To celebrate the band’s 30th anniversary, the folks at Damaged Goods Records are releasing a double CD/vinyl compilation of dayglo, D.I.Y bubblegum punks, Helen Love. 30 years? I can’t remember where I first heard them, possibly Mark and Lard on the late shift. It’s like they’ve always been here.
From ‘Yeah, Yeah, We’re Helen Love’ onwards, it’s a reassuring trawl through their back catalogue. No one wants a drum n bass/free jazz Helen Love album. It was no wonder that Joey Ramone invited them to New York, they share similar DNA; instantly memorable tunes for sunny days, or when you need to pretend that the sun is shining. Most of them fly past in under three minutes, always guaranteed to raise a smile. Whether it’s ‘Beat Him Up’ or ‘King Of Kung Fu’, they put their Casio keyboard and Woolworths guitar to good use. Their hand made, primary colour record sleeves were designed by necessity, but perfectly suited the tunes.
‘So In Love With You’ would sit nicely in John Shuttleworth’s set, a real compliment in my book! Oof!
They even had the nerve to nick the title ‘Leader Of The Pack’ for one of their songs. ‘So Hot’ should be the theme to your summer holiday. This is ear worms a-go-go. There’s ‘Joey Ramoney’, of course, the perfect fan response song. I can even forgive their cut-up of ‘Wig Wam Bam’, and Joey himself appears on ‘Punk Boy’, a joyous duet.
As it’s looking like we’ll have a ‘Golden Summer’, this is the place to acquaint yourself with Helen Love. Over 30 songs. Tune into their own ‘Summer Pop Radio’, break out the ice pops and stop being so serious. Let’s go!
We all know the story by now of how this record came to life whilst the main protagonist and only original member Mike Peters was in Hospital fighting pneumonia after a breakdown in his medication against his long-term leukaemia battle. Armed with a ward of Doctors a guitar and a headful of ideas as well as some PMA, Peters wasn’t sure his voice would hold up so set about recording the latest Alarm record as a way of fighting the good fight and probably for his own sanity and way of dealing with his latest battle.
‘Forwards’ begins with the Title track and on first impression, it’s a fairly standard Alarm sounding song. Nothing wrong with settling into a record and easing in on familiar ground (call it safe, unsure or just setting out one’s stall). It’s ‘The Returning’ that dials up the Rock with another big chorded song, with plenty of digital tweaks and buzz flyovers adding texture to the song. The lyrics grab your attention where Peters, staring into the abyss of his predicament needs to let it out to exercise the demon in the room. and for such a positive man, maybe, negative thoughts have infiltrated. Feelings that he’s reached the end of the road and a terrifying reality winds up in his lyrics. Chilling and a moment where I’m stopped in my tracks, however, I’m still waiting for this record to really grab me musically. sure the backstory is nuts and most mortals wouldn’t even contemplate picking up a guitar.
I love that Mike Peters still writes and releases new music and through a chequered career he’s had very high highs, from the humble beginnings of the originallineupp through an upward trajectory they amassed a hardcore following that was steadfast through some savage attacks in the press butgalvanizedd them somewhat until that night in Brixton. Then a solo output that released records like ‘Breathe’ and ‘Rise’whicht were exceptional records along with the incredibly creative poppy fields project he’s kept me coming back for more through decades and projects like Coloursound and Jack Tars or Dead Men Walking Every time you think thats it he’s come back with something special.
By the time I’ve reached ‘Love And Forgiveness’ with a gentler song with hushed vocals, Peters has hit paydirt. Without a recognised bass player in the lineup or should that be a traditional lineup of Bass, Drum, Guitar, and vocal its definitely a talking point, however, whoever is playing the bass lines throughout the track should pat themselves on the back it’s a real draw and pulls you in on an excellent song and one of the records real high points.
Side one closes with the rockin’ ‘Next’ and again with some exceptional solos and fills it’s a smooth uptempo song that is really good. I like the attack and the production from George Williams it’s just the right side of “Big production” and has enough dirt under its fingernails to appeal to the cool kids it’s a winning formula that Peters should do more of, no doubt about it.
Side two opens with the rush of ‘Whatever’ a great up-tempo electric meets acoustic intro that breaks down that’s anthemic but steering far enough away from being lush and delving into cliché territory with lyrics that can be interpreted to light at the end of the tunnel of the dreadful time this record began its life in. It is alright as Peters leads the gang vocals and whatever gets you through is always good.
New technology meets old as ‘Transition has its throbbing technology layered beneath the Baritone guitar as it licks around the throb whilst the layers of electric guitars fall like an avalanche into the chorus before the solo but its Peters vocals that hit front and center and any fear he might have had whilst in his Hospital cell are put to bed with an exceptional sounding delivery.
‘Love Disappearing’ is the most sounding Alarm song on offer with its ‘Strength’ like intro but when it gets going its got an aggressive edge that’s good to hear sure it’s polished and big but it’s like its been given all the knobs and whistle treatment but then been wiped with sandpaper to give it grit and edge and that works and the frailties of Peters limits on his vocals works well and the harmonica honk is well placed.
‘New Standards’ is possibly the most Alarm sounding song of the lot and will play to the gallery and that’s fine. I hope it’ll grow on me like a lot of this record which to my ears is a whole step up from the last few that were ok but didn’t enthuse me apart from the odd track. This is far better on first impressions and even though I’ve only had a few plays but my first impression is, it’s got a lot of excellent songs and avoids cliches that people like to hammer Peters for. I look forward to hearing some of these songs live and giving them the live test but ‘Forwards’ is a record that does have some instant appeal but I hope it’s got depth that will keep me coming back for more.
The record finishes with ‘X’ as the band wrestles to tame a beast that twists and turns and meanders through its verses with layered vocals and a scuffing riff. Some excellent sounding and prominent drum fills that work well through some very wordy verses its a top tune to close off the record. Peters empties what’s in his head and does it well as he puts a life into some sort of perspective reaching clarity as the song unfolds. I love the use of harmonica and where the verse breaks with the chaotic loops and keys layer add something different and then we go back in and rise again. an exceptional song to close off a thoroughly enjoyable album.
I kept an open mind about ‘Forwards’ as I didn’t want to reach unrealistic highs for one of my favourite recording artists and I think my strategy has paid off. I can reap the rewards of a really impressive album. I haven’t enjoyed an Alarm album this much since ‘Under Attack’ and I know its early doors. I hope that this album grows and gets better with every play and I still feel the love in months to come as the earworms burrow down and take hold. Buy it!
This year marks the 40th anniversary of Glasgow’s garage-rockers The Primevals, ‘so we’re excited to be releasing their 12th album “The Dividing Line” in conjunction with Ghost Highway Recordings (Spain) and the band’s own Triple Wide imprint.’The Dividing Line’ is the band’s twelfth album believe it or not. With their soulful traditionally bluesy garage rock style ‘The Drop’ oozes class sounding like a cool North of the Border Lords Of Altamont without the Leather jackets and long hair this is the work of a gritty Glasgow gang and it is a very decent opener.
The harmonica honking ‘Sonic Pathway’ with its organ stabs and smouldering feedback is a howling good time giving the fantastic Fuzztones a run for their farfisa money. I must admit this is my first foray into the bands material and most enjoyable it is too. God knows how I’ve never crossed paths with them before now but its better late than never right? Right! I do wonder how even as an avid underground hipster I’ve not heard them before seeing as the Garage Rock scene in the UK isn’t exactly huge.
The recording is crystal clear and gives the band the space to show us what they’ve got ‘Drifting Away’ has more than a melodic kissing cousin to ‘Brown Eyed Girl’ on the verses but I like the ragged glory of the riff and the keyboard swirl on the pre-chorus. I’m sure some of the bands I’ve already associated them with are influences and the excellent ‘Don’t Cry’ is an uptempo rocker with some cool guitar breaks and confident stomp, much the same mantra for most of the album to be fair. Of course, these guys know what they’re doing and they are more than capable of turning in some cool tunes throughout even when they kick back like ‘High Street’ its engaging and theres a warmth about the songwriting.
The ultra fuzzed ‘WTFHTU’ is a wheeze from that speaker bothering bass to the organ whirling layer its a top tune and I can imagine a lot of fun live. Things get dark on ‘Sucking On Nothing Sweet’ with its Doors like intro before heading uptown its got a driving tempo and a decent arrangement.
‘The Dividing Line’ shows there’s still plenty of Rock and Roll left in this old dog and be it uptempo ‘Grit And Grime’ or signing this album off with a couple o frockers mixed withtheir more soulful garage style The Primevals do Rock and Roll really well and although they’re not here to reinvent the wheel this bad boy rolls nicely. Check em out Brothers And Sisters you might just dig their sound and get onto the right side of the dividing line.
The first thing that struck me about this farewell was the striking artwork. I must admit that a small lump in my throat was quickly cleared with the thought that they all say T’ra but then head back out on tour or do a covers album or a duet or some form of return but I also had thoughts of none of us are getting any younger and an end to recording and touring is inevitable for all of our pop stars but that artwork and that title is a tough one, especially for someone like Duncan Reid. It’s been some journey from that last show with The Boys to the exciting news that he was putting a band together to releasing a record that was pretty bloody good (like we didn’t know it) but it lit a fire inside Duncan and he went on to write, record and release better records over the next decade up to this point where we get to hear his Swan Song and what a swan song it is.
The album opens with a classic Reid song with a punchy New Wave synth but it’s soon caught up by a rollicking rocker – uptempo music whilst the lyrics are thoughtful and reflective but yet another classic Reid opener – grabbing your attention in an instant and before you know it you’re lost in the music. ‘Funageddon Time’ kicks off on a ‘Personal Jesus’ guitar lick before heading off down a glam stomping route. Not content with being one of the nicest people in music he writes songs titled ‘Just Try To Be Kind’ and it’s like a little ray of sunshine backbeat rock n roll with lush bv’s and a tidy melody – of course it’s bloody nice. Inevitable lyrics and songs about the dreadful lockdowns are a global topic for connecting with audiences and Duncan has ‘Can I Go Out Now Please’ with its fine arrangment with McCartney piano stabs sitting nestled nicely amongst those great guitar riffs. Theres even time here to branch out with the strings on ‘It’s Going So Well’ thats the best World Party song Wallinger never wrote.
Of course there are bouncy rock songs here – take ‘Oh My My’ just rolling with the punches. The new wave rocker thats ‘Real Good Time’ and ‘Everybody Knows Its True’ driven on by the piano had this been thirty years ago we’d have seen these loons on TOTP knocking songs like this out every other week leadign the charge for guitar driven pop and doing it better than most.
They also push the envelope on this album with some of the arrangments like the Who inspired ‘Bill Gates’ with some nice Synth fills and a fantastic arrangement topped off with a punchy dirty guitar riff. Hold on handbrake turn as we get some Urban Voodoo umpapa parlour music with some sweet viloin soloing on ‘Would I Lie To You’. As we head towards the curtain call theres time for one of the albums finest songs ‘It Rains On The Good’ reach for those tissues as ‘The Guilded Cage’ is the final lockdown song from Reid before he signs off with ‘Singing With The Beach Boys’ which is pure Duncan Reid & The Big Heads and thats it done, finito, the end, uno mass. Good vibrations indeed its been the best and Duncan Reid has saved the best til last with his most accomplished album of the lot and its been a very impressive collection.
Mr Reid it’s been a pleasure, our chats, the live shows and of course the fantastic music it’s one hell of a legacy you leave in this murky business of Rock and Roll but one that people will remember lots of them. The smiling frontman who climbed to the top of the hill and took his time coming down, making people happy and smiling on the way – Duncan Reid we salute you now piss off and put your towel on that lounger you’ve earned it. Oh, when you’re fed up with root veg and doing nothing I’ll look forward to the comeback album and tour in a couple of years see ya! Until then nos da i chi Duncan bob amser yn bleser byth yn orchest
We’ve reached ‘Live Evil’ in the super deluxe reissues from Black Sabbath and whilst the box sets have been of the highest standards the last few Dio year’s releases have been something else. from the quality of the packaging and what in the sets for Sabbath fans it’s been the ultimate treat as far as reissues and remastered packages go they’ve truly gone the extra mile for the fans. So ‘Live Evil’ might get its critics for featuring the remastered vinyl and the original but I guess it would be live evil overload to include an extra live show as part of this set anyway seeing as the original was culled from various live recordings as part of the tour.
In this box, you have a hard case with superb artwork from the original as well as the heavyweight records but the cream of this package is the lavish 40-page hardback book depicting the Dio era of Sabbath which had its critics but it also took the band in a different direction of creativity and threw up the two mightily impressive studio albums that provide the majority of the material on this live album. As you’d expect BMG has done a pretty amazing job on the remaster as they have done on all the Sabbath box sets thus far and the inclusion of the book to muse through whilst revelling in the remaster is a beautiful thing.
Stop moaning about having a pristine 180gm version of the original and marvel at yet another top-tier Sabbath box to add to your collection. Adding Dio to the ranks of Sabbath was always contentious due to the shadow cast by Ozzy but Dio committed 100% to the task at hand and with one of the most amazing vocals in metal he delivered on all fronts holding his own in such an iconic role. The myths and stories about the recording of this record have never gone away but the one thing I can say is his vocals stand tall and are incredible after all these years and Wyn Davies has done a brilliant job on the remastering ‘Neon Nights’, ‘Mob Rules’, ‘Heaven And Hell’ easily stand up to the interpretations of Sabbath classics such as ‘War Pigs’ and ‘Paranoid’ and the monster version of ‘The Sign Of The Southern Cross’ is still a magical highlight from any of the band’s output.
With this being the band’s first live album it stands as a true testament to the awesomeness of Ronnie James Dio’s vocals and live presence. A masterpiece in live albums for many many people and on the evidence of this box set BMG and Camp Sabbath have done yet another truly awesome job. Add live Evil to your collection as a matter of urgency. Sabbath mark ii was truly a giant and rightly so. What next? ‘Born Again’ please and give some kudos to the Gillan mark iii era of Sabbath. Buy it!
I don’t really use social media for much these days, other than checking out what mates have been listening to, and to spot anything that might have passed me by and maybe not been sent to RPM towers for us to review. One such album, released back in April of this year, is ‘Vestige & Vigil’ the debut album from American goth rockers The Bellwether Syndicate. So, I’d like to take the opportunity to thank the Gothfinder General, Mister Midnight himself, Jason Creighton, for bringing this album into my life, because it is one that deserves to be heard by everyone with a love of the dark side of music.
Sitting somewhere between the hyper intensity of mid ‘80s chart bothering Killing Joke, the metallic edge of ‘Vision Thing’ era Sister Of Mercy and the ‘Mechanical Animal’ stomp of Marilyn Manson, The Bellwether Syndicate are the brainchild of William Faith (formerly of Faith and the Muse, Christian Death, Mephisto Walz, Shadow Project and The March Violets) and Sarah Rose Faith (aka DJ Scary Lady Sarah) and in spite of being together for over a decade ‘Vestige & Vigil’ is their first long player (available on vinyl and CD along with download from the Bandcamp below, along with other online retailers like Amazon).
To give you an idea of just how impressive this album is it took me just one Bandcamp listen before I was ordering a copy on vinyl, as songs like ‘Beacon’, ‘Dystopian Mirror’ and ‘Republik’ simply steamroller your senses into BUY NOW submission, and if I were to single out one band that The Bellwether Syndicate remind me of most, then it is Janne Jarvis’ post Warrior Soul tour de force Hate Gallery. Which for those of us who know, is very high praise indeed, and for those of you who don’t, get Googling now.
If you like some glam with your goth then there’s the fantastic ‘Noir Thing’, which really is something else (ouch), and if its towering anthems you want then check out the Pete Murphy-like croon of ‘We All Rise’ that then literally explodes inside your head as the colossal chorus kicks in. Epic stuff!
There are some (slightly) lighter moments too hidden amongst all the darkness and these happen to coincide with Sarah Rose Faith taking over vocal duties for the sweeping ‘Clarion’ and then providing a wonderful almost whispered vocal counterpart to another great Faith melody line on ‘Golden Age’, a track that also reminds me of the band’s labelmates, Then Comes Silence. Now can someone please get The Bellwether Syndicate added to their Swedish counterparts 2024 UK tour…thank you.
2023 has so far been a great year for gothic tinged music, perhaps one of its finest since its 80s heyday, and ‘Vestige & Vigil’ is right up there as one of its true highlights.
Sweden’s GRANDE ROYALE have unveiled a music video for “Status Doom”, taken from their new album ‘Welcome to Grime Town’ released via The Sign Records.They turn the amps up to 11 and get their boogie on.
‘Status Doom’ is taken from the sixth studio album ‘Welcome to Grime Town’. ‘Status Doom’ perfectly represents the melodic, energetic, guitar driven rock soundscapes always present on the album. The band has a history of collaborating with artists as Nicke Andersson and Dregen and the new album is mixed by Robert Pehrsson.
Available on vinyl for the first time this early naughties release is having its vinyl debut but with four additional songs.
Don’t bother tryign to work out which one is Len because none of these three are called Len (obviously). This trio (luckily they aren’t a four piece or five and there is actually only three of em. Bare-bones guitar, bass and drums; classicly British. they get by on great hooks and vocal harmonies; fifteen songs in total and all done and dusted in half an hour.
Chinese Burn’ is the 2007 debut album from The Len Price 3, of course it is being rereleased by Wicked Cool Records, for the first time ever on vinyl, because Wicked Cool know a good LP when they hear it.
Raw, passionate, two-minute tunes of the Who, the Kinks, and the Clash, is pretty much the MO for The LenPrice 3 and they deliver a high-energy garage rock n roll.
Imagine in the swinging 60s a band like this rolled up to play the Marquee with the melodies and swing but added the punch that this record has it would have been devastating. It’s got the snot of punk and the barroom boogie of Dr Feelgood. It’s not an easy sound to perfect and many have tried and failed along the way. Let’s face it these guys didn’t cross my path for some reason back in the day but one thing fo sure I’m so glad I’ve had the chance to acquaint my ears with these tunes now thanks to Wicked Cool and their pursuit of excellent rock n roll.
Fifteen songs are present here and everyone is an explosion of great songwriting and a fantastic retro yet modern sound that has guts, power and subtlety, not a combination many bands can achieve. It’s like the Kinks and The Who made a supergroup using the Jams equipment from the rapid chops of the title track its got swing and a masterclass in songwriting.
They nail the harmonies like on ‘Viva Viva’ but it’s the cheeky rock that gives it edge kicking and screaming but always being quality. What a great album from top to bottom – ‘Swine Fever’ is a proper earworm but then ‘Amsterdam’ is as well Daltry and Townsend must be cursing these guys for having the chops at a time when Roger is more concerned with shouting his tory bollocks whilst the Len Price 3 are cutting the mustard back home writing top-notch records like this. ‘Chatham Town Spawns Devils’ – I bet it does but they’ll be pleased it’s wrapped up in such a rockin’ tune. Writing a song about ‘Big Daddy’ isn’t something you expected to hear. Cheeky boys. Before they’re done I love ‘Medway Eye’.
Quintessentially a record that could only ever have come out of England and that’s part of its charm and beauty. It’s happy and avin’ it large at the same time. The Len Price 3 dish up a tasty treat now go get yourself some it’s worth it and so are you.
Imagine Bloodclot riffing on plenty of NYHC and throwing in some Cerebral Ballzy and the Drips for good measure. You can then press play on this fine record that is over in the blink of an eye. Proper old school hardcore. Heads down and play fast as fuck no bullshit no compromise no fuss.
Absolutely it’s a frantic ’n’ furious 13 minutes If it was any longer it would overstay its welcome – The Hell hail from Norfolk County, Cleveland, and this is their debut offering This shit is proper old school probably the most authentic mid-80s romp from the crows nest to CBGB and back again its that good. It’s relentlessly, pounding and raining earbombs on your skull that sound fresh as anything this genre has thrown up in a long while (Bloodclot probably). Ten songs fly by before you’ve even had the chance to fully get your head around what you’re hearing. If I had a gun at my head I’d say ‘National Razor’ is my Top of the pop then follow it up with the more measured and slower ‘One More Thing’ (partially slower anyway).
The band found each other due to some collision of stars or something like that having all been kicking around in underground bands but it now all makes sense because The Hell are tearing it up on this ferocious debut. It doesn’t matter what the song is called there isn’t time. what you do know when you play it is they feel memorable and fresh and vibrant and at the moment – this isn’t a nostalgia trip to a moment in time long long ago it’s 2023 and in your face enjoy it and turn it up.
You won’t hear a better Hardcore album all year anywhere and if you do, it’s gonna be one hell of a record to be better than this. Get on it! This is excellent from ‘Pistol Grip’ to ‘What A Laugh’ ten slabs of pure Hardcore gold.
Released in UK/ Europe via Drunken Sailor Records, Not For The Weak Records in the USA
Action Rock or Scandi Rock call it what you like – it’s alive and kicking (and screaming) as Dead Express will testify. With this album of loud guitars with some Garage punk rockin’ attitude Dead Express sing from the same Hymn sheet as the likes of Hellacopters and Gluecifer for starters and to be fair they do it really well.
‘Game Changer’ is the bands fourth album and I’d suggest you pull up a chez lounge and a couple of cold beers and get ready to sing along. Formed in Nyköping, Sweden. they’ve certainly not let the grass grow around their feet having produced albums consistantly with a sound DIY ethic the production is crisp and packs a punch.
The songs that come across the best are the ones with the big hooks either a riff or the gang vocals the opener ‘Roky’ has a good riff and the melody grabs your attention no doubt about it. ‘Hang Em High’ is one of the albums strongest songs. ‘Stinkin Rich’ is a badass tip of the hat to Angus and DC with a crisp riff. To be fair the Riffola is pretty relentless as the songs roll by and by the time you hit ‘Road Trippin’ with its fucked with ‘All The Day’ melody nicked from the Kinks and dragged through the dirt on the back of a drag car no doubt whist the band chug beers all the way. I dread to ask what ‘The Swamp Incident’ might be all about.
As the album screeches to a halt, there’s a track entitled ‘Method To My Madness’ – They couldn’t could they? Hell no is the answer to that, few some songs are sacrosanct and that might just be one of them. Their song of the Lord’s name is pretty decent as it wipes its snotty nose all over the song from the choppy riff to the punky melody and sing a long chorus it’s one of the best songs on offer.
This steaming rockin and rollin machine grinds to a halt with a balls to the wall all out rocker ‘The Naked Truth’ and then no doubt they all exploded into oblivion due to rockin so hard. If you want a full tilt sleazy Action Rock experience then Dead Express might just be the band you’re looking for otherwise step aside sucker because these cats aren’t stopping for anyone – they’re hellbound and outta control.
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