RECORD REVIEWS SEPTEMBER-DECEMBER 2015
ADVERSARY. s/t CD (Boss Tuneage) Adversary were a melodic hardcore band from Stoke on Trent who were together for a few years either side of 1990. They developed their own sound, mixing the more imaginative elements of 7 Seconds and Dag Nasty to create a style that had plenty of energy and also tried to be different. The vocals had clarity and harmonious qualities that set them apart from the more aggressive, shouty singers of the time and while the band were certainly capable of high velocity, but equally tempered it with more restrained tempos to stress the different parts of the songs. It was planned for them to release an album on Meantime records, but unfortunately they split before this could go ahead, leaving only two demo-tapes behind (which account for this collection.) The first recordings, from 1989, display plenty of potential, while the final batch from 1991, show a band that were really marking-out their own territory. Hearing this, I have to say it’s a regret that I never saw them live, but at least now we can hear what we missed out on. Discovering a band as good as this, some 25 years after the fact, is still one of life’s little pleasures !
ANGELIC UPSTARTS. Bullingdon Bastards CD (Boss Tuneage) This is certainly one that’s going to make the old fans happy. The whole album embraces the classic Upstarts sound, despite Mensi being the only original member. His voice is, of course, instantly recognisable, that gruff, indignant vocal sounding totally unlike anyone else. But the whole album captures the bands’ original sound so well that it could easily have been recorded 35 years ago. To some, that may mean the band are stuck in the past, but their inspiration was always the social injustice they saw around themselves and, frankly, little has changed in the intervening years, so they still have the same passion to speak out. Only this time, instead of Thatchers’ government, we’ve got the Cameron Cronies to contend with. Of course, if you never liked the Upstarts in the first place, I can’t imagine that you’re suddenly going to fall in love with this album, but it has to be said that they’ve stuck to their principles and they still sound genuine and passionate about it. The CD version is also available with a limited edition bonus disc which includes six tracks previously only available on a split-album released in Germany. That’ll be the one you want to get !
ALTERNATIVE TV. Opposing Forces CD (Public Domain) It’s been quite a while since the last ATV album, but it’s certainly been worth the wait. Like a midway point between ‘The Image Has Cracked’ and ‘Peepshow’, this is a return to their experimental garage band format, an album that rocks but also wants to do things differently. Over 45 minutes, it finds space to cover everything I’ve ever loved about this band, based around inventive guitar work and Mark Perry’s personal, poignant lyricism. Tracks like ‘French Girls’, ‘Hello New York’ and the title track are brash, snappy tunes, while others, like ‘The Rambling of Madmen’ recall their longer, more tension filled epics (‘The Tension Between Order And Chaos’ even references the classic ‘Still Life’.) Elsewhere, there’s room for more avant garde moments, which work much better when interspersed with different styles. The only track that slightly worries me is ‘Dream’ which veers a bit too closely to power-ballad territory, although I doubt we’ll ever see an ATV audience waving their lighters in the air… This is a really great album, one of their best, and I just hope we get to see and hear more from this line-up. ATV has never been a predictable set-up, so who knows what will happen next, but when they release something as good as this, you’ve really got to grab it while you can.
APE MACHINE. Coalition of the Unwilling. CD (Heavy Psych) Four-piece band from Portland, Oregon, playing authentic-sounding blues-based hard rock straight out of the early Seventies. They certainly have a knack for picking out some catchy, self-propelling riffs, a few of which certainly wouldn’t be out of place in a vintage Sabbath set. I have to say that the vocals are a bit too ‘rock god’ for me, veering more towards that sorta screechy, melodramatic style that I’ve never liked (as a result, my favourite track is the blistering instrumental ‘Ape’n’Stein’.) But if you can get past that, the music is a lot more solid and down to earth and the production also gives it a genuine warmth that draws you in to the sound. It may all be unashamedly retro, but there are parts that will really blow your head off, in the very best kind of way.
BEAUTIFY JUNKYARDS. The Beast Shouted Love CD (Mega Dodo) Portuguese band who create a sound that recalls British folk music from the Sixties and early Seventies, tinged with psychedelia. Using authentic instrumentation as well as original analogue synths, they build an atmosphere that could easily form the soundtrack to a movie in the style of ‘The Wicker Man’ – not exactly horror, but with a certain sinister undercurrent. Individual songs hint at pop accessibility, but also clearly care more for the overall vision rather than commercial success. It’s certainly not the sort of thing I would usually listen to, but after a few tracks, you certainly begin to be drawn in. One to hear, as long as your mind is open.
PETER BLACK. Clearly You Didn’t Like The Show. CD (Boss Tuneage) Better known as Blackie, frontman of the legendary Aussie punk band the Hard-Ons, this is actually his fourth solo album, and it’s the first I’ve heard of any of them ! No idea what the others are like, but if this is anything to go by, it’s going to come as a bit of a surprise to fans of the band. Sparse, melodic, singer-songwriter tunes that at first may seem a thousand miles away from the Hard Ons, but it only takes a little imagination to appreciate that there’s actually not that much difference. The melodies and structures are actually quite similar at times and you could even imagine them being revved up to full adrenalin overdrive with the rest of the band. But this is a much more tempered delivery and certainly works in its’ own right. Blackie has a surprisingly accomplished voice to suit this style, and the space that the production allows really lets the songs shine through. The Hard Ons were always capable of great tunes, but in the rush of their gigs and records, it was often overlooked. Here, it’s the main thing, and it’s difficult not to enjoy. If you’re a fan of the band, this really ought to appeal to you as well. Be sure to hear it.
BLONDIE. Gentlemen Prefer Blondes LP (Mr Freezer) A lot of effort of has gone into this, obviously by a real fan rather than someone just trying to make some quick cash. Great, full colour sleeve, white vinyl and – possibly the first for a bootleg – a full colour inner sleeve ! The recording is a previously unreleased, good quality audience tape from New Orleans, 1979, sometime between ‘Parallel Lines’ and ‘Eat To The Beat, so it has the band at their best, playing tracks from the first three albums plus the (at the time) unreleased ‘Slow Motion’ and a great cover of ‘Get It On’. Classic pop music from one of the best bands, you just can’t go wrong.
BLONDIE. Loud And Clear LP (Instant) This is the second set taped at the Old Waldorf, San Francisco, 1977. The first set was released on vinyl a couple of years ago and both recordings have also come out on CD, so its’ not a recording that’s difficult to track down. That being said, it really is a great document of the band on one of their early US tours, playing material from their debut album as well as many tracks from the then unreleased ‘Plastic Letters’ LP. Loads of energy, lots of great songs, and more Sixties-influenced than they would later become, but always plenty of fun. Their ‘punk’ was probably always more in line with ‘Nuggets’ and ‘Pebbles’ than the Blank Generation, but they made it their own and made it work. The set also includes several rare covers (‘Heart Full Of Soul’, ‘Playing With Fire’ and ‘Moonlight Drive’, making it of particular interest. Great cover artwork (Debbie at her cutest !) plus ‘In The Flesh’ pink vinyl. It’s a great record any way you look at it.
BRINSLEY SCHWARTZ. Live Favourites CD (Mega Dodo) When you mention ‘pub rock’ most peoples’ knowledge only goes as far as Dr Feelgood, but in reality the era featured a variety of bands and a wide range of styles. Brinsley Schwartz were one of the mainstays of the scene but unfortunately never managed to cross over to wider success, even though their music, arguably, had more commercial potential (as evidenced by the later success of covers of the classic ‘What’s So Funny ‘Bout Peace, Love & Understanding’) Whilst still stripping the songs down to their necessary elements and concentrating on their organic sound rather than musical virtuosity, they created great tunes and lyrics that just sounded right. They may have been steeped in Americana, but their attitude carried it off well. This album captures the band in their natural environment, live on stage in Cardiff, 1974, combining rock’n’roll, country, soul and rhythm’n’blues in a lighter but no less vital presentation. Nick Lowe, obviously, went on to many greater things, Ian Gomm also had some solo success, while Brinsley himself and Bob Andrews later played a major part playing with Graham Parker & The Rumour. You really need to hear this album, if only so you can wonder with the rest of us – why did they never become a household name ?
THE BRISTLES. Last days of Capitalism CD (Heptown) The Bristles were one of the seminal Swedish hardcore bands, initially influenced by UK bands like GBH and The Exploited, but quickly developing a much heavier sound, more in line with harder US bands like Poison Idea and Septic Death. Their original incarnation lasted from 1982-85 and, typical of many punk bands of that time, their line-up was volatile and eventually split due both to their nihilistic approach and arguments over musical direction. A one-off reunion took place in 1996, but it wasn’t until 2008 that the band was reinstated as an ongoing project. During that time, they’ve released two albums of new material and several EPs and singles. Now, their latest has arrived and it really is one of the finest European hardcore records I’ve ever heard. Short, abrasive anthems (there’s an Oi influence in there as well) with lyrics that attack the vicious capitalism that seems to be engulfing the West to the detriment of it’s own people, and all put together with a clear, powerful production that really forces their point across. Lyrics are provided in English to explain their intent, and this CD version also includes bonus tracks from several recent vinyl-only EPs, making this a very complete package. The thing that makes The Bristles so effective is the fact that, alongside their brutal delivery, they’re not shy of a good melody or two, happy to let you enjoy the music at the same time that it’s pummelling you. Very few bands ever manage to get that balance right. This is just a great punk rock album and I can only recommend it to any fan of the raw power ethic.
BUZZCOCKS Japanese Fan Club EP (Nostalgia) It’s a bootleg and probably not even Japanese, but nicely put together. The leading track is the rare alternate version of ‘Orgasm Addict’ which was mispressed in France, while the rest of the EP features ‘I Don’t Mind’, ‘Harmony In My Head’ and ‘Love Battery’ taken from GLR radio sessions. Nice Japanese-style insert sleeve and good quality throughout, it will have the collectors frothing at the mouth…
BUZZCOCKS. In The Back 7” (1234 Records) Limited edition (300 ?) featuring an a-side taken from their recent album, plus an exclusive track on the b-side. ‘In The Back’ is a Steve Diggle song, maybe a little slower-paced than you’d expect but with a super-catchy guitar line and infectious chorus. ‘Disappointment’ finds Pete Shelley at a much more furious pace, railing against the loss of love and hopes in a voice that sounds as if it was made for such a purpose. Which means there’s no disappointments in this record at all. Another two sides of classic buzzsaw guitar pop, which is what Buzzcocks always do the best.
BUZZCOCKS. Access All Areas CD+DVD (Edsel) When Buzzcocks reformed in 1989, the event was, quite rightly, met with a good deal of enthusiasm. Strangely though, it wasn’t until 1992 that they released an album of new material, by which time the band had the new rhythm section of Tony Barber and Phil Barker. This pair seemed to totally reinvigorate the band, resulting in the excellent ‘Trade Test Transmissions’ album (which I still rate as one of their classics.) This DVD documents the first live performance of this line-up and finds the band full of energy and inventiveness as they deliver classics like ‘Fast Cars’, ‘Noise Annoys’ and ‘Harmony in My Head’, as well as new material (at that point still unreleased) such as ‘Who’ll Help Me To Forget’ and ‘Trash Away’. For me, the highlights are actually the less obvious tracks, such as the brooding ‘Why Compromise’ and the blistering version of ‘Sixteen’. The DVD includes brief interview snippets which are (clumsily) edited out of the CD version, but it’s the music that really counts, and that can not be faulted.
MARC CARROLL. Love Is All Or Love Is Not At All, CD (One Little Indian) This is Marc Carrolls’ seventh studio album, although I have to admit ignorance of his previous work. That being said, it’s easy to delve in to his world. It’s drawn from a folk background but is more than happy to embrace more contemporary forms, bursting from the rather morose first two tracks in to the up beat, almost punky vibrance of ‘Ball & Chain’. Elsewhere, the title track is an effective lyrical collaboration with Penny Rimbaud (indeed, staying with the Crass-connection, Gee Vaucher also provides artwork for the album.) It’s an emotive and intriguing record and, while it isn’t the kind of music I would usually listen to, I can only say that I was happy to hear it.
CEREMONY. The L-Shaped Man LP (Matador) I have to say, it took me a few listens to really start appreciating this album. It’s quite a step-on from their last album, ‘Zoo’, and very removed from their earlier hardcore records. The initial impression puts it in the same territory as Joy Division and, while that is obviously a part of what they’re doing, repeated listens reveal much more. The twangin’ rockabilly guitars first heard on ‘Zoo’ are perfectly suited for this sparse sound, giving the songs a vibrancy they would otherwise be lacking. The vocals share a similar tone to Ian Curtis, but they also have a warmth and sense of purpose that he never pursued. If anything, I’d actually say this was closer to some of Wires’ more melancholy moments (‘Used To’ or ‘I Should Have Known Better’, for example) but again, Ceremony set their own pace which sets them apart. It’s a very brave move that could possibly alienate some of their earlier fans, but at the same time, obviously the way they feel they need to progress. It’s a great album but, as I said, give yourself time to listen to it properly. I think you could well find yourself being very impressed.
THE CLASH. Live Harbour LP (Protex Blue) Double album recorded during the bands run of gigs at the Lyceum at the end of December ’78. As such, it’s all material drawn from the first two albums, with the tracks from ‘Give ‘em Enough Rope’ sounding particularly strong. I still think that album remains underrated. While it was a departure from their debut, tracks like ‘Tommy Gun’ and ‘Safe European Home’ are clearly amongst the best that the band ever wrote. Anyway, this is a good quality mixing desk recording of a great performance, with the band firing on all cylinders. The cover is a bit unimaginative, but once you get the record playing, you won’t be worrying about the artwork. When you hear a bootleg like this one, you’ll know exactly what all the fuss was about.
CORRECTIONS HOUSE. Know How To Carry A Whip CD (Neurot) A band led by Sanford Parker and Seward Fairbury but currently including members of Neurosis, Yakuza and EyeHateGod, the resulting mix actually recalls the period around 1988 - 90, when bands like Ministry and Pailhead began to experiment with both electronic music and hard rock. Although the genre soon became commonplace and predictable, Corrections House go back to the more interesting aspects and drag them firmly in to the current day. Interesting rhythms, atmospheric soundscapes, powerful guitars and forceful, dual vocals, create a genuinely menacing vision. This is a really interesting glimpse of where this whole genre could have gone, rather than settling for either for heavy metal cliches or run-of-the-mill goth-industrial dullness. It’s just great that a band has gone back and reclaimed the original ideas and motivation to create a new hybrid of their own. Exciting, inventive and a heavy as fuck, this is an album for people who like their music to punch them in the gut and get then thinking at the same time.
COUCH POTATOES. Excess All Areas CD (Boss Tuneage) Couch Potatoes were a band from Tunbridge Wells who existed in the early part of the 1990’s. I saw them live a few times and reviewed some of their original releases, always getting the feeling that they were some-what set-apart from the emerging ‘pop-punk’ bands of the time, and seemingly more intent to embrace a different approach to their punk rock. If anything, they had more in common with bands like Sink and some of the Dischord bands like Dag Nasty or Shudder to Think. This CD is actually what should have been their debut album, recorded in 1992. Unfortunately, it never got a full release at the time and was only ever made available on cassettes from the band themselves, so it’s great to get a chance to hear it properly after all this time. It does suffer from a fairly demo-like production, but the songs and arrangements still show a band who had some great ideas alongside their tunes and certainly deserved to become better known than they were. That this is now available some 25 years later goes to prove they were certainly doing something right.
THE CRAMPS. Hogwild at The Nashville Rooms. LP (Creepy Crawl) Rather than referring to Dave Cameron’s recently revealed party tricks, ‘Hogwild’ in this case refers to The Cramps delivering a truly blistering, raw performance at the legendary Nashville venue in London, during their first visit to the UK in 1979. With Bryan Gregory maintaining the fuzzed-up noise and Ivy producing the authentic rockabilly twang, it must have been electrifying to have been there. This isn’t the greatest sound quality, but it captures the atmosphere perfectly and you can virtually picture Lux’s antics on the small stage as he delivers his vocals. Probably the earliest Cramps recording from the UK, with an excellent full colour cover, this is an album that fans will need to have. Track it down quickly…
THE CRAMPS. Trash Is Neat Volume 6 – All Bass Players Are Bad LP (Manacoa) An album made for fans, by fans. As with the previous volume, this is an album of rare Cramps tracks sourced from the best available tapes. Many of the tracks are cover versions, in some cases only ever performed live on the one occasion, so this really is a collection that will have diehard fans frothing at the mouth. Sound quality is generally good and the selections are interspersed with dialogue from classic B-movies, setting just the right tine and atmosphere. Pretty damn limited, so make sure you get a copy as soon as you can.
THE CRAMPS. My Flash On You 7” (Mr.Bee) Nice little single featuring a live cover of the Love classic (recorded in San Francisco 2006) featured by the band as a tribute to the recently departed Arthur Lee. The b-side is another live cover, this time ‘Woodpecker Rock’, a Nat Couty rocker dating back to 1958 and apparently only played on this one occasion by the Cramps, at another San Francisco gig, this time in 1987. These two tracks can be found on other bootlegs, but someone has made an effort with this single so it’s a nice item regardless.
THE CRAMPS. Hanky Panky EP (Knif) Three demo’s recorded in 1982 featuring Lux, Ivy, Kid Congo and Terry Graham of The Gun Club (standing-in for the hospitalised Nick Knox.) ‘Five Years Ahead of My Time’, ‘Call of The Wighat’ and ‘Hank Panky’, all sounding raw and vital, plus a home demo version of ‘All Women Are Bad’, featuring just Lux and Ivy. All of these are lifted from the ‘How To Make a Monster’ CD, so not exactly rare material, but the artwork is nice and the material is, of course, excellent.
THE CRAMPS. Real Men’s Guts Versus The Smell Of Female LP (Connoisseur) The official ‘Smell of Female’ album was recorded over two nights at the Peppermint Lounge, NYC, in February 1983. This album features the full set from the first of those nights, and so includes all 14 tracks rather than the six songs chosen for the original record. It’s a pretty good quality audience recording, obviously not as clear as ‘Smell of Female’ itself, but it captures the excitement of the event and gives a great indication of just how good this line-up (including Kid Congo on second guitar) actually were. Not the best Cramps bootleg available, but if you’re still missing them, you’ll probably want to hear it.
DERITA SISTERS. Legends Never Die CD (Kotumba) I’d heard of this band many times but it wasn’t until earlier this year that I finally got to see them and started to wonder, why haven’t I caught up with them before now ? Playing great, upbeat punk rock’n’roll, they’re a great burst of raw power complete with neat tunes and sharp, witty lyrics. This album captures everything I like about them, with a perfect production that really brings out their energy and attitude. The best comparison I can suggest is possibly the New Bomb Turks, although they don’t necessarily sound like them. But they certainly have similar adrenalin-levels and a good appreciation of where their music comes from - ’77 punk rock (Ramones, Dead Boys) with some of the more melodic early 80’s hardcore (Adrenalin OD) plus later bands like Sloppy Seconds or The Queers. Lyrics take humorous jabs at subjects ranging from facebook to beards, as well as some surprisingly personal subjects. It’s all good stuff, and a fine introduction to a band that really deserve to be more widely known. Be sure not to make my mistake and catch up with them soon.
THE DESTRUCTORS / THE MALINGERERS. Deus Luna split CD (Rowdy Farrago) Two Peterborough bands that, stylistically, probably couldn’t be further apart. The Malingerers play a mix of folk and skiffle, with even a little trad-jazz thrown in. The tracks bop along quite pleasantly in a toe-tapping sort of way, although it’s probably down to personal taste. The Destructors deliver two brand new tracks, ‘Up & Atom’ being the highpoint of the CD, with a powerful, progressive punk style and a great, hard-edged production. And, as usual, they add one of their fine cover versions, this time an unlikely take of the Birthday Party classic ‘Release The Bats’. Musically, it’s a really commendable version, with guitars letting rip all over the place (although the vocals are a little lacking compared to the original… I doubt anyone could even hope to match Nick Cave’s original take.) And then, just when you think it’s safe, an extra track, ‘Societies Morons’, sneaks onto the end of the CD (it’s kinda tucked away on the credits…) A blast of frantic early 80’s style punk rock, a nice fun way to end this offering !
DEVO. Orpheum Theatre 1980. CD (Echoes) Complete recording of a radio broadcast taped in Boston on the ‘Freedom of Choice’ tour. While Devo’s albums may have been leaning towards a cleaner, more electronic sound by this point, the songs were still just as great and, performed live, lacked none of the bite of their earlier releases. ‘Whip It’ was destined to become their biggest (US) hit, but that didn’t mean they weren’t still as subversive as ever, with tracks like ‘Girl U Want’ sneaking them in to the national consciousness where their statements of intent like ‘Mongoloid’ or ‘Jocko Homo’ could have most effect. Sound quality is excellent and someone has taken care with the packaging to make this a real treat for both fans and anyone wanting to investigate for the first time. There’s a lot of recent Devo releases emerging from their archives, but while they’re as good as this, I’m certainly not complaining !
THE DOUBT. Contrast Disorder EP (Spit) Reissue of a rare and highly collectable EP from this rather obscure Northern Irish band. Once you hear the record, you’ll wonder why they aren’t better known. It’s classic melodic punk much in the same style as Rudi or Protex, although with a character all of its’ own. The band actually split-up before this EP was recorded, but two of the members decided to record and release four of their songs for posterity. As a result, only 500 copies were originally released on their own Solo label, not even with a picture sleeve, but still commanding heavy prices on the collector markets. This reissue makes it available again, back to its’ original sound quality plus, for the first time, together with a picture sleeve and insert ! Forget all the collector nonsense, you need to get this record for one simple reason – it’s great !
DRAGGED INTO SUNLIGHT + GNAW THEIR TONGUES. N.V. CD (Prosthetic) A collaboration between two parties with the serious intent of creating the most malevolent, menacing and macabre onslaught possible. The results are an overwhelming success and certainly not for anyone of a nervous disposition. This is the point when extreme metal becomes almost industrial noise, where rhythms become almost mechanical drones and vocals take on the form of demonic warnings. It may be a bleak landscape that they inhabit but the sounds are also gloriously invigorating, taking rock music from its’ everyday familiarity and raising it to an almost ritualistic level. Layer upon layer of riffs, rhythms, vocals and tapes add to the overall effect until they can take it no further. Until the next time ? Play this loud and just let it soak through you.
DUNNINGWEBSTERUNDERWOOD. Bleed CD (Adaadat) Improvised music from a three-piece, mainly based around baritone sax, tuba and turntable, although the latter uses dubplates of various field recordings to create coarse textures rather than the more usual rhythms or beats. At times, the drone-like sounds are very enticing and certainly draw you in to what the trio are creating, but the nature of improvised music also means that they have a tendency to wander off on a tangent just as something is starting to get interesting. Improvised music, despite all the jokes at its’ expense, is actually a very difficult medium to get right and takes a lot of intuitive interaction between the players. This album certainly has its’ moments, but it’s not going to be for everyone.
THE DUTCH RUDDERS. On Verra CD (Monster Zero) Belgian punkers who play fast but steady-paced tunes that recall bands like Dillinger Four, Snuff, maybe even Travis Cut. Instead of just going full-out, they add great arrangements to the songs which accentuate the energy they generate and give the melodies plenty of room to sink-in. Good lyrics with a nice, dry sense of humour as well. Powerful, emotive punk rock that, with the right exposure, could easily find itself appealing to a pretty wide audience. To begin with, I’d settle with seeing them playing some shows in the UK. Fingers-crossed ! This is a great debut album and I hope we’ll be hearing a lot more.
EPIC PROBLEM / HOLIDAY. Split EP (Just Say No To Government Music) Epic Problem are a relatively new band (it first started-out as a solo project) put together by guitarist Mackie, formerly of the legendary Blitz. The thing I love about this is that instead of just trading on the name of his former band, this is a great record that has its’ own sound altogether. The energy is still there as well as the catchy tunes, but this is very much its’ own thing. The music is fast but not thrashy, the guitars build a great and intricate wall of sound, while the vocals rage through emotive, heart-felt lyrics that will either strike a chord with you or at the very least, get you thinking. Both tracks are really good, and get me wanting to see this band live and buy their other records ! I strongly suggest you do the same. Meanwhile, the other side of the vinyl features two tracks from Holiday, both of which are more recently recorded than those on their EP and sounding a bit more hard-edged, though certainly no less effective. It may also be a different line-up, although hard to tell from the nicknames included on the info sheet. Anyway, overall these songs veer more towards the Leatherface side of things, with raw vocals and abrasive guitars counter-balanced with catchy melodies and intelligent, thoughtful lyrics. Again, it’s really good stuff. Consider this EP an essential purchase. It’s a chance to hear two great new bands in one go and bargains don’t get much better than that.
THE ETHICAL DEBATING SOCIETY. New Sense LP (Odd Box) Strong contenders for best new band of the past year, even despite the cumbersome name (apparently, they don’t mind if you shorten it to ‘TEDS’.) A three-piece featuring two guitars and drums, no bass (it worked for The Cramps !) and with vocals shared between Tegan and Kris, they make the most of the supposedly restricted format with a great range of tones, textures and surprises. It’s punk rock without the predictable 1-2-3-4, it’s post-punk without the pretensions, it’s riot grrl without the dogma, and there’s even room for some classic Pop references. Basically, they’re putting their own thing together, it’s inclusive, it’s fun and it rocks ! It’s a glorious racket, but there are also great little tunes running through it all, and the lyrics that you can catch (that’s one sad omission – no lyric sheet) are sharp and snappy. You can pick out different influences at different times, but it doesn’t ever sound like anyone else. They’ve obviously got a broad musical background in their make-up, and it’s this that shines through. On vinyl, you can really hear the nuances and idiosyncracies in a way that, if you see them live, can sometimes fail to come through quite so successfully due to the quality of the PA. This record is exciting, different, thought-provoking and fun. That’s exactly what a debut album should be aiming for !
THE EVERLASTING YEAH. Anima Rising CD (Occultation) When That Petrol Emotion reformed in 2008, they were met with a lot of well-deserved praise, so it was unfortunate that only a few years later, they found themselves on indefinite hiatus due to vocalist Steve Mack’s recent parenthood. But it will come as no surprise that, while waiting for their singer to end his nappy-duties, the remaining four members have got together under a different name and produced a fine new album of their own. As any fan of TPE will probably expect, the results are a great, natural mix of styles interspersed with a plentiful supply of insistent melodic hooks. One moment recalling Sixties Beat music, the next veering into Krautrock, but always with a subversive sense of the pop song as an intuitive message. They maintain the energy of The Undertones (John O’Neill was a founding member of TPE back in the day, while brother Damien remains in the ranks) whilst recalling every great pop era from Phil Spectors’ girl groups through to Seventies glam-rock and on through new wave and indie. Indeed, the only real comparison I can make is with another genre defying band, The Make-Up. Not afraid to turn up the amps when it’s needed and neither afraid to twist things around when they think it’s the right thing to do, this is the sound of a group of friends playing music for themselves but wanting to share it with everyone else. We’re the lucky ones who get to enjoy it. Don’t miss the chance !
FERRIDAY FIREBALLS. 1970 CDsingle (find ‘em on facebook !) This is only a hint of how good this band sound if’n’when you catch them live, but it’ll still blow your cobwebs into orbit ! Few bands would want to mess with the Stooges’ classic, but this combo have no problem twistin’ it in to a reverb-soaked authentic rockabilly anthem. Think of what The Cramps circa 1976 would’ve done with the song, and you’ll be somewhere close. Then you also get their own song, ‘Your Love Must Be Destroyed’, with another rockin’ blast of nasty-ass rock’n’roll. Awesome, twangin’ guitar sound, stripped-down drum-thuds and laptop steel-guitar squeelin’ all over the place. Like I said, seeing them live is even better but in the meantime, this should go straight to the top of your shopping list !
F.F.S. LP (Domino) Beating the lazy-critics to the punch-line, there’s actually a song on this album called
‘Collaborations Don’t Work’. Despite the irony, by the time the album reaches that point, Sparks and Franz Ferdinand have already established beyond any doubt that this one not only works, it’s one of the best things either band has ever been involved in. Sparks have been delivering their sly twists of Rock / Pop sensibilities for over 40 years, whilst relative whipper-snappers Franz Ferdinand are only just in to their second decade, but the key to this project is their mutual compatibility. They don’t just play or write together, they compliment each other as near to perfectly as it gets. The vocals switch between Russell Mael and Alex Kapranos almost seamlessly, and none of the songs would sound out of place in either bands’ own setlists. I won’t claim to be a massive F/F fan, but I’ve always respected their attempt to add something new to the mainstream, in much the same way that Sparks have always operated. Both bands mix the same quotas of intelligence and entertainment to their music, so when it’s come to working together, there’s plenty of common ground as well as fresh input. Just listen to the songs – ‘The Man With A Tan’, ‘The Power Couple’, ‘Piss Off’, ‘Dictator’s Son’ … what other current bands could deliver pop music as energised, witty and fun as this ? This is just one of those albums that you really have to hear. If you can’t enjoy this, then you really don’t deserve to have a stereo…
‘Collaborations Don’t Work’. Despite the irony, by the time the album reaches that point, Sparks and Franz Ferdinand have already established beyond any doubt that this one not only works, it’s one of the best things either band has ever been involved in. Sparks have been delivering their sly twists of Rock / Pop sensibilities for over 40 years, whilst relative whipper-snappers Franz Ferdinand are only just in to their second decade, but the key to this project is their mutual compatibility. They don’t just play or write together, they compliment each other as near to perfectly as it gets. The vocals switch between Russell Mael and Alex Kapranos almost seamlessly, and none of the songs would sound out of place in either bands’ own setlists. I won’t claim to be a massive F/F fan, but I’ve always respected their attempt to add something new to the mainstream, in much the same way that Sparks have always operated. Both bands mix the same quotas of intelligence and entertainment to their music, so when it’s come to working together, there’s plenty of common ground as well as fresh input. Just listen to the songs – ‘The Man With A Tan’, ‘The Power Couple’, ‘Piss Off’, ‘Dictator’s Son’ … what other current bands could deliver pop music as energised, witty and fun as this ? This is just one of those albums that you really have to hear. If you can’t enjoy this, then you really don’t deserve to have a stereo…
THE FITS. Offerings At The Altar. CD (Punkerama) As anyone who has seen The Fits in recent years will attest, the band really do seem to have picked-up from where they were first-time around, with both style and enthusiasm. Coming from fairly basic punk roots, they were one of the bands who, during the early-to-mid-Eighties, really pushed their own limits and came up with songs that, while still very-much punk rock, were also unlike anyone else around at the time. ‘Tears of A Nation’ was probably their greatest moment, but other tracks like ‘Action’ and ‘Achilles Heel’ also displayed their vitality and show why it was such a shame that they never got the recognition they deserved. This set was recorded in Belfast in 2014, featuring their (then) current line-up and including fine new songs like ‘Son Of A Gun’ and ‘Chances’. Micks’ vocals still sound fresh while the band are tight and full of energy. The (mixing-desk ?) recording lacks some of the atmosphere of their live shows, but makes up for it with great clarity. With the band on hiatus (hopefully for not much longer) this is the perfect way to catch up with them. Track it down !
FLAME ON. Corrupt Mind CD (Boss Tuneage) You’ve got to admire Boss Tuneage for their determination to document the mid-to-late-Eighties UK punk scene, and particularly the way they mange to do it so thoroughly. Flame On were hardly a big name even at the time, although I do remember receiving demo tapes and their one and only 7” back in the day. I’m pretty sure I saw them live as well, although I’d have to dig through old diaries to find the details… Anyway, they came from Stoke, and existed between 1987-91, recording three lots of demos plus their one three track single on Released Emotions, finally released just before they broke up. They played a raw, mostly fast-paced brand of melodic punk that showed a prolific edge and although the sound does suffer from the demo-quality, there’s more than enough good tunes to keep you interested (including a rather proficient version of ‘Hanging on the Telephone’.) It’s probably not an album that will change your life, but it’s certainly good enough to keep you cheerful for an hour or so !
FREEBASE. Darker Days Are Still To Come CD (Mosh Tuneage) Freebase are one of the more esteemed UK hardcore bands of the late Nineties, combining the harder elements of both punk and metal in a style that had a lot in common with NYHC bands like Agnostic Front and Cro-Mags. Many expected them to become a major name on the hardcore scene after the overwhelmingly positive response to their second album, ‘My Life My Rules’ in 2002, but instead the band decided to go on a temporary break, which eventually lasted a whole ten years ! In 2012, they reformed with a new rhythm section (Ian and Ade from Stamping Ground) and set about re-establishing themselves as a live band that take no prisoners. New recordings were made and released, initially only on vinyl, so this album compiles all of the tracks released since their reformation, plus a few previously unavailable elsewhere. As powerful and relentless as it gets, don’t expect any respite but, in the right time and place, this will totally blow you away.
GEOFFREY Oi-COTT. Sticky Wicket CD (Boss Tuneage) A great pastiche of the Stones ‘Sticky Fingers’ cover art, it’s almost worth tracking down the album just to see it ! But on top of that, the music is good fun as well. A mix of punk and Oi, not far away from The Adicts, perhaps with a bit of Leatherface to give it more of a raw edge. Lyrically, as you might expect, it’s cricket that provides the subject matter, although in case your not a sports-fan, it’s all done with a sense of humour that wouldn’t be out of place at a Hardskin gig. Of course, it’s one of those things that you’ll either really get in to or won’t appreciate at all, but with more than a few decent tunes and tongue-in-cheek singalongs, it’s certainly something that could have you jumping around and streaking across the wicket !
GOSPELBEACH. Pacific Surf Line CD (Alive) While many will be drawn to this album by the lure of former members of the highly-rated Beachwood Sparks, or even Ryan Adams collaborators, I was personally more intrigued by the connection to the band Further. A very under-rated group who I managed to see several times and even interviewed way back in 1995. They should’ve reached a wider audience but, regardless, it’s good to see that some of them are still producing fine, interesting music. In this case, the debut album from Gospelbeach is probably going to produce comparisons to Alt-Country or the Grateful Dead, but there’s already so much more to this band. Blending acoustic and electric guitars together with keyboards, they create an effortless, almost laid-back style of psychedelic pop that harkens back to the Sixties without falling in to any nostalgia traps. It’s also deceptively easy-going, as the songs always have a strong forward motion and carry you along in a pleasant but purposeful way. It may not be my usual kind of listening but that certainly doesn’t mean I can’t enjoy it. Definitely worth checking out as it might just catch you unawares.
THE GROMBLE. Jayus CD ( www.thegromble.com ) Californian band playing contemporary electronic-based pop that draws on various Nineties musical trends, soundtracks and even Beach Boys style harmonies to produce an accomplished piece of work. The production tends to over-sanitise it a bit too much and at times you can get the impression that it’s all a bit too polished, but there are some great melodies and familiar hooks will snare you in every song. It’s not an album that’s going to shake you up (although final track, ‘Danny King’, threatens to get a bit lively) but for those moments when you just want to take your own time, this will be a perfect background.
HARD SKIN. The One That Got away. 7” ( JT Classics) No messing about. Hard Skin rock like they always do ! The A-side is a cautionary tale of righteous revenge – when they say you didn’t see nothing, you better believe it! B-side, ‘The Bovver Boys Don’t Bother Anymore’ is a sly update on the theme of ‘Where Have All the Bootboys Gone’, lamenting the fact that the boots just go in quite as Hard as they used to do. The song also features a strangely harmonious chorus – maybe Hard Skin are getting mellow? Nah, they’re still keeping it real. Thirteen pints, a kebab and a ruck… that’s still the way in Gipsy Hill and you know it !
HEX. Poison In The System . CD (Boss Tuneage) Sunderland-based anarcho-punk band who featured future members of HDQ and Leatherface within their ranks. This is a collection of their demos, recorded at various times between 1986- 87, featuring tracks that ended up on various compilations, although the band themselves were not destined to release records of their own. Influenced more by the second wave of anarcho-punk, especially Subhumans and Conflict (although more than a few hints of Omega Tribe surface at times) the thing that sets them apart is the fact that they didn’t just thrash away and were more comfortable to play at a measured, audible pace, which allowed the lyrics to be heard. As a their music progressed, even over a relatively short period of time, they really began to create their own sound and it’s a shame they didn’t last longer because they certainly had a lot of potential. This CD collects together the best moments of their recorded history and shows a quality that certainly deserves this retrospective.
HOLIDAY. Missiles On The Roof EP (Just Say No To Government Music) I’m surprised I haven’t come across this band before now, although I don’t think they’ve been particularly prolific in their three years of existence to date. This 7” delivers five songs, playing steady-paced punk rock not far away from the likes of Leatherface, Travis Cut and Southport. Big guitar sound, strong rhythm section, great melodies. And the lyrics are well written and thoughtful – the title track is a vital-stab towards the hypocrisy of the Olympics while the UK was in the grips of austerity, while the other songs tackle the problems of everyday life in a society where we’re clearly not ‘all in it together’. This record sounds great and you get the distinct impression that there’s even better stuff to come. Get yourself a copy of this record soon.
THE HONEY POT. Inside The Whale CD / Lisa Dreams 7” (Mega Dodo) The Honey Pot are a Devon-based band who play a blend of West Coast American psych-pop from a very English perspective. ‘Lisa Dreams’ is the first release in an ongoing Mega Dodo Singles Club and finds two slices of thoughtful lyrics and instinctive melodies. ‘Lisa Dreams’ is like Syd Barrett being reincarnated into a female-fronted indie pop band, while the b-side, ‘Into the Deep’, is a slower, more brooding track that recalls The Doors to some extent, with male vocal this time to the fore and the female vox providing great backing harmonies. Although neither of these tracks appear on the subsequent album, they do serve as a nice introduction to the musical-landscape of The Honey Pot, which is expanded even further on the LP. Overall, it has a more relaxed atmosphere, but that doesn’t mean there are any less great moments, from an occasional hint of Patti Smith-style vocals through to keyboards that could’ve been lifted from The Damned’s ‘Black Album’ (although they, in turn, were probably influenced by the same era of psych-pop.) It takes more time to appreciate the depth of the album but it’s certainly worth it. Its’ roots may be in older genres, but the results are totally fresh and contemporary. Cult-status certainly beckons and, who knows, if they get airplay it the right places, they could even cross over to a much wider audience.
HO99O9. Casey Jones flexi (Kill Your Idols) A strange choice for their first physical release. A two track flexi together with a 32 page booklet, mostly comprised of full colour photos of the band. The package hints at what they are about, showing images of their surreal, incendiary live shows, while the two short tracks cover their distorted hip-hop and hardcore. I’d still have to say that you need to see them live to get the whole picture, but this should serve to get you intrigued in the meantime. Get your hands on a copy soon or you’ll be regretting it once they’re gone…
IMMALATO TOMATOES. Stumbling Block CD (Boss Tuneage) The Tomatoes were a Brighton-based band who played hardcore punk along the same lines as The Stupids, taking American influences (DC hardcore, 7 Seconds etc) and translating then to a frantic, more Anglo-cised version. There was a period of time when they seemed to be the opening band at every other punk gig you went to see, but despite their efforts, they never released any records. This CD compiles the three demo-tapes they did make at the time and while they do suffer from the very basic recordings they also manage to capture their energy and approach rather well. Although only together for a couple of years, they were a band who got up, did what they wanted to do and did it rather well. If you remember them, this will be a nice catch-up.
INSTIGATORS. Phoenix CD (Boss Tuneage) I’m surprised that this album has been out of print for so long, as it was generally considered The Instigators finest release and, backed by their hectic touring schedule at the time, in the UK, Europe and America, brought them to the attention of a wide, international audience. Coming from a background that was more in line with the UK Anarcho movement, Instigators brought influences in from American hardcore and the slower-paced mid-Eighties sounds of DC bands like Dag Nasty or Government Issue, to create their own style of punk rock. It was melodic and powerful, with a social awareness that reflected the times they were living in. And, unlike some bands of that era who just tried to imitate American musical trends, The Instigators always sounded very British, sticking to their roots whilst exploring the possibilities in front of them. In this way, they became one of the most respected bands in the late-Eighties UK punk scene. This reissue has been packaged to include a live mixing desk recording, taped in Berlin, 1987. Mostly featuring tracks from ‘Phoenix’ plus a few from their debut album, it’s a great document of the band at their very best and is the perfect way to complete this treat from the archives.
JADED EYES. The Eternal Sea CD (Boss Tuneage) Taking their name (presumably) from a Government Issue song title, I was expecting something perhaps more in line with that band. However, they actually come across more like Rites of Spring mixed with Scream, if we’re going to stay with the DC connections. Formed by ex-members of various Leeds punk bands, including Voorhees, Dead Pets and John Holmes, the best thing about this, their second album, is that the influences and inspirations seem to be coming from all directions. There are moments that will make you think of The Damned or The Ruts and others that will have you recalling various hardcore bands, but overall, it’s hard to really pin down. It’s powerful, tense and raw but at the same time, strangely insistent. Each time I listen to it, something else comes to mind and that’s a good illustration of the depth to this record. It’s not going to be to everyone’s taste, but it’s certainly something you should hear, because there’s a fair chance it could become a favourite.
THEE JEZEBELS. Black Book 7” (State) Debut single from this all-girl three piece garage / glam / pub-rock combo. The production doesn’t really capture their raw live sound, but both songs stomp along at a lively pace complete with catchy hooks and infectious beats. They’ve got better and more confident every time I’ve seen them play live, and I’m sure the same thing is going to happen with their records. If they can recreate half the fun of their gigs on vinyl, it’ll be something special. In the meantime, this single will be pointing you in the right direction.
THE JOKERS. Hurricane CD (SPV) Liverpool-based band who embrace traditional blues based hard rock, like a lighter version of AC/DC or a less frenetic Guns’n’Roses. They take everything in a far-more British manner, leaving plenty of room for the melodies to come through and the riffs to set their own pace. In many ways, it probably owes more to the likes of Free or Humble Pie, and will most likely appeal to Classic Rock readers more than Kerrang fans. They certainly are very accomplished, but keeping themselves firmly within a genre in which they obviously feel comfortable. You’ll know within the first 60 seconds if you’re going to love or loathe the whole thing.
JOYKILLER. A Year In The Making CD (joykilleruk@ facebook) Norfolk-based band, 75% female, playing a raucous mix of punk rock, post-punk and noisy Amphetamine Reptile style grunge. The bass has a glorious rumbling sound that propels everything along while the drums battle-bravely to keep everything in line. The guitar develops the atmosphere, allowing space where its’ needed, while the vocals are surprisingly, and effectively, melodic, drawing you into the songs themselves. They also cover the old Sisters of Mercy song ‘Adrenachrome’, but reinterpret it to such a degree that they virtually make it their own. I don’t know much else about this band, but they’ve certainly got a rather exciting set of songs and I’d like to see them live sometime. This is definitely one you ought to investigate.
KAYAKA. Sonic Kitchen CD (Adaadat) Japanese-born but now London / Berlin-based musician Kaya Kamijo,
uses a variety of electronic and acoustic sounds to compose atmospheric dreamscapes. Primitive beats will
counterpoint with classical piano to create a whole new context, whilst vocals are sparse and really only limited to snatches of conversations or distant lyrics, like a radio fading in and out of tune. At one point the effects will be quite relaxing and pleasant, only for the next to be infused with something quite unsettling. It’s like those moments you have just between being awake and asleep, when you’re not quite sure if something is really happening or if it’s your imagination taking over. Music to play (with) in the dark, as they say.
uses a variety of electronic and acoustic sounds to compose atmospheric dreamscapes. Primitive beats will
counterpoint with classical piano to create a whole new context, whilst vocals are sparse and really only limited to snatches of conversations or distant lyrics, like a radio fading in and out of tune. At one point the effects will be quite relaxing and pleasant, only for the next to be infused with something quite unsettling. It’s like those moments you have just between being awake and asleep, when you’re not quite sure if something is really happening or if it’s your imagination taking over. Music to play (with) in the dark, as they say.
KILLING JOKE. Pylon LP (Spinefarm) Following the themes and musical direction of the preceding albums, ‘Absolute Dissent’ and ‘MMXII’, this record finds Killing Joke at their very best, one moment a glorious celebration, the next a sinister denouncement of the forces behind the new world order. Opening tracks ‘Autonomous Zone’ and ‘Dawn Of The Hive’ are the perfect opening for an album that drives ever forward with a relentless sense of righteous endeavour. In many ways, it’s their most successful mix of their original, more tempered style and the harder sounds of recent albums. ‘New Jerusalem’ is a slower, more brooding epic that creates tension in much the same way as ‘Communion’ or ‘Inside The Termite Mound’, before the relative release of ‘War On Freedom’. ‘I Am The Virus’ recalls the primal spirit of ‘The Wait’ whilst making its’ own point as one of the most furious moments on the album. A limited CD version also includes a bonus disc, featuring an additional five tracks (which are all good enough to have been on the album itself) so this is probably the format you’ll need to get. Trust me, it’s a record you should have.
KLEISTWAHR. The Return CD (Fourth Dimension) Gary Mundy was one of the pioneering figures of the genre now-known as ‘power-electronics’ (it had no such pigeon-hole at the time) working with the band Ramleh and establishing the Broken Flag imprint. Kleistwahr has continued since those days as his solo project. This album was originally released in 2009 on the Noiseville label but has long been out of print, so Mundy has taken the opportunity to remaster the original recording (having been unsatisfied with the original release) and also to include two additional tracks (‘The Storm’ and ‘The Resounding’) to present a more complete realisation of his original intent. The results are certainly impressive. Whilst the trademark sonic assault is very much in place, in other places ‘The Loss’ also features discordant keyboards to give it the air of a demented carnival, while ‘Elegy For Nova Scotia’ is a much more melancholic piece. It’s certainly not going to be to everyone’s taste, but if you’ve ever enjoyed extreme electronic music, then this is certainly a great example by one of the seminal artists … and if you ever want to annoy the neighbours, look no further !
LE BUTCHERETTES. A Raw Youth CD (Ipecac) This is a really exciting prospect. Imagine a garage band being fronted by a Latino-version of PJ Harvey. Teri Gender-Bender is certainly a woman with a mission, taking the raw energy of rock’n’roll but directing it with intent to cross boundaries and shatter any limitations. Her vocals create textures and emotions while the music rushes to keep up, transforming rock into Art without ever being arty. No wonder the likes of Iggy Pop and John Frusciante were more than happy to contribute to the album. From swampy blues through to L7-style stomping hard rock, this is a band who really mix things up convincingly, and with Teri at the helm, I’m sure we can expect some truly great things from them from this point onwards.
JESSE MALIN. Outsiders CD (One Little Indian) Hot on the heels of the recent ‘New York Before The War’, Jesse Malin returns with a new album that continues the more upbeat approach. It has a real sense of a band enjoying themselves and using that to further their creativity. Influences are coming from all directions, embracing the environment but also staying true to his rock’n’roll roots. In some ways it reflects Joe Strummers’ eclectic approach to his solo albums, although at the same time tempered by Paul Westerbergs’ intuitive grasp of pop melodies. J Mascis makes a blistering appearance on the track ‘Here’s The Situation’, ‘Society Sally’ sneaks a funky groove into the mix and ‘The Hustlers’ instigates a suitably-jazzy Beat atmosphere. There’s also a moody acoustic version of The Clash song ‘Stay Free’ which, despite the inexplicable mispronunciation of ‘Streatham’, is a genuine moving performance. I expect, as with the previous album, it’s going to take a while to fully appreciate this record as I seem to pick up more nuances every time I listen, but that just adds to the enjoyment. This is one you really need to check out.
MASTERS. Rutger Hauer / Scatman Crothers 7” (Adaadat) Multi-national band who, for this project, create Kraut-rock inspired soundtracks inspired by the titular actors. The sounds bring back images and memories of the subjects and, although two very different performers, they work well together in this one package. ‘Scatman’ is obviously a lighter subject than ‘Rutger’ but in no way less effective. In fact, if anything, the contrasts work to accentuate the character of the individual pieces. It’s a very intriguing and compelling single and, by the end of it, you can only hope that there will be a whole album’s worth of this material in the near future, to give it the space to really develop and realise itself. A great little record and I trust there will be more soon.
MIDRAKE. s/t CD (Monster Zero) Pop-punk from Switzerland. But before you groan at the mention of that genre, these guys refer back to that period before it all became clichés and big business, with more in common with bands like Sloppy Seconds, The Riverdales or Bracket rather than the predictable dross that it became. They have witty lyrics, some great tunes, plenty of energy and sing in English (the Swiss have a choice of languages) which makes it far more easy to follow for the likes of me. This is a good debut and certainly suggests this band could have some great records ahead of them.
MISFITS. Somekindahate EP (Devillock) Five tracks recorded live in Washington DC, 1982. I don’t think this material has been on vinyl before now, but I may be wrong (there are so many Misfits bootlegs !) Sound quality (mixing desk ?) is pretty good (energy and attitude rather than note-perfect) and a nice fold-out sleeve featuring new artwork and a repro of the gig poster (Misfits, Necros, Government Issue and Void, all in one show !!!) It’s one for the collectors, maybe, but a rather nice one at that.
MOLOKEN. All Is Left To See CD (Temple of Torturous) If I was to say this was a mix of Death Metal and Prog Rock, that would probably put-off a lot of people from the get-go, but in this case, that’s the easiest starting-point for a description of this album. This is clearly a band who have no intention of being trapped within genres, and as such, they bring out the best in their music. On the whole the album is very-much bass-driven, with the vocals generally on the extreme-side, but you’ll find plenty of unexpected melodies within all of this, as well as interludes that conjure up nerve-tingling atmospherics. The true strength of this record lays in the contrasts between mood, tempos and delivery, making it unpredictable, idiosyncratic and entertaining. There’s plenty of drama in what they produce but it certainly rocks when it needs to, and at a mere 30 minutes in length, they certainly avoid the pitfalls of pretension that Prog-tendencies often encounter. I really wasn’t sure what to expect when I started listening to this album, but it kept my interest all the way through and I’m already looking forward to hearing it again. If you can listen without preconceptions, you should be in for a treat !
THE MUGWUMPS. Can’t Be The One CD (Monster Zero) Monster Zero seem to be on a mission to unite the countries of Europe through their mutual love of Ramones-style pop-punk. And what’s wrong with that ? They’ve got a better chance than the evil hordes of politicians ! This time, the ambassadors come from Austria, offering their third album for the good of the cause. Great snappy tunes played with plenty of punch recalling Da Bruvvaz, The Queers and the more frantic moments of the early Lookout Records catalogue. I’d much rather vote for something like this than the deceitful hucksters you find on the Ballot sheets. Fast, fun and fabulous, this makes more sense than a million manifestos.
MY HOME ON TREES. How I Reached Home CD (Heavy Psych Sounds) A relatively young band from Milan who draw on deceptively simple hard rock riffs, recalling the likes of Sabbath through to Kyuss, but add an almost psychedelic flavour to the arrangements to give it a more dramatic, imaginative sense of purpose. And to take it even further, they have the powerful, expressive vocals of Laura Mancini, who comes across like a deranged Grace Slick, or perhaps in a similar vein as Lora Norton of the Chuck Dukowski Sextet. There are definitely elements of Acid Rock, Punk and even Grunge in there as well as everything else, and it’s all these differing ingredients that make this album really stand-out. You can pick out certain influences at different points, but for an album that sounds so cohesive, you really don’t know what’s going to happen next. I like that ! You have a duty to play this loud and often.
THE NATURALS. Hive CD (Howling Owl) An organic collision of contemporary dance culture, post-Industrial electronic experimentation and even hint a of rock. It’s as much about the drama of the soundtrack as it is about the beats, with each playing an important part in the results. Hailing from Bristol, they’ve obviously been exposed to the recent music of that city as well as being aware of the influences that came together to create it. They’ve taken it all one step further in forming a merger between moody electronic ambience and the melodrama of hard rock (with even a touch of prog at times…)The success of this album is that it all comes together naturally (no pun intended) without any of it sounding clumsy or forced. It won’t be to everyone’s taste, but if you have an open mind, they will be plenty to enjoy and keep your attention.
NEON BONE. Sick Of Me EP (Monster Zero) Real-life Munsters (from the city, not the TV show, dummkopfs) playing very high class melodic punk rock. Starts from the Ramones (where else ?) via The Queers and a quick detour through the Descendents. The title track bounces along in an instantly likeable style, while ‘Bucket Full Of Shame’ adds Epoxies-style New Wave keyboards to great effect. ‘Rock’n’Roll Heart’ raises the tempo again, declaring the wonders of a rockin’ lifestyle, and ‘Dreamgirl’ ends the EP with a slice of Beach Boys pop treated to buzzsaw guitars and raw harmonies. It’s all over in eight minutes, but every second of it is great ! If this is the kind of quality we can expect, I can’t wait to hear some more .
NOT TONIGHT & THE HEADACHES. If You Were Real You’d Do Your Own Stunts CD (Boss Tuneage) Despite the jokey name, this band write some really good songs with well-written lyrics and great tunes. It’s mostly uptempo, a bit like a cross between NOFX (before they became boring) the more melodic moments of the Hard Ons and maybe even No Use For a Name. They really don’t sound like a band based in Grimsby, but then again, I’m sure they wouldn’t want to ! This is their second album and really builds nicely from their first, with a great production and arrangements, plus guest appearances from members of China Drum and Canadian pop-punkers Bum (what were they doing in Grimsby ?) With a record like this, it really isn’t too difficult to imagine this band becoming very popular.
OLD MAN LIZARD. S/T CD (Heavy Psych) The first UK band on Heavy Psych, I think, and they well-deserve the place. A heavy mix of hard rock riffs and swampy blues, it drives along at its’ own pace, regardless of the environment, and creates some interesting diversions to the ongoing riffage. Vocals are a mix of Blues-drawl and aggressive yells that produce an almost disturbed undercurrent to the proceedings. I do have to say that the overall production does tend to favour the guitars above all else (perhaps that’s what they wanted ?) and maybe bringing to vocals higher in the mix could have added to the clarity, but regardless, this is a fine piece of hard rock and there’s plenty to enjoy on the platter.
PARANOID VISIONS. Cryptic Crosswords CD (Overground) Having released six new albums since their reformation in 2006, no-one could suggest that Paranoid Visions haven’t taken their task seriously. They’ve also created more room for themselves to experiment and explore different styles and ideas, certainly not content on just retreading the same old material. This album, as perhaps suggested by the title, isn’t as straightforward or direct as previous releases, although it lacks no less a punch. In many ways it draws on a darker strand of punk, bands like UK Decay or The Wall, who found new ways of putting their ideas across, not relying on slogans but getting the listeners to think for themselves. Although some may see this as being less angry than previous recordings, in reality it’s merely found a clearer way to express itself, picking out the targets with more precision and making the point more poignant. There have also been line-up changes since the previous album, but they’ve made the most of this with the new rhythm section really proving themselves and Aoife now handling more of the lead vocals alongside Deko. I’m sure that existing fans will embrace this album as another fine addition to the bands legacy, just as much as new fans will also be drawn in to the bands latest step forward.
PENETRATION. Resolution LP (Polestar) I always thought that, if Penetration were to make a new album, they could be relied upon to do it properly. This record exceeds even those expectations. It’s a natural progression from their first two albums, as if they had taken the next step back in 1980 instead of leaving a gap of 35 years. It’s more polished in some ways (obviously, the band are more accomplished by this point) but lacks none of the energy and inventiveness of their old material and, if anything, actually challenges itself to better its’ predecessors. The intro track and ‘Betrayed’ introduce a band that are instantly recognisable but at the same time here in the moment rather than merely revisiting the past. One of the most remarkable assets is that Pauline Murrays’ voice still sounds so fresh and unique, most notably under-lined on the third song, ‘Just Drifting’, an incredible piece of pop that a million indie bands would die to have written. Elsewhere, three of the songs from the (relatively) recent singles on Damaged Goods are re-recorded to even better effect, and ‘Beat Goes On’ is another celebratory slice of melodic punk that wouldn’t have sounded out of place on a recent Buzzcocks album. (Coincidentally, original Buzzcock John Maher provides drums for this record – having crossed paths with Penetration many times over the years, he fits in perfectly.) ‘Calm Before The Storm’ is an anthem much in the same spirit as ‘Shout Above The Noise’, while the closing track, ‘Outromistra’ is perhaps the most experimental moment, combining a repetitive riff with a narrative taken from an E.M.Forster story. This is a brave album that delivers everything that a fan of the original band would want to hear, while also opening-up possibilities for a new, wider audience. An essential item.
THE PONCHES. Hum CD (Monster Zero) Second album from this great Italian melodic punk band, packed full of great tunes, catchy vocals and adrenalin-charged velocity. Having been together for a full ten years, they’ve honed their style into a perfect party soundtrack, with loads of songs that will just make you want to get up and dance. The influences are clearly American, but not the obvious ones. Think of The Queers, Chemical People and JChurch, perhaps, along-side the omnipresent Ramones (those boys are still everywhere !) Pretty much every track on this album would make a great single release, so there certainly isn’t any filler material. Twelve songs in twenty minutes, but it’s more complete than most albums will ever be. If you don’t like this, you don’t like fun !
PUBLIC IMAGE LTD, Identity Factory LP (Drak) Back in 1979, PiL were due to make the journey up to Manchester to appear on Granada TV. At the last minute, they decided to book a low-key gig at the Russell Club (soon to become known as The Factory) both to try-out new material from the as-yet unreleased ‘Metal Box’ album and also to play live for the first time with short-lived drummer Richard Dudanski. Advertised only by word-of-mouth, it became a legendary gig and for many years only a scarce, poorly-recorded audience tape served as any kind of document of the event. Which made it all the more remarkable which a really good quality mixing desk recording recently showed up, capturing the gig in all its’ glory. What this album features is two songs from the first album (‘Public Image’ and ‘Annalisa’ and four extended tracks form the forthcoming ‘Metal Box’. The performance is incredibly powerful, showing just how great this line-up could be when they did decide to play live, but it’s also interesting to hear how much fun they’re having, with Lydon joking when the first attempt of ‘Public Image’ is played too fast and quickly falls apart, and then Wobble sarcastically introducing the band members with music press-style plaudits. It also goes to underline how odd it was that the original version of PiL played live so infrequently. Admittedly, they didn’t want to follow the normal rock-band on-tour format, but when you hear them playing as well as this, it’s bizarre that fewer people got to see the original PiL line-up than the original Sex Pistols. This is by far the best PiL bootleg I’ve heard to date, and I have no qualms describing it as an essential purchase. It may take some time to track it down, but trust me, it’s well-worth your time and effort.
RICCOBELLIS. We Are On A Mission CD (Monster Zero) Italian three-piece punk band with more than a passing fixation for the Ramones, I have to say. But at least they don’t just stick to the obvious references, instead going for a direction more in line with Dee Dee’s solo (punk) albums, full of humorous, self-derogatory lyrics and lovelorn scenarios. There’s even an appropriate tribute to Dee Dee himself, and a sad tale of losing your sweetheart to the temptation of Tommy Ramone ! It is a fairly predictable album, but it’s all meant to be fun and on that score, it certainly delivers. Do you wanna dance ? This is gonna be a great place to start !
ROCKET FROM THE TOMBS. The Black Record. LP (Fire) In most cases, if a legendary band were to reform after some 35 years, you probably wouldn’t be expecting too much in the way of new material. However, Rocket From The Tombs came back after just such a hiatus and produced a fine new album in the form of ‘Barfly’. Since then, both Cheetah Chrome and Richard Lloyd have left the band so it comes as something of a surprise that this brand new album is even better than ‘Barfly’. Taking the original RFTT ‘avant-garage’ ethic, the current line-up (featuring only David Thomas and Craig Bell from the original band) have produced a record that starts with the sinister-sounding, understated melodrama of ‘Waiting For the Snow’, before diving headfirst in to the furious condemnation of ‘Welcome To The New Dark Ages’. They stay in gear for a raw version of ‘Strychnine’ before a new version of their own classic ‘Sonic Reducer’, genuinely sounding even better than the previous RFTT recordings. ‘I Keep A File On You’ maintains the pace, before side one ends with the Stooge-style temper of ‘Nugefinger’. Side Two starts with ‘Spooky’, the only track that really crosses over in to recent Pere Ubu territory, although it certainly doesn’t sound out of place on this record. The tone of this side is more restrained, although ‘Read It And Weep’ certainly doesn’t hold back. Overall, this is a great album that maintains the reputation that RFTT so rightly deserve. If you ever enjoyed their recordings from the Seventies, then there is no reason at all why this won’t blow you away as well.
ROOM FULL OF STRANGERS. Bad Vacation CD (Godless America) You’d probably have to call these guys a ‘punk’ band, if anything, but only with the understanding that they’ve got as much in common with Devo or Rocket From The Tombs as they have with The Stooges or Dead Boys. They certainly seem to have that odd Mid-Western mix of raw rock’n’roll and a desire to experiment, even though they’re from somewhere else altogether. Also, to their credit, they have a knack of tempering their more peculiar moments with a fine grasp of melody that anchors the songs in a strange but accessible place. Produced by renowned New York underground producer Kramer (not the gut from Seinfeld, but that may have been interesting in itself…) the album comes together as a great blend of psych, punk and pop that will definitely keep you on your toes. Definitely one to listen out for.
RUDI. The Cloak of Darkness EP (Spit) Four previously unreleased recordings from the magnificent Rudi. One of the classic Northern Irish bands, Rudi should have been far more successful but for reasons I have never been able to fathom, it did not happen. Listen to any of their original singles and you’ll hear what I mean. This EP features a set of demos recorded in London during 1981, alternate versions of tracks that appeared on subsequent singles. ‘Crimson’ is an awesome slice of spikey pop, while ‘Bewarewolf’ is so insistent you won’t be able to get it out of your head for days (and you’ll like it !) All four tracks are only demos and so not as complete as the later releases, but if you ever enjoyed this band, you’re certainly going to want to hear this record.
DAN SARTAIN. Century Plaza CD (One Little Indian) Taking a side-step from his usual band-format, Dan Sartain devotes this album towards an electronic approach, more in line with Alan Vega and Suicides’ minimalist reinvention of rock’n’roll. Indeed, he even covers ‘Wipeout Beat’ with a suitable gravitas. But rather than merely trying to imitate a band that were obviously an influence on his own music, Sartain wryly includes hints of Eighties electro-pop (which, in turn, owed quite a debt to Suicides’ pioneering work) to give the album a less confrontational edge. Of course, that in itself will be confrontational to fans who prefer a more traditional approach to rock’n’roll, but I suspect Dan Sartain probably enjoys ruffling those expectations. The irony is that many of the early electro-pop bands often dealt with the same angst-issues as some of the early rock’n’rollers. Whichever way you look at it, this album makes perfect sense in the Dan Sartain scheme of things and, while its’ probably not going to be his ongoing direction, this album is just as valid as any of his other work.
SEX PISTOLS. Keeping It Cool LP (SP) First time on vinyl for a rare recording of the Pistols during their mid-77 Scandinavian tour, this particular date occurring at the Pingvin Club in Oslo, July 20th. It’s not the greatest sound quality, being recorded in the middle of the audience and consequently lots of crowd-noise, but it does capture the atmosphere rather well, from the moment that the first attempt at ‘EMI’ is cut-short (“Nobody throws a bottle at me !”) through to a boisterous versions of ‘No Fun’, ‘No Feelings’ and ‘Problems’ that really sounds as if they’re enjoying themselves. Sid’s bass playing was never going to be as accomplished as Glen’s, but (unlike the not-much-later US tour) he was making an effort and sounding pretty competent. Steve and Paul hold down the power while John gives a great performance. Although this is probably going to be one for the collectors, in many ways it captures the spirit of the gig much better than a pristine recording would ever manage, giving you a real sense of what the gig was about.
THE SHIFTING SANDS. Cosmic Radio Station CD (Occultation) New Zealand based band formed around three friends who run the local underground music venue, Chick’s Hotel, and conspire to take the legendary Dunedin alternative scene ever forward. They start out with a form of dreamy, psychedelic pop that recalls the likes of Galaxie 500 and even Guided by Voices in their lighter moments, but then turn up the fuzz to sound like a collision with classic Dinosaur Jnr. There are also more than a few hints of some of New Zealands’ better known alt-guitar bands, like The Chills or The Clean, while David Kilgour also makes guest appearance on a couple of songs. It’s an almost hypnotic soundtrack that will comfort you while at the same time leaving a hint of anxiety, wondering what will happen next. A very promising debut, indeed.
SPIZZENERGI. City of Eyes. 7” (Plane Groovy) The first new vinyl from Spizz in ages, and I’m glad to say, it’s been worth the wait. ‘City of Eyes’, which you’ll probably recognise if you’ve attended any of their recent gigs, is a great tune with an insanely catchy chorus, instantly recognisable as Spizzenergi even if it has got a much bigger, guitar-based production than earlier material. The b-side features a new version of ‘Soldier Soldier’, with a suitably more sparse production but probably more in line with the livelier gig-performances rather than the original single. Much that I love the original Spizz albums, it was always the singles where he / they were really in their element, short, snappy bursts of sci-fi pop, and this is just another great example. I can only hope that he doesn’t keep us waiting quite so long for the next one !
STAY CLEAN JOLENE. SCJ CD (Just Say No To Government Music) Made up of various members from Northern English punk bands like The Great St.Louis and The Leif Ericsson, this is a very accomplished slice of raw UK punk rock that matches the likes of Leatherface, Snuff and Travis Cut with hints of the last two Descendents albums. Big tunes, good lyrics and a great production brings everything out to the front, making sure you get all the sound and energy that this band has to offer. For a debut, this really is remarkable and I’m looking forward to catching them live (if they can face coming down South and having to pay silly prices for their beers…) There’s not really much else I need to say. Great, invigorating punk rock. Just go and buy it !
STIG OF THE DUMP. Kubrick CD (Lewis Recordings) Rap can be a really great format when it actually has something to say. Unfortunately, for a genre so focused on the voice, too many of the artists have very little imagination and end up bragging and boasting like the worst kind of heavy metal lyric (‘I’m rich, I’m the best, I treat women like shit…’) Fortunately, there are some that are intent on taking the format much further and creating a real statement. Although Stig Of The Dump is capable of employing rap clichés, it’s the way he goes off at tangents both musically and lyrically, that makes this album so interesting and entertaining. There’s a genuine reality to the words, even the bragging sounds like real kids talking to their mates, and there are plenty of more left-field excursions within the tracks to keep you on your toes. This isn’t a style that I usually follow, but every so often something cool will come along. This is certainly one of those occasions. Give it a listen, it may just confound your expectations and knock you over.
STONE THE CROWZ. Protest Songs 85-86. CD (Overground) Formed in East London during 1983 and taking their name from a Rudimentary Peni lyric, Stone The Crows were a part of the Anarcho scene which was very much established by the time they arrived. As such, it’s easy to pick holes and claim that they covered familiar ground, but that would be ignoring the fact that they were obviously passionate about the themes of animal rights and anti-establishment protest. Indeed, in the pre-1984 Thatcher era, it was difficult for any free-thinking individual to feel any other way. Musically, there are obvious nods towards their influences (Flux of Pink Indians on the earlier tracks, with the heavier edge of Conflict coming through later on) but they have a real sense of purpose and again, it’s that passion and intent that really sets this apart. At the time, they only released a couple of tracks on compilations but this collection brings together all of their demo recordings (15 in total, plus one live track.) Ex-members later went on to form Axegrinder, while drummer Steve Beatty founded both the Endangered Musik label, and later on, Plastichead. Maybe not the greatest band of the era, but certainly one that deserves to be heard again.
THE SYSTEM / VIRUS / BUG CENTRAL EP (Grow Your Own) I bought this just for the new track from The System, but found myself impressed with the other bands as well. Having not been a fan of Bug Central when I’d heard them before, this track, a condemnation of Police abuse, is a great chunk of punk that makes a very valid point. Virus accentuate their rant against capitalism with an excellent production that even finds space for a Rocket From The Crypt-style brass section. And The System deliver their first new song in thirty years, still very much in their original style of deceptively simple punk riffs, but putting so much power and intent into the delivery that it’ll knock you sideways. This is an excellent record, all three bands sound great, and right now we need the anarcho / DIY scene more than ever !
TAURUS TRAKKER. Death Coaching CD (Taurus Trakker) Up until now, Taurus Trakker releases have been hinting at their potential, sounding good but not yet fully realised. This, their third album, appears to be where it all comes together. It’s a great rock’n’roll album complete with a conscience, in much the same way that Bermondsey Joyriders have reinterpreted the classic sounds of early-Stones, Johnny Thunders and Wayne Kramer to create a contemporary style of their own. In the case of Taurus Trakker, you can probably add Mott The Hoople and the Kinks to the recipe, but the results come out sounding very much their own and the lyrics place them firmly in the here and now. The album has a great live feel, recorded using vintage equipment that has clearly added to the warmth of the production. Mick Jones makes a guest appearance on several tracks, but instead of being a stand-out, just adds to the overall direction (having obviously shared many of the same influences himself.) Martin Muscatts’ vocals and guitar are now sounding really confident and focused, while Alison Phillips’ delivers the solid drum-beats that nail everything down in place. The addition of a permanent bass player in the shape of James Simmins has also added to the overall sound and also allows more space for the guitar. Quite simply, this is a fine album with some great songs and a great sound. You really ought to make an effort to hear this record or see them live. This is the kind of band that deserves your support.
TAU CROSS.s/t LP (Relapse) First release from the band formed by former Amebix frontman, Rob Miller, alongside members of Voivod, Misery and War/Plague. Coming after the final Amebix album, ‘Sonic Mass’, this certainly had a lot to live up to, but the new band have done well for themselves. Obviously, with Rob at the helm, it does still have the Amebix sound but also adds its’ own variants. There’s more use of keyboards, although never too prominently, and more scope to guitar sounds. It doesn’t come together as such a complete piece of work in the same way that ‘Sonic Mass’ did so well, but that may well be due to the dynamics of the band coming together in the studio and not yet having played live. Regardless, the songs are powerful and convey the atmosphere of the lyrics perfectly. This could easily have been the next Amebix album, but good-on Rob for being honest and presenting it as a new project after the departure of his brother, Stig. This is a step-forward and an indication that there is still much more to come. Mixing contemporary metal with their punk rock roots, Tau Cross have found a way to create a real hybrid that challenges both genres in an exciting and innovative way. This is one that really should not be missed.
THIRD EYE BLIND. Dopamine CD (Mega Collider) I don’t know what I expected from this band, but having listened, I can’t say it’s really left any impression. Much like Coldplay, they have nice tunes and a sorta light-weight Arena rock enthusiasm, but it doesn’t connect on any kind of personal level. Just how they’ve managed to sell so many records is beyond me. It’s not bad, but just not special. What can I say – a lot of people must have very low demands on their listening time.
THREE CANE WHALE. Palimpsest CD (Fieldnotes) A trio utilising traditional instruments to create a contemporary reinterpretation of folk styles. The album steers clear of barn-dance clichés and veers more towards filmic atmospheres, at times reminiscent of Morricone’s more contemplative moments. The music is entirely acoustic and instrumental, often with a rather minimalist approach, and benefits from a clear, warm production courtesy of Adrian Utley (Portishead) which gives it a character all of its’ own. To restrict it merely to the folk genre would be to deny the scope of its’ artistry. To be honest, when I saw the press-release, the phrase ‘modern folk’ was rather off-putting, but this album is almost definitely not what most people would expect from that description. Deceptively simple, it has a stark beauty that could easily appeal to a much wider audience.
THRONELESS. S/T CD (Heavy Psych) Swedish three-piece who take the concept of the power trio to its’ extreme. This is a feast of down-tuned malevolence, almost drone-like in it’s relentless, bulldozer-paced riffs. Seriously, this verges in to territory covered by the likes of Throbbing Gristle or Coil, with even comparisons to be made with Tony Conrads’ repetitive drone style. But it’s also as heavy as it can get. Imagine those early Gore albums being played at half-speed for some idea of the results. It’s mostly instrumental, but when the vocals do emerge, the lyrics take the sentiments of ‘Sabbath Bloody Sabbath’ to their ultimate conclusion, decrying a society that encourages sheep rather than individuals. I would love to see this band live, I’m sure that would be an amazing experience. Beyond any doubt, one of the best releases on Heavy Psych to date.
JOHNNY THUNDERS. Daddy Rollin’ Stone 10” EP (Remarquable) The second release is a series of choice-cuts from the Johnny Thunders’ archives, and again, the selection just can’t be faulted. Four tracks recorded in 1978 alongside collaborator Henri Paul, plus the awesome rhythm section of Phil Lynott (Thin Lizzy) and Mike Kellie (Only Ones.) Side One kicks off with the title track, a cover of the Otis Blackwood tune that was later re-recorded for his ‘So Alone’ album (possibly not as well) before diving head first in to a blistering version of ‘London Boys’. Side Two opens with the rare track ‘New York’, a rough sketch of a song that Johnny was still only working on, complete with his improvised vocal line, and the EP closes with an early version of ‘Hurtin’’, based around an Henri Paul song but re-fashioned in Johnny’s inimitable style. All four tracks are great recordings and previously unreleased, but as if that wasn’t enough to have you drooling, the packaging is another excellent presentation. Yellow vinyl (plus free download), a great sleeve featuring previously unpublished colour photos, and a fold-out poster featuring further photos from the actual sessions and extensive notes. If this doesn’t have you licking your lips, you simply don’t deserve it. Great material, put together by fans, for fans. It doesn’t get much better than this.
TURIN BRAKES. Lost Property CD (Cooking Vinyl) A band who have steadily progressed and developed over the last16 years, maintaining credibility and a strong following. They may have had hit singles in their early career but instead of playing it safe and sticking to established formulas, they’ve continued to explore the potential of their material. They’ve obviously settled on this project as a long-term endeavour and intend to make the most of it on a creative level rather than just pandering to commercial success, which has to be applauded. They take a mix of psychedelic-tinged Sixties pop and rock but transfer it into a contemporary setting, in much the same way that Flaming Lips work (although not necessarily with the same results.) It has a familiarity and warmth that will appeal to a wide audience without becoming obvious or patronising. Few bands are creating pop music with a view to longevity these days, but Turin Brakes certainly seem intent to see how far they can take it.
UNDERGRUNNEN. s/t CD (Jansen) Norwegian band exploring the same kind of territory as the very-early, Syd-propelled Pink Floyd (in their freak-out mode) mixed with primal Faust and perhaps even the MC5’s more eclectic moments. They start with very simplistic, repetitive rhythms and gradually let them expand and find their own way, building into diverse and sometimes climatic directions. Everything sounds natural, you don’t get the feeling that it’s thought-out too far in advance and rather just takes its’ own path. The fact that the vocals are in Norwegian actually adds to the instrumentation instead of detracting from the overall effect. Interesting and at times, engrossing stuff.
WORTHY VICTIMS. A Bitter Future EP. Six new songs from this young, Brighton-based band who play a brand of hardcore probably closest to some of the bands that came out of the mid-to-late Eighties DC scene (Rites of Spring, Dag Nasty) although there are also comparisons to be made with various releases on the Gravity label during the Nineties, and even more recent bands like At The Drive-In. The production is suitably sparse, capturing the band with an authentic live-sound. It’s mostly based around the big chiming guitar sound which at times is almost discordant but then at other points introduces some fine Brian Baker-style melodies. The drums have a very sharp, clean sound, while the bass is perhaps a little too low in the mix, but the vocals scale over the top with a raw, impassioned delivery. This is only their second release to date, but it certainly sounds as if they’re really putting something great together. One to watch out for ! The songs are available to download from - https://worthyvictims.bandcamp.com
V/A. Trade & Distribution Almanac Vol.4 CD (Adaadat) Over an hour of electronic-based music, featuring artists as far afield as Italy, Los Angeles, Paraguay and Japan. That being said, the music comes together as a surprisingly coherent collection, flowing from one piece to the next in a natural progression rather than just being a selection of one band after another. Featuring a variety of approaches and degrees of accessibility, for the most part this is an enjoyable, sometimes catchy, other times unsettling compilation and deserves to be heard all the way through. For a thorough view of the state of contemporary electronic music around the world, you really can't do much better than this selection.