RECORD REVIEWS, JANUARY-JUNE 2026.
ALICE COOPER. The Revenge of Alice Cooper LP (Ear Music) There are two very distinct sides to the story of Alice Cooper. From 1968 until 1975, Alice Cooper was the name of a band who released seven albums and really established the name. Their style combined horror imagery with a sly sense of humour and hard-edged Detroit-style rock. As far as I’m concerned, any discerning household should own all of these albums. However, things then changed. In 1975, the band split and Alice Cooper (the singer) became a solo artist. Fair dues, his first ‘solo’ album, ‘Welcome to My Nightmare’ was actually very good and his subsequent touring was hugely successful. But from there onwards, the musical output has been pretty hit or miss, often just mimicking contemporary rock trends. There have been some highlights and a lot of duff moments but I’m not going to go into them here. The thing that many fans have hoped-for was a reunion of the original band. Surprisingly, they had remained on reasonably good terms over the years and every so often there would be a suggestion of them working together, but sadly it took the death of guitarist Glenn Buxton in 1997 to prompt the remaining members (Michael Bruce, Dennis Dunaway, Neal Smith and Alice) to perform a memorial set for their lost comrade. Since then, they have come together on several occasions, including short-sets during Alice’s UK tour in 2017. Two tracks featuring the original members appeared on the ‘Paranormal’ album the same year and Dennis Dunaway also featured on the ‘Detroit Stories’ LP. But it was still a surprise when, in 2025, it was announced that a new album featuring the original band was finally going to happen. It’s been a long wait so even diehard fans were feeling trepidation over how it would turn out. Well, I’m glad to say the results are rather impressive. Of course, it needs to be put into perspective… It’s been 50 years since they last recorded an album together, so it can’t have been easy to recreate their original style, flair and momentum. Studio technology has also progressed a lot in that time and the musical-landscape has changed almost beyond recognition. Which makes it even more remarkable that this is instantly recognisable as an Alice Cooper album. You can hear it in the characteristic way they play, from Dennis Dunaway’s distinctive bass-style and Neal Smith’s drumming, a perfect mix of power and precision. Michael Bruce still plays the best rhythm guitar, propelling the songs ever-forward, whilst the addition of guitarist Gyasi to cover Glen Buxton’s parts proves to be an inspired decision. He clearly has an affinity with Glen’s style but also brings his own character to the proceedings. Gyasi understands what they want and has the talent to deliver it. With him onboard, the band are back to full-strength. On top of this, they’ve delivered a great set of new songs. As with their classic albums, you need to listen to the whole record rather than just individual tracks, as it just makes more sense/nonsense that way. The production (courtesy of long-time collaborator Bob Ezrin) veers more towards the style of ‘Welcome to My Nightmare’ but with the edge of the band. Opening tracks ‘Black Mamba’ and ‘Wild Ones’ are both enjoyable, although it’s only when you hear them as part of the whole album that they really work. ‘Up All Night’ has a great hard rock groove which develops into a fine swaggering rock’n’roll riff although the lyrics, coming from someone who’d nearly 80, are a bit icky. However, that slight mis-step is quickly rectified by the ensuing songs, ‘Kill the Flies’ (which sounds like a cross between ‘The Ballad of Dwight Fry’ and ‘No More Mister Nice Guy’) and ‘One Night Stand’ which both recall Alice Cooper at the peak of their original career… creepy, atmospheric and totally insistent, with Gyasi providing some truly excellent guitar leads. Dennis Dunaway's song ‘Blood on the Sun’ is another classic song that could easily have appeared on one of the Seventies albums, although here it’s brought effectively into a contemporary setting. ‘Crap That Gets in the Way of Your Dreams’ is a glam-stomp that shares a lyrical theme with ‘Lost in America’ (one of the best solo-Cooper moments) albeit it from a much-older protagonist. ‘What a Syd’ is a quirky track that mixes jazz and vaudeville in a style that sits alongside songs like 'Blue Turk' or 'Alma Mater' or ‘while ‘What Happened to You’ is a great hard-rocking track that will have your feet tapping, made all the more remarkable as it features a previously unreleased recording of Glen Buxton, adding a welcome guest appearance to the project. ‘See You on the Other Side’, ends the album in a slower more heartful tribute to Glen, with an emotional, Bluesy atmosphere. It’s also serves as an appropriate tribute to the original Alice Cooper band themselves, a group that made truly remarkable music and ended way before the should have. After waiting and hoping for five decades, fans were probably right to be wary about how this album might turn-out, but while it isn’t a total masterpiece it is a very credible return and it includes plenty of great new songs which imply that there’s still plenty of life and talent in this legendary band. I know that some people already decided to be cynical even before the album was completed but ignore those sad cases. Listen to this record with an open-mind and you’ll soon recognise a fine album with all of the elements that made Alice Cooper great in the first place. Don’t worry about what your neighbours, play this loud and enjoy it!
BAUHAUS. Going to Hell Again LP (Dear Boss) Be warned… when I first played this album I was stunned by the appalling sound of the first track. It certainly didn’t sound like a radio broadcast (which it claims to be) and it was halfway through the track before I could even recognise what it was (‘Third Uncle’.) That said, by the time the band are playing the second song (‘Silent Hedges’) the sound has settled down and remains pretty good all through the set. I guess this comes from a mixing desk recording and perhaps it just took a while to get the sound-mix properly balanced. Whatever the case, once you can hear what’s going on, this proves to be a great set from Bauhaus. Recorded in San Francisco in December 1982, shortly after the release of ‘The Sky’s Gone Out’, there are four tracks from the new LP and, surprisingly, a great version of ‘She’s in Parties’ which wouldn’t even be released for another five months. There’s also a good selection of songs from their earlier releases, including ‘Spy in the Cab’, ‘Kick in the Eye’ and ‘Hollow Hills’. There’s even a cover of the classic Sixties garage track, ‘Night Time’, before ending with an gloriously frantic version of ‘Dark Entries’. So, despite my initial anxiety, this turns out to be a fine recording of Bauhaus in their prime. Turn the lights down and your Hi-fi up!
THE BOYS. The Singles Collection 2CD (Captain Oi!) The Boys need no introduction in these pages. Elsewhere, that isn’t the case and they remain one of the most under-rated bands to have emerged during the original UK Punk scene of 1976. Their included members who had previously played in legendary proto-punk bands London SS and Hollywood Brats and were closely involved with The Damned and The Clash, while musically they had the knack of blending raw energy, loud guitars and very catchy melodies to create songs that should have dominated the airwaves. That they never achieved a top forty hit remains inexplicable to a level of almost criminal conspiracy. Why weren’t people listening to magnificent songs like ‘First Time’, ‘Kamikaze’ or ‘Brickfield Nights’? It just makes no sense and if you want proof of this travesty, just listen to this compilation. Disc One features all of their singles, from ‘I Don’t Care’ (released in April 1977) through to ‘You Better Move On’ (1980) including the three Xmas-themed singles released under the guise of ‘The Yobs’. Those tongue-in-cheek moments aside, there really isn’t a bad song among this selection and if anything, their songs became even more catchy as they progressed, with elements of Phil Spector and Mott the Hoople adding to their mix. Disc Two takes up the story from the ‘Weekend’ single (1980) and takes us all the way through to an Australian version of ‘Kamikaze’, released in 2025. The band originally split-up in 1982 and didn’t reform until 1999, so the releases are a bit less focused in the years covered here, featuring old tracks from the archives, the novelty football single ‘Svengerland’ (coinciding with the 2002 World Cup) and, since 2014, even some new material. None of the tracks here are bad in any way and actually rather enjoyable at times, but overall they can’t match-up to the high-grade consistency of the first disc. Some of you will already have all of this material, either on original vinyl or other compilations, but it’s great to have it all in one convenient place. Ans as for anyone who hasn’t already got these songs… buy this CD now and we may forgive your oversight. Maybe.
BRIAN JAMES. Kicks and Diabolik Licks CD (Easy Action) I have to admit, I felt gobsmacked when I heard that Brian James had died. I still remember hearing the Damned for the first time and being so blown away… I already had a liking for loud, fast music, but the first Damned LP opened-up a whole new spectrum for me. Although he called-time on the band after their second album, I still followed his various solo projects, his time with the highly under-rated Lords of the New Church and the occasional reunions with The Damned. I also met and interviewed him several times and he was always a really friendly, helpful and down to earth bloke. So much great music would never have existed if it hadn’t been for Brian. Punk and rock’n’roll has lost another one of the greats. Although this release has been announced as Brians’ final album, you need to know that it does still have an unfinished quality. Some songs sound like demos or rough sketches rather than fully-formed tracks and it certainly sounds as if more work was still due. But that said, there’s plenty to enjoy and the songs have lots of great riffs and guitar hooks which capture the quintessence of Brian James’ style. You can certainly hear elements of The Stooges, MC5 and the Stones within his music, but with Brian it always seemed like what he played was a natural progression rather than imitation. These sounds flowed from his guitar, taking it all to the next step rather than sticking with past glories. Tempos vary, but it’s mostly an upbeat record, with additional keyboards adding occasional psychedelic undertones. One of the most notable tracks is a new version of the LOTNC classic, ‘Dance With Me’, with a piano predominant in the instrumental mix and vocals from Ramona Wilkins Carlier (ex-Modettes) while the final track, ‘Happy Families’ reveals a more experimental, almost jazzy style that sounds as if Brian was really having some fun. Although it’s quite a short album (only seven songs) the CD also features the four songs from his recent ‘Too Hot to Pop’ EP, a collection of covers originally recorded by the likes of Chuck Berry and Little Richard, as well as a peculiar, accordion-led version of ‘Livin’ Doll’. This probably isn’t the best place to hear Brian’s solo work for the first time, but if you’re already a fan and familiar with the twists and turns that his music can take, I’m sure you’ll love it. Play it loud and raise a glass for a true inspiration.
THE CRAMPS. How Far Can Too Far Go? LP (Rockin’ Gyros) Could you imagine any better way to endure New Years Eve than in the awe-inspiring presence of The Cramps? Admittedly, there may be a few bands to match the experience, but I can’t imagine many that would top it. For this occasion, the band were playing at the legendary Old Fillmore in San Francisco, 31st December 1987 to be precise. It’s not the full set and it’s an audience recording so don’t expect hi-fi, but authentic rock’n’roll was never bothered by those kinda considerations… What you get is a great selection of songs played by the true believers and an atmosphere to live and die for. Why would you want to miss something like this? That’s right, you wouldn’t. The legend of The Cramps lives on, even if the band are no more. Listen and love ‘em all over again!
CULT FIGURES. Reports of People. CD (Precious) The original incarnation of Cult Figures existed towards at the cusp of the Seventies / Eighties, collaborating with Swell Maps and releasing two singles, of which ‘Zip Nolan’ is an acknowledged indie-punk classic. They then disappeared for a long time before re-emerging sometime around 2016 and have been releasing many more singles and albums ever since. Not surprisingly, perhaps, they don’t sound as they once did and now produce songs that are a lot more accomplished and accessible. But far from being a disappointment to their old fans, they’ve actually re-established themselves by playing a new style of guitar-based pop which recalls a whole range of bands, from Sixties Beat through to the kind of catchy UK indie that was popular during the late Eighties. I also hear hints of The Damned during their more psychedelic moments (‘Strawberries’ etc) and even the Purple Hearts second album, ‘Pop-ish Frenzy’. They sound very focused, while the songs are both emotional and entertaining. The lyrics hint at darker themes in places but come embellished with soaring harmonies that provide a perfect counter-balance. This is what Pop music should be about, providing a soundtrack for your changing-moods whilst also confounding expectations. It really would be a breath of fresh air to have this on the air-waves every day of the week, but while we wait for that kind of salvation, just be sure to hear it for yourself.
DEAD STAR BOYS. Rats CD (Dead Star Boys) Less than a year since their excellent, self-titled debut, Dead Star Boys return with another set of songs that deserve your full attention. First impressions include bands like Buzzcocks and 999, although dig a bit deeper and there seems to be plenty of less obvious influences in their mix. The vocals, for example, have me thinking of a cross between Pork Dukes and Gary Numan (Tubeway Army era.) The band are also unafraid to reference some of the better Mod bands (Sixties and Seventies) plus occasional nods towards Sixties Garage bands. This is just my opinion, of course, but I think you’ll get what I’m on about when you hear it. The production captures a very immediate, almost live sound that’s perfect for a band like this. It’s sharp, sneering and snotty, recalling highlights of The Roxy in 1977 crossed with The (much-missed) Spivs. Surprisingly, perhaps, they start the album with a cover, although I doubt if many are going to recognise it… ‘Plastic Age’ is a cover of a song by Buggles! Fortunately, Dead Star Boys discard all the electronic-synth bollocks of the original and play their version in a snarling punk rock style. That said, occasional keyboards do appear here and there but in a much more organic way. The remainder of the album entirely consists of their own compositions and trust me, after a few listens, the tunes will be stuck deep in your ears. I suspect that this band would be at their best onstage, but until I can confirm that this album certainly fills the gap in an impressive manner. Track down a copy for yourself and prepare to set your CD player on repeat play!
THE DICKIES. Killer Klowns from Outer Space EP (PNV) Originally released in 1988, five years since the preceding ‘Stukas Over Disneyland’, the ‘Killer Klowns’ EP proved to be quite a favourite with fans of the band, even though it was quite a departure from the frantic energy of their original albums. None of the new songs were slow or downbeat, but neither did they have the high-velocity tempos that the band had been known-for. Regardless, the record still maintained their character, combining catchy melodies, witty lyrics, a high but unpretentious level of musicianship and a good sense of humour. The title track (and theme song for the equally-wonderful movie of the same name) was / still is an instant and insistently likeable song that incorporates traditional circus themes with huge riffs, power chords and suitably sinister atmospherics. Alongside ‘Pet Semetary’ by The Ramones, this has to be the greatest Punk Rock soundtrack ever written! Even now, nearly 40 years later, each time I hear it I want to hear it again! But the record doesn’t stop there… ‘Booby Trap’ is another track that references horror-movie soundtracks, while ‘Magoomba’ follows in a similar direction, albeit with more of a humourous style. ‘Jim Bowie’ plays through in a Country’n’Western tinged style that recalls ‘Wagon Train’ from the ‘Stukas’ album, while finally, ‘Eep Opp Ork (Uh Uh)’ is a cover of a song originally featured in ‘The Jetsons’ cartoon seriesm providing a suitably-silly finale for the record… Except that this version has now been extended to include ‘Roadkill’ from their 1993 single. If you’re quick, the first edition of this reissue comes on orange vinyl, together with a full colour insert and a set of stickers… It’s also been remastered and truly sounds better than ever, so, what are you waiting for???
EDDIE AND THE HOT RODS, Teenage Depression / Life on the Line 2CD (Captain Oi!) Undoubtedly one of the best British rock-n’roll bands of the early Seventies, the Hot Rods took their cue as much from the likes of the MC5 and New York Dolls as they did from the more regular pub-rock influences of the time. Alongside Dr Feelgood, they prepared the way for Punk Rock and were more than happy to play alongside the new bands even though they were honest enough to state that they weren’t a punk band themselves (a comment that certain desperate journalists would use against them.) That said, the ‘Teenage Depression’ LP was released in late 1976 and proved to be an instant hit for fans of high energy rock music. Alongside raw rhythm’n’blues and down to earth lyrical subjects, they also showed-off their ability to write catchy, upbeat songs such as the title-track and the equally insistent ‘Writing on the Wall’. But it was their second album,‘Life on the Line’, which proved to be their enduring classic. Released towards the end of 1977, the band had added former Kursall Flyer’s guitarist Graeme Douglas to their ranks, ensuring high levels of energy in the studio even for their new, more radio-friendly tracks like ‘Quit This Town’ and the absolute classic ‘Do Anything You Wanna Do’. The album was a bold step forward, moving away from the pub rock style and delivering tales of teen-angst that effortlessly paralleled the early punk bands. They even found space to stretch their boundaries with the lengthy and more ambitious ‘Beginning of the End’ Featuring both albums with 25 bonus tracks (taken from non-LP singles, live recordings and alternate versions) this set really captures the Hot Rods at their best and shows why they were such an essential part of early Punk scene, even if they weren’t a ‘pun k rock’ band. If you haven’t already got these recordings, you really shouldn’t miss this opportunity.
GEBRETTER. Pint Peddla LP (Engineer) I don’t think I’ve ever heard a release on Engineer records that delivers such a snarlin’, raw slice of hard-assed rock’n’roll as this album presents. Not that Engineer sticks to only one style or genre, but this really is a nasty little beauty. Think of a mix between Motorhead and (early) Turbonegro, then add some GG Allin (while he still knew how to write a good tune) and perhaps some Poison Idea. I’m not saying that Gebretter are as great as all those ingredients (yet) but it’s a good indication of which way they’re heading. Based in Cologne (why do we refer to this German city under it’s French name rather than its’ Teutonic title, Koln?) this band seem intent on re-establishing rock’n’roll as the disagreeable outsider art-form that it was always meant to me. Loud, direct, irritating (the straights!) and fun for all those who know how to enjoy themselves. Their first album (‘Trendshitter’… what a great title!) established them in the underground rock’n’roll scene and this latest offering proves that they’ve still got plenty of energy and great songs hidden up their sleeves. The lyrics swap between English and German but you can pick up their intent either way, just let the music draw you in. Seriously, this is a lot of fun. Play it loud – there is no other way! PS – limited edition 12” vinyl with bike-trax screenprint on the flip… you know you want it!
HIDDEN CABINS. Two Sides, Two Stories LP (Engineer) Based between New Jersey and North Carolina (depending on which band member you’re talking to) Hidden Cabins are primarily a two-piece band that have recently extended their membership to four, allowing for more depth and versatility, particularly in a live context. They describe themselves as ‘indie-folk’, although I feel that ‘alternative-Americana’ would work equally well. Certainly, you can hear Country elements in their songs along with occasional hints of Folk Implosion, Tommy Stimson’s recent material and maybe even Thin White Rope (in their more mellow, laid-back moments.) But whatever way you look and listen to it, the songs have an authentic insistence with plenty of catchy hooks to make sure that they’re not going to lose your attention from one end of the album to the other. They keep the music deceptively simple and that’s definitely one of their strengths as it allows them to create suitable atmospherics whilst not becoming too melodramatic or overbearing. This is certainly an album that stands up to repeated plays and sounds better every time you hear it. If you enjoy energy and intrigue in a catchy, understated style, this album is for you.
JOHNNY MOPED. Matinee Acoustic Live at the Prince Albert LP (Damaged Goods) I know that there are some people who will be horrified by the mere idea of a Johnny Moped acoustic album, but the proof is in the pint (as they say in Croydon) and this is actually a very entertaining and enjoyable recording. Johnny Moped may have had a few shambolic moments in the past but the current line-up has become surprisingly tight and convincing in recent years and can be relied upon to deliver great sets. That’s not to say that they don’t make mistakes, but in the world of Moped that’s really not a problem. It’s the energy and excitement that still propels them and that’s what the fans love about them. When it comes to acoustic-performances, they’re not a regular occurrence for the band but when they do happen they can be a surprisingly effective format. The songs actually work really well with the amps tuned down, giving plenty of room for the great tunes to rise to the top whilst allowing more time and space for Johnny to chat with the audience in his own inimitable style. Listening to this record, you can clearly hear a band thoroughly enjoying themselves and the infectious atmosphere (no reference to VD Boilers…) is shared with the audience who cheer the band along from start to finish. As I’ve said before, some people just don’t get the Moped vibe and this album isn’t going to change their minds. But at the end of the gig, it’s their loss. Life is much better when you enjoy the Mopeds!
KEELEY. Girl On the Edge of the World CD (Definitive Gaze) Keeley is the name of this three-piece Anglo-Irish band and the name of their singer/guitarist Keeley Moss. This is her/their fourth album to date and having heard them described as ‘shoegaze’ and ‘dream-pop’, I wasn’t expecting such an expansive production, but it actually works rather well with this material. Putting it simply, Keeley writes impressive, catchy songs and although her style is hardly ‘mainstream’, this is also the kind of material that could easily sneak onto the airwaves and end-up appealing to a very wide audience. The subject-matter of the lyrics is based around the true-life case of Ingar Maria Hauser, a German teenager who was murdered whilst backpacking around Northern Ireland in 1988. The case remains unsolved but Keeley, amongst others, has fought to keep the case in the public eye with the hope that the perpetrator can still be brought to justice. That said, the subject does not become overwhelming and the lyrics serve more as a prompt to encourage further interest, while the music veers away from the darker tones that other bands might delve into. This is both intelligent and entertaining, something that will have you swaying around your bedroom and appreciating the words. Good stuff.
LOS REVOLUCIONARIOS / MYTERI. Split CD (Grillo Negro / Tormentas / Halvfabrikat) Due to delays (entirely my fault) this review is much later than it should have been, but it such a good album, featuring two great bands, that I still want to recommend it. Los Revolucionarios are a Mexican band who play a furious but compelling brand of crust punk, tempered by subtle melodic hooks. I haven’t been able to find many details about them, but they’ve already released five albums over the last ten years or so, which probably explains why their music is so powerful and focused. Myteri, on the other hand, are from Gothenburg in Sweden and have been together since 2014, releasing four albums and numerous EPs prior to this collaboration. Again, Myteri have been around long enough to have a full idea of what they want to achieve and how to do it. Their sound is more metallic, albeit in a decidedly brutal style, and yet also has room for melodic riffs that help to draw you in to the music. Both bands add interesting arrangements and links to their songs, ensuring the piledriving tempos don’t become too relentless. Lyrically, the songs are mostly sung in their native languages, so it’s a bit difficult to follow what’s going on. The CD packaging also includes the lyrics so you’ll be able to check out those in English, but further information would have been helpful as the apparent aim of the album is to take the listener through the ruins of a civilisation devastated by man’s disdain for the environment that supports him. It’s a vision worth sharing in these days of myopic, right- wing insanity and both bands provide the perfect soundtrack. This is a great album on all fronts and you should hear it as soon as you get a chance to do so.
LOW STANDARDS HIGH FIVES. Everything Ends LP (Engineer) As the title suggests, this isn’t going to be party music. Although quite noisy at times, the mood of this album is pretty downbeat and there’s no surprise to hear the LSHF’s were influenced by emo bands like Appleseed Cast and The Promise Ring. Although based in Turin, their lyrics are sung in English and you would never guess that they are actually Italian. This is their second album (there are also a couple of EPs) and they certainly seem to have forged a clear and focused direction for their music. Although it may be dealing with the darker side of emotions, it secures your attention by avoiding any tendency to become too maudlin or melodramatic and instead maintains its’ own dynamics and presence throughout. The songs are kept at a measured pace, resisting any urges to break lose, and it’s that restraint that really marks them apart. Not something that will have you whistling while you work, but definitely suited for your more contemplative moments.
MAGIC OF THE MARKET PLACE. The Spectators Are Leaving CD (Engineer) Second release from this relatively new Blackpool-based band. Their first CD, ‘Jealous Moon’, was rather impressive but this one sounds even more accomplished. As before, the guitar style recalls Bob Mould at his best, mixed with hints of Leatherface, Dillinger Four and perhaps even a few older bands like Buzzcocks and the Ruts. The five songs featured here are all upbeat and full of energy, although they resist the urge to get too fast and make sure that the melodies always remain the important element. I don’t think these guys have played live, yet, as they all seem to be involved with other bands or projects, but if this CD is anything to go on they’d certainly be an exciting prospect. While we wait for that to happen, be sure to hear this. I think it’s going to appeal to a lot of punk rock fans. Play it loud and often!
MAP 71. Feral Jinx CD (Foolproof Projects) Map 71 have been together since 2013, releasing music on a regular basis ever since. Lisa Jayne provides lyrics and vocals whilst most of the instrumentation comes from Andy Pyne and, as a duo, it would be easy for them to become rather limited over time, restricted by their format. However, they’ve managed to avoid such traps by constantly developing their ideas and sounds in an organic manner from one album to the next. Their music remains true to their original vision but certainly doesn’t find itself standing still. Each release has had its’ own distinct character and although the differences can sometimes be quite subtle, they’re always purposeful and appropriate. Map 71 don’t just change things for the sake of it, they have a clear direction and know what to omit just as much as what to add. ‘Feral Jinx’ is quite possibly their best release to date, adding yet more layers to their overall sound but always maintaining percussion and vocals at their core. Whilst the instrumentation makes even better use of samples and loops, Lisa Jayne takes a more experimental direction, including improvised vocal sounds alongside her more usual almost narrative style. But while it may be far from the mainstream, they also have a knack for including melodies and other familiarities to capture your interest. The final track, ‘The Cobra’ even employs some Suicide-style keyboards to make its’ point. The overall results create intriguing soundscapes that will stretch your imagination in accordance. Map 71 remain impossible to pigeon-hole as they evoke so many styles, from psychedelia through to Art-punk. Listening to ‘Feral Jinx’, I’m sure they still have plenty of ideas and a lot more great music ahead of them. Start paying attention now.
MELVINS with NAPALM DEATH. Savage Imperial Death March FCD (Ipecac) The Melvins seem to be on a quest to see how many bands they can collaborate with, but as these projects usually result in some pretty high quality music, I’m certainly not complaining. However, I really wasn’t sure what to expect from this latest alliance. I lost interest in Napalm Death a long time ago and haven’t properly listened to them since the Nineties. The fact that the current line-up features none of the original members is also off-putting, although to give them fair-credits, they’ve maintained their popularity and have continued to release new albums on a pretty regular basis for nearly 40 years. Although Napalm Death have always been known for their fast tempos and the Melvins renowned for their slower, more tempered approach, in many ways both bands have come from similar roots, with bands like Black Sabbath, Swans and Killing Joke (along with many others) playing roles in their development. So it was certainly intriguing to hear what they would produce together and I’m glad to say that the album is a very impressive interaction. First thing to note is that none of the tracks are played at breakneck speed and instead they find common ground on which to base their music. Napalm Death’s down-tuned rhythms actually fit well alongside the Melvins’ own grungier sounds, while the different vocal styles also work well together, providing a steady counterbalance that helps to keep the different character of the bands in focus. The more eclectic elements of each band are also very much in the foreground, with patient, atmospheric arrangements often extending the tracks to their il/logical conclusions. This is an album that will please fans of both groups, but it really is a beast that stands tall in its’ own right, the result of two bands with genuine respect for each other coming together to share their influences and create something new. It’s loud, noisy, invigorating and an instant classic that defies expectations. Do not miss it!
THE MEMBERS. At The Chelsea Nightclub / 1980-The Choice is Yours 2CD (Captain Oi!) The Members weren’t really a ‘punk’ band, having developed a style of their own which mixed punk, reggae, pop and new wave, but they did produce a genuine Punk Rock classic in ‘Sound of The Suburbs’. They had formed in 1976 and quickly started playing in various pub venues around London. Their track ‘Fear on the Streets’ was included on the ‘Streets’ compilation in 1977, but it wouldn’t be until 1979 that their first single ‘Solitary Confinement’ was released as a one-off on Stiff records. Despite not reaching the charts, it bought them to the attention of Virgin who promptly released the timeless-classic ‘Sound of the Suburbs’. The follow-up, ‘Offshore Banking Business’, highlighted their reggae influences with an incredibly catchy tune and poignant lyrics which reached the top 40 but should have been a bigger hit. Similarly, their first album reached the top 50 but could have done better. The problem, perhaps, was their eclecticism. After ‘Sound of the Suburbs’, listeners expected a punk band but their songs were a lot more varied and they couldn’t be easily pinned-down. Perhaps six months later they would have fared better alongside the emerging Two Tone bands… Certainly, their songs featured a similar, quirky mix of styles and Nicky Tesco had a lyrical style that addressed contemporary issues in a similarly relatable down-to earth manner. Their second album, 1980 – The Choice is Yours’ appeared the following year and developed their style even further. They had moved further away from straight-forward punk rock, with a generally upbeat sound that veered further towards bands like the Specials or Madness but without fully embracing the Two-tone/Ska template. Listening to the album now, it’s hard to see why it wasn’t a lot more popular, but it just seemed as if much of the music-press and radio stations couldn’t be bothered to listen and appreciate them. Regardless, ‘1980’ features another batch of catchy, enjoyable songs and still sounds remarkably fresh. Alongside the two albums, this set includes lots of bonus material, from their very first release, ‘Fear on the Streets’, and the Stiff 7” through to the excellent 12” extended versions of ‘Offshore Banking Business’ and ‘Solitary Confinement’. This is a great way to re-acquaint yourself with the original Members and you will quickly realise that, as great as it was, they had a lot more to offer than many of their contemporaries.
MICKO & THE MELLOTRONICS. The Trinity CD (Landline) It’s been three years since their previous album, ‘Le Vice Anglais’ charmed the FNL review pages with its’ sly, melodic tales of life in the modern world. Well, the new album has now been unleashed and it’s a very impressive leap forward. It’s notable that apart from singer/guitarist Micko Westmorland, this album features an entirely different line-up to its’ predecessor, but since the project was always based around Micko’s songs it has successfully caught the best moments of their earlier music and progressed them in a way that effectively mirrors the lyrical development. The songs have an understated narrative style and an almost visual quality that brings the vocal imagery to life. The lyrics seem to take a broader range of subject matter this time but remain accessible and reflective. Musically, the band take influences from the mid-to-late Sixties (The Kinks, Pretty Things, Small Faces) through to the more interesting bands of the late Seventies (Wire, Buzzcocks, The Only Ones) as well as more recent references such as Pulp and even Peter Perrett’s recent ‘solo’ albums. In addition to this, guest appearances by the likes of Arnulf Lindner, who provides string arrangements, and Terry Edwards, who contributes to the final, climatic song, ‘Mystery of the Night’, add their own talents to the overall picture. This is an album with depth and integrity that demands attention and deserves to be heard by a very wide audience. If you enjoy guitar-based music that embraces influences from many of the best moments of British pop/rock whilst confidently placing itself in the current times, then this is something that you should hear as soon as you can.
RAMONES. Summer of 89 LP (Dear Boss) Recorded in Rome during May 1989, this album captures the Ramones just a couple of months before Dee Dee’s departure. They had recently released the excellent ‘Brain Drain’ LP and were still a very popular live band, but during this time they also started to speed-up their songs, apparently because Johnny wanted them to keep up with the younger hardcore and thrash bands of the time. It’s debatable if this was really necessary and it also seemed to prompt Joey to start singing in a more ‘economical’ style, missing words and mumbling lines. That said, they still sounded great, with Dee Dee and Marky holding down the rhythm and ensuring the band remained the blistering unit that everyone loved. This album is taken from a good mixing desk tape so the levels are not always perfect but still manage to document the band playing a fine set, with songs from their debut album all the way through to ‘Brain Drain’. I wouldn’t claim this is an essential album for everyone, but with more than 30 songs in around 50 minutes, any real fan (rather then the tossers who just wear the t-shirt) is going to love it.
RAMONES. Live CBGB 1977 LP (Rhino) A limited (but not too limited) Record Store Day release that’s well worth having. The Ramones at their spiritual home in April 1977 (with Tommy still on the drum-stool.) The band had already established themselves in the UK by this point, helping to establish the Punk scene, but were still playing relatively small venues back in the States even though their second album, ‘Leave Home’, had just been released mere weeks earlier. This album may not be a hi-fidelity recording, but it captures the pure energy and atmosphere of the band at their very best, performing many of the early classics that would remain in their setlist for the next twenty years. If you’re already a fan, then you’ll know that you need to hear this record; if you’re new to The Ramones, then this is going to give you a damn-good idea of what they were all about. Ignore at your peril.
THE RESIDENTS. Animal Lover – Evolution Edition 3CD (Cherry Red) ‘Animal Lover’ was originally released in 2005 and I have to admit that it wasn’t an album that I appreciated straight away. I loved the opening song, ‘On The Way to Oklahoma’, which is a snappy, upbeat track with the kind of quirky lyrics that wouldn’t have been out of place alongside albums like ‘Duck Stab’ or ‘The Commercial Album’. However, as the tracks progress it takes a much more sombre and melancholy tone, sometimes delving into quite dark atmospherics. As such, it takes some time and numerous listens to really get into it and appreciate the overall vision. The album is formed by a series of stories depicting how animals might view the behaviour of humans and the way they treat the environment. The booklet which accompanied the CD contained a further set of tales related by the various animals, extending the range of the narratives even further. As with many of The Residents’ projects, the band developed plenty of ideas that allowed them to go of on different tangents, eventually resulting in a bonus CD with the initial album (generally referred to as ‘Imaginary Jack’) plus a re-worked instrumental version of the entire LP, released as a limited edition a little while later. It also transpired that, since the album had taken a particularly long time to develop (they had initially begun work on the idea back in 2001 but it had been interrupted several times by various events) a rather large amount of demos and outtakes had been amassed as the fab-four worked all the way from their original concept through to the completed album. This new edition has now been extended to include the material from those recording sessions (from 2001, 2003 and 2004) providing a rare insight into the way The Residents develop their ideas. Surprisingly, the initial idea came from a series of original songs from the Civil War period, but soon began to take-on a life of their own and a purpose that was far removed from those initial intentions. It’s intriguing to see how this project came together and, musically, also rather enjoyable. It’s a lot of material to get through, but trust me, if you’re already a fan of this album, you’re going to love this latest edition.
SHAM 69. The Albums 1978-80. CD boxset (Captain Oi!) It’s pretty strange to think how successful and critically acclaimed Sham 69 were when they first burst onto the UK Punk scene in late 77. After one independent single (‘I Don’t Wanna’) they were signed-up by Polydor and quickly found themselves as regular fixtures on Top of the Pops with a succession of hit singles. After some shuffling, the band settled with what would be their ‘classic’ line-up (Jimmy Pursey, Dave Parsons, Dave Treganna and Mark Cain) in time to record their first album, ‘Tell Us the Truth’, released in early 1978 alongside the legendary ‘Borstal Breakout’ 7”. The album took the unusual option of including a live recording on side one (presumably to make the most of the bands’ live reputation) and studio recordings on the second The songs stripped punk down to the basics, featuring a raw guitar sound, a powerful rhythm section, catchy melodies and ‘socially-aware’ lyrics sung in an almost football-terrace style. It’s easy to see why Sham are considered the main precursors to Oi! and street-punk, while some songs would also provide a blueprint for many of the early US Hardcore bands. Their second album, ‘That’s Life’, saw the band expanding their ideas and presenting a ‘punk rock opera’ of sorts. The songs were based around a teenage tale of trying to cope with everyday life, together with characters and dialogue. Jimmy was trying to make a point, although it still remains rather vague as to what it actually was, especially with memorable lines like ‘We’re eating a clockwork orange, but I’m spitting out thew pips’! However, featuring the hit singles ‘Angels with Dirty Faces’ and ‘Hurry Up Harry’ the record comfortably climbed into the Top 30’. Musically, there was still plenty of energy but other influences (The Who, Mott the Hoople etc) were also starting to make their presence known and they would go even further with their next LP, ‘The Adventures of Hersham Boys’. Although it would prove to be their most successful album (partly due to a bonus 12” EP included with initial copies) it was also an album that disappointed a lot of older fans. Although it still featured a bunch of decent songs (the title track also became their biggest hit single, reaching No.6) the overall tone of the album was much more rock-orientated, with a more professional production to match. On top of this. the bands’ gigs were now attracting hordes of skinheads, many of whom were right wing and intent on violence. Sham 69 had never supported right wing ideals and were finding it difficult to deal with. Jimmy decided to end the band with two final gigs in Glasgow and London. For a brief time, Pursey and Treganna were then involved with Steve Jones and Paul Cook in the infamous ‘Sham Pistols’ project, but this fell apart after only a few days of attempted songwriting! Jimmy promptly decided to reinstate Sham 69, but their fourth album, ‘The Game’, in 1980 was patchy and unfocused, failing to reignite their momentum and, with an even harder rock sound. It failed to reach the charts and the band fell-apart once again. Ironically, one final single, ‘Unite and Win’ was released in mid-1980 and musically found the band back on great form, but by that point no-one seemed to be listening. This boxset, including the four albums plus all of their non-LP singles and b-sides, represents the Rise and Fall of Sham 69, documenting their highpoints and considerable legacy alongside their less-successful moments. I know that many are content to ignore them altogether, but for a few years Sham 69 were a truly exciting band and their best moments will still deliver a real adrenalin rush. Play it loud and enjoy the records all over again.
STRANGLERS.Live at the Hammersmith Odeon 1982. LP (Room on Fire) There’s an interesting history to this recording. Apparently, it was recorded by the BBC and intended for radio broadcast (which explains the excellent sound quality) but for some reason it never reached the airwaves. However, that decision just resulted in the tape becoming one of the most heavily distributed bootleg cassettes of the time, thoroughly enjoyed by the fans who heard it. The BBC eventually caught on and released the concert on CD in 1998, although still not getting it right and listing the concert as 1981 rather than 1982. And now, four decades later, it’s finally been released on vinyl… This was the tour for the ‘La Folie’ album which, although not one of the bands’ greatest moments, managed to take them back to chart success after several years of mainstream-disinterest. This was mainly down to the almost-hypnotic quality of ‘Golden Brown’ but, as this LP shows, ‘La Folie’ also contained plenty of great songs which, live, sounded so much stronger than their studio versions. ‘Tramp’ in particular, is the classic Stranglers single that never happened, while ‘Let Me Introduce You to the Family’ was so far ahead of its’ time. Admittedly, this was the period when the band veered-off into a more mellow approach to their sound, but live they were still gritty and powerful. Even if you’re not a fan post-Golden Brown, this is a recording you need to hear. Before the fractures that resulted in Hugh’s departure, they were still delivering powerful live performances that easily match the reinvigorated gigs they’ve presented since the arrival of Baz Warne. This is a great recording of a great band in their element, proving the doubters wrong. Don’t miss it.
SUBHUMANS. Demolition War Demos LP (Sealed) Just what it says on the label… a double LP set of tracks that made up the original ‘Demo Tapes’ as made available on the Bluurg label, ‘back in the day’. The tapes include songs that would appear on the first couple of EP’s and the first album, but in a much more raw, primal stage of development, plus a few (‘Trowbridge Park’, ‘Sid’ and ‘Pisshead’) which never made it to vinyl before now. It’s a mix of live tapes and 2-track reel-to-reel recordings, which is all what yer real punk bands had to their disposal at the time (if they were lucky!) But the great thing is that it captures the band finding their feet and becoming the seminal force that they were/still are. The sound quality is murky at times, but you get to hear a band creating their own sound and intent, whilst stretching their talents to achieve it. They’re not perfect by a long shot, but you can hear what they were aiming for and the sincerity of their efforts. Perhaps these aren’t Digital Hi-fi perfection, but if you want to hear genuine energy and inspiration, this is an album for you.
SUICIDE. Live at CBGB – 27/09/86 LP (Neon Vortex) One of the best live recordings I’ve heard by the legendary New York duo. The sound quality is close to perfect, loud but clear with no unnecessary distortion. Martin Rev’s electronic creations provide the ideal antagonistic soundtrack over which Alan Vega delivers his psychotic Fifties-style rock’n’roll vocals, reciting suitably dark lyrical tales. Just as important is the reaction from the audience, equal amounts terror and delight. Of the seven tracks included here, only a lively version of ‘Cheree’ and a twisted rendition of ‘Rocket USA’ date back to their classic debut album. Fortunately, the newer material is just as vital, particularly a brutal early version of ‘Devastation’ which would eventually appear on the ‘A Way of Life’ album in 1988. Seriously, one of the best bootlegs I’ve heard for some time.
WHO SAVES THE HERO? Love / Hate / Demons LP (TSM) Based in South Wales, WSTH? have already released a couple of EP’s and this is their first full album (if you can trust Bandcamp…) They’re a three-piece band but produce a pretty solid, noisy punky-pop sound that’s both catchy and emotive. There are moments that may have you thinking of classic Buzzcocks, perhaps some Dag Nasty, maybe The Briefs, possibly Protex or Rudi, so there’s certainly some good ingredients in their mix. The album is split in three parts, as hinted by the title, although there’s not a real big difference between the ‘Love’ and ‘Hate’ sections. ‘Make Your Mind Up’ adds a few reggae rhythms to their CV and a guest appearance from Benji Webb of Skindred fame. I was sure that the final section, ‘Demons’, would be noticeably nastier (possibly more metal) than the preceding tracks but again, there’s not a big difference of style. Not that it’s a problem at all and, in fact, one of the best tracks on the album, ‘Obvious’, appears in this section even though it’s possibly the most restrained song in the set. ‘Pushing Me Over the Edge’ provides the finale and is a suitably dramatic, upbeat conclusion. The production is generally pretty good, capturing the natural energy of the songs, although certain vocal treatments really irritate me (although everyone else may love ‘em.) I don’t have many details about this band, but they certainly seem focused and determined. This is a good album and suggests that they have the potential to take it further. Keep your ears open!
XTC. Emerald City 1981. LP (Ape House) While most RSD releases have become more and more expensive (and less and less interesting) there are still some items that are worthy of your investigation. In this particular case we have an entire concert on double-album of XTC live in New Jersey, 1981. Apparently, it’s the first in an ongoing series of ‘official bootlegs’ released from the bands’ archives and, if they’re all as good as this, we’re in for some real treats! XTC had formed in Swindon (Rock City!) during the early Seventies but didn’t generate much interest until the Punk explosion in 1977. These days, it’s pretty clear that their adventurous approach to rock and pop has been highly influential, but at the time they struggled to establish themselves in the charts. However, they became a popular live band with a much harder sound than their albums revealed. The albums sounded more meditative and let you think about the songs, while the gigs were about the raw experience. That’s what you get from this album, a real kick in the eye. The sound quality is superb and the setlist is just about perfect (the omission of ‘Are You Receiving Me’ being the only flaw.) XTC could and should have gone on to be so much more popular, but some stories don’t have the perfect ending. If you want to know how history should have progressed, listen to these versions of ‘Respectable Street’, ‘Sgt Rock’ or ‘This is Pop’ to hear just how good this band were. If any future ‘official bootlegs’ are as good as this, I can’t wait to hear them!
ZU. Ferrum Sidereum CD (House of Mythology.) Zu are an instrumental power trio intent on taking the hard rock genre into new territories, invigorated with new ideas. Based in Rome, the band have been together since 1997 and from the start took the unusual step of replacing the guitar with baritone saxophone (although other instruments do make appearances along the way, particularly in the studio.) They have released more than a dozen albums since their debut (‘Bromio’ in 1999) and have collaborated, either live or in the studio, with the likes of Eugene Chadbourne, Mike Patton, David Tibet, Buzz Osborne and Damo Suzuki. This album features eleven tracks and clocks -in at nearly 80 minutes, but despite its’ length it’s an album that you’ll want to hear all the way through. Based around the deceptively simple and repetitive rhythms, the music is relentless but insistent, demanding your continued attention with sneakily-placed and probably unexpected melodies You can pick up comparisons pretty quickly, with Sabbath-style riffs and the driving force of Gore certainly in the mix, but at different points you will also be acknowledging elements such of free-jazz, the harsher sounds of electronic/ industrial music, prog, ambient and perhaps even John Zorns’ re-arrangements of supposedly contradictory musical genres. The results will seem both familiar and unorthodox at the same time, but also incredibly powerful and enthralling. I really wasn’t sure what to expect from this album but ended-up enjoying it very much. Give it a listen and perhaps you will as well.
V/A CURRENT AFFAIRS CD (Subunderground) Compilation of bands from the UK and the Netherlands, accompanied by a copy of ‘Lower Than Low’ fanzine which includes info and interviews with all of the featured bands. Most of the bands are represented by two songs while the three most closely connected to the label (Fords Fuzz Inferno, The Scoundrels and Waste) have one track each. Rather than being nostalgic, Subunderground have decided to celebrate the 50th anniversary of Punk with a selection of bands who are currently active in the DIY scene and the healthy variety of sounds that they produce. Old Age Spies have a quirky-yet-catchy style and their first track reminded me of the Golinski Brothers classic ‘Bloody’ single. Mouser’s ‘No Pasaran’ is a fast’n’frantic track based around the legendary Anti-fascist slogan, while ‘Mr Greed’ has an almost Glam-rock riff at its’ core. Geezapunx veer more towards the UK82 style, while Krust Worthy (who share members) also recall that same era but with a faster, almost d-beat velocity. Abrazos deliver two fast almost thrashy punk tracks while Brioche are a two-piece featuring drums, bass, guitars and vocals and by their very set-up have a notably unique sound. Their two tracks are certainly amongst the highlights of this album. StressSystem deliver hardcore that leans towards crust/grindcore with male and female vocalists and interesting arrangements ensuring that their tracks stand-out. Chances are that you won’t enjoy every track on this compilation, but at the same time I’m sure that you’ll find plenty to enjoy. This is a great way to discover what’s still going on in the Punk-world and the excellent issue of ‘Lower Than Low’ will give you all the details to keep your interest simmering.
V/A HEAT WAVE – The Intoxicating World of Nexotica CD (Righteous) After some excellent compilations featuring music from Martin Denny, Les Baxter and Arthur Lyman (probably the best known and most prolific creators of Exotica) Righteous Records are now presenting a collection containing tracks from all three of the above plus another twenty artists, including the likes of Esquivel, Yma Sumac and Henry Mancini. I don’t think any of these recordings have featured on previous Righteous collections, so this is an album that’s going to appeal both to die-hard fans and those new to the genre. It gives a really broad introduction to this musical style, featuring the many differing moods that these performers were able to produce as well as scintillating atmospherics and aural melodrama. Sometimes the music is comfortably familiar (Esquivel’s version of ‘Nature Boy’) while others indulge in a more demented approach (‘Knife Dance’ by Webley Edwards could easily be an outtake from an early Residents LP!) There’s a lot to enjoy here and any fan of the genre is going to love it. Likewise, if you’re still just a curious listener, this is certainly a good place to start.
V/A PRAISE BE! BOARDING THE GOSPEL TRAIN- IN THRALL OF THE LORD! CD (Righteous) I think most fans will accept the part-played by Gospel music in the development of primal rock’n’roll. Indeed, original legends like Little Richard and Jerry Lee Lewis held Gospel close to their hearts throughout their careers and Jerry Lee even played alongside his cousin, the notorious televangelist Jimmy Swaggert, on numerous occasions. It’s probably more difficult to understand if you don’t live in America (the Southern States in particular) but Gospel music during the Fifties and Sixties was hugely popular and played just as important a role in the development of rock’n’roll and rockabilly as Country music and the Blues. It may not be too obvious at first, but listening to this compilation will give you a good indication of the sort of music we’re talking about. Some of it is wild and raucous, some of it is more sombre and Bluesy, but the best moments deliver some surprisingly great music. There’s a mix of well-known names alongside many obscure artists, but they’re all worth hearing, from the likes of The Staple Singers, Patsy Cline and Sister Rosetta Tharpe through to Johnny Cash and BB King. This is a collection for fans who really want to know about the roots of the music we all love and if you can’t dig this, you're probably not gonna dig nothin’ !