MAD DADDY: Too Tough To Die.

Here comes record number 2 by one of the best bands to have ever come from my hometown (well, home country) the Isle of Man…that band is Mad Daddy. I’ve written about them before, and I stand by everything I’ve said. They are truly a fantastic band, and record number 2 fully backs that up.

Too Tough To Die came out yesterday, and it’s got everything you could possibly want from a rowdy Garage Punk record. You want songs that smack you in the face? Mad Daddy have got you covered. You want harmonica infused anthems that’ll have you feeling like you’ve discovered Iggy Pop for the first time? They’ve got you. Mad Daddy have grown on this record, and this massive sound that they are now gracing us with is purely divine. You’ll want this injecting into your veins and brain.

The record opens with the title track, and we are then smacked with Hot Chicks which definitely makes you feel like it could be a record by The Stooges. Iggy Pop is a fan of the band anyway, so it’s a justified comparison. He’s got good taste. It’s a wild ride of a record, and you can hear how they’ve really pushed themselves on this record and have made something that fits perfectly after their debut from 2021. In those 3 years they’ve had a journey and a half, and this record really shows it. They’re not afraid to be louder on this record. They’ve also gone down the road of only having singles available on streaming sites, so if you want to hear this record- then you’re going to have to buy a copy, and blast it as loud as possible.

Every song on the record feels like it was made to be played live. You totally get this from songs like Stoned, I’m An Outsider and Be Bad. The harmonica on Stoned (especially) feels like a freight train hurtling towards you at top speed ready to launch you into the throes of some gnarly world that only Mad Daddy have the keys too. I love that their sound also has a motorcycle chase to it, and maybe that’s influence of the Isle of Man and the TT Races we have there. You can imagine their songs being blasted out as racers take on the roads with every twist and turn. It’s a thrilling record, with songs that make you feel like life is coming at you a billion miles per hour but you don’t mind- especially with songs like Road Racer. Too Tough To Die is a perfectly sleazy Punk Blues infused record. Think along the lines of The Cramps going headfirst into The Dead Boys and Iggy Pop. You can hear hints of The Dead Boys on Be Bad. The vocals on this are snarly and smutty- absolutely perfect, and I think it may be my favourite on the record at the moment. Of course I’ll change my mind, but right now- this is the one I feel that needs to be played the loudest. You can just imagine how wild this one will be live.

It Ain’t Easy is another example of why Mad Daddy are probably a band you HAVE to see live in order to really get how great they are. There’s this urgency to their sound that is so hypnotising and just makes you want to listen to them on a loop whilst you go about your day. Mad Daddy are one of those bands that you just know that their sound truly comes alive when they play live. They deserve the world, and hopefully this is the record that hands them it.

Every song on this record is a real example as to why they are such an exciting band, and from their debut to now- they’ve really developed a strong sound that you cannot get enough of. The drums on this record feel like blows to the gut, and the bass and guitar add this intensity that is a joy to listen to. It’s such a great record, and you can’t tell if you’ve found something from 2024 or if you’ve uncovered a hidden gem of a record from decades and decades ago.

Check out the tour dates here:

OH, THE GUILT: Deadnames & Deed Polls.

With today being a very important day (Trans Day Of Visibility) it’s only right that I write about the new (and gorgeous) record by the finest band from Bristol; Oh, The Guilt. Their new record came out on Friday, and it’s one of the most important records we will get this year. It is dark, heavy, and vital. It is a solid work of art that hits you right in the gut.

Firstly, you should know that the record was mastered by Ben Chisholm (of Chelsea Wolf) so that alone is a sign that the record is unreal. This is the band’s debut record, and to have someone like Ben master it shows you just how well loved, respected and talented the band are. I hope this record reaches the trans kid in the middle of nowhere and realizes that there is hope and a future out there for them. Even though the media (and government) continuously try to erase the trans community on a daily basis. We have bands like Oh, The Guilt who are so important and records like this show it gets better and you can be who you are, and who you deserve to be.

Every song on this record is entirely dreamy, and it’s evident on (my current favourite) Blue. I love how it sounds like a 90s dreamy number with touches of Shoegaze. In a way, it’s like Beach House meets Mazzy Star. That’s the general feel I get from this song and in parts, a lot of the record feels that way. Jules’ drumming on this is exceptional. It’s like waves crashing into rocks, but it’s balanced out with the calmness of the guitar. It’s like a dream swimming round your head on a loop. It’s a gorgeous song, and the vocals will soothe your soul. It’s perfect, and I think it’s one of those songs you play through headphones and close the world out to. Blue features Elijah’s vocals pre-transition, and I touch on further down his vocals on the re-recording of Darkest Days.

It then picks up on Bella, and this is where the bands Grunge influences really kick in. I love how the band can give you this wave of calmness but they can also hit you with this beautiful rowdy sound.  I know I said Blue is currently my favourite but I’m putt Bella as a close second. You can just imagine it going OFF when they play this live. It’s got this feel to it that makes you want to just throw things around without a care in the world, and move your body around in a way that you’ve not done in a while.

I’m going to skip to the end of the record for this part. The record ends with the euphoric The Path and features the Phoenix Song Project- which are is a music therapy project run by and for members of trans and non-binary communities in Bristol. This is the most perfect way to end the record; it is full of hope and love. Again, it’s the song I hope a trans kid (or adult) in the middle of nowhere hears and knows that there is a community out there for them that will love and support them endlessly. It is honestly the most gorgeous and perfect way to close their stunning debut record, which has been a long time coming.  I hope Jules, Kit and Elijah are aware of the impact that this record will have. It’s a truly powerful record, and it exudes trans and queer joy- something that is so needed right now.

There is a new version of Darkest Days on the record, which has post-transition vocals from Elijah. It is again another euphoric song, and musically it reminds me so much of The Velvet Underground. That drastic build on the drums and everything just coming together is so powerful.  It all clashes with this build and you can hear just how exceptionally talented Kit, Jules and Elijah are. You can hear perfectly on this record in general just how phenomenal they are, but the re-recording of this song shows you how far they’ve come as a band and as individuals on their own journey.

What I love about this record is that you can hear the growth of Kit, Jules, and Elijah. You can hear this beautiful confidence in every song and in a way, this doesn’t feel like a debut record. They’ve been making music for so long together, it’s hard to grasp that we’ve only just got their debut record but my god it was worth the wait. This record really shows how far they have come and I think from keeping vocals on some songs that were pre-transition, it really shows the importance of the record and how powerful they are as a band. You can hear the confidence too; as a band and as individuals and it is so inspiring and wonderful to hear it. I could spend hours and hours writing about this record, but honestly? It’s probably best you take the time to listen to it. Shut the world off, and just get lost in this divine record created by 3 beautiful human beings.

Every song on this record is a journey. Every song on this record is for a community that are constantly being pulled apart every single day. So, if you do anything this Trans Day of Visibility; support organisations such as NotAPhase and you know- buy the Oh, The Guilt record!

VR SEX: Hard Copy.

There are some bands that just blow your mind every single time they release something, and VR Sex are one of those bands. Of course, if you’re also in the band Drab Majesty too- then you are only ever going to put out masterpieces, right? That’s what Andrew aka VR Sex has done yet again. I’ve had a copy of this record for about a month or so, and I’ve held off writing about it because I wanted to give myself time to obsess over it and figure out why it’s probably one of the most thrilling records of the year.

Now, I’ve never claimed to be good with words but hopefully you’ll pick up on how much I love this record and hopefully it will make some sense rather than utter nonsense. I’ve listened to Hard Copy enough times now to call it as one of my favourite records of the year. Definitely in my Top 3 if I was to make lists, but my brain hates organisation. The record smacks you immediately with the opener Dictionary Talk, and it immediately grabs you and makes you realise that this record is truly something else. The record is filthy, smutty, and just everything you’ve ever been warned against- it is a thing of beauty, and I cannot get enough of it. It is very easy to love this record and become obsessed with it. It’s dark, it’s creepy as hell and it is solid produced record that only a fool would find fault with. I want this record injected into my body.

Sure, the record touches on glue-sniffing escapades (Jenny Killer Glue; an absolute monster of a song) and if you’re of a certain age you maybe shouldn’t be listening to this record but whatever! You’ll find out anyway. What I adore about this record is that it sounds nothing like previous VR Sex records. You can hear something in this record that wasn’t in previous releases, and by no means is that a bad thing. It just shows how bloody talented this band are and having this fearless approach to the record truly makes it tower over anything else you’ve heard this year. I want it constantly playing in my ears, I want to fall asleep listening to it and I want this beautiful racket waking me up for work every morning. Utter bliss.

Hard Copy is the kind of record that would be perfect for a real smutty film that not even an arthouse cinema would show. There’s this enthralling weirdness to the record that hooks you in so quickly, and you cannot let it let go of you at all. For me, this is apparent on songs like Inanimate Love (the intro to this is SO good and the vocals remind me of The Cramps.) It’s a killer record, and I want everything I ever listen to to sound as heavy and strange as this. I love that the whole record touches on strange elements of lust, desires most would turn away from and in parts; isolation. The way this record has been produced is exceptional, and it’s probably the best produced record I’ve heard so far this year.

Most of the songs on the record hit the 5 minute mark, and this is another reason for me to love this record with all I have. Hard Copy is an exceptional record that is so easy to get lost in and let consume you in the best way possible. In some parts, the record feels like it could be a film soundtrack but at other times, you just know you are listening to something where everyone involved in this record hasn’t been afraid to really experiment with their sound and get a little strange, y’know? I feel the record gets heavier and darker on the second part of the record. Runaway Runaway kicks off the second part of the record, and it’s a heavy number that has tone to it that is unlike anything else on the record and honestly, unlike anything else VR Sex have done before. If you listen to their previous records before this one, it’s like listening to a different band- and by no means is that a bad thing at all. The band worked about 12 hours a day to make this record, and you can truly hear the dedication to their work on this record. You can hear the frustrations; you can hear the urgency. It’s just a dream of a record from start to finish.

There’s no point in wasting time on trying to find a genre to lump this record with- like all VR Sex records (and Drab Majesty too) it goes beyond that. Labels are useless anyway.  I think at the moment I am calling Jenny Killer Glue as my favourite on the record, but of course I will change my mind with every listen but this one has something about it that rather than play the record in order, I start with this and I then listen in order. It’s just such a great song and I hope they make a video to this because it would be wild. It might also get banned, but it’s fine!

I feel I could write thousands and thousands of words about why I love this record. And maybe I could have summed up how phenomenal the record is with just a short paragraph but when a band you love make something like this- you can’t help but ramble on. It’s a big sounding record with zero pretentiousness to it, and that’s so rare.

Hard Copy is one of those records that I know I’ll still be fascinated with in years to come, and I’ll keep finding new things to love about it. It is a proper work of art, and in every delicate and tough moments of the record- you find a home in it and that’s such a beautiful thing. It’s the kind of record you can play at any time of day and you’ll immediately be thrown in VR Sex’s world and you won’t want to ever leave. Let the record consume you in all ways possible.

BRUISE CONTROL: Deaf Institute Lodge 24th February 2024.

Before I get into this, I just want to say- if you are ever given the chance to see Bruise Control… TAKE IT. Sure not everyone loves the kind of music they do, but anyone can appreciate the energy they give off and their talent. The most exciting bands around, and a reason to declare Manchester as the best city.

The first time I saw Bruise Control live, they supported Amyl And The Sniffers at the Albert Hall. To open for a band like that is one thing but to do it in a venue like that is something else. I think when I wrote about the show, I said it felt like Bruise Control were headlining. This band know how to put on a show regardless of the venue size. Bruise Control have the power to be as big as those they have supported, and last night they absolutely proved that.

They hit the stage a couple of minutes before 9 and are done about half past. But it didn’t stop there. Given that they blitzed their way through their set, they did a couple more and that included their delicious cover of Sabotage by the Beastie Boys. We know how precious I can be with covers, but trust me- this cover is ridiculous. Everyone goes ape shit to it. The crowd are handed the mic to scream and the best part is when someone is handed it, and they say “absolutely not.” Amongst the loudness of the music, this is met with gorgeous laughter and shows the love and community in the room. I’ve never felt so safe at a show. It felt like home.

They play all the hits from HMRC, No More, Dead on Arrival and so much more. I was just absolutely enamored by the whole set. This band can really really play. There is something about them on record that has you hooked but live it is truly something else. Jim crowd surfing in the shortest of shorts and his socks was insane. I reckon if anyone else did it, they’d look lame but Jim is the soundest of them all. The band are utterly ferocious pros at what they do, and the passion they have is so beautiful to see; for me it’s the way Jim is so grateful for everyone coming out to see them (as if we’d want to be anywhere else!) This band have a proper following here in Manchester, and it makes me so proud to call this city home. Watching the sea of bodies in front of me move to every sound and scream is just heavenly. Bruise Control deserve the world and more, and I hope they get it because they are SO deserving of every positive opportunity that heads their way.

Aside from the Sabotage cover being an absolute killer of a cover and a joy to watch, for me it was always about Dead on Arrival. That song is Bruise Control at their most powerful, and it truly shows how phenomenal they are as musicians. I honestly could watch them every night and not get bored; they have something that we’ve yet to see in other bands and I know their sound isn’t for everyone but my god they can put on a show. And you know what else is magical about it all? Their fans aren’t dickheads. Sometimes at shows like this you can encounter some real idiots in the crowd, but here there was none of that. It was a truly beautiful experience. I urge anyone to go see them live.

Manchester is home to some of the most incredible band and our pals in Bruise Control are leading the way. I could not be prouder of them. I think anyone there last night will probably feel the same too.

DRUUGG: Ride Me Down Easy.

I love finding something new to listen to by accident. Some of the bands I love and written about have been found this way. You spend ages trying to find something to listen to, and all of a sudden when you think you won’t get there- you find it. It hits you, and it’s the best feeling ever. Or one of them. I’ve just this minute found a band from Belgium called DRUUGG and they are unreal. They’ve got this heavy sound mixed with some serious psychedelic tones, and I cannot get enough of it.

Their debut record Ride Me Down Easy came out last week, and it’s one of the most electrifying records I’ve heard in a while. It’ll make you want to grab a guitar and make your own fuzzy sounds like sound like Melvins on acid times a billion. I’ve never done drugs, but I’d imagine that this is what it’d feel like, and what the inside of your head would sound like if you did. I love how for the bulk of their songs it is just sheer euphoric noise with the odd vocals creeping in. I absolutely do not know what is going on, and I love it. This is the kind of music I seem to gravitate towards- there’s no set genre or whatever; just sheer noise, talent, and passion. There are only 3 songs on this record, so I might as well go through each one and do my best to write down why they are glorious.

The first song on the record is Ride Me Down Easy. It’s over 5 and a half minutes long, and the start of it sounds like a motorbike being revved up to go give chase to anyone who dares gets in the way. This goes on for about a minute or 2, and it gets heavier and wilder as the vocals kick in. As soon as the vocals come in, you realise that this band are really onto something here. There’s this sludgey heavy sound that lures you in, and when it happens- when you truly get sucked in, you won’t be able to listen to anything else. I know it’s their first ever release but my goodness it sounds like something a band decades into their career would make. It’s a very organised sound, and it’s one that will leave you wanting more and more. More will never be enough; because they are THAT good.  I think they may have only been together for about a year, but they sound like they’ve been doing this for eternity. This is the perfect way to kick off their debut EP. It’s loud, it’s got all the reverb and fuzziness you could possibly want. Divine.

We then go into I Cried A River which was their first ever release. This is only 3 minutes and 6 seconds long- so feel free to have this one on constant repeat too if you feel like you haven’t got enough. This one is a proper Psychedellic number- you feel like someone has handed you something questionable throughout the whole record, but this one has the edge over the other 2 songs. The bass on this reminds me slightly of Warpaint- you know how Jenny Lee has that distinctive style? That’s something I’m picking up on the bass on this one. It’s such a great song, and you can easily see why it was their first single to be released. It’s got that something that grips you and fits nicely in the middle of the other 2 songs on the record.

The EP ends with You Want Me To Fall; a real headphones moment. It is one of those songs that you make time for purposely. You’ll listen to all 3 songs casually but something hits you with this one, and you know that you have to stop everything you are doing and take time out for yourself to really soak up this song. I love the distorted vocals, and I love how everything on this song just fits together perfectly. I’ll make you feel like you’ve found one of the best songs ever made. It’ll make you feel like you’ve listened to My Bloody Valentine for the first time. It’ll kickstart the dormant parts of you, and all will feel okay. It’s a beautiful song, and I feel like 6 minutes and 50 seconds of this isn’t enough. This whole record isn’t long enough, but I know that when they release their full length record, it will be one of the best things I’ll ever hear.

DRUUGG make exceptional music, and this is only the start. This 3 song taster is a perfect introduction to how great they are. It’s heavy in all the right places, and it just takes you off into a different world. Put your headphones on, shut the world out and give in to what DRUUGG have created on Ride Me Down Easy.

DRUNK MUMS: Beer Baby.

Those Punk rascals from Australia are back. The ever rowdy and always delightful Drunk Mums have new record out in a few weeks, and that 4 year wait will soon be over thank god!

Beer Baby is Drunk Mums at their best and fully explodes in your ears, and makes you think about how you made it through the past 4 years without them. They are one of the most exciting bands around, and they’ve got that effortlessly slick sound that’s found in the likes of The Chats and Amyl And The Sniffers. Put ‘em all together and you’ve got the holy trinity of Australian Punk. Beer Baby is made up of 10 non-stop drunken party anthems that will have you throwing furniture around in no time. The band are also hitting the road at the end of March, and I reckon those shows will be equally as wild as this record. They make the kind of music that needs to witnessed live, even if it’s just to see the utter carnage afterwards. You’ll be covered in cheap beer and sweat almost immediately. Total bliss!

The first two songs on the record hit you right in the kisser, and honestly the first half of the record makes you feel like you are listening to a brand new band but the further into the record you go, the more you realise “ah shit the boys are back!!” It’s a real ripper of a record, and I think their time away (as painful as it was!) has truly helped them develop a sound that grips you even tighter than before. The lead single Livin’ At Night definitely shows their rowdy side at its finest, but don’t even think for a second that this is the best song on the record. Every song on this record could have been the lead single, but this one is the perfect “We’re back fuckers!” anthem they needed to hit us with. Honestly, this is one of the most exciting records you’ll hear this year and yeah, it’s only February but there’s nothing wrong with calling it early is there.

Livin’ At Night has a HUGE Ramones feel to it- especially the chants towards the end, that remind you of Blitzkrieg Bop. It’s just a joy of a song, and the whole record is just a real pleasure to listen to and to let deafen you as you play it as loud as you can. I think I first wrote about the band back in 2018, and I still stand by everything I wrote about them- they’re just so effortlessly cool, and I know cool is a redundant term to use but this band are the exception and I think that’s also part of the fact that they are probably a band that you HAVE to see live rather than just listening to the record. The atmosphere they give on record can clearly only be heightened in a live setting, and those are the bands that we need.

I adore how lairy songs like Magazines, Mutants and Saturday are. They make the kind of music that makes you feel alright with doing nothing at all- because there is absolutely nothing wrong with doing nothing at all. I do it most of the time and I don’t feel bad for it anymore. I just really love this band, and Beer Baby is just a great record. It’ll make you feel good and you’ll feel like you’ve finally found the band you were always meant to love in Drunk Mums.

Not My Dad is one of the best songs on the record- it is a really gnarly and gritty one, and even though it’s not even 2 minutes long you will have it on repeat because the way it’s played and the way the vocals remind you of Dead Boys is perfect. The speed, the snarly vocals, that raw Punk feel is truly alive on this one and it’s easily one of my favourites. Obnoxious Punk at its finest. Hook it up to my veins please!

Drunk Mums make the kind of music that regardless of your mood, just listening to them will always make it better. What they’ve done on Beer Baby is really show us fans that the time away was worth it because this record is pure magic. Every song was clearly made to be screamed back at them and for you to join in with their rambunctious ways. A dream of a band, and a dream of a record yet again.

The record comes out on the 7^th March, with a UK tour starting on the 29^th March. Buy the record, go to the shows and become obsessed.

THE 13TH PILLAR: Pieces Missing.

Disclaimer- my uncle is in this band. He plays guitar, and in my biased opinion; he’s probably the best guitarist you’ve never heard. He’s full on responsible for my love for Punk and for my obsession with certain bands. Especially my love for Nick Cave.

Hailing from the middle of the Irish Sea (the Isle of Man) The 13^th Pillar is a killer Garage Rock/Punk band that in a previous life, probably would have taken over the world. I mean, they still can. We don’t kill dreams here.  For the past 25 years, my uncle (Karl) and his buddy Selwyn have been making music together. Pieces Missing is their heaviest sounding record to date, and you can hear just how beautiful and strong their creative partnership is on this record. Their last release was an EP 10 years ago- proving that good things come to those who wait. The theme that is constant throughout the record is dysfunction and it is wonderfully prominent on the opener, These Are Strange Times. A 5-minute anthem that Iggy Pop would probably happily sing his heart out to. In fact, the whole record has that same energy as Raw Power but with something even more weird and wonderful thrown in.

The sounds on Break My Bones feel like an acid trip (I’ve never taken acid but I have taken a fair amount of CBD oil to calm my mind and that’s enough) and the guitar on this is ridiculous. If you’re looking for something to really blow your mind and brains- that’s the song you need to get familiar with, and play as loud as you can. There are tender moments on the record, and it shows just how bloody great the band are. The bass on How Much More To Make You Smile? is absolutely glorious; it sounds so ethereal, and that flows all the way through the song. It is a beautiful song and has everything you could want from a summertime anthem. It is divine; the kind of song you play whilst the sun is setting and you have a can of lukewarm Red Stripe in your hands. There’s hints of loss and longing on this one, and it is done in such a beautiful way. A really different sound for the band, but is still entirely perfect beyond words.

I can hear influences of bands my uncle got me into on this record, and I think hearing something not as heavy by the band is really surprising. I love the gentleness on the record but at the same time there are these gorgeous sun-kissed sounds on the record which you really get on the likes of Who Knows What We’re Gonna Find, and it reminds me so much of The Stone Roses. That beautiful sun-drenched sound that feels like a sunset hitting you all over. It is such a stunning song, and every song on this record was made to be heard live and loud. I cannot tell you how proud I am of them and how much I just adore this record. You can hear the years of work going into this, and the connection that Karl and Selwyn have is just out of this world.

There are many influences flowing through this record whether it be the sounds of The Velvet Underground to The Stone Roses and beyond. Pieces Missing is such a heavenly record and is entirely trippy in the best way possible. It’s like falling in love with the person you’re supposed to, which kind of fits the theme of dysfunction on this record. The diversity of Selwyn’s vocals on the record is just a delight to hear. One of the biggest moments on this record has to be Waiting For The End Of The World; it feels like it should be played at the end of a film. The kind of film you’d have found Harry Dean Stanton in- something weird, lucid, and poetic. Just like this song. You can imagine the end of the film turning to black as this song plays out. Utterly beautiful.

The record ends with the title track, and is 8 and a half minutes of something I have yet to find the words to. Everyone truly shines on this record- Selwyn’s vocals, Gyp’s bass playing is unreal. Brian beats the shit out of the drums in the most majestic way possible and you have Karl creating some serious magic on the guitar. Put this all in an 8 and a half minute song, and you get this dream of a song. It’s phenomenal. They truly saved the best till last with this one. The production on this record is just exceptional, and you can really hear it on this one. It is the perfect way to end such a glorious record. From the 5 minute mark, you get The 13^th Pillar at their heaviest and at their best. It kicks off and it is a joy to hear. It’s one of those moments where you just feel like you’re being transported into a different world. Top tip- play this one through headphones to really feel every element of this song.

Every single song on this record is beautiful and put together in such a captivating way. I think my heart may belong to the title track- the last 3 and half minutes of this song will just blow your mind. Oh, and another fun fact- my uncle also did the artwork for the record.

Biased love for the band aside, this is truly a phenomenal record that deserves your time, ears, and love.

You can buy the record here: https://the13thpillar.bandcamp.com/album/pieces-missing

CREEPCAVE: The Greatest Form Of Resistance.

I’ve decided to use my lunch break at work wisely for once and write about a new record from a band who quite frankly- should take over the world.

If like me you have a soft spot for bands like Hole, Bratmobile, Babes In Toyland- then you will fall madly in love with CreepCave. Their EP, The Greatest Form Of Resistance is the kind of record you hope kids hear and go on to start their own band. We need more bands like this- pointing out the wrong in the world, offering self-acceptance and just a brutal take on how fucked up the world is. In the midst of this, they’ve created a safe space with their music. It’s beautifully loud and a divinely raw record. I don’t feel like I’m in 2024 listening to this record- I feel like it’s the early 90s and Riot Grrrl is taking over. I feel like it’s 2003/4 and I’m discovering it for the first time myself and adjusting internally to who I am.

Alex’s vocals on this record are something else- if they sound this perfect as a recording, then my god you can only imagine how powerful they are live. Bessie plays the guitar in this captivating haunting way giving off this fuzzy sound that lures you in. Then you have Amy doing some otherworldly shit on the bass that grips you in ways you probably didn’t think the bass could. Shivi’s drumming brings it all together in the most euphoric way; everything comes together in the most perfect way, and I think this really shines on the (just under 6 minute mark) song Educate. A song that evokes the urgency of educating how boys see girls and how they treat them and starting young to educate them on respect and listening is so vital. We all need to be like that.

The sheer heaviness of this record really gets you in the gut, and you can hear this beautiful and infectious confidence in the band on every single song. You just want to be part of their gang. That addictive Doom/Sludge sound mixed with something we’ve yet to name is just so pure and just everything I want from music. I want the loudness. I want the lyrics that could make someone feel uncomfortable. Speaking of feeling uncomfortable- if you’re not left feeling uneasy when you hear You Took It, then listen again. And again. Until it clicks. That song needs to be heard from everyone and anyone.

I want to touch on the song Float which may be my favourite (at the moment) and I love the subtle temp change for the last minute and a half of the song. It reminds me of A Senile Animal record by the Melvins- especially the drums. The lyrics are peaceful, but the sounds are the opposite, and this is exactly why this record is so easy to fall in love with. The clash of sounds works so well, and you just can’t help going back to listen again and again. Only a fool would find fault in this record.

CreepCave make such important music; the lyrics are vital and deserve to be heard and they deserve the world. They are one of the most exciting bands around, and I just love that they combine everything I love about music and have made their own sound accessible for all. They touch on topics many shy away from and make it so easy to relate to. From the second the record opens with Bucket Season; you just know you’re about to listen to something truly magical.

The record ends on Fairytale- the shortest song on the EP, and the second it stops all you can do is go back and play the EP all over again. This record oozes some serious raw and real power that will speak to so many who are forced to be quiet. Sometimes, even the quiet ones speak up and the way CreepCave take these subjects and make it so you can easily connect with is so beautiful. There is so much heart on this record and it’s so refreshing to find a band who TRULY mean what they say and live it.

ANGEL FACE.

There are so many records that have been released by Slovenly Records that are just incredible, and one of their most recent is debut by one of the best Japanese bands around- Angel Face. This is a proper rowdy and loud record that will totally annihilate your eardrums.  A glorious Punk record and a solid debut record.

The record kicks you in the kisser with You Ain’t My Angel and immediately you can hear that snarly tone that Stiv Bators had on this record. This is everything I could possibly want from a Punk record and so much more. They make the kind of music that would have your neighbours making noise complaints about. I’m pretty sure it’s scared off my cat too but to be honest, she’s scared of the spray mop I bought so I won’t trust her judgement here.

This record is something else. If you love bands like Bruise Control, Pancakes, Dead Boys- I could go on. If you love them, then you’re going to love this. Angel Face will make you want to sell whatever you own that’s of worth so you can fly off to Japan and immerse yourself in the Punk scene there. This is some rowdy shit that you cannot get enough of. I want everything I listen to to be as loud as this.

They’ve only been making music together since 2021, but this record sounds like something from ’76 or ’77- it’ll make you feel like you are discovering Punk for the first time, and you’ll wonder how you made it this far without it. How did I make it this far without this record? Every song on this record will make you feel like you’ve snuck into somewhere you shouldn’t have. Bad Feeling and I Can’t Stop are the ones that’ll have you waving your limbs about the most. Then you’ve got the ferocious Bring Me Back; the vocals on this are SO good. That proper gritty and menacing style; it’ll make you feel super tough when you listen to it, even if you’re just a delicate little flower.

Everything about this record screams PLAY THIS LOUDLY. There are no quiet or dull moments on this record; and it just makes you want to unapologetically lose your shit. This is the kind of band that you just know will destroy their live sets- the crowd will leave feeling bruised all over in the most pleasing way imaginable. They make the kind of music that has to be witnessed live. The urgency on this record is nothing short of vital and divine- you cannot help but get caught up in it. How else can you tell that this band are something else? The lead singer is called Hercules- that alone should sway you into digging this band.

Angel Face is anything but angels, and that’s part of the charm. Their sound is dark, raw, and loud- you cannot get enough of it. One casual listen just isn’t enough- you want to just let it consume every part of you, and when you find bands like that you have to hold onto them. Even if they are on the other side of the world and they’ll probably never end up where you are! But hey, we live in hope, don’t we?! It’ll get us through, as always. They make the kind of music that makes you think you’re part of a motorcycle gang or something. I honestly can’t think of a band who are making noise like this right now, and if this is what one record can do, then the world is theirs.

HARSH SYMMETRY.

Spooky sounds make my little world go round; and the perfect example of this is the effortlessly slick Harsh Symmetry. I only discovered their music the middle of last year, and I added them to a list of bands I needed to write about. On a cold, icy night here in Manchester- now is the perfect time to write about Harsh Symmetry.

My love for bands like Cold Cave, VR Sex and Drab Majesty knows no bounds. They’re like a holy trinity of mine, but my god you through Harsh Symmetry in there and you’ve got a pot of exceptional musicians that make music that just elevate the soul. I initially was going to treat this as a review of sorts of the record from 2023; Imitation but I feel I have too much to say about Harsh Symmetry to narrow it down to that.

You just know when you hear something that it’s going to leave a lasting imprint on you. You know it’s going to do something, but you haven’t quite figured it out yet- that’s where I’m at with Harsh Symmetry. I feel like I’ve found something truly sacred, and something I may never be able to explain. It’s like that rush of love or infatuation that hits you in the face. There’s something here that I don’t think I’ll ever find in another band or singer, and I’m absolutely okay with that.

Harsh Symmetry is Julian Sharwarko. One person making a beautiful noise that I simply cannot get enough of. His dark vocals over eerie sounds is glorious; his music was made to be heard by any and everyone, and even though that’s a typical cliché it is one that I firmly stand by. For me there’s hints of early Depeche Mode, slight hints of Killing Jokes and a bit of The Cure. The record Julian released last year (Imitation) is made up of 9 songs that to truly get the best of- you need to listen to with the lights off- in total darkness. You can use headphones or you can blast it out as loud as you want. The important thing here is to be in total darkness and with no room for interruption. It’s like meditation but without the urge to start yelling or bursting out laughing (it can’t just be me, right?!) Imitation is Julian’s second full length record but it honestly sounds like someone who has been doing this for decades. It is just a perfectly crafted record. I have ZERO musical talent but it sounds like something I wish I could make. That creepy graveyard cloaked in fog feel lights up the whole record. If you’re looking for something with an intense and atmospheric feel- then listen to Harsh Symmetry.

Before I move onto Julian’s debut- I need to tell you about his exceptional cover of Open Your Heart by Madonna. Early Madonna is divine- we cannot dispute that. The desperation in the original is painful and so vulnerable. It is just beautiful; so how on earth will it sound like when a bunch of synths and eerie vocals take over it? Perfect to be honest. It took a bit for me to realise it was a cover, and I think when someone covers a song it is so important, they make it theirs, and bloody hell Julian does exactly that. It feels like it’s his song. His take on it is beautiful, and you’ll keep going back to it because your brain won’t quite click that it’s a cover right away.

Display Model came out in 2022, and I wish I got into his music then but I didn’t and it’s an error I must live with. His debut record is just the perfect mix of everything I love about music and just makes me want to zone out in the dark and listen to his music. As much as I love loud and rowdy Punk bands; my heart belongs to this style of euphoric music too. I couldn’t possibly call it anything but heavenly. Display Model is a stunning introduction to how talented Julian is, and as far as debut records go- well, if I could go back in time, I’d go back to 2022 and declare it as the best debut of the year. He makes music that goes beyond anything I’ve heard before, and that ethereal and delicate yet melancholic sound is dramatic in all the right places. His music would be perfect for an obscure black and white film that leaves you part terrified and part inspired. I don’t know when I was last truly moved by something. Normally when I play music, my cat usually goes into another room to take a nap but she’s sat next to me on my bed gently drifting into sleep like the little angel she is. Mary’s got good taste!

I feel that the words I have written do not do Julian any justice at all, but I hope if you read this- you listen to his music and you love it as much as I do.

In a few weeks’ time Julian will be playing a few dates here in the UK- London, Liverpool, and Manchester. I cannot wait to see these songs played live, and to hear them in the way they should be heard.