Eastbourne has often been labelled an old peoples’ town. Comedian Lee Evans once joked that the shops all had bifocal windows. It’s true that it lacks the vibrancy of the nearby city of Brighton, but Eastbourne is far from being somewhere that people go exclusively to live out their final years. Party punks CHUB aren’t just set on putting the town on the musical map; they’re also seemingly making a play for becoming one of the noisiest things to ever emerge from that south coast seaside resort.
Tag Archives: punk ‘n’ roll
DEATHWISH – The Fourth Horseman
Deathwish’s 2017 long player ‘Unleash Hell’ presented almost half an hour’s worth of full throttle thrills. With song titles like ‘Live Fast Live Forever’, ‘Rock ‘n’ Roll Is One Hell of A Drug’ and ‘Watch You Burn’ doing some extremely heavy lifting, the best material shared a no-nonsense sound that blended the speed driven sounds of ‘Overkill’ era Motorhead with classic Supersuckers, and threw in a few thrash metal tones for good measure.
THE REAL GONE SINGLES BAR #50
Welcome back to the Real Gone Singles Bar, the place where we explore the various individual mp3s that have landed in our inbox over the previous few weeks. This time around, we bring you the return of soul performer Casii Stephan, some vocal jazz-folk from the brilliant Flo Perlin, a slice of punk ‘n’ roll, a synth based treat, some prog-leaning post-rock, and more besides… Enjoy!
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THE DROWNS – Blacked Out
Towards the end of 2023 Seattle based punk ‘n’ roll band The Drowns released ‘1979 Trans Am’/‘Just The Way She Goes’, a double A-sided disc designed as a preview for their next long player. On those terms, it did an excellent job, since one track shared their gruff and ballsy rock sound driven by gravel edged vocals, and the other tapped into more accessible pop punk. It effectively showed off both of The Drowns’ musical extremes in one hit.
DMITRY WILD – Rock N Roll Is My Business / Son Of A Gun
Dmitry Wild’s 2022 long player ‘New York Stories’ was a record brimming with good tunes. The multi-talented musician filled its metaphorical grooves with a variety of sounds ranging from Strokes inspired garage rock (‘Summer of ’21’, ‘Sweetest Thing’), echoey semi-acoustic rock that sounded like ‘Space Oddity’ era Bowie fused with Tindersticks (‘Wizard’), moody singer songwriter fare with a gentle Nick Cave-ish undercurrent (‘God, Ghost and A Ship’), and even arty rock meeting with a slacker vibe (‘21st Century’). It showed a man capable of turning his hand various styles with relative ease.