Back catalogue:

Review: Originally released at the dawn of the new millennium in the 2000th year of our Lord, The 'Miracle Of Shame' was an EP from Berkley, California 80s pop-punk legends The Mr T Experience. Their only project to feature bassist Gabe Meline as an official member following his studio contributions to the preceding years' full-length Alcatraz (their final work with Joel Reader handling bass duties), the credits also cite Erik Noyes on Hammond organ as an official member, as he'd previously recorded with the band on 1997's Revenge Is Sweet & So Are You as well as Alcatraz but had never been considered an official member. Reissued on a 1-sided etched green vinyl 12" (like any true punk EP should be), the material gives the almost guaranteed nod to The Ramones they've become known for (on 'Mr. Ramones'), while the beautifully titled closer 'I Don't Know Where Dan Treacy Lives' is easily one of the greatest punk song titles of the 21st century. No, we will not back that up.

Review: Punk rock absurdist cover-band supergroup Me First & The Gimme Gimmes have gone through a myriad of contributors during their tenure, with the current iteration featuring members of Lagwagon, Swingin' Utters, RKL and at times Fat Mike himself of NOFX, though his input can be infrequent and sporadic. While not as prolific or committed to the bit as they were in their late 90s/early 00s heyday, the band are still known to regroup under typically oddball circumstances when the world requires they do so. Following on from their last live album being recorded at a bar mitzvah, fan speculation was rife when little details emerged in summer of 2023 of the collective performing at a QuinceaNera in Las Vegas, and for good reason as almost a full year later, Me First & The Gimme Gimmes Blow it ... At Madison's QuinceaNera was finally announced. Boasting a ludicrously banging rendition of Abba's 'Dancing Queen' to reintroduce themselves, grab your Hawaiian shirt or equally colourful garb, and get ready to boogie on down to another batch of pop anthems reimagined by some of the greatest punk veterans in the scene...at a QuinceaNera!?!

Review: Beginning life in the late 70s as a Leeds based art collective, The Mekons have gone on to become one of the longest-running, most prolific and sonically diverse acts to be considered part of the first wave of British punk. Spanning numerous decades, projects and literal continents, the sprawling array of visionary contributors return with the succinctly titled Horror; a work written towards the end of 2022 that showcases their expansive yet solely unique approach, drawing on elements of dub, country, harsh noise, rock & roll, electronica, punk, music hall, polka and even waltz. Myriad vocalists lead differing sonic journeys such as the Jon Langford-led 'Mudcrawlers' telling the story of the Irish famine and subsequent refugees traversing to Wales, whereas Rico Bell leads the charge on the harrowing folk-horror climate change breakdown 'Fallen Leaves', with swelling violins painting an aural tapestry akin to Rolling Thunder era Dylan sitting on a dimly lit rolling green hill accompanied by The Pogues. Ranking somewhere between the collective's 23rd to 25th album (depending on which member of the fanbase or artists themselves you ask), Horror marks their first work for Fire Records.

Review: The long-awaited ninth full-length from legendary Japanese noise-rock duo Melt-Banana comes over a full decade on from 2013's exceptionally bizarre Fetch, marking their longest gap between albums yet. Known for combining the yelping, yapping, unhinged yet endearing vocals of Yasuko Onuki and the cybergrind guitar manipulations of the virtuosic Ichiro Agata, the pair expertly craft a schizoid car crash of genres, styles and sounds that would simply refuse to coalesce in lesser artists hands. Sugary bubblegum pop-punk is dropkicked by grindcore powerviolence, while industrial harsh noise engulfs hyperpop hooks before suffocating the debris in death metal malevolence. If this sounds horrible, impossible and bewildering, it only means two things: 1. You are sane. 2. You need to get some Melt-Banana into you. What better way to make sense of the chaos than by starting with the highly anticipated 3+5, then working backwards?

Review: The Irish music scene has rarely been in such rude and varied health. From Galway to Dublin in the South, up to Belfast and Derry in the North, Great Britain's smaller and - arguably - greener little sibling is making a lot of interesting noises right now. Each seems to be as captivating as the next, although few tear out of the starting blocks with anything like the intensity and energy, anger and tumultuous emotion as The Murder Capital. Blindness is album number three, following on from a debut that hit number two in the Irish charts and 18 in the UK, and a second - Gigi's Recovery - that achieved the number one spot in the group's homeland and 16 in the UK. We'd be shocked if part tres didn't do better. Always immediate and packed with personality, we finally hear the culmination of those preceding years. From post punk chug distorted through the fizz and crackle of humanity, though quieter moments deliver even more devastating blows, shades of everyone from The Killers (at their creative peak) to The Watchmen, Pixies, PJ Harvey, Savages and Idles ring crystal clear.