Fuckshovel
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Fuckshovel

London, England, United Kingdom | INDIE

London, England, United Kingdom | INDIE
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If you're going to name your band Fuckshovel, then you had better have the songs to go with the outrageous moniker. Luckily, this London four-piece have it in spades.
Storming out of the traps like shit off a (Fuck)shovel, their heavy, superchargd punk rock smashes in to your face as debut album "This Is What We Are" begins with the storming "Gems Of Empire".
Owing as much to the music of Therapy? as the spirit of Guns N' Roses, The Shovel spit and piss their way through punk anthems like "Schizophonic" and "Skull & Bones", swinging from the giant hooks that pin the whole album together.
At twelve tracks, it's slightly too long, especially as most of the songs are over four minutes - bloated by punk rock standards. But an excellent performance by lead singer Jon Stone and an even better on by brilliant guitarist Ian Fisher make this an album that you need to hear.
7/10
Dan Boyd - Powerplay Magazine


If you're going to name your band Fuckshovel, then you had better have the songs to go with the outrageous moniker. Luckily, this London four-piece have it in spades.
Storming out of the traps like shit off a (Fuck)shovel, their heavy, superchargd punk rock smashes in to your face as debut album "This Is What We Are" begins with the storming "Gems Of Empire".
Owing as much to the music of Therapy? as the spirit of Guns N' Roses, The Shovel spit and piss their way through punk anthems like "Schizophonic" and "Skull & Bones", swinging from the giant hooks that pin the whole album together.
At twelve tracks, it's slightly too long, especially as most of the songs are over four minutes - bloated by punk rock standards. But an excellent performance by lead singer Jon Stone and an even better on by brilliant guitarist Ian Fisher make this an album that you need to hear.
7/10
Dan Boyd - Powerplay Magazine


It's fair to say Fuckshovel are in for an exciting 2013 if this sound clash is anything to go by - this is what they are and it's pretty exhilarating.
Michelle Duffy - Big Cheese Magazine


It's fair to say Fuckshovel are in for an exciting 2013 if this sound clash is anything to go by - this is what they are and it's pretty exhilarating.
Michelle Duffy - Big Cheese Magazine


There's no shortage of melody and hook-lines here but that doesn't mean it's ever pretty. No band calls themselves Fuckshovel without having fast-and furious as a default setting.
And although independently financed, there's no shortage of power, with take-no-prisoners guitar (by Ian Fisher) that echoes Metallica, Megadeth and even (occasionally) Slayer allied with Dave Virago's up-front drums to weld 90s-style metal to a hardcore punk attitude.
Thus armed, Fuckshovel go big on sneering and sardonic lyrics (sample:'How can you be so dumb with just one head? All you did was not get dead') delivered powerfully by Jon Stone between lustily rendered shoutalong choruses (particularly on The Antidote, Black, Long Time Dead and Schizophonic).
Although tiring a little towards the end of the record, the band muster a sprint finish for Portia's Box ('What part of "Fuck off!" don't you understand'); be sure to leave it running to enjoy the bonus 12th track.
7/10
Neil Jeffries
- Classic Rock Magazine - Future Publishing


There's no shortage of melody and hook-lines here but that doesn't mean it's ever pretty. No band calls themselves Fuckshovel without having fast-and furious as a default setting.
And although independently financed, there's no shortage of power, with take-no-prisoners guitar (by Ian Fisher) that echoes Metallica, Megadeth and even (occasionally) Slayer allied with Dave Virago's up-front drums to weld 90s-style metal to a hardcore punk attitude.
Thus armed, Fuckshovel go big on sneering and sardonic lyrics (sample:'How can you be so dumb with just one head? All you did was not get dead') delivered powerfully by Jon Stone between lustily rendered shoutalong choruses (particularly on The Antidote, Black, Long Time Dead and Schizophonic).
Although tiring a little towards the end of the record, the band muster a sprint finish for Portia's Box ('What part of "Fuck off!" don't you understand'); be sure to leave it running to enjoy the bonus 12th track.
7/10
Neil Jeffries
- Classic Rock Magazine - Future Publishing


Pretty awesome name for a band, huh? But it doesn't give much clue as to how they sound, other than hint that they have a penchant for belligerence, which is always a plus around these parts. Anyway, to put you out of your misery, Fuckshovel belt out infectious hard rock pepped up by some metallic punk and plenty of chugging old school metal. In short, they hover somewhere between the Almighty, Bush-era Anthrax, first album Mindfunk and Ministry...with a bit of TSOL's snottiness thrown in for good measure. Not a bad place to pitch your tent, and they certainly deliver their wares with both a frightening conviction and a slick consummate ease, making this an impressive debut on all fronts.
3/5
Ian Glaspar - Terrorizer Magazine


Pretty awesome name for a band, huh? But it doesn't give much clue as to how they sound, other than hint that they have a penchant for belligerence, which is always a plus around these parts. Anyway, to put you out of your misery, Fuckshovel belt out infectious hard rock pepped up by some metallic punk and plenty of chugging old school metal. In short, they hover somewhere between the Almighty, Bush-era Anthrax, first album Mindfunk and Ministry...with a bit of TSOL's snottiness thrown in for good measure. Not a bad place to pitch your tent, and they certainly deliver their wares with both a frightening conviction and a slick consummate ease, making this an impressive debut on all fronts.
3/5
Ian Glaspar - Terrorizer Magazine


“This Is What We Are” is the debut LP from London Punk/Rock/Metallers Fuckshovel. With a name like Fuckshovel one knows they are out to grab your attention. On opener “Germs of Empire” they set out their stall early.

Some “rat a tat” drumming, Wildhearts-esque guitars and loud anthemic vocals over the top on this song which could easily have been titled “Out of Control”. “The Antidote” follows next in a similar vein-big snare intro, great guitar work and a stadium-filling vocal. Some crunching guitars at the end really works for me but the song is overlong. However,in the live arena it probably works as a lengthy piece. “Long Time Dead” yet again sticks with the the formula with its big guitar intro and is a contender for my favourite track. The anthemic shouts of “Long Time Dead” throughout the song really carry,as does the “whispered” section mid-song-a real Rock gem. “Black” quite simply warns of the virtues of crystal meth consumption stating “all I got is what I can’t remember,everything is black”!! Apart from the noodly middle 8 there isn’t a lot else to say!
Fuckshovel
“Schizophonic” carries on the good work but it’s at this point in the LP where the big heavy drum intro’s take over. There’s a guitar riff in there reminiscent of Peter and The Test Tube Babies but I feel overall the song is stifled a little in the lyrics. “Vegas Nerve” is one of the weaker songs on here,despite an excellent intro and a great guitar line. “Auslander” has some wonderful chord changes and a lyrical content about one’s refusal to take orders. Whether fiction or fact it works with its big anthemic singalong ending. “All You Got” once again echoes the Wildhearts in the intro,there’s a great echoey vocal assault before the more snarly Punk chorus of “Is That All You Got” takes over. I can imagine this to be a live favourite.
Fuckshovel
“Skull and Bones” has an even faster drum intro as we move nearer Punk territory. The slow/fast elements to the song are a great feature as is the ending. “2500 Days” has another frenetic “machine gun” intro but then descends into the weakest song on here. Another noodly middle 8 and some self indulgence in the lyrics it really doesn’t go anywhere! “Portia’s Box” ends the LP with a song about death (which we don’t get from the title)! Not a bad way to end the LP although as with 2500 Days I find the ending self indulgent again. There’s a 33 second “swearfest” at the tail end which needs no introduction, explanation, or description!!! A decent debut from these Londoners, solid vocals, and musicianship, and a style mostly their own with a smattering of outside influences. - Rock Regeneration


“This Is What We Are” is the debut LP from London Punk/Rock/Metallers Fuckshovel. With a name like Fuckshovel one knows they are out to grab your attention. On opener “Germs of Empire” they set out their stall early.

Some “rat a tat” drumming, Wildhearts-esque guitars and loud anthemic vocals over the top on this song which could easily have been titled “Out of Control”. “The Antidote” follows next in a similar vein-big snare intro, great guitar work and a stadium-filling vocal. Some crunching guitars at the end really works for me but the song is overlong. However,in the live arena it probably works as a lengthy piece. “Long Time Dead” yet again sticks with the the formula with its big guitar intro and is a contender for my favourite track. The anthemic shouts of “Long Time Dead” throughout the song really carry,as does the “whispered” section mid-song-a real Rock gem. “Black” quite simply warns of the virtues of crystal meth consumption stating “all I got is what I can’t remember,everything is black”!! Apart from the noodly middle 8 there isn’t a lot else to say!
Fuckshovel
“Schizophonic” carries on the good work but it’s at this point in the LP where the big heavy drum intro’s take over. There’s a guitar riff in there reminiscent of Peter and The Test Tube Babies but I feel overall the song is stifled a little in the lyrics. “Vegas Nerve” is one of the weaker songs on here,despite an excellent intro and a great guitar line. “Auslander” has some wonderful chord changes and a lyrical content about one’s refusal to take orders. Whether fiction or fact it works with its big anthemic singalong ending. “All You Got” once again echoes the Wildhearts in the intro,there’s a great echoey vocal assault before the more snarly Punk chorus of “Is That All You Got” takes over. I can imagine this to be a live favourite.
Fuckshovel
“Skull and Bones” has an even faster drum intro as we move nearer Punk territory. The slow/fast elements to the song are a great feature as is the ending. “2500 Days” has another frenetic “machine gun” intro but then descends into the weakest song on here. Another noodly middle 8 and some self indulgence in the lyrics it really doesn’t go anywhere! “Portia’s Box” ends the LP with a song about death (which we don’t get from the title)! Not a bad way to end the LP although as with 2500 Days I find the ending self indulgent again. There’s a 33 second “swearfest” at the tail end which needs no introduction, explanation, or description!!! A decent debut from these Londoners, solid vocals, and musicianship, and a style mostly their own with a smattering of outside influences. - Rock Regeneration


This Is What We Are is an album you cannot fail to become wrapped up in and find yourself recruited to its defiant brawl of irresistible noise and energy. Unleashed by UK rockers Fuckshovel, the release is a riotous storm of rampant rock n roll with no intent to compromise or accept mere appreciation of its forceful sounds, it is all or nothing and for us it is everything such the compelling and inciting muscular pleasure on offer.

Formed in the back street of London in 2005, Fuckshovel has a striking sound which is so easy to joyfully describe. The quartet stare the listener straight in the eyes with a confrontation brewed from the metallic imagination and might of Therapy?, the defiant pose and infectious punk abrasion of The Ruts, and the raw dirty rock n roll of The Wildhearts. To that you can add essences of early Anthrax and The Adicts but primarily throughout the album the first trio come to mind with the punk quartet the major spice to the music which is undeniably from the distinct ownership of Fuckshovel. The pedigree of the band members included experiences gained through playing with the likes of Cradle of Filth, Decimator, Basement Jaxx, Plan B, and remnants of Phil Lynott’s Grand Slam, the foursome infusing those elements into their new venture. The years since has seen the band share stages with bands such as The Germs, Fucked Up, Jaguar Love, Glen Matlock, and Innerpartysystem, receive an invitation to showcase material at SXSW in Texas to great success and response, as well as receiving acclaim and strong radio play upon the release of debut single Long Time Dead, something equalled by the accompanying video too.

Released on February 18th, This Is What We Are is primed to thrust the band to the widest national recognition well if Fuckshovel cover artworkirrepressible and skilfully contagious sounds are any degree of persuasion and the album has those in thrilling abundance. Recorded with producer Rohan Onraet, the album just barges through the ear from its first note to the last middle finger vocal scowl of the release. It is a merciless tempest of antagonistic rhythms, crippling riffs, and caustic emotive vocal. Opener Germs Of Empire bursts free with drums and guitars fighting each other for attention though both receive the fullest from the first bruising touch they deliver. Once settled into its stride the track brings in the Malcom Owen like vocals of Jon Stone to further inspire The Ruts flavouring already washing over the senses whilst the music spreads into a sinewy rock adventure with attitude and melodic teasing to the fore. It is a fiery encounter which starts the album off at a great height and alone makes the release and band one you want to know much more about.

The Antidote scrapes over the ear next, the scarring riffs of Ian Fisher and enslaving drums of Dave Hirschheimer demanding whilst the glorious throaty bass tones of John Faulkner bring instant submission to their predatory mastery. The track is less distinctive than the first but with ease lays a contagion and beckoning which is impossible to refuse. It takes no time in grabbing the enthused enlistment of feet and emotions whilst unveiling compelling enterprise to keep things unpredictable and inciting, the same claim which can be said of Black, another song which arguably does not venture to far into new territories but is just a thrilling assault of ravenous riffs and sonic teasing. It has a towering presence nonetheless to leave one exhausted at its departure and enamoured in its company.

The first Fuckshovel single and their newest stand side by side and both spark the richest of rapture. Long Time Dead chews synapses with its gnarly bass attack and niggling sonic riffing before unleashing a punk rock furnace of imagination and greedy raptorial addiction. Anthemic and as infectious as lustful thoughts, the track is a near demonic addiction brought through insatiable energy, rampaging sounds, and aggression veined by a bass sound you just drool over. New single Schizophonic is the same viral violation in a different guise. Once again the bass of Faulkner ensnares the heart whilst the sonic manipulations of Fisher leaves the senses twisted in ardour within the numbing result of the barbed beats from Hirschheimer. The punk and rock tempest evolves with the vocals into a presence which consumes and riles willing emotions. It is a riot which can only be devoured again and again.

This Is What We Are is an outstanding debut from a band we can only see becoming a real force in UK rock. Tracks such as the melodically snarling Vegas Nerve, the towering All You Got with its Dead Kennedys like hooks and One Minute Silence aggressive gait, and the violently cajoling Skull and Bones all continue to ignite more unbridled fire and euphoria for the release whilst the closing pair of tracks, the insistent juggernaut 2500 Days and the unruly Portia’s Box without arguably reaching the heights of the rest of the album, - Ringmaster Reviews


This Is What We Are is an album you cannot fail to become wrapped up in and find yourself recruited to its defiant brawl of irresistible noise and energy. Unleashed by UK rockers Fuckshovel, the release is a riotous storm of rampant rock n roll with no intent to compromise or accept mere appreciation of its forceful sounds, it is all or nothing and for us it is everything such the compelling and inciting muscular pleasure on offer.

Formed in the back street of London in 2005, Fuckshovel has a striking sound which is so easy to joyfully describe. The quartet stare the listener straight in the eyes with a confrontation brewed from the metallic imagination and might of Therapy?, the defiant pose and infectious punk abrasion of The Ruts, and the raw dirty rock n roll of The Wildhearts. To that you can add essences of early Anthrax and The Adicts but primarily throughout the album the first trio come to mind with the punk quartet the major spice to the music which is undeniably from the distinct ownership of Fuckshovel. The pedigree of the band members included experiences gained through playing with the likes of Cradle of Filth, Decimator, Basement Jaxx, Plan B, and remnants of Phil Lynott’s Grand Slam, the foursome infusing those elements into their new venture. The years since has seen the band share stages with bands such as The Germs, Fucked Up, Jaguar Love, Glen Matlock, and Innerpartysystem, receive an invitation to showcase material at SXSW in Texas to great success and response, as well as receiving acclaim and strong radio play upon the release of debut single Long Time Dead, something equalled by the accompanying video too.

Released on February 18th, This Is What We Are is primed to thrust the band to the widest national recognition well if Fuckshovel cover artworkirrepressible and skilfully contagious sounds are any degree of persuasion and the album has those in thrilling abundance. Recorded with producer Rohan Onraet, the album just barges through the ear from its first note to the last middle finger vocal scowl of the release. It is a merciless tempest of antagonistic rhythms, crippling riffs, and caustic emotive vocal. Opener Germs Of Empire bursts free with drums and guitars fighting each other for attention though both receive the fullest from the first bruising touch they deliver. Once settled into its stride the track brings in the Malcom Owen like vocals of Jon Stone to further inspire The Ruts flavouring already washing over the senses whilst the music spreads into a sinewy rock adventure with attitude and melodic teasing to the fore. It is a fiery encounter which starts the album off at a great height and alone makes the release and band one you want to know much more about.

The Antidote scrapes over the ear next, the scarring riffs of Ian Fisher and enslaving drums of Dave Hirschheimer demanding whilst the glorious throaty bass tones of John Faulkner bring instant submission to their predatory mastery. The track is less distinctive than the first but with ease lays a contagion and beckoning which is impossible to refuse. It takes no time in grabbing the enthused enlistment of feet and emotions whilst unveiling compelling enterprise to keep things unpredictable and inciting, the same claim which can be said of Black, another song which arguably does not venture to far into new territories but is just a thrilling assault of ravenous riffs and sonic teasing. It has a towering presence nonetheless to leave one exhausted at its departure and enamoured in its company.

The first Fuckshovel single and their newest stand side by side and both spark the richest of rapture. Long Time Dead chews synapses with its gnarly bass attack and niggling sonic riffing before unleashing a punk rock furnace of imagination and greedy raptorial addiction. Anthemic and as infectious as lustful thoughts, the track is a near demonic addiction brought through insatiable energy, rampaging sounds, and aggression veined by a bass sound you just drool over. New single Schizophonic is the same viral violation in a different guise. Once again the bass of Faulkner ensnares the heart whilst the sonic manipulations of Fisher leaves the senses twisted in ardour within the numbing result of the barbed beats from Hirschheimer. The punk and rock tempest evolves with the vocals into a presence which consumes and riles willing emotions. It is a riot which can only be devoured again and again.

This Is What We Are is an outstanding debut from a band we can only see becoming a real force in UK rock. Tracks such as the melodically snarling Vegas Nerve, the towering All You Got with its Dead Kennedys like hooks and One Minute Silence aggressive gait, and the violently cajoling Skull and Bones all continue to ignite more unbridled fire and euphoria for the release whilst the closing pair of tracks, the insistent juggernaut 2500 Days and the unruly Portia’s Box without arguably reaching the heights of the rest of the album, - Ringmaster Reviews


Garry from SAN PR got in touch the other day about the final review submission for 2012, letting us know that not only was it another record that we needed to hear, but that they were finishing on a massive high! The record in question is the debut album from Brit Metal Punks Fuckshovel, and their album This Is What We Are. Described as being packed to the rafters with a hefty collection of brawling motor-rock that will melt your face off, this album promises to set us up for the new year and have you running for the shops on the 18th of February to get your hands on a copy! Having already achieved slots at SXSW in Texas, as well as tours with The Germs and Glen Matlock, as well as some airplay on BBC Radio 6’s Rock Show, hosted by Mr Bruce Dickinson himself. I figured that based on all of this information, this was probably an album that I should be checking out for myself – so hit play and prepared myself for what I was about to hear!

Kicking off with Germs Of Empire we’re launched into a punk fuelled melee of hammering guitar lines, powerful rhythms and a real sense of movement from the word go. This is the sort of track which is going to get people moving, people jumping, and pits moving from the front to the back of the venue. Managing to throw a catchy chorus into the mix as well just to make sure you’re fully hooked in, the opening track here certainly sets things up in solid fashion, showing us what the rest of the album holds in store for us and getting us ready to keep going! Moving on to The Antidote this theme continues, this time opting to open with the drums to get you moving before ushering in the guitars bit by bit. The mix which forms here is once again fuelled by a real sense of old school punk, yet there’s a heavier element behind it which allows the track to become an almost metal cross over track – something few bands manage to achieve with aplomb. Another track which is sure to get crowds moving and rapidly become a live favourite, this is one which stands out as a live anthem in the waiting – it’s just got that in your face approach which you know people are going to hook onto.

Black once again incorporates this metal edge into things, forging ahead with the punk fuelled rhythms of the track and adding in that heavy edge which people will connect with throughout. Deep and powerful throughout, the key to the track here is the vocal and guitar combination, it forms into a sound that is quite simply massive, and still manages to throw in that catchy approach, albeit with a darkened edge! For me, a serious high point on the album is reached with the onset of Long Time Dead, launching into an all frenzy powered up by rolling drums, hammering guitar lines and a deep, rumbling bass line. Adding in the gravelly and hard hitting vocals, we’re shown the punk roots of the band once again, keeping the track moving at break neck speed right up until the moment it comes to a close. This track really stands out to me as a track which defines the sound of the band, a track which showcases the abilities within the tight unit and one which stands out as my personal favourite off of it, definitely one you need to be checking out.

Schizophonic, Vegas Nerve, All You Got and Auslander all continue to push the boundaries of what you’re expecting to hear on an album like this, each one presenting a melee of hammering punk with upbeat, distorted metal also thrown into the mix – it’s like a trip down the road of how to produce a solid album. It’s when Skull & Bones comes into being that we’re presented with yet another serious high point on the album though, once again hammering into a solid punk track with a twist, and another track which you’re going to have to check out. There’s a real sense of 80’s punk metal going on in this track, almost harking back to the early days of GNR in some ways, yet still managing to stamp their own take firmly upon it. There’s bass moments, guitar moments and more of those awesome vocals – it’s a track which once again defines the sound of the band, reminding us why we started listening to this album in the first place, and continuing to keep us hooked in.

Moving on to 2500 Days the album once again returns to the cross over approach, presenting us with another track which combines the key elements of punk with a hard hitting metal edge, showing that despite being 10 tracks into the album, the band aren’t finished yet. The combination of distorted guitars and gravelly vocals once again takes the lead here, the drums backing everything up as the bass adds a sense of depth and presents us with another track that you know is going to find its full force on the live scene! Adding in a funky edge for penultimate track Portia’s Box, the album approaches the end and continues to throw up surprises. Hammering through another fast paced melee of hammering elements, we’re led closer to the end, kept listening and still kept begging for more. As the final moments of th - Loud Stuff


Garry from SAN PR got in touch the other day about the final review submission for 2012, letting us know that not only was it another record that we needed to hear, but that they were finishing on a massive high! The record in question is the debut album from Brit Metal Punks Fuckshovel, and their album This Is What We Are. Described as being packed to the rafters with a hefty collection of brawling motor-rock that will melt your face off, this album promises to set us up for the new year and have you running for the shops on the 18th of February to get your hands on a copy! Having already achieved slots at SXSW in Texas, as well as tours with The Germs and Glen Matlock, as well as some airplay on BBC Radio 6’s Rock Show, hosted by Mr Bruce Dickinson himself. I figured that based on all of this information, this was probably an album that I should be checking out for myself – so hit play and prepared myself for what I was about to hear!

Kicking off with Germs Of Empire we’re launched into a punk fuelled melee of hammering guitar lines, powerful rhythms and a real sense of movement from the word go. This is the sort of track which is going to get people moving, people jumping, and pits moving from the front to the back of the venue. Managing to throw a catchy chorus into the mix as well just to make sure you’re fully hooked in, the opening track here certainly sets things up in solid fashion, showing us what the rest of the album holds in store for us and getting us ready to keep going! Moving on to The Antidote this theme continues, this time opting to open with the drums to get you moving before ushering in the guitars bit by bit. The mix which forms here is once again fuelled by a real sense of old school punk, yet there’s a heavier element behind it which allows the track to become an almost metal cross over track – something few bands manage to achieve with aplomb. Another track which is sure to get crowds moving and rapidly become a live favourite, this is one which stands out as a live anthem in the waiting – it’s just got that in your face approach which you know people are going to hook onto.

Black once again incorporates this metal edge into things, forging ahead with the punk fuelled rhythms of the track and adding in that heavy edge which people will connect with throughout. Deep and powerful throughout, the key to the track here is the vocal and guitar combination, it forms into a sound that is quite simply massive, and still manages to throw in that catchy approach, albeit with a darkened edge! For me, a serious high point on the album is reached with the onset of Long Time Dead, launching into an all frenzy powered up by rolling drums, hammering guitar lines and a deep, rumbling bass line. Adding in the gravelly and hard hitting vocals, we’re shown the punk roots of the band once again, keeping the track moving at break neck speed right up until the moment it comes to a close. This track really stands out to me as a track which defines the sound of the band, a track which showcases the abilities within the tight unit and one which stands out as my personal favourite off of it, definitely one you need to be checking out.

Schizophonic, Vegas Nerve, All You Got and Auslander all continue to push the boundaries of what you’re expecting to hear on an album like this, each one presenting a melee of hammering punk with upbeat, distorted metal also thrown into the mix – it’s like a trip down the road of how to produce a solid album. It’s when Skull & Bones comes into being that we’re presented with yet another serious high point on the album though, once again hammering into a solid punk track with a twist, and another track which you’re going to have to check out. There’s a real sense of 80’s punk metal going on in this track, almost harking back to the early days of GNR in some ways, yet still managing to stamp their own take firmly upon it. There’s bass moments, guitar moments and more of those awesome vocals – it’s a track which once again defines the sound of the band, reminding us why we started listening to this album in the first place, and continuing to keep us hooked in.

Moving on to 2500 Days the album once again returns to the cross over approach, presenting us with another track which combines the key elements of punk with a hard hitting metal edge, showing that despite being 10 tracks into the album, the band aren’t finished yet. The combination of distorted guitars and gravelly vocals once again takes the lead here, the drums backing everything up as the bass adds a sense of depth and presents us with another track that you know is going to find its full force on the live scene! Adding in a funky edge for penultimate track Portia’s Box, the album approaches the end and continues to throw up surprises. Hammering through another fast paced melee of hammering elements, we’re led closer to the end, kept listening and still kept begging for more. As the final moments of th - Loud Stuff


‘kin ‘ell, wiv a name like that it’s no surprise they come from Sarf East London and have every desire to follow in the anarchic wake of that gruesome foursome, the Sex Pistols. So much so in fact, that they’ve already supported Glen Matlock and The Germs although this mob are tooled up to the gills mixing high energy rock with punk attitude and cool singalong choruses. Heavy crunching bass, psycho drumming, chainsaw guitar and Jack Death’s vocals will have you headbanging, moshing and pogo-ing in adolescent fits of sweat, puke and ringing ears to songs like ‘Schizophonic’, ‘Skull & Bones’ and ‘All You Got’. Recorded at Assault & Battery off the gangster ridden Old Kent Road in London town, this is a fearsome debut that would make even demon barber Sweeney Todd shit his pants! - Battle Helm


‘kin ‘ell, wiv a name like that it’s no surprise they come from Sarf East London and have every desire to follow in the anarchic wake of that gruesome foursome, the Sex Pistols. So much so in fact, that they’ve already supported Glen Matlock and The Germs although this mob are tooled up to the gills mixing high energy rock with punk attitude and cool singalong choruses. Heavy crunching bass, psycho drumming, chainsaw guitar and Jack Death’s vocals will have you headbanging, moshing and pogo-ing in adolescent fits of sweat, puke and ringing ears to songs like ‘Schizophonic’, ‘Skull & Bones’ and ‘All You Got’. Recorded at Assault & Battery off the gangster ridden Old Kent Road in London town, this is a fearsome debut that would make even demon barber Sweeney Todd shit his pants! - Battle Helm


There’s no fucking about as opening track ‘Germs of Empire’ kicks things off. The drum work from Dave Hirschheimer during the fast paced first portion of the song is quite magnificent, and at times the vocals remind me of Voivod’s Snake. The track takes an interesting path by slowing and toning down right until there is nothing left for a brief moment but vocals, before starting right back up again. Powerful vocal hooks and all-encompassing guitar work makes this a killer first act.
The opening of ‘The Antidote’ sounds like a song being constructed piece by piece. Beginning with some more tremendous drum work, the focus then shifts to sweet guitar hooks before the bass makes its presence known. All combine to establish a driving pace that suddenly stops and allows the vocals to move to the centre of the stage before starting up again. This song has real presence, with an engrossing sound that I cannot help but nod my head along to. There is a point late on in the track where the phrase “get a shot of what I got!” is yelled repeatedly that reminds me strongly of Rage Against The Machine. This was preceded by a cool-sounding guitar solo. The aggressive closing part of this song is one of the most well structured pieces of heavy music I have heard in the last year. A great riff begins the next track ‘Black’, and throughout the early going of this one the guitar is the most prominent aspect. There is another skilfully executed pause before the song gets going again; so far this technique has not damaged the flow of the music, each break feeling well-placed and perfectly suited to each track’s structure. The guitar solo on this one is shades apart from the one on the previous song, a display of the musical diversity on offer.
‘Long Time Dead’ is a song which has already achieved considerable acclaim, even being played by Bruce Dickinson on BBC Radio. As the track gets going there is definitely an incredible energy behind it. The bass is absolutely superb, and it’s utilised to great effect during a break late on. There is no room to rest in the song as it really is an adrenaline-fuelled ride, there is an element of old school punk rock to this one. I can see why Mr Dickinson thought so much of it. ‘Schizophonic’, the first single from this album, starts off with the same exceptional bass that was so prominent in the previous number. It takes a while for the vocals to start, but when they do they have real presence, there is a power to them in this song coming partly from some great effects but mainly from the raw talent on display. In keeping with the opening number, as well as ‘The Antidote’, this song comes complete with some awesome vocal hooks, and the ending has me again reminiscing about Rage Against The Machine. Though the guitar opening to ‘Vegas Nerve’ is quite good, it is from the bass behind it that the power of the song emanates. The scathing lyrics make for great listening, and there are naturally some more of those sweet vocal hooks. The guitar solos begin as a mind melting blast of narcotics, then change into a gloriously executed high to finish off the song. I loved that one.
The first part of ‘All You Got’ is another slice of punk-vibe, though the music did also remind me of Black Sabbath’s ‘TV Crimes’ during the early going. In this song, the bass and the guitar are working in tandem, keeping pace with each other while the drums complete a frenetic and jovial sound. Vocally this song is also quick, and I find myself thinking that this voice is not only awesome to listen to, but has a tremendous capacity to remind me of multiple other singers at a time. The created effect is something fresh but familiar. ‘Auslander’ keeps the variety coming with a distinctly heavy opening featuring an awe-inspiring guitar sound and an, at times militaristic, drum beat. This is a headbangers song, and it is the dominance of the guitar sound that makes it so. The breakdown halfway through the track has the feel of Rammstein’s ‘Zwitter’. ‘Skull and Bones’ returns to the punky feel that has been established in certain tracks on this album, though this time the lean towards thrash is quite a bit heavier. This is especially true of the tempo shift, which puts me in mind of Megadeth. I am once again impressed with the work of the drums and bass during a break at the song’s halfway point. Not to be outdone the next shift, towards the end, is led by the guitar. I am about to enter the closing stages of this album and I can honesty share no genuine qualms or complaints yet.
‘2500 Days’ kicks off with some drumming heavily reminiscent of White Zombie. This is another headbangers number, though musically the tone is light when the vocals are being powerfully projected. This changes around the two minute mark as soaring vocals are backed up by a majestic score leading into a guitar solo heavy on the wah. All in all it is a solid number continuing the outstanding tone established by this so far excellen - Get Your Rock Out


There’s no fucking about as opening track ‘Germs of Empire’ kicks things off. The drum work from Dave Hirschheimer during the fast paced first portion of the song is quite magnificent, and at times the vocals remind me of Voivod’s Snake. The track takes an interesting path by slowing and toning down right until there is nothing left for a brief moment but vocals, before starting right back up again. Powerful vocal hooks and all-encompassing guitar work makes this a killer first act.
The opening of ‘The Antidote’ sounds like a song being constructed piece by piece. Beginning with some more tremendous drum work, the focus then shifts to sweet guitar hooks before the bass makes its presence known. All combine to establish a driving pace that suddenly stops and allows the vocals to move to the centre of the stage before starting up again. This song has real presence, with an engrossing sound that I cannot help but nod my head along to. There is a point late on in the track where the phrase “get a shot of what I got!” is yelled repeatedly that reminds me strongly of Rage Against The Machine. This was preceded by a cool-sounding guitar solo. The aggressive closing part of this song is one of the most well structured pieces of heavy music I have heard in the last year. A great riff begins the next track ‘Black’, and throughout the early going of this one the guitar is the most prominent aspect. There is another skilfully executed pause before the song gets going again; so far this technique has not damaged the flow of the music, each break feeling well-placed and perfectly suited to each track’s structure. The guitar solo on this one is shades apart from the one on the previous song, a display of the musical diversity on offer.
‘Long Time Dead’ is a song which has already achieved considerable acclaim, even being played by Bruce Dickinson on BBC Radio. As the track gets going there is definitely an incredible energy behind it. The bass is absolutely superb, and it’s utilised to great effect during a break late on. There is no room to rest in the song as it really is an adrenaline-fuelled ride, there is an element of old school punk rock to this one. I can see why Mr Dickinson thought so much of it. ‘Schizophonic’, the first single from this album, starts off with the same exceptional bass that was so prominent in the previous number. It takes a while for the vocals to start, but when they do they have real presence, there is a power to them in this song coming partly from some great effects but mainly from the raw talent on display. In keeping with the opening number, as well as ‘The Antidote’, this song comes complete with some awesome vocal hooks, and the ending has me again reminiscing about Rage Against The Machine. Though the guitar opening to ‘Vegas Nerve’ is quite good, it is from the bass behind it that the power of the song emanates. The scathing lyrics make for great listening, and there are naturally some more of those sweet vocal hooks. The guitar solos begin as a mind melting blast of narcotics, then change into a gloriously executed high to finish off the song. I loved that one.
The first part of ‘All You Got’ is another slice of punk-vibe, though the music did also remind me of Black Sabbath’s ‘TV Crimes’ during the early going. In this song, the bass and the guitar are working in tandem, keeping pace with each other while the drums complete a frenetic and jovial sound. Vocally this song is also quick, and I find myself thinking that this voice is not only awesome to listen to, but has a tremendous capacity to remind me of multiple other singers at a time. The created effect is something fresh but familiar. ‘Auslander’ keeps the variety coming with a distinctly heavy opening featuring an awe-inspiring guitar sound and an, at times militaristic, drum beat. This is a headbangers song, and it is the dominance of the guitar sound that makes it so. The breakdown halfway through the track has the feel of Rammstein’s ‘Zwitter’. ‘Skull and Bones’ returns to the punky feel that has been established in certain tracks on this album, though this time the lean towards thrash is quite a bit heavier. This is especially true of the tempo shift, which puts me in mind of Megadeth. I am once again impressed with the work of the drums and bass during a break at the song’s halfway point. Not to be outdone the next shift, towards the end, is led by the guitar. I am about to enter the closing stages of this album and I can honesty share no genuine qualms or complaints yet.
‘2500 Days’ kicks off with some drumming heavily reminiscent of White Zombie. This is another headbangers number, though musically the tone is light when the vocals are being powerfully projected. This changes around the two minute mark as soaring vocals are backed up by a majestic score leading into a guitar solo heavy on the wah. All in all it is a solid number continuing the outstanding tone established by this so far excellen - Get Your Rock Out


I never acquired a taste for the Sub Pop tarts of hard done by Seattle. I refused to be spoon fed a diet of Americans in cardigans. I did indeed DialMTV and I told them to fuck off. Advice they seemingly took when you look at what that channel has become now. My point is that I found little appeal in alternative America. The music that was coming out of the UK at that time was miles better than the painful bleating coming from the other side of the Atlantic. The Almighty were 'Powertrippin' for fuck's sake, need I give another example? Fuckshovel's abrasive debut reminds me of that time. The delivery throughout 'This Is What We Are' is urgent and tempestuous. The usual slow revelation of styles and influences normally associated with reviewing new material is completely absent. The metaphorical musical wine tasting if you will is not something you get here. No such pleasantries are afforded the listener with Fuckshovel. The epiphany moment is as delicate as a beer glass to the face.

Instant eruptions explode with a shower of influences bursting out. Immediate and brash the one two punch of opening duo 'Germs Of Empire' and 'The Antidote' sees Therapy? like angst grinding its teeth against Pitchshifter sized riffs. The bass is violent, no subtle supporting rhythm but a rampaging field tearing bronco. A sonic bat to the kneecaps. A barrage of uncompromising underdog lyrics that bite and infect sink themselves like rusty nails into the unfolding rage of the music. The twisted 'Schizophrenic' is a ball of snarling fury with barbed wire guitar hooks you'd need a tetanus shot just to listen to. And with tunes like 'Skull And Bones' and 'All You Got' it's as if the Shovel lads from old London town have found a way to sink a line straight into Ginger's soul and siphon off The Wildhearts' uncompromising swagger and unbridled energy.

'Auslander' and '2500 Days' beckon destruction. At times and in places there are maybe a few little touches that could be likened to Alice In Chains, one of the few grunge era bands I will admit to liking. Disjointed melody bridging between the fiery guitars. The searing 'Portia's Box' brings 'This Is What We Are' to a crashing climax studded with defiant profanities and a guitar riff that jerks and warps wildly. Eleven tracks in total that each give you a unique ride. Fuckshovel are a band kicking with metal DMs laced with punk rock attitude and like those who came before them and conquered so memorably in the early nineties (should the time be right) 'This Is What We Are' could quite realistically be the album for 2013 that 'Troublegum' was for '94.
- Uber-Rock


I never acquired a taste for the Sub Pop tarts of hard done by Seattle. I refused to be spoon fed a diet of Americans in cardigans. I did indeed DialMTV and I told them to fuck off. Advice they seemingly took when you look at what that channel has become now. My point is that I found little appeal in alternative America. The music that was coming out of the UK at that time was miles better than the painful bleating coming from the other side of the Atlantic. The Almighty were 'Powertrippin' for fuck's sake, need I give another example? Fuckshovel's abrasive debut reminds me of that time. The delivery throughout 'This Is What We Are' is urgent and tempestuous. The usual slow revelation of styles and influences normally associated with reviewing new material is completely absent. The metaphorical musical wine tasting if you will is not something you get here. No such pleasantries are afforded the listener with Fuckshovel. The epiphany moment is as delicate as a beer glass to the face.

Instant eruptions explode with a shower of influences bursting out. Immediate and brash the one two punch of opening duo 'Germs Of Empire' and 'The Antidote' sees Therapy? like angst grinding its teeth against Pitchshifter sized riffs. The bass is violent, no subtle supporting rhythm but a rampaging field tearing bronco. A sonic bat to the kneecaps. A barrage of uncompromising underdog lyrics that bite and infect sink themselves like rusty nails into the unfolding rage of the music. The twisted 'Schizophrenic' is a ball of snarling fury with barbed wire guitar hooks you'd need a tetanus shot just to listen to. And with tunes like 'Skull And Bones' and 'All You Got' it's as if the Shovel lads from old London town have found a way to sink a line straight into Ginger's soul and siphon off The Wildhearts' uncompromising swagger and unbridled energy.

'Auslander' and '2500 Days' beckon destruction. At times and in places there are maybe a few little touches that could be likened to Alice In Chains, one of the few grunge era bands I will admit to liking. Disjointed melody bridging between the fiery guitars. The searing 'Portia's Box' brings 'This Is What We Are' to a crashing climax studded with defiant profanities and a guitar riff that jerks and warps wildly. Eleven tracks in total that each give you a unique ride. Fuckshovel are a band kicking with metal DMs laced with punk rock attitude and like those who came before them and conquered so memorably in the early nineties (should the time be right) 'This Is What We Are' could quite realistically be the album for 2013 that 'Troublegum' was for '94.
- Uber-Rock


Fuckshovel is a British metal/punk band that formed after an alcohol-fuelled night attending a Velvet Revolver show in London all the way back in 2005. The quartet spent a long time refining their sound to incorporate their vast collective backgrounds and turn it into a something that was both fresh and existing. Once Fuckshovel had accomplished their goal of creating a sound that was a balance between old school metal and punk rock they took their talents on the road. After securing high profile shows and successful supports they were invited to attend SXSW in Texas. Their presence in the states was received incredibly well and served to further their fan base. On returning to the UK, Fuckshovel continued to display their skills with additional shows; eventually they decided that it was time to take their experience and practice and put it to work in the studio. Their first creation was the single ‘Long Time Dead’, which was an instant success with widespread radio coverage, the video making it onto MTV’s Headbangers Ball and included in MTV’s Best Of Year Show.

With the success of their first single, Fuckshovel moved onto their next creation, and using their huge breadth of talent and experience they have forged eleven tracks of refined metallic punk rock, which they have released as their debut album, ‘This Is What We Are’ and what they are is pure gold. From the onset with ‘Germs Of Empire’ it is a non-stop adrenaline ride jam-packed with shredding riffs which get your pulse racing. The assault on the senses never wavers until after the finale with ‘Portia’s Box’ were you are left reeling and wanting more. My first reaction was to start it all again. This debut is the combination of years of refinement and energy that Fuckshovel have put into their shows and it’s easy to see why they have been meet with such acclaim. After listening to ‘This Is What We Are’ I only have two things to say, when will there be more? And how did they come to name themselves Fuckshovel? - Metal Discovery


Fuckshovel is a British metal/punk band that formed after an alcohol-fuelled night attending a Velvet Revolver show in London all the way back in 2005. The quartet spent a long time refining their sound to incorporate their vast collective backgrounds and turn it into a something that was both fresh and existing. Once Fuckshovel had accomplished their goal of creating a sound that was a balance between old school metal and punk rock they took their talents on the road. After securing high profile shows and successful supports they were invited to attend SXSW in Texas. Their presence in the states was received incredibly well and served to further their fan base. On returning to the UK, Fuckshovel continued to display their skills with additional shows; eventually they decided that it was time to take their experience and practice and put it to work in the studio. Their first creation was the single ‘Long Time Dead’, which was an instant success with widespread radio coverage, the video making it onto MTV’s Headbangers Ball and included in MTV’s Best Of Year Show.

With the success of their first single, Fuckshovel moved onto their next creation, and using their huge breadth of talent and experience they have forged eleven tracks of refined metallic punk rock, which they have released as their debut album, ‘This Is What We Are’ and what they are is pure gold. From the onset with ‘Germs Of Empire’ it is a non-stop adrenaline ride jam-packed with shredding riffs which get your pulse racing. The assault on the senses never wavers until after the finale with ‘Portia’s Box’ were you are left reeling and wanting more. My first reaction was to start it all again. This debut is the combination of years of refinement and energy that Fuckshovel have put into their shows and it’s easy to see why they have been meet with such acclaim. After listening to ‘This Is What We Are’ I only have two things to say, when will there be more? And how did they come to name themselves Fuckshovel? - Metal Discovery


Discography

Long Time Dead - 7" single picture disc / iTunes - released 2007
Schizophonic - single - released iTunes - October 2012
This Is What We Are - album - released February 2013
Portia's Box - single - released iTunes - October 2013

Photos

Bio

Described by Barfly magazine as the ‘Best unsigned band in the UK’ and melding their sound from a collective background that includes stints with Cradle of Filth, Decimator, Basement Jaxx, Plan B and remnants of Phil Lynott’s Grand Slam, The Shovel set out to prove that you could get played on the radio with a name like that.

First single ‘Long Time Dead’ gained critical acclaim in the UK and received airplay on the BBC Radio 6 Rock Show hosted by Iron Maiden vocalist Bruce Dickinson and also XFM’s John Kennedy show. The accompanying video was play-listed by MTV’s Headbangers Ball and was included in their Best Of Year show.

After a string of support shows with the likes of Fucked Up, Jaguar Love and Innerpartysystem they were invited to showcase at SXSW. where Pitchfork anointed them ‘Best band name of SXSW’. On returning to the UK further shows included support slots to LA punk legends The Germs and the Sex Pistols’ Glen Matlock.

The debut album ‘This Is What We Are’ (featuring cover art by Jamie Reid of Never Mind The Bollocks fame) was recorded in the legendary Assault & Battery 2 studios with producer Rohan Onraet and released in February 2013; gaining great reviews from Classic Rock, Big Cheese and Terrorizer amongst others.

‘Germs of Empire’ and ‘Auslander’ have recently been included on cover-mount CDs for Terrorizer and Metal Hammer respectively while both tracks have also been featured on Ian Camfields XFm Rock Show. Other tracks from the album have also been play-listed by Bloodstock Radio and XFm’s John Kennedy.

The band has just released the video for next single ‘Portia’s Box’ and played their first European dates in August. They will be gigging throughout the rest of the year and 2014 including a return to Europe in February heading towards their main stage appearance at next year’s Alt-Fest.

Band Members