'Paranoia'/'She's Got A Gun'
(TKO) CD 2002
NY Relix seem to be the darlings of
the peacock punk brigade emanating
out of New York City at the moment.
They have taken over the
Devotchka's crazy coloured mantle
as the band to be seen with, who
eagerly promote early 80's spiky punk
in the Big Apple and abroad. They
seem to be more hard working both
live and in the studio too. Not bad
really for a band barely 4 years old.
This collection combines the bands
first two EP's 'Paranoia' and 'She's
Got A Gun' on one album for this TKO
release. A label who pride themselves
on quality streetpunk.
NY Relix do
deliver an extremely polished modern
punk sound that various other sources
rightly claim to have certain
qualities. I can't disagree with
that conclusion but maybe these
energised punks are doing it without
the Bondage conscience or aloofness,
which is no bad thing either. I reckon
Deadline may have a sneaky
influence on this bands sound too.
Their song subjects are less political
and more sci-fi, featuring bloodlust,
stalking and Big brother. I like the
clean almost claustrophobic
production job on these recordings,
it's very tight along with their playing
and with no flaws. Although the band
could do with less precision and more
swagger to make em less synthetic
and more humane in this deformed
Punk world. Erika's robotic vocals
especially are clinical, clear and give
the band an almost automaton appeal.
She don't sound real! More like a
pretty programmed clone
reverberating the punched in dogma.
Maybe this is the way punk is going
these days? The lead guitarist Murat
(who's now left) and been replaced by
Warren has a neat sound in his slick
axework. Some good breaks get loose
every so often which I think we could
do with hearing more of. I can't really
see why this band can't go onto bigger
and better things if they can escape
from their one gear mid-paced sound
on occasion. Coz a lot of these tracks
do sound very similar indeed. They
need to take a few risks and break out
the safe formula they've created for
themselves and see what happens.
Highlights were
'Paranoia', 'She's Got
A Gun'
and the very poppy sounding
'Fuad's Delight' amongst the 11 tracks
on show. Hope their new album
due out soon see's em breaking into
newer territory. If you like your punk at
a sharp, streamlined pace with silicon
vocals you'll like this.
TKO Records

'The Complete Singles Collection'
Now here's a collection to savour. This
record captures
Rudi from their
snottier energetic early late 70's
development, right up to their
synthesized final 45 and eventual
demise in the early 1980's.
Rudi can't
fail eh, well on this collection they
don't. However it begs the question
why they're the one band that got
criminally ignored by the deaf A&R
departments of the late 70's, while all
around em bands were getting
snapped up? Anyway forget what
could've been and concentrate on a
timeless classic in the shape of
most famous track the addictive
Time'.'Big Time'
kicks off this album
and is a song that conjures up so
much to all who hear it. It's all about
the spoiled kid in the neighbourhood
or the band who had it all, and how
having everything on a plate can
mean fuck all in reality. Great
observations, sarcy lyrics and that
fucking great guitar break with a raw
wobbly lone note, makes this flawed
masterpiece classic. This song is still
fresh and stlll relevant today, so if you
ain't heard this track yet don't miss out
nick it, steal it or bootleg it coz it's that
good! There's something very alluring
about the early crop of Belfast punk
bands. Maybe it was the warzone they
were living in, or coz they were truly
hungry for a change? Well whatever it
was they had a great gift for the
attitude of punk that was aped by so
many and meant by so few. The follow
up single
'I-spy' shows a definite
improvement in confidence as their
playing gets a lot more adventurous.
Lots of guitar licks round this one off,
great stuff. The slow but atmospheric
intro to
'Genuine Reply' shows what
the band are really capable of even at
this early punk stage. It's just a
glimpse before they jump back up a
gear into a more frisky ending. The
clever echo on Brian Young's lead
vocal gives him a distinct 50's crooner
feel. Which sounds strange in print
reviewing a punk record but it works
so well. And that's another string to
Rudi's bow, they had original
arrangements. Also I suspect Brian
Young's roots in music were showing
through as he's now fronts Belfasts
only rockabilly outfit
Sabrejets. Again
taking no emphasis from his band
mates, co guitarist - Ronnie Mathews
and the rhythm section of Gordy Blair
on bass and Graham Marshall on
drums al contribute to distinctive
sound. 'The Pressures On' is probably
my second favourite track after
, with it's powerchord intro and
those Stuart Adamson (
Skids) dual
guitar riffs that create a fucking highly
compact song to play at the local pop
punkers. They keep up the momentum
with the punkier sounding
that owns one of those snotty
riffs you've heard everywhere over the
25 years. Like the
Clash, Rudi made
great use of the dropout to bass 'n'
drums in a lot of their songs which is
great when bands can pull it off, and

certainly can.  '14 Steps' which
appears late on in their career adopts
a neat synth run but nothing too
extravagant, and works well alongside
the regular duel guitar's. They end
with their final swan song
'Love Is
which never seen the light of
day till now, and is a long way down
the line from
'Big Time', but is still
capable of worming its way into your
brain as they go for that early 80's
electronic feel but with just enough
guitars to make it work. My only fault
Rudi and possibly one of the
reasons they never made it to a
bigger audience is some of their
songs are way too obscure lyrically to
carry the payload of the tunes. Pop
bands today can sing throwaway
rubbish and get hits but this band who
had so much more just don't have the
knack to pull the trigger as often as
they should've. But even so, they still
del;iver the goods more than most. If I
had to choose I'd go for this collection
of the definitive
Rudi as it's more
compact, picks the superior mixes and
should be heard by all walks of punk
life. In the words of the song... this is a
Genuine Replay.
SNOTTYNESS... Punk Rock Classic - World Contender - Worth A Listen - Average - Plastic - No Future
'A Call For Solidarity'
(Creep062) CDEP 2002
From the remnants of Violent
(who I wasn't that much of a
fan) come the way more impressive
Cranked Up. They boast the cream
of other local Philadelphian punk
outfits in their lineup. I gotta say this 8
track CDEP delivers a good solid
street punk sound. The cover art is
reminiscent of mid era
and the politics also reflect
Cranked Up give us mid-paced
well played punk rock, done with style
and a zest for a tune.
is one of my faves with it's
lovesick attack on the flowers and
chocolates brigade. It also boasts that
"I don't care" chorus, and
comes at ya like a lotta songs on
here...with a creative style of playing.
Pat Society's vocals are often
strangled and rough enough to sound
like he's just crawled out from under a
hockey scrum. They're not truly
impressive, but they work well on here
especially without those shouty
elements that featured in
offerings. And together with
Danarchys/Andys impressive fretwork
you know they're gonna make a
potent force.
'Guilty Conscience'
together with it's broken bottles sound
effects is a finding your inner self
kinda song.Now lets not get all
philosophical please but it does mirror
the band growing up into a very strong
little outfit. The sinister overtones of
the brooding anti-drug track
The Trail'
is another big hit here in the
Wolfs Lair. Followed closely by the big
guitar buildup of
'Under Their Control'.
Some of the subject matter is still
pretty predictable, like on the
'Our Culture' or the
'All Fucked Up'. But what
they lack in originality comes coated
with panache and imagination other
bands in this field ain't got. If you like
your punk rock done with an early 80's
slant and a today outlook, then look
no further than these PA punks.I just
heard they've rereleased this in
Europe with an extra 5 bonus tracks,
so get your mitts round that.

'Still No Future'
CD DEMO 2002
Brand new band here (to the Wolf's
Lair at least), from the wilds of
Norwich, UK.
The Incitors were highly
recommended by Jake from
, and you know what he's
dead right! They're a fucking very
unhealthy snotty addition to the
current tame UK punk scene. And on
this 5 track demo release alone, prove
we are still capable of dishing out the
dirt now and again. Talking of which,
they kick of with an anthemic
sounding duel male/female vocal
attack, called
'Mummy Said'. But
Dirt, the Incitors possess a
really big beefy guitar sound to add
fuel to their very snotty salvos. And if
you've heard
Dirt that makes all the
difference. Even the camp comic
intros before each song are very well
chosen too. This is a band with a lotta
shit to to kick, as well as a dry sensa
yuma hidden beneath the rage. Now if
like me you were a champion of that
classic early
Discharge guitar sound,
you'll fuckin love these, as they mix big
riffs with big digs of Anarcho protest,
so you get the best of both worlds.
This really comes to the front on
On CNN'.
See even the song titles
conjure up interest. The snotty male
vocal sounds like a very pissed off
Malcolm Owen (
The Ruts) in places
and takes precedence as they chug
into their best track of the bunch, the
really impressive
'Sadist'. Were
dragged like a piece of shit through an
animals viewpoint of the torture they
dish out in these vivisection labs. It's
got a fucking great catchy chorus of
"Sadistic Sadistic Sadistic
, that'll have ya singing
along to before you've even lit the
petrol bomb outside H.L.S.
are a band who hate coppers
too, which won't lose em any brownie
points in this neck of the system. But
what I like best about em is their heavy
style. They can incite a tune as well as
a riot, and that ability together makes
for a very lethal cocktail on record. As
the high pitched female vocal swaps
tales of CCTV invasion of privacy and
high profile policing on our streets, the
male vocals spits out very fittingly
"they're gonna get'cha!" They close
proceedings with a frantic cover of the
Partisans 'Police Story', just to show
they got pedigree too. Impressive
debut and a band to look out for. Got
no bands details or address?, but I'm
sure a web presence is only a matter
of time!

Demo CD 2002
The Meanwells are another new
bunch of Brummies to hit the Wolf's
Lair speakers within a month. And
they come baring a cartoony poppy
Ramones kinda take on this 6 track
demo. They Introduce themselves with
close connections to the previously
H-8 Target, and even share
some of the same band members. But
Meanwells sound totally different,
thank gawd! A more fun approach
makes for a way better proposition
than the other slightly non-convincing
angry mob. We seem to be inundated
with literally 'undreds of noisy shouty
hardcore merchants at the moment.
Pop punk don't seem to be such a
chore to listen to baring that in mind.
Maybe I'm subconsciously suffering
from a Pop-punk cold turkey?... but I
doubt it! The
Meanwells may mean
well to all their loved ones, but they
don't mean that much to me. This 3
piece even share the same
surname, which just don't sound as
good as
Ramone, now does it? This
debut don't leave a lasting impression
and with a name so drab you can see
why. At least the sound they produce
shows more potential. Best song of
the bunch was the infectious
mid-paced guitar on
'Crumb', which
has a slightly sinister feel, and is
probably the kinda song and direction
they oughta aim for more. The rest
are energetic but average workouts
with quirky themes that'll probably go
down a storm in the pages of Fracture
but I'm afraid they don't get me jerking
around. They end with an instrumental
'Cat burglar' which I actually
quite liked.
'The Great Satan' CD 2002
You can never underestimate the
song writing prowess of Mr Marky
Derita. He maybe an old '77 Santa
Barbara wanker who's just got married
to a young German bird, and
ultimately living out some of his own
hilarious song titles. But he's definitely
doing something right here as he
entertains us with even more wacko
punk ditty's for the dispossessed!
Marriage and numerous lineups
certainly ain't took the edge of this
bands massive catalogue. Mr Derita
may have lost his lifelong sparring
partner Jay Smith on this album, but
he's gained a well worthy combo of
reprobates to spread the evils of
everything silly in punk rock and the
world at large.
Derita Sisters keep
the quality high and deliver the goods
with some speedy punchy punk rock
tunes, without too many fillers
in-between. Gotta say after ten years,
and more albums than you can count
on both hands. This band should've
burned out many moons ago. But
NO...they just keep on coming back
and takin' the piss outta everyone who
needs it. On this 20 track release
they've rediscovered their clean cut,
but ultra bright production with some
fast paced piss takes to sneer at while
the rest of the out of touch punkers
brag to their mates about Good
Charlotte (are they really punk?).
These fuckers have the power, the
tunes and the ultra catchy ability to
seriously dent the youth market. But
I'm afraid their age, their integrity and
well dodgy lyrics won't let em through
those teeny school gates without an
arrest. Which is a fucking tragedy, coz
impressive numbers like
'Heino Says'
deserves your attention pronto. Don't
ask me who Heino is? But I suspect
he's well known on the Euro gig circuit,
as they create yet another
Buzzcocks meets the Dickies
anthem. Add this together with the fast
paced schoolboy humoured
Without A Punk Rock Name'
, which
gives us an A-list of punk rock alias's
to inspire us for our next attack on the
bourgeoisie. You'll be sniggering all
the way to the dictionary playing this
one. They take up a Middle Eastern
theme on this record (check out the
hilarious intro chant) what'll get em on
an Al Quada hit list before you can
say "
SHEEE ITTE!". Even the original
sleeve artwork was deemed too risky
by their straight laced German record
label, but we expected that didn't we?
And don't play
'I don't Wanna Go To
The Turkish Prison'
to your nieces
and nephews coz it's a fate that's
worse than death!!! The already out
of date
'Clash Reunion' is a fucking
hilarious song, and still worth hearing
just for the line
"It's too late they're
fat and old, Terry Chimes is on the
which has surely gotta be up
there for nomination in this years
classic lyric department. Do
yourselves a favour and check em
out, they'll put a smile on yer boat
race for sure.

'Totally Wired - The Rough Trade
CD (CMDDD461) July 2002
A massive 31 tracks here of prime
Fall, circa 80/83. Consisting of
tracks nicked from albums, singles,
live cuts and other obscurities. These
Northern oiks may have lost their
sinister thread/threat these days, but
this anthology is well worthy of
inclusion in any punks collection.
Some classics are on show here in
this double CD dose of white crap that
talks back. From the title track of
'Totally Wired' to the finale of 'Kicker
we get some of the most
original sounding Mancunian
antagonism were likely to hear this
side of the millennium. Totally catchy
northern prole statements and
observations, run wild over a
dislocated DIY landscape. From the
rolling tongue of Mark E. Smith the
scene is set. Smith a contender for the
ugliest man in pop, but a fuckin' wizard
with words is well on form...errrrr! He's
accompanied by some very simple but
highly addictive tunes that run with the
words and give em texture. You don't
have to be weird to be wired to dig
'New Face In Hell', that greets us with
the imaginative use of a 35p kazoo,
just to give it that all expense paid for
feel. And it ain't just the barren council
estate etiquette that makes this a must
hear, coz songs like
'Fit And Working
boasts a splendid shard of
guitar that'll hit you every time. Once
you've got used to the minimal
arrangements of Woolworth's guitar,
drums, bass plus the odd kiddy organ
extract or a milk bottle getting rattled,
you'll be playing this along side your
Motorhead if you've got a real sense
of adventure. This is testament to how
varied the punk umbrella can be, and
they really did produce so many great
tracks looking back. There's even a
live version of
'Rowche Rumble' the
pre 'E' pill head classic, followed
closely by one of their all time faves

'How I Wrote Elastic Man'
. We have to
remember Smith is in total control, but
would be lost musically without the
trashy backdrops that feed his twisted
Lancastrian brogue to the max. The
'City Hobgoblins' which
should've got em in the top 20 brings
this to full effect.
'English Scheme' is
fucking bang on in its view of the real
English Class system, so fuck all the
historians and those University
educated social workers, check this
out for the real deal.
'The Man Whose
Head Expanded'
brings into the fray
that tiny casiotone synthesizer as the
Mancunians explore anal
retentiveness and technological
loathing. Smith's the sole survivor from
'77, and goes through more lineup
changes than a Wednesday afternoon
in Bilston St. Police station. But the
quaint vibe of this band is retained
throughout. The
Fall bring in a bit of
glamour to their duffle coat outlook
with the introduction of Brix Smith. She
became Mr Smiths new American wife
before the divorce, and takes lead
vocal on the violin clad
'Hotel Bloedel'
. However we soon re-enter the very
bleak English
'Winter', that was in
actual fact recorded in the home of
Elvis P. The quirky
'Eat Y'self Fitter'
only condones the fact that these may
not be to everyone's taste, but I
couldn't really find any tracks on here
that don't own some unique trait and
this selection don't even cover the
'Witch Trial' period. So be a devil and
hear it for y'self.
CD (PRANK056) 2002
Can't say Grimple were even remotely
familiar? If you, like me are stumped by
the name (I think it means having fun?)
and wanna know a bit of band history,
well all I can tell you is they're from the
early 90's US scene and this is a large
slice from their recorded repertoire.
Also these energetic, dope smoking,
drunk punks from the East Bay of San
Francisco had the rare ability to pack
out the Gilman St. punk Mecca. An
accomplishment not too many bands
did in those days apparently. They've
also been likened to that other Gilman
St. outfit, (early)
Rancid. And I can
see from this rabid 22 track collection
why! Despite the cuddly name they
certainly know how to let rip with
frenzied attacks of incomprehensible
lyrics, sung to lots of bass solo's and a
backing track of rifferama guitars. But
Rancid these ain't! A lot of their songs
off their debut album sound way too
samey for me. How many times can
you listen to a rant machine gunned
across a similar riff? This collection
features a 7" EP, a 3-track demo plus
their 15 track debut, affectionately
titled 'Up Your Ass'. Even record label
magnate Ken Prank administered the
impressive sleeve artwork. Well good
artwork, chunky packaging and biting
lyrics is all good 'n' well, but a lot of
Grimple's style is predictable for the
first 15 or so tracks....fast as fuck
blasts done by sore-throated punks is
as common these days as UK tartan
bondage worn by US punks in hot
climates. How many times have we
heard this combination before...I've
lost count? They do have a message,
all be it very Anarcho and righteous in
content, considering they're out and
out drunks! But maybe they grew up
and become PC Christians or
community carers in the end? The best
thing going for
Grimple is definitely
their energy, they absolutely radiate it
from every empty beer can in their
squat! A feat which is short on a
miracle considering all that draw they
boast about. The bass driven 'Think'
was good till they jumped through that
same plate glass window of speed
again. Even their attempt at a musical
interlude during the intro of 'Walls Of
Shit' nearly fooled us, before
hyperactivity once more set in. The
only other standout tracks from their
1992 debut album was the skanky 'A
Fucked Up Beautiful Day' in the life of
Grimple or their own lifestyle
signatune 'Grimple Up Your Ass'.  
However all is not lost, they produced
a superior debut 7" EP - 'Get Me Out
Of My Van I Have No Keys Phil' (tee
hee) where they really start showing us
a more intriguing side to their bong
smoking nature. 'One More' showed a
lotta suss in the song structure and
with it's snotty lists of "one axe, one
death" etc. and that neat use of the
duel toned vocals, it worked really well.
The guitar sound has a load more
depth than on the albums bland
thrash, and gives us something to
chew on. From here on in
prove why they became local legends
and had "sold-out" signs at their gigs,
as they take 'Rabie Punx' to the
cleaners. They then outta the blue
give us the demo track 'Be All You Can
Be' which is easily the best track of the
whole bunch. It's got a fucking splendid
scuzzy guitar riff I can't get enough of!
This track brings to mind a classic
snotty punk calling card most bands
strive for, but not many achieve...
Grimple even with Pat V's strangled
vocal at the helm get it first time! I'd
have been happy to just hear this
practice session in full on CD coz It's
got possibly their best stuff.After a
dodgy start
I hear there's even more planned
Grimple product from the Vaults about
to hit the fan later this year. And they'll
be sharing a split can with
also out on Prank
Records. So look out for that!
'The Band That Time Forgot' LP
Yet another artifact from depths of the
Belfast punk scene and arguably one
of the best punk bands never to have
made it to a wider audience.
Rudi in
case you didn't already know, were
always something special. Even cunts
like me could suss that out from only
hearing their all-time classic 'Big Time'.
On this track alone they managed to
create and spread their name to
mainland Britain and further afield.
Which for a Belfast band was no mean
feat in it's day. So when this collection
arrived at the Wolf's lair (cheers Joe), I
started licking my lips with anticipatio.
This is all those long lost sessions and
demos. I love the way they can
produce addictive punk rock with
tunes. And they don't do it in the
namby pamby poppy way were
accustomed to in today's poppunk
scene. No these fuckers are lethal as
they sell us their addictive Class A
punk. Take the slow bass burning turn
on o,f 'Radio On' with a great raunchy
guitar riff that feedbacks infrequently
above that simple tune. Lead singer
Brian Young has one of those neat
punk vocals. He can hold your
attention, and alongside Jake Burns
sawdust bite or Greg Cowans yob
howl, makes for a much needed
medium. 'Claws And Clutches' has one
of those cheesy disco guitar runs in it
like what the
Black Arabs done to
'Pretty Vacant', but like
the Arabs
version it works so well. Considering
it's 1979 this was still prototype punk.
The demo of 'Mission Impossible' is
another class track with those catchy
"ahhhhhh aaaaaahhhs" that must've
sent the girls running to the toilets in
the Harp bar.
Rudi are probably the
main punk band from Belfast with
natural sex appeal and just enough of
it to cross over into the big divide, but
sadly that wasn't to be on a label like
Good Vibrations. 'Murder On The
Second Floor' is another strong track
even with this two track recording (can
yer believe?), the quality just shines
Rudi are a band who know
how to make an impact with just the
bare necessities, we don't get highly
produced ego trips or massive big
thrash outs on this set, in fact I doubt
there's one in the whole back
catalogue, but what we do get is style.
Rudi don't need to speed things up to
hit home, and they don't need petrol
bombs for inspiration either. They sing
about werewolves, murders and big let
downs everyday stuff with the only
exception it's written by a very talented
bunch of Belfast punks. If you wanna
comparison they're like early
Undertones crossed with the
now there's a damning
collaboration if ever I heard one. As
this set progresses into their more
mainstream era like on the thick
coated guitar run of 'Crimson' from a
1981 John Peel session, they really go
for the poppier market. But don't get
put-off coz unlike others who trail blaze
this path
Rudi had an uncanny knack
of making it count. 'Tigerland' follows
with less glitz and more glam as Gordy
Blair's bass runs along with sporadic
guitar flashes make their presence felt.
'Where I was Dead' reminds me of that
other Belfast band made good...
, with it's arrangement and
vocal harmonies. From the same
session they up the pace a notch for
'Excitement', that's got some good
slashing guitars. I like the quirky
'Toytown' a lot, with some precission
guitar picking and a crisp 'n' clear
production from another Radio one
session. But with the inclusion of
synths on this session it don't add
much more to what they already got so
was pretty uncalled for. They seem to
be experimenting with the sound and
even have a major
Skids feel about
some of these tracks. This period
Rudi at a crossroads,
they've burnt out the punk era and are
looking for something new, just a pity
some major backing never showed coz
these boys despite getting lost in no
mans land towards the end could've
made a far greater impact!
CD (PRANK050) 2002
Ken Prank has got a lot to answer for.
He's single handedly corrupted me into
terrain I'd never had trodden but for
this release. I don't know what it is
about the brutal urrrrrrggggghhhh
yeeeeeeaaaargghhhh genre of
crust/hardcore that turns me off so
much? Maybe it's the vocals or the
cloned machine gun style? I do know
that this wing of punk has never turned
me on musically or sonically before.
That was until I met
Kylesa. Kylesa
who have risen from the bowels of
Savannahs pioneering outfit
are the first band from this neverworld
who have more to offer cunts like me,
than their far less worthy legions. I
demanded more and I certainly got it
on this release. This is more than
crustcore/hardcore or the death metal
bollocks they're branded with. This
annonymous collection is grotesque,
looming axe attacks on a majestic
scale, I fuckin love it! And despite the
presence of some of those over the
top growls and urrrghs in the vocal mix,
Kylesa manage to keep em on a
semi-human level that stays well clear
from the brutalised rants that are
prominent amongst the other dross.
Kylesa's biggest attribute is their
abillity to create monster soundscapes
armed with giant chords, that roam
wantonly around your speakers with
impending doom. The duel guitars
alone are collossal, giving em a
cinematic score. This collection could
quite easily be a soundtrack to 'Lords
Of The Rings' if only Peter Jackson
had heard of em in time! No bullshit,
these are that good. They conjure up
the stench of running battle scenes
with ease, and the production is on an
epic scale. Of the 8 tracks on offer you
don't go home feelin cheated, they
give you big textures of guitar sound
that really fills your tomb. And on
particularly 'The Scarab' with it's
unassuming tinkling guitar sound that
soon gets surrounded by that BIG
hideous noise.
Kylesa are a band who
know how to harness power without
ripping off into a mad blur of blind
rants. Progressive buildups are the
order of the day, with some very clever
arrangements. They have the abillity to
drop out to a basic solitarly seering
guitar sound and bass run, before
returning with thick lashes of guitar
slabs and rythym. This is a journey into
some dark underbelly for the listener,
and you know what, it's pretty fucking
exciting! As you slowly descend even
further into the gloomy scenario
they've created it never gets
depressing. There's enough going on
here amongst the tracks to keep you
listening again and again and again.
For 32 minutes your in a concept
album, travelling into the dark mines of
Mordor in search of... only
knows? Maybe it does sound a little
contrived in print and the lyrics are like
passages from Tolkein, but just listen
and you'll get what I mean. Whatever
the concept is, it's fucking addictive.
Kylesa can create atmosphere, and
that's what this albums all about, black,
mettallic vibes that'll make you beg for
more. Favourirte track is a fuckin killer
called 'Descend Within' which reminds
me of those Warcraft backing tracks,
especially with that simple drum sound,
compelling lead bass and those
chugging guitars. We follow blkindly as
Kylesa lead us perilously into the
murky depth of the abyss, while more
beefy riffs keep hammering home the
feeling of suppressed violence lurking
in the shadows...fucking great stuff! If
like me your a fan of huge heavy
guitars then you'll fuckin love this.This
band maybe peace punks by nature
and inspiration but the message they
give out via sound is universal in large
doses, and not a lot of bands can do
that these days.... good fuckling stuff.
I believe bassplayer Brian Duke (29)
has sadly died from an epileptic
seizure since the making of this album,
so this album is a very fitting epitaph to
his memory.
'All Snowy On The Pond' CD
(GAB02) Feb. 2003
The latest offering from these Midland
punk rock 'n' rollers, who've been
pretty quiet of late. This is a sneak
preview of their forthcoming album due
for release in early 2003 on the new
French label Acrude Records. It looks
set to be another showcase for the
glossys, but I dunno if the punk buying
public will take to it this time around as
it's still pretty tame for the hardcore
crowd? But despite that god awful
Pigfish manage to let the music
do the talking a lot more on this outing.
Kicking off with a powerful rocker
called 'U.R.A.C.' which can only mean
one thing in Wolverhampton...cunt!
They still give us that mix 'n' match
sound of pop punk, smooth hardcore
and prickly rock, which is ok by me but
for every good track there's an
average one lurking beneath the ice.
'Creosote The Baby' is a tune where
Pigfish excel, it's a rampant
instrumental from their debut album
bought back to life, which nicely warms
us up for the introduction to their best
track of the new stuff....the juicy
rifferama of 'Can U Afford It'. I love that
big riff this song is built on, and I'd be
quite happy if
Pigfish stuck to
instrumentals coz they got some neat
chunky fuckers in their duel guiitar tool
box. I still find those dual vocals a
hindrance, but thankfully the Russ
Frame blocked up nasal drone of their
earlier stuff has been removed for a
more powerful delivery. We now only
have to contend with those poppy high
pitched back ups that grate an awful
lot! 'Anal Critter' is probably the best
track where the vocals work together
well, especially with that solid riff and
chiming guitar solo. They totally
change tack on 'Bulsara' with it's
accoustic intro and off the wall lyrics,
before going head first into a basic
sphaghetti westernised romper. The
cryptic '1 six 8' has a heads down feel,
with a neat guitar running in
background. More changes are afoot
in the
Pogueish 'Drinking With Danny',
which adds a new side to their
quadrupal personality. I always get a
feeling from hearing
Pigfish that they
are still looking for an identity in their
music and style. They've got 25 years
to choose from but don't seem
comfortable with any so far? They
close on the zany 'Goose Scales'
which despite the humour was one of
the most important tracks on here, with
that ultra dumb addictive rifferama and
scary ending. We also get 9 bonus
tracks from their debut album
'Creosote The Baby'. Best of which
were the band anthem 'P.i.g.f.i.s.h.'
and it's fast paced sinister riff, this is
the kinda road they oughta travel down
more often. Also the jerky stomper of
'Volt Jolt' with it's jumpstart buzz and
addictive chorus, deserved an
accolade. However these are all paled
into insignificence by the bands
crowning glory, the highly impressive
'Turkish Delight' with that giant riff,
humoured tale and compulsive beat.
All 20 tracks come with a good
production, pity the identity crisis is still
looming though.
PIGFISH are now defunct!
'Tattered And Torn' 45
(blk1011) 2002
New UK outfit here from the deep
South with a well worn name! They
come out the traps blazin with loads of
energy and bags of speed, but not a
lot else on offer I'm afraid. 'Tattered
And Torn' I presume is their debut 45
so there's plenty of scope for
improvement as plummit through 4
tracks of self-penned guitar driven
punk. The throwaway lyrics are fun but
unmemorable and this kinda happy
D.I.Y. punk is great in theory or for a
warm up at a punks picnic only. To
make a bigger impact they need a lot
more character in the delivery, a dose
of snot in the vocal or a big lick of
power on the sound. The best tracks
are up first with 'Elmore Jones' and
"whoah whoah whoah" chorus
followed by the slightly less erratic
'Legendary Gravedigger' which is done
in the same vein. The production is
thinly coated with biscuit tin drums, but
most likely how the band wanna sound.
For me it was throwaway punk for a
disposable generation and a 45 that
you'll forget very easily by the time you
load up your next record.
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