Review: Since the release of their Grammy-nominated third full-length Glow On in 2021, Baltimore hardcore experimentalists Turnstile have legitimately ballooned to one of the biggest acts in modern rock music. Returning four years on with their longest gap between albums yet due to their immensely expanded touring schedule, Never Enough seeks to maintain the momentum whilst building upon their unique vision for what was once an admittedly niche subgenre. With the opening title-track's anthemic stadium-punk vibes complete with ethereal synths and bombastic, purposefully simplistic riffage, to the jangling disco-dream-pop banger 'Seein' Stars' to the blistering yet positive chaos of 'Birds', all signs point to the band nailing their mission statement for the scene, with yet another intriguing opus brimming at the seams with creativity, energy and incomparable proficiency. Their first work to mark the arrival of former Chubby & The Gang guitarist and Yorkshire-born Meg Mills following the departure of Brady Ebert, the album will also be complimented by a musical film, essentially offering music videos to all 14 tracks in a style reminiscent of The Who's iconic album-film Tommy. Due to premiere at the Tribeca Film Festival in New York City, Turnstile continue to decimate the boundaries and limitations of what a hardcore punk band can accomplish.
You Know What They Do To Guys Like Us In Prison (5:15)
I'm Not Okay (I Promise) (0:45)
The Ghost Of You (3:09)
The Jetset Life Is Gonna Kill You (3:26)
Interlude (3:40)
Thank You For The Venom (2:44)
Hang 'Em High (1:54)
It's Not A Fashion Statement, It's A Deathwish (1:33)
Cemetery Drive (3:02)
I Never Told You What I Do For A Living (3:53)
I'm Not Okay (I Promise) (live) (3:11)
Helena (live) (3:03)
The Ghost Of You (live) (3:16)
You Know What They Do To Guys Like Us In Prison (live) (3:18)
Review: The sophomore full-length from New Jersey goth-punks My Chemical Romance was originally released in 2004, changing both the course of their career trajectory as a band but also altering the mainstream acceptance of the goth/emo/alt scene in the 21st century ever since. While it was 2006's third full-length The Black Parade which would cement the band as alt rock legends, Three Cheers For Sweet Revenge was an unprecedented success, fusing the macabre darkness of Misfits and Alkaline Trio with stadium-sized hooks to put the likes of Blink-182 or Green Day to shame. Boasting the pop-punk hit 'I'm Not Okay (I Promise)', whilst the later singles 'Helena' and 'The Ghost Of You' illustrated their expansive yet understated weaving of emo, post-hardcore and punk rock, all elevated by vocalist Gerard Way's uniquely grim lyricism, experience as a graphic novel illustrator and Billy Borgan-style vocal fractures. Selling over 3 million copies in the US alone, even being certified Platinum less than a year after initial release, this semi-modern fully classic punk staple returns with a revitalised deluxe edition, housed with updated artwork and offering an entirely new remix as well as four previously unreleased live recordings.
Review: In the four years since the unprecedented success of 2021's Grammy-nominated third album Glow On, Baltimore experimental hardcore heroes Turnstile have become legitimately one of the biggest bands in modern rock. Following their longest gap between full-lengths yet, likely due to their majorly expanded hectic touring schedule, Never Enough appears poised to maintain the intense momentum whilst continuing to build upon their uniquely singular vision for what was once regarded as a niche subgenre. From the opening title-track's anthemic, simplistic-by-design stadium-punk riffage elevated by bubbling, euphoric synths to the jangling disco-pop dance-punk grooves of 'Seein' Stars' to the chaotic yet positive abrasion of 'Birds', all signs point to yet another intriguing, incomparable opus bursting at the seams with levels of creativity, ability and energy beyond the confines of any genre or band working today. Officially enlisting longtime touring member and former Chubby & The Gang guitarist and Yorkshire-born Meg Mills following the departure of Brady Ebert, the record will also expand upon the four-track musical film Turnstile Love Connection which announced their previous effort with a fully realised version this time around, offering up music videos to all 14 tracks in a style reminiscent of The Who's iconic album-film Tommy, entirely directed by frontman/mastermind Brendan Yates, who also serves for his first time as the record's producer. With the album/film release set to coincide and premiere at New York City's Tribeca Film Festival, Turnstile continue to shatter the boundaries and limitations of what a hardcore punk band were once thought capable of accomplishing.
Review: Popstock's latest Fall retrospective Singles Live Vol One 1978-81 captures Smith and his mighty co. in their rawest, fuzz-worthy phase. Whether it's the discordant organ furzes of 'It's The New Thing' or the snarled highway punk of '2nd Dark Age', this one's a great distillation of the Fall's sound at a select interval. Culled almost exclusively from the period spanning their Live At The Witch Trials era to the brink of the Hex Enduction Hour, the album compiles ferocious stage renditions of early singles, delivered by a revolving door of members as usual. Yet it was also born from frustration with how other Fall archival material has been handled, and how more recent lineups have been emphasised and represented as immutable over and above classic, yet more unusual suspects. Steered by ex-Fall members Paul and Steve Hanley, Marc Riley and Craig Scanlon, Popstock exists as a corrective, revisiting a pivotal moment with a twist.
You Know What They Do To Guys Like Us In Prison (5:15)
II'm Not Okay (I Promise) (0:45)
The Ghost Of You (3:09)
The Jetset Life Is Gonna Kill You (3:26)
Interlude (3:40)
Thank You For The Venom (2:44)
Hang 'Em High (1:54)
It's Not A Fashion Statement, It's A Deathwish (1:33)
Cemetery Drive (3:02)
I Never Told You What I Do For A Living (3:53)
I'm Not Okay (I Promise) (live In London For BBC radio 1’s "The Lock Up") (3:11)
Helena (live In London For BBC radio 1’s "The Lock Up") (3:03)
The Ghost Of You (live In London For BBC radio 1’s "The Lock Up") (3:16)
You Know What They Do To Guys Like Us In Prison (live In London For BBC radio 1’s "The Lock Up") (3:18)
Review: Originally released in 2004 as their sophomore full-length, Three Cheers For Sweet Revenge would change both the career trajectory of New Jersey goth-punks My Chemical Romance whilst simultaneously turning the genre on its head with its unique fusion of macabre Misfits and Alkaline Trio worship married to the stadium-sized hooks and melodies of Blink-182 and Green Day. While it would be 2006's follow up The Black Parade that would turn the band to alt rock giants, it all started here with the iconic pop-punk banger and hit single 'I'm Not Okay (I Promise)', whilst later singles 'Helena' and 'The Ghost Of You' highlighted their expansive melding of emo, post-hardcore and punk rock, elevated by vocalist/lyricist/graphic novel illustrator Gerard Way's uniquely grim vision and Billy Borgan-esque vocal cadences. Certified Platinum less than a year after initial release, and selling 3 million copies in the US alone, this new deluxe edition features an entirely new remix plus four previously unreleased live recordings.
Review: Reissued to mark 50 years of Bomp! Records, this 7” revives two sweetmeats from Nikki And The Corvettes, all teased hair, leather jackets and bratty charm. ‘Honey Bop!’ leads with snotty vocals and handclap hooks, wired on girl-group gloss and Ramones-tight riffs. On the flip, ‘Shake It Up’ elevens up the fuzz and attitude, nodding to 60s garage and jukebox sleaze. Originally released by Bomp! - the label who helped connect power pop, punk and psych weirdness under one roof - this single rattles with the same no-rules spirit that defined the imprint’s heyday. The Corvettes never hung about long, but their bubblegum snarl still cuts sharp.
Review: Album number five from legendary British post-punk and New Wavers The Clash was first unveiled on 14th May 1982. 40 years on it finds itself the centre of attention once more, re-released both in this original version and an extended edition with bonus record The People's Hall. Sticking to this outing, fans will likely already know that the record as it was first intended remains the band's most successful of all time, outselling all that came before or after and charting higher than any other in the US and UK alike.
Respectively hitting number seven and number two in the charts of the day, and spending 23 weeks in the top 40 albums in Britain and a mammoth 61 weeks in the LP league tables Stateside, today it's a double-platinum testament to just how potent the combination of Joe Strummer, Mick Jones, Paul Simonon and Topper Headon was. The last record to feature that iteration of the outfit, tracks like 'Rock the Casbah' and 'Should I Stay Or Should I Go' remain utterly timeless.
Review: Following on from their acclaimed headline set at Las Vegas' When We Were Young Festival, and continuing the highlight reel of returning pop-punk acts to the fray with new albums from both Paramore and Blink-182 already arriving this year, Green Day have opted to not be outdone by announcing their highly anticipated follow up to 2020's garage-rock leaning Father Of All Motherfuckers. Due to ring in 2024 with nihilistic yet anthemic abandon, Saviors promises to reinstill much of the trio's classic punk formula whilst taking their homeland to task for its egregious and abundant number of modern-day errors. Where once Billie Joe protested against being classed as an American Idiot, we've finally reached the stage where, as the lead single so aptly puts it, 'The American Dream Is Killing Me'. Recorded between London and Los Angeles with acclaimed producer Rob Cavallo, the band's fourteenth full-length seems poised to re-start the Green Day spin-doctor decimator machine all over again.
Review: Xmal Deutschland commemorate their influential 4AD years (1983-1984) with a brand new release, literally presenting us with Gift. The collection celebrates the band's profound impact on British audiences in the early 80s, marked by a unique and half-devised lyrical language, as well as a magnetic feminine mystique commandeered by the women in the group. Their breakthrough support slot with Cocteau Twins accompanied the first two albums to come out via 4AD, which grabbed audiences by the collective ear with a painter's stroke of hard-graded darkwave and goth. Gift brims with a penumbral presence, while the titular "gift" is intended as pharmakon, both a present and a poison; Xmal's music is appropriately contradictory and complex, skating thin ices of beauty and elusivity. This limited-edition 3xLP boxset includes Abbey Road remasters of their albums Fetisch and Tocsin, along with tracks from related releases like Incubus Succubus II and Qual, packaged with striking artwork and a photo booklet. The magic of Xmal Deutschland lingers like radiation and has an indelible half-life.
Review: Another year, another vital repress of Scotland's greatest punk export The Exploited's adored yet overlooked fourth full-length Horror Epics. Originally released in 1985 and arriving two years after the career high-point that was Let's Start A War... (Said Maggie One Day), fan appreciation for the project has only ballooned in the decades since, with a myriad of 7" singles and compilations often boasting at least one of the album's essential cuts such as 'No More Idols' or 'Treat You Like Shit'. For both seasoned heads and newcomers alike, who aren't bothered by the piecemeal approach, take advantage of Radiation Records' tireless efforts to constantly keep such punk classics in circulation in their intended form.
Review: Recorded in 1978 at the legendary Gibus Club in Republique, Paris when The Slits were defined by thrashy, visceral punk energy and hadn't embarked on their artful genre-splicing era just yet. The Slits you hear on this record is the original four-piece line-up, with Palmolive on drums and it was changes in their rhythm section that led to the embrace of reggae and dub. Having had a formative and breakthrough year in 1977 where they opened for The Clash, it's arresting hearing The Slits at this point in their trajectory. They audibly had the kind of youthful adrenaline and drive that only a band who've awakened to the fact that they're capable of taking the world by the horns can convey..
Review: This CD edition of X Mal Deutschland highlights the Hamburg formed band in its infancy. The band started making music in 1980 and this compilation gathers their first two singles worth of music along with two special tracks off other compilations they were featured on. The band sound is unqiue and powerful - goth rock, experimental and new wave are just a few styles the tracks can verge into. In just the two years that make up this CD, you can hear the band growing from a raw experimention with sound and structure to a powerful goth rock band. A special shout out to the Sacred Bones label for trusting in their music enough to release this.
Review: Evoking an even more visceral reaction than the likes of Amyl & The Sniffers or Idles (who they recently supported on tour), the debut album from Brighton's latest hyper pissed off post-punk pair Lambrini Girls is a declarative, venomous volley of malice aimed squarely at any and all xenophobes in attendance. Proud and self-proclaimed LGBTQ+ allies, with vocalist/guitarist Phoebe Lunny even drawing ire for a recent interview quote in which she happily admitted "I will scrap any Terf, any day, in person", the duo craft menacing, minimalist noise-punk that comes for the heads of everyone from the standard 'Filthy Rich Nepo Baby' to the pervy workplace bosses on 'Company Culture' - "Michael, I don't want to suck you off on my lunch break", snarls Lunny over grinding symmetrical riffs, while the closer gives us their 'in summation' lecture with the aptly titled 'Cuntology 101'. Whether they're the dogs who shouldn't have been let out for fear their tear through your restricted world view, or you're the dogs who now need to be rounded up and put in dark ages, Who Let The Dogs Out is the definition of verbally castrating first, asking questions later.
Review: The debut album from Swami & the Bed of Nails, featuring Swami John Reis, All Of This Awaits You is produced by Reis and mixed by Ben Moore, the album originated from the final Hot Snakes writing sessions in 2023, evolving into what Reis calls "a growing tributary" after the passing of his friend Rick Froberg. The nine-song album reflects on this challenging period, offering an immediate blast of joy celebrating life on earth and rock 'n' roll's innocence, blending punk rock with a nostalgic, idealised pursuit of simple pleasures, ridiculing unbridled ambition. The music, a reenactment of elderly teenagers' past lives, promises an exciting journey through punk's lens. Featuring Joe Guevara on piano and synthesizer, Jason Koukounis and Richard Larson on drums, Tommy Kitsos on bass, and Mark Murino on second guitar, the album also includes guest appearances by Rob Crow, Anthony Anzaldo, and Jacob Turnbloom, creating a timeless yet contemporary sound.
Review: If you want to talk about landmark albums, how about Dookie? The third LP from a then-fresh faced but already-jaded Green Day represented a true 'moment' in the development of skate rock and punk, pre-empting the rise of pop punk. Casting a mind back to 1993, when the record hit, and memories prevail of record walls lined with t-shirts sporting the iconic artwork, and a sense that the future of guitar music would be anything but the overblown stadium mega rock that dominated much of the 1980s. Perhaps that never quite became the truth - Green Day catapulted this sound to the top of main stage festival bills in just a few years - but the raw energy, voice of generation X attitude still hits today. We could try and namecheck the highlights, but ultimately, from 'Burnout' to 'All By Myself', Dookie is the largely upbeat driving force of a very special time.
Review: If there was a ever a genre of music that made you feel old through its own ageing process, it's pop-punk and emo. The soundtrack to a 1001 American coming of age movies in the 1990s and, to a lesser extent, the noughties, the high energy, high-emotional quality that runs through these tunes can't help but cast the mind back to what now feels like a more innocent time. But, as the songs made clear, we were actually wrought with complicated self-doubt and uncertainty. 1999 was a peak year for this, with Blink 182, Sum 41 and Avril Lavigne vying for chart positions in the UK alongside dominant trance and dance beats. The Get Up Kids were less visible in Britain, but among the noise this Kansas city crew dropped Something To Write Home About. Achieving significant acclaim Stateside, the record would go on to influence the birth of Fall Out Boy, the Wonder Years, and Taking Back Sunday, among others.
Review: Gone Dark, the sophomore album from Human Impact, pushes the boundaries of noise-rock with a fiercer, more streamlined approach. The band, composed of Unsane's Chris Spencer, Cop Shoot Cop's Jim Coleman, Made Out of Babies' Eric Cooper, and Daughters' Jon Syverson, delivers a potent blend of taut grooves, jagged guitar riffs, and raw vocal intensity. This release is not merely a cry from the void but a powerful declaration of defiance against a world teetering on the brink. Following their self-titled debut, Gone Dark represents a significant evolution, capturing the visceral energy of their live performances. Spencer emphasises the band's intent to create something rawer and more aggressive, which is evident throughout the album's tightly interwoven tracks and interstitial pieces, mirroring the flow of a live show. Recorded with co-producer Andrew Schneider at Austin's Cedar Creek Studio, the album benefits from the newly solidified rhythm section, with Cooper and Syverson's contributions adding heft and precision. The result is a cohesive, relentless sonic assault that showcases the band's full understanding of their identity. Gone Dark is a potent, focused statement from a group that continues to refine its craft, delivering an album that is enduring, resilience and aggressive.
Review: Cardiff noise-rock legends Mclusky make their long-awaited return with the highly anticipated The World Is Still Here & So Are We. Serving as their fourth full-length and first since 2004's The Difference Between Me & You Is That I'm Not On Fire, the album comes following numerous sparse reunion shows and tours since their initial disbandment two decades prior. First revealed through the release of the Unpopular Parts Of A Pig EP during the latter half of 2023, which would mark their first newly recorded output in 19 years, both the title-track as well as 'The Digger You Deep' were said to be the first tastes of their fourth LP, now making good on that promise with a release set for distribution via Ipecac Recordings, the label of musical absurdist Mike Patton (Faith No More, Mr. Bungle). Having worked in the past with the late, great Steve Albini, even opening for Shellac one fateful evening in London's Scala, the iconic noise-merchants seemingly haven't lost an iota of their bite or shitheaded cynicism during their time away, evidenced as such as in the blistering lead single 'Way Of The Exploding Dickhead'.
Review: Ones to watch in 2025, according to BBC Introducing, double-MOBO Award nominated sisters Nyrobi and Chaya, AKA ALT BLK ERA claim to be "redefining music" with their fusion of rock, house, drum & bass, rap and pop. They're certainly making enough noise to start a mini revolution, with the months preceding Rave Immortal seeing them blow up at events like Glastonbury, Download, and the Reading-Leeds weekenders. Sonically there's not much more to add - this is a rabid, in-your-face, high tempo amalgamation of sound that calls to mind the likes of NERVO, Pendulum, Enter Shikari, and to a lesser extent Prodigy. All convention-defying names, the fact ALT BLK ERA are also big advocates of disability rights and inclusivity within the music industry also paints them, sadly, as necessary outsiders.
Review: Based in New York City, YHWH Nailgun (pronounced "Yahweh") are a newfound experimental noise-rock four-piece who have varied acceptance on what can be deemed "noise". Built around the ludicrous percussive ability of drummer Sam Pickard whose use of rototoms conjures an organic yet mechanistic pulse, warped and compressed guitars collide with an array of synths and electronic elements all infused with the suffocated, ranting, rambling, unhinged shrieking of vocalist Zack Borzone. Their debut full-length 45 Pounds bubbles with a similar art-noise sass-punk quality to very early HEALTH (before they rebooted as the industrial-metal trio they're known as today) yet attempting to still fit in with the likes of The Jesus Lizard or Chat Pile. They don't whatsoever, and they're all the better for it, as these unhinged 21 minutes condense saccharine, bubblegum machinery into some of the most frenetic compositions recorded all year. Just because it can only be described as "noise-rock" doesn't mean it necessarily sounds like noise-rock.
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