Track Review: Holy Moly & the Crackers- A Punk Called Peter



Holy Moly & the Crackers


A Punk Called Peter





A Punk Called Peter is available at:

Recorded, Mixed and Mastered: Blank Studios
Written and Produced: Holy Moly & the Crackers

13th July, 2015

Gypsy-Folk; Rock ‘N’ Roll; Punk-Rock


Newcastle/Yorkshire, U.K.


MY featured band is a reviewer’s dream…

So much so, I shall break it down into sections: there is a lot of good to be found- within the boundaries of Holy Moly & the Crackers- that deserves to be unveiled.  For one thing, the band has a great official page: informative and well-designed, it is a great one-stop portal (and one of the best sites I have come across).  It may seem like a minor point- and perhaps a little bit anal in essence- yet having an engaging site; a great official page- that will draw in fans and followers.  So many bands/acts have no official site- relying on the usual social media channels- which seems a bit remiss.  If you present something captivating and informative; easy to navigate- with all the information you could want- it goes a long way.  It should that act/band are serious; they have a real attention to detail- and care about fans/reviewers.  It is a particular point I guess, yet felt compelled to mention it: my featured act has a brilliant official website; they have been a lot of thought into it- the results speak for themselves.  My featured band sources its members from across the north- mainly divided between Yorkshire and Newcastle- and proves a valid point.  The most diverse and scintillating music is emanating here; the most genre-daring bands; those that splice-and-dice- and come up with something tremendous.  The Holcombe Family String Band- another act from Yorkshire- has a similar composition and flavor to Holy Moly’- there must be something in the water!  Semi-joking aside, the northern towns/cities are showing how it’s done: regenerating ‘lost’ genres; fusing traditional-sounding music- with something modern and up-to-date.  Before I continue on this point- and subsequently raise another one- it is high-time we come to Holy Moly & the Crackers:

Conrad Bird – vocals/guitar/trumpet
Ruth Patterson – vocals/fiddle
Rosie Bristow – accordion
Peter Hogan – electric guitar
Jamie Shields – bass
Tommy Evans
– drums

Holy Moly & the Crackers is a seven-piece ‘gypsy folkNroll’ band from the U.K. They released their debut album ‘First Avenue’ in October 2012 and an EP ‘Lilly’ a year later – described as “a re-imagining of three traditional folk/blues songs that evokes eras of whiskey and guns on modern punk folk steroids”. Their newest single ‘A Punk Called Peter’ (2015) is “a sort of New Orleans funeral march mixed with some fine and highly danceable reggae”. Tracks from the album and EP have been played by Amazing Radio, BBC Introducing and leading music critic Mike Harding.


They are making an impact on both the national and international tour circuit; they have played well over 200 shows throughout the UK, including sell out concerts in London, the Midlands, Yorkshire, Newcastle and Edinburgh. In October 2013 the band toured internationally in Europe. The band has performed at major festivals across the country, including shows at Hop Farm Festival, Secret Garden Party, Boomtown and Cornbury Festival, where they opened for Jools Holland.


Holy Moly and the Crackers are influenced by an eclectic range of styles and artists – the honest grit and gravel of Woody Guthrie, the gypsy bone-cage burlesque of Gogol Bordello: punk, ska, reggae, folk, blues, honky-tonk, Balkan etc. As such they play a unique mash-up of folk/blues, waltz tempos and hoe-downs and french zazou in outlandish carnival style. It is loud, funky and fun.

At this current time- and throughout a lot of my reviews- I have been hearing the same sounds: the guitar-drum-bass configurations; the Indie/Alternative variations- some faintly interesting Pop moments.  I am not down on new music- in fact, I have come across some tremendous acts this year- yet there seems to be little mobility; a fear and unwillingness- few are getting their feet wet; really pushing the envelope.  Whether deemed ‘uncool’ or ‘by-gone’; older musical themes- sea shanties and gypsy rhythms; hillbilly lullabies and fire-side romp- are being left in the cold.  The 21st century bands- by and large anyway- are concentrating on traditional/modern sounds; fusing in some classic ‘60s/’70s elements- it is both popular and dependable; marketable and profitable.  What Holy Moly & the Crackers are showing, is that music can offer more- without being niche or forgettable.  The critics’ descriptions speak for themselves- with concerns the steroidal updates of older music- and paint vivid images.  When you hear the music the band offer, the mind starts to dance and project: their hoe-downs and low-down dance (dances); their whiskey-soaked songs fuse with camp-fire sing-along- an intoxicating compendium of flavours, sounds and decades.  The band deftly unite U.S. sounds- New Orleans Jazz and Blues- with British elements- Folk and sea shanties; rich modern-day Soul (the likes of Adele is owning).  The band are not unfocused and freewheelin’- not in a bad way at least- and have full mastery and authority.  From fiddle-fury rapture to the intoxicating vocals- of the band’s leader Conrad Bird- the guys (and gals) are a heady brew.  More common around Yorkshire/the northern climes; the multifarious and mind-blowing mixture is seducing hearts- and no surprise really!  In 2015, you cannot rest on your laurels; come in like everyone else- and think there will be a market share; hope for the best.  Too many new acts have that tired old refrain: the rather ho-hum choruses; the generic and heard-it-all-before vocals- everything sounds recycled and uninspired.  Too few are being daring and forward-thinking- assuming listeners will ignore them; they will be laughed-off- but Holy Moly & the Crackers are filled with confidence and showmanship- coupled with incredibly vivid and addictive music.  Some might say the band has no cross-over appeal- that their particular brand will not win stoic hearts- yet that would be short-sighted: the sheer verve, ambition and quality they put into their music wins you over; the group have no limits- thus ensuring everyone is entranced.  Having unveiled an album already- that has infused and wowed critics and listeners- the clan are on the offensive; setting their sights- in no mood to demure or settle-down.

The Holy Moly & the Crackers clan have a wide range of influences- in terms of genres and artists- that can be broken-down as such:

Delta Blues, Rythm and Blues, Rock and Roll, Trad. Irish Folk, Trad. Balkan Folk, Punk, Ska/Reggae, Gypsy-Swing:
Robert Johnson, Woody Guthrie, Bob Dylan, Nina Simone, The Pogues, No Smoking Orchestra, Gogol Bordello, The Clash, Molotov Jukebox, Johnny Flynn etc etc

Perhaps a toned-down and truncated list, it assesses the band’s range and loves: the music that compels them; the styles that go into the tunes- and who you should reference.  Although the group is inspired by modern music- and channel current artists- their chest is ostensibly historic/older-sounding.  From the ‘20s and ‘30s U.S. Blues to Bob Dylan; Gypsy-Swing and Irish Folk- there is a rich and fascinating palette.  If you are inclined to the above- or are unfamiliar with any of the artists- I would suggest seeking them out; check the artists out- get a sense of where Holy Moly’ came from; what goes into their music.  Of course, that is only half the story: our band goes further and deeper; have their own personalities and ideas- use their idols as a jumping-off point.  There are few modern comparables- one can levy to draw alongside the band- which is actually a good thing.  So unique are the band; so rarified is their music- it has few siblings.  The best idea is to clear your mind- and purge any preconceptions- and go in with fresh eyes.  The best comparisons/pointers- away from purely musical terms and areas- reference emotions and feelings.  Holy Moly & the Crackers’ music is joy-rousing and fun; it is upbeat and merry- filled with nuance and emotional depth; musical innovativeness and little details.  Away from the fun-fun atmosphere, the band can be sensitive and heart-rending: when they turn things down- and aim for the soul- they are stirring and impassioned.  If you need some uplift and pleasure; seek something comforting and supportive- the music here is ready-made for you.

A Punk Called Peter is a new single- and to new fans, hard to explain- so it is worth looking back; see how they have developed- and whether their core sound has changed.  It is worth looking at their 2012 album (First Avenue) and 2014 E.P. (Lily).

  Highway Shoes starts with plaintive and aching strings.  Some- rather sweet and rousing- duel vocals lead to some fiddle-frenzied moments.  When it comes to the song- and its central story here- it’s time to hang up highway shoes: the song’s hero has been beating the dust; meeting all sorts of characters- time to put those memories to bed.  Looking back, we hear tales of beggars and thieves; people on the road- (our hero) knowing he’ll be back soon.  Looking at memories on the road; the dreams and swords-in-stones, the lyrics are well-considered and picturesque; fascinating and evocative.  Bird and Patterson unite in the chorus as the fiddle- with strings and percussion- weave around them.  It is a delirious and swaggering composition- although not as frenzied as some of their tracks- as the song goes from introspective and story-telling; to captivating and high-spirited.  We/the hero looks at old and blind men; wise tales and avenues- that desire to return to the highways.  You can hear that ache and need to return- within the committed and stunning vocals- and makes you root for the hero.  Endlessly gripping and charming, it mixes Blues and Folk; smatterings of Gypsy-Folk;- into a rich and heady boiling pot.

  Comfort in Lies– softer and more romantic than other tracks on the album- is led by Patterson.  The song has a gentle and passionate start- aching strings and swooning vocals can be heard- that is a false-start.  From the dusty pathways and streets- and events contained within- the vocal is silky and Blues-inspired.  There is, it seems, comfort in telling lies; the composition swirls like a circus waltz; a carnival ride- all colours and smiles; screaming tongues and blurred lights.  Looking at placing blame (and love’s indiscretions) the sworded realities and necessitated truths intertwine. The accordion sways with drunken haze- whipping-up scenes of the sea and shanties- whilst the band is tight and compelling.  Urgent and mesmeric, the score is perfect: it propels the vocal whilst retaining its own sense of twilight and mystery; salaciousness and smoothness.  Shades of Billie Holiday and Nina Simone come out in the lead vocal; Blues and Soul greats- a spine-tingling lead for sure.  Another unpredictable and nuanced song, it shows how nimble and multi-talented Holy Moly & the Crackers are.

   Willy Had a Fiddle is not as sexual or perverse as the title suggests (or just my dirty mind reading between imaginary lines).  The song begins with a measure of intensity.  Willy had a fiddle- and played all night- played his drum and marched all alone.  The vocal rushes and spirals; Willy is trying to play his instrument (and not getting it right) – aching strings and pitter-patter percussion soundtrack his plight.  Orders come in to charge and go a top the hill- the song has sense of nursery rhyme and old-fashioned fable.  One of best lyrics and stories is unfolded here: evocative and stunning, it is packed with detail and wit; heartache and quixotic gleam.  The composition trades marching drums with see-saw fiddle; a hefty and rampant emotional punch.  The vocals- led by Bird and backed by Patterson- are dedicated and committed; they take you in the song- ensure every second and step is real and tangible.

   Cocaine– from the E.P. Lily– unlike a lot of the album- is a lot more upbeat and energised.  The lyrics stray close to drug-referencing ideals.  We hear of a cocaine house on Cocaine Hill- the song is a waltz-cum-circus-dance- a cocaine heroine with her cocaine-stained nose.  Snakes and elephants give ideas of hallucinations and drug-addled visions; add to the oddity and beguiling entrance.  The vocal is light-hearted and spirited; the band is at their peak: sounding as alive and smiling as ever.  Morphine Sue comes into the fray; replete with a little shot in the arm- turning a rather dark subject and making it sound quite cute and flighty.  The composition has a swaying beat and catchiness: a feet-on-fire Jazz flavor; Swing-scented too- such a heady brew.  Our heroine- resisting any drug puns/double-meaning- is laid down in cocaine clothes; had one too many sniffs, her fate now sealed- a cocaine rose is worn (pinned to her clothes; also a good name for a drink/cocktail).  As the song comes to its end, we learn that the headstone has a refrain: our heroine died sniffing cocaine; here lies her cocaine-rattled soul.  That mix of humour-and-macabre; child-like and fantastical- results in one of the band’s finest moments.  Befitting of the song- and compositionally supportive of the drug of choice- we get a quick-fire and wild-eyed coda; it whizzes and twirls- not only encapsulating the listener; it is an aural figure- transporting itself into the heroine’s bloodstream.

The band has retained its sense of quality and adventure; that unimpeachable control and sense of wonder- never sounding off-kilter and unfocused; always electric and stunning.  They had no need for improvement or change- and their latest single does not stray too far from their previous work- and what you get is something typically theirs.  Their latest cut contains elements of the album and E.P.: that mixture of energy-cum-story; the vivid images and wild refrains- such depth and wonderment.  What has changed- and not a bad thing certainty- is the subject matter and performances.  Now, on A Punk Called Peter, the group sound even tighter and essential; more studied and in-step- every note and vocal is faultless and perfect.  Retaining a sense of looseness and frivolity, the song is more nuanced than previous work- they are at the top of their form.  The subject matter has changed to Peter the punk; away from the highway ramblers and cocaine abusers- we have shifted to different avenues and scenes.  Although the storyline is different, the essential ingredients remain: that detailed and mind-expanding story; the charming and memorable moments- wit and agony; ill-fated people and quirky characters.  These aspects- the changes and consistencies- will not only please existing fans but appease the undecided voters- who have no excuse to ignore the band.

You can practically picture the scenes- as the introduction to the song unfolds.  A sexy and slithering trumpet line comes in; all breezy and cool- the listener is caught in its seductive grasp.  You imagine scenes of bar doorways and heroes: a Humphrey Bogart-esque character looking across the street; the lights flickering in neon- an acrid smoke filling the air.  So evocative and sleek is the introduction, you get stopped in your tracks.  It is languid and haunting; shivering and atmospheric- leaving you wondering what is coming next.  Suddenly, the percussion arrives on the scene: joining with the trumpet, the song kicks up and accelerates; the introduction mutates into semi-frenzy- as our heroine approaches the microphone.  With a composition that resembles Y Viva Espana– it has a slightly toned-down sensation of its rhythm and sound- the story is laced-in.  Being on the wrong side of town (our heroine) is in unfamiliar territory.  Peter approaches and offers some candid advice: if you stick around they’ll gun you down; “stick you in the ground”.  In gangster/enemy ground, there is that sense of danger and unease- wrapped around a delivery that has humour and quirkiness.  The composition has shades of sea shanty and Reggae; Ska swagger and Folk undertones- a stunning blend that is insatiable and delirious; it implores you to sway under its spell.  Following his footsteps “like a dog does a bone” our heroine is following- being led home to apparent safety.  Already- being so early into the song- you imagine the ‘hero’: what he looks like (a mix of Johnny Rotten and Sid Vicious; much older, mind) and the town they are in (a broken-down city with a ‘20s vibe; a New Orleans-meets-Detroit combination).  Soon things turn sour- as Peter turns a knife on our heroine; it ain’t “no easy threat”- and things get dicey.  Keeping the mood buoyant and redemptive the trumpets keep the feet tapping; they bring sunshine into proceedings.  Looking Peter in the eye, the situation is “do-or-die”; that life-or-death struggle is present- you wonder what will come next.  It is at this point Peter seems more like an old-style punk- someone who is a no-good; ‘stick ‘em up, punk’ etc.  That changes my survey and imagery: Peter still seems vintage and ‘20s/’30s-influenced; although more akin to a movie star scuzz- someone with countered facial hair and an expanding gut-line; crooked glances and a dusty flat cap.  As our heroine looks at her options, it seems a fortune teller prophesised this- they are inherently crooked and fraudsters; it adds a sense of charm and light relief to events- to beware of Peter the punk.  With nary a tenner in her pocket- and not much else she can offer-up- there is palpable tension.  With a family at home- and lots to leave behind- there is supplication and reasoning; Peter seems less-than-sympathetic.  Having been led by the Devil, Peter is still breathing: something that seems fortuitous rather than earned.  As the song reaches its boiling-pot, the composition steps in: an extended jam, the accordion is fresh and sprite; the percussion beats and snaps (without being too heavy) – bass notes guide the song forward; adding guidance and melody.  Whereas the trumpet took early lead, the accordion drives the song now; less sensual and moody, it is kicking and rousing- ensuring the listener is compelled and moving.  Our heroine is stuck with Peter; he better run- the police and coming with their dogs and guns.  Throughout, there is still that air of old-time crime; something you’d see in a film- you envision black-and-white scenes with cigarette burns appearing in the corner.  With vocals backed and augmented, the style turns into a Doo-Wop-cum-Soul motif; it is slowed-down and layered- those stunning vocals press and campaign.  It is just as well, because it seems Peter will get his comeuppance: he will burn and pay; there is nowhere to run now.  Both stately and funereal- there is somberness and heartache among the compositional notes- the trumpet comes back in; mixing with the accordion, things start to come back up- a lively kick and one last hurrah.  The final moments- and in fact the outro. lasts a little while- wrap things up (musically); the composition keeps blasting and swooning- ensuring the song’s images and characters remain in the mind.  By the end, you speculate how things worked out: did our heroine make it out alive; did Peter get his just-rewards?  There is that cliffhanger element that makes A Punk Called Peter a genuinely tense and fascinating song.

   A Punk Called Peter is a song broad church and real: there is no sepia-tinged spin; although there is humour and upbeat to be found.  The lyrics are vivid and concise- the band has a real flair for storytelling and engaging an audience- and we have another quirky and fascinating tale.  Like Cocaine– and a lot of tales from the band’s past- we have another disreputable and doomed figure; someone that really comes alive- a man from another time.  The song is both instant and slow-burning: on the first spin, it takes you by surprise; does its work and leaves you feeling amazed.  When you come back, you start to notice little details and elements: bits of the composition come into view; some of the wordplay strikes the mind- it is a song that rewards those who pay attention.  The band themselves are at their peak; never appearing anything less than exhilarating and tight.  Ruth Patterson’s lead vocal is a shrewd choice: Conrad Bird would have done a fine job, yet Patterson is the perfect choice; her softness and power really bring the words to life.  She sounds sympathetic and dramatic; vulnerable and wary- managing to present so many emotions and sides.  A skilled and intuitive singer, her voice remains firm and passionate- never needlessly going off course or wandering; it is concise and focused throughout.  Not just a narrator and scene-setter, Patterson ensures every note and word comes to life; really staggers the listener- an amazing delivery and wonderful performance.  Conrad Bird does not go unnoticed and slight: his trumpet work beautifully leads the track; injects so much passion and pride.  Remaining mainly music-based, Bird is left to give the backdrop colour and weight- which he does with confidence and aplomb.  The guitar work is slight but effective; melting with the rest of the instruments, it keeps the song spiky and hard-edged.  Rosie Bristow’s accordion is a great counter-balance to the trumpet work: it is light and feet-moving; it gives the song a gracefulness and playfulness- robust and spiraling, it evokes images of sea shanties and gypsy song; ensuring the track always has a degree of charm and wicked humour.  The guitar work- from Peter Hogan especially- ensures the song has insistency and danger; has that underlying unpredictability- and gives proceedings a rawness and Rock-iness.  Jamie Shields’ bass guides and directs the track; mixes with the other performers- and gives the song a strong backbone; keeps everything in-check.  Melodic and characterful; keeping perfect time, the bass ensures a song- that has a dizziness and danger- controlled and honed.  Tommy Evans’ drum is powerful and emotive; ensuring the composition is always exciting and unpredictable.  Never too full-on or scene-stealing, the percussions blends with the band; gives it a distinct kick-forward- and adds to the merry and hazy scenes.  The entire band is tight and completely enraptured: they have a superb bond and understanding; working and supporting one another- each player knows their role; they play it wonderfully.  The production is particularly impressive.  A lot of modern songs bury vocals and sounds underdone and unsophisticated- a lot of times you miss lyrics and things sound rather amateurish.  Here, there is polish and precisions, each vocal and note is crisp and alive- the mix and balance is perfect; all the instruments come off rich and vibrantly.  The entire track is a full-bodied and hot-bloodied; the lyrics are economical and focused- whilst providing so much vivacity, drama and movement.  Tied with the composition- and all that it has to offer- and you have a sensational track- one of the band’s finest, in fact.  Recalling their Lily work- and the subjects and sounds contained within- it is a perfect one-off.  It would be nice to hear the track on their next album- perhaps it is already- as it would be a perfect lead-off number- really get the listener hooked and fascinated.  Few bands can invent a song that never loses it potential- I have played it a number of times and am not slightly bored- so things bode well for the future.  Ensure you check out Holy Moly & the Crackers’ latest cut- a song that is guaranteed to lift the spirits and leave a smile on your face.

A Punk Called Peter– even its title raises smiles and irony- is a great step for the band: those Ska and Reggae elements tie with Bluegrass and Folk- topped off with a lashing of kick and energy.  To be fair, Holy Moly & the Crackers effortless switch genres: those camp-fire hoe-downs and New Orleans tributes; the string-frenzy dances and soulful serenity.  Those emotions and colours trip and blend; the energy-cum-sedate is natural- the overall effect is one of spellbind and resistance.  The Crackers- imagining themselves to be sourced from the southern states of the U.S.; a rag-tag band of players- certainly project American sounds: the old-style Blues (Woody Guthrie; Son House) and Folk legends (Joni Mitchell and Bob Dylan); via juke joint-lingering ramble; the New Orleans Jazz and Blues masters- along to the modern-day Blues-Rock bands.  Based and united in the U.K., there are some British elements; aspects of modern-day Pop and Soul- yet it is that U.S. flavor that lingers.  The band has such affection- for their influences and styles- that nothing sounds forced or faked.  The six-piece ‘Crackers have an arsenal of talent.  Their musicians- strings and trumpets; bass, drums and guitars- balance with the superb vocals- from the stunning lead of Conrad Bird to the crystalline beauty of Ruth Patterson.  There is such variety and potential; they can switch and change; bait-and-switch- mutate their compositions and style in an instance.  What is most impressive about the band- among others for sure- is that energy and passion.  The mood never slips or relents- except when focusing on love and inner-focus- and the vitality fizzles and cracks.  Their latest single both continues and changes their formula and projection- they sound more confident and alive here; more compelling and grand.  These guys are not your minor minnows; the lackluster band starting out- they have achieved a hell of a lot!  Sharing festival time with the likes of Bob Dylan; opening/warming-up for Jools Holland- they have rubbed shoulders with the greats.  It is no surprise, given their album- and the quality on their E.P., Lily– was met with such applause.  The ‘circus-sound’ element- the hoe-down and festivities; the eccentric and insatiable twirl- is not-often heard.  I hope there is a revival and upsurge: bands following in the footsteps of Holy Moly & the Crackers; thinking outside the box- bringing in/back those wonderful and evocative genre-dramas.  I love that Jazz sweep of New Orleans; the hustle-and-bustle of the old Blues masters- the charm of wide-eyed Soul.  Too many acts are sticking with the ‘safe’- and doing what everyone else is doing- and the music world is suffering.  I guess it depends on your influences/childhood music- when it comes to forming your own sounds- but there could be more bravery.  You do not have to COMPLETLEY sound like Holy Moly; just take a sprinkle here and there- the effects will be much stronger, stranger and staggering.  In concluding, I shall circle-back: come back to the opening themes; hint at the future (for the band).  Newcastle and Yorkshire; the northern regions: these places are producing music’s most inventive; bringing back older styles- and revitalising them.  Yorkshire is housing some terrific Electro.-Swing acts; some tremendous duos and Folk-based acts- unencumbered by the saturation of London; inspired by the community and support.  Although Holy Moly & the Crackers have their souls in the U.S. – sipping bourbon at a New Orleans bar- their bodies and minds are ensconced in the U.K.  It is hard to characterise and define the six-piece; drill-down to the nub- there is so much variation and depth; colour and diversity.  Essentially, the group invokes the glory of the past; inject modern pace and production- fantastic musicians and singers designed to get the place jumping.  The band’s live performances have been heralded and commended- because of the high-energy, high-octane pace- and they have a busy calendar.  Touring the U.K., it will be a busy end to 2015 for the collective; they are building-up to the sophomore L.P. – that will be exciting to see.  For now, A Punk Called Peter is a tantilising insight; a blend of sweet-leaf Ska/Reggae with some fire-side upbeat; Americana/Folk fusion and stunning lyrics- that build a wonderful story; supported by tremendous vocal work.  The band has that unity and solidity; each member backs the others: they are a democracy with no stresses; that effortlessness comes out- it all sounds like so much fun; no anxieties to be found.  Ensure you check the music out- of Holy Moly & the Crackers- and await their forthcoming material- the speculation and anticipation is high.  Those fever-pitch jams; the genre-leaping carnality: sweet-leaf and bum-rush; alcohol-entranced and Louisiana-lusting.  Music needs the Indie players and the Alternative renegades; the Pop pioneers and the Folk seducers.  The ‘less-well-known’ and off-the-mainstream genres always produce biggest intrigue: from Hip-Hop’s hard-and-heavy stylisations; the power and intensity of Hardcore and Metal; the charm and beauty of Americana- everything else that fills the gaps.  With Holy Moly & the Crackers firing on all cylinders; their music hitting ballistics to every sense- they deserve long-term regency.  Having such an impressive background- from some prestigious festival dates to spellbound praise- the band have all the momentum.  In November, they will tour with Buffalo Skinners- another band that take the less ordinary and make it extraordinary- and will hit-up some hungry towns and cities- stopping in London on the 6th.  Chances are you are not familiar with Holy Moly & the Crackers; maybe a little hesitant- knowing the sort of sounds and genres they play.  If you are a Metal fan or a lover of Punk-Rock, then do not bridle- their music (Holy Moly’s) is designed for everyone; open-armed and inviting; they want you to join the party.  The steeliest of hearts cannot resist their festivity and acrobatics: it may take a few spins; when you do finally fall for them, you are hooked and powerless.  A Punk Called Peter is one of this year’s most exhilarating tracks; a song that is like no other- take note up-and-coming bands!  In the autumn months- when the weather is indeterminate; the gloominess pulling in- we all need something rousing and smile-making.  Nobody does that more effectively than Holy Moly & the Crackers; so with that being said, do not delay and…

SHOW them your love.



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