#thecramps — Public Fediverse posts

🔴 LIVE NOW ON VORTEX
📻 Vortex WaveSpiral 🌀 (Post Punk & Classical New Wave)
──────────────
🎵 The Cramps - Goo Goo Muck

▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net

💬 Join us on Discord:
https://discord.gg/d82hJZBeDE

#VortexWave #TheCramps #Psychobilly #GarageRock #80s

🔴 LIVE NOW ON VORTEX
📻 Vortex WaveSpiral 🌀 (Post Punk & Classical New Wave)
──────────────
🎵 The Cramps - Goo Goo Muck

▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net

💬 Join us on Discord:
https://discord.gg/d82hJZBeDE

#VortexWave #TheCramps #Psychobilly #GarageRock #80s

47 years ago
Poison Ivy of The Cramps at Club 57, New York City, June 1979.

📷 Ed Steinerts

#punk #punks #punkrock #womenofpunk #poisonivy #thecramps #history #punkrockhistory

47 years ago
Poison Ivy of The Cramps at Club 57, New York City, June 1979.

📷 Ed Steinerts

#punk #punks #punkrock #womenofpunk #poisonivy #thecramps #history #punkrockhistory

How The Cramps' lost album was finally found
https://www.youtube.com/watch?v=qz0o6nElKhA

#Music #TheCramps #HenryRollins

How The Cramps' lost album was finally found
https://www.youtube.com/watch?v=qz0o6nElKhA

#Music #TheCramps #HenryRollins

How The Cramps' lost album was finally found
https://www.youtube.com/watch?v=qz0o6nElKhA

#Music #TheCramps #HenryRollins

How The Cramps' lost album was finally found
https://www.youtube.com/watch?v=qz0o6nElKhA

#Music #TheCramps #HenryRollins

How The Cramps' lost album was finally found
https://www.youtube.com/watch?v=qz0o6nElKhA

#Music #TheCramps #HenryRollins

Al regreso a la capital el jueves 26 de marzo me fui a ver a mi amado #KidCongoPowers y su banda (trío), los #PinkMonkeyBirds (#MarkCisneros en la otra guitarra y #RonMiller en los tambores).

El Kid es el nexo de unión con dos bandas de culto mitiquísimas: #TheGunClub de Jeffrey Lee Pierce y #TheCramps de Lux Interior y Poison Ivy. Ha tocado, además, en la banda de #NickCave.

Así que es un favorito, y lo disfrutamos de lo lindo.

Al regreso a la capital el jueves 26 de marzo me fui a ver a mi amado #KidCongoPowers y su banda (trío), los #PinkMonkeyBirds (#MarkCisneros en la otra guitarra y #RonMiller en los tambores).

El Kid es el nexo de unión con dos bandas de culto mitiquísimas: #TheGunClub de Jeffrey Lee Pierce y #TheCramps de Lux Interior y Poison Ivy. Ha tocado, además, en la banda de #NickCave.

Así que es un favorito, y lo disfrutamos de lo lindo.

Al regreso a la capital el jueves 26 de marzo me fui a ver a mi amado #KidCongoPowers y su banda (trío), los #PinkMonkeyBirds (#MarkCisneros en la otra guitarra y #RonMiller en los tambores).

El Kid es el nexo de unión con dos bandas de culto mitiquísimas: #TheGunClub de Jeffrey Lee Pierce y #TheCramps de Lux Interior y Poison Ivy. Ha tocado, además, en la banda de #NickCave.

Así que es un favorito, y lo disfrutamos de lo lindo.

#KristyWallace

Certain.e.s nous aiment pour l’aspect instrumental, d’autres parce que nous sommes dangereux ou effrayant

#PoisonIvy #LuxInterior #TheCramps #Psychobilly #GarageRock #Rockabilly #PunkRock #HorrorRock #Music #Socialmedia #tv

https://www.youtube.com/watch?v=lKvVZOxHSWg&list=PLFJaNKbla2llBr9o4jQuCJl_Fe5ExI8yx

https://www.youtube.com/watch?v=WK5Xe1SK0r8&list=RDWK5Xe1SK0r8&start_radio=1&rv=WK5Xe1SK0r8

https://www.youtube.com/watch?v=8GLUmIf8STw

https://www.youtube.com/watch?v=RVhdHAqoE_c

https://thecrampsliveatcitygardens.bandcamp.com/track/voodoo-idol

https://www.youtube.com/watch?v=bvHsiYDs8pU

#KristyWallace

Certain.e.s nous aiment pour l’aspect instrumental, d’autres parce que nous sommes dangereux ou effrayant

#PoisonIvy #LuxInterior #TheCramps #Psychobilly #GarageRock #Rockabilly #PunkRock #HorrorRock #Music #Socialmedia #tv

https://www.youtube.com/watch?v=lKvVZOxHSWg&list=PLFJaNKbla2llBr9o4jQuCJl_Fe5ExI8yx

https://www.youtube.com/watch?v=WK5Xe1SK0r8&list=RDWK5Xe1SK0r8&start_radio=1&rv=WK5Xe1SK0r8

https://www.youtube.com/watch?v=8GLUmIf8STw

https://www.youtube.com/watch?v=RVhdHAqoE_c

https://thecrampsliveatcitygardens.bandcamp.com/track/voodoo-idol

https://www.youtube.com/watch?v=bvHsiYDs8pU

45 years ago

The Cramps in Los Angeles, May 1981

(l-r) Kid Congo Powers, Poison Ivy, Lux Interior and Nick Knox

📸 Aaron Rapoport

#punk #punks #punkrock #womenofpunk #psychobillypunk #thecramps #history #punkrockhistory

45 years ago

The Cramps in Los Angeles, May 1981

(l-r) Kid Congo Powers, Poison Ivy, Lux Interior and Nick Knox

📸 Aaron Rapoport

#punk #punks #punkrock #womenofpunk #psychobillypunk #thecramps #history #punkrockhistory

🔴 LIVE NOW ON VORTEX
📻 Vortex Night 🕯️ (In the black lodge - Lynch sounds)
──────────────
🎵 The Cramps - Goo Goo Muck

▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net

💬 Join us on Discord:
https://discord.gg/d82hJZBeDE

#VortexWave #TheCramps #Psychobilly #GarageRock #80s

One of my absolute favorite articles of clothing in my closet is a beat-up, slightly holey, faded black Darkthrone t-shirt from 1998, with the band logo on the front, and “True Norwegian Black Metal” printed across the back. I share this, for what I hope are obvious reasons, to explain what initially drew me to Twin Serpent’s sophomore record, True Norwegian Blackgrass. That, and it was floating in an exclusive area of the sump pit reserved for those nuggets Steel specifically says need a review. Four years removed from their Loyal Blood Records 2022 debut, Feels Like Heaven, North Of Hell, which garnered comparisons to Godspeed You! Black Emperor and Tom Waits, this “cute outsider band” from Trondheim has a new label, Svart Records, and on True Norwegian Blackgrass, Twin Serpent teases “12 songs about love, betrayal and black holes with country licks, rock ‘n roll kicks and heaps of punk attitude.” So, coif those multi-colored mohawks, strap on those bullet-belts and arm spikes, and pull those cowboy boots on as we take True Norwegian Blackgrass for a prairie ride.

True Norwegian Blackgrass is a punk-infused, crust-country bluesabilly-thon full of quirky energy. Ditching the corpse paint and blood baths, Twin Serpent’s aesthetic is born from deliberate artistic intent—just scope that cover art touted as “weird, rowdy, and just a little bit black metal.” Face paint? Pfffft! Full body snake paint and no fucks given come standard. Spirited from the start, album opener “Space Heater” glides in on a wave of Dick Dale-esque surf guitar before going full-on Dead Kennedys with oodles of punkish energy and roars from Timo Silvola and Hanna Fauske that would have Fenriz smiling. From there, however, True Norwegian Blackgrass traverses a more eclectic musical terrain without sacrificing its punk moxie. Silvola’s countrified banjo plucks and acoustic strumming bring Bridge City Sinners and The Goddamn Gallows to mind (“Stellar Suicide”), but can folk out too on tracks like “Kipu Kivi,” which also features him chanting in his native Finnish. Back-boning Twin Serpent’s “rock”ier side are Fauske’s driving bass lines, Tony Gonzalez’s electric riffs and leads, and the shifty, exactly-what-we-need-when-we-need-it drumming of Viktor Kristensen. Together, these three bring a bluesy, alt-rock flair that had me feeling everything from Violent Femmes (“Hundromshelvete”) and Days of the New (“Tusen Takk”), to The Cramps (“Radiophobia”). To say True Norwegian Blackgrass seems a scatterbrained stew of styles would be an understatement, but I’ll be damned if Twin Serpent doesn’t pull it off.

Twin Serpent write big hooks, stacking True Norwegian Blackgrass with memorable moments. Whimsical percussion, poppy bass lines, and fuzzy guitar work make “Ærlig Talt” an off-kilter, punky fun ditty, while the catchier-than-thou chorus of the hoe-down-ready “Freak Flag” is stickier than hell, and should inspire mass consumption of cheap beer. My favorite song, ballad “Ain’t Home No More,” features a great harmonic duet between Silvola and Fauske, sung over simple banjo and acoustic guitar before feathering in surging electric chords that, in a live setting, could easily trail off into a stellar jam section. “Holy Ghost,” another tavern-tier stand-out, features more of Silvola and Fauske’s vocal harmonizations and sports a chorus that will have you swaying on your bar stool, arm around your drinking buddy, belting it out while sloshing beer from your pint glass.

Twin Serpent’s versatility is their greatest strength. I imagine they’d fit in just as easily gigging at the local brew pub as they would a barn dance or even Chicago’s Riot Fest. Covering so many musical landscapes, an album like True Norwegian Blackgrass could have easily landed as an unfocused mess. But it’s the vocal interplay, harmonies, and trade-offs between Silvola and Fauske—reminiscent of early B-52’s—keeping things intact. As many different places as this record goes, it still manages to sound like Twin Serpent, and with twelve tracks spanning 37 minutes—most songs clocking in between two and three minutes each—it never loiters long enough to get boring or tiresome. Dubbed “the wizard technician,” Vebjørn Svanberg Numme harnesses all of the foursome’s idiosyncrasies and channels them through a production that perfectly captures everything that makes the Twin Serpent sound tick.

True Norwegian Blackgrass is a wonderful change-of-pace album you could totally spin when you don’t know what to listen to. Twin Serpent have added all the right ingredients to create a recipe loaded with eclectic energy and punk rock attitude. From note one, I was hooked and had more fun with True Norwegian Blackgrass than I’d ever guessed. I fully recommend you give it a try too.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320kbps mp3
Label: Svart Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: May 8th, 2026

One of my absolute favorite articles of clothing in my closet is a beat-up, slightly holey, faded black Darkthrone t-shirt from 1998, with the band logo on the front, and “True Norwegian Black Metal” printed across the back. I share this, for what I hope are obvious reasons, to explain what initially drew me to Twin Serpent’s sophomore record, True Norwegian Blackgrass. That, and it was floating in an exclusive area of the sump pit reserved for those nuggets Steel specifically says need a review. Four years removed from their Loyal Blood Records 2022 debut, Feels Like Heaven, North Of Hell, which garnered comparisons to Godspeed You! Black Emperor and Tom Waits, this “cute outsider band” from Trondheim has a new label, Svart Records, and on True Norwegian Blackgrass, Twin Serpent teases “12 songs about love, betrayal and black holes with country licks, rock ‘n roll kicks and heaps of punk attitude.” So, coif those multi-colored mohawks, strap on those bullet-belts and arm spikes, and pull those cowboy boots on as we take True Norwegian Blackgrass for a prairie ride.

True Norwegian Blackgrass is a punk-infused, crust-country bluesabilly-thon full of quirky energy. Ditching the corpse paint and blood baths, Twin Serpent’s aesthetic is born from deliberate artistic intent—just scope that cover art touted as “weird, rowdy, and just a little bit black metal.” Face paint? Pfffft! Full body snake paint and no fucks given come standard. Spirited from the start, album opener “Space Heater” glides in on a wave of Dick Dale-esque surf guitar before going full-on Dead Kennedys with oodles of punkish energy and roars from Timo Silvola and Hanna Fauske that would have Fenriz smiling. From there, however, True Norwegian Blackgrass traverses a more eclectic musical terrain without sacrificing its punk moxie. Silvola’s countrified banjo plucks and acoustic strumming bring Bridge City Sinners and The Goddamn Gallows to mind (“Stellar Suicide”), but can folk out too on tracks like “Kipu Kivi,” which also features him chanting in his native Finnish. Back-boning Twin Serpent’s “rock”ier side are Fauske’s driving bass lines, Tony Gonzalez’s electric riffs and leads, and the shifty, exactly-what-we-need-when-we-need-it drumming of Viktor Kristensen. Together, these three bring a bluesy, alt-rock flair that had me feeling everything from Violent Femmes (“Hundromshelvete”) and Days of the New (“Tusen Takk”), to The Cramps (“Radiophobia”). To say True Norwegian Blackgrass seems a scatterbrained stew of styles would be an understatement, but I’ll be damned if Twin Serpent doesn’t pull it off.

Twin Serpent write big hooks, stacking True Norwegian Blackgrass with memorable moments. Whimsical percussion, poppy bass lines, and fuzzy guitar work make “Ærlig Talt” an off-kilter, punky fun ditty, while the catchier-than-thou chorus of the hoe-down-ready “Freak Flag” is stickier than hell, and should inspire mass consumption of cheap beer. My favorite song, ballad “Ain’t Home No More,” features a great harmonic duet between Silvola and Fauske, sung over simple banjo and acoustic guitar before feathering in surging electric chords that, in a live setting, could easily trail off into a stellar jam section. “Holy Ghost,” another tavern-tier stand-out, features more of Silvola and Fauske’s vocal harmonizations and sports a chorus that will have you swaying on your bar stool, arm around your drinking buddy, belting it out while sloshing beer from your pint glass.

Twin Serpent’s versatility is their greatest strength. I imagine they’d fit in just as easily gigging at the local brew pub as they would a barn dance or even Chicago’s Riot Fest. Covering so many musical landscapes, an album like True Norwegian Blackgrass could have easily landed as an unfocused mess. But it’s the vocal interplay, harmonies, and trade-offs between Silvola and Fauske—reminiscent of early B-52’s—keeping things intact. As many different places as this record goes, it still manages to sound like Twin Serpent, and with twelve tracks spanning 37 minutes—most songs clocking in between two and three minutes each—it never loiters long enough to get boring or tiresome. Dubbed “the wizard technician,” Vebjørn Svanberg Numme harnesses all of the foursome’s idiosyncrasies and channels them through a production that perfectly captures everything that makes the Twin Serpent sound tick.

True Norwegian Blackgrass is a wonderful change-of-pace album you could totally spin when you don’t know what to listen to. Twin Serpent have added all the right ingredients to create a recipe loaded with eclectic energy and punk rock attitude. From note one, I was hooked and had more fun with True Norwegian Blackgrass than I’d ever guessed. I fully recommend you give it a try too.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320kbps mp3
Label: Svart Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: May 8th, 2026

One of my absolute favorite articles of clothing in my closet is a beat-up, slightly holey, faded black Darkthrone t-shirt from 1998, with the band logo on the front, and “True Norwegian Black Metal” printed across the back. I share this, for what I hope are obvious reasons, to explain what initially drew me to Twin Serpent’s sophomore record, True Norwegian Blackgrass. That, and it was floating in an exclusive area of the sump pit reserved for those nuggets Steel specifically says need a review. Four years removed from their Loyal Blood Records 2022 debut, Feels Like Heaven, North Of Hell, which garnered comparisons to Godspeed You! Black Emperor and Tom Waits, this “cute outsider band” from Trondheim has a new label, Svart Records, and on True Norwegian Blackgrass, Twin Serpent teases “12 songs about love, betrayal and black holes with country licks, rock ‘n roll kicks and heaps of punk attitude.” So, coif those multi-colored mohawks, strap on those bullet-belts and arm spikes, and pull those cowboy boots on as we take True Norwegian Blackgrass for a prairie ride.

True Norwegian Blackgrass is a punk-infused, crust-country bluesabilly-thon full of quirky energy. Ditching the corpse paint and blood baths, Twin Serpent’s aesthetic is born from deliberate artistic intent—just scope that cover art touted as “weird, rowdy, and just a little bit black metal.” Face paint? Pfffft! Full body snake paint and no fucks given come standard. Spirited from the start, album opener “Space Heater” glides in on a wave of Dick Dale-esque surf guitar before going full-on Dead Kennedys with oodles of punkish energy and roars from Timo Silvola and Hanna Fauske that would have Fenriz smiling. From there, however, True Norwegian Blackgrass traverses a more eclectic musical terrain without sacrificing its punk moxie. Silvola’s countrified banjo plucks and acoustic strumming bring Bridge City Sinners and The Goddamn Gallows to mind (“Stellar Suicide”), but can folk out too on tracks like “Kipu Kivi,” which also features him chanting in his native Finnish. Back-boning Twin Serpent’s “rock”ier side are Fauske’s driving bass lines, Tony Gonzalez’s electric riffs and leads, and the shifty, exactly-what-we-need-when-we-need-it drumming of Viktor Kristensen. Together, these three bring a bluesy, alt-rock flair that had me feeling everything from Violent Femmes (“Hundromshelvete”) and Days of the New (“Tusen Takk”), to The Cramps (“Radiophobia”). To say True Norwegian Blackgrass seems a scatterbrained stew of styles would be an understatement, but I’ll be damned if Twin Serpent doesn’t pull it off.

Twin Serpent write big hooks, stacking True Norwegian Blackgrass with memorable moments. Whimsical percussion, poppy bass lines, and fuzzy guitar work make “Ærlig Talt” an off-kilter, punky fun ditty, while the catchier-than-thou chorus of the hoe-down-ready “Freak Flag” is stickier than hell, and should inspire mass consumption of cheap beer. My favorite song, ballad “Ain’t Home No More,” features a great harmonic duet between Silvola and Fauske, sung over simple banjo and acoustic guitar before feathering in surging electric chords that, in a live setting, could easily trail off into a stellar jam section. “Holy Ghost,” another tavern-tier stand-out, features more of Silvola and Fauske’s vocal harmonizations and sports a chorus that will have you swaying on your bar stool, arm around your drinking buddy, belting it out while sloshing beer from your pint glass.

Twin Serpent’s versatility is their greatest strength. I imagine they’d fit in just as easily gigging at the local brew pub as they would a barn dance or even Chicago’s Riot Fest. Covering so many musical landscapes, an album like True Norwegian Blackgrass could have easily landed as an unfocused mess. But it’s the vocal interplay, harmonies, and trade-offs between Silvola and Fauske—reminiscent of early B-52’s—keeping things intact. As many different places as this record goes, it still manages to sound like Twin Serpent, and with twelve tracks spanning 37 minutes—most songs clocking in between two and three minutes each—it never loiters long enough to get boring or tiresome. Dubbed “the wizard technician,” Vebjørn Svanberg Numme harnesses all of the foursome’s idiosyncrasies and channels them through a production that perfectly captures everything that makes the Twin Serpent sound tick.

True Norwegian Blackgrass is a wonderful change-of-pace album you could totally spin when you don’t know what to listen to. Twin Serpent have added all the right ingredients to create a recipe loaded with eclectic energy and punk rock attitude. From note one, I was hooked and had more fun with True Norwegian Blackgrass than I’d ever guessed. I fully recommend you give it a try too.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320kbps mp3
Label: Svart Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: May 8th, 2026

One of my absolute favorite articles of clothing in my closet is a beat-up, slightly holey, faded black Darkthrone t-shirt from 1998, with the band logo on the front, and “True Norwegian Black Metal” printed across the back. I share this, for what I hope are obvious reasons, to explain what initially drew me to Twin Serpent’s sophomore record, True Norwegian Blackgrass. That, and it was floating in an exclusive area of the sump pit reserved for those nuggets Steel specifically says need a review. Four years removed from their Loyal Blood Records 2022 debut, Feels Like Heaven, North Of Hell, which garnered comparisons to Godspeed You! Black Emperor and Tom Waits, this “cute outsider band” from Trondheim has a new label, Svart Records, and on True Norwegian Blackgrass, Twin Serpent teases “12 songs about love, betrayal and black holes with country licks, rock ‘n roll kicks and heaps of punk attitude.” So, coif those multi-colored mohawks, strap on those bullet-belts and arm spikes, and pull those cowboy boots on as we take True Norwegian Blackgrass for a prairie ride.

True Norwegian Blackgrass is a punk-infused, crust-country bluesabilly-thon full of quirky energy. Ditching the corpse paint and blood baths, Twin Serpent’s aesthetic is born from deliberate artistic intent—just scope that cover art touted as “weird, rowdy, and just a little bit black metal.” Face paint? Pfffft! Full body snake paint and no fucks given come standard. Spirited from the start, album opener “Space Heater” glides in on a wave of Dick Dale-esque surf guitar before going full-on Dead Kennedys with oodles of punkish energy and roars from Timo Silvola and Hanna Fauske that would have Fenriz smiling. From there, however, True Norwegian Blackgrass traverses a more eclectic musical terrain without sacrificing its punk moxie. Silvola’s countrified banjo plucks and acoustic strumming bring Bridge City Sinners and The Goddamn Gallows to mind (“Stellar Suicide”), but can folk out too on tracks like “Kipu Kivi,” which also features him chanting in his native Finnish. Back-boning Twin Serpent’s “rock”ier side are Fauske’s driving bass lines, Tony Gonzalez’s electric riffs and leads, and the shifty, exactly-what-we-need-when-we-need-it drumming of Viktor Kristensen. Together, these three bring a bluesy, alt-rock flair that had me feeling everything from Violent Femmes (“Hundromshelvete”) and Days of the New (“Tusen Takk”), to The Cramps (“Radiophobia”). To say True Norwegian Blackgrass seems a scatterbrained stew of styles would be an understatement, but I’ll be damned if Twin Serpent doesn’t pull it off.

Twin Serpent write big hooks, stacking True Norwegian Blackgrass with memorable moments. Whimsical percussion, poppy bass lines, and fuzzy guitar work make “Ærlig Talt” an off-kilter, punky fun ditty, while the catchier-than-thou chorus of the hoe-down-ready “Freak Flag” is stickier than hell, and should inspire mass consumption of cheap beer. My favorite song, ballad “Ain’t Home No More,” features a great harmonic duet between Silvola and Fauske, sung over simple banjo and acoustic guitar before feathering in surging electric chords that, in a live setting, could easily trail off into a stellar jam section. “Holy Ghost,” another tavern-tier stand-out, features more of Silvola and Fauske’s vocal harmonizations and sports a chorus that will have you swaying on your bar stool, arm around your drinking buddy, belting it out while sloshing beer from your pint glass.

Twin Serpent’s versatility is their greatest strength. I imagine they’d fit in just as easily gigging at the local brew pub as they would a barn dance or even Chicago’s Riot Fest. Covering so many musical landscapes, an album like True Norwegian Blackgrass could have easily landed as an unfocused mess. But it’s the vocal interplay, harmonies, and trade-offs between Silvola and Fauske—reminiscent of early B-52’s—keeping things intact. As many different places as this record goes, it still manages to sound like Twin Serpent, and with twelve tracks spanning 37 minutes—most songs clocking in between two and three minutes each—it never loiters long enough to get boring or tiresome. Dubbed “the wizard technician,” Vebjørn Svanberg Numme harnesses all of the foursome’s idiosyncrasies and channels them through a production that perfectly captures everything that makes the Twin Serpent sound tick.

True Norwegian Blackgrass is a wonderful change-of-pace album you could totally spin when you don’t know what to listen to. Twin Serpent have added all the right ingredients to create a recipe loaded with eclectic energy and punk rock attitude. From note one, I was hooked and had more fun with True Norwegian Blackgrass than I’d ever guessed. I fully recommend you give it a try too.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320kbps mp3
Label: Svart Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: May 8th, 2026

One of my absolute favorite articles of clothing in my closet is a beat-up, slightly holey, faded black Darkthrone t-shirt from 1998, with the band logo on the front, and “True Norwegian Black Metal” printed across the back. I share this, for what I hope are obvious reasons, to explain what initially drew me to Twin Serpent’s sophomore record, True Norwegian Blackgrass. That, and it was floating in an exclusive area of the sump pit reserved for those nuggets Steel specifically says need a review. Four years removed from their Loyal Blood Records 2022 debut, Feels Like Heaven, North Of Hell, which garnered comparisons to Godspeed You! Black Emperor and Tom Waits, this “cute outsider band” from Trondheim has a new label, Svart Records, and on True Norwegian Blackgrass, Twin Serpent teases “12 songs about love, betrayal and black holes with country licks, rock ‘n roll kicks and heaps of punk attitude.” So, coif those multi-colored mohawks, strap on those bullet-belts and arm spikes, and pull those cowboy boots on as we take True Norwegian Blackgrass for a prairie ride.

True Norwegian Blackgrass is a punk-infused, crust-country bluesabilly-thon full of quirky energy. Ditching the corpse paint and blood baths, Twin Serpent’s aesthetic is born from deliberate artistic intent—just scope that cover art touted as “weird, rowdy, and just a little bit black metal.” Face paint? Pfffft! Full body snake paint and no fucks given come standard. Spirited from the start, album opener “Space Heater” glides in on a wave of Dick Dale-esque surf guitar before going full-on Dead Kennedys with oodles of punkish energy and roars from Timo Silvola and Hanna Fauske that would have Fenriz smiling. From there, however, True Norwegian Blackgrass traverses a more eclectic musical terrain without sacrificing its punk moxie. Silvola’s countrified banjo plucks and acoustic strumming bring Bridge City Sinners and The Goddamn Gallows to mind (“Stellar Suicide”), but can folk out too on tracks like “Kipu Kivi,” which also features him chanting in his native Finnish. Back-boning Twin Serpent’s “rock”ier side are Fauske’s driving bass lines, Tony Gonzalez’s electric riffs and leads, and the shifty, exactly-what-we-need-when-we-need-it drumming of Viktor Kristensen. Together, these three bring a bluesy, alt-rock flair that had me feeling everything from Violent Femmes (“Hundromshelvete”) and Days of the New (“Tusen Takk”), to The Cramps (“Radiophobia”). To say True Norwegian Blackgrass seems a scatterbrained stew of styles would be an understatement, but I’ll be damned if Twin Serpent doesn’t pull it off.

Twin Serpent write big hooks, stacking True Norwegian Blackgrass with memorable moments. Whimsical percussion, poppy bass lines, and fuzzy guitar work make “Ærlig Talt” an off-kilter, punky fun ditty, while the catchier-than-thou chorus of the hoe-down-ready “Freak Flag” is stickier than hell, and should inspire mass consumption of cheap beer. My favorite song, ballad “Ain’t Home No More,” features a great harmonic duet between Silvola and Fauske, sung over simple banjo and acoustic guitar before feathering in surging electric chords that, in a live setting, could easily trail off into a stellar jam section. “Holy Ghost,” another tavern-tier stand-out, features more of Silvola and Fauske’s vocal harmonizations and sports a chorus that will have you swaying on your bar stool, arm around your drinking buddy, belting it out while sloshing beer from your pint glass.

Twin Serpent’s versatility is their greatest strength. I imagine they’d fit in just as easily gigging at the local brew pub as they would a barn dance or even Chicago’s Riot Fest. Covering so many musical landscapes, an album like True Norwegian Blackgrass could have easily landed as an unfocused mess. But it’s the vocal interplay, harmonies, and trade-offs between Silvola and Fauske—reminiscent of early B-52’s—keeping things intact. As many different places as this record goes, it still manages to sound like Twin Serpent, and with twelve tracks spanning 37 minutes—most songs clocking in between two and three minutes each—it never loiters long enough to get boring or tiresome. Dubbed “the wizard technician,” Vebjørn Svanberg Numme harnesses all of the foursome’s idiosyncrasies and channels them through a production that perfectly captures everything that makes the Twin Serpent sound tick.

True Norwegian Blackgrass is a wonderful change-of-pace album you could totally spin when you don’t know what to listen to. Twin Serpent have added all the right ingredients to create a recipe loaded with eclectic energy and punk rock attitude. From note one, I was hooked and had more fun with True Norwegian Blackgrass than I’d ever guessed. I fully recommend you give it a try too.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320kbps mp3
Label: Svart Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: May 8th, 2026

·· azkenak airean - last broadcast ··

the shame
the cramps
rabauken
bad co project

Entzun / Listen (streaming):
https://punkirratia.net:8443/punk

#theshame #thecramps #rabauken #badcoproject #FediRadio #punk #streaming #NowPlaying #music #musica #musique #musika #MastoRadio

·· azkenak airean - last broadcast ··

the shame
the cramps
rabauken
bad co project

Entzun / Listen (streaming):
https://punkirratia.net:8443/punk

#theshame #thecramps #rabauken #badcoproject #FediRadio #punk #streaming #NowPlaying #music #musica #musique #musika #MastoRadio

Released today 46 years ago:

🇺🇸 The Cramps "Songs the Lord Taught Us" – 1980

A filthy, reverb-soaked album that rewires 50s rock ’n’ roll into something sleazy and dangerous. Lux Interior’s unhinged vocal delivery and Poison Ivy’s razor-sharp guitar work define the record’s identity: equal parts horror, humor, and raw sexual energy...

#thecramps #garagerock #psychobilly #punk #rockabilly #vinylcommunity #vinyl #music #vinylrecords #nowspinningonvinyl #nowspinning #nowlistening

In memory of Nicholas George Stephanoff aka Nick Knox, American longtime drummer for the influential psychobilly punk rock band the Cramps, born on this day in 1953, Cleveland, Ohio.

The Cramps - Mad Daddy live

#punk #punks #punkrock #punkdrummer #NickKnox #thecramps #history #punkrockhistory #otd

In memory of Nicholas George Stephanoff aka Nick Knox, American longtime drummer for the influential psychobilly punk rock band the Cramps, born on this day in 1953, Cleveland, Ohio.

The Cramps - Mad Daddy live

#punk #punks #punkrock #punkdrummer #NickKnox #thecramps #history #punkrockhistory #otd

40 years ago
The Cramps at Wolverhampton Civic Hall, March 1986.

Photos by Derek Ridgers

#punk #punks #punkrock #thecramps #psychobillypunk #punkrockhistory

40 years ago
The Cramps at Wolverhampton Civic Hall, March 1986.

Photos by Derek Ridgers

#punk #punks #punkrock #thecramps #psychobillypunk #punkrockhistory

47 years ago
The Cramps - Cover of Slash volume two #4 March 1979.

Nick Knox, Poison Ivy, Brian Gregory and Lux Interior

Original photo by Melanie Nissen

#punk #punks #punkrock #thecramps #psychobillypunk #punkrockhistory

47 years ago
The Cramps - Cover of Slash volume two #4 March 1979.

Nick Knox, Poison Ivy, Brian Gregory and Lux Interior

Original photo by Melanie Nissen

#punk #punks #punkrock #thecramps #psychobillypunk #punkrockhistory

🇺🇸 The Cramps "Songs The Lord Taught Us" – 1980

Pure, filthy rockabilly-punk chaos. Sounds like it was recorded in a haunted garage, turning old rock ’n’ roll into something dangerous, horny, and completely unhinged.

#thecramps #garagerock #psychobilly #punk #rockabilly #postpunk #vinylcommunity #vinyl #music #vinylrecords #vinylcollection #vinylcollector #nowspinningonvinyl #nowspinning #nowlistening

As this new year has gotten off to a right proper, lunacy-fueled start, I scoured the sump pit in search of something to pen my first review of 2026 on. As I poked through the pickens, slim as they were, I spied one of my favorite tags: ‘Steel says review,’ sitting unclaimed. Self-described as ‘free form death-jazz,’ Umeå, Sweden’s Backengrillen play music that is a paean to chaos and destruction. The basic idea is to take a death/doom metal, or noiserock riff and play it until it loses meaning and then break it apart like a ravenous cat would a tiny forest mouse. Okay, I thought, I’ll bite. Formed primarily from the ashes of the now twice-dead Swedish post-hardcore legends Refused, vocalist Dennis Lyxzén, bassist Magnus Flagge, and drummer David Sandström have partnered with composer and saxophonist Mats Gustafsson to release Backengrillen, their eponymous debut album on Svart Records. Backengrillen cull inspiration from The Cramps and Little Richard to Entombed, Misfits, and Can. With such an eclectic cadre of performers to draw muse from, I was thoroughly intrigued to dive into Backengrillen and discover what I had gotten myself into.

Experimentally chaotic yet at times catchy and compelling, Backengrillen reaps seeds first sown on Refused’s initial 1998 swan song, The Shape of Punk to Come. Where TSoPtC only dabbled outside traditional punk and hardcore tropes, though, Backengrillen embeds those fringe elements of ambiance, electronics, and jazzy instrumentation as the spine of its soundscape, with Gustafsson carrying most of the weird load. His role as frenetic flautist, huffing, puffing, and grunting violently over his flute’s embouchure like some deranged Ian Anderson (“Dör för långsamt”), and psychotic saxophonist, skronking, squawking, and swooning (“Backengrillen”), counterbalances Backengrillen’s more alt-punk style, homogenizing the whole into something akin to Morphine on meth.

Backengrillen by Backengrillen

Written during Backengrillen’s first rehearsal, performed live the next day, then recorded the day after that, Backengrillen is a gutsy shot in the dark. As off-the-cuff as it is, there are moments on Backengrillen that came off way more methodical than the nature of their origin would suggest. Launching from a simple, keyed melody, “A Hate Inferior” builds slowly as layers of drums, bass, and smarmy sax eventually coalesce into a scorched-earth sludge bomb that hits around the three-minute mark, and is topped off by Lyxzén’s nuclear scream, whose vocals sound like a mix of Zach de la Rocha and Jello Biafra. From that point on, the track had me rocking a slow and steady stank-faced head bob. Then there’s, at least for me, the humorously titled “Repeater II,” which is the shortest and most traditionally structured of the bunch—clocking in at a brisk six minutes forty-three seconds. A rompy, punk-fueled ditty that sounds like a mix of The Cramps, Dead Kennedys, and Nirvana, with a bit of sax thrown in for good measure, and Lyxzén, at his most Biafra-like, shouting the infectious chorus, ‘Hey, repeat it, repeat it again,’ over and over.

Whipped up quicker than a batch of Mom’s Rice Krispies treats, Backengrillen suffers most from impoverished improvisation. Despite the churlish charm present on the tracks mentioned above, the rest of this five-song, fifty-three-minute monster isn’t nearly as engaging or easy to listen to. “Dör för långsamt,” for example, is just over thirteen minutes of Gustaffson’s squawky, dying-animal sax playing entwined with a bevy of Lyxzén’s screeches, screams, grunts, and queasy, drunken-sounding chorus lines layered over a plodding, tribal bass and drum beat. “Backengrillen” fares no better, eleven minutes of sluggish drum and bass holding up Gustaffson’s breathy, trilly flute and barely tuned saxophone alongside another Lyxzén performance made up of pitchy, swaying chants and lots of grunting screams. And on every play through, by the time “Socialism or Barbarism” rolled around, I was checked out and ready to move on. This made slogging through the tracks’ first three minutes of electronic noise that much harder to digest, let alone the remaining 7.5 minutes.

Had this been recorded as one continuous, fully improvised live set in some Västerbotten County dive-bar, complete with sparse crowd reactions, by four musicians who’d never played one note together, it might have hit different.1 As it stands, my greatest takeaway from this experience was discovering Refused, which I actually had a lot of fun listening to during my prep. And for those wondering, why no puns, here you go. Ultimately, there isn’t enough meat grillen here to get me to come Backen.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Svart Records
Websites: Bandcamp
Releases Worldwide: January 23, 2026

As this new year has gotten off to a right proper, lunacy-fueled start, I scoured the sump pit in search of something to pen my first review of 2026 on. As I poked through the pickens, slim as they were, I spied one of my favorite tags: ‘Steel says review,’ sitting unclaimed. Self-described as ‘free form death-jazz,’ Umeå, Sweden’s Backengrillen play music that is a paean to chaos and destruction. The basic idea is to take a death/doom metal, or noiserock riff and play it until it loses meaning and then break it apart like a ravenous cat would a tiny forest mouse. Okay, I thought, I’ll bite. Formed primarily from the ashes of the now twice-dead Swedish post-hardcore legends Refused, vocalist Dennis Lyxzén, bassist Magnus Flagge, and drummer David Sandström have partnered with composer and saxophonist Mats Gustafsson to release Backengrillen, their eponymous debut album on Svart Records. Backengrillen cull inspiration from The Cramps and Little Richard to Entombed, Misfits, and Can. With such an eclectic cadre of performers to draw muse from, I was thoroughly intrigued to dive into Backengrillen and discover what I had gotten myself into.

Experimentally chaotic yet at times catchy and compelling, Backengrillen reaps seeds first sown on Refused’s initial 1998 swan song, The Shape of Punk to Come. Where TSoPtC only dabbled outside traditional punk and hardcore tropes, though, Backengrillen embeds those fringe elements of ambiance, electronics, and jazzy instrumentation as the spine of its soundscape, with Gustafsson carrying most of the weird load. His role as frenetic flautist, huffing, puffing, and grunting violently over his flute’s embouchure like some deranged Ian Anderson (“Dör för långsamt”), and psychotic saxophonist, skronking, squawking, and swooning (“Backengrillen”), counterbalances Backengrillen’s more alt-punk style, homogenizing the whole into something akin to Morphine on meth.

Backengrillen by Backengrillen

Written during Backengrillen’s first rehearsal, performed live the next day, then recorded the day after that, Backengrillen is a gutsy shot in the dark. As off-the-cuff as it is, there are moments on Backengrillen that came off way more methodical than the nature of their origin would suggest. Launching from a simple, keyed melody, “A Hate Inferior” builds slowly as layers of drums, bass, and smarmy sax eventually coalesce into a scorched-earth sludge bomb that hits around the three-minute mark, and is topped off by Lyxzén’s nuclear scream, whose vocals sound like a mix of Zach de la Rocha and Jello Biafra. From that point on, the track had me rocking a slow and steady stank-faced head bob. Then there’s, at least for me, the humorously titled “Repeater II,” which is the shortest and most traditionally structured of the bunch—clocking in at a brisk six minutes forty-three seconds. A rompy, punk-fueled ditty that sounds like a mix of The Cramps, Dead Kennedys, and Nirvana, with a bit of sax thrown in for good measure, and Lyxzén, at his most Biafra-like, shouting the infectious chorus, ‘Hey, repeat it, repeat it again,’ over and over.

Whipped up quicker than a batch of Mom’s Rice Krispies treats, Backengrillen suffers most from impoverished improvisation. Despite the churlish charm present on the tracks mentioned above, the rest of this five-song, fifty-three-minute monster isn’t nearly as engaging or easy to listen to. “Dör för långsamt,” for example, is just over thirteen minutes of Gustaffson’s squawky, dying-animal sax playing entwined with a bevy of Lyxzén’s screeches, screams, grunts, and queasy, drunken-sounding chorus lines layered over a plodding, tribal bass and drum beat. “Backengrillen” fares no better, eleven minutes of sluggish drum and bass holding up Gustaffson’s breathy, trilly flute and barely tuned saxophone alongside another Lyxzén performance made up of pitchy, swaying chants and lots of grunting screams. And on every play through, by the time “Socialism or Barbarism” rolled around, I was checked out and ready to move on. This made slogging through the tracks’ first three minutes of electronic noise that much harder to digest, let alone the remaining 7.5 minutes.

Had this been recorded as one continuous, fully improvised live set in some Västerbotten County dive-bar, complete with sparse crowd reactions, by four musicians who’d never played one note together, it might have hit different.1 As it stands, my greatest takeaway from this experience was discovering Refused, which I actually had a lot of fun listening to during my prep. And for those wondering, why no puns, here you go. Ultimately, there isn’t enough meat grillen here to get me to come Backen.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Svart Records
Websites: Bandcamp
Releases Worldwide: January 23, 2026

🇺🇸 The Cramps "Gravest Hits" – 1979

A feral collision of rockabilly, punk, and B-movie horror featuring raw riffs, sleazy swagger, and a sound that crawls straight out of the gutter...

#thecramps #psychobilly #punkrock #garagepunk #rockabilly #70smusic #vinyl #music #vinylrecords #vinylcollection #vinylcollector #nowspinningonvinyl #nowspinning #nowlistening

HAPPY HEAVENLY BIRTHDAY TO ALEX CHILTON + SUNDAY MATINEE MUSIC VIDEO “Soul Deep” https://www.youtube.com/watch?v=s0PeiKGpEsQ

#birthday #alexchilton #boxtops #souldeep #soul #bigstar #memphis #neworleans #letter #psychedelic #danpenn #spooneroldham #chipsmoman #bubblegum #flanneryoconnor #bangles #cheaptrick #beachboys #brianwilson #tavfalco #pantherburns #psychobilly #thecramps #garytalley #waynecarsonthompson #eddyarnold #garyusbonds #ginblossoms #robertflack #johnnyjblair #singeratlarge #singersongwriter

HAPPY HEAVENLY BIRTHDAY TO ALEX CHILTON + SUNDAY MATINEE MUSIC VIDEO “Soul Deep” https://www.youtube.com/watch?v=s0PeiKGpEsQ

#birthday #alexchilton #boxtops #souldeep #soul #bigstar #memphis #neworleans #letter #psychedelic #danpenn #spooneroldham #chipsmoman #bubblegum #flanneryoconnor #bangles #cheaptrick #beachboys #brianwilson #tavfalco #pantherburns #psychobilly #thecramps #garytalley #waynecarsonthompson #eddyarnold #garyusbonds #ginblossoms #robertflack #johnnyjblair #singeratlarge #singersongwriter

Ted Tocks Covers - Year 8 - Day 89

Rumble

Celebrating the influence of Link Wray

#linkwray #linkwrayandthewraymen #ledzeppelin #TheWho #thekinks #TheDiamonds #TheDaveClarkFive #halblaine #duaneeddy #flamingroovies #thecramps #BillFrisell #pulpfiction #spongebobsquarepants #adamandtheants

https://tedtockscovers.wordpress.com/2025/11/05/rumble-the-continued-influence-of-link-wray-musicislife-tedtockscovers-linkwray-linkwrayandthewraymen/

#musicoftheday #music #thecramps

https://youtu.be/WK5Xe1SK0r8?si=SJfzZ7wezAOjhhfB

·· azkenak airean - last broadcast ··

les anarchistes
chop oi
away down deep.mp
the cramps

Entzun / Listen (streaming):
https://punkirratia.net:8443/punk

#lesanarchistes #chopoi #awaydowndeep.mp #thecramps #FediRadio #punk #streaming #NowPlaying #music #musica #musique #musika #MastoRadio

·· azkenak airean - last broadcast ··

les anarchistes
chop oi
away down deep.mp
the cramps

Entzun / Listen (streaming):
https://punkirratia.net:8443/punk

#lesanarchistes #chopoi #awaydowndeep.mp #thecramps #FediRadio #punk #streaming #NowPlaying #music #musica #musique #musika #MastoRadio

·· azkenak airean - last broadcast ··

les anarchistes
chop oi
away down deep.mp
the cramps

Entzun / Listen (streaming):
https://punkirratia.net:8443/punk

#lesanarchistes #chopoi #awaydowndeep.mp #thecramps #FediRadio #punk #streaming #NowPlaying #music #musica #musique #musika #MastoRadio

·· azkenak airean - last broadcast ··

les anarchistes
chop oi
away down deep.mp
the cramps

Entzun / Listen (streaming):
https://punkirratia.net:8443/punk

#lesanarchistes #chopoi #awaydowndeep.mp #thecramps #FediRadio #punk #streaming #NowPlaying #music #musica #musique #musika #MastoRadio

·· azkenak airean - last broadcast ··

les anarchistes
chop oi
away down deep.mp
the cramps

Entzun / Listen (streaming):
https://punkirratia.net:8443/punk

#lesanarchistes #chopoi #awaydowndeep.mp #thecramps #FediRadio #punk #streaming #NowPlaying #music #musica #musique #musika #MastoRadio

Il teaser trailer di "The Cramps: A Period Piece": horror scritto e diretto dalla debuttante Brooke H. Cellars.
#thecramps #brookehcellars #trailer #cinema #horror #cinemahorror
https://www.klub99.it/2025/09/15/the-cramps-a-period-piece-il-teaser-trailer-della-commedia-horror/

39 years ago
The Cramps - Milwaukee, July 1986
Lux Interior, Nick Knox, Fur Dixon and Poison Ivy

Photo by Greg Helgeson

#punk #punks #punkrock #psychobillypunk #thecramps #history #punkrockhistory

39 years ago
The Cramps - Milwaukee, July 1986
Lux Interior, Nick Knox, Fur Dixon and Poison Ivy

Photo by Greg Helgeson

#punk #punks #punkrock #psychobillypunk #thecramps #history #punkrockhistory

🇺🇦 #NowPlaying on #BBC6Music's #TheCollection

The Cramps:
🎵 Can Your Pussy Do The Dog?

#TheCramps

https://kafadankontak.bandcamp.com/track/no-valentine-can-your-pussy-do-the-dog

https://open.spotify.com/track/2zsSadFqIXyjhcwlxJIl1s

🇺🇦 #NowPlaying on #BBC6Music's #TheCollection

The Cramps:
🎵 Can Your Pussy Do The Dog?

#TheCramps

https://kafadankontak.bandcamp.com/track/no-valentine-can-your-pussy-do-the-dog

https://open.spotify.com/track/2zsSadFqIXyjhcwlxJIl1s

When the leaves fall down and they build up…
They turn in to some sticky gutter muck.

You got no luck – when it builds up
The Gutter Muck

#TheCramps #Parody #RainGutters