Back in 2013, Detroit Rebellion self-released their ‘Detroit Rebellion ’67’ EP, a four track blast of noisy garage blues delivered by two men who often valued pure grit over musical finesse. Continuing in the vein of the now missed Dead Exs and the perfect successor to their ‘Fork In The Road’ release, it showed how the rawness of a pure garage blues sound could often be relied upon to hit the spot, despite working to a fairly formulaic approach.

Some of the best tracks from those EPs were recycled for 2017’s full length release ‘The Man’, and when heard as part of a broader musical canvas, they lost none of their power. The duo continued to plough forward with 2018’s ‘See You Next Year’, channelling Morphine – sans saxophones – on ‘Snake Eyes’, conveying a really spooky edge on ‘Spit Fire’, and working their usual rowdy voodoo on ‘Wrong Number’, all of which suggested that, going forward, there would be even more mileage in their gritty sound.

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If you took the distorted hard rock of Blue Cheer, the garage rock noise of the Fucktons and applied a country drawl in the vocal department, chances are you’d end up with something that sounds a bit like The Yeah You Rights. On their 2019 release ‘Lucy Anna’ this Louisiana duo mix things up with regards to a retro noise, and while the results don’t always lead to the easiest of listens, more than half the time, their sense of drive makes up for any melodic shortcomings.

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When Brockley Forest released their ‘Die Has Been Cast’ EP in 2015, it felt as if the band had reached a turning point. While the raw garage blues of their previous releases still provided the heart of their music, the EPs songs showed a leaner, meaner Forest – slightly more commercial without selling out; by providing bigger hooks on bigger songs, they really stretched their musical talents.  Following a long gap between releases, Brockley Forest’s welcome return with 2018’s ‘Castaway’ is a step forward yet again. The production values on these three songs are terrific. Far removed from a garage based labour of love, the material has as much punch as that Royal Blood LP you all love – even though there are better exponents of that style – and the choruses are more than sizable.

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