Released on 7Hz Productions.

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Set for Release on September 4th via Frontiers Music Srl

Billed as “40 Years of Rains … and 65 of Disgrace”, Tyla’s Dogs D’amour brought their latest tour to the Voodoo Rooms in Edinburgh as their second home of Bannerman’s was still undergoing repair for water damage and pre-booked dates had to be switched to alternative venues. Located on the other side of Princes Street (tucked in behind the Cafe Royale and Guildford Arms - both fine pubs in their own right) we were on different territory and trading the Old Town for the New Town tonight; and at £10.40 for a glass of wine, I was unsure if a bed was included … sadly, it wasn’t. However, as (Spike and Tyla’s) Hot Knives would also be playing and it was no less than Tyla’s 65th birthday, we had the makings of a special (if more expensive) night with fans attending from all over the U.K. and beyond. In the mid to late ‘80’s, and their early and chaotic days of “smoke, sniff, drink, swallow and repeat”, the Dogs D’amour carved a short, but unforgettable trail of debauchery and joy around the world. Propelled along by their founder Tyla’s unique and unrivalled love songs, tales and lullabies from the gutter, delivered through his characteristic street poetry with heart proudly worn on sleeve, few then would have imagined Tyla would still be alive, kicking and leading the latest incarnation of the Dogs 40 years later. Fewer still would have imagined how good they’re sounding. Make no mistake, Tyla’s Dogs D’amour (MMXXVI) are a fierce live band and also probably the heaviest and best I’ve heard them. Mirroring the revolving line-up of the Hot Knives, and reflecting changing professional or personal commitments, a number of line-ups have played with Tyla over the last couple of years and sometimes you don’t know which you’ll get from gig to gig. However, the current tour which has seen them play all over the U.K., in many venues new to them, has seen the emergence of a more stable line-up which to my ear is musically the best they’ve sounded for a while. While Tyla is still at the centre and holds everything down with his beloved Gretsch, Jamie Turnbull, the band’s Edinburgh-based producer, lover of grunge and who also played guitar on Tyla’s most recent album ‘Gilding the Lily’ has brought a new dimension to the band on guitar live. Playing his Les Paul, the sound, as you may expect, is fuller, meatier, rawer and rockier than you might expect of the Dogs and making them sound more urgent. Just as importantly, he also knows the value of a song and he avoids guitar histrionics with his playing complementing and not over-powering things. After missing a few gigs it’s great to see Matty James Cassidy back on bass with Ace Carlton emerging as their regular drummer. Individually, they’re all really good musicians, but gel brilliantly as a band. And watching them on stage, they look re-energised. With main billing being given to the Hot Knives (which tonight would take the form of the band plus Spike), Tyla’s Dogs d’amour supported themselves and played a short celebratory set of fan favourites - ‘Last Bandit’, ‘Firework Girl’, ‘I Don’t Want You To Go’, ‘Heroine’, ‘Billy 2 Rivers’, ‘What You Do’, ‘Satellite Kid’ and ‘Drunk Like Me’. Struck as I always am when I hear these songs, I never tire of them. They still sound fresh, never stale. They lift my mood when I’m down and life can feel too much. Songs which will tattoo their words and melodies on your soul and not let go. If the air conditioning was working, it was completely overwhelmed by another night of really high temperatures with the bar or hallway outside the gig room providing welcome air and respite from the heat - venues in Scotland are not built for this. But what I can say is that Tyla’s Dogs D’amour sounded just as good both inside and outside the gig room. Fighting the heat and in the spirit of the World Cup, the band took a ‘hydration break’ (possibly involving alcohol …). Without boring you with the details, as much as I’d have loved to stay for the Hot Knives’ main set, my health hasn’t been great recently and combined with the heat, I knew when I was beat and left the gig. To anyone who knows me, not an easy choice. In doing so, missing out on Spike and Tyla playing songs from one of my favourite albums, lots of banter and a great and emotional cover of and crowd singalong to ‘It’s a Heartache‘ in memory of Bonnie Tyler who’d died overnight (you’ll find it online). Another night of great entertainment. Glass raised. GMcA

I’ve got to be honest, I don’t really know anything about Cancer Bats. I’ve heard of them (obviously!), and know that their music is categorised as hardcore punk - not really my scene given I’m usually geeking out over some classic prog or 70s rock. But I adore Black Sabbath, and these Canadians clearly do too, having toured intermittently as Bat Sabbath since 2011. So I’m here to see what they’ve got, and to enjoy some of the finest songs in metal, assuming they’re not too far removed from the originals! But first, Kent quartet Sun Messiah are here to warm up the room. Not that it needs a great deal of help, given the Booking Hall already feels much like the interior of an oven this evening! With their powerful, doomy riffs, and some-time dual vocals reminiscent of Alice in Chains, Sun Messiah successfully meld their influences into something unique. Occasional guttural growls give extra weight to metal that is intricate and intense, the twin guitar mastery enhanced by an impressive rhythm section who cleverly work in some off beats, throwing my head-banging attempts in the most pleasing way. And then there’s Battlesnake. A spectacle unlike anything I’ve ever witnessed, they are undeniably bonkers and utterly brilliant. From their matching stage robes which look like something the Pope might throw on when he’s in the mood for a bit of sparkle, to Priest-like bangers that speak of mysterious ‘Motorsteeples’ and ‘Pangea Breakers’, watching them is an absolute joy and has me smiling ridiculously throughout. Vocalist Sam Frank is particularly dynamic, fully embodying the role of some reptilian overlord as he sticks out his tongue, leaps off the drum kit and commands that we put our horns on our heads. It’s hard to know where to look given the energy of the six men on stage, though I feel it’s best to ignore the budgie smugglers that all of them seem to be harbouring beneath their costumes! Easier said than done when keytarist Billy O’Key and Frank strip down to theirs and are paraded around the room Angus Young style during a raucous ‘Let There Be Rock’. I suspect this venue doesn’t really know what’s hit it, but everyone seems to want more. The anarchic presentation, hard riffing guitars and outrageously catchy choruses (altogether now… ‘I Am the Vomit!’) make Battlesnake unforgettable. When Bat Sabbath tear into ‘Children of the Grave’, I’m initially a bit thrown by Liam Cormier’s vocals, which are pretty far from Ozzy’s melodic delivery, and more of a barked shout. But I can’t argue with his energy and enthusiasm as he asserts that we are here to “worship the Gods of metal known only as Black Sabbath”. And it’s impossible not to enjoy these songs. Remaining fairly close to the source material, though occasionally a little faster and more aggressive, I love Cormier’s prolonged growls of “YES!” into the microphone between tracks, an audible appreciation for the music he’s interpreting. There are nods to Ozzy, in guitarist Jackson Landry’s tasselled jacket and Cormier’s cape, but this is no cheap imitation, rather an unapologetic celebration that barely pauses for breath. All the essentials are in place, a frantic ‘Supernaut’, brutal ‘Electric Funeral’ and relentless ‘Symptom of the Universe’. I look around me in wonder that songs written some fifty years ago can still hold so much power - ‘Paranoid’ still sends everyone crazy and ‘Iron Man’ holds up as one of the most iconic riffs of all time. As ‘War Pigs’ blasts into the night, I head off to catch my lift home, possibly several pounds lighter than when I arrived (well… we live in hope!). My hair is soaked, my T-shirt needs wringing out and I ache from my head-banging excursions; indicators of a pretty good night I’d say! The Bat Sabbath UK tour continues, check out the remaining dates here:

MASSIVE WAGONS Release New Single “Story Of My Demise” Out Now via Reaper Records

Well now, what do we have here? Well for starters we have a glorious classic rock sound that would not be out of place on a Bad Company album; think big guitars, bigger harmonies and some immaculately cultured and placed Hammond swirls. Secondly, and this is absolutely what made this pop out of the pack of new songs I’ve got to listen to, we have the glorious voice of Matti Alfonzetti! Yes, the crown jewel of Sweden’s hidden gems is back behind the mic and he’s sounding mighty fine. In the Wind is out now and is the lead single from the four-track EP that is set for release on the 18th September….if the single is anything to go on, I suspect you’ll be hearing from me again real soon. Much love SS Black Blood Sthlm tracklist: 1) In The Wind 2) In Know You Believe 3) Fallen Angel 4) Holy Man Black Blood Sthlm line-up: Matti Alfonzetti – Vocals Stefan Bergström – Guitar Jarmo Lindell - Bass Johan Kullberg - Drums

One of the UK's current rising young rock bands, The Karma Effect have chosen a great setting for a promo gig. The Gibson Garage is covered with new and vintage Gibson guitars, and all the gubbins that goes with them. As a very guitar-driven group, the Karma Effect are in their element here. Apparently, this is their third time at this venue, so it's almost becoming a residency for them. As they hit the tarmac running, with the first few songs fired off with Gatlin Gun ferocity ("Dangerous Love/"Wild Honey"/"All Night Long"/Wrong Again"), it's very clear they are well oiled machine. Immediate comparisons are The Black Crowes and Thunder, and that's a fine compliment. Now on their third album, their current line-up is Henry Gottelier (Lead Vocals/Guitar), Robbie Blake (Guitar), Nate Keevil (Bass/Vocals), Tom Pitt (Keyboards/Vocals),and Alan Taylor (Drums). They've recently breached the charts with their new album, and it's not tough to work out why. The songs are there, the performances are there, and so is the rapport with the audience. Henry has a very strong voice, and definitely has the rock star demeanour. The rhythm section is very locked in, and also slips in and out when needed (Oooer, Matron). I'm also very impressed with Keyboard player Tom Pitt. Very deft, and even played with one hand a couple of times whilst talking to people. Very cocksure. (Ohhh, STOP it!!!!). The Guitars of Robbie and Henry intertwine very well, too. "River" and "Steal Your Heart" keep the ante at the top end, and in truth, the set really doesn't dip at all. It's nice to see a young set of lads keeping the classic rock oeuvre close to their hearts and chest wigs. As I leave the venue, I'm left wondering if Chris Robinson and Luke Morley are more than just good friends..... Phone photos by Matt Wisdom

OUT NOVEMBER 6, 2026, VIA FRONTIERS MUSIC SRL