The Taskers ‘Wolf Party’ Album Launch @ Stafford Hockey Club 23/07/16

The first time I saw The Taskers, there were only two members; Jack and Sophie Tasker. They were supporting a band at The Sugarmill in Stoke but rather than taking in their music, I spent most of their set wondering why the frontman was wearing wellies with shorts. Little did I know, four years later, I’d be sat in a hockey club in Stafford, watching them launch their seventh album.

Walking through the doors of Stafford Hockey Club I was mildly disappointed. The dress code was fancy dress, although a very small number of the audience had decided to participate. That hadn’t phased The Taskers though, who were milling around the stage in glorious attire. Adrian Tasker was on ticket duties as well as being the loyal merch man and number one fan of not only his son and daughter, but the five piece as a whole. He had every reason to be proud. ‘Wolf Party’ is undeniably a masterpiece, with all five members adding their own personalities and ideas to the music.

The evening began with Don’t Call Me Ishmael, an alternative folk band fronted by local music figurehead Gary Wilcox. Sporting his ukulele and King Thrushbeard costume he seemed relaxed – if not a little sweaty. The combined heat of the lights and the nylon of his costume were causing him to periodically wipe sweat from his brow, as he said to the crowd “I may either melt into a puddle or self combust right here on the stage”. Joined on stage by multi-instrumentalist Matt Plant (dressed an Hansel) and funky guitarist Jack Tasker (the Huntsman), Wilcox seemed to enjoy his set, playing tracks such as ‘Monument’, ‘Weight Of Responsibility’ and ‘The Bugler’, all from his current album ‘Underdog Songs’. A couple of covers came our way too, including ‘For A Friend’ by The Communards, also from his album, which DCMI performed in their own very moving way.

A last minute addition to the line-up was Matt Toner of Matt Topowski & The Wailing Synagogues, who played a short and sweet two track set on acoustic guitar. His acoustic blues sound was soaked up by the audience, who remained silent until the end.

The final support of the evening came from Nixon Tate & The Honey Club, a band who certainly aren’t strangers to the stage. Nixon Tate was the most relaxed I’ve seen him yet, interacting with the audience and looking entirely chilled despite some sound issues with his acoustic guitar. The Honey Club were on top form too, although you don’t really need me to tell you that. They played a lengthy set with tracks including ‘Dancehall Blues’, ‘Heady Redwood Days’ and ‘All Over Now’, their current three singles, along with ‘Joyce’, ‘Never Be A Boy Again’ and ‘Drifter’. One thing that must be noted about their live performance, is how NT&THC don’t hang around. It really is all about the music for these four men, who seem to be growing in following and in sound.

After watching their friends put on the best warm up performance possible, it was time for The Taskers to take to their stage. Appropriately dressed with balloons, streamers, banners and a light up balloon complete with scary wolf mask, it really was their stage. SBT was by far the best fancy dressed Tasker. Wearing a black lacy top and creepy green lenses, she was the wolf of your nightmares. As for the others, well JT looked dapper and Jack Rennie made a beautiful Little Red Riding Hood. Sarah Pickwell and Laura Ellement seemed to have come as members of the wolf party, wearing party hats and looking ready to dance.

Audience members were now left standing, some huddled around the bar and others leaning or perching on whatever they could find. Once all five members were in position, it was time to get the party started. Kicking off with album opener ‘The Wolf’, The Taskers were loud and ready to rock. JT looked untameable at the wrath of the guitar, whilst Rennie moved around excitedly in time to the music. Both violin and cello came together at the end to hush the eager audience, bringing the hairs on my arms to stand to attention.

Much like the alcohol, the music kept on flowing, with some tracks from ‘Pleasure Point’ even making an appearance. ‘Chemical War’ gave the chance for JT to explain how Jack Rennie came to be a Tasker – uploading a track a day to SoundCloud, before JT managed to convince him to be a part of something great. ‘Chemical War’ was one of those tracks, which now seems significant in The Taskers landscape, and the band played it proudly.

Japanese Disco Funk track ‘Harajuku Nights’, Bowie inspired ‘Girl Kissed A Boy’ and old favourite ‘Pleasure Point’ followed suit, before the band made their first stage switch around of the night. An anxious looking Laura Ellement stepped up to the mic for ‘Misery & Me’, a song she told me she’d written in her room in 10 minutes. It’s a powerful track, mainly due to her exceptional vocals, that bounced off the walls of the room and silenced the crowd completely. The onstage rapport and strong connectivity of the band was evident, with Ellement looking across to SBT whose accompanying harmony left you awestruck, a smile forming on their faces.

The Taskers powered through their set, with Rob Haubus of TMC joining them for a special rendition of ‘Feeling’.

The band briefly left the stage for SBT and Rennie to have their moment behind the electric piano for ‘Shooting Star’, a song about when first dates go wrong. It was another touching moment and a definite highlight of the evening, as we seemed to observe a truly intimate moment between the pair, and as the song concluded, they both shared a kiss before inviting the rest of the band back and ramping up the volume.

And then it seemed the night flew by in a Tasker soundtracked blur. ‘Dig Up The Dirt’, ‘Undone’, ‘Oh, Jeremy’ and ‘Sure Of Your Soul’ were all present on the set list, one that seemed may go on until the early hours. With seven albums under their belt and the passion Jack Tasker has for making music, it wouldn’t have been a surprise if we were watching the sun rise before they’d concluded their set.

The band exited the stage once again, although this time it was for SBT and JT to revisit the old days with ‘Litas’, a track taken from their 2013 album ‘No Shit, Just Shoes’. They talked about how it all began five years ago and how they got to where they are today, but ultimately this was a chance for everyone to observe how The Taskers have grown. Like proud parents, we watched the pair perform a poignant song that they hold dear to their hearts. Before entering their final part of the set, JT and SBT embraced and I may or may not have felt a little teary.

In the closing few moments, The Taskers rounded off with ‘Trials’ and the concluding track from ‘Wolf Party’, ‘Cry All You Like’, before inviting two members of Nixon Tate’s Honey Club to perform three covers they’d never even rehearsed before. Playing two Pearl Jam tracks ‘Better Man’ and ‘Daughter’, they wore their influences proudly, basking in the rockstar glory.

Eventually they came to their final song of the night ‘Rocking In The Free World’ which they dedicated to “papa Pickwell”, the biggest Neil Young fan in the room. It was a perfect way to close their set, with SBT giving a foot stomping hard hitting drum solo in-between. The room erupted as they stepped away from their instruments, with listeners gathering at the back of the room to purchase a copy of the album.

‘Wolf Party’ launch set list

It felt like a night of celebration; The Taskers had launched their album, yes, but this felt like something more than that. It was a showcase. A night to remember. A chance for everyone to see The Taskers at their strongest.

Jack Tasker looked exhausted. The last twelve months had led up to the this moment and it showed in his face. “How was that? Was that alright?” he asked me. You just rocked a hockey club like it was Madison Square Garden JT. I think you did just fine.


The Taskers – ‘Wolf Party’ Album Review

It’s late. There’s a full moon. A loud noise somewhere in the distance wakes you. You get out of bed and run to the window. It’s getting louder. Was it a gun shot? Is someone screaming?  A wolf howls. Five wolves actually and they’re at your door, armed with instruments and copies of their album – don’t worry, it’s just The Taskers promoting their brand new seventh album ‘Wolf Party’.

And they certainly have something to howl about. ‘Wolf Party’ is possibly the best twelve songs The Taskers have produced to date and it can be yours to own for the small price of £8. But before you rush off to buy it, let me give you the low down on what ‘Wolf Party’ has to offer and why you need it in your life.

Back in January I received basic recordings of some of the tracks from the album, asking for my thoughts on how things were sounding. Even in their simplest forms, with harmonies still in the making, guitar parts being decided as the tape rolled and lyrics forming as the song progressed, it was evident that The Taskers were really coming into their own. ‘Wolf Party’ was going to be mega.

And mega is exactly what it is. You only really need to listen to opening track ‘The Wolf’, to be persuaded to buy this album and they must know this, as this was the first track they shared with us back in May. I gave it a review back then, but if you missed it, you can give it a read here. It’s loud and electric and makes the big bad wolf seem a bit cool.

‘Breakfast With Ally’ reminds us that tea and toast really doesn’t wait for anyone, by giving us more of the stuff we like; a groovy bass line and crunchy guitar. It’s one of the only tracks the features Jack Tasker on lead vocals, something that is one of the stand out differences between this album and the previous six, but will have you rocking out nonetheless.

‘Girl Kissed A Boy’ and ‘Harajuku Nights’ give off the same sort of sound. ‘Girl Kissed A Boy’ is much darker though, with a harrowing cello melody that plays under the majority of the track. ‘Harajuku Nights’ is a personal favourite, even though I can’t actually sing a long to the chorus. The best way to describe this song is by forming a completely new genre for it – Japanese dance pop maybe? Whatever the genre, Jack Rennie’s vocals are the key component of ‘Harajuku Nights’ and without them, I’m not sure the track would have as much character and charm as he manages to throw into every crease and fold.

‘Shooting Star’ slips in amongst the album, offering a slight relief from the ferocious strums of JT’s guitar, as well as giving SBT a chance to have her moment at the mic. It’s hauntingly beautiful and manages to linger in your ears even after it’s finished.

‘Shooting Star’ doesn’t have much time to hang around though, as it’s swiftly cleared away by ‘Feeling’, a song that definitely has the potential to crack your speakers if turned up too loud. This was an instant favourite when I first heard it back in January, partly because it made me want to get up and dance and partly because it had a meaty guitar solo that began much like a Dirty Rotten Souls track. JT may be much quieter on the vocal front with ‘Wolf Party’, but what he lacks in vocal contribution, he gains in his ever-prominent guitar backing, a key feature of the band’s classic sound.

The Taskers are forever adding to their line-up, most recently with vocalist and violinist Laura Ellement, who’s already making her mark through the offering of ‘Misery & Me’. With crystal clear, softly delivered vocals backed by a spine tingling harmony accompaniment from SBT, ‘Misery & Me’ is an honest song that introduces listeners to Ellement in the best way possible. It’s evident that she fits perfectly into The Taskers, both vocally and instrumentally, and I look forward to seeing what her involvement brings to the band in the coming months.

If you like your real life heartbreaking moth related stories, then ‘Oh, Jeremy’ is right up your street. Yes, you did hear me correctly. Sung by Jack Rennie, ‘Oh, Jeremy’ tells the story of a moth that Rennie and SBT cared for in its final hours. An innocent moth life may have been taken in order for this song to come about, but at least we’re left with just under four minutes of Tasker-crafted musical greatness.


‘Dig Up The Dirt’ was a favourite of mine back in January, when I first heard it in its basic form, but with the clarity of the final version, its even more remarkable. Maybe it’s the simplicity of it – the piano pulling the song along and ending with the thud of the pedal being taken off – or maybe it’s the string accompaniment, that manages to just about remain in tune with the rest of the track. Whatever it is, ‘Dig Up The Dirt’ lets you float back down to earth. You don’t have to long to find your feet though, as before you know it, you’re in the throws of ‘Sure Of Your Soul’, a snappy track with a chorus that will be glued to your mind.

The penultimate track from ‘Wolf Party’ is ‘Seattle’. This one’s led by SBT and grows in beauty and eery goosebump excellence, drawing similarities to the closing track from ‘Pleasure Point’ – ‘Mountain’s To The Sea’. SBT’s voice always makes the hairs on the back of my neck stand up, as she seems to sing with such passion and emotion. It’s hard not to lose yourself in this song a little bit, especially when backed by acoustic guitar, and so ‘Seattle’ it yet another highlight of the album.

Reaching the end of ‘Wolf Party’ you’ll find ‘Cry All You Like’, a song that peaks and troughs before eventually climbing to a crazy spiralling finale. When the madness has risen as far as it can without bursting through your speakers and spilling itself all over your carpet, and Jack Rennie, Jack Tasker, Sophie Bret Tasker, Sarah Pickwell and Laura Ellement are left bubbling at the track’s surface, it falls in on itself in a spooky Rocky Horror Show sort of ending. Even ‘The Wolf’ shows its head again with someone reciting “there’s a wolf at your door” and just when you think it’s at its weirdest, then begins a five minute synthy, guitary, spacey fade out. You may believe there’s a hidden track waiting for you somewhere in there, but believe me, I sat and listened to the whole thing and it’s really just a load of noise. But it’s a unique way to end the album and I’m definitely not complaining.

So what have we learnt from this? Well in case you haven’t been paying attention, The Taskers latest album is pretty flipping great. Not only are they possibly one of the most hardworking bands in the local scene, they’re also a fantastic bunch of musicians who continue to build on their previous records. ‘Wolf Party’ is most definitely their best album yet and The Taskers are most definitely at the best they’ve ever been.


AVISO – ‘Clear The Air’ Single Review

Wandering around Alsager Music Festival on Saturday, led to me stumble across a band I was yet to hear. AVISO, a four-piece indie rock band from Chorley, opened the main stage on Saturday 9th July and absolutely killed it. Frontman Ashton Naylor’s vocal range was striking, sending shivers up spines and setting the standard for every other act to follow.

Their latest single ‘Clear The Air’ is Earth shatteringly good, making it the perfect track to play on a long drive out on an open road. Beginning with the distant strums of a guitar, ‘Clear The Air’ starts off as a very tame track, with each instrument making an entrance at different points in the first verse. It’s a largely understated opening to a song that has far more to offer than first meets the eye (or ear in this case) and as the verse rolls into the chorus, through a short sharp build up, it suddenly becomes clear why this band are destined for good things.

It’s the thump of the kick drum and the powerful electric guitar that hits you first, making you sit up in your seat in excitement. And then Naylor’s vocals hit you at full force, as he demonstrates his impressive vocal range that tears straight through the chorus. Every component snaps together, creating a catchy kick-ass chorus that makes it hard to believe that AVISO are still a relatively new band.

After a little bit of digging, I find AVISO’s debut single ‘Ignite The Stars’, released at the end of last year. It seems that the four Chorley boys have spent time developing the sound they want to produce, with ‘Clear The Air’ having a more solid feel to it.

‘Clear The Air’ manages to remain a thoroughly engaging and exciting single, right until the very end. It’s a spectacular second single from AVISO, who are certainly a band to keep an eye on in the coming months. If you like your indie rock, your powerful punchy choruses or your music loud, AVISO are your guys.


Hollie Haines – ‘Romeo’ Debut Single Review

Hollie Haines was a name I wasn’t familiar of. Originally from Cambridge, the 20 year-old Leeds College Of Music student has just released her debut single ‘Romeo’ and she’s keen to make a big impression. Universities are the breeding grounds for new bands and artists. You only have to take a brief look at your record collection to find the most successful ones; The Doors, R.E.M., Pink Floyd and Queen to name a small sample.

‘Romeo’ is a bold choice of a debut single, that carries a dark haunting rhythm conveyed by its skilful instrumentation. At first, you’re led to believe that you’re listening to a simple acoustic track, yet something about the overall sound doesn’t quite fit the ‘solo-acoustic’ mould. It’s clear that there’s more to ‘Romeo’ than meets the eye and when the acoustic guitar and cello drop out to a three second silence, it’s only a matter of time before the real ‘oomph’ hits you.

Picking up the pace, ‘Romeo’ continues to tell the story of a twisted two faced gentleman, who continues to alienate those around him without a second thought for the ones he hurts. This is a track written from personal experience, something that is evident through the sheer anger in Haines’ vocals. They stand out against the backdrop of the band and guide listeners through every detail. There’s even a chance to stamp out your anger as ‘Romeo’ enters its final stages, building up to a climatic ending that leaves you with a desire for more.

If this is her debut, then one can only imagine what else Hollie Haines has in store for listeners. Nevertheless, it’s clear that she’s an artist with great potential and ‘Romeo’ will definitely be at home amongst your other favourite tracks.


Lymelight Festival 2016

It was both exciting and intriguing to walk through Newcastle town centre on Friday 29th April at lunchtime. Near The Roebuck Centre, a white gazebo was in the process of being erected whilst various different people ran backwards and forwards, between a large stage and a transit van. Watching it all from the window of the perfectly positioned Hippy Hippy Shake Company, was the man behind it all – Mr Richard Buxton.

It was of course the beginnings of Lymelight Festival, a three and a bit day music extravaganza featuring an abundance of local bands, soloists, duos and choirs from every kind of genre and every kind of style. This year was set to be the greatest Lymelight yet, with three stages packed full of some of the greatest local musical acts around.

And it all began on that very same night, with Poliptik taking to the stage as the very first band to play at Lymelight 2016. The Gurus and Dirty Rotten Souls followed swiftly behind, playing strong sets with more than enough for the crowd to get their teeth into, with headliners Sherry Counsellors having a similar effect.

So as Friday night turned into Saturday morning, the weather remained relatively grey and everyone held their breath for a sighting of the sunshine.

I entered Newcastle via the Roebuck Centre and instantly felt the Lymelight atmosphere gliding around the shopping centre, bouncing off the walls and mirrored on strangers faces. The muffled sound of a kick drum, baseline and what sounded like the vocals of a man enticed listeners to stand and observe the Rebel Bear Main Stage in all its glory. And glory it was, as two huge banners attached to the crowd railings proudly displayed the iconic bear logo, that’s fast becoming as well-know as some of the acts it was displaying.


Samantha Lloyd was cold, something many of the passers by reciprocated. The sun had made its glorious entrance and then vanished as quickly as it had appeared. But she seemed in good spirits as she played through ‘Heartbreak at 22’, ‘Now That You’re Gone’ and the emotional ‘Everybody Can’t Be Wrong’. Later she would tell me that the low temperatures made her more nervous than usual, but her set remained strong and her vocals faultless. As was young soloist Callum Jackson, who drew in a fair number of listeners with his acoustic-pop sound, complete with backing track, drum pad and adoring fan girls.

At this point, it appeared as though the weather was on Richard Buxton’s side as cracks of blue appeared in the otherwise murky skies. A brief walk through the festival site led you to the “secret” location of the Lyme Lounge, where acts from the festival played a mini-set that was live streamed on the Rebel Bear website. Lee Barber, the father of RBP, could be found at either location or somewhere in between. This was a big moment for RBP but an even bigger one, for the man who pours so much time and energy into the local music scene.

The heavens had opened onto Lymelight Festival and everyone had gotten pretty damn wet. The music continued to flow on the main stage however, with the likes of Megan Dixon-Hood, John Dhali and Arcadia all delivering astounding performances of the highest standard. Not one act seemed phased by the damp conditions- even John Dhali, whose dedicated listeners braved the rain to catch the soloist do his thing.

The Signal 1 Acoustic Stage seemed slightly over shadowed by the bellowing sounds of the main stage, but it didn’t seem to affect any of the acts, least of all Chris Reale. Minutes before taking to the stage, he’d borrowed my pen to quickly scribble down his set list on the back of a train ticket. “It’s in my head, I just haven’t written it down yet” he told me. His set was well received by the relatively small audience, that stood huddled in front of a run down restaurant, sheltering from the rain.

Back at the RBP stage, In The Cards were ripping through the loudest set of the day. Vocalist Amy Colclough appeared entirely submerged in the music, with the entire band relishing the opportunity to be back on a stage once again.

As the night drew closer, it appeared as though the volume was gradually increased as each band took to the stage. By the time 10oclockchemical had their chance to show Lymelight what they were made of, the beer in the hands of the crowd seemed to dance right out of their plastic cups. It was undeniably a loud night of music of the highest standard. The highlight of it all was witnessing Exowaves play possibly their strongest set yet. They moved about the stage with a rockstar attitude and a carefree demeanour, snatching the night from the hands of headliners Lazyeye, before they’d even had a chance to tune up. Luckily and oh so cooly, the Lazyeye boys recovered their headlining title like stealing candy from a baby. The crowd that evening would have walked away feeling extremely entertained and eager for more.

And more is exactly what they got. Lymelight continued on into the remaining two days of the bank holiday weekend. By the time it reached its final day, there seemed an air of calm from Richard Buxton and Lee Barber, although this was only ever so slightly noticeable. They were over the metaphorical music festival hill, but in order for Lymelight to be an overall success, it would have to go out with a bang.

Bank holiday Monday began with Oli Ng and his band The Vagabonds, performing tracks off Oli’s current EP ‘Into The Dark’. Although he was the opener to a disappointingly sized crowd, his set was easily one of the best the RBP stage had witnessed as his talent and confidence shone through.

The acoustic stage was in full flow once again and John MacLeod of Attack Of The Vapours, enjoyed a rare chance to play a solo set of AOTV classics. “This one’s about a guy I used to house share with” declared MacLeod, before playing a tremendous acoustic version of ‘I’ve Still Got Your Blood On My Curtains’. Shortly after, the heavens opened and remained open for the entirety of Dirty Money No. 5’s set on the main stage. Their music managed to draw out a few people who looked like they’d taken a shower fully clothed, and the band put on a memorable performance of tracks that wouldn’t be out of place on your summer playlist.

And then there was a decision to make for fans of easy-listening folk. Greg Murray and the Seven Wonders on the RBP Main Stage or Wilcox:Hulse on the acoustic stage? Both brought some of the biggest crowds of the day, with everyone clapping and singing along to a backdrop of glorious sunshine. It was long overdue and clearly both acts felt the same, with Gary Wilcox of Wilcox:Hulse excitedly observing that they had indeed brought the sun out of hiding.

The final day came to a conclusion far too quickly, but on the high that festival organisers always aim to achieve. Local favourites Six Towns wrapped up proceedings with a modest yet well rehearsed performance, which isn’t surprising from one of the longest running bands in Stoke-on-Trent. They seemed at home on the stage and even managed to sneak an extra track into their set.

And just like that, Lymelight was over. The blood, sweat, tears and many months of planning and organising had paid off. Richard Buxton looked relieved as he told me with a smile, that the hard work was about to begin. Dismantling the stage and the huge clean up that would begin in the moments after Six Towns played their final chords was a huge and slightly depressing task, but one that was imminent and unavoidable. As I walked back through Newcastle town centre at Tuesday lunchtime, there wasn’t a single sign that Lymelight Festival ever took place. Richard Buxton was back behind the counter of The Hippy Hippy Shake Company, Lee Barber was supporting the newly opened Hounds, and every act, volunteer and supporter that had witnessed the success of Lymelight Festival, was sat somewhere wishing they could go back and do it all over again. All in good time.





Merrym’n – ‘Of The Five Towns’ EP Review

Receiving a copy of the latest creation from Merrym’n had me both excited and apprehensive. I’d been told this was a change in direction and, much like Don’t Call Me Ishmael, I only hoped he’d retained his unique sound.

‘Of The Five Towns’ is the brand new EP from Bob Moston, better known as Merrym’n.

’47 Bottle Kilns’, the first of five tracks, speaks of the demise of the Staffordshire pottery industry. It’s culturally and locally relevant, something that Moston is accustomed to, referencing the thousands of bottle kilns that once filled the skyline of the Potteries many moons ago. ’47 Bottle Kilns’ is a slow and somewhat sorrowful way to open an EP, reflecting on the way things were and how they are now.

‘Ashtrays In The Antiques Fair’ is the first glimpse of Merrym’n’s developed sound. Moston has laid down his acoustic sound in favour of a fuzzy electric guitar, that sprawls out across the track like a spider in a web. It’s reminiscent of Dinosaur Dancefloor, Bob Moston’s former band, but only because of the instrumentation. Everything else is Merrym’n’s own doing.

Bob Moston has a unique way of mapping out and delivering stories to your ears, through his honest ‘real-life’ lyrics and mood changing melodies. ‘Anna Of The Five Towns’ takes you on this journey, with every fine detail covered and enough thought provoking lyrics to last you the week. When Moston sings ‘how can you find happiness if the bus is always late?’, it’s quite obvious there’s more to this lyric than the unpredictable nature of public transport.

‘Driptray Serenade’ is over before you’ve even had time to eat your oatcake. It’s the sort of song that ends so abruptly, you end up awkwardly dancing for a few seconds longer than you should do, to the silence that follows after it’s finished. What you do get however, is a foot-tapping burst of electric guitar and two minutes of all round music goodness.

Closing ‘Of The Five Towns’ is the spooky ‘Elsie Saw A Ghost’. It begins quietly with a whirring-synth sound, giving the impression of something supernatural. Just as you begin to wonder whether you’re listening to a ‘Black Over Bill’s Mother’s’ track that didn’t quite make the cut, a piercing electric guitar appears from the shadows, ruling out any doubts that Merrym’n was returning to the safety net of his previous sound.

‘Of The Five Towns’ contains some of Bob Moston’s finest work. My initial worries soon disappeared when it became obvious that Merrym’n is still exactly the same, except he’s not afraid to experiment – musically.

Armed with a guitar, a refreshing outlook on life and some of the greatest song titles known to Stoke-on-Trent, Merrym’n continues to produce music to be proud of.


Dirty Rotten Souls – ‘You’d Look Better With A Bullet In You’ Single Review

Beginning a bit like a swaggering teenager that has an attitude problem, ‘You’d Look Better With A Bullet In You’ is a ferocious four and a half minutes of real honest music.

This is the brand new single from Dirty Rotten Souls and it means business.

The three-piece have got it absolutely spot on with this track, both musically and lyrically, and it’s great to hear them take another step forward with their sound. It’s not a surprise though, seeing as Dirty Rotten Souls are fast becoming a local favourite.

‘You’d Look Better With A Bullet In You’ is a politically correct rock song and by politically correct, I mean it correctly sums up the shambles that is modern day politics. Loudly and proudly, not once attempting to disguise where they come from, Dirty Rotten Souls bring a torch to reignite the fire in your heart and a riff heavy enough to break the door down at No. 10 Downing Street.

It wouldn’t be a Dirty Rotten Souls track without a dirty rotten guitar solo to round everything off, and don’t worry, ‘You’d Look Better With A Bullet In You’ doesn’t disappoint. A short-build up leads into a solo that seems like it could go on and on and on.. or maybe that’s just because it’s coated with the same anger and hatred, that is so obviously present in Mark Bailey’s vocals.

“Fer gods sake Dave, pull yer trousers up” may quite possibly be the greatest lyric I’ve heard in a long time. No metaphors or beating about the bush. Dirty Rotten Souls say it like it is, and that’s why we love them.