RECORD REVIEWS APRIL-AUGUST 2015

REVIEWS APRIL 2015 >

ASIAN DUB FOUNDATION. More Signal More Noise CD (ADF Communications) Having established themselves over a decade as both an interesting studio band and invigorating live performers, ADF release their new album in another bold step forward. Merging styles and sounds from right across the cultural spectrum (indeed, based in East London, how could it be anything else ?) they integrate British, African and Asian music to create a natural result, one that embraces every influence and stands-up to welcome all that want to listen. Similarly, the lyrics make statements but not in the usual, drab political sloganeering that so many bands employ and quickly become dated-by. Their words address the people and individuals rather than the politicians and statistics. Musically, they can veer from accessible, credible dance tracks through to heavier dub-styles and even incorporate rock-style guitar riffs. Some moments (the excellent ‘Get Lost Bashar’) recall the likes of Cabaret Voltaire, while others reference the soundtracks to Seventies’ Blaxploitation movies (complete with jazz-flute !) With further projects lined-up, including live film-scores, ADF are sure to continue moving forward for a long time to come.

BODYFACE. No. CD (Bodyface) A three-piece band from New York who have been steadily building their reputation since 2008. They mix an enticing style of alternative rock, taking elements of pop-punk, grunge and metal to create a sound that can effortlessly veer between anthemic and downbeat, often within the space of one three minute song. Similar to Foo Fighters, they create a big rock production that’s never short of melodic hooks and catchy choruses. At their best, you could really imagine them holding their own alongside the likes of Bad Religion or Greenday, while in the same way as those bands, also maintaining their own character and integrity. All it would need is some airplay in the right time and place. One to listen-out for, definitely.

BLINDNESS. Wrapped in Plastic CD (Saint Marie) There’s a lot more to this album than a cursory glance would catch. A lazy review would probably just refer to the likes of My Bloody Valentine, but in actuality, the roots go much further, even as far as the likes of the Velvet Underground or Stooges in using that template of raw noise as a backdrop for deceptively simplistic tuneage. Blindness have a major advantage in this, in that the members obviously have a broad span of musical references. Guitarist Debbie Smith was in 90’s indie bands like Curve and Echobelly, but is also an aficionado of raw garage punk (Ye Nuns !) and more than able to achieve great sonic heights. Producing shards of sound alongside a mixture of insistent riffs and catchy hooks, she is backed by bass-player Emma Quick, who keeps everything anchored in place alongside the sharpest drum machine rhythms I’ve heard since Big Black. On top of all this, Beth Rettig produces remarkable, emotive vocals to provide the atmospheric narrative. As some sorta guide, imagine PJ Harvey fronting a band made up of the members of The Scientists, Rema Rema and Guided By Voices. This is a very impressive album and becomes more so with every listen. Trust me, this one needs to be heard.

BRIAN JAMES. The Guitar That Dripped Blood. CD (Easy Action) This album has such an apt title, because this is what it’s all about. A raw, shredding guitar sound that slashes through the speakers like something from a horror movie. This is probably the album that both Damned and Lords of The New Church fans have been hoping that Brian would deliver for a long time. Not that his other efforts haven’t been good, but this one turns the guitar right back up to overkill-level and the attitude comes snarling and sneering in the way that only he can do it. It’s as sleazy as the Dolls and as visceral as the Stooges, but it’s always Brian James. He’s proved over the years that he can play a variety of styles, but this is still the one he does best. Vocally, it has to be said, he’s never had the best voice for this kind of more aggressive music, but he’s struck a good balance on this album, providing a slurred, Bluesy style that does justice to the songs. The album was actually recorded with a variety of musicians, which is surprising when you hear how cohesive it is, although previous collaborator Aust Pig holds down the bass lines all the way through, which certainly helps the continuity. The most notable guest is Cheetah Chrome on the opening track, ‘Becoming A Nuisance’, and the way that the two of them play alongside each other shows why they’ve been friends for so long. In fact, there are certain songs where you could easily imagine their old cohort Stiv Bators taking over the vocals…now wouldn’t that have been a great line-up ? But in the event, this album is great enough in its’ own right and all you really need to do is play it loud !

THE BUSINESS. Back In The Day 7” (Randale) As it was released on a German label, I was a bit late finding out about this single, but it’s still warrants the review.It’s the first new material from The Business in quite a while, but it’s certainly been worth the wait. Firstly, the gatefold cover is really nicely designed and printed on high quality card, making it a rather nice looking item even before the needle hits the grooves. And the three songs more than live up to the presentation. Veering back to their street-punk roots, ‘Back in the Day’ is a lively dig at fake nostalgia, while ‘Cuts Like a Shard’ rails against the injustice of millionaire bankers who fuck-up the economy but still expect to maintain their financial power and status. Final track, ‘Here’s Johnny’, puts the X-Factor culture in its’ place, decrying phoney wannabe’s who care only for momentary celebrity rather than anything of real substance. Three great catchy tunes, lots energy and, ofcourse, a good sense of humour to prevent it becoming a self-righteous rant. This is what The Business have always done best and it’s great to hear them sounding this good. It may be a little hard to find, but if you track down a copy of this single it will certainly be worth your effort.

THE CLASSICAL. Diptych CD (TimeSensitive) This is one of those odd albums that comers along every so often. At first listen, you don’t seem so impressed but after a while, you realise that certain refrains are stuck firmly in your head and you have to hear it again. The Classical are a duo from San Francisco, Juliet Gordon on vocals and Britt Ciampra on drums. The only other accompaniment is sparse and atmospheric, which might make it seem that this is a fairly minimal effort, but in reality, Juliets’ vocals are dramatic and suggestive, recalling PJ Harvey working her way through obscure torch songs. Britts’ percussion ranges from carefully understated rhythms through to frenzied free-jazz workouts. ‘Shovel & Bevel’ is probably the best way to investigate, with expressive, intriguing lyrics and a bizarrely catchy soundtrack. Not everyone is going to like this, but I get the feeling that a lot of listeners are going to love it. It’s certainly not the sort of thing I’d usually listen to, but I’m rather impressed.

THE DESTRUCTORS. Politika 2 CD (Rowdy Farrago) The Destructors launch another diatribe against modern day politics, where the Media means more than morals. In the process, the band produce a really great album with plenty of varied styles and an enjoyable production. Punk and metal vie for space with high energy rock’n’roll, while lyrically, all of those that deserve to be a target of our disdain during the recent election are promptly nailed down. But although the album serves as a timely snapshot of the current situation, it also stands up as a more long-term commentary, basically because the nature of established politics is that very little ever really changes (apart from the individual parasites lining their own pockets…) As a result, the cover of ‘Do They Owe Us A Living’ remains just as vital now as it was when Crass first recorded it, 35 years ago. It’s a sorry state of affairs, indeed, but at least it spurs people into creative opposition, and this is a rather effective example.

DIE WRECKED. Mongrel Hordes CD (Die Rex) Leiceseter-based band playing a frantic, updated version of early 80s-style UK punk. Think of a mix between early GBH and The Restarts, perhaps. Plenty of energy and enthusiasm – ten tracks in 18 minutes, this is the only way to do it ! It’s a total DIY effort, which unfortunately means the production is a bit rough’n’ready, but there’s still plenty of twists within the otherwise relentless thrashing to keep it interesting. Fortunately, there’s a lyric booklet included as many of the vocals are difficult to catch, but the words are good, avoiding the more usual anger-punk clichés and tackling a variety of pertinent subjects. If anything, the lyrics hark back to the better releases on the Crass or Spiderleg labels, talking about politics but from a personal angle. Having played across Europe and even as far as East Asia, I really think this is a band who could well make a name for themselves here in the UK if they get around to playing more regularly. They’ve started out with a good approach and plenty of their own idea, so I hope they continue to build on it.

DOCTOR BISON. The Bloated Vegas Years CD / Dewhursts : The Musical CD (both on Boss Tuneage.) The thing I always remember about Doctor Bison is that on one occasion, Snuff supported them unannounced and named themselves ‘Nurse Antelope’ for the evening, in reference to the headliners. But that being said, these two CD collections (which gather together all of their original releases plus four previously unreleased tracks) go to show that this is a band who should be remembered just as much for their grasp of melodic, driving punk rock. Formed by Dickie Hammond (Leatherface, HDQ) and The Rev (The Abs) they put together a previously unheard-of alliance of Welsh and North Eastern talents to play a mid-paced style of punk that combined a big, chiming guitar sound with an almost Hard Rock vocal delivery that actually isn’t too far away from what the likes of Foo Fighters play these days. Combined with new sleevenotes, lyrics and photos, these CDs are a fine document of another lesser known band that more than deserve to be re-evaluated by todays’ listening public.

DR & THE CRIPPENS. Cabaret Style CD (Boss Tuneage) The third and final volume of the Boss Tuneage mission to reissue the complete output of the legendary Brit-core band, on this occasion compiling all of their singles, unreleased studio recordings (which would have formed the basis for their third album had they survived long-enough) and a complete live set recorded back in 1990. Packaged with extensive sleeve-notes, lyrics and rare photos, any fan old or new is going to need this album. As they went on, the band developed both their music and their sense of humour, becoming increasingly surreal and dramatic, although always with the frantic display that their followers loved. It would have been interesting to see how they would have progressed from this point onwards although, at the same time, it’s almost appropriate that they did split when they did and kept the legend intact. This CD has plenty to keep the legends going, whilst teasing us with the possibilities that could have been. Another fine Boss Tuneage collection !

DREADZONE. Sound CD (Dubwiser) Reissue of the classic 2001 album from the former Big Audio Dynamite rhythm section. And, as with BAD themselves, the main strength with this album is the way that it takes contemporary, underground styles and sounds, but brings them out in an accessible, pop format. Rave, dub and an energetic rock approach make it a pretty irresistible party soundtrack, recalling the livelier moments of the Madchester scene as well as revelling in a subtle undercurrent of more experimental electronic sounds. Dreadzone undeniably mixed it all up and that’s why this album still sounds remarkably fresh and vital. It hasn’t dated because it set trends rather than follow them. With contributions from the likes of Don Letts and Brinsley Forde, it’s an album that set-out to make its’ own statement, and succeeded in melding different styles as a new, cohesive set of grooves. If you didn’t hear it first time around, maybe this is a good chance to catch up.

ELMERHASSEL. Entertainment Value CD / Self Analysis CD (both on Boss Tuneage) Ipswich had a great little scene going in the late 80s / early 90s, kick-started (perhaps) by The Stupids but also with a nod back towards those earlier melodic punks, The Adicts. Alongside others like Perfect Daze / Lovejunk, Elmerhassel emerged with a consistent series of quality releases that received critical acclaim and built a good following but unfortunately never crossed over to wider audiences. In the same sorta musical territory as Senseless Things or Mega City Four, Elmerhassel produced great catchy songs that were both tuneful and drenched in loud guitars, creating an invigorating, exciting sound that would still have you humming all the way home. These two CDs bring together all of their recorded output plus a bunch of previously unreleased tracks that are much more than mere fillers. ‘Entertainment Value’ includes their first two albums, first single and compilation tracks, while ‘Self Analysis’ includes the ‘John Wark’ album, several more singles and their original demos from 1991. As you’d expect from Boss Tuneage, the CDs come with thorough sleeve notes and plenty of rare pictures. If you enjoyed them at the time, here’s a chance to do it all over again. If you’re unfamiliar with the band, but a fan of what was to become watered-down and known as ‘pop-punk’, then this could be a real treat of a discovery for you.

EVIL ACIDHEAD. In The Name of All That Is Unholy CD (Agitated ) I get the impression that someone had a lot of fun making this album ! Originally released as a cassette-only longplayer way back in 1987, Evil Acidhead is actually the solo work of John McBain, former member of Monster Magnet and Wellwater Conspiracy, letting loose on guitar noise and drone-like harmonics. Don’t expect anything as predictable as a ‘song’ ! Start from the Stooges ‘LA Blues’ but then drag it screaming through Throbbing Gristle at their harshest, with occasional howls of fuzzed-out guitars. This is Acid Rock for the most nightmarish of trips and while it isn’t easy listening by a long shot, it’s certainly got its’ own time and place where it’ll sound perfect. Not to be played in front of fragile parents !

FAITH NO MORE. Sol Invictus LP (Reclamation) Although I’d already heard and enjoyed several new tracks at recent gigs, I’ll still admit there was some degree of trepidation about FNM’s first album in nearly two decades. It would take a lot of effort from any band to meet up to the expectations that such a lengthy hiatus would inevitably create. Fortunately, though, FNM have proven themselves more than up to the challenge and, while it may take more than a few listens to fully appreciate the depth of this album, it’s something that’s happened with previous records as well and only goes to add to their long-term appeal. If, in retrospect, ‘King For A Day’ could be said to be an attempt to explore the outer fringes of the ideas set out on ‘Angel Dust’, while ‘Album Of The Year’ was a reconciliation of their strengths, then ‘Sol Invictus’ is surely the natural next step forward. It combines their previous explorations with the breadth of their individual musical experiences since their last album. There’s a noticeable emphasis on emotive arrangements, perhaps stemming from the soundtrack work that both Roddy and Patton have been involved-in, and seemingly effortless switches between the tone and the delivery of individual songs. If there’s one unifying feature, it’s probably the sense of tension that’s predominant throughout. The title track (the first time they’ve used a slower song to begin open an album) simmers menacingly, before ‘Superhero’ offers release. Elsewhere ‘Motherfucker’ builds like a vitriolic snarl, but only briefly reaches anger-pitch right at the end. But for all the differences, the traits that always made FNM a great band are still in evidence - Roddy’s sense of melody, Bill & Mikes’ solid rhythm section, Pattons’ incredible vocal range and Jon Hudsons’ perfectly complimentary guitar work (he seems to instinctively know when and where his guitar is needed, appreciating the dynamics rather than just playing the songs.) Overall, it’s not what many would have expected and it’s not likely that it’ll spawn an MTV hit, but I doubt if that was ever in their minds when they made this. If you consider that ‘The Real Thing’ was initially released to uncertain reviews, and both ‘King For A Day’ and ‘Album Of The Year’ are probably more appreciated now than they were when they originally came out, then this is true to FNM’s objective. They haven’t been content to just recap the past, as many would have been happy to do so in their position, but rather they’ve made the album that they should be making now. It will stick in your consciousness for a long time and those that appreciate FNM for the band they are, rather than just for the hits, are going to recognise it as another great album. Take you time with this record, because there’s a lot of detail and you really won’t want to miss it.

FAITH NO MORE. We Fuck A Lot LP (Discos Toro) You know when a bands’ reunion has been successful as
the bootlegs start appearing again ! Not that I’m complaining, as this (mostly) features an excellent radio broadcast recorded in Australia back in 1990. Mostly tracks from ‘The Real Thing’, but the band are clearly having fun with them. Roddy throws sound affects in to the mix almost at random, while everyone seems to be adlibbing and messing around as much as they can. It comes to a head during ‘War Pigs’ when instruments get swapped around (Patton on drums, Jim on vocal ?) Somehow, they just about get to the end of it. The final three tracks are from a UK radio broadcast, taped at a gig in Wolverhampton, 1997. Again, great sound quality, maybe the whole tape should make up another album sometime ? I’d be happy to buy it !

GOLDSMACK. Wild Season CD (goldsmackmusic.com) Italian band creating an atmospheric, slightly sinister style of rock-tinged pop. If you could imagine the Velvet Underground with contemporary production, perhaps they might sound something like this. Vocals are shared between male and female voices, the former delving into Nick Cave’s crooning affectations, while the latter suggests a cross between Nico and Shirley Manson. Overall, it has a very confident vision and a real sense of ambition, something that could easily find them success on an international scale The filmic qualities of the music hints that they could crossover to different media to get their music recognised, so there are plenty of possibilities for them. With roots in both pop, rock and psychedelia, they have a solid foundation on which to build, and it really wouldn’t surprise me to find them quite successful over the next few year.

GRAVEWORM. Engraved in Black CD / (N)utopia CD (both on Metal Mind) Reissues of albums by the Italian Black Metal outfit, recorded in 2003 and 2005 respectively. With epic productions courtesy of Andy Classen, the band manage to combine Black Metal riffs, veering from the furious to the doom-laden, with quieter more melodic moments, whilst the background is drenched with a continuous classical soundtrack, both complimenting and contrasting the bands own songs. The instrumental ‘Thorns of Desolation’ on ‘Engraved’ even includes bagpipes to great, atmospheric effect, while the cover version of REM’s ‘Losing My Religion’ is a bizarre choice that has to be heard to be believed ! The shared lead vocals, splitting between guttural gruffness and a snarling screech, certainly give the lyrics a whole new feel ! Meanwhile, ‘(N)utopia’ takes things even further, opening with the insanely twisted ‘The Machine’, that mixes choral backing vocals with frantic rhythms and even melodramatic Phantom of the Opera-style keyboards. The title track appears to be drifting into more mainstream ‘rock’, before the vocals wrench is back into their own realm. That being said, the overall pace is possibly more restrained on this album, allowing for the power of the music to come through in its’, own right rather than just pandering to the tempo. If Metal is going to be extreme, this is the way to do it – annoying your parents but still a lot of fun !

HACKNEYED. Death Prevails CD (Metal Mind) Reissue of the 2008 debut album by this German Death Metal band, made all the more remarkable by the fact that their average age was only 16 when they recorded it ! This is a very confident album, very much based in their chosen genre but with plenty of ideas and twists battling to break out. The guitars sound lethal and precise, the bass rumbles menacingly and the drums beat away at their own brutal velocity. But within this, there’s also room for moments that sound almost darkly-symphonic, and others where the riffs are clipped back into the kind of stop-start precision that you’d expect from the likes of Helmet. It’s also strangely catchy and within the onslaught, there’s plenty to keep your boots tapping. Very powerful music and, especially for a debut, incredibly accomplished.

THE HAVE-NOTS. Rock’n’Roll Weekend CD (www.havenots.jp) I was given a copy of this CD at one of the recent Replacement gigs. What I didn’t realise at the time is that the band are actually all the way from Japan, although their blend of punky rock’n’roll certainly doesn’t sound out of place in London, especially at a Mats concert. The title track opens with a fine blast of three-chord garage punk, but the rest of the album takes in lots of different styles, from the Clash-style punky reggae of ‘Too Young’ through to other moments that variously recall The Who, The Monkees and even (early) Status Quo ! The Replacements are a good reference point, though they don’t necessarily sound like them – it’s more their intent to play with different styles, tempos and lyrics. All-in-all, not a bad album at all, and I’d like to hear some more about them.

JOHNNY MOPED. Ain’t No Rock’n’Roll Rookie. 7” (Damaged Goods) Twenty five years since they last graced the world with brand new material, the Mopeds return with two new tracks that capture everything I’ve always loved about this band. Firstly, it’s loud, snotty punk rock’n’roll that bounces along with more power than a Harley. Secondly, it has that classic Moped sense of humour (although, admittedly, you’ll either get it or miss it altogether) and lastly, there’s a real adventurous spirit in what they’re recording. ‘Rock’n’Roll Rookie’ includes a great snippet of the vintage ‘1-2-Cut Yer Hair’ intro, while ‘Super Woofer’, with a riff that recalls Blondie’s ‘One Way Or Another’, has a great production that really brings out their musicianship and incorporates female backing vocals and saxophone. But, unlike the production of the ‘Search for Xerxes’ album, these new tracks have all the raw energy of their live performances and serves as a perfect taster for the upcoming album. It’s records like this that make everything worthwhile.

THE LEVELLERS. A Curious Life DVD ( OTF) I’ve never been a fan of The Levellers, but in recent years I’ve come to realise that I’d rather have bands like them out there because, basically, we’re on the same side. And I actually found myself enjoying this documentary a lot more than I expected, simply because it’s pretty entertaining and surprisingly honest. While the film is happy to illustrate the bands’ successes and achievements, it certainly doesn’t try to gloss-over their failings, which it quite refreshing. As with virtually every band, there are contradictions, ego-play, and personal faults, but despite all of this, they have continued as friends and musicians. Possibly the major factor in the films’ success is the choice of bassist Paul Cunningham as the central narrative. He comes across as a genuinely eccentric and talented artist, with a real sense of conscience (for a band that sung about the Battle of the Beanfield, Paul was the only band member who was actually involved with the traveller-movement.) In a similar way to The Clash, they obviously wanted to be successful, but they also wanted to be doing it for the right reasons, and the two things are always going to be hard to balance. At the end of the day, I think they’ve done a fairly good job of it and, while I still won’t be rushing out to buy their albums, I have no qualms about recommending this DVD. There’s plenty to keep you interested and amused even if you’re not a fan of the band and, at the end of the day, they’re still far more preferable than the shallow, materialistic crap that stagnates in the mainstream these days. By the way, for the followers, the DVD comes with loads of bonus features and an exclusive live CD.

LOS PLANTRONICS. Surfing Times CD (Jansen) This is a great album, Surf guitars and Garage fuzz mixed with Mariachi atmosphere and B-movie sensibilities. Think of Dick Dale jamming with the Sonics in Tijuana, partying on only the very best Tequila. Which is all the more remarkable when you discover this band are actually from the unlikely wilds of Norway, a country not renowned for its’ surfin’ culture or Mexicana. But it’s rock’r’roll that propels this album and Norway has a fine heritage in that field. Combining six vintage cover versions with six of their own originals, Los Plantronics create a new home for all these genres, much in the same way that Man Or Astroman did for themselves. It’s mostly an instrumental affair, with only a few vocal-tracks, although snippets of (movie ?) dialogue make themselves heard within the tracks, adding to the mystery and excitement. I even detect a possible theramin lurking here and there, while the final song, a rousing update of the classic ‘Shortnin’ Bread’ evokes the spirit of Lux & Ivy to full effect. The album is a lot of fun, I suspect the live show could be even better. In which case, let’s hope this combo make it to your town very soon !

LOVE/LESS. Hollow Faith CD (Riverjuke) This is one of those bands where I listen but can’t really figure out what they’re trying to achieve. It’s a bit like when you watch a blockbusting film where all the production and special effects, there’s not really any room for a story or the characters. This isn’t a bad record, but it comes across as so bombastic that you can’t really judge the band on their own merits. Maybe that’s what the fans want these days, but I have a nasty feeling that it will become dated within a very short space of time. Personally, I’d much rather see this band playing through second-hand amps in the back room of a pub somewhere. Then you’d have a chance of hearing what they’re really about.

MISCONDUCTERS. Boundless CD (Denfire Music) Originally formed in the UK, the Misconductors are now to be found on the other side of the Atlantic, after guitarist /vocalist Den relocated to Brazil and found a new rhythm section to continue the bands’ music. And it certainly seems to have paid-off in a very promising way. Although the production is a little unimaginative, the songs are rather good and the musicianship certainly very tight. They play a solid, metallic rock style that’s broad enough to indulge influences from thrash, punk and even some prog. It’s more Motorhead than Metallica (thankfully) and has a great driving sound, but that’s not to say it doesn’t have any subtlety. There are some great, catchy hooks in the midst of it all and, put together, it all makes total sense. Powerful and entertaining, this is a band that may well make a big name for themselves in the coming years.

MORDECAI. Valour CD (512 Records) A London-based metal band that owe as much to hardcore as the more usual metal influences. Great big riffs and a pounding rhythm section set the scene while catchy hooks and strong vocals draw you into the songs. Imagine early Cro-mags but with a distinctly British twist. They opt against guitar solo’s in favour of maintaining the driving-power of the riffs and sound all the more effective for it. The band have been steadily building their reputation over the last few years, supporting the likes of Alice in Chains, Pearl Jam etc, but from the sound of this record, they could easily find themselves headlining good-size venues in their own right. Metal with all the nonsense missed-out – this is how it ought to be !

MOTH EFFECT. Crocodilians CD (Sunstone) A really enjoyable instrumental album, by all accounts created by just one man, although his actual identity remains shrouded in mystery. Quite apt, actually, when you consider the kind of music he’s producing, which works on an almost mesmeric level, drawing the listener in to its’ tones and atmosphere with an insistent yet pleasant use of repetition, full of melodic hooks and catchy refrains. I guess the obvious reference points have to be the original Krautrock bands – Neu especially, but also certain moments from Faust (the track ‘Krautrock’ itself.) But there’s also much more to this album, in much the same way that recent bands like Stereolab and Tortoise have taken similar influences as a starting point for their own creative development. ‘Crocodilians’ is just as happy to indulge in simplistic Pop, psychedelia and space rock, as well as hints of a darker presence lurking in the outer corners. All in all, it’s an album that intrigues as much as it entertains and, by the end of the record, you’re left wondering what’s going to happen next ? One of the best modern psychedelic albums I’ve heard for a long time, unafraid to experiment as much as it is accessible. I am very impressed.

MUTINY ON THE BOUNTY. Digital Tropics CD (Small Pond) There’s a point where ‘post-rock’ and ‘prog-rock’ can become uncomfortably similar. This Luxembourg-based band seem aware of the fact and secure their position on the right side of the line. While there are obviously some prog-influences, it’s the elements of Krautrocks’ more adventurous sonic-outlook that give this album its’ focus, playing with repetitive rhythms to create both atmospherics and tension. At times, it can be surprisingly danceable, whilst elsewhere they aren’t afraid to let heavier guitar riffs make their presence felt. Melodic hooks sneak in and out of the proceedings throughout the album, ensuring that it maintains its’ accessibility even when playing with an unusual musical formats. I have to say, they chose a pretty poor name for a band, but musically this is really intriguing and enjoyable stuff.

NAI HARVEST. Hairball CD (Topshelf) Sheffield-based duo who make more than enough noise for a whole band ! Musically, they hark back towards the kind of indie-punk-pop that thrived in the late Eighties on both sides of the Atlantic, from Buffalo Tom through to the Senseless Things. Nai Harvest seem in dedicated pursuit of that fuzzed-up, raw guitar sound, with serious tuneage always at the root of every song. It’s a step-aside from the rockier aspects of Grunge, but still with enough bite to keep the audience jumping around until the final reverb has faded. The record is perhaps a little let-down by a production that doesn’t really fill the room, but that doesn’t prevent the quality of the songs from shining through. And I expect they’d be even more impressive live onstage… This is a young band who have a definite idea of where they want to be going and, if they stick with it, I can see them becoming something rather great.

ONMACHT. The Long Breath EP (Opiate) Brutal UK hardcore that takes its’ cue from the likes of early Corrosion of Conformity and perhaps some of the more aggressive releases from the Gravity label. The bass holds everything down in a glorious growling fashion, while the guitars sound surprisingly sharp in the mix. The drums pound away as if they intend to beat Hell out of the studio, although more elaborate than merely thrashing away, and the vocals give a display that would give a mere mortal respiratory failure. Lyrics and artwork are darkly critical of mankinds’ violent, warlike tendencies, putting the point across in a necessarily blunt fashion. Unfortunately, I can find little about this band apart from the fact that they’re based in Brighton, but after this EP, I really hope there will be more on its’ way from them.

PAPERNUT CAMBRIDGE. Nutlets 1967-80 CD (Gare Du Nord) Ian Button may already be familiar from his previous work with the likes of Thrashing Doves and Death in Vegas, but in recent years he’s released two albums of original material under this moniker, delving into the depths of the more intelligent Pop music of the late-Sixties / early-Seventies to create new recordings that have a timeless, classic and accessible sensibility. For their third album, they’ve gone the whole way in recording a full set of covers but carefully making them their own. The choice of songs range from artists that you might expect (T-Rex and Cockney Rebel, although not their more obvious songs...) through to wonderfully unexpected choices like Alvin Stardusts ‘Jealous Mind’ and Hot Chocolates ‘I Believe in Love’. And then there’s a few that just defy predictability, like the closing track, Mikey Dreads ‘Rockers Delight’. But somehow, they bring the songs altogether in their own singular vision and that’s the beauty of it. This sounds like a fully realised album in its’ own right and not just a collection of favourite cover versions. It’s unashamedly Pop, with enough familiarity to instantly draw you in, but also enough odd twists to keep it interesting from start to finish. It’s nostalgia, admittedly, but for a sound that’s never really gone away but rather lurks on the periphery of popular culture to this day. Only the worst kind of cynic is going to find any fault with this album.

THE PICTUREBOOKS. Imaginary Horse CD (Riding Easy) A German duo drenched in Americana, playing the sorta dirty hard-rock Blues you’d expect to be blasting out as the soundtrack to a Hells Angels encampment. Stripping everything down to just guitar, drums and vocals, they nonetheless create a big sound, although it’s decidedly not trying to be a full band – the extra space between instruments is just as vital to their overall effect and it’s that which builds their identity. Lyrically, the songs can sometimes seem to be veering towards hard rock clichés, but I think it’s possibly more of a deliberate pastiche of the kinda atmosphere generated by 60’s and 70’s pulp fiction or b-movies rather than any kind of serious intent. Overall, this has a much more gritty and genuine approach than most of the current crop of bands attempting to recreate raw blues. It’s not going to be to everyone’s taste, but I’d certainly say it’s worth your investigation.

THE POP GROUP. Versions Galore EP (Freaks R Us) It took me a long time to get in to The Pop Group. In fact, I didn’t really get it until I saw them live, but now I’m checking out both their original releases and the new ones. This EP came out a few months ago, featuring four tracks from the recent ‘Citizen Zombie’ album, remixed in a style that could possibly be referred to as ‘Industrial- Dub’. You need to hear this really loud to get the full effect, but when that bass goes through you, you’re going to know about it, while the lyrics attack contemporary problems with a finely-honed skill. It’s not going to appeal to everyone – God knows, it took me long enough to pick it up ! But if you can get in to it, this is something that will blow you away.

PUNGENT STENCH. Ampeauty CD (Metal Mind) This reissue of the Austrians’ fifth and final album (originally released in 2004) has one of those oddly disturbing cover images, one that at first glance appears unremarkable until you pay attention and notice the reality of the artwork. I won’t give it away, but you’ll know what I mean when you see it. Anyway, musically, this delves into Death Metal territory, but with a Hard Rock attitude, referencing Motorhead and Slayer alongside the likes of Tankard or The Mentors. It sets out to sound nasty, but you get the impression that there’s always a knowing smirk in the background. That’s half the fun of music like this, it rocks out and pisses off the people who want to take it seriously, but once you realise what’s going on, it can be really entertaining. Be sure to be playing it every time the Jehovah’s Witnesses come around !

REMA REMA. Entry/Exit EP (Inflammable Material) What You Could Not Visualise. EP (Le Coq Musique) I suppose it is possible that Rema Rema made some music that wasn’t great, but on the evidence of the material that is available, either on their only original EP from 1980 or on the recent archive releases, the originality and inventiveness is absolutely stunning. Although various members of Rema Rema went on to form or join bands as varied as Mass, Wolfgang Press, Renegade Soundwave, Psychic TV and Adam & The Ants, very little that they subsequently did is as exciting and full of potential as this short-lived outfit. Their strength lay in the simplicity of their music and the willingness to take the songs as far as they could go, pushing their own abilities in the process. They could be as noisy and powerful as anything at times (check the original version of ‘Rema Rema’) or as measured and tense as waiting for a bomb to go off. There are comparisons to be made with bands like the Velvet Underground and Stooges but only in terms of approach rather than sounding particularly like them. In fact, at the time, Rema Rema sounded like no-one else at all and, in may ways, that’s still the case. Others may try to sound like them, but no-one has ever really come close. I really can’t believe that it’s taken so long for an awesome track like ‘Entry/Exit’ to have be released (the original recording was rejected by one label for its’ ‘blasphemous’ lyrical content !) but the gap only goes to underline how remarkable it is. If it sounds so powerful when you hear it now, what would the effect have been back in 1979 ? It’s another of their stricter, taut rhythms that allows the instruments room to expand and the vocals to elaborate and compliment the soundtrack. Almost hypnotic, in a simultaneously disturbing and enjoyable way ! (The b-side features an instrumental mix that works just as well.) Meanwhile, ‘What You Could Not Visualise’ features recent remixes by Renegade Soundmachine (aka vocalist Gary Asquith and Takatsuna Makai) of the track ‘Rema Rema’, which still manage to capture the visceral qualities of the original whilst placing it in an entirely new situation. Personally, I can’t recommend these records enough. When something gets released 35 years after it was recorded and doesn’t sound dated at all, you should know that it’s something special.

THE SELECTER. Subculture CD (DMF) Although technically making their first appearance alongside the Specials, on the b-side of the classic ‘Gangsters’ 7”, The Selecter didn’t really come into their own until Pauline Black completed the line-up and they released their first proper single, the equally classic ‘On My Radio’. Following in the footsteps on Punk, The Selecter were now making their own path with a strong, individual female vocalist, delving into the national Pop Charts whilst maintaining their musical and lyrical vision. Unfortunately, despite establishing themselves at the forefront of the 2-Tone scene, the original band only lasted two albums before Pauline jumped-ship, leaving the bands’ reputation intact and the fans hungry for more. So it was no surprise when the band reformed to much acclaim during the Nineties and, despite various line-up changes, they’ve remained a consistently popular live band and have maintained their ongoing credibility with a succession of well-received albums, delving both into the roots of Ska and contemporary politics. 2015 finds them with another fine addition to their catalogue, with ‘Subculture’ set to please old fans and win some new ones. Ably mixed by Prince Fatty, the new album embraces both their 2-Tone heritage and Pop sensibilities, appealing to a wider audience whilst not having to pander to trends or gimmicks. Pauline Black has one of those instantly recognisable voices while musically their range has continued to grow, embracing Sixties Soul and R’n’B almost as much as Reggae and Ska. There may be only two original members, but this line-up is so authentic it hardly matters. A cover of Patti Smith’s ‘Because The Night’ is a perfect twist on the Ska tradition of claiming songs as their own, while the Rico-style brass section keep everything real and lively. This is a great album from a band that remain vital, even in their fourth decade. The Selecter are clearly still a force to be reckoned-with and, with an album as much fun as this, they deserve to be back on all the airwaves once again.

SEX PISTOLS. Dance To The Sex Pistols. LP (A Limited Amount) Supposedly limited to only 300 copies, this is a previously unreleased recording of the band live at Vaxjo Barbarellas in July 1977, during their Scandinavian tour. It’s not their best performance but you do get to hear Sid actually making an effort with his bass playing, suggesting that if all the crap hadn’t overtaken him, he may have become a pretty reasonable player. With Cook and Jones sounding really tight and Rotten focused on his delivery, this is so much better than recordings from the final US tour only six months later. Sound quality is pretty good and the cover uses a great full colour image. After so many dull repro’s and represses of material that has been around for ages, this is a really nice item.

SIBERIAN MEAT GRINDER. SMG CD (Dirty Six) I’m pretty sure this is the first metal-punk-hardcore album I’ve ever received from a Moscow-based band, and I have to say, it’s very accomplished. Firmly rooted in the late Eighties crossover scene, SMG play a furious-paced brand of hardcore, infused with metallic riffs and punk rock attitude. Good reference points would be early Suicidal Tendencies or Cro-mags, mixed with the likes of Slayer or Dark Angel. The adrenaline-levels are pushed to the limit, but the precision with which they do it is awe-inspiring. Lyrically, they are possibly more akin to New York Hardcore bands like Agnostic Front (with whom they’ve played) and it’s easy to see why they’ve been able to play alongside a wide range of bands, from Conflict and Terrorgruppe through to Slayer and Obituary. With the political situation in Russia, it’s no surprise that bands have adopted this extreme musical approach as a form of protest. But alongside that, this is a band who could easily find themselves being embraced by the international hardcore community. This may be a genre that’s already been played by many bands, but when it’s delivered as powerfully as this, it still stands out as remarkable.

SLEAFORD MODS. Key Markets CD (Harbinger) After all the attention they’ve been receiving recently, many would have Sleaford Mods to sign to a major and tone everything down for a brief run of mainstream success. But instead, they’ve chosen to stay true to their own vision, remain loyal to Harbinger Sound and produced a new album that’s just as sharp as its’ predecessors. After all, they seem to know what works best for themselves and, having built it up at their own pace, they know where to go next. Which doesn’t mean that it all might change at some point in the future, but for now, this is exactly what it is, a bluntly-spoken but astutely-observed bulletin of day-to-day life in the UK, 2015. No-one else seems to be doing this, right now, and that’s what makes Sleaford Mods so necessary. Jason’s cut-up and ranted lyrics offer some of the best lines since Mark E Smith at his best, while Andrew carefully dodges the lazy-lure of clichéd dance-beats in favour of sparser, more atmospheric rhythms, at times recalling early electronic / post-punk bands, and at other points almost veering into dub sounds. The production is more accomplished, but it’s certainly not overdone. The tracks veer between lively and bleak, while the lyrics pick out a genuinely street-smart sense of humour, choosing targets from Boris to Miliband, and casting sly digs at the likes of ‘Victoria’s not very good Secret’ (‘…they’re knickers, mate !’) Sleaford Mods have found their own voice and have plenty to say with it. They are a band that will polarise opinions and at this moment, that’s a really good thing. As a wise friend recently commented – ‘love ‘em or hate ‘em… they are needed !’

SPOILERS. Stay Afloat CD (BossTuneage) Relatively new band (although singer / guitarist Dan was previously in Southport – the band not the town…) based somewhere in Kent and blasting out this debut EP with equal parts urgency, melody and intent. This is pop-punk with the emphasis more on punk, but just as comfortable with the tunefulness of it all. Comparisons would have to be made with the likes of Snuff, a more frantic version of Mega City Four, or perhaps even Leatherface. As a debut, this really hits the spot and promises a lot of good things to come from this combo. Snap up a copy soon and be sure to catch them live as soon as you get a chance.

TEENAGE GLUESNIFFERS. Frames CD (Infested) With a name like this, you’d quite possibly be expecting a frantic Ramones-style three chord punk band and, to some extent, you’d be right. But these guys come with a twist which is best illustrated by the ‘secret’ unlisted bonus track at the end of this CD. It’s a cover of ‘Something To Believe In’, one of Dee Dee’s most under-rated songs which, alongside ‘Poison Heart’, found him writing from a more reflective, even more mature, place. Great pop songs, plenty of energy, but with real personal insight to the lyrics. Which is the point where Teenage Gluesniffers set-out, playing great catchy punk rock but with an identifiable depth to the lyrics. There are songs about relationships, isolation and difficult friendships, things that we all encounter at one time or another. That being said, it’s never sung in a morose way and the insistence of the tunes is always upbeat. They are also very intent on adding their own character to the songs and this is what really sets this album apart. You can really enjoy these songs, but you can also have something to think about later on. I’ve really enjoyed this disc and can’t recommend it enough. I don’t know how much these guys tour, but if they ever make it to London, I’ll be there !

TOWN PORTAL. The Occident CD (Small Pond) Danish band specialising in instrumental rock that blends the intricacies of the better moments of Prog-rock with the experimental spirit of recent guitar renegades – think of King Crimson being reinterpreted by early-Sonic Youth, perhaps ? Often referred to as ‘math rock’, I’d say that’s too cold a term for what Town Portal present, because there’s a real sense of life to their music. It develops naturally rather than by formula, taking its’ time perhaps, but always looking forwards. Tracks like ‘Yes Golem’ even adopt repetitive metal riffs to full effect and you could see an audience punching the air in support ! And it’s that contrast that makes this album so enjoyable. On the one hand, they’re more than willing to show off their more cerebral side, but seconds later they’ll be rocking-out like the best of them. Great stuff, it’s an album that really ought to be heard.

WARWOUND. A Huge Black Cloud CD (Boss Tuneage) Originally formed in 1982, Warwound existed for only a year but recorded three sets of demos which have been lauded over the years as a fine example of Discharge style UK hardcore. It will come as no surprise from these tracks that rhythm section Damian and Andy eventually jumped-ship to join the Varukers (which brought Warwound themselves to a grinding halt.) What sets these recordings apart from numerous other bands who have since adopted this style is that they brought further influences to the mix. At times, you can hear Bristol bands like Disorder and Chaos UK, at others the rumbling bass and drums of Motorhead and even the breakneck arrangements of early Bad Brains. Their first demo is, admittedly, a rather rough affair but shows plenty of determination and intent, while the second studio session is a much more confident affair and the third demo (which features first on the CD tracklist) really captures their power. The lyrics do date the songs (Falklands War, nuclear threat etc) but it’s a valid insight to the situation of the time. This will not be to everyone’s taste but for those who still love this brutal, sledgehammer style, this is going to be an essential purchase.

WIRE. Wire CD (Pink Flag) Wire seem intent to continue producing intriguing, enjoyable albums and even though they are instantly recognisable as a group, they have never become predictable or formulaic. After their previous album, which revisited material never properly recorded from the ‘Document & Eyewitness’ era, they have returned with a set of entirely new material that captures them at their best. It’s a well-balanced mix of brash, catchy melodies and darker, more experimental edges. The overall atmosphere switches between moods and tones in a deceptively-simplistic path, which in many ways is one of the bands’ greatest strengths. Their Pop instincts have always been just as integral as their more avant garde leanings, and that’s why they continue to be so seminal. I mean, it’s easy to be experimental and only appeal to a handful of muso’s, but to be genuinely-experimental within a potentially popular format is far more difficult. If there are any reference points for this album, I suppose you could think of ‘154’ or the ‘Snakedrill’ era, although this production has a much more lively guitar sound to it. Tracks like ‘Blogging’ and ‘Joust & Jostle’ contain some great word-play ,(although interestingly, the main lyricist, Graham Lewis, doesn’t sing any lead vocals on this album) and Either of them would make fine singles, whilst the heavier ‘Harpooned’ or the measured tension of ‘Sleepwalking’ create unsettling but compelling soundscapes. As I said, Wire have never been predictable, but they remain reliably interesting and entertaining. The quality of this album suggests that this is going to continue for some time.