Reverse Family: 365 days of songwriting

Last August we gave you a first look and insight into the epic new project from Reverse Family. Starting the following October, the plan with 365 was to release 52 EPs as one a week for a whole year, each of their songs representing a single day in the inspiring life of its creator.

Reverse Family is the solo project of Dermot Illogical, though you may know him as Andreas Vanderbraindrain, the frontman of British outfit The Tuesday Club. With its brainchild embracing the various talents of others, Reverse Family first grabbed keen attention with debut album My Songs About Life Mid Crisis in 2016. In so many ways 365 is a whole new ball game for the band, a project taking the listener into the heart and thoughts, not forgetting darkness, Dermot personally experienced as he came to terms with personal despair through the death of a great friend and band mate, going through divorce, dealing with the serious illness of both parents and other traumas taking Dermot to the edge.

Since that first collection of songs sent our way to announce the release of 365, the project has been in full swing with some more teasers sent for our ears to explore. So time to give you more insight into a collection of songs which we can say to date has grabbed the imagination and pleasured ears in varying persistently enjoyable ways by focusing on a few more which have recently been unveiled.

Day 20 provides The Suns rays are just like birthdays, an inviting stroll built around a great post punk bassline as crispy beats align to the distinctive tones of Dermot. Reflecting on the radiance of the weather as emotions rise and fall, the track is a thickly infectious affair nagging away at ears like a pleasurable itch.

There is great diversity to the sound and personas of songs with 365 too, Was I a good man (day 15) swinging along with a sixties garage pop hues as guitars offer their psych kissed jangle while No Reason to run (day 6) has the rhythmic shuffle of a King Trigger aligned to an off kilter twee/ indie pop croon. Hugging a melody which enthrals in its nagging simplicity, the track is simply mesmeric, almost shamanic in its virulent enterprise.

Equally irresistible is the bricks and mortar snarl of Sunshade City (day 21). It has a gnarly tone around the pulsating shadowy lure of the bass, both at the heart of its post punk/industrial examination while with matching success We Got It (day26) sees Reverse Family embrace early Adam and The Ants textures in its resourceful punk dance. With so many tracks unveiled already it is hard to pick a favourite but this always figures in any contemplation as too does  the twang lilted Keep Being the Good Guy (day 25). Its country punk tinge and another irresistible bass line and tone court the ever virulent vocal delivery of Dermot, it all uniting in one seriously catchy persuasion.

Seductive acoustic discord flirts from within Dark pop (day 7) and insatiable askew pop punk is bred through the rousing antics of Pay the price (day 3) while School gate politics (day 64) is a prowling harassment with menacing shadows and post punk intimation, kind of like a Bowie meets Artery contemplation. All three are additional pinnacles in the lofty landscape of tracks released to date and definite favourites with us among so many more.

It has to be said though that Movin’ forward (day 74) is the cream of the crop, its repetitious swing and hook lined lure simply irresistible; a real ear worm as dark as it is vibrant. There are numerous potent ways to get into 365, such as the delicious lithe tenebrific pop ‘n’ roll of Your wandering hands (day 82) but Movin’ forward is addiction in the waiting.

There is so much more to discover already with 365, aside from our glimpses, with EPs released currently standing at 19 as you read, and all there for your exploration, @  with plenty more adventure to come which you can keep up with through the Perfect Pop Co-Op magazine. 365 is DIY majesty with drama to be found at every turn and so much pleasure too.

Read our introduction to Reverse Family and 365 @

Pete RingMaster 06/02/2018

Copyright RingMaster: MyFreeCopyright

Hell Fire Jack – Chains

It is dirty, raw, and unforgiving or in the words of the band itself, “Brutal Blues” which escapes the creative throes of ‘angry bastards, loud as Hell’ British duo Hell Fire Jack. It is also one compelling trespass on the senses and emotions which has come to a glorious head in the band’s debut album Chains. Imagine Seasick Steve infested by the spirit of Lux Interior as The Hangmen infuse their own devilry and you get a sense of the rapacious roar at the heart of the band’s first full-length.

Formed in 2012, Hell Fire Jack is vocalist/guitarist Alex Trewhitt and drummer Josef Karl, a pair from Yorkshire creating addictive toxic sounds which sizzle on the senses as they get rhythmically bitch slapped. It is not for those who want their music to be a comfort; an easy going escape without danger but for those who love to feel threatened whilst rocking out like a dog in heat, Chains is a thrilling demonic puppeteer.

It is also an album which simply blossoms song by song, each bringing something fresh and varied to the blues heart which breeds their predacious incitements. It is not just the sound which lures the listener into the dark, lyrically songs find seeds in “mental instability, insecurity and a constant struggle with modern life” to provide an intimacy which works away at thoughts just as the music gets under the skin and into the psyche.

As you might have surmised, we were seriously taken by Chains, it gripping attention and appetite from pretty much the first deep breath of opener Hell-O. The coarse but inviting riffs of Trewhitt’s guitar quickly lead ears into the waiting lures of his wiry grooves and the swing of Karl’s fevered beats. The former’s vocals are soon similarly magnetic, the pair creating a rousing concussive stroll leading feet and hips into fevered antics as shadows crawl the imagination. The track is irresistible, a stirring roar of blues and garage punk trespassing air and listener with every essence shared.

Cyborg swaggers in next, every beat a shuddering lead, each riff a rapacious scour on the senses but it all as virally infectious as the vocals cruising the inescapable persuasion. As the song epitomises, there is a great nagging quality to Hell Fire Jack propositions, an imaginative persistence which has body and appetite bouncing, and success Dark Horse only emulates. Its initial atmospheric smog is soon pierced by Karl’s anthemic swipes, it all building to caustic catchiness spewed by the guitar in an In The Whale/ Dick Venom & The Terrortones spiced shuffle.

The sonic liquor of Old Whiskery echoes assumptions going by its title, a sonic intoxication which deviously flirts in groove, voice, and beat while The Hustle chugs along with many similar traits of its predecessors to equal if less striking effect. It is familiarity though which gives Hell Fire Jack its individuality and incites a greed for more as words and syllables persistently bite within it all.

A sonic liquor swollen party comes in the shape of Don’t Come Knocking next, the track harrying the senses as a rousing vocal assault grips the imagination. It swiftly has its hand on best track heights before losing that honour to the quite brilliant Mr. Sinister. The track is horror blues punk alchemy, a proposition to breed lust over even with there being something indefinably recognisable about it.

Through the controlled but open sonic fever of Take a Hold and the predatory intimation of Sunday Best the album only reinforces its potency and persuasion though neither song can quite live up to the previous slices of rock ‘n’ roll manna. Each so they just grip attention with their varied enterprise, the following Lock and Key with its old school hues and garage punk dexterity then matching their heights with its composed but incisive swing.

Another major highlight is sprung with Better the Devil, its atmospheric, haunting melodic welcome alone enough to crow about but adding the subsequent tempestuous landscape and the Danzig-esque spicing which grips its tenacious blues prowl and the track simply escalates in character and prowess as well as impressiveness.

The album’s title track brings things to a close, a song which crawls through ears and thoughts with the instinctive infection of old school rock n’ roll and the lithe meandering of blues rock, it all boiling up and igniting in sonic blazes which sear the senses. Enthralling second by second, the track is rock ‘n’ roll at its basest and most compelling and a transfixing close to one thrilling release.

Hell Fire Jack never truly hit the brakes with their high octane attack and sound but when they do give them a nudge, you get taken to the darkest most seductively menacing places. Simply put Chains is a real pleasure pretty much like no other.

Chains is released February 14th on iTunes and @

Upcoming live dates:

Sat Feb 17 Hell Fire Jack album launch party, Harrogate, United Kingdom

Tue Feb 27 Lending Room @ The Library, Leeds, United Kingdom

Fri Apr 6 Al’s Dime Bar, Bradford, United Kingdom

Fri Apr 20 Verve, Leeds, United Kingdom

Sat Apr 28 THE FERRET, Preston, United Kingdom

Pete RingMaster 06/02/2018

Copyright RingMaster: MyFreeCopyright