RECORD REVIEWS, JULY-DECEMBER, 2023.
ANTILLECTUAL. Together CD (Engineer) Antillectual are a three-piece Dutch punk rock band who have been around for some time, although I’ve only heard one previous release (an EP that featured four cover versions.) This album features ten original songs and so, presumably, will give a better indication of what the band are all about. Their music recalls late Eighties melodic punk (think of bands like Moving Targets, Big Drill Car and maybe even the early Lemonheads albums) while their lyrics are thoughtful and enticing, combining both personal and political observations to give you plenty to think about. The songs vary in tone and tempo, but flow together well as a complete album, while the production and arrangements bring out the very best from the individual tracks. Plenty of melodic hooks that seem destined to stick in your ears, and the band are unafraid to bring-in additional vocals and instrumentation to ensure the best delivery. This is fine music indeed.
APB. Three CD (Liberation Hall) Originally forming in Aberdeenshire during 1979, APB were initially inspired by the DIY Punk ethic, but soon began to develop a more eclectic sound. Combining a strong rhythmic foundation with catchy melodic hooks, they created an original post-punk style that really should have been more successful and quite certainly would have had they been based in London etc. Bizarrely, some of their early singles made their way to New York where they became popular on the early-Eighties club scene. This led to numerous tours in America, even though they were still having difficulty making a mark in the UK. Since the Eighties, the band has continued to play live on a more occasional basis and have also continued to release further records, including both new and archival material. ‘Three’ was originally issued in 2006, but has been out-of-print for many years, making this reissue a timely and worthwhile endeavour. Similar in some ways to Gang of Four’s ‘Songs of the Free’ album, the album maintains the bands’ edge but also delivers a sound that, had it been given the right exposure, could have seen them break through to a much wider audience. This album, in particular, sounds as if it could have been written and recorded within the last year or so, but that’s just testament to the many bands that continue to be inspired by APB, from Franz Ferdinand through to Bloc Party. This is definitely a good time to hear this album and appreciate what this band created and achieved.
ASHTRAY NAVIGATIONS. One From Then Another CD (Fourth Dimension) Originally based in Stoke-on-Trent (possibly now in Leeds, depending on which website you read) and having been around since 1991, Ashtray Navigations have already been responsible for numerous releases on various different formats. I’m not familiar with their previous work but on this album their music recalls Post-punk electronica mixed with the more experimental moments of early-Seventies Prog-rock and at times an almost Jazz-fusion influence. There are also filmic qualities throughout the album, suggestive of late-Sixties Sci-fi movies or the more ambient soundtrack releases. But I have to say, after a few listens I’m still not sure what to think about it. I’m unable to find any particular musical themes to latch on to, which is usually a good way to get into something of a more experimental nature. It has a fairly repetitive manner which, without noticeable movement, tends to let the music fall towards the background. Perhaps that’s the aim of this record and, again, it doesn’t mean that I dislike it, but I’m afraid it’s something that you’ll have to hear and decide about for yourself.
AVULSED. Vomiting Corpses – The 90’s Regurgitations CD boxset (Dissonance) Four CD boxset from this highly-regarded Spanish Death Metal band. Having formed in 1991, the band developed their music over the course of five years until they released their debut LP, ‘Eminence in Putrescence’ in 1996. This proved to be a state of the art Death Metal album, with a suitably brutal sound and a relentless assault on the senses. However, by the time of their second album, ‘Cybergore’ just two years later, they had taken the unexpected decision to expand their musical vision by remixing earlier tracks in a techno style. Influenced by the likes of Fear Factory, The Prodigy and Chemical Brothers, it was a brave move and although it came as a surprise to many of their fans, the experiment would prove to be popular and attracted attention from a much wider audience. Their next album, ‘Stabwound Orgasm’ was released in 1999, by which time they had returned to a more traditional Death Metal sound. Combined with a more ambitious production and arrangements, the results provided the band with an epic quality which, again would attract more new fans, many of which still consider this album as their best. The final CD in this collection, ‘Carnivoracity’, delves back into their archives to reissue their first EP, originally recorded in 1994, together with other tracks from early demos (including covers of songs original recorded by the likes of Pentagram and Brujeria.) Avulsed remain active and popular to this day, so this is a perfect way to explore their musical roots and discover how their early sound developed. Together with a full-colour, 16 page booklet, this is far from an easy listen but if you are able to embrace their brutal style, there is plenty to enjoy.
BAD MANNERS. The Singles 1980-89 CD (Pressure Drop) The UK has had an affinity with the original Reggae and Ska sounds of Jamaica since the Sixties, but it wasn’t until the late Seventies that a UK-based style made a major mark. It wasn’t a revival, as such, because the music had always been there but, spearheaded by The Specials and Two-Tone records, a vibrant and exciting new scene emerged and was soon storming the National Charts. Many of the bands were multi-racial, some addressed politics and others were simply there for a good time, playing upbeat music with an almost music-hall sense of entertainment. Of these, Madness were undoubtedly the most successful and enduring, but hot on their heels were their fellow North Londoners, Bad Manners. They had been playing together since meeting-up at school in 1976, but it was after they were signed by Magnet records in 1980 that their string of hits began. Fronted by the charismatic Buster Bloodvessel, their early albums ‘Ska’n’B’, ‘Looney Tunes’ and ‘Gosh, it’s…’ all sold well, but it was their singles that were really made an impression, with four of them hitting the Top Ten. Bad Manners had the knack of recording songs that, had other bands released them, would have been considered novelty pop. But with their undoubted musicianship and high-energy performances, no-one was going to consider Bad Manners as a mere gimmick band. Early singles like ‘Ne-Ne-Na-Na-Na-Na-Nu-Nu’ and ‘Lip Up Fatty’ quickly established them across the UK, while the likes of ‘Special Brew’ and ‘Can Can’ became massive hits. They enjoyed three years of major success before leaving Magnet Records in 1983, after which they failed to hit the charts again, but continued to tour all around the world before splitting in 1987. However, this proved to be short-lived and the following year a slightly revamped line-up began touring once again. Since then there have been numerous line-up changes (currently, only Buster remains from the original band) but they have continued to be a very popular live attraction and have released new albums sporadically. This 3-CD collection gathers all of the singles from their most successful years, as well as the numerous 12” (extended) versions that were also available for many of their hits. I can’t say that I’ve ever been an avid fan of the band, but when you hear all of these songs together, you really can’t fail to have a smile on your face and an itch in your dancin’ boots. Authentic UK Ska with a chunk of classic pop… you can’t go wrong!
BARBED WIRE. The Sun Sets in the Wrong Place CD (Engineer) Barbed Wire are a trio based in Rome, playing a varied style with influences ranging from hardcore and grunge through to late Eighties DC ‘emo’, mixed with post-punks willingness to experiment with different tones and tempos. I haven’t been able to gather much information about the band (apart from discovering how many other bands have the same name) but there’s a few details on their bandcamp page. Musically, they’re pretty creative and accomplished, using a well-focused production to make the most of their atmospheric melodies and intriguing arrangements. The songs work well together and it’s an album that you’ll want to hear all the way through each time, rather than just selecting individual tracks. There may only be eight songs (in just under 30 minutes) but this is a very solid record and you really ought to give it a listen.
BARKING POETS. Southsea Sounds EP (Engineer) London-based trio producing a sharp, hard-hitting style of arena-friendly punky rock. I’d suspect that a fondness for Joe Strummer and The Clash plays heavily in their musical background, which isn’t necessarily a bad thing (at least it isn’t U2!) The music has a great fists-in-the-air sound and some really catchy tunes with singalong choruses, while the lyrics deal with real subjects, such as the frustrations of living in current day London, rather than just providing an inoffensive narrative. There are a few hints of acoustic-folk along the way (most notably in the final song, ‘London Town’) but it’s integrated quite nicely and doesn’t detract from the bands’ usual pace. Six songs (does that make it an EP or a mini-album?) so there’s plenty to check-out and a lot of potential on show.
BE NOTHING. Be All The Nothing You Can Be. Cassette (Strange Mono) This is an enjoyably twisted take on three chord punk rock, featuring simple but highly effective Ramones-style tuneage, which is then debased by distortion and offset guitar riffs. You can hear hints of bands like (early) Butthole Surfers, Jesus Lizard and Frightwig as well as traces of Hard rock and psychedelia, whilst the vocals remind me of the late, great Randy ‘Biscuit’ Turner of the Big Boys. This is the second album from Be Nothing, a West Philadelphia-based band who have created a commendably demented style for themselves. Only available on cassette at the moment (check the Strange Mono website) but definitely deserves a vinyl release in the near future. Do your best to hear it.
THE BUSINESS. The Oi! Anthology CD (Captain Oi!) Whilst there are already a few compilations of The Business, this is probably the best overview of the band to date. Instead of just including their better-known songs, this double CD collection attempts to represent every record released by the band from their very first vinyl-appearance (‘Out in the Cold’ in 1980) through to the only new track released (so far) since the sad loss of Micky Fitz. There may be a few disagreements about the actual choice of tracks picked from the albums (surely ‘Maradona’ should have been included?) but overall, I think the selections give a really good account of the band and how they evolved over four decades. From their original 1980 demos, which present a surprisingly melodic sound that hints at some of their more mainstream rock influences, through to the classic Oi! style that they developed over the course of their early singles and debut album. It’s this material that remains most popular amongst their fans and has also influenced so many other bands around the world, but that’s not to say that their later material wasn’t just as worthwhile. Their second LP, ‘Saturdays Heroes’, appeared in 1985 and featured plenty of great tracks to keep the fans happy, while ‘Welcome to the Real World’, released in 1988, may have had more of a ‘rock’ production but the songs stayed true to the bands’ original spirit. The Business were then on hiatus for a few years until they reformed to record a new album, ‘Keep the Faith’, in 1994. Subsequent touring across Europe and the USA, where many of the contemporary punk bands were already fans, led to them signing to American label, Taang who released ‘The Truth, The Whole Truth and Nothing But The Truth’ in 1997. Produced by Lars Frederiksen of Rancid, this proved to be one of their most successful albums to date and introduced the band to a whole new generation of fans. A split album alongside Dropkick Murphys further established their credentials with younger punks, while ‘No Mercy for You’, released in 2001, found the band mixing hardcore elements into their songs, but still maintaining their own style and energy. Sadly, this would prove to be the bands’ final studio album as Micky Fitz had to take time-off for health reasons and guitarist Steve Whale decided to leave the band. Micky put together a new line-up in 2006 but released only one single and the ‘Mean Girl’ EP before Micky was diagnosed with cancer in 2015. Sadly, he passed away the following year, but three remaining members of the ‘classic’ band line-up (Steve Whale, Steve Kent and Micky Fairburn) reformed with guest singers in 2019 to play a series of tribute shows in memory of Micky Fitz. They didn’t intend to write or record any new material with this line-up, but in 2020 the song ‘You Know My Name’ was included on a compilation entitled ‘Oi! 40 Years Untamed’ released by Pirates Press. To date, this is the only recording they’ve released and it’s unclear if any others are planned. This new Anthology covers every era of the band and although it doesn’t include any previously unreleased material, it does gather together various tracks that were only available on compilations, including the excellent version of the Iron Cross song ‘Crucified’, ‘Terrace Lost Its’ Soul’ and the aforementioned ‘You Know My Name’, so it does a very thorough job and it’s great to have those rarities all in one place. So, sit back, turn the volume up and enjoy the legacy of The Business, a band whose music will certainly live on… Loud, Proud and Punk!
CHELSEA. The Step Forward Years. CD Boxset (Captain Oi!) I can’t claim to be the biggest fan of Chelsea, but they certainly have released some great records along the way and Gene October, in particular, has never really received the credit he’s due for his part in London’s early punk scene… After all, it was Gene who suggested that Andy Czezowski use the former gay bar Chagueramas as the location for the legendary punk club, The Roxy and he also formed the first line-up of Chelsea during 1976, playing their first gig supporting Throbbing Gristle at the ICA in October of that year. Unfortunately, the rest of the band (Billy Idol, Tony James and John Towe) quit just a month later to form Generation X, but undeterred, Gene put together a new line-up and went on to release their first single, ‘Right to Work’ just six months later. Further singles followed, including ‘Urban Kids’ which was co-written with Mark Perry. Various line-up changes hindered their progress, delaying the eventual release of their self-titled debut album until 1979. Many still regard this as their best record, although personally I’ve always preferred their second LP ‘Evacuate’ which appeared in 1982. By this point, original guitarist James Stevenson had left the band (ironically, he then joined Generation X!) and had been replaced by Nic Austin, who helped to write some of the bands’ best songs (‘War Across the Nation’, ‘Evacuate’ etc.) However, this would prove to be the final Chelsea album on the Step Forward label and further records during the 80’s would feature different line-ups and inconsistent quality. What this boxset manages to do is gather together all of the important recordings from that initial period on , 1977-82. The first CD includes their debut album plus all the accompanying single. while CD2 presents the four BBC radio sessions (two recorded for John Peel and one-apiece for Kid Jensen and Mike Read) plus the excellent ‘In Concert’ broadcast from 1979. The third CD contains ‘Rarities’ consisting of various demos and alternative mixes alongside a live recording from the Music Machine in 1978. The final disk includes the ‘Evacuate’ album together with tracks from singles released between 1981-82. As usual, a 20 page booklet is included, featuring extensive notes detailing the recordings plus photos and material from the archives. Whatever you think of Chelsea, this is a really nice boxset that presents the band at their best. In recent years, the band have seen the return of Nic Austin and James Stevenson as well as long-serving bassist Matt Sargent and the stable line-up has allowed them to release new albums which have been well-received by both old and new fans. Perhaps this is an ideal time for a re-evaluation of their legacy and, if you’re in agreement, this boxset is obviously the perfect place to start!
THE CORNFED PROJECT, S/T CD (TCP) I tried to find some info about this band, but even their own website and facebook page gives little away. I couldn’t even find out where they’re based, which gives them an air of mystery aura, even though I can’t imagine why they’d want it. However, as usual it’s the music that’s the important thing and these guys are certainly rockin’ in the right direction! On first listen, I was immediately thinking of the Supersuckers, and they’re definitely in the same rock-space, although as you continue through the tracks you’ll probably also hear hints of Turbonegro, The Hellacoptors and older bands like AC/DC, Lynyrd Skynyrd and the MC5. This is a band who aren’t afraid to make the most of their influences, be they Hard rock, Country or Blues, and whilst the results lean towards the heavier side of music, they’re not afraid to add some truly infectious melodies along the way. With an impressive, loud production, this set of songs come across like fist-waving stadium-anthems, but you know their true home is in a sweaty, beer-soaked bar. Let’s hope we get a chance to see them in an appropriate venue soon.
THE DICKIES. Blink 183 7” (Cleopatra) I’m a little bit late with this review, but I had to wait for the imports to turn up and apparently it was sent via Kon-Tiki deliveries… But it arrived, it’s The Dickies and it’s great! I’ve loved this band ever since I heard John Peel play ‘Eve of Destruction’ on the radio. At that point in time, I thought it was the fastest song ever, but it was also the bands’ witty lyrics and melodic abilities that drew me in. How could anyone not love The Dickies? Of course, over the years, their fortunes floundered but I can honestly say that they’ve never released a record that I haven’t enjoyed and I’ve never seen them play a bad gig. They deserve so much more credit… I mean, both Joey and Johnny Ramone were big fans of The Dickies, one of the few things they ever agreed on! Anyway….the two tracks featured on this green-vinyl-frisbee (‘Clean Money’ on the b-side) are both previously unreleased. ‘Blink 183’ was originally intended for a compilation album on Fat records but Fat ’Phoney’ Mike didn’t have a sense of humour, while ‘Clean Money’ (an Elvis Costello tune) was tentatively recorded for the ‘All This and Puppet Stew’ LP but didn’t make the final cut. Both songs sound great to me and I’m sure any Dickies fan will love ‘em. Perhaps we’ll even hear them live, one day…
DISGORGE. Parallels of Infinite Torture CD (Dissonance) This is a re-issue of the fourth album by extreme Death Metal band, Disgorge. Having formed in San Diego back in 1992, the band went through many line-up changes before recording the tracks for their debut album, ‘Cranial Impalement’ during 1996. However , due to further changes and delays, it would not be released until 1999. By this point, the band had plenty of new material and so recorded and released their second album, ‘She Lay Gutted’, later in the same year, which helped to establish a loyal following for the band and allowed them to tour the USA, Europe and South America. A new vocalist joined the band in time for their third album, ‘Consume the Forsaken’ in 2002, but he departed soon after it was completed and yet another singer, Levi Fuselier, was drafted-in for further touring. He proved to be hardier than his predecessors and remained in the band for the following decade, solidifying his position with his performance on this album, even though it would prove to be their last to date. After another worldwide round of touring, long-time bass-player Ben Marlin lost a long-battle with cancer and the band went on hiatus (although former members actually formed a Disgorge tribute band during this time!) Founding member Ricky Myers announced that a new album ‘And the Weak Shall Perish’ was being recorded during 2011, but it has yet to be released. For fans, ‘Parallels of Infinite Torture’ remains the bands’ ultimate statement and, if you enjoy brutal, relentless metal riffs and indecipherably coarse vocals (seriously, you won’t be able to discern a single lyric throughout this album) then this is for you. There’s no denying the primal energy that Disgorge generate, although I doubt you’ll hear any tunes that you can whistle on your way home… Depending on your musical tastes, this is one you’ll either need to hear or need to avoid, but whichever way you look at it, there’s no denying that they’ll deliver a real reaction.
DOUBLE FISTED. Six Sick Six Pack of Slimy Southern Fried Sorry Assed Sickness CD (Records With Attitude) Double Fisted are a two-piece band from Arizona who have individually been involved with punk rock for some time. They somehow manage to deliver a full guitar / bass / drums set-up through some sort of technical-trickery (an octave-splitter?) Whatever that is, it works really well, as this release attests. They play loud, fast punk with some metallic / rock undertones, but all done with the right attitude, eg, noise before pretence! It’s all about the energy, you see, and these guys have plenty of it. That’s not to say that they’re not talented, but they just don’t bother with anything that doesn’t need to be there. This mini-album (six tracks) delivers everything you need to know about them. Play it loud and…ahh, just play it loud, that’ll be enough!
DRAGGED UP. Hex Domestic EP (Cruel Nature) This is the first time I’ve heard this Glaswegian band and it’s a pretty interesting introduction. My initial impression had me recalling bands from the Eighties like the Folk Devils and The Creepers, although there seems to be some Sixties Garage and maybe even some hints of stripped-down Country music. After a few more listens I also started to think of The Raincoats, so you should get an idea of the range of influences that this band are delving in to. Just as you’re getting to grips with their unconventional style, the final track, ‘Blaming the Weather’, takes an even more unexpected turn, delivering a spoken narrative recorded over a soundtrack-like musical backing. It works well, adding further dimension to the EP and adding to the intrigue. The more you hear these songs, the more you get drawn-in. I will definitely be looking-out for more releases from this band.
DUNCAN REID AND THE BIG HEADS. And It’s Goodbye From Him LP (Little Big Head) If the statements turn out to be true (intentions can change over time, after all) this is going to be Duncan Reids’ final album and, in fact, the band have already played what was billed as their farewell gig a couple of months ago… Depending on how you look at the situation, it’s great when a band go-out on such a high point, or it’s a real pain that we’re not going to see or hear how much more they might have achieved. I think most fans agree that the Big Heads have got better and better from one album to the next, so it does seem a shame that it’s coming to an end, but at the end of the day, it’s Duncan’s decision and we’ll have to see where it goes. At the moment the important thing is the set of songs presented on this album and they are indeed some of, if not the best songs that the band has produced. Opening track ‘Lost Again’ is a perfect mix of pop melodies and raw tuneage. It’s an ideal way to start the album, instantly catchy and full of energy. Alongside ‘Everybody Knows it’s True’, it’s also one of the key songs in the set, hinting at the reasons why this is the final record. Second song, ‘Funaggedon Time’ keeps the proceedings upbeat with a stomping, almost Glam rock style, while ‘Just Try to be Kind’ takes things at a steadier pace with a structure that recalls the classic girl-groups of the Sixties. ‘Can I Go Out Now’ refers to the frustration of being locked-down in a jaunty pop manner, contrasting nicely with ‘It’s Going So Well’, which starts with a brief orchestral intro before delving into the same sort of territory once inhabited by The Kinks and the Small Faces. ‘Oh My My’ reminds me of the Buzzcocks, with distorted guitars, catchy hooks and perfect harmonies, while ‘Real Good Time’ takes a more mellow mood that would be a perfect soundtrack for hot Summer evenings. ‘Everybody Knows It’s True’ features a distinctive piano accompaniment alongside the usual guitars and harmonies and ‘Bill Gates’ is a powerful but mid-paced song that sort of reminds me of recent material by The Damned, while ‘Would I Lie To You’ is probably the most peculiar track on the album, adopting a style that recalls Weimar-era cabaret. It provides a nice counterpoint to the rest of the album and is then promptly followed by ‘It Rains on the Good’ which bolsters the tempo once again. ‘Gilded Cage’ begins with a quiet instrumental intro before bursting into the more upbeat body of the song and then fluctuating between fast and slow as it continues, before the album ends with ‘Singing with the Beach Boys’, another insistently catchy song full of melodic hooks and great harmonies. The record ends all too soon, leaving you wanting to hear more and, again, that’s the conundrum. It’s good for a band to leave on such a high-point, but it’s also frustrating for the fans who will want to hear more. Either way, you should definitely make an effort to hear this album because The Big Heads are/were a band playing at their very best. I can respect Duncan’s decision to call it a day, but at the same time, it’s too good an album to not want hear another one. Let’s hope there’s some space for a compromise?
ELLI de MON. Pagan Blues CD (Area Pirata) Based in Vicenza (Northern Italy), Elli de Mon made a notable mark on the international Blues/Rock scene with her first album on Area Pirata, ‘Countin’ the Blues’, including an invite to record a session for BBC Radio. ‘Pagan Blues’ is her follow-up and as soon as you hear the first notes, you’ll know that it more than meets the expectations set by the previous LP. This is a powerful, dynamic album, delving deep into the darker side of the Blues and wallowing in the realms of swamp rock. For comparison, think of The Gun Club or The Scientists in their more sinister, atmospheric moments, or even Nick Cave’s early albums with the Bad Seeds. Perhaps even a few hints of PJ Harvey? The main thing is, instead of laboriously replicating Blues styles (there’s already plenty of others doing that) Elli de Mon makes this music her own, obviously possessing a deep knowledge of original Blues but also unafraid to break with traditions to create her own sounds. The music is truly remarkable, and all the more so when you discover that Elli plays all of the instruments on the album (including several that are not usually associated with this genre.) It’s like Blues reinterpreted via Krautrock and played by a loud, snotty Garage band. Seriously, this is an incredible record and you must hear it. Make an effort to do so as soon as you can!
ERRTH. Control (digital single) https://errthisaband.bandcamp.com/album/control-sleep-all-day New band based in Philadelphia, although the various members have all been busy in the local punk scene before now. They play a raw but melodic, fast but not thrashy, style of punk that immediately had me thinking of West Coast bands like Crimpshrine and JChurch, along with the likes of Dillinger Four and perhaps even some Superchunk. Lots of energy, with two contrasting vocalists working to great effect (especially on the ‘b-side- track, ‘Sleep All Day’.) These are the first songs they’ve released and certainly seem to show a band with lots of potential. Go on, give it a listen!
THE EVIL O’BRIANS. In Good Company LP (Monster Zero) Second alobum from this German powerpop band (O’Brian doesn’t sound like a German surname, whether it’s evil or not…) Think of the Ramones, add some Descendents and a big dollop of Beach Boys and you’ll have a recipe for the sort of thing that these guys are doing. Plenty of mega-catchy melodies and lots of great vocal harmonies will keep these songs stuck between your ears for weeks to come. With songs about Beer and Space Invaders (always a good combination) you can’t help but love this record!
FAITH NO MORE. Diggin’ the Grave LP (TV Party) Not many Faith No More bootlegs (or official releases, come to that) these days, so this looked interesting. Nice cover featuring the 1995 line-up and subtitled ‘Rare Tracks 1990-95’, so it sounds as if it should be interesting but what you get are various live tracks recorded for TV stations around the world, most of which are probably available on Youtube, meaning that many fans are already going to be familiar with them. That said, the sound quality is generally pretty good and it doesn’t just include ‘the hits’, so it is a pretty enjoyable listen. Just don’t expect it to be full of material that you’ve never heard (or seen) before.
FALSE FED. Let Them Eat Fake CD (Neurot) There’s no denying that Jeff Janiak has revitalised punk legends Discharge, providing the perfect vocals for the current five-piece line-up. However, during the coronavirus lockdowns he started to work on a new project alongside Stig Miller (Amebix) and Roy Mayorga (Nausea, Soulfly.) This album is the result of that collaboration and it’s very impressive. To begin with, it doesn’t sound particularly like Discharge at all and, if anything, leans more towards Amebix. That said, there are plenty of other comparisons to be made, including the likes of Faith No More (their heavier moments) Fucked Up and Killing Joke, so it’s a really interesting mix of styles. JJ’s vocals are not as aggressive as those he performs with Discharge, and veer between the louder, more angry- sounding moments and a more restrained, darker style that sounds like Ian Curtis going for the jugular. It’s an undeniable powerful album but the important thing is that the primal energy of the band is balanced against strong, accessible melodies and atmospheric tones. This is an impressive record that really stands up for itself and doesn’t have to rely on the pedigree of the band members. It’s unpredictable, but also very compelling so I’m sure it’s going to appeal to a wide audience. To date, False Fed have just been a ‘studio band’, but let’s hope we get a chance to see them live at some point. In the meantime, make sure you don’t miss this record!
FISH ON FRIDAY. 8mm CD (Cherry Red) FOF are a Belgian band who formed in 2009 and have built-up a loyal following with their radio-friendly blend of pop and classic prog-rock. Since their third album, ‘Godspeed’, they have also included Nick Beggs (former member of the Steve Hackett Band and, err, Kajagoogoo) in their ranks, who also acted as co-producer for this album. The strength of the band lays in their ability to blend pop melodies with the drama of prog rock arrangements, creating something quite epic whilst also compellingly catchy. Think of bands like Supertramp, Alan Parsons Project and Tears for Fears to get an idea of the direction they take. It’s not really the kind of thing that I’d usually listen to, but it’s also not something that I would object to hearing and, while it’s not going to appeal to everyone, if you don’t mind the idea of pop music created by serious muso-types, then this will be for you.
FORD’S FUZZ INFERNO. War, Peace & Fuzz EP (Subunderground) There are very few current bands that are making consistently great records, but Ford’s Fuzz Inferno are here to show that it can be done. Like the early releases from The Briefs, this is a band that seem to be taking influences from so many different directions to create something that’s totally their own. But don’t worry, they’re also intent on sharing their noise with everyone else and it’s genuinely uplifting stuff! This latest EP delivers another four songs that will knock you down faster than Muhammed Ali’s phantom punch. As with their last EP, the style of the new songs is definitely taking a more melodic route, but only in punk rock terms. Think about the chainsaw sound of early Buzzcocks or Swell Maps… great tunes but still too noisy for the average pleb! But that’s what we love, eh kids? We know that the best raw power has refrains you can sing along to. As Ford’s Fuzz Inferno continue to evolve, they’re staying true to their noise-punk roots but are also unafraid to throw some catchy hooks into the chaos. And they’re very good at it! I've heard a rumour that these guys may even be visiting British shores in the near future… If it’s true, do not miss the opportunity to see them. In the meantime, buy all of their records and rediscover the joys of annoying your neighbours !
FRENCH BOUTIK. Ce Je Ne Sais Quoi CD (Static Wax) This is the third album from French Boutik and it’s a highly enjoyable mixture of Sixties-style Mod and Pop, combined with hints of psychedelia and nods towards some of the more stylish movie soundtracks of that era. However, instead of merely embracing nostalgia, French Boutik have a way of bringing it all in to the present day. The band features a mainly French membership, with Anglo-American additions, so most of the songs are sung in French, but when you hear the music it just seems appropriate. They also switch between male and female vocals, which adds to the natural drive of the record, while musically the songs vary from twee, mellow moments to faster, more boisterous numbers that give the album a lively, enjoyable momentum. They also include several cover versions (Roxy Music’s ‘More Than This’, Slade’s ‘Mama Weer All Crazee Now’ and The Kinks’ ‘Tired of Waiting For You’) but treat them in a way that effectively claim them as their own. The Slade song, in particular, drops the stompin’ glam sound of the original in favour of an upbeat, almost jazzy lounge style. I know this isn’t going to appeal to everyone, but play it in the right place at the right time and I’m sure you’ll end up with a smile on your face.
GELTAB. GelTab LP (CIA Records) GelTab is a Houston based project and apart from occasional vocals (courtesy of Erin Dance) is entirely put together by Scott Ayers. He was previously a member of the highly-regarded band Pain Teens and more recently has been involved with Anarchitex (also on the CIA label.) What makes this album so intriguing is that Scott has a grasp of both primal musical energy and technical ability. As such, the music on this album easily veers between styles, from hard industrial rhythms through to space-rock / psychedelic freak-outs and even slower soundtrack-like atmospherics. The addition of Erin’s vocals on three of the tracks provides an almost Cocteau Twins sound to the proceedings, but the remarkable thing is the way that the song all complement each other in such an effective, organic way. As I’ve previously said, it’s easy to make ‘extreme’ or ‘avant garde’ music that will only ever appeal to a handful of people, but to create something that’s genuinely experimental and could also appeal to a much wider audience is rather more difficult. Not that I’m saying this album is going to be embraced by the mainstream, but the variety of styles and sounds on this record could certainly pique the interest of a lot more people than you might initially think. It’s a interesting and enjoyable record and deserves to be heard.
GREAT FALLS. Objects Without Pain. CD (Neurot) Great Falls come from Seattle but have little in common with the kind of sounds that their hometown is most famous for. If anything, they’re more in line with the sort of bands that used to be released on the Amphetamine Reptile label. Great Falls specialise in huge, aggressive slabs of guitar based noise, with the drumbeats fighting to be maintain their place and the vocals screamed like a man desperately trying to keep his head above water. As you can probably imagine, this ain’t easy listening! Apart from gentler sounds in between the tracks (which actually have a rather sinister effect) this is a pretty relentless assault on the senses, recalling Swans (‘Cop’ era) The Melvins and maybe even No Trend. It’s very powerful, although at the same time I can’t imagine anyone wanting to listen to this on a regular basis. But if you’re genuinely interested in the more extreme edges of music, this is something you will need to hear.
THE GREAT LIE. Vertigo EP (https://thegreatlie.bandcamp.com/album/vertigo) Featuring former members of Madball and Mind Over Matter, this new band delve back into the early days of New York Hardcore, rather than the more metal-influenced bands that you usually find these days. It’s fast- paced but not afraid to switch tempo’s around for a for more effective result. Funnily enough, I can hear some hints of Voivod in their sound, when that band moved away from their early metal style into a more experimental, psych-influenced zone. This EP delivers six tracks and whilst they never lose the brutal intensity of classic NYHC, the production and arrangements offer so much more to the listener. This is an impressive debut and, if it’s an indication of what’s still to come, I think we can expect great things from this band.
GYASI. ‘23’ EP (Alive) Great EP showcasing Gyasi’s ongoing mission to update classic Seventies glam-rock, featuring one brand new studio track and three live recordings. The title-track has a Latin American musical-atmosphere, a great vocal performance and some impressively loud guitars when they’re required. The Bowie / Bolan references are still pretty prominent, but the live tracks (‘Kiss Kiss’, ‘Teacher’ and ‘Fast Love’) give a good indication of how powerful Gyasi and his band can be. Just like the Bowie / Ronson partnership, these guys aren’t afraid to experiment with their music but also know how to rock-out. That’s what has always been the important thing behind the best glam-rock, that it could be different and new but always delivered genuine excitement. And now, rather than being a mere revivalist, Gyasi seems intent on taking those ideas even further. This is great stuff, hear it soon!
THE HEAT INC. Asleep in the Ejector Seat CD (Punk Fox) Sometimes, coincidences just kind of happen. A few weeks ago I saw Generation Sex, who feature two of the Sex Pistols (Cook & Jones) and two of Generation X (Idol and James) in their ranks. Around the same time I also heard this album for the first time and my initial thoughts were that, musically, it reminds me of The Professionals with a harder rock production, whilst singer Jon Dodd has a vocal style that recalls Billy Idol at that crossover point between Gen X and his solo career. I don’t mean that he particularly sounds like Billy, but that he has a similar way of phrasing his vocals, which works pretty well for him. Overall, this is a band that are mostly going to appeal to hard rock fans (it’s not really metal) but at the same they have an anthemic Punk sound that will have audiences punching their fists in the air, while they also have a strong sense of melody in their riffs that’s not too far removed from the more boisterous purveyors of powerpop. It’s this which give their songs a great catchy style that would not sound out of place on the radio waves. The production sounds huge, loud guitars and drums dominating, but there’s also plenty of space and clarity for the vocals. If they get the right exposure to the more discerning ears of the nation, it’s really not too far-fetched to say that they could soon become a big-draw on the live circuit, with the record charts theirs for the taking. Be sure to hear this album sure, as close to maximum volume as is possible.
JAGUERO. New Love EP (Epidemic) This is only the second EP from this relatively new Italian band, but they certainly seem to be defining their own style and character already. Having all had experience in other bands before this project, Jaquero seem to take their cue from the early Nineties grunge scene, blending melodic punk with fuzzed-out guitar tones to create instantly likeable songs with plenty of underlying raw power. Plenty of catchy hooks and insistent vocals that could work just as well on the radio as they undoubtedly do in small, sweaty clubs. I really hope this band get the chance to tour far and wide, as I could see them becoming pretty popular.
JESUS FIX. Take a Bow CD (JF Industries) Jesus Fix are a Kent-based band that have been around since the 1990’s, playing live and self-releasing a bunch of great albums during that time. This is their first release since the excellent ‘Vainglorious’ album back in 2018 and features the return of their original guitarist Kevin to the fold. But even the delays caused by the lockdowns and another line-up change, they’ve come back with may well be their best album to date. With ‘Take a Bow’, they seem to have built on all the elements that I really enjoyed on their previous releases, creating a style and sound that’s unique and original. Although they most often get referred to as a ‘metal’ band, that’s actually a pretty lazy comparison because they bring so many other ideas in to their mix. Much like Amebix or Killing Joke at their best, they don’t restrict themselves to a single genre and keep their options open to whatever is going to work best for them. As a result the music is powerful and effective but also intricate and tuneful. Part of this is down to the band keeping the tempo steady rather than just thrashing through the songs, which allows them room to develop their ideas and arrangements. They can certainly create an impressive noise but also introduce atmosphere and melody to ensure the songs will remain in your memory. I genuinely find it strange that Jesus Fix aren’t more well-known, because they’ve continued to produce great records that should have brought them to the attention of a lot more people. Unfortunately, it seems that they just don’t sit comfortably in any particular genre (Metal, punk, gothic) and as a result, they can’t be pinned-down for any particular audience. You do need to pay attention to what they’re doing, but once you’re hooked you’ll just want to hear more. Trust me, it’ll be worth the effort.
JFK. Avalanche Zone CD (Fourth Dimension) JFK is an ongoing project by former Skullflower and current Ramleh member Anthony Di Franco. It was established in the mid 1980’s and although he has returned to it less-frequently over the last twenty years, it’s obviously something that he keeps at hand for when he has appropriate ideas and music. This album was first released on vinyl by the American label L.I.E.S, but has now been reissued on CD featuring an additional three tracks (two are remixes) making it an intriguing addition to the overall discography. Propelled by minimal, repetitive rhythm tracks, the music is then added in layers to create atmospheric textures reminiscent of certain Coil albums (another act that bridged the gap between the original ‘industrial’ scene and more contemporary electronic styles.) In many ways this is about the sounds themselves and the way that they can be offset or blended to create tension and unease. If you enjoy music that will quite possibly unsettle you, rather than appease you, then this is something you ought to hear.
JJ & THE REAL JERKS. Lost Souls Pub CD (Rum Bar) Based in Los Angeles, this band have been around since 2009 and have released various albums and singles on numerous labels. This collection of songs serves as a great introduction to their raucous punk rock’n’roll power pop, presenting insistent tracks from previous albums ‘Mess You Up’ and ‘Back to the Bottom’ and other sources There’s a real swagger to the tunes, hurtling through you Hi-fi with equal parts New York Dolls, MC5, Dead Boys and more than a fewhints of Turbonegro (‘Apocalypse Dudes’ era) along the way. If this sampler doesn’t pique your interest in this band, then you just haven’t been listening properly. Scrub out your ears and play it louder. No excuses, play it again and love it to death!
JJ & THE REAL JERKS. Rat Beach CD (Rum Bar) Brand new album from this LA-based band, delivering a great, raucous guitar sound. This is a rock’n’roll band in the same spirit as original Australian punks like Radio Birdman and The Saints, American bands like the Weirdos or Dead Boys, plus a big chunk of UK77 punk for good measure. But the thing that really makes it work are the catchy hooks and melodies that, like the Ramones and Buzzcocks before them, demand your attention without dampening the raw energy and attitude of the music. If the world was a better place, bands like these would be on the radio day and night. Unfortunately, that ain’t the case, so track down this album and play it for yourself.
JOHNNY MOPED. Hard Lovin’ Man (live) 7” (Damaged Goods) The announcement of Jordan Mooney’s passing in early 2022 came as a surprise to many. As well as being a true icon of the Punk scene, she was also a lovely person and someone that will be greatly missed. A few months later, a Memorial concert was held in Brighton, featuring many of the bands that she enjoyed, both young and old. It’s also fitting that this single, featuring her friends from the Johnny Moped band, has been released as a further tribute, with proceeds being donated to one of her favourite charities. Purely from a musical level, the record features blistering live versions of ‘Hard Lovin’ Man’ and ‘Something Else’, with Captain Sensible rejoining the band on guitar. Just like the Memorial gig itself, you know this is going to be great fun and it’s the best way to honour a true legend. So raise your glasses… Good on you, Jordan!
JONATHAN POSTAL. All the Boys on St. Marks Place CD (Liberation Hall) Having grown-up in New York, Jonathan Postal relocated to San Francisco in the late Seventies to study photography. However, he also became involved with the local music scene, fronting a band called The Readymades. They released two singles during their career and earned a loyal following in San Francisco but never managed to develop interest further afield. In 2021, Liberation Hall released ‘More Live Than Not’, a collection of their songs that included the original singles as well as previously unreleased live recordings. Interest was piqued and led to this second collection, which features the remaining studio recordings by The Readymades plus tracks recorded by Jonathan after he returned to New York and formed his subsequent bands, The Odds and The Gift. The musical style, a mix of West Coast powerpop and New York new wave, remains pretty consistent through-out the album (Jonathan was the sole songwriter in all three bands) so this compilation works well as a solid album, despite the recordings being made at different times with different line-ups. If you were ever a fan of The Nerves, The Modern Lovers or early Television, then this is an album that you really ought to check-out.
THE KINGSNAKES. Live at the Old Waldorf CD (Liberation Hall) Although described as a rockabilly band (and undoubtedly highly adept in that genre) The Kingsnakes also delved into Blues and R’n’B, making them an all-round rockin’ band. In fact, had they been in and around London five years earlier, I’m sure they would have been a major draw on the Pub Rock circuit. Instead, they were formed in San Francisco during the late Seventies by a French immigrant who worked as a roadie for the Flamin’ Groovies. Hooking up with the Groovies former drummer, Danny Mihm, they decided that they wanted a band that would be inspired by the roots of rock’n’roll. Pursuing their vision with a reckless, punk attitude, they quickly got themselves banned from various clubs, although many changed their minds when they realised how popular the band was becoming, In 1982, they relocated to Europe and released their first album on New Rose records. It was met with a positive response and they went on to record a second LP, ‘Roundtrip Ticket’ in 1985, but by then the personnel of the band had changed considerably. They would continue for some time after this and release further albums, but this album captures the original band in their early days, combining their influences to create an authentic rockin’ sound which would have stolen the show had it been featured on the Blues Brothers soundtrack. The live show is obviously the thing that they were most focused upon, but just as a bonus, the end of the album features two previously unreleased studio tracks from 1988 and 2011. This album will be a treat for any old fans and an eye-opener for new listeners intrigued with bands that were able to hold their own alongside the punks!
KLEISTWAHR. Don’t Let Go CD (Fourth Dimension) Subtitled ‘Complete Kleistwahr 1982-1986’, this is exactly what you get! When Gary Mundy first established the legendary ‘Broken Flag’ label, he wanted to release several cassettes in quick succession to establish the name. As a member of Ramleh he had recently completed work on their first cassette release and decided to use the same equipment and recording gear to produce his first solo project. The ensuing debut, ‘Myth’, was released in 1982 and presented genuinely startling results. Heard in retrospect, this is vintage power electronics, using noise and distortion to create an arrhythmic wall of sound which resonates through your body, both physically and emotionally. The second cassette, ‘Arsonicide’, appeared later in the same year and featured a sparser sound, perhaps more in line with early Whitehouse, but still very powerful. Vocals were also more prominent, albeit distorted to near incomprehension. The second disk in this set contains the tracks from the ‘Mobility’(1983) and ‘Do Not’ (1986) cassettes (both of which were recently reissued on vinyl for the first time.) ‘Mobility’, whilst still rooted in the power-electronics scene, is a step forward from its’ predecessors, still featuring distortion and feedback but also using more complex manipulation and arrangement of sounds There was an almost three year gap before ‘Do Not’ appeared but in many ways it was a natural follow-on from ‘Mobility’, making much more use of found-sounds and tape loops to create an effective and unsettling soundscape. In many ways, this album pointed the way towards the future use of samplers, even though in the vast majority of cases they’d be used for much less interesting purposes. Overall, this CD presents the early years of Kleistwahr, from their more primitive inception through to the development and expansion of ideas that would eventually culminate in the re-establishment of the project in 2009. If you’re interested in the original industrial / electronic scene, or if you’re a fan of the more recent Kleistwahr albums, then this CD collection is something that you really need to investigate.
THE LEMON DROP GANG. Johnny is a Jerk EP (Rum Bar) All the way from the sunny climes of Tuscon, Arizona, The Lemon Drop Gang are certainly more on the ‘pop’ side of powerpop, but when they’ve got songs as cute’n’catchy as this, it isn’t going to be a problem. Think of The Bangles (when they were still ‘The Bangs’) early Pandora’s or maybe even Josie Cotton. Steph O’Halloran’s vocals have the perfect tough / sweet balance, recalling the legendary Ronnie Spector and other greats from the Sixties girl bands, while the band deliver some infectious jangling guiter sounds. It’s totally credible and highly entertaining at the same time. Don’t miss it!
LES BAXTER. Exotica Absolute CD (Righteous) Following excellent compilations of music from Martin Denny and Arthur Lyman, Righteous are now presenting four original albums (‘Ritual of the Savage’, ‘The Passions’, ‘Tamboo’ and ‘Caribbean Moonlight’) by the ‘Godfather’ of Exotica, Les Baxter. Spread over a double CD set, this will give you the perfect insight to his music (although his full career would also involved many other styles.) In his early life he studied music at several prestigious academies and became an accomplished multi-instrumentalist, but chose to abandon a career as a concert-pianist to play sax in a Big Band, before working with Mel Torme. During the Fifties he began to work as a conductor and arranger, working with the likes of Nat King Cole and Yma Sumac, as well as writing the scores for movies (including several classic b-movies by the likes of Roger Corman.) However, he is probably best remembered for his ‘exotica’ recordings, of which some of his best are included here. The style is basically an Americanised interpretation of music from Indonesia, Hawaii and the Caribbean, featuring elaborate arrangements and unusual instrumentation in a melodramatic, often filmic production. But it’s not meant to be taken too seriously and humour is often evident… this is something you don’t need to study, you only need to enjoy. Baxter was one of (if not the) first to present this style and was clearly an influence on others such as Denny and Lyman, as well as later composers like The Residents and John Zorn. Listening to these recordings now, some of them more than seventy years old (!) they’re still highly fascinating and, at times, down-right peculiar, but that’s the great thing about them. There’s plenty to discover and lots to enjoy. Play these loud with the lights turned down and make sure you have a good supply of cocktails and tequila. It will all make total sense.
THE LLOYDS. Attitude Check CD (Liberation Hall) The Lloyds were a San Francisco based New Wave / Powerpop band who were active between 1979-84. Fronted by the talented Lulu Lewis, the band specialised in catchy, uncomplicated songs like ‘And That’s Why I Don’t Like You’ and ‘Lovesick’, with witty lyrics that wouldn’t have been out of place on the first two GoGo’s albums. Lulu’s voice had a range somewhere in between Ronnie Spector and Josie Cotton, which really adds character to the songs in a way which would have made them perfect for inclusion on the soundtrack of a John Hughes movie. Songs like ‘Nothing in Return’ recall early Blondie, ‘Boy’s Life’ sounds like Bowwowwow in their more radio-friendly moments, while ‘Rock’n’Roll Made Me What I Am Today’ is a great pop-rocker (and was later recorded by Lita Ford, among others…) Unsurprisingly, they quickly built-up a strong following in their hometown and elsewhere on the West Coast, but a suitable record deal never came their way (in fact, they only released one record during their career, the ‘Attitude Check’ EP in 1984.) This CD is based on a previous vinyl-only compilation (‘Let’s Go Lloyds’) which appeared a couple of years ago, but now includes an additional seven previously-unreleased tracks recorded at the Old Waldorf in San Francisco in 1980. It’s great fun (I mean, who can resist a smile for a song called ‘The Tallahassee Vacuum Cleaner Massacre’ ?) and when you hear these songs you really will be stunned that the band never achieved a major record deal. At least this collection will help to ensure that their legacy will remain for future fans. Enjoy it now!
MALADROIT. Real Life Superweirdos LP (Monster Zero) New album from this French melodic punk band, their third for Monster Zero. The tempo is pretty upbeat throughout (although the few slower moments help to maintain your attention) and at different points you’ll hear hints of Greenday, Dillinger Four and the Ramones. But these guys have taken their influences and used them to create a sound of their own, with a strong punk rock guitar sound offsetting their insistent melodies. Lyrically, they veer from comic-character themes, including Toxic Avenger, Batman costumes and Super villains, through to the trials of being in a band (‘We’ll Never Make it to The Bronze’) and indecipherable references to other bands (‘Operation Poison Ivy’.) Twelve songs and there isn’t a bad one among them, ending with ‘Rich Assholes Won’t Save the World’, one of the best song-titles I’ve seen this year! This is a catchy and entertaining album, be sure to hear it.
MDC. War is a Racket LP (Cleopatra) It’s been great that MDC have made such a return-to-form in recent years, both in musical and lyrical terms. Anyone who has seen them play live over the last decade or so will confirm that they’re as powerful and relevant as they have ever been, with an obvious intent and fervour that revitalises their older songs and produces new material that’s just as vital. ‘War is a Racket’ is a great example of a band that have returned to a level that most bands fail to achieve even in their youngest incarnations. And, when you consider what these guys are facing in the USA right now, politically and socially, it’s no wonder. The album kicks-off (no polite build-up to let you adjust…) with ‘You’re Full of Shit’, quickly followed by ‘Follow’ and the title-track before ‘Demagogue’ totally rips the place apart. This has to be one of MDC’s all-time classics… how many bands get to release new material as good as this after more than 45 years? ‘Nihilism and Hope’ delivers a style that reminds me of early DOA while the vocals are delivered as a duet, with mysterious female voice providing a great counterpoint for Dave. ‘Off With Their Heads’ is a little more metallic, but still maintains musical credibility with the sheer intensity of its’ delivery. ‘Fear for Sale’ starts with a menacing intro before bursting into life with discordant noise before finding its’ form and hurtling forward. The album ends with a trio of fast’n’furious tracks, ‘Puppets’, ‘Talk About You’ and ‘Worms’, none of them longer than the two minute mark but all packed with pure adrenalin. Recorded with the best production sound they’ve had for a long time, this is a classic album whether you want to call it Hardcore, Punk or anything else. Do not miss it!
MARTIN DENNY. Deep Exotica CD (Righteous) Hot on the heels of the excellent compilation of Arthur Lyman’s music comes this collection of tracks by the equally-entertaining Martin Denny. Originally trained as a classical pianist, he became part of the Don Dean Orchestra but it wasn’t until the 1930’s when he first became infatuated with Latin rhythms. He began to collect ethnic instruments from around the world, and after World War Two got the opportunity to form his own group in Honolulu. It was this move that was really the birth of ‘exotica’ music, as Denny toured around mainland USA and made his home in Hawaii. Arthur Lyman was also an integral part of Denny’s early combo, although he would leave to pursue his own musical ideas after a short time (following this, Denny and Lyman refused to speak to each other for many years, but eventually made-up and even played together again during the Nineties.) The music was highly popular for some time in America, combining Latin, Polynesian and Lounge styles, as well as incorporating animal and bird calls to replicate tropical beach atmosphere. In more recent times, his music has been embraced by fans of retro Tiki culture, which in turn has crossed over to fans of Rockabilly, Lounge, Jazz and even experimental music genres. Denny was a prolific artist and a master of intriguing arrangements, which seemingly sit in the background but also have so much going on to ensure that your attention never strays. This double CD set features four of his original albums (the first three volumes of ‘Exotica’ and ‘Quiet Village’) additional bonus tracks and an appropriately colourful booklet featuring sleeve notes and track details. It looks good and sounds even better! Thoroughly enjoyable… check this out as soon as you can!
THE MELVINS. At The Stake CD boxset (Cherry Red) There’s really no excuse if you haven’t heard The Melvins by this point. Not only do they tour around the world on a fairly regular basis, their record release schedule can only be described as prolific, with new product appearing pretty much every time you check your local record shop. This boxset features the three albums they released between 1993-96 on the Atlantic label, ‘Houdini’, ‘Stoner Witch’ and ‘Stag’. Having been an established band on the independent scene, it came as a surprise to some fans when The Melvins signed to such a big label, but in many ways it made sense. The ‘grunge’ scene was very popular at the time and The Melvins were one of the bands most regularly cited as a major influence, so it’s not so unlikely that major labels would start waving their cheque-books. At the same time, the band had never professed undying loyalty to the indie-scene, so it wasn’t as if they were going back on their word when they signed the new contract. To be honest, the move to Atlantic seemed to suit them. A bigger budget allowed them to produce albums that sounded great and at the same time, maintained their spirit of experimentation within the hard rock genre. None of these albums could be accused of ‘selling-out’ or being watered-down for a mainstream audience and, in fact, many fans consider these albums to be amongst their best. ‘Houdini’ and ‘Stag’ even reached the Billboard charts, which had not previously been a real possibility Despite this, the band were dropped by Atlantic, but I doubt they lost too much sleep over it and just continued being The Melvins. Whether you’re a dedicated fan or follow the band on a less fanatical basis, this boxset is something that you ought to be checking out. It includes a full-colour 16 page booklet, containing sleeve notes and artwork, whilst the individual albums also feature bonus tracks from the same era. In particular, ‘Houdini’ includes covers of the MC5’s ‘Rocket Reducer’ and The Germs’ ‘Lexicon Devil’, while ‘Stag’ has a cover of ‘Interstellar Overdrive’. The Melvins have taken the spirit of early Seventies hard rock and found a way to keep it moving forward. Listen to this set and hear the sound of a band making the most of their surroundings.
MICKO & THE MELLOTRONICS. Le Vice Anglais. digital album (Landline) I’m surprised that I haven’t crossed-paths with this band before now, as they seem to play gigs at several of my favourite venues. Their first album also came out in 2020, so it’s not as if I haven’t had enough time to catch-up on them. Anyway, the band are a three-piece from North London (or so the lyrics suggest) but they seem to be happy, when appropriate, to bring-in various guests for their studio sessions (this album features spots from Horace Panter and Terry Edwards, amongst others.) Musically, the songwriting appears to be the domain of frontman Micko Westmoreland, who certainly has his own character and sense of direction. Throughout the songs, you’ll hear hints of different bands and styles, but never in an overpowering or obvious way. My initial thoughts were that they sounded like a Mod band influenced by the spikier, more angular moments of the so-called ‘post-punk’ era but the more I’ve listened, the more I’ve realised that you can’t pin them down that easily. The songs are catchy, the lyrics are sly and intelligent (without coming across as pompous) and the attitude has a noticeable degree of genuine English eccentricity, which is something that really can’t be faked (although so many bands try…) If anything, I’d probably have to describe this album as Art-pop because the songs are not afraid to be accessible at the same time as presenting something new and individual. Think of classic bands like Wire, Sparks, Buzzcocks, Only Ones or even the Kinks, making music that appeals to wide audiences while breaking new ground. And the best thing with this album is that there are so many ideas going into the songs, you really can’t predict what direction the band are going to take next. Whatever the case, you really ought to hear this album and let yourself be drawn into their world. Judging by the standard of these songs, I think it’s going to be a pretty cool place.
THE MOSQUITOS. In the Shadows LP (Area Pirata) In case you get a sense of déjà-vu, I should point out that a double CD of material by The Mosquitos was released on the American ‘Kool Kat’ label (and subsequently reviewed in these very pages) about a year ago. This release sees the compilation pared-down to a single album and getting its first vinyl-release, as well as making it available in Europe… Anyway, on to the important stuff, The Mosquitos were a Sixties-influenced band from Long Island who picked up an enthusiastic following around New York in the early-to-mid Eighties. Their first release was the popular track ‘Darn Well’, featured on the ROIR compilation ‘Garage Sale’ in 1985. With it’s mix of Merseybeat, twangy guitars, pop harmonies, screeching vocals and Garage attitude, they started to build a good following and released their debut EP ‘That Was Then, This is Now’. Unfortunately, despite high expectations the record suffered from a poor studio sound and didn’t sell as well as hoped, but just when things looked gloomy, the title track was chosen for a new single by The Monkees and hit the Top Forty! The Mosquitos made the most of this exposure and continued touring, but when this failed to get them their own record deal, the band fell apart. Over the years, many of their original fans bemoaned the lack of an album by the band, but nearly 40 years later, these releases have finally filled the gap. Made up of original demos, alternate mixes and live recordings, this surely has to be the definitive overview of the band, charting their development from Sixties Beat music through to classic Powerpop sounds. The double CD version, as good as it is, aims more for the die-hard fans and completists, but this new vinyl release is the better option if you’re hearing the band for the first time, gathering together the very best tracks available. It also includes one song, ‘Ain’t Necessarily So’ exclusive to this record, so the completists will need it as well! The Mosquitos were a band who, given different circumstances, could have become much better know, but at least now we have the chance to hear and enjoy them for ourselves.
MOVIE STAR JUNKIES. Melville (Voodoo Rhythm) Having been out of print for some time, the debut album from this Italian band is now available digitally, courtesy of the good folks at Voodoo Rhythm (who will also be making their ensuing albums, ‘A Poison Tree’ and ‘Evil Moods’, available again.) Originally released in 2008. the Movie Star Junkies created atmospheric rock’n’roll in a similar vein to The Gun Club at their best or the darker side of Creedence Clearwater Revival. Along the way, you may hear hints of Tom Waits or Nick Cave, but this band definitely have plenty of their own character to stand out. Sounding like the soundtrack to the sort of film noir we wouldn’t want to miss, this is truly great stuff! (moviestarjunkies.bandcamp.com/album/melville)
NAILBOMB. 1000% Hate. Deluxe CD (Dissonance) Nailbomb was a short-lived but highly-popular side-project formed by Max Cavalera (Sepultura etc) and Alex Newport (Fudge Tunnel) in 1994. Based on their mutual admiration of bands like Killing Joke, Godflesh and Ministry, the resulting album was a brutal piece of Hard Rock infused with the attitude and approach of Punk’s most apocalyptic visionaries (Discharge, Antisect, Crucifix.) To complete the album they drafted-in additional members of Sepultura and Fear Factory, a combination that would deliver an incredibly powerful recording. Interest in the band quickly grew and led to their appearance at the 1995 Dynamo Festival in Holland. It’s the recording of this legendary set that forms the second disc in this set, aptly named ‘Proud to Commit Commercial Suicide’. As you’ll hear, their live appearance, which featured guest musicians Rhys Fulber (Frontline Assembly) Evan Seinfeld (Biohazard) and DH Peligro (Dead Kennedys) was another blistering success which proved that Nailbomb was no mere studio-project (they even included covers of songs by the Dead Kennedys and Doom as a special treat!) But, in much the same way that Howard Hughes flew his infamous ‘Spruce Goose’ only once to prove his point, Nailbomb played this monumental set to rapturous applause and then immediately disbanded. Many groups reach a mythical status by making great records and then ending their career early, so that future fans never get a chance to see them. But how many of those reputations are only ‘myths’? At least with this reissue, you can hear that Nailbomb totally live-up to expectations. Trust me, this is a record that demands to be heard!
NO ALTERNATIVE. Live at Mabuhay Gardens. CD (Liberation Hall) Formed in San Francisco during 1978, No Alternative were a groundbreaking band who combined early punk rock with occasional rockabilly rhythms to forge their own sound. The original band only lasted as far as 1982, playing alongside the likes of The Germs, Flipper, DOA and Black Flag during that time as well as building-up a following of their own. However, they only managed to record and release a handful of tracks before splitting (The ‘Backtracks’ 7” and one track of the ‘SF Underground’ EP) so fans of the early SF punk scene have had to be content with the retrospective collections which have appeared over the years. This latest offering is mostly made-up from a live recording made in 1980, although it also includes two previously unreleased studio recordings recorded in 1980 and 1982. The sound quality is good throughout and the live material really picks up the energy and momentum of the band as they hurl themselves through their set. The songs are mostly originals, although they do include a frantic cover of the Johnny Cash classic ‘Folsom Prison Blues’ and a version of ‘Be Bop a Lula’ that seems to borrow elements from ‘Human Fly’! Of the studio tracks, ‘Witch Doctor’ is a slow-paced, almost menacing rockabilly number (another nod towards The Cramps, I’d say) while ‘Working Class Boy’ is a fast, feisty punk rocker that wouldn’t have been out of place on early Social Distortion records. The good news is that, after occasional reunions over the decades, the band are together again and playing a few gigs this year, so perhaps we’ll get a chance to see them live? In the meantime, this album will give you a good idea of what we’ve been missing.
THE OPPRESSED. Complete Oi! Recordings 1981-2018 CD boxset (Captain Oi) The Oppressed formed in Cardiff during the early-80’s and from the outset promoted antifascist and anti-racist ideals. Singer Roddy Moreno was also involved with the introduction of SHARP (Skinheads Against Racial Prejudice) to the UK, after meeting-up with members of the movement in New York. The band have split-up and reformed several times over the last 40 years, but despite these gaps continue to play live to this day, with Moreno and original guitarist Russell Payne currently fronting the band. This boxset sets out to deliver a thorough overview of the bands recordings, including rare demos and compilation tracks alongside their albums, EPs and singles. Not surprisingly, their early material was pretty raw and basic but it captures their spirit and attitude perfectly, sometimes recalling the likes of The Last Resort and at others going for a more punky style, perhaps influenced by Blitz? Their 1996 album, ‘We Can Do Anything’, featured covers of songs by Sham 69, the 4-Skins, Cockney Rejects and Last Resort, which probably provides the best indication of their musical roots, while other cover versions (from their ‘1984 Demo’ and the ‘Anti-Fascist Oi!’ EP) give a few more clues (although the tracks on the ‘AFO’ EP, feature new lyrics addressing new issues… their version of the Menace classic ‘GLC’, for example, is updated to state that it’s the BNP who are full of shit!) Their next studio album, ‘Music for Hooligans’, was also released in 1996 and had a much better production, while their new songs had stronger melodic hooks,without losing any of their power. Their selection of cover versions wasalso more varied, including songs by the Newtown Neurotics, The Clash and The Farm and took the opportunity to record new versions of several previously-released tracks to make the most of the better studio-sound and give them their just-deserts! Their fondness for cover versions continued with their next few releases, with the ‘Strength in Unity’ EP including their own versions of ‘Madness’ and ‘These Boots Were Made for Walking’, whilst the ‘Noise’ EP featured three Slade covers. The final disc in this set includes tracks from their most recent releases, which feature some of their best songs to date alongside even more covers (which seem to be a traditional part of the bands’ chemistry by this point!) The production sound brings out the best from the songs, making them more accessible while still retaining their own style and character. Together with a 20 page booklet that features lots of rare pictures, details of the tracks and the original records, as well as an introduction from Roddy Moreno, this is a perfect overview of the band that will appeal to new and old fans. If you want to know what The Oppressed are all about, then this is something you need to get.
THE OXYS. Generation Irrelevant LP (Dead Beat) Less than a year since their debut album, ‘A Date with The Oxys’, nearly blew my head off, this Austin, Texas band are back with another record that takes their musical character even further, blasting its’ way through your speakers like an ape with a shotgun! Featuring musicians who have previously played with Cheetah Chrome, the Dead Boys and Sylvain Sylvain, this is a band that isn’t messing around. The songs are short, sharp and rockin’, with a huge sound that cuts out anything unnecessary but turns-up the volume on every hard-hitting chord and beat. It’s like the New York Dolls on an adrenaline-overdose, or Iggy & the Stooges borrowing melodic hooks from The Ramones. Yup, it really is that good! This is a band formed around the very best rock’n’roll influences, with a real knack of putting it all together in their very own way. They keep up a furious, insistent pace all through the album until the final track, ‘Screaming in Silence’, which ends the album at a slower tempo but maintains the power-levels with a sound that recalls the Alice Cooper band at their best. You really won’t want to miss this album and I can pretty-much guarantee that just one play will have you hooked. I’m just hoping we get a chance to see this band live!
THE PHANTOM CHORDS. Lost Chords LP (P.O.P.) As you probably already know, The Phantom Chords were the band formed by Dave Vanian and Roman Jugg when The Damned broke-up, following the ‘Anything’ album. They pursued a musical style that mixed original rock’n’roll and the more melodramatic moments of Fifties pop, but then bringing it all into a contemporary setting. The nearest reference point with their former band would be ‘Shadow of Love’ (which they would also cover live.) Their records were well-made and sounded great, mixing well-picked covers alongside their own original material,. Their live performances were a more frenetic affair and they could certainly deliver a lively, insistent show, but for some reason they didn’t get the coverage they deserved and never achieved the success they should have enjoyed. That said, they still have a loyal following, which is why albums like this are still being released. Side one features live recordings from gigs in London and Seatlle, plus a track from a session recorded for MTV. Side two, though, goes off in a tangent with a set of six songs that the band (excluding Vanian) recorded with Marc Almond in 1996. It’s not really the Phantom Chords without Dave Vanian, but when you hear these recordings you’ll understand why Marc was keen to work with these guys.The sound quality is rather good through-out and, from a fans’ perspective, the choice of tracks is great. Be sure to hear it before this limited edition sells-out!
PIERRE OMER’S SWING REVUE. Tropical Breakdown CD (Voodoo Rhythm) I know that a lot of people aren’t even going to consider listening to ‘Swing’ music on the basis that the style is far too old. But when you hear it being brought up to date and firmly placed in the current day, it can be pretty damn entertaining. After all, the original rock’n’roll pioneers borrowed at least a few licks from some of those old Swing combo’s… Pierre Omer was a founding member of the infamous Swiss rock’n’roll band, The Dead Brothers, but is currently stretching his talents with the Swing Revue. The music may not have speedy tempo’s, but it moves along at a compelling and insistent pace. You’ll be drawn-in by the rhythm section and then caught-up in the melodies, delivered both by the instruments (guitar, brass and toy piano!) and the vocals. It’s actually not far removed from the Exotica sounds of Martin Denny and Arthur Lyman, although the best comparison, in contemporary terms, is probably the Royal Crown Revue, while you can also pick out similarities with the less-frantic moments from the Reverend Horton Heat. And it’s certainly not a mere nostalgia trip, including covers of recnt(-ish) songs by Niagara (‘L’amour a la Plage’) and The Cure (‘Just One Kiss’.) Seriously, this is an album that will burrow its’ way into your ears and demand lots of repeat plays. Surprise yourself – hear this album and enjoy it!
THE POPEBOY COLLECTIVE. Hive Mind CD (CIA Records) This is the second album from The Popeboy Collective, an experimental group who include (amongst others) former members of Culturcide and Really Red. I enjoyed their first album (‘Cautionary Tales’) but this one seems to be more focused and purposeful. It’s not exactly a ‘concept album’ but musically and lyrically the individual tracks seem to come together as one solid piece. The songs often have a dark, brooding atmosphere and the overall sound is often quite unsettling, but there are also steady rhythms and melodic hooks that will draw you into the music. Mary McGee’s vocals add a real sense of character to the proceeding in the way that she delivers the different lyrics from song-to-song, as befits the subjects. On ‘Metaphor of Love’, the blunt lyrical themes are presented in a rant-like style reminiscent of Lydia Lunch’s more aggressive spoken word performances, before it transforms into a distorted, almost Resident-like style. The following track, ‘Bad Seed’ is sung in a more conventional, Bluesy manner, while the next song, ‘Aura’, is spoken in a calm, narrative fashion. This is a great album but it’s not for the faint-hearted or those without an open-mind. If you’re someone who is happy to hear creative but also quite challenging music, then this is something you’re highly likely to enjoy.
POPINCOURT. We Were Bound to Meet CD (Milano) I was sent a download of this album and wasn’t really sure what to expect, but I soon found myself enjoying it. Popincourt delivers a set of Sixties-style French pop songs, full of catchy melodies, uplifting harmonies and understated drama. The production is exactly what these songs deserve, with daydreams on a warm Summers’ day. Although the music seems to directed mainly by Popincourt himself, other contributors also make their mark on the album, most notably Gabriela Giacoman (from the band ‘French Boutik’) who provides perfect backing vocals throughout the album. The songs include hints of Jazz, Soul and Lounge music, like a soundtrack for some long-lost romantic art-house movie. I can’t say this will appeal to everyone, but if you’re a fan of the original Mod scene and find yourself in a mellow mood, then this is probably the album you should be listening to.
POUND-LAND. Violence cassette/digital (Cruel Nature) Manchester-based noise-band who specialise in effective repetitive rhythms, over which the vocals are either screamed or snarled. The lyrics seem to cover a similar area as Sleaford Mods, documenting the decline and fall of the UK at the hands of the rich, greedy and self-entitled. It’s good to hear such anger and vitriol coming from a young band, because it’s their future that’s being destroyed. The sound they create is like Flipper at their darkest, mixed with the most discordant moments from the Crass archives and legendary DIY stalwarts like Headbutt and The London Dirthole Company. The overall effect is rather relentless but if you focus-in to the grooves, you’ll soon find yourself hooked on the delivery. It’s not for everyone, but as a response to the world around us, this is perfect.
REASON TO LEAVE, Rise and Grind EP (Horn and Hoof) This is good! A six-track EP (available digitally or on CD) by a relatively new band that hail from the unlikely location of Bolton. They play late-Eighties / early Nineties style Skate Punk (think of bands like SNFU or RKL) that’s fast and energetic, but never veering into thrash-territory and never short of a catchy melody. There are a few metallic ingredients involved in the mix but the band don’t allow them to dominate proceedings and balance them well with vocal harmonies and insistent musical hooks. The songs are also arranged in a continuous style, with occasional links between them, making it something that you’ll want to hear all the way through rather than just picking individual tracks. Definitely a band to watch-out for… https://hornhoofrecords.bandcamp.com/album/rise-and-grind
THE RESIDENTS. Not Available (pREServed) LP (Cherry Red / Ralph) The tale behind this album is an odd one, even by The Residents’ standards. According to the Official History (which is the 0only one we should believe) it was recorded in 1974 (which would have made it their second album) but, as they were adhering to the Theory of Obscurity (as established by their friend and mentor, the Mysterious N Senada) it could not be made public until the band had completely forgotten about it. The concept was that, with no pressure or expectations from a potential audience, an artist would be able to create something entirely true to their personal vision. Of course, adding to the mythology of this album, others have suggested different reasons as to why the album remained unreleased until 1978, but the Official History is the only one we should really consider. Musically, the album has a more regular structure (again, by Residents’ standards) similar to a film noir soundtrack (indeed some of this was used for their unfinished ‘Vileness Fats’ movie) rather than either ‘Meet the Residents’ or ‘Third Reich’n’Roll’, so it probably sits more comfortably between the later albums ‘Fingerprince’ and ‘Eskimo’. Tracks like ‘Edweena’ and ‘Ship’s a-Going Down’ are thoughtful and emotive, suggesting more personal involvement from the individual eyeballs, perhaps, while the overall effect has intriguing filmic qualities. For this pREServed edition, a second album has been included featuring ‘X is for Xtra – A Conclusion’ (apparently the original working title for the album.) This features the original, bare bones recordings from 1974 which were the basis for the completed album, offering a glimpse in to The Residents’ constructive processes at that time. Additionally, there’s also a large 4-page booklet featuring artwork and sleeve-notes to further enhance your experience of the record. ‘Not Available’ remains one of the most notable albums in the Residents’ back catalogue and, whilst hardly mainstream material, remains surprisingly accessible. Not only is it Buy or Die, but also Buy & Enjoy!
REVEREND BEAT-MAN & IZOBEL GARCIA. Baile Bruja Muerte LP (Voodoo Rhythm) Originally released in 2019, this album is now up to its’ third repress, having already proved itself popular with punters of discerning taste. You know all those boy-girl duos that have been making a mark in recent times (from White Stripes through to The Courettes?) Well, not to knock what they’ve been doing, but this album just blows them away! With plenty of fuzzed-up guitar and stripped-down beats from The Rev, this sounds like the kind of crazed-album that Lux & Ivy would’ve put together had they ever decided to dispense with the rest of the band and headed into a studio with a healthy stock of tequila. There’s a well-balanced share of the vocals between Izobel’s sultry voice and The Rev’s more demented delivery, whilst squeaky keyboards sneak in to the mix at appropriate times. Whilst most of the songs are originals, there are a few covers included, like The Doors’ ‘Love Me Two Times’. But the real moment of genius comes with the raw, nightmarish Blues version of the Venom classic, ‘Black Metal’. I love the original and would have hated to hear a bad version or, worst still, a novelty version, but the way The Rev handles this works perfectly, taking it all back to the music and legend of Robert Johnson. It’s almost worth hearing this album just for this track, but truth is, it’s all great and you won’t want to miss a single track. Get yourself a copy from this latest repress and prepare to be impressed!
RITES. No Change Without Me CD (Engineer) Rites are a five piece band from the Netherlands. They play a strong style of punk/hardcore fronted by powerful female vocals. Their songs are uptempo without getting thrashy, which allows plenty of room for melodic hooks and catchy tunes without losing any of their energy. I’d guess that they have a really broad range of influences and are not interested in sticking to any already-established style or genre, instead opting for their own sound. Whatever the case, it works really well and this is a really enthralling album. The production is loud but also has plenty of clarity so that you can pick out the more subtle elements within their music. The lyrics deal with many different subjects, some more direct than others but always avoiding mere sloganeering, giving the listeners a chance to address the issues for themselves. I wasn’t able to find much information about the band, online or elsewhere, but I will be keeping my eyes and ears open for future releases and my fingers crossed that they come to play in the UK soon!
RIVERSIDE ODDS. Punching Above Our Weight CD (https://riversideodds.bandcamp.com/) Pennsylvanian band delivering an album of abrasive, edgy songs that mix mid-paced punk with snarling, hard rock’n’roll and the nastier end of pub rock… Consider what would have happened had Lemmy joined Dr Feelgood back in 1975? More than a few comparisons with the early (Bon Scott era) AC/DC, plus nods towards the likes of The Mentors (without the dumb-ass lyrics) and Antiseen. Or perhaps imagine the Supersuckers with less Country and more Motorhead? Not bad at all… and I’d bet they’re even better live!
THE SEITANS. Vegan Nights LP (Monster Zero) This Genoa-based band are fairly new, but several of their members were previously in The Furies, who were pretty popular on the Italian punk scene. Their songs certainly betray a love of The Ramones, although they seem to have a sly sense of humour about what they’re doing (their song ‘Ramona Not You’ appears to be a respectful nod towards ‘Carbona Not Glue’…) The songs rush along at a fast pace, with plenty of catchy hooks and cool vocal harmonies which will soon have you singing-along. With twelve songs in less than thirty minutes, this is an album that does exactly what it’s supposed to do!
7 YEARS BAD LUCK. No Shame LP (Monster Zero) This group have been around for some time (this is their sixth album) becoming one of the longest running punk bands in Austria. Their sound mostly seems to be influenced by various American bands (from Bad Religion through to Greenday) but they’ve been able to develop their own style and character. The songs are generally fast, but they temper this with slower and quieter breaks to accentuate the more upbeat or raucous moments. Similarly, the production and arrangements are skilfully used to create different moods and atmosphere within the music, which makes the record all the more enticing. I’m not sure if they tour much outside of their own country, but I’d love to see them onstage, as I can imagine they’d be a great live band. While we wait for that chance to come around, get a copy of this album, play it loud and let you neighbourhood know all about it!
SHAW’S TRAILER PARK. S/T CD (Republic of Music) Five piece UK band playing a distinctive mix of garage punk, psych and pub rock (the good stuff, of course) with a few Country tones never far away in the background. For some reason, I was reminded of the much-missed American band Thin White Rope (remember them? You should!) although I couldn’t say that they necessarily sound alike. It’s more to do with the way they blend the different styles together in such a creative and natural way. Not a million miles away from what the Folk Devils were doing, either. These songs were actually written before the band had even played any gigs, so it’s surprising to hear how solid and confident these recordings sound. This is quite an impressive debut and if an indication of what’s to come, I think we’ll be hearing a lot of great stuff from this band in the next few years.
SID VICIOUS. My Way 7” (Cleopatra) Hmm… This was advertised as a recording of Sid with Rat Scabies, also including an unreleased track called ‘It’s Shit’ on the b-side. As you probably already know, Rat played a one-off gig with Sid, alongside Glen Matlock and Steve New) as part of the Vicious White Kids, so the advert (not by Cleopatra) seemed to suggest this was something recorded during the rehearsals for that gig. It isn’t. The a-side is Rat playing with a different guitarist and bassist, presumably quite recently, mixed with an original vocal track by Sid. No info on the single where Sid’s vocals were recorded, but certainly not with the backing band featured here. The b-side features Rat, the same guitarist and a different bass player, but in this instance, Sid’s vocals are basically sound-bytes taken from an interview… With all that said, this isn’t a terrible record. The a-side features a more-than competent band and a vocal from Sid that shows that he could actually handle the vocals pretty well (certainly better than playing the bass) and if it had been made clear where the recordings were made, I would’ve had no objections, but considering the cost of this import, just be careful of what you’re buying.
SINNERY. Below the Summit EP (Exitus Stratagem) I have to be honest and say that the thought of Israeli Death Metal has never even entered my mind and I still have no idea of how big a scene (if any) exists in the (un)holy land. However, Sinnery have released this EP to establish their credentials and sound pretty damn impressive with it. To get an idea of what we’re dealing with, start with Slayer, add catchy (even melodic) guitar riffs and vocals more in the current (eg indecipherable) Death Metal style and you’ll be somewhere in the same region as Sinnery. They have a knack for making the best use of their musical abilities, focusing their creativity on the individual song arrangements and ensuring that they never become too repetitive. Obviously, this is still early-days for the band so they have plenty of time to develop their sound, but as a debut, this already shows that the band have plenty to offer.
SLIP-ONS. Heavy Machinery EP (https://slip-ons.bandcamp.com/album/heavy-machinery-ep) Featuring Brock Pytel, formerly of the Doughboys (switching from drums to guitar) and Brian Minato, who previously played bass with Sarah McLachlan, this is a relatively new band in itself and they seem to be going for a sound that recalls the highlights of Soul Asylum, Husker Du, Replacements and maybe even hints of the Afghan Whigs. Evidently, the recording of the EP coincided with several tragic incidents including the loss of friends and collaborators. While this didn’t have a direct impact on the results, it certainly feels as if there was something in the air to bring out the emotions and intent of the songs. No idea if the band have any plans to tour the UK/Europe, but I’d certainly like to see them live. In the meantime, be sure to hear this record.
THE SPIKE DIRECTION EFFECT. Argh! digital + cassette (Kloppstock) Formed relatively recently in North Kent’s very own Heart of Darkness (Chatham, to be precise) this band have taken the fabled Medway Delta blues/trash sound and combined it with the more frantic elements of rockabilly, the kind of distorted reverb favoured by Link Wray and the DIY spirit of Billy Childish. The ingredients may sound familiar in writing, but when you hear this album, it’s a completely different beast. The band transformed their Garage / rehearsal space into their very own recording studio to allow them to put this album together and, as such, they’ve really captured the sound that they wanted. It’s messy, it’s snarlin’ and it sounds great. That’s all we really need to know, isn’t it? If only the St Johns Tavern was still operating its’ legendary Garage nights, these guys would have fitted-in perfectly!
SPYDER BYTE. The Taste of Filth EP (https://www.spyderbyteband.co.uk/) Having originally formed in North Kent during 2011, Spyder Byte are a Hard Rock band with lots of technical ability and an attitude that certainly has plenty of swagger. Musically, they’re going for a style that recalls the likes of Guns’n’Roses, Motley Crue and The Wildhearts. Although they’ve been together for more than a decade, they were faced with numerous delays during their early years, but have gradually built-up a strong following across the UK, thanks to extensive touring and festival appearances. This EP will doubtlessly help to enhance their reputation even further, featuring four uptempo songs that demonstrate their abilities, both as musicians and songwriters. It won’t appeal to everyone, but if you enjoy the more traditional side of hard rock, this could well be for you.
THE STRANGLERS. Live in Cleveland (Skytrips) Recorded in America around the time that ‘Black & White’ was released, this captures the Stranglers at their best, with the primal energy of their early albums still intact but with the more creative ideas of the ensuing albums now coming into play. This recording comes from a WMMS Radio broadcast and has been available on CD before now, although this version has a different setlist, suggesting a different source for this particular bootleg. The sound quality is a bit rough’n’ready at times, but it actually suits the Stranglers’ music, giving you an idea of what it was like at one of their gigs in 1978. Superb versions of ‘Nice’n’Sleazy’, ‘Threatened’, ‘Straighten Out’, ‘Five Minutes’ and ‘Down in the Sewer’ (which sadly fades out at the end…) This is one for the fans, really, but if you’re one of them, you’re going to love it!
TAV FALCO’S PANTHER BURNS. Nashville Sessions LP (ORG Music) Tav Falco originally formed Panther Burns 1979 alongside Alex Chilton, describing their music as ‘art damage’. As it’s developed over the years, it could possibly be compared to a cross between The Gun Club and the Replacements, with a sense of playfulness but also plenty of real intent. They play authentic rock’n’roll with genuine style and swagger, whilst unafraid to delve into other vintage sounds like Blues, Lounge and Jazz. This album was recorded live at Bridgestone Arena Studios for a Sirius XM radio broadcast and features, alongside their own songs, a bunch of well-chosen covers from the likes of the aforementioned Alex Chilton, Jim Reeves and the Honeycombs. The tracks work really well together, presenting a solid, well balanced set which will give you an idea of the range of influences that this combo bring into their own music, from dirty Cramps style rockabilly through to emotive crooning. I can’t claim to be a Tav Falco aficionado, but what I have heard I’ve enjoyed. This album as a great addition to their legacy and may well serve as a good introduction if you have not yet heard them.
TOM ROBINSON BAND. The Albums 1978-79 CD (Anagram) The Tom Robinson Band were not a punk band but shared the same zeitgeist of the era, which bought them to the attention of both mainstream and alternative audiences. This excellent collection gathers together not just their two original albums (‘Power in the Darkness’ and ‘TRB Two’) but also includes all of the non-album singles, demos and live tracks, making it a thorough overview of the bands output. ‘2-4-6-8 Motorway’ was a perfect debut from the band, catchy enough to be played on the radio but also raw enough to appeal to the punks. But as their career moved-on they began to be seen as more of a middle-class ‘student’ band. Their support for Rock Against Racism and other left-wing causes was deemed a bit too trendy and when their second release, the ‘Rising Free’ EP, included the song ‘Glad to be Gay’, it was all a bit too much for many working class kids (even though ‘punk’ was supposed to support individuality and oppose bigotry…) Of course, in hindsight it’s easier to appreciate what the band were doing and although their punk rock credentials weren’t as down-to-earth as some other bands, they were clearly producing songs that they believed-in and, with the single ‘Up Against the Wall’, they released a record that had all the energy and attitude of the very best punk rock anthems (the b-side, ‘I’m Alright Jack’ is another fine song, with lyrics that remain surprisingly relevant…) Their first album, produced by Chris Thomas, had a suitably spiky sound and proved to be a big success, but inevitably this put pressure on the band to follow-up quickly with a second LP. But, as was the case with many other bands at the time, they had been touring continuously and not had sufficient time to write and rehearse new material. On top of this, Chris Thomas was not available for the recordings, so someone made the surprise choice of Todd Rundgren as producer. The results were not ideal, with an overall sound that lacked the energy and momentum of its’ predecessor. Additionally, there were no particularly outstanding songs which would guarantee radio-play, while songwriting contributions from the likes of Peter Gabriel and Elton John didn’t really help their credibility. It wasn’t a bad album and still reached the Top Twenty, but it just didn’t live up to the high expectations that fans had after their debut. Tensions within the band began to boil-over and they split-up soon after the albums’ release What this new collection provides is a perfect way to reassess the band and it’s music. Both albums have been remastered and sound all the better for it. ‘Power in the Darkness’ contains plenty of genuinely great songs and sounds surprisingly powerful, while ‘TRB Two’ also stands up well, especially considering the circumstances in which it was made. For a band that were comparatively short-lived, TRB left a pretty impressive legacy behind that still deserves to be appreciated. If you’ve never heard these records, or haven’t done so for a long time, this is a perfect chance to do so.
UBERFLUSSIG. Love, Peace and Pleasure EP (RoeRec) Uberflussig (which apparently means ‘superfluous’ in English) are a German indie-punk band (or, as they call it, ‘trash-pop-punk-rock’) who have been together since 1996 and have released numerous records in that time. I’m not sure if this EP is a good representation of everything they’ve done, but you may well find yourself wanting to check out some of their back catalogue after hearing it. This record is released on the bands’ own label and features five tracks (all sung in English) that display energy, catchy melodies and variety. The opening number, ‘On the Way’, is probably the most indie-influenced song , like a cross between Buzzcocks and The Pastels, while the next three tracks (‘Boring Room’, ‘Fight Fight Fight’ and ‘Hallelujah’) all veer towards the more tuneful elements of 1978/79 UK punk. Just to keep you on your toes the final song, ‘Go For a Walk’, is a seven-minute semi-acoustic ballad dedicated to the American singer / actress Maya Hawke, which provides a perfect contrast to the uptempo songs that precede it and an insistent conclusion for the EP. If this band were based in the UK, I’m sure they would already have a loyal following here, but as that’s not the case you’ll just have to get on the internet and start your own investigations. I’m sure you’ll find plenty to enjoy.
U.K.SUBS. The Jet Age 2006-2016 CD boxset (Cherry Red) Celebrating one of the best and most popular line-ups in recent times, this collection gathers together the albums made while Jet Taniguchi was responsible for the guitars, alongside Charlie Harper, Alvin Gibbs and Jamie Oliver. Anyone who saw the band during this period will undoubtedly agree that they were revitalised and just as powerful, if not more so, than any of their earlier line-ups. Jet’s enthusiasm and guitar-style were undeniably a major part of this and, not to put down the band since his departure, he still remains a favourite amongst the fans. ‘Work in Progress’ was released in 2010 and featured a great set of Subs’ songs (‘This Chaos’, co-written by Charlie and Lars Frederickson, is a particular highpoint) and a terrific cover of The Sonics’ ‘Strychnine’. ‘XXIV’, released in 2013, continued in a similar, hard-hitting style, with Alvins’ ‘Coalition Government Blues’ criticising Nick Clegg’s despicable sell-out deal with the Tories (although many of the sentiments remain relevant to our current situation) while ‘Wreckin’ Ball’ delves back into Charlies’ musical roots complete with Bo Diddley-style guitar-twang and some fine harmonica play. ‘Yellow Leader’, from 2015, is the extended version with four extra tracks that were missing from the original release. It veered away from the previous albums, with a slightly cleaner production sound and a more varied selection of songs, but still captures the attitude and intent that are always a part of the bands’ best music. ‘Ziezo’ appeared in 2016 and, as it also marked the bands completion of the alphabet (26 albums titled from A-Z) was meant to be their final recordings. At the time, it certainly seemed to be the band going out with a bang, although further new records have continued to appear occasionally. In any case, ‘Ziezo’ was another fine record and featured an even more varied selection of musical styles and subject matter. Finally, the fifth disk in this set features ‘XXIV Acoustic’, an acoustic set of material that was originally only available with the limited edition version of ‘XXIV’ but features an entirely different selection of songs, including covers of ‘Angel of Eighth Avenue’(Mott the Hoople) and ‘Four Strong Winds’ (a Sixties song later covered by Neil Young.) Again, it’s a great way to hear more of the styles that originally influenced Charlies’ music. Complete with an informative 24 page booklet of sleeve-notes and artwork, this is a perfect collection for anyone who hasn’t heard the Subs in recent times. Play it loud, stand back, and be impressed!
VAMPIRE SLUMBER PARTY. S/T digital (Brassneck) Melodic punk rock from the darkest vaults of South London. Apparently, this started out as a solo project for guitarist/vocalist Yusuf but has now expanded to a power-trio which includes bassist Pippa, who came as a transfer from those lovable Werecats (a Werecat becomes a Vampire… there might be a movie franchise in that concept?) Although some reviews have described them as ‘pop-punk’, it’s not something that I’d want to use myself, as these days it tends to refer to calculated, watered-down chancers. That said, there’s nothing wrong with punk bands making catchy, credible songs that appeal to wider audiences (think Buzzcocks, Blondie, early Green Day.) In the case of VSP, their songs are certainly snappy and the vocal interplay between Yusuf and Pippa is very compelling, but their overall sound owes more to the likes of Husker Du or Dinosaur Jnr than what currently passes as ‘pop-punk’. Either way, the important thing is that these songs stand-up in their own right and show plenty of potential. I’ll certainly be hoping to see them live in the near future and I’d recommend that you investigate their music real soon.
WE ARE SOVEREIGN. Step Out Your Comfort Zone LP (www.facebook.com/wearesovereignband/) Derby-based band playing a style of metallic rock that references other UK bands like Enter Shikari and Funeral for a Friend. They use two vocalists to emphasise the heavier or more emotive moments of the music, as does the use of synths, keyboards and spoken samples.. The album is simultaneously hard and also surprisingly catchy in places. I’m sure there is a large audience waiting for them out there if they can reach them, and this is a young band who should have the time and energy to get there. Good luck to ‘em!
V/A. COMPULSIVE AGITATION EP (Subunderground) Celebrating their tenth release, the excellent Subunderground label unleash an EP featuring not only their own bands (Ford’s Fuzz Inferno and original Dutch punks Waste) but also a trio of contemporary, Dutch/UK punk acts, Rhi & the Relics, Krust Worthy and Scoundrels. The first band (and the only ones to have two songs on this EP) are Krust Worthy, who give us a new track ‘Protect & Serve’ alongside ‘Sab the Hunters’,which has previously appeared on a Hunt Sabs benefit album . ‘Everything is Grey’ by Waste is taken from their excellent ‘The Next Century is Almost Over’ EP and fits perfectly alongside the filth, fury and fun of all the other bands. Scoundrels are a band that were originally active during the Eighties but reformed in 2022 when they realised that their sound and message is vital and valid again. Refer to bands like (early) UK Subs and Anti Pasti for a good comparison. Ford’s Fuzz Inferno (the combo behind this label) deliver a previously unreleased track, ‘A Messed Up Situation’, which will have you thinking ‘why did we have to wait this long to hear such a wonderful / brutal slice of pun k rock noise?’ Rhi & the Relics give us female-fronted punk rock that recalls the best moments of the UK82 scene (think Action Pact and The Violators.) If you want to check out bands that are playing vibrant, real punk rock for all the right reasons, then this EP is going to point you in the right direction. Buy it, play it loud and love it!
V/A. ENGLAND SWINGS (LUX AND IVY DIG THAT UK SOUND) CD (Righteous) The latest in this excellent series of compilations, detailing the different scenes and sounds that informed Lux and Ivy during their tour of duty with The Cramps. As you may gather from the title, this album gathers together some of the more bizarre moments that came out of British pop music during the Fifties and Sixties. There are plenty of well-known names included, alongside the usual selection of worthy obscurities, but we’re still talking about genuinely-intriguing songs rather than just the hits. The album kicks-off with Burt Weedon and although he’s hardly the hippest golden-oldie, his track ‘Fury’ is a fine piece of instrumental proto-Surf rock’n’roll. With that (good) surprise out of the way, you’ll also find plenty of genuinely-decent offerings from the likes of Adam Faith (‘Carve-Up’, which glorifies teenage street-violence years before skinheads or gangster rap even existed…) Alma Cogan, the legendary Joe Meek (a rare ‘solo’ track) The Tornados (a rockin’ instrumental called ‘Jungle Fever’), Dave Clark Five, the Dudley Moore Trio and even The Goons! Trust me, with a selection like this, it’s an album that’s going to keep you hooked! Dudley Moore, apart from being half of the greatest comedy duo of all-time (Derek & Clive!) was also a renowned jazz musician, represented here with the lounge-like ‘Strictly for the Birds’. Elsewhere, the obscurities offer-up goodies like ‘Payroll’ by Reg Owen (somewhere in the realm of ‘Peter Gunn’) ‘Death Valley’ by Charles Blackwell (a fine, moody instrumental) and The Southlanders quirky-pop (‘The Mole in the Hole’) before everything comes to an end with Spike Milligan’s comic-insanity let loose on two Goons-related tracks, ‘My September Love’ and ‘You Gotta Go Oww!’. There’s some truly wonderful music on this album and only the most die-hard cynics or contrarians would try to say otherwise. This is a genuine treat for for your ear-drums!
V/A. FAKES – VOLUME TWO cassette (Drunk Dial) A compilation of real bands playing songs created for fake bands… That is, bands that only existed in movies or TV shows but were ‘responsible’ for some pretty good songs in their own right. Well, the Drunk Dial label has managed to compile 12 bands here, each playing a song from a band that only (originally) existed in a fictional setting. Some of them you’ll recognise, others you won’t, but there’s a lot of fun to be found in these tracks. Of particular note are two songs from The Rutles (‘Cheese and Onion’ by Half Catholic and ‘Number One’ by Matt K.Shrugg) the hardcore classic ‘Fist Fight’ by Crisis of Conformity (recorded by the Lo Fives) and ‘Join the Professionals’ by The Looters (covered by The Dumpies.) It’s also worth noting that, much like Spinal Tap, fictional bands sometimes create such good songs that they eventually become real, as was the case with The Rutles and The Looters (featuring Steve Jones, Paul Cook and Paul Simonon in the film ‘The Fabulous Stains’) who eventually morphed into The Professionals! It all adds to the fun and makes this a worthwhile compilation, so try to check it out.
V/A. GREETINGS FROM DEATH ROW CD (Righteous) Here’s the latest selection of obscure Fifties/Sixties music from the Righteous people, much of which you are unlikely to have heard before. Despite the title, Death Row and Penitentiaries aren’t the presiding theme for these songs, although lyrical they do tend to veer more towards the trashy, B-movie culture of the times (of which, tales of Death Row were an integral part.) Musically, there’s a variety of styles, from primal rock’n’roll through to Country, Blues and novelty pop, but the album actually kicks off with Gene Vincent performing ‘Say Mama’, which sets a high standard for the rest of the collection to aspire to. Fortunately, whoever chose the tracks clearly has good taste, because there’s not a disappointing song on here. Despite the differing styles, the track-list has also been arranged in a way that the songs really compliment each other, making this a great set that you’ll want to hear all the way through. For me, it’s tracks like ‘Live Fast, Love Hard and Die Young’ by Faron Young, ‘Dingy Dong’ by Ed Corey and ‘You’re Gone, I’m Left’ by Tyrone Schmiding that are the real treat, hearing them for the first time and thinking, Why aren’t these songs known by everyone? I’m sure you’ll feel the same way when you hear them. This is a damn fine compilation that deserves your immediate attention.
V/A. MANIFESTATION X (CIA / AWE Records) This compilation is the result of a collaboration between the CIA label (Houston) and AWE records (Portland) featuring artists from as far afield as Australia, London, Berlin and the USA. Some of the contributors are solo artists while others are full groups, providing a wide range of sounds that will certainly keep you interested. Pressed on translucent orange vinyl and housed in a striking gatefold sleeve, it also includes a bonus CD. The music veers between styles whilst all contributors present pieces that endeavour to deliver something unique. That said, the tracks have also been arranged to give a cohesive sense to the album as a whole, ensuring that you’ll want to hear all of it rather than skipping individual tracks (although, I’ve just noticed, each of the available formats have a different running order and the CD / digital versions have extra tracks, so you’ll still have to pay attention!) Most of the music is instrumental and ranges from industrial-drones and dub-like electronica through to space rock and guitar improvisations, but that’s what makes it so exciting. You really don’t know what’s going to happen next but when you get there, you’ll want to know where it goes to. If that makes sense ? The only criticism of the album is that it doesn’t include any information about the artists and, in some cases, I had difficulty even finding info online. But that still doesn’t provide a reason for you not to hear this. If you enjoy music that compels you to have an open-mind, then this is essential listening.
V/A. MORE HALLOWEEN NUGGETS (HAUNTED UNDERGROUND CLASSICS) CD (Rockbeat) During the Sixties, there was a whole genre of trashy horror-based pop songs that sat somewhere in between novelty pop and garage / beat music. The best-known and most successful example was obviously the ‘Monster Mash’, but there were many other less-successful bands and performers that delivered their own (often one-off) contributions to the trend. The lyrics were usually comedic mock-horror rather than being shocking or offensive, with the emphasis always on fun, but to fully appreciate them, you have to put them in the same context as The Munsters, The Addams Family and watching B-movies at the Drive-In (indeed, the tracks on this compilation are interspersed by various obscure film trailers and sound effects.) Although this may all sound a little naff when reading about it, the important thing is that much of the music is actually rather good, veering towards the more underground rock’n’roll styles of the time, from raw R’nB through to Surf and Garage. Featuring songs like ‘The Beast of Sunset Strip’, ‘Tombstone Number 9’ and ‘Dr Spook’ and bands such as The Mystrys, Baron Daemon & The Vampires’ and ‘Frankie Stein and His Ghouls’, you’ll need to appreciate the humour just as much as the music, but once you get in to it, this is a very entertaining album
V/A. 1982 – SCREAMING AT THE NATION CD boxset (Captain Oi!) Possibly the best of this recent series of Punk compilations, documenting the musical highlights of the early Eighties in a year-by-year fashion. What I particularly like about this collection is that it gathers together all the great and interesting bands together in one place, because that’s how I remember listening to these records back at the time. It didn’t matter what genre or scene a band came from as long as they sounded good and weren’t dodgy on a political level. In this collection you get lots of ‘UK82’ bands (Attak, The Partisans, Abrasive Wheels, GBH, Chron Gen, Peter and the Test-Tube Babies etc) alongside Oi! bands (The Business, Blitz, Infa Riot) Anarcho-bands (Subhumans, Conflict, Amebix, The System) and a good selection of older Punk bands who were still firing on all cylinders at that time (The Damned, UK Subs, Angelic Upstarts, Lurkers etc.) There are also a few bands that didn’t really fit in to any particular pigeon hole (Southern Death Cult, Theatre of Hate) and others that were going for a more melodic approach ( Rudi, The Revillos, Toy Dolls) and it’s this mix of styles that I remember. Anyone who claims that Punk was dead by the Eighties really is talking out of their arse. In reality, there was so much going on and, for the most part, the fans enjoyed whatever sounded good, regardless of what the music press tried to label it. Another thing that I like about this collection is that, although it includes several bands that I didn’t particularly like, whoever made the selections has picked the best songs to represent them (Anti-Nowhere League’s ‘For You’, The Exploited’s ‘Alternative’ and Chelsea’s ‘War Across the Nation’) just to prove the point that even bands that weren’t among your favourites could still come up with a classic along the way! In fact, if anything sums up this collection perfectly, it’s the fact that the first CD starts with ‘Open Your Eyes’ by Lords of the New Church and the third CD ends with Attila the Stockbroker reciting his poem ‘Contributory Negligence’. Musically, you getting get two tracks further apart but attitude-wise, they were shoulder-to-shoulder. Together with an excellent (as usual) full-colour 36 page booklet, this is a great glimpse of the music that was really going on in 1982. Delve in, play loud and enjoy it!
V/A. Oi! THE SINGLES CD boxset (Captain Oi!) Four disks full of what many would accept as the very best from the original Oi! scene, including releases dating from 1977 through to 1985. Of course, at which point some of these bands became ‘Oi’ rather than ‘Punk’ (or even ‘Pub Rock’) is debatable, but early bands like Cocksparrer, Menace and Slaughter and the Dogs certainly set the template, with Angelic Upstarts and Cockney Rejects following hot on their heels. But it wasn’t until 1981 when bands like The 4 Skins, Blitz and The Business started to establish themselves that ‘Oi!’ began to be seen as a new genre. All of these bands are represented on the first disk, with classic singles like ‘Running Riot’, ‘Where Have All the Boot Boys Gone’, ‘Screwed Up’, ‘Flares’n’Slippers’and ‘Harry May’ still sounding just as vital and exciting as they were forty years ago. The second disk features bands that emerged during 1982, many of which, like Antisocial, The Ejected and Crux, wouldn’t stay around for long but certainly played their part in the ongoing scene. Others, like Red Alert and The Gonads, have continued in different forms over the years and still exist even now. The disk ends with the classic ‘Low Life’ single from The 4 Skins, a genuinely powerful and catchy slice of street punk. Disk Three delves back into the archives again, with more great tracks from Menace, Angelic Upstarts, Cockney Rejects, Blitz and The Business, really showing the way it ought to be done. It’s also important to note that although Oi! was often treated with an air of menace, many of the bands also had a clear sense of humour which can be heard on tracks by Cockney Rejects and The Business among others. The music may have been raw and abrasive, but that didn’t mean that the bands were averse to having some fun! Alongside more tracks from The Crack and The Gonads (eek!) this is possible the best CD in this set. The final disk ends with (several) high notes, including singles from The Business, Cock Sparrer and Case (who mixed Ska and Street Punk to great effect and should have had much more success) as well as all the tracks from the infamous ‘Total Noise’ and ‘Back on the Streets’ EPs. The former included exclusive tracks from The Business, Blitz and Cockney Rejects (who provided the backing for The Gonads track, ‘TNT’ and also appeared incognito as ‘Dead Generation’.) The other EP included lesser known bands like East End Badoes and The Strike, but ironically is best known for another incognito track, ‘I’m Thick’ by Skin Disease. This proved to be none other than Chumbawamba in disguise, but the biggest surprise about it was just how bad it is and how it ever got released. Further singles from the likes of The Oppressed, The Ejected and The Infas (Infa Riot’s new incarnation) complete the mix on this collection. If you want to know what all the fuss was about, you’re unlikely to find a better guide and as usually, a booklet provides all the info and sleeve notes you’ll need to find your way around. Whether hearing these bands for the first time or reliving your long-lost vinyl collection, you’re still going to enjoy this set!