RECORD REVIEWS, JANUARY-JUNE 2019
ABUSEMENTS. Space Nazis 7” / Cheated 7” / Irritainment ! CD (all on Permanent Lifetime) I received a parcel of singles and CD from this intriguing Montgomery, Alabama–based punk band, but as the singles were released in 2017/18 and all tracks are included on the CD, I’ll just concentrate on that in this review. First thing that will grab your attention is the basic, three chord punk rock that this band blast out. It’s far too dirty and distorted to be considered ‘pop’ punk, although it does share those same Ramones-style roots. But Abusements mix it with the likes of Dead Boys and maybe even GG Allin’s early records (you know, when he used to write great tunes !) to create something really snarlin’. But it’s their lyrics that really set this band apart. Vocalist / guitarist DJ Fake Name takes responsibility for the words and subject matter, picking on unlikely but poignant subjects ranging from a wife running-off to join a black magick cult (‘Sex Cult’) through to America’s shameless employment of German scientist Werner von Braun at the end of World War 2 (‘Space Nazis’.) Elsewhere, the album tackles subjects ranging from Robert Mitchum, internet trolls and President Nixon (still an important benchmark in American politics – it’s how you compare how bad his successors have been !) It’s the kind of subject matter that you might expect from the likes of Jello Biafra, MDC or maybe even Negativland, digging into the American dream and weeding-out the worms… It’s done with a sense of humour and the snotty, sneering style of punk rock ensures that it’s a lot of fun, but it’ll also give you things to think about. This is a great album, totally DIY and totally recommended ! (www.abusements.com)
ACHE. Tired EP (rizkanrecords.bandcamp.com/album/rr32-ache-tired-ep) A self release by a band from Jakarta, Indonesia (another first for Fear & Loathing !) It’s a great set of songs, reminding me of the likes of Jawbreaker and J Church as well as a host of other bands along the way. Strong rhythm section combined with a drenching of guitars creating a wonderful wall of sound that really drives the tunes along. I won’t say it’s the most original sound I’ve ever heard, but considering where the band are based and the confidence with which they deliver their songs, you can’t fail to be impressed. These guys aren’t necessarily trying to change the world, they’re just playing the kind of music that they love. Wouldn’t you prefer that to a thousand boring careerists any day of the week ? This sounds great and, basically, why would you fault anything that spreads good music around the world ?
AGNOSTIC FRONT. The Godfathers of Hardcore (documentary) Not yet available on DVD (as I’m writing this) but I’m sure it’s only a matter of time. Whilst you’re waiting, you may be able to catch the film at various screenings or via Showtime… Either way, I’m sure you’re going to enjoy this. Directed by Ian McFarland, this film doesn’t just go for the usual, chronological style that many documentaries employ (not that there’s anything wrong with that) but instead focuses on the realities of Agnostic Front today, catching-up with mainstays Vinnie Stigma and Roger Miret both at home and on the road. In doing so, it explores their individual characters and gets behind their commitment to the band, before going back and exploring their roots. Fortunately, McFarland has been able to uncover plenty of archival footage of the band throughout their career, which in many ways speaks better than any actual narrative. But Roger and Vinnie are also both able to elaborate on the early days of the band, talking about their successes and mistakes as well as the reasons for the longevity of Agnostic Front. Along the way, they talk about the impact the band and its’ music has had on themselves and the people around them, but never in any kind of egotistical way. They’re proud of what they’ve achieved but not blinkered and are willing to accept responsibility for things that went wrong (most notably, Roger time in prison for drug offences, which he discusses openly.) Of course, there are certain things that I would have liked the film to have covered more, such as the violence they were often blamed-for in their early days (AF often spoke-out against violence at gigs, despite their aggressive lyrics and style of music) and the reasons for their subsequent part in the so-called ‘crossover’ scene. But that’s probably just me being too inquisitive and, with the amount of ground the documentary covers, I think you’ll have plenty to keep you interested. The film ends as it starts, back in the present day with Roger and Vinnie talking about the different problems they face as they and the band get older. But what really comes across is the passion they still both share for Agnostic Front. Vinnie may be a lot more vocal and outgoing, while Roger is more introverted and thoughtful, but you can see that they both continue to do this because they love it and that’s the important factor that Ian McFarland has really captured. This is the kind of film that you can enjoy even if you’re not a particular fan of the band, because the story it reveals is real and you can identify with the characters. Be sure to see it as soon as you have the opportunity.
THE ADAMSEED. Dead End Prophecies CD (Godswank) This CD arrived together with a bag of sweets. As I’m always partial to bribery (I see nothing wrong with it as long as it’s open, especially on my wages) I loved their album immediately ! (Other bands, please take note…) They also included an amusing note apologising for hassling me and suggesting that even if I didn’t like their songs, the CD would still make a good beer-mat. Add to this that a picture of the band on their facebook page has one member sporting a Joy Division t-shirt while another has Motorhead, thenwhat’s not to like ? It all makes sense to me, and in a world where nonsense makes sense, that’s important. That being said, it isn’t easy finding out much info about this band, apart from the fact that they’ve been knocking around in Portsmouth for about five years, So, down to basics… musically, this is mid-paced, melodic punk rock, played (by what I can figure out) two older blokes and a much younger drummer. Whatever happened to the generation gap ? Well, it doesn’t really matter if the noise still comes together. The songs are tight and played with both power and accessibility. The vocals are a bit more idiosyncratic but, much like Jello Biafra, once you get accustomed to them, it all works really well. I would have liked a lyric sheet included to figure things out a bit further, but that’s just me. Overall, this is a fine album and deserves to be heard by a lot of people (well, those with good taste…) You can track them down here - facebook.com/THE-ADAMSEED-33582183811/
THE AINTS Play The Saints CD (Fatal) Whenever that tiresome argument about whether Punk Rock started in London or New York rears its’ tedious head, I always like to drop the subject of The Saints into the proceedings. After all, there they were in Australia, totally independent of the UK/USA, but producing searing punk rock that was every bit as vital. The obvious conclusion being that, by the mid-Seventies, change was in the air and it was going to happen regardless of specific locations. But that doesn’t really fit in with the kind of theories expounded in numerous books, so The Saints are often overlooked in retrospect, even though their first three albums are undeniable classics. They relocated to London for a short time, but after their third album, ‘Prehistoric Sounds’, guitarist Ed Kuepper left the band to pursue other projects including the Laughing Clowns and The Aints. Singer Chris Bailey continued as The Saints with several different line-ups and, although producing some good records along the way, the quality has never been as good as that original period. Kuepper has only occasionally revisited material from those first three albums, but to celebrate the 40th anniversary of the ‘I’m Stranded’ album, he took The Aints onstage to rip through the songs once again. Kueppers’ voice is quite different to Baileys’ original sneering delivery so this is something you need to bare in mind, but musically, this is as accurate as it could be. All the original energy and all the different ideas which refused to let The Saints stay in just one place are still right there. Songs like ‘I’m Stranded’ and ‘This Perfect Day’ are as effortlessly raw and direct as anything the Ramones or Dead Boys delivered and remain true classics of the era, while tracks like ‘Know Your Product’ and ‘Swing For the Crime’ illustrate how the band were taking their ideas and energy in exciting, new directions, way ahead of the three-chord punk-pack. Even four decades later, this is music that remains essential, something that’ll wake you up even after the longest night out. My only hope is that Kuepper brings this show over to the UK, but in the meantime, buy this album and appreciate how great this music still sounds !
BC 35 VOLUME TWO CD (Bronson) A second compilation of recordings made to celebrate the 35th Anniversary of Martin Bisi’s renowned BC Studio. As with the first volume, Martin gathered together members of bands who he had worked with during that time and formed different ensembles to perform new and often improvised music. The results vary across a wide spectrum of styles but the selection process has brought together tracks that compliment each other and form a true album, rather than just a random selection of unrelated pieces. Musicians involved in these recordings include members of Swans, Sonic Youth, Alice Donut, Cop Shoot Cop, the Dresden Dolls and a rare reunion of Live Skull. Compared to the first volume, this album is generally heavier and harsher, possibly more in line with the so-called ‘New York Noise’ bands of the late Eighties. But at the same time, there is also plenty of space for Glenn Branca-style drones (‘Glass of Lunch That Name is King’) or atmospheric soundtracks (‘Rainy Day in Bern’ and ‘Bobby’s Car’.) There are also several tracks featuring the unmistakable sounds of former Swans bass player, Al Kizys (which will be a true pleasure for any fans of those early Swans albums.) With the ongoing existence of studios like BC at risk from the gentrification of areas that they originally helped to revitalise, this series of albums is an important reminder of the creativity that such places continue to nurture. You should support these releases just for that reason alone, but at the same time you’ll also be treating yourself to a really great selection of music. Do your upmost not to miss it.
BEE BEE SEA. Bee Bop Palooza 7” (Wild Honey) A great chunk of New Wave powerpop from Italy’s finest purveyors of such things. ‘BBP’ bops along in the kinda style that would set any party-dancefloor groovin’. It’s fine, it’s frisky and it’s perfect (pop.) Meanwhile, the b-side is a cover of ‘Piangi Con Me’, a classic piece of Sixties psych-pop, possibly better known when its’ lyrics were re-written in English and its’ title changed to ‘Live for Today’. Having been covered by the likes of Lords of the New Church and White Flag over the years, you know this is going to be a great song and Bee Bee Sea’s version is another fine interpretation. Yeah, this is a great pop record and if you ain’t playing it all Summer long, then you don’t deserve a record player !
BEECHWOOD. Trash Glamour CD (Alive) Having
already been highly impressed by their first two albums (‘Songs From the Land of Nod’ and ‘Inside The Flesh Hotel’) this release takes-the-time to uncover their earliest recordings. Originally available as a limited, cassette-only release, the band were only a two-piece consisting of Gordon Lawrence and Isa Tineo at the time, but certainly made-up for it with a raw delivery and an attitude that wasn’t just snotty, it was snarling ! As Gordon himself has confessed, his two favourite albums of this period were ‘Raw Power’ and ‘Exile on Main Street’, but alongside that primal rock-n’roll Beechwood were also infusing their music with the best Glam (from Roxy through to the Dolls) and the sounds of the early New York art-punk bands (Television, Voidoids etc.) The results are ten songs that really capture the bands’ initial intent, standing up against limp-dick alt-rock and taking rock’n’roll back to its’ rightful place in the bad neighborhoods. Recorded cheaply, it’s a lot more in your face than the following albums and lacks the subtleties to be found on those records, but for a comparison, it probably captures more of how they still sound live, which is a treat in itself. I’m so glad that this record has been given a proper release and I have no hesitation in recommending it to anyone who loves noisy guitars, teenage angst and great tunes. Play it loud and play it often !
already been highly impressed by their first two albums (‘Songs From the Land of Nod’ and ‘Inside The Flesh Hotel’) this release takes-the-time to uncover their earliest recordings. Originally available as a limited, cassette-only release, the band were only a two-piece consisting of Gordon Lawrence and Isa Tineo at the time, but certainly made-up for it with a raw delivery and an attitude that wasn’t just snotty, it was snarling ! As Gordon himself has confessed, his two favourite albums of this period were ‘Raw Power’ and ‘Exile on Main Street’, but alongside that primal rock-n’roll Beechwood were also infusing their music with the best Glam (from Roxy through to the Dolls) and the sounds of the early New York art-punk bands (Television, Voidoids etc.) The results are ten songs that really capture the bands’ initial intent, standing up against limp-dick alt-rock and taking rock’n’roll back to its’ rightful place in the bad neighborhoods. Recorded cheaply, it’s a lot more in your face than the following albums and lacks the subtleties to be found on those records, but for a comparison, it probably captures more of how they still sound live, which is a treat in itself. I’m so glad that this record has been given a proper release and I have no hesitation in recommending it to anyone who loves noisy guitars, teenage angst and great tunes. Play it loud and play it often !
BELLROPE. You Must Relax CD (Exile on Mainstream) This is one huge slab of noise ! Bellrope are a German quartet who go for riffs that sound like Flipper trying to teach Black Sabbath how to do things their way. It’s music that demands to be played loud and even the quieter moments seem disturbing and full of menace. The opening track ‘Hollywood 2001’ is a mix of feedback and screaming vocals that recalls early Whitehouse albums, though the remainder of the album rocks, albeit in a commendably unconventional way. Think of the Melvins or Godflesh and then really fuck it up (I mean that in a good way !) ‘TD200’ features female vocals (from Yvonne Ducksworth, ex-Jingo de Lunch, no less) but, rather than providing a softer or more-melodic counter balance, combined with the music it’s actually pretty unsettling. Final track ‘CBD’ stretches out to an almost overwhelming 18 minutes (most tracks are over 10 minutes) but you find yourself being drawn in to the soundscape and hardly notice the time going by. If you’re prepared to fully indulge yourself, you’re probably going to enjoy this.
BEXATRON. Hey You ! CD ( bexatron.com ) Debut album this London-based, trashy hard rock band. Fronted by the charismatic BeXXX, they play a musical style that blends the Seventies Glam era (New York Dolls, Runaways) with its’ Eighties’ evolution (Motley Crue, Guns & Roses.) Personally, I much-prefer the earlier incarnation and can do without the latter, but Bexatron manage to strut a fine balance between the two, with great riffs and BeXXX’s strong vocals getting their point across effectively. The production is a bit too mainstream on these recordings for my taste, especially compared to their raw, live delivery, but this is still a fine hard rock album and if this style appeals to you, then this is something that you really need to hear.
INDIANA BRADLEY. Under the Night / Red River (available via soundcloud) Two tracks from a Los Angeles based singer-songwriter who mixes rock, blues and country in a dark and dirty style, at times reminiscent of Michael Gira, Nick Cave or maybe even Lee Hazelwood. Both tracks create a real sense of atmosphere in an almost filmic way, with the music suggesting images just as much as the lyrics themselves. If these two tracks are a good indication, then a full album would be a very interesting prospect. Be sure to hear these tracks and watch out for more in the future.
THE BRIEFS. Platinum Rats LP (Damaged Goods) It’s been over 13 years since the last studio album from The Briefs, so this is a very welcome return. And I have to say, from the very first chords of ‘Bad Vibrations’, it sounds as if they’ve never been away. Everything you’d ever want from a Briefs record is still in place although, as all the individual members have been keeping themselves busy during the intervening years (Cute Lepers, Modern Action, Suspect Parts etc) it’s hardly surprising that they’re totally up to speed. Twelve tracks in just under 30 minutes – The Briefs don’t waste their time ! Packed with great songs like ‘She’s The Rat’, ‘Kids Laugh At You’, and ‘GMO Mosquito’, this has some of the bands’ best songwriting to date and if it doesn’t get you jumping up and down then you really need to get your ears checked. Of course, everything will sound even better when they play it live, so let’s hope we get the opportunity to see them onstage again before too long… In the meantime, be sure to get this album and play it loud !
CASPAR BROTZMANN MASSAKER. The Tribe CD (Southern Lord) Having been out-of-print for over twenty years, these re-mastered reissues are most certainly welcome ! Caspar Brotzmann is a German guitarist who combines hard rock, jazz, noise and atmospherics. This, his debut album, was originally released in 1988 and certainly made its’ mark. Comparisons are difficult to make because what CBM were producing still sounds unique, but you could perhaps suggest the Swans as, at times, the crushing rhythms recall some of their earlier albums and in other places the sonic textures of more recent Swans albums. Brotzmann himself was equally-influenced by the likes of Hendrix and Jimmy Page as well as the more avant garde realms of jazz (his father, Peter, is a renowned free jazz saxophonist.) Combining elements of both traditions, Caspar created his own style of sonic manipulation and placed it within the format of a power trio, allowing plenty of room for experimentation whilst ensuring the music could be as powerful as was needed. Vocals are low in the mix, almost part of the sound rather than a focal point. With so many bands currently exploring the outer-reaches of hard rock, it’s remarkable that this album still sounds so different and remains so valid. This is one that you simply have to hear.
CASPAR BROTZMANN MASSAKER. Black Axis CD (Southern Lord) One year on from their debut, CBM released ‘Black Axis’, which took the basic elements of its’ predecessor but twisted them further to create an even more dramatic album. The vocals are more prominent but, again, provide another element of the overall sonic delivery rather than the lead aspect. Although just as powerful, this album focuses more on the drama of the music, allowing the softer moments to create counterpoints to the harder sounds, whilst the rhythms often create an almost hypnotic, repetitive effect. Caspar allows this to play out to its’ full potential, often subduing his playing to give space to all three musicians. Listening to the music, it’s hard to keep track of everything that’s going on, so effective are the band as a whole. Julian Cope once said that this band ‘were the trio to end all power trios’ and hearing this album, it really wound be difficult to imagine anyone surpassing these sounds. It is hard rock, but with such an intense and open delivery that it transcends the genre. As with ‘The Tribe’, this is an album that you really need to hear and, if you can listen to it with an open mind, it will truly blow you away.
THE COLLYWOBBLES. Satelliti Fuori Orbita CD ([email protected]) One of the best Ska albums I’ve heard for a long time, even though I can’t understand the Italian vocals (so don’t expect any in-depth lyrical analysis…) But whilst the actual words may be a bit lost to me, the vocal delivery is very rhythmic and melodic, melding perfectly with the sound of the music. Two vocalists, male and female, front the band with great style, at times reminiscent of Dance Hall Crashers. The songs are mostly upbeat and very infectious, virtually guaranteed to have your foot tapping within seconds, and a full brass section maintains the sonic-drama throughout the album. These guys really know what they’re doing and I hope this record brings them to a much wider audience.
COME THE SPRING. Echoes CD (Engineer) A Brighton-based band who play a mix of alt-rock / indie-punk, full of anthemic choruses, dramatic riffs and catchy hooks. They seem to have found a fine-balance between ‘post-hardcore’ bands like Hot Water Music or The Promise Ring and the sort of ‘alternative’ arena rock of artists like Frank Turner. You could easily imagine an audience punching the air to this bands’ brand of melodic rock, but just as much going home afterwards and really thinking about the lyrics or the intent behind the music. It’s a difficult path to take, but on the strength of this album, Come The Spring seem to be doing things with credibility. I’ve always felt that it’s far more difficult to do something genuinely different within a mainstream format than to do something wilfully ‘extreme’ that will only be heard by a handful of people, but that’s what this band seem to be doing. Whether you like it or not will be down to personal taste, but I for one hope that they’re able to take their ideas even further.
CONNY OCHS. Doom Folk CD (Exile on Mainstream) Conny Ochs is a German singer-songwriter whose bleak style has been embraced by many in the underground metal scene (he’s even collaborated with Scott ‘Wino’ Weinrich of Obsessed / Saint Vitus fame.) At first listen, it may be hard to understand the connection, but it’s mostly the lyrical content that holds the key. Songs like ‘King of the Dead’, ‘Gun in the Cradle’ and ‘Hammer to Fit’ certainly have a dark approach that would appeal to the more cerebral metal fan, even though musically the songs may sound more in line with Sixties folk music. It’s certainly something intriguing and, while I won’t say it will appeal to everyone, it’s well worth investigation.
DAMIAN O’NEIL & THE MONOTONES. Refit Revise Reprise CD (Dimple Discs) Although not the major songwriter for The Undertones, (that honour going to his brother John) Damian O’Neill certainly managed to make his mark with classic tracks like ‘Family Entertainment’ and ‘More Songs About Chocolate and Girls’, as well as co-writing others like ‘My Perfect Cousin’ and ‘Mars Bars’ alongside Mickey Bradley. When you also take into account his endeavors in That Petrol Emotion, A Quiet Revolution, The Everlasting Yeah, it’s pretty clear that the man has more than enough talent to warrant a solo album and that it’ll be something truly worthwhile. Well, I’m glad to say that the results certainly live up to expectations. Delving back to uncover original influences and intentions, this LP includes re-workings of five older songs (two from the Undertones, three from That Petrol Emotion) as well as a bunch of new material. First thing to point out, though, is that the new versions are presented in quite different ways and not just included to draw-in the older fans. There’s nothing here that doesn’t deserve to be on the record or isn’t an integral part of it. It’s a complete album rather than unrelated tracks gather together, comprising moods and atmosphere just as much as great tunes. Kicking off with ‘The Love Parade’, this harks back to Damians’ original intention for the song, placing it more in the style of Sixties Garage and Psychedelic Pop rather than the more soulful (and equally wonderful) Undertones’ take. It opens up a different dimension to the song and, particularly with Damians’ vocals, makes very-much its’ own statement. ‘Sweet’n’Sour’ explores the Undertones original fondness for Glam-rock, particular T-Rex in this instance, I’d say. It stomps along at a great, danceable pace, totally infectious. ‘Gnaw Mark’ is the first of the TPE songs, slower than the original version and with a brooding atmosphere. It’s promptly followed by ‘Someone Like You’ which takes a similar pace but creates and early rock’n’roll mood (thing Gene Vincent or Eddie Cochran) with further touches of Sixties pop. ‘Everlasting Breath’, originally recorded as a demo by TPE, is more mellow, like an easy listening track produced by Angelo Badalalenti. ‘Mundanian Dream’ is a dreamy instrumental featuring twangy guitar, whilst ‘Just Wanna Be Like You’ is probably the most Undertone-like song from the new bunch, and although sounding a little restrained here you really could really imagine them claiming it as one of their own. The next track, ’Much Too late’, was released as a single by the Undertones back in 2014, but this version has a more Garage-punk feel here, somewhere between Holly Golightly and The Monks (which can only be a good thing !) ‘No Time like the Noir Time’ is another fine foot stompin’ moment, this time an instrumental and veering more towards Sixties Garage as well as hints of The Ventures. But after two of the more upbeat moments of the album, ‘Angels in Tyrconnell Street’ is the slowest, most delicate track, another instrumental that sounds like a piece from some long-lost, early Seventies soundtrack. ‘Don’t Let Me Down Now’ is the final upbeat song on the album, combining Glam and Pop with hints of Sparks (both old and recent) together with big chords and insistent hooks. The finale comes with one more TPE song, ‘Compulsion’, which ends the album on a stripped-down, almost melancholic note, but at the same time most definitely leaving you eager to hear more. This is, quite simply, a great Pop album that will please fans of any of Damians’ previous bands. Whether this continues as an ongoing project remains to be seen, but once you hear this, you’ll certainly be keeping your fingers-crossed that it works out that way !
DATURA 4. Blessed is The Boogie CD (Alive) I think it’s fair to say that this albums’ title pretty much hits the nail on the head. Hailing from Western Australia, Datura 4 are a combo that play unashamedly-authentic early 70’s style hard rock, veering more towards the likes of early AC/DC, Grand Funk railway or maybe even Deep Purple in their more straightforward moments. The songs are surprisingly catchy but always maintain a driving power that propels everything along at a totally insistent pace. Classic rhythm’n’blues (John Lee Hooker or Muddy Waters style) is the basis for what they do, but they combine it with loud amps and Gibson guitars to ensure that it hits home every time (even combining vintage garage-style keyboards on some tracks, all to great effect.) Obviously, this kind of rock will have its’ own audience, but if you’re one of the faithful, you’re gonna love this record !
DEADBEAT & CAMARA. Trinity Thirty CD (Constellation) Deadbeat and Camara are two Canadian-born artists currently based in Berlin. This album came about due to their shared love of the Cowboy Junkies LP, The Trinity Session, originally released in 1988. Intended as both a celebration and reinterpretation of those songs, this project embraces and extends particular aspects and moods from the original songs and explores them in a natural, organic way. The new style would probably best be described as electronica, but that doesn’t really do it justice. The way that traditional songs like ‘I’m so Lonesome I Could Cry’ or ‘Blue Moon’ take such a tangent from the original, whilst still remaining recognisable, is very effective indeed. The sombre tones recall the likes of Galaxie 500 or possibly the soundtrack work of Angelo Badamalenti, but while it may seem downbeat, it also has a very calming effect and is consistently enjoyable, with subtle melodies continually burrowing into your consciousness. Not being particularly familiar with the original album, it’s difficult to know what diehard fans will make of this, but regardless, this is something that deserves to be heard on its’ own merits.
DEAD FRIENDS 46. Hardcore LP (Rank’n’File) This is Californian Punk Rock that can only be described as ‘Old School’. Not that I mean it in a bad way, because this album has loads of energy and attitude, which only the most cynical soul could dismiss. Eleven songs crammed into the bare minimum of minutes, this is punk rock at its’ basic core, combining the melody of early Californian bands with the raw delivery of primal Oi bands. Indeed, a cover of the Peter & The Test-tube Babies classic ‘Banned From The Pubs’ just about sums them up… a great tune with righteously-antagonistic attitude. The pace doesn’t let-up from the first song to the last, which could become a little predictable except that Dead Friends get in and get the job done, not waiting to outstay their welcome. It isn’t the most original hardcore / punk rock you’re going to hear, but it’s played with real intent and plenty of raw power. Only a professional critic could dislike it and I hope we’re not one of them. Play it loud and blast those cobwebs away, one more time !
DEAFKIDS. Metaprogramacao CD (Neurot) It’s quite difficult to know what to say about this Brazilian band. It’s mostly instrumental (even the vocals are used more as sounds rather than narrative) and the overall approach is probably coming from a hardcore / thrash background. However, along the way Deafkids have developed a style that borders on psychedelia and freeform, albeit in a much more dark and unsettling way than you’ve ever heard before. It’s like a soundtrack to a nightmare, but one where the menace is always in the background rather than overt. The only comparisons I could make would be with the Butthole Surfers around the time of ‘Locust Abortion Technician’, when they were stretching out their sonic ideas but hadn’t yet succumbed to the more hippy-aspects of what they were doing. Much of this album was recorded live in the studio to maintain the edginess of the bands’ performance and it works really well. It’s really something you have to hear for yourself, but if you enjoy powerful music that flows naturally towards its’ own outcome, then this is something you may well enjoy
DYSNEA BOYS. I Scare Me LP (Black Lodge) Although this band are based in Berlin, only their drummer, Tom Fanore, is actually German. Guitarist Chris Frey is originally from Vancouver, bassist Dave Maule is from Scotland and, most notably, their singer is Jason Honea, who was previously vocalist for Californian band Social Unrest. This is their second album and, as you’d expect, they’ve really honed their sound on this new collection of songs. It does hark back to that mid-Eighties period when bands were evolving away from the more basic strands of punk and hardcore towards more elaborate and increasingly melodic musical styles (think of bands like Dag Nasty, Descendents, Seaweed and German bands like Jingo de Lunch…) It was no less ‘punk’ but it was a way for the musicians to stretch their abilities whilst still retaining the energy and intent of their music. This is what Dysnea Boys are also doing here, taking their punk rock roots but creating something new from them. There are hints of bands ranging from the Adolescents to Rites of Spring, and imaginative arrangements and production to really bring out the best in the songs. The lyrics are thoughtful and thought-provoking, obviously from a more-personal perspective but without dithering into ‘emo’ self-pity. This is a record that could and should appeal to a pretty broad audience, both those who enjoy the energy of older punk rock styles and those who are listening for something new from their music. Trust me, this is an album that you really need to investigate.
FRENCH BOUTIK. L’Ame de Paris CD (Heavy Soul) I wasn’t entirely sure what to expect from this album, but I’ve really enjoyed it. French Boutik are a four-piece band based in Paris who combine the spirit of French Pop (Sixties-style) with Mod sensibilities and an almost groovy soundtrack-style. Think of Burt Bacharach or Serge Gainsbourg but combine it with the likes of Graham Day, Booker T or perhaps even The Kinks in their mellower moments. The vocals are mostly delivered by Gabriela Giacoman, whose voice is both expressive and emotive, whilst the lyrics are mostly in French (which leaves me rather lost… failed O-level and all that…) although I am assured the songs deal with subjects ranging from gentrification, the shallowness of social media and even environmental issues. That being said, it’s the overall sound that matters first and foremost and the vocals sound so damn cool, you’re going to love them even if don’t understand the actual words. This is a very enjoyable album, evoking images in your head and having you dance around your room before you even realise that it’s happening. Definitely worth your investigation.
GAD WHIP. Post Internet Blues CD (Fourth Dimension) This is an interesting release (previously only available on vinyl, via X-Mist records in Germany.) The initial comparison will have to be with Sleaford Mods, as the vocals do take a similar course in terms of delivery and the lyrics adopt a very English style of rap. But musically, this is a full band using both electronic sounds alongside guitar, bass and drums. The songs are based around a mix of hard rock riffs, dub-like rhythms and experimental guitar sounds. At times, it recalls Can while in other places, it could be The Fall meandering through a nightmarish soundtrack. The lyrics are full of sly observations in a very English manner. Not as confrontational as Jason Williamson, perhaps, but certainly worth paying attention to. This would certainly be an interesting band to see live, but in the meantime, this album will give you plenty to enjoy and think about, all at the same time !
THE GALILEO 7. Too late 7” (State Records) Fronted by Allan Crockford, former member of renowned garage-mods The Prisoners and current member of Graham Day & The Forefathers, The Galileo 7 present both sides of their psych-pop agenda. The a-side is an upbeat slice of melodic energy with great female vocals that will have you grooving around your record player as soon as the first notes kick-in. The flipside, ‘The World Looks Different Today’ is a more dreamy affair, performed at a steadier pace and featuring great harmonies. Both songs will be on the upcoming album, ‘There is Only Now’, but these are different versions to those you’ll find on that platter. Combine that factor with the usual high standard packaging from State, and you know you’re going to want this record !
THE GALILEO 7. There is Only Now CD (Damaged Goods) Having been a member of such bands as The Prisoners, JTQ and the Prime Movers, Allan Crockford initially started The Galileo 7 as an occasional outlet for his own songwriting efforts. However, the quality of the music soon won over its’ own audience and, during the past decade, has seen the band establish themselves as a popular combo in their own right. With a solid line-up behind him, Crockford has really been able to expand his musical ambitions, creating some of the finest garage-rock currently available in the UK. Harking back to Sixties Pop-Art luminaries like The Creation, The (early) Who and the Pretty Things, The Galileo 7 combine instantly lovable tunes with hints of psychedelia, the directness of the Mod spirit and a wonderfully inventive approach to arrangements / production to present an album that is vibrant and immediate. There’s a real sense of urgency to this record that will draw you in and want you to share their vision of Pop perfection. There’s an almost whimsical, playful atmosphere at times, but it just adds to the overall attraction rather than becoming too overbearing. At the core of it all, the songs are always the important thing and this collection are all fine-crafted. If you want the perfect soundtrack for a lazy Summer evening, you won’t have to look much further than this.
GENTLEMAN JESSE & HIS MEN. Bryan / Hate to See You Stay 7” (Wild Honey) Jesse Smith may be better known as the bass player for Atlanta punk band The Carbonas, but his other band deserves plenty of recognition as well. Having been around for quite some time (their first single was released in 2006) they’ve continued to tour and release records on a pretty regular rate ever since. The two songs that fill-up this chunk of vinyl are both brash Sixties-infused power-pop that will have you thinking of the Flamin’ Groovies at their best, New Wave legends like The Cars or even more recent punk-poppers like Suzi y Los Quattro (that’s’ as opposed to pop-punks…) These guys obviously know what they’re doing and this single serves as a great introduction to a very enjoyable band.
ALVIN GIBBS & THE DISOBEDIENT SERVANTS. Your Disobedient Servant LP (Time and Matter) Alvin is probably best known as the long-serving bass-player for UK Subs, although during his long career he’s also played alongside the likes of Iggy Pop and Knox. This is his first solo excursion and, whilst it’s quite distinct from his regular work with the Subs, it’s certainly going to appeal to fans of that band as well. It has a harder rock sound but it never tries to get too technical and, if anything, recalls the MC5, although vocally there are no Americanisms and the songs are very much about this side of the Atlantic. ‘Heaven and the Angels’ and ‘Polemic’ take a slower, more Bluesy style but with a dirty-sound which keeps it raw. Although the tempo is mostly upbeat, there is also a lot of variety to keep your attention and Alvin’s vocals are strong and confident. In fact, on hearing this album the only thing that’s going to surprise you is that it’s taken him so long to make a record in his own name. Whatever the reasons, I think we can expect more albums in the future because this sounds like he’s really enjoying himself and I’m sure the fans are going to want to hear more.
THE GIRL FRIDAYS. The Love Witch EP (Spinout Nuggets) I love it when records like this turn up ! It’s one of the things that make all this fanzine / website malarkey worthwhile. Sadly, these days it’s usually downloads rather than good ol’ vinyl, but when you hear some great stompin’ tunes like these, all that matters is the music itself. Based in Edinburgh, this all-girl combo play noisy Sixties-style Garage punk that reeks with attitude. Think of The Dirty Burds in a head-on collision with The Headcoatees… lotsa fuzzy guitars, primitive beats and twanging reverb but always with fine, catchy tunes and lovable harmonies. The title track is perhaps the most instantly likeable, with a slightly more restrained sound and a vocal delivery that could make you think of Nancy Sinatra fronting The Standells. ‘Shake Shake’ is a more raucous affair, recalling The Cramps at their sleaziest-heights, while ‘Too Much of a Good Thing’ is probably the punkiest of the lot, with a chainsaw guitar-sound perfectly offset by the backing harmonies. Don’t expect hi-fi quality but track this down if you like your music raw. If it doesn’t make you feel happy, you don’t deserve your ears !
GORE. Revanche CD (Exile on Mainstream) Dutch band Gore were an incredibly powerful instrumental hard rock trio. Their music was all about ‘the riff’ and how much they could draw from it. Their first two albums, ‘Hart Gore’ and ‘Mean Man’s Dream’ are absolute classics that still stand out today, not just within rock or metal genres, but right across the spectrum of brutal music, be it industrial, avant garde or punk rock. In 1992, they recorded and released the album ‘Lifelong Deadline’ which, despite critical acclaim, would prove to be a disappointment for the band themselves. As they set-out on tour to perform the music live, they realised that the record had suffered from over-production and fell-flat when compared to the live experience. Gore eventually split in 1996, but the spectre of ‘Lifelong Deadline’ has obviously lingered because now, 25 years later, the band have reunited to create a new version of the album, aptly entitled ‘Revanche’. It’s not merely an updated copy of the original, but a whole new reinterpretation of the material, adding the experience they gained when playing the music live and recording it in a way that it should have sounded the first time. The results are more than worthy and certainly stand up as an album in its’ own right, never just a rehash. Hear this record and you’ll understand why Gore have maintained a strong following even 25 years after they split… and let’s hope that this project may even lead to further activity.
GRAHAM DAY & THE FOREFATHERS. Good Things CD (Damaged Goods) This is a reissue of the 2014 compilation, which has been out of print for several years and now includes three additional tracks. Graham Day and Allan Crockford had previously played together in The Prisoners and, after that bands’ demise, formed the Prime Movers in 1988 with drummer Wolf Howard. They released three albums before splitting-up in 1993, but the trio were reunited in 1999 as The Solarflares, who would release five albums before they came to an end in 2004. However, the trio were never far apart, musically, combining forces in bands such as the James Taylor Quartet, the Buff Medways and The Senior Service. They eventually got back together as The Forefathers in 2013, with the intent of presenting an overview of Graham’s songwriting from each of his former bands. ‘Good Times’ was recorded soon after the new configuration came together, capturing the musical side of things live in their rehearsal room before the vocals were finally added in appropriately one-take situations. What the track listing presents is a selection of the best songs from Graham’s career, delivered with the kind of energy and precision that would put pretty much any ‘power-trio’ to shame. The sound embraces different styles from the late Sixties, from Garage-rock through to Mod and psych, with even a few harder edges reminiscent of the Jimi Hendrix Experience. Indeed, the title track employs a riff that resembles The Stooges in full flight, even though the vocal melody then takes it somewhere else altogether. This album will give you the perfect introduction to the band and clearly show why they’re currently such a popular live band, but more importantly it illustrates what a great songwriter Graham Day has been over the past four decades. You no longer have an excuse for not catching-up !
GUNS‘N’WANKERS. Pop-Metal-Hardcore-Silly LP (Rugger Bugger ?) Soon after the original Snuff split-up in 1991, Duncan Redmonds was busy putting together a new un-named punky power trio. Initially tempted with the monicker ‘The Sad Wankers’, they eventually opted for the more commercial-sounding ‘Guns’n’Wankers’. The ploy did them no good, of course, but they were a formidable live band and released three great EP’s and one Silly 7” (the later available with some dodgy fanzine, ahem…) which have remained highly loved and respected by those who have heard them. Various albums were released in the UK, America and Japan, compiling most of the tracks from the original EPs, but this is the first time all 13 songs have been available in one place. Re-mastered and featuring loads of rare artwork and photos, this really is the best way to catch-up on a band who really should have had received more recognition while they were still together (they split after only three years when Snuff reformed…) Much like Snuff, they had plenty of musical talent but also a irreverent attitude towards themselves, never taking things too seriously whilst playing with more ability than most bands ever dream about. While fans might have wanted quirky melodic punk, GNWs were just as keen to present riff-heavy tunes that owed more to the likes of Slayer or Death Angel, before veering into anthemic punk like ‘Nervous’ and ‘Raise Your Glass’ or the sublime tuneage of ‘Sunstroke’. And whilst they didn’t delve into as many covers as Snuff had done, they could also be heard playing a thrash-version of the ‘Gillette’ advert or their own audience-participation moment ‘For Whom the Bing Bongs’ (the only punk rock song to feature a spontaneous door-bell solo…) They were great and I’m so glad that they have recently started playing live again … In the meantime, this album gives you the chance to either revisit or discover their original body of work and realise what a great band they were (and will now continue to be…) Do not miss this opportunity !
HAIL TAXI. A Little Something CD (Engineer) Hail Taxi is basically Canadian singer-songwriter Nathaniel Sutton. What sets him apart from the masses of dross currently populating this genre is that he keeps his melodies simple but is never afraid to indulge in interesting arrangements, bringing out elements of the songs that might otherwise be lost in the background. Elements of folk, Americana and even indie-rock are infused into the overall sound and conspire to keep everything intriguing. The production has a genuine warmth that, again, draws you into the music itself. I’m not a big fan of singer-songwriter stuff, but this is has a character of its’ own and is certainly worth checking out.
THE HANG-UPS. EP (Monster Zero) This is the second release from this great Swedish band, who play melodic punk rock somewhere in the middle of The Ramones, The Queers and Parasites. The songs keep it pretty straightforward, with minimum chords and catchy hooks played at maximum velocity. The vocals (sung by an Italian now based in Scandinavia, but sounding for all the world like a bratty American) are totally irresistible, the sort of voice that you can’t help but like. Dumb, but clever-dumb, if you know what I mean. Just hope this gets played at your next party and you’ll be in for a good time !
HEADACHE. Brain Pain EP (Damage Recordings) Seven new songs from this young UK band. I enjoyed their first set of recordings, but these have a much better production sound and sense of direction. The range of influences and inspiration has obviously widened in the last year and now you can hear elements of DC Punk, early Lookout bands (Operation Ivy, Crimpshrine) and various hybrids like Quicksand or At The Drive-In as well as the more obvious references (Nirvana, Bad Religion.) Headache have moved away from their initial urge to make music purely for the excitement of it to a place where they’re making music that’s also interesting, personal and individual. They have songs that will stay in your ears and have you humming all the way home, as well as lyrics that say something about how they feel. They’re not afraid to mix styles or tempos and overall, it makes it all the more insistent. There are some riffs that make me think of Killing Joke, but are then combined with vocal melodies that reference Buzzcocks. They even cover a song by The Cars with a real sense of panache ! As with any young band, there’s a certain naivety to their overall sound, but that’s part of the charm. With time, I’m sure they’re going to achieve something really special and that’s what we should be looking for. This is a band who have the right attitude and the ability to make something of it. Keep your ears open !
HEADSTICKS. Kept in the Dark CD (STP) Formed from the ashes of Cheshire-based band Tower Struck Down and Staffordshire folk-punks Jugopunch, Headsticks are a band who combine the energy and three chord simplicity of early Punk Rock with influences taken from folk, ska, reggae and maybe even pop. They’re not the first band to try such a combination but where they succeed is that they bring it all together in a natural, flowing stream. ‘Mr I’m Alright Jack’ even employs rockabilly rhythms and an appropriately-reverbed guitar-sound to get the point across (the results sound like a cross between early ‘X’ and the Dead Kennedys !) The more folk-tinged moments recall the likes of Zoundz or perhaps the mellower moments of The Mob, but again, the important thing is that it sounds organic rather than fabricated. You get the impression that the band members love all the musical styles that they cover and that’s why they can play them all. Lyrically, the songs veer more towards the protest side of things, together with Punks’ irreverent approach and again, Zoundz come to mind, although the livelier moments on this album are much more uptempo than anything Zoundz ever produced. Released in a very nice, book-style package (no unnecessary plastic !) this is something that’s obviously been put together with a lot of care. Be sure to check it out.
HEAVY RAPIDS. Paisley Pattern (www.facebook.com/heavyrapids/) I don’t like this idea of a band saying they’ve released a single when all they’ve done is made a track available online. Any idiot can do that (and when I hear some of the tracks I get sent, it’s clear that a lot of idiots have done that.) But this one-off track is actually very good so it gets a mention. A young Glasgow band with a chunky guitar sound that recalls the Wire circa 1978 and lyrics that reflect the decline of their hometown. There’s a catchy melody amid all the thrashing rhythms and plenty of energy to win you over. I hope the rest of their material lives up to this and I’ll keep my fingers-crossed that I get a chance to see them live soon.
IMPERIAL WAX. Gastwerk Saboteurs CD (Saustex) When Mark E Smith died last year, it was a great loss not only in terms of his musical exploits but also in regards to his unique character, one that can never be replicated. Just in the same way that The Cramps could never continue without Lux, or Motorhead could never continue without Lemmy, The Fall could never continue without MES. That being said, I have no problems with the other band members continuing to create their own music, as they were obviously responsible for some great sounds whilst working alongside Smith. And that’s exactly what’s happened here. Imperial Wax consist of three members of the final Fall line-up (Pete Greenway, Dave Spurr and Keiron Melling) who had all survived more than a decade in the band. Here, they’re joined by new vocalist Sam Curran, who, thankfully, goes for his own vocal style rather than just trying to replace Smith. The first thing that’s notable is that the songs a generally much more uptempo than those found on Fall albums for quite some time. Musically, there’s a definite rockabilly influence and the production allows for some great guitar noise. Actually, the one comparison that really stands out for me is with the Folk Devils, who played alongside The Fall during the mid Eighties. They were another band who took rockabilly roots but contorted them into a contemporary and very English style of their own and remain very under-rated to this day. Imperial Wax take a similar route, with a powerful, tight rhythm section whilst the guitar provides the drama and the vocals deliver poignant observations of the world around us. My only criticism is that perhaps this album is a little too long and that a more direct statement would have worked better for their debut, but maybe that’s just me. You won’t have to be a fan of The Fall to enjoy this album but at the same time, I’m sure that Fall fans will embrace it. Be sure to hear it.
JESUS FIX. Vainglorious CD (jf industries) This is a great album and I’m going to do my best to review it in a way that does it justice. The problem is, musically, this is a band who don’t sit comfortably in any particular genre and that’s going to make it difficult to get it to the people who will appreciate what the band are doing. It is a ‘rock’ album, but not in a ‘trad-rock’ way, just as much as it has a metallic sound, but isn’t necessarily ‘heavy metal’. And, I suspect, many of the influences / inspirations come from more of a punk background, even though its’ certainly not a punk rock record (at least, not in the restrictive three-chord definition that many still cling-to.) Jesus Fix create their own sound and, if pushed, I could compare them to bands like Killing Joke, 1919, possibly even The Wipers, in the way that they take the energy of punk and combine it with their own musicianship to forge something that doesn’t really sound like anyone else. The songs tend to be based around the strong rhythm section, combining a solid drum sound with powerful bass riffs to drive things along. This gives plenty of room for the guitar to add drama and accent to proceedings, but not with any kind of histrionics or ego-soloing. Instead, it all comes together as a powerful, overall sound that employs intricacies only where they’re needed. The vocals are both direct and melodic, often carrying the insistence of the songs and helping to make them more accessible, whilst clearly stating the lyrics and ensuring they’re heard. This is an album that should appeal to a pretty wide range of music fans, rock music for people who don’t necessarily like rock but still powerful and direct enough for anyone with a taste for harder sounds. I hope I’ve been able to explain myself properly – this is a great record that really deserves to be heard. Be sure to do so !
JFK. Weapon Design CD (Fourth Dimension) This is a reissue of a JFK album from mid-2018, previously only available on vinyl. Here, it includes two additional tracks, ‘Enantiodromia’ and ‘Interference 11’, both previously unreleased. This is going to appeal to fans of original Industrial music, the likes of Throbbing Gristle and SPK, although the tracks here tend to veer towards a more rhythmic foundation even though the traditional ‘bass/drums’ core isn’t really in evidence. Think of T/G tracks like ‘Persuasion’ or ‘Discipline’ to get an idea of what I’m talking about. This isn’t ‘dance’ music by any means, but you could imagine parts of it being sampled quite effectively for dance-tracks. JFK is a project propelled by Anthony Di Franco, a member of Ramleh and obviously someone who has a good understanding of how to manipulate noise to create something different and intriguing. At times it’s quite compelling and at others, down-right unsettling, but that’s exactly what I want from this kind of music. There’s no point in playing with the outer edges of sound if the results are going to be predictable. By all means produce something that flirts with acceptability but also add something that’s going to ensure the listeners do not become complacent. This album succeeds because you have no idea what’s going to happen next, but can’t wait to hear it. Do not miss it !
JOHNNY MOPED. Living in a Dreamworld 7” (Damaged Goods) In an era where we are constantly being warned of the senseless wastage of plastic, there probably isn’t a better use for it than this ! Yet another wonderful 7” single from the Mopeds and it really is a special treat. Not only do you get the wonderful new ‘Living in a Dreamworld’ on the a-side (one of the catchiest punk rock tunes they’ve released since…their last single) but on the b-side, they’ve finally given us a proper recording of their classic ‘Save The Baby Seals’, one of my personal favourites. It sounds like the Glitter Band meets the Ramones via Motorhead and comes with a plea for the safety of seal pups that’ll tug at your heart-strings ! Best single of the year ? I can’t imagine anything being any better !
JOHNNY MOPED. Getting Senseless in a Bootleg Liquor Joint CD (?) A wonderful, 75 minute recording of the Mopeds live at the 100 Club in 2018, celebrating the 40th anniversary of the ‘Cycledelic’ album. They played the entire album in full for the first half of the set and then a selection of old and new material for the next 40 minutes, ranging from ‘No One’ and ‘Hard Lovin’ Man’ through to ‘Rock’n’Roll Rookie’ and ‘Catatonic’. It was a great night and this recording captures it perfectly, both the music and the interaction with the audience. If you’ve never seen them live, this will give you an idea of what you’re missing. Limited to only 500 copies, so track it down quickly !
JOHNNY MOPED. Lurrigate Your Mind LP (Damaged Goods) There are very few musical pleasures that are better than hearing a new Johnny Moped album. Surprisingly, it’s only been three years since their last album (it had been 25 years since the one before that) and this achievement is all the more remarkable as this record features all new material. But anyone worried that the new songs aren’t going to match up to all the old classics can stop fretting right now. The Mopeds have delivered fourteen new songs that present their unique mix of rock’n’roll, punk, pop and general eccentricity in a fine fashion that every real fan is going to love to bits. Of course it’s different to ‘Cycledelic’, but after forty years it ought to be. Johnny’s voice is really strong and it sounds as if he’s enjoying himself, while the band go for an almost hard rock / boogie style at times (think early Seventies Status Quo, or more recently the likes of Turbonegro and Giuda.) For any other band, this could go horribly wrong but the Mopeds always temper their more rockist moments with flashes of psychedelic quirkiness and humour. You should never take any of this too seriously, just get down the front and enjoy it ! As recent singles ‘Catatonic’ and ‘Living in a Dreamworld’ have already shown, the band are still masters of catchy insistent tunes and this album has plenty to set-off against the harder moments. As for the lyrics, they’re as wonderfully oddball as ever (in all the best ways.) Contemplations on the fate of Shergar, the dangers of LSD and the true story of Croydon Rock City (or so they claim.) This is an album made by a band who are clearly still enjoying being themselves and making music that will their fans will love. I doubt that many would have expected that the Mopeds would be making new records in 2019, especially one that’s as much fun as this, but isn’t it great that this is exactly what they’ve done ?
LEGENDARY CHARACTERS. The Uninvited CD (Cryptic Clue) I saw this band play at the 100 Club a while ago and was pretty impressed with their performance. I reviewed the album they had at that time and, while I did enjoy it, I have to say that it didn’t really capture their live sound. This new CD is much more like it, being a great set of live recordings made between 2012-16. There are moments that make me think of Swell Maps, others that recall Sensational Alex Harvey Band and couple of riffs that could have come from the Black Sabbath catalogue ! Legendary Characters have a great mix of indie-punk sensibilities and hard rock dynamics, meaning that the music really moves whilst the melodies remain intact and the songs are constructed with thoughtful originality. In some ways, they have a similar approach to Guided By Voices, who have also never been afraid of mixing both the wistful and the rock… Complete with very English-sounding vocals, direct but almost understated at times, this is a really fine set of songs and I recommend it wholeheartedly. The CD is currently only available at the bands’ gigs, but if you don’t get a chance to track it down, the whole set can also be found on Youtube, so there’s no excuse for missing it !
LIMBS BIN. Compassion & Vision CD (Fourth Dimension) Cleveland, Ohio, has created some genuinely ground-breaking music over the years, with bands who have sought to take their music to completely new levels. Think of The Electric Eels, Rocket From The Tombs and the Dead Boys. It didn’t always work to their advantage, but they all left their mark. Limbs Bin, although musically very much set-apart from those bands, certainly embrace the same desire to see where their ideas can take them. Based closer to the ‘power-electronics’ genre, Limbs Bin do have much in common with the likes of Whitehouse or Consumer Electronics, but also combine percussion and rhythmic vocal sounds to keep the sounds moving. In some ways, there are also similarities with Wolf Eyes, although more in terms that they don’t just maintain a relentless sonic assault and instead create unsettling atmospherics that switch from moments of comparative calm electronic background through to outbursts of total cacophony. This is as far from easy-listening as it gets and the band are certainly happy to embrace it. I’m not sure that enjoyment even comes into this, but if you want drama, raw emotion and primal screams, this may be what you've been looking for.
LONESOME SHACK. Desert Dreams CD (Alive) Originally formed in Seattle, Lonesome Shack are currently based in London, which seems like an odd choice for a band who sound positively immersed in their American musical heritage. Elements of Blues, Country, folk, boogie and even a dark tinge of West Coast psychedelia run through this album as naturally as a river flows, maintaining a steady restrained tone and sense of purpose. The musicianship is really tight, with an almost syncopated approach to the way they lay down the rhythms and allow the vocals and guitar space to colour the proceedings. At times moody while at others, insistently melodic, this is an album of great songs, genuine atmosphere and the kind of potential that could easily see the band becoming very popular indeed.
LOW STANDARDS HIGH FIVES. Are We Doing the Best We Can ? CD (Engineer) You probably wouldn’t realise from hearing this album, but Low Standards High Fives are actually an Italian band. Their sound is a very accomplished mix of indie rock and the early-Nineties DC punk sound (bands like Jawbox, Shudder to Think, Lungfish etc.) If your attention span / reference points don’t go back that far, you might also want to think of more recent bands like The Promise Ring or Braid… The thing I most like about this is that they have three guitarists in the band but never settle for simply letting lose, concentrating more on atmosphere and counter-melodies rather than just riffing-out. There are noisier, more aggressive moments but the production always maintains a clarity that allows you to hear everything that’s going on. It’s a good album, one that might take a few listens to really appreciate, but it’ll be worth your time to do so.
MALA VISTA. Mala Vista 7” EP (malavista.bandcamp.com) This is a great debut release from one of the best new bands to come out of New York for a long time. Think of the raw yet melodic energy of the New Bomb Turks in their prime, but combine it with the cool swagger of the Heartbreakers, the catchiness of the Buzzcocks and the insistence of Naked Raygun. Yeah, it really is that good ! Five tracks on the vinyl version, none of them longer than 2 minutes 30 seconds, but packing so much into it that not a moment is wasted. Be sure to check this out and let’s hope we get a chance to see them live, some time soon !
MEMBRANES. What Nature Gives… Nature Takes Away LP (Cherry Red) The sound of the Membranes in 2019 is very different to the band I first encountered back in the Eighties. Back then they were a raw and raucous outburst of noisy energy, but since their original split in 1990 many things have changed. Singer John Robb went on to form Sensurround, but found much more success with his subsequent band Goldblade, who combined Rhythm & Blues, Sixties Garage and early Punk Rock sounds to create a beast all of their own. In 2009 the Membranes were invited to reform and play at an All Tomorrows Parties event. The new line-up combined original members John Robb and Nick Brown together with Goldblade alumni Rob Haynes and Pete Byrchmore, and the band have co-existed alongside Goldblade ever since. Their first new LP in over 25 years, ‘Dark Matter / Dark Energy’ was released in 2015 and garnered a highly enthusiastic response, both critically and commercially. Now, another four years down the line, they re-emerge with a new double album. First thing to note is that, with so many years and so much happening since their original incarnation, this album is quite removed from the likes of ‘Spike Milligan’s Tape Recorder’ or ‘Myths & Legends’, but so it should be ! The last thing I’d want a band like the Membranes to be doing now would be to merely rehash their former selves. That being said, there are certainly consistencies (most notably the primal bass rumble) with their original sound that will be easily identifiable as ‘membranesque’ (I bet no-one’s used that word before !) and also that the character of the band remains. But the results are also very distinct, taking into account the musical experiences of the last three decades and a much deeper pool of influences. Some songs reflect psychedelia, although in a rather dark sense, whilst others will possibly remind you of the more brooding, menacing moments of the Sensational Alex Harvey Band. There’s a lot of drama in the arrangements (particularly helped by the inclusion of a twenty-piece choir !) but instead of heading towards ‘rock opera’ territory, this remains very much about the individual songs even if a common theme (the nature of nature, no less) does run through the whole work. The band are still more than capable of getting loud and nasty when required, but here they also effortlessly switch tones, mood and atmosphere with appropriate delivery. This is an album that’s going to appeal to their original fans whilst also opening up to a much wider, and much deserved, audience. Miss it at your peril.
MILLENCOLIN. SOS CD (Epitaph) Millencolin formed in Sweden back in 1992, signing to the Burning Heart label and subsequently Epitaph within a relatively short space of time. Their sound often got them compared to the likes of Bad Religion and Green Day, although much of this was probably more to do with shared influences rather than jumping the bandwagon. The fact that they went on to achieve widespread success in their own right certainly shows that they had much more to offer than mere imitations ! This album is their ninth and their first in nearly five years, but displays all the energy and tunefulness for which they were first noticed. There are a lot of great melodies and singalong choruses, loads of enthusiasm and plenty to keep your enjoyment levels high from the first song until the last. One moment, you’ll be thinking of the Buzzcocks, the next Agent Orange and then Naked Raygun. After more than 25 years, Millencolin have more than proved their point and show no signs of getting tired or lacklustre. Play this album loud and you won’t be able to stand still for long !
MODEL ZERO. Model Zero LP (Slovenly) Featuring members of Ex-Cult and Jack Oblivians’ Sheiks, this is a scuzzy, unsettling take-on distorted, stripped-down Blues, something like how The Gun Club may have sounded if they had recorded seriously lo-fi with a steady supply of moonshine to keep the sound as dirty as it could get. And yet, there’s still more than a few fine melodies set within the barely-constrained chaos to make sure that it’s actually pretty damn catchy at the same time. All the way from Memphis, Tennessee, where they know a few things about primal beats, this is a genuinely exciting album and I’d really love to see these guys play live. Let’s hope we get that chance soon!
MORK. Det Svarte Juv CD (Peaceville) It’s hard to take a Black Metal band called ‘Mork’ seriously… I mean, where’s Mindy ? (An obvious joke, of course, but it is inevitable…) But that being said, this Norwegian band have produced one of the best albums in this genre that I’ve heard for some time. It’s incredibly powerful, whilst combining different tempos and dramatic delivery to full effect. Resulting from a dark period in the life of main man, Thomas Eriksen, the album is an incredibly emotive piece of work, combining sadness and anger with the polar opposites of personal strength and positivity to create a real turmoil of passions. Recorded entirely as a one-man, solo project, this has so much focus and directness in its’ delivery that it’s hard to believe just once person is responsible. But that’s the fact of it. The power of the material comes from the willingness to indulge in different moods and different atmospherics. Influences aren’t just derived from metal, but also from punk, hardcore and even industrial realms, adding so much to the overall effect. It’s so easy to write-off ‘metal’ as a lazy genre full of clichés and wannabes, but when you hear something like this, you realise that some people are intent on taking it to an entirely different level. Do yourself a favour and give this a listen, as it may just open up your mind to a whole new scheme of things.
MOUNT WYCHEPROOF. Is Everybody Dead Yet ? EP (https://mountwycheproof.bandcamp.com/releases) several members of this band were previously in the Brighton-based Worthy Victims who I reviewed a few issues ago. Whilst their sound has certainly moved-on from the previously DC hardcore-inspired sound, it seems like a natural progression. The intensity of bands like Rites of Spring is still there but it’s now funneled through a more frantic performance, taking more recent styles (Daughters, perhaps ?) into account. The guitar hooks are still the most insistent part of the songs, providing the melodies even though the delivery may sound heavier and more discordant. The vocals are coming from more of a hard rock perspective but again, not in a traditional sense, stating themselves with a real intent rather than just sounding retro. I’d be really intrigued to see this band live, to see if their physical performance matches up to these recordings. It’s not easy-listening, but they ma y well be worth your investigation.
NAT FREEDBERG. Better Late Than Never LP (Rum Bar) Nat Freedberg (who may also be a member of those awesome Rocque’n’Rollers, The Upper Crust) is a Boston musician who has dabbled in many bands over the years. This album, his first solo effort, is perhaps a less flamboyant delivery but it’s still a lot of fun. Rock’n’roll in a more R’n’B style (by which I mean Dr Feelgood or Hot Rods) still with great tunes, plenty of energy and more than a few musical similarities with those Upper Crust chaps to keep their fans happy. Admittedly, the pace may be a little restrained for some folks, but the production creates a real big sound and certainly fills out your stereo and whilst this album may not be drenched in the humour of The Upper Crust, the songwriting is still just as strong and enjoyable. Be sure to check this out, because it may well be something you want to hear many times.
OPPOSITION PARTY. EP ver 1.0.1 EP (oppositionparty.bandcamp.com) It’s always amazing to discover that even distant countries like Singapore have their own punk / hardcore scenes. Somehow this music, which the media of the time claimed wouldn’t last more than a year, is now into it’s fifth decade and continues to spread around the World, especially in places where taking an anti-authoritarian stance really means something. Opposition Party have actually been together since 1986, taking their original musical influences from early Eighties UK bands like Discharge and GBH but gradually adopting more extreme metallic elements along the way. This EP was originally released nearly twenty years ago but is now made available digitally for the first time together with extra tracks (in particular, an intriguing version of The Cure’s ‘Killing An Arab’ !) In many ways this should to be heard just to show how far the influence of punk rock has spread, but more importantly, this deserves to be heard because this is a band who have taken musical ideas and made them their own.
PACIFIST. Greyscale Dreams EP (pacifistindia.bandcamp.com) You would never guess that this band come from India ! Pacifist have released an EP of tracks that wouldn’t sound out of place alongside the likes of Quicksand or Helmet, with even a few hints of Fugazi in places. The vocals are powerful and insistent, while the music consists of erratic rhythms and discordant guitar sounds, somehow still maintaining intricate hooks to ensure that your attention is never lost. It just goes top show that, even living within a very different culture, many of the problems and issues that face young people are universal and can be confronted with similar musical or artistic output. I have very little information about the background of the band themselves, but this is definitely something you should investigate.
PAT TODD & THE RANK OUTSIDERS. Took a Wrong Turn 7” (Wild Honey) Rock’n’Roll at it’s purest and most raucous. Pat Todd is, of course, best known for his part in The Lazy Cowgirls, a band who impressed anyone with good taste. This new combo follow effectively in their hoof-prints, playing loud, brash rock’n’roll that recalls its’ past (the b-side is a wild, updated version of the mighty Roy Orbisons’ ‘It’s Over’) but places it very firmly in the present. If originals like Eddie Cochran and Gene Vincent were starting right now, you get the impression that this is how they would sound ! Just in the same way that The Cramps took the essence and placed it in their own time and space, that’s what The Rank Outsiders are doing. This is a record that you need to hear – track it down and be thankful that some folk out there still just want to play the music for its’ own sake !
PAWNS. Monuments of Faith EP (Inflammable Material) New York based band who play a sound that recalls the period around 1980 when punk was mutating to embrace both Anarcho and more rhythmic sounds which would now be called ‘gothic’, even though at the time it was just punk bands expanding their individual sounds. Think of bands like UK Decay, 1919 and maybe even Bauhaus. This is still music that is based around raw power but with an added notion of drama to the overall arrangements. The vocals have a baritone style that is perhaps the most ‘gothic’ aspect of the entire sound but somehow just sound right for this music. This takes ideas from the past but injects them with plenty of new twists and vitality to ensure that it sounds in its’ own place, right now.
THE PEAWEES. Dead End City CD (Rum Bar) This is a great rock’n’roll album ! The Peawees formed in Italy back in 1995 and, as well as touring all over Europe, have released five albums and plenty of singles. As soon as you hear this record, you’re going to wonder why they’re not better known… ‘Dead End City’ was their third album and was originally released in 2001, but the sound and energy are still so crisp and vital that it may as well be now. This is the first in a series of reissues by the excellent Rum Bar records and I really hope it helps to get this band the recognition that they deserve. The opening track, ‘Road to Rock’n’Roll’ blasts off like US Bombs playing the dirtiest riff from ‘Piledriver’ era Status Quo, after which the album continues at a similar pace, referencing Social Distortion and The Clash along the way. There are fine covers of ‘Boss Hog’, ‘Runaround Sue’ and ‘Proud Mary’ along the way, but while I enjoy those, it’s the Peawees own material that really rules the roost. Be sure to hear this album because none of us should be unaware of The Peawees any longer.
PELICAN. Nighttime Stories CD (Southern Lord) Based in Chicago, Pelican are a four-piece instrumental hard rock band. Some would call it ‘post-metal’, but that’s a silly term. Basically, Pelican are taking the format and developing it in new and different ways. Equal parts powerful and cerebral, this album brings dissonance, melody and even a sense of psychedelia into play, creating atmospherics that are buoyant and uplifting at one moment, and then dark and despondent the next. The overall feel is of a soundtrack being played out and, indeed, the music was instigated by the unexpected death of the bands’ close friend, Jody Minnoch. The music recalls the range of emotions and upheaval that such events cause but points towards redemption. It’s an exciting and invigorating album that deserves to be heard, even / especially if you don’t consider yourself a fan of ‘rock’ music.
PILE. Green & Gray CD (Exploding in Sound) Pile are a Boston-based band who have been around for some time (their debut album was released in 2007, although initially it was a solo-project for frontman Rick Maguire) so I’m surprised they’ve not come to my attention before now. This is a good album, at times reminiscent of Chicago bands like Slint or Gastr Del Sol, while at others playing with a harder rock edge or slacker college-rock vibe. They manage to balance the different elements really well, ensuring that nothing loses your attention and, with their tendency to suddenly burst into raucous-life after restrained intervals, guarantee to keep you on your toes. The shift of tones or tempos is sometimes highly dramatic, but it always feels right, recalling the way that Mission of Burma could effortlessly go from one end of the musical spectrum to the other so naturally. Actually, the ‘Burma comparison is more than a decent indicator of the territory that Pile inhabit and to my mind that can only be a good thing. Together with an intriguing but highly effective production, this is an album that could really appeal to a wide audience. They’ve taken a chance and stayed true to their own vision on this LP, but I can really see it paying-off for them and they certainly deserve it.
PRIMAL STATIC. The Corrupting of the Revolution EP ( www.primalstatic.com ) This is an odd mix of styles, but it comes together in a rather convincing fashion. First track ‘Velvet Crush’ starts-out like early Nine Inch Nails but brings different beats into the mix to create an almost cacophonous sense of rhythm. Second song ‘Need You So Bad’ takes things on a tangent, with less emphasis on the rhythms and more space for the vocals and guitar lines, bringing an almost Bluesy atmosphere into the proceedings. Next-up, ‘Blister Core’ is built around a simplistic riff that seems to be straining to let loose, but, in an almost Gang of Four style, it keeps itself locked into the rhythm. Final track ‘Soul Jacket’ embraces the Bluesy direction even further, although there’s still room for rhythmic breakouts. This is a very intriguing release, combining current electronic production styles with a real sense of Blues and Americana. It’s the way that they blend both things and yet still maintain their individual authenticity that makes it appealing. This EP certainly suggests that the band have got plenty of potential.
THE RATCLIFFS. Hell Mental LP (Monster Zero) Austrian band playing unapologetic Ramones-style melodic punk rock. Originally formed by main-man Paul Coyote way back in 2005, the line-up has changed several times but Mr Coyote has remained steadfast and true to his vision, delivering three previous records and eventually becoming totally proficient at the three-chord trick. It’s hard to add much more to this review because basically, you either enjoy this style of music or you don’t. If you’re one of the former, then you’re going to love this album. Personally, I think that’s the better option. If this doesn’t put a great big smile on your face, then you probably don’t serve to hear it in the first place.
RAT PATROL. Doing Just Fine CD (Highly Obscure) With a name like ‘Rat Patrol’ I was almost expecting a sound more in common with Naked Raygun but this Dutch band are a pretty different proposition. Having been together since 1988, they obviously have a broad set of influences but, as an indicator, I’d suggest late-Eighties Skate-core bands like RKL and SNFU, with perhaps a few references to older bands like The Adolescents and DI. The songs tend to be pretty fast (though never just thrashy) but always have catchy riffs or hooks and a good sense of melody, whilst the overall sound also has a harder almost metallic sound without adopting any horrible ‘heavy metal’ cliches. This is the bands’ fifth album to date and they clearly know what they’re aiming for, with a clear but powerful production that ensures the energy levels are captured to full effect. It’s great when you hear a band who are obviously still so enthusiastic about their music and have managed to stay together for so long. Any fan of Hardcore should make a point of hearing this album !
ROOM 37 – The Mysterious Death of Johnny Thunders DVD (Wienerworld) This film has already provoked controversy amongst the more devout Johnny Thunders fans, firstly as it involves an actor playing the role of the legendary guitarist and secondly because, instead of being an actual investigation into the truth behind his death, it takes the form of a dark fantasy which, whilst certainly suggesting a likely theory, also puts the character through a series of almost horror-style scenarios. I watched the film with these issues in mind but I have to say, I was actually pretty impressed. Leo Ramsey does a pretty good job trying to capture authentic mannerisms and while he doesn’t always get it right, it would be a pretty awkward job for anyone. The script involves enough genuine facts and details to keep the story convincing, whilst the more outlandish turns in the plot are treated in the kind of way someone like David Cronenberg or David Lynch might adapt an existing story. The important thing to realise is that this film doesn’t set-out to give a definitive account of what really happened, but instead, through its’ fictionalisation, attempts to give an idea of the problems that Thunders was going through as he struggled to get healthy and put his musical career back on track. At one point he talks about the untimely loss of Billy Murcia, which tries to explain that there was more behind his drug use than mere rock’n’roll burn-out, whilst in another scene he’s recognised in a local club and the euphoria of the crowd when he joins a band onstage reflects the genuine admiration so many held for his talent. Overall, I’d say that this film portrays Thunders in a pretty sympathetic manner, attempting to explain his character rather than just sensationalise it and the final suggestion is that he was probably robbed and possibly beaten-up before his death. Whatever the truth (he was also suffering from leukemia) we’re unlikely to ever know for certain as the New Orleans police promptly closed the case as a simple overdose, even though an autopsy didn’t find fatal amounts of any drug in his body. As I said, this film doesn’t set-out to be a definitive statement but I think it treats the subject respectfully and, while I’m sure the more diehard purists will still be unimpressed, I think it’s well worth seeing.
SLOVENIANS. Al Dente CD (Pogo Records) Despite the name, this is actually a band from Belgium who have been playing since 2012. The name seems to be humorous and the lyrics certainly don’t seem to imply anything else. Musically, they play a great mix of melodic punk rock, pop and rock’n’roll, recalling the best moments of New Bomb Turks, SNFU and RKL. It’s a frantic blend of punk rock, with plenty of energy but never lacking a tune in its’ heart. This album was originally recorded in 2017 but its’ release was put on hold when the bands’ original guitarist, Sinkesh Kristofik, died in a tragic accident. Fortunately for us, the band eventually decided to continue and the album is now being released. It’s a fitting tribute to their fallen comrade but, more importantly for us, a great album in its’ own right. Be sure to hear it !
DAVE SMALLEY & THE BANDOLEROS. Join The Outsiders LP (Little Rocket) Any fan of Dave Smalley’s previous musical exploits (in particular Dag Nasty and Down By Law) is going to love this album. The Bandoleros are a Spanish band who have previously accompanied Dave on his ‘solo’ tours in Europe (two of them have also temped in Down By Law.) With an obvious camaraderie between all parties concerned, the idea of them recording some new material together was always going to be on the table, but geographical considerations (Dave in USA, the others in Spain) seemed to put up a barrier. But with technology being what it is these days, it wasn’t an insurmountable problem and both ideas and recordings were bounced backwards and forwards across the Atlantic. The band came up with the musical input while Dave supplied most of the lyrics (all apart from one, which was scribed by guitarist Marcelo Pesoa) and the results have come together in such a solid fashion that, if I hadn’t just told you, you’d be surprised to know that they weren’t all working together in one place on this set of songs. The production is really powerful, the songs are very direct and the performances are right on the money. In fact, I’d have to say that this is one of Dave’s best set of vocals for some time ! Musically, it probably veers more towards early Dag Nasty than Down By Law, with a harder overall sound, but it also never lacks the more melodic influences that were always an intricate part of Down By Law’s output. The band actually made it over to the UK for a few (under-advertised) gigs earlier this year and despite the low attendances, still blasted out some great sets. Now that the album is becoming a bit more widely known, I just hope that they get to come back over again at some point soon. This is a really great album and it deserves to be heard !
SON OF THE MOURNING. Eulogy CD (Engineer) Son of the Mourning originally emerged in Manchester around ten years ago, releasing a CD of their own material alongside a split-release with American band My Shining One. The releases were enthusiastically received within the ‘metalcore’ scene and the band were soon supporting the likes of Converge and Beecher. The next step was to record a full-length album, but during this process, they fell apart. Now, a decade later, former guitarist / singer Gavin Brady has completed the original recordings and mixed them for this release. I’m sure it’s still going to go down well with their original fans as well as appealing to new listeners who may never have caught the band back at the time. The parts I enjoy are the harder riffs and belligerent vocal styles, occasionally recalling the likes of Dillinger Escape Plan or Killswitch Engage as well as hints of early Slayer and maybe even Suicidal Tendencies. There are some moments when the guitar solo’s go far too trad-metal for me, but I guess the kids will still love it. No idea of whether the band intend to get back together to support this release, but on the strength of these recordings I’m sure there would be a demand for it.
SPEAR OF DESTINY. The Albums 1983-85 CD Boxset (Cherry Red) Spear of Destiny was formed by Kirk Brandon and Stan Stammers following the demise of Theatre of Hate and in many ways followed on as a pretty natural progression. Indeed, many of the songs featured on their first album, ‘Grapes of Wrath’ had originally been written for Theatre of Hate, but not completed before the split. Although the production was perhaps a little more orthodox, the band still maintained their individuality and, as such, much of their previous following remained loyal to the new band. Their debut album certainly made its’ own mark, but it would be their second LP, ‘One Eyed Jacks’ that really brought them across to a much wider audience. The production gave the band an even bigger sound with an almost cinematic atmosphere, which perfectly matched the anthemic tone of the new songs. The lyrics reflected the political turmoil of the UK at the time without sounding like mere sloganeering whilst the music presented a much more accessible style that gave the band chart success without losing their credibility. This album also featured what remains, perhaps, their best single ‘Liberator’ which took the raw energy of Theatre of Hate but pushed it in a whole new direction. The third album in this set, ‘World Service’, was also their third in as many years which, along with the extensive touring they were doing, was a pretty impressive feat. Again, there was another step towards a more accessible production style although the songs themselves still remained distinctive. The album reached the Top Twenty in the UK, but internal problems also led to it being the last made by the original line-up (Stammers left in 1986.) Although later albums also achieved considerable success, it is probably these three that remain the fans’ favourites and certainly formed the basis of the bands’ sound. Hearing them again after many years, they still sound remarkably fresh and haven’t dated as badly as many albums from that period. In this set, each album is complimented with additional tracks from their accompanying singles and there’s also a full-colour booklet featuring original artwork and an interview with Kirk Brandon. Admittedly, this will mostly appeal to existing fans but if you aren’t so familiar with the band, this is also a great way to investigate. I’d be very surprised if you don’t find something to enjoy.
SPLIT/CROSS. Rise of Discontent EP (https://splitcross.bandcamp.com/album/rise-of-discontent) Extreme hardcore that veers between slow, sludgy grindcore and faster, (early) Corrosion of Conformity-style assault. Eight tracks based around insistent riffs and interspersed with evocative recordings of appropriate dialogue. Although the sheer power of the tracks is undeniable, it’s the imaginative arrangements that really have greatest effect. Instead of just thrashing-out, the band allow for slower tempos and the tension that they create, as well as the aforementioned tapes (inevitably more legible than the actual vocals, pointing towards the bands’ intent.) At times I’ll be thinking of early Carcass, at others recalling Infest, but never to any obvious or predictable degree. For extreme music to work effectively, it has to have plenty of originality and this is an EP that certainly achieves that. Certainly not for the weak-hearted, but if you appreciate raw emotion, this is a record you ought to her.
SV AND THE ERUPTIONS. Double Bastard CD (Avenue) Having not been a fan of Dirt Box Disco (they always seemed to be concentrating on their wacky image rather than concentrating on the music) I was a bit wary of this band featuring their guitarist and drummer. That being said, this combo have actually been operating for a while and this is their fourth album, meaning it’s certainly not just a side-project. In fact, the songs here are much better than anything I’ve heard by DBD and I have to say, I’m rather impressed. Perhaps that owes something to the fact that my thoughts about DBD had prejudiced my anticipations, but this album is full of great, snappy punk rock tunes. SV (thankfully shortened from ‘Spunk Volcano’) is obviously a fine songwriter and deserves the recognition away from the more-contrived weirdness of DBD. This is an album that could easily achieve that. The songs contain influences that range from classic punk rock of all eras (the Damned, Ramones, Cockney Rejects, Peter & the Test Tube Babies) through to loud rock’n’roll (Motorhead, Kiss) and even Glam / powerpop (Cheap Trick, Sweet.) There’s lots of energy, catchy tunes, singalong choruses, great riffs and plenty to keep the party going. I’m not so sure about the lyrical content as the promo I received didn’t include a lyric sheet, but nothing seems intentionally offensive. I’m still not sure if I’d want to see them live (it might spoil my new-found faith) but this is a pretty fine album and I’m surprised to be saying so. If you’re already a fan, you’ll love it, and if like me you weren’t convinced, be sure to give this a listen because you might be in for a kick in the eye !
STIV : No Compromise, No Regrets DVD (Wienerworld) Stiv Bators was one of the truly great frontmen that emerged in the mid-Seventies, providing exactly the kind of performance that was required to live up to the loud, snotty delivery of the Dead Boys. They were perhaps the truest ‘Punk Rock’ band to make a name for themselves within the CBGB’s scene and their performances were guaranteed to keep then burned into the memory of anyone who saw them. But Stiv’s story goes back much further. Inspired by the likes of Alice Cooper and Iggy Pop, he was already fronting a band called Mother Goose in the Cleveland, Ohio area in his own confrontational style all the way back to 1970. This band continued until 1974 by which time his future bandmates Cheetah Chrome and Johnny Blitz were involved in Clevelands’ legendary Rocket From The Tombs. Stiv briefly joined them just before their demise, but from that association the three formed a new band was formed called Frankenstein which would eventually evolve into the Dead Boys. Their incendiary performances together with Stiv’s drive to get the band the exposure they deserved led to them moving to New York, being managed by Hilly Krystal and signing to Sire Records. The debut album, ‘Young, Loud and Snotty’ was released in 1977 and became an instant classic (despite the recordings originally being intended as demos) and they soon developed a following in the UK as well as the States. But their second LP, ‘We Have Come For Your Children’, suffered from a poor, unsympathetic production and was one of the major factors that led to their split a short-time later. Bators subsequently recorded a solo album for Bomp records which adopted a more Sixties-style, powerpop sound, before fronting a shortlived band called The Wanderers, featuring three former members of Sham 69. When that folded, he and Dave Tregunna joined forces with original Damned member Brian James to form Lords of the New Church who would continue for the next ten years and producing three albums that remain sadly-underrated to this day. They had great songs, great lyrics (Stiv split the subject between classic rock’n’roll lore and conspiracy theories) and were an amazing live band. However, their image and antics failed to endear them to the music press and they never achieved the kind of success or acknowledgement that they should have had. By the time of their acrimonious split, Stiv was living in Paris and he attempted to form a new band with Johnny Thunders and Dee Dee Ramone. Although an exciting idea from a musical point of view, these volatile characters were a recipe for disaster and the project never got off the ground. Stiv continued to make plans for further music but sadly, he died in 1990 following injuries sustained after being hit by a taxi. It was a ridiculously unremarkable end to such a larger-than-life figure and in many ways contributed to the way he has been omitted from many retrospectives of the musical scene that he had helped to create. Thankfully, this documentary is here to set the record straight as best it can. Featuring a wealth of rare footage, it traces Stiv’s career all the way back to his first bands, Mother Goose and Frankenstein (including some amazing footage) as well as covering the story of the Dead Boys, the ‘Disconnected’ solo album, The Wanderers, Lords of the New Church and his final years. Told through a succession of interviews with people who either worked-with or knew Stiv during those periods of time, it does a good job of providing an idea of the man himself rather than just highlights of his public antics. There are a few people missing from the film – Cheetah Chrome, Johnny Blitz, Brian James – whose contributions would have made it even better and I’m sure there must’ve been archive interviews with Stiv himself that would have been enlightening, but even with those omissions, this is still a film that really has to be seen. It manages to set the record straight in terms of Stivs’ place in punk / rock’n’roll history and gives an indication of what a dynamic, no-holds-barred performer he really was. If you can’t appreciate this story… you ain’t no punk !
SUICIDE. Five Films by Marc Hurtado DVD (Wienerworld) For fans awaiting a thorough retrospective documentary recounting the story of New Yorks’ legendary synth-punk duo, this release may not prove to be exactly what they were expecting. But at the same time, let me assure you that it will not be a disappointment. Instead of trying to retell their story, Marc Hurtado (a French artist who has collaborated with the likes of Lydia Lunch and Z’ev, as well as recording an album with Alan Vega) creates a vibrant portrait of the band in their later years, between 2007 and 2016. Combining live footage with private moments and studio sessions with gallery exhibitions, it helps to give a sense of the continuous motivation that possessed both Vega and Martin Rev. Theirs was a vision that had to be realised, whether musically or through visual Art. That fact that they influenced so much (their music pre-dated so much electronic music, from Pop through to Industrial, while their confrontational performances also pre-empted Punk and No Wave) and still continues to do so is validation that their ideas transcended both Art and Rock’n’Roll. They may not have had the commercial success that others claimed in their wake, but I doubt if that was ever their true aim. Suicide were a duo who made their music because they had to do it, as if their lives depended on it. This DVD features one full-length film, Infinite Dreamers, about Suicide, as well as four short pieces that concentrate on aspects of Alan Vega’s life and Art. It’s the combination of those two things that really delves into the heart of Suicide. What they did was part of their lives and their lives ultimately became the Art itself. But don’t take this in a pretentious, calculated way, because at the core of it, Suicide still rocked. It was music to enjoy, even if it was enjoyment like nothing you’d ever heard before. I’d still love to see a documentary that gives us the historical details, but what this release gives you a glimpse of why Suicide did what they did. This is what you really need to know.
DANIEL TOMPKINS. Castles CD (Kscope) Tompkins is best known as lead singer of British prog-metallers TesseracT, but this is his first solo outing. I can’t really comment on how much it varies from his regular band as I’m not too familiar with them, but this album veers more into the kind of territory once honed by Nine Inch Nails and more recently by Gary Numan. It’s powerful and atmospheric, but also has the ability to switch moods and tempo when necessary. The dramatic vocals maintain the melodic hooks, ensuring your attention is kept throughout. As an exercise in combining electronics, metal and prog this works well because it also has a really accessible quality and while it does delve into ‘gothic’ territory at times, it always remains entertaining rather than indulgent. Not really knowing what to expect, I actually enjoyed this !
TORPEDOES. Black Museum LP (Bin Liner) The Bin Liner label is best known for its’ ‘Bored Teenagers’ series of compilations, documenting obscure punk rock recordings from the late Seventies. So this release isn’t exactly something that you’d expect from them, but all the more power to them for releasing it. Although very contemporary, this album resonates with the Punk Rock spirit and I defy anyone to play it loud and not think so. The difference with this band is that they’re obviously not teenagers, they’ve been together for a while (since 2002, I believe) and have a better grasp of how to present themselves. Which is how it should be. Basic three chord punk rock can be one of the most exciting things in the world, but not when you know a band are capable of much more. Fortunately, Torpedoes seem to agree with this premise and have really stretched themselves to create an interesting and enjoyable album. It begins with ‘Song For Europe’, a deceptively slow and moody track which seems to suggest Manic Street Preachers territory (there are further hints of this throughout the album, although it’s certainly not an overbearing element) before ‘Gas Chamber’ takes off like a raw, upbeat Nirvana. Incidentally, on first glimpse some of the song titles might sound a little suspect (there’s another called ‘Master Race’) but when you read the lyrics, there certainly seems to be no dodgy politics involved…) Anyway, back to the music and the next song, ‘White Feather’, recalls The Skids during their second and third album era, combining energy with imaginative arrangements. As the album continues, it seems to cover lyrical themes both personal and with a broader perspective, whilst the mood of the music changes to reflect the subject matter. They clearly have a punk rock background, but as I said above, they take it to another level, stretching their abilities to create something new. Think of bands like The Damned, The Adverts or even Bauhaus, the Banshees and, for that matter Faith No More, and the way they all found ways to channel their raw power in different directions after their initial inception. The final (unlisted) song of the ‘album’, ‘Thank You’ even steals into distinctly Beatles territory, but not in any cheesy kind of way. This is a band who are more than happy to invite any interesting influence into their sound and it becomes more and more apparent with every listen to this record. If you’re passionate about the music you listen to, then you’ll recognise the intent and emotions behind this band and embrace them. It’s something special. Available either on double-vinyl or CD, the final five tracks come from the bands’ previously released singles and, as such, probably sound a lot more upbeat and direct. That’s not to say that there’s any loss of quality, but this gives you a much better idea of how the band sound in limited confines. It’s still just as exciting and creative. The more I listen to this record, the more I enjoy it. This deserves to be heard by a wide audience and the band deserve credit for their efforts. Track this record down as soon as you can !
TRAVIS PIKE’S TEA PARTY / LEO SOTO Y SU CONJUNTA. Split 7” (Mousetrap) This is a real treat for fans of the finest, obscure Sixties Beat classics. If you’ve been paying attention, you should already know about Travis Pike from the interview I included quite recently (if you missed it, go back to the home-page and check it out now !) This single has been released in a limited amount to celebrate the 28th Anniversary of the Mousetrap Club-nights and features a reissue of the A-side of the highly-collectable original 1968 single ‘If I Didn’t Love You Girl’, which is a great slice of moody Sixties Beat music with slightly psychedelic pip tinges. The other side of this disc features a great track called ‘Caballo Psicodelica’ by Leo Soto, who I have very little information about. It’s obviously from a Latin-American background, featuring Spanish lyrics and one of the great musical screams I’ve ever heard. Perhaps if you could imagine the track ‘Tequila’ being reinterpreted by Question Mark & the Mysterians at their wildest, you’ll get an idea ? I love this kind of single – you get to hear two great tracks that you’ve probably never heard before and you’ll soon be wanting to find out all about them. The only let-down is that there’s no picture sleeve, but when the sounds are as good as this, I can live with that. Track a copy down while you still can - www.newuntouchables.com
TREP. Lucian EP www.facebook.com/trepband Welsh band mixing different metal styles in an inventive yet accessible way. There are certainly elements of classic rock, particularly in the vocal range, but they also involve more unusual riffs and rhythms to ensure that nothing becomes predictable. The guitar and bass drive everything along with occasional flourishes while that sharp drum sound is snapping at their heels on every song, making sure that the pace maintains its’ momentum. Part of an intended series of releases relating an almost sci-fi tale of the near future, this is an interesting and ambitious band who may well be attracting a much wider audience very soon.
TRIGGER CUT. Buster LP (triggercut1.bandcamp.com/releases) This is the debut album from Trigger Cut, a three piece band from Stuttgart. Their sound is very hard and rhythmic, taking their cues from the likes of Cop Shoot Cop, (early) Shellac and perhaps even Jesus Lizard. It’s full of catchy hooks that draw you into the music, even if the delivery itself is gloriously brutal. The production really captures the energy and vitriol of their sound and ensures an exhilarating experience. I can only imagine, if this is how they sound in the studio, what they must be like live onstage. This is definitely a band that need further investigation.
UBIQUITOUS MEH ! SouthWay Gothic CD (ubiquitousmeh.bandcamp.com) If you could think of The Residents collaborating with Suicide, then you’ll have some idea of what this album sounds like. Electronic-based but with plenty of catchy hooks and intriguing vocals, it steadily builds its’ own character by using minimalist sounds to full effect. The songs vary between slower, moodier moments and more upbeat and even danceable tracks (well, in a kind of lo-fi, post-punk fashion…) It’s not going to appeal to everyone, but if you enjoy music that’s interesting and fun at the same time, this may well be for you.
THE VENUS FLY TRAP. Mars CD (Glass Modern) This band originally formed in Northampton during that late Eighties and have been releasing their music on a semi-regular basis ever since. This CD is a re-mastered version of their debut album, first released in 1988, and as such presents an accurate snapshot of their initial intent. Formed by Alex Novak (ex-Religious Overdose, Attrition etc) the line-up has frequently changed over the years, although the musical progression has continued to evolve on a natural path. It’s easy to place an album like this into a genre which didn’t even exist at the time it was made (Dark Wave, Gothic etc) but the Venus Fly Trap had roots which came from a much broader range than any mere category can accredit. Certainly, the darker edges of punk rock played a part (Joy Division, Bauhaus, early Death in June) but you can also detect the likes of the Only Ones, Velvet Underground and The Doors. As much as the atmosphere plays on the moodier elements, the reason that this works is that the band are also quite capable of infusing catchy, melodic hooks into their sound, keeping things surprisingly simple but always very enticing. The album received a positive critical response when originally released in 1988, although I suspect it received its’ best reaction outside of the UK. In retrospect, it still sounds highly intriguing and it really is something that’s worth checking out, either in hindsight or for the very first time.
WEATHERSTATE. Born a Cynic CD (Failure By Design) It’s all too easy to write-off the indie-punk scene of recent years, but then you’ll come across a band like this who take that melodic style and just do it so damn well that you have to admit, they’re really rather good. Admittedly they do refer back to plenty of those American pop-punkers who made names for themselves back in the late Nineties, but when their songs are also infused with plenty of their own ideas and character, you’d certainly be a bit of a foolish old grump to ignore them. All delivered with lots of energy and a great production-sound, this is a fine record and you really ought to hear it.
WHITE DOG. Sydney Limits CD (Agitated) White Dog are, as the album title suggests, a Sydney-based hardcore band who mange to deliver 16 songs in just over 27 minutes on this, their debut album. Their sound is probably most similar to early Washington DC hardcore, or even early Blag Flag / Negative Approach, combining frantic drumming with abrasive vocals and a brutal guitar sound, but where they differ is in their wanton embrace of feedback and distortion, in some ways recalling noisier, less-structured bands like Pissed Jeans. They’re also not averse to inserting samples of people swearing or dogs barking, both adding to the overall disturbed quality of the sonic onslaught. I’d be really intrigued to see what this band are like onstage as I expect it could be something really special. But whilst we await the Northern Line extension down to Sydney, be sure to hear this album and be sure that it’s played loud !
WOODSTOCK DIARY 1969 – FRIDAY, SATURDAY, SUNDAY. DVD (Wienerworld) Although the whole subject of Woodstock Festival became a source for derision during the Punk era of the late Seventies, this was more down to what it came to represent rather than the event itself. There’s no doubting the underground and cultural impact the festival had and, in retrospect, there was also a lot of music that really didn’t fit-in with the whole apathetic, drugged-out hippy image that many imagine it to have been. This documentary, weighing-in at over three hours running time, intersperses live footage of the bands and performers with interviews and behind-the-scenes clips that tell the story of how everything came together. The ‘business’ side of things was actually surprisingly naïve, expecting no more than 50,000 people and leaving preparations of the site itself until far too late. As a result, the stage was still being constructed as a crowd of nearly 500,000 arrived and the security fencing had to be abandoned, effectively turning it into a free festival by default. The music eventually kicked-off on the first day with a mix of folkie, bluesy and hippy-drippy types, but among this you also had some really interesting stuff, from the anti-establishment entertainment of Country Joe McDonald to a surprisingly enthralling performance by Ravi Shankar. Headlining that night was Joan Baez, a set made all the more poignant by the fact that her husband, activist David Harris, had recently been sent to jail for his involvement inAnti-Vietnam War protests. The second day had a much more interesting line-up, including powerful sets from the likes of Canned Heat and Santana (I enjoyed the footage of these bands much more than I’d expected I would) and a truly amazing set by Sly & The Family Stone with their psychedelic mix of Soul, Funk and Rock’n’Roll. Janis Joplin gave one of her incredible vocal performances (think somewhere in between James Brown and Little Richard) whilst The Who were at the height of their powers, with Keith Moon and Pete Townsend beating their instruments into submission, possibly to take the attention away from Daltrey’s embarrassing fringed jacket… Finally, Jefferson Airplane delivered their blend of West Coast psychedelic pop-rock, culminating in a magnificent version of ‘White Rabbit’. Things somehow held together for the final day, despite a sudden torrential downpour that threatened to end everything prematurely and the lack of facilities really beginning to take its’ toll. But again, the music came together and, despite bands like Crosby, Stills and Nash, Sha Na Na and The Band sounding horribly sedate to these ears, I have to say that Country Joe & the Fish, Ten Years After and Paul Butterfield come across really well. However, it’s always going to be the headlining set from Jimi Hendrix that will always be the outstanding moment of the event. Three songs are included here – ‘Star-Spangled Banner’, ‘Woodstock Improvisation’ and ‘Villanova Junction’, with Hendrix’ sounding as amazing as he ever was. Whilst many of the lesser performers at Woodstock were intent on recalling what music had been in the preceding years, Hendrix was showing what music could still be and that, on its’ own, is almost reason enough to watch this documentary. But the fact is this is something that should be seen because it gives you an idea of what really happened and the kind of people involved. It’s fascinating and, in many places, enlightening and entertaining. As I said, it’s a pretty lengthy film, but your patience and attention will certainly be rewarded.
THE YOOHOOS. Up Goes the Rocket LP (Monster Zero) German power-trio playing catchy melodic punk rock with the emphasis on great tunes more than aggression. A great Johnny Ramones styled guitar-sound really propels the songs forward, although you get the idea that they’d be just as effective even if they were only being played acoustically, as the melodies are really that good. Although they’ve been around since 2005 and have even toured in America, the band have only previously released one EP. This debut album sounds fresh and confident, full of songs that really ought to be on the air-waves all Summer long … let’s just hope they don’t take so long to record their next record !
YOUNG GODS. Data Mirage Tangram CD (Two Gentleman) Young Gods were, and remain, true innovators. At a time when electronics were supposed to be replacing guitars, the band stood shoulder-to-shoulder with rock, creating sounds that were just as visceral as the most confrontational or experimental bands of the time (I saw them play alongside Savage Republic and Butthole Surfers to name two) but instead of providing an alternative, created a complimentary approach. Why should one style be at odds with another ? They both wanted the same thing, something new and exciting ! Young Gods may have had no guitars onstage but they evolved a sound that was just as direct and emotional. For a while, they appealed to a wide audience and it looked as if they were going to cross over to a much more, but they would eventually be gazumped by the likes of Nine Inch Nails and Ministry who, although creating some good music in their own rights, were also more than willing to play-safe for the industry. Young Gods, meanwhile, continued to cut their own path and, in the long run, remain respected for it. Bands like The Prodigy and, more recently, Ho99o9 owe more Young Gods and the trail they blazed than many realise. This is the first Young Gods album in eight years, but it still sounds like no-one else. Their ideas combine so many styles and so much energy that, as you listen from track to track, you really have to adjust your usual listening habits. This is genuine excitement, a band enjoying themselves as much as the fans. This is the sound of a project still very-much in progress and instead of instead of playing to a formula are still moving forward and discovering what they’re capable of achieving. Experimental and appealing, this is a truly wonderful album.