Swirling synths coated in sugar sweet vocals, booming bass lines and kickin' beats.

Redd Kross have always been too good, too perfect, too true, to believe. Mythic. Could this tuneful hardcore punk EP really be the work of a brother band with the 15-year-old on vocals and guitar and the 11-year-old on bass? Did Redd Kross really open for Black Flag? Could Jeff and Steve really have been born and raised in the Beach Boys’ hometown of Hawthorne, California, and did Jeff really see the Beatles live in 1966? Did one of them, dressed in Gene Simmons makeup, really kill a Bruce Springsteen impersonator onstage? Is that really their hair? Could Researching the Blues, their first studio album in 15 years, be not just the hottest thing since Cher went solo but the best start-to-finish Redd Kross record ever?

Somehow, the answer to all the above is improbably, wonderfully, beautifully YES. Long have Redd Kross rocked, and long have critics, devoted fans, Rodney Bingenheimer and fellow musicians from Seattle (Nirvana) to New York (Sonic Youth) to Driftwood, Texas (Butthole Surfers) to Hollywood (everybody) bowed before the Kross and their self-aware pre-spandex Glam bubblegum garage psychedelic Cheap Trick/Kiss/Revolver post-Kim Fowley rock and roll. Degenerate, sweet: tongues in cheek, song-long winks.

Commercial success may never have been theirs (if time and space had been aligned correctly, they’d have been blitzing ballrooms in the early ’70s instead of opening for Stone Temple Pilots in the early ’90s), but Redd Kross have endured and endeared because they’ve always had the best possible attitude: smarts, smiles, and total commitment to live hair-spinning showmanship.

Like fellow legendary Great American John Waters, they’ve devoted their career to making subversive entertainment in a high pop celebrity style, reintroducing in their especially golden late ’80s/early-’90s period such forbidden classic-rock tropes as melodies, harmonies, ripping musicianship, and primary colors-stuff that had (largely) been ditched in the underground rock’s post-punk, No Wave, hardcore, and sensitive-egghead scenes. Redd Kross then spent the ’90s making one great misunderstood record after another until enough shit had caked the fan that in 1997 they pretty much called it quits.

But you never quit being brothers. And so here’s the next Redd Kross album-produced and mixed by younger brother Steve earlier this year after it was mostly written by older brother Jeff in 2007-08, and recorded in that same period with the band’s current lineup, who’ve re-engaged in live performance since being lured back into action by an excitable Spanish promoter.

They’re too nice to say so themselves, but attention must be paid to this band, to this great album, Researching the Blues, which, like a pair of great pants, is tight and the perfect length. By the time you’re two minutes and 51 seconds into the second song, “Stay Away From Downtown,” and the band is breaking into the sha-la-las, you will be running around the room with your hands in the air. As the fourth song, the Brian Wilsonian “Dracula’s Daughters,” ends and the dynamic mid-’60s Beatles jingle “Meet Frankenstein” launches into its first chorus, you will be mass-texting all of your friends with the good news. By the final four songs-”The Nu Temptations” (Stooges-worthy riffs! Cowsills counter-harmonies! And more!), the “Surrender”/Noel ‘n’ Liam rockers “Choose to Play” and “Winter Blues,” and the stunning summer psychedelic power pop that is the closing “Hazel Eyes”-you will know the truth. You tried the rest-but now you’ve had the best. The McDonalds were educated at Rock ‘n’ Roll High, and they’ve stayed true to their school. Here’s to their beautiful reunion! Redd Kross Forever!

UPDATE: SEPT 2023 - NEW MUSIC INCOMING SOON!

CHEW DOG - SUPPORTED BY:
Nicky Blackmarket
Grooverider
Micky Finn
T>I
Turno
DJ Limited
Maztek
Rawtee
Sappo
Muffler
Klone
Six Blade
Macky Gee
Logan Dee
Hizzle Guy
Mollie Collins
Meaker
Mistanoize 
Barrington
Miss Represents
Barbarix
Melinki
Coda

"Chew Dog got in to Old Skool & Jungle back in 1995-1997 at the age of 14, when he went raving for the first time at the Manor (Destiny) in Bournemouth. After this epic experience, he knew he had to be a part of the scene!
 

Fast forward to 2005 and he started producing jump-up under the alias "Chew Lay" until 2012. However, he decided to take a break from this genre to work on different styles such as Liquid Drum & Bass and various House genres, developing his music production techniques along the way.

 

Earlier in 2016, he was inspired to go back to his jungle roots and Chew Dog now aims to create tracks that touch the whole Drum & Bass spectrum. What's even better is that all of his tracks will be available for free download (Until he gets a big signing) and feature on Sore Thumb Media so start following and get yourselves a freebie or two!"

Pre-order here: https://utahsaints.lnk.to/US24SC
UTAH SAINTS (Ministry Of Sound) (ffrr)(London Records)

Utah Saints have been making music, dj’ing and playing gigs around the globe since the birth of House music.

The world renowned duo have released 9 Top 40 UK hits, 4 of which hit the Top 10, and sold over 2 million records worldwide (equivalent to 800m+ streams).
Precariously walking the tightrope between genres and also between the underground and the mainstream, Utah Saints roots are in electronic dance music, having met in a club in Leeds at the beginning of the rave movement in the UK and establishing themselves as pioneers of sampling in dance music.
Alongside this success, they set up and promoted award winning and legendary club nights The Gallery and SugarBeatClub and have recorded and presented shows for BBC Radio 1, Kiss and Ministry of Sound. 
Utah Saints are still very much at the top of their game and are out dj’ing regularly each month as well as curating festival stages and putting on an eclectic range of nights. They have played alongside everyone from DJ Zinc to Justice, Zane Lowe to A-Trak, Friendly Fires to Boys Noize and U2 to Public Enemy. They have djed at over 3000 events, from underground clubs to festival mainstages.

When the pioneering DJs aren’t playing at clubs and festivals in various parts of the world, they can be found in the studio working hard on their own material and production as well as remixing other artists as varied as Bring Me The Horizon and Girls Aloud.  As well as running a successful record label, the duo have now added film scores, soundtracks, video game music and production music to their ever-expanding portfolio and are planning to release new music as Utah Saints.
Recent accolades include being listed in Rolling Stone in 2022 as one of the 200 Greatest Dance Songs of All Time with Something Good. 

The remix, Something Good 08, having been the10th most streamed track of 2008 has recently been awarded Gold status in the UK.

"Utah Saints - Legends in the game " - Zane Lowe - Apple Music 
“Two of the most clued up DJs I have ever met” iDJ magazine
“The first true Stadium House band” – The KLF
"These guys invented rave" - Annie Mac BBC Radio 1
“Dance legends” - NME

For Dj Bookings/Remixes  contact - Admin@PunkClubBeats.com

9 piece electronic band out of Cape Town. Hit mixnblend.com/#connect if you want music from us and want to be part of our crew.

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