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SLICERRR.

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Well, it’s happened. I’ve broken my word to myself where I vowed to never buy tickets to a show at Victoria Warehouse in Manchester. It’s a 5/10 minute walk from my flat but it’s also the worst venue in this city. I’ve not seen some bands there because I hate it so much BUT Amyl And The Sniffers are playing next month, and I cannot ever not see them. I saw them at a small venue in 2019 and to see them play a place like this is just WILD. Deserved but wild. Also, the support bands are insane. The Menstrual Cramps were a band that Raz loved so I’m partly going for him. And my girlfriend is desperate to see Amyl And The Sniffers too- I don’t think anything I tell her is going to fully prepare her for the experience!

Alright so, here’s a bloody great band from Helsinki for you-SLICERRR. Their debut EP came out in February and trust me it’s a ripper of a record. No part of it sounds like a debut record- it sounds like something a band deep into their career would make. It’s a fantastic record, and it’s one I am proudly obsessed with. If you can’t play a record on repeat relentlessly, then why bother?! This is everything I want from a record and more. It’s a proper rowdy Garage Punk record. It’ll make you want to down cans of lukewarm beer, throw empty cans at passing cars and run off into the night (I don’t advocate for throwing shit at people, but you get my point!) It’s a record to waste the day to and it’s a record that’ll make you wish you could go to their live shows every night. The energy throughout the record is divine.

I don’t know what the Punk scene is like in Helsinki but if there are more bands like SLICERRR out there- send them my way. This is incredible. The record touches on tough subjects such as the difficulty of modern life all the way through to the hectic nightlife of Italian cities (as a slightly more than half Italian human being, I welcome this!) The EP is a work of art; it’s just everything you could want from a record and these 5 songs are made to played loud and on repeat.

The record opens with Losing My Grip which perfectly sets the tone for the record and is a perfect introduction to the band. You really feel immediately what the band are about and right away fall in love with their sound. There’s probably a bunch of bands I could liken them to, but that’s not fair and comparisons serve no one at all. All you need to know is that the last minute of this song is a furious and shows you exactly why SLICERRR are one of the most exciting bands around. In some ways though, the song reminds me a little of Bored by Crows and that’s probably why I love this band so much. That’s the only comparison that’s needed, and I think it shows exactly how and why SLICERRR are so good! I know I say this a lot, but if I had ANY musical talent, I’d want to be in a band that sound like this. They just have this perfect Garage Punk/Garage Rock sound, and it just makes you want to MOVE. I feel like SLICERRR can only add positive things to your life and record collection. Who do I need to ask to demand a UK tour?! This is the kind of sound I absolutely adore with everything I have.

The EP is a perfect insight to the band, and I’m so excited to hear what’s next from them and to just get more and more music from them. SLICERRR are a joy to listen to, and I really hope that if you listen to them, you love them as much as I do. They deserve any and every bit of success they get because they really have such a strong sound and it’s a sound I can’t get enough of. They’re an incredible bunch of musicians and definitely deserve your attention, and love.

If you’re a fan of Küken- then you’ll love SLICERRR. Both bands have the same urgency to their sound and it’s just divine! (Sorry about the comparisons I said I wouldn’t make!)

Check out the EP (released via Dödstil) here:

CROCODILES @Zerox, Newcastle 28th August 2025.

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Thursday night was my 20th Crocodiles show (it was also the bands 100th show with their current lineup) and it was without a doubt; the best I’ve ever seen them. Of course, my view will be entirely biased because I love that band a hell of a lot, but others at the show said the same thing so, I reckon it’s a fair comment!

The night before, my girlfriend and I had been in Edinburgh to see Chappell Roan and that was something else. Getting back to the hotel at 3am was not the same magical experience and we spent most of Thursday asleep. I think the pizza from Scream For Pizza cured me though. Hands down best vegan pizza I’ve had. I’ll probably say this throughout- but Zerox is my favourite gig venue. My heart does belong to the Shacklewell Arms and I think the Brudenell in Leeds is next level BUT Zerox has something else. It has something I can’t quite describe but it was the perfect place to see Crocodiles for sure.

If you’ve never seen Crocs before, then you may not be sure what to expect. However, don’t do what I did and stand right at the front next to the speaker. It’s been 2 days and my hearing in my right ear is slowly coming back. Anyway, if you’ve not injured yourself in some way at a show- have you even had a good time?! Charlie gently placed a Palestine flag on the stage before the band started, and it just reinforced my love for the band. Crocodiles are for the people. They are for those who get overlooked and they will always speak out. Sometimes they speak louder than most, and it’s why I adore them.

The hour and a bit that they are on stage is what sheer joy feels like. They play all the hits such as Wait Until Tomorrow, Love Beyond The Grave and Upside Down In Heaven but for me, it was Brandon dedicating Mirrors to little old me. I didn’t expect it and I felt like a little kid. The last time someone did this was probably around 8 or 9 years ago, and it was Tall Juan covering Chinese Rocks by the Ramones. I felt so cool! That feeling came back around and was the perfect way to make show number 20. There is something so special about seeing a band you adore live, and being able to see them in a new city is always good too (even if you did feel half dead beforehand!)

Since Raz died, I have honestly found it tough to write about music. I’ve got a lot that I probably need to listen to and write about, but I think seeing Crocodiles has slowly brought that love back and the love for writing. They always get me through. Their set was incredible and I’m pretty sure that when I turned to my girlfriend during the start of their cover of 1969, she probably thought something was wrong with me (more than usual!) It was a ripper of a cover and I hope they keep playing it. There was once a video on YouTube of their take on I Wann Be Your Dog but I’ve searched endlessly for it, and it’s gone. I hope their cover of 1969 makes it online somewhere because it is SO good. They ended the night with another cover- Jet Boy, Jet Girl which always goes down well. They sure know how to make classic songs their own. It’s part of what makes them great. The crowd were gorgeous in every way too and it was so good to see people appreciate Crocodiles in a way that they absolutely deserve. They have my heart for sure!

There’s a handful of bands that I love that I could happily watch play every night, and Crocodiles are one of them. It was easily the best show I’ve seen them play and I think maybe part of it was due to the venue and how you could sense a true feeling of community there. The venue wasn’t rammed but it was definitely full of love for the beloved band from San Diego.

Hearing a large chunk of songs from their latest record Upside Down In Heaven (2023) was so good and it’s safe to say that songs like I’ve Become What I Fear Most and Surfing With Death live are unreal. It makes you appreciate the record even more. They’ve released 9 or 10 records, and each one shows just why they are one of the best bands around and you can truly tell they love what they do when they are on that stage and the bond, they all have with each other is just a joy to watch. Seeing Charlie swing that guitar of his around like a machine gun will never ever get old!

I hope they play Zerox again because I will happily use annual leave from my job to travel to see them. An incredible venue.

Also, it’s vital to say that Jade Hairpins were on before Crocs, and they were gorgeous. Jonah from the band donned Charlie’s slick long leather jacket during Crocs setlist and stood at the front which was one of those “you had to be there” moments. If you weren’t there, then you missed out! Jade Hairpins played an incredible set too, but what do you expect when you’ve got members from Fucked Up there, right?!

In short, the show was just a dream. A wild and sweaty dream, and one I’m going to remember for some time.

THE BURGERS: Kick Fights To Lose.

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I’ve wanted to write about music recently, but it’s seemed pointless because the person I’d want to share new (or new to me) music with, is no longer here. Anyone who knew Raz will feel that. Nothing feels right, and it doesn’t feel real. It’s a really strange feeling, and one I wouldn’t want someone I really hated to experience. Loss is brutal. It’s cruel. I’ll do my best to write this. I’ve got my cat next to me. The second she sees me put my laptop on the kitchen table; she sits next to me. Not looking at me, but making sure I’m protected. Sweet little Mary, I appreciate you- but a bird scared you earlier today so leave the protecting up to me angel!

I had an email from Zac (the brains and bones behind The Burgers) in May, so this is very delayed. The Burgers is not a band. It’s more than that, and it’s Zac’s first record in English. It’s also the third record as The Burgers. It’s a proper Punk record, and it’s a joy to listen to. As I listen to this rowdy delight of a record blast into my ears- I can’t help but wonder if Raz would dig this record. I reckon he would, and that’s good enough for me. The idea of The Burgers started in China, but now Zac is based in Glasgow. I hope the next records Zac makes are influenced in some way by Glasgow because the Scottish sure know how to make beautiful music.

Kick Fights To Lose is a great record, and it’s a strong Punk record. I feel I’d end up finding this record eventually as it’s everything I want from a record. It’s loud, it’s raw and the songs aren’t that long. Perfect for my almost laughable attention span. Although, music does seem to be the only solid thing that can hold my attention. Again, not a bad thing! This record has 14 songs, and you get immediately that these songs need to be heard loud. You can imagine a rowdy crowd going wild to these songs, and Zac having the time of his life on stage! At the moment, my favourite song on the record is Anarchy Means You Can Shoplift. It’s a brilliant song and the title is also great. It’s a dig at those who deserve it, and I’m here for it. Zac does make music with a message and with humour. His lyrics are great, and I hope he does have confidence in himself with this record because making your first record in English must be pretty daunting, but he’s done an exceptional job here.

I’ve listened to his previous records, and there’s no denying how great Zac is. The Burgers is a great project. I’m a fan, sign me up! There’s a lot to love and admire about this record, and it’s one of those records that, with every listen I find myself appreciating everything on the record even more. There’s a proper DIY feel to the record. I don’t know if Zac has done everything on his own here or if there’s anyone else involved musically- but it’s a great record. It’s played well and put together beautifully. For me, it’s just the perfect Punk record all the way through. You’ve got songs that show disappointment in a vulnerable yet honest way, you’ve got songs that may make you laugh in parts but the main thing to take away from this record- is that it’s from the heart. It’s truly from the heart, and I really hope Zac puts out more records like this because it’s a joy to listen to. I don’t care what language he sings in; I just love his music a hell of a lot.

You can really feel the hard work that’s gone into making this record, and that’s apparent on every song. Every song deserves its place here. I love the lo-fi feel on Pillow, Duvet and Me. The sound and vocals on this are quite quiet and a little distorted but that adds fragility to an already delicate song. I love how this song goes right into Girl With Arms And Legs, and again this song is another vulnerable number. Zac’s seen a beautiful girl and he feels out of place and like a freak, and the way he expresses this is so open. He does it in a way that we can all probably relate to. But Zac, you’re not a freak at all. It’s a strong record. No skips. Just delightful Punk anthems all the way through.

Some of the songs on the record will break your heart (It Was A Joke is a solid example of this) and others will make you want to throw your body around and trash stuff. There’s no middle ground here, and sometimes you need that from a record. You know, in an ideal world, Zac would be able to tour the world with this record and everyone gets to see these songs in the best way- live. Sadly, the world doesn’t work like that, does it. I can only encourage you to buy the music and support The Burgers in whatever way you can!

You Got Good Taste: For Raz.

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Writing this seems entirely pointless, but maybe it’ll help make the past day or so feel “real.” Even if none of us want it to be.

Yesterday one of the most beloved and all round great human beings from the Isle of Man sadly died. Everyone knew Raz in some capacity. Some through music, some through Bushy’s, some through footie (his adored York City) and some through where he worked.

For me, I knew him all my life. He was Raz the Punk. He played in a band with my uncle, and they were super close friends. He’s always been there. My stepdad got me into The Cramps but I honestly don’t think anyone on this planet loved The Cramps as much as Raz did. I honestly don’t think anyone loved music like he did. He was always on the boat sailing over to the UK to see a band or 5- the ultimate band botherer. The friendliest and most supportive.

A few years ago I was at the METZ gig in Manchester, and I saw the outline of someone by the bar. “That’s not Raz is it?!” I took a photo, sent it to my uncle and he confirmed that Raz had come over for the gig. I went right up to him, and in that very busy and packed venue, I felt safe because someone from home was there. He was someone you would always look for at gigs and if you were lucky- you’d find him.

Raz made time for anyone and would back any band he listened to. He was known for his methodical planning when it came to the Rebellion Festival- that man could timetable the shit out of a lineup. I’m pretty sure that was his super power, and you best believe he probably saw every band he wanted to see.

Reading tributes to Raz from people not just on the Isle of Man truly shows how loved he is and how painfully missed he will be. It’s not sinking in that he’s gone. It’s never the evil bastards in the world that go too soon, is it? It’s always the ones with a good heart.

Sometimes I’d write about a band, and Raz would message me to say he listened to them and got tickets to go see them. That made me so happy, because someone as cool as him read something I’d written about a band I loved. He just backed music entirely and his love for live music was truly beautiful. I think from now on, I’ll be writing about bands with Raz in mind, and wondering if it would be a band he’d like or maybe go see. I’ll look for his distinctive silhouette at every gig I go to, knowing he should be there. Knowing the world will be less interesting and punk without him.

Wherever he is, I bet he’s watching the coolest band in the world. Maybe he’s lovingly band bothering someone there. Maybe he’s hanging out with Lux Interior. That gives me some comfort because I don’t think anything else will. I reckon my grandma will hang out with him too. She loved him, and he thought a lot of her too.

The Isle of Man will be a duller place now. I’ll miss going home, and him stopping to have a chat with my mum and I when we see him at work. I’ll miss his gig photos and videos (he’s the only person who could never be annoying by filming everything!) I’ll just really miss him. We all will. I’ve known him for as long as I’ve been alive, and for someone to be there one day and the next day just….not. Well, it’s brutal and it’s heartbreaking.

Whenever I listen to The Cramps now (which is a lot) I’ll think of Raz and how much he means to us. It may take some time to listen to them, but when I do- our Raz will be on my mind.

The photo above is of The Bastinados. The band that Raz and my uncle were in around 1987/88. The coolest band to have ever come from the Isle of Man.

BODY MAINTENANCE: Far From Here.

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If a band can give you a doom and gloom feeling on a sunny day, then you’ve found musical bliss. I know some may want the cheery type of music, and that’s nice for them. But I want something that emotionally makes me feel like I’ve been punched in the gut. I want music to make me think and feel a type of way that I may not always get. I think it was John Peel that once said, “I just want to hear something I haven’t heard before.” And that’s probably a really strong way to approach listening to music and trying to find something that speaks to you.

I wrote about Body Maintenance a few years ago. I think I was taken aback that they are a band from Melbourne and thought they were from a dark alleyway in Berlin from the 1980s. They sound like every band I’ve ever loved and adored but also have something very new about them. That new sound is smack right in their new record, Far From Here. Some have likened the band to Joy Division (I may have too) but when you listen to this record, you hear something else. I’ve played the record a few times now, and I’m still trying to work out what that “something else” may be. But I guess, I’ve done a John Peel and found something I haven’t heard before.

Far From Here is a remarkable record and is of course, the band at their absolute best. This is the kind of record that would cause you to go down a rabbit hole of trying to find bands like this, and I’ve done this many times before and in turn, ended up finding bands who I’ve become obsessed with. The record opens with the stunning The Surface but for me, it’s all about track number 3- The Face That I Stood Behind. This live would be next level. The whole record feels like an outer body experience, and I reckon seeing this band live would be exactly the same. This song is over 5 minutes of music heaven, and I want to hear it at every single opportunity I can. We then go smack into The Boundaries which reminds me a little bit of The Cure, and that is only ever a good thing.

We’re always looking for something different- not better, just different. Better is a question of taste, so leave that out. This record is different. It’ll get you in the mind, body, and soul. It’ll make you wish you could spend the rest of your days listening to. To be honest, that’s how you should feel when you listen to the band. Everything they do and have done is just a joy to listen to, and their new record really highlights how great a band they are.

Slates is one of the tamer moments on the record, and it goes beautifully into Broken Sculptures which again is another favourite. I’m likely to change my mind on which song I love the most by the time this is written and posted but believe me- this is a record you need to listen to and own. It’s really worth going back and listening to their previous records after immersing yourself in this one too- you may end up appreciating the band even more so because they really are exceptional musicians. I just bloody love them.

In just 8 songs, Body Maintenance have firmly proven why they are one of the best bands around. Australia knows how to put out exceptional music- from my beloved Silverchair to Royal Chant to Amyl And The Sniffers, and to Body Maintenance. There’s something in the water, and we can’t get enough of it. This is such a remarkable record; the drums on Days In Arcadia is another strong moment on the record, and the way it slides right into Golden Fire is divine. Needs to be studied! Golden Fire is a gorgeous way to end the record, and it of course leaves you wanting more- how could you not? The vocals on this remind me a little of the band White Lies (I loved them when I was at Uni.) It’s an atmospheric number that will get you right in the gut, and honestly- that’s the record all over. It was made to be utterly felt with all you have and for it to consume every ounce of you. It’s just a flawless record that deserves your attention, time, and love.

You can stream the record on their Bandcamp now, and it will be released near the end of the month. It will be out in the UK via Drunken Sailor Records on the 27th June.

jasmine.4.t : The Deaf Institute, 31st May 2025.

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Sometimes you listen to a record, a song or find a singer and you just know that they are going to impact your life in a way that will stay with you for a long time. A band in particular for me that first gave me this feeling was Garbage back in 1995. Fast forward 30 years, and I get the same feeling with the Angel of Manchester- jasmine.4.t.

Her debut record, You Are The Morning is an ode and celebration of Queer love and community. She lets us in delicately on her journey as a transwoman, and that is something to truly treasure. I’ve been to a lot of gigs in my time but I can honestly say that Jasmine’s show last night at The Deaf Institute was the safest I’ve ever felt and I’m pretty sure I wasn’t the only one. I want to mention briefly (and I will be writing about them separately soon) the support acts from last night Ether Mech and Lucas Assagba. Both acts were divine, and the perfect way to start the night.

There are many reasons as to why the show was so special last night- but the two worth noting are, it was homecoming show for Jasmine and her band. They sold out The Deaf Institute! One of the most iconic and best venues in our beautiful city and it was sadly drummer Eden’s last show with them. Sadness and joy- the two things I felt a lot of last night! I knew in my gut I was going to feel every feeling possible last night, and being in the eyeline of the setlist made me prepare myself slightly. But the second Jasmine and Phoenix stepped to the stage, any mental preparation I did went right in the bin. I saw a few videos on Instagram this morning of the set, and in some of them you can see my little head just staring at the stage with this ridiculous grin on my face. The show felt like home, and I was SO proud to see Jasmine.

For me, I thought Elephant was going to be the one that broke me but instead, I cried out of sheer happiness. To see a room so full of love, kindness, acceptance, and safety really got to me. It’s awful right now for those of us who are part of the LGBTQIA+ community and it’s extra fucking hard on our trans siblings, and to be in a room for those few hours where how we identify doesn’t mean we are at risk felt like being home. I really hope Jasmine knows exactly what she’s done and keeps doing with her music, because it’s so powerful. It’s beyond music, she’s beyond being a singer.

The set opens with Jasmine and Phoenix stepping up to the stage to play Kitchen, and they then treat us to Bobby (and Alex G cover.) These quiet moments showed just how tender music can be. Jasmine then introduces Eden and Emily to the stage where they rip the venue apart with Guy Fawkes Tesco Dissociation. This live hits you in a way a record cannot touch; it’s also a song I’ve sang/yelled at my cat many a time (I’m so sorry Mary, I do it because I love you.) Skin On Skin and Highfield nearly bloody break me as does Breaking In Reverse, but I kept it together because I was just happy to be in a room so full of love and joy. For me, the tenderness of Roan truly cemented just how gorgeous a musician Jasmine is. It was such a quiet moment, and nobody moved. We all just stood in awe of her. The song is beautiful anyway, but you truly feel how much it means to Jasmine when you see it live.

I think a lot us who went last night will agree that the performance of Woman was one of the most precious moments of the show. Jasmine split the crowd so her gorgeous friend, Bola could dance whilst they sang such a vital song. After the hate and hurt that comes from the UK Supreme Court Ruling (and the world in general being hateful), having the crowd chant “Fuck the Supreme Court” felt GOOD. Another person simply cannot police how you identify. Another person NEVER EVER has the right to make you feel small or make you feel like you should hide who you are. Queer people have ALWAYS been here. Trans people have always been here and they always will be. Non-Binary people have always been here, and we’re going nowhere. I never felt more proud of who I am than I was last night, and feeling secure in that is down to the home I have found in Jasmine’s music.

The band rip through Did U Know (which NEEDS to be recorded) but the set ends with an INSANE cover of Toxicity by System Of A Down. We all know that Jasmine has a delicate voice, but have you heard her properly scream and belt out a song? MY.GOD. I loved Emily’s stagedive during this, and the way she launched herself back onto the stage and play her bass as if nothing happened! Everything was left on the stage last night, and it was an honour to see it. I’m just so proud of Jasmine, and to be there for her sell out homecoming show was just extra special. I feel I could write thousands of words on why this was one of the most important gigs I’ve ever been to, but I think, if you’ve listened to her music- you will really get why it means so much. On record you can feel the emotion, but when you see it live, it feels so different. Songs like Roan live felt different and you could just see the love pour out of Jasmine as she sang this. Everyone on that stage last night (support acts too) gave their all, and in return, they received all the love in the world back.

The setlist I took from the stage last night is now signed, framed, and hangs above my record player in my room. It’s more than a setlist. It’s a sign to keep going and to be proud of who I am. I think aged 38, I’ve finally got there.

Jasmine has just announced another tour for later in the year, so if you missed out this time- you’ve got a second chance. I simply urge you to go see Jasmine live because you will truly know what it means to feel safe and seen. And hopefully there will be more System Of A Down covers.

I cannot write this without mentioning Yulia- Jasmine’s friend. If you follow Jasmine on social media or have been to her shows, you will know who Yulia is and how important she is. She is currently in prison because quite simply, like anyone with common sense, believes in a free Palestine. Please read and support Yulia here: https://www.freeyulia.com/info/ It is a heavy read so please be careful.

PSYCHIC PIGS: S/T

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If you’re looking for say, 10 really loud Punk songs to knock you out or burst your eardrums- then you need the debut record by Psychic Pigs. A band fronted by half of one of my favourite bands in the world, Brandon from Crocodiles (a write up on Charlie’s Crush Of Souls project is coming) has created Psychic Pigs with his buddy Jonah Falco (yep, from Fucked Up) and made one hell of a rowdy record.

I won’t liken the record to anything Brandon has previously done (but if you loved one of his many bands such as Flowers Of Evil, then you’re going to adore this) but if you are a fan of Crocodiles, then you will love this delightfully loud record.

The record was made in London, and you can hear hints of UK Punk in the record all the way through. With Jonah on production and drums, Brandon is responsible for the vocals and guitar. Put these two together, and you’re of course going to be blessed with something truly incredible. These 10 songs were made for you to trash a room to, break stuff, throw yourself around a room and really get wild. I live on the 8th floor and it’s tempting to throw the TV off the balcony whilst listening to this record (I won’t!) This record was made in only 4 days, and you can really hear the rush and urgency on it. Songs like Everyone Pays massively sounds like it could have been born from early Hardcore days; you can hear what has influenced Brandon a lot on this record and his writing yet again will blow your mind. Charles and Brandon are two of the greatest writers of our time, and their genius shines always- whether together as Crocodiles or separately. I just adore them.

This record by Psychic Pigs is beautifully filthy and is there for you to totally immerse yourself in- in every way possible. It’s a record that’ll cause or cure a hangover; it’s a record to play really loud when you’re on your own. It’s a speedy and mucky record, and only good things can rise from the dirt, right? This is a record that goes beyond being a side project- it’s got this drive and bite to it that makes you feel like you are hearing Brandon’s voice for the first time, and also, you get exactly the same feeling from Charlie’s Crush Of Souls project. In short, they make beautiful music regardless.

The songs on this record don’t really hit over the 2-minute mark, so it’s pretty easy to just have this on repeat constantly. I love Hello Oblivion the most right now, but I’ll change my mind in a few hours and find a different song on the record to adore. I just think Brandon and Jonah have created something really important here, and it goes beyond being a rowdy Punk record. It feels comforting in some ways and maybe that’s because for me, Crocodiles have constantly (since 2008/9) been my ultimate comfort band. Every record is associated with something or has got me through something, kind of like having a buddy there right in your corner, y’know? There are so many hints of Hardcore bands on this record mixed with something that’s utterly nameless, and I think when you find something that you cannot describe, you’ve probably found something to treasure for a long time.

The lead single off the record (self-titled) was the perfect introduction to what we were going to get on this record- that snarly Stiv Bators attitude flows throughout the record and is so prominent on the lead single. It’s a brilliant song to get us all hooked on the Pigs. If I won the lottery, I’d pay for Brandon to bring a Psychic Pigs tour to the UK because this is a record that’s got to be witnessed live. New Dark Age

venue where you don’t know where the stage ends or begins-everyone just merges into one, and personal space doesn’t exist. Beer and sweat falls on you, and neither is your own. Perfect.

For me, the second half of the record is where the rowdiness really kicks in and songs like Masochist oozes a real Punk attitude that may have once scared your mum but she will tell you she’s seen and knows more than she lets on- so who’s scared now?! I know this is a great record because even though I have it playing super loud, my cat Mary, is happy to still be asleep next to me. She’s a Punk at heart- she didn’t really get a say in it.

Cool Society is a dig at how awful politicians are and how those who live in the real world know exactly what’s going on and how politicians aren’t in touch with any of us. How could they ever be? The frustration on this one is glorious and Brandon really lets the world have it with this one. This is another close favourite but truth be told, the whole record is a real masterpiece. The frustrations, the truth and all that goes along with it is what makes this record divine. The record ends on I’m On Drugs, and it’s fair to say this record is a wild trip that you won’t be able to get enough of. Inject these songs right in and let them consume you.

Psychic Pigs are released out of the dirt and into the wild tomorrow via Slovenly Records. And if you live in L.A, they will be playing a release show tomorrow (23rd) at Permanent Records Roadhouse with Tenement Rats

PIGS PIGS PIGS PIGS PIGS PIGS PIGS: Death Hilarious.

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Here we go. Record number 5 from the North East’s loudest band- Pigsx7. What can they do on record number 5 that they haven’t already? Like, what is left to be done now?! Haven’t they burst our eardrums enough?! No. They haven’t. There’s more to do, more damage to our ears to be done.

Death Hilarious is a masterpiece, that you can be sure of. Again, Pigsx7 are a band who do not make bad records. Everything they release is so exciting and different- but always beautifully loud to the point where you may need medical attention (not the best kind of attention you can get, but still.) If you’re wanting a record to drown out the noise and to make you feel like every bone in your body is being crushed- this is the record you need. It’s the band at their peak. They’ve done it. They’ve made something that defines their sound in a new way, and I love how with every record they are unafraid to push the person who listens to it. It may be us old fans or it may be new ones; either way they push you and it’s wonderful.

If you’ve been lucky enough to see Pigsx7 live, then you’ll know that it’s an experience that goes beyond anything else you’ve seen or felt. For me, bands like this are the ultimate comfort band. Their sound feels like a secure grip around me, and I can’t get free from it- I guess it feels like home and it’s calming. Others may hear something utterly dripped in chaos and pure noise, but for me, that’s my version of calm. I never claimed to be “normal” because none of us are.

The record consists of 9 songs and is around the 45-minute mark- that’s enough time to let a record utterly consume you. Every song deserves its spot here, and the way it ends on the 8-minute wonder that is Toecurler is magnificent. It’s a grand record, and the ending does not mean the band are going quietly at all. If anything, they get louder. Matt’s screaming on this song is next level, you can really feel how healing it is. It’s like getting every ugly and painful feeling out. It’s the kind of song you’d want playing in a sketchy Slasher film where the killer loses it towards the end.

This is their most experimental record to date, and they won’t lose fans over it at all. If anything, they’ll gain more. Welcome to the cult of Pigsx7! I’ve played the record a lot this morning, and with every listen I’m getting a new appreciation for the band. You can hear the growth on the record. I remember first listening to them and I had NO idea what was going on- all I knew was that I was instantly hooked, and I found a band that were going to change how I listen to music and how I take music in. Turns out, that feeling has stood very firm with every record they released since. Death Hilarious is no exception. If anything, it heightened it.

I started writing this a week ago, with the intent of putting it up by the day had ended. But I felt with every listen of the record, I found something else to cling onto and relate to. So, for once, I let the record stay with me. For a week solid, this has been the only record I’ve listened to. I’ve played it at the gym on a loop, played it to and from work, listened to it at work- that’s a lot of hours. Have my feelings changed? Not in the slightest. I still think this is the best record Pigsx7 have done, and it explores the brutalness of anxiety and everything that comes with it, in a way I’ve not felt before from a record. The way Matt screams some of these lyrics will rip right through you. I know for a fact I cried when I played it the first time. Some lyrics just get you in the gut, and with more listens I feel less alone with whatever goes on in my head. Someone else gets it, and they are expressing it in a way that is a billion times better than I ever could. That’s the power of music- it makes you feel less alone, and less of a burden too.

If you’ve seen Pigsx7 live, you will know how big their sound is in that environment so when you listen to them on record- it can feel different. They’ve managed to capture that huge live sound and put it beautifully on record. They’ve done it. This is THE record they had to make and tonight I get to witness it live. It’s going to leave me hard of hearing tomorrow- it did last time, and I cannot wait.

Death Hilarious is a record I’ll keep going back to for different reasons. This week it’s helped me focus at work and the gym. Maybe next week it’ll feel like a hug, and the week after it’ll be my comfort record. All I know is that it will be one I keep going back to constantly. I don’t think it’s a record you play and just forget about. You don’t do that with a Pigsx7 record, it’s impossible.

Every song on the record does feel like a smack in the kisser and a punch to the ribs, and you just cannot get enough of it. Stitches has a Glam Rock feel to it, and you’ve got the ripper of a song, Toecurler that just sums up the whole record as the closer. In 45 minutes, Pigsx7 give the listener all they want and deserve.

The record feels like an exorcism of sorts and that powerful release is felt on every single song, and I think that’s why you cannot help but feel hooked right from the start. But that’s Pigsx7 all over.

L.A. WITCH: DOGGOD.

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There are a handful of bands that I’ve written about over the past (18) few years that have really stuck with me, and I can remember listening to their music for the first time. I can probably remember what I was wearing and where I was. Can I remember what I did last week? Not a chance. I’ve been writing about L.A. Witch since 2012, and every release feels like I’m discovering them for the first time all over again. That’s when you know a band is truly out of this world.

L.A. Witch are releasing their 3rd full length record on Friday, and I’ve been listening to my copy since January. Every listen is better than the last, and this feels like the record they were always going to make. It’s a masterpiece, but that’s to be expected from them. They’re one of the best bands of our generation. They remind me of all the old bands I love from The Gun Club to The Cramps, but also remind me of something we’ve not heard yet. Something undiscovered and nameless. The new record, DOGGOD was recorded in Paris and you can hear the influence of the city on this record. If you’ve listened to their previous work you’ll have picked up on an L.A. feel to their sound but there’s something heavier and darker here. That’s probably why I love it so much. It’s a beautifully intense record right from the start. It’s the band at their very best.

The record opens with the new single, Icicle. If you’re after dark and romantic lyrics- this is the record for you. The words are poetry and really heavy, but don’t let that deter you in any way. What the band musically add to these dark lyrics is something beyond words and anything I could ever write down. I’ve written about them so much over the past 10 years, and every single time I am in awe of how brilliant they are. Sade is one of the best guitarists ever, Irita makes the bass look easy and Ellie just destroys the drums. Put this together, and you’ve truly got one of the best bands around.

There are many gentle moments on the record but for me it’s the 6-minute delight that’s I Hunt You Prey that’s captured my heart the most. Songs over 6 minutes are my weakness sometimes, and they’ve done something truly magical here. There’s a haunting vulnerability to Sade’s voice on this one, and you can really feel the weight of it all. The bass on this is one of the best moments, and is honestly one of the best songs they’ve ever written. It’s unlike anything else they’ve ever done, and even Sade’s vocals sound different here. If I was played this and without knowing it was L.A. Witch, I honestly wouldn’t have been able to tell it was them. It’s so different in the best way possible. I now want them to do a record of 6-minute masterpieces like this. I can’t drive, but it makes me want to take a long drive. It’s got that urgency to it, and that’s their sound all over. I think I’ve mentioned it about their music before, but L.A. Witch make the kind of music that makes you feel you are riding a motorbike on the open road and out into the unknown. It makes you feel untouchable and rebellious.

The whole record oozes devotion, love and romanticism- but it’s not done in a sickly way that makes you feel utterly nauseas. They do it in a way that’s relatable; and it’s the intenseness that keeps you doing back and causing you to relate to so much on the record. Eyes Of Love has this slick and hypnotic groove to it that makes you hit the repeat button several times. There are no fillers on this record, everything is where it deserves to be. I firmly advise listening to this record through headphones and letting every tiny detail on the songs gently trickle into your ears. Let the record consume you; it’s the only way. DOGGOD at times feels like a spiritual record, and I think that’s what makes it so easy to love and see yourself in. Like I said earlier, this is the record they were destined to make.

DOGGOD is one of those records that in a few years’ time, you’ll go back to and there’ll be certain songs you head for first instead of playing it in order. For me, I think the song I’d go for would be The Lines or Kiss Me Deep. The Lines sounds like it would fit perfectly on Play With Fire, but there’s this really big sound to it and honestly? This would be one of the songs I’d play to someone if I wanted to convince them that L.A. Witch are one of the best bands around. If this wouldn’t win someone over, what hope do we have?! I love how the tender moments on the record (Lost At Sea) go right into that loud sound of theirs I love so much (DOGGOD.) It just shows how super talented they are, and how unafraid they are to play with different sounds and to make something really phenomenal.

L.A. Witch have pushed themselves with this record, and that’s evident right from the start until the end. This is a band that have taken the time to make a record that they can yet again be so proud of. For me they are like bands such as The Cure and The Cramps- every record is better than the last. Everything they do is just beautiful and perfect. Their last release was 5 years ago (Play With Fire still feels so new to me!) and you can really hear the growth on DOGGOD. They’ll never make a bad record, ever. That I’m so sure of.

The devotion on the songs is the epitome of love and loving someone so unapologetically hard (as someone who is very aware of their feelings, this may only be the way I feel to love someone and it can be a pain!) Of course, there’s an unhealthy amount of submission in the songs but there’s so much to really treasure on this record. The honesty and openness in the lyrics for me, is what stands out. Everything else just follows perfectly after. I feel that DOGGOD is one of those records that if I came back to it in a few years, I’d write differently about it because over time the songs would take on different meaning and carry a different kind of weight. In short, it’s a powerful record and if I made lists- it’d be my record of the year. No questions.

DOGGOD is out this Friday (4th April) via Suicide Squeeze Records.