Back catalogue:

Review: For many, MC5 were the world's first punk band. A Detroit crew that managed to set fire to the rock & roll rule book during the late-1960s and early-70s - a period of time observers will often argue was defined by a lack of rules - they disappeared into the ether almost as quickly as they blew it up. Almost fading into forgotten music memories, thankfully at least one of the original lineup kept the lights on, with three founding members now sadly dead. This leaves guitarist Wayne Kramer to take a lead on Heavy Lifting, the first MC5 album since High Time in 1971. And it almost recaptures the magic of that era, bringing both grit and funk in equal measure, ensuring that hard rock grooves all night, or at least for the duration of this record. A fierce, welcome return that feels fresh, rather than pastiche.

Review: The impact and influence of MC5 has been much discussed, with the Detroit outfit cited as major instigators of what would become heavy metal and punk-rock. Their recording career effectively ended in 1972, though they have previously reunited on occasions for shows and tours - despite the passing of three of the original members. Even so, the appearance of 'Heavy Lifting' - their first album in over half a century - is a massive surprise. With founder member Wayne Kramer at the helm, the music they've offered up is as raw, heavy, angry and uncompromising as the music they recorded at the tail end of the 1960s, with lyrical nods to recent events. Given their vintage and the advancements in studio recording, that's no mean feat. A comeback we can all get behind!

Review: Detroit's MC5 were a truly world changing band, inspiring metal, garage and punk rock bands alike - as well as the support of John Lennon, for example. The idea of the band - three of whose original members have now passed - following up 1971's swansong High Times with a new album in 2024 is a weird one, but once you put the music on, it makes a lot more sense. With guitarist Wayne Kramer at the helm, they've put together an album which reflects their roots and doesn't show much mellowing with time, although it would be hard not to make something a little less raw their than their formative recordings, by dint of technoloigcal advances alone. 'Boys Who Play With Matches' is a suitable raucous highlight - it's always nice to hear men in their 70s boasting about being late for school - and 'Barbarians At The Gate', penned about the post Trump-defeat invasion of Congress, shows they're still in touch with the real world.