It's the last weekend in March, so that means a car full of us are heading down the A1 to the seaside town of Scarborough for a couple days at the towns, now annual, punk festival. We arrived at the AirBnB, same one as last year and very nice it was too, a pint in the Albert, same pub as last year and still a good wee place, then off for dinner at the same Chinese restaurant as last year as well, it was also top. We got a taxi to the venue but we found ourselves held up. Of all things, there was an orange walk going though the town. For a moment I thought we were in the west of Scotland rather than Yorkshire. We picked up our wristbands from the fantastically professional organisers and crew who put these couple of days together and we were ready to go. Saturday took us to the festival, and much like the rest of the experience so far, nothing much had changed. The organisation at the venue was fantastic, the beer and food were both good and reasonably priced and the place was buzzing with many of the same faces from last year, including the ‘One Man Mosh Pit’ a giant of a lad who took the party to the front of the stage for pretty much every band. Something else that hadn’t changed much over the years is the lineup. This was our third trip to this festival and for at least 7 of the 16 bands performing over the weekend, they had been here twice or more out of the four years the event has run. There are two ways to look at that I guess, the first is to say, well, these bands are floor fillers and the people love them, which is true. The other way is to say, repetition leads to a bit of staleness. Numbers were down a wee bit this year, how much repeat acts factored into these punks’ decisions not to come, we will never know. We all went into the weekend with an open mind, ready to hear some of the music that really did define a generation, and many of those originals of that very generation, were gathered in Scarborough Spa. So, it all started with Yer Mum, a London, drum and bass guitar, two-some. I didn’t love the opening couple of numbers, which were followed by a rather lengthy sales pitch from the drummer, they could have got an extra song into that time and that might have generated a few more ‘likes’. After that though, things changed and they seemed to settle into their rhythm. They finished really strongly and left me wanting more. I’d go see them again. Next up was Crashed Out. This was Blaydon Races punk! Crashed Out bunch of Geordie lads, complete with a singer in a Brian Johnston style flat cap. I thought they grabbed their chance and delivered some no-nonsense, old-school punk. Some punk rock bands heavy on the punk, Crashed Out heavy on the rock and they sounded very good for that. Another band from the Northeast was, of course, the Angelic Upstarts. Clearly Crashed Out are fans; they gave up about half their set to play Upstarts classics. The crowd loved it. I loved it, but I’d liked to have heard more of Crashed Out’s own stuff, they had the chops to carry their set off with their own songs, absolutely no doubt. I like Riskee and the Ridicule, they played here last year and were a highlight for me then, and a band I was looking forward to seeing this time around. They did not disappoint. This is a band who, I think, are stretching the genre and could well be described as ‘punk rap’. The spoken worked making up chunks of their songs and their set, all with a bit of a political undertone. They are not new kids on the block, rather they have been around for a decade or more and, like so many young bands, perform for the love of the music, certainly not the money. I enjoyed them and look forward to seeing a full set in a hot, sweaty venue, just where I think they would excel. Hung Like Hanratty make their own return appearance next. There is no doubt the crowd love them; the place is packed. For me, they are a bit of a cabaret act, there is nothing wrong with that, it's one I generally enjoy. That said, a couple of songs need to be retired. Punk is about inclusivity, HLH miss that with one or two of their offerings, I feel that takes away from their overall fun. Since the line-up was announced, The Good, The Bad and The Zugly were a band I was looking forward to seeing. This performance was the first time they had performed ‘outside the European Union’ as they put it. Perhaps just a statement of fact, perhaps a wee nod to Brexit, who knows? It is punk, people are allowed to be a wee bit political. They had the tea-time slot and so the room was not as full as it might have been but that didn’t matter to Ivar Nikolaisen, he blasted on stage with the rest of this Norwegian five piece and they gave it their all. I really enjoyed them. Their energy topped the day, and it wasn’t long before the hall started to get a bit busier. This was solid performance from a band who put their all into their spot. I hope to see them again. Then along came Booze and Glory. I absolutely loved then! Their brand of Polish/East London Oi was absolutely infectious. I also thought they were the tightest band of the day. They filled their 50 minutes with street punk anthems that saw the room packed out. ‘Swinging Hammers’, ‘Only Fools Get Caught’ and ‘London Skinhead Crew’ got the joint jumping. These guys travel the world, I hope they come north of the Watford Gap sometime, it’d be great to see them in Scotland. I have always liked a bit of Ska, but I was also a wee bit surprised to see The Selector in the line-up. There is no doubt they are a great band, Pauline Black is a great entertainer, but for me they were not a great fit for this punk bill. I wonder if there had been one or two more two-tone additions, which might have brought more of a Ska crowd along too, this might have worked better for me. That said, others loved it. Our fellow Edinburgh travellers, Kevin and Kenny, thought it was fab, as did the packed hall that watched. That’s the thing about a festival, not everything works for everyone. The night finished with The Casualties. This was blistering New York street punk played with a no holds barred approach. I loved it and behind the yelled lyrics there was a band who really knew their stuff. The guitar work was fantastic; the bass blistering and Marc Eggars kept the beat with a violent regularity you hear in few other settings. There were a couple of cans kicked into the audience and singer, David Rodriguez jumped onto the floor to get a circle pit and a wall of death going. This was a show at breakneck speed. I loved it, the Casualties really brough in the spirit the Ramones, Rancid and GBH. It was a pity that by the time the Casualties were finishing there set so many had left the hall. And that was Day One over. I’d really enjoyed it. Day one was very much a patchwork of punk, there was a two piece, a bit of Oi, some comedy punk, a bit of rap, a touch of Ska and a whole heap of street punk aggression. That mix provided something for everyone, but that also meant there were bits of the day that chunks of the crowd were not drawn to. That said, every band drew a good crowd, but few packed the room. I think the mix worked overall, but it was a bit of a risky strategy. We got back home and Pete poured himself a cup of green tea. I did smile, my day bookended by an orange walk and a green tea. Sunday morning saw the clocks go forward. We went to grab a quick pint at the Albert, our wee Scarborough local. Pete was seduced by the excellent carvery, and he had a plate for his breakfast. Everyone, from the chef to the bar staff, the owner and any passing diner all remarked on how strange it was that he didn’t want gravy with it! All that meant we were a wee bit delayed in getting to the Spa. By the time we arrived Voodoo Radio had just taken the stage, and we went for a wee look. I am so pleased we did! They were the most fun band of the weekend. Voodoo Radio are a two piece – drum and guitar father and daughter combo. Dad, as he was known to his drummer and the audience, but is actually called Tony, plays guitar whilst his daughter Paige does the singing, drumming and most of the talking, all of which was hilarious. This was just a happy 50 minutes to start off Sunday. The music was good and the craic was mighty. “An absolute belter” as Big Al described it, they were too. Menace is an old school London punk outfit who trace their roots back to the summer of ’76 when so much of punk was starting to take shape. Of course, there have been lineup changes but singer Noel Martin has been there throughout; angry, political and ready to have a chomp at anything he is not too keen on. All characteristics I love in a band! Today I noticed it was Leigh Heggarty of Ruts DC fame on guitar, and he did a great job. It was a pleasure grabbing a quick chat with Leigh later. He was a last-minute replacement for regular guitarist Pete Bradshaw, who was under the weather. And it certainly was last minute; Leigh had invested two hours the previous day learning the set – and very well it went too. I really enjoyed this throwback to the early days of it all. I had never seen Chelsea before tonight, what a gap that has been in my punk gig history! They were without front man Gene who is putting health first just now. Instead, the rest of the band pitched in singing the songs. I thought it really worked too. The band looked great in their black and red shirts, their hair was spiked and the anger kept coming out. It was a great performance by a band with a big back catalogue and, clearly, a lot of depth. Remember it was only Pete who had the carvery, so we sacrificed Instigators for a fish supper. By all accounts they were as hard hitting as they were in the ‘80s. Just before 7 o’clock my highlight came along in the shape of Alvin Gibbs and, of course, the indomitable Charlie Harper. The UK Subs were in the house. Charlie is now 81 and walks, a bit of the time, with a stick. As he wandered on the stage the years just fell off him. The voice is no different now to what it was 30, 40 ,or indeed, 50 years ago. Charlie is one of punk’s great survivors. ‘Warhead’, ‘CID’ and ‘Riot’ all got an outing in this 50-minute set. I hope he’s got another 20 years left in the tank, it's always good to see a Sub’s show and tonight was no exception. Another great punk survivor is Animal and his Anti Nowhere League. They have appeared at this festival every year it has run. They are, certainly, floor fillers and the place was packed for them. As always, it's a tight set of venom and hate. People, the law and most certainly himself are all targets for Animals malice and the Scarborough faithful lapped it up in spades. Sham 69 brought the night, and indeed the festival, to a close. Jimmy Pursey wandered on with his eyes as black as a shark’s before bounding into 45 minutes of some fantastic bovver boot punk. All the hits were there, ‘Borstal Breakout’, ‘Angels with Dirty Faces’ and, of course ‘Hurry Up Harry’. Add into that the cover of the Clash’s ‘White Riot’ and there was no doubt the ‘Kids Were United’. Tonight was the best I’ve seen Sham 69 in a very long time and were a great way to end the weekend. Once again, Scarborough was a top few days. I always come away from these events a wee bit reflective. There is no doubt the scene is strong, there remains a strong following for both the music and this festival. It equally beyond doubt, that the scene is ageing. So many bands had a member or two who was unwell and we spoke to a few punks who were creaking at the seams a wee bit themselves too. I wonder how that leaves Scarborough. It's a festival I love; I wonder what the long-term plans of the organisers are. I feel, if it is to go on for many more years, then it needs to bring in more new bands with their own followings, this year there were two bands fewer than normal to meet the headliners costs. I also think it needs to raise its profile locally. We never met a taxi driver or pub owner who knew the festival was on. There is a big local market out there just waiting to be opened up. Alternatively, the future may be to keep the same bands and, by extension, the same punks coming back every year until it simply becomes financially unviable. Whatever their long-term plan is, the organisers, once again, did a great job of it all. The early bird tickets were released, but for the first time, we never grabbed them. We will hopefully be back, but this year we decided to wait to see the bill for 2027. The familiarity of all things ‘Scarborough’ is nice, but some new bands would be nice too. Till next time…

Last night’s Yungblud show at Livehouse Dundee proved exactly why intimate venues can create some of the most unforgettable live music experiences. From the moment the doors opened, there was a buzz in the air and the venue itself set the perfect tone. Livehouse strikes that rare balance: close enough to feel personal, yet electric enough to carry the full force of a high energy performance. Yungblud (Dominic Harrison) did not disappoint. Bursting onto the stage with his signature charisma, he delivered a set packed with raw energy, emotion, and his trademark cheeky personality. Every movement, every lyric felt intentional and connected, as if he was performing not just for the crowd, but with them. A standout throughout the night was guitarist Adam Warrington, whose performance was nothing short of exceptional. His playing added depth and power to the set, complementing Yungblud’s dynamic stage presence perfectly. The crowd reached another level during “Funeral,” with fans singing every word back at full volume, creating a moment that felt almost cathartic. His cover of “Changes” was equally memorable, stripped with emotion yet still carrying that unmistakable Yungblud edge. But what truly set the night apart came after the final note. In a move that speaks volumes about his character, Yungblud invited fans to meet him by his tour bus in the Livehouse car park. Stepping out to greet them, he took the time to chat, sign autographs, and pose for photos, clearly in no rush to leave. It was a genuine, heartfelt interaction that showed just how much he values his fanbase. In an industry where that level of connection can sometimes feel rare, Yungblud stands out as a truly humble and authentic artist. Last night wasn’t just a gig, it was a reminder of the power of live music and the importance of staying real.

Two nights ago in a change to mostly going to Edinburgh or Glasgow for gigs, I found myself in Dundee for the Dead Bars’ only Scottish date on their U.K. tour. And two days later I’m still trying to process what I saw, heard, experienced and felt. Last year I wrote a review for Rockfiend of the Dead Bars’ latest album, ‘All Dead Bars Go To Heaven’, in which I wrote “give them a listen and the Dead Bars might just be one of the best bands you’ve not yet heard of”. I meant this respectfully and as a reflection of how much the Dead Bars appear to have gone under the radar of the music press in the U.K. There could be a number of reasons for this - they’re a small band from Seattle without big label or management backing; they can get labelled as punk, but there are differences between US and U.K. punk, and their sound is not easily categorised owing as much to The Replacements, early Soul Asylum, the Neil Young t-shirt worn onstage tonight by their bass player, Oddo, or to grunge as punk. Equally, their short (2 minute) raw, fuzzy and melodic songs may not be viewed as a straight sell to a rock audience. Arriving at the venue, I stopped to speak to John and CJ from the Dead Bars who were outside at the time and they appeared to be enjoying their tour so far. As I went inside there was a good-sized crowd for a Monday night - mostly punk fans and musicians ranging from their early 20’s through to original punks in their 60’s. It’s always good to see mixed ages at gigs, as when you’ve been going to watch live music for years, it’s all too easy for bands and the audience to age with you, but tonight the mix was really healthy. Anticipation was building as the local support acts (Bucky Bombs and David Delinquent) did their thing (more details at the foot of this review) and the Dead Bars’ stage time of 9.05pm approached. And then they were on. No changes into fancy stage clothes or regulation black - just the t-shirts, jeans, dungarees and plaid they had rocked up in. John, their singer, took up position front and centre flanked by the Dead Bars’ two guitarists (CJ and Elliot) on guitar, Rosie took her seat behind the drum kit at the back of the stage, with the sole concession to stage wear (shorts), and Oddo (bass) hovered in front of the drums. Opening the set with ‘Rain’ from their 2019 album ‘Regulars’, the Dead Bars launched into a blistering performance of 16 songs over the next 45-50 minutes. The bulk of the earlier part of the set was weighted towards the ‘Regulars’ album, although also featuring a few earlier and more recent songs including ‘Earplug Girl’ and ‘I Live Here Now’. A few songs in and I was absolutely hooked, as were others around me. Any concerns which I’d had that some of the melody captured in a studio may be lost by playing fast and loud live and through a sound system which may be beyond their control were completely dispelled as the wall of sound that is the Dead Bars live engulfed us - loud, fast, intense and melodic. Of an age when I no longer feel the need to be down front, I started off watching them from the bar down one side of the gig room, but within a few songs I was drawn forward towards the front and then to the side of the stage where I was as close to them playing as it was possible to be without joining them awkwardly on stage as I was immersed in their music. From my vantage point I could have mopped CJ’s brow if he had asked; he didn’t, nor did I offer, but you might get the picture of how close I was. ‘Valentine Heart’ heralded the first of a wonderful trio of songs from ‘All Dead Bars Go To Heaven’ ending with the looping and rolling ‘Give the Metalhead a Hug’ complete with audience vocal participation. During these songs, as throughout the gig, I was struck by how happy Rosie looked - smiling broadly while laying down the rhythm with Oddo in front of her and beneath CJ and Elliot’s twin guitars; despite the pace, their individual and collective playing and performances looked effortless, chilled and relaxed. In contrast, John paced the stage covering every inch and spending as much time as he could leaning into or above the crowd or, as he did on several occasions, joining the crowd on the floor and jumping in huddles with them, all the time singing his heart out. In John (Maiello), the Dead Bars have one of most captivating singers and frontmen that I’ve seen in a long time - bringing and then leaving every ounce of his soul on stage. Heading into the final third of the gig, the Dead Bars played their latest single, ‘You Look Like A Smoker’. Released just a few weeks ago, this has already taken up permanent residency in my brain. At 2 minutes 16 seconds it doesn’t have an ounce of fat or unnecessary musical padding on it and with a vocal bridge of “give me your smoke, give me your fire” is designed for crowd participation. With an extra song thrown in as a request from David Delinquent, followed by the wonderful ‘Freaks’, and including another couple of songs from ‘All Dead Bars Go To Heaven’ the gig moved towards its close. No complaints about the length of the set, as it contained so much and both the band and audience were spent. And as the lights went up it was clear from the looks on faces that we’d all witnessed a special gig. To sum up, the Dead Bars are raw, energetic, fuzzy and melodic; and to paraphrase Neil Diamond … what a beautiful (make that glorious) noise. We could overthink this. Tonight, they played to a good-sized crowd of highly appreciative fans who knew who they were, but it was very much a punk audience and had been promoted as such, whereas as a band they defy labels, spread themselves across different genres and are deserving to be heard and seen by a much larger and wider audience. Are they punk, rock, garage, grungey? They’re probably all and none of these, as they straddle so many styles of music. If we continue to apply singular labels and to pigeonhole bands, the Dead Bars could struggle and reach a limited audience. But if we just recognise and love them for who and what they are, much wider success is deserved. Just don’t change what you’re doing. Would I go and see them again or recommend them to others? Absolutely, in a heartbeat. And if you can’t see them live, check them out online or buy their albums. SETLIST Rain Sinkhole I Live Here Now Earplug Girl I’m a Regular No tattoos Producto Valentine Heart Be Me Give the Metalhead a Hug You Look Like a Smoker Pink Drink Freaks Last Call I Wanna Be a Ghost Funhouse Monday Preceding the Dead Bars’ arrival on stage, local support was provided first by David Delinquent who entertained the crowd with his banter, guitar and songs including ‘Get Old, Get Dead’, ‘You’re So Boring, You Make Me Wanna Die’ and ‘Sharp Dressed Clown’ about his insufferable boss (polite version here to avoid getting the page jailed, but a much stronger description rhyming with a former British Formula 1 driver is worked into the lyrics of the song). Then main support was provided by the Bucky Bombs with their Fife inspired punk or “melodic nedcore” based on The Ramones, Buckfast and the Beach Boys with tunes including ‘Kelty Beach’, ‘Radios’ and I missed the title of a little ditty (not about Jack and Diane), but including the highly memorable lines of “Do you, Do you, Do you wanna go to the Krankies’ show? You broke my heart when you said no”. Great stuff. In addition to it being my first time of seeing the Dead Bars live, it was also my first time in the Beat Generator - a great small and friendly venue in the upstairs/top floor/loft of a building with walls festooned in album covers and posters; and which has developed a reputation on the punk circuit and wider, and will see acts as diverse as The Wildhearts and Beth Orton playing in coming months. I’ll happily be back. GMcA

With 8006 unopened e-mails on my phone, it can take something pretty special to catch my eye and an invitation to review an album comprised of former or current members of Hüsker Dü, Social Distortion and Soul Asylum did exactly that. ‘The Bridges That We Burn’ marks the latest and third album release from UltraBomb, the pedigree post-punk project created by former Hüsker Dü bass player, Greg Norton. With albums 1 and 2 delivered to much acclaim within noise circles, by Greg, Finny McConnell (The Mahones) on vocals and Jamie Oliver (U.K. Subs) on drums, the line-up has evolved further for album 3. While Greg has continued to provide the lynchpin, firstly, Derek O’Brien, the original drummer with Social Distortion, took over on drumming duties and then Ryan Smith (Soul Asylum) took over on vocals and guitar bringing us to the tantalising line-up which grabbed my attention. The addition of Ryan Smith, in particular, caught my eye as I last saw Soul Asylum on a co-headline tour of the U.K. in 2022 with Everclear, Everclear pulled out of the gig at short notice due to sickness and Ryan stepped in and played a very impressive solo support slot. This then led to me checking out his solo output and with the Melismatics. While containing many recognisable elements, ‘The Bridges That We Burn’ is so much more than the bastard lovechild of their illustrious punky pasts/presents and provides a powerful sound of UltraBomb’s own. Given the band’s connections with Minneapolis, lyrically the album is also very now and aims to cut through the noise. The highlights within are many. Album opener ‘Darwin Awards’ establishes both the album’s and new line-up’s credentials within a few notes, is fast and furious (what else?), melodic and with contrasting vocal styles including shouted backing vocals underpinning the more melodic lead vocal to great effect. Recorded, produced and mixed in Minneapolis by John Fields, it’s also striking from the outset how clear the separation in the mix is between the guitar, bass and drums giving each musician equal space and prominence. ‘Divert/Deflect’ continues the lyrical theme, changes the musical style and grinds its own identity with more of a call and response shouted chorus. ‘Artificial Stars’ marries the different musical styles holding together a searching guitar and soaring Soul Asylum-style melody before shouted raw vocals mix things up. Stretching the sound further, ‘Zombie Zeroes’ takes on the musical feel of a horror B movie if The Cramps or Misfits had played alt rock. Latest single ‘No Cap’ brings the distinctive styles together again, but this time alternating soaring melody with heads-down punk energy. And what can I say about ‘Sicko Rants’? Not released as one of the four singles, this is an absolute gem of a song which puts a smile on my face every time I hear it. Fast, frenetic, sing-song melodies with guitars, bass and drums everywhere. Listen a little deeper and as throughout this album this is used to deliver a more serious message. ‘The chopping ‘Checked Out’ and bass-driven ‘Look Forward in Anger’ thoroughly deserve their place as singles with yet more soaring choruses driven at pace by the trio. ‘BSS’ (or the Bullshit Song) initially feels like a musical in-joke to fill a space in recording, but grows with repeated listening and takes on its own life as a musical punk fairground ride calling out the subject of the song. Approaching the end of the album ‘Last Time’ is a song of many moods starting with high pitched ‘Doo-doo-doo-doo-doo-doos”, strutting through a Bowie-esque ‘Fame’-era sequence before punking and distorting up. Finally, ‘Mosquito Crucifixion’ closes the album with a glam rock infused slice of punk. As may be clear, there is a lot going on musically in this album with much to appeal to fans of the Foo Fighters and Queens of the Stone Age in addition to those of the parent bands (past and present) of the constituent members of UltraBomb. Fast, frenetic, melodic and powerful. ‘The Bridges That We Burn’ will be released on 1 May 2026 via DC-Jam Records / Virgin Music GMcA

Alt-pop punk rockers RiotWeekend are stoked to release their punchy and kinetic new single ‘Smile’ out now on all good digital platforms. “Smile draws on our heavier influences with big guitars, booming bass, a little synth as well as the soft and heavy contrasting vocals to represent both sadness and anger. It tells the story of someone going through a break up and trying to move on but feeling stuck in a rut. Seeing your ex find happiness with someone new and the pain that comes with it, wanting to be happy for them but also wanting to smash up their car windows.” It follows the poignant and reflective ‘Days In December’ and previous ‘Harry’, which was Photogroupie Video of The Week and coincides with the long awaited sophomore EP 'Table4Four’, available on CD/digital download now direct from the band HERE and all good digital platforms. ‘Harry’ received high praise from alternative show BSB TV hosts exclaiming “I really f****** like that, really unique, so much potential” and esteemed music commentator Eric Alper called it “fearless, and full of heart - just the way punk should be.” Opening up on the 4 tracks, “We’ve unapologetically drawn from our influences and created what we would love to hear if we were listening to it, you have to be into what you play as it’s a medium to connect with others.” Diving in further, “There’s the heavy fun and good time side of us, the deeper and softer and what we write about is relatable as it’s real and from our life experiences.” The band recorded, self-produced and mixed at Blackberry Studios Chichester with mastering expertly handled by the renowned Pete Maher (Jack White, Linkin Park, Liam Gallagher). Blending pop punk catchiness with hard hitting huge riffs and wide ranging soaring vocals, the Guildford UK based colourful quartet of Holly Nunn (lead vocals and bass), Tomma Moulard (guitars), Rab McGowan (guitars) and Salvatore Bertolone (drums) released their self-titled debut EP in 2022 which gained international and BBC Introducing airplay along with rave reviews including Pop-Punk Pizza Podcast enthusing “Energetic and exciting, if you enjoy grunge, punk, post-hardcore and emo influences, then you will definitely like them.” Drawing favourable comparisons to such party club night names as Green Day, Blink-182, Paramore, they deliver a kinetic and crowd engaging performance each time they hit the stage with them announced for eclectic award winning festivals Guilfest and Shynefest this summer. “We’re passionate about righting wrongs in the world, but certainly don’t take ourselves too seriously! We want to show everyone that you can have fun even with tragic situations. The songs we write are at times very personal and we hope that it can help or inspire people in their time of need but there’s also the funny weird side to us that likes to have a laugh!” With the new offering, they’re on a mission for all those that feel a misfit, left out or want to belong in their own personal identity no matter what. “We love hanging out, connecting, hearing and sharing experiences at shows - at ours or those we go to. We’re really excited to release what we’ve been honing and working on in our set, we took them into the studio and added some magic! We can't wait to give them to you and when you listen, then see us live you’ll be buzzing, would have made new friends and be grinning for days!” With emboldened enthusiasm and more escapades to be had, RiotWeekend may well be the new band that’s heading straight into your playlists to uplift and a live show you need to see.

Modern UK rock band with a retro infused vibe AK & The Red Kites are thrilled to announce the long awaited and anticipated debut album ‘Hotter Than The Sun’ for release May 8 on CD and 100 limited edition numbered and signed colour vinyl, available for pre-order now direct from the band HERE. Accompanying the unveiling is a double A-side singles release of the full tilt 80’s tinged rocker ‘Broken Love’ and jagged edged riff driven swirling ‘Karmic Rituals’ on all good digital platforms now. Frontman and guitarist Andrew Knightley compares the two tracks “Broken Love is a high tempo emotionally charged banger, life in the fast lane and sometimes things get away from you before you even notice. That brings Karmic Rituals which is probably the heaviest track on the album and as people our biggest prison is our own mind, it’s about breaking out!” Andrew dives into the 11 track collection “Each of the songs have their own personality and a story in its own right - the themes vary from track to track and there’s a lot that folks will be able to relate to but draw their own meanings from. I’ve written it to dynamically take the listener on a journey as it’s all too common now to cherry pick tracks, concentrating solely on the singles as the industry has changed so much.” He smiles at the gestation period, “I’m super excited for it to be released as it’s been in the making now for 2-3 years! It documents a period of my life where I eloped from the craziness of London to a slower pace of life in the Chiltern Hills where the Red Kites circle above which were an inspiration in my creativity and approach to life now.” Working with multi-platinum award-winning producer Mike Krompass (Everybody Loves An Outlaw, Steven Tyler, Smash Mouth) and recording at the previously UK based state of the art Base Culture studio has brought out what Andrew believes to be his best work to date “There’s a far more contemporary sound and we really focused on my vocal delivery taking precedence which I hadn’t done as much of in the past. I demoed all of the songs at home and refined them before recording, cutting the fat off and making the importance of the songs themselves precedential.” The debut EP ‘Proverbial Storm’ (2024), with the title track being a Classic Rock Magazine Track of The Week, showcased Knightley's eclectic range as a songwriter and musician bringing favorable comparisons in the vein of Rival Sons and Richie Kotzen; "A unique fusion of delta blues, country, and high-energy hard-edged rock." My Global Mind Magazine, "The whole thing is glorious." Maximum Volume Music. A previous single from the EP ‘Stronger’ (which also features on the album) was personally curated by Slash for his blues rock Spotify playlist and has amassed over a quarter of a million streams. As a live act the power trio of Andrew, Rob Hoey (bass) and Ash Sims (drums) have been called “a band that can light up a stage with both passion and precision”Jace Media Music with their impressive command enthusing all to catch them in action on tour and at festivals this year - Andrew has also joined and toured as the new frontman/guitarist with New Wave of Classic Rock favourites, The Dust Coda. Having been perched ready to soar, AK & The Red Kites are now taking flight and with Accidental Music Reviewer proclaiming “They are the new rock n’ roll saviours about to strut amongst the masses to convert them to the righteous path of heavily blues influenced rock n’ roll.” they may become your favourite new band. WATCH BROKEN LOVE

Following the electrifying kickoff of their extensive European tour and premier UK showing of their documentary "Hate & Hope", metal legends KREATOR are keeping the momentum alive with the release of a brand-new music video for 'Loyal To The Grave', the powerful closing track of their latest studio album, "Krushers Of The World". On the subject of the new video, frontman Mille Petrozza shares: "The video was inspired by the Movie 'The Crow' this time. I hope you enjoy our little journey into obscurity as much as we do.” Showcasing a different side of the band’s signature intensity, 'Loyal To The Grave' stands out as one of the album’s most memorable moments. Driven by a highly melodic approach and elevated by a soaring, anthemic chorus, the track captures both the aggression and emotional depth that have defined KREATOR’s enduring legacy. The accompanying video visually amplifies this spirit, blending striking performance footage with cinematic storytelling that underscores themes of loyalty, unity, and resilience. Currently tearing through Europe alongside Exodus, Carcass, and Nails, KREATOR have been delivering spectacular shows to fans across the continent. The tour continues through the end of April, cementing the band’s reputation as one of the most formidable live acts in metal. Looking ahead, KREATOR will take their explosive live show across the Atlantic this May, joining forces with Carcass and Cold Steel for a highly anticipated U.S. tour. With no signs of slowing down, 2026 is shaping up to be another landmark year for the band. Order "Krushers Of The World" HERE. Watch the video for 'Loyal To The Grave' HERE . Remaining headline EU tour dates: w/ special guests Carcass, Exodus and Nails: Tues 31st Mar - LU - Esch sur Alzette, Rockhall Weds 1st Apr - CH - Zurich, Halle 622 Fri 3rd Apr - NL - Den Bosch Mainstage Sat 4th Apr - DE - Essen, Grugahalle Sun 5th Apr - DE - Frankfurt am Main, Jahrhunderthalle Tues 7th Apr - IT - Milan, Alcatraz Wed 8th Apr - SI - Ljubljana, Media Center Thurs 9th Apr - AT - Vienna, Gasometer Fri 10th Apr - DE - Ludwigsburg, MHP Arena Sat 11th Apr - DE - Munich, Zenith Sun 12th Apr - CZ - Prague, Forum Karlin Mon 13th Apr - HU - Budapest, Barba Negra Wed 15th Apr - PL - Warsaw, Arena Torwar Fri 17th Apr - DE - Hamburg, Inselpark Arena Sat 18th Apr - DE - Berlin, Uber Eats Music Hall Mon 20th Apr - LV - Riga, Palladium Riga Tues 21st Apr - FI - Helsinki, Black Box Thu 23rd Apr - SE - Stockholm, Annexet Fri 24th Apr - NO - Oslo, Sentrum Scene Sat 25th Apr - DK - Copenhagen, Poolen Thur 21st May - US - Baltimore, Maryland Deathfest 2026

KING KRAKEN release their storming new rocker 'Call To War' on 17th April, and it's a riff riddled, power packed, full frontal assault on the senses which sees the band kicking their new campaign off in style! "Call to War is the first single king kraken have released since our second album last April, we’ve picked up where we left off with March of the Gods, the same kraken sound but with more focus, grit and determination! 'Call To War' is a blistering new track inspired by the chilling sci-fi classic The War of the Worlds by H.G.Wells. Packed with relentless energy, the song charges forward at full throttle with thunderous riffs and pounding rhythms, while gritty yet melodic vocals cut through the chaos like a rallying cry against an unstoppable invasion. 'Call To War' captures the tension and drama of humanity's fight for survival, delivering a fast-paced heavy anthem that feels both cinematic and ferocious-perfect for fans ready to march straight into the storm. 'Call to War' is the soundtrack to our Spring UK tour, this is your call to make it the sound of your spring as well." King Kraken is a four-piece Rock/Metal band from South Wales, UK. In April 2025 they released their second album, 'March of the Gods', which saw two of their singles, Hero and March of the Gods receive national airplay on Planet Rock and Kerrang Radio. The band received universally positive reviews for March of the Gods in the Rock and Metal press, including Kerrang! and a feature in Metal Hammer Magazine. The band has a seriously strong CV on the live circuit, playing numerous prestigious events across the UK including Bloodstock, Call of the Wild, Planet Rock’s Rockstock and a massive show in 2025’s Stonedead Festival. In December 2025 they were the first band to play the Bloodstock Winter Gathering event at the legendary KK’s Steel Mill in Wolverhampton. The band has played with some heavyweight artists including The Almighty, The Dead Daisies, Crobot, Phil Campbell and the Bastard Sons, Monster Truck, The Sweet, Geoff Tate and Crowbar. In 2026, King Kraken will be releasing new material having spent time in the studio with producer Romesh Dodangoda. They have a plethora of live shows booked, with a slot at Takedown Festival at Portsmouth Guildhall in April, a short tour with Fury in May, plus several other festivals include the opening slot at Steelhouse Festival in July. They follow that in August where they will play Chepstow Castle alongside with Phil Campbell and the Bastard Sons, Chris Holmes (WASP) and the Tygers of Pan Tang. With numerous events around the UK there is no sign of this train slowing down! KING KRAKEN are: Vocals - Mark Donoghue Guitars - Adam Healey Bass - Karl Meyer Drums - Richard Lee Mears 'Call To War' recorded at Long Wave Recording Studios, Cardiff Mixed and Mastered by Romesh Dodangoda Engineered by Romesh Dodangoda and Tom Cory Preorder here: https://distrokid.com/hyperfollow/kingkraken/call-to-war

Fast-rising South London rockers The Karma Effect have today confirmed a new 13-date UK headline tour for autumn 2026 in support of their eagerly-awaited forthcoming third album ‘Cruel Intentions,’ which is set for release on 15th May 2026 (via Earache Records). With just a handful of tickets now remaining for the band’s previously-announced album launch show at Tunbridge Wells Forum on 15th May, The Karma Effect are pleased to now announce a full UK headline tour for this autumn, ably supported by special guests Juliet’s Not Dead. Tickets are on-sale here for the band’s autumn 2026 ‘Cruel Intentions Album Tour’ – full list of dates is; THUR 29 OCT - THE CARLISLE - HASTINGS FRI 30 OCT - WATERFRONT STUDIO - NORWICH SAT 31 OCT - BOILEROOM - GUILDFORD SUN 01 NOV - PORTLAND ARMS - CAMBRIDGE THUR 05 NOV - BANNERMANS - EDINBURGH FRI 06 NOV - CLASSIC GRAND - GLASGOW SAT 07 NOV - BETA ROCK CITY - NOTTINGHAM SUN 08 NOV - THE PATRIOT - CRUMLIN THUR 12 NOV - WATERLOO MUSIC BAR - BLACKPOOL FRI 13 NOV - CORPORATION - SHEFFIELD THUR 26 NOV - KKS STEEL MILL - WOLVERHAMPTON FRI 27 NOV - WATER RATS - LONDON SAT 05 DEC - LEO'S RED LION - GRAVESEND TICKETS GO ON SALE AT 11AM TUES 31 MARCH The Karma Effect have also today announced further details of their highly-anticipated third album ‘Cruel Intentions’. The new record is available to pre-order now across a number of CD, vinyl & digital formats, all featuring eleven rollicking new anthems (with a twelfth track, ‘Chasing Sunsets,’ added to the exclusive USB bonus edition format) – tracklisting is; 01 Ride or Die 02 Dangerous Love 03 Lady Bohemian 04 Raised on Rock 'n' Roll 05 Bad Manners 06 Closest Thing to Crazy 07 Waiting on a Miracle 08 Better Luck Next Time 09 Long Gone 10 Cruel Intentions 11 One More for the Road 12 Chasing Sunsets (Bonus track - USB only) WATCH THE VIDEO FOR 'WAITING ON A MIRACLE' VIDEO HERE PRE-SAVE THE ALBUM 'CRUEL INTENTIONS' HERE  When The Karma Effect were quietly born in the pandemic, vocalist Henry Gottelier and guitarist Robbie Blake could hear in their heads how they wanted the project to sound. From their organic, rootsy, eponymously-titled 2022 debut, followed by 2024’s show-stopping surprise Top 20 album ‘Promised Land’, they now truly arrive with their third record, striding confidently into their role as one of British guitar music’s most exciting outfits. Although some line-up changes occurred in the background (which saw Nathan Keevil join them on bass, Alan Taylor on drums, and Tom Pitt on keys), a turn of events that could have left them on shaky ground has instead been spun into a silver lining. Brimming with energy and fresh perspectives, the newly assembled line-up convened at The Hive Rooms, in the locale of Gatwick Airport, to nail down what would become ‘Cruel Intentions’ in July 2025. The new album is a collection which captures the visceral atmosphere of the band’s lauded live performances and is without a doubt the most complete, crystal clear realisation of the band’s ambitions yet: leaner, louder, heavier and joyously larger-than-life. Exploring notions of love, lust and danger, with dark passion and flashes of cheekiness, The Karma Effect’s new songs maintain a fine balance of swagger and wit, further advancing the band’s ‘modern vintage’ ethic - polishing up the retro sounds they were raised on into something gleaming and modern. Take the swaggering recent single ‘Dangerous Love’ – “It’s about doing things you shouldn’t do, but you can’t stop yourself: passion overtaking your senses and your mind getting away from you,” explains Henry. Barnstorming opener ‘Ride Or Die’ is a weighty statement of intent, an early display of Gottelier’s classic ‘70s Stones meets 80’s Fairbairn-era Aerosmith songwriting chops, whilst the album’s title track ‘Cruel Intentions’, meanwhile, is about a stalker. It’s not entirely steeped in darkness, however – sometimes, there are flashes of cheekiness. ‘Better Luck Next Time’, for example, is a tongue-in-cheek meditation on feeling the sharp end of sod’s law, following someone’s day as it spirals into the stuff of farce. "This album is the culmination of everything we have." says singer Henry Gottelier. "While collaborating again with producer Michael Charman, we brought in Mercury and GRAMMY nominated Romesh Dodangoda specifically for the mix, because we were obsessed with making every single note count. The result is a sound so big, it’s a stadium experience for your ears" ‘Cruel Intentions’ is available to pre-order here on signed editions, limited alt artwork editions, limited coloured vinyl and more.