| SNOTTYNESS... Punk Rock Classic - World Contender - Worth A Listen - Average - Plastic - No Future |
| DEATH SQUAD 'Dead Rockers' Demo CD (2003) Death Squad are outta San Francisco but sound like they just crawled out a squat in darkest Europe. I like the name a lot, but this 6 track demo don't really give us anything new or death defying at this stage in their hardcore career. We do get well played compact slices of tight, energetic, roar punk. But their one speed (fast) riffs are left lifeless with a singer who displays that by now familiar and banal growl/shout. A trait so many kids today seem to wanna adopt ...WHY? It may ignite some punks palettes but I've heard so fucking many over the years it now just gets boring and lacks imagination. Which is a pity as the music side is ok. Their best track however was 'Nihilistic Future' where they manage to stray off their heads down monotonous path for a short time, to give us a brief excursion into new territory. Maybe they need more time to develop and break outta the obvious inbuilt and predictable formula and create their own style? I also enjoyed the brief lead solo in 'Born To Suffer' but it didn't last long enough to rescue em for the long term. They swap singers on 'Orders', which offers a less brutal delivery and had more appeal. Well whatever I think they have their debut EP called 'Final Solution' out soon! Lets hope it shows a brighter future! AVERAGE chaotic_youth_82@yahoo.com |
| SPITTIN' VICARS 4-Track Demo CD (2003) A Euro Punk supergroup in the making! Yeah kids these gobbin' clergymen feature Vince Incredible (Ex-HDQ) on guitar/vocals, Vom (ex-every punk outfit in Europe and beyond) on Drums and John Codger on vocals/bass outta The Stains, Only Alternative. Considering they live all over Europe... Holland, Germany and the UK to be precise, this collaboration shows a great dedication and logistical wizardry to even get these fuckers in a country let alone a studio. So full marks for determination, coz within 48 hours their efforts have paid off. Not suprising considering their punk pedigree, coz they can certainly knock a tune together. They bring us a duel vocal, with a well produced dose of tongue in cheek punk rock. A band with loads of hooks and plenty of humour. 'Oddball' reminds me of the late 70's British new wave era in style. It's got enough commerciality to make a novel move towards the charts, but with enough grit under the collar to scare the schoolies and Records execs back from the brink. Hey, wishful thinking never hurt anyone! The Spittin Vicars seem to have the same ammo as The Briefs in their studded vestry. They could get your attention fast, especially with that quirky delivery. And those jangling guitars above a beefy rhythm track are used to good effect, adding a slick pro touch. The semi crooning vocals with piss taking lyrics send this track on it's merry way. But it was left their next and best track, the more in your face '(Aint Going) Back To Babylon' to make you really sit up and notice. This is a very well played song and shows healthy signs of what's yet to come. It even features a drum solo!!! Well what do you expect with Vom in the band!? The following tracks are instrumentals of the previous two, or as Vince puts it "the Karaoke versions". Comes with a good clean production, so look out for the threatened 45 that makes an appearance early next year after more remixes and fine tuning! WORTH A LISTEN www.spittinvicars.tk/ |
| GUT WRENCH 'Gin & Juice' Demo Tape (Jan. 2003) Ain't too keen on the name much, it sounds like a Thrash Metal outfit, but forget that! Coz this a very rough, gut wrenching live demo tape (recorded I suspect in the bands SF garage) does show positive signs and some rough gems shining out from the gin soaked mist and debris of cider bottles though. Gut Wrench for those interested are a new young San Francisco based three-piece, that boasts Kev on bass who's also plays in Death Squad. But unlike Death Squad these Gut Wrenchers show way more attitude and attack in this gutsy home made tape. Chunky guitars crash into pounding bass runs as some good drumming providews the back beat. They give us textbook punk songs titles like 'Watch Yer Back', 'Hate' and 'Society's Disease' which seem almost expected in today's punk rock scene, but to be fair these songs are screaming for a studio recording to actually showcase exactly what they can really let rip given half a chance. I like the 'Uncontrollable' riff with it's early 80's swagger. It reminds me of a cross between Discharge and GBH. Singer/Guitarist Mark loses his vocal attack on some of the tracks, which will probably be put right with more practice. But he's got enough snot present to give em character. Best track of the bunch has gotta be the chanting demon of '40 In A Bag' that comes with a great ballsy riff that nails itself deeply into your skull with pneumatic effect. They end with a predictable cover of maybe the bands major influence, Chaotic Dischord's 'Fuck The World', which disappointingly dispells any intriguing mystique left. However I reckon GW are definitely one to watch out for, especially when they finally do spill their guts in a real studio. WORTH A LISTEN chaotic_youth_82@yahoo.com |
| TERMINAL CITY RICOCHET (rough cut) CD 2003 Just had this ten tracker shoot in from the Norwich anti heroes'. Terminal City Ricochet are a feisty bunch who are still on a learning curve. They're not quite harnessing the power and attack that they can so readily let rip on as many songs as we'd like. However I'm sure its only a matter of time before you'll be hearing a lot more of these around the UK punk scene and further afield if I've got any say in the matter. I like their attitude coz they've got a valid message but ain't scared to mess it up with some extremely attractive buzz saw guitars. They also have enough suss about em to try and make the songs sound different instead of mindless rants. Sue on bass/vocals has come on loads since her P.M.T. days, which proves years playing the punk toilets has finally paid off. She gives the band a really bassy backbone while Tom the drummer boy keeps it all together at the back. Sue's squealing vocals still take some getting used to, but they do add a unique angle to the bands sound. Lead vocalist Martin Von Loser really works well within this band. He gives em a real identity when he pulls out that snotty vocal that lurks beneath his well meaning demeanor. So with strong characters like these in a band it makes for an explosive mix along side the heavy duty axework. Neil who provides those impressive power chords seemed to be on a winning formula. However since this recording he's been replaced for not pulling his weight! He will be missed for his musical input for sure, but they're now playing again with a suitable replacement, I hope. Must say Martin's pissed off edge seems a bit more restrained on the newer songs compared with his earlier outbursts. But a lot of this might be due to the weaker mix, it just don't capture the band at their explosive best. Of the newer songs the bass driven 'Newsflash' comes in with a by now trademark TCR riff, but was missing the urgency of their better songs. 'Tatty Rag' is a mid paced duel vocal fuck off to the Union Jack and all that it evokes. But also seemed to be suffering from a week production. The killer track of 'Sadist', which follows up next is the band at their very best. This track proves that they have the ammo, it's still the bands anthem and overshadows the rest of the album like a towering fucking monolith. 'Sadist' is a 21st century punk rock classic in anyone's book! And comes with a unique glimpse through an animals eyes of the torture they dish out in these vivisection labs. The way it's delivered with those massive power chords and sung with such venom brings us to a chilling conclusion. So if you hear one song by TCR hear this! The vocal attack of 'Mummy Said' is another cracker of a tune. Domestic bliss gets a real kicking somewhere in Terminal City, as chunky guitars beef this baby right up to the hilt. They complete the hat rick with their brilliant anti-cop number, 'Police State'. This is a fucking blinder in any pigs eye view! Von loser spits put with contempt ...."They gonna kill ya!, They're gonna get ya!, They're gonna nail ya!". This rabid attack on the constabulary witch hunt has gotta be heard. Next up is 'Distant Voices' which has a prowling riff as the vocalists swop the psychoanalysts couch for an inside peak into their deranged minds, sung over a landscape of juicy guitar chugs. "Goooo!" and were live on 'CNN' which is another standout apart from the fact were missing Martin's original and far more demented vocal track? The tribalistic 'Undercurrent' is introduced by a sinister riff as Sue takes the lead on possibly her best outburst on the album. They up the ante and let off steam on the manic, heads down bullshit detection of 'How Does It Feel'. Last track 'Heritage' was definitely the best of the new tracks I heard. They shine a snotty spotlight into the faces of rich kids everywhere who got more money than sense, luuurve it!! So on conclusion this debut album was let down by the weaker material but saved by those hand grenades of power. The sooner this band regroup and develop into the creator of more monster songs like 'Sadist' the better for punk rock UK! WORTH A LISTEN! For more info contact the band on terminalcityr@hotmail.com or write to Black Rat Music, PO Box 3011, Norwich, NR3 1XH, England |
| CROPKNOX 'Just Can't Live...' (Glue Rot Records) 45 2003 Stimulating debut 4 track EP from these young San Francisco punks who wear their affinity's on their studded sleeves! But hey please don't write em off as another early 80's bunch of UK clones just yet, coz the Cropknox do stick out from the crowd with their own impressive tunes and enough energy to deliver and make em sound fresh and today. The duel vocals/duel guitars of Marcus and Dave give em added depth, as they swop guitar bursts and gripes about life in the 21st century. They are propelled into a gutsy rhythm collision by the more than competent Nathan on bass and Mackeyeveli (Ha!) on drums. First track 'Life On The Line' boasts a militant beat as the overexcited singer spits out a fitting attack on some company slag! It's followed by their best track and most accomplished of the bunch, the mid-paced 'New Solution'. This rings out the speakers with a great jangling guitar intro buildup, before powering into the sing along chorus of "New 'Solution...Bloody Revolution" The clever addition of an extra guitar track on the last verse creates a neat atmospheric ending. A drumming intro introduces us to 'Systematic Fuck' that has a vocal reminiscent of the Sinyx, remember them? It also makes use of a very impressive guitar solo that teases you long enough for you to want more. They end with 'Just Cant Live' that actually has a rather good vocal which they could definitely exploit more, plus loads of late 70's solos with an early 80's delivery. Maybe their subject matter could do with an overhaul, but if you like yer punk in a short, sharp, shock vein, then you'll enjoy these immensely, I know I did. Comes with a quality production, a badge and a sticker. If the Cropknox were around back in the 80's they'd have been painted onto kids leathers all across America today, in fact I bet they soon will be coz Punkcore Records have just signed these up! So look out for a full length from Cropknox on Punkcore any day now. WORTH A LISTEN! CROPKNOX |
| KILLING JOKE 'Killing Joke' (zumacd002) CD 2003 60 minutes of the Killing Joke as they return to the fray...and what a return!!! This band have exploded back onto the scene with their 11th album of personified anger, detest and complete contempt for the ruling world elite. This is scary in a way that only classic slabs of punk can be!! It also paints a very disturbing vision of our world today! Killing Joke masters of the dark side have been around for 25 years! So tell me how the fuck can they come back and create this fucking monster at this late stage in their career? It shouldn't happen!, but fuck it did! It shows if you really got the guts and determination and your fucking hungry and extremely angry you will never totally lose it! This band on this release are a true benchmark on the hardcore punk, nu-metal, noise attack or whatever you wanna call it...scene? 'Killing Joke' is a classic in the truest sense of the word. This 11 tracker is a pounding relentless juggernaut of primal instinct and vibe! Those booming beats that send the chill down your spine on more than one occasion don't come much better than this. All the noise freaks out there should listen to this coz you'll undoubtedly be rethinking your strategy! This is an awe inspiring record and will go down in punk folklore for a very long time to come. All the phony anger and so called hardcore sounds around at the moment seem utterly insignificant alongside this baby. Killing Joke create a noise landscape that's so addictive and tense it's disquieting. I can see some of these anthems littering countless movie sound tracks for decades. It's that big in scope yet so compact in delivery. The big difference between Killing Joke and all the rest is they have an ability to grasp a tune amongst the depth of rage. Jaz Coleman's vocals are fucking outstanding, from his sinister almost hypnotic chants to his perverse whispers and finally his downright demonic outbursts that are enough to create a mass frenzy of exorcisms across the Christian globe. He's the 'Loose Cannon' every band seeks. The diversity in delivery is compelling. Check out 'Total Invasion' as the slime drips off his tongue or the almost monk like expanse of 'Implant'. He also has a gifted knack for creating a backdrop of keyboards that really give an unworldly feel to the tracks. But Killing Joke's biggest weapon has gotta be Geordie's BIG guitar bombardment. The tension he creates is this albums major power surge! They are fucking deadly with every stroke, and I don't say deadly in a flippant kinda way either. He can unleash some fucking masterful power chord frenzy with ease, simple chord structures but immensely effective when heard at this level. They resonate your speakers giving us that Killing Joke trade mark of the beast. A sound only Killing Joke can create! New boy on the drum stool Dave Grohl ex-Nirvana plays a blistering role. His powerhouse drums dictates a fucking gigantic tribal rhythm section that harks back to stone age times. Loud, precise and brutal! And along with Youth's bass tracks hiding well within the psycho textures adding a suppressed violent hum to the undercurrent. The bass only really comes to the surface on their best track and possibly the most commercially haunting, 'You'll Never Get To Me'..."survival is my victory". However everyone of the tracks has something different to offer. They're all ultimately powerful and as important as DNA itself. A word should go to the producer, Andy Gill ex-Gang Of Four. He's done an ingenious job in containing these bleeding demons and capturing em on tape with such accuracy. He not only produced this demon, but he also co-wrote all the tracks with the band. So I suspect his producing bookings will soar after this hits the fan. They're touring right now and going down a storm featuring only a handful of tracks off this album, so you can see the vast quality of this bands repertoire. All that's left to say is get this album NOW before impact! Cheers to Welshy for chucking it my way, yet again I'm in your debt!. PUNK ROCK CLASSIC! www.killingjoke.com |
| B'ARSE 'Better Be Ready' 45 (Hells Tone) September 2003 From Stanley in the UK comes in your face no 'holes' barred punk rock piss takers Barse! Tthey've dropped the '77 from their name and have really come to prominence in the last two years. Since I first heard their 19 track debut demo they've finally got the right formula. So thanks to their localised PR man Trev Hagl, I get to hear their latest and on first impressions their most impressive release to date. Having played various toilets in Northern England over the past 2 years pissing off anyone without a sensa yuma (Hello Andy Cactus) and caused controversy amongst the letters pages of MRR, a bigger audience is taking note. Any band whose rubbed up that many people has gotta be worth a sniff. Good to see how things have developed sound wise too. They've lost their patchy sometimes weak sound, gaining a more heads down early Slaughter & The Dogs paced racket but with a very sarcy northern blue comic vocal from Gash singer/guitarist. And you know what, a bit of reality hurt no-one! First up on this 4 track EP is the title track 'You Better Be Ready', a ghoulish Charles Mansun gloat, complete with manic paced guitars and theme park clowns laughter, to add a slightly sinister surreal effect. 'Safety Net' is less frantic but another highly enjoyable take on shirking responsibility in todays society with some real life lyrics to advise future shirkers exactly how to do it. This is a band who have no morals which I think is fucking great! I like Wayne's crunchy guitars on 'Don't Wanna Know You' which harks back to '77 in style but comes out the bar with a 21st century viewpoint. Bands singing about what goes on in England instead of adopting an American outlook is always gonna be worth your attention, it's grim but aint it always been. That's why we as a nation take the piss so much. The last track 'Waste Your Time' sees an array of production line sound effects come into the fray and makes this track the standout of the bunch, especially with a blazing zombie guitar solo, manic vocals and sick laughter. Are B'arse (short for birds arse) just interbred Geordies low lifers or are they punks from the Real side of life?....well who cares coz this is definitely WORTH A LISTEN BARSE |
| DEADLINE 'Back For More' CD (Capain 0i!) 2003 Powerhouse at the ready. I finally get to hear Deadline! After spotting their live performance at Morecambe HITS for the first time this summer, I just had to find out what they were like on record and was not disappointed. This gigging machine are very good indeed and it shows on this their second album in as many years. Tight, hard and well played punk rock, with a Skinnette vocalist who has a delivery that's crystal clear and often reminds me of a trad. folk songstress! You doubting me?... just take the acoustic intro to 'The Way We Were' for example. It's sounds original put to a full on punk delivery, and you can see why it's so appealing. Despite sometimes sounding a bit rushed and clinical. It would be interesting to hear Liz slow down her vocals or change the tone on some of the songs to hear exactly what she sounds like in a slower mode. Coz her melodic back ups are really very good. They steer clear of particular subjects and targets in their song opting for more personnel stuff which is fair enough. Musically this is a band pumping on full cylinders tight and very together. They give us a two-tone direction on 'Going Nowhere' complete with skanking organ and sax which made a neat sideshow to their more powerful output, but seemed to drag on a bit. They add a bit of comedy to 'What You Think' with it's tongue in cheek attack on stereotypical Essex birds. The mid paced 'One More Day' sounds epic and begs for some guitar to follow the chorus, but compensates rather well with a ringing guitar solo that fades out till the end before changing direction by launching into a low mixed frenzy of Hendrix proportions. They close this set with a nifty cover of The Ramones 'Sheena Is A Punk Rocker' which does the original total justice. For a band whose interviews read very bland it just goes to show some bands only need to communicate via record or on stage. Impressive introduction. Cheers to Hog for throwing this my way. WORTH A LISTEN Captain Oi! Records |
| THE REVOLVERS 'End Of Apathy' CD September 2003 The Revolvers have at last revolved and evolved into the throbbing, pounding believable rock 'n' roll monster that they always longed to be on this their impressive 2nd album. I wasn't expecting to be knocked out or change my opinion on these slightly iffy Germans, especially after the pompous debut 'A Tribute To Cliches'. But that was before I slotted 'End Of Apathy' into the stereo. 'End Of Apathy' definitely means the end of pretension for these boys. They've drawn a big line in their mascara outside their Germanic bunker moving on from their previous poncy over the top glamster roots, to be re-ignited into a genuine gutsy outfit. From the opening guitar duel on the title track, this 12 song action packed shootout just gets better with more plays, and looks set to propel em onto a worldwide stage very soon. The Revolvers are tight, cocky guitar slingers who ooze confidence within the compounded production and high calibre songs on offer. They've been touring and recording like Euro whores this year. And the end result means they've got rid of the shit, trimmed down the flab and produced a memorable slab of power. This album reminds me of a 21st century 'Give Em Enough Rope' in the dynamics and expanse, it's got that kinda confidence. The Revolvers also boast a Strummer/Jones delivery in the vocal department, which I like a lot. Lead singer Ulvie's course vocals take the lead and makes a good contrast with his band mate Ada who gives us the camp alternative. Check out the catchy 'Mentally ill' or the atmospheric 'Change My Address' that also makes great use of a piano. It's a good partnership for the Revolvers to exploit and one that gives em depth. But it's their grasp of anthems that really make the Revolvers count. 'What Happened To My Attitude' is possibly the best track of the bunch which has a very certain Clash swagger with soaring guitars and a killer chorus. And hot on it's trail is the killer 'No Clash Reunion' confirming the Revolvers main influence. It's a great Strummer tribute and shows a band using all the realm of their impressive composing on one track. I particularly liked the clever snidey poke at Paul Weller with even a short 'In The City' riff thrown in to make it official. They have thankfully kept the rocky ballads to an all time minimum this time, which I think is a wise move. This band can create atmosphere by the alternative methods of just basically ripping it out. Another good track was the chugging paranoia of 'Generation Damnation' that generates into a gang chant worthy of your membership. They close with 'Real Life Horror show' that embraces their glam influences but when it finally kicks in it's all but forgot. Great turn around for the band and well WORTH A LISTEN! I Used To Fuck People Like You In Prison Records |
| BUG CENTRAL/CRASHED OUT Split Tape 2003 We ain't heard from Bug Central for quite a while and were beginning to think they'd been exterminated by some top secret Government assassination Bureau! But this unofficial split tape release proves they are still busy lurking beneath their North London radar. And still plotting and scheming as they break out the noisey protests once more. They seem to have been eclipsed by close neighbours Active Slaughter's high profile this year, so it was good to see what was still lurking in their bomb kit. This 5 song set features their most recent studio recordings from 2002, all be it in a very uneven mix. This tape has only been available at live gigs. So If you ain't already familiar with the full on Bug Central sound, check out their inspiring 'Meek Will Inherit Nothing' CD to get the full wide screen snarl of this band. They deliver a stark view on life with some well sussed lyrics and the occasional anthem out their Anarcho songbook. This session however leaves a lot to be desired and will interest Vet BC fans only. Guitarist Noodles Romanov still has that angry delivery on tap as he opens the first of the new songs, the chugging 'What's The Difference'. Carrying on from where they left off on during the impressive 'Money And Riots' 45. It's a seething attack on their favourite whipping post, the middle classes! Suprisingly 'Android Games' gets pulled out the bag for another outing, but I much prefer the original version, this one was a bit roughshod and rushed around the edges. The same could be said for 'Blast' which also reemerges. The third new track was 'Kick The Kings' which seemed to drag on a bit and suffered from ill fitting time changes, but had a neat psychedelic guitar break towards the end. It was however left to the last track 'Retribution', to show that Bug Central still ain't a spent force. This track looks set to become another Bug Central anthem. It comes out the barricades brooding and with clenched fists as they spell out the difference between the social divide. The back up vocals prepare us with " We're the threat to your future so secure/ were the debt to the world that you ignore". Can't argue with that! WORTH A LISTEN for 'Retribution'. Flip the tape over and we get young Indonesian punk outfit Crashed Out (not to be mistaken with the North East of England's Oi! combo bearing the same name). This version are from the other side of the planet but share so many grudges with Bug Central. Their sound however ain't nowhere near as effective with incomprehensible protest and basic buzz saw guitars within a minimalistic tin pot drum mix. They got a duel vocal, deep growl and a snarly mid pitch growl that sometimes goes off into a high pitched screech. They employ fast 'n' frantic protests but within a very basic punk context that suffers badly from a muddy production. Crashed Out have their sites set firmly on the usual rants, but aimed primarily on their country's misgivings. And who could blame em living under a quasi dictatorship must have left em with more than a weighty axe to grind. I liked the juicy guitar solo in 'Global Resistance' . They change pace and direction completely in the sing along 'Freedom (Anarchy)' which was a lot more endearing. Before they launched into the other snotty highlight 'Distrust Them (Fuck Political Party)'. But they seem to swap band members more times than an LA transsexual convention so we don't get chance for a stable lineup. AVERAGE Cheers to Bruce for passing this one on. Bug Central |
| THE FIGHT 'Home Is Where The Hate Is' MCD (Fat Wreck) 2003 This band are possibly the best NEW UK discovery from 2003. You want a reason to fly the flag from our parched sceptic Isle, then look no further than the Fight. This is a band with feeling for a tune, suss and a singer who actually sounds good. They appear to be young skater kids if my spys are correct?, but the sound they create will appeal to a very wide section of the punk populas. From youngsters just discovering punk to old dogs like me this band has a mass appeal. The singer is their main weapon she's got massive confidence in her delivery , reminding me of a young Penelope Houston, and that is a good sign! She's also got the same presence and impact on record too. If your impressed with Deadline you'll be knocked out by The Fight. Their power may not be as beefy as the Essex mob but these seem to tap a more natural vein of punk and it's a lot more addictive. 'Forgotten Generation' is their big opening track and a mini anthem for the kids. I could see this track getting em MTV airplay if it got heard by the right people. Fuck it I wanna see bands like this on TV not those plastic boy bands with guitars. You can see why Fat Wreckords have signed them up, coz they have a natural flair for gaining your attention and show remarkable maturity for kids. However much to my dismay, I've found literally zilch publicity about the band and they play live very sporadically which ain't a good sign. I hope they ain't split up already before the world has had to chance to savor em? The impressive guitars and general sound is very well executed and comes with gutzy riffs and big sing-a-longs that'll have you gurgling like a baby. Melodic yeah, but who said melody had no part in punk? All the best punk bands had melody! 'Home Is Where The Hate Is' is an autobiographical escape call from your local surroundings and another killer track, showing they've got depth to their songs. Some of the lyrics may sound naive at times but the overall feel is a band with talent. And not all of their songs maintain the high quality, but this is a band in progress who are growing and showing signs of being more than capable of writing some 21st century classics. Lets just hope they don't lose their current penchant for creating big punk rock anthems that'll spread to all walks of the scene. Good punk like this is scene less, it just clicks into place! They attack Grebo's who these days don't drive Norton's and wear leather but hang outside chip shops stealing your mobile phones ha! They change mood for the atmospheric 'Circles' (an early 80's cover from a local Mod Outfit, The Circles), which has an imaginative dropout and uses a skanking guitar to good effect. It's also well supported by strong back up vocals. They keep up the skanking guitar workout on 'Stage school Kids' which is a white reggae attack on pushy parents and their offspring who seek fame. Good to see em with targets that piss em off locally without succumbing to worldwide punk peer pressure. I suspect this 7 tracker is their debut which is a great debut! They end with the rousing 'Revolution Calling' and any song with "boy bands fuck-off!...." in the lyrics has gotta be on the ball. Comes with a haunting chorus and was only let down by the misplaced rap. The production throughout is clean, clinical and compact and has loads of chunky power chords to scrap over. Deadline are good but the Fight on this release are essential! Cheers to Sir Trev for putting me onto em! UK CONTENDER Fat Wreckords |
| VARIOUS 'Where The Bad Boys Rock' CD 2003 Fucking hell this is a monster double whammy from those clean cut geezers at I Used To Fuck People Like You In Prison Records. And it boasts 34 felons on two CDs featuring exclusive and rare tracks from most of the crooks on this labels roster. With also a few of their most wanted. Not a lotta suprises but should give new listeners a good idea of what's lurking in the cell next door... CD1 - kicks off in fine fashion with Berlin psycho's Mad Sin who give us their take on Turbo Negro's 'Rock Against Ass' ha! LA's Damnation show up with their catchy 'Spell On Me' followed closely by the Spitts addictive pounder 'That's My Girl'. Of the new meat on display, 69-Hard were worth further investigation with 'Gone, Gone, Gone', but the Discontent were a big letdown. It's left to outfits like The Revolvers to bring the quality control back up. They steal the glory on this disc with an alternate mix of their 'No Clash Reunion'. American Heartbreak were downright pansy's, while The Bones were just plain irritating. Another bunch who deserved trip to the block were Sartana, who took themselves way too serious. V8 Wankers lived right up to their name. Meanwhile Adam West are still stuck in the garage! The Generators oughta take a leaf out the Revolvers book on how it should be done because in comparison they sound pretty weak! Accidents reminded me of Status Quo on speed. Rickshaw were extremely psychedelic while the Disco Volante sounded like a US version of Girlschool. Disc one closes with the gravel coated vocals of the Heartaches which left no lasting impression. CD2 - brings us the delights of Heartbreak Engines who did sound like fun till the vocals were let loose, they were fucking terrible! Love the name of Frankenstein Drag Queens and with a few more plays they certainly stalk ya with their strangled 'Planet Of The Apes' track. The quality is maintained by our next artist Texas Terri who I hope will sign for 'People Like You...' records coz she deserves some decent exposure and her track 'Never Shut Up' defines her continued snotty appeal. The Forgotten are more Clash wannabes but sound wasted in a lazy way. Squad 21 deliver a neat line in guitars and delivery which reminds me of the Bullies on their track 'Millionaire'. Venerea are full blown venereal, while Sixes & Sevens have got the pox! Swindle A Go Go continue to rob in fine fashion by nicking lots of styles on their interesting 'Leaving Kariokee City'. The Blood junkies just get under yer skin with their jaded sounding rock 'n' roll. Trash Can Darlings had no identity of their own to speak of. The haunting Spook were a suprise, complete with funeral parlour organ, but quickly turned into a hoax. It's left to the daddy Duane Peters to steal this compilations outstanding track, with the piano led guttural ballad of 'Suicide Child'. An outstanding tale that sounds gritty and shitty with his seedy vocal voiceover and those dog rough lyrics, very impressive. The Meteors come very close to stealing Mr Peters crown with their addictive spaghetti westernised take on 'U Aint Right'..."fucker U aint right!". Celtic Bones continue the jangling Shadows theme with a half hearted Duane Peters vocal on 'Wild At Heart'. The Daybreak Boys give us a good chunky sound but are let down again by shitty vocals. Joe Coffee sounds like he's been reading too many Raymond Chandler novels. However we are shown the door by The Meteors Acapello version of... "no-one likes us but we don't care" . Comes in a colourful sleeve with old nick potting the black and few of these turkeys too no doubt. AVERAGE! I Used To Fuck People Like You In Prison Records |
