Visually, Lucy And The Rats look like a typical last gang in town garage rock band, but when they plug in and let rip something magical happens as the grease peels away to leave a shimmering ray of bubblegum garage somewhat in the same vein as Nikki & The Corvettes riding with the top down while blasting out The Vapors. It’s glorious to hear and by right should be one of the rock ‘n’ roll albums of the summer.
Today we’re thrilled to introduce you to The Jack Cades–a “supergroup” of sorts hailing from the UK. Specializing in 60’s era garage/psych/rhythm & blues, with a gob of snotty punk thrown in for good measure, the band kicked things off in late 2017 when lead guitarist/vocalist Mike Whittaker and his wife, rhythm guitarist/vocalist Elsa Whittaker, decided to record some tracks at Matthew “Mole” Lambert‘s notorious State Records Studios in Folkestone, Kent.
Celebrating being together for twenty years — fifteen of which with the same lineup — The Loons has released their latest single. Much like the vintage rock vibe that the band emulates, this is a double-sided single. Like any 45, it has two songs, the first being “Blue Ether,” followed by “Saturday’s Son.” Over the course of their career, the California-based band has released four full-length albums, more than a handful of singles, and has toured across the globe. Blue Ether b/w Saturday’s Son is the first release from The Loons since their 2014 EP B.S.O.D., and acts as a short but very sweet return for the band.
These figurative puzzles are based in London (though they come from various parts of the world), come from several of the most famous band (The Cavemen, Atomic Suplex, Trash Culture) and their motto is: "We'll fuck you with the long dick of rock'n'roll ", not bad to get started.
If there is one band in this fast paced world which gives the body an even more intensive and thorough workout it is undoubtedly King Salami and the Cumberland 3. This is a band where an Automated External Defibrillator should always be on hand at every show they play, waiting and ready to revive the inevitable wasted bodies. Now that need has been transferred to the band’s records. When playing all three of the band’s albums back to back, apart from a danger to health, it is a hard choice to say which is best, all in their openly individual ways an equal treat, but without doubt Goin’ Back To Wurstville is the most demanding and exciting for heart and limbs yet.
Runners-up? Runners-up, really? When last year the London rhythm’n’punk band appeared on the BBC as part of its search for Britain’s Best Part Time Band they should have been a shoo-in to win. Alas, terrible ska band Bombskare won. Which, on reflection, is probably for the best, because the band should first and foremost be known for the music and the shows, not winning some quickly thought-up show to fill the TV schedule of BBC Two. The band are a constant inspiration to all who come across them, working tirelessly to entertain us kick-seeking fools via many recordings and countless tours.
Here's where the real sausage party starts people. London based band King Salami and The Cumberland Three are an eight-legged groove machine sent here to make you move your feet and shake your ass with their irresistible brand of ‘50s and ‘60s inspired grooves.
So the dastardly Dirty Water deviants throw a split single my way and force me into a clattered corner where 2 units instead of one batter my brains. These kind of releases always cause a cerebral problem that has me worrying if what one band offers is shite and the others donations are bright, then how bad will Fungal look when he does his truthful and temperamental bit. Ah the wonders of the reviewing lark, tis all shit in the fan, blowing against one man and leaving him battered and bruised. Good job my thickened skin and utter belief is holding firm, bah the bastards.
Not even a year has passed since the brash’n’saucy garage-psych quartet who hail from Phoenix [AZ]/Los Angeles [CA] began their recording career. And now here is a full debut LP proper, following their previous two six-track EPs (released as a single album via Dirty Water earlier this year). In this whirlwind of activity it’s pertinent to ask whether two dozen songs in a year of action mean anything substantial could have been produced.
Having spent some time with Me.Ow the answer is a firm ‘hell yes’.
Arizona/Phoenix-based The Darts return after a year of globetrotting in support of their previous EP collection to release their full debut proper on Dirty Water Records. Louder Than War’s Nathan Whittle checks it out.