Review: Primarily known for his sprawling LA-based psych/garage/punk/all of the above work as Osees aka Thee Oh Sees aka Oh Sees, John Dwyer links up with experienced percussionist Dave Barbarossa (Fine Young Cannibals, Adam & The Ants) for the retro bratty glam-punk experience of the year - Chime Oblivion. Their self-titled debut is packed full of squelchy synths, jagged minimalist guitar lines and high-pitched eccentric vocals, paying clear homage to classic acts such as The Slits and Bow Wow Wow. Chock full of bite-sized bangers including 'Neighbourhood Dog' and 'Kiss Her Or Be Her', both of which scoff at the notion of a three-minute track, this is retrofitted throwback dance-punk in the stylised era before it even had such a moniker.
Review: Following 'New Rose' as only the second ever single released by The Damned, 'Neat Neat Neat' has gone on to become, not only one of the band's biggest hits, but a timeless punk anthem used in everything from series like The Boys and The Simpsons, to the epic heist/chase sequence in Edgar Wright's Baby Driver, to even being covered by vastly differing acts from Elvis Costello to My Chemical Romance. This vibrantly coloured 7" captures a handful of cuts from a 1994 live performance in Mulhouse, France, boasting the aforementioned single on the A-side with a curious selection of covers on the flip, ranging from Johnny Cash's 'I Walk The Line' to 'You've Lost That Lovin' Feelin' from The Righteous Brothers and even a rendition of 60s mod originals The Craig's 'I Must Be Mad' lobbed in for good measure.
Jesus Of Suburnia/City Of The Damned/I Don't Care/Dearly Beloved/Tales Of Another Broken Home
Holiday
Boulevard Of Broken Dreams
Are We The Waiting
St Jimmy
Give Me Novacaine
She's A Rebel
Extraordinary Girl
Letterbomb
Wake Me Up When September Ends
Homecoming: Death Of St Jimmy/East 12th St/Nobody Likes You/Rock & Roll Girlfriend/We're Coming Home Again
Whatsername
Review: American Idiot marked a pivotal moment in Green Day's career, propelling them to new heights both commercially and creatively. The album, released in 2004, combines punk energy with a bold narrative, delivering a politically charged rock opera that resonated with a generation. Its mix of rebellious spirit and introspective lyrics touched on themes of disillusionment, suburban angst, and the search for identity. Tracks like the explosive title song and 'Holiday' channel raw defiance, while 'Boulevard of Broken Dreams' and 'Wake Me Up When September Ends' showcase the band's ability to craft emotional ballads with wide appeal. The ambitious multi-part suites 'Jesus of Suburbia' and 'Homecoming' are daring, theatrical pieces that added depth to the album's story arc. Billie Joe Armstrong's sharp songwriting and the band's tight, dynamic sound made American Idiot a modern classic. Its balance of punk rebellion and mainstream accessibility cemented Green Day's place as one of the defining rock bands of the 2000s.
Review: If you want to talk about landmark albums, how about Dookie? The third LP from a then-fresh faced but already-jaded Green Day represented a true 'moment' in the development of skate rock and punk, pre-empting the rise of pop punk. Casting a mind back to 1993, when the record hit, and memories prevail of record walls lined with t-shirts sporting the iconic artwork, and a sense that the future of guitar music would be anything but the overblown stadium mega rock that dominated much of the 1980s. Perhaps that never quite became the truth - Green Day catapulted this sound to the top of main stage festival bills in just a few years - but the raw energy, voice of generation X attitude still hits today. We could try and namecheck the highlights, but ultimately, from 'Burnout' to 'All By Myself', Dookie is the largely upbeat driving force of a very special time.
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