RECORD REVIEWS, JULY - DECEMBER 2017
AERIAL SALAD. Roach CD (Plasterer) Sometimes, you get the impression that although a record may not consist of the most original sounds you’ve ever heard and the name of the band may not be the most inspiring, that the songs they’re playing and singing are completely sincere rather than just some cheap attempt to become popular ? That’s how I feel about this album. Their mix of early Green Day, Jawbreaker and maybe even a touch of Operation Ivy certainly recalls that whole San Francisco /Berkeley scene but you also get the impression that they’re really trying to translate it into their own experiences. There’s plenty of energy, some great tunes and a vocal delivery that really sounds as if they mean it. Like I said, it’s going to remind you of other things that you’ve already heard, but it’s delivered with such a passion that you can’t help but think, this is a band that could really get there. Give them a chance… I’d much rather be hearing something like this than another ex-factor…
ANTIBODIES. Happy New Year Zero CD (www.facebook.com/antibodiesuk/) Another CD that turned up with no info… which wouldn’t have been such a problem if not for the fact that there seems to be a band called The Antibodies in every country across the world, from Germany to Australia ! But I eventually found the right ones and this bunch are actually from the much more civilized (?) location of Harlow. Having been together since 1995, they’ve previously released cassettes and a CD of demos, plus a vinyl EP which came out on a Canadian label, but this is their first full length album. They’ve stuck to a defiantly basic street-punk style with a heavy guitar sound, solid drumming and snarling vocals. It’s a shame that they didn’t include any lyrics with the CD booklet as I would have liked a better idea of their subject matter. They do include a rather inspired cover of the Peter Tosh song ‘You Can’t Fool Me Again’ which is possibly the highlight of the album, while an unlisted bonus track at the end of the album has a great tune and loads of energy but some rather embarrassing lyrics (unless you’re Prince Charles, perhaps…) Anyway, for a bunch of old blokes who ought to know better, it’s a damn good thing that they didn’t. Give it a listen !
BEE BEE SEA. Sonic Boomerang LP (Dirty Water) Wow ! One of the best new garage punk albums I’ve heard in ages, with influences coming at you from every angle. The opening / title track is a raucous slice of psych-noise based around a driving rhythm-section that allows for the vocals and guitars to stretch themselves to the limits. It kind of reminds me of Unrest’s more adventurous moments (anyone who ever saw them perform ‘Hydro’ live will know what I mean) or maybe the Velvet Underground jamming on amphetamines. What a great start to an album ! And it goes on from there, with the wondrous garage-pop of ‘D I Why Why Why’ combining Buzzcocks-style vocals with twangin’ guitars. Third track, ‘I Shouted’, takes a more restrained approach and sounds strangely familiar but again, it’s just a great, catchy tune. ‘This Dog is King of The Losers’ takes the tempo back up again with a snappy punk rock melody and erratic riffing. ‘Chum On The Drum’ and ‘Psycho Babe’ give you a chance to catch your breath before ‘No Fellas’ rocks your world in a Briefs-meets-The Cramps style and then a second version of ‘I Shouted’ calms the storm with a mellow and unpredictable finale to the proceedings. This is such a good album. You really don’t know what’s coming next but every moment is worthwhile. Do not miss it !
BED WETTIN’ BAD BOYS. Rot CD (Agitated.) Okay, I’ll admit it first. I took one look at the band name and the title of the record and immediately conjured-up images of crusties or worse. But trusting that Agitated is not a label that would indulge in such rubbish, I gave the album a listen and am happy to confirm it’s nothing of the sort. This Australian band plays a great brand of loud rock’n’roll with hints of powerpop that at different points recalls the greatness of Radio Birdman, Dinosaur Jnr, The Died Pretty and maybe even Redd Kross. To a lesser extent, you could probably even mention the likes of The Replacements or Guided by Voices, in the way that they craft simple, catchy songs but then elevate them to truly massive levels. Big guitar sounds propelled by adrenalin-fuelled drums, with great riffs that’ll stick in your ears even in your dreams. So, don’t even think about being put-off by the name. This is a band you really need to hear at the earliest opportunity. The best new album to come out of Australia for ages !
BLOOD TUB ORCHESTRA. The Seven Curses of the Music Hall LP (Phono Erotic) If you haven’t already come across this combo, their basic concept is a reinterpretation of original songs from the Music Hall era. After all, many of the lyrics are either strange enough or still poignant enough to perfectly fit with the avant-garage approach of the Blood Tubs. At different times, you have distorted bass riffs, clanging guitars, samples and metal percussion although, most importantly, the sounds never over-ride the songs themselves. ‘The Football Match’ retains an authentically quirky nature while ‘They Can Do Without Us’ veers towards a raucous pub-rock style. ‘Never Let Your Braces Dangle’ embraces a more comedic tone which contrasts perfectly with the sinister style and atmosphere of ‘We’re Glad You’ve Got A Gun’. The only song that’ll probably be familiar to most listeners is ‘The Daring Young Man On The Flying Trapeze’, although adapted to lo-fi garage style that Billy Childish would be proud to call his own. ‘Ain’t It Grand To Be Bloomin’ Well Dead’ is a great slab of dark humour and the record ends with ‘The Fine Old English Tory Times’ an effective and upbeat Kinks-style satire which resonates perfectly with the current state of the nation. As with many things, this is an album that you’ll either love or hate but just trust me that it needs to be heard. If you get into it, this is something that you’ll really enjoy.
BROWN GLOVE / OLD ERNIE. Split EP (Get In The Box) I received this 7” a while ago with no info sheet, so I’m still not even sure who sent it to me. But with the wonders of the internet, I’ve managed to track down a veritable beginners’ guide-worth of information about each band, both of whom are based in Oxford. Brown Glove are a duo featuring keyboards, vocals and guitars and their track ‘String Me Along’ bristles with a style that harks back to the early days of what would become known as ‘gothic’. Think of Bauhaus, Sex Gang Children, Blood & Roses (these vocals are female.) As such, it’s probably only going to appeal to existing fans of that genre, but it is put together very convincingly. Old Ernie, in comparison, are a grunge-based combo although with a much more experimental / noise element. Vocally, they’re more Kirk Brandon than Kurt Cobain and the two tracks presented here (‘Clowning’ / ‘Part Two’) take a quirky pace rather than just rocking-out, with hints of Primus buried somewhere in the mix. Overall, this is a neat introduction to both bands and for further details, contact [email protected] or http://www.brownglove.bandcamp.com
BUFFALO KILLERS. Alive and Well in Ohio CD (Alive) Firstly, despite the title, this is not a live album and secondly, despite their name, this band certainly do not sound like the kind of people who would kill any Buffalo. The only accurate piece of information is that the band are actually based in Ohio (Cincinnati , to be precise.) Now that’s all cleared-up, I can inform you that they play a eclectic style of Country Rock that will have you thinking of Crazy Horse, but with a broader infusion of easy-going melodies and psychedelia. At times, there are also hints of the later Beatles albums as well as Big Star. They’re not afraid to turn-up the riffs on tracks like ‘Parachute’ and ‘Stuck Inside The Realm of Man’ or reveal their gentler emotions on songs like ‘Eastern Tiger’ or. They’re equally as adept at producing insistent pop tunes like ‘Evil Thoughts’ while ‘Applehead Creek’ takes an almost Bluesy approach, before bursting into a brief chorus. Their vocal harmonies sound almost effortless and the songwriting is natural and accomplished. This wasn’t what I was expecting from this album and it’s all the better for it. This is definite something that you should consider investigating.
COCKNEY REJECTS. Peel Session 1979 EP (Pirate Love) It’s odd to think that, given the way Oi was later demonized by the music press, John Peel was a real champion for the Cockney Rejects in their early days. He recognized their raw talent as yet another new path in his musical landscape and was happy to support it, giving them two radio sessions that, I believe, have never been released before now (officially or otherwise.) What we have here are all four songs from their 1979 broadcast, capturing the band at their very best - loud, brash and straight to the point. Musically and lyrically, they weren’t too far away from being the East Ends’ version of the Ramones, keeping everything simple and catchy and singing about subjects that weren’t meant to be taken entirely seriously. Of course, things were destined to go askew for them but listen to these tracks and tell me that they don’t sound like a lot of fun ? Put it in the right context and you’ll be able to hear exactly what Peel enjoyed about them. Sound quality is great and the packaging is excellent (including lyrics, a photo insert and a sticker) but it’s limited to only 300 copies, so track it down quickly !
COCKNEY REJECTS. Peel Session 1980 EP (Pirate Love) Six months on from their first session and the Rejects are back at the BBC. Confident and brattish enough to be taking the piss out of punk rock stars (‘Greatest Cockney Rip Off’ takes a jab at Jimmy Pursey, even though he also supported the band) they were also starting to become musically more adept, creating a sound of their own that was destined to be imitated by countless others. The excellent version of ’15 Nights’ is probably the only track here that sounds a little more serious, lyrically, but it’s perfectly balanced by the raucous cover of ‘Blockbuster’ that keeps getting faster and faster until it sounds as if the band are just going to lose control of the whole thing. Somehow they keep it together, but it really is the ultimate version of this classic. Again, great sound quality and superb packaging. You really need to hear both of these EP’s because they’ll give you an idea of what the band were really about, before all the bullshit got in their way.
CONTROL FREAKS. No Action 7” (Bachelor) Fronted by Greg Lowery (Rip-Offs, Zodiac Killers etc) the Control Freaks are a bit less frantic than his previous outfits and with more of a slant towards early UK punk rock. ‘No Action’ will have you thinking of some of the more melodic moments from the first Clash LP, although with cool female backing vocals instead of Mick Jones’ glam stylings. The b-side is a cover of the Protex classic ‘I Can Only Dream’, stripped down to the raw basics and played at a faster pace but still capturing the magic of the original. Mr Lowery has clearly got another great band together and fortunately we don’t have to wait long for…
CONTROL FREAKS. Don’t Mess With Jessica 7” (Bachelor) It’s the very next release from the lovely Bachelor Records and we have another two slices of the Control Freaks in action. This single mixes their punk rock background with more of a powerpop edge, still as snotty and irreverent as it ought to be, but with addictive melodies high in the mix. ‘Don’t Mess With Jessica’ is a cautionary tale about fooling with a Martial Arts expert, while ‘Rock’n’Roll Or Run’ on the b-side is a cover by Dutch band The Rousers ( nope, I hadn’t heard of them either…) that really goes for the powerpop angle. It’s all good stuff, of course. Catch these singles while you can and start saving your pennies for the album !
COYOTE MEN. Can She Cook ? 7” (Folc) It’s the first new single from The Coyote Men for quite some time I believe (although they may have sneaked something else out on the sly… you know how mysterious these guys are !) This might actually be a bit more restrained than what you’d previously expect from these masked maniacs, but it’s certainly no less crazed. Guitar, bass and drums all pummel-out the most primitive rock’n’roll beats while the vocalist delivers a demented performance that would have even brought a smile to the face of Lux Interior. ‘Can She Cook ?’ addresses the issue at the heart of every relationship, while the b-side delivers a fine version of the Big Bopper classic ‘White Lightning’. No doubt these are just the kind of Mexicans that Donald Trump is building the wall to keep out. Good job they went to Newcastle instead…
THE CRAMPS. Urgh ! A Music War LP ( ? ) I expect most Cramps fans have seen the footage of them playing ‘Tear It Up’, taken from the movie ‘Urgh !’ Well, this is apparently the full recording from that set and it’s notable for several reasons. Firstly, it was recorded in 1980, only a few weeks after the departure of original guitarist Bryan Gregory, and as such one of the only recordings featuring temporary member Julien Hechtlinger (formerly of New York band The Mad.) Sound quality is very good and the raw power is evident, even if the performance itself is a bit sloppy (Bryan had left the group in the middle of a tour so the new line-up had to get up to speed whilst on the road !) It’s a great set, including tracks from the early singles and the recently-released debut album, so I doubt anyone will be disappointed with the choice of songs. Lux, as ever, delivers an incredible vocal display and there are moments of real tension (the elongated intro to ‘Sunglasses After Dark’ will have you thinking that the needle has stuck !) Completed by a brief BBC Radio jingle (for curiosities’ sake, I’m guessing) this is another great live album that will keep you reminded of why we all still miss The Cramps.
THE CRAMPS. Belted, Buckled and Bare 10” (Connoisseur) Taken from a live radio broadcast, recorded in Stockholm back in 1991, this features eight tracks recorded in superb quality, capturing all the noise of the band and the audience as it happened. Most of the tracks come from the ‘Stay Sick’ and ‘Look Mom’ albums (only an excellent version of ‘Goo Goo Muck’ pre-dates ‘A Date With Elvis’) but as this material always sounded so much better live than on vinyl, I doubt anyone is going to complain. The real treat is hearing Ivy’s guitar licks up high in the mix. She never got the credit she deserved, but when you play a record like this you can really hear how great she was. Supposedly, this is a Russian release and limited to only 300 copies, so I suggest you track down a copy as soon as you can !
THE CRAVATS. Dustbin of Sound LP (Overground) A lot of bands from the Punk era who have reformed over recent years have produced new albums that have either added nothing special to their legacy or, at worst, been downright poor. Fortunately there have been a few wonderful exceptions and they do seem to come from bands who were always more interesting and individual in the first place. The recent albums from Penetration and Ruts DC are fine examples and now we must add The Cravats to this role of honour. More than 35 years since their last LP, they’ve put together an album of all new songs that sound like one big jump forward from their original material. Only The Shend and Svor Naan remain from the original line-up, but they’ve carefully chosen three new members who clearly understand the ethics behind the band whilst also adding something new to the present. The songs are driven along by Joe 91’s pounding bass and Rampton Garstangs’ frenetic drumwork, whilst the guitar and sax either entwine in common purpose or bounce off each other in wonderfully chaotic blasts of noise. The Shends’ distinctive vocals are quite possibly the best he’s ever committed to tape, with lyrics that will both entertain and give you a few thoughts to ponder later on. The excellent production, courtesy of that Rampton-chap, really captures the energy of the bands’ live performance whilst adding clarity and imagination to the proceedings. I’m not going to pick out individual songs because they’re all good and you really ought to hear this in its’ entirety. There’s been some really good albums released during 2017, but if I was forced to pick one, I think this one has probably been the best of the lot !
RUSS CRIMEWAVE, Age of Contempt CD (Urban Fallout) Russ has become a familiar figure on the punk circuit around London, usually seen performing alone with just his guitar for accompaniment. That being said, he has a compelling performance style with plenty of energy and his lyrics combine righteous indignation with sharp, identifiable commentary. Of course, the problem is that such stripped-down delivery doesn’t necessarily work as well in a studio, so with this album he’s chosen to use additional backing in a striped-down rock’n’roll / skiffle style that perfectly suits the songs without detracting from their original intent. Musically, they have plenty of catchy hooks to entertain, while the lyrics are mostly concerned with the interaction of the Media and politics in the ongoing dumbing-down of democracy. It’s one of those rare albums where the songs are both enjoyable and have something very poignant to say. If you haven’t already seen him live, this album will be a good introduction to his music. Either way, it deserves to be heard.
CRYSTAL PISS. Cry,Stall,Piss.Moan CD (find ‘em on bandcamp...) Featuring members of the Werecats, this is a more abrasive brand of punky-powerpop, very lo-fi / DIY and all the better for it. Recorded in the allegedly luxurious confines of the guitarists’ bedroom, the three tracks kick-off with ‘Barely Dead’, a frantic burst of melodic three-chord punk. This is promptly followed by ‘Bug’ (a possible ode to man-flu ?) which continues in a similar vein, before the third track ‘Downer’ comes in at half-the-pace and twice-the-length. That being said, it’s still just as melodic and certainly not out of place, with a phantom-ending catching everyone out before the songs really finishes. Looking forward to seeing this band live, but in the meantime, be sure to check out these demos.
CYANIDE SCENARIO. Born To Die EP (Inflammable Material) Cyanide Scenario were an Anarcho punk band with gothic undertones to their music (rather than ‘Goth’) who existed for a few years in the mid-Eighties. They recorded one EP for a label which was being set-up by Justin Broadrick (Godflesh etc) which remains unreleased to this day and then recorded these tracks in 1986 for a proposed split LP with the band Open Door, intended for a release on Mortarhate. Unfortunately, this was also shelved when the band split-up. Sound-wise, they embraced punk rock with a ‘tribal’ feel ; not so much Adam & The Ants, but more in line with the sounds of Blood & Roses or (early) Skeletal Family, combined with the passion of The Mob and the dramatrics of Bauhaus. The female vocals have a haunting effect while the rhythm section propels everything along and the guitar provides atmosphere rather than riffs. Even thirty years later, it’s still an impressive set of recordings and retains a sense of sincerity that keeps it fresh. It’s great to hear it after all this time !
DEAD CROSS. Dead Cross CD (Ipecac) A band featuring the talents of Mike Patton (Faith No More etc) Dave Lombardo (Slayer etc) Justin Pearson (The Locust) and Michael Crain (Retox) was always going to be a cause for anticipation. Fortunately, this album not only meets but exceeds expectations. It has the brutal ferocity that you would expect from these individuals as well as the seemingly chaotic experimentation and switches between tempos, moods and genres. In many ways, though, it’s actually closer to a regular metal album than you might expect, with clearly defined songs even though you know that anything could happen within those borders. When people talk about ‘extreme metal’, it’s usual a rather dour affair, but this is clearly something that the participants are enjoying. It’s about people pushing themselves to see what they can create, but never about limiting its’ appeal. Perhaps the most unlikely moment on the album is a brutal yet atmospheric cover of the Bauhaus classic, ‘Bela Lugosi’s Dead’, taking a completely different approach rather than just trying to imitate the original and sounding all the more effective for it. Already undertaking an extensive tour in America, I can only hope we get to see this band in the UK because as great as they sound on record, I’m sure these songs are going to go even further onstage. As all the members are involved in other bands, this may prove to be a one-off or only occasional project, but on the strength of this release, I really hope there will be more in the future !
DEATH BY UNGA BUNGA. Into The Night 7” (Jansen) Death By Unga Bunga are about as far from poster-boy material as you could find, which is weird because they play the catchiest guitar-pop I’ve heard in ages. They may be from Sweden, but they’ve got the same name as an album by The Mummies and this single will remind you of Sixties Beat bands, Seventies Glitter, the perfect punk rock pop of the Buzzcocks and the bubblegum-glam of Redd Kross. It’s insanely likeable and ought to be blasting out on every radio station around the civilised world. The problem is that they haven’t really got the looks to match, so it’s unlikely to be embraced by the MTV pundits, but what do they know ? Be sure to catch this single, it’s pure fun !
88 FINGERS LOUIE. Thank You For Being A Friends CD (Bird Attack) I remember seeing this band some 25 years ago and thinking that they were pretty decent, like a cross between the classic punk of their hometown, Chicago (Naked Raygun, Pegboy) and the more melodic punk that was being released by labels like Fat and Dr Strange around the same time. Unfortunately, this was also the period when melodic punk bands, both American and homegrown, seemed to be swamping the scene and 88 Fingers Louie kind of became lost in the crowd to some degree. After releasing three albums, they originally split-up in 1999 and the various members went on to play in other bands ranging from Alkaline Trio to Rise Against. They eventually reassembled to play a few shows in 2009 which proved to be so successful that they have continued on a sporadic basis ever since. However, this is their first all-new material since the original split and it seems that they’ve waited until the right time to record again. It’s a very confident album that provides certain proof that the gap between this and their previous records has not dulled their talent. In fact, if anything, this surpasses their previous records, making full use of their experience to produce something with much more depth. It sounds like the fulfillment of all the promise that their previous records suggested. The arrangements are more natural and the production brings out all of their power and melodies to full effect. Listening to them now, you have the time and space to really appreciate how much more interesting they were than so many of the other bands during that mid-Nineties period, while the fact that the songs sound so fresh rather than merely-nostalgic illustrates the passion that they’ve put into them. Obviously, this isn’t going to be to everyone’s taste, but for any fan of fast, melodic punk rock, this is going to be a real treat.
EVACUATE THE EARTH. S/T CD (www.evacuatetheearth.net/) This wasn’t at all what I expected, but that actually makes it even more enjoyable, like a cool birthday surprise. This three-piece Milwaukee-based band have produced an album that’ll make you think of a soundtrack to a great, lost Fifties Sci-fi movie, while mixing-in hints of Krautrock (Neu, Faust) possibly some early Brian Eno, The Residents (circa Mole Show) and perhaps some of the jazzier elements of New Yorks’ No Wave scene. As with soundtracks, the mood can change drastically within single tracks, from sedate and calm through to excitement and drama, evoking images within your mind to accompany the sounds. A lot of it is very rhythmic (I’m sure some very interesting remixes could be made from this material) and vocals are kept very much as part of the overall musical effect rather than taking centre-stage. But the important thing is that, however different it may be, there’s a lot of fun at its’ core. This is meant to be enjoyed and not just intellectualized about (something that many ‘experimental’ bands fail to grasp.) I’m very impressed by this record and equally as intrigued by the fact that the band also perform this music live on a pretty regular basis (now that would be something to see.) Not everyone is going to love this, but if any of the above references appeal to you, be sure to check this out.
THE FALL. New Facts Emerge LP (Cherry Red) In recent years, albums by The Fall have been a mixed bunch. I don’t think there are any that I’ve completely disliked but some have certainly been less enthralling than others. Part of the reason has been the music but it’s also been down to Smith’s current vocal style. At times it seems that he’s just been content to spit out rants and comments that, although more aggressive and direct, lack the tone and rhythm of his older work. But I’m glad to say this album (the first since the departure of Elena Poulou) seems a lot more focused and closer to the spirit that I always enjoyed. Released as a double 10” vinyl set, side one features two full tracks of which ‘Fol de Rol’ trundles along with a riff that Rocket From The Crypt would have been happy to have written. ‘Brillo de Facto’ continues on a similar path, whilst side two starts more slowly before delving into the extended and genuinely unsettling musical landscape of ‘Couples Vs Jobless Mid 30’s’. The highlight of side three is ‘Second House Now’, which starts with a classic rockabilly riff that switches into a noisier electrified version after a minute or so to become a great, stompin’ track reminiscent of the ‘This Nations Saving Grace’ era. Finally, side four begins with another rockabilly / country influenced track, ‘Groundsboy’, which really bops along at an infectious pace before the superb finale to the album, ‘Nine Out of Ten’, which consists of just Smith and a simple, repetitive guitar track that rolls along at an infectious pace, in some ways reminiscent of ‘New Puritan’ and it’s sharp-edged simplicity. There’s even an extended instrumental section after Smith’s vocals end, taking it to a natural conclusion in the way someone like Faust would have done. I know this album has had a mixed response and it’s not an record that you’ll appreciate instantly, but give this repeated listens and you’ll soon be immersed its’ depth and range. The Fall, as ever, have given us something else to think about and enjoy. Be sure to investigate.
FALSE FLAG. s/t EP (www.facebook.com/falseflagindia/ ) You don’t really expect extreme hardcore to be coming out of the Indian sub-continent, but that’s exactly what False Flag have produced. Based in the city of Pune and initially inspired by seeing Napalm Death at a festival in Bangalore, the band have developed their own style which harks back to the aural assaults of Discharge, Anti-Cimex and Antisect. But rather than going for an all-out thrash approach, False Flag vary their confrontational sound with a variety of tempos and sonic breaks, allowing feedback to reverberate through the melee. The arrangements are really interesting, at times recalling earlier Voivod and maybe even Rudimentary Peni (circa ‘Cacophony’) interspersed with melodic hooks that will ensure your attention. This is a great record that could well see this band gaining a lot of international interest. Be sure to check it out !
LOUIE FONTAINE. The Sun Ain’t Black CD ( www.louiefontaine.com ) Louie Fontaine is a Danish-born songwriter who has made a name for himself across Europe with his band The Starlight Searchers. Having relocated to New Orleans in recent years, he has produced a new album that combines more of a Blues and Country feel, as well as occasionally touches of Soul and even Zydeco. But rather than it sounding like an outsider attempting to infiltrate a different culture, the music and vocals sound both natural and genuinely atmospheric. There are touches Nick Cave (in his more restrained moments) Chris Isaacs, Tom Petty and perhaps even Andre Williams in the delivery, while the music benefits from great arrangements and a production that bristles with energy and clarity. It’s not something that’s going to appeal to everyone, but if you keep your mind open, you’re bound to find some great moments on this album.
BAZ FRANCIS. Face That Launched A Thousand Shipwrecks CD (Magic Cat) Great title for an album (I just thought I’d mention that first…) The frontman of the previously-reviewed Magic Eight Ball releases a solo album featuring twelve self-penned songs that really display his songwriting talents. The first comparison I have to make is with the mighty Redd Kross and their intuitive grasp of powerpop and glam. Not that this album necessarily sounds like them, but the tone and atmosphere of the music inhabits a similar place. Baz isn’t afraid to be extrovert when the mood calls for it but neither is he unable to be understated when required by the song. There are a lot of elements in his music but the psychedelic era of the Sixties through to the Glam of the early Seventies are probably the best points to start. Think of The Kinks, Sgt Peppers, Jobriath, early Bowie, even as far as the likes of Cheap Trick… It’s a great pop record that stakes its’ claim to new territory whilst acknowledging its’ predecessors
BAZ FRANCIS. Trainwrecks in The Desert ( Baz Francis itunes store) There aren’t that many English musicians who can claim to have played in Egypt, let alone recording an album there. But that’s exactly what Mr Francis has done, hot on the heels of his recent solo album. This set, recorded at the Cairo Jazz Club, captures him with just an acoustic guitar (or a piano on a couple of tracks) playing a selection of songs from both his own record and the Magic Eight Ball back catalogue. Stripped down to these sparse performances, it really brings the beauty and intricacy of the songs to the forefront, highlighting the arrangements and allowing the vocals to really shine. As I’ve said before, his music is pop with hints of psychedelia and glam which is interesting and enjoyable at the same time. As a tangent alongside the recent solo album this live recording is a fine document that captures another side of the music. I certainly recommend that you hear ‘Face That Launched a Thousand Shipwrecks’ and, if impressed, be sure to investigate this live recording as well.
FREAK GENES. Playtime LP (Alien Snatch) Manchester band that remind me a lot of Thee Spivs and Cyanide Pills, not so much in their actual sound but in the way they channel the spirit of 1977 punk rock (think of the bands featured on the ‘Roxy’ albums or ‘Short Circuit’ compilation ) and Medway garage/beat bands like the Pop Rivets or Headcoats. The trick is not to be held back by musical ability but to find a way to play great simple songs with sneaky little hooks that’ll stick in your brain long after you’ve heard them. That’s what the Buzzcocks did so well and why we still love their old records. It’s all about having ideas and pushing yourself as far as you can to put the songs across. I’m not sure if this lot play live, but I’d love to see them. This is just the sort of thing that would sound great onstage. In the meantime, don’t miss the record !
THE GALILEO 7. Tear Your Minds Wide Open LP (Damaged Goods) The Galileo 7 (what a fine for a band !) are a relatively new addition to the Kent psych- -pop-beat scene, having formed in 2010, but their pedigree goes back a lot further. Frontman Allan Crockford has previously (and in some cases presently) played with the cult-favourite likes of The Prisoners, the James Taylor Quartet and Graham Day, while other members also play in The Embrooks. But it’s this current output that concerns us at the moment and I’m damned-glad to say that it’s more than worthy of our attention. It’s unashamedly catchy, upbeat ‘Pop’ as it ought to be, full of great melodies and the kind of Sixties-style sounds that never seem to age. Squeeky organ, pounding drum beats and fuzzed-up guitar riffs compete for space with the dreamy vocal style. But despite all the references to past-spendours, this is an album that sounds remarkably fresh. This ought to be a record made by teenagers, desperate to show how vital and creative they can be, but instead they’re intent on taking exams, so fuck ‘em ! This music is all about passion, ideas and communication. It’s not particularly similar, sound-wise, but it kind of reminds me of the Naz Nomad album, in the way that is obviously a bunch of people having a great time playing great music. You’d be a fool to miss it !
THE GENERATORS. Last of The Pariahs LP (Dr Strange) The Generators are veterans of the Southern California punk scene. Singer Doug Kane was formerly the frontman of the much-loved Schleprock and it was the break-up of that band that led directly to the formation of The Generators in 1997. This is a reissue of their eighth album, originally issued in 2011 but long out of print. Here, it’s remastered (by Tom Lyle of Government Issue fame) and available on vinyl for the first time. The album is a powerful mix of classic 1977 Punk, anthemic Californian bands like Social Distortion or Bad Religion and also, in places, on a very similar level to some of the great music that Down By Law have produced over the years. Over their twenty years of existence, they’ve supported bands as diverse as The Damned, The Specials, NoFX and Rancid, which gives you an idea of the way their music crosses many boundaries. Catchy riffs, intelligent, thoughtful lyrics and all delivered with total passion. It’s an utterly convincing album that makes you think, just why isn’t this band a lot better known in the UK ? Given the right exposure, that could still easily change. Be sure to hear this album and become a supporter !
GERMAN OAK. Down in The Bunker CD (Now Again) I’m really surprised that I hadn’t come across this Krautrock gem before now. I can’t even recall anyone mentioning it and, until now, had read nothing about the band, which is odd because usually these sort of things are enthusiastically shared by fellow music fans. But I’m really glad I’ve finally caught up with this album as it’s great stuff. Originally released in very small amounts in 1972, the album has been reissued by various dubious sources over the years but this 3 CD package is a definitive and authorized edition, featuring a remastered version of the original album, full versions of the two main tracks and other previously unreleased material. It also comes with a 20 page booklet that includes photos and interviews with the original band members. Musically, the album is entirely instrumental, mostly consisting of two lengthy tracks that recall the likes of Faust or Can, particularly with the repetitive, hypnotic rhythms they use to drive the music along. Recorded live in their studio, there are also elements of improvisation, but for the most part the musical changes are pretty natural. At times, the guitar is very reminiscent of Keith Levine’s sound on the early PiL records, although it’s hard to know if he would have been aware of this record at that time. The rhythms also have a strangely danceable quality, not exactly funky but not a million miles away, while the overall atmosphere is very-much a precursor to Industrial music. The album did inadvertently gain some degree of notoriety when it was briefly reissued by the bands’ former manager (without their knowledge) in the early Nineties and for some reason thought it appropriate to mix-in Nazi speeches and re-name the songs with similarly themed titles. Thankfully, the band themselves were involved with this collection and have put everything back as it was (the whole story of the differing versions is explained in the booklet.) So, this is definitely the best way to investigate this remarkable album and I hope that it will bring these recordings to the much-wider audience they clearly deserve.
GHOLD. Stoic LP (Crypt Of The Wizard) I’ve reviewed Ghold in the past and been impressed by their more eclectic approach to metal-based music. This album takes it even further, switching from truly pummeling, off-kilter riffs that sound like Michael Gira telling The Melvins how to do it properly, through to atmospheric, reverb-drenched drones that sound like Sleazy Christopherson telling them how to do it even better ! The differing segments either build or collapse into each other with a real sense of direction and it’s the quiter moments, however unsettling they may be, that make the harsher sounds all the more effective. The pace is almost undefinable as the sound is so immense that, at times, it suggests a harsher tempo. But the band continue to resist the urge to let loose and again, this make the overall results all the more impressive. In fact, even when the drum-beats do pick-up on closing track ‘Skhul VI’, the effect is more psychedelic than thrash. Similarly, the music is allowed to unfold in its’ own time, without ever giving the sense of self-indulgence. This is a really impressive album and I have no reservations in recommending it to anyone who considers their musical tastes to be broad-minded. This is something that’s out there to hit you in the gut as well as the ears … Play loud and enjoy !
GOOD BOY. Shirk Life EP (Barely Dressed) Australia has always had the habit of producing bands that defy expectations and Good Boy are the latest in the line. Musically, the best comparison I can make is with the Blake Babies, apart from the obvious fact that Good Boy have male rather than female vocals (I noticed that by myself…) But it’s that kind of clean guitar sound played in a nonetheless raw and somehow snotty style that prompts the similarity. The vocals are in such an unashamedly Aussie accent (I mean that as a compliment) and in the same way, sound really raw and unapologetic. ‘A Waste of Approximately 122 Million Dollars’ also recalls the vastly under-rated band Christmas and maybe even Unrest, while ‘1972 VW Superbug’ takes four dreamy minutes lulling you into a sense of pop-security before thrashing out for the finale. ‘Consume, You Yuppy Dogs’ (don’t they have some great song titles ?) is a track that lumbers along at an almost disturbing pace with unrelenting tension, before ‘Fishing With a Shotgun’ let’s the adrenalin loose again. ‘Hell in a Handbasket’ is a Country / Blues moment in comparison, before ‘Majic Country’ takes an erratic almost Sonic Youth style course to complete the programme. This is a really fine record – I hope we get to hear a lot more from these guys !
THE PETER GREEN STORY – MAN OF THE WORLD DVD (Wienerworld) Although I can quite honestly say I have no interest in what Fleetwood Mac were destined to become, the early years when Peter Green was the undisputed leader of the band are of much more credibility. Green had started his career as the replacement for Eric Clapton in John Mayall’s Bluesbreakers but he soon found playing in someone else’s band too limiting and left to form his own outfit (bizarrely, he chose to name the new band after the drummer, Mick Fleetwood, and the bass player that he hoped would eventually join the band, John McVie.) Their first album featured some raw R’n’B that served as a precursor for the likes of Dr Feelgood (live footage of the band, included here, is very impressive) but as time went on Green continued to push his creativity, eventually producing the unexpected and haunting hit, ‘Albatross’. Although this brought the band to international success, it was also sadly where the personal problems began for Green. Always a person with a social conscience, he became very conflicted with his sudden wealth while so many people were living in poverty around the world. Being the late Sixties, he had also been introduced to LSD which only exasperated the situation. In the end, he quit the band and, although he attempted a solo career, he ended-up with severe mental health issues, stopped playing music for a decade and at some points was virtually living as a tramp. The parallels with the sad story of Syd Barrett are clear, although in Greens’ case, his friends and family were eventually able to restore him to a stability that has allowed him to return to his music in recent years. It’s a fascinating story that certainly merits this lengthy documentary and it even has a pretty happy ending. I thoroughly enjoyed the film and would suspect many of you would, too.
The HALLINGTONS. 1-2-3-4 Songs EP (Monster Zero) Three piece Norwegian band very-much inspired by the fast, furious fun of the Ramones as well as later derivatives such as The Queers and The Riverdales. The lyrics are based around quintessential teen-themes such as girls, girls, toilet-habits and more girls. I mean, what other kind of band could write snappy insistent songs that veer between ‘She’s So Cool’ and ‘Shithouse’ ? Four tracks, less than seven minutes, and all the’wo-oh’ backing vocals you’ll ever need. Can’t help but love it !
HERCULES II. Temple of Poseidon CD (Radiowave) An album of instrumental, metallic drones that seem to be approached with a more ritualistic sense of purpose. Think of The Melvins at their most doom-laden or Flipper at their most wantonly chaotic, somehow managing to keep everything teetering on the verge of chaos without it ever quite falling apart. Hercules II allow their dirge-like riffs to develop at their own pace and give them the necessary time to reach their destination, rather than trying to keep them within any recognisable type of format. It’s all very epic and atmospheric, like the soundtrack for a very overpowering movie. This is not easy-listening by any stretch of the imagination, but if you allow yourself to be drawn into their process, you may well find yourself enjoying it a great deal.
MARK ‘PORKCHOP’ HOLDER. Death And The Blues CD (Alive) As well as being a founding member of the Tennessee-based punk-blues band the Black Diamond Heavies, Mark ‘Porkchop’ Holder also takes time out to tour and record with his own rootsy-blues power-trio. The results are like a smack in the mouth for anyone who thinks that real blues music doesn’t have the capacity to rock. It has a very-American feel to it, but this is America as in dirty, sweaty, down-to-earth and genuine, as opposed to the Disney / Hollywood version. This band doesn’t care about the glitz, they care about the real thing. Holder has the perfect voice to deliver this vision and plays a mean slide guitar with a raw, punk-attitude that both respects the Blues tradition while embracing modern-day sensibility. It’s the best I’ve heard this side of Gary Lammin’s performance with the Bermondsey Joyriders. And while the lyrics focus on the more down-trodden subject matter that’s at the heart of the Blues, it’s never without a sly sense of humour. This is meant to be fun after all and, in the same way that Johnny Cash could be great entertainment even with the saddest of tales, Holder delivers a set that never fails to keep you boppin’. Think of a cross between Howlin’ Wolf and Reverend Horton Heat and that will point you some way in the right direction, even though such a simplification will never be enough to capture the depth and range of this fine album. All I can say is, be sure to hear it and, if you get the chance, see them live. There, you’ve been told !
INDONESIAN JUNK. Stars In The Night CD (Rum Bar Having already been impressed with their debut album, this Milwaukee-based trio have returned with a second album that totally rules the roost. Their mix of punk rock / powerpop / glam is as close to perfection as it could get, mixing the bratty vocal style of the Ramones with oodles of energy and melodic licks that wouldn’t sound out of place on either Dead Boys or Cheap Trick albums, consistently as infectious as things that your parents probably warned you about. Almost entirely written by frontman Daniel James, there’s more than a touch of inspiration from Stiv Bators in play, but as Stiv remains a highly under-rated figure to punk-rock’n’roll history, I’d call that a trait that’s totally commendable. The songs take turns in faster or slower tempos and differing moods, creating an atmosphere all of their own. Although the band are obviously accomplished musicians, the best thing is that they know exactly what the songs need and don’t over-garnish with unnecessary solo’s or elaborate arrangements. This is an album that sets out to hit the spot and accomplishes the task. You can’t say much more than that. It rocks, it rolls, it has the right attitude. I hope we get to see them live some day.
IN THE NURSERY. 1961 CD (ITN Corp) Originally formed in 1981 by brothers Klive and Nigel Humberstone, ITN have consistently produced music that combines neo-classical styles with an almost post-punk approach to create effective soundtrack-like albums. Indeed, so successful have they been that their music has since been used in such film-work as ‘Interview With A Vampire’, ‘Gran Torino’ and ‘Game of Thrones’, which is effective validation of the course they have taken. Over the past decade, they have also worked on the Optical Music Series, creating new soundtracks for such classic movies as ‘The Cabinet of Dr Caligari’ and ‘The Fall of the House of Usher’. This album is more of a personal statement, referencing the year when the twins were born and the events that surrounded them, from the construction of the Berlin Wall, the publication of ‘Catch 22’ and the historic space-flights of Yuri Gagarin. The music develops at its’ own pace, creating moods and atmosphere that reflect an era when the political situation was stalling in the mire of the Cold War whilst technology and culture were still moving ever forward. Occasional voices appear more like lost memories than lead vocals and add to an almost unsettling, dreamlike quality. While others have dabbled in the use of soundtrack styles and electronica, ITN have embraced it whole-heartedly and the results pay testament to their obvious empathy with the subjects. This is a great album that will enhance your more thoughtful moments.
THE JAM. 1977 CD boxset (Polydor) A lot of retrospective boxsets are released with much fanfare but very little actual content that will appeal to fans who have all of the original records already. This, I’m glad to say, is a great exception and has obviously been put together with those fans in mind. Documenting the first year of The Jams’ recording career over the course of 4 CDs and one DVD, this includes their first two albums, ‘In The City’ and ‘The Modern World’ (both having undergone the obligatory re-mastering process) plus both tracks from the ‘All Around The World’ single. One CD is entirely devoted to the February’77 demos (of which, six tracks have not been officially released before now) and another features the bands’ two John Peel sessions, plus an excellent, previously unreleased live recording from The Nashville Rooms in September ’77. A final disk (which I didn’t get, sniff) is a DVD featuring original promo clips and TV appearances. It also comes with an extensive booklet and postcards (which I also didn’t get, sob !) so altogether, this isn’t just another rehash of material that you’ll already have. It’s a great reminder of why the energy and enthusiasm of The Jam was embraced by the early Punk scene, even though their own aesthetic was always on a different tangent. This is one of the more tempting boxsets released in recent years and one that really does its’ job properly.
JOHNNY MOPED. Catatonic 7” (Damaged Goods) Well, World Peace doesn’t seem to be on the books and winning the Lottery is even less likely, so I’m more than happy to settle for a brand new Moped 7” ! After all, it’s good to know that there are some things that still meet all expectations. ‘Catatonic’ is a new masterpiece, blasting along with plenty of raucous rock’n’roll energy while Johnny’s vocals sound as wonderfully crazed as ever. The b-side is a treat for long-term fans – at long last, they’ve finally got around to recording a proper studio version of ‘Hard Lovin’ Man’. It rocks harder than granite. And the single comes on white vinyl in a great sleeve which depicts the band in surreal / intoxicated cartoon style. Is there anything about this record that you shouldn’t love ? No, there isn’t. You’ve been told. Just buy it !
LES LULLIES. Don’t Look Twice EP (Slovenly) Frantic French punk rock band, much in the tradition of The Kids or (early) Sharpshooter. Four short, sharp shocks that mix the tunefulness of the Buzzcocks with the furious intent of the first Damned album. Add to that a clear acknowledgement of the Downliners Sect plus later garage-beat punks like Thee Headcoats and The Rip-Offs, and you’ll get the idea. Not much needs to be said, just play this loud and rip the place apart !
LOS PLANTRONICS. The Worst is Yet To Come. CD (Jansen Records) As I’ve said when I reviewed their fine album ‘Surfing Times’, the last place you’d expect a band who espouse the creed of ‘Mariachi Death Surf’ to come from would be Norway, but that’s exactly where this 9-piece rock’n’roll surf-instrumental band hail from. If you could imagine members of the Supersuckers getting together with Turbonegro and Rocket From The Crypt to pay homage to the cinematic splendour of Ennio Morricone and the guitar-prowess of Dick Dale, that will probably point you in the right direction. Los Plantronics obviously have a real understanding and empathy towards the music they play, even though the references may originate from places on the other side of the world. This double-album package serves as a ‘best of’ compilation for their recorded material between the years 1995-2017, but the sounds are remarkably consistent meaning the entire set flows naturally and insistently. The production is epic, just like the best Spaghetti Western soundtracks, but the energy never fails to rock. Although mostly instrumental, they do occasionally delve into vocal tracks and do so with considerable style, covering songs from the likes of Chuck Berry, Gene Clark and even the Dead Kennedys’ ‘Let’s Lynch The Landlord’ ! They know what they’re talking about and don’t have to make any excuses. Any band that can end an album with a cover of ‘The Good, The Bad & The Ugly’ and totally make it their own in the process, deserves to be recognised. I’m not sure, but I hope they play live, because this is one show that could not be missed !
LOST CHERREES. Who’s Fucking Who ? Who’s Funding Who ? LP / Common People EP (Diablo) I was rather late getting my hands on these two records, but I still wanted to give them a mention as they’re well-worth hearing. I’m possibly in a minority, but I actually prefer the more recent Lost Cherrees material to their older, original releases. The spirit is still the same, providing alternative points of view to the mainstream ‘Tsunami of Shit’ (as they call it) presented by the Media, and delivering their songs with plenty of energy and catchy tunes. The political situation in the UK has clearly worsened since the early Eighties, so bands like these have all the more subjects to address. CCTC surveillance, the EDL, corrupt Politicians in bed (sometimes literally) with Corporate greed… Lost Cherrees are talking about things that people need to hear and that can only be a good thing. The fact that they do it with great music and an imaginative production is the real bonus ! Plus, as an addition, this studio LP also includes a second album featuring a complete live set recorded in London during 2013. Again, great songs and great sound quality, so it really needs to be heard. The EP, in addition, adds further dimension to the bands output. The A-side features a lengthy cover of the Pulp classic, ‘Common People’ and it works really well. Not too surprising, as lyrically the original had a real punk attitude and musically it wasn’t far beyond the three-chord trick ! Adapting the song to a full-on Punk Rock version is a great idea and the band do it really well. The B-side features two new versions their own songs plus two covers of tracks by the band 16 Guns, all of which bristle with genuine energy, So, make sure you get to hear these records and catch up with a band who, despite line-up changes, are as good if not better than they ever were.
L7 : PRETEND WE’RE DEAD. DVD (MVD Visual) At one point, it seemed almost certain the L7 were destined to become hugely popular. They had the right background, real credibility, were championed by many of the most popular contemporary bands and, most importantly, wrote great songs. Their live performances were legendary and their records captured both their energy and attitude. But it was probably their uncompromising spirit that prevented their acceptance by a wider audience. Although they were trail-blazers for the whole Grunge scene (remember, they had been playing together since 1985) mainstream media were much happier promoting Grunge-lite acts like Pearl Jam or Smashing Pumpkins rather than dealing with the real thing. Although they were happy to sell their music, L7 were never going to tone-down their art just to appeal to fickle MTV punters. Unfortunately, this lead to their eventual decline and although their core of fans remained loyal to the end, the years of hard work eventually caught up with them.
This excellent documentary tells their whole story from start to end and on to their recent reunion and revalidation. Their popularity since the original split has not only remained but actually grown, with a whole new generation of fans now eager to see a band that were truly ground-breaking whilst always remaining true to their roots. This film puts it all into perspective, with much of the footage taken by the band themselves on hand-held vid-cams. The quality may not be highest fidelity but the action and events they capture, both on and offstage, is superb, effectively conveying the essence of the band. And it doesn’t stop there ; the DVD includes loads of extras, including a short ‘documentary’ directed by Krist Novoselic and a whole host of outtakes including appearances from Nirvana, Faith No More and Fugazi.
This is an insistent film that perfectly recalls what I loved about the band in the first place. Watching this now sent me straight back to their old records with renewed enthusiasm. But you won’t have to be a fan to enjoy this DVD as there’s enough emotion, humour and drama in the story to make it a great film in its’ own right. The fact that L7 were / are a great rock’n’roll band is just the icing on the cake.
This excellent documentary tells their whole story from start to end and on to their recent reunion and revalidation. Their popularity since the original split has not only remained but actually grown, with a whole new generation of fans now eager to see a band that were truly ground-breaking whilst always remaining true to their roots. This film puts it all into perspective, with much of the footage taken by the band themselves on hand-held vid-cams. The quality may not be highest fidelity but the action and events they capture, both on and offstage, is superb, effectively conveying the essence of the band. And it doesn’t stop there ; the DVD includes loads of extras, including a short ‘documentary’ directed by Krist Novoselic and a whole host of outtakes including appearances from Nirvana, Faith No More and Fugazi.
This is an insistent film that perfectly recalls what I loved about the band in the first place. Watching this now sent me straight back to their old records with renewed enthusiasm. But you won’t have to be a fan to enjoy this DVD as there’s enough emotion, humour and drama in the story to make it a great film in its’ own right. The fact that L7 were / are a great rock’n’roll band is just the icing on the cake.
MALA VISTA. Locked Away. digi-single (https://malavista.bandcamp.com/album/locked-away-single ) New York based punk rock three-piece who recall the adrenalin-charged sounds of early DOA, The Dils and maybe even The Wipers. Great catchy tunes, insistent vocals and loads of energy, this sounds great ! For my money, the second track ‘Shake My Soul’ is even better ! Lyrically, they’re intent on sharing their experiences as Latino-youths in the current American reality ; for them, the personal is the political, so rather than chanting slogans they’re talking about real life. Punk rock can still give people a voice, just like folk music in the Sixties and Hip-Hop in the Eighties ! It’s all valid when it’s played by real people and tells you about their real lives. Only available digitally or on cassette so far, if these tracks don’t make it onto vinyl it’ll be a heinous crime. Do not miss this music !
MDC. Mein Trumpf. CD (Primordial) Unsurprisingly, with all that’s going on in America at present, MDC are sounding as vital and relevant as they ever have. Taking the Trump debacle as their launch pad, they deliver a blistering critique of current society, where high wages can justify slaughter and drone technology has produced a sanitised version of warfare. Although musically, the album is predominantly hardcore, tracks like ‘Haldol’ recall the more abstract sounds of the ‘This Blood’s For You’ album, while ‘My Show’ is based around a funky bass riff that have you thinking back to the classic ‘John Wayne Was a Nazi’. ‘Just For Today’ adds a more melodic tone and even a tongue-in-cheek sense of humour to proceedings, perfectly balancing and emphasizing the harder sounds elsewhere on the record. The final track, their already heralded new version of ‘Born To Die’ with new anti-Trump lyrics, is a timely and precise declaration. I’d be tempted to say that this is their best album since their very first one, but that would be skipping over a lot of great records that have come inbetween. All you really need to know is that this is MDC on top form, playing powerful and diverse music with intelligent and poignant lyrics that will leave you thinking just as much as slamming. Do not miss this album !
CODY MELVILLE, Bonds Eye CD (Duetto Disc) He may not be a well-known name to a broader audience as yet, but in his hometown of New York, Cody Melville has had an illustrious career producing contemporary rock’n’roll that effortlessly embraces Blues, Soul and even Sixties Pop along the way. This is, in fact, his tenth album and over the years he’s worked alongside the likes of Mick Ronson, Andy Shernoff (The Dictators) and Brijitte West (NY Loose) although he usually prefers to record alone, playing as many of the instruments as possible. The overall tone of the music is reminiscent of Bruce Springsteen and Lou Reed as well as more recent songwriters like Jesse Malin. Vocally, Lou Reed is also a good comparison (I doubt if any rock band from New York is going to avoid that legacy for a long time) but I’d also reference more recent Elvis Costello and, although a bit more obscure, there are also moments that remind me of Jonas Almqvist of The Leather Nun in the way that his voice can sound understated yet highly emotive at the same time. Stand-out tracks include the duet ‘Remember, Ah Remember’ where Cody is joined by the soulful vocals of Dina Regine, the excellent opening track ‘I Don’t Want To Go’ and the fine cover of ‘The Empty Bed’, recorded as a tribute to the aforementioned Mick Ronson. This is an album with a lot of scope and broad references, something that you should take the time to check out.
MISSILES OF OCTOBER. Better Days LP (Pogo) Belgian band that make me think of a cross between No Means No and Helmet ! They have that big, aggressive sound but also the more complex rhythm patterns and differing tempos. One moment, they’re hurtling through the rapid fire delivery of the title track and the next, they reduce the pace to the Flipper-ish dirge of ‘Everyday’. This is hard rock with real attitude. Put them on tour with a band like Metz and I’m sure they’d end-up winning themselves a real big chunk of the audience. This is primal, direct stuff that goes straight for the gut. Make sure you hear it soon.
NECK DEEP IN FILTH. EP (www.facebook.com/neckdeepin filth) It’s been a good year for having my assumptions dashed. Firstly, I discovered that there were punk bands in the Yucatan are of Mexico (having been there, all I found was tequila and monkeys) and now I’ve discovered that there are Hardcore bands from Nepal ! There are times when you assume that music like this just wouldn’t translate to different cultures, but then again, why shouldn’t it ? Nepal is a country bordered by India to the South and China to the North, so the situation is obviously pretty tense, aside from the more usual angst of individuals forging their own individuality within society. So why shouldn’t Hardcore, a genre based around passion, aggression and identity, be perfect for the youth of such a place ? Especially with the advent of the internet, access to different forms of expression is now more easily accessible and some have grasped the opportunity. Neck Deep In Filth don’t just play a reasonable imitation of Hardcore, they make it their own. Sure, it takes its’ cues from the more vitriolic elements of NYHC (Agnostic Front, Sick Of It All) but what they perform is placed in their own context and that makes it all the more vital. I wish I had a translation of the lyrics to confirm my impression, but I think you can tell from the song titles and soundbytes between tracks that we’re all on the same page. This is something you need to support !
NEEDLES//PINS. Good Night, Tomorrow LP (Dirt Cult) Three-piece band from Vancouver BC playing a fine mix of styles, recalling the frantic, melodic punk of early Lookout releases, garage bands and perhaps some noisy elements that wouldn’t have been out of place among the early Amphetamine Reptile releases. The vocals recall the gruff approach of Bob Mould / Frankie Stubbs and, as with both those frontmen, backing harmonies fill-out the tunes perfectly. This is all about the sharp, snappy songs, regardless of how much noise might be built up around them. You’ll maybe find yourself thinking about the Replacements or perhaps Pegboy. This isn’t easy to pin-down, but that’s what makes it sound good. Give it a listen and figure it out for yourself.
THE OFFENDERS. Heart of Glass CD (Destiny) Not to be mistaken for the legendary Texas punk band of the same name, this combo formed in Italy back in 2005 but relocated to Berlin in recent years. Their enthusiastic blend of Punk, Two-Tone and Mod has seen them tour all over the world (everywhere from Ireland to China) while their previous albums have been major fixtures on the European Ska scene. Toting their style under the self-proclaimed ‘Hooligan Reggae’ moniker, they recall the early records of the Mighty Mighty Bosstones (perhaps without the harder edges) and there are certainly a few songs that wouldn’t have been out of place on ‘London Calling’, more in the mood and atmosphere they create rather than actually sounding like The Clash. Lyrically they mostly deal with everyday life, although they’re not afraid to tackle more serious topics as well. This is a very enjoyable album that’s going to appeal to a really wide audience and could even go further, if it wasn’t for the closed-minds or radio producers. Be sure to hear it !
PENETRATION. Shake Some Action 7” (Polestar) Two cover versions recorded by the same line-up who made the recent and excellent ‘Resolution’ album. The a-side is a fine version of the Flamin’ Groovies classic, with Pauline’s vocals giving it a whole new feel. The b-side is a cover of the Buzzcocks ‘I Don’t Mind’, highly appropriate considering Penetrations’ close associations with that band in the past and the fact that John Maher was playing drums during these sessions. It’s another great song for them to cover and again, Pauline’s vocals add a whole new dimension to the results. This is a wonderful single, don’t miss it !
PENETRATION. In The Future 7” (Polestar) ‘In The Future’, ‘Race Against Time’ and ‘Duty Free Technology’ were only ever recorded as demos and although available on various compilations since the Seventies, the current band decided to take the opportunity to re-record the songs and give them the full studio treatment they deserved. The results are well-worth their efforts. The songs sound fresh and full of genuine passion, together with a power and clarity provided by an excellent production. Penetration have tackled these older songs with the same intent they displayed on the recent ‘Resolution’ album and the finished recordings are as vital as anything they’ve ever released. Get yourself a copy of this record soon or you’ll live to regret it !
PETT SOUNDS. Demos (www.soundcloud.com/paul-finch ) Out of the blue, an old friend of mine sent me some recent recordings she’d made with one of her friends. It came as a bit of a surprise as I hadn’t known that she’d been involved in any musical projects before, but I was also equally surprised by just how good the songs sounded. After various downloads, there were a total of ten tracks, just featuring Paul (all instruments) and Sandra (vocals) but filling out a fuller sound than most bands could manage. You’ll pick up on a lot of different influences as you listen, but for me the early Eighties period comes to mind, when pop bands were informed by punk and all the mutations that it had inspired. Electronic instruments were still being used in an interesting way (rather than just being formularized to create lowest common denominator pap) and lyrics were still thoughtful, while the arrangements maintained a real sense of energy and creativity. Think of bands like (early) Orchestral Manoeuvres in the Dark, A Flock of Seagulls, The Fixx, maybe even Bauhaus in their gentler moments. In more recent terms, you could also reference the early records by Garbage, as I’m sure they took many of these influences to heart. This is pop, but not in the crass way it’s become in recent years. This is all about the songs and genuine performance. Some times, it’s just what you need to hear.
POISON IVY. The Sweetest Kitten With the Sharpest Claws 7” (Connoisseur) All three tracks on this EP have been previously available but they’re not exactly easy to find, so it’s nice to have them together on tone EP. ‘Peter Gunn Twist’ is a great version of the famous instrumental that appeared on a compilation album back in 1996, with Ivy showing-off her superb guitar skills. ‘The Funnel of Love’ and ‘Riot in Cell Block #9’ are both taken from Wanda Jackson’s 2003 album ‘Heart Trouble’. The Cramps acted as backing band for these two tracks and did a mighty-fine job of it. Fans are definitely going to want to hear this material, even though it’s not strictly a ‘Poison Ivy’ record, but the cover is cool, the sound quality is great and it’s certainly something that worth tracking-down.
PORNSCARS. Momento Mori CD ( pornscars.bandcamp.com/ ) Berlin-based street-punk band who standout amongst the many others playing this rather basic style by adding their own ideas to the arrangements and creating a unique style of their own. Lyrically, they avoid the usual street-punk topics and go for their own brand of macabre subjects and darkly-humorous tales. You’ll find songs about Ed Gein and Jim Jones rather than football and beer (after all, Hardskin already do that best !) They still keep the best parts of Oi! (the catchy choruses and big guitar sound) but add more than a few of their own ingredients to make it their own. Any fan of street-punk is probably going to love this !
PRIMITIVE RACE. Soul Pretender CD (Metropolis) I’ve taken longer to review this album than I ever intended, but the unexpected death of singer Chuck Mosley shortly after the albums’ release date derailed my thoughts. Chuck had spoken of the plans for this record when I had last seen him, during his UK tour at the end of 2016. He knew it was going to be quite different to anything he had done before but also seemed genuinely enthused with the challenge. The results are remarkable and, together with his recent touring and plans for new solo material, really looked certain to re-establish Chuck’s presence in the music world. Sadly, this was not to be, but the album still does much to show that Chuck still had plenty of creative energy to offer.
All that being said, I should now explain that Primitive Race was not Chuck’s band, but an ongoing project originally created by producer / bassist Chris Kniker (of Revolting Cocks / Lords of Acid) who brought together different musicians from the ‘industrial rock’ scene to record their self-titled debut in 2015. The album had moved more towards an organic punk / rock sound and it was this direction that Chris, together with core members Erie Loche and Mark Thwaite, decided to explore further with the new record. Chris had already met Chuck and discussed working together, so he became to obvious choice as vocalist. Through similar connections, Dale Crover of The Melvins came on board to provide drum duties. The results are very impressive, combining powerful riffs and rhythms with melodic accessibility. Although not directly comparable, the album shares some territory with early Faith No More material, particularly in its’ post-punk influences. Chuck’s vocals are more straight-forward than on his previous recordings, showcasing his deep, crooning tones to full effect, instantly recognisable and totally effective. The sad thing is that, much that Primitive Race is more of a studio project rather than a live band, we now have no chance of seeing this line-up live, which is where these songs would have really taken on a life of their own. It’s unfortunate that events happened as they did, as this is an album that deserves praise in its’ own right, but its’ release is inevitably entangled with Chucks’ departure. Regardless, be sure to hear it, be sure to play it loud, and appreciate what a great record it truly is.
All that being said, I should now explain that Primitive Race was not Chuck’s band, but an ongoing project originally created by producer / bassist Chris Kniker (of Revolting Cocks / Lords of Acid) who brought together different musicians from the ‘industrial rock’ scene to record their self-titled debut in 2015. The album had moved more towards an organic punk / rock sound and it was this direction that Chris, together with core members Erie Loche and Mark Thwaite, decided to explore further with the new record. Chris had already met Chuck and discussed working together, so he became to obvious choice as vocalist. Through similar connections, Dale Crover of The Melvins came on board to provide drum duties. The results are very impressive, combining powerful riffs and rhythms with melodic accessibility. Although not directly comparable, the album shares some territory with early Faith No More material, particularly in its’ post-punk influences. Chuck’s vocals are more straight-forward than on his previous recordings, showcasing his deep, crooning tones to full effect, instantly recognisable and totally effective. The sad thing is that, much that Primitive Race is more of a studio project rather than a live band, we now have no chance of seeing this line-up live, which is where these songs would have really taken on a life of their own. It’s unfortunate that events happened as they did, as this is an album that deserves praise in its’ own right, but its’ release is inevitably entangled with Chucks’ departure. Regardless, be sure to hear it, be sure to play it loud, and appreciate what a great record it truly is.
THE PROFESSIONALS. What In The World LP (Automaton) The Professionals without Steve Jones were always going to have a lot to live up to. Steve perfected his guitar sound and its’ often been imitated but never equalled, whilst in recent years, through his radio show and autobiography, he’s revealed himself to have an entertaining and likeable personality that would be perfect to front the reactivated band. That being said, through continued gigging and the recent addition of Chris McCormack on second guitar, the current line-up have started to become a powerful live band in ther own right and the introduction of new material has been very promising. The album itself doesn’t present any surprises but it does deliver a strong set of songs that sound pretty-much how you would expect The Professionals to sound in 2017. Paul Cook’s drumming is perfect, the solid, powerful beat that keeps everything in place, meshing together with Paul Myers’ bass to allow the guitars the space they need to do their own thing. Tom Spencer’s vocals are a lot more confident now and although lacking Jonesy’s character, more than live up to the challenge. But it’s with the guitars that they’ve been really clever. Instead of just relying on one person, they’ve been able to involve a whole array of musicians, not doubt tempted by the bands’ reputation, to guest on different tracks. As such, there are spots filled by the likes of Mick Jones, Duff McKagen, Marco Pirroni and, most importantly, Steve Jones himself. Everything falls properly into place, no-one tries to show-boat and it’s all about the album as a whole rather than any virtuoso performances. Depending on whether you ever liked the band in the first place, the end results are pretty damn good and they certainly haven’t let down any of the old fans. Where it will go from here is anyone’s guess, but I think they’re just enjoying themselves playing together and as long as that continues, I’m glad to have them around.
PROTO IDIOT. Leisure Opportunity LP (Slovenly) Like a mix of Manchesters’ primal punk rock roots (The Fall circa Short Circuit, Buzzcocks circa Spiral Scratch) mixed with the rawest garage-bands that you could ever imagine. But they also manage to add a few great tunes to the mix which make the songs ridiculously catchy. They also recall the likes of early Nightingales, Swell Maps, maybe Gang of Four… If only John Peel were still here, I’m sure he’d be playing this record until it wore out. Individual tracks are kept short and to the point, which is the best thing for abrasive fare like this. Even the slower tracks seem to bounce along with a life of their own. Basically, you need to hear this record and you’re only going to dislike it if you really have become old. Great stuff !
P.38PUNK. La Morte Della Nazioni LP (www.p38punk.altervista.org) Italian punk band celebrating their 25th year with their first vinyl album, featuring six new recordings. Apparently, two are original tracks, two are cover versions and the final two are updated versions of traditional ant-fascist partisan songs. With the lyrics and most of the information about the band only available in Italian, it’s a little awkward to provide further details, but musically they are very much based in 1977 punk (both UK and New York) with the raw approach of street punk and emotive vocals. ‘Spara Jurij’ has a great guitar riff that recalls the Dead Boys, while ‘Intervento Umanitario’ manages to bring both the Sex Pistols and the Subhumans (UK) to mind ! ‘Fischia Il Vento’ (presumably a cover) has the most straight ahead ‘rock’ sound, although it probably loses some of its’ effect in translation. From their website, you can gather that the band are very much anti-establishment and in Italy that still means a lot, so for them to have lasted this long must have taken some effort. This may prove difficult for a UK audience to fully appreciate, but I certainly urge you to give them your support !
RAMONES. Live at CBGB 15/9/74 7” (Pirate Love) Three tracks from what must be one of the earliest recordings of Da Brudders, hurtlin’ through ‘Now I Wanna Sniff Some Glue’, ‘I Don’t Wanna Go Down To The Basement’ and ‘Judy Is A Punk’. The songs are all there even if the band are nowhere near as tight as they later became. This is a surprisingly good recording and although it isn’t exactly hi-fi, you can hear everything that’s happening, including mistakes, false starts and arguments between songs, which really gives you an idea of what it must have been like at those early shows. At times, it sounds like a life-or-death struggle between the individual Ramones and their instruments, but that’s what makes it great. This was a band determined to do what they believed in regardless of their own abilities or audience expectations. For that fact alone, you had to love them. This is a release that’s both historical and extremely enjoyable. Every home should have a copy !
A NIGHT WITH LOU REED. DVD (Wienerworld) As the saying goes, this is a product that does exactly what it says on the box. It’s an excellent recording of a gig at the Bottom Line in New York, 1983, with a fine band featuring Robert Quine (ex-Voidoids), Fred Maher (Scritti Politti, Material) and Fernando Saunders (who was later to become one of Reeds’ longest-running collaborators.) The setlist certainly includes many of Lou Reed’s best known songs (I’m Waiting For The Man, Sweet Jane, White Light / White Heat, Walk on The Wild Side, Satellite of Love) plus several selections from his then-recent albums ‘Blue Mask’ and ‘Legendary Hearts’ which sound great in this context. But far from the set being a simple-selection of ‘greatest hits’, the really interesting moments are when the band reinterpret the established songs in their own style, with Quine in particular adding some incredible guitar breaks that breathe new energy into the tracks. This wasn’t just Lou Reed relying on his past glories, he was bringing them forward to fulfil his current direction. In this way, the concert was a fine balance between the need to satisfy the audiences’ craving for their favourite tracks with the performers desire to never stand still. With Robert Quine in the band, he had an ideal foil to bring out something new. Overall, this is a set that will mostly appeal to aficionados, but it deserves to be seen and heard by any fan of Lou Reeds’ music.
DUNCAN REID & THE BIG HEADS. C’mon Josephine 7” (Damaged Goods) The former Boys member has been steadily establishing his own band over the past few years and his output has been pretty prolific – the new band is already up to their third album and the quality of the songs seem to be continually getting better and better. These two tracks are much more on the powerpop side of things, which was always an important part of The Boys, but here it’s even more pronounced. ‘C’mon Josephine’ will probably sound more familiar to fans of The Boys while the b-side, ‘Bombs Away’, has a real glam-rock feel to it, still very catchy but also more stompin’. If you want to find out how Mr Reid is keeping himself busy, this is probably an ideal introduction. Either way, be sure to hear it.
ROCKET FROM THE CRYPT. Return To Monkey Island 7” (RFTC) Limited edition (600 copies) picture disc sold on the bands’ recent UK tour. Featuring two (presumably) recently recorded tracks, ‘Waiting For The Shoe To Fall’ is an instantly-recognisable Rocket-tune that steadily builds-up the tension until it’s all let loose in the epic chorus. ‘Too Dangerous’ is a much faster number that seems to be packed with adrenalin, forcing it into a head-on dash for the end of the song (and I mean that in a good way.) There’s still no real news on the possibility of a new album from the band, but if these tracks are anything to go by, I’m sure it’ll be worth waiting for !
LOS ROCKINSON. s/t LP (Ttan Ttakun Irratia) I don’t know much about this band, but from what I have discovered they were a short-lived combo based in the Northern Spanish town of Lazkao towards the end of the 1990’s. The trackss that make up this album are the only demos they recorded, during 1998, and some of their members later went on to form the band Brigada Criminal, who have several albums to their name. Los Rockinson were a three-piece who recall the frantic, catchy punk rock of bands like Screeching Weasel mixed with the likes of New Bomb Turks, The Kids and (early) Saints. Most of the songs are sung in Spanish which causes some problems as my knowledge of the language certainly doesn’t stretch as far as translating snarling punk rock vocals ! And, to be honest, even when they do sing in English, such as the cover of ‘Havana Affair’, it’s hard to keep up with the regional accent and rabid tempo. That being said, the songs are great fun, loads of energy and a great bratty attitude that keeps bopping along from start to finish. Play it loud, drink a beer and annoy the neighbours … this is what it’s all about and this album is perfect for it !
RODINIA. Ex Anima CD (Now Again) Contemporary Krautrock that takes its’ influences from the more restrained moments of the original genre, perhaps even incorporating minimalist hip-hop beats to propel the movement in places. The title ‘Ex Anima’ means ‘from the soul’ whilst also sounding curiously similar to the word ‘examiner’ and I wonder if this is a total coincidence ? The music seems to be delving deep into the musicians subconscious to produce natural tones and rhythms which find their own places and connections as the tracks develop. Unlike prog-rock, where much of the output is too studied and overblown, this music does not sound forced and seems to create its’ own atmosphere and environment. It mostly continues at a well-tempered pace, with only one track, ‘Neusi’, lifting the tempo in what I assume is a homage to Neu themselves. Placed right in the middle, it almost feels as if the albums builds-up towards this track and then comes down gradually afterwards. Either way, it’s possibly the highlight of the album and in many ways the key to the whole record. Overall, this is an intriguing example of Krautrock being placed in the present day, nodding towards its’ predecessors but also very-much in its’ own time and place. Well worth investigation.
RUSSIAN GIRLFRIENDS. All Around CD (Gunner) Originally released in 2015, ‘All Around’ was the debut album by this Alburquerque-based punk band, reissued by the German label Gunner to coincide with upcoming European tour dates. Much more than current wimpy ‘pop-punk’ or ‘emo’ bands, this combo hark back a few years to when the raw energy and attitude was much more in line with Punk rather than career opportunities. I’m talking about bands like the Descendents, Down By Law or Big Drill Car, you know, outfits that could be as catchy as herpes but still punch you in the gut (in a good way) and have something to say in the process. I mean, don’t you just wish you came up with a song title called ‘I Prefer Pitbulls To Pople’ ? This is an album that kicks in all the right ways. I just hope that I get to see them soon … even if the album artwork is pretty disturbing !
SANDRO, JOHN MALKOVICH & ERIC ALEXANDRAKIS. Hell On Earth (available via itunes) This is a collaborative project that really took me by surprise. Featuring the highly-respected actor John Malkovich, renowned photographer Sandro and avant garde composer Eric Alexandrakis, this trio have previously released three vinyl-only albums and produced two film projects which have all met with critical acclaim. Sandro and Malkovich have been working together on visual projects for several decades but more recently combined with Alexandrakis’ soundtrack-like approach to music to create a multi-media presentation that combines imagery with sound and text. Malkovich recounts, in his unmistakeable voice, quotations and sentiments based around the philosophical works of Aristotle and projected into a near-future context where technology has supplanted the minds of individuals. As William Burroughs once stated, ‘Western man is being externalized through the use of gadgets.’ For all the great works and valuable information that could be made available via technology, cultures instead become obsessed with selfies and tweets. In such a way, this is a genuinely thought-provoking piece of work. The album is relatively short (23 minutes) but as such avoids the chance of becoming either self-indulgent or over-bearing. It’s a genuinely interesting and worthwhile project and I feel that, aside from the mainstream, it may well appeal to a very broad audience.
SECT. No Cure For Death CD (Southern Lord) This is an album that hits you head-on as soon as the first track begins and does not relent until the final notes have faded. Think of a brutal, vitriolic collision between Siege and early Corrosion of Conformity and you’ll get some kind of idea of the type of aural assault that they dispense. This is Sect’s second album, railing against the imposition of Big Brother politics in supposedly tolerant society. Formed by members who previous played in the likes of Catharsis, Earth Crisis and Racetraitor, this is hardcore taken to an extreme, using the raw energy and urgency to convey feelings and thoughts that have to be heard. It has an almost desperate sense of communication, but also provides a raging sense of relief. This is not an album that you can hear in the background, but if you have the guts to stand-up with it, this may be the exorcism that you need.
7 YEARS BAD LUCK. Great, Big, Nothing LP (Monster Zero) Austrian punk trio who play an exceptionally catchy, melodic brand of music. Having been together since 2001, it’s surprising to learn that they’ve only began recording albums in recent years (the first, ‘Bridges’, only came out in 2014) but they’ve certainly taken their time to perfect the style that they now present. They veer away from any more obvious influences, instead letting a mix of less-obvious (but no-less great) bands inform their own style. At times, I can hear (early) Sink, Jawbreaker, Cute Lepers, Sloppy Seconds and maybe even a touch of Leatherface. They keep the songs short and snappy (only a couple go over three minutes and I don’t think any of them go as far as four…) and play them with plenty of energy. With the right kind of exposure, I could see this band becoming very popular !
SEX PISTOLS. Club Du Chalet Du Lac LP (A Limited Amount) It really surprises me that, after more than 40 years, this recording is been released on vinyl for the first time. Recorded in Paris during September 1976, it captures the band at their very best, all four sounding totally focused, and the sound quality has got to be one of the best live recordings ever made of the original band. It was their first trip abroad, so they were playing to an genuinely-interested audience who were not yet taunted by press reports and, as such, the band could be judged on their own merits rather than sensationalist expectations. Put it this way, there are a lot of Pistols bootlegs that are interesting to hear but are unlikely to be played very often. This album is one that really does deserve repeated plays and I’ve enjoyed it every time. It comes in a great cover that replicates an original advert for the gig (you also get a poster of the artwork) and is available in different vinyl-colours. As a double album, it is a bit expensive but certainly worth every penny. Track it down !
SEX PISTOLS. Never Mind The Bollocks – Deluxe Edition. CD boxset (USM/UMC) I doubt that anyone reading this review hasn’t already heard ‘NMTB’ but this new budget-priced collection (a reissue of the ‘super-deluxe’ version that was released in limited numbers back in 2012) is probably as definitive an overview of the Pistols output as you’re ever likely to hear. The first CD features the original album, remastered and restored to its’ original glory. Of course, it can never have the same impact that it had in 1977, but just listen to the adrenalin-rush of ‘Holidays in The Sun’, the snarling ferocity of ‘Bodies’ or the punk rock perfection of ‘Pretty Vacant’ and you’ll still get a good idea of the albums’ original effect (and that’s even before you start thinking about ‘Anarchy in The UK’ or ‘God Save The Queen’…) The second disc addresses the oft-heard opinion that the finished album was too ‘produced’ and didn’t capture the true essence of the band. As such, we’re given a wide selection of demo’s and outtakes recorded by both Dave Goodman and Chris Thomas which give you an alternate version of the album, so you can make up your own mind. Of particular interest are the demo versions of ‘Body’ (Bodies) and ‘Belsen Was A Gas’ (although the jury is still out on the validity of that particular track…) Disc Three addresses the issue of the bands’ live prowess with two bootleg / mixing-desk recordings from their short Scandinavian tour in July 1977. While Sid Vicious was now playing bass, the band still sound great… he was never as accomplished as Glen Matlock, but at this time wasn’t yet the fuck-up he became and could hold his bass-lines together. The fourth disc contains rare footage of the band, including promo videos, live recordings (including the infamous Thames Riverboat gig) and a BBC Radio interview (but I didn’t get this part of the set, boo !) To complete the set, there’s also a 48-page hardback book, featuring the story of the album and rare photos from various sources. All-in-all, this really is as much as you could want after all these years and does deliver the widescreen-view it set out to present. I’m sure there will still be many complaints from the trainspotters, but this is a set that really does the job.
SIBERIAN MEAT GRINDER. Metal Bear Stomp CD (Destiny) Russian metal-hardcore crossover band, very much in the style of Cro-Mags or Agnostic Front, with elements of Slayer thrown-in for good measure. The production really captures the sheer ferocity of the music, while the vocals occasionally veer from hardcore delivery towards a brutal rap style. Occasional breaks let you gain your breath before the tempo resumes or switches into stompin’ moshpit rhythms. It’s strange that a Russian band would adopt so many traits of New York street punk but in many ways, it makes sense, embracing a rebellious, aggressive style that not so long ago would’ve been discouraged and not widely heard, if at all, in their home country. This album takes all the promise of their first record and produces a definitive statement that really puts this band on the map. With plenty of touring in their sights, I’m sure Siberian Meat Grinder are going to firmly establish themselves on the international scene.
THE SIDE EYES. So Sick CD (In The Red.) This is an album that brings forth a second generation of punk rock personality. Singer Astrid McDonald is the daughter of Charlotte Caffey (The GoGo’s, The Eyes) and Jeff McDonald (Redd Kross) so there’s plenty of great music in her genes. But that being said, The Side Eyes are much more than just her background. Brothers Kevin and Chris Devine provide fast and furious yet always melodic punk riffage while drummer Nick Arnold pins everything down with his frantic beats. It’s not quite hardcore, but at times the pace reaches the faster realms of punk. Lyrically, the songs are based around teen angst chants (‘I Hate Dates’, ‘Cat Call’, ‘Dead End Boy’) that almost verge on riot grrl subject matter although never without at least some sense of humour. Produced by (uncle) Steve McDonald, the songs are short and snappy but also maintain enough room for individual variation and tempo-changes that keep the individual songs memorable. Although Astrid may have some great musical talents as her parents, The Side Eyes don’t really recall either of their bands and even when they cover ‘Don’t Talk To Me’ by The Eyes, they make it their own. It’s a great album that’s full of energy and tunes that make you wish you were at one of their gigs. This is the proper use of youthful attitude. Be sure to hear it !
SITES’N’SOUNDS, The Night Is So Dark 7” (Slovenly) Reissue of this great Sixties Teenbeat single, not quite raw enough for the garage, but far to edgy for the mainstream. This Pennsylvania-based band were originally in action during the mid-Sixties, playing up and down the East Coast of the States but only releasing this one scarce slab of wax. The a-side is a moody slice of pop that no-doubt hipped the crowd-up, fired along by harmonious vocals and atmospheric organ sounds. The flipside, enigmatically entitled ‘T’, is a brief (1 minute 32 seconds) but frenetic instrumental that’ll have you exercising all manner of jerky moves around your room. Considering this is now 50 years old, it still sounds fresh and frivolous. You know you need to check it out !
16 TON ROCKERS. Shake Riot & Roll / Other Side of Midnight (https://open.spotify.com/album/0VUA5Ao8s7vGBPweN4VE6m) Swedish punk rock’n’roll band that ought to appeal to fans of The Nomads, Turbonegro and Hanoi Rocks. Think of cross between The Heartbreakers and Motorhead and it’ll give you some idea where these guys are playing their riffs. ‘Shake Riot & Roll’ (what a great title !) is more of a straight ahead rocker, while ‘Other Side of Midnight’ actually recalls the first Wayne County album, with a slower pace and sleazier tine. It’s all good stuff. Check ‘em out !
16 TON ROCKERS. Limited Edition Deluxe CD
(www.facebook.com/16tonrockers) A great, thirty-minute blast of punked-up rock’n’roll, straight outta Stockholm ! In many ways, it makes me think of bands like The DeRellas and The Phobics, because 16 Ton Rockers are clearly playing the kind of music that they want to hear and damn anyone who doesn’t get it. The guitars are big, reminiscent of Steve Jones’ classic sound (there’s also a few lyrical references to the Pistols as well) although the riffs often owe more to the likes of Cheetah Chrome or Johnny Thunders. Plenty of great, catchy choruses and vocals that sometimes recall early Wayne County records. ‘Division Shea’ tackles the subject of xenophobia (something that seems to be a problem all over Europe) while ‘Fight The Real N.M.E’ continues the anti-racist tone with an almost reggae-style pace. The only cover on the album is a blistering version of ‘Runnin’ Riot’ that really rips the place apart. This is a great record by a great band and I really hope we get a chance to see them live in the UK one day !
(www.facebook.com/16tonrockers) A great, thirty-minute blast of punked-up rock’n’roll, straight outta Stockholm ! In many ways, it makes me think of bands like The DeRellas and The Phobics, because 16 Ton Rockers are clearly playing the kind of music that they want to hear and damn anyone who doesn’t get it. The guitars are big, reminiscent of Steve Jones’ classic sound (there’s also a few lyrical references to the Pistols as well) although the riffs often owe more to the likes of Cheetah Chrome or Johnny Thunders. Plenty of great, catchy choruses and vocals that sometimes recall early Wayne County records. ‘Division Shea’ tackles the subject of xenophobia (something that seems to be a problem all over Europe) while ‘Fight The Real N.M.E’ continues the anti-racist tone with an almost reggae-style pace. The only cover on the album is a blistering version of ‘Runnin’ Riot’ that really rips the place apart. This is a great record by a great band and I really hope we get a chance to see them live in the UK one day !
SLIME . Controversial / Loony 7” (Damaged Goods) There are a lot of ‘obscure’ singles from the early days of Punk Rock and a good deal of them deserve to stay that way. However, there are one or two real classics and this is one of them. Originally released on Toadstool Records in 1978, this was a one-off release instigated by Johnny Moped guitarist Slimy Toad (under the subtle pseudonym of ‘Slimy Tode’) during a period when Johnny had done one of his infamous vanishing acts from their regular band. Featuring a whole selection of blokes called Jock on vocals and other instruments, these two tracks really should have been recorded by the Mopeds themselves, effortlessly fitting-in with their trademark brand of rock’n’roll eccentricity, but instead came out under this monicker and were ignored by all but true connoisseurs until now when those bastions of good taste Damaged Goods ahve decided to make them available once again (on suitably slimy green vinyl.) Strangely enough, Mr Moped claims that the band did actually perform ‘Loony’ live back in the day, even though no-one else remembers this, but regardless, they are playing in their current set. Both songs are fine punk rock, but ‘Loony’ is of particular interest as many fans will easily spot a clear similarity between one of the guitar riffs that ended-up on ‘Suicide’ by The Damned… you can draw your own conclusions. They were mates, I’m sure no-one minded lending a riff for a good cause ! Either way, this is a great record that deserves to be heard again and you are not a good person if you do not indulge. Trust me.
SLOW FACTION. Under Heavy Manners CD (www.slowfaction.bandcamp.com) One of the busiest bands in the South London punk scene return with a new six track CD that’s probably their most accomplished release to date. Playing a style of mid-paced punk rock that’s somewhere in between The Clash (circa ‘Cost of Living’ EP) and the more socially aware elements of Street-punk, or possibly somewhere in the middle of Stiff Little Fingers and Social Distortion, they combine powerful guitar hooks with singalong choruses and poignant contemporary lyrics about what life is really like in these times of fabricated-Austerity and Corporate sponsored wars. The songs are sung to provoke a reaction and, hopefully, get people to think about things for themselves rather than just believing every word the newspapers tell them. This has always been an important part of Punk, even if it was never the main aspect, and Slow Faction’s form of protest may have already been done by others many times before, but at the moment these things need to be said out loud and I’m glad that they’re here to do it.
MORDECAI SMYTH. The Mayor of Toytown is Dead. CD (Mega Dodo) An album of whimsical psychedelic pop, with a distinctly British feel. The songs take their own time and pace to develop in the same way that some of Robert Pollards’ side-projects come together. The moods veer between sudden, sharp riffs and moments of meandering reflection, sounding surprisingly fresh and organic rather than studied. It does veer towards the gentler moments of prog-rock at times but avoids the pitfalls of that genre by always focusing on the melody of the song rather than the composition. The musicianship is superb throughout and the arrangements really make the most of the tunes themselves. It’s not an instantly attention-grabbing album but the more I listed, the more I became curious. Be sure to investigate it yourself.
SPARKS. Hippopotamus LP (BMG) It starts as soon as you see the artwork. It’s a great image that recalls classic albums like ‘Propaganda’ and ‘Indiscreet’. Sparks have always been masters of the entire package, both the image and the songs. Once I saw this album cover, I knew that this was going to be exceptional, even for a band who have spent the last 45 years releasing remarkable records. Opening with the melodramatic intro of ‘Probably Nothing’, the album starts in earnest with ‘Missionary Position’, another of Sparks sly commentaries on personal relationships, that begins with an almost Baroque piano sound before embracing a full band arrangement that lifts the pace and ensures this is going to become a live favourite. ‘Edith Piaf (Said It Better Than Me)’ is almost a companion piece to ‘When Do I Get To Sing My Way’, with a similar musical and lyrical tone that’s also just as insistent. ‘Scandinavian Design’ is a homage to furniture (who else but Sparks would find amusement in such a subject ?) while ‘What The Hell Is It This Time’ returns to the full-band style and you could almost imagine it having its’ origins in the early-Seventies, a real glam-stomper even if the production here is utterly contemporary. The title track is a quirky re-imagination of ‘The Old Lady That Swallowed A Fly’, this time documenting the increasingly bizarre items that are overcrowding the swimming pool ! ‘I Wish You Were Fun’ is another deconstruction of relationships with an almost Thirties-style melody and ‘So Tell Me Mrs Lincoln’ is a witty alternative-perspective on historic events. ‘When You’re a French Director’ (featuring a genuine French director) delves into a subject close to the Mael brothers hearts, complete with a suitably Parisian soundtrack. ‘A Little Bit Like Fun’ is the final outing for the fuller, band-sound, all be it with a near orchestral arrangement, and finally, ‘Life With The Macbeths’ (possibly the original reality show ?) ends the album on an appropriately operatic tone. In essence, this album has all the elements of a perfect Sparks album, from pop through to drama and always with plenty of originality and imagination. That they are still producing albums as great as this is a true testament to their creative powers. In a world where so many bands are content to rehash themselves and coast along after they’ve had their first taste of success, Sparks have continually challenged themselves and never stopped moving forward. Someone asked me if I was going to give this a five-star review… I don’t think five stars is anywhere near enough !
THRIF. Human Exposed EP (www.thehumanraceisfilth.com) An extreme mix of crust and grindcore, with down-tuned guitar sounds and a duo of contrasting, distorted vocals adding to the genuinely unsettling overtones. The band is actually just a duo from Pennsylvania and the name is an acronym for ‘The Human Race Is Filth’ so I think you can get an idea of the kind of attitude they’re working with. The faster tracks barely exceed the one minute marker and work well as great, head-on bursts of energy, while the two longer tracks (I’m only talking between three and four minutes here) allow more space for slower, powerful riffs to take over and expand the scenario. This certainly isn’t going to appeal to everyone, but if you enjoy the likes of Dropdead, Siege or Infest, you really ought to hear this.
UPCDOWNC. I, Awake CD (http://upcdownc.com/) It’s difficult to get much information about this band, even on their website, but they seem to be based in North Kent and have been together since 2001, releasing various projects either on small indie labels or by themselves. This current album is rather intriguing, consisting of instrumental, often repetitive and dream-like music, rather like the tone and tension of recent Swans releases. They go from soundtrack-like atmospherics right through to brutal hard rock riffing almost at the flick of a switch. Could you imagine Savage Republic jamming with an Ozzie-less Black Sabbath ? (If not, you ought to at least consider it…) Unafraid to use synth sounds to bolster and expand the guitars, this album takes the best ideas of prog-rock and the real physicality of hard rock to create something that is both cerebral and primal. I enjoyed this a great deal and can only urge you to check it out for yourselves
WARWOUND / WAR-PLAGUE. Forlorn split EP (Dr Strange) Warwound originally formed in Birmingham way back in 1982, recording three sets of impressive demos before splitting-up two years later. The demos were eventually given an official album release in 2015 and the positive response they received prompted original member Damian to put together a new version of the band, featuring Rat from The Varukers and Steve from Hellkrusher. As you would expect, they’re still playing powerful, d-beat punk together with though-provoking lyrics that will compel you to listen On the other-side of this split release, are War//Plague from Minneapolis, who go for a style of hardcore that crosses between Poison Idea at their hardest and Antisect’s ‘Out From The Void’ era. Also very powerful, but they add more variety to their riffs rather than just relentless thrash. Really good production as well, capturing the sound authentically but also giving it plenty of clarity. I actually like both sides of this record but I’d have to say that ‘War//Plague’ is the best of the two. It’ll be well-worth your time to track down this EP as it’ll give you an idea of how powerful hardcore can still be.
RICHARD YOUNGS. This is Not a Lament CD (Fourth Dimension) Richard Youngs is a prolific Glasgow-based musician who has released numerous albums over the past 25 years, both as solo projects and in collaboration with others. In the past, he has worked with the likes of Matthew Bower (Skullflower), Telstar and rock through to minimalism, extreme electronics and improvisation. This album, a two-CD package, is apparently inspired by the culture and music of Scottish bagpipes. As such, it could even be seen to encompass an ambient styles and it certainly does create very evocative atmospherics. I have to admit that I’m at a disadvantage in reviewing this album as I’m not very familiar with his past work and so can’t really place this in that kind of context, but it’s an intriguing piece of work that allows subtle repetition to build and develop at its’ own pace whilst allowing the listener to become immersed in the world that it depicts. It needs patience and open-mindedness to appreciate, but the results are certainly worthwhile.