RECORD REVIEWS, JANUARY-JUNE, 2025.

RECORD REVIEWS, JANUARY-JUNE, 2025.

ABERMALS. Believe CD (Engineer) I may be old and forgetful (as opposed to be young and forgetful) but I’m pretty sure that this is the first band I’ve ever reviewed from Mallorca. Singer / guitarist Chris Spath has been involved with various bands in various countries (I expect Tidal are the best known) and you can read all about his escapades in the excellent book ‘This is My Everything’ (see book reviews.) Anyway, back to now, Abermals have been together since 2020 and this is their third album. Musically, the songs take their cue from a wide range of influences and you can hear hints of punk, post-hardcore, alt-rock, indie and perhaps even a few more experimental leanings. It’s as if they’ve started with the Lemonheads ‘It’s a Shame About Ray’ album and then decided to see what other ideas they could add to it. At some points, it had me recalling Vic Bondi’s quieter, more introspective moments while others had me thinking of a cross between Shudder to Think and Buffalo Tom. Not that it sounds closely like those people, but more that they’re exploring similar sonic territories (and doing it well.) This is a record that you need to hear with a completely open-mind… don’t try to double-guess it or figure-out what to expect, just listen and make your mind-up. There’s a lot to enjoy but you’ll need to listen without preconceptions.

ALL / DESCENDENTS. Live Plus One LP (Epitaph) First time on vinyl for this double album featuring one disc of ALL live in 2001, while the other has the Descendents at the Whiskey a Go-Go in 1996. Originally released on CD in 2001, I remember being a little disappointed at the time because the recordings seemed to lack any sense of the atmosphere which is always an important and integral part of ALL / Descendents shows. The selection of songs and the actual delivery by both bands is faultless but something seemed to be missing. Well, now that the recordings have been remastered for vinyl, you can really tell the difference. There’s something intangible about this album, but it captures not only the sound of these bands but also the spirit of the performances and the interaction with the audience, those elements which lift a band from good or great to awesome. I know some will claim there’s no real difference, but just play these loud and let the sounds surround you… I’m sure you’ll understand what I mean. Featuring 43 tracks in total, this is a real treat for any true follower of the All-O-Gistics!

THE CHORDS UK. …But Then Again CD (EPop) This triple-disc, 44-track compilation is nominally referred to as a ‘Best of’ collection, but in keeping with Chris Pope’s musical ethos this set offers so much more. Fair enough, it does feature the many highlights from the bands career-to-date, as well as selections from the original Chords and his solo-recordings, but many of these tracks are different versions to the original releases, alongside live recordings and previously-unreleased songs. It’s also nice to note that, although some of The Chords’ best known songs (‘Maybe Tomorrow’, ‘British Way of Life’) are included, the set doesn’t rely on them and, indeed, it’s actually some of the more recent moments (‘Hey Kids! Come the Revolution’, ‘Gentrified the Elephant’, ‘Twenty First Century Girl’) that steal the limelight. The track-sequences have been carefully selected to let the discs play as coherent albums in their own right, with the moods, tones and tensions building-up and coming-down in a natural way, following the atmosphere of the music rather than just presenting one track after the other. In many ways, this presents an almost filmic quality, which is fitting as Chris Pope’s lyrics have often had a dramatic, observational quality, with a sly sense of humour always lurking just below the surface. The choice of songs also helps to show the range of influences and styles that Chris’ song-writing has spanned. Although still referred-to as a ‘Mod-revival’ band, The Chords always had a lot more to offer than that genre suggested. Punk, powerpop, Ska, Sixties Beat bands and even some of the better moments from Seventies rock (Mott the Hoople etc) all played their part, allowing The Chords (and now Chords UK) to stand-out in the crowd and also ensured the longevity of their music. There aren’t many triple-albums where you’ll actually want to hear all three discs in one sitting, but trust me, this is one of those occasions. You can listen to them one at a time, but altogether makes the most sense and really shows how much great music this band have produced. Let’s hope that there’s plenty more still to come.

THE CLANG GROUP. New Clang CD (Fretsore) Clive Langer’s musical career started back in the Seventies when he co-founded the band Deaf School. Although they didn’t achieve mainstream success, they established a cult-following that endures to this day. In 1979, he also began recording solo material as Clive Langer and the Boxes and after Deaf School split in 1983, he played alongside their singer, Bette Bright, in her ensuing band The Illuminations. However, it was his talent as a producer which would bring him the most attention. In the late Seventies / early Eighties, he worked on classic albums by Madness, The Teardrop Explodes, Elvis Costello & the Attractions and Dexy’s Midnight Runners, building a reputation that would keep him busy for the following decades when he would also work with the likes of Morrissey, They Might Be Giants, Aztec Camera and Catatonia. However, he has always found time to write, record and perform his own music, This is the second album under the ‘Clang Group’ moniker and veers back towards his musical roots (indeed, the line-up includes two other members of Deaf School and a bass player on loan from the Klaxons.) The songs have their roots in the early Seventies pub rock / Art school scenes, with plenty of energy, catchy hooks and a quirky nature that will keep you precariously balanced on you tip-toes as you try to catch everything that’s going on. Clive Langer may have been an understated figure in popular British music during the past five decades, but even a cursory glance at the work he has done, either with his own music or others, will reveal an artist who has certainly made his own substantial mark. ‘New Clang’ is an enjoyable album that shows that music is still an integral part of who he is and proves that he still has genuine intent that you really shouldn’t miss.

DAMIDGE. Inspired by You EP (Modern Art) First release by the current incarnation of Damidge, a band who have been around in various guises since the late Eighties. Only singer Al and guitarist Alex remain from their early line-up, but with Moyni (The Phobics) on bass and John (PIG, ex-Conflict) on drums, they’ve already become a pretty formidable unit in their own right. Originally, they were described as ‘psychedelic punk’ but this 10” is a much more rockin’ affair. If anything, I’d probably compare it to some of the harder edges of the mid-Seventies Pub Rock scene. Think of bands like the Count Bishops and Dr Feelgood, mixed with the early releases from Motorhead and The Vibrators. The title track is a catchy stomper featuring a tight rhythm section, a great guitar sound and Al’s snarling vocal style, while ‘Motorway Hussy’ is a fine slab of vintage boogie, something like Lemmy jamming with Status Quo circa 1974. ‘So Easy’ ends the record at a faster pace, bringing hints of (early) Ramones into the mix in an effective and convincing way. Damidge are a band whose music really needs to be seen and heard live, but with this EP they’ve proved that they can also deliver the goods in a studio. Definitely something you should be investigating.

THE DAMNED. Neat Neat Neat (live) 7” (Cleopatra) Taken from the same recording in Mulhouse as the ‘Shadowed Tales’ album (see review elsewhere) the A-side is an excellent short, sharp, romp through the Brian James classic, omitting any of the instrumental meandering that sometimes occurred with later line-ups in favour of keeping it feisty and true to the original. Whatever way you look at it (or listen to it) this is a great version by anyone’s standards. That said, it’s the B-side that will be most appealing to fans and collectors as it features three short ‘interludes’ during breaks in the set, where the band play snippets of various covers. The first is a spontaneous version of ‘I Walk the Line’ (not featured on the vinyl version of the LP although it was on the original CD) while the second is an even-more surprising excerpt of the Phil Spector / Righteous Brothers hit ‘You’ve Lost That Loving Feeling’. It’s only brief, but Vanian clearly has the right voice for it… a missed opportunity, perhaps? Finally there’s a really short snippet of ‘I Must be Mad’, originally by Sixties Mod-Psych group The Craig. Probably more of a Naz Nomad selection rather than The Damned, but again maybe it’s something that they should have chased-up? Whatever, this is an intriguing release that fans will love, mostly for the possibilities that could have ensued. It won’t be an essential item for everyone, but if you follow the band thoroughly it’s something that you’ll need to hear.

THE DERELLAS. Trust Me, This is Going to Hurt CD (Rockaway) The DeRellas have had numerous line-ups over the years and for this, their fifth album, there’s yet another configuration, with only Timmy and Luca remaining from their previous album. However, the addition of Jez Miller on guitar and Steve Grainger on drums has resulted in a much harder and more direct sound that really suits this latest batch of songs. The energy levels are high and there’s plenty of attitude and intent on show, with Timmy’s vocals now veering more towards a suitably-snarling style to match the tone of the songs. This doesn’t mean that fans are going to be disappointed, but rather that the band have brought to the fore one of the elements that has always been there in the music. At the core, it’s still the same approach that the band have always followed, mixing glam-rock, powerpop and punk in a hi-energy brew that’s all their own. But for this album they’ve accentuated influences like the Dead Boys, early-Buzzcocks, the sleazier moments of the New York Dolls and perhaps even the sinister-swagger of the original Alice Cooper band. It all comes together to give this album a feel of its’ own, as well as a powerful sound that really suits the songs. As well as nine brand new compositions of their own, the album also contains two choice covers, namely the Sixties classic ‘Night Time’ and ‘Touch-a, Touch-a, Touch-a, Touch Me’ (from the ‘Rocky Horror Picture Show’) adding further dimensions to the set. Let’s hope this line-up sticks together, because I’m sure they have a lot more good music still to come.

THE DICKIES. Incredible Shrinking Dickies. CD (Captain Oi!) I first heard The Dickies when John Peel played the ‘Eve of Destruction’ single on his radio show. I was immediately hooked. I didn’t even know it was a cover at the time, but it was one of the fastest records I’d ever heard, full of energy and incredibly catchy. I bought the single as soon as I could but what I really wanted was their upcoming album. When it came out, I got a copy straight away and played it incessantly. The songs were short, fast and packed full of great tunes. I loved it and it’s remained one of those albums that has never strayed far from my record-player. The thing is, it’s aged very well over the years and now, 45 years later, it still sounds fresh and insistent. Along the way, it’s been a big influence on the better moments of the ‘pop-punk’ scene and, despite various problems along the way, the core members (Leonard and Stan) have managed to maintain the bands reputation as a formidable live act, as well as releasing further great albums on an occasional basis. But this album was where it all started and it’s still the one that every household should own. Containing classic tracks like ‘Give it Back’, ‘You Drive Me Ape’, ‘Waterslide’ and ‘Rondo’, as well as their inimitable covers of ‘Paranoid’, ‘She’ and ‘Eve of Destruction’, this is an album of pure adrenalin. If you’re a punk rock fan and haven’t heard this album, you really need to correct that situation now. And, once that’s done you can promptly move on to…

THE DICKIES. Dawn of the Dickies CD (Captain Oi! Their second album, released a mere nine months after the debut. However, rather than producing a carbon-copy of their first LP, the band were able to deliver a record that showed plenty of creative development. To begin with, the consistently fast tempos weren’t so omnipresent this time, with many of the songs played at ‘mid-pace’ or slower to allow far more depth and diversity. ‘Infidel Zombie’ and ‘Attack of the Mole Men’ offered more menacing tones (hinting at the film-scores they would later work-on) while ‘Fan Mail’ and ‘Tricia Toyota’ remain among the very best songs they ever wrote. And only one cover on this album, ‘Nights in White Satin’, although it proved to be one of their best and remains a fan-favourite to this day. Lyrically, Leonard was also getting better and more confident (who else would have written ‘punk’ songs about Sammy Davis Jnr, car mechanics or the plot of a B-movie?) Their second album was a lot more varied and accomplished, but by this point the contrary UK music press had, for the most part, decided that they were just a comedy-act and it didn’t receive the attention that it deserved. That said, it’s an album that has endured and, much like its’ predecessor, still sounds remarkable vital. In many ways, it’s best to hear the two albums together, as it shows how they were progressing and how much potential they had. Sadly, they were not able to make the most of it, which could easily have seen them become established at a comfortable level. The band have continued to release albums, albeit at a less regular pace and some of them have been classics in their own right, but it’s still the first two that have the most immediate impact and if you don’t already have them, you’re missing something wonderful.

THE FALL. The Infotainment Scan. CD box-set (Cherry Red) Originally released in 1993, ‘The Infotainment Scan’ proved to be The Fall’s highest-charting album, actually reaching number 9 in the UK album charts. Listening to it now, it’s easy to hear why it proved to be so popular. Although Mark E Smith’s lyrics and vocal delivery are as idiosyncratic and curious as ever, the music is delivered in a much more straightforward fashion than it is on many of their albums, no doubt helped along by a surprisingly crisp and contemporary production. That’s not to say that it’s toned-down in anyway, as many of the songs and arrangements are as lively and adventurous as any of their best records. It’s more a case that they were making the most of the facilities available to them and a producer (Rex Sargeant) who wasn’t afraid to head them in a more attainable direction. As a result, this is an album that still stands up as a solid representation of the band, even thirty-or-so years later. Tracks like ‘Ladybird’, ‘Glam-Racket’ and ‘The League of Bald-Headed Men’ rank among the best songs that The Fall ever recorded, whilst choice-covers of ‘Lost in Music’ and the highly-obscure ‘I’m Going To Spain’, are delivered in a unique style that could only ever be The Fall. This particular reissue includes six discs which include a complete overview of the band during this era. One contains a selection of bonus tracks, singles, demo’s and outtakes, while another features radio sessions broadcast by John Peel and Mark Goodier. The remaining CD-space is filled with live recordings from Sheffield, Frankfurt and Austin, Texas, which present the band developing the songs even further. As I’ve already said, this is an album that’s aged very well and still sounds vital. Whether you’ve never heard it before, or not listened to it for a while, this reissue gives you the perfect opportunity to play it again and rediscover just how great it is.

THE FALL. Singles 78-82 Live! LP (Popstock) There are very few bands that generated such a fanatical following of tape traders, particularly during their early years. The thing was, MES would often change the set-list from night-to-night so you never really knew what you were going to get. You might hear early versions of songs long before they were recorded and released, or others that would never appear on a studio album, so there were ample reasons to check out the live recordings. In recent years there have been plenty of live albums made ‘officially’ available, but just recently a series of vinyl albums have appeared, endorsed and curated by the former-members of what many consider one of the classic band line-up (Marc Riley, Craig Scanlon, Steve Hanley and Paul Hanley.) Instead of issuing entire individual gigs, they have chosen to release live recordings that correspond with the original albums, so far including ‘Slates’ and ‘Grotesque’. Hot on their heels comes this collection, featuring live versions of tracks that appeared on the singles ‘It’s the New Thing’, ‘Rowche Rumble’, ‘Fiery Jack’ and ‘How I Wrote Elastic Man’. Whilst there are limitations to the quality of the recordings, it’s also undeniable that some of these recordings are incredibly powerful and show just how formidable this line-up were. Of course, it probably all comes down to whether you enjoy live recordings or not, but these releases have been put together with care, featuring new artwork and sleevenotes. It may not be an absolutely essential release, but it is a very enjoyable one.

FLAMSTEED. Truths On Demand CD (Engineer) Having formed in Barcelona in 2016, Flamsteed have developed their own sound by mixing early UK punk (Buzzcocks, The Jam) with the better moments of Nineties ‘pop-punk’ (early Green Day, Jawbreaker, Bracket) and various ‘emo’ bands (I’ll leave them unnamed…) By bringing all of these elements together, they’ve created something that sounds fresh, approachable and invigorating, not just playing-by-numbers but genuinely adding something of their own to the mix. Most of the songs are sung in English, but they also return to their native Catalan at several points, which works surprisingly well even if you don’t understand the words. It just sounds right! The production is perfect for these songs, powerful but also very sharp and fresh, allowing the punk to sound powerful while the melodic hooks are never far from the surface. Similarly, the arrangements bring out the best in the songs, never being afraid to play with the mood or atmosphere. Basically, Flamsteed have taken older styles, blended them together and given them a whole new lease of life. Forget about genres or fashions, this is a great, enjoyable album by any standard. Play it loud and give yourself a new party soundtrack!

GUIDED BY VOICES. I Am a Scientist / Tractor Rape Chain 7” (Guided By Voices Inc.)To celebrate the 30th Anniversary of the classic ‘Bee Thousand’ LP, the current Guided by Voices line-up have re-recorded two of the stand-out tracks from the album to produce a special commemorative release. If you’re a fan of GBV you’ll already know these songs as they’ve become live-favourites over the years and still sound just as fresh and thrilling as they did three decades ago. The new versions capture the buzz of hearing these songs live in concert and while they may not add anything new, musically… well, how can you improve something that’s already perfect? Buy it, Play it, Love it, it’s as simple as that!

GUILTLESS. Teeth to Sky CD (Neurot) This is the first album from Guiltless (there was one previous EP) a band from Seattle who have been together since 2022 and feature members of A Storm of Light, Intronaut and Generation of Vipers. The music they deliver is not for the faint-hearted. Recalling the likes of Godflesh, Head of David and perhaps Converge, the pace is slow and relentless, kind of reminiscent of listening to Ministry’s heaviest moments played at the wrong speed, while the vocals owe more than a nod towards Jaz Coleman of Killing Joke. Overall, it has much in common with Noise and industrial sounds as it does with traditional metal (although a few nods towards Black Sabbath are inevitable…) and as such it works really well. The only thing that holds it back is the lack of variety from track to track. With similar tempos, similar vocal-delivery and similar wall of noise approach, the songs almost blend into one-another and while it does sound good, I can’t help but feel that it needs something lighter at times to accentuate the more extreme moments and give the tracks space to develop individually. This is just my opinion and, overall, it’s still an impressive and very powerful album, especially as a first. I just feel that with a bit more depth to the arrangements, they would be even more impressive. Be sure to keep your eyes and ears open for them.

HARD SKIN. Gold LP (JT Classics) For those who don’t know their arse from their elbow, this might appear to be a ‘Best of…’ compilation, but they are sadly mistaken. The simple fact is that Hard Skin have always maintained such high standards that everything they’ve ever released is The Best and that means that you should have bought all of their records when you had the chance. If anything, this compilation is The Best of The Best so you need to start paying attention. What you get here are 14 Oi! Anthems, ranging from ‘Desperation Street’ and ‘The Good Times’ through to ‘Oi Not Jobs’ and ‘We Are The Wankers’, that give you a real idea of what it’s all about. These are songs that tell you the way it is, even if you’re too pissed to wanna know. Johnny Takeaway, Fat Bob and Nipper aren’t afraid to put it out there (just ask some of the birds who owe them a favour!) and as a bonus you’ll also find a 24-page booklet that tells the story using words and stuff. Perhaps it’ll be a bit too much for some to fully understand, but this is the real deal, just like the time Bob was selling them genuine Rolex watches down the pub for a fiver each. If you didn’t get it then, perhaps you never will.

HAWKWIND. Live at the Royal Albert Hall CD box-set (Cherry Red) Hawkwind formed in 1969 and have continued with various line-ups ever since. Only singer-guitarist Dave Brock remains from the founding members, but has always maintained a high standard of musicians within the band to ensure that they have never become irrelevant or below-par. Whilst fans and critics will argue over the individual merits of their studio albums in more recent times (actually, the few I have heard have been surprisingly good) the one thing that most will agree on is that their live performances are virtually guaranteed to meet expectations and leave the audience more than satisfied. If you need any proof of this, then this live set will undoubtedly settle your mind. The setlist reads like a fans’ own choice (with the only notable omission being ‘Silver Machine’) and covers both the older classics, like ‘Assault and Battery’, ‘Brainstorm’ and ‘Master of the Universe’ as well as appropriate selections from their later years. The music is powerful and compelling, drawing you into a world of urban strife, science fiction and space. They may most-often be referred to as ‘Space Rock’, but their songs incorporated so much more, from hard rock, prog and psychedelia through to the kind of sounds that became known as ‘Krautrock’, made by contemporaries like Faust, Can and Neu! (Dave Brock even wrote the sleeve notes for the UK release of the first Neu! album.) Although misleadingly referred to as ‘hippies’, their more militant and anarchistic background would also see them as an important influence on the early UK punk scene and continues to this day. The recording of this concert is remarkable, capturing both the musicianship and the atmosphere of the event, giving you a real sense of being there. The gig manages to fill two CD’s, whilst a third features a selection of songs recorded during rehearsals, where the band are able to go off into extended jams, stretching the limits of both their abilities and their ideas. Altogether, this is a vital and exciting that will be enjoyed by both long-standing fans and those who are relatively new. Hawkwind have certainly produced some incredible music over the last 50 years, and this really is as good a place to start as any.

JOHNNY MOSES & THE ELECTRIC MOTHERFUCKERS. I’m Electric LP (https://jomoandthemofos.wordpress.com) The former guitarist in London-based bands such as Menace and the Chinese Lungs returns to the land of raw, snotty rock’n’roll, stripped down to the essential basics and revved-up to full speed. Great songs full of catchy melodies, driving rhythms and sneering vocals. The attitude is clearly as important as the chords to these guys and you can trust me, they’re not going to let you down on either front. Their sound harks back to the early days of The Clash, mixed-up with The Heartbreakers, choice moments from Seventies Glam and the more incendiary performers of Pub Rock. You’ll probably hear different influences at different times but you’re not going to hear anything unwelcome. I’m assuming this is a self-produced effort and, if so, they’ve done a great job and it really sems to point the way towards even greater things. Do the sensible thing and check ‘em out as soon as you can.

KLEISTWAHR. Where the Word is Never CD (Fourth Dimension) Kleistwahr have become a relatively-prolific band in recent years, partly thanks to Fourth Dimensions continued determination to present and promote Gary Mundy’s ongoing solo project. The availability of so many albums also presents the chance to properly appreciated the ways in which his music and approach have continued to develop, of which this album is a prime example. Some reviews have already gone as far as calling this the best Kleistwahr album to date; after several listens I may not be ready to repeat that sentiment (there’s a lot of good competition in their back catalogue, after all) but it certainly is an album that demonstrates the ability to consolidate the strengths of previous work whilst steadfastly introducing new ideas and elements into the sound. The album features six quite lengthy tracks which are all given plenty of time to fulfil their potential, with more emphasis on guitars and other instrumentation. Similarly, vocals also play a more prominent part of this record, still not brought to the front of the mix but certainly presented with more clarity and purpose. ‘Where the Word is Never’ remains true to the Kleistwahr ethos and is a very loud and at times confrontational album, but there are also moments that will allow an unfamiliar-listener to access these sounds and begin to appreciate the intent behind them. One moment invigorating and the next unsettling, this is an album you really need to explore.

MAGIC OF THE MARKET PLACE. Jealous Moon CD/EP (Engineer) The name may be a bit of a mouthful but then again, the main man behind this combo is Andy Higgins, long-time stalwart of the Blackpool DIY punk scene, who named his record label ‘Just Say No To Government Music’, so he clearly isn’t interest in brevity! Featuring former members of Erase Today, Litterbug and even One Way System, it has to be noted (and it has been in every review I’ve seen) that there is more than a nod due to Leatherface, although I also picked out moments that recalled Dillinger Four and even Bob Moulds’ early solo albums (post Husker, pre-Sugar.) The songs have got a raw, visceral sound but this is tempered by melodic hooks that keep the emotions in check, so this isn’t a bad place to start. I’m sure that there will be plenty more to come from this band, but in the meantime, this is a great place to begin your listening.

MCLUSKY. The World is Still Here and So Are We. CD (Ipecac) Strangely, I’m not sure if I ever saw or heard Mclusky in their original lifetime (1996 through to 2005, originally under the name ‘Best’.) But we were in similar vicinities and I was certainly familiar with their name, even though for some reason I thought they were more indie-orientated and didn’t pay attention. They started playing live again on an occasional basis in 2014 and eventually reformed more permanently in 2019, since when they’ve been touring extensively, but this album is the first new set of recordings since their old days. Hearing them now, I can appreciate why they built a cult following. The music is a lot harder than I expected and the musical arrangements are certainly interesting… imagine what The Cardiacs would have sounded like had they decided to tackle heavy metal? That’s quite a nice idea, actually. Personally, I’m still not entirely convinced as it’s a little too wilfully-quirky for me and the vocals can get a bit irritating at times, but overall it’s a lot more interesting than I expected and, if you’re already a fan, you’re definitely going to want to hear it.

MC16. Machine Code CD (Neverlution) Despite already releasing several digital singles and regularly appearing at punk festivals, this is MC16’s first physical album, but it looks set to establish them as a force to be reckoned with. Mixing punk and reggae with the noisier aspects of alt-rock and grunge, this is a band that have plenty of energy and intent. I have a sneaking suspicion that you’d probably need to see them live to witness the full effect, but this is a suitably loud-n’raw demonstration of their approach. In many ways they remind me of the early Seventies proto-punk scene (bands like Hawkwind, the Deviants, Pink Fairies etc) but their sound is fully contemporary and takes its’ inspiration from each and every era and genre of alternative / undergroiund music In a country where so many people take creeps like Nigel Farage and Boris Johnson seriously, music like this will always be a necessity.

MEKONS. Horror. LP (Fire) It’s taken me a long time to really appreciate the Mekons. ‘Where Were You’ is, of course, a bona fide classic and their other early records certainly deserve your attention. However, their later excursions into folk, country and indie just didn’t grab me and with a back catalogue that continued to expand at a prolific rate, I never found a good place to start delving into their more recent music. That situation continued until I finally got to see them live. Their performance was enthralling, based on an authentic punk rock approach that combined a genuinely anarchic spontaneity with the desire to express themselves in a unique, creative style. It was one of those wonderful occasions when nonsense made total sense. So when this, their latest album, was released I made sure to get a copy and at last, I had a grasp of what they were doing. Consequently I’ve been enjoying it more and more each time I’ve heard it. While ‘Horror’ is a cohesive album, the songs don’t stick to a particular style or agenda and at different times embrace country, folk, reggae, rock’n’roll, indie and post-punk, but always come together as a solid piece of work. Lyrically, they often address politic issues but do so in a thoughtful, observational way rather than trying to force slogans down your throat. As there are several vocalists involved, it adds to the variety of the narrative, leaving you with something to think about rather than the feeling that you’ve just been told what to do. My only problem now is that there’s a massive list of previous albums that I want/need to check out, but I’m sure it’ll be worthwhile. In the meantime, do yourself a favour and give this album a proper listen.

THE MELVINS. Thunderball CD (Ipecac) This is the third album recorded by the ‘Melvins 1983’ line-up, helmed by Buzz Osborne and original drummer, Mike Dillard. On this occasion, they’ve collaborated with bass player Ni Maitres and sound manipulator Void Manes to create something that is recognisable as a Melvins album whilst also forging its’ own way into new sonic territory. The first thing to note is that, although the line-up might suggest that the music is going to be more ‘experimental’, the songs are actually pretty accessible. This has always been an important factor in the Melvins’ approach to music; whilst they’ve always been uncompromising in their direction and vision, they’ve never been afraid to create records that can appeal to much wider audiences. Within the five lengthy tracks that make up this album, you’ll find heavy moods and dark atmospherics, but there are also plenty of catchy hooks and an almost psychedelic playfulness that will draw you in and keep your foot tapping. It’s quite remarkable that the band have been together for more than 40 years but remain intent on finding ways to continue moving their music forward, both by finding new ways to express their ideas and by finding appropriate collaborators to addnew dimensions to their sounds. This is a great album and it’s pretty difficult to think of another band from a similar background that are still making records as enthralling as this.

MICHAEL CASHMORE. Until The End of Vibration CD (Lumberton Trading Company) Michael Cashmore is an artist who has worked or been involved with the likes of Psychic TV, Current 93, Marc Almond, Nick Cave, Death in June and Anthony Hegarty over several decades, although not releasing his first ‘solo’ album until 2006. He may not be a widely recognised artist in his own right, but he has won the respect of his peers and continues to create music both on his own and in collaboration with others. This album plays almost like a soundtrack, featuring inter-weaving tracks that blend to create mood and atmosphere. It’s difficult go review as, personally, I’m not very aware of his previous work, which makes it difficult to place these recordings, but it is album that works well in its’ exploration of tones and suggestive implications. If you enjoy non-invasive soundtracks that allow you to conjure your own script, this is for you.

MARK MULHOLLAND. Fighting with Your Shadow CD (Ports of Call) Although originating in Scotland, Mark Mulholland seems to have a genuine feel for what is now called ‘Americana’, producing music that recalls bands/artists like the Long Ryders, early-REM, Gram Parsons and Green on Red. That said, he hasn’t just wilfully borrowed from those artists but rather he’s discovered his own direction through years spent playing folk, psychedelia and even pursuing solo-busking adventures across Europe, allowing him to find a style that works most effectively for his songs. This album finds him expressing the ideas and genres that he has discovered and feels most comfortable with. The results are entertaining and have an air of authenticity that validates his efforts. If you enjoy those seventies / eighties Americana references, then this is an album you really ought to investigate.

MUD. The RAK Years 1973-75 CD Box-set (Cherry Red) Mud are best-remembered for the set of hits they had during the early Seventies, but actually have a much longer history (there’s even a version of Mud still active now!) Their first single was released in 1967 but they had no real success until they signed to the RAK label in 1973. ‘Crazy’ reached the Top Twenty and over the next twelve months they released a series of singles that remain their best-known and most successful; ‘Dyna-mite’, ‘The Cat Crept In’, ‘Tiger Feet’, ‘Lonely This Christmas’ and ‘Oh Boy’. The first three were all in a raucous Glam / rock’n’roll style, while ‘Lonely This Christmas’ was an Elvis-style crooner and ‘Oh Boy’ was a cover of the Buddy Holly classic. But despite the different styles, the latter three all hit the Number One spot and the success would continue. Surprisingly, they left RAK at the end of 1975 but had several more hits during 1976 before singer Les Gray left the band (although he would later form another version of Mud with entirely different members which would continue until his death in 2004.) This new double CD contains their two albums, ‘Mud Rock’ and ‘Mud Rock Vol II’ plus ‘Mud RAK’, a compilation of their non-album singles. The Mud Rock albums include some great tracks, although most of them are old rock’n’roll covers, but ‘Mud RAK’ has all the great singles that you should already know and love, plus a few lesser known but just as wonderful songs like ‘Crazy’ and ‘Hypnosis’. Overall, this album contains pretty much everything you really need to hear by Mud and the good stuff is really great! Go on! You know you want it…

NECKHOLE. Angry Day CD (Engineer) This is a French band who have been together for at least twenty years, possibly even longer but I’ve had difficulty finding the details. Musically, they veer more towards punk and post-punk rather than hardcore but they still produce a loud, raucous sound albeit underpinned with plenty of melodic hooks. The lyrics are sung in English and tackle interesting and intriguing subjects that will keep you thinking long-after the album is finished (if that’s you thang…) The songs are mostly upbeat and recall classic DC bands like Dag Nasty or Scream alongside UK bands like Buzzcocks or The Ruts (in fact, opening track ‘Falling Down’ makes use of an certain riff that’s not a million miles away from ‘Something That I Said’, but that’s okay as they make good use of it….) I enjoyed this album first time I heard and have enjoyed it even more every time I’ve listened again. I’ve a feeling that this is going to be one of my all-time favourite releases on Engineer and I hope there will be more from this band soon.

NEVERLAND RANCH DAVIDIANS. Shout it On The Mountain CD (Heavy Medication) NRD are a Los Angeles power trio that put the emphasis on the power… Loud, raw, noisy power, to be precise. Elements of The Cramps, the Birthday Party and Jesus Lizard, tempered by Country-style slide guitars rather than Blues and even their slower tracks seem to move along at a reckless pace. As a live act, they’re content to rely on two guitars and drums, but in the studio they’re happy to import some bass, giving it a bit more depth to compensate for the loss of live atmosphere. It’s an enthralling and very convincing album, the sort of thing that a band only gets to deliver when they’re 100% in to it. No shortcuts or make believe on this here record! If you haven’t already figured it out, this is an album that you really need to hear and if you’re still not interested after reading this, then I don’t think there’s much more we can do for you.

PEARL HARBOR & THE EXPLOSIONS. S/T CD (Liberation Hall) Originally released by Warners on the cusp of 1979/80, this was the only studio album released by the San Francisco based band. They received mostly positive attention for a while but split when Pearl married Paul Simenon and moved to the UK. She made further records which pursued a more traditional rock’n’roll style, while the other three band members (two of which were the infamous Stench brothers, who had also played in Chrome) went on to perform as The Expressions. This album, however, is one of those ‘what if?’ moments, capturing a band with lots of ideas and plenty of possibilities as to where they could have gone next. At different points, they sound like early X, blastin’ through rock’n’roll with their own idiosyncracy, whilst elsewhere they veer towards quirky new wave or even funky, No Wave territory. This was all presented with an imaginative and surprisingly accessible production, which brought out all the different elements to best effect. This was a perfect introduction for the band and seemed to promise great things to come, but sadly it didn’t happen. Evidently, the band wanted to go in a more jazz/funk direction while Pearl wanted to go to London… But at least this re-mastered release can give us an idea of what where they started and what could have been. Together with a bonus selection of rare tracks, this album still sounds fresh, full of ideas and plenty of fun. Take a listen and consider what we missed…

PENETRATION. Moving Targets / Coming Up For Air CD (Captain Oi!) The fact that these two albums by the original Penetration have been reissued so many times and in so many different formats over the years is testament to the quality and longevity of the music they produced. They may have missed-out on ‘mainstream’ success, but they are still being discovered by new fans, both young and old, whilst continually serving as an influence and inspiration for many new bands along the way. This double-CD collection features both original albums and non-album tracks from their adjacent singles, as well as nine demos tracks from the ‘official bootleg’, ‘Race Against Time’. It’s a thorough overview of a band forging their own way within the punk rock landscape, owing as much to the better moments of Sixties and early Seventies rock as they did to the three-chord assault of the Ramones and (early) Clash. The band members obviously had talent and were intent on exploring what they could achieve rather than merely jumping on the imitation-wagon. And, of course, with Pauline Murray they had one of the great singers of the era, with a voice full of character and lyrics that possessed their own style and content. Do you need specifics? ‘Life’s a Gamble’, ‘Stone Heroes’, ‘Don’t Dictate’, ‘Danger Signs’, ‘Come into the Open’… everyone a masterpiece and there’s plenty more in this collection that keep up the standard. I expect that many of you will already have these records, but if not, this is the perfect place to start your investigations.

THE PHOBICS. Gimme Cyanide CD (Time to be Proud) It doesn’t seem as if it’s been five years since the last Phobics CD (the pandemic certainly didn’t help) but a new album from this bunch of reprobates is always welcome. ‘Burnt Rubber’ had certainly taken their sounds to a higher level both in terms of musicianship and arrangements, but ‘Gimme Cyanide’ has taken things even further, delivering an album packed with great songs and an impressive, powerful sound. Ably assisted once again by the legendary Pat Collier (RIP) the band had certainly found a collaborator who appreciated what they were doing and brought-out the best from their creative-efforts. The album begins with the title track, which lulls you into a false sense of security with its’ melodic piano-intro before the whole band kicks-in with the insistent force of a tempest. It’s loud and raucous but the essential element, melody, is ever-present to draw you in. They hardly allow enough time for you to catch your breath before they’re careering through the next track, ‘Hang Ten’, which may have a slower tempo but also revels in its’ wonderfully-overwhelming guitar sound. They keep up the energy levels throughout the record, with a musical style firmly-rooted in American bands like The Stooges, Ramones and Heartbreakers, but delivering it all with a very British perspective (phoney American accents not necessary here!) The lyrics veer from the personal through to the humorous, avoiding clichés and giving you things to think about (if you so wish…) The Phobics are proof that the spirit of DIY punk rock’n’roll is still very-much alive and it really doesn’t matter who or where you are. If you’ve still got something to say, say it loud!

POSITIVE REACTION. Dreaming of Violence CD/EP (Engineer) Four track EP featuring contemporary mid-paced hardcore that mostly recalls East Coast American bands like Madball or Youth of Today in their more stompin’ and metallic moments. Which is a bit odd as this band comes from South Wales (although that does place them closer to New York than me…) But joking-aside, Positive Reaction do it very well so it’s not a problem. Aside from a demo (previously available digitally on bandcamp) this is their first proper release and it really is a great introduction, with a strong production-sound and powerful delivery, complete with suitably impassioned vocals… You may need to see this band live to get the full picture. This isn’t going to be to everyone’s taste, but if you enjoy the classic, late Eighties NYHC, this is something you need to hear.

PUBLIC IMAGE LTD. First Issue (U.S. Mix) LP (Virgin.) The debut album from PiL was originally released in the UK during December 1978, but their American label (Warners) considered the record too ‘non-commercial’ for the States. In an attempt to reach a compromise, the band agreed to re-record and re-mix parts of the album but even these results were unacceptable to the Corporate ears and the record (the UK version) would not be released in the States until 2013. This limited edition RSD release gives an idea of what the US version would have looked and sounded like had it been completed. The artwork is subtly different, featuring an alternate picture of Lydon from the same session on the front cover. The images of Keith Levene and Jah Wobble remain the same, whilst Jim Walker is now missing altogether… But it’s the music that more noticeably different and this is where it gets interesting. To begin with, several tracks from the UK version are omitted. Unsurprisingly ‘Religion’ was considered far too controversial for American listeners so it’s replaced by an extended version of ‘Annalisa’ featuring a lengthy dirge-like, piano-based outro. At the end of side two, ‘Fodderstompf’ was always considered to be a bit of a filler track, so it’s no shock that it was bumped in favour of the more-recently recorded ‘Swan Lake’ (aka ‘Death Disco’) which appropriately hints at the more focused approach that the band would take on their nest album. Most of the songs have been re-mixed to some degree although not as much as you might expect. It’s usually most notable on Lydon’s vocals, but elsewhere it’s the guitar and bass levels that sound either higher or lower. The overall results are surprisingly effective, different enough to make it a worthwhile record in its’ own right whilst certainly not detracting from the power of the original version. As an alternative example of how ‘First Issue’ could have been, this is a very interesting and enjoyable glimpse of the different ideas and directions that PiL were playing with, and points more directly towards what they would achieve with ‘Metal Box’. This release isn’t just a footnote, it’s a valid document of a band discovering what they could do and where they would go next.

RED BOX. Anthology 1980-1990 CD Box-set (Cherry Red) I don’t remember too much about Red Box so I was curious to hear this retrospective collection. As with many electronic-based bands of the early to mid Eighties, they combined elements of Pop, rock and even prog to produce music that could be both catchy and grandiose at the same time. Think of bands like Depeche Mode or OMD, perhaps. Red Box soon built a devoted following and it’s for those fans that this set is going to be an essential purchase. The first two discs feature their first early albums (‘The Circle and the Square’ and ‘Motive’) plus their original singles while the third includes extended 12” mixes and other alternative versions. But it’s the final disc that makes this something special. It’s an eleven-song selection of previously unreleased demos recorded between 1980-82. These have been compiled by the bands’ mainstay, Simon Toulson-Clarke and reveal a band still developing their direction but also presenting a solid idea of what they wanted to achieve. The sound is noticeably harder, with guitars more prominent and more of a New Wave style, but still very catchy and distinct. Including a 32-page booklet (including thorough sleeve-notes and numerous full-colour photos and artwork) this is the set that you really need to hear whether you’re a diehard fan or investigating for the first time.

THE RESIDENTS. Doctor Dark CD (Cherry Red) The Residents versus Heavy Metal with assisted suicide along the way ? What could possibly be more awkward? Well, it certainly wouldn’t be a comfortable concept for most artists, but if you’re familiar with the Four Eye-balled Ones, you really shouldn’t be too surprised that they decided to tackle such a subject. After all, death is the ultimate mystery. If you read the recent FNL interview with Residents’ honourable-representative Homer Flynn, in this very publication, you’ll already know that this project was based on the true-life stories of assisted-euthanasia advocate Dr Jack Kevorkian and the 1990 Court Trial which alleged that a suicide pact made by two Heavy Metal fans in 1985 (which resulted in the death of one of the youths and the severe disfigurement of the other) was the responsibility of rock band Judas Priest. Although the allegations were eventually refuted by the Court, they have remained a continuous allegation by right-wing conspiracy theorists. If ever there was a topic for The Residents to discuss, here it is and, as is their usual approach, the wholesome-foursome present both sides of the story in a suitably-sonic style, giving the listener a open-page opportunity to form the own opinion. The lyrics are mostly presented in a narrative style that harks back as far as ‘God in Three Persons’, while musically there’s a lot more guitars than you’d usually expect although, considering the subject and events this album tackles , it’s more than appropriate. As well as adding to the heavier, darker atmosphere that the subject-matter and purpose of this album presents, it’s also a record that allows space for a balance of humour, albeit definitely on a darker dimension. As such, this is really is one of their best albums in recent times and one that can be rated amongst their best from any era. It’s really that good, an instant classic!… Darkness and light in perfect balance, an ideal soundtrack for late nights in bed with only insomnia to keep you company.

REVERSE IMAGE. Towards the Nocturnal Sun CD (Fourth Dimension) Reverse Image is a solo electronics/experimental project by Malaysian musician Siew Y’ng-Yin and this is her second album under that name. In contrast to her other current project, Fallen Sun (a much more aggressive noise concept) this is an almost ambient and at times almost drone-like affair, although the multi-layered soundscape creates a much more unsettling quality. The music here may not be the backing-tracks for nightmares but it’s certainly the kind of sound that would accompany the darker side of your dreams. At times reminiscent of Chris Carters’ early solo work, ‘Towards the Nocturnal Sun’ is built on tones which interact with each other and gradually fade away at their own pace. It’s an album with a very natural feel and sense of direction, but at the same time unlike anything that you may have heard before

SEX PISTOLS. Live in the USA – South East Music Hall, Atlanta / Longhorns Ballroom, Dallas/ Winterland Ballroom, San Francisco. LPs (Universal) I was a bit dubious about these three ‘official bootlegs’ assuming that they would just be lazy copies of the original albums, but these releases have proved me wrong. All three have brand new artwork and inner sleeves, plus double-sided inserts featuring images and press reviews from the time, giving some indication of the furore that the Pistols had stirred-up. The tapes have been cleaned-up as much as possible so you can hear how well they played and how well they were coping with the situation. Atlanta was the first gig of the tour and this mixing desk recording captures an exciting and powerful set. Even Sid, who was never a great musician, manages to hold his own, while Rotten sounds focused and committed. Five days later, the band arrived in Dallas and the tone sounds pretty different. Sid, notably, seems to be taunting the audience a lot more (this was a couple of days after he had smashed his bass on a punters’ head in San Antonio) and his playing (when you can hear it) sounds a lot more heavy-handed. Rotten comments between-songs, ‘Look at that, a living circus!’ Regardless, John’s vocals are still sharp and provide the focal point, while Cook and Jones continue to provide the power and energy of the songs. The set is slightly different to the previous LP, now including ‘Belsen Was a Gas’ and an encore version of ‘No Fun’, although it’s a storming version of ‘Pretty Vacant that’s the real highlight. The San Francisco LP is probably the least interesting of this set as it’s already been made available many times before, even on video, but as the original bands’ final gig it remains an intriguing set. It was the largest gig they ever played and the audience were undoubtedly enthusiastic. Cook and Jones deliver an incredibly tight set, while Sid isn’t trying to taunt the crowd and his playing is clearly better than it was in Dallas (even if it’s still not a patch on Glen Matlock.) Rottens’ vocals are at their sneering best, ad-libbing along the way (changing the lyrics of ‘Seventeen’ to ‘I don’t wear flowers’ to wind-up any misplaced hippies in attendance.) He makes a few negative comments along the way but it’s hard to tell why, as the set actually sound’s pretty decent (listen to ‘Problems’ or ‘Pretty Vacant’ for proof) so it’s probably down to off-stage shenanigans (McLaren hadn’t been with them for most of the tour but had returned for this gig…) ‘No Fun’ really seems like an appropriate finale as Rotten sounds genuinely pissed-off by this point which, ironically, makes for an incredibly powerful delivery. His ad-libs (‘Oh bollocks, why should I carry on?’ and the infamous ‘Ever get the feeling you’ve been cheated?’) just add to the tension and agitation of the encore. Okay, if you just enjoy the Sex Pistols records, you may not need to hear these recordings, but now that it’s almost 50 years since these events, it’s good to have a closer perspective. So many people who weren’t there will try to tell you what happened, but these albums let you hear what actually occurred, at least onstage. If you want to know why we are here now, still talking about the Pistols, perhaps these records will help.

SHAW’S TRAILER PARK. I Thought I Saw You… CD (Swamp Song) I was impressed with this bands’ previous album (their debut, in fact) but this record is a big leap forward for them. Although it still contains the same elements and influences (Americana, garage-psych, Country and the raw energy of pub rock) this album is much more direct and focused. They’re still not the most prolific live act, but this second set of songs sounds like a band that have honed their sound on the back of lengthy tours and endless adjustments during rehearsals to get the songs just right. Whatever the actual cause, their efforts have paid-off because this album delivers a powerful and solid sound that brings out the best in each and every track. If I was pushed to make comparisons, I’d suggest bands like Thin White Rope, Giant Sand and perhaps even The Long Ryders (at least at certain moments) whilst also adding a flavour of post-punk bands like The Folk Devils or The Fall (during their ‘Country-’N-Northern’ period…) This is a band who could become very popular if given the right exposure and they would totally deserve it. After all, no-one else is producing music like this in the UK right now… That said, I’m sure that they’re happy to continue at their own pace, allowing their music to develop and getting better all the time. Make an effort to hear this album, because it could well become one of your new favourites.

SHREDS. Step Back CD (Engineer) There have been more than a few bands called ‘Shreds’ or variations of that title over the years. However, this lot are a relatively new band based in the Sheffield area and’Step Back’ is their first physical release. They sound as if they’ve been influenced by early-80s UK bands such as Discharge and GBH as well as some of the faster, melodic American bands from the mid Eighties like SNFU and Adrenalin OD. You could probably add a bit of (early) Black Flag and Motorhead to the list, as well… The results are pretty impressive, delivering fast, tight and genuinely powerful punk / hardcore tunes. The only thing I have to note is that the production has left the vocals too high in the mix, making them sound almost separate to the rest of the band. It’s not that they sound bad (vocalist Jim has a good voice and actually sings rather than shouting or growling, while the lyrics hark back to the early days of Anarcho punk…) but it makes things sound out of balance, if you see what I mean. That said, things can sound very different in a studio when you’re recording, so I’m pretty sure this wasn’t deliberate and they’ll be able to rectify the issue next time they roll the tapes. All that said, this is still a great debut and it will be well-worth your effort to track down a copy while we wait for the next release.

SKIDS. The Singles. CD (Captain Oi!) Having formed in Dunfermline during 1977, The Skids were isolated from most of the bigger known Punk Rock scenes and so had plenty of space to develop their own sound and style. Their first single, the ‘Charles’, was released on the independent ‘No Bad’ label in 1978 and stirred enough interest to see the band quickly snapped-up by Virgin, who promptly released ‘Sweet Suburbia’ and the ‘Wide Open’ EP (featuring the classic ‘The Saints Are Coming’.) These both sold well and brought the band to wider attention, but it would be the classic ‘Into The Valley’ that saw the band scoring their first Top Ten hit. Their debut album, ‘Scared to Dance’, was released in early 1979 and consolidated the bands’ growing popularity, mixing a unique, dramatic sound based around Stuart Adamson’s guitar style and Richard Jobson’s almost literary lyrical style. Their next single, ‘Masquerade’, saw them back in the Top Twenty, while produced three more hit singles, in the form of ‘Charade’, ‘Animation’ and the classic ‘Working for the Yankee Dollar’. However, the line-up was starting to become unsteady, with old and new members departing and arriving while the band prepared for their next record. But despite the problems, the band went on to produce their most successful album, ‘The Absolute Game’ which reached the Top Ten and included the hit singles, ‘Circus Games’ and ‘Goodbye Civilian’. Unfortunately, it would be after this album that founding member Stuart Adamson decided to leave (and subsequently formed Big Country.) The remaining band members attempted to continue and produced the album ‘Joy’, which included the singles ‘Fields’ and ‘Iona’, but none achieved chart success. With their future uncertain, the band decided to call it a day, with Richard Jobson and Russell Webb going on to form The Armory Show with John McGeoch (ex-Magazine.) This double-CD contains all of the original singles (A-sides and B-sides) and as a bonus also contains various extended and alternative mixes from their later singles. The Skids created a unique style that gave them deserved success, albeit only for a relatively short time. But the proof of the matter is that their songs remain so fresh and vital more than forty years later. Listening to a collection of their singles, such as this, serves as a perfect reminder of the music they produced and just how catchy, creative and exciting it still remains. You really ought to have most (if not all) of these records already, but if not, consider this collection an essential purchase.

SLAMDINISTAS. Wild & Restless CD (Rum Bar) Slamdinistas are a Los Angeles based rock’n’roll band who clearly realise that the attitude behind the music is just as important as the music itself. Not surprising, really, when you learn that some of these guys have previously played alongside the likes of Chris Spedding, Gilby Clarke, Wayne Kramer and Texas Terri… you don’t get gigs like those without knowing what it’s all about! In this case, left to their own devices the band effortlessly blend the boot-stompin’ swagger of New York Dolls, Alice Cooper and the Sweet together with some classic early punk (Dead Boys, Heartbreakers) to create a suitably-sneering soundtrack for the best party you’ve ever been to (until the next one…) Produced by Paul Roessler (of The Screamers and 45 Grave) the album perfectly captures the spirit of the songs and gives them the sound that they deserve, loud enough to annoy your (nasty) neighbours but also clear enough to make sure you don’t miss any of the super-catchy melodies. So, play it loud, grab some cold beers and invite your friends round for the evening… Trust me, you’ll soon be having a damn good time!

SMIERC.Opor LP (Nikt Nic Nie Wie) Smierc are from Stockholm and originally formed in 2017. This is their third album and it’s very impressive, making me think that I really need to hear their previous releases. Although they are often referred to as ‘d-beat’ or even ‘crust’, the style they’ve produced on this album is much-more varied and adventurous than those genres would usually be used to describe. Their music is very powerful and at times almost relentless in its’ delivery but, much like Antisect, this is a band who have realised that arrangements can create much more impact, creating real contrasts and dynamics rather than just presenting a one-dimensional wall-of-noise. Vocalist Ninka adds even more dimension to the songs. To begin with, she sings in a mix of Swedish, English and Polish (I think… I’m unfamiliar with two of those languages.) But this isn’t a particular problem as she has such a powerful voice that perfectly suits the music whilst also delivering clarity and passion to the proceedings. (The album also includes an insert that offers explanations of the lyrics.) There are also plenty of melodic hooks, often created by the interplay between vocals and guitars, making the record all the more insistent. . Smierc may have their roots in the more brutal moments of hardcore and punk, but they’ve realised that by adopting a more expansive style, they are creating something that can appeal to a much wider audience and share their message of resistance without having to compromise their integrity. At different points you’ll hear hints of metal, hardcore, hard rock and even folk but this never detracts from the unique character and direction of the album, which is always very-much their own statement. This is a truly great album, powerful, catchy and full of ideas, just the sort of thing punk rock ought to be. This is an album that you need to hear now!

STIFF LITTLE FINGERS. The Singles 1978-1983. CD (Captain Oi!) Although their original career only lasted from 1977-83, Stiff Little Fingers made a significant mark on the punk scene which continues to inspire and influence younger bands all around the world to this day. They released four studio albums and 13 singles during that time and although their original popularity seemed past its’ peak by ’83, subsequent re-evaluation has given their last few releases a much greater degree of respect. The singles in particular seem to grab the essence of SLF, from the snarling energy of their earliest records through to the more thoughtful moments of 1983. Their debut, ‘Suspect Device’, was released on their own ‘Rigid Digits’ label in early 1978 and immediately caught the attention of John Peel. He played it regularly and arranged two radio sessions for the band later in that year. Their second single, ‘Alternative Ulster’, was released in October and further boosted their growing status while the ensuing album, ‘Inflammable Material’ was released by Rough Trade at the beginning of 1979. It became the first independent album to reach the top twenty in the UK Album Charts. However, as their popularity continued to grow, so did the interest from major labels and they eventually signed with Chrysalis. Some fans were disappointed with the move, but the resulting album, ‘Nobody’s Heroes’, was a solid record which included classics like ‘Gotta Gettaway’, ‘Fly the Flag’ and ‘Tin Soldiers’. It reached the Top Ten and the singles ‘At The Edge’ and ‘Nobody’s Hero’ both hit the Top Forty. It seemed that the band had firmly-established themselves but the next album, ‘Go For It’, received flak for its’ more polished style, which seemed to have moved further away from their roots. Nonetheless, singles like ‘Just Fade Away’ and ‘ Silver Lining’ soon became fan-favourites and their next release, ‘Listen’, put them back in the singles charts. But, with musical styles changing, their final album, ‘Now Then’, was met with even less enthusiasm despite featuring the excellent single, ‘Bits of Kids’. The band decided to split-up and it proved to be an astute move as, when they reformed five years later, their audience was stronger than ever and had also been given time to positively-reassess the bands whole range of releases. This double-CD set isn’t necessarily a ‘Best of…’, as SLF always included some of their most popular songs, (from ‘Johnny Was’ through to ‘Roots Radicals Rockers and Reggae’) as album-only tracks. But this compilation of singles will give you a very good idea of how the band developed and what they tried to achieve. Even in their faster and more abrasive moments, they never lost their grasp of melody and it was that element that really grabbed your attention, alongside the ever-present energy of their performance. Perhaps the various line-ups, post-reunion, haven’t managed to release anything as great as those early days, but you can still listen to compilations like this and understand what all the fuss was (still is!) about.

TRANSLATOR. Beyond Today CD (Liberation Hall) Recorded live at legendary San Francisco venue ‘The Farm’ back in 1986, Translator were a band that emerged during the new wave era in Los Angeles, but it wasn’t until they relocated to San Francisco that they began to gain attention. Initially signed to local independent label 415, they were quickly poached by Columbia records. Although their initial influences had been bands like the Beatles, Cream and The Byrds, they managed to update their own sound and create something that was a mix of rock and pop, together with contemporary effects and ideas. ImagineTalking Heads, perhaps, had they maintained more of a rock sound. Much like bands such as Psychedelic Furs and Mission of Burma, they managed to produce music that was highly creative and individual but also surprisingly catchy and more than capable of courting the mainstream. This particular recording comes from what was, at the time, their final gig (the band eventually played some reunion shows in 2006 and went on to release a new album, ‘Carriage of Days’, in 2017.) The 12 live tracks include the bonus of an otherwise-unreleased track, ‘Puzzles’, as well as a cover of ‘Roll Over Beethoven’. And as if that wasn’t enough, there are also two new studio tracks, ‘These Days to Come’ and ‘With Your Dreams’, recorded between 2023-24. Existing fans are really going to love this, but there’s also plenty here to entice new listeners. Be sure to give it a go.

TV SMITH. Handwriting CD (Easy Action) It’s a shame that, as he no longer lives in London, I don’t get to see TV Smith playing live so often. One of the things I always enjoyed was hearing the new songs as he introduced them to his live set and watching as they developed before being recorded. As a result, this latest album contains 12 songs with which I was entirely unfamiliar. Fortunately, the quality of the songs is very high and I soon found myself drawn in to their world, partly due to the power and clarity of the production (courtesy of Gerry Diver) and the imaginative arrangements that bolster the impact of the individual tracks. In many ways, this is possibly Smith’s most accessible solo album to date, certainly in terms of listeners only familiar with his previous band-projects (The Adverts, Explorers and Cheap.) Although firmly based on his acoustic style, the songs contain plenty of energy and their structures contain elements familiar from many of his earlier records. Similarly, the lyrics hit their targets with an impressive accuracy that avoids cliches and a performance that speaks directly to the audience. This is an album that really ought to see TV Smith gaining a much larger audience and, who knows, perhaps it will be? It’s certainly deserved and long overdue.

U K SUBS and DEAD BOYS. The Carnaby St EP (Cleopatra) Not entirely sure how or when this came together but it seems like the Subs recorded the three tracks in one studio and then Cheetah Chrome added his guitar contributions remotely. But even though they may not have been in the same studio, it works really well in adding a snarling punk approach to these Sixties classics. The a-side, ‘Paint it Black’, obviously harks back to Charlie Harpers’ love of the original Rolling Stones, while the b-side features versions of ‘For Your Love’, originally by The Yardbirds and the Beatles ‘Taxman’, both played with plenty of energy and attitude. I assume this is a one-off, but the results are so good that I can’t help thinking they ought to do some more…

VENAMORIS. To Cross or To Burn CD (Ipecac) Dave Lombardo is, of course, best known as the original drummer for Slayer, in which he set standards for contemporary metal that have never been surpassed. Since then, he has also played with the likes of Fantomas, Dead Cross and the Misfits as well as various eclectic projects, but even if you’re already familiar with those offerings you’ll not be prepared for this album. Recorded with his partner, Paula Lombardo (who has previously performed and recorded as a singer/songwriter) this album is all about atmosphere and whilst certain elements from their previous genres are evident at times, these recordings explore a whole new realm. My first impressions recalled some of Angelo Badalamenti’s work alongside David Lynch, and Paula’s vocals certainly do share similarities with Julee Cruise’s dream-like style. But overall there’s so much more, making use of Dave’s drums and guitar-playing to great effect, creating a definite soundtrack-quality to the proceedings and letting you imagine different scenarios to accompany the songs. It’s a difficult album to review as your reaction to the music is going to be pretty personal, but the more I’ve listened to it the more I’ve found to enjoy. There’s a lot of depth and vision in this album and I’m sure that if you can indulge yourself within it, you’ll soon become fascinated as well.

WIR. Vien + EP (Pink Flag) The ‘Vien’ EP was originally released on the Touch label in 1997, but on CD only. The band had shortened their name to ‘Wir’ in 1990 to signify the departure of drummer Robert Gotobed (they would revert to Wire when all four members reconvened in 1999.) Only one album was released as ‘Wir’, ‘The First Letter’ in 1991, before the band went on a seven year hiatus. However, shortly before this happened they recorded a radio session in Austria which provided the two lengthy tracks found on the CD. ‘The First Letter’, which is not on the album of the same name, is an intense, brooding track that creates a dark and menacing atmosphere, while ‘Sexy and Rich’ is a much catchier and more accessible song that recalls earlier Wire releases like ‘Ambitious’ and ‘Finest Drops’. As an addition to the original tracks, this release also includes a new (2024) mix of ‘So and Slow it Grows’, probably the best known song from the Wir era and one that has gradually become a favourite among many fans. This is a great reissue, partly because the original release has been long out of print and never available on vinyl, but also because the re-mastered versions really bring-out the best from the tracks. If you didn’t hear this material first time around, this is definitely the time to rectify that omission.

WOLFGANG FLUR. Times CD (Cherry Red) Although best known as a member of Kraftwerk between 1973-1987, Flur had also been a member of the band ‘The Spirits of Sound’ during the mid-to-late Sixties, alongside Michael Rother (Neu!). After leaving Kraftwerk, he formed the band Yamo who collaborated with bands such as Mouse on Mars and Pizzicato Five, and scored a Club-hit with their single ‘I Was a Robot’. Subsequently, he has performed as a tech-house DJ and presnted an audio-visual project entitled ‘Musik Soldat’. Since 2015 he has been releasing albums under his own name, featuring collaborations with artists from a wide range of genres. ‘Times’ is the third of these collections, featuring contributions from the likes of Peter Hook, Boris Blank (Yello), Thomas Bangalter (Daft Punk) and Detroit techno producer Juan Atkins. The results are an impressive mix of catchy pop melodies and Club-style dance tracks that are both accessible and convincing. It’s as if he has taken the classic elements from his time in Kraftwerk forward to a point where he can listen to how those original sounds have been developed by other artists. From there, and in collaboration with some of those artists, he has created a contemporary mix of both old and new, presenting an alternative vision of how Kraftwerk themselves could have evolved. This is an album that’s going to appeal to anyone interested in electronic music, whether fans of the more experimental sounds or those who prefer the more mainstream moments. This is music for the mind and for the soul.

ZERO AGAIN. Ever Changing is the Art of Death CD (Engineer) I’ve heard nothing but good things about this Bristol-based hardcore band. Featuring former members of Stampin’ Ground, Warwound and Grand Collapse, they’ve already released one previous album (‘A Deep Appreciation of Suffering’) and several singles, but it seems as if this latest set of recordings is the one that has everyone taking notice. On the surface, they’d seem to be mix of classic UK82 styles (Discharge, GBH) and the more sonically-aggressive moments of Anarcho-punk (Antisect, Dirt, Rudimentary Peni) but scratch the surface and there’s a lot more going on. They understand that the key to being powerful isn’t just about playing loud and fast, and so bring different, less-obvious elements to their songs. For a start, although the tracks are usually pretty fast, they certainly don’t resort to mindless thrash and allow you to hear what’s going on, musically and lyrically. Some of the slower songs veer towards Killing Joke territory, while others take their cues from the more interesting US hardcore bands (Drop Dead, Neurosis etc) They create a perfect, impassioned soundtrack to deliver the lyrics, which deal with the kind of issues that bands ought to be addressing right now – inequality, media manipulation, the ongoing threat to the environment, the re-emergence of far-right politics… You don’t necessarily need to wallow in these subjects, but you do need to be aware of what’s going on. Bands like Zero Again are putting the information out there and, by combining it with powerful intelligent music like this, it will be heard by those who are willing to form their own opinions. This is a great album, whether you listen to the music, the message or both. Don’t miss it.