Coffin Nails

The Coffin Nails are a classic UK psychobilly band that came out of Reading, England in 1985. They’re part of that second wave of British psychobilly bands that followed the early scene set by groups like The Meteors, mixing punk aggression with rockabilly rhythms and a strong dose of dark humor and horror themes. From early on, they built a reputation for being loud, energetic, and not taking themselves too seriously.

 
The band’s early lineup included Tony Szajer on vocals, Steve “Humungus” Clarke on guitar, Gra Farr on bass, and Toby “Juggy” Griffin on drums. They quickly started playing shows and supporting other psychobilly acts, which helped them get noticed around the UK scene. Juggy later went on to play with The Meteors, which also helped cement Coffin Nails’ place in psychobilly history.

 
Their debut album, 'Ein Bier Bitte', came out in 1987 on Nervous Records and is often seen as a cornerstone of their early sound. It’s raw, fast, and full of that tongue-in-cheek psychobilly attitude. Not long after, Steve “Humungus” Clarke took over lead vocals, and the band released 'A Fistful of Burgers' in 1988 on Link Records, pushing their sound in a heavier, more guitar-driven direction.

 
Through the late ’80s and ’90s, Coffin Nails released several albums and live recordings, including 'Who’s He?', 'Live & Rockin’', and 'Wreckers Yard'. Like many long-running psychobilly bands, their lineup changed over the years, especially on drums and bass, but the core sound stayed the same. They continued playing clubs and festivals across the UK and Europe, becoming regulars on the psychobilly festival circuit. 

 
In the 2000s, they were still very much active, releasing albums like 'Out For The Weekend', 'Hard As Nails', and later 'The Dead Don’t Get Older', which came out on their own Greystone Records label. That record showed they could still deliver gritty, high-energy psychobilly without losing the feel that made them popular in the first place.

 
Overall, Coffin Nails are remembered as one of those dependable, no-nonsense psychobilly bands that kept the genre alive beyond its early years. They never chased trends, stuck to what they did best, and earned a loyal following by doing exactly what psychobilly is supposed to do: sound fast, rough, and fun. If you’re into classic UK psychobilly, they’re definitely a band worth knowing. 

 

Deltas

The Deltas were a rock ’n’ roll band from London, England, who came out of the early 1980s underground scene. They originally formed as a straight-up rockabilly band, deeply inspired by 1950s rock ’n’ roll, but very quickly developed a much wilder and more aggressive sound. Because of this, they became closely associated with the emerging psychobilly movement, even though they never fully limited themselves to one label.

 
Musically, The Deltas mixed fast, frantic rockabilly with heavy blues influences and raw rock ’n’ roll energy. Their songs were loud, dirty, and intense, driven by slap bass, pounding drums, and sharp, biting guitar lines. While their roots were clearly rockabilly, they pushed things harder and faster than many of their peers, which is why psychobilly fans embraced them early on. They stood somewhere between classic rockabilly tradition and the more unhinged, rebellious sound that psychobilly would become known for. 

The original lineup featured Steve “Bongo” on vocals and drums, Captain Pat Marvel on guitar, and Little John on double bass. Over time, the band went through a few lineup changes and expansions. One notable member was Boz Boorer, who later became well known for his work with The Polecats and Morrissey. Despite changes, the band’s sound stayed fierce and unmistakable. 

Their debut album, 'Boogie Disease', released in 1981 on Nervous Records, perfectly captured their early energy and is often considered a classic of the British rockabilly revival. Later releases like 'Mad For It', 'Tuffer Than Tuff', and 'Live and Rockin’' showed the band stretching further into blues and rough rock ’n’ roll territory while keeping their manic edge intact. They also appeared on several important psychobilly and rockabilly compilations of the era, which helped spread their reputation across Europe. 

The Deltas were especially famous for their live shows, which were chaotic, sweaty, and completely over the top. They built a reputation as one of the wildest bands on the scene, often sharing stages with groups like The Meteors, Restless, and The Polecats. Even years after their peak, they’ve remained a cult favorite, respected for helping bridge the gap between traditional rockabilly and the darker, faster psychobilly sound that followed. Today, The Deltas are remembered as a key band of the early 1980s UK rockabilly and psychobilly crossover scene -never polished, never tame, but always loud, fast, and full of attitude.

 

The Highliners

The Highliners are a British rock and roll/psychobilly band. They are known for dressing in pink Dr. Martens boots, and black capes. They drive a pink van with a skeleton surfing on the roof. The Highliners were formed in London in 1984 by Luke Morgan and Chris Finch, who met while studying at the Central School of Art and Design. The band’s name was inspired by the Mk2 Ford Consuls and Zephyrs owned by its members. In 1985, Morgan, Finch, Kev “Stretch” Feeney, and drummer Tim Potter travelled to France in a pink split-screen Volkswagen bus for a three-month tour of the Riviera.

 
Before 1986, The Highliners went through several drummers. That year, Roy Williams of Nervous Records introduced Ginger Meadham, formerly of The Meteors, The Ricochets, and Guana Batz to the band. By 1987, the four-piece had secured a television residency on the Channel 4 programme "Comedy Wavelength", alongside Paul Merton and Josie Lawrence. They were later joined by Ben Blakeman, formerly of the The Cocteau Twins, on lead guitar, and frequently headlined John Curd’s psychobilly club, the Klub Foot in Hammersmith, where their pink van became a familiar landmark. The band were recorded live there on 16 January 1988 for the album 'Stomping at the Klub Foot 5', which was released two months later, in March 1988. 

 
Their final headline performance at the Klub Foot on 26 June 1988 was part of the 13-night farewell series, known as The Final Curtain, held before the demolition of the The Clarendon Hotel, Hammersmith. The Highliners achieved modest UK singles chart success with the single “Henry The Wasp”, which reached number 79 on the UK Singles Chart, and “Tell Me Things”, which peaked at number 96 in October 1988. Their debut album, 'Bound for Glory', was released in 1989 on Razor Records.

 
Rick Buckler of The Jam later replaced Ginger Meadham on drums, having previously worked with Mike Spencer on the final mix and production of the album. Buckler toured the UK and Europe with the band in 1990. Fanzines from that period featured artwork by Luke Morgan, Chris Finch, and Vaun Richards of the "Funday Times". 

 
In 2010, Ginger Meadham returned for his first performance with the band in more than 20 years at the Pineda de Mar Psychobilly Meeting in Spain. Lead vocalist Luke Morgan and Meadham, on drums, were joined by Mad Andy Kandil on guitar and Ricky Lee Sardi on bass as the band continued to tour and record. In 2019, Mark Bending, who had been part of the psychobilly scene since 1983, joined as lead guitarist. In 2024, the band’s original saxophonist, Chris Finch, rejoined, completing the current lineup. [SOURCE: WIKIPEDIA] 

 

Frantic Flintstones

Frantic Flintstones are one of the long-standing names in the UK psychobilly scene. The band was formed in 1986 in Didcot, Oxfordshire, and quickly became part of the second wave of psychobilly that followed the early influence of bands like The Meteors. Their sound blends fast, aggressive rockabilly with punk energy, slap bass, and a sense of humour that’s often weird, surreal, or slightly unhinged -very much in keeping with the genre’s spirit.

 
The band was started by vocalist Chuck Harvey, who has remained the driving force and only constant member throughout their long history. Early line-ups included guitarist Ric, bassist Clive, and drummer Toby “Jug” Griffin. They made their first real mark with the 'Bedrock!' EP in the late 1980s, which helped them gain attention on the UK underground circuit. This momentum carried into their debut album, 'A Nightmare on Nervous' (1988), released on Nervous Records, a key label for psychobilly at the time. That album is often cited as one of their classics and helped establish them as a serious presence in the scene. 

Over the years, Frantic Flintstones became known not just for their recordings but for relentless touring, especially across Europe, where psychobilly found a particularly devoted audience. Germany, in particular, became a second home for the band. Their live shows were energetic, chaotic, and loud, helping them build a loyal following that stuck with them even as musical trends changed. The band’s line-up shifted frequently, with many well-known figures from the wider psychobilly and rockabilly world passing through, including Johnny Bowler of Guana Batz and Captain Drugbuster from Demented Are Go. Bassist Gary Day, who later played with Morrissey, also spent time in the band. 

Musically, Frantic Flintstones never stuck to a single formula. While rooted in psychobilly, they experimented with different tempos, influences, and even lighter or more melodic moments, without losing their edge. This flexibility helped them stay productive for decades. By the 1990s and 2000s, they had built up a huge discography, releasing a steady stream of albums, EPs, and compilations. Records like 'Schlachthof Boogie Woogie', 'Cuttin’ a Fine Line', 'Speed Kills', and 'Champagne 4 All!' show different sides of the band while still sounding unmistakably like Frantic Flintstones. 

Even into the 2010s, the band continued releasing new material, including albums such as 'Freaked Out & Psyched Out' and the 'Lost Highway' EP. Although their live appearances became less frequent over time, their influence remained strong. A tribute album released in 2008, featuring bands from around the world covering Frantic Flintstones songs, showed just how far their impact had spread beyond the UK.

 
Today, Frantic Flintstones are widely regarded as one of the most prolific and respected psychobilly bands to come out of Britain. With decades of releases behind them and a reputation built on energy, attitude, and commitment to the scene, they’re often mentioned alongside the genre’s essential acts. If you’re digging into psychobilly history, it’s hard to avoid them -and just as hard to stop once you start listening.

 

Demented Are Go

Demented Are Go are a legendary psychobilly band from Wales who’ve been causing chaos since the early 1980s. They formed in 1982 in Penarth, near Cardiff, and quickly became one of the key bands in the second wave of psychobilly. Their sound mixes fast, aggressive punk energy with rockabilly rhythms and a heavy dose of horror, dark humor, and B-movie madness. They’re loud, messy in the best way, and completely unapologetic about it. 

The band is best known for their wild live shows and their larger-than-life frontman, Mark “Sparky” Phillips. Sparky’s intense, unhinged stage presence became a huge part of the band’s identity and helped build their cult reputation. Demented Are Go gigs were never just concerts -they were unpredictable events where anything could happen, which only added to their appeal in underground punk and psychobilly scenes across Europe and beyond. 

They made a strong impact in the mid-to-late ’80s with albums like 'In Sickness & In Health' and 'Kicked Out of Hell', which helped define what psychobilly would become after the genre’s early pioneers. Their music kept evolving but always stayed raw and frantic, driven by slapped upright bass lines, fast drums, and gritty guitars. Lyrically, they leaned into horror themes, insanity, violence, and dark comedy, often sounding both creepy and tongue-in-cheek at the same time. 

Over the years, the band went through plenty of lineup changes, personal issues, and general rock-and-roll chaos, but they never really disappeared. They kept touring, especially in Europe, and continued putting out records through the ’90s, 2000s, and 2010s. Albums like 'Orgasmic Nightmare', 'Tangenital Madness on a Pleasant Side of Hell', 'Hellucifernation', and 'Welcome Back to Insanity Hall' showed that they could age without losing their edge. 

Demented Are Go are now seen as one of the most influential and respected names in psychobilly. Tons of bands that came after them took inspiration from their sound, attitude, and complete disregard for playing it safe. Even decades later, they’re still remembered -and loved- for being loud, twisted, and totally demented in exactly the way their fans want. If you’re into psychobilly, punk, or anything with a darker, crazier vibe, they’re pretty much essential listening. 

MG 15

MG-15 were one of the earliest and most extreme hardcore punk bands to come out of southern Spain. They formed around 1982 in Nerja, near Málaga, at a time when Spanish punk was still raw, scattered, and mostly undocumented. What made MG-15 stand out immediately was how early they embraced a Discharge-influenced D-beat sound. In fact, they’re often cited as one of the first bands in Spain to fully push that style, which later fed directly into crust punk and heavier forms of hardcore.

 
Musically, MG-15 were loud, primitive, and aggressive from the start. Their early material was pure D-beat hardcore: fast, noisy, and unapologetically ugly in the best possible way. As the years went on, their sound evolved and picked up darker tones and metal influences, especially by the late 80s and early 90s, drifting into crossover and thrash territory without ever losing their punk backbone. Lyrically and visually, they leaned into bleak, confrontational themes that fit perfectly with the global hardcore underground of the time. 

Before MG-15 existed, some of the members played in a punk band called Slips Y Sperma, which already hinted at the abrasive direction they’d later take. The name MG-15 itself comes from “Mortal Gas XV,” a reference to a deadly chemical weapon, which pretty much sums up the band’s obsession with destruction, chaos, and grim imagery. Nothing about MG-15 was meant to be pretty or commercial.

 
Their earliest recordings, like the 1983 demo often referred to as 'Caos Final', are now considered landmarks of Spanish hardcore for how raw and unfiltered they were. In 1984 they released the 7” 'Derecho a la Vida' on the Italian label Attack Punk Records, a release that helped spread their name beyond Spain and into the wider European punk underground. That record, in particular, is frequently mentioned as one of the first Spanish releases to really sound like Discharge rather than just being influenced by punk in a broader sense.

 
Later releases showed how much the band was changing and experimenting. 'Holy Earth', released in 1987, leaned into a darker and heavier sound, while the 1994 LP 'Clon' pushed further into crossover and thrash metal. Even so, MG-15 never fully disappeared; they resurfaced in different forms over the years, and in 2015 a compilation called 'Los Singles 1983–2005' pulled together material from across their long, uneven history.

 
MG-15 also appeared on the influential 'Spanish HC' compilation tape in 1984, which helped introduce them to international listeners and cemented their place in hardcore history. Over time, they earned a reputation outside Spain as well, especially among collectors and fans of early D-beat and crust. Today, MG-15 are remembered less as a polished band and more as true pioneers -one of those groups that showed how extreme punk in Spain could get, long before there was any real infrastructure or scene to support it.

 

O.X. Pow

OX Pow were a Spanish rock band from Madrid active mainly between 1982 and 1987. They came out of the early 80s underground scene and are usually linked to punk, although the band themselves didn’t really like being boxed into that label. They preferred to say they played strong, fast rock, which honestly fits pretty well. Their early stuff leaned heavily toward punk and hardcore, while later recordings showed a bit more new wave influence.

 
The band was formed by a group of friends who were mostly around 18 years old when they started. The lineup was Paul on vocals and guitar, Pedro on guitar and backing vocals, Andrés on bass, and Geli on drums. Geli later became notable as one of the women who were actively involved in the Spanish punk scene, which wasn’t very common at the time.

 
OX Pow played all sorts of underground and sometimes strange venues around Madrid, fully embracing that DIY punk attitude. Musically, they were often compared to bands like Ramones, The Clash, The Damned, or Lords of the New Church, thanks to their fast tempos, sharp guitars, and raw energy. Even though they were around during the Movida Madrileña years, they were much closer to the harder punk underground than to the pop side of that movement.

 
Their recorded output was small but memorable. Early on they released a flexi-disc shared with Derribos Arias and later put out their first EP in 1983, which became their most well-known release. In the mid-80s they released another EP and a mini-LP that showed some evolution in their sound. There were also live recordings circulating among fans, mostly as bootlegs, capturing how intense they were on stage.

 
OX Pow broke up quietly in 1987 without ever becoming a mainstream band. Over time, their early records turned into collector’s items, and later reissues helped introduce them to new listeners. Today they’re remembered as an underrated band from Spain’s early punk scene, especially appreciated by people digging into the less obvious, more underground side of 80s Spanish rock.

 

Punk City

Punk City wasn’t really a “proper” long-term band, but more of a one-off punk experiment that popped up in Spain around 1984. It came together during the early Spanish punk years and was made up of musicians who were already active in other bands. The whole thing was more about having fun and messing around with classic songs than starting a serious new project.

 
The people involved were mainly from the Valencia scene. José Manuel Casañ, who would later be well known for Seguridad Social, handled vocals along with Maggie Seidler from Manía. Santi Serrano (also from Seguridad Social) played guitar, Nando Domínguez from Manía was on bass, and Víctor Royo from La Resistencia played drums. On at least one track, Emilio Doceda from Seguridad Social stepped in on bass. Basically, it was a bunch of friends from different bands getting together for a quick punk crossover.

 
Punk City only ever released one record, actually just a 7-inch single. It came out in 1984 on the Citra label. One side featured a fast, raw punk take on “Johnny B. Goode” mixed with “Road Runner,” and the other side was a punked-up cover of “Surf City,” the old Beach Boys song. That “Surf City” track is the one most people remember and is why the release is often referred to by that name. 

 
The project didn’t last long at all. After the single and at least one known live show, everyone went back to their main bands and Punk City was basically over. Because the original pressing was small, the record became a bit of a cult item among Spanish punk collectors. Years later, in 2018, it even got a limited reissue through Leningrado Records and Pachilo Records, which helped keep its reputation alive.

 
So in short, Punk City was a brief but fun punk side project from the Spanish 80s scene, with one rare single to its name and a cult following thanks to its rough, energetic take on classic rock and surf songs.

 

Esqueletos

Esqueletos were a short-lived but memorable pop and power-pop trio from Madrid, active in the early 1980s. They came out of the same buzzing underground scene that surrounded La Movida Madrileña, even if they never quite crossed over into the mainstream.

 
The band was made up of José Battaglio on guitar and vocals, Enrique Martín on bass and backing vocals, and Miguel de las Casas on drums. At the beginning they actually called themselves RPM, but since another group was already using that name, they switched to Esqueletos. 

Their sound was direct and energetic, built around jangly guitars and punchy rhythms with a clear punk edge. You can hear influences from bands like The Jam, Buzzcocks, and The Clash, mixed with that raw, enthusiastic feel that defined a lot of early-80s Spanish pop. The songs were short, catchy, and meant to be played loud rather than over-polished.

 
Esqueletos only released one official record, a 7-inch EP called 'Radio 222' in 1983 on Flush!, a sub-label of Hispavox. The title track became their best-known song and got some underground radio play at the time. The EP also included “Sólo Necesito Un Poco De Diversión” and “Intrusos En Mi Jardín,” and it has since turned up on various compilations celebrating Spanish pop from that era. 

The group didn’t last long. Like many Spanish bands of the time, they broke up when Enrique Martín and Miguel de las Casas had to leave to do their compulsory military service, which effectively brought things to a halt just as they were gaining momentum. 

After Esqueletos, José Battaglio stayed active in music, playing in bands like Los Seres Vacíos and later La Frontera, and also working as a producer and collaborator with artists such as Ana Curra. Enrique Martín later joined the band Las Ruedas.

 
Today, Esqueletos are mostly remembered by fans of early-80s Spanish pop and power-pop as one of those “cult” bands: not hugely famous, but fondly recalled for their strong songs, youthful energy, and their place in Madrid’s lively underground scene.

 

Toreros After Olé

Toreros After Olé were a short-lived but memorable punk band from Madrid, Spain, active in the early 1980s, roughly between 1982 and 1984. Even though they didn’t last long, they’ve earned a solid reputation over time as one of the early groups pushing hardcore punk in Spain, at a moment when the scene was still finding its identity.

 
Musically, they stood out for being faster, rougher, and more aggressive than many of their contemporaries. While a lot of Spanish punk back then leaned heavily on UK influences, Toreros After Olé clearly drew inspiration from American hardcore, with sharp rhythms and raw energy that felt ahead of its time for the local scene.

 
The band’s main (and basically only) official release was a 12-inch maxi single/EP from 1983, also titled 'Toreros After Olé'. Interestingly, it was recorded in Amsterdam, which was pretty unusual for a Spanish punk band at the time. The record includes a handful of intense tracks and is especially known for their punked-up version of “Porom Pom Pero,” a cheeky and aggressive twist on a very Spanish pop classic. 

 
Lineup-wise, the group consisted of Manuel “Manolo” Malou on vocals and guitar, Kike on bass, and YoYo on drums. All three were already involved in the underground scene, and after the band split, Malou in particular continued making music in other projects. 

 
There’s also some confusion about the band’s name. Early on, they may have just been called Toreros, with After Olé meant as the title of the record. But because of how the release was presented, the full name Toreros After Olé stuck and is how they’re remembered today. 

 
At the time, they didn’t get much love from the press and were even dismissed by some punk fanzines. But years later, their EP became a cult favorite, especially among collectors and fans of early hardcore. Today, they’re often mentioned in retrospectives about Spanish punk as a band that helped push things faster, louder, and a bit more extreme.