RECORD REVIEWS, JANUARY

RECORD REVIEWS, JANUARY - JUNE, 2023.

ALTARI. Kroflueldar LP (Svart) To me, most ‘metal’ rock music is dull. It seems that too many of the bands are happy to just emulate what has already gone before them, but once in a while a band will come along who, whilst based within the Metal genre, have really made an effort to expand their sounds and the possibilities of what they are doing. Altari, who are based in Iceland, are certainly one of those bands. Although described as ‘Black Metal’, the music on this album takes in plenty of different influences, most notably Killing Joke and the Amebix, and also don’t rely on the faster tempos that most Black Metal bands depend upon. There’s more than a nod towards the likes of Black Sabbath and perhaps (early) Rainbow, whilst more recent bands such as Voivod and perhaps even Swans may have played a part in the creative process. The theme of the album is concerned with the nature of Iceland itself, with the population constantly living in the vicinity of active volcanoes which could erupt at any moment. The results of all these influences, musical or otherwise, has produced a truly dark, atmospheric album that genuinely pushes the boundaries of the Metal genre and in doing so, creates a record that should appeal to a much wider audience. Whether you prefer punk, hardcore, metal or industrial/experimental music, this is something you should investigate.

ANGELA TINI. Have You Met Me Yet? CD (Rum Bar) If you enjoy good rockin’ sounds, then this is something you need to hear. Angela Tini, known as the Duchess of Rhythm & Blues to her faithful followers, effortlessly spans that area between vintage R’n’B and classic rock’n’roll. Currently based in Seattle, Ms Tini has a powerful and dynamic voice that will have you transfixed from start to finish. She’s fronted several bands before now, but this is her first solo album and features the best musicians gathered from the contemporary roots scene. The results are totally authentic and ought to appeal to any aficionado of the Fifties. Just remember, it’s never mere nostalgia when something sounds as classy and vital as this!

ARROWS. The Complete Arrows CD (Cherry Red) The Arrows formed in London during 1974 and although usually referred to as part of the ‘Glam-rock’ movement, were really more of a pop/rock’n’roll band. Their career was relatively short (1974-77) and took a rather peculiar passage. Two of the band, Alan Merrill and Jake Hooker, were Americans who sought out a drummer (Paul Varley) whilst in the UK. They had two successful UK hit singles (‘Touch Too Much’ and ‘My Last Night With You’, in 1974 and ’75 respectively, before fronting two series of a self-named TV show, broadcast by ITV/Grenada during 1976/’77. Unfortunately, due to a dispute between their manager Ian Wright and producer Mickie Most, no further records were released whilst the TV shows were being broadcast, depriving them of the chance to capitalise on the success of the series and denying them the opportunity to follow-up their previous Chart-success. But the song that really established their legacy was ‘I Love Rock’n’Roll’, which eventually became a world-wide hit for Joan Jett and is now recognised as a rock-classic. Ironically, The Arrows version had originally been released as the b-side for their single ‘Broken Down Heart’ in 1975, which had failed to chart. However, although they didn’t really make a big impact on the Charts during their original career, this retrospective, which includes all of their original recordings, does help to stake their claim as a band who really should have been a lot more successful had their opportunities not been thwarted by problems that were beyond their control. As I said above, their music was based in early rock’n’roll, and perhaps even doo-wop, but they delivered it in a way that embraced Phil Spectors’ Wall of Sound and the raunchier elements of 70’s Glam. At their best, they really weren’t a million miles away from the sound that the New York Dolls had attempted and, with a more adventurous producer, things could have been very different… Their one and only LP, ‘First Hit’, lacks the punch that it needed to make a lasting impact, but the tracks that do stand out will still send a tingle down your spine. As is usual with Cherry Red retrospectives, this collection includes everything you’d want to know and hear from the band, including a 20 page booklet featuring extensive sleeve-notes and full-colour illustrations. But it’s the music that matters, and here, alongside the original LP and singles, you also get a rare set of Mickie Most demos from 1974, as well as five tracks from 1977 re-recorded by Alan Merrill in 2004. Sadly, The Arrows were not destined to achieve wider acclaim, but they did manage to leave a credible legacy and it’s definitely still something that you should investigate and enjoy.

THE ARTHUR LYMAN GROUP. Lush Exotica CD (Righteous) Arthur Lyman was a vibraphone and marimba player who lived in Hawaii and, during the 1950’s and 1960’s, combined lounge-jazz with Polynesian musical styles to create a sound that has since become known as Exotica. His recordings also made full use of stereo effects to separate the individual instruments and sound effects in ways which would go on to influence many future production techniques. He started his musical career playing cool-jazz in local nightclubs, but it was when he met pianist Martin Denny that he began to develop his sound. Among other things he introduced bird-calls to the set, which would later be recognised as a trademark of his style. He was part of the band that played on Martin Denny’s ‘Exotica’ album in 1957, after which he decided to form his own band to continue the style he was developing in an even more flamboyant fashion. Although the popularity of his musical style waned as musical styles rapidly changed during the Sixties, during the peak of his popularity he scored several major hits and would eventually release more than 30 albums. Since the 1990’s, his music has seen a resurgence of interest due to the exotica and lounge music scenes, whilst the influence of his music can be found in the works of bands as diverse as The Cramps and The Residents. The thing is to not take his music too seriously (much that it certainly wasn’t intended as kitsch and the quality of musicianship is without any doubts.) But it was played with a wonderfully understated playfulness and was certainly meant to be enjoyed rather than studied. This double-CD collection is a fine overview of his music, combining his lush arrangements of tracks like ‘Taboo’ and ‘Miserlou’ alongside versions hits like ‘The Lady is a Tramp’ and ‘Colonel Bogey’. But it’s all the music in between that will bewitch you. With nearly 50 songs to enjoy, this really is a collection that can’t be ignored.

THE BARRACUDAS. Drop Out With The Barracudas CD boxset (Cherry Red) By 1978, Punk had kicked open the doors for a whole range of bands and music. It certainly wasn’t restricted to the three-chord mob and totally different bands found themselves quickly embraced if they had some good ideas and the right attitude. As such, The Barracudas emerged in London playing a mix of Surf music (ranging from the likes of the Beach Boys through to The Surfaris) Sixties Garage bands and punks’ DIY snarl. They released their first single, ‘I Want My Woody Back’ on the independent Cells Records in 1979 and it sold rather well, making an appearance in the indie charts and getting airplay from John Peel. ‘Surf Punk’ may have seemed an unlikely style for a London band, but they were soon attracting decent crowds including Punks, Mods and anyone else who just enjoyed their music instead of wondering what genre they belonged to. Soon enough, major labels started to show interest and they were signed by EMI Zonophone in 1980. At first, things seemed to go well, with their next single becoming a ‘Single of the Week’ on Mike Read’s Radio 1 show and reaching the UK Top 40 (earning them a memorable appearance on ‘Top of the Pops’.) They began work on their debut album, ‘Drop Out’, but as it progressed their relationship with EMI started to sour. The label wanted more songs like ‘Summer Fun’, whilst the band were recording new tracks that were moving in a more Garage/Psych direction. Ironically, at the same time the music press had decided that ‘Summer Fun’ (and therefore, the whole band) was just a novelty act. The album was released in 1980 but failed to sell as well as hoped in the UK, although unexpectedly it did do well in the rest of Europe where fans were less concerned about what the music press were saying… EMI dropped the band but they still had a loyal following and interest from other labels. Over the next few years, they released further records on different labels including two more albums on the French label ‘Closer’, but eventually broke-up in 1984. However, they have reformed several times over the years for new recordings and live appearances, maintaining their reputation and cult-following along the way. This boxset concentrates on their early years and the first disc includes the ‘Drop Out’ LP and various singles released around the same time. It’s a perfect way to reassess their early output and in retrospect it’s a lot easier to appreciate what the band were trying to do. The surf-orientated songs were great fun, but the band had no intention of sticking to that formula and quickly began to develop towards a mix of Psych-pop and harder Garage rock. It still stands up really well and proves that they were doing the right thing! The second disc features a collection of demos recorded between 1979-1981, most of which have appeared on various compilations but, if you’re not an avid fan, will probably be new to you. But it’s the third disc which is going to be the one that appeals most to long-term fans, as it includes not only the tracks from their first 7”, but also rare demos and rehearsal tapes dating back as far as 1977! Handpicked by guitarist Robin Wills, most of these are previously unreleased and in places the sound quality isn’t perfect, but these are tracks that the fans will really want to hear. Including various covers and early versions of songs that would later become much-loved releases, this disc is packed with goodies. As is usual with Cherry Red boxsets, it comes with an extensive 36 page booklet, packed with notes and photos. So if you’ve ever been interested in this band, either as an obsessive fan or a curious novice, this is something you really need to investigate.

B.E.F. Music for Stowaways. LP (Cold Spring) It seems a little strange, now that the Human League and Heaven 17 are mostly known for their ‘pop’ hits, but just a short time before their successes they were both considered to be pretty cutting edge, bordering on the avant garde. The Human League, in particular, produced some amazing records which still sound great today, mixing experimental synth-sounds and electronic rhythms with catchy melodies and great lyrics to create something that was exciting and new. When the original line-up split in 1980, Phil Oakey continued the band with Philip Wright and new members, while Martin Ware and Ian Craig Marsh first formed B.E.F. as a ‘production company’ (another quite radical idea at the time) and they released two albums under that title before securing Glenn Gregory as their vocalist and naming that project Heaven 17, which would give them their best-known success. However, their first release was the B.E.F. cassette-only album ‘Music for Stowaways’. For a brief period in the early 1980’s, there was a misguided belief that cassettes were going to takeover from vinyl as the music-format of choice, partly bolstered by the popularity of the then-new Sony Walkmans. However, that trend lasted only as long as it took kids to realise it was a lot cheaper to copy the music on blank tapes for themselves. So it’s strange that it’s taken so long for this album to finally reappear on LP and CD, but certainly worth the wait. The tracks on ‘Music for Stowaways’ are instrumentals and to a great extent veer more towards the earlier, more experimental Human League material rather than the more stylised music that Heaven 17 would produce, so in many ways this album can be seen as a collection of ideas and suggestions of how Ware and Marsh saw their music progressing. Indeed, several tracks included here would later be reworked for future releases, most notably ‘Groove Thang’ which would re-emerge as the classic ‘(We don’t need that) Fascist Groove Thing’. Elsewhere, the album opens and closes with the brief ‘B.E.F. Ident’ (sharing the concept with ‘Devo’s Corporate Anthem’) while the abrasive ‘Music to Kill Your Parents By’ gives a nod back to their punk roots. Other tracks take an almost ambient path while certain noisier moments even hint towards the power-electronics scene. But even while taking this in, there’s always a keen pop sensibility within all of the different sounds, pointing towards the more mainstream success that the band would eventually achieve. Put this album into that context and it becomes a vital element in the development of modern music, which B.E.F./ Heaven 17 undoubtedly influenced. They presented new ideas and exciting possibilities whilst also unashamed to be enjoyable and catchy. To me, that’s what makes great pop music, along the same lines as early Roxy Music, the Ramones and even the Beastie Boys. If you enjoy genuinely interesting, entertaining music, you ought to hear this.

BLUE STATUE. No/On CD (Fourth Dimension) Blue Statue are a London-based guitar band with a sound that seems to owe equal parts to the post-punk era and Nineties alt-rock, as well as bands like Mogwai, My Bloody Valentine and Sonic Youth. Actually, there are moments that remind me of many different bands, from Nirvana to Mission of Burma and also some of the more eclectic bands that Dischord were releasing during the late Eighties / early Nineties. Opening track ‘Supercilious’ is very catchy, although it’s underlying guitar noise successfully maintains its’ edge in a similar way that Senator Flux did so well. Elsewhere, the band adopt repetitive riffs and angular rhythms to create a sense of tension, while the vocals are shared between two singers, providing different tones and approaches from each individual. The musical arrangements are full of interesting ideas and although the production could have been a little more solid, this album still makes for an excellent and exciting debut. I will definitely be keeping eyes and ears open for this band, because this record really offers so much potential.

CAM GIRLS. Untucked LP (www.camgirl.band) This is fun! Two guys and two girls based in North Carolina playing their own brand of hi-energy, punky rock’n’roll. Think of loud guitars, catchy hooks, a bit of Glam-trash (New York Dolls style) snotty punk (Dead Boys meet Plasmatics) and ‘Apocalypse Dudes’ era Turbonegro. Put this altogether with snarlin’ female vocals and lyrics that would probably be deemed sexist were they being delivered by a bloke. You’ll end up with a very entertaining and highly effective punk/rock’n’roll album that demands to be turned up to eleven. Like the aforementioned Turbonegro, there’s a sense of humour at play and I’m sure they only mean to upset the people that deserve to be upset, so play this loud and have a good time! It has a great, noisy production-sound, plenty of attitude and also manages to obliterate Britney’s ‘Oops, I Did it Again’. Seriously, what more could you want?

CONTINENTAL. Hello CD (Rum Bar) This band has an unusual set-up, featuring Rick Barton on vocals and guitar whilst bass-playing duties are handled by his son, Stephen. Something like that would normally indicate some kind of vanity-project, but in this case we’re dealing with a band who are all intent on delivering their rock’n’roll to full effect. Continental mix it up, from Country through to Powerpop and Blues through to Punk, but, much like the Replacements in their prime, it works because the focus is always on the song and what it needs. Along the way you’ll hear hints of Cheap Trick, maybe some classic Rolling Stones, perhaps even some Supersuckers, but trust me it’s all good. Definitely the kind of band that could liven-up even the most dour of pubs.

THE COVIDS. Bust to Bits LP (Wap Shoo Wap) I suppose it was inevitable that some kind of band would name themselves after the recent pandemic, so I’m just glad that this combo can live up to their sensational moniker! These guys formed a band in Amsterdam to relieve the tedium of the lockdowns and played their first gigs as soon as the local clubs began to reopen. Since then they’ve been making a name for themselves by touring across Holland and Germany, and intend to go even further afield during the next 12 months. They released their debut 7” last year and are now unleashing their first album. Musically, it’s a raucous but melodic blend of Garage-rock, punk and pop, sounding something like The Briefs over-seeing a jam session between The Cramps and the Ramones… Oh Yes! It would be totally inappropriate to use words like ‘catchy’ or ‘infectious’ to describe their songs, but it wouldn’t be far off the mark. Hopefully, they’ll be playing somewhere near your neighbourhood soon, but in the meantime be sure to play this album LOUD!

THE CRACK. S/T LP (Queen Mum) There have been more than a few bands called ‘The Crack’ over the years, but these chaps were probably one of, if not the, earliest. Formed in Hull during 1978, the line-up included former roadies of the metal band Ethel the Frog, but their own musical direction was distinctly different. They certainly had punk and powerpop elements, but to the greatest extent, they played high energy rock’n’roll that was not so far removed from Eddie & the Hot Rods. They released their one and only single ‘Make the Effort’ / ‘Easy Street’ on the JSO label in 1980, which received airplay on BBC Radio 1 and other stations, but it seems as if they didn’t get a chance to play much further afield than their hometown. (Ingeniously, they also formed a second band, The Card, and played cover versions around the local pubs and clubs to financially support their main aspirations…) This album features both songs from the original single, plus six others that were recorded between 1978-1980 and until now were never properly released. As I said, not really a ‘punk’ band (two of the band had facial hair at the time!) but they certainly had a lot in common, with plenty of attitude and loads of energy. The album is pretty limited and includes a poster and insert, so if you’re interested, get yourself a copy soon. It’s great that material like this is still appearing, because so many smaller bands never really got a chance to mark their mark back at the time, but are now getting the opportunity to stake their claim. When you hear a record as good as this, it’s certainly been worth the forty year wait!

CRISIS. Live in London LP (?) Presumably a bootleg as there are no label details, but the artwork and sound quality both show that a lot of care has been taken to make this as good as possible. It was recorded at The Dublin Castle in Camden on 15/10/2017, the second of two nights that the band played to herald their return. Of course, there were the usual bunch of naysayers who complained that, with only Tony Wakeford remaining from the original line-up, it wasn’t really Crisis, but Tony had already been playing Crisis material with a band called ‘1984’ and guess what? Many of the promoters and fans referred to it as ‘Crisis’ anyway. I doubt if anyone in attendance didn’t already know that it wasn’t the original line-up, so what’s the problem? If you don’t want to go, don’t go. But the fact was (and still is) that this version of Crisis sounds great and are doing more than justice to the original songs, even resurrecting several rare tracks that had never been properly released back at the time. The new singer, Lloyd James, has just the right voice to deliver these songs while guitarist Clive Giblin captures all the power and intricacies that made Crisis sound great in the first place. Drummer Igor Olejar also does a good job, although for unknown reasons he didn’t remain in the band very long, and Tony provides that great bass sound which underpins the whole thing. The quality of the recording is really good, clear enough to enjoy but also raw enough to capture the atmosphere of the gig, so I doubt that anyone will be disappointed. According to the sleeve, the album is limited to only 250 copies, so if you’re interested (and you should be) you should grab a copy soon!

CROSSED KEYS. Believes In You CD (Dead Satellite) Featuring former members of Good Riddance and Kid Dynamite (amongst others) this relatively new band deliver their debut album with plenty of style and confidence. To me, there are definite hints of Bob Mould, Vic Bondi and Samiam in their overall sound, but they also add plenty of their own character to the proceedings, making this album something that’s very much their own. The results are personal and genuinely emotional (rather than ‘emo’) giving the whole album an air of authenticity that is sadly lacking in so many bands that attempt this approach. Musically, they have a great balance between loud, noisy guitars and melodic hooks that will continue to resonate in your ears long after the record has finished. I could imagine this band being a great live act, so I hope we get a chance to find out for sure. In the meantime, you really ought to give this album a listen.

CUT. Dead City Nights CD (Improved Sequence) Cut are based in Bologna, Italy and create a frenetic blend of different styles, but do so in a way that sets them apart from anyone else. You will quite possibly pick out moments that will have you thinking of Fugazi, Pere Ubu, Shellac and even Pavement, but these are transitory and only appear briefly before they switch direction and go off on a new tangent. Having not heard of the band before now, it’s not surprising to discover that they’ve been together for more than two decades, as their music is something that can only come together over a space of time as the individual band members learn to lock-in to what they are all playing and allow it to develop organically. Evidently, they’ve been known to tour quite heavily and again, that’s obviously a key component when it comes to the music they create. It’s complicated but also flows in a natural way which gives it a wider accessibility. If you’re intrigued by the above-comparisons, or recall the best moments from bands like Victims Family and the Rhythm Pigs, then this is something you should check out.

DAVE LOMBARDO. Rites of Percussion LP (Ipecac) Dave Lombardo is undoubtedly one of the most influential drummers of the past forty years. His playing as part of Slayer introduced a whole new ferocity and technicality to the contemporary rock scene and I really can’t think of anyone who has surpassed him in the style he created. But, not content to sit on his laurels, over the years he has also branched out to play with a wide range of artists and different musical styles, most notably Philm, Fantomas, Mr Bungle, and Dead Cross. Most recently, he has also been drummer for The Misfits reunion shows, as well as working on numerous film and TV scores. So when it comes to a solo album, you probably won’t know what to expect apart from knowing that it’s going to be interesting. As it turns out, the album is actually a lot more accessible and not the full-on, noisy work-out that some might anticipate. That said, it is based around the drums and his playing is very impressive, but the overall effect is more hypnotic in an almost shamanistic kind of way rather than opting for rock-star histrionics. The whole album is very atmospheric and allows the listener to indulge in their own imagination rather than being given an exact concept to follow. Different styles are adopted for different tracks, and a wide range of percussive instruments help to present a variety of sounds that will keep your attention on its’ toes. At one moment, you’ll hear a salvo that wouldn’t have been out of place on ‘Reign in Blood’, whilst in the next, the track will veer into tribal rhythms or perhaps a syncopated jazz style, and that’s the beauty of this album. Without becoming difficult or pretentious, it delivers a broad range of ideas and techniques that offers something new and exciting, whether you’re into Hard Rock or more Avant Garde sounds. If you’re a fan of Dave Lombardo’s previous work but can also listen with an open-mind, then this is something that you really ought to hear.

DEICIDE. Once Upon The Cross / Serpents of the Light, CD (Cherry Red) Featuring Deicide’s third and fourth albums, this double CD set features two of the bands definitive releases. Whilst their albums were regularly over-shadowed by the (often-courted and quite possibly tongue-in-cheek) controversy that their lyrical content provoked, there’s no denying that musically they offered a brutal way forward for the more extreme edges of metallic rock music. Glen Benton’s vocals, at the very least, were an influence for the onslaught of Black Metal bands during the 1990’s, whilst the band also produced an unrelenting and uncompromising barrage of aggressive riffs that took Metallic Rock through to a whole new level. Slayer may well have taken Metal to a new apex with ‘Reign in Blood’ (on the basis that, after that masterpiece anything that went further was creating something beyond Metal) but Deicide found another path with which to take the genre to an extreme. ’Once Upon a Cross’ featured arrangements that were both more interesting and intriguing, especially as the band members were clearly more proficient at their craft, but also because they were creating a sound that was clearly their own. According to Glen Benton, ‘Serpents of the Light’ was written about a friend who had recently died, making this a more personal album and a perfect sonic-storm of righteous retribution. Of course, it will again depend on your own assessment of the underlying intent, but there’s no denying that the sound that the band produce is incredibly powerful. These two albums are not going to appeal to everyone, but if you are interested in the more extreme edges of musical expression, then this in an album that you need to hear.

THE DICKIES. Live in Winnipeg 1982 LP (Secret) Official release for a recording that originally emerged as a bootleg CD in Germany. It’s a good quality mixing-desk recording and it’s not been available for 30 years, so if you haven’t already got it, this is your chance! The band are clearly playing at their best and deliver a great set that includes songs from their first three albums, plus a great cover of the Weirdos’ classic ‘Solitary Confinement’ made all the more appropriate as former Weirdo Nicky Beat was on the drum stool during this tour. Leonard is as witty and entertaining as he always has been and the band handle all of their early songs with lots of energy and enthusiasm. It’s a real shame that this line-up never made it over to the UK, but at least we have this record to let us know how good they were. Play it loud and enjoy it!

DOCTOR EXPLOSION. Superioridad Moral CD (Slovenly) Doctor Explosion are a Spanish Garage-rock band who have been together since 1989, in which time they’ve established themselves across Europe and America (North and South) through their extensive touring. Unfortunately, they’re not so well known in the UK and their last album release was back in 2011, so for many punkers this album will be like a debut from a new band. That said, it may well work in their favour as they deliver a fine album that shows that they really know what they’re doing. The songs are varied but come together as a solid album, with hints of Stooges- style hard rock (both raucous and subtle) in some places, followed just as effectively by catchy garage-pop bursts of adrenalin that would make The Hives jealous. Doctor Explosion are adept at kickin’ out the jams, but also just as able when it comes to taking things at a slower pace and in other places you’ll hear Country and Blues influences, but all done with a real sense of intent and propriety. Unfortunately, all of the songs are sung in Spanish which is something many of us Brits have a problem-with, although there are plenty of UK bands we love even though we can’t understand a word the singer is screaming… The thing is, this is great music and if you can’t feel the attitude behind the songs, you just ain’t listening properly. Spain has produced many truly great bands… Los Chicos, Suzi y Los Quattro, etc, so you really ought to be opening your ears for further offerings. This is a band who obviously dig the same music that we all love and as a result produce songs that deserve to be heard. Give this album a listen and discover what we’ve been missing.

THE DOWNHAULS. Scream Into The Void EP (Rum Bar) The Downhauls are an all-female punk rock’n’roll band from Boston who seem intent on making loud music that’s catchy, raw and fun. Imagine The GoGo’s recording their first album with Joan Jett and receiving a similarly raucous production sound as the one she got for the first Germs LP? Keep the melodies, but turn everything up and don’t be afraid of a few rough edges… Well, that’s a similar sort of spirit and direction that The Downhauls seem to follow. It’s punk rock and it’s rock’n’roll, both in the most primal sense. The songs are catchy and accessible but don’t lose any of their energy by letting someone make them too nice. I doubt that The Downhauls would want to be ‘too nice’ anyway, but that’s the way to give it some edge. Three of their own songs rock hard on this EP, while the final track, a cover of ‘Hazy Shade of Winter’ (best known as a hit for The Bangles) is played with due respect to the songs’ melody and vocal harmonies, but also with a whole new attitude that you really wouldn’t want to mess with. Fine stuff – demand that your local radio station plays it NOW!

EDDIE JAPAN. Pop Fiction CD (Rum Bar) Eddie Japan is the name of the band, not an individual (just to clear up any confusion.) Anyway, they play a blend of Eighties-style New Wave, which reminds me of the sort of band that would feature on the soundtrack of a John Hughes movie (‘Pretty in Pink’, ‘The Breakfast Club’ etc.) Lots of squeaky synthesizers, male / female vocals and catchy pop melodies. Whether this makes it nostalgic or not is strictly down to the listeners own opinion, but the band certainly know what they’re doing and make the melodrama sound convincing. It is what it is and some of you will completely love it.

FAIM. Your Life and Nothing Else. CD (Safe Inside) I once spent a night in Denver. I was flying from the West Coast to the East but when the flight interchanged in Denver, we were told that the pilot had become sick and couldn’t go any further. It then took 4 hours for the airline to find somewhere for me to sleep, where I was able to relax for 3 hours before catching a bus back to the airport for the next available flight. This happened along time ago so you don’t have to feel sorry for me, but listening to this Denver-based hardcore band, I recognise the brutal fury that they confront on this album, even if it’s not for the same reasons that I endured. Listen to this album and you really have to acknowledge the genuine emotion behind the delivery. It’s partly catharsis, partly creative and totally real. Eight songs in just over twenty minutes, delivered in a convincing, razor-cut statement. I wish I had a lyric-sheet so I could make further comment, but the emotions are clear as Hell. This is contemporary hardcore breaking sonic-boundaries and giving the listener something real to think about. Apparently, Faim have already toured in Europe, so I‘m sad that I missed them, but I’m crossing my fingers that I get another chance. In the meantime, check this out and let it unsettle your working week!

FLASH MONGRELS. Good Time Dole Line 7” (Queen Mum) Another obscure band from Hull (see The Crack review, above) although in this case the band didn’t even make it as far as a single release back at the time. So it’s fortunate that we’re getting a chance to check them out, even if it is more than 40 years down the line. Flash Mongrels formed during 1978 and played prolifically around their hometown area, although they also gained a reputation for bad behaviour which saw them banned from many of the venues (in which case, they’d book themselves under a different name to get further gigs!) They eventually recorded five tracks at a local studio and received some attention from John Peel, but inevitably the bands’ frantic approach came to an abrupt and by 1979, they were no more. But these tracks reveal a band that had plenty of energy, some good musical ideas and witty lyrics that displayed a dry sense of humour. ‘Good Time Dole Line’ is probably the most straight forward song on this record, with a fast and chunky R’n’B sound not a million miles away from Dr Feelgood or The Pirates, while ‘Thoroughly Nice’ veers towards a quirky punk rock style that wouldn’t have been out of place on the ‘Farewell to The Roxy’ album. But it’s the final track, ‘Hat’, which is the best. It’s a bit more ambitious and recalls bands like The Shapes or The Satellites, including bouncy almost fairground-style keyboards that really add some real character to the song. Perhaps Flash Mongrels were never meant to go any further but these recordings show the potential they had and it’s great to hear them after all this time!

FLORES Y FUEGO. Altar LP (Pirates Press) Originally self-released digitally in 2021, this album caught the attention of punk fans around the world and is now getting its’ first physical release. It’s certainly a strong collection of songs that seem destined to capture a wide, international audience. The band play a fast mix of punk and hardcore with plenty of catchy hooks to keep your attention, while their singer, Melisa Diaz, delivers her vocals with a passionate rage. The lyrics are sung in Spanish but even if you can’t understand the words, the intent and energy are clear and convincing and, if you want to investigate further, you can find interviews and articles online that explain the songs and reveal subjects such as womens’ rights (Mexico has a particularly bad record when it comes to violence against women) being true to yourself, Police brutality and coping with depression. The band are intending to play their first UK/European dates later this year and I’m sure they’re going to make a real impression on their new audiences. Check out this album and keep your fingers-crossed that we won’t have to wait to long for the next one!

FOOL’S ERRAND. Big Up the Impact LP (We Don’t Keep Records) When Fool’s Errand released their first album back in 2020, I was very impressed. It was easily the best Oi! record that I’d heard in ages and, especially as it came from a relatively new band, it really blew me away. Based in Las Vegas and mostly put together by songwriter Pete (who brings-in other musicians and vocalists as and when needed) they followed the album with the excellent ‘Machete Sessions’ 7” in 2021, but as good as that is, it didn’t prepare me for this new album. Full of powerful, emotive street-punk anthems, played with real style and panache and treated to a huge production sound, this album is the kind of thing that will have you jumping around your house, punching the air and stompin’ the ground. What sets Fool’s Errand apart from so many other bands is that they’re not afraid to seek out influences from a wider range, delving into original UK punk bands like Menace or UK Subs, Eighties melodic hardcore like SNFU or Naked Raygun, as well as the best selections from the Oi! scene (The Business, early Cockney Rejects, Blitz etc.) The songs are all uptempo but the pace still varies from track to track allowing each song to show-off its’ own character. Fool’s Errand get just the right balance between catchy melodies, insistent rhythms and crushing power chords, making this a truly vital and exciting album. The vinyl is available now but very limited, so don’t waste your time and order a copy right now! (https://foolserrand702.bandcamp.com/album/big-up-the-impact)

FORD’S FUZZ INFERNO. Death to the Fuzz Family EP (Subunderground) The songs may still be drenched in glorious Fuzz-guitars, but these new tracks are a great step forward, with catchy garage-style melodies and a punkier approach. Don’t worry, there’s still lots of distortion and fast rhythms to keep your neighbours annoyed, but this time you’re also going to catch yourself singing along and dancing around the record player! This is real, primal stuff where noise reigns supreme but the tunes will also dig through your ear-drums and remain firmly lodged in your brain. Five songs (only one, ‘My Reality’, was featured on last years’ album ‘The Book of Fuzz’) and barely eight minutes long, but this is a vital piece of plastic and you really shouldn’t go home without a copy!

FORD’S FUZZ INFERNO. Eternal Circles of Fuzz EP (Subunderground) It’s always a good day when a record arrives from these guys! Here’s another four songs that blow away the opposition like Lemmy at the controls of a Panzer! That said, this EP is probably their catchiest to date, with the sort of melodic Punk Rock fury that made The Damneds’ first album so vital, or the first New Bomb Turks so refreshing. Add to that hints of The Wipers and some pounding drum beats that wouldn’t have been out of place if the Glitter Band had ever jammed with the Cockney Rejects (now, there’s a thought…) Basically, Ford’s Fuzz Inferno play Punk Rock, Garage and even a bit of Grunge, all of the highest quality, and every new release sees them getting better and better. These guys (there’s only two of them, which you’d never realise from the massive sound they deliver) have been around on the Dutch punk rock scene for a while and obviously have no intention of giving up on it. I can’t recommend this record enough, it really is that good and I can’t believe that they’re not better known. Maybe that’s how they like it? Do it yourself and do it right! Here’s their contact details … fordsfuzzinferno.bandcamp.com … you don’t have to listen to them but you won’t realise how empty your life has been unless you do!

GANG GREEN. We’ll Give it to You CD boxset (Cherry Red) Gang Green initially formed as a punk / hardcore band in Boston during 1980, but apart from contributions to two seminal compilations (‘This is Boston Not LA’ and ‘Unsafe at Any Speed’ in 1982) didn’t release any of their own records before splitting in 1983 (when singer Chris Doherty left to join fellow Bostonians Jerrys Kids. However, the following year they reformed and released the ‘Sold Out’ EP on Taang records, followed by their classic debut album ‘Another Wasted Night’ in 1986. By this point, the band were mixing Motorhead-style hard rock to their music and, with thrash and speedcore beginning to become popular, they came to the attention of labels who were more associated with Heavy Metal. Consequently, they were signed to the Roadrunner / Emergo label for their next four albums, which are all to be found in this boxset. Although it didn’t result in mainstream success for the band, the label certainly helped to bring them to a much wider rock audience where songs like ‘Alcohol’ and ‘Skate to Hell’ were soon embraced by the same kind of fans that bands like Suicidal Tendencies and DRI were also attracting. At the same time, though, Gang Green still remained popular with many of their older fans, as they tended to keep their hardcore energy and attitude in their music instead of going for an all-out metal sound. ‘You Got It’ was released in 1987 and was well received, even though only Chris Doherty still remained from the original band. The songs were still fast and powerful, although with a more professional production, and rather than going for the then-popular ‘crossover’ style, their new material leaned towards the likes of Motorhead and AC/DC, both bands that their punk following were happy to accept. Their next album, ‘Older…Budweiser’ was released in 1989 and again, was popular with their fans even though the production was more rock-orientated. There were more metallic riffs and guitar-breaks, but even taking that into account, it was still recognisably Gang Green and while it probably isn’t their best album, it certainly isn’t a disappointment and proved to be one of their most successful releases 1990 saw the release of the live album, ‘Can’t LIVE Without It’, which arguably captured the band in their best setting. Recorded at the Marquee in London, the band blast through their set at breakneck speed, still with some metallic rock licks but with a much more hardcore delivery. With a set taken from across their entire career, this is truly what the fans loved about them and as definitive a statement of intent that you’ll ever hear. (This reissue also includes bonus material from the ‘181B4U’ EP.) However, in 1990 further line-up changes saw the band going on hiatus once again and this time it would be nearly six years before they reappeared. Their final album for Roadrunner would be the compilation ‘King of Bands’, which featured tracks from each of their previous albums (including ‘Another Wasted Night’) plus two songs specifically recorded for this album. Together with 16 page full-colour booklet, packed with sleeve notes and photos, this is a great collection that shows why Gang Greens’ reputation is still so solid. Of course, you also need to get ‘Another Wasted Night’ (still on Taang) for the complete picture, but once the set is complete you’ll soon be loving every damn note!

GIGLINGER. Javla Nazi 7” (www.giglinger.bandcamp.com) Giglinger are a punk rock band based in Finland who have been releasing records since 1997. They don’t play gigs but record most of their songs live to ensure the energy levels are kept high. It certainly works well for this single, which features two songs packed with adrenalin and attitude. The A-side (sung in Swedish, rough translation ‘damned nazi’) is about “youth heroes who have become right-wing idiots”, while ‘Independent Action’ is a faster, brutal slice of hardcore with lyrics that talk about self-motivation and overcoming obstacles in your way. Scandinavia has a long history of great punk and hardcore bands and Giglinger seem more than able to continue that tradition. Be sure to check-out these tracks on bandcamp and then order a copy of the record!

GODFLESH. Purge LP (Avalanche Recordings) It’s almost bewildering that I first started listening to Godflesh nearly 35 years ago, but somehow that’s the case! During that time they’ve had a massive impact on the more extreme and experimental forms of ‘metal’ music (some of which has even crept into the mainstream rock world.) At a time when most metal bands were trying to play as fast as possible, Godflesh were never afraid to slow things down and use a drum machine rather than live percussion (an almost heretical concept for most metal bands of that time.) Their choices may not have been too popular back then, but over the ensuing years they were proved right. This is their first new studio album since ‘Post Self’ in 2017 but continues in a style that’s instantly identifiable as Godflesh. The emphasis is on the sheer power and emotion that they create. While the band, individually, are more than capable of playing faster tempos or in more technical metal styles, they’ve learned the lessons of bands like Black Sabbath and (early) Swans, in that slower rhythms can accommodate much more forcefulness than merely thrashing away and hoping for the best. Not that this means that they stick to just the one approach, as they also know that you need to have a variety of sounds to allow for contrast and emphasis. At different times, this album employs minimal, almost hip-hop beats, drones, riffs that wouldn’t have been out of place in the anarcho-punk scene and psychedelic- dirge effects. There’s no doubt that this music is meant to be cathartic (both for the band and audience) but at the same time it’s also exciting and enthralling. It’s an album that effectively crosses boundaries, from Metal through to Industrial and Avant Garde realms. Needless to say, it should be played loud. Make sure you don’t miss it.

GOOD MORNING CERNOBYL. No Time to Fear (La Cura Dischi) Debut album from this Italian band, who are part of the DIY punk scene in Perugia / Milan. This record features six original songs plus a suitably raw version of the GG Allin classic, ‘Bite it you Scum’. Their own songs veer from 1977-style punk through to Oi! and street-punk, with a great guitar sound drenched in distortion and fuzz-tones. The production is pretty basic but captures their style effectively, giving you a good idea of their direction and intent. At present, the album is only going to be available digitally and you’ll be able to find details at www.goodmorningcernobyl.it

GUIDED BY VOICES. La La Land LP (GBV Inc) It really isn’t easy to keep-up with GBV releases these days. Before their hiatus, their records were (mostly) released by Matador, which ensured good distribution in the UK. But since their return, due to the loss of so many record shops and the increase of postage costs, it’s a lot harder to track them down and a lot more expensive when you do find them. Which is a shame, because albums like this really are amongst some of the best that Bob Pollard has ever recorded. Not exactly lo-fi but certainly not over-produced, relying instead on plenty of great ideas and arrangements to make the most of the songs. The current line-up, featuring Doug Gillard and Kevin March from the Matador era, really works well together and seems to be firing on all cylinders when it comes to delivering this latest set of songs. It’s the perfect balance of the ‘4 P’s’, as Bob calls it – Pop, Punk, Psych and Prog! I just wish that we got more chances to see them live, because that’s where new GBV songs really come alive. Fingers crossed, kids, let’s hope we won’t have to wait too much longer…

GYASI. Baby Blue EP (Alive) Okay, the comparisons to Bowie / Bolan / Jobriath are obvious and not unfair, but when you hear these songs you really ought to appreciate that that these songs stand up for themselves and make their own point. Gyasi knows his history and acknowledges his roots and influences, but he’s also writing and performing some really great songs and if you can’t enjoy what he does, then you’re missing the bigger scheme of things. The songs are great, the talent is real and the delivery more than justifies the references. There are already too many punters who settle for going to see ‘tribute bands’, but here we have someone who’s doing it for real. This EP includes three songs recorded live during a recent American tour and if they can't convince you that this is the real deal, then you've probably slept through it. All I can hope for is that he gets over to the UK soon, because I’m sure these songs will blow us away!

THE HANGING JUDGE. S/T LP (Sunny Bastards / Lake Town) Based in Atlanta and boasting former members of The Queers, Anti-Heroes and the Antagonizers in their ranks, this is the debut album from The Hanging Judge and it sounds great! The vinyl version has been released by a collaboration between two German record labels (the CD version is available from their bandcamp page.) Musically, this is what would probably be called ‘street-punk’ these days although their influences are obviously a lot more diverse than many current Oi! bands. At one end of the scale, they’re not afraid to mix hard-rock and pub-rock sounds into their songs (think of a cross between Slade Blitz, The Business and maybe even a bit of early Stiff Little Fingers. The main thing is that, however hard and heavy the riffs may get, they always maintain catchy melodies within every song and use Naked Raygun-style vocal harmonies to build their choruses into great singalongs. I really think this is a band who, if they get a chance to tour, could really attract a decent following, in Europe as well as America. They end the album with a cover of the Blitz song ‘Fatigue’, which is far from an obvious choice (coming from the second-album era) but The Hanging Judge play a blistering version and do a lot of justice to a highly under-rated song. This is a band you should investigate immediately.

HELEN LOVE. Yeah, Yeah, We’re Helen Love LP (Damaged Goods) You really should know all about Helen Love by now, but just in case… Helen Love (the band) were formed in 1992 by Helen Love (the singer) and several friends in the darkest depths of Wales. From the outset, their songs were based on a mix of bubblegum pop, lo-fi electronics and Ramones-style three-chord punk rock. It’s not an obvious recipe but it actually works really well, propelled by their obvious enthusiasm and playful sense of humour. Famously, their second single, ‘Joey Ramoney’, was bought to the attention of their idol, who became an instant fan and invited the band to play a gig in New York! Subsequently, he sang a duet with Helen on a version of ‘Punk Boy’, while Helen sang backing vocals on Joey’s ‘Don’t Worry About Me’. If that kind of validation doesn’t impress you… it should! Anyway, this double-disk compilation celebrates 30 years of Helen Love records and gathers together singles, album tracks and various rarities, making it a highly desirable item for every existing fan as well as providing a perfect starting-place for those who aren’t yet familiar. So, let your curiosity get the better of you and listen to this album soon!

HE WHO CAN NOT BE NAMED. Imposter CD (Beluga) Best known as a member of The Dwarves (not sure if he’s still in that situation) He Who Can Not Be Named has been responsible for a bunch of great songs, so I was intrigued to hear his solo album. However, for some reason the promo-people only sent me three of the fourteen tracks from the album, so I hope that doesn’t mean that the rest of the record isn’t any good? That said, He Who… has always been a bit mysterious (although I can confirm he isn’t Freddie Mercury) so perhaps this limited revelation of tracks is just one further ploy to keep his identity secret? Anyway, these three songs are pretty impressive. ‘Funny Farm’ borrows the chords from ‘Sometimes Good Guys Don’t Wear White’, but does it with style and quickly establishes its’ own credentials. ‘Happy Unhappy’ veers more towards the powerpop/punk style of bands like The Queers or Screeching Weasel and, finally, ‘Please Kill Yourself’ continues with the melodic punk rock mixed with the velocity of The Dwarves. I just hope the rest of the album is as much fun as these songs seem to suggest!

HUNTING LIONS. Dark EP (Pirates Press) Hunting Lions is a relatively new band from the San Francisco Bay Area scene, but their members include previous experience in bands such as Swingin’ Utters, US Bombs and Tiger Army, so they certainly have an impressive heritage to build on. Their songs are full of energy, catchy choruses and great melodies, like a cross between the classic Naked Raygun sound and the best moments that streetpunk has produced. Combine this with lyrics that focus on the cultural stagnation that gentrification produces, and the way that working class people are forced out when their neighbourhoods suddenly become desirable to rich outsiders. That’s not to say the songs are all about negative issues, as there’s plenty of optimism elsewhere. If this record is anything to go by, I really can’t wait to hear how the band develops from here on. Be sure to check them out.

THE JACKETS. Life’s Not Like the Movies 7” (Chaputa) Switzerland doesn’t produce that many notable bands, but when it does, they tend to be surprising good. The Jackets are the latest to prove the point and they’re fast-establishing themselves as one of the best bands on the European Garage-rock scene. Their strength is that they don’t just stick to the Sixties formula, but are happy to embrace more recent elements from punk rock,.indie and classic Pop. The results are here to be heard – songs that are catchier than Covid, melodies that’ll keep you humming for the rest of the decade, sultry, understated vocals and excellent fuzzy guitars. This is a hard-working band (just check out their tour-schedule) but their efforts are certainly paying-off as the songs just keep getting better and better. Don’t miss out!

JAH WOBBLE. Dark Luminosity CD box set (Cherry Red) Subtitled ‘The 21st Century Collection’, that’s what you get from this excellent box-set, selections of music compiled from the numerous albums he’s released since 2000. It’s a collection that defies expectations and refuses to ignore any appropriate influences, be they reggae, punk, funk, jazz or (so-called) World music. During this time-period, Wobble has collaborated with musicians and artists as varied as Evan Parker, Bill Laswell, Youth and The Chinese Dub Orchestra, displaying his fearlessness when it comes to facing a new challenge. Wobble is, of course, still best-known as the bass-player and founding-member of Public Image Limited, which he formed along with John Lydon and Keith Levene. Although a relative novice at the time, his stripped-down bass style soon became a key element in PiL’s sound and his contributions to the ‘First Issue’ and ‘Metal Box’ can only be described as essential. His style was simple and repetitive, inspired by funk and dub but played a more punk-like attitude. In many ways, his style has remained true to this approach, even though he steadily became an accomplished musician over the years. His strength is that he knows what is needed and what needs to be omitted. He was fired from PiL in 1980, following solo recordings in which he had used PiL outtakes, supposedly without proper authorisation. Regardless (and in contrast to PiL themselves) Wobble quickly put together a new band, The Human Condition, and toured extensively. He collaborated with members of Can and then formed ‘Invaders of the Heart’ in1992. Although not commercially successful at first, his musical reputation continued to grow and from the early 1990’s onwards, interest in his music and collaborations finally started to get the recognition it deserved. He worked alongside the likes of Brian Eno, members of Killing Joke, Dolores O’Riordan and Chaka Demus, crossing and mixing genres as varied as Ambient, World and Dance music. Sadly, the proposed reunion of the original PiL line-up (Lydon, Wobble and Levene) in 2009 did not come to pass (and on hearing the music on this collection, that’s a major loss for PiL) but by this point Wobble had established a successful career of his own with a truly prolific release schedule. This box-set doesn’t cover everything that he has done in the last 20+ years, but it does give a thorough introduction to his more-recent work and serves as an ideal example of why he is rightly regarded as one of the truly influential/ inspirational musicians of modern times. This isn’t music that breaks down the boundaries, this is music that doesn’t even see the boundaries in the first place. Truly wonderful stuff.

KEPI GHOULIE. Ramones in Love LP (Pirates Press) Kepi Ghoulie (former singer for Californian pop-punks Groovy Ghoulies) is a long-time Ramones fan and, with Valentines Day in mind, decided to record an album of their less-obvious ballads and love songs, in many ways as a posthumous love-letter to the much-missed band themselves. Thirteen songs, mostly recorded with just vocals and acoustic guitar, although a few also include additional instrumentation. That said, the arrangements are always very stripped-down and have an almost haunting, atmospheric effect. So many bands cover songs by the Ramones these days, either live or on the records, but only a few find a way to add something of their own to their versions. Kepi has just the right vocal style to do this properly and delves into a side of the Ramones which doesn’t receive as much attention as their faster material, even though the band were just as adept with their slower numbers. This is a worthwhile collection of songs played in a way that will appeal to existing fans while also giving them something new to appreciate. Give it a go!

KING AUTOMATIC. Lorraine Exotica LP (Voodoo Rhythm) This is a reissue of an album that originally appeared in 2005 and it certainly deserves to be made available once again. Think of a cross between ‘Exotica’ and Garage Punk styles, packed full of great, catchy songs, all committed to vinyl in a suitably lo-fi fashion. It’s like Billy Childish co-producing an album with Martin Denny and Esquivel, with each one of them insistent on including their trademark sounds and trying to be the loudest. It’s incredibly strange but also effectively entertaining stuff, that would ensure that any drunken party would suddenly be taken-over by hordes of wild dancers. Sounds like fun? You bet it is!

KIRKBY KISS. Move single ( www.kirkbykiss.bandcamp.com ) I don’t usually review individual digital singles, simply because I don’t have time to write about every track a band might record, one at a time. But in this case, Kirkby Kiss don’t make a habit of this, I already like their music and this one-off song will be featured on a compilation album in support of The Brigid Alliance (which helps to support women who require abortions.) Kirkby Kiss are a hardcore band from New Jersey who have already impressed me with the way they maintain all the power and raw energy of hardcore but, instead of sticking to the rule-book, introduce different ideas and directions to their sound. This new track is a great example. It doesn’t rely on fast tempos but instead creates a massive, repetitive riff that drives everything along, while the vocals are stretched to extremes without becoming totally incoherent. There may be bands like Agnostic Front or Cro-mags in their mix, but you’re just as likely to hear hints of less likely influences such as Helmet or Quicksand. If you enjoy music that’s powerful, unpredictable and creative, this is a band you really need to hear.

KLEISTWAHR. Mobility LP / Do Not LP (Fourth Dimension) I’m going to review these two albums together as they both feature the same artwork and were also originally released as cassettes on Gary Mundy’s seminal industrial label Broken Flag. This is the first time they’ve been officially reissued, as well as being their first appearance on vinyl. ‘Mobility’ was first released in 1983 and is the shorter of the two recordings, using-up only one side of the LP. But you can trust that the quality of the music more than makes up for its’ relative brevity. This record finds Kleistwahr aligned more with the early ‘power-electronics’ of bands like Whitehouse and Consumer Electronics, although even at this stage they were beginning to impress their own sonic-identity into the songs. The sound quality is very good, allowing the harsher noise to envelop the listener, whilst also clear enough to allow the more subtle details to remain an intrinsic part of the record. Meanwhile, vocals are almost hidden deep in the mix, creating an unsettling effect as you try to catch what they are saying. In other places, there are sounds that suggest voices but may be part of the instrumentation, creating further questions for your imagination. This may only last some 20 minutes or so, but it’s a powerful piece of work. ‘Do Not’ was released in 1986 and would prove to be the last Kleistwahr album until ‘The Return’ in 2009. There had been a three year gap since the ‘Mobility’ album and the music on this LP is quite noticeably different. Side One features sounds that are based more around rhythmic patterns, although they are recorded in highly erratic fashion which often borders on becoming jarring. Just as a recognisable beat seems to be developing, it cuts or switches to something else, often in a conflicting direction. Vocals and tape loops appear occasionally but, again, they seem to be there not to direct a narrative but to keep you on your toes. Side Two continues in a less confrontation manner, although the rhythms and sounds can be just as unharmonious at times. This is an album that, depending on your mood, could be considered exciting (if you enjoy the tense atmosphere) or frustrating (if you can’t deal with the rapid changes and irregular musical approach.) That said, this was never a genre that was meant to appeal to everyone, so you’ll have to make-up your own mind. But it’s certainly a unique album and, for anyone genuinely interested in the more extreme edges of electronic music, these are albums that you need to hear.

THE LAISSEZ FAIRS. Singing in Your Head CD (Rum Bar) This is an excellent mixture of powerpop, psychedelia and Mod melodies that will have you thinking that you’re right back in 1969 again. It makes me think of what The Monkees may have sounded like had they ever had the chance to make a record with Sky Saxon…. Musically, this is very accomplished stuff but at the same time it’s also a lot of fun and that seems to be the important factor. Although this is obviously a band who know what they’re doing, they’re not po-faced about it and clearly want to make this an entertaining album. Nostalgia, indeed, but just as valid now as it would have been then.

LAMBRINI GIRLS. You’re Welcome EP (Big Scary Monsters) Quite possibly the rowdiest band to have come out of Brighton for a long time, Lambrini Girls are difficult to pin-down. Loud noisy punk rock that at times verges on hardcore, whilst the vocals rant like a female version of Jason Williamson during the early days of Sleaford Mods. The music doesn’t worry too much about tunes and melodies, but they do have some very insistent riffs that won’t be leaving your brain for a long time. It sounds convincing, with a mix of righteous indignation and a sense of humour, so what’s not to like about this record? They sound like the nastier, snottier cousins of Wet Leg, really not giving a fuck what you might think of them. By all accounts, they’re even better live, so you should try and catch them soon, but in the meantime be sure to play this record loud!

THE LONG RYDERS. September November CD (Cherry Red) I have to admit that it’s been a long time since I listened to this band, but even on my first listen to this LP, I’m starting to wonder why that’s been the case? Having formed in California during 1982, The Long Ryders were an integral part of the original Alt-Country scene, although they were also adept at merging elements of psychedelia, pop and even punk rock in to their songs (not a million miles away from the Replacements, although on a slightly-different tangent.) After several fine albums they originally split-up in 1987, but reformed for reunion gigs in 2004 and have continued to tour on a sporadic basis ever since. In 2019 they released ‘Psychedelic Country Soul’, their first new album in over 30 years. The positive response it received spurred them on to this, their latest offering of new material and although it’s now nearly four decades since their original heyday, I’m sure this album is going to please all of their fans, old and new alike. The key elements of their sound are still here to be heard, from their authentic Country roots through to pop melodies and a raw attitude that, when appropriate, kicks their music into high-gear. It may be true that their songs don’t have the same impact as they originally did back in the 80’s, but it’s really down to the fact that so many others have borrowed their style and direction in the intervening years, making their sound seem more familiar. But The Long Ryders have remained true to their vision and, with this record, have proved that they’ve lost none of their talent and inspiration. This is a band who can appeal to music fans right across the board, but they do so with no compromise or dilution. At the very least, you really need to check them out.

THE LOW SPIRITS. Outta Sight 7” (Rogue) This is good! Authentic Sixties style garage-rock, replete with jangling guitars, vocal harmonies and catchy hooks. Based in Rochester, NY, The Low Sprits have a style that recalls the Flamin’ Groovies, The Seeds and perhaps even The Fuzztones. The a-side is an instantly enjoyable slice of classic pop, while the flip, ‘Evil Eye’, adds a darker, more sinister tone to proceedings, courtsey os some fine, atmospheric keyboards. But the melodies remain just as compelling and insistent all the way through and this really is a record that you'll want to hear again and again. Just be warned... It might make you want to get all groovy on the dance-floor! But it's worth the risk, so be sure to check it out!

LES LULLIES. Mauvaise Foi LP (Slovenly) In case you hadn’t already guessed from the name and title, these guys are French! This is their second album and it’s being released on an American label, which makes it a truly international event. The lyrics are mostly sung in French so, like me, you may not have a clue what they’re singing about (although I can say that the title means ‘Bad Faith’.) But the vocals sound great so it’s not really a problem and their only concession to English-speaking fans is a fine cover of The Searchers’ hit, ‘When You Walk in the Room’. They mix 1977/78 punk rock, 60’s Garage rock and power-pop to fine effect, reminding me of The Hives at their best, with hints of The Saints, Ramones and even Eddie and the Hot Rods appearing along the way. Lots of energy, catchy melodies, just the right amount of snotty attitude make this a highly enjoyable record and one that should be played-loud at parties all through the Summer!

MALIBU LOU & THE ATTACKERS. Teenage Kicks digi-single (Rum Bar) The (almost) legendary Malibu Lou, head-honcho at the prolific Boston record label Rum Bar, finally puts his voice where his heart is and commits his own version of the Undertones’ timeless classic ‘Teenage Kicks’ to digital eternity. Seriously, you can’t go wrong with this song as it will always sound great. Maybe not as much as the original, but you know it’s gonna tick all the boxes. Mr Lou gives a fine performance and it’s all there for free, so check it out. rumbarrecords.bandcamp.com/track/teenage-kicks-free-bandcamp-single

MAP 71. Blood Fruit CD (Foolproof) This is the sixth album from this Brighton-based duo since 2015 and although that may seem prolific compared to other bands, they’ve certainly taken their time to steadily progress from one release to the next, never being content to remain static. ‘Blood Fruit’ is the latest example of their creative work-ethic and since their last album, ‘Turn Back Metropolis’, they’ve chosen to indulge more in the electronic effects and sounds that have gradually played a more prominent role in their music. The songs are still based around Lisa Jayne’s vocal delivery and Andy Pyne’s percussion, but now there’s more atmosphere and accessibility, as catchy rhythms offer an almost playful twist to the proceedings. The opening track, ‘Box Angel’ has an insistent, danceable quality while ‘Hey Shungite’ recalls the likes of Can (Damo Suzuki era) or Faust at their most mischievous. ‘Corn Dolly Crosshatch’ is a rhythmically-led track featuring minimal lyrics but still creating an unsettling effect, almost like some long-lost outtake from ‘The Wicker Man’ soundtrack. The appropriately-named ‘The Trickster’ is the most uptempo song on the album, with a quirky electronic melody underpinning the rhythm and vocals. Elsewhere, dark psychedelia is mixed with post-punk beats to deliver disturbed dream-like soundscapes which compare and contrast perfectly to the more melodic moments. This is Map 71’s finest album to date, presenting a style all of their own and delivering it with a perfect, complimentary production. I hope this record is as successful as it obviously deserves to be.

THE MATTWEEDS, Hooligans in the Vestibule CD (Rum Bar) Featuring former members of Boston bands The Dogmatics and Stranglehold, The Mattweeds are a new combo intent on delivering high-energy rock’n’roll in the style of The Replacements, Cheap Trick and Jesse Malin. There are hints of the Rolling Stones from the early Seventies and maybe even a bit of Bruce Springsteen, but the thing that really makes this entertaining is the way that the songs swings. You can play rock’n’roll by numbers, but it won’t mean anything. These guys know the deal and couldn’t do it any other way. Fair enough, it might not be to your particular taste, but damn, they do it well!

THE MEDIA. Getting Off at Fratton EP (Detour) The Media were/are a band from Portsmouth who were originally together between1978 and 1981, releasing two singles that are now hard to find and rather collectable. Their initial style was punk influenced although as they developed, they began to adopt earlier influences like The Kinks and Rolling Stones, which also made them popular with the Mod revival crowd. After their original split, the individual band members continued to play in local bands but it wasn’t until 2019 that they decided to reform, initially to support an album of original recordings, ‘Bright New Future’. However, they must have enjoyed being back together because they have since continued and released an album of brand new recordings, ‘Blink of an Eye’, in 2021. This latest EP presents a further set of new songs that capture the spirit of their original material whilst taking it forward. The band are obviously better musicians now and these recordings benefit from a really great production sound that highlights their energy and melodies. The main difference is the inclusion of a sax player, which suits these songs perfectly. Their new material still bridge the gap between Punk and Mod, with just as many hints of Buzzcocks and the Ramones as The Jam or The Chords. The whole EP really sounds good and if these songs are anything to go on, this is a band that still have their ideas and creativity intact. Be sure to hear this record, because you’ll be surprised just how good it is.

MODERN EON. Fiction Tales. CD (Cherry Red) I actually saw Modern Eon when they supported The Stranglers in 1981. Not knowing anything about them at the time, and their music being quite different to the kind of things I was listening to, I quite enjoyed their set but never got around to checking them out any further. In fact, this CD release is probably the first time I’ve heard them since then. Strangely enough, their recordings sound surprisingly similar to what I recall of the gig. Modern Eon formed in Liverpool during 1978, where their contemporaries included Teardrop Explodes and Echo and the Bunnymen. Whilst not particularly sounding like those bands, they were certainly taking a similar course in using the possibilities afforded by Punk to explore new sounds and discover their own style. In their case, they were producing atmospheric songs that were darker and more sparse, like the early Cure perhaps, and yet also quite accessible. There were also comparisons to be made with New Orders’ early records, although in this case Modern Eon were actually creating their music slightly ahead of that band. Their first recordings appeared on the ‘Street to Street’ compilation in 1978 before they self-released the ‘Pieces’ EP in 1979. ‘Euthenics’ was released as a single in 1980, before the band signed to the Virgin subsidiary Dindisc. Bizarrely, they then re-recorded ‘Euthenics’ and it was released for a second time in 1981. Two further singles appeared that year, as well as their solitary album ‘Fiction Tales’. Reviews were not as positive as they had hoped, but gradually their following increased and plans were made for a second album. However, their drummer suffered an accident which caused him to take an extended break from playing and despite demos being made towards the next LP, the band fell apart. This collection is the first time their album and various singles have been issued on CD, as well as several previously-unavailable demos from their final sessions. As such, this collection provides a great opportunity to reassess their legacy. Of course, in retrospect, it’s difficult to appreciate how different and groundbreaking their music sounded at that time, but their songs remain effective and enticing. Other bands playing with similar styles at the same time have since gone on to be hugely successful, whilst Modern Eon received much less recognition, but as this double CD set shows, they’re definitely long-overdue for a re-evaluation.

THE MOSQUITOS. This Then Are The Mosquitos. CD (Kool Kat) The Mosquitos were a Sixties-influenced Garage/Beat band from Long Island, who picked up an enthusiastic following around New York in the early-to-mid Eighties. Their first release was the popular track ‘Darn Well’, featured on the ROIR compilation ‘Garage Sale’ in 1985. With it’s mix of Merseybeat, twangy guitars, pop harmonies, screeching vocals and Garage attitude, it seemed to bode well for the band and the following year they recorded the five-song EP ‘That Was Then, This is Now’. However, despite high expectations, the record was let down by a poor studio sound and didn’t sell as well as hoped. But just when things looked gloomy, the title track was chosen as a new single by The Monkees and hit the Top Forty! The Mosquitos made the most of this exposure to continue touring and it seemed as if an album-deal was just around the corner, but when this failed to materialise the band fell apart. Many of their original fans remained disappointed that the band had never completed an album, but nearly 40 years later, their wishes have finally been fulfilled. A double CD set has been compiled, made up of original demos, alternate mixes and live recordings. Efforts have also been made to collect the songs in an appropriate, chronological way to illustrate the bands earlier sound (Merseybeat / garage influenced) on the first disc in contrast to their later power-pop style, found on the second. The tracks from their original EP are all included, but represented by alternate rough mixes which give them a sound closer to their live performances. With nearly 50 tracks included, this is a collection that both older fans and those new to the band are going to enjoy. You may not be able to change the past, however unfair it may have been, but at least you can document it. There’s some great music on this album and The Mosquitos could easily end-up on your permanent play-list.

MUDHONEY. Plastic Eternity CD (SubPop) If there was ever a band who truly defined the ‘grunge’ movement, it was Mudhoney. While Nirvana may have had the worldwide mega-success, Mudhoney were the band who really introduced the Seattle style and have stuck to their guns ever since. Not that they haven’t developed over time, or failed to add any new influences to their sound, but Mudhoney are still instantly recognisable, even when adding Country elements to a hard-boiled punk track like ‘Cascades of Crap’. There’s a fine range of songs to enjoy on this album, as well as a great balance between slower and faster tempos. ‘Severed Dreams in the Sleeper Cell’ is a great example, mostly based around a minimal, repetitive drum-beat which allows plenty of space for the vocals to tell their tale and eventually erupts in a furious burst of noise before finally settling back into its’ initial groove. ‘Flush the Fascists’ is another slower track, using electronic noises instead of regular rhythms, in much the same way that The Scientists experimented with some of the songs on their ‘Human Jukebox’ album. It’s solid proof that ‘less’ really can be ‘more’. But alongside the more eclectic tracks, you’ll still find songs that simply rock-out in classic Mudhoney style, such as ‘Human Stock Capital’ and ‘Plasticity’, so it’s not as if they’ve turned their backs on the past. In most cases, you would not be expecting a band to still be making albums as good as this after 35 years but Mudhoney seem to do it effortlessly, with a set of songs that will please their long-term fans whilst still bringing something new to the music. When I hear an album like this, I’m really glad that Mudhoney are still out there.

NEVERLAND RANCH DAVIDIANS. S/T LP (Heavy Medication) I haven’t been able to find many details about this band, although they seem to be based in Philadelphia (where it’s always sunny…) That said, the usual biographical details aren’t all that necessary here as this is an album really speaks for itself. It quickly grabs your attention with an almost sleazy tone and seems to revel in jumping from one style to another, almost from one track to the next. You’ll hear Punk, Garage rock, Soul, Blues and industrial noise at different times and it’s not easy for a band to mix all those kind of elements in a way that still comes across as such a solid, coherent album. You could think about the Blues Explosion mixed with early Rolling Stones and jamming with Butthole Surfers. I can’t say that everyone is going to get it, but you need to check this out because it could easily become your new favourite noise.

THE OXYS. A Date with the Oxys LP (Dead Beat) The Oxys formed in Austin, Texas soon after guitarist Jason ‘Ginchy’ Kottwitz ended his tenure as part of the Dead Boys. He assembled the new band featuring fellow musicians who had previously played with the likes of Sylvain Sylvain and Nowherebound, so they obviously aleady had similar tastes in classic Seventies punk rock’n’roll. As with many bands, their initial impetus was marred by the pandemic, but they were able to spend their time writing songs for this album even though they had to do so remotely. But despite such problems, they’ve still managed to deliver a very impressive debut record. There’s a big guitar sound, of course, and a super-tight rhythm section, all fronted by Phil Davis’ suitably sleazy vocals. The tempo is always on the upbeat and the melodies are destined to stay in your ears for weeks and months to come. If you’re a fan of early-Damned, The Heartbreakers, Alice Cooper and the Runaways, then this may well prove to be a contender for your favourite record of the year. Trust me, you won’t want to miss it.

THE PRIVATE DICKS. Live at the Wild At Heart, Berlin LP (www.privatedicks.webs.com/) The Private Dicks formed in Bristol during 1978 and released their only 7”, the highly collectable ‘She Said Go’ in 1979. Although they came out of the Punk era (and they certainly incorporated similar energy levels) their sound was more in line with powerpop or ‘new wave’ but unlike many bands who adopted that style, their songs still sound pretty fresh and unique. They mixed insistent rhythms and a strong guitar sound with catchy lyrics and vocal harmonies to create a great crossover between punk and Sixties guitar pop. Listening to their songs now, it’s not such a stretch of the imagination to say that, with the right exposure, they could have been a lot more successful. Unfortunately as with many bands of that particular time, and despite recording one BBC radio session, the opportunity never came their way and they eventually broke-up towards the end of 1980. But a bunch of recordings did survive and were eventually released as the album ‘Homelife’ in 2002 (followed by ‘Live at the Marquee 79’) which served to rekindle interest in the band and led to them reforming for occasional gigs (including dates abroad, which had never been an option back in the day.) This LP was recorded during a trip to Germany in 2015, although it was only during the Covid lockdowns that the band reviewed the tape and realised that it would make a great live album… and that’s exactly what this is. The set kicks off with a quirky intro before they launch in to ‘She Said Go’ (most bands would have kept their best known track until the end of the set, but Private Dicks play it straight away to get the audience up on their toes!) From there on, the set includes a mix of songs from their original career (‘Private Dicks’, ‘Do You Remember’ and ‘You Want it, You Got it’) plus several of their new songs (‘Exile in Neverland’, ‘Why Are You still Haunting Me’) which blend-in perfectly alongside the older material. Everything that their fans love about them is here to be heard… Plenty of energy, great tunes, unique style, catchy songs… If you’ve never heard them before, this will be a great introduction, while at the same time if you’re already a fan, you’ll love it as perfect proof of how good a live band they still are. Either way, you really ought to track this down.

RED LITE DISTRICT. Pleasureland EP (DCC Records) Red Lite District are a band who formed in Glasgow during 2016 and have been playing live on a pretty consistent basis since then. They’ve also found time to record and release five EPs of their music during that period, with this being their latest effort. Earlier recordings have been compared to classic punk bands like The Damned and Dead Kennedys, but this latest EP sees them delving into a so-called ‘post-punk’ direction… In reality, this just means that they’re becoming better musicians and deciding to add further elements and influences to their music. Which is what I hope any punk band would be doing! The thing is, Red Lite District were already a band with interesting, individual influences so it’s only natural that they should develop further. The songs on this EP are less full-on or straight-forward, which is what makes them stand-out and more interesting. At different points you may pick-out moments that remind you of Joy Division / New Order, while ‘You’ve Lost Your Mind’ will have you recalling the best moments of the Grunge scene. But it doesn’t stop there, as the band are quite adept at mixing quieter, evocative moments with louder bursts of hard-rockin’ guitars. With the right exposure, this could really take them to a higher level. Be sure to check it out!

THE RESIDENTS. The Third Reich’n’Roll pREServed Edition LP (Cherry Red) This is an album that still sounds unique and remarkable, even after almost 50 years! Released in 1976, it was The Residents second album and presented two side-long tracks formed of rock and pop from the Sixties (‘Swastikas on Parade’ and ‘Hitler Was a Vegetarian’) which are twisted and distorted to create not just new interpretations of the individual songs but entire suites of almost-surreal musical mutations. Alongside this, there are brief moments of additional dialogue, mostly used for comic effect (in case you were under the misapprehension that the band were taking things too seriously…) The idea was to perform the songs in a ‘semi-phonetic’ manner (proposed by their friend, the Mysterious N.Senada) concentrating on the actual sounds rather than the notes, and their purpose was to comment on how ‘rock’n’roll has brainwashed the youth of the world’ (although it’s pretty-much left to the listener to draw their own conclusions.) It’s likely that you’ll recognise many of the original songs while others will be unfamiliar, but it’s an interesting selection of tracks (from ‘Let’s Twist Again’ through to ‘In-a-Gadda-da-Vida’ via ‘It’s My Party’) and although many of the treatments are bizarre, the approach does seem to be playful rather than malicious (indeed, The Residents would even return to some of the songs later in their career.) Technically, this album was an important release because it was one of (if not the) first examples of a band using a technique which would later become known as sampling to create their own music. It’s also notable that sampling machines weren’t even available at the time and The Residents had to find their own ways of cutting things up and reassembling them. Strangely, though, it was not their irreverent treatment of the original songs that caused controversy but the artwork, a stunning design that featured famed TV presenter Dick Clark dressed in a Nazi uniform with a carrot in his hand, whilst cartoon Hitler’s dance together in the background. It was actually banned in Germany, where all Nazi imagery remains illegal, regardless of the humorous intent, but even taking these things into account, ‘The Third Reich’n’Roll’ really does stand out as a highly creative and enjoyable album which has never lost any of its’ original impact. This edition has been carefully remastered to provide the best sound quality to date, while a second LP presents the ‘Groovy Greats RDX’ (a new suite of music assembled from the original ‘Third Reich’n’Roll’ multitacks) and a recording of a live performance, ‘Oh Mummy! Oh Daddy! Can’t You See That It’s True; What the Beatles Did to Me, ‘I Love Lucy’ Did to You’, recorded in San Francisco during June 1976. Although not a direct performance of ‘Third Reich’n’Roll’, it’s a chaotic and entertaining set that does contain many excerpts from the album as well as references to previous and future releases. In my humble opinion, this is one of those special albums that every home should have. If it is missing from your life, this is an ideal opportunity to rectify that omission and discover what you have been missing.

THE RESIDENTS. Fingerprince pREServed Edition LP (Cherry Red) Originally released in 1977, ‘Fingerprince’ was the third album from The Residents and, whilst still highly unique and sounding unlike anyone else, saw the band moving towards a more structured style (at least, in comparison to their previous records.) Side one consisted of recognisable songs, some of which (‘You Yesyesyes’, ‘Tourniquet of Roses’) have remained fan-favourites to this day. In contrast, side two featured one lengthy track, ‘Six Things to a Cycle’, which took a more percussion-based approach, possibly influenced by Harry Partch, exotica and gamelan music. Although it has a more serious tone and is an accomplished piece of work, ‘Six Things to a Cycle’’ is also an enjoyable escapade that doesn’t fail to include the bands’ sly sense of humour. This new version of the album has been remastered from the original tapes and really does sound better than ever. Additionally, a second album is included here, which features the brand new ‘Tournament of Roses RDX Suite’, composed and rearranged from the original Fingerprince multitrack tapes, whilst the rare ‘Leapmus’ recording dates back to 1976 and can be seen/heard to be the origin of at least some of the material that eventually appeared on ‘Fingerprince’. For Resident-fans, this additional material offers a glimpse of how ‘Fingerprince’ was first conceived, while the ‘Tournament of Roses Suite’ provides a playful, retrospective re-imagining of the original LP. The album also includes new sleeve-notes and extra artwork, making this a fine reissue that should appeal to old and new fans alike.

THE RESIDENTS. Duck Stab/Buster & Glen LP (Cherry Red/ Ralph) If I had to pick my favourite Residents’ album, this would definitely be one of the front-runners. ‘Duck Stab’ was originally released as a 7” EP and The Residents initially intended to release ‘Buster & Glen’ in the same way but changed their minds and combined the two as an album. I suspect they realised that the songs from the two EPs complimented each other so well and formed such a coherent album when placed together that it just made sense. Whatever their reasons, the result was a truly great album featuring 14 songs, different to anything they’d done before but also remaining true to their experimental ethos. The album includes many of the songs that would become most-popular amongst fans, including ‘Constantinople’, ‘Blue Rosebuds’, Birthday Boy’ and ‘Hello Skinny’, but really you should listen to the album as a whole because there isn’t a bad track on it and the way that the songs work together to create different tones and atmospherics also adds to the overall effect. It was probably the bands’ most accessible record up to that point and also brought their playful sense of humour more in to play, making it a great place for new fans to begin their investigations of the band. This latest reissue is part of the ongoing ‘pREServed’ series, featuring a remastered version of the album plus a second disc including the previously unreleased ‘Shitty Rock’n’Roll RDX Suite’ (created from the original multi-track tapes) plus rare tracks, rehearsal tapes and outtakes. The packaging, adapted from the original artwork, is superb and now includes extensive sleeve-notes to put everything in perspective. I can’t recommend this album enough. If you haven’t already heard it, you really need to do so and this release presents you with the perfect opportunity.

REYNOLS. Peloto Cabras Mulusa Olve LP (Calar Music) You probably wouldn’t expect Argentina to be the home of loud, noisy experimental music, but here we have Reynols creating music that combines Krautrock, Industrial and Noise to create something all of their own. Originally formed in 1993 as the Burt Reynolds Ensemble, they were forced to alter their name to Reynols due to the threat of legal action. However, they continued to work together in various circumstances and have produced music that continues to intrigue. During 1999, they worked as the musical arrangers for a National TV medical show (!) in Buenos Aries, but as an appropriate counterpoint during the same time, recorded these tracks at their own studio. Much of the music was improvised directly to tape, recalling the highlights of Faust back in the Seventies, and was only previously as limited edition cassette, which sold-out rather promptly. Now, courtesy of the San Francisco-based Caler label, the original recordings have been re-mastered and issued on vinyl for the first time. If you music that really tries to break the boundaries, this is something for you. Do your best to hear it.

ROGER CLARK MILLER. Eight Dream Interpretations for Solo Electric Guitar Ensemble LP (Cunieform) Roger Miller is best known as the guitarist in Mission of Burma, a band whose ideas and influence continue to make their mark. They blended abrasive riffs with insistent melodies, hypnotic repetition and avant-garde concepts to create music that was both accessible and genuinely experimental. Their original career only lasted for four years, but in retrospect it’s not far-fetched to say they paved the way for many bands such as Husker Du, REM, Sonic Youth and Pixies. Between their original split in 1983 and their reunion in 2002, Roger Miller continued to record and release music either as a solo artist or as part of the band No Man. Although Mission of Burma have taken-up much of his time in recent years, he has also continued to record and perform independently and has mostly used this option to pursue his more experimental projects. This album is certainly part of that pursuit but it’s also surprisingly accessible in its’ own way. It’s entirely instrumental and uses regular electric guitar alongside lap-steel guitars to create dramatic sounds that often evoke epic imagery. The music does at times recall legendary guitarists like Jimi Hendrix and Syd Barrett, both at the heights of their psychedelic imagination, while the use of sound loops create percussion and bass rhythms to hold things together in an almost rock-style. It’s this element that gives the listener a way in to the music which, as much as it is set far from the mainstream, also moves at an natural and insistent pace. This gives Roger the space to really explore and expand the sounds that creates with the guitars and this is what’s so impressive about this record. At the same time that it seeks to create something new and unique, it also presents the music in a way that could find itself appealing to a wider audience. It really is a fine record and whilst I know that it’s not going to appeal to everyone reading this review, I encourage you to hear it because this is an album that could quite possibly open your ears to some truly great ideas and creativity.

ROME. Hegemonikon CD (Trisol) Rome is a Luxembourg-based ‘neofolk’ project used as the primary output for singer/songwriter Jerome Reuter. The first Rome album was released in 2005 and since then Jerome has maintained a pretty prolific recording schedule (this is the 17th album to date.) ‘Neofolk’ has always been a rather vague genre, embracing both traditional folk elements, industrial music, electronica, and various often darker themes, so it does offer a lot of space for artists to develop their own style and ideas. In this case, Jerome mixes an almost crooning vocal style with both soundtrack-styles and post-punk musical leanings to create highly evocative and atmospheric sounds. Various musicians are brought in to the fold for studio and live performances, as and when required, so Jerome has been able to let his music develop and evolve at a very organic pace, ensuring that fans and listeners are able to understand and appreciate his ongoing work. For this album, he has added new elements, ranging from early new wave experimentation through to synth-pop, a combination that ensures integrity whilst also giving the album a more accessible potential. Creating music that’s genuinely experimental but also appealing to a wider audience is obviously a difficult task, but this is exactly what Rome seem to be aiming for and, on this album, they have certainly achieved it. Not that they’re likely to be storming the pop-charts (these days, who’d want to?) but ‘Hegemonikon’ is a record that I’m sure is going to continue appealing to new fans for years to come. I can’t say that it will appeal to everyone, but it is something that could easily grab your attention and keep you enthralled. At the very least, you should investigate this album for yourself.

ROMEO VOID. Live From Mabuhay Gardens CD (Liberation Hall) Formed in San Francisco during 1979, Romeo Void had a sound that encapsulated the West Coast New Wave scene. They had a quirky, contemporary style that was quite different to the mainstream of the time, but also had plenty of catchy tunes that could appeal to a wider audience. Their visual sense would also play a major part towards their popularity on the fledgling MTV channel, eventually leading to several hit singles. This is their first official live album, recorded in San Francisco just as they were preparing to start work on their debut LP, ‘It’s a Condition’. As a result, the set features eight of the songs that would appear on the album, as well as one that would appear only as a b-side and two other tracks that have remained unreleased until now (including a cover of the Sixties hit, ‘Double Shot’.) The songs still sound interesting, making use of repetitive rhythms and melodic hooks courtesy of either the guitar or saxophone. But perhaps most remarkable are Debora Iyall’s vocals and lyrics. She has an almost Bluesy style with genuine character and powerful expression which, combined with songs that explored her sense of alienation and identity, were way ahead of their time. I can’t say that this will appeal to everyone, but if you are interested in genuinely intelligent and creative pop music, this is something you ought to check out.

ROZENHALL. Dance of the Aberrant LP (Adaadat) Daniel Rozenhall is a composer and record producer based in Stockholm. This current project finds him in collaboration with Sten Backman, a visual artist who has previously worked with JG Thirlwell (Foetus / Wiseblood.) Together, Rozenhall and Backman have produced a multi-format creation, featuring this soundtrack and an experimental film that visually represents it. Musically, I would suggest that a good comparison would be Coil, or at least certain parts of their music, as well as some of the original Faust albums. This record features two lengthy tracks which delve into different aspects of sound. ‘Drone of the Aberrant’ takes a slow, deliberate pace to develop, with noises in the background gradually becoming more prominent and integral to the track. It’s quite unsettling in tone but at the same time, highly compelling. ‘Dance of the Aberrant’, despite the suggestive title, is not a remix intended for clubs, but a noisier and more ornate track in its’ own right. Formed around another repetitive motif, this features a more prominent accompaniment from the outset, including erratic beats and electronic interference, until it eventually subsides in to a more sinister, atmospheric outro. This record is being released on vinyl in a limited edition of only 199 hand-numbered copies, so if you’re intrigued you’ll need to find a copy soon. If you’re a fan of Krautrock and the early Industrial scene, this is something that I’m sure you will enjoy.

SENESTRA. Stanford CD (Fourth Dimension) Senestra is a new project put together by two musicians (Puppy 38 and Alan Rider) who have both worked with various experimental outfits over the years. This particular album is based on the infamous ‘Stanford Prison Experiment’, which took place in 1971. A small group of students volunteered to take part in a psychological study, whereby half of the subjects would take the role of prison guards and the others would be the inmates. Originally intended as a two week trial, the experiment was abandoned after only six days when the subjects began to adopt violent and abusive hierarchical behaviour towards each other, quickly embracing their roles and content to enforce their power or status. Senestra have set-out to capture the disturbing atmosphere and ambience of the original experiment and have chosen to use original analogue equipment to create the appropriate sounds. The album has no lyrics as such, but sampled-voices are scattered throughout the album, usually mixed low in the background so that you can only catch some of the dialogue. It certainly helps to create the tones of paranoia and claustrophobia that the album undoubtedly delivers. Overall, it has a similar effect as some of the early albums by Nocturnal Emissions, music which will evoke a genuinely unsettling reaction in the listener but at the same time continue to draw you in and compel you to pay further attention. Whilst electronic music is not to everyone’s taste, this is a great album and I am happy to recommend it. PS – be patient at the end of the CD, as there’s also a hidden track to be found!

THE SHANG HI LOS. Aces, Eights and Heartbreaks CD (Rum Bar) Imagine a mix between the best Seventies Glam-rock, Sixties Girl-bands and the more memorable moments of New Wave pop… There’s more to the recipe, of course, but I think these elements will give you a good indication of where the Shang Hi Los are going. There are certainly comparisons to be made with the first three or four Blondie albums, in the way that they could switch and embrace different styles but always end up sounding like themselves. The production is really sharp, bringing the melodies and harmonies to the forefront without losing any of the energy or momentum of the individual songs. Hand-claps and stompin’ feet add to the taste, making this an excellent treat. Don’t be silly, be sure to hear the Shang Hi Los as soon as you can!

SLAMDINISTAS. Shoot for the Stars CD (Rum Bar) Not so much Rum Bar as Pub Rock in this case (and I mean it as a good thing.) Slamdinistas are from Los Angeles and delve into the kind of loud, no nonsense, dirty rock’n’roll that should be the soundtrack for every bar or dive that you frequent. Think of bands like the Heavy Metal Kids or the Pink Fairies and you won’t be far off the mark, but their sound is also not so far removed from the likes of the Heartbreakers or (early) Dr Feelgood as well. They’re not afraid to indulge in slower, more atmospheric numbers, either, particularly the excellent ‘Knocking On America’s Door’, which recalls the original Alice Cooper band in their heyday. You’re gonna love this record or not and it’ll be an instant gut reaction, so be sure to hear it.

SNAPBLADES. Cheap And Nasty EP (Vinyl Eddie) Snapblades are a two-piece punk band but I’m unable to give any more details as they are refusing to indulge in the usual social media shenanigans. I’m not even sure where they come from (although the record label is based in York, which may be a clue…) To their credit, though, they’ve taken the stance that bands who spend their time posting details on facebook, bandcamp etc are merely being co-opted into an internet popularity contest and, as they point out, that’s not a very punk rock thing to do. Instead, they want to see if people can ‘still muster the effort to find music, without it being spoon-fed to them’. I can certainly understand their position and, while I don’t entirely agree that social media is to blame, I do think that the way it has been used and manipulated in general has had many damaging effects across many different levels. So good for Snapblades in taking a stand and highlighting this issue. Now, on to their music… despite being a two-piece, Matt and Dan provide a full band sound for these recordings rather than going for the stripped-down sound that most duos seem to go for these days. The songs have plenty of energy and are played in a convincing manner, full of catchy hooks and attitude. It’s a pity that there was no lyric sheet with the promo I received, as the lines that I could pick out seem to be pretty interesting and I would have liked to know more about them. There are four originals tracks on this EP plus two rather obscure covers. The first, ‘Broken Toys’ was originally by a band called Flint who were also based in Yorkshire. Snapblades deliver a fine, enthusiastic version of a frantic but surprisingly tuneful song. ‘Anti Social’ ends the record and is apparently a track by a band called Media Control but despite there being several bands using that name around the world, I’ve been unable to find out which one wrote this song. But it is rather good, slower than the rest of the EP but done in a powerful, enticing style. And, as a bonus, there’s also a second version immediately after the first! Sounding like a live recording, it has a different vocalist and is played in a raw, noisy style that had me recalling Rema Rema at their most primal. Overall, this is a really good set of songs and, for many reasons, it deserves to be heard.

SO LONG, SPACE GIRL. Your Heroes Are All Dead (www.solongspacegirl.com) Having formed in Oxford back in 2019, So Long Space Girl started to get themselves together only to be interrupted and hindered by those fiendish lockdowns, so it’s quite impressive that they’ve managed to settle on a highly capable line-up and have also written a solid set of songs that display a focused direction and impressive song-writing talents. Their music is a catchy mix of pop-punk (think of more recent Green Day albums and Brit-bands like the Senseless Things and The Subways) and more rock-orientated ‘indie’ bands like Ash or Idlewild. They’re self-releasing this album, which is a good display of confidence, and I can only think that the more they play live and receive feedback from this record, the more they’re going to hone their own style and sound. The only thing that lets them down a bit is the production and arrangements, which tend to make the songs sound a bit too similar, but these are things that bands have to learn along the way and I’m sure they’ll get there. In the meantime, this is an album with a lot of potential on show and I’m more than happy to encourage you to investigate further.

THE SPEEDWAYS. Talk of the Town CD (Kool Kat) Having seen and enjoyed The Speedways more than a few times here in their native London, it was a bit surprising to discover that their latest record was being released on the American label Kool Kat. But taking everything in to account, they’re just the kind of powerpop / rock’n’roll that Kool Kat love to work with and, all things considered, The Speedways certainly deserve to be heard by a wider audience. What do you need to know? Hints of the Flamin’ Groovies, the so-called ‘Paisley Underground’, memories of the best bands to come out of Australia during the mid-Eighties (Go Betweens, Died Pretty etc) but most importantly, plenty of outstanding songs of their own, buzzing with catchy melodies and subtle energy. This is the kind of music that ought to be on each and every radio, night and day. Need to be convinced? Just listen to the band and then try to tell me it ain’t so…

SPOTLIGHTS. Alchemy for the Dead CD (Ipecac) Having not known of this band before, I was intrigued to hear them. After listening to this album several times, I’m still not entirely sure what to make of them but I will say that I mean that in a positive way. The band play at a steady pace throughout this record and also take their time to develop the individual tracks (Only one song fails to reach the four minute marker and most are over five…) They contrast quieter moments with outbursts of angry noise, metallic in tone but definitely no ‘heavy metal’. If anything, their music owes more to Seventies Hard Rock (I definitely detect some Sabbath in there) but at the same time I would suggest some similarity with Swans and even The God Machine, not necessarily in terms of sound but in the way they build and arrange their tracks, contrasting the sound and moods as they move along. It’s powerful, dramatic and convincing, something you’ll want to sit back and listen to intently and definitely not something you’ll be able to play in the background. I will want to hear more from this band.

THE STUDIO 68. Back With The Boys EP (Detour) The Studio 68 were a contemporary Mod band who first existed back in the 1980’s, releasing just a couple of singles before splitting up in the early 90’s. However, their music was too good to disappear forever and their reputation steadily continued to grow, thanks to appearances on several compilation albums. Their long-lost album ‘Portobello Hello’ was finally released in 2014 and soon after, the band reformed. They’ve released several new records since then and this is their latest, which is sure to please all of their fans. Still based around their Mod roots, this four-tracker also veers towards a psychedelic direction, perhaps like Syd Barrett producing the Small Faces. The songs are based around solid, shuffling grooves, with stylish guitars and keyboards colouring the melodies and adding the spice. As an additional element, the band are also joined by Dani Turner, who provides her emotive vocals on two of the cuts and totally nails it! If you want to hear the real deal, then this is gonna make you feel very happy.

THE THANES. Les Thanes EP (Rogue) The Thanes are without a doubt stalwarts of the Garage/Psych scene, having been together for more than 35 years and having released 8 albums during that time. Edinburgh may not be the obvious location for such a well-respected Pebbles-style combo, but it’s certainly worked for them! This new release appears on the French Rogue label and features four new songs that combine the best elements of Sixties underground music. Catchy, concise tunes, melodic keyboards, solid rhythms, suitably sorrowful vocals and fuzzed-out guitar breaks. ‘For What Reward’ and ‘Heed the Warning’ are both original tracks, while ‘It’s Dark’ was originally recorded by Australian band The Twilights, and ‘You’ll Never Do it Baby’ is best known for the version played by The Pretty Things. Great songs played by a great band… can you dig it?

TINA AND THE TOTAL BABES. She’s So Tuff CD (Rum Bar) Originally released on Sympathy for the Record industry way back in 2001, this was a one-off album featuring Tina Lucchessi of The Trashwomen (while the Total Babes were actually all male…) You could call this powerpop and it’s clear to see the influence it’s had on the current resurgence of such bands, but there’s a lot more to this than one convenient genre can cover. Obvious references to Sixties Girl bands and West Coast female-fronted bands like The Muffs, early-GoGo’s and The Fastbacks, plus certain hints of early Blondie and The Runaways. This is all about girls being ‘tuff’ and playing what they want, whilst hooking the listener with totally infectious melodies. And it oozes attitude! They include a cover of the Holly & the Italians classic, ‘Tell That Girl to Shut Up’ which fits-in perfectly, while the final track, ‘It’s Tina Time’, steals a beat from The Glitter Band, adds some noisy guitars and stomps all the way to the fade out. I really can’t think of any reason why anyone would dislike this album. It rocks in all the right places (and probably a few others.) Play it loud for the perfect party!

TOILET RATS. IV LP (www.toiletrats.bandcamp.com) Toilet Rats are, in fact, a one-man operation (that man being Tommy Ratz) and are currently based in a subterranean studio somewhere in Minneapolis. From their name, I was expecting something punky but a bit more basic than this. But although they’ve obviously got plenty of energy and know how to deliver no-nonsense guitar sounds, Toilet Rats also bring keyboards and electronic drums in to their mix. The opening track, ‘Haunted Haus’, begins in a distinctly ‘new wave’ style before the guitars kick-in, at which point it hits the ground somewhere in between the Misfits and the Epoxies. It works really well as the 80’s- style ‘synth-pop’ elements are twisted and distorted in an almost Industrial manner to provide a suitable rhythm section, while the guitar and vocals provide the power and attitude. The songs are kept short and to the point, making sure that it comes across as good, noisy fun. As long as you can share the sly sense of humour, there’s no reason why you won’t find this very entertaining. And there’s even a song about ‘Nessie’, the first I’ve heard since Alex Harvey released his ‘Loch Ness Monster’ LP… after all, why shouldn’t legendary Cryptids want to rock-out as well? Yup, this is a good album – click the link and check it out!

TV SMITH & THE BORED TEENAGERS… REPLAY THE ADVERTS LP (Easy Action) The Adverts were one of the great UK Punk Rock bands and, although they were only together for a relatively short period of time, left two albums and a bunch of singles that still sound great to this day. Although never tempted to reform The Adverts (or even put a new line-up together and try to pass it off as The Adverts) former frontman / songwriter TV Smith has been comfortable enough with their legacy to perform the songs, either as a solo performer or with a full band (clearly defined as a different band.) The Bored Teenagers, featuring members of Spanish band Suzy y los Quattro, are the band he most often plays with and if you ask anyone who’s seen one of their gigs in recent years, you will no doubt receive confirmation that they do things properly. Not a studied muso-like recreation of the original records, but new versions that capture the energy and spirit of the songs. They sound great, playing in a way that sounds natural to them, and it really wouldn’t work if they tried to do it any other way. Down to the specifics of this album, in the Summer of 2022, the band played a storming set at Rebellion Festival and the following day entered a studio to record the entire 18 song set just as it had been performed – one take, no overdubs, no messing around. The results are about as close as you can get to actually being at one of their gigs. Of course, the atmosphere of the audience is missing, but as they play through the songs, you get a real sense of their energy and a feel for the passion of the performance. It certainly doesn’t come across as mere nostalgia because it sounds so vital and in the moment. This is the real thing, songs that remain relevant and a band that puts themselves into their delivery. Do you need to know more? Play this album loud and wish that you’d been there when it was recorded!

UBIQUITOUS MEH! The Love Pseudomorph (https://ubiquitousmeh.bandcamp.com/album/the-love-pseudomorph) Minimalist pop, something like The Modern Lovers conspiring with Bis and then being re-arranged by The Residents, perhaps? A unobtrusive drum machine pins down the rhythm while the Sixties-style organ has that almost slurred neo-psychedelic sound that gives the music an almost dream-like quality. The vocals add a peculiar narrative to the affair, occasionally a bit shouty but never overbearing. This is all about the songs and although the production may be comparatively lo-fi, it catches the warmth of the individual tracks perfectly. If only John Peel was still around, I’m sure he’d be playing these tracks every night!

URBAN JUNIOR. Urban et Orbi LP (Voodoo Rhythm) Based in Zurich, Urban Junior was once (allegedly) a member of a successful Boy-band, but had a ‘creative brain explosion’ and’ changed big-time’. I have no idea if the story is true, but I hope so! This is his third LP and it’s a lot of fun. Trashy keyboards, nicked from New Wave and fucked-up in all the best ways, electronic beats, samples, vocals that sound like they’re sneering at you and shed-loads of energy and attitude. If the boy-band story is to be believed, then this is the anti-boy-band. As far away from commercial considerations as you can get, but never afraid to include a catchy hook. And surprisingly danceable… I could imagine deranged kids (and maybe a few older reprobates) wreaking havoc at their local discotheque while these tracks are being played… It just goes to show that punk rock is still mutating and still setting out to annoy all the people that deserve to be annoyed. Seek and enjoy!

V2. Johnny Rocco 7” (Still Unbeatable) V2 were one of the early punk bands in Manchester, releasing the ‘Speed Freak’ 7” and ‘Man in the Box’ 12” in 1978. They had a raw punk sound with hints of glam-rock which helped to set them apart from other bands of the time. Although they had split by 1980, the band briefly reformed for some live appearances in 1985 and again in 1996, this time also releasing a new single, ‘Is Anyone Out There?’ I’m not sure what they’ve been doing since then, but this record features two new tracks and they both sound better than ever! ‘Johnny Rocco’ is a great slice of catchy Punk Rock with an infectious singalong chorus whilst b-side ‘Carcrash’ is just as powerful, sounding like a cross between the Dead Boys and The Ruts. Yeah, that good! The production is clear but doesn’t lose any of the bands’ raw energy, making this record something that you’ll want to play again and again. After hearing this, I can only hope that the band don’t keep us waiting so long for their next release!

WARFARE. The Lemmy Sessions. 3 CD set (Cherry Red) Drummer / vocalist Evo had already played in punk bands such as Major Accident, The Blood and Angelic Upstarts before forming Warfare in 1982. Inspired by bands like Motorhead and Venom, whose raw sound appealed to both punks and metal fans, Evo set out to form a band that would merge the different styles even further. Having already released several EPs and their debut album ‘Pure Filth’ during 1984, the band started work on ‘Metal Anarchy’ the following year, creating what many regard as their definitive album. After a chance meeting at a London gig, Evo also managed to secure the production-services of Lemmy (one of the few times Lemmy acted as producer for a project that wasn’t his own) which ensured they’d be working with someone who appreciated the sound they wanted and knew how to achieve it. The results still sound remarkably powerful even now, almost 40 years later, and it’s still quite bewildering that it wasn’t more successful at the time (although their decision not to tour probably didn’t help.) But it can certainly be said that ‘Metal Anarchy’ was an important step towards the more aggressive styles of Metal that would emerge over the following years. The thing is, for all of their punk rock approach, excessive volume and frantic tempos, Warfare were also able to include melodic hooks in their music which would ensure that the listener wasn’t going to forget the songs once they had finished. They had the power, the attitude and the tunes, which made for a great combination and this new, expanded version of ‘Metal Anarchy’ proves the point. The original album has been remastered and a few small tweaks made to present the best possible version. However, alongside this there’s also a disc of the original monitor mixes, made by Lemmy before the final production. These present the tracks in a way that’s more true to how the band played live, before any studio tricks were used to tidy-up anything that wasn’t supposed to be there. As such, some fans are undoubtedly going to prefer this version, so it’s a real bonus to get to hear these tapes alongside the finished album. Finally, the third disc includes tracks recorded for the ‘Two Tribes’ and ‘Total Death’ EPs, as well as a previously unreleased alternative mix of ‘Two Tribes’. Both EPs are good in their own right and certainly worth hearing, but seem very separate to what the band achieved on ‘Metal Anarchy’. Either way, this is an album that, if you enjoy the more brutal aspects of Metal, Punk and Hardcore, needs to be heard.

WASTE. The Next Century is Almost Over EP (Subunderground) Waste were originally active in the early-80’s Dutch punk scene, releasing one EP (‘History Repeats’) in 1982 which is now quite collectable. Fast-forward to 2021 and original guitarist Hans establishes the Subunderground label to release an EP of rare and previously unavailable recordings by the band before concentrating on his current combo, Ford’s Fuzz Inferno. They release four EPs and an album (all highly recommended) before the label refocuses on Waste once again. This release, featuring four brand new recordings, is their first all-new material in over 40 years! I think the line-up still includes all of the original members… there’s a bit of confusion but Klaus, Fred and Hans are definitely there whilst the singer is (possibly) listed with a different nickname. But all that aside, the four new songs are great and sound totally authentic. The new songs recall the best moments of early-80’s punk rock, from Anarcho through to Oi!, and much like Ford’s Fuzz Inferno, they have a definite knack for combining loud, noisy energy with catchy melodies and insistent guitar hooks. In fact, the comparison between Waste and FFI goes even further, as Waste do a version of ‘Ups and Downs’ from the recent FFI EP. It’s delivered in a pretty different style, but works just as well as the original. I’m unsure if Waste intend to continue, but after this EP we can only keep our fingers crossed. It’s a limited edition, so be sure to get a copy soon.

WINGMEN. S/T CD (Cadiz) You may well be familiar with this album by now, or at least know who’s involved. But for those of you who haven’t heard the news, Wingmen feature an impressive cast including Baz Warne (Stranglers), Paul Gray (The Damned), Leigh Heggarty (Ruts DC) and Marty Love (Johnny Moped band.) They came together during the lockdowns, as something to do whilst their regular bands weren’t active. The songs were written and recorded in isolation, with files and ideas being shared over the internet. Not the ideal way to record an album, but the results are surprisingly solid and effectively delivered. Every member of the band produces an impressive performance and if you’re a fan of any of the individual musicians, you’re going to enjoy this record. If anything, there is probably more of a similarity to (recent) Stranglers material (I suppose with Baz handling the vocals that was inevitable) but repeated listens will allow you to pick up the many nuances from each band member. The songs bring out the best from everyone involved and the lyrics veer from personal observations to witty comments about little Britain and the farcical own-goal that was Brexit. The production perfectly captures the spirit of the songs and you would never guess that the band weren’t altogether in the same studio while the album was recorded. In fact, that’s probably the most exciting aspect of this project… now that they are playing live and getting the chance to develop their music more organically, it’s going to give them the chance to take things even further with their next record and that’s a very exciting prospect! In the meantime, you really need to hear this album. It’s not just for fans of the ‘other’ bands as it stands up in its’ own right and does so very impressively. This is certainly going to be one of the best albums of the year!

WRONG WAR. On Further Reflection 7” (Council) Wrong War formed in Chicago during 2019 and have been releasing records for several years. With that experience behind them, they obviously know what they want to achieve and this three-song EP is a very confident record. The title track reminds me of bands from the mid-Eighties Washington DC scene (Rites of Spring, Soulside etc) perhaps with a chunk of Articles of Faith thrown-in for good measure. It’s also quite a lengthy track, split into two distinctive parts that perfectly compliment each other. ‘The Call’ is a faster track, this time making me think of bands like Government Issue and (certain records by) MDC. Final song, ‘Darkness Flags Unfold’ is another fine track, with a sound that deserves the same kind of comparisons as its’ predecessors. The thing is, although the tempos may be fast, they maintain a careful balance that displays plenty of passion and aggression but also keeping the music interesting, exciting and accessible. It’s distinct from early Punk Rock, but at the same time avoids going too far in a Hardcore direction and as a result, it’s a record that should appeal to fans of either style. Anyway, if you want to investigate further (and you should) seek them out on their bandcamp page. (https://wrongwar.bandcamp.com/)

V/A. 1981 – ALL OUT ATTACK! CD boxset (Captain Oi!) By 1981, the mainstream press (and the lazier parts of the music press) were declaring that Punk was dead and buried. However, whilst self-serving pundits blagged-away, the bands were actively proving them wrong. Those from the 1976/77 era (Chelsea, the Damned, Ramones, UK Subs and The Boys) were still producing some of their best-ever material, while newer bands like Blitz, Killing Joke, Theatre of Hate and Rudi were releasing records that took Pun k to a whole new level without losing any of the attitude and energy of their predecessors. In retrospect, there are plenty of losers who want to claim that ‘post-punk’ was a separate movement and genre, but in reality punk happened quickly and also mutated rapidly, allowing different ideas and styles to develop. Joy Division, for example, were a million miles on from Warsaw, and New Order were a million miles on from Joy Division, but they were basically the same band with the same intent and Punk gave them the space to develop. Do you understand? Back to this compilation, it includes tracks that would now be called Punk Rock, Oi, Post-punk, Industrial, Anarcho-punk, Rockabilly, Hardcore and even the dreaded New Wave, But at the time, it was all part of the same scene and while you didn’t have to like everything, it was all there for you to make your own decision for yourself. In the intervening years many of these desperate-hopefuls managed to go on to bigger and better things (The Nips produced Shane MacGowan, Killing Joke remain one of the most popular live bands in the UK, while The Professionals have returned with new material and reliably great live shows.) There are many bands from this era that still remain respected (Stiff Little Fingers, TV Smith, Discharge, Chron Gen, The Business, Flux of Pink Indians, Tenpole Tudor) but many of the lesser-known bands still sound as fresh, exciting and vital as they always have been. Zoundz, Rudi, The Business, Demob, The Cravats are just a few of the examples you’ll find on this excellent compilation. Basically, can you afford to miss a collection of songs that capture the spirit of a time so perfectly? Perhaps the mainstream was full of synth-pop and new romantics, but there was also plenty of real attitude scratching their names on the walls. Perhaps you won’t like every song on this collection, but there’s plenty that will still make your blood bubble. Don’t miss the chance to mutate!

V/A. BORED TEENAGERS #14 CD (Detour) The ‘Bored Teenagers’ series of compilation albums is dedicated to unearthing rare or previously unreleased tracks by bands who were part of the Punk scene at the grassroots level between 1977-82. Many of these were short-lived bands who rarely got to play outside of their hometown, but nonetheless managed to make some recordings. ‘Bored Teenagers’ is dedicated to rediscovering these bands and releasing the hidden gems so that they don’t become lost to time. That the series has reached its’ 14th album shows what a large amount of bands were inspired by Punk to do their own thing and also indicates that there are still plenty of fans who want to hear this stuff. This album kicks off with six tracks from Raw Material, a band from Lancashire who had a snotty but melodic style that specialised in short, fast songs. Recorded in 1979, their energy is still evident and it’s clear that they could have got a lot further had they been based in London. Next up are Street Spirits, another Northern band who actually released one very rare single. They weren’t together very long and not much is known about them, but these tracks reveal that they were going for a raw mix of Pub and Punk rock. Psycho Normal and his Stiff Victims were from Brighton and also played gigs in London. Their style embraced Punks’ attitude and tempos but they weren’t afraid to use keyboards in an arty, almost glam-rock fashion. They recorded a three-song acetate, which is where these tracks come from. Next up, Relapse were from High Wycombe and featured a 14 year old singer. They played a lot in their local area and built up a regular following but sadly didn’t manage to play further afield. The three demos here are all pretty raw and basic, but the attitude shines through. Carnage were from Gosport and again, little seems to be known about them, but their three songs are surprisingly catchy and display some interesting ideas that helped to set them apart from everything else. The Violators (not to be confused with the band who were later on No Future) were from South East London and only lasted the course of 1977. They didn’t play live too often, but did record these three demos which show them playing basic but solid Punk Rock that could only have been recorded in 1977! The Vamp came from North Kent and evidently went through several different line-ups, but the first four songs were recorded by the bands’ first incarnation, while ‘3D Vision’ was recorded later on. The music veers from basic raw punk rock through to more restrained New Wave style pop. Final band, The Catalist, also released one single which is pretty difficult to find these days. Based in Glasgow and featuring female vocals, they’ve actually got a much more ‘indie’ sound, comparable to The Mo-dettes or The Raincoats perhaps. So, there you have it, thirty tracks that you’ve probably never heard before, but there are plenty of goodies to enjoy. Check them out and be amazed that after nearly five decades, Punk Rock still has some surprises for you!

V/A. Err02 7” (Council) This is an interesting release, partly because I already know and like two of the featured bands (Kirkby Kiss and Wrong War.) That’s a good start, but then it turns out that all four tracks sound great. Grey Cell, from Philadelphia, play a short, fast and brutal style of hardcore, mixing early NYHC and Poison Idea’s faster moments together with an almost drone-like riff to produce something very effective. Wrong War (Chicago) take a more nuanced approach, that recalls the likes of Articles of Faith and Squirrel Bait in a highly insistent fashion. Kirkby Kiss (Jersey Shore) take a slower pace but lose none of the power already generated by the previous bands. Harsh vocals scream over repetitive chords and pounding beats to produce some fine, insistent noise, while finally, Hundreds of AU (New Jersey) complete the record with a frantic style which mixes chaotic power violence with slower, almost metallic breaks to create something exciting and compelling. This is a great sampler because all for bands deserve to be heard. If you have any problems finding a copy,. go to www.instagram.com/council_record

V/A. Lifetime Problems (An International Tribute to The Dicks) EP (Take the City) To celebrate the 40th Anniversary of The Dicks’ classic debut album, ‘Kill From The Heart’, Take the City records (Spain) have worked alongside Frantic City (France) and Die Hipster! (USA) to release this 7” EP containing seven different bands covering songs by The Dicks in their own inimitable ways. It’s a great concept for a release because, although usually referred to as ‘punk’ or ‘hardcore’, The Dicks were so much more than any one label could ever get close to. Musically, their punk rock could be frantic and exhilarating, but listen closely and you’ll hear Blues and Country in their mix, whilst ‘politically’, they were left-wing, anti-racist, anti-war and singer Gary Floyd was openly gay. You can imagine how well all of that went down in Texas during the Reagan Era! As such, their music has retained its’ vitality and lends itself to different interpretations, allowing other bands a chance to add something of themselves to the songs they perform, which is always the best way to handle a cover. The artists featured on this EP, Brat Farrer (Australia) Illegal Leather (UK) Lady Banana (Sweden) Bart and the Brats (France) Mitch Kramer (USA) The Delinquents (Italy) and the Goodbye Johnnys (Swiss) all take advantage of the opportunity and deliver tracks that are a credit to both themselves and The Dicks. What more do you need to know? Just go out and buy a copy!

V/A. STRONTIUM 90, SHRIMPS & GUMBO – LUX & IVY DIG MOTORCYCLE BOOTS AND MUTANTS CD (Cherry Red) Another fine collection of rarities and crazy rockers from this excellent series. With many of these records now dating-back 50 or 60 years, it’s difficult to really appreciate how outlandish they would have sounded at the time of release, although some still sound way-out weird even now… check out Cliff Gleaves’ ‘Long Black Hearse’ Bobby Sue and her Freeloaders’ ‘Relief Check’, or Jimmy Lee Prows’ ‘You Tell Her I Stutter’. You’ll be completely perplexed why anyone would want to write lyrics like these, although at the same time just as glad that they did. Elsewhere, you’ll hear Sonny Adams crooning ‘I’m in Love with a Mutant’ (30 years before John Cooper Clarke declared ‘I Married a Monster from Outer Space’.) Similarly, Scatman Crothers delivers ‘A-Gruntin’ and A-Groanin’’, his primal tribute to the mayhem of the wrestling ring, decades before the Cramps paid homage with ‘The Crusher’. You also get a chance to hear Vaughan Monroe singing the tragic tale of ‘Black Denim Trousers and Motorcycle Boots’, a song often covered over subsequent years, but I think this may be the actual original… There really is so much to enjoy on this record, from Robert Parker ‘Twistin Out in Space’ and Deacons’ ‘Rockin’ on the Moon’ through to Billy Joe Royals’ ‘Dark Glasses’, The Aladdins on their ‘Magic Carpet’ and Woody Byrds’ ‘Jazz Vs Rock’n’Roll’. The album ends with ‘Fidel Castro Rock’ from Danny Williams, a song so unlikely that you really have to hear it to believe it. But that’s the true beauty of this album. You really don’t know what the next track is going to sound like, but you know it’ll be worth hearing. As a great man once said, ‘if you can’t dig this, you can’t dig nothing!’ How true that remains.

V/A. WHERE HAVE ALL THE BOOTBOYS GONE? CD box set (Captain Oi!) Subtitled ‘A Celebration of Yob Rock’, this is a great collection of bands who provided influence and inspiration for the Punk and Oi movements that would emerge over subsequent years. While many cited the Stooges, New York Dolls and the MC5 as prime influences for the early UK punk scene, the truth was that it wasn’t so easy to actually hear those bands in the mid-Seventies, so many aspiring punks resorted to the bands who lurked on the live circuit, playing a raw mix of pub rock and Glam-stomp, infused with a more anti-social attitude. Imagine Dr Feelgood mixed with Slade while waving two-fingers at everyone! The first disc introduces you to various well-known names (The Faces, Mott the Hoople, Sweet, Slade, Sensational Alex Harvey Band) and by delving into their less well-known tracks manages to deliver some really great, no-nonsense rock’n’roll with plenty of sneering menace in evidence. Elsewhere, less known bands like Third World War, Bilbo Baggins and Stevie Wright provide some excellent pre-punk noise, while the Hollywood Brats and Hammersmith Gorillas effortlessly fit the bill in their own inimitable fashion. Disc Two starts, surprisingly, with Paper Lace (better known for their MOR hits) and their surprisingly edgy ‘So What if I Am?’ before delving into more obscurities and a selection of bands like Motorhead, Cock Sparrer and Eddie & the Hot Rods, who all had their roots entwined in this scene. The Heavy Metal Kids were one of the best bands to cross over between early Seventies rock and Punk, although they rarely receive the credit for it, while bastions of the early Punk scene like Sham 69, Slaughter & the Dogs, Menace and Johnny Moped all embraced the stripped-down sounds and snotty attitudes to full effect. The third and final disc illustrates how elements of the earlier bands filtered into the emerging punk rock movement. Suitable selections from the likes of London, The Rezillos, Cockney Rejects, Angelic Upstarts and The Professionals all betray their origins, while less successful bands like Cyanide, The Daleks and The Stiffs kept the grass-roots alive. You can imagine Mary Whitehouse complaining about every track included here, but really this was music that just meant to be fun. Overall, this is a really enjoyable set of songs and sounds like the soundtrack to the liveliest party you ever dreamt about. Play it loud and annoy the neighbours all over again!