the new album from Willie Dowling, it’s not that it is a poor record, it’s just, errr…. not an easy listen (the last time I can remember this happening quite so clearly was with ‘Spilt Milk’ by Jellyfish around three decades or so ago).

It’s something that Willie himself explains to the audience from the get-go (phew, so it isn’t just me) as he takes his place behind his keyboard alongside his bass playing amigo Andy Lewis, with the rest of the music being provided by Willie’s electronic box of tricks and hence the band’s “Invisible” moniker.

The music itself isn’t a million miles away from the songs he’s previously written with Jackdaw4 or as part of Dowling Poole, but the lyrics are easily his most politically driven to date, as one listen to the likes of ‘Long Drop Down’ or ‘The Gravy Train’ soon prove. There’s even a heckler when Willie dares to criticize the calamity just waiting to unfold in the US in 2025 as he introduces Dowling Poole’s ‘Fuck You Goodbye’. Hmmm, perhaps ‘Long Drop Down’ is more prophetic than the songwriter could ever have imagined, and who would have thought that such stinging political messages would be delivered via tracks that actually sound like they were written during the days when the UK charts where full of names like Supertramp, Queen, Sparks and 10CC and not via the usual platform of punk rock? Has Willie perhaps unintentionally invented a new subgenre of politically charged progressive powerpop with ‘The Simpleton’? Only time will tell, I guess, but you can next catch the duo out on the road promoting the record with Cats In Space in the run up to Christmas and on a nine date 2025 headline tour.  

For the longtime Willie fans in tonight there’s a reworking of The Grip’s ‘Vera Daydream’ slotted in at the end of the set tonight, and as the duo leave the stage to their loudest cheer of the night, I’m reminded of the one and only time I saw that band, supporting (yup you guessed it) the Quireboys, then complete with their bar stage set, something that sadly isn’t with the band anymore, but their It Ain’t Half Hot Mum intro tape most certainly still is, and it’s soon booming from the Corn Exchange’s crystal clear sound system and Newport’s population of lovely boys (and girls) fall into line ready for tonight’s main event.

It feels a little odd watching Thunder’s Luke Morley strapping on his guitar and launching into the riff for opener ‘Jeeze Louise’, but only for about 30 seconds, because as soon as Spike opens his mouth to sing the opening lines and bassist Nigel Mogg quickly bounds across the stage to conduct the evening’s first Scorpions like pile-on with the six stringer, you can be in no doubt, this is very much a Quireboys show. Then there’s the smile on his face when they then race headlong into ‘Can’t Park Here’ which speaks volumes for how much he is also enjoying his time sharing stages with these two rock ‘n’ roll dandies.

The between song banter between Spike and the six stringer is fast and, at times, furiously funny, and the rehearsals I mentioned at the top of this review have certainly paid off for the band with new tracks like ‘Raining Whiskey’ (dedicated of course to Frankie Miller) and ‘You and I’ sitting pretty next to the likes of ‘Misled’, Tramps & Thieves’ and ‘Hey You’ and stand in drummer Harry James turns in a faultless shift in Rudy Richman’s absence.

Over on the piano there’s that Willie Dowling once again, now filling in for Chris Johnstone whilst also filling out the overall sound with the band seemingly settled on a reduced five piece format, although I do miss that added KLANG that the Ronnie Wood style second guitar always gave the band.

I also cannot go without mentioning that not only does the band’s merch tonight include two quotes from ex-members of UFO but whilst Mr Mogg was digging out his favourite Gibson Thunderbird for this tour he must have in the process also found all his old Pete Way VHS tapes, because he is absolutely on fire at the moment, throwing shapes left, right and centre, and this only serving to provoke his singing compadre to once again throw his mic stand around like Rod Stewart in his early ‘70s prime. And speaking of which, if I thought ‘I Think I Got It Wrong Again’ sounded like The Faces on record, then live, you could almost close your eyes and think you were back in 1970 watching one of the earliest UK shows by said band, and if that song is The Faces then ‘Happy’ really could be a Rolling Stones song. Magnificent stuff indeed.

These shows are of course overshadowed by the fact that founding Quireboys’ guitarist Guy Bailey passed away before ‘Wardour Street’ could be recorded and as such Spike dedicates an emotional ‘King of New York’ to not only the perma-behatted guitarist but also his father, who apparently thought the track was the best the band had ever recorded. You can almost sense Bailey smiling down on the band as they then draw the set to a close with a riotous ‘There She Goes Again’, ‘Roses & Rings’ and ‘7 O Clock’.

With the 10:30 curfew having long since passed there’s just enough time to raise our glasses in the air for a quick run through of ‘Like It or Not’ before we are all sent home with “something in our eye” thanks to an exceptional rendition of ‘I Don’t Love You Anymore’.

An emotional night for sure, and one that should silence not only any critics but also answer any nagging doubts you might have about what the Quireboys in 2024 are all about.

This is rock n roll, and I love it!

Author: Johnny Hayward

Episode 51 mixes brand-new tracks with some older classics that might have been forgotten, as well as an overload of covers.

First up is the exciting news that Midlife Crisis have a date of Feb 25 for the release of the long-awaited album. Fans of Hellacopters and Backyard Babies might want to tune into this bad boy. We play the opening track off the album ‘Silver Son Johnnie’ ’45 to 33′ is the name of the album and pre-orders to come along with a review of the LP.

Local South Wales noisemakers Bad Shout have an EP coming out in December on Repeat Records and its a banger. Six tracks of fizzing punk rock and we drop ‘Doublecross’ to get you excited and up for the preorder off Repeat.

Scandinavia features heavily on this week’s podcast with entries hitting Pumphouse HQ and the second offering from the North is Plastic Tears and their brand new single ‘Motorhome’. Hot on the heels is The Ratchets with the sound of Noo Jersey and ‘Holy Mother Of God’.

From the compilation album ‘Fucked By Rock’ Crazyhead should have been huge. Spearheading the Greebo scene they easily had the coolest single title ever committed to wax in ‘What Gives You The Idea Your So Amazing Baby’ but we entertain ‘Buy A Gun’ a forgotten classic. Probably not a song for the PC brigade but we love it and it would be nice fo the compilation to get a vinyl pressing doncha think?

David Delinquent and The IOUs are a new one on us and the Dundee pop n rollas have released this single ‘Nobody’s Else’ and what a banger it is. Looking forward to hearing more from David and his Delinquent mates if it’s even half as good as this. We need to get these bands into peoples ears folks and the only way to do that is to play the podcast and share the music.

Dharma Guns are a new one on us and rather impressed we were. ‘Ex-Generation Superstars’, the band’s debut, is all about high-octane rock ‘n’ roll with a side order of sleaze, don’t believe us well, give it a listen. Followed up by the king of catchy power pop Kurt Baker with his brand new single out on Wicked Cool Records (where else).

Front Kicks dish up some power pop before Heavy Medication Records newest release the Never Land Ranch Davidians rock up with ‘Cactus Cool Man’ and get on the groove from their forthcoming album due in Feb 25 it promises to be another top notch release to look forward to.

Laura Jane Grace has just toured England in support of the brand new album or mini-album ‘Give An Inch’ so it seems fair to drop ‘Karma Coming Close’ from the EP.

A Knife For An Eye are up next with a thumping track off their album ‘Damnation Rock N Roll’ again outta Sweden its fair to say they’ve really impressed us here at HQ. The album cover is very striking as well with the classic Chuck Berry pose really setting the tone for some attitude adjustment as ‘Getting Hooked’ is on point because we certainly did.

It’s cover time and this week we have the interesting take of the Dead Boys classic ‘Sonic Reducer’ from Sweden’s 69 Eyes followed up by a demo of The Dead Boys that’s on their recent new record out on Cleopatra Records. A previously unreleased Stiv led tune ‘Ya Really Don’t Love Me’.

For a little reminder of how good the genre of fuzzed-up Garage rock could sound we have Datsuns ‘Mother Fucker From Hell’ off their debut record. For another cover and we head to NYC and Electric Frankenstein who did a split with shit islands’ own still warm but sadly deceased The Hip Priests and took on their early banger ‘Young Savage’.

The penultimate offering this week sandwiched between some Garage rock n Metal we bring the excellent Steve Vincent with the title track off his solo album ‘The Best Kept Secret In Rock n Roll’ anyone who doesn’t know is myself and Steve still wears the finest pairs of Rock n Roll slippers also known as pixie boots or macho types refer to them as Chelsea boots but to give him credit Steve has quite the collection and hopefully we can see him wearing a pair live on stage sometime in 2025.

Finally, we’ve given in to Chris and his persistent nagging to get Therapy On the playlist as well as Judas Priest but I couldn’t possibly play anything by Halford and co so relented when he informed me that Therapy? had indeed paid their respects by covering ‘Breaking The Law’ so squeeze into your spandex, strap on your studded wrist bands and pull a wheelie on your chopper as we end with ‘Breaking The Law’. Catch you next week for more quality tunes from the Pumphouse here at RPM Online HQ.

The new video follows a somewhat tragicomic musician whose relationship is on the rocks. In addition to the band members, actress Suvi Kosela also appears in the video.

‘Motorhome’ is one of the tracks from Plastic Tears’ upcoming EP ‘Old Treasures & Lost Pleasures’, which aims to showcase both new and older material performed by the band’s renewed lineup.

Hook up with Plastic Tears: Here

No not the seasonal cheer quite yet but those German Hardcore punk noisemakers, that Christmas. They have a new album out the first week in December and We recently had Max on the phone to talk briefly about the new LP and his band.

 ‘FEAR OF ROMANCE’ CHRISTMAS, once again, show off all the different facets of their self-created ‘Satanic Rock’ sound. The album is like a nihilistic Schwarzenegger movie: bursting with speed, action, power and humiliation. The protagonist is always the one who laughs last! ‘FEAR OF ROMANCE’ will be released on December 16th as an LP/MC. The album was recorded between February and April 2024 at “Tonstudio 45”. Production, recording, mixing and mastering was done by Michel Wern.

On The Podcast we talk about the new album and the band’s history. Hit the link and give it a play and if you’d be so kind why not share, like and follow the podcast and help us grow.

You can Pre-order the new album Here

If Spotify is good for anything, it’s that, just occasionally, the logarithm recommends an artist that you’ve never heard of but suits your tastes almost perfectly. Et voila, this is how I first heard of Fleur.

If you also love garage rock, 60s pop of the French variety, Françoise Hardy and the more recent likes of The Courettes and Fabienne Del Sol, you’re in for a treat.

With two albums of laid-back 60s-influenced pop under her belt, this time round Fleur has set free her inner ‘Yé-Yé’ girl and the results are magnificent. All ten songs were written by Mark ten Hoor, of The Kryng, who certainly has an ear for the genre. However, Fleur is more than “une poupée” (puppet/doll). She inhabits these songs, making them her own, along with her image. You have heard it before, but rarely done this well.

I’d already heard ‘Tu Es Un Être Parfait’, on repeat, which is the perfect introduction for the album as a whole. It’s irresistible. The title track has more of The Troggs about it, suitably savage and abrupt.

Don’t worry if you don’t understand a word, just immerse yourself in the tunes and your world will become immeasurably more groovy.

In fact, I was a little surprised to realise that Fleur hails from the Netherlands, so perfect is her approach to the French language and culture. ‘L’amour!’ is sultry in a way that evokes the wonderful Emanuela and The Hillbilly Moon Explosion, which will give you some idea of the standard being set.

‘T’as Tort’ could easily be a rare Françoise Hardy song from 1965, while ‘Ta Faute’ ups the tempo and the fuzz to get the place swinging. There really is nothing to fault, the playing and production are exactly what the songs need to make them shine. ‘Tu N’es Rien’ adds the Stooges one-finger piano motif.

‘Je T’en Prie’ harks back to her previous, mellower albums, but also sits naturally amongst the harder edged tunes. A dreamy number. ‘Nous Continuerons À Marcher Ensemble’ lets rip, and your hips should follow. Consult your doctor if this is not the case. I’m running out of superlatives. This album has been lovingly created, the quality never drops. As a francophone, I also love the way she pronounces the lyrics clearly, so that I can understand everything.

‘J’en Perds La Tête’ would please Jacques Dutronc, sans doute. Another one to swing your pants to.

And with ‘Je Sais Ce Que Tu Veux’, it’s over too soon. After one listen, I ordered the vinyl, a rare thing for me. Available on LP, CD and cassette via Harry Records/Soundflat, get on over to Fleur’s Bandcamp page. It’s nearly Christmas, et tu le mérites.

Buy Here

Author: Martin Chamarette

Not my favourite venue in this thriving musically diverse city and tonight it looks to have been massively oversold to the point of it being quite uncomfortable and the fact the drunkest knob always manages to stand in my personal space but its been five years since I last saw Amyl And The Sniffers that time was in a pub just up the road where about 100 people witnessed a band on the rise, destined for great things with an infectious way about them that was both innocent and ruthless and to be fair they had the chops then and a pocketful of tunes in Amys Daisy dukes. Fast forward five years and a couple of albums as well as about a bazillion live shows Amyl And The Sniffers are well deserving of the fever pitch that greets them when the lights drop and they bounce on stage and being seventy minutes of no-nonsense punk rock that’s infectious and they now have even more worthy tunes to put out there.

‘Doing In Me Head’ opens the set and the pit which pretty much is the whole of the floor in the O2 goes ape shit. There is very little time for small talk and the band kicks straight into most of their excellent new album ‘Cartoon Darkness’ as well as some of their fine back catalogue. ‘Some Mutts’ is a killer tune and the band who are clearly in sync from all the live shows they’ve played since the pandemic. Amy Talor is a ball of energy not standing still for a second patrolling every inch of the stage and beaming with ‘pinch me’ childlike enthusiasm that says fuck you to the haters and join me for those on board. I get that they’re not for everyone but their force is undeniable and I did think to myself that they won’t be playing these sized venues next time it’ll be the arenas of the circuit no doubt about it and they’re putting in the graft to make that happen as well.

Songs like ‘Security’ and ‘Knifey’ (which was a welcome change of pace) sit really well in the set alongside the tracks off the new album which they pretty much play in its entirety which is a bold move for any band and as headliners they have to play longer than forty-five minutes or do they?

I love their attitude but it does overshadow the songs and in Declan, they have a guy who seems to be of the school of Malcolm Young where it’s about the song and not the player. In Bryce Wilson and Kevin Romer, they have a rock-solid rhythm section that is tight and is driving this juggernaut onward and upwards. Standout tracks for me from the new record were ‘Pigs’ and by the time they hit ‘U Should Not Be Doing That’ and ‘Jerkin’, they were on fire and had the crowd eating out of the palm of their hands. they briefly left the stage before being returning with an olden yet golden ‘GFY’ which was charming before signing off with an impressive ‘Big Attraction’ finale of ‘Balaclava Boogie’ and they were gone.

All in all an impressive night’s work from Australia’s hottest property who are heading right for the top and there isn’t anything that is going to stop them. It’s been a pleasure seeing them go from strength to strength and hope they don’t change or lose that attitude and joie de vivre that has brought them this far. Good on ya you crazy potty-mouthed kids.

Author: Dom Daley

The Party Punk Darlings of Madrid, AmyJo Doh & The Spangles, release their new album, Spangle Landia, through Strap Originals on Friday 8th November on Red Vinyl, CD and digital download. It is available to order Here. A new single, Rock n’ Roll, is released the same day.

AmyJo Doh says of Rock n’ Roll“This was originally called ‘Despedida Rock N Roll’… for me personally this is a goodbye to the past. The old fears and shadows and the parts of that person that no longer serve us. Whatever you are saying goodbye to, let’s give them a good squeeze, thank them for the lessons learned and then kiss them goodbye! No hard feelings! Just a lot of love, and of course…. A lotta LOTTA rock and roll!

The video for Rock n’ Roll, directed by Pablo Lopez, is a performance video with the song’s narrative brought to life by Spanish actress Raquel Saiz. Rock n’ Roll is the second single along with Arise to be lifted from the album.

In true Spangle style, the album brings together various EPs and members of the extended Spangle family, yet the energy and message remain coherent. It’s an eclectic mix of great songs which explore themes of love, rebellion, personal freedom, …and Jamón. The band remains unapologetically versatile. As AmyJo says, “Punk is not a musical style, it’s an attitude…..Every song is a universe in its own right.” 

AmyJo Doh & The Spangles have toured with The Libertines and Peter Doherty and will be announcing tour dates and festival appearances shortly. In the meantime, they will be playing the following shows in Spain:

NOVEMBER

16th Madrid – Vermut en FunHouse
DECEMBER

13th Madrid – Sala Siroco
FEBRUARY

20th Madrid – La Corriente
MARCH

1st Zaragoza – Sala Creedence

21st Valencia – Sala Black Note

AmyJo Doh & The Spangles were formed in 2016 and inhabiting the beautiful, sometimes grubby streets of Madrid, they have quickly become a force to be reckoned within the underground scene. Led by the dynamic AmyJo Doherty, Peter Doherty’s older and on occasions, wiser sister, they released their debut album, Calle de Spangles, in 2018 and have since carved out a unique space for themselves with their eclectic sound and captivating stage presence. AmyJo’s music is an exciting blend of punk, rock, and indie, infused with her distinctive voice and powerful lyrics.

AmyJo Doh & The Spangles’ message is a joyful one and they want to share it live and LOUD! So, listen to the album, buy it, sing it, and share it; but whatever you do, don’t miss their show when it comes to town. It’s an experience you won’t want to miss.  

The Spangles are: AmyJo Doherty (vocals) David Lancho (guitar) German Moderno (bass) Matty Tyack (drums)

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Bristol Punk Rock ‘n Rollers Split Dogs hit back with new single ‘Precious Stones’ out now via Venn Records

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

Listen/Buy HERE:

Rock’n’roll revivalists Split Dogs are doing things the old way and the best way. This is not a band content to sit behind laptop screens, fifteen second viral videos or digital marketing campaigns to spread their noise. No, Split Dogs are true road warriors, almost physically incapable of turning down a gig, they’ve spent the last few months playing every conceivable stage, space and venue to spread the word as they approach the release of their second album ‘Here To Destroy’, due for release February 28th via Venn Records.

And it’s working. The reputation for their own firebrand of frenzied, high-voltage rock ‘n’ roll is spreading fast and wide throughout the punk rock community and beyond and Split Dogs gigs are fast becoming eagerly anticipated events.

Today, the band follow previous singles ‘And What?’ and ‘Monster Truck’ with a brand new two-minute killer titled ‘Precious Stones.’

“The song shines a spotlight on the people that imply false authority in society based on their job title or financial position,” explains guitarist Mil Martinez. “From the obvious traffic wardens all the way up to entitled yoga instructors, nothing burns worse than being falsely reprimanded by another adult so they can attempt to assume dominance over you.”

Musically ‘Precious Stones’ drives along at a storming rate, building in power as it progresses, with singer Harry Atkins the architect of the intensity. The accompanying video conveys just that. Focused solely on Harry’s face, it’s an unflinching, uncompromising experience. 

“The precious stones video was all about intensity, and hard intent,” continues Mil. “There’s no escape, feeling like it’s just you in the room and Harry has you cornered. Relentlessly demanding that you answer the question ‘why does it burn?’

Born from the frustration of seeing music become commodified and soulless, vocalist Harry Atkins and guitarist Mil Martinez had the idea to form a band as far back as 2015, with the name ‘Split Dogs’ pulled from the classic zombie film ‘Return of the Living Dead’.

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

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

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

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

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”.

Split Dogs are:

Harry Atkins – vocals (they/them)

Mil Martinez – guitar (he/him)

Chris Hugall – drums (he/him)

Suez Boyle – bass (she/her)

Catch Split Dogs live at the following dates:


05/11 Exchange Bristol w/Zeke
06/11 Water Rats, London w/Desperate Measures
16/11 Phoenix, Exeter w/Sham 69
6/12 Railway inn, Redditch 
7/12 Workman’s Cellar, Dublin
20/12 King Arther, Glastonbury 
21/12 Cavern, Exeter w/GBH
29/12 Electric Bar, Bath

2025

11/01 100 Club, w/GBH

12/01 Con Club, Lewes w/Subhumans

26/02 The Hug and Pint, Glasgow

27/02 Gullivers, Manchester

28/02 Billy Bootleggers, Nottingham

01/03 The Grace, London

02/03 Daltons, Brighton

07/03 Rough Trade, Bristol

18/03 Supersonic, Paris

20/03 Café Central, Bruxelles

21/03 La Zone, Liége

22/03 Café The Jack, Eindhoven

23/03 Poppodium Volt, Sittard

9-12/07 2000 Trees Festival

Find Split Dogs online HERE:

When Janes Addiction first imploded Perry and Stephen Perkins formed Porno For Pyros and managed to release a couple of albums in the mid-nineties. I have to admit the first album had some very high moments but a couple of lulls and more so on the second album the highs were replaced by even more lows. I guess it’s why the band fizzled out. However, after RSD we now have Rocktober, and it would seem a whole host of reissues and so forth in the month of October so when I saw the Porno For Pyros release I had to check it out and indulge myself and reacquaint myself with the band. Firstly looking to see if ‘Packin .25’ was here but alas it’s not which is a shame but having dropped the needle on side one and ‘Pets’ breaks out I remember how good this song was. I have a faint memory of seeing the band play some enormadome with Velvet Revolver or was that Satellite Party even? Who knows (not me seemingly).

The album offers only nine songs or ten to be exact but the tenth is a remix of ‘Pets’. your two from the debut album the opener and ‘Cursed Female’ which also sounds better than I remember from the early 90s. with the rest being made up of ‘100 Ways’ and ‘ Tahitian Moon’ from the band’s follow-up album ‘Good God’s Urge’ whilst the rest are pretty decent songs to be fair with the exception of ‘The Cable Guy’ soundtrack, the only duff track here, saying that it’s not total pap but just a bit… grey, ‘Satellite Of Love’ is a Lou Reed Classic. It’s Not as good as the original at all, not even close which might be why it passed me by back in the day.

https://www.youtube.com/watch?v=ixe8Snxu3wo

A couple of digitally only releases pulled together here are also pretty decent songs but in the wake of the onstage Janes spat maybe Porno For Pyros isn’t quite done yet who knows unless Janes kisses and make up this could be the start of something who knows but to be fair this has a great flow to it and apart from the pretty grey version of Lou Reeds ‘Satellite Of Love’ well worth spending your pocket money on. Rocktober whatever next? Not a reunion it would seem after guitarist went to twitter to lay more heat on the beeagured frontman and his attitude and approach to music in general which were all deleted after the Janes spat. Pop stars eh whatever next one of them throws a tantrum?

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