RECORD REVIEWS, JULY-DECEMBER, 2024

RECORD REVIEWS, JULY-DECEMBER 2024.

ABUSEMENTS. Grievance Beerwater Reprisal LP (American Leather) I received and reviewed a previous Abusements album (‘Irritainment’ back in 2018) and really enjoyed it, so I was glad when this latest offering turned-up in the Inbox. Looks like the band line-up has expanded from three to five members but the basic intent is still there to be heard. Musically, they sound more solid than before, with effective blasts of punk and hardcore providing the foundations over which the lyrical ideas can roam free. That said, you still need to be prepared for a few unexpected diversions along the way, as ‘Mind’ embraces a Bluesy, bar-room style and ‘Unwind’ sounds as if it was inspired by early Seventies rock, but it’s these more erratic moments that help to make the harder-edged songs all the more effective. It’s a bit like the way bands such as Dead Kennedys and MDC incorporated different styles on their albums to create a more varied and interesting atmosphere that accentuated their more direct moments. Interestingly, the individual members of Abusements come from different backgrounds and age-groups , which undoubtedly brings a wider range of ideas to the proceedings, whilst also creating a very coherent and powerful record. By all accounts, the band have been playing live on a regular basis in recent years, so be sure to hear this album, enjoy it, and then keep your fingers crossed that you get to see them live one day…

THE ADVERTS. Rehearsal Tape EP (2.13.61/In The Red) I’m not sure of all the details, but this record is pretty limited and although it’s a bit expensive, it’s a real piece of history and an otherwise unavailable recording of one of the best of the original UK punk bands ,at a formative moment in their development. Here’s the story… Back in 2022, a cassette appeared on auction-site ebay, claiming to be an Adverts rehearsal from early ’77. Renowned fan Henry Rollins couldn’t resist and placed his bids to win the tape. Once he had the cassette, he realised that the recordings had never been officially released and were surprisingly decent quality, having not deteriorated over the years. He contacted TV Smith to verify them (it was indeed a recording of an early practice that they had made for Chiswick Records, which they had subsequently forgotten) and got permission to release it on vinyl. He then found a suitable studio to re- master the tape as best as possible and, as a true fan, put real effort into making this a worthy release. Those efforts have really paid-off. What we have may only be five songs, but they are undoubtedly the earliest recordings of this seminal band (I can’t imagine anything exists prior to this) and it captures the band just as they were putting everything together. The thing I always loved about The Adverts was the way that they sounded as if they were trying to play beyond the limits of their ability, making the most of the ideas and attitude available to them. Along with many of the early UK punk bands during that brief period, The Adverts were often accused of being unable to play but the fact was, it was due to them always pushing themselves to move to the next level. They weren’t content with what they’d already done and wanted to master the next thing. That’s what these recordings display, even though the songs had only come together in a relatively brief period of time. Howards’ guitar is remarkably efficient and delivers the core of their sound, while Laurie and Gaye provide the drums and bass with a remarkably solid ability. They know what they’re doing, providing the foundation to allow the raw power and melody to exert themselves. Finally, TV’s vocals, whilst perhaps revealing some of his Glam / Art-rock influences, are as sharp and astute as he continues to be to this day. The five songs, although different in some ways, are still recognisable to their classic recorded versions, but these recordings capture their initial angst and determination. It’s not Hi-fi, admittedly, but combined with the excellent artwork and sleeve-notes courtesy of Henry and Dave Thompson it really doesn’t get any better than this. Miss it at your peril.

ALIEN SEX FIEND. Classic Albums Volume 3 CD box-set (Cherry Red) Although still closely associated with the ‘Batcave’ scene and the early Goth bands, Alien Sex Fiend were very much a beast of their own making. Singer Nik Fiend had been working at the club in 1982 when he formed the band, but had previously been the singer for the band Demon Preacher, who released their first single, ‘Little Miss Perfect’ on the Small Wonder label in 1978. Nik’s influences went back a long way, including the likes of Alice Cooper, Glam rock, Suicide and The Cramps. The early Alien Sex Fiend records set them apart from most of the Batcave bands, whilst their live performances were raucous and highly entertaining, attracting a broad range of fans including punks, rockabillies and Goths (before they lost their sense of humour…) Their popularity began to grow in the UK and some of their singles even reached the National Charts, while they also found themselves with a fanatical following in Japan! However, frequent line-up changes would stifle their progress and by 1988, they released several records as a duo (Nik and Mrs Fiend) before assembling a new line-up. By this point, I’d lost track of what the band were doing, so when I got the chance to hear this collection, I was pretty curious. The five albums featured in this set date from the period starting in 1997, when The Fiends established their own label, 13th Moon, and began to release their own recordings without the pressure of outside-expectations. The first of these albums was ‘Nocturnal Emissions’, an album that took me by surprise to some extent as the music it contains is quite removed from the records I remembered and leans towards techno styles, as well as being mostly instrumental. Not that it doesn’t sound good, it’s just wasn’t what I was expecting, although I should have guessed that the band wouldn’t have stayed static during the intervening years… After this, ‘Information Overload’ (2004) comes across as more of a blend between the old and the new, still with the techno influences but with a far more punk-flavour, particularly heard in Niks’ vocals which are a lot more prominent and snarl their way through the songs. Disc 3 contains the ‘Death Trip’ album from 2010, which extends the sounds of its’ predecessors in an even darker, heavier atmosphere (although it should be added that there’s always a sense of humour at play, even if it might not be glaringly obvious.) ‘Possessed’, their most recent album (released in 2018 continues to explore the style they’ve developed for themselves over the past few records, with this one delving further into the darker reaches of the music, sounding something like Nine Inch Nails or Ministry if they were really fucked-up. (I doubt if those bands could handle this sort of thing, now, but Alien Sex Fiend are up for it!) Parts of the album even recall Throbbing Gristle and the early Industrial bands, adding further depth to the overall sound. Finally, ‘Para-Abnormal’ is a compilation of demos, re-mixes and rare tracks, some of which were released as a label-sampler back in 2006, while other tracks come from the previously digital-only ‘Re-Possessed’ EP, released in 2018 and featuring further demos and alternate mixes from the ‘Possessed’ album. Combine all of the above with the many bonus tracks featured on each disc, the superb, full-colour 20-page booklet featuring Niks’ original artwork and extensive sleeve-notes from the dynamic duo themselves, this is a thorough and at times eye-opening collection of the bands’ later music which will appeal to existing fans as well as those, like me, who were unaware of what they’ve been doing in more recent times. Whether you already know, discover for the first time or re-discover the band, there’s some really great stuff to enjoy here and all you have to do is open the box!

ANGELIC UPSTARTS. We Gotta Get Out of This Place / 2,000,000 Voices. CD (Captain Oi!) Although the Upstarts’ first album, ‘Teenage Warning’, tends to be the record that everyone knows, I’ve always thought that their second and third LPs that really represented the band at their best. Their debut included plenty of great tracks but just wasn’t as focused and direct as these two. Musically, they were sounding tighter and more powerful whilst Mensi’s lyrics were hitting the mark consistently, addressing contemporary issues that really mattered. ‘We Gotta Get Out of This Place’ (1980) contains some of their finest songs… ‘Never ‘ad Nothing’, ‘Shotgun Solution’ and especially ‘Out of Control’ are all genuine classics and whilst their cover of The Animals’ classic ‘We Gotta Get Out of This Place’ may seem an odd choice, one glance of the lyrics reveal a dark tale that more than matches the atmosphere of the time. Not that the album is entirely without humour, as ‘Ronnie is a Rocker’ ably reveals, while the music is generally upbeat and energetic. The following year saw the release of ‘2,000,000 Voices’, and while it continued the bands’ established sound it also found them embracing different influences including reggae and folk. Again, they produced some truly outstanding songs in the form of ‘Last Night Another Soldier’, the title track and ‘Kids on the Streets’. However, the album also included their most-misrepresented song, ‘England’, which was used by some on the left and right to stir-up political trouble. Of course, even a quick perusal of Mensi’s lyrics would show him to be a compassionate socialist, but it would still cause problems for the band over the ensuing years despite the band always sticking to their principles. Captain Oi! have done a great job, featuring both albums and including appropriate bonus tracks (non-album tracks from various singles etc) as well as a 24-page, full colour booklet including lyrics, original artwork and press cuttings. This is the perfect way to reappraise these albums and appreciate them for the fine records they are.

BAUHAUS. The 1979 Demo Recordings LP (S.B.S) Most, if not all, of the tracks on this album are actually recorded live in a studio rather than actual demo’s and the bulk of them come from the CD which was released as part of the limited edition ‘Beneath the Mask’ book back in 1996. These have been bootlegged a several times before now, but if you haven’t already got them they’re definitely worth hearing, capturing the band playing both familiar and otherwise unreleased songs at a seminal moment in their career. Additionally, there are also four extra tracks which also sound like rehearsal tapes although probably not from the same sessions. Hollow Hills sounds as atmospheric as ever, while early versions of ‘Ziggy Stardust’ and ‘’Spirit in the Sky’ capture the band having some fun with a couple of covers. Sound quality is pretty good so, if you don’t have any of these tracks already then this is a very worthwhile album, but just be wary that you already have most of the tracks on a different release…

THE BEATERSBAND. Bad Girl CD (https://thebeatersbandvintagepunkrocknroll.bandcamp.com/album/bad-girl) Joey Ramone and Ronnie Spector were two New York legends that shared both friendship and mutual admiration. Indeed, Joey’s last ever live performance in London was as a special guest at one of Ronnie’s gig. So it seems entirely appropriate that this female-fronted Italian band has released an album of covers in tribute to the esteemed duo. The songs are mostly from Ronnie’s back catalogue, although several Ramones songs are included (‘She Talks to Rainbows’, ‘Bye Bye Baby’ and ‘Here Today Gone Tomorrow’) The best thing is that they stay true to the original tempo and manner of the songs rather than thrashing through them, whilst the Ramones style guitars just add to the character rather than overwhelming it. This is a great and fitting tribute by a band who clearly appreciate the subjects and know how to do it properly.

BEEF. Il Manzo 7” (Goodbye Boozy) Not to be mistaken for the fine indie-punk band that lurked around London circa 1990, this Beef come from Cincinnati and mix a simplistic three-chord synth-punk assault that owes as much to the likes of Devo and The Screamers as it does to The Ramones. In more recent times, you could draw comparisons with the likes of the Epoxies or The Spits, so it’s all good stuff. Great catchy hooks, usually played on the keyboards while the guitars provide the noisy chops, the drums keep everything together (just-about) and the vocals are barked-out like orders. Is it Art? Possibly… Is it fun? Definitely!

BEN QUAD. Ephemera EP (Pure Noise) Ben Quad is a band, not an individual, but I have no clues about their peculiar moniker. They’re based in Oklahoma and have been together since 2018, in which time they’ve released three split-EPs and one album that have received an enthusiastic response. However, this new EP has been an attempt to redefine themselves, with unexpected electronic flourishes appearing amongst the tracks and the arrangements sounding a lot more involved, recalling some of the bands that appeared on the Gravity label mixed with some of Vic Bondi’s more intense moments. There’s plenty of energy and ideas that will keep you on your toes and a variety of styles play their part in the outcome. Something worth checking out, for sure.

BLUE RONDO. Bees Knees and Chicken Elbows. CD (Cherry Red) There was a point in the early Eighties when bands playing a mix of Latin jazz, Salsa, Disco and Cuban RnB became extremely ‘cool’, mostly among college students. However, only a few of the bands achieved any mainstream success. Blue Rondo A La Turk (named after a Dave Brubeck track) enjoyed some chart success with their debut album and early singles, but then split-up. One half of the band went on to form the truly appalling ‘Matt Bianco’ (aka ‘bunch of wankers’) whilst the others, including founding member Chris Sullivan, shortened the name to ‘Blue Rondo’ and attempted to continue in a similar musical direction. The result was this album, which certainly high-lighted their technical-abilities as musicians but failed to capture the soul and intent of what they were aiming-for, perhaps too influenced by the successful ‘Thatcher-pop’ of the time (Duran Duran, Wham etc.) I was curious to see/hear how their music might sound now, but for me, it hasn’t really aged well and considering the band actually split-up before the album was even released, you get a sense that they felt the same way. That said, a couple of the more jazz or funk-orientated tracks are pretty enjoyable and ‘Heavens Revisited’ is a lively instrumental that positively recalls ‘Papa’s Got a Brand New Pigbag’. Those who were fans at the time will probably love this 2CD set, which includes the original album plus singles, mixes and previously-unreleased recordings on the first disc, while the second features further remixes and even more previously unreleased tracks. Undoubtedly, this will be a real nostalgia trip for many, so thumbs-up to Cherry Red for doing such a good job on it!

BODEL. Guidance Patrol digi-single (https://bodel.bandcamp.com/) I don’t usually review single tracks because there are too many bands that ‘release’ one-off tracks digitally and I haven’t got enough time to write about all of them. Also, in most cases you can’t really get a sense of what a band is doing from one song. However in some cases, I’ll include a review because the track is really good and there’s no-one there to say I can’t. Bodel are a Swedish hardcore/crust band playing a blistering version of extreme Scandinavian punk, fronted by the powerful vocals of female singer Leya. Think of Discharge or Antisect at their prime, a sheer wall of noise confronting you with a tight delivery while the vocals match the ferocity of the band and maintain a vital clarity. This band need to be on vinyl, but let’s hope they’ll come over and play in the UK in the meantime.

BRACKISH. Rear View EP (www.brackish.bandcamp.com/album/rear-view) Brackish are a Philidelphia-based band who on the verge of completing their first decade together. They seem to get described as ‘emo-pop’ but, as I’m an old fucker who has no idea what that means, to my ears their songs remind me of those early records released by Gravity records back in the Nineties, some elements of Fugazi and even some of the more melodic, mellower moments of Superchunk. For me, that’s all a good thing, a good combination so I hope ‘the kids’ appreciate my efforts here! Seriously, it’s a fine EP and deserves to be heard.

BRITISH BIRDS. Sucking Funny EP (www.britishbirds.bandcamp.com ) There’s something that I really like about this band, which is odd because on first hearing, the obvious comparison would be with mid-Eighties Indie-pop bands (that’s when ‘indie’ referred to the more kinda ‘twee’ sound of bands like Tallulah Gosh or mavericks like the TV Personalities, who were genuinely independent and nothing to do with the corporate crap that now gets foisted on the ‘kids’…) I was never a particular fan of many of those bands at the time, although I appreciate some of them a lot more nowadays. But I think the thing with British Birds is that although they do share some influences and aesthetics with those bands, they’re not content to stop there. With this band, it’s all about the ‘song’ and what’s going to make the best of it, whether that means keeping it sparse and stripped down or turning-up the distorted guitars to accentuate the mood. Every time I listen to this EP, I seem to hear something else for the first time and, for me, that’s what the best pop music ought to do… just as many surprises as there is familiarity. If you’re feeling adventurous, this is something you should investigate.

THE BUDGET BOOZERS. Love You Hate You LP (Voodoo Rhythm) What a great name for a punk band! These guys are from Switzerland and at present are trying to remain anonymous, although the clever money suggests that they may include members of The Jackets, The Lovers and Dead Bunny. Their songs take a cue from classic Punk Rock mixed with the biggest, stompin’ beats of the Glam era (Sweet, Glitter Band, perhaps some Cheap Trick… y’know, all the Glam bands that really rocked!) They’re also unafraid to slow things down and delve into some epic Fifties / Sixties pop, complete with appropriately melodramatic production. Mostly sung in English, but there’s one song, ‘Fur Immer’ that’s delivered in the Swiss-German lingo which I can only understand in musical terms (it sounds good, that’s all that matters here.) Ten songs, mostly short and sharp, full of furore and frantic fun… have you got anything better to do with your next 30 minutes?

BUNUEL. Mansuetude LP (Overdrive / Skin Graft) Bunuel (named after the legendary Spanish/Mexican film-maker) are a collaboration between former Oxbow vocalist Eugene Robinson and a trio of Italian instrumentalists. They have previously released three albums between 2016-2022 but, although familiar with Eugene’s previous work, I only became aware of this project recently and haven’t heard any of those records. That said, this is an album that’s hard to pin-down, although at a pinch the vague term ‘noise-rock’ is one that possibly works the closest. As a starting point, the instrumental trio create an overwhelming sound that’s not far-removed from the sounds that Dutch band Gore used to create, creating and pursuing hard rock rhythms without becoming ensnared by them. Add to this elements of Jimi Hendrix’s more aggressive sonic escapades and Caspar Brotzmann’s grasp of jazz, improv and avant garde abuse of six-string amplification… Eugene’s vocals both compliment and antagonize the music at different times, from menacing growls to sinister, slurred narratives. The album also includes guest appearances from Jacob Bannon (Converge) Megan Osztrosits (Couch Slut) and Duane Denison (Jesus Lizard, Tomahawk etc) all adding further depth and character to the proceedings. The results are certainly not something that’s easy to follow, but if you have the time to really listen and figure out what’s going on, then this chaos will make good sense after all.

COCKSPARRER. Shock Troops – Expanded Edition CD (Captain Oi!) Some fifty years since they originally appeared, Cocksparrer are undoubtedly more popular now than they’ve ever been. They headline festivals and sell-out venues around the world, while their albums are eagerly snapped-up whenever they’re made available. Personally, I’ve never been a big fan but I have to admit, they have released some fine songs along the way and I was also rather impressed by their latest LP, ‘Hand on Heart’, so I’ll give them credit where it’s due. This release is a reissue of their 1983 album, their first since reforming a year earlier. Their original records had undoubtedly influenced the Oi! scene, so they now mixed their own sound with elements of Oi! to create an updated style that appealed to the current generation of punks’n’skins. Musically, they kept things pretty basic, blending street-pink with pub rock, while the songs were full of catchy riffs and anthemic choruses that were guaranteed to inspire plenty of singalongs and fists punching the air. This is the formula that they’ve used ever since, not really bothering to develop their style but ensuring that the fans are always going to be happy with their new songs. The vocals probably owe more to pub rock than punk, but as long as you enjoy that, you’re probably gonna love this record. The one anomaly is the final track, ‘Out on an Island’, which features synthesizers and sounds like the sort of epic MOR rock that would feature on Hollywood movie soundtracks….It’s completely out of place, although it still has plenty of fans, apparently! Finally, the ‘expanded’ segment of the album comes from the inclusion of the ‘England Belongs to Me’/’Argy Bargy’ single, plus a cover of ‘Colonel Bogey’ which had been recorded at the same time. ‘Shock Troops’ was effectively a new beginning for the band and this time they would go on to greater success, becoming the legends that they are now regarded as. Together with a 24 page booklet that includes rare pictures, lyrics and sleeve-notes from the band themselves, this is a perfect way to discover or re-evaluate one of Cocksparrer’s key albums.

DEAF DEVILS. Demos and Demons CD (www.facebook.com/deafdevilsband) Deaf Devils are a female-fronted punk-rock’n’roll band from Valencia, Spain, who have been touring extensively over the past few years and blowing audiences away pretty-much every time and everywhere they play. They really don’t care if the gig is large or small or who they’re playing with, they’ll go for it in a big way, just like Turbonegro during their earlier days with Hank. They’re not scared of anyone or anything, they’re out to enjoy themselves just as much the audience and that’s what makes them real. Yeah, there’s theatricality in their performance, but as long as they have the songs and attitude to back it up, who’s worrying? This CD is their first ‘album’ and is only being sold by the band themselves. As the title suggests, it’s a collection of demos , cover versions and live tracks that’s a bit rough’n’ready in places but a decent glimpse into their formative efforts. The covers include songs by The Sonics, Buzzcocks (‘Sitting ‘Round at Home’, although they credit the Gorilla Biscuits version which is also cool!) and Alice Cooper, which is a good indication of their roots. Musically there are also hints of Turbonegro, New Bomb Turks, ‘70’s Glam and the blessed trinity of MC5, New York Dolls and Stooges. Really, you need to see them live to get the full effect, but in the meantime this CD will set you on the right path.

DENY. Call of the Void EP (Distat) Deny formed in Toreboda, Sweden back in 1995 and have been pursuing the path of brutal hardcore ever since. Inspired by the likes of Discharge and Anti Cimex, there have been numerous line-up changes along the way which, when you consider the length of time between their releases, explains why they seem to have operated on such a sporadic level (indeed, there have been several recordings which, although completed, have never been properly released.) At one point, Dahl from Wolfbrigade joined them as vocalist but after he moved away, the band lost their motivation and fell apart. It was not until 2016 that their original singer, Johan, persuaded the other members to reform and, since 2016 their line-up has remained solid and they have been releasing new material on a regular basis. This latest EP captures them at their best, bringing the roots of their sound to the forefront in a powerful, unrelenting sonic onslaught, whilst also adopting a production style that allows for a certain melodic presence within the songs, making them far more memorable. Also, like Antisect, they have plenty of musical ideas that make them stand-out and reveal an identity of their own. Deny may have been around for quite some time, but to my ears, they’re making some of their best records right now. If you’ve ever been a fan of, or even just intrigued by, Swedish Hardcore, this is a record you need to hear.

DEPARTMENT S. Burn Down Tomorrow CD (Last Night from Glasgow) Named after the cult-classic, late Sixties TV series, Department S originally formed in 1980, evolving from a band called Guns for Hire, who had released one single (the punky-ska flavoured and wonderfully-titled ‘I’m Gonna Rough My Girlfriend’s Boyfriend Up Tonight’) on the Korova label. Fronted by the charismatic Vaughn Toulouse (another great name!) Department S released their debut single, the moody New Wave classic ‘Is Vic There?’ in late 1980, which would reach the Top 30 and earn them an appearance on Top of the Pops in early 1981. Their next single, ‘Going Left Right’, was released by Stiff records a few months later but narrowly missed the Top 40, despite it being more upbeat and catchy. They began to record an LP, but differences with Stiff resulted in the band being dropped and the album being shelved for more than a decade. Disheartened, the band split-up in 1982. Vaughn had some success as a DJ and also collaborated with Paul Weller, but sadly died in 1991. However, the band would eventually reform in 2007, featuring three original members and various guests, playing at festivals and venues in the UK and Europe, as well as recording a new single. The line-up has remained pretty erratic ever since, with new and old members coming and going, but they have released several albums and singles as well as gaining a decent following on the live circuit. This latest album may have taken some time to come together but the results show that it was certainly worth the wait. It also hints at the reasons why further-success eluded them first time around. Their songs are strong and have plenty of their own style, but they were never an easy-fit into any particular genre, something that the early-Eighties seemed to be obsessed with. They had never a ‘punk’ band, but their songs had a bit too much edge to fit-in with the more radio-friendly new wave or new romantic scenes. ‘Burn Down Tomorrow’ continues along that path, with songs that switch from catchy melodies and insistent hooks through to harder and more assertive sounds. Of course, the difference nowadays is that those of us still following current bands and new releases aren’t so concerned about where they’re supposed to ‘fit-in’, settling for the far more simple formula, if something sounds good that’s all that matters! Together with guest appearances from the likes of Baz Warne (Stranglers), Leigh Heggarty (Ruts DC) and Stephen Rice (Chameleons) this is an album that definitively captures the bands’ character and potential, presenting a solid and highly-focused record that could easily bring them to the attention of a much wider audience. Hear it for yourself and be prepared to be impressed.

THE DISCARDED. The Green Door (https://thediscarded1.bandcamp.com/album/the-green-door-2) Canadian band consisting of brothers Caden and Jared on drums and bass respectively, along with their father JP on guitar and vocals. But, as Peter Perrett has proved in recent years, producing your music within the family doesn’t have to be a naff prospect. The Discarded have already released five albums, so they know what they’re doing and produce a strong, solid rock sound that effortlessly blends the hard edge of Motorhead, the high-speed melodies of the Ramones, the snarl of The Stooges and the urgency of DOA in an effective style that will undoubtedly appeal to both punk and hard rock fans. No unnecessary guitar solos, lots of energy and good catchy tunes. It is what it is, and mostly that’s a fine thing.

DISCHARGE. Why / Hear Nothing See Nothing Say Nothing CD (Captain Oi!) Although there are already more than a few compilations of Discharge’s earlier recordings, this is possibly the best I’ve seen and heard. Firstly, the sound quality is really good, maintaining all the brutal power of the original records but now with a clarity that lets you hear everything that’s going on. Secondly, the artwork and packaging recreates the stark imagery of the original releases whilst adding additional pictures and ephemera. But it’s the selection of tracks included here that really matters. While it doesn’t claim to be a ‘Best of...’ collection, I think most fans would agree that the recordings included here represent the band at their most powerful and influential. All of the early EPs are included as bonus tracks, from ‘Realities of War’ through to the ‘Warning’ 12”. After that, the band began to head in a more metal-influenced direction which would eventually result in the truly appalling ‘Grave New World’ album (fortunately not included here!) The thing was, Discharge had always had metal-undertones but by stripping them down to the bare-bones and mixing them with a visceral punk rock approach, they had created something new and something of their own. It was a real waste to see them give that up in favour of becoming just another rock band. But, don’t worry about it here, because this album concentrates on the stuff that matters. To appreciate this fully, you have to realise that the threat of (nuclear) war was a very real possibility during this era and a Police-state seemed to be just around the corner. The lyrics were short but straight to the point, reflecting the urgency of their message, while the music was a raw mix of noise and adrenalin. That said, you’ll also find a surprising amount of catchy hooks within their songs, with tracks like ‘Ain’t No Feeble Bastard’, ‘Decontrol’ and ‘State Violence State Control’ sounding like Motorhead taken to an extreme. Alongside the likes of Crass and Subhumans, Discharge are one of the most important punk bands of the early Eighties and their material remains valid and essential even now. This is an album that every household should own!

THE DOWNHAULS / DUCK & COVER. Trash Fest split 7” (Rum Bar) A split-single of two current bands paying tribute to the annual garage/punk gathering at Somerville, Massachusetts during the early years of this particular century. The Downhauls contribute ‘The Tower’ a suitably raucous, female-fronted tune with an upbeat trajectory and guitars slashing every which way but lose. Duck & Cover deliver ‘Girl From Nowhere’, featuring yet more female vox, albeit at a more restrained pace but bringing the catchy riffs to the forefront to ensure that their contribution is just as memorable. Two great bands coming together to pay tribute to their local dive… I wish more bands would appreciate that the loss of clubs is a loss for all of us. At least bands like these are keeping the music going for the next generation of venues. Dig it!

DRUG CHURCH. Prude LP (Pure Noise) I had heard good things about this band and this album certainly confirms those recommendations. Based in Albany, NY, the band have a powerful Punk / Hardcore basis but take it in plenty of other directions, recalling the likes of Avail, Fucked Up and maybe even Rudimentary Peni along the way. One moment you’ll be enjoying some noisy, raging hardcore, the next you’ll be listening intently to quieter moments that allow the lyrics to take centre-stage. But this is the thing that Drug Church do so well, balancing supposedly opposite elements to create something new and exciting. Melodies stand alongside brutal guitar riffs and thoughtful, emotive vocals make themselves heard over the powerful, compelling rhythm section. This is a great album, plain and simple. Hear this and then start seeking-out their early records!

DYSTOPIAN FUTURES. I Hate Dystopian Futures EP (https://visionspress.bandcamp.com/album/vp40-i-hate-dystopian-futures) This is a relatively-new Scottish punk band, although any further details about them are a bit sparse. But, of course, the important thing is the music and the four tracks featured here are certainly worthy of your investigation. Musically, they seem to be mixing the raw, catchier moments of UK82 punk with the intention of adding a surreal twist to the proceedings. Whilst the first three tracks (Smells Like Sancho’, ‘Dynamic Theory’ and ‘Sting Stomp’) are all based around full-throttle punk riffs (albeit with a few unpredictable surprises) the final song, ‘Pi in the Horse’ slows things down to an almost prog level, providing real contrast to the rest of the EP. There’s a clear element of humour at play which helps to make (non)sense of their efforts and this EP suggests that they could be on the verge of creating something really interesting. Keep your eyes’n’ears open for more…

ENGLISH DOGS. Mad Punx and English Dogs CD (Captain Oi!) There have been several versions of the English Dogs, but the original line-up featuring singer Wakey, guitarist Jon, bass player Wattie and drummer Pinch (who would later play with The Damned) was by far the best. I saw them about a dozen times in the early Eighties and they were always a great live band whilst the two records that they released (‘Mad Punx & English Dogs’ EP and the ‘Invasion of the Porky Men’ album) were equally impressive. ‘Mad Punx’ featured six songs and was comparable in some ways to early GBH, in that they were more than capable of creating raw, powerful punk but also tended to have strong, catchy melodies at the heart of their songs. Also, their lyrics tended to avoid directly-political subjects and often indulged a sense of humour. Wakey was a great front-man and, listening his vocals now, could fairly be compared to Jerry A of Poison Idea (which I wouldn’t have known at the time.) The success of the EP meant that their first full album, ‘Porky Men’, was highly anticipated, but instead of playing-safe, the band opted for a more adventurous production which, while it lost none of their energy, allowed their melodies to play a more prominent role. The result was an album that was still powerful but also very catchy, with a great range of songs which offered a variety of styles and tempos. The album did very well in the independent charts and things looked promising for the band, but for some reason (it’s always been unclear) Wakey decided to leave the band. Replacing a singer with so much character was going to be difficult and the first attempt (with Troy McDonald) was short-lived. After another break, they re-emerged with Adie Bailey (previously of Ultra-Violent) plus the addition of second guitarist Gizz Butler (who seems to have played with everyone at some point) but it also marked the point where English Dogs effectively became a different band, dropping their punk material and adopting a Heavy Metal / Speedcore style. It’s fair to say that they were one of the first UK bands to indulge their metal preferences and they certainly attracted a whole new audience, but I really think that they were so far removed from the original band that they really should have used a different band name. Even the lyrical style/subjects were completely different and I lost interest in them pretty quickly. That said, listening to the two releases featured on this double CD compilation (‘To the Ends of the Earth’ EP and ‘Forward Into Battle’ LP) they do sound better than I remembered (probably due to being re-mastered.) but it still sounds like an entirely different band. But listen to the earlier songs, from ‘Psycho Killer’ and ‘Left Me for Dead’ through to ‘Fall of Max’ and ‘Astroph’s Waiting’ and you’ll hear some truly great punk rock which still sounds glorious. Conveniently, this collection features the original band on one disk, with the metal stuff on the second. The first disk is absolutely essential, but you'll have to make your own mind-up about the second one.

EXCEL. Seeking Refuge LP (Southern Lord) Excel are a Californian band that who formed in 1983 and combined influences from both Punk and Hardcore alongside Hard Rock and Metal. They quickly started to make a name for themselves and were invited to contribute three tracks to the legendary ‘Welcome to Venice’ compilation, alongside the likes of Suicidal Tendencies, Beowulf and No Mercy. As interest in the band started to grow, they signed to Caroline Records and released the awesome debut LP, ‘Split Image’ in 1987. It showcased the bands’ ability to combine hardcore and metal influences in a style that would soon become known as ‘crossover’, although Excel did it in a much more original and imaginative way. It received a very positive response but was only released in America, making it difficult to find in the UK and Europe. Regardless, the band recorded and released their second album, ‘The Joke’s On You’, in 1989 and this time the record label made more of an effort to get it heard, although their decision to release the bands’ cover of ‘Message in a Bottle’ as a single didn’t help much (it was a decent-enough cover but really not representative of Excel’s style and sound.) Similarly, the album-production was a lot cleaner this time and lacked the power of their debut. Although it did gain healthy reviews, it didn’t attract a bigger audience and their decision to not play any UK shows when they came over for a short European tour was a missed- opportunity. Line-up changes and side-projects caused delays over the next few years and their third album, ‘Seeking Refuge’ didn’t appear until 1995. Released on a new label, with two new band members, the album obviously sounded different to its’ predecessors, with fresh influences coming from the emerging stoner metal and grunge scenes as well as a highly-effective guest appearance by HR of Bad Brains. It was a real return to form, expanding their sound whilst losing none of their character, with a production and arrangements that captured the power and creative individuality of the band. Listen to it now and you’ll have difficulties trying to figure-out why it wasn’t massively popular, but at the time it just didn’t fit into any of those tidy pigeon holes that the music press love so much and failed to attract the audience it deserved. The album went out-of-print after a short-time and has consequently been known as their ‘lost album’. The band continued to tour and were a constant live attraction, but in 2000 guitarist Brandon Rudley died suddenly from a brain aneurysm and the band subsequently disbanded. Excel eventually reformed in 2012 but new material has been slow to appear. However, Southern Lord have now reissued the record, complete with updated artwork and we can only hope that the new wave of interest that it generates will inspire more from the band. In the meantime, be sure to hear this album and then tell all of your friends about it!

THE EXPLOITED. Punks Not Dead / Troops of Tomorrow CD (Captain Oi!) The Exploited became very popular for several years during the early-Eighties, regularly headlining large venues, touring in the UK, Europe and America and even appearing on Top of the Pops! But apart from a couple of songs (‘Hitler’s in the Charts Again’, ‘Alternative’ and their surprisingly impressive cover of The Vibrators’ classic ‘Troops of Tomorrow’) I was never a fan. Their early singles and first album were very basic, their lyrics were not inspiring and, apart from their energy levels, they didn’t seem to have much on offer. However, by the time of their second album, their songs were much-improved and their sound had developed, incorporating hints of American hardcore and adding a lot more variety. This had started with the single ‘Dogs of War’ and its’ follow-up, ‘Dead Cities’, which both had had much better production and more confidence. ‘Hitler’s in the Charts Again’, b-side of ‘Dead Cities’, was bona fide punk classic, complete with a poignant warning against right wing infiltration. Released in 1982, ‘Troops of Tomorrow’, had a much better sound quality than its’ predecessor , the songs were much stronger and more inventive and, in some cases, even quite catchy (‘Alternative’ being the best example.) The faster tempos were also tempered by slower moments, which added a lot more depth, while their cover of ‘Troops of Tomorrow’ was the real showstopper. Starting slowly with a brooding sense of menace, the band manage to perfectly maintain the atmosphere and tension throughout the song and Wattie’s vocals, treated with studio-effects, give it an almost sci-fi tone. Two further singles ‘Attack’ and ‘Computers Don’t Blunder’, were also released either side of the album and continued with their improved style, but due to regular line-up changes, by 1984 only Wattie remained from the original band. Subsequently, the ensuing albums varied in both style and quality, with some even embracing thrash-metal influences. But if you really want to check them out, this 2CD set is the place to start, in particular the ‘Troops of Tomorrow’ album and its’ accompanying singles.

FIERCE SHOOK. Something Sophisticated EP (https://fierceshook.bandcamp.com/album/something-sophisticated) This is a three-piece Irish indie-punk band who have been gigging, recording and releasing music on an independent basis for some time. This latest EP, only available digitally so far, contains four new songs which display their diverse inspirations. Opening track, ‘Sandblaster’, is a pummelling introduction based around a muscular bass riff that propels everything forward in a brash, impressive manner. Next up and the longest track of the set is ‘Universe 25’, an insistent instrumental which switches over to the guitar to provide the driving riff in an almost Killing Joke style while the bass delivers a stylish swagger to the proceedings. ‘Bus Trip’ is a snappy catchier tune altogether, which sort of reminds me of the (highly under-rated) Edinburgh band TV21 and ‘Forgiveless’ ends the EP on a more meandering, experimental tone which adds further depth to the overall sounds. This is interesting and enjoyable stuff with a lot of potential. Check out their bandcamp recordings and keep your ears open for future developments.

FLAG BURNER. Moral Decay EP (flag-burner.bandcamp.com/album/moral-decay-e-p) Hardcore band from St Petersburg, Florida, playing a truly brutal style that at different times will have you recalling the likes of Fucked Up, Dropdead, Greg Ginn and even Negative Approach. Whilst the songs are full of primal energy, the band aren’t afraid to experiment with their arrangements and the production captures all of the raw power whilst maintaining enough clarity to allow you to hear all of the different elements that come together to create this sonic onslaught. It’ll take a few listens to really get to grips with this record, but trust me, it’s worth it. Additionally, proceeds from this release will also be donated to BDS, an organisation that works to support Palestinian rights. A good cause and some great music… what more could you ask for.

FRANK SIDEBOTTOM. Little Box of Bobbins CD set (Cherry Red) They may have proclaimed that, ‘If you don’t like The Clash, you don’t like rock’n’roll’, but a truer statement would have been, ‘If you don’t like Frank Sidebottom, you haven’t got a sense of humour!’ Of course, over the years it was one of the worst-kept secrets that Frank was actually Chris Sievey of The Freshies, but fans were happy to play along and accept that Frank was a genuine, multi-talented Pop legend. Most of his recordings featured covers of well-known tracks originally made famous by everyone from Bruce Springsteen and Kylie Minogue through to Joy Division and The Fall. It didn’t make any difference to Frank, he soon reduced the instrumentation down to electronic rhythms augmented by squeaky keyboards and ukelele riffs, whilst he handled the vocals in his own, melo-dramatic style. This also proved to be a perfect format for the many medleys that he would put together, including the songs of Queen, Indie hits and Bros! Frank obviously had huge confidence in his abilities and, although very-much based in the culture of Northern Working Men’s Clubs (‘Phoenix Nights’ provides a glimpse of that scene…) he actually presented an absurdist act that was able to cross-over to many different fans. This collection presents over 100 tracks, some of which have never been available on CD before now and others which are being released for the very first time. Disc 1 features the ‘ABC & D’ album, a ‘Best of…’ collection originally released in 1999, while the second disk features its’ follow-up, ‘EFG & H’, released in 2009. Disk 3, however, is the one that fans are really going to love, as it features the EP’s released by the Regal Zonophone label between 1985-1986, which have not been available on CD before now, plus 20 previously-unreleased live tracks recorded at various Manchester venues between 1985-1988. The packaging includes lots of original Sidebottom artwork, as well as a 16-page booklet that includes an introduction from Mark Radcliffe and an article by Chris Sievey’s son, Stirling. Having so much material in one place may be a bit too much for someone new to Frank’s oeuvre, but if you dip in and out of theses CDs you’ll soon get up to speed and will be cheerfully whistling-along to each and every track. After all, a wise man once said, ‘nonsense makes sense’… this collection proves the point perfectly.

GAVIN FRIDAY. Ecce Homo CD (BMG) It’s been a long time since his last solo album (‘Catholic’ in 2011) although he has remained busy with other artistic endeavors since then. Gavin Friday first made his mark as front-man for the controversial and ground-breaking Dublin band the Virgin Prunes. Even now, it’s really difficult to classify their music and, indeed that’s one of the great things about them. They refused to be bound to any particular genre and their live performances took things even further, gaining notoriety for their provocative theatricality while their performances were rarely less than exhilarating. Gavin left the band in 1987 and began his solo career, working with different musicians along the way rather than assembling a regular band (although Maurice Seezer has been a regular collaborator.) Albums like ‘Each Man Kills the Thing he Loves’ and ‘Shag Tobacco’ proved his ability to create outstanding albums in his own right, while he also started to work as a composer for film soundtracks, scoring several successful films including ‘The Boxer’ and ‘In America’. However, over the past decade or so, fans have been waiting for a new solo album and I’m very glad to say that ‘Ecce Homo’ (‘Behold the Man’) has certainly been worth the wait. The first thing to notice is that the main collaborator / producer for this album is Dave Ball (of Soft Cell.) Gavin first worked with him in 1983, when he provided vocals for the title track of Dave’s solo album, ‘Strict Tempo’ and he would also produce the Virgin Prunes album, ‘The Moon Looked Down and Laughed’ in 1986. I’ve always thought that Gavin’s voice worked perfectly with Dave’s music, so this latest collaboration is obviously an exciting prospect. I’m glad to say that it more than lives up to expectations. ’Ecce Homo’ is a record that seems to effortlessly mix both experimental, left-field elements with catchy, accessible melodies and plenty of danceable beats. There are moments that recall ‘Strict Tempo’, whilst others will remind you of Gavins’ previous albums, in particular ‘Shag Tobacco and maybe even a few nods to the Virgin Prunes, but the important thing is that, far from being a nostalgia-trip, they use those influences to create something that’s completely in this moment and at its’ heart, this is very much an album that stands up on its’ own feet. It’s very but not afraid to borrow from any style that’s deemed appropriate to the individual songs, whether it be orchestral, jazz, post-punk, industrial, dance-rhythms or even Glam-rock! They’ve certainly taken risks, but it’s clearly paid-off and come together as a magnificent and accomplished album. Gavin Friday and Dave Ball have proved themselves to be an ideal combination and this record is something very special.

GBH. City Baby Attacked By Rats / City Baby’s Revenge CD (Captain Oi!) Birmingham-based band GBH became one of the most popular UK punk bands during the early Eighties, with their debut EP, ‘Leather, Bristles, Studs and Acne’ bringing them instant acclaim. They combined the chainsaw-style guitar sound and velocity of Discharge with an approach to their lyrics which allowed for both serious and humorous subjects. The overall effect was a harsh but also entertaining sound that avoided the relentless sonic-onslaught of other bands and also gave GBH a lot more options to develop their musical ideas. Their first album, ‘City Baby Attacked By Rats’, highlighted their strengths with songs like ‘Sick Boy’ and ‘Bell End Pop’ displaying their playful side, complete with Ramones-inspired lyrics, while more thoughtful songs like ‘Prayer of a Realist’ and ‘Passenger on the Menu’ showed that they could also handle more serious topics. With real momentum behind them, the album reached the UK Top Forty and they found themselves headlining tours and festivals in the UK, Europe and America. Their second album, ‘City Baby’s Revenge’, followed a year later and, despite the awful cover-design, continued to build on their popularity by consolidating their style whilst adding further elements. Again, the songs covered a variety of subjects with perhaps less of their ‘jokey’ tracks, but also including a blistering cover of the Stooges ‘I Feel Alright’ / ‘1970’. The two discs also include all of the singles and EPs from the same era, from ‘Leather, Bristles, Studs and Acne’ and ‘No Survivors’ through to ‘Give Me Fire’ and ‘Catch 23’, making this a through overview of their early years. As with other bands from this era, their records adopted a more metal sound during the late Eighties and early Nineties, although in recent times they’ve returned to their original style, having always maintained their reputation as a reliably powerful live band. Not to belittle their later releases, as I know they have a loyal audience as well, but if you only buy one GBH CD, this is the one you need!

GHOST WOLVES. Consumer Waste LP (Dirty Water) I’ve been getting a bit fed-up with all these two-piece garage-punk bands in recent years. I appreciate the independent DIY approach but, since White Stripes became huge, too many chancers have opted for the format as an quick/easy scam. Do something for yourself, for fucks sake! Which is where The Ghost Wolves really make their point. First off, when you hear the great big sound they create, you’d never guess that it wasn’t a full band and secondly, you’ll be too enticed by their rockin’ tuneage to worry about anything else. With songs devoted to the darkside of current culture along with moody, atmospheric trips through the underbelly of hometown Texas. Austin has always inspired great music (13th Floor Elevators, Big Boys, The Dicks) so it’s no surprise that Ghost Wolves have emerged from that great Borough. Final song on the album is a heartfelt tribute to the late, great Pee Wee Herman, which deserves maximum credit in itself.. Be sure to check-out this band… they’re worth it!

GOBLIN SHARK. Rat Bone LP (Voodoo Rhythm) It’s always good to hear a band for the first time and think… hmm, there’s some Captain Beefheart in there. Not that I’m a massive Beefheart fan or anything, but just because you know that, if a band are absorbing those kind of influences, they’re not doing it because they think it’ll make them successful, they’re doing it because they love it and fuck anyone who doesn’t understand! Goblin Shark are based in Finland (I think,… the biog details are appropriately confused.) They take authentic Delta Blues as inspiration but then twist and stretch it to breaking point, while the vocals out-growl Nick Cave and actually sound as if they mean it. Some of the rhythms take their cue from The Stooges, the drummer comes from a Black Metal background and the slide guitar noise-attacks recall Kid Congo at his most vitriolic or Duane Denison’s most demented moments for the Jesus Lizard. Punk-Blues? You really haven’t heard it until you play this album! Miss it at your peril.

HUMAN IMPACT. Gone Dark CD (Ipecac) Human Impact are an unholy-alliance of Unsane front-man Chris Spencer and former Cop Shoot Cop electronics-wizard Jim Coleman, alongside former members of Swans. This is their third album to date and sees them consolidating their sound, with plenty of ‘noise’ and discordance to please fans of their previous projects, but also maintaining hard rock undertones to ensure that the music has an accessibility. Not in any kind of ‘commercial sell-out’ bullshit, as this is music that’s still not going to appeal to regular rock fans, but the riffs, rhythms and hooks possess a strong and insistent quality that, much like Faith No More at their finest, manages to crossover between genres in a natural and organic way, ensuring that it doesn’t sound forced or preconceived. You could also make comparisons with bands like Helmet or, more recently, Metz, who have both achieved successful results with their brands of raw power. Human Impact have brought-together many different elements for this record, using a sense of drama to accentuate both the music and the lyrics. This is an album that doesn’t just live-up to the pedigree of its’ individual members, it surpasses expectations.

THE JACKETS. Intuition LP (Chaputa!) You know, in a perfect world the phrase ‘You gotta love The Jackets’ would be heard on every street corner, pretty much every day of the year. Based in Switzerland and supporting my premise that the best Garage sounds are currently coming from that (perhaps unlikely) locale, The Jackets are proving a point for themselves and if you don’t catch-up with them, it’s gonna be a loss that you may never get over. So what of their sounds, since that’s the really important issue. Well, could you imagine a cross between The Hives (at their best) and The Pandoras in their prime. They’ve managed to achieve that very-fine balancing act between remaining true to their underground roots and creating a sound that could easily sneak into the mainstream. They’re catchy, authentic and highly talented with songs that will stick in your memory banks for years to come, whilst also subverting you away from all those skanky poseurs who wear the right t-shirts but don’t dig the music. The Jackets are real, The Jackets are fun and The Jackets are rocking. Whether you’re 16 or 60, if you really want to enjoy yourself, this is a record you need to possess.

THE JESUS LIZARD. Rack CD (Ipecac) Having formed in 1987, The Jesus Lizard originally split in 1999, leaving behind an impressive recorded legacy as well as an almost legendary reputation for their incendiary live performances. But all of the original members continued to play music in different projects so it was not a big surprise when they reunited in 2009, to play a tour marking a decade since the split. Despite the positive response to their reunion, the band then made it known that they had no further plans and went into hibernation again, until announcing another (shorter) reunion tour in 2017. Since then, they’ve technically remained as an active band although it would not be until earlier this year that they announced that they were working on a new album, some 25 years since their last. Of course, this is always a daunting prospect for a band and their fans. After such a long break, would they still be able to produce new material that lived up to expectations? Well, I think this album provides an appropriate slap-in-the-face to anyone who thought they wouldn’t be up to it. From the opening chords of ‘Hide & Seek’, you’ll know that you’re listening to a band back at the top of their game. They may have meandered slightly towards the end of their original incarnation (Jesus Lizard on a confused major label was never going to be an ideal alliance) but this album harks back to their earlier independent releases where they honed and perfected their deviant mix of punk, hard rock and blues. But much that it captures the style and spirit of their heyday, there are inevitable differences that prevent it from becoming a mere rehash or parody of their former selves. The overall production-sound still ensures powerful interplay between the bass and drums, but Duane Denison’s guitar is more prominent and David Yow’s vocals are clearer in the mix, delivered with a broader range than before. The sinister menace of their music is still there, as is the underlying tension, but they’re neatly counter-balanced by the infectious riffs and danceable rhythms. Unless you’re one of those contrary-snob, you’ll soon find yourself wanting to turn-up the volume even further, whilst you start bouncing off the walls with an insane grin on your face. Because that’s one of the important things… Jesus Lizard were always a lot of fun and this album has plenty of it. So don’t waste time being cynical, buy this album, play it loud and make sure you get to see them on the upcoming tour!

LESS THAN JAKE. Uncharted EP (Pure Noise) Less Than Jake were one of the earliest American bands that came from a punk rock background but mixed Ska and Two-tone into the music. They also had a great approach to releasing cool limited-edition vinyl which obviously appealed to a sad-old collector nerd such as I, so the scene was set. The first couple of times I saw them live they fully met expectations, performing incredible high-energy sets with plenty of good-natured noise and energy. However, the problem came soon after this when the floodgates suddenly opened and we were swamped by hordes of bad Ska-punk bands who all seemed to follow the same dull formula and completely missed the point. It certainly wasn’t the fault of bands like Less Than Jake, Operation Ivy or Snuff, who had all mixed Ska and Two-tone influences in their music in an interesting and entertaining way, but when you seemed to see yet another poor imitation supporting at every other gig you went to, you soon got sick of it. Unfortunately, as a result of this I lost track of Less Than Jake, so when I received a link for this EP I was really intrigued to hear what they’re doing nowadays. Well, they haven’t strayed too far from what they were always good at and I’m glad to say they still do it with real style and commitment. Their songs are still based around strong, catchy punk rock tunes, within which they add Ska-style rhythms, brass and keyboards to bolster the taste of the songs. But to these guys it’s all about the content rather than the style and those elements are only used when appropriate, rather than throwing everything in to tick the genre-box. I’m really glad to say, this Less Than Jake record is just as good as they always were and I think I’d better start checking out the records I missed from the intervening years…

MARTIN SAVAGE & THE JIGGERZ. S/T LP (Damaged Goods) While Martin himself is a veteran of the Swedish garage-punk scene, the international flavour of this trio is completed by the French drummer and Japanese bassist from King Salami and the Cumberland Three. The results is something like a raw, trashy combination of The Briefs and The Spivs, had they all grown up together somewhere on the Medway Delta. They’ve only been together for a couple of years but have already released several singles and played in the UK, Europe and even Canada. Their brash, shouty style is catchy and insistent, with plenty of great melodic hooks, compelling tempos and lots of self-perpetuating energy. This is the sort of band that was born to play legendary gigs in the dark, sweaty back-rooms of pubs in the wrong part of town. And we’d all love ‘em. This is a band I hope to see very soon!

MASSIVE NIGHTMARES. S/T digital (https://massivenightmares.bandcamp.com/album/massive-nightmares) With a name like ‘Massive Nightmares’, I was expecting a Crust or D-beat band, but this Massachusetts band recalls the 80’s heyday of college rock. Think of The Replacements, Moving Targets, Soul Asylum… It’s all about the songs, great big anthems that don’t sound pretentious, vocals that sound emotional but resilient, and a production / arrangements that make it all sound huge. Bizarrely, this is only available on digital (not good) and cassette (even worse) formats at present, but surely someone will snap-up the band and give them a proper physical presentation soon? Whatever happens, this is still an album that you should make an effort to hear.

MATT FINUCANE. Bang Bang Exorcism EP (Eyeless) I can’t say that I know much about Matt Finucane, but he’s a British musician who has been releasing records for quite a while and produces a style of music that mixes krautrock with a post-punk sensibility, ensuring that his songs are never predictable or run of the mill. He’s also unafraid to turn up the guitars and produce some chaotic blasts of noise as and when appropriate, which acts as a good counter-balance to the more restrained moments. He allows the music to develop at its’ own pace and in its’ own direction, acting like a director to ensure that nothing unnecessary gets in the way. The six tracks featured on this release are intriguing, interesting and entertaining, so I can only recommend that you hear them for yourselves. It won’t appeal to everyone, but some of you are going to love it!

NIGHT COURT. Shit Machine LP (Recess) Quirky indie-punk from this Vancouver trio who have a real talent fro writing short, catchy, abrasive songs. This album features 17 tracks, only three of which exceed the two-minute marker and none that even get close to three! The way the songs end so quickly, you never get fed-up with anything and the swift switch-around gives a sense of speed, although the tempos are usual kept reasonably in check. All three members (Emilor, Dave and Jiffy) contribute to the vocal duties and provide harmonies, which add a lot of depth to the mixes. What else can I say, this is a lot of fun and I enjoyed listening to it! The band have the right attitude and you can tell that they’re doing this as much for themselves as for their audience. I bet they’re a great live band… Hopefully the UK will find out one day.

999. 999 / Separates CD (Captain Oi!) I really don’t know why 999 didn’t achieve a much greater level of success. They released so many great singles, but despite having a real talent for writing catchy, original songs that oozed character and originality, they were never embraced by the broader audience who, at the same time, indulged many lesser bands. Their one potential break came when ‘Homicide’ reached the Top 40, earning them an appearance on Top of the Pops, but even this was scuppered by a technicians strike at the BBC! Their songs were always arranged with plenty of imagination while their records had appropriately-sharp productions, most (if not all) of which still sound vital to this day. There are many fans who swear-by their most recent albums and, to be fair, the band are still able to deliver fine new songs to this day. But for me, it’s their first two albums, featured here, which will always be their best. They’d already released several classic singles (‘I’m Alive’ and ‘Nasty Nasty’) during 1977 before their self-titled debut LP appeared in 1978 with a mix of fast punky songs like ‘Crazy’ and ‘No Pity’ as well as more ambitious, idiosyncratic tracks like ‘Emergency’ which helped to develop a distinct sound for the band. ‘Separates’ appeared just six months later and found the band developing at a very impressive rate. They were taking the raw power of punk rock but also delving in to the possibilities it offered, creating music that was catchy, powerful and unique. ‘Homicide’ really should have been a massive hit, while ‘Feelin’ Alright with the Crew’ was another track that should have been played on the radio waves throughout the year. For all of the reasons I’ve already mentioned, these two albums still sound incredibly fresh and exciting. This 2CD collection includes all of the non-album singles of that time, as well as two live tracks from the legendary Hope & Anchor compilation. If you’re unfamiliar with the band, this is where you need to start your investigations, while if you already know them, you should still play these songs loud and enjoy them all over again!

999.Emergency at the Old Waldorf 1979. CD (Liberation Hall) There have been quite a few 999 live recordings released over the years but this one, from a San Francisco gig on July 2nd 1979 (second set of the evening!) is probably the best I’ve heard. Although several recordings from this tour have been released, this one has not been available before now and captures the band at their very best. They’d recently released their second album, ‘Separates’, so the set is mostly made-up of tracks from that and their debut LP, while two further songs (‘Lie, Lie, Lie’ and ‘Boiler’) wouldn’t find a place on vinyl until the release of the third album, ‘The Biggest Prize in Sport’, the following year. Strangely, 999 had not picked-up as much media-attention in the UK as they clearly deserved, but in America an initially small fan-base was quickly growing due to their extensive touring schedule and an audience who were more open-minded to the fact that the band weren’t just playing punk-by-numbers. This recording, made and mixed by legendary sound-man Terry Hammer, documents the band as they were, full of energy and enthusiasm, edgy and upfront, but also highly adept at writing and delivering songs that were catchy, unique, and full of their own character. You just need to read the set-list to see what I’m talking about … ‘Homicide’, ‘Nasty Nasty’, ‘Me and My Desire’, ‘Let’s Face It’, ‘Emergency’… It really doesn’t get much better than this. I know that some people just don’t like listening to live albums but if you’re ever going to make an exception, you really ought to start here!

OH TELEPHONE! Kill Kill Kill CD (Voodoo Rhythm) So many truly-great Garage-Punk bands are coming out of Switzerland at the moment. Perhaps they’ve all been hiding on remote mountain-tops, developing their own sounds based around distorted radio signals playing Sixties and Seventies classics? Whatever the case, Oh Telephone! are the latest to emerge, with an album of insanely catchy, fuzzed-up trash-punk that’s pitched somewhere in between The Monks and New Bomb Turks. They’re also not afraid of experimenting with the songs, most notably on the excellent ’Oh No’ where they draw it out to more than six minutes with a colossal psych-noise freak-out! Final track ‘Bad Advice’ also extends to five minutes (in a style that sort of recalls Butthole Surfers at their best) but mostly, the songs stick to the more traditional, snappy two or three minute garage-ounk marker, doing the job, making their point and not wasting any time with it. Seriously, this is one of the best punk/psych/noise/pop records I’ve heard this year. What you need to do is simple… Buy it. Play it loud and often. Beg the band to come and play in your home-town. Bands of this calibre don’t appear too often… catch them while you can!

THE OKMONIKS. Afterparty Fever LP (Slovenly) San Francisco has produced some great Garage Punk bands over the years, from The Mummies and The Rip-Offs through to the Phantom Surfers and the Zodiak Killers. The Okmoniks seem to be next in line to contribute to that illustrious lineage. With an obvious passion for original Vox guitars, vintage fuzz boxes and squeaky Acetone keyboards, these guys (and gal) clearly know their musical roots but aren’t afraid to spice it up with Punk Rock energy and attitude. If you want some comparisons, I guess you could probably think about the Control Freaks, maybe The Muffs and perhaps even the spirit of The Barracudas? Whatever the case, any album that clocks-in at less than twenty minutes has to have the confidence that the listener is going to jump up straightaway and play it all over again, which is exactly what I did. The songs are catchy, the sound is great, the energy is wild. You know you’ll need to get a copy soon!

OMNIGONE. Feral LP (Bad Time) I remember hearing bands like Operation Ivy, Voodoo Glowskulls and Mighty Mighty Bosstones for the first time and enjoying the way they blended punk and ska to create new styles and new sounds. Unfortunately, all too soon ‘skacore’ became as formulaic as any other genre when new bands decide to just imitate (usually badly) the bands that came before them. As such, it’s been a very long time since I last heard a band trying to mix punk and ska in a truly original way. Which is why I was happy to hear Omnigone, who have delivered an album that really does deliver something new. To begin with, their songs come from the punk angle just as much (if not more) as ska (and by ‘punk’ I mean raw and aggressive, not the watered-down dross that you hear from some bands…) Omnigone were formed by former members of Link 80, so their members have been around for quite some time and know their roots. As a result, they’re intent on playing something that establishes their own character and credibility. They’re not afraid that the songs might sound nasty or unsuitable for radio, as they’re more interested in doing something real. I really thought that the mixture of punk and ska had outlived its’ usefulness, but this album proves that, in the right hands, it can still sound great.

PRECURSOR. Thick & Thin LP (Gold Stock) Vancouver-based combo featuring members of Canadian bands like Daggermouth, All State Champion and The Fullblast. They came together with the aim of writing songs that would blend all the different punk-rock styles that the band-members had lived through, from Skate-punk and Hardcore through to pop-punk and maybe even some emo… The results are pretty effective, capturing a sound that at different times hints of bands like Dag Nasty or Samiam, perhaps even Superchunk, as well as a few of their Canadian predecessors such as SNFU and The Nils. Lyrically, singer Daniel Sioui presents his thoughts of being middle-aged, responsible for children and all the other hassles that beset you as time moves on (not least the Covid pandemic!) Overall, this is a pretty solid album that achieves what it set out to do. Something you can sing and dance along to, while there’s also plenty to think about when you get home. It’s so much more healthy than trying to pretend you’re still a teenager, but also proving that it can still be fun!

THE PREFABS. Dec,’77 – Before The Wall CD (Spectacle Music Ltd) Ian Lowery was a singer who wrote many great songs and played in some truly impressive bands between 1977 and his tragic death in 2001. Over the past few years, his brother David has been busy recovering tapes of Ian’s previously unreleased recordings in a highly commendable effort to ensure that his brothers’ story isn’t lost to time, so that those who are interested have the opportunity to delve into the more obscure corners of Ian’s creativity. If you’ve already heard of Ian Lowery, you’ll probably know of him from his time in groups likeThe Wall, Ski Patrol, Folk Devils or King Blank. All of these bands deserved so much more recognition (The Wall did have some success, but this was after Ian had left them…) This particular release features what are possibly the only recordings made by Ian’s first band, The Prefabs, while he was still attending college in Sunderland. Formed with a few mates, the tape is far from studio-quality but captures what the band were doing perfectly. It’s rough, it’s raw and it’s pretty basic punk rock, but it’s all about the attitude and making the effort to cross from the audience to the stage. The lyrics are hard to make-out (although most are reproduced on the insert) and Ian’s vocals sound pretty confident and assured, with occasionally glimpses of just how good he would later become. This isn’t something that you’ll want to hear repeatedly, but if you’re already a fan of Ian Lowery’s sadly-missed musical talents, this is probably something that you’ll want to hear.

RED LITE DISTRICT. Static Silence EP (DCC / Sodeh Records) This is the latest offering from an independent Glaswegian band who play a mix of post-punk, rock and the more interesting elements of late Seventies punk. First track, ‘Outside’, is a raucous opener complete with a choppy riff that, for some reason, reminds me of Turbonegro at their best before the second song, ‘Fever’, offers a more contemplative tone and allows you to catch your breath. ‘Turning the Screw’ takes a mid-paced but highly insistent approach with brief, fist-pumping choruses. ‘False Alarm’ is probably my favourite track on the EP, bursting into life with a frantic blast of guitars, bass and drums before revealing a great mix of catchy louder/quieter moments that will no doubt be ringing in your ears from the very first time you hear it. Final track, ‘Walk On’, takes a much slower and more melodic direction that makes me think of a collision between Blur and the Folk Implosion with it’s updating of psychedelic pop. Overall, this is a great EP, full of variety, inventive ideas and great tunes. It certainly deserves to be heard by a wide audience so make an effort to track it down – that’s what the internet is there for!

THE RESIDENTS. Demons Dance Alone (pREServed) CD (Cherry Red) Originally released in 2002, ‘Demon’s Dance Alone’ was an instant classic and also spawned one of their most striking live shows. This expanded version not only includes the original album, but a whole host of additional material spread over three discs, much of it previously-unreleased. The album itself appears on the first disc (together with bonus tracks) and sounds just as magnificent now as it did over twenty years ago. At first listen, the songs appear to be a collection of narrative tales, while further investigation reveals a recurring theme of loss, which is certainly a part of it. However, in real time this was the Residents first major project following 9/11 and reflects the thoughts and emotions resulting from those events, as well as the inevitable feelings of helplessness. The songs don’t directly reference the attacks but instead delve into the darker sentiments that such traumas create. Strangely, despite the downbeat atmosphere of the album, The Residents still managed to produce some genuinely beautiful music, particularly on tracks like ‘Honey Bear’, ‘Mr Wonderful’ and ‘The Car Thief’, whilst ‘Mickey Macaroni’ appears midway through the album to provide contrast with an almost comic tone. Disc Two features various studio outtakes, demo recordings and alternative versions. A particularly interesting aspect is to see the way that many of the songs developed from demo’s through to the actual album and then often continued to develop (musically and lyrically) when performed live. You’ll need to pay attention, but be assured it’ll be worth the effort. The final disc is based on live recordings, although it’s not just one complete show and, while some tracks are taken from studio rehearsals prior to the tour , others are from later performances. As I mentioned previously, this allows us to see how the songs continued to develop long after the album had been released, which has always been a key element in the Residents’ work ethic. Overall, this is an album that stands out even amongst the Residents’ diverse back catalogue. It has a strong character that’s entirely its’ own and contains’ some truly superb musical performances. (I should also mention that it also includes some of the very best vocals recorded by erstwhile Residents’ collaborator, Molly Harvey, whose talents remain sorely-missed by many fans…) I’d have to say, if you’re completely new to this album (or, indeed, to the Residents) then these three discs may be a bit too much, but as someone who has loved this record since it was originally released, I can’t recommend it enough.

RIP SPACE. Thank These People EP (https://ripspace.bandcamp.com/) From what I can gather… Rip Space is actually one person based somewhere in Scotland, who plays all of the instruments and provides all of the vocals. The music and words are his way of dealing with the trauma and fall-out of being diagnosed as autistic several years ago. Remaining anonymous allows him to vent his fury and anger at a world that would rather ignore his situation and pretend he wasn’t there. That in itself seems like something worth supporting, but once you hear the three tracks that make-up this EP, the deal is utterly sealed. The instruments are all handled with an impressive degree of ability and the songs bounce from dirty, down-beat dirges (think of Happy Flowers in collision with early Flipper) through to high-tempo thrashers (and that’s just in the title song!) Second track, ‘The Green Ripper’, is bas d around a surprisingly catchy riff that wouldn’t have been too fr out of place during the early days of Seattle Grunge, while the final song, ‘Welcome to Mother Earth’ continues to play with the riff but takes it to a different, yet satisfying, conclusion. This is genuinely primal music but also a lot more enjoyable than you might think it would be, so make sure to investigate and let’s hope there’ll be further noise from this project in the near future.

RITES OF HADDA. Soiling Other People’s Knicker EP (ritesofhadda.bandcamp.com) Three track EP, currently only available on bandcamp and featuring three cover versions by bands who are clearly close to the pants of Hadda. ‘Everything Stops for Baby’ was originally by the Astronauts (and was performed by Wasp at the recent Tribute gig for Mark Astronaut.) ‘Fear is the Mind Killer’ is from the most recent Anarchistwood album and, as guitarist Alex plays in both bands, they really had to do a good job with this one! Finally, ‘Pink Mist’ was by (the recently split) T-Bitch, who often played on the same bill with Rites of Hadda. All three songs are played in Hadda’s own style, which is surprisingly sparse on this occasion, allowing all the instruments and particularly the vocals to be heard clearly. Not that it lacks any of their usual energy or drive, both of which are here by the bucket-load! I’m not sure if the band plan to release this as on CD or vinyl, but I think it would work well. It’s a good mix of strangeness and entertainment, and it’s clear that the band enjoyed recording the songs. Additionally, all proceeds are being donated to Deal Radio, a station based in Kent that supports many local and independent bands and artists. It’s time to support the grassroots while we still can!

ROB MOSS AND SKIN-TIGHT SKIN. Records CD (Rock On)(https://skin-tight-rock.bandcamp.com/album/records)
Rob Moss has been making music since the late Seventies and was bass player for Washington DC hardcore bands Artificial Peace and Government Issue during the early Eighties. Now based in Boston, I have no idea what he’s been doing since that time, but since 2016, over the course of his three albums he’s returned to recording and this is his third album under this moniker. First thing to note, he’s now switched to guitar and vocals. Second point, if you’re expecting Hardcore-based music, you’re out of luck. Rob has returned to the sounds that initially inspired him to play music, in particular ‘proto punk’, Glam and Hard Rock. Rather than having a steady band line-up, the album was recorded with various friends and guest musicians. For many, that approach would have been a recipe for disaster, but in Rob's case, over the course of his three albums, he was able to call on the likes of Bob ‘Derwood’ Andrews (Generation X) Nels Cline (Wilco) Don Fleming (Velvet Monkeys) and Franz Stahl (Scream) to provide their talents, as well as various members of Fu Manchu, Panther Burns, Muck & The Mires and The Slickee Boys. The results come together as a very strong and cohesive album which will at times have you thinking of bands like Alice Cooper, MC5 or Sweet and maybe the early records from bands like Cheap Trick or Kiss. I could detect hints of The Heartbreakers in there and perhaps the ghost of Stiv Bators was in attendance as well, but that’s all guess-work and really, this album deserves to be heard on its’ own merits. While there are plenty of punk bands and musicians trying to re-live their former ‘glories’, Rob has done something far more bold by skipping that era and exploring his original roots. In doing so, he’s delivered a rather fine record and I hope it gets heard by those who will appreciate it.

SMOKED SALMON. Hell in a Handbasket 7” (Cheersquad) I suppose that if you’re a musician with the surname ‘Salmon’, sooner or later the title ‘Smoked Salmon; is going to sound appealing. Fortunately for us, in this case the musician is Kim Salmon of The Scientists / Beasts of Bourbon etc, so you should already know that we can expect some high quality. Following in the footsteps of the recent, excellent Scientists album. this single harks back to Kim’s noisiest moments whilst maintaining his finest, raw melodic talents. It’s a song that’s as catchy as Covid but so primal you’re going to be turning your hifi up to 11 and jumping around the room. Flip it over and the b-side, ‘These Grooves Are Haunted’, is a comparatively funky outing, but we’re talking P-Funk and James Brown jamming it out with Hendrix at their most deviant. Again, it’s primal and catchy, noisy and entertaining. There’s an album on its’ way and, if this single is anything to go by, it’s going to be a massive blast. You really should know the deal by now. If Kim Salmon is involved, you need to check it out at the very least. Trust me, this sounds like some of his best!

7 SECONDS. Ourselves / Soulforce Revolution CD (Dissonance) As with many of the ‘UK82’ punk bands, the late Eighties saw some of the seminal American Hardcore bands attempt to adopt a more metal/rock style in an attempt to appeal to wider audiences. For the most part, it wasn’t a successful move, losing many of their older fans whilst failing to attract that many new ones. In the case of 7 Seconds, a band that counted the likes of Minor Threat, Dead Kennedys and Circle Jerks as their contemporaries, they entered what would become known as their ‘U2’ era. Whichever way you look at it, that’s a nasty slur to dump on anyone, and although blatantly adopting a more commercial style, 7 Seconds never became that abhorrent! However, at the time (1988) many felt they had completely sold-out their hardcore / punk rock roots. In retrospect, ‘Ourselves’ doesn’t sound like such a huge departure and, had it emerged some five or six years later when the likes of Greenday, The Offspring and Bad Religion were breaking into a much more mainstream market, it may well have introduced the band to a far wider fan-base. As it was, it was in the wrong place at the wrong time and just too much of a departure from their earlier records to make its’ own mark. It’s follow-up, ‘Soulforce Revolution’, appeared in 1989 and continued a similar approach although this time with a more upbeat style and a harder guitar sound. Again, it wasn’t going to appeal to many fans of their older records and failed to crossover to a more mainstream audience, but it does have some really good songs and in retrospect can be appreciated in its’ own right. If you can listen to these two albums with that perspective, then you may well enjoy them for what they are, so do your best to give them a listen with new ears!

SMEGMA / L’AUTOPSIE A REVELE QUE LA MORT ETAIT DUE A L’AUTOPSIE. Transmissions des Fluides LP (L’eau des Fleurs) Smegma, originally from California, combine sonic forces with French group L’Autopsie… (the full name translates as ‘The autopsy revealed that death was caused by the autopsy’) to deliver a rather impressive instrumental album that recalls the more adventurous moments of Krautrock and the original spirit of ‘industrial’ music. I can’t find out much about L’Autopsy, except that they started out in 2007 and have released a lot of records during that time. Smegma, on the other hand, have been operating since the early Seventies, with a seemingly ever-changing line-up that has, along the way, featured the likes of Richard Meltzer and Jerry A! The album is divided into ten ‘transmissions’ rather than tracks or songs, which will probably result in you listening to the whole thing rather than just picking-out your favourite bits, but that’s fine because the way it moves through different sounds, moods and textures really lends itself towards attentive listening. It’s difficult to explain or recommend an album like this as it will all depend on your gut-reaction when you hear it, but I certainly enjoyed the experience and if you were ever interested in music from Faust, Throbbing Gristle or (early) Residents, then this is something you should investigate.

SPREAD THIN. World of Snakes (https://spreadthin608.bandcamp.com/) Only available as a digital release so far, but this really deserves to be out on vinyl or CD and I can’t imagine that it won’t be picked up by a suitably-discerning label in the very-near future. Anyway, Spread Thin are a Wisconsin-based hardcore band who effectively mix aggressive hardcore along with power-violence and grindcore in a clever, tight and perfectly-arranged style that keeps your attention through each and every song. It’s easy to do ultra-fast hardcore again and again and again, but it soon gets pretty dull. ‘World of Snakes’ presents a band who are intent on accentuating the power of their music by switching between tempos and creating contrast between the faster/slower moments as well as the louder/quieter passages. This is one of the best hardcore debuts that I’ve heard in quite a while and I’m more than happy to recommend it.

SWEET. Full Circle LP (Metalville) The story of Sweet is long and bewildering, but they first rose to prominence during the Seventies heyday of Glam Rock. Often belittled or ignored by the ‘serious’ music press of the time, they still scored an impressive run of hit singles which would prove influential for many of the early Punk bands and recorded some great hard rock albums that moved away from their more pop-orientated singles. Sadly, the original line-up fractured and various versions of the band existed at different times over the ensuing decades. Now, only guitarist Andy Scott remains from the classic line-up, but in recent times he has established a solid line-up that delivers reliably powerful live performances and, as this album shows, is more than capable of writing and recording new material that maintains the bands’ rock legacy. Of course, there are differences and if you just want endless replicas of ‘Blockbuster’, you may be disappointed. But if you also enjoyed their Seventies’ albums like ‘Desolation Boulevard’ and ‘Give Us a Wink’, then you’ll have a better idea of the hard rock roots that inform this LP. Vocalist Paul Manzi has his own style and does a good job, while the backing harmonies resonate with the original Sweet-style, even though Brian Connolly will always be missed. I’m not going to claim that this is Sweet at their very best, but neither is it dull or embarrassing. The band play a powerful brand of rock and if you ever enjoyed their albums as much as ‘the hits’, then you may well find yourself enjoying this record a great deal.

TEXTURE FREQ. What May Come EP (Dirt Cult) Based in South Minneapolis, Texture Freq take influences from the faster excesses of the early Hardcore scene (Land Speed Record-era Husker Du through to Negative Approach) but they avoid the more higher-velocity and also keep the guitar sounds relatively clean and not too distorted, so you can hear what’s going on. Of course, it’s pretty difficult to decipher any of the vocals (I expect there’ll be a lyric sheet with the record itself) but apparently they address various gender and sexuality-issues, which seems like an interesting change to the more usual hardcore subjects. Four great tracks, exhilarating music and lyrics that’ll give you something to think about… You really need to check this out.

TOYS THAT KILL. Ex-Posse Vol.1 LP (Recess) Toys That Kill were formed in 1999, following the demise of F.Y.P. Todd and Sean, guitarist/vocalists from that band, decided to form a new group and took their name from the final F.Y.P. record. They have been releasing albums and EPs on a semi-regular basis ever since, although at present are on a kind of hiatus as all of the members are busy with their other bands. However, they decided this would be an ideal time to release a compilation of rare or previously-unreleased tracks and, in preparing the material, found that it actually worked as a pretty coherent album in its’ own right. It includes songs from as far back as 2002 through to the excellent ‘Sonic Glow’, recorded during an aborted attempt to write for a new studio album in 2020, but unreleased until now. Musically, the band have an almost sneering punk rock approach to their music, whilst indulging in lo-fi indie inspirations similar to the likes of Superchunk and Unrest. They also feature a cover of the Wire classic ‘I Am the Fly’ in an appropriately raw manner, which should give you a further idea of what to expect. The more I listened to this album, the more I enjoyed it and I think others will have the same response. If you’re inquisitive, you should definitely give this a chance.

THE VIBRATORS. Pure Mania / V2 CD (Captain Oi!) The Vibrators, much like The Stranglers, got a lot of grief from the music-press of the time and have subsequently failed to receive the credit they deserve from the ‘punk-rock curators’, for their part in the original UK punk scene. Fair enough, they were a bit older and had already been playing on the ‘pub-rock’ circuit prior to Punk, which is true, but if that was the case how come Joe Strummer and The Jam were excused the same offences? The thing is, the band had developed their own style naturally and sounded great with it. So give them the credit! This 2CD collection is the perfect showcase to prove the point. Their first two albums (including the accompanying singles) are packed with great songs, with plenty of energy, great melodies and a real edge.. Fair enough, there are rock’n’roll / r’n’b influences on show but they’re delivered with such a snarling attitude that you really can’t doubt their authenticity. ‘Pure Mania’(1977) includes classic tracks like ‘Sweet Sweet Heart’, ‘Whips and Furs’, ‘Baby Baby’ and ‘Stiff Little Fingers’ (that would be a good name for a band?) But it’s their second album, ‘V2’ (1978) which remains my favourite. It combined the raw excitement of their debut. but with a wider range of ideas and creativity from the perfect punk-pop of ‘Automatic Lover’ to the menacing allure of ‘Troops of Tomorrow’. They retained the raw energy of punk (just listen to the awesome ‘Destroy’) but were intent on pushing themselves further forward, whilst unafraid to embrace their roots (check the wonderful Garage-punk of ‘Public Enemy No.1’.) Whilst Knox’s vocals present the quintessential disaffected spokesman, John Ellis (who would later go on to play with the likes of Peter Gabriel, Peter Hamill and The Stranglers) provides a great counter-balance with his adventurous guitar contributions. Together with all the bonus tracks and a 20 page, full colour booklet, this is really the ideal way to discover / rediscover The Vibrators. Forget the petty snobs and their snooty elitism, this was a great band and, at the end of the day, these records are great fun. Enjoy them while you can!

VICIOUS DREAMS. Turn Off My Brain LP (Brassneck / Dirt Cult) Three-piece band from Orlando, Florida whose songs burst out of this vinyl offering like they can’t wait to have you jumping around your room and ignoring the neighbours cries to turn it down… Basically, we’re talking classic Buzzcocks meeting The Muffs while partying with DeeDee Ramone… short, sharp shocks of melodic punk rock with smart lyrics, plenty of energy and loads of attitude that really doesn’t care what anyone else is thinking. They even end the album with a Pointed Sticks cover ('Out of Luck'.) How much fun do you want? Well, I dare you to try and turn this album off before the final track has ended. I bet you won’t be able to do it!

WHY BOTHER? Hey, At Least You’re Not Me LP (Feel It) Here for fans of primitive and suitably lo-fi punk rock a la Garage… Think of The Spits in collision with The Zodiac Killers and jamming with early Devo, then you’ll have an idea of what these guys are doing. The things that sets them apart is their ability to deliver some really catchy tunes whilst also incorporating some inventive arrangements to the songs, with electronic keyboard sounds and vocal harmonies that seem to appear in all the right places. Not afraid to meander through their intro’s and outro’s either, adding a little bit more to consider along the way. This is fun, maybe not for everyone, but you ought to hear it at the very least. You might find your new favourite band…

THE WHYNOTTS, Way Back Now LP (Rum Bar) Debut album from this Boston band, that feature former members of Jerry’s Kids, Underball and The Downhauls. They originally got together in 2007 and prepared an album’s worth of songs before falling-apart in 2009. However, they eventually saw the error of their ways and recently re-grouped, allowing the long –delayed album to finally get the release it deserved. It’s been worth the wait! Musically, The Whynotts deliver hi-energy rock’n’roll combined with equal amounts of melodic punk and powerpop, creating catchy songs that’ll have you wanting to dance, wherever you may be. With both male and female voices available to tackle the songs, there’s a lot of contrast to keep things interesting and the tempos vary between faster and slower moments to add to the overall depth of the album. At different points I’ve been picking-up hints of The Replacements, The Zodiac Killers, Ramones, The Muffs, maybe even The Pixies. Basically, it’s a great and highly compelling album that deserves to be heard by everyone. Buy it now and be the first on your block!

V/A. FAMOUS MONSTERS SPEAK CD (Rock Beat) Originally released in 1963 (that’s so ancient it’s even older than me!) this album features alleged-monologues from the funky Frankenstein’s monster, and the groovy Count Dracula! It’s a rather bizarre release, even 60 years later, as it purports to be authentic recordings of the notorious ‘monsters’ explaining their reasons for existence and placing them in contemporary surroundings (Dracula discussing potential bus routes is as surreal as it gets!) With various accompaniment from low-budget sound effects and scripts loosely-based on classic horror movie characters, I can’t imagine many people wanting to hear this on a regular basis, but it’s a perfect soundtrack for Halloween parties and camp-horror movie evenings. Frankenstein’s monster is the more serious of the two, while Dracula delves into a camp version of Bela Lugosi’s legendary performance. This is meant to be fun and if you can treat it that way, you’ll probably enjoy it. As I said, just wait for Halloween and with a suitably-creepy selection of cocktails, you‘ll love this album!

V/A. Oi! THE ALBUM CD (Captain Oi!) This may be one of the most controversial Punk compilations of all-time (even though it was actually its’ follow-up, ‘Strength Thru Oi’, that had the dodgy title and dodgier artwork.) The problem was that, after four years of nice journalists espousing the idea that punk was all about ‘kids on the streets’, once it actually reached the council estates it became something that scared them. Bands like Cockney Rejects, 4-Skins and Angelic Upstarts were just expressing themselves and the issues in front of them and initially it wasn’t a problem until their audiences were infiltrated and usurped by right-wing boneheads. That was a bit later-on, but this album attempted to showcase the mostly-ignored working class elements of punk, which the trendier media elements didn’t want to deal with. That said, John Peel was perfectly happy to play Cockney Rejects alongside Joy Division on his radio show, which made perfect sense to many of his listeners, while American punks the Big Boys were singing ‘I’m a Punk and I like Sham / Cockney Rejects are the world’s greatest band, / but I like Joy Division and Public Image too, / even though that’s not what I’m supposed to do’ … These guys knew what they were talking about, so fuck the genres! If it’s good, it’s good! This album. compiled by the equally-controversial Garry Bushell, attempted to launch a new genre with a selection of then-current bands (Cockney Rejects, Peter and the Test Tube Babies, Angelic Upstarts, Exploited, and 4-Skins) alongside examples of the bands that had inspired them (Cock Sparrer, Slaughter & the Dogs.) There are a few bizarre tracks courtesy of Barney and the Rubbles, Splodge and The Postmen (the Rejects having some incognito avant garde fun) which provide the humorous interludes, while many of the tracks are classic punk rock. If you can still appreciate the variety of bands that made punk so exciting back at that time, you really ought to have this compilation. Inadvertently, it may have caused a lot of problems, but it’s intent was positive and in retrospect, it deserves to be appreciated as such. Listen to it now and see how much of it you enjoy!

V/A. RETURN OF HALLOWEEN NUGGETS CD (RockBeat) Getting you in the mood for the Season of the Witch, here comes RockBeat’s latest instalment of original tunes from the Fifties and Sixties, celebrating all things ghoulish and interspersed with a selection of suitable shivering B-movie trailers. If you’ve heard any of the previous ‘Halloween Nuggets’ compilations, you’ll already have a good idea of what to expect and this collection certainly doesn’t disappoint. In fact, for my money, this is probably the best selection so far, with 18 songs from mostly obscure artists like Teddy Durant, The Upperclassmen, Terry Teen and The Shandells. Song titles / subjects range from The Nightstalker, Knives and Lovers, Devil’s Gotten Into My Baby, Witchcraft in the Air and, of course, a Voodoo Doll. Musical styles include Garage bands, Spector-style girl-bands, raw R’n’B, Beat-pop, demented Rockabilly instrumentals, and Doo-Wop. But despite the technical-differences between them, there’s also plenty of common ground to bind them together, such as the copious screaming that takes the place of backing-vocals on many of the songs and the generally sinister tone of the tracks. The legendary Vincent Price makes an appearance with an invitation to The House on Haunted Hill, with his usual suave style, making it a real pleasure to have all of these recordings together on one compilation. It’s a real treat and only the biggest grump in the graveyard is going to try to find a reason to not enjoy them. Turns the lights down, leave this CD on repeat play and just let every scream their hearts-out!