TURN UP THE VOLUME’s 25 Best Tracks Of 2022… So Far

Time flies. Oh yes, we already have six months of 2022 behind us.

Mad summer parties are just around the corner. And here’s the perfect
loud/quiet soundtrack… Turn Up The Volume’s 25 best tracks of 2022,
so far!

ALL TOGETHER on Spotify…

1. I’ll Make You See God’ by THE AFGHAN WHIGS

The by now legendary passion rockers from Cincinnati, Ohio with mastermind Greg Dulli leading the troops have their new longplayer How Do You Burn? out on 9 September.

This lead single is a sturdy steamroller, a red-hot-heated ripsnorter, an unstoppable cannonball going everywhere fast. Manic blitzkrieg guitars, ruthless drum/bass attacks, Greg Dulli‘s rush of blood vocality, and a brutal finish. Flabbergasting.

Dulli: “That’s one of the hardest rock songs we’ve ever done.
It was written and performed on sheer adrenalin.”

See God here…


2. ‘Slowly Separate by CROWS (London)

This London post-punk team unleashed their 2nd scorching album
Beware Believers, last April. One of TUTV’s best full-lengths of 2022 (so far).

Single Slowly Separate is a schizo sonic serpent generating a mind-blowing backwash
while chainsaw guitars turn up the decibels to an illegal peak, and man-in-the-middle James Fox rages and blazes through his teeth.



3. ‘I Am Kate Moss’ by DITZ (Brighton, UK)

This frenetic Brit force hit big time with their dazzling debut album
The Great Regression last March (more about it in a couple of days).

Let’s focus now on one of its cast-iron brainbreakers. It’s a poignant, biting, and
anxious uppercut. I’m pretty sure Moss would love this hit-and-run drone when
it would hit her ears. She is, after all, the Femme Punk Fatale of fashion.

Turn up the heat…


4. ‘Twitchin’ in The Kitchen’ by WARMDUSCHER (London)

This punky-funky disco corker is the perfect pick-me-up tune for all the wacky weirdos who are always in the kitchen at parties waiting for free drinks and waiting for Warmduscher to come in and kick their lazy asses. Big stroke, big chorus, big fun!

From the gang’s thrilling 4th LP At The Hotspot.

Twitch as much as you want here…


5. ‘Demolition Row’ by METZ (Toronto, CA)

“It’s a warning, an unflinching assessment of the vastness and insignificance of this
life, is precisely counterbalanced by their lesson, which models the resilience that this understanding demands. ‘Demolition Row’ is persistent, concise, and alarmingly physical.”

This blustery belter is vintage Metz. Full blast ahead, no brakes, no breaks.
The track featured on a split 7” with London-based group Adult Life.

From Dylan’s Desolation Row
to Metz’s Demolition Row


6. ‘Frankenstein’ by TRAMP (Northern Ireland)

“As a story or metaphor, we are all ‘Frankenstein’s monster’ – made up of other people’s opinions and parts that don’t belong to us. That we were born perfect but people, in their
own conditioning, come along and can make us feel undesirable/inadequate/the monster.
But we can choose to be real instead.”

This is without a shadow of a doubt the best debut single I heard so far this year.

A towering tune going low, high and back. A sickly sticky pop gem wrapped in
a big-boisterous-wall-of-sound. And upfront, Sianna Lafferty ‘s phenomenal voice
causes goosebumps when she goes sky-high on the chorus. The ardency of
Porridge Radio comes to mind.

One word: AWESOME.

“I am not what you want me to be
Uncle Sam won’t even point at me
Even the eyes of the Virgin Mary wall
hanging won’t even stare at me.”



Shaman progresses like a vicious viper sliding to its prey. Determined, but always
wary of sudden danger. It dumbfounds and flummoxes while the song’s tension
intensifies and sends shivers down your spine.

No metallic explosions or abrupt pace changes this time, although it feels like a thunderstorm can happen as the mesmeric music swells along its ominous path
towards a demonic climax. Another appealing piece de resistance, another
psychedelic exploit another step closer to the new album.

From their brand new LP Trust No Leaders, out today.

Face your nature
Face your fears
Face your demons
Wake the dead

Roll the tape and get impressed…


8. ‘Mañana’ by JAMES DOMESTIC (Essex/Suffolk, UK)

“A paean to taking your foot off the gas and letting things slide, or a warning of the perils of procrastination, perhaps? It’s hard to tell whether ‘Mañana’ is meant to serve as a confessional regarding Domestic’s own perceived lack of willpower, or a celebration of idleness. It could be either of these things; and that’s one of its many joys.”.

A sirens intro, David Bowie‘s saxophone, and steel drums straight from Trinidad. Sounds like an exotic swing and shake ditty is coming up. No folks, it’s a lazy rap-sody you can play the morning after a booze marathon to get up and sober up, slowly.

Soul voice Clare Gillet takes care of the chirpy chorus.

Press play here…


9. ‘Digging’ by NOTHINGHEADS (London)

“Propelled by a motorik rhythm and abrasive guitars, it stomps toward a doom-laden finale. Inspired by Sebastião Salgado’s (note TUTV: Brasilian photographer) anarchic photos of the Gold Mines of Serra Peladain the Amazon in 1985: the track explores the relentless obsession with grasping a glint of glory from the mud. “

Once I learned that this startling belter is about the horrible exploitation of human
beings by ferocious money sharks this jagged jackhammer blew my mind even harder than I heard it the first time before knowing about the band’s inspiration for this stunner.

Expect rabid guitars, doom and gloom vocals, and frantic
twists and turns until the chaotic finale. Post-punk at
its razorblade best.



10. ‘Welcome To Hell’ by BLACK MIDI (London)

Geordie Greep (vocalist, guitar): “Almost everything I write is from a true thing, something
I experienced and exaggerated and wrote down. I don’t believe in Hell, but all that old world folly is great for songs, I’ve always loved movies and anything else with a depiction of Hell.”

A screwy zig-zagging haymaker it is. From upcoming, 3rd, LP Hellfire.

Burn here…


11. ‘Cream’ by BOTCHED TOE (UK)

My fav track from one of my fav albums of the year (so far), baptized
A False Glimmer Of Hope with loudmouth James Domestic (yep, the
guy from above) going bonkers.

This red-hot-blistering hardcore missile punks up your adrenalin and
invites you to open all windows and doors and yell your tits off.

(S)cream here…


12. ‘Zick Zack’ by RAMMSTEIN (Germany)

The bombastic German metal machine have
a new, their 8th, longplayer out, called Zeit.

Their same old recipe still works.

My fav sledgehammer on the LP is Zick Zack.

Ridiscouly infectious
Great Scheiße shit!


13. ‘Edie’ by STEPH SWEET (UK)

This is the spellbinding title track of this enigmatic songstress’ new album.

The dark garage guitar swagger of this nightmarish cracker is irresistibly
magnetic. Think trash-and-slash duo Royal Trux. Both eerie and haunted.


14. ‘Eris’ by VIOLET NOX (Boston, MA)

My favored sonic sci-fi symphony from the duo’s excellent Eris Wakes EP.
Trippy, spooky, trancy. With repetitive mind-twisting Krautrock eurhythmics
that take you on an otherwordly voyage. Top-flight!

Launch your spaceship here…



After the piano intro (sounds like the theme tune of classic horror-thriller Halloween) this young outspoken artist fumes with barbed wire temper towards the supersonic chorus that resonates like hardcore rap.

This rushing rollercoaster swings forth and back with grim impetus until the gloomy
synth climax makes way for that ominous piano fragment again. TV or not TV, that’s
the question? The answer is easy. To hell with the relentless idiocy of reality TV stars and influencers constantly putting pressure on growing minds to behave in ways unattainable to most.

Find the answer here…


16. ‘We Are Ukraian’ by OSCAR MIC (London)

Oscar Mic wrote this song after witnessing the horrific violence of
psycho Putin’s illegal invasion of Ukraine on the news. All proceeds of
the song go to Save The Children’s Ukraine Appeal.

We Are Ukrainian is a tremendously catchy hip-rap-pop jam featuring steel drums
and timpani balancing somewhere between Roots Manuva and Mr. Scruff.

“Fleeing people running scared, so tell me Where’s the justice? Our leaders say they care,
tell me can you trust this? Urban warfare, your home’s done and dusted, Aiming at the
public, they wouldn’t? They just did,”

Fuck Putin


17. ‘White Skin’ by THE BANKROBBER (Italy)

The titillating electro- intro echoes early Depeche Mode before they became the darkwave Goth-esque rockers we all know. But in an eye-blink White Skin turns into a swirling synth-pop stomper to fill dancefloors with. It’s an instantly infectious nightclub earworm with an ecstatic chorus.

From the siblings’ forthcoming, second, album.

Start the tape and make your move…


18. ‘Worthless Souls’ by MELTED WINGS (Toronto, CA)

“A track that calls out how sexism and power corrupt all levels of society.
We all need to recognize this going forward and make sure that it doesn’t
go unchecked.”

The sickly sticky synth beat comes across like an invitation for my feet to kick the butts of vicious sexists and power-horny billionaires ruining people’s lives. Middle finger to them while spinning around mad as a hatter to this bang-on electro buzz. Trust me, you’ll feel much better afterward

From their new Cheer For The Deer album.


19. ‘Hello Dreamer Baby’ by THE ROYAL FOUNDRY (Canada)

This is what ecstatic pop grandeur is all about. Music that elevates
your state of mind to a titillating level. This pearl generates a feel-good
entrancing buzz.

When the multi-layered vocals/harmonies pop up in a gospel-like choir delight
creates an atmosphere of utter joy comparable with the euphoric drive of
The Polyphonic Spree. Vitalizing vibe, refreshing rapture.



20. ‘Life And Lies’ by LEE ROGERS (Northern Ireland)

A mixed-emotions lullaby with Rogers‘ sky-reaching voice as the star. It’s an emotional
and bluesy reflection. Wurlitzer jukeboxes should be reinvented for these heartbreakers so moody minds can cry their eyes out (or cry in their beer) at night in a downtown bar where lonely ones gather and muse about life and lies.

This one is for all barflies out there…

From his new heart and soul album Gameblood.


21. ‘Chaise Lounge’ by WET LEG
22. ‘Up The Mountain’ by REGINA SPEKTOR
23. ‘All The Good Times'</a> by ANGEL OLSEN
24. ‘Come Back’ by SHARON VAN ETTEN
25. ‘The Dripping Tap’ by KING GIZZARD & THE LIZARD WIZARD

Reasons To Be Cheerful – JAMES DOMESTIC Rants And Rips On His Solo Debut Album ‘CARRION REPEATING’

7 June 2022

Artist: JAMES DOMESTIC (Essex/Suffolk, UK)
Who: Member of former hardcore gangs The Domestics), plus Pi$$er,
Tokyo Lungs
and half a dozen more. He’s a punk poet, DJ, singer/songwriter,
doctorate owner, producer, and inspirator of young punk bands. An artistic

Out: in April via Kibou Records

Turn Up The Volume‘s impressions:

My verdict is simple. Carrion Repeating is a contender for my best-albumsof-2022 list

Why? Domestic raps, rants, rips and rages through all of the 11 tracks on this solo debut longplayer with grit and guts. He’s a story-telling Cockney wordsmith, tackling politics, daily life shit, gobbling business sharks, and other related mess.

Musically anything is possible. Screechy guitars and 60s sounding Hammond organs to inflame tirades such as Itchy Itchy, Faze Out, Bean Counter and Push on Trough. Saxophone and steel drums straight from Trinidad on Mañana. Soulful female voices and Le Freak C’est Chic riffs on Never Enough. A reggae vibe with xylophone touches on Is Thay You?. Dub Jah Wobble bas on Weekend Carbs and Giblets. He just does what his ears like.

One moment he sits back for a sort of lazy Mike Skinner musing, then again he turns it up like Sleaford Mods do with sharp-toothed gusto, but overall the idiosyncratic vocality, the ingenious verbality, and the stream of catchy tunes of the late genial legend Ian Dury are omnipresent and it works like a magnet. Lots of reasons to be cheerful. I’m sure you understand now why Carrion Repeating will be on my best-of-2022 list.

Singles/clips: Mañana / Faze Out / Push On Through




Stream/buy the full album here…

DOMESTIC: Facebook – interview with Turn Up The Volume

All You Need To Know About The British Multitasking Artist JAMES DOMESTIC

Questions and Answers

4 February 2022

He raps but is not a rapper, he produced a few records but is not a producer, he’s
an occasional poet, he fronts several noisy DIY bands, he’s frequently on Turn Up The Volume‘s stereo with his first bang-on singles, he has his solo debut LP/CD coming up
and a PI$$ER album to record, he likes Kraftwerk played by a steel band, he’s not from London, he has an awful memory for movies that he watched, he is all that or not, and more.

He’s James Domestic and this is his new brisk belter called Mañana

Hello James,

Your artistic resume is pretty extensive, James. What is it you like the most?

“Well, firstly, I’ve never called myself a rapper. I’m not really sure where that came from, though it has been said a few times now! Certainly, I enjoy hip-hop and there is no doubt
a little influence in from proto-rappers like BUTTERBALL, but it kind of ends there.

The poetry is a really occasional thing – I’ve done some spoken word tracks on some of THE DOMESTICS records, and had a couple of bits published, but I’m too immersed in music to do more in that realm right now.

For me, music will always be the thing I love the most; I mean I’m in so many bands and projects right now I can hardly keep up! “Producer” sounds a bit grand, but I think I’m still in the phase like I was for years with not thinking of myself as a musician, of just doing it and seeing what happens. I’ve produced a few records now, and done a few remixes for people, so in time I expect it won’t feel weird to call myself a producer… maybe. I’ve just got into painting too, but I’d struggle to call myself a painter!”

The first single of your upcoming debut LP is a fucktastic rant.
What is FAZE OUT about?

“The title is a hybrid of “phased out”, as in you feel like your relevance to the world is on the wane, like your place in it has become in some way tenuous, and “fazed”, as in being disconcerted by a situation. So, it’s both of those things rolled together really.

I think everyone feels a bit like that sometimes; like the rug’s getting pulled from under you, and you have to reevaluate and adapt to some curveball that life’s thrown at you. Sometimes it feels like life is just a series of curveballs; it’s fucking exhausting. If you
think Faze Out is a fucktastic rant, wait until you hear Bean Counter.”

What or who influenced your decision to go solo and make/record an album?

“It’s something I’ve wanted to do for a while. I’m still very much in all the bands too; THE DOMESTICS are gigging again from March 2022 and will start recording a new album in a couple of months. PI$$ER will hopefully record a new album in late summer. I’ve got new stuff coming out with others like TOKYO LUNGS, DA GROINS… so I’ve not “gone” solo, it’s just another thing on the CV, but one that has been gestating for a couple of years or more.

My taste in music has always been incredibly broad; I just soak up stuff like a sponge really. Punk and hardcore showed me the way, taught me how to get things done, taught me to just get on with it. It made me the man I am today! But much as I love it, sometimes
I want to listen to other things. I occasionally DJ, and that tends to be either soul and funk, or reggae, which I love. Y’know, I listen to electronic stuff, post-punk stuff, psychedelia, krautrock… the list is endless really, and there really isn’t space in the other bands I’m
in for those influences to come through to any great degree.

Repetitive beats and bass, a mix of sprechgesang, sung and shouted vocals, plus some other vocalists to add an extra dimension. Decent lyrics, no limits on instrumentation or rhythms… I just wanted to make a collection of great songs that were all different but had these elements to bind them together to make a cohesive record. I’m not into making one of those records that’s diverse but really jarring; there was a lot of that in the nineties, people just strutting around like fucking peacocks shouting “look what I can do! Aren’t
I clever!”.

Sure, I’ve got an ego the same as anyone else, but I’d rather make a great album than show off like a tit, y’know? At heart, it’s still a fucking punk record as far as I’m concerned.”

The album’s title ‘CARRION REPEATING’ sounds smelly.
What’s the story behind it, James?

“For me, it’s about the state of the world, and the UK in particular. You can take it a
number of different ways, I guess. Mostly it’s about history repeating itself and how it’ll carry on repeating and who gets to be the crow and who’s stuck being the carrion; the persistence of that. Who’s the fucker and who’s the fuckee, right?

You could also take it as referring to the potential for change, so like the crow – let’s say he or she’s a prime minister or president or whatever – maybe the carrion eating just gets too much and starts repeating on them, fighting back if you will, even in its rotten state. I like titles to be open to interpretation; I expect others will think of their own.”

Why should the whole wide world buy the LP?

“It really comes down to this: do you want polished turds masquerading as an alternative to the mainstream, made by people on an extended gap year before they get a nice job
at daddy’s firm, or do you want guts, spirit, and a modicum of integrity and intelligence in your music? It’s got bass, it’s full of great songs – I’m not afraid to blow my own trumpet about that. It’s unafraid music, not some corporate second-guessing bullshit with an eye on a demographic, a major deal and a number one album.

If I wanted to do that, I’d have done it by now, but it’s just not in me. Y’know, I’d love to have a big selling album, but I’m not going to censor or neuter what I do to get it or any
of that stuff. Life’s too short.”

What’s a JAMES DOMESTIC gig like?

“There’s no live band for the solo stuff just now. I’m still trying to get my head around how it could be done. It’s a daunting prospect really; every time I think about it and go through the songs I come to the same conclusion: I’m going to need six other people. A seven-piece band just sounds so unwieldy when you’re used to playing and touring as a four-piece. Mentally I have people penciled in for the different roles, and many of them contributed
to the album in some way.

A gig with THE DOMESTICS is loud, sweaty, and intense – more often than not with bodies flying about the place. I imagine a solo gig to perhaps not be quite as full-on as that as the tempos are nowhere near as high, and the sounds nowhere near as relentless. It’d be great to do it though. Easier on my voice too.”

You’re also involved with a band called BOTCHED TOE. What is it about?

“Very occasionally I’m not the one to start a project and just get asked to join. BOTCHED TOE is one of those projects. Dan from HAEST and KNIFE CLUB asked if I fancied doing a band with him and James Baughurst who he was in MATILDA’S SCOUNDRELS with.

He sent me some music and it was obvious I could do what needed to be done. Got Marcus in – who I’m also in HAZARD PROFILE with – on drums and smashed out ten songs, which ended up being the A False Glimmer Of Hope album. I’m really pleased with it.
It’s hardcore but not as fast as most of my hardcore bands, more riffy and spacious. Still sounds fucking feral though, which is what you want from a hardcore record innit. It’s up for pre-order now from Kibou Records in the UK, Amok Records in Germany, and some other places too – just google it.

Ah, the name… well that was Dan’s idea. It’s a line Danny DeVito says in an episode of Always Sunny in Philadelphia. I’d never seen it, but he sent me a clip. DeVito seems like a cool fella so it’s fine by me.”

Your advice to young upstarting bands/artists?

“The best bits of advice I can give – and shit, I’ve made plenty of mistakes! – is never
pay to play, and never think that one person’s advice on anything is in any way definitive. That includes mine. But I will reiterate: never pay to play.”

How’s life in London post-BREXIT, James?

“I think what you’ve done here is made the mistake of thinking I come from London because of my accent. That said, all my family are originally from Bethnal Green and Hackney, but my parents had moved out to Hertfordshire by the time I was born.

Then for some reason I can never quite fathom, almost all of them upped sticks and moved to Clacton-on-Sea in Essex, where I grew up. I do have that London-Essex accent though because half of Clacton-on-Sea originates from London. I guess London is much the same as anywhere else post-Brexit. Same as Essex and same as Suffolk, where I live now. Same shit, different postcode.”

How is it possible that professional liar and lockdown
party animal BORIS JOHNSON is still in charge?

“It’s astonishing really innit. And people are still defending him! I swear Johnson could fuck a dog and murder a child on the steps of number ten and still people would defend him. Every week reasonably intelligent people become more and more incredulous and still it goes on and on. Who would you replace him with though out of that shit shower?

All the top jobs have been dished out to the Johnson sycophants, all of them fucking useless but loyal, to a point. When you see him next to any other leader it looks like some fucking pissed up lunatic has gatecrashed. What with him and Brexit it’s no wonder we’re the biggest joke on the world stage. Not so funny if you’re in it though.

Which movie would you choose to visualize your music?

I have a terrible memory for films. I can watch one on a Thursday, and really enjoy it, and by Friday I can’t even remember what I watched. Other things just kind of crowd it out. I suppose I could try to be cool and say some kind of cinema verité or La Nouvelle Vague or whatever, but in all honesty, any kind of comedy of errors, where the rug is constantly pulled from under the characters would be way more appropriate.

Nah, I’m going to say Train to Busan, just because it’s one I can remember.”

Suppose you were asked to rewrite and put new music to the British Royal Anthem ‘God Save The Queen’, no restrictions whatsoever, what would be the outcome in sound and vision?

“If you listen to the official recording it starts with a massive rising snare roll, just like ‘War’ by Edwin Starr, so I’d be happy just to replace it with that. But if I was to do it, I’d give it a massive reggae bassline, some Latin percussion, horn section, a hip-hop beat, and a load of horrible guitar feedback at the end. That would actually be far more relevant, and reflective of the country it’s supposed to aurally represent, than the current version.”

The best track and album you’ve heard in 2021?

“I always find these questions impossible to answer. I listen to so much stuff in so many genres. Ok, today’s answer… favourite single is ‘Come Back with a Warrant’ by SCHIZOS. Favourite album… I’m going to say ‘Pan Machine’ by the EBONY STEEL BAND. It’s an album of KRAFTWERK
covers done with steel drums and I’m playing it a lot this week.

Ask me next week and I’ll pick something entirely different, I’m sure.”

Name three things you absolutely want to see happen in 2022?

“I really want to get the PI$$ER album recorded. I finished writing and demoing
it before the ‘Carved Up for Yuks’ remix album came out, but then lockdown happened, and Bri relocated, and Charlie’s in Sweden… it’s complicated, but we’ll get there.

Secondly, I want to see Johnson properly held to account. And not just him but his cronies who’ve aided and abetted him. This is literally the most corrupt – and unapologetically so – UK government I, and I think anyone, will have ever seen. They don’t give a fuck and they don’t care that you know they don’t give a fuck. We should string the fuckers up but
y’know what us Brits are like.

Thirdly, I’d like to see the record get into people’s ears and do well. I guess I’m quite “known” in certain niche circles, but beyond that; zero. Half the problem with putting out a record these days isn’t making a record that can have some appeal, it’s getting it heard by the people that would like it in the first place amongst all the other stuff that’s out there; that’s the challenge, and I’m not a natural salesman, I’m not out schmoozing and blowing smoke up the right people’s arses. I just want to make music and get it out there, make some fun videos, and generally be creative and enjoy life. It’s not much to ask, is it?”

Thank you, James, for taking the time for this interview.
Have a great 2022 and a successful debut album.

Let’s go out with another funky punky single…

You can pre-order the album – out 22 April 2022 – via…
James Domestic
Kibou Records
TNS Records
Amok Records (Germany)

James Domestic: Website – Facebook – Instagram

Poet Rapper JAMES DOMESTIC Starts 2022 With New Sappy Single ‘Mañana’

Daily electricity to reload your batteries

17 January 2022

(pic by Lucy James)

Artist: JAMES DOMESTIC (Essex/Suffolk, UK)
Who: Member of former hardcore gangs The Domestics), plus Pi$$er,
Tokyo Lungs
and half a dozen more. He’s a poet, DJ, singer/songwriter,
doctorate owner, producer, and inspirator of young punk bands.

Out: in April via Kibou Records

New single: Mañana (morning)
Third cut from the forthcoming debut full length.

“A paean to taking your foot off the gas and letting things slide, or a warning of the perils of procrastination, perhaps? It’s hard to tell whether ‘Mañana’ is meant to serve as a confessional regarding Domestic’s own perceived lack of willpower, or a celebration of idleness. It could be either of these things; and that’s one of its many joys.”.

Turn Up The Volume: A sirens intro, David Bowie‘s saxophone and steel drums straight from Trinidad. Sounds like an exotic swing and shake ditty is coming up. No folks, it’s a lazy rap-sody you can play the morning after a drinking marathon. A slow start to get out of bed and sober up. Soul voice Clare Gillet takes care of the chirpy chorus and finally Domestic gets up for a couple of Mañana shouts.

Get up, ladies and gents…


Artwork debut album CARRION REPEATING – out 22 April 2022 – order info here

ps: I love the Neu! t-shirt. Their self-titled debut LP turned 50 yesterday